Danny Byrne 'HENGISTBURY HEAD' - oil on board - signed - Framed local scene of popular tourist spot, taken from Stanpit Marsh - 12" x 7.5" in a 18.25" x 14.5" frame (no glass) - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Danny has become a highly successful painter and has received many prestigious awards. He is known for his portraits which have been exhibited in all of the major London art exhibitions. These include the Royal Academy, Royal Portrait Society, Royal Institute of Oil Painters, Royal Pastel Society and the Royal Society of Watercolour Artists. He has also exhibited at the Royal Academy Bristol and since 2000, has been a regular exhibitor with the Holburne Art Gallery and Museum, Bath. He has been a member of the Society of Equestrian Artists for over 20 years and won ‘Best Painting in Exhibition’, 2011.
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Debbie Doe - 'LUCKY' - portrait of springer spaniel - oil pastels - signed - 11.5" x 15.75" in a 19" x 23" frame - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Debbie Doe is a member of the Hengist Group of Artists, who meet monthly in Hengistbury Head to attend lectures and enjoy painting together. Several of the artists from the group have kindly donated their time and art to this auction
Suzanne Phillips 'TEARDROP' - print - 5" x 7" in a 7" x 9" mount - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Suzanne Phillips, born in London, was an artist from the word go, hearing many words of encouragement from her grandmother who always found time in a busy day to sit and listen to the stories unfold behind every drawing, painting or sculpture put on her lap. As this young artist grew she started selling her work on the railings of Hyde Park, London at the age of only 14 years from her back pack. Suzanne showed her art in Pitshanger Manor Gallery and in local shows around London while raising her children, selling art throughout the UK and across the globe. Becoming very unwell in 2008, Suzanne decided to make the move to Cornwall, recover and start a new life, drawing and painting as she recovered from her battle with her tumour. She found love, married and dedicated herself to art on a full-time basis. Surgery to remove the tumour left Suzanne completely blind in her left eye but hearing her grandmother’s words from her past, she carried on creating children and pet portraits. Fundraising for hospices and local animal charities by donating art or vouchers for private commissions is a huge part of Suzanne’s life. Suzanne works in her studio painting mostly animals, private pet portrait commissions and landscapes using many styles, ranging from realism through to pop art as well as carving and hand printing fabrics.
Suzanne Phillips 'LION' - print - 5" x 7" in a 7" x 9" mount PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Suzanne Phillips, born in London, was an artist from the word go, hearing many words of encouragement from her grandmother who always found time in a busy day to sit and listen to the stories unfold behind every drawing, painting or sculpture put on her lap. As this young artist grew she started selling her work on the railings of Hyde Park, London at the age of only 14 years from her back pack. Suzanne showed her art in Pitshanger Manor Gallery and in local shows around London while raising her children, selling art throughout the UK and across the globe. Becoming very unwell in 2008, Suzanne decided to make the move to Cornwall, recover and start a new life, drawing and painting as she recovered from her battle with her tumour. She found love, married and dedicated herself to art on a full-time basis. Surgery to remove the tumour left Suzanne completely blind in her left eye but hearing her grandmother’s words from her past, she carried on creating children and pet portraits. Fundraising for hospices and local animal charities by donating art or vouchers for private commissions is a huge part of Suzanne’s life. Suzanne works in her studio painting mostly animals, private pet portrait commissions and landscapes using many styles, ranging from realism through to pop art as well as carving and hand printing fabrics.
Michael McIntyre signed canvas with artwork added by Danny Byrne - Legendary funny man Michael McIntyre with a cartoon portrait by local artist Danny Byrne - 8" x 8" - PROVENANCE: Signature acquired by volunteers for Macmillan Caring Locally - see photographs - this item comes with an Excalibur Auctions Certificate of Authenticity - the full hammer price will be going to the charity
Howard Donald signed canvas with artwork added by Elizabeth Sporne - A beautiful portrait of Take That Member Howard Donald - 8" x 8" - PROVENANCE: Signature acquired by volunteers for Macmillan Caring Locally - see photographs - this item comes with an Excalibur Auctions Certificate of Authenticity - the full hammer price will be going to the charity
GARY BARLOW signed canvas with artwork added by Elizabeth Sporne - A beautiful portrait of Take That Member Gary Barlow - 8" x 8" - PROVENANCE: Signature acquired by volunteers for Macmillan Caring Locally - see photographs - this item comes with an Excalibur Auctions Certificate of Authenticity - the full hammer price will be going to the charity
MARK OWEN signed canvas with artwork added by Elizabeth Sporne - A beautiful portrait of Take That Member Mark Owen - 8" x 8" - PROVENANCE: Signature acquired by volunteers for Macmillan Caring Locally - see photographs - this item comes with an Excalibur Auctions Certificate of Authenticity - the full hammer price will be going to the charity
Josef Kammhuber signed 4.5 x 3 black and white portrait photo. August 19, 1896 - January 25, 1986 was a career officer in the Luftwaffe and post-World War II German Air Force and is best known as the first general of night fighters in the Luftwaffe during World War II. He is credited with setting up the first truly successful night fighter defence system, the so-called Kammhuber Line, but a detailed knowledge of the system provided to the Royal Air Force by British military intelligence allowed them to render it ineffective. Personal battles between himself and Erhard Milch, director of the Reich Air Ministry, eventually led to his dismissal in 1943. After the war, he returned to the military sphere in Germany's Federal Defence Force. Scarce autograph. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
ALEXANDER NASMYTH (SCOTTISH 1758-1840) STIRLING CASTLE WITH THE UPPER PART OF THE FORTH Oil on panelDimensions:45cm x 61cm (17.75in x 2in)Provenance:Provenance: Mrs Alexander BannermanChristie's, London, 25 February 1888, lot 156 to CarrittChristie's, 17 June 1983Spink & Son, LondonLiterature: J. C. B. Cooksey, Alexander Nasmyth HRSA 1758-1840: A Man of the Scottish Renaissance, Southampton 1991, p.110, Ill. Q44A (as 'oil on canvas')Note: ‘At all events, we cannot help having a due regard for our forefathers. Our curiosity is stimulated by their immediate or indirect influence upon ourselves.’ - James Nasmyth, James Nasmyth Engineer: An Autobiography, John Murray, London, 1883Alexander Nasmyth is best-known as ‘the founder of the Scottish landscape tradition’, but his earliest training was as a decorative painter. His talent earned him the attention of Allan Ramsay, a leading portrait artist and court painter to George III. Nasmyth spent four years training in Ramsay’s London studio, and directly afterwards he predominantly produced portraits for the nobility. Commissions waned when word spread about the young artist’s liberal politics, and a two-year period of study in Italy finalised Nasmyth’s move away from portraiture.Upon his return to Edinburgh in 1784 Nasmyth established himself as an accomplished painter of landscapes. Architectural components recur throughout his compositions, reflecting Nasmyth’s abilities as an engineer and architect; accordingly, he often fulfilled commissions to design and expand the estates of the Scottish nobility.In the 1790s Nasmyth designed 47 York Place, Edinburgh, for his family. The plan incorporated residential quarters in the top floor apartment and two garret storeys in the roof to accommodate teaching space and a studio. With the opportunity for European travel limited by the Napoleonic Wars, it was an astute time to establish a school of art. Aspiring artists enrolled to witness Nasmyth’s ‘familiar and practical’ lectures accompanied by demonstrations, with the household becoming a thriving hub in Edinburgh’s early nineteenth-century ‘cultural Renaissance’. Notable attendees included David Wilkie, Francis Grant, David Roberts, Clarkson Stansfield, William Allan, Andrew Geddes and the Rev. John Thomson of Duddingston. Nasmyth also taught middle-class women, for whom painting and drawing were important social graces. Tutelage was supported by Nasmyth’s daughters, who sometimes led sketching tours around familiar Edinburgh vistas including Duddingston Loch, Craigmillar Castle, Roslin, or the Forth estuary.Raised in a uniquely artistic and intellectual environment, it is of little surprise that the Nasmyth children understood the principles of drawing and painting. It is remarkable, however, that so many possessed natural artistic talent. Of his eleven children at least eight were gifted artists: his six eldest daughters Jane, Barbara, Margaret, Elizabeth, Anne and Charlotte, and his eldest son Patrick and younger son James. James observed that ‘my father’s object was to render each and every one of his children…independent…accordingly, he sedulously kept up the attention of his daughters to fine art. He set on foot drawing classes…managed by his six daughters, superintended by himself.’The Nasmyth children benefited from intimate access to their father’s paintings and expansive drawings portfolio, including many early copies of Old Masters made at the Trustees Academy in Edinburgh and Allan Ramsay’s studio. It also contained numerous landscape sketches observed from life, overwhelmingly portraying England and Scotland. Only a few European sketches survive, likely made during Nasmyth’s Italian studies, but charmingly these continental landscapes appear to have been pored over by the Nasmyth children, and can be seen to have inspired passages in their mature paintings. They all went on to paint landscapes almost exclusively, with each adopting a personal interpretation of their father’s style.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 34.5cm (19.25in x 13.5in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 200Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932, ill. (unpaginated)Note: Lady Veronica Brenda Hornby (née Hamilton-Temple-Blackwood, 1910-1971) was the daughter of the third Marquess of Dufferin and Ava. A formidable character, in the twenties she practiced her Charleston on the young John Betjeman when he stayed in Clandeboye, the Dufferin’s country home in County Down. Her niece, Caroline, the wife of Lucian Freud, based the character of ‘Aunt Lavinia’ on her in her autobiographical novel, Great Granny Webster (1977). She married Sir Roger Anthony Hornby, a stockbroker, in December 1931 – a wedding marked by the Laverys with a gift of cream-white china that apparently ‘inspired the bride to decide that her bedroom is to be a symphonie de blanc majeur’ (The Sketch, 16 December 1931, p. 461). This was to be the first of Lady Veronica’s four marriages and it ended in divorce in 1940.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY VERONICA HORNBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 19.5cm (19.25in x 7.75in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 197Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: Lady Veronica Brenda Hornby (née Hamilton-Temple-Blackwood, 1910-1971) was the daughter of the third Marquess of Dufferin and Ava. A formidable character, in the twenties she practiced her Charleston on the young John Betjeman when he stayed in Clandeboye, the Dufferin’s country home in County Down. Her niece, Caroline, the wife of Lucian Freud, based the character of ‘Aunt Lavinia’ on her in her autobiographical novel, Great Granny Webster (1977). She married Sir Roger Anthony Hornby, a stockbroker, in December 1931 – a wedding marked by the Laverys with a gift of cream-white china that apparently ‘inspired the bride to decide that her bedroom is to be a symphonie de blanc majeur’ (The Sketch, 16 December 1931, p. 461). This was to be the first of Lady Veronica’s four marriages and it ended in divorce in 1940.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) LADY PONSONBY Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 29.5cm (19.25in x 11.5in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 195Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: Lady Ponsonby (née Dorothea Parry, 1876-1963) married Arthur Ponsonby, Queen Victoria’s secretary, in 1898. Objectors to Britain’s involvement in the Great War, Dorothy Ponsonby and her husband were active in the Union of Democratic Control. During the 1920s their daughter, Elizabeth, was prominent among the ‘Bright Young Things’. After a successful diplomatic career under the Labour Government of Ramsay MacDonald, Ponsonby was raised to the peerage in 1930, hence his wife and daughter’s presence in Their Majesties’ Court.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ALICE TRUDEAU Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 14.75cm (19.25in x 5.75in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 194 (as 'Miss Alice Tindeau')Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: Alice Trudeau (1904-1991) was the daughter of Edward Livingston Trudeau and Hazel Martyn. Her father died before her birth and when her mother married Lavery in July 1909, she became his stepdaughter. Thereafter she featured prominently in Lavery’s paintings as a keen golfer, tennis player and horsewoman. She married John A McEnery (Jack), of Kilkenny, an Irish farmer and horse breeder, in March 1930 in Cannes, against her mother’s wishes. Witnesses to the marriage were Lord and Lady Derby, Sir Stuart and Lady Coats and Sir Alan and Lady Johnstone. Lavery died at her home, Rossenarra House, in January 1941. She remarried in 1963 to Denis Rolleston Gwynn, (1893-1971), the journalist and historian and her later years were spent at Beauparc in Co Meath. We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 17.75cm (19.25in x 7in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 192 (as 'Miss Anabel Mann')Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: One of the three daughters of the Scots portrait-painter, Harrington Mann, and his wife, Florence Sabine-Pasley, the interior designer, known as ‘Dolly Mann’. Annabel as a baby was painted by her father c.1910 (City Art Centre, Edinburgh), while Annabel and her Toys (Russell-Cotes Art Gallery and Museum, Bournemouth), shows her as an infant in 1912. Other portraits followed, and by the late 1920s Annabel Mann was being photographed in the press as an attendee at fancy dress balls, along with other ‘bright young things’.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MRS LEO D'ERLANGER Signed and stamped, inscribed verso, oil on boardDimensions:49cm x 25cm (19.25in x 9.75in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 191Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: Mrs Leo d’Erlanger (née Edwina Prue, 1907-1994) was a New Yorker, and junior editor of Vanity Fair when she married Baron Leo Frédéric Alfred d'Erlanger, son of the painter and musicologist, Baron Rodolphe François d’Erlanger. In the twenties he joined the family bank run by his uncle, Emile. Both Rodolphe and Emile were friends of the Laverys, the painter having supported their protest against internment as enemy aliens during the Great War. Lavery painted a second sketch of Mrs d’Erlanger at the Court (Sold Bonhams 14 November 2012) and her portrait was also painted by Laszlo in 1937.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
BESSIE MACNICOL (SCOTTISH 1869-1904) ELIZABETH Signed and dated '97, oil on canvas Dimensions:36cm x 30.5cm (14in x 12in)Provenance:Provenance: James Connell & Sons, GlasgowEwan Mundy Fine Art, GlasgowPrivate Collection, GlasgowLiterature: Ailsa Tanner, Bessie MacNicol: New Woman, privately published 1998, p.29, ill.col.pl.10Note: Born in Glasgow in 1869, Elizabeth MacNicol, known as Bessie, was one of the few artists within the Glasgow Girls group who excelled at painting during her time at the Glasgow School of Art (1887-1892). With the encouragement of its Director, Fra Newbery, MacNicol painted at his summer schools at Lundin Links, Fife and later travelled to Paris to continue her training at the Academie Colarossi. In 1893, MacNicol exhibited for her first and only time at the Royal Academy of Arts, London. This was also her first year exhibiting at the Royal Glasgow Institute where she would continue to exhibit until her death in 1904. By 1894, MacNicol had acquired a studio at 175 St Vincent Street in Glasgow. It was around this time that she discovered the artists’ town of Kirkcudbright, where she spent time painting alongside some of the Glasgow Boys. Her only solo show was in 1899 at Stephen Gooden’s Art Rooms in Glasgow, the same year she married medical doctor-turned-artist Alexander Frew. From their home in the West End of Glasgow, MacNicol painted mainly figurative work in her studio, and continued exhibiting in Glasgow, Edinburgh, London and internationally until her early death in childbirth in 1904. Art critics of the time praised MacNicol for her strong and vigorous style of painting, comparing her favourably with her male contemporaries. At her funeral, the all-male Glasgow Art Club members’ tribute praised her as ‘a true artist’. Elizabeth is a highly attractive oil painting, characteristic of MacNicol’s figurative work in the late 1890s, where women are presented alone amongst foliage or dappled in sunlight beneath a canopy of trees. In this strong portrait composition, an elegant female sitter, reading with head tilted backwards, draws clear influence from Whistler, an artist hugely admired by Glasgow School artists, as well as from the Dutch Old Masters, and the Impressionists who inspired MacNicol during her sojourn in Paris. Elizabeth not only highlights MacNicol’s virtuosity and highly assured brushwork; the composition also reveals a psychological depth in the interplay of elements such as the floral arrangement to the left of the sitter, and the play of light and dark which force our gaze on the sitter and the contemplation of her inner reverie. MacNicol is well represented in public collections. In her lifetime she exhibited widely in Scotland at the Royal Scottish Academy, the Glasgow Society of Lady Artists, the Royal Glasgow Institute, and the Royal Scottish Society of Painters in Watercolour. Her works have also been exhibited in London, Liverpool, Manchester, throughout Europe and the USA. In his book Scottish Painting Past and Present (London, 1908, p.436), James Caw, Director of the National Galleries of Scotland, recognised MacNicol as ‘probably the most accomplished lady-artist that Scotland has yet produced’.
English School (Early 20th century): Portrait of Agnes 2nd Viscountess Halifax Bust Length in Feigned Oval Wearing Black Gown and Pearl Earrings, oil on canvas signed with initials IH and dated 1912, housed in gilt oval frame with cartouche decoration 75cm x 60cmProvenance: property of a Nobleman
Paar Portraittassen mit Untertassen. Gefußte Glockenbecherform mit volutierendem Henkel. Grüner Fond. Ränder mit ausgespartem Fries und umlaufender Goldrankenmalerei, Tassen schauseitig mit bunt gemalten Portraits von Napoleon Bonaparte und Kaiserin Josephine. Tasse mit Portrait Napoleons durch Brandschaden verfärbt, rest. und ohne Innenvergoldung, die Untertasse best. die andere Tasse lediglich mit kl. Brandfleck re. u. Rote Aufglasurmarke Sèvres, I. Kaiserreich, 1804-1814, aber wohl Ende 19. Jh.
Portraitist (Frankreich, um 1800) Portrait einer Dame im Chemisekleid - vermutlich Alexandrine Bleschamps de Bonaparte. Öl/Lwd. (Altersspuren). Ca. 73x 60 cm. Prov.: Erworben bei EHRL Fine Art & Antiques, 2006 für € 2.000.-, bei Leo Spik 1997 als Theresia Tallien, Auktion 580, Lot 364 mit Schätzung DM 5.000.-.
Iserlohner Tabakdose. Seitlich gerundete, zylindrische Rechteckwandung aus Kupfer. Klappdeckel mit reliefierten Darstellungen mit Portrait des Königs Ferdinand von Braunschweig, darunter springendes Pferd, darüber auf den Sieg bei Vellinghausen. Reliefierter Messingboden mit allegorischer Darstellung auf den Frieden von Hubertusburg vom 15. Februar 1763. Gebrauchsspuren und Relief teils in den höheren Partien berieben. Iserlohn, um 1765. 3,2x 15,5x 4,5 cm.
Kaiser Wilhelm II., Geschenktaschenuhr "Alpina". 800/000 Silbergehäuse mit rot vergoldetem Rand. Rückdeckel mit ziseliertem Chiffre Wilhelms II., Staubdeckel mit von Lorbeer umkränztem, reliefierten Portrait. Weißes Emailzifferblatt (kl. Besch. zwischen 4 und 5) mit schwarzen, arabischen Ziffern, Eisenbahnminuterie und kleiner Sekunde. Matt vergoldetes Brückenankerwerk mit Kompensationsunruh. Gehäuse und Werk mit Herstellerpunze "Union Horlogere" und identisch num. 139902. Gebrauchsspuren. Anf. 20. Jh. D. 5,2 cm.
Kurt Bunge. (1911 Bitterfeld - 1998 Kassel). Portrait Zweier Frauen (Gerda Bunge und Katja Georgi). Um 1955. Mischtechnik auf Platte. 73,6 x 104,6 cm. Signiert. Gerahmt. - Entlang der Rahmung partiell mit Farbabrieb, dieser unauffällig. Insgesamt in gutem Zustand. Der Farbauftrag taktil und pastos. Sinnliche und intime Szene. Bunge studierte ab 1928 an der Kunstschule Burg Giebichenstein bei Charles Crodel und Gerhard Marcks. Anschließend arbeitete er mehrere Jahre als Restaurator und leitete nach dem Krieg die Restaurierungswerkstätten beim Landeskonservator für Denkmalpflege Sachsen-Anhalt. Nach Kriegsende ist er ab 1947 an der Burg Giebichenstein als Dozent für die Werkstätten Wandmalerei, Hoch- und Tiefdruck tätig. An der Hochschule lernte Bunge Katja Georgi (geb. Heinitz) kennen, die auf dem Gemälde rechts dargestellte Frau, die Ihr Gesicht verdeckt. Georgi studierte Töpferei und zusammen mit Ihrem Mann Klaus Georgi, Bunges Ehefrau Gerda, die auf dem Gemälde links zu sehen ist, und dem Maler Werner Rataiczyk bildeten sie einen Freundeskreis, die sich gegenseitig in ihren Künstlerischen Arbeiten zeigten und thematisierten. Eine Gruppe von Gleichgesinnten, aus unterschiedlichen Disziplinen der Kunst kommend und vereint in dem Gedanken des schöpferischen und freien Gedankens, dem unmittelbaren Ausdruck von Gefühlen und Gedanken, die befreit sein sollten von einem politischen oder ideologischen Diktat. Diese Auffassung schweißte sie zusammen und besiegelte die so fruchtbare Freundschaft. Der vertraute und liebevolle Blick Bunges auf seine Frau Gerda und seine gute Freundin Katja zeichnet diese Szene über die Erotik hinausgehend aus. Mixed media on panel. Signed. Framed. - Partially with paint abrasion along the framing, these unobtrusive. At all in good condition. The application of paint tactile and impasto. Sensual and intimate scene.
Zeitgenössische Kunst - Street Art JR (1983 Paris)28 Millimètres, Portrait d'une génération, Braquage, Ladj Ly vu. Offsetithographie auf Vélinkarton. 45,5 x 68 cm (45,5 x 68 cm). Im Druck typographisch betitelt und mit dem monogrammierten Künstlerstempel. Mit einer Knickspur und verso unwesentlich mit leichten Fleckchen punktuell an den Rändern. Insgesmat in gutem Zustand. Ausgezeichneter und kräftiger Druck. Aus einer offenen Edition. - Offset nach der gleichnamigen Photographie von 2004. Offsetlithograph on board. Typographical titled in print and with the artist's monogram stamp. - With a crease mark and on the verso insignificantly with light stains in spots at the margins. All in all in good condition. Eclellent and strong print. - From an open edition. - After the same named photography from 2004.
Expressionismus - - Albert Mueller. (1884 Schwandorf - 1963 Bremen). 3 Arbeiten. Je Öl auf Velin. Blattmaße von 37 x 29,7 cm bis 45,2 x 35,1 cm. 1 Arbeit signiert und voll auf Unterlage aufgezogen. - 1 Arbeit mit kurzen Randeinriss. Partiell mit Spuren der ehemaligen Montierung. Verso mit Braunfleckchen bzw. Atelierspuren. Insgesamt in noch gutem Zustand. Mit Portrait-Darstellungen. Provenienz: Aus dem Nachlass des Künstlers. 3 works. Each oil on wove paper. 1 work signed and fully mounted on backing. - 1 work with short marginal tear. Partially with traces of the former mounting. Verso with small brown spots and traces of studio work. Overall still in good condition. - From the estate of the artist.
Surrealismus - - Maurice Tabard. (1897 - 1984). Sammlung aus 10 Arbeiten. Um 1920er-60er. Mit Vintage Argyrotypie, Braundruck, Kallitypie, Kontaktabzug und Silbergelantineabzüge (u.a. mit Solarisation und Doppelbelichtung) auf unterschiedlichen Papieren. Blattmaße von 17,7 x 12,7 cm bis 47 x 32 cm. 3 Blätter signiert, größtenteils verso mit Photographenstempel und Inventarnummer. - 4 Blätter knickspurig, 3 Blatt mit kurzen vertikalen Einrissen im Blattrand, 1 Blatt mit Fehlstellen am Rand (Motiv nicht betroffen), 1 Abzug unregelmäßig beschnitten, 3 Abzüge mit Einstichlöchlein, verso zum Teil mit Spuren der vorherigen Montierung. Reizvolle ausdrucksstarke Abzüge. Enthalten: Argyrotypie (Fechtende), Braundruck (Portrait), 5 Kallitypien (vorwiegend Modephotographien), 3 Silbergelantineabzüge (1 Kontaktabzug, im Negativ ausgesilbert, 1 Solarisation und 1 Doppelbelichtung mit Solarisation). - Beigegeben: - Portraitzeichnung 1943 - Maurice Tabard. Hg. Contrejour, Paris 1987. - Maurice Tabard (1897-1984) war seit 1922 zunächst Portraitphotograph in Baltimore, wurde 1928 Modephotograph in Paris, wo er die Surrealisten Man Ray und René Magritte kennenlernte. Er zählt heute mit zu den führendsten Photographen der surrealistischen Bewegung. Collection of 10 photographs. With vintage argyrotype, brown print, callitype, contact print and silver gelatin prints (including solarisation and double exposure) on different papers. 3 sheets signed, mostly with photographer's stamp and inventory number on verso. - 4 sheets with creases, 3 sheets with short vertical tears in the margin, 1 sheet with missing parts in the margin (subject not affected), 1 print irregularly trimmed, 3 prints with small punctures, verso partly with traces of previous mounting. Charming expressive prints. - Included. Argyrotype (fencing), brown print (portrait), 5 callitypts (mainly fashion photographs), 3 silver gelatin prints (1 contact print, silvered out in negative, 1 solarisation and 1 double exposure with solarisation). - Submitted: - Portrait drawing 1943 - Maurice Tabard. Ed. Contrejour, Paris 1987. - Maurice Tabard (1897-1984) was first a portrait photographer in Baltimore from 1922, then became a fashion photographer in Paris in 1928, where he met the Surrealists Man Ray and René Magritte. Today, he is one of the leading photographers of the Surrealist movement.
Helmut Wellschmidt. (1930 Teschen - 2015 Nürnberg). Zwei Frauen. 1995. Aquarell auf Aquarellkarton. 38,5 x 29,5 cm. Signiert und datiert. Punktuell unter Passepartout montiert und unter Glas gerahmt. - Partiell am Rand mit einem sehr kurzen, horizontalen Anriss und einer unwesentlichen kleinen Fehlstelle. Verso mit leichten Atelierspuren. Technikbedingt Papier leicht wellig. Insgesamt in wirklich gutem Zustand. Mit kräftigen und lebendigen Farben, in spielerischen Anleihen an die expressionistische Körpersprache, präsentiert sich dieses Doppelportrait zwei gegenübersitzender Frauen. Die phantastischen Bildwelten des Helmut Wellschmidt offenbaren sich dem Betrachter als breites Spektrum einer verwunschen-andersartigen und sehr reichhaltigen Welt. Dazu schreibt der Maler: "Wie der Mensch seine Welt gestaltet, so ist sie" (Wellschmidt, zit. nach Colditz-Heusel in: Helmut Wellschmidt. Erzähler und Denker. Hg. von der Galerie Jacobsa 2017, S. 6). Danach folgend, blicken wir auf eine Komposition, die fabelhaft, erstaunlich und faszinierend ist. Den Figuren mit oftmals verlängertem Korpus und Händen, scheint etwas Ätherisches inne. Mit leichten Anklängen von Morbidität, zerstreut die Arbeit jegliche Züge von Gefälligkeit. Es scheint, dass Wellschmidt diese phantastischen und verunklärten Mittel für seine Bilder nutzt, um den Betrachter zu ermuntern, die richtigen Fragen zu stellen um das Werk durchdringen zu können. Watercolour on watercolour board. Signed and dated. Mounted in spots under passepartout and framed under glass. - Partially at the margin with a very short, horizontal tear and an insignificant small missing part. Verso with slight traces of studio. At all in a really good condition. With strong and vivid colours shows this double portrait of two women playful references to the expressionistic body language.
Berliner Secession - - Leo von König. (1871 Braunschweig - 1944 Tutzing). Portrait einer Sitzenden. Öl auf Leinwand. 115 x 78,3 cm. Gerahmt. - Punktuell mit winzig kleinen Einstichlöchlein als Spur der ehemaligen Montierung. Vorwiegend im oberen Bereich mit kaum merklichen, kleinen Farbausbrüchen. Im unteren Bildbereich unauffälliger angeschmutzt. Locker gespannt. Insgesamt in gutem Zustand. Großformatige und nahezu vollfigure Darstellung einer sitzenden Dame. Die Authentizität der Arbeit wurde von Frau Dr. Alexandra Bechter vom 06.10.2022 schriftlich bestätigt. - Wir danken Frau Dr. Alexandra Bechter für wertvolle Auskünfte. - Seine Ausbildung erhält Leo von König 1894 bis 1897 u. A. bei Jules-Joseph Lefebvre und Tony Robert-Fleury an der Académie Julian in Paris. Danach begibt er sich nach Berlin, wo er 1896 in der Großen Berliner Kunstausstellung debütiert. Um 1900 wird er dort auch Mitglied der Berliner Seccession, wo er neben Max Liebermann, Lovis Corinth und Max Slevogt zu den bekanntesten Vertretern gehört. In seinem Gesamtwerk nehmen die Portraits eine Sonderrolle ein, die ganz besonders die Stärken des Malers in der subtilen Erfassung der Psyche seines Modells zeigen. Der weiche und lockere Pinselduktus, mit dem er die Farbe pastos und breit aufträgt, erschafft in Verbindung mit dem für ihn typischen Hell-Dunkel-Effekt malerische Leistungen von außerordentlichem Reiz. Oil on canvas. Framed. - With tiny pinholes in places as a trace of the former mounting. Mainly in the upper area with hardly noticeable, small colour breaks. Lower part of the image more inconspicuously soiled. Loosely stretched. Overall in good condition.
Africa.- Park (Mungo) Travels in the Interior of Africa, first edition, half-title, engraved portrait frontispiece, 5 engraved plates, 3 folding engraved maps, 2 folding, 1 hand-coloured in outline, short tears to folds with neat tape repairs to verso, 2pp. sheet music, list of subscribers, 2 marginal pencil notes, occasional marginal water-staining, scattered spotting, bookplate, [Hosken p.154], 1799; The Journal of a Mission to the Interior of Africa in the Year 1805, first edition, folding engraved map frontispiece, illustrations, scattered faint spotting, K3 with tear to top edge running into text, repaired at margin, X4 with small marginal loss, 1815, uniformly bound in modern half-calf, retaining old black morocco spine labels, 4to, (2).
Africa.- Selous (Frederick Courteney) Travel and Adventure in South-East Africa, first edition, half-title, portrait frontispiece, 21 plates, 1 with short marginal tear, illustrations, folding colour map, advertisements at end, cracked hinges, bookplate, small abrasion marks to front pastedown where label removed, original pictorial cloth, gilt, rubbed, bumping to corners and extremities, [Czech pp.145-146; Hosken p.180], 8vo, 1893.⁂ "In this work recounting eleven years of exploration, work and sport in the 1880s and 1890s, Selous describes numerous adventures with lion and leopards, particularly near the Zambezi, Zweswi, and Manyami rivers ..." (Czech)
Africa.- Speke (John Hanning) Journal of the Discovery of the Source of the Nile, first edition, engraved portrait frontispiece and 25 plates, illustrations, 2 maps, of which 1 linen-backed folding map in pocket at end, scattered spotting, bookplate, original pictorial cloth, recased, neat spine repairs, slight bumping to corners, [Czech p.151; Hosken p.188], 8vo, 1863.
Africa.- Stanley (Henry Morton) Through the Dark Continent, 2 vol., first edition, portrait frontispieces, 32 wood-engraved plates, 10 maps, of which 4 folding and 2 in pockets at end, small splits to folds, illustrations, advertisements at end, bookplate, scattered faint spotting, original cloth, recased, expert restoration to spine extremities, [Hosken p.189], 8vo, 1878.
Africa.- Stanley (Henry Morton) The Congo and the Founding of its Free State, 2 vol., first edition, portrait frontispieces, wood-engraved plates and illustrations, 5 folding maps, 2 in pockets at end, bookplates, neat repairs to hinges, original pictorial cloth, slight bumping to spine extremities, [Hosken p.189], 8vo, 1885.
Africa.- Stanley (Henry Morton) In Darkest Africa, or the Quest Rescue and Retreat of Emin, 2 vol., first edition, portrait frontispieces, plates, illustrations, some full-page, 4 maps, of which 3 folding, 2 with short marginal tears, folding table at end vol. 2, bookplates to front free endpaper verso, original decorative cloth, slight bumping to corners and spine extremities, else an excellent copy, 1890; Coomassie and Magdala: the Story of Two British Campaigns in Africa, second edition, portrait frontispiece, wood-engraved plates and illustrations, 2 folding maps, 1 with short marginal tear and tissue repair, advertisements at end, occasional marginal finger-soiling, scattered faint spotting, recased in modern cloth retaining original backstrip, 1874, [Hosken p.189], 8vo (3).
Africa.- Stanley (Dorothy, editor) The Autobiography of Sir Henry Morton Stanley, G.C.B., first edition, presentation copy with Lady Stanley's card pasted in, half-title, portrait frontispiece, plates, tissue-guards, bookplate, faint marginal spotting to first and last few leaves, original cloth, gilt, fractional bumping to spine extremities, 8vo, 1909.⁂ Lady Stanley's card is inscribed to "Dr. Graham Little, F. R. C. P.' and dated December, 1909. Sir Ernest Graham-Little (1867-1950) was a dermatologist and the final MP for the London University seat.
Africa.- Wellby (Capt. M. S.) 'Twixt Sirdar & Menelik: An Account of a Years Expedition from Zeila to Cairo ..., first edition, frontispiece, illustrations, bookplate, original cloth, slight bumping to corners and extremities, 1901 § Bateman (Charles Somerville Latrobe) The First Ascent of the Kasaï, first edition, colour frontispiece, 6 etchings, 4 colour plates, 2 maps, 1 folding, bookplate, modern morocco-backed boards, 1889 § Kingsley (Mary H.) Travels in West Africa, second thousand, frontispiece, 2 lithographs, full-page illustrations, short marginal tear to one or two leaves, scattered spotting, advertisements at end, bookplate, original cloth, split to upper joint but holding firm, bumping to corners and extremities, 1897 § Thomson (Joseph) Through Masai Land, frontispiece, illustrations, folding map, scattered spotting, bookplate, original pictorial cloth, gilt, slight bumping to corners and extremities, 1887 § Jonveaux (Émilw) Deux Ans dans L'Afrique Orientale, frontispiece, illustrations, 2 folding maps, scattered spotting, bookplate, original decorative cloth, g.e., bumping to corners and extremities, Tours, 1880 § Dornan (S. S.) Pygmies & Bushmen of the Kalahari, first edition, frontispiece, plates and illustrations, bookplate, original pictorial cloth, gilt, fractional bumping to spine extremities, 1925 § Hodson (Arnold W.) Trekking the Great Thirst, second edition, portrait frontispiece, plates, 4 folding maps, bookplate, original cloth, fractional bumping to corners and extremities, 1913 § Randall-Maciver (David) & Anthony Wilkin. Libyan Notes, first edition, chromolithograph frontispiece, plates, original pictorial cloth, gilt, slight bumping to corners and extremities, 1901; 8vo & 4to (8)
Africa.- Weule (Dr. Karl) Native Life in East Africa, first English edition, half-title, portrait frontispiece, plates and illustrations, publisher's advertisements at end, new endpapers, bookplate, ex-library with ink-stamps to title verso, original cloth, rebacked retaining original backstrip, sunned spine, bumping to spine extremities, 1909 § Eliot (Sir Charles) The East Africa Protectorate, first edition, frontispiece, plates and illustrations, 2 folding maps, one torn in half at fold and loosely inserted, scattered spotting, previous owner's ink signatures, bookplate, original cloth, slight bumping to spine extremities, 1905 § Routledge (W. Scoresby & Katherine) With a Prehistoric People: The Akikuyu of British East Africa, first edition, I. & F.W. Hosken's copy with their bookplate, frontispiece, plates, folding map at end, bookplates, original pictorial cloth, lightly sunned spine and top edge, slight bumping to spine extremities, [Hosken p.172], 1910 § Hobley (C. W.) Ethnology of A-Kamba and other East African Tribes first edition, plates, folding map at end, previous owner's ink signature, bookplate, original cloth, slight bumping to spine extremities, Cambridge, 1910; and vol. 1 only (of 2) of McLeod's 'Travels in Eastern Africa', 8vo (5)⁂ Provenance: The third mentioned with the bookplate of the bibliographers I. & F. W. Hosken.
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