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Click here to subscribeGemälde Karl Heinz Glaab 1896 Frankfurt - 1955 München "Bildnis der Ehefrau des Künstlers" o. re. sign. u. dat. Glaab 1933 verso auf dem Keilrahmen mit einem Klebezettel des Künstlers "Bildnis meiner Frau" Öl/Lwd., 156 x 65 cm Provenienz: Sammlung Norbert Maiwald (1950-2019), Offenbach. Lit.: AKL
"Liberotti Impronte"/ Daktyliothek, Rom Mitte 19. Jh. Feine Miniatur-Gipsreliefs in schwarzer Rahmung, montiert in 2 Buch-förm. Kassetten u. Steck- Register (5 Lagen). Versch. Formen u. Größen, antike Werke sowie Werke d. Renaissance u. d. Klassizismus zeigend, jew. nr., teils ital. bez., darunter Werke aus d. Vatikan./ Kapitolin. Museen, v. Canova o. Thorvaldsen u.v.a., teils auf d. Platte relief. bez. (u.a. Gemmenschneider Marchant). Herausgegeben v. Giovanni Liberotti, Rom. zus. 128 Reliefs. H 1,9 - 8,3 cm Reliefs teils ber./ best., wenige Risse, teils Montage gelockert. Kästen m. Gebr.spuren.
Gemälde Piet van Wijngaerdt 1873 Amsterdam - 1964 Abcoude Schüler der Akademie in Amsterdam (1892/97) u. G. H. Breitners. Stud.-Aufenthalt in Paris. Tätig in A'dam. Bilder befinden sich u.a. im Frans Hals-Mus. Haarlem u. in d. Gal. d. New York Public Library. "Nacktstudie" o. re. sign. Piet van Wijngaerdt verso auf dem Keilrahmen sign. u. bez. Öl/Lwd., 100 x 150 cm Provenienz: Sammlung Norbert Maiwald (1950 - 2019), Offenbach. Lit.: AKL
Gemälde Otto Weber geb. 1876, gest. 1947 Schweizer Figurenmaler. Schüler Johann Stauffachers. Zeichenlehrer an der Kunstgewerbe-Abteilung der Gewerbeschule in Zürich. "Zwei liegende Frauenakte" u. re. sign. u. dat. O. Weber Öl/Lwd., 90 x 160 cm Provenienz: Sammlung Norbert Maiwald (1950-2019), Offenbach. Lit.: AKL
Gemälde Waldemar Coste 1887 Kiel - 1948 Glinde Studierte ab 1904 am Städel bei Andreas Egersdörfer, ab 1908 in Karlsruhe bei Wilhelm Trübner. Erste Aufenthalte in der Malerkolonie Hollerbach mit Wallischeck, Arthur Grimm und Wilhelm Guntermann. 1912-25 in Frankfurt am Main ansässig. Malte in einem von Trübner beeinflußten Stil mit kräftigem Pinselduktus Bildnisse (meist großflächige Figurenbilder), Landschaften und Interieurs. "Boxpause" o. li. sign. W. Coste verso auf dem Keirahmen bezeichnet. Öl/Lwd., 60 x 75 cm, o.R. Provenienz: Sammlung Norbert Maiwald (1950-2019), Offenbach. Lit.: AKL
Konvolut von 4 versch. Keramik-Objekten, Horst Kerstan u.a., 2. Hälfte - Ende 20. Jh. Versch. farbiger Ton, versch. glasiert. Am Boden Sign. o. Stempelmarke, teils Dat. Best. aus: Kumme (braun glasiert, braun sign. "Kerstan 69"), kl. Vase (helle kristalline Glasur, Ritz-Sign. "Kerstan 1968"), gr. gestufte Vase (braun-schw., gefurchtes Dekor, Stempel-"K" u. Ritz-Sign. "Kerstan 23 8 1979"), Stangenvase (grün glasiert, am Boden Ritz-Sign. "B"). H 8,1 - 22,4 cm
Kavalier mit Mopshund, Meissen um 1735. Entw.: J.J. Kaendler o. Fr. Eberlein. Auf Fels- sockel m. Blütenbesatz sitzender galanter Herr, d. Mops nb. sich m. einem hoch gehaltenen Keks aufmunternd. Am Boden (unglas.) blasse Schwertermarke. Blütenbesatz u. 1 x Ärmel- saum best., Staffage partiell ber., restaur.: er- hobene Hand u. Mops-Sitzfläche, Blüten/ Blätter teils übergangen. H 12,8 cm
Kaffee-Service für 8 Pers., Royal Copenhagen 2. Hälfte 20. Jh. "Musselmalet gerippt" m. glatten Korpuskanten. Am Boden grüner Firmenstempel m. "Denmark", blaue Wellenmarke, Malernr. Best. aus: 8 Kaffee- tassen m. UT, 8 Kuchenteller, 6 Eierbecher, 6 Teebeutel-Schälchen, Kaffeekanne, Sahne- gießer, Zuckerdose, 2 versch. Salzstreuer, kl. Fächerschale, kl. Blattschale, Zuckerdose (o. Deckel), Butterdose (o. Deckel), zus. 45 Teile. 1 Kuchenteller verso m. Chip.
Paar Teedosen, Georgian, London 1730. Sterlingsilber. Beschau London, Jahresbuchstabe "P" (f. 1730), Meistermarke "IE" m. Punkt in Herz (wohl John East). Hohe Wandung auf breit-ov. Grundriss. Flache Schulter m Halsring, darauf gewölbter Deckel m. kl. Kugelknauf. Wandung, Schulter u. Deckel m. feinem Gravurdekor m. Relief-Elementen m. Rocaillen, Muschelwerk u. Blüten auf teils schraffierten o. gepunzten Flächen. Wandung beidseitig m. gr. Rocaille- Kartuschen m. je 2 versch. Löwen-Wappen- gravuren. Kanten profil., d. Schulterfläche z. Befüllen seitl. herausziehbar. Oberfläche ber., 1 x Wandung m. flacher Delle, 1 Schulterkante minim. klaffend. H 13 cm
Band Rolf Schroeter u. Günther Uecker "Schroeter/Uecker - Bildrituale" im Vorsatz nummeriert 9/50. Gesamtherstellung: "Tschudi Druck u. Verlag Ag Glarus, Schweiz, 1986" mit 10 orig. Holzschnitten von Günther Uecker alle sign. u. re. Uecker je Exemplar 9/50, in Hüllen lose beiliegend. 39,1 x 29,1 cm, o. R., auf dünnem Japanpapier u. jew. mit dem Trockenstempel "Erker Press St. Gallen"
Paar Leuchter, Arts & Crafts-Stil, Sheffield 1931. Sterlingsilber. Beschau Sheffield, Jahresbuch- stabe "o" (f. 1931), Meistermarke f. James Dixon & Sons. Weiter, quadrat. Fuss, mittig verjüngt aufschwingend zu schlankem Schaft, darauf rd. Tropfschale m. innenliegender, zylindr. Tülle. Schlichte, glatte Ausarbeitung, einzig Fuss m. Nieten-Besatz. Oberfläche minim. ber., Kanten teils m. minim. Dellen, 1 x minim. verzogen. Beschwert. H 21,8 bzw. 22,2 cm
Deckelbecher auf Kugelfüßen, Früh-Barock, Berlin 2. Hälfte 17. Jh. Silber vergoldet. Beschau Berlin, Meistermarke f. Gregorius Quippe, weitere Beschau-/ Prüfmarke "O" m. Krone, Tremolierstrich. Weiter, leicht kon. Korpus m. profil. Lippe, gewölbter Deckel m. breitem Rand u. gr. Kugel-Knauf. Auf 3 gr. Kugel- füßen. Wandung umlaufend m. reichem Blatt- voluten-Relief m. 2 gr. Vögeln in bewegter Haltung u. versch. Blüten, d. Blätter am Deckel reduziert wiederholt. Oberfläche partiell leicht ber., kl. Dellen, Füße u. Deckelknauf gestaucht, Löt- stellen. H 15 cm Lit.: Scheffler, Berlin, S. 25.
A British quad film poster for O LUCKY MAN (1973) directed by Lindsay Anderson and starring Malcolm McDowell, original release polychrome design (two further versions were made for this release, one with McDowell pictured on a red background, the other on a brown background), folded as originally issued, printed in England by W.E. Berry Ltd, Bradford, 30 x 40 inches (76.2cm x 101.6cm)
A 9ct gold vintage Roamer Incabloc wristwatch, the round cream dial with baton and Arabic numeral markers, subsidiary seconds dial to six 'o' clock, set to a plain polished round outer case, 32mm diameter, seventeen jewels automatic movement, set to a gold plated strap with folding ladder snap clasp
A gent's two-colour stainless steel Rolex Oyster Perpetual Datejust wristwatch, the round white dial with gold toned roman numeral markers and date aperture to three 'o' clock, 30mm diameter, plain polished bezel and coronet monogram to crown, set to a two-colour stainless steel tapering brick link strap with folding ladder snap clasp, weight 136.2gms, complete in box with paperwork For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A five stone ring, the five, oval graduated sapphires (with total weight of approx 5.00ct) each within a delicate claw setting, bifurcated shoulders and yellow gold hoop, unmarked, gross weight 5.6gms, ring size O With accompanying Gemmological Certification Services report no. 81281-16, stating that the total carat weight is approx 5.0ct, natural corundum sapphires, of Sri Lankan origin and no indications of heating. For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A selection of vintage and modern costume jewellery, to include a rutilated quartz silver mounted pendant, 9.5cm long, a Mexican silver and enamel fringe necklace, 40cm long, a cultured pearl set silver dress ring, size O, a turquoise set medallion on a red beaded chain, a paste set mesh belt, and a three-row cultured pearl necklace (6)
An opal and sapphire 14ct three stone ring, the central round untested opal cabochon approx. 6mm diameter, with an old cut oval sapphire to either side measuring 4mm x 2mm, all claw set in yellow gold to tapering shoulders and plain polished shank, ring size O 1/2, weight 2.5gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
An opal and diamond Art Deco ring, comprising a central oval opal cabochon measuring 13mm x 10mm, with three single cut diamonds to either side, all claw set in white metal, continuing to a plain polished yellow metal shank, stamped '18CT' and 'PLAT' (marks worn), ring size O, weight 3.4gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A ruby and opal three-stone ring, comprising a central round mixed cut ruby measuring approx. 4mm diameter, with a round opal cabochon set to each side, all bezel set in yellow metal to twisting shoulders and a plain polished shank, stamped '9ct', ring size O, weight 1.9gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A 19th century diamond and pearl Victorian memorial ring, designed as two interwoven flowers each set with a single rose cut diamond and seed pearls, set to a yellow metal hollow tubular shank with engraved decoration, ring size O, weight 3.1gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
An amethyst and pearl dress ring, comprising a central oval mixed cut amethyst measuring 9mm x 6mm, with a small cultured pearl to either side, all set in yellow metal (unmarked) to a tapering plain polished shank, ring size O 1/2, weight 2.3gms For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A lady's vintage 9ct gold Accurist wristwatch, the circular cream dial with Arabic numerals and subsidiary seconds dial to six 'o' clock, set to a plain polished 9ct gold case, 22mm diameter, manual wind twenty-two jewels movement, set to a black leather strap, together with a 9ct gold bar brooch, 5cm long, a 9ct gold tie clip, 4cm long, a 9ct gold cufflink and a 9ct gold stud earring (at fault), gross weight of group (excluding watch) 6.4gms (5)
A diamond set 18ct gold ring, comprising two small single cut diamonds set to a 18ct white gold illusion setting, continuing to a plain polished 18ct yellow gold shank, ring size N, together with a two-colour 18ct gold twist design ring, ring size O 1/2, and a 9ct gold locket pendant measuring 15mm x 11mm, on a 9ct gold chain, gross weight of group 7.2gms (3)
Artist: Morris Berman (American, 1910 - 2002). Title: "Y. A. Tittle Toppled". Medium: Gelatin silver print. Date: Composed 1964. Printed later. Dimensions: Image size: 10 x 8 in. (254 x 203 mm).Lot Note(s): Stamp signed and estate stamped, verso. Very small edition. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Fine condition. Provenance: Morris Berman Estate. Comment(s): Please note that our example is an original gelatin silver photograph printed later by the Morris Berman estate. All photographs of this image should bear photographer and/or estate stamps. If not, they violate copyright laws and are not originals. Photographs by Berman rarely appear on the market. His editions were tightly controlled, sometimes printed only for family and friends and to give as gifts. This iconic photograph, a seminal image that changed the way photographers looked at sports, is the artist's best known work. "Y.A. Tittle Toppled" is the winner of numerous awards, has been included in collections of the best sports photographs of the 20th Century, and now hangs in the National Football League Hall of Fame in Canton, Ohio. Image copyright © Morris Berman Estate, c/o Stanford Auctioneers, Inc. [20755-2-400]
Conrad, NZG, Old Cars - Four boxed diecast construction vehicles in 1:50 scale. Lot consists of Old Cars Fiat Allis Red Tracavator (in an unassociated box); NZG #288 O&K RH2 Excavator; Conrad #2851 Caterpillar D6H Track Type Tractor; and Conrad #2804 RL 22 B Litronic Pipelayer. All models appear to be in Mint condition in Good - Very Good boxes with imperfections. All models are unchecked for completeness. (4)
Michael O Leavitt signed business card. Governor of the state of Utah. 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 £4.99, EU from £6.99, Rest of World from £8.99.
CARLO LASINIO (Engraver, 1759-1838) [SELF PORTRAITS OF ARTISTS FROM THE UFFIZI COLLECTION] Twenty seven, engravings, part-printed in colour and finished by hand, published in Florence, 1791-1796, unframed Each 27 x 17cm. approx. (27) * Anthonis Mor (`Antonio Moor, o Moro`) illustrated ++ Trimmed with thread margins; each tipped onto later support sheets
A SAPPHIRE AND DIAMOND-SET RING, BY CHARLES DE TEMPLE, 1968 The tapered 18ct white and yellow gold band of openwork beaded design, centrally-set with a circular-cut sapphire and accented with single-cut diamonds and similarly-cut sapphires, signed CdeT, UK hallmark (Dimensions: Ring size: O)(Ring size: O)
Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com
NO RESERVE Modern Art.- Cowart (Jack) & Dominique Fourcade. Henri Matisse: The Early Years in Nice 1916-1930, Washington D.C. & New York, 1986 § Berggruen (O.) & others. Picasso and the Theater, Frankfurt, 2006 § Kornfeld (E.W.) Ernst Ludwig Kirchner: Nachzeihnung seines Lebens, Bern, 1979 § Klein (Mason) Modigliani unmasked, New Haven & London, 2017 § Brodie (J.) & Andrew Robison. A Century of Drawing: Works on Paper from Degas to LeWit, Washington DC, 2001 § Lucie-Smith (E.) Art Today: From Abstract Expressionism to Superrealism, second impression, Oxford, 1986, illustrations, many colour, original cloth or boards, all but the fourth with dust-jackets; and c.55 others on modern art, 4to & 8vo (c.60)
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![CARLO LASINIO (Engraver, 1759-1838) [SELF PORTRAITS OF ARTISTS FROM THE UFFIZI COLLECTION] Twenty seven, engravings, part-pri](https://cdn.globalauctionplatform.com/6b81e4e6-c479-402e-bb44-ac45011d5657/712a83ef-b3db-458a-8f77-ac46004eb304/468x382.jpg)
