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283287 Los(e)/Seite
Los 429
Vittorio Tessari (1860 - c1940), portrait of a senorita, oil on panel, signed 'V. Tessari' lower right, 25cm x 18.5cm, housed in ornate painted gesso frame CONDITION REPORT: Please note - Descriptions do not include condition reports. Please contact us to if you require further information or images. PLEASE CONSIDER SHIPPING COSTS BEFORE BIDDING. THE COST OF SHIPPING MAY AFFECT YOUR DECISION TO BID.
Los 204A
Two 20th century painted portrait miniatures upon ivory, each of oval form in filigree frame, the first example depicting 'Georgiana Duchess of Devonshire' after Thomas Gainsborough, the second depicting 'Self-Portrait with her Daughter' after Elisabeth Vigee Le Brun, each approximately H10cm W7.5cm
Los 39
ASSORTED JEWELLERY comprising two revolving fobs set with bloodstones, sardonyx and a carnelian, 9ct gold amethyst and seed pearl bar brooch, yellow metal seed pearl bar brooch, 15ct gold diamond chip brooch, two 15ct gold pins, 9ct gold portrait pendant, two fine 9ct gold chains, 9ct gold stud
Los 19
A framed and glazed National Portrait Gallery edition James Abbe (1883-1973) photographic print on Portriga paper, Rudolf Valentino & Natasha Rambova, New York. Released in 1995 by Kathryn Abbe after the 1922 original photograph and numbered 12 of 100. Signed by Kathryn Abbe verso. Image size 27cm x 34cm
Los 11
A 19th Century French black slate, marble and bronze figural mantel clock by Charles Taylor & Son of Paris. Comprises a large bronze figurine of a maiden in the manner of Cyprien Francois Venot seated on stool holding a portrait miniature in hand. The clock having central dial with gilded Roman numerals and faceted hands. The clock raised on black marble plinth base with green veined marble flashed panels. Appears in good condition with bell, pendulum & key present. Measures approx; 43cm x 41cm x 16cm.
Los 16
A 19th Century Victorian Naval Waterloo interest oil on board portrait painting study depicting a gentleman in Naval military jacket with metal epaulettes or shoulder scales with buttons and black tie. Notated to verso James Polkinghorne with reference to his wife, a battle (likely Trafalgar) and a quote to bottom about duty. The painting set within an oval slip with stepped gilt frame. Measures approx; 19cm x 15cm. Frame measures approx 28cm x 24cm.
Los 230
A pair of late 18th Century George III watercolour portrait paintings on ivory miniatures depicting Sir Benjamin Thompson, Count Rumford, FRS (1753-1814) and another possibly depicting his wife or daughter Sarah Rolfe born Sarah Walker. The portraits depicting Thompson in full military dress jacket and the lady being depicting in a blue dress with white shawl to hair. Both set to gilt metal frames. The portrait of Thompson being after the original by Moritz Kellerhoven. Measures approx; 11cm x 9cm.Count Rumford (German: Reichsgraf von Rumford was an American-born British physicist and inventor whose challenges to established physical theory were part of the 19th-century revolution in thermodynamics. He served as lieutenant-colonel of the King's American Dragoons, part of the British Loyalist forces, during the American Revolutionary War. After the end of the war he moved to London, where his administrative talents were recognized when he was appointed a full colonel, and in 1784 he received a knighthood from King George III. A prolific designer, Thompson also drew designs for warships. He later moved to Bavaria and entered government service there, being appointed Bavarian Army Minister and re-organizing the army, and, in 1791, was made a Count of the Holy Roman Empire.
Los 300
A pair of late 18th Century George III Battersea enamel portrait miniature studies depicting scenes of courting couples. The oval copper plaques having hand painted enamel decoration with mirrored scene portraying a young gent in green dress jacket holding a large curved stick and having hunting horn to side with the young lady wearing white dress with pink sash and pearl necklace. Both figures set to an outside scene with tree under blue cloudy sky. The reverse of the paintings being enamelled and held within oval frames set with period tri-colour paste stones and having bale loops atop. Old collection label to verso. Measures approx; 14cm x 9.5cm.
Los 363
A large 20th Century oleograph laid on canvas painting after Thomas Gainsborough (b.1727). The oleograph depicting a portrait of a mother and her son with views to the backdrop. Set within a decorative gilt gesso frame with acanthus leaf detailing. Wear commensurate with age, some lose to the frame and mark to the oleograph. Measures approx; 218cm x 140cm.
Los 38
A collection of three early 19th Century watercolour miniature paintings comprising a portrait miniature on ivory depicting Georgiana Cavendish, Duchess of Devonshire after Thomas Gainsborough, another portrait of a young lady and a larger oval scene. All set within ivory and ebony frames. Largest frame measures approx; 15cm x 18.5cm.
Los 44
A mid - late 19th Century Victorian watercolour on ivory portrait miniature painting study depicting a woman in green dress wearing a white bonnet with floral garland to top. The sitter wearing gold pin brooch, necklace and earrings. Set to an ornate swept frame with Rococo shell and scroll corners. Painting measures approx; 7.5cm x 6cm. Frame 20cm x 19cm.
Los 67
An 18th Century large size portrait miniature on ivory study painting depicting General Sir Charles Stewart (1753-1801). Depicts Stewart in full military dress jacket and white curled wig. The portrait set within a boulle work brass and tortoiseshell frame. Label to verso. Measures approx; 19cm x 17cm.
Los 82
A collection of six 18th Century portrait engravings depicting important figures of the period. Comprises King George I, Sir Francis Walsingham, John Duke of Lauderdale, Henry Bennet Earl of Adlington, Francis Lord Cottington & Saville Marquis. Each with printed notation. Framed and glazed. Measures approx; 45cm x 30cm.
Los 65
Konvolut "Tattoos": Buch "BilderbuchMenschen. Tätowierte Passionen von 1878-1952" von Oliver Ruts und Andrea Schuler, Photographien von Herbert Hoffmann (1919-2010), sign./gewidmet im Vorsatz durch Hoffmann; 15 Fotografien, z.T. von Herbert Hoffmann, z.T. hinter Glas (12x9-23,6x17,7cm) und 5 Tattoo-Vorlagen (10,2x9,5-34x24cm), dazu: Plakat "Portrait of a Tatooing Passion", sign./gewidmet durch Herbert Hoffmann, versch. Erhaltungszustände, diverse Defekte, Slg. Övelgönner Seekiste/Hbg., Nachlass Kapt. Lührs
Los 19
Godwin Oluwole Omofemi (Nigéria, né en 1988)Sans titre, 2017 signé et daté en bas à droite 'Oluwole Omofemi 17'huile sur toilesigned and dated 'Oluwole Omofemi 17' to the lower right oil on canvas91 x 91cm.35 13/16 x 35 13/16in.Footnotes:ProvenanceCollection privée, NigériaNé en 1988 à Ibadan, au Nigeria, Godwin Oluwole Omofemi développe très tôt son aptitude à la peinture. Au fil de l'évolution de son travail, il acquiert une réputation pour ses représentations éblouissantes du portrait noir contemporain, généralement sur fonds lumineux, comme le bleu froid de Sans titre (2017).Les compositions des peintures d'Omofemi sont le résultat d'un processus mûrement réfléchi. Il choisit une palette de couleurs et les vêtements de son sujet en fonction de l'ambiance qu'il souhaite transmettre à travers l'œuvre. Il prend ensuite des photographies de son modèle qu'il utilise comme images de référence lorsqu'il peint. Travaillant à l'acrylique et à l'huile, il introduit un élément imaginatif qui transcende l'image photographique en stylisant la figure, exagérant souvent des éléments tels que les cheveux du modèle. L'approche réaliste adoptée pour représenter le sujet est réhaussée par la platitude de l'arrière-plan monochrome.Si les modèles des tableaux sont généralement des amis ou des membres de la famille de l'artiste, Omofemi, au travers de ses œuvres, leur offre une part de mysticisme et de spiritualité. Il considère que les femmes sont proches de Dieu, car il associe les qualités traditionnellement associées à la féminité - amour, acceptation et pardon - au divin. Comme l'explique Omofemi, 'Je ne veux pas simplement peindre un tableau. Je veux un tableau qui capture l'âme. Je veux un tableau qui capture la personnalité. Ce sont les choses que je veux que les gens voient' (Omofemi cité par P. Laster, 2021).Sans Titre (2017) appartient à un ensemble d'œuvres dans lesquelles Omofemi explore la politisation des cheveux pour affirmer une puissante subjectivité noire. Il explique : ' Dans mes peintures, j'essaie de dire aux Noirs d'accepter qui ils sont, d'accepter leur identité, d'accepter leur beauté ' (Omofemi cité par P. Laster, 2021). Il se souvient du mouvement transnational des droits civiques des années 1960 et 1970, lorsque les cheveux naturels étaient considérés comme un moyen d'éviter le conformisme européen et d'affirmer une forte identité panafricaine.Dans la présente œuvre, le sujet est représenté arborant une coiffure afro surdimensionnée qui domine la toile. Ses cheveux sont un symbole de force, de beauté et de pouvoir. Réfléchissant aux qualités symboliques des cheveux, Omofemi note ' [un] effet capillaire surprenant des cheveux noirs qui me remplit d'admiration : peu importe la façon dont nous peignons ou traitons nos cheveux, ils ne tomberont jamais, mais s'étireront ou s'élèveront. Pour moi, les cheveux sont une perche ou une antenne qui nous donne le pouvoir de nous connecter au Divin' (Omofemi cité par M. Mobengo, 2021).Au cours des deux dernières années, le travail d'Omofemi a suscité une attention internationale significative. Il a bénéficié de deux expositions personnelles à la Signature Art Gallery de Londres, The Way We Were (12 mars-9 avril 2020) et In Our Days (1-30 septembre 2021). Son travail est actuellement présenté dans une exposition personnelle à Out of Africa Contemporary Art à Barcelone (jusqu'au 19 mai 2022).BibliographiePaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, en ligneMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), en ligneGodwin Oluwole Omofemi has swiftly garnered international acclaim for his distinctive approach to contemporary Black portraiture. Born in Ibadan, Nigeria in 1988, Omofemi's aptitude for painting was recognised at a young age. Through his evolving body of work, he has gained a reputation for dazzling depictions of female subjects, typically set against luminous backgrounds, such as the cool blue of the present work.The compositions of Omofemi's paintings are the result of a carefully considered process. He selects a colour palette and the clothing of his subject according to the mood he wishes to convey through the work. He then takes photographs of his model which he uses as reference images when he paints. Working in acrylic and oil, he introduces an imaginative element that transcends the photographic image as he stylises the figure, often exaggerating elements such as the model's hair. The realist approach taken to depicting the subject is juxtaposed with the flatness of the monochrome background.While the models for the paintings are typically friends and family of the artist, Omofemi believes they accrue a spiritual quality when translated to canvas. He understands women to be close to God as he associates the qualities traditionally associated with femininity – love, acceptance, and forgiveness – with the Divine. As Omofemi explains, 'I don't want to just paint a picture. I want a picture that captures the soul. I want a picture that captures personality. These are the things I want people to see' (quoted in P. Laster, 2021). Sans Titre (2017) belongs to a body of work in which Omofemi explores the politicisation of hair to assert a powerful Black subjectivity. He explains, '[i]n my paintings, I try to tell black people to accept who they are; accept their identity; accept their beauty' (quoted in P. Laster, 2021). He looks back to the transnational Civil Rights Movement of the 1960s and 1970s when natural hair was valued as a means to eschew European styles and assert a strong Pan-African identity. In the present work, the subject is portrayed with an oversized afro that dominates the canvas. Her hair is a symbol of strength, beauty, and power. Reflecting on the symbolic qualities of hair, Omofemi notes '[a] surprising capillary effect of Black hair which fills me with awe is no matter how we comb or treat our hair, [it will] never fall down, [but will] rather stretch or rise. To me, hair is a pole or antenna which gives us the power to connect with the Divine' (quoted in M. Mobengo, 2021).In the last two years, Omofemi's work has garnered significant critical attention and has been exhibited internationally. He has received two solo exhibitions at Signature Art Gallery in London, The Way We Were (12 March - 9 April 2020) and In Our Days (1 - 30 September 2021), and his work is currently on view in a solo show at Out of Africa Contemporary Art in Barcelona (until 19 May 2022).BibliographyPaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, onlineMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), online... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Los 2188
Photobücher - - Picturing America. Edition 46. Mit einer signierten Original-Diavographie von Chuck Close, einem Original-Photo sowie einem Original-Dia von Robert Bechtle, jeweils einer signierten Original-Photographie von Don Eddy und John Salt, einer signierten Photocollage von Ben Schonzeit u.a. Berlin, Deutsche Guggenheim, 2009. Unpaginiert. 40 x 35 cm. Lose Blatt in Original-Kartonage mit orangefarbenem Deckeltitel und Schließbändchen sowie Schraubenbindung (Rücken etwas geblichen, minimal fleckig).Eins von 50 (GA 85) nummerierten Exemplaren. - Die anlässlich der Ausstellung "Picturing America: Fotorealislmus der 70er Jahre" erschienene Mappe enthält neben Bild- und Textbeiträgen, Briefen und Reprints unterschiedliche, teils signierte Photographien und Prints. So ist der auf 50 Exemplare limitierte Reprint des Proof Sheets für "Big Self-Portrait, 1967" von Chuck Close (Blattmaße: 36 x 25 cm) verso auf einem roséfarbenen Etikett signiert. - Außerdem enthalten sind Arbeiten von Tom Blackwell (1 Farbprint), Robert Cottingham (1 signierter Farbprint und 1 Schwarz-Weiß-Porträt), Richard Estes (2 Farbprints, einer signiert), Audrey Flack (2 Farbprints, einer signiert), Ralph Goings (3 Farbprints auf einem Blatt und ein Schwarz-Weiß-Porträt), Ron Klemann (signierter Farbprint und Aufkleber) und neben der signierten Photographie von John Salt ein weiterer Schwarz-Weiß-Print von ihm. - Tadellos.
Los 1668
Eisler, Georg. Zeitgeist III. Öl auf Leinwand. Signiert und datiert oben rechts. Verso auf einem Etikett betitelt und nochmals datiert. 1982. Maße: 26 x 40 cm (Keilrahmen), 33 x 46,5 cm (gerahmt).Die Berlin-Ansicht von Georg Eisler (1928-1998) entstand anlässlich der Internationalen Kunstausstellung "Zeitgeist", die 1982 im Martin-Gropius-Bau stattfand. Direkt vor dem Haupteingang des damals noch baufälligen Gebäudes verlief die Berliner Mauer. - Gemälde von Eisler, der zu den wichtigsten österreichischen Malern des 20. Jahrhunderts zählt, sind ebenso in der Albertina in Wien, in den Uffizien in Florenz sowie in der National Portrait Gallery und dem British Museum in London zu besichtigen. - Sehr guter Zustand. - Provenienz: Aus dem Nachlass des Berliner Sammlers Frank Wegner.
Los 1664
Eisler, Georg. Ohne Titel. (Katze). Öl auf Leinwand. Signiert und datiert oben rechts. 1985. Maße: 24 x 18 cm (Keilrahmen), 33 x 27 cm (gerahmt).Schönes Katzenporträt des österreichischen Malers Georg Eisler (1928-1998), der zu den wichtigsten österreichischen Malern des 20. Jahrhunderts zählt. Seine Werke sind ebenso in der Albertina in Wien, in den Uffizien in Florenz sowie in der National Portrait Gallery und dem British Museum in London zu besichtigen. - Sehr guter Zustand. - Provenienz: Aus dem Nachlass des Berliner Sammlers Frank Wegner.
Los 257
Sport - - Athletic Sports and other Memorabilia. Album mit 27 deckweißgehöhten Zeichnungen in brauner Feder. England, 1867/68. Handschriftlicher Titel und 39 teils leere Kartonbl. 13,5 x 18 cm. Halblederband der Zeit (berieben, hinteres Innengelenk gebrochen).Gekonnte, etwas karikaturistische Zeichnungen britischer, vor allem schottischer Sportarten. Die Darstellungen (teils mehrfach) betitelt "Beckenham Cricket Club", "Throwing the Hammer", "Hurdle Race", "Running High Jump", "Putting the Stone", "Tossing the Caber", "Sword Dance", "A Gordon Highlander", "Birnan Highland Games", "Sack Race", "Wheelbarrow Race". - Das Album enthält sechs weitere Zeichnungen, darunter im hinteren Innendeckel aquarelliertes "Fancy Portrait of St. Swithin" mit Brausekopf-Brille über Landschaft. - Im vorderen Innendeckel zeitgenössischer Besitz- oder Künstlervermerk J. H. Bertram, Beckenham. - Etwas gebräunt und fleckig.
Los 123
Walton (Izaak) The Life of Mr. George Herbert...To which are added some letters written by Mr. George Herbert, at his being in Cambridge..., first edition, second issue, engraved portrait frontispiece by R. White (?from another copy), both issues of general title present, first title soiled and with partially removed inscription to upper margin (causing thinning of paper), small repair to lower inner corner and ink name, some spotting and staining, lightly browned throughout, antique style calf, [Wing W669], 8vo, Printed by Tho: Newcomb, for Rich: Marriott, sold by most booksellers, 1670.⁂ A reissue, with cancel title page.
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283287 Los(e)/Seite