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Click here to subscribeA Doulton Slaters patent 9.5" high vase with narrow neck. Dark blue with star patterns and a panel depicting two 3D people - a boy and a woman with musical instruments. Many makers' marks as well as the Doulton impressed mark. The neck has been repaired and there is a chip under the rim of the neck.
Chris Levine (Canadian 1960-), 'Lightness Of Being (Freedom Edition)', 2021, giclee print in colours on composite panel, numbered from an edition of 1000 verso, bearing the Artists printed signature verso, published by Dominic Guerrini Fine Art; panel: 90 x 71cmARRpanel: 90 x 71cm (Framed)In excellent conditionNo scratches or chips to the panelThis work has been stored in its original gallery packagingNo apparent issues.
Damien Hirst (British 1965-), 'Suiko (H10-4)', 2022, giclée print on aluminium composite, screen printed with glitter, all signed and numbered from an edition of 3310 to the label affixed verso, published by HENI Editions; panel: 100 x 100cmARRpanel: 100 x 100cmIn excellent conditionStored inside its original Heni packagingNo apparent issues.
Damien Hirst (British 1965-), 'Kew, from Veils (H4-6)', 2020, Diasec-mounted Giclée print on aluminium composite panel, signed in pencil on the label affixed verso and numbered from an edition of 75 in black ink verso, published by HENI Productions, London; panel: 92 x 126cmARR panel: 92 x 126cmIn very good condition No knocks, chips or scratches to the panel Stored inside it's original Heni packaging No apparent issues.
Gerhard Richter (German 1932-), 'Cage 1 (P19-1)', 2006/2022, Diasec-mounted giclée print on aluminium composite panel, numbered from an edition of 200 verso, bearing the Heni Productions ink stamp verso, published by Heni Productions, London, accompanied by the original cardboard box; panel: 100 x 100cmARRpanel: 100 x 100cmIn Very Good ConditionNo scratches or chips to the panelThis work is accompanied by its original Heni packagingNo apparent condition issuesIn Very Good Condition
Richard Hambleton (Canadian 1952-2017), 'Green Landscape', 1997, framed masonite panel using aluminium leaf with green gloss varnish and art guerra pigments, signed and dated verso; 37 x 47cm inc frame37 x 47cm inc frameIn good/artist's condition No signs of paint loss or restoration Some minor cracking to the frame, possibly due to the material that the work has executed onFramed by the artist and overpainted as a continuation of the artwork.
Dutch School, 1639Portrait of a child, full-length, in white costume, with a male figurine bears inscription 'AETAT: 27 Maenen/Ao: 16.39. (upper right)oil on panel, oval71.2 x 59.2cm (28 1/16 x 23 5/16in).Footnotes:ProvenancePrivate Collection, UK since at least the 1930sThe sitter in the present work can be compared to the youngest girl in Wybrandt de Geest's (Leuwarden 1592-1659) family portrait offered at Christie's, New York, 26 January 2001, lot 119.For further information on this lot please visit Bonhams.com
Studio of Osias Beert the Elder (Antwerp circa 1580-1623)Tulips, narcissi, an iris and other flowers in a glass vase on a table top with a butterfly oil on panel46.7 x 35.8cm (18 3/8 x 14 1/8in).Footnotes:ProvenanceWith Gallery Eugene Slatter, London, before 1953With John Mitchell, London circa 1954 (as Osias Beert), where purchased by the present owner's parentsLiteratureM.L. Hairs, Les Peintres Flamands de Fleurs Au XVIIe Siècle, Brussels, 1983, pp. 341, 457 P. Mitchell, European Flower Painters, London, 1973, p. 44, ill., no. 86 (as Osias Beert)For further information on this lot please visit Bonhams.com
Florentine School, late 16th CenturyThe Virgin Annunciate oil and gold ground on panel86.6 x 67.2cm (34 1/8 x 26 7/16in).unframedFootnotes:The composition of the present panel is based on the figure of the Virgin from the famous Annunciation of the mid 13th century in the church of Santissima Annunziata, Florence. Painted by a follower of Giotto, it is said that it was completed by a monk called Bartolomeo with the help of an angel. The composition of the Annunciation served as a model for numerous Florentine artists of the 16th and 17th centuries; most notably by Alessandro Allori (the Cappella del Coro, the Monastero Delle Oblate di Santa Francesca Romana, the Tor de'Specchi, Rome), but also Carlo Dolci (Zamość Cathedral) and Francesco Curradi (Sold, Sothebys, Paris, 16 June 2016 lot 23). An attribution for the present picture to Francesco Brina (Florence 1540-1586) has been suggested.For further information on this lot please visit Bonhams.com
Workshop of Francesco Morandini, called Il Poppi (Poppi 1543-1596 Florence)Portrait of a richly dressed lady, half-length oil on panel, oval86.5 x 64.3cm (34 1/16 x 25 5/16in).in a carved Sansovino frameFootnotes:Provenance Sale, Sotheby's, London, 8 December 2016, lot 113, where purchased by the present owner This figure was clearly a popular composition for Il Poppi, as attested to by the numerous versions by himself and his workshop. In each, attributes are altered so that she is variably identified as Saint Catherine of Alexandria, Saint Helena, or, as she is in the present composition, as a noblewoman.For further information on this lot please visit Bonhams.com
Attributed to Cornelis de Bailleur (Antwerp 1607-1671)The Conversion of Saint Pauloil on panel 52.2 x 70.6cm (20 9/16 x 27 13/16in).Footnotes:A similar composition, by Frans Francken the Younger, was offered at Christie's, Paris, 2 July 2008, lot 356A.For further information on this lot please visit Bonhams.com
Studio of Frans Hals (Antwerp 1580-1666 Haarlem)Laughing boy holding a flute bears initials and date 'FH i640' (lower right, F and H in ligature)oil on panel44.3 x 55.2cm (17 7/16 x 21 3/4in).Footnotes:The present painting is derived from Frans Hals's work now in Staatliches Museum Schwerin, Schwerin (inv./cat.nr G 2475).For further information on this lot please visit Bonhams.com
Austrian School, 16th CenturyScenes from the Passion of Christ oil on panel45.7 x 32.6cm (18 x 12 13/16in).Footnotes:ProvenancePrivate Collection, AustraliaThe coat-of-arms that appears in two places on the present panel, which shows argent a fess gules on a double-headed sable eagle, would appear to be a misinterpretation of the Austrian Habsburg coat-of-arms (gules a fess argent on a double-headed sable eagle). The reason for this would most likely have been because the composition was derived from a monochrome print.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Studio of Jan Brueghel the Younger (Antwerp 1601-1678)An iris, tulips, narcissi, roses and other flowers in a bloodstone vase with a beetle on a table-top oil on panel66.7 x 51.5cm (26 1/4 x 20 1/4in).Footnotes:ProvenanceAcquired by the present owners' grandmother in the 1940sThe present composition combines elements of works by Jan Brueghel and Ambrosius Bosschaert, and in the past paintings in this group have been attributed by Dr. Sam Segal to 'the Pseudo Bosschaert'. Dr. Fred Meijer, however, has since argued that those paintings ascribed to the 'Pseudo Bosschaert' are by several hands and he believes that the present work, as is the case with the others in the group identified by Sam Segal, should be more correctly described as 'Studio of Jan Brueghel'. Indeed, current scholarship now takes a more cautious approach to the output of this artist and his studio in general, from which the extent of the master's participation cannot be known with certainty in those works which are not signed.We are grateful to Dr. Fred Meijer for his assistance in the cataloguing of this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Monogrammist F. M. (active North Netherlands, 17th Century)The Crucifixion signed with monogram and dated 'F.M 16.11'oil on panel127.6 x 67.2cm (50 1/4 x 26 7/16in).Footnotes:ProvenanceWith Daniel de Changy, Belgium, where purchased by the present ownerIt is possible that the Monogrammist F.M is Frans Menton (Haarlem 1545-1615 Alkmaar), a pupil of Frans Floris.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Studio of Rembrandt Harmensz. van Rijn (Leiden 1606-1669 Amsterdam)Portrait of the artist, bust-length, in a gorget oil on panel41.9 x 29.7cm (16 1/2 x 11 11/16in).Footnotes:ProvenanceCollection of Eckard Wagner (1941–2019), Schloss Clemenswerth, GermanySale, Dorotheum Vienna, 10 November 2020, lot 73 where purchased by the late owner The present portrait relates to two autograph self-portraits by Rembrandt painted around 1629; one is in the collection of the Mauritshuis, The Hague, whilst the second is in the Germanisches Nationalmuseum, Nuremberg.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
David Teniers the Younger (Antwerp 1610-1690 Brussels)An alchemist in his workshop heating a pot bears signature 'D. TENIERS. FEC' (lower right) oil on canvas, possibly transferred from panel 27.6 x 37.2cm (10 7/8 x 14 5/8in).Footnotes:The Schloss family has kindly confirmed that there are no outstanding issues in relation to this work and the present lot is offered with a certificate issued by the Art Loss Register.ProvenanceWith Sedelmeyer, Paris, 1894, no. 47Collection of Adolphe Schloss, Paris, 1908Seized from Château de Chambon, Laguenne, 16 April 1943 by Vichy officials and German security agents (inv. no. 208)Sale, Sotheby's, London, 12 December 1990, lot 96 (as Property of a Lady)With Galerie d'Art Honoré, Paris, 1991, from whom purchased bySpectrum Inc. Roy T. Eddleman Trust, 2017 (a confidential settlement was reached with the Schloss heirs in 2005)ExhibitedOn loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute) until 2017As with lot 56, it was undoubtedly the late owner's affinity with this particular subject that will have lain behind the acquisition of this work by the Roy Eddleman Trust and their loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute), perfectly bringing together his interests in both art and science. Teniers shows the alchemist dressed in scholar's robes surrounded by vials, pottery containers and books, tending the fire under an experiment. Both the firelight and a shaft of light from the window on the left highlight the still life objects and the subject's blue coat, throwing them into contrast against the monochrome tones of the interior behind him where his assistants are at work, and allowing Teniers to show off his ability to describe the subtle differences in textures between the man's face, beard and fur collar. Margret Klinge confirmed the attribution to David Teniers at the time of the last sale and suggested a date of the first half of the 1650s.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Marco Palmezzano (Forli 1460-1539)The Annunciation oil on canvas, arched top218.3 x 175.5cm (85 15/16 x 69 1/8in).Footnotes:ProvenanceThe Collection of Baron Blanc, Château de Chancy, near ChambéryCharles Sedelmeyer, Paris, 1907Galerie Sanct Lucas, Vienna, 1927Sale, Sotheby's, New York, 30 May 1991, lot 19Private Collection, CaliforniaRoy T. EddlemanLiteratureCollection Ch. Sedelmeyer: 3me Vente, 1907, pp. 168-9, cat. no. 158, ill.Having completed his initial training with Melozzo da Forli, Marco Palmezzano, a native of Forli, then moved to Rome in the early 1490s. He later spent some time in Venice but then returned to Forli where he spent the rest of his long career carrying out many commissions in the area.At some point between 1927 and the 1991 sale at Sotheby's, the upper edge of the present canvas has been cut down to form an arched shape.The present Annunciation comes closest to the artist's altarpiece of circa 1512 for the Church of Santa Maria dei Servi in Forli and now in the Pinacoteca Civica (oil on panel, inv. no. 41). Both works see the two figures set before an arch, decorated with gold ground scrolling grotesques. Through the arch an expansive mountainous landscape is visible and the dove of the Holy Spirit is centrally placed high above the Virgin and Angel.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Willem Van Mieris the Elder (Leiden 1662-1747)A trumpeter at a casement window with another figure holding an upturned wine glass signed and dated 'W van Mieris. Fe. 1689' (lower right)oil on panel24.1 x 19.6cm (9 1/2 x 7 11/16in).Footnotes:ProvenanceSale, Paillet, Paris, 15 December 1777, lot 286 (1405 livres)Sale, Sluyter, Paris, 25 January 1802, lot 109 (1401 francs)The Collection of de Sereville, Paris, 22 January 1812, lot 41 (1500 francs)Collection of Eppo Jurjans, The Netherlands, by whom offeredSale, Schely, Amsterdam, 28 August 1817, lot 36 (sold for 701 fl to Hulswitt)The Collection of Grand Pensionary Schimmelpenninck, Amsterdam, 1819, by whom offeredSale, Roos, Amsterdam, 12 July 1819, lot 73Sale, Christie's, London, 3 June 1826, lot 114Collection of the Right Hon. Sir Charles Bagot, G.C.B, London, before 1834, by whom offeredSale, Christie's, London, 18 June 1836, lot 29 (bt. White)Acquired by the present owners' grandmother in the 1940sExhibited London, British Institution, The Works of Ancient Masters: the property of His most Gracious Majesty William the Fourth, the most Noble the Marquess of Westminster, and the right Honourable Sir Charles Bagot, G.C.B., 1834, cat. no. 86LiteratureJ. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, eFlemish, and French Painters, London, 1829, vol. I, pp. 91-2, cat. no. 8 (as formerly in the cabinets of Nyman and CondéJ. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters: Supplement,London, 1842, vol IX, p. 55, cat. no. 6C. Hofstede de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, vol. X, London, 1976, p. 183, cat. no. 296The present amusing composition is an early work by the artist, painted not long after he was known to have collaborated with his father, Frans van Mieris the Elder (1635-1781): it is almost certain that he finished his father's signed Holy Family of 1681 and the earliest known signed and dated works by Willem himself are from 1682. These early works typically employed the same technique and subject matter as Frans's, with the same enamel-like smoothness and virtuosity in the display of detail. The elegant musician and drinker depicted here were favourite motifs of the Leiden 'Fine' Painters, as was the perspective by which they are shown through a finely carved, arched stone window. We do not know the earlier provenance of the present painting, but during his lifetime many of Willem's paintings were bought by Christoph August von Wackerbarth for the collection in Dresden of Augustus the Strong, Elector of Saxony and King of Poland; while later in the 18th century some of the most important German and French collectors were keen to acquire examples of his paintings. Indeed, there is a related painting by van Mieris in the collection of the Gemäldegalerie Alte Meister, Dresden, which is dated 1700, eleven years after the present work. In this later painting the figures have been transposed, the trumpeter now standing in the foreground and the figure with raised arm - this time an elderly man - having receded into the shadows behind (fig.1).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Jacob van Ruisdael (Haarlem circa 1628-1682)A wooded landscape with an oak tree, pond and houses beyond indistinctly signed 'Ruisd**l' (lower centre)oil on panel56.7 x 47.2cm (22 5/16 x 18 9/16in).Footnotes:ProvenancePossibly Charles Jennens (1700-73), London, by 1761, thence by inheritance toPenn Assheton Curzon (1757-97), 1773 and thence by descent toRichard William Penn, 1st Earl Howe (1796-1870), Derbyshire, thence by descent toFrancis Richard Henry Penn Curzon, 5th Earl Howe (1884-1964), Penn House, Amersham, Bucks, by whom offeredSale, Christie's, London, 7 December 1933, lot 64, for 420 Guineas to With Colnaghi, London, by whom sold, 30 October 1941, for £475 toWith Thomas Agnew & Sons, London, by whom sold toA. Kahn, Paris, until circa 1950Private Collection, IrelandWith Heide Hübner, Würzburg, 1972Private Collection, UKLiteratureS. Slive, Jacob van Ruisdael. A complete catalogue of his paintings, drawings and etchings, New Haven and London 2001, p. 251, cat. no. 306, ill. (with erroneous dimensions)This landscape is closely related to Ruisdael's early etching Oaks with Houses and a pond, a unique impression, signed and dated 1647, now in the Albertina, Vienna, which is in reverse and horizontal in format. In his monograph, Slive suggests that, given the close connection to the print, along with comparisons to a landscape in a Swiss Collection, also dated 1647, the same date can be presumed for our painting (see: Slive, ibid, pp. 251, 599). Slive, who only knew this painting from a photograph, queried, given the relationship to the horizontal print, whether the composition may have been cut down along the vertical edges. However, this theory can be discounted as this single oak panel is bevelled on all four sides.For further information on this lot please visit Bonhams.com
Florentine School, 16th CenturyPortrait of a lady, three-quarter-length, with a dogoil on panel 81.6 x 63.5cm (32 1/8 x 25in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres green-ground tray (plateau 'du roi'), circa 1785Of the second size, painted by Nicquet and F. Bouillat (fils) with a central gilt-edged panel of a bouquet of roses surrounded by a wreath of berried laurel encircled by a garland of cornflowers, gilt garlands around the gilt-dentil shaped rim, 25cm long, interlaced LL monogram with painters' marks nq and fB, incised J.f (minor rubbing)For further information on this lot please visit Bonhams.com
A pair of Meissen yellow-ground Augustus Rex vases, circa 1735-40Of baluster from, reserved on each side with a shaped quatrefoil panel edged in gilt and brown, superbly painted with a battle scene, probably after an engraving by Georg Philipp Rugendas or Johann Andreas Thelott, the necks painted with indianische Blumen, 22.5cm high, AR monograms in underglaze-blue, incised x (lacking covers, restoration to sides where mounts were removed) (2)Footnotes:Provenance:Anon. sale, Sotheby's Zürich, 5 December 1991, lot 196;Property from a Swiss Private Collection (acquired by the present owner in the above sale)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare Meissen large dish from the Sulkowski Service, circa 1735-38Painted with two shaped escutcheons with the arms of Sulkowski and Stain zu Jettingen, flanked by rampant lion supports standing on a stepped plinth above a puce panel with gilt scrolls, the arms of Sulkowski with the sash and badge of the Order of the White Eagle, the well of the plate with scattered indianische Blumen within a Sulkowski Ozier moulded border, 43.3cm diam., crossed swords mark in underglaze-blue, incised V (restored rim chip, typical very minor scattered wear)Footnotes:Provenance:Anon. sale in these Rooms, 2 July 2019, lot 149;The Property of a North American Private CollectorThe Sulkowski Service was the Meissen manufactory's first magnificent and large, privately commissioned armorial service to have been designed to order, preceding the more famous Swan Service by several years, and was the first that was not intended for the Elector/King.Alexander Joseph Graf von Sulkowski (1695-1762) was born into a prominent Polish noble family and entered royal service as a page at the Warsaw court. From 1711, he was raised in the household of the Electoral Prince Friedrich Augustus, the heir of Augustus the Strong, of whom he became a close friend. He accompanied the Prince as Master of the Horse on his travels for seven years from 1712, including his tours of Italy, France and Catholic German states, and subsequently became the head of the Prince's household. He became a Gentleman of the Bedchamber in 1726, was raised to a (Polish) count in 1732, and, following the accession of Friedrich Augustus in 1733, was made Privy Councillor, Minister of State, Cabinet Minister and an Imperial Count. Sulkowski was the first Pole to achieve such a position of power: he was in charge of most Court offices, and was responsible not only for the Green Vaults, which held the treasures of the Wettin dynasty, but was also in charge of the porcelain deliveries to the Japanese Palace. Sulkowski also was the recipient of numerous gifts and orders from both Augustus the Strong and his successor, Friedrich Augustus, including Schloß Übigau and the Flemmingsche Palais in Dresden, as well as the Polish Order of the White Eagle and the Order of St. Heinrich. Even Heinrich Graf von Brühl, Sulkowski's better-known successor and the receipient of the famous Swan Service, was subordinate to Sulkowski until the latter's fall from grace in February 1738.The long-held supposition that Brühl saw Sulkowski as a rival and engineered his downfall has been questioned by Dr. Rainer Rückert, who has suggested that the cause of the Elector and King's displeasure with Sulkowski, was probably that he used the Meissen manufactory for his own benefit without informing the manufactory commission or the King. Not only did he order a porcelain armorial service to be made for himself of princely magnificence but he even had it delivered to the King's own porcelain palace, the Japanese Palace (R.Rückert, Biographische Daten der Meißener Manufakturisten des 18. Jahrhunderts, pp.267-269).Sulkowski married (firstly) in 1728 a Lady in Waiting of the Electoral Princess, Maria Anna Franziska Catharina Freifrau von Stein zu Jettingen (1712-41), whose arms appear on the service together with those of her husband. The first explicit mention of the service in Kaendler's work notes (Arbeitsberichte) appears to be the large sugar box and cover 'belonging to the order of His Excellency the Count Von Solkofsky (sic)' in September 1735. The manufactory inspector reported in May 1736 that although Kaendler, as well as the best Formers and Cleaners had worked on the service for a year and a half, it was not going to be possible to finish everything as Count Brühl had ordered a new service of 'entirely new design' and the store rooms urgently needed tablewares, small animals, figures and birds for sale (quoted by Ingelore Menzhausen, In Porzellan verzaubert, p.189 - see facing page for the tureen from the service in the Pauls Collection, Basel).Production of the service seems to have continued until Sulkowski's fall, and there may even have been later deliveries (a dish in the Schneider Collection has an impressed numeral which would seem to date it after Sulkowski's dismissal; published by Rückert 1966, no.490). A list of the pieces delivered to the Japanese Palace, dated 8th February 1738 - three days after Sulkowski's dismissal - and signed by J.G. Höroldt himself was published by Hilde Rakebrandt, Meissener Tafelgeschirre des 18. Jahrhunderts (1958), pp.14-15. According to this list, the charger offered here is the second biggest shape produced for this service. The incised 'V' can be taken as an indication of size. There were originally 24 chargers of this size produced. Only one larger charger has been on the art market recently, a large charger of 46cm, of which, according to the specification, twelve were made for service (Kramarsky Collection, New York, sold Christie's New York, 30 October 1993 lot 34). Another charger which measures 47.5cm in the Schneider collection.Larger forms of the service seem to have been based, at least in part, on silver examples in the Dresden Residence: according to Fritz Fichtner (Meißner Porzellan für Polen und Rußland (1941), p.15), Sulkowski himself specified that the large tureens be copies of a silver tureen by the Augsburg goldsmith Johann Miller (or Biller, according to Rückert and Schnyder von Wartensee). The basket-moulded borders, now known as 'Sulkowsky-Ozier', seem to have been used from around 1732.Sulkowski was permitted by the King to retain his titles and property, and four months after his fall he purchased the estates in Poland of the exiled Stanislaus Leszczinski. Friedrich Augustus even sought the advancement of his childhood friend with the Emperor in Vienna. In 1752, Sulkowski purchased the Silesian principality of Teschen and was raised to the rank of Prince of the Holy Roman Empire. In 1754 he was created Duke zu Bielitz and created Principal Master of the Hunt and Master of the Ordinance in the Grand Duchy of Lithuania. The Sulkowski Service was the subject of one of the very earliest scholarly monographs on Meissen porcelain, when it was published by Julius Lessing in 1888 ('Das Porzellangeschirr Sulkowski', in Kunstgewerbeblatt, vol.4, pp.43-8). Much of the service was apparently sold shortly afterwards, though a substantial portion was preserved in the family home until it was sold by Sotheby's London ('The Property of a Lady of Title') on 23rd May 1967, lots 29-50 (one dish with 42.5cm diam. was sold as lot 37, possibly the present lot).A charger of this size was in the collection of Erich von Goldschmidt-Rothschild, Berlin (sold Ball & Graupe, Berlin, 23-25 March 1931, lot 606 - unillustrated). A charger of similar size was sold in these Rooms from the Hoffmeister Collection, 25 November 2009,This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Meissen yellow-ground cup and saucer, circa 1745Each side reserved with a gilt-edged quatrelobe panel depicting Kauffahrtei and landscape scenes, the saucer with a similar scene within a gilt rocaille cartouche, the rims with gilt scrollwork borders, the cup: 4.8cm high; the saucer: 13.7cm diam., crossed swords marks in underglaze-blue, impressed numerals and gilt numeral (minor rubbing) (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Ikone, Russland, 19. Jh.Gottesmutterdarstellung "Lindere meinen Kummer", Tempera auf vergoldetem Hintergrund, punziertes Dekor, Malschicht schadhaft/ verwässert/ Runzelkorn (Hitzeschaden?), Rückseite Anobienlöcher. Zwei Rückseitensponki. Starke Holztafel leicht gewölbt. 44,5 x 35,5 cm Icon, tempera on wooden panel, woodworm holes at reverse, paint layer lacks of condition. Russia, 19th ct. 44,5 x 35,5 cm
Kleine Muttergottes-Ikone in verglastem Kastenrahmen, 19./ 20. Jh.Darstellung Muttergottes (Typus Eleusa-Umilenie-Gruppe), Tempera (Ausschnitts-Malerei) auf Holz (?), Flächenoklad Silber o versilbert, getrieben, mit aufgesetzten Gloriolen. Ca. 12,5 x 10,5 cm. Im Kastenrahmen mit verglaster Front. 19,5 x 17,5 cm Ra. Small godmother-icon in frame box, tempera on wooden (?) panel, silver plated or silver mounting with cutouts, 19th/ 20th ct.
Griechische Ikone Gottesmutter Tolgskaja. Spätes 19./ 20. Jh. (?)Tempera auf zusammengesetzter Holztafel, Silbergrund, Rand mit einfacher punzierter Ornamentik. Sponki an den Schmalseiten. Retusche am unteren Rand. Rücks. handschriftl. bez., 35 x 30,5 cm icon: godmother Tolgskaja, tempera on wooden panel, inscribed at reverse. 35 x 30,5 cm
Ikone, Russland, 19. Jh.Darstellung des Hl. Nikolaus als Bischof, in Kopfhöhe Miniaturfiguren Jesus und Maria. Zwei Heilige auf Seitenfeldern. Linke obere Ecke Szene aus dem Leben des Heiligen. Tempera auf Holz, restauriert, Retuschen. Tafel kovex gewölbt. Rückseitensponki fehlen. Anobienlöcher (Rückseite). 35,5 x 31,5 cm Icon Saint Nikolaus, Russia, 19th ct., tempera on wooden panel, restorated, retouchings. Woodworm holes at reverse. 35,5 x 31,5 cm
Ikone Deesis, Russland, 19. Jh.Darstellung Christus als Hohepriester im liturgischen Gewand als Bischof, thronend, umgeben von Heiligen und Erzengeln. Tempera und Gold auf Holz (Nussbaum), eingetieftes Mittelfeld, zwei Randheilige. Goldpartien graviert/ punziert. Tafel gebrochen und restauriert mit Retuschen. Zwei Rückseitensponki. 35,5 x 30,5 cm Icon: Christ as archpriest, surrounded by saints, tempera and gold on wooden panel, cracked and restorated with retouchings. Russia, 19th ct. 35,5 x 30,5 cm
Ikone Erzengel Gabriel, 20. Jh.Kopie nach einer bedeutenden Ikone des 14. Jh. aus dem Chilandar Kloster, Tempera auf (Nadel)Holz, Goldgrund, schlechte Haftung der Malschicht mit stark abblätternder Farbe. 33,5 x 20 cm Icon archangel Gabriel, tempera on wooden panel (softwood), copy after Chilandar archangel (cloister Hilandar). 20th ct. Peeling off paint layer. 33,5 x 20 cm
Heiligenbild Evangelist Lukas, Russland, 18./ Anf. 19. Jh.Darstellung des Apostels beim Verfassen des Lukas-Evangeliums, in ein geöffnetes Buch mit Feder und Tusche schreibend. Himmel als Hintergrund. Am linken Rand angeschnitten das Evangelistensymbol, der Stier. Öl auf ovaler Holztafel, konvex gewölbt. Über dem Kopf kirchenslawisch bezeichnet. Partiell durch Retuschen entstellt. Ovaler Rahmen, nicht orig. 15,5 x 11,5 cm, Ra. 23 cm (Höhe) Saint Luke, oil on oval wooden panel, retouchings. Russia, 18th / beg. 19th ct., oval frame of later age. H. incl. frame 23 cm
Ikone Hl. Seraphim von Sarow, Russland, 20. Jh.Darstellung des Heiligen im Wald in Anbetung eines Marienbildes. Tempera auf Holztafel, punzierte Randbordüre und Gloriole goldunterlegt. Schmalseitensponki. Rückseite Stempel (kyrill.), 26,5 x 22 cm, schwarz gefasster Kastenrahmen 19. Jh. mit Spitzbogengiebel, Front verglast, vergoldete Einsatzrahmen mit Applikation Taube des Hl. Geistes. Rahmenrückwand reparierter Riss. Ra. 48 x 35 cm Icon: Saint Seraph in the woods, tempera on wooden panel, stamp at reverse. Russia, 20th ct. In frame box (19th ct.) with glass pane, 48 x 35 cm
Ikone, Russland, 19. Jh.Deesis (Jesus thronend zwischen Maria und Hl. Johannes) mit vier umgebenden Heiligen. Tempera auf Nadelholztafel, sichtbare Retuschen in abweichender Farbe. Zwei Rückseitensponki. Figur am rechten Rand im Gesicht übermalt. 42,5 x 35 cm Icon with deesis, accompagnied by four saints, tempera on wooden panel, visible retouchings, overpaint in the face area of one saint. Russia, 19th ct. 42,5 x 35 cm
Ikone Christus, Russland, 19. Jh.Darstellung Christus als Pantokrator. Tempera auf Holz, vollflächiges versilbertes Oklad mit Inkarnatsausschnitten. Oklad getrieben, graviert, mit aufgesetzter Gloriole. Rückseite in rotem Filz bespannt. 18 x 14 cm icon Jesus Christ as Redeemer, tempera on wooden panel, silver plated mounting with engraved decoration. Russia, 19th ct. 18 x 14 cm
Ikone mit seltener Darstellung der Basilius-Liturgie, Russland, 19. Jh.Rot gerandet. Im Zentrum grüngrundiges Rundmedaillon mit Darstellung Gottvater und der nackte Leib Christi (?), umgeben von Engeln in einer Kreisformation. Im unteren Bildbereich Wiedergabe der drei Hierarchen Basilius, Gregorius und Johannes sowie Anhänger beim Gottesdienst, Gregorius und Johannes jeweils vor Kirchengebäuden und hinter einem Altar stehend. Tempera und Gold auf Holz, zwei Rückseitensponki.Eingetieftes Mittelfeld. Im Randbereich min. Retuschen. 31,5 x 26,5 cm Icon: Basilius liturgy, tempera on wooden panel, minor retouchings to rim. Russia, 19th ct. 31,5 x 26,5 cm
Festtags-Ikone, Russland, 19. Jh.Im Zentrum simultane Darstellung Christi Abstieg in die Hölle und Auferstehung (Osterszenen), umgeben von 12 Miniaturen: Hauptfeste des Kirchenjahres. Geburt Mariens, Einführung Mariens in den Tempel, Verkündigung, Christi Geburt, Christus im Tempel, Taufe Christi, Einzug in Jerusalem, Verklärung am Berg Tabor, Himmelfahrt Christi, östliche Dreifaltigkeit, Aufrichtung des wahren Kreuzes und Entschlafung Mariens. Auf dem leicht erhabenen Rand Beschriftung. Tempera auf Laubholz, Tafel konvex verwölbt, zwei Rückseitensponki. 35 x 29 cm icon, tempera on wooden panel, sligthly deformed. Russia, 19th ct. 35 x 29 cm
Ikone Christus Pantokrator, Russand, 19. Jh.Christus umgeben von vier Randheiligen, Tempera auf zusammengesetzter Laubholztafel, Sponki an den Schmalseiten. Goldgrund, punziert, Malerei durch großflächige Übermalungen und Retuschen teils verunstaltet. 26,5 x 21,5 cm Icon Christ as Redeemer, tempera on wooden panel, in many areas retouchings/ overpaints. Russia, 19th ct. 26,5 x 21,5 cm
Ikone Gottesmutter von Kasan, Russland, 19. Jh.Muttergottesdarstellung mit einem Randheiligen, Tempera auf Holz, Goldgrund, partiell Bereibungen und Retuschen. zwei Rückseitensponki. 33 x 27,5 cm Icon, type godmother of Kasan, tempera on wooden panel, paint worn in places, minor retouchings. Russia, 19th ct. 33 x 27,5 cm
Michelangelo Pistoletto (Italian, born 1933)One Work, from 'Terzo Paradiso' Series Unique drawing in black ink, 2003-present, on mirrored acrylic panel, signed in silver ink, from the edition of unknown size, published for FAI-Fondo Ambiente Italiano, Italy, the full sheet, 350 x 496mm (13 3/4 x 19 1/2in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Damien Hirst (British, born 1965)Forever (Small) (H8-4) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso and stamp-numbered 1013/2573, published by Heni Productions, London, housed in the original packaging, the full sheet printed to the edges, 390 x 390mm (15 3/8 x 15 3/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Damien Hirst (British, born 1965)Fruitful (Small) (H8-2) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso, stamp-numbered 1293/3308, published by Heni Productions, London, housed in the original packaging, the full sheet printed to the edges, 390 x 390mm (15 3/8 x 15 3/8in)(SH)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
Damien Hirst (British, born 1965)Butterfly Rainbow (Small) (H7-2) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso, stamp-numbered 2972/4150, published Heni Productions, London, housed in the original packaging, the full sheet printed to the edges, 241 x 500mm (9 1/2 x 19 5/8in)(SH)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
Damien Hirst (British, born 1965)Nur Jahan, from 'The Empresses' (H10-2) Laminated giclée print in colours with screenprinted glitter, 2022, on aluminium composite panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 1803/3041, published by Heni Editions, London, housed in the original packaging, the full sheet printed to the edges, 1000 x 1000mm (39 3/8 x 39 3/8in)(SH)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
Damien Hirst (British, born 1965)Butterfly Heart (Large) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso, stamp-numbered 1421/1698, published by Heni Editions, London, housed in the original packaging, the full sheet printed to the edges, overall 700 x 730mm (27 1/2 x 28 3/4in)(SH)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
Damien Hirst (British, born 1965)Mercy, from 'The Virtues' (H9-3) Laminated giclée print in colours, 2021, on aluminium composite panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 424/817, published by Heni Editions, London, housed in the original packaging, the full sheet printed to the edges, 1200 x 960mm (47 1/4 x 37 3/4in)(SH)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
Julian Opie (British, born 1958)Watching Suzanne (front) No.2 (Cristea 66) Screenprint, 2006, on white acrylic panel, signed and numbered 25/25 in black ink on a label affixed verso, printed by K2 Screen Ltd., London, published by Alan Cristea Gallery, London, 830 x 565 x 30mm (32 3/4 x 22 1/4 x 1 1/8in)(overall)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
William de Morgan (1836-1912),Six tiles in the 'Mongolian' tile panel design, 1898,Glazed earthenware, Some with impressed mark verso for late Fulham period 'D.M.98', Each approx 15.5cm square.Literature:Martin Greenwood, The Designs of William de Morgan, London, 2007, page 149, plate 592 and page 242, plate 284 for similar tile panel design.Tile 1: chip to 2 corners, crazing, otherwise good condition. Tile 2: chips to edges and 1 corner, crazing, otherwise good condition. Tile 3: surface marks, faint crazing, minor losses to 2 edges. Tile 4: chip to corner and corner edge, crazing, 4-5mm loss to centre. Tile 5: area of loss of glaze 9.5cm x 2cm, crazing, diagonal surface scratch. Tile 6: Chip to 2 corners and edges, crazing, chipped verso where removed from the wall. Additional images available.
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