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Click here to subscribe§ ALBERTO MORROCCO R.S.A., R.S.W., R.P., R.G.I., L.L.D. (SCOTTISH 1917-1998) CLOWN WITH LUTE AND PIGEON With artist's label to frame verso, oil on board Dimensions:48.25cm x 61cm (19in x 24in) Provenance:Exhibited: The Scottish Gallery, Edinburgh, Alberto Morrocco: New Paintings, Festival Exhibition, 9 August - 4 September 1996, no.32
Mid 17th century embroidered stumpwork panel, depicting Orpheus playing his lute to the mystic animals, the ivory ground with small bead embellishment finely embroidered in coloured silks and metal threads with a robed figure standing atop a hill before an oak tree, beneath a sky with sun, clouds and birds in flight, flanked by palaces, the left embroidered with 'M B', and surrounded by animals and insects, including a unicorn, elephant, lion, monkeys, fox and deer, flanked by fruiting trees with stylised pomegranates and acorns, 38cm x 51.5cm, in later giltwood frame under glass, modern handwritten label verso identifying subject
A MEISSEN PORCELAIN PASTORAL GROUPCirca 1745-50 Modelled by J.J.Kaendler, as a young woman seated playing the lute, a gallant standing beside holding a flower posy in each hand, a recumbent lamb on the flower encrusted base, 13.75cm high, with later gilt-metal stand with porcelain flowers, overall height 27.5cm (2)Chip to the man's black bow in his hair. Restoration to fingers of right hand. Small chip to her puce bow on bonnet. Some restoration to branch of tree an to the leaves, Small restoration to the tips of her fingers of right hand. Some restoration and chips to applied flowers and leaves around the base. Some small losses to the flowers on the gilt-metal standProvenance: The Late Lady Williams of Elvel (1929-2023) See Bellmans website article for further details
Caravaggist der ersten Hälfte des 17. JahrhundertsDER LAUTENSPIELERÖl auf Leinwand. Doubliert.130,5 x 107 cm.In ornamental reliefiertem Rahmen.Um einen angedeuteten Tisch gruppiert vier Figuren, von denen die jüngste den Betrachter direkt anblickt. Das rote Gewand des Lautenspielers korrespondiert mit der roten Kopfbedeckung des stehenden Geharnischten, der den rechten Bildrand einnimmt und lässt an die Nähe zu Theodor Rombouts denken, der auch thematisch für das hier angebotene Werk Pate gestanden haben dürfte. (1381532) (3) (13)Caravaggist, first half of the 17th centuryTHE LUTE PLAYER Oil on canvas. Relined.130.5 x 107 cm.
Hugo Charlemont, 1850 Jamlitz, Mähren – 1939 WienBLUMENSTILLLEBEN MIT KRUG UND LAUTEÖl auf Leinwand. Doubliert.120 x 66,5 cm.Verso: Etikett des Auktionshaus im Kinsky sowie Austellungsetikett von „The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center.“.Vor einem dunklen, uniformen Hintergrund steht eine große, mit Blumen gefüllte Vase, die sich durch eine farbenfrohe Palette vom Rest der Komposition abhebt. Auf dem mit einem roten Tuch bedeckten Tisch liegen eine Laute und ein Glaskrug, ebenso wie ein weißes Tuch. Charlemont gilt als traditioneller naturalistischer Maler, der den Einflüssen des Impressionismus nahe stand, dabei aber seinem kanonischen Stil von Landschaften, Portraits und Stillleben treu blieb.Provenienz: Sotheby‘s London, 19.6 Juni 1985, Lot 159.Privatbesitz, Wien.Leon Botstein (Hrsg.), Linda Weintraub (Hrsg.), Pre-Modern Art of Vienna 1848-1898, New York 1987, S. 115 mit Abb.Ausstellung:Pre-Modern Art of Vienna 1848-1898, The Edith C. Blum Art Institute of Bard College, Annandale-on-Hudson, New York 1987, mit Abb. auf S. 115 des Ausstellungskatalogs. (13810516) (10)Hugo Charlemont,1850 Jemnice, Morivia – 1939 ViennaFLOWER STILL LIFE WITH JUG AND LUTEOil on canvas. Relined.120 x 66.5 cm.Exhibition label from “The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center”.
Harry Clarke RHA (1889 - 1931) Hilda Luvia – Lady playing a theorbo Watercolour and pencil, 34.5 x 27.5cm (13½ x 10¾") Signed and dated 1921Provenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea, residence of H.E. The Ambassador of Australia), thence by descent to the current owners.Harry Clarke, perhaps most famous for his intensely coloured jewel-like stained glass and for his dramatic black & white illustrations and graphic work, could also, with consummate ease, create delicate pastel-coloured images such as this illustration. Although the colour palette may be less familiar, the exquisite drawing of the delicate female musician has all the hallmarks of Clarke’s finesse. It is thought that this pencil and watercolour image dates to c.1921 and may have been submitted to Hodder and Staunton, though ultimately not used, for the Fairy Tales of Charles Perrault (1922), a publication for which Clarke provided twelve colour plates. The watercolour was exhibited at the sixth exhibition of the Arts and Crafts Society of Ireland in September 1921 and was jokingly titled, in Joycean mode, Hilda Luvia. The leading authority on Clarke, the late Dr Nicola Gordon Bowe, interviewed the artist’s friend, Victor Wood, who explained that the title was derived from an incident when Clarke, walking across Butt Bridge, saw a barge tied up below with the inscription ‘Hilda I Luv Yer’ painted on her side. The title of the drawing is a blend of this with ‘Anna Livia’, the river’s familiar Dublin name, which reflects not only Clarke’s irreverent sense of humour but also his ease with combining disparate references – something that is apparent in the imagery of the watercolour itself. Clarke depicts the musician in a vast skirt which occupies a third of the picture, its volume rivaling the mountain peaks behind. The floral details on the skirt’s fabric recall the designs he had made for sets of handkerchiefs commissioned by Sefton’s of Belfast a few years earlier. The musician is shown playing a theorbo, a member of the lute family which was popular during the Baroque music era (1600–1750) as part of a small basso continuo group or as a solo instrument as depicted here. While the instrument may be associated with the Baroque period, the style of skirt came into fashion in the eighteenth century, and the bobbed hairstyle more common in nineteenth or twentieth century though notably the unevenness of the hair cut is at variance to the sophistication of her costume. In the background one can see a fairy tale hilltop town with ogee domes and spires, but the spindly, bleak tree hints at the orient with its Japonisme style. This illustration shows Clarke in eclectic mode, happy to draw on a range of sources, influences and eras, and whip them into a delicate confection. Dr David Caron November 20231. See Bowe, Nicola Gordon, Harry Clarke, the Life and Work 2015 ed.), p. 192. 2. Recounted to Nicola Gordon Bowe by Victor Wood in 1976 (Albert Wood, father of Victor, had bought the picture at Clarke's London exhibition in 1925). See Bowe, Nicola Gordon, Harry Clarke, the Life and Work (2015 ed), p. 344.
Peter Hammill (Van der Graaf Generator) - Studio used nine course lute by Andy Manson, Devon, labelled 'A.B. Manson, December 1974', within fitted hard case *Commissioned by Charisma records owner and VdGG manager Tony Stratton Smith for Peter Hammill. Bearing a dedication plaque to the fourth fret position inscribed 'For Peter Hammill T.S.S 1974'; Peter states 'based on the year made, it might have been to celebrate 'The Silent Corner'. A very kind and generous thought but to be fair, I was never going to be much cop as a lutenist. It did have a starring role on 'Yoga', from “Over”, where I tuned all the bass strings to D and recorded it at both normal and half speed to produce a glorious racket.'
Seltene Figur "Amor als Minnesänger mit Laute". OriginaltitelAuf profiliertem, marmorierten Rundsockel mit naturalistischem Terrain stehender Amor mit Federkappe und Umhang, die Laute spielend. Polychrome Malerei mit Goldstaffage. Entw. Heinrich Schwabe. Modell-Nr. L 124. Rest.; Schwertermarke. H. 19,5 cm.A rare porcelain figure of cupid with lute as minstrel. Restored. Crossed swords mark.Meissen. Um 1900.
(Prose, poetry and early 20th century decorative printing) Ten works. Ralph Waldo Emerson. 'Nature,' Roycrofters binding, full brown suede with blind stamped title to front wrap, title page with stylised woodcut tree and red ink underlining to text, woodcut headpieces, some spotting throughout, pp.91, good, Elbert Hubbard, 1905; J. R. Aitken. 'In a City Garden,' first edition, full green suede wraps with blind stamped title, colour plates pasted in, a vg copy, T. N. Foulis, London & Edinburgh, 1913; M. Aumonier. 'Gardens in Sun and Shade,' 7th impression, 1928; 'The Garden of the Nightingale,' 5th and 6th impressions; All thin card wraps with colour illustration past to front; 'The White Rose Anthology,' ivory card wraps with gilt embossed title, Decorated by Joseph W. Simpson, T. N. Foulis, Edinburgh, [1903]; C. Lovat Fraser (illustrator). 'The Lute of Love,' decorative card wraps with paper labels, woodcut head and tilpieces throughout, pp.66, vg to fine, Selwyn & Blount, London, imprint of The Curwen Press, Plaistow, [no date although ink inscription to from free endpaper is dated 1920]; With three other illustrated works including a spineless yet highly decorative 'Poems of Pleasure' by Ella Wheeler Wilcox. (10)
A large 19th century Meissen porcelain figure, from the 'Emblematic of the Senses' series, after models by Kändler and Eberlein, modelled as a classical female figure, 'Hearing', with lute and accompanied by putto and stag, on a rococco style base, 29 cm high.Old repair to the anters. Marks and discoloration throughout. Gilt loss to the brass horn. No other major damage evident. Would benefit from a careful clean.
2 Skulpturen aus Ahorn: Flötenspieler und Lautenspielerin mit Poliment-Blattgoldfassung. Geschnitzt im Jahr 2000 in der Holzschnitzerei Tannheimer im Allgäu, dort erworben zum Kaufpreis von 750.-€. Zertifikat anbei.| 2 sculptures made of maple: Flute player and lute player with poliment leaf gold mount. Carved in 2000 in the wood carving workshop Tannheimer in Allgäu, acquired there for the purchase price of 750.-€. Certificate attached.
A late Victorian silver cosmetics canister, mark of Henry Matthews, Chester 1900, of cylindrical form, the side with repeating repoussé panels of a gentleman with a lute entertaining two ladies between scroll and folate surrounds, part marked friction fitting cover similarly decorated, gilded interior, 6cm diameter, 8cm high, 3.5ozt
Robert Goodloe Harper Pennington, American 1854-1920- An interior with a seated lady playing a lute; oil on panel, bears old inscribed label attached to the reverse, 28.3 x 23.5 cm. Provenance: Private Collection, UK (by descent). Note: Pennington was a successful society portraitist. He was initially a pupil of Jean-Léon Gérôme (1824-1904) at the École des Beaux-Arts in Paris. While visiting Venice in 1880, he met and stayed on to study with James Abbott McNeill Whistler (1834-1903) which had a significant impact on his subsequent work. His sitters included Oscar Wilde (1854-1900) in a full-length portrait for a wedding present for Wilde and his wife Constance, and the future Edward VII (1841-1910), who he painted a number of times when Prince of Wales. The subject of the present work, depicting a lady in historical dress and playing a lute, is a slight departure for the artist, who is best-known for his portraits of contemporary sitters. Its handling, however, is typical of Pennington's studies, and exhibits his significant skill in depicting the sitter's graceful form and the smooth texture of her skin.
RARE MEISSEN ANTHROPOMORPHIC PART TEA SERVICE LATE 18TH CENTURY the cups and saucers of wrythen and basket weave moulded form; each piece painted to the centre with a humorous vignette of an animal engaged in various pursuits, such as a cat washing laundry, a fox carrying two baskets containing ducks and eggs, a kitten playing a lute to dancing mice etc.; all within a trellis border issuing sprays of flowers; with purple scale ground decoration to the gilt edged rims; comprising a teapot with matched cover, five saucers and three tea cups; underglaze blue crossed swords marksDimensions:teapot 11.5cm high, saucers 13.5cm diameter, cups 17cm highProvenance:Provenance: Property of the late Mrs. Jean BogieNote: The anthropomorphic scenes on the porcelain in this group relates to a tradition of decoration inspired by characters in fables by writers such as Aesop and La Fontaine, which had been translated into prose by the 18th century in Germany and which would have circulated widely in educated society. The scenes were intended to point out the foibles of humanity and would have been humorous to an 18th century audience, who would have recognised the references to popular fables. The activities of the animals depicted are quite curious and specific and likely relate to a particular fable source. Anthropomorphic services created at Meissen are rare and few are in existence.
A group of three Meissen porcelain figures,early 20th century, the first modelled as a boy with a flower pot, the second and third modelled as musicians, playing the bassoon and the lute, incised and painted marks,tallest 13.5cm together with a Meissen 'Onion' pattern comport,with a pierced top, painted and incised marks,26cm wide24cm high (4)Condition ReportFigures with losses to the flowers. Comport top and bottom slightly loose.
Anna Meszaros Hungary - three hand made needlework figurines - 'The Cobbler' as a child seated in a wooden rocking chair working on a removed boot H28cm; young girl in a long floral dress standing playing a harp H35cm; and young girl wearing a blue tabard standing playing a lute (3) Auctioneer's Note: Anna Meszaros came to England from her native Hungary in 1959 to marry an English businessman she met while demonstrating her art at the 1958 Brussels Exhibition. Shortly before she left for England she was awarded the title of Folk Artist Master by the Hungarian Government. Anna was a gifted painter of mainly portraits and sculptress before starting to make her figurines which are completely hand made and unique, each with a character and expression of its own. The hands, feet and face are sculptured by layering the material and pulling the features into place with needle and thread. She died in Hull in 1998. Condition Report:Good condition.
Hand carved figure of a little girl playing the lute with a bird chirping at her side. Hand painted item. Anri backstamp. Artist: Juan FernandezIssued: c. 1980 - 1987Dimensions: 2.75"L x 2.75"W x 6.25"HEdition Number: 1113 of 2250 Manufacturer: AnriCountry of Origin: ItalyCondition: Age related wear.
A set of 6 frosted crystal figures that depict characters from Julia's World and one figure is a clear crystal bench. The 6-character figures are, Julia, Lena lying down, Mopsy the dog, Pepi with a drum, Lena that can sit on the bench, and Lena with a lute. Comes with two Julia's World story books, Christmas and Lena and Pepi. Swarovski backstamp. Dimensions: 1.5"L x 1"W x 2.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
A RARE BLACK LACQUER AND MOTHER-OF-PEARL-INLAID DOCUMENTARY PIPA17th centuryThe musical instrument of elongated tear-drop shape, the finely-grained wooden belly decorated in gilt with a pair of birds and gnarled branches of prunus and bamboo, rising to a long shaft with four strings leading to four tuning pegs on the sides of the bent-back pegbox inlaid in mother-of-pearl with a rooster on a rock with crashing waves, the reverse of the body lacquered black and decorated in mother-of-pearl with two figures gazing at three tall rocks across the sea, a large cartouche with long calligraphic inscription below, Japanese wood box and cover. 91cm (36in) long. (3).Footnotes:十七世紀 黑漆嵌螺鈿花鳥人物紋詩文琵琶Provenance: R.H.van Gulik (1910-1967), and thence by descent來源：高羅佩（1910-1967）舊藏，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday, he also learnt to play the guqin. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Although van Gulik is most well known as a musician of the guqin, he was interested in Chinese music and musical instruments in general. The pipa, or Chinese lute, was introduced from Central Asia during the Han dynasty, and gradually evolved within different areas of China since the Tang dynasty. The term 'pipa' describes two original playing motions of the plectrum held in the performer's right hand: pi is 'to play forwards' (towards the left), and pa, 'to play backwards' (towards the right). The pipa was originally held horizontally, and its twisted silk strings were plucked with a large triangular plectrum until the end of the Tang dynasty when musicians began using their fingernails to perform the more exuberant music; see for example, the painting The Night Revels of Minister Han Xizai, attributed to Gu Hongzhong (10th century), in the Palace Museum, Beijing, which shows a lady holding the instrument horizontally with a plectrum. To make it easier to use fingers, the instrument began to be held in an upright position which slowly became the beipa (northern pipa).However, the concept of early horizontally-held pipa was preserved in Nanyin music. Nanyin, also Nanguan, literally 'southern pipe' music, is popular in the Minnan area (southern Fujian Province) from whence it spread to Taiwan and other Southeast Asian countries. Minnan musicians are tempted to assign the origins of Nanyin music to the Tang and Song dynasties, which to a certain degree can be supported by the the survival of many archaic features, such as the tradition of horizontally held pipa. The music today is seen by academics as primarily part of an amateur tradition with ancient historical roots, that is played both for the musicians' own entertainment and occasionally for ritual practice and storytelling. the present lot's relatively small size may indicate that it is a Nanyin pipa. Pipa is the leading instrument in Nanyin music, accompanied by pai (wood clapper), erxian (two-stringed fiddle), sanxian (three-stringed lute), and xiao (vertical flute, also called dongxiao). Although a Nanyin pipa preserves some features of types of pipa from the Tang dynasty, its modern form appears to have been finalised no later than the Ming dynasty. Compare with a pipa in the Metropolitan Museum of Art, New York, late 16th/early 17th century, illustrated by J.K.Moore, J.K.Dobney and B.Strauchen-Scherer, Musical Instruments: Highlights of the Metropolitan Museum of Art, New York, 2015, pp.48-49, fig.II. The backs of pipa are usually plain since it is unseen by an audience, but the extraordinary pipa in this lot is decorated and has an inscription, which reads as:予家小築小溪灣，漁父村西指顧間。竹槿編篱依綠水，柴荊成戶對青山。有時□釣歸明月，盡□看雲坐翠鬟。倘肯杖藜過曲徑，新茶堪煮荀堪刪。吳趨陳衷並書Which may be translated as:My little hut is built on the bay of the creek, the fishermen live only a stone-throw away to the west. The bamboo and hibiscus woven into the fence is by the green waters, the gate formed by firewood trees faces the green hills. Occasionally, I come back from fishing accompanied by the moon, and watch the clouds curling up on the verdant hills like ladies' hair buns. If you could walk through the winding road on a crutch (to my home), the fresh tea could be boiled, and bamboo sprouts could be chopped for you.Written by Chen Zhong of the land of WuThe seal reads: 字能坦, 'Courtesy name Nengtan.'Chen Zhong (陳衷), courtesy name Nengtan (能坦), was a scholar active in the late Ming and early Qing dynasties. Very little is known about him. However, the inscription alludes to many of the eremitic ideals of the literati including a life away from the perils of the Court and dedicated to fishing, tea, and meeting with friends.Compare with a related black lacquer and mother-of-pearl-inlaid pipa, late Ming/early Qing dynasty, which was sold at China Guardian, Beijing, 7 June 2021, lot 5184.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 WOODBLOCK PRINT OF LADIES AND BOYCirca 1750-1800 Ink and colours on paper, depicting a boy carrying a blue vase issuing a cloud with five bats, behind him an elegant lady sits beside a table, her sleeves decorated with orchids, her left hand raised, behind her another elegant lady stands before a table with vases and antique vessels, collector's seal of van Gulik. 96cm (37 3/4in) long x 46.5cm (13 1/2in) wide.Footnotes:約1750-1800，版畫美人嬰戲圖Provenance: R.H.van Gulik (1910-1967), acquired in 1936, and thence by descent來源：高羅佩（1910-1967）獲得於1936年，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday (the cover of the box on the present lot was written by him), he also learnt to play the guqin, of which, the present lot was said to be his favourite instrument. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Compare with two rare Suzhou prints of ladies with children, 18th century, which were sold at Bonhams New York, 10 September 2018, lot 216. See also a rare set of three Suzhou prints, Qianlong, by Guan Ruiyu, which were sold at Bonhams London, 5 November 2020, lot 128.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 Safavid illustration from a manuscript depicting an outdoor celebration, Iran, early 17th century, ink and opaque pigments on paper heightened with gold, amidst flowers, a cherry tree and pink rocky landscape a group of revellers are depicted playing the tambourine, lute and saz and drinking and eating, one man having drunk too much is seen nibbling the toes of another who attempts to read a book, a illuminated header above with blank cartouche space, below lines of black nasta'liq text arranges in four columns, mounted, glazed and framed, 32.6 x 21.5cm. Provenance: Private Collection, UK
Jean-Léon Gérôme (French, 1824-1904)The lute player signed and dated 'J.L. GEROME/1858' (centre left)oil on canvas 41 x 29cm (16 1/8 x 11 7/16in).Footnotes:ProvenancePossibly, Gustave Arosa, Paris (by 1858; acquired from the artist).Georges Muller, Paris (by 1938).Private collection, Paris.Private collection, Greece (by 1966, as The Mandolinist); thence by descent.LiteraturePossibly, Catalogue de Paris, 1883, unpaginated sheet between pp. 20-21 (as Un Arnaut and belonging to Gustave Arosa, Paris, by 1858).We are grateful to Dr Emily M. Weeks for her assistance in cataloguing this work, which will be included in her revision of the artist's catalogue raisonné by Gerald M. Ackerman.Jean-Léon Gérôme made his first trip to Egypt in 1856 and works featuring the Arnauts entered his oeuvre almost immediately. Like Bashi-Bazouks, Arnauts were irregulars in the Ottoman army, normally coming from Albania and the Balkans and were deployed across the Empire, including in Cairo. After Egypt gained independence from Turkey, there were evidently many of them in the city who earned a living by various jobs: as guards, animal keepers, and models for foreign painters.The present work is a remarkably direct and engaging portrait, there is no story behind the scene which represents a purely ethnographic portrait and is a brilliant example of Gérôme's attention to detail in this genre. The Arnauts are instantly recognisable by their white pleated skirts to which Gérôme pays close attention here. The expert handling of the multitudinous pleats sees them fall naturally over the figure's folded legs, the bright white of the fabric becomes a source of light in the composition, the contract between light and shadow being exquisitely portrayed. Similar attention is paid to the red silk sleeves and the deep, warm colours of the headdress which echo the bronzed skin of the figure's bare chest and face. These fabrics are a prominent source of colour in composition, bringing the figure out of the background and emphasising the importance Gérôme places on the figure. Gérôme depicted Arnauts in all types of setting, relaxing and smoking, playing music and dancing, going about their duties, and enjoying off-duty. Here however, the figure is portrayed in a modest, plain interior, with just subtle changes in tone giving shape to the room. The focus is exclusively on the confident, assertive pose. He is accompanied with the basic accoutrement which may be expected of a soldier, an instrument, pipe and rifle. Gérôme still gives due attention to the objects, delicately painting the silver butt of the pistol, the glinting brass of the hookah and the blue highlights of the lute. The result of Gérôme's loving attention to detail and masterful handling is a powerful yet intimate portrait of a subject which, in 1858, he was just becoming familiar with.For further information on this lot please visit Bonhams.com
Große Figur: Dame in altdeutscher Tracht. Meissen. 1885-1923. Modell-Nr. N 164. Höhe: 34 cm. Modell von Johannes Daniel Schreitmüller 1885. Pendant zu Modell-Nr. N 165 "Sänger mit Laute". Farbig bemalt, gold staffiert. Ritzmarke, Pressmarke, Malermarke, Schwertermarke. Spitzenbesatz bestoßen, eine Hand, Schleife restauriert, im Sockel kleiner Brandriss. Schreitmüller, Bildhauer, studierte an der Kunstgewerbeschule in Dresden, Professor und Vize-Direktor an derselben * Partnerauktion Bergmann. Literatur : Bergmann (2018) Katalog-Nr. 2336. Provenienz : Hessische Privatsammlung. Aufrufzeit 27. | Okt 2023 | voraussichtlich 11:52 Uhr (CET)Great figure: lady in old German costume. Meissen. 1885-1923. model no. N 164. Height: 34 cm. Model by Johannes Daniel Schreitmüller 1885. Pendant to model no. N 165 "Singer with lute". Colorfully painted, gold painted. Incised mark, press mark, painter's mark, sword mark. Tip trim bumped, one hand, bow restored, in the base small burn crack. Schreitmüller, sculptor, studied at the School of Applied Arts in Dresden, professor and vice-director at the same * Partner auction Bergmann. Literature : Bergmann (2018) catalog no. 2336. Provenance : Hessian private collection. Call time 27 | Oct 2023 | expected 11:52 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lautenspielerin Käthe Hyan. Meissen. 1912-1923. Modell-Nr. V 143. Höhe: 25,5 cm. Modell von Erich Hösel 1912. Käthe Hyan, 1876-1958 Kingston, Berliner Kabarettsängerin, Gattin des Schriftstellers Hans Hyan. Farbig bemalt, gold staffiert. Unglasierter Boden, Ritzmarke, Pressmarke, Malermarke, Schwertermarke. Arme, Gitarre, Taille, Brustier restauriert. Hösel, Bildhauer, studierte an der Akademie in Dresden. 1899-1903 Lehrer an der Akademie in Kassel, 1904 Professor. 1903-1929 an der Manufaktur, 1912 Gestaltungsdirektor * Partnerauktion Bergmann. Literatur : Bergmann (2010) Katalog-Nr. 550. Provenienz : Hessische Privatsammlung. Aufrufzeit 27. | Okt 2023 | voraussichtlich 12:08 Uhr (CET)Lute player Käthe Hyan. Meissen. 1912-1923. model no. V 143. Height: 25.5 cm. Model by Erich Hösel 1912. Käthe Hyan, 1876-1958 Kingston, Berlin cabaret singer, wife of the writer Hans Hyan. Painted in colors, painted in gold. Unglazed base, incised mark, pressed mark, painter's mark, sword mark. Arms, guitar, waist, breastier restored. Hösel, sculptor, studied at the Academy in Dresden. 1899-1903 teacher at the Academy in Kassel, 1904 professor. 1903-1929 at the manufactory, 1912 design director * Partner auction Bergmann. Literature : Bergmann (2010) catalog no. 550. Provenance : Hessian private collection. Call time 27 | Oct 2023 | expected 12:08 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A group of seven charms and a stick pin, 19th century, comprising: five mother of pearl charms including a lute, a bag, two wicker baskets, a boot and a wagon, longest 3.2cm; together with a jasper vinaigrette pendant; and a mother of pearl and turquoise stick pin designed as a dragoon's helmet, length 8.3cm
A GROUP OF CERAMIC FIGURES, comprising a Nao figure of a minstrel with lute, model no 1078, a John Beswick Lying Border Collie, a Royal Doulton figure of a grey Persian cat walking, a Royal Dux tiger height 16.5cm x length nose to tail 38.5cm, a Midwinter figure of a terrier, a pair of magnetic 'kissing' West Highland White terrier salt and pepper pots, an Aynsley Wild Tudor owl figure (8) (Condition Report: generally ok, Nao figure has a repair to lute and hand, salt and pepper pots have chips, Midwinter dog has crazing, all would benefit from a clean)
Rosenthal Überbrettl - Chansonnette mit Laute, Rudolf Marcuse, chansonnette with lute,Porzellan, grüne Firmenmarke, Entwurf von Rudolf Marcuse (1878-c.1930/40) um 1913, betitelt "Überbrettl" - nach dem Berliner Kabarett, H 42,5 cm x B 26,5 cm x T 15,5 cm, linker Daumen und Wirbelkasten rest.
A large pair of 19th century hand-decorated German porcelain figures: male and female in early-style dress, the male with a lute and the female with a feather fan in her left hand, each on circular and triform base decorated in relief with volutes and foliate scrolls, faux blue-painted crossed swords and impressed '18' to underside. (34 cm high)
An early 19th century Swiss gold and enamelled musical snuff boxby Joly, Chenevard & Jouvet, Geneva circa 1815Rectangular, the cover chased with a central octagonal panel depicting musical trophies including a lute, a French horn and a harp beside a vase, heightened and framed with blue enamel on an engine-turned ground of waves and quatrefoils within a border of vases, ribbons, and acanthus with paterae spandrels, the sides with similar wavy and quatrefoil panels separated by lozenge quatrefoil pilasters, the 55mm cylinder musical movement playing two airs on a sectional steel comb of 52 teeth, length 8cm.For further information on this lot please visit Bonhams.com
A collection of Staffordshire pottery, flatback figures, and ornaments, 18th - 20th centuries, comprising: a portrait figure of the Irish political leader Daniel O'Connell, modelled standing with hand rested on a blue cloth draped plinth, inscribed in gilt Dan O' Connell to base, 41cm high; two King Charles spaniels, modelled seated, one gilt highlighted with yellow painted eyes and chain, the other with glass eyes, approx. 39cm and 33cm high respectively; a figure of Britannia, seated with a lion recumbent at her side, one hand resting on a shield, atop a rectangular faux marble base, 36cm high; a figural spill vase, depicting a couple embracing under a brocade, her with a musical instrument, both in blue garments, while another male hides behind the brocade with raised knife, he in pink garments, raised letters to the base THE RIVAL, 35cm high; a figural group of Paul and Virginia from the novel by Jacques-Henri Bernardin, modelled seated atop a rocky brocade, Paul with his arm around Virginia, inscribed in gilt Paul & Virginia to base, approx. 34cm high; a figural group of a country couple, modelled standing with her carrying wheat over her head and flowers in a basket under her arm, approx. 33cm high; a watch holder figural group of a couple in Highland dress, their raised hands clasping to form an arch with vine and leaf trails toward the base, approx. 31cm high; a figural spill vase of a seated gentleman wearing a hat with his dog, modelled against a brocade, raised letters to base DOG . TRAY, approx. 30cm high; a figural group of a country couple seated with their dog underneath a naturalistic tree branch canopy, approx. 29cm high; an equestrian figure of St. George and the dragon, the saint modelled with a rearing horse trampling the dragon, gilt highlighted, approx. 27cm high; a figural group of a standing gentleman and lady, he holding a top hat, she with a hat resting on her arm, her dress with purple highlights, raised letters PRINCE AND PRINCESS to base, approx. 26cm high; an equestrian figure of Queen Mary II of England, gilt highlighted with raised letters QUEEN MARY to base, approx. 26cm high; an equestrian figure of Major-General Henry Havelock, with orange headpiece and saddle, raised letters HAVELOCK to base, approx. 23cm high; and a figure of a musician reclining on a chaise lounge, holding a lute in one hand, 22cm high; together with a Spanish novelty pottery house, Valencia, modelled with two figures under a porch and blue glazed handle, 21 x 16 x 15cm; and a Spanish novelty pottery model of a flower girl seated on a bench, modelled with a handle, 27cm high, the base 20cm diameter (lot)
Late 19th/early 20th century Italian lute back mandolin with segmented back and spruce top; bears maker's label for Pietro Tonelli Napoli; together with a mandolin instruction booklet and a folding music stand L60.5cmCondition Report: Reasonable condition consistent with age and use.Uncased so a little grubby from storage.
Late 19th century Italian lute back mandolin with segmented bowl back, bears label Gennaro Maglioni Napoli L61cm; in ebonised wooden case; together with another similar damaged Italian lute back mandolin for restoration or spares (2)Condition Report: Maglioni - Crack to headstock close to joint with neck. Otherwise condition is consistent with age and use.Other - badly cracked top.
Hummel Figurine Close Harmony #336 with Temporarily Withdrawn Medallion. Close your eyes and imagine the simple strains of a folk tune, children’s voices raised in song, and the strumming of a small lute. It’s a scene that transports you to charming Bavaria! A delightful M.I. Hummel treasure, Close Harmony makes a wonderful gift for music lovers. Goebel backstamp TMK7. #goebel #hummel #figurine Issued: 1990-1999Dimensions: 3.5"L x 2.75"W x 5.5"HManufacturer: Goebel HummelCountry of Origin: GermanyCondition: Age related wear.
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