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Lot 155
GIOVACCHINO BELLI - ACT. 1788-1822, Cross-reliquary of Santo Lenho with Pietà, cross in gilt bronze and black patina, metal applications, 889/1000 silver halo and friezes en relief depicting scenes from the Passion of Christ, Rome (1815-1822), missing the lower part of the spear, missing the relic and the glass that would cover its receptacle, minor faults to the gilt, other minor defects, mark of the Reverend Apostolic Chamber Nº 168 (pontifical tiara and crossed keys) for objects of medium size and with fine silver of 10 ounces and 16 coins (889/1000), in use between 1815 and 1870 (BULGARI 1958, BULGARI CALISSONI 1987 ), goldsmith's mark No. 242 (the initials G and B within a rhombus) by Giovacchino Belli (act. 1788-1822), without Portuguese marks pursuant to Decreto-Lei No. 120/2017, of 15 September, art. 2, no. 2, subparagraph c). Notes: It is a monumental staurotheca, a reliquary-cross of the Holy Cross, perfectly suited to the neoclassical taste that dominated the Roman panorama in the early years of the 18th century. Composed of a plinth, with a rectangular section, a base, with an oval section, on which the figure of the Pietà rests, the piece naturally gives prominence to the cross (in an obvious allusion to the provenance of the relic), which is also assumed to be the centre of the iconographic program, relating, as would be expected, to the Passion of Christ. This develops in a continuous narrative, in the band that runs through the oval section element, in the three medallions on the plinth (with an obvious classical appearance) and also in the three tondi visible at the top of the arms of the cross. The theme of Passion is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, disposed in X. The Passion theme is further emphasized by the presence of the spear and the stick with the sponge soaked in vinegar, arranged in a quote. At the intersection of the two arms of the cross, the receptacle that originally contained the relic of Saint Lenho can be identified. At the base of the cross, where the skull usually appears, in reference to Mount Golgotha, where the Crucifixion of Christ took place, the three-dimensional presence of the Pietà, according to Michelangelo's sculptural model, invited the faithful, when venerating the relic, to reflect preferably on Piety, personified in the figure of the Virgin with her dead son in her arms. Giovacchino Belli was, since the last decade of the 18th century, the representative of a family that owned an important silversmith workshop operating in Rome since his father, Vicenzo Belli (1710-1777), from his native Turin, had established himself in the pontifical city. (c. 1741). In Rome, Vincenzo Belli was the patriarch of a family that counted successive generations of silversmiths, whose workshop remained in full operation during the 18th and 19th centuries. The son, Giovacchino (or Gioacchino, 1756-1822), author of this staurotheque, who submitted himself to the necessary exam with a view to confirming the paternal patent, succeeded in managing the workshop, which, at the time of Vincenzo's death, had approximately twenty workers. Giovacchino was succeeded by his son Pietro (1780-1828), and then by his grandchildren Vincenzo (activ. 1828-1859) and Antonio (activ. 1860-1867), ensuring continuous activity of the old family workshop until at least 1867 (BULGARI 1958, BULGARI CALISSONI 1987, VALE 2019) Among the Belli clientele are some of the most important families of the Roman aristocracy of the 17th and 18th centuries – as the Colonna, Barberini and Odescalchi – and naturally also numerous ecclesiastics, members of the Curia Pontifical. Among the Belli's illustrious clientele, it is worth mentioning the King of Portugal D. João V (1689-1750), for whom Vincenzo created a magnificent set of ewer and basin, in the context of the silver collection in the chapel of S. João Baptista (Museu de São Roque, Lisbon, inv. MPr27 and MPr28) (VALE 2016). The present reliquary of thee Holy Cross, integrating the figuration of the Pietà, is considered a work of particular interest, perfectly suited to the neoclassical taste of the time, but continuing the relevance of the sculptural component, which characterizes Roman silver from the 18th century. This is certainly not unrelated to the fact that its author was trained in an environment in which the importance of sculpture, within the scope of goldsmithing, was highly recognized. From a compositional point of view, the piece is constructed with the cross at its center, as occurs in this type of object, which particularly became widespread in Europe following the crusades and the consequent arrival of several relics of the Holy Cross. Some particularly exquisite examples date back to the early 1800s, made in the Roman environment, which clearly influenced this staurotheque, namely the cross-reliquary (dated 1803), coming from another important family workshop, then under the direction of Giuseppe Valadier ( 1762-1839), which is preserved in the Basilica of Santa Croce in Gerusalemme in Rome. Teresa Leonor Vale Lisboa, 21-11-2024 BIBLIOGRAFIA BULGARI 1958 BULGARI, Costantino - Argentieri, Gemmari e Orafi d’Italia. Vol. I, Roma: Lorenzo del Turco, 1958 BULGARI CALISSONI 1987 BULGARI CALISSONI, Anna - Argentieri, Gemmari e Orafi di Roma. Roma: Fratelli Palombi Editori, 1987 VALE 2016 VALE, Teresa Leonor M. - Ourivesaria Barroca Italiana em Portugal: presença e influência. Lisboa: Scribe, 2016, pp. 157-158, 611 VALE 2019 VALE, Teresa Leonor M. - “Vincenzo Belli (1710-1787): percurso de um ourives: um turinês em Roma que trabalhou para Lisboa”, in MOTA, Isabel Ferreira da, SPANTIGATI, Carla Enrica (coord.) - “Tanto Ella Assume Novitate al Fianco”. Lisboa, Turim e o intercâmbio cultural do século das luzes à Europa pós-napoleónica. Coimbra: Imprensa da Universidade de Coimbra, 2019, pp. 189-221. Cabral Moncada Leilões would like to thank Doctor Teresa Leonor Vale for studying the work and preparing this text., Dim. - (total) 69,5 cm
Lot 507
Large Bottle with Cover and Basin 'Mandarin' Chinese export porcelainPolychrome decoration in Famille Rose enamels, featuring figures in terraces and bird compositions in cartouches over a dense floral and foliate backgroundThe bottle’s neck is adorned with two Immortal figuresQing dynasty, 19th century Height: 36 cm (garrafa)Diam.: 41,5 cm (bacia)
Lot 978
A SELECTION OF LARGE CERAMICS AND LAMPS/SHADES, to include pitcher and basin set Late Mayers K & Co 'Rose' (crazed on both, hairline cracks in the bowl, the jug has been repaired on the spout), Ironstone Pitcher and basin set, blue and white floral pattern, a selection of table lamps to include two green and gilt decorative stubby base with yellow vaseline glass shade, pink glass and crystal style lamp, brightly painted floral and bird lamp with shade, blue and gilt lamp stand, a selection of lanterns, included oil lanterns with funnel glass shades, a pair of yellow glass mosaic tea light lanterns, light shades include two scalloped shell and gold coloured metal, glass, and metal beaded detail, etc. (qty), (Condition Report: some items have some damage and signs of repair, all lamps are untested, all would benefit from a clean)
Lot 849
FOUR BOXES AND LOOSE MIXED CERAMICS AND GLASSWARE to include a group of Wedgwood 'Jasperware' trinket dishes and vases, three Royal Doulton character jugs, a quantity of assorted royal commemorative mugs, a box of Vilanov aperitif glasses, a Wedgwood & Co. chintz bowl, a wash basin and water jug (damage to the spout of the water jug), a quantity of blue and white willow patterned plates, a Wedgwood pedestal blue and white 'Mandarin' bowl, two blue and white meat trays, a box of six red and gilded continental glasses, a box of assorted glassware to include wine glasses, a sugar caster, water jugs etc (4 boxes and loose) (s.d)
Lot 305
Ca. AD 400 - 600. A round silver vessel with a deep basin. In tondo is the largest motif, a depiction of a king on a horse hunting with a long spear facing a lion. For similar see: The Metropolitan Museum of Art, Bullettin spring 1984, n. 83, p.64 (subject); Christie's, Live Auction 20677, Antiquities, Lot. 63 (shape). Size: 50mm x 210mm; Weight: 430g Provenance: Private UK collection; From an old London collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 160
Ca. 400 - 300 BC. A fine wheel-thrown pair of lekanides, each with a shallow basin, a pedestal foot, and a decorated lid. The imagery is done via the red-figure technique with two Ladies of Fashion, each adorned with fugitive white pigment creating elegant ornamentation. The ladies are each dressed in beaded saccoi over an upswept coiffure and a beaded necklace. These ancient visages are separated by stylised palmettes. A series of vertical stripes adorn the outer periphery of the rim, meeting the black-painted body below. The large knob atop the lid displays a sunburst design on its depression. For similar see: The Metropolitan Museum of Art, Accession Number: 2021.40.31a, b. Size: 100-110mm x 90-95mm; Weight: 355g Provenance: Private UK collection, acquired on the Dutch art market; previously acquired on the Dutch art market; Frederik Van Driel, Maastricht 1993.
Lot 143
Ca. 500 BC. A bronze basin or phiale, a special libation bowl used for holding wine, with a hollow, rounded, raised boss, known as an omphalos, in the centre. The omphalos is thought to have symbolised the navel of the Earth, the central point of power that all things revolved around. The lower part of the bowl is scalloped/fluted, above which is a corseted neck that flares outward into a wide, smooth mouth with an unpronounced rim. For similar see: Ancient Iranian metalwork, Ann C. Gunther and Paul Jett, fig. 2. Size: 45mm x 155mm; Weight: 200g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 117
Ca. 350 - 300 BC. A fine wheel-thrown lekanis with a shallow basin, pedestal foot, and lid beautifully decorated via the red-figure technique with two Ladies of Fashion, each adorned with fugitive white pigment creating elegant ornamentation. The lovely ladies are each dressed in beaded saccos over an upswept coiffure and a beaded necklace. These ancient visages are separated by stylized palmettes. A series of vertical stripes adorn the outer periphery of the rim, meeting the black-painted body below. Twin-applied loop handles protrude from either side of the raised bowl, while the large knob atop the lid displays a sunburst design on its depression. For similar see: The Metropolitan Museum of Art, Accession Number: 2021.40.31a, b. Size: 185mm x 120mm; Weight: 450g Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgium art market; Daniel Bogaerts, Brussels, 1995. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Lot 5
Middle Kingdom, Ca. 2055 - 1790 BC. A marvellous carved black stone ritual mortar of relatively cylindric form with high walls. The deep basin was perhaps able to hold ample amounts of material, from food and medicinal ingredients to substances pulverised into colourful pigments. On the external surface, in high relief, two standing figures, probably priests, represented frontally with a long skirt covering the lower part of the body and with the other naked and wearing a long wig alternating to vertical lines of hieroglyphic inscription. For similar see: Change and Innovation in Middle Kingdom Art. Proceedings of the MeKeTRE Study Day held at the Kunsthistorisches Museum, Vienna (3rd May 2013), Middle Kingdom Studies 4, London, 2016, Fig. 45-49. Size: 240mm x 210mm; Weight: 18.29kg Provenance: Prince collection, 1990s-2014; Ex. Nagel Auktionen, Sale 50T, 27 May, 2008, Lot 3401. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 112
Ca. AD 1100 - 1200. A tray hammered from a thin sheet of bronze into a rectangular shape, featuring a shallow octagonal-shaped basin with broad lateral panels and a pronounced edge. The interior of the basin is adorned with a central roundel depicting birds, encircled by a band of dots. On the sides, pairs of felines with human faces flank the roundel. This entire register is surrounded by a band of running hares, with fish depicted in the corners. Stylised calligraphy inscriptions run around the circumference. Size: 310mm x 195mm; Weight: 460g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 102
Ca. 12th - 13th century AD. Metal buckets were common in pre-Islamic cultures of the Middle East and it is likely that their Islamic versions were based on the classical prototype of a tapering cylindrical form, known to have been produced in Egypt. In the past it has been suggested that such vessels would have been used to carry hot water in bath-houses, but the nature of the material (bronze), along with its elaborate decoration and inlays would seem to indicate it being used rather as an ablutions basin for purification. Size: 200mm x 190mm; Weight: 1.78kg Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 75
Ca. 1100-1300 AD. A brass basin with a distinctive scalloped edge and intricately engraved interior. This basin features a flat base that contrasts with the undulating edges, which give the basin a sense of fluidity and movement. The interior of the basin is adorned with an intricate design that radiates around a central rosette, forming concentric circles of geometric patterns, roundels, interlocking motifs and Kufic script around the walls. The engraved decoration on the basin is executed with exceptional skill and precision, reflecting the high level of craftsmanship and artistic sophistication that was typical of Islamic metalwork. Basins such as this were commonly used in the Islamic world for a range of purposes, including ritual ablutions, washing, and serving food and drink. They were often highly prized as luxury items, reflecting the wealth and status of their owners.
Lot 623
A circa 1900 blue and white transfer decorated basin with soap dishes of circular form raised on a mahogany two tier frame with ringed and turned supports (Provenance 'once the property of Yehudi Menuhin', via antiques shop/centre just outside Minchinhampton when purchased), 59 cm diameter x 80 cm high
Lot 295
George IV silver three-piece teaset with teapot, two handled sugar basin and cream jug, each piece oblate and panelled with foliate and floral scroll handles on floral tab feet, total weight 49ozt approx, hallmarked London 1826, makers' mark Edward, Edward Junior, John and William Barnard, IVORY EXEMPTION CERTIFICATE NO. 5SJHX8LYCondition ReportTea pot handle slightly loose, minor scratches to bowl of pot otherwise good condition. Milk jug has small dents to bowl and the two handles sugar bowl has some small dents to the bowl otherwise the condition is good.
Lot 343
An Elizabeth II silver four piece tea and coffee service by Cooper Brothers & Sons Ltd, Sheffield 1952, with Coronation duty mark, comprising a tea pot, coffee pot, two handled sugar basin and milk jug, of bulbous form, the domed hinged lid with white plastic spacers, shaped rim quartered with fan motifs, C scroll handle removed, raised on four fan capped bracket feet, coffee pot 19cm, (7.5ins.), high, 2993gms., (96.2ozs), gross, (4) ** Please note that the Ivory insulators on the handles have been removed for sale but the handle have not been replaced
Lot 16
An Edwardian silver sugar basin on shell feet, Goldsmiths & Silversmiths Co. Ltd., London 1905 (probably - marks rubbed), to/w two pairs of silver dessert knives and forks with mother of pearl handles, a cased set of tea knives with loaded silver handles, Sheffield 1906 (case a/f) and a Georgian salt ladle, to/w an Elkington Plate sugar basin, a pair of pierced ep open salts and an oval mustard
Lot 29
A Victorian silver half-reeded sugar basin with engraved decoration, Dobson & Sons, London 1883 and six various condiments, 15oz total, to/w a Victorian novelty cigar lighter, modelled as a ship's lantern (glass 'lens' a/f), Lawrence Emanuel, Birmingham 1897; lot also includes a triangular dish, stamped 'Silver' and set with a 1912 Chinese Republic Memento Dollar (1949 inscription), an Asian white metal pill-box modelled as a melon, a Continental white metal tea-strainer and an ep example
Lot 55
GRAND BASSIN RITUEL ARCHAÏQUE EN BRONZE, PANDynastie des Zhou Orientaux, Période des Printemps et Automnes (771-476 av. J.-C.)AN ARCHAIC BRONZE RITUAL BASIN, PANEastern Zhou Dynasty, Spring and Autumn period (771–476 BC)With a broad shallow basin with a gently curved profile raised on a tall splayed pedestal foot, set with a pair of arched bridge handles, decorated around the foot and the sides with a cloud band design, the interior with a possibly later added twenty-eight character inscription. 44 cm (17 3/8 in) diam. (2).Footnotes:PROPERTY FROM A GERMAN FAMILY COLLECTION德國家族珍藏東周 春秋時期 青銅雙耳盤Provenance:Collected in China between 1894 and 1922, then handed down in the family by descent.來源於1894年至1922年間得自中國，後經家族流傳至今Pan were shallow basins used as ritual vessels to hold water. They were used in conjunction with a pouring vessel, he or yi, to form a set of vessels for the washing of hands. They would have been included in the ritual vessel sets used to perform the food and wine offerings to the ancestors. In fact, the same inscription appears on two bronze ding of the same period now in the collection of the Palace Museum, Beijing, illustrated in Wang Wenchang, Qing tong qi bianwei san bai li, Beijing, 2009, vol.1, pp.156-159, no.124. According to the author, the inscription on the second vessel is later added while the inscription on the first vessel is contemporary with the date the vessel was made.For further information on this lot please visit Bonhams.com
Lot 2524
AN IMPRESSIVE RENAISSANCE-STYLE VICTORIAN SILVER EWER by Frederick Elkington, Birmingham 1871, designed by Benjamin Schlick and adapted from designs by Francois Briot and Caspar Enderlein, the tapered ovoid body with a central band depicting three continents, Europe, Africa, the above band decorated with the seasons Autumn, Winter and Spring, further decorated with masks, the handled formed as a caryatid terminating in a grotesque mask, with a knopped stem supported on a stepped circular base, stamped 978, 30cm high 1,080gms / 34.72oz This ewer's extravagant design belongs to one of Elkington's most interesting periods of production which saw the company employ foreign designers to create decorative silver in various styles. This early period also heralded Elkington’s foray into the Electroplating process. Benajmin Schlick was a Danish-born designer and architect who, in the early years of his life, had spent time in Italy and France and was directly exposed to Classical visual and material culture. In 1839 he become one of the leading figures in the restoration and preservation of the ancient remains at Pompeii, making observations and sketches which would influence his designs made for Elkington. Shlick’s ewer makes direct reference to two makers, Francois Briot (1550-1616), the Huguenot die-cutter and medallist, as well as Casper Enderlein (1560-1633), a Master pewterer who was active in Nuremberg. Francois Briot’s most famous design is undoubtedly the ‘Temperantia’ basin, his only known signed work and a prime example of ‘Edelzinn’ (precious pewter) that was produced in France and Germany during the late 16th and early 17th centuries. The basin featured a figure of Temperance in the centre, surrounded by four plaques depicting the four elements. The patron was most likely Friedrich I, Duke of Württemberg and Count of Montbéliard. Briot moved to Montbeliard in 1579 and a few years later he was appointed seal-engraver to the count and is known to have made medals for Friedrich. The ’Mars’ basin is another masterwork of Briot’s that follows a similar allegorical composition to the ‘Temperantia’ basin. The God Mars replaces the figure of Temperance, while the elements are now depictions of Pax, Invidia, Abundantia and Bellum. The outer border features depictions of famous commanders (Caeser, Cyrus, Julius, Alexander) and the four continents, of which the latter group draws on a series of prints by Jan Sadeler the Elder (1550-1600) after Dirk Barendsz (1534-1592). Basins such as the Temperantia and Mars basin nearly always accompanied ewers with complimentary decoration. Briot seems to have designed ewers at around the same time as the basins, circa 1585. See Hanns-Ulrich Haedeke 'Zinn' 1973. Abb. 129-130 & 134 in the Germanischs Nationalmuseum Nurnberg. Briot’s moulds were made to be copied. His basins and ewers were disseminated widely and in different materials such as Palissyware. Caspar Enderlein’s reproduction of Briot’s Temperance basin brought him great fame. Like many artists who take inspiration from others, Enderlein embellished Briot’s moulds and forms. An ewer made by Enderlein was sold at Sotheby’s (L12230, lot 47) which lifts from an example by Briot in the Metropolitan Museum of Art (accession number :1975.1.1473, Robert Lehman collection). The three continents (minus Asia) represented in Shlick’s design feature an inscribed cartouche below, an addition Enderlein made to Briot’s work. Shlick’s design further incorporates designs from another dish made by Enderlein from a later date. The dish, made around 1628 (an example is found in the Victoria and Albert Museum, accession number 1203-1903) depicts the creation of Eve in the centre surrounded by four allegorical figures of the four seasons. Shlick’s ewer design takes three seasons (excluding Summer) to be used as the top band of decoration. The form also differs – Shlick’s handle is longer and straighter, while the foot differs in decoration and is slightly taller. Most works by Briot and Enderlein that Shlick used as reference material are held in the Victoria and Albert Museum. The museum also holds an identical example of the ewer, though theirs is electroplated parcel-gilt rather than silver. Henry Cole, the first director of the Victoria & Albert Museum (then known as The South Kensington Museum) quickly grasped the potential of Elkington’s newly-bought patent for the process of Electroplating, as they shared a belief that classical source material should be disseminated to aid in the development of good taste. Cole agreed with Elkington to take moulds of ancient objects in the museum and others around the world and reproduce electrotypes of them. These were a huge success and by 1920, the museum held over 1000 electrotypes. Schlick also shared this belief and was instrumental in procuring source material for Elkington. As one of the company’s earliest commissioned designers, Schlick provided direct source material, with his designs being patented by the firm and reproduced as early as 1845. During excavations at Pompeii, he had patented a form of pantograph to make reproductions of works discovered in the ruins. One such example is the famed inkwell / taperstick in the form of a roman lamp, based on Shlick’s sketches from Pompeii and given by Queen Victoria to Prince Albert on their wedding anniversary in 1850. Schlick’s relationship with Elkington’s was not without its problems and their relationship ended in 1851, possibly due to the fact that Elkington was mainly a commercial enterprise. The company continued to produce and sell Shlick’s designs, namely international events such as the Great Exhibition and the 1867 Paris Exposition. To buy an electroplate example of the ewer being sold would cost £9, 9s in 1854. An example in silver would have been much more expensive and of which there are scarcer examples. The lot above provides a detailed and varied insight not only into the commercial activities of the silver and plate industry at a key time in its history and how these objects were used as educational tools for the improvement of general public taste, but also the constant adaption of artists’ works across myriad mediums which produced a wholly different piece that simultaneously looks towards the past and future. Condition Report:There is a dent to the left of Winter (Hyems). The top band is slightly uneven below autumn probably caused by a fall. Some unevenness to the bottom band also.The foot appears to have solder repairs below the knop, the decoration is disrupted - the underside base may have been a later addition
![A brass basin, presumably emulating a Mamluk original from Egypt or Syria; the shoulder with a band of Thuluth [or other] ins](https://cdn.globalauctionplatform.com/bc73d2c4-f254-44a1-a840-b22c0157ebe9/50dbbc09-fde9-42e2-ab76-b23b015f2179/468x382.jpg)
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