18th Century Engraved Brass Tobacco Box c.1760 Flemish / Dutch hinged oval box having engraved images of Cupid and Psyche inscribed 'En Sai Mij Niej Ver Voelen' translating to 'And Don't Make Me Feel Far'; together with a Rococo style hinged brass match safe having relief decoration depicting Cupid and Psyche; and a brass snuff box having a shoulder-length portrait of Napoleonic War period Russian General Mathieu Platoff at center of lid, having on underside a heraldic shield at center surrounded by text 'Lieutenant General Hetman Commandant Des Trouppes du Don / Chevalier de Plusieurs Ordres' Property from: a Chicago, Illinois (Streeterville) estate Height: 1 1/4 inches, Length: 4 1/4 inches, Width: 3 1/2 inches (tobacco box) Condition: Very Good to Good, engraved images of tobacco box rubbed and faded, a small dent at edge of underside; oxidation at rim of snuff box; overall light wear consistent with normal use Category: Collectibles > Tobacciana Estimated Sale Time: 3:28 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1
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A GROUP OF EIGHT EUROPEAN PORTRAIT ENGRAVINGS Comprising of: Francis Bacon, Viscount St Alban, Augustus, Viscount Keppel, Queen Elizabeth, Louis XIV, Sir Christopher Wren, Sir Anton Van Dyck, Hans Holbein, Dom Joao de Castro Francis Bacon 20.5cm x 16.5cm Condition: Minor signs of wear commensurate with age and use, some humidity stains
Franz von Stuck 1863 Tettenweis - 1928 München Monna Vanna. Um 1920/22. Bronze mit dunkelbrauner Patina. Vorne am Sockel betitelt 'Monna Vanna' sowie bezeichnet 'Franz von Stuck'. Gesamt: 54 x 9 x 9 cm (21,2 x 3,5 x 3,5 in). Gegossen bei C. Leyrer, München (verso am Fuß des Sockels mit dem Gießerstempel). • In der Konzentriertheit der Formen und der Reduktion der Bewegung beschreitet Stuck in der Bronzeplastik neue, in Richtung Art déco weisende Wege • Die Gestalt der Monna Vanna, literarische Heldin der Renaissance und des Symbolismus vereint auf einzigartige Weise die künstlerischen Inspirationsquellen Stucks • Seit Erwerb vom Künstler in Familienbesitz und erstmals auf dem Auktionsmarkt angebotenes Exemplar der seltenen Bronze. PROVENIENZ: Privatsammlung Bayern (direkt vom Künstler erworben, seither in Familienbesitz). LITERATUR: Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, Ausst.-Kat. Museum Villa Stuck, München 1982, S. 188. Franz von Stuck. Pathos & Eros, Ausst.-Kat. Van Gogh Museum, Amsterdam 1995, S. 92, Kat.-Nr. 60 (anderes Exemplar). Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, S. 275. Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, Ausst.-Kat. Franz von Stuck Geburtshaus Tettenweis 2011, S. 104-105 (anderes Exemplar). Schönheit-Stärke-Leidenschaft. Die Plastiken Franz von Stucks in den historischen Räumen neu präsentiert, Begleitheft zur Ausstellung Villa Stuck München, hrsg. von Margot Th. Brandhuber, München 2020, S. 8 (anderes Exemplar). Neben mythologischen Gestalten wie der Helena, Phryne oder der Amazone nimmt sich Franz Stuck hier einer weiteren literarischen Frauenfigur an, deren Geschichte sich um Liebe und Verführung dreht. Monna Vanna – altitalienischer Dialekt für Madonna Giovanna – ist die Gemahlin des Fürsten Guido Colonna von Pisa, das im 15. Jahrhundert zur Zeit der Städterivalitäten von den Florentinern und ihrem Condottiere Prinzivalli belagert wird. Zur Rettung der Stadt erfüllt sie seine Bedingung und begibt sich, nackt und nur mit Mantel und Schuhen bekleidet, in das feindliche Lager. Der Condottiere verfolgt jedoch andere Absichten, ist sie doch seine Jugendliebe. Der dramatische Höhepunkt der Geschichte, als sie im Begriff ist den Mantel abzunehmen und sich hinzugeben, löst sich auf indem der Condottiere sie daran hindert und beide die Nacht im vertrauten Gespräch verbringen. So wandelt sich Monna Vanna, ähnlich wie die biblische Judith, die Stuck ebenfalls in sein Motivrepertoire aufgenommen hat, in eine Heldin, die durch ihre Schönheit und Sinnlichkeit den Mann bezwingt. Das Drama des belgischen symbolistischen Dichters Maurice Maeterlinck wird 1902 mit großen Erfolg europaweit uraufgeführt, in Deutschland im Schauspielhaus in München (heute Kammerspiele), Eleonora Duse übernimmt die Hauptrolle. Es folgt eine Opernbearbeitung 1909 sowie mehrere Verfilmungen, darunter eine letzte 1922, gedreht in München mit der bekannten Münchner Schauspielerin Lee Parry (Mathilde Benz) als Monna Vanna. Stuck verleiht der Figur eine Renaissancefrisur, wie sie bspw. auch Giovanna Tornabuoni in den Gemälden Domenico Ghirlandaio Ende des 15. Jahrhunderts trägt, und wie er sie bereits 1901 in dem Portrait Olga Lindpainters als Florentinerin malt. Die Renaissance mit ihren großen Malerpersönlichkeiten ist für Stuck neben der Antike größte Inspirationsquelle. Der weite, am Rücken gefältelte Mantel verweist ebenso auf die Kleidung der Renaissance, seine Knöchellänge allerdings auf die Mode der 1920er Jahre. Stuck wählt den zentralen Moment der Enthüllung, die die Betrachter:innen mit Spannung erwarten, in dem Monna Vanna den Mantel in eleganter Bewegung von den Schultern gleiten lässt und dieser zu Boden fällt. Der symmetrische Aufbau der Figur mit dem langgestreckten Körper, umhüllt vom Mantel wirkt dabei kompakter und konzentrierter als die noch im vorigen Jahrhundert entstandene „Tänzerin“ beispielsweise. Die bewegten Formen des Jugendstils haben sich mittlerweile zu geometrischen, weniger raumgreifenden Formen weiterentwickelt. Beruhigt und statisch, mit nur leicht angehobenem Bein ein Vorwärtsschreiten andeutend, widmet sich Stuck vielmehr der subtilen Bewegung und der Ausgewogenheit voluminöser Formen. Auf hieratische Vorderansicht angelegt, erlangen seine späteren Plastiken so eine reliefartige Anmutung und regen eine wandnahe Aufstellung an, wie Stuck sie in Nischen oder auf Kaminsimsen in seiner eigenen Villa, bspw. im Künstleraltar, praktiziert. Monna Vanna wird so als Skulptur zum eleganten Schmuck mondäner Salons einer literarisch, theatralisch und musikalisch interessierten und gebildeten Bohème. [KT] Aufrufzeit: 11.12.2021 - ca. 16.20 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Monna Vanna. Um 1920/22. Bronze with dark brown patina. Titled 'Monna Vanna' and inscribed 'Franz von Stuck' on front of base. Total: 54 x 9 x 9 cm (21.2 x 3.5 x 3.5 in). Cast by C. Leyrer, Munich (with the foundry stamp on the reverse of the base's foot). • Through the concentrated form and the reduced motion, Stuck pursued a path in sculpting towards Art Déco. • The figure of Monna Vanna, heroine of Renaissance literature and Symbolism, unites all of Stucks's sources of inspirations. • Ever since the rare bronze was acquired from the artist it has been family-owned and is now offered on the auction market for the first time. PROVENANCE: Private collection Bavaria (acquired directly from the artist, ever since familly-owned). LITERATURE: Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, ex.-cat. Museum Villa Stuck, Munich 1982, p. 188. Franz von Stuck. Pathos & Eros, .ex. cat. Van Gogh Museum, Amsterdam 1995, p. 92, cat. no. 60 (different copy). Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, p. 275. Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus Tettenweis 2011, pp. 104-105 (different copy). Schönheit-Stärke-Leidenschaft. Die Plastiken Franz von Stucks in den historischen Räumen neu präsentiert, accompanying leaflet of the exhibiton at Villa Stuck Munich, published by Margot Th. Brandhuber, Munich 2020, p. 8 (different copy). Called up: December 11, 2021 - ca. 16.20 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
English School, mid-18th Century, Portrait of Richard Mullens (1674-1747), "Marshal of the Marshalsea of the Court of King's Bench", half-length in white wig and robes of office, oil on canvas, titled on the slip, in a gilt-composition frame (framed with losses). 77cm by 62cm. Note: the Marshalsea Court (or Court of the Marshal and Steward) was associated specifically with the Royal Household and also associated with the notorious Marshalsea debtors prison.
An album of 19th century drawings, watercolours and engravings including approximately 30 drawings/watercolours, mostly topographical including Wotton Church, Surrey, some 18th century portrait engravings including Catherine Howard and Mary Queen of Scots, the watercolours including studies of feathers (a quantity).
A French four-glass gilt-bronze mantel clock in the Rococo taste, late 19th century, the cartouche shaped case enclosing a painted enamel dial with Arabic numerals, suspending an unusual pendulum with painted portrait miniature bob of a lady in 18th century dress, the Japy Freres movement striking on a gong. Height 37cm
An unusual early 20th century needlework and mixed media picture with Psalm 73.23 written in German text with a central crucifix, decorated with stars formed of folded paper and surrounded by floral sprays, the crucifix with a central portrait of Christ, the work signed 'Karolina Rusam' and dated 1916, image size 41 x 55cm, set into a moulded gilt frame
THEODORE TCHOUMAKOFF (RUSSIAN, 1823-1911), PORTRAIT OF A GIRL, oil on panel, framed. 14.5cm by 12.5cm Provenance: Paisnel Gallery, LondonCONDITION REPORTGeneral surface dirt and discoloured varnish. Areas of over painting and retouching in evidence, particularly under the sitter’s right eye and to the edges of the panel. Overall appears sound.
BRITISH SCHOOL (18TH CENTURY), PORTRAIT OF A YOUNG BOY, HALF LENGTH, IN WHITE SHIRT AND RED SHAWL, oil on coarse weave canvas, framed. 33cm by 29cm CONDITION REPORTUnder UV shows only a thick layer of varnish. Some general surface dirt and discoloured varnish in evidence. Hole to right of centre approx. 0.5cm round. Hole to upper left corner. Sporadic chips, scuffs and losses in background. Frame rubbing to all four edges. Stable craquelure throughout, particularly to flesh tones. Loss, scratch by sitter’s right eye, approx. 1cm. Dimensions including frame 49cm by 46cm
Five various framed pictures including watercolour by Peter Lloyd-Davies, airplane in rural setting, William Shakespeare sonnet inscription, Chinese calligraphy inscription, portrait of female with Chinese calligraphy inscription, etc.BOOK A VIEWING TIME SLOT ON OUR WEBSITE FOR THIS LOT. IMPORTANT: Online bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
A late Eighteenth century French gilt mirror with wheat decoration, fleur de lis above ern to top and portrait in circle in medallion, later replacement mirror, approx 124cm x 58cm. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
Jean Urbain Guerin (1769-1836) - a bust portrait probably of Madame Recamier (1777-1849) miniature watercolour on ivory, signed verso, 60 x 47mm, the whole housed in a yellow metal frame with ribbon pendant, set throughout with small rose cut diamonds, gross weight 47.5g, h.8.5cmNote: a similar example can be found in the Victoria & Albert Museum collection. Jean Urbain Guerin was born in Strasbourg and died in Obernay (Alsace). He was a pupil of Regnault & David, and much later in his career of Isabey. He made his debut at the Salon in 1788 with several miniatures and became one of the greatest French miniaturists of his time.Madame Recamier was celebrated in French Empire society for her beauty and love affairs. At the age of 15 she was married to a wealthy lawyer, who may have been her natural father. The marriage was loveless and unconsummated, and she carried on many flagrant affairs. She held a fashionable literary salon in her Parisian townhouse, and was sculpted, drawn and painted by some of the most accomplished portraitists of the time.
* Early 19th century English school - half-length portrait of a young Edward Grant (1798-1838), miniature watercolour on ivory, indistinctly signed lower right, framed as an oval in yellow metal mount, the reverse with lock of hair, 6.5 x 5cm, the whole housed in a later gilt composition frame with clear back, with old label stating 'Portrait of the late Edward Grant of Bombay, born in Cape Nichola Mole Domingo in Dec. 1798, taken at the time he was sent to England from Jamaica for education in 1803 or 1804'
A mid-19th century French gilt metal dressing table box and cover, of cylindrical form and cast with leaves, flowers, ribbons, a quiver of arrows and flaming torch, all surrounding a bust portrait miniature of a lady wearing an elaborate bonnet, signed Raynal, probably Hippolyte Raynal (1805-1864), dia.9.5cm
Utagawa Toyokuni II (Toyoshige) (1777-1835) - Beauty with Cherry Blossoms and Beauty with Bell-flowers, two aizuri-e (blue) prints from the series Tosei Bijin Hana-awase (Modern Beauties matched with Flowers), Edo period woodblock prints, ink and colour on paper, circa 1820s, both with Kiwame ‘approved’ seal and Shimizu publishers seal, portrait oban formats 37 x 25cm and 37 x 24cm, each stuck along top edge inside a card mount (2)From a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Utagawa Kunisada (Toyokuni III) (1786-1865) – triptych Ryôgokubashi yûsuzumi mno kôkei (Summer Breeze at Ryôgoku Bridge), publisher Yamaguchiya Tōbei (Kinkodo company), Edo period woodblock prints, ink and colour on paper, circa 1840s, portrait oban formats each approx. 37 x 24.5cm, each stuck along top edge and two also by one side onto thick paper (3)From a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Utagawa Kuniyoshi (1798-1861) – part one of the triptych Mutsu no kuni chidori no Tamagawa (Plover Jewel River in Mutsu Province), publisher Sanoya Kihei, Edo period woodblock prints, ink and colour on paper, circa 1847, with two Nanushi seals for Mera and Murata and artists Yoshi Kiri seal, portrait oban format approx. 36.5 x 24.5cm, stuck along top edge inside a card mountFrom a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Utagawa Toyokuni II (Toyoshige) (1777-1835) – Courtesan writing a letter paired with a Kabuki actor inset in a sake cup top left, probably from the series Imayo bijin awase, shinsei sugatami sakazuki, (A Comparison of Modern Beauties – A New Mirror of Sake Cups), published by Imariya Ushizo, Edo period woodblock print, ink and colour on paper, circa 1820s, portrait oban format approx. 36.5 x 24.5cm, stuck at top right corner inside a card mountFrom a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Kitagawa Utamaro II (?-1831) – Two beauties with elaborate kanzashi (hair ornaments), Edo period woodblock print, ink and colour on paper, circa 1807, publisher seal, date seal hare 11th month, and Kiwane approved seal, portrait oban format approx. 37 x 24.5cm, stuck along top edge inside a card mountFrom a single-owner collection of Edo period ukiyo-e Japanese woodblock printsCondition report: General discolouration and fading to colours throughout.Some grubbiness to lighter background areas.Right hand edge of work with fold lines.
Kikugawa Eizan (1787-1867) –The courtesan Matsushima of the Matsubaya, part one of a diptych, publisher Ezakiya Kichibei, Edo period woodblock print, ink and colour on paper, with Kiwame approved seal, portrait oban format approx. 38.5 x 26cm, stuck along top edge inside a card mountFrom a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
Utagawa Kunisada (Toyokuni III) (1786-1865) –Suetsumuhana (The Safflower), left hand panel of a diptych being Chapter 6 from the series Lingering Sentiments of a Late Collection of Genji, Edo period woodblock print, ink and colour on paper, circa 1857, publisher: Sakanaya Eikichi, with aratame seal, portrait oban format approx. 37.5 x 25cm, stuck along top edge inside a card mountFrom a single-owner collection of Edo period ukiyo-e Japanese woodblock prints
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