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Los 54
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 200 pounds, 2021. Royal Mint. Proof Plain Edge. A re-interpretation of William Wyon's original Gothic Crown from 1847, the third coin in the Great Engravers series.Fifth crowned portrait of HM Queen Elizabeth II, facing right, wearing the George IV State Diadem, legend around; ELIZABETH II·D·G·REG·F·D·200 POUNDS·2021· J.C. Design by Jody Clark. / Crowned shields of England, Scotland and Ireland around central Garter star, national emblems in angles; tueatur unita deus·W W·HONI SOIT QUI MAL Y PENSE·anno dom mmxxi. Design by William Wyon. Plain Edge. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded PCGS PR70 DCAM, certification number 45921216. PCGS population in this grade: 2, equal-finest graded.Mintage: 125.Diameter: 40 mm.Weight: 62.42 g. (AGW=2 oz.)Composition: 999.9/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Los 56
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 5 pounds (crown), 2022. Royal Mint. Proof. A commemorative crown celebrating the Platinum Jubilee (70th anniversary of the accession) of HM Queen Elizabeth II.Fifth crowned portrait of HM Queen Elizabeth II right, wearing the George IV State Diadem, legend around, "ELIZABETH II · D · G · REG · FID · DEF · 5 POUNDS · J.C" / Ornate crowned Royal Arms with dates below. "· HONI · SOIT · QUI · MAL · Y · PENSE · JB ·1952 2022·" Design by John Bergdahl. Plain edge with incuse lettering. "SERVE YOU ALL THE DAYS OF MY LIFE"Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Diameter: 38.61 mm.Weight: 39.94 g. (AGW=1.177 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Los 53
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 200 pounds, 2021. Royal Mint. Proof Plain Edge. The first coin in the series features the reverse of the Gothic Crown; this second coin is dedicated to Queen Victoria's Gothic portrait, which was on the obverse of the original crown. This release commemorates the Gothic Crown, an 1847 Queen Victoria design by former Royal Mint engraver William Wyon.Young portrait of HM Queen Elizabeth II in a Gothic style, facing right, crowned with the same crown that Queen Victoria has on her Gothic portrait, wearing a richly decorated gown, JC left, legend around in ornate Gothic script; Elizabeth dei gratia britanniar. reg: f:d; / Young crowned bust of Queen Victoria (widely known as her "Gothic Portrait"), facing left, monarch's legend around; Victoria dei gratia britanniar. reg: f: d. Design by William Wyon. Plain Edge. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded PCGS PR70 DCAM, certification number 45921215. PCGS population in this grade: 3, equal-finest graded.Diameter: 40 mm.Weight: 62.20 g. (AGW=2 oz.)Composition: 999.9/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Los 15
UNITED KINGDOM. George III, 1760-1820. Gold sovereign, 1820. London. Open 2. Laureate head right; date in exergue, with open 2; GEORGIUS III D:G: BRITANNIAR: REX F:D:. / St George slaying the dragon right within Garter; HONI · SOIT · QUI · MAL · Y · PENSE ·.Ex-Salton Collection. A brilliant example of one of the most iconic sovereigns showcasing Pistrucci's famous depiction of the St. George and the Dragon. Lively lustre, very light marks in the fields, a hint of cameo retained in the portrait. Very rarely seen in this top condition. In secure plastic holder, graded PCGS MS63 , certification number 44604968. PCGS population in this grade: 8.PCGS population in higher grade: 6.Reference: Fr-371; KM-674; Marsh-4; S-3785CMintage: 2,101,994.Diameter: 22.05 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Los 52A
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 200 pounds, 2020. Royal Mint. Proof. The second issue from the Great Engravers series, following the popular 2019 release of William Wyon's Una and the Lion.Fifth portrait of Queen Elizabeth II facing right; ELIZABETH II · D · G REG · F · D · 200 POUNDS · 2020 · . Design by Jody Clark. / Three standing female figures in classical dress, representing Ireland, England, and Scotland. A harp, a Union Flag shield, and a thistle lie at the feet of the respective personification. Artist signature to the left and quiver and palm frond in exergue; FOEDUS INVIOLABILE. Original design by William Wyon. Edge Milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Mintage: 335.Diameter: 40 mm.Weight: 62.42 g. (AGW=2 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Los 6
1 x Vatikan - Silberne Gußmedaille o.J. (spätere Prägung), Papst Pius VI. (1775-1799), Auf seine Wahl, Av: Brustbild n. r.. Rv. Christus trägt Kreuz auf den Kalvarienberg, ss, berieben, Kratzer, Tönung, leicht verschmutzt, 50,8g Ag rau (Materialtest 850er Silber).1 x Vatican - Silver cast medal o.J. (later restrike), Pope Pius VI (1775-1799), On his election, Obv: Half-length portrait n. r.. Rv: Christ carrying cross to Calvary, VF, rubbed, scratches, toning, slightly soiled, 50.8g ag rough (material test 850 silver).
Los 10
(Bergamo 1822 - Udine 1882)Cm 70x100 | In 27.56x39.37Oil on canvasHe was born in Bergamo on July 9, 1822, to Paolo Decio and Elisabetta Deleidi, both tailors by profession. In 1837 he enrolled at the Academy of Fine Arts in Venice, where he exhibited as early as the following year, on the occasion of the visit to the city of the Emperor of Austria, Ferdinand I. A gifted pupil but with a lively disposition and recalcitrant to rules, he had quite a few problems with his relationship with the teaching staff. In 1842 he left his studies to return temporarily to his homeland, where he frequented a prominent cultural milieu such as the salon of Count Andrea Vertova, a secular family of patrons of the arts, visited regularly by such personalities as Giovanni Simone Mayr, founder of the Music School of the Congregation of Charity, Girolamo Forini, a well-known singer and singing master of the time, and Giuseppe Diotti, director of the local Carrara Academy. Perhaps to complete his education, he made a trip to Rome in 1846, later returning to Venice, where he took part in the revolutionary uprisings of 1848-1849. He then moved to Palmanova, where he probably arrived following the contingent sent from Venice to help the fortress in 1848. Here he married, in 1851, Ursula Brandolini, a local hostess, with whom he soon moved to Udine, where he owned an atélier as early as 1853. During the 30 years he lived in the Friulian capital, A. also worked as a private drawing teacher with a number of noble families and, later, at the Scuola d'arti e mestieri della locale Società operaia di mutuo soccorso, even taking on the role of director there. A.'s fame remains tied to landscape and portrait painting, a genre in which he distinguished himself for the realism and psychological introspection of his subjects. His portraits include Count Augusto Agricola (1857, Udine, Civic Museums), a pioneer of photography in Friuli; publisher and director of Udine's Teatro Sociale Paolo Gambierasi (1871, Udine, Civic Museums); Pordenone architect Giambattista Bassi (1879, Pordenone, Civic Museum of Art); and Vittorio Emanuele II (private collection), the first king of Italy. In the landscapes, however, A. expresses a personal vein of romantic inspiration, which can be traced back to the academic training that took place under Francesco Bagnara, previously a set designer at the Venetian theater La Fenice. The felicity of the graphic stroke also gave the painter the opportunity to work in the field of lithography, executing portraits of the Friulian architect Valentino Presani, Francesco Tomadini, Theobaldo Ciconi, patriot and playwright, Girolamo Forini, a musician from Bergamo, and Clementina Cazzola, a well-known actress of the time. Sources also mention his activity in the field of sacred painting, to which the altarpiece depicting St. Agatha, St. Lucy and St. Apollonia, certainly autographed, painted for the church of the Blessed Virgin Marcelliana in Monfalcone (Gorizia) between 1856 and 1857, can be traced. After a short illness, A. died in Udine on January 25, 1882, leaving uncovered also the post of adviser to the newly formed Udine Artistic Circle.
Los 18
(Cerea 1835 - Milano 1909)Cm 69x38 | In 27.17x14.96Oil on canvasFemale portrait. Technique: Oil on canvas Biography Luigi Sorio (Cerea, 1835 - Milan, 1909) trained in Verona at the Academy of Fine Arts. He began exhibiting from the 1850s, presenting himself as an interpreter of literary or historical scenes of a clear romantic matrix, veiled by a certain sentimentalism. At a later stage he specialized in portraits and genre scenes, elaborated especially from his move to Milan. In 1869 Luigi Sorio was appointed professor at the Academy of Verona, after winning the competition announced by it, thanks to a portrait of Victor Emmanuel II. Very skillful in the representation of facts of the chronicle contemporary to him, he managed to perfectly combine his academic training with the use of photography. This new medium, in fact, is an aid to observing and imitating the real thing, much in the style of the younger painter and his countryman Angelo Dall'Oca Bianca (1858-1942). After moving to Milan, Luigi Sorio exhibited frequently at a series of exhibitions in Rome, Genoa, and Milan, devoting himself mainly to official portraiture. In the meantime he resigned from academic teaching and devoted himself fully to painting, gaining much recognition and commissions. He died in Milan in 1909. The Romantic Strand At the beginning of his career, Luigi Sorio identified himself with literary or historical themes of the Romantic field. From 1856 he began exhibiting at the Society of Fine Arts in Verona paintings such as The Kiss, preserved at the city's Gallery of Modern Art. To 1866 dates Beatrice Cenci, while to 1869 Margherita, a character from Goethe's Faust. Alongside these sentimental compositions are also some history paintings such as Polish Exiles and Tommaseo. Luigi Sorio: portraits and contemporary news scenes As early as 1869, as mentioned, Luigi Sorio distinguished himself as a skilled portraitist, winning a competition with The Portrait of Victor Emmanuel II. From this time on he established himself as a representative of this genre, devoting himself mainly to official portraits. They are almost always characterized by half-length figures, silhouetted against neutral backgrounds and with strong emotional notation. Examples are Portrait of Luigia Gemma Bracht, Bishop of Carpi, General Fanti and Isabella Galletti Gianoli, a soprano singer. At the 1876 Florence Exposition he presented Portrait of Gino Capponi, while at the 1892 Genoa Exposition he presented King Umberto at Monza. Alongside the strand of portraits, Luigi Sorio specialized in pleasing genre scenes such as Un gentile pensiero, of 1870. At the 1883 National Exhibition of Fine Arts in Rome he sent Idyll and Prayer and Distraction. Especially in his Milan phase, he devoted himself to pictorial narration of contemporary news scenes. Thanks to photography, used as a means of probing and delving into reality, the paintings are imbued with a kind of "journalistic" value. An example of this chronicle genre is Episode of the Verona Flood of 1882, presented in Verona in 1883. The painting Viva Il Re, belonging to the same production, marks the author's definitive success. It was in fact purchased by Umberto I for the Villa Reale in Monza and won several praises at the 1892 Columbian Exhibition in Genoa. Luigi Sorio Quotes Do you know the value of your painting by this painter? You can count on our experienced art historians for a free appraisal even in less than 24 hours. We buy Paintings by the Artist. Contact us either by uploading images of the canvas directly in the form below, or by using the contact criteria above. Due to long experience in the field, we can offer an estimate furthermore his paintings and coeval artists. For a rigorous estimate, it is essential to have photos of the work with respective measurements, the signature and also the back.
Los 25
(Vjatka, Russia 1889 - Roma 1957)Cm 80x64 | In 31.50x25.20Oil on canvasAleksej Vladimirovic Isupov, known by the Italianized name Alessio Issupoff, was born in Vyatka (present-day Kirov) on March 10, 1889. The son of an icon carver and gilder, he learned to paint from the artisan painters who worked with his father. Wanting to give expression to his artistic creativity, young Alexis did not take up his father's trade but left Vyatka for Moscow, where he attended the School of Painting, Sculpture and Architecture. He was mentored by painter Apollinarij Michajlovic Vasnetsov, Viktor's brother, who introduced him to the Moscow art milieu and helped him find work. Studying and visiting museums, Issupoff formed his own aesthetic "taste" by modulating it to contemporary Russian and French art. In addition to Vasnetsov, he had Valentin Serov and Konstantin Korovin as his teachers, who educated him in genre, landscape and portrait painting. Obtaining his diploma in 1912, he took up traveling in the Ural region. Assigned to the Tashkent garrison, he avoided the raw experience of World War I. After finishing his military service, he traveled around Turkestan immersing himself in a colorful and "magical" environment that would strongly mark his painting. Indeed, many of his best-known works offer evocative visions of the remotest moors of Central Asia. Settling in Samarkand with his wife Tamara Nikolaevna, he served here as director of the local Committee for Restoration and Conservation of Works of Art and City Monuments. He then perfected himself in the technique of tempera on wooden panel, creating works that, in style, were reminiscent of traditional icon painting. His return to Moscow in 1921 marked the beginning of the most painful period of his private life. Finding himself in financial straits, Issupoff was reduced to being a "regime" artist, that is, painting portraits of senior Soviet leaders and scenes inspired by the Russian Revolution and Red Army exploits. Once again it was Vasnetsov who helped him, finding him a salaried job within one of the many Moscow Committees. Plagued by health problems, he traveled to Italy in 1926 for treatment. His life then took a radical turn. Italy was the place of his rebirth, both personal and artistic. Issupoff immediately found there a benevolent and flattering welcome. He had, since his arrival, occasion to be appreciated by critics and the public. As early as 1926 his first solo exhibition was held in Rome. Numerous other exhibitions followed in the most important cities of the Peninsula and, in 1930, the 17th Venice Biennale "consecrated" the work of the Russian painter. Enjoying esteem, affluence and freedom of expression, the artist decided not to repatriate. How painful that decision had been is shown by Issupoff's own production. Painting "from memory," he recreated the Russia he had left behind. Not the Soviet one, but the pre-revolutionary one he had known in childhood and youth. "The impressions he retains of his country return in the new pictures with greater richness of motif and breadth of unfolding: misty moors, the rivers that furrow, frosty and gloomy, the snow-white countryside, birch trees embroidering their silvery frappe amid veils of mist, and horses grazing, sledding, troika, and plow." Nostalgia, combined with failing health, exacerbated depression, which struck him in old age causing him to hole up in his own home and isolate himself from the world. In his last years, says his wife Tamara, he painted very little and was never present at the opening of exhibitions dedicated to him. He died in Rome on July 17, 1957, and was buried at Testaccio Cemetery. Nine years later, Tamara returned to Russia, taking with her the paintings she inherited from her husband. Many of these works were donated by her to the art museum in Vyatka, Issupoff's hometown.
Los 3
(Milano 1819 - 1886)Cm 45x55 | In 17.72x21.65Oil on canvasThe son of Carlo, an accountant employed by Marquis Giuseppe Arconati Visconti in 1840, he graduated in law from the University of Pavia. He soon abandoned the idea of a career as a lawyer and in 1842 he presented a series of genre paintings at the Brera exhibition. Following in the footsteps of Domenico Induno, Salvatore Mazza later chose to focus on realistic painting, as opposed to the dominant Romantic current that preferred courtly and historical painting. In 1844 he presented at Brera two canvases with episodes from the Greek War of Independence and genre paintings of popular settings. He undertook long study trips to the Papal States and the Kingdom of the Two Sicilies, taking new insights from life in the cities and villages and filling his albums with sketches of landscapes and figures. Back in Milan he painted Funerale nella Campagna romana, Briganti calabresi, La maliarda (1845) and Predica al santuario nelle vicinanze di Sora (1847). With his father Carlo and older brother Giuseppe he distinguished himself in March 1848 during the defense of Milan from Austrian troops. Many years later he collected his memories in the autobiographical book The Five Days of Milan (1885), in which he described his experience among Carlo Cattaneo's supporters. On the same theme he painted in 1850: Scene of the Five Days in Via Santa Radegonda, Scene of the Five Days at Porta Tosa, Milanese Nocturne and Milan March 18, 1848 the beginning of the Five Days Revolution. With his brother Giuseppe he militated in the ranks of the Piedmontese army during the Campaign of 1859. A versatile artist, he devoted himself to writing historical novels, such as Il memoriale di frà Luca d'Avellino-set in 18th-century Naples and embellished with some 800 of his illustrations, including genre scenes and landscapes, done with a quick and sure touch-and Fantasie artistiche e letterarie. Between 1850 and 1854 he presented 28 paintings at Brera, including I bravi alla Malanotte, a subject from The Betrothed. Two of his mountain landscapes-A Hurricane on the Apennines and The Fall of the Sun-were published. In 1856, he was awarded the Mylius Prize with the painting A Herd at Rest. He also made medium or small canvases, with landscapes and with animals, to please the tastes of the Milanese bourgeoisie. He often painted en plein air, as he recounted in Gite d'artista e studii dal vero: descrizioni e racconti. He worked particularly on the pre-Alpine and Apennine hills, following the method favored by other Lombard landscape painters, such as Giovanni Battista Lelli and Gaetano Fasanotti (1831-1882). As a draftsman, caricaturist, and cartoonist, he collaborated on satirical newspapers, including Lo Spirito Folletto and Leone Fortis's two Milanese magazines Il Pungolo and Panorama, in which Cletto Arrighi, Ippolito Nievo, Venetian playwrights Paulo Fambri and Vittorio Salmini, and Giuseppe Rovani wrote. As an illustrator he collaborated on Franco Mistrali's I misteri del Vaticano o La Roma dei papi (1861-62), published in four volumes? a curious and anticlerical reinterpretation of Church history. His painting La stalla di un albergo was awarded a prize at the 1861 National Exhibition in Florence, while his canvases Il pensieroso, Il maniscalco, and Stalla rustica were presented at the 1867 Universal Exhibition in Paris. He was elected a member of the council of the Brera Academy; he reviewed exhibitions in the Milanese newspapers Il Pungolo and La Lombardia, then in L'Illustrazione Italiana. He was an honorary member of the art academies of Mantua and Urbino. A portrait of him as a young man, painted by his brother Giuseppe, is in Milan at the National Center for Manzonian Studies, Casa Manzoni. He died in Milan on October 24, 1886. An early portrait of him, autographed by his brother Giuseppe, is in Milan, Centro nazionale di studi manzoniani. The Milanese Mazza family gave three artists: Salvatore Mazza - who as a cartoonist signed himself Salvatore - his brother Giuseppe (Milan, 1817 - Milan, 1884), a painter of historical and genre subjects, and Aldo (Milan, 1880-Gavirate, 1964) - Giuseppe's son - who was a painter, publicist, cartoonist and caricaturist.
Los 30
(Venezia 1873 - Roma 1950)Cm 76x95 | In 29.92x37.40Oil on canvasby A. M. Comanducci Born in Venice on September 15, 1873, he lived in Rome. Self-taught, he set out to paint at the age of seventeen, studying life. He treats all genres, from landscapes to portraits, transfusing into his works a heartfelt and exquisite melancholy that is found especially in his landscapes, which thus remain most moved and dearest. He is a poet of the palette, who, to the emotional expression of figure and landscape, combines a marked decorative sense of form and color and a skilful taste for the harmony of composition. He exhibited his early works at the Permanente in Venice. With an "Interno di San Marco" he won the Fumagalli prize. From 1897 he exhibited at those Venetian Biennials: in that year: "Café in Constantinople" and "The Rich"; in 1889: "Silver Light" and "After the Rain (St. Mark's Square)"; in 1901: "Farrier" and "August"; in 1903: "Velieri in Canale della Giudecca"; "La chiesetta di notte" and "Campagna bionda," currently in the International Gallery in Venice; in 1905, "Giorno d'autunno"; "A Burano" and "Nel Lazio"; in 1907, "Assisi" and "Mercato di cocci (Assisi)"; in 1909, "Sagra di San Giovanni"; in 1910, thirty-one paintings, "Umbrian and Tuscan Landscapes and Visions"; in 1912: "Portrait of Nino Barbantini"; "A Sunrise" and "Serenade"; in 1914, "Boat Trip"; "The Dancer Dora Angel"; "The End of the Fires" and "Capriccio in Grey and Purple." After the First European War he resumed exhibiting: in 1922: "A Procession in Bergamo"; "In Val Brembana" and "Assisi"; in 1926: "A Hermitage (Assisi)"; "In Vittorio Veneto" (1916) and "The Choice"; in 1928: "Val di Non"; "Lo sterro" and "Vento di terra"; in 1930, "II pescatore e la sua barca" and "Vita di bordo"; in 1932: "Le Mantellate"; "Mimose"; "Anticaglie"; "Veduta di Roma"; "Pesci" and "Angolo." In 1922 at the Primaverile Fiorentina he exhibited "Val Brembana"; "The Chinese Shawl" and "Chrysanthemums." In 1924 at the Venice International an individual exhibition of his works was ordered. "UMBRE AND TUSCAN LANDSCAPES AND VISIONS" by Ferruccio Scattola We turned to Ferruccio Scattola, to get some biographical information. He answered us with a short page, but so limpid and sincere that we certainly could not say more or better. We reproduce it without fail: "I was born in I873. Having finished a few courses of study, I set out to paint alone without guidance uncertain whether to enter the Academy or some artist's studio; so I continued and continue to study nature. However, I do not like art that reproduces it in too objective a form; on the contrary, I am convinced that only is excellent work that, which through the artist's sensitivity, translates it with a style. Nature attracts me in all its forms, giving me a continual restlessness; I attempt different aspects and expressions of the real, I am persuaded, however, to prefer certain forms and motifs that I loved from my earliest years and to which I return at intervals. For some years now I have been trying to give my painting a decorative style; decoration, in my opinion, can contain in itself the most beautiful qualities of the work of art, both intimate and grand, both intellectual and sensory. If I introduce myself as a landscape painter this year, I also treated the figure, painted a few portraits, and hope to soon have the opportunity to make these new studies of mine known" Ferruccio Scattola's paintings, discreet and gentle, with graceful breaths of wind that swell the snowy sails in the festive basin, with gentle illuminations that feather everything so that the outline of the city seems on the milky water an ephemeral apparition, with mirrors of calm lagoon toward St. Francis of the Desert ploughed by the boat of silent friars returning to the home convent; they denote with delicate art a trembling sensibility.
Los 37
(Serravalle (TV) 1845 - Padova 1911)Cm 27x39 | In 10.63x15.35Oil on canvasThe son of Paolo, a landscape painter and decorator, he wore the ecclesiastical habit at a very young age, but in 1862 he enlisted in the Italian army and, thanks to the help of General E. Cialdini, was able to attend the Academy of Fine Arts in Bologna for two years. He later worked in Alexandria as a photographer and mechanical draftsman for the military genius. After leaving the army, he lived in Piacenza, Treviso and Padua. He exhibited assiduously in Turin (1869, L'effetto del vino; 1870, Il turchino, Il pittore; 1898, Le gioie della famiglia, Rome, Galleria Nazionale d'Arte Moderna), Milan (1880, Idillio campestre, La roca de la nona; 1884 Nei campi, Nunc et semper; 1895, Gentilezze rusticane), Rome (1883, La preghiera) and Venice (1887 Armonie, Mercato delle pignatte; 1897, Bagno improvvisato). He was also a portrait painter ( Cardinal Callegari, Padua, Episcopal seminary; Portrait of Maestro Cesare Pollini, exhibited in Milan in 1906), a decorator in a lively eighteenth-century vein (Fanciulla sull'altalena , Allegoria della Primavera, 1900, Villa Contarini in Piazzola sul Brenta,Padua) and the author of works with religious subjects (1905, Church of Sant'Agostino Arcella, Padua). He was best known for genre scenes inspired by episodes of peasant life, captured with delicate realism (Scena campestre, Un contratto, Venice, Galleria d'Arte Moderna di Ca' Pesaro). He died in Padua on April 10, 1911.
Los 45
(Mongrassano, Cosenza 1859 - Napoli 1942)Cm 31,5x18 | In 12.40x7.09Oil on panelHe was born to Carlo, a sculptor. Arriving twelve years old in Naples, he attended the Institute of Fine Arts with Morelli, for one year only because he was intolerant of school discipline, The refinement to his art he had through the many trips he made in Italy and abroad, with frequent stays in Venice Verona Chioggia, sources of inspiration for many of his paintings. Born in Mongrassano in 1859, he trained in Naples in the early 1870s, immediately proving himself in 1875 by exhibiting in Venice Una fanciulla che ride, purchased by none other than Domenico Morelli. A great friend of Antonio Mancini, he shared that anti-academic climate in Naples in 1877, later coming into contact with the Spanish painter, but living in Rome, Mariano Fortuny (1838-1874). A painting, Fortuny's, that would influence him. His small paintings, exhibited in 1877 in Naples, were bought for him by Goupil. Around 1880 he went to Paris but first stopped in Venice, which was already his city of choice. His Parisian sojourn led him, unfortunately, to refine his painting with many chromatic winks to meet the market in both Paris and London (per Colnaghi). Fortunately, he took up residence on the Grand Canal in Venice, becoming a poet of Venetian foreshortenings, penetrated by a painting invaded by light and bathed in pollen. A powerful portrait painter, he lived his last years in silence and solitude, but content given the sale of many of his works in 1931 to Reigning Houses, Foreign States and by the Italian State. King Victor Emmanuel III appointed him Grand Officer of the Crown of Italy. He died in Naples on January 1, 1942.
Los 46
(Napoli 1856 - 1936)Cm 32x19,5 | In 12.60x7.68Oil on panelVincenzo Caprile studied at the Academy of Fine Arts in Naples with Domenico Morelli and Gabriele Smargiassi. A painter of Impressionist imprint, he was linked to the Resìna School, and devoted himself to the depiction of landscape scenes and popular characters. His painting technique denotes great freshness of stroke, bringing to mind influences of Filippo Palizzi, and resulted in his excellent commercial success. He lived for long periods in Venice, alternating paintings of the Lagoon with Neapolitan landscapes. With other Neapolitan painters (Luca Postiglione, Pietro Scoppetta, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, and Vincenzo Irolli) he was called upon to decorate the rooms of the Caffè Gambrinus in Naples. He died in Naples in 1936. Works in museums Other works: Intimacy (1879) Face of Woman (1879) Woman Playing Mandolin (1879) Face of Maiden (1879) Peasant Girl with Little Donkey (1879) Peasant Girl (1880) The Little Pumpkin (1881) Portrait of a Little Girl (1881) Na cozinha (1881) Marina (1883) Maria Rosa and the Kitten (1883) Watercolor (1884) Landscape (c.1885) Farmhouses (1885) Acqua zurfegna (1885) Peasant girl in the stable (Maria Rosa) (1886) Face of commoner (1887) Male portrait with cigar (1887) Venice (1887) Old village (1887) Shepherd in celebration (1887) Along the Canal, Venice (1888) Quiet Canal, Venice (1888) Shepherds with donkeys (1888) Portrait of woman (1889) Ants (1889) The beach at S. Benedetto del Tronto (1889) The Model (1894) Portrait of a Maiden (1898) The Flower Vendor (1899) Portrait of a Fisherman (1903) Goats (1904) Little Goats (1904) Piazzo San Marco (1905) Shepherdess on the Edge (1905) The Three Ages (1906) The Porta della Carta, Palazzo Ducale, Venice (1909) Old Man with a Pipe (1910) The Pipe Smoker (1914) View of Positano (1924) The Red Door (1924).
Los 47
(Amalfi (SA) 1863 - Napoli 1920)Cm 47x29,5 | In 18.50x11.61Oil on canvasDevoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.
Los 50
(Salerno 1858 - Sala Consilina (SA) 1911)Cm 35x48 | In 13.78x18.90Oil on canvasHaving learned his first rudiments from Gaetano D'Agostino, he was a student at the Reale Istituto di Belle Arti of Filippo Palizzi, Domenico Morelli and Stanislao Lista. His classmates were Giuseppe Avallone, Vincenzo Migliaro, Vincenzo Caprile, Giuseppe De Sanctis, Paolo Vetri, and Vincenzo Volpe, to whom he was also linked by affinity of taste. Present in almost all the exhibitions of the Promotrice Napoletana, starting in 1875, with a Studio dal vero, purchased by Enrichetta Vonwiller, he established himself in the 1877 National Exhibition with three genre paintings. At the promoters he presented: in 1876, the painting "A Moment of Sadness" and "Tunisian Sailor"; in 1882, "Va" and "Simm'arrivate," much appreciated by Francesco Netti, who, however, saw in them the danger of a "painting for painting's sake." in 1884 out of catalog, "Peppariello," which fell to Vincenzo Volpicelli; in 1885 "Chi vuol bene vede senza essere veduto"; in 1894 "In chiesa" and "Ricordo di Napoli"; in 1906 "La Grotta delle Ninfe" and "Palazzo Donn'Anna." In "1880" to compete for the pension, he had executed two sketches, "Christ Presented to the People" and "Christ and the Children" (Naples, Galleria dell'Accademia), as well as the large canvas "Christ Blesses the Children," exhibited in Turin in 1880 and purchased by the Ministry of Public Education for the Galleria dell'Accademia in Naples. He often used subjects of children in his genre paintings, letting himself be influenced by the patheticism of Antonio Mancini and his interest in rags and the material rendering of color. The color, however, in Esposito, while very rich, is polished and graduated in precious and accurate chiaroscuro, in the manner of Edoardo Dalbono. It is especially in the portraits, and particularly in the female pastel portraits, that the painter displays great virtuosity in mastering the tonal technique of seventeenth-century derivation. Among his portraits are that of "Architect Pisante," (1876; Naples, Galleria dell'Accademia), the somewhat rough one of "Vincenzo Migliaro" (Naples, formerly Casciaro Collection, now Banco di Napoli), that of "Architect Curri," and that of "Giacinto Gigante," taken from the portrait painted by Domenico Morelli in 1865. A famous painting, which is affected at the same time, by his skill as a portrait painter, and his experience as a "generalist" is: "In church," exhibited in Rome in 1893, in Munich in 1896 and in Milan in 1897 (formerly Naples, Casella Collection; now Salerno, Private Collection). A coeval work is then: "Waiting" (Naples, formerly Chiarandà Collection, now, D'Angelo Collection), which recalls, as a composition, Gioacchino Toma's "The Two Mothers." In the years straddling the two centuries he devoted himself to decorative paintings of some commitment, such as the frescoes at the Naples Chamber of Commerce or the decoration of the "plafond" of the Garibaldi Theater in Santa Maria Capua Vetere, with the "Apotheosis of Poetry." He was present in various national and international exhibitions, in Rome in 1883 with the work: "Da Posillipo", in Turin in 1884, among others with: "Primi palpiti"; in Milan in 1894 with: "Zingari", in Venice in 1895, in Rome in 1896, in St. Petersburg in 1898, in Rome in 1901, in London in 1904, in Milan in 1906. Awarded several times: in Florence (1896-1897), in St. Petersburg (1902, gold medal for the painting "In the Port of Naples"). He was among the exhibitors of the Neapolitan Society of Artists (later Circolo Artistico), but does not appear among the members from 1888 to 1891. He appears, however, briefly among the members of the "Circolo dei "Vomeresi,"" formed in opposition to the Circolo Artistico in the early twentieth century. In carefully observing seventeenth-century Neapolitan painting, Esposito was especially attracted to Jusepe de Ribera known as the Spagnoletto and Massimo Stanzione. From these studies, he derived a real painting of "values, in works such as, "From the Scoglio di Frisio," also known as "Palazzo Donn'Anna" (awarded and purchased at the 1893 Rome Fine Arts Exhibition for the National Gallery of Modern Art. That unfinished Baroque palace, the subject of numerous legends, where Esposito had fixed his abode as an authentic "deraciné," was one of his favorite themes, investigated to the point of obsession. He portrayed it, in fact, at various times of the day and in different weather conditions. The search for various effects of light never affected, however, the plastic firmness of the forms and he kept himself far from the coeval experimentalisms of avant-garde art. His life ended prematurely at only 53; feeling responsible for the death of a young model, Venturina Castrignani, whose love he had not reciprocated, he ended it by committing suicide. Works in public collections include: "Interior of the church of the Certosa di San Martino" (Naples, City Hall), "Temptation" (1883; Naples, formerly the Chiarandà Collection, today, Banco di Napoli, various "Studies" (Naples, Galleria dell'Accademia), "The Fisherman's Family" (Piacenza, Ricci-Oddi Gallery), "Return from Fishing" (Salerno, Provincial Council), "Old Fisherman" (Salerno, Provincial Museum), "Pacchiana and Mumarellara" (Salerno, City Hall). Two retrospectives were dedicated to him in the First Salerno Exhibition of 1927 and the Second of 1933. He died in Sala Consilina, Salerno, on April 7, 1911. Some works Oil paintings: Profile of a woman (1876) Prayer (1887) Harpist (1884) Portrait of a young woman (1884) Interior of a stable (1885) Puttino (1886) Betende Frau (1887) In the stable (1888) Küstenlandschaft (1892) Young woman with fan (1892) Corazziere (1903) Figura di donna (1894) Nella stalla (1895) A rocky coastal Landscape (1908) Portrait of a man with fur lapel (1910) Head of a child (1910) Landschaft bei Capri (1926) Italienische Strassenszene (1926) Naples, Palazzo Donn'Anna Country house An Italian Beauty I fidanzatini Marina di Capri con accomodatori di reti Peasant girl with a horse Young woman Bust of girl Bâteaux de pêche Une rue sous la pluie The violin lesson Castel dell'ovo, Naples Rocky coast. Drawings and watercolors: Portrait of man with hat (1875), ink Untitled (1883), mixed media Spanischer Dampfer "Puertoriqueno" (c.1885), gouache Scugnizzo (1887), pastel Italian Lake Scene (c.1890), watercolor The British merchant steamer Trelyon in a heavy swell (1891) Transitional Cargo Vessel in open Sea (1892), gouache H.M.S. Nile at sea (1893), gouache Palazzo Donn'Anna (1896), watercolor Battleship at Sea (1898), watercolor H.M.S Galatea (1899), watercolor L'enfant assis. (1899), charcoal A sail and steam ship leaving Valetta, Malta (1899), gouache The Battleship H.M.S Hood in a heavy Swell (1901), gouache Marine à bateau à vapeur (1901), watercolor HMS Hibernia off Fort St Angelo Grand Harbour, Malta (1902), watercolor H.M.S Caesar in the Mediterranean off Grand Harbour, Valetta (1903), gouache Portrait of a Girl (1905), pastel.
Los 6
(Bologna 1880 - 1958)Cm 28x44 | In 11.02x17.32Oil on cardboardTHE painter Dante Comelli was born in Bologna on July 21, 1880, and died in 1958. He attended the Academy of Fine Arts in Bologna. A follower of the Segantinian verb his early works are executed on the pointillist technique. Come the war in which he participated at length, he was seriously wounded. After a long stay in hospitals, he recovered and resumed his art with renewed fervor, creating works of clear and fresh spontaneity with robust and broad technique in perfect adherence to nature. Dante Comelli set up several "solo shows": in Bologna in 1927 and 1929, in Florence in 1932, in Milan in 1935 and 1941. He has works exhibited at the Galleria d'Arte Moderna in Bologna, "Self-portrait" and two "Landscapes with snow." Some of his paintings: "From the Balcony of My Studio"; "Worrying Convalescence"; "The Paralyzed"; "Return of the Fisherman"; "Milking"; "Mother in Gray." Biographical notes taken from the Illustrated Dictionary of Italian Painters, Draughtsmen and Engravers A.M. Comanducci.
Los 8
(Chiari, Brescia 1877 - Cavaglio Spoccia, Verbania 1950)Cm 50x37 | In 19.69x14.57Oil on canvasBorn April 7, 1877, in Chiari, he was a pupil of G. Bertini and V. Bignami at the Brera Academy, where he exhibited for the first time in 1900 Rispha protecting the bodies of his children, which won the Gavazzi prize. In the early years of his career he enjoyed considerable success. In 1903 he won another prize in Milan with Christ and the Adulteress (Milan, Galleria d'arte moderna) and completed a cycle of wall decorations in the Church of the Friars on Via Farini; in the same year the Galleria d'arte moderna in Milan received L'onomastico del Parroco in tempera and pastel as a gift. Leaving biblical and historical subjects behind, he devoted himself to genre painting and portraits. In 1917 he won a gold medal in Milan with La Violinista.His Self-Portrait is at the Piacenza Gallery and two portraits of benefactors are at the Ospedale maggiore in Milan. At the Catholic University is Contardo Ferrini in A Glory of Angels, which was his last work of any renown. Interest in his painting waned after 1925, but he was always an honorary member of the Brera Academy, even when he retired to live near Cannobbio. He died in Cavaglio Spoccia, (Verbania) on Nov. 9, 1950. He mainly made use of a very virtuoso careful palette knife technique, completing his works without brush finishing, achieving effects of compact hues and glaze. He took no interest in the artistic problems that were being debated around him, adhering to the program of anecdotal verism that he soon set for himself.
Los 9
(Modena 1857 - Modena 1922)Cm 45x34 | In 17.72x13.39Oil on canvasGaetano Bellei was among the leading artists, of international renown, devoted to genre painting. After attending the Academy of Fine Arts in Modena, then directed by Adeodato Malatesta, in 1876 the young painter won the Pensionato Poletti prize, which gave him the opportunity, once in Rome, to study at the Academy of San Luca, at the Spanish Academy and at the French Academy, for the perfection of the study of the Nude. In 1882 he moved to Florence where he devoted himself mainly, urged on by the English antiquarians and patrons Bredling and Strange, to genre painting, depicting domestic and family scenes, anecdotal compositions that were in the vein also traveled by Eugenio Zampighi and Gaetano Chierici. Frequent commissions induced the painter to produce a large number of genre subjects, domestic scenes and rustic backgrounds of wide fortune. On the obligatory stop on the "Grand Tour," which Florence was at the time, foreign travelers, especially American and English, sought out such folkloric compositions often replicated by the painter in various versions. These works include "Briscola in Convento," "Primi passi," the splendid portrait "Scialletto Azzurro," and "La Benvenuta," which was successfully exhibited in 1882 at the Royal Academy Exhibition in London. He died in Modena in 1922.
Los 1
'Atlas Novus Terrarum Orbis Imperia, Regna et Status exactis Tabulis Geographice demonstrans'Johann Baptist Homann, 'Homannischer Atlas von hundert Landkarten darinne die Erdkugel mit allen ihren Theilen geographisch vorgestellet und nach dem Unterschied der Reiche und Staaten deutlich illuminiert worden. Nebst einer Einleitung in die mathematische, natürliche und historische Geographie. In Verlag der Homannischen Erben. Nürnberg 1747.', 54 cm x 35 cm, mit koloriertem gestochenem Frontispiz, 1 gestochenem Porträt, 100 grenz- bzw. flächenkolorierten Kupferstichkarten (überwiegend doppelblattgroß) nach Homann u. a. Kartenmachern, 5 Bll., 40 SS., 200 Bll., brauner Ledereinband, leicht stockfleckig, partiell restauriert, Blätter teils neu aufgezogen, vereinzelt Tafeln mit, teils hinterklebten, Randeinrissen, Ledereinband mit KratzernAtlas Novus Terrarum Orbis Imperia, Regna et Status exactis Tabulis Geographicedemonstrans'Johann Baptist Homann, 'Homannischer Atlas von hundert Landkarten darinne die Erdkugel mit allen ihren Theilen geographisch vorgestellet und nach dem Unterschied der Reiche und Staaten deutlich illuminiert worden'. Together with an introduction to mathematical, natural and historical geography. Published by the Homann heirs, Nuremberg 1747', 54 cm x 35 cm, with coloured engraved frontispiece, 1 engraved portrait, 100 coloured copper engraved maps of borders and areas (mostly double-page size) after Homann and other mapmakers, 5 pp., 40 pp., 200 pp., brown leather binding, slightly foxed, partly restored, some leaves newly mounted, some plates with marginal tears, partly glued behind, leather binding with scratches
Los 119
Wojciech Fangor (1922 Warschau - 2015 ebenda) (F)'Circle', Pastellkreide auf Papier, 65 cm x 50 cm Blattmaß, signiert, 75 datiert, partiell leicht knickfaltig, montiert, verso leicht fleckig, Provenienz: Galerie Chalette, New York (verso Galerieetikett)Der aus Warschau stammende Künstler Wojciech Fangor arbeitete mit Farbe. Eben dies ist das Hauptelement seiner Kunst. Sicherlich wuchs der Künstler auch in politisch schwierigen Situationen auf, wie dem 2. Weltkrieg. Sein Kunstunterricht, den er beim Portraitmaler Tadeusz Pruszkowski und bei dem Maler und Bildhauer Felicjan Szczesny Kowarski erhielt, erlaubte ihm dafür den Zugang zu einer anderen Welt. Mit den Jahren wandte sich der Künstler den verschiedenen Kunststilen zu und entwickelte selbst eine Hinwendung zum sozialistischen Realismus. Die optische Kunst löste ihn jedoch von allen motivischen Geschehen und bewies sich in mehreren erfolgreichen Ausstellungen. Sein 'Positive Illusory Space' beinhaltete leuchtende Farben und kaum zu erkennende Konturen. An diesem 'Space' arbeitete der Künstler seit den 1950er Jahren und blieb dabei. Ebenso gehört auch die vorliegende Pastellzeichnung zu diesem Repertoire des Künstlers und zeigt in der eigenen Einfachheit die Schönheit und Eleganz abgestimmter kolorierter Linienführungen.Wojciech Fangor (1922 Warsaw - 2015 ibid.) (F)'Circle', pastel on paper, 65 cm x 50 cm sheet dimension, signed, dated 75, partially slighty creased, mounted, slightly stained verso, Provenance: Galerie Chalette, New York (gallery label verso)The Warsaw-born artist Wojciech Fangor worked with colour. This is the main element of his art. Certainly, the artist also grew up in politically difficult situations, such as the Second World War. His art lessons, which he received from the portrait painter Tadeusz Pruszkowski and the painter and sculptor Felicjan Szczesny Kowarski, allowed him access to another world. Over the years, the artist turned to different styles of art and developed a taste for socialist realism himself. Optical art, however, detached him from all motivic events and proved itself in several successful exhibitions. His 'Positive Illusory Space' included bright colours and barely discernible contours. The artist worked on this 'Space' since the 1950s and stuck to it. Likewise, the present pastel drawing also belongs to this repertoire of the artist and shows in its own simplicity the beauty and elegance of coordinated coloured lines.
Los 10
Paul Emil Jacobs (1802 Gotha - 1866 ebenda)Porträt von Vittoria Caldoni, Öl auf Leinwand, 73,5 cm x 62 cm, um 1826, restauriert, retuschiert, craqueliert, stark fleckig, Leinwand gewellt, Provenienz: Die Authentizität des Gemäldes wurde von Rudolf W. L. Jacobs per Mail bestätigt (18. April 2023). Das Gemälde wurde in das Werkverzeichnis aufgenommen. Ausstellungen: 2002 Gotha (Schloss Friedenstein), Der Gothaer Maler Paul Emil Jacobs (1802-1866). Ein Künstler zwischen Klassizismus und Spätromantik, mit KatalogPaul Emil Jacobs (1802 Gotha - 1866 ibid.)Portrait of Vittoria Caldoni, oil on canvas, 73.5 cm x 62 cm, around 1826, restored, retouched, craquelure, heavily stainspotted, canvas wavy, Provenance: The authenticity of the painting was confirmed by Rudolf W. L. Jacobs by mail (18 April 2023). The painting was included in the catalogue raisonné. Exhibitions: 2002 Gotha (Friedenstein Palace), The Gotha Painter Paul Emil Jacobs (1802-1866). An Artist between Classicism and Late Romanticism, with catalogue
Los 25
Hubert Salentin (1822 Zülpich - 1910 Düsseldorf)Der erzählende Schäfer, Öl auf Leinwand, 80 cm x 106,5 cm, signiert, 1870 datiert, Düsseldorf ortsbezeichnet, doubliert, restauriert, craqueliert, partiell kleine Kratzer, partiell kleine Farbabplatzer, partiell fleckig, Provenienz: Galerie Wimmer & Co, München, Literatur: Wvz. Neher 173, mit farb. Abb. S. 251, Christie's (New York) 29.5.1981, Weltkunst 15.10.1983Hubert Salentin wurde in Zülpich geboren und wuchs in der Rheinprovinz auf. Trotz der Entdeckung seiner Leidenschaft für Kunst in jungen Jahren und seiner Tätigkeit als Portraitmaler, verbrachte Salentin zunächst 14 Jahre seines beruflichen Lebens als Nagelschmied, bevor er sich vollständig der Malerei widmete. 1850 schrieb er sich an der renommierten Düsseldorfer Kunstakademie ein, wo er unter den Professoren Carl Ferdinand Sohn, Adolph Tidemand und als Meisterschüler bei Wilhelm von Schadow, des Mitbegründers der Düsseldorfer Malerschule, studierte. Während seiner Zeit an der Düsseldorfer Akademie entwickelte Salentin seinen eigenen charakteristischen Stil mit einer Vorliebe für die stimmungsvolle Darstellung des einfachen ländlichen Lebens. Salentins Fähigkeit, die Essenz des bäuerlichen Lebens einzufangen, machten ihn zu einem renommierten Maler des 19. Jahrhunderts und so wirken seine Werke aus heutiger Sicht für den Betrachter wie ein Spiegel seiner Zeit. Das Gemälde "Der erzählende Schäfer" zeigt in idyllischer Atmosphäre einen älteren Herrn, gekleidet wie ein Wandergelehrter, sitzend auf einem Felsen. Beguckt wird er von lieblichen Kinderaugen, die seiner kleinen Lesung lauschen. Auffällig ist, dass es sich hier nur um Mädchen handelt, der Kleidung entsprechend aus wohlhabendem oder bäuerlichem Hause. So lieblich wie sie hier gezeigt werden, wird hier sicherlich Lyrik vorgetragen, denn Mädchen durften um 1870 nicht Weiteres über Wissenschaften oder Errungenschaften erfahren. Die Schäferjungen sind weiter hinten zur linken Bildseite im Gras sitzend zu finden, deren Schafe ruhend zur rechten Bildseite - die ruhige Szenerie umrahmend.Hubert Salentin (1822 Zülpich - 1910 Düsseldorf)The story-telling shepherd, oil on canvas, 80 cm x 106,5 cm, signed, 1870 dated, Düsseldorf locally assigned, relined, restored, craquelure, small scratches in places, small paint chippings in places, partially stainspotted, Provenance: Galerie Wimmer & Co, Munich, Literature: Cat. rais. Neher 173, with col. ill. p. 251, Christie's (New York) 29.5.1981, Weltkunst 15.10.1983Hubert Salentin was born in Zülpich and grew up in the Rhine Province. Despite discovering his passion for art at a young age and working as a portrait painter, Salentin initially spent 14 years of his professional life as a nail smith before devoting himself entirely to painting. In 1850 he enrolled at the renowned Düsseldorf Art Academy, where he studied under professors Carl Ferdinand Sohn, Adolph Tidemand and as a master student under Wilhelm von Schadow, the co-founder of the Düsseldorf School of Painting. During his time at the Düsseldorf Academy, Salentin developed his own characteristic style with a preference for the atmospheric depiction of simple rural life. Salentin's ability to capture the essence of rural life made him a renowned painter of the 19th century and so, from today's perspective, his works seem to the viewer like a mirror of his time. The painting "The Telling Shepherd" shows an elderly gentleman, dressed like a wandering scholar, sitting on a rock in an idyllic atmosphere. He is watched by lovely children's eyes who listen to his little reading. It is noticeable that these are only girls, dressed according to their wealthy or peasant background. As sweetly as they are shown here, they are certainly reciting poetry, for girls were not allowed to learn about science or achievements around 1870. The shepherd boys are to be found further back on the left side of the picture, sitting in the grass, their sheep resting on the right side of the picture - framing the quiet scene.
Los 32
An Elizabeth II 2012 Jersey/Guernsey and Tristan da Cunha, "Diamond Jubilee Collection" fifty pence coin collection, Westminster, twenty-four 24ct. gold plated copper commemorative coins, 38.61mm, enamelled portrait to reverse, all in capsules with COA, together with the Elizabeth II 2012 Cook Islands "Diamond Jubilee Collection" 1 dollar coin collection, Westminster, eight 24ct. gold plated copper commemorative coins, 38.61mm, enamelled portrait to reverse, all in capsules with COA. (32 coins in Westminster case)
Los 33
"The Iconic London Collection" commemorative coin collection, Westminster, 12 x 24ct. gold plated enamelled coins with pictorial reverse, in Westminster fitted card box, together with NumisProofs "The Platinum Wedding Anniversary" commemorative coin collection, 12 x enamelled platinum plated brass coins with pictorial reverse, each 50mm/49g in capsule and Westminster case with COA's, and 5 x NumisProofs "70 Years of Service" gold plated commemorative coins, portrait Prince Philip reverse, in capsules. (29 coins)
Los 1639
GASSEBNER, HANS (1902-1966) "Porträt einer Frau in einem grünen Sessel" 1929 Öl auf Leinwand, monogr. und dat. "HG 29", HxB: 70/50 cm. Leichte Altersspuren, Rahmen, HxB: 95/72 cm. | GASSEBNER, HANS (1902-1966) "Portrait of a Woman in a Green Armchair" 1929Oil on canvas, monogr. and dat. "HG 29", HxW: 70/50 cm. Slight signs of age, frame, HxW: 95/72 cm.
Los 1808
STIRNER, KARL (1882-1943), 1 Bleistiftzeichnung und 2 Holzschnitte, 1. "Skizze zu meinem Selbstbildnis", unterer Bildrand mit Bleistift von Hand datiert '(19)18', bezeichnet, und monogrammiert, Bleistift/Papier, HxB: Blatt ca. 12,5x9,5 cm (ca. 32x26 cm mit Rahmen). Altersspuren und gebräunt.2. "Heimkehr vom Felde", darunter mit Bleistift von Hand betitelt, signiert und datiert '1929', Holzschnitt/ Bütten, HxB: Platte ca. 15,5x19 cm (ca. 36,5x39 cm mit Rahmen). Altersspuren, part. fleckig.3. "Biskra", darunter mit Bleistift von Hand bezeichnet 'Originalhanddruck' und signiert, Holzschnitt/ Bütten, HxB: Platte ca. 9x11,5 cm (ca. 32x42 cm). Altersspuren. Je mit Rahmen.| STIRNER, KARL (1882-1943), 1 pencil drawing and 2 woodcuts, 1. "Sketch of a self-portrait", lower edge of picture dated '(19)18' , inscribed and monogrammed by hand with pencil, pencil/paper, hxw: sheet approx. 12.5x9.5 cm (approx. 32x26 cm with frame ). Signs of age and browned.2. "Homecoming from the field", titled, signed and dated '1929' below by hand with pencil, woodcut/laid paper, hxw: plate approx. 15.5x19 cm (approx. 36.5x39 cm with frame). Signs of age, part. stained.3. "Biskra", below inscribed 'Originalhanddruck' and signed by hand with pencil , woodcut/ handmade paper, hxw: plate approx. 9x11.5 cm (approx. 32x42 cm). Signs of age. Each with frame.
Los 1813
SLEVOGT, MAX (1868-1932), "Selbstbildnis zeichnend", Radierung/Bütten (linksseitig unvollständiges Wasserzeichen), am unteren Blattrand mit Bleistift bezeichnet, HxB: Platte ca. 18x11,5 cm, Blatt ca. 31x23 cm, Außenmaße Rahmen ca. 33x25 cm. Altersspuren, gebräunt, Lichtrand und fleckig. Mit verglastem Rahmen (Kanten part. beschädigt).| SLEVOGT, MAX (1868-1932), "self-portrait drawing", etching/laid paper (incomplete watermark on the left side), inscribed in pencil on the lower edge of the sheet, HxW: plate approx. 18x11.5 cm, sheet approx. 31x23 cm, outer dimensions of frame approx. 33x25 cm. Signs of age, browned, light edge and stained. With glazed frame (edges partially damaged).
Los 88
Attributed to José Campeche y Jordán (San Juan, Puerto Rico, 1751 - 1809) "Portrait of a lady with rose and fan"Oil on canvas. Relined. 87 x 67 cm.Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778. The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."The canvas has craquelure and small lacks in the pictorial layer.
Los 188
A mixed group comprising three commemorative Hummel molded portrait plaque two with a boy holding an umbrealla and satchel and the other of a boy and girl holding flowers and an envelope ( w- 10cm), a Hummel ornament of "Flitting Butterfly"( h- 6cm) and a squirrel and acorn salt and pepper condiment set. (marked verso) (5)
Los 220
A Doulton pottery Queen Victoria commemorative mug decorated with central portrait in later years to one side, other side shows her Coronation, decorated within an oval panel with C scroll and lattice scrolling design, with upper and lower beaded panelled borders, with scroll handle to side, stamped verso Burslem and F, in underglazed blue, shows no signs of use, damage, chips, repairs or restoration, (h: 10cm x 8cm)
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283287 Los(e)/Seite