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Click here to subscribeInteresting early lute in need of restoration, the open peg box bearing ten turned pegs and with carved head finial, the neck with ivory strung inlay and the inset ivory fretboard with inscribed musical decoration, the table with mother of pearl, bone and ebony inlay to the rosette and carved fret panel to the sound hole, the bridge with unusual mother of pearl cap, the bowl back with ebony strung scalloped bands (at fault)
Francesco Bartolozzi, (Italian, 1727-1815) after Guercino A man playing the lute whilst a singer sings engraving; together with an engraving by Robert Vaughan (English, 1600-1660), "Thus free from all Marines, I rest in Neptune's arms", dated 1651, 23 x 13cm; and an engraving of a Martyr with a Lyre by W Baur (3) 25 x 30cm (10 x 12in) Provenance: From the collection of the late Christopher Hogwood CBE. The Bartolozzi is unframed. The Vaughan is trimmed and a little browned. The Baur is trimmed, foxed and discoloured. All are unframed.
After Caspar Netscher (Dutch, 1639-1684) A Gentleman playing the lute to a lady at a casement window; and A Visit from the doctor oil on metal (a pair) 31 x 26cm (12 x 10in) Provenance: From a Suffolk country house. The present paintings are both believed to be after the originals by Caspar Netscher destroyed by Allied bombing in Dresden in 1945. Some little bumps to the surface. Modern frames and backs.
FRAMED PRINTS - a collection of prints and frames x9 to include 'Dance me to the End of Love' by Jack Vettriano, frame measuring 15"x15" and the other two faceless figures clasping the other, artist James M Pye dated 21/01/95, frame measuring 12¾"x10¾", an empty 10"x8" frame including a framed print of a red-figured amphora by Henry Moses 1819, in a flower and leaf covered frame, Michelangelo Buonarroti's Ideal Head from the Ashmolean Museum, a pine effect framed detailed sketch of a corinthian column, a sailing boat by Joel Kirk in a gold coloured frame and a lute with sheet music in a walnut effect frame and a pair of prints, depicting French shopfronts, in pine frames.
A 19TH CENTURY IVORY & PAINTED PAPER FAN, the ivory probably carved in Europe with a detailed scene to each of the guard sticks of a standing man playing a lute, the Chinese painted paper mount well painted with butterflies and foliage, the fan approx. 19in wide when open, the guard sticks 11.2in long.
A Porcelain Figurine of a Lute Player with a Child POPOV MANUFACTORY, MOSCOW, MID 19TH CENTURY Height 12 cm. Realistically modelled, seated on a wooden stool, dressed in stripped trousers and vest, holding a child with a lute on his knees, a dog beside them, on rectangular shaped base imitating wooden floor, with blue underglaze manufactory mark.
THEODORE CERIEZ (1832-1904); oil on panel, seated man playing a lute, signed, bearing traces of label verso, also with biographical detail verso, 25 x 19cm, framed. CONDITION REPORT: From a local, private deceased estate. Has been cleaned professionally and area of varnish missing to the top. A few tiny surface marks, some craquelure, but overall good.
Costume design for Parisien Resau de chenille, Douillette de Taffetas, coloured engraving, inscribed with title above and below engraving, 17.5 x 10.5cm; Two Noble Friends, engraving, inscribed with title below engraving, 12 x 8cm; Woman playing an instrument, Dutch School, 1811, coloured engraving, inscribed with title under engraving, 25.5 x 20cm; M. Weiss - Orchestra No.1, lute, pochette and gamba, coloured etching, inscribed lower left in pencil 50/200, signed lower right in pencil, 24.5 x 20cm (4) From the collection of the late Christopher Hogwood CBE
A Gold & enamel "Carnet de Bal". Geneva1800. one side showing a lady in red dress, set within a border of split pearls, against a blue enamelled background, the top showing a cherub, the reverse showing a lady playing a lute, Inside is a Ivory writing slip and two pencils. PLEASE CLICK HERE TO VIEW 360 DEGREE IMAGESCondition: Fine condition3.25"x1.75"
Austrian cold painted bronze table lamp attributed to the Franz Bergman Foundry, modelled as an Arabian princess playing a lute under a canopy with an Arabian guide bearing a rifle, stamped 'Grech, 8000' to the underside of the gentleman's cloak and signed 'Namgreb' (Bergman backwards) to the back of the canopy, 14.5" high *For a similar example, see lot 105 from Sotheby's 19th Century Furniture and Decorative Arts Sale 6th June 2014, New York
Pair of apple ground square section tea caddies and stoppers, each with reserve panels painted with courting couples and solitary young lady playing a lute within an interior setting, gilt detailing, late 19th Century, height 16.8cms; small Continental comport, of pierced rococo form with green ground rockwork base, late 19th Century, height 11.3cms. (5)
A rare letter to Da Vinci’s patron, with a full signature HENRY VII: (1457-1509) King of England 1485-1509, the first monarch of the House of Tudor. Father of King Henry VIII. An extremely rare, fine L.S., Henry R, as King, at the foot, one page, oblong folio, Southampton, 14th July 1496, to Ludovico Sforza, Duke of Milan, in Latin. The letter is written in an attractive italic hand by the King’s Latin Secretary, Pietro Carmeliano, and conveys elaborate pledges of friendship and good will and commends Christopher Carbonari, his envoy, to Sforza. The letter is heavily docketed at the head in an unidentified 18th century hand, in Italian. With address panel to the verso and minor traces of a seal. Some minor traces of professional repair at the edges of the document, generally VG Ludovico Sforza (1452-1508) Duke of Milan 1489-1500. A patron of Renaissance artists, and in particular Leonardo da Vinci, Sforza is famous for having commissioned The Last Supper. Pietro Carmeliano (c.1450-1527) Italian-born Poet who became King Henry VII’s Latin Secretary in 1495. He also served as a Chaplain to the King and was keeper of the King’s correspondence with Rome. King Henry VIII recognised different qualities in Carmeliano however, and made him his lute player. The present document was signed by King Henry VII less than six months after he negotiated the Magnus Intercursus (‘great agreement’), his most successful diplomatic achievement in terms of the economy. The important and long lasting treaty was made with Philip IV, Duke of Burgundy, and signed in February 1496. Documents signed by King Henry VII with his full signature are extremely rare; most that appear on the market (in themselves scarce) are signed with his initials. The present document features a wonderful, large signature, evidently a deliberate attempt to impress the recipient. The size of the document and grandeur of its tone reinforce the King’s intention to demonstrate his status and sophistication to the Duke of Milan, as does the Italianate hand of Carmeliano, a symbol of being cultured in itself.