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Lot 500
Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLandschaft im Licht eines späten Nachmittags mit antikem Tempel der SibylleÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby´s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13403519) (18)Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBIL Oil on canvas.57 x 65 cm.Signed “N Berchem“ on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist´s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem´s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem´s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33). There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version“, copied from the present painting with minor alterations: was at Sotheby´s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin. 3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f“. This version shows minor differences in the sky and trees. 4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw. 5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) - prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.
Lot 432
Johann Georg Gmelin, 1810 Rom – 1854Malerische Ansicht der Bucht von NeapelÖl auf Leinwand.71 x 98 cm.Rechts unten auf Stein signiert und datiert „G Gmellin 1851“.In vergoldetem Rahmen.Von erhöhtem Standpunkt Blick über den Golf von Neapel im romantischen Licht der untergehenden Sonne. Im Vordergrund das breite, teils verschattete Ufer mit zahlreichen Figuren, darunter einige Fischer, die ihre Netze aus dem Wasser einholen und bereits mehrere auf Holzgestellen aufgespannt haben; dahinter im Wasser ein ankerndes Segelboot. Linksseitig eine rastende Familie in einem durch die Sonne erhelltem Uferstück und in der linken Bildecke einige stilllebenhaft präsentierte Objekte, zu denen zwei Holzfässer und mehrere Keramiken gehören. Im Hintergrund die Stadt Neapel mit der auf dem Vomero-Hügel liegenden Festung Sant´Elmo und dem darunter liegenden Klosterkomplex San Martino mit Kirche. Im optischen Mittelpunkt des Gemäldes jedoch der Vesuv, dessen Rauch in den hohen türkisblau schimmernden Himmel steigt. Qualitätvolle, stimmungsvolle Malerei in der typischen Manier des Künstlers. Teils Retuschen. Der Künstler wurde als Sohn des Zeichners und Kupferstechers Wilhelm Georg Gmelin geboren. Zur Ausbildung ging er mit 14 Jahren nach Wiesbaden und Karlsruhe. Nach seiner Rückkehr nach Rom waren seine Veduten vor allem bei Italienreisenden sehr begehrt. Zu seinen Auftraggebern zählte u.a. der Zar von Russland. (12901449) (18)Johann Georg Gmelin,1810 Rome – 1854PICTURESQUE VIEW OF THE BAY OF NAPLESOil on canvas.71 x 98 cm.Signed and dated “G Gmelin 1851” on stone lower right.
Lot 170
Hendrik van Cleve III, um 1525 Antwerpen – um 1589 ebendaDer Turmbau zu BabelÖl auf Holztafel, parkettiert.38 x 49 cm.Mittig unten auf dem Stein unter dem Steinmetz mit Monogramm.Beigegeben ein Gutachen von Dr. Klaus Ertz, Lingen, November 2022.Der Turmbau zu Babel (Gen 11,1-9 EU) ist zusammen mit der babylonischen Sprachverwirrung trotz ihres geringen Umfangs von nur neun Versen eine der bekanntesten biblischen Erzählungen des Alten Testaments. Die Bibel erzählt von einem Volk aus dem Osten, das die eine (heilige) Sprache spricht und sich in der Ebene in einem Land namens Schinar ansiedelt. Dort will es eine Stadt und einen Turm mit einer Spitze bis zum Himmel bauen. Da stieg der Herr herab, um sich Stadt und Turm anzusehen, die die Menschenkinder bauten. Durch ein Wunder Gottes tritt eine Sprachverwirrung auf und die notwendige Verständigung der am Turm bauenden macht die Zusammenarbeit so gut wie unmöglich.Die Mitte und der Hintergrund des Gemäldes werden ganz von der beige-braunen Stadtkulisse und dem bereits in den hohen, zarten hellblauen Himmel mit weissen Wolken ragenden Turm eingenommen. Im Vordergrund sind zahlreiche Figuren in teils farbenfroher Kleidung mit Bauarbeiten für den Turm beschäftigt, so mittig vor einer Holzhütte mehrere Steinmetze. Rechtsseitig ein behelmter Offizier, mit einem Gefolge und einigen Soldaten mit Speeren, der wohl die Entwürfe des vor ihm hockenden Architekten verfolgen möchte. Auf dem linksseitig etwas tiefer gelegenen Platz befördert ein Ochsenzug weitere Baumaterialien. Darstellung eines in den Niederlanden des 17. Jahrhunderts beliebten Themas; traditionell werden dem genannten Künstler eine große Anzahl von Darstellungen des Turmbaus zu Babel zugeschrieben.Hendrik van Cleve war ein flämischer Maler, Zeichner und Druckgrafiker. Er ist bekannt für topografische Ansichten, darunter Ansichten von Rom und dem Vatikan, sowie für imaginäre Landschaften. Traditionell wurden ihm eine große Anzahl von Darstellungen des Baus des Turms zu Babel zugeschrieben, die inzwischen jedoch teils anonymen flämischen Malern zugeordnet werden. Es wird davon ausgegangen, dass er sich zwischen 1551 und 1555 in Italien aufhielt und dort viele Zeichnungen anfertigte, die er später in seinen Werken verwendete.Provenienz:Schaumburg-Lippe, Schloß Vietgest.Charles Sedlmeyer, Paris (rückseitig Etiketten und Siegel).Privatbesitz Berlin.Privatsammlung Niederrhein.Literatur:Vgl. Helmut Minkowski: Aus dem Nebel der Vergangenheit steigt der Turm zu Babel, Bilder aus 1000 Jahren, Deutsche Heraklith AG, Berlin 1959. (13411513) (18)Hendrik van Cleve III, ca. 1525 Antwerp – ca. 1589 ibid.THE TOWER OF BABELOil on panel, parquetted.38 x 49 cm.Monogram of the stonemason on the stone at centre below. Accompanied by an expert’s report by Dr Klaus Ertz, Lingen, November 2022.Provenance:Schaumburg-Lippe, Vietgest Palace.Charles Sedlmeyer, Paris (labels and seal on the reverse).Private collection, Berlin.Private collection, Lower Rhine.
Lot 201
Star Wars 14x11 photo signed by THIRTEEN actors who've appeared in various Star Wars movies, including Paul Bazeley, Michael Henbury, Trevor Butterfield, John Coppinger, Daniela Tlumacova, David Stone, Eileen Roberts, Tim Dry, Miltos Yerolemou, John Altman and more! Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 292
Pejac (Spanish 1977-), 'Scattercrow (Hand Finished Edicioń Especial)', 2017, hand-finished 1 colour hand pulled stone lithography Hahnemühle 300grs paper, signed and numbered from an edition of 20 in pencil; sheet: 72.5 x 103cmARRsheet: 72.5 x 103cmIn very good conditionNo tears to the sheetMinor knock to the top right hand corner of the sheet, visible upon close inspection Some minor markings to the sheet verso, this is not visible recto Minor handling creases to the sheet, visible upon close inspectionThis work has been stored flat and has not been framed.
Lot 2044
MULBERRY LILY light beige/rose/stone flap bag with dust bag. Gold coloured hardware, chain strap with fob and padlock. turn-lock fastening, one zipped pocket. Suede lining in cream. Condition Report: Good condition. Slight scratching to lock plates on both sides and small pink mark on inside flap. Finger marks on the front and back look more prominent in the photos than they actually are. Would probably clean off with some clear polish
Lot 37
A 22ct yellow gold wedding band, 3.6g; a yellow gold solitaire diamond ring, the brilliant-cut diamond measuring approximately 0.20 carats, both hallmarked 18ct, and a four-stone graduated diamond ring, the central two round-cut diamonds each measuring approximately 0.10 carats, on a platinum and diamond setting, stamped 18ct PLAT, sizes I, J, O, 5g (3)
Lot 4322
Stone, Sasha -- Female nude, from the 'Femmes' series. 1933. Vintage gelatin silver print on doubleweight chamois paper. 27,8 x 37,5 cm. Annotated in pencil on the verso.Slight mirroring in edges more visible at an angle, otherwise a strong tonal print in very good condition.Lit.: Eckhardt Köhn (ed.). Sasha Stone. Fotografien 1925-1939 (exhibition catalogue). Berlin 1990, ill. p. 108.
Lot 4081
Architecture & Design -- Photographer: Sasha Stone (1895-1940). Interior of the German Pavilion at the World's Fair in Barcelona, designed by Mies van der Rohe. 1929. Vintage gelatin silver print. 16 x 22,7 cm. Berliner Bild Bericht agency stamp on the verso, framed under museum glass in fine wooden frame.View of the spectacular interior of the Barcelona Pavilion with the free-standing stone wall of onyx doré on a wide travertine floor and the diaphanous room separators. Mies van der Rohe's spatial concept is particularly evident in this view. One recognizes the simplicity and clarity of the layout and the interaction of the exquisite materials. A rare documentation of this extremely modern, streamlined design by Mies van der Rohe. The structure was van der Rohe's first major work, which was unfortunately torn down after the exhibition. – Corners slightly bumped, retouched spot in upper left, light indentation mark in upper right, otherwise a fine tonal print in very good condition (not examined outside frame).Lit.: Vitra Design Museum (ed.). Mies van der Rohe. Möbel und Bauten in Stuttgart, Barcelona, Brno (exhibition catalogue). Weil am Rhein 1998.
Lot 48
Théodore Géricault (Rouen 1791-1824 Paris)A study for The wounded Cuirassier oil on canvas, unlined39.3 x 29.3cm (15 1/2 x 11 9/16in).Footnotes:The present hitherto unknown sketch for the Le Cuirassier blessé, quittant le feu (The wounded Cuirassier, fig. 1) offers us a further insight into the working process of the young Théodore Géricault. Executed in preparation for his finished work, which is now in the Musée du Louvre, Paris(inv. 4886), this small sketch represents the artist's first thoughts for one of his earliest major works, exhibited at the Paris Salon of 1814. In his early biography of Géricault in 1867, Charles Clément tells how the artist decided to paint Le Cuirassier blessé, quittant le feu as a type of pendant to his earlier Officier de chasseurs à cheval de la garde impériale chargeant (Charging chasseur), also now at the Musée du Louvre, Paris (inv. 4885), which he had shown, to great acclaim, at the Salon two years earlier at the age of just 21. Showing a mounted Napoleonic cavalry officer ready to attack, the heroic image of the Charging chasseur was painted at a moment of immense national pride with Napoleon's victories still fresh in the national memory. The wounded Cuirassier of two years later, however, comes after Napoleon's defeat in Russia and his eventual abdication. The absence of very obvious wounds on the soldier in the The wounded Cuirassier has led some to interpret the painting more as depicting the soldier's wounded pride. The genesis of the The wounded Cuirassier becomes even more interesting when one considers that Géricault had been requested to paint a very different work for the Salon of 1814. In January 1814, the artist, writer and diplomat Dominque Vivant, Baron Denon, had been requested by Napoleon himself to commission a work celebrating the courage of Eugène de Beauharnais during the Russian campaign. This subject was obviously commissioned with the idea of giving visitors to the 1814 Salon a sense of the courage of the French in the face of adversity. However, the political situation in France had shifted dramatically within a few months of this commission and the Bourbon king, Louis XVIII, was in Paris by May of the same year.The first stages of preparation for The wounded Cuirassier by Géricault can be found in the group of figure and horse drawings found in the Carnet Zoubaloff, also at the Musée du Louvre, Paris. A later, more finished sketch for The wounded Cuirassier, on a slightly larger scale than the present work, can now be found in the Brooklyn Museum of Art (acc. no. 43.81). As part of his working process, there are several differences between the present sketch and the later work in Brooklyn: Géricault has altered the angle of the figure's legs; he has added whiskers in the Brooklyn painting; the figure does not hold a sword in his left hand; and there are more significant changes to the background with a village appearing on fire beyond the horse in the final painting. Géricault appears to have used an old canvas to execute the present sketch as it is possible to see, in a band along the upper edge of the canvas, a wooden stool and a stone floor, suggesting some kind of interior scene. X-ray examination of the present study reveals a scene with figures seated in a stable interior (fig. 2). A further IR image also shows what appears to be some pots in the lower right corner of this painting (fig.3).The discovery of the present sketch provides a significant contribution to our understanding of Géricault's early working practices. It reveals an important step between the artist's initial drawings and his more fully worked sketch in Brooklyn and finally the finished painting of 1814.We are grateful to Bruno Chenique for confirming the attribution to Théodore Géricault and for his kind assistance with this catalogue note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 56
David Teniers the Younger (Antwerp 1610-1690 Brussels)Interior of a laboratory with an Alchemist at work and a stuffed alligator hanging from a ceiling beam oil on canvassigned 'D. TENIERS. FC' (lower right) 71.8 x 88.2cm (28 1/4 x 34 3/4in).Footnotes:ProvenanceMr Stanley, by whom imported from Spain and sold in 1824 for 95 guineasLord Radstock, before 1826Sale, Christie's, London, 13 May 1826, lot 28 (as 'This noble cabinet picture was formerly in the Collection of the King of Spain', sold for 320 guineas to Lord Northwick) Lord Northwick, Thirlestane House, CheltenhamHis sale, Thirlestane House, 23 August 1859, (17th day) lot 1690 (sold for 675 guineas to Agnew)With Charles Sedelmeyer, Paris, 1897, no. 42Edward R. Bacon Esq., New York, and by descent to his sister-in-lawMrs Virginia Pirdy Bacon, Netherdale House, Turiff, Aberdeenshire, by whom offered Sale, Christie's, London, 12 December 1919, lot 103 (sold for 560 guineas to Campbell)Campbell Family and thence by descent until offeredSale, Christie's, London, 6 April 1984, lot 60 (as Property of a Gentleman)The Linda and Gerald Guterman Collection, Their sale, Sotheby's, New York, 14 January 1988, lot 37Spectrum Inc.Roy T. Eddleman TrustExhibitedOn loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute).LiteratureJ. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, London, 1831, vol. III, p. 398, no. 520J. Smith, Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1842, vol. IX, p. 452, no. 139A. Moore (et al), The Paston Treasure: microcosm of the known world, New Haven and London, 2018, pp. 458-9, ill. pl. 252 Like The Alchemist of 1649 in the Philadelphia Museum of Art and An Alchemist in his Workshop (which sold for a hammer price of £443,360, Christie's, 29 October 2019, lot 629) the present impressive sized canvas is among the finest examples of approximately a dozen known depictions of this subject by Teniers. According to the theories of the time, it was thought possible that a base metal could be purified and turned into gold from the discovery of an elusive substance known as the 'philosopher's stone.' Thus, the alchemist is depicted here on the right of the composition holding a pair of bellows which would be used to assist in the heating process that was believed to be necessary in the transmutation of elements. This scene, set in a spacious workshop strewn with books, glassware, ceramic pots, vials and a stuffed alligator hung from the ceiling, offered this accomplished artist the opportunity to demonstrate his skills in still life painting. The artist probably first treated the subject in the late 1640s, when it gained great popularity with Dutch and Flemish painters. On account of the lighter palette with more complex and subtle tonal harmonies, the present picture most likely dates to the early 1650s, making it one of his earliest treatments of the subject. An important source of inspiration for Teniers and his contemporaries would undoubtedly have been a drawing by Pieter Brueghel the Elder of an Alchemist's Workshop of circa 1558 (Kupferstichkabinett, Staatliche Museen, Berlin), which was widely known shortly after that date through a print made by Philips Galle (fig.1). Indeed, Teniers would have most likely been only too well acquainted with Brueghel's design, having married his granddaughter, Anna, in 1637. The approaches of the two artists, however, reveal very different takes on the subject. In Brueghel's equally detailed image the alchemist is shown sitting at the hearth of a dilapidated kitchen, placing the family's last coin in a crucible to be melted in the alchemical process. This point is further underscored by his wife, who is seated hunched behind him emptying the contents of an already empty purse. While the alchemist's shabby attire signified the family's desperate poverty, the absurdity of the situation is comparable to the modern stereotype of the mad scientist. The message is that the alchemist neglects himself as much as his family in the single-minded pursuit of his occupation. The Latin verse appended to Florentius Schoonhovius's Emblemata (Gouda, 1618), in which an alchemist similarly stokes a fire with a pair of bellows, states: 'While I pursue uncertainly with certain means, I convert everything into smoke and worthless ash'. Judging from the number of alchemical treatises published through much of Europe in the seventeenth century, interest in the subject was then at an all-time high. However, it was only in the Netherlands that the idea of the alchemist in his laboratory became a popular subject for artists and by the time Teniers created this scene, the rising merchant classes were trying alchemy too and we do not find the previous moralizing associations with witchcraft and charlatanry in this artist's compositions. Although the practice of alchemy was still controversial, its techniques — such as distillation and metallurgy — were in fact contributing significantly to science and industry. It should be remembered that no lesser a scientist than Isaac Newton was a practitioner of alchemy, motivated by the search for the 'philosopher's stone' in the hope of turning base metals into gold. Indeed, as many artists' pigments and glazes used in the seventeenth century were prepared by alchemical methods, Teniers would have likely visited laboratories to acquire pigments and so may have felt a special affinity with the practice. This may well be attested to by a picture entitled The Young Teniers in his Studio (offered Hôtel Drouot, Paris, 9 June 1909) which shows a similar young man, possibly Teniers himself, seated preparing his pigments in a bowl at a window. And it was undoubtedly an equal affinity with this particular subject that will have lay behind the acquisition of this work, as well as lot 58, by the Roy Eddleman Trust and their loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute), perfectly bringing together the late owner's interests in both art and science.Margret Klinge confirmed the attribution to David Teniers at the time of the last sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
Willem Van Mieris the Elder (Leiden 1662-1747)A trumpeter at a casement window with another figure holding an upturned wine glass signed and dated 'W van Mieris. Fe. 1689' (lower right)oil on panel24.1 x 19.6cm (9 1/2 x 7 11/16in).Footnotes:ProvenanceSale, Paillet, Paris, 15 December 1777, lot 286 (1405 livres)Sale, Sluyter, Paris, 25 January 1802, lot 109 (1401 francs)The Collection of de Sereville, Paris, 22 January 1812, lot 41 (1500 francs)Collection of Eppo Jurjans, The Netherlands, by whom offeredSale, Schely, Amsterdam, 28 August 1817, lot 36 (sold for 701 fl to Hulswitt)The Collection of Grand Pensionary Schimmelpenninck, Amsterdam, 1819, by whom offeredSale, Roos, Amsterdam, 12 July 1819, lot 73Sale, Christie's, London, 3 June 1826, lot 114Collection of the Right Hon. Sir Charles Bagot, G.C.B, London, before 1834, by whom offeredSale, Christie's, London, 18 June 1836, lot 29 (bt. White)Acquired by the present owners' grandmother in the 1940sExhibited London, British Institution, The Works of Ancient Masters: the property of His most Gracious Majesty William the Fourth, the most Noble the Marquess of Westminster, and the right Honourable Sir Charles Bagot, G.C.B., 1834, cat. no. 86LiteratureJ. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, eFlemish, and French Painters, London, 1829, vol. I, pp. 91-2, cat. no. 8 (as formerly in the cabinets of Nyman and CondéJ. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters: Supplement,London, 1842, vol IX, p. 55, cat. no. 6C. Hofstede de Groot, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, vol. X, London, 1976, p. 183, cat. no. 296The present amusing composition is an early work by the artist, painted not long after he was known to have collaborated with his father, Frans van Mieris the Elder (1635-1781): it is almost certain that he finished his father's signed Holy Family of 1681 and the earliest known signed and dated works by Willem himself are from 1682. These early works typically employed the same technique and subject matter as Frans's, with the same enamel-like smoothness and virtuosity in the display of detail. The elegant musician and drinker depicted here were favourite motifs of the Leiden 'Fine' Painters, as was the perspective by which they are shown through a finely carved, arched stone window. We do not know the earlier provenance of the present painting, but during his lifetime many of Willem's paintings were bought by Christoph August von Wackerbarth for the collection in Dresden of Augustus the Strong, Elector of Saxony and King of Poland; while later in the 18th century some of the most important German and French collectors were keen to acquire examples of his paintings. Indeed, there is a related painting by van Mieris in the collection of the Gemäldegalerie Alte Meister, Dresden, which is dated 1700, eleven years after the present work. In this later painting the figures have been transposed, the trumpeter now standing in the foreground and the figure with raised arm - this time an elderly man - having receded into the shadows behind (fig.1).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 193
A Sèvres shell-shaped salt, circa 1824Possibly after a design by Alexandre-Évariste Fragonard, the shell decorated in brown and heightened in gilding supported on the head of a mythical gilt and green sea-lion, on a square base decorated in imitation of a red hard-stone, 9.3cm high, interlaced LL monogram enclosing a fleur-de-lys/Sevres stencilled in blue, incised Mas(?)For further information on this lot please visit Bonhams.com
Lot 413
Cambellotti, Duilio (1876 Rom - 1960 ebenda)Plakat "Rome 1911 / Fêtes commémoratives de la proclamation du Royaume d'Italie" (Rom 1911 / Jubiläumsfeierlichkeiten zur Ausrufung des Königreichs Italien). Farblithografie, 1911. Gedruckt bei Dr. E. Chappuis, Bologna. Im Stein im Motiv unten links signiert. Oben rechts Stempel der Dresdner Gastwirte. Ungerahmt. 90 x 45 cm (Bl). Angeschmutzt, Randmängel und Einrisse. Großer Knick durch die Bildmitte, ebenso kleinere Kratzer. Nicht hinterlegt. Programmatische Schilderung mehrerer Adler auf einer Säule des Römischen Reiches (S.P.Q.R.), im Hintergrund schlängelt sich die Via Appia Richtung Sonne. Poster Rome 1911 - Jubilee of the establishment of the Italian Kingdom. Colour lithograph, 1911. Printed in Bologna. Signed in the stone in the motif bottom left. Top right corner with stamp of the Dresden Inn keepers Assoc. Unframed. Not relined. Dirty and dusty. Losses and tears at the margins. Large bend across the center, some smaller as well. Scratches. Eagels on a column of the Roman Empire.
Lot 438
Feldbauer, Max (1869 Neumarkt - 1948 München)Plakat "Pferderennen in Riem" (München). Farblithografie, 1899/1900. Gedruckt bei Dr. C. Wolf & Sohn, München. Im Stein signiert und datiert Mitte rechts. Mit den originalen Plakatschienen aus Metall. 63 x 45 cm (ges). Gleichmäßig gebräunt und leichte Knickspuren. Nicht hinterlegt. Veranstaltungsplakat des Münchner Renn-Vereins e.V. mit sehr dynamischer Schilderung von konkurrierenden Jockeys beim Wettlauf. Poster Horse race in Munich-Riem. Colour lithograph, 1899/1900. Printed in Munich. Signed and dated in the stone above the text. With the original metal poster rails. Tanned brownish evenly and with some small bends. Not relined.
Lot 434
Tremator, Severino (Italien, 1895 - 1940)"Bologna". Farblithografie, um 1930. Im Stein im Motiv unten rechts signiert. Gedruckt in Genua. Großformatiges Stadt-Werbeplakat für Bologna in der Emilia-Romagna mit zentralem Motiv der Zwei Türme (Le due Torri: Garisenda e degli Asinelli). 99,5 x 62 cm (Bl). Wohl seitlich etwas beschnitten, rechter Rand mit unregelmäßiger Schnittkante. City poster for Bologna (Italy) showing the famous Two Towers (Le due Torri). Colour lithograph, around 1930. Signed in the stone in the motif bottom right. Printed in Genova. Margins cut, right margin irregular.
Lot 421
Dorsch, Ferdinand (1875 Pécs (Ungarn) - 1938 Dresden)Plakat "Ausstellung künstlerischer Photographien / Ernst Müller I-Fa. Hofphotogr. Hahn-Nachf." (Dresden). Farblithografie, 1905/06. Gedruckt bei Wilhelm Hoffmann, Dresden. Im Stein im Motiv unten links signiert und datiert. Ungerahmt. 83 x 54 cm (Bl). Insgesamt frisch. Vier horizontale Falze (geglättet), kleiner Einriß unten. Nicht hinterlegt. Elegantes Jugendstilplakat mit illustrativem Bildfeld, einen Maler und einen Fotografen zeigend. Für den Kunstsalon Emil Richter in der Prager Straße, Dresden. Exhibition Poster Artificial Photography. Colour lithograph, 1905/06. Printed in Dresden. Signed and dated in the stone in the motif bottom left. Unframed. Allover very fresh. Four horizontal bends, small tear lower margin. Not relined.
Lot 429
Goller, Josef (1868 Dachau - 1947 Obermenzing)Plakat "Central-Theater / Cléo de Mérode". Farblithografie, um 1905/10. Gedruckt bei Theodor Beyer, Dresden. Im Stein im Motiv unten mittig monogrammiert. Ungerahmt. 95 x 65,5 cm (Bl). Partiell fleckig. Deutliche Knicke, kleinere Randmängel. Nicht hinterlegt. Dekoratives Jugendstilplakat mit Portrait der Hauptdarstellerin im strengen Seitenprofil. Poster Central-Theater Dresden. Colour lithograph, around 1905/10. Printed in Dresden. Monogrammed in the stone bottom middle. Unframed. Spotty, foxing, stains. Visible bends, smaller bruises at the margins. Decorative Art Nouveau poster with portrait of the French actress. Not relined.
Lot 418
Leni, Paul (1885 Stuttgart - 1929 Hollywood)Plakat "Coelia Effekt Theater Kinematograph". Farblithographie, um 1910. Gedruckt bei Siegfried Scholem, Berlin-Schöneberg. Im Stein in der Darstellung links monogrammiert. Ungerahmt. 72 x 48 cm (Bl). Etwas berieben. Deutliche Knicke (Falze) über die gesamte Darstellung. Druck sehr frisch. Nicht hinterlegt. Im Thema dieses schattenrissartig reduzierten Plakatentwurfs zeichnet sich deutlich das große Interesse Lenis am bewegten Bild ab - nach etlichen Jahren am Theater wurde er einer der bedeutenden Wegbereiter des Films in der Weimarer Republik. Poster for the Coelia Theater in Berlin. Colour lithograph, around 1910. Printed in Berlin. Monogrammed in the stone bottom left. Unframed. A bit rubbed. Some strong bends across the whole motif. Print very fresh in colours. Not relined.
Lot 426
Klinger, Julius (1876 Dornbach b. Wien - 1942 Minsk)Plakat "Bühne und Brettl" (Magazin). Farblithografie, um 1910. Gedruckt bei Hollerbaum & Schmidt, Berlin. Im Stein signiert Mitte rechts. Ungerahmt. 71 x 47,5 cm (Bl). Leicht angegraut und verbräunt. Minimaler Eckabriss unten rechts. Nicht hinterlegt. Nahezu geometrisch abstrahierte Figurine einer Tänzerin auf der Werbeanzeige für das periodisch erscheinende Theater-Magazin. Poster for a German theater magazine. Colour lithograph, around 1910. Printed in Berlin. Signed in the stone bottom right. Unframed. A bit tanned and dusty. Minimal loss of paper at lower right margin. Not relined. Nearly abstract figurine of a dancer.
Lot 424
Hartz, Wilhelm (um 1900 Dresden)Plakat "Internationale Photographische Ausstellung Dresden 1909". Farblithografie, 1909. Gedruckt bei Wilhelm Hoffmann, Dresden. Oben links im Stein signiert. Ungerahmt. 98 x 62 cm (Bl). Berieben und etwas fleckig. Diagonaler Knick in Blattmitte. Horizontale Falzung. Ecke oben links brüchig und rissig, kleine Randmängel. Äußerst dekorativer Jugendstilentwurf auf Schwarz mit goldenen Lettern und pfauenradschlagendem Ibisvogel. Poster International photographic exhibition Dresden 1909. Colour lithograph, 1909. Printed in Dresden. Signed in the stone top left corner. Unframed. Rubbed and some stains. Diagonal bend, horizontal bend. Top left corner with tears and bruises, smaller bruises all around. Very decorative Art Nouveau design with golden letters on black and kind of peacock bird.
Lot 439
Mink, M. (Werbegrafiker, um 1900/20)Plakat "Ostseebad Zoppot". Farblithografie, um 1910. Gedruckt bei JC König & Ebhardt, Hannover. Im Stein signiert unten rechts. Mit den originalen Plakatschienen aus lackiertem Metall. 61 x 36 cm (ges). Etwas berieben und angeschmutzt. Nicht hinterlegt. Tourismus-Poster für die polnische Ostseestadt Sopot an der Westküste der Danziger Bucht mit Panoramaansicht der berühmten Seebrücke hinter einem ausgelassenen Gästeensemble. Poster Seabath Sopot (Poland). Colour lithograph, around 1910. Printed in Hannover. Signed in the stone bottom right. With the original metal poster rails. A bit rubbed and spotty. Not relined. Showing a merry group of tourists infront of the famous ocean pavillon.
Lot 409
Olbricht, Joseph Maria (1867 Troppau - 1908 Düsseldorf)Plakat "Kölner Ausstellung". Farblithografie, 1905 (?). Im Stein oben rechts signiert. Gedruckt bei M. Dumont Schauberg, Köln. Oben links Stempel der Dresdner Gastwirte 1907. Ungerahmt. 105 x 64 cm (Bl). Rückseitig etwas stockfleckig. An Ober- und Unterkante Einrisse. Partiell gebräunt. Nicht hinterlegt. Ornamental umwerfender Jugendstil-Entwurf des Architekten des berühmten Wiener Secessionsgebäudes von 1897. Poster Cologne Exhibition. Colour lithograph, 1905 (?). Signed in the stone top right. Printed in Cologne. Top left corner with stamp the Dresden Inn keepers Ass. Unframed. Not relined. Backside with foxing. Partially tanned, top and lower margins with tears.
Lot 437
Baumgarten, Eugen von (1865 Regensburg - 1919 München)Plakat "Heckenröschentag Muenchen, 22. Mai 1912". Farblithografie, 1912. Gedruckt bei Schuh & Cie., München. Über dem Titelzug im Stein signiert. Mit den originalen Plakatschienen aus lackiertem Metall. 44 x 30 cm (ges). Angeschmutzt und gleichmäßig, nicht zu stark stockfleckig. Leichte Knickspuren. Nicht hinterlegt. Luftige, humoristische Illustration einer Transportwolke für vier Putti, die anläßlich des der Heckenrose gewidmeten Münchner Blumentags einen Blütenblattregen auf die Stadtsilhouette niedergehen lassen. Poster Munich Flower day May 22, 1912. Colour lithograph, 1912. Printed in Munich. Signed in the stone above the title. With original metal poster rails. A bit dirty and with some very even foxing. Some smaller bends. Not relined. Merry scene of a cloud full of angels who spread blossom leaves over Munich.
Lot 416
Hohlwein, Ludwig (1874 Wiesbaden - 1949 Berchtesgaden)Plakat "Die Reklame in Geschäftsdrucksachen" (Verband der Deutschen Typographischen Gesellschaften). Farblithografie, 1913. Gedruckt bei Schuh & Cie., München. Künstlersignet im Stein unten rechts. Ungerahmt. 91,5 x 61 cm (Bl). Etwas angegilbt und berieben. Nicht hinterlegt. Motivisch stark abstrahierte Illustration von Blattwerk in Vexierbild-Art. Poster of the German Typographic Associations. Colour lithograph, 1913. Printed in Munich. Artist's signet in the stone bottom right. Unframed. A bit tanned and rubbed. Not relined. Great abstraction with optical effect.
Lot 420
Leisching, R. (Dresden um 1900)Veranstaltungs-Plakat "Presse-Ball / Wild West". Farblithografie, 1907. Im Stein in der Darstellung unten links signiert und datiert (Entwurf 1906). Gedruckt bei Wilhelm Hoffmann, Dresden. Ungerahmt. 96 x 63 cm (Bl). Insgesamt sehr frisch, Oberkante mit Einriß. Vereinzelt kleinste Randmängel. Nicht hinterlegt. Werbeplakat für eine Tanzveranstaltung mit Cowboy-und-Indianer-Thema zur Faschingszeit im Städtischen Ausstellungspalast am Großen Garten, Dresden. Event poster for a ball evening with Wild West theme. Colour lithograph, 1907. Signed and dated in the stone in the motif bottom left. Printed in Dresden. Unframed. Allover very fresh, a tear in top margin. Some smaller bruises. Not relined.
Lot 428
Lindenstaedt, Hans (1874 - 1928)Plakat "Park-Lietzensee". Farblithografie, um 1900/05. Gedruckt bei Curt Behrends & Co., Wilmersdorf (Berlin). Im Stein im Motiv Mitte rechts signiert. Ungerahmt. 71 x 95 cm (Bl). Angegilbt. Umlaufend zahlreiche Einrisse, teils größer. Kompletter Ausriss unten Mitte (Teil erhalten). Nicht hinterlegt. Winterszene aus dem Lietzenseepark in Berlin-Charlottenburg-Wilmersdorf. Zeigt wohl die 1904 fertiggestellte Lietzenseebrücke. Poster Park Lietzensee in Berlin. Colour lithograph, around 1900/05. Printed in Berlin-Wilmersdorf. Signed in the stone mid right. Unframed. Tanned yellowish. All around many tears, some larger. Complete cut-out on lower margin (part remaining). Not relined. Winterscene showing the Lietzenseebridge.
Lot 436
Moos, Carl (1878 München - 1959 Zürich)Plakat "Gabriel's Rollschuh Palast". Farblithografie, 1910. Unten links im Stein signiert und datiert. Gedruckt bei Schuh & Cie., München. Mit den originalen Plakatschienen aus lackiertem Metall. 44 x 30 cm (ges). Altersgemäß guter Zustand, leichte Randmängel. Rollspuren. Etwas angegraut. Nicht hinterlegt. Werbeposter mit rollschuhlaufendem Paar im Tanzschritt. Poster for Rollerskater palace Munich. Colour lithograph, 1910. Signed and dated in the stone bottom left. Printed in Munich. With the original metal poster rails. Good age-appropriate condition, some small bends, a bit dusty and greyish. Showing a rollerskating couple.
Lot 415
Windisch, Hans (1891 Niederlößnitz - 1965 am Chiemsee)Plakat "Werkstätten Theophil Müller" (Dresden). Farblithografie, um 1900. Im Stein unten Mitte signiert. Gedruckt in den Dresdner Graphischen Werkstätten. Ungerahmt. 82 x 62 cm (Bl). Angegilbt und berieben. Etwas fleckig. Sehr großer Einriss oben Mitte, weitere kleinere. Vereinzelt Knicke. Nicht hinterlegt. Werbeplakate für die Schauräume des Innenaustatters Müller in der Sidonienstraße in der Dresdner Innenstadt. Poster Crafts studio Theophil Muller, Dresden. Colour lithograph, around 1900. Signed in the stone bottom middle. Unframed. Tanned and rubbed. Some stains. Very large tear in top margin, some smaller as well. Some bends. Not relined.
Lot 59
SERGIO RODRIGUESTable «Miguel»création circa 1990Bois massif et plateau en pierreH: 80cm.(31 1/2in.); D: 170cm.(66 15/16in.).A stone and solid wood 'Miguel' table by Sergio Rodrigues designed circa 1990.This lot is subject to the following lot symbols: * TP* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 488
DIAMOND SOLITAIRE RING,set with a round brilliant cut diamond of approximately 1.35 carats, flanked by two tapered baguette cut diamonds, in eighteen carat gold, by Eric Smith of Glasgow, size K, 5ground brilliant cut diamond of approximately 1.35 carats = centre stone only.Worn condition. Shank is out of shape as shown.Grey tint to the stone with moderate yellow tint visible. Inclusions visible to the naked eye. Stones secure.
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