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Lot 567
Vase ''Pezzato'' Fulvio Bianconi (Entwurf), Venini, Murano, um 1951 Farbloses Glas mit dicht aufgeschmolzenen Plättchen ('tessere') in Rot, Blau, Grün und Beige. In Vibrogravur bez.: venini 92 Fulvio Bianconi. H. 24 cm Lit.: Marino Barovier & Carla Sonego, Fulvio Bianconi at Venini, Skira Editore, Milano 2015, S. 170, Modell 1329
Lot 571
Vase ''Nerox a tasselli policromi'' Ermanno Toso (Entwurf), Fratelli Toso, Murano, 1957-58 Farbloses Glas mit schwarz erscheinender Kröseleinschmelzung ('nerox') und plastisch aufgeschmolzenen farbigen Glasplättchen. Metallisch schimmernde Oberfläche. Orig.- Aufkleber der Manufaktur. H. 41,5 cm Lit.: M. Heiremans/C. Toso, Fratelli Toso Murano 1902-1980, Abb. 87 & 93 ff., S. 350 ff.
Lot 12
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.
Lot 132
A Doccia plate, circa 1765-70Decorated in polychrome colours after a Chinese prototype with a scene of flowering lotus plants sprouting from a pot set on a stylised blue rock flanked by a vase with flowers, the rims in blue and red picked out in gold, 23.3cm diam. (minor rubbing)Footnotes:Two Doccia plates with the same decoration were sold in these rooms, 9 Dec 2009, lot 51.For further information on this lot please visit Bonhams.com
Lot 189
A Sèvres vase and cover ('vase Couty' or 'coupe Couty') given to winners of the Exposition Universelle, dated 1879Modelled by Edmé Couty, in Renaissance revival style with a blue ground decorated with various borders and motifs of scrolling foliage in two tones of gilding and bands of pâte-sur-pâte swags of fruit and foliage and scrolling ribbons against a gilt ground, the centre band of the coupe with the inscription 'EXPOSITION UNIVERSELLE INTERNATIONALE/MDCCCLXXVIII. PARIS.', the cover with similar gilt borders, 39cm high, RF and Decoré à Sèvres 79 within a circle stencilled in iron-red, S.79 in green and incised marks, gilder's mark GD. to vase and cover (2)Footnotes:The present lot was produced as a prix de Sèvres given to first prize winners at the Exposition Universelle of 1878. The drawing for the model's design survives in the Sèvres archives (inv. no. 2012.1.5539). Another example is in the Metropolitan Museum of Art, New York (accession no. 1990.238a,b).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 23
A rare early Meissen Dutch-decorated vase and cover, circa 1715-20, the decoration slightly laterOf ovoid form, painted with flower sprays alternating with birds, insects and butterflies, the moulded stiff-leaf borders painted in puce, iron-red and gilding, alternating with green, black and iron-red, the foot painted with a puce and gilt spiral band, the cover with a moulded stiff-leaf border painted in puce, iron-red and gilding, with formal foliate borders to the rim and top, 15.2cm high (very minor wear to enamels and gilding) (2)Footnotes:Provenance:Anon. sale, Sotheby's London, 27 February 1996, lot 89This 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 8
An Urbino maiolica wet drug jar attributed to the Fontana workshop, circa 1565-70With a serpent handle over a grotesque mask, decorated with two putti holding up a label reading SY.IVIVBINI, above a seated crowned woman holding a sceptre flanked by trees, in a mountainous landscape with rocks and buildings, 23cm high (spout re-stuck)Footnotes:This vessel is part of a series that is now believed to have been made in the workshop of Orazio Fontana for the apothecary of the Santuario di Loreto. A large part of the apothecary is in the Museo del Palazzo Apostolico di Loreto. Two vases of this type without the drug label, one in the Victoria and Albert Museum (inv.no.8969&A-1863) and one formerly in the Spitzer collection, are instead inscribed 'Fatto in Urbino' (made in Urbino). In T. Wilson/E. Sani, Le maioliche rinascimentali nelle collezioni della Fondazione Casse di Risparmio di Perugia, (2006), cat.no 55, the authors point out that the series can be attributed to the Fontana workshop based on stylistic comparison with a vase in the British Museum and a vase sold at auction in London in 1950, both inscribed 'FATE.IN.BOTEGA.DE.ORATIO.FONTANA' and 'FATTO IN URBINO IN BOTEGA DI ORATIO FONTANA', pp.166-170. It is plausible that the seated figure represents the city of Florence, though this theory cannot be proven. The decorative scheme recurs on a later series made in Pesaro or Castel Durante around 1574-75, where the crowned figure is sitting beneath a canopy. Both types are illustrated next to one-another in Rudolf E A Drey, Apothecary Jars (1978), plates 24a and 24b. A further albarello is in the Fitzwilliam Museum, illustrated in Julia Poole, Italian maiolica and incised slipware in the Fitzwilliam Museum (1995), no.411. She notes that there are some forty known pharmacy vessels, albarelli and ewers, most of which she lists, p.377. There are two further albarelli in the Metropolitan Museum, New York (inv. nos.1975.1.995 and 1975.1.996). A pair of similar wet drug jars was sold at Christie's Paris, Collection d'un amateur, 15 May 2003, lot 535, and a double-handled pharmacy jar at Christie's London, 2 November 2016, lot 199.For further information on this lot please visit Bonhams.com
Lot 6117
Royal Copenhagen porcelain to include a decanter and stopper, the flattened circular body decorated with a scene of 'Rosenborg Castle', another decorated with a scene of Frederiksborg Castle,commemorative vase depicting Kamma Rahbek & Knud Lyne Rahbek, no. 2066 H11cm, oval shaped Viking dish no. 194, 1980 'Bringing Home the Christmas Tree' coffee cup & saucer, together with a Bing & Grondahl 'Cherry Heering' decanter and stopper (6)Condition Report:Rosenborg decanter: Small hairline crack above the reserve. All others have some minor surface scratches, otherwise good condition.
Lot 150
A Corinthian pottery oinochoe Early 6th Century B.C.By the Painter of Boston F471, of broad-bottomed form with high-arched broad strap handle, the body decorated in umber and crimson with a siren flanked by panthers, a goose and birds, rosettes in the field, with incised verticals on the shoulder and rays emanating from the base, 17.5cm highFootnotes:Provenance:Private collection, London, acquired in the 1960s; by descent to the present owner.Cf. D.A.Amyx, Corinthian Vase-Painting of the Archaic Period, University of California Press, 1988, Vol.III, pl.91.2 & Vol.I, p.221 A.For further information on this lot please visit Bonhams.com
Lot 174
An Attic red-figure lekythos Attributed to the Nikon Painter, circa 470-450 B.C.Depicting a woman wearing a peplos, her hair bound in a chignon, holding a box in her left hand, looking back over her right shoulder, her right arm held out towards the klismos behind, the field above with two faintly visible lines of Greek letters in red appearing to be: ΑΗΔΣΛΛ ΗΑΣΛΛ, a band of meander above and below the scene, the ghost image of a section of meander visible on the black glaze, the shoulder with scrolling palmette and lotus decoration, a band of ovolo at the base of the neck, details in added black, 27.5cm highFootnotes:Provenance: Swiss private collection, acquired from Galerie Archéologie Borowski, Paris in 1981.Known for producing mostly small amphorae and lekythoi. The painter's real name is unknown, but has been called the Nikon painter as he signed some of his vases using this name and 'kalos'. The ghost image of a section of the meander pattern would have occurred during the drying process after firing when it was touching another vase, in this case with identically formed meander.For further information on this lot please visit Bonhams.com
Lot 27
A Hallmarked Silver Vase, inscribed "Presented to Mrs C.E. Siddall by the boys of the Sheffield Forge & Rolling Mills Co Ltd, on the occasion of the opening of Works Sports Club & Canteen August 9th 1919", 21.2cm high (base weighted); Together with Assorted Plated Ware, including wooden cased fish knives and forks, footed bowl trophy "Hillsborough Golf Club Captains Prize 1921", a pair of hallmarked silver preserve spoons, plated tea ware, baluster water jug dishes etc.
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