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Lot 457
A pair of 20th Century silver twin light candelabra in the Queen Anne style, with scroll branches over hexagonal knopped stems and conforming loaded bases, the branches being removable to form a pair of candlesticks, total combined gross weight 60ozt, height 27cm, width 30cm, London 1961 and 1963, William Comyns & Sons Ltd (Richard Comyns). (2)
Lot 314
A pre war .22" BSA "Standard" air rifle, number S5183 (1919/20), WO & fair condition (worn and moderately pitted overall); and a .177" BSA "Light" Model air rifle, number S70968. Poor Condition. (2) Purchasers please note: any air gun manufactured after 1939 must either be collected from our premises or posted to an RFD for face to face transaction £50-60
Lot 309
A 5 shot 54 bore Beaumont Adams double action percussion revolver, the barrel engraved "W & J Kavanagh, 12 Dame St, Dublin" and with London proofs and "L.A.C" mark, the frame engraved "B9733" and "Adams' Patent No 25,395R", the cylinder also engraved "25,395R". GWO & C, patches of light rust overall with traces of original blued finish. £550-600
Lot 265
A 19th century Eastern mameluke hilted shamshir, curved, watered steel blade 32", with long clipped back tip, stylised Eastern inscriptions at forte with faint traces of gilding, and engraved along the backstrap "This sword brought back from Egypt by Capt R Oliver 10th Lt Dragoons after the close of the campaign in 1801 (partly rust obscured) was presented by him to his friend Coll Braddyll Honori Et Amicitiae Sacratum", plain steel straight crosspiece, horn grips with 3 gilt rosettes, in its leather covered wooden scabbard with long copper locket and chape decorated with simple floral patterns. Good Condition (blade minor marking, scabbard leather some age congealing and slightly AF). Note: Robert Oliver, Lieutenant 10th Light Dragoons 1799, Captain 1803, not in 1810 Army List. James Braddyll (1776-1862) Lieutenant Coldstream Guards 1799, Lt Col 1808, not in 1812 list. £800-1200
Lot 1376A
Stamps - Superb collection of British Africa housed in two stockbooks - all reigns present with some light duplication. Both mint and used generally very clean with the odd condition issue. George VI Malaya - BMA overprints - 1945 - part sheets of 28 or 29 stamps - values 1c - $5, missing the $5 green/red.
Lot 1219
Revised Estimate. English School, Circa 1830, a pair of miniature portraits depicting James Whitwell Torre, as an officer of the 16th Lancers 9 x 7cm, and Jane Helena Beatson, 10.5 x 8.5cm, the couple married in 1830, both watercolour on ivory. The painting of the gentleman signed Stump S. J., for Samuel John Stump (1783-1863), Ivory Exemption certificates: NAZEBQTP and YALE3AMU.Condition Report: Lady Two slight vertical undulations in the ivory one the left and right hand side of the picture. The undulation on the left in some light looks more like a small crease, please see images. No apparent splits, very good condition otherwise.Gentleman Slight undulations to the ivory and perhaps some overpaint on the red area of the jacket, please see images. No apparent splits, very good overall.
Lot 218
Francesco Albotto,1721/22 Venedig – 1757 ebenda VENEDIG – RIALTOBRÜCKE MIT DEM PALAZZO DEI CAMERLENGHIÖl auf Leinwand. Doubliert.55 x 96 cm.Beigegeben eine Expertise von Dr. Federica Spadotto, Padua, vom 12. September 2024, in Kopie.Brücke und Häusergruppe zeigen sich in spätnachmittaglichem, schon schattenbildendem Licht. Anders als in taghell flimmernden Ansichten erlaubt das klare Licht eine bis ins Detail genaue Wiedergabe der Gebäude, wie auch der Figurenstaffage und den Arbeitsschiffen und Gondeln. In der beiliegenden Expertise werden entsprechende Vergleichsbeispiele genannt, wie auch die Stichfolge von Marieschi, in der sich ein Bildmotiv findet, das zu dem vorliegenden Gemälde korrespondiert.Francesco Albotto (auch „Albotti“ oder „François Albotti“) war Schüler und Mitarbeiter des Marieschi (1696/1710-1743) und übernahm nach dessen Tod die Werkstatt, was dazu führte, dass er der Zweite Marieschi genannt wurde und seine Werke oft als die seines Vorgängers galten. Erst 1972 gelang durch Entdeckung einer Signaturbezeichnung die Händescheidung. In jüngerer Zeit lassen sich daher Gemälde seiner Hand genauer zuweisen. Sein Malstil zeigt sich im Gegensatz zu den Vorgängern weit glatter in der Peinture, was dem Anspruch einer exakteren Wiedergabe gewidmet ist. Werke seiner Hand befinden sich in privaten wie öffentlichen Sammlungen, darunter in der Gemäldegalerie Berlin, in Museo e Gallerie Nazionali di Capodimonte Neapel und in Gallerie di Palazzo Leoni Montanari Vicenza.Literatur: Vgl. Mario Manzelli, Proposta per l’identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte veneta, Nr. 41, 1987(1988). 1991 (II ec. 2002).Vgl. F. Montecuccoli, degli Eri-F. Pedrocco, Michele Marieschi, La vita, l´ambiente e l´opera Milano 1999. Vgl. F. Albotto, erede di Marieschi, in Arte Venea XXVI, 1972.Vgl. F. Spadotto, Io sono ´700, L´anima di Venezia tra pittori, mercanti e bottefheri da quadri, Sommacampagna 2018.Vgl. R. Pallucchini, Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXVI, 1972.Vgl. Mario Manzelli, Ulteriori notizie su Francesco Albotto. Erede di Michele Marieschi, in: Arte veneta, Nr. XXXVIII, 1984.Vgl. Filippo Pedrocco, Michele Marieschi. La vita, l’ambiente, l’opera, Mailand 1999. (1421401) (11)Francesco Albotto,1721/22 Venice – 1757 ibid.VENICE – RIALTO BRIDGE AND PALAZZO DEI CAMERLENGHI Oil on canvas. Relined.55 x 96 cm.Accompanied by an expert’s report by Dr Federica Spadotto, Padova, dated 12 September 2024, in copy.Bridge and group of houses depicted in late afternoon light, already casting shadows. Literature: cf. Mario Manzelli, Proposta per l’identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto, in: Arte Veneta, 41, 1987(1988). 1991 (II ec. 2002).cf. Filippo Pedrocco/Federico Montecuccol degli Erri, Michele Marieschi: La vita, l’ambiente e l’opera, Milan 1999. cf. Francesco Albotto, erede di Michele Marieschi, in: Arte Veneta, vol. XXVI, 1972.cf. Federica Spadotto, Io sono ‘700. L’anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.cf. Rodolfo Pallucchini, Francesco Albotto, erede di Michele Marieschi, in: Arte Veneta, no. XXVI, 1972.cf. Mario Manzelli, Ulteriori notizie su Francesco Albotto, erede di Michele Marieschi, in: Arte Veneta, no. XXXVIII, 1984.cf. Filippo Pedrocco/Federico Montecuccoli degli Erri, Michele Marieschi. La vita, l’ambiente, l’opera, Milan 1999.
Lot 207
Jan Hackaert, um 1629 Niederlande – 1685/99 ebenda, zug. WEITE FLUSSLANDSCHAFT IM ABENDLICHTÖl auf Leinwand. Doubliert.136 x 203 cm.In ebonisiertem Rahmen.Jan Haeckert war ein Meister seines Fachs und schuf Landschaftsgemälde aus seiner Faszination für Bäume und Wälder heraus. In seinem Stil zeigt sich das subtile Spiel von Licht und Schatten vor allem in der Vegetation, mittels der eine geradezu poetische Atmosphäre geschaffen wird. Besonders Augenmerk galt der Darstellung von Baumstämmen und der Bewegung der Blätter im Wind, sodass sich der vom Alltag geplagte Betrachter in einer geradezu meditativen Ausflugsstimmung wiederfand und noch wiederfindet. Wie auch in diesem Gemälde werden in vielen seiner Werke italienisierende Stimmungen vermittelt. Zwar wissen wir, dass Haeckaert Deutschland bereiste und zwischen 1653-1658 in der Schweiz tätig war; eine Reise oder längere Tätigkeit in Italien ist hingegen bislang noch nicht belegt.Anmerkung:Eine ähnliche Landschaft des Künstlers wird im Statens Museum for Kunst in Dänemark unter Inventarnummer KMSsp580 verwahrt. Eine weitere ähnliche Landschaft befindet sich im Rijksmuseum Amsterdam unter der Inventarnummer SK-A692. (14209717) (13)Jan Hackaert,ca. 1629 The Netherlands – 1685/99 ibid., attributed VAST RIVER LANDSCAPE IN EVENING LIGHT Oil on canvas. Relined. 136 x 203 cm. Notes:A similar landscape by the artist is held at the Statens Museum for Kunst in Denmark under inv. no. KMSsp580. Another similar landscape is held at the Rijksmuseum Amsterdam (inv. no. SK-A692).
Lot 458
Otto Modersohn, 1865 Soest – 1943 RotenburgGemälde auf Vorder- und Rückseite des MalkartonsÜBERSCHWEMMTE WÜMMEWIESEN und versoBILDNIS DER LOUISE MODERSOHN-BREILINGÖl auf Malpalette.50,8 x 64,7 cm.Rechts unten signiert „O Modersohn“, um 1924. Verso Portrait Louise Modersohn-Breling, um 1912.In breitem Holzrahmen. Für die Hängung beider Seiten gearbeitet.Beigegeben eine Expertise des Otto Modersohn-Museums, Fischerhude, 19. April 2020. Blick auf die blau schimmernde Wümme, die zahlreiche Wiesen überschwemmt hat. Im Hintergrund zahlreiche Bäume in herbstlichem Laub unter hohem, bewegten Himmel. Darstellung in meist raschem Pinselduktus. Verso das wohl verworfene Portrait der Louise Modersohn-Breling, der dritten Ehefrau von Otto Modersohn, ebenfalls mit breitem Pinselstrich in rascher Manier.Provenienz: Nachlass Otto Modersohn.Privatsammlung, Norddeutschland.Anmerkung:Die Landschaft im Querformat in heller, lichter Farbigkeit mit Blick über das Schwemmland des Mümmel-Flusses hinweg, laut Expertise um 1924 entstanden. Wie weitere Gemälde seiner Hand zeigen, hat Modersohn Malkartons mehrmals beidseitig bemalt, wie etwa auch das Bild „Wiesenlandschaft am alten Wümme-Nordarm“ von etwa 1920-22, auf dessen Rückseite sich die ältere, um 1910 entstandene Darstellung „Frühjahr an der Wümme“ befindet, welches bei Van Ham im Dezember 2020 unter Lot 25 angeboten wurde. Ähnlich hellfarbig hat Modersohn 1910 das Gemälde „Sommerwolken/ Überschwemmte Wümmewiesen mit drei Mädchen“ gestaltet, der Karton dort ebenso beidseitig bemalt (Dieses wurde bei Koller Zürich im Juni 2009 unter Lot 3240 versteigert).Das Frauenbildnis der Rückseite entstand laut beiliegender Expertise des Otto Modersohn – Museums um 1912. Dargestellt ist die dritte Ehefrau von Otto Modersohn, Louise Modersohn-Breling. Breling war ihr Mädchenname. Sie war die am 3. März 1883 geborene Tochter des Malers und Akademieprofessors Heinrich Breling. Sie stand im Schatten ihres Mannes, aber auch ihrer Vorgängerin Paula Modersohn. 1892 zog die Familie nach Hannover; im Sommer 1896 lernten sich Breling und Modersohn in Fischerhude kennen. Louise Breling war zunächst erfolgreiche Oratorien- und Opernsängerin. Nach dem Tod der ersten Ehefrau Paula Modersohn-Becker 1907 verehelichte sie sich 1909 mit Otto Modersohn und wechselte ab 1916 von der Gesangskarriere zur Malerei. 1943 starb Otto Modersohn, der Sohn fiel in Russland, Louises 21-jährige Nichte Cato Bontjes wurde wegen Widerstand im NS-Regime ermordet. Louise richtete 1948 im Haus Gailenberg eine ständige Modersohn-Nachlass-Ausstellung ein. Sie starb 1950 und wurde in Hindelang beerdigt. 1969 folgte eine Ausstellung von Werken der gesamten Familie auf Schloss Nordkirchen/ Westfalen. Bilder nur von Luise M. wurden 1989 im Historischen Museum der Stadt Wertheim ausgestellt. Das Bildnis ist eine ausdrucksvolle Wiedergabe der Dargestellten, mit ernstem Blick. Unter der dunklen Stola ein markant geometrisch gemustertes „Reformkleid“ der Zeit. (1420478) (18)Otto Modersohn, 1865 Soest – 1943 RotenburgTwo paintings on either side of an artist’s board ÜBERSCHWEMMTE MÜMMEWIESENand versoBILDNIS DER LOUISE MODERSOHN-BREILINGOil on artist’s board. 50.8 x 64.7 cm.Signed “O Modersohn” lower right, ca. 1924. Portrait of Louise Modersohn-Breling on the reverse, ca. 1912.Accompanied by an expert’s report from the Otto Modersohn-Museum, Fischerhude, 19 April 2020.Provenance: Estate of Otto Modersohn. Northern Germany, private collection. Notes:The painting designed in landscape format in bright, light colouration with a view across the alluvial land of the River Mümmel. According to the expert report it was created ca. 1924.As other paintings by the artist show, Modersohn painted artist’s boards times on both sides, such as the painting Wiesenlandschaft am alten Wümme-Nordarm ca. 1920-22, on the back of which is the older depiction Frühjahr an der Wümme ca. 1910, which was offered at Van Ham in December 2020 under lot 25. Modersohn designed the painting Sommerwolken/ Überschwemmte Wümmelwiesen mit drei Mädchen in a similarly light colours in 1910, the artist’s board there also painted on both sides; it was sold at Koller Zurich in June 2009 as lot 3240. According to the enclosed expert's report from the Otto Modersohn Museum, the female portrait on the back was created in ca. 1912. It depicts Otto Modersohn’s third wife, Louise Modersohn-Breling.
Lot 609
Vintage-Negligé-Collier mit großen DiamanttropfenLänge Mittelstück: ca. 6,7 cm. Halsweite: ca. 36,5 cm. Gewicht: ca. 15,8 g. Platin und 18kt. Weißgold (Kettchen).Um 1940.Beigegeben zwei GIA Diamond Reports Nr. 2231184583 und Nr. 7235184579 vom Februar 2024.Außergewöhnliches sogenanntes Negligé-Collier mit zwei an eine Elipse gehängten Pendilien, die kürzere mit einem natürlichen fancy brown-yellow Diamanten im modifizierten Tropfenschliff, 3,66 ct SI2, die längere mit einem natürlichen fancy light yellow Tropfendiamanten, 3,59 ct SI2. Weitere kleinere Diamanten im Achtkant- und Baguetteschliff, zus. ca. 1,6 ct (ein Baguettestein besch.). Das moderne Kettchen später ergänzt.(14108711) (16)Vintage negligee necklace with large diamond drops.Length of central part: ca. 6.7 cm. Necklace length: ca. 36.5 cm. Weight: ca. 15.8 g. Platinum and 18 ct white gold (small necklace).ca. 1940.Exceptional so-called negligee necklace with two pendants suspended from an ellipse, the shorter one with a natural fancy brownish-yellow diamond in modified pear cut, 3.66 ct SI2, the longer one with a natural fancy light yellow pear diamond, 3.59 ct SI2. Further smaller diamonds in octagonal and baguette cut, totalling ca. 1.6 ct (one baguette cut diamond damaged). The modern small necklace is a later addition. Two GIA diamond reports no. 2231184583 and no. 7235184579 dated February 2024 are enclosed.
Lot 403A
Serafino Brizzi, 1684 – 1737, Kreis desSet von vier hochovalen GemäldenFLUSSLANDSCHAFTEN MIT RUINEN ODER GEBÄUDENÖl auf Holz, teils mit Stoffstreifen hinterlegt.Sichtmaß: je ca. 83 x 68 cm.In hellem Holzrahmen.Jeweils zwei Gemälde an einem Flussufer: die Überreste eines antiken Tempels mit kannelierten Säulen und korinthischen Kapitellen, eines davon mit einer übergroßen weiblichen Skulptur auf einem Sockel. Die anderen beiden Gemälde zeigen eine breite Flusslandschaft mit Booten oder Schiffen auf dem Wasser, einen Rundturm bzw. eine Klosteranlage an einem Ufer, während jeweils im Vordergrund größere Figuren zu erkennen sind. Darstellungen in überwiegend hellen pastellartigen Farbtönen, eines davon mit kräftigerer, bereits herbstlicher Laubfärbung der Bäume. (1411661) (18)Serafino Brizzi, 1684 – 1737, circle ofA set of four upright oval paintingsRIVER LANDSCAPES WITH RUINS OR BUILDINGS Oil on panel, partially underlaid with strips of cloth.Sight size: ca. 83 x 68 cm each.In light wooden frame.
Lot 225
Apollonio Facchinetti, auch genannt „Domenichini“, tätig 1740 – 1770, zug.PIAZZA SAN MARCO IN VENEDIGÖl auf Leinwand.89 x 148 cm.In vergoldetem reliefverziertem Rahmen.Blick auf den Platz aus der Kavaliersperspektive. Dominierend im Bild der Campanile und die Markuskirche, rechts daneben ist noch ein Teil des Dogenpalastes zu sehen, angeschnitten durch die Ecke der von Sansovino und Scamozzi 1445 -1588 errichtete Biblioteca Marciana, die hier im Licht steht. Links gegenüber der Uhrenturm mit den Glockenschlägern. Auch die Fassade der Markuskirche und ihre Kuppeln sind detailgenau gezeichnet. Von Interesse sind vor allem die in Gruppen und einzeln auf den Platz verteilten Staffagefiguren, deren Kostüme die Mode des 18. Jahrhunderts dokumentieren. Dabei lassen sich Personen unterschiedlichen Standes ausmachen. Am Fuß des Campanile Sonnendächer und eine Versammlung von Zuschauern vor einer Bühne mit einem Schauspieler. Alle diese Einzelheiten geben dem Gemälde besonderen Reiz.Nachrichten über den Maler waren lange Zeit sehr dürftig. Der Name Domenichini wird fürs Jahr 1757 in der venezianischen Malergilde Fraglia erwähnt. Aufgrund von Stilvergleichen und archivalischen Quellen konnte jedoch ein Gesamtbild vom Wirken des Malers entworfen werden. Das Geburtsjahr 1715 hat Lino Moretti ermittelt. Er konnte aufgrund eines Dokuments vom August 1702 feststellen, dass der eigentliche Familienname Facchinetti lautet. Die Quelle nennt den Vater, ebenfalls Maler, mit beiden Namen. Es wird angenommen, dass der Facchinetti bei Luca Carlevarij (1663-1730) studiert hat, sich jedoch um 1740 selbständig machte. Auch architektonische Details in den Veduten lassen seine Werkgruppe um 1744 datieren. Das einzige datierbare Werk Facchinettis ist eine Romansicht von 1746. Die Veduten der Stiftung Langmatt (Schweiz) wurden u. a. 1994 in einer Ausstellung gezeigt, mit einem Katalog von Gertrude Borghero. Darüber hinaus hat Dario Succi das Werk Facchinettis mit späteren Malern in Verbindung gebracht, die von Facchinetti beeinflusst gewesen sein dürften, wie etwa Michele Marieschi (1710-43), Francesco Albotto (1721-1757) oder Francesco Tironi (1745-1797).Apollonio Facchinetti, nach dem Vornamen seines Vaters Domenico (1669-1743) auch Domenichini genannt, war ehemals als „Meister der Fondazione Langmatt“ bekannt geworden. Dreizehn Veduten der Langmatt-Stiftung in Baden haben nach Vorschlag von Dario Succi zu einer Benennung des Malers geführt. Sein Name wurde entdeckt durch die Korrespondenz zwischen dem britischen Minister Sir John Strange und dem venezianischen Gemäldeagenten Maria Sasso. Als Vedutist widmete sich Apollonio wohl ausschließlich der Stadt Venedig. Vermutlich war er ein Schüler Carlevaris (1663/65-1729/31), Francesco Albottos (1721/ 22-1757), oder Michele Giovanni Marieschis (1696/ 1710-1743). Der Zeitraum zwischen 1740 und 1750, in dem Giovanni Antonio Canal, genannt „Canaletto“ (1697-1768) sich in England aufhielt, kam Apollonio zugute, war er nun, bei den Reisenden der Grand Tour mit seinen Veduten äußerst beliebt. Bei etlichen Ausstellungen wurde die Anerkennung der im Stilvergleich stehenden Werke an Apollonio immer präziser.Literatur:Vgl. Gertrude Borghero, Katalog : Mythos Venedig, Venezianische Veduten des 18. Jahrhunderts, Stiftung Langmatt, Sidney & Jenny Brown, Baden 8. Juni – 31 Oktober 1994.Vgl. Dario Succi und Gertrude Borghero a Alito e Fascino di Venezia nelle vedute del Settecento (Stiftung Langmatt, Baden 1994).Vgl. F. Pedrocco, Visions of Venice, Paintings of the 18th Century, London.Vgl. Lino Moretti, Di Apollonio Facchinetti detto Domenichini [1715-1757] e altri pittori di quella famiglia, in: Arte Veneta, 68, S. 319-323),Vgl. Lino Moretti, In: Arte Veneta, 68, S. 319-323. (1421905) (13) (†)Apollonio Facchinetti,also known as “Domenichini”, active 1740 – 1770, attributedPIAZZA SAN MARCO IN VENICE Oil on canvas.89 x 148 cm.View of the San Marco square in cavalier perspective. The Campanile and Saint Mark’s Church dominate the composition, with the Doge’s Palace to the right, cut off by the corner of the Biblioteca Marciana, built by Sansovino and Scamozzi between 1445 and 1588, shown standing in the light here. Information regarding the painter’s life was sparse for a long time. The name Domenichini is mentioned in the Fraglia Guild of Venetian painters in 1757. However, based on style comparisons and archival sources, an overview of the painter’s oeuvre could be outlined. Lino Moretti identified his birth year as 1715. Based on a document from August 1702, he was able to determine his actual family name as Facchinetti. The source names the father, also a painter, by both names. It is assumed that Facchinetti was a student of Luca Carlevarijs (1663 - 1730) but became independent around 1740. Architectural details in the vedutas also allow his group of works to be dated to ca. 1744. The only datable work by Facchinetti is a View of Rome from 1746. The vedutas of the Langmatt Foundation (Switzerland) were shown, among others, in an exhibition in 1994, with a catalogue by Gertrude Borghero.Literature:cf. Gertrude Borghero, Mythos Venedig, Venezianische Veduten des 18. Jahrhunderts, exhibition catalogue, Stiftung Langmatt, Sidney & Jenny Brown, Baden, 8 June - 31 October 1994.cf. Dario Succi and Gertrude Borghero, a Alito e Fascino di Venezia nelle vedute del Settecento, Langmatt Foundation, Baden 1994.cf. Filippo Pedrocco, Visions of Venice, Paintings of the 18th Century, London 2001.cf. Lino Moretti, Di Apollonio Facchinetti detto Domenichini [1715-1757] e altri pittori di quella famiglia, in: Arte Veneta, 68, pp. 319-323.
Lot 500
Hermann Albert, geb. 1937 AnsbachDUE SURELLE DI S. CATERINAÖl auf Leinwand.190 x 211 cm.Rechts unten monogrammiert und datiert, verso betitelt.In einfacher Galerieleiste.Vor lichtblauem Grund zwei weibliche stehende Akte einmal die langen Haare einmal ein blaues Tuch haltend. Der Künstler erhielt seine Ausbildung an der staatlichen Hochschule für Bildende Künste in Braunschweig unter Peter Voigt (1925-1990). Ab 1967 sind seine Werke auf Einzelausstellungen in Berlin und Aachen sowie Baden-Baden zu sehen. 1977 beteiligte er sich an der documenta 6 in Kassel. Von 1985 bis 2001 war Albert Hochschullehrer an der Hochschule für bildende Künste in Braunschweig. (1420515) (1) (13)Hermann Albert,born 1937 Ansbach DUE SURELLE DI S. CATERINA Oil on canvas.190 x 211 cm.Monogrammed lower right and dated, titled on the reverse. Two standing female nudes, one holding their long hair the other a blue cloth against a light blue background.
Lot 1
CARAFE AND 4 GLASSES | Harrachov (Czech / Bohemian around 1860) | around 1860 | uranium glass, ground, gold painting | 32 cm (height of carafe) and 26 cm (diameter of tray) | Lot description | This unique set consists of a carafe and four glasses, made of uranium glass and decorated with rich gold painting. Uranium glass, known for its characteristic green or yellow tint and ability to fluoresce under UV light, was a popular material in Czech glassmaking at the turn of the 19th and 20th centuries. This type of glass was produced in Bohemia mainly in the second half of the 19th century, when Czech glassworks such as Moser and Harrachov experimented with colored glass and decorative techniques to meet the growing demand for luxury glass in the Art Nouveau and Historicist periods. Uranium glass was prized for its unique color and fascinating optical properties. The set stands out for its precise handwork, where the rich gold decoration complements the transparent green glow of the uranium glass. Ornamental motifs, often inspired by nature or historical patterns, have been carefully applied by skilled artists and add a touch of grandeur and elegance to the set. This set is not only a beautiful example of Czech glass art, but also a highly collectible piece that reflects the rich history and tradition of Czech glassmaking. | Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. | condition report*In case of missing photos, please feel free to contact us.
Lot 169
Red / Orange, cast , cut and polished glass by two highly respected, multi award winning and worldwide museum displayed Czech artiists. Etched signatures and date to lower edge. Sculpture is approximately: 21"L x 6.75"W x 13.5"H. Weight: 36 lbs. See front cover of the inner light by robert Kehlmann for a similar example. Artist: Stanislav Libensky and Jaroslava BrychtovaIssued: 1995-1998Dimensions: See DescriptionCountry of Origin: Czech RepublicCondition: Age related wear. As is.
Lot 95
Set of two original oil paintings on canvas entitled Chrys IV and Chrys V by French duo brothers Florian and Michael Quistrebert. They explore the effects of paintings that can be seductive and hypnotizing, yet repulsive. The two ground-breaking abstractions play with visual illusions, colors and light, and textures. Both artworks are featured in the hardcover catalogue Shadows and Mirrors by Genesis Breyer-P-orridge, 2011. They were loaned to the Frost Art Museum in 2011 for the Tour de France/Florida exhibition. Each artwork: 6"L x 10"H x 2"W. Artist: Florian & Michael Quistrebert (French 1982 & 1976)Issued: 2009Dimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.
Lot 97
Original spray paint and oil on canvas entitled Rectangles by French duo Florian and Michael Quistrebert who explore the effects of light and shade that are both seductive and hypnotizing. The French duo of brothers were nominated for the Prix Marcel Duchamp in 2014 and presented their first large-scale monographic show at the Palais de Tokyo, Paris in 2016. Rectangles is featured in the 2011 hardcover catalogue Shadows and Mirrors by Genesis Breyer-P-orridge. Artist: Florian & Michael Quistrebert (French 1982 & 1976)Issued: c. 2010Dimensions: 18"L x 13"H x 1"WCountry of Origin: FranceCondition: Age related wear. Stains on edges.
Lot 1
Splendid pair of mouth-blown, hand-formed forms Dale Chihuly's Persians that he describes as an exploration of form, light, and color, a celebration of wild asymmetry and swirling patterns. These two glass artworks are made with deep, sumptuous misty blues that end with a yellow lip wrap that curves and folds. Incised signature on large bowl to side of body: Chihuly. Etched PP09 to bottom bowl. Dimensions: Large bowl: 12"L x 11.50"W x 7"H; Small bowl: 5"L x 5"W x 2.50"H. Artist: Dale Chihuly (American, b.1941)Issued: 2014Dimensions: See DescriptionManufacturer: Dale Chihuly for Portland PressCountry of Origin: United StatesCondition: Age related wear.
Lot 107
This stunning abstract mixed media painting on paper features lovely pastel hues against a dark blue background. Babette Herschberger, an artist from Indiana now living in St. Petersburg, Florida, creates minimal, abstract compositions, and her work has been widely exhibited and published, including in New American Paintings. Artist's signature and date are on the verso. Housed in a light wooden frame. Artwork dimensions: 10.75"L x 8.75"H. Frame dimensions: 12.25"L x 0.75"W x 10.25"H. Artist: Babette Herschberger (American, 20th century)Issued: 2008Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Lot 158
Outstanding oil on canvas entitled Green Light by Abstract artist Betty Parsons who paints organic forms floating on a anthracite background. Artist signature and date on lower right. Housed in a gilded wood frame. Artwork dimensions: 14"L x 13"H. Frame dimensions: 14.75"L x 1.75"W x 13.75"H. Artist: Betty Bierne Parsons (American, 1900-1982)Issued: 1961Dimensions: See DescriptionCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2002. Condition: Good condition. Frame from one side is loose.
Lot 12
Hyped Display of Sick Mirrors is an original drawing made with color silkscreen ink applied on paper by American Abstract Graphic style artist Mark Price. He applies shades of baby and fluorescent pinks, silver, ocher and light yellows onto black contours to form a dystopia. Faceless torsos with humanoid arms that hold mirrors emerge out of tubular weapons shooting blobs of flames that result in a tense merging between technology and humans. Signature, title and date on verso (hidden by frame): Mark Price 2009 Hyped Display of Sick Mirrors. Housed in a white wooden frame. Artwork dimensions: 22"L x 29"H. Frame dimensions: 25.50"L x 33.25"H x 1.25"W. Artist: Mark Price (American 20th-21st century)Issued: 2009Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Lot 72
Titles include: Refuse (Reuse): Good everyday design from reused and recycled materials; Over 56 Flyers Plus More by Sam Ryser and Eugene terry (2006 - 2013); Marilyn Gottlieb-Roberts Light Ambulant Photographs; Collage, The Monumental Picture by New Museum, Merrell (2007); Eye on Europe: Prints, Books, & Multiples/1960 to Now by the Museum of Modern Art (2006). The dimensions of the collection measures: 9.75''L x 2.75''W x 11.25''H. Issued: 20th century - 21st centuryDimensions: See DescriptionCondition: Very good condition.
Lot 137
2 volumes of The Portfolio an Artistic Periodical, 1885, 1888, large 4to, many etchings throughout, wear at spines, some spotting, London: Seely and co._ The People's Gallery of Engravings, c.1840s, half-calf, steel engravings throughout, spotting in places, toning, vol. 1 missing frontispiece, handling marks at boards, London: Fisher, Son & co._ Curry & Rice, containing 40 chromolithograph plates depicting life at a British station in India, original green half-calf, light spotting in places, v. light water stain foot of page, offsetting at pages facing plates, solid, c.1870._ Two Vagabonds in Languedoc, written and illustrated by Jan Gordon and Cora J. Gordon, First edition, light spotting in places._ Rome, large 4to, illustrated throughout, orig. pub. cloth with pictorial design in gilt, some bumping at corners, 1875._ The Cathedrals of Central Italy, contemp. pictures attached to prelims, some spotting, bumping/rubbing at edges._ The Life And Times of Simon Bolivar, First ed., written and illustrated by Hendrik Willem Van Loon, no d.j., New York, 1943._ Robert Montgomery Martin The British Colonies, div. V, VI, VII, IX, XI, maps and engraved plates throughout, spotting in places, offsetting on tissue guards, boards bumped at corners, marking around boards, some loss at spine, c.1860 w/a/f (15)
Lot 7
FLEMING, Ian. Thunderball, FIRST EDITION, 8vo, publisher's imitation black cloth lettered in gilt, embossed skeletal hand on upper panel, internally good & bright, light handling marks in places, binding very good, very light bumping to extreme corners, dust-jacket neatly price-clipped but otherwise remarkably well-preserved with only very faint wear to extremities, overall an excellent example, housed in protective mylar covers, London: Jonathan Cape, 1961
Lot 23
WYNDHAM, John. The Chrysalids, FIRST EDITION, FIRST PRINTING, 8vo, publisher's black cloth lettered in gilt, unclipped dust-jacket designed by Wildsmith (priced 10s 6d), internally good & bright, some pale spotting to endpapers and marginally to first and last leaves of text, binding good & square, rubbed and slightly pushed at spine tips, jacket well-preserved with light handling marks and a couple of splits, London: Michael Joseph, 1955
Lot 21
LE CARRE, John. The Spy Who Came in From the Cold, FIRST EDITION, FIRST PRINTING, 8vo, publisher's blue cloth lettered in gilt, unclipped dust-jacket (priced 18/-), contents with marginal staining and handling marks, folded corners, front endpapers with small ink marks and an untidily removed label, binding good & square, jacket very good, well-preserved with light wear to extremities, very slight discolouration to spine, overall good, London: Gollancz, 1963
Lot 5
FLEMING, Ian. Goldfinger, FIRST EDITION, 8vo, publisher's imitation black cloth lettered in gilt, embossed skull with gilt coins, unclipped dust-jacket (priced 15s.), internally fine, very clean & bright, binding very good, slight shelf-lean, jacket well-preserved, bold & vibrant, light wear to extremities, overall an excellent example, housed in protective mylar covers, London: Jonathan Cape, 1959
Lot 82
Including: Dylan Thomas - Collected Poems, 2014._ W.H. Auden - Collected Poems, 2007._ Philip Larkin - Complete Poems, 2012._ Louis MacNeice - Collected Poems, 2007._ The Poems of T.S. Eliot, 2 volumes, 2015._ The Letters of T.S. Eliot, 4 volumes, 2009-2013._ Edward Thomas - Prose Writing, 2011._ Also included T.S. Eliot slim volumes: Criticism, 1955._ After Strange Gods (no d.j.), 1934._ Murder in the Cathedral, 1937._ The Idea of a Christian Society (no d.j.), 1939._ A Study - B. Rajan, 1947._ On Poetry, 1961._ Definition of Culture, 1948._ Condition: recent volumes largely as new, occasional shelf marks, earlier works with light toning and occasional shelf wear (18)
Lot 199
BANNERMAN, David A. Birds of the Atlantic Islands, 4 volumes, illustrated by D. M. Reid-Henry, some rubbing to extremities, marking to cloth, Edinburgh: Oliver and Boyd, 1963-1968._ A Natural History of the Ducks, 4 volumes in 2 (complete), 1986 reproduction, some bumping/rubbing to extremities, New York: Dover Publications, 1986._ Also Butterflies of Korea, Hawkmoths of the World, The Charaxinae Butterflies of Africa, Butterflies of the Afrotropical Region - some light shelf marking and toning
Lot 111
ROWLING, J. K. Harry Potter and the Philosopher's Stone, first edition, 10th printing, 8vo, hardback, bold & vibrant boards, usual toning to edges of text-block, 2cm marginal loss to pp.103/104 (not affecting text), a few very faint marks, shelf-lean, slight bumping to extreme corners, light creasing to ffep, dust-jacket with creasing to front flap, else a nice copy, London: Bloomsbury, 1997
Lot 197
ROBINSON, H. C. The Birds of the Malay Peninsular, 4 volumes, some bumping/rubbing at extremities, some light spotting at edges, London: H. F. & G Witherby, 1927-1939._ Also The Birds of the Thai-Malay Peninsula by David R Wells, 2 volumes, slight shelf marking to dust jacket, internally bright, London: Academic Press, 1999-2007._ The Birds of the Malay Peninsula vol. 5, 1976, x2._ Les Oiseaux de Chine, 2 volumes, vol. 1 non passerines 1978, vol. 2 passerines 1983, some light shelf marks and toning at spine of d.j.
Lot 150
DOUGHARTY, John. Mathematical Digests, first edition, illustrated with copper-engravings throughout, mispaginated but complete and conforming with the copy held by the National Library of Scotland, i.e. [2], iv, 80, 87-451, [3], 4 pp., 4to, internally well-preserved, clean & bright, some light creasing & handling marks in places, marginal loss to title (not affecting text), one short tear at top of p. 329 (not affecting text), rebacked, incorporating worn contemporary calf boards, ffep bearing early owner inscription of James Guthrie, ffep gutter taped, very scarce, London: E. Owen, [c. 1747]
Lot 37
NORTON, Mary. The Borrowers Aloft, FIRST EDITION, FIRST PRINTING, SIGNED by the author during the year of publication (September 1961), 8vo, publisher's blue cloth lettered in red, unclipped dust-jacket (priced 12s 6d), a well-preserved example, pale spotting in places, more pronounced at endpapers, binding very good, tight & square, jacket very good, bold & vibrant, light wear to extremities, neat 2cm tear at rear edge, London: J. M. Dent, 1961. Together with The Borrowers Afloat, reprinted 1960, unclipped d.j. (priced 12s 6d), internally near-fine, light rubbing & edge-wear to d.j. (2) Provenance: The vendor's aunt managed the children's department at Heffers, Cambridge
Lot 83
The New Naturalist Library, published by Collins, including volumes: Wye Valley 2008, Southern England 2008, Dartmoor 2009, Scotland 2012, Marches 2011, and Brecon Beacons 2014, Condition: books largely as new, (6). Together with a selection of The County Books, published by Robert Hale, including volumes: Yorkshire East Riding 1951, Skye and the Inner Hebrides 1953, The Channel Islands 1961, Yorkshire North Riding 1951, Staffordshire 1948, Warwickshire 1950, and Herefordshire (1948), condition: some light toning, a little chipping to d.j. edges, otherwise well looked after (7). Total books (13)
Lot 96
Selection of 20th century works, including: J. R. R. Tolkien, The Hobbit, 13th imp., no d.j., and The Silmarillion, 2nd imp., no d.j., 1977 - John Betjeman, Summoned by Bells, First ed., 1960 (x2) - Edna O'Brien, Girls in Their Married Bliss, 2nd printing, 1964 - John Moore, The Blue Field, First edition, 1948 - Christopher Fry, The Dark is Light Enough, First edition, 1954 - W. Somerset Maugham, Cakes and Ale, collected edition, 1934 - A. T. Davies, Dylan: Druid of the Broken Body, 1964 - J. B. Priestley, Angel Pavement, 2nd printing, 1930 - Rupert Brooke, 1914 & Other Poems, 15th printing, 1916_ All in fair condition with occasional rubbing/toning, w/a/f (11)
Lot 90
The Comedians, FIRST edition, unclipped d.j., internally bright, well-preserved bright d.j, slight tone at spine, light mark at text-block edge, London: The Bodley Head, 1966._ Our Man in Havana, FIRST edition, bright unclipped d.j., some toning at edges, light bumping/rubbing at corners, slight toning at spine, London: Heinemann, 1958._ A Burnt-Out Case, FIRST UK edition, unclipped d.j., internally bright, light toning at edges, London: Heinemann, 1961._ Ways of Escape, FIRST edition, unclipped d.j., a little toning to d.j., London: The Bodley Head, 1980._ Collected Essays, FIRST edition, unclipped d.j., some marking at edges, small tear head of d.j., London: The Bodley Head, 1969._ (5)
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