Condition report

Dim.: 16 x 11,5 cm (the largest frame)
Dim.: 13 x 8,5 cm (the largest work)

Painted on bone plaques, nicely mounted in ebonised frames.

Condition:
- Overall in good condition, with some minor (removable) staining throughout as visible.
- The frames and glasses with minor superficial wear.

Dim.: 25 x 25 cm

Ref.: The Metropolitan Museum, New York, Accession number 02.5.91, for a similar example dated ca. 1578. (link)

Condition: (UV-checked)
- A number of touch-ups to the overglaze red enamels throughout.
- A number of retouched chips on the rims on three sides.
- Somewhat misfired.
- We added sime daylight photos to give you a better idea of the actual colours.

H.: 10 cm

Condition: (UV-checked)
- Superficial crazing and crackling, minor wear throughout, otherwise excellent.

H.: 25 cm

Condition: (UV-checked)
- In quasi excellent condition, with a hardly visible superficial rim chip.

H.: 56,5 cm

By the 19th C., the introduction of the studio potter, led by the Frenchman Joseph-Théodore Deck, propelled a fascination with reviving Iznik-style pottery in Europe. Deck’s successful experiments with Iznik went on to inspire Ulisse and Giuseppe Cantagalli to produce their own works which paired the characteristic polychrome Saz-style decoration with large, un-Ottoman forms (Denny, 2004, pp. 221-22). The impressive scale of this vase was most likely drawn from a vase in a royal Italian collection published by Deck in 1887 (Deck, 1887, fig.11, p. 26).

Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear and small baking flaws.
- A few small superfical glaze chip.
- The foot rim with a 3,5 cm hairline and a piece lacking from the inner foot rim.

H.: 51,5 cm (the vase)
Dia.: 30 cm (the dish)

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

H.: 36 cm (the tallest, incl. stand)
H.: 32 cm (the tallest vase)

Condition: (UV-checked)
- The wooden vase generally in good condition, with normal superficial wear and minor tight tension lines
- The vase in the middel: The top rim with a restored break with related retouching. Both handles with a few small superficial chips. The bottom with a short hairline.
- The right hand vase with glaze losses and a superficial chip from the rim. The foot with restored breaks and reattached to the vase with related retouching.

Dia.: 40 cm

Condition: (UV-checked)
- Generally in good condition, with some spots of glaze loss and minor superficial wear throughout, such as one hairline.

Dia.: 43 cm

Condition: (UV-checked)
- Generally in excellent condition with typical minor superficial wear, small chips and spots of glaze loss throughout.

H.: 72,5 cm (the total height of the mount)
H.: 68,5 cm (the sculpture)

Condition:
- Overall in good condition with some flaking to the polychromy, mainly to the face.

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
- Acquired from De Spiegelaere, antiques dealer, Ghent, in July 2007. (according to the owner's inventory)

Dim.: 16 x 13 cm (the largest frame)
Dim.: 11 x 8,5 cm (the largest work)

Please note that it's difficult to establish the exact medium, as all works are framed and removing them from their frame might damage the miniatures.

Condition:
- Far left: good, possibly with a small touch-up or anomaly justabove the male's head.
- Second from left: excellent.
- Third from left: vertical split through the middle of the work, small spots with superficial paint loss to the bottom left section, a section retouched to the upper part in the middle, bearing a signature 'Childe', probably for James Warren Childe (1780 – 19 September 1862).
- Fourth from left: excellent, presented under a domed glass front.
- Fifth from left: excellent, with two negligible short vertical tension lines. Possibly also bearing a signature in the lower right.
- Sixth from left: excellent.

L.: 8,5 cm (the largest)

Condition: (UV-checked)
- On the far left: excellent on the front. The souvenir tag on the back no longer in place.
- Second from left: very good, but with a fine, quasi invisible superficial scratch.
- Third from left: excellent on the front, the back with an illegible inscription, the glass on the back with superficial pitting.
- Fourth from left: excellent on the front. One of the two monogrammed ovals on the back no longer in place.
- On the far right: excellent.

L.: 22,5 cm - H.: 4 cm

Weight: 221 grams

Provenance: The collection of a deceased private collector, Brussels, Belgium.

Condition: (UV-checked)
- Generally in very good condition, with nice patination.

品相：（已用紫外线光检查）
- 整体品相良好，包浆自然。

H.: 25 cm (incl. stand)
H.: 18 cm (the figure)

Provenance: An important Belgian private collection.

Condition:
- Generally very good, with some superficial patination as visible. The candle holder probably added later, in all likelihood during the 17th C.

Ref.:
- The Metropolitan Museum, New York, Accession number 1982.60.124, for a related example described as Flemish, 16th C. (link)
- The V&A, London, Accession number M.102-1953, for a related example described as German, 15th C. (link)
- Christie's, London, Nov. 4, 2010, lot 59, for a less elaborate example described as German, possibly Nuremberg, ca. 1500-1520. (link)

L.: 43,5 cm

Condition:
- The tips of the three middle fingers broken off on his left hand, the pink's tip broken off on the right.
- Otherwise in good condition with minor superficial wear.

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
- Acquired in 1980 in Zottegem, Belgium, according to the owner's inventory notes.

Dim.: 22 x 19,5 cm (the frame)
Dim.: 13 x 10 cm (the alabaster carving)

Condition:
- The frame with some minor superficial wear.
- Typical superficial cracks throughout as visible.
- A loss to the top right corner.

Dim.: 129 x 110 cm (the frame)
Dim.: 107,5 x 89,5 cm (the work)

Condition: (UV-checked)
- Generally in very good condition, ready to be displayed.
- Relined on canvas.
- A relatively small number of minor touch-ups showing up under UV-light, executed to a very high standard and invisible to the naked eye.

Ref.: Netherlands Institute for Art History (RKD), where a related smaller version painted on copper is attributed the same as our current example, contesting an earlier attribution to another Antwerp school painter, Andries Daniëls. (link)

Dim.: 91 x 81 cm (the frame)
Dim.: 71 x 61 cm (the work)

Condition:
- Presenting very well, ready to hang.
- A small repair visible on the back, quasi invisible on the front.
- The canvas relined.
- The frame well-preserved, with a small paint flake on the right handside.

With illegible pencil inscriptions on the back of the upper horizontal stretcher.
Presented in a nicely carved ebonized wooden frame.

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
- Acquired in December 1979 from Gallery De Vos, Ghent, according to the owner's inventory notes.

H.: 23 cm

Condition: (UV-checked)
- In excellent condition, with normal superficial wear.

Dim.: 22,5 x 16 x 13 cm

Condition: (UV-checked)
- The cover quasi excellent, with a 2 mm flake to the tip of one of the petals.
- The tureen quasi excellent, with a chip to one of the leaves next to a handle.

Dia.: 25 cm - H.: 11,5 cm

Condition: (UV-checked)
- Both in good condition, with typical minor chips and glaze loss on the rim as visible.

H.: 20 cm - L.: 18,5 cm

Condition: (UV-checked)
- Both wet drug jars in very good condition, with typical glaze loss of the rims. One jug with a superficial chip from the spout.

H.: 18 cm

Condition: (UV-checked)
- Overall in good, stable condition and of nice appearance.
- The base with a filled hole.
- Some glaze loss around the base and minor glaze loss around the rim.
- Typical superficial wear throughout.

Dia.: 38,5 cm

Condition: (UV-checked)
- Quasi excellent, with a few typical small chips along the rim, the most disturbing at ca. 1 o'clock.
- A rim chip at ca. 10 o'clock filled.
- The glaze very bright and fresh, a truly exceptionally well preserved example.

Ref.:
- A very closely related example, likely from the same hand, but with the more commonly found scalloped and barbed blue-ground border is with Aronson Antiquairs, inv. no. D1023. (link)
- Another example with the above-described border showing the Sacrifice of Abraham is in the Rijksmuseum, Amsterdam, Object number BK-1958-33. (link)
- Five (partial) smaller examples with biblical scenes combined with a floral scroll pattern on the rim, were found in Enkhuizen in 2018. (link)

H.: 25 cm

Condition: (UV-checked)
- The finial restored, otherwise in good condition with typical small chips around the foot.

L.: 13 cm - H.: 11 cm

Condition: (UV-checked)
- In very good to excellent condition with a small number of negligible spots of superficial glaze loss, as to be expected.

Dia.: 33,5 cm

Provenance: An English private collection.

Ref.: Rijksmuseum, Amsterdam, Object number BK-1956-24, for a very similar but smaller example. (link)

Condition: (UV-checked)
- A tight ca. 2 cm hairline on the rim at ca. 12 o'clock.
- Larger rim chips at ca. 2 o'clock and around 6 o'clock.
- Typical glaze loss along the rim and to the bulbous dots along the rim.
- Superficial crazing and minor baking flaws throughout.
- A large superficial flake to the underside of the rim at ca. 10 o'clock, very slightly visible from the front.

H.: 18,5 cm

Marked 'VDuijn' on the base for Johannes van Duijn, the 'De Porceleyne Schotel' workshop, Delft, 1764-1772.

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

Dim.: 22,5 x 18 cm (the stand)
L.: 11,5 cm - H.: 9 cm (the tureen)

The tureen and cover both marked with a numeral 4. The tureen marked with an axe for the 'De Porceleyne Byl' workshop, Delft.
The stand marked HVH for Hendrik van Hoorn, the 'Drie Posteleyne Astonne' workshop, Delft, 1759-1804.

Condition: (UV-checked)
- The leaf-shaped stand generally in good condition, with the petiole restored and related overpainting. The rim with minor superficial glaze losses.
- The cover of the tureen with the branch-shaped knob restored and small superficial losses of the glaze. A small chips from the tip of two leafs and a small chip from the inner rim.
- The tureen generally in good condition with typical glaze losses from the rim and a touch up of glaze loss.

Dia.: 37,5 cm

Condition: (UV-checked)
- With a very well restored break across, from ca. 12 o'clock to ca. 4 o'clock. The restoration executed to the highest standard and invisible to the naked eye.
- The sound of the dish a bit dull when tapped.

Ref.:
- Rijksmuseum, Amsterdam, object number BK-NM-12400-41, for a related example dated 1670, clearly from the same workshop. (link)
- Rob Michiels Auctions, Oct. 7, 2018, for a very closely related example. (link)

H.: 29 cm (each jar)
H.: 36,5 cm (the jar incl. the cover with the finial)

Condition: (UV-checked)
- One in very good condition with typical superficial glaze loss along the top and base rim.
- One with a hole through the base and a somewhat larger chip to the base on the left side, as well as typical superficial glaze loss along the top and base rim.
- One lid lacking the finial.

Dia.: 34,5 cm

Condition: (UV-checked)
- Overall in very good condition.
- A number of glaze flakes to the rim retouched, mostly on the underside.

Dia.: 30 cm

Condition: (UV-checked)
- A small superficial rim chip retouched at ca. 8 o'clock, as well as a retouched tight hairline from ca. 2 o'clock on the rim towards the center of the dish.
- The hairline retouched to the highest standard and invisible to the naked eye, and almost not visible under UV-light either. The chip very slightly visible to the trained eye.
- The dish singing 'like a bird' when tapped and generally of rather fresh appearance.

L.: 13 cm - H.: 12,5 cm

Both tub and cover marked JVDH, probably for Jan Van Der Hagen, the 'Het Oude Moriaenshooft' workshop, Delft, 1768-1796

Condition: (UV-checked)
- Both in very good condition with typical minor glaze abrasions.

Dia.: 22 cm

Condition: (UV-checked)
- Both plates with a few few small rim chips repaired, hardly visible to the naked eye. Otherwise in good, fresh condition.

H.: 41 cm

Condition: (UV-checked)
- Both reduced at the the top.
- Visible chips to the upper rim and around the base, as well as visible superficial crazing throughout.

Dia.: 32 cm

Provenance:
- The collection of a Spanish aristocratic family, until ca. 2008.
- An important English private collection.

Condition:
- A small number of small superficial rim chips and some typical superficial glaze loss along the rim.
- A short tension line apparent extending downwards from the center, not reaching the outer rim. The dish not 'singing' when tapped.
- Some typical negligible superficial crazing.

Dia.: 31,5 cm

Provenance:
- With a label on the back for the 'Gaston de Ramaix' collection, Château de Grune, Belgium. The collectors Maurice de Ramaix (1850-1918) (link), a Belgian diplomat and politician, and his son Gaston built a collection of mostly blue and white pieces from the seventeenth and eighteenth centuries. De Ramaix was a diplomatic attaché in Paris, Constantinople, Vienna, Berlin, The Hague and Persia. Afterward, he returned to Belgium where he became a senator and a member of Parliament. In 1894, he bought and restored a castle in Grune, Belgium. After his death, De Ramaix’s collection was passed to his eldest son, Gaston (1878-1937), who was also a diplomat. Gaston had a predilection for the Dutch Golden Age and completed his father’s collection. He showcased the remarkable assemblage of Delftware in his seventeenth-century castle surrounded by Dutch paintings and prints from the same era.
- By descent to a heir of the de Ramaix family in the north of France.
- Rob Michiels Auctions, Dec. 18, 2017, lot 2. (link)
- An important English private collection.

Condition: (UV-checked)
- In very good condition, with typical superficial glaze loss along the rim and a small rim chip at ca. 9 o'clock.
- Slightly warped, resulting in a non-flat cavetto.

Ref.:
- A closely related example, likely from the same hand, but with the grotesque border executed in yellow, is in the Rijksmuseum, Amsterdam, Object number BK-NM-3983. (link)
- A second example, also closely related but with some clear distinctions, is also in the Rijksmuseum, Amsterdam, Object number BK-NM-14179. (link)

H.: 7,5 cm (the largest salt)
Dim.: 5,5 x 5,5 x 3 cm (the two small square bowls)

Condition: (UV-checkedf)
- Both numbered bowls in good condition with minor wear and small chips to the rim.
- The oak leaf-shaped salt with a restored section to the base, otherwise good with minor wear and small chips to the rim.
- The two other Dutch salts in good condition with some superficial chips as visible.
- The largest (German) in very good condition with some minor superficial chips as visible.

Dim.: 39 x 26 cm (each mural)
Dim.: 13 x 13 cm (each tile)

Condition:
- 'Ik ben Hans Worst': The two top right tiles have been broken and restored.
- 'En ik zijn broer.': The middle left and bottom right tiles have been broken and restored.
- The restoration is executed to the highest standard and left visible on the back.

Ref.:
- The current pair is illustrated and discussed in Antiek, no. 2, Aug/Sept 1987, p. 95.
- A similar single illustrated example, painted in manganese, is published in A. Hoynck van Papendrecht, De Rotterdamse plateelbakkers enz., Rotterdam, 1920, p. 117, fig. 229.
- Another example but painted in blue and with a frieze is illustrated and discussed by D.F. Lunsingh Scheurleer in Antiek no. 2 Aug/Sept 1986. This piece is now in the collection of the Brussel Koninklijk Museum voor Kunst en Geschiedenis. 
- Jan Pluis, The Dutch Tile, p. 601, E.03.06.02, for a related mural showing an actor, described as from Rotterdam.

Hans Worst is the Dutch version of Hanswurst or Hans Wurst, a popular character from the early 18th C.

The name first appeared in a Middle Low German version of Sebastian Brant's 'Ship of Fools' (1494) (using the name Hans myst). 'Hanswurst' was also a mockery and insult. Martin Luther used it in his 1541 pamphlet Wider Hans Worst (Against Hanswurst), when he railed against the catholic Duke Henry of Brunswick.

In 1712, Joseph Anton Stranitzky developed and popularized the role of Hanswurst.
The theater historian Otto Rommel saw this as the beginning of the so-called Viennese popular theater. Stranitzky's Hanswurst wore the garb of a peasant from Salzburg, with a wide-brimmed hat on.
His humor was often sexual and scatological. The character found numerous imitators.
In 1775, the 26-year-old Johann Wolfgang von Goethe wrote a farce entitled Hanswurst's Wedding.

Dim.: 13 x 13 cm

Condition: (UV-checked)
- Minor touch-ups to two small sections on the rim on the right hand side and to a small spot on the frog's body.

Dim.: 13,5 x 13,5 cm

Condition: (UV-checked)
- Small touch-ups to the corner tips on the upper left and lower right corner, as well as to the middle of the bottom edge.

Dim.: 13,5 x 13,5 cm

Condition: (UV-checked)
- A small touch-up to the outer tip of the bottom right corner, otherwise excellent.

Dim.: 13 x 13 cm

Condition: (UV-checked)
- Minor touch-ups to superficial flakes on the upper right and the lower left corner.

Dim.: ca. 13,5 x 13 cm

Condition: (UV-checked)
- The tile was originally slightly cut on the left side, this section has been filled and retouched over ca. 1 cm. The cutting of a tile on one side was a common practice to make a tile fit into the available space, mostly in a corner.
- Otherwise in very good condition with a fresh, bright glaze.

H.: 14 cm

Condition: (UV-checked)
- In very good condition, with a few small superficial chips to the rim and minimal superficial wear throughout.
- The glaze also well-preserved and still glossy in most sections.

H.: 17,5 cm (the Westerwald jug, incl. pewter thumb rest)

Condition: (UV-checked)
- The armorial jug in good condition with a number of chips to the rim.
- The Westerwald jug in excellent condition with minor superficial wear throughout and a small negligible chip to the inner rim. The pewter mount possibly of later date.

H.: 11,5 cm

Condition: (UV-checked)
- Generally presenting very well, the glaze overall still glossy.
- The rim with a restored chip of ca. 2,5 x 0,8 cm.
- The tip of the nose retouched.
- The repairs executed to a very high standard, quasi invisible to the naked eye.
- Otherwise in good condition with typical minor superficial wear and baking flaws as visible.

L.: 4,2 cm - H.: 1,7 cm (the largest)

Condition:
- The 'SOFRONI' stamp: in very good condition with typical encrustation and minor superficial wear throughout.
- The 'DISUC' stamp: in good condition, possibly slightly polished in small areas. The ring appearing a little uneven.

Provenance:
- Both: A Belgian private collection.
- The 'SOFRONI' stamp: Bonham's, London, July 7, 2016. (link) Previously in a Dutch private collection, purchased in 1997 from an antique shop in Eindhoven.

Dim.: 7,5 x 6,5 cm (the belt buckle with the lion)
H.: 3,5 cm - L.: 3,5 cm (the dog)

Provenance:
- The dog: Bonham's, London, July 7, 2016, lot 163 (part lot). (link)
- A Dutch private collection, purchased in 1996.
- The Schellingerhout Collection, Heerlen, 1990's.
- (The dog accompanied by a conservation report dated 1999.)

- The belt plate: Bonham's, London, July 7, 2016, lot 168. (link)
- A Dutch private collection, purchased in 1996.
- The Schellingerhout Collection, Heerlen, 1990's.
- The K.H. Naumann Collection, Kusel, Germany.

Condition:
- The belt plate in good condition, with minor superficial encrustation and minor superficial wear throughout. Small parts lacking and the right hand corner slightly torn as visible on the photo
- The dog in good condition, with superficial encrustation and superficial wear throughout.

H.: 21,5 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
- Acquired from Christophe Varosi, Brussels, in June 2013 and accompanied by a certificate from QED Laboratoire confirming the last date of firing.

Condition: (UV-checked)
- Generally in good condition with normal superficial wear and superficial flacking as visible on the photos.
- The top rim with a small superficial chip.
- The foot with an old repaired chip.
- Just under the handle and on the bottom a tiny drilled hole for the QED Laboratoire test.

H.: 17 cm (the tallest incl. stand) - H.: 12,5 cm (the tallest figure)
H.: 9 cm (the smallest incl. stand) - H.: 7,5 cm (the smallest figure)

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
From left to right:
1) Acquired in February 1999, from Christophe Varosi, Brussels, accompanied by his certificate of authenticity.
2) Acquired in June 2009, from Marc Delorme, Paris, accompanied by his certificate of authenticity
3) Acquired in July 2000, from Drees Gallery, Brussels, according to the owner's inventory notes. Bearing a hieroglyphic inscription which translates to 'illuminate Osiris Noudem', also according the owner's inventory notes.
4) Acquired in January 2001, from Christophe Varosi, Brussels, accompanied by his certificate of authenticity. 
5) Acquired in July 2016, from Christophe Varosi, Brussels, accompanied by his certificate of authenticity. 
6) Acquired in July 2000, from Christophe Varosi, Brussels, accompanied by his certificate of authenticity. 

Condition: (UV-checked)(from left to right)
1) The middle of the figure with a restored break and related retouching.
2) Generally in good condition, with normal superficial wear and visible losses as visible on the photos.
3) Generally in good condition, with minor superficial and the tip of the feet missing.
4) A glued break at height of the shoulders and normal superficial wear.
5) In very good condition.
6) In very good condition with minor superficial wear.

H.: 5,8 cm (the Thot sculpture, excl. stand)
H.: 15 cm (the Osiris sculpture, excl. stand)
Dim.: 8,2 x 6 x 4 cm (the scarab)

Provenance:
- The collection of Mr. and Mrs. S., Ghent, Belgium.
- The Thot sculpture, dated to the Late period, acquired in October 2000 ffrom Christophe Varosi, Brussels, and accompanied by his certificate.
- The Osiris sculpture, dated to the end of the New Kingdom or the early Late period, acquired in September 2000 from Christophe Varosi, Brussels, and accompanied by his certificate.
- The scarabee, dated to the Ptolemaic period, acquired in December 2015 from Christophe Varosi, Brussels, and accompanied by his certificate.

Condition: (UV-checked)
- All with typical minor superficial wear, generally in good condition.
- The Osiris sculpture likely lacking a part of the base on the right hand side.