A BRONZE ‘TIGER’ HALBERD BLADE, ZHONGHU GE, EASTERN ZHOU DYNASTY, WARRING STATES PERIOD 東周戰國虎紋中胡銅戈Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Religion and Ritual in Chinese Art, Michael B. Weisbrod, Inc., New York, USA, 8 December 1987, no. 12, page 40.China, 480-220 BC. Finely worked with an elongated triangular blade (yuan) flaring gently into the flat blade guard. Cast in relief with the profile of the ferocious feline with a gaping mouth, baring fangs, and an extended long curling tongue, all in high relief. The ears and forelimbs bent with the body incised on the shank. The end of the yuan pierced with two rectangular chuan (apertures), the tang (nei) with a circular chuan. A rectangular tang with foliate incisions projects from the guard ending in a double curve ‘E’-shaped edge.Provenance: Michael B. Weisbrod, New York, USA. The private collection of an American north-east collector, acquired from the above, c. 1987-1988. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod’s Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition, commensurate with age. Extensive wear, weathering and erosion, nicks and cracks, shallow surface scratches, possibly minor old fills. Fine, solid patina with distinct malachite and cuprite encrustations. Presenting remarkably well overall.Weight: 396.4 g (excl. stand)Dimensions: Length 27.4 cm With a modern stand. (2)The ge dagger-axe was found in burials from the early Shang through the Warring States period. It came to be a ritual object and a part of the requisite ceremonial paraphernalia of a courtier. According to James Menzies, by the early Western Zhou, “its inclusion in the attire of nobles and officials at all formal functions may be presumed”; and in addition to other Shang and Western Zhou rituals, it may have been used in ceremonial war dance, celebrating the Zhou conquest of the Shang (Menzies, the Shang Ko, pp. 314-316). The ge was also frequently pictured on bronze vessels possibly as a clan emblem.Although the tiger appears on blades of the late Shang and early Western Zhou periods, the feline and the shape of the tang on the present lot indicate a product of a different culture. Manufacture of ge with triangular blades discontinued in the Central Plains area of China by the middle Western Zhou period. The type seems to have persisted in the kingdoms of Ba and Shu in modern Sichuan province through the Warring States period. Many of these excavated ge from this area have E-shaped tang which did not appear among the Shang or Western Zhou blades. Tigers are frequently seen as motifs on the various types of ge and other weapons of the Ba-Shu area. This may be related to the legend that when Lin Jun, first ancestor of the Ba tribe, died, his soul was transformed into a white tiger.Literature comparison:Compare profile tigers similar to this lot which are reproduced in Tong Enzheng’s “Investigations of the bronze ge from Southwest China” (Kaogu Xuebao 1979, no. 4, pp. 442, fig. 1:6, pp. 447, fig. 3; see also Wenwu 1976 no. 3, p. 41 fig.2 and pl. I, no. 6; Wenwu 1976 no. 7, p. 82-85; Kaogu 1986 no. 11, pp. 986, fig. 6). Compare with a Zhonghu Ge with tiger pattern, China, unearthed at Dubaishu, Pixian County, Chengdu City, Warring States period, 475 - 221 BC, bronze Sichuan Provincial Museum Chengdu, China, accession number DSC04243.
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A SET OF TWELVE JADE AND GILT-BRONZE ‘AUSPICIOUS BEASTS’ BELT PLAQUES, LIAO DYNASTY 遼代一組十二件鎏金銅神獸紋玉腰帶牌Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 10th-12th century. Each jade belt plaque is carved in high relief with an animal or mythical beast, depicting a dragon, qilin, phoenixes, lion, tiger, bear, and cranes, and set within a bronze fitting. Each jade plaque and bronze fitting is pierced with a slit. The smoothly polished jades are of a celadon tone with russet inclusions. The bronze fittings are covered in a fine, naturally grown patina with malachite and cuprite encrustations.Provenance: From an old private collection in Vienna, Austria. Condition: Good condition, commensurate with age. Wear, traces of use, small losses, minor nicks here and there, signs of weathering and erosion, encrustations.Scientific Analysis Report: An examination of the bronze components of the present lot was conducted by the Curt-Engelhorn-Zentrum für Archäometrie using energy dispersive X-ray fluorescence analysis, micro energy dispersive X-Ray fluorescence analysis, and lead test analysis. These tests found that the bronze fitting of the largest belt plaque was made from a tin-lead-bronze alloy in which no modern components of any kind could be detected. Conversely, it was also found that the sample contains trace elements that are typical of ancient metal alloys. The report concludes that the tests found absolutely no evidence of modern manufacture of the present lot. A copy of the examination report, no. 16-024, dated 25 February 2016, accompanies this lot.Weight: 747 g (total) Dimensions: Size 8.5 x 4.2 cm (the largest) and 4 x 3 cm (the smallest) With a silk storage box. (13)Khotan in the Tarim basin had rich jade stores during the Tang dynasty. The jade was fashioned into ornaments such as women’s comb tops and decorative plaques for belts worn by senior officials. The use of such plaques had its origin in the Tang dynasty, when the emperor presented jade-decorated belts to the nobility and senior members of the government as part of their official costume. The jade plaques in this set are carved in high relief with images of animals and mythical beasts.Literature comparison: Compare a related set of ten decorative belt plaques, dated to the Tang dynasty, in the Metropolitan Museum of Art, accession number 1992.165.22a–j. Compare a related group of three gilt-bronze mounted jade belt fittings, two with similar slits as found on the present lot, dated to the Liao dynasty, in the Museum of East Asian Art, Bath, record number BATEA : 451. Compare a related celadon jade plaque carved with a crane, dated to the Western Liao dynasty (of the Qara Khitai based in Central Asia who were originally refugees from the Liao dynasty), circa 12th-13th century, in the British Museum, registration number 1880.3611.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 1 June 2023, lot 319 Estimate: HKD 600,000 or approx. EUR 69,000 converted at the time of writing Description: A set of eleven white jade ‘musicians and dancers’ belt plaques, Tang dynasty Expert remark: Compare the related forms and manner of carving with similar high relief. Note that the lot comprises eleven white jade belt plaques (the largest 5.2 cm long), dated to the Tang dynasty.
Modern silver mounted clock, with reed and ribbon border, hallmarked Carr's of Sheffield Ltd, Sheffield 1994, together with a miniature silver Art Nouveau style photograph frame and three silver topped glass bottles, including a scent bottle with pink guilloche enamel decoration, all hallmarked, clock H17cmCondition Report: Weighable silver 0.85 ozt (26.3 grams)General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some chips to facets of glass bottles. Hallmarks with varying degrees of wear, mostly clear and legible.
Wright (Thomas) The Art of Floating Land, as is practised in the County of Gloucester, first edition, 3 folding engraved plates, disbound, lightly soiled, J.Rider, 1799 § [Sharp (Granville)] Remarks concerning the Encroachments on the River Thames near Durham-Yard, first edition, presentation copy from the author with contemporary ink inscription slip "H.Champnes - 1771 - E Donis Granville Sharpe" mounted on front pastedown, ex-library copy with a ink stamps, modern cloth, G.Bigg, 1771; and 4 others, science and agriculture, 8vo (6)*** ESTC records only one copy of the first item, in Delaware, USA.The second mentioned is an attack on the plan to create an embankment on the Thames for the purpose of building the Adam brothers' Adelphi building. It was too late to be of any service for the Act allowing the embankment of the river had been passed by the time the Remarks had been printed.
Johns (Jasper).- Castleman (Riva) Technics and Creativity, with an original signed offset lithograph "Target 1970" by Jasper Johns on thick card with collage of 3 watercolour pads and paintbrush mounted inside lid, together in white plastic hinged box, hinge splitting, New York, Museum of Modern Art, 1971 § Zatlin (Linda Gertner) Aubrey Beardsley and Victorian Sexual Politics, first edition, ink stamp to endpaper, original boards, dust-jacket, spine sunned, Oxford, Clarendon Press, 1990; and 5 others, Beardsley and others, v.s. (7)
Books of the Photographer's Art and Camera Technique comprising Camera in London by Bill Brandt (Focal Press 1948), Photograms of the Year (no date, circa 1941), Modern Photography 1937-8 (The Studio Ltd London), Home Portraiture with the Miniature Camera ("Mincam" circa 1937), The Nikon Manual (R.Morgan Publishing 1977), two mid-1960s Kodak booklets, The Praktica Book (Rossing, 1967) and other items
A collection of silver and white metal pendant necklaces, chains, bracelet and a brooch pin. The pendant necklaces to include an Art Nouveau style pendant on chain, an early 20th century filigree and enamel pendant on modern box link chain. A heart locket on chain, a hoop link chain bracelet. A filigree glazed locket and a hallmarked Mother brooch pin. Total weight 53g. Necklaces measures box link chain measures 40cm, enamelled pendant marked N 935 measures 4cm. All weights, measurements and sizes are approximate.
BANKSY (BRITISH, b. 1974-), PAIR OF UNFRAMED CUT & RUN EXHIBITION POSTERS, 2023 pair of posters from the 2023 Banksy Cut & Run Exhibition, purchased from Glasgow's Gallery of Modern Art at the time of the exhibition, new, sealed, UNFRAMED AND STILL IN ORIGINAL WRAPPER (IMAGES JUST FOR REFERENCE)The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime” each poster approximately 42cm x 30cm UNFRAMED - IMAGES ARE JUST FOR REFERENCE
SOUL/ FUNK - LPs. A super selection of 13 soul/ funk LPs, mostly modern/ reissue pressings. Artists/ titles include Sault inc Untitled (Black Is) (FL00005LP, black vinyl), Untitled (Rise) (FL00006LP, black vinyl), 5 (FL00002LP, black vinyl) and Nine (FL00008LP, black vinyl). Michael Kiwanuka (7795288), The Meters - Cabbage Alley (MS 2076), Jimmy McGruff - Electric Funk (B1 84350), Nina Simone - The Best Of (Time 10), Herbie Hancock - Man-Child (PC33812), Art Pepper - No Limit (OJC-411), Trouble Funk - Droppin Bombs: The Definitive Trouble Funk (HURTLP014), Cleo Sol - Rose In The Dark (FLO0004LP) & Thundercat - It Is What It Is (BF100X, clear vinyl). Condition is generally VG to Ex+.
AN EDWARDIAN MAHOGANY SINGLE DOOR BOOKCASE, C.1900 BY THE WOODWORKERS LTD, KILKENNY of upright rectangular form, glazed panel door enclosing adjustable shelving and supported on a shallow moulded base, with label to interior. 198cm high x 82cm wideThe promotion of Irish industries by the Gaelic League led to the founding in 1905 of the Kilkenny Industrial Development Association to support the growing woodwork and furniture making industry in Kilkenny.Ellen Odette Bischoffsheim, married William Cuffe, the 4th Earl of Desart in 1881, following the divorce from his first wife. The newly married couple split their time between the Desart estates in Ireland and their home in England. When William died in 1898, Lady Desart lived initially with her family in Ascot, before retuning to live at Aut Even near Talbot's Inch to continue the work of the Earl within the local community. She helped establish a theatre on Patrick Street and moved next to restore the old woollen mill at Talbot's Inch. She bought the mill along with 90 acres of land in 1904 and restored it within two years.In 1905 she and her brother-in-law Otway Cuffe, purchased a premises in Patrick Street for the Kilkenny Woodworkers. They later moved to the factory in Talbot’s Inch which had modern and up-to-date machinery installed. The company also had a premises in Nassau St in Dublin which later moved to 66 Grafton St.Unfortunately a fire in 1927 destroyed the factory in Kilkenny and it wasn’t rebuilt. However, examples of the Kilkenny Woodworkers craft can still be seen in the carved Art Nouveau front doors at Aut Even and the bookcases in St Kieran’s College.
![[Otto Dettmer] ottoGraphic: 'The Modern Constructivist', Bath, Marshfield Screen Print, 2013, limited edition, number 7 of 20](https://cdn.globalauctionplatform.com/8f6f6644-c9d9-4d10-afdf-b1180103985e/ee1fc132-e810-4dd5-894c-b11b00f9d611/468x382.jpg)
[Otto Dettmer] ottoGraphic: 'The Modern Constructivist', Bath, Marshfield Screen Print, 2013, limited edition, number 7 of 20 copies only, pencil numbered and signed by Otto Dettmer, the 'original' pochoir stencilled edition, [24]pp, pochoir colour illustrations/printing throughout, plus loose folding pochoir poster at end, 58 x 41cm unfolded, 4to (29 x 21cm), original pochoir stencilled pictorial wraps, together with the two other smaller screenprinted 'copies' forming the complete 3 parts of the set, each limited editions of 100 copies, version 1 number 69 of 100, pencil numbered and signed by Otoo Dettmer, version 2 slightly varying from the first, some of the stencils reversed "and the result is more dreamlike", each 15 x 11cm, original pictorial wraps (3). Otto Dettmer is a Graphic Artist who practices as book artist, screen printer and illustrator. Twenty years ago Otto began creating and publishing screen printed books. His first participation at an artists’ book fair was at the Barbican in 1996 where he showed his conceptual visual narrative ‘Helping you back to work’. Since then he has been presenting books at major artists’ book fairs around the world and has now published in excess of 80 titles. Otto's image-making is derived from screen-printing which is digitalised since 1997. His technique is particularly affected by polish poster art and psychedelic designs of the sixties. The image composition is largely influenced by Russian Constructivist Designers, with their montage of photos, type and flat design elements. Baroque painting and sculpture has to a large degree informed Otto's treatment of the human figure.
Bath local interest - a collection of modern reference books on Bath and its localities, art and history. The lot including titles on Gainsborough, Bath pubs, Bladud and architecture, including The Lost Pubs of Bath by Andrew Swift and Kirsten Elliot, The WAters of the Gap by R. J. Stewart, The Georgian Buildings of Bath by Walter Ison, A Bath Camera by Simon Hunt, Bath Past and Present by Joyce and Wills, and And So to Bath by Cecil Roberts. Approx. 25 works in lot.
Max Pechstein (Zwickau 1881 – 1955 Berlin). „Badende III“. 1911Holzschnitt auf Japanbütten. 33,7 × 40,1 cm (41 × 52,6 cm) (13 ¼ × 15 ¾ in. (16 ⅛ × 20 ¾ in.)). Signiert und datiert. Rückseitig mit dem Sammlerstempel Lugt 83b.Krüger H 98.–Einer von mindestens 15 Abzügen. Blatt 3 ( von 11) der Folge: Badende [nicht als Mappe erschienen]. Berlin, Verlag Fritz Gurlitt. [3174]Provenienz: Ehemals Arthur B. Spingarn, New YorkAusstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985 / The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Auktion: Modern Paintings, Drawings, Watercolors, Sculptures: A Group of Works by Contemporary Italian Artists / Various Owners, Including Arthur B. Spingarn, Mr. and Mrs. Bernard Sanders, Warner Leroy. New York, Parke-Bernet Galleries Inc., 10.3.1966 / Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 11Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.
From the 'DJH Ford Collection', an original, unused/uninstalled factory bench-tested RS500 engine; 'automotive art' or as a spare, either way it's magnificent. The Sierra RS Cosworth might have been the first Ford to be honoured with the Cosworth name, but the relationship between the two companies dates back to the 1960s when the American car producer funded the development of a 3-litre V8 engine for Lotus' F1 car. The resulting V8, known as the DFV, then went on to be a dominant engine in Formula 1 for over a decade, winning 155 Grand Prix.Despite reigning supreme on track and in rallying throughout the decade, by the end of the 1970s, Ford’s motorsport dominance was on the wane. Even the once all-conquering Ford-Cosworth DFV Formula 1 was starting to lose out to more modern turbocharged units. This was painfully obvious when a Ford VIP contingent visited the 1983 British Grand Prix at Silverstone, where a Touring Car race supported the main event and Ford bosses, Stuart Turner and Walter Hayes, were dismayed to witness a group of Capris being humbled by SD1s with Rover V8 power.The solution was again to be found with the engineers at Cosworth who had previously developed a four-cylinder engine for Ford's racing and rallying saloons in the late 1960s and 1970s. The Mk1 Escort RS1600, which replaced the Lotus-powered Twin Cam Escort, had a 1,600cc engine with a 16-valve head designed by Cosworth called the 'BDA'.The formula for the Sierra wasn’t dissimilar to that of the earlier homologation Escorts and Cosworth and the trusted cast iron block from Ford’s single-overhead cam, the T88 Pinto that was used in the Escort RS2000, was utilised to form the basis of this new engine. Code named 'YAA', Cosworth designed an aluminium head to suit the Pinto block with two belt-driven cams operating 16 valves; eight 35mm diameter inlet valves and eight 31mm exhaust. Compared with the basic Pinto, almost everything changed except for the cylinder block itself and the new head and valve gear were matched to a new steel crankshaft, rods, pistons, and sump, and hydraulic valve lifters were a given. A turbocharger was always part of the plan and a Garrett AiResearch T3 with an intercooler were selected boosting power to 201bhp at 6,000rpm and 205lb/ft at 4,500rpm, in road car spec.With a new facility to produce the production-ready version (now with the 'YB' prefix), the first prototype started test-bed work in Northampton in June 1984 although the first engines and test cars didn’t go to Weber-Marelli in Italy until September 1984 before subsequently being 'signed off' by mid-1985.First utilised in the 3-door Sierra RS Cosworth of 1986 - introduced for homologation to allow Ford to go 'Group A' Touring Car racing - the new production 1,993cc YBB engine proved to be legendary, both on road and track. When the ruling allowed for an 'evolution' upgraded model to compete, spawning the RS500 Cosworth, the YB engine stepped-up too, the grateful recipient of further development.To cope with the requisite extra horsepower required, the original YBB motor was switched to an uprated 'YBD' unit which featured a reinforced block (still cast-iron) with thicker walls (note, there are two main types of YB block - known as the 205 and the 200, the latter is a thicker-wall design and was found in 4 x 4 versions, such as the Escort and 1990 Sapphire; the RS500 block was also a thick-wall design but stamped 205, recognisable by its smaller core plugs). Other differences included a bigger Garrett AiResearch T04 turbo plus a larger air-to-air intercooler, pressurised oil-cooled pistons, uprated oil, water and fuel pumps and beefier (orange) air hoses for the radiator and turbo, and a re-mapped ECU.Ford pushed the limit of the Homologation rules to the maximum for the RS500 and the road car featured components that weren’t at all functional but allowed legal modifications on the race cars. The RS500's Cosworth YB engine had an inactive secondary injection system fitted so, when activated on the race cars, their engines could swallow greater amounts of fuel and produce more power (with a different engine map and the second injectors squirting fuel, race RS500s made an 'easy' 485bhp and it didn’t take much more before the engine was putting out 525bhp).In addition, the YBD’s induction system was reconfigured with a bigger intake plenum which, along with a new secondary fuel rail, required one corner of the battery tray be cut away for installation, and a slightly different thermostat housing and alternator bracket. On the road cars, the RS500's power rating went from 201bhp to 224bhp at an unchanged 6,000rpm. Peak torque was the same as the regular Sierra RS Cosworth: 204lb/ft at 4,500rpm.Although undoubtedly successful before, the Ford Sierra became really dominant when the RS500 took to the circuit, winning the 1988 DTM championship, the 1989 Spa 24 Hours, the 1988 and 1989 Bathurst 1,000km, the 1988 and 1989 Australian Touring Car Championship, the 1988 and 1989 Japanese Touring Car Championship and the 1990 British Touring Car Championship.The engine presented here is a Cosworth factory, bench-tested YBD unit, #YBD 0626, designed and built for an RS500 road car. Tested and signed off by Cosworth, confirmed by a tag, it's understood to be one of the very last YBD engines to leave the factory. We understand that it has always been complete (i.e. never as separate components), has never been apart, rebuilt nor ever installed into a car, being sat on its plinth since manufacture. All the factory elements appear to be present and correct, the stampings included, even down to the original FRAM oil filter!Meticulously kept - in pride of place even - alongside his two RS500 cars, it has been owned by our vendor for last 14 years. He sourced it from an ex-pat Ford aficionado living in Malta who had acquired it previously in the UK (some 6 years before). Rumour has it that only a handful of unused YBD engines still exist.For the serious collector or enthusiast, this 'jewel' of an engine is supplied with a bespoke glass display case and is now ready to be appreciated by its next custodian; what an opportunity.N.B. Please note this lot will be sold with a buyers premium of 20% plus VAT as per our usual memorabilia terms.Click here for more details and images
Günther Uecker (Wendorf/Meckl. 1930). Werbeforum. 1982. Offset. 43,5 x 31 cm. R. u. mit Bleistift sign. und dat. Uecker 82, l. u. num. 219/320, unter Passepartout und Glas gerahmt, ungeöffnet. - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Graue Woge. 2000. Gouache/Karton. 60 x 80 cm. Ungerahmt. L. u. sign. und dat. S. Sprotte 2000. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Wildgräser, Kampen auf Sylt. 1986. Öl und Sand/Hartfaser. 61 x 61 cm. R. u. sign. und dat. S. Sprotte 86, verso sign. Siegward Sprotte, dat. und betitelt 'Wildgräser'. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Dünengräser. 1985. Aquarell. 46 x 62 cm. Ungerahmt. U. Mitte sign. und dat. Sprotte 1985, im Passepartout. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Himmel und Meer. 1973. Aquarell. 14,5 x 12 cm. L. u. sign. und dat. S. Sprotte IV 73, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Kampen, Sylt. 1983. Aquarell/Karton. 42 x 56 cm. Ungerahmt. R. u. sign., dat. 83 Sprotte, sowie betitelt, im Passepartout. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Roter Himmel. 2002. Öl/Papier. 63 x 45 cm. Ungerahmt. L. u. sign. und dat. S. Sprotte 2002, auf die Unterlage montiert. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Silhouette von Reval im Gegenlicht. 1943. Aquarell. 22 x 33 cm. Ungerahmt. R. u. sign. und dat. S. Sprotte, verso auf Montierungsblatt betitelt sowie Adress-Stempel des Künstlers. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Glühende Landschaft. 1978. Öl/Karton. 37 x 47 cm. L. u. sign. und dat. Sprotte 78. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Blüten. Aquarell/Japan. 53 x 31,5 cm. L. u. sign. S. Sprotte, unter Glas gerahmt, ungeöffnet. Etw. verblichen. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Dunkler Himmel. 1973. Aquarell und Tempera. 32 x 47,5 cm. Ungerahmt. L. u. mit Bleistift sign. S. Sprotte 73, im Passepartout. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.
In the manner of Karl Blossfeldt's Anconitum anthora (Monkshood) framed and glazed. Strikingly modern and inherently beautiful, Karl Blossfeldt's photographs of plants, flowers and seed heads are as appealing today, as they were when they were first introduced to the public in his two landmark books Urformen der Kunst, (Archetypal Forms of Art), 1929 and Wundergarten der Natur, (The Wondergarden of Nature), 1932. From 1898-1932, Blossfeldt taught sculpture based on natural plant forms at the Royal School of the Museum of Decorative Arts (now the Hochschule f�r Bildende K�nste) in Berlin. In his lifetime Blossfeldt's work gained praise and support from critics such as Walter Benjamin, artists of the Neue Sachlichkeit (New Realism) and the Paris Surrealists. The words of Walter Benjamin repositioned the artist in modern art and photography and prior to publishing his photographic book in 1926, Blossfeldt was sent an invitation to exhibit his work at the Karl Nierendorf's gallery. The use of botanical specimens as photographic subject matter became popular in the early and mid-nineteenth century at the inception of the photographic medium, as is evident in the calotypes of Henry Fox-Talbot and the cyanotype studies of Anna Atkins. The further use of these photographic subjects as models for translation into other art mediums was practiced by Blossfeldt as well as others before him, such as the photographer/draftsman Adolphe Braun, who translated floral arrangements into award-winning textile designs.
Landscape PaintingChina , Qing Dynasty Dimensions: 220 cm x 52 cm Sunset glow, Streams & Mountain Wu Shi Xian, a modern painter of“Shang hai style”, was born in Nanjing. His landscape has a unique style, and he is good at depicting the misty and ethereal scene of Jiang Nan.Wu Shi xian's greatest contribution to painting art is not ink or skills, but that his paintings are mostly based on natural life. This picture of "sunset glow, streams and mountains" depicts the landscape of Jiang Nan in autumn. Under the sunset glow, there are birds flying back home. In a nearby attic, two scholars are reading and discussing. The whole painting does not reflect the bleak autumn, but makes people feel full of life.
A pair of limed oak side cabinets in the Art Deco taste - modern, the cavetto moulded tops over a single frieze drawer and pair of cupboard doors beneath, with chrome ring handles, with interlinked circle and oval fretwork fronting mirrored panels, on square tapered feet. (LWH 80 x 39.5 x 81.25 cm)
Hans Coray, Paar Stühle "Landi"Entwurf 1938, gemarkt Metallwarenfabrik Waedenswil Switzerland, Gestelle aus matt eloxiertem Aluminium mit perforierter Sitzfläche, die charakteristische Perforation der Sitzschale entstammt dem Flugzeugbau und verleiht dem Stuhl neben einer höheren Steifigkeit sowohl visuelle als auch physische Leichtigkeit, stapelbar, Alters- und Gebrauchsspuren, Bodenschoner teilweise fehlend, Maße 73 x 51 x 55 cm.Info: 1949 wurde er mit der Auszeichnung «Die gute Form» geehrt, er ist in den bedeutenden Design-Museen vertreten, so im Museum of Modern Art in New York oder im Vitra Design Museum in Weil am Rhein. Quelle: Internet.
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