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Lot 114
A BOX OF ASSORTED COSTUME JEWELLERY AND ITEMS, to include imitation pearl necklaces, aurora borealis beaded necklaces, brooches, earrings, bracelets, a boxed quartz wristwatch, a boxed carved wooden hair comb, fob watch, wallets, a cased set of rolled gold and mother of pearl dress studs, a boxed cake fork set, a cased set of fish eaters, fourteen boxed pendant necklaces new in packaging, loose EPNS cutlery pieces, and two boxed new and unopened sets of cutlery, a Parker fountain pen, small amount of white metal jewellery etc
Lot 124
AN EARLY 20TH CENTURY 18CT GOLD DIAMOND AND PEARL DRESS RING, of crossover design, set with an early brilliant cut diamond, measuring approximately 6.6mm x 6.7mm x depth approximately 3.5mm and a pearl, pearl untested, measuring approximately 5.6mm x 4.5mm, depth approximately 5.2mm, to the rose cut diamond set shoulders and plain band, estimated principal diamond weight 0.98ct, assessed colour H-I, assessed clarity I1, pearl untested, approximate ring size P, approximate gross weight 3.5 grams (condition report: overall condition good, principal diamond bright and lively, some replacement diamonds to diamond set shoulders, pearl untested, pearl has very poor nacre thickness to one side)
Lot 32
A WHITE METAL DIAMOND DRESS RING, of a rectangular form, to the centre is six princess cut blue diamonds, within a tiered surround of rectangular cut and single cut diamonds, single cut diamond pave set shoulders leading onto a polished band, stamped 10K, ring size N, approximate gross weight 5.2 grams (condition report: one diamond is missing from the surround, general light wear, overall condition good)
Lot 338
FABIAN PEREZ (ARGENTINA 1967) 'LINDA IN RED', a signed limited edition print depicting a female figure wearing a red dress while sitting in an armchair, 19/195 no certificate, personal inscription and signature verso, approximate sizes - image 29cm x 21cm frame 52cm x 44cm, Condition: small chips to corner edges of the frame
Lot 339
FABIAN PEREZ (ARGENTINA 1967) 'LINDA IN RED', a signed limited edition print depicting a female figure wearing a red dress while sitting in an armchair, 12/195 with certificate, approximate sizes - image 29cm x 21cm frame 52cm x 44cm, Condition: top and bottom left corner edges of the frame chipped
Lot 376
NINE FIGURINES, comprising a Wedgwood for Spink limited edition 'The Great Exhibition' figurine 825/10000 (finger broken, tiny chip to back hem of dress), two Coalport Beau Monde 'On Court' figurines height 17cm, Royal Doulton Holly HN3647 height 21cm and Top o'the Hill HN1834 (the latter has a glazed over chip to brim of hat), Renaissance Amelia (small chips to hem of dress) height 28cm and Edwina, Bradford Editions 'Sunday Best' and 'Crimson Belle' bell figurines (9) (Condition report: most pieces appear in good condition, specific obvious damage as stated, would benefit from a clean)
Lot 541
AN EDWARDIAN HEAD AND SHOULDERS PORTRAIT OF A FEMALE FIGURE, unsigned pastel on paper laid onto canvas, oval in format, maximum dimensions 57cm x 47cm, framed and glazed, together with prints comprising Sydney E Wilson portrait of a lady, unknown portrait of a female figure wearing a black dress and head covering, Eugene Grivaz print depicting a female figure warming her feet at a fire, George Moreland print 'The Travellers' and Edwin Landseer print 'The Highland Whiskey Still', all framed and glazed (6)
Lot 559
A QUANTITY OF ASSORTED VINTAGE DOLLS AND ACCESSORIES ETC., to include part used Sindy In Town cut-out dress book, missing the punch out doll but has three of the four outfits complete and uncut (and the remains of the other outfit), book with some creasing, marking and wear, boxed Waddington's Sindy and Paul with Car jigsaw (contents not checked, box damaged), Sindy fringed denim zip up shoulder bag, Sindy meets the Dollybeats 45 single record, incomplete and damaged Pedigree battery operated Sindy Lambretta scooter, two boxed Sindy wardrobes (boxes damaged), damaged empty 1960's 'The World of Barbie' doll case (complete but has damage and wear mainly to lid), assorted Pedigree, Rosebud and other plastic and vinyl dolls, boxed Palitoy Carrie's Crib and High Chair, boxed Telitoy orange Rabbit, looks to have never been removed from box, Mabel Lucie Attwell style plastic figure (paint loss and wear), quantity of boxed Hong Kong plastic 'Baby Darling' or 'Darling Baby' dolls, still sealed in original packaging and attached to backing card, two boxed Peggy Nisbet dolls etc., includes some empty boxes, all in play worn condition, most boxes with damage and wear (3 boxes)
Lot 127
Ca. 100-300 AD.A bronze openwork gammadion or tetra-gammadion brooch with a catchplate on the reverse, composed of four capitalised ? (gamma). Brooches were an important element of Roman dress, used to fasten clothing but they also served as dress accessories in their own right. Thousands of different types and subtypes of Roman brooches are attested, and they seem to have played an important role in Roman people's self-expression. This item may have belonged to a devotee of Jupiter, probably a soldier, as he was a particularly important deity among Roman military communities. For comparable brooches, see The British Museum, Museum number 1874,1228.4; The Mougins Museum of Classical Art (MACM), Inv. n°: MMoCA615; Richard Hattatt (2000), A Visual Catalogue of Richard Hattatt's Ancient Brooches. Oxbow Books, p. 357, item 1145.Size: L:25mm / W:25mm ; 9gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 265
Ca. 100-200 AD.A bronze disk brooch with openwork decoration forming abstract geometric patterns and a well-preserved catch-plate on the reverse. Brooches were an important element of Roman dress, used to fasten clothing but they also served as dress accessories in their own right. Thousands of different types and subtypes of Roman brooches are attested, and they seem to have played an important role in Roman people’s self-expression. For further information on Roman brooches, see Richard Hattatt. 2000. A Visual Catalogue of Richard Hattatt's Ancient Brooches. Oxbow Books. Size: L:32mm / W:36mm ; 10gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 315
Ca. 618-907 AD.A ceramic 'Fat Lady' figure standing facing forward, with one foot angled to the side. She wears long-sleeved, loose-hanging robes, and the court dress is embellished with delicately detailed upturned shoes. The original pigmentation is still visible on the figure's face, dress, and hair. The facial features, such as the eyes, lips, nose, and eyebrows are picked out by delicate painting. An elaborate coiffure crowns the face. The so-called 'Fat Lady' was a popular attendant figure among the wealthy as during the Tang dynasty luxurious tastes led to a change in the ideal feminine form, from thin to more buxom body types. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Good condition.Size: L:610mm / W:270mm ; 9.50kgProvenance: Private London collection, formed in the 1970s on the UK and European art market.
Lot 32
Ca. 664-332 BC.A carnelian scarab with an oval body and a gently rounded upper side detailing the clypeus, prothorax, and wings. This scarab has wonderfully moulded morphological features in a conventionalised representation of the scaraboid beetle. The underside is flat and unworked, drilled for suspension. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits.Size: L:10.1mm / W:7.8mm ; 0.74gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 330
Tang Dynasty, Ca.618-907 AD.A terracotta Tang Dynasty female dancer wearing a long flowing gown with her hands uncovered. The dress is a deep orange, which continues to the waist sash, separates the skirt from the bodice and is also the same orange colour. Her upper body is slightly bent to the side, with her left arm in the air, indicating motion. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style whilst also showing no modern trace elements. The TL certificate with its full report will accompany this object. Report No. 11AG2132022.Size: L:320mm / W:140mm ; 1,05kg.Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 37
Middle Kingdom, Ca. 20301650 BC.An amethyst scarab with an oval body and a gently rounded upper side detailing the clypeus, prothorax, and wings. This scarab has wonderfully moulded morphological features in a conventionalised representation of the scaraboid beetle. The underside is flat and unworked, drilled for suspension. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits. For a similar example, see The Metropolitan Museum of Art, Accession Number: 22.1.272.Size: L:18.4mm / W:13.3mm ; 2.91gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 48
Ca. 664-332 BC.A carnelian scarab with an oval body and a gently rounded upper side detailing the clypeus, prothorax, and wings. This scarab has wonderfully moulded morphological features in a conventionalised representation of the scaraboid beetle. The underside is flat and unworked, drilled for suspension. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits.Size: L:12.4mm / W:8.8mm ; 0.96gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 51
Ca. 1069 BC-664 BC.A stone scarab with well-modelled body, perforation for suspension, and engraved underside. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits. See K. M. Kooney (2008). ‘Scarabs,’ in The UCLA Encyclopaedia of Egyptology, available online at https://escholarship.org/uc/item/13v7v5gd Fair condition.Size: L:23.1mm / W:17.7mm ; 8.08gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 7
Ca. 200 AD (Head) / Ca. 1800 AD (Bust).A marble head and torso of the emperor Hadrian wearing military dress. His face features a broad brow, narrow nose, and clipped beard. The head is framed with curling locks. Hadrian (76-138 AD) was Roman emperor from 117 to 138 AD. He often travelled through the vast provinces of the Roman Empire, establishing new settlements or granting city rights to already existing centres. He supported trade and craftsmanship and reformed the tax system. He was an educated and empathetic man. A great patron of the arts, and a famous admirer of Greek culture. He wore a beard and moustache to fashion himself as a Greek philosopher. Cf. The British Museum, Museum number 1805,0703.94. Size: L:610mm / W:420mm ; 38.75kgProvenance: Ex French Collection, Paris Gallery, previously with Maître LEFRANC Frédéric Eurl Auxerre Engheres Auction.
Lot 95
Late Roman, Ca. 300-500 AD.A group of three glass bracelets (also referred to as bangles) comprising monochrome glass strains bent into a loop. Colours in this group include: 1) black, 2) blue, 3) red. Glass bracelets were an important dress accessory worn in the Roman Empire, and to judge from finds in graves, were primarily worn by women and children (and to a lesser extent by men). These versatile objects might also have been used to adorn women's elaborate hairstyles and/or to decorate horses. Glass bangles had a long lifespan and were also worn in the Middle Ages under Rome's successor state, the Byzantine Empire, where women often wore dresses which revealed their arms, making bracelets an especially appropriate accessory choice.Size: L:80-40mm / W:10mm ; 43gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 97
Late Roman, Ca. 300-500 AD.A group of three glass bracelets (also referred to as bangles) comprising monochrome glass strains bent into a loop. Colours in this group include: 1) black, 2) navy, 3) cobalt blue. Glass bracelets were an important dress accessory worn in the Roman Empire, and to judge from finds in graves, were primarily worn by women and children (and to a lesser extent by men). These versatile objects might also have been used to adorn women's elaborate hairstyles and/or to decorate horses. Glass bangles had a long lifespan and were also worn in the Middle Ages under Rome's successor state, the Byzantine Empire, where women often wore dresses which revealed their arms, making bracelets an especially appropriate accessory choice.Size: L:70-40mm / W:10mm ; 48gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 345
Karl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Mädchen im Kohlfeld. 1886. Öl auf Leinwand. Warmt G 197 (2015: G 167). Rechts unten signiert und datiert. Verso auf der Leinwand mit zwei verblassten unleserlichen Stempeln. Verso auf dem Keilrahmen mit altem Etikett, bezeichnet 'Eigenthum von / Friedrich Hagemeister / Prof. Hagemeister', sowie mit weiterem Etikett 'Nr. 693 / Schulamt / Brandenburg G.H. / Ölgemälde / Prof. K. Hagemeister / 'Mädchen im Kohlfeld' Brandenburg 15 / IV [19]43'. Nummeriert 'B-0149' und '69.3'. 119 x 73 cm (46,8 x 28,7 in). Mit einem schriftlichen Gutachten von Frau Dr. Hendrikje Warmt, Karl Hagemeister Archiv & Werkverzeichnis, Berlin, 24. Oktober 2022. PROVENIENZ: Aus dem Nachlass des Künstlers. Frau M. Schweitzer, Brandenburg/Havel (vom Vorgenannten erhalten). Privatsammlung Berlin (1975 erworben). AUSSTELLUNG: Karl Hagemeister, Bröhan-Museum, Berlin, 12.3.-12.7.1998, Kat.-Nr. 49. LITERATUR: Peter Paret, Die Berliner Secession. Moderne Kunst und ihre Feinde im Kaiserlichen Deutschland, Berlin 1981, S. 105. Irmgard Wirth, Berliner Malerei im 19. Jahrhundert, Berlin 1990, Taf. 75. Margit Bröhan (Hrsg.), Karl Hagemeister (1848 - 1933) - Gemälde-Pastelle-Zeichnungen, Ausst.-Kat. Bröhan Museum, Berlin 1998, S. 100 (Abb. S. 101). Berührungspunkte mit der europäischen Moderne und dem aufkommenden Impressionismus in Paris hinterlassen bei Hagemeister den Drang mit impressionistischen Auffassungs- und Darstellungskonzepten in der zweiten Hälfte der 1880er Jahre zu experimentieren. Inspiriert von der sehr hellen und kraftvollen Farbgebung in einem gestisch schwungvollen Pinselduktus der Franzosen begann er seinen eigenen bildnerischen Ausdruck zu suchen. In Ferch, einem kleinen Fischerdorf im Havelland, wo Hagemeister von 1880 bis 1891/92 lebte, wandte er sich nicht nur der reichhaltigen Flora und Fauna, sondern auch, den französischen Vorbildern nacheifernd, figurativen Studien zu. Durch seine Kindheit auf dem Land entwickelt Hagemeister eine innige Liebe zur Tier- und Pflanzenwelt. Seine Hingabe begründet sich in seinem direktem Dasein in der freien Natur. Denn „wer Landschaften malt, muss sich aufhalten, wo die Landschaft ist; wer Prinzessinnen malt, muss dort sein, wo die Prinzessinnen sind.“ Für ihn stellt die Natur ein „seelisches Element“ dar, das er durch den Malprozess und das Verharren in freier Natur Vorort zu erspüren sucht. Hagemeister entwickelt eine malerische Herangehensweise, bei der ein pastos angelegter grober Vordergrund einem lasierend aufgetragenen Hintergrund entgegengesetzt wird. Davon umgeben präsentiert er im Mittelgrund des Bildaufbaus Bäuerinnen, die entweder in stiller Position verharren oder ihrer Arbeit nachgehen. Es entsteht eine Momentaufnahme, die eine Realität einfacher Landleute zeigt, ohne sich einem Sujet der bürgerlichen Porträts oder historischer Szenerien zu bedienen. Der Verzicht auf jegliche Beschönigung wendet sich einem Realismus zu, der bereits spätere Umwälzungen in den Kunstsalons in Deutschland ankündigt. Fernab der städtischen Zensur ist Hagemeister so Mitstreiter einer sich langsam vollziehenden Entwicklung grundlegender zukünftiger kunsthistorischer Veränderungen. Auch unser Bildnis „Das Mädchen im Kohlfeld“ zeigt ein stimmiges Zusammenspiel zwischen heimischer Schönheit von Mensch und Natur. Ein Bauernmädchen in schlichter Erscheinung sitzt auf dem Feld, während die ihr umliegende Natur in eine dynamischere Atmosphäre getaucht ist. Das Mädchen blickt in stiller Anmut über den äußeren Bildrand in die Ferne hinaus. Es entsteht ein kurzer Augenblick des Stillstandes, während die Bäume, Sträucher und das Feld durch den Wind bewegt werden. Pastoser und kräftiger Farbauftrag von lichten Gelb- und Grüntönen lassen ein Naturspektakel entstehen, dass um das zarte Mädchen in einfacher Tracht umher rauscht. [CS] Aufrufzeit: 10.12.2022 - ca. 15.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Mädchen im Kohlfeld. 1886. Oil on canvas. Warmt G 197 (2015: G 167). Lower right signed and dated. Verso of the canvas with two faded illegible stamps. Verso of the stretcher with an old label inscribed: 'Eigenthum von / Friedrich Hagemeister / Prof. Hagemeister', sowie mit weiterem Etikett 'Nr. 693 / Schulamt / Brandenburg G.H. / Ölgemälde / Prof. K. Hagemeister / 'Mädchen im Kohlfeld' Brandenburg 15 / IV [19]43'. Numbered 'B-0149' and '69.3'. 119 x 73 cm (46.8 x 28.7 in). Accompanied by a written expertise from Dr. Hendrikje Warmt, Karl Hagemeister Archive & catalogue raisonné, Berlin, October 24, 2022. PROVENANCE: From the artist's estate. Ms M. Schweitzer, Brandenburg/Havel (onbtained from the above). Private collection Berlin (acquired in 1975). EXHIBITION: Karl Hagemeister, Bröhan-Museum, Berlin, March 12 - July 12, 1998, cat. no. 49. LITERATURE: Peter Paret, Die Berliner Secession. Moderne Kunst und ihre Feinde im Kaiserlichen Deutschland, Berlin 1981, p. 105. Irmgard Wirth, Berliner Malerei im 19. Jahrhundert, Berlin 1990, plate 75. Margit Bröhan (ed.), Karl Hagemeister (1848 - 1933) - Gemälde-Pastelle-Zeichnungen, ex. cat. Bröhan Museum, Berlin 1998, p. 100 (illu. p. 101). In the second half of the 1880s, Hagemeister’s encounters with European Modernism and the emerging Impressionism in Paris prompted him to experiment with Impressionist concepts of perception and representation. Inspired by the bright and powerful colors of the French artists and their sweeping, expressive brushstrokes, he began to search for his own artistic language. While living in Ferch, a small fishing village in Havelland, from 1880 to 1891/92, Hagemeister explored the rich local flora and fauna and, inspired by the French masters, the art of figure drawing. During his childhood in the countryside, Hagemeister developed an intimate love for the world of animals and plants. This devotion was rooted in his direct exposure to the natural world. “If you paint landscapes, you have to be where the landscape is; if you paint princesses, you have to be where the princesses are.” Hagemeister saw nature as a “spiritual element” which he sought to sense and feel by immersing himself in the natural world and working through the painting process. He developed a style of painting that contrasts a rough impasto foreground with a glazed background. Framed by these, the middle ground of his compositions usually present peasant women either in a resting position or going about their work. Presenting a snapshot of the reality experienced by simple country people, his works avoid the classic motifs of bourgeois portraits or historical scenes. Hagemeister’s rejection of any embellishment approaches a realism that foreshadows subsequent developments in Germany’s art salons. Far from urban censorship, Hagemeister is thus part of a slowly unfolding process towards fundamental future changes in the history of art. Our portrait, “The Girl in the Cabbage Field”, reveals a harmonious interaction between the native beauty found in mankind and nature. Sitting in the field, a plain-looking peasant girl is surrounded by natural scenery imbued with a more dynamic atmosphere. With serene grace, the girl gazes into the distance beyond the outer edge of the picture. A brief moment of stillness unfolds while the trees, shrubs and field move in the wind. Strong impasto applications of light yellow and green shades create a natural spectacle that swirls around the delicate girl in her simple dress. [CS] Called up: December 10, 2022 - ca. 15.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 335
Friedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Öl auf Leinwand. Rechts unten mit eingeritzter Signatur und datiert. Verso auf dem Keilrahmen mit altem handschriftlich bezeichnetem Etikett sowie nummeriert '2734'. 45,5 x 38 cm (17,9 x 14,9 in). • Amerling ist neben Waldmüller einer der technisch virtuosesten Porträtisten der Wiener Gesellschaft. • Seine Darstellungen und Typen sind prägend für eine romantisch-biedermeierliche Schönheitengalerie. • Bildnisse aus seiner Hand befinden sich in den Bayerischen Staatsgemäldesammlungen, München, dem Belvedere und dem Kunsthistorischen Museum, Wien sowie der Alten Nationalgalerie, Berlin. PROVENIENZ: Privatsammlung Wien/USA (seit mindestens drei Generationen in Familienbesitz). Neben Ferdinand von Waldmüller gehört Friedrich von Amerling zu den bedeutendsten Porträtmalern des Habsburgischen Österreichischen Kaiserreichs. Seine Ausbildung beginnt er 1815 an der Akademie der Künste in Wien, anschließend folgen einige Jahre an der Akademie in Prag. Künstlerische Bildungsreisen führen ihn nach London, Paris und Rom, während derer er sich mit der Kunst bedeutender schulprägender Meister wie Thomas Lawrence oder Horace Vernet auseinandersetzt, als auch mit dem für das malerische Curriculum unerlässlichen Antikenstudium, Diese ausgedehnte Reisetätigkeit führt ihn im Laufe seines Lebens außerdem nach Spanien, erneut nach England, nach Griechenland, Skandinavien bis ans Nordkap und schließlich 1886 nach Ägypten und Palästina. Kurz vor der Entstehung unseres Bildnisses reist er nach Italien, in die Niederlande und 1839 nach München. Zu dieser Zeit ist er bereits einer der gefragtesten Porträtisten des Großbürgertums und des Hochadels, zu seinen bedeutendsten Werken gehört das Porträt von Franz I. im Kaiserornat (1821, Kunsthistorisches Museum, Wien), das durch die ungewöhnlich lebensnahe Pose und die präzise modellierte Stofflichkeit der Gewandung und der juwelengeschmückten Reichsinsignien einzigartigen Stellenwert im Œuvre besitzt. Das bis dato teuerste versteigerte Gemälde aus seiner Hand, 'Mädchen mit Strohhut' (1835, The Princely collection, Liechtenstein, Vaduz/Wien), zählt jedoch zu den Bildnissen schöner Unbekannter. Für solche Bildnisse stehen ihm oft Schönheiten aus Musik und Theater Modell, die ihm für Typenporträts wie die Morgenländerin oder 'Lautenspielerin' ihr Gesicht leihen (1828, Belvedere, Wien). Von der gleichen technischen Raffinesse in den Details wie den glänzenden Seidenbändern, den zarten Rosen im geflochtenen Haar, dem transparent schimmernden Porzellanteint und den rosigen Wangen bis zum dunkelrot samtenen Kleid mit dem puffigen Fellkragen ist das Bildnis dieses jungen Mädchens, dessen Physiognomie ganz der unschuldigen Lieblichkeit des von Amerling bevorzugten Frauentypus entspricht. Vor dem dunkel gehaltenen Hintergrund verstärkt sich der Effekt der akribisch geschilderten Stofflichkeit und der Lichteffekte, mit denen Amerling hier den Idealtypus einer naiv-unberührten, mit romantisch-verklärtem, leicht abwesenden Blick dargestellten jungen Schönheit entwirft. [KT] Aufrufzeit: 10.12.2022 - ca. 15.16 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONFriedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Oil on canvas. With the scratched signature and the date in lower right. Verso of the stretcher with an old label with inscription and the number '2734'. 45.5 x 38 cm (17.9 x 14.9 in). • Next to Waldmüller, Amerling was one of the most virtuoso portraitists of the Viennese society. • His depictions were formative for the romatic ideal of beauty typical of the Biedermeier era • His portraits are in the Bavarian State Painting Collections, Munich, the Belvedere and the Kunsthistorisches Museum, Vienna and the Alte Nationalgalerie, Berlin. PROVENANCE: Private collection Vienna/USA (family-owned for at least three generations). Together with Ferdinand von Waldmüller, Friedrich von Amerling is one of the most eminent portrait painters of the Austrian Hapsburg Empire. Beginning his education in 1815 at the Academy of Arts in Vienna, he subsequently spent several years at the Academy in Prague. His educational journeys took him to London, Paris and Rome, where he studied the art of prominent masters of the school, such as Thomas Lawrence and Horace Vernet, as well as studying the ancient world, which was an essential part of the artistic curriculum at the time. In the course of his life, his extensive travels also took him to Spain, England, Greece, Scandinavia, the North Cape and eventually, in 1886, to Egypt and Palestine. Shortly before he created the portrait on offer here, von Amerling traveled to Italy, the Netherlands and, in 1839, to Munich. At this time, he was already one of the most sought-after portraitists for the upper middle classes and the high nobility; one of his greatest works is the portrait of Franz I in imperial regalia (1821, Kunsthistorisches Museum, Vienna), which occupies a unique place in his oeuvre thanks to the subject’s unusually lifelike pose and the accurately rendered materiality of the robe and the jewelry-adorned imperial insignia. “Girl with Straw Hat” (1835, The Princely Collection, Liechtenstein, Vaduz/Vienna), the most expensive von Amerling painting sold at auction to date, is among the portraits of unknown beauties. Beautiful women from the world of music and theater, who lent him their faces for type portraits such as the “Oriental Woman” or the “Lute Player” (1828, Belvedere, Vienna), often served as models for his portraits. This portrait of a young girl, whose physiognomy is eminently representative of the innocent gentleness of von Amerling’s preferred type of woman, displays the same technical sophistication of detail, from the shiny silk ribbons and the delicate roses in the braided hair to the transparent shimmering porcelain complexion and rosy cheeks and the dark red velvet dress with the puffy fur collar. The dark background accentuates the effect of a meticulously rendered materiality and the impact of the light effects, which von Amerling employs to create the archetype of a naïve, untouched young beauty, portrayed with a romantic, slightly absent-minded gaze. [KT] Called up: December 10, 2022 - ca. 15.16 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Lot 354
Edward Cucuel 1875 San Francisco - 1954 Pasadena Am Ufer. Um 1920. Öl auf Leinwand. Links unten signiert. 71 x 58 cm (27,9 x 22,8 in). PROVENIENZ: Privatsammlung Bayern. Der große malerische Reiz der Ölgemälde, die Edward Cucuel am Starnberger See schafft, beruht auf den delikaten Lichtverhältnissen, unter denen der Künstler seine Modelle und die umgebende Landschaft sieht. Dem seitlich einfallenden abendlichen Licht wird hier besondere Aufmerksamkeit geschenkt. Ohne die Konturen zu verhärten, legt es sich schmeichelnd um die Modelle. Die Valeurs werden ausgekostet, um wie hier im Weiß des Kleides und der irisierenden Wasseroberfläche ein leuchtendes Eigenleben zu feiern. Alle Härten sind gemieden. Ein wohltuender warmer Farbklang eint die Komposition, die ganz auf die stehende junge Dame zugeschnitten ist. Cucuels Anliegen, die schönen Seiten des Lebens zu feiern, wird hier überdeutlich. Seine unbekümmerten jungen Frauen sind Vertreterinnen einer hedonistischen Lebenskultur, die in Cucuels Sujets ihre Bestätigung findet. [KT] Aufrufzeit: 10.12.2022 - ca. 15.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdward Cucuel 1875 San Francisco - 1954 Pasadena Am Ufer. Um 1920. Oil on canvas. Lower left signed. 71 x 58 cm (27.9 x 22.8 in). PROVENANCE: Private collection Bavaria. The powerful artistic appeal of the oil paintings Edward Cucuel created at Lake Starnberg is based on the delicate light conditions in which the artist set his models and the surrounding landscape. In this painting, he paid particular attention to the evening light that enters the picture from the side, enveloping the model with flattering radiance without hardening the contours. The celebratory use of tone-on-tone technique gives the white of the dress and the iridescent surface of the water a luminous life of their own. All harshness is avoided. Unified by a warm color scheme, the composition is perfectly tailored to the standing young lady – a profound expression of Cucuel’s focus on celebrating the finer things in life. His carefree young women are representative of a hedonistic lifestyle that meets its affirmation in Cucuel’s subjects. [KT] Called up: December 10, 2022 - ca. 15.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 87
Three vintage 9ct gold single stone dress rings. Comprising a pale-violet oval mixed-cut amethyst ring, claw set between fan-shaped shoulders on a 'D' section shank with hallmarks for Birmingham 1990, size S, 3.9g gross; a cut-corner scissors-cut citrine ring, claw set on a 'D' section shank with knife shoulders, hallmarks for London 1977, the shank sawn so size approx. R, 3g gross; and a pale-green oval paste ring claw set within a serrated surround, hallmarks obscured, size R, 6.2g gross. Condition Report: The amethyst measures approx. 16mm x 13mm x 7mm. The citrine measures approx. 12mm x 10mm x 5.3mm. The paste measure approx. 18.2mm x 13.5mm.
Lot 2187
An Edwardian yellow metal, sapphire and diamond dress ring, the large elliptical setting measuring approx 28.5 x 13mm, pavé set with five graduated round cut sapphires, the centre stone weighing approx 0.4 carats, within a surround of twenty graduated old round cut diamonds, 5.2g, unmarked but tests as approx 18ct, size Q
Lot 2274
A yellow metal, peridot and pearl dress ring, comprising an emerald cut peridot within an ornate scrollwork surround set with four 4.95 x 3.9mm half pearls at the corners, peridot dimensions approx 14.4 x 12.95 x 5.1mm, weight estimated as 8.24 carats, size P½, gross weight 11.4g, stamped and tested as 18ctFacets slightly abraded on peridot.
Lot 2298
A contemporary French 18ct white gold, amethyst and diamond dress ring, arranged as a large oval cut amethyst measuring approx 16 x 19 x 8.5mm, within shoulders set to two sides with small brilliant cut diamonds, further co-joined by two bands set with small round cut amethysts, 15.2g, has been sized-down but currently size J
Lot 2422
A large Burmese figure of Buddha, carved in standing pose with jewelled head dress and typical serene face with elongated ears, the flowing robes with further jewelled decoration, the right hand with pinched thumb and middle finger, raise on a lotus base and later plinth, early/mid-20th century, h.107cm.Purchased by the vendor in Hong Kong in the 1970's.
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