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628738 Los(e)/Seite
Los 257
Model eines stehenden Hundes aus grauer Irdenware aus der Sammlung EumorfopoulosChina, Han-DynastieL. 12,2 cmSammlung Dr. Peter Nicolaus, ehemals Sammlung Eumorfopoulos, erworben bei Anne Roselt, Köln, am 2.6.1982 (DM 2400.-) - Sammleretikett am Bauch, vgl. Hobson 'The George Eumorfopoulos Collection', Vol. I, 1925-28 - Minim. best., etwas berieben
Los 46
French school c. 1630, follower of Leonardo Da VinciThe Virgin of the rocks On its original canvasold restorations67,7 x 46,1 in.PROVENANCEChâteau de la Pierreuse in Marigny-les-Usages (Loiret), c.1840Remained in the family of the former owners to the present dayOur version of the Virgin of the rocks is an early testimony of France’s fondness for Leonardo da Vinci because the original, now in the Louvre (ill. 1), arrived there very early, around 1508, several years before the master’s arrival in Amboise in 1516.The Virgin of the rocks (ill. 1) was commissioned by a lay brotherhood for the chapel of the Immaculate Conception in the church of San Francesco Grande in Milan, which was destroyed in 1806. It was to be placed in the centre of a complex altarpiece built by the woodcarver Giacomo del Maino. A contract bound Leonardo and his pupils Ambrogio and Evangelista de Prédis to deliver their artwork for the feast of the Immaculate Conception in May 1484 (we attribute to the last two the angels on the side panels). The artists deemed that they had spent too much money on the altarpiece’s gilding and that what they had received was too little, after which they complained to Ludovico Le More (Ludovic Sforza, Duke de Milan). They stated that they had received a much higher offer for the Virgin of the rocks. Twenty-five years of litigation ensued between the three companions and the brotherhood. Leonardo probably yielded his painting, although it is unknown whether it was offered to Louis XII or François Ist. Furthermore, with the participation of the Predis brothers, he produced a replica with some variations that is now in the National Gallery in London (ill.2). Amongst the principal differences between the two paintings most noticeable is the gesture of the angel pointing to the little Saint John at the Louvre, a detail that is absent in the London version. In the English version the figures are haloed and Saint John holds a cross. The sfumato is slightly more shaded, more tanned, and the choice of plant species, with Marian connotations, has been rethought. This holy conversation fascinates us due to the psychological relationship between the four figures. Their presence is strange, both recluse in a cave and inserted in a mountain landscape. Their interaction with the nature that surrounds them is metaphysical. The composition is very simple at first glance, a pyramid as a symbol of elevation, but which breaks down into a very skilful triangulation, reinforced by the stalagmites in the background. The great spirituality that emerges from the image is counterbalanced by the naturalism of the volumes. The alpine topographic realism and the scientific description of each plant species reveal the harmony of Nature and Creation. This balance of contradictory forces, between the microcosm and the macrocosm - a reduced model imitating the entire complexity of the universe - made this painting incredibly innovative at the time and still remains fascinating today. The space is suggested by delicate gradations of colors creating a diffused light. To position his group in space, Leonardo did not rely on a building or an architectural perspective, as had been invented by the painters of the Florentine Renaissance, but on a subtle structure in motion, where the air revolves around the figures and the landscape reflects their state of mind.Leonardo da Vinci’s body of painted works is very small, only fifteen religious compositions and five portraits, though revolutionary, matured and reflected, all of which have marked the history of painting. His studio and his pupils in Milan produced replicas of his paintings at various stages of execution 1. Dozens of replicas of the Saint Anne, the Redeemer and the Virgin of the Rocks are known 2.We do not know the exact date when the latter arrived in France; it was either given to Louis XII, confiscated by Charles II d’Amboise, or offered by the ambassador to François Ist. WHO IS THE AUTHOR OF OUR VERSIONOur painting can be dated in the early 17th century, so outside the sphere of Leonardo’s Milanese pupils. There is every reason to believe that only court artists had access to the paintings in the royal collection at the Château de Fontainebleau. From the 1540s onwards, the collection was exhibited in the Appartement des bains, a suite of rooms built on the model of ancient baths, on the ground floor of the François Ist’s gallery. It consists of three bathrooms and four small salons ending in a vestibule, which were demolished in 1697 to create new accommodations 3. Fontainebleau, which was visited by the last Valois but left untouched, was one of the favourite residences of Henry IV, who wanted to establish himself as the successor to François Ist. From 1593/1594, he undertook major works that doubled the surface area of the palace. Little is known about the layout of the royal collection at this time, as sources are incomplete and contradictory. We have to wait for the inventory of Father Dan in 1642 for precise data. Between April 1594 and May 1600, the date of the Fontainebleau Conference, the arrangements were completed, and the easel paintings were transferred from the hot and humid ovens, to the painting room on the second floor of the central pavilion of the Stoves wing, rebuilt under Henri II. In the baths, the originals were replaced by copies of the same dimensions, inserted into the existing stucco frames. Logically, Henri IV entrusted this task to the artists working on the castle site. Ambroise Dubois reproduced Titian’s Magdalene, his son Jean Dubois reproduced Raphael’s Belle Jardinière, Jean Voltigeant reproduced Raphael’s Saint Margaret slaying the Dragon and perhaps also Sebastiano del Piombo’s Visitation, and Jean Michelin reproduced the Virgin of the rocks 4. This copy was transferred under Louis-Philippe to the Trianon chapel in Versailles5 (for reasons of dates, this Jean Michelin does not seem to be the painter born in Langres in 1623, follower of Le Nain). We propose to attribute our version to the bellifontain milieu of the first third of the 17th century. The deep and soft shadows, the blue (lapis-lazuli) and green of the draperies evoke the palette of Ambroise Dubois’ original creations. The copy of the Mona Lisa, kept at the Clos-Lucé for the last ten years, for example, is attributed to him (the earth tone undercoat of this painting is quite close to that of ours, ill. 3). A direct and late copy of our painting and not of the painting in the Louvre- is known in the church of Boigny-sur-Bionne 7 (ill.4), that is to say a few dozen kilometres south of the castle. This is another element in favour of a bellifontain origin of our work. Here, the painter is committed to transcribing as faithfully as possible the Italian master: the modelling of the volumes, the famous «sfumato», is transcribed in a virtuoso manner, particularly in the faces and bodies of the children, the most difficult parts to reproduce. The fact that he simplified the description of the plants, for example the leaves on the vault of the cave, shows a history painter more attached to and accustomed to figures and narration than to a profusion of details. However he has kept those that are essential to the symbolic and poetic atmosphere of the painting: the swamp iris, the aconite, the St John’s wort... The leaves of the rhapis palm on the left are less detailed and a little larger than at the Louvre.
Los 511
BRENDA COLE. A slip decorated, press moulded dish by Brenda Cole. Length 33cm. Signed 'Brenda Cole Chelsea' to reverse. Note: Brenda Cole was married to the artist Leslie Cole. More can be found on her notorious early life on the Art UK website in a fascinating article by James Trollope 'Woman of Mystery: the Model, the Artist and the Defrocked Priest' & in Malcolm Yorke's book 'The Artistry of Leslie Cole' published by Fleece Press in 2010. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 561
PABLO PICASSO. The Artist & Model. A Tate Gallery mug. Stamped to the base. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 131
SHIP MODEL. A twin masted ship model in glazed case. Case size: Height 47cm, Width 49cm, Depth 23cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.
Los 132
SHIP MODEL. A three masted model Schooner in glazed case. Case size: Height 41cm, Width 65.5, Depth 32.5cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk.Proceeds from this lot will be donated to the RNLI Penlee Crew Comfort Fund.
Los 178
DUTCH PUZZLES ETC. Two Dutch Rolf wooden puzzles by Hal, 40 x 27.5cm. Also, a Mammoth Book of Working Models, containing cardboard cut-outs, mostly intact & one other model book. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase. Proceeds from this lot will be donated to the RNLI Penlee Crew Comfort Fund.
Los 217
TRI-ANG RAILWAYS. A Tri-ang Railways model of Stephenson's Rocket. Model in very good condition, box poor. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 323
SCANDINAVIAN CERAMICS. Four Royal Copenhagen Christmas plates (1974/76/77/78). Also, a Bing & Grondahl commemorative plate, two Royal Copenhagen small dishes, a Nymolle small Danish beaker & a Royal Delft Dutch house model. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 159A
Assorted golf clubs to include left-handed wood-handled clubs, a Gibson & Co Ltd of Scotland King Horn Star Maxwell Superior club, an A Patrick niblick, a William Gibson & Co Ltd, Scotland 'The Genii' model mid iron club, a Gibson Star Maxwell mashie, a Fife of Kingham long faced mashie, a Forgan hand forged putter, three drivers and a further set of more modern golf clubsCondition ReportThere are nine left handed clubs. See photos.
Los 622
Victorian gold knot bar brooch, marked 15ct, approx. 3.2 g, gold bar brooch engraved 'Beth', marked 10ct, approx. 2g, a gold-coloured bar brooch surmounted by a model of a poodle, unmarked and a Victorian silver heart-shaped locket (4)Condition ReportThe weight of the poodle brooch is approx 2.8g.
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628738 Los(e)/Seite