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Lot 600A
Royal Worcester - Horace Price - An early 20th century circa. 1916 Royal Worcester bone china vase. The vase being hand painted with fruit and berry's to the surface with gilding to rim. Signed H. N. Price. Overall good condition. Wear to base. Royal Worcester stamp to base. Measures 17cm tall.
Lot 643
An early 20th century Chinese vase. The vase being of cylindrical form and having a turquoise blue ground and being hand painted with a phoenix and dragon amidst cherry blossoms, to symbolise a married couple. The rim and base of the vase having ruyi lappet and lotus lapet borders to surround. Six character mark stamped to base. Overall good condition. Measures 29cm tall.
Lot 662
A vintage mid 20th century Chinese oriental hand painted porcelain vase. The vase having a straight neck over an elongated ovoid body with playful scene depicted. The lot is missing the lid. It measures approx. 22cm high. It appears in overall good conditions with no cracks, chips, nor crazing.
Lot 669
An Early Victorian mid 19th century (1942) continental hand painted porcelain vase with lid. The vase having a finial shaped lid on a straight neck over an elongated ovoid body. The lot having a faunistic central decoration surrounded by a green background with floral and guilt details. It measures approx. 31cm high. It appears in overall good conditions with no evident cracks, chips or damage.
Lot 742
A collection of vintage retro mid 20th century glass to include a Hepolite handkerchief vase, an amethyst glass vase, a red glass bark effect vase in the manner of Whitefriars, a Murano green and red stem vase, a Salviati style art glass vase, a faceted clear glass vase, an art glass centrepiece bowl, a Murano art glass style basket, on amber glass bubble control ashtray. Measures 34cm tall.
Lot 772
An assortment of 19th century Victorian and later bone china items to include a Royal Worcester hand painted vase with face to spout (Condition A/F) a Dresden ribbon centrepiece bowl with hand painted gilt and floral detailing and a Minton decorative porcelain egg and egg cup stand. Various condition. Measures 20cm diameter.
Lot 40
Andalusian School, Circle of MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703), 17th century."The Annunciation".Oil on canvas.Retouching.Repainting and restorations.Measurements: 81 x 102 cm; 105.5 x 120 cm (frame).The spatial complexity that the theme of the Annunciation denotes here, making the pedestrian architectural plane coexist with the celestial one, presents clear concomitants with the way in which Matias de Arteaga treated the biblical episodes. It is therefore part of the Sevillian Baroque, in Arteaga's circle. The main scene is set in an interior in which, on the right hand side, the Virgin kneels before a lectern. A vase of lilies, a symbol of Marian purity, stands between her and the archangel who brings her the good news. Saint Gabriel points upwards, where God the Father and the Holy Spirit burst forth in a burst of golden glory. In the background, the urban architecture is depicted, based on sober, perfectly delineated arcades. A Spanish Baroque painter and engraver of the Sevillian school, Matías de Arteaga y Alfaro was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals a wealthy lifestyle that included an important library and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Lot 94
Spanish school of the 17th century. Follower of JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676)."Flower vase".Oil on canvas. Re-drawn.Measurements: 61 x 58,5 cm; 71 x 95 cm (frame).Still life of flowers perfectly framed within the full Spanish baroque, with a magnificent treatment of the qualities, the colours and, especially, the effective tenebrist illumination, which gives the flowers a presence and a three-dimensional aspect that reaches an illusionist level, almost like a trompe l'oeil. The flowers, worked in shades of red, ochre and white, emerge from the semi-darkness in a wicker basket, which has been worked with great skill. The skill in the treatment of the piece allows us to relate it to the prolific Juan de Arellano, an artist who specialised mainly in flower paintings and who achieved great skill in composing, with a contrasting palette, sensual bouquets in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, Juan de Arellano decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because in this I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense a move away from the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce in a more formal and rigid manner - in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.
Lot 62
STATUE DE PADMASAMBHAVA EN ALLIAGE DE CUIVRE DORÉBHOUTAN, XVIII/XIXE SIÈCLEHimalayan Art Resources item no. 4859 16 cm (6 1/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF PADMASAMBHAVA BHUTAN, 18TH/19TH CENTURY 不丹 十八/十九世紀 銅鎏金蓮花生大士像 Provenance:With Claude de Marteau, Brussels, by 1970s Padmasambhava is widely revered across all Tibetan Buddhist orders, given the endearing appellation, Guru Rinpoche ('Precious Teacher'). As the founder of the Nyingma tradition, he is typically identified by an iconic feathered cap, which in this case is portrayed with an inserted silver finial. Other iconographic markers of this legendary teacher, who is credited with introducing Buddhism to Tibet, are the skull cup containing a vase of plenty, and the vajra he holds in his hands. For comparison of the footed base and Bhutanese-style lotus leaves, see a Padmasambhava sold at Nagel Auktionen, Stuttgart, 30 October 2015, lot 141, and another sold at Bonhams, New York, 14 March 2017, lot 3209.For further information on this lot please visit Bonhams.com
Lot 1555
An attractive 19th Century Irish stained glass Landscape Panel, with central oval depicting The Bank of Ireland, College Green, Dublin, with horse and carriage and other figures, surrounded by scrolling foliage, each end with flowers in a vase, housed in an oak frame, approx. 71cms x 244cms (28" x 8'). (1)
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650806 item(s)/page