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Preisdatenbank abonnierenPre-flight portrait of Ed White depicting the astronaut suited up in preparation for the flight the following day and the first US spacewalk Gemini 4, 2 June 1965 Vintage gelatin silver print on fibre-based paper, 20.5 x 14.3 (8 x 5½ in), press photograph [NASA 65-H-789], with Keystone press caption (6 2 1965) on verso and Svenski Pressphoto copyright stamp Condition Report: Trimmed to image Condition Report Disclaimer
Two finely painted 19th century Mughal portrait miniatures, depicting a Maharajah and his consort, each portrait measures approx 7 x 9.5 cms. The portrait miniatures are surrounded by an ivory lattice-work frame approx 25 w x 12.5 cms h. (af) Note: the ivory lattice work frame has suffered a significant crack this affects the primary portrait near the lower right extremity.
George Catlin (1796 - 1872) "View of West Point" Watercolor/pen/ink on paper. Provenance: Sotheby's lot 47 (11/21/2016) (Estimate: $15,000-$25,000) When Catlin was 8 years old, his mother had been captured by Indians. Therefore, his early life was influenced by family legends and frontier guests. He was educated at home, was outdoors oriented, and collected Indian relics. In 1817, he began studying law in Litchfield, Connecticut and at the same time teaching himself to paint portraits. He practiced law in Luzerne, Pennsylvania until 1823 when he moved to Philadelphia to devote himself to portrait painting, as a friend of Rembrandt Peale, Thomas Sully, and John Neagle. His portraits up to 1829 included New York and Washington politicians. His Constitutional Convention painting in 1829 contained 115 figures. In 1824, Catlin had seen a "delegation of dignified Indians from the wilds of the West, tinted and tasseled off exactly for the painter's palette." This and his background resolved him "to use my art and so much of the labor of my future life as might be required in rescuing from oblivion the looks and customs of the vanishing races of native man in America." He began in 1830 in St. Louis as the first artist of real stature to paint the tribes on the lower Missouri. In 1831 he traveled up the Platte River, and in 1832 headed up the Missouri to Fort Union. From 1834 to 1836 he painted among the Indians in the summers and in the winters he would return East to earn funds for the coming summer. From 1829 to 1838 he painted his collection of about 600 Indian portraits and sketches of the Indian civilization including exactly how they lived. The collection was offered for sale to the Congress but was not accepted. It was exhibited in the US and in Europe between 1837 and 1852, was taken as security for a loan, and eventually donated to the National Museum in Washington DC. Sight Size: 11.5 x 18 in. Overall Framed Size: in. Framed behind glass.
PAIR OF ROYAL VIENNA PORCELAIN PORTRAIT PLATES SECESSIONIST A very fine quality pair of 19th century Royal Vienna portrait plates with stunning secessionist borders. On the back is a pattern number 01470, full marks for royal Vienna, gilded floral sprays and an artists signature. Beautiful female portraits with finely gilded secessionist taste borders. 23.5cm diameter. Both in good condition
David Hockney OM, CH, RA (b.1937) "Christopher Isherwood and Don Bachardy” Signed and dated (19)76, numbered 67/96, lithograph, 71cm by 94cm Provenance: Jonathan Silver Collection, Salts Mill, YorkshireFootnote: Born in Bradford, West Yorkshire in 1937, David Hockney is one of the most influential British artists of the 20th century. A painter, printmaker, stage designer and photographer, Hockney’s many talents have earned him world-wide recognition.Hockney studied at the Royal College of Art in London, during which time he was a part of the Young Contemporaries exhibition, which declared the arrival of the British Pop Art movement. He was just 26 when he had his first solo exhibition in 1963 and went onto exhibit in over 400 solo exhibitions and 500 group exhibitions, including a major show at the National Portrait Gallery in London in 2006 in which over 150 works created over five decades were exhibited. Hockney has been awarded multiple awards throughout his life, beginning with the John Moores Painting Prize in 1967. He has been a Royal Academician since 1985 and in 2012 he was appointed to The Order of Merit for his contribution to the arts and sciences. Throughout his long career Hockney has experimented with a variety of mediums, from traditional painting and printmaking to the use of fax machines and iPads, capturing a wide range of subject matter. He is perhaps most widely recognised for photo collages and a series of paintings of swimming pools he created following a move to Los Angeles in 1964, inspired by vibrant Californian colour and light. Portraiture has been a constant throughout his career, capturing the most important figures in his life and incorporating personal elements of both his life and his sitters’.The sheer variety of subject and media which he has explored throughout his career, executed with wit, charm and panache, has enabled him to create striking forms and intriguing concepts that have inspired legions of admirers.Condition report: Float mounted and has a deckled edge. Some light surface dirt and the odd thunder fly trapped under the glass - mostly contained to the mount. Slight cockling to paper. Small areas of oxidization to the small sections of the outer edges where the paper has been hinged, e.g, one area approximately 1cm in size, lower left, one within the carpet, left of centre bottom edge, one below the Y of the signature, two to the top edge and three to the right edge. Slight crease upper right through the line approximately 6cm in length. The very odd minor sporadic tiny brown spot - may be by design or may be foxing, e.g, one to the left of the blind above the man's shoulder left side, one to the collar of the right man's dressing gown and one under the left figure's feet. Tiny nick to the paper bottom edge, right of centre, may be by design/part of the deckled edge and one to centre of right edge, also may be by design. Otherwise in good overall condition. Not examined out of the frame.
Royal Doulton stoneware commemorative baluster jug inscribed Benjamin Disraeli Earl of Beaconsfield, born Dec 21 1804 died April 19 1881, with inscription and House of Commons 7 Dec 1837, with his portrait in relief, with impressed PODR mark and retailer John Mortlock & Co, Oxford Street, London, potter?s mark W T, H 22.2cm
Ilse Tesdorpf-Edens (Hamburg 1892 - Hamburg 1966). Blumen im Topf. Öl/Karton, 40,5 x 50 cm, l. u. sign. Tesdorpf-Edens. - Landschafts-, Bildnis- und Stillebenmalerin. T.-E. war ab 1912 Malschülerin bei A. Siebelist. Nach dem II. Weltkrieg trat sie dem 'Kleinen Hamburger Künstlerring' und der 'Gedok' bei. Mus.: Hamburg (Kunsthalle, Altonaer Mus.). Lit.: Vollmer, Der Neue Rump, Heydorn, Meyer-Tönnesmann u.a. Tesdorpf-Edens, Ilse (Hamburg 1892 - Hamburg 1966). Flowers. Oil/cardboard, 40,5 x 50 cm, lo. le. sign. Tesdorpf-Edens. - Landscape, portrait and still life painter. T.-E. was pupil of A. Siebelist since 1912. After WW II she joined the Kleiner Hamburger Künstlerring and the Gedok. Mus.: Hamburg (Kunsthalle, Altonaer Mus.). Lit.: Vollmer, Der Neue Rump, Heydorn, Meyer-Tönnesmann a. others.
Claus Becker (Düsseldorf 1902 - Hamburg 1983). Selbstportrait. 1965. Öl/Karton, 100 x 74,5 cm, r. u. sign. und dat. Cl. Becker Mai - Juni 65, verso Herrenportrait. - Maler und Graphiker. B. war Schüler an den Kunstgewerbeschulen Altona und Hamburg, dort bei A. Illies. Anschließend studierte er in Dresden bei R. Sterl und in München bei H. Gröber. Lit.: Der Neue Rump, Kat. Carl und Claus Becker (Hamburgische Landesbank) 2001 u.a. Becker, Claus (Düsseldorf 1902 - Hamburg 1983). Self Portrait. 1965. Oil/cardboard, 100 x 74,5 cm, lo. ri. sign. and dat. Cl. Becker Mai - Juni 65. - Painter and graphic artist. B. studied at the schools of applied arts Hamburg and Altona under A. Illies, thereafter at the Dresden academy under R. Sterl and in Munich under H. Gröber. Lit.: Der Neue Rump, exh. cat. Carl and Claus Becker (Hamburgische Landesbank) 2001 a. others.
Friedrich Ahlers-Hestermann (Hamburg 1883 - Berlin 1973). Mirabellgarten Salzburg - Portrait Alexandra Povorina. 1953. Ö/Lw., 80 x 60,5 cm, verso Portrait Alexandra Povorina, r. u. sign. u. dat. F. Ahlers-Hestermann 53. - WVZ: Manigold 393. - Maler und Schriftsteller, ausgebildet von A. Siebelist. Zusammen mit F. Nölken und W. Rosam reiste A.-H. nach Paris, wo er 1910 in die Malschule von H. Matisse eintrat. Dort lernte er auch seine spätere Frau, die Malerin A. Povorina kennen. Zurück in Hamburg trat A.-H. dem Hamburgischen Künstlerclub und der Hamburgischen Sezession bei. 1928 nahm er eine Professur an der Kölner Werkkunstschule an, die ihm 1933 von den Nationalsozialisten entzogen wurde. Nach dem Krieg war er leitendes Mitglied der Berliner Akademie der Künste. Unter seinen Auszeichnungen sind das Bundesverdienstkreuz und der Edwin-Scharff-Preis. Mus.: Berlin, Hamburg, Essen, Köln u.a. Lit.: Der Neue Rump; F. A.-H.: Pause vor dem dritten Akt, 1949 (1975); C. Meyer-Tönnesmann: Der Hamburgische Künstlerclub von 1897, 1985; A. Manigold: Der Hamburger Maler F.A.-H., Hamburg 1986; I. Ewers-Schultz: F. A.-H., hrsg. von der Gal. Herold Hamburg. Ahlers-Hestermann, Friedrich (Hamburg 1883 - Berlin 1973). Mirabelle Garden in Salzburg - Portrait Alexandra Povorina. 1953. Oil/canvas, 80 x 60,5 cm, on the reverse Portrait Alexandra Povorina, lo. ri. sign. a. dat. F. Ahlers-Hestermann 53. - Cat. rais.: Manigold 393. - Painter and author, taught painting by A. Siebelist. He travelled to Paris with F. Nölken and W. Rosam where he became pupil of H. Matisse in 1910 and met his future wife, A. Povorina. Back in Hamburg he joined the Hamburgischer Künstlerclub and the Hamburg secession. Since 1928 he was professor at the Cologne Werkkunstschule, a position from which he was dismissed by the Nazis in 1933. After the war he became a head of the Berlin academy of arts. He was awarded the Bundesverdienstkreuz and the Edwin Scharff award. Mus.: Berlin, Hamburg, Essen, Cologne a. others. Lit.: Der Neue Rump; F. A.-H.: Pause vor dem dritten Akt, 1949 (1975); C. Meyer-Tönnesmann: Der Hamburgische Künstlerclub von 1897, 1985; A. Manigold: Der Hamburger Maler F.A.-H., Hamburg 1986; I. Ewers-Schultz: F. A.-H., hrsg. von der Gal. Herold Hamburg.
Emil Maetzel (Cuxhaven 1877 - Hamburg 1955). Selbst beim Zeichnen. Tuschpinselzeichnung über Bleistift, 26 x 18 cm, verso Stempelsignatur, ungerahmt. - Provenienz: Nachlass des Künstlers. - Maler, Architekt, Graphiker und Bildhauer. M. studierte bis 1900 Architektur in Hannover, Dresden und Paris und war anschließend im Städtebau in Hamburg tätig. 1919 war er unter den Mitbegründern der Hamburgischen Sezession und bis 1933 deren Vorsitzender. Er ist einer der Hauptvertreter des Hamburger Expressionismus. Seine Ehefrau war die Malerin Dorothea M.-Johannsen. Mus.: Hamburg (Kunsthalle), Kiel, Schleswig (SHLM) u.a. Lit.: Thieme-Becker, Vollmer, Der Neue Rump u.a. Maetzel, Emil (Cuxhaven 1877 - Hamburg 1955). Self Portrait. Ink drawing over pencil, 26 x 18 cm, on the reverse stamp signature, unframed. - Painter, architect, graphic artist adn sculptor. M. studied architecture in Hannover, Dresden and Paris in 1901 and worked in urban development in Hamburg. In 1919 he was among the co-founders of the Hamburg secession a. its chairman until 1933. He is one of the main exponents of Hamburg expressionism. Mus.: Hamburg (Kunsthalle), Kiel, Schleswig (SHLM) a. others Lit.: Thieme-Becker, Vollmer, Der Neue Rump a. others.
Niederländischer Künstler, 17.Jh., Porträt eines gutbürgerlichen bärtigen Mannes, Mantel m. Pelzbesatz u. Hut mit breiter Krempe, individualisierte Züge, Licht/Schatten-Qualität im Stile Rembrandts, dunkler Hintergrund, Öl/Holz, rest., parkettiert, 60 x 50 cm, Rahmen l. best.Dutch artist, 17th century, portrait of a middle-class bearded man, coat with fur trimmings and hat with a wide brim, individualized features, light/shadow quality in the style of Rembrandt, dark background, oil/wood, restored, parqueted, 60 x 50 cm, frame minor order.
Zuschreibung: Richard Cosway, Oxford 1742- 1821 London, zwei Miniaturen, Damen u. Herrenporträt, feine Malerei auf Elfenbein vor lichtblauem Wolkenhintergrund, sehr feines Inkarnat, vor allem bei der Frau, oval, Zuschreibung auf altem gefaltetem Etikett rückseitig, alte Rahmen: 6.7/9.8cm, Versand nur innerhalb der EUAttribution: Richard Cosway, Oxford 1742- 1821London, two miniatures, lady and Portrait of agentleman, fine painting on ivory against a light blue cloud background, very fine flesh, above all with the woman, oval, attribution onold folded label on the back, old frame: 6.7 /9.8cm, shipping only within the EU
Leo von König, 1871 Braunschweig - 1944 Tutzing, Bildhauerlehre u. Studium an der Kunstgewerbeschule Hamburg, Studium an der Akademie Berlin bei Julius Ehrentraut u. an der Academie Julian Paris bei Lefebvre u. Fleury, ausgiebige Studienreisen, Mitglied/Vorstand der Berliner Secession, hier: Porträt einer jungen Frau mit weißem Kleid, impressionistischer Duktus, aufgehellte Farbigkeit verweist auf Entstehung um 1920, Öl/Lwd, re. unten signiert, ca. 47 x 39 cm, Prunkrahmen aus der ZeitLeo von König, 1871 Braunschweig - 1944 Tutzing, sculpture apprenticeship and studies at the School of Applied Arts Hamburg, studiesat the academy Berlin with Julius Ehrentraut and at the Academie Julian Paris with Lefebvreand Fleury, extensive study trips, member/board of directors of the Berlin Secession, here: portrait of a young woman with a white dress, impressionistic style, lighter colors refer to origin around 1920, oil/canvas, right. below signed, approx. 47 x 39 cm, pomp frame from the period
Max Liebermann, 1847-1935 Berlin, 2 Grafiken: Profilporträt W. v. Bode, Radierung, Verlag Seemann, stockfleckig , ca. 23x18cm; Wache haltender Soldat in Berlin, Lithographie, links unten handsigniert, ca. 24x19cm, leicht fingerfleckigMax Liebermann, 1847-1935 Berlin, 2 graphics: profile portrait W. v. Bode, etching, Verlag Seemann, foxing, approx. 23x18cm; Soldier on guard in Berlin, lithograph, signed lower left, approx. 24x19cm, slightly finger-stained
Georg(e) von Hoesslin, 1851 Budapest - 1923 München, in Amerika aufgewachsen, ab 1871 Studium an der Kunstgewerbeschule u. Akademie München, Studienaufenthalte in Boston u. Rom, symbolistische Sujets u. allegorisch -mythologische Kompositionen, hier: Porträt einer jungen Frau an der Orgel, feine lasierende Malerei, zartes Inkarnat, stimmungsvoll harmonische Tonalität in Blau- u. Grüntönen, mystische Atmosphäre unter dem Einfluss von Arnold Böcklin, links unten signiert, Öl/Lwd, rest., ca. 65 x 52.5 / 93 x 80 cm, Rahmen aus der ZeitGeorg(e) von Hoesslin, 1851 Budapest - 1923 Munich, grew up in America, from 1871 studies at the School of Applied Arts and academy Munich, study visits in Boston and Rome, symbolic subjects and allegorical-mythologicalcompositions, here: portrait of a young woman at the organ, fine glazed painting, delicate flesh tones, atmospheric harmonious tonality in blue and . Shades of green, mystical atmosphere influenced by Arnold Böcklin, signed lower left, oil/canvas, restored, approx. 65 x 52.5 / 93 x 80 cm, frame from theperiod
Helene Peschel, geb. 1859 Jüterbog, Berliner Bildnismalerin, Schülerin von Streckfuß und J. Lulvès, hier: Ganzporträt eines Mädchen, an einen Stuhl gelehnt, typisches bürgerliches Interieur der Gründerzeit, Öl/Lwd, rest., doubl., rechts oben signiert und dat. 85, ca. 130x88cm, ca. 18cm breiter Rahmen in DurchbrucharbeitHelene Peschel, born 1859 Jüterbog, Berlin portrait painter, student of Streckfuß and J. Lulvès, here: Full portrait of a girl, leaningagainst a chair, typical middle-class interiorfrom the Gründerzeit, oil / canvas, restored, relined, signed upper right and dat. 85 , approx. 130x88cm, approx. 18cm wide frame in breakthrough work
Three cups and saucers Porcelaine de Paris circa 1810 including one on lion claws, painted with the portrait of Napoleon Bonaparte. Drie kopjes en schotels Porcelaine de Paris circa 1810 waaronder één op leeuwenklauwen, beschilderd met het portret van Napoleon Bonaparte. H 9 - 11.5 cm Dia 11.5 - 14.5 cm
John Wonnacott CBE (b.1940)Self-portrait before a windowOil on board, 65cm by 42cmWith artist's numbering verso JW35679Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of BusinessCondition report: Covered in a layer of surface dirt. Vertical stain to upper right within the sky down into the telegraph lines and also an area of vertical marks to the board down from the sitter's glasses and elbow to the lower edge. Areas of brown spots/losses throughout the lower half of the board where the board is showing through, mostly within his dark blue jumper and below. See additional images. The odd chip and knock to the frame.
Dame Elisabeth Frink CH, DBE, RA (1930-1993)"Bull"Signed and numbered 10/25, lithograph, 76cm by 57cmSold together with the frontispiece for the suite of Bull Fighting lithographs and "Frink a Portrait" by Edward Lucie-Smith and Elisabeth Frink, Bloomsbury, 1994 and an exhibition catalogue "Elisabeth Frink 1930-1993", Beaux Arts, LondonThe series was inspired by bullfights Frink had seen whilst living in the Camargue region of France. Condition report: Slight cockling to the paper. Handling creases within the lower section. Two brown marks within the signature. Some very light surface dirt and debris trapped under the glass, not examined out of the frame.
BERBER, MERSAD (1940-2012), "Portrait einer jungen Frau", Farbkreide/grautoniges Bütten, collagiert mit Blattvergoldung und Rahmenzierelementen, HxB: ca. 50x36 cm (56x43 cm mit Rahmen). Mit verglastem Rahmen. Leichte Altersspuren. | BERBER, MERSAD (1940-2012), "Portrait of a young woman", colored chalk / gray-tone hand-made paper, collaged with gold leaf and decorative frame elements, HxW: approx. 50x36 cm (56x43 cm with frame). With a glazed frame. Slight signs of age.
BERBER, MERSAD (1940-2012), "Portrait einer jungen Dame", u.re. signiert, Mischtechnik/Papier collagiert und mit Blattvergoldung und Rahmenzierelement, HxB. ca. 56x43 cm (69x55 cm mit Rahmen). Mit verglastem Rahmen. Leichte Altersspuren. | BERBER, MERSAD (1940-2012), "Portrait of a Young Lady", signed, mixed media / paper collaged and with gold leaf and decorative frame element, HxW. approx. 56x43 cm (69x55 cm with frame). With a glazed frame. Slight signs of age.
MINIATURPORTRAIT "Freifrau Evelina Josepha von Wackwitz", Brustbildnis der Dame mit lilafarbenem Kleid und Hut, Mischtechnik, HxB: 11x9,5 cm. Alters- und Beriebspuren. Mit verglastem Rahmen (Holz gebrochen). VERSO handschriftliche Beschreibung zur Abgebildeten.AUS DEM NACHLASS DER EHELEUTE ALFRED UND GISELA DIENST| MINIATURE PORTRAIT "Baroness Evelina Josepha von Wackwitz", half-length portrait of the lady with a purple dress and hat, mixed media, HxW: 11x9.5 cm. Signs of age and use. With glazed frame (wood broken). VERSO handwritten description of the depicted. FROM THE ESTATE OF THE HUSBANDS ALFRED AND GISELA DIENST
PIERI, E. ? (undeutlich signiert, italienienische/r Künstler/in 19. Jh.), "Profilportrait einer Bacchantin", junge Frau mit Efeukranz, u.re. signiert und datiert 1829, Bleistiftzeichnung/Papier, HxB: ca. 42x36 cm (51x45 cm mit Rahmen). Gewellt, Knicke, Flecken, wohl aufgezogen oder montiert. Mit verglastem Rahmen. VERSO Provenienzvermerk '... Sergio und Erna Forni'. | PIERI, E. ? (indistinctly signed, Italian artist 19th century), "Profile portrait of a bacchante", young woman with ivy wreath, signed and dated 1829, pencil drawing/paper, HxW: approx. 42x36 cm (51x45 cm with frame). Wavy, creases, stains, well mounted or mounted. With glazed frame. VERSO provenance note '...Sergio and Erna Forni'.
ALI (Maler 18./19. Jh.), "Bärtiger Herr mit Turban und Pelzkragen", Brustbildnis, linksseitig signiert/monogrammiert und datiert 'ALI 1828', Öl/Leinwand, HxB: 56,5x45 cm (59x47 cm mit Rahmen). Craquelé und Keilrahmenabdruck, Farbabplatzer und Berieb, restauriert mit rückseitigen Leinwanddoublierflicken. Mit Rahmen.| ALI (painter 18th/19th century), "bearded gentleman with turban and fur collar", bust portrait, signed/monogramed and dated 'ALI 1828' on the left side, oil/canvas, HxW: 56.5x45 cm (59x47 cm with frame). Craquelé and stretcher frame impression, chipped paint and abrasion, restored with canvas lining patches on the reverse. With frame.
18 kt Gold Brosche mit Onyx, Opal und Brillanten, GG 750/000, Onyxplatte mit aufgelegter Opal-Gravur: Frauenportrait mit Hut, Rand bes. mit 60 Brillanten zus. ca. 1.80 ct Weiß/si, ca. 4.5 x 3.5 cm18 kt gold brooch with onyx, opal and brilliants , YG 750/000, onyx plate with applied opal-engraving: ladies' portrait with hat, edge with 60 brilliants total approx. 1.80 ct Wesselton/si, approx. 4.5 x 3.5 cm
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