A single stone diamond ring, the collet set old brilliant cut diamond weighing 2.50 carats, to polished shoulders, the associated shank with former Austro-Hungarian Empire 1872-1922 mark, finger size M 1/2, 5g grossCondition Report: The diamond colour estimated K-L, clarity VVS2-VS1, a small pinpoint inclusion and some bearding, the shank has been resized, there is solder to the shoulders where the shank has either been resoldered or replaced, the setting has some rubbing to the collet from use, but the stone is still secure. Stone measures approximately 9.2mm x 4.9mmCondition Report Disclaimer
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An early 20th century ruby and diamond bow brooch, circa 1920, the pierced lobed bow set with seven graduated cushion cut rubies, the principal ruby estimated to weigh 1.08 carats, within a pierced latticed setting set with graduated old mine cut and rose cut diamonds, approximately 4.10 carats total, 8.5cm long, 15.6g grossOffered for sale with a Gemmological Certification Services Ruby Report, numbered 81302-82, Date 26.04.2021, stating:Total weight 4.7ct approx.Species Natural CorundumOrigin Myanmar (Burma)Comment No indications of heatingCondition Report: Some of the principal stones settings show some signs of heat from the reverse, there is a couple of points of lead solder to the back of the central panel , and a little between the panel and the back frame, but it isn't very noticeable, not visible to the front. The diamonds are mostly H-K, clarity varying, mostly Vs- SI, the rubies are well matched in colour, some natural inclusions.Condition Report Disclaimer
A single stone diamond ring, the radiant cut diamond weighing 5.04 carats, in a four claw setting polished bifurcated shoulders, finger size O, 4.1g grossCondition Report: The diamond is bright and lively, colour estimated J/K, clarity I2, some small mineral and clouds, feather, cavity inclusions, cleavage crack to one side of the stone. The setting has some abrasion to the back of the shank.Condition Report Disclaimer
A single stone diamond ring, the radiant cut diamond weighing 8.03 carats, in a four claw setting, finger size L 1/2, 4.1g grossCondition Report: The diamond has mineral inclusions, clouds, feathers, a large chip to one corner to the pavillion and one to the to the crown (could be natural), I2 to one corner of the stone, colour estimated K/L. The setting in as new condition. Condition Report Disclaimer
A 1950s diamond flower brooch, the pierced petals pavé set with eight cut and brilliant cut diamonds, to a central brilliant cut and baguette cut diamond cluster, with channel set baguette cut diamond stalk, and pavé set diamond leaves, approximately 4.49 carats total, 6.2cm long, 27.7g gross, in an associated pink leather caseCondition Report: The diamonds are all present and correct, bright and lively, colour estimated I-K, clarity mostly SI. No signs or noticeable damage or repair, some general wear commensurate with age and use. 6.2cm longCondition Report Disclaimer
K Varler (Eastern European 20th-21st Century) Descending Angel, woodcut, signed, dated '01 and numbered 11/45 in pencil bottom right, measurements 32 x 18 cm (i), frame 57 x 37 cm.Together with a further woodcut titled Knows Where to Fly, signed in pencil and dated '90 bottom right, numbered 4/10, measurements 18 x 30 cm (PL), frame 45.3 x 51 cm, and a coloured etching of a woman holding a lightbulb, initialled BW and numbered 10/10 bottom right, blind stamp below, measurements 12 x 14 cm (PL), frame 47 x 37 cm (3)Provenance: Purchased in Tallin, Estonia, consigned from the private collection of an art therapist
ROWLING, J K; a signed first edition 'Harry Potter and the Half-Blood Prince', published 2005. CONDITION REPORT Signed JK RowlingThis item comes from a very good local private source and while we cannot guarantee the authenticity of these signatures, we have every reason to believe in their veracity.A couple of tiny scuffs to the dust jacket, some very light brown staining to the edges of the paper, but a clear signature and otherwise in good condition.
A 22ct yellow gold and three stone sapphire ring, size K, approx 3.5g. CONDITION REPORT Hallmarked believed to be for Birmingham 1900. The sapphires are quite dark in colour, have light surface abrasions and are dirty. They are in star-cut settings and there are various scratches to the band itself.
A Roman gold and carnelian intaglio ring of a maenad Circa 1st-2nd Century A.D.The hollow gold hoop set with an oval intaglio engraved with a standing maenad facing right, her hair bound in a chignon, wearing a long tunic with her right breast exposed, a ribboned thyrsos in her left hand, her drapery gathered in the crook of her right arm, intaglio 2.1cm long, ring size K, weight 14gFootnotes:Provenance:US art market, 1994.For further information on this lot please visit Bonhams.com
A Roman amber glass 'Victory' beaker Circa early-mid 1st Century A.D.Blown in a two-part mould, of cylindrical form with a narrow everted rim, with three registers of decoration divided by horizontal ribs, the upper and lower with six stylised victory wreaths, a pair of opposing palm branches concealing the vertical mould seams, the central register with Greek inscription: ɅABE THИ NEIKHN ('Seize the Victory'), the underside of the flat base with a single raised circle, 6.5cm high Footnotes:Provenance:Mr and Mrs A. Constable-Maxwell collection, UK. The Constable-Maxwell Collection of Ancient Glass; Sotheby Parke Bernet, London, 4-5 June 1979, lot 229.Important Ancient Glass from the Collection formed by the British Rail Pension Fund; Sotheby's, London, 24 November 1997, lot 15. Private collection, USA, acquired from the above sale. Published: S.B. Matheson, Ancient Glass in the Yale University Art Gallery, New Haven, 1980, p. 53-54. On Loan: The Victoria and Albert Museum, London, 1980-1985. The Corning Museum of Glass, Corning, NY, 1985-1995. This beaker is an important example of a group of mould-blown drinking cups which have been variously suggested as commemorative of drinking games, chariot races and gladiatorial contests; though the specifics remain debateable, the inscription of 'Seize the Victory' and the stylised wreaths confirms this cup was used for celebration of some sort of feat.These Victory beakers were first discussed and categorised by D. B. Harden in 'Romano-Syrian Glasses with Mould-Blown Inscriptions;, JRS, vol. 25, 1935, pp. 163-186. The Constable-Maxwell beaker falls into Harden's Group K (he lists 17 examples), sub-group 1 iii. A characteristic of this sub-group is the distinctive reversed N, and the extended E in NEIKHN. The reversed N is either the result of a mistake by the mould-maker while working in negative, or an intentional design. If the latter, it may be a maker's mark, the significance of which is now lost.There are at least four distinct types of these so-called 'Victory' beakers, some of which have been found along the Syro-Palestinian coast, Cyprus, Greece, Sardinia and Panticapaeum in the Crimea. They may have originated from workshops near Sidon, on the Phoenician coast.For related amber coloured examples of this type of inscribed drinking cup, see examples in the British Museum, London, acc. no. 1894,1101.108, J. Paul Getty Museum, LA, no. 2003.319 (formerly in the Oppenländer collection), the Hermitage Museum, St Petersburg (N. Kunina, Ancient Glass in the Hermitage Collection, St Petersburg, 1997, p.273, no. 113), the Toledo Museum of Art, OH, acc. nos. 1923.411-412 (E. Marianne Stern, The Toledo Museum of Art, Roman Mold-Blown Glass, Toledo, 1995, p.98-99), and the Israel Museum, Jerusalem, acc. no. 77.12.751. See also the example recorded in D. Whitehouse, Roman Glass in the Corning Museum of Glass, vol. 2, Corning, 2001, p. 26, no. 491, where he lists twenty known examples of Victory beakers with a one-line inscription.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
A Roman gold and carnelian intaglio ring with a bust of Artemis Circa 1st-2nd Century A.D.The hollow gold hoop set with an oval intaglio carved with Artemis facing left, a quiver behind her left shoulder and a bow behind the right, wearing a peplos, her wavy hair bound in a low chignon with loose tendrils, adorned with a wreath, intaglio 1.5cm high, ring size K, weight 3.1gFootnotes:Provenance:with Petit Musée, Montreal. Harry Toulch collection, Montreal, acquired from the above March 1997.For further information on this lot please visit Bonhams.com
Leaf from a copy of Gregory the Great, Moralia in Job, in pre-Caroline Germanic minuscule, in Latin, manuscript on parchment [southern Germany (perhaps Reichenau), last decades of the eighth century] Single large leaf, with single column of 30 lines (with parts of book 33, ch. 15) in a large and bold pre-Caroline Germanic minuscule (see below), tears and darkening to edges, small losses at head, and section of blank margin at foot missing through natural flaw in parchment, recto more darkened than verso, and slightly scuffed on inner vertical side of column, slight cockling, some small later scrawls (see below), but still in good and fresh condition, 257 by 156mm. A leaf from a fundamental early medieval text, in a rare and often overlooked pre-Carolingian script, perhaps from the founding library one of the most important monasteries in medieval Europe Provenance:1. Written in southern Germany, most probably in a region bordering Switzerland (probably vicinity of Lake Constance) in the last decades of the eighth century (see below). If this was in Reichenau (founded 724 on an island in Lake Constance), then it must have been part of that monastery's earliest book collection, significantly predating the grand expansion of the library there under Abbot Reginbert in the decades up to his death in 846, and used by the Carolingian scholarly luminary Walafrid Strabo (c. 808-49, abbot of Reichenau from 842). The house was closed during the Secularisation initially in 1757, then permanently in 1803, with a part of the library passing to the Landsbibliothek at Karlsruhe.2. This leaf reused at the close of the Middle Ages as a pastedown in the binding of a large book, and that book in French ownership in the seventeenth-century: scrawled French inscriptions of a 'Catherine de ...' interlineally and in outer upright margin of recto, and a single inscription in same hand at foot of verso: 'Constitué ...' (the remainder lost due to a missing section of parchment at foot).3. Mr de Coligny, a twentieth-century Parisian collector.4. Acquired by Roger Martin from European trade in 2016. The script and its rarity:When we think of pre-Carolingian local hands, we begin with the most distinctive, such as Insular, Luxeuil, Corbie ab, Rhaetian and Alemannic, as well as those that persisted well after Carolingian minuscule swept away all others, such as Visigothic and Beneventan. However, there are a few others, not quite so clearly defined from their neighbours or perhaps not so numerous in surviving examples, and as a result often forgotten or lumped in with those neighbours. The Germanic pre-Caroline hands fit into this group. They are far from numerous, with only twenty-three examples in the vast survey Codices Latini Antiquiores (1934-66; about ten of these probably from Freising, see K. Bierbrauer, Die vorkarolingischen und karolingischen Handschriften der Bayerischen Staatsbibliothek, 1990, pp. 15-24, for these) and its Supplement (1971), and surviving examples come from a wide geographic range, reducing how conclusive any findings can be, and perhaps deterring the same levels of scholarly study seen with other early scripts. While Michelle Brown's A Guide to Western Historical Scripts from Antiquity to 1600 (1993), is to be commended for including an example of these (her no. 14), it is notable that they are almost passed over by the new Oxford Handbook of Latin Palaeography (2020), where the closest we come to them is the chapter on 'St. Gall scripts'.The script here is a bold and fine pre-Caroline Germanic minuscule most probably of the last decades of the eighth century, with strong Swiss influence suggesting an origin in Reichenau. The numerous ligatures here are overwhelmingly pre-Carolingian and point strongly to the eighth century, with that in the 'rp' in 'serpens' (recto, line 16) producing a strange letterform in which the arch of the pen downwards from the preceding 'r' almost leaves the back of the 'p' undefined and produces a wedge-like tongue under its bowl jutting out towards the next letter. There is also a 'li'-ligature in which the second letter is mostly subscript and is joined to the first at its midpoint (this also reported for a binding fragment dated to 776-800 and located to south east Germany, now BSB, Clm. 29300/3, but rest of hand quite different: CLA Supplement 1799). These, as well as the clusters of compacted abbreviations (such as the first part of 'tergiversationis' in line 4 of the recto, the 'serpens' noted above, and 'rerum' in line 2 of the verso), point to the eighth century.For Swiss influence, there are apparent Rhaetian minuscule features in the open 'a' both like 'cc' and 'oc' (but the hand here favours the first of these), the use of 'r' with a slashed line through its tail for '-rum', and particularly the 't' with its left-hand crossbar curving down and around to close the loop with the main ascender (as here in line 22 of the verso: 'Et') and the open 'g' with a bowed top so it is shaped like a '3' distinctive to Rhaetian and Alemannic minuscule and sometimes used as a key identifying feature of Swiss hands. However, the closed 't' is not employed consistently, and half-curled (without closing the loop), and flat-topped examples abound here. Examples of these are found in Alemannic minuscule, centred on St. Gallen, as in Cod. Sang. 6 (Bible, last quarter eighth century), Cod. Sang. 44 (Bible c. 780), and Cod. Sang. 125 (Jerome, Gregory, Cassiodorus and others, c. 770-780, in which again all three forms of 't' are found together, as well as the 'o' formed like a 'u' with its two upwards strokes crossing, as here in 'vero' in line 28 of the recto: see pp. 7 and 22 of Cod. Sang. 125 for examples) and Cod. Sang. 567 (Vitae Patrum, second half of codex from last quarter of eighth century, and with same distinctive 'o': see p. 145 for example; all these manuscripts reproduced in full on the ecodices website).However, the hand here manages to avoid having the elongations and flows of Rhaetian as well as the heavy rotundity and wide spacing of Alemannic, and compares most closely to hands from modern Germany, and in particular those traced to, or linked to Reichenau (see CLA. I:7, Vatican, Lat. 583, a Moralia in Iob, 11-16 of the late eighth century or opening years of ninth century [this reproduced in full online]; I:89, Vatican, Lat. 245, another Moralia in Iob, 1-5 of the late eighth century or opening years of ninth century, and in Lorsch by the eleventh century [this also Michelle Brown's example, and reproduced in full online]; II:222, as well as those from the Lake Constance Germanic region and probably Murbach: II:222, a Cyprian of 776-800; and VI:751, an Isidore of the late eighth century or opening years of ninth century). It has the Reichenau-type mix of open 'a' and uncial 'a' (here see 'maliciam', lines 8-9 of recto), and common ligatures for 'ri', 'ti' as well as rarer features such as a 'te'-ligature and a 'nt'-ligature used even midword and that characteristic of the region. Moreover, the open 'g' here with its bowed top finds its near-exact match in both CLA. I:7 and I:89.It is interesting that the earliest books surviving that are most probably from Reichenau are both copies of parts of the Moralia in Iob ...(for full text, see catalogue PDF).
Fragment of a leaf from a Homiliary, with large coloured initials, in Latin, decorated manuscript on parchment [probably Italy, tenth century] Substantial fragment of a large leaf, trimmed at top (with loss of about 8 lines there; what remains with readings from homilies by St. Pope Leo and St. Pope Gregory for epiphany) and inner vertical edges (with loss of a few letters from column edge there), with double column of 32/31 remaining lines in a large and bold late Carolingian hand, with insular 'r' that descends far below the line, an et-ligature commonly used integrally within words, and the '-ris' abbreviation formed from a downward flick of the pen under the word, bright red rubrics, two large red penwork initials in panels touched in pale yellow and green wash or left in blank parchment, one with a quadrilobed shape mounted at its centre, the other with long curved brushstrokes of green wash hanging downwards from the horizontal strokes of the letter ('S') filling both upper and lower bowls, reused in a binding and hence with some splashes, small stains and cockling, overall good and presentable condition, 288 by 193mm. Acquired from a European private collector in 2007. Whilst this late Carolingian hand and some of its scribal features can be found in apparently archaicising Italian hands as late as the eleventh century (such as that of Florence, Bibl. Nazionale, F.N.II.I.412: see K. Berg, Studies in Tuscan Twelfth-Century Illumination, 1968, pl. 1), the initials here are firmly Carolingian in design and colouring, and of a type quickly swept away in the late tenth and early eleventh centuries by the new white-vine initials. These initials with their terminal-lappets in different colours and compartmented bodies follow early Carolingian models such as those found in a Homilary made at Murbach c. 800 (see Pracht auf Pergament, 2012, no. 7), and most probably reached Italian centres through books sent from northern centres in the ninth century. However, the grass-skirt-like green wash brushstrokes that hang down within the 'S' are without parallel known to us.
Text leaf from the Chester Beatty Hours of 1408, in Latin, illuminated manuscript on parchment [France (Paris), parent manuscript dated 1408] Single leaf, single column of 15 lines in two sizes of a high-grade gothic bookhand (Office of the Dead, Matins, second nocturn for Tuesday and Friday), red rubrics, line-fillers in coloured geometric patterns or lines of gems on gold panels, one-line initials in blue and soft-pink heightened with white penwork on gold grounds, text borders of gold and coloured bars on three sides and densely populated full border of rinceaux foliage with coloured and gold leaves, earlier folio no. probably '123' in upper outer corner, water-damage to extremities affecting decorated borders (see below), else good condition, 175 by 130mm.Provenance:1. From a parent manuscript decorated by the Mazarine Master, which had a colophon stating that it was written in 1408 when the bridges of Paris were swept away in a storm.2. John Boykett Jarman (d. 1864), a London jeweller, and damaged in a flood alongside many other items in his collection; his sale in Sotheby's, 13 June 1864, lot 47.3. Edward Arnold; his sale in Sotheby's, 6 May 1929, lot 240.4. Sir Alfred Chester Beatty (d. 1968), his W MS.103, who took the volume apart mounting the miniatures separately and giving some text leaves to friends; the remnant was sold in Sotheby's, 24 June 1969, lots 58 and 58A-K (see M.M. Manion, V.F. Vines and C. de Hamel, Medieval and Renaissance Manuscripts in New Zealand Collections, 1989, pp.96-98, for a list of identified leaves).5. This leaf acquired from Freeman's, Philadelphia, 23 April 2015, lot 282.
A Nymphenburg model of a seated mastiff, circa 1765Modelled by F.A. Bustelli, naturalistically painted in shades of black, wearing a green collar and seated on a flat base, 10.8m high, impressed shield mark to top of base (some restoration to the base and front legs)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainTwo further examples, one white and one polychrome, are illustrated in K. Hantschmann/A. Ziffer, Franz Anton Bustelli (2005), nos. 217 and 218. Another polychrome example formerly from the Kaumheimer Collection was sold at Christie's London, 3 December 2003, lot 69.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
A rare Meissen Augustus Rex vase and cover, circa 1730Of ovoid form, superbly painted in the manner of J.E. Stadler with a vignette depicting two large chinoiserie figures enclosed by vividly coloured indianische Blumen and birds in flight and perched on the flowers, the neck with similar flowering branches, the domed cover similarly decorated with an iron-red border of whorls and sunbursts to the rim, 38.4cm high, AR monogram in underglaze-blue, (2)Footnotes:Provenance:Anon. sale, Sotheby's London, 2 March 1993, lot 269;The Rosa Alba Collection of Meissen PorcelainLiterature:U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 177Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresdeb, Porzellansammlung im Zwinger, Albertinum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-13 July 1997A closely similar vase, possibly the pair to the present lot, is in the Victoria & Albert Museum, London (accession no. C.48&A-1971).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
A Sèvres blue-ground cup and saucer (gobelet à la Reine et soucoupe), dated 1763The bleu-lapis ground reserved with gilt-edged panels painted by François-Joseph Aloncle with birds in landscapes, gilt dentils borders to the rims, the cup with high gilt-edged scroll handle, the cup: 7.4cm high, the saucer: 13.8cm diam., interlaced LL monograms enclosing date letter k, painter's marks N for Aloncle, incised LF and oo to cup (minimal wear to gilt rims and some scratches on the glaze surface of saucer) (2)For further information on this lot please visit Bonhams.com
A Meissen silver-gilt-mounted teapot and cover, circa 1725Each side finely painted in enamels, gilding and lustre with a chinoiserie scene depicting two figures flanked by flowers and vessels containing objects, within a gilt scrollwork cartouche filled with Böttger lustre and embellished with iron-red and purple scrollwork,the handle and spout flanked by insects and flower sprigs, a gilt scroll- and strapwork border below the rim, the domed cover with a hinged mount, decorated with two similar chinoiserie vignettes, the spout with a hinged cover, the footrim with a silver-gilt mount, 12cm high, crossed swords mark and K.P.M. in underglaze-blue,Footnotes:Provenance:Private Collection, Germany (sold at Sotheby's Zurich, 1 June 1994, lot 99);The Rosa Alba Collection of Meissen PorcelainLiterature:M. Newman, Die deutschen Porzellanmanufakturen, I (1977), ill. 8;U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 179Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, Albertinum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-12 July 1997This 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
A Sèvres square tray (plateau 'carré à jour), dated 1763Of the first size, the tapering sides moulded and pierced with a border of S-scrolls and bell-flowers, painted by Pierre-Antoine Méreaud (l'aîné) with a pink ground with blue trellis pattern around an undulating band with panels of alternating flowerheads and trellis panels, the centre with foliate flower garlands, 15cm wide, interlaced LL monogram enclosing date letter K, painter's mark 'S' for Méreaud, incised marks x and IC (restoration to the rim)Footnotes:Provenance:With Nicolier, Paris;Property from the Collection of Dr. Johannes Ralph LafrenzFor further information on this lot please visit Bonhams.com
A very rare pair of Meissen models of dromedary, circa 1760-65Each naturalistically modelled and finely panted in shades of grey, the bases modelled with gilt-edged scrollwork and applied with leaves and flowers, 16.4cm and 17cm high, crossed swords mark and crossed swords mark with dot in underglaze-blue (one with tail restuck) (2)Footnotes:Another example of this rare model is in the Hermitage Museum, St. Petersburg (published by K. Butler, Meissner Porzellanplastik des 18. Jahrhunderts (1977), no. 379).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
A Sèvres shaped ice cup tray (Plateau de tasses à glace à ornements), dated 1763Painted by Pierre-Antoine Méreaud, the centre with a floral wreath surrounded by blue-ground panels with a gilt trellis pattern alternating with floral wreaths hung from gilt moulded scrolls, the rim with moulded puce feathering and gilt scrolls, 21.5cm diam., interlaced LL monogram enclosing the date letter K, painter's mark for Pierre-Antoine Méreaud in blue (retouching to the gilding)Footnotes:Provenance:Anon. sale, sold in these rooms, 15 June 2016, lot 180;Property from the Collection of Dr. Johannes Ralph LafrenzFor further information on this lot please visit Bonhams.com
A Meissen circular stand, circa 1726Painted in the centre with a circular medallion of chrysanthemums reserved against iron-red foliage enclosed by an elaborate gilt and Böttger lustre strap- and scrollwork border enclosing parasol motifs alternating with flower-heads, the rim with four finely painted chinoiserie scenes within gilt and Böttger lustre cartouches, divided by a gilt seated pagoda below a lustre and gilt parasol and flanked by foliate scrollwork, the reverse with three trailing branches of indianische Blumen and insects, 29.7cm diam., crossed swords mark in underglaze-blue (very minor wear)Footnotes:Provenance:King William IV of England;Private Collection, Germany;The Rosa Alba Collection of Meissen PorcelainLiterature:U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 12Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, Albertinum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-12 July 1997This 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
Jan Brueghel der Jüngere Paradieslandschaft mit der Erschaffung Evas1630er JahreÖl auf Kupfer, parkettiert52 x 72 cmösterreichische PrivatsammlungExotische Darstellungen und Paradieslandschaften erfreuten sich im beginnenden 17. Jahrhunderts größter Beliebtheit. So sind von Jan Brueghel dem Älteren (1568-1625) und seinem Sohn Jan Brueghel dem Jüngeren zahlreiche Gemälde mit phantastischen Paradiesdarstellungen bekannt, in welchen die Neugier und das aufkeimende Interesse am Artenreichtum der Natur erkennbar wird. Neben zeitgenössischer Literatur, die sich in Illustrationen mit der beginnenden systematischen wissenschaftlichen Erfassung der Tier- und Pflanzenwelt, auseinandersetzte, dienten auch direkte Studien nach der Natur als Inspirationsquelle. Von Jan Brueghel dem Älteren ist überliefert, dass er 1604 an den Hofe Rudolfs II. nach Prag reiste, wo er in dessen Menagerie exotische Vögel und Tiere sehen konnte - ebenso am benachbarten Brüsseler Hof. Des Weiteren gab es im weltoffenen Antwerpener Hafen immer wieder Tiere oder Pflanzen aus fremden Ländern zu studieren (vgl. K. Ertz/Chr. Nitze-Ertz, Jan Brueghel d.Ä., Die Gemälde mit kritischem Oeuvrekatalog, Lingen 2008-10, Bd. II, S. 449f.). Die vorliegende Paradieslandschaft besticht durch die Vielfalt an verschiedenen Tieren und die für Jan Brueghel den Jüngeren typische Farbigkeit – Braun-Grün für Vorder- und Mittelgrund und Blau für den Hintergrund. In eine bewaldete Landschaft eingebettet, finden sich allerlei heimische Tiere, wie beispielsweise ein Hirsch und ein Ziegenbock, Hunde, Schwäne sowie das die rechte Bildhälfte dominierende und den Betrachter direkt einladende, weiße "Paradiespferd". An exotischen Vertretern der Tierwelt sind vor allem der Pinguin links, die bunten Vögel im Baum sowie Kamele und Elefanten im Hintergrund hervorzuheben. Natürlich dürfen auch die besonders durch Peter Paul Rubens (1577-1640) in der Antwerpener Malerei etablierten Raubkatzen nicht fehlen – hier ein schleichendes Löwenpaar und zwei Leoparden. Unabhängig vom ursprünglichen Lebensraum versammelt der Künstler in seinem Gemälde die unterschiedlichen Tiere und kreiert ein Werk, das durch seine lebendigen Details und exotischen Charakter fasziniert. Jan Brueghel der Jüngere komponierte über die gesamte Schaffenszeit immer wieder in neuen Variationen der phantastischen Paradieslandschaften. Wie Dr. Ertz in seinem Gutachten betont, reicht kein anderer Künstler seiner Zeit an die hervorragende malerische Qualität des Vaters und Vorbildes Jan Brueghel der Ältere heran. In dieser Komposition allerdings hat Jan Brueghel der Jüngere jedoch bereits eine selbständige und vom Vater unabhängige Laufbahn eingeschlagen. Entfernte Vorbilder des Vaters sind die Landschaft in Hampton Court (vgl. Ertz 2008-10, Band II, Kat. 192) mit den kleinen Figuren des Sündenfalls hinten rechts – hier jedoch die Erschaffung Evas – und dem Ausblick in die Ferne im linken Bildteil sowie der Vogelbaum aus dem Gemälde in Malibu (vgl. Ertz 2008-10, Band II, Kat. 197). Diese verschiedenen Kompositionsteile vereint Jan Brueghel der Jüngere gekonnt in vorliegendem Bild, das eine leicht veränderte Variante seines Gemäldes in Budapest darstellt (vgl. K. Ertz, Jan Brueghel d.J., Die Gemälde mit kritischem Oeuvrekatalog, Freren 1984, Kat. 90).
TafelgeschirrSilber, Konvolut aus 10 Teilen; jedes Teil gemarkt: Dianakopfpunze, Wiener Beschauzeichen, Meistermarken "M&K" für Mayerhofer & Klinkosch, "VCD" für "V.C. Dub Wien VIII", "FV" wohl für Ferdinand Varete, "I.F.WRANA", "TD", "1458"H. 12,4 (Saucière); Dm. 26,2 cm bis 35 cm (Anbieteteller); 24,6 x 24,6 cm bis 50,4 x 34,5 cm (Anbietetassen); 9.230 g
Alfred KubinZiegeleium 1902/03Tusche gespritzt und laviert, Kohle, weiß gehöht auf Katasterpapier23,6 x 17,3 cmSigniert rechts unten: AKubinVerso von fremder Hand betitelt: ZiegeleiPrägestempel "Gauss" und 2. PrägestempelOtto Wilhelm Gauss, München (mit Prägestempel: Gauss);1966 dort erworben, Privatbesitz;Galerie Würthle, Wien;Sammlung Berggruen, Paris;Galerie Hilger, Wien;Privatbesitz, ÖsterreichAlfred Kubin zum 100. Geburtstag: Unveröffentlichte Zeichnungen und Aquarelle aus Privatbesitz, Kulturhistorisches Museum, Bielefeld, 1977, Nr. 6, s/w-Abb. S. 42;Klimt, Schiele, Ensor, Kubin, Künstler der Jahrhundertwende, Kat.-Ausst. Galerie Knoedler, Zürich, Galerie Würthle, Wien, 24. Sept.-3. Dez. 1983, Abb. S. 262;Alfred Kubin, Vingt Dessins, Berggruen, Paris 1986, Kat.-Nr. 4Völlig menschenleer erscheint der Arbeitsplatz dieser Ziegelei, die Kubin in eine öde, flache Landschaft platziert. Im Vordergrund befindet sich ein Karren, dessen Deichsel gleichsam mahnend nach oben gerichtet ist. Der große Schlot des Ziegelbrennofens ragt jenseits des Bildausschnitts überdimensioniert hoch in den Himmel. Weitere kaum erkennbare und nicht identifizierbare Vertikalakzente befinden sich im Hintergrund der Darstellung. Kein auch noch so kleiner Lichtakzent verweist auf irgendeine Aktivität in den Betriebsgebäuden dieser Ziegelei.Nachdem sich Alfred Kubin in den letzten Jahren des 19. Jahrhunderts in München erfolgreich zu einer Art großstädtischer, bohemienartiger "Szenegröße" als stets schwarz gekleideter, sich immer melancholisch gebender Künstlerphilosoph inszeniert hatte, wurde er in den darauffolgenden Jahren des Stadtlebens zunehmend überdrüssig und interessierte sich immer mehr für die Verbindung seiner Bildvisionen – genährt durch intensive Literatur- und Bilderfahrungen – mit Alltagsszenen und Landschaftseindrücken, was schließlich 1906 in die definitive Übersiedlung mit seiner frisch vermählten Ehefrau in das abgelegene "Schlösschen" Zwickledt in der Gemeinde Wernstein am Inn, nahe der Stadt Passau an der österreichisch-deutschen Grenze gelegen, führte.(Peter Assmann, in: Alfred Kubin, Ausstellungs-Katalog Shepherd W&K Galleries, Edition W&K, New York 2014/15, S. 28)
Ernst Ludwig KirchnerKarussell mit Jahrmarkt (Dresden Vogelwiese)um 1910Feder in Tusche auf Papier10 x 16 cmRückseitig mit dem Nachlass-Stempel und der Bezeichnung "F Dre/Bh 10" in Tinte sowie mit den Nummerierungen "K 4769" und" C 4425" in Bleistift und in TuscheKirchner-Nachlass (Davos 1938, Kunstmuseum Basel 1946, Stuttgarter Kunstkabinett Roman Norbert Ketterer 1954);Schweizer PrivatsammlungKaum ein Varieté, kaum ein Tanzlokal, kaum einen Zirkus oder eine der damals so zahlreichen "Völkerschauen" ferner Länder ließ sich Kirchner entgehen. Immer zeichnet er mit, setzte das rasch Gesehene ebenso rasch auf den Blättern seiner Skizzenbücher um und nie Details oder Teile sondern immer die ganze Komposition. Im Atelier wurden diese notierten Kompositionen zu größeren Zeichnungen, zu Druckgraphiken oder Gemälden. Bevorzugt hat Kirchner satiniertes, oder zumindest leicht satiniertes chamois, also hellbeiges, Papier verwendet. Zum Teil und nicht selten auch hellbräunliches (Pack-) oder gelbes Papier. Diese dienten als Bildträger für Bleistift-, Kreide- und Tuschzeichnungen aber auch für Aquarelle und Druckgraphik. Signiert hat der Meister lediglich die Blätter, die zu seinen Lebzeiten für Ausstellungszwecke oder durch Verkauf das Atelier verlassen haben. Dies hat dazu geführt, dass die Echtheit dieser nur schwerlich nachahmbaren Kompositionen eher durch den Nachlass-Stempel nachgewiesen ist, der mit einer in Tinte angebrachten Nummerierung Auskunft über Technik, Entstehungsort und Motiv gibt, sowie durch die unterschiedliche Inventar-Nummern, die in den meisten Fällen auf den Rückseiten angebracht wurden.Charakteristisch ist in Kirchners Zeichnungen die auf die Konturen reduzierte, klare Linienführung, selten gewischt oder laviert, die kaum eine Plastizität entstehen lässt. Er arbeitete in einem stark auf das Wesentliche reduzierten Darstellungsmodus, der eine besonders rasche Arbeitsweise ermöglichte. Außerdem interessierte sich Kirchner besonders für die Bewegung und so schuf er oft Serien, sodass Momentaufnahmen des gesamten Bewegungsablaufes entstanden - vergleichbar mit Fotografien, die in bestimmten Zeitabständen geschossen werden.
Walter NavratilKreuzigungfrühe 1980er JahreÖl auf Leinwand; gerahmt240,5 x 179,5 cmRückseitige KlebeetikettenM. Knoedler, Zürich (Nr. 1752 K);Turske & Turske, Zürich;Christian-Leopold Heppe, Broughton, GB;Anderson & Garland, Newcastle, GB, 18. Oktober 2017, Lot 86A;Privatbesitz, BelgienVgl. Navratil, Christian L. Heppe (Hg.), 1984 Abb. o.S.Vgl. Walter Navratil, Turske & Turske (Hg.), 1. Februar bis 8. März 1986, Zürich 1986, Abb. S. 19.
Lotte CalmSitzendeKeramik, rotbrauner Scherben, polychrom staffiert und glasiert; auf der Unterseite gemarkt: "WW", "MADE IN/AUSTRIA", Modellnr. "962", "4"; Zeigefingerspitze fehltH. 16,5 cmWiener Werkstätte-Archiv, MAK Wien: Modellnr. K 962; Verkaufskatalog der Wiener Werkstätte, Wien 1928, S. 111

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