283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenAfter Alphonse Mucha, a Jugendstil silver and enamelled glass toilet bottle, Heinrich Levinger, Germany, import marks Birmingham 1902, cylindrical form, the hinged lid with a guilloche and painted enamel portrait of Mucha's Primrose, 1899, highlighted in gilt, in the Art Nouveau style, 5cm diameter, 8cm high
An early 19th century Chinese Imperial portrait of Emperor Jiaqing (嘉庆皇帝的画像), Qing dynasty from 1796 to 1820, dressed in dragon robes of the emperor, Portuguese inscription 'Emperor Xiahim', gouache on paper, 50cm x 38cm, framed. Note: The Jiaqing Emperor, personal name Yongyan, was the seventh emperor of the Machu-led Qing dynasty, and the fifth Qing emperor to rule over China from 1796 to 1820'
A late 17th or early 18th century painted ivory brise fan, circa 1700, the sticks painted and pierced with allegorical scenes of Classical women in temple gardens, within raised gilt banded and trellis ground, the reverse similarly painted, the guards carved and painted with figures and flowers between portrait roundels, tortoiseshell to base, 21cm long
* German School. Portrait of a young gentleman, 18th century, coloured chalks on laid paper, with large watermark incorporating the figure of a man, head and shoulders portrait half-profile to right of a young bewigged gentleman wearing a dark coat and neck bands, some slight spotting, lower corners each with several short (maximum 4cm) incisions, some very slight fraying to top edge, verso with indistinct early pencil inscription '? Pfr Gyri-Meyer', and partially edged with brown paper strips, sheet size 29.5 x 21.5cm (11.5 x 8.4ins)Qty: (1)NOTESSee Churchill 509: a watermark very similar to that of Wendelsteiner Mill of Bavaria (1686).
* Baillie (Captain William, 1723-1810). The Three Trees after Rembrandt, 1758, etching with drypoint and roulette on laid paper, fourth state (of 6), with the addition of lightning and monogram W.B. to centre of left margin, with short margins, plate size 210 x 280 mm (8.25 x 11 ins), sheet size 217 x 290 mm (8.5 x 11.5 ins), together with a reproduction on laid paper of Rembrandt's self-portrait in a feathered cap with plume, circa 1638, etching on laid paper without watermark, trimmed to plate mark, sheet size 137 x 102 mm (5.4 x 4 ins), both framed and glazedQty: (2)
* Castiglione (Giovanni Benedetto, 1609-1664). Young man looking down to the right, & a head of an old bearded man with a turban, from Small Heads in Oriental Headdress, circa 1650 [or later], two etchings on laid paper, some light surface marks and soiling, the second work with small loss to blank margin towards upper right corner, adjacent to plate mark, plate size 110 x 80 mm (4.4 x 3.1 ins), sheet size 128 x 98 mm (5 x 3.9 ins), corner mounted to old folio mounting leaf, together with 11 other various Old Master prints, 10 of which are mounted (on the same and one other backing leaf), including A. Gastiers, St. George, 2 etchings by Hollar (Ein Shiffers Weiss zu Ambsterdam & Ein Burgersfrau zu Bern), a later copy in reverse of Rembrandt's Old Bearded Man in a High Fur Cap, with Eyes Closed (Bartsch 290), a later 19th century copy of Rembrandt's Portrait of Johannes Wtenbogaert, preacher of the Remonstrants (trimmed to plate mark, framed and glazed)Qty: (13)
* Attributed to Jerome David (circa 1605-circa 1670). Timur, from the series of Character Heads, circa 1637, engraving and etching on laid paper, trimmed just inside the plate mark, sheet size 221 x 188 mm (8.75 x 7.4 ins), together with: De Jode (Pieter, 1570-1634). Portrait of Albert, Archduke of Austria (1559-1621), 1621, etching on laid paper, a very good dark impression, with margins, collector's stamp of Count Clemens-Wensceslas de Renesse-Breidbach (1776-1833), Belgian officer, politician and collector (Lugt 1209)Qty: (2)
* Hollar (Wenceslas). [The Dance of Death from the original designs of Hans Holbein, London: J. Coxhead, 1816], comprising 30 etched plates (of 33, numbered 1-30, without portrait plates) on wove (with re-working), 75 x 55 mmQty: (30)NOTESPennington 233-262. The collection of plates appears to be from the 1816 edition printed by B. M'Millan for J. Coxhead which were coarsely re-worked.
* Schon (Erhard, circa 1491-1542). Albrecht Durer Conterfeyt in seinem alter des LVI. Jares (Portrait of Albrecht Durer in his 56th Year), circa 1528-29, woodcut on laid paper printed by Wolf Drechsel, Nuremberg, some surface marks and light soiling, laid down on later backing card, sheet size 370 x 260 mm (14.5 x 10.25 ins), framed and glazedQty: (1)NOTESHollstein, 156, I. Erhard Schon's portrait is based on the medal by Matthes Gebel, and is here printed with a laudatory poem by Hans Sachs.
* Vorsterman (Lucas, The Elder, 1595-1675). Thomas Howard, Duke of Norfolk, after Hans Holbein, circa 1655, engraving on laid paper, with Strasbourg Lily watermark, trimmed just inside the platemark, a good, strong impression, sheet size 273 x 201 mm (10.8 x 8 ins), together with: [Loggan, David, 1635-1692]. The Effigies of the most magnanimous & thrise puisant George Duke of Albemarle Earle of Torrington. Baron Monck of Potheridge, Beauchamp. and Teys, circa 1670, etching on laid paper, a strong, dark impression, faint vertical crease where previously folded, with very short associated closed tear to lower margin, without loss, trimmed just inside the platemark, sheet size 270 x 215 mm (10.8 x 8.5 ins), plus other various 17th and 18th century prints, many portraits, including Crispijn de Passe (1564-1637), Portrait of Thomas Scott, 1624 (circa 1580-1626), radical Protestant preacher, Pieter van Sompel, Aureolus Theophrastus Bombastus von Hoheim (Paracelsus), circa 1630, engraving on laid paper, with foolscap, trimmed to plate mark, residue of mounting paper to corners verso, with some light associated skinning, sheet size 302 x 216 mm (11.9 x 8.6 ins), Willem de Passe (1598-circa 1637), Portrait of Darcy Wentworth, 1624, Wenceslaus Hollar (1607-1677), Mulai Al-Rashid (Muley Arsheid Zeriff, Prince of Taffeleta, Emperour of Marocco Fezz, 1670, etching on laid paper, trimmed just inside the platemark, Richard Gaywood (active circa 1650-1680), William Fairfax, 1656, etching and engraving on laid paper, trimmed to platemark, Michel Lasne (1590-1667), Francois de Bassompierre, George Vertue (1684-1756), Abraham Cowley, after Lely, John Bowles (1701-1779, publisher), Miss Eyebright, circa 1760s, mezzotint on laid paper, a 17th century engraved portrait on laid paper of King James I [reissued in 1798 by Robert Wilkinson, 'Engraved from a Scarce Print in the Possession of George Chalmers], etcQty: (24)
* Continental School. Portrait of a lady, early 17th century, watercolour and bodycolour, heightened with gold, on vellum, oval bust length portrait of a young lady with curled flaxen hair and enigmatic gaze, wearing a dress with black skirt and muslin bodice, a black shawl over her head, and a string of pearls around her neck, indistinct letters in gold top right 'MARO ANTE'(?), 60 x 46 mm (2.25 x 1.75 in), later oval gilt metal pendant frame with hanging loop, glazedQty: (1)
* English School. Oval portrait of a gentleman, circa 1780, pastel on paper, head and shoulders portrait profile to left, of a young bewigged gentleman wearing a blue and orange striped waistcoat and brown coat, with white cravat, 24.3 x 19.3cm (9.5 x 7.5ins), 1880s gilt frame with oval aperture, glazed, verso with framer's label 'W.A. Smith, Carver and Gilder ... 20 & 22 Mortimer Street, Regent Street, London, W.' and old manuscript label 'An Arnott ancestor of Hugh M. Davies to whom this portrait is to be given'Qty: (1)
* English School. Oval portrait of a young girl, early 20th century, watercolour on ivory, half-length portrait half profile to right, of a small girl in a white dress with a bow in her curly blonde hair, 50 x 38mm (2 x 1.5ins), oval yellow metal frame, glazed, together with 2 other framed oval portrait miniatures, one of a young gentleman with moustache, circa 1900, the other of a 1940s/50s gentleman, signed L. Maylott, Swindon, each housed in original velvet-lined leather frame with stand and hinged double doors, that to second item rubbed and lettered in gilt on verso 'A. Debenham, Southsea'Qty: (3)
* Fleetwood-Walker (Bernard, 1892-93-1965). Portrait of Elizabeth Anne Nassim, 1950s, oil on canvas, signed to lower right, three-quarter length portrait of a young woman seated, wearing a blue silk dress, some surface marks, small scratches, and soiling, 91 x 71cm (35.75 x 28ins), framedQty: (1)NOTESElizabeth Anne Nassim is the daughter of the late eminent physician Joseph Reginald Nassim, and was at one time married to the sculptor James Butler.
* Indian Miniatures. A collection of 10 miniature paintings, circa 1850s, watercolour and gouache on ivory, highlighted with gold, comprising: 6 oval half-length male portraits, in profile or half-profile, 2 holding a sword, one probably depicting Aurangzeb; 3 female portraits, including a circular full-length portrait of a woman seated on a gilt chair on a terrace holding a hookah, inscribed on verso in contemporary manuscript 'Ranee', followed by an indistinct word crossed through; and a painting of a mosque with 3 gilt domes, some surface rubbing and marks, 2 glazed, others with remains of previous framing or mounting, largest 48 x 47mm (2 x 2.25ins), smallest diameter 36mm (1.5ins)Qty: (10)
* Miniatures. Portrait of a Senior Officer of the British Army and another of his wife, c.1830, watercolour on ivory, 7.5 x 7 cm (3 x 2.75ins), each in ebonised frames with brass acorn and oak leaf and the other with grape and wine hanging ring, titled versoQty: (2)NOTESProvenance: Collection of Jack Webb (1923-2019), London.
* Renoir (late 19th century). Oval portrait miniature of a lady, watercolour heightened with bodycolour on ivory, half-length portrait of a dark-haired young lady wearing a short-sleeved pink gown trimmed with gold and jewels, an emerald and ruby coronet with drop pearls and lace veil, and a matching necklace and earrings, signed to right-hand margin, 8.4 x 6.3cm (3.25 x 2.5ins), ebonised frame, glazedQty: (1)
* Irish School. Portrait of a young woman in evening gown and coloured shawl, seated by a marble top table, circa 1840s, watercolour on paper, heightened with white body colour, a couple of minor marks, 43 x33cm (17 x 13ins), gilt moulded frame and glazed, frame with label on verso 'From Cranfield's, 115 Grafton Street, Dublin'Qty: (1)NOTESThought to be a portrait of Oscar Wilde's mother.
* Collins (B.P., late 19th/early 20th century). Study of a male head, red and black chalks on wove paper, head and shoulders portrait half-profile to right, depicting a young man with flowing auburn red hair, wearing a square-necked tunic and a hat, signed in pencil lower right below mount, sheet size 35 x 28cm (13.75 x 11ins), mounted, framed and glazedQty: (1)NOTESWe have been able to trace only one other artwork (a female nude) by this elusive artist who was evidently an accomplished painter influenced by the style of the Pre-Raphaelite Brotherhood.
* Haag (Carl, 1820-1915). Italian peasant girl in a landscape, 1899, watercolour with bodycolour on card (additionally laid down on card by the artist), full-length portrait of an Italian woman wearing regional costume, including a white tasselled headdress and suede laced moccasins, standing amongst wild flowers against a sunset panorama of hills and ruins, signed and dated lower right, sheet size 50.6 x 35 cm (20 x 13.75 ins), mountedQty: (1)
* Wilson (Thomas Walter, 1851-1912). Portrait of Colin Hunter ARA, pen, ink, & wash, half-length portrait half-profile to left of a bearded and bespectacled gentleman holding an artist's palette, monogrammed lower left, 18.7 x 14.5cm (7.5 x 5.75ins), mounted, framed and glazed, later title label in pencil on backboardQty: (1)NOTESScottish artist Colin Hunter (1841–1904) is best-known for his paintings of seascapes and fisher-folk, painted in fishing villages in Ireland, Devon and Cornwall as well as in Scotland. He exhibited widely, including at the Royal Academy, and he kept a large house and studio in Melbury Road, London where he entertained fellow artists; he was a neighbour of Lord Leighton, G.F. Watts and Luke Fildes.
* Herkomer (Hubert von, 1849-1914). The Lady in White (Miss Grant), 1887, uncoloured etching, an artist's proof, published by Obach & Co., with PSA (Printsellers Association) blindstamp, signed by the artist in pencil lower right, 495 x 375 mm (19.5 x 14.75 ins), period maple frame with gilt slip, glazedQty: (1)NOTESMiss Grant was the celebrated American beauty Miss Adele Grant, of New York, whose marriage to the Earl of Essex in 1893 was the social event of the season. One of the so-called 'Lovely Five', the oil portrait of the same title by Herkomer was widely praised when exhibited at the Royal Academy in 1885.
* Sargent (John Singer, 1856-1925). Miss Jane Evans, 1899, photogravure by William H. Ward & Co. Ltd after the oil portrait by John Singer Sargent of 1898, published, March 1st 1899, signed in pencil by the artist, and sitter to lower blank margin, image size 44 x 28.5 cm (17.25 x 11.25 ins), with margins, pale marginal spotting, framed and glazed, with small printed label to verso of Lechertier Barbe Ltd, 95 Jermyn St. LondonQty: (1)NOTESJane Evans (1826-1906), described as the last of the Eton Dames, was the landlady of one of the lodging houses run for the Oppidan boys of Eton College. Famed for her powers of sympathy and insight, the oil portrait of her by John Singer Sargent was commissioned by a number of Old Boys of the College, including Bishop John Selwin.
* After Frederick Walker (1840-1875). Phillip in Church, 1885, uncoloured etching by Hubert von Herkomer after Frederick Walker, published by The Fine Art Society in 1885, an artist's proof, with remarque portrait of the artist, repaired closed tears to lower right corner, 510 x 390 mm, period walnut veneer frame with gilt slip, glazedQty: (1)
* Rothenstein (William, 1872-1945). Portrait of John Singer Sargent, lithograph on pale brown laid paper, printed by T. Way, from the book 'English Portraits, A Series of Lithographed Drawings', published by Grant Richards, 1898, 29.5 x 20.5cm (11.5 x 8ins) mount aperture, together with 8 other lithographs from the same publication, comprising: Prof. Charles Villiers Stanford, Mr. Sidney Colvin, Sir Frederick Pollock, Arthur Wing Pinero, Sir Seymour Haden, Mr. William Archer, Prof. Alphonse Legros, and Mr. Robert Bridges, all similarly mounted, framed and glazedQty: (9)
Rothenstein (William, 1872-1945). English Portraits. A Series of Lithographed Drawings, published by Grant Richards, 1898, 24 lithographic portraits including Hardy, Gissing, Henry James, Walter Crane, Ellen Terry, and others, additional photogravure portrait of George Bernard Shaw from a photograph by Dorothy Hickling loosely inserted, top edge gilt, remainder untrimmed, original buckram gilt, rubbed, folioQty: (1)NOTESOne of 750 copies, this copy with a signed pencil dedication to George Bernard Shaw: 'To G.B.S. Greetings! Will Rothenstein 98'.Amendment: We now believe that the pencil inscription to G.B. Shaw from the author is not in the hand of William Rothenstein, but an anonymous contemporary or near-contemporary owner, who has also inscribed the front endpaper.
* Hilton (Matthew, 1948-). Untitled, 1988, colour linocut on laid paper, signed, dated, and numbered 3/4 V, image size 455 x 385 mm (18 x 15 ins), sheet size 520 x 420 mm (20.5 x 16.5 ins), together with: Ac kroyd (Norman, 1938-). Skellig Rain, 1998, aquatint on heavy handmade paper, signed, dated, titled and numbered 75/90 in pencil, plate size 196 x 260 mm (7.75 x 10.2 ins), sheet size 255 x 330 mm (10 x 13 ins), plus four other prints by contemporary British artists: Alison Heath, City, signed, titled and numbered 2/15 in pencil, Richard McEvoy, 'Tooo', 1987, signed, dated, titled and numbered 1/6 to verso, Caroline Macey, Self Portrait, 1983, wood engraving on wove paper, signed, dated, titled and marked A/P, and a proof aquatint entitled Directing Traffic, signed 'Piper', and dated 86Qty: (6)
Album of drawings and watercolours, circa 1905-1921, 22 original drawings and watercolours, mostly signed or initialled, and dated variously 1905-1921, some portraits, topographical views, cartoons, etc., including Wang Zhen Hai, of Shanghai, Three Chinese ladies with porcelain vases, signed in Chinese script in black ink above artist's red ink stamp, sheet size 16 x 20cm (6.25 x 8ins), a watercolour by Alfred Egerton Cooper (1883-1974), titled 'Ready for Chelsea Arts Ball', circa 1920, watercolour full length portrait of a seated young woman wearing a long skirt split to the thigh, cropped top, bead anklet and dangling earrings holding an ostrich feather fan, titled and signed, a pen, ink, and wash female head study by Arthur Waller, a pen & ink drawing of a semi-nude female on a rock titled '"The Fallen Angel'" by J.G. Manley, a pencil drawing of Miss Gladys Cooper by F. Bahr, and a double-page watercolour cartoon of figures engaged in various activities on a beach by Walt Kuhn, some light spotting and marks, sheet size (for all leaves) 16 x 20cm (6.25 x 8ins), marbled endpapers, contemporary inscription on verso of front free endpaper: 'To wish you many happy returns of the day To Nellie from Peter. Shanghai: 22. October 1905', rear hinge split, all edges gilt, page-block becoming loose in original black padded morocco, rubbed, oblong 4toQty: (1)
* Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-profile to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins)Qty: (1)NOTESProvenance: Believed to have been given to the owner's grandmother's family by the artist, and thence by descent. The owner's grandmother worked at the Royal Academy of Music and subsequently the Admiralty; her father, Sven Didericksen, was head chef at The Rembrandt Hotel in Knightsbridge, London, and her uncle was the proprietor of an antiquarian book and print shop in London. The family moved in artistic circles, and Australian painter George Lambert, who lived for a time in London, is known to have been a friend. It has been suggested that the subject is the artist Thea Proctor (1879-1966), an Australian painter, known as a prominent arbiter of taste, who was also a printmaker, designer and teacher. Although Proctor didn't travel to London until 1903, she and Lambert met at art school in Sydney, and this portrait does appear to bear a strong resemblance to her. Beautiful and elegant, she was tutored privately by Lambert, sat regularly for him and was a frequent visitor to his London home. On her part she found Lambert intellectually stimulating and was apparently devoted to him. Their exact relationship is unknown but he became her mentor and their friendship was lifelong.
ARR * Winsten (Clare, 1894-1989). Portrait, pencil on paper, a few pale spots, 38 x 27 cm (15 x 10.75 in)Qty: (1)NOTESFormerly known as Clara Birnberg before marrying artist Stephen Weinstein (and changing their surname to 'Winsten'), Clare Winsten was the only female member of the "Whitechapel Boys", a group of Anglo-Jewish artists and writers in the early 20th Century, the group (named later in the 20th Century) also included David Bomberg, Stephen Winsten, John Rodker, Isaac Rosenberg, Jacob Kramer and Mark Gertler among others.
ARR * Barnes (Archibald George, 1887-1972). Huntsman and Hounds on a Veranda, circa 1920s, oil on canvas, signed Barnes lower left, 61.5 x 77 cm (24.25 x 30.25 ins), period gilt frameQty: (1)NOTESProvenance: Estate of David Geider, Baydon, Wiltshire. Archibald George Barnes was born in London and studied at the Royal Academy for 5 years, becoming a society artist, best known for his portraits and figures set in picturesque landscapes. He settled in Toronto, Ontario from around 1930 onwards. He was elected a member of the Royal Society of Portrait Painters in 1923, and the Royal Institute of Oil Painters in 1925. In an article in Colour Magazine of June 1919 he stated that the work of John Singer Sargent and Charles Sims had been more signficant for him than all his formal art education.
* Cobbett (Hilary Dulcie, 1885-1976). Fishing Boats in the Harbour, Brittany, circa 1930s, oil on canvas, signed lower right, some surface discolouration (probably caused by smoke), with additional oil portrait to verso of a girl, and remains of label for the Royal Society of Portrait Painters to frame verso, 51 x 61 cm (20 x 24 ins), framedQty: (1)
* Roche (Marcel, 1890-1959). Orléans, 1917, oil on thick card, signed, titled and dated 12-8-17 to lower right, 26.5 x 21 cm (10.5 x 8.3 ins), together with: Van de Stadt (Guurtje, 1854-1936). Landscape in Holland, with figure and boat on a waterway, and windmill, oil on canvas, mounted on wood panel, signed lower right, 18 x 23.5 cm (7 x 9.25 ins)Qty: (2)NOTESGuurtje van de Stadt met the painter Claude Monet in 1871 during his stay in Zaandam, at which time he also painted the portrait of the 17 year old Guurtje.
Loading...
![* Hollar (Wenceslas). [The Dance of Death from the original designs of Hans Holbein, London: J. Coxhead, 1816], comprising 30](https://cdn.globalauctionplatform.com/bb56183a-a288-4c5b-9887-ac3f00a88bf2/543015f5-9dc0-4664-ab44-ac4100ff8b77/468x382.jpg)
