283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenEARLY/MID-19TH CENTURY PORTRAIT MINIATURE OF A LADY,pictured in silk gown, unsigned, 8.5 x 7cm, housed in a white metal frame bearing loop hallmarked for Birmingham 1850, unglazedPatches of old varnish still visible under UV light, craquelure to blue shawl, small irregular area central lower area against frame, accumulated surface dirt and some very small surface nicks, additional images available; knocks to frame as well as tarnish
ALBRECHT ALTDORFER ( c.1480-1538) The Virgin and child in a landscape circa 1515, engraving, 16.5cm x 12cm (B17); LUCAS CRANACH THE ELDER (c. 1472-1553) 'The Penance of St. Chrysostom' circa 1509, engraving, 26cm x 20.5cm (BI); and two etchings by Wenceslaus Hollar (1607-1677) after Holbein, an unidentified man and Lady Butts (4) (all unframed). Provenance: (for the engraving by Altdorfer) King Frederick August II of Saxony (1797-1854), Dresden. (Lugt 971 & 972)According to Lugt, King Frederick August II assembled a collection of around 110,000 prints, many of which were acquired from leading collection sales in the 19th century including the Schwarzenberg sale in 1826, Einsiedel in 1833, Sternberg-Manderscheid in 1836 & 1845, von Rumohr in 1846, Verstolk in 1847-1851 and Otto-Clauss in Leipzig in 1851-52. The king also bought from R. Weigel and other dealers. The collection was housed in a building on the Bruhlsche Terrace in Dresden, next to the Academy of Fine Arts. See J. G. A. Frenzel, Die Kupferstich-Sammlung Friedrich August II, Leipzig 1854, and König Friedrich August als Kunstfreund und Kunstsammler. Another impression is in the State Art Collection, Dresden (SKD) inventory number A 1911-232 - without Royal Saxon collector’s mark. The portrait of Lady Butts, after Holbein, is now in the Isabella Stewart Gardner Museum, Boston (no. P21e2). That portrait (& her husband Sir William Butts) were sold by the Pole-Carew family of Antony House, Cornwall in 1899. Provenance: Kerrison Preston Esq. and by descent
ATTRIBUTED TO SIR THOMAS LAWRENCE (1769-1830) A portrait of Anne Wellesley, Countess of Mornington three-quarter length, the sitter depicted with her hands resting in her lap, pencil and wash, bearing pencil signature lower left, 22.5cm x 17.5cm (oval)Anne Wellesley (née Hill-Trevor), Countess of Mornington (23 June 1742 - 10 September 1831) was an Anglo-Irish aristocrat. She was the wife of Garrett Wesley (later Wellesley), 1st Earl of Mornington and mother of the victor of the Battle of Waterloo, Arthur Wellesley, 1st Duke of Wellington.
ALLAN RAMSAY (1713-1784) Portrait of James Bateman (d.1758) three quarter length standing, wearing a bright blue waistcoat and grey coat, his arm resting on a marble ledge, signed and dated 1756, oil on canvas, 127cm x 101cm. Provenance: Wauchope family of Niddry Doig, Wilson & Wheatley, Edinburgh, 1952Ian MacNicol, Glasgow, 1956James Kenneth Weir, 2nd Viscount Weir (1905-1975)William Kenneth Weir, 3rd Viscount Weir, sold at Christie's, Montgreenan , Ayrshire, 8 December 1980, lot 372A distinguished private collection, WiltshireExhibited: Talbot Rice Art Centre, University of Edinburgh, 1990-91National Gallery of Scotland, Edinburgh, 1995-2016Literature: Scottish Art Review, v. no. 3, (Summer, 1955), frontispieceA. Smart & R.J. Inganells, "A Complete Catalogue of his Paintings", New Haven and London, 1999, p.79James Bateman was the second son of Sir James Bateman (c.1660-1718). Sir James was one of the founding directors of the Bank of England and Sub-Governor of the South Sea Company in 1711. He was also a Trustee of the sale of the South Sea Stock between 1714 and 1716, when he became Lord Mayor of London. He left a fortune, reputedly worth £400,000, (with RPI this amounts to some £56,000,000 today) with his two younger sons James and Richard inheriting estates in Tooting, Kent and Essex. James married Anne Chaplin in 1721, daughter of Sir Francis Chaplin who had been expelled from Parliament in 1721 after the collapse of the South Sea Company. Allan Ramsay was in Italy for his second visit between 1754 and 1757, visiting Rome, Florence, Naples and Tivoli. Whilst in Rome he painted the portraits of several Grand Tourists including the present portrait of James who was in Rome with his wife. It was in Rome that Ramsay met up with his fellow Scots, Robert Adam and Gavin Hamilton. Adam, in letters home, referred to Ramsay cheekily as "Old Mumpy" and "Black-beard Allan", but visited the Ramsays regularly. Ramsay painted his portrait in 1755.
MARGARET SARAH CARPENTER (1793-1872) Portrait of a young girl, believed to be the artist's daughter Henrietta signed and dated "Nov'r 18 1834", oil on canvas, 56 x 46cmProvenance: private collection U.S.A.A distinguished private collection, WiltshireMargaret Sarah Carpenter was born in Salisbury in 1793, she went to London in 1814 and soon established herself as a leading and fashionable portrait painter. Her pictures were greatly influenced by the works of Sir Thomas Lawrence suggesting she may have been one of his pupils. The inscribed date on this work may have been Henrietta's birthday.
EMIL BREHMER (1822-1895) AFTER SIR ANTHONY VAN DYCK (1599-1641) 'Portrait of Anna van Thielen with her daughter Anna Maria' oil on canvas, 116cm x 87cm After the original painting of Anna van Thielen, and her daughter, painted by Sir Anthony van Dyck in 1631/32, now in the Alte Pinakothek, Munich (inv. nr. 599)
HAL HURST (1865-1938) A full-length portrait of Miss Florence Milner depicted standing against a pillar wearing an evening dress, signed lower left, 221cm x 120cm Miss Florence Milner was a favourite of Capt Radclyffe. The estate of the late Sir David & Lady Black, removed from Beech Farm. OFFERED WITHOUT RESERVE
Miniatur, Halbstück von Jakob Axel GILLBERG, schwedischer Miniatur-Zeichner 17.12.1769 Stockholm - 01.10.1845 Stockholm, der schwedischen, königlichen Familie sehr nahestehend. Darstellung eines gesellschaftl. hochstehenden Mannes in den besten Jahren auf grau/hellgrau verlaufendem Hintergrund, Portrait leicht nach links gerichtet mit wohlwollendem Blick auf den Betrachter, fein abgestuftes Inkarnat, wobei die Mimik und die Augenpartie durch die Schattenbildung besonders betont wird, die Farbigkeit des Inkarnats folgt der verlaufenden Lichtfolge des Hintergrunds, wobei bewusst das Inkarnat in der rechten Gesichtshälfte verstärkt wird, die Haare in durchsichtiger lichter Form gestaltet umrahmen durch feine Strichfolgen das Stirn-Inkarnat. Die hervorragende Wiedergabe der Stofflichkeit im blauen Überrock bzw. in der Darstellung von Hemd und Gilet geben das hohe Niveau farblicher Nachbarschaft wieder, geradezu genial sind dieRosatöne des Hemdes bzw. der Halsfliege zu bezeichnen die runde Miniatur ist rechts untensigniert: Gillberg, Pinxit 1803, Farbträger wohl fein präparierte Pappe. Rückseite mit Haareinlage: farblich nicht vom Portraitiertenstammend, Kreis, Füllhorn, Freundschaftsband und Liebesperlenkette deuten wohl auf eine liebende Spenderin hin. 18 kt Goldrahmen, GG 750/000, Goldpunzen auf dem Bügel: schwedischeHoheitszeichen die 3 Kronen, Meistermarke E.E.V. oder B ?, dritter Buchstabe unleserlich, Jahresmarke V2 = 1803, Stadtmarke Kopf = Stockholm, beidseitig verglast, Durchm. ca. 6.5 cm, Unikat, absolut museal, sammelwürdig, Mittelpunkt einer Sammlung. Literatur: Saur, Allgemeines Künstlerlexikon Bd. 54, 2007, S. 45, dort auch weiterführende,umfangreiche Literaturangaben, Gillberg, JakobAxel, schwedischer Miniatur-Zeichner 17.12.1769 Stockholm - 1.10.1845 Stockholm, stammt aus einer berühmten Miniaturmalerfamilie, lässt sich über Generationen zurückverfolgen, vielfach ausge- zeichnet, wird als einer der interessantesten Maler der Stockholmer Schule in der wissenschaftlichen Literatur bezeichnet. Smybolik der Rückseite: Kreis für Vollkommenheit, Füllhorn für Ewige Jugend, Fülle und Glück, die Perlenliebeskette symbolisiert Schönheit und Zeitlosigkeit, diese werden durch die Doppelbögen der Freundschaft unterstrichen. Die Nähe zum schwedischen Könighaus lässt vermuten, dass der Abgebildete Mitglied der schwedischen Königsfamilie istMiniature, Jakob Axel GILLBERG , Swedish miniature draftsman December 17th 1769Stockholm - October 1st 1845 Stockholm, very much the related to the Swedish royal family Representation of a social high-ranking man in his prime grey/light grey gradient background, Portrait facing slightly to the left with benevolent look at the viewer, fine agradated flesh tones, with the facial expressions and the Eye area emphasized due to the shadow formation the color of the Incarnations follows the progressing sequence of light of the background, whereby the flesh tones are consciously strengthened in the right side of the face, the Hair designed in a transparent light shape framing the forehead with fine line sequences flesh tones The excellent rendition of Materiality in the blue overskirt or in the depiction of shirt and gilet showing again the high level of color proximity, pink tones of the shirt or the neck fly masterly The round miniature is signed lower right: Gillberg, Pinxit 1803, paint carrier probably fine prepared cardboard. Back with hair insert: color does not match with the person portrayed, Circle, cornucopia, friendship bracelet and Necklaces of love pearls probably point to a donor in eternal love. 18kt gold frame, GG 750/000, gold hallmarks on the bracket: Swedish National emblem the 3 crowns, master's mark E.E.V. or B ?, third letter illegible , Year mark V2 = 1803, city mark head = Stockholm, glazed on both sides, diam. approx. 6.5 cm, unique, absolutely museum- like, collectable, centerpiece of a collection. Literature: Saur, Allgemeines Künstlerlexikon Vol. 54, 2007, p. 45, there also further, extensive bibliography, Gillberg, Jakob Axel, Swedish Miniature draftsman 17.12.1769 Stockholm - 1.10. 1845 Stockholm, comes from a famous Miniaturist family, tracing back over generations, the royal family very much related, is considered one of the most interesting painters of the Stockholm School in the scientific literature designated. Symbolic on the back: circle for Perfection, cornucopia for eternal youth, Abundance and happiness, the pearl love necklace symbolizes beauty and timelessness, underlined by the double arches o f the friendship ribbon. With the close proximity to the Royal Swedish family, the assumption is very close that the person portrayed is a member of the royal family of Sweden
A commemorative medallion for The Gigantic Wheel, Earls Court, stated as being 284 feet in diameter and weighing around 900 tons, Windsor castle being visible from its top, 33 mm diameter, a Wellington medallion, having a portrait bust of Wellington and around the periphery: Hispania Et Lvsitaniam Restivit Wellington, obverse: Cuidad Rodrigo Jan 19, 1812, Badajoz April 2 1812, Salamanca July 22 1812, Madrid Aug 12 1812, Vimiera Aug 21 1808, Talavera July 28 1809, Almeida May 5 1811, 29 mm diameter, and a Virol promotional medallion, "obstetric calendar", 39 mm diameter
Hugh Joseph "Huseph" Riddle (1912-2009), Portrait of a young lady, half length on a plain background, oil on canvas signed lower right with date "35", in a plain gilt frame, 75.5 cm x 63 cm seen [Hugh Joseph Riddle, nicknamed "Huseph", was born in London on 24 May 1912. Educated at Harrow School and a World War II RAF fighter pilot during the Battle of Britain, being promoted to Squadron Leader in 1941. After the war he returned to portrait painting, becoming a member of the Royal Society of Portrait Painters. In 1965 he painted the Queen for the RAF Regiment and in 1977 he painted Prince Edward as a gift from the Royal Household to the Queen and Prince Philip]
A Royal Navy long service and Second World War campaign medal group, comprising a George V long service medal to JX142583 C Faulkner, AB, HMS Drake, with Atlantic Star and other campaign medals, two inter-War sporting medallions, an identity disc and a silver watch chain fob, with related greetings cards and facsimile portrait postcards
A very large group of period portrait photographs of Great War soldiers and veterans of the War, apparently from a publisher's archive and used in the preparation of the 1938 magazine "The Great War: I Was There", the photographs bearing profuse annotations verso, identifying the subjects and referencing IWT pages etc, including portraits of gallantry award winners and other notable personalities CF
Loading...
![[ Victoria Cross / RAF ] Period press portrait photographs of Wing Commander Guy Gibson, VC, DSO & Bar, DFC & Bar, Ge](https://cdn.globalauctionplatform.com/27ddb221-94fa-43ba-a4c1-ae7d00d89c95/d0fe6fe1-c539-4bfd-87c6-ae8000b9ca0a/468x382.jpg)
