534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 825
18K. Yellow gold Chopard 'Happy Diamond' pendant set with approx. 0.40 ct. diamond. Hallmarks: 750, LUC (Louis Ulysse Chopard). Serial number: 3926. Set with 6 brilliant cut diamonds of approx. 0.25 ct. in total and 30 single cut diamonds of approx. 0.15 ct. in total (VVS-VS / G-H). In good condition with light signs of use, eyelet may have been replaced once. LxW: 2.4 x 1.7 cm. Weight: 5.49 grams.
Los 830
Gem Report Antwerp certified natural sapphire of 1.40 ct. Indication of heat treatment. Cut: Emerald step cut, color: Yellow, clarity: Transparent, weight: 1.40 ct. (6.23 x 5.33 x 4.31 mm). Light superficial signs of use on facet edges. Certificate number: 1830007234 AN. Estimated revenue: €400 - €600.
Los 110
Travel cutlery silver. After a 17th-century example, consisting of a fork with a removable oval spoon tray. The fork has a lobe style stem and is crowned with a Medusa. Netherlands, Amsterdam, A.C.J. Begeer, 1916-1921, hallmarks: sword, maker's mark - light signs of use. 44 grams, 835/1000. Dim. L 11.6 cm.
Los 114
Set of bottle trays silver. Sleek with a turned-up edge. The Netherlands, Amsterdam, Jan Hendrik Eversbag & Daniël van Outvorst / Jacobus Ferdinandus Lameer (worked in Zwolle, Rotterdam, Groningen and Schoonhoven), 1883, hallmarks: lion, Minerva, maker's marks (J.F. Lameer most likely bought from J.H. Eversbag and D. van Outvorst ), y - light signs of use. 179 grams, 835/1000. Dim. H 1,8 cm, diam 11.6 cm.
Los 129
Bread basket silver. Very beautiful, large oval model with partly openwork sides with rocaille rims and flower, branch and leaf decoration. The handles are molded and the basket stands on 4 rocaille-decorated legs. Netherlands, Voorschoten, J.M. van Kempen & Zonen, 1924, hallmarks: lion, Minerva, maker's mark, O - light signs of use. 1050 grams, 835/1000. Dim. L 40.7 cm, W 25.3 cm, H 14 cm.
Los 136
Bread basket silver. Beautiful oval model with pearl edge decoration on the top and bottom. Silk partly openwork. The Netherlands, Voorschoten, Zilverfabriek Voorschoten, 1947, hallmarks: lion, Minerva, maker's mark, M - light signs of wear and dents. 353 grams, 835/1000. Dim. L 31.5 cm, W 19.1 cm, H 9.5 cm.
Los 3086
Engine turned silver cigarette box 17 cms, gross weight, 14 ozs 430 grams SILVER COLLECTION OF SIR RAY TINDLE CBE DL 1926-2022 The following obituary (edited) was published by Tindle Newspapers: Sir Ray Tindle was a man who had a life-long commitment to, and passion for, the newspaper industry. He was a newspaper man through and through.After leaving school he enlisted in the 1st Battalion Devonshire Regiment and saw service in the Far East between 1944 and 1947, rising to the rank of captain.He was extremely proud of his association with the now-disbanded regiment and greatly mourned its passing, going so far as to name his previous home in Farnham Devonshire House in its honour.Sir Ray made the Surrey town his home in the 1960s and made such an impact in the following 50 years that he was known by locals as Mr Farnham. If a charity or organisation needed help, Sir Ray was there. He eventually stepped down as Chairman of Tindle Newspapers when he was 90, remaining as president, with son Owen, who runs the Oxon Hoath Retreat and Conference Centre in Kent, taking over as Chairman.After returning to the UK after the War,Sir Ray acquired his first newspaper title, the Tooting & Balham Gazette, with his £300 demob payment. It was to be the first of many and, over the years through a series of launches and acquisitions, the group grew to a considerable force under the collective banner of Tindle Newspapers Ltd. It now owns local papers and radio stations covering large parts of Surrey, Hampshire, Essex, Somerset, Devon and Cornwall, Wales, Ireland, the Channel Isles and the Isle of Man. Many of these papers are very long established, including the Monmouthshire Beacon founded in 1837.Others were launched in Queen Victorias reign, such as the Farnham Herald (1892), Cambrian News (1860), Cornish & Devon Post (1856), Mid-Devon Advertiser (1863) and the Tenby Observer (1853).The Tindle Group became the fourth largest UK local newspaper group by number of titles published.Sir Ray was a man of immense self-belief and iron determination, as characterised by his coat of arms, carried by all his newspapers, with the Latin motto Noli Cedere, which translates as Never Surrender.He retired as Chairman of the Surrey Advertiser in 1977 after 35 years. He was also a director for 18 years on the main board of The Guardian & Manchester Evening News, and Chairman for ten years of the Belfast News Letter, the UKs oldest provincial daily. He was a founder shareholder and, for many years, an alternate director, of Capital Radio.He became Master of the Worshipful Company of Stationers and Newspaper Makers in 1985 after some 20 years of service on several committees and of the Court.Over the years he also donated sizeable sums to various worthy causes and projects, particularly in and around his hometown of Farnham.In 1973 Sir Ray was appointed OBE for services to the newspaper industry and in 1987 he was appointed CBE. In 1989 he became a Deputy Lieutenant for the County of Surrey. He was knighted in 1994 andwas made the Newspaper Personality of the Year at the 2005 Newspaper Awards, in the same year becoming an honorary vice-president of the Veteran Car Club of Great Britain.Sir Ray died as he would have wished, still committed to the media empire he had so painstakingly created over the course of a long and distinguished career.He was an avid collector of silver, and his collection is being sold by the estate in this auction.Condition Report: Wear to decoration and light rubbing to marks.
Los 3174
Charles II silver trifid end spoon, London SILVER COLLECTION OF SIR RAY TINDLE CBE DL 1926-2022 The following obituary (edited) was published by Tindle Newspapers: Sir Ray Tindle was a man who had a life-long commitment to, and passion for, the newspaper industry. He was a newspaper man through and through.After leaving school he enlisted in the 1st Battalion Devonshire Regiment and saw service in the Far East between 1944 and 1947, rising to the rank of captain.He was extremely proud of his association with the now-disbanded regiment and greatly mourned its passing, going so far as to name his previous home in Farnham Devonshire House in its honour.Sir Ray made the Surrey town his home in the 1960s and made such an impact in the following 50 years that he was known by locals as Mr Farnham. If a charity or organisation needed help, Sir Ray was there. He eventually stepped down as Chairman of Tindle Newspapers when he was 90, remaining as president, with son Owen, who runs the Oxon Hoath Retreat and Conference Centre in Kent, taking over as Chairman.After returning to the UK after the War,Sir Ray acquired his first newspaper title, the Tooting & Balham Gazette, with his £300 demob payment. It was to be the first of many and, over the years through a series of launches and acquisitions, the group grew to a considerable force under the collective banner of Tindle Newspapers Ltd. It now owns local papers and radio stations covering large parts of Surrey, Hampshire, Essex, Somerset, Devon and Cornwall, Wales, Ireland, the Channel Isles and the Isle of Man. Many of these papers are very long established, including the Monmouthshire Beacon founded in 1837.Others were launched in Queen Victorias reign, such as the Farnham Herald (1892), Cambrian News (1860), Cornish & Devon Post (1856), Mid-Devon Advertiser (1863) and the Tenby Observer (1853).The Tindle Group became the fourth largest UK local newspaper group by number of titles published.Sir Ray was a man of immense self-belief and iron determination, as characterised by his coat of arms, carried by all his newspapers, with the Latin motto Noli Cedere, which translates as Never Surrender.He retired as Chairman of the Surrey Advertiser in 1977 after 35 years. He was also a director for 18 years on the main board of The Guardian & Manchester Evening News, and Chairman for ten years of the Belfast News Letter, the UKs oldest provincial daily. He was a founder shareholder and, for many years, an alternate director, of Capital Radio.He became Master of the Worshipful Company of Stationers and Newspaper Makers in 1985 after some 20 years of service on several committees and of the Court.Over the years he also donated sizeable sums to various worthy causes and projects, particularly in and around his hometown of Farnham.In 1973 Sir Ray was appointed OBE for services to the newspaper industry and in 1987 he was appointed CBE. In 1989 he became a Deputy Lieutenant for the County of Surrey. He was knighted in 1994 andwas made the Newspaper Personality of the Year at the 2005 Newspaper Awards, in the same year becoming an honorary vice-president of the Veteran Car Club of Great Britain.Sir Ray died as he would have wished, still committed to the media empire he had so painstakingly created over the course of a long and distinguished career.He was an avid collector of silver, and his collection is being sold by the estate in this auction.Condition Report: Marks heavily rubbed. Rat-tail decoration worn. Crease/crack in bowl where handle joins bowl. A few light dings and scratches.
Los 3432
Pair of George III silver gadrooned candlesticks on tapering stems, Sheffield 1805, 32 cms high (loaded) SILVER COLLECTION OF SIR RAY TINDLE CBE DL 1926-2022 The following obituary (edited) was published by Tindle Newspapers: Sir Ray Tindle was a man who had a life-long commitment to, and passion for, the newspaper industry. He was a newspaper man through and through. After leaving school he enlisted in the 1st Battalion Devonshire Regiment and saw service in the Far East between 1944 and 1947, rising to the rank of captain. He was extremely proud of his association with the now-disbanded regiment and greatly mourned its passing, going so far as to name his previous home in Farnham Devonshire House in its honour. Sir Ray made the Surrey town his home in the 1960s and made such an impact in the following 50 years that he was known by locals as Mr Farnham. If a charity or organisation needed help, Sir Ray was there. He eventually stepped down as Chairman of Tindle Newspapers when he was 90, remaining as president, with son Owen, who runs the Oxon Hoath Retreat and Conference Centre in Kent, taking over as Chairman.After returning to the UK after the War,Sir Ray acquired his first newspaper title, the Tooting & Balham Gazette, with his £300 demob payment. It was to be the first of many and, over the years through a series of launches and acquisitions, the group grew to a considerable force under the collective banner of Tindle Newspapers Ltd. It now owns local papers and radio stations covering large parts of Surrey, Hampshire, Essex, Somerset, Devon and Cornwall, Wales, Ireland, the Channel Isles and the Isle of Man. Many of these papers are very long established, including the Monmouthshire Beacon founded in 1837.Others were launched in Queen Victorias reign, such as the Farnham Herald (1892), Cambrian News (1860), Cornish & Devon Post (1856), Mid-Devon Advertiser (1863) and the Tenby Observer (1853).The Tindle Group became the fourth largest UK local newspaper group by number of titles published.Sir Ray was a man of immense self-belief and iron determination, as characterised by his coat of arms, carried by all his newspapers, with the Latin motto Noli Cedere, which translates as Never Surrender.He retired as Chairman of the Surrey Advertiser in 1977 after 35 years. He was also a director for 18 years on the main board of The Guardian & Manchester Evening News, and Chairman for ten years of the Belfast News Letter, the UKs oldest provincial daily. He was a founder shareholder and, for many years, an alternate director, of Capital Radio.He became Master of the Worshipful Company of Stationers and Newspaper Makers in 1985 after some 20 years of service on several committees and of the Court.Over the years he also donated sizeable sums to various worthy causes and projects, particularly in and around his hometown of Farnham.In 1973 Sir Ray was appointed OBE for services to the newspaper industry and in 1987 he was appointed CBE. In 1989 he became a Deputy Lieutenant for the County of Surrey. He was knighted in 1994 andwas made the Newspaper Personality of the Year at the 2005 Newspaper Awards, in the same year becoming an honorary vice-president of the Veteran Car Club of Great Britain.Sir Ray died as he would have wished, still committed to the media empire he had so painstakingly created over the course of a long and distinguished career.He was an avid collector of silver, and his collection is being sold by the estate in this auction.Condition Report: Marks rubbed. Decoration worn. A few very light dings. Creases and cracks in sconces.
Los 3509
Victorian silver pedestal cup, moulded with bands of scrolling foliage and birds around a vacant cartouche, marks for John Aldwinkle and James Slater, London, 1882, 13 troy ozCondition Report: 19.3cm highThe mouth is not truly round.Dented.Dent or crimp to pedestal.Some light wear.Slightly wobbly on a flat surface.
Los 3604
19th century American silver oval twin-handled tray with beaded and foliate borders, engraved central inscription, by Ball, Tompkins & Black, New York, c. 1849, 92.5oz, 2876g,Condition Report: 58.5cm wide from handle to handle. Please note one handle is bent.37.5cm deep5cm highGeneral wear and tear, light scratching. One or two longer scores to top. Heavy tarnish.One handle is bent upwards.
Los 205
William James, tätig 1730 – 1780 GemäldepaarVEDUTE MIT DER CHIESA San GEREMIA UND DER PONTE DELLE GUGLIE A CANNAREGIO sowieVEDUTE MIT DEM CANAL GRANDE MIT DER SANTA MARIA DELLA CARITÀÖl auf Leinwand.46,2 x 76,3 cm.Jeweils in vergoldetem, vegetabil verziertem Rahmen.Beigegeben eine Expertise von Dario Succi, Gorizia.Die beiden hier gezeigten Ansichten, die 1956 bei Christie’s als autografe Arbeiten von Canaletto versteigert wurden, stellen zwei der beliebtesten Ansichten der Lagune dar: Das erste zeigt den Palazzo Labia mit der Ponte delle Guglie, die ihren Namen den vier Obelisken an ihren Enden verdankt. Die Balustrade und die Statue des Heiligen Johannes von Nepomuk, des in der Moldau ertrunkenen Märtyrers, des Bildhauers Giovanni Marchiori, sind auf dieser Darstellung noch nicht vorhanden. Dieses Detail ist entscheidend für die Datierung des Gemäldes, das daher vor 1742 anzusiedeln ist. Der Palazzo, der von der Kirche San Geremia flankiert wird, deren romanischer Glockenturm zu sehen ist, wurde mit einem Freskenzyklus geschmückt, der einen der Höhepunkte der Kunst Tiepolos (ca. 1743-1750) darstellt. Wenngleich sich beide Gemälde auf Kupferstiche von Visentini beziehen und stilistisch an Canaletto angelehnt sind, erzeugt James doch einen eigenwilligen Stil. Das zweite Gemälde stellt Santa Maria della Carità dar, eine entweihte Kirche im Stadtteil Dorsoduro, die zum gleichnamigen Klosterkomplex gehört. Die Kirche wurde im 12. Jahrhundert anstelle einer älteren Holzkirche erbaut, zusammen mit dem Kloster der Regularkanoniker, denen sie anvertraut wurde; dank der Unterstützung des venezianischen Papstes Eugen IV konnten die Mönche sie Mitte des 15. Jahrhunderts im gotischen Stil unter Verwendung der Werke von Bartolomeo Bon umbauen. Das Gemälde zeigt die gotische Fassade der Kirche, die in den Himmel ragt.William James war zwischen 1746 und 1771 als Vedutist tätig; die einzigen Informationen über seine künstlerische Persönlichkeit finden sich in Edward Edwards’ „Anecdotes of Painters“ von 1808, in dem James als „Schüler“ oder Mitarbeiter von Canaletto während dessen Aufenthalt in England zwischen 1746 und 1755 erwähnt wird. Sein künstlerischer Werdegang wurde teilweise durch eine Reihe von Londoner Ansichten rekonstruiert, die sich im Besitz des Ashmolean Museums in Oxford und der British Royal Collections befinden. Im Text des oben genannten Edwards findet sich jedoch die einzige Erwähnung seiner Malerei venezianischer Sujets, die der Biograf selbst als stark mit Canaletto verwandt ansieht. Die Zuschreibung einiger Ansichten, die auf den internationalen Markt gelangten, an William James und vor allem das Vorhandensein einiger Gemälde, auf denen sein Name vollständig auf einer an den Originalrahmen angebrachten Plakette steht, lassen auf eine reiche Produktion von Stadtpanoramen schließen, die im Allgemeinen dem malerischen Repertoire von Antonio Canal entnommen sind, Werke, die es dem englischen Maler ermöglichten, zu den „vedutisti di Venezia“ (Vedutenmalern von Venedig) gezählt zu werden, obwohl seine biografische Abfolge keinen Hinweis auf einen möglichen Aufenthalt in der Lagunenstadt gibt. Aus der von Antonio Visentini zusammengestellten Sammlung „Prospectus Magni Canalis Venetiarum“ gibt es zahlreiche Gemälde, die ihm zugeschrieben werden. James war einer der bekanntesten Schüler Canalettos, der den Geschmack der venezianischen Stätten indirekt aufnahm, indem er die Werke betrachtete, die der Meister mit nach England gebracht hatte, und indem er an seiner Seite arbeitete, als er die große Nachfrage seiner Auftraggeber nach Ansichten der von ihnen so geliebten Lagunenstadt befriedigte. Dieses Gemälde kann als eines der Meisterwerke des Malers betrachtet werden: Inspiriert von einem Prototyp von Canaletto, hat das Gemälde eine fast unwirkliche atmosphärische Stabilität und einen typisch englischen Geschmack in der festen, schillernden Farbgebung, ohne die verblassende Wirkung der Sonne. Die lebhaften, kräftigen Farben und die Verwendung eines sehr starken, kristallinen Lichts, das dazu beiträgt, jedes minimale Element der Architektur analytisch zu erfassen, sind Konstanten in seinen Bildern. Biografische Angaben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards’ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der - abgesehen von einer kurzen Unterbrechung im Jahr 1751 - zehn Jahre lang von 1746 bis 1756 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten. (1320125) (13)William James,active 1730 – 1780A pair of paintingsVEDUTA OF THE CHURCH OF SAN GEREMIA AND PONTE DELLE GUGLIE A CANNAREGIOandVEDUTA WITH GRAND CANAL AND SANTA MARIA DELLA CARITÀOil on canvas.46.2 x 76.3 cm.Accompanied by an expert’s report by Dario Succi, Gorizia.The two vedutas on offer for sale here, auctioned at Christie’s in 1956 as works by Canaletto himself, depict two of the most popular views of the lagoon: the first shows the Palazzo Labia with the Ponte delle Guglie, which owes its name to the four obelisks at its ends. The balustrade and the statue of Saint John of Nepomuk, the martyr who drowned in the Vltava River, by the sculptor Giovanni Marchiori, are not yet present on this painting. This detail is crucial for dating the painting, which must therefore have been created before 1742. The palazzo, flanked by the Church of San Geremia, whose Romanesque bell tower can be seen, was decorated with a cycle of frescoes representing one of the pinnacles of Tiepolo’s (ca. 1743 -1750) art. This painting can be considered one of the painter’s masterpieces: inspired by a paragon by Canaletto, the painting has an almost unreal atmospheric stability and a typically English flavour in the solid, iridescent colouring without the fading effect of the sun. The vivid, bold colours and the use of a very strong, crystalline light, which helps to analytically capture every minute element of architecture, are constants in his paintings.
Los 504
Frans Pourbus, 1569 – 1622, zug.GemäldepaarHAND EINES HERRN MIT BUCHsowieHAND EINER DAME MIT TUCHÖl auf Leinwand. Doubliert.Je 29 x 18 cm.Die beiden Gemälde entstammen wohl als Ausschnittfragmente einem Doppelbildnis eines Paares von höfischem Rang. Gezeigt ist die linke Hand eines Herrn, der ein in Pergamentleder gebundenes Buch oder Brevier hält, als Attribut seiner Bildung. Die gekrausten Rüschen des Hemdes treten aus dem Ärmel hervor. Das Gegenstück zeigt die Hand einer Dame, die ein weißes Tuch mit Spitzeneinfassung hält. Am Ringfinger zwei fein gearbeitete Goldringe mit Steinbesatz, dem Zeitstil entsprechend. Feinmalerei von hohem Rang, die auf den namhaften Künstler Pourbus zutrifft. Auffällig qualitätvoll das Inkarnat und die entsprechenden Schattierungen. Unter UV-Licht sind noch feine Textilstrukturen in dem die Hände umgebenden Schwarz auszumachen. Die Datierung in der oberen linken Ecke der Damenhand „Anno 1650“ nennt wohl das überlieferte Jahr der Entstehung des einst großformatigen Gemäldes. A.R. (13403535) (11)Frans Pourbus, 1569 – 1622, attributedA pair of paintingsHAND OF A GENTLEMAN WITH BOOK and HAND OF A LADY WITH CLOTHOil on canvas. Relined.29 x 18 cm each.High-ranking fine painting attributed to the well-known artist Frans Pourbus. The flesh tones and the corresponding shades are of striking quality. Under UV light, fine fabric structures can still be seen in the black paint surrounding the hands. The date in the upper left corner of the woman’s hand “Anno 1650“ probably indicates the date in which the once large-format painting was created.
Los 500
Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLandschaft im Licht eines späten Nachmittags mit antikem Tempel der SibylleÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby´s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13403519) (18)Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBIL Oil on canvas.57 x 65 cm.Signed “N Berchem“ on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist´s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem´s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem´s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33). There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version“, copied from the present painting with minor alterations: was at Sotheby´s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin. 3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f“. This version shows minor differences in the sky and trees. 4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw. 5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) - prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.
Los 373
Pietro Maurizio Bolckman, 1640 Gorinchem – 1710 Turin Maritime Vedute von Nizza, um 1685Öl auf Leinwand. Doubliert.100 x 105 cm.In profiliertem Holzrahmen.Beigegeben eine Expertise von Prof. Dr. Arabella Cifani, Turin, in Kopie.In annähernd quadratischem Format baut Bolckman ähnlich einer Bühnenarchitektur eine diagonal getrennte Komposition auf, wobei das Dreieck links unten den Aspekt des Warenverkaufs beleuchtet, während im oberen rechten Dreieck der Umschlag von Waren von Schiff zu Land bzw. das Löschen der Ladung thematisiert wird, sodass eine umfassende Darstellung der martimen Handelstätigkeit vermutlich der Stadt Nizza thematisiert wird. In der Narodna Galerija in Ljubiljana wird ein 1709 datiertes Gemälde von Bolckman verwahrt, dessen Komposition Ähnlichkeiten aufweist (Inv.Nr. 77).Bolckman war viel gereist und war seit 1668 Mitglied der Bentvueghels in Rom. Bevor er nach Turin zog reiste er vermutlich nach Neapel und 1674 nach Genua, bevor er vermutlich schon im gleichen Jahr in Turin ansässig war. Er lebte auf der Isola di San Carlo, wo er 1710 verschied.Literatur:Vgl. Franco Monetti, Arabella Cifani, I Piaceri e le grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, Turin 1993, Bd. I und II, S. 71-104 und S. 516-519.Vgl. La Maison de Savoie a Nice (1388-1860), Ausstellung im Palais Lascaris, 28. September - 11. Dezember 1988, Nizza 1988, S. 64-65 und S. 74-76.Vgl. Arabella Cifani, Franco Monetti, Pietro Maurizio Bolckman, in: La pittura di paesaggio in Italia. Il Seicento, Mailand 2004, S. 241-243.Vgl. Guus Sluiter, New Light on Peter Bolckman (Gorinchem 1638-Turin 1710), in: Oud Holland 116, 2003, S. 100-110. (13300583) (2) (13)Pietro Maurizio Bolckman,1640 Gorinchem – 1710 TurinMARITIME VEDUTA OF NICE, CA. 1685Oil on canvas. Relined.100 x 105 cm.Accompanied by an expert’s report by Prof Dr Arabella Cifani, Turin, in copy.A painting by Bolckman dated 1709 held at the Narodna Galerija in Ljubljana, shows similarities in composition (inv. no. 77).
Los 209
Michele Giovanni Marieschi, 1696/1710 – 1743 VenedigCampo dei Frari in VenedigÖl auf Leinwand.52,5 x 69 cm.Beigegeben eine Expertise von Dario Succi.Blick über den schmalen Seitenkanal, den eine Brücke mit Treppe überquert, auf den Campo mit der gotischen Fassade der Kirche Santa Maria Gloriosa dei Frari. Der Giebel der durch Pilaster gegliederten Backsteinfassade ist hier – im Gegensatz zum gegenwärtigen Zustand – noch mit fünf durchbrochenen, spitzen Aufsätzen in Form von Fialen gezeigt. Rechts der Anbau der Scuola Grande di San Rocco, in der sich die bedeutenden Werke Tintorettos befinden, wie überhaupt die Kirche selbst schon berühmteste Gemälde von Tizian beherbergt. Im linken Hintergrund der Campanile; zum linken Bildrand hin die Häuser- und Palastfassaden, die den Platz säumen.Im Gegensatz zum rötlichen Farbton der Fassade und dem verschatteten Anbau rechts, wird das Bild aufhellend belebt durch eine erstaunlich bewegte Figurenstaffage. Links hinten ist die Fassadenfront durch eine goldene Karosse bereichert. In hellem Licht steht eine Gruppe herrschaftlich gekleideter Figuren – ein Herr im Gespräch mit zwei Damen in bodenlangen Kleidern, dahinter eine Gondel, die soeben die Stufenbrücke durchschifft hat. Weitere Figuren bis in den Hintergrund locker verteilt. Besonders auffallend und höchst originell zwei Gestalten, die unglücklicherweise die Treppe herabgefallen sind, beobachtet von den nebenstehenden Passanten und einer Magd, die sich mit sichtlichem Interesse dem Vorfall widmet. Gerade diese figürlichen Bereicherungen verleihen dem Gemälde einen besonderen Reiz.Michele Marieschi war nur eine kurze Lebens- und Schaffenszeit gegönnt. Vom Maler, der sich in der Zeit um 1720 bzw. auch nach 1731 in Deutschland aufhielt, um hier als Bühnenmaler zu arbeiten, wissen wir, dass er sich 1735 nach Venedig zurückbegab, und dort alsbald Mitglied der venezianischen Malergilde Fraglia de´Pittori wurde. Der Kupferstecher und Maler Gaspare Diziani und der Sammler Freiherr Mathias von der Schulenburg, der damals als Generalfeldmarschall im Dienste Venedigs stand, unterstützten den Maler unseres Bildes. Letzterer erwarb 1738 zwei Veduten. Auch die Verehelichung mit Angela Fontana, einer Tochter des höchst bekannten Kunsthändlers der Stadt, dürfte zum Erfolg Marieschis beigetragen haben, insbesondere, als dessen Venedigmotive von Sammlern der Grand Tour begehrt waren. Ab 1743 hat Marieschi die Aufträge mehr und mehr seinem Schüler Francesco Albotto überlassen. 1741, also drei Jahre vor seinem Ableben, veröffentlichte Marieschi einen Satz von 21 Radierungen von Venedig unter dem Titel „Magnificentiores Selectioresque Urbis Venetiarum Prospectus“, wobei Angelo Trevisani das Portrait Marieschis als Titelbild schuf. Etliche Gemälde seiner Hand befinden sich in den öffentlichen Museen in Stockholm, Prag oder Warschau sowie im Niedersächsischen Landesmuseum Hannover. A.R. (†) (1330519) (11)Michele Giovanni Marieschi,1696/1710 Venice – 1743 CAMPO DEI FRARI IN VENICEOil on canvas.52.5 x 69 cm.Accompanied by an expert’s report by Dario Succi.Vista across a narrow side canal, crossed by a bridge with stairs, to the Campo with the Gothic façade of the Church of Santa Maria Gloriosa dei Frari. In contrast to the current state, the gable of the brick façade, which is structured by pilasters, is shown here with five openwork, pointed pinnacles. On the right is the extension of the Scuola Grande di San Rocco, which holds Tintoretto’s important works and the church itself, which houses Titian’s most famous paintings. The campanile is shown in the background to the left and façades of houses and palaces line the square on the left margin. In contrast to the reddish shade of the façade and the shaded extension on the right, the picture is brightened up and enlivened by an astonishingly moving staffage of figures. In the background on the left, the front of the façade is highlighted by a gilt state coach. Standing in bright light is a group of stately dressed people – a gentleman in conversation with two women in floor-length dresses – with a gondola that has just crossed the stepped bridge behind them. There are further figures loosely scattered in the background. Particularly striking and highly original are two figures who have accidentally fallen down the stairs, observed by passers-by and a maid who is obviously interested in the incident. It is these figurative additions that add to the painting’s special charm.It is known that the painter Michele Marieschi, who stayed in Germany around 1720 and after 1731 to work as a stage painter, returned to Venice in 1735 and soon became a member of the Venetian painters’ guild Fraglia de’ Pittori. The copper engraver and painter Gaspare Diziani and the collector Freiherr Mathias von der Schulenburg, who at the time was Field Marshal in the service of Venice, were supporters of Marieschi. The latter acquired two vedute in 1738. The marriage to Angela Fontana, a daughter of the city’s famous art dealer, may also have contributed to Marieschi’s success, especially when his Venice motifs were coveted by collectors on the Grand Tour. From 1743 Marieschi increasingly left commissions to his pupil Francesco Albotto. In 1741, three years before his death, Marieschi published a set of 21 etchings from Venice entitled Magnificentiores Selectioresque Urbis Venetiarum Prospectus, with Angelo Trevisani creating Marieschi’s portrait as the title page. His paintings are held in public museums in Stockholm, Prague, and Warsaw, as well as the Niedersächsisches Landesmuseum in Hanover. (†)
Los 868
Meister von Landshut, 1475 – 1485, nachweisbarMuseale HeiligenfigurHöhe: 47,5 cm.Rückseitig an der Plinthe wohl alte Sammlungsnummer in Schwarz „M 105“.Die beiliegende Begutachtung durch den Leiter der Skulpturensammlung Germanisches Nationalmuseum Nürnberg von 2011 erkennt in der Figur eindeutig die Arbeit eines Landshuter Meisters, jener Werkstatt, die an der (Landshuter) Stadtpfarrkirche St. Martin Figurenzyklen um 1474/85 schuf. Die Entstehungszeit der Figur ist also gegen 1485 zu datieren.In hellem Ton gebrannte Standfigur einer weiblichen Heiligen, auf mitgearbeiteter, achtseitiger Plinthe wurde bereits 2012 anlässlich einer Ausstellung der Stadt Landshut ausgestellt (siehe Literatur). Die Körperhaltung leicht S-förmig gestaltet, im sog. Weichen Stil. Kühn und schwungvoll gestaltete Mantel- und Kleiderfalten, bei hochsitzender, gegürteter Taille. Kragenausschnitt V-förmig, mit runder Agraffe. Das üppige Haar fällt seitlich der Schultern wellig herab, der Kopf mit einem feinen Tuch bedeckt. Eine leichte Einziehung des Tuches überhalb der Stirne, das auch nach hinten zieht, sowie eine kleine Lochung oben seitlich lassen erkennen, dass hier ehemals eine Krone aufgesetzt war. Diese Beobachtung und die Gesamterscheinung lassen auch vermuten, dass es sich hier um eine Marienfigur handelt. Die Handschrift des Bildhauers ist insbesondere an der Gestaltung des Gesichts – mit auffallend schweren Augenlidern, betonter Nase und den vollen Lippen – zu erkennen. Der hellfarbige Ton findet sich in der Landshuter Region. In den Faltentiefen, vor allem an der Rückseite Zinnober-Farbreste (Bolus ?). Rechte Hand und linker Unterarm fehlen. A.R.Literatur:Die Figur wurde 2012 zusammen mit weiteren Werken der Landshuter Werkstatt ausgestellt, im Katalog ausführlich besprochen und abgebildet in: Franz Niehoff, Die Stadt als Bühne der Bilder. Skulpturenstadt Landshut, Katalog anlässlich der Ausstellung der Museen der Stadt Landshut in der Spitalkirche Heiliggeist, 15. Juni-14. Oktober 2012, Landshut 2012, Kat. 7, S. 199 f. (1340431) (11)Master of Landshut,1475 – 1485, verifiableFigure of a saint of museum qualityHeight: 47.5 cm.Probably old collection no. “M 105” in black on the back of the plinth.The enclosed expert´s report by the director of the sculptures collection of the Germanisches Nationalmuseum in Nuremberg from 2011 clearly recognizes the work of a Landshut master in the figure, “the very workshop that created figure cycles for the (Landshut) parish church of Saint Martin around 1474/85”. The time of creation of the figure can therefore be dated around 1485. Standing figure of a female saint fired in a light tone, on an eight-sided plinth worked in one piece together with the figure, was already shown in 2012 in an exhibition of the city of Landshut (see ref.).Literature:The figure was exhibited in 2012 together with other works by the Landshut workshop, discussed in detail in the exhibition catalogue and illustrated in: Franz Niehoff, Die Stadt als Bühne der Bilder: Skulpturenstadt Landshut 2012, cat. 7, p. 199 f.
Los 1058
Männlicher TorsoMaße inkl. Sockel: 78 x 38 x 30 cm.Vermutlich Römisch.In hellem Marmor gearbeiteter fragmentarisch erhaltener männlicher Torso mit Ansätzen von Stand- und Spielbein und entsprechender Schulterstellung. Gesockelt auf profiliertem kontrastierendem Steinfragment. (1341421) (13)Male torsoDimensions incl. base: 78 x 38 x 30 cm.Probably Roman. Fragmentary preserved male torso in light marble.
Los 531
Armand Guillaumin, 1841 Paris – 1927 Orly PAYSAGE DE DAMIETTE, UM 1887Öl auf Leinwand.60 x 73,3 cm.Links unten signiert „Guillaumin“. Verso Stempel des Pariser Malmittelherstellers Paul Denis. Etikett auf Keilrahmen mit Nummer „21982 Guillaumin paysage“.Auf diesem Weg entdeckt man einen kleinen Weiler, der aus einigen wenigen Häusern besteht. Die roten Ziegeldächer sind umso auffälliger, als sie inmitten einer grünen Landschaft liegen, in der das Gras am Wegesrand sorgfältig gemäht wird. Die Hecken und dann die dahinter aufgereihten Baumreihen bilden konvergierende Linien, die einen einsamen Wanderer auf seinem Weg begleiten. Die Farbe Rot taucht hier und da in der Vegetation oder in der freigelegten Erde auf und erinnert an die Dächer, die dahinter liegen. Es ist auch der weite und dichte Himmel mit seinen Wolken, der der Komposition ihre malerische Dimension verleiht. Die Spuren des Pinsels sind allgegenwärtig, verwaschen die Blautöne bis ins Weiße, sie bilden einen ätherischen Kontrapunkt zu den Erdmassen. Im Frühjahr 1882 entdeckte Armand Guillaumin das Dörfchen Damiette am Rande von Gif-sur-Yvette, wo ihn das Licht begeisterte. Er widmete dem Ort etwa 30 Gemälde und Pastelle, die er 1886 auf der Ausstellung der Impressionisten präsentierte.Der Künstler besuchte ab 1861 die Académie Suisse. Dort begegnete er Paul Cézanne (1839 - 1906) und Camille Pissarro (1830 - 1903) mit denen er lebenslang befreundet blieb. Zu seinen späteren Freunden zählten außerdem Vincent van Gogh (1853 - 1890) und dessen Bruder, der Kunsthändler Theo van Gogh (1857 - 1891), der einige von seinen Werken verkaufte. (†)Provenienz:Galerie Bernheim – Jeune, Paris.Privatsammlung im Erbgang.Literatur:Das vorliegende Gemälde ist aufgeführt in: Georges Serret / Dominique Fabiani, Armand Guillaumin. Catalogue raisonné de l’oeuvre peint, Paris 1971, Nr. 159 mit Abbildung. (13414512) (13)Armand Guillaumin,1841 Paris – 1927 OrlyPAYSAGE DE DAMIETTE, CA. 1887Oil on canvas.60 x 73.3 cm.Signed “Guillaumin“ lower left. Verso stamp by Paris paint manufacturer Paul Denis. Label on stretcher with no. “21982 Guillaumin paysage“.In the spring of 1882, Armand Guillaumin discovered the hamlet of Damiette on the outskirts of Gif-sur-Yvette, where he was enchanted by the light. He dedicated about thirty paintings and pastels to this site, which he presented at the Impressionist Exhibition in 1886.The artist attended the Académie Suisse from 1861, where he made the acquaintance of Paul Cézanne (1839 - 1906) and Camille Pissarro (1830 - 1903), with whom he remained lifelong friends. His later friends also included Vincent van Gogh (1853 - 1890) and his brother, the art dealer Theo van Gogh (1857 - 1891), who sold some of his works. (†
Los 12
Norah McGuinness HRHA (1901-1980)CurlewOil on canvas, 45 x 56cm (17¾ x 22")SignedProvenance: With The Dawson Gallery, label verso. Collection of the late President Erskine Childers; thence by descentAs seen in McGuinness’s 1965 Shore Pools - now a part of the Irish Museum of Modern Art’s permanent collection, or her 1961 The Startled Bird - (sale, these rooms, 2017); the artist’s affinity with birds as subject matter has become a consistent theme.With Curlew, two points ground the viewer and forgo an image of pure abstraction. The first is the sky; hues of deep to light blue are enhanced by proximity with blotches of brilliant white and puddles of absolute black. The uneven sliver of sky withholds time and instead suggests both day and night in one. The second and most distinct point is the curlew itself. Its thin line legs support a body dotted in strokes of black and coloured in the same shades of green, rust, and white as the abstract landscape itself resulting in the curlew’s body being both set in and of McGuinness’s imagined world. Between the placement of the curlew and the sky comes the abstract, earthly-toned scenery. Undefined borders of distinctly McGuinness tones of green, rustic red and orange are loosely set in abstract flattened organic-like shapes that contradict the boundaries of the Curlew’s landscape. Having worked with artists such as André Lhote while in Paris in the 1920s, and drawing inspiration from Maurice de Vlaminck and Raoul Dufy, McGuinness’s painting continuously manifests an artist with eclectic past experiences and an extensive array of influences. As a stage and retail window designer in Dublin, London and New York, similar qualities of a consciously curated mise-en-scène unfold in her placement of the subject with the abstract shapes of the landscape. These shapes - flattened, abstract and expressively coloured - are an unmistakable confluence of her continental cubist and fauvist predecessors.As a member of the Irish Wildlife Bird Sanctuary, her proclivity for birds and nature was more than just an artistic muse. This organisation would actively engage with and promote the sanctity of wild space and, with McGuinness, had a role to play in the wilding of the Booterstown bird sanctuary. Set halfway between the artist’s home in Dun Laoghaire and the urban centre of Dublin city, this marshy landscape sanctuary is easily dismissible as an innocuous neglected space. But, if one is to pause, they may find themself in the company of distant bird song, curlews perched on organically shaped mounds of earth, and a Norah McGuinness landscape coloured in the familiar tones of green, rusted brown, puddles of black and hues of blue.Simon Bhuiyan, November 2022
Los 22
Evie Hone HRHA (1894-1955) Abstract Composition c.1929 - 34Oil and gouache on canvas, 113 x 84cm (44.5 x 33")Provenance: Leo Smith (The Dawson Gallery) thence by descent to his sister Mary Murnane; her sale 1980's H. J. Byrne, Bray, where purchased by the present ownerExhibited: Dublin, Society of Dublin Painters Gallery, May-June 1929 and May 1931; Dublin, The Dawson Gallery, April-May 1957.This relatively large painting dates from the late 1920s or early 1930s and embodies many of the conceptual and technical concerns that had preoccupied Evie Hone for almost a decade. Its strong, sonorous colours and simplified modulated forms, its expressive almost gestural brushwork, its sense of animation and rhythm reflect how Hone, working between the Parisian avant-garde and her home in Dublin, developed ideas emanating from the radical experiments of Cubism (form and space) and Orphism (sound and colour) to create a new pictorial language of pure abstraction. With the absence of any form of representation it is a palette of pale and deep blues and greens and contrasting accents of purple and teal that construct the composition. These bands of pure colour are underscored by accents of fleshy pink, yellow and orange which provide balance but also add warmth and depth and activate the composition’s circular rhythmic movement. The canvas is arranged in an almost architectonic manner into two distinct parts – a larger upper compartment and a smaller horizontal predella panel. The interlocking concentric shapes in the upper level clearly denote figures, possibly a Madonna and Child, framed by an arched canopy complete with architectural tracery in the form of a lopsided trefoil (left) and quatrefoil (right). The predella with its composite of shapes in deep ochre, emerald and jade green as well as accents in lavender and blue suggests a recumbent figure stretched across the plane. Contrasting dark and light shades of brown are used to fix the composition in place like the gilt frame of a gothic or early renaissance altarpiece. Hone’s use of colour, rather than conventional drawing, to generate an arrangement of abstract almost biomorphic forms locates her in the vanguard of European modernism and is without parallel in Irish art. Although born in Dublin, Evie Hone had studied at a secession of London art schools from 1912, where she had gone to access specialist medical treatment for the paralysis she suffered after contracting polio as a child. But it was on a trip to Italy in 1914 that Hone decided to devote herself to painting and make art her vocation. Here she was profoundly moved by the medieval and early renaissance art she encountered – often still located in the churches and religious buildings it was originally designed to decorate. Her developing interest in primitivism, colour theory, spirituality and non-representational art would lead her to study with the painter and theorist Albert Gleizes in Paris from 1921. Accompanied by her friend and fellow Dubliner, Mainie Jellett, Hone worked with Gleizes in his studio and exhibited her abstract work in Paris as well as in Dublin. The ideas generated by the group Gleizes consolidated in an essay, and later in a book, entitled Le peintre et ses lois (1922-4), which argued that the representation of an object should be a form of ‘translation’ (its relation to other objects in space) and ‘rotation’ (how the object itself exists in space). Pictorially these ideas were worked out through a process of reduction of an object to a series of elemental forms and the synthesis of these into a multi-layered image that was not dependent on the system of single-point perspective that had dominated European art since the fifteenth century. This painting is a work of some significance and part of the group of mature abstract paintings shown in Hone’s two major solo exhibitions in Dublin in May-June 1929 and May 1931 at the Society of Dublin Painters Gallery at 7 St. Stephen’s Green. These were last displayed together in the posthumous exhibition of Hone’s abstract work staged by Leo Smith at the Dawson Gallery in Dublin in April-May 1957. Dr. Joseph McBrinn, October 2022
Los 25
Sir Robert Ponsonby Staples RBA (1853-1943)Afternoon in The Park Oil on canvas, 50 x 60cm (19¾ x 23½")SignedWhile this work only bears the title ‘Afternoon in the Park’, we can, judging from the shape and design of the lantern positioned in the middle foreground of the painting, conclude that the setting is Hyde Park in London. Another example by the artist, sold in Christies 2014, with the more specific title, A view of West Carriage Drive looking onto Coalbrookdale Gate, Hyde Park, London has the very same street lights. This present example is more animated, situating us within the interior of the park, filled with numerous figures and a variety of narratives unfolding across its canvas. As a large-scale accomplished composition, it represents a rare and very fine example of Ponsonby Staples’ work.One might, on first glance assume that this crowd has gathered together under the canopy of trees, to listen to a lunchtime concert. However, we soon realise that instead the benches are a meeting spot for friends and romantic couples, respite for those out on their promenade, or simply as a vantage point to watch the passing parade. There is a constant stream of horse drawn carriages travelling up the wide throughfare and it is possible that the architectural structures in the background are one of the main gates leading out onto the street.Despite the myriad of characters, the scene is dominated by a single female figure sitting in the centre of the composition. Her positioning is similar to that of Monet’s Music in the Tuileries, which as with this work, has a female figure turn towards us, looking out at the viewer and drawing us into the scene. In this present example she is fashionably dressed, wearing a high necked long-sleeved blue gown, with a full ruched skirt at the back and an elaborate hat. She holds an umbrella in one gloved hand, while the other reaches around to her dog, who is sitting patiently behind her waiting for their walk to resume. Umbrellas abound in the scene, whether an indication of the weather, or more likely judging by the bright red example held by the woman in front of her, as a fashionable accessory for ladies of the period.He has worked quickly, applying the paint in varying directions, creating a distinct sense of texture and movement to the surface. His handling of the materials is reminiscent of the techniques used by the Impressionists in the same period. The brushstrokes are quick, employing an economy of expression, which becomes looser as he moves into the middle and background of the painting. While most likely not painted ‘en plein air’, Staples has managed to capture the atmosphere of the outdoors. We can imagine a light breeze blowing, and hear the sounds of the horses hooves against the pavement. The light filters softly through the trees overhead whose green and golden leaves suggest it is early Autumn, and still warm enough for an afternoon stroll.Niamh Corcoran, November 2022
Los 50
Jack Butler Yeats RHA (1871-1957) The Sick Bed (1950) Oil on canvas, 45.5 x 61cm (18 x 24'') SignedProvenance: Sold through Victor Waddington Galleries, April 1952 to S. Briskin, USA; Waddington Galleries London; Private Collection.Literature: Hilary Pyle, 'A Catalogue Raisonné of the Oil Paintings', Andre Deutsch, 1992, Catalogue No.1034, illustrated Vol. III, p.526.Yeats's painting refers both to the sentimentality and to the genuine emotion of Victorian sick room imagery, in which the surroundings serve as a haven of comfort, order and natural affection in contrast to the complexities of the world outside. The work concentrates on the psychological and emotional interaction between the two protagonists, the patient and the visitor.The man in a dark blue suit and tie sits at the bedside of a woman whose head is reclining on a pillow. He gazes intently at the patient, his concern conveyed by the concentration of his expression and by the pose of his body as he leans towards his companion. Impasto paint is used to mould his narrowed eyes in a simple fashion. The head of the woman is sculpted out of very thick paint. Its pallor indicates her physical weakness and strongly differentiates her from her attendant. Between the two profiles, a window opens onto a vista of blue and green landscape and sky. This alleviates the tension of the encounter and brings in an element of peace and natural beauty. To the left a yellow chequered pattern can be discerned, suggestive of wallpaper or perhaps a curtain round the bed.The light tonalities of the colours makes this a remarkably tranquil representation of a poignant encounter while the dynamic use of brushstroke suggests movement and life. Paint is very thinly applied across large parts of the composition, revealing the surface of the canvas and foregrounding the physical construction of the painting. As in many of Yeatss later works the viewer is prompted to engage with how the work has been made rather than passively absorbing its ostensible subject matter. The physical construction of the painting works against the sentimentality of the latter, forcing the viewer to question its veracity.Dr. Roisin Kennedy, February 2020[1] Miriam Bailin, The Sickroom in Victorian Fiction: The Art of Being Ill, (Cambridge University Press, 1994)
Los 1
Andy Warhol (American 1928-1987), 'Chanel No.5', 1997, a complete set of four offset lithographs on linen backs; sheets: 71 x 53cm each (4)sheets: 71 x 53cm each (4)In very good conditionNo knocks or tears to any of the sheetsSome very light handling creases to the sheet, visible in raking lightAll four works have been linen backed to help protect the condition of the worksThese works have previously been rolled and are currently stored flat in an archival print sleeveThese works are sold un-framed and have never been framedIn Very Good Condition
Los 117
D*Face (British 1978-), 'Dog Save The Queen (Green Wings)', 2004, hand embellished screen print in colours on wove paper, signed and numbered from an edition of 250 in pencil, stamped by the artist, published by Pictures On Walls; sheet: 50 x 70cmARRsheet: 50 x 70cmIn good conditionNo knocks or tears to the sheetSpots of green ink to the sheet verso, likely from the time of productionSome minor wear to the top edge of the sheet, visible upon close inspection Some minor handling creases across the sheet, visible in raking light One minor crease to the top right hand corner of the sheet, visible recto and versoThis work has been stored flat and has never been framed.
Los 126
Faile (Collaboration), 'Stories Of Love - Romance In Brown', 2008, Acrylic & Silkscreen on Lennox 100 Paper, signed in pencil, stamped and numbered from an edition of 17 verso; 105.5 x 105.5cm inc frame105.5 x 105.5cm inc frameIn Very Good Condition/Artists ConditionNo tears to the sheetLight creasing to the upper left corner of the sheet, due to the Artists working practices it is unknown if this is from the time of production of laterThis work has been framed to a high standard in a black frame and float mounted leaving all corners and edges of the sheet visibleNot examined out of the frameIn Very Good Condition/Artists Condition
Los 145
Nick Walker (British 1969-), 'Vandalism (Black)', 2008, spraypaint and acrylic on canvas, signed, dateded, and numbered from an edition of 6 verso; 79.5 x 79.5cm inc perspex box frameARR79.5 x 79.5cm inc perspex box frameIn Very Good ConditionNo sign of paint loss or restorationNo rips, holes, or tears to the canvasSome light hairline cracking to the stenciled areas of the canvas, this is likely due to the original priming of the canvas at the point of productionThis work has been framed in a Perspex box frame and not examined out of the frameSome minor wear to the canvas edgeIn Very Good Condition
Los 146
Nick Walker (British 1969-), 'Vandalism (White)', 2008, spraypaint and acrylic on canvas, signed and numbered from an edition of 12 to the stretcher verso; 85.5 x 85.5cm inc perspex box frameARR85.5 x 85.5cm inc perspex box frameIn Very Good ConditionNo sign of paint loss or restorationNo rips, holes, or tears to the canvasSome light hairline cracking to the stenciled areas of the canvas, this is likely due to the original priming of the canvas at the point of productionThis work has been framed in a Perspex box frame and not examined out of the frameSome minor wear to the canvas edgeIn Very Good Condition
Los 230
Julie Mehretu (Ethiopian 1970-), 'Among the Multitude III', 2021, Limited-run poster on 115 g/m² paper, signed and numbered from an edition of 130 verso, published by Texte Zur Kunst; sheet: 72 x 90cmsheet: 72 x 90cmA Note from the Publisher:"A note in advance: The limited-run poster by Julie Mehretu may show slight traces of handling. The concept of this work is to be a high-gloss poster in the style of an advertising poster for sports or music events, theater productions, or museum exhibitions such as artists have made over the past decades. The paper’s characteristics were intentionally chosen to resemble those of such posters.'A note from the publisher:'A note in advance: The limited-run poster by Julie Mehretu may show slight traces of handling. The concept of this work is to be a high-gloss poster in the style of an advertising poster for sports or music events, theater productions, or museum exhibitions such as artists have made over the past decades. The paper’s characteristics were intentionally chosen to resemble those of such posters.'In very good conditionNo knocks or tears to the sheetLight handling creases to the sheet edges, only visible in raking light and away from the main image, these are intentional and from the time of production, please see the Note from the Publisher above.This work is currently stored flat and has never been framed
Los 261
Banksy (British 1974-), 'Girl With Balloon', 2004, screenprint in colours on wove paper, numbered from an edition of 600 in pencil, published by Pictures On Walls; sheet: 66 x 50cmARRsheet: 66 x 50cmProvenance: This work is accompanied by a Pest Control Certificate of AuthenticityIn Very Good ConditionNo knocks, tears, or creases to the sheetLight boarder to the extreme lower edge of the sheet due to the previous framing. The boarder is easily covered with a framing mount and is away from the printed imageLight markings to the entirety of the upper sheet edge verso and one light 'tab' mark to the lower edge of the sheet verso. These markings are not visible recto and result from the previous framing.The work has been placed in a temporary exhibition frame with fully reversible mylar corners and a black mountIn Very Good ConditionProvenance: This work is accompanied by a Pest Control Certificate of Authenticity
Los 262
Ben Eine (British 1970-), 'Sweet Circus Love', 2012, unique spray paint and stencil on canvas, signed, titled, dated, and inscribed 'TENSIXTYSIX' to the canvas verso; canvas: 76 x 76cmARRcanvas: 76 x 76cmIn good condition/artist’s conditionNo sign of paint lossMinor signs of cracking to the paint in sections Various sections of minor wear/markings across the canvas, visible in raking light, the markings could potentially be removedNo tears to the canvas
Los 271
Invader (French 1969-), 'Sunset (Gold & Blue)', 2018, embossed screen print in colours on wove paper, signed, dated, and numbered from an edition of 100 in pencil, published by Over The Influence; sheet: 41.5 x 41.5cmARR42 x 42 cmIn very good conditionNo knocks or tears to the sheetOne extremely light crease to the right hand edge of the sheet, visible upon close inspection This work has been stored flat and has never been framed.
Loading...-
534297 Los(e)/Seite