FEDDERSEN, Hans Peter d.J.(1848 Wester-Schnatebüll - 1941 Kleiserkoog) Sonnige FelsenlandschaftÖl auf Holz. Undeutlich monogrammiert.23,5 x 13,5 cm. Gerahmt : 29,5 x 19,5 cm. Geschwärzter Profilrahmen mit Goldleiste. Feddersen, Landschafts-, Bildnis- und Genremaler. Studierte an den Akademien in Düsseldorf und Weimar. Schüler von Oswald Achenbach und Theodor Hagen. Seit 1872 auf den großen deutschen Ausstellungen vertreten. 1910 Professor, 1926 Mitglied der Berliner Akademie * Partnerauktion Bergmann.Literatur : Thieme-Becker (1907-1950), Paffrath (1997), Pfisterer (1995), Saur (2003).|Nachtrag 17.10.22: Laut Mitteilung der Experten wird das Gemälde nicht in den Nachtrag des Werksverzeichnis von 1966 aufgenommen ; Limit geändert FEDDERSEN, Hans Peter the Younger(1848 Wester-Schnatebüll - 1941 Kleiserkoog) Sunny rocky landscapeOil on wood. Indistinctly monogrammed.23.5 x 13.5 cm. Framed : 29.5 x 19.5 cm. Blackened profile frame with gold strip. Feddersen, landscape, portrait and genre painter. Studied at the academies in Düsseldorf and Weimar. Pupil of Oswald Achenbach and Theodor Hagen. Since 1872 represented at the major German exhibitions. 1910 professor, 1926 member of the Berlin Academy * Partner auction Bergmann.Literature : Thieme-Becker (1907-1950), Paffrath (1997), Pfisterer (1995), Saur (2003).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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OVERLAET, Anton(1720 Antwerpen - 1774 Antwerpen) Mann mit DrehleierFederzeichnung. Signiert. Datiert: 1758. 11 x 8 cm. Gerahmt & hinter Glas : 28,5 x 25 cm. Minutiös gemaltes Bildnis nach Adriaen van Ostade (1610 Haarlem - 1685 Haarlem). Passepartout, originaler verglaster Profilrahmen mit applizierten Metall-Plaketten, Holzrückwand. Overlaet, Zeichner, Kupferstecher, Radierer. 1761 als Meister Mitglied in der Lukasgilde. Kopierte mit der Feder Stiche und Radierungen nach Teniers, Brouwer, Rembrandt, Rubens und anderen. Werke in Museen von Antwerpen und Wien * Partnerauktion Bergmann. Literatur : Thieme-Becker (1907-1950), Wurzbach (1909). OVERLAET, Anton(1720 Antwerp - 1774 Antwerp) Man with hurdy-gurdyPen drawing. Signed. Dated: 1758. 11 x 8 cm. Framed & behind glass : 28.5 x 25 cm. Minutiously painted portrait after Adriaen van Ostade (1610 Haarlem - 1685 Haarlem). Passepartout, original glazed profile frame with applied metal plaques, wooden back. Overlaet, draftsman, engraver, etcher. In 1761 as a master member of the Guild of St. Luke. Copied with the pen engravings and etchings after Teniers, Brouwer, Rembrandt, Rubens and others. Works in museums of Antwerp and Vienna * Partner auction Bergmann. Literature : Thieme-Becker (1907-1950), Wurzbach (1909). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
VALENTSOV, Vladimir Ivanovitch (Валенцов, Владимир Иванович)(1950 Moskau -) Kirche in romantischer DorflandschaftÖl auf Platte. Unsigniert. 41 x 79 cm. Gerahmt : 54 x 94 cm. Rückseitig kyrillisch bezeichnet, kyrillischer Ausstellungs-Klebezettel. Weiß gefasster Profilrahmen mit Leinenbezug. Valentsov (Walentsow, Wladimir Iwanowitsch), russischer Landschafts-, Genre-, Stilleben- und Bildnismaler. Studierte in Moskau. Seit 1976 regelmäßig auf nationalen und internationalen Ausstellungen vertreten, Werke in europäischen Museen * Partnerauktion Bergmann. VALENTSOV, Vladimir Ivanovitch (Валенцов, Владимир Иванович)(1950 Moscow -) Church in romantic village landscapeOil on plate. Unsigned. 41 x 79 cm. Framed : 54 x 94 cm. Inscribed in Cyrillic on the reverse, Cyrillic exhibition sticker. White framed profile frame with linen cover. Valentsov (Valentsov, Vladimir Ivanovich), Russian landscape, genre, still life and portrait painter. Studied in Moscow. Since 1976 regularly represented at national and international exhibitions, works in European museums * Partner auction Bergmann. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BÜCHSEL, Elisabeth(1867 Stralsund - 1957 ebd.) DamenporträtPastell. Rechts unten signiert. Datiert: 1903. 40 x 30 cm. Gerahmt & hinter Glas : 56 x 46 cm. Bildnis einer jungen Frau im Profil vor neutraler Wand. Malerin in Stralsund und auf Hiddensee, studierte in Berlin bei Flickel und Leistikow sowie in Dresden, Paris bei Simon und in München bei Landenberger. Literatur : Vollmer. BÜCHSEL, Elisabeth(1867 Stralsund - 1957 ibid.) Ladies portraitPastel. Signed lower right. Dated: 1903. 40 x 30 cm. Framed & behind glass : 56 x 46 cm. Picture of a young woman in profile before a neutral wall. Painter in Stralsund and on Hiddensee, studied in Berlin with Flickel and Leistikow as well as in Dresden, Paris with Simon and in Munich with Landenberger. Literature : Vollmer. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Barockes Gold-Églomisé: Bildnis des Erzbischofs von Cambrai. Um 1700. Églomisé mit Blattgold und schwarzem Lack, jünger verglast gerahmt. Bild 19,5 x 14 cm, Platte 21,5 x 16,5 cm, Rahmen 29 x 22 cm. Der Geistliche Fénelon bei der Arbeit. Auf dem Tisch ein Kruzifix sowie Fürstenhut und Mitra; im Bild unten eine Lobrede auf ihn in französisch. Kleinere Fehlstellen am Gold, Fehlstellen am schwarzen Lack. François Fénelon (1651-1715) war ein französischer Theologe und Erzbischof von Cambrai. 1689 wurde er von Ludwig XIV. zum Hauslehrer seines siebenjährigen Enkels und eventuellen Thronfolgers, des Duc de Bourgogne, berufen. Baroque gold églomisé: portrait of the Archbishop of Cambrai. Around 1700. Églomisé with gold leaf and black lacquer, younger glazed framed. Image 19.5 x 14 cm, plate 21.5 x 16.5 cm, frame 29 x 22 cm. The clergyman Fénelon at work. On the table a crucifix and prince's hat and miter; in the picture below a eulogy to him in French. Smaller flaws on the gold, flaws on the black lacquer. François Fénelon (1651-1715) was a French theologian and Archbishop of Cambrai, appointed in 1689 by Louis XIV as tutor to his seven-year-old grandson and eventual heir to the throne, the Duc de Bourgogne. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Durchbruchteller mit Bernhardinerbildnis. Minton. Prägemarke Minton sowie Händlermarke A.B. & R.P. Daniell, London, um 1900. Polychrom bemalt, goldstaffiert. Ø 25,5 cm. Teller mit korbdurchbrochener Fahne sowie einem Medaillon mit einem aus einer Blütengirlande geformten Monogramm, im Spiegel die Darstellung eines liegenden Hundes. breakthrough plate with St. Bernard portrait. Minton. Mint mark Minton as well as dealer's mark A.B. & R.P. Daniell, London, circa 1900. Polychrome painted, gold decorated. Ø 25.5 cm. Plate with basket-perforated flag and a medallion with a monogram formed from a garland of flowers, in the mirror the image of a lying dog. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
French School, Circle of NICOLÁS DE LARGILLIERE (France, 1656 - 1746)."Portrait of a Lady, 1720.Oil on canvas. Re-drawn.It presents restorations.Measurements: 74,5 x 66,5 cm; 98 x 86 cm (frame).Portrait on indeterminate background of an elegant lady of high class, as it can be supposed by the low neckline dress, decorated with bows and fine lace, as well as by the earrings and the necklace with several strings of pearls, or by the comb that highlights her up-do. The lady's gaze is firmly fixed on the viewer, which adds character to the work and tells the viewer something about the psychological aspect of the lady.The quality of the master responsible for the painting is also clear: firstly, in the economy of means, which keeps the viewer's attention focused on the lady (something to which the neutral background of the painting and the tonal interplay between the dress and the lady's pale skin also contribute); secondly, in the quality of the drawing used, especially on the face (drawing that predominates over colour and brushstroke, as was usual in 19th-century art derived from the Neoclassicism of the Academies of Fine Arts).These works must have been executed by a painter belonging to the circle of the master Nicolas de Largilliere, one of the most important French portraitists of the period. In both works we can recognise various stylistic traits similar to those of the artist and his circle, such as the careful detail of the hairstyle and its beadwork, as well as in the drawings of the fabrics, the hair and the lace of the clothing.Largillière painted mainly portraits, although he also produced occasional historical, religious, landscapes and still lifes, subjects he worked on with the same technical mastery as his portraits. One of the greatest painters of the Regency and the reign of Louis XV, Largillière is represented in the Louvre, the National Gallery and the National Portrait Gallery in London, the Hermitage Museum in St Petersburg, the Rijksmuseum in Amsterdam and the Art Institute of Chicago, among other leading art galleries around the world.
Follower of VICENTE MARIANI I TODOLÍ (Valencia, 1765 - Madrid, 1819)."Ponte Veccio, Florence.Oil on copper.Size: 29,5 x 46 cm; 134 x 71 cm (frame).Vicente Mariani y Todolí (Valencia, 1765 - Madrid, 1819) was a Spanish intaglio engraver.Descended from an Italian family who settled in Spain, it seems likely that he began his studies at the Royal Academy of San Carlos in Valencia, although he soon moved on to the Academy of San Fernando in Madrid, where he was already enrolled in 1784. Under the protection of the Count of Fernán Núñez, Spain's ambassador in Paris, who made him his draughtsman and amanuensis, he was able to travel to the French capital in 1787, where he continued his studies with Jean Pillement. Some of the original landscape drawings in the Biblioteca Nacional de España and the Museo del Prado bear witness to this influence.On returning to Spain with the appointment of academician of merit he was involved in some of the projects promoted by the Royal Printing Works and the National Chalcography, such as the collection of Portraits of Illustrious Spaniards, in which he painted the portrait of Andrés Laguna, based on a drawing by José Maea, and the unfinished Views of Spanish Ports, for which he signed the views of the ports of Seville and Luarca (1795-1796). In December 1797 he joined the large group of engravers responsible for translating into print the drawings and observations of the flora of Peru and Chile obtained by the botanical expedition led by Hipólito Ruiz and José Pavón, a costly publishing project of which three volumes were published between 1798 and 1802 under the title Flora Peruviana et Chilensis, sive descriptiones et icones plantarum Peruvianarum, et Chilensium.... although his contribution to the project was reduced to one plate.He engraved a complete Apostolate on a drawing by Raphael Sanzio consisting of fourteen plates (the twelve apostles, the Saviour of the World and Saint Paul) for which he received 2,800 reals from the Royal Chalcography, which acquired the plates in 1799, and on behalf of the Company for the Engraving of the Paintings of the Royal Collections set up in 1789, he engraved a Virgin and Child by Murillo on a drawing by José Beratón. In 1818 the Royal Chalcography also bought two plates of Saint Michael and the Holy Cross from him for 1500 reales each.A member of the Academy of San Carlos in 1806 and chamber engraver, from July 1818 until his death the following year he held the post of caretaker of the Royal Gallery of Paintings, the origin of what would later become the Museo Nacional del Prado.
§ Rodolphe Strebelle (Belgian, 1880-1959), portrait of a seated woman wearing a hat, oil on canvas, signed lower right, 66 x 59cm, framed, label to the reverse. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more informationCondition Report: § Generally good condition overall, with some marks and general wear consistent with age, as well as general craquelure.
1973 missing gold errors, all mint never hinged, discovered among an accumulation of new issues (Lot 142). British Explorers 3p+3p se-tenant pair (SG.923b, 924b, cat. £250 as singles), 9p Sturt (SG.927a, cat. £250) and Reynolds self-portrait (SG.931a, cat. £160), the latter also with shifted embossing split between left and right sides of the stamp. Total cat. £660.
A Single WW2 British War Medal for a Royal Air Force Casualty, War medal 1939-45, unnamed as issued, in Royal Air Force cardboard box of issue (address label partially removed) with Air Ministry condolence slip named to “SERGEANT I. R. S. PARIS.” Lot includes a portrait photograph in flying gear and a set of metal Royal Air Force wings.Sergeant Ivor Ray Stanley Paris served with 27 Squadron and died aged 20 on 26th July 1944. He rests in an identified grave in Le Petit Lac Cemetery in Algeria. He is 1 of 5 members of the squadron who lie in the cemetery all having died on the same date.
WW2 Portrait Painting of WW2 German Panzer Crewman, fine oil on canvas portrait painting showing a head and shoulders of a Panzer trooper wearing early pattern pink piped black wrap over tunic and panzer beret. Signed to the lower corner and housed in an original period frame. An excellent period example.
A Vienna cabaret service, comprising pedestal coffee pot and cover, milk jug, sugar bowl and cover, two pedestal cups, saucers and shaped rectangular tray, printed and painted with Constance, the shaped rectangular tray centred with portrait of the young beauty, the rim with alternating ruby shields each with white flower sprigs and emerald bands, 24.5cm diam, shield mark, c.1910
A Sheraton Revival painted open armchair, curved cresting rail painted with a ribbon-tied profile portrait and swags, cane back and seat, outswept arms, turned arm posts, the apron painted with meandrous laurel branches and Classical vases, turned forelegs, 79.5cm high, 58.5cm wide, the seat 45cm wide and 41cm deep, c.1900
Dame Ellen Terry - by descent of the vendor's grandmother, an 18ct gold curb link bracelet, the love heart clasp monogrammed ET 1897, with a 14k equestrian pendant and a 9ct gold yacht charm, 40g; a high carat fancy link bracelet, probably 14 - 18ct, suspended with a circular portrait pendant (presumed to be Ellen Terry), marks indistinct, 80g; a base theatrical target brooch, set with paste stones, 5.5cm diameter; a paste brooch (4)Family history has suggested that the vendor's grandmother was believed to be a daughter of Edward Gordon Craig. As a child she spent some time in the company of "Aunt" Ellen, Olive Morris and entourage; staying at Smallhythe Place. These items were gifted after the death of Ellen Terry to the vendor's grandmother; included are the handkerchiefs that they came wrapped in.
A Horace Elliot Denby Boer War teapot, in relief with portrait oval painted in blue, 1900 Queen Victoria God bless her entered into the sixty fourth year of her reign, The was in South Africa Annexation of the Orange and Transvaal Colonies by Ld Roberts Unification of the British Empire by Australian Federation and the loyal support of our Colonial Brothersin arms., 14.5cm high, impressed mark
English School, 19th century, a portrait miniature, of a young beauty, with flwoers in her hair, on porcelain, oval, 9cm x 6cm; Hamlet, a silhouette, of a 19th century gentleman, side profile, oval, 5cm x 4cm; a shaped rectangular gilt meta; and cloth frame, ribbon tied cresting, 23cm x 17.5cm (3)
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