German-Italian Master, Image from the Cross, oil on board, Western Europe, 16th century.
German-Italian master from the 16th century (imitator of Rogier van der Weyden), Picture from the Cross. The foreground depicts Jesus taken down from the cross with his eyes closed and Mary kneeling before him in a dark blue cloak and white headdress. She looks lovingly at her son and embraces Him with her right hand. In the back on the right stands Joseph of Arimathea, supporting the body, and on the left St. John the Evangelist. In the background, the view stretches into the distance, revealing parts of the cross and a ladder. The scene is depicted mainly in primary colors.
Board dimensions: 70 x 53 cm; framed painting, carved frame, gilded 18th century (dimensions with frame: 79.5 x 64 cm).
Painting on display at the auction of paintings by old masters of the Hampel auction house in Munich (Ale Meister, part II, 27.06.2019, lot No. 770).
It is believed that there are many versions of this design, all of which probably derive from a lost prototype from the 1540s by Rogier van der Weyden.
Giacomo Francesco Cipper – “il Todeschini”, Young man eating from a wooden bowl, oil on canvas, Italy, 1st third of the 18th century
The portrait shows a young man hailing from the plebeian strata, framed in half pose, sitting against a neutral dark background. The boy is facing frontally, his cheerful expression emphasized by a wide smile revealing his teeth. In his right hand he holds a large wooden bowl, while in his left hand he holds a spoon with which he scoops up the food. The young man is dressed in a white shirt and a simple chestnut cubicle, as well as a tricorn, which is a distinctive triangular hat, decorated with a feather. In the lower left corner of the painting, a section of the table is visible, on which lies an unleavened loaf of bread.
The color palette is maintained in tones of warm browns, reds and ochres, with clear chiaroscuro contrasts that artfully model the face and hands and bring out the figure from the dark background.
Gillis van Tilborgh (ca. 1625 – ca. 1678) – workshop or circle, Interior of an inn with backgammon players, oil on duplicated canvas, Netherlands, ca. 1650-1670
An outstanding example of 17th-century Dutch genre painting, closely associated with the circle and workshop of Brussels-based master Gillis van Tilborgh. The composition depicts an expressive scene, classic for the period, in the interior of an inn, where a group of villagers are indulging in popular pastimes: playing backgammon, smoking tobacco and drinking liquor.
In the foreground, two men sit at a low table, focusing their attention on a game of backgammon. The man on the left, wearing a yellow caftan and red pants, raises a glass of liquor. His opponent on the right, dressed in a light gray outfit with a white collar, sits thoughtfully with his eyes downcast, holding a white scarf in his hand.
Behind the players sits a man in a red cubicle smoking a long clay pipe (an attribute of vanity pastimes and the theme of vanitas). Next to him, a figure in a brown hat emerges from the depths of the shadows, while to the right a younger man in a red cap focuses his attention on the woman seated in front. Clad in a bright blue dress with a white collar and a white cap, she is a prominent element in the composition. She holds in her hand a clay jug with a tin lid. Her gaze is directed to the side, beyond the area of the main game, which introduces an element of psychological distance into the scene.
Surrounding the figure are everyday objects emphasizing the plebeian character of the place: a wooden barrel (on the left), clay bowls, a white cloth on a wooden stool and heads of cabbage on the right. In the background, on the left, in an open doorway or passageway, the silhouette of another man can be seen observing the gathering.
Dimensions: 57 cm (height) x 75.5 cm (width) ; with frame: 65 cm (height) x 83 cm (width)
Weight: 3.8 kg
Govert Camphuysen (1623/1624-1672) – attributed, Landscape with cattle grazing in front of a hut, oil on board
In front of the village thatched hut, sheep, a cow and a goat are grazing. Next to it, a villager is sleeping under a tree. To the left of the composition, a second scene is visible: a man leading a bull over a small bridge over a stream. In the background is a landscape with trees and gentle hills, and the sky occupies a large part of the painting, building the mood of the whole scene. What draws attention is the exquisite way in which the animals are depicted. This was a specialty of Camphuysen, whose work was inspired by the style of Paulus Potter. Warm, earthy colors dominate - browns, ochres, dim greens and broken yellows. The light is soft, diffused, as if in the early morning or towards evening. The sky has shades of gray, beige and soft pink, suggesting changing weather or impending dusk. The contrast between the bright sky on the left and the darker, more saturated part with the cottage on the right gives the image depth and balance.
Gustav Friedrich Amalius Taubert, Profile Portrait of Józefina Amalia Potocka, chalk drawing on paper, Warsaw, 1796
This miniature profile portrait depicts Józefina Amalia Potocka, shown in half-length, from the right profile. The woman's hair features backcombed curls, cascading freely onto her neck and shoulders. A delicate hint of pink accentuates her lips, cheek, and chin, subtly enlivening the facial drawing. She is attired in a light-colored gown, its bodice adorned with a white polka-dot pattern. Her shoulders are draped with a light grey shawl featuring a darker, misty pattern. The background is shaded, rendered in shades of grey, with the upper section distinctly lighter. The entire piece was executed in pencil and chalk in a grey palette. The lips, chin, and blush areas were further tinted with pinkish gouache or watercolor.
The work is signed at the bottom left, within the oval: "Gus. Taubert. / fecit. Warsovie / 1796". Miniature in an old paper frame with remnants of a gilded border.
Dimensions: 9.5 cm h, 7 cm w oval with composition; 10.5 cm x 9 cm with frame
Head of an angel (?), sandstone, France, ca. 1300
The Gothic full-figure sculpture depicting a head, most likely an angel, was created in the circle of Parisian sculpture around 1300. The face with a calm expression and idealized features, surrounded by curls supported by a band, fits the type of depictions characteristic of French sculpture of the time of Philippe the Beautiful (1285-1314). The style, which spread in the 14th century, is sometimes referred to as "court style." Sculpture with traces of polychromy, damage and traces of surface erosion. Made of sandstone, it was originally most likely part of a full-figure representation. It most likely had a sacred function.
Head of an Angel (Putta), gilded linden wood, Poland, 1st half of the 18th century.
Baroque carving depicting the head of a winged angel (putto). The object, dated to the first half of the 18th century, is an excellent example of ancient sacred woodcarving. The styling of the "puckered" face, the deeply carved, almost graphic curls and the way the wings are worked out are very similar to the works of prominent Silesian sculptors, such as Johann Georg Urbansky and the workshop of Matthäus Knote. The sculpture is slightly curved, which means that it was designed to be mounted on a rounded structure, such as an altar column, cornice or the curve of an organ prospectus. The number "6" engraved on the back is a typical mounting mark. This confirms that the angel was part of a large, multi-element work, at which craftsmen numbered the parts to know where to mount them. A sculpture of high workshop qualities, dated 1720-1740, it represents the North Central European Baroque trend, showing features characteristic of the borderlands of Silesia and Malopolska. Preserved in original condition. Visible natural patina of time, losses of wood on the wings and paint layer and gilding, which add to the sculpture's character and confirm its age. The wood is sound, with traces of old woodcarving tools visible.
Heraldic Plaque with Knut and Ślepowron Coats of Arms, Silver, Poland, 17th Century.
An oval plaque crafted from hammered silver sheet, adorned with engraving. At its center are two shields, superimposed. The smaller, inner shield, quadrangular in form, bears the emblem of the Knut coat of arms. In the center of the rectangular field between the upper edges of the shields is the emblem of the Ślepowron coat of arms, flanked by the initials 'I–L'. Surrounding this is a stylized cartouche embellished with volute and floral ornamentation. A single engraved line traces the plaque's edge. At mid-height near the edges, small holes are present, indicating traces of mounting.
A highly intriguing and rare artifact, most likely serving a sepulchral function. Jan Karol Dachnowski, in his "Armorial of Royal Prussia from the 17th Century," describes the Knut coat of arms and mentions a "silver plate nailed to a coffin, later set above an epitaph." This plaque likely served a similar purpose. The Knut coat of arms, described in Niesiecki's Armorial as "three lilies, two side-by-side, the third in the middle above them, each composed of two lilies, so that one lily faces upwards, the other downwards," was the personal coat of arms of the Knut family, associated with the territories of Royal Prussia. The presence of two coats of arms on the plaque most likely symbolizes a personal or marital union. If the latter, Ślepowron would be the husband's coat of arms, and Knut – the wife's, to whom the initials 'IL' should be attributed.
A very rare item of significant collector's and historical value.
Hercules, bronze, marble, northern Italy (?), 16th century (?).
The figurine, depicting Hercules, is modeled after ancient Roman sculptures. This statuette was cast in a light brown, slightly golden bronze alloy. As is usual with early castings modeled on ancient bronzes, the surface of the object has not been thoroughly finished (forging, sawing, etc.). The surface of the legs bears traces of fine forging in the form of a beautifully wavy surface. Details such as eyes, pupils, hair, toes and hands are sharply incised in an engagingly expressive manner. Together, these features strongly indicate an early 16th century date, and a likely workshop origin from one of the northern Italian city-states: Padua, Ferrara or the Veneto region.
In keeping with the ancient archetype, Hercules is depicted here in heroic nudity and elegantly standing in classical counterpoint, with his head turned slightly to the left. In his left hand he probably holds, preserved fragmentarily, the golden apples of Hesperides, which symbolize his eleventh work. In his right hand he probably held a large mace, which he used repeatedly to defeat enemies during his "Twelve Labors."
The figure stands on a small, round bronze base, set on a marble pedestal.
Dimensions: 15.5 cm (height) x 5 cm (width) x 3 cm (depth); with pedestal 26 cm (height) x 8 cm (width) x 8 cm (depth)