LINDNER, Hans(1883 Zschopau - 1944 Schwerin) KiefernwaldÖl/Leinwand. Links unten signiert, verso Nachlass-Stempel des Künstlers. 91 x 100 cm. Gerahmt : 96 x 106 cm. Lichter Wald mit hohem Gras zwischen den schlanken Bäumen. Deutscher Maler, studierte an den Akademien Dresden und München unter Hegenbarth und Zügel, Studienreisen nach Italien und Frankreich, Professor a.d. Münchener Akademie, u.a. in Ahrenshoop und Schwerin tätig. Literatur : Vollmer. LINDNER, Hans(1883 Zschopau - 1944 Schwerin) Pine forestOil / canvas. Signed lower left, verso estate stamp of the artist. 91 x 100 cm. Framed : 96 x 106 cm. Light forest with tall grass between the slender trees. German painter, studied at the academies of Dresden and Munich under Hegenbarth and Zügel, study trips to Italy and France, professor a.d. Munich Academy, among other things in Ahrenshoop and Schwerin active. Literature : Vollmer. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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
Biedermeier-Schatulle. Mitte 19. Jh. Mahagoni furniert, Ahorneinlagen. 14 x 30 x 21 cm. Schlichter Quaderkorpus mit hellen Fadeneinlagen auf dem Scharnierdeckel. Kleinere Trockenrisse, wenige Furnier-Fehlstellen. Ohne Schlüssel. Biedermeier casket. Mid 19th century Mahogany veneered, maple inlays. 14 x 30 x 21 cm. Simple ashlar body with light thread inlays on the hinged lid. Small dry cracks, few veneer flaws. Without key. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Undeutlich signiert: Lichte WaldlandschaftÖl/Malkarton. Links unten undeutlich signiert. Um 1900. Passepartoutausschnitt 22 x 32 cm. Gerahmt : 45 x 54 cm. Breite Waldstraße mit Spurrillen und schlanken kahlen Bäumen im Sonnenschein. Unclearly signed: Light forest landscapeOil / painting cardboard. Signed indistinctly on the lower left. Circa 1900. Passepartout cut 22 x 32 cm. Framed : 45 x 54 cm. Wide forest road with ruts and slender bare trees in the sunshine. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Babypuppe. "Neue Münchner Kinderpuppen", Elisabeth Pongratz. Mit originalem Hängeetikett. Ahornholz. L 25 cm. Geschnitzter Holzkopf, gemalte blaue Augen und braune Haare. Weich gestopfter Stoffkörper mit gestrickter, hellblauer Babykleidung. Ursprünglicher Verkaufspreis 660,- DM. Unbespielt. Baby doll. "New Munich Child Dolls", Elisabeth Pongratz. With original hang tag. Maple wood. L 25 cm. Carved wooden head, painted blue eyes and brown hair. Soft stuffed fabric body with knitted light blue baby clothes. Original retail price 660,- DM. Unplayed. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Henkelvase. Bürgeler Jugendstil-Keramik. Ungemarkt. Entwurf: Henry VAN DE VELDE (1863-1957) oder Umfeld. Modell-Nr. 603. Helles Steinzeug, braungraue Laufglasur auf nachtblauem Fond. H 11,5 cm. Vase mit flachem Korpus und 2 angewinkelten Henkeln. Art Nouveau handle vase. Bürgel art nouveau ceramics. Unmarket. Design: Henry VAN DE VELDE (1863-1957) or environment. Model no. 603. Light stoneware, brown-gray running glaze on midnight blue background. H 11,5 cm. Vase with flat body and 2 angled handles. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Deckenlampe. Nach 1900. Messingblech geprägt, weißer Opalglasschirm mit roter Emailmalerei. L ca. 36 cm, Ø ca. 19,5 cm. Zierliche 1-flammige Hängelampe an Kettenaufhängung mit Tellerbaldachin, blütenförmiger Glasschirm mit feiner Ornamentbemalung. Leichte Alters-/Gebrauchsspuren, Glasschirm am Fassungsrand mit größerem Chip. Elektrifiziert, Funktion nicht geprüft. Art Nouveau ceiling lamp. After 1900. Stamped brass sheet, white opal glass shade with red enamel painting. L approx 36 cm, Ø approx 19.5 cm. Decorative 1-flame hanging lamp on chain suspension with plate canopy, flower-shaped glass shade with fine ornamental painting. Light signs of age/use, glass shade at the rim of the frame with larger chip. Electrified, function not tested. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "Nach uns die Mutation"Lithografie. Bleistiftsignatur, roter Stempel" Clan-Presse". [1957]. Blatt: 60 x 70,6 cm. Oberer Rand etwas knickspurig und rissig, Blatt mit Lichtschaden, verso mit Klebespuren. Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. Literatur : https://www.weber-museum.de/html; vgl. auch Kirschstein (1993). WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "After us the mutation"Lithograph. Pencil signature, red stamp" Clan Press". [1957]. Sheet: 60 x 70.6 cm. Upper margin somewhat creased and cracked, sheet with light damage, traces of glue on verso. German lithographer, draftsman and painter, he received the Grand Cross of the Order of Merit of the Federal Republic of Germany in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "Audience" in his honor as part of the series "German Painting of the 20th Century". Literature : https://www.weber-museum.de/html; see also Kirschstein (1993). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
"Am Comer See"Öl/Leinwand. Italien. Unsigniert, verso jünger als "Heinrich Jäckel" bezeichnet/betitelt. 19. Jh. 47,5 x 71,5 cm. Gerahmt : 58 x 79 cm. Fischerboote im idyllischen Abendlicht nahe den Anlegestellen der Stadt an der felsigen Küste. Leinwand doubliert. "On Lake Como"Oil / canvas. Italy. Unsigned, verso younger inscribed/titled as "Heinrich Jäckel". 19th c. 47.5 x 71.5 cm. Framed : 58 x 79 cm. Fishing boats in the idyllic evening light near the city piers on the rocky coast. Canvas doubled. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Cachepot mit Seerosen. Undeutliche Blindmarke, wohl Franz Anton Mehlem, Bonn. Um 1900. Majolika, farbig glasiert und staffiert. H 27,5 cm. Blütenförmig gestalteter Übertopf mit 2 schlangenartigen Handhaben, Rundfuß und floralem Reliefdekor. Leichte Alters- und Gebrauchsspuren, an den Henkeln minimal bestoßen. Art Nouveau cachepot with water lilies. Indistinct blind mark, probably Franz Anton Mehlem, Bonn. Circa 1900. Majolica, colored glazed and staffiert. H 27.5 cm. Flower-shaped cachepot with 2 serpentine handles, round base and floral relief decoration. Light signs of age and use, minimally bumped at the handles. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blick auf GibraltarKupferstich. Passepartoutausschnitt: 22,5 x 30,5 cm. Gerahmt & hinter Glas : 31,5 x 40 cm. Historische Militärkarte: "Ansicht von Gibraltar während der Span. u. Französ. Belagerung im Jahr 1782. Weimar im Verlage des geograph. Instituts. 1806", mit Legende. Blatt mit starkem Lichtschaden, Bugfalten, Wasserschaden. View of GibraltarCopper engraving. Passepartout cut-out: 22.5 x 30.5 cm. Framed & behind glass : 31.5 x 40 cm. Historical military map: "View of Gibraltar during the Span. u. French. siege in 1782. Weimar in the publishing house of the geograph. Institut. 1806", with legend. Sheet with strong light damage, bow folds, water damage. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
4-teiliges, silbernes Kernstück. Stadtmarke/Meisterzeichen//Beschaumeister Christian F. Heise gepunzt. 1922/23. Kopenhagen. H 8,5 - 27,5 cm. 1561 g. Godronierte, leicht gebauchte Form: Kaffeekanne, Teekanne, Zuckerschale und Sahnegießer. Leichte Gebrauchsspuren. 4-piece silver core. City mark/master mark//foam master Christian F. Heise hallmarked. 1922/23 Copenhagen. H 8.5 - 27.5 cm. 1561 g. Godroned, slightly bulged form: Coffee pot, tea pot, sugar bowl and cream pourer. Light signs of use. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
LANDSCHAFTSMALER ZWEITE HÄLFTE 19. JAHRHUNDERT, Italienische Landschaft bei TerniÖl auf Karton. Unsigniert. 16,5 x 22 cm. Gerahmt : 23 x 29 cm. Impressionistisch angelegte Ansicht mit Lichteffekten. Rückseitig alter Pariser Klebezettel, bezeichnet: Vue d'Orvieto. Profilierter Goldrahmen. * Partnerauktion Bergmann. Provenienz : Berliner Privat-Nachlass. LANDSCAPE PAINTING SECOND HALF 19th CENTURY, Italian landscape near TerniOil on cardboard. Unsigned. 16.5 x 22 cm. Framed : 23 x 29 cm. Impressionistic view with light effects. On the reverse old Parisian adhesive label, inscribed: Vue d'Orvieto. Profiled gold frame. * Partner auction Bergmann. Provenance : Berlin private estate. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Undeutlich signiert: Kutsche im WinterÖl/Sperrholz. Rechts unten undeutlich signiert. Um 1900. 34 x 44 cm. Gerahmt : 40 x 50 cm. Kutsche im lichten, verschneiten Birkenwald. Altersspuren. Unclearly signed: Carriage in winterOil / plywood. Indistinctly signed lower right. Circa 1900. 34 x 44 cm. Framed : 40 x 50 cm. Carriage in the light, snowy birch forest. Traces of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Französischer Maler: Liegender AktÖl/Leinwand. Rechts oben undeutlich signiert. 1. H. 20. Jh. 73 x 100 cm. Gerahmt : 81 x 108 cm. Auf einem Bett liegende nackte junge Frau in seitlich einfallendem Licht. Zwei kleine Defekte. French painter: Reclining NudeOil / canvas. Signed indistinctly in the upper right corner. 1st H. 20th century 73 x 100 cm. Framed : 81 x 108 cm. Nude young woman lying on a bed in sideways incident light. Two small defects. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Puppenmädchen "Princess". Gemarkt "29 Princess 1 Germany". Um 1900. Biskuit, Masse, Holz. L 60 cm. Kurbelkopf, braune Schlafaugen, modellierte Augenbrauen, braune Kunsthaarperücke mit Zöpfen. 15-teiliger Gliederkörper. Rosa Kleid, weinrote Lederschuhe. Kopf durchleuchtet: ohne Defekte, lediglich leichter Perückenpull. Körper bespielt, teils übermalt, 1 Finger repariert. Doll girl "Princess". Marketed "29 Princess 1 Germany". Circa 1900. Biscuit, mass, wood. L 60 cm. Crank head, brown sleeping eyes, modeled eyebrows, brown synthetic hair wig with braids. 15-piece articulated body. Pink dress, burgundy leather shoes. Screened head: without defects, only light wig pull. Body played with, partly painted over, 1 finger repaired. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Deckenlampe. Johann Loetz Witwe, Klostermühle. Nach 1900. Geprägtes Messingblech, satiniertes Glas. L ca. 67 cm, Ø ca. 19 cm. 1-flammige Hängelampe an Kettenaufhängung mit Lorbeerbaldachin, organisch geformter Glaskörper aus satiniertem Astglas. Metall mit Korrosionsspuren, Glasrand mit Chips. Elektrifiziert, Funktion nicht geprüft, alte Porzellanfassung. Art Nouveau ceiling lamp. Johann Loetz widow, monastery mill. After 1900. Stamped brass sheet, satin glass. L ca 67 cm, Ø ca 19 cm. 1-light hanging lamp on chain suspension with laurel canopy, organically shaped glass body of satin branch glass. Metal with traces of corrosion, glass rim with chips. Electrified, function not tested, old porcelain socket. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Art-déco-Vase. Lötz. Johann Loetz Witwe, Klostermühle, um 1920. Böhmen. Hellblaues Opalglas, Klarglasüberfang, schwarzes Opalglas. H 31 cm. Tangoglas. Schlanker Glockenkorpus über schwarzem Nodus, Rundfuß. Minimaler Chip am Stand. Art deco vase. Loetz. Johann Loetz widow, monastery mill, c. 1920. Bohemia. Light blue opal glass, clear glass overlay, black opal glass. H 31 cm. Tango glass. Slender bell body over black nodus, round base. Minimal chip on stand. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 braune Jugendstil-Henkelvasen. Bürgeler Jugendstil-Keramik. Ungemarkt. Entwurf: Henry VAN DE VELDE (1863-1957) oder Umfeld. Modell-Nr. 508 und 606. Helles Steinzeug, braune Engobe, teils Laufglasur. H 19,5 und 24,5 cm. Konische Zylindervasen mit 2 hoch angesetzten J-Henkeln. 2 brown art nouveau handle vases. Bürgeler Art Nouveau ceramics. Unmarket. Design: Henry VAN DE VELDE (1863-1957) or environment. Model no. 508 and 606. Light stoneware, brown engobe, partly running glaze. H 19,5 and 24,5 cm. Conical cylindrical vases with 2 high set J-handles. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Art-déco-Wand/Deckenlampe. 20. Jh. Goldfarben übermaltes Metall, satiniertes Klarglas mit Kerbschliffdekor. Ca. 62 x 32 cm. 1-flammige Wandlampe mit goldfarbenen Blattwerk-Zierstreben und tropfenförmigem Glaskörper mit Kerbschliff-Ornamenten. Goldfarbe teils berieben, Glasrand mit Chip. Elektrifiziert, Funktion nicht geprüft. Art deco wall/ceiling lamp. 20th century Gold painted over metal, satin clear glass with notched decoration. Approx. 62 x 32 cm. 1-light wall lamp with gold leaf ornamental struts and drop-shaped glass body with notch-cut ornaments. Gold paint partly rubbed, glass rim with chip. Electrified, function not tested. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Deckenlampe. Nach 1900. Geprägtes Messingblech, weißer Opalglasschirm. L ca. 67 cm, Ø ca. 22 cm. 1-flammige Deckenlampe an Kettenaufhängung mit Tellerbaldachin und glockenförmiger Fassung, Glaskörper in Glockenform. Metall mit Korrosionsspuren, Glasrand mit Chip. Elektrifiziert, Funktion nicht geprüft, alte Porzellanfassung. Art Nouveau ceiling lamp. After 1900. Stamped brass sheet, white opal glass shade. L approx 67 cm, Ø approx 22 cm. 1-light ceiling lamp on chain suspension with plate canopy and bell-shaped socket, glass body in bell shape. Metal with traces of corrosion, glass rim with chip. Electrified, function not tested, old porcelain socket. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
PEISKER-KREUSCHNER, Richard "Westfalen"Öl/Leinwand/Karton. Links unten signiert, verso bezeichnet/betitelt. Datiert: 1905. 23,5 x 15 cm. Gerahmt : 32 x 24 cm. Waldinneres mit einfallendem Licht durch die dichten Baumkronen. Landschaftsmaler im 19. und 20. Jahrhundert. PEISKER-KREUSCHNER, Richard "Westphalia"Oil / canvas / cardboard. Signed lower left, inscribed/titled on verso. Dated: 1905. 23.5 x 15 cm. Framed : 32 x 24 cm. Forest interior with incident light through the dense treetops. Landscape painter in the 19th and 20th centuries. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
LANDSCHAFTSMALER ZWEITE HÄLFTE 19. JAHRHUNDERT, Landvolk vor einer WindmühleÖl auf Leinwand. Unsigniert. 46 x 38 cm. Gerahmt : 58 x 50 cm. Stimmungsvolle Landschaft mit Licht- und Schattenzonen. Originaler Keilrahmen, vergoldeter Stuckrahmen. Doubliert. * Partnerauktion Bergmann. Provenienz : Berliner Privat-Nachlass. Country Painter SECOND HALF 19th CENTURY, Country people in front of a windmillOil on canvas. Unsigned. 46 x 38 cm. Framed : 58 x 50 cm. Atmospheric landscape with light and shadow zones. Original stretcher, gilt stucco frame. Doubled. * Partner auction Bergmann. Provenance : Berlin private estate. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Krug, Weinglas und Schale mit Blaurand. 2x hellbraunes Glas, 1x farbloses Glas, angeschmolzener blauer Faden am Rand; Abriss. 2x Venedig, Ende 19. Jh.: Weinglas (H 12,5 cm) und Schale mit kleinem Fuß (H 5,5 cm). / 1x längsoptisch formgeblasener Krug (H 16 cm). Spannungsrisse am unteren Henkelansatz des Kruges. Provenienz : Sammlung Uwe Friedleben. Jug, wine glass and bowl with blue rim. 2x light brown glass, 1x colorless glass, fused blue thread on the rim; tear off. 2x Venice, late 19th c.: wine glass (h 12,5 cm) and bowl with small foot (h 5,5 cm). / 1x longitudinally optically shaped blown jug (h 16 cm). Stress cracks at the lower handle base of the jug. Provenance : Collection Uwe Friedleben. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Paar 2-flammige Wandleuchter mit Spiegel. Um 1900. Bronze patiniert, facettiertes Spiegelglas. 41 x 21 x 9 cm. 2 neobarocke Wandappliken mit Volutenarmen und Rechteckspiegel im Rahmen mit reicher Reliefzier und Maskaronen. Verspiegelung minimal fleckig. Pair of 2-light sconces with mirror. Around 1900. Bronze patinated, faceted mirror glass. 41 x 21 x 9 cm. 2 neo-baroque wall appliques with volute arms and rectangular mirror in the frame with rich Reliefzier and mascarones. Mirroring minimally spotted. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Puppenjunge "Johanniskindchen". Käthe Kruse. Unter den Füßen undeutliche Bleistift- und Stempelziffern. Ab 1930. Stoff. L 35 cm. Puppe X. Bemalter Kurbelkopf mit 1 Hinterkopfnaht, blauen Augen und rotbraunen Haaren. Stoffkörper mit einem angewinkelten Arm, Ellbogennaht und einer Beinnaht. Braune Cordhose, rot-weiß kariertes Hemd, rote Strickjacke, Schulranzen, braune "Kruse"-Lederschuhe. Hinterkopf mit Farbdefekten, Gesicht mit Krakelée, 1 Abplatzer an der Stirn. Keine Auffälligkeiten unter UV-Licht. Körper etwas fleckig, kleines Loch am linken Bein. Doll boy "Johanniskindchen". Käthe Kruse. Under the feet indistinct pencil and stamp figures. From 1930. Fabric. L 35 cm. Doll X. Painted crank head with 1 occipital seam, blue eyes and auburn hair. Cloth body with one bent arm, elbow seam and one leg seam. Brown corduroy pants, red and white plaid shirt, red cardigan, satchel, brown "Kruse" leather shoes. Back of head with color defects, face with craquelure, 1 chipped forehead. No abnormalities under UV light. Body a little spotty, small hole on the left leg. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Ätzglasvase mit Blumendekor. Um 1920. Böhmen. Farbloses, hellblau und violett überfangenes Glas. H 26,5 cm. Balustervase mit umlaufend geätztem Blumendekor. Etched glass vase with floral decor. Around 1920. Bohemia. Colorless glass overlaid with light blue and purple. H 26,5 cm. Baluster vase with circumferential etched floral decor. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Mir-i-Boteh-Teppich. Um 1890/1900. Hamadan-Region/Nordwestpersien, wohl Endjilas. Wolle, handgeknüpft. Vorwiegend Rot, Blau und Weiß. Ca. 207 x 310 cm. Mittelfeld mit flächendeckender Boteh-Musterung, helle Eckzwickel. Mehrreihige Schikeli-Bordüre mit Zinnenborten. Partiell fleckig, defekte Fransen- und Kantenabschlüsse. Provenienz : Aus dem Sammlungsbestand eines hessischen Industriellenhaushalts. Mir-i-Boteh carpet. About 1890/1900. Hamadan region / northwest Persia, probably Endjilas. Wool, hand-knotted. Predominantly red, blue and white. Approx. 207 x 310 cm. Middle field with boteh pattern covering the entire area, light corner gussets. Multi-row shikeli border with crenellated borders. Partially spotted, defective fringe and edge finishes. Provenance : From the collection of a Hessian industrial household. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 verschiedene Broschen Ende 19.Jh./um 1900. Schaumgold/Silber 900 gestempelt, restvergoldet. 4,8/12,1/3,9 g. Schaumgoldbrosche mit hellblauem Email. Jugendstilbrosche mit zargengefasster Malachittafel. Knotenbrosche mit kleinem Opalcabochon. Hakenverschlüsse. Partielle Fehlstellen am Email. 3 different brooches late 19th century / around 1900. Foam gold/silver 900 stamped, rest gold plated. 4,8/12,1/3,9 g. Foam gold brooch with light blue enamel. Art nouveau brooch with casket set malachite plaque. Knot brooch with small opalcabochon. Hook clasps. Partial flaws on the enamel. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Anhänger mit hellblauen und farblosen Steinen. Gelbgold 333 geprüft. Silber geprüft. L 4 x 1,5 cm. 3,8 g. Abgehängter, krappengefasster hellblauer Stein, umringt von farblosen Steinen. 1 farbloser Stein eingeklebt. Pendant with light blue and colorless stones. Yellow gold 333 tested. Silver tested. L 4 x 1.5 cm. 3,8 g. Suspended, claw-set light blue stone surrounded by colorless stones. 1 colorless stone glued in. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Tafelschale mit Keramikeinsätzen. WMF. Straußenmarke. Britanniametall versilbert, Keramik mit weiß-hellgrüner Laufglasur. 9 x 40 x 15 cm. Im Grundriss rechteckige Schale mit ausschwingenden Handhaben und Jugendstil-Reliefornament. 3 quadratische Keramikschalen als Einsätze. Einsätze ergänzt, 1 Strebe der Handhabe gebrochen. Art Nouveau table bowl with ceramic inserts. WMF. Outdoor brand. Britain silver plated metal, ceramic with white-light green running glaze. 9 x 40 x 15 cm. In plan rectangular bowl with swinging handles and art nouveau relief ornament. 3 square ceramic bowls as inserts. Inserts supplemented, 1 strut of the handle broken. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Spätbiedermeier-Brustkopfpuppe und 2 Nähkörbchen. Ungemarkt. Wohl um 1865. Porzellan, Stoff. L 37 cm. Glasierter Brustkopf mit gemalten blauen Augen und modellierten Haaren. Heller Leinenkörper mit schmaler Taille und breiten Hüften, Arme aus glasiertem Porzellan. Schwarzes Kleid im alten Stil, alte Unterwäsche. Dazu 2 Körbe mit Handarbeitsutensilien. Ohne sichtbare Defekte. Provenienz : Sammlung Katharina Engels. Late Biedermeier breast head doll and 2 sewing baskets. Unmarket. Probably around 1865. Porcelain, fabric. L 37 cm. Glazed chest head with painted blue eyes and modeled hair. Light linen body with narrow waist and wide hips, glazed porcelain arms. Black dress in old style, old underwear. Plus 2 baskets of needlework utensils. Without visible defects. Provenance : Collection Katharina Engels. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Vase. Karlsruher Majolika. Pressmarke, nach 1908. Entwurf: Alfred KUSCHE (1884-1984), Ausführung: um 1910. H 18 cm. Gedrückt bauchige Form mit floraler Schlickerbemalung in Blau und Dunkelgrün auf hellgrünem Fond. Art Nouveau vase. Karlsruher Majolika. Press mark, after 1908. design: Alfred KUSCHE (1884-1984), execution: around 1910. H 18 cm. Depressed bulbous form with floral slip painting in blue and dark green on light green background. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Undeutlich signiert: Vollmond über der KüsteÖl/Malkarton. Rechts unten undeutlich signiert. 2. H. 19. Jh. 21 x 31 cm. Gerahmt : 36 x 47 cm. Segler auf dem Wasser im hellen Licht des Vollmondes. Im Himmel retuschiert. Unclearly signed: Full moon over the coastOil / painting cardboard. Signed indistinctly lower right. 2nd H. 19th c. 21 x 31 cm. Framed : 36 x 47 cm. Sailor on the water in the bright light of the full moon. Retouched in the sky. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 Durchbruchschälchen, Gebäckzange und Sahnelöffel. 800/830 gepunzt. 20. Jh. Silber. 14 - 20 cm, Ø 12,3 cm. 291 g. Runde Konfektschale. / Ovales Schälchen. / Gebäckzange mit Heber. / Reliefierter Sahnelöffel. Leichte Gebrauchsspuren. 2 breakthrough bowls, pastry tongs and cream spoon. 800/830 hallmarked. 20th c. Silver. 14 - 20 cm, Ø 12,3 cm. 291 g. Round confectionery bowl. / Oval bowl. / Pastry tongs with lifter. / Reliefed cream spoon. Light signs of use. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Großer barocker Fayence-Enghalskrug mit Chinoiserien. Hanau. Ungemarkt. Um 1700.Weiß glasiert, Bemalung in Kobaltblau. H 40 cm. Kugelbauchkrug mit Rundfuß und spiralverziertem Bandhenkel. Asiatisierende Bemalung mit Figuren, Architektur und Landschaft. Zinndeckel mit Muscheldrücker, Zinnstandring. Leichte Glasurbereibungen, am Rand leicht bestoßen.Large baroque faience narrow neck jug with chinoiserie. Hanau. Unmarket. Around 1700.White glazed, painting in cobalt blue. H 40 cm.Sphere bellied jug with round base and spiral decorated ribbon handle. Asianizing painting with figures, architecture and landscape. Pewter lid with shell pusher, pewter standring. Light glaze rubbing, slightly bumped at the rim.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-BeistelltischNussbaum furniert. Um 1900. Ca. 73 x 48,5 x 26,5 cm. Rollbarer, zierlicher Serviertisch mit 3 Ablageflächen und lyrenähnlicher Seitenverstrebung, dekoriert mit Messingintarsien und -applikationen. Leichte Alters-/Gebrauchsspuren, restauriert. Shipping not available. Art Nouveau side tableWalnut veneer. Circa 1900. Ca. 73 x 48.5 x 26.5 cm. Wheeled, delicate serving table with 3 shelves and lyre-like side bracing, decorated with brass inlays and applications. Light signs of age/use, restored. Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleine Charakterpuppe. Porzellanfabrik Mengersgereuth. Gemarkt "PM 23 Germany 4". Biskuit, Masse. L 40 cm. Kurbelkopf, blaue Schlafaugen, braune Mohairperücke. 5-teiliger Stehbabykörper. Hellgelbes Kleidchen, vergilbte Wachstuchschuhe. Kurzer Brandriss an der Kopfkrone. Small character doll. Porzellanfabrik Mengersgereuth. Market "PM 23 Germany 4". Biscuit, Mass. L 40 cm. Crank head, blue sleep eyes, brown mohair wig. 5-piece standing baby body. Light yellow dress, yellowed oilcloth shoes. Short burn crack on the crown of the head. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Jugendstil-Deckenlampe. Muller Frères. Ätzmarke "Muller Frès Lunéville". Um 1920. Frankreich. Farbloses, mattiertes Glas mit violetten, roséfarbenen und grünen Pulvereinschmelzungen, geschwärztes Eisen. L ca. 93 cm, B max. ca. 55 cm. 4-flammige Hängelampe mit durchbrochen gearbeitetem Spiralgestell und eingesetztem, mittlerem Glockenschirm, 3 ausladende Volutenarme mit Tulpenschirmen, an 3 gebogten Streben mit Baldachin. Alters-/Gebrauchsspuren. Elektrifiziert, Funktion nicht geprüft, Bajonettfassungen. Shipping not available.Art Nouveau ceiling lamp. Muller Frères. Etch mark "Muller Frès Lunéville". Circa 1920. france. Colorless frosted glass with purple, rose and green powder fusions, blackened iron. L c. 93 cm, W max c. 55 cm. 4-light hanging lamp with openwork spiral frame and inset central bell shade, 3 sweeping volute arms with tulip shades, on 3 curved struts with canopy. Signs of age/use. Electrified, function not tested, bayonet sockets. Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SALIGNAC / FENELON, "Les Avantures de Telemaque, fils d`Ullysse"Deutsch von Joseph Antoine d'Ehrenreich. Aux dépens de Jean Conrad Wohler. Königreich Sachsen. 1761. 17 x 10 cm. In französischer Sprache mit ausführlichen deutschen Erläuterungen zur Übersetzung, auf jeder Seite. Titelbild, Titel, Bildnis, (8), 344, 294 (46) Seiten, eine Landkarte und 24 ganzseitige Kupferstiche. Lederausgabe mit Goldprägung, Rotschnitt. Leichte Altersspuren. Exlibris mit Wappen. SALIGNAC / FENELON, "Les Avantures de Telemaque, fils d`Ullysse"German by Joseph Antoine d'Ehrenreich. Aux dépens de Jean Conrad Wohler. Kingdom of Saxony. 1761. 17 x 10 cm. In French with detailed German explanations of the translation, on each page. Frontispiece, title, portrait, (8), 344, 294 (46) pages, a map and 24 full-page copper engravings. Leather edition with gilt, red edges. Light signs of age. Exlibris with coat of arms. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
TAKEHARA, Michio(*1946 Hyogo) "Teilung"Farbsiebdruck auf PVC-Folie. Bleistiftsignatur. [19]77. Exemplar: 18/100. Blatt: 70 x 60 cm. Randbereich mit Lichtschaden. TAKEHARA, Michio(*1946 Hyogo) "Division"Color silkscreen on PVC film. Pencil signature. [19]77. copy: 18/100. Sheet: 70 x 60 cm. Marginal area with light damage. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Collier mit hellblauen Steinen?. Silber geprüft. L 54 cm. 63,6 g. Schnürketten mit kleinen Steinscheiben und Ziergliedern, zwischen Erbsketten, an Hakenverschluss. Collier with light blue stones?. Silver tested. L 54 cm. 63,6 g.Lacing chains with small stone discs and decorative links, between pea chains, on hook clasp. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Barocke Miniatur: Heilige Familie. 17./18. Jh. Aquarell, verglaster Goldrahmen mit feiner Stuckzier. 11 x 9 cm, Rahmen 22 x 19 cm. In sehr feiner Tüpfelmanier äußerst qualitätvoll mit kräftigen Farben gestaltete harmonische Komposition mit Jesus, Maria und Josef in hellen Licht. Im dekorativen Rahmen (1. Hälfte 19. Jh.) mit integriertem Aufsteller. Baroque miniature: Holy Family. 17th/18th c. Watercolor, glazed gold frame with fine stucco decoration. 11 x 9 cm, frame 22 x 19 cm. In very fine stipple manner extremely quality with strong colors designed harmonious composition with Jesus, Mary and Joseph in bright light. In decorative frame (1st half 19th century) with integrated stand-up. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Unsigniert: TulpenÖl/Leinwand. Unsigniert. 1. H. 20. Jh. 49 x 44 cm. Gerahmt : 63 x 57 cm. Expressiv gemalte rote Tulpen in Keramiktopf im hellen Licht. Unsigned: TulipsOil/canvas. Unsigned. 1st h. 20th c. 49 x 44 cm. Framed : 63 x 57 cm. Expressively painted red tulips in ceramic pot in the bright light. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Waldlandschaft mit BachÖl/Leinwand. Links unten undeutlich signiert. Um 1900. 82 x 130 cm. Gerahmt : 96 x 144 cm. Atmosphärisches Licht über dem Bach zwischen den dicht stehenden Bäumen. Restauriert mit Hinterklebungen. Shipping not available. Large forest landscape with streamOil / canvas. Signed indistinctly on the lower left. Circa 1900. 82 x 130 cm. Framed : 96 x 144 cm. Atmospheric light over the brook between the densely standing trees. Restored with backing. Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Französischer Maler: Wäscherin vor dem DorfÖl/Karton. Links unten undeutlich signiert (Dupuy?) und (18)89 datiert, verso 2 Fabrik-Etiketten aus Paris (z.B. P. Husson). 28 x 18 cm. Gerahmt : 44 x 32 cm. Impressionistisch gemalte lichte Niederung mit Frau am Fluss und Blick zum Dorf. Retuschiert. Wenn Eugène Galien-Laloue (1854 Paris - 1941 Chérence), dann: Maler in Paris, Schüler von Ch. Laloue. Literatur : Vollmer. French painter: Laundress in front of the villageOil / cardboard. Indistinctly signed (Dupuy?) and dated (18)89 lower left, 2 factory labels from Paris on verso (e.g. P. Husson). 28 x 18 cm. Framed : 44 x 32 cm. Impressionistically painted light lowland with woman at the river and view to the village. Retouched. If Eugène Galien-Laloue (1854 Paris - 1941 Chérence), then: painter in Paris, student of Ch. Laloue. Literature : Vollmer. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Paar Amphorenvasen mit Trachtendarstellung. Ungemarkt, 1. H. 19. Jh. Polychrom bemalt, goldstaffiert. H 23,5 cm. Ovoider Korpus, zwei Rosettenhenkel, Kraterhals, Rundfuß, auf Quadratplinthe. Hellgrüner Fond, schauseitig eine goldgerahmte Rechteckkartusche mit der Darstellung eines Bauern bzw. einer Bäuerin in Trachtenkleidung in einer Berglandschaft, verso Blumenmalerei. Minimaler Goldabrieb, Korpusansatz jeweils restauriert. Pair of amphora vases with traditional costume depiction. Unmarket, 1st half 19th c. Polychrome painted, gold decorated. H 23,5 cm. Ovoid body, two rosette handles, crater neck, round base, on square plinth. Light green background, on the outside a gold-framed rectangular cartouche depicting a farmer or a peasant woman in traditional costume in a mountain landscape, verso floral painting. Minimal gold abrasion, body base restored in each case. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 Biedermeier-Vitrinentassen. 1x Meissen, um 1830: gefußte Glockentasse mit Drachenhenkel und ergänztem Knaufdeckel (H 10,5 cm); weiß mit Gold- und Silberstaffage. / 1x Frankreich: gefußte Glockentasse (H 10,5 cm) mit Löwenkopf-Biskuithenkel, purpurfarbenem und hellgelbem Teilfond und Blumenmalerei, goldstaffiert. / 1x große, gefußte Glockentasse mit Blatthenkel, schauseitig ein goldenes Wappenschild mit gravierter, undeutlicher Inschrift. Alle mit ergänzter Untertasse (Ø 12,5-14 cm). Partieller Goldabrieb. 3 Biedermeier vitrine cups. 1x Meissen, c. 1830: footed bell cup with dragon handle and supplemented knob lid (h 10.5 cm); white with gold and silver decoration. / 1x France: footed bell cup (h 10,5 cm) with lion's head bisque handle, purple and light yellow partial background and floral painting, decorated with gold / 1x large footed bell cup with leaf handle, on the front side a golden escutcheon with engraved, indistinct inscription. All with supplemented saucer (Ø 12,5-14 cm). Partial gold abrasion. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
6er-Satz Studentika-Gläser in Original-Schatulle. Farbloses und leicht grünes Glas mit Fadenauflage, Emailmalerei. Schatulle außen mit schwarzem Papier bezogen, innen weiße Seide. H Gläser 10 cm, Schatulle 7 x 40 x 14 cm. Konische Gläser; je oben gemaltes Zirkelwappen mit Eichenlaub. Pharmazeutisch Naturwissenschaftlicher Verein Leipzig, später Vandalia Leipzig. Im Deckel Widmung von 1901. Leichte Schäden am Papier. Set of 6 Studentika glasses in original casket. Colorless and light green glass with thread overlay, enamel painting. Casket covered with black paper outside, white silk inside. H glasses 10 cm, casket 7 x 40 x 14 cm. Conical glasses; each top painted compass crest with oak leaves. Pharmazeutisch Naturwissenschaftlicher Verein Leipzig, later Vandalia Leipzig. In the lid dedication of 1901. Slight damage to the paper. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Reisekoffer. Louis Vuitton. Monogramm "LV" auf dem Bezug und den Schlössern, im Deckel Firmen-Lederschild. Hartkoffer mit Kunstlederbezug, Messingbeschläge, innen heller Kunstlederbezug. 20 x 60 x 41 cm. Design-Klassiker, allseits mit Kunstleder bezogen sowie Kantenverstärkungen, innen helles Kunstleder mit Handschuhfach, Zahlenschlösser. Bezug im Deckel teils gelöst. Travel suitcase. Louis Vuitton. Monogram "LV" on the cover and locks, in the lid company leather sign. Hard case with leatherette cover, brass fittings, inside light leatherette cover. 20 x 60 x 41 cm. Design classic, covered on all sides with imitation leather as well as edge reinforcements, inside bright imitation leather with glove compartment, combination locks. Cover in the lid partly detached. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Art-déco-Servierwagen. 20. Jh. Metall, Glas. Ca. 68 x 65 x 40 cm. Rollbarer Teewagen (sogenannte Desserte) aus verchromtem Gestell mit Spiegelglasablagen und Flaschenhaltern; obere Ablage als Tablett abnehmbar. Leichte Alters-/Gebrauchsspuren, Spiegelglas wohl ergänzt. Shipping not available.Art deco serving trolley. 20th century Metal, glass. Approx. 68 x 65 x 40 cm. Wheeled tea trolley (so-called desserts) made of chromed frame with mirror glass shelves and bottle holders; upper shelf removable as a tray. Light signs of age / use, mirror glass probably supplemented. Shipping not available..*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Mechanisches Schweinchen, Walt Disney. Schuco. An den Füßen gemarkt "Schuco Patent. Made in Germany". Ab 1934. Blech, Filz. H 12 cm. Schweinchen als Trommler (980/1). Mit intaktem Werk und Schlüssel. Im Originalkarton ("Western Germany"). Leichte Altersspuren, minimal verschmutzt. Literatur : vgl. Huber, S. 140. Mechanical Piggy, Walt Disney. Schuco. Marked on the feet "Schuco Patent. Made in Germany." From 1934. Sheet metal, felt. H 12 cm. Piggy as a drummer (980/1). With intact movement and key. In original box ("Western Germany"). Light signs of age, minimally soiled. Literature : see Huber, p. 140. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Trumeau mirror of the colonial school, 18th century.Scene painted in oil on canvas. Mirror, wood and gilded plaster.Original mirror preserved.Frame with slight lack of polychromy. The canvas needs to be stretched and cleaned.Measurements: 88 x 62 cm (oil); 150 x 74 cm (frame).Rectangular mirror thin in its width arranged in two areas thanks to some mouldings that frame both parts and in which there are carved vegetal elements. At the top, a figure in European dress colonises a native's land. The local native, a dark-skinned figure, kneels before the foreigner while holding out his hands in reverence.The trumeau mirror originated in 18th century France, and owes its name to the place for which it was intended, the space between two windows. This situation multiplied the light in the room, both because of the reflections of the mirrored surface and because of the gilt carvings that often decorated the frames, which glittered in the light. This type of mirror is usually rectangular, and usually has an ornamental area at the top, which is higher than the mirror surface.
Attributed to PIETER DE NEEFS (Antwerp, ca.1578 - between 1656 and 1661)."Interior of a Church.Oil on panel.It has a label on the back from the Sala Pares (Barcelona).Size: 13 x 15.5 cm; 23 x 27 cm (frame).The main contribution of Pieter Neefs the Elder to the pictorial genre consisted in the representation of nocturnal sacred interiors illuminated by two spotlights, torches or candles. He also produced numerous works such as the one presented here: magnificent Gothic church interiors with soft tonalities and sophisticated transitions between the spaces of light and shadow, in which the artist places particular emphasis on spatial geometry - note the chequered pavements on the floor, which help to effectively construct the space in perspective. His detailed works fill the space with numerous small figures, typical of Flemish church interiors of the Baroque period, a genre in its own right. The figures are finely detailed, perfectly identifiable by their clothes and physiognomies. Most of them are gentlemen, although we also see some ladies and children, all dressed in 18th-century Flemish fashion, and even dogs frolicking in such magnificent scenery.A Flemish Baroque painter specialising in sacred architecture, principally church interiors, Pieter Neefs was the head of a lineage of painters of the same name that included his sons Lodewijk and Pieter the Younger. Although we know little corroborated information about his biography, we can confirm that Pieter Neefs the Elder joined the Guild of Painters of Saint Luke around 1610, at which point he first expressed an interest in depicting Gothic church interiors, using stereotypical models for their execution. Although some of these churches have not been identified because they are imaginary, in many other cases they are the interiors of important Flanders churches, such as the interior of the church of Saint Paul in Antwerp (now in the Rijksmuseum, Amsterdam). Peter Neefs the Elder frequently collaborated with other painters, principally with Frans Francken the Younger, with whom he signed in 1636 "Viaticum inside a Church" in the Museo del Prado and "Evening Mass in a Gothic Church" in the Kunsthistorisches Museum, but also with his son, Frans Francken III, with Gonzales Coques and with Pieter Brueghel the Younger, who painted the figures that populate some of his compositions. The exact date of his death is not known, but it must be between 1656, the last year for which there are records, and 1661 when Cornelis de Bie speaks of him in the past tense in his Het gulden cabinet (Antwerp, 1661). His work is now in the Museo del Prado in Madrid and the Rijksbureau voor Kunsthistorische Documentatie in The Hague, among other important institutions.
Flemish school, 19th century. CCopy of part of the triptych of by Jan Floreins (1479), by HANS MEMLING (Seligenstadt, c.1423/1443- Bruges, 1494)."Saint Baptist and The Veronica.Diptych. Pair of oil paintings on panel.Frames from the 17th century.Measurements: 40 x 20 cm (each panel); 53.5 x 33.5 cm (frames).This pair of panels is a copy of the paintings that Hans Memling painted on the back of the Triptych by Jan Floreins (conserved in the hospital of St. John in Bruges (Belgium), which are shown with the triptych closed. The Nativity, the Adoration and the Presentation to the Temple preside on the obverse, while the two saints under beautiful Gothic arches dominate the reverse: John the Baptist on the left panel and Saint Veronica on the right. The pair of panels shown here are faithful to the original in every detail: the Baptist points to the Lamb at his feet; Veronica holds a cloth with the Holy Face. The lake landscape, composed in a wide panoramic view, depicts the theme of Christ's baptism in the Jordan. It is a representation that continues from one panel to the next, in the same way that the Agnus Dei on the left panel is symbolically linked to the Passion of Christ, which is foreshadowed by the image printed on the saint's cloth. Stylistically, the painter of this pair of copies remains faithful to Memling's soft, delicate style, the stylisation of his figures and his magnificent colouring, with a prevalence of emerald and glaucous tones. The detailed, almost miniaturist attention to detail in the vegetation and in the rendering of the bodies and drapery harmonises with an atmospheric creation based on shades of blue that are subtly densified in the distance. The figures in the background (Christ being baptised, John and the archangel) blend naturally into their surroundings. A trompe l'oeil architectural frame, with small statuettes (representing Adam and Eve) that seem to come to life on either side of the pointed arches, frames both scenes. All this is present in the original panels. The painter has succeeded in recreating the harmonious purification of forms and emotions that defined Memling's painting. The Flemish painter had been inspired by Rogier van der Weyden's Triptych of Saint Columba, but Memling softened his master's inheritance. This pair of panels must also have been based on the small diptych of Saint John the Baptist and Veronica painted by Memling around 1483. The two panels are now in separate collections (the Baptist in the Alte Pinakothek in Munich, the Veronica in the National Gallery of Art, Washington). On that occasion Memling located the saints in a rocky setting, but their attitudes and gestures were very similar to those of the triptych. This is a worthy tribute to the legacy of Flemish painting, from the early heirs of Van Eyck and his unusual sense of light and colour to the dreamlike landscapes of the 17th century.
Dutch school; early 18th century."Landscape with Figures.Oil on panel.Measurements: 18,5 x 24,5 cm.The canvas shows a rural scene in which some peasants celebrate a meal and different games in front of several houses. Thus recreating a stylistic pattern typical of the genre scenes made by David Teniers (Antwerp, 1610 - Brussels, 1690). The scene features some of the pictorial devices popularised by the young David Teniers, who succeeded in revitalising the genre. In depicting these popular festivals, Teniers departed from the aesthetic and compositional schemes of Jan Brueghel "the Elder", repeating the same idyllic vision of the peasant world that was also widely used in Flemish literature of the time. It was embodied in the representation of the kermesse, the name given to neighbourhood festivals with food and drink stalls, where games of skill, children's games, raffles and artistic performances were held.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.
Italian school, Circle of GIOVANNI BELLINI (Venice, 1431/ 1436-1516); circa 1516."The Holy Family.Gouache on vellum.Dated in the lower central area.Size: 17 x 13,5 cm; 29 x 24 cm (frame).In this canvas we see a devotional work of great beauty and emotion, classical in its conception, although enriched by a warm illumination, which drinks from the aesthetic influence of the artist Giovanni Bellini. The artist presents us with a well-established and balanced composition, clearly classical, based on a pyramidal scheme with Mary's head at the top. The figures stand out against a neutral background that seems to open up to the blue sky at the sides, which to a certain extent emphasises the corporeality of all the figures in the scene. All the figures are also vividly illuminated by a direct, uniform light. Mary is depicted half-length, wearing a pink tunic and a blue cloak, a colour alluding to the concepts of truth and eternity that would be common in Marian representations. With one of her arms, the Virgin is holding her son, who is standing and offering her a small bouquet of flowers, but with her other hand she is holding tightly that of Saint John Child, which shows the Virgin as the protector of children. Next to them in the background are two men, one of whom, holding a staff, seems to represent Saint Joseph, while the other, wearing a turban, is probably Saint Joachim, the Virgin's father.From its aesthetic characteristics the work can be related to the artistic circle of Giovanni Bellini, an Italian Renaissance painter, probably the best known of the Bellini family. He grew up in the house of Jacopo Bellini, who was previously thought to be his father, although this generational family relationship is now questioned. Giovanni Bellini was considered to have revolutionised Venetian painting, moving it towards a more sensual and colourful style. Using light, slow-drying oil paints, Giovanni created rich, deep tints and detailed shadows. His sumptuous colouring and fluid, atmospheric landscapes had a great effect on the Venetian school of painting, especially on his pupils Giorgione and Titian.
Madrid School of the 17th century."Christ of Medinaceli".Oil on canvas.Frame ca. 1800.Measurements: 67 x 95 cm; 94 x 124 cm (frame).The iconography of the Christ of Medinaceli (also known as Jesús Nazareno Rescatado or El Señor de Madrid) evokes the moment of the Passion when Pontius Pilate presents him to the people. This canvas, like the great majority of works of this iconography, is taken from the sculpture of the Christ of Medinaceli located in the Basilica of Our Father Jesus of Medinaceli in Madrid. Although the author of this carving is unknown, it is thought that it may belong to the Sevillian school of the Cordovan Juan de Mesa.The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based next to the royals. This allowed and favoured a stylistic unity, even though there were the logical divergences due to the personalities of the members. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This was an awakening of the nationalist conscience as it allowed a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism. This was the first step taken by the school, which gradually progressed towards a more autochthonous Baroque language linked to the political, religious and cultural conceptions of the Habsburg monarchy, before dying out with the first outbreaks of Rococo in the work of the last of its representatives, A. Palomino. The techniques most commonly used by these painters were oil and fresco. Stylistically, the starting point was naturalism with a notable capacity for synthesis, leading in due course to the allegorical and formal complexity characteristic of the decorative Baroque. These artists showed a great concern for the study of light and colour, as we can see here, initially emphasising the interplay between extreme tones characteristic of tenebrism, which were later replaced by a more exalted and luminous colouring. They received and assimilated Italian, Flemish and Velázquez influences. The clientele determined the fact that the subject matter was reduced almost exclusively to portraits and religious paintings.
Loading...-
534297 Los(e)/Seite