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283287 Los(e)/Seite
Los 774
Maggie (Maria Magdalena) Laubser (South African 1886-1973) PORTRAIT OF A GIRL WITH HEAD SCARF HOLDING A PUMPKIN signed oil on canvas Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg, 1994, illustrated on p 246 cat no 888 Meintjes, J. Maggie Laubser, Jacques Dusseau and Co, Cape Town, J. H. de Bussy, Pretoria, 1944, illustrated on p 11 PROVENANCE Mrs Wegener, Vereeniging; acquired from the exhibition Constantia Gallery, Johannesburg,1946, and thence by descent to the current owner 54 by 44cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64
Los 775
Maggie (Maria Magdalena) Laubser (South African 1886-1973) VROU VOOR VISSERHUISIES signed and dated 40 charcoal on paper The South African National Gallery, Cape Town, 1969, cat no 172 Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg,1994 illustrated on p 269, cat no 1033 PROVENANCE Wolpe Galley Michael Stevenson, Cape Town Johans Borman Fine Art 50 by 58cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64
Los 561
Charlie My Darling'-Taken from the journals of Sydney, lady Morgan, 1776-1859 a well observed portrait of a young boy in pencil and water colour on card and entitled 'Charlie My Darling'. This picture of a family member or friend has either been done by a professional artist or gifted amateur.
Los 87
ALLIED AND AXIS AIRMENLot of four signed photographs, all post-war, includes: ERICH HARTMANN 8" x 10" b/w as he is strapped into a fighter; GUNTHER RALL 5" x 7" color portrait displaying his Knights Cross; and PAUL TIBBETS, two 8" x 10" b/w photos showing him standing before the "Enola Gay", signed adding "Pilot" and the date of his famous mission, "6 AUG 1945". Very good.
Los 99
EMMY GORING(1893 – 1973) German actress and the second wife of Luftwaffe chief Hermann Göring. She also served as Adolf Hitler's hostess at many state functions. S.P. 4" x 6" b/w, a portrait with daughter Edda resting upon her back, signed at bottom. Small damp stain just beneath signature, else fine.
Los 1044
ADOLF HITLER'S COPY OF "MEIN KAMPF", CAPTURED BY AN AMERICAN OFFICER AT THE BERGHOFA most important relic epitomizing the rise and fall of the world's most notorious dictator, a battered copy of Adolf Hitler's political manifesto "Mein Kampf", taken by a decorated American officer from the ruins of the Berghof, Hitler's vacation retreat at Berchtesgaden. This 1926 rare limited edition was printed by Verlag Franz Eher, the official NSDAP printers located in Munich. There are 292 octavo pages plus notices of other NSDAP publications in the rear of the book, and a frontis portrait shows Hitler in a left profile. The volume is representative of what war-torn Germany was like when the book was captured: the red cloth and gilt-titled covers are heavily chpped and worn at the edges, with tears and chips along the spine, the spine is coming loose from the rest of the book, and a few pages are disbound; overall the book shows evidence of initial water damage and then rather unprofessional handling but the contents are excellent. This historic piece is accompanied by an originally unused envelope also taken from the Berghof, imprinted: "Adjutantur der Wehrmacht beim Fuhrer", a position held by Gen. Wilhelm Burgdorf. The front of the envelope bears handwriting in cursive English: "From Hitlers Headquarters near Berchtesgaden 6 May 1945" The handwriting is in the hand of COL. LESLIE E. JACOBY (b. 1900), a West Point graduate who was commander of the distinguished 5th Tank Destroyer Group. His unit left Munich on May 5th and made directly for Berchtesgaden where it arrived the day after the town was taken...and the day he captured this relic. Additionally, this book is from the same edition as the one found in his Munich apartment and auctioned by Alexander Historical Auctions early in 2016 for over $20,000. Much provenance accompanies the book: a signed original 2001 letter of provenance from Jacoby's son; Jacoby's May 6, 1945 letter on captured "Adjutant der Wehrmacht" envelope to his father mentioning mentioning this book and its limitation number, original May 11, 1945 letter and envelope on Martin Bormann stationery to his parents describing crossing Germany and visiting the Eagle's Nest; an original letter to his parents on captured Adolf Hitler letterhead (taken from Berchtesgaden), Salzburg, May 18, 1945 mentioning the Berghof, the Platterhof, the Eagle's Nest ("I expect in the future the place will become a tourist attraction..."); original "capture" papers showing Jacoby's sending relics home, original war-date photo of Jacoby and ruins in Nuremberg with original July 1, 1945 letter mentioning them; Jacoby's Silver Star citation (carbon); 5th Tank Destroyer Group immediate post-war histories with foreword by Jacoby and original ink portrait used therein, and much more. A most demonstrative relic of the fall of the Third Reich. -
Los 1109
DOUGLAS MACARTHUR COMMEMORATIVE GROUPINGLot of eight items commemorating the military service of Gen. Douglas MacArthur. Included is: signed photo, 9 1/4" x 12 1/2" b/w, a full-standing view, signature significantly faded, image bearing spotting; two plaster and one metal miniature bust, two copyrighted 1942, 7-8 1/2" tall, cap brim on one plaster bust damaged; two nylon pennants printed with a head shot of MacArthur over-lettered "Our Hero", 12" x 8" and 18" x 12"; a pair of aluminum bookends, 7 1/2" tall with bas-relief bust portrait; and a 7" x 10" bronze-painted plaster head and shoulders plaque, copyright 1942. Overall very good.
Los 15
RUDOLF HESS(1894 - 1987) Nazi German Deputy Fuehrer and second in command after Goering, Hess was one of Hitler's closest confidantes and friends. In an unauthorized peace mission, Hess flew a German fighter to England and surrenedered, purportedly attempting to ally Germany with Great Britain against Russia. His mission, of course, failed and Hess was imprisoned at Spandau where he was found hanged in 1987. Scarce S.P., 5" x 7" b/w, a chest, up bust portrait as Deputy Fuhrer, signed at bottom. Simply framed, near fine.
Los 16
HANS FRANK'S LEGAL DISSERTATION AND ADMITTANCE TO THE MUNICH BARHANS FRANK (1900–1946) German lawyer emplyed by the Nazi Party in the 1920s and 1930s, and later Hitler's personal lawyer. After the invasion of Poland, Frank became Nazi Germany's chief jurist in occupied Poland. During his tenure throughout the war, he terrorized civilians and was directly involved in the mass murder of Jews and Poles. Executed following the Nuremberg War Crimes Trials. Important pair of items directly related to Frank's career as a lawyer. Included is a letter from the Bavarian Justice Department, 1p. large 4to., Munich, May 9, 1927 addressed to Frank in Munich admitting him as a lawyer to courts in Munich and surrounding districts. Folds and some toned spots. Also present is Frank's legal dissertation with a signed presentation: “Public Legal Body - A contribution to the teaching of the condition of the public entity. Inaugural Dissertation Faculty of Law, University of Kiel", 226 pp. legal folio, bound with string. Frank, at the time a civil service clerk in Munich, adds his birthday “born Mai 23., 1900” next to his name at center. At bottom he dedicates the work to his former teacher: “My dear, loyal teacher Mr. Prof Franz Kucera in Prague in reverence and gratitude presented by his student Dr. Frank Munich August 18, 1924” beside which he notes: "Test: August 8, 1924 Consultant; Prof Dr. [Walter] Jellinek Co-Consultants: Prof Dr. Pappenheim Prof Dr. Radbruch Prof Dr Beseler”. In 1935 Jellinek was ousted from his office by the Nazis on account of his Jewish ancestry. Last four or five pages damages with some loss due to old water damage, front page stained at right margin, with toned spots at bottom. Also included is a 6 ½" x 8 ¾" b/w portrait and a damaged 7" x 9 ½" b/w group photograph showing Frank with Arthur Seyss-Inquart.
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283287 Los(e)/Seite