Figure in gilded and polychrome bronze. It shows an anthropomorphic deity, with the face of a bull and a human body, standing on a lotiform throne on which a buffalo is lying on the prone body of a man, holding it with both hands. The deity rides on both beings in alidhasana, with one knee bent and the opposite knee stretched out, balancing himself with outstretched arms in vitarkamudra. The body is covered with pendants and small beaded jewellery, and surrounded by a long waving ribbon. The expression is choleric, with large eyes and gaping jaws showing sharp fangs. The head is crowned with a diadem of skulls and two large horns, which are set in a flaming reddish hair.Height: 15.5 cmWeight: 998 gProvenance:-Christie 's. Chinese ceramics, works of art and textiles. Lot 349: A gilt bronze figure of a warthful deity. 12 May 2017.- Now in a private European collection.
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An Austin Reed black Hamberg, cardboard hat box; a grey felt tophat; Handbags - Waldybag, Maclaren, Zebra, Vanity Fair, Corde; hats; Textiles - linen and lace table clothes, doylees; various fabric; mink stole; others; fur collars; mid 20th century ladies gloves; a Victorian lace centrepiece with eight conforming place mats and six smaller; a Rodex coat in green tweed; Beales of Bournemouth 1970's suede jacket, size 40; a very large pure wool hooded cape; House of Fraser velvet two-piece; etc
CARTIER VINTAGE Umhängetasche. Bordeauxfarbenes Glattleder mit goldfarbener Hardware. Front mit Logo-Patch. Hauptfach mit Reißverschluss, längenverstellbarer Trageriemen. Textiles Innenfutter mit kleinem Innenfach. Guter Erhalt. 18x6x18cm.| CARTIER VINTAGE shoulder bag. Bordeaux-coloured smooth leather with gold-coloured hardware. Front with logo patch. Main compartment with zip, adjustable shoulder strap. Textile lining with small inner compartment. In good condition. 18x6x18cm.
LOUIS VUITTON Handtasche "SEGUR PM". Koll. 2006. Epi Leder Serie in Hellbraun (Tan) mit silberfarbener Hardware. Überschlag mit Steckverschluss. Textiles Innenfutter mit kleinem Innenfach. Guter Erhalt.| LOUIS VUITTON handbag "SEGUR PM". Coll. 2006 Epi leather series in light brown (tan) with silver-coloured hardware. Flap with snap fastener. Textile lining with small inner compartment. In good condition.
LOUIS VUITTON VINTAGE Handtasche "ALMA". Koll. 1996. Monogram Canvas Serie mit naturbelassenem Leder und goldfarbener Hardware. Hauptfach mit umlaufendem Reißverschluss. Textiles Innenfutter mit kleinem Innenfach. Klassische, altersbedingte Gebrauchsspuren vorhanden. | LOUIS VUITTON VINTAGE handbag "ALMA". Coll. 1996. Monogram canvas series with natural leather and gold-coloured hardware. Main compartment with all-round zip. Textile lining with small inner compartment. Classic, age-related signs of wear.
LOUIS VUITTON Handtasche "MONTORGUEIL". Koll. 2008. Monogram Canvas Serie mit naturbelassenem Leder und goldfarbener hardware. Front mit Logo-Applikation. Doppelhenkel, hauptfach mit umlaufendem Reißverschluss, textiles Innenfutter, kleines Innenfach. Schloss ohne Schlüssel anbei. Patina, Abrieb und Tragespuren vorhanden. 38x16x22cm.| LOUIS VUITTON handbag "MONTORGUEIL". Coll. 2008. Monogram canvas series with natural leather and gold-coloured hardware. Front with logo appliqué. Double handle, main compartment with all-round zip, textile lining, small inner compartment. Lock without key included. Patina, abrasion and signs of wear present. 38x16x22cm.
Ca. 18th century AD. A group of textiles, including a near pair of embroidered velvets (cushion covers) embroidered in silver and gold thread. One, purple, shows the image of the Aya Sofia (Hagia Sophia), and the other, coffee brown, with the image of the Mosque of the Tomb of the Prophet and an inscription. Also included are three velvet and leather purses embroidered with gold metal thread in a vegetal design and detailed with sequins. One green with silver and gold sequins, and two red with silver and gold sequins. Size: 150-200mm x 45-70mm; Weight: 795g Provenance: Previous property of an Islamic art professional. Prior Sotheby’s Islamic Art sale, 14th April 2010, Lot 122. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 1100 - 1200 . A bronze bird figurine presents a captivating representation of avian form and beauty. This freestanding figurine portrays a gracefully sculpted bird, potentially a dove, with its slender body elegantly poised on two meticulously crafted short legs. The wings of the bird are gently folded, conveying a sense of tranquility and repose. The head of the figurine showcases a short beak, rendered to capture the essence of avian anatomy, while the accentuated large eyes add a touch of lifelike expression and charm. Birds held profound significance in Seljuk art, serving as powerful symbols with both cultural and spiritual connotations. Birds, particularly doves, were often associated with peace, purity, and divine attributes. They represented an aspiration for harmony and tranquility, embodying qualities that were highly valued in the Seljuk culture. In Seljuk art, birds frequently adorned architectural elements, textiles, and various decorative objects, showcasing the artistic affinity for capturing the grace and elegance of these creatures. Size: L:55mm / W:70mm ; 55g Provenance: Private UK collection; From an old London collection formed in the 1990s.
Modern Textiles and Costume Accessories comprising assorted Anokhi Foreast assorted scarves, various printed cotton skirts, a kaftan dress, bright pink woven cardigan, a Phase Eight dress, Jacqueline Beverley Made in Wales embroidered jacket, a Seasalt beach bag, a modern printed bed cover, three handbags by Amanda Dansie etc(1 box)
Assorted Modern Handbags, Textiles and Accessories, comprising leather case by Peter Jones of Abergavenny, leather collar box, Fossil canvas handbag and oil cloth bags, a Melin Tregwynt shoulder bag, two woven baskets, modern shoes, single quilt with patchwork fans, crewel work panel, a Merrythought tiger cub teddy, and other items in 4 boxes
Art Deco. Kunstgewerbliche Schmuckformen für die Fläche. Monatshefte für die verzierende Kunst, Plauen: Christain Stoll, circa 1920, 25 colour stencil plates of art deco designs for wallpaper, textiles, etc., each mounted on a sheet of black backing paper, one with a quarter portion missing, rubbed and some marks and wear, loosely contained in two printed publisher's folders (Band VII, no. 5 and Band VIII, no. 3), 4to (33 x 25 cm), together with a printed article by Amédée Ozenfant on colour (Colour Pro Domo)QTY: (1)
JOHN PIPER (BRITISH 1903-1992) ⊕ BRITTANY BEACHsigned John Piper lower rightwatercolour and gouache on paper38 x 55cm; 15 x 21 3/4in54.5 x 72cm; 21 1/2 x 28 1/2in (framed)Property of a Lady, BelgraviaBorn in Epsom, Surrey Piper first worked in his father’s solicitors firm until 1926. Meeting Georges Braque in Paris inspired him to make abstract art and to exhibit with the Seven and Five Society (1934–35). In 1935, Piper collaborated with Myfanwy Evans, his wife to be, on the pioneering review Axis. He later abandoned abstract art for Neo-Romanticism and during the Second World War as an Official War Artist, recorded bomb-devastated buildings of England’s disappearing architectural heritage. Piper travelled through France regularly in the 1950s and stayed in Brittany during the summer of 1960, drawn especially to the region's architecture, medieval stained glass and wild shoreline. A versatile artist, Piper made book illustrations, theatre designs, ceramics, textiles, and collaborated on stained-glass projects which included the baptistry window for what was then the new Coventry Cathedral, and the stained glass lantern for Liverpool Metropolitan Cathedral. Retrospective exhibitions of Piper's work have been held at the Museum of Modern Art, Oxford (1973) and the Tate Gallery (1983–84).
AN OTTOMAN SILK EMBROIDERED LADY'S ROBE (ENTARI) TURKEY, LATE 18TH CENTURY the cream silk ground embroidered predominantly in purple and green with elegant repeat vertical panels of floral designs alternating with gilt vertical narrow strip panels, ornate gilt-metal braiding, the inside lined in silk 142cm long For further examples of Ottoman ladies' robes from the 18th and 19th centuries in the Sadberk Hanim Museum, see L. Gorunur, Women's Costume of the Late Ottoman Era, Istanbul, 2010; and in the Topkapi Museum, see Exhibition Catalogue, Sandiklarda Sakai Saray Yasami, Istanbul, 2006, pp. 46-51. For a very similar example sold at auction, see Christie's, Art and Textiles of the Islamic and Indian Worlds including works from the late Simon Digby, 7 October 2011, lot 495.
A LARGE OTTOMAN VOIDED SILK VELVET AND METAL-THREAD PANEL (ÇATMA) TURKEY, BURSA OR ISTANBUL, LATE 16TH/ EARLY 17TH CENTURY of rectangular form, the voided crimson silk velvet ground decorated with four rows of fan-shaped carnations, each with seven serrated petals supported by palm trees, mounted, in perspex box frame 164cm x 73cm The Ottoman Empire reached its apogee in the 16th century and the Ottomans used luxurious silk textiles for furnishings and for men’s and women’s clothing. The most prestigious were velvet and complex silk weaves called kemha and seraser. These often incorporated thread wrapped with silver or silver gilt.The main centre for silk-weaving was Bursa in north-west Anatolia in Turkey. The industry was established there in the 15th century, largely to compete with Italian imports. The two most popular designs were the curved lattice, and rows of stylised flowers or stars. Originally introduced to Turkey from Italy, they gradually evolved into the dramatic, large-scale patterns associated with the Ottoman court. In this velvet the basic design, with large motifs in staggered rows, is derived from Italian models, but the stylised carnations are unmistakably Ottoman.The fan-like carnations and tulips became very popular and sought-after motifs, not only by the Ottoman Imperial Court, but also from as far as the Imperial court of Russia (see Exhibition Catalogue, The Tsars and the East: Gifts from Turkey and Iran in the Moscow Kremlin), and Italy where the velvets were used for ecclesiastical vestments, a proof of their cross-cultural versatility. For related examples see, Louise W. Mackie, The Splendor of Turkish Weaving, Washington, D.C.: The Textile Museum, 1973, no. 15; Christian Erber, A Wealth of Silk and Velvet, Bremen, 1993, pls. G10/1 and G10/2; Friedrich Spuhler, Islamic Carpets and Textiles in the Keir Collection, London 1978, no. 128.
Ten boxes of assorted household china, metal wares, etc., to include various coffee cans, a set of weighing scales, chopping boards, etc., together with two boxes of assorted household textiles to include table linens, cushions, a basket containing assorted belts and a hat box containing various fur and other hats (10 boxes)
After Victor Vasarely, geometric study, museum produced coloured print. (Stedlijk Museum Amsterdam). 50x50cm approx. Framed and glazed. together with various Museum type posters, mostly in clip type frames to include: Patrick Caulfield at the Tate, Antique Doors of Malta and Gozo, textiles, Royal Antarium Museum etc. (11) (B.P. 21% + VAT)
Ehrman, Edwina (ed) "Fashioned from Nature", V&A Publishing 2018, colour and other illustrations throughout, limp covers Baudot, Francoise "Yohji Yamamoto", Thames & Hudson 1997, illustrated, black buckram, d-w Kumar, Ritu "Costume and Textiles of Royal India", Christies Books, n.d., profusely illustrated throughout, black cloth with gilt titles, d-w (3)
Two Chinese altar front textiles, 20th century, comprising: one with Fu, Lu and Shou, under four Chinese characters Fu, Lu, Shou and Xi in roundels, against a red ground, 101.5 x 104cm, and another, similar, with a dragon in relief, 102 x 102cm (2) Condition ReportBoth with creasing and cockling throughout. Minor staining and foxing marks in various locations. Silk faded. The housegods with small pin holes to the corner of back.
Armin Boehm 1972 Aachen - lebt und arbeitet in Berlin Dust. 2020. Öl und Textilien auf Leinwand. Verso auf der Leinwand signiert, datiert und betitelt. 160 x 180,5 cm (62,9 x 71 in). [KA]. • Mit faszinierenden Farb- und Materialmischungen bettet Armin Boehm seine Motive in eine prismatische Welt aus Figuration, Symbolik und kulturellen Bezügen ein. • 'Dust' wird 2020/21 im bekannten Berliner Nachtclub Berghain gezeigt, in der von der Boros Foundation initiierten Ausstellung 'Studio Berlin'. • Boehm übernimmt in diesem Werk den Ansatz der deutschen Expressionisten und ihrer avantgardistischen literarischen Tendenzen. • Werke von Boehm sind u. a. im Folkwang Museum, Essen, im KAI 10 Raum für Kunst, Düsseldorf, und dem Städel Museum, Frankfurt a. Main, vertreten. PROVENIENZ: Privatsammlung Berlin (seit 2020). AUSSTELLUNG: Studio Berlin. Berghain, Boros Foundation, Berlin, 4.9.2020-29.8.2021. Aufrufzeit: 07.12.2024 - ca. 18.11 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONArmin Boehm 1972 Aachen - lebt und arbeitet in Berlin Dust. 2020. Oil and textiles on canvas. Signed, dated and titled on the reverse of the canvas. 160 x 180.5 cm (62.9 x 71 in). [KA]. • Using fascinating color and material compositions, Armin Boehm embeds his motifs in a prismatic world that combines figuration, symbolism, and cultural references. • “Dust” featured in the exhibition “Studio Berlin” at the renowned nightclub Berghain in Berlin in 2020/21, initiated by the Boros Foundation. • In this work, Boehm adopts avant-garde literary tendencies from German expressionists. • Boehm's works are represented in the Folkwang Museum, Essen, the KAI 10 Raum für Kunst, Düsseldorf, and the Städel Museum, Frankfurt, among others. PROVENANCE: Private collection, Berlin (since 2020). EXHIBITION: Studio Berlin, Berghain, Berlin, September 4, 2020 - August 29, 2021. Called up: December 7, 2024 - ca. 18.11 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
An unusual and spectacular antique Tree of Life crewel work wall hanging - 18th / 19th century, worked in in crewel wool embroidery on a buff-coloured linen ground, decorated with a tree of life festooned with flowers, leaves and birds in polychrome wools, the base of the trunk incorporating the images of various animals amidst the bark, with other animals in buff, pink and red including a dog, a deer and a cat, to the right of the trunk stand two human figures, one with an elaborate animal-skin cloak holding a tethered giraffe and to the left, a moored three-masted discovery / explorer's sailing ship and a circular motif, worked in brown wool with a five letter word, possibly 'Bag...' or 'Bas....', within a broad, conforming border with a repeating design with a tree, flowers and birds, each with an animal at the base of the tree resembling an anteater, approx. 254 x 175cm, the top edge folded and with brass hooks for hanging. * The vendor showed this embroidery to a textiles specialist at the National Trust many years ago, who speculated that it may have been an Afghan piece, dating from the 18th or early 19th century.
TWO CHINESE QING DYNASTY GILT-METAL HAIR PINS AND A COLLECTION OF EARLY 20TH CENTURY CHINESE EMBROIDERED SILK. One hair pin with insects, butterflies and flowers, applied with red and green stones, in gilt-metal, the other in silver-coloured metal with dense leaves and flowers on a semi-circular mount, applied with coral and green stones, together with eleven ribbon-tied lucky Chinese coins, a pair of black embroidered silk heart-shaped ear muffs, an embroidered leather pouch, two lengths of cream coloured silk ribbon embroidered with yellow and pink butterflies and flowers, a blue silk hat embroidered with pink and green peony and insects (9) The hair pins with some losses to stones and to metalwork, some misshaping. The textiles and coin ornament with minor wear.
A CHINESE BLUE AND WHITE PORCELAIN BOYS BOWL, 18TH CENTURY. Rounded body with gently everted rim decorated to the exterior with five boys holding leafy stems with lotus blooms on a foliate ground. The interior with roundel decorated with boy seated on a lotus flower holding a lotus stem. Kangxi period (1662-1722). 17.3cm diam. Ref: For a similar pair see Christie's Chinese Ceramics, Works of Art and Textiles Part I, 9 Nov 2016, LOT 339. 7cm vertical hairline at the rim. A 6mm repair at rim.
A GROUP OF 20TH CENTURY INDONESIAN TEXTILES. Comprising: a small Sumba cotton ikat, woven with birds, horses and beasts on a dark purple and red ground, 156cm x 38cm, another, probably Sumba, thickly woven with bands of figures and stylised animals and scrolls in dark brown and orange tones, 264cm x 118cm, three rectangular cotton covers, two woven in tones of brown, dark red and cream with stripes and bands of foliate motifs and another in deep pink and brown with flowers, stag and deer (5) Minor wear and some slight separating of stiches at seams, minor fading and some slight loose threads.
REFERENCE BOOKS ON HONG KONG, CHINESE FURNITURE AND TEXTILES. To include Chinese Country Antiques, Vernacular Furniture and Accessories, c1780-1920, by Andrea & Lynde McCormick, Hardback, 2000; Dragons and Silk from the Forbidden City; Dress in Hong Kong, 1992/93; Chinese Residences, 1991, published by Beijing Science & Technology Publishing House; City of Victoria, revised edition, 1999; Of Hearts & Hands, Hong Kong's Traditional Trades and Crafts, 1996. (6) Used but good condition.
Bemalter lederner Rundschild (Dhal), Indien, 19. Jhdt. Großer, leicht gewölbter Schild (etwas verzogen) aus schwerem Büffelleder. Vier durchbrochen gearbeitete eiserne Schildbuckel mit Fassung in Goldfarbe. Schauseitig reicher goldfarbener Dekor auf schwarzem Grund. Im Zentrum der Kopf Vishnus, umgeben von Blattranken, musizierenden geflügelten Apsaras und Pfauen. Auf der Rückseite originales textiles Handpolster mit vier eisernen Ösen für die fehlenden Schildfesseln. Durchmesser 59 cm. A painted Indian leather shield (dhal), 19th century A painted Indian leather shield (dhal), 19th century Großer, leicht gewölbter Schild (etwas verzogen) aus schwerem Büffelleder. Vier durchbrochen gearbeitete eiserne Schildbuckel mit Fassung in Goldfarbe. Schauseitig reicher goldfarbener Dekor auf schwarzem Grund. Im Zentrum der Kopf Vishnus, umgeben von Blattranken, musizierenden geflügelten Apsaras und Pfauen. Auf der Rückseite originales textiles Handpolster mit vier eisernen Ösen für die fehlenden Schildfesseln. Durchmesser 59 cm. Condition: II -
A group of four textiles, 17th-19th centuries, comprising: a velvet embroidery, possibly Northern Italian, late 19th century, the orange velvet ground with metal thread foliate decoration and each corner with a coat of arms beneath a canopy worked in metal thread, silks and sequins, within silver studded border and bullion fringe, approx. 102 x 90cm total; together with two embroidered fragments, early 20th century, with alternating panels of purple velvet with scrolling foliate gilt metal thread and panels of turquoise fabric, terminating gilt thread tassels, with satin lining to reverse, approx. 73 x 56cm and 76 x 56cm total; and a embroidered valance, possibly Balkan / Central Europe, of rectangular form, central panel with flowers and foliage worked in silks, wools and gilt metal thread, within later turquoise border with central gilt floral band, with gilt tassels, approx. 54 x 91cm total (4)
* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975), TABLETOP TEXTILES mixed media on board, signed, titled versoframed and under glassimage size 31cm x 31cm, overall size 55cm x 55cm Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.
Ambrosius Benson, um 1495 Mailand – 1550 BrüggeMARIA MIT DEM KINDE IN FEINER LANDSCHAFTÖl auf Holz.14,6 x 14,6 cm.Verso mit Provenienz- und Auktionsetiketten.In geschnitztem vergoldeten und gefasstem Rahmen.Das angebotene, in seiner Provenienz und in der Literatur gut dokumentierte Gemälde zeigt Maria in Halbfigur stehend in einem mit feinen Ornamenten besticktem violetten Gewand. In ihren Händen sitzt das Christuskind, eine Hand greift nach ihrem Kinn, die andere hält einen in seiner Größe an das Kind angepassten Apfel. Inkarnat, Textil und auch die goldgewellte Haarpracht sind hochminutiös wiedergegeben und stehen in ihrer Feinmalerei keineswegs der Landschaft nach, in welche die Personen harmonisch eingebettet sind. Maria scheint auf einem zu den Bildrändern abflachendem Hügel zu stehen, der mit unterschiedlichem Blattwerk und Gräsern bewachsen ist, hinter ihr links eine dicht belaubte Baumgruppe, deren Verschattung als Kontrast zu den Reflexen der Haare dient, rechts ein sich in den Bildgrund hineinschlängelnder Weg, der vorbei an einem aufgestockten Heuballen zu einer Häusergruppe führt, zu der soeben ein Wanderer im Begriff ist zu gelangen. Weiter hinten, hinter weiteren fein ausgeführten Bäumen eine abschließende Gebirgsdarstellung, deren Grau mit dem lichten Himmel verschwimmt. Das kleine Format des Gemäldes weist darauf hin, dass es für die private Andacht gedacht war. Als Bild, zu dem der Betrachter immer wieder zurückkehren würde, ist die Andachtswirkung der Darstellung bewusst so gestaltet, dass sie mehrere Interpretationsmöglichkeiten eröffnet und eine fortwährende Quelle für Meditation und Gebet bietet. So kann zum Beispiel die zärtliche Geste des Christuskindes, das die Hand hebt, um das Kinn seiner Mutter zu berühren, auf verschiedene Weise interpretiert werden. Diese Geste unterstreicht nicht nur seine Menschlichkeit und die enge Bindung zwischen Mutter und Sohn, sondern kann auch als Hinweis auf eine tiefere Bedeutung gelesen werden, die Maria als Braut Christi im Himmel darstellt, in Anspielung auf die berühmte Stelle aus dem hohen Lied „seine Linke liegt unter meinem Haupt, und seine Rechte umfängt mich.” Diese Idee wurde bereits im frühen Mittelalter oft mit einer ähnlichen Geste illustriert, wie sie in diesem Gemälde zu sehen ist (siehe etwa eine verzierte Initiale zu diesem Text in einer illuminierten Bibel um 1200; Paris, Bibliothèque nationale de France, MS. Lat. 16745, Fol. 112v). Christus hält zudem in seiner anderen Hand einen kleinen Apfel, ein vertrauter Hinweis auf ihn als den neuen Adam und implizit auch auf Maria als die neue Eva. Auch der weite Landschaftshintergrund könnte den Betrachter dazu eingeladen haben, sich in längere Betrachtung zu vertiefen. Wie Maryan Ainsworth in Bezug auf Gerard David dargelegt hat, kann eine solche Landschaft mit dem Konzept des Naturalismus, das bereits im mittelalterlichen Denken entwickelt wurde, und mit zeitgenössischen Andachtsschriften in Verbindung gebracht werden. Die Schönheit der Natur wurde schon seit dem frühen Mittelalter als Quelle des Staunens über Gottes Schöpfung, Kunstfertigkeit und Macht betrachtet. Diese weiten Ausblicke ermöglichten es dem Betrachter auch, sich selbst in die Szene zu versetzen. Eine Übung, die in populärer Andachtsliteratur wie den Meditationen über das Leben Christi des Pseudo-Bonaventura oder Ludolph von Sachsen (um 1300-1377/78) Vita Christi gefördert wurde, bestand darin, sich gedanklich in die Szenen aus dem Leben Christi zu versetzen, um dadurch intensiver mit den Figuren zu fühlen und sich mit ihnen zu identifizieren. Ein zentraler Gedanke dieser Texte war die Aufforderung, in Christi Fußstapfen zu treten, um ein gutes Leben zu führen. So argumentiert Reindert Falkenburg, dass Gemälde wie das vorliegende als visuelle Hilfen zur Meditation über die Pilgerreise des Lebens betrachtet werden können. Diese Ideen spiegeln sich deutlich in Bensons kleinem Bild wider, mit dem sich windenden Weg und dem kleinen Pilger, der ihn durchquert. Diese Elemente ermöglichen es dem Betrachter, sich in die Szene hineinzuversetzen, denselben Pfad zu gehen und zur Jungfrau mit dem Kind und zur Erlösung zu gelangen.Benson scheint lombardischer Herkunft zu sein, war jedoch ab 1518 Meister in Brügge tätig und trat als Mitarbeiter in die Werkstatt von Gerard David (um 1460-1523) ein. Als einer der wichtigsten flämischen Maler zwischen Spätgotik und Renaissance, neben Gerard David und Adriaen Isenbrant (1475/95-1551), feierte Benson große Erfolge und seine Exporte reichten bis nach Spanien und Portugal.Provenienz: Sotheby's, London, 6. Mai 1925, Lot 15.Sammlung Vick.Thomas Agnew and Sons Ltd., London. Von dort an: Edith Stanton Newberry (1870-1956), Detroit. Im Erbgang an: John S. Newberry, Detroit. Per Spende im Jahr 1957 an: Grosse Pointe Memorial Church.Sotheby's, New York, 29. Januar 2015, Lot 4. Dort erworben von: A. Alfred Taubman (1924-2015).Sotheby's, New York, 27. Januar 2016, Lot 16.Literatur:The Burlington Magazine for Connoisseurs, Vol. 47, London 1925, S. 17.Georges Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint, Damme 1957, S. 116, S. 297, Nr. 60.Max J. Friedländer, Early Netherlandish Painting: The Antwerp Mannerists Adriaen Ysenbrant, Leiden 1974, S. 97, Nr. 260, Abb. 170.Ausstellung: London, Thos. Agnew and Sons Ltd., 1926. (1371231) (13) (†)Ambrosius Benson,ca. 1495 Milan – ca. 1550 BrugesTHE VIRGIN AND CHILD IN FINE LANDSCAPE Oil on panel.14.6 x 14.6 cm.Provenance and auction labels on the reverse. The painting on offer for sale in this lot, whose provenance and literature are well documented, depicts the Virgin in half-length standing in a violet robe embroidered with fine ornaments. The Christ Child is seated in her hands, one hand reaching for her chin, the other holding an apple the size of the child. The flesh tones, the textiles and the golden wavy hairstyle are painted in meticulous detail and are equal to the fine landscape painting in which the figures are harmoniously embedded.Provenance: Sotheby’s, London, 6 May 1925, lot 15.Vick collection.Thos. Agnew and Sons Ltd., London. From there to:Edith Stanton Newberry (1870 – 1956), Detroit. Inherited by:John S. Newberry, Detroit. Donated in 1957 to:Grosse Pointe Memorial Church.Sotheby’s, New York, 29 January 2015, lot 4. Acquired there by:A. Alfred Taubman (1924 – 2015).Sotheby’s, New York, 27 January 2016, lot 16.Literature:The Burlington Magazine for Connoisseurs, XLVII, April 1925, p. 17.Georges Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint, Damme 1957, p. 116, p. 297, no. 60.Max J. Friedländer, Early Netherlandish Painting: The Antwerp Mannerists, XI, Leiden 1974, p. 97, no. 260, ill. 170.Exhibitions: London, Thos. Agnew and Sons Ltd., 1926.
Italienischer Maler des 19. JahrhundertsDER GOLF VON NEAPELÖl auf Leinwand.121 x 118 cm.In reliefverziertem und bronziertem Rahmen.Bewegter Küstenstreifen mit ockerfarbenen Felsen, davor die Aufsicht eines Dorfes mit Kirche, links daneben unter einer Zypressengruppe ein textiles Dach für feiernde Personen. Rahmen besch. (1421522) (13)Italian painter of the 19th centuryTHE GULF OF NAPLES Oil on canvas.121 x 118 cm.
Anna Gordon. A pair of 18ct gold earrings and a silver brooch, attributed to Anna Gordon, the earrings hallmarked Edinburgh 1998, Edinburgh Assay Office mark; the silver brooch of square form, unmarked, width 7.0cm, in Anna Gordon box (2) Anna Gordon has worked as a prominent contemporary jeweller and goldsmith since studying at Edinburgh College Art between 1989-1994, where she learnt under the preeminent Scottish jeweller Dorothy Hogg. Her career has seen her work exhibited consistently since 1993, and she has held the position of department head of Jewellery and Silversmithing at Glasgow School of Arts since 2008. Her work is held permanently in notable collections including the Victoria and Albert Museum, the Royal Museum of Scotland, the Goldsmith's Company collection, and the Crafts Council Collection, and in 2020 she won the Goldsmiths’ Craftsmanship and Design Award: Gold and Silver Wyre Drawers Gold Award. Her jewellery is self-proclaimed to be influenced by her surroundings, blending natural and architectural cues to produce geometric shapes fashioned by hand. Most recently she has been exploring textiles, particularly Japanese silks and origami papers. Her oeuvre boasts a palette of precious metals, alongside natural materials, gemstones and enamel.Condition Report: Vendor states that the brooch is an early piece, from Gordon's degree show from Edinburgh College of Art.
Various vintage and antique textiles including embroidered colourful floral tablecloths, three 19th century lace examples, a children's dressing up costume, possibly Harlequin with tambourine, boxed, a wedding veil from the 1930s, three samplers, two by Ann Stakes, Hilltop School, Low Moor, one featuring a steam locomotive, the other of a hunting dog, and the other sampler by Amy Pickering from St Peter's Girls' School, Barnes Green, 1883.
A pair of painted wooden bedside tables by Chelsea Textiles, of recent manufacture, each decorated in duck-egg blue, with a rectangular top above a single short frieze drawer and an undertier, raised on four square supports, 50cm wide35cm deep74cm high (2)Condition ReportOverall the pair appear in very good order with minor wear. Joints solid. Drawers run smoothly.
A pair of hand-embroidered cotton curtains by Chelsea Textiles, 20th century, in Pastel Vine 'Sea, Mist & Sand' design, worked in pale silks with crewelwork-style trailing vine embroidery to a cream ground, lined in Chelsea Textiles small green check fabric, interlined and weighted,each drop 210cm long95cm wide at the pleated edge (2)Condition ReportCommissioned from Chelsea Textiles by the vendor. Bottom width per length approximately 207cm. Total width of top pleated edge for the pair approximately 190cm. Fabric patterns F143/B (made to order) and the equivalent of FC1004 (exact pattern is discontinued but this is the replacement). Overall the curtains are in excellent condition and barely used. No obvious marks, holes, stitching losses, etc.
Antique large bend limb mannequin doll 1914 mould Large 27” German Jutta -(recknagel/ Halbig head) Bisque head baby oversized shop mannequin sized doll, with solid articulated body. Open closed mouth with fitted tongue and open close eyes with full lashes , detailed hands, bought in 1919 by the vendors family and provenance is included as to its History-Great face in this oversized mannequin size .(1) You are personally invited to Bishton Hall for the Viewing day 11-3pm on Sunday 1st December , the day prior to the sale and view and see the dolls toys and teddy bears and fashion and textiles for yourself in person
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