Condition report

Dia.: 25 - 16,3 cm (the the largest and the smallest dish)

L 36,5 - D 29,5 cm (the largest oval dish)

L 33 - D 25,5 cm (the medium oval dish)

L 29 - D 22 cm (the smallest oval dish)

H 12,8 - L 24 - D 20 cm (the tureens and covers)

Condition: (UV-checked)
- Three oval platters: all in excellent condition.
- Tureens and covers: all in excellent condition.
- 16 cm plates: 2 with a small repair to the rim, 1 with two small repairs to the rim, 9 in excellent condition.
- 21 cm deep plates: 1 with a few small rim chips, 2 with a small repair to the rim, 3 with two small repairs to the rim, 1 with several touch-ups to small rim chips, 5 in excellent condition.
- 25 cm flat plates: 1 with a 1 cm hairline, 2 with a small repair to the rim, 1 with two small repairs to the rim, 1 with two small repairs to the rim and a reglued rim chip, 2 with a 1-2 cm hairline and a small rim chip, 4 in excellent condition.
- 25 cm deep plates: 2 with a small repair to the rim, 11 in excellent condition.

 

H 54 cm

Condition: (UV-checked)
- One lid excellent, with normal minor superficial wear.
- The second lid with repairs to both arms of the lady, to the teapot and to a section of the rim, otherwise good with normal minor superficial wear.
- One vase with restoration to both figures on the side and a number of repairs along the base, otherwise good with normal minor superficial wear.
- The second vase with some restoration to one of the corners on the base, with a chip to one of the ladies on the side, otherwise good with normal minor superficial wear.

Dia.: 24 cm

Condition: (UV-checked)
- Three in very good condition with normal minor superficial wear.
- Six with small rim chips and minor superficial wear.

H 8,8 - Dia.: 10,7 cm

Condition: (UV-checked)
- Excellent, minor superficial wear.

H 62,5 cm (the tallest vase with shade)
H 14 cm (the pair of vases) 

Condition: (UV-checked)
- The pair of celadon plates: small rim chips.
- The pair of vases: one with small rim chips, one with some restoration to the rim and to the base.
- The largest saucer: a rim chip and a 4 cm hairline.
- The four saucers: three with a hairline, one broken and reglued.
- The mounted plate: a chip on the rim.
- The lamp-mounted vase: visibly in good condition.

H 61 - 59,5 cm

 Condition: (UV-checked)
- The vase with birds with a large crack, the handles missing.
- The vase with figures: hairlines to the base and small chips to the handles, otherwise good.

H 83 cm

Condition: (UV-checked)
- One vase broken and reglued on the upper rim.
- One vase in good condition.

H 29,5 - 25 cm (with and without stand)
Dia.: 31 cm

Condition: (UV-checked)
- A hole through the base with related hairlines, otherwise in good condition.

H 41 cm

Condition: (UV-checked)
- The vase on the left with a part of the rim restored with related overpainting. The body with a restored circular break with related overpainting.
- The vase on the right hand side with a part of the top rim restored with related overpainting and both handles reattached with related overspraying. The base with a star-shaped hairline.

H 86,5 cm

Condition:
- One vase with numerous reglued breaks.
- One vase with retouching to the applied dragons, some retouching to the Hehe brothers on one side.

H 90 cm

Condition: (UV-checked)
- A filled chip on the rim, with a short related hairline.

Dia.: 18 cm

Condition: (UV-checked)
- Excellent.

 

 

H 23 cm

Condition: (UV-checked)
- Both lids in very good condition with a few small superficial chips or burst glaze bubbles to the openings.
- One pot with a few small superficial chips and a faint hairline to one of the handles.
- One pot excellent with negligible minor superficial wear.

H 60,5 cm

Condition: (UV-checked)
- A small section of glaze loss to the underside of the rim, otherwise in good condition.

H 27 cm 

Condition: (UV-checked)
- Two lids and one jar in excellent condition.
- One jar with a short tension line to the rim, otherwise in excellent condition.

H 20 - Dia.: 21 cm (famille rose bowl with cover)
H 11,7 - 10,5 - 10,5 cm

Condition: (UV-checked)
- Famille rose bowl and cover excellent.
- Two round flaskes excellent, small chip to the unglazed inner part of the lid.
- Rectangular flask's lid is broken and reglued.

H 16 - L 27 - D 18,5 cm (the square tureen)
H 18,5 - Dia.: 26 cm (the bowl with cover)
H 10,8 - L 26,5 - D 22,7 cm (the basket with the saucer)
31 x 24,5 cm (the colander)
H 6 - L 14 - D 11,5 cm (the butter pot)

Condition: (UV-checked)
- Rectangular tureen: cover with a small crack to the handle, tureen with a handle reglued, dish in good condition.
- Round tureen: cover intact, tureen broken and lacking the handle.
- The reticulated basket with a small section of the lattice work lacking. The stand with numerous rim chips.
- The colander in very good condition.
- The butter tub and cover in very good condition. The stand with a small rim chip.

H 43 cm

Condition: (UV-checked)
- Hairlines to the base with traces of overpainting, otherwise good.

H 43 cm

Condition: (UV-checked)
- Very good, some wear to the enamels.

 

 

H 9 - L 36 - D 29,5 cm

Condition: (UV-checked)
- Excellent, with negligible minor wear to the gilding.

Dia.: 26,5 cm (the stands)

H 22 cm (the jardinières on stand)

H 18,5 cm - Dia.: 28 cm (the jardinières)

Condition: (UV-checked)
- One jardinière with a small flake. The other pieces in good condition. Minor superficial wear throughout.

H 18,5 cm - Dia.: 28 cm

Condition: (UV-checked)
- Excellent.

H 91 cm

Condition: (UV-checked)
- The first vase with a chip under the rim, a hairline in the middle extending from the chilong's tail to the white horse, slightly visible on the inside.
- The second vase with a chip to the lion's tail of the handle. A chilong's head and a chilong's neck restored. A glaze line of ca. 10 cm above the foot rim and some superficial crazing around the foot rim.

 

H 46 cm

Condition: (UV-checked)
- A chip to one of the lion handles, otherwise in good condition.

Dia.: 17 cm (the plate)
Dia.: 7 cm (the saucer)
H 4,5 - Dia.: 8,5 cm (the box and cover) 

Condition: (UV-checked)
- The plate: 4 cm hairline.
- Bowl with figures: excellent.
- Blue ground bowl: rim chip and small Y-shaped glaze line on the inside.
- Box and cover: box with a 1 mm chip on the rim, cover excellent.
- Small saucer: two 5 mm hairlines.

H 28,5 cm

Condition: (UV-checked)
- Excellent.

H 43 cm

Condition: (UV-checked)
- The vase with a 3 cm V-shaped hairline to the neck. Otherwise good with normal minor superficial wear.
- The cover in good condition.

H 6,5 - Dia.: 13,5 cm

Condition: (UV-checked)
- Excellent, with negligible minor superficial wear.

H 29,5 - 22 - 11 cm

Condition: (UV-checked)
- The brush pot in excellent condition.
- The single vase quasi excellent, with a few burst glaze bubbles.
- The pair: one excellent, one with a Y-shaped hairline to the base.

H 58 cm 

Condition: (UV-checked)
- Excellent.

H 60,5 cm

Condition: (UV-checked)
- Excellent.

40,5 x 30,5 cm (the fish dish)

H 10,5 cm - Dia.: 37 cm (the bowl)

Condition: (UV-checked)
- The bowl in good condition, some wear to the enamels.
- The fish dish in excellent condition.

 

Dia.: 14 cm (the saucer)

H 9 cm - Dia.: 14 cm (the teapot)

Condition: (UV-checked)
- The cup excellent.
- The box and cover excellent.
- The bowl with a 5 cm hairline. The cover in good condition.
- The teapot with a small chip to the unglazed inner rim. The cover excellent.
- The saucer excellent.

H 59,5 cm

Condition: (UV-checked)
- Excellent.

H 58 cm

Condition: (UV-checked)
- Excellent,  with a few burst glaze bubbles and a baking flaw to one of the handles.

H 63 - 62,5 cm

Condition: (UV-checked)
- Both with restoration to the upper section. One along the entire circumference, the upper 10 cm oversprayed. One along half the circumference, the upper 10 cm oversprayed.

H 43 cm

Condition: (UV-checked)
- One vase with a large rim chip.
- One vase excellent.

Dia.: 24 cm (the dish)

H 15,7 - Dia.: 23,5 cm (the jardinière)

H 16,5 cm (the vase)

H 13 - 5,5 cm (the bowls)

Condition: (UV-checked)
- The plate with a 5 cm hairline and a rim chip.
- The jardinière excellent.
- The vase excellent.
- The bowl quasi excellent with a negligible burst glaze bubble.
- The chupu bowl and cover excellent.

H 58 cm

Condition: (UV-checked)
- Both in very good condition with minor superficial wear.

H 39 - 38 cm

Condition: (UV-checked)
- The vase with antiquities in very good condition with a chip the unglazed base.
- The vase with birds in good condition with a baking flaw on the rim.

Dia.: ca. 13,5 cm (the saucers)

H ca. 5,5 cm - Dia.: ca. 8,5 cm (the cups)

Condition: (UV-checked)
- Saucers: 3 excellent, 3 with a rim chip, 1 with a few small rim chips.
- Cups: 3 excellent, 2 with a rim chip, 1 with 2 small rim chips, 1 with a missing section from the rim, 

H 44 cm

Condition: (UV-checked)
- Quasi excellent, with negligible minor superficial wear, notably to the rim.

H 60 cm

Condition: (UV-checked)
- Excellent, but with some baking flaws.

H 28 - 24,5 cm (the two jars and cover)
Dia.: 23,5 - 23 - 21 cm (the dishes)
H 15 cm (the box with butterflies)
H 3,5 cm - Dia.: 7 cm (the box and cover)

 Condition: (UV-checked)
- Box and cover: two hairlines to the box.
- Peacock plate: two small rim chips.
- Pair of octagonal plates: both with small chips.
- The stacking box: one compartment with a 3 cm glaze line on the inside. Otherwise in good condition with minor superficial wear.
- The tallest 'bird' jar: good, with minute chips to the rim.
- The smaller 'bird' jar: good, with minute chips to the rim.

H 41 cm

Condition: (UV-checked)
- The male with a crack to the base, one ear broken off and reglued, and further minor superficial wear.
- The female appearing in very good condition, with minor superficial wear.

H 65 cm 

Condition: (UV-checked)
- The collar with a small chip and traces of restoration to the black enamelled section.
- Otherwise in good condtion with minor superficial wear.

H 7 - Dia.: 20 cm
H 6,5 - Dia.: 16 cm

Condition: (UV-checked)
- The sanduo bowl with a ca. 4 cm hairline.
- The floral bowl in excellent condition.

H 138 cm

Condition: (UV-checked)
- Slightly leaning to one side.
- A large rim section broken out and with internal fractures, with old restoration covering the damage.
- Minor superficial wear throughout.

H 93 cm

Condition: (UV-checked)
- Generally in very good condition, with a few negligible small superficial chips.

82,5 x 64 cm

Condition: 

- In very good condition, chipped along the rim, likely fragmentary from a larger composition. The usual wear.

H 4,5 - L 6 cm

Condition: (UV-checked)
- A few very small superficial rim chips, otherwise good.

H 46 cm

Condition: (UV-checked)
- Excellent, with a negligible superficial scratch to the glaze on the back.

H 58,5 cm

Condition: (UV-checked)
- One excellent, with a baking flaw on the base.
- One with a very small chip on the rim, otherwise good.

H 58 cm (the vase)
H 28,5 cm (the hat stand)

Condition: (UV-checked)
- Both in excellent condition.

H 46 - 22,5 cm (the vases)
H 55,5 cm (the vase incl. the mounts)
Dia.: 24,5 cm (the blue and white dish)
Dia.: 27,7 cm (the cloisonné dish)
Dia.: 18 cm (the censer)

Condition: (UV-checked)
- The tallest vase: drilled hole through the base.
- The blue and white plate: small rim chips.
- The cloisonné dish: good, minor wear.
- The champlevé censer: good, some staining, minor casting flaws.
- The blue and white vase: drilled hole through the base.
- The lamp-mounted vase: drilled hole through the base.

H 40 cm

 

Condition: (UV-checked)

- The vase in excellent condition, with a number of small firing flaws.

H 24 - 18,5 cm (with and without stand)

Condition: (UV-checked)
- Excellent.

Dia.: 39,5 cm

Condition: (UV-checked)
- Excellent.

H 45,5 cm

Condition: Broken and reglued on the rim, with a related hairline extending downwards and another extending horizontally to both sides.

The expression hai wu tian shou 海屋添壽, which translates as 'may the ancient house for storing changes bring the longevity', is an auspicious birthday message wishing the recipient a long and happy life. The legend of the Sea House Addition, alluded to in the central reserve, tells the story of a group of immortals who are discussing their ages. One of the immortals states 'Every time the sea dries up and becomes a land of mulberry fields, I place one chip in my house as a record. And I place another one when the land of mulberry fields changes back to become the sea. Now my house is full of chips. How old do you think I am?' These chips are markers used for keeping count, made of wood or bamboo, and the word chip (chou 壽) is a homophone for the word meaning longevity (shou 壽), therefore instilling the meaning of adding age or longevity.

 

H 62 cm

Condition: (UV-checked)
- The associated cover broken and restored, with extensive overspraying.
- The vase with the entire white part of the neck oversprayed.

H 8 cm - Dia.: 12,5 cm

Condition: (UV-checked)
- Quasi excellent, with a small number of small superficial spots of glaze loss along the rim.

H 18,5 cm

Condition: (UV-checked)
- Very good, with superficial crazing.

H 6,5 cm - Dia.: 12,5 cm

Condition: (UV-checked)
- A tight ca. 1 cm hairline on the rim, invisible to the naked eye but showing under UV-light.
- Typical superficial glaze loss along the rim.
- Otherwise in good condition.

H 58,5 cm

Condition: (UV-checked)
- A small chip to both of the handles.
- Otherwise good, with normal minor superficial wear.

Dia.: 11 cm

Condition: (UV-checked)
- Quasi excellent with a very small chip on the back of the rim

H 26 cm

Condition: (UV-checked)
- Excellent.

H 21,5 - 14,5 cm (the tallest and the smallest vase)

Condition: (UV-checked)
- Famille verte vases: one excellent, one with a 1 mm chip on the rim.
- The blue and white jars: one cover broken, one cover excellent, both jars excellent.
- The famille rose vase with a superficial 2 mm flake to the base, as well as a baking flaw to the base. The cover excellent.

H 24,5 cm

Condition: (UV-checked)
- Excellent, with a drilled hole.

H 17 cm

Condition: (UV-checked)
- Both excellent.

H 60,5 cm 

Condition: (UV-checked)
- Excellent.

H 42,5 - 34 - 25,5 cm

Condition: (UV-checked)
- The small vase quasi excellent with a flake to the enamel on one handle and two small superficial chips to the unglazed base.
- The jar and cover both excellent.
- The vase excellent, the cover with small superficial spots of glaze loss to the rim of the finial.

H 57 cm 

Condition: (UV-checked)
- One with two rim chips, with a related 3 cm hairline, and a hairline across the base.
- One in very good condition.

H 34,5 - 29,5 - 29 cm

Condition: (UV-checked)
- The deer handle vases: one good, one broken and reglued.
- The pair of bottle vases: one excellent, but wobbly, one with a number of small rim chips.
- The tallest pair: one with small rim chips and small superficial chips to the dragons and handles, one very good with a small rim chip.

H 14,5 - 12 cm (the Buddha hand, with and without base)
H 7 - 5 cm (with and without base)
H 4 cm (the seal)

Condition: (UV-checked)
- The tiger with a small chip to the back of the right ear, the tail possibly reduced.
- The Buddha hand in good condition with natural inclusions and tension lines.
- The seal with chips along the edges.

Dia.: 13,7 - 11,3 - 8 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- The largest acquired from Het Magazijn, Ghent, in March 2003, according to the owner's inventory notes.
- The mid-sized acquired from Het Magazijn, Ghent, in July 2010, according to the owner's inventory notes.
- The smallest acquired from Het Magazijn, Ghent, in March 2003, according to the owner's inventory notes.

Condition: (UV-checked)
- The largest in very good condition wih superficial staining.
- The middle-sized with small chips around the edges, roughness all round, and superficial wear and patination.
- The smallest in very good condition with normal minor superficial wear.

Dia.: 29 - 17 - 16,5 cm (the discs, excl. the stand)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- The largest acquired from Het Magazijn, Ghent, in October 2005, according to the owner's inventory notes.
- The mid-sized acquired from Het Magazijn, Ghent, in July 2010, according to the owner's inventory notes.
- The smallest acquired from Het Magazijn, Ghent, in December 2002, according to the owner's inventory notes.

Condition: (UV-checked)
- The one on the left: well preserved, a few small chips on the rim, tool marks and scuff marks throughout.
- The one in the middle firmly fixed in its stand. There is a reglued break just next to the central hole. A further reglued section with internal breaks to the rim, as well as a number of rim chips. There is a section missing to the central protruding roundel.
- The largest one with rim chips and superficial wear throughout.

H 19,8 - 5,8 cm (the largest and the smallest sculpture without base)

Condition:
- A small piece broken off to the front and one to the back of the turquoise Buddha, no. 2 from the left on the first image.
- A small piece broken off to the back of the pink-blue dragon Buddha, no. 5 from the right on the first image.
-  A small piece broken off to the middle on the front of the blue Buddha, no. 4 from the left on the first image.
- Rock crystal Buddha, far left, in good condition with natural tension lines and inclusions.
- Pink quartz Buddha, no. 8 from the left, with the left section broken off and reglued.
- Green Buddha, third from the right, in good condition.
- Agate Buddha, third from the left, with a small chip to a foot.
- Green Buddha without stand, no. 7 from the left, in good condition.
- Purple quartz Buddha, no. 7 from the right, in good condition with a few minute chips.
- Purple quartz Buddha, no. 5 from the right, with a few chips.
- Green immortal, on the far right, with a section of the pipe reglued.
- Jadeite Liu Hai, no. 13 from the left, in good condition.
- Lan Cai He in white and grey stone, no. 9 from the right, in good condition with a few minute chips.
- Lady with fan in light green jade, no. 8 from the left, in good condition, but possibly lacking a small piece from the fan's stem.
- Goldstone Buddha, no. 10 from the left, in good condition.
- Soapstone seal, no. 6 from the right, in good condition.
- Green stone Buddha, no. 8 from the right, in good condition.
- Tiger eye Buddha, no. 12 from the left, in good condition.
- Light green Buddha, no. 2 from the right, in good condition.
- Purple quartz Guanyin, no. 11 from the left, with a section reglued.
- Lapis immortal with fan, no. 5 from the left, in good condition.
- Pink quartz lady, no. 6 from the left, in good condition.

H 15 cm (the head, excl. the stand)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in February 2011, according to the owner's inventory notes.

Condition: (UV-checked)
- Visible wear to the polychromy and gilding, otherwise appearing in good condition.

H 10 - L 11 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in October 2011, according to the owner's inventory notes.

Condition: (UV-checked)
- Lacking the tip to the left horn, otherwise in good condition with superficial encrustation, patination and a casting flaw to the rear left paw.

Dia.: 21,2 - 11 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- The largest acquired from Delorme Antiques, Malmaison, France, in May 2003, according to the owner's inventory notes.
- The smallest acquired from Het Magazijn, Gent, in January 2013, according to the owner's inventory notes.

 Condition: (UV-checked)
- Both in good condition, with superficial wear and patination throughout.

H 28,5 - 23,5 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Both acquired from Het Magazijn, Ghent, in February and March 2004, according to the owner's inventory notes.

Condition: (UV-checked)
- The smallest in very good condition, with superficial wear and patination.
- The tallest in good condition, the base with some casting flaws, the general surface with superficial wear and patination.

H 24,3 cm (the Jue)

H 14,2 cm (the square Dou)

H 14,5 (the He tripod ewer)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- the Jue ewer acquired from Het Magazijn, Ghent, in October 2012, according to the owner's inventory notes. Previously in the Weiner collection, U.S.A., according to the owner's inventory notes.
- the Dou acquired from Het Magazijn, Ghent, in December 2010, according to the owner's inventory notes.
- the He acquired from Het Magazijn, Ghent, in September 2008, according to the owner's inventory notes.

Condition: (UV-checked)
- Jue: very good condition, superficial wear and patination throughout. Old collection label on the base.
- Dou: encrustation and patination to the lower part. Section of the handle and spout with a very different feel, perhaps added at a later date.
- He: slightly tilting. Damage to the inner rim on the box. The cover good. Superficial wear and patination throughout.

Dim.: 34,5 x 18,8 x 15,4 cm

Condition:
- Please note there was an error in the dimensions, the correct dimensions are: H.: 16,5 cm - L.: 28,5 cm - Dia. (inner top): 18,5 cm
- A number of minor casting flaws throughout, most notably three small casting holes. One of the handles also likely to have suffered a casting flaw, which has now been filled up with encrusted patination.
- On the inside of the bowl, there are traces of incised characters.

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in September 2009, according to the owner's inventory notes.

H 34 cm

Weight: 3100 grams

Condition:
- Wear to the gilding and lacquer.
- Casting flaws to the right handside of the base.
- Lacking the two balls to the base on the right, one of each pair of ruyi-shaped ornaments on the side of the throne.
- The front left corner of the throne at one point reattached or reinforced, visibly soldered on the inside.
- A small loss to the hairdo.

H 83,5 - L 98,6 - D 48,9 cm

 

Provenance:

- Private Collection, Belgium, East Flanders.

 

Condition: (UV-checked)

- The side table in general in very good and stable condition, with a nice patina.

- Some traces of use and the usual wear.

- One leg with a small crack in the wood.

H 84 - L 120,5 - D 42,5 cm

Condition: (UV-checked)
- Overall in good stable condition.
- A number of glued reinforcements.
- Superficial wear throughout.

H 11 - L 19 cm 

Condition: (UV-checked)
- Both in very good condition with minor superficial wear.

H 39,5 cm (the cloisonné gong)
H 65 - L 47 - D 32 cm (the wooden frame)

 Condition: (UV-checked)
- The lobed section to the left of the inscription slightly bent and with some enamel loss.
- The wood with numerous worn spots and age cracks.

Work: ca. 133 x 64 cm

Frame: 157,5 x 82 cm

Condition: (UV-checked)
- Creasing, foxing and humidity spots to the surface.

Dia.: 10,8 cm (the saucers)

H 3,8 cm - Dia.: 6,8 cm (the cups)

Condition: (UV-checked)
- One cup with two short hairlines, one with a related small rim chip.
- The other cup with a hairline, otherwise in excellent condition.
- One saucer with a small superficial rim chip.
- The other saucer with a small rim chip and a related short hairline. 

Dia.: 23 - 22 cm (the largest and the smallest plate)

Condition: (UV-checked)
- Front row, middle: broken and restored.
- Front row, second from left, plate with yellow border: small touch-ups along the entire rim, glaze pits to the back of the plate.
- Front row, first from left, famille verte plate: rim chips.
- Front row, second from right: two small rim chips, ca. 7 o'clock.
- Front row, far right: big rim chip with 4 cm hairline, ca. 12:30 o'clock.
- Top left: small rim chip on the underside, otherwise good.
- Top right: small rim chip at ca. 4 o'clock, a restored rim chip at ca. 10 o'clock.

H 22 cm (the jar with cover)
H 15 - L 24 cm (the teapot)
H 10,5 - L 15,5 cm (the famille rose teapot)
H 3,5 - L 8,4 - D 7 cm (the salt cellar)

Condition: (UV-checked)
- The Yongzheng teapot: handle restored, numerous losses to the bottom, chips to the rim and to the spout. The incorrect cover with two rim chips.
- The brown teapot, probably 19th C.: the cover with a number of reglued breaks and lacking a part of the inner rim. Chips to the rim and a crack to the inside of the teapot.
- The salt with rim chips and losses to the enamel.
- The jar with a star-shaped crack to the base and chips on the rim.

H 25,5 cm (the tallest vase incl. cover)
Dia.: 14 cm (the saucer)
H 8 cm (the smallest vase) 

Condition: (UV-checked)
- The square flask with a chip to the base.
- The small dragon vase with a chip to the rim.
- The pair of small vases: one good, one with a rim chip and a chip to the dragon's head.
- The saucer: excellent.
- The blue and white jar with boys: excellent. The non-original cover restored.
- The pair of phoenix vases: one good, one with a Y-shaped 3 cm hairline.
- The small dragon vase: repair to the rim.
- The pair of large dragon vases: one good, one with a broken section on the rim.
- One of the small lids in good condition.
- The other lids all damaged.

H 11,5 - L 14,7 cm (the teapot and cover)

Dia.: 10,6 cm (the saucer)

Dia.: 7 cm (the cup)

Condition: (UV-checked)
- The cup broken and restored.
- The saucer in very good condition.
- The teapot excellent, the cover with small rim chips and glaze loss to the finial. 

Dia.: 23,5 - 22,5 cm (the largest and the smallest plate)

Condition: (UV-checked)
- Front row, far left: excellent.
- Front row, far right: small rim chips.
- Front row, plates 2 and 4 (pair): small rim chips.
- Front row, middle: small rim chips, hairline.
- Back row, far left: wear and small rim chips.
- Back row, middle: c-shaped hairline on the rim.
- Back row, far right: small rim chip.

H 17 cm (vases incl. covers)

Condition: (UV-checked)
- One beaker vase intact.
- One beaker vase with repairs to the rim and a 2,5 cm hairline.
- One covered vase in good condition.
- One covered vase with a large rim repair.
- One covered vase with a Y-shaped hairline of ca. 3 cm down from the rim.
- The covers all with restoration to the rim.

Dia.: 21 cm (the dishes)
H 4 cm - Dia.: 7 cm (the largest cup) 

Condition: (UV-checked)
- The plates: one with a 3 cm hairline, one with a few small superficial rim chips.
- The cups: both with small rim chips and a ca. 3 cm hairline.

H 28 cm (the black-ground vase)
H 18 - Dia.: 24 cm (the ginger jar)
H 6,5 - Dia.: 12,5 cm (the celadon bowl) 

Condition: (UV-checked)
- Cong vase: chip to one of the lower corners.
- Jar with figures: good, with superficial wear.
- Celadon bowl: two rim chips and a 3 cm hairline.
- Famille verte bowl: 5 cm hairline and a small rim chip.
- Immortals bowl: rim repair.
- Bowl on stand: bowl with a small rim chip, stand in good condition.

Dia.: 14,5 cm (the saucers)
H 9 cm - Dia.: 10 cm (the bowl and cover)

Condition: (UV-checked)
- The bowl with two small rim chips and two tight hairlines of ca. 2 and 1 cm. The cover with a small rim chip.
- One saucer excellent.
- One saucer broken and reglued.
- One saucer with two rim chips.
- One saucer with a 4 cm hairline.

Work: 39,5 x 26 cm

Frame: 48,5 x 35 cm

Condition: (UV-checked)
- Excellent, with normal minor superficial wear.

H 18,3 - 16,3 cm

Condition: (UV-checked)
- Both in very good condition with negligible minor superficial wear.

H 17,4 - 11,6 cm (with and without handle)

Condition: (UV-checked)

- The porcelain in very good to excellent condition, with minor superficial wear. 

- The metal mounts with minor superficial wear.

H 40 - 31 cm (with and without cover)

Condition: (UV-checked)
- Excellent, with normal minor superficial wear. Two small baking flaws just above the base.

H 59 cm (the tallest vase)
H 46,5 cm (the vase and cover)
H 44 cm (the Nanking vase) 

Condition: (UV-checked)
- The blue and white vase with rim chips, a 7 cm hairline runnnng down and rim chips to the lid.
- The dragon vase with a small superficial rim chip.
- The antiquities vase with a 3 cm hairline on the rim.

H 22,3 - L 19,5 cm (the jug)
H 21,5 - L 20,5 cm (the largest teapot)
H 18 - L 24 cm (the middle teapot)
H 17- L 18 cm (the smallest teapot)
H 13 - 12,8 - 12,5 cm (the bowls and covers)

Condition: (UV-checked)
- The tallest ewer with a small rim chip. (back row, right)
- The second tallest ewer quasi excellent with a small flake to the side of the spout, but lacking the lid. (front row, right)
- The bowl and cover with the twisted handles in excellent condition. (first row, second from left)
- The sugar bowl and cover: bowl with a few small rim chips, cover excellent. (front row, middle)
- The tallest teapot: lid with one large and one small rim chip, teapot in good condition. (back row, left)
- The second tallest teapot: large rim chip and crack to the teapot, cover with glaze loss to the finial. (front row, left)
- The bowl and cover in excellent condition. (front row, second from right)

 

 

H 5 - 3 cm (the largest and the smallest cup)
Dia.: 14,5 - 13 - 12,5 cm (the saucers)

Condition: (UV-checked)
- The blue and white saucer with a 3 cm hairline and a 2 mm rim chip.
- The famille rose cup with a phoenix with a 2 cm hairline.
- The famille rose cup with a rooster with a 3 cm hairline and rim chips.
- The famille verte cup broken and reglued.
- The other pieces in very good to excellent condition.

56 x 44,5 cm

Condition: (UV-checked)
- Very good, with some minor baking-related irregularities on the rim.

H 9,8 - 8,6 cm

Condition: (UV-checked)
- Both good with normal minor superficial wear.

H 10 - 9,5 cm (the two boxes with cover)

H 8,5 - L 11 cm (the teapot)

H 6,2 - L 17,3 - 11,5 cm (the jardinière)

H 5,8 cm - Dia.: 9 cm (the cup)

Dia.: 10 cm (the saucers)

L 13 - 13 - 12,5 cm (the spoons)

Condition: (UV-checked)
- The jardinière quasi excellent, with a 2 mm flake on the rim.
- The spoons excellent.
- The coral ground saucers all three excellent.
- The bowl excellent.
- The teapot and cover excellent.
- The grisaille warmer excellent.
- The qianjiang cai warmer with a small chip to the inner rim, otherwise excellent.

H 21 cm

Condition: (UV-checked)
- Excellent, with normal minor superficial wear.

H 40 cm

Condition: (UV-checked)
- Excellent.

70,5 x 25,5 x 37 cm

Condition: (UV-checked)
- Numerous small losses as visible.
- One foot broken and reglued. Important losses to the lacquer on all feet.

H 21 - 19,5 cm (with and without base)

Weight: 1163 - 979 grams (with and without cover and base) 

Condition; (UV-checked)
- One foot broken off and reattached. Turquoise stone on the lid is recoloured.

H 22 - 20 cm (with and without base)

H 7,2 - 5,8 cm (with and without base)

Weight: 238,9 - 49,9 g (without base)

Condition: (UV-checked)
- Largest with a reglued fracture to the right lady's head, otherwise good.
- Smallest with a chip to the flower above the right boy's hairdo, otherwise good.

H 22,5 - 20 cm (with and without base)

Weight: 287,4 g (without base)

Condition: (UV-checked)
- In good condition, with a small chip to the one of the flowers on the right handside.

H 17 - 15,5 cm (incl. the base)

Weight: 103,3 g (Shou Lao, incl. base)

Weight: 93,7 (Lan Cai He, without base)

Condition: (UV-checked)
- Shou Lao with a small reglued section to the staff.
- Lan Cai He in good condition.

H 17,5 cm (incl. the base)

Weight: 91,4 g (without base)

Condition: (UV-checked)
- In very good condition, no visible damage.

H 24 cm

Condition: (UV-checked)
- Two very small 1-2 mm chips to the outer rim and one small 1-2 mm chip to the base, otherwise good.

H 9 cm - Dia.: 22 cm 

Condition: 
- Two stones chipped, otherwise generally in good condition. Most stones with natural inclusions.

Dia.: 9,5 cm (the saucer)

H 4 cm - Dia.: 5 cm (the cup)

 

Condition: (UV-checked)
- The cup with a hairline to the rim and some glaze line throughout.
- The stand in excellent condition, with some glaze line throughout.

H 28,2 - 24 cm (with and without base)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from DVC Auctions, Ghent, in February 2015, according to the owner's inventory notes.

Condition: (UV-checked)
- Generally in good condition.
- Small chip to the tip of the nose, further small chips to the rim throughout the ornament.

H 29,5 - 28 cm (the Buddha with and without base)
H 27,5 cm (the Ganesha)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- The Buddha acquired from Eslampanah, Brussels, in June 2013, according to the owner's inventory notes.
- The Buddha acquired from Eslampanah, Brussels, in October 2013, according to the owner's inventory notes.

Condition: (UV-checked)
- Ganesha: lacking the left tusk and the tip of the right tusk, otherwise in good condition with superficial wear, patination and encrustation throughout.
- Buddha: good condition, a number of casting flaws, most notably to the base, also with superficial wear, patination and encrustation throughout.

H 10,8 - 2,8 cm (the tallest and the smallest opium weight)

Condition: (UV-checked)
- All opium weights in good condition, with the usual wear and traces of use.

H 75 cm

Condition: (UV-checked)
- Excellent, with a number of negligible small superficial baking flaws and glaze pits throughout.

H 24,5 cm

Condition: (UV-checked)
- Both excellent, with negligible minor superficial wear.

H 38 cm

Condition: (UV-checked)
- A rim chip reglued to the side with the floral decoration.
- One of the feet broken and reglued.
- Otherwise in good condition with superficial wear and some adhered surface dirt throughout.

H 42 - 41 - 41 cm

Condition:
- Generally in good condition, with some minor superficial wear throughout.
- One of the side vases lacking the bottom tip of a dragon's tail, one dragon head lacking the 'mustach' on the same vase.
- The koro stand with two dragons lacking one of the 'mustach' hairs.

H 87 - 76 cm (with and without base)

Condition: (UV-checked)
- With numerous breaks, reglued and retouched, on the inside visibly reinforced. A number of small lacking sections filled and retouched.

H 89 - 80 cm (with and without base)

Condition: (UV-checked)
- The lower end lacking, remodelled and retouched.

H 95,5 - 85 cm (with and without base)

Condition: (UV-checked)
- With a number of restored breaks throughout.

380 x 342,5 cm

Provenance:
- A Belgian private collection.
- Restored in the foremost tapestry restoration workshop, De Wit Royal Manufacturers, in 2001, as marked on the back.

Condition:
- Generally in good condition, in line with the restoration executed in 2001 and confirmed by the De Wit workshop.
- See also the additional images added.

Ref.:
- Richmond, Virginia museum of fine art, acc. no. 97.P.7, for an example depicting 'The Triumph of Caesar', which had its borders removed upon acquisition after the sale of 1932 of the Dr. R.H. Sayre collection in New York. (see added black and white image of before the removal) (link)
- Sotheby's, Paris, June 4, 2020, lot 107, for a related but somewhat larger example, probably from the same workshop, depicting a triumphal procession of the Fame on a chariot, also from the series 'The Triumphs of Caesar'. (sold EUR 47.500) (link)
- Delmarcel & Duverger, Bruges et la tapisserie, Bruges, 1987, fig. 13-17/1, for a smaller version of our example, sold in the 1932 sale of the Dr. R.H. Sayre collection in New York. In the comparative table of border designs, the border design on our current example is attributed to ca. 1550 (type D, section II for the second half of the 16th C.)

The author notes: 

Scenes from Ancient History:  Under this general heading, we group here five fabrics which, although with different borders, are related both stylistically and in content. They each present antique military scenes that originally formed part of one or two large, very similar series

The Bruges origin of this group is proven by the marks on the Battle Scenes in Bruges (cat. 17), by the typical yellow and red colours of the borders, and by the frieze with arabesques and interlacing motifs also found on the series by Gombaut and Macée. The exact date of their creation cannot be determined; based on the style of the figures and the repertoire of border motifs, they can at best be placed in the second half of the 16th century.

J.P. Asselberghs rightly indicated a starting point for a classification in the group of five tapestries, sold from the estate of Dr. R.H. Sayre in New York in 1932. Four of the five tapestries depict the triumph of a general in Rome, presumably Caesar: standard-bearers, soldiers with spoils of war on an elephant, followed by captive kings, a chariot with prisoners tied to a palm tree and the triumphal chariot of the victor, a tapestry from which the border was removed and which is now preserved in Richmond. Finally, there is another scene of an offering before an altar to Jupiter. The borders of these fabrics, here called type A, are decorated with military trophies, putti in the horizontal sections, and two angels in the upper corners. This series is still to be put in relation with a description of the inventory of the tapestries of King Louis XIV in 1673: 'A wool and silk tapestry hanging, factory of Bruges, representing the History of Julius Caesar, in a yellow background border filled with trophies of arms, two Angels in the corners of the top, and a particular weapon in the middle', containing 44 ells of course, 3 1/4 ells high, in fifteen pieces doubled by strips'. In 1985, a sixth piece with a similar border was sold in Paris, namely the Harangue of the Victorious General to his Troops, a subject included in a later edition. Of the two fabrics from the Sayre sale in 1934, there remains, according to old sales, a reissue of the Standard Bearers and the Triumph of the General, with the same border, and others with different types of borders. Thus, the Triumphal Chariot with Prisoners is the only reproduced example of the three pieces from the Maurice Kann sale in 1910: in the middle of the side border, the round shield is replaced by a vase of flowers. At a sale at Parke-Bernet in New York on 5 October 1946, a reissue of the Elephant and another subject from the same group, the Triumphal Chariot with an allegory of the Trumpets of Fame were on display: here, the borders are entirely filled with military trophies on a floral background, with the angels removed. This latter border type C also decorates the General's Clemency, currently in Bruges. A reissue of the Triumph of Fame, with a slight variation of the border type B, appeared at a sale in Amsterdam in 1910.

Perhaps there is an iconographic connection between the General's Clemency and the Battle Scenes, because, at the end of the 19th century, these two episodes were present in the same collection. The battle scenes, however, have different ornamentation in the border than the pieces we have just discussed, but they feature the same typically Bruges friezes. We can therefore say, in summary, that the five tapestries in question, presenting four different episodes, belong to a large group of which five other subjects are known thanks to old public sales, and that in total, there are at least six different editions. Do the main subjects, if not all nine, belong to a large History of Caesar, as well as 15 pieces still preserved at the Court of France in 1673? We are inclined to believe so, although it is not impossible that some scenes are related to the exploits of another general of classical antiquity Five of the subjects together form a triumphal procession: the Standard Bearers, the Elephants, the Chariots of Prisoners, the Chariot of Fame, the Chariot of the Victor (cat. 13). Three other subjects can also complete such triumphs: The offering to Jupiter in the Offering Scene, the Speech of the victorious general, who shows his soldiers a helmet as a trophy and crowns as a reward (cat. 14), and the General's Clemency for the wives of defeated enemies. The Battle Scenes, where a burning city is besieged and invested, evoke the military operations that lead to victory. The triumphal procession may be that of Julius Caesar: on the now-vanished border of the Richmond Tapestry here was, at the top, a medallion with the bust of a warrior and an inscription referring to Brutus, Caesar's adopted son and also the tyrant's murderer. The scene of Clemency is traditionally deciphered as the episode in which Alexander the Great listens to Darius's wives, but it may also be related to Scipio Africanus, who heard the pleas of Mandonius's wives, and this is perhaps more plausible in a large series devoted to the History of Rome. The cartons or models for this group of Bruges tapestries from the second half of the 16th century are unknown. The rather clumsy drawing of the figures, the architecture, and the ornamentation are perhaps due to a clumsy adaptation of a series of engravings. The overall project of representing in a large series both military actions and the triumphal procession of an ancient general follows, in our opinion, a famous contemporary model of Brussels tapestry art, the Gestures and Triumph of Scipio Africanus, first woven in Brussels between 1532 and 1535 for the king Francois I, after models by Jules Romain. This series soon saw several reissues in Brussels itself. Given the success of this theme, it was probably decided in Bruges in the following decades to place a series with the Exploits and Triumph of Roman leaders (Caesar and Scipio?) on the art market, in a much more modest artistic form. The surviving fragments of the various editions of this group of tapestries lead us to suppose that the Bruges weavers had indeed found a clientele for this subject.

 

H 142 cm

Provenance:
- A Flemish private collection.
- An old photo from the 1950's - 1960's has appeared, showing the current lot in another Flemish private collection, in the region of Courtrai with a former artistic director of the De Coene furniture company.

Condition:
- Reasonably well preserved, with damages consistent with the age.
- The head broken off and restuck, with a horizontal crack visible.
- The crown with the central ornament and the lily to the right of it appearing to be remodelled. Lacking the three ornaments to the back.
- The sculpture with a number of repairs throughout, mostly to the extremities. Please refer to the additional images for a better idea.

H 216 - L 73 - D 54,5 cm

Condition:
- Generally in good condition.
- The upper ornament wrongly placed in our catalogue images, please refer to the additional images for the correct placement.
- Minor repairs throughout, such as a filling to the right arm rest.
- Wear, tension cracks and patination throughout, commensurate with the age.

H 120 cm

 

Condition (UV-checked)

- Regarding the age, the sculpture in good condition.

- Wear and missing parts to the polychromy. Traces of the original polychromy visible, but largely repainted.

- Minor traces of woodworm (not active anymore).

- The usual and natural wood cracks.

- Right hand with two missing fingers (three other ones are original).

- Left hand with missing part of the thumb.

- Missing part of the left foot.

- Left elbow with some restotation.

- See also the additional pictures.

H 86 cm

Condition: (UV-checked)
- Losses to the fingers on his left hand, to the ears of the lion.
- Some losses to the polychromy, which appears to be original.

H 74,5 cm

 

Provenance:

- Private collection Belgium, East Flanders, Aalst.

 

Condition: (UV-checked)

- In general in good condition, consistent with age, with wear all over.

- Probably oak.

- Arms (and staff) missing, foot a little loose.

- Back with natural cracks in the wood. Back added.

- Traces of old (not active!) woodworm.

- The probably non-original polychromy with wear and damage.

- Good quality.

- See also the additional pictures.

Work: 46 x 34,5 cm
Frame: 61 x 51,5 cm

According to annotations on the back, the work restored in 1960.

 

Condition: (UV-checked)

- The painting in general in good and hangable condition.

- Largely overpainted and restored. Even with UV light, the nature of the restoration is invisible.

- The usual cracks in the wooden panel.

- Negligible dirt.

- See also the additional pictures. 

Work: 72,5 x 51,5 cm

Frame: 87,5 x 67 cm

 

A stone-cutting is a motif from late medieval literature in which a quack exploits the foolishness of the fool Lubbert Das by convincing him that he could be cured of his stupidity by removing a stone from his head. This motif was used to satirize foolishness and gullibility. The stone-cutting motif also appears in various 16th-C. and 17th-C. paintings, including those by Hieronymus Bosch, Pieter Bruegel the Elder, Pieter Huys and Jan Steen.

Our version is unusual because the person in the upper right corner, being treated after the stone cutting with a bandage around his head, has a coat of arms on his chest. This coat of arms, which can be described as an inverted V, is particularly similar to the Kortrijk coat of arms, which possibly suggests the work's Kortrijk origins.

The reverse with different old collection and/or auction numbers, a stamp and a clover leaf, the individual house mark of the Antwerp panel maker Michiel Claessens. He started his career at the end of the 16th C. and was still active in the first third of the 17th C. (link and link).

 

Condition: (UV-checked)

- The painting in general in good and hangable condition, consistent with the age.

- Under UV-light, some retouching is visible (in different phases), especially in the right top corner (background) and the jester's clothes. Some minor retouching, not touching the faces.

- The connection between the two panels is visible at the front. The lower panel with a small natural wood crack on the left side (up to the chair).

- The four corners are slightly 'touched', possibly due to a different framing.

- The paint on the jester's clothes is lifting slightly in places.

- Left top corner a negligible spot of flaking paint, hardly visible.

- There are light scratches in the yellow dress and at the level of the dog and the red hat.

- The reverse with the panel maker's mark of Michiel Claessens, Antwerp.

- Very fascinating work. Presumably based on a lost original.

- See also the additional pictures. 

Work: 165 x 116,5 cm

Frame: 185 x 138,5 cm

 

Our representation follows the painting by Peter Paul Rubens in the collection of the Fine Arts Museums of San Francisco, de Young, Legion of Honor (accession number 44.11, link). This work depicts a scene from the Bible in which Christ responds to the Pharisees' question about whether it is just for the inhabitants of Judea to pay taxes to the occupying forces of imperial Rome. Pointing to an image on a Roman coin, Jesus says, 'Render therefore unto Caesar the things that are Caesar's, and unto God the things that are God's.'

Condition: (UV-checked)

- The painting in good and hangable condition. Consistent with the age.

- Relined, due to two holes in the original canvas (one bottom right and one on the left side of Jesus' red robe).

- UV-light shows furthermore some retouching here and there in different phases, hardly touching the faces.

- See also the additional pictures.
 

Work: 189 x 111 cm

Frame: 212 x 133 cm

 

Condition: (UV-checked)

- The work in general in rather good and hangable condition, consistent with the age.

- Relined, due to some holes in the original canvas.

- The UV-light shows foremost the overpaint at the level of the holes in the original canvas. Restoration in different phases.

- Furthermore, some retouching and overpaint, especially in the left bottom corner and the landscape in the middle. Overpaint hardly touching the faces.

- Faint network of craquelures.

- See also the additional pictures.

 

 

 

248 x 162 cm 

 

Condition: (UV-checked)

- The wall tapestry in general in good and hangable condition, with the usual wear. Consistent with age.

- Fragment of a larger composition.

- With the usual restorations all over.

- A small part of the stitching at the bottom of the hem has come loose.

- See also the additional pictures.

H 134,5 cm (incl. plexi stand)

H 64 - L 105 - D 43 cm (the cabinet)

 

Condition: (UV-checked)

 - Closed: in good condition, with traces of woodworm, minor chips and natural cracks and the usual traces of use. Consistent with the age. Left bottom corner with missing iron mount. Left handle missing and minor part of the mount missing. The back with a minor hole. Mounts on top with a small missing part. Key is present. Closing mechanism works and is built into the wall (no hooks needed on the outside). Probably chains are missing.

- Open:

Top row (four drawers) in good condition.

Middle row: left door ok (no key), second compartiment with missing canopy and pillars renewed, middle in good condition, number 4 in good condition, number 5 OK (no key).

Bottom row: two drawers on the left side in good condition, in the middle a bone rosette missing, two drawers on the right side in good condition.

- The plexi stand: in very good condition.

- No support is needed to rest the writing top on.

 

H 62,5 - L 35,5 - D 21 cm 

H 52,5 cm (without stand) 

The dial and the work marked 'Marguerite à Paris'. 

Provenance:
- Important private collection, Belgium. Purchased at Château La Garenne Antiquités, Maisières, Rue Grande 243.

Condition: (UV-checked)
- On the arch above the dial, a ca. 4 cm horizontal crack to the tortoise veneer is showing with some retouching visible.
- On the upper part, the gilt mount is loose on the rear left corner. On the short right handside, it is slightly bent.
- On the right handside, next to the II on the dial, the gilt mount on the side is loose. 
- Numerous small touch-ups to the tortoise veneer throughout, please refer to the UV-images.
- To the left handside, one the base of the clock itself, some of the gilt leave ornament has loosened.
- The base generally in good condition with some minor wear to the top.

- Springs tested and tension is present.

H 36 - L 28 - D 11 cm 

Condition:
- The springs not tested due to the absence of a working winding key.
- The dial with yellowed varnish, a small chip to the right at ca. 3.30 o'clock. Likely entirely over-varnished, in part repainted.
- The roundel on the back not entirely closing.
- The belt on his left shoulder torn.
- Otherwise appearing in good condition.

 

The figure also known as 'Le Savoyard antillais' or 'Le porteur de balle de coton'.

The dial marked 'A. Verdière à Paris'. 

The work inscribed with the number '50'.

 

At the end of the 18th C., the French philosopher Jean-Jacques Rousseau introduced the concept of the 'noble savage' (le bon sauvage). These noble savages also appeared in Bernardin de Saint-Pierre's novel 'Paul et Virgine' and Chateaubriand's 'Atala' and were very popular at the time. This inspired a number of bronzers who designed the 'au bon sauvage' clocks. 

 

Ref.:

- P.G. Chabert, 'La pendule au 'Nègre'', Saint-Omer, Muséé de l'Hotel Sandelin, 1977, pp. 12-13, n° 5.

- P. Kjellberg, 'Encyclopédie de la pendule française du Moyen Age au XX siècle, Paris, 1997, p. 343, ill. D.

- J.-D. Augarde, 'Une odyssée en pendules. Chef-d'oeuvres de la Collection Parnassia, Dijon, II, 2022, pp. 444-445, n°. 122.

 

 

H 55 cm 

Modelled as three putti holding aloft a basket issuing six candle arms and resting on a cylindrical plinth base, the piece reminds us one of the recent additions to the Oval Office under American president Donald Trump.

Provenance:
- An important Belgian private collection.
- Acquired from Château La Garenne Antiques, Brussels, in 1997, according to the owner's inventory notes.

Condition:
- Generally in very good condition with typical minor superficial wear and a small number of negligible small casting flaws throughout.
- One of the candle holders with a more visible casting flaw. Two of the candle holders with a very slight dent, invisible to the naked eye but noticeable when firmly inspecting.
- The loose candle holder tops somewhat bent on the inside, invisible to the spectator when mounted.

H 100 x L 167 x D 66 cm

Condition:
- Generally in good and stable condition, ready to be integrated.
- Central right door with a small repair to the upper left corner.
- A number of visible, tight and stable tension cracks visible to the front doors, most notably on the far left and right. Some with old filling and varnish visible.

Bearing four marks of this iconic Belgian furniture master.

Jean-Joseph Chapuis was born in Brussels in 1765. He was trained in Paris, where he became a master craftsman, entitling him to use a personal mark (estampille) on his work. He had set up his workshop in his home town by 1795 and kept it active to 1830, regularly applying his mark on the pieces of furniture that he made. When the first reference guides on the history of French furniture in the 18th century appeared in Paris, this mark was attributed to Claude Chapuis, who was in fact only a simple trader, of whom little if anything is known. This deprived Jean-Joseph Chapuis of his fame and explains why pieces of furniture by Jean-Joseph Chapuis are rarely found in public collections outside France. The museum of Vleeshuis in Antwerp is an exception. Only single pieces made by Chapuis, not collections, have ever been found, so it is impossible to give a precise account of everything he produced during his lifetime. The museum of Saint-Josse-ten-Noode, Brussels, Belgium, is the only one to possess several marked pieces of Chapuis's furniture. They were collected by Joseph Adolph Van Cutsem, a collector of Empire furniture, who in 1865 supplemented his collection with two significant purchases made during Chapuis's funeral sale. However, these pieces do not reflect the full range of styles used by this cabinetmaker.

Ref.:

- J. Nicolay, L'Art et la Manière des Maîtres-Ebénistes Français du XVIIIe Siècle, Paris, 1976, p. 99. 

- A very similar 'meuble d'appui' offered at Sotheby's Paris, Important Mobilier, Sculptures Et Orfèvrerie Européenne, 4 November 2015, lot 488 (est. €20.000-€30.000, link).

Provenance:

- Important private collection, Belgium. Purchased in 1997 at Château La Garenne Antiquités, Brussels, Boulevard de Waterloo 38.

 

H 84,5 - L 126 - D 56 cm

 

Ref.:

- Anne Droguet, 'Nicolas Petit 1732-1791', Peerin & Fils, Editions de l'Amateur, 2001: Petit became master in 1761. He opened his workshop in Rue du Faubourg Saint-Antoine, under the name 'Au Nom de Jésus'. He worked there for more than thirty years, adapting without difficulty to the evolution of the different styles of the 18th C. and very quickly acquiring great renown.

 

Condition: (UV-checked)

- In general in very good condition, with a very nice general appearance, with the usual wear and traces of use.

- Marble top in good condition. Gilt bronze mounts with the usual wear. 

- The bottom drawer is open. The middle and top drawers are closed, and no keys are present.

- The veneer has some small and large cracks in several places. Some minor restoration work has been done here and there.

- Overal professionally restored. Use of glue during the restoration.

- See also the additional pictures.

H 115 cm

 

Both candlesticks with a marble base and 9 light points.

Condition:
- Both generally in good condition with normal minor superficial wear.
- The female candelabrum with one of the candle holders detached, yet easily refixable. The arms on this figure somewhat dislocated, could be easily revised by a specialist, yet not disturbing to the spectator.

H 123,5 - L 212 - D 56 cm

Condition: (UV-checked)
- Generally in good condition
- The back in good condition
- The top in good condition with some wear, traces of use, some minor damages, and the natural wood cracks
- The inside in good condition, lock of the middle door missing
- The front on the outside with the bronze mount and glass in good condition.
- The boulle work with missing and loose parts, the top and bottom wood border at the front with minor missing pieces.
- On the left side some grey paint is visible, can easily be removed
- See also the additional pictures

H 70,5 cm

 

Condition: (UV-checked)

- In general in good to very good condition.

- Pink of the right hand and one of the wings of the butterfly reglued.

- The top of the right wing of the angel restored.

- The base with the usual superficial chips to the corners. 

- Could benefit of a cleaning.

 

H 30 - 21,5 cm (with and without base)

Condition: (UV-checked)
- Wear and staining throughout
- The hairdue on the back loose and refixed
- With some restoration to the neck, to the left of said hairdue. 

H 56 cm

 

Condition: (UV-checked)

- Both vases in very good condition, with wear to the gilt decoration and traces of use.

- Negligible baking flaws. The typical small superficial chips to the corners of the base, one chip a little bit larger but not visible when the vase is standing.

- See also the additional pictures.

H 33,5 cm

 

Condition: (UV-checked)

- Both in very good condition, with the usual wear to the gilt decoration.

- Both vases with a negligible superficial chip to the base.

H 27 cm 

 

Condition: (UV-checked)

- In very good condition, very fine quality. One with minor traces of use, a stain and a hardly visible casting error/crack to the round base. 

- See also the additional pictures.

H 84,5 - L 96,5 - D 52,5 cm 

 

The Jurande des Menuisiers Ébénistes (JME) was a community of artisans responsible for overseeing the work of Parisian artisans in this guild. It existed during the second half of the 18th century (from 1751 to 1789). It was also responsible for prosecuting workers and workshops operating outside the guild. Once the work of the artisan or cabinetmaker was validated, the jurors affixed their hallmark (JME) and collected the tax.

Jean Baptiste Galet, a Parisian cabinetmaker, left behind a simple yet refined production of Louis XV, Transition, and Louis XVI furniture. A master marquetry craftsman since 1754, he ran a workshop and furniture shop on Rue du Faubourg Saint Antoine. He quickly gained great renown and was cited, towards the end of the reign of Louis XV, as one of the leading cabinetmakers in Paris.

 

Provenance:

- Important private collection, Belgium. Purchased in 1974 at Antiquités Sélection, Lille, Boulevard Carnot 77.

 

Condition: (UV-checked)

- In very good condition, with the usual traces of use and wear, consistent with age.

- The marble top not original and with some minor chips and restorations. Marble top not broken.

- The veneer is in good condition, with some logical cracks. Negligible restorations.

- Wood on the inside with the usual and natural cracks (not visible from the outside).

- Locks replaced. One key present. 

- No woodworm.

- Good quality.

- See additional pictures.

 

H 42,5 - L 51 - D 21 cm (the clock)
H 51 cm (the candlesticks)

The dial marked 'Raingo Fres A Paris'.
The work marked 'Raingo Frères Paris' and inscribed with the number '1077'.
The case marked 'H. Picard'.

Condition: 
- The putto supporting the candelabra on the right handside lacking the drape.
- The whole furthermore appearing in good condition, with normal minor superficial wear and patination.

H 67 - L 80 - D 45 cm

 

Provenance:
- Private collection, Belgium.

 

Condition: (UV-checked)

- In good condition, with the usual superficial wear and traces of use (e.g. minor superficial scratches).
- The connection of the arm with a missing pin.
- No foundry mark. Most probably a later cast. 
- See also the additional pictures.

 H 36,5 - L 120 - D 70 cm

In line with the next lot, this set was purchased together in the 1990's.

 

Provenance:

- Private collection, France, Lille region.

 

Condition: (UV-checked)

- In very good condition, with the usual superficial wear and traces of use.

- The base made out of lacquered metal, with the normal traces of use.

- In our opinion, the spot visible on the right side occured during the production process (no stain).

H 41 - Dia.: 66 cm

In line with the previous lot, this set was purchased together in the 1990's

 

Provenance:

- Private collection, France, Lille region.

 

Condition: (UV-checked)

- In very good condition, with the usual superficial wear and traces of use.

- The base made out of lacquered metal, with the normal traces of use.

H 62 cm

Condition: (UV-checked)

- The four sculptures in general in good conditiion, with the usual superficial wear and minor scuff marks/traces of use.

- One with a small dent to one of the ears, one with some traces of oxidation.

Work: 28 x 22,5 cm
Frame: 43,5 x 38 cm

The reverse of the original framing added to the lot, with a date (April 1934), the signature of Anna De Weert and a description of the work (Cap Martin).

 Provenance:
- The reverse with an 'Exposition Universelles' stamp. 

 

Condition: (UV-checked)

- The work in very good and hangable condition.

- A small puncture hole in the four corners.

- The reverse with some foxing.

Work: 74 x 60 cm

Frame: 101,5 x 88,5 cm

 

Provenance:
- Acquired directly from the artist, in exchange for a loan, by the grandparents of the current owner.
- A Flemish private collection. 

 

Exhibited: 
- Grosse Berliner Kunst Ausstellung 1895, no. 280, titled 'Arme Leute'. With a partial exhibition label on the back indicating the title of the work. Click here to consult the exhibition catalogue (property of the Universitäts Bibliothek Heidelberg). (see added scan)
- Kultuurcentrum 'De Schakel', Waregem, Retrospektieve Emile Claus, August 1985. With an exhibition label on the back.

Condition: (UV-checked)

- The work in rather good and hangable condition.

- Minor flaking to the left bottom corner.

- Usual wear to the borders due to the framing, with some related overpainting.

- At the top center a small restored hole in the canvas, with corresponding overpainting.

- Background at the right side with a very small restoration and related overpainting, together with a very light discoloration, only visible with specific light.

- See also the additional pictures.

Work: 60,5 x 40,5 cm

Frame: 83 x 63 cm

 

Condition: (UV-checked)

- The painting in good and hangable condition.

- With overpaint and some retouching in the sky.

- Minor craquelures.

105 x 75 cm

 

The reverse countersigned.

Condition: (UV-checked)
- Painting in good and hangable condition.
- In the area surrounding the tree and to the upper right sky section, there is some retouching showing under UV-light.
- A small spot of flaking to the left top corner, hardly worth mentioning.

Work: 52 x 37 cm

Frame: 68,5 x 54 cm

 

Geets and Alma-tadema were good friends in the context of the Antwerp Art Academy.

 

Condition: (UV-checked)

- In good and hangable condition.

- The borders with traces of a previous framing system.

- Negligible foxing.

- Paper slightly wavy due to the use of watercolour.

Work: 68 x 49,5 cm

Frame: 86 x 66,5 cm

 

Condition: (UV-checked)

- In good and hangable condition.

Work: 49,5 x 39 cm

Frame: 68,5 x 57 cm

 

Condition report (UV-checked)

- The work in very good and hangable condition.

- Not inspected outside the frame.

- Mixed media (watercolour, pencil, heightened).

 

Work: 58 x 42,5 cm 

Frame: 60 x 44,5 cm 

 

Condition: (UV-checked)

- The work in general in rather good and hangable condition.

- The paper has slight water damage in the lower left corner, some wrinkling and some foxing.

- Very small hole in the paper where the elbow rests on the knee.

- Not inspected outside the frame. 

 

Work: 127 x 98,5 cm

Frame: 144 x 116 cm

 

Provenance:

- Private collection, Belgium, East Flanders.

 

Condition: (UV-checked)
- The work in general in very good and hangable condition.
- Not inspected outside the frame.

Work: 14 x 10 cm
Frame: 47 x 37 cm

Condition: 
- Very good. The sheet somewhat yellowed and with some foxing. Inspected out of the frame.

107,5 x 87 cm 

 

Condition: (UV-checked)

- Overall in good condition. Consistent with the age.

- Natural cracks in the wood. Curved. One more prominent vertical crack in the middle of the right side. 

- With overpaint and retouching, especially in the borders and along the sides of the natural cracks.

- Some flaking.

- See also the additional pictures.

32 x 28 cm

 

Provenance:
- Accompanied by a certificate of authenticity by Prof. Dr. E. Voordeckers, dated March 22, 1984.

 

Condition: (UV-checked)

- Overall in good condition, consistent with age. Wear and traces of use. Superficial flaking.

- The wood with the usual minor superficial chips and natural cracks.

- The bottom of the frame, as well as the lower right corner (also partly in the image) with overpainting.

H 32,2 cm

 

Similar examples are known from Hanau workshops such as Schleissner & Sohne, Neresheimer, etc.

 

Condition: (UV-checked)

- The sculpture in good condition, with the usual superfical wear and traces of use.

- One of the petals broke off.

- The sculpture does not fit perfectly on the base.

- The crown with a small dent. 

- Total weight: 823 g

H 14 - L 10 - D 6 cm 

Weight: 397 g

 

One of the leading English silversmiths in the first half of the 1700s, Paul de Lamerie was renowned for his technical proficiency and innovative designs using bold organic forms. De Lamerie's parents, French Huguenots, probably left France for religious reasons in the 1680s, emigrating to the Netherlands before settling in London in 1691. Although de Lamerie's early works were simple, unornamented shapes, by the 1730s he was one of the first English silversmiths to work in the ornate Rococo style (link).

The tea caddy of rectangular form, with rounded shoulders, the hinged cover surmounted by a shell finial, the sides decorated with C scrolls and trailing floral garlands, the front and reverse each with a different engraved heraldic crest, one with motto 'Quod me mihi heddit amicum', relating to the Haslewood family of Shropshire.

Provenance:

- In the collection of George S. Palmer when sold to the Metropolitan Museum of Art in 1913. Sold Christie's, 4 June 2013, Lot 354.

- A Belgian private collection.

 

Condition: (UV-checked)

- In very good overall condition consistent with age, with the usual minor wear and minor traces of use. 

- A superficial dent on one of the sides, almost invisible to the naked eye.

762 x 434 cm 

Condition (UV-checked):
-The rug is generally in good condition, with wear and traces of use throughout.
-The fringes are shortened and/or missing.
-A small tear in the middle of one of the shorter sides.
-A slight difference in colour between the two sides.
-Minor traces of moth damage.
-Some worn areas and parts of the border have been restored.
-The colours throughout still vibrant.
See also the additional pictures for a realistic overview of the general condition.

 

326 x 235 cm

Condition: 
- The carpet showing traces of normal wear and use.
- The fringes on both sides cute
- Could do with a good cleaning
- Minor damages to the sides
- See additional pictures 

432 x 302 cm 

Condition: (UV-checked)
- The rug is generally in good condition, with the usual wear and signs of use
- Staining, would benefit from a good cleaning
- The fringes are missing and/or shortened in some areas
- Minor damage along the long side
- Minor discoloration
- See also the additional pictures 

380 x 298 cm 

 

Condition: (UV-checked)

- In general in good condition, with the usual wear and traces of use.

- Borders with some restorations. 

- Fringes with wear, a little shortened and some restorations.

- Minor stains. Would benefit of a cleaning.

- See also the additional pictures.

211 x 143 cm

 

Condition: (UV-checked)

- In rather good condition with wear and traces of use, consistent with age.

- Some stains, would benefit of a cleaning.

- Fringes shortened and missing.

- See also the additional pictures.

140 x 97 cm 

 

Condition: (UV-checked)

- The carpet in very good condition.

- See also the additional pictures.

H 21 cm - Dia.: 14 cm 

 

The base inscribed with various texts, a.o. the date of 1923 and the name of Emile Gallé can be read. The other things are less easy to read.

Condition: (UV-checked)
- Excellent, with negligible minor superficial wear.

Dia.: 24 cm

Painted with floral sprays and trailing gilt scrolls amidst blue cartouches on a white ground, marked under the base with a blue overglaze factory mark.
During the period 1825–1855, the sultans of the Ottoman Empire were Mahmud II (1808–1839) and Abdulmecid I (1839–1861). Mahmud II reigned until 1839, when his son Abdulmecid I succeeded him. 

 Ref.:
- Exhibition catalogue 'An Imperial Fascination: Porcelain - Dining with the Czars Peterhof', A La Vieille Russie, New York, 1991, no. 194.
- For a sauce boat and stand from the same service, see: Christie's, London, 3rd June 2019, Russian Art, lot 296 (est. £1,500 - £2,500; price realised £1,375 link)
- For a serving plate from the same service, see: Chiswick Auctions, London, 29th September 2020, Fine Works of Art & Clocks, lot 85 (est. £2,000 - £3,000; link).

 Condition: 
- Minor superficial wear, otherwise in excellent condition. 

Dia.: 25 cm

Grand Duchess Olga Nikolaevna of Russia (1822-1892) was the second daughter of Nicolas I and of his wife Charlotte of Prussia. 

Olga met Kronprinz Karl of Württemberg in early 1846 in Palermo, Two Sicilies. Her parents wished that she make a dynastic marriage, especially since her siblings Alexander, Maria and Alexandra had married relatively insignificant royal partners. There had already been several marriages between members of the Russian Imperial Family and members of the Württemberg Royal Family (in addition to the marriage between Olga's paternal grandparents): Olga's future father-in-law, King Wilhelm I of Württemberg, married Olga's paternal aunt, Grand Duchess Catherine of Russia; Olga's paternal uncle, Grand Duke Michael of Russia, married Wilhelm I's niece, Princess Charlotte of Württemberg.

The Imperial Porcelain Manufactory's dinner service was commissioned by Tsar Nicholas I for Grand Duchess Olga's 18th birthday in 1840 as part of her dowry.

 Condition:
- Minor superficial wear to the gilding and enamel, otherwise in good condition. 

H 48 cm

One of the cartouches signed E. Carelle.

Condition: (UV-checked)
- One with a repaired break to the base, the other in good condition.

H 82 - L 57 - D 75 cm

 

Condition: 

- Both in very stable and good condition, with the usual wear and traces of use.

- Especially traces of use (e.g. scratches) to the seating. One with very minor damage to the back. One with a small crack to the back.

H 67 cm

 

A later cast.

 

Ref.:
- P. Kjellberg, Les bronzes du XIXe siècle, Paris, 1989, p. 52. The work based on the statue of Martin Schongauer by Frédéric Bartholdi in front of the Unterlinden Museum, Colmar (link).

 

Condition: (UV-checked)

- The sculpture in very good condition, with the usual minor wear and traces of use. 

 

H 63 - 40,5 cm (with and without base)

The sculpture marked 'Christofle & Cie' and inscribed with the number '1154632'.

With a dedication: 'Ministère d'Agriculture Concours Régional Agricole d'Albi 1882 - Prix Cultural 2ème Catégorie Fermiers'.

Condition:
- Small chips and a number of small superficial drilled holes to the marble base.
- The sculpture and front plaques in good condition, with negligible minor superficial wear.

H 44,5 cm

 

A posthumous casting, second half of the 20th C.

 

Condition: (UV-checked)

- The sculpture in very good condition, with the usual superficial wear and negligible traces of use.

- The marble base in good condition, with minor superficial chips to the bottom corners.

- See also the additional pictures.

H 127,5 - L 92 - D 62 cm

Condition:
- Severe loss to the boulle inlay.
- Some of the gilt mounts loose as visible.
- Minor wear to the marble top.

H 74,5 - L 161,5 - D 75 cm

Condition:
- The leather top with a hole in the lower left section, some staining throughout.
- The woodwork and gilt brass overall in good condition, with minor age-related wear and the occasional scuff mark here and there.

H 88 cm

Condition:
- Generally in good, stable condition, with minor superficial wear and the occasional minute chip.
- A section showing retouching to the veil on the back.

345 x 266,5 cm 

Condition: (UV-checked)

- In general in good condition, with some wear and traces of use.

- Fringes missing.

- Minor damage to the borders.

- See also the additional pictures. 

303,5 x 200 cm 

 

Condition: (UV-checked)

- In good condition, with the usual minor traces of use and minor wear.

247,5 x 163 cm 

 

Condition: (UV-checked)

- In general in rather good condition, with some wear and minor discoloration.

- Some dirt stains, would benefit of a cleaning.

- See also the additional pictures. 

308 x 245 cm 

 

Condition: (UV-checked)

- In very good condition, with the usual wear and traces of use.

- Small tear in one of the corners, with some minor damage to the fringes as well.

- See also the additional pictures.

139 x 110 cm 

 

Condition: (UV-checked)

- The carpet in good condition, with the usual wear and traces of use.

- Some minor restorations.

- Signed and dated.

- See also the additional pictures.

116 x 73,5 cm 

 

Condition: (UV-checked)

- In very good condition, with negligible wear and staining to the borders.

- Light marks on the front from the attachment of labels (suspension system) to the back.

- See also the additional pictures.

193 x 119,5 cm
152 x 109 cm
125 x 66 cm

Condition: (UV-checked)

- The largest one: with some restaurations all over, fringes missing and wear.

- The middle one: wear, various restorations, fringes a little shortened

- The smallest one: wear, fringes missing and shortened, various minor resturations.

- See also the additional pictures.

296 x 200 cm 

 

Condition: (UV-checked)

- The rug in rather good condition, with the usual wear.

- The borders with wear and minor damages (small tears).

- Traces of use. Would benefit of a cleaning.

- See also the additional pictures.

H 48 - L 46 - D 17 cm (the clock)
H 48 cm

Weight: 16,5 kg (the clock)
Weight: 9 kg (the two candlesticks)

Condition: 
- The clock with usual traces of wear and some superficial scratches to the surface
- The spings tested and tension is present
- The candlesticks appear in good condition 
 
The work marked  'Japy Frères et Cie Grande Médaille d'Honneur' and inscribed with the number '327' and with the monogram 'CR'. 

H 103 - 94 cm (with and without base)
L 82 cm (the total basin)
Dia.: 72 cm (the top of the basin) 

Condition:
- Composed of three sections: the upper basin, the lion paw stand and the faux-porphyry wooden base.
- Generally in good condition.
- Superficial wear, some chipping, scratching and scuffing throughout, commensurate with the age. Please refer to the additional images for a complete view.
- Examination under UV-light revealed the absence of later additions.

H 25 cm

 

Provenance:
- Important private collection, Belgium. Purchased in 2000 at Château La Garenne Antiquités, Brussels, Boulevard de Waterloo 38.

 

Condition: (UV-checked)

- Both candlestick-cassolettes in very good condition with the usual superficial wear. High quality. 

- One with a small casting error. The marble base with a small superficial chip and some filled chips.

- The second one with a hairline. The base with small superficial chips and some filled chips.

H 28,5 cm (the vases)

H 18,5 - L 32,5 - D 20 cm (the centrepiece)

 

Condition: (UV-checked)

- L: minor wear to the gilt decoration, furthermore in good condition.

- M: minor wear to the gilt decoration, minor chips to the legs, one leg restored, furthermore in good condition.

- R: minor wear to the gilt decoration, one leg restored, furthermore in good condition.

- See also the additional pictures. 

H 52,5 - 47,5 cm (with and without base)

L 46 - 39 cm (with and without base)

D 36 - 29,5 cm (with and without base)

 

Condition: (UV-checked)

- The sculpture in general in very good condition, with the usual wear and some dirt.

- The biscuit with some usual baking flaws, a small restored corner (left backside corner) and a chip to the base (right front corner).

- The brass base in very good condition. 

 

43,5 x 34,5 cm

 

Józef Klemens Piłsudski (5 December 1867 – 12 May 1935) was a Polish statesman who served as the Chief of State (1918–1922) and first Marshal of Poland (from 1920). In the aftermath of World War I, he became an increasingly dominant figure in Polish politics and exerted significant influence on shaping the country's foreign policy. Piłsudski is viewed as a father of the Second Polish Republic, which was re-established in 1918, 123 years after the final partition of Poland in 1795, and was considered de facto leader (1926–1935) of the Second Republic as the Minister of Military Affairs (link).

 

Condition: (UV-checked)

- The plaque in very good and hangable condition, with the usual negligible superficial wear.

68 x 58 cm

 

Condition: (UV-checked)

- In very good condition, with the usual wear, baking flaws and traces of use.

- See also the additional pictures.

- Weight: 26 kg

H 27,5 - L 15 cm (the tallest)
H 7 - L 7,5 cm (the smallest) 

Condition:
- Most of the older jugs with important damage and/or restoration.
- Back row, far right: good condition.
- Back row, far left: important chip.
- Back row, central: good condition.

Ca. 8 x 8 cm

Weight: 27,9 g

 

Condition: (UV-checked)

- The brooch in very good condition, with the azure enamel with negligible hairlines.

 

 This iconic watch is known for the moon landing by NASA astronauts (Apollo 11 in 1969).

Condition: 
- The tachymeter bezel is missing
- Scratching on the crystal protection glass
- The surface with a crack on the left side 
- The connection between the bracelet and the watch head shows signs of force/alteration
- The clasp detached from the bracelet
- One part of the clasp missing

Work: ca. 32 x 24,5 cm

Frame: 39 x 32,5 cm

 

Condition: (UV-checked)

- The work in general in good and hangable condition, not inspected outside the frame.

- The paper logically slightly discoloured and minor foxing.

 

Work: 95,5 x 83 cm

Frame: 115 x 103 cm

 

This work is a 'reprise', possibly commissioned as a portrait painting, of the work 'Young mother with child', by Gustaaf Wappers, dated 1854, today part of the collection of the Royal Museum of Fine Arts Antwerp (link).

 

Condition: (UV-checked)

- The painting in good and hangable condition.

- The contours of the stretcher visible at the front.

- Faint network of craquelures.

- Under UV-light no restorations or overpaint visible. The UV-light shows the colour of the varnish.

- Small scratch in the left bottom corner.

Work: 65,5 x 44,5 cm

Frame: 83 x 61,5 cm

 

Condition: (UV-checked)

- The work in very good and hangable condition, with negligible foxing and very small discoloration. 

Work: 47,5 x 36,5 cm 

Frame: 57 x 46 cm 

 

Condition: (UV-checked)

- The work in very good and hangable condition.

- Well framed. 

- Three very small spots of retouching, hardly necessary to mention.

- See also the additional pictures.

 

Work: 60,5 x 51,5 cm

Frame: 65 x 56 cm 

 

Condition: (UV-checked)

- Painting in good and hangable condition. Original canvas.

- UV-light shows foremost the colour of the varnish. Hardly any retouching visible.

- Some wear in the background visible, not touching the young girl.

Work: 54,5 x 46 cm

Frame: 65 x 56 cm

 

The reverse with a certificate of authenticity by J. Séry, dated 19 May 1956.

 

Condition: (UV-checked)

- The work in general in good and hangable condition.

- With a few restored small holes in the canvas and related overpainting. Some retouching.

- The stretcher slightly visible at the front side. Varnish slightly applied unevenly.

- See also the additional pictures.

 

Work: 53 x 41 cm

Frame: 73 x 61 cm

Condition: (UV-checked)
- The work in good and hangable condition.
- Under UV-might some minor retouching visible, especially to the borders due to the wear of a previous framing. 
- In the central scene only some touch-ups, hardly to not touching the animals.
- The largest touch-up is found in the left bottom corner