A Silver Cigarette Case presented to the Imperial German Naval Ace “Theodore Osterkampmein” Although initially turned down for regular service due his frail build, Osterkamp joined the Marinefliegerkorps as an observer in 1914, trained as a pilot and became the first to fly a reconnaissance-mission over England. On 21 March 1917, Leutnant Osterkamp took command of Marine Feld Jagdstaffel 2, scoring a total of 32 victories by the end of the war. He was one of the last to be awarded the Prussian military order Pour le Mérite (The Blue Max) on the 2nd September 1918. This cigarette Case was a gift to him from fellow Officers in his Sqn. He went on to win a Knights cross in WW2, but that is another story.
A PAIR OF AESTHETIC POTTERY TABLE LAMPS, IN THE MANNER OF THEODORE DECK each vase with moulded zoomorphic handles and painted with a bird flying amidst flowering foliage. (2) 37cm high overall
Art measures 8W x 5.5H. Frame measures 14W x 11H. In good condition with wear commensurate with age and well framed The board has some warping from age. Immerse yourself in the captivating world of 19th-century artistry with our distinguished Theodore Rousseau Oil On Board masterpiece. Renowned for his evocative landscapes, Rousseau's works transcend time, inviting viewers into serene and enchanting natural vistas.This exquisite painting captures the essence of Rousseau's mastery, depicting a provincial woman gracefully strolling through a lush forest landscape. Each brushstroke meticulously conveys the play of light and shadow, enveloping the scene in a mesmerizing aura of tranquility and serenity.As one of the most celebrated artists of his era, Rousseau's legacy continues to resonate with collectors who appreciate the beauty and depth of his compositions. This rare opportunity to acquire an original Rousseau painting is a testament to the enduring allure of his work and a cherished addition to any esteemed collection.Bid now to secure your place among discerning connoisseurs and elevate your surroundings with the timeless elegance of Theodore Rousseau's unparalleled vision. Théodore Rousseau was born in 1812 in Paris, the son of a tailor from the Jura region. Sent at thirteen to his father's native province, to do office work at a sawmill, he learned to know and love the forests of the Jura. On his return to Paris, having decided to become a landscape painter, he studied briefly with Charles Rémond (1795-1875), a painter of historical landscape, whose instruction he found unhelpful and whom he left, in 1828, for another, no less academic, master, the history painter Guillon-Lethière (1760-1832). He had meanwhile begun to sketch on his own at Saint-Cloud and in the forests of Compiègne and Fontainebleau. In 1829 he vainly tried to enter the academic competition for the Rome Prize for Historical Landscape. The following year, on a tour in the Auvergne, he painted his earliest, distinctly personal landscape studies, on which in 1831 he based his first Salon entry. From a voyage to Normandy in 1832, he returned with studies of sky and sea that he used for The Coast near Granville exhibited in 1833. The following year, a landscape of "Dutch" character, Edge of the Forest at Pierrefonds, was bought by the duc d'Orléans and won him a medal at the Salon. He had meanwhile joined a bohemian clique gathered around Théophile Thoré, an early socialist and future art critic, which included the "prophet" Ganneau, known as the Mapa, who preached ecstatic nature worship. Rousseau's association with these eccentrics and dissenters irritated the Salon authorities, who retaliated by rejecting his submissions. On a tour in the Jura in 1835 he conceived a vast, crowded composition, Descent of the Cattle from the Meadows, that occupied him for a year; it was emphatically rejected by the Salon of 1836. More rebuffs in the following years discouraged him from entering further work. Finding the Salon closed to him, he shifted to saleable subjects of modest scale, treated in a naturalist style. In search of motifs, he visited the forest of Fontainebleau, staying at Chailly in 1834 and, at Barbizon in 1836. In The Forest at Bas-Bréau (Louvre), begun in 1836 and completed in 1867 after many revisions, he presented nature in its irregular forms of growth and decay, without regard to conventions of formal arrangement, while in The Avenue of Chestnuts (Louvre), painted during 1837-1840, he composed a symmetrical view, animated by the writhings of interwoven branches that form a natural architecture. With Jules Dupré (1811-1889), his friend and painting companion in the 1840s, he explored the spacious plains of the Berry and Landes regions, which led him to develop a new compositional scheme, opening large skies and wide horizons behind trees formed of massed dots of color that suggest wind-stirred foliage. During 1845 and 1846 he shared a studio with Dupré in L'Isle-Adam. A contented bachelor until then, he was brought to the brink of matrimony in 1847 by the novelist George Sand who offered him the hand of her adopted daughter. Gossip, which Rousseau blamed on Dupré, frustrated the match. Deeply resentful, he withdrew to the village of Barbizon at the edge of the forest of Fontainebleau, accompanied by an ailing woman, Eliza Gros, with whom he shared the rest of his life. For purposes of business he kept a Paris address. The Revolution of 1848, in which he took no active part, temporarily broke the power of academic juries. A committee of artists, including Rousseau, took charge of the liberated Salon, to which he did not himself contribute that year. The government of the new Republic, to make amends for past neglect, asked him for a picture on a subject of his own choice. The result was the large and rather formal View of the Forest of Fontainebleau: Sunset (Louvre). In 1849, at his first Salon in fourteen years, he showed three paintings and was given a gold medal; but Dupré, who had exhibited nothing, received the cross of the Legion of Honor. This ended their friendship. Jean-François Millet, who had moved to Barbizon in 1849, now took Dupré's place in Rousseau's life. Appointed to the Salon jury in 1850, Rousseau exhibited seven paintings that year. The Legion of Honor at last accepted him following the Salon of 1852, at which the duc de Morny, half brother of Napoleon III had bought his Oaks at Apremont (Louvre). Thi following years were an interlude of prosperity in his life. At the Universal Exposition of 1855, which he had helped to jury, his entry of thirteen paintings won a triumphant success. But a reaction soon set in. At the Salons of 1857-1863 his paintings were coldly received. The demand for his work slackened; sales held in 1861 and 1863 produced poor results. Rousseau lived in a state of nervous excitation, haunted by creditors and depressed by his wife's gradual decline into insanity. Mannerisms of color and pattern, at odds with the naturalism expected of him, reawakened the hostility of the critics. In 1866 large purchases by the dealers Brame and Durand-Ruel temporarily restored his finances. Later that year, he was elected president of the art jury for the Universal Exposition of 1867, and at its close received the Grand Medal of Honor. But, unlike other members of the jury, he was not made an officer of the Legion of Honor. The emperor himself ultimately repaired this slight, but the exasperation it had caused Rousseau broke his health. Cared for by Millet, he died in his cottage at Barbizon in December 1867. Rousseau's naturalism was the product of meditative study, not rapid transcription: incapable of spontaneity, he doggedly reworked his pictures in the studio. He understood nature as a process of constant growth and dissolution and thought of trees as fellow creatures, each marked by its own fate and struggle. Solitary, pious without religion, a materialist romantically in love with nature, he sought in his work to reconcile emotional empathy with objective sight.
A Pair of Sunglasses, Marked Scanlan Theodore CONDITIONS OF SALE Please treat the catalog as a guide only we cannot guarantee that any item is genuine or fit for purpose. Items in this auction may be used and/or have transit and/or other damage. Some items have stained or damaged labels capsule and/or other damage, please refer closely to provided images and/or ask for a condition report. We endeavor to identify obvious damage, but any omission will not invalidate any sale Viewings on any Lot can be arranged- Monday-Friday 9.30 am-4.30 pm in the POST department. Emails or inquiries should be made during business hours before a Sale begins. As a general rule, we do not test electricals or Authenticate or open factory-sealed items, unless stated otherwise.
A charming France tea set by Theodore Haviland Limoges. Early 20th Century. Condition: inside the cover there is a missing piece, otherwise in excellent condition. A
A pollard oak refectory table by Theodore Alexander, of recent manufacture, the rounded rectangular top raised on turned supports united by stretchers, 220cm wide 111cm deep 77cm high Buying this refectory table at auction could save up to 0.46 tonnes of CO2e compared to buying new.
dating: late 18th Century provenance: Versailles, Curved, single-and-false-edged blade with tang, wide central fuller and slightly enlarged tip. Silver hilt with langets engraved with palmette and outlined border, faceted parry quillon, curved towards the blade and with palmette-shaped head, provided with two marks (one 'A', the other difficult to read). Grooved loop-guard. Oval pommel with short cap, finely engraved with spider webs and floral motifs. Leather-covered wooden grip with silver wire binding. Iron scabbard with the dedication (not clearly legible) 'Le 1er Consul au ... Dobanton Cap.e a la 99eme B.de de ligne' on one side and 'M f ture a Versailles' on the other side. Two suspension rings on wide silver bands engraved with drums and flags on one side and with cross and flags on the other side. Two-layer chape. length 91.5 cm.
A MAHOGANY AND GILT METAL MOUNTED BED BY THEODORE ALEXANDER, IN CHARLES X STYLE, MODERNBearing the makers/retailers plaque191cm high, 165cm wide, 222cm long overallProvenance:Private Collection, Northamptonshire
A LARGE ICON SHOWING STS. CATHERINE AND THEODORE Russian, 2nd half 19th century Oil on wood panel. The haloes made of gold. Minimally restored. 51 x 39.5 cm. GROSSFORMATIGE IKONE MIT DEN HEILIGEN KATHARINA UND THEODOR Russland, 2. Hälfte 19. Jh. Verbund zweier Bretter mit zwei Rückseiten-Sponki (einer verloren). Ölmalerei, Nimben vergoldet. 51 x 39,5 cm. Min. rest.
A SMALL ICON SHOWING ST. THEODORE FLANKED BY STS. GREGORY AND NIKANOR Russian, mid 19th century Oil on wood panel. 26.5 x 21.7 cm. IKONE MIT DEM HEILIGEN THEODOR FLANKIERT VON DEN HEILIGEN GREGOR UND NIKANOR Russland, Mitte 19. Jh. Verbund zweier Bretter mit zwei Stirnseiten-Sponki. Ölmalerei. 26,5 x 21,7 cm.
A SMALL ICON SHOWING STS. NICHOLAS OF MYRA, THEODORE AND EUDOKIA Russian, 19th century Tempera on wood panel with kovcheg. The haloes made of gold. Partially restored. 26.8 x 24 cm. KLEINE IKONE MIT DEN HEILIGEN NIKOLAUS VON MYRA, THEODOR UND EUDOKIA Russland, 19. Jh. Verbund zweier Bretter mit zwei profilierten Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, partielle Vergoldung. 26,8 x 24 cm. Partiell rest.
A LARGE ICON SHOWING THE MOTHER OF GOD FLANKED BY STS. CATHERINE, THEODORE AND PANTELEIMON WITHIN KYOT Russian, late 19th century Oil on wood panel. Minor losses, minimally restored. 76 x 58 cm (with kyot). GROSSE IKONE MIT DER GOTTESMUTTER FLANKIERT VON DEN HEILIGEN KATHARINA, THEODOR UND PANTELEIMON IM KIOT Russland, Ende 19. Jh. Holztafel mit zwei Stirnseiten-Sponki. Ölmalerei. 76 x 58 cm (mit Kiot). Min. Farbverluste, min. rest.
A MINIATURE ICON SHOWING ST. THEODORE WITH HIS SONS DAVID AND CONSTANTINE AND A SILVER PENDANT CROSS Russian, 19th century / Russian, Moscow, Dmitry Shelaputin, 1896 Tempera on wood panel. The silver cross with the Arma Christi on one side and a prayer behind. Marked with city hallmark, assayer's mark, 84 standard and master's mark 'DSch' in Cyrillic. 7.3/11.1 cm long, 90 gr. PRIESTER-KREUZ UND MINIATUR-IKONE MIT DEN HEILIGEN FEODOR MIT SEINEN SÖHNEN DAVID UND KOSTANTIN Russland, 19. Jh. / Russland, Moskau, Dmitrij Schelaputin, 1896 Eitempera auf Kreidegrund auf Holz / Silber, gegossen und graviert. L. 7,3 / 11,1 cm, 90 g. Punziert mit Stadtmarke, Feingehalt '84', Beschaumeisterzeichen und Meisterzeichen 'DSch' in Kyrillisch.
American (New York), 19th century. A group of three sterling silver tea service items by Theodore Starr of New York, creamer, sugar and waste bowl all with foliate decoration, all rising on acanthus leaf design feet; largest; ht. 4, wd. 6, dp. 4.5 inches, 906 total grams Overall good condition. Each having Theodore B. Starr New York hallmark.
A THEODORE ALEXANDER FIGURED MAHOGANY PARTNERS DESK A THEODORE ALEXANDER FIGURED MAHOGANY PARTNERS DESK, the crossbanded rectangular top with canted corners, a drilled brass mounted cable outlet and a moulded edge, inset with a square tooled brown leather skiver, over two long frieze drawers to each side and a pair of dummy drawers to each end, the base of concave form with canted corners, each pedestal with a cupboard to each side, with a removeable bank of three drawers filling the alcove, all standing on an egg and dart moulded plinth base 76.5cm high x 198cm wide x 109cm deep
A THEODORE ALEXANDER MACASSAR EBONY "JUPE EXPANDABLE" DINING/CONFERENCE TABLE, VANNUCI COLLECTION, LONDON, MODERN, in the Art Deco style and with a Robert Jupe mechanically expanding four sectioned top, above a conforming plain frieze and one side with small inlaid metal disc impressed "VI," turning to open and reveal the beautifully constructed Jupe stainless steel and wood mechanism, enclosing spaces for additional conforming panels and expanding table top dimensions, raised on six angled quadrangular legs on a radiating panels inlaid conical base ending on a polished metal plinth, height: 32 1/2", width: 80 5/8", depth: 57 1/2"; expanding with four additional insert leaves, width: 8' 10", depth: 6' 3"; together with a matching two handled and locking felt lined standing storage case with additional leaves, height: 57", width: 9", depth: 18 5/8".
A SEQUIN COCKTAIL DRESS BY SCANLAN AND THEODORE A SEQUIN COCKTAIL DRESS BY SCANLAN AND THEODORE with a soft cream and pink floral pattern, spaghetti straps with a hook-and-eye closure at the back size 10
A Theodore Alexander campaign desk Late 20th/Early 21st Century Marked to underside on plaque With flip-top lid revealing a fitted interior and writing surface with gold foil stamped, inset leather 31.25" H x 29" W x 16.25" D
A pair of Theodore Alexander mahogany open armchairs, in the George III style with wheel spoke backs, button down tan leather seats and reeded legs with castors. (2)
A Theodore Alexander Sunderland Adaptation Sideboard Mahogany Flame Veneered Sideboard Side Cabinet With Lock and Key 38 1/2” x 18” x 92” (98 cm x 46 cm x 234 cm)
Hardcover book with dust jacket titled "A Touch Of Strange: A Collection Of Stories" by Theodore Sturgeon. Book club edition. Published by Doubleday & Company, Inc., Garden City, New York. Copyright by Theodore Sturgeon, 1958.
A Large Theodore Alexander (Althorp) "Jupe" Dining Table in Mahogany. Top is formed of 6 pull-out triangular segments. Original receipt of purchase being $9,750. 160cm diameter as is, with a height of 76cm.
A PAIR OF GILT-METAL MOUNTED THEODORE DECK FAIENCE CELADON-GROUND LAMPS CIRCA 1880, IMPRESSED TH. DECK MARKS AND CYPHER 10 in. (25.4 cm.) high, the ceramic
A pair of Theodore Alexander Althorp Collection George III style mahogany cocktail cabinets, the fluted cornice over two doors, opening to reveal two adjustable glass shelves, with a bevelled mirror back, and lighting, above two glass lined slides, raised on a parcel gilt ornately carved Charles II style stand, with gadrooned and fluted borders over a profusely carved scrolling acanthus leaf apron with flowerheads, raised on ornate tapering square section supports, joined by scrolling acanthus leaf X stretcher centred by a crown of acanthus leaves. Height 99cm x Width 105cm x Depth 64cm
A Theodore Roosevelt Typed Letter, Signed. The Letter is dated April 12, 1904 is addressed to Mr. Constantin von Sternberg (1852-1924) the Russian pianist residing in Philadelphia at the time, and is a response to a noted suggestion that von Sternberg had proposed to then President Roosevelt. Letter is on official White House stationary and is matted and framed along with an invitation to the upcoming 1905, 2nd term Inaugural ceremony and a small oval portrait engraving. letter dimensions 6 1/2 x 8 1/2 (16.5 x 21.5cm); invitation dimensions 7 x 9in (18 x 23cm); framed dimensions 17 1/4 x 27in (44 x 68.5cm) Provenance: Property from the Collection of Mr. & Mrs. McQueen, San Marino, California.
A BUCCELLATI "PARMA" SILVER ASPARAGUS SERVER AND A THEODORE A. KOHN REPOUSSÉ SILVER BOWL, EACH MARKED, the Buccellati "Parma" sterling silver asparagus server, marked "BUCCELLATI STERLING ITALY," 20th century, length: 8 3/4", total approximate weight: 5.185 troy oz.; together with a Theodore A. Kohn & Son sterling silver repoussé floral blooms and scrolling acanthus bowl, circa 1893, centering an internal base hand-engraved three letter monogram, verso stamped "THEO. A. KOHN & SON / STERLING," centering hand-engraved "July 18-1892.," height: 2 3/8", diameter: 6 3/4", total approximate weight: 7.935 troy oz. Note: Theodore A. Kohn & Son was a silversmith operating in New York from 1890-1940. Provenance: Property from a Prominent River Oaks Estate Collection, Houston, Texas Property from a Prominent River Oaks Estate Collection, Houston, Texas
A THEODORE DECK FAIENCE 'PERSIAN BLUE' VASE Molded in the Chinese taste with variant key-pattern and trellis, flanked by beast-mask handles suspending rings13 in. (33 cm.) high
A THEODORE DECK FAIENCE CELADON-GROUND ELEPHANT VASE Modeled as a bejeweled elephant wearing a saddlecloth, supporting a gu form vase molded with lotus and dragons203⁄4 in. (52.6 cm.) high
A signed photograph of Theodore Roosevelt , by 'Pach Bros 985, B'Way NY', signed and dated 'Dec 9th 1903', in black pen, copyright by Pach Bros, 1898, 18.5 x 12.8cm, (7.5 x 5 in) Theodore Roosevelt was an American statesman, politician, conservationist, naturalist and writer, who served as the 26th president of the United States from 1901 to 1909. The Pach Brothers studio is one of the oldest photographic firms in business in New York City, having begun operations in 1867.
A sterling silver bowl, Theodore B. Starr First quarter 20th century Stamped: [maker's mark] / Theodore B. Starr / New York / Sterling / 1364 / 9in Scalloped gadrooned rim with four scrolling shell-form flourishes over a bulbous bowl raised on a widening conformingly decorated foot, monogrammed: GEH 4.25" H x 9.25" Dia. 32.620 oz. troy approximately
