* Edelinck (Gérard, 1640-1707). The Battle of Anghiari, after Peter Paul Rubens after Leonardo da Vinci, circa 1657-1666, engraving on laid paper with watermark Initial A, a very good impression of the third (final) state, with narrow margins on three sides, trimmed on the platemark at bottom, in very good, well preserved condition, plate size 450 x 610 mm (17 3/4 × 24 1/16 ins), sheet size 460 x 615 mm, unframedQTY: (1)NOTE:Robert-Dumesmil 44.Edelinck's dramatic engraving depicts the Battle of the Standard, the central section of an ambitious mural by Leonardo commemorating the Florentine victory over the Milanese army during the Battle of Anghiari in 1440, in the Sala del Gran Consiglio (Great Council Hall) of the Palazzo della Signoria in Florence, facing which was another fresco by Michelangelo on the Battle of Cascina. Prior to their execution both Leonardo and Michelangelo's full-scale preparatory cartoons were exhibited and much admired by younger artists and acclaimed by Benvenuto Cellini as a "school for the world" (scuola del mondo). Neither work now exists. Only a few extant autograph sketches and drawings document Leonardo's design, although the battle composition is preserved in later copies such as Rubens' drawing now at the Louvre (from which Edelinck's print is derived), as well as the Ruccellai drawing reproduced in Niccolo Pagni and Giuseppe Bardi's Etruria Pittrice (1791-95).
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* After Fra Angelico (1395-1455). The Annunciation, and The Adoration of the Magi, Florence, circa 1850's, tempera and gold on two wood panels, some minor marks and slight paint loss (generally in good condition), 24 x 26.5 cm (9 1/2 x 10 1/2 ins), and 21 x 26.5 cm (8 1/4 x 10 1/2 ins) respectively, presented within original gothic-style architectural gilded carved wood frame, some minor restoration, 85 x 39.5 cm (33 1/2 x 15 1/2 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK. Painted inscription to verso of upper panel 'Presented to Downside School from Alfred Jones of Bath June 1927'.Fine Florentine copies of the reliquary made by Fra Angelico for the church of Santa Maria Novella in Florence, depicting scenes from the life of the Virgin Mary. The upper scene represents the Annunciation, with a kneeling Gabriel on the left and a pious Mary seated on the right with her arms folded across her chest. The figure at the top of the composition is God the Father, sending down the rays of the Holy Spirit. The lower scene depicts the Adoration of the Magi, with the Virgin Mary seated inside the manger with the baby Jesus on her knee and Joseph standing behind her.
A CHINESE CLOISONNE ENAMEL BOWL WITH WOODEN STAND, 19/20TH CENTURY. With rounded sides decorated with various floral blossoms. Four-character 'Da Ming nian zhi' mark to base on a cloud ground. With a carved wood display stand. Bowl 20.5cm diam. Good overall condition with no signs of damage or repair. The stand with a glued repair section about 4cm wide.
A CHINESE FAMILLE ROSE PORCELAIN VASE, 19TH CENTURY. Of baluster form decorated with rectangular panels and roundels with birds and insects in landscape scenes on an iron red floral scroll ground with bands of geometric patterns, ruyi heads and lingzhi. 'Da Ming Hong Wu' mark to base. 44cm tall.Good overall condition with no signs of damage or repair. Some areas of enamel loss to the decoration around the shoulder.
Maria Martinez (San Ildefonso Pueblo, 1887-1980) and Popovi Da (Antonio Martinez) (San Ildefonso Pueblo, 1923-1971). Blackware ceramic pot with one decorative band. Signed "Martinez" and "Popovi" and dated 6/60 (June 1960) along the underside.Maria Martinez was a member of the San Ildefonso Pueblo in New Mexico. She is credited with the rediscovery of the method for making blackware pottery such as this piece, and received two honorary doctorates for her pottery work. Popovi Da, born Antonio Martinez, was her son.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Height: 4 in x diameter: 4 1/4 in.Condition: There are no visible chips, cracks, losses, or restorations. Light wear and scratching throughout consistent with age and use. There is a network of minute white accretions with several larger accretions throughout.
Armand Point (French, 1860-1932). Oil on board painting depicting figures on horseback riding through a quiet street, 1886. Signed and dated along the lower right. Much of his early works, such as the painting offered here, were Orientalist street scenes inspired by his childhood in Algiers. Point was a founding member of the Salon de la Rose + Croix. He was involved with the Symbolist movement and was additionally deeply moved and influenced by the Italian Renaissance artists Sandro Botticelli and Leonardo da Vinci.Sight; height: 21 1/2 in x width: 36 in. Framed; height: 25 3/4 in x width: 41 1/4 in.Condition: Overall there are no major losses. The colors are bold and bright and the surface is stable. There is craquelure; there are a few spiral cracks.There is wear to the edges with areas of paint loss and chipping to the board.There a few areas with inpainting. There is a minute spot of in-painting to lower left quadrant. There is a horizontal line of inpainting along the front legs of the horse in the center of the painting, measuring approximately 1 1/2 inches. Due to the thick and uneven varnish i is difficult to determine if there are further areas of inpainting or restoration. Wear to the extreme edges of the painting, likely from the rabbet of a previous painting. A newer board has been affixed to the verso. Light wear to the frame.
An armorial plate, Chinese export porcelain, Polychrome "Famille Rose" enamelled and gilt decoration of central armorial shield for Bernardo José Maria da Silveira e Lorena, 5th Count of Sarzedas (3rd dinner set), Jiaqing reign (1796-1820), Literature:, Nuno de Castro, "A Porcelana Chinesa ao Tempo do Império", p. 214; Pedro Dias, "Heráldica Portuguesa na Porcelana da China Qing", pp. 272-279.Diam.: 24,5 cm
A plate, Chinese export porcelain, Polychrome "Famille Rose" enamelled decoration of armorial shield for Joaquim Inácio da Cruz Sobral (1st dinner set - carnations), Qianlong reign, ca. 1775, Literature:, Nuno de Castro, "Porcelana da Chinesa e os Brasões do Império", p. 141; , A. Varela Santos, "Portugal na Porcelana da China - 500 Anos de Comércio", vol. IV, pp. 1102-1105.Diam.: 32,5 cm
A D. José three footed salver, Silver 833/000, Reliefs, shells and flowers decoration to tab with central engraved decoration, Lisbon assay-mark (1755-1790) and goldsmith's mark attributable to José Joaquim da Mata (1755-1807), later France import mark (post-1971), (signs of wear and restoration), Literature:, ALMEIDA, Fernando Moitinho de; CARLOS, Rita – “Inventário de Marcas de Pratas Portuguesas e Brasileiras (Século XV a 1887)”. Lisboa: IN-CM, 2018, L-29.0 and L-431.0.Diam.: 22 cm, 244 g,
A large vase, Silver 833/000, Profuse reliefs decoration of shells and volutes, Oporto hallmark (1938-1984) and goldsmith's mark Henrique Cândido da Cruz, Herdeiros (1958-1967), Original container and grid, (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nrs. 49 and 1905.Height: 43,5 cm, 3638 g,
An armorial serving platter, Chinese export porcelain, Polychrome "Famille Rose" enamelled decoration with central armorial shield attributed to Francisco António da Veiga Cabral da Câmara Pimentel (1734-1810), 1st Viscount of Mirandela (2nd dinner set), Qianlong reign (1736-1795), Literature:, A. Varela Santos, "Portugal na Porcelana da China - 500 Anos de Comércio", vol. II, p. 630;, Nuno de Castro, "A Porcelana Chinesa ao Tempo do Império", p. 177; Pedro Dias, "Heráldica Portuguesa na Porcelana da China Qing, pp. 210-211.23,5x32 cm
A pair of earrings, Platinum 500/000 and gold 800/000, Set with 2 drop cut emeralds and 28 brilliant cut diamonds totalling approximately 0,90 ct., Lisbon hallmark (1938-1984) and goldsmith's mark Fernando da Silva (regd. 1968), (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nrs. 94 and 4213.Height: 3 cm, 8,6 g,
A chain and pendant, Gold 800/000, Set with citrine and 32 brilliant cut diamonds totalling approximately 0,32 ct., Oporto hallmark (1985-2020) and goldsmith's mark Manuel António da Costa Santos & Filhos Lda. (regd. 1966), (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 4093 e 3990.Lenght: 41 cm, 6,8 g,
A basket and tray, Chinese export porcelain, Lace like tabs of reliefs and polychrome floral "Famille Rose" enamelled decoration, Qianlong reign (1736-1795), (minor losses and handles restoration to basket), Literature:, A. Varela Santos, "Portugal na Porcelana da China - 500 Anos de Comércio", vol. II, p. 630;, Nuno de Castro, "A Porcelana Chinesa ao Tempo do Império", p. 177; Pedro Dias, "Heráldica Portuguesa na Porcelana da China Qing, pp. 210-211.8,8x21,2x17,3 cm (basket), 26,5x22,5 cm (tray)
An armorial plate, Chinese export porcelain, Polychrome "Famille Rose" enamelled and gilt decoration with central armorial shield for Bernardo José Maria da Silveira e Lorena, 5th Count of Sarzedas, 1st dinner set, Jiaqing reign, ca. 1810, (minor chips), Literature:, Nuno de Castro, "A Porcelana Chinesa ao Tempo do Império", p. 214.Diam.: 25.3 cm
A neoclassical teapot, Silver 833/000, Ribbed and engraved decoration of garlands and cartouche, Oporto assay-mark (1803-1810), goldsmith's mark attributable to António Pereira Soares (1797-1825) and twice marked Elder's Head, Turned rosewood handle, (signs of wear, restoration), Literature:, ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, P-18.0 e P-166.0; e SOUSA, Gonçalo de Vasconcelos e - "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825". Porto: Civilização Editora, 2005, pp. 509 and 510.Height: 17,5cm, 868,6 g,
An armorial plate, Chinese export porcelain, Blue and white decoration of central armorial shield for Manuel Álvares Pinto framed by Greek key border, Scalloped and gadrooned tab profusely decorated with foliage cartouches and geometric pattern rim, Tab obverse decoration of floral motifs and foliage branches, Kangxi reign, ca. 1690, Literature:, João Rodrigues Calvão (coord.), "Caminhos da Porcelana - Dinastia Ming e Qing, Fundação Oriente, pp. 204-205; , Nuno Castro, "A Porcelana Chinesa e os Brasões do Império", p. 42; , Rui Guedes (org.), "Companhia das Índias", p. 23; , David Howard, John Ayers, "China for the West", vol. I, p.63;, Maria Antónia Pinto de Matos, "Cerâmica da China - Colecção RA", vol.III, pp. 14-15.Diam.: 21.5 cm
A three footed salver, Silver 833/000, English style decoration, Slipper feet, Lisbon assay-mark (1755-1790) and goldsmith's mark António Florêncio da Silva (1755-1761), (signs of wear), Literature:, ALMEIDA, Fernando Moitinho de; CARLOS, Rita – “Inventário de Marcas de Pratas Portuguesas e Brasileiras (Século XV a 1887)”. Lisboa: IN-CM, 2018, L-28.0 and L-581.0.Diam.: 18 cm, 286 g,
A plate, Chinese export porcelain, Polychrome "Famille Rose" enamelled decoration of armorial shield for Joaquim Inácio da Cruz Sobral (1st dinner set - carnations), Qianlong reign, ca. 1775, Literature:, Nuno de Castro, "Porcelana da Chinesa e os Brasões do Império", p. 141; , A. Varela Santos, "Portugal na Porcelana da China - 500 Anos de Comércio", vol. IV, pp. 1102-1105.Diam.: 27,5 cm
A pair of earrings, Gold 800/000, Pierced decoration with hearts, Set with brilliant cut diamonds, Oporto hallmark (1985-2020) and goldsmith's mark Manuel António da Costa Santos & Filhos Lda. (regd. 1966), (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nr. 4093 and 3990.Height: 2 cm, 11,3 g,
A group of five rectangular saucers, Silver 916/000, Chinese export porcelain style engraved decoration, Oporto hallmark (1938-1985), goldsmith's mark Alberto Teixeira (1945-1961) and commercial mark Ourivesaria GOMES DA PÓVOA, (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nr. 46 and 1357.11,5x9 cm, 520 g,
An armorial plate, Chinese export porcelain, Gilt decoration of central armorial shield for José Francisco da Costa e Sousa, 2nd Viscount of Mesquitela, Jiaqing reign, ca. 1800, Literature:, Calvão (coord.), João Rodrigues, "Caminhos da Porcelana - Dinastias Ming e Qing", Fundação Oriente, pp. 246-248; Castro, Nuno de, "A Porcelana Chinesa ao Tempo do Império", p. 196.Diam.: 25 cm
A pair of armorial vegetable dishes, Chinese export porcelain, Polychrome and gilt decoration with armorial shield for Manuel Pais de Sande e Castro, Jiaqing reign, ca. 1815, Literature:, Nuno de Castro, "A Porcelana Chinesa ao Tempo do Império", p. 218; Pedro Dias, "Heráldica Portuguesa na Porcelana da China Qing, pp. 288-289.11x22x27,3 cm
A pair of earrings, Bicoloured gold 800/000, Set with 66 brilliant cut diamonds totalling approximately 0,60 ct., Oporto hallmark (1985-1998) and goldsmith's mark Manuel António da Costa Santos & Filhos Lda., ARTEJOIA (regd. 1966) (Vidal - 4100, 4129 and 3990), (signs of wear), Literature:, VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 4101 e 3990.Height: 4,4 cm, 18,8 g,
Charles I (1625-1649), Medals, Expedition to La Rochelle, 1628, a silver medal by N. Briot, o rex da facilem cvrsvm, king on horseback right, rev. atqve avdacibvs annve coeptis, crowned shield dividing date, 35mm, 14.91g/6h (MI I, 252/32; Bull 467; SCBI Brooker 1258, same dies; N 2673). Weak in parts, about very fine and rare £600-£800 --- Provenance: bt Baldwin 1948
Mary (1542-1567), First period, Testoon, type I, 1553, maria dei gra r scotorvm, crowned bust right, wire-line and beaded inner circles, rev. da pacem domine and date, crowned shield flanked by two cinquefoils, 4.95g/3h (Murray, SNC 1981, no. 9 [dies D3], this coin; SCBI 58, 283, same dies; S 5401). Slightly creased, tiny attempted piercing (?) in front of face and below lion on reverse, otherwise very fine for issue, very rare £5,000-£7,000 --- Provenance: J.K.R. Murray Collection, Spink Auction 57, 29 April 1987, lot 182 [from Baldwin]
Athletics Andre Da Silva 8x6 inch signature piece includes signed white card and colour photo attached to white card. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
After Francis Cleyn, German c.1582-1658- Putti and a Cupid Towing a Putto on a Cockleshell Boat, after Polidoro da Caravaggio; pencil and watercolour on paper, 21.2 x 27.5 cm. Provenance: Private Collection, UK. Note: The present work looks to date to the late 17th century and is presumably taken after Cleyn's much larger painted ceiling in tempera, dating to the 1630s, which is held in The Green Closet at Ham House [NT1140154]. The Green Closet is a small chamber off The Long Gallery, which was designed as a personal gallery to display both cabinet pictures and miniatures. It is a rare survivor from the reign of King Charles I. A relating tapestry after designs by Polidoro da Caravaggio (c.1499-1533), in reverse format to the present work and dating to c.1678, is held in Hardwick Hall, Derbyshire [NT1129461.2]. The original painting by Polidoro is part of a set of nine narrow panels that probably once decorated a small room, and which date to c.1523-5 (John Shearman, 'The Early Italian Paintings in the Collection of Her Majesty The Queen', 1983, pp.196-9). The series included six narrow, frieze-like compositions of playing putti, nymphs and satyrs - which the present work derives from, and which form the main basis of the Hardwick Hall tapestry series - and three larger panels of 'Psyche Abandoned', 'Psyche Discovers Cupid' and 'The Reception of Psyche in Olympus'. The nine Polidoro panels were bought by King Charles I from William Frizzel in 1637, and were recorded as hanging in the Privy Lodgings at Whitehall. At some time in the late 1630s or early 1640s, Cleyn, who was designer to the Mortlake tapestry workshop, made copies of some of the panels adding landscape backgrounds and transforming them into rectangular scenes, possibly intending them as models for tapestry. Three drawings by Cleyn have recently been discovered, their compositions very similar to three of the Hardwick tapestries, down to the details of the landscape backgrounds and numerous alterations to the figures (David Howarth, 'The Southampton Album: A Newly Discovered Collection of Drawings by Francis Cleyn the Elder and His Associates', Master Drawings, vol.49, no.4 (Winter 2011), pp.438-9). A further tapestry version of 'Putti Pulling a Cockle Shell Boat' with no borders was sold at Christie's South Kensington, 12 June 2002, lot 390 (the same tapestry was reproduced in Henry C. Marillier, English Tapestries of the Eighteenth Century, London 1930, plate 9).
Attributed to Marco Marchetti, called Marco da Faenza, Italian c.1526-1588- Study for a wall or façade with a putto in a niche; pen, brown ink and brown wash on laid paper, bears inscription 'M MARCHETTI' on the reverse of the mount, 12.1 x 9.6 cm. (mounted / unframed). Provenance: Private Collection, UK. Note: Marco da Faenza is best known as a designer and a painter of grotesque decorations. The early years of his career were spent mainly in Rome, where in around 1553 he decorated some of the rooms of the Palazzo Ricci Sacchetti. Giorgio Vasari writes that he was in great demand as a painter of 'grottesche', and praises his work very highly, as did the later biographer Giovanni Baglione, who described the artist as a ‘gran maestro’ in the field of decorative painting. By the mid-1550s Marchetti was working in Florence, where he executed an extensive series of grotesque decorations and ceiling paintings in the rooms of the Palazzo Vecchio, under the supervision of Vasari. The decorative 'grottesche' of the rooms of the Quartiere degli Elementi in the Palazzo Vecchio are perhaps the finest manifestation of his talents in this field. Comparable drawings for wall decorations by da Faenza are in the Princeton University of Art Museum in New Jersey, the Fitzwilliam Museum in Cambridge, and the Uffizi in Florence.
Giovanni Battista Piranesi, Italian 1720-1778- Veduta del Ponte Salario; etching, signed 'Gio. Batta. Piranesi. F.' (within the plate lower right), 40 x 61.5 cm. (VAT charged on the hammer price). Note:The present work depicts the Ponte Salario in Rome, a fortified bridge which dates back to the Roman period, and which was largely destroyed in the 19th century. It is inscribed within the plate 'Esso fu fabbricato da Narseete sull' Anione due miglia lontan da Roma, ed è fra i ponti antichi l'unico rimaso intero à nostri tempi. 1. Lapide di marmo nel poggio del ponte colla memoria di Narsete scolpita dalla parte interna. 2.3. Torricella ed altri muri fabbricati poste riormente. 4. Modelli usati nella costruzione dell'arci , e lasciativi per comodo ne' di lui fortuiti rifarcimenti. 5. Cavo in cui era uno de' detti modelli caduto. 6. Archi fatti in difesa del Ponte dall'impeto delle acque nelle escrescenze del Fiume. 7. Fiume Anione, overo Teverone. 8. Via Salaria. 9. Avanzo di antico Sepolcro investito da fabbriche moderne.'
Circle of Sir John Lavery, RA RSA RHA, Irish 1856-1941- Portrait of a lady, bust-length, wearing a grey jacket; oil on canvas, bears signature 'Lavery' (lower right), 54.4 x 44.8 cm. Provenance: Private Collection, France. Note: The present work, charming in its subject and high quality in finish, is highly reminiscent not only of the portraits of Sir John Lavery, but also of those by John Singer Sargent (1856-1925), John da Costa (1867-1931) and Philip de László (1869-1937).
Giovanni Battista Piranesi, Italian 1720-1778- Colonna Traiana; etching, signed 'Piranesi fecit' (within the plate lower right), 54.5 x 41 cm. (VAT charged on the hammer price). Note: The present work depicts Trajan's Column in Rome, a monument which celebrates Trajan's victory in the Dacian Wars (101-2 AD and 105-6 AD), and illustrates Piranesi's deep interest in ancient architecture, which could easily be viewed throughout 18th-century Rome. The work is inscribed within the plate: '1. Bucca fatta scavare da Sisro V. con recinto di muro, e Scala, che discende al piano della Colonna. 2. Chiesa del Nome di Maria. 3. Palazzo Bonelli. Presso l'autore a Strada Felice nel Palazzo Tomati vicino alla Trinita de'monti'.
A Societa Gestione Capannelle silver plaque, awarded to Frankie Dettori, stamped 800, the plaque engraved 'Societa Gestione Capannelle / A / Lanfranco Dettori / per l'eccezionale successa / nel Suo primo anno / da professionista / Roma 1990' plaque weights 1.62oz20.5 x 28.5cm Provenance:Frankie Dettori plaque measures 11 x 15cmSilver plaque loose
Greek Multiple Lots, SASANIAN, Peroz (459-484), Drachm, st (Istakhr), 4.15g/3h (Göbl III/1); Kavad I (second reign, 499-531), Drachm, da (Darabjird), yr 13, 4.00g/3h (Göbl II/1); Hormazd IV (579-590), Drachm, yz (Yazd), yr 5, 4.09g/3h (Göbl I/1); ARAB-SASANIAN, ‘Ubayd Allah b. Ziyad, Pashiz, art (Ardashir Khurra), date uncertain, 0.42g/3h (Gyselen 1; A A13; ICV 12) [4]. Last cracked and perforated otherwise about very fine, rare, others very fine or better £100-£150
A bottle of Finest Reserve 1960 W. & J. Graham & Co Vintage Port Wine; together with a bottle of Fonseca's Finest 1970 Vintage Port; and three bottles of The Wine Society Quinta Da Foz 1970 vintage portQty: 5Two bottles of the Society's port with levels at base of neck, the third bottle at top of shoulder. The Fonseca's with wax seal lacking and some signs of possible leakage, level at around top of shoulder. The W. & J. Graham & Co bottle with level presumed to be good.
Aus dem Nachlaß Major Herbert Müller der Panzertruppen. Eisernes Kreuz 1. Klasse, Panzerkampfabzeichen in Silber, Sportabzeichen DRL in Bronze, Deutsch-Italienische Feldzugsmedaille Bronze, Medaille 1. Oktober 1938, Ordensspange mit DA Medaillen 4 und 12 Jahre, dazu 3 nichttragbare Plaketten/Medaillen. Diverse Feldpostbriefe. Kommandeur der Panzertruppe Major Herbert Müller fand am 7. Dezember 1942 den Heldentod. Foto des Heldengrabes und Todesanzeige anbei. - Zustand II-
Barth Verschaeren, Bauernpaar beim Picknick, signiertes Ölgemälde, gerahmtBarth Bartholomeus Constant Lodewijk Verschaeren, 1888 Mechelen - 1946 Mechelen, Ein Bauernpaar beim Picknick im Grünen mit Blick auf ein Dorf und Kirchturm, Öl/Lw., 58 x 74 cm, signiert, mit Craquelés, im HolzrahmenZum Künstler: belgischer Maler, Graphiker und Bildhauer. Er studierte an der Akademie in Mechelen unter der Leitung von W. Rosier. Seine Vorliebe galt u. a. Landschaften, Porträts, Figuren und ländlichen Interieurs. Seinen Ruhm erlangte er vor allem durch die Malerei des flämischen Bauern und des ländlichen Lebens. Zwischen 1910 und 1915 arbeitete er für einige Zeit in Amsterdam, Berlin und London. Nach einem vierjährigen Aufenthalt in den USA (1920-1924), wo er auch als Bildhauer tätig war und Erfolg hatte, kehrte er in seine Heimatstadt zurück. Er entwickelte sich vom Impressionismus um 1924 zum Expressionismus und entwickelte von da an seinen eigenen Stil. Seine Verbundenheit mit dem Boden wird deutlich, wenn man seine Darstellungen des ländlichen Lebens betrachtet.
Altmeister um 1740, Rebekka und Eliezer am Brunnen, Ölgemälde gerahmtNicht signierender Altmeister 1. H. 18. Jh., Eliezer schenkt der schönen Rebekka am Brunnen Schmuck, Öl/Lw., altdoubliert, mit feinem Krakelee, 60 x 85 cm, profilierter HolzrahmenDie Geschichte der Rebekka am Brunnen ist eine der Brautwerbung und der Gastfreundschaft. Als Abraham bereits hochbetagt ist, möchte er für seinen Sohn Isaak eine Braut finden. Er schickt seinen treuen Diener Eliezer mit einem Gefolge aus Kamelen nach Nahor, da es keine Frau der Kanaaniter sein sollte. Dort beschwor er Gott, dass die Frau, die ihm und seinen Kamelen am Brunnen zu trinken gebe, die Frau Isaaks werden soll. Es war Abend, als Eliezer ankam, und die Frauen kamen an den Brunnen. Rebekka, die sehr schön und jung war, war diejenige, die dieser Gastfreundschaft nachging. Eliezer schenkt ihr daraufhin Schmuck, einen Nasenring und Bänder für die Arme. Rebekka gibt sich als Enkelin Abrahams Bruder zu erkennen. Sie lässt die Fremden im Zelt ihrer Familie übernachten. Eliezer verrät nun auch sein Anliegen. Rebekka wird Isaaks Frau.
Nach Dai Jin, Ideallandschaft mit Personen, chinesische TuschemalereiNach Da Jin (1388 - 1462), duftige Berglandschaft mit reißendem Fluss und Wanderern, Tusche und Farbe auf Papier, 111 x 55 cm, Begleittext, Künstlersignatur und drei Siegel sowie weitere Sammlersiegel, auf der Bildrolle zusätzlich bezeichnet "Dai Wenjin Shanshui"
Seltenes Tsatsa-Model aus Bronze, Qianlong-Zeit, China 18. Jh.Bronzemodel zur Formung einer Votivplakette aus Ton (tsatsa), in Tiefrelief die Figur eines dreiköpfigen, sechsarmigen Bodhisattva auf Lotusthron, auf Unterseite des Models und auf der Innenseite des zugehörigen Pressdeckels ausgewiesen als Produkt der Qianlong-Zeit (Da Qing Qianlong nian zhi), einmal in Spiegelschrift, hier zusätzlich ein Text in mongolischer Schrift, Bronze mit goldbrauner Patina, H 10 cm
COWLEY, Abraham (1618-67). The Works, London, 1708-10, 3 vols., 8vo, 33 engraved plates, contemporary calf. Mixed editions. With 14 other works in 32 volumes. (35)COWLEY, Abraham (1618-67). The Works ... Consisting of those Which were formerly Printed; And those which He design'd for the Press; Publish'd out of the Author's Original Copies. With the Cutter of Coleman-Street ... [Vols. I-II] The Eleventh Edition [Vol. III] The Eighth Edition. London: Printed for T. Tonson; and Sold by D. Browne (and others), [Vols. I-II] 1710 [Vol. III] 1708. 3 volumes, 8vo (194 x 120mm). Engraved portrait of the author and 32 plates, including one folding (some light staining and browning, a few darker spots). Contemporary panelled calf (rebacked preserving old lettering pieces). Provenance: The Rt. Hon. Robert d' Arcy, Earl of Holdernesse (armorial bookplate). With 14 other works in 32 volumes, namely Agabito Pei's Vita e Miracoli dei Glorioso S. Antonio da Padoa (Florence, 1633, 8vo, engraved title and portrait, one full-page woodcut, contemporary decorated vellum, spine gilt, stained and worn), Histoire Veritable de la Duchesse de Chatillon (Cologne, chez Pierre Marteau, 1699, 12mo, contemporary red morocco, inscribed "Jack, from Goonie [i.e. Lady Gwendeline Churchill], 31st May 1910 on the occasion of John George's 1st birthday"), John Norris's The Theory and Regulation of Love. A Moral Essay. With Some Motives to the Study and Practice of regular Love, by way of Consideration. To which are added, Letters Philosophical and Moral between the Author and Dr. Henry More ... The Seventh Edition (London, 1723, 8vo, contemporary calf), Henry Fielding's The History of the Adventures of Joseph Andrews ... The Fifth Edition (London, 1751, 2 vols., 8vo, engraved plates, contemporary calf), John Vanbrugh's Plays ... In Two Volumes (London, 1759, 2 vols., 8vo, contemporary calf, old armorial bookplate of Anthony Eden), [Claude Prosper Jolyot de Crébillon's] Le Sopha, Conte Moral. Nouvelle Édition ("A Pekin", chez l'Imprimeur de l'Empereur," [?but Paris], 1762, 2 parts in one vol., small 8vo, 19th-century red calf), Henry Fielding's Amelia (London, 1775, 3 vols., 8vo, later calf preserving old spines), Thomas Warton's Poems. A New Edition, with Additions (London, 1777, large 8vo, contemporary calf, old armorial bookplate of Anthony Eden), [Mercier de Saint-Léger Barthélemy's] Quinque illustrium poetarum ... Lusus in venerem partim ex codicibus manuscriptis nunc primùm editi (Paris, "Prostat ad pistrinum in vico suavi", 1791, contemporary calf), William Shakespeare's The Plays ... Accurately printed from the Text of the corrected Copy left by the late George Steevens (London, 1805, 10 volumes, large 8vo, engraved plates by Henry Fuseli, contemporary calf elaborately decorated in gilt, rebacked, heavily rubbed and scuffed, old armorial bookplates of Anthony Eden), [James Beresford's] The Miseries of Human Life ([London, c.1806, 2 vols., [including, bound in at the end of the second vol., Peregrine Bingham's The Poems of Memory, A Poem, in Two Books (London, 1811)], 2 folding engraved frontispieces, one hand-coloured, contemporary calf, old armorial bookplate of Anthony Eden, with later pencil inscriptions in an unidentified hand regarding provenance at the beginning of the first vol. ("These 2 vols. shd. not have AE's bookplate in them - they belonged to Harold Baker who left them to me ...."_)), Oliver Goldsmith's The Citizen of the World: or, Letters from a Chinese Philosopher Residing in London, to his Friends in the East (London, 1809, 2 vols., 8vo, engraved plates, contemporary calf gilt, neatly rebacked, armorial bookplate of William Fawcett), John Selden's The Table Talk ... A New edition, corrected (Chiswick, 1818, 12mo, engraved frontispiece, contemporary turquoise calf gilt, highlighted in pencil throughout with some sparse annotation by Anthony Eden) and Miguel de Cervantes' Don Quixote de la Mancha (London, 1818, 4 volumes, large 8vo, engraved plates by Robert Smirke, contemporary calf, upper board of vol. one detached, old armorial bookplate of Anthony Eden). The lot sold not subject to return. (35)
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