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Click here to subscribeA 19th century French gilt spelter and porcelain plaque inset mantle clock, with a central swag mounted urn, flanked by a pair of porcelain gilt mounted urns, the porcelain dial with Roman numerals, the central plaque with a couple seated playing a lute on square feet, the brass movement stamped A G Mougin, striking on a bell, 48cm high
A 20th century bronze novelty lamp, modelled as a street lamp with a cold painted bronze figure of a Pierrot playing a lute seated bellow, raised upon a square black onyx base, H37.5cm Condition Report Fully working with PAT test certificate and 3 spare bulbs (all working)Click here for further images, condition, auction times & delivery costs
AN AUSTRIAN PORCELAIN 'APOLLO AND THE MUSES GOING TO MT. PARNASSUS' VASE, ACKERMANN & FRITZE, RUDOLSTADT-VOLKESTEDT, FIRST HALF OF 20TH CENTURY (1908-1959)of ovoid form, two-handled, the handles formed as scrolling acanthus leaves, with conforming gilt decoration throughout, the recto featuring Apollo and the muses going to Mt. Parnassus, the verso featuring a cartouche with a muse holding a lute against a tooled ground, the recto titled Apollo zieht nach dem Parnass, signed Knonllez lower left, marked with underglaze blue factory mark under base; height: 75 cm (29 1/2 in.) CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A seven piece Dresden porcelain angel orchestra, mid 20th century, the white glazed figures modelled as standing angels playing cello, lute, harp, horn, violin and cymbals, with a further angel conducting, all with printed maker's mark and impressed model number to base, the tallest 13.5cm high (at fault) (7)
Walter Duncan (1803-1932) - Scene from mediaeval times with figures on a quayside extending beside trunks, sailing boats nearby, the old London Bridge in the distance, signed and dated 1906, pencil and watercolour heightened with white, unframed 7.75" x 11"; together with three further companions, two gentlemen and a young lady beside a wooden stile, four young country girls in a wooded landscape, possibly returning from gleaning, and a lady seated wearing mediaeval dress with another young lady playing a lute nearby, other figures beyond, all signed and dated, various sizes (4)
A SET OF FOUR ITALIAN FIGURES OF PUTTI, RICCI & C., ALESSANDRIA, CIRCA 1960 each cast in Baroque style as a cherub musician perched on a cushion atop a scroll and waisted socle playing either a concertina, a lute, a pipe or the cymbals, lozenge marks for 1946-68 and stamped ~800~ 9cm high, 632gr
TWO 19TH CENTURY WOOLWORK PICTURES one of a gentleman playing a lute, the other of a lady holding a bird, each picture set within a floral border, the picture of the gentleman 48.5cm x 50.5cm, the picture of the lady 45.5cm x 45cm, both with inscription to the back stating that they were worked by Mary McKinson in the middle of the 19th century, both set within ebonised frames with gilt slips Condition: the needlework seems to be in good condition, the frames with some losses, marks and dents
A very fine Limoges enamel panelled gilt brass cased carriage clock with push-button repeat and alarmProbably by A. Dumas, Paris, circa 1878The eight-day two train movement with silvered platform lever escapement, striking the hour on a gong and with alarm sounding on the same gong, the backplate with Arabic hour disc to the alarm setting square and stamped with oval A.D trademark next to serial number 1899 to lower left corner, the rectangular deep maroon almost black enamel dial with gilt star rosette to centre, contrasting white Roman numerals to chapter ring and gilt brass fleur-de-lys hands, the upper spandrel areas decorated in translucent polychrome enamel with Renaissance inspired stylised foliate scrolls and the lower margin with a pair of griffin Grotesques inhabiting conforming leafy infill, the bevel-glazed frosted gilt brass case variant on anglaise riche design with hinged reeded baton carrying handle over dentil cornice, fluted baluster Corinthian three-quarter corner columns with rose gilt capitals and fine enamelled side panels intricately decorated with full length portraits of a Renaissance lute player and opposing female companion in ornate robes with details picked-out in translucent enamel on a deep maroon almost black ground, on architectural plinth base with complex upper mouldings and skirt, 18cm (7ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The identity of the maker who used trademark A.D within an oval surround is currently unknown however clocks stamped with the same initials but within a diamond lozenge are known to be by A. Dumas who is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development for a relatively small number of clocks bearing low serial numbers and having porcelain dials and panels. Allix also cites Saunier describing A. Dumas as a maker of his own gongs and cases which is of interest bearing in mind that the same oval A.D trademark has been seen on gong blocks used by Drocourt amongst others. Indeed it is the presence of this mark on the gong block of some of their clocks which has led to the incorrect belief by some that the mark was actually for Alfred Drocourt. The exquisite dial and side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even if possible exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.The panels of the current lot carefully and cleverly employ a mixture of opaque and translucent enamels to create depth, texture and lustre which varies under different lighting conditions. Some areas in particular, such as the areas representing silk within the garments of the figures, use the finished ground of the metal plate to great effect by allowing reflected to pass through vibrant pigmented transparent enamel surface layers. The vendor notes that the rear of one of the panels bears a franked label for Limoges dated 1878 which allows accurate dating of the clock.Condition Report: Movement is in fine clean fully working condition with no evidence of alteration or noticeable replacements, the striking and alarm mechanisms are working as they should. The dial appears to be in perfect condition as do the side panels with no visible faults or evidence of restoration. The case is also in fine condition with no apparent wear or noticeable discolouration to the gilding. Glasses also appear free from damage. Generally a very fine clock in 'showroom condition'.Clock has a winding key. Condition Report Disclaimer
A 19th century Staffordshire figure of a lady, in standing pose with lamb at her knee, in blue dress with green skirt, on naturalistic base, heightened in gilt; together with a near-pair of Staffordshire figures of a standing gentleman in pink jacket and yellow trousers and seated lady in similar clothes and holding a lute, the tallest h.13cm (3)
Dance.- Caroso (Fabrizio) Il Ballarino, first edition, 2 parts in 1, collation: A-F4; a-z4, Aa-Zz4, †4, Roman and italic type, title with woodcut printer's device, repeated on separate title introducing part 2, engraved portrait by Giacomo Franco of the author within border including his coat-of-arms, 22 full-page engraved illustrations in text (partially repeated) likewise by Franco, within ornamental borders, woodcut decorated initials, head- and tail-pieces, printed music and lute tablature, occasional light browning, later red morocco by Trautz-Bauzonnet, covers within triple gilt fillets, spine with five raised bands, compartments richly tooled, title lettered in gilt, marbled pastedowns, inner gilt dentelles, g.e., 4to (233 x 172mm.), Venice, Francesco Ziletti, 1581.⁂ A fine copy of the first edition of the most important 16th-century Italian treatise on dancing, and one of the most beautiful dance books ever produced. This copy is of the issue bearing Ziletti's device on the title. Born in Sermoneta, Fabrizio Caroso was a protégé of Felice Maria Orsini Caetani (d. 1596), Duchess of Sermoneta. He spent most of his life in Rome, where he was active as a dancer, 'inventore di scene', dance master, musician and composer. He was the last proponent of the Renaissance Italian dance style, opposing the French danse noble, which had begun to spread across Europe in the last decades of the 15th century. Caroso was not only a practicing dancer, but also a refined theorist, and this work, dedicated to Bianca Capello, provides a vast amount of detail about the dances of the period. The first part illustrates 55 rules for steps, while the more lengthy second part describes 76 separate dances, including the alta, bassa, balletto, pavan, cascarda, saltarello and spagnoletta. Each dance is supplemented with a poem in praise of a different woman, mostly members of Roman noble families, and includes musical notation for the lute. Each of the dances under discussion is designed for one or more pairs of dancers. Throughout the work, Caroso celebrates the concept of 'nobil vivere', and the figure of the well-educated dancer- courtesan. The 22 full-page copper engravings are executed by the renowned artist Giacomo Franco and depict the positions of dancers at the beginning of each of the various dances and cumulatively represent a precious iconographic source not only for the history of dance, but also for that of fashion and the culture of the period in general. Literature: Adams C-755; Mortimer Italian, 106; RISM C, p. 1233; Gregory & Bartlett I, 53; Lipperheide 3055; P. D. Magriel, A Bibliography of Dancing, pp. 42-44; A. Feves, "Fabrizio Caroso and the Changing Shape of the Dance, 1550-1600", Danse Chronicle, 14 (1991), pp. 159-174; P. Gargiulo (ed.), La danza italiana tra Cinque e Seicento. Studi per Fabrizio Caroso da Sermoneta, Roma 1997.
3rd-4th century AD. A hollow-formed gold hoop with expanding shoulders, raised oval bezel inset with agate gemstone (possibly later), intaglio image of a nude bearded male bent forward, wearing a plumed helmet, a lute on his lap, right hand reaching towards a wine jug, a standard(?) in the background. 5.58 grams, 26.59mm overall, 15.67mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9) (1"). Property of a London gentleman; previously from the 'Sectarian Collection', an important collection of jewellery formed in the 1990s.Fine condition.
A RUSSIAN PORCELAIN FIGURE OF A BALALAIKA PLAYER, POPOV PORCELAIN FACTORY, GORBUNOVO, MID 19TH CENTURY realistically modeled as a peasant playing the lute wearing a black overcoat with a blue belt and bast shoes, a bottle and a glass standing on a tree trunk by his side, a black top hat by his left foot, atop a circular grass-like base, impressed Popov factory mark and impressed numeral 19 under base; overall height: 14 cm (5 1/2 in.)
A Meissen Porcelain Figure Group, late 19th/early 20th century, as an 18th century gallant holding posies of flowers beside a seated lady playing a lute, a sheep at their feet, on a mound base with bocage, crossed swords mark in underglaze blue, 14cm high; and A Similar Group, of a lady and gentleman dancing beside a tree, a gentleman seated playing a lute at their side, crossed swords mark in underglaze blue, 17cm high (2). Typical minor losses to extremities. 07022
A Victorian Staffordshire figure of Robert Burns, in standing pose leaning on a column and with book in hand, on shaped plinth heightened in gilt, h.23cm; together with a Victorian Staffordshire figure of a couple, the gentleman in standing pose with his arm around a seated companion with lute in hand, on gilt heightened shaped base, h.18cm, and another similar example (3)
An early 19th century Staffordshire pearlware figure of Charlotte at the tomb of Werther, modelled in standing pose clutching the funeral urn, raised on column base, h.24cm; together with an early 19th century pearlware figure of Hygeia with serpent, in standing pose with serpent wrapped around her left arm, on naturalistic base, h.24cm; an early 19th century Staffordshire pearlware figure of Apollo, in standing pose with lute in hand, on square titled base, h.22cm; and an early 19th century Staffordshire pearlware figure of Charity, in standing pose with babe in arm and child at her feet, on naturalistic and titled base, h.23cm (4)
Louis Robert Carrier Belleuse (French, 1848-1913): A patinated bronze and ivory chryselefantine figure of Melodiethe seated medieval maiden, raised on an integral bow-fronted plinth base, playing a lute, her dress with lattice sleeves and fitted bodice, signed Louis Carrier, Belleuse, and applied title MELODIE, 41cm high approximatelyThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
SIX VARIOUS ENGLISH EARTHENWARE FIGURES, late 18th century and later, comprising a pearlware Cybele holding a cornucopia, 10 1/2" high, Venus, 8 1/2" high, a seated lady after a Meissen original from The Senses, playing a lute, 6" high, Welch tailor, piping shepherd and a lady gardener (Est. plus 21% premium inc. VAT)
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