An oval box, lacquered tortoiseshell, gold and silver rings, cover with ivory miniature "Portrait of a lady", European, 18th/19th C., signs of use, faults, unmarked rims, pursuant to Decreto-Lei no 120/2017, of 15 September - art. 2, no. 2, subparagraph c). Notes: This lot is subject to CITES export/import restrictions and is duly certified: nº 22PTLX0930C. Cabral Moncada Leilões warns that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - 3,5 x 6,8 x 4,8 cm This lot is subject to CITES export/import restrictions and is duly certified: nº 22PTLX0930C. Cabral Moncada Leilões warns that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries concerned.
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Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.
Lombard school of the late 16th century."Christ".Oil on copper.It presents faults and restorations.Background with 18th century repainting.Measurements: 32 x 24,5 cm; 50 x 44 cm (frame).In this devotional image painted in oil on copper the face of Christ is represented. Jesus looks directly at the spectator with a serious and emphatic gesture, but at the same time serene and calm, personifying himself as Redeemer and Saviour. This portrait derives from the iconography of the Holy Face, which has its origins in the episode that occurred during the Passion of Christ, when on the way to Calvary a woman took off her veil to wipe the face of the Messiah with it. The image of the face of Jesus Christ was imprinted on the linen handkerchief, and it was miraculously preserved through the centuries and became an object of worship. The woman would later be called Veronica, whose etymology derives from the Latin "verum" (true) and the Greek "eikon" (image). The Holy Face is one of the most famous relics of Christianity, first described in 1137.
Creamware Orangist plate decorated with orange apples, in the center a portrait of Prince Willem V No. 6 and Text: "I saw put orange above ",late 18th. Century, pottery made in Leeds England, decoration probably John Turner Delft (1738-1786), diam. 24,5 cm.Creamware Orangisten bordje gedecoreerd met appeltjes van oranje in de rand ) in het midden portret van Prins Willem V No. 6, en tekst :"daar zag ik doe Oranje boven", eind 18e eeuw, aardewerk gemaakt in Leeds, Engeland, beschildering mogelijk beschildering John Turner Delft (1738-1786), diam. 24,5 cm.
ADAMI, VALERIO (1935), sig. b.r. "Catullo Voyage en Italie", dat. 1980, figurative portrait of the poet Gaius Valerius Catullus ca. 84 BC. silkscreen, 57/60, 77 x 57 cm. Frame and glass slightly damaged. Provenance: corporate collection of LeasePlan CorporationADAMI, VALERIO (1935), ges. r.o. "Catullo Voyage en Italie", gedat. 1980, figuratief portret van de dichter Gaius Valerius Catullus ca. 84 v. Chr. zeefdruk, 57/60, 77 x 57 cm. Lijst en glas licht beschadigd. Herkomst: Bedrijfscollectie LeasePlan Corporation.
Creamware Orangist plate decorated with orange apples, in the center a portrait of Prince Willem V and P.V.O.R. (Prins van Oranje), late 18th. Century, pottery made in Leeds England, decoration probably John Turner Delft (1738-1786), diam. 24,5 cm. (painting partly damaged)Creamware Orangisten bordje gedecoreerd met appeltjes van oranje in het midden portret van Prins Willem V en P.V.O.R. (Prins van Oranje), eind 18e eeuw, aardewerk gemaakt in Leeds, Engeland, beschildering mogelijk beschildering John Turner Delft (1738-1786), diam. 24,5 cm. (beschilderij gedeeltelijk beschadigd)
NIEWEG JAAP (1877-1956), sign. m.l., Portrait of a lady, canvas 65 x 50 cm. The influence of Vincent van Gogh is clear in this portrait, it is very simulair to the portraits Van Gogh made of Madame Jeanne Lafuye Traduc (hole in canvas)NIEWEG JAAP (1877-1956), ges. m.l., Portret van dame, doek 65 x 50 cm. Bij dit portret is de invloed van Vincent van Gogh duidelijk, het lijkt erg op de portretten die van Gogh maakte van Madame Jeanne Lafuye Traduc. (gaatje in doek)
PISSARRO LUDOVIC-RODO (1878-1952), monogram l.r., Jeune Femme de Profil, portrait of female figere, pastel and charcoal on paper 65 x 50 cm. Provenance: Stern Art-Dealers London 1996PISSARRO LUDOVIC-RODO (1878-1952), gemon r.o., Jeune Femme de Provil, portret van dame en profile, pastel en krijt op papier 65 x 40 cm. Herkomst; Stern Art-Dealer Londen 1996
Creamware Orangist plate decorated with orange apples, in the center Text: PVOR (Prins van Oranje), N3 and a portrait of Prince Willem V and Princess Frederika Sophie Wilhelmina van Pruisen, late 18th. Century, pottery made in Leeds England, decoration probably John Turner Delft (1738-1786), diam. 24,5 cm. (scratches)Creamware Orangisten bordje gedecoreerd met appeltjes van oranje in de rand en in het midden de tekst PVOR (Prins van Oranje), N 3 en portret van Prins Willem V en Prinses Frederika Sophie Wilhelmina van Pruisen, eind 18e eeuw, aardewerk gemaakt in Leeds, Engeland, beschildering mogelijk beschildering John Turner Delft (1738-1786), diam. 24,5 cm. (krasjes)
Creamware Orangist plate decorated with orange apples, in the center a portrait of Prince Willem V No. 5 and Text: "with reverence as I had to praise God",late 18th. Century, pottery made in Leeds England, decoration probably John Turner Delft (1738-1786), diam. 24,5 cm.Creamware Orangisten bordje gedecoreerd met appeltjes van oranje in de rand ) in het middenportret van Prins Willem V No. 5, en tekst :"met eerbied daar ik God moest loven", eind 18e eeuw, aardewerk gemaakt in Leeds, Engeland, beschildering mogelijk beschildering John Turner Delft (1738-1786), diam. 24,5 cm.
LODE DE LEEDE THEO (1934-2004), sig. l.r. dat. 1998, Nude portrait, photo, 28 x 39 cm.LODE DE LEEDE THEO (1934-2004), ges. l.o. gedat. 19 Naakt van dame op vloer, foto, 28 x 39 cm. Lode de Leede, geboren op kerstdag, kwam pas op latere leeftijd in contact met de fotografie. Aanvankelijk maakte hij reis- en kunstreportages in kleur maar allengs werd hij gegrepen door de meer expressieve mogelijkheden van de zwart-wit fotografie. Hij was gespecialiseerd in naaktfotografie. Op latere leeftijd kreeg hij te kampen met een sterk afnemend gezichtsvermogen. Quote: Men vraagt wel eens: 'Wat was nou je mooiste foto?' Antwoord: 'Mijn laatste!'
MILICH ADOLPHE (1884-1964), sign. and dated. '42 l.r., Portrait of lady, canvas 71 x 58 cm. Provenance: 2000 Besch HOTEL MARTINEZ, Cannes, France, pag. 17MILICH ADOLPHE (1884-1964), ges. en gedat. '42 r.o., Portret van dame met hoge kraag, doek 71 x 58 cm. Herkomst: aangekocht 2000 bij Besch HOTEL MARTINEZ, Cannes, France catalogus, p. 17
Folio containing seven posters: signed 'Arnold Newman: Portrait Photographs, the Israel museum', limited edition (4/70) 50 x 87 cm; Nicolas de Stael - Tate Gallery 7 October - 29 November 1981; Joan Miro - 'Homenatge A Pillar Juncosa', 1999-2000; 'Cry In The Wind' film poster; 1932 Royal Academy of Arts - 'Exhibition of French Art' poster; Hartlepool 'Rovers Vs North Durham' Rugby Union poster; 1934 'LMS - Sail Gourock to Dunoon' poster (7)
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281967 item(s)/page