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![[MISCELLANEOUS] Twenty-four assorted works, in twenty-five volumes, including Pickering & Chatto Illustrateed Catalogue](https://cdn.globalauctionplatform.com/6f93f93e-e5a7-42c2-aef0-b0b200eea045/45536f89-4125-4ef4-a455-b0cb011863c1/468x382.jpg)
Lot 400
[MISCELLANEOUS] Twenty-four assorted works, in twenty-five volumes, including Pickering & Chatto Illustrateed Catalogue of Old and Rare Books, six parts in one, London, no date [circa 1900], half crimson leather, octavo; Jefferies, Richard. The Toilers of the Field, large paper limited edition 31/105, Longmans, Green & Co., London, 1892, half art vellum, portrait frontispiece, quarto (base of spine repaired); and Bromley, John. The Armorial Bearings of the Guilds of London, first edition, Warne, London, 1960, full leather gilt, top edges gilt, colour plate and text illustrations by Heather Child, octavo.
Lot 1389
A rare 19th century .50 calibre percussion single barrel belted ball rifle by Joseph Egg of London with 30" octagonal damascus barrel engraved "Joseph Egg & Son London", engraved steel lock with chequered walnut stock, steel furniture and ramrod No. 3222 contained in a leather covered oak fitted gun case with J Egg label, steel bullet mould, brass mounted powder flask, oil bottle, percussion caps and various accessories
Lot 874
RARE BOXED 1:18 SCALE NOREV FORD MUSTANG CESAM SPORTS CAR, boxed 1:18 scale Mac Tools 1967 Chevy Camaro, boxed 1:25 scale Mac Tools limited edition 1952 Chevy pick up street rod, unboxed Mac Tools Gatornationals articulated lorry and trailer, together with four baseball caps - three of which are autographed
Lot 1020A
A rare example of the Russian 2 rouble silver coin of 1722, 49 mm in diameter and 56.5 g in weight. There is light wear. Much of the edge reeding appears to have been filed off in the past, perhaps for a bezel mount, but enough remains to be confident that it was originally present. Russian authorities report that this coin is only known from novodels (restrikes) made some decades later, and it is possible that this coin was uncirculated and used for ornament from the outset. The original mint weights of the 2 ruble coin are reported by NGC as 52.40-53.68 g, but the weight of the more common equivalent 1 ruble coin is reported as 28.44 g.
Lot 6
A RARE 1910 FRENCH INTERNATIONAL RUGBY UNION MATCH-WORN JERSEY BEARING OLYMPIC RING CRESTPale blue with white collars having three buttons, white neckline and with shield shaped crest having a rope-frame and bearing interlocking blue and red Olympic rings, interior label for Williams & Co, ParisPreserved with other important jerseys and caps by Charles Meyrick Pritchard (1882 – 1916) which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium. The jersey swapped after Wales versus France, played on New Year's Day, 1910 at St Helen’s, Swansea. This was the only time that Charlie Pritchard played against France and the first match for France in the extended Five Nations Championship which had previously been reserved for the four British Isles nations. It was only four years on from France’s first ever International match against The Original All Blacks.Charles Pierre de Frédy, Baron de Coubertin (1863-1937), the co-founder of the International Olympic Committee, its second president and ‘the father of the modern Olympic Games’ was influential in the sport of rugby union too and did much to develop the sport in France. He refereed the first French Championship final in 1892, between Stade Francais and Racing Club. He would have been delighted when his twin passions of the Olympic movement and rugby football collided at the 1900 Paris Olympics, and even more so to see France win Olympic gold, against Moseley Wanderers the representing side for Britain. The adoption of the Olympic ring crest for the French rugby jersey would have been due to Coubertin’s considerable influence.The 1910 Wales v France match saw Billy Trew’s Welsh team kick-off the defence of their Home Nations title with a crowd of over 12,000 witnessing a Welsh victory at 49-14. Trew’s side had won the Grand Slam in 1908 and 1909 and were on a run of 10 successive victories. The win over the French made it 11, and they did it in real style, scoring nine tries and notching the highest score in the history of the tournament.It can only be speculated as to which of the French XV, Charlie Pritchard swapped his Wales jersey with, for this exceptionally rare Olympian example, on January 1st, 1910. But there is a high chance that the player died a young man, with six of the French XV from that match, dying with Charlie Pritchard in the First World War
Lot 4
AN EXCEPTIONALLY RARE 1908 PRE-BRITISH LIONS ‘ANGLO-WELSH’ RUGBY UNION JERSEY ISSUED FOR NEW ZEALAND & AUSTRALIA TOURThe red and white hooped cotton jersey to represent Wales and England, with white collars, three buttons, interior label for George Lewin & Co, London, inscribed ‘RK’ for Neath forward R K ‘Bob’ GreenProvenance: believed to be the earliest ‘British Lions’ jersey to be auctioned. Likely acquired by Charles Meyrick Pritchard (1882 – 1916) directly from Anglo-Welsh player Bob Green, after a subsequent Neath v Newport match. By this time Pritchard must have been known as a jersey collector. Preserved with other important jerseys, caps and photographs by Charlie Pritchard which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium.The 1908 British Isles tour to New Zealand and Australia was the seventh tour by a British Isles team and the fourth to New Zealand and Australia. The tour is often referred to as the ‘Anglo-Welsh Tour’ as only English and Welsh players were selected due to the Irish and Scottish Rugby Unions not participating in a puritanical protest around The All Blacks’s vague flirtations with professionalism. As they saw it, the sport was creeping away from amateurism with payments for subsistence, travel costs and expenses on tours. There was an attitude in Scotland that rugby was for the middle-classes where players ought to be paying their way.It is an interesting side note from a Welsh perspective that the deep-rooted rivalry between Wales and England, still very much in existence today, is fuelled by class differences; the grass roots of Welsh rugby being concentrated in the working-class areas of the south Wales valleys, while the English grass roots dependent on the playing fields of public schools. However, it can be argued that in the 1900s, it was Scottish rugby with the biggest frown over Wales’s adoption of rugby union amongst the working classes.1908 was only three years after The Original All Blacks's seminal tour of Europe, but it was although the Anglo-Welsh team had learnt nothing from their slick practices. The contrasts were stark, and the Irish and Scottish Unions should certainly have had no fears that the 1908 British tour was moving towards professionalism - it was as amateurish as any tour before or after. The hastily assembled team was picked solely from public-school educated gentlemen, and it was although the emergence of rugby union as a sport for the Welsh working classes had never happened. The team was so unfit that on arrival in New Zealand the NZRU were so appalled they appointed a prominent athletics coach, Tom Leslie, to be their trainer at £3 a week. But because the Anglo-Welsh would have nothing to do with anyone in rugby being paid and so they didn’t use Leslie’s services.Led by Arthur 'Boxer' Harding and managed by George Harnett, the tour took in 26 matches, 9 in Australia and 17 in New Zealand. Of the 26 games, 23 were against club or invitational teams and three were test matches against the All Blacks. The Lions lost two and drew one match against the All Blacks.The tour was not received well in Wales, as the Welsh players selected were chosen exclusively from those players from a well-educated and professional-class background. The selection was in fact addressed by the Welsh Rugby Union who stated that when a British Isles team was mooted for a South Africa tour in 1910, that the players should be chosen '...irrespective of the social position of the players.’
Lot 2
A RARE 1906 SOUTH AFRICA INTERNATIONAL SPRINGBOK RUGBY UNION MATCH-WORN JERSEYIn moss-green cotton with white collars, three original buttons, bears shield shaped crest in black felt with embroidered leaping Springbok, interior label for George Lewin.Provenance: believed to be the first time a 1906 Springbok tour jersey has been offered at auction. Presented to Charles Meyrick Pritchard (1882 – 1916) after the Wales v South Africa match, December 1st, 1906. Preserved with other important jerseys, caps, and photographs by Charlie Pritchard and which form a collection entered to this auction by Charlie Pritchard’s great-grandson. In recent years the collection has been archived and exhibited at the World Rugby Museum at Twickenham Stadium.In the wake of New Zealand’s seminal 1905 tour of Europe, in 1906–07 South Africa embarked on their inaugural tour of Europe with fixtures against the four British Home Nation teams. The tour also took in several matches against British and Irish clubs, counties, and invitational teams before finally travelling to France to play their national team.Just as the New Zealand team gained the nickname The All Blacks one year previously, the 1906 South Africans were given their famous sporting nickname of the Springboks for the first time. And as with the All Blacks the Springboks brought new tactics to the fore which most importantly included the 3–4–1 forward formation for scrummaging, seen for the first time in international rugby history. Tactically the years 1905 and 1906 were a coming of age for rugby union with the protagonists of change being the new world ‘colonials’.The tour was extremely successful for the South Africans which helped garner respect from the Northern Hemisphere teams and established South Africa as a formidable rugby playing country. After rapid development in South Africa, since the first British side toured the country in 1891, the 1906 tour was a landmark for the South African sport – it was the starting block for the current world champions - the only country to have won the Rugby World Cup four times.In the test matches played, the Springboks would only lose to Scotland and draw against England. The South African defeat of Wales was a shock to many critics and ended the international careers of some of the greatest Welsh players of the time. Out of 29 matches played, South Africa won 26, lost two and drew one.
Lot 107
Höchst seltener Satz von acht Vermeil-Salz-Gewürzfässern aus dem Besitz von König Ludwig II von BayernHöhe: 5 cm. Breite: 8 cm. Tiefe: 5,3 cm.Länge der acht Löffel: 8 cm. Etuisgröße: 7 x 19 x 16,5 cm bzw. 7 x 23 x 15,5 cm.Jeweils Silberstempel „13“, Meistermarken „E.W.“ für Eduard Wollenweber (1847-1918 München).Ehemals Schloss Herrenchiemsee.Beigegeben ein Provenienznachweis von Prinz Joseph Clemens von Bayern (1902-1990).Ein handschriftlich unterzeichnetes Schreiben des zuletzt am Europaplatz München-Bogenhausen in dessen Villa ansässigen Urneffen, des Kunsthistorikers und Sammlers Prinz Joseph Clemens von Bayern (Sohn von Prinz Alfons von Bayern und Prinzessin Louise Victoire d´Orleans-Alencon) bestätigt auf Briefpapier mit Königskrone: „Hiermit bestätige ich, daß die 2 Kassetten mit je 4 Salzgefäßen für König Ludwig II. von Bayern für Schloß Herrenchiemsee gefertigt und von ihm benutzt wurden.“ In zwei original Etuis mit goldener Innenprägung des Hoflieferanten Eduard Wollenweber, München. Silber, matt- und glanzvergoldet, in Kaltarbeit nachziseliert. In tadellosem Zustand.Die einheitlich in Silber getriebenen Gefäße („Nefs“) im Stil des Rokoko, als „Salzschiffchen“ längsoval gestaltetet, jeweils auf vier kurzen Füßchen. Das Innere durch Zwischenwand für Salz und Pfeffer bzw. Gewürze getrennt. Die in Schweifung gemuldeten Oberseiten zweifach zu den Schmalseiten hin abgedeckelt, dazwischen je ein stegförmiger Henkel in Rocailleform. Seitlich Rocailereliefs, auf den Deckeln C-bogig eingefasste Kartuschen, darin Sonne- und Mondmotiv in Strahlengloriole. Zu jedem Vierer-Satz 4 kleine ebenfalls vergoldete Löffelchen mit Muscheldekoration an der Unterseite der Laffen. Dem Stil entsprechend waren die Salzschiffchen für das Speisezimmer im Schloss Herrenchiemsee bestimmt. Es befindet sich im Nordflügel des schon ab 1873 geplanten und 1878 begonnenen Baus. Oval im Raumgrundriss, wurden Innendekorationen im Stil Louis XV nach Vorbild des Pariser Hotel de Soubise gestaltet. Dieses Speisezimmer erhielt nach Wunsch des Königs eine in den Boden versenkbare Speisetafel, bekannt als „Tischlein deck-dich“. Sie wurde im darunterliegenden Geschoß von der Küche gedeckt und dann wieder nach oben gekurbelt. Bekanntlich pflegte Ludwig II abendlich in einer imaginierten Gesellschaft zu speisen. Büsten der Hofgesellschaft von Versailles, wie Madam Pompadour, Madame Maintenon etc. waren die Gesprächspartner, mit denen er sich ungestört unterhalten konnte, gelegentlich wurden entsprechende Bühnentexte durch einen Hofschauspieler, wie Joseph Kainz rezitiert. Ludwig hatte bereits lange vor Baubeginn sämtliche Ausstattungselemente, so auch Geschirre und dergleichen nach eigenen Vorstellungen entwerfen und herstellen lassen. So ist auch hier anzunehmen, dass die Gefäße bereits vor 1878 entstanden. Zu den Entwerfern zählten die Hofarchitekten und Maler wie Franz Brochier, Franz Stuhlberger, Philipp Perron und Julius Hofmann. Es ist denkbar, dass die beiden separat gefüllten Etuis für die Schlösser Herrenchiemsee und Linderhof benutzt wurden.Nach dem Tode des Königs gingen die Schlösser in das Eigentum des Königreichs Bayern, später des Freistaates über. Der größte Teil des beweglichen Inventars, Geschirre, Silberobjekte, Gebrauchsutensilien etc. wurden sogleich veräußert, um die Kabinettskasse zu entschulden. Etliche Objekte gelangten auch in den Besitz der Familie Wittelsbach. So kommen derartige Gegenstände nur äußerst selten in den Handel. Silbergegenstände für den König wurden fast ausschließlich dem königlichen Hoflieferanten Eduard Wollenweber in Auftrag gegeben.Die original lederbezogenen Etuis innen mit dunkelblauem Samt bzw. hellblauer Seide gefüttert, im Deckelinneren in Goldprägung Marke des Hoflieferanten Wollenweber, München, Theatinerstraße 36. Literatur: Vgl. Alexander Rauch, Schloss Herrenchiemsee Räume und Symbole, München/Berlin 1993.Vgl. Alexander Rauch: Schloss Herrenchiemsee. Kapitel: Die kleinen Appartements. München/Berlin, 1995.A.R. (1380441) (11)Very rare set set of eight vermeil salt and seasoning vessels from the estate of King Ludwig II of Bavaria (1845-1886)Height: 5 cm. Length: 8 cm. Depth: 5.3 cm. Length of eight spoons: 8 cm. Each with silver hallmark “13”, maker’s marks “E.W.” for Eduard Wollenweber, Munich (1847-1918).Formerly Herrenchiemsee Palace.Accompanied by evidence of provenance: Prince Joseph Clemens of Bavaria (1902 – 1990). A hand signed letter by the great-nephew, the art historian and collector Prince Joseph Clemens of Bavaria (son of Prince Alfons of Bavaria and Princess Louise Victoire d’Orléans-Alençon), who was most recently resident in his Villa at Europaplatz in Munich-Bogenhausen, confirms on stationery with a royal crown: “Hiermit bestätige ich, daß die 2 Kassetten mit je 4 Salzgefäßen für König Ludwig II. von Bayern für Schloß Herrenchiemsee gefertigt und von ihm benutzt wurden.” (“I hereby confirm that the 2 cases each with 4 salt vessels, were created for King Ludwig II of Bavaria for Herrenchiemsee Palace and used by him.”). From the estate of King Ludwig II of Bavaria. In two original cases with gilt embossing on the inside by the royal purveyor to the court Eduard Wollenweber, Munich. Silver, gilt in matte and polished finish, re-chased in cold work. In perfect condition. The vessels (“nefs”) are uniformly made of silver, in Rococo style, designed as “salt boats” in an elongated oval shape, each on four short feet. The inside is separated by a partition for salt and pepper or spices. The curved tops are covered twice towards the narrow sides, each with a bar-shaped handle in the shape of a rocaille. Rocaille reliefs on the sides, the lids with cartouches surrounded by C-shaped frames, the inside decorated with a sun and moon motif in a gloriole of rays. There are four matching gilt spoons with shell decoration on the underside provided for each set of four boats. In keeping with the style, the salt boats were intended for the dining room at Herrenchiemsee Palace in the north wing of the palace, which was planned in 1873 and begun in 1878. Oval in floor plan, the interior decorations were designed in the Louis XV style based on the Paris Hotel Soubise. According to the king’s wishes, this dining room was fitted a dining table that could be retracted into the floor, known as a “Tischlein deck-dich”. Thus, it could be set by the kitchens on the floor below and lifted back up. As is well known, Ludwig II used to dine in an “imagined company” in the evenings. Busts of the society of the royal court of Versailles, such as Madame Pompadour, Madame Maintenon, etc., were his conversation partners with whom he could converse undisturbed by staff; occasionally relevant stage texts were recited by a court actor such as Joseph Kainz. Long before the start of construction, Ludwig II had all the furnishings including crockery designed and manufactured according to his own ideas. Hence it can be assumed that the vessels were made before 1878 as well. The designers included court architects and painters such as Franz Brochier, Franz Stuhlberger, Philipp Perron and Julius Hofmann. It is conceivable that the two separately filled cases were used for the Palaces at Herrenchiemsee and Linderhof. Immediately after the king’s death, the palaces became the property of the Kingdom of Bavaria, and later the Free State. Most of the movable inventory such as dishes, silver objects, utensils, etc. were promptly sold to relieve the debt of the cabinet treasury. Quite a few objects also came into the possession of the Wittelsbach family. These items only rarely appear on the market. Silver items for the king were...
Lot 33
Außergewöhnlich seltene französische Pendule von Louis Montjoyé in Gehäuse von Osmond (1712 – 1789)Höhe: 47 cm.Breite: 27 cm.Tiefe: 23 cm.Typisch für seine Signatur das spiegelverkehrte „N“ in „OSMOND“, so auch hier an der Rückseite des Sockels.Werk: Das Werk sowie der Drehmechanismus der Sphären mit zwei senkrechten Stahlachsen hinter einer herausnehmbaren Klappe, verso einsehbar. Pendel an Fadenaufhängung, Schlossscheiben-Schlagwerk mit Halb- und Stundenschlag auf Glocke. Mit mehreren Komplikationen.Gehäuse: Ferdinand-Berthoud-Robert Osmond war französischer Designer und Uhrengehäuse-Hersteller, in der Literatur genannt als Maître Fondeur, Ciseleur, Graveur, Doreur. Geboren 1712 in Canisy, Normandie als Sohn des Gabriel Osmond. Er lernte in der Werkstatt von Louis Regnard, wurde 1746 Meister und unterhielt sein Atelier in der Rue de Canette, Gemeinde Saint-Sulpice. Aufgrund der guten Auftragslage verlegte er seine Werkstatt in die Rue Macon. 1756 Geschworener der Gilde, was ihm ermöglichte, als Erfinder und Gestalter seine Arbeiten schützen zu lassen. Zusammen mit seinem Bruder Jean-Baptiste Osmond lieferte er Gehäuse für namhafte Uhrmacher wie Berthoud, Dutertre, Imbert, Gille, Olin oder Robin. Seine letzten Arbeiten datieren zwischen 1770 und 1774. Er starb 1789 im Rue Macon, Paris. Das Gehäuse in feuervergoldeter Bronze in figürlich bereichertem Aufbau: Der große Rechtecksockel mit halbrunden Vorsprüngen an den Ecken trägt einen hohen kannelierten Säulenstumpf. Er wird seitlich flankiert von zwei an den Ecken sitzenden Putten mit Zirkel und Schriftrolle, dahinter zwei große Deckelvasen. An der Sockelfront tiefe Nischenöffnung in Art eines Bücherregals, mit darin liegenden Büchern und Winkelmaß. Werk-Rückplatine in Messing, darauf in Gravur signiert: „Monjoye fils hor.-ger du Roy AParis“. In leicht abgewandelter Schreibweise wird genannt: Meister – Uhrmacher Louis Montjoie, (1748-1789) in Paris, Quai Pelletier, rue Dauphine, rue de la Vieille Draperie und Rue Galande, verheiratet mit Françoise Thérese Thernisien, erwähnt am 16. Juni 1790. (ist das so auf der Uhr vermerkt?) Lernte 1736 bei Michel Mathurin Guery.Zifferblatt: Das Zifferblatt an der Vorderseite der Säule mit gewölbter Verglasung, mit römischen Stunden und arabischen Viertelstunden, umzogen von Lorbeerfeston an Schleife. Die Zeiger filigran durchbrochen und vergoldet. Mittig offene Mondphasen-Lünette, blau emailliert, mit goldenen Sternen und Mondscheibe, deren Zeigernase auf einen Datums-Halbkreis weist. Bekrönung der Säule durch einen Sphärenaufbau mit sechs ineinander liegenden, drehbaren Sphärenringen, jeweils einzeln in Gravur beschriftet, wie „Saturn“, „Mars“ und den weiteren Planeten. Darunter Cercle Equinoxes-Solsices und L´Equareur (n.erm.) etc. Die Planeten als Kugeln eingefügt. Der waagrechte breitere Außenring beschriftet mit Monatsbezeichnungen, Tierkreiszeichen und Tagesdaten der Monate. Nicht auf Funktionsfähigkeit geprüft. A.R. (1380871) (1) (11)Exceptionally rare French pendule by Montjoyé in case by OSMOND (1712 – 1789)Height: 47 cm. Width: 27 cm. Depth: 23 cm.As is typical for his signature the “N” in “OSMOND” is mirror-inverted, as is also the case here on the back of the base. The dial on the front of the column features arched glazing, with Roman hours and Arabic quarter hours, surrounded by a laurel festoon on a ribbon. The gilt hands are crafted in delicate open-work. The bezel with moon phase is open at the centre, enamelled in blue with gold stars and moon disk, the tip of the hand points to a date semicircle. The column is surmounted by a spherical structure with six interlocking, rotating spherical rings, each individually engraved with the names of the planets such as “Saturn”, “Mars” etc. Below Cercle Equinoxes-Solstices and L’Équateur etc. The planets are inserted as spheres. The wider horizontal outer ring is inscribed with the names of the month, zodiac signs and days of the month. The clock movement and the rotating mechanism of the spheres with two vertical steel axes is visible behind a removable flap on the back. Pendulum on silk suspension, count wheel striking mechanism with half and hour strike on bell. Movement back plate in brass, with engraved signature: “Monjoye fils hor.-ger du Roy AParis”.
Lot 423
Charles van Loo, 1705 – 1765, zug.GemäldepaarMUSEALE GEMÄLDE EINER KÖNIGLICHEN HOCHZEITSKUTSCHE Öl auf Eichenholz.61,5 x 54 cm.Die beiden Bilder museal und höchst selten. Sie bildeten ursprünglich die Türbemalungen einer vergoldeten Prunkkutsche, wie sie in Paris für königliche Staatsprozessionen und Hochzeiten gefertigt wurden. In der Pariser Kutschen-Werkstatt arbeitete Van Loo zusammen mit seinen Mitarbeitern für die malerische Dekoration. Dabei sind die Hauptfiguren stets von der Hand des Meisters, die Nebendekoration von den Mitarbeitern. In der Regel enthalten die Darstellungen allegorische Bezüge zu Hochzeiten oder Krönungen. So sind auch hier die beiden bemalten Türverkleidungen mit Krönungsmotiven entsprechend allegorisch bemalt. Vor Blattgold-Hintergrund erscheinen jeweils fünf Putten auf Wolkenbänken. Sie stellen verniedlichte mythologische Götter und agieren entsprechend einem Hochzeitsereignis: In einem der Bilder vertritt ein Putto den Bräutigam als Gott Jupiter mit Blitzbündel und Helm. Er weist auf sein königliches ovales Wappen mit Krone. Links daneben Mars mit Schwert, darüber Flora, die die Krone hält. Links unten sitzt Amor im roten Umhang, Merkur mit einem Buch neben seinem Stab rechts auf der Wolke. Das Gegenstück ist der königlichen Braut gewidmet. Hier sind ebenfalls fünf Putten auf Wolken zu sehen. Eine mädchenhafte Puttenfigur mit rosafarbenem Velum oberhalb des noch unbekrönten Wappenrahmens erwartet die Krone. Im Zentrum unterhalb des Ovalwappens die weibliche Allegorie der Fortuna, mit einer ansehnlichen Mitgift in Form herabregnender Goldmünzen. Links darunter tragen zwei weitere Putten die Krone des Bräutigams nach oben, rechts daneben ist der Adler, Attribut des Zeus (des Bräutigams), flankiert von einem Putto mit Posaune (Ruhm). Die Innenflächen der ovalen Wappenrahmen sind mit Goldauflage überzogen. Es ist zu erkennen, dass sich darunter Adelswappen befinden. Der Grund liegt darin, dass derlei Prachtkarossen und Hochzeitskutschen mehrfach verwendet wurden, wobei jeweils neue Wappen eingesetzt werden konnten. Diese prächtigen Staatskutschen wurden in Paris gefertigt. In Deutschland war Frankfurt am Main traditionell die Wahl- und Krönungsstadt. Eine solche Prunkkarosse wurde laut Quellen für 100.000 rheinische Gulden erworben. So etwa die goldene Kutsche für die 1722 mit dem bayerischen Kurfürsten Karl Albrecht (1697-1745) vermählte, alsdann Kaiserin Maria Amalia (1701-1756) oder für den Kurfürsten Clemens August von Köln (1700-1761). Charles van Loo, in Paris für die Bemalung dieser Prunkkutschen zuständig, erhielt als „Peintre le plus habile“ 1.200 Louis d‘or, sowie „une tabatiére et montre“ in Gold als Gratifikation.Die Abbildung (Rudolf H. Wackernagel, München 2022, S. 66ff) zeigt die Prunkkarosse für Maria Amalia (Marstallmuseum, Schloss Nymphenburg), die ebenfalls mit Gemälden von Van Loo dekoriert ist. Die Malweise der hier vorliegenden Bilder stimmt mit den Malereien der Kutsche völlig überein. Charles van Loo entstammte einer flandrischen Malerfamilie. Er ging 1720 nach Paris, arbeitete zunächst mit seinem Bruder Jean-Baptiste zusammen und erhielt 1724 den Prix de Rome. 1732 in Turin, dann ab 1733 wieder in Paris, von Madame Pompadour als Rivale von Boucher gefördert. Noch vor seinem Tod wurde er als erster Maler des Königs in den Adel erhoben. Van Loo war Lehrer des Jean-Honoré Fragonard. A.R.Literatur: Vgl. Rudolf H. Wackernagel, Staats- und Galawagen der Wittelsbacher. Kutschen, Schlitten und Sänften aus dem Marstallmuseum Schloss Nymphenburg, München 2002, Bd. 2 S. 66 ff. (1381841) (11)Charles van Loo,1705 – 1765, attributedA pair of paintingsDEPICTIONS FROM A ROYAL WEDDING CARRIAGE OF MUSEUM-QUALITYOil on oak panel.61.5 x 54 cm.The two paintings of museum-quality are extremely rare. Originally, they were the door paintings of a gilt state carriage. Together with his assistants, Van Loo painted the decorations in the Paris carriage workshop.
Lot 432
Emmanuel Frémiet, 1824 – 1910GORILLA ENTFÜHRT EINE FRAUHöhe: 49,6 cm. Breite: 32,4 cm.Tiefe: 32,5 cm.Früher seltener Guss, signiert „E. Fremiet“ aus dem Atelier More mit Nummer „4“, um 1890.Bronzeguss, braun patiniert. „Gorille enlevant une femme“ – zweite Version 1887, More-Atelier-Guss um 1890.Das Interesse an lebendig agierenden Tierfiguren hatte bereits durch Antoine Louis Barye eingesetzt und wurde in der Folge immer erneut thematisiert. Der Bronzeguss der berühmt gewordenen Skulptur von Frémiet, deren erster Entwurf in Lebensgröße 1859 entstand, löste anlässlich der Ausstellung einen Skandal aus und musste außerhalb des Salons hinter einem Vorhang gezeigt werden. Dies versteht man erst vor dem Hintergrund der damals heftig diskutierten Erkenntnisse von Darwin. Das Gipsmodell wurde 1861 im Atelier des Künstlers mutwillig zerschlagen. Der Bildhauer, der die Plastik im Jardin des Plantes aufgestellt wissen wollte, schuf danach erst 1887 eine Wiederholung der Version (auch in kleinerem Format), die während der Pariser Weltausstellung 1900 an einen amerikanischen Sammler ging. Eine Ausführung in Lebensgröße in Gips befindet sich im Musée des Beaux-Arts de Nantes. Die Entführte lässt sich aufgrund ihres umgehängten Tamburins als Mänade identifizieren. Den Gorilla hat der Bildhauer mit einem Pfeil in seinem Rücken, also bereits auf der Flucht, dargestellt. Frémiet, Sohn einer mittelständischen, der Kunst verbundenen Familie, fand wohl durch seinen Schwager, den berühmten Bildhauer Francois Rude, zu seiner Berufung. Bereits 13-jährig wurde er in die École nationale supérieure des arts décoratifs de Paris aufgenommen. Sein erstes Werk, eine Gazelle, stellte er im Salon aus. In der Folge schuf er Reiterstandbilder, darunter für Jeanne d‘Arc. Auftragsarbeiten gingen trotz des Deutsch-Französischen Krieges 1870 an den Grafen Henckel von Donnersmarck für dessen Schlosspark Neudeck in Schlesien. Als Direktor der Skulpturenabteilung des Louvre wurde er Lehrer für zahlreiche junge Bildhauer weltweit. Für das hier vorliegende Werk eines Gorillas, der eine Frau entführt, wurde er erst nach Beruhigung des Publikums 1887 ausgezeichnet. Aufträge für das Naturkundemuseum folgten. Während der Lebenszeit des Bildhauers wurde nur eine limitierte Auflage von wohl weniger als 20 Exemplaren im More-Atelier gegossen. Somit ist der hier vorliegende Guss aus dem More-Atelier mit Nummer „4“ (um 1890) als ausgesprochene Seltenheit zu sehen. Erst später lieferte die Gießerei Barbedienne Nachgüsse. A.R. (1380852) (11)Emmanuel Frémiet, 1824 – 1910GORILLA CARRYING OFF A WOMAN Height: 49.6 cm. Length: 32.4 cm. Depth: 32.5 cm.Rare early cast signed “E. Fremiet” from the More Studio with no. “4”, ca. 1890.Bronze casting with brown patina. "Gorille enlevant une femme”, second version 1887, More Studio cast ca. 1890.An interest in lively animated animal figures had already emerged with Antoine-Louis Barye’s oeuvre and subsequently became a frequent subject. Frémiet’s famous bronze sculpture, the first life-size design of which was created in 1859, caused a scandal at the Paris Salon and had to be shown behind a curtain outside.
Lot 563
Seltene rotgoldene PATEK PHILIPPE, Referenz 1491Durchmesser: 34 mm.Rotgold. 1953.Extrem seltene PATEK PHILIPPE in einem 18-karätigen Rotgoldgehäuse, mit nach unten gedrehten Hörnerstegen und 18-karätige goldene PP Dornschließe.Massiv rotgoldenes Zifferblatt mit aufgesetzten, rotgoldenen Stabindizes und kleiner Sekunde.PATEK PHILIPPE Handaufzugswerk Kaliber 12-400 mit 18 Steinen und Breguetspirale.Mit originalem Archivauszug von PATEK PHILIPPE.Der Gehäuseboden ist signiert mit den Initialen S & L, dem berühmten PP Konzessionär SERPIO & LAINO aus Caracas, Venezuela. (1381451) (20)Rare rose gold PATEK PHILIPPE, ref. 1491 Diameter: 34 mm.Rose gold. 1953. Extremely rare PATEK PHILIPPE in 18ct rose gold case, downwards turned rams horn lugs and 18ct gold PP pin buckle. Solid rose gold dial with applied rose gold baton indices and small seconds. PATEK PHILIPPE manual wound calibre 12-400 with 18 jewels and Breguet spiral. With original extract from the archives from PATEK PHILIPPE! The back of the case is signed with the initials S & L, the famous PP concessionaire SERPICO & LAINO from Caracas, Venezuela. Due to CITES restrictions the watch is on offer for sale without strap.
Lot 564
Damen ROLEX Datejust mit extrem seltenen "Stella Dial", Referenz 6917Durchmesser: 26 mm.GG 750.Feine ROLEX „Lady Datejust“ in einem verschraubten 18-karätigen Goldgehäuse.Extrem seltenes türkisfarbenes „Stella Dial“ mit goldenen Indizes, Zentralsekunde und Datumsfenster. ROLEX Automatikwerk Kaliber 2030. (1380279) (20)Ladies’ ROLEX Datejust with extremely rare “Stella Dial”, reference 6917Diameter: 26 mm.18 ct gold.Fine ROLEX Lady Datejust in 18 ct gold screw back case. Extremely rare turquoise “Stella Dial” with gold indices, central second and date window. ROLEX automatic movement, calibre 2030.
Lot 85
Sir David Wilkie RA (1785-1841) The Dreamer Pencil and watercolour on paper, 12.7 x 17.8 cm (6 x 6¾") Titled in pencil, dated ‘Dublin, August 12th 1835Provenance: Colnaghi’s, London; Private collection, Channel IslandsAt the height of his immense fame as one of the most famous British artists of the nineteenth century, David Wilkie visited Ireland in the late summer of 1835 and The Dreamer is one of a series of drawings he executed in Dublin as part of a proposed visual exploration of Irish history and culture, As his early biographer records: it was suggested to Wilkie that ‘Irish history, domestic as well as national, had failed to attract the pencils of the recording brethren of the easel’.At this date, he continued, ‘Maclise had scarcely begun to embody the creations with which he has since illustrated Ireland’. And so ‘with a picture or two of a national kind in his head, the painter departed for Ireland and reached Dublin about the middle of August where he made sketches from scenes and characters such as he reckoned would unite well into a picture.’The first of these pencil sketches done from Dublin street characters and other notable personages, as recorded in the Life of the Artist of 1843, was the present work 1) The Dreamer. Others in the sequence included 2) The Holy Water; 4) The Nun’s Darling; 8) The Carmelite. (Allan Cunningham, The Life of Sir David Wilkie….3 Vols, London, 1843, Vol. 3, p. 99). Wilkie’s trip to Ireland can be followed through a sequence of dated drawings. The day after he drew The Dreamer, for example, on 13 August, he drew an Irish Baptism (British Museum, 1885,0711.29700); clearly the overt religiosity of the populace fascinated this son of the manse. However, Wilkie’s work outside the capital ultimately proved more fruitful than these Dublin drawings.Of the sketches made ‘in various parts of the island’ The Smuggling Still at Work and the Peep-o’-Day Boy were translated into major oils (National Gallery, Edinburgh, 1840; Tate, 1835–6, exhibited 1836). But the freshness of observed reality on display here, as Wilkie sketches a sleeping – and dreaming – book vendor, makes for a hugely appealing and very rare Irish work by this great Scottish artist. Important Irish Art | 6 December 2023
Lot 629
A rare pressed glass model of a 'Theban Sphinx' by John Derbyshire, circa 1876In black glass, the recumbent mythical creature moulded with the head and breasts of a woman, the body of a lion and the wings of an eagle, wearing a diadem, raised on a rectangular base with an 'egg and dart' border, 22.5cm long, moulded JD and anchor mark, registration lozenge for 6 March 1876Footnotes:ProvenanceRaymond Slack CollectionJohn Derbyshire ran the Regent Road Flint Glass Works in Salford, Manchester, from 1873 until its closure in 1876. This celebrated model was issued a year after the Molineaux & Webb black sphinx paperweight and was Derbyshire's most famous creation. Registered in the same year the factory closed, it was produced for less than a year.For further information on this lot please visit Bonhams.com
Lot 4044
MacPherson, Robert -- View from the bank of the Tiber River towards the Capitoline Hill, Rome. Circa 1855. Albumen print, oval. 28,5 x 40 cm. Mounted to board (minimal foxing in edges, some tears/creases and slightly soiled). An exceptional cityscape with a rare view of Rome from below the Aventine Hill along the Tiber's bank during the reign of Pius IX. In the distance, a segment of the Ponte Rotto is seen, complete with its iron extension that opened to traffic in May 1853, set against the backdrop of the Capitoline Hill. Particularly noteworthy is the presence of several Prussian establishments on the riverbank, including the Palazzo Caffarelli serving as an embassy and a hospital, with the former hosting the German Institute of Archaeology until its relocation in 1877. – A few minimal scuff marks, slightly faded in right edge, otherwise a fine tonal print in very good condition.Lit.: Thorvaldsen Museum (ed.). Rome in Early Photographs - The Age of Pius IX. (exhibition catalogue). Copenhagen 1977, ill. p. 132 (variant).Provenance: Uta and Wilfried Wiegand Collection
![[*] Matsuchi, Nakajima -- Japanese bronze vases with and flower and plant arrangements. Circa 1890. 34 albumen prints, each m](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/b75f273e-6c9e-4a4c-b477-b0b600b5bd76/468x382.jpg)
Lot 4048
[*] Matsuchi, Nakajima -- Japanese bronze vases with and flower and plant arrangements. Circa 1890. 34 albumen prints, each mounted to board in clamshell box. Each ca. 25 x 20,3 cm (34,3 x 27,4 cm). Most with photographer's studio stamp on mount verso. The Japanese photographer Nakajima Matsuchi, renowned during the 1880s-1890s, was a founding member of the Nihon Shashin Kyokai (Japanese Photographic Society) in 1889. His exquisitely hand-colored lantern slides, created in collaboration with his wife, Sonoko, received numerous accolades, including recognition at the Japanese National Exhibitions of 1877 and 1881. Although Nakajima worked with various photographic formats, including stereographs, cartes de visites, and cabinet-sized photographs, his large-format work remains particularly rare. – Some buckling and foxing on mounts, some slight fading along edges of prints, otherwise in very good condition. Lit.: Terry Bennett. Photography in Japan 1853-1912. North Clarendon, Vermont. 2006. see pp. 182-184.
Lot 4091
Balkin, Serge -- Female nude studies. 1920s. 2 vintage gelatin silver prints. Each circa 17 x 22,7 cm. Each with photographer's/copyright stamps and annotated in pencil on the verso. Sergeij Balkin, originally from Russia, started his career in the late 1920s in Berlin-Charlottenburg, primarily working with the agency Photo-Ballé. Photos from this time are quite rare, and only a few have his personal copyright stamp, as the ones presented here. In the early 1930s, he moved to the United States and began a successful photography career with Condé Nast Publications, spanning more than two decades. His highly sought-after fashion spreads, in both black and white and color, appeared in prestigious magazines like Vogue, Glamour, House & Garden, and others. In 1950, Balkin co-founded a commercial photography studio with photographers Fredrich Baker, Constantin Joffé, and Herbert Matter. – Some mirroring in edges, a few small surface spots, some small nicks in edges, otherwise in good condition.
Lot 4267
Siam -- Photographer: Emil Eduard Groote (1870-1948). Views of the Ceremonial Reception of His Majesty King Chulalongkorn of Siam (9) on the occasion of his return from his second (1907) trip to Europe and some landscape views. 1907. 15 vintage platinum prints. Most circa 10 x 12,5 cm and 12 x 16 cm.Apart from depicting a range of bustling canal and river scenes, this rare collection of photographs also features the religious and military reception ceremony held in Bangkok on November 17, 1907, to welcome King Chulalongkorn back from his European journey. The grand procession moved through Rajdamnern Avenue, passing under elaborately constructed arches of honor, with enthusiastic participation from the public, turning the occasion into a joyous and festive celebration. – Some corners bumped, otherwise in good to very good condition with strong contrasts.Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860 - 1910. Bangkok 2016, compare p. 345, plate 9 and 10. Provenance: Estate of Georg Friedrich Wilhelm Rexhausen, Bangkok
Lot 16
Northern Caravaggist School, 17th CenturyEsau selling his birthright to Jacob oil on canvas102.8 x 113.3cm (40 1/2 x 44 5/8in).Footnotes:ProvenanceThe Arcade Gallery, London, from whom purchased (as Orazio Gentileschi)The Collection of Sir Thomas Barlow, 1st Bt, by 1941, by whom gifted to (the above according to a label on the reverse)The Collection of James Byam Shaw, 1951With Colnaghi, LondonThe Collection of Mrs C.A.W. Beaumont, London, by 1989, and thence by descent to the present owners LiteratureB.Nicolson, Caravaggism in Europe, London, 1989, vol. I p. 93, vol. III, ill. fig. 1363The present composition clearly enjoyed some popularity as three versions of it are known: one, given to Antonio Maria Vassallo (Genoa 1620-1664 Milan), was offered at Galleria d'arte, Bernini, Rome, 21 March 1977, lot 117 (without the dog, lower left); and another was sold at Christie's, South Kensington, 26 October 1989, lot 275 (as Northern Netherlandish Follower of Caravaggio).The story of Esau selling Jacob his birthright is recounted in the Book of Genesis 25: 29-34. On returning from the field, Esau was exhausted and hungry so asked his brother for some of the stew that Jacob was preparing. In return, Jacob requested that Esau sell him his birthright. Desperate to eat, Esau readily agreed and thus lost his birthright. Depictions of Esau selling his birthright were relatively rare amongst the Dutch Caravaggists at this date although two works of the subject are known by Hendrik ter Brugghen - one in the Gemäldegalerie, Berlin (inv. no. 1982), the other in the Museo Thyssen-Bornemisza (inv. no. 393). Sir Thomas Barlow (1845-1945) was appointed physician to the royal household in 1896. He became physician-extraordinary to Queen Victoria from 1899-1901 and was present at her deathbed.For further information on this lot please visit Bonhams.com
Lot 45
George Richmond R.A. (London 1809-1896)Hagar lamenting; and Hagar and Ishmael in the wilderness each signed in graphite with initials GR and dated 1829 (lower left of each image), the sheet dated 'Jany 30th 1829' (lower right)pen and brown ink with graphite border lines33.5 x 21.3cm (13 3/16 x 8 3/8in).(the sheet)Footnotes:ProvenanceGeorge RichmondCanon T.K.RichmondMrs Miriam Hartley, great-great-granddaughter of the artistSale, Sotheby's, London, 18 November 1976, lot 181With P&D Colnaghi & Co Ltd, 1979George Goynder CBEWith Katharine House Gallery, Marlborough, 2006 where acquired by the present private ownerExhibitedCambridge, Fitzwilliam Museum, Samuel Palmer and 'The Ancients', October-December 1984, no. 102LiteratureR. Lister, George Richmond, London, 1981, pp. 132, 134-7, ill. pl. V, nos 11 & 12These rare, early biblical subjects by Richmond show the influence of William Blake as well as a knowledge of Italian 16th Century Mannerist prints and those of Dürer. These two studies would have been drawn when he was spending time with Samuel Palmer and the group known as the Ancients at Shoreham in Kent.For further information on this lot please visit Bonhams.com
Lot 206
A rare Sèvres biscuit and gilt cameo cup and saucer, circa 1815-25Each cup painted with cameo portraits, depicting Roman emperors, the gold ground with Classical biscuit motifs of sphinxes, eagles and scrolling foliage, on a foot with three eagle-headed supports and applied with a scrolling handle, the saucer with similar biscuit decoration, the cup: 12.5cm high; the saucer: 17.3cm diam., interlaced LL monograms enclosing a fleur-de-lys and Sevres stencilled in blue, the saucer with the date 25 for 1825, traces of earlier erased mark to saucer (restoration to handle and foot) (2)For further information on this lot please visit Bonhams.com
Lot 69
A very rare Sèvres tobacco jar, cover and spoon (pot à tabac avec cuillere), circa 1765Painted with continuous flower swags tied with crimson, purple and blue ribbons hung from a blue line with gilt dashes below the gilt dentil border to the rim, the domed cover with similar borders to the rim enclosing a band of flowers and leaves and a ball knop embellished in gilding, the applied straps and the spoon edged in gilding, the jar and cover: 14.5cm high; the spoon: 12.7cm, incised BC (3)Footnotes:Provenance:With John Whitehead, London;Acquired in 1989Literature:S. Fellner, Die lasterhafte Panazee (1992), no. II/58 Exhibited:Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992Only two other Sèvres tobacco jars and covers with their spoons are recorded in the literature: one decorated with flower sprigs is in the Sèvres museum; another, with formal borders and foliate swags is in the possession of Earl Spencer, Althorp (published by D. Gage, Tobacco Containeres & Accessories (1988), pl. 32). A third, decorated with flower sprigs, was sold from the collection of Jack de Beurville, Hotel Drouot, Paris, 12 October 2023, lot 92.For further information on this lot please visit Bonhams.com
Lot 64
An extremely rare Vincennes hookah bottle for the Turkish Market, circa 1752-55The globular body incised with three horizontal lines and painted by Francois Binet with scattered flower sprays, a gilt band around the footrim, with Ottoman silver mounts with stamped tughra, second half 19th century, and a flexible pipe with bone mouthpiece, 32cm high overall, interlaced LL monogram and painter's mark T in blue enamelFootnotes:Provenance:Anon. sale, Sotheby's London, 27 February 1979, lot 187;T.H. Clarke Collection, sold Sotheby's London, 1 March 1994, Lot 83;Acquired in the above saleLiterature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), pl. 56 (illustrated)For a discussion of Vincennes porcelain made for the Turkish market, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, II (1988), pp. 645-646. A total of fifty-one models including six bottle forms were made for the Turkish market between 1752 and 1755, of which only the ecuelle, one of the vases, a table, a coffer and possibly a drinking pot and saucer, as well as the present lot, are known today. Production for the Turkish market seems to have lasted only three years and resulted in 190 objects in all. The deterioration in Franco-Turkish relations following the Peace of Versailles in May 1756 may have been the cause.François Binet is recorded as a painter of flowers between 1750-75.For further information on this lot please visit Bonhams.com
Lot 1
A rare Urbino istoriato albarello, probably from the workshop of Guido Durantino (Guido Fontana), circa 1540The cylindrical body separated from the rounded shoulder and base by narrow hoops picked out in yellow, similar yellow lines around the neck and spreading footrim, painted with a continuous scene representing the story of Diana and Endymion, the Goddess and six handmaidens bathing naked in a stream, among rocks and trees, the lonely figure of Endymion seated on top of a nearby hill, looking into the distance, the landscape on the reverse including a distant town viewed through further trees, the interior mounted with a later copper reservoir, 28cm high (repair to a small section of the footrim, some chips to the moulded yellow bands repainted)Footnotes:Guido Durantino, originally from Castel Durante, was known to have run one of the largest maiolica workshops in Urbino employing many of the best painters in the city, especially for istoriato. By 1541 he and his son had adopted the surname 'Fontana'. For further details and further pieces attributed to the workshop, see T. Wilson, Maiolica, Italian Renaissance Ceramics in the Metropolitan Museum of Art (2016), nos. 63, 67 and 68.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
Lot 14
A rare pair of Rouen faience sugar casters, first half 18th centuryModelled after the metal shape, the domed screw-top with elaborate patterned piercing, the baluster body decorated with stylised lambrequin bands, all in red and blue, 23.5cm. (4)Footnotes:Provenance:With Lucien Levy, Paris (paper label to the base);Charles Bourdet Collection, thence toCollection of Daniele Lasser, New York, NYThe factory made several different types of casters in varying sizes, this appears to be one of the larger ones. Another faience caster of this shape and size is in the collection of the Louvre museum (OA 3809).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
Lot 125
A rare Vienna pale-yellow-ground part tête-à-tête with views of Italy, circa 1802Reserved with titled views of Italy within a tooled gilt cartouche, the rims with a tooled gilt foliate border, comprising: an oval tray, a hot water jug and cover, a milk jug and cover, an oval footed bowl, a cup and saucer, and another cup and saucer with similar decoration, the tray: 46.8cm long; the hot water jug: 12.8cm high, shield marks in underglaze-blue, impressed date numerals 802, 800, 801 and 99, various impressed painter's numerals, 'Bossierer' numeral for Anton Payer, collector's numerals 43.-48. in iron-red (some damage to the jugs and one saucer) (10)Footnotes:The views depicted are:The tray - Vue de la ville de FlorenceThe hot water jug - la Maison d'HoraceThe milk jug - Pont moderne de NarniThe cups - Maison de Campagne d'Adrien and Vue de la Rocca ImperialeThe saucers - Paysage sur le Garigliano and Vue de Castel RozetteThe two scenes on the matching cup and saucer with similar decoration (Vue de la Rocca Imperiale and Vue de Castel Rozette) are both based on engravings by Desprez and Chastelet illustrating 'Voyage Pittoresque ou déscription des Royaumes de Naples et de Sicilie' by St Non, published in Paris between 1781-85.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
Lot 198
A rare Paris porcelain vase, probably Dihl et Guérhard, circa 1795-1800Of kalathos shape, painted en grisaille with a continuous landscape scene depicting figures caught in a storm, the flared rim with a gilt border reserved with oak leaves and acorns, the inside with a foliate border with wheat and berried swags, on a separate circular base with a similar oak leaf and acorn border, 25cm high, 29cm diam. (2)Footnotes:'Dihl et Guérhard' was without a doubt the most prestigious of all the Parisian porcelain manufactories. Founded in 1781 under the Ancien Régime, the manufactory reached its zenith under the Consulate and the Empire, before falling into decline and shutting down under the Restoration in 1823.The grisaille landscape scene on the present lot depicts figures caught in the wind at the beginning of a storm and is very similar to the continuous grisaille scenes on a pair of vases in the Metropolitan Museum of Art, New York, attributed to the Dihl et Guérhard manufactory (see accession nos. 2014.68.2 and 2014.68.1); published by Jeffrey Munger, European Porcelain in the Metropolitan Museum of Art (2018), pp.229-231, no. 73.For further information on this lot please visit Bonhams.com
Lot 5
A very large and rare Nevers faience charger, circa 1680Painted in cobalt blue with an elaborate depictions of people from the Ottoman Empire, the Levant and Mongolia, all set in Chinese landscapes, the rim with two large cartouches enclosing Chinese landscapes with junks and waterways, 54cm diam., (some restoration to the rim, restored crack)Footnotes:Provenance:Charles Bourdet Collection, thence toCollection of Daniele Lasser, New York, NYThe town of Nevers is situated in the centre of France and has been famous for the production of tin-glazed earthenware from the late sixteenth century to the present day. The tradition started following the marriage of Luigi Gonzaga with Henriette of Cleves. This highly cultured ruler, who had been raised at the court of the French king, François I, actively encouraged artists from his homeland to come to work in Nevers, and so glassmakers, enamellers, potters and printers colonised the region. Agostino Corrado is the significant name for the development of the faïence industry, known in French as Augustin Corrade. Originally from Albissola in the Savona region, this potter went into partnership with a compatriot from Faenza, the painter Giulio Gambini, and founded his own pottery in 1574. There is also a definite link with the Italian potters of Lyon and some potters came from there while others came directly from Liguria to work at Nevers. As the 17th century progressed decoration at Nevers became lighter in style with a greater use of white, often with blue monochrome. From about 1660 the taste for Islamic and Chinese-style decoration is found, with figure scenes painted in monochrome blue or blue with manganese. These scenes copy contemporary or slighter earlier Chinese decoration and are sometimes combined with typical north Italian naturalistic elements. This charger shows an extraordinarily rare combination of Ottoman and Mongolian or central-Asian costumed people set in a classical chinoiserie landscape copied after the Wanli examples, combining perfectly not only the tastes of the late 17th century, but also the pictorial elements brought through the Levant to Italy and then into France.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
Lot 84
A rare Meissen pipehead, circa 1730Decorated with Kakiemon flowers and geometric bands in iron red, mounted, probably in the later 19th century, with a silver mount and cover, 6cm (minor flat chip to rim)Footnotes:For a very similar pipe with the same decoration in a private collection in Germany see: W. Morgenroth, Rauchzeichen. Meissener Porzellanpfeifen zwischen Tabakdunst und Pfeifenkunst, in Keramos 251/252 (2021), p. 35, cat.no. 17.For further information on this lot please visit Bonhams.com
Lot 39
A Saint-Cloud silver-mounted tobacco pot and cover with very rare fitted inner lead tamper, circa 1735Of cylindrical form, each moulded with three flowering prunus branches, the slightly domed cover with a flared conical knop, the fine silver mounts chased with flowerhead panels alternating with foliate scrollwork and shell motifs, the cover mount with a beaded rim, the pewter tamper grooved with a raised circular knop, 14.5cm high, the silver mounts both with discharge mark (une tete de renard) for Louis Robin, 1735-8 (3)Footnotes:Provenance:With William Redford, London;Acquired in 1982Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 10 and pl. 43;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 5Exhibited:London, The International Ceramics Fair and Seminar Special Loan Exhibition, The Dorchester Hotel, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988For further information on this lot please visit Bonhams.com
Lot 34
A rare Saint-Cloud ormolu-mounted tobacco jar and cover with gold Paillon decoration, circa 1710-30Of cylindrical form with a domed cover, each moulded with flowering prunus branches and applied with fine die-stamped gold appliqués, the jar with a military trophy flanked by two landscape vignettes with classical figures and birds in flight, all between bands of foliate scrollwork motifs alternating with flowerheads, the cover with three vignettes with a putto and scattered flowers and a bird, the mounts finely tooled with birds in a scroll- and strapwork border, 14cm high (some crazing to glaze surface)Footnotes:Provenance:With Georges Lévy-Lacaze, Paris (applied paper label);Private Collection, France;Acquired in 2003 from Manuela Finaz de Villaine, ParisOnly two similarly decorated Saint-Cloud tobacco jars are recorded by (E. Manners, Gold Decoration on French, German, and Oriental Porcelain in the early 18th Century, in The French Porcelain Society Journal IV (2011), figs. 11 and 12). The first is in the Hermitage Museum, St. Petersburg; the second also has similar mounts and moulded flower sprigs.For further information on this lot please visit Bonhams.com
Lot 60
A rare Mennecy tobacco jar and cover, circa 1755Of cylindicial form with a slightly flared foot and domed cover, superbly painted with two large flower sprays and further scattered blooms and leaves, the domed cover similarly decorated and surmounted by a leafy rosebud finial, with rare guilt dentil borders to the rims, 18.5cm high overall. incised D,V (some restoration to rosebud finial, scattered wear to gilt rims) (2)Footnotes:Provenence:With Winifred Williams, London;Acquired from the above in 1981Literature:Winifred Williams, 'Eighteenth Century French Porcelain', Exhibition Catalogue, 3-20 July 1978, no. 79;D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 14Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988For further information on this lot please visit Bonhams.com
Lot 50
A very rare Meissen gilt-metal-mounted shaped rectangular bombé casket with cover and tray, circa 1740-45Finely painted with panels depicting elegant figures in landscape settings, including - on the cover and base - by a river with gondolas and with a winter scene with ice skaters on the back, enclosed on the cover by gilt scrollwork and scale borders interspersed with moulded brackets with foliate scrolls, a similar moulded bracket at the front on a gilt trellis panel, the landscape scenes on the sides alternating with gilt trellis and scrollwork panels, the inside cover with an elaborate scene depicting a party seated at a table beneath trees including two gentlemen smoking pipes, the stand with a quatrelobe scene depicting a group playing 'blind man's buff' withing an elaborate trellis and scrollwork cartouche and gilt foliate and moulded borders, the reverse with sprigs of indianische Blumen, the stand: 16.7cm across; the casket: 13.3cm across, 6cm high, 9.5cm deep, crossed swords mark in underglaze-blue to stand, (the cover cleanly restuck and restored along breaks) (2)Footnotes:Provenance:Anon. sale, Christie's London, 3 October 1988, Lot 164;Acquired in the above saleA similarly-shaped stand painted with a battle scene is in the Dresden porcelain collection (inv. no. PE 5486).For further information on this lot please visit Bonhams.com
Lot 88
A rare and early Meissen (KPF) octagonal sugar box and cover, circa 1722-23Painted with two oval cartouches depicting battle scenes after print examples by Georg Philipp Rugendas the Elder, the cover with a similar continuous scene, all enclosed in elaborate Laub und Bandelwerk in iron red and gilding, the finial, rim and rim below the edge of the box with gilt bands, 11.5cm diam., KPF in underglaze-blue, (old restoration and flat chip to two corners of the cover and underneath finial) (2)Footnotes:The source for the decoration of the cover of this box is most likely a print by Georg Philipp Rugendas the Elder in the Meissen manufactory Archive (inc. no. VA 1985-2), illustrated by Claudia Bodinek, Raffinesse im Akkord, Meissener Porzellanmalerei und ihre Vorlagen (2018), II, pl. 241. The side of the box is decorated with a fallen horse that corresponds to a print published by Bodinek, pl. 244.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
Lot 56
A rare Meissen silver-mounted pipe in the form of a seated pug-dog, circa 1745Modelled by J.J. Kaendler, the ears, nostrils and mouth pierced, the coat and features naturalistically painted, contemporary silver mounts, the collar attached by a chain and with a lock at the front, 8cm across; 6.1cm high, crossed swords mark in underglaze-blue, (left foreleg restored)Footnotes:Provenance:Ernesto F. Blohm Collection, sold Christie's London, 10 April 1989, Lot 10;Acquired in the above saleLiterature:S. Fellner (ed.), Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa (1992), no. III/44Exhibited:Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee, 11 June-4 October 1992A similar model is illustrated by D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), pl. 38.For further information on this lot please visit Bonhams.com
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