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A Daum acid etched and enameled mimosa vase
Early 20th century, France The tall square body decorated with green enameled foliage and yellow flowers on an orange striated ground. Signed.
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A Daum acid etched and enameled vase
Early 20th century, France The body decorated with delicate long branches with green foliage and pink flowers. Signed.
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A Daum and Robj veilleuse (night lamp)
Early 20th century, France The square body acid etched and enameled with a continuous landscape scene of trees near a lake. Signed on the base 'Daum Nancy' and on the metal frame also 'Robj'. The detachable cover holding a light bulb.
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A Schneider (Verre Française) veilleuse ‘Chats’
Ca. 1920, France A night light with a glass dome cover with a cameo etched pattern of cats in dark brown on an orange and yellow ground.
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Theresienthal, an art nouveau glass liqueur set
Ca. 1910-1920, Bohemia Eight tall liqueur glasses of various forms with enamelled decorations. With a decanter.
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A Zande figure
Rare female Zande figure of the type called Ngia. Usually examples of this model are executed in earthenware, but here a medium dense wood is used. Such figures, collectively known as Yanda, were handled in the context of the secret Mani organization. This cult group sought protection for its members against witchcraft and sorcery and helped them to achieve success in all of their undertakings, more especially the hunt. Typical of this model is the prominent, pending navel.
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A serene female ancestral figure Luba Hemba
This introvert lady represents the woman who was seen as the founding mother of her descent group. She is portrayed as young, beautiful and fertile, the ideal person to be regarded as the ancestor of a clan. She is of royal blood and has the grace and standing of a princess. She has the hairdo and scarifications of a true Hemba female of high rank. Her deep, black skin colour contrasts neatly with her white beads.
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A female ancestral figure of the Tabwa
This proud, standing lady is executed in the classical style employed by the Tabwa around 1900. The smooth hardwood surface shows the traditional body adornment in the shape of scarifications so characteristic of the traditions of the 19th century done in ladder form. The long braided hair falls down in a Tabwa coiffure of old style. This piece carved in dense wood has the restrained look of the classical period.
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A Janus faced Bwami cult figure of the Lega
This scarce model shows a stylized body in the form of a zig zag with pierced holes. It is carved in a species of wood the Lega normally used for their old ritual figures (Alstonia congensis). The double faced top symbolizes the broadness and scope of the view attributed to the members of the highest grade of the Bwami society, the Kindi. This society promoted the righteousness and wisdom of its leaders, the backbone and role models of the organisation as a whole.
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A Nkishi of the Vili (Bakongo complex)
Although this powerful figure has lost much of its original magical charge, it still has the appearance of a mighty weapon once in the arsenal of a religious specialist. Such fetishes were prepared to defend and attack. They protected the owner against sickness and witchcraft and went on the offensive against evil doers, both natural and super-natural, when asked to do so. This figure dates back to the last quarter of the 19th century and was collected on the Loango Coast. It was part of a large private collection of similar items of Vili origin. Carved in hardwood.
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A classic female figure of an ancestor, Luba Shankadi
This sculpture stems from the end of the 19th century and is a representative of the old ‘cubistic’ style that was in fashion then. Typical of this way of representing the human form are the angularity and the architectural built-up of the body in blocks. Open spaces and volumes interact in a modern-looking manner. Characteristic Shankadi traits are the cascade hairdo and the lozenge shape of the face.
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A dance mask of the Central Pende
This superb face mask follows the classical canon of Pende art. It combines all the elements that make up the Pende style of the Central area. Together with a fine patina, it is an excellent example of the sculptural tradition of the Pende from its hay-days around 1930. It represents a young female who knows that she is pretty and plays hard to get. Such masks were danced during all kinds of ceremonies, ranging from ending the circumcision period to funerals and the installment of new chiefs.
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A dance mask of the Western Pende
This face mask coloured black and white in two halves represents a person who had a stroke and developed a mean character as a result of this. He is mocked by the other dancers and is regarded as a loser, be it a dangerous one.
His performance is seen as a hilarious event. In this rare mask, dating back to the 1940-1950 period, the face is distorted in a very artistic way, giving rise to both horror and amusement. There are only a few examples of the type in this particular execution known.
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A female ancestral figure of the Bembe
This lady belongs to the old tradition of sculpting the founders of the descent groups. She is depicted as chief and priestess. She holds a rattle by which the spirits of the dead are invited to be present so as to listen to the biddings the living convey to them in helping them solve their daily problems and defending them against evil. She is adorned with the scarifications of old and wears her hair in the traditional style of persons of high rank. This carving in hardwood dates back to around 1900 or before.
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A Songye male Minkishi figure
In the religion of the Songye fetishes were used belonging to three different categories. The rarest and largest pieces belong to the first group and are meant to protect villages. They can measure up to one meter and more. The middle group, to which this piece belongs, holds figures to protect a household. The smallest items were for private use and measure often no more than a few centimeters. This item dates back to the last quarter of the 19th century when pieces were made that show a crown of iron thongs and a face covered with strips of copper and brass.
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A Baule male figure ‘Blolo Bian’
The Baule believed that every adult person had a spiritual partner in the invisible world that he or she could contact for support and protection. So, in this case, the male figure here was owned and honoured by a married woman who saw this figure as the representative of her husband in the other world. The man represented is presented as a distinguished character with fine features and a noble appearance. Such figures were kept in the private quarters of their owners and treated with much love and care.
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A Manza-Banda ancestral figure
From this area of the North Western Ubangi of the D.R.C. only a few sculptures are known to exist. This particular item shows all the major features typical of this rare group of pieces. Especially the pronounced representation of the neck, the lozenge-shaped face with the closely set eyes and the rhythmic expression of the limbs are highly noticeable. Good and rare object dating back to the 1920s, carved in heavy hardwood.
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A mask of the Ngbandi people of the Northern D.R.C.
This impressive dance implement is said to have been used by members of the society of the diviners known as Bendo. The mask shows the major elements of the Ngbandi style in its features and scarification patterns. Especially ladder like strips of marks on cheeks, forehead and nose are typical. This model is scarce and dates back to at least the 1920-1930 period. Fine deep, glossy patina with highlights in white clay.
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A female ancestral figure of the Tiv of Central Nigeria
The region of the Benue River Province and Central Plateau of Nigeria has produced a number of highly characteristic pieces of sculpture, among which the rare figures of the Tiv. This finely detailed example with its scarifications in the form of cat whiskers at the corners of the mouth stands out as a good specimen of the style. It represents a pregnant woman and will have served in a fertility cult and was possibly placed on an altar.
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A sitting female bearing a bowl, Luba Hemba
This type of figure known as ‘Mboko’ represents a young lady who is regarded as the spiritual helper of a diviner. When working to solve the problems of a client, the diviner gets in a trance and asks the spirit thought to reside in the Mboko to assist him with her advice. This classical figure adorned with the Luba Hemba hairstyle in the shape of a cross dates back to the 1900-1920 period. It is carved in the lightwood of the Rhicinodendron heudelotii tree.
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A blue glaze ceramic shabti
3rd Intermediate Period (21st dynasty), 1293 - 944 BC, Egypt The shabti with black hieroglyphic markings and features. Mounted (glued) onto a wooden base.
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An Egyptian fragment with hieroglyphs
Unknown, Egypt A fragment of a larger stone shabti with well-defined incised hieroglyphics.
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Two Egyptian funerary cones and a shabti
1550-1070 B.C., Egypt The shabti with brown ink inscription and the cones with hieroglyphics, one for a supervisor of the Medjay. The other cone with a text indicating it belonged to a 'keeper of the seal' for the king of lower Egypt, fourth prophet of Amnon.
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A carved alabaster figure of Saint Joseph with Child and lily
Ca. 1450-75, probably Nottingham The figure shown with a bosom, symbolising his nurturing role, holding the child's hand and carrying a lily, standing on a low plinth.
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A French late Gothic polychrome carved walnut figure of Saint Anne
16th century The cloaked figure carved in full round, standing on a low plinth, the hands of later date.
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A Russian St. Nicholas icon
19th century, Russia A very fine icon showing Saint Nicholas with twelve hagiographical border scenes.
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A Russian icon of Christ enthroned
19th century, Russia Showing Christ in the middle, surrounded by Saints and figures as John the Baptist, Mary, Archangel Gabriel and Saint Michael.
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A cased Russian icon with rizza
19th century, Russia Showing Mary with Jesus as a child.
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A Russian Nativity icon
20th century, Russia An icon in antique style showing the Adoration of the Magi (the Three Kings).
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A Flemish embroidery fragment
16th century A petit point embroidery, showing various figures in a landscape, in a modern gilt frame.
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A French pewter 'Toulouse' type table fountain
First half 18th century The shaped domed lid above a cylindrical body, the sides with masks carrying drop handles, a third mask to the front issuing a bronze tap. These containers were used for the production and conservation of the medical concoction theriac.
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An Austrian pewter fountain
Second half 18th century The vase-shaped reservoir with a dragon-shaped tap and surmounted by a lid in the form of a warrior, decorated with (later) pendant coins, above a back plate with Saint George and the dragon accompanied by a kneeling female figure, above a scallop-shaped basin.
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A collection of pewter objects
Ca. 1700-1850 Comprising a French wine jug (ca. 1700, marked with foundry initials 'IBV' and 'Château Thierry' and dated 1691), a German tap jug (ca. 1800, possibly Jever, marked with owner's initials RWE and HK), a French 'porte diner' (Clamecy, early 19th century, with foundry mark of Bouvier, Clamecy), and a chocolate pot with swing handle (J.C. Mulder, Amsterdam, second quarter 19th century).
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A Dutch polychrome painted softwood miniature cupboard with a pewter child's tea service
19th/20th century, Germany and Netherlands The cupboard decorated with simulated oak wood grain, with a child's tea set consisting of six cups and saucers, a coffee pot, teapot, milk jug, cream bowl and sugar bowl, together with a small collection of miniature pewter jugs, pots, vases and candlesticks.
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After François Briot (ca. 1545-1616)
A French Renaissance-style pewter 'Temperance Basin', 19th century Modelled after the original by Briot (ca. 1585), marked to the reverse, with a metal clamp.
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A Dutch walnut miniature cabinet on stand
Ca. 1700 The rectangular top inlaid with star ornament, the cornice above two glazed doors, enclosing a red painted interior with two shelves and two drawers, above a further frieze drawer, on spirally turned legs joined by spirally turned stretchers.
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A Dutch mahogany and marble miniature console table
19th century The gris Saint Anne marble top above a plain frieze centred by a moulded circle, above two S-shaped legs and a mirror, on a concave base.
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An oval miniature portrait of a lady
First quarter 19th century Painted on ivory, in an oval frame set with garnets.
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A circular portrait miniature of a lady
Late 18th century Painted on ivory, in a circular gilt bronze frame.
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A French ormolu and green marble ink stand
Late 19th/early 20th century Decorated with a bronze eagle flanked by a pair of inkwells, on a vert-de-mer marble base with a recessed receptacle, on paw feet.
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A French ormolu and green marble potpourri vase
Late 19th/early 20th century The vert-de-mer marble body decorated with gilt bronze garlands, acanthus leaves and ram's heads, crowned by an openwork neck with removable lid.
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A pair of giltwood wall ornaments
Late 19th century, of Louis XVI style Each with a female head and foliate ornaments.
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A large French butterfly wing picture
Second half 20th century The butterfly wings forming a geometric mosaic, within a moulded giltwood frame decorated with acanthus, the back of the frame marked 'Artiste Decugis Crepin Richard/ Tableaux de Papillons et Arts Plastiques'.
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A collection of Barbara Baum film costumes for 'The House of the Spirits' (Miramax, 1993), one worn by Meryl Streep
Ca. 1992, London and Berlin The light-pink dress worn by Meryl Streep, the collar trimmed with lace, a long pelerine falling over the shoulders, above a waistband with buttons, above a relatively short skirt. Together with three other historical costumes used in the film, presumably worn by extras in scenes taking place in Chili in the 1920s.
The pink dress was worn by Meryl Streep in a scene where her character, Clara del Valle, meets Férula Trueba (played by Glenn Close) in a restaurant in 1946.
The costume designer of these pieces, Barbara Baum, won a Bavarian Film Award for Best Costume Design for this film in 1994. 'The House of the Spirits' stars Meryl Streep, Glenn Close, Jeremy Irons, Winona Ryder and Antonio Banderas. The film is based on the book of the same name written by Isabel Allende, and tells the story of three generations of a Chilean family during the country's military dictatorship.
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A Vienna bronze figure of a boy warming a pot over a fire
Ca. 1900, Austria The Arab boy lying on his stomach whilst warming a pot over a fire. Marked Bergman, number 3065 and 'Geschützt'.
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A Vienna bronze figure of a boy with a monkey
Ca. 1900, Austria The Arab boy lying on his stomach with a monkey on his back that is trying to steal the fruit from his hand. Not marked but possibly Bergman.
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