Bär und Bärengruppe. Unterglasurbemalung. 1x ROSENTHAL, 1938, Modell-Nr. 1594, Entwurf 1936 von Gustav Oppel (1891-1978): junger, laufender Bär (H 11 cm). / 1x BING & GRÖNDAHL, 1952-1958, Modell-Nr. 1825: zwei miteinander raufende Jungtiere (H 14,5 cm). Minimale Bestoßung an 1 Tatze. "Der schreitende junge Bär ist eines der letzten Tiermodelle, die Gustav Oppel (1891 – 1978) für dieKunstabteilung Rosenthal Selb geschaffen hat. Aus dem Modellbuch geht hervor, dass der Künstlerdiesen Bären sowohl einzeln als auch als Teil einer Bärengruppe (Modell-Nr. 1593) komponiert hat. Die markantesten Erkennungsmerkmale des Bären, den kräftigen Körperbau, die Muskelwulst im Nacken und die langen Krallen an den Tatzen, hat Oppel sehr lebendig in seiner Plastik umgesetzt".(Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 26/Kat.-Nr. 9)Fritz, Hilschenz (1982), S. 191, 252; Trux, Werner (2002), S. 162. Literatur : Fritz/Hilschenz (1982), S. 191, 252; Trux/Werner (2002), S. 162. Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:52 Uhr (CET) Bear and bear group. Painted underglaze. 1x ROSENTHAL, 1938, model no. 1594, design 1936 by Gustav Oppel (1891-1978): young, running bear (h 11 cm). / 1x BING & GRÖNDAHL, 1952-1958, model no. 1825: two young animals scuffling with each other (h 14.5 cm). Minimal wear to 1 paw. "The striding young bear is one of the last animal models that Gustav Oppel (1891 - 1978) created for theRosenthal Selb art department. It is clear from the model book that the artistcomposed this bear both individually and as part of a group of bears (model no. 1593). Oppel's sculpture vividly captures the bear's most distinctive features, its strong physique, the muscular bulge in its neck and the long claws on its paws".(Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 26/Cat.No. 9)Fritz, Hilschenz (1982), pp. 191, 252; Trux, Werner (2002), p. 162. Literature : Fritz/Hilschenz (1982), pp. 191, 252; Trux/Werner (2002), p. 162. Provenance : German private collection. Aufrufzeit 14. | June 2024 | probably 18:52 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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Jugendstil-Plastik: Meisenpaar. KPM Berlin. Beriebene Zeptermarke und roter Reichsapfel, um 1920. Bezeichnet. Entwurf: 1914. ROBRA, Wilhelm (1876-1945) Polychrom bemalt. H 11 cm. Auf einem durchbrochenen vegetabilen Sockel sitzendes, schnäbelndes Meisenpaar. Aufrufzeit 14. | Juni 2024 | voraussichtlich 17:51 Uhr (CET)Art Nouveau sculpture: pair of tits. KPM Berlin. Black sceptre mark and red orb, circa 1920. marked. Design: 1914. ROBRA, Wilhelm (1876-1945) Painted polychrome. H 11 cm. A pair of beaked tits sitting on an openwork vegetal base. Call time 14 | June 2024 | presumably 17:51 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Marc Aurel zu Pferde und Sockel. Fürstenberg. F-Marken, 1906-1918. Weiß. 1x Modell-Nr. 208, Entwurf 1772 von Jean Jaques Desoches (vor 1769 - nach 1774): Figur des auf einem Pferd reitenden römischen Kaisers (H 24,5 cm). / 1x archtektonischer Sockel mit Trophäenrelief und dem Monogramm "FR" (= Fridericus Rex), original zu einer Plastik Friedrich II. zu Pferde (H 19 cm). Linkes Pferdeohr minimal bestoßen, Gegenstände in der Hand des Reiters fehlen. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:24 Uhr (CET)Marc Aurelius on horseback and pedestal. Fürstenberg. F marks, 1906-1918. White. 1x model no. 208, design 1772 by Jean Jaques Desoches (before 1769 - after 1774): Figure of the Roman emperor riding a horse (h 24.5 cm). / 1x architectural base with trophies in relief and the monogram "FR" (= Fridericus Rex), original to a sculpture of Frederick II on horseback (h 19 cm). Left horse's ear minimally bumped, objects in the rider's hand missing. Provenance : From Thuringian aristocratic property. Restitution property with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 14 | June 2024 | probably 10:24 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Seltene Plastik "Lanzelot". Meissen. Schwertermarke, Jahreszeichen 1987, 1. Wahl. Modell-Nr.: 73360 (alt V 276). Entwurf: 1967. STRANG, Peter (1936 Dresden - 2022) Weiß mit Platinstaffage. H 67,5 cm. Große Plastik des Schauspielers Eberhard Esche (1933-2006) in spanischer Kleidung, geschaffen in Anlehnung an das Bühnenstück "Der Drache" von Jewgeni Schwarz in der Inszeniernung des Deutschen Theaters in Berlin 1965. In diesem Stück spielte Esche die Figur des Lanzelot.| Nachtrag 11.06.24: verso Chip am Sockelrand Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:04 Uhr (CET)Rare sculpture "Lanzelot". Meissen. Sword mark, year mark 1987, 1st choice. Model no.: 73360 (old V 276). Design: 1967. STRANG, Peter (1936 Dresden - 2022) White with platinum staffage. H 67.5 cm.Large sculpture of the actor Eberhard Esche (1933-2006) in Spanish dress, created in reference to the stage play "Der Drache" by Jewgeni Schwarz in the production of the Deutsches Theater in Berlin in 1965. In this play, Esche played the character of Lancelot. Aufrufzeit 14. | June 2024 | voraussichtlich 18:04 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Liegender Hirsch. Rosenthal. Marke Zweigwerk Bahnhof Selb, 1953, 1 Schleifstrich. Modell-Nr.: B 1135. Entwurf: um 1953. KÄRNER, Theodor (1884 Hohenberg an der Eger - 1966 München) Unterglasurbemalung. H 36 cm, L 43 cm. Auf dem Rücken kleine, ausgeschliffene Glasurfehler (kaum sichtbar). "Als wohl einer der wichtigsten Entwerfer im Bereich der Tierplastik des 20. Jahrhunderts mussTheodor Kärner angesehen werden, der ab 1918 Modelle an die Firma Rosenthal lieferte. 1884 in Hohenberg an der Eger geboren, machte Kärner eine Modelleurlehre in der örtlichen PorzellanfabrikC.M. Hutschenreuther, bevor er nach München ging, wo er die Kunstgewerbeschule und dieAkademie besuchte. Er war Schüler des Tiermalers Heinrich von Zügel (1850 – 1914), der mit seinenBildern eigentlich ein neues Genre in der Malerei schuf. Seine Tierporträts schilderten das Tier inall seinen Posen und naturräumlicher Lebendigkeit. Voraussetzung für die Tierkompositionen seines„Schülers“ Kärner war diese Neuerung, die die Figur des liegendes Hirschen eindrucksvoll bestätigt.Bevor Kärner zu Rosenthal kam, wo er für beide Kunstabteilungen Selb und Bahnhof-Selb über hundert Plastiken schuf, war er von 1905 bis 1918 als Entwerfer für die Porzellan Manufaktur Nymphenburg tätig. Ab 1953 lieferte Kärner noch einmal Modelle als freier Mitarbeiter an Rosenthal." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 22/Kat.-Nr. 4). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:20 Uhr (CET)Reclining stag. Rosenthal. Mark Zweigwerk Bahnhof Selb, 1953, 1 grinding stroke. Model no.: B 1135. design: around 1953. KÄRNER, Theodor (1884 Hohenberg an der Eger - 1966 Munich) Painted underglaze. H 36 cm, l 43 cm. Small, polished glaze flaws on the back (barely visible). "Theodor Kärner, who supplied models to the Rosenthal company from 1918, must be regarded as one of the most important designers in the field of animal sculpture of the 20th century. Born in Hohenberg an der Eger in 1884, Kärner completed an apprenticeship as a modeller at the local porcelain factory C.M. Hutschenreuther before moving to Munich, where he attended the School of Arts and Crafts and the Academy. He was a student of the animal painter Heinrich von Zügel (1850 - 1914), who actually created a new genre in painting with his pictures. His animal portraits depicted the animal in all its poses and natural liveliness. This innovation was a prerequisite for the animal compositions of his "pupil" Kärner, which is impressively confirmed by the figure of the reclining deer.Before Kärner joined Rosenthal, where he created over a hundred sculptures for both the Selb and Bahnhof-Selb art departments, he worked as a designer for the Nymphenburg porcelain manufactory from 1905 to 1918. From 1953, Kärner once again supplied models to Rosenthal as a freelancer." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 22/cat. no. 4). Provenance : German private collection. Call time 14 | June 2024 | presumably 19:20 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Fischotter. Meissen. Prägeschwerter, Jahreszeichen 1949, 1. Wahl. A 1221. Entwurf: 1931. ESSER, Max(1885 Barth - 1945 Berlin) Böttger-Steinzeug. H 25,5 cm. "Als Meisterschüler von August Gaul führte Esser dessen Linie der lebenswahr gestalteten Tierplastikzu größerer Geschlossenheit und Strenge. Das ausdrucksstarke Modell des auf einem Felssockel infast aufrechter Körperhaltung sitzenden Fischotters ist in einem Zustand hoher Anspannung dargestellt. Der Körper ist spiralförmig in sich gedreht, Kopf und Schwanz weisen in entgegengesetzte Richtungen. Große, glatte Flächen sind gekonnt mit stilisierten, äußerst feinfühlig ausgearbeiteten Details in Kontrast gesetzt. Durch den Verzicht auf eine farbige Bemalung liegt die Konzentration der Figur allein in der formalen Gestaltung. Auf der Weltausstellung 1937 in Paris wurde die Plastik „Fischotter“ mit einem Grand Prix ausgezeichnet. Es ist auch ein früherer Entwurf (Modellnummer A 1128, Höhe 42 cm) bekannt, wobei das Tier allerdings auf einem flachen Profilsockel gesetzt ist. Ebenso wurde das Modell des Fischotters in Bronze ausgeführt. (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 59/Kat.-Nr. 59). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:58 Uhr (CET) Fish otter. Meissen. Precious sword, year mark 1949, 1st choice. A 1221. design: 1931. ESSER, Max(1885 Barth - 1945 Berlin) Böttger stoneware. H 25.5 cm. "As a master student of August Gaul, Esser led his line of true-to-life animal sculptureto greater unity and rigor. The expressive model of the fish sitting on a rock pedestal in anThe expressive model of the otter sitting almost upright on a rocky base is depicted in a state of high tension. The body is twisted in a spiral, head and tail pointing in opposite directions. Large, smooth surfaces are skillfully contrasted with stylized, extremely delicately worked details. By dispensing with colorful painting, the figure's concentration lies solely in its formal design. The "Otter" sculpture was awarded a Grand Prix at the 1937 World Exhibition in Paris. An earlier design (model number A 1128, height 42 cm) is also known, although the animal is set on a flat profiled base. The model of the otter was also executed in bronze. (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 59/cat. no. 59). Provenance : German private collection. Call time 14 | June 2024 | presumably 18:58 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Fischotter. Meissen. Prägeschwerter, Jahreszeichen 1957, 3 Schleifstriche. Bezeichnet. Modell-Nr.: A 1221. Entwurf: 1931. ESSER, Max (1885 Barth - 1945 Berlin) Weiß. H 25 cm. "Als Meisterschüler von August Gaul führte Esser dessen Linie der lebenswahr gestalteten Tierplastikzu größerer Geschlossenheit und Strenge. Das ausdrucksstarke Modell des auf einem Felssockel infast aufrechter Körperhaltung sitzenden Fischotters ist in einem Zustand hoher Anspannung dargestellt. Der Körper ist spiralförmig in sich gedreht, Kopf und Schwanz weisen in entgegengesetzte Richtungen. Große, glatte Flächen sind gekonnt mit stilisierten, äußerst feinfühlig ausgearbeiteten Details in Kontrast gesetzt. Durch den Verzicht auf eine farbige Bemalung liegt die Konzentration der Figur allein in der formalen Gestaltung. Auf der Weltausstellung 1937 in Paris wurde die Plastik „Fischotter“ mit einem Grand Prix ausgezeichnet. Es ist auch ein früherer Entwurf (Modellnummer A 1128, Höhe 42 cm) bekannt, wobei das Tier allerdings auf einem flachen Profilsockel gesetzt ist. Ebenso wurde das Modell des Fischotters in Bronze ausgeführt. (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 59/Kat.-Nr. 59). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:57 Uhr (CET) Fish otter. Meissen. Precious sword, year mark 1957, 3 grinding marks. Marked. Model no.: A 1221. design: 1931. ESSER, Max (1885 Barth - 1945 Berlin) White. H 25 cm. "As a master student of August Gaul, Esser continued his line of true-to-life animal sculptureto greater unity and rigor. The expressive model of the fish sitting on a rock pedestal in anThe expressive model of the otter sitting almost upright on a rocky base is depicted in a state of high tension. The body is twisted in a spiral, head and tail pointing in opposite directions. Large, smooth surfaces are skillfully contrasted with stylized, extremely delicately worked details. By dispensing with colorful painting, the figure's concentration lies solely in its formal design. The "Otter" sculpture was awarded a Grand Prix at the 1937 World Exhibition in Paris. An earlier design (model number A 1128, height 42 cm) is also known, although the animal is set on a flat profiled base. The model of the otter was also executed in bronze. (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 59/cat. no. 59). Provenance : German private collection. Call time 14 | June 2024 | presumably 18:57 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Damhirsch und Rothirsch. Polychrom bemalt. 1x HUTSCHENREUTHER, ab 1955, Modell-Nr. 2828, Entwurf 1964 von Gunther Granget (1932-2010), bezeichnet: Damhirsch mit eingestecktem Geweih (H 33,5 cm). / 1x NYMPHENBURG, 20. Jh., Modell-Nr. 524, Entwurf 19. Jh. von Sebastian Habenschaden (1813-1868), Neuausformung ab 1914: auf einem Waldbodensockel stehender Hirsch (H 30 cm). 2 Spitzen einer Geweihschaufel des Damhirsches restauriert. Gunther Granget: Lehre als Porzellanmodelleur in der Porzellanfabrik Hutschenreuther, Studium der Bildhauerei an der Akademie Karlsruhe, 1956 Rückkehr nach Selb, künftig tätig für Hutschenreuther und Goebel, 1983-1995 Leitung der Kunstabteilung bei Hutschenreuther. Literatur : Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 19 und 87/Kat.-Nr. 33 und 99. Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:27 Uhr (CET)Dam deer and red deer. Polychrome painted. 1x HUTSCHENREUTHER, from 1955, model no. 2828, design 1964 by Gunther Granget (1932-2010), marked: Fallow deer with inserted antlers (h 33.5 cm). / 1x NYMPHENBURG, 20th century, model no. 524, design 19th century by Sebastian Habenschaden (1813-1868), remodeled from 1914: stag standing on a forest floor plinth (h 30 cm). 2 tips of an antler blade of the fallow deer restored. Gunther Granget: Apprenticeship as a porcelain modeler at the Hutschenreuther porcelain factory, studied sculpture at the Karlsruhe Academy, returned to Selb in 1956, worked for Hutschenreuther and Goebel in the future, 1983-1995 head of the art department at Hutschenreuther. Literature : Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, pp. 19 and 87/cat. nos. 33 and 99. Provenance : German private collection. Call time 14 | June 2024 | presumably 19:27 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Adler auf Felsen. Meissen. Geprägte und blaue Schwertermarke, Jahreszeichen 1958, 1. Wahl. Modell-Nr.: V 181. Entwurf: 1920. HÖSEL, Erich (1869 Annaberg - 1953 Meißen) Weiß. H 27,5 cm. "Nach der Weltausstellung 1900 in Paris war die Meissener Manufaktur den zeitgenössischenkünstlerischen Strömungen gegenüber aufgeschlossen und um ein grundlegend neues künstlerisches Konzept bemüht. Paul Gesell (1842 – 1932), von 1901 bis 1912 Direktor der Manufaktur, forcierte die Einbeziehung zeitgenössischer, freischaffender Künstler und die Förderung der eigenen Entwerfer und Modelleure. 1903 übernahm Erich Hösel (1869 – 1951), der selbst ein herausragender Tierbildhauer war, die Leitung der plastischen Abteilung und unterstützte Gesell in der Umsetzung seiner Neuerungen. Es gelang der Meissener Manufaktur innerhalb kürzester Zeit das internationale hohe Niveau auf dem Gebiet der Porzellantierplastik zu erreichen. Hervorragende Tierfiguren von Erich Hösel, Paul Walther und Otto Jarl, sind gekennzeichnet durch eine naturalistisch, stilisierte Formgebung. In der Gestaltung waren die Künstler stets bestrebt die charakteristischsten Merkmale des jeweiligen Tieres wiederzugeben, was der mäßig lange, nur an der Spitze starke, gekrümmte Schnabel, die langen Flügel und die starken bis zu den Zehen befiederten Füße von Hösels Adler eindrucksvoll zeigen." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 93/Kat.-Nr. 107). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:59 Uhr (CET) Eagle on rock. Meissen. Embossed and blue sword mark, year mark 1958, 1st choice. Model no.: V 181. design: 1920. HÖSEL, Erich (1869 Annaberg - 1953 Meissen) White. H 27.5 cm. "After the 1900 World Exhibition in Paris, the Meissen manufactory was open to contemporary artistic trends andMeissen was open to contemporary artistic trends and endeavored to develop a fundamentally new artistic concept. Paul Gesell (1842 - 1932), director of the manufactory from 1901 to 1912, pushed for the inclusion of contemporary, freelance artists and the promotion of the company's own designers and modelers. In 1903, Erich Hösel (1869 - 1951), himself an outstanding animal sculptor, took over the management of the sculpture department and supported Gesell in the implementation of his innovations. Within a very short time, the Meissen manufactory succeeded in reaching the highest international level in the field of porcelain animal sculpture. Outstanding animal figures by Erich Hösel, Paul Walther and Otto Jarl are characterized by a naturalistic, stylized design. In their design, the artists always endeavored to reproduce the most characteristic features of the respective animal, which is impressively demonstrated by the moderately long, curved beak, which is only strong at the tip, the long wings and the strong feet of Hösel's eagle, which are feathered up to the toes." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 93/cat. no. 107). Provenance : German private collection. Call time 14 | June 2024 | presumably 18:59 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Friedrich II. zu Pferde mit Sockel. Fürstenberg. F-Marke, 1906-1918, Prägemarke "A.a.M." (= "Aus alten Modellen"). Modell-Nr.: 418. Entwurf: 1779/80 nach einer Skulptur von Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) Weiß. Plastik des Preußenkönigs Friedrich II. zu Pferd (H 29,5 cm). / Architektonischer Sockel mit Trophäenreliefs und dem Monogramm "FR" (= Fridericus Rex) (H 19 cm). Degen und Kandarengebiss restauriert. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:24 Uhr (CET)Friedrich II on horseback with pedestal. Fürstenberg. F mark, 1906-1918, embossed mark "A.a.M." (= "From old models"). Model no.: 418, design: 1779/80 after a sculpture by Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) White. Sculpture of the Prussian King Frederick II on horseback (H 29.5 cm). / Architectural plinth with trophy reliefs and the monogram "FR" (= Fridericus Rex) (H 19 cm). Restored sword and curb bit. Provenance : From Thuringian aristocratic property. Restitution property with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 14 | June 2024 | probably 10:24 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Jugendstil-Figur: Bacchantin. Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture mit Zusatz "Fabriqué en Autriche", ca. 1900-1920. Am Sockel signiert "Cherc" (Pseudonym). Modell-Nr. 4004 28 35. Gips, tonfarbene Mattglasur in Elfenbein, Braun und Grün. H 69 cm. Auf einem rebenverzierten Natursockel stehende, antikisierende Frauenfigur mit langer Weintraubenkette. Partiell minimal brandrissig und gechipped, kleine Kratzer. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:54 Uhr (CET)Large Art Nouveau figurine: Bacchante. Vienna manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture with the addition "Fabriqué en Autriche", ca. 1900-1920. Signed "Cherc" (pseudonym) on the base. Model no. 4004 28 35. Plaster, clay-colored matt glaze in ivory, brown and green. H 69 cm. An antique-style female figure with a long grape necklace standing on a natural base decorated with vines. Partially minimally fire cracked and chipped, small scratches. Call time 13 June 2024 | probably 16:54 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Hirschkuh mit Kalb. Rosenthal. Marke Kunstabteilung Stammwerk Selb, 1950er Jahre. Bezeichnet. Modell-Nr.: K 1565. Entwurf: 1935. HEIDENREICH, Fritz (1895 Mähring - 1966 Selb) Unterglasurbemalung. H 36 cm. "Der Entwerfer Fritz Heidenreich (1895 – 1966) erlernte das Töpferhandwerk. Aufgrund einer Armverletzung, die er im Ersten Weltkrieg erlitt, konnte er seinen Beruf nicht mehr ausüben. Daraufhin besuchte er die Kunstgewerbeschule in Nürnberg und anschließend von 1917 bis 1919 die Porzellanfachschule in Selb. 1919 trat er in die Kunstabteilung von Rosenthal ein, zunächst als Retuscheur. Ab 1934 kreierte er eigene Entwürfe und dominierte von nun an das Figurenprogramm, vor allem im Bereich der Tierplastik." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 41/Kat.-Nr. 33). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:21 Uhr (CET)Hirschkuh with calf. Rosenthal. Mark from the art department at the main factory in Selb, 1950s. Inscribed. Model no.: K 1565. design: 1935. HEIDENREICH, Fritz (1895 Mähring - 1966 Selb) Painted underglaze. H 36 cm. "The designer Fritz Heidenreich (1895 - 1966) learned the craft of pottery. Due to an arm injury he suffered during the First World War, he was no longer able to pursue his profession. He then attended the arts and crafts school in Nuremberg and then the porcelain school in Selb from 1917 to 1919. In 1919, he joined Rosenthal's art department, initially as a retoucher. From 1934, he created his own designs and from then on dominated the figurine program, especially in the field of animal sculpture." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 41/cat. no. 33). Provenance : German private collection. Call time 14 | June 2024 | presumably 19:21 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Platzhirsch. Hutschenreuther. Löwenmarke, 2. H. 20. Jh. Bezeichnet. Modell-Nr.: 2541 (8258). Entwurf: 1958. ACHTZIGER, Hans (1918 Selb – 2003) Unterglasurbemalung. H 43 cm, L 48 cm. Beide Geweihstangen restauriert, 1 Geweihspitze lose anbei. "Der Selber Hans Achtziger (1918 – 2003) absolvierte von 1934 bis 1937 eine Modelleur-Ausbildung in der Porzellanfabrik Lorenz Hutschenreuther, bevor er anschließend bis 1939 an der Fachschule für Porzellanindustrie in Selb bei Fritz Klee studierte. Nach dem Zweiten Weltkrieg war er von 1946 bis 1948 Schüler der Bildhauerklasse von Hans Panzer auf der Meisterschule für Bau- und Kunsthandwerker in München. Anschließend nahm er seine langjährige Entwurfstätigkeit in der Hutschenreuther Kunstabteilung auf, wo er ab 1961 die Leitung übernahm. Er prägte das Figurenprogramm der Hutschenreuther Kunstabteilung ganz entscheidend und gab der Kollektion beachtliche Impulse. In der Gestaltung seiner Tierfiguren zielte er darauf ab, einen Bewegungsmoment lebendig einzufangen, was ihm mit der Figur des Platzhirsches durchaus gelang." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 34/Kat.-Nr. 42). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:13 Uhr (CET)Platzhirsch. Hutschenreuther. Lion mark, 2nd half 20th c. Marked. Model no.: 2541 (8258). Design: 1958. ACHTZIGER, Hans (1918 Selb - 2003) Painted underglaze. H 43 cm, L 48 cm. Both antlers restored, 1 antler tip loosely attached. "Hans Achtziger (1918 - 2003) from Selb trained as a modeler at the Lorenz Hutschenreuther porcelain factory from 1934 to 1937, before studying under Fritz Klee at the technical college for the porcelain industry in Selb until 1939. After the Second World War, he was a student in Hans Panzer's sculpture class at the master school for builders and craftsmen in Munich from 1946 to 1948. He then took up his many years of design work in the Hutschenreuther art department, where he became head in 1961. He had a decisive influence on the figurine program of the Hutschenreuther art department and gave the collection considerable impetus. In the design of his animal figurines, he aimed to capture a moment of movement vividly, which he certainly succeeded in doing with the figure of the Platzhirsch." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 34/cat. no. 42). Provenance : German private collection. Call time 14 | June 2024 | presumably 19:13 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 große Phanolith-Wandteller mit den allegorischen Darstellungen der Künste und des Handwerks. Villeroy & Boch. Geprägte Turmmarke "Mettlach" mit Zusatz "Ges. Gesch.", ab 1887. Unsigniert. Modell-Nr. 2874 und 2875. Steinzeug, mattgrüner Fond, durchscheinend weiße Figurenreliefs in Art der Pâte-sur-pâte-Malerei und der Wedgwood-Ware. Ø 44,5 cm. Jugendstil-Wandteller mit antikisierenden weiblichen Figuren und einer männlichen Figur, jeweils mit Attributen: 1x Malerei, Bildhauerei und Musik, 1x Industrie und Handwerk. Draht- und Seilaufhängung. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:32 Uhr (CET)2 large phanolite wall plates with allegorical depictions of arts and crafts. Villeroy & Boch. Embossed tower mark "Mettlach" with the addition "Ges. Gesch.", from 1887. unsigned. Model no. 2874 and 2875. Stoneware, matt green ground, translucent white figure reliefs in the style of pâte-sur-pâte painting and Wedgwood ware. Ø 44.5 cm. Art Nouveau wall plate with antique-style female figures and a male figure, each with attributes: 1x painting, sculpture and music, 1x industry and crafts. Wire and rope suspension. Aufrufzeit 13. | June 2024 | probably 16:32 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
2 Tauben. 1x ROYAL COPENHAGEN, Modell-Nr. 3510, Entwurf um 1920 von Theodor Madsen (1880-1965), monogrammiert "TM": Haustaube (H 19 cm). / 1x ROSENTHAL, Modell-Nr. K 1590, Entwurf 1936 von Fritz Heidenreich (1895-1966), bezeichnet: Fächertaube (H 14 cm). Zur Haustaube: "Theodor Christian Madsen (1880 – 1965) zählt neben Carl Frederik Liisberg, Erik Nielsen und Christian Thomsen zu den erfolgreichsten Künstlern der frühen Kopenhagener Tierplastik. An der Königlichen Porzellanmanufaktur Kopenhagen zum Modelleur ausgebildet und nach Studium an der Akademie in Kopenhagen, arbeitete er von1896 bis 1935 in der Manufaktur." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 37/Kat.-Nr. 26)Zur Fächertaube: "Einige Figurenmodelle von Fritz Heidenreich wurden sowohl als Gruppenkomposition wie auch als Einzelfigur herausgebracht. Dazu gehört die Figur der Taube, die eine Einzelfigur der Figurengruppe Modellnummer K 1591 darstellt, bei der sich ein Taubenpaar gegenüber steht. Die Figur lässt deutlich erkennen, dass Heidenreich den naturalistisch geprägtenFigurenstil von Theodor Kärner weiterführt. Der plumpe Körper des weit verbreiteten Vogels ist durch eine ausgeprägte Brustmuskulatur, breite Flügel, einen kurzen Hals und kleinen Kopf mit kurzem, spitzen Schnabel charakterisiert." (Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 77/Kat.-Nr. 85. Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:46 Uhr (CET) 2 pigeons. 1x ROYAL COPENHAGEN, model no. 3510, designed around 1920 by Theodor Madsen (1880-1965), monogrammed "TM": Domestic pigeon (H 19 cm). / 1x ROSENTHAL, model no. K 1590, design 1936 by Fritz Heidenreich (1895-1966), marked: Fan pigeon (H 14 cm). On the domestic pigeon: "Alongside Carl Frederik Liisberg, Erik Nielsen and Christian Thomsen, Theodor Christian Madsen (1880 - 1965) is one of the most successful artists of early Copenhagen animal sculpture. He trained as a modeller at the Royal Porcelain Manufactory in Copenhagen and, after studying at the Copenhagen Academy, worked at the manufactory from 1896 to 1935." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 37/cat. no. 26)On the fan dove: "Some of Fritz Heidenreich's figurine models were produced both as group compositions and as individual figures. These include the figure of the dove, which is a single figure from the figure group model number K 1591, in which a pair of doves stand facing each other. The figure clearly shows that Heidenreich had adopted the naturalisticfigure style of Theodor Kärner. The plump body of the widespread bird is characterized by pronounced chest muscles, broad wings, a short neck and small head with a short, pointed beak." (Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 77/cat. no. 85. Provenance : German private collection. Aufrufzeit 14 | June 2024 | probably 19:46 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Spätbarocke Holzplastik: "Arme Seele"Nadelholz polychrom gefasst, rückseitig gehöhlt. Ende 18. Jh. H 59 cm. 3,1 kg. Halbfigur eines Mannes in den Flammen des Fegefeuers. Gelockerte Schulter-Leimfugen, Unterarme fehlen, Alters-/Gebrauchsspuren mit Schäden an der Fassung. Aufrufzeit 13. | Juni 2024 | voraussichtlich 15:09 Uhr (CET) Late Baroque wooden sculpture: "Poor Soul"Pinwood painted in polychrome, hollowed on the back. Late 18th century. H 59 cm. 3.1 kg. Half figure of a man in the flames of purgatory. Loosened shoulder glue joints, forearms missing, signs of age/use with damage to the frame. Call time 13 | June 2024 | probably 15:09 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Möwe auf Welle. Meissen. Prägeschwerter und Schwertermarke, Jahreszeichen 1954, 1. Wahl. Modell-Nr.: A 1118. Entwurf: 1937. ESSER, Max (1885 Barth - 1945 Berlin) Weiß. H 39 cm, mit Holzsockel (H gesamt 41 cm). 1 Flügelspitze bestoßen. "Max Esser (1885 – 1945) war nach seiner Bildhauerlehre von 1904 bis 1915 Meisterschüler von August Gaul in Berlin. Daneben betrieb er eine kleine eigene Werkstatt. Bereits 1909 lieferte er mehrere Modelle an die von Max Adolf Pfeiffer geleiteten Schwarzburger Werkstätten für Porzellankunst in Unterweißbach. Im Jahr 1919 schloss er mit der Meissener Manufaktur einen Vertrag auf 20 Jahre und siedelte von Berlin nach Meißen über. In den Jahren zwischen 1919 und 1926 schuf er zahlreiche Tiermodelle. Unter dem Direktorat Max Adolf Pfeiffers galt er als der führende Tierplastiker der Manufaktur. Seine letzten Entwürfe lieferte er zwischen 1935 und 1937.Besonderer Beliebtheit erfreute sich die „Möwe auf Welle“, die Esser in einer Momentaufnahmewährend der flüchtigen Berührung mit dem Wasser zeigt. Eine dem Porzellanmodell entsprechende Bronzeplastik ist aus dem Jahr 1931 bekannt." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 46/Kat.-Nr. 42). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 18:06 Uhr (CET) Gull on a wave. Meissen. Precious sword and sword mark, year mark 1954, 1st choice. Model no.: A 1118. design: 1937. ESSER, Max (1885 Barth - 1945 Berlin) White. H 39 cm, with wooden base (total height 41 cm). 1 wing tip bumped. "Max Esser (1885 - 1945) was a master student of August Gaul in Berlin from 1904 to 1915 following his apprenticeship as a sculptor. He also ran his own small workshop. As early as 1909, he supplied several models to the Schwarzburger Werkstätten für Porzellankunst in Unterweißbach, run by Max Adolf Pfeiffer. In 1919, he signed a 20-year contract with the Meissen manufactory and moved from Berlin to Meissen. In the years between 1919 and 1926, he created numerous animal models. Under the directorship of Max Adolf Pfeiffer, he was regarded as the manufactory's leading animal sculptor. He produced his last designs between 1935 and 1937.The "Seagull on a wave", which Esser captured in a snapshotduring a fleeting contact with the water. A bronze sculpture corresponding to the porcelain model is known from 1931." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 46/cat. no. 42). Provenance : German private collection. Call time 14 | June 2024 | presumably 18:06 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Jugendstil-Büste "Heilige Elisabeth". Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture, ca. 1900-1920, mit Zusatz "Reproduction reservée", um 1895-1898. Um 1899/1900. Am Sockel signiert "A. Rubelle". Modell-Nr. 1977 38 30. Gips, algengrüne Mattglasur. H 51 cm. Nach rechts geneigter Kopf Elisabeths mit verträumt gesenktem Blick, umhüllt von einem großen Tuch, das von einem Diadem gehalten wird. Sockel mit Figurenreliefs, in der Mitte Rollwerk mit Bezeichnung "Elisabeth". Leichte Glasurbereibungen, kleine Bestoßungen. Im GS WVZ taucht der Künstlername "Rubelle" nur im Ausstellungskatalog des ÖMKI (Österreichisches Museum für Kunst und Industrie, heute MAK)1900/01 auf. Mehr ist zum Künstler nicht bekannt. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:58 Uhr (CET) Large Art Nouveau bust "Saint Elisabeth". Viennese manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture, ca. 1900-1920, with the addition "Reproduction reservée", ca. 1895-1898. Around 1899/1900. Signed "A. Rubelle" on the base. Model no. 1977 38 30. Plaster, algae green matt glaze. H 51 cm. Elisabeth's head tilted to the right with a dreamy lowered gaze, wrapped in a large cloth held by a tiara. Base with figure reliefs, scrollwork in the center with the inscription "Elisabeth". Light glaze rubbing, small chips. In the GS WVZ, the artist's name "Rubelle" only appears in the exhibition catalog of the ÖMKI (Austrian Museum of Art and Industry, today MAK)1900/01. Nothing more is known about the artist. Call time 13 June 2024 | probably 16:58 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Adler auf Felsen. Meissen. Prägemarke, um 1950, 3 Schleifstriche. Modell-Nr.: V 181. Entwurf: 1920. HÖSEL, Erich (1869 Annaberg - 1953 Meißen) Böttger-Steinzeug. H 28 cm. "Nach der Weltausstellung 1900 in Paris war die Meissener Manufaktur den zeitgenössischenkünstlerischen Strömungen gegenüber aufgeschlossen und um ein grundlegend neues künstlerisches Konzept bemüht. Paul Gesell (1842 – 1932), von 1901 bis 1912 Direktor der Manufaktur, forcierte die Einbeziehung zeitgenössischer, freischaffender Künstler und die Förderung der eigenen Entwerfer und Modelleure. 1903 übernahm Erich Hösel (1869 – 1951), der selbst ein herausragender Tierbildhauer war, die Leitung der plastischen Abteilung und unterstützte Gesell in der Umsetzung seiner Neuerungen. Es gelang der Meissener Manufaktur innerhalb kürzester Zeit das internationale hohe Niveau auf dem Gebiet der Porzellantierplastik zu erreichen. Hervorragende Tierfiguren von Erich Hösel, Paul Walther und Otto Jarl, sind gekennzeichnet durch eine naturalistisch, stilisierte Formgebung. In der Gestaltung waren die Künstler stets bestrebt die charakteristischsten Merkmale des jeweiligen Tieres wiederzugeben, was der mäßig lange, nur an der Spitze starke, gekrümmte Schnabel, die langen Flügel und die starken bis zu den Zehen befiederten Füße von Hösels Adler eindrucksvoll zeigen." (Petra Werner, in: Katalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (Bd. 117), Hohenberg a.d. Eger 2015, S. 93/Kat.-Nr. 107). Provenienz : Deutsche Privatsammlung. Aufrufzeit 14. | Juni 2024 | voraussichtlich 19:00 Uhr (CET) Eagle on rock. Meissen. Mint mark, around 1950, 3 grinding strokes. Model no.: V 181. design: 1920. HÖSEL, Erich (1869 Annaberg - 1953 Meissen) Böttger stoneware. H 28 cm. "After the 1900 World Exhibition in Paris, the Meissen manufactory was open to contemporary artistic trends andMeissen was open to contemporary artistic trends and endeavored to develop a fundamentally new artistic concept. Paul Gesell (1842 - 1932), director of the manufactory from 1901 to 1912, pushed for the inclusion of contemporary, freelance artists and the promotion of the company's own designers and modelers. In 1903, Erich Hösel (1869 - 1951), himself an outstanding animal sculptor, took over the management of the sculpture department and supported Gesell in the implementation of his innovations. Within a very short time, the Meissen manufactory succeeded in reaching the highest international level in the field of porcelain animal sculpture. Outstanding animal figurines by Erich Hösel, Paul Walther and Otto Jarl are characterized by a naturalistic, stylized design. In their design, the artists always endeavored to reproduce the most characteristic features of the respective animal, which is impressively demonstrated by the moderately long, curved beak, which is only strong at the tip, the long wings and the strong feet of Hösel's eagle, which are feathered up to the toes." (Petra Werner, in: Catalog: Auf der Pirsch - Jagdbare Tiere in Porzellan, Porzellanikon (vol. 117), Hohenberg a.d. Eger 2015, p. 93/cat. no. 107). Provenance : German private collection. Call time 14 | June 2024 | presumably 19:00 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Gartenplastik: Froschkönigin und Froschkönig. Ungemarkt. In der Art des Westerwälder (Grenzhausen) Steinzeugs. Graues, salzglasiertes Steinzeug, Bemalung in Kobaltblau und Manganviolett. H ca. 133,5 cm und 34,5 cm. Stehende Mädchen-Figur in historistischer Kleidung, eine Kugel in den Händen haltend. Dazu die bekrönte Froschfigur mit einem Loch im Maul zum Wasserspeien. Partiell minimale Defekte. Abholung erforderlich.Aufrufzeit 13. | Juni 2024 | voraussichtlich 17:15 Uhr (CET)Large garden sculpture: Frog Queen and Frog King. Unmarketed. In the style of Westerwald (Grenzhausen) stoneware. Grey, salt-glazed stoneware, painted in cobalt blue and manganese violet. H approx. 133.5 cm and 34.5 cm. Standing female figure in historicist dress, holding a ball in her hands. In addition, the famous frog figure with a hole in its mouth for spitting water. Partially minimal defects. Collection required.Call time 13 June 2024 | probably 17:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Große Jugendstil-Figurengruppe: Lesendes Kinderpaar. Wiener Manufaktur Friedrich Goldscheider. Reliefmarke GS 13 Sculpture, ca. 1900-1920, mit Adlermarke, 1902-1910, und Zusatz "Fabriqué en Autriche". Am Sockel signiert "Perigot" (Pseudonym), Monogramm-Stempel. Modell-Nr. 4399 22 3. Gips, bronzefarbene Mattglasur in Braun und Gold. H 53 cm. Auf einem Ovalsockel stehende Holländerkinder beim Lesen eines Buches. Partiell leichte Alters- und Kratzspuren. Aufrufzeit 13. | Juni 2024 | voraussichtlich 16:53 Uhr (CET)Large Art Nouveau figurine group: Reading children. Vienna manufactory Friedrich Goldscheider. Relief mark GS 13 Sculpture, ca. 1900-1920, with eagle mark, 1902-1910, and addition "Fabriqué en Autriche". Signed "Perigot" (pseudonym) on the base, monogram stamp. Model no. 4399 22 3. Plaster, bronze-colored matt glaze in brown and gold. H 53 cm. Dutch children standing on an oval plinth reading a book. Slight signs of age and scratches in places. Call time 13 June 2024 | probably 16:53 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
⊕ LYNN CHADWICK (BRITISH 1914-2003)RAD LAD IIIsigned and numbered Chadwick 2/3 363bronzeheight: 43cm; 17inProperty from a Private Collection, West London Executed in 1961. Sarah Chadwick, the artist's daughter, has confirmed that the present work is recorded in the Chadwick archive as Chadwick 2/3 363 and was cast in an edition of four. ProvenanceMarlborough Fine Art Ltd, LondonPurchased from the above by the mother of the present owner 13th August 1965ExhibitedLondon, Marlborough Fine Art, Summer Exhibition, 1965, no.13LiteratureDennis Farr and Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, London, 2014, p. 199, no. 363In Rad Lad III a rugged and ridged head and body sit on three angular, tapering legs, the rough geometric form half human, half robot. Chadwick's light-hearted title - an abbreviation for 'radiator man' or plumber - refers to the work's corrugated surfaces, but belies the more insidious presence the bronze's spectre-like form suggests. Other more prescient titles he gave to similar sculptures of single figures he completed in the early 1960s included Watcher, Detector and Inquisitor. Such labels of monitoring and surveillance reference the perceived existential threats present in the geo-politics of the day, when the Russian-American Cold War was entrenched, the Cuban Missile crisis was threatening, the Berlin Wall under construction and the horrors of the Vietnam War were unfolding. Chadwick's developing interest in casting in bronze followed a formidably successful decade of development, beginning with his first solo show at Gimpel Fils in Mayfair in 1950, three separate large scale commissions for the Festival of Britain in 1951 and inclusion both in the Battersea Park Open Air Sculpture Exhibition, and the exhibition American Abstraction in New York the same year. In 1952 he was featured as one of eight young emerging British sculptors in the Venice Biennale, others included Kenneth Armitage, Reg Butler, Eduardo Paolozzi and William Turnbull. His meteoric rise continued when in 1956 he represented Britain at the Venice Biennale, winning the International Sculpture Prize against the favourite Alberto Giacometti.
Signed Artist Reference Booksto include The Sculpture of David Nash by Julian Andrews, 1996, published by the Henry Moore Foundation;David Nash, Pyramids rise, Spheres turn and Cubes stand still, 2005, published by Annely Juda Fine Art;and Patrick Heron by Mel Gooding, 1995, published by Phaidon Press Limited;all signed and inscribed by the artists, The Heron book with a small ink drawing (3).
Ovidiu Maitec (1925-2007)Untitled, circa 1969carved walnut sculpture in two piecescarved signature38cm high, 93cm wide, 15cm deep. Provenance:The Circle Gallery, London. Please see condition report photos on www.Mallams.co.uk You will notice there are cracks to the wood. Other light surface marks.
A collection of The Stranglers and Related Vinyl. Includes 1979 1st pressing of The Raven LP with the 3D sleeve and the banned inner sleeve (Cat no: UAG 30262), 1978 Black And White LP with free 7" on white vinyl included (Cat no: UAK 30222), 1984 Aural Sculpture with lyric insert (Cat no: EPC 26220), 1988 All Live And All Of The Night gatefold (Cat no: EPC 460259 1) and Hugh Cornwell – One In A Million (1985 cat no: TX6509). Overall condition: Good to Very Good Plus.
Ovidiu Maitec (1925 - 2007) Winged sculpture Carved walnut Ovidiu Maitec was born in Arad, Romania in 1925. He studied at the Fine Arts Institute in Bucharest and his works have been exhibited worldwide, including at Venice Biennales. His has held solo exhibits at the Demarco, Kettle's Yard and Bluecoat Galleries in the United Kingdom. He received the Order of Merit of the Italian Republic in 1985 and became a member of the Romanian Academy in 1990. Property of Pierre Rouve Dimensions: 42 in. (H) x 44 in. (W) x 11 in. (D)
Witold Gracjan Kawalec (1922–2003), Polish A carved alabaster sculpture mounted on a square granite base Together with a 1971 Coventry Cathedral exhibition catalogue with an introduction by Pierre Rouve Witold Gracjan Kawalec was born in Poland in 1922. He studied carving art Nottingham University College and opened his own studio in 1951. He began working in alabaster, and later created work out of various metals. The themes of his sculptures are based on his experience as a soldier in the Polish forces and later an RAF fighter pilot in WWII. He is best known for his St Christopher sculpture for Dame Cicely Saunders’s St Christopher's Hospice at Sydenham. Kawalec's work was exhibited at the Royal Academy of Arts and the Musée d'Art Moderne de la Ville de Paris. Provenance: Pierre Rouve Dimensions: 20 in. (H) x 15 in. (W) x 10 in. (D)
PETITE STATUETTE DE BOUDDHA SHAKYAMUNI EN BRONZE DORÉXVIIIe siècleA SMALL GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNIUdayana style, 18th centuryExquisitely cast and richly gilt, standing barefoot, with his left hand held in abhaya mudra, the gesture of reassurance, and right hand raised in varada mudra, the gesture of bestowal of charity, dressed in a full length diaphanous robe elegantly draped across his shoulders and falling in long undulating folds over his body and arms, his face serene and with a benevolent expression, his head covered with tightly curled whorls around a pronounced usnisa, the base later added. 14cm (5 1/2in) high. (2).Footnotes:十八世紀 烏仗那式鎏金銅釋迦牟尼佛像Provenance:Formerly in the collection of Auguste Gerard (1852-1922), director of the postal services in Beijing (1893-1897), and French ambassador to Japan (1906-1913), thence in the family by descent.來源：施阿蘭（Auguste Gerard）（1852-1922）舊藏，於1893年至1897年間任駐清朝公使，1906年至1913年間任法國駐日大使，後家族流傳。The term Udayana refers to a legendary Indian sandalwood sculpture of Buddha, now lost but believed to have been brought to China in antiquity. The Udayana style, as it is known today, is ultimately derived from the Buddhist sculpture of ancient Gandhara from around the first century AD where Buddha images reflected Classical influence in their flowing robe. This style of Indian Buddhist sculpture where robes are depicted with pronounced folds was common throughout the region and readily accessible to Chinese pilgrims and travellers such as Fa-hsien who is known to have visited the area sometime around the beginning of the fifth century. Indian Buddhist teachers also travelled east, and the sculptural trend thus found its way to China. Testimony to this migration of style is seen in the renowned gilt bronze Udayana style Buddha in the Metropolitan Museum of Art, dated 486 and identified by inscription as Maitreya, where the Buddha's hands are held in abhaya and varada mudra, with the robe falling from the shoulders in stylised undulations, Denise Patry Leidy, 'Notes on a Buddha Maitreya Sculpture Dated 486 in the Metropolitan Museum of Art, New York', in Oriental Art, Winter, 2005-6, p.22, fig.1.The hands are shown with pronounced webbing between the thumb and forefinger, one of the lakshana or identifying marks of a Buddha. Compare with another figure cast in the same style and position, dated to the 18th century, in the collection of the Asian Art Museum of San Francisco, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p.553, pl.158E.For further information on this lot please visit Bonhams.com
CHEVAL EN TERRE CUITE À GLAÇURE CRÈMEDynastie Sui (581-618)A RARE STRAW-GLAZED POTTERY FIGURE OF A HORSESui DynastyStanding foursquare, with its head lowered and turned towards the chest, the long arched neck with a hogged mane, the back covered with a simple square saddle and blanket, covered overall with a finely crackled cream glaze. 45cm (17 3/4in) high. (2).Footnotes:隋 白釉陶馬Provenance:A European private collectionThe result of Oxford Authentication Ltd. thermoluminescence test no.C123q92 dated 12 December 2023, is consistent with the dating of this lot.來源：歐洲私人珍藏本拍品經牛津熱釋光檢測編號C123q92（2023年12月12日），結果與其斷代相符See a related example illustrated by Robert D. Jacobsen, Celestial Horses and Long Sleeve Dancers: The David W. Dewey Collection of Ancient Chinese Tomb Sculpture, Minneapolis, 2013, pp.152–153; see also John Baker, Appeasing the Spirits: Sui and Tang Dynasty Tomb Sculpture From The Schloss Collection, New York, 1993, nos.22 and 23.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
RARE PETITE STATUETTE DE LION ASSIS EN PIERRE NOIREDynastie Tang (618-907)A RARE SMALL BLACK STONE FIGURE OF A SEATED LIONTang DynastyWell carved sitting on its hind legs, its well-defined muscular front legs and paws supporting the powerful body, the head raised and with a ferocious expression, its mouth open in a roar and with bared fangs, eyes bulging below furrowed brows, the mane arranged in tight curls, the stone an even black colour. 19cm (7 1/2in) high.Footnotes:唐 石雕瑞獅坐像Provenance: Acquired from Galinsky by Bluett & Sons Ltd., London, 3 July 1958Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge, acquired from Bluett & Sons, London, on 9 July 1958The Cunliffe Collection, no.NN2, and thence by descentBonhams London, 12 May 2016, lot 16來源： 倫敦古董商Bluett & Sons Ltd.於1958年7月3日得自Galinsky劍橋菲茨威廉博物館東方藝術部名譽主任Rolf Cunliffe勳爵 (1899-1963)於1958年7月9日得自上述來源 Cunliffe收藏，藏品編號NN2，後家族流傳 倫敦邦翰斯，2016年5月12日，編號16During the Tang dynasty, Buddhist art showcased the lion prominently. They held significant value as tributary gifts from emissaries from India and Central Asia. In 635, Emperor Taizong (598-649) received a lion as a tribute gift from Samarkand, prompting him to commission a poem in its honour by the court poet Yu Shinan (558-638). Acting as protectors, pairs of large stone figures of lions flanked the spirit roads leading up to Imperial tombs. Compare with a related Tang dynasty white marble statue of a lion, of similarly small size, in the collection of the Louvre, Paris, illustrated in Oswald Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, Bangkok, 1998 reprint, pl.435D.See a related small white marble figure of a seated lion, Tang dynasty, which was sold in Christie's New York, 24 September 2020, lot 908. Compare also with a slightly larger figure of a seated lion similarly carved from black stone, formerly in the collection of Arthur M. Sackler, sold in Christie's New York, 1 December 1994, lot 164, where the footnote refers to a small black stone lion illustrated in Ancient Chinese Sculpture, Eskenazi, London, 1978, cat.no.4.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Murano - Two 20th Century studio art glass Murano bird figures one with red colourway upon clear base and long curved neck, the other of red / orange colourway with mottled splashes of colour to body. Together with a Spanish Viartec selenium red and orange glass centrepiece sculpture. Measures approximately 23cm x 37cm.
Lilliput Lane - A collection of nineteen 20th Century vintage Lilliput Lane cottage sculpture figures seven boxed to include: The Crooked Spire L2658, Sowing the Seeds L2712, Little Snowdrop L2768, Riverside Cottage L2872, The Pineapple House L2113, The Great Equatorial L2242, Golden Harvest L2557, amongst other unboxed examples. Largest cottage measuring approximately 10cm x 20cm x 17cm.
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