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Auction Description for Auctionata Paddle8 AG: 745: Old Master and 19th Century Paintings
Auction Description:
  The auction offers works painted by the great masters of the 17th to the early 20th century. The range of paintings presents the lifeworld of European artists of past centuries: Classical subjects as portraits, landscapes, marine paintings, historical and religious subjects will be under the hammer. The curated selection provides the opportunity to acquire singular works.
Viewing Notes:
Preview: A preview at Auctionata only possible by prior appointment. Contact: Tel: +49 30 9832 0222, E-mail: preview@auctionata.com

745: Old Master and 19th Century Paintings (165 Lots)

by Auctionata Paddle8 AG


165 lots with images

January 16, 2017

Live Auction

Berlin, Berlin, Germany

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Workshop of Paolo Veronese, Rebecca at the Well, 16th/17th C.

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Description: Oil on canvas, relinedWorkshop of Paolo Veronese, born as Paolo Cagliari (1528-1588) – Italian painter and master of the Italian RenaissanceInscribed '1 Bild / Schule Paolo Veronese / Rebecca am Brunnen / Lisetta Berton Mayr' on a label on the stretcher frameDimensions: 129.5 x 151.5 cmGilt stucco frame: 147.5 x 169.5 cmLiterature: Adolfo Vital, Piccola guida pratica, storico-artistica di Conegliano, 1902 (listed in the guidebook and described as painted by a pupil of Paolo Veronese.)Provenance: Family Battista de Gera (Venetian nobility); afterwards family de Masi Berton (owner of the Palazzo Sarcinelli, Conegliano); through heritage private collection, Munich Depiction of the biblical scene presenting Rebecca and Abraham's servant Eliezer at the well, who offers her the presents to make her become the wife of Abraham's son Issac (1st book of Moses, 24). The artists, presumably the work was created by the sons of Paolo Veronese, painted the protagonists brighter than the others figures. The painting, which has been family-owned since the 18th century, was in the past presented in Palazzo Sarcinelli in Conegliano. Condition: The painting had been relined. During the doubling a horizontal running narrow gap (probably coming from an old canvas seam) had been closed, which becomes apparent as crease. Overall there are tiny loss of color and two larger ones are at the upper right edge and at the lower right corner. This corner is additionally loosely and bears a small loss of material. Two convex bumps with loss of color can be seen upper right and lower right and in the left part of the center is a concave bump with loss of color. The edges show rubbed spots due to the frame and overall are small retouched spots. The overall impression is good. The frame shows usual signs of age and wear and small loss of color. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Palma il Giovane (c.1548-1628) Attr., Pair of Studies, c. 1600

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Description: Pen and ink drawing in brown on laid paper, laid down on light cardboardItaly, circa 1600Pair of studies with figures and caryatidsAttributed to Jacopo Palma il Giovane, actually Jacopo Negretti (c.1548-1628) - Italian painter of the Venetian SchoolInscribed ‘Sc. Palma’ (cut in one drawing); furthermore inscribed ‚S. G. n°. 3’ and ’S. G. n° 64’ respectively on the reverse; ‘S. G. n°. 4.’ and. ‘S. G. n° 58’ respectively on the reverseSheet dimensions: 19.5 x 11 cm; 12.5 x 17 cmMatted under glass in partly gilt wooden frames: 37 x 42.5 cmGood conditionThe current highest auction record for a similar study of Palma il Giovane is €21,000 Euro Condition: The drawings are in good condition according to age, showing a slight discoloration of the papers. The sheets are laid to paper in the corners. One sheet show traces of a handwritten text in blue ink. The frames have slight traces of use. The sheet dimensions are 19.5 x 11 cm and 12.5 x 17 cm, and the wooden frames measure 37 x 42.5 cm. Jacopo Palma il Giovane, actually Jacopo Negretti (c.1548-1628) Jacopo Negretti, best known as Jacopo Palma il Giovane or simply Palma Giovane (‘Young Palma’) began his training in his native Venice inside his own artist family: he was the great-nephew of the painter Palma Vecchio (‘Old Palma’) and the son of Antonio Negretti (1510/15-1575/85). In these previous paintings, the young Palma seems to have polished his style making copies after Titian. In 1567, Guidobaldo II della Rovere, duke of Urbino, discovered Palma's talents, supporting him for four years and sending him to Rome, where he stayed until 1572 learning the classical models. After his return to Venice, Palma adopted the inescapable mannerisms of Tintoretto. His early biographers assert that he found a place in the ageing Titian's workshop; when the master died, Palma stepped in to finish his last work, the Pietà in the Accademia, Venice. He worked alongside Veronese and Tintoretto on the decorations in the Doge's Palace where he came to know fully the Venetian tradition. From 1580-90, he painted cycles of large canvases either for Venetian Schools or sacred buildings. After this he went back to official commissions at the Doge's Palace. He organized his own, large studio which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic. After 1600, he painted mythologies for a small circle of intellectuals. After the death of Tintoretto in 1594, he remained one of the leading painters in the City of Venice. He even received numerous commissions outside Venice, most often from the emperor Rudolph II in Prague. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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J. v. Londerseel, Landscape with Anointing of Saul, Etching, 1600

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Description: Etching after David Vinckboons on laid paperNetherlands, c. 1600Jan van Londerseel (1570-1624) – Flemish draftsman, engraver, etcher and printerInscribed in the plate ‘Davit Vinbons …‘ and ‘Vißcher excud.’Catalogue raisonné: Hollstein 9Plate dimensions: 29.8 x 42.5 cm; sheet dimensions: 42.8 x 51.3 cmThe landscape with the anointing of Saul as a King.Object is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Biblical scene in vastly composed phantasy wood landscape with picturesque details, such as gnarled trees. Londerseel created engravings after the works of famous Flemish and Dutch painters of his time, in this case after a work by David Vinckboons. The print has been published later by Claes Jansz. Visscher.Condition:Usual middle fold, along that with remains of a mount on the reverse, minimally bumped in the white margin in the lower left, slight traces of age and wear mainly in the white margin, besides that in beautiful condition. The plate mark measures 29.8 x 42.5 cm and the dimensions of the sheet are 42.8 x 51.3 cm.Jan van Londerseel (1570-1624)Jan van Londerseel was most probably a pupil of Abraham de Bruyn in Antwerp. He then lived in Delft and Rotterdam. His brother-in-law, the etcher Nicolaes de Bruyn, evidently influenced the style of his etchings. Londerseel created a series of engravings after architectonic paintings of Hendrick Aerts. To name is a huge engraving on two plates with the bird’s eye view of Den Hague and Scheveningen, created together with Nicolaes de Clerk in 1614. He also created engravings after work of famous Flemish and Dutch painters of his time like Gillis van Coninxloo, Hendrick Aerts, David Vinckboons, Maerten de Vos and Gillis d’Hondecoeter. Londerseel printed and published his works by himself. Claes Jansz. Visscher produced later editions of some of his engravings. (tm) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Simon Frisius, Painter Michael Coxcie, Engraving, c 1610

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Description: Engraving on wove paperThe Netherlands, c. 1610Simon Frisius or Simon de Vries (1570-1575) - Dutch engraverCatalogue raisonné: Hollstein 165Plate 46 from the suite ‘Portraits of Artists’Plate dimensions: 20.5 x 12.5 cm; sheet dimensions: 21.5 x 13.5 cmVery good conditionObject is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The sheet is mounted under a mat to the upper edge. The plate’s dimensions are 20.5 x 12.5 cm, while the sheet measures 21.5 x 13.5 cm.Simon Frisius (1570-1575)Simon Frisius began his career in Paris and worked in Rouen and Amsterdam, before settling in The Hague in 1611. There he became a member of the Confrerie Pictura. Frisius is today regarded as one of the first masters of engraving. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Thomas de Keyser, Circle of, Portrait of a Young Man, c.1640

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Description: Oil on oak woodNetherlands, c.1640Circle of Thomas de Keyser (1596-1667) – Dutch painterVerso marked ‘(Ter Borch ?) No.6‘Gerard ter Borch the Younger (1617 -1681) – Dutch painter and craftsmanDecorative oak wood frameOverall dimensions with frame: 64.5 x 51.5 cm Good conditionA picture that is attributed to the dutch portraitist Thomas de Keyser fetched up to more than €30,000 at Sotheby‘s New York in 2009 This oil painting is the work of an artist from the circle of Thomas de Keyser and shows the portrait of a young man in time typical garb with a large white collar. He holds one of his gloves in his hand and wearing his left arm supported in a sling. The brown wall behind him shows to his left suddenly a piece of sky and landscape. The painting is verso marked ‘(Ter Borch ?) No.6‘. It is in a good condition according to its age with only slight signs of wear. The beautiful frame also shows slight signs of use. The picture dimensions are 45 x 32 cm, the overall dimensions with frame are 64.5 x 51.5 cm. (vwe) Thomas de Keyser (1596-1667) Thomas de Keyser, son of the sculptor Hendrick de Keyser, was a Dutch painter and basalt stone dealer. Although about his life and his training is little known, he belongs with Hals, Rembrandt and Bartholomeus van der Heist to the highest portrait painters of the Dutch school. He combines exceptional clarity of color and a delicate coloristic sense of energy and focus the view on the drawing. The architect Pieter de Keyser was his brother. (vwe) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Stefano della Bella, Ornamenti di Fregi et Fogliami, c. 1645

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Description: Etching on wove paper, laid down on laid paper Italy/France, c. 1645 Stefano della Bella (1610-1664) – Italian draftsman and master of Baroque etchings Inscribed in the plate ‘S. D. Bella inv. & fec. / N. Langlois excud. / Cum Privil. Regis. 10’Catalogue raisonné: De Vesme/Massar, from 987-1002Motif 10 of the 16-part series ‘Ornamenti di Fregi et Fogliami’Plate dimensions: 7.7 x 24.5 cmGood condition  Object is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The etching is in good condition, consistent with age and wear. The paper is slightly browned. The plate dimensions are 7.7 x 24.5 cm.Stefano della Bella (1610-1664)Born and educated in Florence, Stefano della Bella is one of the best printmakers of his time and was active for of the Florentine and Parisian Court. He studied some time in Rome, which was followed by another decade in Paris. His etchings and drawings are now considered classic examples of printmaking of the 17th century and cover a wide range of motifs, including religion, mythology, war, landscape, as well as animal and hunting scenes. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Jonas Umbach, The Triumph of Bacchus , Etching, c. 1660

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Description: Etching on thin paperGermany, c. 1660Jonas Umbach (c. 1624-1693) – German painter, etcher and graphic artistSigned back-to-front in the plate ‘Jonas Umbach (?)’Verso with several handwritten inscriptions and numberings in pencil as well as with stamp ‘Sammlung H (?) Wetterauer‘Sheet dimensions: 8.4 x 12.5 cmPasse-partout: 25 x 35.2 cmGood condition Condition: The small-scale etching is in good condition consistent with age and bearing small signs of wear. The sheet size measures 8.4 x 12.5 cm, the passe-partout measures 25 x 35.2 cm. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Niccolò Lapi Attr., Allegory of the Papacy, 17th Century

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Description: Pen and ink drawing in brown over pencil on laid paperItaly, circa 1680Attributed to Niccolò Lapi (ca. 1661-1732) - Baroque painter of the Florentine SchoolDimensions: 32.5 x 47.5 cmMatted under glass in wooden frame: 45 x 62 cmA typical baroque drawing by Niccolò Lapi. Works by the artist have already sold for €8,000 in the auction market Condition: The sheet is mounted under a mat, being in overall condition according to age. The paper is slightly discolored and shows foxing throughout as well as a vertical fold mark. The frame is minimally worn. The sheet dimensions are 32.5 x 47.5 cm, while the frame measures 45 x 62 cm. Niccolò Lapi (c. 1661-1732) Niccolò Lapi is named as successor to Giordano. He mainly painted great altarpieces in the style of the Counter-Reformation. He received numerous commissions during his lifetime, especially by the Grand Duke Ferdinando de’ Medici. Many of his works can be found in Tuscany. In Florence is a ‘Moses’ in the church of San Jacopo Soprarno, an ‘Ascension’ in Santa Maria Candeli, a ‘Victory of the Archangel Michael’ in San Michele Visdomini and a ‘Holy Trinity’ in the Complesso di San Firenze. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Pietro della Vecchia, Christ And The Adultress, Oil, 17th C.

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Description: Oil on canvas, relined Pietro della Vecchia, actually Pietro Muttoni (1602/03-1678) – Venetian painter We are grateful to Prof. Bernard Jan Hendrik Aikema for confirming the attribution on the basis of high-resolution photographsWith a certificate of authenticity by Dr. Hermann Voss (Kaiser-Friedrich-Museum, now Bode-Museum, Berlin, dated 25/10/1925) Dimensions: 112 x 148 cm Frame: 126 x 162 cm Provenance: Private property, Berlin   Pietro della Vecchia primarily worked in the tradition of Giorgione, but he also possessed the unique ability to adopt an impressive variety of styles, as needed. Likewise, he interpreted a wide range of religious and secular subjects that he often reproduced, but never in terms of proper copies, but in form of several different versions. The present painting depicts the well-known biblical scene ‘Christ and the Adulteress’, derived from the Gospel of John. Here, Jesus contradicts the scribes who had caught a woman in the act of adultery and therefore wanted to stone her to death. The subject belongs to the typical repertoire of the artist. The work is most likely to be dated in the artist`s mature creative period c. 1650. A similar but not identical composition by della Vecchia is part of the collection at Musée Calvet D`Avignon, France. Condition: The canvas is relined. The paint surface is visibly cracked in the upper edge, as well as in the upper half, due to damages to the underlying canvas. Small losses of paint have been retouched, there. Further small losses of material are located at the height of the figures on the left side, between the eyes of the female figure and in the lower right corner. The paint surface shows further scattered areas of retouching and marks, where the frame has rubbed. The inspection under UV light reveals areas of retouching on the faces and hair. Pietro della Vecchia (1602/03-1678) Pietro della Vecchia, since the late 18th century falsely also known as Pietro Muttoni or Pietro della Vecchia Muttoni, was the son of a prominent Venetian family. His early works are deeply influenced by Carlo Saraceni and his student, which has led to the assumption that the painter may has initially been trained by them. After a possible short stay in Rome around 1621-22, he was active in the studio of Alessandro Varotari, called Padovanino, around 1625 and first familiarized with the masters of the Venetian Cinquecento, such as Titian and Giorgione. Many works by the artist can be still found in churches in Venice, as well as in important international collections, such as the Kunsthistorisches Museum in Vienna, the Louvre in Paris, the Gemäldegalerie in Dresden and the National Gallery in Dublin. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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David Teniers II, Circle, Genre scenes, Oil, 17th century

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Description: Oil on panelCircle of David Teniers II (1610-1690) - Flemish painterEach with Monogramm “DT” (ligated) lower rightDimensions: each about 16.7 x 13.5 cmPartly gilded wooden Frame with stucco ornament: 30 x 27.5 cmProvenance: Private collection, Austria Beautifully painted pair of genre scenes which can be found repeatedly at Teniers d. Younger. The paintings show men at the fireplace smoking their pipe respectively a man playing the lute with a woman singing.Condition: The two genre paintings are in good condition appropriate to age. Partly there is minimal loss of paint in the outer edges. The panels are slightly bent. The painting with the smoking men has two overpaintings in the upper area of the image which are visible with the naked eye. The inspection under UV light reveals punctually minor retouches to the figures. The second painting shows a few minor retouching by the use of UV light. Both have a red seal with the initials "I or J DW" alloyed on the reverse, which not listed in the directory of the collector's stamp of Lugt. Also on the reverse of the panel there are older labels. The wide decorative frames are very well preserved and have only few signs of wear.David Teniers II (1610-1690)The Flemish painter David Teniers the Younger was born in Antwerp and studied with his father David Teniers I (the Elder). His later works show an influence of Peter Paul Rubens and Adriaen Brouwer. In 1633, Teniers was a member of the Guild of St. Luke in Antwerp. In 1651, he came to Brussels as a court painter, being in charge of the art collection of Archduke Leopold Wilhelm. For him, he created to the so-called ‘Theatrum pictorum’ in 1660, probably the first illustrated catalog of a collection of paintings. In 1664, Tenier founded the Antwerp Academy. David Teniers II has created an extensive oeuvre, including tavern scenes, kermesses, guard rooms, alchemist and witch kitchens as well as biblical scenes, such as the frequently executed ‘Temptation of Saint Anthony’. His genre scenes were extremely popular with art collectors of his time. Today, many of his works hang in almost every well-known art gallery, for example, in the Berlin and Dresden Paintings Gallery, the Uffizi in Florence, the Hermitage in St. Petersburg, the Museo del Prado in Madrid, the Louvre and the Kunsthistorische Museum in Vienna. (hth) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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A Pair of Relief Carvings with Roman Heroes, Eger, 17th C

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Description: Hardwood, carved, partially colored, soft wood, partially ebonizedAttribute to the Master with the Ornamented Background – Cabinet maker and inlay artist of the 17th century, active in and around EgerOctagonal reliefs with the depictions of Gaius Mucius Scaevola and Horatius CoclesGaius Mucius Scaevola was a personality of early Roman history, who is said to have saved the city from a siege in 508 BCHoratius Cocles from the family of the Horatii was a national hero of Roman mythology, who is said to have defended a bridge leading to Rome against the Etruscans all by himselfBackground ornamented with matted arabesquesDimensions of reliefs: 25 x 21.2 cmIn octagonal ripple moulding frame: 37.5 x 34 cmCarved reliefs from Eger are part of the most significant and independent contributions in the tradition of the art of marquetryObject is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. The carved and inlaid relief was a special form of marquetry, which had been developed in the free city of Cheb (today part of the Czech Republic) in the 20s of the 17th century and was maintained there well into the 30s of the 18th century. Driven by the desire to increase the impact of inlays by including three-dimensionality, the local carvers developed their craft to supreme performances. Thereby they drew on graphic templates as it was common at that time. Reliefs with depths of about five to ten millimeters were formed using various tools, resulting in interactions of light and shadow and making them highly popular artworks of different or with partly colored/painted materials.Condition:Both reliefs are in good condition, consistent with age and bearing usual signs of wear like surface abrasion and occasionally tiny blemishes. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Matthias Scheits (1625-1700), Der Zudringliche, Oil, 1695

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Description: Oil on canvasGermany, 1695Matthias Scheits (1625-1700) – Hamburg-based painterSigned and dated lower right ‘M. Scheits 1695‘Genre picture with landscape staffageDimensions: 60 x 84 cmNew Flemish style frame: 81.5 x 105.5 cmVery good condition The present painting by the Hamburg-based artist Matthias Scheits was created in 1695 and shows his characteristic composition, inspired by the Dutch Golden Age. The landscape staffage of this genre picture reveals some Italian influences. The original title is known because of a detail study by Scheits in possession of one of his descendants. Ref.: cf. Thieme-Becker, Rump, Bénézit, Nagler The painting is signed and dated lower right ‘M. Scheits 1695‘. It is in very good condition with minor signs of age. The painting is equipped with a new Flemish style frame. The stretcher frame measures 60 x 84 cm while the framed dimensions are 81.5 x 105.5 cm. Matthias Scheits (1625-1700) Matthias Scheits was born in Hamburg. He studied under Philipps Wouwerman in Holland but was influenced by Adriaen van Ostade and David Teniers the Younger as well. Working as an illustrator, he is especially known for the ‘Scheits'sche Bibel’ – a bible printed in Lüneburg in 1672. He created 152 drawings for this bible used as templates for the etchings. Nowadays most of his works can be found in the Hamburger Kunsthalle. (vsc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Boors in a Tavern, Oil Painting, Dutch School, c. 1700

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Description: Oil on paper, laid down on woodVerso inscribed on an old label ‘Figures in an Inn. Boors drinking and smoking by Cornelis Dusart 1660-1704‘Frame on the reverse with further inscriptions Diameter: 17 cmRipple molding frame: 36.7 x 38 cmTondo with genre scene depicting two farmers in a tavern setting in the manner of Cornelis Dusart (1660-1704) Condition: The small scale work is in a good condition, consistent with age and bears usual signs of wear. The surface in places with fine craquelure as well as partially with minimal abrasion along the edges. Under UV-light occasionally smaller touch-ups appear. It becomes visible that the man to the right was once also smoking a pipe. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Hunt still-live, Oil painting, Holland, around 1700

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Description: Oil on canvasHolland, end of 17th/beginning of 18th centuryCircle of Adriaen van der Kabel (ca. 1631 – 1705)Dimensions: 59 x 89 cm This oil painting depicting a hunt still-live was probably made around 1700 by a Dutch artist from the circle of Adriaen van der Kabel (ca. 1631 – 1705). The foreground shows several dead partridges and a rabbit on their backs. In the background appears a hunting dog. The painting is in good condition with some traces of age. It has not been restored or cleaned. The surface of the painting has notable craquelé. The dark wooden frame shows significant failures. The dimensions are 59 x 89 cm. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Aelbert Meyeringh, Classical Landscapes, 6 Etchings, c. 1700

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Description: 6 etchings on laid paper (partially with watermark)Netherlands, c. 1700Aelbert Meyeringh (1645-1714) – Dutch painter, graphic artist and draftsmanEach inscribed in the plate ‘A. Meyeringh Inv. et Fecit.‘Comprising: The Rifle Shot, The Mutilated Statue, The Shepherdesses, The Barque, The Crab Fishing and The Shepherds‘The Barque’ inscribed in ink on the reversePlate dimensions: c. 21.2 x 32.2 cm; sheet dimensions: c. 22.2 x 32.7 cmObject is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The sheets show minimal frilling and foxing. ‘The Barque’ with a tear of c. 1.3 cm length in the left edge. Some are strengthened with paper strips on the back. The sheets are each reversibly mounted on cardboard on the reverse of the left edge. The plate marks each measure c. 21.2 x 32.2 cm and the dimensions of the sheets are each c. 22.2 x 32.7 cm.Aelbert Meyeringh (1645-1714)Aelbert Meyeringh was the son of the painter and art dealer Frederick Meyeringh in Amsterdam. For more than ten years, he traveled through Europe. He created large ceilings, chimney pieces and hall decorations with depictions of landscapes for manors. Meyeringh published a series of 26 etchings of fantasy landscapes in 1695. Together with Bloemen, Hendrik Frans van Lint and Jacob de Heusch he belongs to the so-called third and last generation of Dutch Italy travelers, influenced by the Classicism of a Dughet, Nicolas Poussin and late Claude Lorrain. The Philadelphia Museum of Art houses a large collection of Meyeringh’s etchings and engravings. (tm) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Copy After Rembrandt van Rijn, Self-Portrait, Oil, Early 18thC.

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Description: Oil on canvas, relinedCopy after Rembrandt van Rijn (1606 – 1669) - Dutch painter of the Golden AgeDimensions: 53 x 47.7 cmFine stucco frame: 79 x 72 cmProvenance: Private collection, Baltic states This excellent copy after a self-portrait of the famous Dutch painter Rembrandt van Rijn (1606 – 1669), which is in the collection of the Gemäldegalerie in Berlin today, is characterized by the quality of the way of painting of an unknown 18th century artist. The frame is original and shows vegetal decoration. Condition: The painting is in good condition consistent with the age. The varnish is slightly darkened and scattered marks can be seen. There are areas with scuffing due to the frame along the upper edges and corners of the canvas. Overall tiny craquelé can be seen on the canvas and there are a few small pressure marks. Retouched spots can be mainly seen in the upper part. The frame is in good condition and shows only a few traces of usage. The dimensions are 53 x 47.7 cm and the frame measures 79 x 72 cm. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Immaculate Conception of Mary, Reverse Glass Painting, 18th C.

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Description: Reverse glass painting Spain, 18th century Dimensions: 38.5 x 31.5 cmFrame: 49 x 42 cmTraditional depiction of the ‘Immaculate Conception of Mary’ with her foot on the head of a snake wound around the globe Condition: There are clear abrasions of paint at the figure and in the lower part of the depiction. The glass plate measures 38.5 x 31.5 cm and the frame 49 x 42 cm. (cbo) Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Immaculate Conception, Reverse Glass Painting, Italy, 18th C.

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Description: Reverse Glass PaintingItaly, 18th centuryDimensions: 25.5 x 19.5 cmPartly gilt wooden frame with mirror inserts: 30 x 24.7 cmGood conditionReverse glass painting, depicting Maria Immaculata standing on a globe with a snake in the iconography of the Apocalypse Condition: The work is overall in good condition, showing small paint losses. The corners of the glass are slightly chipped. The frame shows traces of an inactive woodworm infestation and a patina of age. The size of the glass is 25.5 x 19.5 cm, while the frame measures 30 x 24.7 cm. Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Portrait Madonna with Jesus, South Germany, 18th c.

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Description: Wood, polychrome painted, paperOval, on a slight convex wood plate painted half portrait of Madonna with JesusMaria turns her face toward the beholder, the naked Jesus snuggles on his left arm to the right shoulder of the motherMaria is draped in a red dress, a blue cape and a white head covering, she holds Jesus with a white clothDimensions: 31.4 x 27.4 cmAn intimate and lovely depiction of the mother of God with Jesus in warm color tones Condition:The portrait is in good, age-related condition with slight traces of age and wear. The portrait with a large restored crack in the middle. The painting layer of the portrait shows minimal cracks and spots in places. On the rear the paper shows scattered losses, torns and paper warpings as well as areas of restorations in the lower part. On the left and on the right two losses, presumably for the mounting. (ala) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Calvary & Original Sin, Wood Carving, Sicily, 18th C.

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Description: Wood, carved and painted polychrome, gildedSicily, 18th centuryDepiction of Calvary: rocky base with cross and snakeSerpent with apple representing the original sinPush-on cross imitating a branchPaint of the base imitating the pattern of jasperElaborately and sculpturally workedPresumably part of a crucifixion groupOverall dimensions: c. 75 x 40.5 x 16 cmHistorically important testimony of Christian devotion The term Calvary initially refers to the place of Jesus Christ’s execution. During the Counter-Reformation numerous, sometimes smaller replicas of the Crucifixion were also produced, which were used by Catholics for private devotion and are also called Calvary. On offered sacral artwork, the original sin represented by the serpent, is placed in direct relation to Jesus’s death on the cross. Condition: The sculpture bears natural signs of age and wear. Paint and gilding are partially rubbed and bumped. Figure of the body of Christ is lost. Smaller blemishes can be seen. The dimensions measure c. 75 x 40.5 x 16 cm. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Portrait Church Father, Reverse Glass Painting, Spain, 18th C.

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Description: Reverse glass painting Spain, 18th centuryOval painting with the dimensions: 52 x 38.5 cmMatted in gilt wooden frame: 63 x 50 cmGood condition Condition: The work is in good condition, showing slight abrasion and small chips to the edges. The frame is slightly worn. The dimensions of the glass are 52 x 38.5 cm, while the frame measures 63 x 50 cm. (cko) Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Knee-Length Portrait of a Boy, pres. France, Mid-18th C

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Description: Pastel chalk on firm paperPresumably France, mid-18th centuryDimensions: 25 x 19.9 cmFrame: 31.3 x 25.5 cmGood condition, consistent with ageCharacteristic baroque portrait of a boy represented in noble robes typical for the time Condition:The small-scale work is in a good condition, consistent with age and bearing signs of wear. The paper is heavier corrugated, the surface is partially rubbed. The sheet measures 25 x 19.9 cm, the size of the frame is 31.3 x 25.5 cm. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Gaetano Zompini, Meti Massere, Etching, 1753

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Description: Etching on laid paper Italy, 1753Gaetano Zompini (1700-1778) – Italian painter and printmakerInscribed in the plate ‘Il nostro nome xe meti massere, Perche loghemo done per servir: Ma semo a dirla quasi mai sinciere’ and ‘42’Plate dimensions: 27.1 x 19.1 cm; sheet dimensions: 50.3 x 33.5 cm Condition: The etching is overall slightly soiled and stained. There is a long smoothed crease in the upper right corner and several tiny defects to the lower edge. The left edge displays tiny signs of a former binding. The overall impression is good, consistent with age. The plate measures 27.1 x 19.1 cm, the sheet 50.3 x 33.5 cm. (fea) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Anthony Highmore attributed „Women Gossiping“, England, 18th C

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Description: Washed pencil drawing on paperEngland, 18th CenturyAnthony Highmore (1719-1799) attributed – British draughtsmanBeautiful conversation piece in form of a small size drawing Overall dimensions, framed: 30 x 26,5 cmVery good condition This wonderful, small format drawing is attributed to the British draughtsman Anthony Highmore. It depicts a group of women with children, having a chat on the street. The drawing captivates through its fine elaborated style and is a nice example for the popular British 18th century conversation pieces. The drawing is in a very good condition showing only minimal signs of age and use. On the back with traces of old mounting. The sheet is fixed on card and matted. On the back numbered with pencil ’59.’ and marked ‘I D’. On the reverse of the framing labelled with information about the artist and title. The frame shows slight signs of use. The sheet measures 9 x 6.4 cm. The overall dimensions including the frame are 30 x 26.5 cm. Anthony Highmore (1719-1799) Anthony Highmore was a British draughtsman, who was born as the son of Joseph Highmore in 1719. He is well-known for his ‘Five Views of Hampton Court’ that have been engraved by John Tinney. Highmore was deaf and lived most of his life in Canterbury, where he studied theology. At an early age he married Anna Maria, daughter of Rev. Seth Ellis of Brampton, Derbyshire, and they had 15 children together. Anthony Highmore died in 1799 at the age of 81 years. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Jacques-Firmin Beauvarlet, La Marchande, Engraving, 18th C.

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Description: Engraving on laid paperFrance, 18th centuryJacques-Firmin Beauvarlet (1731–1797) – French engraver and publisherWith the engraved description concerning painter and engraver, title and exhibitionFull title: La Marchande de MarronsImage dimensions: 43.6 x 33 cm; sheet dimensions: c. 68 x 51 cmAfter a work by the French artist Jean-Baptiste Greuze (1725–1805), reproduced by Jacques-Firmin Beauvarlet Condition: The sheet shows overall discoloration, rubbed spots, creases and marks, foxing marks primarily at the upper edge. There are small tears, creases and tiny damages to edges and corners. A sheet size horizontal crease can be seen below the depiction and a crease measuring c. 8 cm central right. The image measures 43.6 x 33 cm and the sheet dimensions are c. 68 x 51 cm. Jacques-Firmin Beauvarlet (1731–1797) Jacques-Firmin Beauvarlet was a French engraver and publisher of the 18th century. Beauvarlet created engravings after the paintings of contemporary painters, among them there are important artists such as Jean-Baptiste Greuze (1725–1805) and François de Troy (1645-1730). The artist came to Paris as a young man and became pupil of Charles Dupuis and later of Laurent Cars, who had an important influence on his work. Beauvarlet´s portraits of the famous French dramatist Molières belong the prominent works of his oeuvre. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Circle of R. Wilson (1714-1782), Castle in a River Landscape

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Description: Oil on canvas, relinedGreat Britain, 18th centuryCircle of Richard Wilson (1714-1782) - British landscape painterDimensions: 17.3 x 22.8 cmGolden stucco frame: 34 x 39.5 cmGood conditionProvenance: Collection of L. W. Livesey, London; Galerie Heinemann, Munich, 1911-12, No. 11187, sold as ‘Alter Turm und Hütten’ to Ferruccio Stefani, Buenos Aires (label on verso); Venta de la Galería de Cuadros de Don Lorenzo Pellerano. Cuadro No. 483 del catalogo de Guerrico & Williams Octubre 1933. Del Invent Arion Judicial, Buenos Aires (verso with label and stamp); collection Roberto J. Dormal, Ungaro & Barbara, 1947 (label on verso)Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Condition: This small painting is in good age-appropriate condition. The canvas is relined. The surface shows some age-related craquelure, the varnish is slightly discolored. No findings under UV light. The image dimensions are 17.3 x 22.8 cm, the frame dimensions 34 x 39.5 cm. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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A Rococo Portrait of a Man, Pastel, Pres. 2nd Half of 18th C.

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Description: Pastel on cardboardEurope, presumably 2d half of the 18th centuryDimensions: 25.7 x 18.7 cmMounted in gilt baroque frame: 31 x 26 cmGood overall condition Condition: The work is in good overall condition. The lower right corner shows a water stain. There are fox marks and seal marks on the reverse. The frame is minimally chipped. The size of the work is 25.7 x 18.7 cm, while the frame measures 31 x 26 cm. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Johann Gerlach Lambert attr., Painting, Self-Portrait, c. 1760

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Description: Oil on woodGermany, circa 1760Johann Gerlach Lambert (1740-1804) attributed – Frankfurt-based painterOld collection label with attribution on reverse ‘Smlg. Prof. A. Schönborn Künstler: Joh. Gerlach Lambert […] Theman: Selbstbildnis? Provenienz: Schneider […]’Self-portrait in Dutch styleFramedImage dimensions: 29 x 21 cmVery good condition This oil painting, created around 1760 and attributed to the Frankfurt-based still life painter Johann Gerlach Lambert, presumably depicts a self-portrait of the artist. The painting bears an old collection label with an attribution on reverse ‘Smlg. Prof. A. Schönborn Künstler: Joh. Gerlach Lambert […] Theman: Selbstbildnis? Provenienz: Schneider […]’. It is in very good condition with an age-related craquelure. The image measures 29 x 21 cm while the framed dimensions are 40 x 32cm. (vsc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Oil Painting, ‘Carl Wilhelm Graf von Quadt-Gartrop‘, 18th C.

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Description: Oil on canvas, relinedGermany, 2nd half 18th centuryInscribed by the restorer on reverse ‘Carl Wilhelm Graf von Quadt-Gartrop renov. 1898’Carl Wilhelm Count of Quadt-Hüchtenbruch zu Gartrop (1732-1805) – Hereditary Marshall of CleveFramedStretcher frame: 78 x 62 cmVery good condition This oil painting was created in the 2nd half 18th century and depicts Carl Wilhelm Count of Quadt-Hüchtenbruch zu Gartrop in half-profile wearing an armor. The portrait bears a restoration inscription on reverse ‘Carl Wilhelm Graf von Quadt-Gartrop renov. 1898’. The framed painting features an old relined canvas. Apart from that the painting is in very good condition. The stretcher frame measures 78 x 62 cm while the framed dimensions are 89.5 x 69 cm. (vsc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Follower of Jan v. Huchtenburgh (1647-1733), Battle scene, 1788

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Description: Oil on canvasDutch, 1788Follower of Jan van Huchtenburgh (1647-1733) - Dutch painter of battle scenesBattle scene with dramatic auraWith monogram and date „L.H.B. 1788“ in the lower rightOverall dimensions, framed: 57.5 x 71.5 cmSecondary frameIn good condition This dramatic battle scene was painted in the manner of the Dutch painter Jan van Huchtenburgh. The oil painting dates back to the 18th Century. It is primarily rendered in brown. The horses and their riders are presented in a great tumult in the foreground. A mountain in the background with the appearance of a volcano arises up in the blue sky, covered with crowds. The painting is monogrammed and dated „L.H.B. 1788“ in the lower right. It is mounted in a partially gold-plated wooden frame. It is in good condition and has not been restored. The upper edge shows slight, hardly visible areas of flaking. The frame dates back to 1900 and has significant traces of use and age such as material losses. The dimensions are 57.5 x 71.5 cm (with frame). Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Portrait of Baron Alexander Carl von Heyden, Oil, 18th Century

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Description: Oil on canvas, relinedInscribed by another hand 'Alexander Carl Freyherr von Heyden zu Otmarsum 1771 renov. 1898' on the reverseDimensions: 77 x 61 cmFrame: 86.4 x 70.6 cmProvenance: Private collection, BavariaPainting of baron Alexander Carl von Heyden (1709–1776) at an early age Condition:The painting is in good condition. The canvas has been relined. The varnish has been darkened. Areas with scuffing due to the frame are along edges and corners. Only a few spots with tiny craquelure. The original description of the canvas can be seen in the sidelight. The frame is in good condition with usual signs of age and wear, additionally little loss of pigment at the upper frame. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Follower of Justus Sustermans (1597-1681), Portrait, 18th C.

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Description: Oil on canvas, relined 18th centuryFollower of Justus Sustermans (1597-1681) – Flemish painterNumbered and inscribed on a label on the stretcher frame ' a. 466. Portrait eines Meisters der manieristischen Schule'On the reverse and on the stretcher frame inscribed 'EAFC' and labeled by the Fideikommiss-Galerie on the frame and on the stretcher frameDimensions: 40.5 x 29 cmFrame: 55.3 x 43.8 cmGood conditionProvenance: Private collection, ArgentinaObject is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Portrait of a young man, his face and collar stick out from the dark background – inspired by the Flemish Baroque painter Justus Sustermans, who is primarily known for his portraits of the Medici familyCondition:The painting is in good condition consistent with the age. The varnish has been darkened and there are scattered marks and tiny craquelure overall. Small retouched spots are affecting the face and the background. The dimensions are 40.5 x 29 cm and the frame measures 55.3 x 43.8 cm. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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F. Piranesi, Choix Des Meilleures Statutes Antiques, 1780-92

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Description: Portfolio of 41 copperplate engravings, of which 4 double-sided; bound Title: Choix Des Meilleures Statues AntiquesItaly/France, 1780-92 Engraver: Francesco Piranesi (1756/58-1810) – Italian architect and copperplate engraver After drawings from Ludovico Corazzari, Lorenzo Roccheggiani, Pietro Angeletti, Tommaso Piroli, Bernardino Nocchi, Girolamo Carattoni, Andrea Rossi, B. Gagnerau and others Original marbled boards, presumably 18th century Dimensions of the Elephant folio volume: 61 x 48 x 3 cm (height x width x depth) Good condition Provenance: With pasted ex-libris ‘L. V. GESTA TOLOSAE’ on front pastedown; numbered by hand ‘259’ This portfolio of copperplate engravings was designed towards the end of the 18th century by the famous engraver Francesco Piranesi, the son of the even more famous Giovanni Battista Piranesi (known for his vistas of dramatic and enchanting Roman ruins). The collection comprises the most famous and revered classical sculptures of antiquity presented with much concern to Piranesi’s neo-classical approach. Printed material like this served to illustrate, spread and develop Neo-Classical ideas and trends, making Neo-Classicalism a truly international style.Condition:The complete engravings appear in rich colors on firm laid paper and are in good overall condition. The sheets are slightly browned along the edges, with faint stains. The boards and the leather spine are slightly rubbed and shows minor scuffs and losses of material. The book block is firm and stable. The dimensions of the folio binding are 61 x 48 x 3 cm. Francesco Piranesi (1756/58-1810)Born in Rome, Francesco Piranesi grew up as the son of the famous engraver, archaeologist and architect Giovanni Battista Piranesi (1720-1778). He shared his father's enthusiasm for antiquity and also created numerous etchings and engravings of important classical buildings and works of art. In 1785, Piranesi created the first commercially available plan of Pompeii. From 1798 he was active in France. (cbo)  Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Etching ‘Book Title Page’, Germany, End of 18th Century

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Description: Hand coloured etchingGermany, end of 18th CenturyMeasurements in frame: 45.5 x 33.2 cmVery good conditionBeautiful frame with a Berlin-style edgeObject is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. This beautiful etching was later painted in delicate aquarelle colours. It is noteworthy for its finesse and attention to detail. The architecture features a frieze, which amplifies the antique finish of the depiction. In the centre of the piece, there is an oval shape with the silhouette of a man; perhaps a portrait of its maker. The etching is in very good condition with minimal signs of age related wear and use. The measurements in frame are 45.5 x 33.2 cm. The frame shows only minimal signs of age and use. The aquarelle measures 15 x 12. The reverse reveals an expertise. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Daniel And The Prophet Jeremias, Spanish School, 18th Century

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Description: Reverse glass painting Spain, 18th centuryInscribed (hardly legible) lower right ‘HAWAGVCK LIB DAN.VI.C(?)’Dimensions: 42.5 x 31.5 cmFrame: 32 x 39.5 cmDepiction of Daniel in the lion’s den and the apparition of the prophet Jeremias Condition: There are clear abrasions of paint at the figure of the prophet and in the lower right part of the depiction. The glass plate measures 42.5 x 31.5 cm and the frame 32 x 39.5 cm. (cbo) Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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After Jean-Baptiste Greuze, Le Ménage Ambulant, Print, 18th C.

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Description: Etching on laid paper France, 18th centuryLouis Binet (1744- c. 1800) – French designer and engraverAfter Jean-Baptiste Greuze (1725-1805) – French painterInscribed ‘Greuze delin.’ and ‘Binet Sculp.’, titled ‘Le Ménage ambulant’ as well as with further inscriptions in the plateEtched presumably by Louis Binet after an original work by Jean-Baptiste Greuze Plate dimensions: 35 x 42.8 cm; sheet dimensions: 50.5 x 68.5 cmObject is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The etching is overall somewhat stained and soiled. The full sheet bears several tears, paper losses as well as creases and buckled areas in the margins. The Impression of the image is good, consistent with age. The plate measures 35 x 42.8 cm, the sheet 50.5 x 68.5 cm. (fea) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Ecce Homo, Reverse Glass Painting, Spanish School, 18th C.

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Description: Reverse Glass PaintingSpanish School, 18th centuryDimensions of the oval glass: 42 x 33 cmGilt and partly glazed wooden frame: 55 x 46.5 cmGood conditionDevotional picture with the motif of ‘Ecce Homo’, depicting Jesus with purple cloak, loincloth, crown of thorns and wounds Condition: The work appears in good condition, showing minor abrasion of the paint. The frame is minimally worn. The dimensions of the glass are 42 x 33 cm, and the frame measures 55 x 46.5 cm. Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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St Francis, Reverse Glass Painting, Spanish School, 18th C.

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Description: Reverse glass painting Spain, 18th century Dimensions: 17 x 12 cmFrame: 21.5 x 16.5 cmGood conditionDepiction of St Francis (also Saint Francis of Assisi) with his characteristic attributes in form of a skull and a crucifix Condition: The painting is in good condition, consistent with age. There are a few scattered losses of paint. The glass plate measures 17 x 12 cm and the frame 21.5 x 16.5 cm. (cbo) Reverse glass painting The technique of the reverse glass painting makes use of opaque colors, which are applied to the reverse of a glass plate. First, the contours are drawn, for instance with ink or pen, and then the figures are painted mostly with oil or, more recently, with acrylic paints, whereupon is painted the background. Some glass paintings comprise the use of gold leaf and tin foil, in order to enhance certain details, such as the nimbus of saints. Originated in the late Hellenistic period, the glass painting widespread especially in the form of votive and devotional images from the 16th to the 18th centuries, departing from Italy and continuing all over Central Europe. It experienced another highlight in the 18th and 19th century folk art. They featured particularly religious motifs and folk saints. Furthermore, they displayed depictions of Mary and patron saints and were erected in house and wayside chapels as well as on pilgrimage sites. In addition, paintings with personifications of the four seasons and folk genre scenes, such as the upper Austrian ‘Sandl paintings’, enjoyed a great popularity. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Heinrich Rieter (1751-1818), Study Of A Tree, Watercolor, 1790

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Description: Watercolor over pencil on laid paper Switzerland, 1790 Heinrich Rieter (1751-1818) – Swiss painter Signed and almost illegibly inscribed lower left ‘Rieter […]’; also dated probably by another hand upper left ‘1790.’ Image dimensions: 15 x 10.2 cm; sheet dimensions: 18 x 10.7 cm Good condition  Object is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The work is in good condition, consistent with age and wear. The paper is slightly browned and very faintly creased. There is a tiny hole and some foxing in the lower left quadrant. The image measures 15 x 10.2 cm and the sheet 18 x 10.7 cm.Heinrich Rieter (1751-1818)Heinrich Rieter studied under Johann Ulrich Schellenberg (1709-1795) and Anton Graff (1736-1813). In 1777 he settled in Bern and joined the resident artist’s society. In 1786, he took over the printing workshop of Johann Ludwig Aberli (1723-1786). In 1780 Rieter became also active as a drawing teacher. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Johann David Schubert, Der Weihnachtsabend, Pen and Ink, 1792

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Description: Pen and ink drawing, washed, on firm wove paperGermany, 1792Johann David Schubert (1761-1822) – German painter, etcher, graphic artist and draughtsmanSigned and dated ‘Schubert 1792‘ in pencilVerso with stampImage dimensions: 15.9 x 9.5 cm; sheet dimensions: 18.6 x 11.2 cmMatted: 43.9 x 31.7 cmObject is taxed regularly. 19% VAT is added to the purchase price for deliveries within the EU. Condition:The drawing bears natural signs of age and wear, is however altogether in an appealing condition. The sheet is mounted to a mat along the left edge. It is slightly corrugated and with soiling throughout. Occasionally larger stains and minor handling creases. The image measures 15.9 x 9.5 cm, the sheet size is 18.6 x 11.2 cm. The passe-partout measures 43.9 x 31.7 cm. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Pair of Classicist Architectural Etchings, France, 1790-1820

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Description: Etching on paperFrance, 1790-1820ClassicismArchitectural illustrationsDepictions of Egyptian obelisks and the amphitheater of MisèneTotal dimensions, framed: 62 x 49.5 cmVery good, original condition This pair or etchings of Classicist subject matter comes from France from the period of around 1790 until 1820. Depicted are Egyptian obelisks and an architectural illustration of the amphitheater of Misène. The prints are framed under strong mats with hand-crafted strips that are ebonized in black. The frame glass is nonreflecting. The prints are in very good, original condition with traces of wear and age, one water spot is visible. The dimensions, including the frames, are 62 x 49.5 cm; the sheet size is around 38 x 26 cm. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Franz Nikolaus König, Women from Oberhasli, Radierung, 1799

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Description: Etching on wove paper Switzerland, 1799Franz Nikolaus König (1765-1832) – Swiss portrait and genre painterInscribed and dated ‚F. N. König 1799’ in the platePlate dimensions: 11.4 x 8.6 cm; sheet dimensions: 16.7 x 11.6 cmGood condition Condition:The etching is in good condition, consistent with age. The sheet is trimmed along all edges and inscribed by another hand in pencil in the lower margin. The dimensions of the plate are 11.4 x 8.6 cm, the sheet measures 16.7 x 11.6 cm. (fea) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Oil painting „Saint John of God“, Spain, 18th / 19th C

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Description: Oil on canvasSpain, late 18th / early 19th CenturyModern frameDimensions: 84 x 59 cmRestored This image of Saint John of God (1495-1550) dates back to the late 18th or early 19th Century Spain. Saint John of God, founder of the order of Order of Hospitaliers (also known as the Brothers Hospitallers of St. John of God) carries the infant Jesus on his shoulders while the child holds a pomegranate in his hands. One of the legends about the saint tells of his vision in which the infant Jesus appeared, giving the Saint his name "John of God" and telling him to go Granada to care for the poor and sick. This vision is shown here, with the infant Jesus pointing at the pomegranate. The Saint founded his first hospital there, taking care of the poor, the sick, abandoned babies and fallen women. The pomegranate is an often used symbol in the Christian tradition. It is said to have 613 seeds which would correspond with the number of laws of the Old Testament. The pomegranate tree is also mentioned several times. The pomegranate is again known as a symbol for life and fertility, but also for Christian charity. The Order of Hospitaliers has the pomegranate with the cross, as depicted in the painting, as their emblem, and the city of Granada bears the fruit in its coat of arms. The painting has considerable craquelure. The back shows three big patches and some blemishes along the borders of the patches. The canvas was framed in the 1930s or 1940s. The dimensions are 84 x 59 cm. Empfehlung des Experten Ana Maria Trigo: Saint John of God was a fascinating figure in the 16th century. So fascinating that almost 500 hundred years later we still continue writing about him and researching the history behind the man. In this moving painting from the 19th century we can appreciate the good technique of the unknown artist and above all his deep devotion for the saint. The craquelure the painting contributes to enhance the charm of this great Spanish masterpiece. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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After Jean-Baptiste Wicar, Procession, c. 1800

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Description: Steel engraving, hand-colored, in passe-partoutOrigin unknown, circa 1800After Jean-Baptiste Wicar (1762-1834) – French painterImaging of a procession, led by an angelNumbered top right ‘Tab. XIII’The reverse of the frame is sealedDimensions with frame: 38.5 x 65.3 cm (height x width)Good condition Condition: The lithograph is in good condition with normal signs of age. Some small dark spots show in the upper section above the motif. The passe-partout measures 18 x 46.2 cm (height x width). Overall dimensions with frame: 38.5 x 65.3 cm (height x width). (ggo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Miniature Portrait of a Man, France, c. 1800. Marked Greuze

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Description: Auction announcements 16th January 2017 Lot 45: This work is a copy after a painting by Jean-Baptiste Greuze. Gouache, passe-partout, gilt, wood, giltMarked J. B. GreuzeAt the bottom on the right on the bowl marked ‘J. B. Greuze’Jean-Baptiste Greuze (* 21. August 1725 in Tournus (Saône-et-Seine); † 21. März 1805 in Paris)Oval breast portrait of a man, who holds a bowlFramed in gilt frame with a gilt passe-partoutDimensions of the frame: 13.3 x 11.1 cm Condition:The miniature is in good condition. The frame was presumably renewed. (ala) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Portrait Conradin von Hohenstaufen, Oil on Wood, Germany, c. 1800

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Description: Oil on woodGermany, c. 1800Inscribed ‘Kauser Konradion der hohen Staufer’Dimensions: 77 x 50.7 cmPortrait of the crowned Conradin von Hohenstaufen (1252-1268) with scepter and sword Conradin von Hohenstaufen (1252-1268) was the last legitimate male heir of the Staufen dynasty, Duke of Swabia, King of Jerusalem and King of Sicily.Condition:The painting has two vertical restored tears. Some scattered small color chips are visible. In the pupils and in the lower right in the gown are retouches. The dimensions of the wooden panel are 77 x 50.7 cm. (tm) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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John H. Mortimer, Follower, Landscape with Banditti, c. 1800

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Description: Oil on canvas, relined England, c. 1800Follower of John Hamilton Mortimer (1740-1779) – English painter, draftsman and etcher One piece inscribed lower right ‘J. H. MORTIMER’ Dimensions: each 30.5 x 25.5 cmFrame: each 56.5 x 51.5 cm Good condition An almost identical, but slightly larger composition with a standard bearer, a man with a headscarf and a seated man dressed with an armor is part of the collection of the Tate, London, and has also been painted in the manner of John H. Mortimer  Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. Condition:Both paintings are in good condition, consistent with age. The canvases are relined and covered with narrow strips of paper along the edges. The paint surface has evenly spread craquelure – inspection under UV light reveals areas of retouching, especially to the mentioned parts. Moreover, there are further retouchings to the edges and some small parts within the depiction. The stretchers measure 30.5 x 25.5 cm and the frames 56.5 x 51.5 cm.John Hamilton Mortimer (1740-1779)Born in Eastbourne, Sussex, John Hamilton Mortimer received his artistic training under Thomas Hudson (1701-1779). He was closely associated with the Society of Artists of Great Britain, whose president he became in 1774. His oeuvre includes portraits, decorative interiors, book illustrations, and especially historical pictures. His picturesque compositions with bandits were very popular in the artist's lifetime and made him a follower of Salvator Rosa (1615-1673). (cbo)     Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Johann Christoph Erhard, Wood Collector with Boy, Etching, 1817

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Description: Etching on wove paper (watermark)Germany, 1817Johann Christoph Erhard (1795-1822) – German draughtsman, etcher, graphic artist and lithographerSigned and dated ‘JC Erhard fec. 1817’ as well as inscribed ‘Wien bei Ferd. Kettner No. 2‘Verso with handwritten inscriptions in pencilPublished by Ferdinand Kettner, WienLiterature: Aloys Apell, Das Werk von Johann Christoph Erhard – Maler und Radierer, Dresden 1866, p. 60, no. 83Plate dimensions: 16.6 x 21 cm; Sheet dimensions: 19.2 x 23.7 cmPasse-partout: 39 x 42.7 cmGood condition, consistent with ageFrom the two-part series Die Großen Landschaften mit den Betsäulen, which comprised two views of the area around Schneeberg Condition:The etching is mounted to a mat at the upper edge and is altogether in a good condition consistent with age and bearing usual signs of wear. The sheet with several foxing spots – particularly along the edges – as well as with faint surface dirt and partially barely visible handling creases. The plate size is 16.6 x 21 cm, the sheet measures 19.2 x 23.7 cm. The size of the passe-partout is 39 x 42.7 cm. (nlu) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Isidore Péan Du Pavillon, Portrait of a Lady, Oil, 1818

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Description: Oil on canvas, relinedIsidore Péan Du Pavillon (1790-1856) – French painterSigned 'IP. Dupavillon', inscribed and dated '1818' lower left Dimensions: 74 x 57.8 cmGilt stucco frame: 87 x 70 cmProvenance: Private collection, Baltic statesPortrait of a lady with a white feathers headdress Condition: The painting is in good condition consistent with the age. Obvious craquelé can be seen affecting the background of the painting. There are areas with scuffing due to the frame along the upper edges and corners of the canvas. The painting has been skillfully repaired. The figure has been carefully retouched. The overall impression is good. The frame shows traces of usage such as small tears. Loss of color, resp. loss of material is affecting the left and the upper edge. Isidore Péan Du Pavillon (1790-1856) Isidore Péan Du Pavillon was a portrait and history painter of the first half of the 19th century and lived in Paris. He was a pupil of Jacques-Louis David. He exhibited his works at the Pariser Salon from 1814-34. Works of Du Pavillon were collected in the museums of Nantes and Versailles. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Burchard Giesewell, Genre Scene with Interior, c. 1820

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Description: Oil on canvasGermany, c. 1820Burchard Giesewell (1785-1856) – German genre painterSigned lower left and inscribed ‘Hannover‘Verso with artist address and remnants of an old labelGold frameStretcher frame: 40 x 34 cmVery good conditionRef.: Dr. Alheidis von Rohr, Burchhard Giesewell. Ein Schüler Johann Heinrich Rambergs, in Weltkunst no.10, 1998 The German artist Burchard Giesewell created this oil painting around 1820. It presumably depicts a scene from ‘Fabeln und Erzählungen für Kinder und junge Leute...‘ by Johann Jakob Ebert, a book that the artist may have been familiar with. Giesewell was disciple of Ramberg and the most famous genre painter in the mid 19th century in Hannover. Apart from this picture, there is only one signed work verifiable. The work is signed lower left and inscribed ‘Hannover‘. It is in very good condition showing only minimal signs of age. The frame displays minimal traces of wear. The stretcher frame measures 40 x 34 cm and the overall dimensions are 48.5 x 43 cm. (eli) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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