Auction 53 by Bertolami Fine Art

Chinese Ceramics and Asian Works of Art

PORCELAIN AND CERAMICS Italian Renaissance Maiolica and 18th Century historiated Porcelain

AUCTION 53

LONDON - 9 November 2018

ASIAN ART

Auction 53 9 November 2018 London

ASIAN ART Chinese Ceramics and Asian Works of Art

PORCELAIN AND CERAMICS

AUCTION 9 November 2018 at 2.00 pm GMT

Italian Renaissance Maiolica and 18th Century historiated Porcelain

43 Brook Street Mayfair LONDON, W1K 4HJ

9 November 2018 Ph. +44 7741 757 468 +39 06 326 09795 Fax. +39 06 323 0610 VIEWING 4 November 2018 at 2.00 pm - 6.00 pm GMT 5 - 8 November 2018 at 10.00 am - 6.00 pm GMT 43 Brook Street Mayfair LONDON, W1K 4HJ Ph. +44 7741 757 468 +39 06 326 09795 Fax. +39 06 323 0610 AUCTIONEER Lindsey Alexa Gundersen

browse the catalogue and bid on

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Maria Chiara Zaccaria Specialist m.zaccaria@bertolamiﬁneart.com FASHION, TEXTILES & LUXURY Ilaria De Santis Head of Department i.desantis@bertolamiﬁneart.com

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Simone Durante s.durante@bertolamiﬁneart.com

LIVE BIDDING:

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Important information for buyers – Auction 53 - The lots are definitely awarded in the auction room on the days of sale: 9th November 2018 – 2:00pm GMT in 43 Brook Street – Mayfair, London, W1K 4HJ, United Kingdom. - The lots are available for viewing in 43 Brook Street – Mayfair, London, W1K 4HJ, United Kingdom the 4th November 2018 from 2.00pm to 6.00pm and from 5th to 8th November 2018 from 10.00am to 6.00pm GMT. - The offers may be made through our websites (www.bertolamifinearts.com), or Invaluable (www.invaluable.com), by fax, email, phone or directly to the offices of Bertolami Fine Arts. Offers made by email, by fax and through our website or website above mentioned, can be received until 11:00am GMT of 9th November 2018. - In the event of matching bids on the same lots, the earliest bid will take precedence. - In the case of only one bid on a lot, the lot will awarded at the opening price. (e.g. if the opening price is £ 1.000 and the only bid offered is £ 1.500, the lot will be awarded at £ 1000). - In the case of multiple bids on the same lot, it will be awarded to the highest bidder. The calculation of the offer will be made at predetermined increments (view “Predetermined increase”) added to the bid immediately lower than the highest received. (e.g. if the opening price is £ 1.000 and customer (A) offers £ 1,270 while customer (B) offers £ 1,800, the lot will be awarded to customer (B) at £ 1,370 (i.e. with a predetermined increment of £ 100 over the immediate lower bid of £ 1,270). - The realized sale prices list will be published on the Bertolami Fine Arts website within five days of adjudication. - Payment for the purchased lots may be made via the following methods: - Bank cheque or cash in favour of Bertolami Fine Arts LTD with surcharge of £ 10 for foreign checks - bank transfer in Euro or Pound may be made to Bertolami Fine Arts LTD with surcharge of £ 10 for outside European Bank transfer: Barclays in Pound, IBAN: GB59BARC20577690199966 – Account Nr. 90199966 - SWIFT/BIC: BARCGB22 Barclays in Euros, IBAN: GB60BARC20577642545400 – Account Nr. 42545400 - SWIFT/BIC: BARCGB22 - Credit card (VISA and MasterCard) and PayPal On the invoices paid by bank transfer, cheque or cash will not be added a surcharge of Administration fees of 3,5% - Payment of purchased items must be made within than 10 days from receipt of the invoice. If the invoice has not been paid within 30 days of the pro-forma invoice date, the interest will be charged at 1% monthly. -Import costs for countries which require formal import requirements and cost for the issue of export license, will be charged to the buyer. In the case of unjustified contestation, by which the items are returned to Bertolami Fine Arts, any customs and courier costs will be payable by the buyer. - Bertolami Fine Arts reserves the right to withdraw any lot. The auctioneer during the auction, has the right to unite or separate lots and possibly vary the order of sale. He may, at its own discretion, withdraw lots if the bids in the auction does not reach the reserve price agreed between Bertolami Fine Arts and seller.

- The successful bidder will pay a commission to Bertolami Fine Arts, for each lot on the hammer price, of 25%. - All lots purchased on the Live-bidding of our website www.bertolamiﬁnearts.com are subject to an increment of 1,5% on the hammer price. All lots purchased on the Live-bidding of Invaluable (www.invaluable.com) are subject to an increment of 5% on the hammer price. - All participants in the auction must, under the validity of an eventual award, complete a registration form with your personal data and the information requested before each auction. To buy you must possess the ability to act as required by law. - Bertolami Fine Arts may accept mandates for the purchase, by making bids via the auctioneer, in competition with the public participating in the auction. Bertolami Fine Arts reserves the right to refuse bids from buyers not known unless they make a deposit to cover the whole value of the lots desired or, in any case, provide other adequate guarantees. - The estimates of the possible selling price of each lot are printed under the description of the lots shown in the catalog and don't include the commissions payable by the successful bidder. These estimates are approximate. The descriptions of the lots in the catalog may be revised by public announcement during the auction. - All items are guaranteed as authentic. The descriptions contained in the catalog are subjective and they are expressed in good faith. - In case of discrepancies, the online version of these terms of sale prevails.

Amount offer £

Predetermined increase £

0-99

100-199

200-499

500-999

1.000-1.999

100

2.000-4.999

200

5.000-9.999

250

10.000-19.999

500

20.000-29.999

1.000

30.000-39.999

2.000

40.000+

2.500

ASIAN ART Chinese Ceramics and Asian Works of Art

1 A SANCAI -AND-BLUE-GLAZED 'BIRDS' PILLOW, ZHEN Tang dynasty 6,8 x 12,5 x 9 cm £ 1.600-2.200 Provenance: a European private collection. A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

2 AN AMBER-GLAZED DISH Liao dynasty 4,6 x 20,5 cm £ 650-850 Provenance: a European private collection.

3 AN AMBER-GLAZED LEATHER BAG-SHAPED EWER Liao dynasty 31,5 cm high £ 3.000-4.000 Provenance: a European private collection.

3 11

4 A JUNYAO PURPLESPLASHED BOWL, WAN Jin/ Yuan dynasty 8,5 x 18 cm 4

£ 3.000-4.000 Provenance: a European private collection.

5 A JUNYAO PURPLESPLASHED DISH Jin/ Yuan dynasty 4,5 x 18 cm £ 2.000-3.000 Provenance: a European private collection.

A JUNYAO PURPLE-SPLASHED BOWL, WAN

Jin/ Yuan dynasty

7,5 x 17,5 cm

£ 3.000-4.000

Provenance: a European private collection.

A CÉLADON-GLAZED TWELVELOBED BOWL, WAN

A CÉLADON-GLAZED INCISED BOWL, WAN

Northern Song dynasty, or later

Song dynasty

4,6 x 10,2 cm

6 x 15 cm

£ 1.000-1.500

Provenance: a European private collection.

A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

10 A LONGQUAN CÈLADON-GLAZED MOULDED 'CHRYSANTHEMUM' BOWL, WAN Yuan dynasty 6,3 x 15 cm £ 800-1.200 Provenance: a European private collection.

11 A CIZHOU WHITE-GLAZED BROWN-PAINTED BOWL, WAN Yuan dynasty

7 x 15,5 cm £ 900-1.000 Provenance: a European private collection.

12 A CIZHOU BLACK-GLAZED CARVED AND RUSSET-PAINTED 'INSCRIPTION' OVOID JAR, XIAOKOUPING th

Yuan dynasty, dated to the 8 year of Zhizheng era (1341-1368: ), corresponding to 1349 24 cm high Â£ 4.600-5.200 Provenance: a European private collection.

13 A CIZHOU SANCAI-GLAZED INCISED PILLOW, ZHEN Jin dynasty, or later 15 x 33 x 25 cm £ 5.500-6.500 Provenance: a European private collection. A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan is available for this lot.

A QINGBAI-GLAZED LOBED AND HANDLED EWER AND COVER

A QINGBAI -GLAZED MOULDED 'BOY' WATER DROPPER

Southern Song dynasty

7,2 x 9,5 x 7 cm

9 x 9,5 x 6,5 cm

£ 1.500-2.000

£ 1.600-2.200

Provenance: a European private collection.

A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

16 A QINGBAI-GLAZED MOULDED 'FIVE PEAKS' BRUSHRESTWATERDROPPER Southern Song dynasty 8,5 x 11 x 4 cm £ 1.000-1.500 16

Provenance: a European private collection. 18

A QINGBAI-GLAZED INCISED ALMS BOWL AND COVER

A QINGBAI-GLAZED LOBED STEM CUP AND BARBED-RIM SAUCER

Southern Song dynasty

10 x 13 cm

the bowl 6 x 7,5 cm, the saucer 3,2 x 12,7 cm

£ 1.600-2.200

£ 1.500-2.000

Provenance: a European private collection.

A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

19 A QINGBAI-GLAZED PIERCED AND MOULDED INCENSE BURNER Southern Song dynasty 9 x 8,5 cm £ 1.500-2.000 19

Provenance: a European private collection. 19

20 A QINGBAI -GLAZED PIERCED AND MOULDED 'FISHES AMIDST FLOWERS' INCENSE BURNER

Provenance: a European private collection. A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

Southern Song dynasty 10,5 x 11 cm £ 1.600-2.200

A QINGBAI-GLAZED CARVED 'FLOWER' BOWL, WAN

A QINGBAI-GLAZED CARVED 'FISHES' BOWL, WAN

Southern Song dynasty

5,1 x 14,3 cm

7,3 x 21 cm

£ 800-1.200

£ 1.600-2.200

Provenance: a European private collection.

23 A QINGBAI-GLAZED CARVED 'BOYS AMIDST FLORAL SCROLLS' BOWL, WAN Southern Song dynasty 7 x 20,3 cm £ 1.600-2.200 23

Provenance: a European private collection. 21

A QINGBAI-GLAZED CARVED 'BOYS AMIDST FLORAL SCROLLS' BOWL, WAN

A QINGBAI-GLAZED CARVED 'DRAGONS' BOWL, WAN Southern Song dynasty

Southern Song dynasty 7,3 x 21 cm

7,1 x 21,3 cm

£ 1.600-2.200

£ 2.000-3.000

Provenance: a European private collection.

A BLACK-AND-BROWN-GLAZED 'STRIPES' BOWL, WAN

A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED BOWL, WAN

Northern Song/ Jin dynasty

Jin dynasty

8,3 x 18 cm

7 x 17,5 cm

£ 650-850

£ 1.000-1.500

Provenance: a European private collection.

28 A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED BOWL, WAN Jin dynasty 7 x 15,5 cm £ 1.500-2.000 28

Provenance: a European private collection. 23

A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED BOWL, WAN

Jin dynasty

8,5 x 18 cm

8,5 x 15 cm

£ 2.000-3.000

£ 3.000-4.000

Provenance: a European private collection.

31 A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED BOWL, WAN Jin dynasty 8 x 19 cm £ 3.000-4.000 31

Provenance: a European private collection. 24

A BLACK-AND-BROWN 'SILVER OILSPOTTED' BOWL, WAN

A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED BOWL, WAN

Jin dynasty

8 x 18 cm

8,3 x 20,2 cm

£ 3.000-4.000

£ 3.800-4.600

Provenance: a European private collection.

34 A BLACK-AND-BROWN-GLAZED RUSSET-PAINTED 'BIRD' STEM CUP Jin dynasty 7 x 15,5 cm £ 1.600-2.200 34

Provenance: a European private collection. 25

A BLACK-AND-BROWN-GLAZED RUSSET-SPLASHED STEM CUP

A LARGE BLACK-AND-BROWNGLAZED RUSSET-SPLASHED 'PARTRIDGE FEATHER' BOWL

Yuan dynasty

Jin dynasty 8,5 x 12 cm 15,5 x 17 cm £ 1.500-2.000 £ 3.500-4.500 Provenance: a European private collection. Provenance: a European private collection. A thermoluminescence certiﬁcate from Arcadia Tecnologie per i Beni Culturali, Milan, is available for this lot.

37 A BROWN-GLAZED CREAMSPOTTED INCENSE BURNER Yuan dynasty 9,5 cm high £ 1.800-2.200 37

Provenance: a European private collection. 26

38 A BLACK-GLAZED RUSSET-PAINTED PEAR-SHAPED VASE, YUHUCHUNPING Jin dynasty 25,7 cm high £ 4.600-5.200 Provenance: a European private collection. The dating of this lot is conﬁrmed by the result of the thermoluminescence test done by Arcadia Tecnologie per i Beni Culturali, Milan.

39 A BLACK-GLAZED RUSSET-SPLASHED VASE, MEIPING Jin dynasty 26,7 cm high Â£ 5.500-6.500 Provenance: a European private collection.

40 A BLACK-GLAZED RUSSET-SPLASHED AND 'OIL SPOTS' PEAR-SHAPED BOTTLE VASE, YUHUCHUNPING Jin dynasty 26 cm high £ 5.500-6.500 Provenance: a European private collection. The dating of this lot is conﬁrmed by the result of the thermoluminescence test done by Arcadia Tecnologie per i Beni Culturali, Milan.

THE DR. RAUSI COLLECTION The joy of collecting around the world Lots 41 - 56

The reasons at the base of collecting can be very different, this is widely known. Each collector has in fact an own idea of collecting, depending on many factors, as for example his personal taste and the kind of life he lives.

career of about forty years. From his ďŹ rst assignment in The Hague, dr. Rausi has carried out his important diplomatic duties in many countries worldwide, especially in South America and East Asia. I had the fortune to visit his house for a couple of times, just before having honoured to receive part of his collection to be auctioned. I immediately had the sensation that every corner of each room of his house, every wall and every shelf, could tell us a story, the story of his life, a life spent in collecting while hardly working in many of the most fascinating countries of the world, such as China where he lived in 1989, the year that country experimented one of the most radical changes in its recent history, as we all know.

If you are a diplomat, travelling and working around the world for an important part of your life, there are many possibilities you try to better know the culture of the countries you visit, also through the objects they produced during their history. Furthermore, if you have by yourself a passion for art, cultivating it from your youth living in such an amazing place as Sicily, where everything is artistically relevant, from nature to smells, from landscape to cuisine, from archaeology to Baroque architecture, paintings and sculptures, the possibilities that you can easier understand and appraise the main features of the arts of another civilisation grow exponentially.

Its not my aim to write here the story of Dr. Rausi's life, I can image it needs many many more pages than this brief introduction. However, my hope is that this selection of pieces from his collection could give at least an idea of his adventure in the amazing world of collecting.

This is what happened to Francesco Rausi, ambassador for the Italian Foreign Affairs Ministry. From 1970 until his retirement, a

A corner of Dr. Rausi's house with part of his collection of Korean ceramics and European th 20 century paintings. 31

41 A SANCAI-GLAZED DISH WITH A WATERMELON Tang dynasty 19 x 31 cm Â£ 4.000-5.000 Provenance: ambassador Francesco Rausi.

41 32

42 40 cm high each

A PAIR OF AMBER-GLAZED INCISED 'PHOENIX HEAD' VASES

Â£ 3.500-4.500

Liao dynasty

Provenance: ambassador Francesco Rausi. 33

43 A RUSSET-BROWN-GLAZED CARVED WATER SPRINKLER, KUNDIKA Liao dynasty cm. 41 high £ 4.000-5.000 Provenance: ambassador Francesco Rausi. The dating of this lot is conﬁrmed by the result of the thermoluminescence test done by Arcadia Tecnologie per i Beni Culturali, Milan.

44 A CIZHOU GLOBULAR CARVED 'PEONIES' JAR Jin dynasty 18 cm high £ 3.000-4.000 Provenance: ambassador Francesco Rausi. The dating of this lot is conﬁrmed by the result of the thermoluminescence test done by Arcadia Tecnologie per i Beni Culturali, Milan.

45 A JIZHOU BROWN-GLAZED 'LEAF' TEA BOWL Song dynasty 6 x 15,5 cm £ 3.000-4.000 Provenance: ambassador Francesco Rausi.

46 A SMALL BROWN-GLAZED AND TURQUOISE-SPLASHED 'LEAF' BOWL Song dynasty 3,3 x 10,2 cm £ 1.000-1.500 Provenance: ambassador Francesco Rausi. 36

47 A SAGGAR CONTAINING A JUNYAO PURPLE-SPLASHED BOWL Song dynasty the saggar 7 x 16,4 cm, the bowl 11,5 cm diam £ 1.500-2.000 Provenance: ambassador Francesco Rausi.

48 A LARGE SAGGAR CONTAINING A JUNYAO PURPLE-SPLASHED BOWL Song dynasty the saggar 14 x 28 cm, the bowl 21,5 cm diam £ 4.000-5.000 Provenance: ambassador Francesco Rausi. The dating of this lot is conﬁrmed by the result of the thermoluminescence test done by Arcadia Tecnologie per i Beni Culturali, Milan.

48 37

49 THREE PAINTED WOOD SCULPTURES OF BUDDHA Ming dynasty 100 cm high each Â£ 15.000-20.000 Provenance: ambassador Francesco Rausi.

50 GIUSEPPE CASTIGLIONE (LANG SHINING), SCHOOL th

18 -19 century Two dogs in a landscape with a tree Ink and colours on silk Two seals on the lower left corner 74 x 43 cm Â£ 1.500-2.000 Provenance: ambassador Francesco Rausi. 40

51 A BUNCHEONG CARVED PEAR-SHAPED BOTTLE VASE th

Joseon dynasty, 15 century 29 cm high Â£ 4.000-5.000 Provenance: ambassador Francesco Rausi.

52 A WHITE-GLAZED 'MOON JAR' Joseon dynasty, 18th century 40 cm high Â£ 10.500-12.500 Provenance: ambassador Francesco Rausi.

53 A BLUE-AND-WHITE BALUSTER 'DRAGON' VASE th

Joseon dynasty, 19 century 44,5 cm high Â£ 6.500-8.500 Provenance: ambassador Francesco Rausi.

54 A GILT COPPER FIFTEEN-SHEETS 'THOUSAND HANDS SUTRA' ( ) Korea 12,1 x 13,8 cm (each sheet) Â£ 3.000-4.000 Provenance: ambassador Francesco Rausi.

55 KOREAN ARTIST th

Joseon dynasty, 19 century Tiger and magpie in a landscape with a pine tree Ink and colours on paper Signed on the lower left side with two seals. 127 x 64 cm ÂŁ 2.000-3.000 Provenance: ambassador Francesco Rausi. 45

56 50,5 x 50 cm

AUKE CORNELIS SONNEGA (Leeuwarden 1910 – Den Haag 1963)

£ 10.000-15.000

Figure in Balinese landscape, 1956

Provenance: ambassador Francesco Rausi.

Oil on canvas Signed and dated “A. Sonnega./ 56” on the lower right corner. 46

57 A VERY LARGE CÉLADON JADE C-SHAPED DRAGON Hongshan culture style 27 x 26 cm £ 10.000-15.000 Provenance: a European private collection.

58 A LARGE ANDESITE HEAD OF BUDDHA Central Java 40 cm high Â£ 10.000-15.000 Provenance: a European private collection.

58 48

59 AN EXCEEDINGLY RARE AND EXTREMELY IMPORTANT CHINESE PORCELAIN CUP WITH A FINE GILT SILVER MOUNT the cup Jiajing period (1522-1566), the unmarked mount probably English 1580-1585 circa 13,3 x 9,3 cm Price on request

59 49

EUROPEAN CERAMICS th

Maiolica of the 15 and 16 centuries

60 JUG Oval shaped jug, trefoil rim, ribbon handle, flat support and no base. White majolica with sub-painted heraldic Lily on the front, realized in "zaffera" relief and manganese pigments. H. cm. 20; Ø cm. 8 x 7.5; Ø 7 cm. Cond.: very good; little parts of the rim and handles are missing. Reference: “Maioliche faentine dall'Arcaico al Rinascimento”, Catalogue (edit by) Francesco Liverani - Rino Casadio, Studio Felsina, Bologna 1984, pp. 24-25. FAENZA, early XV century. £ 2.000-4.000 This beautiful jug is almost intact and it was published in 1984. It is part of the incredible Severo style, Faenza manufacturing of XIV and XV century, characterized by "zaffera” relief, adorned with the Lily, the Papal faction emblem. In fact, the city of Faenza was assigned by the Pope to the Guelph part of Manfredi family's Vicariate. The lily is also attested on a bowl with the typical "zaffera” relief, vessel discovered in city's layers of Faenza. [Reference: Cfr.,C.Guarnieri, Il bello dei butti, Rifiuti e ricerca archeologica a Faenza tra Medioevo ed Età Moderna, Florence 2009, fig. 8.]

61 ALBARELLO Tapering albarello, cylindrical neck and lowered shoulder, rounded slightly ﬂaring opening. Luxurious majolica in blue cobalt patterns on light blue background; on the shoulder, slanting sticks between circles motive; perpendicular strips divided by lines adorned the body, enriched by stylized volute palmette, typical decoration of Islamic hermitage. Several comparisons are in the middle eastern production, as in Persia and Syria, in particular in Damascus manufacturing, directed to European art market, characterized by high aesthetic and technical levels. H. cm. 24,5; Ø b. cm. 9; Ø max 12. Cond.: very good, small chippings on the shoulder. Middle East (Syria or Persia), early XV century £ 3.800-5.000 This beautiful albarello is realized in Islamic – Moorish style, with brilliant color cobalt, valued and precious mineral. Some examples are in the middle eastern manufacturing, characterized by high level technologies. It is possible assume a workshop in Damascus, Syria, transit point for “damaschina” style products in the European market. It is possible assume that the albarello travelled throw Morocco, until Spain and the Italian lands by sea, the same way of Spanish-Moorish majolica in late Middle Age, requested by wealthy families.

On the pedestal plate there is the depiction of a people near an old man, a philosopher and master who is represented suggesting to a young deferential man a partially open door of rich building. The master shows to his disciple the way to the knowledge, which necessary starts unpretentiously from the bottom to reach the high top. The philosophy allegory as life knowledge reminds to Tabula Cebetis, a human essay of the Theban philosopher Cebeto (I century BC). This essay spread during the Middle Age, in particular in Flemish and French manuscripts. In particular, the iconography recalls the Tabula Cebetis of Alberici manuscript, dated to 1507 and dedicated to the King Henry VII of England, but probably never gave to him. On the F2v sheet, the strip mentions: In the temple of Saturn, an old man interprets the tablet to Cebes and his companions. (Br. Lib., Arundel Ms 317). The painter of this incredible and rare iconography of human life, realized on a blue shades majolica, could have a speciﬁc commission. His work has a well-balanced layout with an interesting architecture, replicated the Renaissance dwellings, reproduced in an idealized summa. The artist is the master Lodovico, active in Venice, in San Paul district, a place where the cobalt came from the East through commercial trade, symbol of the best Venetian majolica. His artworks are extremely rare and several example are preser ved in important museums. One example is the “Leda and the swan” plate, Nuremberg National Museum, as the one with the “Philosopher” of Fanfani Donation in Faenza. Sometimes this kind of majolica is assigned to the master Jacomo from Pesaro, painter of same great charm.

62 PEDESTAL PLATE Pedestal plate with engorged rim; high foot very everted ring shaped. Blue majolica in two tones enriched by white highlight: on the main surface the historiated decoration depicting the “Allegoria della Conoscenza”; on the rear, blue painted circles on charming background. White majolica foot. H. cm. 6,8; Ø cm. 27; Cond.: very good, intact. Venice, Master Lodovico, middle of XVI century

[References: S. Glaser, Majolika, Nürberg, 2000, n. 203; C. Ravanelli Guidotti, La donazione Angiolo Fanfani, Faenza 1990, n.149; G. Gardelli, ITALIKA, Faenza 1999, n.6]

£ 7.500-9.500 58

The amazing tablet finely reproduces an Albrecht Dürer engrave, incised in 1511, depicting the Holy Family, enriched by angels, musicians and devotees. Over the incredible talent to laying out the design, the painter has a poetic pictorial technique, characterized by delicate colors; with a bright touch, volumes are defined, as visible on drapery of Virgin Mary's garment, in which the blue abates to white (bianchetto), or as the yellow color transformed in a nuance called “giallolino” and at last, as the extraordinary chiaroscuro game of the trees. This extremely rare talent allows to identify a specific excellence manufacturing. The cartouche suggests Florence as the origin of purchase; the track corresponds to the ductus study, that carries to Cafaggiolo manufacturing. This latter is a Medicean castle, close to Florence, center of important artists of the 1500s, making Italian majolica masterpieces. It is possible assign this tablet to Jacopo di Stefano di Filippo, attested between 1531 and 1576, signing the plate with “Giuditta escaping from Betulia” (V.A.M., London). Both artworks have the same technical composition, the well balanced use of yellow and blue colors, even the depiction of grass and stones of the soil. Prints recalling Dürer - in Cafaggiolo - are attested also in the “Compianto su Cristo morto” tablet of ancient Adda Collection (Paris).

63 TABLET Rectangular ceramic tablet, inserted in a molded wooden frame with golden fillet. The main surface has strong yellow pigments, a vigorous blue and green spots, full painted page with Holy Family of Dürer; the rear is undecorated; on the frame, a small ownership cartouche with handwrite: Firenze …. fine '400 / '500. Tablet 27 x 20,5; framed cm. 35 x 28. Cond.: very good; intact. C. S. R. Radioactivity study center. Dating service of archaeological finds, 8 /10/ 2001, Prot. N. 122TL/01: 1540 – 1555. Cafaggiolo, early XVI century

[Reference: B. Rackham, Islamic Pottery and Italian Maiolica, London 1959, n. 326; G. Cora-A. Fanfani, La maiolica di Cafaggiolo, Florence 1982 , n. 50]

£ 14.500-16.500 62

into Gabinetto Disegni e Stampe at Ufﬁzi Museum. The “L” letter on the ﬂask base refers both to Jacopo Ligozzi, called by coeval artist Filippo Baldinucci pittore universalissimo, and the period between 1577-1587, when he was related to the Foundry. Ligozzi could have provided to decorative patterns but it is even possible they have been elaborated by his own, because of the sign.

64 FLASK Lowered oval-shaped fluted flask, collar in a silver mixture ring, with screw lid, supported by small metal rings. Two orange tones of majolica painted, with touches of blue; from the top: fantastic register, orange circle, register with festoon among daisies, circle from which fluted elements start; in each segment, a vegetal decoration of branches carpet, symbol of the Golden Fleece (Toson d'oro) and imaginative beings of the medieval type, called "crickets". on the manganese background, letter "L".

Into the typical botanical iconography view of Jacopo, on the upper section of the vessel, a curvy shape animal is realized in each rays; it is a clear reference to “Toson d'oro”, a honorary epithet conferred to Grand Duke Cosimo I in 1562 and visible in its family emblem. On the lower section, an intellectual bond is founded in a figure with medieval “crickets”. The flask is close to Medicean production for the metal inserts, screw lid and for the base. All of these features are common to signed works, as in a document dated to 1577-78, in which master Castrucci was paid for insert silver pigment in: “…cinque fiasche di porcellana lavorata con diversi ornamenti”.

H. cm. 21,5. Cond.: perfect. Florence, Medicean manufacturing: Niccolò Sisti majolica master, Jacopo Ligozzi, designer and painter; last quarter of XVI century. £ 7.500-9.500

[References: G. Cora-A. Fanfani, La porcellana dei Medici, Milan 1986; cited documents: M. Spallanzani, Ceramiche alla corte dei Medici nel Cinquecento, Modena 1994, docc. 37, 39; about Jacopo Ligozzi see: A. Cecchi-L. Conigliello-M. Faietti, Jacopo Ligozzi. «Pittore universalissimo», Exibition catalogue, Florence 2014, Sillabe, in May 2014, passim.]

The elegant flask has precise comparisons in the Medicean manufacturing, guided by Niccolò Sisti, characterized by spasmodic research to reach the “perfect porcelain” coming from the East since Marco Polo time. The Medici obtained some successes, in particular under the Grand Duke Francesco. Even if there is not S. Maria del Fiore dome brand, or F letter, the flask finds punctual comparisons in Medicean porcelain, whether in the fluted pear – shape, named as “a spichi” into ducal inventories, or in naturalistic decorative patterns. The floral carpet with leafs held by filaments, even if of oriental taste, is an interesting artistic performance of valerian; the plant was often depicted by the Verona painter Jacopo Ligozzi. The Grand Duke Francesco I called him in 1577 to Florence and the painter lived for ten years into the Casino of S. Mark. Here, Ligozzi realized a copious corpus of naturalistic, botanic and zoological illustrations, nowadays 64

65 TRAY Rectangular tray with raised corollas on the sides, forming small feet on the lower edge. Polychrome majolica: in the upper section a beautiful "raffaellesca" with a sanguine depicting Dio che parla a Noè (Genesis IX, 13) in a central medallion; at the corners, four alternating triangles on a green and blue background, painted with small scenes; in the middle cameos with ﬁgures on a black background; in the lower part, "raffaellesca" and inserted in a sanguine painted rectangle, with a blood-blue border, the allegory of the music in the center: Musa ignuda incedente su prato con tamburello. H. cm. 6, cm. 30 x 34; Cond.: intact. Urbino, Orazio Fontana in Guido durantino atelier; ca. 1550 £ 25.000-35.000 among scholars and astrologist since ancient time. Attested also in a marquetry of Federico from Montefeltro Studiolo, Duke of Urbino, ascribed to Benedetto da Maiano workshop. On the lower side, a beautiful Musa ignuda che tiene un tamburello walks solemnly in a particular “raffaellesca”. Identiﬁable with Euterpe or Erato, as amoroso poem muse, usually depicted with a tambourine. This incredible and rare tray is ascribed to Orazio Fontana, at the beginning of “grottesca bramantesca” on black background to the modern Raffaello interpretation in Vatican Loggias of middle XVI century, still active in the Guido durantino atelier, later called Fontana.

Extremely rare tray, with unusual functional shape, with extraordinary decoration inspired to “grotesque” of Raffaello “Loggetta”, in Vatican City. The miniaturist figures on dark background remind to the master ductus, as visible on glyptic elements of upper section. The Biblical episode of God and Noah is depicted in “sanguine” style with the bow as alliance path. The scene derives from Bernard Salomon vignette no. IX; the Old Testament characters were edit by D. Maraffi, with Tuscan verses in Lion, 1554, and then in C. Paradin, Quadrins historiques de la Bible, Jean de Tournes, Lion, 1555. Interesting figure surrounds four time the main circle, unnoticed into the fantastic scenes of “raffaellesca”. Interpreted as a magic Spirit, with pointed hat, holding a balloon or spin with a stick or string. This scene could be read as sphera armillare, people's heritage world depiction, fashionable

[Reference: G. Gardelli, Urbino nella storia della ceramica. Note sulla grottesca, (edit by) T, Wilson, Italian Renaissance Pottery, London 1991, pp.126 – 135.]

66 The rich polychrome albarello is part of Orazio Fontana works, after the parting from his father workshop, in '500. Eros ﬂies on a river, with an urban scene on the background. The albarello ﬁnds several comparisons with signed works through pictorial ductus, polychrome and general design; one of them is actually at the British Museum with “Fate in botega di Orazio Fontana” written on it. This delicate albarello is ascribable between the 1565 and 1571, in which Orazio had his own workshop.

ALBARELLO Albarello with deﬁned central tapering; on the upper section, the opening presents a metal tube with large stand, with central hole, reaching the base; easily extractable. Polychrome painted majolica, with Eros alato e faretrato in paesaggio. H. cm. 15; Ø b. cm. 13. Cond.: only one hole at the base, maybe a ﬁling on the rim.

[References: B. Rachkam, Victoria and Albert Museum. Catalogue of Italian Majolica, London 1940, n. 836; J. Giacomotti, Catalogue des Majoliques des Musées Nationaux, Paris 1974, nn. 1028 – 1031; G. Gardelli, Maioliche Rinascimentali dello Stato di Urbino da collezioni private, Urbino 1987, n. 36; T. Wilson, Ceramic Art of the Italian Renaissance, London 1987, n. 91.]

Urbino, Orazio Fontana, sixth decade of XVI century £ 2.000-4.000 74

67 VASE - SAUCEBOAT beginning of 1600s. Amazing depiction of Amorino with trident, symbol of Neptune, riding a dolphin, almost scared by the wavy sea; the painter gives back the image with a remarkable expressive energy and great expertise, probably inspired by Amore e Psiche novel, of Apuleio's Asino d'oro, instead of Arione myth, cithara player, son of Neptune saved by a dolphin. In fact, the image of Venus with the procession of Nereidi, Tritons, Eros on dolphin is depicted on a large dish of Fontana workshop (dated 1570), referring to Apuleio fabula as specify on the written rear (Pandolfini Auction 1/10/2015, lot 51). Amore con tridente su delfino is also on a Ardet Aeternum plate of Alfonso II d'Este, dated to 1579, decorated by “putti- amorini” insert in “raffaellesca” majolica. The intricacy shape reminds to specific majolica of Francesco I of Medici family Guardaroba; in this way, it could possible refer to Flaminio Fontana workshop, active in Urbino from the middle of XI century and later, between the 1572 and 1578, under Medicean family in Florence.

Boat-shaped vase, with pointed corned on one side and a dragon shape on the other, characterized by toothed open jaws and mustache; wavy bands on the body; stand on a shield with narrow neck; dragon tail with ﬂoral pattern. Painted majolica in polychrome: white, blue, azurite and two tones in yellow; between white-azurite waves a Delﬁno che trasporta Amore alato con tridente. H. cm.10; l. mx cm. 17,5 x 13; base cm. 7,5 x 7. Cond.: very good. Urbino, Fontana workshop, Flaminio Fontana; middle and third - fourth of XVI century £ 6.000-8.000 Extremely rare and beautiful vase, sauceboat used, incredible lightweight with comparisons in some museums, characterized by similar shape, central depictions tied to sea world. The nearest shape is preserved into the Fernandez collection, depicting Venere sulle onde, as reported by Chompret, assigned to Urbino workshops, dated to 1570. Other similar examples are at the V.A.M (nn. 849850), in London, in the Wallace Collection (n. C124), in Braunschweig Museum in Germany (n.186); all of them are dated around 1550-60 and assigned to Fontana workshop; a series of Braunschweig vernacular vessels (nn. 267, 268) is attributed to Patanazzi workshop,

[References: J. Chompret, Repertoire de la majolique italienne, Paris 1949, n 1041; G. Conti, Museo Nazionale di Firenze. Palazzo del Bargello, Catalogo delle maioliche, Florence 1971, nn.44,59; A.V.B. Norman, Wallace Collection, Catalogue of Ceramics 1, London 1976, C124; J.Lessmann, Jtalienische Majolika, Braunschweig 1979, nn.186, 267, 268; M. Spallanzani, Ceramiche alla corte dei Medici, Modena 1994, passim; F. Trevisani, (edit by), Le ceramiche dei Duchi d'Este. Dalla Guardaroba al collezionismo, Milan 2000, p. 42-43]. 78

Rare plate of the versatile artist Bernard Palissy (1510-1589), depicting the royal family of France: Henry II, Caterina de' Medici family and part of their progeny. Scientist, writer, painter, landscape architect, famous for the unusual pottery manufacturing. The main pottery theme is based on the natural world, small animal species, realized tutto tondo or high relief. The Conestabile Anne de Montmorency estimated his production and relied on him for Ecouen Castle decoration; at last, the Conestabile introduced him to Caterina entourage. Palissy opened a workshop near Tuileries, discovered during Grand Louvre works (1983–1990). The thousand terracotta fragments - from atelier and artificial cave - confirms Bernard Palissy as the major exponent of French decorative arts of XVI century. The plate is a gratitude gift to Caterina. Only two comparisons are known, one at the Ecouen Museum, the other in a private collection. Few differences subexist with Ecouen plate, in particular in the main figures, probably for handmade manipulation. The rich and original brim is an example of the great artistic talent of Bernard, for the lace and crochet details, as written in his biography, dated in 1844. Paul-Antoine Cap (1788-1877) was a famous French pharmacologist and naturalist and he alludes to this plate, ascribing the brim to only Bernard and “the royal family” to his sons Nicolas e Mathurin. The plate is dated before the Henry II death, in 1561.

68 PLATE Oval shape dish, everted brim in relief, converging inner wall; decoration in relief on the inner surface; outer wavy surface. Molded majolica, polychrome sub-painted: two tones in yellow, light green, azurite, manganese brown and rose colored skin; on the outer, marbled manganese. Complex representation: on the brim, daisy ﬂowers in squared elements; on inner wall branches surrounded by rectangles, divided by high relief rods; on the inner surface, the royal family of France in low relief: on the right Henry II with hat, seated on a benches close to one of his son; on the left, on the background, crowned Caterina de' Medici is depicted seated on a similar benches; the eldest daughter or governess hold on her legs the younger daughter, with the hand towards the father. Four standing ﬁgures, sons or courtiers. Set in the bedroom: on the right, a blue colored blanket on the bed; on the left, a tied curtain. Cm. 30 x 26. Cond.: very good; small abrasion on the infant face.

[References: Oeuvres complète de Bernard Palissy èdition conforme aux textes originaux imprimès du vivant de l'auter avec des notes et une notice historique par Paul Antoine CAP JJ D PARIS 1844, note pp. XVI-XVII].

Paris, Tuileries, Bernard Palissy and Sons atelier; forward 1561 (?). € 40.000-55.000 82

There are many news about the two Picchi brothers who worked ﬁrst in Casteldurante and from 1565ca in Rome, among which the ordination in 1548 by Nicola Canizia of one thousand and ﬁve hundred majolicas decorated "trophies" and " alla veneziana " Palermo market, highlighting the workshop fame (Gardelli 2014, page 24). Although the musical or warlike "trophies" decoration persisted in Casteldurante until the seventeenth century, the extraordinary quality of the painting in the present dish, brings the pictorial genre back to its beginnings; in particular, it is legitimate to attribute it to the Canizia order to the two Picchi brothers, whose initials could be recognized in the two "p" in the cylinders above the drum. There are many comparisons with important majolica in various museums and private collections (ITALIKA, Formica etc.) but in general the cherubs are not obtained with a well-marked contour line as in the present, signing a remarkable artist, operating in the Picchi shop, and that perhaps he signs with a fence.

69 PLATE Soup plate with wide everted brim trough with ingiro and wide low cable; sunken support. Painted majolica in polychrome; blue tesa painted with small graffito incisions showing the white of the background majolica and sub-painted in to “trophies” of musical genre bianchetto motive; on the right above a drum two cylinders, each with the letter "P", and double "P". On a bright yellow background a "winged Putto" (Love) advancing" to the left on a green field has the face turned to the right. The undressed body enclosed by a contour line is painted in large veils from white to pink. The figure has a nice and smiling face, curly hair on his forehead, and holds his hands to the left. The winged figure has blue and yellow feathers. The depiction ends with a bare plant having an almost manganese black fence at the bottom. Undecorated ivory majolica rear.

[ C . F i o c c o - G . G h e r a rd i , , L a m a i o l i c a Rinascimentale di Casteldurante. Collezione Saide e Mario Formica, Iesi 1997, passim; G. Gardelli, ITALIKA. Maiolica Italiana del Rinascimento. Saggi e Studi, Faenza 1999, .nn.138.139; C. Leonardi-M. Moretti, I Picchi maiolicari da Casteldurante a Roma, Sant'Angelo in Vado 2002, passim; G. Gardelli, Il corredo apotecario di Roccavaldina: una brocchetta stemmata ripropone l'enigma della committenza, in Proceedings of the conference " Le maioliche del Museo Farmacia di Roccavaldina e la farmacopea in Sicilia dal Rinascimento ad oggi ", 12 October 2013, Roccavaldina 2014, p. 24]

Ø cm. 23; h. cm. 4; brim cm.5. Cond.: excellent. Casteldurante Urbania, Angelo and Ludovico Picchi workshop, sec. XVI, half. £ 2.500-4.500 86

70 BASIN Rippled high wall basin, four sections divided, four sliced, total sixteen ﬂuted; high and large everted ring stand. Painted majolica in polychrome: two tones yellow segments on the rim, “raffaellesche” style on the wall; “Figura femminile su prato” on the inner surface, holding over the head a written ribbon: “AMA.IDIO.E.NON.FALIRE.FA.PVR.BEN”. Outer in white colored majolica. H. cm. 14; Ø b.cm. 37; Øp.cm.12. Cond.: very good. Deruta, late XVI – early XVII century £ 3.800-5.000 Rare basin characterized by a still good preserved “raffaellesca”, with main elegant depiction and popular wisdom writing. This vessel has a comparison in a pedestal vase, smaller than it but presenting the same arrangement. The “raffaellesca” motive is more vernacular than the basin, nowadays at the Regional Museum of Pottery in Deruta. [References: Aa.Vv., Antiche maioliche di Deruta, Spoleto 1980, p. 19, pedestal vase in the Civic Museum of pottery – Deruta, XVII century].

71 CUP (water whistle) Vine leaf shaped cup on high swollen foot; the whistle opening is a hollow tube leaning on branch, surrounding a seated Putto, tutto tondo, inserted in tendril patterns; vegetal background. Painted majolica in polychrome: two tones yellow, light green and brown colored lumps on putto's hair. H. cm.9; Ø mx 15,5; Ø b. cm. 6,8. Cond.: intact. Deruta, late XVI – early XVII century £ 2.000-4.000 The whistle cup has comparison in some examples, with minimum variants, preserved in several Italian museums (Faenza, Arezzo, Milan, Castello Sforzesco) even in France (Ecouen, Louvre). [References: (edit by) C. Salsi, Museo d'arti applicate Ceramiche, Tome I, Milan 2000, p. 98 n. 89, Coppa (ﬁschietto ad acqua), recorded by G. Busti – F. Cocchi]

72 TILE Polychrome illustrated majolica tile; on the main surface the depiction of Morte di Lucrezia; undecorated on the rear. Dying Lucrezia, pierced by a sword, on the right is supported by an Angel holding a book (the Gospel?); on the left, she is comforted by two handmaids or matrons. Here the Roman episode, told in Tito Livio work, becomes symbol of Christian virtue. Beautiful depiction of the Angel in a suggestive setting, in which worldly architectural elements coexist with Paradisiac foreshadowed land. The Lucrezia image is inspired by Luca da Reggio paint (1605-1654), born in Emilia, active in Veneto region. Meanwhile the depiction and the pictorial ductus could be insert in the style and models of Carmine Gentili a Castelli. Cm. 26 x 35,5; <cm.1,8>. Cond.: good, one glued section. Castelli, Carmine Gentili, 1720-1740. ÂŁ 3.800-5.000 96

73 TABLET The beautiful tablet certainly belongs to the hand of Carlo Antonio, for comparison with majolica, in the Matricardi collection, exceptionally signed by him "C.A.G. CASTELLI ", where the two-color of the treelined enviroment is the same, like the complexity of the landscape with various views. Despite the inscription "Castelli" is also assigned to a hypothetical period of Urbino by Carlo Antonio (Fiocco et alii 2012, No. 119) following his son Francesco Antonio, graduated in Urbino in 1705 who painted some tablets, but marking VRB and not Castelli (Gardelli 2004). Carlo Antonio inaugurates the new Central European style linked to landscape painters, particularly Poussin, present in Rome where he died in 1665, and Lorrain, whose ancient world linked style we ﬁnd in the two columns of the tablet, similar to those of the painting "Marina con Enea a Delo "in London (National Gallery). Carlo Antonio does not copy but reelaborates images, inspired by the engraved prints of great painters.

Rectangular tablet with majolica recto. Polychrome painted Majolica depicting a complex representation. On the left a urban landscape with Doric columns in the foreground supporting an entablature as a frame for an urban landscape with Renaissance palaces and strolling ﬁgures. Down from the left to the center is depicted a rural scene: a yellow ram is followed by a shepherdess with basket and apron knotted at the waist. She indicates lambs with her hand. In the background a seascape and swallows in the sky. On the right on a small island a man seen from behind with a large cloak scrutinizes a sailboat on the sea with a spyglass, a girl with a blue dress is seated and looks towards the sea. The depiction ends with a tangle of leafy trees, one in yellow, another in green with twisted trunks. Cm. 26 x 20; <cm. 1.3>. Cond.: excellent. small chippings on the rim.

[G. Gardelli 2004, Francesco Antonio Saverio Grue. Letterato, Poeta and Pittore. 1686- 1746, (s.l., but Teramo); C. Fiocco et alii, Capolavori della maiolica castellana dal Cinquecento al terzo fuoco. La collezione Matricardi, Turin 2012.]

Castelli, Carlo Antonio Grue, late XVII - early XVIII. £ 2.600-4.600 98

EUROPEAN PORCELAIN th

18 Century historiated Porcelain and a FabergĂŠ egg

74 Box Amazing parallelepiped box with bronze hinged lid. Painted porcelain, mainly in sanguine style, depicting Scenette galanti outer and Mazzetti ﬂoreali on the inner surface; surrounded by rocaille patterns in gold relief. On the lid, author sign. On the base, stamp and “B” letter, revealing the manufacturing period (the “A” letter corresponds to the year 1753). H. cm.5; cm. 14, 5 x 7,5. Cond.: very good. Vincennes, The Royal Workshop of Porcelain; blue colored stamp, “B” letter in the center; 1754-1755. £ 3.000-5.000

102

75 TRAY Porcelain oval shape tray, slightly converging brim, notable inner wall, large inner surface. Gold painted band in relief on the brim, with small silver inserts and turquoise gilded dots. On the brim: sequence of winged fantastic animals, confronting each other, divided by a bunch of three grain spikes, alternating arranged, following a heraldic symbolism. Extraordinary curly volutes bond the composition. Gold colored narrow inner wall. On the inner surface: mythological painted scene, rich colored depicting “Venere nella fucina di Vulcano”. Outer, the Vienna stamp; on the right, writing in gold Venus in Er Schmiede des Vulcan 1801; impressed “P” letter; on one side, ﬁve gilded spots, light relief.

Freely inspired to Venere domanda le armi a Vulcano per Enea, painted by Francois Boucher, dated to 1732 (Louvre). On the left: Venus with Eros and seated maids on a cloud, close to forge entrance. On the right: Vulcano shows the forged weapons; assistants in the inner of the building. Interesting depiction of Vulcano, pointing the hold shield; in the center, the Trifoglio, ancient symbol of Fürth, “fascinating clover city”, of Bavaria Land. Probably commissioned by the local community or by a wealthy family, because of the abundant use of gold color, the elegance of heraldic decorative patterns and in particular the painting talent of a great artist.

H. 7,5; cm. 55x40,5. Cond: very good. Vienna, Imperial workshop, painter P; 1801. £ 8.000-10.000 106

76 OVAL PLATE Porcelain oval plate, entirely polychrome painted inserted in an original wooden frame. In the blue colored sky Il tempo sottrae la Verità dall'invidia e dalla discordia. On the lower side, close to the rim, the author sign, covered by the frame: J. B. Cousin Fecit 1807. Ø cm. 14,5; with frame cm. 20,5. Cond.: intact. France, painter Jean Baptiste Cousin; 1807. £ 1.200-1.600 Classic typology iconography is inspired by Nicola Poussin paint “Il tempo e la Verità”, dated to 1641, nowadays at Louvre. Jean Baptiste Cousin, porcelain painter, has a great artistic talent; he painted a porcelain, probably acquired in Sèvres, maybe for personal use.

110

The famous Peter Carl Fabergé Easter eggs are an extraordinary example of jewelry; made under Alexander III commission (Tsar from 1881 to 1894) since 1885, as Easter present for his wife. A minor art production is less famous of the latter, but elegant and elitist in the same way; desired by Alexander III for his diplomatic corps. The porcelain egg is realized by the Fabergé workforce of the Imperial Manufacturing in Saint Petersburg. Chiseled gold leaf and the monogram offers a graceful aspect to the egg. The prerogative of Alexander III was to donate an important object to noble families, enriched by his precious monogram. The “brisè” ﬂan is a clear example, made in ivory, composed by a gold monogram, two set diamonds on the crown and gold imperial symbol, Tsar's gift to the noble family of Kovalevskaya, between 1885 and 1890. This unpublished porcelain egg is the Tsar present to Bernard Von Welczeck (1844-1917), secretary of Saint Petersburg Legion and Foreign Affairs in Madrid. It was inherit by his son Graf Johannes Bernhard Von Welckzecke, then get by his daughter, the baroness Luisa Rosario Trinidad Bernardette Von Welczeck y Balmaceda, wife of Clemente Aldobrandini, mother of Camillo Aldobrandini, ancient Roman family.

77 EGG White porcelain egg, a silk violet colored ribbon crosses the body, coming out terminals are covered by a gold applied dome, tied in a bow. A gold chiseled leaf on one side, shaping an A letter, similar to medieval miniature. On the upper section a cross with a crown; ending with the monogram forming the Roman number three. The gold colored elements are decorated with a very elegant geometrical chiseling technique, various designs. Lightweight silk characterized by branches of daisies embroidery, with white corolla and light green foliage; worked in stem stitch. H. cm.11,5. Cond.: very good; probably original clefts tracks due to admission of little dome. SSt. Petersburg, Imperial manufacturing, jeweler Fabergé, commissioned by Alessandro III, Tsar of Russia, for his diplomatic corps; 1885 ca. £ 12.000-18.000 112

TERMS AND CONDITIONS This notice is addressed by Bertolami Fine Arts LTD to any person who may be interested in a Lot. Any additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. The terms and conditions of sales applied to both floor and online Bertolami Fine Arts LTD sales are the ones on the bertolamifinearts.com site and not those published in the printed catalogs. 1. OUR ROLE In its role as Auctioneer of Lots, Bertolami Fine Arts LTD acts solely for and in the interests of the Seller. Our experts are available to prospective buyers to provide information about lots for sale. The Seller has authorized Bertolami Fine Arts LTD to sell the Lot as its agent on its behalf and, save where we explicitly make it clear to the contrary, Bertolami Fine Arts LTD acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller's behalf. Bertolami Fine Arts LTD does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bertolami Fine Arts LTD does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer's Agreement, which you will find beneath. 2. LOTS Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue, Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the color(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price. It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details. Any person who damages a Lot will be held liable for the loss caused. 3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot The Catalogue contains a description of our experts and an image about each Lot. Estimates The estimate is printed beside the description. Estimates are only the result of negotiations between Bertolami Fine Arts LTD and the Seller. They does not take into account any VAT or Buyer's fees. The estimate of each lot is in pound. Condition Reports Bertolami Fine Arts LTD can give to all customers the Condition Report on each lot. If so requested, this will be provided by Bertolami Fine Arts LTD on behalf of the Seller free of charge. The Seller's responsibility to you The seller undertakes to respect all contractual obligations listed here relating the sale of the items in the auction. Bertolami Fine Arts LTD's responsibility to you Bertolami Fine Arts LTD acts as an intermediary for the sale and it commits itself to allow analysis, study or test for the interest of the seller and buyer unless they are invasive or damaging the item. Alterations Descriptions and Estimates may be amended at Bertolami Fine Arts LTD discretion from time to time by notice given orally or in writing before or during a Sale or by publication. Each lot is available for examine before the

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sale. Authenticity The Auction House offers an unconditional and everlasting guarantee for the authenticity of objects. All identifications and descriptions of the items sold in this catalogue are statements of opinion and were made in good faith. Reserve Price BFA may accept absentee bids which are below the reserve price. If the bidding ends before the reserve is reached, Bertolami Fine Arts will submit the consignor the highest absentee bid below the reserve price received. The decision of the seller will be communicated to the bidder within fifteen days from the auction date. 4. CONDUCT OF THE SALE Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again. Some lots may carry a reserve. The auctioneer reserves the right not to sell an item below the confidential price, or will repurchase the item on behalf of the consignor or of BFA. If a reserve exists the auctioneer reserves the right to bid on any lot on behalf of the consignor up to the amount of the reserve against any floor or mail bidders. The auctioneer also reserves the right to bid on any lot on behalf of BFA. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer's hammer. Any dispute as to the highest acceptable bid will be settled by the Auctioneer at his or her absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. All estimates are in POUNDS STERLING. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale. 5. BIDDING We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you must supply if your bids are to be accepted by us. Please bring your passport, driving license (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form. Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer's. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price

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of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk. Bidding by telephone (only available on lots with a low estimate greater than £500) If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Our staff will be available for phone calls in foreign languages as long as previously agreed upon. Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interest to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer's bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed. Bidding via the internet Please visit our Website at www.bertolamifinearts.com for details of how to bid via the internet. Bidding through an agent. Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent's authority to bid. For further details, please contact Customer Services of Bertolami Fine Arts LTD. 6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BERTOLAMI FINE ARTS LTD On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. Please read the terms of the Contract for Sale and our Buyer's Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements prior to them being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale. 7. BUYER'S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER Under the Buyer's Agreement, a premium (the Buyer's Premium) is payable to us by the Buyer in accordance with the terms of the Buyer's Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer's Agreement. The following Buyer's Premium is written within the “information for buyers”. In order to harmonize tax procedures among EU countries, with effect from 1 January 2001 new rules were introduced with the extension to the Auction Houses of the margin scheme. Article. 45 of Law 342 of 21 November 2000 provides for the application of the scheme to sales concluded in execution of contracts of

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commission defined: ● private clients; ● clients to tax that the operation subject to the margin scheme; ● Customers who have not been able to deduct the tax in accordance with Art. 19, 19 bis, and 19-bis2 the DPR. 633/72 (which have sold well in free ex-Art. 10, 27-d) ● customers who benefit from the exemption arrangements provided for small businesses in the State of origin. By virtue of special legislation, in cases mentioned above any VAT tax, or a sum in lieu of VAT, if applicable, it is charged by the Auction House. No symbol will be used for lots sold under the margin scheme. 8. PAYMENT The payment of the sold lots must be made immediately after the auction and can be made by bank transfer, cash, check, bank check bank account, credit card (Visa or Mastercard). Were exceptional exchange rate variations to occur due to imponderable situations, Bertolami Fine Arts LTD may, at its sole discretion, issue invoices in UK pounds (GBP), US dollars (USD), Euros (EUR). If the invoices are in terms of Euros or US dollars, we will apply the exchange rate between UK pounds and Euros or UK pounds and US dollars prevailing at the time of the contract of sale (auction date). Bertolami Fine Arts LTD will bill to the same person that is at the registration of the pallet unless previously agreed otherwise with the Administration. As required by law, Bertolami Fine Arts LTD is obliged to call for their customers to show an identity document (identity card, driving license, passport) and confirmation of address. Buyers wishing to pay by bank check must make arrangements with the Administration. It is not possible to deliver the goods before the payment by check or bank draft until encashment of the check, unless otherwise agreed prior to the auction. You will find the bank details in the invoice. Payment can be made by Visa or Mastercard only by the cardholder. Bertolami Fine Arts LTD reserves the right to check the source of the payments received. Bertolami Fine Arts LTD reserves the right to refuse payments received from people different from the purchaser. However, in limited circumstances and in any case with the consent of the seller, Bertolami Fine Arts LTD has the ability to offer buyers it deems reliable the option of paying for goods purchased at cadences deferred. The mode of deferred payment will be set out before the sale. Before considering whether or not to grant deferred payments, Bertolami Fine Arts LTD may ask for references and documentation on the reliability and identity of the buyer. It will not allow anyone to withdraw the lot prior to the payment, unless credit has been granted before the auction. 9. COLLECTION It is Bertolami Fine Arts LTD policy to request proof of identity on collection of a lot. Lots will be released to you or your authorized representative when full and cleared payment has been received by Bertolami Fine Arts LTD. 10. STORAGE Storage and handling charges may apply. For information concerning post sale storage and charges, please contact our Customer office. 11. LOSS OR DAMAGE Buyers are reminded that Bertolami Fine Arts LTD accepts liability for loss or damage to lots for a maximum period of ten (10) days after the date of the auction. 12. SHIPPING Bertolami Fine Arts LTD Shipping Department can advise buyers on exporting and shipping property. You can contact the Customer service on the number that you see in our website. The entire shipment costs are to be paid for by the buyer. Additionally, a form to provide shipping instructions is attached to the buyer's invoice. Your shipper will include a quote for transit insurance. All shipments should be 117

unpacked and checked on delivery and any discrepancies notiﬁed to the transit insurer or shipper immediately. Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country. 13. THE SELLERS AND/OR BERTOLAMI FINE ARTS LTD' LIABILITY Besides the responsibilities and obligations of sellers and Bertolami Fine Arts LTD above, neither sellers nor Bertolami Fine Arts LTD shall be held responsible for any error in the description of the lots or in their estimates for the sale and for any omissions that may result in losses or damage to property or assets to the purchaser. 14.DATA PROTECTION – USE OF YOUR INFORMATION Were we to obtain any personal information about you, we would only use it in accordance with the terms of our Privacy Policy, subject to any additional speciﬁc consent you may have given at the time your information was disclosed.

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OfďŹ cial Insurance Brokers of Bertolami Fine Art

Chinese Ceramics and Asian Works of Art

PORCELAIN AND CERAMICS Italian Renaissance Maiolica and 18th Century historiated Porcelain

AUCTION 53

LONDON - 9 November 2018

ASIAN ART

Auction 53 9 November 2018 London