COSWAY, RICHARD COSWAY, RICHARD 1742 Oakford - 1821 London Titel: Portraitminiatur eines Herren (Barrington Price?). Technik: Aquarell auf Elfenbein. Maße: 7 x 5,5cm. Rahmen/Sockel: Rahmen. Rückseitig: Alte Zuschreibung mit Datierung 1788. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Richard Cosway England Englische Schule 18./19. Jh. Originale Bürgerliches Porträt Miniatur COSWAY, RICHARD COSWAY, RICHARD 1742 Oakford - 1821 London attributed Title: Miniature Portrait of a Man (Barrington Price?). Technique: Watercolour on ivory. Measurement: 7 x 5,5cm. Frame/Pedestal: Framed. Verso: Old inscription with date 1788. Provenance: Private ownership, Germany. Explanations to the Catalogue Richard Cosway England English School 18./19. C. Old Masters Bourgeois Portrait Miniature
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GEBHARDT, EDUARD VON GEBHARDT, EDUARD VON 1838 St. Johannis - 1925 Düsseldorf Titel: Junge Frau mit Rose. Technik: Öl auf Leinwand. Maße: 78,5 x 48cm. Bezeichnung: Signiert und datiert unten rechts: E.v. Gebhardt / 1921. Rahmen/Sockel: Rahmen. Provenienz: Soer Rusche Collection. Informationen zur ONLINE AUKTION Eduard von Gebhardt Erläuterungen zum Katalog Eduard von Gebhardt Deutschland Düsseldorfer Schule 19.Jh. Gemälde Porträt Malerei Figur / Figuren GEBHARDT, EDUARD VON GEBHARDT, EDUARD VON 1838 St. Johannis - 1925 Düsseldorf Title: Young Lady with Rose. Technique: Oil on canvas. Measurement: 78,5 x 48cm. Notation: Signed and dated lower right: E.v. Gebhardt / 1921. Frame/Pedestal: Framed. Provenance: Soer Rusche Collection. Explanations to the Catalogue Eduard von Gebhardt Germany Düsseldorf School 19th C. Paintings Portrait Painting Figure / Figures
EMILIANISCHER KÜNSTLER EMILIANISCHER KÜNSTLER 1. H. 16. Jh. Titel: Portrait eines jungen Herren. Technik: Öl. Maße: 42,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Emilianischer Künstler Italien Originale Porträt Malerei EMILIANISCHER KÜNSTLER EMILIAN ARTIST 17th C. Title: Portrait of a Young Gentleman. Technique: Oil. Height: 42,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Emilianischer Künstler Old Masters Portrait Painting
GRÜTZNER, EDUARD VON GRÜTZNER, EDUARD VON 1846 Großkarlowitz - 1925 München Titel: Falstaff. Technik: Öl auf Holz. Maße: 30 x 24,5cm. Bezeichnung: Signiert und datiert oben rechts: E. Grützner / 1907. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel Etikett des Londoner Tafelmachers Winsor & Newton. Provenienz: Privatbesitz, Deutschland. Eduard von Grützner, der neben Carl Spitzweg und Franz von Defregger zu den bedeutendsten Münchner Genremalern in der zweiten Hälfte des 19. Jahrhunderts zählt, erlangte insbesondere durch seine Darstellungen des Mönchslebens Bekanntheit und verliehen ihm den Namen des "Mönchsmalers". Nicht selten sind die Mönche sowie Priester und Kardinäle dabei mit Trinkgefäßen, prostend, bei der Kostprobe im Weinkeller oder schlicht beim Akt des Trinkens dargestellt. Das vorliegende Gemälde, das in einen weiteren Werkkomplex im Gesamtwerk Grützners - der Darstellung literarischer, und im Speziellen des Falstaffs - zu verorten ist, bedient sich dabei einem ähnlichen Typus. Die Figur des Falstaffs, die erstmals in Shakespeares Werken auftaucht und im Folgenden von weiteren Autoren sowie Komponisten, wie beispielsweise Beethoven, aufgegriffen wurde, verkörpert einen wohlbeleibten, trink- und raufsüchtigen Soldaten. Im Vergleich zu ähnlichen Portraits zeichnet sich dieses Gemälde durch seine intensiv leuchtenden Farben und die seitliche Ansicht auf den Portraitiert aus, dessen Gemüt und Charakterzüge in den feinen, detaillierten Pinselstrichen, mit denen die Gesichtszüge des Falstaffs gemalt sind, besonders zum Ausdruck kommen. Erläuterungen zum Katalog Eduard von Grützner Deutschland Münchner Schule 2.H. 19.Jh. Gemälde Literarische Themen Malerei Porträt GRÜTZNER, EDUARD VON GRÜTZNER, EDUARD VON 1846 Gross Carlowitz - 1925 Munich Title: Falstaff. Technique: Oil on wood. Measurement: 30 x 24,5cm. Notation: Signed and dated upper right: E. Grützner / 1907. Frame/Pedestal: Framed. Verso: On the panel label of the London panel makers Winsor & Newton. Provenance: Private ownership, Germany. Eduard von Grützner, who, along with Carl Spitzweg and Franz von Defregger, is one of the most important Munich genre painters of the second half of the 19th century, became known in particular for his depictions of monastic life and gave him the name "Mönchsmaler". Not infrequently, the monks as well as priests and cardinals are depicted with drinking vessels, prostitution, tasting in the wine cellar or simply in the act of drinking. The present painting, which is part of a further complex of works in Grützner's oeuvre - the representation of literary works, and in particular of the Falstaff - is of a similar type. The figure of Falstaff, which appears for the first time in Shakespeare's works and was subsequently taken up by other authors and composers, such as Beethoven, embodies a corpulent soldier who is addicted to drinking and scrapping. In comparison with similar portraits, this painting is distinguished by its intensely bright colours and the side view of the portrait, whose mind and character traits are particularly evident in the fine, detailed brushstrokes with which the facial features of the Falstaff are painted. Explanations to the Catalogue Eduard von Grützner Germany Munich School 2nd half of 19th C. Paintings Literary theme Painting Portrait
GEBHARDT, EDUARD VON GEBHARDT, EDUARD VON 1838 St. Johannis - 1925 Düsseldorf Titel: Die Verklärung. Edelmann mit Frau und Kind. Datierung: 1911. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 121 x 91,5cm. Bezeichnung: Signiert und datiert unten links: Bezeichnung: E.v. Gebhardt 1911. Rahmen/Sockel: Rahmen. Provenienz: Soer Rusche Collection. Informationen zur ONLINE AUKTION Eduard von Gebhardt Erläuterungen zum Katalog Eduard von Gebhardt Deutschland Düsseldorfer Schule 19.Jh. Gemälde Familien Malerei Porträt GEBHARDT, EDUARD VON GEBHARDT, EDUARD VON 1838 St. Johannis - 1925 Düsseldorf Title: The Transfiguration. Nobleman with wife and child. Date: 1911. Technique: Oil on wood. Mounting: Parquetted. Measurement: 121 x 91,5cm. Notation: Signed and dated lower left: E.v. Gebhardt 1911. Frame/Pedestal: Framed. Provenance: Soer Rusche Collection. Explanations to the Catalogue Eduard von Gebhardt Germany Düsseldorf School 19th C. Paintings Families Painting Portrait
LISIEWSKA, BARBARA ROSINA VON LISIEWSKA, BARBARA ROSINA VON ('verwitwete Matthieu; verheiratete de Gasc') 1713 Berlin - 1783 Dresden Titel: Portrait der Johanna Marie Lucie Vernezobre. Technik: Öl auf Leinwand. Montierung: Randdoubliert. Maße: 80 x 65,5cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Leinwand alte Beschriftung mit Angaben zur Dargestellten sowie: "peint par Rosina Matthieu / née Lisiewska / 1746". Provenienz: Privatbesitz, Deutschland. Gutachten: Helmut Börsch Supan, Berlin 2004, liegt in Kopie vor: "[...] Stilistisch läßt sich das Porträt mühelos in das Oeuvre der Malerin einordnen [...] Die sorgfältige Malerei der Spitzen, bei der hier die Zeichnung mit dem Pinselstil in die feuchte Farbe eingekratzt ist, darf als weiteres Merkmal des Stiles der Künstlerin angesehen werden. Das Kostüm paßt exakt zu dem angegebenen Datum 1746. Der Name des Gemahls der Dargestellten Francois Matthieu Baron de Vernezobre de Laurieux (1720-1782) ist vor allem bekannt wegen des großen Palais, das sein gleichnamiger Vater (1690-1748) auf Veranlassung des König Friedrich Wilhelms I. in der Wilhelmstraße hat bauen lassen (1737-1739). [...]" Erläuterungen zum Katalog Barbara Rosina von Lisiewska Deutschland Rokkoko 18.Jh. Originale Historische Personen Malerei Porträt LISIEWSKA, BARBARA ROSINA VON LISIEWSKA, BARBARA ROSINA VON ('verwitwete Matthieu; verheiratete de Gasc') 1713 Berlin - 1783 Dresden Title: Portrait of Johanna Marie Lucie Vernezobre. Technique: Oil on canvas. Mounting: Edges relined. Measurement: 80 x 65,5cm. Frame/Pedestal: Framed. Verso: On the canvas an old inscription with information about those depicted as well as: "peint par Rosina Matthieu / née Lisiewska / 1746". Provenance: Private ownership, Germany. Certificate: Helmut Börsch Supan, Berlin 2004, available as a copy: " [...] Stylistically, the portrait can easily be placed in the painter's oeuvre [...] The careful painting of the lace, in which the drawing is scratched into the wet paint with a brush, can be seen as a further characteristic of the artist's style. The costume fits the date 1746 exactly. The name of the husband of the sitter Francois Matthieu Baron de Vernezobre de Laurieux (1720-1782) is mainly known because of the large palace, which his father of the same name (1690-1748) had built in the Wilhelmstraße at the instigation of King Frederick William I (1737-1739). [...]" Explanations to the Catalogue Barbara Rosina von Lisiewska Germany Rococo 18th C. Old Masters Historical people Painting Portrait
CARRACCI, ANNIBALE CARRACCI, ANNIBALE (vor) 1560 Bologna - 1609 Rom Titel: Studienkopf eines jungen Mannes. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 35,5 x 26,5cm. Rahmen/Sockel: Rahmen. Gutachten: John T. Spike, Florenz, nach Begutachtung des Originals am 26.05.1997; D. Stephen Pepper, Florenz, nach Begutachtung des Originals am 19.09.1997. Literatur: D. S. Pepper, Annibale Carracci's Venetian portraits, in: Arte documento, 13, 1999, S. 200. Proveniez: Privatbesitz, Italien. Das vorliegende Portrait wurde 1999 von D. Stephen Pepper als Originalarbeit von Annibale Carracci veröffentlicht in einem Artikel, der über die von der venezianischen Malerei inspirierten (Kopf)Studien berichtet. Das Portrait eines jungen Mannes gilt als typisches Beispiel für Tizians Einfluss, von dem Caracci einige Werke anlässlich seines Aufenthaltes in Venedig 1587-88 kopiert hat: satte Farben, frische und freie Pinselstriche sowie die Haltung des Dargestellten. Erläuterungen zum Katalog Annibale Carracci Italien Barock 16.Jh. Originale Porträt Studie CARRACCI, ANNIBALE CARRACCI, ANNIBALE (before) 1560 Bologna - 1609 Rome Title: Study Head of a Young Man. Technique: Oil on canvas. Mounting: Relined. Measurement: 35,5 x 26,5cm. Frame/Pedestal: Framed. Certificate: John T. Spike, Florenz, after examination of the original on 26.05.1997; D. Stephen Pepper, Florenz, after examination of the original on 19.09.1997. Literature: D. S. Pepper, Annibale Carracci's Venetian portraits, in: Arte documento, 13, 1999, p. 200. Provenance: Private ownership, Italy. The present portrait was published in 1999 by D. Stephen Pepper as an original work by Annibale Carracci in an article that reports on the (head) studies inspired by Venetian painting. The portrait of a young man is considered a typical example of Titian's influence, from which Caracci copied some works during his stay in Venice in 1587-88: rich colours, fresh and free brushstrokes and the sitter's posture. Explanations to the Catalogue Annibale Carracci Baroque 16th C. Old Masters Portrait Sketch
REMBRANDT VAN RIJN REMBRANDT VAN RIJN 1606 Leiden - 1669 Amsterdam Umkreis Titel: Brustbild eins bärtigen Mannes. Technik: Öl auf Holz. Maße: 19 x 17cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf der Tafel Reste eines alten Sammlungssiegels sowie Schlagmarke. Vgl. Literatur: E.v.d. Wetering: Rembrandts Paintings Revisited. Dordrecht 2017, S. 58, Abb. 16. Provenienz: Privatbesitz, Deutschland. Das Gemälde wurde im September 2020 im Labor für kunsttechnologische Untersuchungen der TH Köln mittels einer Röntgenfluoreszenzanalyse untersucht. Auffällig dabei sind neben den ab dem 17. Jahrhundert üblichen Pigmenten auch die Verwendung von Zink, Chrom und Kadmium in geringen Mengen, was zumindest auf Restaurierungen nach etwa 1840 schließen lässt und daher keinen Aufschluss über die Entstehungszeit der Malerei gibt. Eine sehr vergleichbare Kopfstudie ist auch in der Datenbank des RKD, Den Haag, unter der Abb.Nr. 232219 verzeichnet. Diese Tafel, die einem Nachfolger Rembrandts zugeschrieben wird, befindet sich in der Sammlung des Philadelphia Museums. Insgesamt sind inzwischen mindestens sieben Version dieser Tronie bekannt, von denen eine 2018 bei VAN HAM versteigert wurde. Die Darstellung dieses Charakterkopfs eines bärtigen Mannes ist als Tronie aus der Werkstatt Rembrandts bekannt und dürfte sowohl als Studienkopf für Schüler als auch als Vorlage zu Gemälden gedient haben. So bewahrt das Budapester Museum z.B. eine Rembrandt und seinem Schüler Gerrit Dou zugeschriebene Tafel mit dem Gleichnis vom Schatz im Acker, bei dem die Physiognomie des Dargestellten auf diesen Kopf zurückgeht. Wir danken Fred G. Meijer, Amsterdam, sowie David de Witt vom Rembrandthuis in Amsterdam für ihre freundliche Unterstützung bei der Katalogisierung des vorliegenden Gemäldes. Erläuterungen zum Katalog Rembrandt van Rijn Niederlande Niederländische Schule 17.Jh. Originale Porträt Studie REMBRANDT VAN RIJN REMBRANDT VAN RIJN 1606 Leiden - 1669 Amsterdam Circle Title: Bust of a Bearded Man. Technique: Oil on wood. Measurement: 19 x 17cm. Frame/Pedestal: Framed. Verso: On the plate remains of an old collection seal and striking mark. Cf. Literature: E.v.d. Wetering: Rembrandts Paintings Revisited. Dordrecht 2017, p. 58, ill. 16. Provenance: Private ownership, Germany. The painting was examined in September 2020 in the Laboratory for Art Technological Investigations of the Technical University of Cologne by means of an X-ray fluorescence analysis. In addition to the pigments commonly used from the 17th century onwards, the use of zinc, chromium and cadmium in small quantities is noticeable, which at least suggests restorations after about 1840 and therefore provides no information about the time of origin of the painting. A very comparable head study is also listed in the database of the RKD, The Hague, under ill. no. 232219. This panel, which is attributed to a successor of Rembrandt, is in the collection of the Philadelphia Museum. A total of at least seven versions of this tronie are now known, one of which was auctioned at VAN HAM in 2018. The depiction of this character head of a bearded man is known as the tronie from Rembrandt's workshop and may have served both as a study head for students and as a model for paintings. For example, the Budapest Museum has a panel attributed to Rembrandt and his pupil Gerrit Dou with the parable of the Treasure in the Field, in which the sitter's physiognomy is based on this head. We are grateful to Fred G. Meijer, Amsterdam, and David de Witt of the Rembrandthuis in Amsterdam for their kind support in cataloguing the present painting. Explanations to the Catalogue Rembrandt van Rijn The Netherlands Dutch School 17th C. Old Masters Portrait Sketch
JONSON VAN CEULEN, CORNELIS JONSON VAN CEULEN, CORNELIS 1593 London - 1661 Utrecht Titel: Zwei Gemälde: Kinderportraits. a) Portrait eines kleinen Mädchens im Alter von zwei Jahren. Öl auf Holz. 78 x 62cm. Datiert oben rechts: Aetatis Sua 2 mens 10 / 1629. Rahmen. b) Portrait eines Jungen im roten Kostüm. Öl auf Holz. 78,5 x 62cm. Datiert oben links: Atatis Sua 6 / 1629. Rahmen.. Rückseitig: a) auf der Tafel Etikett des Kunsthändlers Ellis & Smith, London. In der Datenbank des RKD, Den Haag unter den Abb.Nrn. 225485 und 225483 verzeichnet. Provenienz: Silver Vaults, London um 1920; Kunsthandel Lawrence Steigard, New York (TEFAF Maastricht 2009); Auktion Christie's, New York, 27.02.2010, Lot 51; Sammlung Prof. Dr. Thomas Olbricht, Essen. Cornelius Johnson van Ceulen zählt zu den bedeutendsten englischen Porträtmalern des 17. Jahrhunderts, obwohl seine Familie niederländischer Herkunft war und aus religiösen Gründen über den Ärmelkanal zog. Seine Porträts sind zahllos und stellen meist Bürger und Höflinge dar, jedoch gibt es auch Porträts mehrerer Könige von England, wie Charles I, Charles II und James II. Der Künstler wird von den Zeitgenossen beschrieben als einer der talentiertesten und produktivsten Porträtmaler, der in den 1620er und 1630er Jahren in England tätig war. Er war besonders akkurat in der Wiedergabe von Kleidung, was ihn zu einem Virtuosen auf diesem Gebiet machte. Die beiden vorliegenden Porträts von Kindern, deren Identität noch unbekannt ist, sind ein Beweis dafür. Erläuterungen zum Katalog Cornelis Jonson van Ceulen Niederlande Englische Schule Niederländische Schule 17.Jh. Originale JONSON VAN CEULEN, CORNELIS JONSON VAN CEULEN, CORNELIS 1593 London - 1661 Utrecht Title: Two Paintings: Children's Portraits. a) Portrait of a little two year old girl. Oil on wood. 78 x 62cm. Dated top right: Aetatis Sua 2 mens 10 / 1629. Framed. b) Portrait of a boy in a red costume. Oil on wood. 78,5 x 62cm. Dated top left: Atatis Sua 6 / 1629. Framed. Verso: a) on the plate label of the art dealer Ellis & Smith, London. Listed in the database of the RKD, Den Haag under the ill. nos. 225485 and 225483. Provenance: Silver Vaults, London ca. 1920; Art dealer Lawrence Steigard, New York (TEFAF Maastricht 2009); Auction Christie's, New York, 27.02.2010, lot 51; Collection Prof. Dr. Thomas Olbricht, Essen. Cornelius Johnson van Ceulen is one of the most important English portrait painters of the 17th century, although his family was of Dutch origin and moved across the English Channel for religious reasons. His portraits are countless and mostly depict citizens and courtiers, but there are also portraits of several kings of England, such as Charles I, Charles II and James II. The artist is described by his contemporaries as one of the most talented and prolific portrait painters who worked in England in the 1620s and 1630s. He was particularly accurate in the reproduction of clothing, which made him a virtuoso in this field. The two portraits of children whose identity is still unknown are proof of this. Explanations to the Catalogue Cornelis Jonson van Ceulen The Netherlands English School Dutch School 17th C. Old Masters
DEUTSCHER MEISTER DEUTSCHER MEISTER um 1850 Titel: Familienportrait. Zahlreiche Kopfstudien der Mitglieder einer Familie auf einer Leinwand, vermutlich als Vorlage für ein später ausgeführtes großformatiges Gruppenbildnis. Technik: Öl auf Leinwand. Maße: 42,5 x 53,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Deutscher Meister Deutschland Gemälde Porträt Studie Familien DEUTSCHER MEISTER GERMAN MASTER ca. 1850 Title: Family Portrait. Numerous bust studies of family members on canvas, presumably as a model for a large format group portrait created later. Technique: Oil on canvas. Measurement: 42,5 x 53,5cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue German Master Germany Paintings Portrait Sketch Families
VOET, JACOB-FERDINAND VOET, JACOB-FERDINAND Antwerpen 1639 ca. - 1700 ca. Titel: Portrait der Clelia Cesarini Colonna, Prinzessin von Sonnino. Datierung: 1671-1675. Öl. Montierung: Leinwand. Maße: 73,5 x 61cm. Rahmen/Sockel: Rahmen. Gutachten: F. Petrucci, Rom, 08.08.2019. Provenienz: Privatbesitz, Italien. Erläuterungen zum Katalog Jacob-Ferdinand Voet Flandern Barock 17.Jh. Originale Porträt Malerei Historische Personen VOET, JACOB-FERDINAND VOET, JACOB-FERDINAND Antwerp 1639 ca. - 1700 ca. Title: Portrait of Clelia Cesarini Colonna, Princess of Sonnino. Date: 1671-1675. Oil. Mounting: Canvas. Measurement: 73,5 x 61cm. Frame/Pedestal: Framed. Certificate: F. Petrucci, Rome, 08.08.2019. Provenance: Private ownership, Italy. Explanations to the Catalogue Jacob-Ferdinand Voet Flanders Baroque 17th C. Old Masters Portrait Painting Historical people
NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER um 1700 Titel: Herrenportrait. Technik: Öl auf Holz. Maße: 46 x 37cm. Rahmen/Sockel: Rahmen. Proveniez: Privatbesitz, Deutschland. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Porträt Malerei Holland NIEDERLÄNDISCHER MEISTER DUTCH MASTER ca. 1700 Title: Man's Portrait. Technique: Oil on wood. Measurement: 46 x 37cm. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Portrait Painting Netherlands
NIEDERLÄNDISCHER MEISTER NIEDERLÄNDISCHER MEISTER 17. Jh. Titel: Portrait einer Dame. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 55,5 x 48cm. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Italien. Erläuterungen zum Katalog Niederländischer Meister Niederlande Niederländische/ Flämische Schule Originale Porträt Malerei NIEDERLÄNDISCHER MEISTER DUTCH MASTER 17th C. Title: Portrait of a Woman. Technique: Oil on canvas. Mounting: Relined. Measurement: 55,5 x 48cm. Frame/Pedestal: Framed. Provenance: Private ownership, Italy. Explanations to the Catalogue Dutch Master The Netherlands Old Masters Portrait Painting
BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Junge Venezianierin mit violettem Kopftuch. Technik: Öl auf Holz. Maße: 32,5 x 24,5cm. Bezeichnung: Signiert oben rechts: Eug.v. Blaas. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Neben den meist großformatigen Genredarstellungen Eugen von Blaas' waren seine kleineren Brustbilder weiblicher Modelle bei einem internationalen Publikum sehr gefragt. Es handelt sich hierbei nicht um Portraits im eigentlichen Sinn, sondern um die Wiedergabe eines aparten italienischen Frauentypes in unterschiedlicher Charakterisierung. Diese Spezialität de Blaas' brachte ihm den Beinamen "Maler der Venezianischen Schönheiten" ein. In die Reihe dieser Werke gehört das hier angebotene Werk "Mädchen mit Kopftuch". Eugen de Blaas zeigt hier eine ganz andere Seite seines malerischen Könnens. Die Konzentration richtet sich ganz auf die charaktervolle Mimik der jungen Frau, Kopftuch und Haar sind flüchtig, fast impressionistisch gemalt, der Pinselstrich darf bei dieser leichten Technik gezeigt werden, die Spitze des Kleides ist pastos tupfend gebaut. Die Lichtführung in diesem kleinen Bild ist besonders raffiniert: Das starke, von oben einfallende Licht liegt gleißend auf dem Kopftuch, der weißen Spitze der Bluse und dem Dekolletee. Vor dem tief dunklen Hintergrund entsteht ein starker Kontrast in dem das, durch die krausen roten Haare leicht verschattete Gesicht den ausgleichenden Mittelpunkt bildet. Der Blick aus den mandelförmigen Augen, das leicht Lächeln und der schräg gelegte, von dem hellblauen Kopftuch ganz umspielte Kopf vermitteln einen herausfordernden Eindruck, dem sich der Betrachter kaum entziehen kann. Anders als bei dem Bild "Zwei Venezianerinnen", bei dem die Blicke der beiden Schönen auf die neue Preziose konzentriert sind und der Betrachter außenstehender Beobachter der Szene bleibt, ist der Blickkontakt zwischen dem rothaarigen Mädchen mit dem Kopftuch und ihrem Gegenüber gleichsam das Thema des Bildes selbst. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Porträt Malerei Venedig BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Young Venetian with Purple Headscarf. Technique: Oil on wood. Measurement: 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance: Private collection, Europe. Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname "painter of the Venetian beauties". In the series of these works belongs the here offered work "Girl with Headscarf". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image "Two Venetian Women", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself. Explanations to the Catalogue Eugen von Blaas Germany Romanticism 19th C. Paintings Portrait Painting Venice
DEFREGGER, FRANZ VON DEFREGGER, FRANZ VON 1835 Stronach - 1921 München Titel: Portrait eines Tiroler Mädchens. Technik: Öl auf Holz. Maße: 32 x 24cm. Bezeichnung: Signiert unten links: Bezeichnung: Defregger. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Franz von Defregger Deutschland Münchner Schule 2.H. 19.Jh. Gemälde Kind / Kinder Studie Porträt DEFREGGER, FRANZ VON DEFREGGER, FRANZ VON 1835 Stronach - 1921 Munich Title: Portrait of a Tyrolean Girl. Technique: Oil on wood. Measurement: 32 x 24cm. Notation: Signed lower left: Defregger. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Franz von Defregger Germany Munich School 2nd half of 19th C. Paintings Child / Children Sketch Portrait
HELST, BARTHOLOMÄUS, VAN DER HELST, BARTHOLOMÄUS, VAN DER 1613 Haarlem - vor 1670 Amsterdam zugeschrieben Titel: Portrait eines Herrn. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 49,5 x 45,5cm. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Das vorliegende Gemälde ist in der Online-Datenbank des RKD, Den Haag, verzeichnet unter der Abb.-Nr. 45826. Batholomäus van der Helst, dem das vorliegende Gemälde zugeschrieben wird, war einer der bedeutendsten Porträtisten des sogenannten "Goldenen Zeitalters" der Niederlande. Der gebürtige Haarlemer, der aus einer ehemals begüterten, wohl in seiner Jugend aber verarmten Familie stammte, muss als Kind im elterlichen Haus mit Kunst in Berührung gekommen sein. Über den Beginn van der Helsts Karriere ist nichts bekannt, es wird aber angenommen, dass er bei dem Porträtisten Nicolaes Eliaszoon Pickenoy in Amsterdam gelernt hat. In der Kunstmetropole ist er jedenfalls seit 1637 urkundlich erwähnt. Bereits zwei Jahre später erhielt van der Helst den prestigeträchtigen Auftrag für ein großes Gruppengemälde der Schützenkompanie des Kapitäns Roloef Bicker (heute im Rijksmuseum, Amsterdam). Es ist davon auszugehen, dass van der Helst zu diesem Zeitpunkt bereits ein arrivierter, in der Bürgerschaft breit vernetzter Künstler war. Zu van der Helsts Kunden gehörte die gesamte gehobene Bürgerschaft und die gesellschaftliche Spitze Amsterdams und auch des Adels. Das immense Ansehen, das er genoss, zeigt auch die Tatsache, dass er in seiner Karriere sieben solch großer und repräsentativer Regenten- und Schützenstücke malte, wobei er den Dargestellten Protagonisten mit großer individueller Prägnanz gerecht wurde. Dass diese monumentalen Gemälde, die das Selbstbewusstsein der Stadtelite demonstrierten, parallel zu Rembrandts Nachtwache entstanden und zum Teil mit dieser gemeinsam einen Saal schmückten, mag die allerhöchste Wertschätzung seiner Zeitgenossen verdeutlichen. Das hier vorliegende Portrait könnte aus van der Helsts früheren Jahren stammen, in denen sein Stil dem seines vermeintlichen Lehrers Pickenoy ähnelt. Diese früheren Portraits sind ganz auf die dargestellte Person fokussiert, der Hintergrund ist in monochromen Erdtönen gehalten. Im Verlauf seiner Karriere ging van der Helst verstärkt dazu über, Hintergrund und Bildraum durch Landschaften und Attribute aufwendig zu gestalten, wobei es auch häufig zu Kooperationen mit anderen Künstlern kam. Auf zwei anderen, gesicherten Werken Bartholomäus van der Helsts, begegnet uns ein Herr, dessen Ähnlichkeit mit dem hier vorliegenden Portrait frappierend ist: In der Alten Pinakothek in München befindet sich ein 1649 datiertes Bildnis eines "Herrn im schwarzen Atlassamt", der dem hier portraitierten ebenso verblüffend ähnlich sieht, wie der Schwiegersohn in dem monumentalen Familienbildnis in der Petersburger Eremitage aus dem Jahr 1647. ("Bildnis vermutlich des Ehepaars Willem Visch und Eva Bisschop sowie ihrer Tochter Laurentia Visch sowie deren Ehemann Adriaen Prins und dessen Sohn") Ist die Ähnlichkeit unseres Portraitierten mit den Dargestellten in den beiden gesicherten Gemälden van der Halsts Zufall oder handelt es sich um denselben, vielleicht zehn Jahre jüngeren Mann? Das vorliegende Gemälde könnte ein interessanter "Puzzelstein" sein, der unser Bild von van der Helst und seinen Auftraggebern schärft. Erläuterungen zum Katalog Bartholomäus, van der Helst Niederlande 17.Jh. Originale Porträt Malerei Bürgerliches Porträt HELST, BARTHOLOMÄUS, VAN DER HELST, BARTHOLOMÄUS, VAN DER 1613 Haarlem - before 1670 Amsterdam attributed Title: Portrait of a Man. Technique: Oil on canvas. Mounting: Relined. Measurement: 49,5 x 45,5cm. Frame/Pedestal: Framed. Provenance: Private collection, Europe. The present painting is included in the online databank of the RKD, The Hague, under the ill. no. 45826. Batholomäus van der Helst, to whom the present painting is attributed, was one of the most important portraitists of the so-called "Golden Age" of the Netherlands. The native of Haarlem, who came from a family that was once wealthy but probably impoverished in his youth, must have come into contact with art as a child in his parents' house. Nothing is known about the beginning of van der Held's career, but it is assumed that he studied with the portraitist Nicolaes Eliaszoon Pickenoy in Amsterdam. In any case, he is mentioned in documents in the art metropolis since 1637. Only two years later van der Helst received the prestigious commission for a large group painting of the Rifle Company of Captain Roloef Bicker (now in the Rijksmuseum, Amsterdam). It can be assumed that by this time van der Helst was already an established artist, widely networked among the citizenry. Among van der Helst's clients were the entire upper middle class and the social elite of Amsterdam and also the nobility. The immense prestige he enjoyed is also shown by the fact that he painted seven such large and representative regent and marksman pieces during his career, whereby he did justice to the portrayed protagonists with great individual conciseness. The fact that these monumental paintings, which demonstrated the self-confidence of the city's elite, were created parallel to Rembrandt's Night Watch, and that some of them decorated a hall together with it, may illustrate the highest esteem in which his contemporaries held him. The portrait presented here could be from van der Horst's earlier years, in which his style resembled that of his supposed teacher Pickenoy. These earlier portraits are entirely focused on the person portrayed, the background is in monochrome earth tones. In the course of his career, van der Helst increasingly began to elaborately design background and pictorial space through landscapes and attributes, often collaborating with other artists. In two others, secured works by Bartholomäus van der Helst, we encounter a gentleman whose resemblance to the portrait presented here is striking: In the Alte Pinakothek in Munich there is a portrait of a "gentleman in the black atlas office" dated 1649, which looks just as strikingly similar to the one portrayed here as the son-in-law in the monumental family portrait in the Petersburg Hermitage from 1647 ("Portrait presumably of the married couple Willem Visch and Eva Bisschop and their daughter Laurentia Visch and her husband Adriaen Prins and his son"). Is the resemblance of our sitter to the sitters in the two secured paintings by van der Hals coincidence or is it the same man, perhaps ten years younger? The present painting could be an interesting "puzzle stone" that sharpens our image of van der Helst and his clients. Explanations to the Catalogue Bartholomäus, van der Helst The Netherlands 17th C. Old Masters Portrait Painting Bourgeois Portrait
SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra um 1700 Titel: Portrait eines Ritters von Malta (angeblich Antoine Manoel de Vilhena). Technik: Öl auf Leinwand. Maße: 106 x 87,5cm. Rahmen/Sockel: Rahmen. Gutachten: S. Causa, Neapel, nach Begutachtung des Originals im August 2020. Provenienz: Privatbesitz, Italien. Das vorliegende halbfigurige Portrait beeindruckt durch die ungeheure Präsenz des dargestellten Mannes in einer Prunkrüstung. Die linke Körperhälfte, Schulter und Arm sind dem Betrachter zugewendet, den Kopf hat der Dargestellte aber so gedreht, dass sein Gesicht nahezu en face zu sehen ist. Sanft und gleichzeitig selbstbewusst schauen die großen Augen unter der weißen Allonge-Perücke den Betrachter an. Der Orden, der an einem Samtband auf dem Harnisch hängt, weist ihn als Malteser-Ordensritter aus. Möglicherweise handelt es sich um den Portugiesen Antoine Manuel de Vilhena (1663 - 1736), der von 1722 bis zu seinem Tod Großmeister des Malteserordens war. Der Künstler dieses Werkes ist Francesco Solimena. Er war in der ersten Hälfte des 18. Jahrhunderts einer der berühmtesten und begehrtesten Maler seiner Zeit. Solimena lebte und arbeitete fast ausschließlich in Neapel, das zunächst zur spanischen Krone gehörte, nach den spanischen Erbfolgekriegen dann Österreich zugeschlagen wurde. Die führenden Herrscherhäuser und der Hochadel Europas hatten durch diese politischen Wendungen Zugang zu Solimena, der vor allem durch seine vielfigurigen sakralen und profanen Gemälde und Fresken Berühmtheit erlangt hatte. Und er begegnete den Auftraggebern auf Augenhöhe: Sein Zeitgenosse, der Künstler-Biograph Bernardo de Dominici, bezeichnete ihn als "principe di tutti i pittori viventi" ("Fürst unter allen lebenden Malern"). Der ovale Bildausschnitt des Portraits kontrastiert nur wenig zu den Winkeln des Gemäldes. Brauntöne herrschen vor, das Rot des flatternden Umhangs und die wenigen Blautöne in der Rüstung und im Hintergrund sind die einzigen zurückhaltenden Farbakzente. Dagegen setzen die hell und weiß gemalten Partien kontrastreiche Betonungen: Das von weißen Locken und dem Kragen gerahmte, ausdrucksvolle Gesicht, die mit trockenem Pinsel souverän gemalten, breiten Lichter, die die Rüstung reflektiert, der Orden an der Brust aber vor allem die weiß behandschuhte linke Hand des Portraitierten am unteren Bildrand, die den gemalten ovalen Bildausschnitt überdeckt und gleichsam in den Raum des Betrachters hineinzuragen scheint. Solimena steigert so, in subtiler Weise die Präsenz des Portraitierten. Erläuterungen zum Katalog Francesco Solimena Italien 17./18. Jh. Originale Porträt Malerei Historische Personen SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra ca. 1700 Title: Portrait of a Knight of Malta (presumably Antoine Manoel de Vilhena). Technique: Oil on canvas. Measurement: 106 x 87,5cm. Frame/Pedestal: Framed. Certificate: S. Causa, Naples, after examination of the original in August 2020. Provenance: Private ownership, Italy. This half-figure portrait impresses by the enormous presence of the man depicted in magnificent armour. The left half of the body, shoulder and arm are turned towards the observer, but the sitter has turned his head so that his face is almost en face. The large eyes under the white allonge wig look at the observer gently and at the same time confidently. The order hanging on a velvet ribbon on the armour identifies him as a knight of the Maltese Order. Probably the Portuguese Antoine Manuel de Vilhena (1663 - 1736), who was Grand Master of the Order of Malta from 1722 until his death. The artist of this work is Francesco Solimena. In the first half of the 18th century he was one of the most famous and sought-after painters of his time. Solimena lived and worked almost exclusively in Naples, which initially belonged to the Spanish Crown, but after the War of the Spanish Succession was annexed to Austria. The leading dynasties and the high nobility of Europe had access to Solimena through these political turns of events. Solimena became famous mainly for his multi-figured sacred and profane paintings and frescoes. And he met his patrons at eye level: his contemporary, the artist biographer Bernardo de Dominici, described him as the "principe di tutti i pittori viventi" ("prince among all living painters"). The oval framing of the portrait contrasts only slightly with the angles of the painting. Brown tones predominate, the red of the fluttering cloak and the few shades of blue in the armour and background are the only restrained colour accents. In contrast, the light and white painted areas set high-contrast accents: The expressive face, framed by white curls and the collar, the broad lights painted with a dry brush in a sovereign manner, which reflect the armour, the medal on the chest but above all the white-gloved left hand of the sitter at the lower edge of the image, which covers the painted oval section of the image and seems to project into the space of the viewer, as it were. Solimena thus subtly heightens the presence of the portrayed person. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Portrait Painting Historical people
OOST D.J., JACOB VAN OOST D.J., JACOB VAN Brügge 1639 - 1713 Titel: Portrait eines jungen Herren. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 62 x 51cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Keilrahmen handschriftliche Notiz, nach der die Arbeit durch Kurt Zoege von Manteuffel Jacob van Oost d.J. zugeschrieben wurde. Provenienz: Privatbesitz, Deutschland. Verzeichnet in der Datenbank des RKD, Den Haag, unter der Abb.Nr. 273213. Erläuterungen zum Katalog Jacob van Oost d.J. Niederlande Niederländische/ Flämische Schule 17.Jh. Originale Porträt Malerei Flandern OOST D.J., JACOB VAN OOST D.J., JACOB VAN Bruges 1639 - 1713 Title: Portrait of a Young Man. Technique: Oil on canvas. Mounting: Relined. Measurement: 62 x 51cm. Frame/Pedestal: Framed. Verso: Handwritten note on the stretcher, according to which the work was attributed to Jacob van Oost the Younger by Kurt Zoege of Manteuffel. Provenance: Private ownership, Germany. The painting is registered in the database of the RKD, The Hague, under the ill. no. 273213. Explanations to the Catalogue Jacob van Oost d.J. The Netherlands 17th C. Old Masters Portrait Painting France
SIEBERT, GEORG SIEBERT, GEORG 1896 Dresden - 1984 Titel: Sitzender Junge mit Pfeife. Technik: Öl auf Leinwand. Maße: 82,5 x 59cm. Bezeichnung: Signiert und datiert oben rechts: G. Siebert / 1935. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Georg Siebert Deutschland Neue Sachlichkeit 20. Jh. Gemälde Porträt Malerei SIEBERT, GEORG SIEBERT, GEORG 1896 Dresden - 1984 Title: Sitting Boy with Pipe. Technique: Oil on canvas. Measurement: 82,5 x 59cm. Notation: Signed and dated upper right: G. Siebert / 1935. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Georg Siebert Germany New Objectivity 20th C. Paintings Portrait Painting
1880, with Ross Rapid Symmetrical 10x8" brass lens, serial no. 31169, body, VG, back folds down with pull out back on tracks, back can be rotated from landscape to portrait with tilt adjustment, rack and pinion focus to track at rear for double extension, lens, VG, with leather lens cap and extender tube, complete with two DDS‚ in maker's leather case
Low Countries.- Guicciardini (Lodovico) Descrittione...di tutti i Paesi Bassi, altrimenti detti Germania inferiore, half-title with engraved frontispiece verso, engraved pictorial title with arms of the regions of the Low Countries verso, portrait of Philip II with woodcut arms of Guicciardini verso, and 52 (of 55) double-page maps and plans by Adam De Bruyn after Crispin Van der Broecke, lack quires ll and mm, water-stained, some browning and spotting, 18th century blue and plain carta rustica, rubbed and stained, folio, Antwerp, Christopher Plantin, 1581.⁂ The much augmented second edition in Italian.
Middle East.- Miles (Col. Samuel Barrett) The Countries and Tribes of the Persian Gulf, 2 vol., reprint, frontispiece portrait and 8 photographic plates, original grey cloth, slightly rubbed and soiled, cockling to upper cover of vol.2, rebacked, 4to, 1920.⁂ Reprint of a work first published the previous year but both issues equally scarce.
Portugal.- Murphy (James) Travels in Portugal, first edition, engraved portrait frontispiece and 24 plates/maps (2 folding), some worming to lower margin, occasionally spreading into edge of text block with minor loss of text, contemporary tree sheep, spine gilt with red morocco label, lower joint just starting to crack, small nick at head of spine, corners rubbed, overall a very good copy, 4to, 1795.⁂ Rarely found complete with the fine engraved portrait frontispiece by Newton after Shee.
Russia.- Baddeley (John F.) The Rugged Flanks of the Caucasus, 2 vol., first edition, portrait frontispiece and 37 photogravure plates, 7 folding maps, bookplate of Peter Hopkirk to pastedown, original cloth, uncut, dust-jackets, price-clipped, very minor soiling and creasing to extremities, else an excellent set, 4to, 1940.
Turkey.- Rycaut (Paul) The History of the Turkish Empire, first edition, engraved portrait frontispiece of the author, 3 other engraved portraits and one full-page illustration of "A Turkish Pageant", occasional light browning, a few marginal stains, contemporary ownership signature of Godf. Copley 1683 on recto of frontispiece and his engraved bookplate, modern blind-ruled calf, [Wing R2406; Atabey 1074], folio, by J.M. for John Starkey, 1680.
Birds.- Hay (Arthur, 9th Marquis of Tweeddale) The Ornithological Works ... reprinted from the Originals by the Desire of his Widow, first edition, presentation inscription by Julia Tweeddale to half-title, portrait frontispiece, hand-coloured map and 11 hand-coloured plates, occasional faint spotting, bookplate, contemporary half-morocco, a little rubbed, 4to, [Zimmer p.293; Anker 513; Wood p.605], 1881.⁂ Provenance: Ink inscription signed Julia Tweeddale, and dated 1881, to half-title. Bookplate of William Montagu Hay, the 10th Marquess. This copy contains the full complement of plates called for in the 'Philippine Archipelago'. Copies are also recorded with no colour plates (Wood) or 22 (Anker and Nissen).
Birds.- Lilford (Thomas Littleton Powys, Baron) Coloured Figures of the Birds of the British Isles, 7 vol., second edition, list of subscribers, portrait frontispiece, 421 chromolithographed or hand-coloured lithographed plates, mainly after Thorburn and Keulemans, pages numbered by hand in pencil, faint scattered marginal spotting, contemporary half morocco, a little rubbed, slight bumping to corners and extremities, 8vo, 1891-97.
Vasari (Giorgio) Ragionamenti del sig. cavaliere Giorgio Vasari pittore et architetto aretino. Sopra le inventioni da lui dipinte in Firenze nel palazzo di...Francesco Medici allora principe di Firenze, first edition, collation: ɫ4 A-L8 M-O4 P2, woodcut printer's device to title and verso of final f., portrait of Vasari and initials, most fore-margins with patterns pricked out using a pen nib or similar, staining and spotting, contemporary limp vellum, rebacked, preserving majority of original backstrip (with some loss), lacking ties, soiled and rubbed, small 4to (210 x 144mm.), Florence, Filippo Giunta, 1588.⁂ First edition of Vasari's posthumously published account of his own paintings for the Palazzo Vecchio. The work is written in the form of a dialogue between Vasari and the dedicatee Francesco de'Medici.Literature: Cicognara 225; EDIT 16 CNCE 28801.
University of Padua.- Barisoni (Albertino, Bishop of Ceneda, d. 1667) Diploma signed awarded to "Laurentius Pattarolum" of doctor of philosophy by Padua University, manuscript in Latin, on vellum, 12pp., in a fine Italic hand, title with watercolour portrait of a religious at head and coat of arms at tail, ornate floral border in blue, yellow and other colours, some lettering in and borders in gold, last f. verso some slight surface wear, slightly browned, 3ff. at end loose, front free endpaper loose, endpapers with some worming, original ornate gilt decoration consisting of urns, apes, animals and other designs, 4 frayed silk ties, sm. 4to, Padua, dated in text 1636.
Jacobitism.- The Tryals of William Ireland, Thomas Pickering, and John Grove, for Conspiring to Murder the King, imprimatur leaf corner torn with slight loss, last f. torn and repaired, browned, disbound, Alistair Cooke's copy with his bookplate on pastedown of modern portfolio, [Wing T2268], Robert Pawlet, 1678 § Henderson (Andrew) The History of the Rebellion, MDCCXLV and MDCCXLVI, The Fifth Edition, browned, ink signature of J. Hyde at head of title, new endpapers, contemporary calf, slightly rubbed, corners worn, rebacked retaining the original label, for A. Millar, W. Owen, W. Reeve, and J. Swan, 1753 § Johnstone (James, Chevalier De) Memoirs of the Rebellion in 1745 and 1746, first edition, 3 engraved portraits and a map, title slightly offset, some foxing, modern bookplate, contemporary calf, gilt borders, slightly rubbed, rebacked in modern calf, 1820; and 18 others, Jacobitism, including an engraved portrait of Anne Hyde, v.s., v.d. (22).
Literary portrait.- Edgeworth (Maria, novelist and educationist, 1768-1849).- Sketch of Miss Edgworth when at an Evening party at Clifton in 1817, pencil on laid paper without watermark, inscribed underneath in pencil with pen and ink overlay, sheet 180 x 105 mm (7 x 4 1/4 in), old folds and careful repair to tear, handling creases, some browning and surface dirt, unframed, 1817.
Shakespeare.- Drayton (Michael) The Battaile of Agincourt, first edition, lacks engraved portrait, final blank leaf present, slight worming to upper margin, occasionally affecting text, some light foxing, 18th century sheep, gilt, worn and scuffed, joints split, [STC 7190; Pforzheimer 301; Grolier, Langland to Wither 85], small folio, for William Lee, 1627.⁂ The elegy to Henry Reynolds includes mention of Shakespeare, Marlow, Chapman and Jonson.
John Evelyn's copy.- Taylor (Jeremy) Symbolon Ethiko-polemikon; or a Collection of Polemical and Moral Discourses, first edition, John Evelyn's copy, presented by the author, title ruled in red and with engraved vignette, final advertisement leaf present, lacking engraved portrait frontispiece, a couple of small burn-holes, modern half calf, [Wing T398], folio, Printed for R. Royston, 1657.⁂ Inscription in John Evelyn's hand at head of title reads "Catalogo Evelyni Inscriptus. Meliora Retinete. Ex dono Reverendi ad modum Divi D.D.J.T. Authoris: 1657". Provenance: The Evelyn Library, Christie's, 12th & 13th July, 1978, lot 1456.
Dempsey (G.Drysdale) Railways. Papers on the Mechanical and Engineering Operations and Structures combined in the making of a Railway, first edition, expanded issue, 50 double-page plates mounted in stubs, light foxing, contemporary half roan, a little worn, rebacked preserving old spine, 1846; The Practical Railway Engineer, fourth (& best), expanded edition, mezzotint portrait (lightly water-stained), 71 double-page plates mounted on stubs, modern cloth, 1855; and 3 others including an earlier issue of the first but with fewer plates, 4to (5)
Rabelais (François) The Works, 2 parts in 1, translated by Sir Thomas Urquhart, engraved portrait frontispiece (shaved at fore-edge), repaired tear to Aa9, margin of Dd11 repaired, just touching text, occasional light foxing and browning, modern calf-backed marbled boards, [Wing R104 & R109], 12mo, for Richard Baldwin, 1694.⁂ A translation of books 1 and 2 only (of 5) of Rabelais' works, covering Gargantua and Pantagruel.
Caesar (Caius Julius) The Commentaries, translated by William Duncan, engraved portrait frontispiece, 6 double-page engraved maps and 78 plates, of which 55 are double-page and/or folding, ex-library copy with embossed stamp to plates and some text ff., occasional spotting or soiling, modern mottled calf, gilt, folio, for J. and R. Tonson and S. Draper...and R. Dodsley, 1753.⁂ A handsome copy of this superb edition enhanced by wonderful plates.
Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol.1 second edition, vol.2-6 first editions, engraved portrait frontispiece, 3 folding maps, errata leaves in vol.2 and 3, vol.1 4F2 with short tear, lacking half-titles, vol.3 line 18 with misprint "Honorious" and p.177 correctly numbered, very occasional foxing or light browning, contemporary tree calf, spines gilt with red and green morocco labels, 4to, 1776-88.⁂ Magnificent set of this "masterpiece of historical penetration and literary style" (PMM).
Wordsworth (William) The Poetical Works, 6 vol., signed note from Wordsworth bound in at front, engraved portrait frontispiece to vol.1, bookplate to vol.1 pastedown, contemporary polished calf, spines gilt, g.e., extremities lightly rubbed, Edward Moxon, 8vo, 1841.⁂ Note from Wordsworth bound in to vol.1: “love betters what is best, even here below but more in heaven above” signed from Rydal Mount, 1843
Binding.- Gautier (Théophile) Fortunio, engraved frontispiece, original printed wrappers bound in, superb red morocco by Yseux Sr. de Thierry-Simier, covers with gilt-ruled blue and green morocco onlays to an arabesque design interspersed with green and tan onlays to a floral design, surrounding small oval central portrait miniature with varnish overlay (of the author on upper cover and a naked maiden Cydalise on lower cover), similar design to spine, fine blue and red morocco, gilt, doublures, blue watered silk endpapers, g.e., red morocco-backed board chemise in matching red morocco-edged board slip-case, 8vo, Paris, 1840.⁂ The portrait of the author is after that by Auguste de Chectillon while that on the lower cover depicts Cydalise, a young woman with whom Gautier fell deeply in love after meeting her in 1834, but who died two years later.
Jewelled Binding.- Spenser (Edmund) Epithalamion and Amoretti, number 2 of 14 copies on vellum (limitation amended in manuscript from 12 copies to 14), etched portrait, engraved title-vignette, head & tail-piece, magnificently bound in tooled green morocco with onlays and opals, by Sangorski & Sutcliffe, covers with onlaid central Tudor rose in white and red morocco set with 6 small opals in bezel cups and ringed by 10 smaller Tudor roses in white and red all tooled in gilt, surrounded by swirling floral and leafy tendrils in gilt with small onlays of flowers in red and white, the whole within an intricately tooled border of flowers and leaves with dense pointillé background, spine in six compartments with five raised bands, one with title & author in gilt and date at foot, the rest with gilt leafy sprays around small onlaid rose in red or white, red morocco doublures and endpapers with gilt border, doublures with panel formed by gilt rule and 10 small white rose onlays, signed at foot of rear doublure, g.e., preserved in velvet-lined green morocco drop-back box, 8vo (c.245 x 155mm.), John & E.Bumpus, 1903.⁂ A superb binding recreating one of the first Sangorski & Sutcliffe jewelled bindings. The design is based on a 1903 photograph of George Sangorski's original binding and tooling pattern and was carried out by members of the present day firm using a 40-year old dark green Levant goatskin no longer available and new brass tools cut specifically for this piece. Dan Wray, Head of Restoration and Conservation at Sangorski & Sutcliffe, executed the gold tooling, which took five weeks and used 25 books of 22 carat gold leaf.
Binding.- Williams (Monier) Sakoontala; or, The Lost Ring, wood-engraved vignettes with fine chromolithograph decorative borders, text leaves within chromolithograph borders, Cosway-style binding of burgundy morocco, gilt, by Tuckett "Binder to the Queen" with oval portrait miniature of a middle-eastern figure to upper cover, inner gilt dentelles, g.e., slightly rubbed, 4to, Hertford, Printed and Published by Stephen Austin, 1855.⁂ Rare Book Hub suggests it was this copy which was sold in 1933 at Anderson Galleries as part of the library of the late Charles P. Senter, describing the portrait miniature as that of the last King of Delhi, and previously sold in 1912 (by the same firm) as part of the library of Charles C. Johnston of Chicago.
Cosway Binding.- Browning (Robert) A Selection from the Works, engraved portrait, tear to pp.177-178 repaired, superb "Cosway" binding of brown morocco, by Rivière & Son, the upper cover incorporating a fine watercolour circular miniature of the author on ivory by Miss C.B.Currie under glass and framed by narrowly-spaced gilt lines radiating out from the miniature forming a star shape with a double gilt fillet border, spine gilt in compartments of oval sun with radiating rays, with "Cosway binding" in gilt to fore-edge of upper board and "Invented by J.H,Stonehouse" to fore-edge of lower, pale grey watered-silk doublures and endpapers, with "Miniatures by C.B.Currie" at foot of rear doublure, binding signed at foot of front turn-in, t.e.g., others uncut, preserved in cloth slip-case, 8vo (c.165 x 135mm.), 1865.⁂ A fine example of a signed Currie Cosway binding of c.1930 with certificate bound in at beginning, "This is No. 915 of the Cosway Bindings invented by J.H.Stonehouse, with Miniatures on Ivory by Miss Currie" signed by both.
δ Beerbohm (Max) Portrait of Tancred Borenius, pencil, pen and brown ink, wash, signed and dated '1922' in the lower right corner, inscribed to the left, sheet 275 x 142 mm (10 3/4 x 5 5/8 in), under glass, laid onto mount support with ruled ink borders, minor surface dirt and rubbing, framed, 1922Provenance:Ernest Brown & Phillips Ltd., The Leicester Galleries;Sale. Christies, Children's and Illustrated Books and Original Illustrations, 19th December 2007, lot 84⁂ Tancred Borenius was the Professor of History of Art at the University of London, and published works on 'The Painters of Vicenza' (1907), 'Four Early Italian Engravers' (1923), and many others. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Smeaton (John) Experimental Enquiry concerning the Natural Powers of Wind and Water to turn Mills and other Machines depending on a Circular Motion, second edition, 2 folding letterpress tables, 5 folding engraved plates, 1796 bound with Venturi (J.B.) Experimental Enquiries concerning the Principle of the Lateral Communication of Motion in Fluids, first edition in English, 2 folding engraved plates, 1799, together 2 works in 1 vol., ink signature to head of title, light spotting, bookplate of Institution of Naval Architects, contemporary half calf, rubbed, rebacked preserving old spine § Smeaton (John) Reports..., 3 vol., first edition, engraved portrait, plates and plans, foxed, contemporary half calf, rubbed, lacking most corner-pieces, rebacked, 1812, 8vo & 4to (4)⁂ The first work is a collection of various reports on hydrodynamic subjects, here, as is sometimes the case, bound with Venturi's work on broadly the same subject. Venturi made an important discovery in this field on the variation of water pressure after constricted flows which became known as "The Venturi Effect". The last work shows the extraordinary range of Smeaton's achievements inventions and projects, collected from his papers which Joseph Banks acquired after Smeaton's death. Banks part-funded this impressive printed memorial to the "Father of Civil Engineering".
Telford (Thomas) Life of Thomas Telford, Civil Engineer, edited by John Rickman, 2 vol. including Atlas, first edition, text lacking half-title, with engraved plate (lightly foxed), Atlas with engraved portrait and 82 maps & plates numbered 1-83 (no plate 28 as called for), several folding and/or double-page, some with routes supplied in red, some foxing, particularly to portrait and title, contemporary half russia, Atlas with gilt-stamped label to upper cover, spines ruled in gilt, a little rubbed and faded, Atlas with upper joint split, 4to & folio, 1838.⁂ Account of the great engineer's life and work written by himself, describing canals, roads, aqueducts and bridges including the great suspension bridges over the Menai Strait and at Conway.
An album, containing mainly 18th and early 19th century portrait engravings of European Royalty, aristocracy and worthies, dated in ink 1836, with index, 52.5cm X 38cm, and three similar leather-bound albums, there being hundreds of portraits in total, together with three other folio volumes (7).
Helen Bradley (British, 1900-1979)Aunt Edith was Sixteen and Wept for Love signed 'HELEN BRADLEY' and with fly insignia (lower right)oil on board30.6 x 38 cm. (12 x 15 in.)Footnotes:ProvenanceThe Artist, thence by family descentThe Estate of Margaret BradleyFour Paintings from the Family of Helen Bradley (1900-1979)Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties.Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail.It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.The following four works were given by the artist to her son Peter. They have remained in the family collection since then, with Uncle Tom's Funeral Procession taking pride of place above the dining table.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Duncan Grant (British, 1885-1978)Portrait of Peter Morris Seated in a Wing Chair signed with initials and inscribed 'Peter Morris/DG' (verso)oil on canvas76.2 x 50.8 cm. (30 x 20 in.)Painted circa 1928Footnotes:ProvenancePaul RocheWith The Parkin Gallery, LondonSale; Christie's, London, 7 March 1986, lot 244, where acquired by the present ownerPrivate Collection U.K.Peter Morris was a painter, great friend and for a brief period lover of Duncan Grant. Grant painted him several times in the late 1920s, and Morris's sister Dora (later Lady Romilly) was painted by Vanessa Bell (now in the collection of Leeds City Art Gallery). Here Grant depicts Morris in rich and fluent colours positioned in a green upholstered wingback chair, that formerly belonged to Sickert. The chair, along with a similarly upholstered chaise-lounge, came into Grant's possession when he took over Sickert's Fitzroy Street studio.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Jones C.H., C.B.E. (British, 1895-1974)Petra signed and dated 'David J 32' (lower right)pencil and watercolour77 x 55.9 cm. (30 1/4 x 22 in.)Footnotes:ProvenanceThe Artist, from whom acquired byHelen Sutherland, by whom bequeathed toPrviate Collection, U.K.Their sale; Christie's, London, 26 June 2014, lot 109, where acquired byLady DugdaleExhibited Aberystwyth, National Library of Wales, David Jones: Paintings, Drawings and Engravings, 24 July-21 August 1954; this exhibition travelled to Cardiff, National Museum of Wales, August-September, Swansea, Glynn Vivian Art Gallery, October, Edinburgh, Diploma Galleries, Royal Scottish Academy, November-December and London, Tate Gallery, December-January 1955Edinburgh, Scottish National Gallery of Modern Art, Paintings and Drawings from the Private Collection of Miss Helen Sutherland, 24 March-13 May 1962, cat.no.14London, Hayward Gallery, Helen Sutherland Collection: A Pioneer Collection of the 1930s, organised by Arts Council of Great Britain, 10 December 1970-10 January 1971, cat.no.24; this exhibition travelled to Newcastle, Laing Art Gallery, 23 January-14 February, Cambridge, Kettle's Yard, 20 February-14 March, Cardiff, National Museum of Wales, 20 March-11 April and Kendal, Abbot Hall Art Gallery, 1-23 May 1971London, Tate Gallery, David Jones, 21 July-6 September 1981, cat.no.96Bristol, City Museum and Art Gallery, David Jones: Paintings, Drawings, Inscriptions, Prints, organised by Arts Council of Great Britain, 4 March-8 April 1989, cat.no.31; this exhibition travelled to Leeds, City Art Gallery, April-May, Cambridge, Kettle's Yard, June-July, and Llandudno, Oriel Mostyn, July-August 1989LiteratureRobin Ironside and Kenneth Clarke, The Penguin Modern Painters: David Jones, Penguin Books, London, 1949, pl.21 (col.ill.)Nicolete Gray, The Paintings of David Jones, Lund Humphries, London, 1989, pl.24 (ill.)Johnathan Miles and Derek Shiel, David Jones, The Maker Unmade, Bridgend, 2003, p.153, no.5 (ill.)Thomas Dilworth, David Jones, Engraver, Soldier, Painter, Poet, Jonathan Cape, London, 2017, p.158 (col.ill.) (as The Seated Mother)Born in 1906, Petra was the second daughter of artist Eric Gill. She modelled for several of her father's drawings and engravings, including Girl in the Bath and The Plait. Following his studies in London, the young David Jones moved to Ditchling, Sussex in 1921 to apprentice under Gill. Three years later Jones would follow Gill when he moved to Capel-y-ffin in the Welsh Black Mountains and there, in June, he became engaged to Petra. Jones marked the occasion by painting one of his most celebrated works - The Garden Enclosed (Tate, London). However, the engagement did not last. Petra broke it off in 1927 and later she married fellow craftsman Denis Tegetmeier. In the early 1930s Jones painted several depictions of his former fiancé, employing her image to represent an archetype for feminine beauty. These include Petra im Rosenhag (1931, National Museum of Wales, Cardiff) and the present example, which is also known as The Seated Mother. This is understood to be Jones's final portrait of Petra and the last picture he would paint for several years, as shortly after its completion he suffered a nervous breakdown. The work was bought by the notable patron Helen Sutherland. Later the poet Kathleen Raine would recall that she observed Jones propping the picture against a chair in Sutherland's drawing room with a gaze Raine described as 'unforgettable... pondering sweetness'.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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