Großer Kronleuchter, Sächsische Porzellan-Manufaktur zu Potschappel, Dresden, 20. Jh., Weißporzellan, Balusterkorpus mit 9 eingehangenen Leuchterarmen auf zwei Ebenen (6 gr. und 3 kl., geschwungene Arme), reliefiert, florales Deko mit Blattwerk und Rocaillen, sieben plastische Blumenbukett-Anhänger, eingesetzte Kerzentüllen, elektrifiziert, an einem Arm Rocaille unfachmännisch restauriert, partiell Blüten an den Anhängern bestoßen, Mittelteil des Korpus leicht gelbstichig, blaue PS-Marke über Dresden, D.: ca. 72 cm, Höhe: ca. 85 cm, Funktionsfähigkeit nicht überprüft, ohne Deckenaufhängung, Alters- und Gebrauchsspuren.
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Meissen Figur "Amor, die Nachtigallen fütternd", Entwurf Rudolf Hölbe 1882-85. Porzellan, farbig bemalt und gold staffiert. Rundsockel mit Baumstumpf. Darauf sitzend Amor mit seinem Pfeil vier junge Nachtigallen fütternd. Am Baumstamm hängend eine Leier mit der Aufschrift 'Philomele'. Unterglasurblaue Schwertermarke, 1. Wahl, rückseitig auf Sockel bez. "R. Hölbe Dresden". Höhe ca. 42 cm. Kopf einer Nachtigall fehlt.
Paul Kother1878 Leipzig - 1963 Weimar - Frühlingslandschaft - Öl/Lwd. 64 x 76,5 cm. Rückseitig bez.: Weimar / Paul Kother / 1878 - 1963. Auf dem Keilrahmen mit Etikett, dort werknummeriert.: Ö 135 sowie mit Stempel (Paul Kother). Rahmen (Schattenfuge). Leichter Einschnitt entlang des rechten Randes. Paul Kother war seit 1894 an der Hochschule für Grafik und Buchgewerbe in Leipzig. Zwei Jahre später besuchte er die Akademie der bildenden Künste in Dresden und war Schüler von Carl Bantzer. Zusammen mit dem Brücke-Künstler Otto Mueller teile er sich eine Atelierwohnung in München (1898-99). Eine enge Freundschaft verband die beiden Männer, denn Kother heiratete die Schwester Muellers. Durch Otto Mueller lernte er andere Künstler der "Brücke" und deren Umkreis kennen und stellte mit Ihnen aus. Kother lebte ab 1914 in Berlin und war auf Ausstellungen der "Sturm"-Galerie und der "Novembergruppe" vertreten. Arbeiten wurden auch 1915 in der Galerie Emil Richter ausgestellt.
Berthold Hellingrath1877 Elbing - 1954 - Graudenz (Grudziadz) - Öl/Karton. 17,5 x 25,5 cm (Sichtmaß). Rückseitig auf Etikett bez. und betit. Rahmen. - Lit.: TH.-B. XVI, S. 340. Hellingrath studierte in Dresden bei Bantzer und als Meisterschüler bei G. Kühl. Seit 1907 hatte er in eigenes Atelier in Dresden, hier Kontakt zu E. Heckel und M. Pechstein. Häufige Reisen an die Ostsee. 1928 wurde er Professor in Hannover. Durch Ausbombung wurden zahlreiche seiner Werke zerstört.
Kurt Sohns1907 Barsinghausen - 1990 Hannover - Sitzender Akt in einem Garten - Farbholzschnitt/Papier. 45 x 32,6 cm, 48 x 35 cm (Passepartoutausschnitt). Sign. und dat. r. u.: Sohns (19)51. Passepartout. Unter Glas gerahmt. Gebräunt. Leicht stockfleckig. - Lit.: Dehio, Jörg-Michael. Kurt Sohns. Werkverzeichnis der Gemälde. Hannover 1992. Kurt Sohns studierte an den Kunstgewerbeschulen in Hannover und Stuttgart. Er reiste 1929 nach Paris und in den Folgejahren nach Holland und Norwegen. Seit 1948 war er Professor in Hannover. Präsident der Niedersächsischen Sezession. Auf der 2. Deutschen Kunstausstellung in Dresden 1949 war er mit drei Arbeiten vertreten.
Kurt Sohns1907 Barsinghausen - 1990 Hannover - Sitzender Junge - Aquatintaradierung/Papier. H.C. 27,2 x 33,8 cm, 43 x 48 cm. Sign. r. u.: Sohns. Das Blatt liegt lose. Leicht gebräunt. Kurt Sohns studierte an den Kunstgewerbeschulen in Hannover und Stuttgart. Er reiste 1929 nach Paris und in den Folgejahren nach Holland und Norwegen. Seit 1948 war er Professor in Hannover. Präsident der Niedersächsischen Sezession. Auf der 2. Deutschen Kunstausstellung in Dresden 1949 war er mit drei Arbeiten vertreten.
Hans Hartung1904 Leipzig - 1989 Antibes - "H - 3 - 1973" - Farbholzschnitt/Bütten. H. C. 49,5 x 30,4 cm, 54,3 x 34,2 cm (Passepartoutausschnitt). Sign. r. u.: Hans Hartung. Bez. l. u.: H. C. Verso auf Galerieetikett (Galerie Depelmann, Langenhagen) bez. Passepartout. Voll ansichtig unter Glas gerahmt. - Provenienz: Galerie Depelmann, Langenhagen. - Lit.: WVZ "Hans Hartung. Werkverzeichnis der Graphik 1921-1965", Zusammengestellt von Rolf Schmücking, Verlag der Galerie Schmücking, Braunschweig 1965. H. Hartung studierte Philosophie und Kunstgeschichte an den Universitäten in Leipzig, Dresden und München. 1932 zieht er nach Paris und lernt Kandinsky, Mondrian, Miró und Calder kennen. 1945 nimmt er die französische Staatsbürgerschaft an. 1955-64 ist er auf der Documenta vertreten. Er gilt als der wichtigste Vertreter des europäischen Informell und erhielt zahlreiche internationale Auszeichnungen.
Seltene Astronomische Empire PendeluhrJohann Christian Friedrich Gutkaes/Dresden, um 1830. Mahagoni. 189 x 56 x 29. Pendel. Gewicht. Arabische u. römische Ziffern. Auf dem Ziffernblatt bez., Nr. 31. Sekundenzeiger. Werk u. Funktion ohne Gewähr. Rest.bed. - Lit.: Reinhard Meis, A. Lange u. Söhne, Feine Uhren aus Sachsen, S. 85, Nr. 191/192. - Dieses Objekt wurde mit dem Datenbestand des Art Loss Registers individuell abgeglichen und ist dort weder als gestohlen, noch als vermisst registriert. Zertifikat des Art Loss Registers aus dem Jahr 2023 liegt vor. Johann Christian Friedrich Gutkaes war ein bedeutender Uhrmacher. Er war Hofuhrmacher und lieferte eine Uhr fu�r die erste Semperoper in Dresden. Er gilt als Mitgru�nder der Uhrenfabrikation in Glashu�tte, die durch seine Lehrlinge Ferdinand Adolph Lange und Friedrich August Adolf Schneider voran getrieben wurde.
Glockenförmige Obertasse mit Volutenhenkel - Ansicht: DresdenKönigliche und Staatliche Porzellan Manufaktur, Meissen 1817-1824. Porzellan, weiß, glasiert. Polychrom bemalt über Motivdruck. Matter Goldrand. Unter der Glasur blaue Schwertermarke. Auf der Glasur in Grün: I und 50. 1. Wahl. In Schwarz bez.: Dresden. H. 9 cm. Schauseitig eine Ansicht von Dresden in Umdruck und Malerei. Vergleiche Bernardo Bellotto, genannt Canaletto - Dresden vom rechten Elbufer mit der Augustusbrücke (National Gallery of Ireland, Inv.-Nr. NGI.181).
IWAMOTO KONKAN: A FINE IWAMOTO SCHOOL SHIBUICHI KOZUKA WITH SHITENNOSchool of Iwamoto Konkan (1744-1801), signed Iwamoto KonkanJapan, Iwamoto school, late 18th to early 19th century, Edo period (1615-1868)The shibuichi kozuka very finely worked in iro-e takazogan of gold, silver, copper and shakudo depicting one of the Shitenno (Four Heavenly Kings) upon a cloud, holding a staff and raising a gold dharma wheel. Signed to the back IWAMOTO KONKAN.HEIGHT 9.8 cmWEIGHT 34 gCondition: Excellent condition, minor wear.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.Iwamoto Konkan is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 716-717 (H 03464.0).
A RARE WOOD BOKUTO ('DOCTOR'S SWORD') WITH BAKU HEADJapan, 18th-19th century, Edo period (1615-1868)The handle carved in the form of a baku head with large narrowed eyes with round pupils, a long sinuous snout with curling end, gently curved tusks, scrolling mane, and long elephant ears, pierced with two small circular apertures. LENGTH 45.1 cmCondition: Good condition with minor wear, small nicks, light surface scratches, minor chips, few tiny age cracks.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.During the Edo period, with the end of the civil rivalry between the Shogun and his enemies, carrying arms became obsolete in Japan. The wearing of small dummy swords by the Samurai was imitated by doctors, artists, and other professionals as a symbol of social and professional status. During the 18th and 19th centuries the bokuto lost its sword-like appearance and size and took on a more abstract and decorative form, continuing into the Meiji period.Museum comparison:Compare a related wood bokuto in the form of a baku by Naito Toyomasa, dated 1849 by inscription, in the British Museum, registration number 1985,1107.1.Auction comparison:Compare a related bokuto depicting a shachihoko at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 69 (sold for 2,528 EUR).
A SAISHIKI (PAINTED WOOD) NETSUKE OF THE SAMBIKI SARU (THREE WISE MONKEYS)Unsigned Japan, 19th centuryA compact and finely carved netsuke of the sambiki saru, also referred to as the three wise monkeys. The three primates are huddled together, each seated with crossed legs and each covering their own mouth, ears, or eyes. The details are well rendered and the netsuke is skillfully painted and attractively worn. The cord channel is drilled vertically through the center, the himotoshi to the base with an elaborate, partly gilt, mixed-metal chrysanthemum-form fitting akin to a tehen kanamono.LENGTH 3.8 cmCondition: Good condition with typical wear, few small chips.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.
A RARE NUT NETSUKE OF FIVE FROGS ON A LOTUS LEAF, ATTRIBUTED TO SEIMINAttributed to Seimin, unsignedJapan, Iwashiro province, second half of 19th centuryWell carved from a nut, most likely corozo, in openwork with five frogs seated in a circle on the edges of a lotus leaf and holding up a further furled lotus leaf between them, the underside carved with fine veins in relief and a broad stalk forming the himotoshi.LENGTH 3.5 cmCondition: Excellent condition with minor natural flaws to the material and few traces of use.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.
Porzellan Walzenkrug mit polychromen Szenen "Hirschhatz und Jäger" auf Schauseite und Korpus sowie radierten Gold Bouquets, Ränder mit reichen Goldborten in barocker Façon, Deckel mit vergoldetem Apfel Knauf und ziseliertem Messing Blattdrücker, blaue Bodenmarke "AR", Helena Wolfsohn, Dresden um 1880/1890, H. 18cm, Ränder und Gold berieben
Porzellan Walzenkrug mit polychromen Szenen "Jagdgesellschaft in grünen Röcken" auf Schauseite und Korpus, Ränder mit reichen Goldborten in barocker Façon, Deckel mit vergoldetem Apfel Knauf und ziseliertem Messing Blattdrücker, blaue Bodenmarke "AR", Helena Wolfsohn, Dresden um 1880/1890, H. 19,4cm, Blatt bestoßen, Gold berieben
Zinn Bergmannsleuchter mit massiver vollplastischer Bergmannsfigur mit Kerzentülle in der rechten und Steigeisen in der linken Hand, auf flachem Nodus über barockem Glockenfuß mit geraden Zügen, am Hut ligiertes Monogramm "FR", ohne Marken, Johann Gottfried Klemm (1714-1777) zugeschrieben, wohl Marienberg um 1750, H. 26cm, 1190g, sehr ähnliches Stück in der staatlichen Kunstsammlung Dresden: Vgl. https://skd-online-collection.skd.museum/Details/Index/792679, Altersspuren
Two Meissen figures of military officers 12cm high and a Dresden pot pourri vase with a hinged cover 19cm high (3)The first Meissen figure - has loss to one foot, finger, one had and a cuff. Loss to the strap holding the loop. Collection of dust throughout and markings to the oter surface with fading to the paint and gilt. The second Meissen figure has loss to hands, clothes, loops and feathers on the hat. the tree stump has been repair with discoloured glue marks. Fading to the gilt and paint throughout. The pourri vase with later hinge. The gilt and paint faded. The lid does not sit flush. Small markings and dirt staining the exterior.
A Sevres porcelain tea cup and saucer, painted with blue floral bouquets, gilt dentil rims, interlaced L mark in blue; a late 18th century Vienna coffee cup and stand, with intwined handle; a Dresden cup and saucer and a Herend vaseProvenance:Collection of Barry Lock (1934 - 2021) Morpeth Mansions, Westminster, SW1Fading to the gilt and decoration throughout. The scalloped teacup with possible restoration
A set of five early 20th century Dresden porcelain coffee cans and saucers (six cans and five saucers): the cans of tapering wrythen form and each gilded and decorated with floral sprays, Dresden marks to underside. Together with a pair early 19th century porcelain tea bowls and saucers decorated in the Willow pattern (one bowl with chips to rim) and one other tea bowl. (16)
Wehnert-Beckmann, Bertha -- Portraits of the Leipzig merchant Carl Lampe (1804-1889) and his wife. Early 1850s. 2 salt prints from wet-plate collodion negatives. Each circa 18,5 x 14,2 cm. Each mounted to board, both with photographer's paper label on mount verso, male portrait numbered and annotated in blue crayon on the verso.Bertha Beckmann was born on January 25, 1815 in Cottbus. From 1839 until 1843, she worked for a jeweller in Dresden. But already in 1824, she was working on the side with photography, making daguerreotypes. In 1843, she became a student of Wilhelm Horn, who had opened a studio in Prague in 1841. Her early work with Horn makes her the first woman photographer in the world. In 1845, she married the Leipzig photographer, Eduard Wehnert. He unfortunately died two years later. The two portraits offered here were probably made soon after her return to Leipzig, because since at this early date she was already advertising photographs based on the collodion process. In 1854, she took part in the German Industrial Exhibition in Munich and showed only salt paper prints. From this year on, all references to daguerreotypes were dropped from her studio label. She actively used her Leipzig studio until 1883. Bertha Wehnert-Beckmann died December 6, 1901 in Leipzig. The Leipzig merchant Carl Lampe was one of the city's wealthiest and most respected citizens in the 19th century. He was a city councilor in Leipzig from 1834-1838 and a member of the Masonic lodge Minerva. In 1835, he was a co-founder of the Leipzig-Dresden Railway Company and a member of the board of directors. Lampe was a founder and member of many more charitable organizations and associations, however, his greatest merit was in the cultural sector. In November 1836, fifteen Leipzig citizens met in his house and founded the later famous Leipzig Art Society. The purpose of this association was the later establishment of a municipal art museum. – Both photos in excellent condition with a rich violet-brown tone. Lit.: Jochen Voigt. A German Lady. Bertha Wehnert-Beckmann. Leben & Werk einer Fotografiepionierin, Chemnitz 2014, ill. pp. 352-354. In this extensive monograph, the portrait still appears on page 352 as "unknown". Unfortunately, Prof. Voigt was only able to identify Carl Lampe after his book had been printed.
National Socialist and Anti-Semitic Documents -- Proscription postcard showing Otto Dix' famous painting "Die Kriegskrüppel" (1920) as part of the "Entartete Kunst" (Degenerate Art) exhibition, Munich. 1937. Vintage gelatin silver photo postcard (postally used and written in ink on verso). 9 x 14 cm. "Die Kriegskrüppel" (The War Cripples) was one of the main exhibition works shown in Otto Burchard's Kunsthandlung during the first large Dada Fair in Berlin in 1920. The Städtische Galerie Dresden has an inventory card of the painting with a photo, inventory number, title and stamp "Entartete Kunst", dated 1919 with a price notation of 3000,- MK. The first exhibition of "degenerate art" took place in September 1933, in Dresden city hall. This painting was one of the most hated by the National Socialists and was likely destroyed after the last "Entartete Kunst" exhibiton in the late 1930s. – Edges/corners slightly bumped, a few light indentation marks, otherwise in very good condition.
AFTER POMPEO GIROLAMO BATONI THE PENITENT MARY MAGDALENEOil on canvas60 x 94cm (23½ x 37 in.)Provenance:Sale, Christie's South Kensington, July 7, 2015, lot 386A copy after Batoni's now-lost original which formerly hung in the Gemäldegalerie, Dresden (former inventory number, Inv Nr. 454). The original was destroyed in World War II, during three Allied bombing raids of Dresden between 13 and 14 February, 1945. By the end of the 18th century Batoni's original was widely celebrated by art critics and prompted numerous copies. Anton Graff alone is thought to have produced fourteen copies of the work (see E.P. Bowron and P.B. Kerber, Pompeo Batoni, London 2007, p. 136). It is possible that the present work is an example of Graff's many copies, while it does not appear to be one of the four copies listed by Berckenhagen (E. Berckenhagen, Anton Graff. Leben und Werk, Berlin 1967, cat. nos. 1746-1749, p. 411).Condition Report: The canvas hasn't been lined. Stretcher marks visible, together with craquelure throughout. Some surface dirt. Two professional patches on the reverse, corresponding with two areas of repair just above the Magdalen's feet, each approx. 5 cm. This can be seen in raking light. There is a more recent tear to the sitter's right shoulder (visible in image), which has been taped to the reverse but would benefit from professional attention. Inspection under UV reveals retouching predominantly isolated to the aforementioned areas of repair, with one or two scattered spots elsewhere.Condition Report Disclaimer
AFTER JAN DAVIDSZ. DE HEEM A ROEMER WITH A GARLAND OF FLOWERS AND FRUIT ON A LEDGE Oil on canvas Indistinctly signed and inscribed (lower right) 111 x 79cm (43½ x 31 in.) Provenance: Private collection, Blaisdon Hall, Gloucestershire After the picture by Jan Davidsz. de Heem in the collection of the Gemäldegalerie Alte Meister in Dresden (No. 1268). Condition Report: The canvas appears to have been lined. Light craquelure throughout. Inspection under UV reveals light scattered retouching and infilling throughout, as well as an uneven green cloudy varnish. The canvas is a little loose. Overall the work appears to be in good restored condition. Condition Report Disclaimer
* German playing cards. Non-standard pack, Leipzig: Industrie Comptoir, circa 1810, 16 (of 52) stencil coloured engraved playing cards (French suits), comprising 12 court cards and 4 aces only, single-figured courts with French Paris-pattern type names, each court except queen of diamonds with maker's details, soiled with some edge wear, versos blue diamonds and dots, each card 88 x 58 mm, together with: Non-standard pack, Dresden: F.A. Böhme, circa 1850, a complete deck of 52 stencil coloured engraved playing cards (French suits), double-ended colourful medieval courts, jack of spades with maker's details, ace of hearts with tax stamp, dusty, pip cards with faint trace of pencilled number to one corner, ace of clubs with crease, versos red dotted lines, each card 95 x 60 mm, plus: XP1/XP7 type pattern, Dresden: Sommer & Seupke, circa 1860, a complete deck of 52 stencil coloured engraved playing cards (French suits), jack of spades with maker's details, ace of hearts with tax stamp, 10 of hearts lightly spotted, few pip cards somewhat dusty, versos blue dots and wiggly dotted lines, each card 90 x 59 mm, with two other complete 52 card decks by unknown manufacturers, both French suits: non-standard design circa 1855, double-ended courts, no indices, spotted with few marks, versos red dotted hexagons; XP1 pattern circa 1860, no indices, versos blue dotted flowers and wiggly dotted lines, 16 cards from each pack mounted with photo corners onto 5 display boards, encaspulated in clear plastic (none examined out of boards), the remainder contained in plastic bags, the boards 55 x 40 cm and similarQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.First item: Schreiber, German 235. Rare: The British Museum pack is the only other example we have found. It has been suggested that these were produced after the French revolution as a possible design for a new 'official' Paris pattern.
A DRESDEN PORCELAIN LETTER RACK AND MATCHING ROCKER BLOTTER, 20th century, painted on-glaze en camieau puce with swags of roses within gilt highlighted scroll moulded rims, blotter with blue printed mark, 5 1/2" high (Est. plus 24% premium inc. VAT)No cracks or restoration, rack lacks top left "ear" to fleur de lys
An Indian portrait miniature, circa 1860, depicting Mumtaz Mahal, later mounted by Marcus & Co., the glazed oval portrait, watercolour on ivory, depicting the Empress in half profile, adorned in fine clothes and elaborate jewels, set against a red draped curtain, the portrait later gold mounted and within a frame of scrolling decoration highlighted in white enamel, with half pearl detail, the reverse stamped ‘MARCUS & CO.’, on hinged pendant fitting, length (excluding pendant fitting) 6cm. £1,200-£1,500 Please refer to Jewellery Department for Ivory Licence No. --- MumtÄz Mahal 1593-1631) was born Arjumand Banu Begum, in Agra, Northern India, the daughter of a noble Persian family, her father Abu’l-Hasan Asaf Kahan held high office in the Mughal Empire, and her aunt Empress Nur JahÄn, was the chief wife of Emperor Jahangir. MumtÄz was betrothed at the age of 15 to Shah JahÄn, the young Prince Khurram, becoming his second wife five years later in 1612. They had a loving marriage, with Mumtaz being the beloved favourite of his three wives. She was his constant companion and confidant. She was reputed to be talented and cultured, well versed in Arabic and Persian languages, and of a modest disposition. Contemporary poets extolled her beauty, grace and compassion. Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief Empress with the title of Padshah Begum '(First Lady or Queen of the Great)’, also bestowing upon her the exceptional right to the imperial seal Muhr Uzaz. In their 19 years of marriage, they had 14 children together. MumtÄz tragically died during the birth of her 14th child in 1631. After her death the Emperor was reportedly inconsolable, going into secluded mourning for a year. Chroniclers recorded that he did not wear bright clothing, jewellery or perfume for more than two years. Very slowly he returned to public life, his hair now white, his back bent from grief. In the same year as MumtÄz’s death, he commissioned the building of the great Taj Mahal, as a magnificent mausoleum to his wife, a mission of love that would take 17 years to build and most of the Emperor’s wealth. The English poet Sir Edwin Arnold described the Taj Mahal as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones”. * * * As with other Mughal royal ladies, no contemporary likenesses are known but imagined portraits were created from the 19th century onwards. See: Miniature painting, watercolour on ivory, titled Portrait of a lady, Delhi, Ca 1860. Bibliographic Reference: Mildred Archer: Company Paintings Indian Paintings of the British period, Victoria and Albert Museum, Indian Series, Maplin Publishing 1992, p 221. * * * The New York jewellers Marcus & Co. were founded in 1892, famous for their enamel work, skills originating from their founder Hermann Marcus from Dresden, who had worked with Court Jewellers Ellemeyers prior to emigrating to New York in the 1850s. Today Marcus & Co. are considered one of the outstanding early 20th century American jewellers. Condition Report Some areas of wear and spotting to the white enamel border. Scratched retailer’s stock number to the reverse, below pin hinge. Overall very good condition. Gross weight 31.1gm.
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