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Lot 3019
KONVOLUT "Kleine Antiquitäten" Karaffe mit Ansichten von Karlsbad, Böhmen, 19. Jh.,farbloses Glas mit facettierter Wandung und vier hochgeschliffenen Medaillons, darin in Poliergoldmalerei ausgeführte Ansichten, umgeben von Füllhörnern und Ranken in goldgehöhter Malerei, H: 26 cm. Leichte Altersspuren, Stöpsel fehlt. WMF Jugendstil-Karaffe aus Glas mit eingeschliffenen Blumen- u. Blattmotiven, Montierung aus Zinn, H: 23 cm. Leichte Alters-und Gebrauchsspuren, Cloisonné-Email-Serviettenring, wohl Russland, 950 Silber, Cloisonné-Email, punziert mit Importmarke für kl. Gegenstände "Österreich-Ungarn 1891-1901", D: 4,7 cm., 41,7 g. Leichte Altersspuren, Miniatur, Öl auf Elfenbeinimitat, in der Art von Pietro Vannucci der Perugino - (1446-1523) - Studio Volto della Madonna - Entnommen aus der "Madonna zwischen S. Sebastiano und S. Giovanni Battista" Verso Papieretikett, HxB: 7/5,5 cm. Alttersspuren. CONVOLUT "Small Antiques Carafe with views of Karlovy Vary, Bohemia, 19th c., colourless glass with faceted wall and four high cut medallions, inside views executed in polished gold painting, surrounded by cornucopias and tendrils in gold heightened painting, h: 26 cm. Slight signs of age, the stopper is missing. WMF Art Nouveau glass carafe with cut flower and leaf motifs, pewter mount, h: 23 cm. Slight signs of age and wear, cloisonné enamel napkin ring, probably Russia, 950 silver, cloisonné enamel, hallmarked with import mark for small objects "Austria-Hungary 1891-1901", d: 4.7 cm., 41.7 g. Slight signs of age, miniature, oil on imitation ivory, in the manner of Pietro Vannucci the Perugino - (1446-1523) - Studio Volto della Madonna - Taken from the "Madonna between S. Sebastiano and S. Giovanni Battista" Verso paper label, HxW: 7/5,5 cm. Signs of age.
Lot 357
Portaluhr mit Dom, um 1820 Elegante Tischuhr in schlichter Säulenarchitektur mit Lyra-Element. Korpus versilbert, Holzsockel ebonisiert. Werk einsichtig. Federzugwerk mit Ankerhemmung. Viertelstunden-Schlossscheibenschlagwerk auf zwei Tonfedern. Repetition. Feuervergoldetes Metall-Zifferblatt mit römischen Zahlen; Rautenzeiger. Wohl vormals bezeichnet. Durchbrochen gearbeitetes Bimetall-Kompensationspendel, Fadenhängung. Mit querovalem Glasdom. H. 36 / 43 cm. Zifferblatt und Versilberung etwas berieben. Läuft an. Elegant portal clock with glass dome, around 1820. Two-poster-frame with lyra, silver plated. Wooden base. Manual wind movement (uncovered), two coil chimes. Repetition. Gilt metal dial with roman letters, diamnond shaped hands. Cut-out compensation pendulum. With glass dome. Dial and silver rubbed. Starts.
Lot 362
Gehäuse einer Art-Deco Standuhr, Wien um 1910 Laubholz schwarz poliert, achteckiger Kopf, Gläser der Türen phasettgeschliffen. Dazu ein Pendel mit einer ca. 4,5 kg schweren Pendellinse. 195 x 39 x 19 cm Case of an Art Deco grandfather clock, Vienna, c. 1910. Polished black hardwood, octagonal head, glass of the doors phase-cut. Comes with a pendulum with pendulum lens weighing approx. 4.5 kg.
Lot 749
Nilson, Friedrich Christoph. 1811 Augsburg - 1879 München. ''Das Lied von der Glocke (F. v. Schiller)''. Kolorierter Kupferstich von Adrian Schleich nach Nilson. 1848, Gabe des Kunstvereins München an seine Mitglieder. Unsigniert. Hinter Glas gerahmt. 65 x 53 cm (D). 93 x 78 cm (Ra). An die Darstellung geschnitten, neu montiert. Zentraler Riss in Bildmitte, kleinerere Risse am rechten und linken Darstellungsrand. Partiell etwas angeschmutzt. Illustration to the ballad ''The song of the chime'' by F.v. Schiller. Coloured copperplate engraving by Adrian Schleich after Nilson. 1848, publ. by the Kunstverein Munich. Unsigned. Framed behind glass. Cut to the motif. Large tear across the motif, some smaller tears at the margins. Partially spotty.
Lot 788
Schreyer, Lothar (1886 Blasewitz bei Dresden - 1966 Hamburg) ''Mutter Erde'' (Ganzmaske Erde für das Bühnenspiel Mann). Kolorierter Holzschnitt auf Japanpapier. 1920/1966. In Blei unterhalb der Darstellung bezeichnet und datiert ''Lothar Schreyer 1920'', darüber betitelt. Im Blatt unten rechts Stempelsignet Lothar Schreyer. Dazwischen ausradierte Signatur (?) von Max Olderock mit Datierung 1966. Abzug durch Schreyer vom Original-Holzstock, Kolorierung durch Olderock. Eines von 230 Exemplaren der Auflage Edition Panderma, Carl Laszlo, Basel. Der dem Holzschnitt zugrundeliegende Entwurf befindet sich in der Sammlung der Stiftung Bauhaus Dessau unter der Inv.-Nr. I 7422 G. 26 x 19 cm. Hinter Glas gerahmt. Mother Earth. Coloured wood-cut, 1920/66. Denoted below the motif, as well as dated and titled. Artist's signet bottom right. Inbetween erased signature (?) of Max Olderock and dated 1966. Copy from 1966, drawn by hand by Schreyer, coloured by Olderock for Edition Panderma, Basel (CH). One of 230 copies. Framed behind glass.
Lot 46
AN EDWARDIAN SILVER BON-BON BASKET, pierced and chased decoration with swing handle, on circular platform foot, Birmingham 1902, fitted blue glass liner, 11cm high, together with a silver mounted glass tankard and a silver mounted cut glass bowl, wei ghable silver; 108g (3)Condition report: tankard – The glass is good, solder repair to the rim band. Bowl – The glass good, silver rim good. Basket – Blue glass liner – small chip to the rim, a few debts to the basket.
Lot 2114
Glassware comprising A modern cut glass Tazza on gilt metal shell base (Qty)Two modern cut glass and gilt rimmed circular ashtrays 16cm diameter, A matching table lighter, three cut glass side dishes, A modern Swedish frosted glass paperweight formed as a lion, A modern Caithness paperweight, cut glass bowls and sundry
Lot 2143
A early 20th century rectangular box with hinged dome top (8)Ebony lined with black enamel decoration 14cm wide; 4cm high, two victorian brass circular boxes and covers with Jasper ware panels 10cm diameter, two 19th century square cut glass inkwells, two early 20th century small brass bells 11cm high and a modern hard stone figure 21cm high
Lot 2199
A group of Victorian black lacquer papier mache wares (5)19th century, comprising; a rectangular sewing box, the domed cover decorated with a reserve of flowers, 30cm wide, a desk stand, with two cut-glass ink bottles, 25cm wide, an oval mirror within a surround of cultured pearls and green paste and two cylindrical brush pots
Lot 319
A collection of silver, including a George III silver fiddle pattern caddy spoon, two Victorian silver dessert forks, differing patterns, each by George Adams, three differing silver mounted cut glass dressing table jars, an oblong dressing table box, a cream jug and an Italian silver tea strainer with an associated silver plate base, weight of silver 9oz 8dwt, 292gr (qty)
Lot 359
A collection of assorted silver and silver plate, the silver comprising: a pair of silver napkin rings and an Elizabeth II silver photograph frame, the silver plate comprising a spirit flask, two sauce ladles, a pepperette in the form of an owl and two wine pourers together with a pair of glass decanters, two differing cut glass bowls, a brass icon depicting Christ, a Pewter quaich and a pair of blue glass candlesticks (qty)
Lot 55
Frederick Lee Bridell (British 1831-1863)The Temple of Saturn, the Forum and the Colosseum, RomeOil on canvasSigned and dated 1862 (lower right)87.5 x 123.5cm (34¼ x 48½ in.)Provenance:Joseph MorbyArthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not relined. There are some fine lines of craquelure running through the work, predominately noticeable in the sky but also extending in the lower half of the composition. There are faint stretcher marks visible. Ultraviolet light reveals scattered retouching throughout, in particular to the figures, the edges of the arches upper left and other areas in the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
Lot 56
Frederick Lee Bridell (British 1831-1863)The Arch of Titus at Rome looking towards the capitalOil on canvasSigned and dated 1862 (lower right), titled (to label attached verso)86.5 x 123.5cm (34 x 48½ in.)Provenance:Joseph Morby Arthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not lined. There are some fine lines of craquelure predominately to the sky and upper corners and very faint stretcher vertical stretcher marks. Ultraviolet light reveals some light scattered retouching, predominately to the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
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152609 item(s)/page