Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
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Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm. Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him. Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil. While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood. The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity. A true example of love is the pelican that restores its young with its own blood. Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love).
A painted enamel box and lidChina, Qing dynasty, Qianlong period mark and period (1736-1795)The lid is decorated with a circular panel depecting a courtisan in a landscape. The interior of both the box and lid are enamelled in white, the base with a four-character Qianlong painted mark.Provenance: French private collectionHeight: 3cm, Diameter: 6.5cm€ 1 500 - € 2 000
A fine Victorian mahogany floor standing specimen collectors cabinet, the fielded panelled cabinet doors opening to reveal 40 fitted glazed topped drawers, all with recessed brass handles, 126cm x 155cm x 54cm. Drawer width overall is 54cm, depth 44cm. In good original condition. Split to bottom of left side panel and left door. Some surface chips and slithers. General surface wear through age and use. Surname and postcode of previous owners is detailed in pend on right hand side panel, as shown in photographs.
A stunning 17th century painted panel, tormented souls in purgatory. The panel depicts the vision Saint Simon Stock had on 16th July 1251. The Virgin Mary appeared over Mount Carmel, she gave Simon the Brown Scapula (the squares that you can see her dangling over the clouds). Mary promised that those who died wearing the scapular would be saved from the fiery flames of hell. It is unclear if Mary is showing mercy on the pour souls below or teasing them by offering the scapula, although given she is better known for her kindness, it is likely she is offering them redemption, 36cm x 26cm.
Militaria Interest: a Victorian silver-gilt military drum shaped presentation desk ink stand, the cover engraved with The Royal Arms above banner DIEU ET MON DROIT and the arms of Prince Albert, the Prince Consort, a panel in the drum opens to reveal recess for ink bottle (missing), the inside cover engraved with two crests above initials W.D.L 11th Hussars (William Drury-Lowe), the body engraved: EGYPT within frame and sphinx above with SALAMANCA PENINSULA WATERLOO BHURTPORE below, the drum with twist cord mouldings, hallmarked by probably Henry Wilkinson & Co, Sheffield, 1851, the entire on brass bound black marble cross shaped mount with four cast brass Sphinxes to each corner, approx. 20cm long. Provenance: once the property of William Drury-Lowe (1828-1906), more formally known as William Drury Nathaniel Drury-Lowe thence by descent Born the eldest son of William Drury Holden (assumed the name Lowe in 1849) and the Hon. Caroline Esther, daughter of Nathaniel 2nd Lord Scarsdale. He received a commission as a Cornet (the modern equivalent being a 2nd Lieutenant) in the 11th Hussars in 1849, rising to Lieutenant in 1851. The inkwell show only the pre-Crimean War era battle honours, which is correct for the date the inkwell was made. The 11th Hussars went on to serve with distinction at Balaklava, Inkerman, and Sevastopol during the Crimean War. In 1877, William went on to succeed to the Denby and Locko estates in Derbyshire.
Statuette en porcelaine de Höchst représentant Bagolin, circa 1752A Höchst figure of Bagolin from the Commedia dell'Arte, circa 1752Modelled by Johann Christoph Ludwig von Lücke, standing on a gilt-edged pedestal with tree-stump support at the rear, playing the lute, wearing a black hat and cloak, yellow and red-striped costume with gilt trim to the sleeve and white ruff collar, the pedestal moulded with a recessed panel at the front embellished in gilding, 21cm high, wheel mark in iron-red (neck of instrument restored)Footnotes:Literature:Reber, Horst, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 1984, p. 30;Jansen, Reinhard (ed.), Commedie dell'Arte: Fest der Komödianten, 2001, cat. 151;Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 101, cat. 60Exhibited:Höchst, Jahrhunderthalle, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 9 December 1984 to 9 January 1985;Berlin, Schloss Charlottenburg, Commedia dell'Arte: Fest der Komödianten, 14 July to 14 October 2001;Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg an der Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023Bagolin was one of the many zanni, or stock servant figures, from the commedia dell'arte, although he appears less frequently than other such figures like Scaramouche or Mezzetin. The modeller for this series, Johann Christoph von Lücke, likely copied the name, pose, and accoutrements from the eponymous engraving by Johann Jacob Wolrab (Nürnberg, ca. 1720).For a more comprehensive discussion of Höchst commedia dell'arte figures, see Horst Reber, 'The Höchst Italian Comedy series' in Hugo Morley-Fletcher, Early European Porcelain and Faience as collected by Kiyi and Edward Pflueger, vol. I, 1993, pp. 100-128; and H. Reber, 'Die Commedia de;;'are an der Höchster Porzellanmanufaktur,' in Reinhard Jansen (ed.), Commedia dell'Arte: Fest der Komödianten, 2001, pp. 138-144.A comparable example is in the Metropolitan Museum of Art, New York, inv. 1982.60.223, formerly of the Jack and Belle Linsky Collection, as well as in the Museum of Fine Arts, Boston, inv. 2006.866, formerly of the Kiyi and Edward M. Pflueger Collection.For further information on this lot please visit Bonhams.com
A Höchst figure of Scaramouche from the Commedia dell'Arte, circa 1752Modelled by Johann Christoph Ludwig von Lücke, standing on a pedestal with a tree-stump support at the rear, holding a money bag in each hand, wearing a black costume with white ruff collar and gilt studded belt, the pedestal moulded with a recessed panel at the front with a shell motif embellished in gilding, gilt borders, 21cm high, wheel mark in iron-red (both hands restuck)Footnotes:Literature:Reber, Horst, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 1984, p. 31;Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 101, cat. 60Exhibited:Höchst, Jahrhunderthalle, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 9 December 1984 to 9 January 1985;Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg an der Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023Scaramouche's dancing pose, pedestal, and strident sense of movement are presaged in an earlier ivory statue by the same modeller signed 'ICL Lück' (Johann Christoph Ludwig von Lücke) from 1729-30, in the Grünes Gewölbe, Dresden, inv. VI 236.Comparable examples can be found in the Gardiner Museum, Toronto, inv. G83.1.884, and in the Metropolitan Museum of Art, New York, inv. 50.211.212. Another is in the Cecil Higgins Art Gallery, Bedford (published in Jansen, Commedia dell'Arte: Fest der Komödianten, cat. 148).For further information on this lot please visit Bonhams.com
A Höchst figure of Harlequine from the Commedia dell'Arte, circa 1752Modelled by Johann Christoph Ludwig von Lücke, standing on pedestal with tree-stump support at the rear holding a slapstick in her left hand, wearing a gilt-edged green hat, red-striped bodice edged in gilding and with a green bow, puce dress reserved with stripes, and yellow shoes with green bows, the pedestal moulded with a reserved panel at the front, flanked by puce flower garlands to the sides and trailing bell-flowers to the corners, 20.6cm high, wheel mark in iron-red (very minor damage)Footnotes:Literature:Reber, Horst,Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 1984, p. 33;Jansen, Reinhard (ed.), Commedia dell'Arte: Fest der Komödianten, 2001, cat. 147;Siemen, Wilhelm (ed.), Von den Ursprüngen des europäischen Porzellans bis zum Art Déco, 2010, p. 101, cat. 60Exhibited:Höchst, Jahrhunderthalle, Höchster Porzellan des 18. Jahrhunderts aus Privatbesitz, 9 December 1984 to 9 January 1985;Berlin, Schloss Charlottenburg, Commedia dell'Arte: Fest der Komödianten, 14 July to 14 October 2001;Selb and Hohenberg a.d. Eger, Porzellanikon - Staatliches Museum für Porzellan, Königstraum und Massenware. 300 Jahr europäisches Porzellan, 24 April to 2 November 2010;Hohenberg an der Eger, Porzellanikon - Staatliches Museum für Porzellan, 2018-2023The series of Italian Comedy figures from Höchst share stylistic similarities with those produced at both Meissen and Vienna on account of their modeller Johann Christoph Ludwig von Lücke having worked at both of those factories. The principal inspiration for these figures originated in the gardens of the baroque Palais Schönborn in Vienna, wherein statues depicting commedia dell'arte figures on similar pedestals as those of the present Harlequine were built at the beginning of the 18th century for its owner, Friedrich Karl von Schönborn. Lücke may well have been brought to the Palais Schönborn at the behest of the Elector of Mainz, Johann Friedrich Karl von Ostein (r. 1743-1763), who had granted the privilege for founding the Höchst factory in 1746 and was also the nephew of Friedrich Karl von Schönborn. A comparable figure of Harlequine is in the Museum of Fine Arts, Boston, acc. no. 2017.77, formerly in the collections of Carl Jourdan, Frankfurt; Emma Budge, Hamburg; Otto Blohm, Hamburg; and Eduard Pflueger, New York.For further information on this lot please visit Bonhams.com
Robinson (Alan James, artist) Atlantic Salmon. Salmo Salar, one of 107 copies, etched and wood-engraved plates and decorations with hand-colouring, including 8 etchings extensively worked up with watercolour by the artist on thick ivory wove paper and signed by him in pencil, each of these with protection leaf of cork, original green morocco-backed and edged hand-made paper covered boards, upper cover with mounted morocco panel, incised and painted with watercolour, with an additional set of plates loose within wrap-around portfolio, together all housed within original presentation morocco-backed drop-back box, [Wood BSS 210], folio, Easthampton (MA), Cheloniidae Press, 1988.*** A stunningly produced work, from a centre of creative book arts, the beauty of which seems befitting for the status of Atlantic Salmon in the angling world (Wood). Two text essays are by Stephen Bodio and Ted Williams, exploring the natural history and biology of the Atlantic Salmon, and the battle for its survival.
Salmon Flies.- Bates (Joseph) The Art of the Atlantic Salmon Fly, one of 85 deluxe edition copies signed by the author containing an additional set of colour plates and an actual hand-tied salmon fly of the 'Colonel Bates' design, colour frontispiece and plates at rear, numerous plain illustrations, red morocco-backed cloth, together with the additional colour plate set within uniform cloth portfolio, and also a display mount of thick card with the actual fly affixed within oval inset panel, together 3 parts housed within original cloth drop-back box, [Wood BSS 168], 4to, Boston, David R. Godine, 1987.*** A beautifully produced deluxe edition of this work on the history of the salmon fly, commissioned by the publisher (an angler himself), and composed by Colonel Joseph Bates whose world class collection of flies is now in the American Museum of Fly Fishing in Vermont.
Ronner (Henriette) Cats and Kittens, portrait, 12 mounted photogravure plates on india paper, broken & loose, original pictorial cloth with illustration mounted in panel on upper cover, soiled, 1894 § Hood (Thomas) Poems, engraved plates by Birket Foster, a good clean copy in original decorated green cloth, gilt, g.e., 1872 § Smith (Albert) Gavarni in London: Sketches of Life and Characters, additional pictorial title and wood-engraved plates, occasional spotting, contemporary half calf, 1849 § Scott (Sir Walter) The Lady of the Lake, 14 mounted albumen photographs (title vignette and 13 plates), foxing, contemporary red morocco, gilt, by Andw. Grieve of Edinburgh, spine gilt, g.e., Edinburgh, 1865 § [Combe (William, imitation)] The Tour of Doctor Syntax through London.., hand-coloured aquatint frontispiece, vignette title and 17 plates only in the style of Rowlandson (of 18, lacking plate of Vauxhall), some light foxing, contemporary half calf, 1820, all but the second rubbed; and 13 others, illustrated, v.s. (18)
Salmon Flies.- Alcott (Ron) Building Classic Salmon Flies, one of 50 specially bound deluxe edition copies signed and numbered by the author containing an actual salmon fly, inserted limitation page on special paper, colour frontispiece, other illustrations (some in colour), maroon roan, gilt, together with a display mount of thick card to which is affixed an actual salmon fly within oval inset panel, paper label below signed by author, together both in original slipcase, [Wood BSS 171], large 8vo, Woodstock (VT), The Countryman Press, 1995.*** This 'deluxe edition' was created and issued by the author himself (rather than the publisher), containing a fully dressed feather wing classic salmon fly, in this copy it is a 'Parson' tied on a large hook with a gut loop eye.
Early 20th century gold milgrain set single cut diamond ring panel ring, stamped 18ct Plat and a gold single cut diamond flower head ring, with London import mark 1992Condition Report:Approx 3.45gm, flower head size M, possibly partly been re-shanked as an old ring also stamped stamped 18ct Plat, other size N, head = 6.3mm x 11mm
Victorian 18ct gold pearl, diamond, ruby and enamel ring, five graduating marquise shaped panels set with alternate pearl, ruby and rose cut diamonds, with blue enamel shoulders, Birmingham 1873, with lozenge markCondition Report:Approx 3.7gm, size O, max depth = 11.6mm, small amount of blue enamel loss to central marquise panel, some wear to pearls, well presented ring
A Decorative XIX Century Micromosaic Locket Back Brooch, depicting a dog lying on grass (border damage), within decorative leaf textured shaped frame, the verso glazed panel encasing woven hair (3.2cm wide); A Decorative XIX Century Filigree Brooch Mount, oval, textured and pierced design (lacking pin). (2)The total weight of both items combined is approximately 28grams. The micro mosaic brooch has a chip to the top right corner, along with a crack to the bottom left corner, some small pieces missing throughout, claws appear in good condition. The surround has allover abrasions and the pin is slightly warped. The filigree mount has signs of age throughout, glass would benefit from a clean, pin is missing.
A Highly Decorative Modern Antique Style Diamond, Sapphire and Pearl Set Necklace, oval cluster set to the centre, applied to pierced panel with chain and pearl detail, suspending pearl drop.*PA Jewellery (Sheffield) Insurance Valuation states Necklace - Pearl, Sapphire & Diamond Laveliére. Modern. Ethnic Manufacture. Tested as 18ct Gold. NRV £2,500.
An Edwardian Chester Hallmarked 9ct Gold Sapphire and Diamond Five Stone Bangle, the graduated sapphires alternately set with old cut diamonds, circular collet set within boat shape setting, highly decorative foliage and beaded wirework to hinged front, with push clasp and safety chain (11.8grams).The inner diameter from hinge to clasp is 5.5cm. The plain panel has abrasions and some dents, the decorative panel has slight abrasions also. One of outer beads as a small hole in it. The snap clasp is a little stiff to open and close.
A Jugendstil Style Necklace / Brooch, the pendant of pierced angular design with foliage detailing, suspended on a scrolling panel link necklace, with alternate highly decorative flowerhead links between infinity spacers to surmount, cabochon collet set to push clasp (pendant detaching to form a separate brooch), set with imitation moonstone (apparently unmarked); An Arts & Crafts Style Ring, oval rubover set to centre, between flared edges and beaded decoration, to bifurcated band with reeded detail. (2)The boxes are included in this lot. One hinge on the necklace has more movement than the other, clasp works as should. The rubover centre is pitted and the shank is worn.
A Highly Decorative Edwardian Style Necklace, the articulated panel style necklace with flora inspired links, stone set throughout, to stylised bow detail, three circular collet set stones suspending an intricately stone set pendant, of scrolling openwork design, collet set highlights throughout with suspended drops (central teardrop missing), stamped "925"; An Art Deco Style Highly Decorative Stone Set Panel Bracelet, collet set throughout with floral inspired decoration, to snap clasp and safety chain. (2)There are a small number of stones missing from the unmarked bracelet. The snap clasp working as should, although the safety catch is out of shape.
Modernist Style Brooches; A Modern Scottish Hallmarked Silver and Enamel Brooch, LCRH, Edinburgh 2000 (approximately 2.5cm); A Modern Scottish Hallmarked Silver Abstract Panel Brooch, of satin and polished finish; An Arts & Crafts Style Square Brooch, inset to the centre, of textured finish, stamped "835"; Mother of Pearl Inset Brooch, stamped "Sterling Silver"; Another Brooch, of abstract textured finish (indistinctly stamped). (5)
A Vintage 15ct Gold Cased Ladies Wristwatch, the white dial with black and red Arabic numerals (winder at 9 position) within initialled case (import marks for London 1907), on later expanding bracelet; A 9ct Gold Cased Ladies Wristwatch Head, (no strap); a shaped watch case back (stamped "375"); a 9ct rose gold oval panel. (4)
An Early XX Century 9ct Gold Single Stone Diamond Set Hinged Bangle, Chester 1901, the old cut diamond collet set within starburst style setting, twisted wirework border with beaded decoration throughout front, to push clasp and safety chain, 5.5cm diameter (10.3grams), in a lined antique "J.More Jeweller 34 Prospect St. Hull" fitted bangle box.The bangle does look a little out of shape causing a gap at the hinge. Allover surface abrasions, dinks and dents. A visible crease to the decorate panel. Clasp is in working order. Four beads have small holes in them.
An Art Deco Stone Set Line Bracelet, the alternately emerald and round cut stones, graduated collet set within a decorative textured panel link, to push clasp with safety clips, (apparently unmarked), 18cm long.Stones unconfirmed. Bidder/buyer advised to satisfy themselves prior to bidding.Metal appears two tone, however the metal is not identified. Age between 1919-1939.
Tissot; A Vintage 9ct Gold Cased Ladies Wristwatch, the signed gilt dial with baton numerals, within textured finish border and plain case engraved monogram "SSM(?)" "13.12.75" to reverse, movement stamped "Seventeen 17 Jewels", to integral 9ct gold abstract style panel link bracelet, boxed; Together with Another 9ct Gold Cased Ladies Wristwatch, the unsigned white dial with Arabic numerals and dot spacers, within plain hinged case, to integral fancy link bracelet. (2)
A 1970's Modernist Hallmarked Silver Single Stone Dress Ring, square set to the centre (chipped), within geometric textured openwork setting and textured shank, C&T, Birmingham 1976 (finger size Q); A Decorative Filigree Panel Bracelet, gilt, with inset highlights and enamel detail, to snap clasp stamped "Silver", 17.5cm. (2)
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