Condition report

Dim.: 43 x 33,5 cm (the outer size)
Dim.: 41 x 31,5 cm (the blue border)

Provenance: A Dutch collection.

Condition: (UV-checked)
- The work: small losses to the applied pigments, most apparent to the small white flowers on the red ground, superficial staining throughout, minor superficial wear and a very small loss to the bottom right corner.
- The board below with the upper left and bottom right corner fairly worn, staining and wear throughout. Crease lines and wear to the back. An inscription as shown.
- Please note that the actual colour of the work is much darker than the studio image shows.

Ranjit Singh, the first Sikh maharaja of the Punjab (r.1801-1839), is depicted seated on a western-style chair with a leg tucked underneath him, a manner in which he was often seen by European visitors to his court.
Also known as the ‘Lion of the Punjab’, Ranjit Singh commanded the greatest respect amongst the Sikhs, after the Gurus. In 1799, Ranjit Singh captured the Fort of Lahore which was built by the Mughal Emperor Akbar in the 1560s. In 1801, he was proclaimed Maharaja of the Punjab and ruled the region for almost forty years, uniting the Sikhs during his reign.

Dia.: 17 cm (the saucer)
Dia.: 9,5 cm - H.: 5 cm (the cup)

Condition: (UV-checked)
- The cup with losses to the enamel as visible, small dents and superficial wear.
- The saucer with small dents and superficial wear.
- The set overall of very attractive appearance, the silver of good quality.

Ref.:
- Christie's, London, April 21, 2016, lot 198, for a similar set. (link)
- 'Armenian Patrons for Chinese Commodities. Trade Networks and Cultural Exchange across Asia', George Manginis, Benaki Museum, where the author writes: 'There is a cup in the Musée Arménien de France which can be safely associated with a known patriarch (catholicos) of the Armenian Apostolic Church. It is decorated with a coat of arms crowned by an Armenian-style belfry. It is surrounded by two putti seemingly half-submerged in a baptismal font. Two anthropomorphic angels act as supporters and step on an eagle with outstretched wings. The monogram within the coat of arms consists of the letters GhKS / KThK separated by a bishop’s crozier with a cross on top; they are the abbreviated form of (Gh[ou]k[a]s K[a]th[oghi]k[os]). The eagle is the emblem of the Armenian Catholicate.

The set was commissioned for the Catholicos Ghoukas I Karnetsi (1722–1799). Born in Karin, present-day Erzurum in Anatolia, Ghoukas became bishop of this town before rising to the highest rank in the Armenian Apostolic Church in 1780 and moving to Etchmiadzin (Vagharshapat), also within the Ottoman Empire. He was a patron of the arts and during his tenure the Cathedral of Holy Etchmiadzin was decorated with wall paintings by Hovnatan Hovnatanian (approximately 1730–1801), member of a prominent family of Armenian painters. Ghoukas was the head of the Armenian community, or millet, in the Ottoman Empire. He was responsible for fellow Armenians in both spiritual and secular domains. The status of his countrymen within the Empire varied at that time, but the more affluent and sophisticated among them were able to commission exotic trinkets and indulge in extravagant fashions, for example Chinese export art.

Furthermore, for most of the eighteenth century, the Ottoman trade in imported luxury goods was controlled by wealthy Armenians in Constantinople and other cities, and Chinese porcelain was particularly important among these goods. It is also possible that the porcelain bowl, as well as the silver ones, were ordered for Ghoukas by the Madras Armenian community, which could also have commissioned the Beglarian enamels through their East India Company connections.'

Dia.: 15,5 cm - H.: 8,5 cm

Condition: (UV-checked)
- Overall in very good condition, with typical superficial patination and minor superficial wear.

H.: 33,5 cm (incl. the stand)
H.: 30 cm (the head)

Provenance:
- A Belgian private collection.

Condition:
- Important staining throughout, possibly from long-term exposure to soil minerals.
- A large flake to the upper part of the left ear (from viewer's perspective) and the hairdo above and behind it.
- Numerous small superficial chips, scuff marks and wear throughout.

H.: 35 cm (incl. the stand)
H.: 26,5 cm (the bust)

Provenance:
- A Belgian private collection.

 

Condition: (UV-checked)

- In good condition, with the typical signs of age: minor chips (esp. to the nose and the borders) and some fritting.

- A fissure rathe rprominent on the forehead. 

H.: 4,5 cm

Condition: (UV-checked)
- Superficial patination throughout.
- Two small casting flaws above the right eye (from viewer's perspective).
- Possibly with an old repair next to the left eye.

Dim.: 110 x 110 cm

 

Condition: (UV-checked)

- The cloth in very good condition, with negligible minor wear and traces of use. 

- In some places the wires a bit looser, but not disturbing.

- One wire forms a loop (1 cm) in the center due to loosening.

Dim.: 294 x 179 cm

Ref.: The numbers between brackets refer to the last added reference image: Embroidered in silver and gilt threads over a black silk ground, the surface broken into cartouches of various shapes and sizes containing inscriptions in thuluth. The interstices filled with vegetal designs and floral scrolls, a large gilt inscription (5) halfway up on black silk ground enclosing Quran 2 verse 255 ayat Al-Kursi, ‘The Throne Verse’, one of the best-known verses of the Quran, widely memorized and displayed in the Islamic world. Flanked on both sides with six small roundels (4) enclosing the name of four Caliphs, Hassan and Hussein on a greenand yellow ground. Above the central panel two roundels (3) enclosing Al-Shahada surrounded by flower scrolls. The lower section (6) with the tughra of the Sultan in gilt and silver thread. The upper section with crimson band (1) enclosing ‘hadihi al-sitara al-sharifah li-bab minarah al-ra’isiya’. 'This panel was made for the door of the main minaret', and Quran 26 Al-Shu‘ara, the Poets vv.193-195 on a red ground. All surrounded with arabesques and vegetal motifs in silver and gilt thread.

Condition: (UV-checked)

- The cloth in very good condition, with some minor wear and traces of use, especially to the medallions and cartouches (the rectangular red one with small tears).

- In some places the wires a bit looser (esp. in the laurel wreath at the top), but certainly not disturbing.

Dim.: 25,5 x 18 cm (the outer size)
Dim.: 19 x 11,5 cm (the central panel)

Condition: Some visible restorations, reglued sections.

Depicting a scene from the Battle of Karbala which commemorates the martyrdom of Imam Husayn. The central figure of the painting is Abbas mounted on a horse killing a member of Yazid's army.

L.: 21,5 cm

Condition: (UV-checked)
- Broken and restored, with important overpainting and overspraying. The exact extent of the repair difficult to discern due to the nature of the restoration.

L.: 21 cm

Condition: (UV-checked)
- Broken and restored, with important overpainting and overspraying. Small missing parts filled and repainted. The exact extent of the repair difficult to discern due to the nature of the restoration, however visible under UV-light.
- In our opinion this tile is in better condition than the previous lot.

Dia.: 32,5 cm - H.: 9 cm

Condition: Both with important restoration and reglued breaks.

The rim with a band of inscriptions in kufic reading barak[ah] (blessing).

Provenance:
- Bonham's, April 24, 2018, lot 166. (link)
- A Belgian private collection.
- Acquired from Emanouel Galleries, with a label on the base.

Dia.: 22 cm - H.: 10,5 cm (the largest)

Provenance:
- Ader, Paris, Dec. 3, 2019, lot 109, for the Seljuk bowl with figures on the left. (link)
- Rosebery's, Oct. 22, 2019, lot 169, for the Kashan bowl with cranes on the right. (link)

 

 Condition: (UV-checked)

- The Kashan bowl broken and reglued. The inside with overpaint to mask the restorations.

- The Seljuk bowl broken, reglued and with overpaint. 

- Both: the exact extent of the repair impossible to assess due to the nature of the restoration.

Dim.: 36 x 25 cm (the outer size)
Dim.: 14 x 12 cm (the central panel)

Bektash was a Muslim mystic, sheikh and philosopher from Khorasan who lived and teached in Anatolia in the 13th C.

Condition: (UV-checked)
- In very good condition, with minor superficial wear.
- The back worn.

Dim.: 35 x 25 cm (the outer size)
Dim.: 20 x 11,5 cm (the miniature)

Condition: With a number of small tears, small touch-ups, staining and superficial wear throughout.

Dim.: 27,5 x 22 cm (the outer size)
Dim.: 19,5 x 14 cm (the miniature)

Condition:
- Superficial dirt.
- A small loss to the top right corner of the drawing.
- A loss in the right part of the upper rim of the outer frame.
- Minor superficial wear.

Dim.: 32 x 24 cm (the frame)
Dim.: 20 x 12,5 cm (the work)

Condition: A serious horizontal crease as visible, otherwise good with superficial wear.

Dim.: 79 x 49,5 cm

Condition:
- In need of a stretcher. Folded in four and with very small losses to the crease lines.

The present painting is a copy after a 15th C. original in the Hajibektash complex in Turkey. (link)

Haji Bektash Veli was a Muslim mystic, saint, Sayyid and philosopher from Khorasan who lived and taught in Anatolia. He is revered among Alevis for an Islamic understanding that is esoteric (spiritual), rational, progressive, and humanistic. Alevi and Bektashi Muslims believe the path of Haji Bektash is the path of ʿAli ibn Abu Talib', since Ali was the source of Bektash's teachings. His original name was 'Sayyid Muhammad ibn Sayyid Ibrāhim Ātā'. He was one of the figures who flourished in the Sultanate of Rum and had an important influence on the Turkish nomads of Asia Minor. He is also referred to as the Sultan of Hearts and the Derwish of the Derwishes. Haji Bektash Veli was a descendant of Musa Kazim, the Seventh Imam of the Athnā‘ashariyyah Shi'a Muslim sect.

Dim.: 47 x 33 cm

An Arabic manuscript on paper, depicting a detailed map of the routes to Mecca and Medina, with further details of the routes to Yemen, Iraq and Syria.

Condition:
- Visible tears, creases, losses and repairs.
- Mounted on cloth.

H.: 19 cm - Dia.: 11,5 cm

The base with an enamelled monogram for J. & L. Lobmeyr. (link)

Condition:
- The glass in very good condition.
- The enamel and gilding worn in certain areas as visible.

H.: 22 cm

Condition: (UV-checked)
- In very good condition with typical small superficial chips and minor superficial wear.

Dia.: 23,5 cm

Attributed to the Caussy workshop, 1716-1731.

Provenance:
- A private collection in the north of France.
- Acquired from Henri Metais, Rouen, with an inventory no. 678 on a label on the back.

Condition: (UV-checked)
- Quasi excellent, with a small superficial rim chip at ca. 1 o'clock and a small number of typical small superficial chips on the outer rim.

Dia.: 25 cm

Attributed to the Caussy workshop, 1716-1731.

Provenance:
- A private collection in the north of France.
- An old partially damaged label on the base with an inventory number 466. The label decorated with a fox, possibly for a certain collection Renard.

Condition: (UV-checked)
- Excellent, with a small number of typical small superficial chips on the outer rim.

Dia.: 24,5 cm

Attributed to the Caussy workshop, 1716-1731.

Provenance:
- A private collection in the north of France.
- Acquired from Henri Metais, Rouen, with an inventory no. 783 on a label on the back.
- With an old inventory label for the C. Calvet collection, inscribed no. 40.

Condition: (UV-checked)
- Good, with a number of chips on the rim.

Dia.: 25 cm

Attributed to the Caussy workshop, 1716-1731.

Provenance:
- A private collection in the north of France.
- Acquired from Henri Metais, Rouen, with an inventory no. 670 on a label on the back.

Condition: (UV-checked)
- Excellent, with a small number of typical small superficial chips on the outer rim.

Dia.: 24,5 cm

Attributed to the Caussy workshop, 1716-1731.

Provenance:
- A private collection in the north of France.
- Acquired from Henri Metais, Rouen, with an inventory no. 281 on a label on the back.

Condition: (UV-checked)
- Good, with a chip on the rim at ca. 2 o'clock and a small number of typical small superficial chips on the outer rim.

Dia.: 30 cm

Condition: (UV-checked)
- Very good, with minor superficial wear and faint horizontal tension line through the putto's hairdo.

L.: 13 cm

Ref.: This type of tile is used in the floor of the Piccolomini library in the Siena Duomo. (link)

Condition: (UV-checked)
- Good, but somewhat worn.

Dia.: 30 cm

Condition: (UV-checked)
- In very good condition with some typical small rim chips, one large chip to the underside of the rim and a drilled hole for hanging.

H.: 32,5 cm

Condition: (UV-checked)
- Quasi excellent, with a small superficial chip to the base.
- The gold lustre of very high quality.

Dim.: 24,5 x 15,8 cm (the later frame)
Dim.: 10 x 8,8 cm (the painting)

Condition: (UV-checked)
- In good condition but with a few small losses to the paint as visible, between 2 and 3 o'clock and then along the rim between 4 and 9 o'clock.

Dim.: 94 x 74 cm (the frame)
Dim.: 75 x 55 cm (the work)

Condition: (UV-checked)
- Generally in good, hangable condition.
- Superficial crackling and crazing throughout.
- A few small sections of inpainting to small losses throughout.

Monogrammed J.D. and dated 1839 on the back.

Provenance:
- The collection of a passionate restorer in the north of France.
- Thence by descent to the current owner in Belgium.

This image, among the most recognizable in the world, finds its source in Leonardo da Vinci's iconic portrait in the Louvre, The Mona Lisa, thought to depict Lisa Gherardini, the wife of the Florentine silk merchant Francesco Giocondo. An old label on the back also bears this in writing.

Although the modern-day fame surrounding the Mona Lisa today did not arise until the twentieth century, the painting long served as an illustrious model of the Renaissance ideal from a very early age. The numerous copies made after it are a testament to its timeless appeal. Some of the earliest known copies include the panel in the Prado museum, which is thought to have arisen in Leonardo's workshop. Some copies, like the version in the Walters Art Museum in Baltimore, record the vestigial columns that were removed from the original composition at an early stage. Another example can be found in the Walker Art Gallery in Liverpool.

H.: 59 cm

Condition:
- The upper tip of the wooden staff, just behind the book, reglued.
- Otherwise in good condition with typical superficial wear.
- A piece of woodboard fixed on the base to stabilise the posture.

Provenance:
- Ernst and Agathe Saulmann.
- their forced sale, Weinmüller, Munich, 26-27 June 1936, lot 157.
- Ludwig Roselius, Bremen.
- Roseliushaus, Bremen.
- Restituted to the heirs of Ernst and Agathe Saulmann, 2016
- A Dutch private collection.

Ref.: H. Manske, Der Meister von Osnabrück: Osnabrücker Plastik um 1500, Osnabrück, 1978 

The present Saint Roch relates to the work of the Master of Osnabrück, a Notname referring to a leading sculptor, or several, active in and around the Westphalian city during the early 16th century. The physiognomy and drapery - including the revers fold around the right arm - are directly comparable to a version of the same subject by the so-called Hauptmeister (Manske, op. cit., no. 33, fig. 20). Compare also the group of Apostles attributed to his workshop in the Diözesanmuseum, Osnabrück (ibid., no. 92, figs. 7-10). The imagination of the carver responsible for the present figure is seen particularly in the charming, leonine dog accompanying the Saint.

H.: 25 cm - L.: 13,5 cm

Condition: (UV-checked)
- A small hole, possibly induced during an excavation, filled and retouched, situated below the handle.
- Otherwise in good condition with negligible minor superficial wear and baking flaws throughout.
- Title revised: production center of Frechen instead of the previously mentioned Raeren.

H.: 53 cm

Condition: (UV-checked)
- Two large rim sections lacking, filled and retouched, as well as various minor repairs alonog the rim. Also with a ca. 15 cm crack extending downwards from the rim, and further minor cracks.
- Numerous small sections repaired across the entire body.
- Two larger sections filled and retouched along the foot.

L.: 24,5 cm - H.: 20 cm

Each marked SVE on the base for Samuel van Eenhoorn, the 'De Grieksche A' workshop, Delft, 1678-1687.

Provenance:
- With Aronson Antiquairs, Amsterdam, published in 'Dutch Delftware - The Ivan B. Hart collection', 2013, p. 30, no. 18 (see added reference images).

Condition: (UV-checked)
- One of the heads lacking and restored. Minor touch-ups to some of the other heads.
- Various repairs to the feet.
- A number of touch-ups to chips and losses along the edges.

Dim.: 21,5 x 21,5 x 5 cm

Marked SVE on the base for Samuel van Eenhoorn, the 'De Grieksche A' workshop, Delft, 1678-1686.

Condition: (UV-checked)
- In very good condition, with typical small superficial chips along the rims.
- Two rim chips to the underside with some old filling.

Provenance:
- A private collection in the north of France.

L.: 34,5 cm - H.: 28 cm

Marked LVE on the base for Lambertus van Eenhoorn, the 'De Metaale Pot' workshop, Delft, 1691-1724.

Condition: (UV-checked)
- The spouts with numerous touch-ups throughout. The bulbous upper part of the large middle spout largely remodelled.
- Minor restoration to both dragon handles.
- A restored chip to the connection between the base and the body.

H.: 17 cm

Condition: (UV-checked)
- Executed in a beautiful shade of blue, with a good, brilliant glaze.
- The left and middle tubular spouts with small restored rim chips.
- A restored superficial chip to the front left corner of the base.
- The restoration executed to a very high standard.

Dia.: 47,5 cm

Marked AK on the back for Adrianus Kocx, the 'De Grieksche A' workshop, Delft, 1687-1701.

Condition: (UV-checked)
- A restored break across the middle from ca. 12 to ca. 6 o'clock. The repair executed to the highest standard, quasi invisible to the naked eye and not showing up under UV-light either.
- Typical negligible small superficial chips along the rim.
- The sound of the dish intact when tapped.

H.: 38 cm - Dia.: 30 cm

Condition: (UV-checked)
- A section of the foot of ca. 10 cm long and 5 cm high broken out and restuck, with related retouching and overspraying. The restoration executed to a very high standard and quasi invisible to the naked eye.
- Otherwise in very good condition with typical small superficial rim chips throughout.

Provenance:
- A Dutch private collection.
- Exhibited at TEFAF.

This urn-shaped jardinière or flower vase is sometimes referred to as 'Medici' vase. The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. 

Oak leaves are the primary ornament surrounding the central medallions, which hold two representations: Venus and Adonis with two dogs on one side, and a shell-shaped fountain with three putti on the other. The representation of Venus and Adonis goes back to the mythological story of Venus and Adonis as described by Ovid in his 'Metamorphoses'. Venus, the goddess of love, was in love with the beautiful Adonis, yet warns him to be careful when hunting: “... Come on, boy, be not reckless at the expense of my love, do not hunt animals that be armed! Your glory has been paid too dearly for me. Those charms of yours, that youth with which you dazzle me, there is no bristle hog, no lion, no animal that lets eye or heart be tamed by it.” To the great chagrin of Venus, Adonis is eventually killed by a wild boar while hunting. Pictured here, we see the moment Venus warns Adonis of the perils of the hunt, as Adonis breaks away from his resisting lover. In the depicting tradition, in 1554, Titian was one of the first to depict this moment in the history of Venus and Adonis.

Dia.: 25 cm

Condition: (UV-checked)
- Both excellent with a small number of typical small superficial rim chips.

H.: 25,5 cm

Condition: (UV-checked)
- Both in very good condition with a few typical small superficial chips to the top and base rim.

Provenance:
- A private collection in the north of France.

Marked AK on the back for Adrianus Kocx, the 'De Grieksche A' workshop, Delft, 1687-1701.

Dia.: 39,5 cm

Condition:
- Quasi excellent, with typical very small rim chips.

H.: 11 cm - Dia.: 7 cm

Condition: (UV-checked)
- Small restored chips around the rim just below the upper part.
- The three feet restored.

H.: 13,5 cm

Condition: (UV-checked)
- Excellent, with a few typical small superficial chips throughout.

H.: 11,5 cm

Condition: Both restored with excessive overspraying.

Small jardinières as the present pair are rather rare. A pair of similar shape and size but with different decoration and without its stands is in the Musée des Arts décoratifs, (inv. no. 23371), illustrated in Lahaussois 1994, p. 44, ill. 25.
A larger, similar shaped (18 x 13 cm) jardinière is in the Rijksmuseum Twenthe, Enschede (inv. no. inv. BR0001 [R062]).
Another of rather similar shape is illustrated in Boyazoglu 1980, p.142, no. 149, where it is questionably described as a “container for schnapps in the shape of a vase.”
Another larger pair of similar shape is illustrated in Lavino 2002, p. 177. (source: Aronson.com)

H.: 16 cm (the tallest)

Condition: (UV-checked)
- The male figure with some old restoration to the base and a reglued break through the neck. Otherwise good with a few typical small superficial chips.
- The female figure with a retouched break through the neck and a small touch-up to a chip below the brush in her hand, otherwise good.

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

Condition: (UV-checked)
- In very good condition with typical small superficial rim chips throughout.

Dia.: 15,5 cm - H.: 4 cm

Condition: (UV-checked)
- Excellent, with a few typical small superficial rim chips.

Dim.: 34,5 x 32,5 cm

Condition: (UV-checked)
- In very good condition with typical minor superficial wear.

Dia.: 34,5 cm

Condition:
- Very good, with chips on the rim as visible. A very attractive dish!

Dim.: 60,5 x 51 cm

Condition: Broken and reglued.

L.: 17,5 cm - H.: 13 cm

Condition: (UV-checked)
- Both tureens with a number of restored chips and glaze flakes along the exterior. The exact extent of the restoration difficult to assess due to the overspraying.
- Both covers with the horns and ears restored or retouched, as well as a number of restored chips and glaze flakes along the exterior. The exact extent of the restoration difficult to assess due to the overspraying.
- The repairs executed to a very high standard and quasi invisible to the naked eye, but showing up under UV-light.

H.: 23 cm - L.: 19 cm

Condition: (UV-checked)
- Both with restoration to the ears, to both front legs and to small chips along the base.
- One with restoration to both rear legs, likely detached from the base and restuck, with related retouching.

Dia.: 35,5 cm

Condition: (UV-checked)
- With a partly restored hairline from ca. 2 o'clock to the centre of the dish, with a related visible tight hairline extending further. Also with small rim chips restored at ca. 7 and 11 o'clock.

Marked AR on the back for Adriaa[e]n van Rijsselberg[h], the 'De Grieksche A' workshop, Delft, ca. 1701 or possibly 1713 to 1735.

The current dish shows important similarities to a number of plates and dishes with a Commedia del'Arte theme, but the inscription here reads 'Le violon de campagne', which may refer to a rural violin player or fiddler, rather than a talented musician.

Ref.: Aronson, inv. no. D1425, for a plate depicting Scaramouche, also marked for the same painter, and also bearing a similar inscription in the lower section of the central medallion. (link)

Dia.: 13 cm (the saucer)
L.: 10 cm - H.: 5 cm (the cup)

Condition: (UV-checked)
- The cup in quasi excellent condition with a very small loss to the green enamel and some minor wear to the gilding. An impressed '3' above the stork.
- The saucer in excellent condition. An impressed '5' on the base.

H.: 26,5 cm

Condition:
- An important dent to the upper rim of the base.
- A few small cracks and small chips around the foot.
- Wax remains throughout.
- Superficial wear and patination throughout, the base slightly lighter in tone than the stem.

Dim.: 98 x 80 cm (the largest frame)
Dim.: 80 x 62 cm (the largest work)

 

Condition: (UV-checked)

- Both paintings in general in good condition and relined, most probably due to damage to the original canvas. Retouches in different phases.

- Nobleman: some minor retouches in the upper part (e.g. the hair, borders) and overpaint, especially in the lower part of the painting and the top of the right shoulder.

- Lady: with overpaint, especially to the background and the robe. The face with some overpaint, esp. above the nose and the jaw and temple on the left. 

Dim.: 110 x 87,5 cm (the frame)
Dim.: 96,5 x 71 cm (the work)

Condition: (UV-checked)
- In good, hangable and fresh condition.
- Consisting of three panels, the two splits with numerous touch-ups.
- A large number of small retouched spots throughout, please refer to the additional images under UV-light for a clear idea.
- Frame with minor wear but generally in good condition.

Dim.: 79 x 69 cm (the frame)
Dim.: 61,5 x 52 cm (the work)

The rule of the Archdukes Albert & Isabella over the Low Countries began in 1598. Their highly cosmopolitan court became a flourishing centre of the arts, a showcase for other courts throughout Europe. The archdukes made a great contribution towards the radiation of the style later known as 'Flemish Baroque'. The century of Peter Paul Rubens would never have been the same without the support of Albert and Isabella. In the Habsburg Netherlands, a region split by civil war, the protestant Northern Provinces had broken away from Catholic Spain, while Spanish rule was established in the Southern Netherlands. The confidence between sovereign and subject would be restored by the Archdukes. The Twelve Year Truce (1609-1621) brought the necessary peace for a political, economic and in particular cultural revival. Albert and Isabella surrounded themselves with a score of artists, including the architects Wenzel Coebergher and Jacques Franckaert, the composer Peter Philips and the court painters, Peter Paul Rubens in the first place, but also Jan I Brueghel, Otto Van Veen and Theodoor van Loon. The South-Netherlandish humanists, Justus Lipsius in particular, brought about an intellectual apogee.

Condition: (UV-checked)

- Both paintings in good condition, relined and with an old written attribution to Sustermans (on the reverse).

- UV-light shows foremost the typical colour of the varnish. A nice and faint network of craquelures. 

 - Both Albert and Isabella: Some overpaint here and there, especially the wide left top corner to the upper part of the head. 

Dim.: 132 x 117 cm

Condition: (UV-checked)
- Restoration to the polychromy where the arms are fixed to the body.
- Important losses to the polychromy.
- Lacking one of the fingertips.

Dim.: 143 x 109 x 41,5 cm

Condition:
- Generally in very good condition with minor superficial wear and some typical superficial discolouration.

Dia.: 25,4 cm

Condition: (UV-checked)
- A restored Y-shaped crack from ca. 12 o'clock towards the center, slightly extending left and right from the Madonna.
- Otherwise in excellent condition with negligible minor superficial wear.

Provenance: A French private collection.

Ref.:
- Dumortier, Céramique de la Renaissance à Anvers, Brussel, 2002, p. 211, no. 71, for a dish (Musées Royaux d'Art et d'Histoire, inv. 5854) with the same checkerboard pattern as on the edge of our current dish, as well as a fragment of such a dish recovered in the Schuytestraat in Antwerp.
- Stadsmuseum Kortrijk, Objectnummer MOS/9526, for a porringer with a very closely related depiction of Madonna and Child. (link)
- De majolicapapkommen van het Maagdenhuis, Leon Geyskens & Frans Caignie, 2021, for a study of the porringers in the Antwerp Maagdenhuis museum, for a study of a collection of porringers of which some also have a very closely related depiction of the Madonna and Child. (link to pdf)

H.: 20,5 cm - H.: 17 cm

Condition: (UV-checked)
- The jug in excellent condition with typical small superficial chips.
- The original lid lacking and replaced by a remodelled example, very well done, hard to tell from the original.

Offered with a complimentary copy of the book 'Faïence Bruxelloise - Brusselse faience - 1783-1866'.

Provenance: The collection of Paul Vosters Jaquet, author of the book 'Faïence Bruxelloise - Brusselse faience - 1783-1866'.

Ref.: The only other recorded example is in the French museum 'Hôtel Sandelin' in Saint-Omer. (see last image)

Dia.: 22,5 cm

Condition: (UV-checked)
- One with two small superficial chips on the underside of the rim and a ca. 2 cm hairline, otherwise excellent.
- One in excellent condition.

H.: 55 cm

Condition:
- In very good condition with minor superficial wear, as in very small losses to the applied patination.