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Lot 44
Rare mounted pair of small European Eel Pout (Zoarces Viviparus), set amongst water reeds on a sandy and shell strewn oval base. Under a glass dome with misspelt title "Ell Pout". Case overall 12.5" long. CONDITION REPORT: Both specimens appear in good original condition and the setting itself is good. Dome appears undamaged. The black finished oval base is scuffed and marked commensurate with age.
Lot 197
A rare, very limited edition 'The Queen's Beasts' silver dish retailed by Garrard and Co. comprising a large scalloped shaped dish bearing royal crest and Silver Jubilee inscription to centre presented on a stand, each corner surmounted by one of ten different gilt animals. Numbered 4 of 25 to base, London hallmarks, in original box. Dish width approximately 40cm.
Lot 47
A rare Chinese porcelain famille rose wedding saucer Yongzheng, ca. 1725 Combining the coats of arms of Jan van Ens and Ioanna Bochoute. Wonderfully decorated with medallions featuring the marrying couple on left and right while both top and bottom medallion clearly indicate the wedding ties. Condition: very small frits on the rim. Size: 12 cm
Lot 244
A rare Dutch Delft black cow, ca. 1720 Size: L: 21 cm, H: 15 cm. Condition: Some restoration to the horns and ears. Provenance: A Dutch private collection. Signed IVL above numerals 1 and 16, for Johannes en Margaretha Van Lockhorst-Van der Gucht, De Klaauw, 1713-1740. Black Delftware is the least produced type of Dutch Delftware. Inspired by "mirror black" Chinese porcelain and Japanese lacquerwork, black Delftware forms a small but interesting part of the history of the ultimate Dutch export product from the "Golden ages". According to experts, only approximately 120 pieces of black Delftware exist, of which 65 to 70 are currently known. Black Delftware is generally situated in the first quarter of the 18th century, although two black Delftware horses dated 1695-1720 appeared in Aronson, Dutch Delftware, 2006, p. 42. One was marked LVE for Lambertus van Eenhoorn. Furthermore, it is interesting to note the existence of a pair of milking groups in Black Delftware. These were sold at Christie's, Amsterdam, Sale 2232, Lot 528, Jun. 7, 1994 and attributed to De Dobbelde Schenckan or De Metalen Pot (1690 - 1720)". Also interesting to note, is the existence of another piece of undecorated black Delftware, a plate. It was sold at Christie's Amsterdam, Nov. 9, 2004, Sale 2641, Lot 31. This makes our present example the only known black Delft cow without polychrome overpainting.
Lot 276
A Dutch Delft blue and white chinoiserie kraak style dish with an elephant, 17th C. Dia: 33,5 cm. In very good condition. Noterworthy is the small figure painted just behind the elephant. Dutch Delftware with elephants is part of a rare and sought after group, generally executed in Chinese Ming Wan-Li style. The present example shows close resemblance with examples made in Frankfurt and Haarlem, and could also originate from one of these production centers.
Lot 333
A rare Dutch Delft blue and white chinoiserie barrel-shaped spirit bottle, ca. 1720 H: 16 cm. Examples in Dutch Delftware are extremely rare. The shape is derived from Chinese export porcelain examples, dating back to the Kangxi period. See for example: Christie's, London South Kensington, Sale 10636, Lot 517, for "A matched pair of Chinese blue and white spirit bottles"
Lot 386
A rare Dutch Amsterdam Delftware blue and white biblical plaque A Dutch delftware blue and white biblical plaque Amsterdam, attributed to the tile factory ‘d’Oude Prins’ (The old Prince) in the Anjeliersstraat Painter: Pieter van der Kloet 1740-1750 Provenance: a private collection from Spain The lozenge-shaped plaque has a raised rim and indented corners which are painted with flower motifs in tapered cartouches. It is finely painted with ‘Christ and the women of Samaria’. The woman is standing to the left of Christ and holds a bucket in her left hand. On the background the disciples return from the city of Sighar. The design is based on an engraving from the Historiae Sacrae by Nicolaes Visscher, circa 1650, which in turn was based on an engraving by Mattheüs Merian. The biblical story is framed within a Régence style cartouche with S-shaped ribbons, filled with trellis diaper and foliate. A group of ten lozenge-shaped plaques with indented corners are known from Amsterdam. Four of them are dated 1736, 1748, 1750 and 1751. The group varies in size, shape of the rim, cartouches, quality of painting and subject matter, but are most likely made in the same factory. One of the plaques has the monogram of an unknown painter G.V.M. to the backside, one other plaque is monogrammed PvK or PvdK, presumable the monogram of Pieter van der Kloet. Compared with plaques made in Delft, these plaques stand out in two ways. Stylistically they are more related to tiles, tiles pictures and shapes known to Amsterdam, then to Delft examples. Secondly, there are important differences in production techniques. Delft plaques are molded in plaster molds and fired on pins in saggars. The plaques from Amsterdam were not fired in saggars, but were standing on their sides on two small clay cylinders between rows of tiles. The back of the plaques was leaning against the rows. These production differences leave other marks on the plaques then the pin marks on Delft plaques and are important keys to establish Delft from non-Delft production. Using molds enables a Delftware pottery to produce the same shape over again, up to dozens or even hundreds, depending on how long the molds could be used. The Amsterdam plaques are all handmade and can therefore be considered as incidental products instead of regular production. Of the ten plaques one similar of same dimensions and cartouche is known in the collection of the Princessehof Museum at Leeuwarden (inventory number OKS 2010-033). This plaque is also decorated with a biblical scene depicting ‘Christ and the women of Zebedee’. Both plaques are painted by Pieter van der Kloet. Pieter van der Kloet was the owner of the tile factory ‘d’Oude Prins’ in Amsterdam. He is known as a painter of faience, because a fully signed and 1728 dated plaque is preserved in the Amsterdam Museum (inventorynumber KA 19434). He was fifteen when he painted this plaque. More important, four drawings from his hand are also known, all fully signed and dated 1773 (2x), 1776 and 1777. These drawings – cityscapes and landscapes – show a strong resemblance with tiles, tiles pictures, plaques and other shapes that are attributed to Amsterdam. Therefore these drawings are a key and essential in attributing work to Pieter van der Kloet. The cloud motifs on the current plaque and the Leeuwarden example are so closely related if not in part identical with the ones on the drawings. On that ground alone the plaques can be attributed to Pieter van der Kloet. Condition: one hairline crack. Dimensions from side to side 32 cm x 32 cm. Literature: Jan Daniël van Dam, ‘’Delfts’ uit de provincie. Aardewerk uit Hollandse tegelfabrieken’ in: Vormen uit Vuur (1999/3-4), pp. 23-24, 32-62. Text by: Jaap Jongstra MA, ceramics specialist and researcher of tile factories in Amsterdam. With special thanks to Mr. Rainer G. Richter from the Staatliche Kunstsammlungen, Dresden.
Lot 399
An exceptional pair of Dutch Delft blue and white monteiths (glass coolers), Cornelis Kuipers, De Metaale Pot, 1724-1757 Dutch Delft monteiths are quite rare. There is no trace of another pair in literature or museum collections. Each marked CK above a 3, 2, and 14, for Cornelis Koppens, De Metaale Pot, 1724-1757. For another Dutch Delft monteith from De Metaale Pot, Lambertus van Eenhoorn, 1691-1724, see Museum Prinsenhof Delft Nr. LM 2125 Dim.: 40 cm x 30 x 19,5 cm
Lot 406
An early Antwerp maiolica blue, yellow and white syrup jar with sgraffiato decor, 1540-1580 H: 21,5 cm. An exceedingly rare type of Antwerp maiolica jug, this example stands out of the more known "a foglie" type like the lot before. The decoration on the penultimate blue scroll is applied in sgraffiato technique, a clear indication of early manufacture. The backside of the scrolls on which the supposed contents are noted, is enhanced by yellow painting. Provenance: An important Flemish collection.
Lot 118
Fry, Elizabeth. Texts For Every Day in The Year. Copy of Elizabeth Fry's textbook, with handwritten introduction and extract from Fry's journal and letters, written by the book's original owner Anna Forster; who was the Mother of W.E. Forster who accompanied Fry on her visit visit to Newgate Prison in 1813. Extremely rare and interesting item
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