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Preisdatenbank abonnieren19th century mahogany linen press, upper section enclosing four shelves over two short and two long drawers on bracket feet, H231 x W132 x D54cmsCondition Report: Overall in good condition, the whole has been re-polished to some degree, the locks are missing, some loose cock beading to the drawers and a loose foot section, both of which are retained. light general wear.
Gentlemans Omega stainless steel Seamaster automatic wristwatch, circa 1958, silvered dial with quarterly applied Arabic numerals and sweep centre seconds handCondition Report: Item does not have a box, receipt or paperwork, plexiglass crystal is scratched, light surface scratches to case back and sides, bracelet is worn, item runs but not been tested for accuracyEwbanks does not guarantee the future working of the movement and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts
A Victorian walnut armchair, 98cm high, together with an Victorian armchair, 114cm high (2)Condition Report: Left chair in illustration:There is minor play in the arms.There is a 1cm square patch of deepish scuffing to top rail.Generally sound.right chairLosses to the moulding of the back.Some minor movement in back.generally solid with some general light domestic wear.Both chairs have poor upholstery.
A pair of pewter military figures, mounted on horseback, raised on a wooden base, comprising the Blues & Royals, and 21st (Empress of India's) Lancers 1905, together with a Royal Hampshire figure group of the 8th Hussars, modelled by Richard Hanley, showing a Hussar on horseback above a cannon, on an oval wooden base titled "The Charge Of The Light Brigade". (3, AF)
* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965), STILL LIFE WITH ASPIDISTRA oil on board, signedframedimage size 62cm x 52cm, overall size 80cm x 69cm Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled: “When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since. “Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944. Admiration for her still life’s soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still life’s stand out like patches of blue sky on a grey day.’ The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work.
JAMES WHITELAW HAMILTON RSA RSW (SCOTTISH 1860 - 1932), WESTMORLAND oil on canvas, signed, titled label versoframedimage size 56cm x 69cm, overall size 78cm x 92cm Labels verso: T. &. R. Annan & Sons, Ltd., Glasgow.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture. Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life. Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery. James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
Quantity of Marvel comics x one hundred and twenty five, titles include New X-Men, Marvel Team Up, Muties, Marvel Knights, Shadows & Light, X-Factor, Colossus, Generation X, X-Force, WildC.A.T.S - X-Men, Ultimate X-Men, The Amazing Spiderman, Cable, Star Jammers, The Human Torch, The War, Star Trek, and others, all generally Good to Good Plus. (125)
Quantity of Star Wars modern issue collectables including R2-D2 ceramic cookie jar, Darth Vader Light, Trivia Game, Hasbro Galactic Heroes Hoth AT-ST Assault, Playing Card Collector's set, Episode I Escape from Naboo Electronic Game, and others, all generally Good to Excellent, some within Good to Good Plus packaging. (qty)
Robert Harrop Thunderbirds Limited Edition hand painted figurines x six includes Martian Pete "Martian Invasion", Scott Tracy "City of Fire", Lady Penelope "The Cham-Cham", Alan Tracy "Ricochet", Light-Fingered Fred Parkmoor Scrubs, Gordon Tracy "Operation Crash Dive", all Excellent to Near Mint, within Good Plus to Excellent opened packaging. Also includes loose The Hood TBF03, Fair Plus with damage to the sword. (7)
Hasbro Star Wars modern issue larger scale figures x eighteen includes Darth Maul, First Order Flametrooper, Garazeb "Zeb" Orrelios, First Order TIE Fighter Pilot, Luke Skywalker, Agent Kallus, Rey (Jakku), Kylo Ren, Shoretrooper x2, Captain Cassian Andor (Jedha) x2, BB-8, Fifth Brother Inquisitor, Yoda, Sergeant Jyn Erso (Jedha), Imperial Death Trooper, Imperial Patrol Trooper, all generally Excellent, Unused, within Good Plus to Excellent packaging. Also includes Groovy Stormtrooper Look-Alite Character LED Mood Light, Excellent, within Good Plus packaging. all untested. (19)
Hasbro Star Wars modern issue larger scale figures x eleven includes Darth Vader, Luke Skywalker, The Mandalorian, Grogu, Electronic Imperial Death Trooper x 2, Electronic Elite Praetorian Guard, Electronic Duel Darth Vader, Electronic Duel Kanan Jarrus, Interactech Kylo Ren, Anakin to Darth Vader 2 figures in 1, all generally Excellent, Unused, within Good Plus to Excellent packaging. Also includes Groovy Darth Vader Look-Alite Character LED Mood Light, Excellent to Near Mint, within Good Plus packaging. all untested. (12)
Quantity of Star Wars related modern collectables including Death Star 3D Deco Light, Disney Store R2-D2 Astromech Droid, Disney Store Talking Finn large scale figure, Disney Store Talking Yoda large scale figure, 3 3/4" figures, mugs and others, all generally Good to Near Mint, some within Good Plus packaging with some being sealed. Untested and unchecked for completeness. (qty)
Quantity of Toy Biz / The Bridge The Hobbit and The Lord of the Rings figures and collectables, figures include Balin The Dwarf, Gandalf the Grey & Tauriel figure pack, Thorn Oakenshield, Legolas Greenleaf, Invisible Bilbo Baggins, Pelennor Fields Aragorn, Gandalf the White, and others, all generally Good to Near Mint, with most being within Good to Good Plus sealed packaging, loose figures are unchecked for completeness. Also includes The Bridge The Hobbit Dwarven Battle Axe, The Lord of the Rings The One Ring replica with light-up base, The Lord of the Rings playing cards, all generally Good to Good Plus, within Good opened packaging. (qty)
Full title: School of Latem: Sun-drenched rose garden, oil on canvasDescription:Work: 66,5 x 54,5 cm Frame: 94 x 82,5 cmThe work comes with a certificate from Jan Hoet, which confirms that this is a painting by the Belgian painter Emile Claus (1849-1924). Hoet was appointed director of the Museum of Contemporary Art in Ghent in 1975, then housed in several rooms of the Museum of Fine Arts in Ghent and the predecessor of the Municipal Museum of Contemporary Art (Stedelijk Museum voor Actuele Kunst, S.M.A.K.), founded in 1999. He retired as curator of the SMAK in 2003: 'Ondergetekende Jan Hoet, conservator Museum van Hedendaagse Kunst te Gent, verklaart het werk van Emile Claus, waarvan afbeelding op keerzijde, naar authenticiteit te hebben onderzocht. Het bevat alle karakteristieken van een authentiek werk zowel qua factuur, kleuraanbreng en lichtnuances. Het schilderij bevindt zich in een goedgeconserveerde staat. Gent, 11 augustus 1982'. (The undersigned Jan Hoet, curator of the Museum of Contemporary Art in Ghent, declares that he has examined the work of Emile Claus, of which the image is depicted on the reverse, for authenticity. It contains all the characteristics of an authentic work in terms of making, colour application and light nuances. The painting is in a well-preserved condition. Ghent, August 11, 1982) The chassis bears the studio stamps of Emile Claus ('Atelier Emile Claus') at the back. Works bearing this stamp were, under normal circumstances, part of what was present in Claus' studio at the time of his death. It happened that a signature was placed on unsigned works (in the case of Emile Claus, for example, this was done by his muse Jenny Montigny). There is a very real chance that the work is a collaboration of several hands. On the basis of characteristics and style it can be suggested that Anna De Weert (1867-1950) finished the work under the supervision of Claus and that the work was present in the artist's studio at the time of his death.
Title: Albert Baertsoen (1866-1922): Evening on the dune, Mariakerke-aan-Zee, oil on canvas, ca. 1892Description:Work: 145,5 x 208,5 cm Frame: 152,5 x 217 cm Albert Baertsoen (1866-1922) and James Ensor (1860-1949) were close acquaintances. Baertsoen spent the summers in his spacious 'Villa des Hirondelles' on the seawall and he fully participated in society life in the seaside town. The personal contacts between Ensor and Baertsoen date from 1887 or perhaps earlier, because in 1887 Baertsoen was presented by Ensor with a copy of his etchings 'Le Christ apaisant la tempête' and 'Le verger', the latter with the dedication 'A mon ami Baertsoen, James Ensor 87', which suggests earlier contacts. Later Ensor also gave him a copy of 'Barques echouees'. Both artists were intensely involved with graphics at that time. The slightly older Ensor was probably a stimulating example for Baertsoen, and in any case a source of inspiration. Baertsoen's powerful and virtuoso painted seascapes from that period bear traces of Ensor's art, and he certainly also took a good look at his important etching 'Grande vue de Mariakerke' from 1887, the similarities with this canvas 'Avond op het duin' clearly indicate this. In 1889-1890 Baertsoen would make the church of Mariakerke twice the subject of an etching. One of them was published in 1890 under the title 'Village de Mariakerke' in the third album of the 'Societe des aquafortistes belges' (Brussels, 1890). In this 'Avond op het duin, Mariakerke-aan-Zee', drenched in soft light, Baertsoen shows the dune village at the moment when the evening sun illuminates the gables and the tower of Onze-Lieve-Vrouw-ter-Duinenkerk and the dunes are covered by shadows. When around 1894 the entire site was threatened with demolition as a result of the expansion of Ostend, James Ensor and Albert Baertsoen successfully took on the defense of the dune church. It was restored and later protected as a monument. We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. - Ex-collection Thermae Palace, Ostende. - Ex-collection De Pesseroey, Deurle. - Private collection, Belgium. Ref.: - The painting has been exhibited at various locations: The Hague (1892), Ghent (1892), Namur (1892), Berlin (1893), Paris (1894), Ghent (1925), Ghent (1972), Vinkem (1984), Hondschoote-Vinkem (2004) and Ghent (2022). - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1892/11 (link).
Title: Louise De Hem (1867-1922): Before the Calvari (in Flanders), oil on canvasDescription:Work: 176 x 138,5 cm Frame: 214 x 174 cm The lady on the left is more than likely the painter's sister, Helene. She was married to the painter Theodore Ceriez (1831-1904), who was also a teacher at the Academy of Ypres (link). The setting is the St. Martin's Cathedral, Ypres (link). The work can also be seen as a confrontation between the different forms of religion, in particular experience versus book knowledge (illustrated by the contrast between young and old and light and dark). Provenance: - Private collection, Belgium. Ref.: - Part of the exhibition 'Salon de la Societe des Artistes Francais' in Paris in 1900 (no. 384). - Part of the exhibition ''Exposition Triennale des Beaux-Arts' in Brussels in 1900 (no. 160). - Part of the exhibition 'Woman's Exhibition' in London in 1900. - Part of the exhibition 'Louise/Edith. Op handen gedragen' in the Ypres Cloth Hall, November 19, 2022 - March 12, 2023 (no. 40, also mentioned on p. 29 of the accompanying guide). - Jan De Wilde and Annick Vandenbilcke, Louise De Hem 1866-1922, Ypres, 1922, p. 75, C-38.
Full title: Four various chapbooks printed in Ghent by 'J. Begyn, op d'Appel-Brugge in den Engel', 1768-1807Description:Various formats. Joost or Judocus Begyn worked in Ghent as a printer and publisher from 1768 to 1807 and he is considered one of Ghent's most important 18th-C. printers. His business was taken over by his cousin Philips-Jan Begyn, who continued the business until 1840. * ‘De schoone historie van Julius Caesar ende Romeynen, hoe zy deze Nederlanden eerst gewonnen en daer naer verloren hebben…’: 4°, 77, [3] pp. With woodcut title vignette (some stains, light traces of water, wormhole last page). Ex-libris Edmond Lecompte (stamp). Beautiful modern half calf leather binding.In the South Netherlandish editions of this chapbook (only the editions of Begyn are known) three pages have been added at the back with 'De korte Beschryvinge van de Nederlanden en van de Zeden en Gewoonten der inwoonders, getrokken uyt Verscheyde oude Historie-Schryvers.’ (See: Jos Smeyers, H.J. Vieu-Kuik, History of the Literature of the Netherlands. Volume 6, 1975, pp. 445-446 + footnote 6.) Ref.: - Waller 760; Bib. Gantoise IV 5858; Van Heurck, Les Livres Populaires Flamands, 70-72. * ‘De vrouwen-peirle, ofte dryvoudige historie van HELENA DE VERDULDIGE, GRISELDIS DE ZAGTMOEDIGE en FLORENTINA DE GETROUWE,Alle dry…’ [about 1790]. 4°, 56 pp. Modern binding in half parchment. With three prints of the women in woodcut on the title, Helena depicted as a queen, Griseldis as a civilian woman and Florentina as a pilgrim. These three images in the title page are repeated again at the beginning of the second and third part. With 10 other woodcuts in text (some stains). Ref.: - Waller 1812; Bib. Gantoise IV 5860; Van Heurck, o.c., 41-45. * Het leven ons Heere JESU-CHRISTI, Gedeylt in dry deelen, getrokken uyt het Spaensch der Eerw. Vaderen Ribadineira ende Puente der Societeyt JESU. Overgezet in onze Nederlandsche Taele door F.B.’ Sine dato, 4°, 56 pp. with 6 woodcuts. Bound in half parchment. Translated from the Spanish by F. B[ottens]. Ref.: - Bib. Gantoise IV 5820; Van Heurck, o.c., 89-90. * ‘Heerlyke ende Gelukkige Reyze Nae het Heylig land ende Stad van JERUZALEM, Beschreven en bereyst door Broeder Jan Vander Linden…Het eerste deel.’ 4°, 72 pp. Text printed in two columns in Gothic font; prayers printed in 'civilite'. Eight smaller woodcuts in text. Without the title page, but a photocopy added (presumed to be Ghent Begyn edition). Without the separate second part 'The return...'. Modern half parchment binding.Brother Jan Vander Linden was father of the Cellebroeders in Antwerp and traveled to Palestine in 1633. This travel story has often been reprinted as a chapbook (See: Tiele pp. 151-152) and was used as a schoolbook. Ref.: - Ref. Van Heurck, o.c., 138-140.
Rare Early WWII Japanese Betty Bomber Helmets x 2.Attrition rates of flight crew from flak of Japanese Betty Bombers was high%80? easy to see why looking at these ultra Light Weight helmets, so Duralumin was introduced being slightly heavier but much tougher.Original rare X shape head liners, original chin straps ,original Paint, all good condition, rarely seen original Aluminium rivets.Original green
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