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283284 Los(e)/Seite
Los 1316
portfolio with a series of ten Andy Warhol signed silkscreens, each with a portrait of Mick Jagger, edited as an invitation for an exhibition at Leo Castelli Gallery dd 1975 || WARHOL ANDY (1930 - 1987) kleine portfolio (15,5 x 10,5 cm) met een serie van tien telkens gesigneerde silkscreens met een portret van Mick Jagger, uitgegeven voor een expo bij Leo Castelli dd 1975
Los 1627
BAUMANN, F. (Maler/in 19. Jh.), "Portrait Karl I. von Großbritannien", nach Anthonis van Dyck, Brustbildnis des Königs von England als Ausschnitt nach van Dycks Gemälde, Öl/Leinwand, HxB: ca. 66x75 cm (96x74 cm mit Rahmen). Alters- und Beriebspuren, Craquelé und Keilrahmenabdruck, kleine Frababplatzer und Retuschen. Mit Rahmen. VERSO am Keilrahmen bezeichnet 'F. Baumann fec.'.| BAUMANN, F. (painter/in 19th century), "Portrait of Charles I of Great Britain", after Anthonis van Dyck, half-length portrait of the King of England as a section after van Dyck's painting, oil/canvas, HxW: approx. 66x75 cm (96x74 cm with frame). Signs of age and wear, craquelure and stretcher frame imprint, small paint chips and retouching. With frame. VERSO on stretcher inscribed 'F. Baumann fec.'.
Los 1637
SENFF, wohl Carl Adolf ATTRIBUIERT (Halle 1785-1863 Ostrau), "Stadtrat Ledebour", 1836, Brustbildnis eines Herrn in Biedermeiertracht, auf dem dunklen Gehrock der Rote Adlerorden am Band (preußischer Verdienstorden), um den Hals weitere rot emaillierte Orden in Kreuz- und Kranzform an rot-schwarzem Band, Öl/Leinwand, HxB: ca. 45x39 cm (48x42 cm mit Rahmen). Craquelé, Farbabplatzer und -berieb. Mit Rahmen (wohl original; Altersspuren). VERSO handschriftlich bezeichnet 'Stadtradt Ledebour, gemalt v. O. (oder A.) Senff, 1836' und Provenienzvermerk 'aus dem Besitz der Familie Hofmann'.| SENFF, probably Carl Adolf ATTRIBUTED (Halle 1785-1863 Ostrava), "Stadtrat Ledebour", 1836, bust portrait of a gentleman in Biedermeier costume, on the dark frock coat the Red Eagle Order on a ribbon (Prussian Order of Merit), around the neck further red enameled orders in a cross - and wreath form on a red-black ribbon, oil/canvas, HxW: approx. 45x39 cm (48x42 cm with frame). Craquelé, paint chipping and rubbing. With frame (probably original; signs of age). VERSO handwritten inscription 'Stadtradt Ledebour, painted v. O. (or A.) Senff, 1836' and provenance note 'from the possession of the Hofmann family'.
Los 1803
SLEVOGT, MAX (1868-1932), 4 Graphiken, 1x "Tiere und Menschen", Lithographie, mit Bleistift von Hand signiert und num. 4/50, HxB: Platte ca. 23x21 cm; 1x "Drei Personen", Lithographie, mit Bleistift von Hand signiert und bezeichnet 'Druck vor d. Auflage 11/12', HxB: Platte ca. 12x31 cm; 1x "Mephisto", Lithographie, mit Bleistift von Hand signiert, Papiertrockenstempel, HxB: Platte ca. 15x9 cm; 1x "Selbstportrait Max Slevogt", Radierung, unsigniert, HxB: Platte ca. 20x13,5 cm. Je gebräunt und fleckig, tlw. gewellt und leicht beschädigt. Je im Passepartout (Außenmaße bis 40x50 cm).| SLEVOGT, MAX (1868-1932), 4 graphics, 1x "animals and people", lithography, signed by hand in pencil and num. 4/50, HxW: plate approx. 23x21 cm; 1x "Three people", lithograph, signed by hand in pencil and inscribed 'Druck vor d. edition 11/12', HxW: plate approx. 12x31 cm; 1x "Mephisto", lithograph, signed by hand in pencil, dry paper stamp, HxW: plate approx. 15x9 cm; 1x "Self-portrait Max Slevogt", etching, unsigned, HxW: plate approx. 20x13.5 cm. Each browned and stained, partly wavy and slightly damaged. Each in a passe-partout (external dimensions up to 40x50 cm).
Los 2
Umfangreiches Konvolut aus 5 Puppenstubenpuppen und Zubehör für die Puppenküche, 19. und 20. Jh. bestehend aus 4 Biskuitporzellan-Püppchen, 3 x Ganzkörperbiskuit, H 8- 12, 5 cm, 1 x Brustblattkopf u. Gliedmaßen aus Biskuit, Stoffkörper, feste Glasaugen, (gemarkt mit der Ziffer "60" und unleserlichen Zeichen), H 16 cm, linker Fuß besch. (abgebrochen), alle 4 Püppchen mit Perücke und Kleidung, dazu eine Puppe aus Masse und Holz auf einem flachen Holzsockel, rechte Hand aus Wachs, linke Hand fehlt, Schürze fleckig und zerschlissen, Klebereste, besch. H 14 cm. Über 90 Teile Geschirr aus Zinn und anderen Metallen, darunter zahlreiche Teller, Schalen, Kannen und Gefäße, Kaffeeservice aus Zinn für 2 Personen mit Tablett und Reliefdekor, größte Kanne H 7 cm, Tablett, L 23 cm, 5 Bettpfannen, 4 Backmodel, Gardinenstangen (4 x orig.-verpackt), Bilderrahmen mit Porträt von Zeppelin, Notizblock mit Stift im reliefierten Metall-Einband, Blechdose "Guten Appetit", diverse Kerzenleuchter, 1 Märklin Ölkännchen, uvm. Alters- und Gebrauchsspuren, partiell beschädigt, Fehlstellen.| Extensive bundle of 5 dollhouse dolls and accessories for the doll kitchen, 19th and 20th century, consisting of 4 bisque dolls, 3 x full-body bisque, H 8-12.5 cm, 1 x shoulder headed doll and limbs made of bisque, fabric body, fixed glass eyes, (marked with the number "60" and illegible numbers), H 16 cm, left foot damaged (broken off), all 4 dolls with wig and clothes, plus a doll made of mass and wood on a flat wooden base, right hand made of wax, left hand missing, apron, stained and torn, remains of glue, dam. H 14 cm. Approx. 90 pieces: crockery made of tin and other metals, including numerous bowls, jugs and vessels, pewter coffee service for 2 people with tray and relief decoration, largest jug H 7 cm, tray L 23 cm, 5 bedpans, 4 baking models, curtain rods (4 x orig. -packaged), picture frame with a portrait of Zeppelin, notepad with pen in a metal cover with a relief, tin box "Guten Appetit", various candlesticks, 1 Märklin oil can, and much more. Signs of age and wear, partially damaged, missing parts.
Los 31
EDGAR DEGAS , PARIS, 1834 - PARIS, 1917Girl carrying flowers in her apronOil on canvas 73.3 x 55.7 cmThis girl, who steps forward with grace and restraint, sketches a slight dance step, halfway to a curtsy. With her arms stretched forward to raise her skirt, which holds a spray of flowers, she gives a glimpse of her ankles, crossed in a precarious balance. Emerging from the shadow of the background, she steps into the light as if on a proscenium. Wouldn't she, in fact, be taking a bow after a performance? The flowers would then be those of her ovation, as for a young opera star... Somewhere between a portrait and a genre scene, this painting, with its fine and lively brushstrokes, portrays an attitude of great freshness, captured on the spot. This early work foreshadows the favourite subjects that Degas would develop in his maturity and already reveals his passion for the little 'rats' of the Paris Opera, whom he undertook to paint from every angle. While there are no clues in the setting to situate the action, the dress and early age of this little girl here probably reveals a 'good family' child from the painter's entourage, captured on the occasion of a family event..Edgar Degas (1834-1917) was a French painter belonging to the Impressionist movement. Coming from a wealthy and cultured background, Degas copied the great masters at the Louvre at an early age and then undertook trips to Italy to discover the works of the Renaissance. From 1874 onwards, he regularly exhibited at the Salon des impressionnistes. In Montmartre, where he frequented the artistic avant-garde, he became friends with Edouard Manet. From the 1880s onwards, as his eyesight declined, he favoured the pastel technique, sometimes combining it with gouache or watercolour. It was during this period that he developed an interest in ballerinas, which would become one of his favourite subjects. As an opera enthusiast, he chose them as models, making them take endless poses on stage or backstage. His passion for the female body is also expressed in his other variations of 'women at the tub', a true leitmotif of his painting, where he takes a very intimate look at his models, revisiting the theme of the woman at her toilet.Work reproduced in the catalogue raisonné of M. Schulman.Signatur: Signed lower right 'Degas'
Los 4
LOUIS-LÉOPOLD BOILLY , LA BASSÉE, 1761 – PARIS, 1845Maternal caressesOil on canvas 46,5 x 38,5 cmIn the quiet of a garden, a tender family scene is offered to us. A young mother, like a modern Madonna, embraces the face of her little girl. Busy with the contemplation of her child, she shows us her medal profile, while the little girl stares at us, with her head in front. Standing against each other, they offer a striking contrast. One is brunette, the other blonde. The mother, hieratic, is dressed in a long white dress in the antiquisite fashion of the Empire, whose long folds descend to the ground with elegance. The little girl, in full movement, makes her black dress shimmer with curved folds that catch the light. Particular care is given to their clothes, in which the painter excels. The decor, with its romantic allure, is skilfully organised. It prefigures in a singular way the staging of photographic portraits in the studio. From the background, a halo of light, corresponding to a gap in the trees, discreetly frames the maternal embrace. However, the main lighting comes from the front, focusing on the mother from whom the light seems to emanate, thus reinforcing the expression of her maternal love.Boilly is the painter of scenes of family intimacy, which he knows how to stage with subtlety under an impression of simplicity. Here he renews the genre of portraiture by bringing a profoundly sensitive dimension to it.Louis-Léopold Boilly (1761-1845) was a French painter and engraver, renowned for his portraits and genre scenes testifying to the lives of his contemporaries. The son of a woodcarver, he studied painting, and more particularly 'trompe-l'oeil', with Dominique Doncre in Arras. Established in Paris in 1785, he began his career with gallant scenes in the spirit of Greuze and Fragonard. However, a great admirer of 17th century Dutch painting, he developed a fine, porcelain touch like Gérard Dou or Van Mieris, whose paintings he owned. Having to change his subjects, considered immoral, under the Revolution, he became a portraitist. These Caresses maternelles are evidence of this turning point in his career. He then developed a particular care to suggest the intimacy of family or friendly relationships. Although he exhibited for the first time at the Salon in 1794, it was mainly under the Directoire and the Empire that he became famous. He had great success at the Salon of 1798 with a group portrait Réunion d'artistes dans l'atelier d'Isabey, and then received the gold medal at the Salon of 1804 for L'Arrivée de la diligence (both in the Louvre Museum), which represents one of his first scenes of urban life that was to become his speciality. As a chronicler of the social life of his time, Boilly became a 'painter of modern life' before his time. Knight of the Legion of Honour and then member of the Institut de France in 1833, he ended his career covered with honours.Provenance: Former collection of Antenor Patiño (1896-1982) for his residence on Avenue Foch, Paris.Work reproduced in, L.-L. Boilly, sa vie, son oeuvre, H. Harisse, Paris, 1898, p. 93, cat. no. 114.
Los 1563
A mixed lot, comprising: a pair of 19th century portrait miniature silhouettes of 'Captain Edward Inge, 4th Lt Dragoons' and 'Rev J R Inge,...Vicarage, Scarboro', Yorkshire', each with gilt highlights, 8.5 x 6.5cm oval; together with an early 19th century portrait miniature on ivory of a lady with a harp, 9.8 x 7.7cm; a World War I period pocket cased leather compass; and two others. (6) DEFRA Ivory Act submission refs: 1FPAVAG1
Los 6
Queen Elizabeth II (Elizabeth Alexandra Mary, born 21 April 1926) three-quarter length portrait of the Queen with sash and crown, by Dorothy Wilding, gelatin silver print, photographer's name in the negative lower left, signed in ink 'Elizabeth R' and dated 1953 by the Queen to lower mount, 25cm x 34cm, Dorothy Wilding printed label fixed to photograph verso MB COLLECTED 6/1/22 K8
Los 8
Queen Elizabeth the Queen Mother, (Elizabeth Angela Marguerite Bowes-Lyon, 4 August 1900 – 30 March 2002), three quarter length portrait print, published by Raphael Tuck & Sons Ltd. Publishers to Their Majesties the King and Queen, after an original by Dorothy WIlding, signed in ink "Elizabeth R" and dated 1948, 39cm x 49cm, housed in a glazed frame
Los 9
King George VI (Albert Frederick Arthur George, 14 December 1895 – 6 February 1952), three-quarter length portrait of the King in military uniform, by Dorothy Wilding, gelatin silver print, photographer's name in the negative lower left, signed in ink 'George R' and dated 1950 to lower mount, 37.5cm x 51cm, Dorothy Wilding printed label fixed to photograph verso
Los 196
The Beatles: twenty posters including two "The Beatles by Paul Whitehead" London 1968 (74cm x 39cm), "Mersey Beat: The Quiet Beatle George Harrison" (61cm x 86cm), two "Mersey Beat: Paul McCartney The Songwriter" (61cm x 86cm), "Mersey Beat: Loveable Beatle Ringo Starr" (61cm x 86cm), "Mersey Beat: The Literary Beatle John Lennon" (61cm x 86cm), four portrait posters of John Lennon (44cm x 63cm), two " Can You Work Out The 13 Beatles Song Titles Hidden In This Poster" Printed in Finland (84cm x 51cm), "Paul McCartney: Let It Be Liverpool" 1990 (61cm x 30cm), "The Beatles: Yellow Submarine All Aboard a Psychadelic Adventure" (46cm x 70cm), "The Beatles: Yellow Submarine Nothing is Real" (56cm x 88cm), "And In The End: The Death and Life of John Lennon" (42cm x 59cm), "Let It Be" (53cm x 156cm), and three "Wingspan: Hits and History" (51cm x 76cm).
Los 215
Three original black and white photographic portrait posters: Edward Kennedy, 1968 Personality Posters, 107 cm x 75 cm, Nelson Rockefeller, 1968 Personality Posters, 106 cm x 75 cm and Fidel Castro, 1967 International Posters Inc, 105 cm x 74 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs and small tears to edges.
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283284 Los(e)/Seite