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van Eyck, Veronica, 1936 München - 2001 Ivrea/Italien: Studie zu Bronzeskulptur "Vogel", 1961Kohlestift auf Papier, rechts unten signiert & datiert 1961, verso auf Etikett bez., betitelt, datiert u. mit Verweis auf den ital. Besitzer der Bronze, hinter Glas im Passepartout gerahmt, ungeöffnet, Galerierahmen. Bildfläche ca. 59,5 x 40,5 cm, das chamoisfarbene Papier leicht gedunkelt, Z1-2.

BOOKS, ART. North European Renaissance painting. A superb group of high quality books. Mainly Netherlandish: Van der Weyden, Breughel, Van Eyck etc.

A SMALL QUANTITY OF PICTURES AND PRINTS , to include two Robert Van Eyck abstract compositions on acetate sheets, both with Brook Street Gallery labels verso dated 1963, largest approximately 67cm x 84cm, an unframed Davina Nichols abstract composition, signed bottom left, approximate size 40cm x 50cm, a George Deakin sunset maritime study, signed and dated 1972, a Helen Purcell colourful abstract composition on box canvas, a G. Crossan monochrome abstract composition, A Thomas Simm landscape with church signed and dated 1971, a late 19th century oil on canvas landscape signed Lucy ?, unsigned painting on glass etc (11)

Peter Van Eyck (1911-1969), actor A vintage signed 10x75 inch photo, as Hafner in a scene from the war film The Impostor (1944) His best known roles included The Wages of Fear (1953), Mr Arkadin (1955), The Longest Day (1962), The Spy Who Came In from the Cold (1965) and the 1960s Dr Mabuse films. 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

Martebs (Maximiliaan, editor). Van Eyck An Optical Revolution, 1st edition, Ghent: Hannibal, 2020, numerous colour and monochrome illustrations, original cloth in dust jackets, large 4to, together with; Henry (Françoise), The book of Kells, facsimile edition, London: Thames and Hudson, 1974, 126 colour plates and 75 monochrome illustrations, original gilt decorated cloth with slipcase, folio, plus Sauerländer (Willibald), Gothic Sculpture in France 1140-1270, 1st edition, London: Thames and Hudson, 1972, numerous monochrome illustrations, some minor marginal toning, original cloth in dust jacket, lightly rubbed to head and foot, large 4to and 16 other volumes of medieval art reference and related mostly original cloth in dust jackets, some original cloth, some original wrappers, folio/ large 8vo VGQTY: (25)

A collection of Art Historic al and Culture reference books including Matisse, Constable, Titian, 'Leonardo's Notebooks', 'The Oxford Companion to Art', Eric Ravilious, 'Neue Sachlichkeit and German realism of the Twenties': Arts Council 1978, Jan Van Eyck, Byzantine Art, Fine Art Auction compilations: Philips, Sotheby Parke Bernet etc. (3 trays)

Two framed Arundel Society prints including a diptych of the Annunciation after Stefan Lochner; together with a carved a wooden panel depicting Christ; and with five further unframed Arundel Society prints after Van Eyck, Memling etc (8)

A large quantity of vintage, black and white promotional stills for various film stars and movies. 8" x 10" stills include HUMPHREY BOGART, RICHARD ATTENBOROUGH, SHIRLEY EATON, PETER VAN EYCK, HAYLEY MILLS, larger format pictures from the Daily Graphic featuring candid photos of James Stewart, (100+)

VERONICA VAN EYCK1936 München - 2001 Ivrea, ItalienKUBISCHE HÄUSER Bronze, dunkelbraun patiniert. H. 11 cm, Gew. 1 kg. Seitlich signiert 'EYCK'. Part. min. ber., part. mit Oxidationsspuren.

After Rogier Van der Weyden (Dutch d.1464). The Magdalen Reading, watercolour, 59cm x 52cm, together with further amateur reproductions of classical works, comprising After Jan Van Eyck. The Annunciation, watercolour, After John William Waterhouse. Cave of the Storm watercolour and associated print, After John William Waterhouse, Ophelia, watercolour and associated print, and After John William Waterhouse, The Danaides, watercolour. (7)

Prestel, Johann Gottlieb: (1739 Grönenbach - Frankfurt a.M. 1808). S(an)c(tu)s Bartholomeus, ...Jacobus maior, ...Johannes euangelista, ... Matheus evan.ta, Sanctus Andreas. 5 Kupferstiche in Braun auf Bütten nach einem Meister der Schule Jan van Eycks (1779). Je ca. 21,5 x 15 cm. Aus Le Blanc 47-52. Nagler 107. - Aus dem "Praunschen Kabinett" nach früher Israhel van Meckenem zugeschriebenen Zeichnungen nach van Eyck in der Albertina in Wien. - Auf Einfassungslinie beschnitten. Etw. gebräunt u. tls. fleckig, 2 Bl. wasserrandig, 1 Bl. verso tintenfleckig, Montierreste verso. - 2 Bl. mit nicht bestimmtem Stempel (G ?) verso. R

Robert Floris Van Eyck, a tryptych of abstract forms, oil on board.

Kelmscott Press - William Morris. Gothic Architecture. A Lecture for the Arts and Crafts Exhibition Society. Hammersmith 1893. Mit ornamentierten Initialen. Moderner dunkelbrauner Lederband mit vergoldeten Titeln.Eins von 45 Exemplaren auf Pergament neben der allgemeinen Auflage von erstaunlichen 1500 Exemplaren. - Eines der wenigen Pergamentexemplare, bei denen der Druckfehler »van Eyk« (statt »van Eyck«) noch nicht korrigiert wurde. - Das erste Buch, das Morris im Sedezformat druckte. Auch die vierzeiligen Initialen wurden hier erstmals verwendete. Die wenigen Pergamentexemplare kosteten das Fünf- bis Siebenfache der Büttenausgabe. - Gesetzt aus der Golden Type. - William Morris hatte seinen Vortrag zuerst 1889 anlässlich einer Arts & Crafts-Ausstellung in der »New Gallery« gehalten. Zu der Folgeausstellung 1893 erschien der Aufsatz dann in bibliophilem Gewand. - Vorblatt mit Widmung »To Jo Knight all good wishes for 1898 from Henry Cuthum [?]«. - Die lebenden Kolumnentitel in Rot gedruckt. - Seitenränder unbeschnitten, teils unaufgeschnitten. - Der Deckeltitel in Gold wurde nach der Typographie des Titels und Originaleinbandes gesetzt. - Im Schuber mit Lederkapitalen.14,8 : 10,5 cm. 4 leere Blätter, [2], 68 Seiten, 3 leere Blätter.Peterson A 18. - Tomkinson 112, 18. -

Dutch, Flemish and German Old Masters Art Reference: a large collection of books relating to Dutch, Flemish and German art and artists, to include: Charles de Tolnay, Jerome Bosch, Paris: Robert Laffont, 1967, and various others, mainly monographs on various artists including Rembrandt, Van Eyck, Frans Hals, Vermeer, Cranach (qty) 

Robert Ixer. Seascape, acrylic on velvet, 43cm x 61cm, together with various prints and original works of art, after Johannes Van Eyck, The Portrait of Giovanni Arnolfini and his wife, floral still life, study of a tiger, steam locomotive, garden scenes, etc. (a quantity)

After Rogier Weyden. The Magdalen Reading, watercolour, 59cm x 52cm, together with further amateur reproductions of classical works, comprising After Jan Van Eyck. The Annunciation, watercolour, After John William Waterhouse. Cave of the Storm watercolour and associated print, After John William Waterhouse, Ophelia, watercolour and associated print, and After John William Waterhouse, The Danaides, watercolour. (7)

ERENS, F. Dansen en rhytmen. Amst., (1893). (4), 135 pp. Ocl., front cover des. by Isaac Israels, spine lettered in gilt. (Faint stain on back cover). First edition and in very fine condition. Braches, Bouwstoffen 646. -- Id. Berbke. Palladium, 1923. Owrps. (Bottom of spine a bit dam.). -- A. VERWEY. Het eigen rijk. 's-Grav., De Zilverdistel, 1912. 144 pp. 4°. Or. simili vellum limp wrps., uncut. (Covers browned/foxed). -- J. PERK. Gedichten. M. voorreden v. C. Vosmaer & inl. v. W. Kloos. Sneek, H. Pijttersen, 1882. W. mounted photogr. front.-portr. of the author. Sm-8°. Or. gilt dec. cl. w. top edge gilt. -- J.H. LEOPOLD. Nabetrachtingen van een concertganger. (Verzorgd d. P.N. v. Eyck). Rott., 1900. First ed. Printed in 500 copies. -- (5).

MERCATORFONDS -- DHANENS, E. Hugo van der Goes. - Id. Hubert en Jan van Eyck. - D. de VOS. Rogier van der Weyden. - Id. Hans Memling. - B. CLAESSENS & J. ROUSSEAU. Onze Bruegel. - A. CHÂTELET. Robert Campin, de meester van Flémalle. - H.J. v. MIEGROET. Gerard David. - Antw., Mercatorfonds, (1975-99). 7 vols. Prof. ill. Fol. Ocl. w. dust-j. In or. slipcases. -- And 3 o. (10).

STRADANUS, Giovanni (Jan v.d. Straet), (1523-1605). "Nova reperta". N.d. (c. 1600). 205 x 267 mm (plate size). -- Id. "Color olivi". N.d. (c. 1600). 205 x 270 mm (plate size). (Cut close to/on plate edge, hinged to mount). -- Id. "Hyacum, et lues venerea". N.d., Ph. Galle, (c. 1600). 200 x 268 mm (plate size). (Margins cut, but ample, later colouring). -- 3 plates from the series 'Nova reperta', engr. by Jan Collaert II w. captions in the plates. NOTE: Ad 1: Title-page of the series 'Nova reperta' on which 9 important 'inventions' are being announced. First state (of 6). Ad 2: Fourteenth plate of the series: the painter Van Eyck working in his studio. Stradanus saw Van Eyck as the inventor of oil painting. Ad 3: Sixth plate of the series: the discovery of Guaiacum as a remedy against syphilis. - New Hollstein, Stradanus, 322; 328 and 336.

(EYCK, J. v.). Corte beschrijvinghe mitsgaders hantvesten, privilegien, costumen ende ordonnantien vanden Lande van Zuyt-Hollandt. Dordr., N. Vincentsz. v. Spierincxhouck, 1628. (24), 450, (6) pp. W. fine engr. front. by W. Hondius after A. v. Venne, woodcut printer's mark on ti. & num. woodcut text-ills. 4°. Cont. mottled cf. w. raised bands, dec. gilt back, gilt centerpiece on both sides, surrounded by 2 richly dec. gilt borders, w. mottled edges. (Upper joint split, name entry on ti., sl. yellowed). NOTE: Haitsma Mulier/v.d. Lem 161a; Nijhoff/v. Hattum 92.

DRUKWERK IN DE MARGE -- KLOOIEN MET LETTERS a.k.a. Rammen maar! Voor Jan Keijser. (N.pl., n.publ.), 2000. Comprising 58 (incl. introd.) contributions by various Dutch private presses, loosely inserted in ocl. dropback box (32 x 20 x 6 cm.) by H. v.d. Kruijk. -- DAT DOEN WE TOCH EVEN. Voor Jan Keijser. (N.pl., n.publ.), 1990. Comprising 17 contributions by various Dutch private presses, loosely inserted in ocl. dropback box (32 x 20 x 3 cm.) by J. Hassink. (Box partly a bit faded). -- (2). NOTE: Ad 1: Published on occasion of Jan Keijser's 60th birthday. Contains contributions by i.a. Alex Barbaix (Pastei), Hans van Eyck (In de Bonnefant), Piet Jacobs (Priegelpers), Jan de Jong (De Buitenkant), Ger Kleis (Sub Signo Libelli), Rob Over de Linden (Ovira Linda), Kees Thomassen (De Uitvreter), Ser J.L. Prop and Jaap Schipper (Statenhofpers). - Printed in 75 copies. Ad 2: Published on occasion of Jan Keijser's 50th birthday. - Printed in 21 copies.

Robert Floris Van Eyck (1916-1991) Dutch, A tryptic of abstract forms, oils on board, all signed verso, two are 47.5" x 36", (201x91.5cm) one is 36" x 47.5", (91.5x201cm) (3).

Art. Famous Artist Monographs. Includes: Murillo; Van Eyck; Tiepolo; Hans Memling; etc. Hardbacks in dust jackets. (11)

(Dutch East India Company) VOC Fourteen works van der Pijl-Ketel, C.L. (1977) The Ceramic load of the Witte Leeuw (White Lion). 1st edn. AmsterdamRijks Museum, Amsterdam; Bax, Alan and Gill, Jim. (1968) Liefde VOC. research paper with photographs. Unknown imprint; Collectie Flonk VOC - Terschelling (no date). Terschelling; Gawronski, J.H. (1986) Amsterdam Project - annual report of the VOC ship Amsterdam Foundation. Amsterdam; Stanbury, Myra (1974) Batavia Catalogue. Western Australia Museum, Perth, W.A; Pol, Arent (no date) Shipments of money to the Far East in Dutch East Indiamen - 1720 to 1740. 1st edn. Penningkunde: Rijks Museum; Pol, Arent (no date) Shipments of money to the Far East in Dutch East Indiamen - 1720 to 1740. 1st edn. Penningkunde: Rijks Museum; Hildred, Alexander (2001) Anniversary Shipwreck Project - 2 July - August 2000 - Report on the Excavation of the Dutch East Indiaman Vliegent Hart. Stedelijk Museum, Vlissingen; Prijs Der Zee - Vondsten uit wrakken van OostIndievaarders - Artefacts recovered from the wreck of the Dutch VOC ship - Vliegenthart (Flying Hart) 1735 (11980). Rijksmuseum, Amsterdam; Eyck van Heslinga, E.S. van (1988) Van compagnie naar koopvaardij: de scheepvaartverbinding van de Bataafse Republiek met de koloniën in Azië 1795 - 1806. Amsterdam: De Bataafsche Leeuw (Hollandse historische reeks, 9); Levie, John (1990) The Vliegend Hart - the sunken treasures of a Dutch East Indiaman. 1st edn. London; Baehr, S. (1995) Wracktauchen in der Ostsee: westliche Ostsee und Kleiner Belt. Hamburg: Jahr; Ernie "SeaScribe" Richards. (2008) Sjipwrecks and Their Coins: Volume 4 - The 1740 Dutch East Indiaman "Rooswijk". Signed. West Palm Beach, EN RADA Publications; Hackman, R. (2001) Ships of the East India Company. 1st edn. Gravesend: World Ship Society. (14)

A collection of thirteen Arundel Society chromolithographs To include fine examples after Holbein, Luini, Botticelli, Van Eyck, Raphael, Memling and others,various sizes, unframed

A varied collection of 37 art books on European and Asian arts1. Jean Cocteau poesie graphique2. Toulouse Lautrec au cirque - Jean Sagne3. Hippolyte Daeye - Genese d'une peinture - Bernadette De Visscher D'Haeye4. Arts Visioneries Getlin - Howard 5. Hockney - The joy of nature Van Gogh Hans den Hartog6. Desmond Morris Analytical Catalogue Raisonne - S.LEVY 7. Berrocal - Jean-Louis Ferrier8. Fernando Botero peintures 1959-2015 - Chiappini9. Artistes pompiers: French Academic Art in the 19th Century - Harding10. Toulouse-Lautrec galeries nationale 199211. Kubisme - P. Cabanne12. Otto Howen - Biografie en catalogus - Een generaal tekent Nederland13. Van Dyck - Brown/Vlieghe14. L'Adoration de l'agneau mystique de J.Van Eyck - Valentin Denis, Ricordi Milano, 196315. Emile Claus en het landleven Johan De Smet Museum schone kunsten Gent16. Octave Landuyt - Emile Langui17. Permeke - Willy Van Den Bussche18. Maurice Vlaminck - Verzeichnis des graphisches Werkes - Katalin Von Walterskirchen19. Maurice Vlaminck - Genevoix (Fr)20. Rik Wouters - Willy Van Den Bussche21. De Dendermondse schildersschool - Jean-Pierre De Bruyn22. Pierre Alechinsky - Pierre Abadie and Willy Van Den Bussche23. Ensor - Robert Delevoy24. Michel Folon - Vandenbroecke and Van Nieuwenhove25. Dictionnaire de la peinture26. Sam Dillemans - Michel Laclotte, J. Thompson China and Japan:1. Fumihiko Otsuki - Daigonkai2. Samurai - Kozyreff 19843. Yuh Yu Etemble Erotisme dans la Chine l'ancienne, 19694 .L'empire interdit Tuymans - Hui5. Fine Japonese art, Bonhams, 20156. L'Estampe japonaise - FAHR - Taschen7. Netsuke, Bushell Collection, L.A. County museum of art8. Noritake A to Z - David Spain9. Noritake A to Z - David Spain10. Obras Primas de Ceramica Japonese - Museu Nacional de Soares de Reis (Port-Eng)11. The Silk Road Art and History - J.Tucker, A.Tozer

Art Books - Chagall, by Jacob Baal-Teshuva, published by Taschen; Van Eyck, by Elisabeth Dhanens; Courtauld Instistute Galleries; Louvre; Renoir; Van Gogh; etc, qty.

Man Ray (American, 1890-1976), Natural Painting, signed l.r., circa 1960, acrylic/masonite, 'Panneau Van Eyck 4F' label verso, 31 by 22cm, red painted frameProvenance: gifted by the artist to the current vendor's grandmother, Jacqueline Goddard, nee Barsotti (1911-2003) the free-spirited model to Man Ray.Note: Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work under reference 00448-P-2024 and that this work will be included in the Catalogue of Paintings of Man Ray, currently in preparation. Lot Essay: The surrealist protagonist Man Ray began a new series of experimental paintings, from the 1950s, which involved squeezing paint directly from the tube onto the visual surface, in a random manner, similar in this first instance to his contemporaries in New York such as Jackson Pollock. However, after the application of the paint, another board surface would be applied and removed to create a stippled effect. The paintings known as his Natural Paintings, followed the surrealist principles of painting without the constraints of calculation or self consciousness, differing from the paintings of Oscar Dominguez in 1936 and Max Ernst in the 1940s, which used the same technique, but in a calculated and representative manner. In his autobiography Man Ray expressed: “By spreading the colors according to the impulse of the moment, I abandoned brushes and palette knives, and applied pressure with other surfaces, withdrawing them to produce a variation of the Rorschach test. The results were astonishing, with details that could have been obtained only through long and meticulous labor by hand.” He continued to experiment with these paintings right through to 1971 and the works often appear in brightly painted frames such as this one.

Original vintage London Transport Art Collection poster - A Tribute to a Master Femme Bien Informee / Knowledgeable Woman - featuring a colourful Pablo Picasso inspired design by Harry Stevens (1919-2008) depicting a smiling lady wearing a hat adorned with fruit and holding a brochure of Museums and Art Galleries In and Near London with the London Underground roundel on it, admiring famous paintings from the collection at The National Gallery (founded 1824) on the walls behind her including The Arnolfini Portrait by Jan van Eyck (1434), The Fighting Temeraire by Joseph Mallord William Turner (1839), Venice The Basin of San Marco on Ascension Day by Canaletto (1740) and Le Chapeau de Paille / Portrait of Susanna Lunden by Peter Paul Rubens (c.1622). Printed by C.J Petyt Ltd. Good condition, creasing, tears, paper skimming. Country of issue: UK, designer: Harry Stevens, size (cm): 102x64.5, year of printing: 1972.

After Archibald Thorburn FZS (1860-1935)Snipe drummingSigned in pencil, a black and white reproduction, together with a further monochromatic lithograph depicting a loaded cart and horses, R. Houston after T. Spencer, a coloured engraving portrait of George Henry Lord Scott, five prints after Robert Hills depicting stags and deer in landscape (contained in three frames), Fillocul after Paterre, "Les plaisirs de la jeunesse", coloured prints after Jan van Eyck, and miscellaneous further prints, etc, 29cm by 18cm and various other sizes (a collection)

Ineke van Dijk zugeschr., Frau und Mann, BronzeplastikMaria Antoinetta „Ineke“ van Dijk, zugeschr. 1940 Gouda - lebt und arbeitet in Laren, niederländische Bildhauerin, hier: Frau und Mann in inniger Verbundenheit, Bronze mit schwarzbrauner Patina, H 30 x 14 x 13 cm, beigelegt eine Abb. ihrer Plastik "Verbonden", die die gleichen stilistischen Merkmale, wie z.B. die markanten, kubisch reduzierten Köpfe besitzt. Zur Künstlerin: Ineke van Dijk studierte von 1956 bis 1961 an der „Academie voor Beeldende Kunsten Rotterdam“ (heutiger Name Willem de Kooning Academie) und danach bis 1962 an der Jan van Eyck Academie in Maastricht bei Fred Carasso. Als Bildhauerin fertigt sie Kleinskulpturen, freistehende Figuren und Statuengruppen aus Bronze, Schamotte und Beton. Im Laufe der Jahre spezialisierte sie sich auf Tier- und Menschenfiguren. Sie ist Mitglied des Kunstzentrums Burgvliet in Gouda, der Zuid-Hollandse Beeldhouwers in Wassenaar und seit 1991 im Culturele Raad Zuid-Holland in Den Haag.

Oil on board. Later copy of the work of the same name by Jan van Eyck, now in the Groeninge Museum in Bruges. Size: 40.5 x 57.5 cm; Size with Frame: 57.8 x 75.5 cm

Reindeer Werk (RW) was a performative art duo consisting of the British artists Thom Puckey and Dirk Larsen, who manifested their work on an international scale between 1973 and 1981. Comprises: (1) Behavourial Art, Galeria Remont, Warsaw. Stunning artists' book/catalogue, 10 pp. with a diagonal handmade cut through the pages (as issued). Text in Polish and English. Super rare, mint copy. (2) Soft Eggs Dread. Brummense Uitgeverij van Luxe Werkjes, 1976. Artists' book, limited edition of 83, with handwritten calligraphy and documentation of a performance in Galerie St. Petri, Sweden. Mint. (3) RW card catalogue issued for Documenta 6, 1977. Limited edition of 100 copies, signed by Larsen, with several original text and stamp additions. In original plastic bag. (4) Performance Art. New Reform, Aalst, 1977. Handmade corrugated covers, 32 pp. Includes a section on RW, with inserted poster of a Behaviour action. (5) Artzien Vol.1 No.1, 1978. Includes text and photo of RW's 'Prediction' at De Appel, Amsterdam. (6) On Performance, 1979, 36 pp. Xeroxed booklet documenting a Performance Meeting in Hannover organized by Hoffmann and Winschetti, with contribution by RW. Rare limited edition of 50 copies. (7) RW Associates, Heute Vandaag, 1979. Folded tabloid, 12 pp., documenting the internationally travelling show 'Predictions'. (8) Heute Vandaag 2, 1980. Published by the Jan van Eyck Academy Maastricht, 32 pp. (9) A Prediction: 5 Days & Nights at De Appel. Amsterdam, De Appel, 1980. Artists' book featuring documentation of RW camping in the exhibition space, with invitation flyer for the show. (10) RW, The Prediction, 1980. Self-published artists' book, cover by Kwiek/Kulik, 23 pp. (11) Reindeer Werk, The second construction of the Arbliquelia'. Kunstakademie Dusseldorf, Beuys Studio, Feb. 2-6 1981. Tabloid, edition of 500. (12) The construction of the Arbliquelia' Reindeer Werk Calendar. Large year calender for 1981, bound by 2 metallic rings. Ephemera include: (13) Handwritten letter by Thom Puckey, 18 March 1979. (14) Seven announcement postcards, mostly handmade and with personal messages by RW. (15) Six flyer announcements for actions by RW Associates. Includes handwritten invite for a 'Living Prediction' at Werkstadt Odem Hannover in Dec. 1979, citing the following diet: Mandarines, Liver and Almonds. (16) Large poster RW, 1980. Announces a performance in Hannover in collaboration with Die Grünen, 'Bring a Sleeping-bag!!'. (17) Living Prediction-Cultural Battery, pamphlet by Puckey/ RW associates, June 1980, text in German and English. (total 28)

Claudio Giulianelli, "Lo vendo Maschere"Halbfigurenbildnis einer herrschaftlich im schulterfreien rosa Kleid gewandeten jungen Frau mit üppigem Kopfputz, einen Korb mit Masken in den Händen haltend, von einer maskierten Kasperpuppe beobachtet, vor weiter sonniger Landschaft, die aus Dantes "Göttlicher Komödie" entliehene Figur der Beatrice zieht sich wie ein "roter Faden" durch das vielschichtige philosophische Werk Giulianellis und transportiert anhand der beigefügten symbolischen Gegenstände die subtilen Zweifel, Innenansichten, Botschaften oder gar Visionen des Künstlers, gering pastose, phantastisch-symbolistische Malerei im freundlichen Kolorit, Öl auf Leinwand und Keilrahmen, rechts unten signiert "C. Giulianelli", rückseitig auf der Leinwand signiert, ortsbezeichnet, datiert und italienisch betitelt "Claudio Giulianelli, Corchiano 2023 »Lo vendo Maschere [dt. Ich verkaufe Masken]«", ungerahmt, Maße ca. 80 x 60 cm. Künstlerinfo: italienischer Maler, Philosoph und Chemiker (geboren 1956 in Rom), zunächst Studium zum Chemiker, autodidaktische Hinwendung zur Malerei, beeinflusst von Malern wie Hieronymus Bosch, Jan van Eyck, Pieter Bruegel der Ältere und Caravaggio sowie Dantes "Göttlicher Komödie", unternahm Studienreisen durch Europa, 1992 Umzug nach Corchiano, beschickte Ausstellungen in Italien, den USA, Großbritannien, China, Belgien und Schweden, 2017 Gründungsmitglied der "Mega Art Association and Gallery", Quelle: Homepage des Künstlers und Internet.

Van Eyck hardcover book, dustcover intact with minor wear markings. Small tear to top left corner front and rear dustcovers, spine and binding remain in good condition. Author Elisabeth Dhanens. Fair condition. ISBN: 0933516134

STREUVELS, S. Kerstwake. (1928). W. woodcuts by F. Masereel. Sm-4°. Owrps. First ed., limited to 200 numb. copies. -- H. TEIRLINCK. De man zonder lijf. 1927. W. 8 woodcuts by F. Masereel. Lge-8°. Ocl. (Spine a bit faded). -- ULENSPIEGHEL. Van Ule(n)spieghels leven (…). (1898). Sm-4°. Obrds. (Spine dam.). Fine facsimile of the only existing copy. -- Eug. BOSSCHAERTS. Het vroolijk leven van Tijl Uilenspiegel. 1935. W. 35 woodcuts by V. Stuyvaert in text. Lge-8°. Owrps. -- P. VOS. Metamorfosen. (2013). 4°-obl. Obrds. -- And 10 o. illustrated works by Charles Eyck, Cantré, Bodenheim, a.o. (15).

'Dutch painting from Van Eyck to Pieter Bruegel' folio and four other large German folios containing various colour prints of old master paintings each titled 67cm x 50cm (5)

Fine binding by Miss M. Marshall. WEALE (W H James) Hubert and John Van Eyck, their Life and Work, 1908, John Lane, 4to, illustrated, one of 400 copies, full brown morocco gilt signed 'M. Marshall' to rear turn in, the boards with Celtic style chain-link border framing a gilt tooled oval centre.*Miss Marshall was a noted binder and teacher at 5 Bloomsbury Square. She also worked with Sangorski and Sutcliffe and displayed some of her bindings at the 1903 / 1906 Arts & Crafts Exhibitions (Tidcombe 29, 171-2).

Leo Van Puyvelde. Van Eyck: The Holy Lamb, first English edition, translated from the French by Doris L. Wilton, numerous b/w and colour plates, original publishers cloth, dust jacket, folio, London: Collins, 1947; Ivan Gaskell and Michiel Jonker. Vermeer Studies, numerous b/w and coloured illustrations in text, original publishers cloth, dust jacket, 4to, London:: Yale University Press, 1998; Roger H. Marijnissen. Hieronymus Bosch: The Complete Works, numerous coloured plates and illustrations in text, original publishers cloth, dust jacket, folio, Antwerp: Tabard Press, 1987; Jonathan Brown. Velazquez: Painter and Courtier, numerous illustrations throughout, original publishers cloth, dust jacket, folio, London: Yale University Press, 1986; and 14 others, similar, mostly relating to Dutch and Spanish art, v.s. (18) Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.

A quantity of prints, comprising after Meindert Hobbema, woody landscape with water mill, 62cm x 83cm, after Leonardo da Vinci Ginevra de'Benci, 38cm x 36cm, after Jan Van Eyck, The Marriage of Giovanni Arnolfini and Giovanni Cenami, 65cm x 48cm, after Giovanni Belline, Madonna and child, 61cm x 47cm, after Joos van Cleve, Margaretha Boghe Wife of Joris W Vezeler, 58cm x 42cm, after Henry Connaught, Fishing Village, 45cm x 53cm, and after Cathelin, vase of flowers, 73cm x 44.5cm, each in white painted frame.

Jan Gossaert, gen. Mabuse (Schule) 1478 Maubeuge, Frankreich - 1532 Antwerpen, Belgien Bis heute ist nur wenig über das Frühwerk des niederländischen Malers Jan Gossaert (1478-1532) bekannt. Laut einem seiner Biografen Karel van Mander (1548-1606) stammt der Maler aus der kleinen Stadt Mabuse aus der Region Henegouwen. Bei seiner Einschreibung in der Gilde des heiligen Lucas in Antwerpen im Jahre 1503 gab sich der Künstler den Namen ''Mabuse'' - nach seiner Heimatstadt. Einer der berühmten Zeitgenossen des Malers Jan Mabuse war Lucas van Leyden (1494-1533), der im Vergleich zu Mabuse einen anderen Malstil besaß. Beeinflusst wurde Mabuse durch den großen, in Tournai und Brüssel tätigen Meister Rogier van der Weyden (1400-1464). Dies lässt sich vor allem durch seine Kompositionen und architektonischen Hintergründe in seinem Oeuvre erkennen. Das vorliegende Werk von Jan Gossaert (Mabuse) präsentiert ein sakrales Motiv: die Gottesmutter Maria und das Jesuskind, welches in der Zeit Renaissance unzählig von vielen Malern dargestellt wurde, auch im flämischen Kreis. Die Bildszene verweist zugleich auf ''Maria lactans'' - die stillende Gottesmutter Maria. Der Jesusknabe hält den sogenannten Reichsapfel, der die Herrschaft Christi über die Welt symbolisiert. Eben jenes Gemälde zeigt eine für flämische Maler etwas unkonventionelle Darstellungsweise. Der Maler stellt sein technisches Können allen voran durch die Kleidung Marias unter Beweis; sowohl die Textur und die prunkvollen Verzierungen, als auch das Schattenspiel des aufwendig inszenierten Faltenwurfes präsentieren seine meisterliche Ausarbeitung. Darüber hinaus dient ebenfalls die Architektur im Hintergrund diesem Zwecke. Zudem verweist er durch die malerische Umsetzung von Statuen zudem auf den Paragone Wettstreit und setzt sich selbst zum Ziel, die Malerei zum Gewinner zu küren. Die pompösen Verzierungen und die feinen Haare der Gottesmutter und dem Jesuskind bekräftigen die prächtige Wirkung der Bildszene. Dies lässt leicht an den Stil der italienischen Renaissance erinnern. Mabuse änderte offensichtlich den Lauf der flämischen Kunst, in dem traditionsreiche Maler wie Jan van Eyck hinter sich ließ und neue Wege betritt. Die gesamte Bildszene präsentiert zweifelslos aufgrund der technischen Ausführung eine anregende Darstellung Maria lactans. Dieses Werk von der Schule Jan Grossaert, alias Mabuse, das in Bezug auf die technische Ausarbeitung seines Gleichen sucht, wurde mit Öl auf einer massiven Holzplatte ausgearbeitet, aufgrund der minimalen Farbabplatzung fachgerecht restauriert und gerahmt. Die Rahmenspannung hat altersbedingt etwas nachgelassen. R. 47,5 x 43,5 cm, Bildmaße 30,5 x 26,5 cm. Öl auf Holzplatte, restauriert. R. 47,5 x 43,5 cm, Bildmaße 30,5 x 26,5 cm. Provenienz: Rheinische Privatsammlung.

Maurilio Minuzzi. Skizzen aus dem Werk des Jan van Eyck - Edition Volker Huber. Offenbach am Main 1987. Alle signiert, datiert (19)87 und nummeriert 5/50

A large chandelier, bronze, Gothic Revival. After the Gothic model used in the painting 'The Marriage of Giovanni Arnolfini - Jan Van Eyck'. Dimensions: (H:78 x D:71 cm)

Hendrik Hondius (1573-1650) - Portrait of Hubert van Eyck Portrait of Hubert van Eyck, sitting at a table turned to the left, facing left; wearing a fur hat, and a fur-trimmed cloak; a painter's palette on the wall behind him, three viewers on top. A portrait from the series Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies made and published by the Flemish born engraver Hendrik Hondius who moved to The Netherlands and established his own publishing business. The portrait dates from 1610 and goes bas go back to Domenicus Lampsonius' Pictorum Aliquot Celebrium Germaniae Inferioris Effigies, published by Hieronymus Cock's widow in 1572 and engraved by Cock, Johannes Wierix and Cornelis Cort. In many cases, Hondius elaborated the backgrounds. This is a first edition published by Hondius, a later edition was published in 1612and 1618 by Jansonius. 21,00 x 12,00 cm Excellent impression on watermarked laid paper, good plate tone and small margins. In top condition. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (82) --- Van Someren 1736 Etching 1610 280

Full title: A bronze 'lavabo' water bowl with women's heads on the handles, Flanders, 1st half 15th C.Description:L.: 33 cm - H.: 17 cm Provenance:- An old Dutch private collection. Our water bowl has an almost convex shape and a high outstanding collar. The handle attachments are female busts. The ends of the spouts are animal heads, obviously worn from frequent use. The water bowl belongs to the same type as the one that appears in a niche on the outer panels of 'The Adoration of the Mystic Lamb' by Hubert and Jan van Eyck, finished around 1432. (see added images) An interesting detail is that this water bowl has a conical lid. Another nearly identical water bowl can be seen on the central panel of the Merode altarpiece, made by Robert Campin between 1427 and 1432 and depicting the 'Annunciation'. (see added images) Like on the Ghent altarpiece, the water bowl hangs in a mural niche. The big difference is that the ends of the spouts are still fairly unused, and likely more pronounced than they originally were on our present examples.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

20th cent., most early 20th cent. Var. sizes, all tipped-in to mounts along top edge (mounts measure 21 x 15 cm), many w. name of the artist and date written verso or mount verso. Incl. ex libris des. by a.o.: T. Neuhuys, C. Eyck, D. van Gelder, T. Broekstra and T. de Vries. Incl. ex libris for a.o.: University of Amsterdam, Ruth Anne van Meter, C.J. Alban, Bep Franken, T. Wevers and the Wereld Bibliotheek. (total approx. 400)

Includes: (1) The supreme handmade booklet 'How?'. Columpton/Maastricht, Beau Geste Press/Mad Enterprizes, 1974. Staple bound, corrugated cardboard cover with original collage, 20.5 x 17.5 cm, 32 mimeographed pages, printed at Agora Maastricht. (2) Changing Personalities, 1974. Maastricht, Mad Enterprizes Inc., 1974. Staple bound, 3.5 x 10 cm, 32 pp. Edition of 1000 copies. (3) Raul Marroquin, Rubberstamps. Rubber Vol. 2 No.11, Nov. 1979. Amsterdam, Stempelplaats, 1979. Folded, 23.5 x 16 cm, 12 pp. (4) Five postcards by the artist published by De Appel Amsterdam and Mad Enterprizes Inc., printed at the Jan van Eyck Academy in Maastricht. All items in very good condition. (total 8)

Full title: Adriaan Van Heucke (20th C.): 'Arnolfini', oil on canvasDescription:Work: 180 x 150 cm Frame: 183,2 x 153,2 cm Adriaan Van Heucke was docent at the Ghent Sint-Lucas Instituut (Saint Luke Institute) inspiring a whole generation of artists, such as Hugo De Putter (1938-1990) and Bernard Sercu (1953). The work is his own interpretation of the Arnolfini wedding portrait by Jan van Eyck (ca. 1390-1441). (link)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Französischer MeisterMariä Verkündigungum 1500Öl auf Holz; gerahmt67 x 48 cm (rundbogiger Abschluss)ehemals Sammlung Graf Limburg-Stirum (laut rückseitigem Etikett);Galleria Gilberto Zabert, Turin, 1998;seit 2010 italienische Privatsammlung Didier Bodart, in: Turin, Galleria Gilberto Zabert. Dipinti e sculture dal XIV al XIX secolo, 1998 (als Meister von Saint-Jean-De-Luz, tätig um 1475/80)Die reizvolle Tafel besticht durch das gekonnte Spiel mit den drei klassischen Kunstgattungen – Malerei, Architektur und Bildhauerei verschmelzen auf kleinster Fläche. So wird die Verkündigungsszene in eine raumschaffende Scheinarchitektur verortet: Gabriel trägt ein goldbesticktes Messgewand und kniet vor der Jungfrau, welche demütig der Verkündigung, dargestellt durch eine Schriftrolle, lauscht: "Ave Maria, gratia plena; Dominus tecum". Die klare Architektur öffnet den Bildraum perspektivisch und demonstriert das Bestreben einer überzeugenden Tiefenwirkung. Die dekorativen Architekturelemente, das mit Phantasietieren bevölkerte Fries und die reliefierte Lünette greifen italienisch inspirierte Motive auf, welche bereits im 15. Jahrhundert auch ihre Verbreitung nördlich der Alpen fanden. Besonders durch die in Grisaille ausgeführten Steinelemente werden Malerei und die dreidimensionalen Künste verbunden. Die von Putten getragenen Wappenschilder mit erkennbaren Bourbonen-Lilien verweisen auch auf den Ursprung der Tafel im franko-flämischen Kunstraum, in welchem gerade die Kunst der Grisaille-Malerei seit der 1. Hälfte des 15. Jahrhunderts kultiviert wurde. Beispiele hierfür finden sich sowohl bereits bei Robert Campin (1375-1444) oder Jan van Eyck (1390-1441) als auch später beim Meister von Moulins (Außentafel des Altars der Kathedrale Notre-Dame, Moulins (Auvergne), um 1497) oder dem Meister von Saint Jean de Luze (Porträts von Hugues de Rabutin und seiner Ehefrau Jeanne de Montaigu, um 1470). Der damalige künstlerische Austausch war rege und die Grenzen der Zuordnung zwischen Nordfrankreich, Burgund und Flandern fließend.

Francisco Martinez (Mexico, 1687 - 1758)"The Good Shepherd as the Mystical Lamb"Oil on canvas.133 x 157 cm.A beautiful and sensitive depiction of the Good Shepherd, who gazes upon his flock questioningly, full of tenderness and mercy, opening his chest as a clear symbol of altruism leading to the complete sacrifice of himself. "I shed my blood for you, and whoever drinks from it shall never die."Undoubtedly, the painting shows a more humanised and Christian vision typical of colonial painting when compared with the famous Ghent Altarpiece "The Adoration of the Mystic Lamb" by the Van Eyck brothers, in which the Lamb of God, on an altar, with blood flowing from its chest, fills a chalice symbolising Christ and His sacrifice on the Cross, his giving of himself in the Eucharist.Both in the Ghent painting and in this one, there is a dove representing the Holy Spirit and, around it, several angels in adoration.Above the Good Shepherd, the inscription reads: "EGO SVM PASTOR BONVS ..." (I am the Good Shepherd).The Mexican painter Francisco Martínez, active between 1717 and 1758, was a New Spanish artist who still lacks a comprehensive monograph. However, Professor Luisa Elena Alcalá, a specialist in Ibero-American art of the Viceroyalty period, raises various relevant questions about the artist in her study "La obra del pintor novohispano Francisco Martínez" (1999). In addition to being a painter, as was common in the era, Martínez was a "gilder, reredos assembler, and decorator for short-lived festivals, enjoying great prestige in several of these fields," Alcalá explains. "Among his most outstanding works are the gilding of the main altarpiece of the Mexico Cathedral (1743), the erection of the funerary tomb of Felipe V in Guatemala (1747), and the subsequent creation of ephemeral architecture for the swearing-in of Fernando VI in Mexico (1747)." Also noteworthy is the "Nun’s Badge with the Annunciation and Saints" (circa 1750), signed "Martínez Sancti Officii Notarius Fecit," which is in the collection of the Los Angeles County Museum of Art (LACMA) (Inv. M.2015.142.1).His professional prestige, as noted by Alcalá, "can also be inferred from the numerous occasions when he provided expert opinions on miraculous images, enquiries into manufacturing processes and fairly common supernatural transformations in the religious sphere of the Viceroyalty."The painter, who also had a relationship with José de Ibarra, an "inescapable reference for understanding the figure of Francisco Martínez," with whom he coincided "on several commissions and competitions," carried out numerous commissions for the Jesuits. In fact, Alcalá asserts that "the 18th century was the golden age of the Jesuits in New Spain, when the profits from estates and mills allowed for massive reconstruction of their colleges and churches, and Martínez knew how to meet the artistic needs of the Society." Lastly, it should be mentioned that he was appointed notary of the Holy Tribunal, a prestigious title that, as pointed out by Ilona Katzew in her description of the aforementioned nun's shield for LACMA, "indicates his high social position."Reference bibliography:- Alcalá, Luisa Elena. (1999). “La obra del pintor novohispano Francisco Martínez”. En Anales del Museo de América (7), 175-187. Ministerio de Educación Cultura y Deporte: Subdirección General de Documentación y Publicaciones. https://hdl.handle.net/10486/671800- Katzew, Ilona (2015). “Nun’s Badge with the Annunciation and Saints”. Conservationist's notes. LACMA. https://collections.lacma.org/node/2115912

Attributed to Jan Gossart "Mabuse" (Maubeuge, circa 1478 - Antwerp, 1532)"Virgin and Child (Portrait of Anna van Bergen with her son Hendrik)"Oil on panel. 47.5 x 36 cm.Our hypothesis regarding this painting, of which there are a few copies by Gossart's contemporaries and followers, is that it is the original by Mabuse which belonged to the Marqués de Leganés, registered in the inventory of his collection as number 379 ("Another image of Our Lady with the Child in her arms, holding a handheld rosary by Mabuse, measuring just under half a yard in number three hundred and seventy-nine, valued at twelve hundred Reales"). It was documented for the last time in 1655 and not located since then.  The information that supports our hypothesis can be found in the doctoral thesis "El Marqués de Leganés y las Artes" by José Juan Pérez Preciado: "The motif of the rosary in the hands of the Virgin was frequently repeated among Flemish artists of the 15th century. Gossaert used it in a devotional work of which several copies are known. According to Karel van Mander, it was a painting created during Gossaert's service at the court of Adolf de Bourgogne, Marquess of Vere and Teerveuren. The artist used portraits of the nobleman's wife and son. According to Friedländer, the main painting under this iconography that the author created is that of the Metropolitan Museum in New York (inv. 17.190.17 T. 45 x 34). Although others are also preserved in the Royal Museum of Brussels (T. 43.7 x 31; inv. 3377), or in the Dresden Gallery. The fate of the painting is unknown, as it had already left the collection in 1711, when it was claimed by the Count of Altamira, the legal heir to the entire collection. It has not been possible to link any known copy to the work owned by Leganés, although the presence of a copy in the K. Kocherthaler collection in Madrid at the beginning of the 20th century is significant, as Friedländer himself attests."As indicated by the typewritten label on the back, with data from the former owner, it states that it was acquired precisely from the Kuno Kocherthaler collection in Madrid. Therefore, our painting is the one mentioned earlier in the thesis by José Juan Pérez Preciado, which was in Madrid at the beginning of the 20th century and could well be the one belonging to the Marqués de Leganés that has not been located to date.The MET in New York, as mentioned by Preciado, has a Virgin and Child similar to this one in its collections a, painted by a follower of Gossart, with collection number: 17.190.17.The Metropolitan, in its description of the work dating from after 1522, suggests that it may be "a replica of the lost original portrait by Gossart of the noble Anna van Bergen posing with her son Hendrik as the Virgin and Child." The note continues, stating that "portraits in which secular people adopt the appearance of sacred figures may seem provocative to modern sensibilities, but they capture the aspirations of their subjects to emulate the ideals of virtue and piety."As we read in the Museo del Prado's entry on Jan Gossaert, "The signed works that are preserved by Jan Gossaert, known as Mabuse, allude to his origin in Maubeuge, in Hainaut - currently in northern France. Although there is no news of where he was trained, it is possible that he received his education in Bruges, in the workshop of Gérard David (doc. 1484-1523), before 1503 when he enrolled in the Guild of Antwerp. In October 1508, he accompanied Philip of Burgundy to Rome, and during his stay in this city, Gossaert drew ancient statues and architectural monuments for him, becoming the first Flemish painter to directly experience Italian art. Upon returning to Flanders, he introduced classical models into his works, which abound in themes from Antiquity and nudes, such as those he painted in 1516 for Philip of Burgundy in the decoration of the castle of Suytburg in Zeeland, in collaboration with Jacopo de Barbari (ca. 1445-ca. 1515). Simultaneously, Gossaert became interested in 15th-century Flemish painting and copied some artworks, including those of Jan van Eyck (doc. 1422-1441), as he did in this panel at the Prado. His debt to tradition is also evident in his interest in translating the qualities of things, an interest that he maintained even in paintings and drawings of religious or mythological subjects in which classical forms are embodied in human types originating from Flanders (González Mozo, A .: El trazo oculto. Dibujos subyacentes en pinturas de los siglos XV y XVI, Museo Nacional del Prado, 2006, pp. 102-113)."Provenance:Former Kuno Kocherthaler Collection, Madrid. Early 20th century.Private collection.Reference bibliography: - Pérez Preciado, José Juan. (2008). "El Marqués de Leganés y las Artes”. [Tesis de doctorado. Universidad Complutense de Madrid]. Docta Complutense.- Museo del Prado. (s.f.). "Gossaert, Jan". https://www.museodelprado.es/coleccion/artista/gossaert-jan/c0969eda-6fea-4a7c-a868-2b919aa9a01f- Metropolitan Museum of Art. (s.f.). "Virgin and Child". https://www.metmuseum.org/art/collection/search/436539

LIGTELIJN, V. & F. STRAUVEN, (eds.). Aldo van Eyck. Collected Articles and Other Writings 1947-1998 / The Child, the City and the Artist. An Essay on architecture. The in-between realm. Written in 1962. (Amst., 2008). 2 vols. 743, (1); 236 pp. W. many illustr., DVD. in rear pocket. Lge-8°. Obrds. In orig. slipcase. -- Added: V. LIGTELIJN, (ed.). Aldo van Eyck. Werken. (Bussum), TOTH, (1999). W. many illustr. Lge-8°. Obrds. w. dust-j. -- (3).

Original vintage advertising poster for artwork exhibition at the Museum zu Allerheiligen Schaffhausen - Masterpieces of European Painting - Durer, Holbein, Raphael, Titian, Van Eyck - Main works of the Kaiser Friedrich Museum Berlin - The poster features a Portrait of a Young Girl, a small oil-on-oak panel painting by the Early Netherlandish painter Petrus Christus (1410/1420-1475/1476). Printed by Meier & Cie, Schaffhausen. Large size. Good condition, restored tears, restored creasing, staining, backed on Japanese paper. Country of issue: Germany, designer: Unknown, size (cm): 126x91, year of printing: 1951.

Van Eyck hardcover book, dustcover intact with minor wear markings. Small tear to top left corner front and rear dustcovers, spine and binding remain in good condition. Author Elisabeth Dhanens. Fair condition. ISBN: 0933516134

Peter Van Eyck signed 6x4 inch black and white vintage postcard. Good condition. All autographs are genuine hand signed and 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 £10.

Tripp, Jan Peter. Die Kehrseite der Dinge. Bilder aus zwölf Jahren. Herausgegeben von Peter Renz. 152 S. Mit zahlreichen Abbildungen und separater signierter und datierter Orig.-Radierung von Jan Peter Tripp. 29 x 20 cm. OPappband in illustriertem OPapp-Schuber. Weingarten, Drumlin, 1984. Eines von 100 Exemplaren der Vorzugsausgabe mit der separaten Orig.-Radierung "Margaretha van Eyck & Marcel Duchamp". - Verlagsfrisch.

Altniederländische Schule, Meister von Ghent, um 1480DIE HEILIGE KATHARINA VON ALEXANDRIENÖl und Goldauflage auf Holz. Parkettiert.40,5 x 29,8 cm.In teils bemaltem und vergoldetem Rahmen.Das Gemälde zeigt die stehende Heilige Katharina, der christlichen Überlieferung nach, im 4. Jahrhundert die Königstochter von König Costus von Alexandrien und dessen Frau Sabinella, die die heidnischen Praktiken Kaisers Maxentius anprangerte und schließlich wegen Ihres christlichen Glaubens von ihm zum Tode durch das Stachelrad verurteilt wurde. Sie steht triumphierend über dem Körper des liegenden Kaisers, das zerbrochene Rad neben ihr, in bergiger Landschaft und trägt ein prachtvolles, reich mit Gold besticktes langes Gewand, das mit Hermelin besetzt und mit Perlen (als Symbol der Reinheit) verziert ist. Sie trägt eine Turbankrone und hat einen großen goldenen Nimbus um ihr Haupt. Zu den Attributen ihres Martyriums gehören rechtsseitig das große Rad mit Stacheln und ein großes Schwert in ihrer rechten Hand, mit dem sie enthauptet wurde, nachdem das Rad auf ihr göttliches Gebet hin, zerstört worden war. In ihrer linken Hand hält sie ein aufgeschlagenes Buch, ihr Attribut als Schutzpatronin der Gelehrten und Studenten. Im Hintergrund links kniet Katharina vor ihrem Henker, der gerade das Schwert zur Enthauptung schwingt. Auf der Bergspitze tragen zwei Engel ihren Körper weg, um ihn zu begraben. Für einen Aufenthalt des Künstlers in Italien spricht die Vielzahl der Zypressen im Hintergrund. Die scharfen Formen dieser Bäume erinnern an die Stacheln ihres zerbrochenen Rades und betonen die Vertikalität der wichtigsten Kompositionselemente des Gemäldes: Ihr langgestreckter Körper, das Zepter des Maxentius, die Pfosten des Rades und die Landschaft selbst.Provenienz:Lacombe, Paris, bis 1909, dann verkauft an folgende Gesellschaften.Kleinberger, New York und Paris, 1909-1910, als Meister der Legende von St. Lucia, von dem er von George D. Pratt (gest. 1935), Glen Cove, N.Y., als Meister von St. Lucy erworben wurde, und durch Erbschaft an seine Witwe Vera Amherst Hale Pratt, (1935-44).1935 durch Vermächtnis von George D. Pratt vom Metropolitan Museum of Art erworben.Christie´s, New York, 29. Januar 2014, Lot 106. Dort vom jetzigen Besitzer erworben. Literatur:A. Priest, "Loans from the Collection of George D. Pratt", Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, S. 237, als Kreis des Meisters der Legende der Heiligen Ursula.H.B. Wehle und M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, S. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, S. 77.R.H. Wilenski. Flämische Maler, 1430-1830, New York, 1960, I, S. 40-42, 44, 46, 52; II, Taf. 109.M.W. Ainsworth und K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, Ausstellungskatalog, New York, 1998, S. 405. (1371691) (†)Old Netherlandish School, Master of Ghent, Ca. 1480SAINT CATHERINE OF ALEXANDRIA Oil and gold on panel. Parquetted.40.5 x 29.8 cm.In partially painted and gilded frame.The painting depicts the standing Saint Catherine, who according to Christian tradition, lived in the 4th century and was the daughter of King Costus of Alexandria and his wife Sabinella. Catherine denounced the pagan practices of Emperor Maxentius and was then condemned by him to death by a spiked wheel for her Christian faith.She stands triumphantly over the body of the reclining emperor, the broken wheel beside her, in mountainous scenery, wearing a magnificent long robe richly embroidered with gold, trimmed in ermine and decorated with pearls, as a symbol of purity. She is wearing a turban crown and has a large golden nimbus on her head. Among the attributes of her martyrdom are the large spiked wheel on the right and a large sword in her right hand, with which she was beheaded after the wheel was destroyed in response to her divine prayer. In her left hand she holds an open book, her attribute as the patron saint of scholars and students. In the background on the left, Catherine kneels before her executioner, who is swinging the sword for her beheading. On the hilltop, two angels carry her body away to bury it. The multitude of cypresses in the background speaks for a possible stay of the artist in Italy. The sharp shapes of these trees evoke the spikes of her broken wheel and emphasize the verticality of the main compositional elements of the painting: Catherine’s elongated body, Maxentius’s sceptre, the wheel´s posts and the landscape itself. Provenance:Lacombe, Paris, until 1909, when sold to the following.Kleinberger, New York and Paris, 1909 – 1910, as the Master of the Legend of St. Lucia, from whom acquired by Georges D. Pratt (d. 1935), Glen Cove, N.Y, as the Master of St. Lucy, and by inheritance to his widow Vera Amherst Hale Pratt, 1935-44).Acquired by the Metropolitan Museum of Art by bequest from George D. Pratt in 1935.Christie´s, New York, 29 January 2014, where purchased by the present owner.Literature:A. Priest, “Loans from the Collection of George D. Pratt”, Metropolitan Museum of Art Bulletin, XXXV, Dezember 1940, p. 237, as Circle of the Master of the Saint Ursula Legend.H.B. Wehle and M. Salinger, The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings, New York, 1947, p. 77.E. Larsen, Les primitifs flamands au Musée Metropolitain de New York, Utrecht 1960, p. 77.R.H. Wilenski, Flemish painters, 1430-1830, New York, 1960, I, pp. 40-42, 44, 46, 52; II, pl. 109.M.W. Ainsworth and K. Christiansen, From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, exhibition catalogue, New York, 1998, p. 405.

A late 19th/early 20th century antiquarian's facsimile triptych, after the Ghent altarpiece, the panels printed after Jan van Eyck with The Adoration of The Mystic Lamb and religious figures, 50cm high x 154cm wide when open

EUROPEAN CINEMA: Selection of vintage signed 10 x 8 photographs and slightly smaller by various European film stars, mainly Italian, comprising Vittorio De Sica (in costume as Carlo Reani in a scene alongside other actors from the comedy film The Last Five Minutes, also signed by Rossano Brazzi, with a hurried signature, and Sophie Desmarets), Andrea Checchi (in costume as Colonel Sermonti from the war drama film Attack and Retreat, 1964), Peter van Eyck (in costume as Hafner in a scene from the war drama film The Impostor, 1944), Fabio Testi (in costume as Diaz in a scene from the political thriller film Nada, 1974), Eleonora Rossi-Drago (in costume as Elena Landa in a scene from the film The Slave, 1953), Walter Chiari (in a head and shoulders pose in costume as Angelo Pincilli from the comedy film Monte Carlo or Bust!, 1969), Raf Vallone (in costume as Thanos from the film Phaedra, 1962) and Melina Mercouri (in costume as Donna Lucrezia in a scene from the film The Law, 1959). All are signed in bold blue or black fountain pen inks, most to clear areas of the images, and the majority are inscribed. Generally VG, 8 Provenance: The present photographs originate from the collection of Pierre Goulliard, a French gentleman who, for over 50 years, dedicated himself to obtaining in person autographs of British, American and European movie stars, always obtaining the signatures in fountain pen ink.

A Medici print of the Dresden triptych, after Van Eyck, 38 x 39cm