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akg8282562 FIVE PORCELAIN FIGURINES FROM THE SERIES ""THE MUSES"" Meissen. 1980-1982. Models J.J. Kaendler Porcelain, white. The muses Thalia, Euterpe, Urania, Erato and Polyhymnia sitting on rocaille bases with volute feet in elaborate relief. Thalia, the muse of comical poetry, holds a piece of writing in her left hand, the text of which she seems to be reciting lively. Euterpe is the muse of lyrical poetry and musical art, which is depicted via the attribute of the flute. Urania, with globe, compass and telescope (missing), is the muse of astronomy. Erato, the muse of love poetry, singing and dancing. She carries her attribute - the lyre, on her lap. Polyhymnia plays the mandolin. She is the muse of anthem poetry. Height 40 - 44.5cm. Swords mark with three grinds, 70514/70512/70511/70516/70517, porcelain former's no. 100/138/128/138/124, year mark for 1980/ twice for 1981/ twice for 1982. Condition A-C. Provenance: Hessian private collection.
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akg7911952 MOVADOMen's wristwatch. Switzerland, ca. 1970. Hand wound. 750/- white gold, imprinted rhodium-plated dial, silver hands/indices. Total weight: 73,0g. L.ca. 20,5cm, D.ca. 2,9 x 3,8cm. Extraordinary Movado men's wristwatch with two movements and inbuilt compass. Signed ""R. Chabloz Geneve"". (G) C (M) 3-4,27 (D) 4,20 (C) 3,14.
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alb2946899 500 cruzeiros silver coin commemorative of the discovery of America (1492-1992), 1991, reverse, caravel and globe. Brazil, 20th century.
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alb2948758 2000 escudos banknote, 1991, reverse, sailing ship, compass, sextant and armillary sphere. Portugal, 20th century.
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alb2948008 20 escudos banknote, 1978, reverse, seaplane with which Gago Coutinho (1869-1959) made the first aerial crossing of the South Atlantic in 1922, Belem Tower. Portugal, 20th century.
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alb1893353 Cartography, 17th century. Nautical chart of Aegean Sea, the Island of Crete. Third chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1892230 Cartography, 16th century. The Eastern Mediterranean, the Aegean Sea, Black Sea and a rose of 32 winds. From a Portolan atlas in three charts, by John Xenodocos from Corfu, 1520, cm. 32 x 22.3. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1897954 Cartography, 17th century. Nautical chart of Northern Africa with depiction of animals, cities and oasis. Detail of the second chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1884904 Cartography, 17th century. Nautical chart of the Central-Eastern Mediterranean Sea and wind roses. Second chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1885933 Cartography, 17th century. Nautical chart of Aegean Sea. Third chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1885861 Cartography, 17th century. Mediterranean coast. From the Portolan Charts by Francesco Oliva, 1611. Location: Venice, Museo Storico Navale (Boat Museum).
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alb1895518 Cartography, 17th century. Nautical chart of the Balearic Islands, the Iberian Peninsula, and the north-western coast of Africa. Detail of the first chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1893122 Italy from the Marine Chart of the Mediterranean, by Matteo Prunes, 1571. Detail.
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alb1897650 The Mediterranean Sea, by Joan Martines taken from a nautical atlas, 1571. Detail.
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alb1901526 Cartography, 17th century. Nautical chart of Northern Africa with depiction of animals and wind rose. Detail of the first chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1974894 Marine Chart of the Mediterranean, by Matteo Prunes, 1571.
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alb1896863 Cartography, 16th century. The Holy Land. From the Portolano by Francesco Oliva, 1566. Location: Venice, Museo Correr (Art Museum).
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alb1976778 The Hall of the Compass, by Gabriele Bella (1730-1799), oil on canvas, 95x125 cm. Location: Venice, Palazzo Ducale (Doges' Palace).
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akg7736771 Frau als unentdecktes Land (Illustration von Julian Murphy) - A Woman as Undiscovered Country (Illustration von Julian Murphy).
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alb1885470 The North East Atlantic, by Joan Martines taken from a nautical atlas, 1571. Detail.
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akg8552244 STANDING AVALOKITESHVARA. Nepal. Bronze with gilding, gold painting, pigments and stone inlays. In elegant tribhanga contrapposto, the right hand raised in the gesture of fearlessness (abhaya mudra). Dressed in a tight-fitting dhoti, which is pleated between the legs and the seven-part Bodhisattva jewels depiced in detail. Over his left shoulder the black antilope hide (krishnasara), which symbolizes his love, tenderness and compassion. 5360g. H. with seperate base 41cm. Condition A/B. Provenance:Collection Dr. Wolfgang Schumann, Indologist and author of numerous reference books on the subject of Buddhism and India. Lived in India from 1960, was 1988-93 German Consul General in Bombay. In 2000 he was awarded the Rabindranath Tagore Prize for Literature. . Art trade, Van Ham.
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akg8552440 IMPORTANT STANDING FEMALE FIGURE. China. Ming dynasty (1368-1644) or later. Wood, carved and with residue of the white priming, the pigments and gilt details. The standing figure on a base, who appears to be a lady, is shown in a rich gown with voluminous sleeves, which she holds in front of her. At the collar a second garment is visible and she wears a cloth over her hairstyle. Beneath the upper garment, which reaches over the knees and was painted in red and green, a pleated skirt is visible, with residue of a darker green pigment. At the front, the ends of two ribbons hang down and beneath the hem of the skirt with remnants of gilding the tips of the shoes are visible.Whether this is the representation of a female immortal or the goddess of compassion, Guanyin, cannot be determined with certainty due to the clothing. The elegant design makes a dating in the Ming Dynasty plausible. H.60cm, w.15.5cm, d.10cm. Condition B. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. . Art trade, Van Ham.
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akg8546802 VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. 11th c. Black schist, carved with detail. The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance:European private collection. . Art trade, Van Ham.
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akg8547000 VERY RARE AND FINE SITTING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. 3rd. c. AD. Light grey schist. Exquisitely carved and extremely well-preserved, this relatively large museum-quality sculpture of a seated Bodhisattva is exceptionally rare. Seated on the upper of two pillows supported by a throne that is partly covered by a finely pleated cloth and decorated with a stylized lion`s paw on each side, he contemplates in meditation posture with his hands performing the meditation gesture (dhyana mudra). The figure is identified as a Bodhisattva by his turban and his rich jewellery consisting of multiple necklaces and a chain with small amulet containers. The most distinctive feature of the present Bodhisattva is the inverted half-blooming lotus flower, whose stem he is holding between the thumb and index finger of his proper left hand. Measurement: Height 51cm, width 28cm, depth 9.5cm. Frame/Pedestal: Mounted on a metal base. Provenance:European private collection. Literature: Isao Kurita: Gandharan Art II, The World of the Buddha, 1990, p. 55, ill. 135 and 136, compare two smaller seated Bodhisattvas with inverted lotus.Seated Bodhisattvas holding an inverted lotus are very rare and are usually identified as Bodhisattva Avalokiteshvara, the Bodhisattva of compassion. His delicately sculpted, pensively smiling face exudes a great spiritual aura. . Art trade, Van Ham.
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akg8547001 VERY RARE AND FINE SITTING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. 3rd. c. AD. Light grey schist. Exquisitely carved and extremely well-preserved, this relatively large museum-quality sculpture of a seated Bodhisattva is exceptionally rare. Seated on the upper of two pillows supported by a throne that is partly covered by a finely pleated cloth and decorated with a stylized lion`s paw on each side, he contemplates in meditation posture with his hands performing the meditation gesture (dhyana mudra). The figure is identified as a Bodhisattva by his turban and his rich jewellery consisting of multiple necklaces and a chain with small amulet containers. The most distinctive feature of the present Bodhisattva is the inverted half-blooming lotus flower, whose stem he is holding between the thumb and index finger of his proper left hand. Measurement: Height 51cm, width 28cm, depth 9.5cm. Frame/Pedestal: Mounted on a metal base. Provenance:European private collection. Literature: Isao Kurita: Gandharan Art II, The World of the Buddha, 1990, p. 55, ill. 135 and 136, compare two smaller seated Bodhisattvas with inverted lotus.Seated Bodhisattvas holding an inverted lotus are very rare and are usually identified as Bodhisattva Avalokiteshvara, the Bodhisattva of compassion. His delicately sculpted, pensively smiling face exudes a great spiritual aura. . Art trade, Van Ham.
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akg8547002 VERY RARE AND FINE SITTING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. 3rd. c. AD. Light grey schist. Exquisitely carved and extremely well-preserved, this relatively large museum-quality sculpture of a seated Bodhisattva is exceptionally rare. Seated on the upper of two pillows supported by a throne that is partly covered by a finely pleated cloth and decorated with a stylized lion`s paw on each side, he contemplates in meditation posture with his hands performing the meditation gesture (dhyana mudra). The figure is identified as a Bodhisattva by his turban and his rich jewellery consisting of multiple necklaces and a chain with small amulet containers. The most distinctive feature of the present Bodhisattva is the inverted half-blooming lotus flower, whose stem he is holding between the thumb and index finger of his proper left hand. Measurement: Height 51cm, width 28cm, depth 9.5cm. Frame/Pedestal: Mounted on a metal base. Provenance:European private collection. Literature: Isao Kurita: Gandharan Art II, The World of the Buddha, 1990, p. 55, ill. 135 and 136, compare two smaller seated Bodhisattvas with inverted lotus.Seated Bodhisattvas holding an inverted lotus are very rare and are usually identified as Bodhisattva Avalokiteshvara, the Bodhisattva of compassion. His delicately sculpted, pensively smiling face exudes a great spiritual aura. . Art trade, Van Ham.
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akg8546996 VERY RARE AND FINE SITTING LIGHT GREY SCHIST BODHISATTVA. Origin: Gandhara. 3rd. c. AD. Light grey schist. Exquisitely carved and extremely well-preserved, this relatively large museum-quality sculpture of a seated Bodhisattva is exceptionally rare. Seated on the upper of two pillows supported by a throne that is partly covered by a finely pleated cloth and decorated with a stylized lion`s paw on each side, he contemplates in meditation posture with his hands performing the meditation gesture (dhyana mudra). The figure is identified as a Bodhisattva by his turban and his rich jewellery consisting of multiple necklaces and a chain with small amulet containers. The most distinctive feature of the present Bodhisattva is the inverted half-blooming lotus flower, whose stem he is holding between the thumb and index finger of his proper left hand. Measurement: Height 51cm, width 28cm, depth 9.5cm. Frame/Pedestal: Mounted on a metal base. Provenance:European private collection. Literature: Isao Kurita: Gandharan Art II, The World of the Buddha, 1990, p. 55, ill. 135 and 136, compare two smaller seated Bodhisattvas with inverted lotus.Seated Bodhisattvas holding an inverted lotus are very rare and are usually identified as Bodhisattva Avalokiteshvara, the Bodhisattva of compassion. His delicately sculpted, pensively smiling face exudes a great spiritual aura. . Art trade, Van Ham.
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akg8546536 VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. 11th c. Black schist, carved with detail. The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance:European private collection. . Art trade, Van Ham.
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akg8546535 VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. 11th c. Black schist, carved with detail. The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance:European private collection. . Art trade, Van Ham.
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akg8546534 VERY RARE BLACK SCHIST FIGURE OF AVALOKITESHVARA. Origin: East India, Orissa. 11th c. Black schist, carved with detail. The Bodhisattva of compassion, Avalokiteshvara, who can be depicted in more than 30 different iconographic forms, sits here in a four-armed form in relaxed posture (lalitasana) atop of a high double lotus throne supported by large profiled columns. A celestial garland bearer hovers reverentially on each side of his head. The miniature image of Buddha Amitabha on the front of the hair crown (jatamukuta) clearly identifies the present haloed sculpture as Avalokiteshvara, belonging to the Lotus Buddha family headed by Buddha Amitabha. The rosary (mala) in his upper right hand, and the water vessel (kamandalu) in his lower left hand are typical attributes. The fact that he holds two attributes in his upper left hand, is unusual, but they are both very distinctive for Avalokiteshvara: the lotus (padma), Avalokiteshvara`s most common attribute, and the noose (pasha), which he uses to remove impediments to enlightenment. His lower right hand, performing the boon-granting gesture (varada mudra) is pointing towards a hideous denizen of hell (suchimukha) cowering in the base section, whom Avalokiteshvara feeds with the nectar of divine mercy, thus expressing his boundless compassion for all creatures. The central figure is flanked by two small, four-armed haloed Bodhisattvas, each of them sitting on a separate lotus throne. The base section features utensils of religious worship, namely a conch trumpet, a lotus-shaped incense burner, and an oil lamp. Measurement: Height 58cm, width 37cm, depth 13cm. Provenance:European private collection. . Art trade, Van Ham.
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akg8282593 GILDED BRONZE PENDULUM CLOCK WITH URANIAParis. Ca. 1810. The design ascribed to Jean-André Reich. Seller signature Chambelain à Rheims Marble base. Gilded bronze. Enamel dial. Stepped base. As front relief Cupid with a telescope. On the case Urania seated with a compass at a celestial globe. Roman numerals and Arabic minutes. Pendulum movement with thread suspension and half-hour chime on a bell. Height 44cm. The dial inscribed Chambelain à Rheims. Condition C. Partly strongly rubbed. P. Provenance: Private collection Rhineland. Literature: Hans Ottomeyer and Peter Pröschel: Vergoldete Bronzen, Vol. 1, Munich 1989. For type cf. ill. 5.15.5.
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akg8282393 FOUR REVERSE GLASS PAINTING WITH MYTHOLOGICAL SCENESAugsburg. Dated 1806. After engraving templates by Bernard Picard from the year 1731, one painting inscribed F. NesterGlass with erased leaf gold and leaf silver. Underlaid with blue paper. Framed. a) Hercules fighting a nine-headed Hydra. b) Arion, who was saved by a dolphin, playing a lyre. c) Glaucus transforming into a sea god. d) Phaethon, who fell to his death, laying on the banks of the river Eridanus, his sisters, the Heliades are turned into poplars in their grief, his lover Kyknos is transformed into a swan by Apollo out of compassion. 27x22cm. The depiction of Arion inscribed lower right F. Nester fect. 1806. Condition B/C. Enclosed: 2 small reverse glass paintings. Provenance: Private collection Rhineland. Art trade, Van Ham.
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akg8282459 MAGNIFICENT PORCELAIN FIGURES DEPICTING ALLEGORIES OF THE FOUR CONTINENTS Meissen. 19th century. Models predominantly J.F. Eberlein. With the collaboration of J.J. Kaendler and P. Reinicke Porcelain, enriched in colours and gold. The Allegory of Europe as an empress with crown, sceptre and imperial orb, sitting on a marble bench. Behind her a large, stately horse and at her feet on an oval grass base globe, painter's palette, sheet music, an antique bust of a woman, compass and chisel as well as an antique armour laying on the rear side. Asia depicted as a female personification as well, wearing a splendid garment. In this case sitting on a large camel which is resting next to a palm tree. On her head a turban-like crow and holding a sceptre in her right hand, an incense burner on her left knee. The personification of the continent of Africa depicted as a dark-skinned woman in a garment with colourful feather decoration and wide cape. Wearing an elephant's head as a headdress, in the right hand a sceptre as well and in the raised left hand a bundle of ears or corn. Her animal is a large lion looking up to her and laying on a rectancular stone base. The continent of America depicted as a woman with a crown of feathers, a long, colourful feather cloak and matching apron. A parrot sitting in her right hand and holding a large cornucopia with numerous blossoms in her left arm. She sits on a large crocodile, which is facing the viewer with its jaws wide open. The rectangular base is studded with blossoms. Height 27cm / 31.5cm / 30.5cm / 28.5cm. Swords mark. Africa with model no. 689. Condition B/C-C. Provenance: Private Hessian collection. Literature: - Eikelmann, Renate (ed.): Meißner Porzellan des 18. Jahrhunderts - Die Stiftung Ernst Schneider in Schloß Lustheim, Munich 2004, p.384f. - Pietsch, Ulrich (ed.): Meißen für die Zaren - Porzellan als Mittel sächsisch-russischer Politik im 18. Jahrhundert, Munich 2004. For the present figurines see p.90ff. The present cycle of the four continents Europe, Asia, Africa and America was commissioned by Tsarina Elisabeth (1741-1762) in Meissen. Elisabeth had already become acquainted with the precious products of the Meissen manufactory at an early age when August the Strong sent her '6 boxes filled with very beautiful Saxon porcelain' as a gift in 1728 and developed a passion for them (Pietsch (2004), p.11). The exchange of diplomatic gifts between Saxony and the Tsar's court had already a long tradition. In the year 1728 August the Strong sent the finest products of his porcelain manufactory as presents to the court of Peter the Great for the first time. There the objects were enthusiastically received and highly appreciated. So it was that during the reign of Tsarina Elisabeth (1741-1762), the 'white gold' was often used by Saxons as a diplomatic gift as well. Above all, the porcelain gift that August III sent to St. Petersburg in 1745 on the occasion of the wedding of the Russian heir to the throne and nephew of the Tsarina, Karl Peter Ulrich von Holstein-Gottorf, eclipsed all previous gifts from the Saxon court. The 'Andreasservice' included not only service parts such as plates, terrines and chandeliers but also more than 190 figures as decoration for the dessert table as well as 90 flower vases and three large fireplace sets (Pietsch (2004) 66ff.). Tsarina Elisabeth was extremely enthusiastic about this magnificent gift, and in the same year she commissioned figurines from the manufactory herself. In addition to the allegories of the four seasons and the five senses, it also included the cycle of continents presented here. They were done by Johann Friedrich Eberlein with the cooperation of Kaendler and Reinicke between 1745 and 1747. Copper engravings after drawings by Gottfried Bernhard Götz served as templates (Eikelmann (2004) p.384). Art trade, Van Ham.
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akg8279738 GILT-BRASS RENAISSANCE TABLE CLOCK - SO CALLED ""TÜRMCHENUHR"". Nuremberg. Dated 1573. Hans Gruber the Elder. Brass partly finely engraved and gilt. Silver-plated dial. On square base-plate with paw feet a tower-like case. Encircling balustrade and pierced lantern with Minerva as finial. On the front, between vines, chapter ring with 24 hour numerals in Roman and Arabic notation, below a sub dial for quarter-hours. Both lateral walls are removable, on the right side a scene from the life of King Hiskija, inscribed ""VOM KVNG HISKA"", on the inside a sundial and a compass. On the left exterior side with two winding holes the baptism of Christ, on the inside a depiction of fortitude. The backside with mascaron and scrollwork, as well as inscribed in a ribbon ""Peter Hell Nürnberg"". Day clock with iron train with verge movement, the going and striking works with chain and fusee. On the backside under the edge a lever to start the verge. Height 28cm. On the base-plate twice 15HG73. Condition B. Provenance: Private collection Lower Saxony. Literature: -Jürgen Abeler: Meister der Uhrmacherkunst, Wuppertal 2010. Maker mentioned on p.196 -Klaus Maurice: Die deutsche Räderuhr, München 1976. Cf. ill. 131. -Hans Christoph Ackermann: Die Uhrensammlung Nathan-Raupp, Basel 1984. For type cf. ill.46. Hans Gruber was among the most notable Nuremberg clock makers of the 16th century. Exemplars of Gruber's work can be found in many distinguised collections, such as the State Hermitage Museum in Saint Petersburg, the Bavarian National Museum in Munich and the Landesmuseum Württemberg in Stuttgart. Art trade, Van Ham.
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akg8279735 GILT-BRASS RENAISSANCE TABLE CLOCK - SO CALLED ""TÜRMCHENUHR"". Nuremberg. Dated 1573. Hans Gruber the Elder. Brass partly finely engraved and gilt. Silver-plated dial. On square base-plate with paw feet a tower-like case. Encircling balustrade and pierced lantern with Minerva as finial. On the front, between vines, chapter ring with 24 hour numerals in Roman and Arabic notation, below a sub dial for quarter-hours. Both lateral walls are removable, on the right side a scene from the life of King Hiskija, inscribed ""VOM KVNG HISKA"", on the inside a sundial and a compass. On the left exterior side with two winding holes the baptism of Christ, on the inside a depiction of fortitude. The backside with mascaron and scrollwork, as well as inscribed in a ribbon ""Peter Hell Nürnberg"". Day clock with iron train with verge movement, the going and striking works with chain and fusee. On the backside under the edge a lever to start the verge. Height 28cm. On the base-plate twice 15HG73. Condition B. Provenance: Private collection Lower Saxony. Literature: -Jürgen Abeler: Meister der Uhrmacherkunst, Wuppertal 2010. Maker mentioned on p.196 -Klaus Maurice: Die deutsche Räderuhr, München 1976. Cf. ill. 131. -Hans Christoph Ackermann: Die Uhrensammlung Nathan-Raupp, Basel 1984. For type cf. ill.46. Hans Gruber was among the most notable Nuremberg clock makers of the 16th century. Exemplars of Gruber's work can be found in many distinguised collections, such as the State Hermitage Museum in Saint Petersburg, the Bavarian National Museum in Munich and the Landesmuseum Württemberg in Stuttgart. Art trade, Van Ham.
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akg8279737 GILT-BRASS RENAISSANCE TABLE CLOCK - SO CALLED ""TÜRMCHENUHR"". Nuremberg. Dated 1573. Hans Gruber the Elder. Brass partly finely engraved and gilt. Silver-plated dial. On square base-plate with paw feet a tower-like case. Encircling balustrade and pierced lantern with Minerva as finial. On the front, between vines, chapter ring with 24 hour numerals in Roman and Arabic notation, below a sub dial for quarter-hours. Both lateral walls are removable, on the right side a scene from the life of King Hiskija, inscribed ""VOM KVNG HISKA"", on the inside a sundial and a compass. On the left exterior side with two winding holes the baptism of Christ, on the inside a depiction of fortitude. The backside with mascaron and scrollwork, as well as inscribed in a ribbon ""Peter Hell Nürnberg"". Day clock with iron train with verge movement, the going and striking works with chain and fusee. On the backside under the edge a lever to start the verge. Height 28cm. On the base-plate twice 15HG73. Condition B. Provenance: Private collection Lower Saxony. Literature: -Jürgen Abeler: Meister der Uhrmacherkunst, Wuppertal 2010. Maker mentioned on p.196 -Klaus Maurice: Die deutsche Räderuhr, München 1976. Cf. ill. 131. -Hans Christoph Ackermann: Die Uhrensammlung Nathan-Raupp, Basel 1984. For type cf. ill.46. Hans Gruber was among the most notable Nuremberg clock makers of the 16th century. Exemplars of Gruber's work can be found in many distinguised collections, such as the State Hermitage Museum in Saint Petersburg, the Bavarian National Museum in Munich and the Landesmuseum Württemberg in Stuttgart. Art trade, Van Ham.
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akg8279739 GILT-BRASS RENAISSANCE TABLE CLOCK - SO CALLED ""TÜRMCHENUHR"". Nuremberg. Dated 1573. Hans Gruber the Elder. Brass partly finely engraved and gilt. Silver-plated dial. On square base-plate with paw feet a tower-like case. Encircling balustrade and pierced lantern with Minerva as finial. On the front, between vines, chapter ring with 24 hour numerals in Roman and Arabic notation, below a sub dial for quarter-hours. Both lateral walls are removable, on the right side a scene from the life of King Hiskija, inscribed ""VOM KVNG HISKA"", on the inside a sundial and a compass. On the left exterior side with two winding holes the baptism of Christ, on the inside a depiction of fortitude. The backside with mascaron and scrollwork, as well as inscribed in a ribbon ""Peter Hell Nürnberg"". Day clock with iron train with verge movement, the going and striking works with chain and fusee. On the backside under the edge a lever to start the verge. Height 28cm. On the base-plate twice 15HG73. Condition B. Provenance: Private collection Lower Saxony. Literature: -Jürgen Abeler: Meister der Uhrmacherkunst, Wuppertal 2010. Maker mentioned on p.196 -Klaus Maurice: Die deutsche Räderuhr, München 1976. Cf. ill. 131. -Hans Christoph Ackermann: Die Uhrensammlung Nathan-Raupp, Basel 1984. For type cf. ill.46. Hans Gruber was among the most notable Nuremberg clock makers of the 16th century. Exemplars of Gruber's work can be found in many distinguised collections, such as the State Hermitage Museum in Saint Petersburg, the Bavarian National Museum in Munich and the Landesmuseum Württemberg in Stuttgart. Art trade, Van Ham.
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akg8279781 GILT BRONZE PENDULUM CLOCK ""CERCLES TOURNANTS"" WITH URANIA. Paris. Ca. 1820. Gilt bronze. Coloured enamel. Gilt wooden base. Wooden base with ornamental decor. The case on lion paws. Urania is seated on a tabouret, next to her a wide pedestal, on the wall playing cupids as allegory of astronomy. On the pedestal a celestial globe with stars, both halves of the sphere revolvable with Roman numerals and Arabic minutes. Urania indicating the time with a compass. Pendulum mechanism with lever movement, thread suspension and half-hour chime on a bell. Incl. base height 37cm. Condition B. (P). Provenance: Private collection Rhineland. Literature: Peter Heuer und Klaus Maurice: Europäische Pendeluhren, Munich 1988. For type cf. p.52 and 53. Art trade, Van Ham.
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akg8005766 SHADAKSHARI LOKESHVARA. Tibet. Ca. 18th/19th c. Copper bronze with dark patina and gilding. Sitting in padmasana on a double lotus. Both major hands in anjali mudra holding the wish-granting jewel which symbolizes enlightenment. In his raised right hand he once held prayer beads, in his left he holds a lotus bud at his shoulder. He wears seven-partite Bodhisattva jewels and a high crown, which is adorned with a small picture of his spiritual father Buddha Amithhaba. Face, hands, feet and the lotus throne are not gilt and make a pleasing contrast. Base closed underneath. This form of Avalokiteshvara (Bodhisattva of compassion) embodies the well-known mantra 'om mani padme hum'. This six syllables correspond to the six realms of existence, whose residents he brings enlightenment. The realms are that of the gods, the half gods, the humans, the animals, the hunger spirits and finally the realm of hell. Weight 1780g, height 24,2cm, width 15,7cm. Condition A/B.
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akg8008014 METAL AND WOOD CUBE SUNDIAL WITH COMPASS. Nuremberg. End of the 18th century. David Beringer (1756-1821). Wooden frame with colour copperplate engravings glued to it. Metal. Base plate with inserted compass. On an adjustable hinged cube with horizontal, vertical, northern, and southern sundail. Height 18 cm. Inscribed on northern side D. Beringer. Condition B. Thread for adjustment of height was lost. Literature: Jürgen Abeler: Meister der Uhrmacherkunst, Wuppertal 2010. Master see p. 61. Today, several public collections hold cube sundials by David Beringer..
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akg7957062 THANGKA DEPICTING THE BODHISATTVA AVALOKITESHVARATibet. Ca. 18th c.The scroll depicts the transcendental paradise Sukhâvati (The happy one) which is in the west of the compass card and headed by the transcendent Buddha Amitâbha - whose skin is red like the setting sun. For an assistant to liberate the suffering beings of the world Amitâbha has created the white skinned Bodhisattva Avalokiteshvara (The Lord who [pitifully] looks down) on the beings. His main quality is his compassion. In his central hands he holds the wish fulfilling jewel cintâmani, his outer hands hold the rosary with 108 beads and a lotus flower that symbolises ethical purity. For help Avalokiteshvara is called by the words ""Om. Mani padme. Hûm."" He is able to multiply himself - as the thangka shows.The lower part of the scroll depitcs helpers of Avalokiteshvara having rolled out cloth bridges across the river of suffering to enable pious people to reach the door to paradise. The two golden foot prints in front of the door are those of the historical Buddha Gautama who is extinct in nirvâna. The Sukhâvati paradise is not the final aim of Buddhists, but a realm without enticements. As soon as the believer has worn out his bad karma he from there reaches nirvâna.In the upper corners of the scroll the perceiver sees on the left the Bodhisattva Manjushri with the sword of wisdom and on the right the fierce Mahâkâla as protector (Dharmapâla) of the Buddha's teaching. 60 x 39cm. Condition A/B.Provenance:-Private collection Rhineland.
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alb2061018 Wine mug depicting a compass rose, 1780, ceramic, Staffordshire manufacture. England, 18th century.
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alb1892329 Cartography, Italy, 17th-18th century. Map of Genoa in 1656, partly revised in 1766.
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alb1889636 Cartography, Italy, 17th century. Map of Villa Contarini at Piazzola sul Brenta, Padua province. Permit concerning the irrigation of property.
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alb1888288 Cartography, 18th century. The island of Mozambique, from Portuguese discoveries by Francois Lafitau, 1733. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1888867 Cartography, France, 18th century. Toulon harbor in 1793. Location: Venice, Museo Storico Navale (Boat Museum).
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alb1971772 The hall of the compass, by Gabriel Bella (1730-1799), oil on canvas, 95x125 cm. Detail. Location: Venice, Museo Correr (Art Museum).
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alb2940676 Title page of Operations of the geometric and military compass by Galileo Galilei (1564-1642), with notes by Mattia Bernaggieri, published in Milan, 1741. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb2307401 Minerals: Collector's equipment.
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alb1986247 Gothic compass tiles decorated with winged cherub heads, ca 1480, vault, Chapel of Forgiveness, Ducal Palace, Urbino (UNESCO World Heritage List, 1998), Marche. Detail. Italy, 15th century.
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alb1966715 Avalokitesvara, Bodhisattva of great compassion, bronze statue. Tibetan Civilisation. Location: Parma, Museo D'Arte Cinese (Chinese Art Museum).
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alb1969416 Alphabet and symbols of the Carbonari, 1815. Risorgimento, Italy, 19th century. Location: Venezia, Museo Del Risorgimento E Dell'Ottocento Veneziano.
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alb1900129 Cartography, 17th century. Nautical chart of the Central-Eastern Mediterranean Sea and wind roses. Second chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1900764 Cartography, 16th century. The Mediterranean Sea and adjacent seas. From a nautical chart by Jacopo Maggiolo, 1561. Location: Genoa Pegli, Civico Museo Navale (Boat Museum).
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alb1519803 Italy, Bologna, map 16th century, Biblioteca Nazionale Marciana in Venice. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1890224 Cartography, 17th century. Nautical chart of Italy, with Genoa and Venice and the Balkan region. Third chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1890212 Italy, by Joan Martines taken from a nautical atlas, 1571. Detail.
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alb1893013 Cartography, Italy, 16th century. Map of the Kingdom of Naples, from Theatrum Orbis Terrarum by Abraham Ortelius (1528-1598), Antwerp, 1570. Location: Genoa Pegli, Civico Museo Navale (Boat Museum).
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alb1892762 Sardinia Region, Italy, sixteenth century navigational map.
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alb1892766 Venice and Genoa, taken from a navigational map, 16th Century. Plate, detail.
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alb1897203 Cartography, 17th century. Genoa and Venice. Detail from the first chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1887035 Cartography, 17th century. Nautical chart of Central Mediterranean Sea. Third chart, from a nautical atlas of the Mediterranean Sea in three charts, by Pietro Giovanni Prunus, 1651. Cm 41.6x28. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1889336 Cartography, 16th century. Map of Spain and Morocco coast, from a portolan chart by Diego Homen, 1557. Location: Venice, Museo Storico Navale (Boat Museum).
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alb1884190 Cartography, 17th century. Nautical chart of the Mediterranean Sea, by Vincentius Prunes, 1601. Location: Genoa Pegli, Civico Museo Navale (Boat Museum).
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alb1887919 Cartography, Italy, 16th century. Venice and Genoa. From a portolan chart by Francesco Oliva, 1566. Location: Venice, Museo Correr (Art Museum).
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alb2285666 Architectural design and compass, detail of a portrait of the architect Valentino Valle (1774-1856) with his daughter, ca 1830, painting by Giuseppe Tominz (1790-1866). Location: Trieste, Museo Revoltella, Galleria D'Arte Moderna (Art Gallery).
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akg8012131 Elíasson, Ólafur1967 Copenhagen360° Compass. 2009. Steel ring, wooden needle, nylon cord, wire and magnet. With suspension and original cardboard box. Ø 60 x 58cm. Numbered on label with work specification on original packaging: 95/360. Galerie Neugerriemschneider, Berlin (publisher). Number 95/360. A construction manual is enclosed to the multiple. Provenance: - Private collection North Rhine-Westphalia. . Art trade, Van Ham.
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akg8005780 STANDING AVALOKITESHVARA. Nepal. Bronze with gilding, painted with pigments and gold, inlaid with stones. In elegant tribhanga contrapposto, his right raised in the gesture of fearlessness abhaya mudra. Dressed in a sheer dhoti clinging to his legs, ending in dense folds. Draped over his left shoulder is the 'Black Antelope Skin' krishnasara, symbolizing his love, compassion and tenderness. Weight 5,36kg, height including separate base 41cm. Condition A/B. Provenance: -Collection Dr. Wolfgang Schumann, Indologist and author of numerous reference books on Buddhism and India. Lived in India from 1960, German Consul General in Bombay 1988-93. Got 2000 awarded with the Rabindranath Tagore Culture Price for Literature. .
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akg8005837 BODHISATTVA MAITREYA.Gandhara. 2th/3th c.An exquisite grey schist sculpture of a standing Bodhisattva in an elegant and animated posture. His sensuous expression on his face, with the head slightly bending towards the onlooker, is one of compassion and attentiveness. His missing right hand would have been raised in abhayamudra (have no fear gesture) while his left hand would have held the fold of his robe or Maitreya's flask. He stands feet apart on a pedestal base with stylized lotus flowers.His long pleated robe wraps elegantly around his body and shoulders in cascading folds reminiscent of the Greco-Roman influence, while his underskirt is slightly visible around his lower legs. The simple monastic robe draping his powerful body contrasts superbly with the lavish ornaments on the Bodhisattva's chest, ears and in his elegant, wavy hairdo. Three small holes under the arms and between the feet indicate that the sculpture was originally fixed into a niche or on a wall.While numerous Bodhisattva images are known of the Gandharan period, only few depict the extraordinarily sublime realism and finesse of this delightful sculpture. Height 52cm. Condition B.Provenance:-Private collection Japan, since 1980s.-Private collection Belgium since 2012..
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akg7983718 EXCEPTIONAL LOKESHVARA SIMHANADA. Tibet/Nepal. Dated 1599, but probably later. Copper alloy, fire gilding and residue of pigments. The Bodhisattva sitting in rajalilasana on a lion. The right hand rests on his knee, holding a rosary, the left hand posed and holding a big lotus stem. His body is adorned with Bodhisattva jewelry, his hair is pinned up high and decorated, too. On the lotus pedestal's back an inscription in Prachalit Newari characters: In the year 719 Nepal Sambat [1599] the father Dish Raj Shakya and his son Padma Raj Shakya make an offering to Simbha Bahan Lokeshvara on Lhhutti Purni (Day of the Full Moon). The Day of the Full Moon Rato Macchindra Nath, a reincarnation of Lokeshvara, who is also worshipped as deity of compassion or rain deity, taking a bath. Four days later, and symbolised by a giant chariot (which is shown in the photo), his two months round trip through Lalitpur (Patan) starts. Height 25cm. Condition A/B. Provenance: -Private collection Schleswig-Holstein, Germany. . Art trade, Van Ham.
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akg7983716 EXCEPTIONAL LOKESHVARA SIMHANADA. Tibet/Nepal. Dated 1599, but probably later. Copper alloy, fire gilding and residue of pigments. The Bodhisattva sitting in rajalilasana on a lion. The right hand rests on his knee, holding a rosary, the left hand posed and holding a big lotus stem. His body is adorned with Bodhisattva jewelry, his hair is pinned up high and decorated, too. On the lotus pedestal's back an inscription in Prachalit Newari characters: In the year 719 Nepal Sambat [1599] the father Dish Raj Shakya and his son Padma Raj Shakya make an offering to Simbha Bahan Lokeshvara on Lhhutti Purni (Day of the Full Moon). The Day of the Full Moon Rato Macchindra Nath, a reincarnation of Lokeshvara, who is also worshipped as deity of compassion or rain deity, taking a bath. Four days later, and symbolised by a giant chariot (which is shown in the photo), his two months round trip through Lalitpur (Patan) starts. Height 25cm. Condition A/B. Provenance: -Private collection Schleswig-Holstein, Germany. . Art trade, Van Ham.
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akg7956932 RECLINING GUANYIN.China.Blanc de Chine porcelain. The goddess of compassion as an elegantly dressed lady is shown reposing on a bench of clouds or rocks. She is leaning against a box with books. On a small table more scrolls. Height 20.5cm, width 24cm. On the back impressed seal: Lin Chaojing. Condition A/B.
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akg7890282 SPANISH MASTER18th CenturyPortrait of an Architect with a Compasse.Oil on canvas. Relined. 62 x 55,5cm.
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akg7890329 SPANISH MASTER18th CenturyPortrait of an Architect with a Compasse.Oil on canvas. Relined. 62 x 55,5cm.
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alb1896260 Cartography, 15th century. Andrea Bianco study of Meridian and Parallel Lines and Cardinal Points. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1885229 Cartography, 16th century. Map of Central and Southern America, 1550.
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alb1900581 Cartography, 16th century. Portolan chart of the Ottoman Empire by Ioannes Superantius. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1891765 Cartography, 16th century. Ioannes Superantius, Portolan chart, wind rose. Detail. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1898911 Cartography, 16th century. Nautical chart of the Mediterranean Sea, Black Sea and Sea of Azov, by Giorgio Sideri called Callapoda or Calopodio da Candia (Crete). Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1898920 Cartography, Egypt, 16th century. Portolan chart, map of Cairo. Location: Venice, Museo Correr (Art Museum).
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alb1893388 Cartography, 16th century. Nautical chart of the Mediterranean and Black Sea by Banet Panades, 1557. Location: Genoa Pegli, Civico Museo Navale (Boat Museum).
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alb1894411 Cartography, 16th century. Nautical chart of the Mediterranean and Black Sea by Banet Panades, 1557. Detail. Location: Genoa Pegli, Civico Museo Navale (Boat Museum).
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alb1894459 Corsica, sixteenth century navigational map.
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alb1897442 Cartography, Italy, 16th century. Wind rose from Andrea Bianco, Nautical Atlas, 1436. Detail. Location: Venice, Biblioteca Nazionale Marciana (National Library).
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alb1894003 Cartography, 16th century. Map of Turkey, from a portolan chart. Location: Venice, Museo Correr (Art Museum), Biblioteca (Library).
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alb1886905 Cartography,16th century. World map by Giorgio Sideri, known as Callapoda or Calopodio da Candia. Details of Africa.
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alb1888877 The Black Sea, by Joan Martines taken from a nautical atlas, 1571. Detail.
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alb1887663 Cartography, Italy, 16th century. Sicily Region, detail from a portolan chart. Location: Venice, Museo Correr (Art Museum), Gabinetto dei Disegni e delle Stampe (Drawings and Prints).
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alb1887899 Cartography,16th century. World map by Giorgio Sideri, known as Callapoda or Calopodio da Candia.
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alb1885788 The Aegean Sea, by Joan Martines taken from a nautical atlas, 1571. Detail.
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alb1884731 Cartography,16th century. World map by Giorgio Sideri, known as Callapoda or Calopodio da Candia. Details of Africa.
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alb2946719 Description: 50 francs banknote, 1947, obverse, Urbain-Jean-Joseph Le Verrier (1911-1877). France, 20th century..
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alb2322949 Description: Minerals and tools for studying them..
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alb2333158 Description: Compass, altimeter, notebook and geological maps, equipment to search for minerals..
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alb2303293 Description: Tools and books for mineral collecting..
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alb1894408 Description: Egypt and the Nile, taken from a navigational map, 17th Century. Plate..
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00527579 transport / transportation, navigation, navigation, compass, wind rose, from contemporary sea map, 1588, British Museum, London,
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alb1890494 Description: Great Britain, by Giorgio Sideri (known as Callapoda da Candia, 1537-1565), taken from a nautical atlas, 16th Century. Plate..
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alb1890322 Description: Compass rose, fifteenth century cartographic plate..
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alb1885025 Description: Cartography, 17th century. Portolan chart depicting Tripolitania, Africa and wind rose, by Francesco Oliva, 1631.. Location: VENICE, BIBLIOTECA NAZIONALE MARCIANA (NATIONAL LIBRARY).
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