283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Los 238
English School (c.1840), PORTRAIT OF A LADY, HALF LENGTH IN A BLUE DRESS AND WHITE BONNET Miniature on ivory 8 x 6.5cm, in a bird's-eye maple frame CONDITION REPORT: Smudge or wear to surface on right side of background. Small splits in maple, including 3cm from top centre, and in three corners around gilded frame.
Los 254
Attributed to John Linnell (1792-1882), PORTRAIT OF A GENTLEMAN, HALF LENGTH, SEATED Pencil 27.5 x 38.5cm, unframed; and two others, a pencil and white chalk study of a gentleman, head and shoulders; and a black and white chalk portrait of a young lady, three-quarter length, attributed to William Kidd (3) CONDITION REPORT: LINELL: Staining A tear. Others are creased and stained.
Los 257
Walter Frederick Osborne RHA (Irish 1859-1903), PORTRAIT OF A YOUNG WOMAN, SEATED HALF LENGTH, IN A PALE BLUE DRESS AND PINK SCARF WITH A YELLOW ROSE Signed and dated 1889 l.l., pastel 54 x 41cm, unframed CONDITION REPORT: Was brought into Sworders unframed and unmounted. We have placed in a mount and plastic sleeve for protection of pastel surface. Paper laid down on card. Some cocking to paper. No obvious major faults.
Los 300
Follower of Antonis Mor, PORTRAIT OF A BOY, HALF-LENGTH, IN A BLACK PLUMED CAP AND A GOLD EMBROIDERED BLACK DOUBLET With inscription u.r., oil on panel 34 x 26cm CONDITION REPORT: Split to panel down centre, repainting along split.. Sub-frame to back. Areas of overpainting throughout, including a six centimetre area on left cheek and chin of boy and another large area on right shoulder.
Los 311
Circle of Charles Philips (1708-1747), PORTRAIT OF A GENTLEMAN, STANDING THREE-QUARTER LENGTH, IN A GREEN COAT, HOLDING A GUN; PORTRAIT OF A LADY, STANDING THREE-QUARTER LENGTH, IN A WHITE DRESS, IN THE GROUNDS OF A COUNTRY HOUSE A pair, oil on canvas laid down on board 36 x 30cm (2) CONDITION REPORT: Slight warpage to boards. Areas of retouching.
Los 322
Robert Hahn (German 1883-1940), PORTRAIT OF A YOUNG WOMAN, HALF LENGTH IN A VIOLET COAT AND HAT Signed l.r., oil on canvas 61 x 44cm CONDITION REPORT: Relined. Retouching throughout including face and hands. Violet hat - retouching tends to be small lines and spots but there is a lot of these small areas on left cheek, and her shoulder and arm. Eyes and lips not retouched. Perhaps 20% of whole painting.
Los 331
Attributed to Enoch Seeman (1694-1744), PORTRAIT OF A LADY, HALF LENGTH, IN A WHITE DRESS AND RED WRAP, POSSIBLY A MEMBER OF THE CONYERS FAMILY Inscribed on stretcher 'The Gift of Sophia Conyers to Hannah Warner 1742', with painted heraldic crest u.l., oil on canvas 76 x 64cm CONDITION REPORT: 10cm diameter tears and paint loss to right of head. 3cm area damage to paint loss under left side of her chin. Damage and obvious repainting to her left breast. Old tear and repainting to her right shoulder. Craquelure. Relined. Dust/dirt giving white bloom to surface, repainting to her right arm. Under UV lamp, old repainting to her forehead, chest and cheeks visible.
Los 333
Circle of Thomas Hudson (1701-1779), PORTRAIT OF A GENTLEMAN, HALF LENGTH, IN A GOLD EMBROIDERED COAT AND HOLDING A TRICORN HAT Oil on canvas 76 x 63cm, in a mid 18th century carved giltwood frame CONDITION REPORT: Large tears on coat, causing significant paint loss. Areas of paint loss in background, especially lower right, Two holes in hair. Craquelure throughout. Retouching. Canvas loose on stretcher. Marks from stretcher bars visible.
Los 335
Circle of John Riley (1646-1691), PORTRAIT OF A GENTLEMAN, BUST LENGTH, WITH A LACE STOCK AND RED MANTLE Oil on canvas, in a painted stone oval 76 x 63cm CONDITION REPORT: 5cm x 6cm hole in canvas to upper right, resulting in paint loss. White marks to edges. 3cm scratch to left side. Small areas of retouching to face.
Los 336
German School (mid 18th century), PORTRAIT OF A BOY , HALF LENGTH, IN A BLUE COAT AND EMBROIDERED WAISTCOAT Oil on canvas 76 x 63cm CONDITION REPORT: Craquelure. Relined. Canvas slightly bowed. UV light shows old retouching - especially to face and hands. Re-touching - reasonably large patches on forehead and his left cheek. Additional images available (upon request).
Los 357
English School (19th century), PORTRAIT OF A LONG-HAIRED TERRIER Oil on canvas 63.5 x 76cm CONDITION REPORT: Tired. Paint thin in places. All over fine craquelure. Paint loss in places. Scuffs and scratches around left hind leg and canvas loose. Small paint losses. No signature, or anything to reverse.
Los 608
R. Krauss Miniature Portrait of Young Man Continental Miniature Portrait of a Young Man, Late 19th Century, signed R. Krauss in lower right corner, the finely painted oval half figure of curly red haired young man, dressed in black and holding a gold cane, turned to dexter, reserved against a colonnaded interior with window and salmon drapery, mounted in a hexagonal shaped frame with ribbon-tied floral garland {Height of frame 8 inches}
Los 333
ARR. John Bellany CBE RA HRSA LLD (Lon) (Scottish 1942-2013) Oil on canvas, signed top left Milne’s Bar, Bellany Moffat Paintings 1965 (top right) ‘Interior scene including Alexander Moffat, Alan Bold, John Bellany (self portrait), John Tonge, Betty Smith, Bob Watt and Picasso’ 152cm x 172cm Six or seven years ago Alexander Moffat and Allan Riach were working on the book ‘Arts of Resistance’. They asked John Bellany for his permission to reproduce his little etching of Milne’s Bar, Hanover Street, Edinburgh. One week later John Bellany phoned and told them to forget the etching, he had just done a painting for them! This is the painting ‘Milnes Bar’ When we asked Alexander Moffat (featured in the painting) to comment on the painting he told us. ‘This version certainly bathes Milne’s Bar in wonderfully warm Italianate colours, John Tonge (Author of the Art of Scotland, 1938) in the background with his walking stick, Bob Watt was the manager of the Bar, a rather staid Presbyterian figure, who kept everyone in order… his word was law. A slim Alan Bold features centre stage and Betty Smith was my girlfriend in those far off days. The artist himself in his best corduroy suit seems to be keeping a low profile which was never the case. Picasso was our hero… he had to be there with us. We often had imaginary conversations with him’Provenance: Purchased directly from the artist by the present owner
Los 365
An antique ivory tusk hunting horn. The mouthpiece issues from a wild boars mouth, the main body is elaborately carved with a boar hunting scene over a frieze with a boar and deer on scrollwork bands then with a Royal coat of arms and commemorative roundel portrait plaque of King George I dated 1714, 57cm. Condition Report : Some natural hair cracking. Small pieces broken from the rim of the wider opening and re glued.
Los 10
THRACE, A SILVER TETRADRACHM OF LYSIMACHOS, Lampsakos, ca. 297-282 BC, 17.036g, 12h. Müller 401. Old cabinet tone. Perfectly centered and struck in high relief. With a magnificent, elegant portrait of the finest style. Choice extremely fine. Acquired privately from Tradart; Bank Leu 1988 (45) lot 92 This is a masterpiece of early hellenistic coin engraving with a superb portrait of Alexander the Great. No life-time coin portraits of Alexander are known, and the first coins bearing his effigy were minted at Alexandria shortly after his death. They are surpassed, however, by the expression, the power and the brilliance of the Alexander heads on issues of Lysimachos struck in northern Greece and Asia Minor of which our tetradrachm is an irresistable example. The ram horn alludes to Alexander visit to the Ammon oracle in the oasis of Siwa in 331 BC. The god allegedly greeted him as his son and Alexander henceforward claimed Ammon as his true father rather than Philip II.
Los 25
BITHYNIA, A SILVER TETRADRACHM OF PRUSIAS II, ca. 183-149 BC, 16.859g, 12h. Cf. SNG von Aulock 6882. Attractively toned with underlying luster. Perfectly centered and struck. Exceptional realistic late portrait. Among the finest known. Superb extremely fine. Acquired privately from Tradart "King Prusias was ugly of aspect, and though possessed of fair reasoning power, was but half a man as regards his appearance. In military matters he was despicable and womanly: for not only was he a coward, but he was incapable of putting up with hardship, and, to put it briefly, he was effeminate in body and mind throughout his whole life, a defect that no one, least of all the Bithynians, likes to see in a king..." (Polybius 36.15).
Los 32
SYRIA, A SILVER TETRADRACHM OF ANTIOCHOS I, Magnesia ad Sipylum, ca. 280-261 BC. 16.936g, 1h. SC 318B. Old cabinet tone. Extremely fine. Acquired privately from Tradart The obverse features the diademed Antiochos in his old age. His portrait was introduced to the coinage around 278 BC, along with a reverse design which was to become the standard Seleucid type of of the middle Hellenistic period. The figure of Apollo seated on his omphalos - a sacred conical stone - reflects the role played by Antiochos in shaping the cult of Apollo in Syria.
Los 39
EGYPT, A SILVER TETRADRACHM OF PTOLEMY I, signed by the Master Δ, Alexandreia, ca. 305-285 BC, 14.269g, 12h. Svoronos 255. Old cabinet tone. Perfectly centered and struck on a broad flan. Among the finest known. Superb extremely fine. Acquired privately from Tradart Ptolemy was very early in his use of his portrait as a coin type. This is not inconsistent with the Egyptian tradition of divine kingship, but coinage was a Greek institution used primarily by the Macedonian ruling caste: thus Ptolemy`s innovation remains both shrwed and daring. His portrait is one of the most distinctive on all of ancient coinage, not only for its blunt, ungainly features but for the frank and forceful charcater it reveals. The aegis is a divine attribute, and the reverse type reinforces the Jovian identification.
Los 71
A SILVER DENARIUS OF L. HOSTILIUS SASERNA, Rome, ca. 48 BC, 3.961g, 6h. Crawford 448/2a. Finely toned. Excellent metal. With a remarkable, emotionally fraught portrait. Exceptional for issue. Virtually as struck and almost Fdc. Tradart June 1998 lot 129 The fine head on the obverse displays so much individual character that it is hard to regard it as anything other than an actual portrait, the model for which could hardly have been anyone other than Vercingetorix, the celebrated king of the Arverni, executed by the Romans in 46 BC.
Los 77
A SILVER DENARIUS OF MARK ANTONY & LUCIUS ANTONIUS, military mint travelling with Mark Antony, ca. 41 BC, 3.755g, 12h. Crawford 517/5a. Old cabinet tone. Perfectly centered and struck. Possibly the finest known. Superb extremely fine. Acquired privately from Tradart; Bank Leu 1990 (50) lot 266; former Clarence Bement (1843-1923) collection, Naville 1925 (8) lot 438 The portrait of Mark Antony is here perfectly reflective of his character. Plutarch described his `Herculean` qualities: "his swaggering air, his ribald talk, his fondness for carousing in public, sitting down by his men as they ate, or taking his food standing at the common mess table... which made his own troops delight in his company and almost worship him". This extroversion is easy to read in the triumvir portrait. Lucius Antonius, his younger brother, displays a family resemblance not only of physiognomy, but expression, so that Mark Antony charismatic personality seems attributable to him as well.
Loading...-
283284 Los(e)/Seite