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A scarce pair of 18th century miniature porcelain Vases painted with flowers and with dolphin handles: Capo di Monte of Buen Retiro following the original model, 4" high.

A PAIR OF CONTINENTAL PORCELAIN YELLOW GROUND URNSLATE 19TH CENTURY IN THE EARLY 19TH CENTURY STYLE OF BUEN RETIRO 29cm high Condition Report: Both restored to the base. See supporting images.Condition Report Disclaimer

An extremely rare Italian porcelain figure of a Magus, probably Rome, factory of Filippo Cuccumos, circa 1770Possibly depicting Caspar, as a bearded, kneeling man offering a covered goblet in his right hand, wearing a cloak hung with tassels and a sash tied around the waist, the edge of his cloak, the sash and the goblet embellished in gilding, likely a fragment, as the group is placed on a crudely finished base made for slotting into another segment, perhaps originally forming part of a larger group of the Adoration of the Magi, 10.7cm high (right hand restuck at the wrist, chips)Footnotes:Provenance:European Private Collection since the 1980sFor further reading on Cuccumos porcelain, see F. Sacchi, Filippo Cuccumos capitano romano ceramista, in La ceramica n. 10 (1964) and G. Santuccio, Filippo Cuccumos e la manifattura di porcellane in Via Panisperna a Roma, in Bollettino d'arte, Rome (1988). A discussion on a Cuccumos figure of Saint Bartholomew is published in G. Santuccio, Die Porzellan Manufaktur Cuccomos in Rom, in U. Pietsch and T. Witting, Zauber der Zerbrechlichkeit. Meisterwerke Europäischer Porzellankunst (2010), pp. 259-263.Only very few signed or marked objects by this very elusive factory, founded by Filippo Coccumos in 1761, are recorded today, all of them of religious subjects. The beforementioned signed and dated figure of Saint Bartholomew that was previously in a private collection in Rome, a signed and dated figure of Saint Anthony in the collection of the Castello Sforzesco in Milan and a marked and dated figure of Saint Francis and another unmarked Saint Francis of a very similar model, in the Collezione Cagnola in Villa Cagnola in Varese. Other Cuccomos figures that have come to the market include a pair of birds (Christie's London, 14 November 2013, lot 241) which are marked with the crowned double 'C'. The history of the Cuccumos factory was published in some detail by Lucia Arbace, Dizionario Biografico degli Italiani, Vol 31 (1985), an article which can now be found online on the website of the Istituto Treccani. Filippo Cuccumos or Coccumos was granted the right to produce porcelain in Rome for a duration of 40 years by Pope Clement XIII. In exchange for the priviledge, Cuccumos what asked to yearly execute a porcelain figure of a Saint on the feast days of San Pietro and Paolo (29 June). The factory was based in the Monastery of San Lorenzo on the Via Panisperna in Rome. The success was shortlived, and in 1764 Cuccomos applied for a loan from the Vatican. There is no more mention of the factory in the archives of the Vatican until 1781, when the factory was sold by Filippo Cuccomos to Lanfranco Bosio and Filippo Bianchini. The only known archiva reference outside the above mentioned archive is a contemporary source, a record given by the Abbot Grisellini which states that tutto andò in fumo, perché l'imprenditore allo spirito di somma loquacityà ed impostura non aggiungeva delle cognizioni in tal materia. [all went up in smoke because the owner had good spirit and intelligence, but no experience in the material]. A few years after Bosio and Bianchini had bought the factory, it closed permanently. Pope Pius VI withdrew the exclusive privilege of porcelain making from them and a legal situation ensued, in which Bosio and Bianchini blamed Coccumos, who they maintained had sold them faulty materials. The closed factory was investigated (among the recorded findings were six furnaces), and in 1792 it was ruled that Coccumos was not guilty.In a footnote to his discussion of the Volpato factory, Charles Drury Edward Fortnum (1820-1899) notes that it is possible that further researches might make known the former existence of some, perhaps private, furnaces for he production of porcelain at Rome at an earlier period in the century. A short time before leaving the city, in the Spring of 1870, the writer observed in the hands of Sign. Corvisieri, the dealer, an extremely well-modelled group of the 'Deposition' executed in a hard artificial white porcelain of a grey shade, very similar to that of Doccia, on which, scratched in the clay, was ROMA.MAG.1769 above the monogram of two interlaced letters C, surmounted by a crown, a mark similar to that incised on the porcelain of Buen Retiro, in Spain. (in: C. Drury E. Fortnum A Descriptive Catalogue of the Maiolica in the South Kensington Museum (1873), p. 463)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

MARIANO NANI (Naples, 1725-Madrid, 1804)."Still life of hunting".Oil on canvas.Slight repainting (about 10%).Work reproduced in "Die Genrebilder der Madrider Teppichmanufaktur und die Anfänge Goyas", Berlin, reproduced on page 177 and catalogued with the number 342.Measurements: 68 x 198 cm; 94 x 224 cm (frame).Son and disciple of the also painter Giacomo Nani, Mariano Nani was an artist specialized in painting still lifes of hunting. Around 1755 he began working like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settled in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of Buen Retiro without abandoning the painting of still lifes and miniatures, a technique he taught to his students, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the Royal Academy of Fine Arts of San Fernando. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Barbara. In the development of this activity he made some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style defends hunting still lifes not exempt of dramatism, with large prey, such as deer and wild boars, or small ones such as rabbits or hares. His compositions, influenced by those of the Netherlands, tend to the naturalistic representation, transmitted through a precious and soft technique, with balanced tonalities. Currently his works are preserved in important art galleries in the country, highlighting the Prado Museum.Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still life school of the Baroque enjoyed a spectacular development, leaving behind the splendors of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specializing in the painting of flowers, fruits, fish and game, thus satisfying the demand of a vast clientele characterized by a new taste typical of the 17th century. To these authors must also be added the minor figures, who are slowly emerging from an unjust oblivion, and some artists who worked between the seventeenth and eighteenth centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still life painters, who worked during the 17th and early 18th century, are called "i generisti", and were important not only within their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by the Italian influence, specifically by the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life. The distinctive sign of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromatism, with a dominance of reddish and earthy tones.

A pair of Italian porcelain ewers and silver covers c.1770, probably Buen Retiro, in the manner of Chinese blanc de Chine, the globular bodies with gadrooned bases, rising to tall cylindrical necks linking mythical mask spouts and fine scroll handles, some faults, the silver covers a 19th century addition with French marks, 16.2cm. (4) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

A Continental enamel saucer dated 1790, painted with a shepherdess being presented with a bird in a cage by her suitor, inscribed to the back 'NI Le Jo Lieb 1790', a Buen Retiro porcelain saucer painted with a sailor smoking a pipe and crabbing from rocks, and a Vienna saucer decorated with formal motifs in gilt and sepia on a pale yellow ground, some damages, 14cm max. (3)

A Continental porcelain Sevres-style gilt-metal-mounted pot-pouri urn and gilt-metal pierced cover, possibly Buen Retiro, late 18th century, painted in the Sevres manner with a central band with a pair of medallions and scrolling foliage within pink and gilt borders, the neck with an acanthus band above a pink and gilt oeil de perdrix ground, 29.5cm high overall

A Pair of Buen Retiro Porcelain Pot Pourri Vases and Covers, circa 1790, painted with neo-classical arabesques, with foliage handles, pierced collars and square bases, 43cm high A similar pair of vases are in the Museu Arqueológico, MadridBoth with surface mis-firing in the form of sanding throughout. Both finials restored. One cover with 3cm flat chip to underside of rim. One vase with hairline crack from upper rim down side of handle and underneath one of the oval painted scenes extending to approximately 30 in total, and with old repair through join of base and foot. Other vase broken into several pieces and with old restoration and broken through join of vase and foot. Some wear to painted decoration and extensive wear to metal mounts. One cover only with metal mount to inner flange. 141117

A Continental enamel saucer, dated 1790, painted with a shepherdess being presented with a bird in a cage by her suitor, inscribed to the back 'NI Le Jo Lieb 1790', a Buen Retiro porcelain saucer painted with a sailor smoking a pipe and crabbing from rocks, and a Vienna saucer decorated with formal motifs in gilt and sepia on a pale yellow ground, some damages, 14cm max. (3)