English School, mid 19th c - Portrait Miniature of a Young Woman, with curly light brown hair, in pink and white lace trimmed dress, ivory, 93 x 120mm, unframed and another, a gentleman, half length before red drapery, arched top, 95 x 130mm, bone frame (2) Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: WP5J3T6T Lady - upper right corner chipped and slightly scuffed. Gentleman- good condition, with some dust and scratches. The bone frame damaged
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A French brass carriage clock, Benetfink & Co London, Made in Paris, retaining the original silvered platform escapement, gong striking movement in corniche case, key, 13cm h excluding handle, leather case Dusty, in good condition, would benefit from an overhaul, enamel dial undamaged, signature on dial rubbed, one bevelled glass light with tiny chip in the corner
A George III linen sampler, Perform'd by Elizabeth Ashby, late 18th c, worked with deer behind a fence and trees between letter, stands and verse tablet, 42.5 x 32.5cm, contemporary ebonised frame Typically faded and stained to a more or less even light brown, a finely worked example, free from moth holes or at least any of significance, long undisturbed in the present chipped and worn frame, lacking backboard
Cotman (John Sell, illustrator), Turner (Dawson), et al., Engravings of Sepulchral Brasses in Norfolk and Suffolk, two-volume set, second edition, London: Henry G. Bohn, 1839, engraved general title-pages dated 1839, the divisional titles 1838, hand-coloured frontispieces, 171 etchings with contemporary yellow wash, a crisp, clean copy, some occasional off-setting, rarer marginal soiling and the odd spot of foxing however light, contemporary quarter-morocco over cloth, slightly sunned, rubbed scuffs, yellow endpapers, uncut edges, 4to, (2)
Römischer Bronzehelm vom Typ Niederbieber, 3. Jhdt. n. Chr. Aus einem Stück getriebene bronzene Kalotte, seitlich mit markant ausgestellten und abgesetzten Ohrenausschnitten, das Hinterteil tief nach unten gezogen und mit leicht schräg nach unten geneigtem Nackenschutz versehen. Der Nackenschutz am Rand mit starken Ausbrüchen, die Unterseite mit einer geritzten, kursiven Besitzerinschrift versehen. Auf dem Scheitel längs ein bronzener Bügel, der hinten bis nahe zum Nackenschutz gezogen ist, an beiden Enden durch einen Niet mit großem konischen Kopf befestigt. Quer dazu über dem oberen Teil der Kalotte ein eiserner Bügel, der durch einen Schlitz auf der Oberseite des Bronzebügels in Position gehalten wird.Vom Stirnbügel aus Bronzeblech links nur noch das Nietloch zur Befestigung und rechts ein Niet mit dem Ansatz des Bügels erhalten. Inwendig an den Seiten eiserne Scharnierlaschen mit einem Niet befestigt, welche mit den umgebogenen oberen Enden der Wangenklappen ein dreiteiliges Gewerbe bildeten. Nur die rechte Wangenklappe erhalten, unten mit auswärts gestelltem breiten Rand, vorne mit zwei Gesichtsauschnitten. Die Ohren durch die Wangenklappen vollständig in den Ohrenausschnitt hinein abgedeckt. Die erhaltene Wangenklappe innen an vier Punkten modern befestigt. Kalotte und Wangenklappe von innen her mit Gaze und Kunststoff stabilisiert, eine Bruchstelle des bronzenen Längsbügels ebenfalls. Länge ca. 29 cm, Breite ca. 19 cm, Höhe ca. 29 cm.Späteste und am weitesten entwickelte Form römischer Helme in der Tradition der Exemplare, deren Kalotte aus einem Stück getrieben ist. Zum Zweck der Gewichtsreduzierung extrem dünne und leichte Wandung, welche durch die massiveren Kreuzbügel auf dem Oberteil in Bezug auf Stabilität und Sicherheit verstärkt wurde. In der Zeit um 300 während der Tetrarchie durch neue, völlig andere Konstruktionsprinzipien (Kammhelme mit mehrteiligen Kalotten) abgelöst.Provenienz: Aus dem Nachlass eines süddeutschen Militaria-Sammlers, erworben 2008 bei Hermann Historica (Auktion 54, Los 365). Zuvor Sammlung Axel Guttman (AG 543/H242), erworben 1994 in Krefeld. Publiziert in Junkelmann, "Römische Helme. Sammlung Axel Guttmann VIII", 2000, S. 158 mit Abb. 81 und 82. A Roman bronze helmet of the Niederbieber type, 3rd century A.D. A Roman bronze helmet of the Niederbieber type, 3rd century A.D. A bronze bowl hammered in one piece, the sides with strikingly flared and stepped ear openings, the back pulled deeply downwards and provided with a neck guard sloping slightly downwards. The neck guard at the rim with heavy chipping, the underside with an incised, cursive owner's inscription. On the crest lengthwise a bronze stirrup, drawn close to the neck guard at the back, fastened at both ends by a rivet with a large, conical head. Transversely across the top of the calotte an iron stirrup held in position by a slot on the top of the bronze stirrup.From the frontal stirrup of sheet bronze only the rivet hole for fastening on the left and a rivet with the base of the stirrup on the right are preserved. Inside, iron hinge lugs attached to the sides with a rivet, which formed a three-part joint with the bent upper ends of the cheek flaps. Only the right cheek flap survives, with an outwardly set, wide rim at the bottom and two facial cutouts at the front. The ears completely covered by the cheek flaps into the ear cut-out. The preserved cheek flap modernly attached at four points on the inside. The calotte and cheek flap stabilised from the inside with gauze and plastic, a fracture of the bronze longitudinal stirrup as well. Length ca. 29 cm, width ca. 19 cm, height ca. 29 cm.The latest and most advanced form of Roman helmets in the tradition of examples with the bowl hammered out of one piece. Extremely thin and light wall for the purpose of weight reduction, which was strengthened in terms of stability and safety by the more massive cross-bars on the upper part. In the time around 300, during the Tetrarchy, replaced by new, completely different construction principles (ridge helmets with multi-part bowls).Provenance: From the estate of a South German military collector, acquired in 2008 at Hermann Historica (auction 54, lot 365). Previously the Axel Guttman Collection (AG 543/H242), acquired in 1994 in Krefeld. Published in Junkelmann, "Römische Helme. Axel Guttmann Collection VIII", 2000, p. 158 with figs. 81 and 82.Condition: II - III
Goldring eines römischen Soldaten der Legio XI, 2. - 3. Jhdt. n. Chr. Außen gewölbte und innen glatte Ringschiene, die sich von einer Breite von 3 mm auf der Unterseite zur Ringplatte hin auf 14,5 mm erweitert. Auf der breiten Ringplatte ein durch eine Zarge gefasster Schichtachat mit hellblauer Schrift über dunklem, graublauem Untergrund. Die Zarge umgeben von einem Kerbdraht. Die dreizeilige Inschrift nennt die Legio XI: "LEG / *XI* / CLAV". Der Ring ist in das 2. - 3. Jhdt. zu datieren, als die Legion im unteren Donauraum (Durostorum/Silistra) stationiert war. Außendurchmesser 23 x 25 mm. Gewicht 18,00 g. Geringfügige Abnutzungsspuren und Bestoßungen der goldenen Schiene, sonst intakt.Provenienz: Aus Hermann Historica, Auktion 65, vom 15. Oktober 2012, Los 262, seinerzeit eingeliefert aus österreichischer Privatsammlung, erworben in den 70er bis 90er Jahren. A gold ring worn by a Roman soldier in Legio XI, 2nd - 3rd century A.D. A gold ring worn by a Roman soldier in Legio XI, 2nd - 3rd century A.D.The ring shank curved on the outside and smooth on the inside, widening from a width of 3 mm on the underside to 14.5 mm on the bezel. A layered agate on the broad bezel, set in a frame with light blue lettering on a dark, greyish-blue background. The frame surrounded by beaded wire. The three-line inscription states Legio XI: "LEG / *XI* / CLAV". The ring dates back to the 2nd – 3rd century, when the legion was stationed in the lower Danube region (Durostorum/Silistra). Outside diameter 23 x 25 mm. Weight 18.00 g. Minor signs of wear and knocks on the gold ring shank, otherwise intact.Provenance: From Hermann Historica, Auction 65, on 15 October 2012, lot 262, at the time consigned from an Austrian private collection, acquired between the 1970s and 1990s.Condition: II +
61 gelbgrundige und drei große blaugrundige Augenperlen, keltisch, 5. - 4. Jhdt. v. Chr. Sammlung exzellent erhaltener Perlen der frühen Latènezeit. Die gelbgrundigen Augenperlen in der Regel mit vier weiß-blauen Schichtaugen, einzelne mit zwei Reihen aus vier Augen. Ein Exemplar mit weißen Knuppen entlang der Kanten. In der Mitte drei große Perlen mit zahlreichen kleinen Augen auf dunkelblauem Grund (Mitte) und ausgebleichtem, hellblauem Grund (seitlich der mittleren Perle). Länge des Strangs mit den aufgefädelten Perlen ca. 50 cm. Durchmesser der kleinsten Perlen ca. 7 mm, der größten ca. 25 mm. 61 yellow-ground and three large blue-ground eye beads, Celtic, 5th - 4th century B.C. 61 yellow-ground and three large blue-ground eye beads, Celtic, 5th - 4th century B.C. Collection of excellently preserved beads from the early Latène period. The yellow-ground eye beads usually with four white-blue layered eyes, some with two rows of four eyes. One specimen with white knobs along the edges. In the centre three large beads with numerous small eyes on a dark blue ground (centre) and faded light blue ground (sides of the centre bead). Length of the strand with the threaded beads ca. 50 cm. Diameter of the smallest beads approx. 7 mm, of the largest approx. 25 mm. Condition: I -
Große Jugendstil-Vase mit Landschaftsszene, Pecs (Fünfkirchen), Zsolnay, Entwurf wohl von Tade Sikorski (1852 - 1940), um 1900 Steingutscherben. Leicht reliefiert lüstrierende Eosinglasur in Rot, Grün und Violet. Umlaufender Dekor: Bäume in stilisierter Landschaft. Unterseite mit Siegelmarke "ZSOLNAY PECS", "5650", "M", "20", Manufakturbedingte Delle am unterer Rand, Kratzer am oberen Rand, kleine Farbabplatzer. Maße 35 x 17 cm. A large Art Nouveau vase with landscape scene, Pécs, Zsolnay, design probably by Tade Sikorski (1852 - 1940), circa 1900 A large Art Nouveau vase with landscape scene, Pécs, Zsolnay, design probably by Tade Sikorski (1852 - 1940), circa 1900 Earthenware. Lustre glaze in red, green and purple in light relief. Surrounding décor: trees in stylised landscape. Stamped with seal mark "ZSOLNAY PECS", "5650", "M", "20" oon the bottom, dent from manufacturing, scratch at the upper part and tiny glaze losses. Dimensions 35 x 17 cm. Condition: II
Ciaccio, Roberto. - Heidegger, Martin. Holzwege. Lichtanmerkungen in acht Augenblicken - Annotazioni di luce in otto momenti - Annotations of light in eight moments. 4 Bl. (Titel, Zitatvorspruch, Druckvermerk), 4 Textbl. Mit 8 signierten Original-Aquatintaradierungen von Roberto Ciaccio. 45 x 33,5 cm. Lose Bogen in 2 Umschlägen, in OKart.-Flügelmappe und OHalbleinenschuber. Mailand, Giorgio Upiglio - Grafica Uno, April 1990-Februar 1992.Eines von 99 nummerierten Exemplaren (Gesamtauflage 129 Ex.). Druckvermerk von Ciaccio und dem Verleger Upiglio signiert. Grandioses Mappenwerk des 1951 in Rom geborenen, in Mailand wirkenden Künstlers, dessen druckgraphisches Werk 2006 zum ersten Mal in Deutschland im Kupferstichkabinett der Staatlichen Museen zu Berlin gezeigt wurde. Zu sehen war damals eine Auswahl aus den Arbeiten, die Ciaccio in Zusammenarbeit mit dem renommierten Mailänder Drucker Giorgio Upiglio in den letzten 15 Jahren geschaffen hatte. Auch das hier vorliegende Portfolio wurde von Upiglio (gemeinsam mit Pierluigi Puliti) hergestellt. In ihrem Abstraktionsgrad erinnern die Arbeiten an Werke der amerikanischen Maler Mark Rothko oder Barnett Newman. (vgl. www.smb.museum/ausstellungen/detail/roberto-ciaccio-revenants-widerspiegelungen-der-matrix/, abgerufen am 14.7.23). Typographie von Rodolfo Campi, gedruckt auf Hahnemühle 300 g (Radierungen), Hahnemühle 220 g Shiohara (Heidegger-Texte). Das Zitat am Anfang stammt von Gottfried Boehm. Die Textpassagen in deutscher, italienischer und englischer Sprache. Vortitel mit eigenhändiger Widmung des Künstlers an den ehemaligen Direktor des Kupferstichkabinetts H. Th. Schulze-Altcappenberg (datiert: Berlin 23.3-25.6.06). - Sehr gut erhalten.
Silver sifter spoon. Model after 18th century example. Equipped with a stylized rooster and openwork bowl. The Netherlands, Schoonhoven, Gerrit van der Dussen, 1905, hallmarks: lion, Minerva, maker's mark, V, pseudo hallmarks (series cc page 73, Valse zilvermerken in Nederland, K.A. Citroen) - light signs of use. 34 grams, 833/1000. Dim. L 12.4 cm, W 7.1 cm.
6-piece set of finger bowls silver. With pearl rim and engraved initials DvH. Belgium, Brussels, Wolfers Frères, late 19th century, hallmarks: ornamental hallmarks: climbing (Brussels?) lion and a mythical animal (running deer), maker's mark (twice: WF in monogram and the three stars in triangular cartouche), 800 - light signs of use. 748 grams, 800/1000. Dim. H 5.2 cm, diam 11.8 cm.
2-piece set of silver sauce boats, (Louis Coignet, Paris ca. 1889-93. Very fine set with handles and reed & ribbon bands. The sauce boat is removable. France, Paris, Louis Coignet, 1889-1893, hallmarks: Mercury 2, maker's mark. Inscription: family coat of arms of a.o. Talleyrand-Périgord - light signs of wear and dents. 911 grams, 800/1000. Dim. L 24.3 cm, W 15.8 cm, H 11.3 cm.
Silver sifter spoon, Johannes Anthony Timmermans, Amsterdam 1807-09. Equipped with boat-shaped pierced bowl with serrated edge. The stem features an engraved branch and bow decorations. The Netherlands, Amsterdam, Johannes Anthony Timmermans, 1807-09, hallmarks: 10 content hallmark (10 penningen), city hallmark, maker's mark, year letter A, ax - light signs of wear and dents (small tear in the edge of the bowl near the handle). 33 grams, 833/1000. Dim. L 16.2 cm, W 7.1 cm.
12-piece fish cutlery, model 1064 by Christa Ehrlich (1903-1995) for Zilverfabriek-Voorschoten, silver. Christa Ehrlich was a Viennese designer who studied at the Vienna Kunstgewerbeschule of Josef Hoffmann. She set up the Austrian section for the important international exhibition Europäisches Kunstgewerbe in Leipzig (1927). There she met Carel Begeer (1883-1956), director of the Royal Dutch Precious Metal Companies (Koninklijke Nederlandse Edelmetaal Bedrijven - KNEB), who invited her to design modern silver utensils for the factory in Voorschoten. Her designs were a great success and are still praised as textbook examples of the so-called 'constructive or modernist style' that was on the rise in the 1920s. Her views resemble those of modern designers, who believed in the aesthetics of the "machine age". She had a preference for sparsely decorated products with clear, preferably geometric main shapes. Christa Ehrlich continued to work at the Silver Factory until her retirement. The Netherlands, Voorschoten, Silver Factory Voorschoten, 1943, hallmarks: lion, Minerva, maker's mark, I, Designers hallmark Christa Ehrlich (CE) - light signs of wear. 578 grams, 833/1000. Dim. L 20 (knife) cm.
12-piece fish cutlery, model 1064 by Christa Ehrlich (1903-1995) for Zilverfabriek-Voorschoten, silver. Christa Ehrlich was a Viennese designer who studied at the Vienna Kunstgewerbeschule of Josef Hoffmann. She set up the Austrian section for the important international exhibition Europäisches Kunstgewerbe in Leipzig (1927). There she met Carel Begeer (1883-1956), director of the Royal Dutch Precious Metal Companies (Koninklijke Nederlandse Edelmetaal Bedrijven - KNEB), who invited her to design modern silver utensils for the factory in Voorschoten. Her designs were a great success and are still praised as textbook examples of the so-called 'constructive or modernist style' that was on the rise in the 1920s. Her views resemble those of modern designers, who believed in the aesthetics of the "machine age". She had a preference for sparsely decorated products with clear, preferably geometric main shapes. Christa Ehrlich continued to work at the Silver Factory until her retirement. The Netherlands, Voorschoten, Silver Factory Voorschoten, 1943, hallmarks: lion, Minerva, maker's mark, I, designers hallmark Christa Ehrlich (CE) - light signs of wear. 578 grams, 833/1000. Dim. L 20 cm (knife).
Silver sugar sifter spoon, Andele Andeles, Leeuwarden 1709-1754. This typical Frisian model sifter spoon (see Dutch Small Silver - 1650 1880 - B.W.G. Wttewaall, page 191) sugar sifter spoon was made by the well-known silversmith and medalist Andele Andeles, born 29 June 1687 in Leeuwarden, son of Eyse Andeles and Tieltie Hillebrands Brongersma. Andeles became a silversmith in Leeuwarden in 1709 and was alderman of the city of Leeuwarden in 1745. Andeles was also the teacher of his cousin Eise Andeles (medallist of mainly commemorative medals). The sugar sifter spoon has an oval openwork bowl and a accolade handle end. The Netherlands, Leeuwarden, Andele Andeles, ca. 1725-30, hallmarks: maker's mark - light signs of use. 26 grams, 934/1000. Dim. L 14.3 cm, W 7.5 cm.
12-piece set of ice cream spoons "Hollands Rondfilet", silver. "Hollands Rondfilet". Netherlands, Voorschoten, J.M. van Kempen & Zonen, 1916 / 1917 (2x), hallmarks: lion with key, Minerva, maker's mark, year letters G and H - light signs of wear. 206 grams, 833/1000. Dim. L 12.2 cm, W 2.7 cm.
Silver sugar sifter spoon, Pieter Bouscholten, The Hague 1830. With round bowl with openwork flower shape. The handle with double edging. The Netherlands, The Hague, Pieter Bouscholten, 1830, hallmarks: lion, Minerva, maker's mark, V - light signs of use. 29 grams, 833/1000. Dim. L 15.2 cm, W 7 cm.
2-piece set of five-light candelabras, silver. A pair of five-light candlesticks / candelabras on a round profiled (and filled) base with a ribbed cylindrical column. Equipped with four curved arms with candle holder around one central candle holder. The Netherlands / Portugal, Amsterdam / Porto, Bos & Zoon / unknown, 2002 / ca. 2000, hallmarks: standing lion, Minerva, maker's mark, year letter S / eagle's head of Porto, 925, unknown maker's mark, convention hallmark 925 - light signs of use. 1559 grams, 925/1000. Dim. L 20.5 cm, W 20.5 cm, H 26.3 cm (mentioned dimensions concern the Dutch model; the Portuguese model is half a centimeter smaller in length, width and height).
Silver bread basket Louis XVI, Sneek 1911. Oval model in Louis XVI style on claw feet. With openwork gallery sides with engraved garlands and portrait medallions. The upper border with edging and four bow ornaments, of which two larger an two smaller ones. The bottom border is also provided double edging. The Netherlands, Sneek, P. Spoelstra, 1911, hallmarks: lion, Minerva, maker's mark, year letter B - light signs of wear (the two larger bows are missing a piece). 614 grams, 833/1000. Dim. L 24.5 cm, W 19.5 cm, H 11 cm.
Silver showpiece / table piece / jardiniere. Imposing oval showpiece on foot. With handle and shell-shaped / lobed bowl. Adorned with several rocaille cartouches. Southern Europe (Italy / Portugal), early 20th century, hallmarks: ZII, sterling - light signs of wear. 1636 grams, 835/1000. Dim. L 41.5 cm, W 21.5 cm, H 35 cm.
3-piece lot of jam forks and pickle fork, silver. Lot consisting of 2-piece set of jam forks and one pickle fork, all with agate handles. The Netherlands, Middelburg / 's-Hertogenbosch, Isaäc Willem Martinus Godfried van Kervel / Johannes Antonius Melis, jam forks ca. 1860 and pickle fork 1865, hallmarks: sword, maker's mark / lion, Minerva, maker's mark, f - light signs of wear (pickle fork has a tear at the handle). 34 grams, 833/1000. Dim. L 15.1 cm, W 1.9 cm.
2-piece set of candlesticks silver. Set of two 2-light candlesticks, stylized design and with filled foot. Belgium / Germany, import to Schwäbisch Gmünd, mid / 2nd half 20th century, hallmarks: (unknown) Belgian maker's mark, A835, German import hallmark of Johann Beck - light signs of wear and dents. 367 grams, 835/1000. Dim. L 6.3 cm, W 14.5 cm, H 11.5 cm.
Pepper and salt shaker silver. Made in the shape of a Viking horn with legs and removable cap. Decorated with engraved details. Norway, Bergen, Theodor Olsens Eftf, 20th century, hallmarks: sterling, maker's mark, Norway - light signs of wear. 35 grams, 925/1000. Dim. L 5.5 cm, W 3.3 cm, H 6.2 cm.

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534297 Los(e)/Seite