Null An Order of the Iron Crown 3rd Class with war decoration 
Bronze, gilt, ena…
Description

An Order of the Iron Crown 3rd Class with war decoration Bronze, gilt, enameled (occasional hairline cracks, minimally chipped), the star mark and the inscription "A. E. Köchert Wien" in relief on the pendants. On the triangular band. Signs of wear and age. Width 29 mm, weight approx. 21 g. Condition: II

10046 

An Order of the Iron Crown 3rd Class with war decoration Bronze, gilt, enameled (occasional hairline cracks, minimally chipped), the star mark and the inscription "A. E. Köchert Wien" in relief on the pendants. On the triangular band. Signs of wear and age. Width 29 mm, weight approx. 21 g. Condition: II

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Portrait of Maria Leszczynska, Queen of France (miniature painting). Gouache on leg. 14 x 10 cm. Monogrammed. Framed under glass in decorative frame of bone. - Edges slightly irregularly trimmed due to the work. Occasional slight surface rubbing and barely noticeable, slight traces of scratching. The areas heightened in white applied retrospectively. Overall very good and in rich, fresh colors. Miniature portrait of the Queen of France in fine painterly quality. Miniatures - France Portrait of Maria Leszczynska, Queen of France (miniature painting). Gouache on leg. 14 x 10 cm. Monogrammed. Framed under glass in decorative frame of bone. - Edges slightly irregularly trimmed due to the work. Occasional slight surface rubbing and barely noticeable, slight traces of scratching. The areas heightened in white applied retrospectively. Overall very good and in rich, fresh colors. Miniature portrait in fine painterly quality of the Queen of France. Our work shows Maria Leszczynska (1703-1768) in a full-length portrait, seated in a magnificent dress. The interior surrounding her is also luxurious in the furnishings, fabrics and carpeting and serves to represent her status as the wife of the French King Louis XV (1710-1774). The sumptuous crown and a book in a leather cover, both draped on the table in the left-hand section of the depiction, are interesting and significant. The meaning behind the crown refers to Leszczynska's rank at the side of one of the most powerful monarchs in Europe, while the book can be interpreted as a symbol of her witty erudition. In her left hand, the queen holds a fan, which is closed but still shows its rich ornamentation. The overall effect of the portrait must have been one of representation and a demonstration of power, with the aim of managing the queen's public image. Leszczynska came from the Polish royal family and was regarded as an ideal marriage candidate for the Duke of Bourbon, a contender for the French royal throne. The marriage was characterized by mutual respect, but not love, and produced 10 children. In keeping with the genre of miniature painting, our portrait is on bone. Gouache was used for the paint, particularly in France, in delicate washes that were applied in layers to achieve their opaque luminosity. Gouache on bone. Monogrammed. Framed under glass in a decorative bone frame. - Edges slightly irregularly cut due to maerial character. Occasional slight surface rubbing and barely noticeable, light scratch marks. The white heightened areas were applied subsequently. Overall very good and with rich, fresh colors. Miniature portrait in fine painterly quality of the Queen of France. - Our work shows Maria Leszczynska (1703-1768) in full-length portrait, seated in a splendid dress. The interior that surrounds her is also luxurious in the furnishings, fabrics and carpet and serves to represent her status as the wife of the French King Louis XV (1710-1774). The sumptuous crown and a book in a leather cover, both draped on the table in the left-hand section of the depiction, are also interesting and significant. The meaning behind the crown refers to Leszczynska's rank at the side of one of the most powerful monarchs in Europe, while the book can be interpreted as a symbol of her witty erudition. In her left hand, the queen holds a fan, which is closed but still shows its rich ornamentation. The overall effect of the portrait must have been one of representation and a demonstration of power, with the aim of guiding the queen's public image. Leszczynska came from the Polish royal family and was regarded as an ideal marriage candidate for the Duke of Bourbon, a contender for the French royal throne. The marriage was characterized by mutual respect, but not love, and produced 10 children. In keeping with the genre of miniature painting, our portrait is on bone, which was considered an ideal painting surface. Gouache was used for the color, particularly in France, in delicate washes that were applied in layers to achieve their opaque luminosity.

[South America]. The Costume of the inhabitants of Peru. London, Edington, sd [c. 1805]. In-4 with [1] f. engraved title and 19 plates of costumes stippled and carefully watercolored at the time. Contemporary vellum-style ivory paper spine boards, engraved title label glued to front board. A few minor flaws to the boards, a few small freckles. Some plates show a very slight trace of numbering. Indian representation of the costumes of the Ynca and his Queen ; A Lady of Lima in fer full dress ; Male inhabitant of Lima in the middle class of society ; A Female of Lima of the middle class of society ; Indians Male and Female in Costumes of Festivity ; Female Domestic of Lima of the Class of Quarterons ; Two Female Domestics of Lima, Natives,who have adopted the Spanish dress ; Civilized Indian wearing the Poncho ; Virgin of the Sun ; A Mestizo of Quito professing a liberal art accompanied by his pupil ; Mulattoes of Quito ; Female Indian, habited as the Minerva of Peru ; Female warrior of the Yurimagua Tribe ; Indian Warrior belonging to a barbarous Tribe ; Fighter at a Bull Feast ; Bozal, or Raw-Negro, residing in the district of Lima ; Indian woman of a village, near Lima ; Overseer of a Royal Peruvian Mine ; Llamas or Peruvian sheep. Very rare suite of plates of Peruvian costumes, reprinted from Joseph Skinner's "The present state of Peru...", London, Richard Philipps, 1805. An identical suite was published for Wallis and Edington, dated 1816 (6 copies in public collections, mainly in the United States). (Colas 2751.)