Emma Marie Cadwallader-Guild (1843-1911) United States born in Zanesville, Ohio in 1843. A large bronze bust of Peter Brotherhood (Peterborough) signed "Emma Cadwallader-Guild 1887" in green patination fair condition with minor scratches 66cm high, presented on a four gilt pillar pedestal stand 91 cm high. Cadwallader-Guild was an self taught American sculpture by 1875, she exhibited a sketch in plaster at the Women's Pavilion of the Philadelphia Centennial Exhibition. In the mid-1880s she moved to the UK, and is thought thereafter to have lived chiefly in Europe, only returning to the US to fulfill portrait commissions. Her preferred media were marble, granite and bronze. Cadwallader-Guild's known portrait commissions include G.F. Watts, President Lincoln, President McKinley and Andrew Carnegie. Between 1885-98 she exhibited portraits and ideal works at the Royal Academy in London.
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A Great War ‘Western Front’ M.M. group of seven awarded to Private G. Roberts, 1st/4th (Denbigh) Battalion, Royal Welsh Fusiliers Military Medal, G.V.R. (8365 Pte. G. Roberts. 1/4 R.W. Fus:- T.F.); 1914-15 Star (8365 L.Cpl. G. Roberts. R.W. Fus.); British War and Victory Medals (8365 Pte. G. Roberts. R.W. Fus.); 1939-45 Star; Africa Star; War Medal 1939-45, lacquered, edge bruising to first, nearly very fine and better (7) £300-£400 --- M.M. London Gazette 10 August 1916. George Roberts attested for the Royal Welsh Fusiliers (Territorial Force) and served with the 1st/4th (Denbigh) Battalion during the Great War on the Western Front from 4 September 1915. He saw further service with the 9th (Service) Battalion, and was disembodied on 6 January 1919. Sold together with a colourised portrait photograph of the recipient and a family photo wallet containing two family photographs apparently of the recipient as an infant.
EVE LITTLETON (1937 - 2020 British) - Portrait of a Romany lady seated holding a crystal ball, oil on board, signed and dated 1977, 76cms x 61.5cms; portrait of a man seated reading a book, oil on board, unsigned, 61cms x 76.5cms and portrait of a young woman seated, oil on board, unsigned, 69cms x 92cms all unframed (3)
19TH CENTURY ENGLISH SCHOOL "Gentleman in black coat with sideburns, seated in a spoon back chair", a portrait study, half length, oil on ivory, oval, unsigned, approx 5.8 cm x 4.8 cm, together with another depicting "A young girl in pensive pose, her chin upon her hand in a white dress", oil on ivory, oval, unsigned, approx 6.4 cm x 5 cm and another depicting "Young child in white cotton top, smiling", oil on ivory, oval, approx 6.5 cm x 5 cm
19TH CENTURY ENGLISH SCHOOL "Mr Smith aged 20", a miniature portrait study of a gentleman in blue/black overcoat with white stock, a red curtain in the background, oil on ivory, unsigned, inscribed in pencil verso on Rowney & Co. card, 7.5 cm x 5.7 cmCondition ReportMiniature appears to have a small flake to the paint in the bottom right hand corner. General wear and tear conducive to age and use to include some crazing the frame, scratches to the glass etc. See images for more details. Overall size excluding brass loop fitting 16cm x 14cm.
G BENETTI AFTER SIR PETER LELY "Oliver Cromwell", a portrait study in armour, oil on board, unsigned, inscribed verso "Oliver Cromwell from the original portrait by Sir Peter Lely in the Pitti Gallery Florence copied by G Benetti", also bears gallery label "Sold by Philpot & Jackson Picture Dealers 26 Borgo Ognissanti Florence", image size 21.2 cm x 17.4 cm, housed in a Florentine carved giltwood and gesso foliate decorated frame, size including frame approx 44 cm x 34 cm
19TH CENTURY CONTINENTAL SCHOOL "Young man in hat", a portrait study, charcoal and pencil, head and shoulders, apparently unsigned, image size 39 cm x 29 cm, together with a similar pencil study of Classical sculpture / relief of young woman, initialled "PH" and dated "1898" bottom right, image size 54 cm x 35.5 cm
![Burns, Robert Poems chiefly in the Scottish Dialect London: A. Strahan [&c.], 1787, Third edition, 8vo, engraved portrait](https://cdn.globalauctionplatform.com/7585ab16-9d02-401a-8ea4-ad4000cd8dfd/0c3f5c81-1632-4a7d-bf24-ad4000f9a382/468x382.jpg)
Burns, Robert Poems chiefly in the Scottish Dialect London: A. Strahan [&c.], 1787, Third edition, 8vo, engraved portrait frontispiece, with "stinking" for "skinking" on p. 267, list of subscribers, modern quarter calf, marbled sides; Burns, Robert. Poems chiefly in the Scottish Dialect. Glasgow: William M'Lellan, 1801. 12mo, engraved portrait, folding plate with two short tears, bookplate of William Barr Knox, and Bryce Knox McCosh of Huntfield, contemporary calf, spine gilt (2)
Elyot, Sir Thomas The boke named the Gouernour deuised by syr Thomas Elyot knyght Londini: [in ædibus Thomæ Bertheleti typis impress. Cum priuilegio ad imprimendum solum, An. 1544]. Fourth edition, small 8vo (137 x 81mm), a2-[a8], A1-8 - Z8, a-d8, fine late 19th century or early 20th century panelled calf gilt by Henderson and Bissett, lettered in gilt, g.e., several leaves professionally repaired not affecting text, contemporary pen drawing of a lady's face on a8, next to which in secretarial script is a prayer and the initials M. [D. ?, L. ? or (possibly) A. ?], presumably the owner: "From the horns of unicorns and the roaring of lions, good Lord, save thy poor handmaiden". The reference to unicorns and lions is taken from Psalm 22, v.21. Lady Elyot's (1500-1560/69) maiden name was Margaret à Barrow or Aborough, so one might speculate the initials are M.A.; lacking the title page, later reduced copies of Holbein's portraits of Sir Thomas and Lady Elyot bound in, [ESTC S100426]Footnote: Provenance: William Graham, JP, FRSAS (1855-1922), Banker, Author of "The One Pound Note", Antiquary & Book Collector; Family books relating to the Andersons and Grahams of Edinburgh Note: Sir Thomas Elyot's The boke named the Governour appeared in 1531, one year before Machiavelli's The Prince. This copy is the fourth edition, the last to be published during Sir Thomas's lifetime. It is reckoned the first book in Modern English and one of the earliest books exhibiting the spreading influence of the Renaissance and Humanism in England (see Printing and the Mind of Man, p.41, No. 191). Elyot's 19th century editor, Henry Croft, described it as "the earliest treatise on moral philosophy in the English language". It was intended to direct the education of those destined to fill high positions, and to inculcate those moral principles which alone could fit them for the performance of their duties. Margaret Elyot, née à Barrow or Aborough, was learned in her own right, personally tutored by Sir Thomas More, in whose house she was brought up. It may be speculated therefore that this might have been her copy: given the secretarial hand and her probable knowledge of the Miles Coverdale Bible (1535), the first complete Bible in Modern English, significantly comparable with her husband's "The Governour". The drawing and inscription is of particular interest. Drawing a "self-portrait" next to an inscription is not uncommon, and the drawing does echo Holbein's portrait of Margaret Elyot. If Margaret did not have her own copy of the Holbein portraits, it is conceivable that she may have drawn her own "copy" here.
Gray, Alasdair 14 First edition presentation copies, comprising Lanark. Edinburgh: Canongate Publishing, 1981. First edition, signed "Alasdair Gray 27th February 1981", original cloth, dustwrapper; another copy. First edition, inscribed "To Katie [Gardiner] (who knew it was coming) from Alasdair 25th Feb 1981", original cloth, dustwrapper, faint dampstain at foot of wrapper, and slight discolouration at head of spine; The Book of Prefaces. London and New York: Bloomsbury Publishing, 2000. First edition, presentation copy "To Katy [Gardiner] from Alasdair here in Hamilton Park Avenue Sunday 28 May 2000", with a fine full-page portrait of Katy Gardiner, on verso of blue front free endpaper, dustwrapper; Poor Things. London: Bloomsbury Publishing, 1992. First edition, presentation copy, "from he of old Riddrie too, Alasdair Gray for Katie [Gardiner] on Tuesday 8 December 1992, here in 17 Lothian Street, I mean Road, no I mean house" with stylised portrait of sky, sun, moon and stars, dustwrapper spine a little faded; 1982. Janine. London: J. Cape, 1984. First edition, presentation copy "To SUSAN [Boyd] from Alasdair, June 1984, hoping she will find it forgivable after all: if only for the anarchist binding", dustwrapper slightly soiled and slightly faded; Sixteen Occasional Poems 1990-2000. Glasgow: Morag McAlpine, 2000, 2 copies, first editions, both inscribed, the first "To Susie [Boyd] with love -a wee toaty book, at last from Alasdair", the second "To Katy [Gardiner] from Alasdair, because 1 good wee book of verse deserves back another wee verse book, at least, 12th May 2000", both original wrappers; Working Legs. Glasgow: Dog and Bone, 1997, 2 copies, First editions, both inscribed, the first "To Susie [Boyd] from Alasdair that she need not buy one 12.12.1997", the second "To Katy [Gardiner] that she need not buy one 10.12.1997", both original wrappers, the second very slightly faded; Why Scots should Rule Scotland. Canongate. 1997, First edition, inscribed "To Katy [Gardiner] from Alasdair 10th April with love", original wrappers; Unlikely Stories, Mostly. Edinburgh: Canongate Publishing, 1983, First edition, presentation copy "To Sue [Boyd] from * Christmas 1983" [the asterisk is placed next to his printed signature], dustwrapper slightly discoloured; Old Negatives. London: J. Cape, 1989. First edition, presentation copy "To Susie [Boyd] with love from Alasdair", original wrappers; Mavis Belfrayge. London: Bloomsbury, 1996. First edition, presentation copy "TO KATIE [Gardiner] from Alasdair 16 May 1996", original cloth, duswrapper; A Life in Pictures. Edinburgh: Canongate, 2010. First edition, presentation copy to "Kate Gardiner, her book, says Alasdair with love 25.10, or rather 26th October 2010", original cloth, dustwrapper (14)Footnote: Note: Susan Boyd was the only child of Katy Gardiner and the author Edward Boyd, and half-sister of the vendor. Katy and Alasdair both went to Whitehill Secondary Schook in Dennistoun, ten years apart, and it was their art teacher who suggested to Alasdair that he get in touch with Katy in the mid 1950s because Alasdair was complaining that Riddrie was something of a cultural desert. Katy Gardiner was the vendor's mother's stage name which she used after separating from Eddie Boyd. The vendors took over the rent of Alasdair's huge Hill Street flat when he and his wife and young child moved to the ground floor in 1966. For further information please follow these links: Katy Gardiner - The Herald Susan Boyd - The Herald
![Macdiarmid, Hugh [Christopher Murray Grieve] Selected Lyrics Verona: Officina Bodoni for Kulgin D. Duval and Colin H. Hamilto](https://cdn.globalauctionplatform.com/7585ab16-9d02-401a-8ea4-ad4000cd8dfd/48e58a31-26d8-4c12-9ca0-ad4000f9df63/468x382.jpg)
Macdiarmid, Hugh [Christopher Murray Grieve] Selected Lyrics Verona: Officina Bodoni for Kulgin D. Duval and Colin H. Hamilton, 1977. 8vo, number XI of 35 special copies (of a total of 170), portrait, signed and inscribed to Edward Nairn and Ian Watson by Hugh MacDiarmid, original quarter vellum gilt over printed boards
Walpole, Hugh 28 signed large paper copies, comprising The Young Enchanted. 1921, limited to 250 copies; The Cathedral. 1922, limited to 250 copies; The Old Ladies. 1924, limited to 250 copies; Portrait of a Man with Red Hair. 1925, limited to 250 copies; Harmer John. 1926, limited to 250 copies; The Silver Thorn. 1928, limited to 175 copies; Wintersmoon. 1928, limited to 175 copies; Hans Frost. 1929, limited to 175 copies; Rogue Herries. 1930, limited to 200 copies; The Fortress. 1932, limited to 310 copies; Vanessa. 1933, limited to 315 copies; Captain Nicholas. 1934, limited to 275 copies; The Inquisitor. 1935, limited to 250 copies; A Prayer for my Son. 1936, limited to 200 copies; John Cornelius. 1937, limited to 175 copies; The Joyful Delaneys. 1938, limited to 180 copies; Judith Paris. 1931, limited to 350 copies; all with dustwrappers except the last, slightly frayed; and 11 duplicates in frayed dustwrappers of the same edition (28)
Authors, Writers, Artists & Politicians A collection of manuscripts and signatures including: Carlyle, Thomas dated signature on a slip of paper relating to borrowing a copy of Don Quixote; Woodall, William ALS, dated 1893; Clifford, Lucy ALS to Mr Ervine, dated 1920; Chalmers, Thomas Autograph note, signed, dated 1830; Gibson, John ALS to Mr Caldwell, dated Rome, 1838; and another, similar; Campbell, Thomas ALS to W. Pickersgill [Henry William Pickersgill, a portrait painter], dated 1830; Macaulay, Thomas Babington signed visitor's pass given to John Heiton, dated 1844; and a collection of others; Campbell-Bannerman, H. ALS refuting the claim that he "went to the Ayr Burghs at the suggestion of Mr. J.G. Weir, or that he (or any one else) contributed to my Expenses...", laid onto mount with portrait above; Pelham, Henry Signature on clipped document; Temple, Henry John, 3rd Viscount Palmerston Letter signed, dated 29th January 1814, to Colonel James Lowther, referring to the Westmoreland Regiment of Militia joining the Provisional Batallion of Militia in Europe under Colonel Sir William Watkins Wynne; Cavendish-Bentnick, William, 3rd Duke of Portland Document signed bearing his wax seal; and one other; with a Vanity Fair caricature "Property and Principle"; Chamberlain, Neville Typewritten letter, signed as Minister of Health, dated 19th January 1926
![3 volumes, comprising Loudon, Mrs British Wild Flowers. London: W. S. Orr, [1849 ]. Second edition, 4to, 60 hand-coloured lit](https://cdn.globalauctionplatform.com/7585ab16-9d02-401a-8ea4-ad4000cd8dfd/9c72f2ae-98ca-4b97-895e-ad4000fa8ba0/468x382.jpg)
3 volumes, comprising Loudon, Mrs British Wild Flowers. London: W. S. Orr, [1849 ]. Second edition, 4to, 60 hand-coloured lithographs, contemporary black panelled morocco gilt, g.e., a few plates lightly dust-soiled, a couple with small stains; Evelyn, John. Silva: or a Discourse of Forest-Trees... with notes by A. Hunter. York, 1812. Fourth edition, 2 volumes, 4to, engraved portrait and 45 plates, contemporary half calf, somewhat spotted, rubbed, joints repaired (3)
![[Fine Binding] - The Book of Common Prayer Printed by the Assigns of John Bill, Thomas Newcomb and London, 1681. 8vo, portrai](https://cdn.globalauctionplatform.com/7585ab16-9d02-401a-8ea4-ad4000cd8dfd/18ebf5f7-2719-47ea-9081-ad4000fab969/468x382.jpg)
[Fine Binding] - The Book of Common Prayer Printed by the Assigns of John Bill, Thomas Newcomb and London, 1681. 8vo, portrait and 48 engraved plates, a little damage to gathering D slightly affecting text and lower margins [ESTC R172840]; [bound with] The Whole Book of Psalms collected into English Metre. London: printed for the Company of Stationers, 1680. 8vo, a little browning, footers slightly shaved; bound in elaborately tooled red morocco gilt with floral motifs, with gilt tooled black morocco onlays to covers and spine, some slight rubbing to covers with a few small patches of leather missing from upper cover, bookplate of Richard Redmond Caton, two neat early ownership inscriptions and the ownership signature of Alice Forster 1731-2 to the title-page; [Book of Common Prayer. N.p., n.d. but c.1770] 8vo, lacking title-page but with a presentation inscription: "Presented to Mrs Burnley by the late Governor Holwell, one of the Survivors of the Black Hole of Calcutta", red morocco gilt (2)
![Holy Bible London: Thomas Newcomb and Henry Hills, 1712 4to, 136 plates, [Herbert 917; ESTC T89271]; bound with Book of Commo](https://cdn.globalauctionplatform.com/7585ab16-9d02-401a-8ea4-ad4000cd8dfd/cc30d382-a596-41bf-b4e4-ad4000faca3d/468x382.jpg)
Holy Bible London: Thomas Newcomb and Henry Hills, 1712 4to, 136 plates, [Herbert 917; ESTC T89271]; bound with Book of Common Prayer, 1713, [Not recorded by ESTC, cf. ESTC T814], 2 engraved plates, contemporary panelled red morocco gilt, neatly rebacked retaining original spine, engraved portrait to BCP laid down; and The Whole Book of Psalms. London: Freeman Collins for Company of Stationers, 1812, [ESTC T82244], some spotting and marginal discolouration, occasional light stain
Connery, Sir Sean A Collection of Film & Publicity Photographs, many signed 19 photographs: 1) photograph from 'Dr No' showing Connery and Ursula Andress, signed by Andress, 25.5 x 20cm; 2) Sean Connery seated with a cocktail, from 'Goldfinger', signed Sean Connery, 25.5 x 20.5cm; 3) Sean Connery and Harrison Ford in 'Indiana Jones and the Last Crusade', 25 x 20cm, signed Sean Connery; 3&4) Two head-shots of Sean Connery, each 10.5 x 15cm, both signed by Connery; 5) Portrait of Sean Connery in a tuxedo, unsigned, 25 x 20cm; 6) Portrait of Sean Connery in military uniform, unsigned, 25 x 20cm; 7) Large unsigned photographic postcard of Sean Connnery and Harrison Ford; 8) Photograph showing Sean Connery and two co-stars in a Bond film, unsigned, 25.5 x 20cm; 9) Head shot showing Sean Connery in 'Indiana Jones and the Last Crusade', unsigned, 24 x 18cm; 10) Photograph showing Sean Connery dressed in a large woollen sweater, signed Sean Connery, 25 x 20.5cm; 11) Photograph showing Sean Connery in climbing gear from 'Five Days'. signed, 25.5 x 20cm; 12) Photograph showing Sean Connery and Lois Maxwell in 'Goldfinger', signed by Connery to Alan, 20 x 26cm, slightly scuffed; 13) Publicity photograph for a Bond film showing Sean Connery with a pistol in front of four action-shots, signed by Connery, 20 x 26cm; 14&15) Two photographs, signed Sean Connery, publicity photographs from 'The Wind and the Lion', 26 x 20.5cm; 16) Portrait of a very young Connery, signed, 25.5 x 20cm; 17&18) Two photographs showing Connery in military uniform, both signed, 18 x 13cm and 13 x 10cm; 19) Publicity still for 'Cuba'. signed by Sean Connery, 25.5 x 20cm; [and] a poster for 'Murder on the Orient Express', signed by Sean Connery and Wendy Hiller, 28.5 x 21cm, creases (20)
Heath, Robert A Natural and Historical Account of the Islands of Scilly London: R. Manby and H.S. Cox, 1750. 8vo, folding map, folding table, lacking the advertisement leaf and portrait, contemporary calf, upper cover detached, lower cover lacking, a little internal dampstaining and light spotting [ESTC T132199]
Mackenzie, Hector Rose Yachting and Electioneering in the Hebrides Inverness: A. & W. Mackenzie, 1887. 8vo, inscription to flyleaf: "Alexander Lee James Esq from the Fraser-MacKintosh [the dedicatee], best wishes, Lochaber Apl 1887", frontispiece, portrait, and 7 further photographic portrait plates, finely bound in green morocco gilt with title to the upper cover
The Scottish Highlands and People 6 volumes, comprising MacEachern, Dugald The Sword of the North. Inverness: Robert Carruthers & Sons, 1923. 8vo, inscribed to the front free-endpaper by the author: "To Mrs Forman, née Campbell Fraser, from Dugald MacEachern", original red cloth gilt, covers slightly soiled; Campbell, Duncan Reminiscences and Reflections of an Octogenarian Highlander. Inverness: The Northern Counties Newspaper and Printing and Publishing Company, Limited, 1910. 8vo, portrait frontispiece, original brown cloth gilt; Keltie, John S. History of the Scottish Highlands, Highland Clans and Highland Regiments. London: William Mackenzie, [n.d.] 'New Edition', 2 volumes, large 8vo, contemporary red half morocco gilt; Carruthers, R. The Highland Note-Book... Edinburgh: Adam & Charles Black, 1843. 12mo, original green cloth gilt; Maciver, Evander - Rev. George Henderson, editor Memoirs of a Highland Gentleman. Edinburgh: T. and A. Constable, 1905. Large 8vo, original red quarter morocco gilt, various ownership notes and a note lightly pasted onto the half-title (6)
Three Scottish Works including Forbes, John Irenicum amatoribus veritatis et pacis in Ecclesia Scoticana. Aberdeen: Edward Raban, 1629. Small 4to, contemporary vellum, occasional browning, text-bloxk detached [ESTC S102401]; Douglas, Francis A General Description of the East Coast of Scotland. Paisley: printed for the Author by Alexander Weir, 1782. 12mo, contemporary calf, one leaf lacking and several leaves torn with loss to text [ESTC T145442]; Pinkerton, John The History of Scotland from the Accession of the House of Stuart to that of Mary... London: C. Dilly, 1797. 2 volumes, 4to, portrait, publisher's grey boards with paper labels, some slight dampstaining, labels a little chipped (4)
LOU, LIZA1969 New YorkTitel: Self Portrait, No. 2 (The Heretic). Datierung: 2004. Technik: Mixed Media (Kunstharz, Stahl, Glasperlen). Maße: 76 x 55 x 45cm.Bezeichnung: Signiert und datiert. Rahmen/Sockel: Holzsockel (130 x 60 x 60cm). Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 17Liza Lou ist eine amerikanische Bildhauerin, die durch ihre häufig großformatigen mit abertausenden von Glasperlen besetzten Skulpturen bis an die Spitze der internationalen Kunstszene aufgestiegen ist. Lou studierte zunächst am San Francisco Art Institute, verließ dieses jedoch vorzeitig, da ihre Professoren und Professorinnen ihre Arbeit mit Glasperlen nicht die genügend anerkannten. Für Liza Lou stehen die Glasperlen als Symbol für die von Frauen ausgeführte Arbeit und die andauernden Anstrengungen im Alltag einer Frau. In der Arbeit mit Perlen sieht die Künstlerin eine internationale und interkulturelle Verbindung zwischen Frauen rund um den Erdball. Ihren ersten internationalen Durchbruch feierte sie 1996 mit der Arbeit "Kitchen", einer knapp 16 Quadratmeter großen, voll ausgestatteten und gänzlich mit Perlen überzogenen Rekonstruktion einer Küche. Die Arbeit an dem Werk nahm fünf Jahre in Anspruch. Im Jahr 2005 zog Lou nach Durban, Südafrika, wo sie in ihrem Studio mit der Hilfe von rund 50 südafrikanischen Perlenarbeiterinnen eine Vielzahl von Skulpturen schuf. In den darauffolgenden Jahren realisierte Lou weitere Projekte in Südafrika. Mithilfe einer Gruppe von Zulu-Frauen aus den Townships der Stadt KwaZulu Natal in Südafrika schuf sie so ein über eine Meile langes Seil, welches komplett aus Perlen gewebt wurde. Dabei wählte sie bewusst eine langsame Methode, die eine möglichst große Zahl an Helferinnen benötigte. So konnte vielen Familien ein stabiles Einkommen sowie Gesundheitsversorgung und Schulbildung verschafft werden. Insgesamt besteht das Werk aus rund 4,5 Millionen Perlen. Das uns vorliegende Werk "Self Portrait, No. 2 The Heretic" zählt ebenfalls zum Hauptwerk der Künstlerin. Die in perfektionistischer Manier kreisförmig angeordneten Perlen erzeugen illusorische Effekte, welche eine nahezu hypnotisierende Wirkung auf den Betrachter haben. Lou zeigt sich in diesem Selbstportrait gänzlich nackt in einer Yoga-Pose. Die Füße sind hinter dem Kopf verschränkt. Die Hände hat sie, wie im Gebet, vor der Brust gefaltet. Die Zunge der Künstlerin ist weit herausgestreckt und weckt unweigerlich Assoziationen zur indischen Todesgöttin Kali. Dies kann zum einen als ein interkulturelles Verbindungselement, wie häufiger bei Lous Werken zu finden, gedeutet werden, zum anderen ist es ein eindeutiger Verweis auf Lous Bezug zu Religion. Lou, die selbst in einer christlich-evangelikalen Sekte aufwuchs, möchte so die Erfahrung abbilden außerhalb der göttlichen Gunst zu stehen. Die verschlungene Haltung der Künstlerin in ihrer lebensgroßen Selbstdarstellung zeigt, dass das Tor zur spirituellen Transformation in jedem selbst begründet liegt und somit frei von institutionellem Zwang ist. Das ungewöhnliche Selbstportrait der Künstlerin stellt also nicht nur durch den perfektionistisch-handwerklichen Ansatz eine herausragende Arbeit dar, sondern bietet dem Betrachter auch die seltene Gelegenheit neben der Gedankenwelt Lous auch den Umgang mit ihrer eigenen Biografie zu erforschen. Erläuterungen zum KatalogLiza Lou USA Zeitgenössische Kunst Objekte 2000er Porträt Skulptur Mischtechnik Künstler LOU, LIZA1969 New YorkTitle: Self Portrait, No. 2 (The Heretic). Date: 2004. Technique: Mixed media (resin, steel, glass beads). Measurement: 76 x 55 x 45cm.Notation: Signed and dated. Frame: Wooden base (130 x 60 x 60cm). Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 17. Explanations to the Catalogue
SCHNEIDER, GREGOR1969 RheydtTitel: Puppen.Untertitel: Serie von fünf Fotografien. Datierung: 1994/95. Technik: Jeweils: C-Print. Montierung: Unter Passepartout montiert. Darstellungsmaß: 18 x 24cm. Bezeichnung: . Signiert, datiert, nummeriert, betitelt und bezeichnet auf der Unterkante des Passepartouts. Rahmen: Rahmen (32 x 37,5cm). Bei den Fotografien handelt es sich um die Exemplare 4/6 (1-3) und 6/6 (4-5). Bei der Fotografie Nr. 3 handelt es sich um ein Hochformat. Ausstellungen:- Weserburg - Museum für moderne Kunst, Bremen 2006. Erläuterungen zum KatalogGregor Schneider Deutschland Fotografie 1990er Figur / Figuren Fotografie C-Print Kind / Kinder SCHNEIDER, GREGOR1969 RheydtTitle: Puppen. Subtitle: Series of Five Photographs. Date: 1994/95. Technique: Each: C-print. Mounting: Mounted under mat. Depiction Size: 18 x 24cm. Notation: . Signed, dated, numbered, titled and inscribed on the lower edge of the mat. Frame: Framed (32 x 37,5cm). The photographs are the copies 4/6 (1-3) and 6/6 (4-5). Photograph no. 3 is a portrait format.Exhibitions:- Weserburg - Museum für moderne Kunst, Bremen 2006. Explanations to the Catalogue
TYSON, NICOLA1960 LondonTitel: "Self-Portrait Trotting". Datierung: 2004. Technik: Öl auf LeinwandMaße: 152 x 127cm. Bezeichnung: Betitelt, monogrammiert und datiert verso: "SELF-PORTRAIT TROTTING" nht'04. Provenienz: - Sadie Coles HQ, London (Aufkleber)Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 90. Erläuterungen zum KatalogNicola Tyson England Zeitgenössische Kunst Unikate 2000er Frau Gemälde Öl Porträt TYSON, NICOLA1960 LondonTitle: "Self-Portrait Trotting". Date: 2004. Technique: Oil on canvas.Measurement: 152 x 127cm.Notation: Titled, monogrammed and dated verso: "SELF-PORTRAIT TROTTING" nht'04. Provenance: - Sadie Coles HQ, London (adhesive label)Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 90. Explanations to the Catalogue
HEFFERNAN, JULIE1956 Peoria, IL/USATitel: "Self-Portrait as Big World". Datierung: 2008. Technik: Öl auf Leinwand. Maße: 165 x 173cm. Bezeichnung: Betitelt, datiert und signiert verso: Self-Portrait as Big World 2008 Julie Heffernan. Provenienz:- Catherine Clark Gallery, San Francisco (Aufkleber)- PPOW, New York (Aufkleber)Ausstellungen: - me Collectors Room Berlin, 2012/13- Berenberg Bank, Düsseldorf 2008- La Maison Rouge, Paris 2011/12Literatur:- Ausst.-Kat. EXOTICA and 4 other cases of the self, me Collectors Room Berlin, 2014/15, Abb. S. 41. Erläuterungen zum KatalogJulie Heffernan USA Zeitgenössische Kunst Unikate 2000er Porträt Gemälde Öl Natur HEFFERNAN, JULIE1956 Peoria, IL/USATitle: "Self-Portrait as Big World". Date: 2008. Technique: Oil on canvas. Measurement: 165 x 173cm.Notation: Titled, dated and signed verso: Self-Portrait as Big World 2008 Julie Heffernan. Provenance:- Catherine Clark Gallery, San Francisco (adhesive label)- PPOW, New York (adhesive label)Exhibitions: - me Collectors Room Berlin, 2012/13- Berenberg Bank, Düsseldorf 2008- La Maison Rouge, Paris 2011/12Literature:- Exhib. cat. EXOTICA and 4 other cases of the self, me Collectors Room Berlin, 2014/15, ill. p. 41. Explanations to the Catalogue
BARRY X BALL1955 Pasadena/USATitel: The akra tapeinosis (.) - Portrait Matthey Barney. Untertitel: Rauminstallation. Datierung: 2000 - 2004.Technik: Mixed Media (Mexikanischer Onyx, Stahl, Rhodium, Polyurethan, Holz, Stahlseile, Licht). Maße: Kopf und Schaft: 175 x 15 x 20cm; Deckenkonstruktion: 225 x 225 x 40cm; Installationsmaß: ca. 320 x 350 x 350cm. Provenienz: - Salon 94, New YorkAusstellungen:- MOMA PS1, New York 2004Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 160Der Künstler Barry X Ball wurde 1955 in Kanada geboren. Heute lebt und arbeitet er in New York. Werke des Bildhauers sind in bedeutenden internationalen Sammlungen vertreten und bereits mehrfach stellte Ball im Rahmen der Biennale in Venedig aus. Balls skulpturale Portraits haben einen revolutionären bildhauerischen Ansatz. Der Künstler selbst beschreibt seine Werke als Skulpturen, diese sind jedoch eher am Schnittpunkt zwischen Skulptur und Installation einzuordnen. Balls Vorgehensweise ist dabei hochkomplex. An einem einzigen Portrait arbeitet der Künstler im Schnitt zwei bis drei Jahre. In dem uns vorliegenden Portrait vergingen sogar vier Jahre bis zur Fertigstellung. Portraitaufträge lehnt dieser kategorisch ab. Die selbstgewählten Modelle sind Persönlichkeiten der bildenden Kunst, wie beispielsweise Künstler, Sammler und Galeristen. Arbeitet Ball an einem Portrait, so fertigt er zunächst Referenzfotos sowie einen Gipsabdruck des Kopfes und Halses an. Dieser Gipsabdruck wird dann in ein Gipspositiv umgesetzt und der noch raue Rohling anschließend in mühevoller Handarbeit abgerundet. Dabei entstehen keineswegs naturalistische Portraits. Die Manipulation der Vorarbeiten ist elementarer Bestandteil des Schaffensprozesses und wirkt sich entscheidend auf das fertige Portrait aus. Im Falle des Portraits von Matthew Barney trieb der Künstler diese Manipulation besonders weit. Er entfernte sämtliche Halsmuskulatur und setzte nur einen schlaffen Sack Haut zusammen mit den Eingeweiden an den Kopf an. Haut und Eingeweide waren in diesem Stadium noch als Ton modelliert. Nach Fertigstellung des Entwurfs in Gips und Ton, wurde dieser über einen 3D-Scanner digitalisiert, gefolgt von einer Reihe digitalen Bearbeitungsschritten. So wurde der eingescannte Gipskopf in diesem Portrait zunächst um 150% vertikal gestreckt. Anschließend scannte Ball ein viktorianisches Barockmuster ein, dass er über die gesamte Oberfläche legte. Im nächsten Schritt schrumpfte Ball diese Gesamtkonstruktion erneut um 85%, bevor er sie final mittels einer CNC-Fräsmaschine in mexikanischen, durchscheinenden Onyx übertrug. Das maschinell ausgeführte Schnitzen nahm dabei mehrere Tage in Anspruch. Einen Sockel für Balls Portraits sucht man vergebens. Stattdessen ist der Kopf von einer beidseitig angespitzten und vergoldeten Lanze aus Stahl durchbohrt. Befestigt ist die Skulptur an einer Vielzahl von Seilen, welche wiederum von einem großen Deckenpaneel ausgehen und Trichterförmig auf dem durchbohrten Scheitel zusammenlaufen. Das Deckenpaneel ist eine aufwendige Konstruktion aus Holz und zitiert eine Vielzahl historischer Dekorationsstile. Um das Deckenpaneel sind acht Halogenstrahler angeordnet, die die aufgespießte Skulptur anstrahlen. Der dabei erzeugte Schatteneffekt ist werkimmanent und vom Künstler bewusst herbeigeführt. Der Titel der Arbeit, "The akra tapeinosis" verweist auf die mittelalterliche Bildtradition des Schmerzensmannes. Hierbei steht der leidende Christus mit seinen Kreuzigungswunden im Fokus. Die Materialbeschaffenheit des Onyxes erzeugt den Eindruck der Wundmale Christi, die milchig-cremefarbene Beschaffenheit des Steins erinnert dabei unweigerlich an Elfenbein, ein Material aus dem viele mittelalterliche Christusskulpturen gefertigt wurden. Es ist eben dieser Detailgrad, der Ball aus der Masse der bildenden Künstler abhebt. Balls Skulpturen überzeugen nicht nur mit vielfachen kunsthistorischen Bezügen und der inhaltlichen Qualität, sondern auch unter formal-ästhetischen Gesichtspunkten als raumfüllende Installationen. Das Portrait Matthew Barneys sticht dabei besonders hervor und ist durch seine besondere Tiefe als ein Hauptwerk aus Balls Portraitserie einzuordnen. Erläuterungen zum KatalogBarry X Ball USA Fotografie Zeitgenössische Kunst Objekte 2000er Porträt Installation Mischtechnik Künstler BARRY X BALL1955 Pasadena/USATitle: The akra tapeinosis (.) - Portrait Matthey Barney. Subtitle: Room Installation. Date: 2000 - 2004. Technique: Mixed Media (Mexican onyx, steel, Rhodium, polyurethane, wood, steel ropes, light). Measurement: Head and shaft: 175 x 15 x 20cm; Ceiling construction: 225 x 225 x 40cm; Installation dimensions: ca. 320 x 350 x 350cm. Provenance: - Salon 94, New YorkExhibitions:- MOMA PS1, New York 2004Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 160. Explanations to the Catalogue
REN, ZHENYU1976 Tianjin/ChinaTitel: Another Portrait No. 9. Datierung: 2007. Technik: Öl auf Leinwand. Maße: 150 x 150cm.Bezeichnung: Signiert und datiert unten links: Ren Zhenyu 2007. Provenienz: - Galerie Frank Schlag, Essen. Erläuterungen zum KatalogZhenyu Ren China Zeitgenössische Kunst Unikate 2000er Porträt Gemälde Öl Berühmtheiten REN, ZHENYU1976 Tianjin/ChinaTitle: Another Portrait No. 9. Date: 2007. Technique: Oil on canvas. Measurement: 150 x 150cm. Notation: Signed and dated lower left: Ren Zhenyu 2007. Provenance: - Galerie Frank Schlag, Essen. Explanations to the Catalogue
FEIN GESCHNITZTER RAHMEN MIT HERRENBILDNIS IM STIL DES 17. JH. Datierung: Ausführung 19. Jh. Technik: Elfenbein geschnitzt. Maße: Im Oval: 14x10,5cm. Zustand C. Erläuterungen zum KatalogKunstkammer 19. Jahrhundert Rahmen Elfenbein FINELY CARVED FRAME WITH MEN'S PORTRAIT IN STYLE OF 17TH CENTURY. Date: Manufacture 19th century. Technique: ivory carved. Measurement: In oval: 14x10.5cm. Condition C. Explanations to the Catalogue
A Royal Vienna portrait miniature on porcelain, 19th century, depicting Princess Louise, Queen of Prussia, inscribed 'E36' and '5141' verso, gilt framed, 13cm high overall CONDITION REPORT:The piece has not been removed from the frame for inspection. The visible painted surface shows very minor surface wear. The frame shows wear to the gilt finish throughout, but mainly to the highpoints.
After Jean-Baptiste Greuze (1750-1775), a watercolour portrait miniature on ivory after 'La Laitière', set to a glazed oval gilt brass frame with ribboned reeded border and continuous foliate frieze, 11.5cm high Trevanion Auctioneers & Valuers do not ship items containing ivory outside the UK. Trevanion recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. A buyer's inability to import these lots cannot justify a delay in payment or sale cancellation.The government have proposed legislation to create a UK law to ban the sale of all ivory. Please note this means that this lot is legal to sell now but may not be in the future.
English School (19th century), a set of six portrait miniatures on ivory, depicting the male line of the Stuart dynasty, comprising: James I, Charles I, Charles II, James II, James Francis Edward Stuart, and Charles Edward Louis John Casimir Stuart (Bonnie Prince Charlie), all by different hands, each with biographical notes verso, framed together, 30cm x 35.5cmProvenance: The Estate of Lord Kenyon, Gredington. Trevanion Auctioneers & Valuers do not ship items containing ivory outside the UK. Trevanion recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. A buyer's inability to import these lots cannot justify a delay in payment or sale cancellation.The government have proposed legislation to create a UK law to ban the sale of all ivory. Please note this means that this lot is legal to sell now but may not be in the future.
A hand-coloured miniature photographic portrait on paper, early 20th century, depicting an Edwardian gentleman, set to a fitted shield-shaped travel case, the portrait 6cm high, the case 9.5cm high, with a silver nitrate miniature portrait plate of a gentleman, set to a folding embossed travel case, 9.5cm high, a further folding travel case set with a glass mounted photo cut-out of a young girl, 9.5cm, and a concertina'd album of ten Victorian cabinet card photographs (4)
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