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Lot 3024
Münzen und Medaillen, darunter Australien 1 oz. Kokaburra 1991, BRD 21 x 10 DM, 1 x 10 Euro, 15 x 5 DM, USA Morgan Dollar 1884 O New Orleans und 1888, Peace Dollar 1924, 3 x 1/2 Kennedy Dollar 1964, 3 x 5 Reichsmark Hindenburg/Garnisonskirche, 3 x 2 Reichsmark Hindenburg, Österreich 1 x 100 Schilling, 1 x 50 Schilling und 6 x 25 Schilling, Maria Theresia Taler NP, Slowakei 50 Kronen 1944, Schweizer Franken, CuNi DDR Münzen, etliche moderne Medaillen, dazu Sterlingsilber, Medaille v. Loos u. Pfeuffer auf das Krankenhaus Hamburg 1823. Schuber Gigantmedaillen Frauenkirche Dresden, Münzen Alle Welt. Am besten ansehen, Erhaltungen verschieden| Coins and medals, including Australia 1 oz. Kokaburra 1991, FRG 21 x 10 DM, 1 x 10 Euro, 15 x 5 DM, USA Morgan Dollar 1884 O New Orleans and 1888, Peace Dollar 1924, 3 x 1/2 Kennedy Dollar 1964, 3 x 5 Reichsmark Hindenburg/Garnisonskirche, 3 x 2 Reichsmark Hindenburg, Austria 1 x 100 Schilling, 1 x 50 Schilling and 6 x 25 Schilling, Maria Theresia Taler restrike, Slovakia 50 Kronen 1944, Swiss Francs, cupro-nickel GDR coins, several modern medals, plus sterling silver, medal from Loos and Pfeuffer on the hospital Hamburg 1823. Slipcase Giant-medals Frauenkirche Dresden, coins All World. Best view, various conditions
Lot 27
(Fucine (TN) 1851 - Cles (TN) 1923)Cm 62x100 | In 24.41x39.37Oil on canvasOn February 6, 1851, Bartolomeo Teofilo Ismaele Bezzi, son of Domenico Bezzi, a surveyor and great art lover, and Luigia Taraboi, was born in Fucine d'Ossana in Val di Sole. In 1862 he was orphaned by his father. He left Fucine to seek his fortune as a peddler. After a few years, in 1870, tired of that kind of life, thanks to savings and the help of a cousin and his uncle Don Ambrogio, a priest in Pellizzano in Val di Sole, he decided to enroll in the Brera Academy of Fine Arts. Here he became a pupil of Giuseppe Bertini and in the course of his studies he soon made a name for himself and, already in his second year, managed to obtain mentions and medals with his works. During these years he also frequented a group of young artists with a renewing and anti-academic spirit and took an active part in debates on French Impressionism. In 1876 he has his first exhibition at the annual group show prepared by the academy. He presents Landscape and Impression. The following year he exhibits At the Well and Val Solandra. Two years later, he gained recognition with his work Valle di Rabbi, which impressed the commission with its colors that succeeded in making even those sharp and steep alpine landscapes softer and softer. In 1879 he was forced to abandon his academic studies because of his poor health. But not even the illness prevented him from continuing his work as an artist, enjoying enormous success, heartened by his friends, admirers, collectors and art lovers. During these years he opened his own studio in Milan but spent several days in Trent, where he portrayed the city on a canvas of vast proportions. This is also a testimony to how Bartolomeo Bezzi remains affectively attached to Trentino. Recurring episodes will be in the capital city as well as in Val di Non and Val di Sole. In Turin he was present at the Fourth National Exhibition of Fine Arts with the works Sul Tonale, Una via di Trento, La vigna, and Una frana in Val d'Adige. In 1881 at the National Exhibition in Brera he exhibited Il mio paesello, Ricordo dei bagni, again Sul Tonale and Confidenze. At age thirty-one, in 1882, he won his first major prize in Milan: the Fumagalli Prize. A few months later he received 4,000 liras for the work Pescarenico, purchased by Prince Ruspoli. During these years he lived between Verona and Milan. During the Verona period he painted several landscape-related works and some of them were exhibited at the Esposizione di Belle Arti in Rome: Verona along the Adige, Un mattino a Verona, Pescarenico, Mulini sull'Adige and Giornata d'Autunno. Here he finds great success but, of all his paintings, the one that receives the most attention is: Mulini sull'Adige. The work Mulini a Verona was purchased by the National Gallery of Modern Art. In 1884 in Turin, at the Italian National Exhibition organized by the Società Promotrice di Belle Arti, he presented Venice, Roman Campagna, Autumn, Memories of Rome, Gray Weather in Venice, Evening. At the Brera exhibition he exhibited Bambocci, Sito alpestre and Acqua morta, purchased by Count Aldo Annoni of Milan. Shortly thereafter he became an honorary member of the Brera Academy. He exhibited Sulle rive dell'Adige, in Milan in 1885 and the following year at a group exhibition in Berlin and finally in Venice in 1887 where he was purchased by King Umberto. In 1886 he participated in the inaugural exhibition of the newly formed Society for Fine Arts and Permanent Exhibition in Milan with A Chioggia, Mulini a Verona, Paesaggio, Betulle and with the sketch Pescarenico. The following year he exhibited six works at the National Exhibition in Venice: Riva di Trento, Studio, Mestizia, Sulle rive dell'Adige, Paesaggio and Bosco ceduo, the latter painting, known as Bosco di birulle, in 1890 would be purchased for 500 florins by the Trento City Hall and placed in the city's Historical Museum. In 1888 at the Paris Exhibition he was awarded a prize for his work Falling Sun on Lake Garda, which would later be purchased by the Revoltella Museum in Trieste. The following year, he participated in an exhibition in Rome with Venezia che dorme, Armonie della sera, Raggio di luna and Amori dell'aria. He participated for the first time in the Universal Exhibition in Paris with Les bords d'un rivière. The same year he is named a Knight of the Order of St. Michael of Bavaria. He moved to Venice, where he lived on the Fondamenta delle Zattere, a neighborhood at the time frequented by many artists, poets and writers. Here he met realist and post-macchiaioli painters such as Guglielmo Ciardi, Luigi Nono, Silvio Rota, Alessandro Milesi and Mario de Maria. It was during this period, influenced by the Venetian artistic environment and especially by the works of Giacomo Favretto, that he abandoned, albeit briefly, landscape painting to devote himself to genre painting. Another important encounter is with the artist Pietro Fragiacomo and his fascinatingly luminous lagoon landscapes. In Venice, he lays the foundations of a project for an International Art Exhibition, which will materialize in the Biennale. Bezzi participated in all editions, from the first, in 1895, to that of 1914. Membership in the organizing committee enabled him to make numerous trips abroad, in 1897 to Scotland and England, in 1898 and 1901 to Germany, Austria and France, during which he came into contact with different international artistic languages. In 1891 he exhibited his work Spiaggia del Lido at the Brera Triennale in Milan. This painting is later awarded a silver medal at the 1893 Rome exhibition by the city's City Hall. In Munich he won the gold medal for the work Spring Night. In 1892 he went to Trent, where he was part of the jury to determine who should be entrusted with the creation of the monument to Dante in the square of the same name. Here he befriended Cesare Battisti and devoted himself to irredentist propaganda, participating in artistic events aimed at affirming the Italian character of Trentino. A few months later, during a visit to the home of Counts Cesarini Sforza in his homeland, he met Isabella Dal Lago of Cles and married her on September 26, 1892. The Ministry of Education awards him a gold medal for the painting Paesaggio trentino o Da Cles exhibited at the Turin exhibition. Three years later he was present at the first International Art Exhibition of the city of Venice with S. Michele all'Adige and Giorno di magro. In 1896 he participated in the Munich Secession Exhibition presenting the work Canal Grande in Venice. During this period he became acquainted with Secessionist floral art and Art Noveau however, he was not influenced by this vision of landscape softened by plant lines and decorative colors. Bezzi continued to cultivate a lyrical, twilight representation of nature that would characterize his production until about 1910. In 1897 he presented Prelude of the Evening at the Second Venice Biennale, and three years later he received a silver medal at the Universal Exhibition in Paris for the painting Day of the Skinny, executed in 1895. In 1899 he participated in the Third International Art Exhibition in Venice. At the 1901 Venice Biennale he presented the works, Autumn Vagueness, In the Evening and Night Calm. Two years later, at the Fifth Biennale: Morning on the Lake, Clear Night, The Trees, On the Shore of Lake Garda and First Snow. In 1905 his nervous illness began to worsen, but he still participated in the sixth Venice Biennale, presenting Fantasie dell'aria, Pescarenico and Acqua morta. Two years later his only solo art exhibition while alive is organized in Trent. In the same year he is in Turin with Notte di luna, in Venice with Sulle rive del Ticino, Mattino d'autunno, Tramonto and also travels abroad: to Buenos Aires, Montevideo and Valparaiso with the works Prima neve a Desenzano and Quiete del lago. In 1909 he participated in t [...]
Lot 3
(Milano 1819 - 1886)Cm 45x55 | In 17.72x21.65Oil on canvasThe son of Carlo, an accountant employed by Marquis Giuseppe Arconati Visconti in 1840, he graduated in law from the University of Pavia. He soon abandoned the idea of a career as a lawyer and in 1842 he presented a series of genre paintings at the Brera exhibition. Following in the footsteps of Domenico Induno, Salvatore Mazza later chose to focus on realistic painting, as opposed to the dominant Romantic current that preferred courtly and historical painting. In 1844 he presented at Brera two canvases with episodes from the Greek War of Independence and genre paintings of popular settings. He undertook long study trips to the Papal States and the Kingdom of the Two Sicilies, taking new insights from life in the cities and villages and filling his albums with sketches of landscapes and figures. Back in Milan he painted Funerale nella Campagna romana, Briganti calabresi, La maliarda (1845) and Predica al santuario nelle vicinanze di Sora (1847). With his father Carlo and older brother Giuseppe he distinguished himself in March 1848 during the defense of Milan from Austrian troops. Many years later he collected his memories in the autobiographical book The Five Days of Milan (1885), in which he described his experience among Carlo Cattaneo's supporters. On the same theme he painted in 1850: Scene of the Five Days in Via Santa Radegonda, Scene of the Five Days at Porta Tosa, Milanese Nocturne and Milan March 18, 1848 the beginning of the Five Days Revolution. With his brother Giuseppe he militated in the ranks of the Piedmontese army during the Campaign of 1859. A versatile artist, he devoted himself to writing historical novels, such as Il memoriale di frà Luca d'Avellino-set in 18th-century Naples and embellished with some 800 of his illustrations, including genre scenes and landscapes, done with a quick and sure touch-and Fantasie artistiche e letterarie. Between 1850 and 1854 he presented 28 paintings at Brera, including I bravi alla Malanotte, a subject from The Betrothed. Two of his mountain landscapes-A Hurricane on the Apennines and The Fall of the Sun-were published. In 1856, he was awarded the Mylius Prize with the painting A Herd at Rest. He also made medium or small canvases, with landscapes and with animals, to please the tastes of the Milanese bourgeoisie. He often painted en plein air, as he recounted in Gite d'artista e studii dal vero: descrizioni e racconti. He worked particularly on the pre-Alpine and Apennine hills, following the method favored by other Lombard landscape painters, such as Giovanni Battista Lelli and Gaetano Fasanotti (1831-1882). As a draftsman, caricaturist, and cartoonist, he collaborated on satirical newspapers, including Lo Spirito Folletto and Leone Fortis's two Milanese magazines Il Pungolo and Panorama, in which Cletto Arrighi, Ippolito Nievo, Venetian playwrights Paulo Fambri and Vittorio Salmini, and Giuseppe Rovani wrote. As an illustrator he collaborated on Franco Mistrali's I misteri del Vaticano o La Roma dei papi (1861-62), published in four volumes? a curious and anticlerical reinterpretation of Church history. His painting La stalla di un albergo was awarded a prize at the 1861 National Exhibition in Florence, while his canvases Il pensieroso, Il maniscalco, and Stalla rustica were presented at the 1867 Universal Exhibition in Paris. He was elected a member of the council of the Brera Academy; he reviewed exhibitions in the Milanese newspapers Il Pungolo and La Lombardia, then in L'Illustrazione Italiana. He was an honorary member of the art academies of Mantua and Urbino. A portrait of him as a young man, painted by his brother Giuseppe, is in Milan at the National Center for Manzonian Studies, Casa Manzoni. He died in Milan on October 24, 1886. An early portrait of him, autographed by his brother Giuseppe, is in Milan, Centro nazionale di studi manzoniani. The Milanese Mazza family gave three artists: Salvatore Mazza - who as a cartoonist signed himself Salvatore - his brother Giuseppe (Milan, 1817 - Milan, 1884), a painter of historical and genre subjects, and Aldo (Milan, 1880-Gavirate, 1964) - Giuseppe's son - who was a painter, publicist, cartoonist and caricaturist.
Lot 26
Oswald Achenbach (1827 Düsseldorf - 1905 ebenda)Fischer vor der Bucht von Neapel, Öl auf Leinwand, 89 cm x 135 cm, signiert, 1880 datiert, doubliert, restauriert, retuschiert, leicht craqueliertOswald Achenbach galt gemeinsam mit seinem Bruder Andreas Achenbach als das "A und O" der Landschaftsmalerei des 19. Jahrhunderts. Als Künstler wird er der sogenannten Düsseldorfer Malerschule zugeschrieben. Diese bezeichnet die damalige Zusammensetzung verschiedener Maler, die um die Mitte des 19./Anfang des 20. Jahrhunderts an der Königlich-Preußischen Kunstakademie - heute weltbekannt als Düsseldorfer Kunstakademie - studierten, lehrten und in diesem Umfeld gewirkt haben. Bereits in den 1850er Jahren reiste Achenbach das erste Mal nach Italien. Nach seiner Rückkehr nach Düsseldorf war er bereits über die Grenzen Deutschlands bekannt. 1863 wurde ihm die Ehre zuteil, als Professor für Landschaftsmalerei an die Kunstakademie berufen zu werden. Dies bedeutete neben seiner Heirat von Julie Arnz, der Tochter des Verlegers Heinrich Arnz, einen gesellschaftlichen Aufstieg. 1872 legte er sein Amt jedoch bereits nieder, um nicht in seiner eigenen künstlerischen Entfaltung eingeschränkt zu sein, wozu selbstverständlich auch das Reisen gehörte. Das Gemälde "Die Fischer vor der Bucht von Neapel" ist auf 1880 datiert, eben in die Zeit, in der Oswald Achenbach mit seinem Schwager, Albert Arnz, nach Italien reiste. Durch lasierenden Farbauftrag ist dem Künstler das Einfangen einer wunderbaren Atmosphäre am neapolitanischen Golf gelungen. Vermutlich wurde der Blick zum Vesuv von einem der Fischerdörfer zwischen Neapel und Amalfi gewählt, die entlang des Ufers liegen. Die Szenerie zeigt die Freiheit der Kinder, die in den Wellen des Meeres spielen, ebenso wie die tief verwurzelte Religiosität Italiens, während der Segnung eines Priesters am Ufer. Stimmungsvolle Landschaften durch eine effektvolle, die Atmosphäre steigernde, Behandlung von Licht und Farbe machen sein Oeuvre aus. Heute sind die Ölgemälde Achenbachs in Museen zu sehen, dazu gehört sowohl die Alte Nationalgalerie in Berlin oder die Eremitage in St. Petersburg.Oswald Achenbach (1827 Düsseldorf - 1905 ibid.)Fishermen in front of the Bay of Naples, oil on canvas, 89 cm x 135 cm, signed, 1880 dated doubled, restored, retouched, slightly craquelureOswald Achenbach, together with his brother Andreas Achenbach, was considered the ''A and O'' of 19th century landscape painting. As an artist he is ascribed to the Düsseldorf School of Painting. This refers to the composition at that time of various painters who studied, taught and worked in this environment at the Royal Prussian Academy of Art - today world-famous as the Düsseldorf Academy of Art - around the middle of the 19th/beginning of the 20th century. Achenbach travelled to Italy for the first time as early as the 1850s. After his return to Düsseldorf, he was already known beyond the borders of Germany. In 1863 he was honoured to be appointed as professor of landscape painting at the Academy of Arts. This, along with his marriage to Julie Arnz, the daughter of the publisher Heinrich Arnz, meant social advancement. In 1872, he already resigned from his post so as not to be restricted in his own artistic development, which of course included travelling. The painting ''Fishermen in front of the Bay of Naples'' is dated 1880, precisely the time when Oswald Achenbach travelled to Italy with his brother-in-law, Albert Arnz. The artist succeeded in capturing the wonderful atmosphere of the Neapolitan Gulf through the glazed application of paint. Presumably the view of the Vesuvius was chosen from one of the fishing villages between Naples and Amalfi, which lie along the shore. The scenery shows the freedom of children playing in the waves of the sea, as well as the deep-rooted religiosity of Italy, during the blessing of a priest on the shore. Atmospheric landscapes through an effective, atmosphere-enhancing treatment of light and colour make up his oeuvre. Today, Achenbach's oil paintings can be seen in museums, including the Alte Nationalgalerie in Berlin and the Hermitage in St. Petersburg.
Lot 68
A precious white metal diamond solitaire ring, set round brilliant cut diamond (stone approx. 8mm diameter x 4mm deep, EDW 1.50+ carats, colour approx. SI, white metal assessed as 18ct. white gold), size UK O. (gross weight 3.7g)Condition note: viewing by appointment recommended, of good clarity and colour, small chip to girdle by one prong, further images added.
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