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283287 Los(e)/Seite
Los 315
A mixed group of four modern pictures, to include: Elizabeth 'Betty' Polivka, portrait of Michael Stone sketching in a garden, signed and dated 94, watercolour, 22 x 18cm; an etching and aquatint of men with a pack mule, signed E hovell, 29 x 33cm, a manner of Bernard Dunstan still life of a domestic interior, oil on canvas, 28.5 x 22.5cm; and an unsigned oil on board of men sleeping at a train terminal, 11.5 x 37cm
Los 373
A collection of 5 figural watercolours and one print; to include, Circle of Joshua Cristall (1768-1847), a portrait of a girl in a landscape, watercolour, 29.5 x 22cm; Circle of Alfred Edward Chalon (1780–1860) Ladies at a pleasure garden, watercolour; English School 20th Century, the music lesson; W Gumming or Cumming (19th century), Figures in period dress, signed and dated 'Wm (G/C?)umming 1881', watercolour; and a print of Queen Victoria and Prince Albert as children, and a watercolour of an epigram (6)
Los 287
JAN KORTHALS (DUTCH, 1916-1972) Portrait of the artist Oil on board Signed and dated lower right, label verso 59cm x 48cm Condition Report : frame and picture in good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 294
19TH CENTURY ENGLISH SCHOOL Two portrait miniatures Oil on metal panel and watercolour on oval paper Uniformly framed in embossed metal frames 18cm x 16cm overall Condition Report : light wear and tear, generally good Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 295
ENGLISH SCHOOL Portrait of a Genntleman Oil on panel 18cm x 14cm Optimistically inscribed verso 'Dunthorne by Constable' Condition Report : craqueleure, re-gilding to frame Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
![[GREAT EXHIBITION INTEREST]. AN INTERNATIONAL INDUSTRIAL EXHIBITION, LONDON, 1851 COMMEMORATIVE MEDAL the obverse with a por](https://cdn.globalauctionplatform.com/24ab5ba5-6a82-4778-93a6-ae1b00ec19bb/53041dd4-a914-4d1c-adb3-aea000a25bfd/468x382.jpg)
Los 307
[GREAT EXHIBITION INTEREST]. AN INTERNATIONAL INDUSTRIAL EXHIBITION, LONDON, 1851 COMMEMORATIVE MEDAL the obverse with a portrait of Prince Albert, Consort of Queen Victoria, the reverse with an image of the Crystal Palace, by Allen & Moore, 6.25cm diameter; together with a Festival of Britain, 1951 crown, in box of issue; and a plated metal coin holder (for sovereigns, half sovereigns, shillings, sixpences, and threepences), stamped 'JWB Patent', 5cm x 4cm, (3).
Los 326
COINS - GREAT BRITAIN, ASSORTED SILVER comprising a George IV (1820-1830) shilling, 1826, third reverse; William IV (1830-1837) shilling, 1836; and Victoria (1837-1901) florin, 1901; shilling, 1887; and sixpence, 1887, (5). Condition Report : Sixpence with solder mark above portrait and over rim. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 2531
A pair of 20th century cast composition stone portrait plaques, each relief cast with opposing classical busts, 47cm x 33cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1237
HEFFERNAN, JULIE1956 Peoria, IL/USATitel: "Self-Portrait as Great Heap". Datierung: 2009. Technik: Öl auf Leinwand. Maße: 173 x 143cm. Bezeichnung: Signiert, datiert und betitelt verso auf Leinwand: Julie Heffernan 2009 Self-Portrait as Great Heap. Provenienz:- Mark Moore Gallery, Santa Monica (Aufkleber)- P.P.O.W, New York (Aufkleber)Austellungen: - Berenberg Bank, Düsseldorf 2008- La Maison Rouge, Paris, Frankreich 2011/12- me Collectors Room Berlin, 2012/13Literatur:- Schoppmann, Wolfgang: Mémoires du futur, La collection Olbricht, Lyon 2011, S. 139, Abb. Julie Heffernan USA Zeitgenössische Kunst Unikate 2000er Natur Gemälde Öl LandschaftErläuterungen zum Katalog
Los 81
EDGAR PLANS (Madrid, 1977)."A facial anatomie", 2007.Mixed media on canvas.Signed, titled and dated in the lower left corner and on the reverse.What can be seen on the reverse are traces of paint and matter.Certificate of authenticity attached.Measurements: 120 x 120 cm.In this painting, the artist presents us with a portrait in the purest abstract style. The way in which he composes his "facial anatomy" reminds us of Basquiat, to whom he makes a wink by placing his iconic crown in the upper right corner. The way he composes the portrait also reminds us of the aforementioned artist, as he divides the face into several quadrants and each one of them gives us different information, even writing which part of the face it represents. The artist's exercise goes beyond the main image, conceiving the work as a whole, in which the sides or edges, and the back of the canvas, also form part of the painting.In the words of the artist himself, "Even as a child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.
Los 22
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Self-portrait", 1946-47.Mixed media on paper.Signed and dated on the back.This work is published in the artist's online catalogue, ref. 2365.Size: 27 x 21 cm; 60 x 53,5 cm (frame).In his youth, Ponç explored psychological self-exploration through self-portraits, and numerous drawings such as this one, made during his primitivist-expressionist period, have survived.A painter and draughtsman, he trained in Barcelona in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.
Los 65
EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Dona-retalls", 1981.Oil on canvas.Signed and dated in the lower left corner; titled and located on the back.Measurements: 92 x 73 cm; 95 x 76 cm (frame)."Woman-cuts" is an emblematic painting of the direction Arranz-Bravo's creation took in the seventies and eighties, when he achieved a perfect harmony between the realistic sketch and the colour plane, entering with his neo-figurative language towards a redefinition of the portrait genre.Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his solo debut in 1961 at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was organised by the Barcelona Athenaeum in 1961. Between 1968 and 1970 he formed part of the group made up of Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint and solo exhibitions. His contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has held exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art in São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His prizes include the II Bienal Internacional del Deporte, the figure award of the Bienal Estrada Saladich, and the Ynglada-Guillot drawing prize. His work can be found in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.
Los 61
RUUD VAN EMPEL (Breda, 1958)"Study for woman" n.1. 2000.Cibachrome, photographic print on dibond, on plexiglass, copy 2/7.Signed, dated, numbered and titled on the back.Reproduced and inventoried on the artist's official website.Size: 118 x 84,5 cm.A typical feature of Ruud van Empel's work, which we can observe in the composition in question, is the perfection and idealisation of the figure depicted and its surroundings down to the smallest detail. "Van Empel's virtuosity lies in his ability to combine in photography the kind of ideas anchored in painting (historical references, the power of a gaze, the use of colour) and film (multi-image structure and the power of a narrative), and to do so on a large scale," writes Deborah Klochko in the catalogue "Ruud van Empel Photoworks 1995-2010". He studied at the Academie voor Beeldende Kunst St. Joost in Breda in the 1970s. In the late 1980s he moved to Amsterdam to work on his career as a visual artist. Her first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented her first solo exhibition in 1999. She made the international breakthrough with her series World-Moon-Venus, which was shown at the George Eastman House in Rochester, New York. Curator Deborah Klochko invited him to participate in the exhibition entitled "Picturing Eden" at the George Eastman House. In particular, the World series, which explores the theme of innocence, made a deep impression. Van Empel placed neatly dressed black boys and girls in paradisiacal settings of untouched, non-existent nature. Interest in and appreciation of the series continues to this day all over the world. The breakthrough in the United States also brought renewed attention to Dutch museums. Van Empel has had solo exhibitions at the Het Valkhof Museum in Nijmegen, the Groninger Museum and the NoordBrabants Museum in 's-Hertogenbosch. Since the international recognition of his work gave Van Empel the status of an artist with his own independent formal language, he has progressively expanded his oeuvre with the series Theatre, from 2010 to 2013, and Souvenir, which offered a charged image of his youth in Breda. This series was acquired by the NoordBrabants Museum. But there is always a darker, if not always obvious, side to this. Ruud Schenk, curator of the Groninger Museum, wrote about this aspect in reference to the series Study for Women (2000-2002): As a viewer, you feel that there is something wrong with the depiction of the women: they are not completely real, but tend to be a mixture of real women and shop window mannequins. This generates a certain discomfort, an uneasiness that comes close to what was described as "das Unheimliche" (the uncanny) in the early 20th century". Although the photographic images seem to capture an era, it is hardly possible to assign a date to any of them. This timeless element in Van Empel's work has taken on a different meaning in his recent work, as he addresses themes such as transience and vanity in his Still Life series of 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the model's pose and the aesthetics of the nude. His work has been reviewed in countless publications and he has held important international exhibitions, not only in institutions specialising in photography but also in renowned museums of modern visual art.
Los 72
MANOLO VALDÉS (Valencia, 1942)."Profile".Silkscreen. Copy 39/50.Signed and justified in pencil.Measurements: 167 x 128 cm; 195 x 155 cm (frame).In this piece Manolo Valdés reinterprets in his colourful style the portrait of the Duchess of Urbino, which was painted by Piero de la Francesca in 1472. Around 2006, Valdés focused on this model on which he explored the profile of the original work through shapes, colour and synthesis. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan (1965), the silver medal at the II International Biennial of Engravings in Tokyo (1979), the Bridgestone Art Museum prize in Lisbon (1979), the National Plastic Arts Prize (1983), the medal at the International Festival of Plastic Artists in Baghdad (1986), the Decoration of the Order of Andrés Bello in Venezuela (1993), the prize of the National Council of Monaco (1997), the Gold Medal for Merit in Fine Arts (1998), the Prize of the Spanish Association of Art Critics (2000) and the Prize for the Best Print Artist (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritising above all other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera and Zurbarán, and he never concealed his models, but rather emphasised them, even in the titles of his works. Formally, he produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Los 4185
Koldewey, Robert -- Self-portrait of the archaeologist Robert Johann Koldewey. 1906. Vintage large format, sepia-toned gelatin silver print. 38,5 x 53 cm. Date in the negative in lower left corner, flush-mounted to board; annotated in ink on mount verso.A self-trained archaeological historian of the classical period, Koldewey was signed on as a participant to the American excavation expedition under Joseph Thacher Clarke of Ancient Assus in Greece in 1883, where he learned excavation methods and how to recover ancient remains. The German Archaelogical Institute then employed him for various excavations in the Ottoman Empire. His most important work involved the excavations in Babylon from 1898-1917 where his most significant excavation was the Processional Way and the Ishtar Gate as well as the foundations of the Tower of Babylon. Along with Schliemann, Humann, Conze and Dörpfeld, Koldewey is among to the most important archaeologists of this era. – Edges slightly frayed, small retouched scratch, liquid surface spot in right area, otherwise a rich tonal print in very good condition.Lit.: Walter Andrae. Babylon. Die versunkene Weltstadt und ihr Ausgräber. Robert Koldewey, Berlin 1952, ill. frontispiece.
Los 4072
Nineteenth Century Portraits -- Portrait album of 19th century European royalty and nobility.1860s. 76 albumen cartes-de-visite (including 7 cabinet cards). Inserted in album board windows, some annotated in pencil in French below the images on album board, bound in leather album with metal corners and clasp and metal shield on front cover (album boards slightly damaged).The portraits include Napoleon III, King and Queen of Naples, King Maximilian II of Bavaria and his wife Marie Friederike of Prussia, Otto of Bavaria, Ludwig I of Bavaria, Tsar Alexander II and his wife, Prince Albrecht of Prussia, Prince Friedrich Carl of Prussia with family, Prince Wilhelm (later Kaiser Wilhelm II) and Viktoria, Major General von Dassel and family, Adolf Stoecker and many others. The photographers include Hanns Hanfstaengl, Theodor Prümm, Hermann Selle, Edmund Risse, Henri Thibaud, Levitsky, Schwartz & Co., Heinrich Graf, Franz Werner and others. – Some surface scuffing to photos, some slightly faded, some with spots, otherwise most in good condition.
Los 4193
Lerski, Helmar -- Fisherman. 1930-1944. Vintage warm-toned gelatin silver print. 29,5 x 23 cm. Signed by the photographer in ink in lower left, lower area cropped with paint.Helmar Lerski was born in Straßburg, emigrated to the United States in 1893, but later returned to Europe. In 1928, he began concentrating on portrait photography, eventually completing a project he titled "Köpfe des Alltags" (Everyday Faces). He visited Palestine in 1931 where he took portraits of Jewish settlers and Arabian residents. During his second visit to Palestine the National Socialist takeover in Germany occurred, making it impossible for him to return. – Some mirroring and time-stained in edges, traces of previous mounting on the verso, pinholes in lower left and upper right corners, otherwise in good condition.
Los 4229
Orlik, Emil -- Views of China. Circa 1911/12. 9 vintage unique gelatin silver prints (no existing negatives). Each circa 18 x 13 cm. Most annotated in pencil, each with Orlik estate stamp on the verso.These rare and unique photographs were taken by the artist Emil Orlik on his trip to China in 1911. They show various street views of an unknown city in China, including two studio portraits of a young Chinese woman and a group portrait of Korean students. – Most with some silver mirroring in edges, otherwise many in good condition. – With: Cabinet studio portrait of a Japanese geisha. Circa 1911. Albumen print mounted to original studio cabinet board. Orlik estate stamp on mount verso. - Surface scuff marks, slight soiling.Provenance: Galerie Bodo Niemann, Berlin Errata: This lot has 8 gelatin silver prints, not 9.
Los 4286
Steiner, Rudolf -- Photographer unknown. Portraits of Rudolf Steiner. 1907 and circa 1919. 2 vintage gelatin silver prints. Each circa 20,4 x 13,5 cm. 1 with 1907 blindstamp in lower right corner, mounted to board, the other with printed signature of Rudolf Steiner and mounted to wood. Earlier portrait with silver mirroring in edges, later portrait with a few small spots, otherwise in good condition.
Los 4206
Marquardt, Sven -- Nude portrait. 1980s. Vintage gelatin silver print. 46 x 31 cm. Signed by the photographer in pencil on the verso.Corners bumped/frayed, small tears and creases in upper edge, traces of previous mounting on verso, otherwise in good condition.Provenance: Directly from the photographer to the current owner
Los 4043
Daguerreotypes & Ambrotypes -- Photographer: Marowsky's Atelier für Lichtbilder vormals Richard Scholz, Berlin. Portrait of a young man. Mid-1850s. Sixth-plate gold-toned daguerreotype with paper surround and gilt tape/paper around glass (small pieces missing), photographer's studio label on the verso.Slight oxidation in edges, spot in right area, otherwise a clear image in very good condition.
Los 4228
Orlik, Emil -- Photographer: Heinz von Perckhammer and Emil Orlik. Emil Orlik etching and reproduction photo of the painting "Self-portrait in front of "'Dächern von Paris'". Circa 1928. 2 vintage gelatin silver prints. Each circa 23,5 x 18,3 cm. 1 with photographer's stamp (Perckhammer) and 1 with Orlik estate stamp on the verso.Some crease marks and handling marks, one with spot in lower mid area, otherwise in good condition.Provenance: Galerie Bodo Niemann, Berlin
Los 4084
Turgenev, Ivan -- Photographer: M. Panov. Portrait of the writer Ivan Turgenev. 1870s. Albumen print, oval. 33,5 x 26 cm. Mounted to original board (tear in right edge), signature stamp of Turgenev below image on mount.Some retouched spots, a few surface scuff marks, otherwise in good condition.Lit.: David Elliott. Photography in Russia: 1840-1940, London 1992, ill. p. 36.
Los 4275
Shaw, George Bernard -- Photographer: Lena Connell (1875-1949). George Bernard Shaw. 1909. Vintage gold-toned gelatin silver print. 13,5 x 8,5 cm. Mounted to original studio board.Adelin Beatrice "Lena" Connell, also known professionally as Beatrice Cundy, was a British suffragette and a well-known photographer whose work is held in the National Portrait Gallery, London. – In excellent condition.
Los 4108
Burgdorf, Will -- Portrait of a woman; Portrait of a man. Early 1930s. 2 vintage warm-toned gelatin silver prints. Each circa 21 x 16 cm. 1 with photographer's stamp on verso, each mounted to card, signed by the photographer in pencil below the image on mount.Will Burgdorf started his career as a photographer in 1930 and as of 1931 had a studio at Lister Platz in Hanover. He specialized in portraits and expressively posed nudes. He often photographed people with their eyes closed, giving the portraits a sense of inner contemplation. As of WWII Burgdorf's career ended and in 1945 he went missing. – Rich tonal prints in excellent condition.
Los 4066
Kimball, Myron H. -- White and black slaves from New Orleans. 1863. Albumen cartes-de-visite. Mounted to board. Title and caption printed below the image on the mount.The portrait shows three emancipated slaves, Mary Johnson, Isaac White, and Augusta Boujey, who were accompanied by Colonel George Hanks to New York City to be photographed. – Some light foxing spots, otherwise in good condition.
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283287 Los(e)/Seite