1714 | height: 20 cm | region: Naples | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Albarello, created in 1714, is an example of Italian faience pottery of the early 18th century. This type of pharmacy jar was used to store medicines, especially ointments and herbs. The inscription "N. T. 1714", which probably refers to the initials of the artist or workshop in which the jar was made and the year of its creation. The work is characterized by fine blue lines and landscape scenes, characteristic of the Neapolitan ceramic school. On the other side of the albarella is the inscription "RVBIE.", which probably refers to the Latin name of the medicinal plant or substance that was kept in the jar. For example, it may be a reference to Rubia tinctorum (dye's moraine), a plant used in both medicine and dyeing. This piece combines practical use in an apothecary environment with artistic craftsmanship, making it a valuable example of historic apothecary ceramics that is sought after by collectors. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
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18th century | height: 21 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This albarello apothecary jar dates from the 18th century and is an example of faience, popular in European ceramic production of the period. The decoration of the jar is characterized by blue and white ornaments with plant motifs, which refer to the traditional aesthetics used in pharmacies across Europe. jars of this type were commonly used to store medical raw materials or ointments, and their decorative appearance testifies to the importance pharmacists attached not only to function, but also to aesthetics. The elaborate blue floral patterns reflect the technical skill and artistic ingenuity of the potters of this period. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1ME1gyMtKCaL8CLkqaHkNF7mXxfKCtH_M?usp=sharing
18th century | height: 21 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This 18th century albarello is from European apothecary pottery and is made of earthenware. Characteristic for this type of jars is not only their shape, but above all the rich decoration, which includes dark blue paintings of an angel or putti with spread wings, a crown and plant motifs. Ceramics of this type were used to store ointments, dried herbs or medicinal substances, while the blue-white color combination is typical for pharmacy production of the time. This artefact exemplifies the combination of a functional object with an artistic value, as was common in 18th century apothecaries. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
19th century | height: 21 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This 19th century albarello is a typical example of faience pharmaceutical ceramics, decorated with blue and white motifs. The inscription on the jar refers to the hyacinth ("Hyacinth"), indicating that the jar was probably used to store the essence or preparations from this plant, which were used in medicine and cosmetics at the time. The blue and white palette and subtle decoration represent a typical style that was popular in pharmacies throughout Europe. This artefact is not only a decorative piece, but also a reflection of practical use in the pharmaceutical practice of the time. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
18th century | height: 19 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This "Versatoio" apothecary jar comes from Liguria, Italy and dates to the 18th century. It is made of earthenware, a typical ceramic material known for its white background and blue ornaments. The jar was used to store and dispense medicinal syrups, as indicated by the inscription "Oxymel Scillitic", which refers to a traditional medicine called oxymel. This medicinal syrup was made from a mixture of honey and vinegar and was used to treat coughs and respiratory ailments. The addition of scilla (Drimia maritima), a poisonous plant, increased the effectiveness of this medicine. The design of the jar includes blue geometric motifs, typical of baroque ceramics from Liguria, and a Gothic inscription that contributes to its aesthetic appearance. Functionality was ensured by a spout and one handle, which allowed for easy pouring and handling of the medicine. This jar is not only an important pharmaceutical tool of its time, but also a beautiful example of Italian ceramics, which was appreciated for its aesthetic and practical properties. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
20th century | height: 24 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | Inscribed "Althea Nobilis", this jar is an example of a work from the 20th century that draws inspiration from the Renaissance style. Although not a Renaissance jar, its decoration and design mimic traditional Italian majolica – the tin-glazed pottery that was popular in the 16th century. The design of the jar includes rich ornamentation, including heraldic elements and winged mythological figures, typical of the Renaissance aesthetic. The central part is decorated with a coat of arms, which evokes the impression of historical nobility. jars of this type were traditionally used to store medicines and herbs, and the inscription Althea Nobilis refers to the medicinal herb (Althaea officinalis), a medicinal plant used in traditional medicine. This jar is an interesting example of modern craftsmanship that revives and honors the traditional aesthetic values ​​of the past, while serving as both a decorative and functional object in the spirit of Renaissance design. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1tHSw43dCOlBuPJtIywuHT2HDUSqUuHsm?usp=sharing
end of the 18th century | height: 24 cm | country: Spain | provenance: private pharmacy museum | Albarello faience pottery | This jar comes from 18th century Spain and is an example of the faience pottery that was widely used in apothecaries at the time. The jar is decorated with blue and white decor, a style that was very popular in Spain in the 18th century, especially under the influence of Dutch and Italian ceramics. In the center of the jar is an elaborate crest with a crown, which includes a lion and other heraldic elements, suggesting that the jar may have been made for an important apothecary family or institution. The inscription "Lic. Saxifral" probably refers to the liquor of Saxifraga, a plant used for its medicinal properties, especially in the treatment of kidney stones. This item was not only used to store medicinal products, but also decorated the interior of the pharmacy. The exceptional quality of the painting and the preserved condition make this jar a prized collector's item that bears witness to the apothecary tradition and ceramic art of the 18th century in Spain. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1lxwey1igrjLk3CBAbmXGk2L-ftsPdJ7c?usp=sharing
18th century | height: 22 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | Dating from the 18th century, this jar is a beautiful example of Delft faience pottery, which was very popular in Europe. The jar is decorated with blue and white decor, a style that imitated Chinese porcelain, which was in high demand at the time. On the front of the jar, a bird sitting on a vine branch is elegantly depicted, set in a richly ornamental frame with plant motifs. This type of ceramic was widely used in the pharmaceutical environment for the storage of medicines or as a decorative element in interiors. The shape of the jar is simple but functional, with a bulbous body and a narrow neck that made handling easier. Delft faience was prized for its quality and precision of workmanship, and this artifact is evidence of a high level of craftsmanship. This jar is not only a utilitarian object, but also a work of art that reflects the aesthetic values ​​and skills of the potters of the time. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
18th century | height: 17 cm | region: Savona | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This beautiful ceramic "albarello" jar comes from Liguria and dates back to the 18th century. It is characterized by rich decoration in the typical blue-white color combination that was characteristic of the production of ceramics in the Savona region. The jar is hand-decorated with floral and plant motifs along with the calligraphic inscription "Rose commune", which refers to the rose ointment or essence traditionally used in medicine and pharmacy. Albarella was an important part of pharmacies and was used to store medicinal ointments, herbs or raw materials. This artifact is proof of the high artistic and craftsmanship of the Italian workshops of the time, with a strong emphasis on detail and aesthetics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
end of the 18th century | height: 29 cm | country: France | provenance: private pharmacy museum | Albarello faience pottery | This slender apothecary jar dates from the 18th century and is made of earthenware. The inscription "R. Bistort' refers to the root of the snakeroot plant (Polygonum bistorta), which was commonly used in medicine at the time, especially in the treatment of digestive problems and inflammation. The vessel is decorated with hand painting in typical baroque colors, while the main decoration is a delicate medallion, surrounded by ribbons and plant motifs that add elegance and grace. The upper and lower parts of the container are lined with stylized geometric motifs that complement the overall design. This type of container was used in pharmacies to store dried herbs and medicinal products and at the same time served as a representative element of the pharmacy interior. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
end of the 19th century | height: 24 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This impressive 19th-century faience albarello is decorated with blue and white painting and bears a heraldic motif with a crowned eagle and coat of arms, suggesting that it may have been a jar associated with an important family or an apothecary under aristocratic patronage. The combination of sword, cross and plant motif symbols on the coat of arms emphasizes the importance of both spiritual and worldly power. Such jars were used to store medicines or herbal mixtures, and their decoration testifies to the high level of craftsmanship and prestige of the owner. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1FkRllBbRXBsGHe5guCMHgDuKWmDDR20g?usp=sharing
18th century | height: 20 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 18th century albarello, from Liguria, Italy, is made of earthenware, a traditional ceramic material, and was used to store ointments or herbal preparations. On the front is the inscription “Ung. Dialthea", which refers to the contents of the jar - an ointment from the scurvy (Unguentum Dialthea), often used to treat skin inflammations. The decorations include blue plant and floral motifs on a white background, which is typical for Italian ceramics of this period. Carefully crafted patterns and high-quality glaze reflect the high level of Ligurian ceramic production in the Baroque period. Albarello not only fulfilled its practical function in pharmacies, but also represents an example of the rich artistic tradition of northern Italy. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1BEe_gCOrrRccDvp78OE9MNIl6ul9gAnF?usp=sharing
18th century | height: 25 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This 18th century jar comes from faience pottery workshops, probably in Delft. It was used to store terebinth syrup (lat. Sir di Terebent), which was a medicinal product made from the resin of the terebinth tree, which was used in medicine mainly for the treatment of respiratory problems and inflammation. The jar is decorated with a typical blue-white decor, which is inspired by Chinese porcelain. Ornamental motifs around the inscription include rich plant and floral designs, while fine details such as the pattern on the neck and handle emphasize the aesthetic value of this artefact. The shape of the jar, with a prominent body, a narrow neck and a practical spout, was designed for easy handling and pouring of the syrup. This specimen represents a combination of functionality and decorative design, typical of pharmaceutical jars produced in Europe during the Baroque period. jars like this were not only part of pharmacies, but also served as decorative elements that gave interiors a noble appearance. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Viceregal School. Peru. 17th - 18th century.‘Lord of Earthquakes’.Oil on canvas. Relined.114 x 82 cm.As we read in the Colonial Museum of Bogota's record ‘El Señor de los temblores (Lord of Earthquakes) of Cuzco Cathedral, the statue, according to various legends, was donated by Charles V or Philip II to the city of Cuzco, viceroyalty of Peru, to support the processes of evangelisation of the Inca population. The sculpture, dating from the mid-16th century, replaced another Christ known as the Good Death around 1560. Initially, the sculpture kept the name of its predecessor until 1650, when it began to be known as the Lord of the Tremors. The change was due to the fact that in that year there was an earthquake of great intensity in the city of Cuzco. In order to calm it down, the citizens processed with the statue, which, according to the story, calmed the effects of the quake. After the miracle, the image of the Lord of the Earthquakes spread widely throughout Latin America.The image, thus inspired by the carving from Cuzco, has several peculiarities, the most visible of which is that it portrays a ‘black’ Christ, a characteristic made possible by the scarce and simple polychromy, especially in the skin tones. The choice of materials is based on the flora of the Andean region, as it is made from agave and other plant fibres typical of the area. Such compositional characteristics allow us to think that it is possible that the image is of indigenous origin, which highlights its value as a testimony to the cultural crossbreeding brought about by the historical colonial processes, while at the same time leading us to question the legend surrounding this carving. This image of Christ has had a strong process of local appropriation by the indigenous communities of Cuzco, so much so that it is known as Taitacha Temblores, Taitacha being a Quechua word for saints or divinities. This linguistic particularity would point to the relationship that exists between an indigenous community, community devotional practices and cultural appropriation.The Monastery of Santa Catalina in Arequipa, Peru, also has a Señor de los Temblores with a donor, very similar to this one.
Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
A Continental Blackamoor plant stand or stool, 19th century, painted in polychrome enamels, 56 cm high.The stand is late 19th/early 20th century but it looks as if it has been well restored, The circular top winds out on a wooden threaded bar, the top has an old repair but is still secure, with some minor scrapes and knocks and bumps, remains of some historic woodworm flight holes, the figure has a faint crack running from shorts to shoulder.Please see the extra images supplied
![Bamboo three shelved plant stand [approx;156 x 31.5cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/efa2f6da-17cb-4203-86f1-b20e01515cef/468x382.jpg)
Anne & Philp Plant, 'Pegmatite', 1968Glazed hexagonal stoneware ceramic forms of varying size and height, mounted to a brown hessian covered board.51cm sq.Footnote:A letter accompanying this lot, hand-written by the artists to the present vendor in 1968, explains that the title of the work comes from the mineral pegmatite, a crystalline rock containing feldspar, which was used in the glaze recipe.
Y A LATE 18TH CENTURY SEED PEARL AND BLUE ENAMEL MOURNING BROOCH The marquise shaped blue enamelled ground with applied mother-of-pearl and seed pearls in the form of a pineapple plant, beneath a glazed domed panel, blue and white enamelled border, the gold reverse inscribed William Oben died 24 august 1789 aged 23, with a locket compartment containing woven hair, brooch fitting and suspensory loop, unmarked Size/dimensions: 4.2cm long Gross weight: 10.8 gramsWilliam OBEN (1765-1789) was born at The Grange, Bermondsey, Surrey the last recorded child of the tanner William Oben and his wife Sarah Holness Condition Report: There are some small chips to the white enamelled border and some patches of abrasion. There are a couple of loose pearls in the setting. The inscription is clear. There are some small chips to the glazed panel verso, and there is a small amount of lead solder visible to the top and bottom of the glazed panel, but it is not obvious. Some general wear commensurate with age and useCondition Report Disclaimer
A Tuscan China porcelain figure, Squires Daughter, she stands wearing a black dress and bonnet, holding a muff and basket, decorated in gilt with flowers and foliage, canted square base, 23cm high, painted marks 'Squires Daughter No 115 Potted by Plant', printed factory mark, c.1930; another, Paragon figure, Lady Isobel, 19cm high, printed marks; a Poole pottery model, of an owl, 17cm high; a Coalport Coalbrookdale two handled vase and cover, encrusted with summer flowers, 14cm high (4)
A collection of approx. one-hundred and fifty 1980s 12" singles, artists include Frankie Goes To Hollywood, Blancmange, Culture Club, Robert Plant, Genesis, Deacon Blue, Peter Gabriel, UB40, Stevie Nicks, Communards, Eurythmics, Alison Moyet, Mike & The Mechanics, Altered Images, Meat Loaf, The Blow Monkeys, Spandau Ballet, Bananarama, Mel & Kim, Scritti Politti, Rick Astley, Erasure, Thompson Twins, Heaven 17, Iggy Pop etc. (approx 150, vinyl generally VG-VG+)
A HAMADAN RUG, PERSIAN AND TWO OTHERS (3)The tile field each with a flowering plant in various colours; an indigo trailing floral border, 188 x 138cm, circa 1950, together with a Tekke Turkman the madder field with three rows of ten guls, a sunburst border, 206 x 136cm, circa 1920 and also a Hamadan rug, Persian, indigo field with rows of large madder medallions, a medallion border, 183 x 128cm, circa 1930Condition: Fair, ends and sidecords need attention, some moth damage and Poor andPoor
A SARYK JUVAL AND TWO OTHERS (3)The dark brown field with eight madder serrated guls; a diamond border, plant skirt ends, 107 x 168cm, circa 1950 together with a Tabriz rug, Persian, the pale indigo field with an ivory medallion, pale pink spandrels all with floral vines; two floral borders, 206 x 133cm, circa 1930 also with a Kerman tree of life prayer rug, Persian, the ivory mehrab with intertwined floral trees with pairs of birds, rising to a pink arch of birds and flowers; a pale indigo tree & bird border, 234 x 140cm, circa 1920Condition: Generally good but tears to centre andGood, ends need attention, slight repair to each side, needs a clean andWorn, ends and sides need attention, needs a clean
A DAGHESTAN PRAYER RUG, CAUCASIANThe ivory mirror filled with a trellis of single flowering plants rising to a single stylised plant, an ivory arched above with single plant and botehs, dated circa 1911; a madder hooked motif border, 159 x 110cmCondition: Fair, ends and side need attention, some wear to centre, needs a clean
Denby Stoneware, Winterling - A white Winterling Bavaria German tea/dinner set with gilt edges. 33 x pieces. A black and white Denby Stoneware plant pot. Set pieces include cups, jug, plates, bowls. All appear in good condition. (This does not constitute a guarantee) (M) NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE.
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