KONVOLUT AK UND FELDPOST-KARTEN, ges. 44 Teile, 4 Foto-AK Segelflugzeuge auf der Wasserkuppe/Rhön; Waffenstillstand Compiegne 1940; 4 Portrait-AK Mannschaften u. Uffz. d. Heeres; 7 Ganzsachen, SA-Reichswettkämpfe 1938 u. 2. KWHW 1941; 5 AK, u.a. Passagierdampfer Berlin, ges. 12 gel. 1935-1943; 21 Feldpost-Karten u. FP-Kartenbriefe, gel. Okt. 1939-Okt. 1944, SS-TK-Inf.-Rgt. 3, Pz.-Pi.-Batl. 79, Nachschub-Kompanie 188, Vermessungs-Karten-Abt. 158 etc., tls. Randmängel
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A DOUCAI MINIATURE ‘LOTUS’ VASE, YONGZHENG MARK AND PERIODChina, 1723-1735. Delicately potted with a slightly compressed globular body rising from a short ring foot to a cylindrical neck, decorated with alternating lotus blooms and ruyi-heads borne on scrolling tendrils between palm blade bands on the shoulder and above the foot. The recessed base bears the neatly painted six-character mark da Qing Yongzheng nianzhi in underglaze blue within a double circle and of the period.Provenance: Zhou Shengli (1951-2018). Acquired at a Japanese auction house or gallery in the late 1980s (invoice not available). According to the present owner, who then was a young boy, “the price was about RMB 100,000 at the time”. Thence by descent within the same family to the present owner. Zhou Shengli was born in Shanghai and studied painting under Lu Yanshao (1909-1993). In the 1990s, he established the ‘Baosteel Painting and Calligraphy Society’ with him and his colleagues participating in many calligraphy and painting competitions and winning over twenty of the highest prizes and awards. Today, Zhou’s paintings are exhibited in the prestigious Beijing Gallery, along with many of China’s most important artists.Condition: Absolutely perfect condition with minor wear and microscopic firing irregularities.Weight: 100.5 gDimensions: Height 10.3 cmThe neck is decorated with bands of dot, fringe, and geometric scroll, all framed by circumferential lines, the foot with two circumferential lines as well.Small delicate vases of this type were displayed in the palace as receptacles for flowers, possibly on a scholar’s desk. Collected in the Palace Museum is a portrait depicting the Qianlong Emperor dressed in Han attire in a scholar’s studio, together with a monochrome lobed vase of related form to the current vase, containing flowers and placed on a stand on the table. This portrait is illustrated on the front cover of Tushuo Qinggong ciqi dang an – wenfang juan, Beijing, 2016.With a fitted Japanese silk storage box bearing an old paper label with an illegible inscription. (2)Literature comparison: Compare with a closely related vase, however incomplete or ‘unfinished doucai’ as it is only decorated in blue, at Sotheby’s Hong Kong in Fine Chinese Ceramics, Works of Art, Jade Carvings and Jadeite Jewelry on 4 May 1994, lot 170, with an estimate of HKD 100,000-120,000. Another Yongzheng vase of this rare pattern, from the S.C. Ko Tianminlou Collection, is illustrated by Liu Liang-yu, A Survey of Chinese Ceramics, vol. 5, p. 91. Compare, also, with another type of small doucai vase, with a lobed body and long neck, decorated with the ‘Three Friends of Winter’ motif, such as the one in the National Palace Museum, Taipei, illustrated in Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware of the Ch’ing Dynasty, Taipei, 1986, pl. 46, and another in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 142.Auction result comparison: Compare with a related small doucai vase, but with a lobed body, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2019, lot 1810, sold for USD 237,500 and a pair of related small lobed doucai vases at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 29 November 2017, lot 2909, sold for HKD 9,700,000. 雍正款與年代斗彩纏枝蓮紋直頸小瓶 中國,1723-1735年。瓶形為小口,直頸,豐肩,腹碩大,短圈足。肩部裝飾芭蕉葉紋,腹部纏枝蓮紋。圈足内凹,雙圈青花“大清雍正年制“。來源:周生力 (1951-2018) 收藏。大約1990年代購於日本拍賣行(發票已遺失)。据現任藏家說,當年他才十幾歲,就花了十萬元人民幣。直至現任藏家前一直保存在同一家族中。周生力出生於上海,師從陸儼少(1909-1993) 學畫。1990年代他和他的同事們參加了許多書法和繪畫比賽,並贏得了二十多個獎項,從而建立了“寶鋼書畫學會”。 如今,周生力的繪畫作品與許多中國最重要的藝術家一起在著名的北京畫廊展出。圖片: 周生力與陸儼少,約 1970 至1980年間。 品相:絕對完美狀態,輕微磨損和燒制不規則。重量:100.5 克 尺寸:高 10.3 厘米 直頸部裝幾何捲軸帶以及圓點。瓶沿下與圈足上各有兩行青花紋。這類精緻的小花瓶經常用於宮内作為花瓶,可放書桌上。故宮博物院收藏的一幅乾隆帝在書房的畫中,有一個與當前花瓶相近的單色淺葉花瓶,裏面放著鮮花,放在桌上的博古架上。 這幅畫是《紫禁城的記憶:圖說清宮瓷器檔案·文房卷》的封面,北京,2016年。日本絲綢盒,印有難以辨認的舊紙標籤。 (2)文獻比較:香港蘇富比Fine Chinese Ceramics, Works of Art, Jade Carvings and Jadeite Jewelry 拍場1994年5月 4日, lot 170, 估價HKD 100,000-120,000;A Survey of Chinese Ceramics, the S.C. Ko Tianminlou Collection, Liu Liang-yu編著, vol. 5, p. 91;臺北故宮博物院, 特別展Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware of the Ch’ing Dynasty, 臺北, 1986, 圖 46;南京博物院Treasures in the Royalty展覽 The Official Kiln Porcelain of the Chinese Qing Dynasty,上海, 2003, 圖 142。 拍賣結果比較:一件相似斗彩瓶,寬壺身,售于紐約佳士得 Fine Chinese Ceramics & Works of Art 拍場,2019年3月 22日,lot 1810,售價USD 237,500. 一件相似 小型斗彩瓶,售于香港佳士得Important Chinese Ceramics and Works of Art 拍 場,2017年11月29日,lot 2909,售價HKD 9,700,000.
A BRONZE PORTRAIT FIGURE OF A LAMA, 17TH-18TH CENTURYTibet. Seated in dhyanasana on an unsealed double-lotus base, the hands held in dharmachakramudra, wearing long flowing monastic robes with floral borders at the hems and collar, the benign face with heavy-lidded eyes and full, pursed lips forming a subtle smile, flanked by long pendulous earlobes, the plain hair with a distinct receding hairline.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and firing flaws, light scratches, few minuscule nicks, dents, warping, remnants of old lacquer gilt and fine old polychrome pigment.Weight: 2,580 gDimensions: Height 20 cmAuction result comparison: Compare with a related but earlier bronze, dated to the 16th century, at Christie’s New York in Indian & Southeast Asian Art on 21 March 2008, lot 655, sold for USD 16,250. Compare also with a closely related gilt bronze figure of a lama, Qianlong mark and period, at Sotheby’s New York, September 11, 2019, lot 797, bought in at an estimate of USD $15.000-20.000.十七至十八世紀喇嘛銅像 西藏。喇嘛結跏趺坐在未密封雙層蓮座上,雙手施説法印,著袈裟,臉容祥和,雙眼微垂和豐滿的雙唇形成微妙的笑容,兩側是長長的耳垂。 來源:奧地利私人收藏. 品相:狀況極佳,有輕微的磨損和燒制缺陷,輕微的划痕,極少的凹痕,翹曲,舊漆金和舊彩色顏料殘留。 重量:2,580 克 尺寸:高20 厘米 拍賣結果比較:一件相近但十六世紀的銅像見紐約佳士得 Indian & Southeast Asian Art 拍場,2008年3月21日 lot 655, 售價USD 16,250.
A PORTRAIT BRONZE OF A MONK, COPPER- AND SILVER-INLAID, 16TH-18TH CENTURYTibet. Cast seated in dhyanasana on a sealed double-lotus base, his right hand resting on his knee and his left lowered in front, wearing a monk’s patchwork robe with copper-inlaid hems finely incised with floral bands, the benign face with silver-inlaid eyes and a distinctive hairline.Inscriptions: The frontal top of the base with a neatly incised donor’s dedication to a guru.Provenance: Australian private collection. Acquired by the collector’s father in the 1990s from a British gentleman who relocated to Western Australia in the 1960s.Condition: Two fingers on the right hand possibly reattached, an attribute possibly held in the other hand is lost, otherwise in good condition with minor wear, light scratches, and few minuscule nicks.Weight: 968.3 gDimensions: Height 17.8 cmAuction result comparison: Compare with a Tibetan-Chinese bronze of a monk holding a book, dated to the 18th century, at Christie’s New York in Indian And Southeast Asian Art on 21 September 2007, lot 195, sold for USD 9,375. Compare also with a Tibetan silver-inlaid brass alloy portrait figure of Zangpo Gyeltsen, dated to the 15th-16th century, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 32, sold for HKD 500,625.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十六至十八世紀鑲銀銅和尚銅像 西藏。大師結跏趺坐在密封的雙曾蓮花座上,右手放在膝蓋上,左手放低,身穿袈裟,銅質下擺精緻地刻有花卉飾帶,祥和的臉龐鑲有銀眼睛和獨特的髮際線。 款識:底座的正面前方刻字體現上師的奉獻精神。 來源:澳大利亞私人收藏。藏家的父親1990年代在一位1960年代定居澳大利亞西部的英國紳士購得。 品相:右手的兩個手指可能重新連接過,另一隻手可能失去一個寶器,除此之外狀況良好,輕微磨損,輕微划痕和很少的划痕。 重量:968.3 克 尺寸:高17.8 厘米 拍賣結果比較:十八世紀漢藏大師持經銅像見紐約佳士得Indian And Southeast Asian Art拍場,2007年9月21日 lot 195, 售價USD 9,375. 十五至十六世紀西藏鑲銀Zangpo Gyeltsen 大師銅像,見香港邦翰思 Images of Devotion 拍場,2020年10月5日 lot 32, 售價HKD 500,625.
A LARGE GILT-BRONZE FIGURE OF A LAMA, 16TH-17TH CENTURYTibet. Massively cast seated in dhyanasana on a sealed double-lotus base with beaded rims, the hands in bhumisparsa mudra. The face shows a meditative expression with heavy-lidded eyes under thick, gently arched eyebrows, full lips forming a subtle smile, and a distinctive beard, flanked by large ears with sharp elongated lobes.Provenance: Collection of Cheng Huan, a well-known barrister and writer in Hong Kong. While studying at Cambridge University he became close friends with Tenzing Namgyal, the then Crown Prince of Sikkim. Two visits to that remote mountain kingdom inspired him with a passion for Tibetan Buddhism. His collection was acquired over decades wherever he was traveling but mostly from the London dealership Spink & Son and from his good friend Susan Chen in Hong Kong.Condition: Very good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, little wear to gilt.Weight: 3,494 gDimensions: Height 25 cmThis beautiful portrait of a Tibetan teacher represents the centuries-old tradition of producing Buddhist effigies of important and beloved historical figures. A superb example of bronze work from the sixteenth/seventeenth century, special attention has been paid to the figure's intricately incised robes, which convey an ornately patterned textile.Auction result comparison: Compare with a related figure of smaller size at Christie’s New York, in Indian, Himalayan and Southeast Asian Works of Art, 18 March 2015, lot 4019, sold for USD 37,500, and another at Christie’s New York, in Indian and Southeast Asian Art, 13 September 2011, lot 363, sold for USD 98,500.十六至十七世紀銅鎏金喇嘛像 西藏。喇嘛手結觸地印,結迦趺坐坐在密封的雙層蓮座上,邊緣飾有串珠。 面部表情沉思,濃密且拱形的眉毛下沉重的雙眼,豐滿的嘴唇形成淡淡的微笑,耳朵大,耳垂長。來源:清洪收藏。香港著名律師及專欄作家。他在劍橋讀書時,與錫金(1975年併入印度)時任儲君丹增南嘉結為好友,對藏傳佛教興趣更是濃厚,時常往西藏及錫金朝聖。他的收藏品不少來自他的旅行,但不少都購自倫敦名古董商Spink & Son和他的香港好友Susan Chen処. 圖片:清洪 品相:狀況極佳,有輕微磨損和鑄件不規則現象,偶有輕度刮擦,局部有很小的刻痕,鎏金幾乎沒有磨損。 重量:3,494 克 尺寸:高25 厘米 拍賣結果比較:一件相近但尺寸小些的造像售于紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art拍場,2015年3月 18日,lot 4019, 售價USD 37,500, 另一件紐約佳士得Indian and Southeast Asian Art拍場 2011年9月13日,lot 363, 售價USD 98,500。
‘CONFUCIUS AND BUDDHIST LION’, MING DYNASTYChina, 1368-1644. Ink and watercolors on paper. The great philosopher seated on an elaborate altar next to a side-facing Buddhist lion with sharp teeth and a curly mane, holding a ruyi scepter in one hand, the lion chained to a column carved in relief with scrolling vines and a Buddhist lion. Framed behind glass, with a European wood frame.Provenance: French private collection.Condition: Fair condition with wear, creases, tears and losses with old repairs and touchups.Dimensions: Image size 131 x 73.5 cmBehind glass, in a European frame.Literature comparison: Compare with a related Ming dynasty portrait of Confucius as Minister of Justice in Lu, in the collection of the Shandong Provincial Museum in Jinan.明代《孔子肖像圖》中國,1368-1644年,紙本設色。這位偉大的哲學家坐在一個精緻的椅子上,旁邊是一隻佛獅,牙齒鋒利,捲曲的鬃毛,孔子一隻手握著如意,獅子拴在雕刻有纏枝紋的圓柱上。 來源:法國私人收藏 品相:狀況良好,有磨損,摺痕,撕裂和舊維修和補漆的損失。 尺寸:畫面131 x 73.5 厘米 歐洲木框玻璃蓋内。
‘ANCESTOR PORTRAIT’, KOREAN SCHOOL, JOSEON DYNASTYKorea, 18th-19th century. Ink and watercolors on paper. Depicting an official or civil servant wearing a pale brown robe and black hat. With a silk brocade mounting and a fine antique wood frame.Provenance: LP Collection, Paris, by repute acquired ca. 1990 from Christian Mionnet in Paris.Condition: Fair condition with wear, creases, minor losses with associated touchups.Dimensions: Size incl. frame 40.8 x 36.2 cm, Image size 30.8 x 26 cmIn addition to the virtue of loyalty (such as the devotion of a subject to his ruler), Confucianism emphasized filial piety, or honor and respect for one’s elders and ancestors. Even more important than recording the sitter’s appearance and preserving his rank during life, portrait painting served as a focus for ancestral rituals after his death. It was thought that when a person died, the soul of the deceased remained among the world of the living until it gradually dissipated. This painting likely once hung within the family shrine to guide the soul in the practice of ancestral worship.Literature comparison: A Korean ancestor portrait of Yun Dongseom (1710-1795), from the same period as the present lot or slightly earlier, is in the collection of the Metropolitan Museum of Art, accession number 2014.605.朝鮮王朝高麗時代風格肖像畫韓國,十八至十九世紀,紙本設色,錦綾裝裱,鏡心。穿著淡棕色長袍、戴著黑色帽子的官員將軍或者文官。 來源:巴黎LP Collection收藏,據説約在1990年購於巴黎Christian Mionnet処。 品相:狀況良好,有磨損,摺痕和與修補有關的輕微損失。 尺寸:縂40.8 x 36.2 厘米, 畫面30.8 x 26 厘米
A RARE PORTRAIT OF ‘BUDDHABHADRA AND MONKEY’, QING DYNASTYChina, 19th century. Ink and watercolors on paper. The monk seated on the ground, his arms crossed and resting on his knees, one hand holding a rosary, a long staff, a stand with a bowl on top, and a gnarled wood table with scholar’s objects behind him, a white-faced monkey standing before him and offering a longevity peach.Inscriptions: Upper left, ‘Ba tuo luo zun zhe’, referring to Buddhabhadra. One seal. Provenance: Collection of Malinda F. Murphy, old collector’s label to base. British private collection, acquired from the above and thence by descent. Malinda F. Murphy (1960-2005) was the youngest daughter of Dr. James S. Murphy and Margaretta ‘Happy’ Rockefeller, who would later marry U.S. Vice President Nelson Rockefeller. There has been extensive speculation in the inner circles of the Rockefeller family about Malinda being Nelson Rockefeller’s daughter. The collection label on the backside is particularly interesting as it bears a printed drawing by Marc Chagall (1887-1985) of a hen laying golden eggs and the dedication ‘Pour [for] Minda’, indicating that the famous artist, who was commissioned by the Rockefellers to create a stained-glass window for the family church in 1960, made this drawing for Malinda Murphy in 1964, when she was four years old. Condition: Good condition with minor creasing, some water stains to the lower edge. Dimensions: Size incl. frame 68.7 x 35 cm Framed behind glass, the old Chinese-style wood frame carved in the form of bamboo segments, but of European origin.Buddhabhadra (359-429) was an Indian Buddhist monk, with the title of sramaṇa. He is most known for his prolific translation efforts of Buddhist texts from Sanskrit into Chinese and was responsible for the first Chinese translation of the Avataṃsaka Sūtra (Flower Ornament Scripture) in the 5th century.清代《跋陀羅尊者與猴子》 中國,十九世紀。紙本設色。尊者坐在地上,雙臂交叉置於膝上,一隻手拿著念珠,長杖放在地上,身前站著一隻端著放著桃子的盤子的猴子。 提詞:左上角題跋陀羅尊者,一枚鈴印。 來源:Malinda F. Murphy收藏,底部可見藏家標籤。 英國的私人收藏,購於上述收藏保存至今。 Malinda F. Murphy(1960-2005年)是James S. Murphy博士和Margaretta’Happy’Rockefeller的最小女兒,Margaretta’Happy’後來嫁給了美國副總統Nelson Rockefeller。 洛克菲勒家族的內普遍猜測Malinda是納爾遜·洛克菲勒的女兒。 背面的收藏標籤特別有趣,因為上面刻有Marc Chagall(1887-1985年)印刷的母雞產下的金蛋和Pour [for] Minda”的字樣,這表明這位由 Rockefellers夫婦於1960年為家庭教堂創建了彩色玻璃窗的畫家於1964年為當時她只有4歲的Malinda F. Murphy繪製了這幅畫。圖片: Marc Chagall 與 Nelson D. Rockefelle在洛克菲勒家族教堂,1960年紐約。 品相:狀況良好,較小壓痕,下邊緣有些水漬。 尺寸:含框 68.7 x 35 厘米 老舊的中式木框架,玻璃,以竹節段的形式雕刻,但來自歐洲。
‘LADY JIN YIYI’, BY ZHANG DAQIAN (1899-1983)Ink, watercolors, and gilt on paper. Portrait of the young Jin Yiyi, masterfully executed by the artist in the style of mural paintings from the Tang period, with elaborately coiffured hair, wearing long flowing robes with finely decorated yet somewhat ‘worn’ hems.Inscriptions: Signed Zhang Yuan. Dated yiyou year (corresponding to 1945). Inscribed “Lady Jin Yiyi, in the style of paintings from the Tang period, of the Mogao Caves”. Two seals: Zhang Yuan zhi yin and Daqian. Note that “Lady Jin Yiyi” was in fact Jin Ce (1882-1948), spouse of calligraph and poet Quan Tigan.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘38’ to one of the wooden scroll pegs.Condition: Excellent condition with very minor wear and microscopic foxing. The mounting at the upper edge with extensive wear, several tears, and partially repaired with old tape, the painting itself not affected at all.Dimensions: Image size 86.9 x 35.6 cmMounted as a hanging scroll with finely carved and lacquered wooden handles.Expert’s note: The ‘wear’ on the hems and on the less elaborately decorated ribbon is clearly intended by the artist, as the present ‘abrasions’ are limited entirely to them and not seen elsewhere in the painting. The neatly painted floral borders, though at first glance barely visible below the layer of ‘abrasions’, create a striking contrast that reminds us of the inherent yet often overlooked contradictions in nostalgia for a long-lost age.Zhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang’s first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.The Mogao Caves, also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years, with the very first caves built in AD 366 as places of Buddhist meditation and worship. They are the best known of the Chinese Buddhist grottoes and, along with Longmen and Yungang Grottoes, are one of the three famous ancient Buddhist sculptural sites of China.Auction result comparison: Compare with a closely related work by the same artist at Christie’s Hong Kong in Fine Chinese Modern Paintings on 1 December 2015, lot 1554, sold for HKD 687,500, and another at Christie’s Hong Kong in Fine Modern and Contemporary Chinese Paintings on 29 May 2005, lot 812, sold for HKD 504,000.張大千 (1899-1983)《仿莫高窟初唐人衣飾金怡怡夫人》 紙本設色。年輕的金怡怡夫人肖像,如初唐仕女衣飾,頭髮精心修飾,穿著長袍飄逸,裝飾精美,下擺処看上去略有“破舊”感。 款識:乙酉(1945)五月,仿莫高窟初唐人衣飾,似怡怡金夫人清鑑,蜀郡張爰。 鈴印:張爰之印,大千專家注釋:畫家顯然打算在下擺和裝飾不太精美的緞帶上再增加些“裝飾”,因為目前的“擦傷”完全限於它們,在畫中的其他地方看不到。 整潔的花卉飾紋雖然乍看之下幾乎看不到“擦傷”層,但卻形成了鮮明的對比,使我們想起了一個失散已久的懷舊內在矛盾,但它經常被人們忽略。 來源:知名繪畫私人收藏,背面藏品標簽上可見“38”品相:狀況極佳,磨損極小,並經過微觀拋光處理。 上邊緣的裝裱磨損嚴重,有幾處撕裂,並用舊膠帶部分修復,繪畫本身完全沒有受到影響。尺寸:畫面 86.9 x 35.6 厘米 天地杆雕刻精美。 拍賣結果比較:同一位藝術家相似的作品,售于香港佳士得 Fine Chinese Modern Paintings拍場 2015年12月1日,lot 1554, 售價HKD 687,500;另一件相似作品,售于香港佳士得 Fine Modern and Contemporary Chinese Paintings 拍場2005年5月 29日,lot 812, 售價HKD 504,000.
A PAIR OF INDIAN MINIATURE PAINTINGS OF FALCONSIndia, Provincial Mughal, 19th century. Watercolors and gilt on paper, matted with linen. Each depicting a falcon standing on one foot with talons gripping an orange T-perch, one with leather jesses around the foot and tethered to the perch, both framed with scrolling vines on a pinkish-purple ground. (2)Provenance: From a Boston, USA, private collection. Condition: Excellent condition with minor wear and very little creasing.Dimensions: Size incl. mat 30.5 x 25.5 cm (each), Image size 18.2 x 12 cm (each)Auction result comparison: Compare with a related painting of a falcon, sold together with a Mughal-style equestrian portrait of a ruler, the image of slightly larger size and the folio of considerably larger size, at Christie’s New York in Gods and Guardians: South Asian Works of Art on 12-19 September 2019, lot 13, sold for USD 9,375.
MANCHESTER UNITED A collection of ephemera including a notice of ticket prices on headed paper for the Bobby Charlton Testimonial, programme for the Pat Crerand Testimonial, Banqueting Suite details, portrait postcard for the 1970's and fixture lists 72/3, 73/4, 74/5, 79/80, 82/3 and 83/4, Generally good
MANCHESTER CITY Fifty Manchester City original press photographs from 1960's to 1990's, covering the 1969 FA Cup Final, 1970 League Cup Final, ECWC Final 1974 League Cup Final, 1986 Full Members Cup Final plus match action and portrait pictures of Bell, Lee Marsh, Summerbee, Caton, White, Book, Mercer, Allison, Hendry, Hartford, Barnes etc. Generally good
1960'S FOOTBALL CARDS Forty five 3.75" X 2.75" black & white portrait picture cards with blank backs. Therefore we have not been able to identify the issuer. Includes Trautman, Cantwell, Bobby Charlton, Kelsey, Cliff Jones, Gregg, Mackay, Swan, Eastham, Ivor Allchurch, John Charles, Law, Pointer, Greaves, Clough, Bingham, Ron Springett, Haynes, Wilson, St. John, Douglas and Collins. Good
Colonial School. New Spain. Mexico. 17th - 18th century"Portrait of Juana Cortez"Oil on canvas. 70 x 53 cm. With an imposing period carved and gilded wooden frame.On the back is an antique Italian wax seal, on which can be read: "Belle Arti Conc...vaz dei Monumenti". There is also an antique sticker handwritten in French, with the name of the subject of the portrait: "Dona Juana Cortez duchesse (incomplete but legible) dAlcana peint pour V....g peintre espagnol". In our opinion , the inscription "dAlcana" is a bad transcription of Duchess of Alcalá, the title she held. This is the portrait of Juana Cortés Ramírez de Arellano, 2nd Duchess of Alcalá (1538-1588), the youngest child of the Marquesses del Valle: Hernán Cortés (1485-1547) and Juana Ramírez de Arellano y Zúñiga (†1583). There is also a handwritten label with the name Vargas, possibly a former owner, and an inventory number 61145.
Colonial School. Mexico. 17th - 18th century "True Portrait of Our Lady of Solitude from Victoria Convent, Madrid" Oil on canvas. Lined. 188,5 x 126 cm. This is the “True Portrait” that depicts the sculpture that was venerated in the Victoria Convent of the Minims Order in Madrid, and created by Gaspar Becerra in 1563, commissioned by Isabel de Valois. Its fame reached New Spain, and both the Cathedral of Mexico and that of Puebla have a chapel dedicated to the image, as does a church in Oaxaca.
Africa.- Russell (Henry) The Ruin of the Soudan, first edition, portrait frontispiece, plates with tissue guards, 3 folding maps (2 contained in rear pocket, minor defects and spotting at creases), occasional spotting, original pictorial cloth, gilt, 1892 § Dubois (Felix) Timbuctoo The Mysterious, translated by Diana White, first English edition, illustrations, foxing to end papers and half-title, spotting, later cloth, 1897; and 6 others, Africa and Egypt, 8vo (8)
Overbury (Sir Thomas) His Wife. With Additions of New Characters, and many other Witty Conceits..., sixteenth impression, extra-illustrated with engraved portrait by Laurence Lisle after Simon de Passe and Gheeraerts tipped into blank leaf and mounted as frontispiece, lightly browned and water-stained, ink stain to G3, a few rust-spots or holes, cropped with some head-lines shaved, repair to lower margin of C8 and outer margin of R8, later bookplate of Robert S.Pirie, 19th century calf, gilt, by C.Lewis, spine gilt, a little rubbed, upper joint repaired, [STC 18919], by John Haviland, for A.Crooke, 1638; and a defective copy of the 1664 edition, 8vo (2)⁂ Including "Essay on Valour" and "Newes from the verie Countrie" by John Donne.
Law.- Croke (George) Reports, 3 parts in 3 vol., engraved portrait frontispiece, woodcut head-pieces and decorative initials, errata f. to part 1, contemporary ink marginalia throughout, part 1 table misbound at start and errata f. misbound towards end, part 2 c1-4 misbound at end, part 3 portrait with small hole within image and marginal split, some staining and spotting, contemporary calf, vol.3 not quite uniform, spine ends chipped, joints splitting, but holding firm, corners worn rubbed, spines in compartments and with red morocco labels, [Wing C7011, C7016 and C7019], John Field and Thomas Newcomb [and others], 1661-1659-1669; and 5 others, 17th century Law, folio (8)
[Wright (James)] A Compendious View of the Late Tumults & Troubles in this Kingdom by way of Annals for Seven Years, first edition, ?additional folding engraved portrait, 3pp. advertisements at end, spotting to first and last few leaves, ex-library with discreet blindstamps, later half-calf, rebacked, a little rubbed, 8vo, [Wing W3692], by Edw. Jones for S. Lownds, 1685.
NO RESERVE Mirabeau (Victor Riqueti de) Letters, 2 vol., engraved portrait frontispiece, some spotting and browning, contemporary calf, rather rubbed, spines blind-stamped with morocco spine labels, 1732 § Chesterfield (Philip Dormer Stanhope, Earl of) Letters, 4 vol., engraved portrait frontispiece, contemporary ink ownership signature to front free endpaper, light spotting to endpapers, contemporary calf, lightly rubbed, 1806; and 9 others, mostly military history, v.s. (15)
Baskerville.- Congreve (William) The Works, 3 vol, engraved portrait frontispiece and 5 plates, foxing, contemporary mottled calf, gilt, spines with green morocco label, rubbed and scuffed, particularly the spines, [Gaskell 16], 8vo, Birmingham, Printed by John Baskerville; for J. and R. Tonson, 1761.
Language.- Monboddo (James Burnet, Lord) Of the origin and progress of language, 6 vol., vol.1 and 3 second edition, the rest first editions, 2 errata ff., lacking engraved portrait, some foxing (including title of vol.1) and browning, contemporary tree calf, spines gilt, lacking 2 labels, some other chipped, worn, but holding firm, [Alston, III, 842], 8vo, Edinburgh, Printed for J. Balfour [and others], 1774-1792.⁂ An important contribution to the study of the origin of language. Monboddo tried to prove that language was not natural to man, but was a consequence of his social state. Alston notes that volumes 1 and 3 were reprinted in 1774 and 1786, when the publishers discovered that they had not printed a sufficient number, resulting in various combinations of mixed sets, as here.
Johnson (Samuel) The lives of the most eminent English poets; with critical observations on their works, 4 vol., first authorised separate edition, engraved portrait frontispiece after Joshua Reynolds, vol.3 with final blank, vol.4 lacking final advertisement f., vol.2 O4 loose, portrait lightly foxed and browned, and lightly offsetting on to title, occasional spotting, contemporary polished calf, spines in compartments and with red morocco labels, vol.2 and 4 lacking labels, some chipping to spine ends, vol.3 joints splitting, but holding firm, [Rothschild 1265; Tinker 1365], 8vo, C. Bathurst [and others], 1781.
Forster (Edward, translator) The Arabian Nights, 4 vol., fourth edition, engraved portrait frontispiece to vol.1, additional title and engraved plates by Robert Smirke, some trimmed, contemporary calf with morocco spine labels, rubbed, joints weak, Thomas Tegg & William Miller, 1815; and 2 others, antiquarian, 8vo & 4to (6)
Wivell (Abraham) An Inquiry into the History, Authenticity, & Characteristics of Shakespeare Portraits, by the author, 1827, bound before, A Supplement, 1827, title detached, lacking portrait frontispiece, 20 engraved plates, tissue-guards; bound before Boaden (James) An Inquiry into the Authenticity of Various Pictures and Printed ... offered to the Public as Portraits of Shakespeare, half-title, 5 engraved plates, 1824, occasional spotting and off-setting, ex-library with bookplate and faded ink-stamps, contemporary calf, boards detached, rubbed and worn, together 3 works bound as 1, 8vo.
Pennsylvania.- Dorset.- Penn (John) The Battle of Eddington; or British Liberty. A tragedy., second edition, presentation copy from the author, half-title, hand-coloured carte de visite portrait of Miss Richardson mounted on half-title, spotting, modern half calf, spine in compartments and with red leather label, 8vo, Printed for Robert Fenn, 1832.⁂ The presentation inscription reads 'Mr Penn begs Miss Richardson to accept this copy of the Battle of Eddington, in which she acted so much to his satisfaction the part of Alfred's Queen, at Pennsylvania Castle, in Portland Island, on the 28th of last December, February 22nd 1832'. John Penn (1760-1834) chief proprietor of the Province of Pennsylvania from 1775 until confiscation following the American Revolution. He returned to England in 1789 after receiving compensation for his losses in the former colony. In 1805 he was appointed Governor of the Isle of Portland, where he built Pennsylvania Castle.
Wordsworth (William) The Poetical Works, 6 vol., portrait frontispiece, half-titles, small hole to half-title (vol. 6 only), scattered faint spotting, previous owner's ink inscription, original cloth, rubbed, chipping to corners and spine extremities, Edward Moxon, 1843; The Excursion. a poem, previous owner's ink inscription tipped-in, bookplate, original cloth, small stain to upper cover, bumping to corners and spine extremities, upper joint beginning to split but holding firm, 1844; Sonnet XLIV, number 7 of 25 copies, illustrations by George H. Paton, original paper wrappers, Simon King Press, n.d.; The Poetical Works of ..., edited by William Michael Rossetti, etched frontispiece, additional title, plates and illustrations by Edwin Edwards, scattered faint spotting, original decorative cloth, gilt, slight bumping to spine extremities, 1871; and others on or by the same, 8vo & 4to (c.55)
Byron (George Gordon Noel, Lord) Childe Harold's Pilgrimage, engraved portrait frontispiece and illustrations, spotting, broken hinge, bookplate, original cloth, gilt, slight bumping to corners and extremities, 1845 § Hubbard (Elbert) Little Journeys to the Homes of English Authors. Lord Byron, number 6 of 925 copies signed by author, illuminated by hand, original limp reverse morocco, gilt, housed in card box, a little rubbed, East Aurora, Roycrofters, 1899; Little Journeys to the Homes of English Authors. John Milton, one of 925 copies signed by author, portrait frontispiece, illuminated by hand, original limp reverse morocco, housed in a card box, a little rubbed, East Aurora, Roycrofters, 1895 § John Keats. Letters of Joseph Severn to H. Buxton Forman, number 17 of 50 copies, portrait frontispiece, double-page colour plate, occasional marginal spotting, original cloth, Oxford, 1933 § Shelley (Percy Bysshe) An Essay on the Vegetable System of Diet, one of 120 copies, contemporary cloth, a little rubbed, Linden Press, 1940; and others, poetry, 8vo (c.60)

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