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Lot 174
Two Sampson Paris figures bearing faux Chelsea marks, a Sitzendorf figure of a flower seller, a further continental figure group, a pair of reproduction relief plaques, and three boxes of ceramics and silver plate, including: an 18th century pickle dish, 20th century figures, reproduction creamware mug, blue and white ceramics, plated tea urn, bottle coasters, etc (one tray and four boxes)
Lot 178
A Royal Copenhagen Bisque Porcelain Self-Portrait Figure, 2nd half 19th century, after the plaster original by Bertel Thorvaldsen, the standing sculptor wearing loose robes leaning on a figure of Hope on a rectangular plinth, painted mark in blue and impressed Eneret, 34.5cm high This self-portrait by Bertel Thorvaldsen was created as a plaster model in 1839 and a marble version produced posthumously by Herman Wilhelm Bissen in 1859. A bronze cast was erected in Central Park, New York City, in 1894Loss to the end of the left foot of the statuette, also object in her right hand and left finger, slight to the main figures hair, some minor staining throughout
Lot 15
Spanish School. Zamora. Gil de Encimas Circle. First Third of the 16th century Óleo sobre tabla. 118 x 84 cm."The vocation of Saint Peter"Oil on panel. 118 x 84 cm.Como indica la Dra. Fiz, nuestra pintura, que considera de calidad, pertenecería a un autor de la zona de Zamora, cercana a Gil de Encinas (Antiguo maestro del Trascoro de la Catedral) y tiene influencia de Juan de Flandes.Como comparativa estilística nos indica la Dra. Fiz las siguientes obras:“La primera, del retablo de San Adrián del Valle en León, obra de talle, por tanto, de inferior calidad a nuestra pintura, pero aun así las coincidencias son notables. Dos tablas atribuidas a Juan Tejerina, no documentadas, porque no hay documentación que avale la relación de ninguna pintura con Juan de Tejerina, al contrario de lo que ocurre con Gil de Encinas, documentado en el retablo de Horcajo de la Torre y que sirve de base a las posteriores atribuciones como esta".This interesting renaissance panel depicts an episode from the vocation of Saint Paul and Saint Andrew, which Saint Matthew narrates in the following words: “As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him.” (Matthew 4, 18-20). The panel is clearly divided into two large spaces: the first with the monumental effigies of the characters, and the background which has a spectacular landscape which is deliciously conceived through bluish tones. In the foreground, the monumental figures of Christ and Saint Peter can be seen. Christ is on the edge of the earth, making a gesture with his right hand to attract the attention of Saint Peter, who solicitously reciprocates by placing his hands in a prayerful attitude. The Christ figure has an extremely elongated canon, wearing a purple tunic and a reddish cloak that he gathers with his other hand at the height of his abdomen, creating a knot with numerous folds. Already in the water, on a curious wooden boat with oars which is surrounded by fish and ducks, since the painter stands out for his wealth of anecdotal details, are the brothers Saint Andrew and Saint Paul who are fishing in the Sea of Galilee, clearly identifiable by their beards and attitudes. Saint Andrew has been characterised with a pointed beard, a concentrated face and continuing with his task of catching fish with the net, fish that the painter has managed to individualize to break the monotony. Saint Andrew has a rounded beard and his baldness is only broken by a small circular lock on his forehead. Seeing Christ, he has left his task and has turned towards him, joining his hands in a devout attitude, receiving the call that Christ makes very subtly with his right hand. The three characters are drawn with accurate and tight brushstrokes that capture the greatest number of details on the characters’ heads, but not so much in the clothes that are somewhat more sketched and crossed by folds of broad curvilinear lines. The features are small, the countenances pensive, and the hands are large. The background of the painting, to which the painter has given great importance, is made up of a splendid misty, bluish mountainous landscape, flanked by large clumps of trees painted with meticulous care. Above the hills is a clear blue sky with threads of cloud at the upper end. The colour is vivid and full of nuances, although the opposite can be observed in Christ and his disciples. There is a striking detail in the grove located on the left side where the anonymous painter has introduced an anecdotal scene which is not at all contemporary to the main event that is narrated on the panel. It seems to be Judas Iscariot hanging from a tree after having betrayed Jesus Christ for thirty pieces of silver. The fact that the panel presents us with such unusual iconography leads us to think that it could have formed part of an altarpiece dedicated to the first Pope in which the set would have illustrated the most relevant episodes of his hagiography. We thank Dr. Irune Fiz Fuertes for the identification and help in cataloguing our panel and Javier Baladrón, PhD in Art History, for the description of this work.
Lot 3
Gilded copper cross with figures and enamels affixed to it. Spain. Late Gothic. Circa 1500.61 x 39 x 10 cm.Interesting cross which has the figures of the Madonna and Child affixed to the front centre of it and the symbols of Tetramorphs affixed to each end. The knot is beautifully ornamented with cabochons decorated with enamels of Franciscan saints in profile. It is probably from Daroca, since this is not a French piece, nor are the enamels from Limoges.
Lot 109
A Meissen later-decorated figure of a gentleman with a hound, the porcelain circa 1760Modelled by J.F. Eberlein with the gentleman seated on scrollwork edged in gilding, wearing an elegant puce patterned jacket with green cuffs, a floral gilt waistcoat and blue breeches, a hound jumping up to his raised hand, the base moulded with gilt-edged scrollwork and applied with leaves and flowers, 18.4cm high, crossed swords mark in underglaze-blue to the rear of the base (restoration to cuff and scrollwork tip)Footnotes:Another example is illustrated in Y. Adams, Meissen Portrait Figures (1987), p.23.For further information on this lot please visit Bonhams.com
Lot 11
A Castelli maiolica armorial small dish, first half 18th centuryDecorated with a coat of arms and the initials A M, above a landscape scene with figures and a building at a lake, the rim with a band of foliate scrollwork, 24.3cm diam. (typical chips to rim)Footnotes:Two similar dishes were sold at Christie's Paris, 16 November 2008, lot 27, where the coat of arms was attributed to the Durini family. Unfortunately, only certain aspects correspond and it is more likely the coat of arms belongs to another family.For further information on this lot please visit Bonhams.com
Lot 113
Two Marcolini Meissen figures of children, late 18th centuryThe boy carrying a basket of grapes on a stick over his right shoulder and holding another in the left hand, wearing a pink tricorn, striped jacket and purple breeches, the girl holding a flower basket, wearing a broad-rimmed hat, yellow bodice, white apron and striped and floral skirt, the bases moulded with gilt-edged scrollwork, 13.5cm and 13.7cm high, crossed swords marks and asterisk to rear of base, the girl with impressed 8 to rear of base (2)For further information on this lot please visit Bonhams.com
Lot 118
A Höchst Commedia dell'Arte figure of Pantalone, circa 1755Modelled by J.C.L. von Lücke, wearing a fur-lined red hat, black long coat, red shirt and breeches with a dagger to his left side, on a marbled pedestal with tree-stump support at the rear, 23.3cm high, (minor crazing to glaze on legs)Footnotes:Provenance: With Guido Rossi, Milan (paper label to base);European private collection since the 1960sFor a discussion of the model, the attribution to the modeller Johann Christoph Ludwig von Lücke, who was also active at the Meissen and Vienna factories, see Horst Reber, Die Commedia dell'Arte an der Höchster Porzellanmanufaktur, in R. Jansen (ed.), Commedia dell'Arte, Fest der Komödianten (pp. 138-144 in the German language volume). The author suggests (p. 41) that the Höchst Italian Comedy figures of this series, and a series of Würzburg figures also on pedestals, were influenced by the statues that stood in the garden of the Schönborn Palais in Vienna through engravings of 1727 by Salomon Kleiner.The figure of Pantalone is probably based on the engraving of 'Pantalon', published by Johann Jacob Wolrab, Nuremberg, circa 1720.Another example of this figure, together with the female companion figure, was sold in these Rooms, 18 June 2014, lot 157.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 119
A Nymphenburg white figure of Anselmo, circa 1760Modelled by F.A. Bustelli, standing leaning on a stick, hunched forward slightly, bringing his left forefinger to his mouth in a silencing motion, wearing a hat, three-quarter length cape, lace collar, jacket and breeches, scroll-moulded base, 17.5cm high, impressed shield mark on top of base (finger and stick restored, section of base next to foot restuck)Footnotes:Provenance: European Private Collection since circa 1980Bustelli created 16 paired figures from the Commedia dell'Arte which appear in the factory's Inventory of Moulds in 1760. The source for this figure is a copperplate engraving by Martin Engelbrecht (dated to the mid 18th century, titled Sieur Geronte) a copy of which is known to have been in Bustelli's possession. Anselmo is depicted as an older man, soberly dressed, wearing a cape and holding his hat and cane. Bustelli animated his character and paired him with Corinne, the lady's maid who stands reading or singing aloud. His gesture to her hints at intrigue and may be to warn her to whisper or stop making a noise. Not much is known about the role of Anselmo, but some clues can be found in the dress and name of the figure as published by Engelbrecht. The clerical style of his hat and dress have led him to be named as the Abbé, or, as in the case of the Engelbrecht print 'Sieur [Seigneur] Géronte'. Géronte appears in Molière's Les Fourberies de Scapin or Scapin the Schemer, a three-act comedy of intrique, first staged on 24 May 1671 in the theatre of the Palais Royal in Paris. In the play, Scapino taunts Géronte and asks 'Quoi! jé n'aurai pas l'abantage dé tuer cé Géronte? et quelqu'un, par charité, né m'enseignera pas où il est? [What! I won't have the privilege of killing that Geronte? and someone, out of pity, will not tell me where he is?], and an exasperated Géronte answers: Ah! Scapin, je n'en puis plus. [Ah! Scapin, I can't take it anymore.]Two other examples of this rare model, one decorated in black enamel and another in the white are in the Bayerisches Nationalmuseum , Munich, and are illustrated by Katharina Hantschmann, Alfred Ziffer, Franz Anton Bustelli, Nymphenburger Porzellanfiguren des Rokoko, Exhibition Catalogue, 24 November 2004 - 13 March 2005 Munich, 2004, pp. 306 and 307. For another example of the figure see R. Rückert, Bustelli Munich, 1963, pl. 40. Another Anselmo is in the collection of the Victoria and Albert Museum, London.The most recent example of this rare figure to have been sold at auction appeared at Christie's London, 6 November 2008, lot 290, from a South German private collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 126
An extremely rare Italian porcelain figure of a Magus, probably Rome, factory of Filippo Cuccumos, circa 1770Possibly depicting Caspar, as a bearded, kneeling man offering a covered goblet in his right hand, wearing a cloak hung with tassels and a sash tied around the waist, the edge of his cloak, the sash and the goblet embellished in gilding, likely a fragment, as the group is placed on a crudely finished base made for slotting into another segment, perhaps originally forming part of a larger group of the Adoration of the Magi, 10.7cm high (right hand restuck at the wrist, chips)Footnotes:Provenance:European Private Collection since the 1980sFor further reading on Cuccumos porcelain, see F. Sacchi, Filippo Cuccumos capitano romano ceramista, in La ceramica n. 10 (1964) and G. Santuccio, Filippo Cuccumos e la manifattura di porcellane in Via Panisperna a Roma, in Bollettino d'arte, Rome (1988). A discussion on a Cuccumos figure of Saint Bartholomew is published in G. Santuccio, Die Porzellan Manufaktur Cuccomos in Rom, in U. Pietsch and T. Witting, Zauber der Zerbrechlichkeit. Meisterwerke Europäischer Porzellankunst (2010), pp. 259-263.Only very few signed or marked objects by this very elusive factory, founded by Filippo Coccumos in 1761, are recorded today, all of them of religious subjects. The beforementioned signed and dated figure of Saint Bartholomew that was previously in a private collection in Rome, a signed and dated figure of Saint Anthony in the collection of the Castello Sforzesco in Milan and a marked and dated figure of Saint Francis and another unmarked Saint Francis of a very similar model, in the Collezione Cagnola in Villa Cagnola in Varese. Other Cuccomos figures that have come to the market include a pair of birds (Christie's London, 14 November 2013, lot 241) which are marked with the crowned double 'C'. The history of the Cuccumos factory was published in some detail by Lucia Arbace, Dizionario Biografico degli Italiani, Vol 31 (1985), an article which can now be found online on the website of the Istituto Treccani. Filippo Cuccumos or Coccumos was granted the right to produce porcelain in Rome for a duration of 40 years by Pope Clement XIII. In exchange for the priviledge, Cuccumos what asked to yearly execute a porcelain figure of a Saint on the feast days of San Pietro and Paolo (29 June). The factory was based in the Monastery of San Lorenzo on the Via Panisperna in Rome. The success was shortlived, and in 1764 Cuccomos applied for a loan from the Vatican. There is no more mention of the factory in the archives of the Vatican until 1781, when the factory was sold by Filippo Cuccomos to Lanfranco Bosio and Filippo Bianchini. The only known archiva reference outside the above mentioned archive is a contemporary source, a record given by the Abbot Grisellini which states that tutto andò in fumo, perché l'imprenditore allo spirito di somma loquacityà ed impostura non aggiungeva delle cognizioni in tal materia. [all went up in smoke because the owner had good spirit and intelligence, but no experience in the material]. A few years after Bosio and Bianchini had bought the factory, it closed permanently. Pope Pius VI withdrew the exclusive privilege of porcelain making from them and a legal situation ensued, in which Bosio and Bianchini blamed Coccumos, who they maintained had sold them faulty materials. The closed factory was investigated (among the recorded findings were six furnaces), and in 1792 it was ruled that Coccumos was not guilty.In a footnote to his discussion of the Volpato factory, Charles Drury Edward Fortnum (1820-1899) notes that it is possible that further researches might make known the former existence of some, perhaps private, furnaces for he production of porcelain at Rome at an earlier period in the century. A short time before leaving the city, in the Spring of 1870, the writer observed in the hands of Sign. Corvisieri, the dealer, an extremely well-modelled group of the 'Deposition' executed in a hard artificial white porcelain of a grey shade, very similar to that of Doccia, on which, scratched in the clay, was ROMA.MAG.1769 above the monogram of two interlaced letters C, surmounted by a crown, a mark similar to that incised on the porcelain of Buen Retiro, in Spain. (in: C. Drury E. Fortnum A Descriptive Catalogue of the Maiolica in the South Kensington Museum (1873), p. 463)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 130
A Doccia large gilt-metal-mounted oval snuff box, circa 1745Painted with classical figures in landscapes, the cover depicting a woman seated by an urn with fruit and flowers within a purple scrollwork cartouche edged with iron-red and gilt foliage in a moulded quatrelobe panel edged in iron-red, the front with a gilt-edged panel depicting a woman, possibly Diana, with two hounds, the reverse with a rectangular panel painted with an iron-red monochrome scene of a figure in a river landscape, within gilt and iron-red borders flanked by gilt scrolls, the moulded base with a gilt-edged purple landscape scene, the sides with iron-red scrollwork motifs, the inside cover with a quatrelobe panel depicting a lady holding a bird and basket of fruit within a gilt-edged frame with iron-red stripes, 10.1cm across; 5.5cm highFootnotes:Provenance:Aldo Pironti, Benevento (paper label no. 127 to interior);Collezione R.B., Florence (by 1976);European Private Collection since the 1980sLiterature:A. Mottola Molfino, L'Arte della Porcellana in Italia Il Veneto e la Toscana (1976), no. 412This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 14
A Dutch Delft plaque, circa 1740-60Decorated with a central shaped oval cartouche depicting a chinoiserie landscape scene of a figure on horseback beside two further figures and a packhorse, a lion in front of them, surrounded by a border with four elongated panels enclosing flowering branches flanked by curling leaves, the raised rim with a further border, 38.4cm high, 33.8cm wide (some chips to underside edge)For further information on this lot please visit Bonhams.com
Lot 169
A Saint-Cloud silver-gilt mounted snuff box in the shape of a dog, circa 1740Decorated in polychrome colours and heightened in gilding with chinoiserie figures, insects and foliage, the mount with a Paris discharge mark for 1738-44, 7cm long, 5cm high (fine haircrack to the back edge)Footnotes:A similar model with moulded prunus decoration is illustrated in B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766 (1999), no. 199.For further information on this lot please visit Bonhams.com
Lot 170
A pair of Sèvres biscuit figures of 'La Petite Fille au Tablier' and 'Le Porteur d'Oiseaux', circa 1770Modelled by Pierre Blondeau after François Boucher, she holding fruit in her apron and standing next to a tree stump, he reaching out with a bird in each hand and a basket of grapes next to his feet, 21cm and 20.3cm high, incised III to him (his right arm restuck) (2)Footnotes:Another example of 'La Petite Fille au Tablier', also known as 'La Jardinière', is published in the catalogue: T. Préaud/G. Scherf, La Manufacture des Lumières: La sculpture à Sèvres de Louis XV à la Révolution (2015), no. 13This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 183
A Sèvres hard-paste dessert plate from the 'Service fond bleu figures en brun', circa 1808Painted by Pierre-André Le Guay, with two classical figures embracing painted in brown and heightened in gilding in imitation of bronze, on a faux agate ground, the blue-ground rim with a formal border of gilt anthemia and lotus, 23.2cm diam., incised marks (restored section to rim)Footnotes:See Camille Leprince, Napoléon Ier & la Manufacture de Sèvres (2016), no. 114, and Aileen Dawson, French Porcelain in the British Museum (1994), pp. 215-217, no. 179, for a full discussion of the service. Another plate is in the British Museum, London, illustrated in Aileen Dawson (1994), no. 179. Other plates from the service are in the Metropolitan Museum, New York (Accession no. 1987.224) and The Art Institute of Chicago (Gift of Alfred Duane Pell, 1904.225).The service first appears in the sale records in 1806 under the name 'service Leguay', after the artist Le Guay, who was paid 19 francs and 40 centimes for 'figures en brun rehaussés d'or' on six plates from August-September 1806. It arrived at the factory saleroom on 8 March 1808, where it was entered into the sale register as 'Service de dessert sur fond beau bleu figures en brun rehaussées en or sur fond caillouté'. The figures have been identified as having been after engravings by Alexandre-Evariste Fragonard (1780-1850), who later worked at the factory between 1812 and 1835. It is not known for whom the service was originally intended and it remained on the factory shelves until the auction between December 1826 and January 1827.A plate from the service sold in these rooms, 27 October 2021, lot 21. Another sold at Christie's New York, 14 June 2017, lot 175, and four further plates were sold at Sotheby's London, 22 January 2020, lot 260.For further information on this lot please visit Bonhams.com
Lot 196
A Meissen group of crossbills, second half 19th centuryModelled by August Ringler with two crossbills perched on a pine tree stump, a pinecone hanging from a branch, on a rockwork base, the tree stump and base heightened with gilt dashes, 28cm high, crossed swords mark in blue, incised model number F 175 and incised /m(?) (chips and losses to tree stump)Footnotes:Modelled by Ringler in 1863; see S. & T. Bergmann, The Art of Meissen Figures (2010), no. 57.For further information on this lot please visit Bonhams.com
Lot 202
Two Meissen figures of ladies, together with a Meissen figure of a cavalier at a writing desk, late 19th centuryThe ladies after the 18th century models by M.V. Acier, one seated showing the dog on her lap its reflection in a mirror, the other standing at a table playing cards, the cavalier after the 18th century model by J.J. Kaendler, seated at a desk and writing a letter, the tallest: 16.2cm high, crossed swords marks in underglaze-blue, incised model numbers F.50, F.64 and 179, impressed numerals, 37. in puce to lady with dog (minor restoration and chips) (3)For further information on this lot please visit Bonhams.com
Lot 205
A Meissen group with five children, late 19th centuryAfter the 18th century model, in the round with a girl holding flowers in the centre, four other children surrounding her engaged at various pursuits, on a rockwork base edged with a gilt moulded classical frieze, 18.5cm high, crossed swords mark in underglaze-blue, incised model number G.13, impressed numeral (small chips and losses)Footnotes:Another example is illustrated in in S. & T. Bergmann, Meissen Figures - Model numbers A1 - Z99 (2014), no. 81.For further information on this lot please visit Bonhams.com
Lot 206
A Meissen group of 'Grandmother's Birthday', late 19th centuryModelled by E.A. Leuteritz, with a lady seated in an armchair, wearing a white bonnet, pink bodice and overskirt, white apron and floral striped skirt, a letter in her right hand and leaning on a small table on her right, a young girl standing next to her handing her a posy of flowers, a flower pot and cup and saucer on the table, the base moulded with gilt-edged scrollwork, 21.5cm high, crossed swords mark in underglaze-blue, incised model number M 184, impressed numeral, painter's numeral 38 in purple (minor restoration)Footnotes:Modelled by Leuteritz in 1882; see S. & T. Bergmann, The Art of Meissen Figures (2010), no. 22.For further information on this lot please visit Bonhams.com
Lot 207
A Meissen group of two elegant ladies, known as 'The Secret' or 'The Young Bride', late 19th centuryAfter the model 1775 model by M.V. Acier and J.C. Schönheit, with two elegantly dressed ladies, one embracing the other, a classical sculpture on a pedestal behind them, a dove and some letters on the base in front of their feet, the base moulded with a gilt classical frieze, 24.3cm high, crossed swords mark in underglaze-blue, incised model number E.70 and impressed numeral (some losses and old restoration)Footnotes:See T.H. Clarke, Meissen Marcolini Figures Engraved by Friedrich Elsasser 1785-1792, in Mitteilungsblatt der Keramikfreunde der Schweiz (103) 1988, no. 26, pp. 25 and 66.For further information on this lot please visit Bonhams.com
Lot 209
A Meissen mantle clock, circa 1900On a rockwork base with three pastoral figures, edged with scrollwork heightened in gilding, puce and turquoise, the clock case with puce- and gilt-edged scroll feet and pierced trellis panels at the sides, applied with palm fronds and flowering branches flanking the clock face and surmounted by a seated boy holding grapes, the enamel dial with blue Roman and black Arabic numerals, with a pendulum, winding-key and black wooden pedestal, 42cm high (excluding wooden pedestal), crossed swords mark in underglaze-blue, incised model number 572., impressed numerals (one figure on base restuck, typical chips)For further information on this lot please visit Bonhams.com
Lot 219
A Meissen Group of 'School for Love', second half 19th centuryAfter the model by M.V. Acier and J.C. Schönheit of 1777, depicting Cupid in the centre standing on a pedestal and inscribing a book on a stand on a pedestal applied with flower swags, attended by a lady kneeling behind him and five figures of young women and children seated around the rocky base, 29cm high, crossed swords mark in underglaze-blue above three incised marks, incised model number F.74, impressed numeral (Cupid's right arm restuck, left hand and forearm of one figure at back of base restored)Footnotes:See T.H. Clarke, Marcolini Meissen Figures, Engraved by Friedrich Elsasser 1785-1792, in Mitteilungsblatt der Keramikfreunde der Schweiz 103 (1988), no. 79, for the entries in Acier's work records relating to the group.For further information on this lot please visit Bonhams.com
Lot 223
A Meissen group of gardeners, late 19th centuryAfter the 18th century model by M.V. Acier, a woman with a watering can next to a man reaching out to embrace her and perching on a tree stump, a spade leaning next to him, a boy at the back holding a flower in his hands, the mound base moulded with gilt-edged scrollwork, 18cm high, crossed swords mark in underglaze-blue, incised model number B.28, impressed numerals (restoration to watering can and spade)Footnotes:Another example is illustrated in see S. & T. Bergmann, Meissen Figures - Model Numbers A1 - Z99 (2014), no. 83.For further information on this lot please visit Bonhams.com
Lot 229
A pair of large Meissen figures with sweetmeat dishes, late 19th centuryAfter the 18th century models by J.J. Kaendler, each lying beside a bowl painted with flowers sprays and applied with leaves and flowers, he wearing a floral jacket and lilac breeches, she wearing floral and lilac draperies, the bases moulded with scrollwork heightened in pale green, pink and gilding, 19cm high, 28cm long, crossed swords marks in underglaze-blue, incised model numbers 2863 and 2858, impressed numerals (minor chips to applied flowers) (2)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 24
A Meissen teabowl and saucer, circa 1723The saucer painted with a military scene of figures on horseback within a gilt scrollwork quatrelobe cartouche edged with iron-red and brown scrollwork, the teabowl with a similar cartouche depicting a figure beside a pack horse, a bird and scattered insects to the reverse, the interior with an iron-red scene within two concentric circles, gilt scrollwork borders to the gilt-edged rims, the saucer: 13.2cm diam., traces of lustre marks (minuscule chips to outside edge of teabowl rim and footrim) (2)Footnotes:Exhibited:London, Burlington Fine Arts Club, June 1873The scene on the saucer is based on an engraving by Georg Conrad Bodenehr after Georg Philipp Rugendas the Elder, published by C. Bodinek, Raffinesse im Akkord (2018), vol. II, no. 260.For further information on this lot please visit Bonhams.com
Lot 44
A Meissen group of 'Spanish Lovers', circa 1745-50Modelled by J.J Kaendler, the fashionably dressed lady wearing a white feathered hat, turquoise bodice with black stomacher, wide yellow skirt over panniers embellished with indianische Blumen and a gilt-edged blue underskirt, her companion wearing a blue and black cloak, iron-red jacket with gilt floral scrollwork and turquoise rosettes, gilt-edged black breeches and red shoes with yellow bows, the base applied with leaves and flowers, 18.5cm high, traces of crossed swords mark in blue (small chips and minor losses)Footnotes:Based on an engraving by Pierre Filœul after the painting 'Le baiser donné' by Jean-Baptiste Pater of 1736, this group is not mentioned in Kaendler's Taxa or work records but is referred to as the 'Spanier Gropgen' [Spanish group] in a specification of figures and groups completed by the Weiße Corps in overtime in January 1740 (quoted by R. Rückert, Zur Staffierung der Gesichter von Meißener Porzellanfiguren, Teil IV, in Keramos 153 (July 1996), p. 156). Another example from the Marouf Collection, sold in these rooms, 5 December 2012, lot 65.For further information on this lot please visit Bonhams.com
Lot 99
A Meissen chocolate beaker and saucer, circa 1760Of quatrelobe form, each decorated with yellow-ground panels reserved with flower sprays, alternating with panels depicting landscape scenes with Watteau style figures, surrounded by gilt bands of scrolling foliage, the beaker: 7cm high, the saucer: 14cm wide, crossed swords marks in underglaze-blue, impressed numerals and gilt H to beaker (tiny chip to beaker rim) (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 6116
Four Royal Copenhagen porcelain figures comprising a Mermaid holding a Fish no. 2348, Girl holding Duck no. 2332 and Mermaid no. 2313 all designed by Vilhelm Waldorff and Frog on Stone no. 061 designed by Erik Nielsen (4)Condition Report:2348: Crack and chip to fin and a small chip to the end of the mermaids tail. All others are in good condition.
Lot 106
A Greek terracotta group of two dancing female figures Sicily, circa 220-200 B.C.One wearing a belted chiton, her hair centrally parted and drawn back into a chignon, her companion leans on her shoulder, fully veiled with one leg kicked-out to the side, some pale blue and pink pigment remain, 23cm highFootnotes:Provenance:With Charles Ede Ltd, London.Property of a private collector, Edinburgh (1938-2021), acquired from the above on the 1 November 1985.Published:Charles Ede Ltd, Greek and Roman Terracotta Sculpture VIII, October 1985, no.23.For further information on this lot please visit Bonhams.com
Lot 138
A rare Mycenaean terracotta Kourotrophos Circa 1400-1200 B.C.Depicting a mother of Psi form with upraised arms, the infant holds onto its mother, its legs curled under her right breast, the decoration in added umber and red in linear stripes, with shorter strokes on the concave-topped polos headdress, with a long applied plait at the back, and pinched-in bird-like facial features, 10cm highFootnotes:Provenance:Private collection, London, acquired in the 1960s; by descent to the present owner.Such depictions of mother and child are extremely rare. There is a complete Kourotrophos (Psi figure with child), in the Ortiz Collection, see Royal Academy of Arts, London, 20 January-6 April 1994, In Pursuit of the Absolute Art of the Ancient World from the George Ortiz Collection, no.63, also published in Odyssey of an Art Collector. Unity and Diversity. Five Thousand Years of Art (New Orleans, 1966-67), no.8, p.8 illus; see also a fragmentary bust with baby in the British Museum, no. 1944,1116.1; and another complete Mycenaean female figurine, Kourotrophos, from Aspochroma, 1350-1300 BC. in the Archaeological Museum of Mycenae, MM 762.In general these figures are thought to represent goddesses, while the Phi type represents a nurse. The Kourotrophos, 'Child-nurturer' type figure, such as this example, are considered to be protective of the young.For further information on this lot please visit Bonhams.com
Lot 194
A large Roman marble sarcophagus relief panel Antonine Period, circa late 2nd Century A.D.The front section of the sarcophagus carved in high relief with two confronted sea-centaurs in the centre flanked by two nereids each riding a hippocamp, bordered by two similar scenes of a nereid grasping a hippocamp and swimming towards the edge of the panel away from a sea-centaur, multiple erotes cavorting among the figures and swimming in the waves with fish, forming the groundline, 210cm x 45.5cmFootnotes:Provenance: English private collection.Hampel Fine Art Auctions, Munich, September 20th, 2012, nos.663 and 664, illus.Jean-David Cahn, Basel, acquired at the above sale.Sir Peter Jonas (1946-2020) Collection, acquired from the above in May 2013.Not to be confused with Tritons, the Ikhthyokentauroi (Ichthyocentaurs) were a pair of centaurine sea-gods with the upper bodies of men, the lower forequarters of horses and fishtails, their brows crowned with a pair of lobster-claw horns. The pair of fish-centaurs were called Bythos (Sea-Depths) and Aphros (Sea-Foam), they were brothers of the wise centaur Chiron and like him were perhaps regarded as wise teachers.The brothers have mixed origin stories with some saying they are the sons of Poseidon and Amphitrite, or even the Titan Kronos and Nymph Philyra. They are also said to be derived from the Fish-Deities of Syrian mythology which carried Astarte ashore after her birth. In Greek mythology they are also credited with witnessing the birth and assisted in the upbringing of Aphrodite. As a reward for the above the brothers were placed amongst the stars as the constellation Pisces.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 26
An Egyptian bronze and alabaster striding ibis Third Intermediate Period, circa 1069-735 B.C.Stepping forth on the left leg, the naturalistic feet with partially remaining tangs on the underside, with ovoid alabaster body, the sinuous bronze head with curved beak and inlaid eyes, 12.5cm highFootnotes:Provenance:Superior Stamp & Coin Co., Los Angeles, 1988, Lot 108.Bernard A. Edison Collection, St. Louis, Missouri, acquired at the above sale.The ibis was associated with Thoth, god of wisdom and learning. Figures of Ibis are found in shrines, temples and alongside mummified originals in catacombs. It was common for such votive statuettes to use a combination of materials such as alabaster or wood and bronze.For further information on this lot please visit Bonhams.com
Lot 56
Six Coptic wool and linen fragments Circa 5th-8th Century A.D.A polychrome band woven with two ducks contained in medallions and two Bacchic dancers, 27cm x 9cm; two rectangular panels woven in brown and red with central dancing figures, surrounded by birds, hares and other animals: each 11cm x 12cm; two rectangular panels, the brown ground of each with dancing figures holding wreaths, animals and a figurative medallion, each 29cm x 11cm, and a roundel with a central figure surrounded by fish and animals, 11cm diam (4)Footnotes:Provenance:Acquired by the family of the present owner in the 1980s.For further information on this lot please visit Bonhams.com
Lot 58
A Mesopotamian marble double 'eye' idol Tell Brak Region, circa 3500-3300 B.C.The plaque incised with two pairs of eyes, the body incised with zig-zags, indicating the limbs of two embracing figures, 6.2cm x 5.5cmFootnotes:Provenance:With Petit Musée, Montreal.Harry Toulch Collection, Montreal, acquired from the above in 1997.Such 'eye' idols are thought to be votive offerings. It is unclear whether the figures represent gods or worshippers, however wide eyes demonstrate attentiveness to the gods in much of Mesopotamian art. There is a similar double 'eye' idol in the British Museum, Museum no.126475.For further information on this lot please visit Bonhams.com
Lot 62
Five Near Eastern cylinder seals Circa 3rd-1st Millennium B.C.Comprising a Mitanni white stone seal with animals and a figure, 31mm x 20mm; an Akkadian shell seal with figures, 30mm x 14mm; a Syrian geometric black stone seal, 33mm x 11mm; a North Syrian white stone seal with linear figure and ibex, 25mm x 12mmh, and a Neo-Assyrian mottled grey and red jasper seal with rampant gazelles, 30mm x 11mm (5)Footnotes:Provenance: The Max Klein (1905-1991) Collection, Canada, acquired prior to 1955; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 63
Three Old Babylonian cylinder seals Circa 2300-1150 B.C.One Akkadian seal of mottled black and brown stone, with worshippers and text, the original inscription erased in antiquity and replaced with 'Shamash, Aya', 27mm x 10mm; a Kassite haematite seal engraved with two figures and three lines of cuneiform text reading; '[the god] Shakkan, first-born son of [the god] Utu, great lord who ... the wild beasts of the land',28mm x 10mm, and an Akkadian haematite seal with two figures and three lines of text reading; 'Inib-matim, daughter of Iluni, servant of Shamash', 29mm x 10mm (3)Footnotes:Provenance: The Max Klein (1905-1991) Collection, Canada, acquired prior to 1955; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 66
An Old Babylonian haematite cylinder seal Circa 1800-1600 B.C.Engraved with three figures comprising a worshipper wearing a tiered robe with arms raised, a star disc above, behind a bearded man wearing a kilt and holding a staff, an animal above, facing a a goddess with her foot resting on a low stool, with two lines of cuneiform text reading: '[The goddess] Ninhursaga, who makes the ...[-plant?] grow', 26mm x 10mmFootnotes:Provenance: The Max Klein (1905-1991) Collection, Canada, acquired prior to 1955; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 69
A Neo-Assyrian serpentine cylinder seal Circa 9th-7th Century B.C. Depicting a winged disc over a tree, flanked by men holding streamers, behind the figures, a star and wheat sheaf, with a chevron border, 36mm x 11mmFootnotes:Provenance: The Max Klein (1905-1991) Collection, Canada, acquired prior to 1955; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 75
A Piravend bronze figure of a woman North West Iran, circa early 1st Millennium B.C.The upper section of the flat-backed and highly stylised figure with the peg-shaped body, applied circular breasts and upward curved arms, the horned head with prominent beaked nose, applied circular eyes and notched hair, 6.2cm highFootnotes:Provenance:With Galerie Numaga, Neuchâtel, Switzerland from at least 1966. Previously in a private family collection, Switzerland, acquired from the above, 7 March 1966.Piguet, Geneva, 27 September 2017, Lot 576.Acquired from the above sale.Such figures come from the excavations at Piravend in north western Iran, some 10 km north of Taq-e Bustan, which was extensively explored during the 1930s-1950s.For further information on this lot please visit Bonhams.com
Lot 87
An Egyptian limestone fertility figure plaque New Kingdom, circa 1550-1069 B.C.With much polychrome decoration remaining, the nude female in relief, her long hair highlighted in black, a perfume cone surmounting her head, with long slender arms and legs, the bed with painted lattice decoration, the base with two painted figures representing children holding a large mirror, 16cm x 7cmFootnotes:Provenance:Property of a private collector, Edinburgh (1938-2021), formed from the 1970s onwards.This type of bed figure was introduced in the New Kingdom, while similar forms were still produced in Graeco-Roman times. It is thought they may have been used in childbirth rituals and assisted with fertility and a protective birth. These votive bed figures have been found dedicated in temples and shrines. For a full discussion of the subject cf. C.Rose Childbirth Magic, Expedition Magazine, Penn Museum,2017, 58.3. For a terracotta figure with bed dating to the 18th Dynasty, cf. A.Capel & E.Markoe (Eds), Mistress of the House, Mistress of Heaven, Women in Ancient Egypt, Cincinnati Art Museum, 1997, no.16b, p.67.For further information on this lot please visit Bonhams.com
Lot 94
Two Egyptian bronze figures Late Period-Ptolemaic, circa 664-30 B.C.One a figure of Osiris, holding a crook and flail, wearing the plumed atef crown, 13cm, collection number R50 I512 on the base, the other a figure of Nefertum striding forth, wearing the Lotus Crown surmounted by tall stylised plumes, 10.5cm high (2)Footnotes:Provenance:Property of a private collector, Edinburgh (1938-2021), formed from the 1970s onwards.For further information on this lot please visit Bonhams.com
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