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Italian Old Master School (18th century)Saint Peter, three-quarter length, the Epistles and Keys of Heaven before himoil, 21.5cm x 17cm

Italian School (18th/19th century)After the Italian Old Master, The Adoring Maryoval, oil on copper panel, 22cm x 16cm, engraved ticket of the Denison Earls of Londesborough to verso

Italian School (early 19th century)After the Old Master, Study of a Baroque Headoil on mahogany panel, 22cm x 17.5cm

PABLO PICASSO (1881-1973)Visage de faune dated '28.6.55.' (upper right); stamped with the signature and incised 'Exemplaire avant la lettre' (on the reverse), further stamped with the goldsmith's mark and the French assay mark for gold (on the lower reverse rim)22 carat gold repoussé plate with wooden presentation box25cm (9 3/4in). diameter; 41.6 cm. (16 3/8in.) diameter with the presentation boxConceived in 1955; this unique example in gold executed in 1968 by François and Pierre Hugo. This work is the first prototype of a gold plate ever made by François Hugo in collaboration with Pablo Picasso.Footnotes:The authenticity of this work has kindly been confirmed by Ateliers Hugo. ProvenanceAtelier François & Pierre Hugo, France.Private Collection, France (acquired from the above in 1971).Private collection, France (acquired from the above in 1995).LiteratureG. Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé céramique, 1949-1971, Vol. III, Bern, 1972, no. 63 (earthenware version illustrated p. 59).D. Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris, 1977 (silver version illustrated). A. Ramié, Picasso, Catalogue of the edited ceramic works, 1947-1971, Vallauris, 1988, no. 282 & 283 (terracotta and white earthenware versions illustrated p. 145).P. Hugo & C. Siaud, Bijoux d'artistes, Hommage à François Hugo, Aix-en-Provence, 2001, no. 1409 (silver version illustrated p. 148, & goldmedallion version illustrated p. 153).I was ten years old the day I met Picasso for the first time. My father had been working for him for one or two years. Picasso looked at me with his piercing eyes, wondering what a child like me could possibly be doing in a goldsmith's workshop. I was watching my father at work.The look of the great painter intrigued and scared me.'What are you doing young boy,' asked the artist?'I am watching my father at work.'A spark of interest made his eyes light up.'You could come to my studio to watch me at work too if you wanted.'I was delighted by his offer, I felt accepted. Over the years I got to know him well, to admire and discover this good, generous and funny man. During my first stay at 'La Californie', his villa in Cannes, I fell in love with his studio and his daughter Paloma. A frisson that caught the master's eye instantly.This was 1957, and from that moment on the friendship and collaboration between my father and Picasso continued to grow. When my father spoke to Picasso about a castle near to Aix-en-Provence, Picasso bought it: 'Cézanne painted La Sainte Victoire... but I bought it', he said with pride.Pablo Picasso, just like Claes Oldenburg, had a devoted admiration for gold. 'Do you think it could be possible to create an artwork in gold?', he asked. From this conversation they created the first gold plate: the smaller dimensions of Visage de faune (lot 39) were a necessity as my father did not have the money to buy more of the precious metal, and the work became the first prototype for the pieces created after by Picasso and my father. On seeing the first finished gold plate Picasso was mesmerised: he took the work in his hands and brought it to his lips like a baby. 'What are you doing Pablo', asked my father?'I am tasting it, I have never tasted gold before! It has a taste!', answered the artist. And the two men settled in to a lunch of lobsters, with Jacqueline and my mother Monique watching them fondly. I was proud of my father, and happy to see Pablo with tears of joy in his eyes. It was a time of precious memories, that I have held dearly ever since. From then onwards, my father and Picasso collaborated together until the artist's death in 1973. Together they made silver plates and compotiers, sculptures, medallions and the unique gold plates. Nothing could stop Picasso's creative genius. Even after his death, his greatness lived on in the artworks he created in our atelier. - Pierre Hugo, master goldsmith. In 1946 Pablo Picasso famously made his first visit to Vallauris in the South of France, and there discovered a latent desire to create works of exceptional beauty in clay. He was driven by a desire to create sculptural objects full of the joyousness and mythological motifs that typified his Post-War output: vases, dishes, bowls, even ashtrays decorated with fauns, flute players and the animals of his arcadia. He worked slavishly; a passion for creating these objects had been unleashed. Over the years that followed Picasso would design hundreds of works alongside the talented craftsmen of the Madoura pottery, and his interest in creating objects of everyday use imbued with his unique genius never waned from this point on. A decade after his arrival in Vallauris, Picasso was introduced to the goldsmith François Hugo by their mutual friends Douglas Cooper and John Richardson. Just like his introduction to the Ramié's, this was a fateful meeting that resulted in the two artists creating exceptional objects together over the course of the next two decades. They worked together on a series of beautiful plates, vases, medallions and compotiers, many of which were related to the designs he had created for his ceramics. Picasso was fascinated by the process of creating the wax matrix for each new design, with Hugo warming the precious metal and beating it by hand into the matrix – resulting in the shimmering surface of every repoussé dish or medallion. Over the course of their collaboration Picasso created small editions of the silver dishes and gold medallions, as well as a single unique gold dish for each design. Not only is the present work, depicting the faun so beloved of Picasso during this period, one of these precious unique objects, it is in fact the first of its kind: a prototype for Picasso and Hugo's creations in gold.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

1969 Lotus Seven Series 3Registration no. H3299BBD (Spanish Historic Registration)Chassis no. LSB 2454Frame no. BL2162Odometer reading: 9,878 miles* Matching numbers car * Two private owners from new* Lotus Classic Certificate of Vehicle ProvenanceWhen the Lotus Seven was launched in 1957, designed by the legendary Colin Chapman, it was far ahead of any other sports racing cars of the era. The car was so right first time, it is still in production today, as the Caterham. It is the second most copied car on the planet. Lotus produced the classic Seven through until 1970, the Series 3 benefiting from a strengthened chassis, wider wheels and tyres, slightly wider and strengthened Ford Escort Mexico back axle, exterior fuel filler, and even a fuel guage!This Lotus is a genuine factory built Seven that was released from Lotus Components in Hethel on the 18th April 1969, and shipped to the Lotus distributor in Canada. The optional extras were stated to be mag/alloy wheels and a heater. It was part of the very last batch of approximately 70 LHD now classic Lotus 7s assembled by the factory. It was purchased by an enthusiast in Calgary, who had a small car collection, and used it mainly for the local car club events. The last recorded competition event was on the 11th September 1979, although it is said to have participated in hill climbs in the early 80s, after which the car was put in to dry storage.The Lotus changed hands for the first and only time in 2012 at 8238 miles, when the present owner shipped the car to Spain, via the UK. Whilst in the UK it was inspected by the Lotus Seven Registrar, who confirmed that it is a genuine, original Lotus. It still had the original tyres, so it was refitted with Pirelli Cinturatos, so that it could be driven safely, and pass the Spanish ITV. It had all of the original equipment, the hood and seat belts pretty much unused.The aluminium body bore the scars of a few competition mishaps, and after 42 years was too brittle to restore properly, the chassis had been oversprayed in silver with a rattle can, in an effort to enhance the appearance. It had also been modernised with Caterham wings and rear lights, which have now been replaced with the correct items.The chassis was sent to Xtra Special Sevens, checked to be rust free, and in perfect alignment. It was powder coated in Lotus grey, and a beautiful new aluminium skin hand formed around the chassis, by a skilled craftsman. Wherever possible the original parts and components were cosmetically restored, the bolts re plated/re chromed, the mag alloy wheels re finished to concours standard.When you sit in this car, you are sitting on the original seat fabric, holding the original Springall steering wheel, and looking at the original dashboard. Even the carpet over the transmission tunnel, is the original item. Compare the black and white picture of the engine bay taken from the Series 3 section of the Lotus Seven Register, with the colour picture, it is identical, right down to the Barnacle suction rear view mirror. Even the exhaust silencer and tail pipe were remanufactured to the original pattern and it has the correct Thorpe PT 675 brake/stop/side lights. It must surely be one of the most correct Lotus Seven Series 3s.The sidescreens are original, although the old opaque plastic windows have been replaced, and the hood, frame and fittings are totally original.This lightweight Lotus is powered by the original Ford Cortina GT crossflow engine, with the Weber 32 DFM twin choke downdraught carburettor. During the rebuild the ignition was upgraded to an electronic distributor head, which combined with a new coil gives a much improved and reliable spark.Whilst the chassis was being refinished, as a matter of house keeping, the gearbox was stripped and checked and rebuilt, and later the rear axle was also rebuilt with a new crown wheel and pinion, to the correct standard ratio of 3.77:1. The clutch plate was renewed whilst the engine and gearbox were out of the car. All of the serviceable bolts and fixings were retained, re plated and reused. The front brake calipers were serviced and replated, new discs and pads fitted, and the rear brakes received new cylinders and brake shoes. The brake and clutch master cylinders were also serviced.The front suspension components were media blasted and re finished in Lotus Grey, the cast components were ceramic coated to keep the surface good for many years. The Spax shock absorbers were repainted, and new logos applied. The 4 branch header and exhaust system were also ceramic coated in a period silver, for a durable and attractive finish.During the present owner's tenure, the Lotus twice entered the annual Classics and Legends event at the Ricardo Tormo Circuit in Valencia, and had an outing with the South of France Lotus Seven group, for a blast up Mont Ventoux. It also won a concours trophy immediately after restoration at the Marina Alta Classic Car Club. The really great news about a Lotus Seven as a classic car, is that although 50 years old, it keeps up with and will even out perform many modern cars, and has an aluminium body that will not rust. With the Caterham versions still in production today, outwardly unchanged, this car still looks perfectly at home on the roads of the 21st Century as it did in the 60s.. As an added bonus, it is a real head turner.During the research of the car's provenance, a gentleman from Calgary was in touch. In 1973 he actually viewed the car as a possible purchase. Sadly the car was well over his budget at the time, and he settled for a cheaper more used model, which he still owned at the time of the correspondence. Interestingly he was reunited with our car in 2012 as it was being prepared for shipping, and confirmed that it was the same car he viewed in '73. There is a signed document from him to support this history.This car comes with a NOVA certificate, so that it has cleared customs and can be registered in the UK, and the Spanish registration papers which should enable registration world wide.This Lotus would sit well in any collection, but is no 'trailer queen', and could equally be enjoyed for fun days out.Footnotes:Vendor Score Total: 93/100Bidders should note that the automated 100-point Seller's Assessment is provided by each Seller at the point of consignment using the guidelines below, and is not provided, assessed or verified by Bonhams MPH. Accordingly Customers (Bidders) are on notice that each vehicle is offered 'as is / as seen' subject to the Conditions of Sale for the auction, and Customers (Bidders) are strongly recommended to view the Lot(s) being offered, before bidding, in order to satisfy themselves as to their condition; Bonhams MPH will not entertain disputes over Sellers' Assessments. Key for sellers' assessments:1/5 POOR. A project vehicle | Requires urgent attention | Damaged | Parts missing2/5 AVERAGE. Useable condition | Requires some attention | Light damage3/5 GOOD. Drive away | Presents well | Good history file | Drives well4/5 VERY GOOD. Well restored | Running and driving with no noticeable faults | Sound throughout5/5 EXCELLENT. Concours condition | Beautifully presented | Driving very wellEXTERIOR TOTAL: 23/25Body Work: 5Chrome/Plastics/Trim: 5Glass: 4Paint: 4Wheels/Tyres: 5INTERIOR TOTAL: 16/20Dashboard/Door cards/Carpets: 4Headlining: 4Seats: 4Trim: 4ENGINE TOTAL: 19/20Mechanical components: 5Running: 5Starting: 5Under Bonnet: 4RUNNING GEAR TOTAL: 20/20Axles: 5Brakes: 5Gearbox/Clutch: 5Suspension: 5ELECTRICAL TOTAL: 10/10Ancillary components: 5Main components: 5Car History File: 5... For further information on this lot please visit Bonhams.com

DICKENS, Charles (1812-1870). Master Humphrey's Clock. London: Chapman & Hall, 1840-1841.3 volumes, 8vo., 250 x 165 mm. Engraved frontispieces and numerous in-text illustrations by George Cattermole and Hablot K. Browne ['Phiz']. (Some very minor spotting to a few leaves.) 19th-century half black calf gilt (some light rubbing). Provenance: S. Sanders (bookplate); Robert Scott (signature, 1947). FIRST EDITION IN BOOK FORM, first published serially from 4 April 1840 to 4 December 1841. The work includes short stories and two novels, The Old Curiosity Shop and Barnaby Rudge. Gimbel A51; Smith I:6.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

THOMAS WEBSTER IN THE OLD MASTER STYLE; a modern oil on board, still life study of flowers, signed, 90 x 70cm, framed.Footnote: purchased Bonhams Knightsbridge, lot 338 sale 11161.Additional InformationLight surface dirt, light surface wear, the frame has had some poor restoration. 

18TH CENTURY FRENCH SCHOOL; black chalk heightened with white chalk on buff paper, 'Two Women in Elaborate Dress with a Page in a Turban', 'EB' within oval collective mark lower left, otherwise unsigned, with Thomas Williams (Fine Art) Ltd of London 'Old Master Drawings' label verso, 15 x 11cm, framed and glazed.Additional InformationSome spots to the image, otherwise appears good. Gilt frame with some splits, general wear.

Two Georgian papier mache patch boxes, one painted with a classical Old Master style portrait of a bearded old man, the other with a couple in a landscape scene

A rare and early Great War D.C.M. pair awarded to 2nd Class Air Mechanic J. E. Prance, Royal Flying Corps, for gallantry in repairing an aeroplane whilst under fire at night close to the front line during the battle of Neuve Chappelle in March 1915; in March 1917, the B.E.2d in which he was Observer was shot down by the ‘Red Baron’, crash-landing near Loos to become Richthofen’s 22nd victory in air-to-air combat - both pilot and observer survived but Sergeant Prance received bullet wounds in his leg Distinguished Conduct Medal, G.V.R. (2008 2/Cl: Air Mech: J. E. Prance. R.F.C.); 1914-15 Star (2008 2.A.M. J. E. Prance. R.F.C.) extremely fine (2) £3,000-£4,000 --- One of only 92 Distinguished Conduct Medals awarded to members of the Royal Flying Corps. D.C.M. London Gazette 3 June, 1915: ‘For gallant conduct and valuable services on the night of 10th-11th March 1915 in assisting to repair one of our aeroplanes which had been forced to descend near the firing line whilst being heavily shelled by the enemy. The machine was enabled to fly away by the following morning. Prance’s D.C.M. is amongst the first five such awards won by the Royal Flying Corps, all won in two separate incidents, for similar services, on the night of 10-11 March 1915. Prance’s action is described and illustrated in Deeds that thrill the Empire (p. 167). One of only 92 Distinguished Conduct Medals awarded to members of the Royal Flying Corps. John Edward Prance was born at Bideford, North Devon, his father being the Harbour-Master there. He attested as 2nd class Air Mechanic in the Royal Flying Corps Military Wing on 31 October 1914, and at the time of winning the D.C.M. was serving with 9 Squadron based at St. Omer. He was promoted to Corporal on 1 July 1915, and to Sergeant on 1 December 1915. After training as an Observer he was appointed Flight Sergeant on 1 April 1916. On 4 March 1917, on loan from 16 Squadron to 2 Squadron, he was Observer in a Royal Aircraft Factory B.E.2d, piloted by Lieutenant J. B. E. Crosbee, when they were attacked by Baron von Richthofen in a Halberstadt D.II scout plane. After a brief engagement, Prance received bullet wounds in the leg and Crosbee crash-landed the plane one kilometre north of Loos, becoming the Red Baron’s 22nd victim. Prance was later commissioned as a Second Lieutenant in the Royal Flying Corps and took up his duties as an instructor at Reading. In June 1918, Prance was urgently summoned home to face the shattering news that his baby daughter, born earlier that year, had died. Powerfully built and only 33 years old, he immediately complained of feeling unwell and was ordered to bed with a raging high fever and severe tonsillitis, unable even to attend his daughter’s funeral. On the following day, his fever increased and he died, a victim of the ‘Spanish’ flu epidemic which was to sweep around the world killing tens of millions - many more than who died in the war itself.

1960 Morris Minor 1000 Cotswold Blue, 64 000. The Morris first registered on 4th February 1960, engine number 9.M.U.H 401469, VIN/Chassis nr M/AS.3792663, two owners from new, with current owner since October 1968 and subject to professional restoration and ideal project for someone who wants to add the finishing touches. Background: First registered in February 1960, purchased by ourselves in October 1968. It appeared to have been a one owner Cheltenham based car, undersealed from new, with an odometer reading of 53100 miles. It had recently had a top overhaul and piston service, and was generally in sound condition. It was purchased for use as a second car, and was used as such (by my ex-wife) until mid 1969 (mainly in the garage at the family home) mileage 64100 miles and kept in reserve as a spare car. At this stage oil was injected into the cylinders to prevent corrosion and the motor hand cranked periodically. This continued until around 2012, when it needed to be moved and the decision was taken to re-build it. It was trailered to a professional body shop, where the bodyshell was dismantled, the glass, doors bonnet and boot removed. Four new (genuine) wings were fitted, the front two were showing the characteristic signs of corrosion along the rear edge, the back two had both had minor scrapes. After extensive preparation (the original paint was still in good, but faded, condition) and correctly repainted in the original blue colour. All of the new work was then stone chip painted to give further protection, the windscreen replaced (old was scratched) and rear window, both with new seals, and the car trailered back to its (current new) garage for final assembly in 2014 (brake service, electrical reconnections, interior upgrade and detailing. Outstanding works: The 'fits' of the various openings, doors etc. need to be finally adjusted. The original leather upholstery is basically sound, but the stitching on some of the panels needs to be redone and the cushion material replaced. New carpet sets readily available. It was the intention to replace the wheel and master cylinders (and maybe some of the rubber hoses) simply because of their age (genuine parts readily available) Routine lubrication service and battery, wiper blades etc.Service History: October 1968 - change of oils, new filter, wiper blades, gearchange grommet. New Michelin tyre.December 1968 - grease, replace top water hose and heater hoses. Change engine oil, new brake hoses, overall starter, replace O/s/r bulb.January 1969 - Fit new clutch and carbon thrust bearing.April 1969 - Replace battery, general light service, new air filter. July 1969 - Engine oil change service, from the mid 1970's laid up to date until 2014 it had two new tyres fitted. Kindly provided by the current owner. PLEASE NOTE THAT THE CHERISHED PLATE IS INCLUDED WITH THE PURCHASE ON THIS VEHICLE.

An American sterling silver fork, marked Towle, Old Master and an American sterling silver baby's feeder spoon marked Webster

Two 18th century Old Master ink and wash drawings and a 19th century study of shipping on a calm sea, 13 x 8cm, 11 x 15cm and 9 x 15cm, all unframed

An 18th / 19th century Old Master style study of a putto, framed & glazed, 26 by 23cms (10.25 by 9ins).

Large quantity of vinyl records including 'Stardust Hoagy Carmichael 16 Classics From The Old Music Master', 'Bing Crosby Crosby Classics Volume III', 'The Andrews Sisters Story', 'The Very Best Of The Andrews Sisters', 'The Unfamiliar Nat King Cole' etc, approximately 600 in five boxesClick here to view further images, condition reports, sale times & delivery costs for this lot.

Güler Ates Green Veil, 2011 Giclée Hahnemühle Pearl Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I work with Video, Photography, Printmaking and Performance. At the heart of my work lies an exploration into the experience of cultural displacement. Manifestations of my work are realised through performance and site-responsive activities that merge Eastern and Western sensibilities. 2006-08 Royal College of Art, MA Fine Art; Printmaking, London 
 2001-04 Wimbledon School of Art, BA {HONS} degree in Fine Art; Painting, London 
 2000-01 Lewisham College, BTEC Diploma Foundation Studies in Art & Design, London 1996-98 University of Marmara, Fine Art, Istanbul

 Solo Exhibitions
 Shoreless, The Museum of Oriental Art (MAO), Turin 2020 6th Station of Troubled Waters, Art Stations of the Cross, Amsterdam 2019 Fragments, Eton College, Windsor, 2018 Unfold, Museum Van Loon, Amsterdam, 2017 Unseen Photo Festival, Oude Kerk, Amsterdam, 2016 Sea of Colour, Salvation Army International HQ, London Unseen Memories, House of St Barnabas, London, 2015 Fantasma Nel Silenzio, Spazio Nea, Napoli, Italy Stilled, Art First Gallery, London Dwelling; Rio de Janeiro, Marcelle Joseph Projects, London, 2014 Sound and Silence, Marian Cramer Projects, Amsterdam Open Studio, Instituto Inclusartiz, Rio de Janeiro Whispers of Colour, Kubikgallery, Porto, Portugal Zenana, Marian Cramer Projects, Amsterdam, 2013 Books of Dust, Royal Academy of Arts, Café gallery, London Trace of the Traceless, The LOFT at Lower Parel, Mumbai, 2012 Threshold, Art First Gallery, London Unveiling the Veil, Marian Cramer Project, Amsterdam Present and Absent, Great Fosters, Egham, 2011 No past is mine, no future: look at me! Leighton House Museum, London, 2010 Fusion, Gallery Point-1, Okinawa, Japan 
 Veiled Mozaic, The LOFT at Lower Parel, Mumbai, 2009 Projects at Christ Church Spitalfields, London, 2005 Represented by L'étrangère, London Marian Cramer Projects, Amsterdam Galerie Jean-Louis Ramand, Aix en provence & Paris Kubikgallery, Porto Luciana Caravello Arte Contemporanea, São PauloThis photograph was taken at Great Fosters, which has over four centuries of history, from Henry VIII in the 16th century and Judge Doderidge, Solicitor General to King James I, in the 17th century to Sir Charles Orby in the 18th century and Baroness Halkett, Queen Alexandra's lady in waiting, in the early 20th century. While working in Great Fosters, Ates imagined these characters that once lived in the house. Ates says, 'They were absent; however, through the objects in the rooms, the interiors and the exterior of the building, I wanted to trace the "present" of some of the previous occupiers.' This new body of work confronts the intense dialogue between the past and present in this grand historic house.   Guler's photographs were taken in the majestic settings of the Italian Room, Panel II Room and the Tapestry Room at Great Fosters, complete with 17th century Flemish tapestries and a carved wooden Jacobean chimneypiece. The Italian Room is finished with carved Quattrocentro doors and damask covered walls. The darkness in the rooms, a consequence of the Tudor architecture, plays a significant role in the work of Ates, whose ambiguously veiled female figures illuminate against the dramatic backdrop of rich, heavy drapery. The extreme contrast is one element employed by the artist in order to create the fluid, floating apparitions that have become synonymous with Ates' work. Ates herself is inspired by Dutch Old Master paintings and the darkness and intensity of the works on display are reminiscent of these masters of painting. Her body of work comments on the Western notion of Orientalism and the effects of the cross pollination of cultures on female identity and architecture.   The text was written by Marcelle Joseph, edited by Güler Ates Condition Report:   Condition Report Disclaimer

Elise Ansel Libica I, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium.   Exhibitions/Awards   Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans.   Gallery Representation   Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City.   About the postcard artworks:   The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.  

Elise Ansel Libica II, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium.   Exhibitions/Awards   Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans.   Gallery Representation   Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City.   About the postcard artworks:   The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.  

Elise Ansel Bellini San Zac, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium.   Exhibitions/Awards   Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans.   Gallery Representation   Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City.   About the postcard artworks:   The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.  

Elise Ansel Van Aelst Detail, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium.   Exhibitions/Awards   Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans.   Gallery Representation   Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City.   About the postcard artworks:   The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst. I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.  

Master I.B. (active c. 1523-1530)Mercury, from: The Seven PlanetsEngraving, 1528, a good impression on laid paper without watermark, sheet 81 x 50 mm (3 1/4 x 2 in), trimmed to or just within the platemark (framed)Provenance:Albertina, Vienna, with their duplicate stamp [Lugt 5g]; their sale, C. G. Boerner, Leipzig, 25-27 May 1925, lot 961 (together with five others from the series; Mk. 100);Elizabeth Harvey-Lee, LondonPrivate collection, LondonLiterature:Bartsch 16⁂ For another impression from the series, with the same Albertina provenance, see Christie's London, Old Master Prints, 15th July 2020, lot 41 (sold for £4,000 incl. premium).

Various Artists (17th and 18th century)Collection of over 50 French and Flemish old master printsincluding three works by Jean-Honoré Fragonard from 'Les Bacchanales ou Jeux de satyres' [cf. Wildenstein 3-6], Philips Galle's suite of six prints 'Christ and Women from the Gospels' [NH 159], Jacques Callot's panorama 'La Carriere de Nancy' [Lieure 589], 12 trimmed copies after Callot's suite of dwarfs 'Varie figure gobbi di Iacopo Callot', a good group of small etchings and copies by and after Callot, two engravings by Antonius Wierix from 'The fifteen mysteries of the rosary' published by Thomas de Leu, and a mixed group of others similar, engravings, various sizes (unframed)Provenance:Property of a lady, Gloucestershire, UK

Collection of Old Master Prints

AN EARLY OLD MASTER STYLE OVAL HEAD AND SHOULDER MONOTONE STUDY OF A BEARDED MAN, unsigned, watercolour on paper, unframed, 27 x 22 cm

TOSKANISCHE SCHULE Meister, tätig 2. Hälfte 16. Jh. KREUZABNAHME/BEWEINUNG: MARIA UND DER GEKREUZIGTE CHRISTUS, MARIA MAGDALENA, HEILIGER JOSEF, HEILIGER FRANZISKUS, EVANGELIST MARKUS, KATHARINA VON SIENA UND WAHRSCHEINLICH HEILGER EXUPEREANTIUS Öl auf Hartholztafel (wahrscheinlich Nussbaumholz). 76 x 59 cm. Part. min. besch., leicht altrest. Provenienz: Rheinische Priavtsammlung. Originale Rechnung von 'HAEFEN', Langton Road, Tunbridge Wells, Kent, Langton 2429 aus dem Jahre 1969 beigefügt. NORTHERN ITALIAN SCHOOL Master, active in the 16th century. DESCENT FROM THE CROSS/LAMENTATION OF CHRIST: MARY WITH CHRIST CRUCIFIED, MARY MAGDALENE, SAINT JOSEPH, SAINT FRANCISCUS, MARK THE EVANGELIST,CATHERINE OF SIENA AND PROBABLY SAINT ESUPERANZIO Oil on hardwood panel (probably walnut). 76 x 59 cm. Part. min. damaged, sligthly old restored. Provenance: Rhenish Private Collection. Original 1969 invoice from 'HAEFEN', Langton Road, Tunbridge Wells, Kent, Langton 2429 attached.

SÜDDEUTSCHE SCHULE Meister, tätig um 1500. DIE WUNDERSAME HEILUNG BERNHARDS VON CLAIRVAUX DURCH MARIA/BERNHARD WARNT ROGER II VON SIZILIEN VOR DER NIEDERLAGE GEGEN RANULF IN DER SCHLACHT VON RIGANO 1132 Jeweils: Tempera auf Nadelholztafel, teilweise vergoldet. Einzeltafeln jeweils: 77x57 cm (R. gesamt 165x65 c. Part. leicht altrest., Goldgrund part. übermalt, Holztafeln mit vertikalen Spannungsrissen. Beide Tafeln in einer Rahmung zusammengefasst. Die Ikonographie und Bestimmung der beiden Tafeln erläutert Dr. Bernd Konrad (Reichenau) wie folgt: Tafel I Die wundersame Heilung Bernhards von Clairvaux durch Maria Beschreibung: Johannes [(?) nicht nimbiert], Maria und ein hl. Abt mit einem Glas in der Hand, über dem sich eine Schlange windet, stehen am Bett eines Zisterziensermönches. Maria spricht zu ihm: DILECTE MI SANABERIS QVIA IN SERVITIO MEO ADHVCPERSISTES "Mein Geliebter, du wirst geheilt werden, weil du noch weiterhin in meinem Dienst verharren wirst" Unten links der Teufel in lässiger Haltung zu Bernhard gewendet: NOLI TE DECIPERE VT SEMPERES TE REGNUM DEI CONSEQVI POSSE. "Täusche dich nicht, daß du, wie du immer bist, das Reich Gottes erlangen kannst" Es handelt sich demnach um die Szene der wunderbaren Heilung Bernhards durch Maria. "Dilecte mi" ist eine im Hohen Lied, das Bernhard kommentiert hat, erscheinende Anrede an den Geliebten. Irritierend ist, dass trotz des nicht eingetretenden Todes Bernhards, dessen Seele in der Figur eines kleinen nackten Mannes von einem Engel bereits dem Weltenrichter zugeführt wird. Die Maria als Helfer begleitenden männlichen Figuren scheinen nicht kanonisch festgelegt zu sein, sondern folgen wohl regionalen Ansprüchen. Auf einem Gemälde von Juan Correo de Vivar wird sie zusammen mit Benedikt und Laurentius dargestellt (Madrid, Prado, LCI Band 5 Sp. 381 und Sp. 384). Heute gilt diese Darstellung als Tod des Bernhard von Clairvaux. Der hl. Abt mit dem Glas in der Hand könnte St. Magnus von Füssen sein. Tafel II Bernhard warnt Roger II. von Sizilien vor der Niederlage gegen Ranulf in der Schlacht von Rignano 1132 Die zweite Tafel stellt eine Erzählung aus dem zweiten Buch (II, 60) der bekanntesten Bernhard-Vita dar: Bernhard warnt Roger II. von Sizilien vor der Niederlage gegen Ranulf (in der Schlacht von Rignano 1132); er tut es mit den Worten: QVIA (steht lediglich für Doppelpunkt der Ansprache:) SI CONFLICTUM INIERIS. VICTVS ET CONFVSUS ABIBIS. "Wenn du dich auf einen Kampf einlassen wirst, wirst du besiegt und vernichtet abziehen" Beide Tafeln dürften Teile eines umfangreicheren Bernhard-Zyklus gewesen sein, deren einstige Aufstellung wegen des Auftretens des hl. Magnus von Füssen in einem süddeutschen Zisterzienserkloster zu vermuten ist. Wahrscheinlich haben sie infolge der Säkularisation 1803ff. ihren Standort verloren und sind in den seinerzeit entstehenden Kunsthandel gelangt. Herzlich danken wir Herrn Dr. Bernd Konrad (Reichenau) für seine Arbeit bei der ikonographischen Beschreibung, der Übersetzung und Zuordnung der Texte sowie bei der Bestimmung der Tafeln. Provenienz: Süddeutsche Privatsammlung. SOUTH GERMAN SCHOOL Master, active about 1500. THE MIRACULOUS HEALING OF BERNHARD OF CLAIRVAUX BY MARIA/BERNHARD WARNS ROGER II OF SICILY OF HIS DEFEAT BY RANULF AT THE BATTLE OF RIGANO 1132 Each: Tempera on pinewood panel, partly gilded.Single panel each: 77x57 cm (F. total 165x65 cm) Part. slightly old restored, gold ground partly overpainted, wooden panels with vertical stress cracks. Both panels combined in one frame. The iconography and determination of the two panels explains Dr. Bernd Konrad (Reichenau) as follows: Panel I The miraculous healing of Bernard of Clairvaux by Mary John [(?) not nimbed], Mary and a holy abbot with a glass in his hand, above which a snake is coiled, stand at the bedside of a Cistercian monk. Mary speaks to him: DILECTE MI SANABERIS QVIA IN SERVITIO MEO ADHVCPERSISTES. ''My beloved, you will be healed because you will still persevere in my service'' Below left, the devil in a casual pose turned towards Bernard: NOLI TE DECIPERE VT SEMPERES TE REGNUM DEI CONSEQVI POSSE ''Do not deceive yourself that you, as you always are, can attain the kingdom of God'' Accordingly, this is the scene of the miraculous healing of Bernard by Mary. ''Dilecte mi'' is a salutation to the beloved appearing in the Song of Songs on which Bernhard commented. It is irritating that despite the fact that Bernhard has not died, his soul is already being brought to the Judge of the World in the figure of a small naked man by an angel. The male figures accompanying Mary as helpers do not seem to be canonically determined, but probably follow regional requirements. In a painting by Juan Correo de Vivar she is depicted together with Benedict and Laurentius (Madrid, Prado, LCI vol. 5 sp. 381 and sp. 384). Today this depiction is considered to be the death of Bernard of Clairvaux. The holy abbot with the glass in his hand could be St. Magnus of Füssen. Panel II Bernard warns Roger II of Sicily of his defeat by Ranulf at the Battle of Rignano in 1132 The second panel represents a narrative from the second book (II, 60) of Bernhard's most famous vita: Bernhard warns Roger II of Sicily of his defeat by Ranulf (at the Battle of Rignano 1132); he does so with the words: QVIA (standing only for colon of the address:) SI CONFLICTUM INIERIS. VICTVS ET CONFVSUS ABIBIS. ''If you engage in battle, you will depart defeated and destroyed'' Both panels may have been parts of a more extensive Bernhard cycle, the former installation of which can be assumed because of the appearance of St. Magnus of Füssen in a southern German Cistercian monastery. They probably lost their location as a result of secularisation in 1803ff. and found their way into the art trade that was emerging at the time. We are grateful to Dr. Bernd Konrad (Reichenau) for his work in the iconographic description, the translation and classification of the texts as well as in the identification of the panels. Provenance: South German Private Collection.

DEUTSCHER MEISTER Tätig, 1. Hälfte 16. Jh. HEILIGER LUKAS Öl auf Holztafel auf Holzplatte maroufliert. 79,5 x 39 cm (R. 97,5 x 56 cm). Part. besch., altrest., Farbverluste, Retuschen. Rahmen. Provenienz: Hessische Privatsammlung. GERMAN MASTER Active, 1st half 16th century. SAINT LUCAS Oil on panel lay down on board (maroufl.). 79,5 x 39 cm (F. 97,5 x 56 cm). Part. damaged, old restored, colour losses, retouching, Frame. Provenance: Hessian Private Collection.

KÖLNISCH/WESTFÄLISCHE SCHULE Meister, tätig um 1480/1500. BISCHOFSTAFEL MIT DEM HEILIGEM HUBERTUS UND DEM HIRSCHEN, DEM HEILGEN LAURENTIUS MIT DER DARMWINDE, EINEM PAPST, DEM HEILIGEN FRANZISKUS, ZWEI WEITEREN BISCHÖFEN UND EINER ÄBTISSIN Öl auf Eichenholztafel (teilparkettiert). 61 x 161 cm. Part. stärker altrest., Altretuschen und alte Übermalungen. Rahmen. Herzlich danken wir Dr. Bernd Konrad für die Unterstützung bei der ikonographischen Aufarbeitung der hier angebotenen Tafel. Provenienz: Norddeutsche Privatsammlung. COLOGNE/WESTPHALIA SCHOOL Master, active about 1480/1500. BISCHOP'S PANEL WITH SAINT HUBERT AND THE DEER, SAINT LAURENTIUS WITH THE BOWEL-WINCH, A POPE SAINT FRANCISCUS, TWO OTHER BISHOPS AND AN ABBESS. Oil on oak panel (partly parqueted). 61 x 161 cm. Part. old restored, old retouching and old overpaintings. Frame. We are grateful to Dr. Bernd Conrad for his support in the iconographic overview of the panel offered here. Provenance: North German Private Collection.

FLÄMISCHE SCHULE Meister, tätig 1. Hälfte 17. Jh. BACCHANTISCHES FESTGELAGE Öl auf Leinwand (altdoubl.). 38 x 46 cm (R. 52 x 62 cm). Verso: Altes Papierlabel mit der Zuweisung an Hendrik van Balen. Part. altrest., Retuschen. Rahmen. Provenienz: Norddeutsche Privatsammlung. FLEMISH SCHOOL Master, active 1st half of the 17th century. BACCHANALIAN FESTIVITY Oil on canvas (old relined). 38 x 46 cm (F. 52 x 62 cm). Verso: Old paper label with attribution to Hendrik van Balen. Part. old restored, retouching, Frame. Provenance: North German Private Collection.

ITALIENISCHER MEISTER Tätig, wohl 17. Jh. VENUS ENTWAFFNET MARS Öl auf Leinwand (altdoubl.). 65 x 54 cm (R. 77 x 66 cm). Verso: Auf dem Keilrahmen mit zwei alten Klebeetiketten mit den Sammlungsnummern (?) '15' bzw. '142'. Part. leicht besch., min. altrest. Rahmen. Provenienz: Europäische Privatsammlung. ITALIAN MASTER Active, probably in the 17th century. VENUS DISARRAYED MARS Oil on canvas (old relined). 65 x 54 cm (F. 77 x 66 cm). Verso: On the stretcher with two old paper labels with the old collection numbers (?) '15' and '142'. Part. min. damaged, min. old restored. Frame. Provenance: European Private Collection.

ITALIENISCHER MEISTER Tätig, Mitte 17. Jh. CHRISTUS, DAS KREUZ TRAGEND Öl auf Leinwand (altdoubl.). 123,5 x 86 cm (R. 133,5 x 96 cm). Part. Oberflächenverschmutzungen, altrest. Rahmen. Provenienz: Westfälische Privatsammlung. ITALIAN MASTER Active, mid 17th century. CHRIST CARRYING THE CROSS Oil on canvas (old relined). 123,5 x 86 cm (F. 133,5 x 96 cm). Part. dirty surface, old restored. Frame. Provenance: Westphalian Private Collection.

FLÄMISCHER MEISTER Tätig, wahrscheinlich spätes 16. Jh. MADONNA MIT DEM KIND Öl auf Eichenholztafel. 40 x 30 cm (R. 52,5 x 42,5 cm). Min. besch., altersbedingtes Craquelé. Rahmen um 1800. Provenienz: Rheinische Privatsammlung. FLEMISH MASTER Active, probably late 16th century. MADONNA WITH THE CHILD Oil on oak panel. 40 x 30 cm (F. 52,5 x 42,5 cm). Min. damaged, old-age craquelé. Frame about 1800. Provenance: Rhenish Private Collection.

ITALO-FLÄMISCHE SCHULE Meister, tätig Mitte 18. Jh. HEILIGE FAMILIE Öl auf Leinwand (doubl.). 85 x 66 cm (R. 105 x 86 cm). Part. altrest., Übermalungen, min. besch. Rahmen. Provenienz: Norddeutsche Privatsammlung. ITALIAN-FLEMISH SCHOOL Master, active mid 18th century. HOLY FAMILY Oil on canvas (relined). 85 x 66 cm (F. 105 x 86 cm). Part. old restored, overpaintings, min. damaged. Frame. Provenance: North German Private Collection.

ITALIENISCHE SCHULE Meister, tätig im 17. Jh. MARIA BETRACHTET MIT DEM HEILIGEN LUKAS DAS EVANGELIUM Öl auf Leinwand (rundumlaufend volutenartige Rahmung). 166 x 101 cm (R. 179 x 110 cm). Part. min. altrest., besch. Aufwendige Originalrahmung wohl um 1700. Provenienz: Hessische Privatsammlung. ITALIAN SCHOOL Master, active in the 17th century. MARIA CONTEMPLATING THE GOSPEL WITH SAINT LUCAS Oil on canvas (all-round volute framing). 166 x 101 cm (F. 179 x 110 cm). Part. min. old restored, damaged. Elaborate original framing probably about 1700. Provenance: Hessian Private Collection.

ITALIENISCHER MEISTER Tätig, Mitte 17. Jh. MATER DOLOROSA Öl auf Leinwand (altdoubl.). 59,5 x 48 cm. Part. min. altrest., Ecken part. mit leichten Farbverlusten. Provenienz: Rheinische Privatsammlung. ITALIAN MASTER Active, mid-17th century. MATER DOLOROSA Oil on canvas (old relining.). 59,5 x 48 cm. Part. min. old restored. Corners slightly with colour losses. Provenance: Rhenish Private Collection.

ITALIENISCHER MEISTER Tätig, um 1600. DIE HEILKUNDIGE Öl auf Leinwand. 76 x 61 cm (R. 91 x 77 cm). Part. min. altrest. Wahrscheinlich italienscher Rahmen des 17. Jh. Provenienz: Rheinische Privatsammlung. ITALIAN MASTER Active, about 1600. THE HEALER Oil on canvas. 76 x 61 cm (F. 91 x 77 cm). Part. min. old restored. Probably Italian frame of the 17th century. Provenance: Rhenish Private Collection.

FLÄMISCHE SCHULE - IN DER ART DES FRANCESCO BRINA Meister, tätig Mitte 16. Jh. MARIA LACTANS MIT DEM JOHANNESKNABEN UND DER HEILIGEN ELISABETH (?) Öl auf Eichenholztafel. 45 x 32,5 cm (R. 62 x 51 cm). Part. min. altrest. Rahmen. Provenienz: Bedeutende rheinische Privatsammlung. FLEMISH SCHOOL - IN THE MANNER OF FRANCESCO BRINA Master, active mid-16th century. MARIA LACTANS WITH SAINT JOHN AND SAINT ELISABETH (?) Oil on oak panel. 45 x 32,5 cm (F. 62 x 51 cm). Part. min. old restored. Frame. Provenance: Important Rhenish Private Collection.

ITALIENISCHER MEISTER Tätig, im 17. Jh. PORTRAIT EINES ADLIGEN Öl auf Leinwand (altdoubl.). 51 x 40 cm (R. 60 x 49 cm). Part. min. rest. Im ovalen Passepartout gerahmt. Provenienz: Europäische Privatsammlung. ITALIAN MASTER Active, in the 17th century. PORTRAIT OF A NOBLEMAN Oil on canvas (old relined). 51 x 40 cm (F. 60 x 49 cm). Part. min. rest. Framed in oval passepartout. Provenance: European Private Collection.

NIEDERLÄNDISCH/FLÄMISCHE SCHULE Meister, tätig im 17. Jh. DER PFEIFENRAUCHER Öl auf Holztafel (parkettiert). 60,5 x 48,5 cm (R. 76 x 63,5 cm). Verso: Alte Sammlungsnummer '260'. Part. min. altrest. Rahmen. Provenienz: Rheinische Privatsammlung. DUTCH/FLEMISH SCHOOL Master, active in the 17th century. THE PIPESMOKER Oil on panel (old parquetted). 60,5 x 48,5 cm (F. 76 x 63,5 cm). Verso: Old collection number '260'.Part. min. old restored. Frame. Provenance: Rhenish Private Collection.

AERT VAN DER NEER (ATTR.) 1603 oder 1604 Gorinchem - 9. November 1677 Amsterdam NÄCHTLICHE MONDSCHEINFLUSSLANDSCHAFT MIT TRINKENDEN RINDERN Öl auf Eichenholztafel, parkettiert. 32 x 47,5 cm (R. 42,5 x 58,5 cm). Unten mittig monogrammiert: 'AN'. Verso: Auf der Rückseite mit alter Auktionsnummer Christie's (London): 'CH41'. Part. altrest., oben rechts Altretuschen, besch. Rahmen. Provenienz: Rheinische Privatsammlung. Christies London. Auktion 'Old Master Pictures' vom 18. Juni 1982, Lot. 167 als van der Neer. AERT VAN DER NEER (ATTR.) 1603 or 1604 Gorinchem - 9th November 1677 Amsterdam A MOONLIGHT RIVER LANDSCAPE WITH CATTLE WATERING Oil on oak panel (parquetted). 32 x 47,5 cm (F. 42,5 x 58,5 cm). Monogrammed lower center: 'AN'. Verso: with old auction number Christie's (London): 'CH41'. Part. old restored, top right old retouching, damaged. Frame. Provenance: Rhenish Private Collection. Christies London. Auction 'Old Master Pictures' from June 18th, 1982, lot 167 as van der Neer.

NIEDERLÄNDISCH/FLÄMISCHE SCHULE Meister, tätig um 1700. WALDLANDSCHAFT MIT REISENDEN: IM BILDHINTERGRUND EINE STADT AM SEE Öl auf Leinwand (doubl.). 42 x 55,5 cm (63 x 75,5 cm). Verso: Auf altem Papierlabel beschriftet: 'Okt 1970 Carola van Hamm Versteigerung. Holl. Meister sig.: HvW 1700 Jahrh.'. Part. min. altrest., verschmutzte Oberfläche. Rahmen. Provenienz: Südrheinische Privatsammlung. DUTCH/FLEMISH SCHOOL Master, active about 1700. FOREST LANDSCAPE WITH TRAVELLERS: IN THE BACKGROUND A TOWN AT THE LAKE Oil on canvas (relined). 42 x 55,5 cm (F. 63 x 75,5 cm). Verso: Inscribed on an old paper label: 'Okt 1970 Carola van Hamm Versteigerung. Holl. Meister sig.: HvW 1700 Jahrh.'. Part. min. old restored, dirty surface. Frame. Provenance: South German Private Collection.

BAMBOCCIANTI-SCHULE Meister, tätig um 1700. LANDSCHAFT MIT RUINE, RASTENDEM SCHÄFER, REITER UND KUTSCHE VOR ANGRENZENDEM GEWÄSSER Öl auf Leinwand, maroufliert auf Platte. 84 x 114 cm. Part. besch. und rest., Altretuschen, Farbverluste. Provenienz: Norddeutsche Privatsammlung. BAMBOCCIANTI SCHOOL Master, active about 1700. LANDSCAPE WITH RUIN, RESTING SHEPHERD, HORSE AND CARRIAGE IN FRONT OF A WATERCOURSE Oil on canvas lay down on plate (maroufl.) 84 x 114 cm. Part. damaged and rest., old retouching. Losses of colour. Provenance: North German Private Collection.

ANTWERPENER SCHULE Meister, tätig 2. Hälfte 17. Jh. DER WANDERER Öl auf Leinwand (altdoubl.). 29 x 22 cm (R. 43 x 36,5 cm). Verso: Auf dem Keilrahmen alte Auktions- bzw. Sammlungsnummer: '22502'. Part. min. besch., Oberfläche verschmutzt. Rahmen. Provenienz: Westfälische Privatsammlung. ANTWERP SCHOOL Master, active 2nd half of 17th century. THE WALKER Oil on canvas (old relined). 29 x 22 cm (F. 43 x 36,5 cm). Verso: On the stretcher old auction or collection number: '22502'. Part. min. damaged, dirty surface. Frame. Provenance: Westphalian Private Collection.

NIEDERLÄNDISCH/FLÄMISCHE SCHULE Meister, tätig 2. Hälfte 17. Jh. BORDELLSZENE MIT ZECHENDEN BAUERN Öl auf Eichenholztafel. 53 x 71 cm (R. 63 x 80 cm). Part. altrest., Altretuschen, min. besch. Rahmen. Provenienz: Westfälische Privatsammlung. DUTCH/FLEMISH SCHOOL Master, active second half of 17th century. BROTHEL SCENE WITH FEASTING PEASANTS Oil on oak panel. 53 x 71 cm (F. 63 x 80 cm). Part. old restored, old retouching, min. damaged. Frame. Provenance: Westphalian Private Collection.

BAMBOCCIANTI-SCHULE Meister, tätig um 1700. REISENDE VOR EINER STADTANLAGE IN DER CAMPAGNA Öl auf Leinwand (doubl.). 58 x 83 cm (R. 72 x 97,5 cm). Part. altrest., leichte Verputzungen. Rahmen. Provenienz: Südrheinische Privatsammlung. BAMBOCCIANTI-SCHULE Master, active about 1700. TRAVELLERS IN FRONT OF A CITY AREA IN CAMPAGNA Oil on canvas (relined). 58 x 83 cm (F. 72 x 97,5 cm). Part. old restored, slightly over cleaned. Frame. Provenance: South Rhenish Private Collection.

FRANZÖSISCH/FLÄMISCHE SCHULE Meister, tätig 18. Jh. VENUS UND CUPIDO Öl auf Leinwand (altdoubl.). 52,5 x 64 cm (R. 78 x 88 cm). Part. min. altrest., Altretuschen, min. besch. Rahmen. Provenienz: Rheinische Privatsammlung. FRESNH/FLEMISH SCHOOL Master, active 18th century. VENUS AND CUPID Oil on canvas (old relined). 52,5 x 64 cm (F. 78 x 88 cm). Part. min. old restored, old retouching, min. damaged. Frame. Provenance: Rhenish Private Collection.

ITALIENISCHER MEISTER Tätig, 2. Hälfte 17. Jh. OPULENTES BLUMENSTILLLEBEN MIT GLASVASE UND BASTKORB Öl auf Leinwand (doubl.). 54 x 76 cm (R. 74 x 91 cm). Part. leicht altrest., Altretuschen. Handgeschnitzter Rahmen des (wohl) 18. Jahrhunderts. Provenienz: Rheinische Privatsammlung. ITALIAN MASTER Active, 2nd half 17th century. OPULENT FLORAL STILL LIFE WITH GLASS VASE AND BAST BASKET Oil on ncanvas (relined). 54 x 76 cm (F. 74 x 91 cm). Part. slightly old restored, old retouchings. Hand-carved frame of the (probably) 18th century. Provenance: Rhenish Private Collection.

FLÄMISCH/NIEDERLÄNDISCHE SCHULE Meister, tätig um 1700. BLUMENGIRLANDE MIT ANDACHTSBILD DER CHRISTI GEISSELUNG Öl auf Leinwand (oval). 64 x 51 cm (oval) (R. 83,5 x 67,5 cm). Part. altrest., oval beschnitten. Im Passepartout gerahmt. Provenienz: Süddeutsche Privatsammlung. FLEMISH/DUTCH SCHOOL Master, active about 1700. GARLAND OF FLOWERS WITH DEVOTIONAL PICTURE OF FLAGELLATION OF CHRIST Oil on canvas. 64 x 51 cm (oval) (F. 83,5 x 67,5 cm). Part. old restored, oval cut. Framed in passepartout. Provenance: South German Private Collection.

ITALIENISCH/SPANISCHE SCHULE Meister, tätig 1. Hälfte 18. Jh. JAGDSTÜCK MIT HASEN UND ENTE IN BAUMBESTANDENER WEITEN LANDSCHAFT Öl auf Leinwand (altdoubl.). 86 x 124 cm (R. 100 x 138 cm). Rechts unten signiert 'P. Vacanf .....'. Part. leicht rest., Retuschen. Rahmen. Provenienz: Norddeutsche Privatsammlung. ITALIAN/SPANISH SCHOOL Master, active 1st half of 18th century. HUNTING SCENE WITH RABBIT AND DUCK IN A WIDE LANDSCAPE WITH TREES Oil on canvas (old relined). 86 x 124 cm (F. 100 x 138 cm). Signed lower right 'Vacanf ....'. Part. slightly rest., retouching. Frame. Provenance: North German Private Collection.

ITALIENISCH/SPANISCHE SCHULE Meister, tätig 1. Hälfte 18. Jh. JAGDSTÜCK MIT ENTEN IN BAUMBESTANDENER WEITEN LANDSCHAFT Öl auf Leinwand (altdoubl.). 86 x 124 cm (R. 100 x 138 cm). Links unten signiert 'Va ..cani'. Part. leicht rest., Retuschen. Rahmen. Provenienz: Norddeutsche Privatsammlung. ITALIAN/SPANISH SCHOOL Master, active 1st half of 18th century. HUNTING SCENE WITH DUCKS IN A WIDE LANDSCAPE WITH TREES Oil on canvas (old relined). 86 x 124 cm (F. 100 x 138 cm). Signed lower left 'Va ..cani'. Part. slightly rest., retouching. Frame. Provenance: North German Private Collection.

SÜDDEUTSCHE SCHULE Meister, tätig Mitte 18. Jh. PAAR GEMÄLDE: LANDSCHAFT MIT BAUERNHAUS UND FIGURENSTAFFAGE Öl auf Holztafel. Jeweils: 25,5 x 31,54 cm (R. 32 x 38 cm). Verso: Ein Gemälde auf altem Papieretikett bezeichnet: 'Sophie Him .'. Jeweils min. altrest. Rahmen. Provenienz: Rheinische Privatsammlung. SOUTH GERMAN SCHOOL Master, active mid 18th century. PAIR OF PAINTINGS: LANDSCAPE WITH FARMHOUSE AND FIGURAL STAFFAGE Oil on panel. Each: 25,5 x 31,54 cm (F. 32 x 38 cm). Verso: One painting inscribed on an old paper label: 'Sophie Him .'. Each painting min. old restored. Frame. Provenance: Rhenish Private Collection.

ITALIENISCHER MEISTER Tätig, um 1700. RUINEN-CAPRICCIO MIT FIGURENSTRAFFAGE Öl auf Leinwand (doubl.). 88 x 72 cm (R. 107 x 92 cm). Part. min altrest. Rahmen. Provenienz: Europäische Privatsammlung. ITALIAN MASTER Active, about 1700. RUIN-CAPRICCIO WITH FIGURAL STAFFAGE Oil on canvas (relined). 88 x 72 cm (F. 107 x 92 cm). Part. min. old restored. Frame. Provenance: European Private Collection.

SÜDDEUTSCHE SCHULE Meister, tätig 2. Hälfte 18. JH. SCHUTZHEILIGER DER TIERE SCHWEBT UMGEBEN VON ENGELN ÜBER DEN WOLKEN: UNTER IHM EINE VIEHHERDE MIT RINDERN UND SCHAFEN Öl auf Leinwand (doubl.). 74,5 x 61 cm. Part. min. rest. Provenienz: Süddeutsche Privatsammlung. SOUTH GERMAN SCHOOL Master, active 2nd half of the 18th century. PATRON SAINT OF ANIMALS HOVERS ABOVE THE CLOUDS AND SURROUNDED BY ANGELS: BELOW HIM A HERD OF CATTLE AND SHEEPS Oil on canvas (old relined). 74,5 x 61 cm. Part. min. old restored. Provenance: South German Private Collection.

SÜDDEUTSCHE SCHULE Meister, tätig um 1800. PORTRAIT EINER JUNGEN DAME IN BÄUERLICHER TRACHT Öl auf Leinwand (altdoubl.). 84 x 63 cm (R. 97 x 75 cm). Part. min. leicht altrest., Oberflächenverschmutzungen. Zeitgenössische Rahmung um 1800. Provenienz: Rheinische Privatsammlung. SOUTH GERMAN SCHOOL Master, active about 1800. PORTRAIT OF A YOUNG LADY IN PEASANT COSTUME Oil on canvas (old relined). 84 x 63 cm (F. 97 x 75 cm). Part. min. slightly old restored, dirty surface. Framing around 1800. Provenance: Rhenish Private Collection.

OSTEUROPÄISCHE SCHULE Meister, tätig um 1700. CHARIDAS (WAHRSCHEINLICH FÜR CARITAS) WOHLTÄTIGKEIT Öl auf Leinwand auf Tafel maroufliert. 22 x 17 cm (R. 36 x 31 cm). Oben rechts betitelt: 'Charidas' (wahrscheinlich für Caritas (Wohltätigkeit)). Part. altrest., Altretuschen. Rahmen. Provenienz: Bedeutende rheinische Privatsammlung. EASTERN EUROPEAN SCHOOL Master, active about 1700. CHARIDAS (PROBABLY FOR CHARITAS) CHARITY Oil on canvas lay down on panel (maroufl.). 22 x 17 cm (F. 36 x 31 cm). Titled upper right: 'Charidas' (probably for Charitas (Charity)). Part. old restored, old retouchings. Frame. Provenance: Important Rhenish Private Collection.

ENGLISCHER MEISTER Tätig, im 18. Jh. BILDNIS EINES SCHRIFTGELEHRTEN Öl auf Leinwand (doubl.). 101 x 80 cm (R. 119,5 x 98,5 cm). Mittig unterhalb des Buches monogrammiert: 'R NL'. Part. leicht altrest., min. besch., verschmutzte Oberfläche. Rahmen. Provenienz: Rheinische Privatsammlung. ENGLISH MASTER Active, in the 18th century. PORTRAIT OF A BILDNIS EINES SCHRIFTGELEHRTEN Oil on canvas (relined). 101 x 80 cm (F. 119,5 x 98,5 cm). Monogrammed in the centre below the book: 'R NL'. Part. slightly old restored, min. dameged, dirty surface. Frame. Provenance: Rhenish Private Collection.

ALPENLÄNDISCHER MEISTER Tätig, um 1700. FLUCHT AUS ÄGYPTEN Öl auf Hartholztafel. 44,5 x 32 cm (R. 59,5 x 47 cm). Part. besch., Oberflächenfarbverluste, Altretuschen. Rahmen, wohl um 1700. Provenienz: Hessische Privatsammlung. ALPINE MASTER Active, about 1700. FLIGHT FROM EGYPT Oil on hardwood panel. 44,5 x 32 cm (F. 59,5 x 47 cm). Part. damaged, surface colour losses, old retouching. Frame probably about 1700. Provenance: Hessian Private Collection.

FLÄMISCHE SCHULE Meister, tätig im 17. Jh. ANNA LEHRT MARIA DAS LESEN Öl auf Eichenholztafel. 66 x 48 cm (R. 81 x 63 cm). Part. altrest. und besch., leichte Kratzspuren. Rahmen. Provenienz: Ehemals westfälischer Klosterbesitz. FLEMISH SCHOOL Master, active in the 17th century. ANNA TEACHES MARIA TO READ Oil on oak panel. 66 x 48 cm (F. 81 x 63 cm). Part. old restored and damaged, slightly scratches. Frame. Provenance: Formerly Westphalian Monastery Property.

FLÄMISCHER MEISTER Tätig, 2. Hälfte 17. Jh. KÖNIGIN TOMYRIS UND DER TOD DES CYROS Öl auf Leinwand. 41 x 58 cm (R. 53 x 71 cm). Verso: Auf dem Rahmen auf altem Papierlabel beschriftet: 'La Reine THOMYRIS ......' sowie 'ECOLE FLAMANDE XVII. 1577-1644'. Part. altrest., Altretuschen. Verso Leinwandflicken. Rahmen. Provenienz: Süddeutsche Privatsammlung. FLEMISH MASTER Active, 2nd half of the 17th century. QUEEN TOMYRIS AND THE DEATH OF CYROS Oil on canvas. 41 x 58 cm (F. 53 x 71 cm). Verso: Inscribed on the frame on an old paper label: 'La Reine THOMYRIS ......' and 'ECOLE FLAMANDE XVII. 1577-1644'. Part. old restored, old retouching. Verso canvas patches. Frame. Provenance: South German Private Collection.

NIEDERLÄNDISCHE SCHULE Meister, tätig 2. Hälfte 17. Jh. BÄUERLICHES INTERIEUR Öl auf Leinwand (altdoubl.). 23 x 30,5 cm (R. 35 x 43 cm). Part. min. altrest. Rahmen. Provenienz: Rheinische Privatsammlung. DUTCH SCHOOL Master, active 2nd part of 17th century. PEASANT INTERIOR Oil on canvas (old relined). 23 x 30,5 cm (F. 35 x 43 cm). Part. min. old restored. Frame. Provenance: Rhenish Private Collection.