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Click here to subscribeAMETHYST AND SEED PEARL RING, 1890s COMPOSITE centring on an oval mixed-cut amethyst, accented to the cardinal points with seed pearl detail, ring size R.Possibly later adapted from a brooch or pendant, amethyst mounted in gold, later ring shank silver, amethyst measuring 28 x 21.1 x 13.7mm, medium purple, good clarity, some minor abrasions to facet edges through age and wear.
AQUAMARINE AND DIAMOND RING, 1950s/COMPOSITE cluster design, claw set with a rectangular cut-cornered aquamarine, within a bezel of old mine-cut diamonds, ring size R.Aquamarine 16.7 x 15 x 10.1mm = 16 carats, pale greenish blue with good clarity, with some small nicks and abrasions to facet edges through wear, bezel possibly adapted from a Victorian brooch, diamonds bright and lively total weight approximately 1.50 carats, H/I, Si on average, later ring shank slightly mishapen.
A CHINESE CARVED GOURD CRICKET CAGE Late Qing/Republic period, the body finely incised with dragons flying amongst blossoming flowers, with a pierced foliate cover and hongmu mount, 11.5cm high overall, in a fitted caseProvenance: An old paper in the case is from 'R. Hauser and Partners', Hong Kong, and inscribed 'Carved Cricket Gourd Box'.The Law Collection 羅.
A JAPANESE PORCELAIN IMARI SAUCER early 18th century, with a shaped rim, 12cm diameter; together with another Japanese Imari saucer, early 18th century, London decorated, 12cm diameter (2)Provenance: R & G McPherson Antiques, 2005. The second, Stockspring Antiques, Kensington Church Street, 2008.The Helen Espir Collection.The collection of Dinah Reynolds, author of Worcester Porcelain 1751-1783, published 1989.
A GROUP OF FOUR CHINESE EXPORT BLUE AND WHITE PORCELAIN DISHES including a Qianlong period bowl, decorated after a Dutch Delft design with hounds in a European landscape, 22cm diameter; a dish with shaped rim and decorated with flowers, 23cm diameter; another decorated with leafy plants and insects, 22.5cm wide; and one further similar, 23cm wide (4)Provenance: Three of the dishes with R & G McPherson Antiques labels to the base.
Rampillon, an R. Lalique opalescent and frosted glass vase, model no. 991, designed in 1927, of tapered form, the etched and blue-tinted floral ground with applied high-relief opalescent glass lozenges, wheel-etched mark and etched model number to underside12.5cm highA minute, difficult to see nick to the rim, otherwise in very good, clean condition.
§ Rudolph Ihlee (1883-1968) Melanie['s] Head, Brittany signed and dated 'R. Ihlee 1921.' (upper left) oil on board 35 x 25cm Born in 1883 to German parents, Rudolph Ihlee was a British artist whose quiet, yet distinctive career, earned him a small and devoted following. Ihlee's artistic aptitude was identified early, and by 1906 he was studying at The Slade, amongst contemporaries including C.R.W. Nevinson, Stanley Spencer and Mark Gertler. At The Slade, Ihlee’s technical precision and sensitivity to tone and atmosphere earned him several notable prizes.A seismic chapter in Ihlee’s career unfolded during his extended period in Brittany and Collioure, where he lived for many years. Here, alongside artists Edgar Hereford (lot 300) and Henri Vergé-Sarrat (lot 456), Ihlee immersed himself in the vibrant coastal scenery and the region’s rich cultural traditions. Preferring to mix with the local 'wine-growers and anchovy salters', the dazzling clarity of Mediterranean light and the simplicity of local life had a profound influence on his artistic approach, leading to some of his most evocative work. Ihlee's Brittany paintings reveal a restrained palette and an almost meditative attention to detail, blending British reserve with Continental sensibility.Though less widely known than some of his contemporaries, Ihlee’s work has enjoyed renewed appreciation in recent years. His gentle mastery and ability to capture atmosphere and structure with subtle elegance place him firmly among the noteworthy British artists of his generation. Consigned from a private collection. Some yellowing to the palest passages of paint. Some paint misses to the dress, though this appears to be intentional and not the result of any damage. The lower edge of the board appears abraded in places where it has been in contact with the frame. One or two negligible scattered accretions, but overall in nice and presentable condition.
A SPANISH ELECTROPLATE 'ALHAMBRA' CASKET, R. CONTRERAS É HIJO, GRANADA, CIRCA 1900 domed rectangular, the lid with typical foliate-filled 'lazo' patterning surrounding the Nasrid shield with motto 'There is no greater conqueror than Allah' (Wala ghaliba illa Allah), the front and back each with three further Nasrid shields surrounded by arcaded strapwork with calligraphic medallions, red velvet-lined interior, the rim stamped either side of the lock bolt 'R. CONTRERAS É HIJO / ALHAMBRA . GRANADA', 22cm longReasonably good condition except that hinge appears to have been bent and is slightly damaged, consequently the top sits slightly askew, probably later lined
AN ITALIAN SILVER BOWL, GIOVANNI TERONA, FLORENCE, CIRCA 1945-49 plain bulbous below an everted rim, stamped '800' and Italian assay mark, 16.5cm diameter excluding simple loop handle to one side; together with an Italian platter, with gadroon rim, engraved with two facsimile signed first names, maker's and Italian assay marks, R. Miracoli & C., Milan, 1945-68, 28.5cm diameter; 788g (2)
A VICTORIAN SILVER AND ENAMEL 'PUNCH & JUDY' VESTA CASE, S. MORDAN & CO., LONDON, 1887 rectangular with one end pointed and ridged for stike, the other end hinged to the match compartment, enamelled to front with a striped booth featuring Mr Punch and the Beadle on the curtained stage beneath the Royal arms and above a busker playing the mouth organ and drums beside the dog Toby, the reverse engraved 'R / 14th. March 1888' under a Continental baron's coronet, stamped P.O.D.R. No.85810, 8.5cm longMordan's registered this design in 1887: a small number of their vesta cases of this pattern have been recorded, all assayed for 1877 and featuring Punch and Judy, unlike this apparently extremely rare variant featuring Punch and the Beadle. Small surface chipping to corners of enamel, overall with some scratches consistent with age and use, sprung lid good
A WEDGWOOD ELIZABETH II CORONATION COMMEMORATIVE MUG, 1953 after a design by Eric Ravilious (1903-1942) originally for Edward VIII's planned coronation, cylindrical, black printed with yellow highlighted fireworks above a pink ground legend '1953 E / R' and the Royal arms, printed mark, 10cm highGood condition
An Edward VII hallmarked silver christening mug, decorated with fish and inscribed 'F. R. T, 1916', Birmingham 1902, height 8.5cm, diameter 6cm, also a mid 20th century hallmarked silver food pusher and spoon, Birmingham 1946, three hallmarked silver napkin rings and a late Victorian hallmarked silver snuff box, Birmingham 1889, 4 x 2.7cm, combined approx 6.35ozt/198g (7).
Continental porcelain Sampson-style model of a parrot, late 19th/early 20th century, gilt anchor mark to base, naturalistically modelled on a tree stump with a fruit and acorn on gilt rocaille base, 26.5cm high and two late 19th century continental porcelain models of pugs, glazed in white, naturalistically modelled facing left and right, on canted rectangular bases, impressed L&M / 39, incised R, 14.5cm high (3)
Group of 18th / 19th century maps and engravings, including: Double sheet "Nova Famigerabilis insulae ad ducatus Rugiae descriptio", text in Latin to reverse headed "Rugia". From Mercator-Hondius Atlas ?1613, Ditto "Italia Gallica sive Giallia Cisalpina.. Petrus Coerius coelavit", text in Latin to reverse headed "Italia Gallica" From Ortelius 'Theatrum Orbis Terrarum' ?1624, "An accurate map of Radnorshire", Thomas Kitchin. From the 'Large English Atlas' 1749-55, "An accurate map of Brecknockshire", Printed for Carington Bowles, Robert Wilkinson & Robert Sayer. 18th century, "Prospectus ab Aedibus Flanginorum usque ad Bembos" (Grand Canal & Palazzo Flangini). Antonio Visentini, from 'Urbis Venetiarum Prospectus Celebriores', 1735, "Vue generale prise de la cote de Bonsecours, Rouen". Dantaud pinx & lith, imp. Auguste Bry a Paris. 19th century, Portrait of Rev. Samuel Parr. A. Chisholm del, printed C. Hullmandel, "A view of Coombank nr Sevenoaks in Kent, the seat of the Hon. Liet. Gen. Campbell. N.Woolett del. & sculpt. 'Twelve Views of Gentlemen's Seats & Gardens', c. 1770s, Nine images on a single sheet, "Blaise Hamlet", drawn on stone by R. Pocock, pub. Geo Davey Bristol. 19th century, "The Upper Fountain of Siloam". David Roberts, pub. G. Moon, Threadneedle St, 1 July 1841. From "The Holy Land" (10)
A pith helmet contained in a bespoke toleware case, inscribed J R P Montgomery, 52nd Light Infantry case 36cm longProvenance: John Rupert Patrick Montgomery MC OBE (25th July 1913 – 27th June 2008)John Rupert Patrick Montgomery was born on 25th July 1913 in Bromyard, Herefordshire, England. He graduated from the Royal Military College in September 1933 and was commissioned as a Second Lieutenant into the 1st Battalion, Oxfordshire and Buckinghamshire Light Infantry.During the Second World War, Montgomery served with distinction. In August 1943, he held the rank of Captain, acting as a temporary Major in the Oxfordshire and Buckinghamshire Light Infantry. On the 8th May 1943, he commanded the left forward company of the 7th Battalion, Oxfordshire and Buckinghamshire Light Infantry during an attack south of Gastla Wadi, north of Enfidaville, Tunisia. Under his leadership, the unit captured strategic high ground and held their position despite intense enemy counter-attacks. For this action, Montgomery was awarded the Military Cross (MC). His citation reads:"On the 8th of May 1943, Major Montgomery commanded the left forward company of 7th Oxf & Bucks when they captured the high ground south of Gastla Wadi, north of Enfidaville & exploited to the Wadi itself. During the attack he led his company with skill & determination, quickly crushing enemy resistance. So successfully did he reorganise the left of the position on the Wadi, which formed a deep salient into the enemy lines, that he beat off all enemy counter-attacks. His position was enfiladed & commanded by mountainous country with the enemy continually attempting to infiltrate into it & subjecting it to accurate MG & Mortar fire. In spite of fighting at close quarters, the enemy never succeeded in gaining a foothold. In this action Major Montgomery showed courage & leadership of a high standard & his determination & disregard of personal safety was a great inspiration & incentive to all ranks in their successful & spirited defence."Recommended by:Lieutenant Colonel Ralph Cyril Cruddas, Commanding Officer, 7th Battalion, Oxfordshire and Buckinghamshire Light InfantryMajor General Douglas Alexander Henry Graham, Commander, 56th (London) DivisionGeneral Henry Maitland Wilson, Commander-in-Chief, Middle East ForcesBetween 31st January 1944 and 11th June 1944, he served as an Instructor at the Tactical School, Middle East Land Forces. From 8th November 1944 to 21st April 1945, he was assigned as a General Staff Officer, Grade 2 (GSO2) at a Training Centre.In 1953, Montgomery was appointed Lieutenant Colonel of the 17th Battalion of the Parachute Regiment. He was promoted to the substantive rank of Lieutenant Colonel on 3rd February 1955. In 1961, he took command of the 1st Green Jackets (43rd and 52nd) as Lieutenant Colonel.He retired from active service on 7th November 1962, upon which he was named an Honorary Colonel.During the 1970s, Montgomery became involved in humanitarian work. He served as the Colonel of the Southern Sudan Association and authored several papers on the subject of anti-slavery. In 1979, he was appointed Secretary of the Anti-Slavery Society and was awarded the Officer of the Order of the British Empire (OBE) for his contributions to the cause.John Rupert Patrick Montgomery died on 27th June 2008 in Haywards Heath, Sussex, England. Condition Reportstaining to helmet rusting and paint loss to case Discolouration to belt and hat. Dents, paint losses and rusting to case.
A selection of Victorian medals, comprising a South African Medal named to ' 6360 Pte. C. Bone Northampton: Regt.' with Cape Colony and South Africa 1902 bars, F with edge knocks, a South African Medal named to '3438 Sapper J. Morris, RL: Angl: Engrs:' with Cape Colony, Orange Free State and Transvaal bars, VF but cleaned, a Victorian Army Long Service and Good Conduct Medal anmed to '4611. Gunner R. Meaney, Cst. Bde. R.A.', VF, an Indian Army silver medal for total abstinence, un-named, F, an Egypt Medal named to 781, Pts. S. Reed, 1/Leic: R.E.' with Suakin 1885 bar, F, and a Khedives Star, F (6 medals in total) Condition ReportPhotos of the naming added.
A First World War Military Cross, together with typed note stating 'T. Lt. A. R. Topping. 2nd Bn. Lanc Fus.. For conspicious gallantry and devotion to duty. Prior to an attack on Drocourt-Queant Line, on Sept. 1918., he carried out several road reconnaisances under great difficultine and heavy Shell fire. On the night of the attack, near Eterpigny, whilst bringing up transport with ammunitions, rations and water, he came into hostile Shell fire, which destroyed a bridge, but in spite of all obstacles he delivered the rations etc. near batallion headquarters.', complete in fitted case
Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. Harrison & Co. N.D. C1788 (Plates dated 1786-88). After two counts, I can only find 99 plates of the 100, Hence missing one plate. Oblong 4to. Later half leather; light damp staining; Jones' Views of the Seats, Mansions, Castles, & c. of Noblemen & Gentlemen in England, Wales, Scotland & Ireland. Forming part of the general Series of Jones' Great Britain Illustrated. L, Jones & Co. 1829, 1st. Edn. Engraved title page with vignette plus 298 engraved views on 149 Plates. 4to. Near cont. half leather over marbled boards and marbled endpapers. With the bookplate of 'Martin Drury' to front pastedown. VG Joseph Pannell: The Work of Charles Keene With an Introduction and Comments on the Drawings.. New York, R H Russell, 1897, 1st. Edn. With an Original Etching by Keene, mounted & bound in at the front, together with an autograph letter sent from 55 Baker Street, to S Read (10 lines), Signed is full & tipped-in to the front blank. Folio, original cloth gilt; rubbed and with tears to the spine; Edward Horswell: Sculpture of Les Animaliers 1900-1950. Scala Arts and Heritage Publishers Ltd, 2019, Title page Inscribed and signed by Edward. VG+ (4)
Five Italian pietra dura panels, 20th century, comprising a pair titled 'Paese Sul Lago', 11 x 9.5cm approx, each framed,30.5 x 34cm,another, of a house and sea view, signed 'R Casini', 16.5 x 22.5cm, framed, another, of an iris, 25 x 18cm, labelled 'G Ugolini', framed, another, titled 'Uccellino con Farfalla', of a bird and a butterfly, labelled and signed 'Prof A Frullini', 12.5 x 8.5cm, framed (5)Condition ReportAll fair overall. Sea view - not backed.
of compressed globular form tapering inwards towards the wide mouth, decorated with five brown ovals against a ground of white slip, which falls short of the bevelled ring foot to expose the pale grey granular ware Dimension: H:6cm, W:11.6cm Provenance: From Geoffrey Middle Collection; From a private Sydney collection bought from R and V Tregaskis in the late 1990 s. Mossgreen Auctions, Melbourne, 16th Jun 2014, lot 108 Condition: Good condition Link of detail photos: https://we.tl/t-o9ELrgGcHq
well modelled standing four square on a rectangular base, the spirited animal with its neck reared back, the raised head detailed with large rounded eyes and flared nostrils, the body liberally splashed in amber glaze falling in teardrops over the creamy-white ground Dimension: H:38.5cm Provenance: From Geoffrey Middle Collection; From R&G McPherson Antiques, London, September 2008. With TL Test report, No. C122e71 Condition: Fair condition, neck and legs restored Link of detail photos:
This rare ewer can be attributed to the kilns at Huangpu in Tongquan, Yaozhou county, Shaanxi province, which started producing brown and black-glazed wares during the 7th century. A related brown-glazed ewer of slightly smaller proportions (14.8 cm. high) from the Meiyintang Collection is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, p. 132, no. 215. Dimension: H:15cm Provenance: From Geoffrey Middle Collection; A similar ewer, but with a spout, described as Tang or Five dynasties, was lot 110 in Sothebys New York sale, November 2016. Condition: Generally in good condition, minor firing imperfection Link of detail photos: https://we.tl/t-Lp1qZhR6bD
RENÉ LALIQUE (France) Glasvase "Monnaie Du Pape" Entwurf und Ausführung um 1914, farbloses, satiniertes Glas, zylindrische, leicht gebauchte Form, auf schmalem Standring und mit eingezogenem Hals, Reliefdekor in Form von Silberblatt-Zweigen, unterseitig geprägte Signatur "R. LALIQUE", H ca. 24,5cm, Gebrauchsspuren
A SMALL COLLECTION OF ANTIQUE JEWELLERY The first a 19th century garnet five stone ring, the oval cut garnets within closed settings, to floral chased shank; an 1830s facetted jet and glazed locket panel brooch, with a central panel of hair, unmarked; and a 19th century gilt metal hinged locket Size/dimensions: ring size R; brooch 1.7cm diameter, locket 3.5cm long Gross weight: 15.3 grams Condition Report: All items have repair and signs of use Condition Report Disclaimer
BRAVINGTONS, A SAPPHIRE AND DIAMOND CLUSTER RING The oval cut sapphire within a brilliant cut diamond surround, in an 18 carat gold setting, London 1973 hallmark and maker's stamp Size/dimensions: ring size R Gross weight: 5.1 grams Condition Report: The diamonds are all present and correct, bright and lively, approximately 0.50 carats total, the sapphire is a darker shade, some wear to the setting, a couple of claws would benefit from being retipped. Condition Report Disclaimer
BRAVINGTONS, A BLUE ZIRCON AND DIAMOND CLUSTER RING LONDON 1977 The step cut blue zircon with canted corners, within a surround of circular transitional cut diamonds, UK hallmark Size/dimensions: ring size R 1/2 Gross weight: 5.2 grams Condition Report: The diamonds are all present and correct, bright and lively, there is abrasion to the crown facets of the zircon as typical. There is abrasion to the back of the shank where it has a sizing insert, it feels a little rough, it has been sized larger. Condition Report Disclaimer
TWO 1970S DIAMOND SET RINGS The first with a brilliant cut diamond within a leaf shaped surround, to textured tapered shoulders, b & h maker's mark, London 1973 hallmark; together with a single stone diamond ring, 18 carat gold setting, 1978 import mark Size/dimensions: first ring size L 1/2; second R Gross weight: 9.3 grams Condition Report: Both rings have some wear commensurate with age and use Condition Report Disclaimer
THREE GEM SET RINGS The first a five stone diamond ring, the old European cut diamonds in illusion settings, to a polished shank stamped 18ct; together with a 9 carat gold fire opal and diamond dress ring, the oval cut fire opals with diamond points between, partial Birmingham hallmark and European convention mark; and a peridot single stone ring, the oval cut peridot within a six claw setting Size/dimensions: first ring size P, second R; third Q Gross weight: 8.2 grams Condition Report: All rings have wear commensurate with age and use First- diamonds approximately 0.50 carats total, diamonds bright and lively, SI-I, colour estimated I-K second- replaced claws Third- shank sized up Condition Report Disclaimer
A PLATINUM, AGATE AND CULTURED PEARL NECKLACE/ALBERT CHAIN SHEFFIELD 1990 The polished agate batons with belcher link connectors and cultured pearl spacers, with lobster claw clasps, stamped R+R with full UK hallmark, also stamped M&M Plat Size/dimensions: 39.5cm long Gross weight: 20.0 grams Provenance: Private Collection Condition Report: Some nicks and nibbles to the batons, some general wear commensurate with use, Condition Report Disclaimer
THREE OPAL AND DIAMOND RINGS The first an opal and diamond three stone ring, the circular cabochon opal between old cut diamonds, approximately 0.20 carats total, the shank stamped 18ct Plat; together with a water opal flowerhead cluster ring, stamped 375; and an 18 carat gold princess cut diamond single stone ring, the shank stamped Dia 33pts, with Uk hallmark Size/dimensions: first ring size R 1/2; second Q 1/2; third M 1/2 Gross weight: 7.9 grams
BLOOS, RICHARD1878 Brühl - 1957 DüsseldorfTitel: Paris. Marktstände auf einem Boulevard. Datierung: 1908. Technik: Öl auf Leinwand. Maße: 74 x 100cm. Bezeichnung: Signiert und datiert unten links: "R. Bloos / Paris - 1908". Rahmen: Rahmen. Provenienz:Privatbesitz, Deutschland. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Richard Bloos Deutschland Düsseldorfer Schule Postimpressionismus 1.H. 20.Jh. Gemälde Rahmen Stadtleben Malerei Frankreich
LIEVENS, JAN1607 Leiden - 1674 AmsterdamTitel: Susanna und die beiden Alten. Datierung: Um 1630/31. Technik: Öl auf Holz. Maße: 50 x 42cm. Rahmen: Rahmen. Rückseitig:Auf der Tafel altes Sammlungssiegel der Sammlung Buchenau sowie Etiketten Kunsthandel Agnew & Sons, London.Gutachten:Dendrochronologische Untersuchung durch Prof. Klein, Universität Hamburg 27.03.2023: als frühestes Fälldatum des Baumes wird das Jahr 1627 genannt; zuzüglich der Lagerzeit des Holzes ergibt dies ein Entstehungsdatum der Malerei ab 1629;Naturwissenschaftliche Untersuchung zur Bestimmung des Malschichtaufbaus durch Prof. Jägers, Bornheim 09.10.1994.Ausstellung:"Rembrandts Social Network", Museum Het Rembrandthuis, Amsterdam 01.02.-19.05.2019.Provenienz:Privatbesitz, Deutschland, seit 2023;Privatbesitz, Deutschland, seit 1994;Auktion Dorotheum, Wien 01.03.1994, Lot 124;Kunsthandel Agnews London;Auktion Christies, New York, Sale Mrs H.A Brooks et al 02.06.1998, Lot 86;Kunsthandel Agnews London, 1980, Kat.Nr. 2;Privatsammlung Schweiz, seit 1969;Wildenstock Gallery, New York, 1959;Sammlung Buchenau, Niendorf/Lübeck;Galerie Haberstock, Berlin;Sammlung Hermine Reuss zu Greiz (1887-1947), zweite Ehefrau Wilhelm II.Literatur:B. Schnackenburg: Jan Lievens: Freund und Rivale des jungen Rembrandt: mit einem kritischen Katalog des Leidener Frühwerks 1623-1632, Petersberg 2016, Nr. 154, S. 335ff mit Abb.;D. de Witt: Rembrandt and the Climate of religious Conflict in the 1620s. In: Jahrbuch der Berliner Museen, NF 51, 2009, Beiheft, S. 19ff, Abb. 3;W. Sumowski: Gemälde der Rembrandtschüler, Landau 1983, Bd III, Kat.nr 1192, S. 1781, Abb. S. 1831. (Hier aufgeführt als Arbeit des Jan Lievens und mit Angaben alter Literatur, in der das Gemälde als Arbeit Rembrandts geführt wird);R. Klessmann: Katalogtexte zur Ausstellung "Lievens, ein Maler im Schatten Rembrandts", Ausst. Braunschweig 1979, S 228, Anm. 1 (als Arbeit des Jan Lievens um 1630/31);A. Bredius: Rembrandt. The complete edition of paintings, revised by H. Gerson. London 1969, Nr. 493, Abb. 404;K. Bauch: Die Kunst des jungen Rembrandt. Heidelberg 1933, S. 88, Abb. 77 (als Rembrandt);W.R. Valentiner: Rembrandt. Wiedergefundene Gemälde. Stuttgart-Berlin 192, S. 26, Abb.S. XVII (als Rembrandt um 1632).Das Gemälde ist unter der Abb.Nr. 309004 in der online-Datenbank des RKD, Den Haag verzeichnet.Wie auf einer Bühne, angestrahlt von punktuellem, hellem Licht ist der Höhepunkt der Susannen-Geschichte dargestellt: Die schöne junge Frau, Susanna, wird bei der Körperpflege von zwei alten Männern - es sind zudem zwei Richter - sexuell genötigt. Susanna kann sie abwehren und schreit laut um Hilfe. Sie wird im Fortgang der Geschichte ihre Tugend bewahren können. Der weise junge Prophet Daniel wird die beiden Lüstlinge, die mit all ihrer Macht das Opfer verleumden werden, überführen. Aber hier wehrt sich die schreiende Susanna noch nach Kräften, greift mit ihrer Rechten dem einen Angreifer in den Bart, während ihre linke Hand den Arm des anderen Mannes wegzuschieben versucht. Alle drei Personen schauen deutlich zum rechten Bildrand hin. Naht dort schon die Hilfe, die Susannas Schrei herbeigerufen hat? Die Örtlichkeit, in der sich das Geschehen abspielt, ist nicht leicht zu fassen; so dunkel erscheint der Umraum, der die helle Nacktheit Susannas und ihr weißes Tuch, das der linke Mann ergriffen hat, umgibt. Im linken Vordergrund sprudelt ein Wasserstrahl; glitzernder Schmuck und ein Metall-Krug liegen am Boden. Der Hintergrund ist am linken Bildrand mit einem Rundbogen abgeschlossen, durch den eine Landschaft in der Abenddämmerung sichtbar ist. Am rechten Bildrand scheint der grottenartige Platz durch einen Baum begrenzt zu sein. Hier fällt ein Blumenbouquet am ungewöhnlichen Ort auf, das im Streiflicht aufleuchtet.Lange galt diese Bildtafel als authentisches Werk Rembrandts und befand sich in kaiserlichem Besitz. Die kunsthistorische Forschung (u.a. R. Klessmann und Werner Sumowski) hat dieses Gemälde schließlich aber als Werk des Leidener Malers Jan Lievens' erkannt und in die frühen 1630er Jahre datiert. Schnackenburg schließlich führt es in seinem 2016 herausgegebenen Werkverzeichnis zum Frühwerk Jan Lieves als Nr. 154. Er verweist auf die Nähe zu den Historienbildern Lievens' von 1631 und vermutet eventuell eine Entstehung im Jahr zuvor. Ein vorliegendes dendrochronologisches Gutachten kann diese Zeitangabe stützen. Auch van de Wetering hegt in einem Schreiben von 1994 keine Zweifel an der Urheberschaft von Jan Lievens an der Tafel.Jan Lievens ist als ein außergewöhnlich früh entwickelter Künstler bekannt. Seit seinem neunten Lebensjahr erlernt er den Beruf des Malers: zunächst in seiner Heimatstadt, dann von 1618 bis 1620 bei Pieter Lastman in Amsterdam. Zurück in Leiden geht Jan Lievens ab 1625 eine Atelier-Gemeinschaft mit dem nur wenig jüngeren Rembrandt Harmensz. van Rijn ein. Dieser stammt ebenfalls aus Leiden und hat auch - allerdings etwas später als Lievens und nur sechs Monate lang - bei Pieter Lastman gelernt. Die räumliche Gemeinschaft der beiden jungen Künstler dauert etwa fünf Jahre und beeinflusst auch ihr jeweiliges Werk. Beide spezialisieren sich auf Porträts und Historienbilder und arbeiten gelegentlich eng zusammen. Bis heute hat die kunsthistorische Forschung oft Mühe, die in dieser Phase entstandenen Werke eindeutig zuzuordnen.Der Hell-Dunkel-Kontrast des hier vorliegenden Werks, aber auch die Darstellungsart des Frauenkörpers sind aus gesicherten Rembrandt-Gemälden sehr ähnlich vertraut. Das Gemälde ist, nach der angenommenen Datierung, wohl unmittelbar nach der Zeit entstanden, in der Jan Lievens und Rembrandt sich in Leiden ein Atelier teilten und sich gegenseitig stilistisch beeinflussten.Nach dem Ende der Atelier-Gemeinschaft, etwa 1632, geht Jan Lievens zunächst für drei Jahre nach England. Dort findet er Kontakt zum königlichen Hof und wird wohl auch durch Anthonis van Dijck beeinflusst. 1635 ist er wieder in Antwerpen nachweisbar und erhält dort 1640 das Bürgerrecht. Weitere Stationen seines Lebenswegs sind Amsterdam, Den Haag, Berlin (Schloss Oranienburg) und schließlich ab 1655 wieder dauerhaft Amsterdam. Jan Lievens ist ein sehr erfolgreicher Künstler, der wichtige öffentliche und private Aufträge erhält. Wirtschaftliches Talent scheint der Maler aber nicht zu haben und seine gelegentlich notwendige Flucht vor Gläubigern mag auch ein Grund für seine vielen Ortswechsel sein. 1674 stirbt Jan Lievens verarmt in Amsterdam.2022 hat das "Wallraf-Richartz-Museum" in Köln die biblische Susannen-Geschichte als Bildthema in einer großen Ausstellung aufgearbeitet und mit zeitgenössischem, kritischem Blick untersucht. Die hier gezeigte Bildtafel zeigt eine fast 400 Jahre alte, gerade derzeit so aktuelle Darstellung von Macht- und Ohnmacht-Rollen der Geschlechter. Dieses nun nach 30 Jahren wieder in einer Privatsammlung aufgetauchte Werk aus der besten Schaffensperiode Lievens zählt neben den vielen qualitätsvollen Porträts zu den weitaus selteneren figurativen Gemälden die fast kaum noch am Markt auftauchen, da sie sich in festen Sammlungen oder Museumsbesitz befinden. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Jan Lievens Niederlande Rembrandt-Schule 17.Jh. Originale Rahmen Heiligendarstellung Malerei Akt
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![§ Rudolph Ihlee (1883-1968) Melanie['s] Head, Brittany signed and dated 'R. Ihlee 1921.' (upper left) oil on board 35 x 25cm](https://cdn.globalauctionplatform.com/c4bdc041-7e42-49fa-8ea8-b2d5009bbf80/c8712d90-c9ca-4483-ab6a-b2e200d36817/468x382.jpg)
