Eternity Masterpieces - November 2014
Auction closed.
Auction closed.
Eternity Masterpieces - November 2014
Auction closed.
Auction closed.
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Description
Fine Art & Antiques from all over the world including paintings, porcelain, bronzes, coins, wood carvings, etc.
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Closed Lots
Chinese wooden antique small container on the rope,
Low Estimate: 1,000High Estimate: 2,000Original
Chinese wooden antique small container on the rope, 3. Height: 2.75 inches = 69 mm. Width: 2.5 inches = 63 mm. Weight: 48.43 g. Provenance: from private collection in Florida, USA; purchased in 1980s -1990's.
Condition used, natural wood wear and aging, insignificant scratches, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Condition used, natural wood wear and aging, insignificant scratches, no defects;
Low Estimate: 1000;
High Estimate: 2000;
Original: Yes;
Chinese antique Carved Wooden Foo Dog, Qing dynasty
Low Estimate: 2,000High Estimate: 5,000Original
Chinese antique handmade Carved Wooden Foo Dog, Qing dynasty (?) Weight: 3 lb. 7 oz. = 1600 g. Height: 12 inches = 29.5 cm. Length: 7.5 inches = 18.5 cm. Age: presumably Qing dynasty (1644-1912). Material: Red hard wood.
Condition Overall very good condition. Amazing handmade carving from the whole piece of hardwood There are following damages: the right ear is broken, front upper and lower teeth are missing, decoration detail under left leg is partially broken. There is a stable (only 5 mm deep) vertical crack in the base (picture#2);
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes;
Condition Overall very good condition. Amazing handmade carving from the whole piece of hardwood There are following damages: the right ear is broken, front upper and lower teeth are missing, decoration detail under left leg is partially broken. There is a stable (only 5 mm deep) vertical crack in the base (picture#2);
Low Estimate: 2000;
High Estimate: 5000;
Orignal: Yes;
Chinese carved Cinnabar lacquer plate, Ming - style
Low Estimate: 500High Estimate: 10,000Condition: Excellent
Chinese carved Cinnabar lacquer plate, Ming - style. Diameter: 9.75 = 24.5 cm. Weight: 1 lb. 2 oz. = 500 g. Base: possibly wood, hard to say
Condition excellent, no defects;
Low Estimate: 500;
High Estimate: 10000;
Condition: Excellent;
Condition excellent, no defects;
Low Estimate: 500;
High Estimate: 10000;
Condition: Excellent;
Chinese Cinnabar carving wood box, Qing dynasty or earl
Low Estimate: 800High Estimate: 3,000Original
Antique Chinese cinnabar carving wood box, Qing dynasty or earlier Length: 5.5 in.= 140 mm. Depth: 3 in.= 95 mm. Height: 1.6 in. = 44 mm. Weight: 11 oz. = 320 g.
Condition refer to all pictures - natural aging of cinnabar outside and black paint inside, couple of chips on the edge of the cover.
Low Estimate: 800;
High Estimate: 3000;
Original: Yes;
Condition refer to all pictures - natural aging of cinnabar outside and black paint inside, couple of chips on the edge of the cover.
Low Estimate: 800;
High Estimate: 3000;
Original: Yes;
Pre-cloisonne Antique small Chinese bronze vase
Low Estimate: 200High Estimate: 500Original
Antique small Chinese bronze vase; A unique possibility of understanding of intermediate or pre- stage of cloisonne production.Height: 58 mm;Weight: 30.33 g;Origin and age: unknown;Condition: used. No defects; Cloisonne is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonne. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonne enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln.The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloisonne walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewellery, and by then always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonne enamel objects using Chinese-derived styles were produced in the West from the 18th century.
Condition used. No defects;
Low Estimate: 200;
High Estimate: 500;
Original: Yes;
Condition used. No defects;
Low Estimate: 200;
High Estimate: 500;
Original: Yes;
Chinese cloisonne vase, 12 in. 19th c
Low Estimate: 1,500High Estimate: 3,000Original
Chinese cloisonne vase, 19th c. Height: 12 inches = 30 cm.
Condition used, but nice, no defects;
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;
Condition used, but nice, no defects;
Low Estimate: 1500;
High Estimate: 3000;
Original: Yes;
Chinese antique Cloisonne red Vase, Qing Dynasty?
Low Estimate: 2,000High Estimate: 4,000Original
Chinese antique cloisonne red Vase, attributed to Qing dynasty Heavy: 4-7 lb. Height: approximately 20 inches; Diameter in the middle: 8 in. Diameter at the opening: 7 in. Provenance: from private collection in Florida, USA; purchased in 1987 in Germany
Condition natural aging, no damage;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;
Condition natural aging, no damage;
Low Estimate: 2000;
High Estimate: 4000;
Original: Yes;
Cloisonne Chinese copper box, Qing dynasty or earlier
Low Estimate: 1,000High Estimate: 5,000Original
Genuine hand-made, antique cloisonne Chinese copper box, Qing dynasty or earlier. Length: 3 ¾ in. = 95 mm. Width: 3 in. = 75 mm. Height: 1.5 in. = 40 mm. Weight: 200 g = 6.5 oz. References: Cloisonné is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French[1]) to the metal object by soldering or adhering silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln. The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloisonne walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewelry, and by then always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonné enamel objects using Chinese-derived styles were produced in the West from the 18th century.
Condition fine, 2 small piece of blue enamel inside are missing. Right corner of the lid (near the hinge) is damaged. Hinge looks original. The box opens fully, stays open. In the closed condition there is a 2 mm gap between the lid and a box.
Low Estimate: 1000;
High Estimate: 5000;
Original: Yes;
Condition fine, 2 small piece of blue enamel inside are missing. Right corner of the lid (near the hinge) is damaged. Hinge looks original. The box opens fully, stays open. In the closed condition there is a 2 mm gap between the lid and a box.
Low Estimate: 1000;
High Estimate: 5000;
Original: Yes;
Old master, Oil painting, Samaritan woman, Italy,18th c
Low Estimate: 3,000High Estimate: 10,000Original
Old master, Oil painting, - Samaritan woman near the well, 18th century, Italy. Size of the stretcher: 17.8 x 11.75 inches = 44.5 cm x 29.8 cm. There is no frame. Weight of painting on stretcher: 520 g = 1 lb. 3 oz. Signature: none. Provenance: purchased at the big and reputable auction house in Italy.
Condition very good for the age, natural aging of the oil paint;
Low Estimate: 3000;
High Estimate: 10000;
Original: Yes;
Condition very good for the age, natural aging of the oil paint;
Low Estimate: 3000;
High Estimate: 10000;
Original: Yes;
Renaissance portrait of Girolamo, 1474-1555, Italy
Low Estimate: 100,000High Estimate: 200,000Original
Evaluation by professor from the University of South Florida, Tampa, Florida, Associate Professor, Renaissance Art History, Cornell University Dr. Helena Szepe, PhD : Genuine portrait of Girolamo dai Libri from 1500's (16th century). Renaissance portrait of Girolamo dai Libri, 1474-1555, artist from Verona, Italy. Oil painting on the wooden board in oval carved wooden frame. At the back of the icon on the top same message is written in Latin:HIERONIMUS A LIBRIS PICT. MINATOR VER. At the back of the icon on the bottom is written:..no...libri tribu Veronese. Size of the icon without frame: 9 x 6.5 inches = 228 x 166 mm. Thickness of the board without frame: 6 mm; Weight of the icon without frame: 6 oz = 180 g; Weight of the icon with a frame: 1 lb 4 oz = 600 g; In the lower part of the painting it is written: "Hieronimus a Libris Pict. Minator Ver.",- that translated from Latin means: "Girolamo Dai Libri Painter Illuminator from Verona". Yes, Girolamo was a great painter and illustrator of illuminated books. In the back, it is written the same thing in the higher part; the reading of the lower part is difficult, because partly washed away, but it seems that somebody has repeated the previous capital inscription in italic type: "mani" - is probably the final part of word (Hiero)nimi Libri ... Veronese (that means from the town of Verona). The half word "tribu" is hard to understand because not complete. Yes, Hieronimus is the Latin name for Girolamo.
Condition cleaned and covered with varnish/lacquer. Back of the icon is planed (shaved) manually.
Low Estimate: 100000;
High Estimate: 200000;
Original: Yes;
Condition cleaned and covered with varnish/lacquer. Back of the icon is planed (shaved) manually.
Low Estimate: 100000;
High Estimate: 200000;
Original: Yes;
ADOLPHE MONTICELLI, oil painting on panel France 19th c
Low Estimate: 20,000High Estimate: 40,000Original
ADOLPHE MONTICELLI (1824-1886), oil painting on panel, Walk in forest, France Panel: 16 in. x 11 in. = 40 x 27.5 cm; Frame: 24 in x 18.5 in. = 60 cm x 46 cm; Weight with frame: 8.5 lb. = 3.8 kg; "A Walk in the Forest"; forest with two ladies. Signed: Monticelli In a lower left. Also marked on verso, "Monticelli". Later gilt frame. Descriptive strip on verso reading, "Ex. Coll. Norton Simon, Museum of Art, Beverley Hills". Provenance: from the collection of Norton Simon References: Biography of the artist: Born in Marseilles, Adolphe Monticelli worked in his hometown and in Paris. He studied under Paul Delaroche in 1846-8 in Paris and also learned from examining the Old Masters work in the Louver. In 1856 (Paris) he acquainted with Diaz and was influenced by his style and colors He painted landscapes, still lives, portraits, and circus scenes. His career reached its height in the 1860s. Van Gogh greatly admired by Monticelli's work After the Franco-Prussian War began, Monticelli returned to Marseilles to retire. Prices Realized at Auction House "Christies": 6,875 = $9,522 Size: 14 x 18. 3/4 in. (37 x 46.3 cm = 1,713 sq cm) 10,800 = $20,768 Size: 14 x 8 in. (37cm x 23 cm = 851 sq cm) $37,500 Size 63 x 38 in. (161.3 x 97.8 = 15,775 sq. cm) 9,200 = $15,254 Size 11 x 20 in. (29.2 x 51.4 cm = 1,500 sq cm) Prices realized at Auction house: "Damien Leclere"-France, Marceille 36,993 = $60,615 "Le Bal masque", oil on panel 19.3 x 28.1 in (49 x 71.5 cm = 3,503 sq. cm) 36,091 = 40,000 EUR = 59,136 USD, "Femmes dans les Sous Bois" Size: 21.7 x 40.2 in (55 x 102 cm =5,610 sq. cm) Norton Winfred Simon (February 5, 1907-June 2, 1993), in the United States was a millionaire industrialist and philanthropist based in California. His significant art collection is housed in the Norton Simon Museum in Pasadena, California. Simon also accumulated a significant private art collection which included works of the Impressionists, Old Masters, modern and native art. He served as a trustee of the Los Angeles County Museum of History, Science and Art and supported the development of the LA County Museum of Art. Simon initially lent most of his art collection to that Museum although as it expanded he pioneered the "museum without walls" concept by actively lending his collection to different museums around the world. Simon's collection holds three autograph Rembrandt paintings, considered highly important works of Rembrandt in Southern California. In 1972 Norton Simon bought a tenth-century South Indian bronze Nataraja, or dancing Shiva, from New York dealer Ben Heller for $900,000. The Indian government declared that the statue had been stolen from a temple in Tamil Nadu and smuggled abroad. Although Simon was quoted (New York Times, 12 May 1973) as saying that he had knowingly bought smuggled art (Hell yes, it was smuggled. I spent between $15 and $16 million in the last two years on Asian art, and most of it was smuggled) he vehemently denied the quote (Los Angeles Times, 13 May 1973), declaring that the work had been legally imported into the United States. In the same Los Angeles Times article, he stated, As a collector deeply and emotionally involved in art, I deplore the rape of art treasures of any country. In 1976 Simon reached an amicable agreement with the Union of India whereby he agreed to return the Nataraja to India. In exchange, the Indian government agreed that Simon could keep and display the bronze in his museum for nine years before its return. Seeking a permanent home for his collection of over 4,000 objects, in 1972 he welcomed an overture from the financially troubled Pasadena Museum of Modern Art. He ultimately assumed control and naming rights, and in 1974 it was renamed the Norton Simon Museum. In 1987, the University of California, Los Angeles, announced an "agreement in principle" with Simon for the transfer to the university of the art collection owned by two Simon foundations - the Norton Simon Foundation and the Norton Simon Art Foundation.[1] The plan was to keep most of collection in Pasadena, administered by UCLA, the Simon board and the Norton Simon Foundation. The university was to build a separate museum facility on campus for part of the collection.[2] However, Simon withdrew his offer three months after the announcement was made.[3]
Condition Perfect for the age, no defects;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;
Condition Perfect for the age, no defects;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;
Monticelli (1824-1886), France, 19th c, Oil Painting, Nobility in the Garden
Low Estimate: 50,000High Estimate: 150,000Original
Adolphe Joseph Thomas Monticelli (1824-1886), France, XIX c, antique oil painting. Ladies and gentlemen in the garden. Material: Oil on the wooden panel with thickness of 8 mm; Signature: no visible signature (by the way, 80% of his painting were not signed). Age: 19th century. Country: France; Size of the wooden board: 17.5 x 32.7 inches = 44 cm x 83 cm = 3,652 sq. cm; Size of the frame: 22 x 37 inches = 55.5 x 94.5 cm. Weight with a wooden frame: 3-5 lb. Provenance: The painting was purchased by Eternity Gallery, Tampa, FL in 2011 from antique dealer in Clearwater, Fl. He bought this painting in London, UK about 25 -30 years ago and brought it to USA about 20 years ago. Biography of the artist:Born in Marseilles, Adolphe Monticelli worked in his hometown and in Paris. He studied under Paul Delaroche in 1846-8 in Paris and also learned from examining the Old Masters work in the Louver. In 1856 (Paris) he acquainted with Diaz and was influenced by his style and colors. He painted landscapes, still lives, portraits, and circus scenes. His career reached its height in the 1860s. Van Gogh greatly admired by Monticelli's work. After the Franco-Prussian War began, Monticelli returned to Marseilles to retire. Prices Realized at Auction House "Christies": £6,875 = $9,522; Size: 14½ x 18. 3/4 in. (37 x 46.3 cm = 1,713 sq cm) £10,800 = $20,768; Size: 14 x 8 in. (37cm x 23 cm = 851 sq cm) $37,500; Size 63 x 38 in. (161.3 x 97.8 = 15,775 sq. cm) £9,200 = $15,254 Size 11 in x 20 in. (29.2 x 51.4 cm = 1,500 sq cm). Prices realized at Auction house: "Damien Leclere"-France, Marceille: £36,993 = $60,615 "Le Bal masque", oil on panel 19.3 x 28.1 in (49 x 71.5 cm = 3,503 sq. cm). £36,091 = 40,000 EUR = 59,136 USD, "Femmes dans les Sous Bois" Size: 21.7 x 40.2 in (55 x 102 cm =5,610 sq. cm)
Condition excellent for the age, no defects, because of the thick wooden panel, which was a genius choice of the artist.
Low Estimate: 50000.0;
High Estimate: 150000.0;
Original: Yes;
Condition excellent for the age, no defects, because of the thick wooden panel, which was a genius choice of the artist.
Low Estimate: 50000.0;
High Estimate: 150000.0;
Original: Yes;
french Oil canvas painting 4 Arabic horsemen, France
Low Estimate: 20,000High Estimate: 40,000Original
Antique oil on canvas painting,- 4 Arabic horsemen, by E. Girardin, France. Signed in the right lower corner by E. Girardin. Size of the frame: 33 x 43 inches = 82 cm x 107 cm.
Condition small repaired area in the middle 8 x 6 cm;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;
Condition small repaired area in the middle 8 x 6 cm;
Low Estimate: 20000;
High Estimate: 40000;
Original: Yes;
Marie Elysa Bonaparte, sister of Napoleon, oil painting
Low Estimate: 200,000High Estimate: 800,000Original
Marie Anna Elysa Bonaparte, by unknown artist, oil painting. Not signed; Relined; Oil on canvas; Canvas on stretcher: 22.2 x 18.4 inches = 55.5 cm x 46 cm; Old wooden frame: 31 x 27.5 inches = 77.5 cm x 69 cm; References and history: Maria Anna (Marie Anne) Elisa Bonaparte Baciocchi Levoy, Princesse Française, Duchess of Lucca and Princess of Piombino, Grand Duchess of Tuscany, Countess of Compignano (3 January 1777 7 August 1820) was the fourth surviving child and eldest surviving daughter of Carlo Buonaparte and Letizia Ramolino, making her the younger sister of Napoleon Bonaparte. Her other elder siblings were Joseph and Lucien, whilst her younger siblings were Louis, Pauline, Caroline and Jerome. As princess of Piombino and Lucca, then grand duchess of Tuscany, she was his only sister to possess real political power, though her sharp tongue often caused troubles in her relations with him. Highly interested in the arts, particularly the theater, she encouraged them in the territories over which she ruled.
Condition Genuine, professionally relined, very good condition, no visible defects;
Low Estimate: 200000;
High Estimate: 800000;
Original: Yes;
Condition Genuine, professionally relined, very good condition, no visible defects;
Low Estimate: 200000;
High Estimate: 800000;
Original: Yes;
Portrait of British General Thomas Picton, killed in 1815
Low Estimate: 100,000High Estimate: 250,000OriginalMedium: Oil PaintCirca: 1800Style: Classicism
Oil on canvas, portrait of British General Sir Thomas Picton, killed in action at Waterloo, in 1815. Possible attributions: 1. Sir Thomas Lawrence (1769 - 1830); 2. Sir William Beechey (1753 - 1839); 3. Jacques-Louis David (1748 - 1825); 4. Sir Martin Archer Shee (1769 - 1850) - high probability. http://www.npg.org.uk/collections/search/person/mp03564/sir-thomas-picton 5. George Dawe (1781-1829) England - highest possibility. Size of the frame: 29 in. x 25 in. = 72.5 cm x 62.5 cm; Size of the stretcher: 24 x 20 in. = 60 cm x 50 cm; Weight of the frame: 15 lb. = 6.75 kg; In the right upper corner there is a message in English: Thomas Picton General Served in Paris under the Duke of Wellington Killed in action and _____________Cavalry 1815. Version 1. This is a portrait of King Leopold I, King of Belgians, by George Dawe. Leopold I (Leopold Georges Chretien Frederic; German: Leopold Georg Christian Friedrich; 16 December 1790 - 10 December 1865) was from 21 July 1831 the first King of the Belgians, following Belgium's independence from the Netherlands. He was the founder of the Belgian line of the House of Saxe-Coburg and Gotha. His children included Leopold II of Belgium and Carlota of Mexico, Empress-Consort of Maximilian I of Mexico. He was a maternal uncle and adviser of Queen Victoria. He was born in Coburg and died in Laeken. By birth, he was a Prince of Saxe-Coburg-Saalfeld, later a Prince of Saxe-Coburg and Gotha and Duke of Saxony. Leopold was the youngest son of Francis, Duke of Saxe-Coburg-Saalfeld, and Countess Augusta Reuss-Ebersdorf, and later became a prince of Saxe-Coburg and Gotha after Saxe-Coburg acquired Gotha from Saxe-Gotha-Altenburg in 1826 and yielded Saalfeld to Saxe-Meiningen. In 1795, as a mere child, Leopold was appointed colonel of the Izmaylovsky Guards Regiment in Russia. Seven years later, he became a major general. When Napoleonic troops occupied the Duchy of Saxe-Coburg in 1806 Leopold went to Paris. Emperor Napoleon I offered him the position of adjutant, but he refused. Instead, he took up a military career in the Imperial Russian Cavalry. He campaigned against Napoleon and distinguished himself at the Battle of Kulm at the head of his cuirassier division. In 1815, at the age of 25, Leopold reached the rank of lieutenant general in the Imperial Russian Army. Version II. This is a portrait of British General Thomas Picton. Discussion: The portrait was probably made in his younger years. Biography of Thomas Picton: Picton was the younger son of Thomas Picton, and was born in Poyston, Pembrokeshire, Wales. In 1771 he obtained an ensign's commission in the 12th Regiment of Foot, but he did not join until two years later. The regiment was then stationed at Gibraltar, where he remained until he was made captain in the 75th in January 1778, at which point he then returned to Britain. The regiment was disbanded five years later, and Picton quelled a mutiny amongst the men by his prompt personal action and courage, and was promised the rank of major as a reward. He did not receive it, and after living in retirement on his father's estate for nearly twelve years, he went out to the West Indies in 1794 on the strength of a slight acquaintance with Sir John Vaughan, the commander-in-chief, who made him his aide-de-camp and gave him a captaincy in the 17th foot. Shortly afterwards he was promoted major in the 58th foot.
Condition Fine, normal age wear, no defects;
Low Estimate: 100000.0;
High Estimate: 250000.0;
Original: Yes;
Medium: Oil Paint;
Circa: 1800;
Style: Classicism;
Condition Fine, normal age wear, no defects;
Low Estimate: 100000.0;
High Estimate: 250000.0;
Original: Yes;
Medium: Oil Paint;
Circa: 1800;
Style: Classicism;
The Evangelist Matthew oil painting Rembrandt van Rijn?
Low Estimate: 1,000,000High Estimate: 90,000,000Medium: Oil PaintStyle: Classicism
The Evangelist Matthew(?) __________Oil painting, attributed to Rembrandt van Rijn. Signed: Rf. Rf - may mean Rembrandt made; fecit (verb Latin);he made (it); she made (it): formerly used on works of art after the name of the artist. Abbreviation: fe., fec. Size of the stretcher without frame: 33,7 x 29,3 cm; Size of the frame: 48,7 x 43,9 cm; Condition: The canvas was relined, probably in 19th century. Basically, there are 2 layers of canvas: old and new. There is a repaired cut or damage of the canvas in the area of of old man beard and his book. Provenance: from the collection of the late Yvonne Schotte, daughter of the Belgian magnate Hippolyte Schotte from castle Aalst. Here is picture of castle from family Shotte in Aalst .http://en.wikipedia.org/wiki/File:Kasteel_Regelsbrugge.JPGOpinion of Art Specialist Jean-Marie Clarke, art-historian from Europe about signature. http://www.rembrandt-signature-file.com/First of all, I am not a Rembrandt expert as such, but only an art historian who has done a lot of research on the signatures, which permits me to give an educated opinion on the matter.Second, it is very difficult to judge a painting from a photo alone.Nevertheless, I can say a few things about your painting and its signature.The form of the signature--an initial R, followed by an "f"--would point to an early work, i.e. previous to 1632 (or even 1630).What I see on the picture is a very calligraphic signature with an unusually prominent placing. This and the fact that there is no date, - do not necessarily disqualify it as authentic. One can usually expect surprises from the young Rembrandt. One surprise would be that this "tronie" is painted on canvas, whereas Rembrandt in ca. 1630 worked mostly on wood panels in the case of such small paintings. Another surprise is that the handling of the paint seems to be remarkably fluid, giving less an impression of searching for than of applying effects; i.e. it seems to be the work of a mature painter. In a sense, the old man's face is too well painted to be by the young Rembrandt, who, around 1630, was still working toward an accurate rendition of the human likeness. This is a very subjective judgment, of course.At any rate, this is a very fine painting, showing a face at an angle that is quite difficult to treat in a satisfying way. Only the hands look a bit summarily treated, but there may be more shadow in the foreground than the photograph indicates.As it happens, I am presently collaborating with the owner of a painting of similar size, but on wood showing an old woman to try to establish its (presumed) authorship by Rembrandt. It is an uphill battle. The experts and the art establishment have very mixed feelings. Opinion of professor Gary Schwartz :The painting does not seem to have the quality that would convince art historians and collectors that it was made by Rembrandt. However, it is not un-interesting. The model in the painting resembles a sitter who posed for Rembrandt on numerous occasions around 1630. In most of them, the old man has more hair on his head and his beard is not curly. In none of the compositions known to me, - is the model reading a book, as in this painting. I would, therefore, be inclined to call the painting a copy after a lost work by Rembrandt. It would be interesting to study it in relation to the entire group. Such a study might add a bit to our knowledge of Rembrandt. It would not necessarily add to the market value of the painting
Low Estimate: 1000000.0
High Estimate: 9.0E7
Medium: Oil Paint
Style: Classicism
Low Estimate: 1000000.0
High Estimate: 9.0E7
Medium: Oil Paint
Style: Classicism
Oil Portrait of Old Man, attributed to Rembrandt School
Low Estimate: 10,000High Estimate: 20,000OriginalMedium: Oil PaintStyle: Classicism
Old man with beard in beret, - attributed to Rembrandt School. Size of the stretcher: 24 in. x 20 in. = 61 cm x 51cm; Size of the wooden frame: 26 in. x 22 in. = 65 cm x 55 cm; Frame is modern, not original; Media: Oil on canvas; Research in ultraviolet light: The area (14 cm x 7cm) in the center and above of the beret was repaired with over paint, probably during the time of relining. The area with signature also has traces of over paint (9 x 3 cm). Signature: The painting is signed in the right lower corner in red paint, although signature is not very clear. The signature is about 9 cm long and contains 7-10 letters.
Condition In general, the condition of the painting is very good. The canvas was relined, presumably 40-100 years ago. There is a paint loss 7 x 5 mm, above the left shoulder and another several smaller (2-3 mm) spots of paint loss. Fortunately, the face is spared and intact.
Low Estimate: 10000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Style: Classicism;
Condition In general, the condition of the painting is very good. The canvas was relined, presumably 40-100 years ago. There is a paint loss 7 x 5 mm, above the left shoulder and another several smaller (2-3 mm) spots of paint loss. Fortunately, the face is spared and intact.
Low Estimate: 10000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Style: Classicism;
Old woman portrait, attributed to Wilhelm Leibl, 19th c
Low Estimate: 100,000High Estimate: 250,000OriginalMedium: Oil PaintCirca: 1875Style: Classicism
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris.
Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background.
Low Estimate: 100000;
High Estimate: 250000;
Original: Yes;
Medium: Oil Paint;
Circa: 1875;
Style: Classicism
Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background.
Low Estimate: 100000;
High Estimate: 250000;
Original: Yes;
Medium: Oil Paint;
Circa: 1875;
Style: Classicism
David Wilkie, OIl painting "Scottish soldiers", 19th c
Low Estimate: 25,000High Estimate: 50,000OriginalMedium: Oil PaintCirca: 1815Style: Classicism
Original painting "Scottish soldiers collecting contribution from the citizens...", signed by artist Sir David Wilkie R.A.(?) Material: Oil on Canvas Canvas is torn along the upper left edge of the stretcher. Age: 19th century. Size of the canvas: 9 x 12 inches = 23 cm x 30.5 cm. Size of the triple frame: 21 x 25 inches = 54.8 cm x 63.8 cm Weight with a frame: 8 lb Magnification research Condition is good for the age with natural aging of the wood frame and canvas. This is an oil painting on canvas with light brush strokes. There is an old (not restored varnish), delicate cracks/crackelures all over the canvas, including background, soldiers figures, their boots and Wilkies signature. Research under ultraviolet light Results of ultraviolet research: In ultraviolet light black boots of soldiers and signature stand out. It does not look like in-paint or over paint, because black color absorbs all kind of light and may stand out. In the left low corner there is a bright spot 8x7 mm, which may represent wear and repair. Pants of sitting soldier are more prominent than background. The edge on the right has some bright elongated spots - later repairs? Biography Sir David Wilkie, a Scottish painter, was born in Cults manse in Fife in 1785. In 1799, he was sent to study at the Trustees Academy in Edinburgh and on his return home in 1804, painted his Pitlessie Fair. The Village Politicians (1806) was of great success which made him settle in London. In 1817, he visited Sir Walter Scott at Abbotsford, and painted the family group now in the Scottish National Gallery. His fame mainly rests on his genre pictures in the Dutch style, such as the Distraining for Rent (1815), The Penny Wedding (1818), The Letter of Introduction (1818) and others. Later he changed his style, tried to imitate the depth and richness of coloring of the old masters and chose more elevated historical subjects, like The Preaching of John Knox before the Lords of Congregation, 10 June 1559. He also painted portraits William Chalmers-Bethune, his wife Isabella Morison and their Daughter Isabella (1804), and was successful as an etcher. In 1823, he was appointed Kings limner in Scotland, and in 1830 painter-in-ordinary to King William IV. In 1840, for his health, he visited Syria, Palestine and Egypt, but died on his voyage home. Benjamin Disraeli, 1st Earl of Beaconsfield Benjamin Disraeli, 1st Earl of Beaconsfield, KG, PC, FRS, (21 December 1804 19 April 1881) was a British Prime Minister, parliamentarian, Conservative statesman and literary figure. He served in government for three decades, twice as Prime Minister of the United Kingdom. Although his father had him baptized to Anglicanism at age 12, he was nonetheless the country's first and thus far only Prime Minister who was born into a Jewish family. He played an instrumental role in the creation of the modern Conservative Party after the Corn Laws schism of 1846. Although a major figure in the protectionist wing of the Conservative Party after 1844, Disraeli's relations with the other leading figures in the party, particularly Lord Derby, the overall leader, were often strained. Not until the 1860s would Derby and Disraeli be on easy terms, and the latter's succession of the former assured. From 1852 onwards, Disraeli's career would also be marked by his often intense rivalry with William Ewart Gladstone, who eventually rose to become leader of the Liberal Party. In this feud, Disraeli was aided by his warm friendship with Queen Victoria, who came to detest Gladstone during the latter's first premiership in the 1870s. In 1876 Disraeli was raised to the peerage as the Earl of Beaconsfield, capping nearly four decades in the House of Commons. Before and during his political career, Disraeli was well-known as a literary and social figure, although his novels are not generally regarded as a part of the Victorian literary canon. He mainly wrote romances, of which Sybil and Vivian Grey are perhaps the best-known today. He is exceptional among British Prime Ministers for having gained equal social and political renown. He was twice successful as the Glasgow University Conservative Association's candidate for Rector of the University, holding the post for two full terms between 1871 and 1877.
Condition Canvas is torn along the upper left edge of the stretcher. The frame is original and old.
Low Estimate: 25000;
High Estimate: 50000;
Original: Yes;
Medium: Oil Paint;
Circa: 1815;
Style: Classicism;
Condition Canvas is torn along the upper left edge of the stretcher. The frame is original and old.
Low Estimate: 25000;
High Estimate: 50000;
Original: Yes;
Medium: Oil Paint;
Circa: 1815;
Style: Classicism;
Graceful lady reading a letter, Watercolor, France, 19 c
Low Estimate: 6,000High Estimate: 12,000OriginalMedium: WatercolorCirca: 1860Style: Impressionism
Graceful lady reading a letter", Signed watercolor/aquarelle, France, XIXc. Material: Aquarelle on carton with tempera, protected by glass, beautiful golden frame. Country: France; Signature is hard to read. Size of the carton: 18 x 15 inches = 45 cm x 37.5 cm; Size of the frame: 28 x 24 inches = 70 cm x 60 cm; Weight with a frame: approximately 10-15 lb. = 5-8 kg. Photos were taken with and without cover glass.
Condition Water color painting on carton in a very good condition, because it was protected by glass most of the time. Some aging spots on the carton on the back.
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Medium: Watercolor;
Circa: 1860;
Style: Impressionism;
Condition Water color painting on carton in a very good condition, because it was protected by glass most of the time. Some aging spots on the carton on the back.
Low Estimate: 6000;
High Estimate: 12000;
Original: Yes;
Medium: Watercolor;
Circa: 1860;
Style: Impressionism;
Antique engraving Duchess of Guise, Paris, France, 1684
Low Estimate: 1,500High Estimate: 5,000Circa: 1684Style: Classicism
Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x 35 cm. Size of the frame: 22.5 x 17.5 inches = 56 cm x 44 cm. Weight of the framed engraving: 7 lb. = 3.15 kg. Condition: Good, except that there is a small tear (10x22 mm) in the region of the upper part of her dress.Provenance: from private collection of one lady in Florida.BiographyMarie de Lorraine de Guise was a "foreign princess naturalized in France" (that is, the daughter of a foreign prince of the House of Lorraine). After the death of the last male of the House of Guise in 1675, Marie became duchess of Guise, duchess of Joyeuse, and princess of Joinville and enjoyed the vast revenues from these duchies and principalities.[1] People addressed her formally as "Your Highness"; she herself signed legal documents as "Marie de Lorraine"; and after 1675, as "Marie de Lorraine de Guise," but she ended personal letters with, simply, "Guise."Exiled to Florence with her family, 163443,[2] Marie (whom the French knew as "Mademoiselle de Guise") became close to the Medicis and came to love Italy and especially Italian music. For over forty years scarcely a week passed that she did not write to her Medici friends in Florence, or receive word from them through the Tuscan resident in Paris. Circa 1650 she morganatically married Claude de Bourdeille, count of Montrsor [3] by whom she had several children whose existence was never acknowledged publicly.Starting in 1670, Marc-Antoine Charpentier composed for her and sang haute-contre in her service. She protected her loyal servant by soliciting commissions for him from people or establishments who were seeking her continued patronage. For example, she was probably one of the "enraged virgins" and "heroines" who swooped down on Molire in late 1672 and forced him to give Charpentier the chance to write the music for Molire's the forthcoming theatrical spectacle, the Malade Imaginaire. For eighteen years her patronage fostered a number of major works, most of them devotional and strongly influenced by Italian music.[4][5]Successively guardian of her nephew, Louis Joseph, Duke of Guise (d. 1671) and of her grand nephew Francis Joseph, Duke of Guise (d. 1675), as the last member of the senior branch of the House of Guise, she used her vast wealth not only to live splendidly but for projects dear to her heart.[6]After these two closely spaced deaths, Marie turned to devotion. With the help of Father Nicolas Barr, Minim, she founded a teachers' training institute and created schools for girls and hospitals for the poor in her Parisian parish and in her provincial lands. In her vast Parisian residence known as the "Htel de Guise," she presided "magnificently" over a select little "court" composed chiefly of members of the House of Lorraine, clergy, learned protgs, and Italians passing through Paris. Music (often Italian and Italian-style music) was the principal entertainment at these events.Although her relations with Louis Joseph's widow, Lisabeth Marguerite d'Orlans, were often frosty, the two women continued to see one another, both in Paris and at the abbey of Saint Pierre de Montmartre, where Marie's sister Rene was abbess and where Lisabeth's sister, Marguerite Louise d'Orlans, the erstwhile Grand Duchess of Tuscany, resided after 1675.In the early 1670s, Marie had begun to assemble a small ensemble of household musicians to perform the pieces being written by her in-house composer, Marc-Antoine Charpentier.[7] Then, in the early 1680s she enlarged the group, until it rivaled both in size and quality of ensembles maintained by "several sovereigns." Over the years Marie made her composer and her musicians available to her nephew's widow lisabeth, for performances in churches and at the royal court. Both women had private apartments at Montmartre.In a will intended to disinherit her niece,[8] la Grande Mademoiselle (that is, Anne Marie Louise d'Orlans, Duchess of Montpensier [9]) she chose Charles Francois de Stainville as beneficiary in 1688; but on the urging of her heirs, the will was broken by the Parliament of Paris in 1689...[10][11]In 1700, her trustees sold her home in Paris, the Hotel de Guise, was sold to Francois, Prince of Soubise and his wife Anne de Rohan-Chabot and became the Hotel de Soubise.
Low Estimate: 1500;
High Estimate: 5000;
Circa: 1684;
Style: Classicism;
Low Estimate: 1500;
High Estimate: 5000;
Circa: 1684;
Style: Classicism;
Cubism, Menachem Helholz Or, Long arms, Oil painting
Low Estimate: 6,000High Estimate: 20,000OriginalMedium: Oil PaintCirca: 1940Style: Cubism
Original oil painting by Menachem Helholz Or, 35 x 40 cm; Style - cubism, school of Picasso; Size of the stretcher: 13.5 in x 15.5 in = 35 x 40 cm; Size of the wooden frame: 17.5 x 20 inches = 46 cm x 51 cm; Biography: Menachem Helholz-Our was born in Germany in 1911. Although his training was never formal, he was influenced by the various German Artists of the Expressionist and Bauhaus Movements in his youth, most notably Franz Marc, Heinrich Campendonk, Paul Klee and Auguste Macke. His later works show the influence of several of these artists especially in his fusing together of Cubism and vivid Expressionist colour. In 1933, when Hitler came to power, Helholz-Our fled from Germany and settled in Palestine, where from 1937 he was able to devote himself to his painting. His subjects include figurative scenes, marine life and schematic cities, some of which are based on Jerusalem, Jaffa and also German cities and railway bridges, reminiscent of motifs used by Max Beckmann. Helholz-Our also experimented with the prismatic effects of light, and like many other German artists of the period, his work fluctuated between an Expressionist version of Orphism under the influence of the Delaunays and also Cubism. His townscapes and still-lives owe much to Paul Klee, particularly his creation of all-over formal poetic patterning. Auction results http://www.bonhams.com/auctions/17442/lot/58/ http://www.alonzakaim.com/artists/helholz-or_menachem/
Condition Natural aging of oil, no defects;
Low Estimate: 6000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Circa: 1940;
Style: Cubism;
Condition Natural aging of oil, no defects;
Low Estimate: 6000;
High Estimate: 20000;
Original: Yes;
Medium: Oil Paint;
Circa: 1940;
Style: Cubism;
French cubist artist Robert Mark, oil, canvas: Composit
Low Estimate: 10,000High Estimate: 50,000OriginalCirca: 1970Style: Cubism
French cubist artist Robert Mark, oil on canvas, collage with other materials: Composition, cubism. Robert Mark was a an original French artist, cubist (1943-1993). His paintings were sold in Europe in the range of $5,000-$50,000. Size of the painting: 8 x 8 = 20 cm x 20 cm. Size of the frame: 20 x 20 inches = 50 cm x 50 cm. Wooden black frame.
Condition Excellent, no defects;
Low Estimate: 10000;
High Estimate: 50000;
Original: Yes;
Circa: 1970;
Style: Cubism;
Condition Excellent, no defects;
Low Estimate: 10000;
High Estimate: 50000;
Original: Yes;
Circa: 1970;
Style: Cubism;
10 Lithographs 18x24in. Bruce Jenner 1976 Olympic Edition
10 Lithographs 18x24 The Bruce Jenner Decathlon Suite; by William Nelson, 1976 Olympic Edition Limited Edition 42/500. Each lithograph is signed William Nelson in the right lower corner and by Bruce Jenner in the left lower corner. In the middle in between, every lithograph is numbered 42/500. 1) 100 meter Dash 2) Long jump 3) Shot Put 4) High Jump 5) 400 meter Run 6) 110 meter Hurdles 7) Discus 8) Pole Vault 9) Javelin 10) 1,500 meter Run Well-known Chicago Artist William Nelson made these limited edition Lithographs of Bruce Jenner in 1976. These are signed by Bruce Jenner and the artist, one set of 500 made. The set is housed in a leatherette folio and comes with a certificate of authenticity. Each litho is 18 by 24 plus margins. The cover of the collection is in excellent condition, as are the lithos. Each litho is housed in a heavy stock folio with a description of the event. The lithos are in excellent condition. A great addition to a William Nelson or Olympic collection. William Nelson has many honors and commissions, to name a few: Recording artist of the Sioux Indian Sundance Ceremony at Wounded Knee, South Dakota, Commissioned artist for the Bicentennial History of The United States, Recording artist of the Custer Centennial 1876 - 1976, designated as the first exclusive artist at the 1976 World Olympics by the United States Olympic Committee, First artist to have a private showing at the Senate Caucus Room in the Russell Senate Office Building, Washington, DC. Permanent Museum Collections: The White House, The National Gallery of Art, Washington, DC The Smithsonian Institution, Washington, DC The Chicago Historical Society The Field Museum, Chicago, Ill The South Dakota Museum, The Illinois State Museum. A set of signed in pencil prints by the artist William Nelson Size: 18 x 24 + margins = 29 x 22 Size of the cover: 30 x 22.5 Weight: 13 lb William Bruce Jenner (born October 28, 1949) is a former U.S. track and field athlete, motivational speaker, socialite and television personality. He won the gold medal for decathlon in the Montreal 1976 Summer Olympics. Following his Olympic victory and the related recognition, his professional career evolved into being a television celebrity. By 1981 he had starred in several made for TV movies and was Erik Estrada's replacement on the top rated TV series CHiPs. Since the 2007 debut of Keeping Up with the Kardashians he has appeared as the step-father of the Kardashian sisters.
Condition The cover of the collection is in excellent condition, as are the lithos. Each litho is housed in a heavy stock folio with a description of the event. The lithos are in excellent condition. A great addition to a William Nelson or Olympic collection.
Low Estimate: 1000;
High Estimate: 2000;
Condition: Excellent;
Circa: 1976;
Condition The cover of the collection is in excellent condition, as are the lithos. Each litho is housed in a heavy stock folio with a description of the event. The lithos are in excellent condition. A great addition to a William Nelson or Olympic collection.
Low Estimate: 1000;
High Estimate: 2000;
Condition: Excellent;
Circa: 1976;
Framed Etching lithograph Slavery to Freedom
Low Estimate: 500High Estimate: 1,000Original
Judaica Framed Etching/Lithograph Slavery to Freedom. The etching is signed and numbered 447/500 II. Approximate size: 24 x 24 inches.
Condition Excellent, no defects;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;
Condition Excellent, no defects;
Low Estimate: 500;
High Estimate: 1000;
Original: Yes;