Jacopo di Giovanni di Francesco, auch genannt „Jacone“, 1495 – 1553, zug.Die Madonna mit dem JesusknabenÖl auf Holz.67 x 51,5 cm.In vergoldetem Prunkrahmen.Halbbildnis der stehenden Madonna vor dunklem Hintergrund, die in ihren angehobenen Armen den nackten Jesusknaben hält. Maria in rötlichem Gewand und hellblauem Mantel, der im Kragenbereich leicht umgeschlagen ist und eine zarte rötliche Farbe aufweist. Diese Farbe findet sich wieder in den rötlichen Wangen der Dargestellten und des Jesusknaben. Maria hat sorgsam oberhalb der Stirnmitte gebundenes braunes Haar und blickt mit ihren braunen Augen zur linken Seite aus dem Bild heraus. Der wohlproportionierte Jesusknabe schmiegt sich mit seiner linken Hand an den langen Hals der Madonna, hat seinen Kopf nach rechts gewandt und schaut in dieser Richtung aus dem Bild heraus. Malerei mit starken Hell-Dunkel-Kontrasten, wobei die Kleidung der Dargestellten in weichen zarten Farben wiedergegeben wird. (13300561) (2) (18)Jacopo di Giovanni di Francesco,also known as “Jacone”, 1495 – 1553, attributedTHE VIRGIN AND CHILDOil on panel.67 x 51.5 cm.In magnificent gilt frame.Half-portrait of a standing Madonna against a dark background.
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Nürnberger Meister, um 1500/1520Portrait eines Mannes nach rechtsÖl auf Holz.45 x 38 cm.Im Hochoval vor schwarzem Hintergrund der junge Mann mit freiem Oberkörper nach rechts mit leicht erhobenem rechtem Unterarm mit Fingergestus. Er hat dunkelblond-goldenes lockiges Haar, dazu einen Vollbart, beigefarbene Augen und scheint bei leicht geöffnetem Mund und durch seine Blickrichtung mit dem nicht sichtbaren Gegenüber im Gespräch zu sein. Außerhalb des Hochovals gemalte beige-braune teils leicht grünliche Steinstruktur. Feine Malerei insbesondere des Bartes und der Haare in überwiegend monochromer beige-goldener Farbigkeit. (13406522) (18)Nuremberg master, ca. 1500/1520PORTRAIT OF A GENTLEMAN TO THE RIGHT Oil on panel.45 x 38 cm.
Antonio Moro, 1512/19 Utrecht – 1575/77 Antwerpen, UmkreisPortrait eines geharnischten MannesÖl auf Holz.35 x 25,5 cm.In mit gegossenen Ornamenten verziertem Rahmen.Vor nicht näher definiertem Grund die leicht nach rechts gewandte Hüftfigur eines jungen Mannes mit Marschallstab, weißem Kragen und Spitzbart. Sein Harnisch aufwändig ziseliert und teilvergoldet. Auf seiner Brust der Orden vom Heiligen Vlies. Da nicht zu allen Trägern des Ordens Portraits identifiziert sind, konnte das vorliegende Gemälde bislang nicht eindeutig bestimmt werden. Eine Identifizierung mit Johann IV von Glymes, Marquis de Bergen-op-Zoom (1528-1567) erscheint jedoch wahrscheinlich.Provenienz:Sotheby’s, London, 07. Juli 2011, Lot 147, als Flämische Schule. (13300536) (2) (13)Antonio Moro1512/19 Utrecht – 1575/77 Antwerp, circle ofPORTRAIT OF AN ARMOUR-CLAD MAN Oil on panel.35 x 25.5 cm.The depicted man in the present portrait could not be clearly identified, since not all bearers of the order are known. However, it seems likely that this is a portrait of John IV of Glymes, Marquess of Berghes (1528-1567).Provenance: Sotheby’s, London, 7 July 2011, lot 147, as Flemish School.
Willem Drost,um 1630 Amsterdam – 1678 Venedig, zug.Der Künstler war ein bedeutender Schüler von Rembrandt van Rijn.Bildnis eines jungen Mannes in RüstungÖl auf Leinwand.105 x 87 cm.In dekorativem Rahmen.In einem dunkleren Innenraum, an dessen Rückwand ein weißes Schriftstück befestigt ist, das Halbbildnis eines jungen Mannes in Rüstung, der gerade versucht einen braunen Ledergürtel umzuschnallen. Er hat schulterlange braune Haare, ein feines Inkarnat mit geröteten Wangen, und mit leicht zusammengezogenen Augenbrauen schaut er mit seinen dunklen Augen bei leicht zur Seite geneigtem Kopf voller Interesse aus dem Bild heraus. Sein Gesicht und seine beiden Hände mit denen er gerade versucht den Gürtel zu schließen werden schlaglichtartig beleuchtet. Mit seinem rechten Unterarm stützt er sich zudem auf einen Tisch rechts neben ihm, auf dem sein Helm sowie der goldglänzende Griff seines Schwertes zu erkennen sind. Feine Malerei mit gekonnter Hell-Dunkel-Inszenierung. Teils Retuschen. (1341871) (18)Willem Drost,ca. 1630 Amsterdam – 1678 Venice, attributedThe artist was an important student of Rembrandt van Rijn.PORTRAIT OF A YOUNG MAN IN ARMOUR Oil on canvas.105 x 87 cm.
Tintoretto, eigentlich „Domenico Robusti“, 1560 Venedig – 1635 ebendaBildnis des Kardinalkönigs Enrico I von PortugalÖl auf Leinwand115 x 100 cm.In breitem altem vergoldetem Rahmen.Beigegeben eine Expertise von Prof. Dr. Arabella Cifani, Storico ed esperto d´Arte Perito d’Arte del Tribunale di Torino.Der Dargestellte in Dreiviertelfigur in Lebensgröße, mit rotem Birett und rotem Umhang, hier in seiner Funktion als Kardinal. Er regierte Portugal in den Jahren 1578 und 1580. Gemäß seinem religiösen Gelübde blieb er kinderlos, was zur Folge hatte, dass das Herrschergeschlecht des Hauses Aviz erlosch. Aus der folgenden Krise sollte die Spanisch-Habsburgische Herrschaft hervorgehen.Domenico Robusti, gen. Tintoretto, war der Sohn des Jacopo. Er hat sich weit mehr als dieser der Literatur zugewandt, portraitierte etwa den Dichter Celio Magno. Als Vorstand der Werkstatt seines Vaters und dessen Mitarbeiter vollendete er etliche von dessen Werken. Nach dem Tode des Vaters führte er die Werkstatt und schuf selbständig zahlreiche Werke, wie etwa sein berühmtes Gemälde „Traum des Heiligen Markus“, oder den Zyklus für die Scuola di San Giovanni Evangelista. Er trat nunmehr vor allem als Portraitist bedeutender Persönlichkeiten hervor, namentlich aus dem Hause der Dogen, wie: Pasquale Ciocogna, Marino Grimani, Marcantonio Memo, La Dogaressa Morosina Morosini (um 1597). Aber auch Portraitaufträge von außerhalb Venedigs wurden an ihn vergeben.In der hier beigegebenen gutachterlichen Dokumentation werden Vergleichsbeispiele genannt, wie etwa das von Cristofano dell‘Altissimo geschaffene Bildnis dieses Kardinalkönigs (Uffizien, Florenz). Die Zuweisung der Expertise an Domenico Tintoretto begründet sich nicht zuletzt auf den Vergleich mit dem Gruppenbildnis „Ritratto dei Confratelli della Scuola dei Mercanti“, das sich in der Galleria dell‘Accademia befindet. Die Bezeichnung auf dem Säulensockel rechts im Bild: “HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII“. Durch die Nennung des Alters von 62 Jahren ist die Datierung des Bildes fürs Jahr 1579 gesichert. A.R.Literatur:Vgl. Paola Rossi, Jacopo Tintoretto. I Ritratti, Venedig 1976.Vgl. Marsel Grosso, Robusti. Domenico, detto Tintoretto, in: Raffaele Romanelli (Hrsg.), Dizionario Biografico degli Italiani (DBI), Bd. 88: Robusti-Roverella, Rom 2017.Vgl. Paolo Mastandrea, Sebastiano Pedrocco, I dogi nei ritratti „parlanti“ di PalazzoDucale a Venezia, Sommacampagna 2017. (13300567) (2) (11)Tintoretto, actually "Domenico Robusti",1560 Venice – 1635 ibid.PORTRAIT OF HENRY, CARDINAL-KING OF PORTUGALOil on canvas.115 x 100 cm.Accompanied by an expert‘s report by Prof Dr Arabella Cifani, Storico ed esperto d’Arte. Perito d’Arte del Tribunale di Torino.The enclosed report lists comparative examples, such as the portrait of this cardinal-king created by Cristofano dell’Altissimo (Uffizi Gallery, Florence). The report identifies the creator of the painting as Domenico Tintoretto, based not least on the comparison with the group portrait Ritratto colletti dei Confratelli della Scuola dei Mercanti held at the Galleria dell’Accademia. The inscription on the column base on the right of the painting reads: “HENRIC.S CARD.S / REX. PORTV / GALIAE. ETC. /. AETATIS / SUAE LXII“. By giving the age of the depicted as 62, the painting can clearly be dated to 1579.
Vier seltene MuschelportraitsSichtmaß jeweils: 50,5 x 40 cm.Rahmenmaß jeweils: 60 x 50 cm.Sizilien, 19. Jahrhundert.Jeweils in farblich kontrastierenden camaieuhaft zusammenwirkenden Muschelkompositionen gestaltet mit Brustportrait in Tondo und darunterliegender Beschreibung der jeweiligen Komposition „S.A.R.D. Ferdinando principe erede del regno delle due sicilie“ / „Francesco primo re del regno delle due sicilie“ / „S.A.L.E.R.D. Maria Clementina arcid. d’Austria e princ. di Salerno“ / „S.A.R.D. Leopoldo Giuseppe Principe di Salerno.“ Jeweils in Nussbaumrahmen. Minimal besch. (13300531) (2) (13)Four rare shell portraits Visible size: 50.5 x 40 cm each.Frame dimensions: 60 x 50 cm each.Sicily, 19th century.Each designed as a bust portrait in tondo Camaieu-like shell compositions with contrasting colours and a description of the respective composition underneath: “S.A.R.D. Ferdinando principe erede del regno delle due sicilie” / “Francesco primo re del regno delle due sicilie” / “S.A.L.E.R.D. Maria Clementina arcid. d’Austria e princ. di Salerno” / “S.A.R.D. Leopoldo Giuseppe Principe of Salerno”.
Flämische Schule des 17. JahrhundertsPortrait der Elisabeth de HarlayÖl auf Leinwand. Doubliert.125 x 93 cm.Plakette am unteren Rahmenrand, darauf Namensnennung der Dargestellten.In dekorativem teilfloralem Rahmen.Vor einer Mauerbrüstung stehend, hinter der der Blick auf den wolkenreichen Himmel und nach rechts in eine Parklandschaft vor Gebirge fällt, ein junges Mädchen nach rechts in einem feinen weißen Seidendamastkleid mit breitem Spitzendekolleté, einer weißen Haube mit roten Schleifchen, sowie einer Perlenkette um den Hals und einem großen sichtbaren Perlenohrring. Sie hält in ihren Händen einen kleinen Korb mit einem prächtigen Blumenbouquet. Sie hat feines Inkarnat und mit ihren dunklen glänzenden Augen schaut sie würdevoll aus dem Bild heraus. Feine Malerei mit besonderer Betonung der Stofflichkeit und des feinen hellen Inkarnats gegenüber dem dunklen Hintergrund. (1341081) (18))
Félix Henri Giacomotti, 1828 – 1909Portrait einer jungen Dame mit braunen HandschuhenÖl auf Leinwand. Doubliert.116 x 81,2 cm.Rechts unten signiert „Giacomotti“. Verso auf Keilrahmen mit umfangreicher Beschriftung.In breitem, durch reliefierten Blattzierrat akzentuiertem Rahmen.Nachdem Giacomotti, der zwar italienischer Abstammung war, jedoch in Paris lebte, beim Prix de Rome 1854 den zweiten Platz erreichte, hielt er sich mehrere Jahre in Rom auf. Um das Stipendium wahrnehmen und damit mehrere Jahre in Italien verbringen zu dürfen, legte Giacomotti seine italienische Staatsbürgerschaft ab und nahm die französische an. 1861 jedoch kehrte er nach Paris zurück und wandte sich der Portraitmalerei zu, in der er bei der Darstellung vornehmlich der Pariser Damenwelt brillierte. (1330132) (13))
A PORTRAIT OF YOUR CHOICE: DAVID GRIFFITHS MBE David Griffiths MBE will paint a detailed portrait of you or somebody of your choice on a convenient date after the auction. Regarded as one of the U.K's foremost portrait painters, It was his portrait of Prince Charles on the occasion of Charles' investiture as Prince of Wales in 1969 which brought him to general notice
Robert De Niro signed hardback book titled De Niro portrait of a legend signature on front cover. 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
Louis Le Brocquy HRHA (1916-2012)Fantail No.627Oil on canvas, 38 x 47cm (15 x 18½")Signed; signed and dated (19)'93 versoLouis le Brocquy first made drawings of pigeons on a visit to Italy in 1956. Staying in a “a charming, whitewashed . . . house” on Ischia, as Anne Madden later recalled, he fed a flock of white doves in the courtyard each day and wondered how one might capture their lively, fluttering, tumbling movements. He set about doing so in a series of sketches. Once he was at home, these skethces formed the basis for a number of small oil paintings.Many years later, in the early 1980s, living and working at Les Combes in mountainous terrain of the South of France, the couple had a dovecote occupied by their own fantail pigeons. Somewhat exhausted after working on a series of head images, le Brocquy found himself at a minor impasse. An artist, he observed, wasn’t in charge of what to paint: “He simply does his best to catch some kind of inner tide.” As it happened, he elaborated, he seemed to “have caught an ebb tide” in that he had been drawn back to “ever present” nature, and was painting “groups of children and fruit and goldfish and fantailed pigeons.”The fantails proved to be a rich source of inspiration and several paintings of them featured in his solo show at Taylor Galleries in 1985. He suggested that his subject matter at the time, including still life and the fantails, may have been something of a break from the intensity of the portrait heads, but in the event he brings all of the same techniques and concentration to these airy, cheerful, uplifting works as he had done to human subjects.Aidan Dunne, October 2022
Paul Henry RHA (1877-1958)Connemara Hills (1924-30)Oil on canvas, 25.5 x 31cm (12 1/4 x 10")SignedProvenance: Private Collection, Co. DublinExhibited: Belfast, Ulster Museum 'Paul Henry: An Irish Portrait' November 1997 - April 1998, unnumbered; Dublin, National Gallery of Ireland, 'Paul Henry' February - May 2003, Catalogue No. 77, illustrated p.106Literature: S.B. Kennedy, 'Paul Henry, Paintings, Drawings, Illustrations,' Yale University Press, 2007, Catalogue no. 621, illustration p. 225Despite its size, this small panel captures with awe the sense of spatial enclosure of the high mountain range which provides the setting.It dates from a period when Henry, now based in Dublin, paid few visits to the West of Ireland and it would thus have been made from sketches done earlier. The strength of the image, the barely roughed in cottages perched on a small foreground promontory contrasting dramatically with the deep blue mass of the mountains which dominate the greater portion of the picture plane, shows the lasting influence of Post-Impressionism on Henry’s compositional technique.Dr. S.B.Kennedy (2003)
Basil Blackshaw HRHA RUA (1932-2016)CockerelOil on canvas, 40 x 50cm (15¾ x 19¾")SignedProvenance: With Solomon Gallery, Dublin, label verso; Collection of the late Vincent Ferguson; Private CollectionA good friend of Basil Blackshaw’s, Hugh McIlveen, noted that the rural community into which his family moved shortly after his birth, Boardmills, was crucial in shaping his sensibility. It was only 20 miles south of Belfast but it was a world apart, a realm of small farms and “high hedgerows.” It was, McIlveen points out, only supplied with mains electricity in 1953. Here Basil, the son of a professional hunt horse trainer who worked regularly in England, spent a childhood among animal breeders, steeped in rural pursuits. The yards at home, first Boardmills and, later on, Culcavy, Hillsborough, were perpetually busy with horses, terriers, lurchers and, a little underneath the radar, fighting cocks. Of the latter, McIlveen writes, Blackshaw had “an unusually expert knowledge.”Blackshaw spent a great deal of time looking at animals of one sort of another. His paintings of cockerels of whatever kind tend to be intensely lively, vivid, even explosive in terms of movement and energy. Wild flurries of paint equate to the fierce animation of the birds. Here, the artist conveys the colours, mass and drive of the animal with bursts of paint applied at speed. He scrapes through the storm of pigment, perhaps with the tip of the brush handle - like many other painters including Caravaggio - to pin down and indicate the continuity of form in the midst of the confusion.The youngest of seven siblings, Blackshaw was recognised as being precociously gifted and fast-tracked his way through art college. He remained a countryman, however, never settling in the city and usually surrounded by animals. Famously, when he took on a teaching job, a traditional livelihood for art graduates, he treated the school’s temporary closure during a snowy spell as a providential sign and never went back. Renowned for his paintings of landscape, a range of animals, the human figure and many portrait subjects, he was and remains highly esteemed among artists and public alike.Aidan Dunne, October 2022
Francis Bacon (British 1909-1992), 'Portrait Of Peter Beard', 1976, etching and aquatint in colours on Arches paper, signed and numbered from an edition of XLV in pencil (there were also 100 numbered with Arabic numerals and ten artist's proofs) published by Éditions Georges Visat et Cie, Paris, sheet: 38.4 x 28.3cm (Framed)ARRsheet: 38.4 x 28.3cm (Framed)In very good conditionNo knocks, tears or creases to the sheetMinor marking to the bottom right hand corner and top edge of the sheet, visible upon very close inspection Framed in a gold frame with a white mount by Simon Beaugié picture framers ltd, using ultra-violet filtering perspex This work has not been examined outside of the frame.
Schaarwächter, Julius Cornelius -- Group portrait of Emperor Wilhelm II with his family.1896. Platinum print on Photo.Crayon paper. 20 x 12,5 cm. Mounted to original studio board with photographer's name printed below the image and signed and dated by Empress Augusta Victoria in pencil on the mount.Schaarwächter already learned his trade from his father, as well as at the Gewerbeakademie with Hermann Vogel in Berlin. Since 1889, he held the title of "Hofphotograph seiner Majestät des Kaisers und Königs und Ihre Königlichen Hoheit der Frau Erbprinzessin von Sachsen-Meinigen, Prinzessin von Preußen". During the 1880s/90s, he was the most successful portrait photographer in Berlin. – In very good condition.
Daguerreotypes -- Photographer: Henry Pollock (b. 1810, active 1849-89). Portrait of a distinguished man holding a letter. Early 1850s. Quarter-plate daguerreotype with gilt ornamental surround with stamped photographer's name and location (BALTo), behind glass in leather case with red velvet lining and embossed flower ornaments on front and back cover.Pollock was among the early daguerreotypists in Baltimore. Among the local photographers, he was the most renowned and respected. His distinguished and opulently furnished studio rooms, and especially the separate dressing room for ladies, were an attraction for the wealthy upper class in Baltimore. He used particularly high-quality lenses and large-format cameras that could shoot unusually large plate formats. His name (lower left) and Balt(imore) (lower right) are always stamped on his plain mounts. – A few light corrosion spots on plate, otherwise a clear image in very good condition.
Ottoman Empire -- Photographers: Abdullah Frères and Alphonse Rubellin. Attractive portrait album showing a wide range of people living in the Ottoman Empire. 1860s-1880s. 103 cartes-de-visite albumen prints, all with early photographer's logo (some hand-stamped), address and name and most titled and numbered in ink in contemporary hand on mount verso, inserted in album window mat boards (some damaged, slightly soiled), bound in contemporary tooled leather album (rubbed) with brass and glass ornaments (some missing) and brass clasp. This extensive collection of cartes-de-visite portraits documents the vast cultural and ethnic diversity in the Ottoman Empire. 64 cartes-de-visite show various peoples of the Empire. Among them are Afghan, Algerian, Georgian, Greek, Persian, Turkish and Jewish people. Also includes a wide range of street sellers with their goods, beggars, warriors, Orthodox priests and other high-ranking persons such as Kececizade Mehmed Fuad Pasha (1814-1869). – Some faded, some light scuff marks, otherwise most in very good condition. Lit.: Bahattin Öztuncay. The Photographers of Constantinople. Pioneers, studios and artists from 19th century Istanbul. Istanbul 2006 (2nd edition), ill. p. 380 and compare 494-499 (street sellers).
Kollwitz, Käthe -- Photographer: Tita Binz (1903-1970). Portrait of the artist Käthe Kollwitz. 1936/37. Vintage gelatin silver print on Agfa-Brovira paper. 36,2 x 26,7 cm.An intriguing portrait of the German artist Käthe Kollwitz in her studio. In the background one can see her sculpture "Mutter mit zwei Kindern" (Mother with Two Children). The photographer Tita Binz began her career with an apprenticeship at her uncle Léopold Reutlinger's studio in Paris. She later moved to Berlin, where she had her own studio as of 1938, specializing in portrait photography. – Traces of previous mounting on the verso, otherwise a fine tonal print in near excellent condition.
Daguerreotypes -- Photographer unknown. Portrait of a man. Circa 1865. Pannotype. 8 x 7 cm (12,5 x 10,5 cm). Mounted in contemporary mat (slightly soiled).The pannotype (pannus=linen) is a positive collodion image applied to a fine textile fabric (usually linen). These images were cheaper and more robust than the daguerreotypes or the later paper prints, but not as brilliant. They were invented c. 1853 by Jean Nicolas Truchelut and the technique was used by only a few photographers as the production was complicated and cumbersome. These types of images are very rare today. – A few small surface rubbed spots, otherwise in very good condition.
Minkkinen, Arno Rafael -- "Self-Portrait, Kilberg, Vardo, Norway". 1990. Vintage gelatin silver print. 33,3 x 25,7 cm (40,3 x 30,4 cm). Signed by the photographer in pencil in lower margin; signed, titled, dated and editioned 16/25 by the photographer in pencil on the verso.Born in Helsinki, Finland, in 1945 Minkkinen emigrated to the United States with his family in 1951. He began taking self-portraits in 1971, while working as an advertising copywriter on Madison Avenue in New York. Studying later with Harry Callahan and Aaron Siskind at Rhode Island School of Design, he earned his Master of Fine Arts degree in photography in 1974. Over the past four decades, Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic research and energies to the self-portrait: unmanipulated images of the human figure in the natural landscape. Published and exhibited worldwide, Minkkinen’s work can be found in the collections of the Museum of Modern Art in New York, the Museum of Fine Arts, Boston, the Addison Gallery of American Art in Andover, Massachusetts and the Centre Pompidou, Paris. – Traces of previous mounting on the verso, otherwise a rich tonal print in excellent condition.Lit.: Arno Rafel Minkkinen, Saga, The Journey of 35 Years of Photographs, San Francisco 2005.
Hanfstaengl, Franz -- Portrait of Clara Schumann from "Album der Zeitgenossen" portfolio. 1857/printed 1970s. Gold-toned salt print (with cut corners) from the original collodion glass negative. 25,5 x 20,5 cm. Photographer's contemporary blindstamp in lower edge, signed by the photographer in the negative, mounted to modern board with ornamental borders and photographer's letterpress below the image on the mount.A few small retouched spots, otherwise a rich dark print in near excellent condition.Lit.: Heinz Gebhardt. Franz Hanfstaengl. Von der Lithographie zur Photographie. Munich 1984, all but one illustrated, unpaginated.
![[*] China -- Photographer: Lai Afong (c. 1859-1941, attributed to). Group portraits. 1880s/90s. 3 albumen prints. Each circa](https://cdn.globalauctionplatform.com/607e7e29-bdf9-4289-808b-af49014d74e2/4b048489-099b-4885-8936-af49016bdff5/468x382.jpg)
[*] China -- Photographer: Lai Afong (c. 1859-1941, attributed to). Group portraits. 1880s/90s. 3 albumen prints. Each circa 21,5 x 27,5 cm. Each mounted to board.This group includes a portrait of two richly dressed Chinese women in a studio, a fortune teller and a court scene. – Some light surface scuffing, otherwise in good condition.
Perscheid, Nicola -- Portrait of Generalfeldmarschall Paul von Hindenburg. 1915. Vintage gelatin silver print. 22,5 x 17 cm. Mounted to board (slightly soiled), signed by the photographer in pencil below the image on the mount. Slight surface rubbing, only visible at an angle, otherwise in near excellent condition.
Portrait Album -- Commemorative portrait album. June 22, 1855. 16 salt prints. Each circa 17 x 13 cm. Each mounted in ornamental paper mat and bound in gilt-edged contemporary brown full leather gilt-tooled album with gilt-stamped caption Unserem Theuren Vater zum 22. Juni 1855 (edges minimally rubbed, spine loose from cover) on front cover, with silk fly leaves/endpapers.The sitters in this album apparently belonged to a wealthy family (many are annotated in pencil on verso with sitters' names). This is also indicated by the album's opulence and the very fine portraits, which are unusually large for this time. – Some leaves loose, some photos breaking out of paper mat in areas. On the whole rich beautiful salt prints, many highlighted and finely overpainted by hand, most in near excellent condition in a well preserved album. Rare in this quality and condition.
Robert O. Lenkiewicz (British 1941-2002) Portrait of two girls Signed, pencil drawing.38cm x 46.5cm (15in x 18.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. There are some light creases across the paper and some minor spots of foxing and browning across the sheet. The drawing is framed and glazed.
Dutch School, 1639Portrait of a child, full-length, in white costume, with a male figurine bears inscription 'AETAT: 27 Maenen/Ao: 16.39. (upper right)oil on panel, oval71.2 x 59.2cm (28 1/16 x 23 5/16in).Footnotes:ProvenancePrivate Collection, UK since at least the 1930sThe sitter in the present work can be compared to the youngest girl in Wybrandt de Geest's (Leuwarden 1592-1659) family portrait offered at Christie's, New York, 26 January 2001, lot 119.For further information on this lot please visit Bonhams.com
Augusto Nicodemo (active Italy, 1763- late 18th Century)Portrait of a young lady in the grounds of the Villa Borghese, Rome signed, inscribed and dated 'Augusto Nicodemo/ Roma 1794' (on the rock, lower left)oil on canvas, unlined97.7 x 74cm (38 7/16 x 29 1/8in).Footnotes:ProvenancePrivate Collection, NaplesPrivate Collection, France, where purchased by the present ownerLittle is known of the life of Augusto Nicodemo but he is recorded as Court painter to Maria Carolina of Naples in the 1790s. Whilst this period was a more perilous time to make journeys to the European Continent and therefore saw fewer foreign visitors to Italy, he is known to have painted Grand Tourists, such as his 1797 group portrait of the Lambton Family in Naples (sale Christie's, London, 22 April 1983, lot 81).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Workshop of Francesco Morandini, called Il Poppi (Poppi 1543-1596 Florence)Portrait of a richly dressed lady, half-length oil on panel, oval86.5 x 64.3cm (34 1/16 x 25 5/16in).in a carved Sansovino frameFootnotes:Provenance Sale, Sotheby's, London, 8 December 2016, lot 113, where purchased by the present owner This figure was clearly a popular composition for Il Poppi, as attested to by the numerous versions by himself and his workshop. In each, attributes are altered so that she is variably identified as Saint Catherine of Alexandria, Saint Helena, or, as she is in the present composition, as a noblewoman.For further information on this lot please visit Bonhams.com
George Romney (Beckside 1734-1802 Kendal)Portrait of Thomas Walker (circa 1747-1817), half-length, in black oil on canvas76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceBy descent to the sitter's granddaughter, Mrs Eason Wilkinson, 1874G. Eason Wilkinson, 1900 and thence by descent through the family to the present ownerExhibitedGrafton Galleries, Romney, Autumn, 1900, no. 64LiteratureB. Jerrold (ed.), Thomas Walker: The Original, London, 1874, vol. I, pp. 41-42Sir. H. Maxwell, George Romney, London, 1902, p. 193, cat. no. 406Paston, George Romney, London, 1903, p. 204T. Humphrey Ward and W. Robert, Romney: A Biographical and Critical Essay with a Catalogue Raisonné, London and New York, 1904, vol. II, p. 164D. A. Cross, A Striking Likeness: The Life of George Romney, Aldershot, 2000, pp. 81, 170A. Kidson, George Romney 1734-1802, New Jersey, 2002, exh. cat., p. 30D. Alexander, 'A Reluctant Communicator: George Romney and the Print Market' in Those Delightful Regions of Imagination: Essays on George Romney, New Haven and London, 2002, pp. 266, 284May 2005, p.13A. Kidson, The Paintings of George Romney, New Haven and London, 2015, vol. II, p. 602, cat. no. 1352 (as untraced)EngravedWilliam Sharp, line, 5 November 1794The sitter of the present portrait was a Manchester cotton merchant and political reformer. Having already been acquainted with the writings of Rousseau, Hume, Locke, and Voltaire, his political interests were most likely further aroused after he married Hannah Shore in 1775, whose brother, Samuel Shore was a Unitarian and member of the Society of the Friends of the People. As an outspoken protectionist, Walker earned national fame in 1785 when he successfully led a local campaign to oppose the government's introduction of a fustian tax. By the end of 1787 Walker had become chairman of a Manchester anti-slavery committee, holding the post for several years. These efforts endeared him to many leading Foxite Whigs, especially the earl of Derby, who became godfather to one of Walker's sons and who sponsored Walker's election to the Whig Club in 1788. Walker was also associated with the Manchester Revolution Society and on 1 February 1788 he became a member of the Society for Constitutional Information. Following the outbreak of the French Revolution, Walker was elected a steward of the London Revolution Society. In 1791 he helped establish the Manchester Herald and his house became a rendezvous for reformers after they were excluded from local taverns and public houses. He was tried and acquitted of High Treason in 1794.Romney's Ledger records that the present portrait was begun on 9 July 1793, that the first recorded sitting was on the 15th and the fourth and final one on the 31st of that month. The sitter paid £20 on 20 July and the balance of £15 16s, possibly as early as the same day, judging from the entry in the Receipt Book which suggests that the whole fee was received at once. The work was sent to William Sharp to be engraved on 10 October. It is highly likely that it was undertaken for the purposes of the engraving all along and Sharp no doubt viewed it as a sequel to his engraving of Romney's portrait of Thomas Paine, the first state of which had been published in 20 April, 1793. Together with Paine, Walker was Romney's most prominent Radical client during the early 1790s and the commission reinforced the artist's image as a sympathiser with the French Revolution. Sharp's engraving was the subject of a witty letter from engraver to sitter requesting him to 'get into a scrape' in order to make the print sell well after it was initially published on 5 November, 1794. In February 1795 Walker requested alterations to the engraving and it is recorded in March of that year that it was 'finished under Romney's directions'.We are grateful to Alex Kidson for confirming that the present portrait is Romney's original that was hitherto only known from Sharp's engraving.For further information on this lot please visit Bonhams.com
Enoch Seeman (Danzig circa 1694-1745 London)Portrait of Sir John Shuckburgh, 3rd. Bt, three-quarter-length, in a blue velvet coat, holding a crop, standing in a landscape with his hound bears inscription 'Sir John Shuckburgh Bart' (lower left)oil on canvas126.6 x 103.5cm (49 13/16 x 40 3/4in).Footnotes:ProvenanceSale, Sotheby's, London, 12 November 1997, lot 65Quenby Hall, LeicestershirePrivate Collection, UKThe sitter was the son of Sir Charles Shuckburgh (1659-1705), Master of the Buckhounds to Queen Anne, and his first wife Catherine.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Attributed to Jacques D'Agar (Paris 1640-1715 Copenhagen)Portrait of a gentleman, said to be George Ashby, three-quarter-length, in military costume, a battle scene beyond oil on canvas118.1 x 95.7cm (46 1/2 x 37 11/16in).Footnotes:ProvenanceBy descent in the family of the sitter at Quenby Hall, LeicestershirePrivate Collection, UKThe sitter was the eldest son of George Ashby and his wife, Mary, daughter of Euseby Schuckburgh of Naseby Hall, Northamptonshire. The battle scene in the present work has traditionally been said to be the Battle of Naseby in 1645. George Ashby (1656-1728), who was twice High Sheriff of Leicestershire and twice MP for the city of Leicester, was remembered for his honesty in politics and his tree-planting on the Quenby estate. Like his father he married an heiress, Hannah Waring, who brought him a portion of £9,000. At his death, George had three surviving sons, but it would seem that he had fallen out with the elder two, as Quenby and Naseby were left to his youngest son, Waring Ashby (1697-1770), and there were only bitter words in his will for John (1687-1756) and Edmund (1690-1775).This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Studio of Rembrandt Harmensz. van Rijn (Leiden 1606-1669 Amsterdam)Portrait of the artist, bust-length, in a gorget oil on panel41.9 x 29.7cm (16 1/2 x 11 11/16in).Footnotes:ProvenanceCollection of Eckard Wagner (1941–2019), Schloss Clemenswerth, GermanySale, Dorotheum Vienna, 10 November 2020, lot 73 where purchased by the late owner The present portrait relates to two autograph self-portraits by Rembrandt painted around 1629; one is in the collection of the Mauritshuis, The Hague, whilst the second is in the Germanisches Nationalmuseum, Nuremberg.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Florentine School, 16th CenturyPortrait of a lady, three-quarter-length, with a dogoil on panel 81.6 x 63.5cm (32 1/8 x 25in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Benjamin West (Pennsylvania 1738-1820 London)Portrait of Joshua Iremonger, half-length, in a brown coat oil on canvas76.6 x 63.8cm (30 3/16 x 25 1/8in).Footnotes:ProvenanceThe Collection of George Marsham, by whom offeredSale, Christie's, London, 24 July 1936, lot 78 (as Josiah Iremonger)With McClees Galleries, Philadelphia, 1936With Hammer Galleries, New YorkThe Collection of Henry W. Rustin, New York, 1936 and thence by descent to the present ownerLiteratureH. von Effra and A. Staley, The Paintings of Benjamin West, New Haven and London, 1986, pp. 522-3, cat. no.644, ill.According to Staley and Effra, who suggest the present work dates to circa 1765-70, the sitter is either Joshua Iremonger (died 1804), of Wherwell Priory, Hampshire or more probably his son of the same name (circa 1744-1817). The elder Joshua was half-brother to Sarah, Lady Fetherstonhaugh of Uppark, Sussex. A slightly revised version of the present portrait is at Uppark and dates to the mid 1770s (see: Staley and Effra, ibid, pp. 522-523).For further information on this lot please visit Bonhams.com
Swiss School, early 19th CenturyPortrait of a girl, half-length, in a red, fur trimmed dress oil on canvas53.6 x 46.6cm (21 1/8 x 18 3/8in).Footnotes:ProvenanceReputedly, from the estate of a female descendant of the architect Joseph Couderc-GentillonThe present work was previously owned by the Gentillon family in Geneva, where it hung beside the 1805 portrait by Jean Auguste Dominque Ingres of the architect Joseph Couderc-Gentillon.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Limoges (A. Raynaud & Cie) pâte-sur-pâte cane handles, late 19th centuryEach with a blue ground, the top with a pâte-sur-pâte portrait, mounted on shafts with gilt metal collars and horn ferrules, the handles: 3.8cm diam. and 4.8cm wide; the full canes: 91.5cm long, traces of green printed mark to one (2)Footnotes:Provenance:Laurence Jantzen, Le Louvre des Antiquaires, Paris, 2003Literature:G. Bezzaz/C. Dike, La Canne object d'art (1988), p. 245 (the light blue one)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A French porcelain pâte-sur-pâte cane handle, late 19th centuryOf circular flat shape, the blue ground with the profile portrait of a woman, the edge gilt, mounted on a shaft with metal collar with marcasite and a metal ferrule, the handle: 6cm diam.; the full cane: 90cm long (minor rubbing to gilt edge)Footnotes:Provenance:Laurence Jantzen, Le Louvre des Antiquaires, Paris, 2003 (from her personal collection)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Meissen portrait plates, second half 19th centuryPainted with foliate borders around the gilt-edged rims, and circular portrait panels, probably outside-decorated, depicting Frederick the Great of Prussia and Emperor Napoleon, with gilt swags above and below, 24cm diam., crossed swords marks in underglaze-blue. gilt numeral 26 and indistinct mark, impressed numerals (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Faenza maiolica albarello, early 16th centuryPainted with a bust portrait of a woman flanked by yellow strapwork devices on a green ground above a drug label inscribed 'Grasso de anara', all between bands of scrolling foliage, the reverse painted in blue with a trellis motif enclosed by scrollwork, 16cm high (restuck, some losses)For further information on this lot please visit Bonhams.com
A Meissen basket centrepiece from the Podewils service, circa 1741-42Modelled by J.J. Kaendler, with two putti clad in puce andtruquoise drapery supporting a pierced oval basket painted on each side with the arms of Podewils and with moulded and gilt shells around the gilt-edged rim, the inside with scattered indianische Blumen, the rockwork shaft applied with leaves and flowers and painted in shades of brown and green around the base, 32.3cm high, crossed swords mark in blue, gilt mark P., impressed 44 (basket cleanly restuck to shaft)Footnotes:Provenance:Ole Olsen Collection, Copenhagen (by 1927)Literature:H. Schmitz, Generaldirektør Ole Olsens Kunstsamlinger II (1927), p. 38, no. 1563, pl. LV;T. Iwe, Das churcöllnische Speiseservice für Kurfürst Clemens August von Köln, in Keramos 195 (2007), p. 12, ill. 5Heinrich von Podewils (1695-1760) entered Prussian service in 1720 and, together with his two brothers, was raised to the rank of Graf (Count) in 1741. He was Prussian envoy in Copenhagen and Stockholm in 1728-29, and subsequently was Prussian negotiator following the Silesian wars, signing the peace treaties of Breslau (1742) and Dresden (1745). It was probably in connection with the First Silesian War that Podewils was sent by the newly-crowned King of Prussia, Frederick the Great, on a mission to Dresden, where he arrived on 15 November 1741. Podewils himself recorded in a memoir, 'as of the end of 1741, I was posted by His Royal Majesty to the court of Dresden where, after having successfully accomplished my commission, the King in Poland most graciously made me a gift of a portrait of himself, lavishly set with diamonds, and a costly porcelain table service' (quoted in Samuel Wittwer, Liasons Fragiles: Exchanges of Gifts between Saxony and Prussia in the Early Eighteenth Century. In Cassidy-Geiger (ed.) 2007, p. 101)).The shapes for the service had been developed around the same time for the Elector Clemens August of Cologne (Hoffmeister 1999, II, no. 361), and a handful of slightly later examples with simple flower painting have also survived. Dr. Wittwer speculates (op. cit., p. 102) that the Podewils service decoration of indianische Blumen may originally have been intended for the Elector, who preferred more European flowers. The design may then have been adapted for Podewils, perhaps because the service was urgently required. Additions to the service appear to have been ordered at Meissen, and at the Berlin manufactory after Podewils' death. In a letter to Karl-Wilhelm Finck von Finckenstein, Frederick the Great wrote of Podewils after his death: 'I regret very much poor Podewils. He was a man of honour and a good citizen. The loss of such a worthy and faithful servant will always remain a sorrowful memory' (quoted in Hoffmeister 1999, II, p. 608). One hundred and sixty-three pieces from this service (including some Berlin replacements) including the present lot were in the collection of Ole Olsen, which was sold in Copenhagen between 1943 and 1953.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Johann Georg Ziesenis1716 Kopenhagen - 1776 HannoverPrinzessin Marie Charlotte Amalie von Sachsen-MeiningenDreiviertelfigur nach links an ihrem Stickrahmen sitzend. In Palastinterieur mit Vorhangdraperie. Öl auf Lwd. 142 x 100 cm. Umlaufende Randdoublierung. Rest. Rahmen besch. (150 x 106,5 cm). Das vorliegende Gemälde ist eine deutlich vergrößernde Wiederholung des kleineren Gemäldes im Besitz der Staatlichen Museen zu Berlin, Gemäldegalerie (Inv.-Nr. 1880) aus dem Jahre 1768 und zeigt die Prinzessin kurz vor ihrer Heirat. Ziesenis fertigte auch ein Porträt ihres Verlobten, des Herzogs Ernst von Sachsen-Gotha-Altenburg. Besonders auffallend ist die Art der Darstellung beider Personen: Das Bildnis des Herzogs in Parklandschaft spielt auf die "leisure time" des Bräutigams an, er ist in moderner, legerer Kleidung wiedergegeben, die später als "Werthertracht" bezeichnet wurde. Diese Mode wurde aus England adaptiert und lehnte sich an bürgerliche Kleidung an. Beim Bildnis Charlottes von Sachsen-Meiningen zeigt Ziesenis "ein 'häusliches' Bild weiblicher Tugend" indem er sich des Motivs der "handarbeitenden Fürstin" bedient. Dabei handelt es sich um einen neu entstandenen Typus des höfischen Privatporträts. Es werden bei beiden Porträts die Grenzen zum bürgerlichen Bildnis durchbrochen, ein sozialhistorisch nicht unbedeutender Aspekt (Zitate nach Schrader 2016, s. u., S. 213). Charlotte, Prinzessin von Sachsen-Meiningen (1751 Frankfurt a. M. - 1827 Genua) war durch Heirat eine Herzogin von Sachsen-Gotha-Altenburg. Sie wurde als Tochter des Herzogs Anton Ulrich von Sachsen-Meiningen und dessen Ehefrau Charlotte Amalie, einer geborenen Prinzessin von Hessen-Philippsthal geboren. 1769 heiratete sie in Meiningen Herzog Ernst II. von Sachsen-Gotha-Altenburg. Sie unterstützte ihren Mann in seinem Bemühen, als aufgeklärter Monarch aufzutreten und in seiner Förderung von Kunst und Wissenschaft. Der Astronomie galt das besondere Interesse der Herzogin. Herzogin Charlotte hatte mit Ernst II. vier Söhne, darunter die beiden späteren Herzöge von Sachsen-Gotha-Altenburg August und Friedrich IV. Nach dem Tod ihres Mannes im Jahre 1804 kam es zu Differenzen mit seinem Nachfolger Herzog August. Sie verließ Gotha, nach einem Aufenthalt in Eisenberg reiste sie mit ihrem Oberhofmeister in den Süden. Mehrere Jahre lebte sie in Marseille, später in Genua. Bernhard von Lindenau (1779 Altenburg - 1854 ebenda) war Jurist, Astronom und Minister in Sachsen. Seine bedeutende Kunstsammlung bildete den Grundstock des Lindenau-Museums in Altenburg. Da er die Fürsten Sachsen-Gotha-Altenburg jahrelang in Finanzfragen und juristischen Fragen beriet und ab 1822 den Nachfolger Augusts in den Regierungsgeschäften vertrat (was ihm im Volksmund den Beinamen "Herzog Bernhard" einbrachte) wurde ihm unter anderem dieses Portrait geschenkt. Literatur: Osten, Gert v. d., Hannoversches Rokoko. Johann Friedrich, Johann Georg, Elisabeth Zisenis. Ausst.-Katalog Hannover, Niedersächsisches Landesmuseum, 1937, Kat.-Nr. 151. - Schrader, Karin, Der Bildnismaler Johann Georg Ziesenis (1716-1776). Leben und Werk mit kritischem Oeuvrekatalog (= Göttinger Beiträge zur Kunstgeschichte, 3). Münster 1995, S. 247, WVZ-Nr. 212a. - Dies., Porträts als Medien dynastischer Kommunikation. Johann Georg Ziesenis in Gotha und Weimar, in: Bomski, Franziska u. a. (Hg.), Mens et Manus. Kunst und Wissenschaft an den Höfen der Ernestiner. Göttingen 2016, S. 209-235, v. a. S. 211: Erwähnung des vorliegenden Porträts. Provenienz: Nachlass Bernhard von Lindenau (1779 Altenburg - 1854 ebenda). - Seitdem im Besitz der Nachfahren Lindenaus. Wir danken Dr. Karin Schrader, Bad Nauheim, für ihre freundliche Unterstützung im Rahmen der Katalogisierung.
Unbekannter Maler des Jugendstils, um 1900Bildnis einer Dame mit gewelltem Haar. Öl auf Malpappe, um 1900/10. Unsigniert. Rückseitig Entwurfszeichnungen für Jugendstil-Alphabet. Im Rahmen der Zeit. 46 x 35 cm, 62 x 50 cm (Ra). Malträger leicht verwellt. Etwas berieben. Wohl skandinavischer bzw. dänischer Maler. Unknown Art Nouveau painter. Portrait of a Lady with wavy hair. Oil on cardboard, around 1900/10. Backside with sketches for an alphabet design. In original frame. Board a bit wavy, paint a bit rubbed. Pres. scandinavian or danish artist.
Goller, Josef (1868 Dachau - 1947 Obermenzing)Plakat "Central-Theater / Cléo de Mérode". Farblithografie, um 1905/10. Gedruckt bei Theodor Beyer, Dresden. Im Stein im Motiv unten mittig monogrammiert. Ungerahmt. 95 x 65,5 cm (Bl). Partiell fleckig. Deutliche Knicke, kleinere Randmängel. Nicht hinterlegt. Dekoratives Jugendstilplakat mit Portrait der Hauptdarstellerin im strengen Seitenprofil. Poster Central-Theater Dresden. Colour lithograph, around 1905/10. Printed in Dresden. Monogrammed in the stone bottom middle. Unframed. Spotty, foxing, stains. Visible bends, smaller bruises at the margins. Decorative Art Nouveau poster with portrait of the French actress. Not relined.
Bildnis der Kaiserin Katharina der Großen von RusslandBruststück der Herrscherin mit Diadem-Krone, Hermelin und Blauem Band. Nach Vigilius Eriksen (1722-1782). Öl auf Leinwand, um 1780. Unsigniert. Rückseitig Etikett Sotheby's Kopenhagen. In Schmuckrahmen. 69 x 58 cm, 92 x 78 cm (Ra). Doubliert, restauriert 1996 in Dänemark (Vermerk auf Keilrahmen). Zahlreiche kleinere bis mittlere Retuschen in Hintergrund und Gewand. Als Königlicher Hofmaler von Christian VI. von Dänemark reiste Eriksen in den 1760er Jahren nach St. Petersburg und machte dort rasch durch sein Talent auf sich aufmerksam. In den darauffolgenden Jahren schuf er somit zahlreiche Bildnisse der Zarin und deren Familie, die sich heute in den großen Sammlungen Europas befinden. Portrait of Catherina the Great of Russia. After Vigilius Eriksen (1722-1782). Oil on canvas, around 1780. Unsigned. Backside with label from Sotheby's Copenhagen. Ornamental frame. Relined, restored 1996 in Denmark. Some smaller and middle szed retouches in background and dress.
Spazierstock mit Portraitdarstellung aus Elfenbein, 19. Jh.Elfenbein, Malakkaholz. Elfenbeindarstellung eines gepflegten Mannes mit Schnauzer im Anzug. Sehr schmaler, vergoldeter Ringkragen, Malakkaholzschaft, Hornzwinge. Gesamtlänge: 92 cm, Elfenbeinknauf: 6,5 x 5,5 x 5 cm CITES-Handelsgenehmigung von 2022 liegt vor. Cane with portrait knob made of ivory Ivory, malacca wood. Depiction of a fine gentleman, gilded collar, malacca wood shaft, horn ferrule. Comes with CITES trading permit from 2022.
Sohn, Carl Ferdinand (1805 Berlin - 1867 Köln)Bildnis einer jungen Dame im Spitzenkleid mit Elfenbeinfächer. Öl auf Leinwand, 1858. Unten rechts signiert und datiert. Im Oval in prächtigem Schmuckrahmen mit reichem Stuckdekor gerahmt. 140 x 107 cm, 187 x 150 cm. Restauriert in vormaliger Zeit. Leinwand doubliert. Zahlreiche kleinere Retuschen, eine größere im Inkarnat der linken Schulter. Krakelee. Speditionsware. Wir danken Hendrik J. Olliges, Düsseldorf, für freundliche Hinweise. Das Werk wird in das von Herrn Olliges geführte WVZ aufgenommen. Portrait of a young Lady in lace dress with ivory fan. Oil on canvas, 1858. Signed and dated bottom right. Framed in oval shape in extraordinaire ornament frame. Restored in former time. Canvas relined. Some small retouches, one large in the left shoulder area. Craquelure. Cannot be shipped by our inhouse service! Freight or cargo from extern only.
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