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Lot 483
Full title: A large polychromed limestone figure of a Madonna with child, Champagne or Lorraine province, France, 2nd half 14th C.Description: H.: 114 cmÊ Ref.: - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930. Dr. Otto Schmit-Greifswald mentions: 'Unter den besonders zahlreich und gut vertretenen Madonnen des 14. Jahrhunderts ist nicht eine einzige, die franzosisch im Sinne von Parisisch wirkt. Die schone Sitzfigur Nr. 12 zeigt noch am stärksten 'westliche' Haltung, sie mag von der klassischen Kunst der benachbarten Champagne berührt sein. Das gleiche gilt wohl von der Statue Nr. 16, das besonders edle Stück stammt aus Nancy und ist durch vorzügliche Erhaltung der alten Bemalung und eines Teils der Bergkristall-Einlagen im Kleid ausgezeichnet.' (Translates as: 'Among the many and well-preserved Madonnas from the 14th C., there is not a single one that seems French in the Parisian sense. The beautiful sitting figure no. 12 shows the strongest 'western' attitude, it may be influenced by the classical art of the neighboring Champagne. The same is probably true of statue no. 16, the particularly noble piece comes from Nancy and is distinguished by its excellent preservation of the old painting and part of the rock crystal inlays in the dress. ' Ê Provenance:- The city of Nancy.- Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. See added scans from the original catalogue, including a short description by Dr. Otto Schmit-Greifswald. (link available on our website)- Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. (link available on our website)- A Dutch private collection.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 459
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 115
GRAND STATUETTE DE ISIS LACTANS, BRONZE, ÉGYPTE, BASSE EPOQUE, CIRCA 664-332 AV. J.-C. A LARGE EGYPTIAN BRONZE FIGURE OF ISIS AND HORUS, LATE PERIOD, CIRCA 664-332 B.C., solid cast, the seated goddess wearing a tripartite wig with vulture headdress surmounted by a crown of uraei, and a close-fitting dress, broad collar and armlets, depicted nursing the infant Horus, seated on her lap, largely missing, 35cm high, 9cm wide, 10.5cm deepFootnotes:Provenance:Anonymous sale; Tajan, Paris, 8 February 2008, lot 167.Isis and her husband Osiris were two of the most popular deities worshiped in Egypt. As a consequence of being so popular, she took on attributes from other lesser goddesses, one of which can be seen in this statue, where Isis wears the sun crown typically associated with the goddess Hathor. She was appropriated by the Greeks when they came to Egypt who disseminated her cult throughout the Mediterranean. Isis nursing the infant Horus was a common Late Period depiction of the goddess. For more examples of the type see the Louvre, Paris, Numéro principal: AF 240; E 4306 and E 4306.For further information on this lot please visit Bonhams.com
Lot 289
Chinese double-sided hand painted fan with a gilded ivory monture decorated with tropical birds and plants. One side of the fan shows a landscape with trees, birds and flowers in front of a wooded landscape with a river running through the centre. The reverse depicts three gentlemen in traditional dress by the bank of a river at night. Both sides have gold paint detailing throughout mimicking leaves or cherry blossom blowing in the wind. 27cm high.
Lot 325
Four Chinese pith paintings depicting a family comprised of a father, mother, son & daughter in traditional dress standing on patterned carpets, framed and glazed, 16.5cm x 10.8cm (6.5in x 4in). Included is one other hand watercoloured lithograph of a girl in oriental dress in an oval glazed frame 24cm x 20cm (9.5in x 8in)Qty: 5Condition report: Some foxing and discolouration to all images. full-width horizontal tear across the chin of the mother figure. Tear to the border of the father and daughter.
Lot 95
ENGLISH SCHOOL, 19TH CENTURY A portrait of Lady Parsons, the sitter depicted half-length seated in an interior, wearing a lace bonnet and collar over black mourning dress, an ivory fan in her left hand, c. 1850, oil on canvas, 90cm x 70cmLady Parsons (nee Charlotte Worgan, 1761-1853) was the wife of Sir William Parsons, composer and musician and Master of the King's Musick between 1786-1817. Provenance: The Estate of the Late Rufus Eyre
Lot 14
A 9CT GOLD SIGNET RING Faded hallmark and warped shank, ring size N 1/2 , weight 2grams, together with a white metal pearl dress ring stamped KT4, ring size K 1/2 , weight 3grams Condition Report : pearl may be simulated Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 16
A SMALL OLD CUT DIAMOND DRESS RING Together with a yellow metal intaglio ring, both as found together with a collection of costume jewellery to include a small white sapphire gold tone necklace Condition Report : one tiny diamond missing from ring, thin yellow metal shank stamped 'Plat', ring size M 1/2, weight 1 gram, the yellow metal intaglio ring had a broken shank, tests as at least 9CT gold, weight 3grams Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 47
A COLLECTION OF JEWELLERY To include a marked 14KT yellow and white metal sword and scabbard pendant piece measuring approx. 4 cm long and weighing 3.5 grams, a 9CT gold open work dress ring, size R ½ , weight 2.3 grams, a yellow metal garnet set cross pendant piece and a gilt mounted 3D pendant piece
Lot 1445
A pair of Meissen figural candlesticks 19th century, modelled with a parent and child beneath a tree, one with a boy collecting eggs from a bird's nest and handing them to his mother, the other with a man holding a nest and passing eggs to a young girl who collects them in her dress, each surmounted with two sconces painted with flowers, blue crossed swords marks, incised 1160, some chipping to the leaves, 22.5cm high. (2)
Lot 534
Two old porcelain dolls and another with a bottle as its body. ****Condition report**** Black dress doll has damage to neck & is made of celluloid/plastic with glass eyes & is a tea cosy type thing or for bottles.Possibly late Victorian early 20th century.Other 2 are bisque head, both modern & in good condition
Lot 193
A collection of vintage mid 20th century costume jewellery to include a quantity of brooches such as a Danish pewter Logeskov brooch, a stamped 925 silver brooch set with marcasite's, a 1940s Lucite rose brooch and a stamped 925 silver roundel brooch set with abalone. The brooches accompanied by a Scottish Celtic pendant set with semi precious stone cabochons, a 1930s 20 lire coin within a pendant mount, a carved ivory elephant pendant, a Siamese Niello silver hair clip, two yellow metal bangles, two ladies dress rings and more. Head brooch measures 6cm. Bangles measures 19.5cm and 18.5 circumference.
Lot 234
Two Butler & Wilson crystal set dress necklaces to include a necklace having a yellow metal double chain with having a suspended bow brooch below (chain measures 72cm, pendant measures 7cm) together with a yellow metal flat linked chain having a sun face design pendant suspended below (chain measures 74cm, pendant measures 7cm). Both in original boxes.
Lot 167
English School 18th century portrait of a woman, half length wearing a white silk dress laced up the front and a red shawl on her shoulder, oil on canvas, 76cm x 63.5cm, in a gilt frame. Condition: lined, repair to the painting to just below the flowers on her dress, some in painting by her ear and other places
Lot 170
A FRENCH PORCELAIN INSET ORMOLU FIGURAL MANTEL CLOCKThe movement by Japy Freres et Cie, Paris, late 19th centuryThe eight-day bell striking movement with anchor escapement regulated by disc-bob pendulum with Brocot type regulation to suspension, the backplate stamped with JAPY FRERES & CIE, G'DE MED D'HONN, 1855 and numbers 603, 8 1 to backplate, the porcelain dial polychrome painted with a romantic landscape to centre within pink ground Roman numeral cartouche chapter ring with gilt scroll painted decoration, with brass spade hands within bead cast bezel, the case with floral garland decorated pink porcelain bodied urn surmount adorned with floral finial and rams head masks issuing rose bloom swags to the break-arch top flanked by male and female putti with ribbon-tied crest over the dial between, the fascia with inset apron panel painted with a courting couple in 18th century dress flanked by conforming curved panels decorated with tied floral sprays and birds, the sides with generous acanthus decorated 'S' scrolls, on shaped gadroon-moulded skier base applied with a further ornithological painted panel to apron flanked by laurel trails over toupe feet; with original moulded giltwood stand,The clock 48cm (19ins) high, 36cm (14ins) wide, 15cm (6ins) deep. Provenance: The Selwyn Demmy Collection.Condition Report: The movement is in working condition and appears free from visible evidence of alteration or significant replacements however as the mechanism is a little dirty/neglected a gentle clean/service is advised before putting into service. The dial is in fine condition with no visible damage/repair or wear. The case is in good original condition with minimal wear/discolouration to the strong original gilding. The giltwood stand has some rubbing to the gilding, the fabric covering is worn/faded, otherwise faults limited to minor bumps, scuffs and other blemishes commensurate with age and use.Clock has pendulum but no winding key. Condition Report Disclaimer
Lot 478
Volunteer Training Corps 1915 VTC General Pattern cap badge Good die-stamped bronze crossed rifles superimposed on crowned laurel sprays; VTC over 1915 to voided centre. J.R. Gaunt, London tablet to reverse. . Loops . VGC This is the actual piece photographed as No. 1596 in Head-dress Badges of the British Army.
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