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A pair of 19th Century Derby figures of musicians, she modelled playing the lute with a lamb to her side, he modelled playing the bagpipes with a dog by his side, both beside floral bocage and raised to rococo scroll bases, height 18cm, restored.

Jan Harmensz. van Bylert, um 1597 Utrecht – 1671 ebenda DER 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.Anmerkung: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, no. 105, pl. 46, circa 1625-1635.

An early 20th century Sitzendorf porcelain lamp-base modelled with a classical female with lute, on floral-encrusted base, 36 cm to/w a German pottery fruit comport with detachable floral encrusted and scrolling bowl, the base modelled with classical female and Cupid, 46 cm (2)

AMENDED HEIGHT Two 19th century Meissen porcelain figures from the 'Emblematic of the Senses' series, after models by Kändler and Eberlein, as classical female figures, 'Hearing' with lute and accompanied by putto and stag, 'Slight' with putto and eagle (2 - both with significant losses), approx 28 cm high

Manivelle-Puppenautomat mit 2 Musikern, um 1900Vermutlich Gottlieb Zinner und Söhne, Junge mit Geige und Mädchen mit Laute, Köpfe aus Biskuitporzellan, eingeritzt "13/0", offene Münder und feststehende blaue Glasaugen, auf bemalten Hockern sitzend, in originalen regionalen Kostümen (Mädchen mit späterem Häubchen), auf papierbezogenem Sockel, Walzenspielwerk für eine Melodie, Handkurbelantrieb, verbunden mit einem Holzzylinder mit zwei Nocken für die Bewegung der Köpfe und der rechten Arme, Breite 26 cm, Höhe 27 cm, gut funktionierender Zustand, Sockel lose, Füße beschädigt, Perücken fehlen, übliche Abnutzung an Papier und Stoff. - Ein charmanter Manivelle-Automat, eine Restaurierung lohnt sich. Start Price: EUR 300 Zustand: (3-/3)Manivelle Automaton with Pair of Musicians, c. 1900Probably Gottlieb Zinner und Söhne, boy with violin and girl with lute, with bisque heads incised "13/0", flange necks, open mouths and fixed blue glass eyes, sitting on grain-painted stools, in original regional costumes (girl in a later bonnet), on paper-covered base containing hand-turned single-air movement connected to wood cylinder with two cranks for movement to heads and right arms, wd. 10 ¼ in. (26 cm) x ht. 10 ½ in. (27 cm), good working condition, baseboard loose, feet damaged, missing wigs, usual wear to paper and fabric. - A charming manivelle automaton, worthy of sympathetic conservation. Start Price: EUR 300 Condition: (3-/3)

A 20th century tapestry wall hanging depicting bird in window with grapes and lute, initialled AD to bottom, 130cm x 200cm

Edwaert Collier (Dutch c.1640-1708) Vanitas still life with a globe, open book, musical score, scroll, print of Caesar Augustus, lute and recorder on a draped table Signed E. Collier fe (to column) and a further two times E. Collier (to musical score and print) Oil on canvas 44.7 x 37cm; 17½ x 14¼in Provenance: Richard Green, London; The Power Collection; And by family descent

Swarovski lute brooch, 9cm

A PAIR OF ROYAL DUX PORCELAIN FIGURES, early 20th century, modelled as a young gentleman in 18th century style garb playing a lute and his female companion holding a fan, both standing on naturalistically moulded bases on bracket feet, pink patch, model Nos. 117 and 118, 17" and 16" high (Illustrated) (Est. plus 21% premium inc. VAT)Very minor chips to extremities, no restoration

A matched set of five Victorian shell butter dishes Atkin Brothers, Sheffield 1894/1900, the shell bowls with chased floral and foliate motifs, raised on three conch feet; together with a matched set of ten place holders, William Comyns & Sons, London, each with a depiction of two females in a garden with a lute player Dimensions:Length: 12cm, combined weight: 18.5oz

Three Chinese wooden flutes; a Chinese Sanxian lute; a Chinese Erhu, python skin back; and a bow.Qty: 5

Laute 30/40er Jahre, guitar lute,Holzkorpus mit 11 Spänen, gravierter Schriftzug, Griffbrett mit 6 Saiten, Wirbelkasten hakenförmig nach vorne weisend, Gesamtlänge 90 cm, Spannungsrisse in der Decke und Span, Gebr.Holzkorpus mit 11 Spänen, gravierter Schriftzug, Griffbrett mit 6 Saiten, Wirbelkasten hakenförmig nach vorne weisend, Gesamtlänge 90 cm, Spannungsrisse in der Decke und Span, Gebr.

Contemporary lute, bearing a Luke Ernst refurbishment label to the inner back, with multi-section maple bowl back, spruce top and ebony fingerboard, within a fibreboard hard case. 

Good contemporary fourteen string theorbo lute, unlabelled, with multi-section bowl back, spruce top with three fret carved sound holes and stylised long neck, within a bespoke Kingham hard case, total length 71"

Good contemporary lute, unlabelled, the bowl back with eleven alternating wooden ribs, within original bespoke fitted hard case

Antique lute in need of restoration, unlabelled, the bowl back with thirteen maple ribs, original hard case

Large quantity of mainly lute sheet music 

Good contemporary renaissance seven course lute by and labelled B. Thomas, Luthier, Hereford; also signed and dated in pencil on the label 26.12.82, the satinwood bowl back with nine ribs and with spruce table, hard case (case at fault)

Austrian Ceramics - A polychrome vase and figure of a seated blackamoor with a lute, height 48.5cm.

George Hann - a double sided image depicting a harbour scene and a half length portrait of a boy playing a lute to verso, oil on board, both signed, 49 by 39cms, framed.

Nao Figurine - Harlequin Lute Player

Five decorative prints to include after G Sheridan Knowles; 'There They Go', 60 x 35cm, an Edwardian-style print of a young woman playing the lute, a pair of prints depicting beautiful young women in the 1920s movie genre and an advertising print for 'The Old Story Borax Extract of Soap', all framed and glazed (5).

A 19TH CENTURY CHINESE BLUE AND WHITE PORCELAIN BRUSH/PEN REST FORMED AS A PIPA LUTE having four character mark signature to the underside.14.5cm wide In good undamaged condition, there is a small hairline crack on the crescent moon which is moulded to the top, see extra images on our website.

An early 20th Century bronze figurine depicting the Indian / Hindu Goddess Saraswati . Modelled playing a lute with swan at side raised on lotus pedestal base.

A GROUP OF EIGHT MANTEL CLOCKS, comprising a Kieninger & Obergfell glass domed clock made in West Germany, height 23cm, an oak cased mantel clock with key and pendulum, height 22cm, a modern glass mantel clock with a white face, height 17cm, a small metal Splendex clock with a cherub playing a lute, height 10cm, a large wooden mantel clock, painted to look like marble and black slate, height 30cm x width 45cm (metal rim around face has corroded), a Plastic domed clock made in Germany KUS-PI, a small black slate clock with gold detail, height 23cm x width 19cm (slate has chips around edges), a 1960s Metamec 'Atomic Eye' mantel clock (battery operated) (s.d) (9) (Condition report: three keys present, most appear not working)

'MEDIEVAL' STONEWARE POTTERY JUG BY ROBERT WALLACE MARTIN,with applied handle, the baluster body bearing incised decoration of two maidens, one playing the lute, amongst floral detail and sprays, on splayed foot, signed 'E. 21 R. W. Martin London' to base, 26.2cm highRim extensively damaged with notable losses as well as numerous hairlines, one piece crudely glued, other pieces are present; a few surface glaze losses, imperfections and general wear.

WMF white metal basket decorated with boy playing lute and girl playing flute, 20cm tall and a Art Nouveau style cast metal vase. (2)

A Victorian French spelter lamp base in the form of a maiden with lute holding torch, appears in good condition with no breaks or repairs having bronzed finish

FOUR DRESDEN BISQUE PORCELAIN FIGURES AND GROUPS,including no. 7018, a lady and gentleman, the former playing the lute, 14.5cm high (4)

CASED MEERSCHAUM PIPE,figurally modelled with a reclining female holding a lute, 13cm longCondition is good, end of pipe comes off, no visable damage to this lot. additional images have been uploaded onto the website.

Spelter figure of a lady with lute titles mignon per hip moreau

A 19TH CENTURY OIL ON CANVAS LAID ON BOARD OF A FEMALE FIGURE PLAYING A LUTE 71CM X 60CM

AFTER FRANS VAN MIERIS Woman playing a lute, oil om board, 20 x 16cm Condition Report:Available upon request

A silvered figure of a lady playing a lute

An Arthur Lee & Sons Ltd Tapestry Sample, depicting a figure playing a lute, birds in trees, insects, flowers, 64cm square; Assorted Lengths and Quilting Samples in wool, jersey, Liberty tana lawns, printed cottons etc; two volumes on embroidery and needlework, The Cotton Boards boxed samples of cotton from field to fabric, two Cash's decorative small woven framed pictures etc (four boxes)Arthur Lee & Sons Ltd was established in 1888-1970 latterly based in Birkenhead. Lee developed a way of adding further colours to the finished cloth by printing with blocks.

A 19TH CENTURY OIL ON CANVAS LAID ON BOARD OF A FEMALE FIGURE PLAYING A LUTE 71CM X 60CM

LLADRÓ; a pair of harlequins, one playing a lute, each seated on alphabetical plinth, height 21.5cm (2). CONDITION REPORT: No apparent damage or restoration.

LLADRÓ; three small cherubs playing a flute, violin and a lute, height of the tallest 15cm (3).

LLADRÓ; three small cherubs playing a lute, harp and a horn, height of the tallest 20.5cm (3). CONDITION REPORT: The cherub playing the horn is missing the little finger, the harp is present and not broken but has to be reglued to the shoulder.

A early 20th century gilt cased mantel clock. The enamel dial with Arabic numerals and painted with flowers, placed in a model of an urn next to a woman playing a lute, mounted on a marble plinth with metal supports, H39cm

An early 20th century Italian faience ware figure representing a maiden wearing a floral blue and mustard coloured gown playing a lute, raised on associated carved oak stand, overall height 74cm.Additional InformationChipping and losses to the glaze, old break to the neck of the lute, two of the toes has been broken off and glued, restoration to one hand and lute. The figure is separate to the wooden base.

A silvered figure of a lady playing a lute

A 19th century Derby figure, modelled as a female musician in standing pose with sheet music over her left arm and flute in her right hand, lute at her feet, raised on a naturalistic base, heightened in gilt, having red crowned mark verso, h.21cmRestored to the arms.

Swarovski - Five crystal models of musical instruments comprising grand piano and piano stool, saxophone, lute, harp and violin, all boxed except the harp and predominantly with certificates.

CLASSICAL LPs - MERCURY RECORDS. Lovely collection of 10 x LPs. Titles / Catalogue Numbers include Respighi Ancient Dances and Airs For Lute (SR90199), Handel-Harty Water Music Suite (SR90158), Russia Masterpieces by Rimsky-Korsakov, Henryk Szeryng - Brahms Violin Concerto (SR90308), Tchaikovsky - 1812 Overture (AMS 16010), SR90139, SR90218, AMS 16112, SR90155 and MRL 2533 (Plain Sleeve). The condition is generally Ex to Ex+.

Needlework. A needlepoint panel, English, 1st quarter 19th century, composed of 12 square sections, each with a different design, including a dog, flowers, a figure wearing a turban, and 2 ladies, one playing a lute, with a pageant tent in the background, finely hand-worked in polychrome wool in tent stitch on a canvas ground, some overall fading, one square with very small hole, each square 12 x 12 cm (5 x 5 ins), overall size 50 x 36 cm (19.25 x 14.25 ins), together with:A large needlepoint table cover, English, 1841, with central panel of a seascape with large vessel approaching a land mass, surrounded by star-patterned and floral panels, and border of flags and initials with a building at each corner, top and bottom with wide border containing various motifs, e.g. crowns, a watering can, a flaming heart, a cornucopia, flora and fauna, including a prancing pony, etc., hand-worked in polychrome wool in tent stitch on a canvas ground, initialled 'CP' and dated lower right, lightly faded and dust-soiled overall, small losses to stitching in places, backed with linen (stained), 100.5 x 86.5 cm (29.5 x 34 ins), plus 3 other items of needlepoint, comprising a large floral panel, 70 x 52 cm (27.5 x 20.5 ins), and 2 small panels of bargello work, each approximately 30.5 x 23 cm (12 x 9 ins)QTY: (5)

Collenius (Hermannus, 1649/1650-1723 Groningen). Allegory of the Transience of Wordly Affairs, oil on canvas, relined on a modern stretcher, 120 x 98 cm (47 1/4 x 38 1/2 ins), antique-style painted black wood frame, with decorative gilt inner slipQTY: (1)NOTE:Provenance: Baumcotter Gallery, Kensington Church Street, London, 1970's; Kunsthandel Schlichte Bergen, Amsterdam,1985; Private Collection, Shropshire.Literature: Freerk Veldman, Hermannus Collenius 1650-1723 (Zwolle, 1997), p. 98.The present work has been accepted as authentic by Eddy Schavemaker of the RKD (Rijksbureau voor Kunsthistorische Documentatie), in The Hague (email correspondence).Another variant of this composition (signed and measuring 100 x 88 cm) is in the Mesdag Collection, The Hague (catalogue number 59A).Collenius spent most of his career in Groningen, and specialised in portraits, allegorical and mythological subjects. For the City Hall in Groningen the artist was commissioned to paint The Allegory of Good Governance in 1685 (now in the Groninger Museum), and for the Statenzaal in the Raadhuis,The Allegory of Freedom and Religion.In the present work, the young woman in her opulent white silk dress with exposed breast is seen seated holding a casket of jewels while a child holds up a convex mirror to her, and an old man shows her a skull and hourglass; to the left putti play with soap bubbles in front of a group of musical instruments, including a lute, violin, and cello. If the overt symbolism on display regarding the transience of life was not already clear enough, a large folio edition of a Dutch bible also features, open on the first page of Ecclesiastes (the Old Testament book in which the well-known phrases 'eat, drink, and be merry', and 'vanity of vanities; all is vanity', first appear).Of significant interest in this work is the presence of a black maid, or female servant, seen on the right braiding the young woman's hair with pearls, the latter being a traditional attribute of the courtesan. Much has been written in recent decades regarding the significance and interpretation of works of art featuring people of colour in Dutch 17th-century painting. Such figures are most often portrayed as servants, thus enhancing the status of the main figure.

Leo McDowell (20th century) - 'Figure with Lute', signed also inscribed with the title and the artist's name on a gallery label verso, mixed media, 20" x 6" - ** Provenance Adam Gallery, John Street, Bath and Ponsonby Terrace, London SW1

Janet Smith (20th century) - 'Wantage Township, New Jersey, USA Sussex County', bears a signature, coloured oilegraph print, 20" x 30.5" together with a still life oil painting of a violin, lute and other musical instruments, sheets of music and roses, indistinctly signed, possibly T.J. Pappery and a coloured print of a hunting scene possibly after Dean Wolstenholme, various sizes (5) - **The work also shows a distant view of High Point Monument, the highest point in New Jersey, USA, together with four further decorative pictures including a hunting scene, contained within an ornate gilt plaster and wooden frame, a coloured print of fashionable figures in a wooded glade possibly after Watteau, 

A pair of Continental polychrome decorated musical wall trophies, first half 20th century, each carved with a lute, trumpets, drum and musical score with ribbon-tied foliate cresting, 117cm high (2)Please refer to department for condition report

Shelf of musical instruments to include a lute, drum etc

A lead garden figure depicting a Medieval type figure of a boy playing a lute, approx. 37" high

A 'lute player' serving platterChinese export porcelainScalloped tab and polychrome "Famille Rose" enamelled decoration with flowers and lute playerQianlong reign (1736-1795)37x31 cm

A pair of late 19th century German porcelain figures, 18th century man with flute and lady with lute, 23 cm high

A late-Victorian silver playing cards box, by H. Matthews, Birmingham 1899, rectangular form, the front with a scent of a gentleman playing a lute to two ladies, the reverse with a landscape scene, plain hinged cover, length 9.5cm, plus an Indian silver caddy, of rectangular form, incurved corners, chased foliate decoration, gilded interior and an Egyptian box of cylindrical form, embossed foliate and scroll decoration, approx. total weight 18oz. (3)

A Sistema De Meglio lute

Royal Crown Derby Pair of Salmon Pink Porcelain Vases, of ovoid form, each with gilt handles, lute scrolling and foliage, numbered 3256 and 686, (restoration), 28.5cm high.

An important Sèvres Royal Presentation part tea and coffee service commemorating King George III's recovery from illness, circa 1789Of hard and soft-paste porcelain, each piece decorated with a different motto and/or crowned 'G' flanked by crossed laurels in gold, the rims decorated with a band of stylised flowers composed of a single gold pastille on a pink stem flanked by green dots inspired by fabric designs, the band of flowers enclosed by a double band of stylised neoclassical motifs in puce, blue and picked out in gilding, the handles embellished in gilding, the finials gilt, comprising:a large teapot and cover,a large sugar bowl and cover,a large cold milk jug on three feet,five gobelet litron and saucers,four teacups and five saucers, the teapot and cover: 16.5cm high, interlaced LL monogram and painter's mark attributed to members of the Weydinger family in gold (on the teapot and the milk jug) and blue, various incised marks (24)Footnotes:Provenance:Commissioned by Bernardo y Pérez de la Serna, Marquis del Campo, Spanish Ambassador to the Court of St James, in 1789;Queen Charlotte (1744-1818) [according to tradition - thence to]Mary, Duchess of Gloucester (1776-1857);Prince George, Duke of Cambridge (1819-1904), the grandson of George III; thence to his sonSir Adolphus FitzGeorge (1846-1922); thence to his great-nephewGeneral Sir Victor FitzGeorge-Balfour (1913-1994);Thence by descentLiterature:Geoffrey de Bellaigue, 'Huzza the King is Well!', in Burlington Magazine, vol. CXXXVI (June 1984), pp. 325-331;Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen (2009), vol. II, cat.no. 175, and vol. III, cat. no. 259 This remarkable tea service was part of a larger service, including a dessert service, now mostly in the Royal Collection that was commissioned by the Spanish Ambassador, the Marquis del Campo, for a gala held in name of the King of Spain on 9th June 1789 to celebrate the recovery of King George III from illness. Queen Charlotte, accompanied by her daughters, was the guest of honour at the gala in the Rotunda of the Ranelagh Gardens, Chelsea. Two thousand invitations were issued and the entertainment included dancing by Spanish children, a lottery, moving transparencies and a fireworks display. A supper was dramatically served in boxes that were simultaneously unveiled at one o'clock to reveal the richly-decorated tent-like interiors. The Queen's tent contained a table laid with gold plate as well as the Sèvres porcelain service; it was hung at the back with pea-green satin and with festoon curtains of white lute-string with gold fringing to complement the colours of the service.Differing accounts exist of how the Spanish ambassador disposed of the service after the gala. Elizabeth, Countess of Harcourt attended the gala and recorded in her memoirs that a major part of the service was presented by the Marquis del Campo to her and her husband in February 1796, following his appointment as Ambassador to the French Republic. She noted of the gala: It was very magnificent, and took place at Ranelagh on June the 9th 1789. The Queen was received there in great state. A beautiful service of China with appropriate medallions and mottoes was manufactured by the Royal Sevres Porcelain Works.[...] (Edward William Harcourt (ed.), the Harcourt Papers privately printed by James Parker & Co, Oxford, c.1900, vol. VI, part 1 p.267-268). Another account quoted by Sir Geoffrey de Bellaigue suggests that the tea and coffee service was presented to the Queen the day after the gala, although it could have been given directly to her daughter, Mary, Duchess of Gloucester, who was present. Another possibility is that Lord and Lady Harcourt, who were presented with the dessert service by del Campo when he left London in 1796, may also have received the tea and coffee service and subsequently given it to Mary, Duchess of Gloucester, to whom they were close (de Bellaigue 2009, vol. III, p. 920). The bulk of the dessert service remained in the possession of the Harcourt family until 2003 when it was purchased by The Queen. Following the death of the Duke of Cambridge in 1904, the tea and coffee service was divided between his two sons; the present lot passed to Sir Adolphus FitzGeorge and his descendants, while the second portion went to his brother, Sir Augustus FitzGeorge, and, following his death in 1934, was purchased by Queen Mary (see below). Other than a few items from the dessert service retained by the Harcourt family, all other recorded pieces from the service are now in the Royal Collection (see above Literature).According to David Peters and Sir Geoffrey de Bellaigue, the service closely corresponds precisely with one purchased by the marchand-mercier, Dominique Daguerre, listed in the sales' ledger between 17 April and 12 August 1789. The components of the tea and coffee service include: '24 Tasses, 2 Pots à Sucre, , 2 Pots à lait, 1 Theyere, 1 Jatte a Lait' (two teacups, one gobelet litron and two saucers are now missing). The part of the service purchased by Queen Mary in 1934 and now in the Royal Collection includes: a sugar bowl and cover, a milk jug, a basin, six teacups and saucers and six coffee cups and saucers (De Bellaigue 2009, vol. III, no. 259).It seems certain that Daguerre acted as the Spanish ambassador's intermediary and the mix of hard and soft-paste porcelain and the use (for the dessert service) of existing stock together with specially decorated or inscribed pieces suggests that the commission had to be fulfilled in some haste. Customs records indicate that the service arrived in Dover on 9 May 1789.The following mottoes are inscribed on the pieces:The teapot:'The Best of Husbands', 'the Patron of Arts'The sugar bowl:'Vive Le Roy'The milk jug:'God Save the King'The teacup saucers:'God Save the King', 'the Patron of the Arts', 'Glory to the King', 'The Boast of Good Men', 'The Best of Husbands'The gobelets litron:'God Save the King', 'Glory to the King' (twice), 'the Patron of Arts', 'The Best of Husbands', and the saucers each with a caduceus and oak branch and a banner reading 'Salus Regis Salus Populi'For further information on this lot please visit Bonhams.com

A Meissen group of a pastoral couple, circa 1745-50Modelled by J.J. Kaendler, the lady seated playing the lute, wearing a whote bodice with blue and yellow ribbons and yellow cuffs and a skirt decorated with flower sprigs, her companion holding a posy in each hand, holding his tricorn under his left arm, wearing a gilt-edged white coat and turquoise breeches with purple ribbons, a small tree with leaves and berries between them and a recumbent sheep at their feet, 13.2cm high (minor restoration)Footnotes:Modelled by Kaendler in November 1745 when mentioned in his Taxa: 'ein Groupgen, da eine Schäfferin auff einem Rasen sizt und auff der Laute spielet, neben ihr stehet ein Schäffer, so ihr ein Blühmigen Vergißmeinnicht verehret' [a group with a shepherdess seated on the grass and playing the lute, a shepherd stands next to her offering her forget-me-nots] (quoted by Hans Rafael, Zur 'Taxa Kaendler', in Keramos203/204 (2009), p. 66).For further information on this lot please visit Bonhams.com

Frank Moss Bennett (British, 1874-1952)The lute playersigned and dated 'FM Bennett/1920' (lower right) oil on canvas laid to board 50.5 x 35.2cm (19 7/8 x 13 7/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 3 June 1998, lot 224.Private collection, UK.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