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Lot 1025
Φ Waistel Cooper (1921-2003)a pair of stoneware lamp bases, shouldered form, glazed matt iron, and an unglazed vase by Waistel Cooper,painted Waistel, one lamp repaired, 26.5cm. high ProvenancePrivate collection purchased from the Potter directly LiteratureWaistel Cooper 1921-2003, The Fine Art Society, page 53 catalogue number 38 for a comparable form.
Lot 269
Cigarette cards, a collection of 5 sets, Phillips British Butterflies No 1 Issue (30 cards, gd/vg), Hill's Famous Pictures (Fine Art Cigarettes) (25 cards, gen. gd), Lea Flowers to Grow - The Best Perennials (50 cards, gd) and Wills Arms of Foreign Cities (50 card, gd) & Borough Arms 2nd Series (51-100, some with staining, fair/gd)
Lot 7
Margaret Morris, British 1891-1980 - Head of J. D., 1916; charcoal on paper, 19.5 x 11.5 cm (ARR) Provenance: Jocelyn Gunson and thence by descent Exhibited: Cyril Gerber Fine Art, Glasgow, Margaret Morris Centenary Exhibition, 1991', no.59 (according to the label attached to the reverse of the frame) Note: Margaret Morris was known primarily as a dancer and choreographer, creating the Margaret Morris Movement technique and teaching her language of dance which is still used today. She met J.D. Fergusson in 1913 in Paris and they would later found the Margaret Morris Club in London in 1915, which became a focal point for British artists and writers previously associated with the avant-garde in Paris, such as Katherine Mansfield, Charles Rennie Mackintosh and Wyndham Lewis. Morris painted and drew throughout her life, and exhibitions have been held of her work in Scotland since the 1980s.
Lot 140
Conroy Maddox, British 1912-2005 - Early One Morning, 2003; mixed media on card, signed and dated lower right 'Conroy Maddox June 2003', titled and dated on the reverse 'Early One Morning 2003' and with artist's label attached to the separate backing card, 27 x 38 cm (unframed) (ARR) Note: the work will be included in the forthcoming catalogue raisonné on Conroy Maddox, being written by Silvano Levy.This work is particularly significant as it is one of the last, if not last, complete work Maddox did. The work is dated June 2003, and in November of that year he was admitted to the hospital at the age of 91 and did not paint again. The imagery relates to his domestic environment, and the plastic eyes are typical of this period. Maddox created another version under the same title in 2002, with Whitford Fine Art, London. Maddox was a key figure in the Birmingham Surrealists alongside John Melville, Emmy Bridgewater and Desmond Morris. Works are in public collections including the National Galleries of Scotland and the Tate. With thanks to Silvano Levy for his assistance with the cataloguing of this work.
Lot 40
Ernest Procter NEAC ARA, British 1885-1935 - Back of Hotel Pyl (HQ FAU) after Destruction, 1918; watercolour and pencil on paper, signed, dated and titled lower left 'Ernest Proctor 18', 53.5 x 24.5 cm Exhibited: David Cohen Fine Art, London, 'The Great War: A Third Exhibition of Paintings, Drawings & Sculpture', 1st – 17th November 1991, cat. no.140 (titled 'Back of the Friends' Ambulance Unit H.Q. - Dunkirk, after destruction') Note: This work was produced whilst Procter was serving as the Official War Artist for the Friends’ Ambulance Unit, 1916-1919 in France and Flanders.
Lot 44
Dame Laura Knight DBE RA RWS, British 1877-1970 - Study for 'Salt and Saucy', c.1923; charcoal on paper, signed lower right 'Laura Knight', 15.7 x 23 cm (ARR) Provenance: the artist's studio (according to a copy of a purchase invoice); with Blond Fine Art, London (according to a copy of a purchase invoice); Bloomsbury Auctions, London, Conjuring & Circus: Books, Prints, Posters and Apparatus, 8th September 2011, lot 00667; Lena Boyle Fine Art, London; private collection, purchased from the above 15th June 2012 (according to a copy of the original invoice) Note: Blond Fine Art held an exhibition, 'Dame Laura Knight DBE RA RWS 1877-1954' in 1980 which has been described as the second important posthumous exhibition of her work. Jonathan Blond is also referenced and acknowledged in books on the artist. The work appears to relate to the Knight's painting and mezzotint of the elephants 'Salt and Saucy, 1923', made while the artist was sketching at Swallows Circus at Islington, which was managed by John 'Bronco Bill' Swallow (1922-23).
Lot 273
Alan Davie CBE RA HRSW, Scottish 1920-2014 - S.A.R.L. Opus O.2141, 2010; oil on panel, 36.8 x 31.9 cm (ARR) Provenance: with Gimpel Fils, London, GF12565 (according to the label attached to the reverse of the frame); Hillsboro Fine Art, Dublin (according to the label attached to the reverse of the frame); private collection, purchased from the above in 2011 Exhibited: Hillsboro Fine Art, Dublin, 'Alan Davie', 17th February-18th March 2011
Lot 87
Albert Rutherston, British 1881-1953 - Resting lady in red coat; watercolour and pencil on paper, signed lower left 'Albert Rutherston', 24 x 32.4 cm: together with two watecolours by the same artist, 31.2 x 22.5 cm and smaller (3) (ARR) Note: the artist was the younger brother of Sir William Rothenstein. A large number of his works are in the collection of Manchester Art Gallery, as well as the Ben Uri Gallery and the Tate. He exhibited widely from the 1910s onwards at the most prestigious London galleries, including Leicester Galleries, Goupil Gallery, the Fine Art Society and Carfax Gallery.
Lot 237
Roger Hilton CBE, British 1911-1975 - Untitled (pig pissing); chalk pastel and conté on paper, 20 x 25 cm (ARR) Note:drawn on the reverse of a letter which reads: 'Mr. Waddington asked to me to send this statement to you as requested. Suzanne'Provenance:Estate of the Artist; with Jonathan Clark Fine Art, London (label attached to the reverse of the frame and copy of the original invoice); a Collector of Modern British Art, purchased from the above on the 26th July 2011 and thence by descent
Lot 261
'9CT' hallmarked Art Nouveau bluish green stone pendant on an unmarked yellow metal fine chain. The pendant has two bluish green round Old European stones. They are approx 0.20ct each. The pendant has floral decoration and measures approx 4cm in length and approx 2.5cm in width. Please not the pendant has some damage to the floral decoration, the gold is slightly bent on the flowers. The chain is approx 16 inches in length. Please note the chain is tangled. Total gross weight is approx: 2.73 grams.
Lot 260
9ct Rose Gold Art Nouveau light purplish-pink round Old European cut stone pendant on an unmarked rose gold coloured fine chain and 9ct Gold Old European cut Amethyst and seed pearl brooch with safety chain. The pendant has two light purplish-pink Old European cut stones that measure approx 4mm in diameter and has flower decoration. The pendant measures approx 4cm in length and approx 2cm. The chain is approx 17 inches in length. Please note the chain is tangled. The brooch has a single approx Old European cut Amethyst approx 0.25ct and approx six seed pearls. The brooch has an unmarked yellow metal safety chain. The brooch measures approx 4cm across. Please not the fastening is broke. Total gross weight approx: 6 grams.
Lot 337
Full title: Herman Van Nazareth (1936): Untitled, patinated bronzeDescription:H 58,1 cm Herman van Nazareth (pseudonym of Herman van Aerde, °1936, Evergem) enrolled at the Royal Academy of Ghent (1961-1962), the Royal Academy of Antwerp (1963-1964) and the Michaelis School of Fine Arts, University Cape Town, South Africa (1965-1967). Furthermore, he was trained bij Floris Jespers (1964). Since 1966 onwards, he won several prices and awards (Honourable Mention, S.A. Art Today, Durban, 1966; Prize at the Cape Salon, Cape Town, 1967; Campoprijs, Special Prize of the Royal Academie of Fine Art, Antwerp, 1972; Bronze Medal at 'Europaprijs voor Schilderkunst', Oostend, Belgium, 1973; Anto Carte Prize,â€Paleis voor Schone Kunstenâ€, Brussels, 1974). He occupies a unique position in the South African art scene. Due to his discourse, which is a protest against dehumanisation, he can be considered a precursor of humanitarian commitment in art. His works are part of numerous Belgian and South African private and public art collections. (link) Ref.: - P. Boyens,'Herman van Nazareth. Beeldhouwer', Stichting Kunstboek, pp. 80-81.Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
Lot 100
THOMAS BARDWELL (1704-1767) Portrait of Lady Henrietta Vernon, half-length, in masquerade dress garments, holding a quill in her left hand, a red curtain beyond. Signed & dated ' T Bardwell. f. 1751 ' to lower right. Oil on canvas painting 76.2cm x 63.5cm (30" x 25") The sitter, Lady Henrietta Wentworth, was the youngest daughter and co-heir of Thomas Wentworth, 1st Earl of Strafford, diplomat under King William III and Queen Anne, and Anne, daughter and heir of Sir Henry Johnson of Bradenhall, Buckinghamshire. She married Henry Vernon of Hilton Park, eldest son of Henry Vernon by Penelope, second daughter and co-heir of Robert Phillips of Newton Regis, Warwick, on 26 December 1743, and died on 12 April 1786. Her grandson, Frederick William Thomas Vernon Wentworth of Wentworth Castle, Yorkshire, whose patronym was Vernon, assumed the additional surname and arms of Wentworth by Royal License on 16 October 1804. Thomas Bardwell is know to have visited Yorkshire in the early 1750s. Portraits of William, 2nd Earl of Strafford, and his wife Anne, are recorded in a private collection (date 1749 and 1752 respectively) and a further portrait of Anne Countess of Strafford dated 1750 is also held in a private collection. PROVENANCE: By descent from the sitter in the family at Wentworth Castle, Yorkshire (according to plaque). Peter Morrison Holt, Heaton Moor, and by inheritance in 1995 to previous owner. Acquired by current owner in 2004 at Chomè Fine Art, Bath.
Lot 332
An Art Deco carved emerald, sapphire and diamond jardinière brooch, circa 1930, the vase formed from a pear-shaped emerald bead, weighing 13.60 carats, carved to both sides with an undulating pattern, with vari-shaped step-cut diamond detailing, the whole issuing a tree with brilliant-cut diamond foliage and fruits set with buff-top sapphires and vari-cut diamonds, mounted in platinum, unsigned, French assay mark, numbered ‘3563’, cased by Boucheron, total diamond weight very approximately 8.00 carats, length 6cm. £10,000-£15,000 --- Accompanied by a report from The Gem and Pearl Laboratory. Please contact the department for further details. During the early decades of the 20th century the use of carved Mughal emeralds in contemporary jewellery reflected the growing fascination of master jewellers with the decorative arts of India. Louis Boucheron and Jacques Cartier, amongst others, were charmed by the ‘exotic’ arts and splendour of India and frequently visited seeking commissions and purchasing gemstones for their Western clients. These Indian-inspired jewels were particularly popular amongst British clientele due to the Imperial interests of the country at the time. The cultural fascination between the two continents was, however, reciprocal and the Indian nobility regularly travelled to Europe, visiting Boucheron, Cartier and other firms, to have their historical jewels remodelled into contemporary designs. This brooch encapsulates several influences and innovations of the period, not only through the use of an Indian carved emerald bead but also in the Japanese-inspired motif of the Bonsai tree. The fascination with non-European cultures also extended to the arts of China and Japan. Oriental motifs were readily incorporated into designs and the brooch offered here exemplifies the Japanese influence on the traditional European giardinetto brooch. Advancements in cutting techniques also enabled the fine jewellery houses of the period to combine vari-cut gemstones and create the defining geometric shapes of the era. Literature: Nadelhoffer H., ‘Cartier’, London 1984, pub. Thames & Hudson. Néret, G., ‘Boucheron, Four Generations of a World-Renowned Jeweler’, New York, 1988, pub. Rizzoli. Condition Report Accompanied by a report from The Gem and Pearl Laboratory stating that the emerald, weighing 13.58 carats, is of Colombian origin with evidence of moderate clarity enhancement. Later clip fitting. Some spot repairs to reverse - likely as a result of neat removal of original brooch fitting. Later added spikes to reverse to aid clip fitting. Clip with good tension, side-to-side movement of pins when closed. Diamonds bright and lively. Sapphires well matched. Emerald with good transparency, some eye visible inclusions as typical for material, iridescent patch bottom left (from front). Light wear to platinum. Gallery with French dog’s head assay mark for platinum. Base of jardiniere numbered ‘3563’. Unsigned. Overall good condition. Gross weight 24.2gm. Case in good condition.
Lot 534
HENRI PICARD (FL. 1831-1864), AN ORMOLU CENTREPIECE STAND FRENCH, MID 19TH CENTURY The stand depicting young girl of a girl in front of a flame flanked by fruiting vines, the later jagged edged glass dish with cut star decoration, underside of stand stamped 'H Picard' and numbered 1201 28.5cm high overall, dish 30.5cm diameter The fondeur-doreur Henri Picard was established in 1831 at 6 rue Jarente, and from 1839 to 1864 at 10 rue de la Perle. He contributed work to the Petits Appartements of Napoleon Ill at the Louvre. For an example of work by Picard please see Dreweatts 1759, Fine Furniture and works of Art auction, 30 Mar 2023 lot 512. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Glass top with small wear to base rim from contact with stand, gilding with some wear to base notably to urn and with surface dirt depositions to crevices Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 266
Bob Dylan - Cassandra, a giclee print from the 2010 'Drawn Blank' series published by Washington Green Fine Art. #212 from an edition of 295. Signed by Bob Dylan. Paper measures 70x56cm. With Washington Green COA. In an original presentation box which shows wear, splitting and some staining.
Lot 118
A fine example of the limited edition Ronnie Wood - '10 For 2021' boxset. Includes: cover sheet signed by Ronnie Wood and hand-numbered (by RW) 80/100. Ten prints of Ronnie's setlist art to inc: Coachella, Glastobury 2013, Rio Feb 2006, Cuba 2016. Each sheet measures 42x60cm. With printed clamshell presentation box. Excellent condition.
Lot 60
A limited edition print of an image by photographer John Rowlands depicting The Grateful Dead onstage, November 2nd 1977. Signed by John Rowlands. Measures 17x22". #7/25. Excellent condition, printed onto fine art paper."Jerry and Bob are pictured here playing November 2,1977 at Seneca College in Toronto. Anticipation of a Grateful Dead appearance often had “Deadheads” arriving days in advance of the show and taking over parks, parking lots, and campgrounds complete with their own portable craft and merchandise outlets"
Lot 57
A print of an image by photographer John Rowlands depicting David Bowie onstage Feb 26th 1976 in Toronto, Canada at Maple Leaf Gardens. Signed by John Rowlands. Measures 17x22". Excellent condition, printed onto fine art paper."This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, on February 26th, 1976, at Maple Leaf Gardens in Toronto, Canada. Having seen the previous evening’s show on the 1976 Station To Station tour, Rowlands was primed to capture the image of Bowie as The Archer while the singer was preparing to fire his imaginary bow and arrow. The pose was used as a signal for Bowie's lighting engineer to kill the lights. The picture was taken moments before the lights were killed. Rowlands took the shot about 30 feet away from the stage and he credits his Hasselblad camera for producing an image that is striking in its sharp tonal range of whites, blacks and grays".
Lot 7002
Sechs Bücher zum Thema orientalische Waffen und Kunst "The Sultan's World - The Ottoman Orient in Renaissance Art", Katalog zur Ausstellung, Hrsg Born, Dziewulski, Messling, Brüssel und Krakau 2015. Hales, "Islamic and Oriental Arms and Armour - A lifetime's passion", 2013 (drei Exemplare). Oliver S. Pynchot, "Arms of the Paladins - the Richard R. Wagner Jr. Collection of Fine Eastern Weapons", Whoonsocket, RI, 2014 (zwei Exemplare).Prächtige Bildbände zum Thema orientalische Waffen vom Balkan, aus Nordafrika, von der Arabischen Halbinsel bis zum Kakasus und Indien. Six books on Oriental art and arms (some doublets) Six books on Oriental art and arms (some doublets)"The Sultan's World - The Ottoman Orient in Renaissance Art", Katalog zur Ausstellung, Hrsg Born, Dziewulski, Messling, Brüssel und Krakau 2015. Hales, "Islamic and Oriental Arms and Armour - A lifetime's passion", 2013 (drei Exemplare). Oliver S. Pynchot, "Arms of the Paladins - the Richard R. Wagner Jr. Collection of Fine Eastern Weapons", Whoonsocket, RI, 2014 (zwei Exemplare).Prächtige Bildbände zum Thema orientalische Waffen vom Balkan, aus Nordafrika, von der Arabischen Halbinsel bis zum Kakasus und Indien.Condition: II
Lot 16
Bindings - a collection of four 19th century Victorian fine bindings. The lot comprising 1833 The Life of Nelson by Robert Southey Esq., publ. John Murray and presented in full calf binding with gilt tooling to spine and borders; 1833 The Poetical Works of Thomas Campbell with designs by Richard Westall R.A. in two volumes, published by Effingham Wilson and presented in a full straight grain morocco binding by Maclehose of Edinburgh; and 1892 Lyric Love, an Anthology, edited by William Watson, published by Macmillan and Co. and presented in a half straight grain morocco binding by Hatchards of Piccadilly, with Art Nouveau gilt tooling to spine.
Lot 56
Franz von Zülow Der heilige Franziscus von Assisi. Wien, Haybach 1922. • Seltene Graphiksuite der Wiener Werkstätte • Eine der wenigen Illustrationsfolgen des vielseitigen Künstlers • 1 von 125 Exemplaren Einzige Ausgabe, rar. 1 von 125 numerierten Exemplaren, mit guten sauberen Abzügen der Lithographien auf chamoisfarbenem Papier, Papierformat ca. 34,5 : 45,5 cm. - Schöne farbkräftige Graphikfolge der Wiener Werkstätte, gedruckt in der Graphischen Kunstanstalt 'Secession' in Wien. Franz von Zülow (1883-1963) arbeitete seit 1905 für die Wiener Werkstätte und wurde 1908 Mitglied der Klimt-Gruppe. Er war Mitglied der Secession und des Künstlerhauses in Wien, 1942 wurde er von den NS-Behörden mit einem Malverbot belegt. 'Er schuf Holzschnitte und Linolschnitte, entwarf Tapeten und Stoffmuster und trat auch als graphischer Interpret hervor. Seine Arbeiten sind keine richtigen Buchillustrationen, sondern Mappenwerke .. Zülows Art zu arbeiten hat an sich illustrativen Charakter: um so merkwürdiger ist es, daß man diesen Maler kaum mit nennenswerten Illustrationsaufträgen bedachte.' (R. Waissenberger) EINBAND: Lose Tafeln in Orig.-Halbpergamentmappe. 36 : 46,5 cm. - ILLUSTRATION: Folge von 11 signierten Orig.-Farblithographien. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Aus einer bedeutenden europäischen Privatsammlung (die Tafeln verso jeweils mit dem entsprech. Inventarvermerk). LITERATUR: Waissenberger S. 29. - Thieme/Becker XXXVI, 583. - Nicht bei Mrazek. Rare series of fine prints in strong colors from the Wiener Werkstätte. - Only edition, rare. 1 of 125 numbered copies. With 11 signed orig. color lithographs. - Edges of portolio rubbed. All in all fine and well-preserved series of plates. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.
Lot 565
Theodor Fontane Der Stechlin. Roman. Berlin, F. Fontane 1899. Erste Ausgabe des neben Effi Briest literaturgeschichtlich bedeutendsten Fontane-Romans. Fontanes letztes, 'in artistischer Beziehung .. am weitesten über seine Epoche' hinausragendes Werk (Thomas Mann). Fontane selbst berichtet über seinen Altersroman 'Zum Schluß stirbt ein Alter und zwei Junge heiraten sich; - das ist so ziemlich alles, was auf 500 Seiten geschieht .. Alles Plauderei, Dialog, in dem sich die Charaktere geben, mit und in ihnen. Natürlich halte ich dies nicht nur für die richtige, sondern sogar für die gebotene Art einen Zeitroman zu schreiben' (Briefentwurf an A. Hoffmann, 1897). Der Erstdruck erschien 1897 bis 1898 in der Zeitschrift Über Land und Meer. EINBAND: Blauer Orig.-Leinenband mit Gold-, Schwarz- und Blindprägung. 19 : 13 cm. - KOLLATION: 2 Bll., 517 S., 1 Bl. Verlagsanzeigen. - ZUSTAND: Auf Anfrage. - LITERATUR: Schobeß 260. - Borst 4329. First edition. Blue orig. cloth with gilt-, black- and blindtooling. - Evenly slightly browned. Fine copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Lot 571
Hugo von Hofmannsthal Der Kaiser und die Hexe. Berlin, Schuster & Löffler 1900. Die erste Buchausgabe in einem breitrandigen Druck in Rot und Schwarz auf kräftigem Insel-Bütten, einer 'der Höhepunkte der Buchkunst des Jugendstils' (Papiergesänge). 1 von 200 numerierten Exemplaren. - Gedruckt von O. von Holten für die Insel, im Auftrag von A. W. Heymel. - 'Vogeler entwarf Buchschmuck und Doppeltitel zu Hofmannsthals lyrischem Einakter. Im Text sind drei Initialen verstreut, die sich aus einem mit Pfauen und vegetabilen Motiven geschmückten Hintergrund erheben, sowie kleine ornamentale Lesehilfen - Tulpe, Herz, Blätter, die vor dem Anfang jeder Rolle des Stückes stehen. Die Regieanweisungen in Braun-Rot heben sich deutlich von der Schwärze des Textes ab. Die Wirkung des phantasievollen Doppeltitels wird von der klassisch anmutenden Schlichtheit der Römischen Antiqua und des Druckbildes des Textes noch gesteigert' (Papiergesänge). EINBAND: Orig.-Pergamentband mit goldgeprägtem Rückentitel, floraler Innenkantenvergoldung, Kopfgoldschnitt und ornamentalen Vorsätzen in Grün, Rot und Gold; in Schuber. 23,5 : 15 cm. - ILLUSTRATION: Mit farbig illustriertem Doppeltitel und Buchschmuck von Heinrich Vogeler. - ZUSTAND: Auf Anfrage. - LITERATUR: Neteler 32. - Jacoby 14. - Houghton Coll. 411. - Sarkowski 765. - Papiergesänge 14. - Vom Jugendstil zum Bauhaus 34. - Garvey/Wick 106. - Langer S. 126ff. The first book edition in a broad-margined print in red and black on strong 'Insel' laid paper, 'one of the highlights of Art Nouveau book art' (Papiergesänge). 1 of 200 numb. copies. Ornamental double title and endpapers in colors and gold by H. Vogeler. Orig. vellum with top edge gilt. - Slightly browned in outer white margins; altogether fine copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Lot 80
La Lune en Rodage I Basel, Editions Panderma - Carl Laszlo 1960. • Wichtige Anthologie zur zeitgenössischen Kunst • Mit zahlreichen künstlerischen Originalbeiträgen • Der seltene erste Band Exemplar außerhalb der Numerierung. - Der sehr seltene erste Band dieser wichtigen und aufwendig hergestellten Anthologie moderner und zeitgenössischer Graphiken; die Arbeiten größtenteils signiert, teils auch datiert. Mit Beiträgen von Bazon Brock (Kundendienst), F. Hundertwasser (Eiöl-Tempera, mit sehr eigenwilliger Signatur), R. Hains (Farbcollage), V. Vasarely (Serigrafie), L. Fontana (Concetto spaziale, Kugelschreiberzeichnung auf perforiertem Metallkarton), E. Castellani (Prägedruck), P. Heliczer (Poem Number One, Faltgedicht), Man Ray (Fotografie), P. A. Benoit (Gedicht und Serigrafie), M. Oppenheim (Farblinolschnitt), Carl Laszlo (Testament 23), O. Piene (Rauchzeichnung), H. Mack (Lithographie), P. Manzoni (getöntes Sandpapier), E. Baj (Farblithographie), F. Arman (Mischtechnik), Lucien Clergue/Jean Cocteau (Fotografie), P. Brüning (Radierung), B. Munari (Faltobjekt), H. Arp (Holzschnitt; Arntz 200a) u. v. a. - Das Titelblatt mit 4 kleinen Abbildungen von J. Pollock, Wols, M. Tobey uns K. R. H. Sonderborg. EINBAND: Orig.-Halb-Sackleinenband mit Schraubenbindung, Deckel- und Rückentitel in Schwarz sowie kl. Metallobjekt von Gio Pomodoro auf dem Vorderdeckel. 33 : 35,5 cm. - ILLUSTRATION: Mit 62 meist signierten Orig.-Graphiken und anderen Original-Beiträgen, montiert auf Tafeln. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Privatsammlung Schweiz. - Famous portable collection of Post War and Contemporary Art, with several unique modern artworks. The scarce first volume of the important anthology. - Copy omitted in numbering. With 62 mostly signed orig. graphics and objects on plates. Orig. half cloth with screw joints, front cover with metall plastic object by G. Pomodoro. - Back partly sligthly cracked, else fine and complete copy from a private Swiss collection. Dieses Objekt wird regelbesteuert angeboten (R).
Lot 161
AN ENAMELLED YIXING POTTERY SPITTOON Decorated with butterflies and birds amongst flowering foliage and lotus on a mottled purple ground, the interior and underside of base with a crackled white glaze Provenance: From the collection of Dato Prof. Cheah Jin Seng; Christie's Singapore, Straits Chinese Ceramics and Works of Art, 31 March 1996, Lot 834 Notes: A similar example, now in the collection of the Asian Civilisations Museum, Singapore, illustrated in Dr. Ho Wing Meng, Straits Chinese Porcelain, A Collector's Guide, Fig.59, Pg.95 8cm high Condition: Minor crazing to enamel, very small scratch to underside of foot rim. Fine condition with no visible chips, hairlines or cracks. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 227
Guido SIGRISTE (Switzerland 1864-1915) "The charge of the cavalry", oil on mahogany panel, circa 1900. Guido Sigriste (1864Ð1915), Swiss battle painter. Born on April 10, 1864 in Aarau, Suisse, he received his artistic education in Paris under the guidance of academicians of painting Gustave Boulanger (1824-1888) and Jules-Joseph Lefebvre, specialized in mainly on cavalry battle scenes and plots dedicated to the epic events of the First Empire. Collectible fine art for interior decor.Height: 20,5cm; Width: 27cm;
Lot 255
Raymond Henri REPIQUET (1896-?) "PAYSAGE MARITIME PROVENCAL", oil on canvas, French painting of the 20th century. Repiquet Raymond Henri, born March 17, 1896 in Paris. French. Landscape painter. It was in 1924 that he debuted at the Salon des Independants. He developed a new principle of lacquer decoration with the same colored resources as easel painting. Collectible fine art for interior decor.Height: 54cm; Width: 65cm;
Lot 276
Jules PASCIN (1885-1930) "The condemned", ink on paper, painting of the early 20th century. Julius Mordecai Pincas (March 31, 1885 Ð June 5, 1930), Jules Pascin, or the "Prince of Montparnasse", was a Bulgarian artist known for his paintings and drawings. He later became an American citizen. His most frequent subject was women, depicted in casual poses, usually nude or partly dressed.Collectible fine art for interior decor.Height: 26cm; Width: 16cm;
Lot 277
Jules PASCIN (1885-1930) "Nude woman", ink on paper, painting of the early 20th century. Julius Mordecai Pincas (March 31, 1885 Ð June 5, 1930), Jules Pascin, or the "Prince of Montparnasse", was a Bulgarian artist known for his paintings and drawings. He later became an American citizen. His most frequent subject was women, depicted in casual poses, usually nude or partly dressed.Collectible fine art for interior decor.Height: 26cm; Width: 16cm;
Lot 298
Tia PELTZ (1923-1999) "Burlesque characters on a red background", oil on paper, Romanian painting of the 20th century. Tia Ernestina Peltz (January 30, 1923; Bucharest, Romania - March 5, 1999; Bucharest, Romania) a Romanian graphic designer and painter. She is also known to be a writer, who created several books. Collectible fine art for interior decor.Height: 13cm; Width: 24cm;
Lot 3038
Baumgärtel, Thomas Geb. 1960 Rheinberg, lebt und arbeitet in Köln.«USAPE».2017. Fine Art Druck auf Blueback Papier. U.r. sign. und u.l. 59/999 num. H. 40, B. 80 cm (Blattgröße). Gerahmt.Werk aus einer Auflage von 999 signierten und nummerierten Exemplaren.Provenienz: Privatsammlung Breisgau.Zustandsbericht:Guter Gesamteindruck. Blatt technikbedingt leicht wellig, Blattecke und -kante u.r. schwach best.
Lot 3206
Shiraishi, Yuko Geb. 1956 Tokio, lebt und arbeitet in London.«Hearken».Öl auf Leinwand. Verso sign., 1996 dat. und bet. Verso auf dem Keilrahmen ein gedrucktes Etikett von Annely Juda Fine Art, London, mit den Angaben zum Werk.H. 137, B. 122 cm (Bildträger). Ungerahmt.«Yuko Shiraishi ist bekannt für ihre minimalistischen, abstrakten Gemälde mit bemerkenswertem Einsatz von Farbe. Zarte, geschichtete Pinselstriche enthüllen Licht- und Farbnuancen in kontrastreichen Bändern […]», die mit zahlreichen Untermalungen sinnliche Farbkompositionen entstehen lassen. aus: Link.Provenienz: erworben Ende der 1990er Jahre bei Annely Juda Fine Art, London; seitdem Privatsammlung Süddeutschland.Zustandsbericht:Sehr guter Gesamteindruck. Ecken min. ber., u.l. winzige Farbfehlstelle (3 mm).
Lot 3018
Gemischtes Silber-Konvolut mit Münzen und Medaillen. 8x Ag Medaillen nach Art hist. Taler;1x Panama. 20 Balboas 1974. In etwas defektem Originaletui;1x Kanada KMS 1979;3x Ag Medaillen Fussball WM 1974;5x Ag-Medaillen;1x Österreich. 500 Schilling 1980;Vorzüglich - Polierte Platte. Insg. ca. 510 g Feinsilber.|Mixed silver assortment with coins and medals.8x Ag medals in the style of hist. Taler;1x Panama. 20 Balboas 1974. In somewhat defective original case;3x Ag medals World Cup 1974;5x Ag medals;1x Austria. 500 shilling 1980;Extremely fine - proof. Total approx. 510 g fine silver.
Lot 306
Pia Dehne. (1964 Düsseldorf). o.T. (abstrahierte Szene). 1992. Acry auf Leinwand. 110 x 90 cm. Signiert "Pia", zusätzlich verso auf der Leinwand signiert, datiert und betitelt "o.T.". Im Künstlerrahmen. - Partiell mit feinem Craquelé, überwiegend in den Randbereichen. Verso mit Atelierspuren. Unter UV keine Retuschen erkennbar. Insgesamt gut, die dunkel-erdigen Farben in opakem Duktus aufgetragen. Expressiv. Arbeit aus derm Frühwerk der Künstlerin, dass sie noch während ihres Studiums an der Düsseldorfer Kunstakademie bei Markus Lüpertz anfertigte. Im Großformat zeigt Pia Dehne amorphe Strukturen, sich überlagernd, ablösend, erweiternd - zwischen Dinghaftigkeit und Abstraktion zeigt sie offensiv die reine Kraft des Malerischen. Acrylic on canvas. Signed, additionally signed, dated and titled on the verso of the canvas. In an artist's frame. - Partially with fine craquelé, mainly in the marginal areas. On the verso with traces of studio work. No visible retouching under UV. Overall good, the dark earthy colours applied in opaque-pastose ductus. Expressive. - Work from the artist's early oeuvre, which she created during her studies at the Düsseldorf Art Academy with Markus Lüpertz. In large format, Pia Dehne shows amorphous structures, overlapping, detaching, expanding - between thingness and abstraction, she offensively shows the pure power of the painterly.
Lot 312
Victor Pasmore. (1908 Chelsam - 1998 Malta). o.T. 1991. Radierung und Aquatinta in Farbe auf festem Velin. 17,5 x 22 cm (28 x 35 cm). Monogrammiert, datiert und nummeriert. Mit Blindstempel der Vigna Antoniniana Stamperia d'Arte. - Äußerst wohlerhalten. Prachtvoller, farbsatter Druck mit feiner Körnung und sich deutlich abzeichnender Plattenkante, mit breitem Rand und unten dem Schöpfrand. Eines von 100 Exemplaren. - Die Aquatinta-Technik erlaube es Pasmore, mit seinen abstrakten Kompositionen durch subtile Tonwerte und texturierende Effekte eine komplexe und tief visuelle Seherfahrung zu schaffen, welche Betrachtende in ein Wechselspiel aus Licht und Schatten, Tiefe und Oberfläche eintauchen ließ. Diese meisterhafte Verwendung der Aquatinta-Technik verlieh Pasmores Werken eine unverwechselbare Atmosphäre und half ihm, eine einzigartige und innovative Sprache in der abstrakten Kunst zu schaffen. Etching and aquatint in colours on strong wove paper. Monogrammed, dated and numbered. With blindstamp "Vigna Antoniniana Stamperia d'Arte". - Exceptionally well preserved. Splendid, colour saturated impression with fine grain and clearly visible plate mark, with wide margins and scoop edge at the bottom. - One of 100 copies. - The aquatint technique allows Pasmore to create a complex and deeply visual experience for the viewer with his abstract compositions through subtle tonal values and textural effects, which immerses them in an interplay of light and shadow, depth and surface. This masterful use of the technique gave Pasmore's works a distinctive atmosphere and helped him create a unique and innovative language in abstract art.
Lot 337
Minimalismus - - Robert Ryman. (1930 Nashville - 2019 New York). 5 Aquatintaradierungen, aus: Robert Ryman Prints 1969-1993. 1993. Je auf leichtem Somerset-Velinkarton (mit Wz.). Blattgröße je 35,5 x 35,5 cm. Lose in Orig.-Leinenflügelmappe. - Ganz vereinzelte, ganz leichte Griffspur oder punktueller blasser Fleck, ingesamt sehr gut und tadellos schön. Durchweg prachtvolle, ausgesprochen satte Drucke mit deutlich zeichnender Plattenkante, je mit schmalem Rand. Eines von 250 Exemplaren, die im Impressum nummeriert wurden. - Mit dem Werkverzeichnis der Graphiken von Amy Baker Sandback. - Hrsg. v. Parasol Press, Ltd., New York. Die Graphiken geduckt von Maurice Payne, Fine Art Printing, Ltd., ebd. - Konsequent erforscht Ryman die Farbe Weiß in all ihren Nuancen, entfaltet in der selbst auferlegten Beschränkung auch in der Abfolge unserer Graphiken ein grenzenlos erscheinendes, lichtes Spektrum. 5 aquatint etchings. Each on light Somerset wove card (with watermark). Loose in original linen wing folder. - Very isolated, very light grip trace or rather isolated faint stain, all in all very good and impeccably nice. Throughout splendid, extremely rich impressionwith clearly impressed plate mark, each with narrow margin. - From: Robert Ryman Prints 1969-1993. - One of 250 copies which were numbered in the imprint. - With catalogue raisonné of the prints by Amy Baker Sandback. - Published by Parasol Press, Ltd., New Yrk. The graphics printed by Maurice Payne, Fine Art Printing, Ltd., ibid. - Ryman explores consequently the colour white in all its nuances, unfolding in the self-imposed restriction also in the sequence of our graphics a seemingly limitless, light spectrum.
Lot 379
Andreas Gefeller. (1970 Düsseldorf). 073 aus: Dust. 2022. Inkjet Print, gewachst, auf Photopapier. 59,8 x 45 cm (60,6 x 45,5 cm). Verso signiert, datiert, betitelt und nummeriert. - Insgesamt sehr gut und ausgesprochen schön. Prachtvoller, tiefschwarzer und satter Abzug. Eines von 50 Exemplaren. - Das Werk ist auf der offiziellen Internetseite des Künstlers aufgeführt. - In der vorliegenden Arbeit zeigt Gefeller in Nahaufnahme aufgewirbelte Schlacke, die nach dem Verbrennen auf der Mülldeponie zurückbleibt. Der Restmüll erscheint hier durch die Textur und Haptik, durch die Varianz der Partikel, von seltsamer Schönheit. Inkjet on fine art paper, with wax finish. Signed, dated, titled and numbered on the verso. - All in all very good and exceptionally fine. Splendid, deep black and rich impression. - One of 50 copies. - The work is listed on the artist's official website.- In the present work Gefeller shows slag swirled up at close range, which remains after incineration at the landfill site.
Lot 646
Klassische Moderne Gerhard von Haniel (1888 Elsaß-Lothringen - 1955 München)Stillleben mit Bananen. 1940er Jahre. Öl auf Leinwand. 54,5 x 60 cm. Gerahmt. Verso mit Etiketten. - Punktuell altersbedingtes, feines Craquelé. Insgesamt gut. Die Farben frisch. Stillleben in Manier der Klassischen Moderne und in vitaler, pastoser Farbigkeit. Provenienz: Privatbesitz Nordrhein-Westfalen - Sotheby`s November 1999: Rolf Deyhle Collection 20th Century Art, Los 66.- Sammlung Rolf Deyhle. - Von den Impressionisten geprägt, widmete sich Gerhard von Haniel hauptsächlich den Gattungen der Landschaftsmalerei, Stillleben und Portraits. Er war kurzzeitig Schüler von Lovis Corinth und erhielt entscheidende Impulse durch Henri Matisse während seines Aufenthaltes in Paris 1928 - 1925, die ihn sehr stark von der Manier der Impressionisten und Klassischen Moderne beeinflussten. Von Haniels Personalstil zeichnete sich dabei stets durch eine farbfreudige Palette aus, die neben der Motivik gleichberechtigter Stimmungsträger ist. Oil on canvas. Framed. With labels on the verso. - Isolated fine craquelure due to age. All in all good. Colours fresh. Still life in the manner of classical modernism and in vital, impasto colours. -Provenance: Private property, North Rhine-Westphalia - Sotheby`s November 1999: Rolf Deyhle Collection 20th Century Art, lot 66 - Rolf Deyhle Collection. - Influenced by the Impressionists, Gerhard von Haniel devoted himself mainly to the genres of landscape painting, still lifes and portraits. He was briefly a pupil of Lovis Corinth and received decisive impulses from Henri Matisse during his stay in Paris from 1928 to 1925, which strongly influenced him in the manner of the Impressionists and Classical Modernism. Von Haniel's personal style was always characterised by a colourful palette that was an equal bearer of mood alongside the motifs.
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