674.00 USD
A Victorian style 14K yellow and white gold ring with three prong set emeralds. The emeralds are set in yellow gold, the diamonds are in white gold. The ring is stamped 14K and has an illegible maker's mark. Condition is excellent. The ring can easily be sized larger. Circa: 1960. Dimensions: Size 5, Length: 7/8", Width: 5/8", Weight: 3.6 grams.
2,850.00 USD
A fine pair of Nineteenth Century carved gilt wood wall brackets circa 1880. Each with a center shelf and back with a carved stylized acanthus leaves and swags. Condition: Very good with original gilt surface. Dimensions: 5 3/8" x 14 3/8" Depth: 6 1/2".
2,850.00 USD
A fine pair of Nineteenth Century carved gilt wood wall brackets circa 1880. Each with a center shelf and back with a carved stylized acanthus leaves and swags. Condition: Very good with original gilt surface. Dimensions: 5 3/8" x 14 3/8" Depth: 6 1/2".
2,850.00 USD
A fine pair of Nineteenth Century carved gilt wood wall brackets circa 1880. Each with a center shelf and back with a carved stylized acanthus leaves and swags. Condition: Very good with original gilt surface. Dimensions: 5 3/8" x 14 3/8" Depth: 6 1/2".
50,000.00 USD
This amazing exceptionally detailed antique Imperial ink block/cake dates to the late Ming dynasty ( Early Qing Dynasty).
Depicted clearly on one side is the five toe dragon symbolic of the Emperor.
On each of the sides there are scenes from the Royal Court giving an amazing insight into daily life and affairs of the time. There is a court scene with a dancer and musicians, a scene with attendants and depicting the Emperor seated in his throne, a traveling scene with a rickshaw and another scene that appears to depict advisers/scholars.
The other side of the ink block has a stunning design of a bat, and archaistic dragons.
It is large in size measuring approximately 8 7/8" long by 5 1/4" wide by 2 3/4" tall.
The condition is excellent for hundreds of years of age. There is some faint surface crackles to the ink to be expected for a genuine ink cake hundreds of years old. The scenes on the sides are crisp and clear although there is some fading to the gold leaf and colors applied so many hundreds of years ago.
These original Chinese ink cakes are well documented and rare to obtain.
The photos form part of the description of this special antique.
Private collection.
49,999.99 USD
Original, antique Dutch Golden Age Old Master oil painting on canvas, attributed to Dutch animalier, Melchior de Hondecoeter.
Melchior d'Hondecoeter (Dutch pronunciation: [də ˈɦɔndəˌkutər]; c. 1636 – 3 April 1695), a Dutch animalier painter, was born in Utrecht, and died in Amsterdam. After the start of his career, he painted virtually exclusively bird subjects, usually exotic or game, in park-like landscapes. Hondecoeter’s paintings featured geese (brent goose, Egyptian goose and red-breasted goose), fieldfares, partridges, pigeons, ducks, northern cardinal, magpies and peacocks, but also African grey crowned cranes, Asian sarus cranes, Indonesian yellow-crested cockatoos, an Indonesian purple-naped lory and grey-headed lovebirds, from Madagascar.
Being the grandson of the painter Gillis d'Hondecoeter and the son of Gijsbert d'Hondecoeter, whose sister Josina married Jan Baptist Weenix, he was brought up in an artistic milieu. Melchior's cousin Jan Weenix told Arnold Houbraken that in his youth Melchior was extremely religious, praying very loud; so that his mother and uncle doubted whether they would have him trained as a painter or a minister.
In 1659, he was working in The Hague, and became a member of Confrerie Pictura; the painters' academy of that town. In 1663, Hondecoeter married Susanne Tradel, from Amsterdam. She lived on the Lauriergracht, and was thirty, when they married. The couple had two children, baptized in 1666 and 1668. She is said to have been captious, and had her sisters living in the house. According to Houbraken, Hondecoeter spent much time in his garden, or drinking in the tavern in the Jordaan. On the Lauriergracht, he was surrounded by art dealers and various painters. Later, he moved to a house on the Leliegracht, (near the present Anne Frank House). In 1692, his wife died. Hondecoeter lived in the house of his daughter, Isabel in the Warmoesstraat, but was buried in the Westerkerk. He left his daughter with substantial debts. His inventory lists a small gallow, to keep birds in the right position, and seven paintings of Frans Snyders.
Hondecoeter began his career with a different speciality from that by which he is usually known. Mr de Stuers affirms that he produced sea-pieces. One of his earliest works is Tub with Fish, dated 1655, in the Herzog Anton Ulrich Museum. Hondecoeter soon abandoned fish for fowl. He acquired celebrity as a painter of birds only, which he represented not exclusively, like Johannes Fyt, as the gamekeeper's perquisite after a day's shooting, or stock of a poulterer's shop, but as living beings with passions, joys, fears and quarrels, to which naturalists will tell us that birds are subject. Without the brilliant tone and high finish of Fyt, the latter's Dutch rival's birds are full of action; and, as Burger says, "Hondecoeter displays the maternity of the hen with as much tenderness and feeling as Raphael the maternity of Madonnas." But Fyt, a pupil of Snyder, was at home in depicting the coat of deer and dons, as well as plumage. Hondecoeter cultivated a narrower field, and seldom went beyond a cock-fight, or a display of mere bird life.
Very few of his pictures are dated, around twenty of them, though more are signed. Notable are Jackdaw deprived of his Borrowed Plumes, (1671), at the Mauritshuis in The Hague, of which Earl Cadogan has an authentic copy; Game and Poultry and A Spaniel hunting a Partridge, (1672), in the Royal Museums of Fine Arts of Belgium; A Park with Poultry, (1686), at the Hermitage of St Petersburg.
Hondecoeter also painted wall hangings with views of buildings and parks. Stadtholder William III employed Hondecoeter, in great favour with the magnates of the Dutch Republic, to paint his menagerie at Het Loo, and the picture, now at The Hague museum, shows that he could at a pinch overcome the difficulty of representing India's cattle, elephants and gazelles. But he is better in homelier works, with which he adorned the royal castles of Bensberg and Oranienstein at different periods of his life. His earliest works are more conscientious, lighter and more transparent than his later ones. At all times he is bold of touch and sure of eye, giving the motion of birds with great spirit and accuracy.
According to the RKD his registered pupils were Willem Hendrik Wilhelmus van Royen and Jan Weenix. He was followed by or influenced D. Birrius, Peter Casteels (III), Adriaen van Oolen, Felice Boselli, Angelo Maria Crivelli, Tobias Stranover, Charles Collins (c. 1680-1744), Marmaduke Cradock, Adriaen Coorte, Jan van Huysum, and Elias Vonck.
His masterpieces are at The Hague, Soestdijk and at Amsterdam (The Floating Feather), but there are fine examples in the Wallace Collection and Belton House in England, and in the public galleries of Berlin, Budapest, Caen, Cologne, Copenhagen, Detroit, Dresden, Dublin, Florence, Glasgow, Hanover, Karlsruhe, Kassel, London, Lyons, Lille, Montpellier, Munich, Paris, Poltava, Riga, Rotterdam, Rouen, Stuttgart, Schwerin, Vaduz, Warsaw and Vienna. The largest Hondecoeter exhibition to date was held in Berlin in 2010, where 18 of his works were shown at the Neue Nationalgalerie as part of Willem de Rooij's installation 'Intolerance'.
Comparable paintings by Melchior de Hondecoeter/ Online References:
Belgian Roosters tend to be very distinct, in physical attributes and characteristics:
Melchior de Hondecoeter, attributed to
(1663-1692)
Dutch Golden Age, Old Master
Amsterdam, Netherlands
Dutch Animalier
Belgian Rooster
Oil on Canvas
Painting measures approximately 9.75" X 14.50"
Estimated to have been created approximately 1672
Painting is in good condition for age, with no overpaints, or previous restorations. All paint is original to the painting. There is an impression, as shown in one of the images, from the stretcher bar, impressed upon the canvas. The painting is currently unframed. Please review all images.
49,999.99 USD
Original, vintage expressionist seascape oil painting on canvas, by German born, UK modernist artist, Lucian Michael Freud.
Lucian Michael Freud, (December 1922 – July 2011), was a British painter and draftsman, specializing in figurative art, and is known as one of the foremost 20th-century portraitists. He was born in Berlin, the son of Jewish architect Ernst L. Freud and the grandson of Sigmund Freud. His family moved to Britain in 1933 to escape the rise of Nazism. From 1942–43 he attended Goldsmiths College, London. He served at sea with the British Merchant Navy, during the Second World War.
His early career as a painter was influenced by surrealism, but by the early 1950s, his often stark and alienated paintings tended towards realism. Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally sombre with thick impasto; often set in unsettling interiors and urban landscapes. The works are noted for their psychological penetration, and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended and punishing sittings, from his models.
Born in Berlin, Freud was the son of a German Jewish mother, Lucie (née Brasch), and an Austrian Jewish father, Ernst L. Freud, an architect. He was a grandson of Sigmund Freud, and elder brother of the broadcaster, writer and politician Clement Freud (thus uncle of Emma and Matthew Freud) and the younger brother of Stephan Gabriel Freud.
The family emigrated to St John's Wood, London, in 1933 to escape the rise of Nazism. Lucian became a British subject in 1939, having attended Dartington Hall School in Totnes, Devon, and later Bryanston School, for a year; before being expelled, due to disruptive behavior.
Freud briefly studied at the Central School of Art in London, and from 1939 to 1942, with greater success at Cedric Morris' East Anglian School of Painting and Drawing in Dedham, relocated in 1940 to Benton End; a house near Hadleigh, Suffolk. He also attended Goldsmiths' College, part of the University of London, in 1942–43. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942.
In 1943, the poet and editor Meary James Thurairajah Tambimuttu commissioned the young artist to illustrate a book of poems by Nicholas Moore entitled The Glass Tower. It was published the following year by Editions Poetry London and comprised, among other drawings, a stuffed zebra and a palm tree. Both subjects reappeared in The Painter's Room on display at Freud's first solo exhibition in 1944 at the Lefevre Gallery. In the summer of 1946, he travelled to Paris before continuing to Greece for several months, to visit John Craxton. In the early fifties he was a frequent visitor to Dublin where he would share Patrick Swift's studio. He remained a Londoner for the rest of his life.
Freud was one of a number of figurative artists who were later characterised by artist R. B. Kitaj as a group named the "School of London". This group was a loose collection of individual artists who knew each other, some intimately, and were working in London at the same time in the figurative style — but during the boom years of abstract painting. Major figures in the group included Freud, Kitaj, Francis Bacon, Frank Auerbach, Michael Andrews, Leon Kossoff, Robert Colquhoun, Robert MacBryde, and Reginald Gray. Freud was a visiting tutor at the Slade School of Fine Art of University College London, from 1949 to 1954.
Freud's early paintings, which are mostly very small, are often associated with German Expressionism, (an influence he tended to deny); and Surrealism in depicting people, plants and animals in unusual juxtapositions. Some very early works anticipate the varied flesh tones of his mature style, for example Cedric Morris (1940, National Museum of Wales), but after the end of the war he developed a thinly painted very precise linear style with muted colours, best known in his self-portrait Man with Thistle, (1946, Tate); and a series of large-eyed portraits of his first wife, Kitty Garman, such as Girl with a Kitten, (1947, Tate). These were painted with tiny sable brushes, and evoke Early Netherlandish painting.
From the 1950s, he began to focus on portraiture, often nudes, (although his first full length nude was not painted, until 1966); to the almost complete exclusion of everything else, and by the middle of the decade, he developed a much more free style, using large hogs-hair brushes, concentrating on the texture and colour of flesh, and much thicker paint, including impasto. Girl with a white dog, 1951–1952, (Tate), is an example of a transitional work in this process, sharing many characteristics with paintings before and after it, with relatively tight brushwork and a middling size and viewpoint. He would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable. He also started to paint standing up, which continued until old age, when he switched to a high chair. The colours of non-flesh areas in these paintings are typically muted, while the flesh becomes increasingly highly and variably colored. By about 1960, Freud had established the style that he would use, with some changes, for the rest of his career. The later portraits often use an over life-size scale, but are of mostly relatively small heads, or in half-lengths. Later portraits are often much larger. In his late career, he often followed a portrait by producing an etching of the subject in a different pose, drawing directly onto the plate; with the sitter within his view.
Freud's portraits often depict only the sitter, sometimes sprawled naked on the floor or on a bed, or alternatively juxtaposed, with something else: as in Girl With a White Dog, (1951–52), and Naked Man With Rat, (1977–78). According to Edward Chaney, "The distinctive, recumbent manner in which Freud poses so many of his sitters suggests the conscious or unconscious influence: both of his grandfather's psychoanalytical couch, and of the Egyptian mummy, his dreaming figures, clothed or nude, staring into space until, (if ever), brought back to health and/or consciousness. The particular application of this supine pose to freaks, friends, wives, mistresses, dogs, daughters and mother alike; (the latter regularly depicted after her suicide attempt and eventually, literally mummy-like in death), tends to support this hypothesis."
The use of animals in his compositions is widespread, and often he features a pet and its owner. Other examples of portraits with both animals and people in Freud's work include: Guy and Speck, (1980–81), Eli and David, (2005–06), and Double Portrait, (1985–86). He had a special passion for horses, having enjoyed riding at school in Dartington, where he sometimes slept in the stables. His portraits solely of horses include Grey Gelding, (2003), Skewbald Mare (2004), and Mare Eating Hay (2006). Wilting houseplants feature prominently in some portraits, especially in the 1960s, and Freud also produced a number of paintings purely of plants. Other regular features included mattresses in earlier works, and huge piles of the linen rags with which he used to clean his brushes in later ones. Some portraits, especially in the 1980s, have very carefully painted views of London roof-scapes, seen through the studio windows.
Freud's subjects, who needed to make a very large and uncertain commitment of their time, were often the people in his life; friends, family, fellow painters, lovers, children. He said, "The subject matter is autobiographical, it's all to do with hope, and memory, and sensuality, and involvement, really." However the titles were mostly anonymous, and the identity of the sitter not always disclosed; the Duke and Duchess of Devonshire had a portrait of one of Freud's daughters as a baby, for several years, before he mentioned who the model was. In the 1970s, Freud spent 4,000 hours on a series of paintings of his mother; about which art historian Lawrence Gowing observed, "it is more than 300 years since a painter showed as directly, and as visually, his relationship with his mother. And that was Rembrandt."
Freud painted from life, and usually spent a great deal of time with each subject, demanding the model's presence, even while working on the background of the portrait. A nude completed in 2007, required sixteen months of work; with the model posing all but four evenings during that time; with each session averaging five hours, the painting took approximately 2,400 hours to complete. A rapport with his models was necessary, and while at work, Freud was characterised as "an outstanding raconteur and mimic". Regarding the difficulty in deciding when a painting is completed, Freud said that "he feels he's finished when he gets the impression he's working on somebody else's painting". Paintings were divided into day paintings done in natural light, and night paintings done under artificial light; the sessions and lighting, were never mixed.
It was Freud's practice to begin a painting by first drawing in charcoal on the canvas. He then applied paint to a small area of the canvas, and gradually worked outward from that point. For a new sitter, he often started with the head, as a means of "getting to know" the person, then painted the rest of the figure, eventually returning to the head, as his comprehension of the model deepened. A section of canvas was intentionally left bare, until the painting was finished. The finished painting is an accumulation of richly worked layers of pigment, as well as months of intense observation.
Freud painted fellow artists, including Frank Auerbach and Francis Bacon, and produced a large number of portraits of the performance artist Leigh Bowery. He also painted Henrietta Moraes, a muse to many Soho artists. A series of huge nude portraits from the mid-1990s depicted the very large Sue Tilley, or "Big Sue", some using her job title of "Benefits Supervisor" in the title of the painting. His 1995 portrait Benefits Supervisor Sleeping, which in May 2008 was sold by Christie's in New York for $33.6 million, set a world record auction price, for a living artist.
Freud's most consistent model in his later years, was his studio assistant and friend David Dawson, the subject of his final, unfinished work. Towards the end of his life he did a nude portrait of model Kate Moss. Freud was one of the best known British artists working in a representational style, and was shortlisted for the Turner Prize, in 1989.
In 1996, the Abbot Hall Art Gallery in Kendal mounted a major exhibition of 27 paintings and thirteen etchings; covering Freud's output, to date. The following year, the Scottish National Gallery of Modern Art presented, "Lucian Freud: Early Works". The exhibition comprised around 30 drawings and paintings done between 1940, and 1945. This was followed by a large retrospective at Tate Britain, in 2002. In 2001, Freud completed a portrait of Queen Elizabeth II. There was criticism of the portrayal in some sections of the British media. The Sun was particularly condemnatory, describing the portrait as "a travesty". In 2005, a retrospective of Freud's work was held at the Museo Correr in Venice, scheduled to coincide with the Biennale. In late 2007, a collection of etchings went on display at the Museum of Modern Art.
Freud died in London in July 2011, and is buried in Highgate Cemetery. Archbishop Rowan Williams officiated at the private funeral.
Comparable paintings by Lucien Freud/ Online References:
Lucian Freud
(1922- 2011)
Oil on Canvas
Seascape, Sailboat Regatta
Signed lower left corner
Painting alone measures approximately 24"X 36"
In vintage modern frame, painting measures approximately 32.25" X 44"
Painting is estimated to have been created in the early 1980's
Painting is housed in original vintage frame. Verso of painting, has a stamp of the canvas manufacturer; Viktoria Maltuch. Lucien Freud's catalogued painting of, ("The Painter's Mother"); was painted on Schutzmann's Viktoria canvas, (the same canvas manufacturer).
Online Reference: https://ift.tt/2SKtnqV
There is a rectangular stamp, that resembles an estate stamp, but is very difficult to read/nearly illegible. There is also some other misc writing, on reverse, as shown in the images.
It is extremely rare to find a painting by Lucien Freud, that is not a portrait. Recently, a rare and early landscape was discovered by the artist, as well as a very early portrait.
Painting is in excellent, original condition; with no overpaints, or restorations. All paint is original to the painting. Please review all images.
38.00 GBP
A very attractive pair of silver plated Berry spoons, serving spoon set, cased in the original case.
This ornately detailed repousse serving set has the original fruit designed bowls in repousse, the Berry pattern is very popular and has been copied for many years,this set has marks for silver plate, the details are very fine and in depth, the spoons are both in incredible condition.
The case is quite damaged with a split to the back and general wear and tear, it no longer clips shut.
Each spoon is approx 8" long
Any questions or queries please contact us.
If postage and packaging costs less than the amount on the listing we refund the difference.
10,481.00 USD
A fine Picchiotti 18K white gold flower ring. A large lustrous 12mm. natural South Sea pearl at the center of the ring is surrounded with six delicate petals set with diamonds and sapphires. There are 104 round blue sapphires with a total weight of 5.0cts. and 18 round diamonds with an approx. weight of 0.59cts. Size 6. The ring is stamped with the jeweler's mark and 18K. Condition is excellent. Dimensions: Diameter 1.25", Weight: 20.7 grams. Circa: 2010.
5,890.00 USD
A fine and exquisite E. cultured Wolfe & Co, London dolphin brooch. The body of the dolphin incorporating and iridescent abalone pearl. The head in platinum with a cabochon sapphire eye. The fins and tail in platinum with 33 round diamonds with a total .050 carat weight. The brooch bears the jeweler's mark. Condition is excellent. Circa: Late 20th century. Dimensions: Height .75", Length 2.75", Weight: 18.2 Grams.
Tomorrow Circa 