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Glazed and gilded bone china.Marston shape, with dark blue ground on the exterior, pale blue interior with "Wu Sun barbarian with Chinese lute" decoration designed by Daisy Makeig-Jones (1881-1945).Printed Wedgwood Portland Vase mark, inscribed "Z4829 F"(H: 2 1/8, Dia: 4 in.)Qty: (1)ProvenanceCollection of Dr. Ellis F. Rubin and Suzanne Borow Rubin LiteratureDes Fontaines, Una, Wedgwood Fairyland Lustre, Born-Hawes, New York, 1975, pp. 82-88Examined under UV light with no evidence of restoration. No condition issues noted.

A GROUP OF FOUR FIGURES TO INCLUDE A CONTINENTAL LUTE PLAYER, HUMMEL GIRL ETC

A 19th Century Continental porcelain figure of Catherine the Great on horseback, another of a couple gardening and a figure of a lady with a lute CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Two tapestry style panels, the first depicting Georgian scene of a gentleman serenading two ladies with a lute in a garden setting, together with a further example depicting a soiree scene with well dressed ladies and gentlemen within a foliate border, both suspended from wood poles and lined, widest W140cm H65cm

A Chinese lute or Liuqin; armadillo skin Bolivian miniature instrument with 10 strings and a 5 string mountain banjo (3)

A pair of 19th century French Louis XV style patinated and gilt bronze figural groups in the style of Clodionone modelled as standing putto playing the flute and a reclining faun holding the pipes, the other a standing putto with lute and a seated putto at his feet, both by a gilt tree stump on a scroll, mounted on cavetto moulded grey veined white marble plinth bases, (2) Height 19cmCondition: Seated putto may have held a bell in his left hand. Some rubbing and oxidation to right group. The left group has richer patination.

An early 20thC cold painted lead figure of a cat, modelled standing playing a lute, 8cm high. (AF)

French or Flemish school of the 18th century."Still life with lute".Oil on canvas.Period frame and stretcher.Measurements: 80 x 64 cm; 108 x 90 cm (frame).The still lifes with musical instruments emerged as a genre in the 17th century in all Europe, although it was in the Flemish school where it took more importance. In this still life of the French or Flemish school, the influence of Flanders is evident, but also the affinity with a genuinely French aristocratic language. A theatrical curtain is drawn back to reveal a table on which a still life of sumptuous objects rests next to a lute and sheet music. The skilful use of transparencies and glazes is expressed in the gleam of the enamel and gilt bronze of the chalice, as well as the precious stones that adorn the small jewellery box. A silver urn embossed with festoons is decorated with obsidian inlay. The candlestick, carved with masks, recalls the symbolism of candles in Baroque still lifes associated with the transience of life and vanitas. In this painting, however, moralising symbolism is subsumed by sensualist pre-eminence. All the objects rest on a draped canvas, which subtly absorbs the play of chiaroscuro. Behind the parapet, a landscape opens up in a wide atmospheric perspective: a river meanders capriciously through the valley, surrounded by promontories with peaks bluish in the evening light.

An assortment of blue and white ceramics. Including a Ridgways Turenne, a Ridgways 'Burslem Gloire de Dijon' pattern dish, Villeroy & Boch plate depicting aman playing the lute, a pair of blue and white chargers, etc

French table clock. Empire period, pps. 19th century.Gilt bronze.Movement signed "Pickard" and numbered.One hand missing.Missing pendulum and key. Machinery needs to be overhauled.Measurements: 40 x 23,5 x 10 cm.On a gilt bronze base, covered with chiselled foliage in the form of fretwork, rests the figure of a troubadour playing what must have been a lute (the instrument has been lost). The figure sits on the clock case, set within the representation of a natural rock or promontory that shelters the musician. The dial, signed by Pickard in Avignon, has Roman numerals in black on white. The hand (only one has survived) is of the Breguet type.

Attributed to Giuseppe Bonito (Castellammare 1707-1789 Naples)A seated man holding a luteoil on canvas 91.5 x 73.9cm (36 x 29 1/8in).For further information on this lot please visit Bonhams.com

An African string plucked and hide bound folk lute, 49cm high, Africa Djenbe drum, 21cm high, and a cast iron and wooden billhook, the blade stamped Nunn, 51cm wide. (3)

An Art Deco gilt metal figure of a Pierrot playing the lute, height 23cm.

A Collection of 19th Century Staffordshire Flatback Figures, and other models, including the lute player, Highlanders, spill vases, bocage groups etc (two shelves)From the Estate of Stephen Hamilton Rawlings, Scarborough.

1882 antique Victorian silver embossed pin dish depicting musician playing lute to 2 ladies + a dog by Frederick Brasted - 14.5cm & 63g ~ has some surface wear

Five boxed Swarovski pieces including Violin, Saxophone, Grand Piano and Stool, Harp and Lute plus stand

A collection of twelve limited edition Royal Doulton 'Lady Musicians' figures; to include: Chitarrone HN2700; Cello HM2331; French Horn HN2795; Dulcimer HN2798; Cymbals HN2699; Harp HN2482; Lute HN2431; Violin HN2432; Hurdy-Gurdy HN2796; Flute HN2483; Viola d'Amore HN2797; Virginals HN2427, all boxed (10 red, 2 green), sizes varying between 16cm and 20cm (12)Good condition to all figurines, but some wear to the boxes consistent with age.

Collection of Lladro Angels, comprising No. 5728 'Angel Dreaming', No. 4340 'Angel with Flute', 'Angel with Lute', No. 4539 'Angel Reclining', No. 5724 'Angel with Songbook', 'Angel Dreaming', No. 5726 'Angel Sweeping'.

NAO; a collection of five ceramic figures to include 'The Bride and Groom', height 26cm, a boy dressed as a Pierrot and another boy with a lute, with a further Nao figure of a maiden with a hat, with a Murano glass figure of a clown, Royal Doulton vases, etc.Nao figures in good condition, the tallest with the pale green hat perhaps a few slight grazes to the edge of the hat, the small figure of the lady in a blue striped dress is broken and glue repaired.

THREE OAK FIGURAL TERMS 17TH CENTURY comprising a pair carved with cherubs, one playing a lute the other reading a book, the other with a figure of Bacchus holding a grapevine, together with a carved oak panel depicting St George and the dragon, the back with a printed paper label inscribed "Port de Tabernacle" and an Italian walnut carving of a cherub amongst scrolling leaves and a grotesque mask 67.2cm high max (5)

A TORTOISESHELL MINI LUTE

A Pearlware Figure, circa 1820, modelled as a lady playing a lute on a square base titled "Mate"22cm highAnother ExampleA Similar Figure of a Harvester19cm highSix Various Pearlware Figures (9)Mate - restored neck, arms and lute. Some overspray to the reverse stump.Mate - some repair to brim of hat. Crazed.Mower - repair top handle of scythe and to a section of the rear of the base. Crazed.Seated man with birds nest - repair to the tree and left arm. Crazed, some staining.Archer - brim of hat re enamelled. Tip of bow restored. Crazed and with some staining.Girl with watering can - broken in two and restored, spout of watering can and end of tree stump restored. Four base chips and a small crack.Hope - restoration to the anchor and around the base. Heavy glaze pitting.Girl with chicken - broken in three and glued.Girl collecting flowers - restored at the neck. Slight chipping to the base.

Four Lladro and Nao figures, angel with lute, polar bear cub and ducks.

MINIATURE METAL FIGURINES - cast bronze of a girl with books, 7.5cms H, angel playing the lute, 14cms H, brass Scottie dog, 7cms L, ETC

Rare Arundel Club London 1911 - Annual subscribers part print collection(14 of 20 present). Eighth Year of Publication. Included are No. 1 - Andre Del Verrocchio(Florentine School 1435-1488) 'Madonna and Child' Otto Guterkunst collection, No. 2 - Cosimo (Florentine School 1439-1507) 'Catherine of Siena Delivering the Rule to the Sisters of the Second Order of the St. Dominic' National Gallery of Scotland, No. 3 - Mariotto(Florentine School 1474-1515) Somers collection, No. 4 - Lorezo Lotto(Venetian School 1480-1555) Somers, No. 5 - Jacopo 'Tintoretto' (Venetian School 1518-1594) 'The Baptism of Christ' Somers, No. 6 - Giovanni Battista Tiepolo(Venetian School 1692-1769)'The Building of the Wooden Horse' F.A. White, No. 7 - Giovanni Battista Tiepolo(Venetian School 1692-1769) 'Entry of the Trojan Horse to Try' F.A. White, No. 8 - Domenico 'El Greco' Theotocopuli(Spanish School 1548-1625) 'Genre Picture' Carfax & Co., No. 9 - Josef Ribera(Spanish School 1588-1656) 'The Geographer' Mrs. Baillie Hamilton, No.10 - Francisco Jose De Goya Y Lucientes(Spanish School 1746-1828) 'Dona Antonio Zarate' Otto Beit, No. 11 - Paulus Van Somer(Flemish School 1576-1621) 'Duke of Richmond & Lenox' Duke of Norfolk, No. 13 - Jan Van Bylert(Dutch School 1603-1671) 'Portrait of a Man' Somers collection and No. 14 - Frans Hals(Dutch School 1580/1-1666) 'Lute Player' Otto Beit, No. 17 Sir Joshua Reynolds P.R.A.(English School 1728-1792) 'Lady Decies & Child' collection of Otto Beit. Prints are in generally excellent condition, the paper covers have wear and marks, remnants of the outer card wallet remain. NOTES - From 1904 The Arundel Club did an annual series of reproductions taken from Old Masters paintings. Paintings mostly from private collections. Each year they produced around fifteen to twenty. Protective paper cover, printed titles and housed in paper folder detailing contents. Distributed to it's members.The Arundel Society Notes - Founded in London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles. Originally the idea of the lawyer Bellenden Ker. The society was discontinued in 1897 and it would be seven years before the 'Club' was formed. Also known as "Arundel Society for Promoting the Knowledge of Art"

A collection of antique jewellery, including a micro mosaic brooch of a lute, a carved bone stag brooch, a hand painted porcelain plaque pendant, a silver and enamel rose brooch and other jewellery. H.3. W.15 D.10cm.

Early 20th Century Neapolitan eight-string lute back mandolin , bearing label for Pietro Antonelli E Figlo, with mother-of-pearl panelled finger board, butterfly decoration to soundhole and fluted back L61cm; in carrying caseCondition Report:Reasonable condition consistent with age and use and slightly grubby from storage.Lacking two stringsCase has bird dropping stains from being stored in an attic.

Maurice Vincent Ongar Ireland 17-string lute with segmented maple back, cedar top with Celtic style pierced sound hole and ebony veneer neck L104cm; in custom-made shaped caseCondition Report:Generally in reasonably good condition consistent with age and use, just a little grubby from storage.

Pieter vander Borcht, Joannes Wierix, Assumption of the Virgin Mary. / Description: Assumption of the Virgin Mary in an ornamental frame. surrounded with music playing angels, lute and harp, . Engraving after Pieter van der Borcht (1530-1608) made by Jan Wierix (1549-1620) for "Humanae salutis monumenta" a rare emblem book published ca 1571,in Antwerp. References: Hollstein Dutch 56-1(3) First state. Here with the ornamental border engraving with flowers. No references found of this combination. Very rare. This was first a book illustration , which later is printed separately. In excellent condition. Printed on thin laid paper with 1 mm margins. Very good dark strong early impressions. One of the best that exists. Text in Latin printed on the back. / Dimensions: 16,7 cm x 10,6 cm / Condition: In excellent condition. Printed on thin laid paper with 1 mm margins. Very good dark strong early impressions. One of the best that exists. Text in Latin printed on the back. / Literature: Hollstein Dutch 56-1(3) First state / Medium: engraving with ornamental engraving /Circa: 1571

Jacques Callot : Grotesque lute player and dancing woman / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number. Two grotesque figures, with, on the left a stout, bespectacled woman dancing and, facing her, a bespectacled man playing lute. c.1621 Etching made by Jacques Callot. / Dimensions: 5,50 x 7,90 cm / Condition: A very good impression of the first state, complete with full plate border and small margins on laid paper. Small remains of former album tipping on the backside. Excellent condition. / Literature: Lieure 1927 / Jacques Callot (461.I) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (839.I) / Medium: Etching /Circa: 1621

Wenceslaus Hollar - The Lute player with the Nun - Holbeins Dance of death / Description: An early state from Hollbein's Dance of Death, etched from two separate plates, but already wit hthe monogram of Hollar and Holbein in the plate. The Nun; a young woman kneels before an altar in a bedroom, but is looking around to the right where a young man sits on the bed playing a lute; behind her Death is about to extinguish a candle on the altar; in architectural border, with bearded and winged man with hour glass and scythe on the left, and a woman holding a serpent with tail in its mouth on the right; draped coffin at top and lying skeleton at bottom; after Hans Holbein the Younger; the border from a separate plate after Abraham van Diepenbeeck; first state. 1651. Etching, from two plates made by Wenceslaus Hollar, After: Abraham van Diepenbeeck (border) and Hans Holbein the Younger (subject). Beneath the border Ab. Diepenbecke inv. W.Hollar Fecit / Dimensions: 11,50 x 9,40 cm / Condition: Good impression on laid paper trimmed outside the borderline leaving small margins. Tiny defect to left corners. Tipped with top side on a support sheet. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1156) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (233A) --- From a series of thirty plates after Hans Holbein the Younger, with borders by Abraham van Diepenbeeck; see New Hollstein pp.170-171 and Pennington pp. 28-31 for detailed descriptions of the series, and New Hollstein 1126-1158 and Pennington 233-266 for the plates. / Medium: Etching /Circa: 1663

* TO BE SOLD WITHOUT RESERVE *A CHINESE BLUE AND WHITE PORCELAIN ‘MUSICIANS' DISH, QING DYNASTY, KANGXI PERIOD, 1662 – 1722清 康熙 西洋人物奏樂圖紋碟 Painted with a central European subject of three musicians seated around a table, a lady playing a zither, two gentlemen accompanying on a flute and lute, all within a lotus-panelled border with classical Chinese landscape scenes, the underside with bamboo spraysDiameter: 34cmThis rare dish is copied after an engraving by Nicolas Bonnart (1646 - 1718) and drawn by his brother Robert Bonnart, entitled ‘Symphonie du Tympanum, du Luth et de la Flute d’Allemagne’. A dish of this design is illustrated and discussed by David Howard & John Ayers, China for the West, Vol I. p.77, pl. 345 and sold Sotheby’s New York, 19th October 2000, lot 93. For other examples, see Christie’s New York, 23rd January 2012, lot 406 & 407, sold for $17,500 and $20,000 and RM Auctions, 31st October 2020, lot 288, sold for 15,937.50 euros (including premium)Condition ReportThis large and impressive dish has some burst glaze bubbles to the interior, five hairline rim cracks (circa 3, 4, 4, 4 and 5.5cm long), the longer crack with associated over-painting to the interior and exterior, a circa 5cm wide area of restoration to the rim, and light glaze crazing to the interior.

A PAIR OF CANTON ENAMEL ‘EUROPEAN-SUBJECT’ DISHES, QING DYNASTY, QIANLONG PERIOD, 1736 – 1795清 乾隆 画珐琅欧洲人物画碟一对Of square shape, each painted with European ladies accompanied by attendants, one holding a lute, the other with a cherub and basket of flowers, blue and pink floral rims, the underside with seal marks in puce (2)Height: 1.5cmLength: 9.5cmCondition ReportOne dish with small area of over-painting to the enamels on the lower right interior corner; the other dish with a small area of overpainting to the interior and exterior by the foot at the top left and bottom right.

Two Meissen porcelain figures of musicians, c.1755, the decoration probably later, each playing a lute, seated on a tree-stump with a dog at their feet, on rococo scroll-moulded mound bases applied with flowers and foliage, 19.6cm and 20cm high (2)Provenance: Works of Art from the Schroder Collection. The figure with the yellow coat:The tip of the lute is lacking, and there is some associated chipping to the tips of two of his left fingers and thumb. One of the feathers in his hat is lacking and there is some chipping to the brim and ribbons. The tip of the dog’s right ear is lacking, and there is some slight chipping to the corner of his jacket nearby. There is chipping to the branches of the tree-stump, and some very slight (and minor) chipping to the flowers and foliage. The figure with a puce coat:The tip of the lute is lacking. One of the feathers in his cap is lacking. The tip of the dog’s right ear is lacking. There are some very small chips to the ribbons, flowers and foliage, and some of these have been repaired. There is chipping to the branches of the tree-stump, and some of these have been retouched to make them less noticeable.

Continental School, 19th c - The Lute Player, after the 18th c, half-length and contrapposto, oil on board, 29.5 x 24cm Stable vertical split, and with craquelure. Previous pockets of cleaning.

Five boxed Swarovski pieces including Violin, Saxophone, Grand Piano and Stool, Harp and Lute plus stand

Friedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Öl auf Leinwand. Rechts unten mit eingeritzter Signatur und datiert. Verso auf dem Keilrahmen mit altem handschriftlich bezeichnetem Etikett sowie nummeriert '2734'. 45,5 x 38 cm (17,9 x 14,9 in). • Amerling ist neben Waldmüller einer der technisch virtuosesten Porträtisten der Wiener Gesellschaft. • Seine Darstellungen und Typen sind prägend für eine romantisch-biedermeierliche Schönheitengalerie. • Bildnisse aus seiner Hand befinden sich in den Bayerischen Staatsgemäldesammlungen, München, dem Belvedere und dem Kunsthistorischen Museum, Wien sowie der Alten Nationalgalerie, Berlin. PROVENIENZ: Privatsammlung Wien/USA (seit mindestens drei Generationen in Familienbesitz). Neben Ferdinand von Waldmüller gehört Friedrich von Amerling zu den bedeutendsten Porträtmalern des Habsburgischen Österreichischen Kaiserreichs. Seine Ausbildung beginnt er 1815 an der Akademie der Künste in Wien, anschließend folgen einige Jahre an der Akademie in Prag. Künstlerische Bildungsreisen führen ihn nach London, Paris und Rom, während derer er sich mit der Kunst bedeutender schulprägender Meister wie Thomas Lawrence oder Horace Vernet auseinandersetzt, als auch mit dem für das malerische Curriculum unerlässlichen Antikenstudium, Diese ausgedehnte Reisetätigkeit führt ihn im Laufe seines Lebens außerdem nach Spanien, erneut nach England, nach Griechenland, Skandinavien bis ans Nordkap und schließlich 1886 nach Ägypten und Palästina. Kurz vor der Entstehung unseres Bildnisses reist er nach Italien, in die Niederlande und 1839 nach München. Zu dieser Zeit ist er bereits einer der gefragtesten Porträtisten des Großbürgertums und des Hochadels, zu seinen bedeutendsten Werken gehört das Porträt von Franz I. im Kaiserornat (1821, Kunsthistorisches Museum, Wien), das durch die ungewöhnlich lebensnahe Pose und die präzise modellierte Stofflichkeit der Gewandung und der juwelengeschmückten Reichsinsignien einzigartigen Stellenwert im Œuvre besitzt. Das bis dato teuerste versteigerte Gemälde aus seiner Hand, 'Mädchen mit Strohhut' (1835, The Princely collection, Liechtenstein, Vaduz/Wien), zählt jedoch zu den Bildnissen schöner Unbekannter. Für solche Bildnisse stehen ihm oft Schönheiten aus Musik und Theater Modell, die ihm für Typenporträts wie die Morgenländerin oder 'Lautenspielerin' ihr Gesicht leihen (1828, Belvedere, Wien). Von der gleichen technischen Raffinesse in den Details wie den glänzenden Seidenbändern, den zarten Rosen im geflochtenen Haar, dem transparent schimmernden Porzellanteint und den rosigen Wangen bis zum dunkelrot samtenen Kleid mit dem puffigen Fellkragen ist das Bildnis dieses jungen Mädchens, dessen Physiognomie ganz der unschuldigen Lieblichkeit des von Amerling bevorzugten Frauentypus entspricht. Vor dem dunkel gehaltenen Hintergrund verstärkt sich der Effekt der akribisch geschilderten Stofflichkeit und der Lichteffekte, mit denen Amerling hier den Idealtypus einer naiv-unberührten, mit romantisch-verklärtem, leicht abwesenden Blick dargestellten jungen Schönheit entwirft. [KT] Aufrufzeit: 10.12.2022 - ca. 15.16 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONFriedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Oil on canvas. With the scratched signature and the date in lower right. Verso of the stretcher with an old label with inscription and the number '2734'. 45.5 x 38 cm (17.9 x 14.9 in). • Next to Waldmüller, Amerling was one of the most virtuoso portraitists of the Viennese society. • His depictions were formative for the romatic ideal of beauty typical of the Biedermeier era • His portraits are in the Bavarian State Painting Collections, Munich, the Belvedere and the Kunsthistorisches Museum, Vienna and the Alte Nationalgalerie, Berlin. PROVENANCE: Private collection Vienna/USA (family-owned for at least three generations). Together with Ferdinand von Waldmüller, Friedrich von Amerling is one of the most eminent portrait painters of the Austrian Hapsburg Empire. Beginning his education in 1815 at the Academy of Arts in Vienna, he subsequently spent several years at the Academy in Prague. His educational journeys took him to London, Paris and Rome, where he studied the art of prominent masters of the school, such as Thomas Lawrence and Horace Vernet, as well as studying the ancient world, which was an essential part of the artistic curriculum at the time. In the course of his life, his extensive travels also took him to Spain, England, Greece, Scandinavia, the North Cape and eventually, in 1886, to Egypt and Palestine. Shortly before he created the portrait on offer here, von Amerling traveled to Italy, the Netherlands and, in 1839, to Munich. At this time, he was already one of the most sought-after portraitists for the upper middle classes and the high nobility; one of his greatest works is the portrait of Franz I in imperial regalia (1821, Kunsthistorisches Museum, Vienna), which occupies a unique place in his oeuvre thanks to the subject’s unusually lifelike pose and the accurately rendered materiality of the robe and the jewelry-adorned imperial insignia. “Girl with Straw Hat” (1835, The Princely Collection, Liechtenstein, Vaduz/Vienna), the most expensive von Amerling painting sold at auction to date, is among the portraits of unknown beauties. Beautiful women from the world of music and theater, who lent him their faces for type portraits such as the “Oriental Woman” or the “Lute Player” (1828, Belvedere, Vienna), often served as models for his portraits. This portrait of a young girl, whose physiognomy is eminently representative of the innocent gentleness of von Amerling’s preferred type of woman, displays the same technical sophistication of detail, from the shiny silk ribbons and the delicate roses in the braided hair to the transparent shimmering porcelain complexion and rosy cheeks and the dark red velvet dress with the puffy fur collar. The dark background accentuates the effect of a meticulously rendered materiality and the impact of the light effects, which von Amerling employs to create the archetype of a naïve, untouched young beauty, portrayed with a romantic, slightly absent-minded gaze. [KT] Called up: December 10, 2022 - ca. 15.16 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Three Oil Paintings including Girl with a Lute, 17cm x 28cm, Garden Scene, 45cm x 36cm and a Church under a Stormy Sky, 45cm x 30cm, all framed

A lute.

Early 20th century German Theorbo seventeen string lute, with ribbed satin maple wood bowl back, spruce table, scalloped fretboard and chip carved peg boxes terminating in a floral finial, 53" long overall

Contemporary lute by and labelled Max Kurzendorfer..., Markneukirchen, 1945, with thirteen ribbed maple back and banded spruce table, case

Salt cellar with spoon of silver. Performed with lute playing putto and accompanying salt spoon. Spain, mid 20th century, hallmarks: unknown hallmark, Star of David - light signs of use. 31 grams, 915/1000. Dim. L 4.3 cm, W 4 cm, H 5.2 cm.

Jacques Grief de Claeuw, 1623 Dordrecht – 1694 Leiden, zug.Vanitasstillleben mit Musikinstrumenten und MalpaletteÖl auf Leinwand.101 x 121 cm.Datierung „Anno 1689“.Ungerahmt.Das vorliegende Werk zeigt einen Totenschädel zwischen Musikinstrumenten, Büchern, Malpalette, Grafiken und Globus. Die Gegenstände eng beisammen, zum Teil übereinander getürmt, auf einem Tisch mit roter Decke vor dunklem Hintergrund. Im Zentrum der Schädel umgeben von gebrochenen Getreidehalmen, Symbol des Todes sowie der Wiederauferstehung. Seitlich ein Stapel Bücher, davor ein grafisches Blatt mit Künstlerportrait, dazwischen ein geöffneter Almanach sowie eine Urkunde mit Siegeln. Zu den ikonografischen Motiven der Vanitas zählt die im Zentrum stehende erlöschende Kerze sowie das Stundenglas am linken Bildrand. Über der Laute ein Zettel mit Datierung „ANNO 1689“ mit einem Begräbnishinweis und Nennung der Stadt Leyden. Vereinzelt minimal berieben.Provenienz:Private Sammlung Van de Valk, Rijswijk (Zuid-Holland).Private Sammlung M. den Uyl, Den Haag.Anmerkung 1:Jacques de Claeuw war ein niederländischer Maler des Goldenen Zeitalters. Er schuf Genrebilder und Stillleben (Vanitas) und war der Lehrer seines Sohnes, des Stilllebenmalers Adriaen de Grijef.Anmerkung 2:Das vorliegende, 1689 datierte Gemälde vergleichbar mit einem 1676 entstandenen Bild des Künstlers, das sich unter Inv.Nr. 765 in der Staatlichen Kunsthalle Karlsruhe befindet. Ausstellung:Dieses Gemälde war in der Ausstellung „Eitelkeit der Eitelkeiten“ zu sehen, Museum De Lakenhal, Leiden 1970.Auktionen mit Werken des Künstlers: Palais des Congrès, Versailles, 8.-9. Juli 1975, Lot 27, Abb. Schwarz-Weiß-Reproduktion.Palais Galliéra, Paris, 27. November 1975, Lot 48, schwarz-weiße Reproduktion als V.L. van der Vinne.Gersaint, Straßburg, 1. Dezember 1988, Lot 44, Bild in anderem Zustand: statt einer Vase ein Totenkopf.Hôtel Drouot, Paris, 16. Mai 1990, Lot 28, Abb. Farbreproduktion.Marc-Arthur Kohn, Paris, 10. Juni 1997, Abb. Farbreproduktion, Lot 17, Bild in anderem Zustand: statt einer Vase ein Totenkopf.Hampel Kunstauktionen, München, 4. Dezember 2009, Lot 267. (13403525) (18)Jacques Grief de Claeuw, 1623 Dordrecht – 1694 Leiden, attributedVANITAS STILL LIFE WITH MUSICAL INSTRUMENTS AND ARTIST’S PALETTE Oil on canvas.101 x 121 cm.Dated “Anno 1689“.Note with date “ANNO 1689“, funeral information and naming of the city of Leyden above the lute.Provenance:Private collection Van de Valk, Rijswijk (Zuid-Holland).Private collection M. den Uyl, The Hague.Notes 1:Jacques de Claeuw was a Dutch Golden Age painter. He created genre paintings and still lifes (vanitas) and was the teacher of his son, the still life painter Adriaen de Grijef. Notes 2:The present painting, dated 1689, is comparable to a painting by the artist from 1676, which can be found under inv. no. 765 in the State Art Gallery in Karlsruhe.Exhibitions:This painting was on display in the “Vanity of Vanities“ exhibition, Museum De Lakenhal, Leiden 1970.

Jacopo Amigoni, 1682 Venedig – 1752 Madrid, zug.Junge Dame mit Laute und roter SchleifeÖl auf Leinwand.95 x 73 cm.In vergoldetem ornamental akzentuiertem Rahmen.Hüftportrait einer jungen Dame, deren zartrosa Inkarnat sich zusammen mit der Allonge-Perücke und den weißen Spitzen vom bräunlichen Hintergrund abhebt. In ihren Händen eine Laute. Gekonnt verstand es der Künstler, vermutlich Jacopo Amigoni, die verschiedenen Oberflächen, wie Silberstickerei auf blauer Seide, Spitze und die Haut, differenziert darzustellen. Da Amigoni durch ganz Europa reiste, ist die Entstehung des Gemäldes schwer zu lokalisieren. Die dargestellten Spitzen machen einen Entstehungszeitpunkt in den 1740er-Jahren wahrscheinlich. 1739 kehrte Amigoni nach Venedig zurück, bereiste Frankreich und wurde 1747 Hofmaler am Königshof in Madrid, wo er fünf Jahre später verstarb. (13300538) (2) (13)Jacopo Amigoni, 1682 Venice – 1752 Madrid, attributedYOUNG LADY WITH LUTE AND RED BOWOil on canvas. 95 x 73 cm.

Jan Harmensz van Bylert,um 1597 Utrecht – 1671 ebendaDER LAUTENSPIELERÖl auf Leinwand.105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar.Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten.Literatur:Paul Huys, Jan van Bijlert, 1998, S. 139 Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.LUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139 Nr. 105, Pl. 46, circa 1625-1635.

Figurenvase, deutsch, um 1910Renaissance-Kavallier mit Laute an Standuhr. Porzellan, Lüsterglasur. Min. Chip am Fuß. H. 13,5 cm Figural vase: musician with lute at long case clock. Porcelain, lustre glaze. Ca. 1910.

Victor Pasmore R.A. (British, 1908-1998)When the Lute is Broken (Thames and Hudson G40) Etching and aquatint with screenprinted element in colours, 1974, on heavy wove, signed with the initials, dated and numbered 6/60 in pencil, printed by White Ink Ltd., London, published by Marlborough Graphics, London, with the printer's blindstamp, with full margins, 710 x 605mm (28 x 23 3/4in)(SH)(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A pair of Derby figural candlesticks of a shepherd and shepherdessCirca 1785Modelled seated before flower-encrusted bocage and an applied sconce, the shepherd playing bagpipes, with a dog by his side, the shepherdess with a lute and attended by a lamb, on elaborate scrolled bases picked out in turquoise and gold, incised 'N' marks, 11.5cm wide, 21cm high (4 1/2in wide, 8in high) (2)For further information on this lot please visit Bonhams.com

MEISSEN "Galante Kapelle" 20.Jh. Meißen, unterglasurblaue Schwertermarke, Pressmarken, Malermarken, Modell von Johann Joachim Kändler und Friedrich Elias Meyer, Porzellan, farbig und gold staffiert, 16 Stück: Dirigent, H: 15 cm., Dudelsackpfeifer, H: 14,5 cm., Sängerin hält Notenblatt in der Linken, H: 13,5 cm., Fagottspieler, H: 14,5 cm., Cellist, H: 12,5 cm., Sängerin hält Notenbuch in der Linken und rafft ihren Rock mit der Rechten, H: 13,5 cm., Lautenspieler, H: 14,5 cm., Flötenspieler, H: 14 cm., sitzende Frau mit Leier, H: 11,5 cm., Geiger, H: 13,5 cm., Geiger, H: 13,5 cm., Trompeter, H: 14,5 cm., Sängerin hält Notenbuch in der Rechten und wippt mit der Linken, H: 14 cm., Sänger, H: 14,5 cm., Sängerin, H: 14 cm., Harfenspielerin, H: 14 cm. alle Figuren unrest. und unbesch.Provenienz: Bedeutende Sammlung aus Süddeutschland | MEISSEN "Gallant Chapel" 20th c.Meissen, underglaze blue sword mark, press marks, painter's marks, model by Johann Joachim Kändler and Friedrich Elias Meyer, porcelain, coloured and gold painted, 16 pieces: Conductor, h: 15 cm, bagpiper, h: 14,5 cm, singer holding sheet of music in her left hand, h: 13,5 cm, bassoon player, h: 14,5 cm, cellist, h: 12,5 cm, singer holding sheet of music in her left hand and gathering her skirt with her right hand, h: 13,5 cm, Lute player, H: 14,5 cm., Flute player, H: 14 cm., Sitting woman with lyre, H: 11,5 cm., Violinist, H: 13,5 cm., Violinist, H: 13,5 cm., Trumpet player, H: 14,5 cm, singer holding a music book in her right hand and swaying with her left, h: 14 cm., singer, h: 14,5 cm., female singer, h: 14 cm., harpist, h: 14 cm. all figures unrest. and undamaged.Provenance: Important collection from Southern Germany

Rock and Graner Dolls House tinplate Dining room table and chairs, German circa 1875, oval shaped dining table painted in simulated wood with pillar support and shaped feet, (condition: some paint loss and minor repair to feet), together with a settee having painted simulated wood with yellow edged blue upholstered seat and back, pierced decoration to arms, together with two similar chairs with moulded Lute backs, table 2 ¾” (7cm) high, (condition: generally very good, some slight paint loss), (4 items).

An exceptional Dutch stipple-engraved light baluster goblet by 'Alius', circa 1760-80The generous round funnel bowl finely decorated with a chinoiserie scene depicting an elderly Chinese gentleman seated on a stool before a tree, playing a Chinese lute or pipa with both hands, the hairs of his beard and moustache picked out with fine lines in diamond-point, accompanied by a boy playing a Bianzhong comprising a set of musical bells suspended from an arch, the tall multi-knopped stem with an upper beaded dumbbell above an inverted baluster containing an elongated tear extending into the basal knop, over a conical foot, 22cm highFootnotes:ProvenanceJ van Buren Collection, Scheurleer, The Hague, 11 December 1808, lot 98, purchased by Hultman for 15 guildersBoom Collection, BredaJoseph Gregory Littledale Collection, WeybridgeAnthony Waugh Collection, Wolverhampton, Sotheby's, 28 April 1980, lot 209With Ward Lloyd, LondonMühleib Collection, Bonhams, 2 May 2013, lot 58With Kunsthandel Jacques Fijnaut, 13 March 2018Stephen Pohlmann CollectionLiteratureD H de Castro, 'Een en ander over glasgravure', Oud-Holland 1(4) (1883), p.285, pl.1883 Wilfred Buckley, D Wolff and the Glasses that he Engraved (1935), p.30Hugh Tait, ''Wolff' glasses in an English private collection', Connoisseur 168 (1968), p.105, figs.5 and 6George Turnbull and Anthony Herron, The Price Guide to English 18th Century Drinking Glasses (1970), p.78, Group 4, no.4/13Frank Davis, 'Talking About Salerooms', Country Life, Vol.168 (August 1980), p.687F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.106, no.Ch.18Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.22, fig.5Exhibited300 Years of British Glass 1675-1975, Wolverhampton Art Gallery and Museum, 14 June 1975, no.208Kunsthandel Jacques Fijnaut BV, TEFAF Maastricht, 10-19 March 2017, catalogue p.240Although he never signed any of his engravings, 'Alius' was one of the most important Dutch master glass engravers of the 18th century. The incredible lightness of touch which he so breathtakingly achieved on this goblet demonstrates the remarkable degree to which this engraver mastered the stipple technique. It is perhaps no surprise that for many years this piece was considered to be the work of his contemporary, David Wolff.In his 1935 monograph on Wolff, Wilfred Buckley identified a group of glasses which he considered to be of higher quality both technically and artistically, with finer stippling and better draughtsmanship, than examples signed by Wolff himself, see p.26 and 'Group C'. These were subsequently attributed to 'Alius' in Frans Smit's 1993 catalogue. Whilst there are close similarities between the designs chosen by both engravers and they may have worked in association with one another, 'Alius' is the only Dutch engraver known to have stippled chinoiseries on glass and he attained a level of skill which undoubtedly surpassed that of Wolff.Only six other glasses stippled with chinoiseries by 'Alius' are recorded including the present lot, all of which incorporate the full-length figure of a Chinese gentleman. Two of these are similarly decorated with musical scenes in which an elderly seated man plays a Chinese lute or pipa. This includes a light baluster goblet of similar form to the present lot in the Brunnier Art Museum (Smit no.Eb.28) and a facet stem goblet in the Metropolitan Museum of Art (Smit no.Ch.19). Another goblet of similar size and form to the present lot but decorated with a different chinoiserie scene (Smit no.Ch.20) is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.258, no.293. The remaining two chinoiserie decorated goblets recorded include an opaque twist example in the Rijksmuseum (Smit no.Ch.17) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.432, no.548 and a further facet stem example in the Manoir de Saussey (Smit no.Ci.28).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

Dirck van Baburen (1595-1624) - school, portrait of a lute player, oil on canvas, 61 x 50 cm

Three Musical Instruments including Horner Piccola Accordion, Sonor Everplay Extra Snare Drum with symbol and folding stand plus Wooden Lute type instrument

Lladro gres figure 'Scheherazade' Limited Edition no.991/1000 Large Lladro gres figure of a semi-clad seated lady playing a lute 'Scheherazade' 17678, on shaped plinth. Limited Edition no.991/1000. In original box with extensive packaging, also included is the framed certificate in the original envelope. 33cm high not including base.Good condition, rarely taken out of the box. Plinth still has plastic cover and is undamaged. Figure in good condition with no cracks or chips. Please see all images. Original glue residue visible underneath guitar neck.

* Africa. Portrait of an African man in French army uniform playing a lute, c. 1890, circular albumen print, colour tinting, paper mat, image 11 x 11 cmQTY: (1)

Set of six Chinese silver teaspoons, maker Hung Chong & Co. Shanghai (active circa 1860-1930), the handle terminals modelled as a "pipa" or Chinese lute, the handles initialled R, 2.2oz

A circa 1950s German Perl Gold lute guitar with soft carry case.

Bronze statue of a musician with fez on head and lute, side base marked Fait A Tunis E Picault, 41 cm high

A modern Lladro figure study of a girl playing lute having damage to head, and two Nao figures one of a chick and one of a cat in a basket.

An antique bronze figure study of a cherub playing a lute on four footed plinth. 14cm tall