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283287 Los(e)/Seite
Los 340
Charlotte VON HORNSTEIN-LENBACH (1861-1941) Selbstbildnis (?) Mischtechnik auf Papier, signiert und datiert 1871 Blatt: 48 x 40.5 cm Charlotte von Hornstein war die zweite Frau des Malerfürsten Franz von Lenbach. Die Zeichnung datiert auf das Jahr 1871, da war sie gerade erst 10 Jahre alt. Möglicherweise hat jemand anders das Portrait gemalt oder sie war ausserordentlich begabt.
Los 265
Field Marshall Bernard Montgomery El Alamein victor 1945 vintage Tuck portrait postcard. 30/8/1945 CDS postmark and written in pencil. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 283
"Ceramiques de Picasso" by Suzanne and Georges Ramie, edition D'Art Albert Skira, Geneve, with tipped in colour plate illustrations, 1948, together with one other illustrated book of Picasso paintings (2) Condition: 17 colour plates - of his ceramics, 1 black & white portrait of Picasso, the page have been separated, a little "brownish" to the outer edges, a little tatty overall, the original covering tissue is damaged.
Los 1135
An Italian 18ct gold miniature watercolour portrait pendant necklace, the hand painted enamel panel depicting female profile, signed HL, import London 1979, on 9ct Prince of Wales link chain, pendant 28.1mm, chain 50cm, 7g grossNo damage or repair, no broken links, clasp working, marks clear, stamped 750 and 9k
Los 1124
A large Georgian miniature portrait mourning pendant, circa 1800, the central miniature watercolour portrait depicting lady in black dress with pearl necklace unsigned, with woven hair reverse under convex glass within gilt-metal floral frame, 88.9mm, 59.9gSome surface dirt underneath glass around edge, otherwise no damage or repair, light wear to high points of settings, unmarked
Los 1366
An interesting mixed group of works of art and similar, to include a Mont Blanc fountain pen; two Ruskin pottery plaques; a Corpus Christi; a silver dwarf candlestick; a carved oak novelty shoe pincushion, inscribed 'Made From Old Pit Timber'; a railway pocket watch; and two Victorian portrait miniatures. (15)
Los 37
France and US: A Napoleon I 1813 5 Francs, obv. Napoleon Bonaparte laur. bust r, rev. denomination within wreath (F), together with Louis Phillippe I 1838 and 1845 5 francs coins, both obv. portrait bust r, rev. denomination and date within wreath, (EF & F), a Napoleon III 1869 5 Francs, obv. laur. bust r, rev. crowned and mantled arms (GF), and a French Republic (Hercule 3rd Republic) 1873 5 francs, obv. denomination and date within wreath, rev. Hercules group, (EF). Also a United States of America 1879 1 dollar (Morgan dollar) (VF) and a United Sates of America 1923 1 dollar (Peace dollar) (GF). (7)
Los 49
Baltasar de Figueroa the Elder (Seville, circa 1550 - Bogota, Colombia, early 17th century)‘Our Lady of the Rosary with Philip the Second and Charles, Prince of Asturias as donors’.Oil on canvas on tablexWith important carved and gilded period wooden frame.113 x 71,5 cm.As noted by art historian Manuel Salvador Sánchez Aparicio in his historiographical review of this artist, it is surprising that Baltasar de Figueroa the Elder, known as such to differentiate him from his grandson, remains "one of the great enigmas in the historiography of Colombian painting, despite the craftsman’s significance, as he, indeed, began a dynasty of painters that flourished well into the 18th century."When we study the artworks of the Figueroa Dynasty, we can appreciate a very particular and unique style among them, and almost by default or instinct, we find ourselves compelled to relate the works to each other to finally understand that this family developed a style that many have since followed. It is clear that within this family, they influenced and collaborated with each other. The significant generational presence of the Figueroas persisted throughout the 16th, 17th, and 18th centuries, positioning them at the pinnacle of painting in New Granada.The painting we study here depicts Our Lady of the Rosary and the Christ Child, with the notable feature of having King Philip II and Prince Carlos of Austria at their feet as donors. Both are dressed in the typically austere and puritanical, dark fashion promoted by King Philip II himself, due to the discovery of logwood in America for dyeing garments, a dye that would be commercialised by the Crown.This work is the only pictorial record produced in Latin America that depicts the King and the Prince together. It is also the only known image of Prince Carlos of Austria produced in America to date.Undoubtedly, the elongated face, pronounced features, marked eyebrows, beard, and moustache of our donor are exactly the same as in the portrait of Philip II found in the National Historical Museum of Chile, making the connection between these works evident. We could even consider that they had access to a print. The portrait of the King of Spain is also comparable to other versions by Sánchez Coello and Pantoja de la Cruz, where he is depicted at an older age with his white hair. In Pantoja de la Cruz’s engraving “Death of Carlos of Austria,” the prince is depicted similarly to this painting, as a young man of 21, a very similar age to that of Carlos when he was portrayed here, suggesting that Baltasar de Figueroa is likely to have painted it in the late 1560s.We highlight the importance of this piece not only because it was painted by one of the greatest artists of the Viceroyalty, who had the talent, initiative, and perseverance to create a school that endured over time, but also because it is an invaluable historical and pictorial record of the influence of Philip II and his fashion. This work makes us direct participants in a history of synergies and syncretisms that resulted not only in the creation of Latin American artworks influenced by European techniques and themes but also in the Americanisation of the old world, of which our work is a material witness. Reference bibliography:- Sánchez Aparicio, Manuel Salvador. (2012). "Baltasar de Figueroa «el viejo» Revisión historiográfica, aportaciones y rectificaciones relevantes en torno a su biografía y procedencia sevillana." Ensayos. Historia y teoría del arte, Bogotá, D. C., Universidad Nacional de Colombia, num. 22, pp. 70-86.
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283287 Los(e)/Seite