534338 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534338 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
-
534338 Los(e)/Seite
Los 232
Evan Charlton (1904-1984) Male nude; Female nude One signed and inscribed Demonstration painting Bristol College of Art One oil on canvas the other oil on board, both unframed Both 77 x 51cm; 30¼ x 20in (2) ++1. Unlined, some cracking and scuffing to surface, some paint separation, would be enhanced by a light clean; 2. Minor scuffing, some losses to margins, some patches of surface mould, would be enhanced by a light clean
Los 236
Evan Charlton (1904-1984) Felicity Charlton; Lady in red; Lady in a fur coat Three, all oil on board and unframed, one with a portrait verso 58 x 51cm; 22¾ x 20in and smaller (3) ++Minor scuffs, one with an area of damage upper left. One with some mould and some water damage upper right, all would be enhanced by a light clean
Los 237
Evan Charlton (1904-1984) View of Bristol Docks; A lady seated in a park Two, one signed and dated 33, also signed and dated verso Both oil on board, unframed 41 x 51cm; 16 x 20in and 51 x 61cm; 20 x 24in (2) ++1. Some slight cracking to board in sky, board warped; 2. Board warped, spots of dirt in sky, would be enhanced by a light clean
Los 266
Donald Ewart Milner (1898-1993) Gloucester Docks Signed, dated August 1976 and inscribed For Evan and Felicity Charlton from Donald Milner Pencil and watercolour, mounted unframed 29.5 x 38cm; 11½ x 15in With an unframed watercolour by Michael Stewart of a wooded landscape signed, dated 35 and inscribed: To Evan 28/3/36 36 x 46cm (2) ++Some light brown spots of foxing, mainly to the sky
Los 273
Thomas Sidney Cooper R.A. (1803-1902) Sheep and cattle in a landscape, a windmill beyond Signed, also dated verso 1856 Oil on panel with a seal verso 17 x 25cm; 6¾ x 9¾ Provenance: The Estate of Niel Rimington of Fonthill Old Abbey Thomas Agnew & Sons (label verso) ++One or two minor scuffs to margins, would be enhanced by a light clean
Los 314
English School (mid 19th Century) Scene from Beggars Opera `How happy I could be with either` Oil on board 21.5 x 16.5cm; 8½ x 6½in With an oil of figures in a theatre box (2) Provenance: The Ernest Ohly collection. ++Surface dirt, one or two blemishes and scratches, would be enhanced by a light clean
Los 319
Pietro Antoniani (Milan c. 1740/50 - 1805) Naples, a view of the Strada Di Santa Lucia from Pizzofalcone to the Ponte Della Maddalena Oil on canvas 32 x 48cm; 12½ x 19in ++Unlined. under u.v. light old re-touchings to the margins are visible and one small area in the rock face on the centre left, otherwise in good condition Provenance: The Rt. Hon. Maurice Herbert Towneley, Third Lord O`Hagan Sold at Christie’s 19th May 1939, purchased by Miss Jenny Robertson By descent to the present owner
Los 678
Antonio Mancini (Italian, 1852-1930), Portrait of Miss Elizabeth Williamson, aged 12, signed upper right "A Mancini 1908", oil on canvas, 124 x 66cm (48.36 x 25.74in) Provenance: A gift from the sitter, Miss Elizabeth Williamson, to Sir Richard Stone, and by descent. Elizabeth Williamson was the grand-daughter of Mrs Charles Hunter, a society hostess who owned the Villa Barbaro in Venice, and was friends with Henry James and Edith Wharton. Mrs Hunter was a collector and philanthropist of the arts, and a close friend of Sargent who painted her. It was Sargent who introduced Mancini to Mrs Hunter, and she commissioned the portrait of her granddaughter Elizabeth. Elizabeth`s mother, Phyllis, was one of the three beautiful Misses Hunter painted by Sargent in 1902 and now in the Tate Gallery. "Once you have stood in front of a Mancini painting you never forget it" - this daring claim was made by Ulrich W Hiesinger, author of `Antonio Mancini`, in the sought-after catalogue for the Philadelphia Museum of Art`s Antonio Mancini exhibition in 2009. The present cherubic portrait of twelve year old Elizabeth Williamson is evidence of this. Antonio Mancini was a tortured and impoverished artist who was born in Rome but brought up in Naples. In his day his neighbours called him "Il pittore pazzo" - the crazy painter, because of his passion for art and his disregard for social convention. In 1893 one of his contemporaries wrote: "Mancini is Énuts, but he`s a nice nut Éthe fact is he has a fly buzzing around in his skull". Despite this he was considered John Singer Sargent`s favourite artist and it was on Sargent`s recommendation that Mancini ventured to England where his social inadequacies were spotlighted. Mrs Hunter, sister of the noted composer Dame Ethel Amyth and wife of coal magnate Charles Hunter, acted as his sponsor and protector. Mrs Hunter was a prolific supporter of artists, writers and musicians and joked that her lifetime`s goal was to spend her husband`s vast fortune. American writer Edith Wharton, a close friend of Mary Hunter`s, describes the weekends that Mary would gather society around her as life "on a large scale". Mancini, with his poor command of English and unconquerable shyness, would become impenetrably silent in this grand environment and would retreat to his room to paint self portraits, many of which he later destroyed. Mary Hunter introduced Mancini to Hugh Lane who became a great patron of Mancini and several works are now in the Hugh Lane Gallery, Ireland. The portraits there share the marks of Mancini`s graticola - or perspective grid - as shown in the present portrait of Elizabeth Williamson. The grid-like marks that show themselves across the surface of the lower parts of the painting are tributes to Mancini`s obsession with perspective and the elements of tone. Mancini would construct a grid in front of the sitter and then another over his work and painted between the blocks. Perhaps due to his unconfident nature, Mancini never relinquished his grids and his thick impasto strokes are a modern, almost proto-Cubist, innovation. Mancini takes great care over Elizabeth`s rosy-cheeked face which is highlighted by white. The paint on her clothes is laid on with much more aggressive lumps of paint, the result of which suggests the conversion of light into a solid form. The painting of Elizabeth`s hands and legs shows how far Mancini has moved away from his early meticulous figurative paintings in favour of work that shows his passion and anguish in every stroke. Elizabeth was said to be a good sitter and in fact Mancini has painted her three times and her brother Charles. Oral tradition says Mancini became so aggravated by the children`s governess fussing over them that he threw a tube of paint at the poor lady. Elizabeth responded in her best beginner`s Italian: "Piano ÉPiano, Signore!" before resuming her pose with an air of gentle scorn. The artist was so touched by her maturity that he fell on his knees to beg her forgiveness
Los 804
A brass mounted illuminated shaving mirror, the bevelled circular glass on two feet at the front and easel support at the back, capable of being wall mounted and being adjustable, the electric light passing from the back through a frosted dome at the base of the mirror front, 22cm (8.75in) diameter
Los 12
A 1960`s light oak finish dressing table, the adjustable frameless mirror with flanking vanity lights and having two dual drawers, two short drawers and one long drawer on splay supports, together with two similar chests, each having two short and three long graduated drawers with wooden bar handles.
Los 749
MARSH (N), a collection of sixteen first editions, Opening Night, 1951; Spinsters in Jeopardy, 1954; Scales of Justice, 1955; Off with his Head, 1957; Singing in the Shrouds, 1958; False Scent, 1960; Hand in Glove, 1962; Dead Water, 1964; Death at the Dolphin, 1967, (clipped); Clutch of Constables, 1968; When in Rome, 1970; Tied up in Tinsel, 1972; Last Ditch, 1977, (clipped); Grave Mistake, 1978; Photo-Finish, 1980; Light Thickens, 1982; all with d.j, Collins Crime Club (16)
Los 2701
A pair of late 19th Century gilt bronze five light candelabra, each with a cut glass finial and sectional knop stem supporting two graduated tiers of scroll branches, hung with vase cut glass tear-shaped drops, the lower tier issuing five sconces, raised on a turned baluster stem and a circular foot, height approx 71cm (fitted for electricity).
Los 8
A Light Cavalry Trooper’s Sword by Wilkinson of London, broad,curved, single-edged blade, 79cm long formed with a near full length fuller on both sides, stamped with a broad War Deparment arrow at the ricasso, brass stirrup hilt, with various markings, wooden, ringed grip, in its brass mounted leather scabbard.
Los 96
A 2nd Pattern Denison Parachute Smock, dated 1945, with buttoning tabs at the wrists, brass snap fasteners to reverse and half-length zip fastener, the base colour of a light to medium olive combination, with overlying brushstrokes of reddish brown and dark olive green, the colours best suited to the North Western European theatre, with maker’s label “John Gordon & Co., Smock Denison (Airbourne Troops) Size 1 Height 5Õ 3” to 5Õ 5”, Breast 34” to 36” 1945Õ.
Los 133
A Great War Group of Three to Corporal E. Comer, 2nd Battalion, Devonshire Regiment, Killed in Action at The Second Battle of Villers-Bretonneux, 24th of April 1918. 1914 Star (8376 Pte. E. Comer. 2/Devon:R), British War and Victory Medals (8376 Cpl. E. Comer. Devon. R.) Corporal Ernest Comer of the 23rd Brigade, 8th Division, 2nd Battalion, Devonshire Regiment was killed in action on the 24th of April 1918, aged 29, Son of the late Harry and Emma Comer and husband of Lilian Comer of Castle Hill, Hemyock, Cullompton, Devon, he has no known grave but is remembered with honour at the Pozieres Memorial. The Second Battle of Villers-Bretonneux, came during the period of The Battle of Lys, 24 - 27 of April 1918, but was launched against the British front lines in front of Amiens. The Germans had developed a small number of tanks, and used them during this offensive, thirteen of their model A7V’s supported the advance, making it the largest use of German tanks in the Great War. The attack was preceded by artillery, using both mustard gas and high explosive rounds, the Germans quickly engulfed and broke through the 8th Division, making a three mile wide gap in the British line. Villers-Bretonneux fell to the advancing Germans, and the main strategic centre of Amiens became under immediate threat. General Henry Rawlinson responded by launching a counter-attack, his plan to use two Australian units in a pincer manoeuvre, the 15th Brigade under General Thomas William Glasgow would attack north of the town and the 13th under General H.E. “PompeyÕ Elliott, the south, British troops would offer support, in a role that would see them through the gap between the Australians. Artillery support was available, but to achieve surprise, there would be no barrage to soften up the German positions. The attack took place on the night of the 24th and 25th of April, the operation had originally been due to start at 8 pm, but General Glasgow argued that it would still be light at this time, and would cause terrible consequences for his men, after much debate it was decided that the attack would commence at 10 pm. Entrenched German machine gun teams began taking a toll on the advancing Australians, but this never deterred them from their objective, and after a number of courageous charges, the two brigades swept around the town, successfully capturing the German positions, by night fall, Villers-Bretonneux had been recaptured. Lieutenant Ledward 23rd Brigade, 8th Division. “At Villiers - Bretonneux the battalions were decimated in six hours by the perfectly infernal bombardment. Very few prisoners were taken. The German tanks did serious execution too. They moved over our trenches and enfiladed them so that the wretched defenders were rendered defenceless and stood helplessly to be mown down. But it was the bombardment that did the worst damage. That was truly ghastly business.Õ..
Los 798
William Arthur Smith Benson: a copper and brass electrolier, with "lotiform" ceiling rose, curved brass pendant support, with three copper leaf forms supporting copper coronas, with registration mark 386811, supporting three White Friars vaseline glass shades, with engraved registration number 290976 (slight chip to the finial of one glass shade), 30in. (76cms) high; the diameter of the ceiling rose is 19in. (48cms). NB Both registration numbers correspond to ones registered to WAS Benson. A wall light version of this fitting is shown as plate 115 in Ian Hammerton`s book on Benson.
Loading...-
534338 Los(e)/Seite