Head measurements: 55 x 20 x 23. Rack Measurements: 76 x 28 x 4 cm. Reference bibliography: Emile van der Vekene: The Inquisition in original engravings. Exhibition carried out with funds from the Emile van der Vekene collection of the San Pablo-CEU University, Aranjuez, May 4-26, 2005, Madrid: Rey Juan Carlos University, 2005. ISBN 84-96144-86-0. Provenance: Catalan private collection of torture items from the 15th to the 20th century, Barcelona.
Lot de 6 affiches comprenant Giulio DA MILANO (1895-1990) pour la Galerie de la Marine - Nice Michel DESIMON (XX) Émile HECQ (1924-2009) pour la Galerie le Centaure Riviera dei Fiori - Ventimiglia -Italia Jocelyne SEGUIN (1917/21-1999) pour la boutique d'art - Nice JMACQ "Côte du Rhone dans votre verre" 69 x 49cm, 101 x 70cm, 59,5 x 40cm, 68 x 49cm, 70 x 40cm, 59,5 x 40 cm
Drawing, watercolour and black pen, pencil, 26 x 21 cm (visible), wove paper, signed, titled and dated in pen. - Jean Milo ps. of Émile Van Gindertael (Saint-Josse-ten-Noode 1906-1993), a Belgian painter, poet, essayist and novelist. He was director of the Belgian gallery Le Centaure. As a painter, he was influential to Edgard Tytgat and helped to found the "Art abstrait" group in 1952.
TRIMBACH 2 bottles 1986 and 1991, region: Trimbach, Alsace, France, grape varieties: 1 x Riesling Cuvée Frédéric Émile 1986, 1 x Pinot blanc 1991, 1 x 12,5% vol., 700 ml (1986), 1 x 12% vol., 750 ml (1991), filling level: 2 x HF (high fill), labels damaged, signs of age and storage, shipping restrictions outside EU.
Art and Design 7pc book group: International Arts and Crafts, Karen Livingstone & Linda Parry, 2005; Modern Masters of Etching, Sir Francis Seymour Haden, 1926; Emile Galle, Philippe Garner, 1990; Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Yutaka Mino & James Robinson, 1983; Historic Design for Modern Use: Ancient and Classic Part 1, James Wilfrid Kerr, 1938; Historic Design for Modern Use: Medievel Part 2, James Wilfrid Kerr, 1939; Art & Design in Europe and America 1800-1900, Victoria and Albert Museum, 1987.
DESCRIPTION: (2 Pc) Two French 2006-2009 wine bottles. This lot includes: one (1) 2006 F E Trimbach Riesling Cuvee Frederic Emile Alsace white wine; and one (1) 2009 Chambertin Clos de Beze Grand Cru wine bottle. (750 ml. each) CIRCA: 2006, and 2009. ORIGIN: France. Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Good condition. (We Do Not Offer International Shipping). See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
Emile François Chambon 1905–1993 Pluton et Proserpine, 1975 Öl auf Leinwand oben links signiert und datiert E. CHAMBON 75 rückseitig bezeichnet und datiert PLUTON ET proserpine 1975 55 x 46 cm
Emile François Chambon 1905–1993 La clef cassée, 1977 Öl auf Karton unten rechts signiert und datiert E. Chambon 77 rückseitig datiert und bezeichnet bezeichnet 1977 "la clef cassée" corinne 55 x 39,5 cm
ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Art Nouveau vase, ca.1900. In multilayered glass in shades of pink, acid-etched with green plant motifs. Signed on the side. Provenance: Private collection, Spain between 1970-1990. Size: 30 x 16 x 16 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.
Maße des Tabletts: 38,5 x 48,5 cm. Gewicht nur der Silberobjekte: 1990 g. Goldschmiedmeistermarke „Emile Sanner“. Paris, um 1900. Bestehend aus vier Kanopengefäßen und einer Schatulle in Sargform, jeweils in Silber, mit einem versilbertem Tablett mit ägyptischen Reliefs, bodenseitg punziert. Die Kanopen mit verschiedenen menschlichen Gesichtern bzw. ägyptischen Gottheiten gestaltet. Das versilberte Tablett auf vier quadratischen Füßen stehend mit einer kreuzförmigen Querstrebe und getriebenem versilberten Dekor. (1240136) (13) Egyptian style silver service set Tray dimensions: 38.5 x 48.5 cm. Weight of silver objects only: 1990 g. Maker's mark “Emile Sanner”. Paris, ca. 1900.
Emile Albert Gruppe Fisherman's Docks, Gloucester oil on canvas 20 h × 24 w in (51 × 61 cm) Signed to lower right 'Emile Gruppe'. Exhibited: Emile Gruppe Retrospective, 5 October - 23 November 2008, Rockport Art Association, Massachusetts condition: Work presents well. New keys in stretcher, which appears to be original. Substantial frame of the period. No evidence of inpainting under blacklight inspection. Surface is stable. Framed without glazing measuring 27 x 31 inches.
Riesling, Cuvée Frédéric Emile, Sélection de Grains Nobles 1989 F. E. Trimbach (2 hbs) Levels into the neck, soiled and scuffed labels, vintage neck labels and capsules, 1 torn label, 1 sign of seepage Riesling, Cuvée Frédéric Emile 1990 F. E. Trimbach (3 hbs) Levels into the neck, slightly bin-soiled and scuffed labels, vintage neck labels and capsules 5 hbs (sc) Estimates are per lot
Riesling, Cuvée Frédéric Emile 1990 F. E. Trimbach (5 bts) Levels into the neck, scuffed labels, vintage neck labels, and capsules, 1 torn label Riesling, Cuvée Frédéric Emile, Sélection de Grains Nobles 1990 F. E. Trimbach (1 bt) Level into the neck, scuffed and slightly soiled label, vintage neck label, and capsule, torn capsule, slightly sunken cork Riesling, Cuvée Frédéric Emile 2001 F. E. Trimbach (6 bts) Slightly scuffed labels, vintage neck labels, and capsules 12 bts (sc) Estimates are per lot
EMILE GALLE, FRENCH (1846-1904) A Fine Cameo Glass Vase, 'Clematis', circa 1900 Height 6.5 in. (16.51 cm.) signed in cameo Gall Provenance Christie's New York Art-Nouveau and Art- October 4, 2005 Emile Gall was a master craftsman who skillfully interpreted the natural world using different shapes and shades of glass and crystal. His pioneering techniques are said to have inscribed in matter the emotion of life.
Voltaire. Correspondance vols. I-XIII. 1977-1993. With: Rousseau. Du contrat social + Emile + Confessions + La nouvelle Héloïse + Écrits sur la musique, la langue et le théatre. And with: Tocqueville. Oeuvres I-III. All on light-weight paper, bound in faux leather, with bookmark. In good condition. Without dust jackets. (total 21)
Leather Bound Books: The Four Loves, C.S. Lewis, Easton Press, 2002, fine; Our Town & The Skin of Our Teeth, Thornton Wilder, Franklin Library, 1983, fine; The Garden of Eden, Ernest Hemingway, Easton Press, 1990, rubbing on edges; Mystique du Grand Meaulnes, Emile Henriot, Editions Famot, 1977, edge and corner wear; Saki, Stories, Franklin Library, 1982, NF- w bookplate; The Matchmaker, Thornton Wilder, Easton Press, 1990, NF- with bookplate; Peter Ibbetson, George du Maurier, Easton Press, 1963, NF- with bookplate; Saint Thomas Aquinas, Easton Press, 1995, some light rubbing
COURBET, GUSTAVE (Ornans 1819 - 1877 La-Tour-de-Peilz) La femme au missel (probably portrait of Zélie Courbet). Circa 1840-1849. Oil on canvas. Signed centre bottom: G. Courbet. 55.5 x 46.5 cm. Expertise: Jean-Jacques Fernier, 6.3.2006. Provenance: - Collection of David Benador, Geneva. - Collection of Emile Chambon, Geneva (inscription verso on stretcher). - Auction of the collection of Emile Chambon. - Galerie Hugues Rosset, 2006 (according to the owner). - Swiss private collection. Literature: - Benador, Jacques: Courbet peintre et Communard, in: Plaire, No. 2, Paris 1945. - Hilbi, Georg M. : Transformation, Sublimation und Individuation im modernen Portrait. Fallstudien zu Albert Anker, Gustave Courbet und Hans Emmenegger, Diss. Universität Zürich 2013, pp. 46-60, fig. 13. This recently rediscovered striking portrait of a young woman was formerly in the collection of renowned Geneva gallery owner David Benador, and was later in the collection of another Genevan, the artist Emile Chambon (1905-1993), who was a great admirer of Courbets work. The woman is depicted in three-quarters profile, dressed in black and holding a prayer book in her left hand. Her gaze is directed upwards, radiating a strong aura of devoutness. Her facial expression is friendly and gentle, and her complexion is nuanced with austere grey-blue and pink shading, typical for Courbet. Courbet was very close to his family and often depicted relatives in studies as well as in larger compositions, for example in the famous work A Burial at Ornans, in which three of his sisters are included amongst the mourners. On the basis of her facial features, the woman depicted here can also be identified as a Courbet family member. Jean-Jacques Fernier conjectures that the subject was either one of the artists sisters (possibly Zoé Courbet, born in 1824), or his cousin Clémentine. In this way the portrait can be dated to the early period of the artists work, circa 1840. Georg M. Hilbi, who dates the present portrait to the late 1840s (circa 1848-49), also believes that the subject was a close relative of the artist, specifically his second sister, Zélie Courbet (1828-1875). Hilbi bases his identification on the resemblance to certain portraits made between 1845 and 1850. Other indications that this may be a portrait of Zélie are her delicate constitution, and her lifelong attachment to religion, both of which are evident in the present portrait. Hilbi also suggests that the present work may have served as a model for one of the figures in A Burial at Ornans, the subjects black shawl with hood thus prefiguring a mourning dress. Courbet often first executed portraits of his models as single studies for his large-format works, whether or not he actually employed these figures in the final composition. In A Burial at Ornans there is an uncompleted face of a woman with a black hood directly behind the figure of Zélie, which bears a strong resemblance to the present portrait. --------------- COURBET, GUSTAVE (Ornans 1819 - 1877 La-Tour-de-Peilz) La femme au missel (wohl Bildnis von Zélie Courbet). Um 1840-1849. Öl auf Leinwand. Unten mittig signiert: G. Courbet. 55,5 x 46,5 cm. Gutachten: Jean-Jacques Fernier, 6.3.2006. Provenienz: - Sammlung David Benador, Genf. - Sammlung Emile Chambon, Genf (verso Inschrift auf Keilrahmen). - Nachlassauktion Sammlung Emile Chambon. - Galerie Hugues Rosset, 2006 (Gemäss Auskunft des Besitzers). - Schweizer Privatsammlung. Literatur: - Benador, Jacques: Courbet peintre et Communard, in: Plaire, Nr. 2, Paris 1945. - Hilbi, Georg M.: Transformation, Sublimation und Individuation im modernen Portrait. Fallstudien zu Albert Anker, Gustave Courbet und Hans Emmenegger, Diss. Universität Zürich 2013, S. 46-60, Abb. 13. Dieses kürzlich wiederentdeckte schöne Brustbild einer jungen Frau stammt aus der Sammlung des renommierten Genfer Galeristen David Benador und ging später in die Sammlung des Genfer Kunstmalers Emile Chambon (1905-1993) über, welcher ein grosser Verehrer von Courbet und dessen Werken war. Die im dreiviertel Profil dargestellte Dame in schwarzer Kleidung hält in ihrer linken Hand ein Gebetsbuch und ihr Blick ist leicht nach oben gerichtet, sodass eine starke Aura der Frömmigkeit ausgestrahlt wird. Ihr Gesichtsausdruck wirkt freundlich und sanft und ihr Inkarnat ist durch die für Courbet typisch herbe Graublau- und Rosaschattierung nuanciert. Courbet war stark mit seiner Familie verbunden und stellte seine Verwandten oft in Studien und grösseren Kompositionen dar, so beispielsweise in dem berühmten Gemälde "Das Begräbnis von Ornans" von 1849, in dem er seine drei Schwestern unter den Trauernden darstellte. Aufgrund ihrer Gesichtszüge lässt sich auch unsere Porträtierte als Familienmitglied von Gustave Courbet identifizieren. Jean-Jacques Fernier vermutet dabei, dass es sich um eine der Schwester des Künstlers, wie beispielsweise die 1824 geborene Zoé Courbet, oder seine Kusine Clémentine handelt. Dabei datiert er das Porträt in das Frühwerk des Malers um 1840. Georg M. Hilbi, der unser Porträt in die späten 1840er Jahre, also um 1848-49 datiert, vermutet ebenfalls, dass die Dargestellte aus dem engen Familienkreis Courbets stammt und identifiziert sie aufgrund ihrer Ähnlichkeit mit Bildnissen, die zwischen 1845 und 1850 entstanden sind, als Zélie Courbet (1828-1875), der zweiten Schwester des Künstlers. Zélie zeichnete sich wohl aufgrund ihrer schwächlichen körperlichen Konstitution durch eine lebenslange Affinität zur Frömmigkeit aus, was in diesem Bildnis besonders stark zum Ausdruck kommt. Hilbi hebt zudem hervor, dass unser Porträt als Vorlage für eine Figur aus dem "Begräbnis von Ornans" gedient haben könnte, worauf der schwarze Umhang mit Kapuze als Trauerbekleidung hindeutet. Courbet porträtierte seine Modelle oft zuerst in individuellen Einzelbildnissen als Studien für seine grossformatigen Werke, auch wenn er nicht alle Studien zu fertigen Figuren umsetzte. Im Begräbnis von Ornans ist unmittelbar hinter der Figur der Zélie ein unvollständiges Frauengesicht mit schwarzer Kapuze erkennbar, welche dem hier angebotenen Bildnis sehr nahe kommt.
Mending the Nets. Emile Gruppe (1896-1978). Oil on canvas. Signed lower left: "Emile A. Gruppe". Inscribed on stretcher: "38A Mending the Nets by Emile A. Gruppe". 20 x 24 inches. Provenance: private collection, Massachusetts, until 2008 The son of painter Charles Gruppe, Emile Gruppe was born in Rochester, New York, in 1896. In addition to his father's artistic influence, Emile Gruppe studied with George Bridgeman, John F. Carlson, Charles Chapman, Charles Hawthorne, and Richard Miller. He also took classes at the Art Students League in New York and the Académie de la Grand Chaumière in Paris. The majority of Gruppes artistic career was divided between painting at Cape Ann, Massachusetts, and in Vermont, Florida, and Portugal. While he best known for his Impressionist harbor scenes and winter landscapes of these places, Gruppe also painted numerous portraits and figural works. In Mending the Nets, Gruppe captured the delicious calm of a sleepy tropical harbor, probably in Florida. Done with the days fishing, the fishermen are spending the afternoon on land, tending to their equipment. As the sun shines down on the ramshackle structures that line the docks, one man in a yellow shirt and red cap inspects the large fishing nets heaped on the dock, while another works on his boat on the right. Seagulls glide on the breeze over the distant bay. Gruppe painted the scene with an appealing breadth appropriate to the relaxed mood, and he used reds and purples to indicate deep, warm shadows, as well as strokes of cyan and cobalt blue in the water. Gruppe taught as well as painted, and he founded the Gruppe Summer School in Gloucester, Massachusetts, with his former teacher John F. Carlson in 1942. Gruppe exhibited at the Art Institute of Chicago from 1913 to 1920, National Academy of Design from 1915 to 1941, Salmagundi Club from 1916 to 1952, North Shore Art Association from 1922 to 1958, Rockport Art Association from 1925 to 1957, Allied Artists of America from 1934 to 1952, and many other venues. Gruppe was a member of the Salmagundi Club, North Shore Art Association, Gloucester Society of Artists, Rockport Art Association, Allied Artists of America, and numerous other artists organizations. His work is found in many public collections, including the De Cordova Museum, Lincoln, Massachusetts; Smith College, Northampton, Massachusetts; Montclair Art Museum, New Jersey; the White House, Washington, D. C.; Butler Art Institute, Youngstown, Ohio; San Antonio Museum, Texas; and the Los Angeles County Museum of Art.
Serge Mouille (1922 - 1988) Trépied Lampe de table Métal laqué et laiton edition Steph Simon Date de création : 1954 H 46 × L 29 × P 32 cm Bibliographie : Pierre Emile Pralus, Serge Mouille un classique français, Ed.Mont Thou, 2006, p. 204
CHAMBON, EMILE (1905 Geneva 1993) The goddess Diana. 1960. Oil on canvas. Signed and dated upper right: E. CHAMBON. 60. 63 x 44 cm. --------------- CHAMBON, EMILE (1905 Genf 1993) Göttin Diana. 1960. Öl auf Leinwand. Oben rechts signiert und datiert: E. CHAMBON. 60. 63 x 44 cm.
Emile Cioran, Paris. 1992. Vintage gelatin silver print. 27,7 x 18,5 cm (30,2 x 21 cm). Photographer's copyright stamp, as well as titled and dated in pencil on the verso.A fine tonal print in excellent condition.
Bernard, Émile (1868 Lille - 1941 Paris) Portrait de Martha F. 1936. Oil on card. Concealed with canvas. 66 x 54cm. Signed upper right: Emile Bernard. Craftman's frame. This painting includes a photo-expertise, dated 21st Oktober 1991 from Béatrice Ricchi, Paris.
Tresors du Nouveau Monde, 1992, Lin and Emile Deletaille; Rediscovered Masterpieces of Mesoamerica - Mexico, Guatemala, Honduras, 1985, Michael D. Coe et al; The Olmec World - Ritual and Rulership, 1995, Michael D. Coe et al; At the Heart of Precolumbian America - the Gerard Geiger Collection, 2003, Henri Stierlin et al
COURBET, GUSTAVE (Ornans 1819 - 1877 La-Tour-de-Peilz) La femme au missel (probably portrait of Zélie Courbet). Circa 1840-1849. Oil on canvas. Signed centre bottom: G. Courbet. 55.5 x 46.5 cm. Expertise: Jean-Jacques Fernier, 6.3.2006. Provenance: - Collection of David Benador, Geneva. - Collection of Emile Chambon, Geneva (inscription verso on stretcher). - Auction of the collection of Emile Chambon. - Galerie Hugues Rosset, 2006 (according to the owner). - Swiss private collection. Literature: - Benador, Jacques: Courbet peintre et Communard, in: Plaire, No. 2, Paris 1945. - Hilbi, Georg M. : Transformation, Sublimation und Individuation im modernen Portrait. Fallstudien zu Albert Anker, Gustave Courbet und Hans Emmenegger, Diss. Universität Zürich 2013, pp. 46-60, fig. 13. --------------- COURBET, GUSTAVE (Ornans 1819 - 1877 La-Tour-de-Peilz) La femme au missel (wohl Bildnis von Zélie Courbet). Um 1840-1849. Öl auf Leinwand. Unten mittig signiert: G. Courbet. 55,5 x 46,5 cm. Gutachten: Jean-Jacques Fernier, 6.3.2006. Provenienz: - Sammlung David Benador, Genf. - Sammlung Emile Chambon, Genf (verso Inschrift auf Keilrahmen). - Nachlassauktion Sammlung Emile Chambon. - Galerie Hugues Rosset, 2006 (Gemäss Auskunft des Besitzers). - Schweizer Privatsammlung. Literatur: - Benador, Jacques: Courbet peintre et Communard, in: Plaire, Nr. 2, Paris 1945. - Hilbi, Georg M. : Transformation, Sublimation und Individuation im modernen Portrait. Fallstudien zu Albert Anker, Gustave Courbet und Hans Emmenegger, Diss. Universität Zürich 2013, S. 46-60, Abb. 13. Dieses kürzlich wiederentdeckte schöne Brustbild einer jungen Frau stammt aus der Sammlung des renommierten Genfer Galeristen David Benador und ging später in die Sammlung des Genfer Kunstmalers Emile Chambon (1905-1993) über, welcher ein grosser Verehrer von Courbet und dessen Werken war. Die im dreiviertel Profil dargestellte Dame in schwarzer Kleidung hält in ihrer linken Hand ein Gebetsbuch und ihr Blick ist leicht nach oben gerichtet, sodass eine starke Aura der Frömmigkeit ausgestrahlt wird. Ihr Gesichtsausdruck wirkt freundlich und sanft und ihr Inkarnat ist durch die für Courbet typisch herbe Graublau- und Rosaschattierung nuanciert. Courbet war stark mit seiner Familie verbunden und stellte seine Verwandten oft in Studien und grösseren Kompositionen dar, so beispielsweise in dem berühmten Gemälde "Das Begräbnis von Ornans" von 1849, in dem er seine drei Schwestern unter den Trauernden darstellte. Aufgrund ihrer Gesichtszüge lässt sich auch unsere Porträtierte als Familienmitglied von Gustave Courbet identifizieren. Jean-Jacques Fernier vermutet dabei, dass es sich um eine der Schwester des Künstlers, wie beispielsweise die 1824 geborene Zoé Courbet, oder seine Kusine Clémentine handelt. Dabei datiert er das Porträt in das Frühwerk des Malers um 1840. Georg M. Hilbi, der unser Porträt in die späten 1840er Jahre, also um 1848-49 datiert, vermutet ebenfalls, dass die Dargestellte aus dem engen Familienkreis Courbets stammt und identifiziert sie aufgrund ihrer Ähnlichkeit mit Bildnissen, die zwischen 1845 und 1850 entstanden sind, als Zélie Courbet (1828-1875), der zweiten Schwester des Künstlers. Zélie zeichnete sich wohl aufgrund ihrer schwächlichen körperlichen Konstitution durch eine lebenslange Affinität zur Frömmigkeit aus, was in diesem Bildnis besonders stark zum Ausdruck kommt. Hilbi hebt zudem hervor, dass unser Porträt als Vorlage für eine Figur aus dem "Begräbnis von Ornans" gedient haben könnte, worauf der schwarze Umhang mit Kapuze als Trauerbekleidung hindeutet. Courbet porträtierte seine Modelle oft zuerst in individuellen Einzelbildnissen als Studien für seine grossformatigen Werke, auch wenn er nicht alle Studien zu fertigen Figuren umsetzte. Im Begräbnis von Ornans ist unmittelbar hinter der Figur der Zélie ein unvollständiges Frauengesicht mit schwarzer Kapuze erkennbar, welche dem hier angebotenen Bildnis sehr nahe kommt.
Oil on canvas. Housed in a good carved & gilt replacement frame. Signed lower right "Emile A Gruppe". Back retaining several labels including Exhibited Rockport Art Association Oct 5 - Nov 23, 2008 in the Emile Gruppe Retrospective; Spanierman Gallery label; Doyle auction labels. On stretcher in artist hand is title and "Serial No. III" on verso of canvas SIZE: 25" x 30". Overall: 30-1/2" x 35-1/2" CONDITION: Very good 50719-2
Ensemble de 6 bouteilles et 4 magnums 1 bouteille GEWURZTRAMINER “Vendange tardive”, Trimbach 1967 1 bouteille MARC DE CHABLIS Domaine De La Maladière 1976 1 bouteille TRIMBACH Frederic Emile 1990 2 Magnums FINE BOURGOGNE Vedrene 1 ELA + 1 ETLA, TLB 1 bouteille GIN de la Maison cointreau 1 bouteille GRANDE FINE CHAMPAGNE, VSOP Frapin sans capsule 2 Magnums VIEUX MARC DES HOSPICES DE NUITS SAINT-GEORGES, Vedrene 1 ET (LB) + 1 TLB 1 bouteille « 4 alcools Marie Brizard » Vintage
Three signed Birmingham City player jerseys, a Robbie Savage blue No.8 jersey season 2002-03, signed “Best Wishes” in black marker pen, Premier League badges, long-sleeved, the reverse lettered SAVAGE; an Emile Heskey white No.16 away jersey season 2005-06, signed “Best Wishes” in black marker pen, Premier League badges, short-sleeved, the reverse lettered HESKEY; and a Maik Taylor green goalkeeping jersey season 2004-05, signed “Best Wishes” in black marker pen, Premier League badges, long-sleeved, the reverse lettered TAYLOR; sold together with a pair of named and numbered Taylor Birmingham City sock tags (5)
Artist: Emile Bellet || Title: Woman Standing by the Sea || Year: circa 1990 || Medium: Serigraph, Signed and numbered in Pencil || Edition: HC 59/110 || Size: 16 x 12 in. (40.64 x 30.48 cm) || Frame Size: 28 x 24 inches
Emile Albert Gruppe American, 1896-1978 Drying the Red Sails Signed Emile A. Gruppe (ll) Oil on canvas 20 x 18 inches Provenance: Private collection Exhibited: New York, Spanierman Gallery, LLC, Emile A. Gruppe (1896-1978), Jul. 10-Aug. 30, 2008 C The Spanierman Gallery, LLC
Emile Heskey: a signed white Birmingham City No.16 away jersey season 2005-06, signed to the front in black marker pen, short-sleeved spare, F.A. Premier flashes, the reverse lettered HESKEY This jersey was gained as a swap by the West Bromwich Albion kitman Dave Matthews with his opposition counterpart.
Emile Albert Gruppe American, 1896-1978 Seagulls, circa 1945 Signed Emile A. Gruppe and dated 1945 (lr); inscribed Gulls on the stretcher Oil on canvas 30 x 36 1/8 inches Provenance: Private collection Exhibited: New York, Spanierman Gallery, LLC, Emile A. Gruppé (1896-1978), Jul. 10-Aug. 30, 2008 Rockport, MA, Rockport Art Association, Emile Gruppe Retrospective, Oct. 5-Nov. 23, 2008 Literature: Emile A. Gruppé, Gruppé on Painting: Direct Techniques in Oil, eds. Charles Movalli and John Lavin (New York: Watson-Guptill Publications, 1976), 63 color illus. (as Coming for Scraps). Carol Lowrey, "Emile A. Gruppe (1896-1978)," American Art Review 20 (December 2008), 103 color illus. A gregarious man who counted many of Gloucester's fishermen among his friends, Gruppé took great delight in setting his easel up in the town and on the harbor, which inspired such works as Seagulls. Replete with the soft light of afternoon, the painting underscores Gruppé's skills in translating fleeting natural conditions into paint. Using a deft manipulation of color and form, he captured the brisk salt air of Gloucester, featuring seagulls swooping down to fish left out on a dock, while noting the lively array of lines and shapes that this scene afforded. C The Spanierman Gallery, LLC
Fine Art Nouveau vase. Emile Gallé, Nancy circa 1900. Colourless, transparent glass, overlaid in green and light blue, etched and frosted. Signed «Gallé». Literature: Janine Bloch-Dermant, Le Guidargus de la Verrerie, Paris 1992, p. 159 (cf.). Please Note German Text - Emile Gallé, Nancy um 1900. Farbloses, transparentes Glas, grün und hellblau überfangen, geätzt und mattiert. Auf rundem Stand, ovoider Korpus mit bewegter, rechteckiger Halsöffnung. Auf der Wandung feiner Floraldekor und sign. «Gallé». H. 13, B. 12 cm. Literatur: Janine Bloch-Dermant, Le Guidargus de la Verrerie, Paris 1992, S. 159 (vgl.). Please Note: Reserve Price €400
3 Libros de vinos y licores. Diferentes autores. Consta de: a) Dominé André. El Vino. España: Editorial Könemann, s/f. b) Delos, Gilbert. El mundo del Whisky. Barcelona: Iberlibro, s/f. c) Peynaud, Emile (Prólogo). El libro del vino mexicano. México: Casa Pedero Domecq, 1990. Encuadernados en pasta dura. Piezas: 3
Emile Othon FRIESZ (1879-1949) Bouquet de fleurs Huile sur carton Signée, datée « 15 Août 1918 » et située « Toulon » en bas à droite 41 x 31,5 cm Provenance : vente à l'hôtel Président, Genève,8 décembre 1991 Bibliographie : Robert Martin, Odile Aittouares, Emile Othon Friesz, L'Œuvre peint, tome I, éd. galerie Aittouares, Paris, 1995, p. 263
MILO JEAN (PS. VAN VAN GINDERTAEL, EMILE, JEAN, GHISLAIN) (1906 - 1993) werk in gemengde techniek : 'Le son de la trompette, strident, coupe les arbres en tranches' - 40 x 32 getekend en gedateerd 1964 mixed media-signed and dated
Lot of 4 titles: PETITOT, Émile. Travels Around Great Slave And Great Bear Lakes 1862-1882. 2005. SPRY. The Papers of The Palliser Expedition. 1968. MORTON & ROY. Telegrams Of The North-West Campaign. 1972. BEGG. Red River Journal... 1956. crested cloth, t.e.g. Limited crested editions. (4)
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