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Click here to subscribeSIX-PIECE ART DECO SILVER & BLACK ENAMEL DRESSING TABLE MIRROR AND BRUSH SET ETC, Birmingham 1934/1936 dates, Albert Carter, comprising shield shaped hand mirror and 3 x various brushes, all having marcasite decoration to the enamel centres, 28cms overall L the hand mirror, along with a shoehorn and button hook, these two items have no silver hallmarks
VASE / KRATERVASE in der Art von Limoges, aufglasur blaue Marke "N unter Krone" für Neapel, hier aber wohl thüringische Manufaktur (Plaue, Volkstedt oder Wallendorf, von diesen für den Export benutzt). Kraterform mit seitlichen Handhaben und partiellem roséfarbenem Fond, polychrome Staffage unter anderem mit Rosen und Primel, Goldauflagen und Goldrand. H. 23,5 cm; D. 16,5 cm.
MOKKASERVICE / ESPRESSOSERVICE für 6 Personen, Porzellan, Manufaktur Holloházá / Ungarn, aufglasurblau gemarkt und bezeichnet "handpainted" (handgemalt). Durchbrochen gearbeitet in der Art einer Spitze und mit Goldrand und Goldakzentuierungen. Insgesamt 15 Teile; umfasst Kanne (H. 20 cm), Milchkännchen und Zuckerdose, 6 Tassen (H. 8 cm) und 6 Untertassen (D. 12 cm). Selten genutztes Vitrinenobjekt.
ART DÉCO - BESTECK, WMF - Württembergische Metallwarenfabrik, Geislingen, Modell-Nr. 2500, versilbert (90er Auflage). Insgesamt 77 Teile; umfasst 13 Kaffee- oder Tee-Löffel, 18 Kuchengabeln, Tortenheber, Sahnelöffel, Zuckerlöffel, 13 Gabeln, 13 Messer, 12 Suppenlöffel, 2 Vorlegegabeln, 1 Soßenlöffel, 1 Buttermesser und 1 Babylöffel (Gebrauchsspuren).
ART DÉCO CACHEPOT / VASE, 800er Silber (322,5 g), gepunzt mit Halbmond, Krone (deutsch), Feingehaltsangabe und undeutlicher / verschlagener Manufakturpunze (wohl Gebrüder Deyhle, Schwäbisch Gmünd) sowie gravierter Nummer 18488; Österreichische Importpunze von 1902-1937 mit dem Kürzel C für Prag. Rundstand, gebauchte und konische Wandung mit eingezogener Schulter und zylindrischem Hals. Die Wandung dekoriert mit Flachrelief mit Mäanderfries "laufender Hund". H. 12,5 cm; D. 13,5 cm (Gebrauchsspuren; Stand minimal und unauffällig gedellt).
VASE, wohl 2. H. 20. Jh., deutsch, 925er Sterlingsilber, 178 Gramm. Gemarkt mit Halbmond und Krone, Feingehaltsangabe, Manufakturpunze "Wappen" und bezeichnet "C. Hahn". Vase in Keulenform im Stil des Art Deco; Wandung mit Hammerschlagdekor. H. 20,5 cm, D. 5 cm. (Guter Zustand mit Gebrauchsspuren).
GROSSER DÄNISCHER ART DECO VORLEGELÖFFEL / GEMÜSELÖFFEL, 1. H. 20. Jh., Dänemark, 830er Silber (Marke von 1911 - ca. 1914), 77 Gramm. Gemarkt mit Feingehaltsangabe und ungedeuteter Meistermarke. Große Laffe an geschweiftem Griff mit spitz zulaufender Mitte und stilisiertem Blütenrelief. L. 23 x B. 8 cm. (Gebrauchsspuren).
GROSSE HISTORISMUS SCHALE / BECKEN, deutsch, um 1900, 800er Silber, 950 Gramm. Gemarkt mit Feingehaltsangabe, Halbmond und Krone sowie bezeichnet "C. A. BEUMERS DÜSSELDORF" - Meistermarke Conrad Anton Beumers (Erkelenz 1837-1921 Düsseldorf) - zusätzlich mit Tremolierstich und "IIII" in Art römischer Zahlen. Gemuldetes Becken mit breiter Fahne und geschweiftem Profilrand. Fahne mit geometrischem Fries und Fischhautdekor. Schale beidseitig vergoldet. H. 4 cm, D. 35 cm. (Gebrauchsspuren, Vergoldung berieben). Beumer fertigte sakrale und profane Arbeiten in seiner Werkstatt unter Verwendung historischer Stile. Er wird ab 1903 Hoflieferant und ab 1913 Hofjuwelier.
FIGÜRLICHER JAGDBECHER "ELEFANT" IN DER ART EINES STURZBECHERS / WODKABECHER, Ende 19. Jh., Russland, 84 Zolotniki (875er), innen vergoldet, 170 Gramm. Gemarkt mit St. Petersburger Stadtpunze (kombinierte Marke mit Stadtpunze und Feingehaltsangabe; benutzt im letzten Viertel des 19. Jh.) und ungedeuteter Meistermarke "EK". Figürlicher Becher in Form eines naturalistisch gearbeiteten Elefantenkopfes; der geschweifte Rüssel dient als Griff. H. 3,5 x L. 8 x B. 4,6 cm. (Guter Zustand mit Gebrauchsspuren).
DÄNISCHES ART DECO MILCHKÄNNCHEN / RAHMGIESSER / SAHNEGIESSER, 826er Silber mit Holzeinlage (64 g), Kopenhagen / Dänemark, 1933. Gepunzt mit Dänischer Dreiturmpunze mit Jahreszahl 33 (1933), Beschaumeister Johannes Siggaard (1932-1960), Meistermarke Grann & Laglye (Kopenhagen) und Marke "DA im Wappenschild" (Danks Arbejde). Gedrückte Form auf drei Kugelfüßen mit breitem Ausguss; Kreisförmige Handhabe mit eingelegtem Holzstück. H. 6 x L. 14 x B. 8,5 cm. (Guter Zustand mit Gebrauchsspuren).
HAMMERSTIEL, ROBERT (Werschetz 1933-2020 Neunkirchen, österreichischer Maler und Grafiker), Gemälde: ohne Titel, Acryl auf Leinwand, unten mittig monogrammiert "RH" in Ligatur und Kreisform sowie revers signiert "Robert Hammerstiel", datiert 2002 und mit Widmung (die Dedikation galt dem Galeristen Georg von Almsick in Gronau-Epe). Flächige, silhouettenhafte Malweise in scharf umrissenen Farbfeldern unter Verzicht auf klassische Perspektive und illusionistische Raumdarstellung. Zu seinem expressiven Stil in leuchtender Farbigkeit fand Robert Hammerstiel durch seine erste New York Reise 1988 - inspiriert durch die Pop Art und das pulsierende Leben der Metropole. Aus dem Nachlass einer westfälischem Sammlung mit freundschaftlichen Verbindungen zum Künstler. Leinwand 30 x 40 cm.
nach WARHOL, ANDY (Pittsburgh 1922-1987 Manhattan /NYC), Farblithographie / Gicléedruck: "Campbell's Tomato Soup". Farblithographie auf Arches France Bütten mit Blindstempel "Georges Israel Editeur", revers mit drei Stempeln der Galerie Leo Castelli, gestempelt "Leo Castelli New York", "Art Gallery New York…", Stempel in Form eines stilisierten Baumes und mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet; unten rechts mit Drucksignatur "Andy Warhol" und unten links limitiert 41/100. Dabei: Zertifikat der Leo Castelli Art Gallery. Blattgröße ca. 57,2 x 38,5 cm. Prachtvoller Druck mit dem vollen Rand.
nach WARHOL, ANDY (Pittsburgh 1922-1987 Manhattan /NYC), Farblithographie / Gicléedruck: "Mickey Mouse". Farblithographie auf Arches France Bütten mit Blindstempel "Georges Israel Editeur", revers mit drei Stempeln der Galerie Leo Castelli, gestempelt "Leo Castelli New York", "Art Gallery New York…", Stempel in Form eines stilisierten Baumes und mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet; unten rechts mit Drucksignatur "Andy Warhol" und unten links limitiert 70/100. Dabei: Zertifikat der Leo Castelli Art Gallery. Blattgröße ca. 57,5 x 38,3cm. Prachtvoller Druck mit dem vollen Rand.
nach WARHOL, ANDY (Pittsburgh 1922-1987 Manhattan /NYC), Farblithographie / Gicléedruck: "Elvis Presley". Farblithographie auf Arches France Bütten mit Blindstempel "Georges Israel Editeur", revers mit drei Stempeln der Galerie Leo Castelli, gestempelt "Leo Castelli New York", "Art Gallery New York…", Stempel in Form eines stilisierten Baumes und mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet; unten rechts mit Drucksignatur "Andy Warhol" und unten links limitiert 20/100. Dabei: Zertifikat der Leo Castelli Art Gallery. Blattgröße ca. 57,3 x 38,5 cm. Prachtvoller Druck mit dem vollen Rand; guter Zustand.
nach WARHOL, ANDY (Pittsburgh 1922-1987 Manhattan /NYC), Farblithographie / Gicléedruck: "Sam". Farblithographie auf Arches France Bütten mit Blindstempel "Georges Israel Editeur", revers mit drei Stempeln der Galerie Leo Castelli, gestempelt "Leo Castelli New York", "Art Gallery New York…", Stempel in Form eines stilisierten Baumes und mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet; unten rechts mit Drucksignatur "Andy Warhol" und unten links limitiert 36/100. Dabei: Zertifikat der Leo Castelli Art Gallery. Blattgröße ca. 57,3 x 38,5 cm. Prachtvoller Druck mit dem vollen Rand.
Full title: School of Latem: Sun-drenched rose garden, oil on canvasDescription:Work: 66,5 x 54,5 cm Frame: 94 x 82,5 cmThe work comes with a certificate from Jan Hoet, which confirms that this is a painting by the Belgian painter Emile Claus (1849-1924). Hoet was appointed director of the Museum of Contemporary Art in Ghent in 1975, then housed in several rooms of the Museum of Fine Arts in Ghent and the predecessor of the Municipal Museum of Contemporary Art (Stedelijk Museum voor Actuele Kunst, S.M.A.K.), founded in 1999. He retired as curator of the SMAK in 2003: 'Ondergetekende Jan Hoet, conservator Museum van Hedendaagse Kunst te Gent, verklaart het werk van Emile Claus, waarvan afbeelding op keerzijde, naar authenticiteit te hebben onderzocht. Het bevat alle karakteristieken van een authentiek werk zowel qua factuur, kleuraanbreng en lichtnuances. Het schilderij bevindt zich in een goedgeconserveerde staat. Gent, 11 augustus 1982'. (The undersigned Jan Hoet, curator of the Museum of Contemporary Art in Ghent, declares that he has examined the work of Emile Claus, of which the image is depicted on the reverse, for authenticity. It contains all the characteristics of an authentic work in terms of making, colour application and light nuances. The painting is in a well-preserved condition. Ghent, August 11, 1982) The chassis bears the studio stamps of Emile Claus ('Atelier Emile Claus') at the back. Works bearing this stamp were, under normal circumstances, part of what was present in Claus' studio at the time of his death. It happened that a signature was placed on unsigned works (in the case of Emile Claus, for example, this was done by his muse Jenny Montigny). There is a very real chance that the work is a collaboration of several hands. On the basis of characteristics and style it can be suggested that Anna De Weert (1867-1950) finished the work under the supervision of Claus and that the work was present in the artist's studio at the time of his death.
Full title: A Chinese coral red ground gilt decorated 'lotus flowers' teapot and cover, Qianlong mark, 19th/20th C.Description:H 13,5 - L 18,5 cm Ref.: - A quite similar gilt decorated coral ground tea pot offered at Christie's, New York, Sale: Online Auction 13894 - The Art of Chine, July 7-21, 2016, lot 94 (est. USD 4.000-6.000, sold USD 10.000, link).
Title: A Chinese blue and white 'dragons chasing the pearl' ginger jar, 19th C.Description:H 22 cm The decoration shows two dragons chasing the flaming pearl in the middle of the design, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality.
Title: Guillaume Corneille van Beverloo (Corneille, 1922-2010): 'Jardin errant', lithograph in colours, dedicated to Arturo Schwarz, dated (19)63Description:Work: 45,7 x 36,7 cm Frame: 56 x 47 cm The lithograph with two handwritten notes in pencil by the artist: 'Pour Arturo Schwarz bien amicalement Corneille '63' (Arturo Schwarz was a Milanese art dealer and publisher, who published in 1963 'Jardin errant') and 'Lithographie pour la boite Corneille '63'.
Title: Katsushika Hokusai (1760-1849): The great wave off Kanagawa, Japanese Ukiyo-e woodblock print, second quarter 20th C.Description:Work: 37,1 x 25 cm Paper: 37,8 x 25,7 cm (Oban) A later print, made by the Shima Art Company (act. 1908-1940) around 1930. Provenance: - Ex-collection Robert O . Muller, US. (by repute) - Ex-collection Ron Baas Japprent, The Netherlands. (by repute)
Title: A pair of Chinese Canton famille rose English market 'Harrison' armorial plates with birds and butterflies among blossoming branches, 19th C.Description:Dia.: 25,4 cm Both plates with crest and motto 'Spero Meliora' ('I hope for better things' or 'Aspire to greater things'). Ref.: - A tureen and cover with the same crest and motto offered at Christie's, New York, Sale: Living with Art, August 22 and23, 2017, lot 218 (USD 875, link).
Title: Albert Baertsoen (1866-1922): Evening on the dune, Mariakerke-aan-Zee, oil on canvas, ca. 1892Description:Work: 145,5 x 208,5 cm Frame: 152,5 x 217 cm Albert Baertsoen (1866-1922) and James Ensor (1860-1949) were close acquaintances. Baertsoen spent the summers in his spacious 'Villa des Hirondelles' on the seawall and he fully participated in society life in the seaside town. The personal contacts between Ensor and Baertsoen date from 1887 or perhaps earlier, because in 1887 Baertsoen was presented by Ensor with a copy of his etchings 'Le Christ apaisant la tempête' and 'Le verger', the latter with the dedication 'A mon ami Baertsoen, James Ensor 87', which suggests earlier contacts. Later Ensor also gave him a copy of 'Barques echouees'. Both artists were intensely involved with graphics at that time. The slightly older Ensor was probably a stimulating example for Baertsoen, and in any case a source of inspiration. Baertsoen's powerful and virtuoso painted seascapes from that period bear traces of Ensor's art, and he certainly also took a good look at his important etching 'Grande vue de Mariakerke' from 1887, the similarities with this canvas 'Avond op het duin' clearly indicate this. In 1889-1890 Baertsoen would make the church of Mariakerke twice the subject of an etching. One of them was published in 1890 under the title 'Village de Mariakerke' in the third album of the 'Societe des aquafortistes belges' (Brussels, 1890). In this 'Avond op het duin, Mariakerke-aan-Zee', drenched in soft light, Baertsoen shows the dune village at the moment when the evening sun illuminates the gables and the tower of Onze-Lieve-Vrouw-ter-Duinenkerk and the dunes are covered by shadows. When around 1894 the entire site was threatened with demolition as a result of the expansion of Ostend, James Ensor and Albert Baertsoen successfully took on the defense of the dune church. It was restored and later protected as a monument. We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. - Ex-collection Thermae Palace, Ostende. - Ex-collection De Pesseroey, Deurle. - Private collection, Belgium. Ref.: - The painting has been exhibited at various locations: The Hague (1892), Ghent (1892), Namur (1892), Berlin (1893), Paris (1894), Ghent (1925), Ghent (1972), Vinkem (1984), Hondschoote-Vinkem (2004) and Ghent (2022). - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1892/11 (link).
Title: A Japanese Imari 'Parasol Ladies' charger after Cornelis Pronk, Edo, 18th C.Description:Dia.: 37,2 cm In 1734, the Dutch East India Company commissioned Cornelis Pronk to produce designs for a set of China plates. This porcelain, so-called Chine de commande, was produced in China, then shipped to Europe and sold there. Pronk made four different designs, of which 'The Parasol Ladies' was most popular. The Dutch East India Company ended the deal in 1740 because the production and shipping from China proved too costly. The original watercolour for the design is now in the Rijksmuseum, Amsterdam (link). The design was quickly adopted on Japanese porcelain. Ref.: - A similar but larger Imari charger offered at Sotheby's, London, Sale: Fine Japanese Art, May 14, 2019, lot 100 (est. GBP 70.000-90.000, link).
Full title: A Chinese richly carved ivory 'dragons chasing the pearl' card case, 19th C.Description:H 9,1 - L 5,5 - D 1,3 cmThe decoration shows two dragons chasing the flaming pearl in the middle of the design, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality. Accompanied by a CITES certificate (N°2023/BE00713/CE).
Full title: Joe (Jozef) Van Rossem (1940-2004): Two landscapes and an abstract composition, oil on canvas and paperDescription:Work: 30,5 x 24,5 cm Frame: 39 x 33,5 cmWork: 24,5 x 23,5 cm Frame: 46 x 45 cmWork: 24 x 23 cm Frame: 44,2 x 42 cm Joe van Rossem was a Belgian painter, who started his education at the Art Academy of Ghent (1955-1962). He settled in Sint-Martens-Latem, where he, together with Fons Roggeman, Luc-Peter Crombe, Martin Wallaert and Dees De Bruyne, had contact with the last group of the Latemse School. He had a preference for figures and portraits as well as landscapes and still lifes.
Full title: A Chinese famille verte charger with floral design, Johanneum mark, ex-collection August the Strong, KangxiDescription:Dia: 37,5 cm Provenance: - The Johanneum marks denote that these dishes were in the Collection of Augustus The Strong, and housed in the Japanese Palace in Dresden. Johanneum was 'the building at Dresden, now a museum, containing the former Royal Saxon Porcelain Collection started and largely formed in the so-called Japanese Palace by Augustus the Strong, Elector of Saxony. The specimens belonging to the old Collection bear marks referring to an inventory begun in 1721' (W.B. Honey, European Ceramic Art, pp. 337-338). Ref.: - A similar pair of chargers offered at Christie's, London, Sale: Four British Collections Including Important Furniture, June 5, 2008, lot 194 (est. GBP 10.000-15.000, sold GBP 21.250, link).
Title: A Chinese blue ground gilt decorated 'bats amongst scrolling clouds' bottle vase, Guangxu mark and of the periodDescription:H 38 cm Ref.: - A very similar blue ground gilt decorated 'bats amongst scrolling clouds' bottle vase offered at Christie's, London, Sale: The Art of China: Online Autumn Sale (Online 14389), September 20-27, 2017, lot 89 (est. USD 4.000-8.000, price realised USD 10.000, link).
Full title: Joe (Jozef) Van Rossem (1940-2004): 'Thuis bij Michiels te Merendree', oil on canvas, dated (19)65Description:Work: 110 x 100 cm Frame: 133,5 x 123,5 cm Joe van Rossem was a Belgian painter, who started his education at the Art Academy of Ghent (1955-1962). He settled in Sint-Martens-Latem, where he, together with Fons Roggeman, Luc-Peter Crombe, Martin Wallaert and Dees De Bruyne, had contact with the last group of the Latemse School. He had a preference for figures and portraits as well as landscapes and still lifes.
Title: Albert Baertsoen (1866-1922): The Speelmansrei in Bruges, study IV, oil on canvas, early 20th C.Description:89 x 51,5 cm This painting is a well-developed study for the large canvas 'De Speelmansrei in Brugge, septemberlucht' ('Le Quai des Menetriers à Bruges, ciel de septembre'), which Albert Baertsoen presented to the public in 1905. Shortly afterwards it was acquired by the current Groeninge Museum in Bruges, where it is still located. At a young age, Baertsoen was fascinated by Bruges, the faded medieval trading metropolis. He saw with regret how the old, patinated cities in Flanders had to give way to modernity, but in Bruges he still found the authentic past. In cityscapes such as these, Baertsoen expressed the elusive sadness he experienced at the end and transition. Art critics soon picked up on this characteristic feature of his art and increasingly associated it with the theme of la ville morte, a concept he was able to popularize at the end of the 19th century together with the successful author Georges Rodenbach. The Speelmansrei in Bruges is one of Baertsoen's works with a strong symbolic slant. The reflections in the rippleless canal water naturally invite reflections on appearance and reality. The unique framing with a high horizon also emphasizes the water surface. A few years after the death of Albert Baertsoen, this study was donated by his son Jean A. Baertsoen to the Ghent lawyer Albert Ceuterick. He was one of the directors of the textile company Baertsoen and Buysse and was very close to the Baertsoen family. Shortly before his death in 1922, Albert Baertsoen had appointed him as executor of his will. Ceuterick mentions this work in a letter dated January 26, 1930 and kept in the Ghent university library, addressed to the Ghent art critic Frederic de Smet. In it he talks about the oeuvre of his late friend Baertsoen, and he notes, among other things, that he (Ceuterick) "... possede en outre une esquisse, tres poussee, d'un quai à Bruges, non signee ni datee. Cette oeuvre m'a ete offer par Madame Baertsoen, mere, et M. Jean Baertsoen, en ma qualite d'executeur testamentaire". Based on this study, Albert Baertsoen made an etching that bears the number E.1905/03 in the catalogue raisonne of his oeuvre (link). With a certificate from Jean A. Baertsoen, son of the artist (January 1927). We would like to thank Prof. dr. Rene Vermeir for this description and additional information (link). Provenance: - Ex-collection Albert Ceuterick, Ghent. Ref.: - Rene Vermeir, Catalogue raisonne Albert Baertsoen, P.1905/08 (link).
Title: A Chinese blue and white 'dragons chasing the pearl' dish, Chenghua mark, and a jar and cover with figures in a garden, 19th C.Description:Dia.: 27,3 cm (the dish) H 20,5 cm (the jar and cover) The decoration shows two dragons chasing the flaming pearl, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality.
Full title: Two Chinese yellow ground green and aubergine glazed 'dragons chasing the pearl' saucers, Tongzhi and Guangxu mark, 19th/20th C.Description:Dia.: 11 cmThe decoration shows two dragons chasing the flaming pearl in the middle of the design, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality.
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