There are 6700 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeSigned 'J.E. Blanche' bottom right; also with French preparer's stencil verso, oil on canvas87 1/2 x 48 in. (222.3 x 121.9cm)ProvenanceThe McKean Family Collection, Philadelphia, Pennsylvania.By descent in the McKean family.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Each signed in stone 'Mucha' bottom right, color lithographic posterSheet size (each): 20 1/4 x 7 1/2 in. (51.4 x 19.1cm), both laid down on linen: 22 x 8 3/8 in. (55.6 x 21.3cm)Paris, circa 1897. Variant C3c (Bridges, p. 162)(2)ProvenancePrivate Collection, Philadelphia, Pennsylvania.Automne: in overall very good condition. The sheet is laid down (seemingly along all four outer edges) to a piece of linen, itself affixed to the verso of the mat via two pieces of white linen tape at upper left and upper right corners. The sheet is lightly toned, but presents well with strong coloring. With even edges and no apparent sign of repair or loss. Minor black-colored smudge in the upper right margin. Similar mark of surface soiling in the bottom margin. Pinpoint-sized brown spot at the bottom of the left margin. The gold coloring is stable. Small indent in the upper right corner of the guarland. Hiver: in overall very good condition. The sheet is laid down (seemingly along all four outer edges) to a piece of linen, itself affixed to the undermat via two pieces of white linen tape at upper left and upper right corners. The sheet is lightly toned, but presents well with strong coloring. With even edges and no apparent sign of repair or loss. With some losses in the golden delineation, at center of the right outer edge. No evidence of major surface soiling marks. Frame (each): 25 x 14 x 1 1/4 in.To request additional images, or any information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'EDOUARD CORTÈS.' bottom right, oil on canvas21 1/4 x 28 3/4 in. (54 x 73cm)Executed circa 1967.ProvenancePrivate Estate, Philadelphia, Pennsylvania.NoteWe wish to thank Madame Nicole Verdier, who confirmed the authenticity of the present work, which will be added to the forthcoming new volume of the Catalogue Raisonné of the Artist's work. A Certificate of Authenticity will accompany the Lot.The unlined canvas in overall very good condition, with light craquelure throughout, especially visible in the sky. Examination under UV light reveals minor inpainting on the right front wheel of the car (center right) as well as on the hood of the car (very minor). Pinpoint inpointing on top of the Maurice Column at center left. See Specialist's picturesTo request additional images, and for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 29 x 33 1/2 x 2 in.
With 'Atelier VAN RYSSELBERGHE' stamp bottom right, pencil on paperSheet size: 10 1/8 x 12 1/2 in. (25.7 x 31.8cm)ProvenancePrivate Collection, Virginia.Frame: 21 3/4 x 26 1/2 x 1 1/4 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed and dated 'G. Loiseau/1923' bottom right; also signed, titled and dated on label on stretcher verso, oil on canvas25 5/8 x 21 1/4 in. (65.1 x 54cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenancePrivate Collection, California.NoteWe wish to thank Mr. Didier Imbert for confirming the authenticity of the present work. A Letter of Authenticity will accompany the Lot.Although Gustave Loiseau was born in Paris and earned a reputation for his lively depictions of the French capital city, his family was originally from Pontoise, a provincial town north of Paris made famous by Camille Pissarro’s early Impressionist paintings of the 1870s. Loiseau came late to painting, and first learned the butchery trade before shadowing a house decorator. He only fully embraced the career in 1887, after receiving a small allowance from his deceased grandmother. A year following the final Impressionist exhibition, he studied sculpture and design at the École des Arts Décoratifs, and in 1889, he spent six months in the studio of landscapist Fernand Quignon. At the latter’s suggestion, Loiseau went to visit the faraway Breton village of Pont-Aven and stayed at the famed pension Gloanec, where Gauguin had settled in the summer of 1886. Although Loiseau came back to Paris in the fall, he returned to Brittany every summer and painted many canvases there, including the present work – one of many views of the village’s Grand Place, where the market was traditionally set up in the morning. While his first biographers tried to link his work to that of Gauguin due to the Pont-Aven connection, Loiseau never saw Gauguin as a mentor (in fact they only met once in 1894), and the present work shows it: with its luminous palette, rich impasto and broken brushstrokes, the painting boasts all the hallmarks of the Impressionist movement. The quick dabs of paint which give motion to the scene, its overall abstract quality, paired with the slightly higher-up vantage point in fact strongly resemble the work of Camille Pissarro, whom Loiseau effectively revered, and whose work he studied at length during the artist’s memorial retrospective held at the Durand-Ruel Gallery in Paris in 1904.Executed in 1923, more than fifty years after the first Impressionist Exhibition, the present work denotes Loiseau’s faithfulness to the Impressionist principles throughout his life. It also confirms the strong market at the time for bold Impressionist canvases, which the famous dealer Paul Durand-Ruel promoted heavily, particularly since he signed a contract with Loiseau in 1897 and exhibited his paintings in his affiliated gallery in New York City, alongside works by Henri Moret and Maxime Maufra, long-life Pont-Aven friends.Frame: 35 x 30 x 3 in.The relined canvas presents well, with a nice impasto. Examination under UV light does not reveal any sign of inpainting. To receive images, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'MONTAGUE. DAWSON' (in a cartouche) bottom left; also with Artist's copyright stamp verso, oil on board14 1/4 x 21 3/8 in. (36.2 x 54.3cm)ProvenanceTolford Galleries, Chicago, Illinois (per stamp verso).Private Collection, Massachusetts.NoteThe grandson of maritime painter Henry Dawson, British painter Montague Dawson was born in London in 1890 with the sea already in his blood. The younger Dawson served in the Royal Navy during World War I, and again in World War II as a war artist. His work from this time was published in both newspapers and magazines, most notably "The Sphere", where his numerous depictions of the German surrender during WWI earned him notoriety. Dawson's experience of the sea is visible in his finely rendered ship portraits. He also enjoyed recreating, most often in harmonies and greys and soft whites, naval battles from the WWII. Unparalleled as an observer and recorder of all manner of ships, few 20th century painters were as skilled or highly regarded in the genre of marine art.The present work depicts British coast forces engaging an enemy convoy off the Dutch coast. In the center foreground is the British torpedo-boat while in the distance, one can spot the three enemy tankers. The escrot vessel is seen, bow on, to the right. The result will be the sinking of a large auxiliary vessel, important damages to a medium sized tanker, and an escort ship set on fire. Frame: 20 1/2 x 27 1/2 x 2 1/2 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed and dated 'BOTELHO/63' bottom right, oil on canvas16 1/8 x 13 1/8 in. (41 x 33.3cm)ProvenancePrivate Collection, New York, New York.NoteA leading figure of the Portuguese modernist movement, Carlos Botelho was born in Lisbon in 1899. In addition to his work as a comic artist and caricaturist—which from 1928-1950 included weekly contributions to Sempre Fixe, a publication of humor and social and political satire—he was an acclaimed painter. Widely exhibited and well awarded throughout his career, Botelho participated in a number of important solo and group shows including, most notably, the Venice Biennale in both 1950 and 1960.Departing Portugal for Paris in 1929, Botelho enrolled at the Académie de la Grande Chaumière in Montparnasse. That same year, upon redoubling his commitment to painting, he produced the first in a series of views of Lisbon—a subject that would preoccupy him for the remainder of his career. Sampling the formal vocabularies of Expressionism and Cubism, the present lot offers a broad panorama of the artist’s native city. Rooflines overlap and intersect as they cascade downward from the Church of Santo Estêvão, its Baroque-style belltower silhouetted against a loosely described sky. Pink, orange and buff-colored façades—rhythmic in their juxtaposition—allude to the energy and vitality of the city below.Frame: 20 1/2 x 17 1/2 x 1 1/2 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed 'H. Haller' on base; also with 'CIRE PERDUE/M. PASTORI/GENÈVE' foundry stamp on base, bronze with golden brown patinaHeight: 13 5/8 in. (34.6cm)ProvenancePrivate Collection, New York, New York.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Bears signature 'Paolo Veronese' bottom right; also inscribed with artist's name on the mount bottom left, and with collector's stamp at bottom right verso (not in Lugt), black, white and yellow chalk on heavy laid paperSheet size: 12 9/16 x 10 in. (31.9 x 25.4cm)ProvenancePrivate Collection, Main Line, Pennsylvania.NoteThis striking study of a woman's head is very close to the style of Renaissance master Paolo Veronese. If not by him, the drawing may have been executed by the artist's son, Carlo Caliari, who worked in a similar manner, or by one of his students in his immediate workshop. It may be related to the head of Europa in the Rape of Europa in the Palazzo Ducale, Venice.We wish to thank Fondation Custodia for adding the undocumented Lugt collector's mark to their database. According to them, the same mark appears on the back of a head study by Federico Barocci (Italian, 1528–1612), Studio di Testa Maschile di Tre-Quarti Volta a Destra (Cristo) (Inventory no. 293) now at the Pinacoteca di Brera.In overall good condition. The sheet is laid down to a larger sheet, with hand-drawn and colored mat surrounding the image. The sheet is slightly toned, with scattered surface soiling marks (brown marks and staining spread throughout, as well as some accumulated dust spots at center left, on the woman's neck, and at center, to the left of her eye). Some accentuated yellowing on the woman's forehead (bridge of the nose), cheek and chin: most likely a result from toning and handling smudges. With a fold in the paper at upper right corner. No evidence of tear or repair. Examination under UV light does not reveal any sign of inpainting. See Specialist's images for more details.Frame: 22 x 20 x 2 1/2 in.To access more pictures, or to receive any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Inscribed, signed and dated 'ma tante chéri [sic]/James Ensor/14 avril 1916' bottom right; also inscribed 'James Ensor 27 rue de Flandre Ostende/A. Ensor', and titled verso, colored pencil and gouache on paper laid down to cardSheet size: 7 1/8 x 9 7/8 in. (18.1 x 25.1cm)Unframed.ProvenancePrivate Collection, Philadelphia, Pennsylvania.NoteKnown for his predilection for the macabre and death, James Ensor’s work was generally considered scandalous by his contemporaries. His favorite subjects ranged from carnivals and skeletons to masks and images of the dead. Ensor would often stage the scenes for his works in his studio by dressing up skeletons in bright colorful masks. His eccentricities allowed him to create a space where he could have complete artistic freedom. Towards the end of the 19th century he began introducing religious themes in his works, leading to his large scale, controversial painting, Christ’s Entry Into Brussels in 1889.In this intimate work Ensor manages to capture the final moments of a woman’s life- the artist’s own aunt (his mother's sister), Marie-Louise Haegheman - whom he lovingly called "Mimi" - and who passed away on April 11, 1916 a year after the death of the artist's mother's. Continuing his use of bold color, the red background is juxtaposed against the woman’s quiet figure. She is shown clutching a crucifix and has her eyes closed as if in prayer, leaving the viewer to question if the subject has already passed on. For a similar composition in oil by Ensor depicting the same subject, also executed in 1916, see Ma Tante Chérie, sold at Sotheby’s Amsterdam on December 17, 1996 (Lot 170). In overall good condition. The work is affixed to the verso of the mat via three pieces of white mesh tape at upper left corner, upper center and upper right corner. With remnants of thin brown tape underneath each section as well as 8 pieces of 'Haegheman DeWinter' stickers placed along the outer edges of the sheet verso (all sectioned off, so the sheet can be flipped). The sheet is lightly toned, with accumulated brown dust along the outer edges, along with accompanying smudges. No evidence of tear or repair. Scattered fox marks and brown spots on the verso of the sheet as well as on the surrounding edges of the mat, which indicates the work needs a new mat and a frame.To have access to more images of the work, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Bears signature ‘L. Giordano’ bottom left, ink and charcoal on paperSheet size: 11 x 15 5/8 in. (27.9 x 39.7m)ProvenancePrivate Estate, New Jersey.In overall fine condition. The sheet is affixed to a clothed mat via six pieces of old brown paper tape along its top and bottom outer edges, which Freeman's specialists had to remove in order to inspect the verso of the sheet. They have now been in part replaced by hinging mesh paper. The sheet is toned. With some discoloration at upper right (white buff) and light abrasions/scratching at upper center, near the top outer edge. Evidence of surface soiling seen in the upper right corner, below the floating putti heads. The medium is quite strong, with energetic pencil lines throughout. The verso is toned as well, with some areas of discoloration and staining. Evidence of a significant vertical crease running along the middle of the sheet: as it does not translate on the verso, we suppose the original paper sheet is laid down to a stockier cardsheet. With remnants of glue in all four corners verso, and old brown paper tape running along the top edge. Pencil inscribed '6' at center verso. See Specialist's pictures for more details. Frame: 14 3/4 x 23 x 3/4 in.To request images, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Collection of play worn 80s figures and accessories to include 7 x Teenage Mutant Ninja Turtles (Turtle Party Wagon, Leonardo, Michaelangelo, Donatello, Raphael & Splinter, April O'Neil), 2 x Kenner Beetlejuice (Vanishing Vault Coffin & Beetlejuice), Vivid Imagination Wallace & Gromit Playhouse with figures & 2 x Hasbro Takara G1 (Metroplex & Brainstorm)
English Civil War Collection of pamphlets all 4to and disbound unless otherwise stated, ESTC numbers in square brackets, comprising:1) A Speech delivered in the Starr-Chamber ... at the Censure of John Bastwick, Henry Burton, and William Prinn; concerning Pretended Innovations in the Church. By the most Reverend Father in God, William [Laud]. London: Richard Badger, 1637. 19th-century half calf (front board near-detached), initial and final blanks discarded, title-page laid down, damp-staining [S108350];2) The Petition of the Knights, Gentlemen, Free-holders, and Others the Inhabitants of the County and City of York, presented to the Honorable House of Commons ... Wherein ... they humbly offer to billet and mayntain at their own Charge 300 of their Horse, and 3000 of their Trained Bands within their owne Shire for three Moneths. London: John Franke, 1642. Early-20th-century red half morocco, bookplate of Fairfax of Cameron [R1670];3) All the severall Ordinances and Orders made by the Lords and Commons assembled in Parliament; concerning Sequestring the Estates of Delinquents, Papists, Spyes and Intelligencers. London: for Edward Husbands, 1644. 2 parts in 1 volume, misbound, with the 13 pp. second part bound between pp. 24 and 25 of the first, crude early stitching (perishing at head) [R204354];4) The Lord George Digby's Cabinet and Dr Goff's Negotiations. London: Edward Husband, 1646. 19th-century sprinkled calf, G2 torn at corner costing a few letters [R200703];5) A Declaration of the Lords and Commons assembled in Parliament, concerning the Papers of the Scots Commissioners ... and concerning the Proceedings of the Said Commissioners in the Isle of Wight. London: Edward Husband, March 13, 1647 [i.e. 1648]. Stitched as issued, retaining order-to-print leaf [R206124];6) His Highness Speech to the Parliament in the Painted Chamber, at their Dissolution upon Monday the 22d. of January, 1654. Old staining in top margins [R207738];7) To His Highness Richard Lord Protector of the Common-Wealth ... The Humble Representation and Petition of the General Council of the Officers of the Armies of England, Scotland, and Ireland. London: Henry Hills, 1659. Apparently retaining final blank [R4941];8) A Declaration of the General Council of the Officers of the Army: agreed upon at Wallingford-house, 27th Octob. 1659. London: Henry Hills, printer to the Army, 1659. Apparently retaining initial blank [R207847];9) Treason Arraigned; in Answer to Plain English; being a Trayterous, and Phanatique Pamphlet which was condemned by the Counsel of State ... it is directed to the Lord General Monck, and the Officers of his Army, etc. [By Roger L'Estrange]. London, 1660. C.1900 red quarter morocco, closely trimmed at head, spill-burn in title-page, bookplate (Herbert Henry Raphael) [R203945: 9 UK copies]Note: Provenance: The Millmore English Civil War Collection.
Folio Society. Comprising a collection of Folio books, A Book of Travellers Tales, The Taming of the Shrew, A History of the English Speaking People Since 1900, Shackleton's Boat Journey, Solo Recital, The Private Lives of Tudor Monarchs, Cautionary Tales, The Jubilee Years 1887-1897, Life, The Lives of George and Robert Stevenson, The Destruction of the Jews, Raphael of Gods and Men, The English Governess at the Siamese Court, Chronicles, Fuller's Worthies, American Short Stories, Folio Book of Short Novels, The Earth, etc. (1 shelf)
A First World War Trio of medals comprising 1914-15 Star, named to "2876 L. Cpl. T.L Jones, R.Fus" and a War Medal and Victory Medal, named to "SPTS-2876 Cpl. T.L Jones R. Fus." Notes: Thomas Llewellyn Jones served in the 24th (Service) Bn (2nd Sportsman's), The Royal Fusiliers and saw action in France. Rather than be taken from a small geographical area, these particular battalions were primarily made up of men who had made their name in sports such as cricket, golf, boxing and football or the media. It was intended for upper and middle-class men, physically fit, able to shoot and ride, up to the age of 45. The 24th (Service) Battalion (2nd Sportsman's) was raised in London on 20 November 1914 by Mrs Cunliffe-Owen, became attached to 99th Brigade, 33rd Division in June 1915 and transferred to 5th Brigade in 2nd Division in December 1915. Famous recruits included the millionaire politician Sir Herbert Raphael and cricketer C. P. McGahey. Training took place at Hare Hall near Romford. Amongst those recruited was Frederic Thomas Horne, the Liberal Agent for West Gloucestershire, who fell at the Somme on 5 September 1916.
Spanish school, late 16th - early 17th century."Saint John. Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 106 x 81,5 cm; 128 x 103,5 cm (frame).Saint John the Apostle has been represented here from the engraving of Hendrick Goltzius included in the series "Christ, the twelve apostles and Saint Paul" (also known as "The short Creed", because each print was accompanied by a verse of the Creed). The half-length figure emerges from a dark background. The figure has been sculpted with intense tenebrist lighting, and can be inscribed in the Mannerist tradition, which draws freely from Renaissance sources. As in Goltzius, the anatomical focus is on the expressiveness of the hands.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
Spanish school, late 16th century - pps.s.XVII."Saint Philip". Based on an engraving by HENDRICK GOLTZIUS (Bracht, 1558 - Haarlem, 1617).Oil on canvas.Needs restoration.Size: 107 x 85 cm; 129,5 x 102 cm (frame).This painting, of tenebrist lights and mannerist workmanship, follows the model of Hendrick Goltzius in the gestural dramaturgy and the saint's features, as well as in the amplitude of the cape and its deep drapery. Specifically, Saint Philip the Apostle is depicted here based on Goltzius's engraving from the series "Christ, the Twelve Apostles and Saint Paul" (also known as "The Short Creed", because each print was accompanied by a verse from the Creed). The body has been chiselled by means of intense contrasts of light. Goltzius gave special prominence to the hands, furrowed with veins, as well as to the musculature, making tendons visible. A melting pot of influences converged in his painting: Michelangelo, Raphael? but also classical statuary, which the Dutch engraver had studied in depth in the Vatican collection.Hendrick Goltzius was a Dutch draughtsman, engraver and painter. Considered the best Netherlandish engraver of Nordic Mannerism, he is renowned for his sophisticated technique and the "exuberance" of his compositions. Goltzius formed his style in the tastes of Mannerism, of which Haarlem was a stronghold until later. This was influenced by the painter and theorist Karel van Mander, who had moved to Haarlem from Vienna, bringing with him designs by Bartholomeus Spranger, the leading Mannerist painter outside Italy. In Rome Goltzius carefully studied the art of Michelangelo, Raphael Sanzio and lesser-known masters such as Polidoro da Caravaggio. Goltzius engraved six planetary Gods that Polidoro had painted in a palace in the Quirinal. His style evolved towards a more restrained classicism, presenting the figures in larger clothes and with more relaxed expressions. He was a meticulous yet productive printmaker. Among his early series is a series on Christ and the Apostles (1589), called The Creed. Around 1594 he created a series of six large plates on the life of the Virgin, for which he went back almost a century to imitate six different masters, including Dürer, Parmigianino, Titian and Lucas van Leyden. These engravings were so admired that they were nicknamed "Meisterstiche" (masterly engravings).
ONE BOX OF ANTIQUARIAN BOOKS, approximately thirty books to include early 20th Century children's picture books, Children's Favorite Picture Book, Baby's Book Of Pets, The Story of Joseph by Raphael Tuck & sons, Little Stories For Little People by Ernest Nister, Friendly pets by Ernest Nister, a Goodwins Ivy Toy Books 'When The Heart Is Young' No 19, together with a selection of poetry books comprising Tennyson, Coleridge, Robert Browning, Between The Showers by Kathleen Partridge, gems from Wilcox 'Love' poems, an 1871 edition of A Visit To the Old House In The Country by Eliza Thorp, four Holy Bibles, a Prayer book, Wordsworth Poetical Works, Burns, The Works of Shakespeare, Ivanhoe and Westwood Ho! etc. (1 box)
Chris Calle (American, B. 1961) "Raphael Semmes" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 32c Raphael Semmes Classic Collection Series stamp issued June 29, 1995. Born in 1809 in Charles County, Maryland, Raphael Semmes joined the U.S. Navy when he was only 17. He continued in the service and was promoted to lieutenant in 1837, seeing action in the Mexican War. When war broke out between the states, he resigned from the U.S. Navy and volunteered for the Confederate Navy. Given the rank of commander, he was assigned to command the Sumter, a packet steamer berthed at New Orleans. Semmes had the vessel converted to an armed raider and sailed on June 30, 1861. The Sumter burned or captured a number of Union merchant vessels in the Atlantic and the West Indies until it was blockaded at Gibraltar. Semmes abandoned the ship and made his way to England, where he took command of the Alabama, a Confederate cruiser just being built at Liverpool. Semmes spent two years cruising the waters of the world, destroying more than 70 Union ships and seriously disrupting Union maritime trade. With the Alabama badly in need of repairs, Semmes put in at Cherbourg, France, in June 1864, where he was bottled up by the Union warship Kearsarge. On June 19, the Alabama sailed out to fight. In the ensuing battle, the Confederate cruiser was sunk, but Semmes and most of his crew were rescued by a British yacht that took them to England. Returning home, Semmes was given command of the James River squadron, but was forced to destroy it during the evacuation of Richmond. Semmes then organized a land force, but later surrendered at Greensboro, North Carolina. Image Size: 14.5 x 12.5 in. Overall Size: 23 x 18 in. Unframed. (B15213)
Three Postcard Albums, Late 19th/Early 20th Century, containing themes including childhood, animals, erotica and suffragettes/anti suffragettes, including cards by Mabel Lucie Attwell, Margaret Tarrant, Raphael Kirchner, Leo Fontan and Maurice Milliere and a number of 'silk' and 'Hold to Light' examples, approximately 400 in total Note: Photographic condition report only on this lot
After Raffaello Sanzio, called Raphael, 19th CenturyMadonna della Sediaoil on canvas, unlined 46.3 x 41.8cm (18 1/4 x 16 7/16in).Footnotes:The present lot is after Raphael's original Madonna della Sedia, currently in the Palazzo Pitti, Florence (inv. no. 151).For further information on this lot please visit Bonhams.com
AFTER RAPHAEL (1483 - 1520),THE PARNASSUShand-coloured print on paperimage size 52cm x 73cm, overall size 69cm x 91cm Framed and under glass.Provenance: This lot is being sold on behalf of Scottish Youth Hostels Association (also known as Hostelling Scotland) a registered Scottish charity No. SCO13138. It formed part of the collection of art from Carbisdale Castle. Carbisdale Castle was built in 1905-1917 for the Duchess of Sutherland on a hill across the Kyle of Sutherland. Until its closure, the castle had a large collection of art, with some pieces dating back to the year 1680 and including a number of fine Italian marble statues. Colonel Theodore Salvesen, a wealthy Scottish businessman of Norwegian extraction, bought the castle in 1933. He provided the castle as a safe refuge for King Haakon VII of Norway and Crown Prince Olav, who would later become King Olav V, during the Nazi occupation of Norway in World War II. During that time the castle was also used to hold important meetings. King Haakon VII made an agreement at the Carbisdale Conference on 22 June 1941, that the Russian forces, should they enter Norwegian territory, would not stay there after the war. Three years later, on 25 October 1944, the Red Army entered Norway and captured thirty towns, but later withdrew according to the terms of the agreement. After the Colonel died his son, Captain Harold Salvesen, inherited the castle and gave its contents and estate to the Scottish Youth Hostels Association. Carbisdale Castle Youth Hostel opened to members on 2 June 1945. Towards the end of 2014 Carbisdale Castle was put up for sale and in 2015 the bulk of the art collection was sold by Sotheby's reportedly raising £1M for SYHA. The internet has a plethora of information about Carbisdale Castle and some of the lots now being offered can be seen in situ at: Carbisdale Castle - Part 2 of 2 (The Interior) - YouTube.
AFTER RAPHAEL (1483 - 1520),THE FIRE IN THE BORGOhand-coloured print on paperimage size 52cm x 73cm, overall size 69cm x 91cm Framed and under glass.Provenance: This lot is being sold on behalf of Scottish Youth Hostels Association (also known as Hostelling Scotland) a registered Scottish charity No. SCO13138. It formed part of the collection of art from Carbisdale Castle. Carbisdale Castle was built in 1905-1917 for the Duchess of Sutherland on a hill across the Kyle of Sutherland. Until its closure, the castle had a large collection of art, with some pieces dating back to the year 1680 and including a number of fine Italian marble statues. Colonel Theodore Salvesen, a wealthy Scottish businessman of Norwegian extraction, bought the castle in 1933. He provided the castle as a safe refuge for King Haakon VII of Norway and Crown Prince Olav, who would later become King Olav V, during the Nazi occupation of Norway in World War II. During that time the castle was also used to hold important meetings. King Haakon VII made an agreement at the Carbisdale Conference on 22 June 1941, that the Russian forces, should they enter Norwegian territory, would not stay there after the war. Three years later, on 25 October 1944, the Red Army entered Norway and captured thirty towns, but later withdrew according to the terms of the agreement. After the Colonel died his son, Captain Harold Salvesen, inherited the castle and gave its contents and estate to the Scottish Youth Hostels Association. Carbisdale Castle Youth Hostel opened to members on 2 June 1945. Towards the end of 2014 Carbisdale Castle was put up for sale and in 2015 the bulk of the art collection was sold by Sotheby's reportedly raising £1M for SYHA. The internet has a plethora of information about Carbisdale Castle and some of the lots now being offered can be seen in situ at: Carbisdale Castle - Part 2 of 2 (The Interior) - YouTube.
A group of 4 colour postcards by Raphael Kirchner titled 'The Fan', 'Ma Marraine', 'Singed Wings' and 'The Glad Eye'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 2 pounds, 1995. Royal Mint. Proof. Commemorating the 50th Anniversary of the end of The Second World War.Third crowned bust of Elizabeth II facing right; ELIZABETH · II · DEI · GRATIA · REGINA · F · D · TWO POUNDS ·. Design by Raphael Maklouf. / Stylised representation of a peace dove flying left. Design by John Mills. Edge milled and inscribed (incuse lettering); 1945 IN PEACE GOODWILL 1995.In secure plastic holder, graded NGC PF 69 ULTRA CAMEO, certification number 6028324-013. NGC Census in this grade: 36.NGC Census in higher grade: 33Total NGC Census: 78Reference: S-K5 (was 4315)Mintage: 1,000.Diameter: 28.4 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Patek Philippe 150th Anniversary Box Set, Les Temps Et La Musique Limited Edition 7 LP Box Set with albums for all seven winners of the Patek Philippe Music Prize plus Hardback Book - The winners were Juliana Gondek (soprano 1983), Grzegorz Nowak (conductor 1984), Hong-Mei Xiao (viola 1987), E. Krouchevsky (piano 1982), Leonid Gorokhov (cello 1986), Raphael Oleg (violin 1986), and Ricardo Castro (piano 1987). Comes in an Embossed blue velvet presentation box with outer protective card sleeve and all in Superb Unplayed condition
TV and Film related rubber over the head masks x three includes Collegeville/Imagineering L.P The Mask Stanley official full head mask with label attached, Don Post Studios Teenage Mutant Ninja Turtles Raphael mask with label attached, Fantasy Park Freddy Krueger mask, Stanley mask has discoloured to one side otherwise all generally Good. (3)
Broadside.- 'Machine for taking likenesses'.- Pinion (Raphael) Limomachia. By His Majesty's royal letters patent, the new-invented machine for taking likenesses, by which the usual objections to the art, viz. time, trouble, and expence, are entirely removed, etched vignette at head, folds, these strengthened verso with tape, some marginal chipping and spotting, lightly browned, hinge mounted onto card at head only, 405 x 260mm., no printer, [c.1750].⁂ Rare, with ESTC recording only two copies at Harvard, and WorldCat seemingly not adding to our tally. We can add a BM copy. Pinion is described as a 'portrait-grinder, at his manufactory, in Liecester [sic]Square, opposite the aequestrian [sic] statue of the King'. Also offered are 'portraitures in worsted, human-hair, and hot poker'.
Matchbox Models of Yesteryear Code 2 issues 1947 Citroen H Van based on the abandoned 2nd Taste of France Series (1) C2TF10 "St. Raphael" - off-white body with red and brown body stripes; (2) similar but with additional red roof stripes to roof, limited edition 1 of only 16 - Near Mint to Mint in Near Mint boxes. (2)
Holinshed (Raphael)The First and Second volumes of Chronicles, comprising 1, The description and historie of England, 2, The description and historie of Ireland, 3, The description and historie of Scotland: First collected and published by Raphaell Holinshed, William Harrison, and others: Now newlie augmented and continued .... to the yeare 1586. by Iohn Hooker ... 1587, folio in sixes, three volumes bound as four, [10], 250, [4], 202, [2]; 61, [13], 183, [1], 464, [56]; [8], 798; 799-1080, 1080-1371, 1371-1592, [62] pages, misnumbered pages but text continuous, several cancels, armorial bookplate of Thomas Caren in volume 1, re-backed calf gilt. ESTC S122178.Volume 1; first and last leaf a blank, title page laid down with loss to edges, repairs to three prelims. with very slight loss to text, prelims. may be out of sequence, worn fore-edge of page 1, a little staining in places, annotation in early hand to p. 167, 2nd 33, 111, tear to lower corner of [2nd]h6 with slight loss of marginal notes,Volume 2, last leaf a blank, hole in margin of F4, P6, hole in text of J2, annotation to margins of p. 454, 458, 459, 464, tear to margin of 2N2, staining and annotation to index, last two printed leaves torn.Volume 3, cropped title torn and laid down, ownership inscription of Hugonis Bateman, 1672 on backing sheet, replacement edges to A6, corner of C1torn with loss of margin note and page number, closed tear to E3, annotation to p.544. light staining to final leaves.Volume 4 (3), tear to fore-edge margin of first page with loss of margin notes, closed tear to 5M5, small hole in text of 6H6, pages 1360-71 slightly smaller format (possibly cancels not given in ESTC), neat annotation to index, two blanks as called for.
Holinshed (Raphael)The Laste volume of the Chronicles of England, Scotlande, and Irelande, with their descriptions. Conteyning The Chronicles of England, from William Conquerour to this present tyme. Imprinted for John Harrison (from facsimile title), 1577, folio in eights, the second volume of the illustrated first edition with woodcuts throughout, modern full calf binding. A recently restored copy with facsimile replacement of the title page and preliminary leaf (on three leaves), t2, t8, R8, S1-3 and last three leaves of index, significant repairs to t3-7 and N1 of index with loss of text, wear to upper corners in places. ESTC S121346
Morris (F. O.). A Series of Picturesque Views of Seats of the Noble and Gentlemen of Great Britain, 2 volumes in 1, Leeds: D. Banks, circa 1860, 80 colour lithographic plates, some light toning, spotting & offsetting, new endpapers, modern red & white half morocco with a contemporary gilt decorated red cloth vignette to the front board in a slipcase comprising of the original boards, large 8vo, together with:Brandon (Raphael & J. Arthur), Parish Churches; being Perspective Views of English Ecclesiastical Structures:..., London: George Bell, 1848, numerous monochrome plates & folding plates, some light toning & spotting, top edge gilt, rebound retaining contemporary full calf, boards & spine slightly rubbed with some minor loss, 8vo, plusScott (George Gilbert), Remarks on Secular & Domestic Architecture, present & future, London: John Murray, 1858, engraved title page with a contemporary inscription to the top right corner, some light toning & spotting, original embossed brown cloth, boards & spine lightly rubbed, 8vo, and other 19th-century & modern architecture reference & related, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)
Ephemera, three unusual pre 1890s Raphael Tuck die cut scrap items to comprise Holiday Express 7 x 72 mm folding train showing Pullman, 1st, 2nd and Saloon carriages, boy on wheeled rocking horse and a single sheet 'Gigantic Relief strip 629' showing A Visit to The Aquarium, Aviary and Dog Show (gd)
Occult.- Lévi (Éliphas) The History of Magic, second edition, translated by Arthur Waite, portrait frontispiece, plates, lacking front free endpaper, scattered faint spotting, original decorative cloth, gilt, mottling to fore-edges, bumping to spine extremities, 1922 § "Raphael" [Smith (Robert Cross)] A Manual of Astrology, or the Book of the Stars, hand-coloured engraved frontispiece, additional engraved frontispiece, 1 engraved plates, illustrations, original cloth, printed yellow label to upper cover, small loss to spine extremities, bumping to corners, 1837 § Frazer (Sir James George) The Golden Bough, 12 vol., original cloth, fractional bumping to spine extremities, dust-jacket, light creasing to edges, 1980 § Jones (William) Finger-Ring Lore, illustrations, scattered faint spotting, cracked hinges, original pictorial cloth, gilt, slight bumping to corners and extremities, 1890; and others, occult, mysticism, myths & legends and, esoteric, v.s. (c.80)
HARRISON CORNELIUS, Stubb House, Winston, Co. Durham. Diary from March 1831 incl. European travel. Ink manuscript, hurriedly written & part filling (less than half) a thick leather bound vol. Prefaced by a note of the writer`s artistic training. He is recorded as donating 3 Raphael prints to the British Museum in 1835. His memorial tablet is in Bowes Church.
AFTER ANDRE-CHARLES BOULLE: A PAIR OF RELIEF CAST BRONZE FURNITURE MOUNTS (2)Coleridge Collection, Possibly 18th CenturyDepicting Apollo flaying Marsyas 27cm wide; 24cm high, and Apollo and Daphne, 28cm wide; 26cm highProvenance TheAnthony & Marietta Coleridge Collection WilliamAgnew, Olympia Antiques Fair, 20th November 1995. Theses mounts are based on the gilt-bronze examples which areseen on an impressive armoire by Andre-Charles Boulle in the Wallace Collection(F62), circa 1700. Boulle’s decorative schemes were inspired bymythological stories from Ovid’s Metamorphoses, and apparently Boulle owned variousdrawings by Raphael illustrating these tales, until destroyed in a workshopfire.
Roman School (18th century), and probably workshop of Stefano PozziGalatea, after Raphaelred chalk on paper47 × 36cmProvenance:Private CollectionThe reverse bearing two paper labels, one inscribed with the story of Galatea and another, inItalian, identifying the work as a "copy of the original by Raphael d'UrbinoMade by [blank] with the assistance of Mr Stefano Pozzi 1755"The present lot likely originates from the Roman workshop of the painter Stefano Pozzi, who is mentioned on the reverse of the frame.At one point in his career Pozzi held the position of official painter of the Vatican, and also that of Custode delle Pitture, responsible for maintaining and restoring works in the Vatican collections, including the frescoes of Raphael's stanze, which means Pozzi was certainly intimately familiar with the master’s work. A small drawing of the Triumph of Galatea by Pozzi is in the art collection of the State of Maryland (acc. no. MSA SC 4680-13-0408), indicating that the artist certainly worked on this subject at least one other time.
Roman School (early 17th century), after RaphaelPutto with a foliate garland draped around his shoulders, bearing a partial cartouchewith later pencil inscription Raphael d'Urbino to lower left corner, the paper with indistinct shield or lozenge watermark lower rightblack and red chalk on cream laid paper37 x 24.5cmProvenance note:Private CollectionPreviously recorded at Swann Auction Galleries, New York,Old Master Drawings with a Selection of Rembrandt Etchings, 25/01/2006, lot 17 ($3680)Please Note: After Raphael's 'Isaiah' fresco at San Agostino, Rome.
Loading...
![Inscribed, signed and dated 'ma tante chéri [sic]/James Ensor/14 avril 1916' bottom right; also inscribed 'James Ensor 27 rue](https://cdn.globalauctionplatform.com/56d1fc07-923b-4760-bf9e-af970113197a/558e6e2f-ab08-4b3a-9c9a-af9701683afa/468x382.jpg)
