ANCIENT GREECE. THESSALIAN LEAGUE. Silver double-victoriatus, 2nd-1st Centuries BC. Portrait of Zeus wearing laurel wreath, facing right. / Athena Itonia, facing right, brandishing a spear to throw in right hand and shield in left; in Greek: THESSA/LON with magistrate names above "...[?]AL" and below "[?]MIS[?]".Ch AU Strike 3/5; Surface 4/5. Weight: 6.07 g.Composition: Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
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ANCIENT ROME. ROMAN REPUBLIC. Lucius Furius Brocchus. Silver denarius, c. 63 BC. Portrait of harvest goddess Ceres wearing a wheat wreath facing right, flanked by stalk of wheat on the left and barley on the right. Within beaded border. III/VIR above; BROCCHI below. / Curule chair flanked by fasces within beaded border; L. FVRI CN. F (Lucius Furius, son of Gnaeus). Ch VF Strike: 4/5 Surface: 3/5. Weight: 3.99 g.Composition: Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
ANCIENT ROME. ROMAN IMPERATORIAL. Marcus Junius Brutus as Moneyer. Silver denarius, c. 54 BC. Portrait of Libertas facing right in beaded border; LIBERTAS. / Lucius Junius Brutus processing left between two lictors carrying axes, and preceded by an accensus within beaded border; BRVTVS. Ch XF Strike: 3/5 Surface: 4/5. Weight: 4.13 g.Composition: Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. Elizabeth II, 1952-. Gold sovereign, 1989. Royal Mint. Proof. Commemorating the 500 years anniversary of the sovereign 1489-1989, this is the first special design issued under Queen Elizabeth II, often held to be the most beautiful coin design during her reign.Facing full length portrait of Elizabeth II seated in King Edward's Chair as at her coronation, all within beaded border; legend around in Medieval typeface, ELIZABETH · II · DEI · GRA · REG · FID · DEF ·. Design by Bernard Sindall. / Crowned Royal Shield of Arms set in a double Tudor rose, within beaded circle; inscription around in medieval typeface, 'ANNIVERSARY · OF · THE · GOLD · SOVEREIGN · 1489 · 1989'. Design by Bernard R. Sindall. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 5926767-002. NGC Census in this grade: 196, equal-finest graded.Total NGC Census: 622Reference: S-SC3 (was 4272); KM-956Mintage: 23,471.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-. Gold half-sovereign, 2016. Royal Mint. Proof. To celebrate the Queen's 90th birthday In 2016, the Royal Mint issued coins with a one-off portrait by James Butler.Limited edition head of Elizabeth II facing right; JB to left; ELIZABETH II · DEI · GRA · REGINA · FID · DEF. Design by James Butler. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). Reference: S-SB10Mintage: 1,995.Diameter: 19.3 mm.Thickness: 0.99 mm.Weight: 3.994 g. (AGW=0.1178 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
A group of twenty-eight watercolours of tradespeople, servants, bearers and other figures, some inspired by works by John Gantz and Balthazar Solvyns Company School, South India, circa 1830-40watercolours on watermarked paper, removed from the original album and laid down on to modern card, original handwritten English inscriptions also excised and laid down on the same card, loosely tipped into modern album the smallest 120 x 90 mm.; the largest 200 x 285 mm.; original album 287 x 230 mm.; modern album 29.5 x 38 cm.Footnotes:ProvenanceFrom an album formerly in the collection of Lord Bath, Longleat (two paintings bear the impressed seal marks BATH/THYNNE, and an image of a crown (nos. 6 and 11 below).Private UK collection.The subjects of the paintings are as follows:1. Basket makers (watermark J Green & Son 1832).2. A carriage drawn by bullocks (watermark J Green & Son 1832).3. Bhishtis, 'or water carriers, who sell that article' (watermark J Green & Son 1832).4. The state carriage of the Rajah of Tanjore, drawn by elephants.5. A Parsee, 'an intelligent class of native, chiefly devoted to commerce. They were originally from Persia, and are fire-worshippers'.6. Toddy-wallahs, 'or men who climb Coca-nut trees to obtain the juice therefrom called Toddy when slightly fermented'.7. The fort on the rock at Trichinopoly.8. A fakir: 'A wretched fanatic, who has taken a vow that he will never remove his arm from its present position. Taken from nature'.9. A hookah bearer, 'a native servant whose exclusive duty is to attend to his master's hookah' (watermarked Whatman/Turkey Mill).10. Palanquin bearers 'in the act of travelling'.11. 'Natives halting with their bullock carts, under a Banyan tree, to take their meal'.12. Two men with a large pestle and mortar, turned by oxen, 'mode of expressing oil from coca-nuts'.13. Men drawing water from tanks: 'A tank, or reservoir of water, with mode of drawing the latter from it. These tanks are used for irrigation' (watermark J Green & Son 1832).14. A sepoy.15. A mendicant, or perhaps a seller of cloth (no inscription).16. A moonshee, 'or native teacher of languages', holding a book (watermark J Green & Son 1832).17. A sepoy cavalry trooper, on his mount.18. An Indian officer on horseback, 'not of the Company's service'.19. A Moty-boy [?], 'a native servant in the act of waiting at dinner'.20. A moonshee, seated in a chair with a book (watermark J Green & Son 1832).21. An Indian merchant, perhaps a seller of cloth, or beads (no inscription).22. 'A Peon, or Native Constable' (watermark J Green & Son 1832).23. A fakir, holding a staff and begging cup.24. 'A palanquin-bearer, fanning his master with a hand-punkah' (watermark J Green & Son 1832).25. A tailor.26. A seller of linen [?]27. A private of sepoys, carrying a rifle.28. A havildar, a sergeant of sepoys (watermark J Green & Son, date obscure).A fine group of varied figures studies by an Indian artist, several of them directly inspired by two European artists working in India: John Gantz and Balthazar Solvyns.Two in particular are almost exact copies after Solvyns: the hookah-bearer (9), and perhaps the seated tailor (25). Several are strongly reminiscent of scenes from John Gantz's Indian Microcosm, a volume of seventeen plates (coloured lithographs) of 1827 (basket-makers; carriage drawn by bullocks; bhishtis; the fort at Trichinopoly; carts under a banyan tree; pestle and mortar with coca-nuts; men drawing water from a tank; and the toddy-wallahs [?]).A larger group of paintings, with strikingly 'free and impressionistic' brushwork, seems to derive from a type tentatively attributed by Losty perhaps to Madras (though he admits there is nothing definite in this attribution), circa 1840-50. These are: the Parsee; the 'fanatic' fakir; the mendicant/seller of cloth; the moonshee; the moty-boy; the seated moonshee; the merchant (21); the Peon; the fakir holding a staff; and the bearer with a hand-punkah. This last figure, as well as the mendicant cloth-seller, appear in two almost identical paintings in the Tapi Collection, illustrated and discussed in J. P. Losty, Indian Life and People in the 19th Century: Company Paintings in the Tapi Collection, New Delhi 2019, p. 181, no. 46 (the latter described as a 'purveyor of skins').John Gantz (1772-1853) and his son Justinian (1802-62), both probably Austrians, were employed as draughtsmen by the East India Company circa 1800-1803. There are maps, survey drawings and sketches of forts by the former, who was also described as an architect. For two watercolours by John Gantz, depicting temples near Madras, dated 1818 and 1822, see Christie's, Exploration and Travel, with Visions of India, 21st September 2000, lots 259 and 260.Balthazar Solvyns (1760-1824), who was from Antwerp, arrived in Calcutta in 1791. He did not find success in portrait-painting, but was encouraged by Sir William Jones, the 'Orientalist', to start work on a series which would become A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs and Dress of the Hindoos. This was not a great success in itself, but had a good deal of influence on other European artists, and on Indian painters producing studies of Indian figures for British consumption - as here.See Christie's, Visions of India, 10th June 1997, lot 129, for an album of forty watercolours by a European artist after Solvyns (the illustration in the catalogue shows the same figure of the hookah bearer (no. 9 above). For the hookah-bearer once more, along with three other lots from Solvyns' series, see Christie's, Visions of India, 25th May 1995, lot 25, and 23, 24 and 26.A number of paintings have the watermark J Green & Son (handmade wove paper produced at Hayle Mill, Kent, from 1815 until its closure in 1987), and the date 1832. One painting (no. 9) has the watermark Whatman/Turkey Mill. The mill, also in Kent, was the largest papermill in Britain from the mid-18th Century.For further information on this lot please visit Bonhams.com
A Sikh soldier Hugo Vilfred Pedersen (Danish, 1870-1959)oil on canvas, signed Hugo v.P lower right 39.5 x 26.5 cm.Footnotes:ProvenanceFormerly in a private collection, Surrey, UK, until 2020.For very similar composition, a tightly-framed portrait study of a Sikh bodyguard of the Maharajah of Burdwan, see the sale in these rooms, Islamic and Indian Art Online Sale, 4th-18th June 2019, lot 85. A similar portrait of the sitter in our painting was with Bruun Rasmussen, Denmark, 27th September 2001, lot 1109.A group of studies by Pedersen, including two of the same sitter once again, was at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 142: an oil sketch, inscribed Fyrstelivtjener i Burdwan (portrait of a servant at Burdwan); and a charcoal study, inscribed Burdwan India, Livvagt Sergeant.For further information on this lot please visit Bonhams.com
A Persian dignitary wearing a green coat, standing on a palace terrace with a landscape beyond, by Abu'l-Hasan Ghaffari, Sani' al-Mulk, Chief Painter (naqqash-bashi) Qajar Persia, dated AH 1262/AD 1845-46watercolour on paper, signed and inscribed in nasta'liq script at upper left, the Chief Painter (naqqash-bashi), and dated AH 1262/AD 1845-46 350 x 256 mm.Footnotes:A rare and important newly-discovered early portrait of a court official by Abu'l Hasan al-Ghaffari, Sani' al-Mulk.ProvenanceGeorge Kidston CMG, Head of the Eastern Department of the British Foreign Office, 1919-20.Thence by descent to the estate of the late Hon. Mrs Patricia A. Kidston (1927-2021).In this newly discovered painting by Abu'l Hasan Ghaffari, Sani' al-Mulk - 'arguably the greatest artist of the Qajar period' (B. W. Robinson, in R. W. Ferrier (ed.), The Arts of Persia, London 1989, p. 229) - a nobleman is shown in green courtly garb with black headgear, and a colourful waist-shawl in which a scroll of paper is inserted as a sign of his position in court. As with all Abul-Hasan's signature works, meticulous attention has been paid to detail and patterning. The subject stands in an interior lavishly decorated with wallpaper in a rich palette of dark red and a boldly patterned blue and white floor made up of a well known type of Qajar tile that imitated ikat patterned silk garments, a composition similar to those seen in the later portrait of Prince Ardeshir Mirza, 1269AH/1853-4 (see L. Diba (ed.), Royal Persian Paintings: the Qajar Epoch, 1785-1925, Brooklyn 1998, pp. 250-251); and also Murad Hesam al-Saltaneh's portrait, 1273AH/1856-7 (see G. Fellinger et al, L'Empire des Roses: chef-d'oeuvre de l'art persan du XIXe siecle, Lens 2018, pp. 232-233). The artist's careful and dexterous treatment of the towering trees in the background of the scene is also particularly noteworthy. Abu'l-Hasan Ghaffari Kashani (d. 1282/1865-6) was a painter of the Muhammad Shah and Nasir al-Din Shah period. In AH 1258/AD 1842, during the reign of Muhammad Shah, he received the title of Naqqash-bashi. A year later, in 1845, he was sent to Italy to study painting. After his return, Abu'l-Hasan painted the murals of Nizamiyah Hall for Mirza Aqa Khan Nuri in 1857-58 by which time his fame was such that Nasr al-Din Shah rewarded him with a gold box studded with a large diamond, and installed him in various posts including that of the title 'Sani' al-Mulk' in 1861. He is most well known for the paintings of the famous 'One Thousand and One Night' in the Gulistan Library, Tehran. His recorded work is dated between AH 1258/AD 1842-43 and AH 1282/AD 1865-666, and this painting therefore represents the discovery of an early work, executed during the reign of Muhammad Shah.During this period, Abu'l-Hasan painted superlative portraits which also testify to the early effect of photography on Persian painting, in contrast to its impact in Europe, where it supplanted portraiture. This painting also bears features which point to his future style, showing that he was a keen painter with a refined sense of humour who strove to capture the eccentricities of his subjects, in contrast to more rigid, academic and stylized earlier trends in Qajar portraiture.For a painting of a court official, attributed to Abu'l Hasan Ghaffari, circa 1850-60, see Sotheby's, Persian and Islamic Art: the Collection of the Berkeley Trust, 12th October 2004, lot 33, where it is noted that typical features of his work include the textured surface of the Astrakhan hat, and the voluminous robe of the sitter.See also the portrait of Mirza Abdullah Mostufi, in the Reza Abbasi Museum, Tehran (inv. 20443), which has the same signature and date.For more on his work, see (in addition to the works already cited):M. A. Karimzadeh, The Lives and Art of Old Painters of Iran, Vol. I, London 1985, pp. 23-34.Zoka, The Lives and Art of Sani-al-Molk, Tehran 2003, pp. 136-144.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Nasr al-Din Shah Qajar (reg. 1848-96) Qajar Persia, circa 1880watercolour and gouache on paper, oval 15 x 11.5 cm.Footnotes:Comparison can be drawn with another oval portrait of Nasr al-Din Shah (though much larger, at 90.5 x 62 cm.), by Abu'l Hasan Ghaffari III (Yahya), dated AH 1291/AD 1874-75, in which the Shah wears the same style of European-cut, wide-lapelled coat, and the same string-like necktie (as well as the typical plumed black hat). In our painting he looks slightly older than in this 1874 work (for which see Christie's, Islamic Art and Manuscripts, 11th April 2000, lot 109).Both paintings are probably based on a portrait photograph. We can suggest a date for our painting of the 1880s, both from the Shah's apparent age, and also from comparison with contemporary carte de visites (see for example J. Y. Chi (ed.), The Eye of the Shah: Qajar Court Photography and the Persian Past, New York 2015, p. 7, no. 2, dated circa 1880-90.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A Qajar enamelled gold locket Persia, 19th Centuryof octagonal form, suspension loop and hinge to the top, clasp to the bottom, decorated in polychrome enamel to the front with a portrait of a European youth, to the sides with floral motifs, the back in filigree 2.7 cm. max. Footnotes:ProvenancePrivate UK Collection, London, since the 1980s.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A signed photograph of Lord Headley by C. Vandyk London, between 1923 and 1935gelatin silver print, laid down on card, signature in pen lower right, photographer's signature in pencil lower left, photographer's stamp to reverse 102 x 136 mm.Footnotes:ProvenanceRowland George Allanson Allanson-Winn, 5th Baron Headley (1855-1935), also known as Shaikh Rahmatullah al-Farooq, and thence by descent.This striking portrait of Lord Headley, taken in London at some point after his Hajj in 1923, depicts him wearing the sash of The Order of Al Nadha and the robe presented to him by King Hussein bin Ali in Mecca on completion of the pilgrimage. The sash is included along with the star and badge of The Order of Al Nadha in lot 82 of this sale whilst the the robe and headband he wears are both included in lot 79.Carl Vandyk (1851-1931) was a celebrated London photographer who had a studio on Gloucester Road between 1882 and 1901, after which he moved to Buckingham Palace Road. He took portraits of Queen Victoria and King George V, amongst other notables.The following collection of items is offered by the family of Rowland Allanson-Winn, 5th Baron Headley (1855-1935), who became an international celebrity in 1913 when he defied convention by publicly converting to Islam and, in so doing, became the public face of Islam in Britain. The collection includes personal items such as a fragment of Kiswah (lot 81), a robe (lot 79) and the exceptionally rare Order of Al Nahda medal (lot 82) which were presented to him in Mecca by Hussein bin Ali, King of Hejaz (reg. 1916-1924), on completion of his Hajj in 1923. Also included is a set of prayer beads, and silver zamzam bottles (lot 80) which are believed to have been carried with him on the pilgrimage. Born in London in 1855, he was educated at Westminster School and Cambridge University before entering the Middle Temple and continuing his studies at King's College London. He subsequently became a civil engineer, and worked in India between 1892 and 1897. It was during his four years in Kashmir that he first encountered the Islamic faith, but it was not until 1913, the same year in which he inherited the peerage from his cousin, that he officially converted to Islam, adopting the Muslim name of Shaikh Rahmatullah al-Farooq. In 1914 he founded the British Muslim Society, which had the principal aim of demonstrating that Islam was not antagonistic or hostile to Christianity. He remained president of the society for life and went on to write several books on Islam, including A Western Awakening to Islam and Three Great Prophets of the World. He intended to undertake the Hajj the same year, but was prevented from doing so by the outbreak of war, and had to wait until 1923 when he completed the pilgrimage at the age of 68. Very few Britons had made a pilgrimage to Mecca before Lord Headley, and it is possible that he was the first to do so legitimately. Despite the potential political implications of the situation, he was welcomed as a guest by King Hussein, who accompanied him on some stages of the pilgrimage and who is reported to have slept on the ground at Muzdalifah so that Headley might have a more comfortable rest on his own camp-bed. On his return to London, Headley gave numerous talks about his experience in Mecca including at the British Muslim Society, and became the subject of much press attention for the first time since his conversion in 1913. An image taken by a press photographer at his home in St Margarets (Fig. 1), depicts him wearing the robe and Order of Al Nadha while standing beside the larger fragment of Kiswah with which he was presented in Mecca, which he subsequently donated to Woking Mosque. This image was circulated and reprinted in newspapers and magazines worldwide. After completing the Hajj his profile and status within the British Muslim community increased, and he became an unofficial ambassador for British Islam. In 1925, he was offered the throne of Albania by a Muslim delegation who desired a British aristocrat for their ruler, but Lord Headley declined the offer on the grounds that has assassination was practically certain should he accept. Beyond his devotion to Islam Lord Headley was a keen boxer, having been a champion at Cambridge University, and was also one of the earliest exponents of martial arts. In 1890 he co-authored Broad-sword and Singlestick, one of the earliest self defence manuals and went on to write one of the first modern guides to boxing (Boxing, 1889).A detailed account of the life of Lord Headley, the circumstances of his conversion to Islam and his attitude towards the Islamic faith is given in Jamie Gilham, The British Muslim Convert, Lord Headley, 1855-1935, London, 2020.For further information on this lot please visit Bonhams.com
A gilt-silver thread and silk-embroidered wool robe (thawb) presented to Lord Headley on completion of the Hajj in 1923 of white wool with gilt-silver thread-embroidered collar and lapels; and two metal thread-bound headbands (agal) 136 cm. from collar to hem(3)Footnotes:ProvenanceRowland George Allanson Allanson-Winn, 5th Baron Headley (1855-1935), also known as Shaikh Rahmatullah al-Farooq, presented by Hussein bin Ali, King of Hejaz (reg. 1916-1924), and thence by descent.This robe was presented to Lord Headley by King Hussein in Mecca on completion of the Hajj in 1923. He can be seen wearing the agal in the portrait taken by Vandyk (lot 78).The following collection of items is offered by the family of Rowland Allanson-Winn, 5th Baron Headley (1855-1935), who became an international celebrity in 1913 when he defied convention by publicly converting to Islam and, in so doing, became the public face of Islam in Britain. The collection includes personal items such as a fragment of Kiswah (lot 81), a robe (lot 79) and the exceptionally rare Order of Al Nahda medal (lot 82) which were presented to him in Mecca by Hussein bin Ali, King of Hejaz (reg. 1916-1924), on completion of his Hajj in 1923. Also included is a set of prayer beads, and silver zamzam bottles (lot 80) which are believed to have been carried with him on the pilgrimage. Born in London in 1855, he was educated at Westminster School and Cambridge University before entering the Middle Temple and continuing his studies at King's College London. He subsequently became a civil engineer, and worked in India between 1892 and 1897. It was during his four years in Kashmir that he first encountered the Islamic faith, but it was not until 1913, the same year in which he inherited the peerage from his cousin, that he officially converted to Islam, adopting the Muslim name of Shaikh Rahmatullah al-Farooq. In 1914 he founded the British Muslim Society, which had the principal aim of demonstrating that Islam was not antagonistic or hostile to Christianity. He remained president of the society for life and went on to write several books on Islam, including A Western Awakening to Islam and Three Great Prophets of the World. He intended to undertake the Hajj the same year, but was prevented from doing so by the outbreak of war, and had to wait until 1923 when he completed the pilgrimage at the age of 68. Very few Britons had made a pilgrimage to Mecca before Lord Headley, and it is possible that he was the first to do so legitimately. Despite the potential political implications of the situation, he was welcomed as a guest by King Hussein, who accompanied him on some stages of the pilgrimage and who is reported to have slept on the ground at Muzdalifah so that Headley might have a more comfortable rest on his own camp-bed. On his return to London, Headley gave numerous talks about his experience in Mecca including at the British Muslim Society, and became the subject of much press attention for the first time since his conversion in 1913. An image taken by a press photographer at his home in St Margarets (Fig. 1), depicts him wearing the robe and Order of Al Nadha while standing beside the larger fragment of Kiswah with which he was presented in Mecca, which he subsequently donated to Woking Mosque. This image was circulated and reprinted in newspapers and magazines worldwide. After completing the Hajj his profile and status within the British Muslim community increased, and he became an unofficial ambassador for British Islam. In 1925, he was offered the throne of Albania by a Muslim delegation who desired a British aristocrat for their ruler, but Lord Headley declined the offer on the grounds that has assassination was practically certain should he accept. Beyond his devotion to Islam Lord Headley was a keen boxer, having been a champion at Cambridge University, and was also one of the earliest exponents of martial arts. In 1890 he co-authored Broad-sword and Singlestick, one of the earliest self defence manuals and went on to write one of the first modern guides to boxing (Boxing, 1889).A detailed account of the life of Lord Headley, the circumstances of his conversion to Islam and his attitude towards the Islamic faith is given in Jamie Gilham, The British Muslim Convert, Lord Headley, 1855-1935, London, 2020.For further information on this lot please visit Bonhams.com
A Group of 12 x 15in Encapsulated Colour Prints, thirty four in total, by Denis Waugh, all associated with previous four cameras, including a portrait of Bob Geldof, Anthony Burgess, Barry Norman and other portraits, seascapes, landscapes, Saint Paul's cathedral, Greenwich, M Manze Pie and Mash shop front and others
A 19th century French silver-gilt scent flask, maker's mark E.D in a lozenge, compressed panelled baluster form, on an oval foot, with a later stopper, height 9.8cm, plus a gilt metal portrait miniature frame, of oval form, ring attachment with a portrait painted on card of a gentleman, length 8cm, approx. weighable 1.5oz. (2)
A collection of football programmes, including Leicester City and others 1964-1970s, and others; along with music programmes and booklets, including Black Sabbath World Tour 76-77; David Bowie - A Portrait; Pink Floyd poster, etc; in a vintage suitcase.Qty: suitcase fullCondition report:The Pink Floyd poster is pink ground with large square with band memembers, it has some small holes on the corners and edges, it is folded and there is rubbing to the folds, some light creases to the corners also. The David Bowie - A Portrait is good showing just light use to the corners and edges, no bad tears and has clean pages.
English School, 19th Century, miniature portrait of a man, head and shoulders in profile, unsigned, 53x43mm, in a brass mounted ebonised frame, 11x9cm.Condition report:There appears to be some water damage to the right of the gentleman's jacket. The glass is slightly dirty and dusty on both sides. The frame is scratched and there is some loss of wood from the corners. Please see additional uploaded images.
A Victorian Mauchline ware satinwood rectangular trinket box with printed view of “Burn’s monument” to the hinged lift-lid, & with two further views to the front “culzean” & “The Braes of Ballochmyle”, 5½” wide; together with a painted portrait miniature depicting The Virgin Mary, 5¾” x 4¾”.
Five various volumes relating to portrait & nude photography, including ”The Best of the Pirelli Calendar 1964-2000”, “Terence Donovan, The Photographs”, “Naked Women: The female nude in photography from 1850 to the present day”, “Nudes and Portraits” by Gordon Thye, & “Venus, Masterpieces of Erotic Photography” by Michelle Olley.
▴ Peter Webb (1942-2021)'Mick Jagger'signed and dated 'Peter Webb 71' l.r., and numbered 2/50 l.l., printimage 26 x 33cmThe National Portrait Gallery holds a resin print of this image in their collection, no.NPG x87565. Condition ReportFramed size: 59 x 56.5cmUnexamined out of glazed frame, appears to be in good order.
UTAGAWA TOYOKUNI I (1769-1825)Japon, époque Edo (1615-1868), fin du XVIIIe siècleUTAGAWA TOYOKUNI I (1769-1825)Japan, Edo Period (1615-1868), late 18th centuryAn oban tate-e print depicting a dynamic bust portrait of the kabuki actor Nakamura Nakazo II as Matsuomaru in the play Sugawara Denju Tenarai Kagami, the actor is portrayed with distinctive heavy black lines around his eyes and mouth, the trademarks of the actor Nakazo II; his kimono decorated with stylised pine patterns, with publisher's mark of Yamaguchi-ya; signed Toyokuni ga. 37cm (14 1/2in) x 25.2cm (10in).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) This is a fine and extremely rare bust portrait executed under the strong influence of Toshusai Sharaku, and is considered an exemplar of Toyokuni's oeuvere at its very best. Only four impressions of this subject are known to survive. Compare with impressions in The Metropolitan Museum of Art, New York: accession no.JP100, and Honolulu Museum of Art: source ID 1314.來源:巴黎Jean-Pierre Rousset(1936-2021)舊藏For further information on this lot please visit Bonhams.com
TÊTE DE BOUDDHA EN GRÈSCambodge, style du Bayon, XIIe/XIIIe siècleA SANDSTONE HEAD OF BUDDHACambodia, Bayon style, 12th/13th centuryHis face with serene expression, ridged eyebrows, incised eyes, broad nose, smiling lips, distended earlobes, curled coiffure over the shallow ushnisha, stand. 13.5cm (5 3/8in) (2).Footnotes:Provenance:Mr Dalet's collection, Peyrehorade, FranceRobert Rousset, Paris (1901-1981), acquired from the above, 3 July 1954Jean-Pierre Rousset, Paris (1936-2021)The typical wide face with a broad smiling mouth is modelled with delicacy is typical of the Style of Bayon, imitating the portrait of Jayavarma VII, but his expression is more idealised to capture the essence of the Buddha. His coiffure of small curls, that continues over a shallow conical ushnisha, is contained by a thin raised border along the hairline. Compare with S.E.Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, 1969, no.46, p.84.柬埔寨 巴戎寺風格 十二/十三世紀 砂岩佛首來源:Dalet先生舊藏,佩爾奧拉德,法國巴黎Robert Rousset(1901-1981)舊藏,於1954年7月3日得自上述收藏巴黎Jean-Pierre Rousset(1936-2021)舊藏For further information on this lot please visit Bonhams.com
TROIS ESQUISSES DE PORTRAITS D'ANCÊTRESXIXe siècleTHREE ANCESTOR PORTRAIT SKETCHES 19th centuryInk and pigment on paper, each mounted on paper. The largest 14.3cm (5 3/4in) long x 10.8cm (4 1/4in) wide. (3).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 十九世紀 人物肖像 設色紙本 鏡心 一組三幀來源:巴黎Robert Rousset(1901-1981)舊藏巴黎Jean-Pierre Rousset(1936-2021)舊藏For further information on this lot please visit Bonhams.com
TRÈS RARE ET IMPORTANTE TÊTE DE BODHISATTVA EN PIERREDynastie des Qi du Nord (550 – 577 ap. J.-C)AN IMPORTANT AND EXTREMELY RARE LARGE STONE HEAD OF A BODHISATTVA Northern Qi Dynasty (550-577 AD)The serene face with full lidded eyes downcast below high arched brows set with a central urna, with well-defined nose, sensuous bud mouth and set chin, with full rounded cheeks, flanked by the pendulous ears, below the arched centrally-parted black-pigmented hair, surmounted by a tall tri-foliate bejewelled crown, with traces of black, copper-green and azurite pigments, stand. 43.5cm (17in) high. (2).Footnotes:Provenance:Loo & Cie, Art Ancien de Chine, ParisRobert Rousset, Paris (1901-1981); acquired from the above on 21 February 1924Jean-Pierre Rousset, Paris (1936-2021) The wood stand by Kichizo Inagaki (1876-1951; active in Paris from 1906)Elegantly proportioned and superbly carved, the present head is a remarkable testament to the high standards achieved in Buddhist portraiture during the Northern Qi period, one of the most vibrant periods in the history of Chinese art. At this time, Buddhism flourished in China, with several shrines being constructed under the emperor's personal auspices and eminent monks were appointed as state preceptors. Buddhist art experienced a glorious moment following the dissemination of foreign ideas and styles and copious financial resources were devoted to the construction of Buddhist caves whose marvellous sculptures combined powerful and sensuous modelling with subtlety of expression. These features were likely to have derived from the contemporary Indian style of the Gupta period, which was highly regarded by the Qi aristocracy for its exotic traits. The benevolent expression, conveyed by gently downcast eyes and gentle smile of this majestic head, indicate that it represents Avalokiteshvara, also known as Guanyin, the benevolent Bodhisattva of Mercy. In Buddhist faith, images of deities served as important foci of worship and promoted significant devotional acts, which contributed to the devotee's personal growth towards spiritual liberation.Venerated in Indian Buddhism as the embodiment of the Compassion of the Buddha, Avalokiteshvara (known as Guanyin in China) is described in the 'Lotus Sutra', as capable of hearing all mankind, striving endlessly to help those offering prayers, transforming at will and appearing in more than thirty human guises to expound Buddhist teaching to devotees.Compare with a related limestone head of a bodhisattva, Northern Qi dynasty, from the Nelson Atkins Museum, Kansas City (acc.no.F99-1). See also a limestone head of a bodhisattva, Northern Qi dynasty, from the Museum of Art, San Diego, illustrated by K.Tsiang, Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. See also a related monumental sandstone standing figure of Guanyin, Northern Qi dynasty, in the Metropolitan Museum of Art, New York, illustrated by A.F.Howard, et al, Chinese Sculpture, New Haven, 2006, p.288, fig.3.92.See a smaller white marble head of Mahasthamaprapta, Northern Qi dynasty (34cm high), which was sold at Bonhams London, The Ollivier Collection of Early Chinese Art, 8 November 2018, lot 31.Socle en bois de Kichizo Inagaki (1876-1951; actif à Paris à partir de 1906)Elégamment proportionnée et délicatement sculptée, cette tête est un remarquable témoignage du raffinement atteint dans l'art du portrait bouddhique à l'époque des Qi du Nord, une des périodes les plus dynamiques de l'histoire de l'art chinois. Le bouddhisme était alors florissant en Chine, avec plusieurs sanctuaires en construction sous le patronage personnel de l'empereur, et d'éminents moines nommés précepteurs à la Cour.Avec la diffusion d'idées et de styles étrangers, l'art bouddhique connut une période brillante, et d'abondantes ressources financières furent allouées à la construction de grottes bouddhiques, dont les magnifiques sculptures combinaient modelé puissant et sensuel et subtilité de l'expression. Ces particularités étaient probablement dérivées du style indien contemporain de l'époque Gupta, lequel était très admiré par l'aristocratie des Qi pour ses traits exotiques.L'expression bienveillante, donnée par les yeux délicatement baissés et le doux sourire de cette tête majestueuse, indique qu'elle représente Avalokiteshvara, aussi appelé Guanyin, le bienveillant boddhisattva de la compassion. Dans la foi bouddhiste, les images des divinités étaient d'importants foyers pour le culte, et encourageaient d'importants actes de dévotion, qui contribuaient à la progression personnelle du fidèle vers la libération spirituelle.Avalokiteshvara (appelé Guanyin en Chine), vénéré dans le bouddhisme indien comme l'incarnation de la compassion du Bouddha, est décrit dans le Sutra du Lotus comme capable d'entendre toute l'humanité, s'efforçant indéfiniment d'aider ceux qui l'invoquent dans leurs prières, se transformant à volonté et apparaissant sous plus de trente aspects humains pour exposer l'enseignement bouddhique aux fidèles.A comparer avec une tête de bodhisattva en calcaire similaire, dynastie des Qi du Nord, au Nelson Atkins Museum, Kansas City (acc.no.F99-1). Voir aussi une tête de bodhisattva en calcaire, dynastie des Qi du Nord, au Musée d'Art de San Diego, illustré dans K. Tsiang, Echoes of the Past : The Buddhist Cave Temples of Xiangtangshan, Chicago, 2010, p.230, fig.32. Et voir une statue monumentale de Guanyin debout en grès, dynastie des Qi du Nord, au Metropolitan Museum of Art, New York, illustré par A.F. Howard et autres, Chinese Sculpture, New Haven, 2006, p.288, Fig. 3.92. Voir enfin une plus petite tête de Mahasthamaprapta en marbre blanc, dynastie des Qi du Nord (H. 34 cm), vendu chez Bonhams à Londres, The Ollivier Collection of Early Chinese Art, le 8 novembre 2018, lot 31.北齊 石雕菩薩首來源:巴黎古董商盧芹齋巴黎Robert Rousset(1901-1981)舊藏,於1924年2月21日購自上述巴黎Jean-Pierre Rousset(1936-2021)舊藏木座為稲垣吉蔵(1876-1951,自1906年後活躍於巴黎)所製。北齊帝皇尊崇佛法,屢屢敕建佛寺佛窟,並徵召高僧如僧稠等入朝為師。此佛教隆盛之世,亦為中國佛教藝術高峰之一。本尊首像容貌安恬,冠飾華麗,比例勻稱,雕工審慎,乃北齊佛教造像藝術之代表。融合了豐富多彩的外來文化及藝術風格,兼有皇權護持,佛教藝術在北朝蓬勃發展。在皇室斥巨資並主ý... For further information on this lot please visit Bonhams.com
TÊTE DE DIVINITÉ EN GRÈSCambodge, style du Bayon, fin du XIIe/début du XIIIe siècleSANDSTONE HEAD OF A DEITYCambodia, Bayon style, late 12th/early 13th centuryThe hair is rendered in vertical braided bands with a pearl band that surrounds the forehead and tightly frames the ears. The hairstyle and the shallow fragment of the ushnisha do not allow for a clear designation of the deity as the features are shared by both Buddha and bodhisattva figures, stand. 23cm (9in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.85, no.48 A noted by Sherman Lee in the ground breaking exhibition on Cambodian sculpture at the Asian House Gallery in New York in 1969 'This fragment of a male head- probably that of a Buddha- although very incomplete, gives another version of the Bayon sculptural type. The stylised, bead-shaped locks arranged in vertical rows, the thick projecting eyebrows, the closed eyes with well-formed lids, and the sensuous mouth with its corners raised in a smile.'This magnificent fragment of the time of Jayavarman VII captures, despite the section lost, an emotion that no other work of Khmer art from earlier period had managed to deliver. The youthful face already wears all signs of maturity. The high forehead and very thick eyebrow give a feature of naturalistic interpretation that connect, like many sculpture of the period with the portrait of Jayavarma VII (see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, p.301, no.89). The serene expression is amplified by the eye, closed in a deep meditation, conveying total introspection and perfect tranquility. Also see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, pp.305-315, nos.92-98.Executed in a very fine sandstone whose quality was reserved for exceptional pieces, this head is the testimony of the magnificence of the Bayon period and the work of an inspired artist.柬埔寨 巴戎寺風格 十二世紀末/十三世紀初 砂岩像首來源:巴黎Robert Rousset(1901-1981)舊藏,於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset(1936-2021)舊藏展覽著錄:Sherman Lee, 《Ancient Cambodian Sculpture》,Asia House畫廊,紐約,1969年10月,頁85,編號48For further information on this lot please visit Bonhams.com
AN EARLY VICTORIAN PORTRAIT STUDY DEPICTING TWO YOUNG FIGURES, one is standing and wears a blue dress, they are holding a glass vase and stem of flowers, the other figure is seated and is wearing a silk gown with flower stems on their lap, no visible signature, Prepared Mill-Board label overlaid with Gallery of the Fine Arts label annotated with indistinct text, dated august 1853, oil on board, approximate size 44cm x 34cm, Condition: painting would benefit from a clean, limited crazing in places, damage and losses to the frame, part of the label is detached
KAY BOYCE (BRITISH CONTEMPORARY) THREE SIGNED LIMITED EDITION PRINTS DEPICTING FEMALE FIGURES, comprising 'Midnight Dance I & II', semi clothed seated studies, both numbered 45/95 with certificates verso, approximate size 35cm x 24cm, together with 'Romany' a standing full length portrait, numbered 296/500, with certificate verso, approximate size 52cm x 29cm, all mounted, framed and glazed, small scratches to the frames
A QUANTITY OF PICTURES AND PRINTS ETC, to include a print reproduction on canvas of a Francois-Hubert Drouais portrait, with print reproductions of paintings by Colin Vokes, D Keith Johnson, David Smith, Karen Armitage, Carleton Grant, Vincente Gonzalez, Constable and others together with an oil on canvas depicting a windmill, signed Walters (some damage)
TWO BOXES AND LOOSE PICTURES AND PRINTS, to include a distressed late Victorian or Early Edwardian portrait of a gentleman, in need of restoration, approximate size 60cm x 49cm, a watercolour depicting a river landscape, signed and dated T.B Ellerby 1914 - frame distressed, Boris o'Klein humorous dog print signed in pencil to lower margin, map of Cheshire by J & C Walker, together with assorted framed prints some in distressed condition
A ROYAL MINT 'HER MAJESTY QUEEN VICTORIA SOVEREIGN PORTRAIT COLLECTION, containing three sovereign coins All Melbourne Mint 1884,1891,1894. 'The Young Head, by William Wyon, 1838-1886', a 'The Jubilee Head, by Sir Joseph Edgar Boehm, 1887-1892', 'The Old Head, by Sir Thomas Brock, 1893-1901', all in 22ct gold, weights of 7.98 grams each, and diameters of 22.05mm, maximum mintage of 1500, issue number 0833, within box of issue
A ROYAL MINT 'THE HALF SOVEREIGN PORTRAIT COLLECTION', containing seven coins, Victoria Yound Head, Vicotoria Jubilee Head, Victoria Old Head, Edward VII, George V, Elizabeth II Machin Head, Elizabeth II Rank-Broadley Head,1855,1892,1894,1906,1912,1982,2001. issue number 383 of 537, within box of issue
Kurfürstentum Sachsen - Taler 1604, Christian II., Johann Georg I. und August, Av: Geharnischtes Hüftbild mit Kurschwert, davor Helm, Rs.: Brustbilder der Brüder im Wappenkreis, ss-, Grünspan, Tönung, berieben, leicht verschmutzt, Doppelprägung, Prägeschwäche, 28,8g Ag rau.| Princely House of Saxony - Thaler 1604, Christian II, Johann Georg I and August, Obv: Harnish hip portrait with electoral sword, helmet in front, Rv: Breast portraits of the brothers in heraldic circle, VF-, verdigris, toning, rubbed, slightly soiled, double striking, weakstrike, 28.8g Ag rough.
Luftwaffe - Allgemein : Konvolut von 4 signierten Fotos vom Stabsschwarm des Jagdgeschwaders 2 ?Richthofen? am Kanal im August 1941 bestehen aus:Gruppenaufnahme (17x11,5 cm) des Stabsschwarms in Kanalausrüstung vor Messerschmitt Bf 109 von links nach rechts Oberleutnant Egon Mayer (Ritterkreuz), Oberleutnant Erich Leie (Ritterkreuz), Major Walter Oesau (Eichenlaub mit Schwertern) und Oberleutnant Rudolf (Rudi) Pflanz (Ritterkreuz). Alle mit Originalunterschriften in Tinte, zusammen mehr als 140 Luftsiege; Portraitfoto (13,5x18 cm) von Major Walter Oesau mit Originalunterschrift und Widmung ?Am Kanal im August 1941?; Portraitfoton (13,5x18 cm) von Oberleutnant Erich Leie mit Originalunterschrift und Widmung ?Der Mann mit dem bösen Blick August 1941?; Portraitfoton (8,5x12,5 cm) von Oberleutnant Rudolf (Rudi) Pflanz mit Originalunterschrift auf der Vorderseite und zusätzliche Widmung auf der Rückseite: ?Onkel Lohmanns jungen Hanschen Oktober 1941 an der Kanalküste Rudi Pflanz. Sehr seltene Fotos.Luftwaffe - Miscellaneous : Konvolut von 4 signierten Fotos vom Stabsschwarm des Jagdgeschwaders 2 ?Richthofen? am Kanal im August 1941 bestehen aus: Group photo (17x11.5 cm) of the staff squadron in canal gear in front of Messerschmitt Bf 109 from left to right Oberleutnant Egon Mayer (Knight's Cross), Oberleutnant Erich Leie (Knight's Cross), Major Walter Oesau (Oak Leaves with Swords) and Oberleutnant Rudolf (Rudi) Pflanz (Knight's Cross), all with original signatures in ink, together more than 140 aerial victories; Portrait photo (13.5x18 cm) of Major Walter Oesau with original signature and dedication "At the canal in August 1941"; Portrait photograph (13,5x18 cm) of First Lieutenant Erich Leie with original signature and dedication "The man with the evil eye August 1941"; Portrait photograph (8.5x12.5 cm) of First Lieutenant Rudolf (Rudi) Pflanz with original signature on the front and additional dedication on the back: "Onkel Lohmanns jungen Hanschen Oktober 1941 an der Kanalküste Rudi Pflanz. Very rare original ink signed photos.
Deutsches Reich 1933 - 1945 - Kunst : Ferdinand Liebermann: Portraitkopf des Dichters Dietrich EckartBronze, auf späterem Kalksteinsockel montiert. Auf der Plinthe Künstlersignatur "FERDINAND LIEBERMANN" sowie Gießermarke: "G. WAGNER MÜNCHEN". Ferdinand Liebermann (1883 ? 1941) erhielt seine Ausbildung in München, an der Kunst-Gewerbeschule und der Akademie. Bereits 1910 schuf er eine Kleinbronze, für die er mit der Großen österreichischen Staatspreismedaille ausgezeichnet wurde.Er schuf nach 1933 mehrere Bildnisbüsten Adolf Hitlers, darunter eine im Auftrag der Stadt München für das Rathaus. 1935 wurde er selbst Ratsherr der Hauptstadt der Bewegung. Weitere Werke: ?Straußenreiterin? (1910), ?Erhebung?, ?Sphäre?, ?Abwehr?, ?Intuition?, Bildnis Artur Axmann, Bildnis Alfred Rosenberg, ?Tänzerin?, ?Erwartung?, ?Zum Licht?, ?Sonnenwende?, ?Bildnis eines jungen Mädchens?, ?Bildnis einer jungen Frau?, ?Im Licht?, ?Erhebung?, ?Erwachen? usw.Ab 1941 bis zu seinem Tode arbeitete er an einem Freikorps-Denkmal-Projekt für die Stadt München.Dietrich Eckart (* 23. März 1868 in Neumarkt in der Oberpfalz; ? 26. Dezember 1923 in Berchtesgaden) war ein Publizist, Verleger, früher Anhänger des Nationalsozialismus und Ideengeber Adolf Hitlers. Als Dichter und Dramatiker brachte ihm seine "arisch-christliche" Nachdichtung von Henrik Ibsens Drama Peer Gynt, die im Februar 1914 ihre Premiere erlebte, beachtlichen Erfolg. Eckart trat im Kontakt mit völkischen Kreisen wie dem Fichte-Bund und der Thule-Gesellschaft als Verfasser rechtsradikaler und antisemitischer Schriften hervor. Er gründete 1915 den Hoheneichen-Verlag. Er prägte 1919 als Mitbegründer der NSDAP den nationalsozialistischen Kampfbegriff "Drittes Reich". Im August 1921 wurde Eckart Chefredakteur des Völkischen Beobachters, nachdem er das Geld für dessen Übernahme im Dezember 1920 beschafft und Hitler gegen innerparteiliche Kritiker in Schutz genommen hatte. Eckart verfasste das Sturmlied der SA und machte die im Refrain verwendete Formulierung "Deutschland erwache!" zum NS-Schlachtruf. Adolf Hitler widmete u. a. Eckart sein 1925 erschienenes Buch Mein Kampf, in dem er ihn als Märtyrer der nationalsozialistischen Bewegung feierte. Alfred Rosenberg, der bereits an Eckarts Zeitschrift "Auf gut deutsch" (gegründet im Dezember 1918) mitgearbeitet hatte, übernahm sein Amt beim Völkischen Beobachter im März 1923, hatte er doch wesentliche Ideen bei Eckart bezogen, sowohl aus dessen politischen als auch aus den religiös-esoterischen Positionen. Die Berliner Waldbühne hieß ursprünglich "Dietrich-Eckart-Freilichtbühne" Seine Geburtsstadt Neumarkt in der Oberpfalz trug in dieser Zeit den offiziellen Namenszusatz "Dietrich-Eckart-Stadt".Eindrucksvoller patinierter, überlebensgroßer Bronzekopf des bekannten Bildhauers. Ferdinand Liebermann gehörte zu den Lieblingskünstlern Adolf Hitlers. Seine Werke waren in zahlreichen öffentlichen Ausstellungen, vor allem in der Großen Deutschen Kunstausstellung, vertreten und wurden von führenden Museen und staatlichen Institutionen angekauft.Höhe: 32 cm (mit Sockel: 46 cm).The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Ferdinand Liebermann: Portrait Bust of Dietrich Eckart.
Deutsches Reich 1933 - 1945 - Kunst : Willy Exner, Porträt Adolf Hitler (Öldruck) Öldruck nach dem bekannten Führerporträt Willy Exners. Auf Karton. Im modernen, vergoldeten Holzrahmen. Sehr dekoratives Porträt, als Öldruck oftmalsin Rathäusern und Dienststellen der NSDAP aufgehängt. Trotz der ehemals großen Verbreitung haben sich nur vergleichsweise wenige Exemplare erhalten. Maße m. R. : 84 x 70 cm.The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Willy Exner, Adolf Hitler Portrait. Oil print after the famous portrait of the Führer by Willy Exner. On cardboard. In a modern gilded wooden frame. Very decorative portrait, as oil print often hung in town halls and offices of the NSDAP. Despite the former wide distribution, only comparatively few copies have survived. Dimensions with frame: 84 x 70 cm.
Eichler, Gottfried d. Ältere. Lippstädt 1677 - 1759 Augsburg. Portrait einer AugsburgerApothekersgattin. Verso bez. und dat. "1759". Öl/Lwd. H: 96 x 70 cm. Originalrahmen. H: 107 x 83 cm. Eichler war ein Schüler von Johann Heiß in Augsburg. Nach 1700 reiste er nach Italien und war Schüler bei C. Maratta's in Rom. Mit Johann Kupetzki ging er 1706 nach Wien als Bildnismaler. Danach wurde er in Augsburg ansässig und erwarb 1713 das Meisterrecht. 1743 wurde er Direktor der Augsburger Kunstakademie. Er führte den Titel eines kurpfälzischen Hofmalers. Versand nur per Kurierdienst!

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