ATTRIBUÉ À GUIDO RENI (1575-1642)La naissance de la Vierge plume et encre brune, lavis brun, collé en plein sur un montage français du XVIIIe sièclepen and brown ink, brown wash, laid down on a French 18th century mount16.3 x 24.1 cm (6 7/16 x 9 1/2 in)Footnotes:被认定为圭多·雷尼(1575-1642)的作品圣母玛利亚诞生羽毛笔，棕色油墨，棕色水洗ProvenanceProbablement Pierre Crozat (1680-1740); sa vente, Paris 10 avril - 13 mai 1741, partie du lot 425 (« Huit, idem, [Ludovico Carracci] dont la Naissance de la sainte Vierge »).Agar.Antoine-Joseph Dezallier d'Argenville (1680-1765), son paraphe avec numéro 932 (L. 2951).Comte Moritz von Fries (1777-1826); sa marque (L. 2903).Sir Thomas Lawrence (1769-1830), sa marque (L. 2445).Lord Francis Egerton, 1st Earl of Ellesmere (1800-1857), sa marque (L. 2710 b), par descendance, le duc de Sutherland; sa vente, Londres, Sotheby's, 11 juillet 1972, lot 83, comme Reni (pour 2600£ à Pfeiffer pour Alain Delon). ExpositionsLondres, Woodburn's Gallery, The Lawrence Gallery. A catalogue of One Hundred Original Drawings by Ludovico, Agostino, & Annibal Carracci, collected by Sir Thomas Lawrence, mars 1836, no 17, comme Ludovico Carracci.Paris, Didier Imbert Fine Art, '20 ans de Passion' Alain Delon, Dessins, Printemps 1990, no 10, ill.BibliographieCatalogue of the Ellesmere Collection of Drawings, Bridgewater House, Londres, 1898, no 21, comme Ludovico Carracci.H. Bodmer, Lodovico Carracci, Burg bei Magdeburg, 1939, p. 150, comme Ludovico Carracci.P.A. Tomory, The Ellesmere Collection of Old Master Drawings, Leicester Museum, 1954, no 13, comme Ludovico Carracci.J. Labbé, L. Bicart-Sée, La collection de dessins d'Antoine-Joseph Dezallier d'Argenville, Paris, 1996, p. 179, no 932, comme Reni.B. Py, Les dessins italiens de Pierre Crozat (1665-1740), Paris, 2015, p. 270, sous no 425 et note 8, comme Ludovico Carracci.Ce dessin à la provenance prestigieuse portait une attribution traditionnelle à Ludovico Carracci (1555-1619) dans la collection Ellesmere. Il fut reconnu comme une œuvre de jeunesse de Guido Reni par Philip Pouncey peu avant la vente de 1972. Il peut être rapproché stylistiquement de dessins réalisés par l'artiste à Bologne peu avant son départ pour Rome en 1600, en particulier trois études de lunettes sur papier bleu conservées à Haarlem (C. van Tuyll, The Italian Drawings of the Seventeenth and Eighteenth Centuries in the Teyler Museum, Leyde, 2021, vol. II, no 704, repr.), à Windsor (inv. RCIN903407) et aux Offices (inv. 12463F; voir C. Johnston, « Dessins de Guido Reni: Études inédits et attributions nouvelles », L'œil, 1969, pp. 20-27).Carel van Tuyll (op. cit., p. 551 sous no 703) a récemment attribué à Reni une Naissance de la Vierge, traditionnellement donnée à Ludovico Carracci et également à la plume et encre brune, lavis brun, aujourd'hui à l'Ermitage de Saint-Pétersbourg (M. Dobronskij, [Dessins italiens des XVIIe et XVIIIe siècles de l'Ermitage], Leningrad, 1961, no 953, pl. LXXII). Bien qu'il y ait de nombreuses différences entre ce dernier dessin et celui de la collection Delon, des éléments similaires s'observent, en particulier la position de la femme tenant le bébé et de celle tenant un linge, ou bien l'escalier à l'arrière-plan et le lit surmonté d'un grand rideau à droite.Le Musée Teyler de Haarlem conserve une autre étude de Reni pour une Naissance de la Vierge (van Tuyll, op. cit., no 703, repr.) à la plume et encre brune et lavis brun, mais de composition fort différente. Elle est de format vertical et cintrée du haut et doit probablement dater de quelques années après les dessins de la collection Delon et de l'Ermitage.Guido Reni traita en peinture le sujet de la Naissance de la Vierge à fresque vers 1610 à la Capella dell'Annunziata du Palazzo del Quirinale à Rome.This drawing, with a prestigious provenance, was traditionally attributed to Ludovico Carracci (1555-1619) when in the Ellesmere collection. It was recognised as an early work by Guido Reni by Philip Pouncey, before the 1972 sale. It relates, stylistically, to drawings made by the artist in Bologna shortly before his departure for Rome in 1600, in particular three studies of lunettes on blue paper preserved in Haarlem (C. van Tuyll, The Italian Drawings of the Seventeenth and Eighteenth Centuries in the Teyler Museum, Leiden, 2021, vol. II, no. 704, repr.), Windsor (inv. RCIN903407) and the Uffizi (inv. 12463F; see C. Johnston, 'Drawings by Guido Reni: Unpublished Studies and New Attributions', L'oeil, 1969, pp. 20-27).Carel van Tuyll (op. cit., p. 551 under no. 703) has recently attributed to Reni a Birth of the Virgin, traditionally given to Ludovico Carracci also in pen and brown ink, brown wash, now in the Hermitage in St. Petersburg (M. Dobronskij, [Italian Drawings of the Seventeenth and Eighteenth Centuries in the Hermitage], Leningrad, 1961, no. 953, plate LXXII). Although there are many differences between this drawing and the one in the Delon collection, similar elements can be observed, in particular the position of the woman holding the baby and the woman holding a cloth, or the staircase in the background and the bed with a large curtain on the right.The Teylers Museum in Haarlem holds another study by Reni for a Virgin Birth (van Tuyll, op. cit., no. 703, repr.) in pen and brown ink and brown wash, but with a very different composition. It is vertical and curved at the top and probably dates from some years after the drawings in the Delon collection and the Hermitage.Guido Reni painted the subject of the Birth of the Virgin in fresco around 1610 in the Capella dell'Annunziata of the Palazzo del Quirinale in Rome.For further information on this lot please visit Bonhams.com
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ALTMEISTER 16.-17. JAHRHUNDERT, Der Einzug von Jesus Christus in JerusalemÖl auf Holz. Unsigniert. 51 x 92 cm. Gerahmt74 x 114 cm. Das Motiv des Königs, der auf einem Esel reitend kommt, findet sich als Sinnbild des gewaltlosen Friedenskönigs, das Volk jubelte ihm zu und streute Palmzweige. Am Palmsonntag (eine Woche vor Ostern) wird des Einzugs gedacht. Geschwärzter Profilrahmen, gold staffiert Das Gemälde wurde in der Vorauswahl zur Begutachtung in der Sendereihe Kunst und Krempel am 26.03.2017 auf Schloss Ratibor in Roth vorgestellt, nicht in der ausgestrahlten Sendung gezeigt * Partnerauktion Bergmann. Provenienz : In der zweiten Generation fränkischer Privatbesitz. OLD MASTER 16th-17th CENTURY, The Entry of Jesus Christ into JerusalemOil on wood. Unsigned. 51 x 92 cm. Framed74 x 114 cm. The motif of the king coming riding on a donkey is found as a symbol of the non-violent peace king, the people cheered him and scattered palm branches. The entry is commemorated on Palm Sunday (one week before Easter). Blackened profile frame, gold staffiert The painting was presented in the pre-selection for appraisal in the broadcast series Kunst und Krempel on 26.03.2017 at Ratibor Castle in Roth, not shown in the broadcast * Partner auction Bergmann. Provenance : In the second generation Franconian private ownership. *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.
Altmeistergemälde: "Niederländische Landschaft"Öl/Holz. Links unten monogrammiert, verso "J.H.W." monogrammiert/betitelt. 1690. 37 x 50 cm. Holländische Ortschaft am Fluss mit Reiter und anderen Personen auf der Straße im Sonnenschein Altersspuren, Tafel horizontal geteilt, durch Parkettierung verso zusammengehalten. Provenienz : Fürsten Reuß j.L., Schloss Osterstein Gera. Old Master Painting: "Dutch Landscape"Oil / Wood. Monogrammed lower left, monogrammed/titled "J.H.W." on verso. 1690. 37 x 50 cm. Dutch village by the river with riders and other people on the road in the sunshine Traces of age, panel divided horizontally, held together by parquetry on verso. Provenance : Princes Reuss j.L., Osterstein Castle Gera. *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.
Altmeistergemälde: Großes JagdstilllebenÖl/Leinwand. Unsigniert. Um 1700. 121 x 99 cm. Gerahmt135 x 114 cm. Qualitativ hervorragende Darstellung der Beutevögel mit Gewehr an einem Baum in weiter Gebirgslandschaft unter wolkigem Himmel Leinwand doubliert, ein kleines Loch. Provenienz : Fürsten Reuß j.L., Schloss Osterstein Gera. Shipping not available Old Master Painting: Large Hunting Still LifeOil / canvas. Unsigned. Circa 1700. 121 x 99 cm. Framed135 x 114 cm. Quality excellent depiction of prey birds with rifle on a tree in wide mountain landscape under cloudy sky Canvas doubled, a small hole. Provenance : Princes Reuss j.L., Osterstein Castle Gera. Shipping not available.*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.
Altmeistergemälde: Grablegung ChristiÖl/Holz. Unsigniert, verso Fragment einer schreitenden Figur. 40 x 31 cm. Gerahmt51 x 42 cm. Viele Personen bei der Grablegung an der Höhle mit dem Leichnam Jesu Altersspuren. Old Master Painting: Entombment of ChristOil / Wood. Unsigned, verso fragment of a striding figure. 40 x 31 cm. Framed51 x 42 cm. Many people at the burial at the cave with the body of Jesus Traces of age. *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.
ARNOLD-GRABONÉ, Georg(1896 München - 1981 Percha) Landschaft mit GebirgsmassivÖl auf Leinwand. Signiert. 30 x 40 cm. Gerahmt40 x 50 cm. Stimmungsbetontes Motiv in virtuoser Spachteltechnik mit leuchtendem Kolorit. Rückseitig altes Künstler-Etikett. Profilierter Rahmen Rahmen partiell defekt. Arnold-Graboné, Landschaftsmaler, studierte an den Akademien in Stuttgart, München, Berlin, Wien und Paris. Meisterschüler von Max Liebermann und Heinrich von Zügel. Seit 1930 Professor und Rektor an der Akademie in Zürich * Partnerauktion Bergmann. Literatur : Saur (1992), Ludwig (1993). ARNOLD-GRABONÉ, Georg(1896 Munich - 1981 Percha) Landscape with mountain massifOil on canvas. Signed. 30 x 40 cm. Framed40 x 50 cm. Atmospheric motif in virtuoso spatula technique with bright coloring. On the back old artist label. Profiled frame Frame partially defective. Arnold-Graboné, landscape painter, studied at the academies in Stuttgart, Munich, Berlin, Vienna and Paris. Master student of Max Liebermann and Heinrich von Zügel. Since 1930 professor and rector at the Academy in Zurich * Partner auction Bergmann. Literature : Saur (1992), Ludwig (1993). *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.
Großformatiges Früchtestilleben im AltmeisterstilÖl/Leinwand. Unsigniert. Ende 19. Jh.120 x 79 cm. Gerahmt134 x 94 cm. Trauben, Birnen und Pfirsiche in einer Porzellanschale auf einem Sims über weiteren Trauben, Kürbissen und Granatäpfeln Altersspuren. Large format fruit still life in old master styleOil / canvas. Unsigned. Late 19th c.120 x 79 cm. Framed134 x 94 cm. Grapes, pears and peaches in a porcelain bowl on a ledge above other grapes, pumpkins and pomegranates Traces of age.*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.
Barockes Reisebesteck in altem EtuiBeschauzeichen/undeutliches Meisterzeichen gepunzt. Wohl Augsburg.L 20/21 cm, Kastenmaß: 4 x 27 x 6 cm. Gesamt 208 g (2 Griffe gefüllt). Silberner Suppenlöffel und Gabel mit Silbergriff mit ähnlichem Blütendekor. Dazu Messer mit leicht abweichendem Blütendekor am Silbergriff Messer mit Defekt bzw. alter Reparatur am Griff.Baroque travel cutlery in old caseShow mark/undeuterated master mark hallmarked. Probably Augsburg.L 20/21 cm, box size: 4 x 27 x 6 cm. Total 208 g (2 handles filled). Silver soup spoon and fork with silver handle with similar flower decoration. In addition, knife with slightly different floral decoration on the silver handle Knife with defect or old repair on the handle.*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.
NEWTON (ISAAC)Autograph letter signed ('Your most humble & most obedient/ Servant/ Is. Newton') to Samuel Pepys ('Sr'), rejoicing at receiving a letter from him, glad to hear of his good health from the bearer and hoping said bearer [Samuel Newton] will answer their expectations, going on '...He shewed me your Problem. Viz How seamen may be convinced of the possibilities of improving navigation. I know no certain way of convincing them; but the best way that I can think of is by shewing them out of history that navigation has been improved in all ages down to our own, that some things of great moment are still wanting... & that ships often miscarry through their unskilfulness, wch is your own argument. But when all is done there will be no certain way of convincing them but by improving it. And then they will be convinced only so far, as they see it improved. For what seaman would have expected the inventions of sails, Anchors, Rudders, the compass & Gunpowder till they were found out...', thanking him for the encouragement he is giving Sam Newton '...for tho' he is almost a stranger to me, yet I should be glad to find that he gives satisfaction as well for ye sake of my Recommendation as for the sake of the Hospitall...', integral address panel addressed 'For the Honble Samuel Pepys Esq/ in York Buildings/ London', docketed in ink on recto 'May.17.1695' in the hand of Pepys, and on verso in another hand, one page on a bifolium, crown and circle watermark with initials CC and P, seal tear, light dust-staining, creased at folds, losses along upper fold, not affecting text, 4to (210 x 150mm.), Trinity College, Cambridge, 17 May [16]95Footnotes:'FOR WHAT SEAMAN WOULD HAVE EXPECTED THE INVENTIONS OF SAILS, ANCHORS, RUDDERS, THE COMPASS & GUNPOWDER TILL THEY WERE FOUND OUT': AN IMPORTANT NEWLY DISCOVERED LETTER FROM ISAAC NEWTON TO SAMUEL PEPYS - ON IMPROVING THE TUITION IN NAVIGATION AT CHRIST'S HOSPITAL.Remarkably little correspondence between two of the great figures of the age survives, which makes our newly-discovered letter a great rarity. Indeed, only four other letters from Newton to Pepys are recorded in the seven volume Correspondence of Isaac Newton (Vol.III, nos. 420, 432, 434 and 436, 13 September, 26 November, 16 December, 23 December 1693) and three from Pepys to Newton (Correspondence, Vol.III, nos. 431, 433 and 435, 22 November, 9 and 21 December 1693). The series begins with a curious letter from Newton written during a period of great anxiety and insomnia in September 1693 in which he seeks to cut off his friendship with Pepys. In December Pepys attempts to re-engage with Newton by posing a problem of chance and probability which is enthusiastically discussed on both sides. Our letter, written in May 1695, would appear to be Newton's response to Pepys' letter of the 13th of that month (ed. J.F. Scott, Correspondence of Isaac Newton, 1967, Vol.IV, no.508, British Museum Add.Mss 20732) in which Pepys expresses his future hopes for Samuel Newton (no relation), recently appointed to the position of mathematics master at Christ's Hospital on Newton's recommendation, writing: '...I have mighty hopes of seeing the Royll Foundation recover through ye Industry, Practice, & Spbriety of this Gentn...I do hope... that hee will therein fully make good ye Character You were latterly pleased to give him to ye Hospitall...'.It is unfortunate that Pepys' diaries end years before he encountered Newton, but they had much common business and they are forever linked, according to Claire Tomalin (Samuel Pepys: The Unequalled Self, 2002, p.252), through the Royal Society's publication of Newton's Principia Mathematica in 1687. Whilst not a scientist, Pepys was chosen as President of the Royal Society from 1684-86 for his administrative and fundraising skills at a time when the Society was depleted in numbers, in trouble financially and in need of reorganisation. The title page of Newton's seminal work gives Pepys' and the Society's imprimatur authorising the publication, although it was in fact Edmund Halley, later Astronomer Royal, who encouraged Newton to publish and actually paid for the publication. Newton was a guest in Pepys' home two days after the funeral of Robert Boyle in January 1692 at a time when, according to Newton's biographer Richard Westfall, Newton had '...established himself as the leading intellectual of the land... From every indication he relished a new role of scientific consultant...' (Richard Westfall, Never at Rest: A Biography of Isaac Newton, 1983, p.498).Newton and Pepys also shared a common interest in Christ's Hospital, with which they both had a long-standing relationship. Within the establishment, a Royal Mathematical School had been set up in 1673 by Sir Robert Claydon, Alderman and later Lord Mayor, with the approval of Charles II, to teach boys mathematics and the art of navigation along the lines of Louis XIV and Colbert's French model. Forty 14-year-old boys from the school (known as 'Mathemats') were chosen to take up the first places, entitled to wear a silver plated badge designed by Robert Hooke, and still worn by pupils today. Pepys had been appointed a governor of Christ's Hospital in 1676 and held the office of vice-president from 1699 until his death in 1703. Through his role at the Admiralty he wished to professionalise the navy by encouraging promotion by merit, with the aid of examinations in navigation and seamanship and with this in mind he persuaded the government to make a financial contribution to ships' masters to take on apprentices from the school. Others involved with the school included Sir Christopher Wren, John Flamsteed, astronomer at the new Greenwich Observatory, and teacher to the boys, and of course Isaac Newton, who had a say in appointments and, as shown in our letter, had a considerable interest in the teaching of mathematics and modernising the curriculum. Our letter demonstrates Newton's influence in advancing the study of practical navigation. He argues here that new technology should be embraced, and that invention must be encouraged as a means to progress: '...For what seaman would have expected the inventions of sails, Anchors, Rudders, the compass & Gunpowder till they were found out...' he reasons. In 1694 Newton drew up a revised syllabus for the school which occupies eight closely written pages of the school's Committee Book. He sets this out in a letter to Nathaniel Hawes (Treasurer from 1683 to 1699) of 25 May 1694, as a New Scheme of Learning: '...the Mathematicall children, being the flower of the Hospital, may in time furnish the National wth a more skilfull sort of Sailors, Builders of Ships, Architects, Engineers and Mathematicall Artists of all sorts, both by Sea and Land, then France can at present boast of...' (Correspondence, no.452). The revised scheme drawn up by Sir Matthew Andrews in 1696 took this on board and recommended tuition '...in the use of globes and the use of instruments proper for observing the ships latitude at Sea, As the Cross Staffe, Quadrant, and other necessary instruments...' (Ernest Harold Pearce, Annals of Christ's Hospital, 1908, p.124). Ironically it was not until 1775 that the first teacher with considerable practical experience at sea was employed at the school, one William Wales who had served as navigator aboard the Resolution on Captain Cook's second voyage and whose log book inspired Coleridge's Rime of the Ancient Mariner. For further information on this lot please visit Bonhams.com
August Frederik Hollming for Fabergé (1854-1915). A pair of late 19th/early 20th century Russian mother-of-pearl, ruby and diamond-set cufflinks by the Faberge workmaster August Frederik Hollming, each dark mother-of-pearl oval panel designed with an oval ruby cabochon centre to an old-cut diamond border, chain link and associated Russian clip connections, the reverse of one panel engraved with scratched inventory number 64240, each with work master's mark Latin A. H., and 56 standard mark, panels approximately 1.7cm longProvenance: The Barry Lock collectionAugust Frederik Hollming was born in Finland and moved to Saint Petersburg in 1876. He qualified as a master goldsmith in 1879 and was hired as a Faberge workmaster shortly afterwards. By the mid 1890s, he is believed to have been working exclusively for Faberge, and in 1900/1901 he moved his workshop to the Faberge premises at No. 24 Bolshaya Morskaya. The St Petersburg kokoshnik mark on these cufflinks dates them to between 1899-1908, when Hollming was known to have been working for Faberge. Hollming specialised in miniature Easter eggs, enamelled cufflinks, jewellery and cigarette cases. Condition Report: Gross weight approx. 5.9gNot stamped with a Faberge mark
A folio of Old Master and later prints, 16th c and later, approx. 40, loose or pasted-in, including Marcantonio (c. 1470/82 - c. 1534) after Baccio Bandinelli (1493 - 1560), The Martyrdom of St Lawrence, second state, with the standing executioner's second stick partially-erased, n.d. [1520-30], mounted, creased, former repairs and losses, 42 x 55.5cm, by and after Thomas Frye (1710-1762), portrait of a man, from the 'Life-sized Heads series', [London, 1760], mezzotint, trimmed with loss of all lettering, further defects and losses, mounted and tipped-in, 44.5 x 33cm, by and after John Miller (1715-1790), A View of the Ruins of the City of Pæstum, s.l., n.d., engraving, trimmed and tipped-in, 33 x 43cm, Jan Sadeler I (1550-1600) after Hans Bol (1534-1593), landscape, n.d. [c. 1700], etching and engraving, mounted with some losses, 19.5 x 27cm, further engravings after Carracci, Rubens, Bartolozzi, Wilkie, etc., mounted named-views of Oxford, others, 19th calf over marbled boards, rubbed and scuffed losses Mixed condition: each sheet affected by a degree of wear, damage, loss &/or repair. Sold not subject to return.
Ephemera & Prints. Four Acts of Parliament, 1728-1745, Gothic Black Letter, including lunacy, London barbers and surgeons as two distinct corporations, Bath Infirmary and Canterbury Workhouse, disbound, various states, folio, seven engravings by Thomas Dudley from Aesop's Fables, c. 1679, six parts of Beaunier's and Rathier's Recueil des Costumes Français, n.d., various line engravings of antiquarian costumes, original wrappers, worn, folio, six Old Master engravings, loose and mounted
A South German Baroque boxwood panel, c. 1680-1720, probably from a table casket, boldly carved in relief with the Conversion of St. Paul, presumably adapted from an Old Master source engraving, 10 x 16.5cm Good colour. Slight wear, upper-left corner and lower-left edge with minor losses. The base with a stable split, not showing from the front. Unexamined out of 21st c frame.
Glen Grant Pure Malt Highland Scotch Whisky 70cl 40%, two bottles, The Famous Grouse Finest Scotch Whisky 100cl 40%, one bottle, Bells Blended Scotch Whisky 100cl 40%, one bottle, Jack Daniels 1905 Gold Medal Tennessee Whisky 100cl 43%, one bottle, Johnnie Walker Aged 12 Years Black Label Old Scotch Whisky 70cl 40% one bottle in carton, and Invergordon Grain Master Blender Pack Scotch Whisky one half bottle (7)
A SUPERB AND LARGE OSAKA SCHOOL WOOD NETSUKE OF A PEASANTUnsignedJapan, Osaka, late 18th to early 19th century, Edo period (1615-1868)Superbly carved as an old peasant wearing an elaborately carved headcloth and robe with expressively carved garment folds, fondling a bag with both hands, the facial features masterfully carved with many wrinkles and pronounced cheekbones. Good, chimney-type himotoshi to the back. The well-toned wood bearing a fine patina. HEIGHT 9.4 cmCondition: Good condition with minor wear and traces of use. The feet have been repaired and there are a few fills to the robe as visible in the images provided.Unsigned, however in the style of the enigmatic master carver Sanko who seldomly signed his carvings and whom many famous works are attributed to such as the legendary 'Meinertzhagen Kirin'. A work depicting a man-faced kirin, which is attributed to the artist, has recently broken the world record for a netsuke at auction (441,375 USD).Another possibility is a later generation of artists working in the Osaka style, such as Kokeisai Sansho (1871-1936), though the present piece certainly has an earlier feel to it. For a similar example by this artist see The Metropolitan Museum of Art (The MET), New York, accession no. 10.211.2319.Auction comparison:Compare a related wood netsuke of an Oni Nenbutsu, signed Sanko, at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 32 (sold for 96,135 USD). Also compare an ivory netsuke of Ryujin, attributed to Sanko, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 65 (sold for 9,150 EUR).
A VERY LARGE GILT AND LACQUERED ANNAMI SCHOOL WOOD FIGURE OF AMIDA NYORAIJapan, the figure 15th-16th century, the lacquer Edo period (1615-1868)Finely carved standing on a lotus dais surrounded by individually carved petals raised on a leafy section supported by a shishi seated in a recumbent pose over lotus lappets on a red-lacquered base. His hands are held in raigo-in (vitarka mudra), used to receive the souls of the deceased as Amida descends from heaven, with the right hand raised and left hand lowered. He is wearing loose-fitting robes with neatly carved folds and decorated with swirling clouds and geometric designs. His serene face with heavy-lidded eyes, gently arched brows, a glass-inlaid byakugo (urna), and full red lips, with thinly painted brows and mustache. His hair is arranged in tight curls over the high ushnisha with a rose-colored stone nikkeishu (jewel of wisdom).HEIGHT 98 cm (the figure) and 139.5 cm (total)Condition: Good condition with minor wear, little flaking and few small losses to lacquer, minor age cracks, minor old repairs with associated touchups. Provenance: From the private collection of a gentleman in the San Francisco Bay Area, USA. The back with an old label reading: "Amida Buddha - "Annami School" Ashikaga Period - 1393-1573 Decorated circa 1675 (Tokugawa) Agent claims this image long known to him at Horyuji (??)"This particular style of Amida Nyorai sculpture is called Annamiyō (Annami-style), a name which is derived from An-amidabutsu, a Buddhist title given to Kaikei (act. c. 1183-1223). Often compared with another Kei-School great master Unkei (d. 1224), Kaikei was one of the most important Buddhist sculptors in Japanese art history, active in the late-Heian to Kamakura periods. Kaikei's works are generally known to be graceful, while keeping the reality of the figure. With the rise of the Jōdo (Pure Land) Buddhism sect, Kaikei, as a devout believer, produced a number of San-jaku Amida (standing Amida figures of approx. 80cm to 1m high) with raigōin, a mudra welcoming believers into the Great Western Paradise, throughout his career. Their beautifully proportioned faces are gentle and intellectual, bodies are moderately fleshy and the pictorial robes drape delicately. In his later works, the drapery becomes more complicated, making the figures even more graceful. Widely favoured as the ideal embodiment of Amida Nyorai in Japan, Kaikei's style was carried on and developed by his followers and later generations. Most standing Amida figures produced during and after the time of Kaikei are said to be more or less influenced by his style.
FOLLOWER OF PIETER DE RINGA STILL LIFE OF FRUIT, A CHEST AND A GOBLET ON A DRAPED TABLEOil on canvas110 x 90.5cm (43¼ x 35½ in.)Provenance:Sale, Christie's South Kensington, London, Old Master & 19th Century Art, July 8, 2011, lot 99Condition Report: The canvas has been relined. Surface scuffs and several surface scratches and dirt throughout. Some scattered spots of flaking and associated loss, as well as craquelure throughout. Area of possible repair of approx. 7 cm lower centre. Inspection under UV reveals a heavy varnish which is presumed to be masking further retouching. Measurements including frame: 126,5 x 107 cm. Condition Report Disclaimer
Brown metal sculpture of the profile of a lady and bird. Signed by the artist. Serge Jolimeau is a 57-year-old Haitian metalworking master who has refined and advanced a Haitian tradition of recycling discarded oil drums into art. Issued: 20th c.Dimensions: 8.5"L x 4"W x 16.5"HCountry of Origin: Haitibr>Condition: Age related wear.
Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Akte unter Baum. 1913. Holzschnitt. Schapire 110. Signiert und datiert. Auf chamoisfarbenem Japanbütten. 30,5 x 23,5 cm (12 x 9,2 in). Papier: 49 x 34 cm (19,2 x 13,3 in). Am unteren Blattrand rechts und links je eine kleine handschriftliche Bezeichnung von fremder Hand. Das Werk ist unter der Nummer SHG 120 a in der Sammlung Hermann Gerlinger registriert. [EH]. • Sehr selten: artprice.com verzeichnet kein einziges weiteres Blatt dieses Motives auf dem internationalen Auktionsmarkt im Zeitraum seit 1985. • Ein weiteres Exemplar befindet sich in der Sammlung des Städel Museums, Frankfurt a. Main. • Vormals aus der Sammlung Dr. Wilhelm Niemeyer, Hamburg (1874–1960). PROVENIENZ: Atelier des Künstlers. Sammlung Dr. Wilhelm Niemeyer, Hamburg. Privatsammlung (durch Erbschaft vom Vorgenannten, bis 2008: Christie`s). Jörg Maaß Kunsthandel, Berlin. Sammlung Hermann Gerlinger, Würzburg (vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Jörg Maaß Kunsthandel Berlin, Karl Schmidt-Rottluff, Ausgewählte Druckgraphik aus der Sammlung Niemeyer, Nr. 14 (m. Abb.). Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, 29.9.2018-24.2.2019, S. 195 (m. Abb.). LITERATUR: Christie's, London, Auktion 2.4.2008, Old master, modern and contemporary prints including the Wilhelm Niemeyer collection of prints by Karl Schmidt-Rottluff and property from the collection of R. B. Kitaj, S. 110. 'Die Sammlung von Wilhelm Niemeyer trägt unwiederholbare Züge. Sie wurde nicht einfach zusammengekauft, ging vielmehr hervor aus einer engen Freundschaft zwischen Sammler und Künstler. Jedes Blatt war begleitet von intensiven Gesprächen. Niemeyer erlebte in Dangast und Hamburg, wie ein ungeheuerer Gestaltungswille alles Hinderliche souverän zur Seite schob, um frei von allen Zwängen in Holz, Stein und Metall zu gestalten', schreibt Prof. Dr. Dr. Gerd Presler im Vorwort zum Katalog Karl Schmidt-Rottluff, Ausgewählte Druckgraphik aus der Sammlung Niemeyer der Galerie Jörg Maaß. Er beschreibt den intensiven Austausch zwischen dem Künstler und dem der Avantgarde wohlgesonnenen Kunsthistoriker sowie Mitbegründer des Sonderbunds. Unser Blatt ist also direkt aus der Hand des Künstlers zu Wilhelm Niemeyer und von dort über eine kurze Zwischenstation in die Sammlung Hermann Gerlinger gelangt. Aufrufzeit: 10.06.2023 - ca. 17.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Akte unter Baum. 1913. Woodcut. Schapire 110. Signed and dated. On off-white Japon. 30.5 x 23.5 cm (12 x 9.2 in). Sheet: 49 x 34 cm (19,2 x 13,3 in). In left and right of bottom margin with small inscriptions by a hand other than that of the artist. The work is documented in the Hermann Gerlinger Collection as SHG 120 a.[EH]. • Very rare: artprice.com does not show any results for a sheet with this motif on the international auction market since 1985. • Another copy is at the Städel Museum, Frankfurt a.M. • Formerly in the Dr. Wilhelm Niemeyer Collection, Hamburg (1874 - 1960). PROVENANCE: Artist's studio. Dr. Wilhelm Niemeyer Collection, Hamburg. Art dealer Jörg Maas, Berlin (Christie's, London 2008) Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032; acquired from the above). EXHIBITION: Art dealer Jörg Maaß, Karl Schmidt-Rottluff, Ausgewählte Druckgraphik aus der Sammlung Niemeyer, no. 14 (with illu). Schmidt-Rottluff. Form, Farbe, Ausdruck, Buchheim Museum der Phantasie, Bernried am Starnberger See, September 29, 2018 - February 24, 2019, p. 195 (with illu.). LITERATURE: Christie's, Old master, modern and contemporary prints including the Wilhelm Niemeyer collection of prints by Karl Schmidt-Rottluff and property from the collection of R. B. Kitaj, auction on April 2, 2008, p. 110. Called up: June 10, 2023 - ca. 17.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
A diamond three stone ring, the old brilliant cut stones claw set in a yellow and white metal traditional three stone mount ring size M, shank marked 18ct Plat, gross weight 2.4g.Condition report:The centre diamond is approximately 4.3mm diameter and 2.4mm deep. The side diamonds are approximately 4cm diameter and 2.2mm deep. We do not have master stones to grade diamonds but in our opinion the diamonds are within the Clarity grade range of SI1 to I1 and Colour grade range of J to L. One diamond has a chip to a crown facet. A couple of the claws would benefit from re-tipping. The shank is slightly misshapen. Please see additional uploaded images of the ring, particularly the band.
UNITED KINGDOM. Victoria, 1837-1901. Gold half-sovereign, 1890. London. With JEB Low shield DISH L512. No half sovereigns were struck in 1888 and 1889 in an attempt to steer the public towards greater use of silver coins, which were less prone to wear than the half-sovereign and so more cost-effective. The double-florin (4 shillings) piece was produced 1887-1890 to offset for the half-sovereign shortage, but weighs 22.6 grams and measures 36 mm. The public was not happy about carrying around the equivalent value of the widely used half-sovereign (10 shillings) in silver coins. Production of half sovereigns recommenced in 1890 with 2,266,023 coins.The issues the mint encountered with the Jubilee coins are well documented and were exacerbated by the pressure for the coins to be ready for the Queen's Golden Jubilee on 20 June 1887. Due to time restraints the Jubilee head sculptor Joseph Edgar Boehm’s initials JEB were individually punched onto the master dies, resulting in three categories of JEB types—Imperfect J, hooked J (six unique dies) and no JEB. It is unclear in which order coins of these categories would have been produced and why at some point, presumably after 1887, it was decided to discontinue the use of dies with the JEB initials. After 1887, JEB initials are all of the Imperfect J type and become increasingly rarer as the years pass. This in our opinion indicates that coins struck after 1887 bearing the JEB initials would relate to the use of old dies from 1887 production runs, in the same way as the use of high shield dies.To improve metal flow, the reverse was redesigned at some point after 1887 and the shield moved slightly lower (sometimes called wide date as the lower part of the shield pushed the date further apart). In the same way as presumed with the use of JEB dies after 1887, the Mint continued using the high shield dies from 1887 production runs until 1892, the later ones being very rare (1891 is ultra-rare).Crowned and veiled Jubilee bust facing left; JEB on truncation, imperfect J; inscription: VICTORIA DEI GRATIA BRIT: REGINA F: D:. / Lower, crowned and embellished shield-of-arms; wide date in exergue; BRITANNIARUM REGINA FID: DEF:.Reference: Marsh-479A; S-3869B; DISH-L512Diameter: 19.3 mm.Weight: 3.99 g. (AGW=0.1176 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Circle of Pietro de Cortona (Italian, 1596 - 1669) "The Nativity" Black ink and brown wash on paper. Inscription 3388 Nelson, Sunderland Coll. Paper bears unidentified watermark. Notes: The Sunderland Collection of old master drawings was sold by Christie's, Manson and Wood in London on June 15, 1883. The catalogue lists two nativity drawings, one unattributed and the other attributed to Pietro da Cortona (item 96). Sight Size: 4.5 x 7.5 in. Overall Framed Size: 9.25 x 12.25 in. Framed behind glass.
Kayserie Meisterteppich. Zentralanatolien, Türkei, antik.211 cm x 153 cm. Handgeknüpft. Feine Knüpfung. Osmanisches Reich circa 100 - 120 Jahre alt. Versand kann organisiert werden.Kay series master carpet. Central Anatolia, Turkey, antique. Hand-knotted. Finely knotted. Ottoman Empire circa 100 - 120 years old. Shipping can be arranged.
A MOTHER-OF-PEARL INLAID BLACK LACQUER 'ROMANCE OF THE WESTERN CHAMBER' BOX AND COVER, BY JIANG QIANLI, KANGXI PERIODChina, 1662-1722. Of circular form, supported on four short feet, covered in black lacquer, the cover finely inlaid in mother-of-pearl depicting a scene from Romance of the Western Chamber with a couple sitting on a scholar's rock in a fenced courtyard and a lady secretly watching, the moon rising above the fence, all encircled by a geometric border. The interior inlaid in mother-of-pearl with the seal of Jiang Qianli.Inscriptions: To the interior, 'Qianli'.Provenance: The Strong National Museum of Play, accession number 76.33.16 a (lacquered to base and interior of the cover). Old label 'made in China' to the base. Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play. Condition: Very good condition with old wear, traces of use and age, a minuscule chip to the foot, expected minor age cracks, microscopic losses and nicks.Weight: 117.2 g Dimensions: Diameter 9.3 cmJiang Qianli, alias Qiushui, was a master craftsman from Yangzhou in Jiangsu province. For early studies of Jiang's work see Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli', Wenwu, 1959, no. 11, pp. 59-61, and Paul Moss, Emperor, Scholar, Artisan, Monk - The Creative Personality in Chinese Works of Art, London, 1984, page 258. Jiang's name is also mentioned in a number of historical records, including the 1810 edition of the Jiaqing Yangzhou fu zhi (Chronicles of Yangzhou Prefecture in the Jiaqing period) in which Zhang Shiyuan and Yao Youtian record:"During the early years of the Kangxi reign, the scholar Zha Erzhan resided in Weiyang [another name for Yangzhou]. He was an accomplished painter of level distance landscape and the Mi school style of painting. An inch of paper or a foot of silk would be cherished if they were by his hand. There was also Jiang Qiushui whose skill produced mother-of-pearl inlaid lacquerware that was noted for its exquisiteness. These wares were widely sought after for use at banquets. A couplet says, 'Where there are drinking cups and serving trays, there one finds Jiang Qiushui. Where there are scroll paintings, there one finds Zha Erzhan'."The Romance of the Western Chamber, written by Wang Shifu (1250-1300) was immensely popular among all levels of society. Woodblock illustrations in the many editions helped conventionalize images that were instantly recognizable to the general public, thus creating a corpus of motifs that was widely used by painters, silk embroiderers, lacquer workers and other craftsmen.Professor Herbert Giles, whose History of Chinese Literature was published in 1924, refers to the Xixiang Ji as the play “which will best repay reading”. It is the typical story where a handsome student and beautiful girl attempt to cross the social divide, aided and incited by the girl's maid. The dialogue is punctuated with images of wind, snow, moonlight, and flowers, emphasizing both the passion and the romance felt by the struggling couple.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 April 2014, lot 48Price: HKD 325,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A mother-of-pearl inlaid black lacquer dish, by Jiang Qianli, Qing dynasty, Kangxi periodExpert remark: Compare the closely related inlay technique as well as the depiction of a scene from the Romance of the Western Chamber. Note that this dish is by the same artist, but is signed with a four-character seal mark Jiang Qianli.康熙江千里髹黑漆嵌螺鈿《西廂記》蓋盒中國，1662-1722年。圓盒，四道弧形短足。髹黑漆，蓋盒上用精美螺鈿描繪了《西廂記》場景，月下，張生與鶯鶯坐在園中假山石上，身側丫鬟偷偷觀望。 款識：盒内嵌螺鈿“千里”字樣 來源：紐約Strong 國立美術館，收藏編號 76.33.16 a (見盒底)。盒底有舊標籤'made in China' 。Margaret Woodbury Strong (1897-1969) 成長於一個富裕的收藏家家庭。 她的興趣範圍非常廣泛，到 1960 年爲止，她已經積累了 27,000 多件收藏品和藝術品。她的絕大多數收藏都以特定方式與玩耍有關，隨著她的收藏不斷擴大，Margaret計劃建立一個博物館來展示她的收藏。美術館最終於 1982 年向公眾開放，並在接下來的幾十年裡，其收藏、設施和資源急速擴大，現在佔地超過 285,000 平方英尺。今天，Strong 國立游戲美術館（簡稱為 The Strong 美術館館或簡稱為 The Strong）是世界上唯一一家專注於遊戲研究的以收藏為基礎的博物館。品相：狀況極好，有磨損、使用痕跡和足部微小的缺損，老化裂縫、微小的損失和劃痕。 重量：117.2 克 尺寸：直徑9.3 厘米 江千里，字秋水，江蘇揚州人，一説浙江嘉興人。關於江千里早期作品研究可見《文物》，1959年，第11期，第 59-61頁，以及Paul Moss，《Emperor，Scholar，Artisan，Monk - The Creative Personality in Chinese Works of Art》，倫敦，1984年，頁258，包括1810年版嘉慶重修的《揚州府志》，也記錄了當時流行的一副對聯：“杯盤處處江秋水，卷軸家家查二瞻。”查二瞻就是查士標，康熙初年畫山水的名家。意思是說有錢人家都使用江千里的螺鈿漆器，牆上掛著查士標的山水畫，生活非常雅致。江千里技藝精湛，一生喜用《西廂記》故事作小件軟螺鈿鑲嵌，他開創了明代鑲嵌螺鈿細工的先河，名聲甲於海內外。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年4月7日，lot 48 價格：HKD 325,000（相當於今日EUR 49,000） 描述：清康熙黑漆嵌螺鈿「西廂記」故事圖盤，《江千里製》款 專家評論：比較非常相近的鑲嵌技術、西廂記主題。請注意此盤雖為江千里所製，但款識為四字的「江千里製」 。
A 'FIRE AND FOUR-PETAL LEAVES' BRONZE RITUAL FOOD VESSEL, GUI, EARLY WESTERN ZHOU DYNASTY China, 11th century BC. The deep body of slight S-profile raised on a spreading foot with a tall straight foot rim below a band of leiwen divided by four flanges, cast below the everted rim with a band of alternating fire and four-petal leaves centered on two sides with a small animal mask, flanked by a pair of loop handles with an animal mask at the top and a hooked tab projecting from the bottom. The bronze with a superb, naturally grown, rich, brown patina with distinct malachite and cuprite encrustations.Provenance: Gottfried and Helga Hertel, Cologne, Germany. The property of a gentleman in the United States, acquired from the above. Gottfried Hertel (1925-2019) was the Executive Director of the German Nuclear Reactor Insurance Association in Cologne. Together with his wife, Helga (1928-2013), he formed a substantial collection of Asian art, antiquities, and Old Master paintings, over many decades, beginning in 1970. Parts of the Egyptian art and classical antiquities collection were sold at Bonhams in London, 3 July 2019. Condition: Excellent condition, commensurate with age. Old wear and shallow surface scratches, losses, small nicks and dents. One side of the wall and an area of the foot rim sympathetically restored. The interior of the foot rim with minor flaking. Superb, naturally grown patina overall and thus displaying exceptionally well.X-Ray imagery: X-Ray images of the present lot are available on request.Weight: 1,447 g Dimensions: Width 25.5 cm (across)Literature comparison: Compare a related early Western Zhou dynasty gui, illustrated by Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, pl. 3862. The decoration on the present gui, resembling fire and four-petal leaves, belongs to a distinct type which first appeared in the Western Zhou dynasty, see Shang Zhou qingtongqi wenshi (Decorative Patterns on Shang and Zhou dynasties Bronzes), Beijing, 1984, p. 248, pl. 703-708 for a related discussion and study carried out by the Shanghai Museum Bronze Research Group on this design. Compare the similar gui, also dated early Western Zhou, illustrated by J. Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Arthur M. Sackler Foundation, 1990, p. 385, fig. 43.1. See, also, the similar gui in the collection of the Danish National Museum, illustrated by M. Boyer, Some Chinese Archaic Bronzes in the Danish National Museum, BMFEA, No. 27, Stockholm, 1955, pp. 1-10, pl. 5 (b).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1247 Price: USD 194,500 or approx. EUR 233,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, early Western Zhou dynasty, 11th century BCExpert remark: Compare the closely related form, handles, and decoration with similar animal masks and alternating fire and four-petal leaves (described here as “stars and whorls”), as well as the related size (26.7 cm). Note the five-character inscription.西周初期青銅簋中國，公元前十一世紀。侈口，垂腹，半環耳，圈足外撇，近底處起淺臺。腹兩側為獸首半環耳，下皆垂珥，口沿下飾一紋飾帶，以浮雕小獸面為中心，兩側為交替的火焰紋和四葉草紋。圈足飾一周雲雷紋襯地。青銅器具有極好的、自然生長的、豐富的棕色銅綉，帶有明顯的孔雀石色和赤色結殼。 來源：德國科隆Gottfried 與Helga Hertel收藏；美國紳士收藏，購於上述收藏。Gottfried Hertel (1925-2019年) 曾是德國科隆核反應堆保險協會的執行董事。自1970 年起，他與妻子 Helga（1928-2013年）建立了亞洲藝術、古物和古典大師繪畫收藏。部分埃及藝術和古典古物收藏於2019年7 月3日在倫敦邦瀚斯拍賣行出售。 品相：狀況極佳，有磨損和表面淺劃痕、缺損、小刻痕和凹痕。一側和腳緣的區域得到了修復。足緣內部有輕微剝落。自然生長的整體包漿。 X光射線檢測: 可詢問獲取X射線檢測圖。 重量：1,447克 尺寸：寬 25.5 厘米 (雙耳之間) 文獻比較： 比較一件相近的西周初期青銅簋，見吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012年，頁3862。本器紋飾為火焰紋和四葉草紋，屬西周時期最早出現的一種獨特類型，見《商周青銅器紋飾》，北京，1984，頁248，圖703-708；上海博物館青銅器研究組對此相近設計的討論研究。比較相似的西周早期青銅簋，見J. Rawson，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，卷IIB，Arthur M. Sackler基金會，1990年，頁385，圖43.1。一件相似的西周早期青銅簋，收藏於Danish National Museum，見M. Boyer，《Some Chinese Archaic Bronzes in the Danish National Museum》，BMFEA，編號27，斯德哥爾摩，1955年，頁1-10，圖5 (b)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1247 價格：USD 194,500（相當於今日EUR 233,000） 描述：公元前十一世紀西周初期青銅簋 專家評論：比較非常相近的外形、雙耳，以及相似的輔首、火焰紋和四葉草紋，以及相近尺寸 (26.7 厘米)。請注意此簋有五字款識。
A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURYTibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。
An 18th century pen and ink drawing of a saintly figure holding a crucifix, laid against a rock on a mat under some trees. After an old master. Indistinctly signed in the lower right corner. Later framed and glazed. Drawing is 27cm wide and 20cm high. Frame is 42cm wide and 35cm high. Some creasing to the paper.
In Fine Binding & With Royal Connection Manuscript: Green (E.) Chronology and Geography by E. Green, Folio manuscript, written in copper plate hand, with diagrams (some in colour) statistical tables etc., c. 71pp. No date but c. 1800. In cont. full calf, attractive large gilt borders, raised bands, spine tooled gilt in panels, & red mor. gilt lettered label on front cover. As a m/ss., w.a.f. Page One reads: “This Book of Chronology and Geography began October 26th and finished June 20th following [year not stated; early 19c?] by Elizabeth Green aged 12 years and 9 months. Papworth Master.” The text, comprising neatly written notes and illustrated with diagrams (some in colour) and statistical tables, is an astonishingly accomplished work for a twelve-year-old girl. Note on t.p.: “Maud Messel. Given me by John Maxwell Lyte with very many happy returns for your birthday August 5th, 1945.” Accompanying letter by the donor comments on the “shocking” results of the recent general election and hopes she will enjoy her curious present. Lyte was a son of the prolific historian and archivist Henry Maxwell Lyte. Maud Messel (1875-1960) was the wife of Leopold Messel of Nymans in Sussex, which they transformed together into one of the great gardens of England. Their daughter Anne married successively Robert Armstrong-Jones and the 6th Earl of Rosse; she was the mother of Antony Armstrong Jones, Earl of Snowdon (Husband of Princess Margaret) and of the 7th Earl of Rosse. A charming memento, with Provenance to Nymans and to Birr Castle. Provenance: Birr Castle Estate
Yiannis Tsarouchis (Greek, 1910-1989)Automne, 1971 signé en grec et daté '71' (en bas à droite)huile sur toile60 x 48.5cm (23 5/8 x 19 1/8in).Peint en 1971.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceAthens Art Gallery collection, Athens. Private collection, Athens. LittératureZygos art magazine, no. 4, September-October 1973, p. 41 (illustrated).Kathimerini daily, January 19, 1975, p. 10 (illustrated).Nea Epicheirisis, Business Administration Bulletin, vol. 17, no. 160, May 1978, p. 101/513 (illustrated).E. Florou, Tsarouchis - Painting, (doctoral dissertation), vol. 1, Athens 1989, no. 787, p. 261 (catalogued).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 939, p. 283 (catalogued).Epiphaneia, Pierides Art Gallery - Kinisis Business Administration Bulletin edition, Athens 1992, p. 71 (illustrated).Silently immobile in shallow space like a precious butterfly pressed under glass, Tsarouchis's personification of autumn celebrates the purely pictorial realisation of a symbol's everlasting value. Striking immediacy, honesty of representation and genuineness of character build up an ideal world liberated from the fleeting moment. Painted in earthy colours, highlighted by solid outlines and set against a dark background reminiscent of many works by Giovanni Bellini (compare Pieta with Four Angels, 1470-1475, Pinacoteca Comunale, Rimini), the young sitter, the artist's niece Korina Koutouzi, conveys a striking immediacy and resilient allure, echoing Byzantine icons or Fayum1 and Renaissance portraits.Tsarouchis recalls: 'An issue that concerned me among other symbolisms was the age-old subject of the four seasons. Around 1966, a collector commissioned me to paint this long studied theme. I painted four figures—two couples—on a single canvas between 1968 and 1969 in Paris where I lived and worked at the time. Teriade saw this work and commissioned the Four Seasons on four separate canvases, with my nieces Korina and Despina as models. Despina as Spring and Winter, and Korina as Summer and Autumn.'2 Discussing lot 75 in a 1975 article accompanied by a photograph of the painting, art critic M. Karavia noted that 'after a quick look at Tsarouchis's portraits in Athens it is evident that his Renaissance related inquiries, which started in 1967, continue to preoccupy him to this day. His harking back to the monochromatic—often black—backdrops of the Flemish masters, as is the case with this painting, or to Bellini's portraiture became his own means of expression.'3 'The same way Tsarouchis glorifies the light in Theofilos's paintings, he is enchanted by the darkness of Caravaggio. When he paints on black backgrounds, in the vein of the Italian master, he does not rely on an interplay of light and shadow to build up form but, rather, he illuminates his figures from within according to the Byzantine tradition.'4 Featuring solid outlines, lively brushwork, bold application of paint and an utterly captivating non-finito effect,5 this allegorical portrait conveys a sense of reserved authority and lofty stature, with the artist—who was thoroughly familiar with the European artistic tradition—employing established art historical conventions from disparate historical eras to elevate his model to a mythical level. Tsarouchis himself said that when he painted the personifications of the four seasons he was influenced by the 17th and 18th century old master paintings he saw in French museums, blending age-old techniques with his personal artistic visions.6 'Tsarouchis draws on allegory—a rhetorical mode used as a cryptic form of artistic expression in Italian Renaissance and Baroque paintings—not simply so as to give an aesthetic dimension to an abstract concept through a specific form, but rather to make the most of its narrative and image-making abilities. As a typical rhetorical scheme of old master paintings, it invests his work with an aura of classicism.'7 As noted by the late Athens National Gallery Director M. Lambraki-Plaka, 'Tsarouchis's figures managed to survive the iconoclastic crusade of modern art, which never tired of demolishing, distorting or expelling the human form. Tsarouchis did not give in to this negative aesthetic theory, which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious palladium of the human figure. His art is a modern day incarnation of Noah's Arc.'8 1 Realistic and contemplative portraits produced in the Nile Valley during Roman times bearing the marks of an unquestionably Greek style deeply rooted in the Hellenistic School of Alexandria. They kept alive the conventions of naturalistic representation and passed them on to the Byzantine icon painters. Fayum portraiture was a major source of inspiration for Tsarouchis in his effort to reinterpret the age old tradition of Greco-Roman and Byzantine art in a modern and vigorous manner.2 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. x.3 M. Karavia, 'The New Pictorial Face of Yannis Tsarouchis' [in Greek], Kathimerini daily, January 19, 1975, p. 10.4 A. Levidis, 'Herald of Greekness' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 274. 5 'Works of art have a way of completing themselves' responded Tsarouchis when someone happened to remark that a painting of his seemed empty or unfinished. See G. Tourkovassilis, 'My Teacher Y. Tsarouchis' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 517.6 See Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 85.7 A. Kafetsi, Yannis Tsarouchis - Between East and West, exhibition catalogue, Greek Ministry of Culture, Athens 2000, pp. 21-22.8 M. Lambraki-Plaka, 'Yannis Tsarouchis and the Palladium of Painting' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 452.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
20 x Vanity Fair field sports prints - "A hard rider (1887)", Mr Hargreaves, "Cottesmore", "Bucks", "Taplow Court", "A Hard rider (1898)", "A Peninsular veteran", "Jim", "Serlby", "Cattistock", "Berks and Bucks", "A Leicestershire Man", "A very old master", "An old master", "Haute école", "A Great officer of state", "A Whip", "The Lord Mayor", "Alfred" & "Worksop Manor"
ARRAN 12 YEAR OLD MASTER OF DISTILLING II ISLAND SINGLE MALT Still a relative youngster in whisky terms, Arran distillery began production in 1995. Thanks to a focus on sourcing quality casks, and its light, accessible spirit that ages well, Arran has proven extremely successful. So much so, that in 2017 they began construction of a second distillery on the other side of the island. Sharing a name with Arran’s only other previous legal still (closed in 1837), Lagg distillery focuses on producing peated spirit.Honouring Arran's Master Distiller, James McTaggart's 10th Anniversary at the distillery.51.8% ABV / 70cl
GLENLIVET MASTER DISTILLER'S RESERVE 1L SPEYSIDE SINGLE MALT One of the very first distilleries in Scotland to be granted an official licence, after the passing of the licencing act in 1823, Glenlivet distillery has become synonymous with Speyside whisky. So much so, that at one point 28 other distilleries in the area adopted “Glenlivet” as a suffix to their own brand in order to piggyback on the reputation Glenlivet had built for itself. Although that practise has fallen by the wayside in recent years some independent bottlers still use it.The Glenlivet brand is now one of the most recognisable in the world, and despite the distillery undergoing an expansion and upgrade (beginning) in 2010, their iconic 12-Year-Old expression still had to be discontinued for a few years before production was able to catch up with demand.40% ABV / 1L
A Rare German 50 PDR. Bronze Mortar Stamped Gef. V.I.G. Grosse In Dresden, 19th Century Cast in two stages with turned medial band and muzzle-ring, set at an angle against an integral wedge, the latter stamped with maker's details in capitals, plain vent, and made in one with a stepped base pierced at each corner with an anchoring hole, and with old green patination 38 cm. high, 18.5 cm. bore Footnotes: Possibly intended for testing gunpowder Johan Gotthelf Grosse (1808-1869) was master founder at the Royal Saxon foundry and master of the foundry guild, Dresden. An almost identical example is in the Askeri Museum, Istanbul. See O. Sermed Moukhtar, Musée Militaire Ottoman..., 1921, pl. 25, no. 2 For further information on this lot please visit Bonhams.com
A Brass-Barrelled Flintlock Blunderbuss By Bennett, Royal Exchange, London, Late 18th Century With two-stage barrel turned and belled at the muzzle, octagonal breech engraved 'ROYAL.EXCHANGE. London' along the top flat, border engraved tang decorated with foliage, signed flat bevelled lock (old light pitting) lightly engraved with foliage on the stepped tail, figured full stock (old split beneath the lock, fore-stock with old repair along one side at the muzzle) with chequered grip, a dot in the centre of each diamond, border engraved brass mounts comprising vacant escutcheon, butt-plate with a crossed bow and quiver on the heel tang, trigger-guard with a flower-head on the bow and with acorn finial, turned ramrod pipes, and original horn-tipped ramrod (repaired) with iron worm, London proof marks and Bennett's barrelsmith's mark 34.2 cm. barrel Footnotes: John 2 Bennett was apprenticed to his father who is recorded as Citizen and Cutler in 1758. The father was a sword cutler and silver hilt maker registering his mark with the Goldsmith's Company in 1761. John 2 worked on his own account at '67 Threadneedle Street opposite the North Gate of Ye Royal Exchange' between 1781 and 1803, and was elected Master of the Cutlers' Company in 1779 and 1793. The business was succeeded by his widow Elizabeth For further information on this lot please visit Bonhams.com
A Brass-Barrelled Flintlock Blunderbuss By Heylin, Cornhill, London, Circa 1770 With three-stage barrel turned and belled at the muzzle and signed in large capitals along the top of the breech, grooved foliate engraved tang, border engraved rounded lock decorated with foliage on the tail, cock en suite, figured full stock (some old bruising) carved with a foliate apron around the barrel tang, brass mounts comprising rounded side-plate of service type, large border engraved vacant oval escutcheon, butt-plate decorated with a flower-head and foliage on the border engraved heel tang, border engraved trigger-guard with a flower-head on the bow, brass ramrod-pipes, and later brass-tipped ramrod (barrel tang and lock with some old rust patination), London proof marks and Foreigner's mark 41 cm. barrel Footnotes: Joseph Heylin was elected Master of the Gunmakers' Company in 1777 and died in 1801. For more details regarding this maker see Norman Dixon, 'Joseph Heylin, A Georgian Gunmaker 1730-1801', J.A.A.S., Vol. XVII, No. 3 (March 2002), pp. 155-189 For further information on this lot please visit Bonhams.com
A Flintlock Brass-Mounted Blunderbuss By Rob.t Harvey Of London, Early 18th Century With three-stage barrel flared at the muzzle and deeply stamped with Irish registration number 'MF 4086' at the mid-section, border engraved octagonal breech becoming polygonal and signed in capitals along the top flat, border engraved tang decorated with foliage, rounded lock (an old replacement), re-lacquered artificially figured rootwood full stock (minor damage and old worming) with raised apron around the barrel tang, brass mounts including rounded scroll side-plate, border engraved butt-plate with long tapering tang, trigger-guard en suite and with pointed finial fore and aft, turned brass baluster ramrod-pipe, and later brass-capped ramrod, London proof marks and indistinct barrelsmith's mark 40 cm. barrel Footnotes: Robert Harvey was apprenticed to Henry Anthonison and turned over to John Dafte in 1691. He was made free of the Gunmakers' Company in 1701, and was elected Master in 1725. He is recorded as a 'Maker of fine silver-mounted pistols and crossbows', and died in 1737 For further information on this lot please visit Bonhams.com
A Pair Of 28-Bore Flintlock Silver-Mounted Holster Pistols By R. Rowland Of London, Early 18th Century With earlier slightly swamped three-stage barrels (one more worn than the other) each engraved with foliage at the muzzle and turned mid-section, the latter signed 'ED NICHOLSON FECIT', octagonal breeches becoming polygonal, the former each engraved with strawberry foliage terminating in a monster-head, the latter cut with a narrow flute on each flat, tangs retaining traces of foliate scroll engraving, border engraved flat bevelled locks (one cock retaining screw replaced) each signed in capitals within foliated scrolls and decorated with strawberry foliage on the tail, figured moulded full stocks (one butt partly replaced, ramrod channels split, one fore-end chipped on each side at the muzzle, minor old repairs) each carved in low relief with foliage behind the rear ramrod-pipe and around the barrel tang, cast and chased mounts comprising pierced foliate side-plates, foliate escutcheons engraved with owner's initials 'C' over 'J*A', border engraved pommels each decorated with three spheres between foliage on both sides and with stepped octagonal cap, the spurs engraved with graduated beadwork, trigger-guards each with border engraved bow and foliate finial, turned faceted ramrod-pipes, and iron-capped ramrods each with iron worm, London proof marks and Nicholson's barrelsmith's mark (2) 20.5 cm. barrels Footnotes: Provenance Christie's South Kensington, The J.C.L. Knapton Collection of Antique Firearms, 28 February 1990, lot 89 An old handwritten note formerly with the pistols states 'These pistols marked J.C.A. (sic) came from Feteresso Castle, Aberdeen, and belonged to the Abercromby family, probably Sir James Abercromby' Robert Rowland (d. 1721) was first recorded in 1704 and obtained his freedom of the London Gunmakers' Company by redemption in April 1715. He probably set up in business on his own account in 1717, and specialised in breech-loading firearms, including two guns built for John Tournay, dated respectively 1718 and 1719, the latter in the Royal Collection at Windsor (inv. no. L247) Edward 1 Nicholson was apprenticed to Robert Silke and was free of the Gunmakers' Company in 1675, and elected Master in 1697 For further information on this lot please visit Bonhams.com
A 60-Bore Flintlock Pocket Pistol Late 17th Century With turn-off cannon barrel (some scarring, muzzle with minor split), the breech and tang with traces of engraving, border engraved rounded lock and cock decorated with strawberry foliage (steel retaining screw, steel-spring and screw replaced), highly figured rootwood stock (minor old splits beneath the lock) and globose butt, iron mounts decorated with strawberry foliage comprising fore-end plate extending back to form the trigger-plate engraved with overlapping foliage, and pommel-cap secured by tacks and with long shaped tang extending up the back of the butt, pierced and chiselled serpentine side-plate, and button trigger (light rust patination), London proof marks 5.1 cm. barrel Footnotes: Provenance Howard L. Blackmore, FSA, FGA, formerly Deputy Master of the Royal Armouries, H.M. Tower of London Christie's London, Fine Antique Arms and Armour..., 27 March 1996, lot 303 Sold in these Rooms The Richard Garrett Collection 28 November 2018, lot 290 Exhibited The Royal Armouries, H.M. Tower of London, 1980-1995 For further information on this lot please visit Bonhams.com
The Mughal Emperor Aurangzeb (reg. 1658-1707) at a jharoka window Mughal, attributed to Mir Muhammad Isfahani, circa 1710-20gouache and gold on paper, inscribed at top in nagari script shahayari [?], blue border with stylised floral motifs in gold, inscribed on the reverse in nasta'liq script 173 x 124 mm.Footnotes:The inscription on the reverse reads: 'amal-i Mir Muhammad Isfahani [with the posthumous name for 'Alamgir], Hazrat Khuld Makani.The Emperor Aurangzeb (born 1618, reigned 1658-1707) was also known by his regnal title 'Alamgir (Conqueror of the World). He is often presented hunched, in old age, but here appears at a jharokha window in a white marble tower. A number of examples are known with Aurangzeb in this pose, including one in the British Museum (1920.0917.0.12.40); the Cleveland Museum of Art (1944.498); and the San Diego Museum of Art (1990.366), where the composition includes two guards standing at ground level.A painting of circa 1700 depicting Aurangzeb in old age in a similar pose reading a Qur'an at a jharokha window is in the Johnson Album 2, no. 2, at the British Library in London (see T. Falk, M. Archer, Indian Miniatures in the India Office Library, London 1981, pp. 99 and 417, no. 138 (ii); J. P. Losty, M. Roy, Mughal India: Art, Culture and Empire, London 2012, p. 159, fig. 101). They observe that such window portraits are obviously not royal commissions, since in his eleventh regnal year (1668-1669) Aurangzeb abolished the daily practice of darshan, the public viewing of the emperor at the jharokha window, which he considered idolatrous.A seal impression on the back of the painting is that of Naqabat Khan, Najm al-Daula Zafar Jang Bahadur, dated AH 1166/AD 1752-1753, and a note in the inscription records that Naqabat Khan is the owner of the painting. Naqabat Khan, a nobleman probably from the Deccan, of whom we have little information other than the fact that he was known for possessing a good library in the 18th Century, was also the owner of a Mughal painting, circa 1600-10, depicting Akbar and his master builder (see Simon Ray, Indian and Islamic Works of Art, November 2017, cat. no. 26), which has an almost identical square seal impression bearing his name.For further information on this lot please visit Bonhams.com
![[Francesco Villamena (1564-1624) after Francesco Albani (1578-1660)] -Allegory for an Italian Cardinal, s.l., n.d., [Rom](https://cdn.globalauctionplatform.com/b8b76805-2892-4cbc-a5b0-aff80103372a/c94ce559-33b4-401c-8907-aff8010cb1d0/468x382.jpg)
[Francesco Villamena (1564-1624) after Francesco Albani (1578-1660)] -Allegory for an Italian Cardinal, s.l., n.d., [Rome, c. 1596], unlettered early state, etching and engraving, 30 x 44.5cm, and two other Old Master engravings, (3) Two similar examples of the Italian allegory exist in the collections of The British Museum (1874,0808.1537) and The Forbes and Clark Collections, Massachusetts. However, each of the three are centered by the arms of a different cardinal, and only in ours - the only unlettered example we could trace - does the cardinal's galero have tassels. Minor creases and handling marks. Each trimmed to/just within the platemark.
3rd century A.D. From the upper part of the right side of the face mask, the upper edge with a band of embossed curved lines, probably representing stylised hairs, intertwined with laurel crown; embossed image of advancing Mars, the god of war, to the centre, depicted nude with military sagum, a pseudo-Corinthian helmet to the head and carrying a circular shield. Cf. Robinson, R., The Armour of Imperial Rome, New York, 1975, pls.387-390; Garbsch, J., Römische Paraderustüngen, München, 1979; Born, H., Junkelmann, M., Römische Kampf-und Turnierrüstungen, Band VI, Sammlung Axel Guttmann, Mainz, 1997; D'Amato R., Negin, A., Decorated Roman Armour, London, 2017, fig.177.55 grams, 17 cm wide (6 3/4 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. In the decorative patterns of Roman helmets, Mars was among the most revered deities in the Imperial army. After Jupiter, he was the most aristocratic god of the old Italic religion, master of armament, who governed military service (militiae potens) and oversaw the training ground, for which he was named Campester. The emperor Augustus named him Ultor (‘Avenger’) and dedicated to him a luxurious temple in the centre of the forum in gratitude for his victory over the murderers of Caesar and, in addition, granted to him the privileges of the Capitoline Jupiter.
Stundenbuch Von Meisterhand. Lateinisches und französisches Stundenbuch für den Gebrauch von Rouen. Manuskript auf Pergament. Rouen um 1470. - Hochwertiges Stundenbuch von einem Meister aus der Schöffenwerkstatt Rouen - Reich illuminiertes und vollständiges Manuskript von sehr guter Erhaltung - Einband mit Bildnismedaillon König François I. - - Sehr schöne, reich illuminierte Arbeit eines Meisters aus dem Atelier des Maître de l'Échevinage de Rouen, dem führenden Miniaturisten Frankreichs in der zweiten Hälfte des 15. Jahrhunderts, der nach wechselnden Zuschreibungen und Benennungen (Jacob Ten Eycken, Master of the Geneva Latini) von der jüngeren Forschung meist nach seinen Hauptarbeiten benannt wird, einer Reihe von prachtvollen Bilderhandschriften, die er für die Bibliothek der Rouener Schöffen (frz. échevins) zwischen 1457 und 1480 angefertigt hat. Die Miniaturen unserer Handschrift zeigen die typischen Merkmale dieser Rouener Schule, vor allem die durch reichliche Goldschraffuren gehöhten Gewänder sowie die in fast jedem Bild vorhandenen roten und blauen Tapisserien mit charakteristischem Brokatmuster. Das gilt auch für die vierteilige Darstellung der Evangelisten in einer Miniatur, die mit einem Lamm spielende Hirtin in der Hirtenverkündigung, und das typisierte Porträt der Auftraggeberin der Handschrift, einer vornehmen Dame, die kniend die Muttergottes mit dem Jesusknaben anbetet. Die Miniaturen besitzen einen besonderen Charme und eine Klarheit der Farben und Details, die in keiner anderen produktiven Manuskriptwerkstatt in Frankreich zu finden ist. Das französische Kalendarium nach Rouen nahezu voll besetzt, Einträge alternierend in Blau und Rot, Hauptfeste in Gold, darunter: Vincent (22. Jan.), Pierre (29. Juni und 22. Febr. Cathedra Petri), Marcial (3. Juli), Saint Sauveur (6. Aug.), Denis (9. Okt.), Romain (23. Okt.), Martin (11. Nov. und 4. Juli Translatio), Clement (23. Nov.), Katharine (25. Nov.) und Nicholas (6. Dez. und 9. Mai Translatio). - Marien- und Totenoffizium nach Gebrauch von Rouen. Inhalt: Kalendarium (fol. 1), Evangeliensequenzen (13), Obsecro te (18), O intemerata (21v), Marienoffizium (25), Bußpsalmen und Litanei (67), Stundengebet zum Hl. Kreuz (81), Stundengebet zum Hl. Geist (84), Totenoffizium (87), Quinze Joyes (112) und Sept Requêtes (116). Bildfolge: Die vier Evangelisten (fol. 13), Verkündigung (25), Heimsuchung (34v), Geburt (45), Verkündigung an die Hirten (49), Anbetung der Könige (52), Darbringung im Tempel (55), Flucht nach Ägypten (57v), Marienkrönung (63), König David im Gebet (67), Kreuzigung (81), Ausgießung des Hl. Geistes (84), Begräbnisszene (87), Bildnis der Stifterin (112). EINBAND: Französischer Kalblederband des 16. Jahrhunderts mit goldgeprägter Deckelbordüre und Eckfleurons (Lilie), Vorderdeckel mit goldgeprägtem Porträtmedaillon von François I. (König von Frankreich, 1515-1547) mit Inschrift „F. Rex“, Rückendeckel mit Bildnismedaillon der karthagischen Königin Dido; ferner mit Ganzgoldschnitt. 18 : 13 cm. - ILLUSTRATION: Mit 24 Kalenderminiaturen in den äußeren oder unteren Bordüren sowie 14 großen Miniaturen in gotischem Rundbogen und mit Vollbordüre. Diese mit meist geometrisch gefelderten Goldgründen, gefüllt mit blau-goldenem Akanthus und verschiedenen Blumen und Früchten. Ferner alle Textseiten mit breiter Außenrandbordüre, geschmückt mit den gleichen Motiven. Die Miniaturenseiten jeweils mit 4-zeiliger Prachtinitiale in Blau auf Blattgoldgrund, Buchstabenkörper weiß ornamentiert und Binnenfeld mit farbiger Rankenfüllung. Textseiten mit zahlreichen zweizeiligen blauen Initialen auf Blattgoldgrund sowie einzeiligen Goldinitialen auf blauem und mauvefarbenem Grund und Zeilenfüllern in gleicher Gestaltung. - KOLLATION: 118 Bll. und 4 Pergamentvorsätze. Blattgröße 17 : 12 cm. Schriftspiegel 9,3 : 6,3 cm. 16 Zeilen, regliert. Textura, dunkelbraune Tinte, Hervorhebungen in Rot. - PROVENIENZ: Deutsche Privatsammlung. LITERATUR: Vgl. C. Rabel, Le Maître de l'Échevinage de Rouen. In: Les Enluminures du Louvre, Moyen Âge et Renaissance. Hrsg. von F. Avril u. a., Paris 2011, S. 208. - C. Rabel, Artiste et clientèle à la fin du Moyen Age: les manuscrits profanes du Maître de l'Échevinage de Rouen. In: Revue de art, Bd. 84, 1989, S. 48-60. - F. Avril und N. Reynaud, Les manuscrits à peintures en France 1440-1520. Paris 1993, S. 169ff. - E. König, Wiedersehen mit Rouen. Kat. LXXII Antiquariat Tenschert. Ramsen 2013. Fine Rouen Book of Hours. Use of Rouen, in Latin and French. Illuminated manuscript on vellum by the Master of the Echevinage of Rouen with 14 large miniatures and 24 small calendar miniatures, richly decorated acanthus borders with flowers and fruits and fine color initials on gilt ground. 118 leaves and 4 vellum flyleaves. Sheet size 17 : 12 cm. 16th cent. French calf panelled with gilt arabesque borders and fleurs-de-lys in corners, central medallion on upper cover of François I (King of France 1515-1547) inscribed 'F. Rex' and on lower cover of Dido; gilt edges. – Minor staining to some margins, few borders with small blurred spots, a few other small marks and signs of use, generally in very fine condition. Binding rubbed and bumped, rebacked with part of old spine laid one, old shelf label on spine. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
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