A SCANDINAVIAN BRONZE MORTAR, A FLEMISH BRONZE MORTAR, DUTCH BRASS CANDLESTICKS
METALWORK
A FRENCH BRONZE MORTAR, cast with rive term figures, two satyr heads and three medallions inter-aspersed with fluorites, 6in. high (11cm.) early 15th Century.
A SCANDINAVIAN BRONZE MORTAR, flared lip, the
body cast with a band of interlacing scrollwork, a
further band below the lip cast with the name Kristina
Keas, Anno 1668, squared projecting pierced handles.
A FLEMISH BRONZE MORTAR, flared lip and base, body cast with a frieze of dancing figures including satyrs, jesters and nymphs, inscribed beneath the lip Soli Gloria 1618, pierced projecting handles, Early 17th Century.
A GOOD ENGLISH BELL METAL MORTAR , cast with a central band of Gothic decoration, on the rim another band with alternating fleur-de-lies and crosses, early 17th Century, fissures in the cast with old repairs.
A BRONZE BELL, the body decorated with swags, medallions and figures, an inscription around the lip, and dated 1542, high (14cm.) 16th Century, Flemish.
A bell with similar inscription and date 1545 was sold in these rooms.
A FINE AUSTRIAN CEREMONIAL BRONZE MORTAR,
the central reinforced with a raised chain-link motif
and chased dolphin cascades, between the reinforce
and the moulded muzzle ring a band with raised scrolls
and a branch of berried foliage enclosing the initials
MT for Maria Theresa beneath an Imperial crown,
with pole grunion, (33.5cm.) diameter of
muzzle 7in. (18cm), mid 18th Century, on contemporary
oak carriage with bronzed steel grunion plates and
separate loops secured by chained latches, steel
manoeuvring hooks with leafy plates at each end,
overall (75cm.) wide (37cm.)
A MATCHING PAIR OF DUTCH BRASS WALL SCONCES, of oval form, both symmetrically embossed with two amoretti’s surrounded by scrolling foliage in the upper half, the lower part with strap work, foliage and festoons, the reflector plates framed by C-scrolls, with scrolled double brackets terminating in cylindrical sockets over circular drip pans with embossed borders, high (38.7cm.) late 17th Century, one sconce with some Splitting.
A DECORATIVE GILT METAL EWER, in Mannerist style, the pent foil foot and conforming lobed body repose with stylised decoration, the spout in the form of a fish, the scrolled handle finishing in a lion, 13in. high (33cm.), 19th Century.
A PAIR OF FLEMISH BRASS PRICKET CANDLESTICKS, triple flanged stems and stepped feet, 18in. high (45.7cm.) 16th century.
A PAIR OF DUTCH BRASS CANDLESTICKS, with knapped baluster stems, on stepped and domed bases, the drip-pans fitted with later socket-plates, high (31.1cm.) 17th century, one with socket-plate missing.
Two SIMILAR DUTCH BRASS CANDLESTICKS, with receded baluster stems over heavy urn knops, raised on stepped and moulded bases, drip-pans fitted with later iron prickets, 13in. and 12in. high (33cm. and 30.5cm.) early 17th century.
A ROCK-CRYSTAL AND SILVER-GILT ALTAR CROSS,
the ends of the cross of quatrefoil form carved with intaglios of the four Evangelists accompanied by their Symbols, each shown seated in a landscape, the arms joined by silver-gilt collars chased with acanthus foliage, silver-gilt Corpus surmounted by a label IN R I with scrolled terminals, high (47cm.) North Italian, the cross late 18th Century, the Christ second half of 16th Century, on stepped wood base, the crystal chipped.
The intaglios probably derive from a Florentine graphite source but little is known of Italian glyptic masters prior to the generation of Valerio Belli.
A GERMAN ROCK-CRYSTAL BOWL AND COVER, the silver-gilt mounts engraved with scrolling foliage, the lip mount with applied brackets, supported on four openwork brackets, (10.7cm.) first quarter of 17th Century, bracket feet apparently an old addition, one slightly repaired.
A ROCK-CRYSTAL PLAQUE of arched form, intaglio cut with a scene of the Last Supper, apparently after a German or Flemish late 19th Century graphic source, over the head of Christ is carved a shield engraved with the arms of a city, a town gate, (8.5cm.) now mounted as a packs in ebony frame.
A FINE CHERRY-WOOD SNUFF RASP, by Baraga of Nancy, finely carved in low relief on a punched ground with symmetrical scrolling foliage, the upper half with the coat of arms of the Durazzo family of Genoa sur-mounted by a Coronet, enclosed by a scrolling strap-work cartouche, carved shell terminal forming the spout, 8in. (20.3cm.) circa 1687, grater missing, slightly chipped.
Pietro Durazzo, Marchese di Pontinvrea, was Doge of Genoa between 1685 and 1687, when he worked closely with the ambassadors of Louis XIV to repair the ravages of war.
A RARE BOXWOOD FRAGMENT, probably the handle of a vessel, carved with a figure of a bearded warrior in late 15th Century armour, consisting of breast and back plate, complete arms with gauntlets with pointed cuffs, mail skirt with scalloped hem and leg armour, a cross hilted dagger at his right hip, (11.5cm.) second half of 15th Century, probably Flemish.
The accurate depiction of the armour justifies a date in the late 15th Century but no comparable object appears to be known.
A LEATHER VIOLIN, 24in. high (61cm.) mid 17th Century, probably Italian.
A GERMAN FRUITWOOD DRAUGHTSMAN, carved in low relief with a double portrait of a man and his wife in 16th Century dress, (4.5cm.) Augsburg, circa 1540.
See Himmelheber, Spiele, Catalogue of Bavarian National Museum 1972, for similar pieces, some in the manner of Hans Kels.
A COLLECTION OF TEN NUREMBERG DRAUGHTS-
MEN, impressed with subjects by Cristoph Jakob Leherr (1647-1707):
(a) a recumbent lion surrounded by playing rabbits; reverse, an eagle attacked by a scarab (Himmelheber
(b) head of Janus; reverse, a blindfolded putt,
(c) a dog howling at the moon; reverse, a dog attacked by a boar
(d) a putt seated by the shore; reverse, a putt holding a lamp (obverse unrecorded, reverse
(e) a naked Bacchic putt; reverse, a naked man staggering from the effects of drink
(f) a backgammon board; reverse, a winged hat over a table
(g) Occasio struggling with an attacker; re-verse, Occasio astride the waves
(h) a man running with a dagger and a torch;
reverse, a turkey
(i) a boy falling from his stilts; reverse, a
skater fallen on the ice
(j) two horses racing; reverse, a two wheeled
chariot 17th Century.
A COLLECTION OF TEN NUREMBERG DRAUGHTS¬MEN, impressed with subjects by Philipp Heinrich Muller (1650-1718):
(a) the bust portraits of Emperor Leopold and King Joseph signed P. H. M.; reverse, an allegory of homage, signed P.H.M.
(b) a lion and a cockerel; reverse inscribed with a proverb
(c) bust portrait of King William III, signed P.H.M.; reverse, William III receiving the crown of England
(d) bust portrait of Frederik von Schomberg, signed P.H.M.; reverse, Schomberg as Hercules
(e) bust portrait of Frederik III of Brandenburg, signed P.H.M.; reverse, bombardment of Bonn
(f) bust portrait of Eleonora Magdalena von Neuberg, signed P.H.M.; reverse, seated in a triumphal chariot drawn by two lions with the emperor and their son
(g) the imperial eagle attacking a wolf; re-verse, the bombardment of a fortress, dated Aug. 1685
(h) bust portrait of Maximilian Emanuel
Elector of Bavaria, signed P.H.M.; reverse, the
lion of Bavaria over the arms of Cologne and
Bavaria
(i) bust portrait of Ludwig Wilhelm of
Bavaria, signed P.H.M.; reverse, an allegory of
Victory
(j) bust portrait of Johann George IV Duke of Saxony, signed P.H.M.; reverse, an allegory of Victory .
FOUR NUREMBERG DRAUGHTSMEN impressed with subjects by Martin Brunner:
(a) bust portrait of Frederick I signed M.B. ; reverse, an allegorical subject,
(b) King Charles of Sweden; reverse, a sleeping lion and a cockerel signed M.B.,
(c) a woman carried off, a second man lifting her skirts and spanking; reverse, a woman having her feet measured, both sides signed M.B.
(d) a view of Venice, a putto with a scroll in the clouds above; reverse, a naval battle scene, un-signed .