Max Renneisen Bikini No.3, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
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Luke Elwes Rise, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Luke Elwes Sanctuary, 2020 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Luke Elwes Offering, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.
Melissa Scott-Miller Take Courage, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I paint mainly views of London, small sections of the London life I experience, back gardens and brick houses I work from life using small brushes laden with thick paint, trying to capture texture and light. I am a member of the New English Art club, Royal Society of portrait painters and the Royal society of British Artists. I have exhibited many times at the Royal Academy summer exhibition and at private galleries in the U.K and internationally. I graduated from the Slade in 1981. I teach part time at the Royal drawing school and Heatherleys school of fine Art.
Melissa Scott-Miller Michaelmas Daisies, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I paint mainly views of London, small sections of the London life I experience, back gardens and brick houses I work from life using small brushes laden with thick paint, trying to capture texture and light. I am a member of the New English Art club, Royal Society of portrait painters and the Royal society of British Artists. I have exhibited many times at the Royal Academy summer exhibition and at private galleries in the U.K and internationally. I graduated from the Slade in 1981. I teach part time at the Royal drawing school and Heatherleys school of fine Art.
Melissa Scott-Miller Rusty Gates Posts, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I paint mainly views of London, small sections of the London life I experience, back gardens and brick houses I work from life using small brushes laden with thick paint, trying to capture texture and light. I am a member of the New English Art club, Royal Society of portrait painters and the Royal society of British Artists. I have exhibited many times at the Royal Academy summer exhibition and at private galleries in the U.K and internationally. I graduated from the Slade in 1981. I teach part time at the Royal drawing school and Heatherleys school of fine Art.
TAMM, FRANZ WERNER VON TAMM, FRANZ WERNER VON 1658 Hamburg - 1724 Wien Titel: Stillleben mit Meerschweinchen. Technik: Öl auf Leinwand. Maße: 38 x 48,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Italien. Einer der erfolgreichen ausländischen Stilllebenmaler, die gegen Ende des 17. Jahrhunderts in Rom tätig waren, ist Franz Werner von Tamm. In der Tradition der italienischen und flämischen Meister widmete er sich als Spezialist für Blumen- und Früchtestillleben in besonderer Weise der detaillierten Darstellung des Waldbodens. Zwischen 1685 und 1696 ließ er sich in Rom nieder, wo ihn der berühmte Landschaftsmaler Caspar Van Wittel mit seinen Kollegen in der flämischen Kolonie bekannt machte. Schnell war er bei wichtigen Auftraggebern wie den Familien Pallavicini, Falconieri oder Spada bekannt. Von Tamm lässt uns am stillen Leben im Unterholz teilhaben, das reduzierte Format hilft, um uns in diese Welt einzuführen, als ob wir sie von einem kleinen Fenster aus betrachten würden. Das Licht, das von außerhalb des Bildes einfällt und dessen bewegte Strahlen durch das Laub gedämpft wird, fällt sanft auf die Figuren. Die hellen Bereiche des Gemäldes sind sehr lebendig gestaltet, während alles andere so fein ausgearbeitet ist, dass man alle Details aus der Nähe, still und wissenschaftlich beobachten kann. Erläuterungen zum Katalog Franz Werner von Tamm Originale Stillleben Malerei Tiere TAMM, FRANZ WERNER VON TAMM, FRANZ WERNER VON 1658 Hamburg - 1724 Vienna Title: Still Life with Guinea Pigs. Technique: Oil on canvas. Measurement: 38 x 48,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Italy. One of the successful foreign still life painters who worked in Rome towards the end of the 17th century is Franz Werner von Tamm. In the tradition of the Italian and Flemish masters, he was a specialist for flower and fruit still lifes and devoted himself in a special way to the detailed reproduction of the forest floor. Between 1685 and 1696 he settled in Rome, where the famous landscape painter Caspar Van Wittel introduced him to his colleagues in the Flemish colony. Soon he was known by important clients like the Pallavicini, Falconieri or Spada families. Von Tamm lets us experience the silent life in the undergrowth, which helps, through the reduced format, to introduce us to this world as if we were looking at it from a small window. The light coming in from outside the image, whose moving rays are muffled by the foliage, falls gently on the figures. The bright areas of the painting are very lively, while everything else is so finely worked out that one can observe all the details up close, quietly and scientifically. Explanations to the Catalogue Franz Werner von Tamm Old Masters Still Life Painting Animals
PALM, GUSTAF WILHELM PALM, GUSTAF WILHELM 1810 Herrelöv - 1890 Stockholm Titel: Die Bucht von Neapel mit dem Vesuv im Schein des Vollmonds. Technik: Öl auf Holz. Maße: 28,5 x 41,5cm. Bezeichnung: Signiert und datiert rechts auf dem Segel: G [Palme] W / Roma 1842. Rahmen/Sockel: Rahmen. Ausstellung: Österreichische Kunstakademie, Wien 1844, Kat.Nr. 157. Literatur: G. Lindgren: Landskapsmaleren Gustaf Wilhelm Palm, 1810-1890. Stockholm, Borstedt 1933, S. 132/246/279, Kat.Nr. 106. Provenienz: Auktion Villa Grisebach, Berlin, 28.05.2014, Lot 147; Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Gustaf Wilhelm Palm Skandinavien Romantik 19.Jh. Gemälde Nachtstück Gemälde Neapel / Vesuv / Capri PALM, GUSTAF WILHELM PALM, GUSTAV WILHELM 1810 Herrelöv - 1890 Stockholm Title: The Bay of Naples with Vesuvîus in the Light of the Full Moon. Technique: Oil on wood. Measurement: 28,5 x 41,5cm. Notation: Signed and dated right on the sail: G [Palme] W / Roma 1842. Frame/Pedestal: Framed. Exhibitions: Österreichische Kunstakademie, Vienna 1844, cat. no. 157. Literature: Gustav Lindgren: Landskapsmaleren Gustaf Wilhelm Palm, 1810-1890. Stockholm, Borstedt 1933, p. 132/246/279, cat. no. 106. Provenance: Auction Villa Grisebach, Berlin, 28.05.2014, lot 147; Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Gustav Wilhelm Palm Scandinavia Romanticism 19th C. Paintings Nocturne Painting Naples / Mount Vesuvius / Capri
CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 München Titel: Träumendes Mädchen. Technik: Öl auf Leinwand. Maße: 36 x 57cm. Bezeichnung: Signiert und datiert unten rechts: Czachorski 1896. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Auf ganz andere Weise als die beiden vorherigen Gemälde (Lot 1195, Lot 1196) fesselt der Blick des "träumenden Mädchens", das durch den Betrachter hindurch zu schauen scheint. Man kann sie gleichsam "unbemerkt" beobachten, jedes Detail dieses so faszinierend haptisch gemalten Gemäldes genießen - das Bild vor ihrem inneren Auge jedoch bleibt das Geheimnis der Träumerin. Die junge Dame hatte sich sicher zunächst aufrecht auf das Polster mit schräger Rückenlehne gesetzt um mit Nadel und Faden die reiche Stickerei zu vervollständigen, die sie im Schoß hält. Nun ist der junge Körper auf dem Sitz nach vorne gerutscht, der Kopf ruht auf der Kante der Rückenlehne und sie träumt mit offenen Augen, die Nadel noch in der Hand. Es ergibt sich ein reizvoller, heller, diagonaler Bogen in verschiedenen Rosa-, Creme-, und Weiß-Tönen vor dem dunklem Grün der Tapisserie im Hintergrund und des Sitzpolsters. Aufgenommen wird dieses helle Farbspiel von dem üppigen Blumen-Bouquet in der oberen rechten Ecke des Bildes sowie von einer weiß blühenden Zimmerpflanze in der unteren linken Ecke. Kompositorisch und inhaltlich reizvoll erdacht, überzeugt der Maler dieses Gemäldes, der gebürtige Pole Ladislaw Czachorski mit seiner faszinierenden Technik, die ihn als einen Großmeister der Historienmalerei seiner Zeit ausweist. In diesem kleinen Gemälde zeigt er, dass er seinem Lehrer, dem großen Carl von Piloty qualitativ nicht nachsteht. Der gebürtige Pole Czachorsky kam nach einer ersten Ausbildung in Warschau mit einer Zwischenstation an der Dresdener Akademie nach München. Hier wurde er Schüler Pilotys, der die Münchener Kunstszene und besonders die Historienmalerei prägte. Neben Genrebildern und Portraits spezialisierte Czachorski sich auch auf Shakespearsche Szenen-Motive. Bereits in jungen Jahren wurde Czachorski von Publikum und Kritik gefeiert, so erhielt er 1879 bei der 2. Internationale Kunstausstellung im Münchener Glaspalast eine Goldmedaille für ein Hamlet-Gemälde. Seine Bildnisse junger Damen, oft in historischen Kostümen und in reich dekorierten Boudoirs waren bei Käufern so beliebt, dass sie bis zu zwei Jahre Wartezeit in Kauf nahmen um ein Werk des Künstlers zu erhalten. Auch der heutige, mit ganz anderen Sehgewohnheiten "gesättigte" Betrachter des "träumenden Mädchens" kann diese Faszination erleben, wenn das Auge in dem taktilen Versprechen schwelgt, das der Künstler mit der delikaten Ausführung der verschiedensten nebeneinander präsentierten Materialien gibt. Czachorski widmet der Oberflächengestaltung aller Details im Bild dieselbe Aufmerksamkeit und ist darin Eugen de Blaas eng verwandt. Der Blick der jungen Träumenden lässt den Betrachter mit all der Pracht alleine, vermag ihn aber das allzu menschliche, der Zeit entrückte Gefühl des Tagträumens wieder empfinden zu lassen. Erläuterungen zum Katalog Ladislaus von Czachórski Polen Münchner Schule 2.H. 19.Jh. Gemälde Bürgerliches Leben Malerei CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 Munich Title: Dreaming Girl. Technique: Oil on canvas. Measurement: 36 x 57cm. Notation: Signed and dated lower right: Czachorski 1896. Frame/Pedestal: Framed. Provenance: Private collection, Europe. The gaze of the "dreaming girl", who seems to look through the viewer, captivates in a completely different way than the both paintings by Eugen von Blaas (Lot 1195, Lot 1196). One can observe her "unnoticed", as it were, and enjoy every detail of this fascinatingly haptically painted painting - the image in front of her inner eye, however, remains the secret of the dreamer. The young lady had certainly sat upright on the upholstery with a sloping backrest at first to complete the rich embroidery with needle and thread, which she holds in her lap. Now the young body has slid forward on the seat, her head rests on the edge of the backrest and she dreams with her eyes open, the needle still in her hand. The result is a charming, light, diagonal arch in various shades of pink, cream and white against the dark green of the tapestry in the background and the seat cushion. This light play of colours is taken up by the lush bouquet of flowers in the upper right-hand corner of the image and by a white flowering houseplant in the lower left-hand corner. The painter of this painting, the Polish-born Ladislaw Czachorski, is convincing in composition and content with his fascinating technique, which proves him to be a grandmaster of history painting of his time. In this small painting he shows that he is not inferior in quality to his teacher, the great Carl von Piloty. Czachorsky, who was born in Poland, came to Munich after his first training in Warsaw with a stopover at the Dresden Academy. Here he became a student of Piloty, who influenced the Munich art scene and especially history painting. Besides genre paintings and portraits Czachorski also specialised in Shakespearean scene motifs. Already at a young age Czachorski was celebrated by the public and critics, e.g. in 1879 he received a gold medal for a Hamlet painting at the 2nd International Art Exhibition in Munich's Glass Palace. His portraits of young ladies, often in historical costumes and in richly decorated boudoirs, were so popular with buyers that they had to wait up to two years to receive a work by the artist. Even today's viewer of the "dreaming girl", "saturated" with completely different viewing habits, can experience this fascination when the eye revels in the tactile promise the artist makes with the delicate execution of the most varied materials presented side by side. Czachorski devotes the same attention to the surface design of all the details in the image and is closely related to Eugen de Blaas in this respect. The gaze of the young dreamer leaves the viewer alone with all the splendour, but is able to make him feel the all too human feeling of daydreaming, removed from time. Explanations to the Catalogue Ladislaus von Czachórski Poland Munich School 2nd half of 19th C. Paintings Bourgeois Life Painting
BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Junge Venezianierin mit violettem Kopftuch. Technik: Öl auf Holz. Maße: 32,5 x 24,5cm. Bezeichnung: Signiert oben rechts: Eug.v. Blaas. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Neben den meist großformatigen Genredarstellungen Eugen von Blaas' waren seine kleineren Brustbilder weiblicher Modelle bei einem internationalen Publikum sehr gefragt. Es handelt sich hierbei nicht um Portraits im eigentlichen Sinn, sondern um die Wiedergabe eines aparten italienischen Frauentypes in unterschiedlicher Charakterisierung. Diese Spezialität de Blaas' brachte ihm den Beinamen "Maler der Venezianischen Schönheiten" ein. In die Reihe dieser Werke gehört das hier angebotene Werk "Mädchen mit Kopftuch". Eugen de Blaas zeigt hier eine ganz andere Seite seines malerischen Könnens. Die Konzentration richtet sich ganz auf die charaktervolle Mimik der jungen Frau, Kopftuch und Haar sind flüchtig, fast impressionistisch gemalt, der Pinselstrich darf bei dieser leichten Technik gezeigt werden, die Spitze des Kleides ist pastos tupfend gebaut. Die Lichtführung in diesem kleinen Bild ist besonders raffiniert: Das starke, von oben einfallende Licht liegt gleißend auf dem Kopftuch, der weißen Spitze der Bluse und dem Dekolletee. Vor dem tief dunklen Hintergrund entsteht ein starker Kontrast in dem das, durch die krausen roten Haare leicht verschattete Gesicht den ausgleichenden Mittelpunkt bildet. Der Blick aus den mandelförmigen Augen, das leicht Lächeln und der schräg gelegte, von dem hellblauen Kopftuch ganz umspielte Kopf vermitteln einen herausfordernden Eindruck, dem sich der Betrachter kaum entziehen kann. Anders als bei dem Bild "Zwei Venezianerinnen", bei dem die Blicke der beiden Schönen auf die neue Preziose konzentriert sind und der Betrachter außenstehender Beobachter der Szene bleibt, ist der Blickkontakt zwischen dem rothaarigen Mädchen mit dem Kopftuch und ihrem Gegenüber gleichsam das Thema des Bildes selbst. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Porträt Malerei Venedig BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Young Venetian with Purple Headscarf. Technique: Oil on wood. Measurement: 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance: Private collection, Europe. Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname "painter of the Venetian beauties". In the series of these works belongs the here offered work "Girl with Headscarf". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image "Two Venetian Women", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself. Explanations to the Catalogue Eugen von Blaas Germany Romanticism 19th C. Paintings Portrait Painting Venice
SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra um 1700 Titel: Portrait eines Ritters von Malta (angeblich Antoine Manoel de Vilhena). Technik: Öl auf Leinwand. Maße: 106 x 87,5cm. Rahmen/Sockel: Rahmen. Gutachten: S. Causa, Neapel, nach Begutachtung des Originals im August 2020. Provenienz: Privatbesitz, Italien. Das vorliegende halbfigurige Portrait beeindruckt durch die ungeheure Präsenz des dargestellten Mannes in einer Prunkrüstung. Die linke Körperhälfte, Schulter und Arm sind dem Betrachter zugewendet, den Kopf hat der Dargestellte aber so gedreht, dass sein Gesicht nahezu en face zu sehen ist. Sanft und gleichzeitig selbstbewusst schauen die großen Augen unter der weißen Allonge-Perücke den Betrachter an. Der Orden, der an einem Samtband auf dem Harnisch hängt, weist ihn als Malteser-Ordensritter aus. Möglicherweise handelt es sich um den Portugiesen Antoine Manuel de Vilhena (1663 - 1736), der von 1722 bis zu seinem Tod Großmeister des Malteserordens war. Der Künstler dieses Werkes ist Francesco Solimena. Er war in der ersten Hälfte des 18. Jahrhunderts einer der berühmtesten und begehrtesten Maler seiner Zeit. Solimena lebte und arbeitete fast ausschließlich in Neapel, das zunächst zur spanischen Krone gehörte, nach den spanischen Erbfolgekriegen dann Österreich zugeschlagen wurde. Die führenden Herrscherhäuser und der Hochadel Europas hatten durch diese politischen Wendungen Zugang zu Solimena, der vor allem durch seine vielfigurigen sakralen und profanen Gemälde und Fresken Berühmtheit erlangt hatte. Und er begegnete den Auftraggebern auf Augenhöhe: Sein Zeitgenosse, der Künstler-Biograph Bernardo de Dominici, bezeichnete ihn als "principe di tutti i pittori viventi" ("Fürst unter allen lebenden Malern"). Der ovale Bildausschnitt des Portraits kontrastiert nur wenig zu den Winkeln des Gemäldes. Brauntöne herrschen vor, das Rot des flatternden Umhangs und die wenigen Blautöne in der Rüstung und im Hintergrund sind die einzigen zurückhaltenden Farbakzente. Dagegen setzen die hell und weiß gemalten Partien kontrastreiche Betonungen: Das von weißen Locken und dem Kragen gerahmte, ausdrucksvolle Gesicht, die mit trockenem Pinsel souverän gemalten, breiten Lichter, die die Rüstung reflektiert, der Orden an der Brust aber vor allem die weiß behandschuhte linke Hand des Portraitierten am unteren Bildrand, die den gemalten ovalen Bildausschnitt überdeckt und gleichsam in den Raum des Betrachters hineinzuragen scheint. Solimena steigert so, in subtiler Weise die Präsenz des Portraitierten. Erläuterungen zum Katalog Francesco Solimena Italien 17./18. Jh. Originale Porträt Malerei Historische Personen SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra ca. 1700 Title: Portrait of a Knight of Malta (presumably Antoine Manoel de Vilhena). Technique: Oil on canvas. Measurement: 106 x 87,5cm. Frame/Pedestal: Framed. Certificate: S. Causa, Naples, after examination of the original in August 2020. Provenance: Private ownership, Italy. This half-figure portrait impresses by the enormous presence of the man depicted in magnificent armour. The left half of the body, shoulder and arm are turned towards the observer, but the sitter has turned his head so that his face is almost en face. The large eyes under the white allonge wig look at the observer gently and at the same time confidently. The order hanging on a velvet ribbon on the armour identifies him as a knight of the Maltese Order. Probably the Portuguese Antoine Manuel de Vilhena (1663 - 1736), who was Grand Master of the Order of Malta from 1722 until his death. The artist of this work is Francesco Solimena. In the first half of the 18th century he was one of the most famous and sought-after painters of his time. Solimena lived and worked almost exclusively in Naples, which initially belonged to the Spanish Crown, but after the War of the Spanish Succession was annexed to Austria. The leading dynasties and the high nobility of Europe had access to Solimena through these political turns of events. Solimena became famous mainly for his multi-figured sacred and profane paintings and frescoes. And he met his patrons at eye level: his contemporary, the artist biographer Bernardo de Dominici, described him as the "principe di tutti i pittori viventi" ("prince among all living painters"). The oval framing of the portrait contrasts only slightly with the angles of the painting. Brown tones predominate, the red of the fluttering cloak and the few shades of blue in the armour and background are the only restrained colour accents. In contrast, the light and white painted areas set high-contrast accents: The expressive face, framed by white curls and the collar, the broad lights painted with a dry brush in a sovereign manner, which reflect the armour, the medal on the chest but above all the white-gloved left hand of the sitter at the lower edge of the image, which covers the painted oval section of the image and seems to project into the space of the viewer, as it were. Solimena thus subtly heightens the presence of the portrayed person. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Portrait Painting Historical people
1930, black, serial no. 49896, with Leitz Elmar f/3.5 50mm lens, nickel, serial no. 896, body, F-G, shutter working, lens, G, some internal haze, complete with Leitz Elmar f/4 90mm lens, black/chrome, serial no. 413981, body, VG, elements, VG, some light internal haze, complete with VISOR finder, 3 filters and lens caps, in late ETRIN case
1937, chrome, serial no. 266521, with Leitz Elmar f/3.5 50mm lens, 1932, chrome, serial no. 124128, body, G, shutter working, lens, G-VG, some very light internal haze, complete with MOOLY clock-work motor drive, chrome, serial no. 914Note: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1959, chrome, serial no. 1672195, body, VG, elements, G-VG, some light marks to rear element and internal haze, with maker's capsNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
chrome, serial no. 2622354, body, G-VG, some light internal marks Note: Converted to Leica M from ContarexNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1966, chrome, serial no. 2228540 to helicoil, body, E, elements, VG-E, some very light internal haze, in maker's bubbleNote: Lacking serial number to frontNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1959, chrome, serial no. 1693797, body, VG-E, elements, G-VG, some very light internal marks, with maker's caps and caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1954-56, chrome, serial no. 217545, with Canon f/1.8 50mm lens, chrome, serial no. 161233, body, VG-E, shutter working, lens, VG, some light internal marks, with maker's capNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black, serial no. 14635, body, G-VG, elements, G, some marks to rear element and light internal hazeNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black, serial no. 44806, body, G, elements, VG, some very light cleaning marks to front element, complete with lens hoodNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
85-135mm, black, serial no. 206102, body, E, optics, VG, some light internal debris, in maker's box Note: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1945, chrome, serial no. 553, with Kodak Ektar f/2 47mm lens, chrome, serial no. EO20975, body, G, shutter working, lens, G-VG, some light cleaning marks, with maker's cap and leather caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1953-57, chrome, serial no. G-120608, with Schneider Xenagon f/3.5 30mm lens, chrome, serial no. 3638370, body, G-VG, shutter working, lens, G, some internal haze and cleaning marks, together with Schneider Xenon f/1.9 40mm lens, chrome, serial no. 3533658, body, VG, elements, VG, some light internal haze, and Schneider Tele-Xenar f/3.8 75mm lens, chrome, serial no. 3856457, body, VG, slight ding to front, elements, G-VG, some internal haze, complete with universal finder
chrome, serial no. 08163, body, VG, elements, VG, some light internal haze, complete with lens hood and lens cap, in maker's boxesNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1932, black, with Leitz Elmar f/3.5 50mm lens, serial no. 109680, body, G-VG, shutter requires attention, lens, VG, some light internal haze, in maker's caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1924, black, serial no. 782, with E. Krauss Tessar Zeiss f/3.5 50mm lens, black, serial no. 154213, body, G, shutter working, slow speeds inaccurate, lens, VG, some light inernal hazeNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1931, black, serial no. L163/4, with Schneider Xenar f/3.5 50mm lens, serial no. 595441, body, VG, lens, VG, shutter working, some light internal hazeNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1956-59, chrome, serial no. 38699, with Kern-Switar AR f/1.8 50mm lens, chrome, serial no. 632470, body, VG, shutter requires attention, lens, VG, some very light cleaning marks, in maker's boxNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1952-56, chrome, serial no. 27028, with Schneider Xenon f/2 50mm lens, chrome, serial no. 3430366, body, VG, shutter working, lens, VG, some light internal haze, with cap, in maker's caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1960-66, chrome, serial no. U25242, with Carl Zeiss Tessar f/2.8 50mm lens, chrome, serial no. 2995037, body, VG-E, shutter working, lens, VG, some very light internal haze, in maker's case Note: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black, serial no. 715979, body, VG-E, elements, VG, some very light internal marks, complete with metal lens hood, caps and maker's caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black, serial no. 258926, body, VG-E, elements, VG, some very light cleaning marks, with caps, in maker's caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1932-36, single dimple, black, serial no. AV10613, with Carl Zeiss Tessar f/3.5 50mm lens, serial no. 1271466, body, VG, shutter not working, lens, G-VG, some light cleaning marks, in maker's caseNote: 'A' in serial denotes this camera was repaired by the Zeiss factory1932-36, single dimple, black, serial no. AV10613, with Carl Zeiss Tessar f/3.5 50mm lens, serial no. 1271466, body, VG, shutter not working, lens, G-VG, some light cleaning marks, in maker's caseNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
1950-61, chrome, serial no. A61141, with Zeiss-Opton Biogon T f/2.8 35mm lens, chrome, serial no. 830829, body, VG-E, shutter working, lens, G-VG, some light internal marksNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
chrome, serial no. 1590144, body, VG-E, elements, G-VG, some light marks to front element, with maker's capsNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black/nickel, serial no. 1503175, body, G-VG, elements, G-VG, some light internal haze, with maker's caps Note: Focus sale in meters black/nickel, serial no. 1503175, body, G-VG, elements, G-VG, some light internal haze, with maker's capsNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black/nickel, serial no. 1631445, body, G-VG, elements, VG-E, some light internal haze, with maker's rear capNote: Focus sale in feet black/nickel, serial no. 1631445, body, G-VG, elements, VG-E, some light internal haze, with maker's rear capNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
black/nickel, serial no. 780942, body, VG, elements, VG-E, some light internal hazeNote: Lot imported under Temporary Admission. 5% UK import VAT will be charged on the ‘hammer’ and 20% UK VAT will be charged on the ‘buyer’s premium’ and invoiced on an inclusive basis under UK Margin Scheme rules.
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534325 Los(e)/Seite