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Lot 4172
Taschenuhr: feine Goldsavonnette mit Repetition, Henry Moser/Audemars Piguet, um 1900: Ca. Ø53mm, ca. 105g, 14K Gold, Savonnette mit 3 Golddeckeln, Gehäuse mit Henry Moser Signatur in deutsch und kyrillisch, No. 40843, exquisites Präzisionsankerwerk Kaliber Audemars Piguet, Genfer Streifen, Viertelstunden-Repetition, einwandfrei erhaltenes, signiertes Emaillezifferblatt, Stahlzeiger, sehr guter Zustand, seltene hochfeine Werksqualität, funktionstüchtig. Die Uhr stammt aus einer hochwertigen deutschen Sammlung und ist viele Jahre nicht benutzt worden, daher ist eine Justierung/Reinigung nötig. Der Schweizer Henry Moser fertigte feinste Präzisionstaschenuhren für das russische Zarenreich. Ein Video für dieses Los finden Sie auf unserer Website.
Lot 419
H. MOSER & Co. gold, three-lided pocket watch, circa 1900. 14-karat gold case. No. 42777. Classic design with fine mesh, with vignette. White enamel dial with Roman numerals and stopwatch. The arrows are golden openwork. The mechanism has not been tested. Case diameter approx. 50 mm (without crown). Weight: 97.49 gr.Condition: Slight wear marks, functionality has not been verified. Material: Gold 56. Product sizes: Height - 6.5cm, width - 5cm. Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia. Warranty: Seller Warranty. Country: Switzerland. Period: At the turn of 19th -20th century.
Lot 441
Balusterförmige Vase mit polygonalem Schälschliff und glockenförmige Schale auf korrespondierendem Fuß. Vergoldete, geätzte, sog. oroplastische Dekore mit Amazonenfries und Ornament. Jeweils gemarkt. H. 11 cm-14 cm; Schalen-D. 19,7 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A Bohemian (Czechoslovakian) vase and a footed bowl by Moser. Each marked. Böhmen/Tschechoslowakei. Karlsbad (Karlovy Vary). Ludwig Moser & Söhne. Um 1920-1930.
Lot 442
Zwei Jardinieren, eine Zierdose und zwei Vasen. Dunkelrubinrotes und violettes sowie farbloses, partiell rubiniertes Glas mit Schälschliff. Ornamentale Dekore in Goldmalerei und weißem Email sowie geätzte, vergoldete, sog. oroplastische Dekore mit figürlichen Motiven. Teilw. gemarkt. H. 8,5 cm-18,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. A collection of five Bohemian (Czechoslovakian) Art Deco glass objects. Böhmen/Tschechoslowakei. Haida, Karlsbad und Steinschönau. Adolf Rasche, Hermann Eiselt und Ludwig Moser & Söhne. Um 1915-1935.
Lot 64
MOSER: A LILAC GLASS VASE c. 1930s, probably by either Arnold Zadikow or Rudolf Eschler, acid mark to the base suggests a later production circa 1950s, the body with sculptural mouldings, relief rhomboid points and cut facets over a waisted and notched pedestal base, 28cm high Provenance: The Richard Hoppé Collection
Lot 69
A SMALL GROUP OF ADVERTISING GLASS WARES a Baccarat clear glass advertising paperweight, 15cm wide; a Moser pale blue glass advertising paperweight, 10.25cm wide; and a pressed glass 'La Lustrerie, Bruxelloise' advertising ashtray by Val Saint Lambert, 22cm wide (3) Provenance: The Richard Hoppé Collection
Lot 408
Zoe Mozert, born Alice Adelaide Moser, was an American illustrator. She was also known as one of the early 20th century's most famous pin-up artists and models. Print shows a lovely blonde model with a rose headdress and a mink stole. Artist: Zoe Mozert (American 1907-1993)Issued: 1960sDimensions: 16"W x 19.5"HCountry of Origin: United StatesCondition: Age related wear.
Lot 8
CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 604
MOSER, KARLSBAD: TWO EMERALD CRYSTAL PERFUME ATOMISERS each of four-sided tapering form, the lower sections embellished with a wide gilded frieze of satyrs and maidens, Moser acid marks to the undersides, c. 1910-20, the taller 24cm high, the smaller 17cm high (2)Provenance: The Richard Hoppé Collection
Lot 459
A late 19th/early 20th century lidded punch bowl, height 46cm, ladle, tray, diameter 38cm, and twelve cups, each with wheel cut floral decoration, gilt-heightened, in the style of Moser, unmarked.Condition Report: Twelve cups appear to be in sound condition. Inner rim of the punch bowl lid/cover has a small chip, not noticeable when displayed.
Lot 30
A LATE 19TH/EARLY 20TH CENTURY AUSTRIAN MOSER KARLSBAD LARGE GLASS VASE of tall fluted form, with a short knopped stem over a domed circular foot, in graduated green to pink glass, enamelled and gilded with cherry blossom, printed 'Glasfabrik Karlsbad Made in Austria' to base. 53cm highSome rubbing to the gilding and some minor were and discolouration to the enamel, very light surface wear to the glass, no chips or losses
Lot 451
Franz Richard Unterberger, 1838 Innsbruck – 1902 NeuillyBLICK AUF DIE SOMMERLICHE AMALFIKÜSTEÖl auf Leinwand.82,5 x 70,5 cm.Links unten spätere Bezeichnung „F. R. Unterberger“.In vergoldetem Rahmen.Bestätigung der Authentizität durch Dr. Sybille Karin Moser-Ernst sowie Giese & Schweiger, Wien.Auf einer hellen Steinterrasse, zu der ein schmaler, von Palmen und Kakteen gesäumter Weg über einige Treppenstufen führt, drei elegant gekleidete Damen mit Hut, eine davon einen Sonnenschirm haltend und den Blick, teils über die Brüstung, auf die malerische Amalfiküste gerichtet. Das Meer in zahlreichen Pastelltönen, von Weiß über zartem Rosa bis hin zu sanftem Türkis-Grün leuchtend. Daneben die am Ufer liegende Stadt mit überwiegend weißen und rosafarbenen Häusern, unterhalb eines hohen Gebirgszuges in zurückhaltenden, zarten beige-braunen und rötlichen Farbtönen. Der Himmel ganz in Hellblau mit aufgetupften weißen kleineren und größeren Wolkenflecken, die sich teils im Wasser wiederspiegeln. Stimmungsvolle italienische Sommerimpression in zarten Pastelltönen, bei meist lockerem pastosem Farbauftrag. Anmerkung:Der Künstler war ein Tiroler Landschaftsmaler. Nach seinem Studium an der Akademie der bildenden Künste in München war er von 1860 bis 1864 Schüler der Düsseldorfer Akademie unter Andreas Achenbach (1815-1910) und später Privatschüler von Oswald Achenbach (1827-1905). Gegen Ende der 1860er-Jahren bereiste er auch das südliche Italien, wo er zahlreiche Gemälde schuf. Die sonnigen Küstenlandschaften der Adria, aber auch Venedig, wurden für Unterberger bald zum Mittelpunkt seines künstlerischen Schaffens. (1350782) (18) (†)Franz Richard Unterberger,1838 Innsbruck – 1902 NeuillyVIEW OF SUMMERY AMALFI COASTOil on canvas.82.5 x 70.5 cm.Signed “F. R. Unterberger” lower left.Confirmation of authenticity by Dr Sybille Karin Moser-Ernst as well as by Giese & Schweiger, Vienna.
Lot 1
Moser, Gläserservice "Royal"2.Hälfte 20.Jh. Entwurf aus dem Jahr 1907 für die Frau des englischen Königs Edward VII. Farbloses, dünnwandiges Glas mit Goldrand und Diamantschliff. Bestand: 2 Karaffen, 14 Weingläser (H 15,5 cm), 12 Süssweingläser (H 12,5 cm) und 18 Champagnerschalen (H 11,5 cm). Total 46 Teile.- Leichte Gebrauchsspuren, sonst guter Zustand.
Lot 6
Moser, Gläserservice "Maharani"20.Jh. Farbloses Kristallglas. Feiner Schnittdekor mit Blumengirlanden und stilisiertem Ornament. Goldrand. Entwurf: 1895 für die Frau des Maharadjahs von Navancore. Bestand: 6 Weissweingläser (H 19 cm), 6 Süssweingläser (H 16 cm), 6 Sektgläser (H 20 cm). Total: 18 cm.- Guter Zustand.
Lot 5
Moser, GläserserviceMitte 20.Jh. Farbloses Kristallglas, geschliffen. Wandung mit Watteau-Szene vor Landschaftskulisse. Bestand: 1 Karaffe (am Fuss bestossen), 1 Wasserkrug, 7 Champagnerschalen (H 12 cm). Beigegeben: 2 Champagnerschalen mit Arabeskendekor und 3 Becher mit Monogramm unter Krone. Total: 14 Teile. - Leichte Gebrauchsspuren, sonst guter Zustand.
Lot 920
Vladimir Jelinek - Moser - A large post war Czechoslovakian unique art piece/vase, the heavy cased body of polished ovoid form and triple cased with blue, clear and a sea green with internal random air bubbles around the central aperture, the exterior decorated to one side with a grid of four concave optical polished discs with a large single to the opposing side over the mottle mesh work ground, bears hand engraved signature to the base and dated for 1969, height 26cm. NB - Ref Czech Glass 1945 to 1980, Design in an age of Adversity-Page 190.
Lot 922
Vladimir Jelinek - Moser - A large post war Czechoslovakian unique art piece/vase, the heavy cased body of polished ovoid form and triple cased with clear over golden amber and sea green with internal random air bubbles around the central aperture, the exterior decorated to each side with a concave optical polished disc over the mottle mesh work ground, bears hand engraved signature to the base and numbered 2/5, height 19cm. NB - Ref Czech Glass 1945 to 1980, Design in an age of Adversity-Page 190.
Lot 71
Robert Combas (1957), La bande de joyeux tristes , 1995, acrylique sur toile, signée et datée, 162x130 cmAttestation d'authenticité signée par l'artisteBibliographie: Philippe Dagen, Robert Combas, Paris, Paris-Musées, 2005, p. 417Provenance: Atelier de l'artiste Galerie Charlotte Moser, Genève, 20 mai 1998 (titré Femme chat ) collection privée suisse« Je ne veux pas seulement retranscrire comme beaucoup de graffitistes, je veux aussi trouver des choses inventives, créer vraiment à partir de là, pour moi, en moi' Je ne travaille pas toujours spontanément et il m'arrive de faire des sujets sérieux, politiques même, mais mes toiles font plutôt rire même quand c'est horrible' ». Robert CombasAchetée par la famille de l'actuel propriétaire auprès de la prestigieuse Galerie Charlotte Moser à Genève lors de l'exposition d'ouverture de la galerie en janvier 1998, cette 'uvre est inédite sur le marché
Lot 103
AN UNUSUAL FRENCH PORCELAIN PANEL MOUNTED GILT BRASS ALARM CARRIAGE CLOCK IN A ONE-PIECE CASEMOSER, PARIS, CIRCA 1840The two train countwheel bell striking movement with platform lever escapement regulated by sprung monometallic balance, the backplate signed Moser a Paris and numbered 8058 to lower margin, the inside lower edge of the frontplate further stamped 2453, the circular white enamel Roman numeral dial with pierced blued steel trefoil hands set within fine foliate scroll gilt brass rectangular mask incorporating a conforming enamel Arabic numeral subsidiary alarm setting dial to lower margin, the bevel-glazed one-piece case with rococo scroll cast hinged carrying handle over top glass applied with a raised oval porcelain plaque polychrome painted with an 18th century style female portrait within gilt cartouche and blue ground border set within canted gilt brass surround flanked by foliate scroll-pierced fretwork, the caddy moulded frame cast and chased in relief with fine fruiting foliage incorporating crossed ribbon decoration to uprights, the side glasses applied with conforming raised oval porcelain panels decorated with putti, each set between a pierced and engraved foliate strapwork crest and apron, the rear door with further large panel painted with an 18th century musician playing a lute within pierced upper and lower border infill, on repeating leaf chased cavetto skirt base with inset rounded angles.15cm (6ins) high with handle down, 10.5cm (4.125ins) wide, 9.5cm (3.75ins) deep. Recent research by Leigh Extence has established that Georges Moser was born in Switzerland in 1798. By 1823 he had moved to Paris and was located at 18 Grenier St. Lazarre (which became number 15 in 1825). In 1836 Moser had moved to Boulevard du Temple 9 and subsequently entered into partnership with Samuel Marti in 1840. The partnership was registered at the address Orleans-Marais 13 until 1843 when Moser left and returned to Boulevard du Temple 9 before moving to number 24 in 1846 and then finally to number 15 in 1850. In 1860 the business was registered with 'et Cie' and records ceased after 1863.Extence also notes that Georges Moser utilised movements supplied by Holingue freres who also supplied Paul Garnier and were an important part of the history of Drocourt.Condition Report: Movement is clean condition with no visible evidence of alteration or noticeable replacements. The strike and alarm mechanisms are fully operational; the going train will run but escapement sticks which is most likely due to lubrication drying-out. The dial enamel appear to be free from visible faults and the mask is in good condition with no visible wear or faults. The case is in very good original condition with minimal edge wear and discolouration to the gilding. The top glass has a slight chip to the rear edge and the rear door has a small chip to the lower right corner otherwise the glasses appear free from visible damage. The porcelain panels are in fine condition with no visible cracks or evidence of restoration; the gilt details show minimal wear.Clock has a winding key. Condition Report Disclaimer
Lot 155
A pair of Ludwig Moser vaseline glass vases,late 19th century, each of bulbous form with a long tapering neck, the neck with enamelled decoration, to the underneath signed Moser and numbered 448, one example with maker's label inscribed 'Ludwig Moser Carlsbad' to the underneath, 9cm diameter17cm highCondition ReportBoth with some dust and spotting on the inside of the vase (appears to be surface based). The gilding and slightly rubbed around the rims.
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