Chased, cast silver censer in the shape of a deer. New-Hispanic work. High Peru. Late 18th century. 25 x 22 x 14 cm. In the shape of the figure of a deer worked in cast silver which is fretworked on the base. The body opens with a little door which is topped with the figure of a small animal, and is hinged. In its interior there is a small pan for burning the fragrant substances which were dispersed through the perforations on the body. It rests on a tray with a balustrade-style edge. The piece is lifted up by four angel heads. The censer was a piece of homeware that was used to perfume rooms, as aromatic substances were burnt in them. Examples of similar censers can be found in the Museo de América de Madrid, from Ayacucho (Peru) in the second half of the 18th century or in the Museo de Arte Hispanoamericano Isaac Fernández Blanco in Buenos Aires, among others. As Cristina Esteras Martín indicates in "Platería del Peru Virreinal 1535 - 1825": "Incense burners (censers or table braziers) are very significant, and although they were not exclusive to this Viceroyalty, they are in terms of the typification of their structures They were carved in molten silver as well as in filigree and took very varied forms, from spheroid containers, to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves or llamas. The container rests on a tray-plate ("mancerina") to receive the ashes that come off the embers." Bibliography: "Platería del Peru Virreinal 1535 - 1825". Catalogue from the exhibition which took place in Madrid and Lima in 1997.
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Possibly Spanish School. First half of the 16th century."The Annunciation"Oil on panel 41 x 31 cm.This very valuable and unusual panel represents the episode of the Annunciation in the luxurious private chambers of the Virgin. She appears kneeling in front of a table decorated with a red cloth with gold trim, on which rests the book she was reading until the sudden appearance of God's envoy. The arrival of the archangel has caused the Virgin to put down her book and turn her face to observe the unexpected visitor. Saint Gabriel, as usual, arrives from the left side of the scene. He is standing, in the act of approaching the Virgin, which is why his right leg can be seen pushing forward under his tunic, with his wings unfolded in different directions. In his left hand he grasps a golden sceptre topped with a kind of fleur-de-lys: it is the messenger's staff, which, according to Réau, is a transposition of the one carried by the god Mercury, "messenger of Jupiter, from whom the Announcing angel takes his ancient herald's wand, the staff of command entrusted by the celestial emperor to his extraordinary and plenipotentiary ambassador”. He extends his right arm pointing with his index and middle fingers towards the sky to emphasise the fact that the message he brings comes directly from God. This “oratory gesture”, according to Réau, is taken directly from “the statues of the philosophers of antiquity, he extends his right hand towards the Virgin, raising his index finger to underline his words”. Mary brings her left hand to her chest as a sign of compliance with the divine message, while with her right she still holds a page of the book she was reading. She wears a blue cloak, but in this case, it is a very dark blue and also decorated with small golden lily flowers. Her hair is thick and slightly wavy, falling in two large locks on both sides of her head. Her face, which is oval, with tiny facial features, a powerful chin and clear forehead, harks back to Flemish models. The archangel wears a long reddish tunic that shows us only the toes of one of his feet, and over it a green overtunic open at the front and fastened at the neck by a brooch in the form of a golden quatrefoil. Both characters have been conceived with well-defined volumes and with an interest in naturalness in both movements and expressions. The study of perspective is not completely successful, although the artist uses some devices to achieve it, such as the lines formed by the marble tiles of different colors (green, yellow and red) that pave the floor or the position of the bed. The painter has decided to capture the greatest possible number of details in the room, in the case of the bed with curtains or the seats decorated with red velvet and on which two cushions with floral motifs and gold fringes rest. In the foreground, there is a jug with lilies, an attribute that alludes to the purity of the Virgin Mary, and more especially to her virginity, which Saint Bernard refers to as the inviolable lilium castitatis. In the upper part of the scene, entering through the only window of the room, which vanishes into a distant landscape that combines land and sea, the presence of the Holy Spirit is evident through the appearance of the symbolic dove and the sparkles that surround it, one of which falls on the face of the Virgin to emphasize the mystery of the Incarnation. It is a harmonious composition, very beautiful and with a rich range of colours. The most mysterious detail of the table is found on its back, as there is an inscription in French: "Blanche de Castille Reine Fondatrice du Monastere du Lis". Blanca de Castilla was queen consort of France through her marriage to Louis VIII, and in turn was the mother of the holy king Louis IX. We do not know the reason for the appearance of this inscription, but it is striking that the Virgin's mantle appears completely upholstered with golden fleurs-de-lys, an emblem of the French monarchy and therefore of Blanca herself. Likewise, there is another detail which may have a symbolic meaning, which is the eagle type bird with outstretched wings painted on the front of the vase of lilies.We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
A Frankenthal group of a boy and girl at table, circa 1765-70Both seated at a table and wearing elegant clothing decorated with green flower sprays, the girl winding a music box, the boy with his elbow on the table looking at a silvered bird cage, the base applied with foliage and moulded with gilt-edged scrollwork, 14cm high, crowned CT mark in underglaze-blue (tiny chips)Footnotes:Provenance:With Antiquité Vandermeersch, Paris (label to underside)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
An important Sèvres Royal Presentation part tea and coffee service commemorating King George III's recovery from illness, circa 1789Of hard and soft-paste porcelain, each piece decorated with a different motto and/or crowned 'G' flanked by crossed laurels in gold, the rims decorated with a band of stylised flowers composed of a single gold pastille on a pink stem flanked by green dots inspired by fabric designs, the band of flowers enclosed by a double band of stylised neoclassical motifs in puce, blue and picked out in gilding, the handles embellished in gilding, the finials gilt, comprising:a large teapot and cover,a large sugar bowl and cover,a large cold milk jug on three feet,five gobelet litron and saucers,four teacups and five saucers, the teapot and cover: 16.5cm high, interlaced LL monogram and painter's mark attributed to members of the Weydinger family in gold (on the teapot and the milk jug) and blue, various incised marks (24)Footnotes:Provenance:Commissioned by Bernardo y Pérez de la Serna, Marquis del Campo, Spanish Ambassador to the Court of St James, in 1789;Queen Charlotte (1744-1818) [according to tradition - thence to]Mary, Duchess of Gloucester (1776-1857);Prince George, Duke of Cambridge (1819-1904), the grandson of George III; thence to his sonSir Adolphus FitzGeorge (1846-1922); thence to his great-nephewGeneral Sir Victor FitzGeorge-Balfour (1913-1994);Thence by descentLiterature:Geoffrey de Bellaigue, 'Huzza the King is Well!', in Burlington Magazine, vol. CXXXVI (June 1984), pp. 325-331;Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen (2009), vol. II, cat.no. 175, and vol. III, cat. no. 259 This remarkable tea service was part of a larger service, including a dessert service, now mostly in the Royal Collection that was commissioned by the Spanish Ambassador, the Marquis del Campo, for a gala held in name of the King of Spain on 9th June 1789 to celebrate the recovery of King George III from illness. Queen Charlotte, accompanied by her daughters, was the guest of honour at the gala in the Rotunda of the Ranelagh Gardens, Chelsea. Two thousand invitations were issued and the entertainment included dancing by Spanish children, a lottery, moving transparencies and a fireworks display. A supper was dramatically served in boxes that were simultaneously unveiled at one o'clock to reveal the richly-decorated tent-like interiors. The Queen's tent contained a table laid with gold plate as well as the Sèvres porcelain service; it was hung at the back with pea-green satin and with festoon curtains of white lute-string with gold fringing to complement the colours of the service.Differing accounts exist of how the Spanish ambassador disposed of the service after the gala. Elizabeth, Countess of Harcourt attended the gala and recorded in her memoirs that a major part of the service was presented by the Marquis del Campo to her and her husband in February 1796, following his appointment as Ambassador to the French Republic. She noted of the gala: It was very magnificent, and took place at Ranelagh on June the 9th 1789. The Queen was received there in great state. A beautiful service of China with appropriate medallions and mottoes was manufactured by the Royal Sevres Porcelain Works.[...] (Edward William Harcourt (ed.), the Harcourt Papers privately printed by James Parker & Co, Oxford, c.1900, vol. VI, part 1 p.267-268). Another account quoted by Sir Geoffrey de Bellaigue suggests that the tea and coffee service was presented to the Queen the day after the gala, although it could have been given directly to her daughter, Mary, Duchess of Gloucester, who was present. Another possibility is that Lord and Lady Harcourt, who were presented with the dessert service by del Campo when he left London in 1796, may also have received the tea and coffee service and subsequently given it to Mary, Duchess of Gloucester, to whom they were close (de Bellaigue 2009, vol. III, p. 920). The bulk of the dessert service remained in the possession of the Harcourt family until 2003 when it was purchased by The Queen. Following the death of the Duke of Cambridge in 1904, the tea and coffee service was divided between his two sons; the present lot passed to Sir Adolphus FitzGeorge and his descendants, while the second portion went to his brother, Sir Augustus FitzGeorge, and, following his death in 1934, was purchased by Queen Mary (see below). Other than a few items from the dessert service retained by the Harcourt family, all other recorded pieces from the service are now in the Royal Collection (see above Literature).According to David Peters and Sir Geoffrey de Bellaigue, the service closely corresponds precisely with one purchased by the marchand-mercier, Dominique Daguerre, listed in the sales' ledger between 17 April and 12 August 1789. The components of the tea and coffee service include: '24 Tasses, 2 Pots à Sucre, , 2 Pots à lait, 1 Theyere, 1 Jatte a Lait' (two teacups, one gobelet litron and two saucers are now missing). The part of the service purchased by Queen Mary in 1934 and now in the Royal Collection includes: a sugar bowl and cover, a milk jug, a basin, six teacups and saucers and six coffee cups and saucers (De Bellaigue 2009, vol. III, no. 259).It seems certain that Daguerre acted as the Spanish ambassador's intermediary and the mix of hard and soft-paste porcelain and the use (for the dessert service) of existing stock together with specially decorated or inscribed pieces suggests that the commission had to be fulfilled in some haste. Customs records indicate that the service arrived in Dover on 9 May 1789.The following mottoes are inscribed on the pieces:The teapot:'The Best of Husbands', 'the Patron of Arts'The sugar bowl:'Vive Le Roy'The milk jug:'God Save the King'The teacup saucers:'God Save the King', 'the Patron of the Arts', 'Glory to the King', 'The Boast of Good Men', 'The Best of Husbands'The gobelets litron:'God Save the King', 'Glory to the King' (twice), 'the Patron of Arts', 'The Best of Husbands', and the saucers each with a caduceus and oak branch and a banner reading 'Salus Regis Salus Populi'For further information on this lot please visit Bonhams.com
Two Meissen figures of ladies, together with a Meissen figure of a cavalier at a writing desk, late 19th centuryThe ladies after the 18th century models by M.V. Acier, one seated showing the dog on her lap its reflection in a mirror, the other standing at a table playing cards, the cavalier after the 18th century model by J.J. Kaendler, seated at a desk and writing a letter, the tallest: 16.2cm high, crossed swords marks in underglaze-blue, incised model numbers F.50, F.64 and 179, impressed numerals, 37. in puce to lady with dog (minor restoration and chips) (3)For further information on this lot please visit Bonhams.com
A Meissen group of 'Grandmother's Birthday', late 19th centuryModelled by E.A. Leuteritz, with a lady seated in an armchair, wearing a white bonnet, pink bodice and overskirt, white apron and floral striped skirt, a letter in her right hand and leaning on a small table on her right, a young girl standing next to her handing her a posy of flowers, a flower pot and cup and saucer on the table, the base moulded with gilt-edged scrollwork, 21.5cm high, crossed swords mark in underglaze-blue, incised model number M 184, impressed numeral, painter's numeral 38 in purple (minor restoration)Footnotes:Modelled by Leuteritz in 1882; see S. & T. Bergmann, The Art of Meissen Figures (2010), no. 22.For further information on this lot please visit Bonhams.com
A Meissen outside-decorated figure of a sleeping lady, late 19th centuryAfter the 18th century model by M.V. Acier, asleep on a chair, her arm resting on a tall table beside her, her shoes next to her feet, wearing a white dress with pink flowers, blue apron and yellow shawl, 19cm high, crossed swords mark in underglaze-blue with two incised cancellation marks, incised model number E58, impressed numerals and painter's number (minor chips)Footnotes:Possibly after 'La philosophie endormie' by Jean-Baptiste Greuze, etching by Jean-Michel Moreau, le jeune.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Meissen table centrepiece, late 19th centuryModelled by E.A. Leuteritz, the rockwork base edged with moulded scrollwork, rising to a shaft with a moulded scrollwork cartouche on each side painted with a flower spray and applied on the sides with flowers, surmounted by a two-handled, pierced, shaped quatrelobe basket applied with flowers and painted with flower sprays within gilt scrollwork cartouches, the base applied with eight putti emblematic of the Seasons, 42.3cm high, crossed swords mark in underglaze-blue, incised model number 605., impressed numeral (some scattered tiny chips)For further information on this lot please visit Bonhams.com
A Meissen plate from the Podewils service, circa 1741-42Of hexafoil shape, decorated with scattered sprigs of indianische Blumen and a coat of arms surrounded by the Order of the Black Eagle, surmounted by a gilt coronet and flanked by two black eagle supports each with crowned FR monogram, standing on gilt and red scrolling supports, the double gilt line around the moulded rim interspersed with five moulded gilt shells at the corners, 25.5cm diam., crossed swords mark in underglaze-blue, P. 1 in gilding inside footrim, impressed 21 (minor stacking wear)Footnotes:Provenance:Given by Augustus III of Poland and Saxony to the Prussian envoy, Heinrich Graf von Podewils, probably in 1742;Ole Olsen Collection, Copenhagen, by 1924, sold Winkel & Magnussen Copenhagen, 12 May 1948, lots 336-388 (the service);With Andreina Torre, Zürich;The Hoffmeister Collection, Hamburg, sold in these Rooms, 26 May 2010, lot 83Literature:D. Hoffmeister, Meissener Porzellan des 18. Jahrhunderts, II (1999), no. 353Exhibited:Hamburg, Museum für Kunst und Gewerbe, The Hoffmeister Collection, 1999-2009Heinrich von Podewils (1695-1760) entered Prussian service in 1720 and, together with his two brothers, was raised to the rank of Graf (Count) in 1741. He was Prussian envoy in Copenhagen and Stockholm in 1728-29, and subsequently was Prussian negotiator following the Silesian wars, signing the peace treaties of Breslau (1742) and Dresden (1745). It was probably in connection with the First Silesian War that Podewils was sent by the newly crowned King of Prussia, Frederick the Great, on a mission to Dresden, where he arrived on 15 November 1741. Podewils himself recorded in a memoir, 'as of the end of 1741, I was posted by His Royal Majesty to the court of Dresden where, after having successfully accomplished my commission, the King in Poland most graciously made me a gift of a portrait of himself, lavishly set with diamonds, and a costly porcelain table service' (quoted in Samuel Wittwer, Liasons Fragiles: Exchanges of Gifts between Saxony and Prussia in the Early Eighteenth Century. In Cassidy-Geiger (ed.) 2007, p. 101)).The shapes for the service had been developed around the same time for the Elector Clemens August of Cologne (Hoffmeister 1999, II, no. 361), and a handful of slightly later examples with simple flower painting have also survived. Dr. Wittwer speculates (op. cit., p. 102) that the Podewils service decoration of indianische Blumen may originally have been intended for the Elector, who preferred more European flowers. The design may then have been adapted for Podewils, perhaps because the service was urgently required. Additions to the service appear to have been ordered at Meissen, and at the Berlin manufactory after Podewils' death. In a letter to Karl-Wilhelm Finck von Finckenstein, Frederick the Great wrote of Podewils after his death: 'I regret very much poor Podewils. He was a man of honour and a good citizen. The loss of such a worthy and faithful servant will always remain a sorrowful memory' (quoted in Hoffmeister 1999, II, p. 608). One hundred and sixty-three pieces from this service (including some Berlin replacements), including sixty-four plates of this size, were in the collection of Ole Olsen, which was sold in Copenhagen between 1943 and 1953.For further information on this lot please visit Bonhams.com
A Meissen large two-handled oval dish from the Swan Service, circa 1740Modelled by J.F. Eberlein, moulded with swans swimming amidst bulrushes, a heron to the left and another in flight overhead, the shell-moulded gilt-edged border painted with the arms of Brühl and Kolowrat-Krakowska and with scattered indianische Blumen, a gilt-edged bulrush handle on either side, 38.8cm long, 27.4cm wide, crossed swords mark in underglaze-blue, impressed numeral (small restored chip to rim and some wear to gilding)Footnotes:The Swan Service was ordered in 1736 for the director of the Meissen manufactory, Heinrich Graf von Brühl (1700-1763). A manufactory report of May 1736 states that: 'Ein neues Taffel Servis vor des H. Geh. Cabinet Minister von Brühl Excellenz von ganz neuer Façon verlanget worden sei' [a new table service was ordered for His Excellency the Privy Cabinet Minister von Brühl of entirely new design]. The pieces are painted with the marriage arms of Brühl and his wife, Maria Anna Franziska von Kolowrat-Krakowska (1712-1762), who married in April 1734.The service originally comprised over 2,200 pieces, of which a substantial part remained in the family's possession until the Second World War. From around 1880, pieces were lent to museums in Dresden and Berlin or passed to collectors, so that by 1900 only 1,400 pieces remained at the family's Silesian seat, Schloss Pförten. These remaining pieces were either destroyed along with the castle, or stolen, at the end of the Second World War.A dish of the same size is in the National Museum, Stockholm (inv.no. NMK 59/1947). Other examples of oval trays in different sizes are in the Detroit Institute of Art, Detroit, the Carnegie Museum of Art, Pittsburg, the Muzeum Narodowe, Warsaw, the Museum für angewandte Kunst, Cologne and the Ernst Schneider Collection in Schloss Lustheim, near Munich (illustrated in U. Pietsch (ed.), Schwanenservice - Meissener Porzellan für Heinrich Graf von Brühl (2000), p.155, no. 23). An unpainted version is in the collection of the Museum für Kunst und Gewerbe, Hamburg. Dishes of the same shape but smaller size sold in these rooms 18 June 2014, lot 95, and 26 Nov 2014, lot 158, and at Christie's London, 12 May 2010, lot 80.See Pietsch, op. cit., for a comprehensive discussion of the service, and Maureen Cassidy-Geiger, From Barlow to Büggel, in Keramos, 119 (1988), pp. 54-68, for a discussion of the graphic sources.For further information on this lot please visit Bonhams.com
A late Roman marble table top fragment Circa 4th Century A.D.The curved rim carved in relief with a hunting scene of two deer pursued by a lion and confronted by a lioness, a tree behind her, 53cm x 18cmFootnotes:Provenance:Private European Collection, 1990s.Anonymous sale; Christies, New York, 10 June 2010, lot 166.Acquired by the present owner in the above sale.There are examples of both sigma and circular shaped Roman tables decorated with relief carved borders with secular and religious motifs.For further information on this lot please visit Bonhams.com
Fifteen frames containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text from the Book of the Dead for Qed-Mut New Kingdom, mid 18th-early 19th Dynasty, early 14th-mid 13th Century B.C.Each frame containing multiple fragments, inscribed with polychrome vignettes and hieroglyphic text, colour remaining, the subjects of the fragmentary vignettes are read from right to left within each frame:Frame 1: from Chapter 17; the head of the cow-form sky goddess Mehet-Weret; a pool with water; a left-facing seated lion, one of the two representing the horizon, and traces of a figure of the owner Qed-Mut, 50cm x 40cm; Frame 2: from Chapter 17; a wild cat of Re cuts-off the head of the evil serpent Apophis with a knife, before the sacred Ished tree of Heliopolis; canopic chest surmounted by a human head and containing the recumbent black jackal Anubis; a large sun disc surmounting a falcon's head, and another bird's head, 50cm x 40cm;Frame 3: from Chapter 17; a flail; three flames; a bird with out-stretched wings; human-headed Shu wearing a feather; the beak of ibis-headed Thoth; seated jackal-headed Anubis with a human deity behind, perhaps Imsety, 50cm x 40cm; Frame 4: from the end of Chapter 17 and part of Chapter 18; Isis facing right; Qed-Mut facing left, hand raised, kneeling before a human-headed deity; then Qed- Mut facing left towards a lion recumbent on a platform,; two baboons seated on a plinth and a walking jackal-headed Anubis, 50cm x 40cm;Frame 5: from Chapter 18 with text from Chapter 83: Qed-Mut kneeling in adoration before Anubis, Osiris and Thoth; Qed-Mut before Osiris and Thoth; Qed-Mut before Hapy and another deity, 50cm x 40cm;Frame 6: from Chapters 83 and 84; with Qed-Mut kneeling in adoration before an offering table facing a heron, beneath which is the beginning of the text for Chapter 84 and the end of the text for Chapter 83, 30cm x 40cm; Frame 7: from Chapters 77, 84, 86; at the right edge is the beginning of the full height vignette of the Hall of Two Truths (Maat); two vignettes above of a swallow on a mound above Chapter 86; then a falcon of gold perched on a platform, above the end of Chapter 77, 50cm x 40cm; Frame 8: from Chapter 125; the Hall of the Two Truths (Maat), the 21 judges of the Qed-Mut papyrus, more usually a representation of forty-two, sit between the open doors of the shrine, surmounted by a row of uraei, the text is the 'negative confession' in which the deceased addresses each of the judges individually stating she has not committed a particular sin, 50cm x 40cm;Frame 9: from the introduction of Chapter 110 (the Field of Offerings and coming forth by day); a large vignette of Qed-Mut standing on the left facing right, wearing a long wig and heavily pleated gown, the columns of text to be read left to right, though written as though right to left, 30cm x 40cm;Frame 10: Chapter 110; with Qed-Mut on the right, turned towards the previous scene, the Field of Offerings behind her, where Qed-Mut is shown ploughing, this scene is flanked by three seated deities and the boat of Wennefer; in the top row she worships three unnamed deities, the next scene shows her paddling across the Lake of Offerings, the central scene shows Qed-Mut adoring the Heron of Plenty; the whole scene set within a water-filled border with tributaries crossing, 50cm x 40cm;Frame 11: from Chapter 148 containing the spell for making provision of food and drink for the deceased, depicting the celestial cows and a bull, with the four steering oars of the sky on the right of the vignette, the elbow of Qed-Mut on the far left of the vignette,30cm x 40cm; Frame 12: Chapter 146; representing the portals of the House of Osiris, each addressed individually and shown as an elaborate entrance containing the remains of the squatting figure of its doorkeeper; the top row depicts Portals 1 and 5, the lower row Portal 2 and 6, 50cm x 40cm;Frame 13: Chapter 72 marking the end of the Book of the Dead, with Qed-Mut standing on the left and facing right towards a heaped offering table, then a standing figure of the hippopotamus goddess Opet facing left, behind her is the cow Hathor, presumably emerging from the western mountain, 50cm x 40cm;Frame 14: part of Chapter 1 'to be spoken on the day of the burial', with a row of professional female mourners along the top row, with a panther-skin priest libating [before a mummy]; behind him the remains of a lector priest holding up a sheet of papyrus on which the words: 'opening the mouth' are written; below is the chest containing the objects used in the ritual intended to restore to the mummy all her earthly faculties; 30cm x 40cm;Frame 15: contains fragments from the funeral procession of Chapter 1, the head of oxen, probably helping to draw a coffin are depicted in the top row; the middle row, with a mummy in a coffin carried on a boat-shaped bier drawn by men in front; the lake of fire below, perhaps the vignette of Chapter 126, 30cm x 40cm; and twenty smaller frames each containing fragments of ink inscribed papyri with remains of polychrome vignettes and hieroglyphic text, 19 frames measuring 24cm x 18cm, 1 frame measuring 15cm x 10cm (35)Footnotes:Provenance:French private collection Mr C, acquired in 1967.French private collection, acquired from the above in 2013, as three boxes of fragments, then painstakingly conserved and framed.The fragments have been positioned within the frames, using Chapter 17 of the Book of the Dead of Iuiya as a template, it provides the closest parallel to the papyrus of Qed-Mut (see Theodore M. Davis, The Tomb of Iouiya and Touiyou with The Funeral Papyrus of Iouiya, Duckworth Egyptology, London 2000). Although there are too many gaps for the place of the fragments on these columns to be determined exactly. Similarly, some of the vignettes bear a close resemblance to the Papyrus of Ani, which has been used as a template for placing some of the fragments within the frames (see Dr Raymond O. Faulkner & Dr Ogden Goelet, JR (translation), The Egyptian Book of the Dead: The Book of Going Forth by Day: The complete Papyrus of Ani Featuring Integrated Texts and Full-Color Images, 2015).The collection of spells and magic formulae contained in the Book of the Dead, were believed by the ancient Egyptians to protect and assist the deceased in their afterlife. They were compiled by scribes who copied and illustrated the text, usually highlighted with much colour, as the Qed-Mut papyrus demonstrates. Many copies of the book have been found but none of them contain all of the approximate 200 known chapters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A group of Egyptian and Near Eastern reference books Including: H. Müller, Ägytische Kunstwerke, Kleinfunde und Glas in der Sammlung E. und M. Kofler-Truniger, Luzern, 1964; J. Haynes, Privately Owned Egyptian Antiquities in Ontario, Fascicle I: Shabtis, 1983; Museum of Fine Arts Boston, A Table of Offerings, 1987; T. James, An Introduction to Ancient Egypt, 1979; C. Aldred, Old Kingdom Art in Ancient Egypt, 1949; W. Hayes, The Scepter of Egypt, Part One: From the Earliest Times to the End of the Middle Kingdom, 1953 (x2); W. Hayes, The Scepter of Egypt, Part Two: The Hyksos Period and the New Kingdom, 1959; A. Kozloff and B. Bryan, Egypt's Dazzling Sun: Amenhotep III and his World, 1992; P. Amiet, Collection David-Weill Les Antiquites du Luristan, 1976; J.-C. Margueron, Mesopotamia, 1965; L. Stager, Ashkelon Discovered: From Canaanites and Philistines to Romans and Moslems, 1991; P. Amiet, Elam, 1966; F. Shinji and T. Satoshi, Persian Ancient Ceramics, 1980; Hayward Gallery,The Arts of Islam, 1976; E. Strommenger et. al., Sumer, Assur, Babylon: Sieben Jahrtausende Kunst und Kultur an Euphrat und Tigirs, 1978; H. Frankfort, The Pelican History of Art: The Art and Architecture of the Ancient Orient, 1970; D. Dinwiddie, ed., et al., Portraits of the Masters Bronze Sculptures of the Tibetan Buddhist Lineages, 2003; F. Dumas, La Tombe de Childéric, Père de Clovis, 1982; B. Radice, Who's Who in the Ancient World, 1973; R. Camber, A Hoard of Terracotta Amulets from the Holy Land, 1981; The Bulletin of the Cleveland Museum of Art, March 1976; The Bulletin of the Cleveland Museum of Art, March 1987; The Bulletin of the Cleveland Museum of Art, October 1989; The Bulletin of the Cleveland Museum of Art, November 1993; MVSE, Journal 1989-1992 (x3 books); Apollo, Vol XI, no. 65, May 1930 (29)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Egyptian limestone fragmentary stele Late Period, circa 664-30 B.C.Carved in sunken relief, the owner standing on the right wearing a long kilt, facing an offering table, his right arm raised holding an offering vessel in his hand, his left hand raised in adoration of the deities Osiris and Isis before him, columns of hieroglyphic text inscribed above the offerant and a column of text behind Isis, three lines of text below partially preserved reading; 'He says, Oh bright ones...may you grant victory to me, my soul being united with...'(?), 28.6cm x 27.9cmFootnotes:Provenance:Private collection, Chicago, formed in the 1970s-1990s.Anonymous sale; Sotheby's, New York, 16 May 1980, lot 371.Anonymous sale; Bonhams, London, 6 July 2016, lot 241.UK private collection, acquired from the above sale.For further information on this lot please visit Bonhams.com
Suite of 19th century Kings Husk pattern silver cutlery comprising twelve dessert spoons, twelve dessert forks, twelve tablespoons, sixteen table forks, ten teaspoons, soup ladle, fish slice and a pair of sauce ladles, various dates London 1836-1851 Maker George Angell but six table forks by different makers 175oz. All with the Feversham crest and probably supplied to the 2nd Baron Feversham (1798-1867)
λ A SILVER CIRCULAR TABLE CENTREPIECE WITH A REMOVABLE GOLD COLOURED AND AQUAMARINE BROOCHGERALD BENNEY, LONDON 1965With a plain polished border, to an openwork centre with silver gilt stacked batons at intervals, textured arrow and ribbed panels, the centre with a removable gold coloured and aquamarine brooch, centrally claw set with a circular cut aquamarine within a birds nest border of textured batons set with corner step cut aquamarines, unmarked, 4.9cm diameter, 61.6g grossThe bowl 34.5cm (13 1/2in) diameter3018g (97.05 oz) grossDuring the 1950s Gerald Benney began to receive both private and commercial commissions for large and small one off pieces. By the early 1960s he had developed his own unique centrepiece bowl design, which was much shallower than the 20-30cm high centrepieces of previous generations. He produced these centrepieces in varying designs his career. The flat open work covers of Gerald's centrepieces are highly sculpted with a variety of abstract flowers and insects, or set with gemstones such as the lot being offered here. Literature: Andrew J. and Styles D. 'Designer British Silver from Studios Established 1930 -1985', Antique Collector's Club 2015, p 90-93 for other examples of Gerald Benney centrepieces dating from 1962 and 1974. Condition Report: Marks are clearCover fits tightly to the bodyThe brooch is original to this pieceLight scratches and wear commensurate with age and useThe brooch is unmarked, but is assessed as 18 carat yellow gold. All aquamarines are present and appear original, there are no apparent nicks, chips or scuffs to the stones. There are no apparent repairs or damage to the brooch mount. Condition Report Disclaimer
A FRENCH SILVER AND ENAMEL DRESSING TABLE BOXBOAR'S HEAD MARK 1838 - 1961The cover with a chased husk border and purple enamel centre, the sides of the body chased with a band of putti, opening to a velvet interior13.5cm (5 1/4in) longCondition Report: Marks partially obscuredBase starting to detach in one cornerHinge goodCover fits wellCracks to the enamelLight scratches and wear commensurate with age and use263g (8.45 oz) grossCondition Report Disclaimer
FOUR GOLD COLOURED LIDDED DRESSING TABLE POTSThe first pair with pink floral enamelled decoration, scrolled foliate bases, the removeable lids with diamond set F and applied coronet, sapphire and diamond flower head clusters, each with a brilliant cut diamond and cultured pearl set flower head finial, the base stamped 18k; together with a similar example enamelled with a lady and gentleman in a pastoral scene, the lids set with sapphires and white stones, the base stamped 18k6 1/2cm (2 1/2in) high212.4g grossCondition Report: There are chips and cracks to the enamelling, the pink pots have losses to beaded detail, the aubergine has painted repairs, scratches and marks to the gold coloured settings. Condition Report Disclaimer
A PAIR OF GEORGE III SILVER GILT TABLE SPICE BOXESPAUL STORR, LONDON 1797With twin hinged covers, engraved with an armorial, gadrooned borders and on four scroll feet12cm (4 3/4in) long716g (23 oz)Provenance: The Property of the Trustees of the Davenport Estate These are the arms of Sir John Fleming LEICESTER (1762-1827), 5th Baronet of Tabley, Cheshire and son of Peter LEICESTER (1732-1770), 4th Baronet, who earlier until 1744 was BYRNE, by Catherine FLEMING (1732-1786) daughter of Sir William FLEMING (1656-1736) 1st Baronet of Rydal, Westmoreland by Dorothy ROWLANDSON (1701-1788). In 1810 he married Georgiana Maria COTTIN (1794-1859) daughter of Lt. Col Josiah COTTIN (1771-1843) by Lavinia CHAMBERS (1770-1830), who was non-armigerous. In 1826 the 5th Baronet was created Baron Tabley. This means that the engraving was created in the period 1797-1826. Condition Report: Marks are clearBoth wobble Gilding wornEngraving lightly rubbed Play to the hingesLight scratches and wear commensurate with age and useThe blazon: quarterly of nine - 1,9: azure, a fess between three fleurs de lis or (Leicester). 2,4: argent, two chevronels gules, a canton argent charged with a cross crosslet fichee sable (Mobberley). 3: azure, a garb or (Westminster). 5: azure, a ross flory argent (?). 6: argent, three doves (?). 7: or, on a chief ? three choughs? (?). 8: gules, a fret argent (Fleming). Motto: TU DOMINE GLORIA MEACondition Report Disclaimer
AN 18TH CENTURY IBERIAN DIAMOND CROSS PENDANTThe table cut diamonds in silver cut down collet settings, approximately 1.00 carat total, with scrolled terminals and detailing, with foiled closed backed settingsSize/dimensions: 5.1cm long Gross weight: 8.7 gramsCondition Report: The principal diamond approximately 0.33 carats, tinted colour, clarity Vs, assessed in setting, the setting has some wear commensurate with age and use, the other diamonds are all present and correct, bright and lively. The pendant length is without the later hoops. The backs of the pendant have stipped marks over the centre of the backs of the setting whre the setting has been riveted together- the back s of the pegs are beneath the stippled marksCondition Report Disclaimer
A SILVER KING'S PATTERN TABLE SERVICE FOR TWELVE PLACE SETTINGSCOOPER BROTHERS & SONS LTD., SHEFFIELD 1959 AND 1960Comprising: Twelve table spoonsTwelve table forksTwelve dessert spoonsTwelve dessert forksTwelve soup spoonsEleven tea spoonsFour sauce ladles5449g (175.2 oz)In a fitted canteenCondition Report: Marks are well struckAll sterling silver, no electro-plated piecesNo crests or monogramsNo knivesOne tea spoon bowl roundedOne tea spoon handle heavily gauged Light scratches and wear commensurate with age and useCanteen with scratches and chips Condition Report Disclaimer
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