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Ca. 350 BC. A black glaze oinochoe with glossy black glaze, serves as the perfect backdrop for the intricate red-figure decoration that adorns its surface, depicting a graceful running animal, perhaps a dog, with remarkable attention to detail and lifelike expression. The oinochoe was an essential vessel in ancient Greece, used for pouring wine and other liquids at symposia and other social gatherings. Its body is bulbous and rests on a ring foot, tapering to a graceful neck with a trefoil spout and a handle at the back for easy pouring. This particular oinochoe is a testament to the skill and craftsmanship of the Attic potters who produced it, with its perfectly balanced form and elegant curves. Size: L:60mm / W:50mm ; 40g Provenance: Private London collection, B.A.; formerly in pre-2000 European collection.

Late Dynastic Period, ca. 664-332 BC. A bronze figure of Osiris in a mummiform position holding the crook and flail. He is depicted with a braided divine beard and wearing the atef crown with plumes of ostrich feathers which symbolises power and shows his role as king in the afterlife. Below this uraeus is depicted protecting him. Osiris was one of the most popular ancient Egyptian gods and was connected with male fertility. He was said to be the first Pharaoh of Egypt and was murdered by his brother Seth for his crown. Osiris was revived by Isis, his wife, and sister, to conceive Horus, the son who would avenge his death. After death, Osiris became ruler of the underworld and God of the dead, which is why he is shown with the crook and flail, the symbols of authority for Egyptian rulers.Size: L:95mm / W:20mm ; 45gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 17th-19th century AD. A circular tray with a serrated edge, a beautifully sculpted body consisting of two bands of arched-shaped niches, and a central flat field adorned with fine calligraphy inscriptions enclosed in a rounded frame. The entire surface of this tray is covered with interwoven patterns that transport the viewer to a world of infinite beauty and exquisite craftsmanship. The art of calligraphy holds a prominent place in Islamic culture and is evident in the inscriptions that adorn these trays. The Arabic script is a sacred art form that expresses religious themes and serves as a reminder of the divine presence in all aspects of life. The fine calligraphy inscriptions on these trays are masterfully executed, showcasing the skill and creativity of the artisans who created them.Size: L:30mm / W:390mm ; 950gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 4th century BC. A marvel of Hellenistic craftsmanship - a resplendent gold chain of exquisite beauty and refinement, adorned with the regal countenances of two mighty rams. It is comprised of a chain with a loop-in-loop design and the ram head finials, which mesmerize with their captivating details. Each finial boasts a unique attachment, with one featuring a hook and the other, a loop, which ingeniously fastens the necklace. Spherical garnet beads at the rear of each finial add a charming touch of elegance to the already graceful piece. The collar of the ram-head terminal bears intricate scrolls, a hallmark of Hellenistic decorative art, which gives way to the majestic creatures themselves. Rendered with painstaking care, the rams' snouts, nostrils, mouth, and eyes are imbued with a lifelike quality, while the skin on their cheekpieces is textured with a realistic touch. Their most impressive feature, however, is their majestic horns - curved and ribbed, a testament to the Hellenistic fascination with the power and grace of these noble creatures. As s symbol of virility and fertility, the ram was closely associated with the god Zeus, who was often depicted in ram form. It was also revered for its strength and tenacity, qualities that were highly prized in the martial world of ancient Greece. Size: L:440mm / W:17.1mm ; 12.2g Provenance: Property of a central London Gallery; formerly with a European collector, ex. Private Dutch collection; previously in English private collection, 1980.

Ca. 1300-1500 AD. A medium-sized iron double-edged dagger with a sculptured cross guard in the shape of a hammer head and tapering tang to disc-shaped pommel, Oakshott type H1 or H2. The handle would have been covered in either wood or leather. This beautiful example probably belonged to a medieval knight, who may have used it as a secondary weapon in close combat. Size: L:360mm / W:50mm ; 280g Provenance: Property of a European collector; ex. German collection formed between 1990-2010.

Late Shang Dynasty, Ca. 1300-1100 BC. A bronze cauldron, generally known as a ding. The object comprises a rectangular body with a shelved rim and two horizontal handles. The upper part of the body is intricately decorated with a bas-relief cast zoomorphic pattern. The body is supported by four robust cylindrical legs with some decoration. Some restoration. This beautiful object may have been used for ritual banqueting among the aristocracy of the Late Shang Dynasty, who ruled over the lower and middle Yellow River Valley in the 2nd millennium BC. For a comparable example, see The Metropolitan Museum of Art, Accession Number: 49.135.2. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.Size: L:280mm / W:200mm; 4.23kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Late Period, ca. 664-332 BC. A mummy shroud composed of threaded faience beads arranged in a net pattern, which collectively form a remarkably detailed depiction of the deceased's face, a winged scarab, and the four Sons of Horus. The face of the deceased is rendered with great precision, with the use of blue beads outlining the face's shape and dark green beads forming the facial features. The nose and lips are delineated with brown beads, while the eyes and brows are rendered with black beads, giving the face a lifelike appearance. Below the face, a winged scarab is depicted in beige and brown, symbolizing rebirth and resurrection. Below the scarab, four figures are depicted, representing the four Sons of Horus, who were believed to protect the organs of the deceased in the afterlife. The use of faience beads to create shrouds for the dead was a common practice in ancient Egypt. These shrouds were typically draped over the body of the deceased during the mummification process and were believed to provide protection in the afterlife. Restrung.Size: L:270mm / W:150mm ; 96.38gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Ca. 17th century AD. This steel helmet is a masterpiece of craftsmanship and elegance, a true testament to the artistry of its makers. Its conical form is surmounted by a graceful spike finial that adds to its imposing and regal appearance. The exterior is adorned with exquisite decorative cartouches and bands of highly ornamental designs that speak to the dedication and skill of the artisans who created it. The everted rim adds a touch of grace and sophistication to the piece, elevating it to a level of refinement that is truly breathtaking. The helmet's beauty is undeniable, but it is not merely ornamental. It is a functional piece of armor that would have been worn by soldiers in battle, offering them protection and confidence as they faced their enemies. The Safavid dynasty was a period of frequent warfare, and helmets played a crucial role in protecting soldiers on the battlefield. The helmets of the Safavid army were typically made from high-quality steel that was tempered and hardened to provide maximum protection to the wearer. The conical shaped steel helmet was a popular choice for Safavid soldiers, a this type of helmet provided excellent protection to the head while also allowing for excellent visibility. Custom-made stand included. Size: L:260mm / W:250mm ; 1.05kg Provenance: Private London collection; ex. UK art market prior to 2000.

Ca. 4th century BC. An enchanting pair of gold earrings, a testament to the ingenuity and creativity of ancient goldsmiths. Each earring is a masterful work of art, with a delicate hook adorned by a tiny five-petaled flower and a recessed disc embellished with rosettes and intricate scrollwork. Two short chains, suspended from opposite sides of each earring, lead to a boat-shaped dangle, which is adorned with delicate filigree and crowned with the mesmerizing visages of sirens. These mythical creatures, half-bird, half-woman, were revered in Hellenistic culture for their enchanting voices and their ability to lure sailors to their doom. The filigree work that adorns the boat dangle is a stunning display of the ancient goldsmith's craft. Delicate flowers adorn the finials, while the central portion of the boat's upper edge is graced with the heads of sirens with a remarkable sense of realism. The bottom edge of the boat is adorned with intricate clusters of filigree, which shimmer in the light with an otherworldly beauty. In Greek mythology, sirens were often portrayed as dangerous creatures who lured sailors to their death with their beautiful songs. This made them a powerful symbol of temptation and danger, and their presence in Hellenistic art and literature served to caution against the allure of forbidden pleasures. Size: L:52.1mm / W:22.6mm ; 9g Provenance: Property of a central London Gallery; formerly with a European collector, ex. Private Dutch collection; previously in English private collection, 1980.

Ca. 19th century AD. A beautiful kard dagger crafted with a single-edged blade of exquisite watered steel, the blade tapers to a sharp point, perfectly suited to its intended purpose. The handle of the knife is no less impressive, with its robust construction and lavish ornamentation. Adorned with intricate gold koftgari decoration, the handle features delicate floral scrolls that add a touch of elegance to the knife's overall appearance. Koftgari, a technique originating from India, involves the inlaying of fine wires of gold, silver, or brass onto metal surfaces, creating a decorative effect that is both beautiful and durable. In this knife, the koftgari decoration is executed with exceptional skill and precision, a testament to the mastery of the Ottoman craftsmen who created it. Cf. Bonhams, Antique Arms and Armour, London, 25 July 2012, Lot 88.Size: L:345mm / W:25mm ; 425gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 664-30 BC. A group of well-defined wedjat eyes, with fine details, notched eyebrows. The amulet is horizontally pierced for suspension. The wedjat-eye amulet depicts a human eye with a brow, the two stylised lines below the eye are often identified as the facial markings of a falcon. The wedjat-eye was supposedly the eye that Seth tore from Horus during a battle over who would lead the gods. Wedjat-eye amulets were used from the Old Kingdom through to the late Roman Period; it was used during daily life as a bracelet or necklace or amongst the wrappings of the deceased. This stylised and symbolic amulet was magical and offered the owner a source of protection and strength. Cf. Petrie, W. M. F. 1914. Amulets. London. (p. 32-33, pl. XXIV-XXV). For similar amulets, see Carol Andrews, Amulets,Size: L:9.5-18.2mm / W:6.6-11.7mm ; 3.05gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Ca. 1550-1070 BC. A nice example of a rock crystal scarab amulet in the form of a scarab with naturalistic detailing the clypeus, prothorax, and elytra marked by single lines. The reverse is flat and undecorated. Pierced longitudinally for suspension. The scarab beetle was a popular symbol in the art of Ancient Egypt, believed to represent the sun god, Ra. The Ancient Egyptians were a highly interpretive people, who believed that the scarab beetle rolling its ball of dung across the desert mirrored the journey of the sun across the sky from day to night. As the beetle laid its eggs within the dung, it became a symbol of rebirth and regeneration.Size: L:13.2mm / W:9.6mm ; 1.2gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Ca. 2nd-1st millennium BC. A storage vessel, crafted from hard stone. Its delicate form features a skillfully carved globular body that elegantly tapers towards the open mouth. The vessel rests upon a flat circular base, proudly displaying its exquisite craftsmanship and the mastery of the artisans who created it. In the Bronze Age, storage vessels played a vital role in the daily lives of the people of the Holy Land. This stone vessel would have served as a sturdy container for various commodities, including grains, oil, and wine. Such vessels were an essential part of the agricultural and economic systems of the time, used for the safe storage and transportation of valuable goods.Size: L:115mm / W:120mm ; 980gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 100-300 AD. A chalcedony cameo, with its finely carved features and lifelike detail, depicts the infamous Gorgon with her characteristic serpent hair and petrifying gaze. The golden setting, with its delicate flounced border and ribbed suspension loop, serves to frame and accentuate the beauty of the stone. In ancient mythology, Medusa was a fearsome creature whose mere gaze could turn onlookers to stone. She was one of the three Gorgon sisters, whose appearance was said to be so terrifying that even their own reflection could turn them to stone. Medusa was ultimately slain by the hero Perseus, who used her own reflection in his polished shield to avoid her gaze and strike the fatal blow. Roman medusa cameos were often worn as protective talismans or incorporated into jewelry, such as this stunning pendant. The Romans believed that Medusa's image could ward off evil and protect the wearer from harm. Setting repaired; wearble. Size: L:29.7mm / W:21.3mm ; 7g Provenance: Private London collection, UK art market before 2000.

Ca. 500-400 BC. An iron sword with a broad tapering blade, which terminates in a point, rectangular grip with a lobed lower guard, crescentic pommel. Excellent condition. This example is from Siberia, where the people were known as Scythians or Scytho-Siberians who left behind an imaginable number of tombs full of precious metalworks. For a similar, see Archaeologicheski almanah 1, Catalog sluchaynih nahodok is archaeologicheskih sobraniy Donetskoy oblasti, 1993, cat 281. Size: L:343mm / W:46mm; 165g Provenance: Private Oxfordshire collection; Formerly acquired on the European art market from pre-2000 collections.

Ca. 1700-1800 AD. A gold ring featuring a magnificent neoclassical intaglio of a Roman Emperor, possibly Pertinax, whose visage has been rendered with such precision that one can almost feel his commanding presence. His depiction is exquisitely rendered with fine facial details, an abundant beard, and a wreath atop his head, exuding an air of authority and wisdom. The ring's design is equally impressive, with a thin hoop that culminates in a Y-shaped support for the bezel, reminiscent of the neoclassical style of the late 18th and early 19th centuries. Pertinax, a man of great intellect and valor, was born into humble origins in the second century AD. Rising through the ranks of the Roman army, he eventually attained the coveted position of Praetorian Prefect, serving under Emperor Commodus. After Commodus was assassinated in 192 AD, Pertinax was proclaimed Emperor by the Praetorian Guard, and he assumed the mantle of leadership in a time of great turmoil. Alas, his reign was short-lived, as he was deposed and assassinated by the Praetorian Guard, who had grown disillusioned with his attempts to reform their corrupt practices. Nevertheless, his legacy endured, as a symbol of the ideals of good governance, justice, and righteousness.Size: D: 18.75mm / US: 8 3/4 / UK: R; 5.19gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 300 AD. A glass jug that exudes an aura of ethereal beauty. Its exquisite light blue hue creates a mesmerizing play of light. The jug's bulbous lower body with its gentle curves and soft edges create a sense of harmony and balance that is both soothing and captivating. The neck's generous opening provides a convenient way of pouring liquids, while its elegant design adds a touch of sophistication to the jug's overall appearance. The jug's applied strap handle is a functional element that also adds a decorative touch to the design. The small rounded foot of this jug serves as a solid support, ensuring its stability and balance. It also creates a sense of elevation, lifting the jug above the surface it sits on and highlighting its delicate form. In the Roman world, glass jugs like this one were highly valued for their beauty, and versatility. They were used to store and transport a wide range of liquids, from water and wine to perfumes and oils. Glass was a relatively new and exotic material in ancient Rome, and its translucency and reflective qualities made it particularly attractive to the Roman elite, who prized luxury and refinement.Size: L:115mm / W:100mm ; 180gProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Western Asiatic/Aegan, ca. 1200-700 BC. A collection of four bronze weapons, including three spearheads and a flat axe. The three spearheads are with blades boasting a midrib and tapering to a sharp point, each with a tang for easy insertion into a wooden shaft. The design of these spearheads was carefully crafted for maximum efficiency, allowing warriors to pierce through armor and flesh with ease. The flat axe is equally impressive. Its flat design, rounded butt, and curved and flared cutting edge to the opposite end, allow for quick and efficient cutting and chopping. The axe represents the ingenuity and adaptability of ancient peoples, who harnessed the power of bronze to create objects of practical use in daily life.Size: L:110-170mm / W:20-35mm ; 180gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 19th-20th century AD. A fine sword executed in a 15th-century style features a broad blade, tapering to a sharp point, ideal for delivering powerful blows in battle. The blade itself is adorned with incised decoration that runs halfway along its length, marking this weapon as a work of art as much as a tool of war. The double-armed guard of this sword is richly ornamented, a testament to the craftsmanship and artistry of the master swordsmiths who created it. This guard provides both protection and decoration, showcasing the sword's owner's wealth and power while also serving a practical function in battle. The hilt of this sword is covered with grip wiring, a design feature that enhances the weapon's functionality in combat. The grip wire provides a secure hold, even in the midst of battle, allowing the wielder to maintain control of their weapon and deliver swift, powerful blows to their opponents. The pommel of this sword is discoid with relief decoration, adding to the sword's beauty and ornamental appeal. The pommel serves both as a decorative element and as a counterweight, balancing the weapon and ensuring that it can be wielded with ease and precision. Size: L:750mm / W:145mm ; 690g Provenance: Property of a European collector; ex. private German collection.

Ca. 100-300 AD. A gold finger ring composed of a tapering hoop with faceted shoulders supporting an amethyst intaglio engraved with a dynamic scene of a man riding a donkey. The ancient Romans considered jewellery to be an essential dressing accessory, for it provided a public display of their wealth. Roman jewellery first followed fashion set by the Etruscans, using gold and glass beads, but as the Roman empire spread and became more prosperous, so did its jewellery designs become increasingly elaborate. The behavior of wearing rings was popular amongst the Romans and was likely introduced by the Sabines, who in early legends, as wearing gold rings with precious gemstones.Size: D: 18.14mm / US: 8 / UK: P 1/2; 10.32gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market.

Late Period / Ptolemaic Period, ca. 664-332 BC. A fragment of the edge of a small unidentified magical object which originally must have had a quadrangular shape with a niche in the centre. The short side (Aside), features an engraved scene that refers to the context of the magical texts. From left to right the ibis-headed god Thoth with a lunar crescent on its head can be seen, standing with his right arm raised and his left arm outstretched with his hand gripping a scribe's palette. The god is identified by a short hieroglyphic text bearing one of his titles: "Lord of Hermopolis". This is followed by the figure of the god Horus in the form of a falcon with a double crown on his head, which as a sign of victory rests on the back of an oryx, an animal which in Egyptian mythology symbolizes the forces of evil. The scene is accompanied by the word "destroy". The following figure depicts Horus the child standing on crocodiles, protected by the aegis of the god Bes: it is probably the depiction of so-called Horus stelae widespread especially in the Late and Ptolemaic Period. This scene is taken from the repertoire of divine representations with magical and apotropaic value engraved on statues and stelae datable between the end of the Late Period and the Ptolemaic Period. The two short sides, originally divided into two lines of text each, present the beginning of a hieroglyphic text too fragmentary to be identified. The upper face, (Bside), which originally had a large central niche, bears the following short hieroglyphic text: "Back you, rebel!". In an anomalous way, even the lower face (E-side), was originally inscribed. Of this text, arranged in horizontal lines, part of the first two lines is preserved. an anomaly is found in them: the first hieroglyph is oriented in the opposite way to the rest of the text. The inscription in the first line reads: "in front of .... against the one the who is in the water"; the second line of hieroglyphs is damaged by scratches and is not easy to read: "do not advance towards him(?)". Among the aforementioned sentences, the first two seem to have been extrapolated from spell 5 of the Metternich stela, while the third does not seem to have any correspondence with the texts of the aforementioned stela. By way of hypothesis, this fragment, given its small size and given the central groove or niche, could be what remains of the support of a small stela, in all probability depicting the god Hous the child on crocodiles. The detailed report will accompany the item. Size: L:36.3mm / W:58.9mm ; 96.56g Provenance: Property of a London Art gallery; formerly in a UK collection; previously acquired from French dealer in 2023; ex. Pierre Berge, sale 2007; ex. E. Strobel collection, Nurenberg, Germany.

Ca. 1000 AD. A glass flask with an onion-shaped body crafted in a mesmerizing deep green hue, evoking a sense of timeless elegance and sophistication. The centerpiece of this piece is the funnel-shaped neck with a rounded rim, which protrudes from the center of the top edge of the vessel. Its form is a testament to the skill and ingenuity of the Islamic glass artisans, who were renowned for their mastery of glassblowing techniques and ability to create stunningly intricate designs. This flask may have been used for a variety of purposes, from holding fragrant oils to storing medicinal elixirs.Size: L:75mm / W:85mm ; 353gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. 664-30 BC. A selection of five uzat amulets, also referred to as eye of Horus or Wedjat-eye amulets, with fine details and notched eyebrows. The amulet is horizontally pierced for suspension. The wedjat-eye amulet depicts a human eye with a brow, the two stylised lines below the eye are often identified as the facial markings of a falcon. The wedjat-eye was supposedly the eye that Seth tore from Horus during a battle over who would lead the gods. Cf. Petrie, W. M. F. 1914. Amulets. London. (p. 32-33, pl. XXIV-XXV) For similar amulets, see Carol Andrews, Amulets.Size: L:12.6-17.8mm / W:9.8-13.9mm ; 4.6gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

Ca. 3rd Millennium BC. A creme-coloured ceramic figurine of a zebu bull with rondel eyes. Painted with stripes on the back, and shoulders, and on exaggerated crescent horns. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull's importance in religious sacrifice.Size: L:74mm / W:56mm ; 20gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 200-300 AD. A schist head of a Bodhisattva, a stunning masterpiece of art that embodies the profound spiritual insights of the Buddhist tradition. This magnificent work of sculptural brilliance invites us to delve deeper into the mysteries of existence and the paths to enlightenment. The Bodhisattva's head is characterized by rounded cheeks, a broad nose, arched raised thin brows, almond-shaped eyes, and small lips. These features contribute to a strikingly realistic and dynamic portrayal of the human face, imbued with a sense of compassion and grace. The Bodhisattva's head is crowned with an elaborate bun coiffure, slightly off the top of the head, with cascades of hair flowing at the back. The recessed urna on the forehead adds a touch of exquisite detail, perfect for inlay work. This breathtaking masterpiece of Gandharan art represents one of the many Bodhisattvas that are central to the Buddhist tradition. In Buddhism, a Bodhisattva is an enlightened being who has postponed their own Nirvana to help others attain enlightenment. They embody the highest ideals of compassion, wisdom, and spiritual grace, serving as inspirational figures for Buddhist practitioners all over the world. The Gandharan region, where this Bodhisattva was created, was a hub of artistic and cultural creativity, where Buddhism flourished and spread its teachings throughout the world. The exquisite craftsmanship and aesthetic sensibility of Gandharan art reflect the profound spiritual insights of the Buddhist tradition, inviting us to explore the mysteries of existence and the path to enlightenment.Size: L:280mm / W:195mm ; 11.7kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 100-200 AD. A strikingly expressive schist torso of emaciated Siddhartha, whose physical austerity is palpably conveyed through the intricate details of his skeletal frame. His face, with sunken eyes and wavy hair gathered at the top of the head in a bun, gazes inward, contemplative and serene. This sculpture represents a profound moment in the life of Siddhartha Gautama, the founder of Buddhism, who famously embarked on a six-year ascetic journey, enduring extreme privations in his search for enlightenment. This period of self-mortification culminated in Siddhartha's emaciation, which is poignantly depicted in this sculpture. The revealed ribcage, tendons, and veins, along with the bony shoulders, symbolize his sacrifice and determination to transcend the material world. The halo encircling the head of the sculpture adds a spiritual dimension, alluding to the attainment of enlightenment that Siddhartha ultimately achieved. The reverse side remains flat and unworked. Cf. Christie's Live Auction 1974, Indian & Southeast Asian Art, 21 Mar 2008, Lot 569.Size: L:250mm / W:165mm ; 3.13kgProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Ca. 17th-19th century AD. A nice example of a magic bowl, a work of art that has been carefully crafted to protect its owner from the fearsome forces of evil and demons. This bowl boasts a broad, deep body with a rounded base and a central raised boss, all of which have been exquisitely adorned with dozens of intricate Koranic inscriptions. These elaborate designs are said to be imbued with mystical powers capable of repelling malevolent spirits and safeguarding the well-being of the owner. The rich history of Islamic magic bowls spans centuries, originating from the heart of the Islamic world. These enchanted vessels were highly sought after by the wealthy and powerful who sought protection for themselves and their loved ones. In addition, they were utilized by those who suffered from physical or mental illnesses as a means of spiritual healing. Size: L:60mm / W:230mm ; 1.38kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 1st millennium BC. A stone block fragment with incised characters in Ancient South Arabian script to the top edge and a walking figure of a warrior, who holds a long, curved sword in the right hand. During the first millennium BC, this part of the ancient world saw several different kingdoms; Qataban, Saba (Sheba), and Himyar, emerge that had built their wealth upon desert trade and in particular frankincense and myrrh.Size: L:160mm / W:120mm ; 1.4KgProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 19th century AD. A brass pen case with an attached inkwell. The slender, elegant form of the pen case features rounded finials and a hinged mechanism that enables it to be opened for the insertion of writing tools. The lid of the case is adorned with a pointed finial, while the inkwell, attached to the side of the case, features a cushion-shaped body with a hinged cover decorated with a shell. The entire body of the case is covered with dense chiseled and chased decorations of scrolls and tendrils, creating a visually stunning effect that is both intricate and breathtaking. Pencases such as this one were an essential part of the Ottoman Empire's writing culture. They served as both a practical and decorative tool, providing a convenient and stylish way to store and transport writing materials. This particular example, with its attached inkwell, would have been especially useful for those who needed to write while on the move.Size: L:255mm / W:50mm ; 375gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 457-474 AD. The coin features the obverse depiction of a helmeted, diademed, and cuirassed bust of Emperor Leo I, facing forward and holding a spear over his shoulder, as well as a shield adorned with a horseman motif. The reverse portrays the image of Victory standing to the left, clutching a long jeweled cross, with a star situated in the right field. Emperor Leo I, or Flavius Valerius Leo Augustus, was a significant figure in the Eastern Roman Empire, ruling from 457 to 474 AD. During his reign, he faced numerous challenges, including the invasion of the Huns and the Sassanid Persians. Despite these challenges, Leo I proved to be a capable leader who prioritized diplomacy and strategic alliances to maintain the stability of his empire. This pendant comes with a modern necklace cord.Size: L:22.8mm / W:19.6mm ; 6.56gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Deccan, ca. 16th-18th century AD. A brass oval-shaped tray with a beautifully shaped recess and flat rim. The sunken part of the tray features a stunningly detailed figurative scene of four graceful ladies, facing to the left, each carrying water vessels on their heads. Their stunningly detailed long dresses and shawls are a testament to the skill of the masterful artisans who crafted this tray. The ladies are depicted barefoot, adding to the feeling of intimacy and authenticity of the scene. In the background, the majestic mountains and sun create a serene ambiance, inviting the viewer to immerse themselves in the stunning world depicted on the tray. The rim is adorned with intricate engravings of delicate floral patterns and leaves, evoking the lush landscapes of the region. Trays like this one were not only decorative but also had practical uses, such as serving food and beverages, and were often used during celebrations and special occasions. The intricate metalworking techniques employed by Islamic artisans of the Deccan region during this time were highly valued and prized, and continue to be revered to this day.Size: L:585mm / W:380mm ; 1.34kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Sui Dynasty, ca. 581-618 AD or later. A stone head of a Bodhisattva depicted with a regal headdress and elaborately coiffured hair, suggesting the importance and significance of this figure. The face is rendered with great attention to detail, with arched brows, heavily lidded, half-closed eyes, a bulbous nose, full lips, a rounded chin, and large, pendulous ears. Bodhisattvas were revered figures in Mahayana Buddhism, embodying the ideal of enlightenment and compassion. They are beings who have attained enlightenment but choose to remain in the earthly realm to help others achieve enlightenment. The Bodhisattva ideal emphasizes the importance of compassion and altruism in the pursuit of spiritual awakening. The Sui Dynasty was a crucial period in Chinese history, known for its unification of the northern and southern regions and the restoration of a centralized government. This era also saw the emergence of a distinctive style of Buddhist art, which fused elements of Indian, Central Asian, and Chinese traditions. This Bodhisattva head is a superb example of this artistic fusion, combining the sophistication of Chinese art with the spiritual depth of Buddhist symbolism.Size: L:240mm / W:175mm ; 5.74kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 900-1100 AD. An iron bearded axe head with an elongated, curved blade and tapering cheek. The bearded axe, or Skeggøx (from Old Norse Skegg, "beard", and øx, "axe") was common from the 6th century AD onwards in Scandinavia but made most famous by the Vikings, who used these axes in battles to terrible effect. In bearded axes, the main part of the axe blade extends below the butt of the axe, creating a large cutting blade and allowing a fighter to hook onto the shields or weapons of their opponents. For more information on Viking axes, see Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 139-141. This item comes with a custom-made display stand. Size: L:145mm / W:195mm ; 1.28kg Provenance: Private UK collection; From an old British collection formed in the 1990s

Ca. 100-300 AD. A carnelian intaglio set in a possibly later gold ring capturing a poignant scene of mourning, likely depicting Aristomenes, sitting on a pile of rocks and beneath a tree. In Greek mythology, he was a Messenian warrior who fought against the Spartans in the 8th century BC. It is possible that the mourning depicted in the intaglio relates to his eventual defeat at the hands of the Spartans, which would have been a significant event in Greek history. Alternatively, it is possible that the mourning depicted in the intaglio has a more symbolic or allegorical meaning, rather than a literal one. For example, the winged figure in front of Aristomenes could be interpreted as a representation of death or the afterlife, suggesting that the scene is a contemplation of mortality and the impermanence of life. The finely engraved details of the figures and the setting provide a glimpse into the artist's skill and the emotional depth of the scene. Size: D: 19.35mm / US: 9 1/2 / UK: S 1/2; 4.95g Provenance: Private London collection, UK art market before 2000.

Ca. 1400 - 1500 AD. A gold finger ring featuring a rectangular-section hoop of massive, octagonal form that immediately captures the eye with its intricate design. Each of the eight flat faces of the hoop has been carefully engraved with the haloed head of Christ or a Saint holding the Gospels within a rectangular border. The intricate details of these engravings are a testament to the skill and precision of the medieval goldsmiths who crafted this remarkable piece. The use of gold in this ring further enhances its preciousness, symbolizing wealth and power, and reflecting the status of the wearer. In medieval times, jewelry was often used to convey social and religious messages, and this ring is no exception. The iconography of the ring, depicting the heads of Christ and Saints holding the Gospels, serves as a powerful reminder of the importance of religion in medieval society. It is a testament to the deep devotion and faith of the wearer, as well as their desire to display their religious affiliation and beliefs. The detailed report from Striptwist Ltd will accompany the item. Size: D: 17.12mm / US: 6 3/4 / UK: N ; 18.89g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 800-600 BC. A socketed bronze spearhead is a striking example of ancient Greek weaponry, featuring a substantial lentoid-section blade with a raised midrib and a long shaft that gradually flares to its opening. The spearhead's socketed design allowed for easy attachment to a wooden shaft, creating a formidable weapon. Hoplites were the citizen-soldiers of ancient Greece, who fought in organized ranks known as phalanxes. The spear was their primary weapon, and was used both for thrusting and throwing. For more information on Greek hoplite warfare, see Donald Kagan and Gregory F. Viggiano, Men of Bronze: Hoplite Warfare in Ancient Greece, Princeton University Press 2013.Size: L:450mm / W:55mm ; 495gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.

Ca. 664-332 BC. An amulet made of blue-green faience. Depicted is the goddess Taweret represented as a female hippopotamus who was considered to be a protectress of women in childbirth. She is shown in one of her traditional positions, striding with her left (hind) leg forward and holding her arms to the sides of her pregnant belly. She has pendulous breasts. A suspension loop on top of her head. On an integral base. Cf. Carol Andrews, Amulets of Ancient Egypt (London, British Museum Press, 1994), p. 10, 36, 40-41.Size: L:49.8mm / W:18.9mm ; 9.15gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.

A pair of tall brush washers characterised by their tubular bodies, which sit atop circular bases, creating an elegant and harmonious form. The use of a bright orangish-red background adds a sense of vibrancy and energy to the pieces, while the intricate lotus scrolls, flowers, and birds that adorn them create a sense of tranquillity and beauty. The floral and avian motifs that decorate the brush washers are rendered with remarkable precision and delicacy. Each element of the pattern is executed with exquisite attention to detail, reflecting the skill and expertise of the artisans who created the pieces. The use of the lotus, which is a symbol of purity and enlightenment in Chinese culture, adds a layer of symbolic meaning to the design.Size: L:280-280mm / W:115-115mm ; 2.07kgProvenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.

Ca. 1st millennium BC. A stone block fragment with incised characters in Ancient South Arabian script to the top edge and below are two standing figures with simplified features. The standing figures are likely representations of the deceased or the gods who were believed to protect them in the afterlife. South Arabian alabaster funerary stelae are important artifacts that shed light on the funerary practices of the ancient peoples of the Arabian Peninsula. These stelae, which date from the 4th century BCE to the 4th century CE, were used to mark the tombs of the deceased and often feature inscriptions and intricate relief carvings.Size: L:225mm / W:190mm ; 3.85KgProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 1300-1500 AD. An iron double-edged dagger with a straight sculptured cross guard with incised decoration and tapering tang to the disc-shaped pommel with conical-shaped gilt decoration. Pommel is Oakshott type H1 or H2. This beautiful example probably belonged to a medieval knight, who may have used it as a secondary weapon in close combat. The surface is pitted and the item worn, but overall the condition is good. Size: L:410mm / W:95mm ; 285g Provenance: Property of a European collector; ex. German collection formed between 1990-2010.

Ca. 200-400 AD. A finely modelled terracotta head of a bodhisattva. A bodhisattva was originally conceived as Gautama on his path to enlightenment before he became the Buddha, but by this point, it was conceived as anyone who was in the process of reaching enlightenment, or who had reached it but, forsaking nirvana, chose to remain in this world to teach others how to reach it too. His finely modelled face is decorated with the thin wavy moustache fashionable in Gandharan sculpture. A chip on his forehead shows an urna that would have been there once, the dot that represented the third eye. He has idealised features including a rounded face, downcast eyes, aquiline nose, and pendulous pierced earlobes. Wavy hair drifts down at his temples from a circlet decorated with rosettes, above which would have been an elaborate headdress. Gandhara sat at the crossroad of civilisations on the Silk Road, drawing on influences from across the world, and its earlier conquest by Alexander the Great had left a legacy of Greek artisans and enduring Hellenistic style. This makes Gandharan art distinct for its use of Buddhist themes and iconography with some of the delicate naturalism of Greek sculpture. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:340mm / W:260mm ; 11.8kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.

Max Liebermann 1847 Berlin - 1935 Berlin Gartenlokal am Wannsee - Schwedischer Pavillon. Um 1925. Öl auf Leinwand. Links unten signiert. 54,5 x 75 cm (21,4 x 29,5 in). [KT]. • Gemälde der 1920er Jahre gehören zu Liebermanns begehrtesten Werken auf dem internationalen Kunstmarkt. • 1910 bezieht Liebermann seine repräsentative Villa mit Atelier am Wannsee und verbringt dort die Sommermonate. • Das mondäne Seerestaurant 'Schwedenpavillon', wenige Minuten von der Villa entfernt, war Treffpunkt der eleganten Gesellschaft. • Seltene charakteristische und unverkennbare Darstellung dieses speziellen Gastgartens. • Emblematisches Motiv des Impressionismus, als dessen bedeutendster deutscher Vertreter Liebermann gilt. • Erstmals auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). Wir danken Frau Drs. Margreet Nouwen, Berlin, die das Werk im Original begutachtet hat, für die freundliche Auskunft. Das Werk wird in den Nachtrag des Werkverzeichnisses der Gemälde aufgenommen. PROVENIENZ: Privatsammlung Bayern (seit zwei Generationen in Familienbesitz). Der sogenannte Schwedische Pavillon am Wannsee mit seiner von kleinen, getrimmten Buchsbäumchen und Laubgirlanden zum Wasser hin gesäumten Terrasse ist in den 1920er Jahren ein beliebtes mondänes Ausflugslokal der Berliner Sommerfrischler. Das ursprüngliche, namensgebende und von der Wiener Weltausstellung 1873 angekaufte Holzgebäude war 1909/10 zu einem großen Gebäude im englischen Landhausstil erweitert worden. In diesen Jahren verlegt auch Max Liebermann seinen Sommerwohnsitz auf sein Seegrundstück mit Villa am Wannsee, wenige Minuten auf der Großen Seestraße vom Schwedischen Pavillon entfernt. Motive seines mit Alfred Lichtwark zusammen gestalteten Gartens oder der sonntäglichen Spaziergänger auf der Großen Seestraße sowie die dort gelegenen Gartenlokale nehmen von da an einen bedeutenden Platz in seinem impressionistischen Repertoire ein. Mit den Berliner Querelen um die Secession und schließlich dem Ausbruch des Ersten Weltkriegs zieht sich Liebermann mehr und mehr in sein dortiges Refugium zurück, wo ein Großteil seiner gelösten und mit lockerer Hand und lichtvoller Palette festgehaltenen Gemälde sommerlicher Leichtigkeit entsteht. Seit den Anfängen seiner künstlerischen Laufbahn beschäftigt Liebermann die Darstellung mehrfiguriger Gruppen im Bild, ihre Anordnung im Raum sowie die Verteilung von Licht, Farbe und Bewegung, was immer wieder neue Herausforderungen liefert: 'ich wollte auf 2 Stühlen sitzen und sowohl die Bewegung als auch die Farbe im Bild wiedergeben' (zit. nach: Eberle, Bd. II, München 1996, S. 796). Berühmte Vorbilder wie Edouard Manets 'Tuileriengarten' von 1862 oder August Renoirs 'Tanz im Moulin de la Galette' von 1876 etablieren das für den Impressionismus ikonisch gewordene Motiv. Liebermann greift diese Tradition in seinem 'Münchner Biergarten' (1884, Bayerische Staatsgemäldesammlungen Neue Pinakothek, München) auf, zu einem Höhepunkt an malerischer Freiheit gelangt das Sujet vor allem in den 1920er Jahren, in denen Liebermann die Szenerie in Farbe, Licht und Bewegung auflöst. Im Hintergrund der Blick auf die weißen Segelboote und den Ausflugsdampfer, ein herbeieilender Kellner im Frack wie auch das aufbrechende Paar mit Tochter im weißen Kleidchen formulieren den Inbegriff sorgloser Harmonie. Anlässlich seines 80. Geburtstags im Jahr 1927 richtet ihm die Preußische Akademie der Künste ein Ehrenbankett mit 120 Teilnehmern aus dem In- und Ausland aus. Die Wahl fällt dafür auf den Schwedischen Pavillon, der etwas vorgezogen schon am 30. Juni im Rahmen der Liebermann-Jubiläumsausstellung zum festlichen Ort wird, zu dem der unprätentiöse Liebermann einfach von seiner Villa herüberspazieren kann. [KT] Aufrufzeit: 10.06.2023 - ca. 13.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMax Liebermann 1847 Berlin - 1935 Berlin Gartenlokal am Wannsee - Schwedischer Pavillon. Um 1925. Oil on canvas. Lower left signed. 54.5 x 75 cm (21.4 x 29.5 in). [KT]. • Paintings from the 1920s are among Liebermann's most sought-after works on the international art market. • In 1910, Liebermann moved into his villa with a studio on Wannsee, where he used to spend the summer months. • The glamorous lakeside restaurant 'Schwedenpavillon', a few minutes from the villa, was a meeting place of the high society. • Rare characteristic and unmistakable depiction of this special garden restaurant. • Emblematic motif of Impressionism, of which Liebermann is considered the most important German representative. • Offered on the international auction market for the first time (source: artprice.com)). We are grateful to Drs. Margreet Nouwen, Berlin, who inspected the work's physical condition, for her kind support in cataloging this lot. The work will be included into the addenda of the catalogue raisonné of paintings. PROVENANCE: Private collection Bavaria (family-owned for two generations). In the 1920s, the so-called ‘Swedish Pavilion’ on Wannsee, with its seaside terrace bordered by small, trimmed box trees and garlands of leaves, was a popular day-trip destination for Berliners escaping the city in summer. The original eponymous wooden building was purchased from the 1873 Vienna World's Fair, and was expanded to become a large building in the style of an English country house in 1909/10. During these years, Max Liebermann also moved his summer residence to his lakeside property with a villa on Wannsee, just a few minutes walk from the Swedish Pavilion on Grosse Seestrasse. From then on, motifs from his garden, which he had planned together with Alfred Lichtwark, or the Sunday strollers on Große Seestraße, as well as scenes the from the garden cafes gained in importance in his impressionist repertoire. With the arising troubles in the Berlin Secession and eventually the outbreak of World War One, Liebermann increasingly retreated to this refuge, where a large part of paintings characterized by a light-filled palette were made in a summery ambiance. Since the beginning of his artistic career, Liebermann had been concerned with the challenging depiction of multi-figure groups, their arrangement in the pictorial space and the distribution of light, color and movement: 'I wanted to have my cake and it too by trying to take account of both movement and colors in the picture' (quoted from: Eberle, Vol. II, Munich 1996, p. 796). Famous models such as Edouard Manet's 'Tuileries Garden' from 1862 or August Renoir's 'Dance at Le moulin de la Galette' from 1876 establish a motif that would become iconic of Impressionism. Liebermann revisited this tradition in his 'Münchner Biergarten” (Munich Beer Garden, 1884, Neue Pinakothek, Munich), in the 1920s, when Liebermann dissolved the scenery in color, light and movement, the subject reached a peak of painterly freedom. The staffage with the white sailing boats and the steamer, a waiter in tails and the leaving couple with their daughter in a white dress embody the epitome of a carefree harmony. On the occasion of his 80th birthday in 1927, the Prussian Academy of Arts organized an honorary banquet with 120 guests from Germany and abroad at the Swedish Pavilion, an event to which the unpretentious Liebermann could simply walk over from his villa. [KT] Called up: June 10, 2023 - ca. 13.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Egon Schiele 1890 Tulln - 1918 Wien Malende Frau. 1907. Öl auf dünner Malpappe. Kallir P 49. Rechts unten signiert. 27,6 x 25,7 cm (10,8 x 10,1 in). [EH]. • Aus der Sammlung Dr. Alfred Spitzer, Freund und juristischer Berater Egon Schieles. • Lückenlose Provenienz. • Egon Schiele zählt zu den bedeutendsten bildenden Künstlern der Wiener Moderne. • Nur 5 Gemälde mit figürlichen Darstellungen dieses frühen Entstehungsjahres wurden in den letzten 39 Jahren auf dem internationalen Auktionsmarkt angeboten. (Quelle: artprice.com). PROVENIENZ: Nachlass Dr. Alfred Spitzer (1861-1923), Wien (spätestens 1930). Edith Spitzer Neumann (Tochter des Vorgenannten), Wien und New York. Privatsammlung New York (1966 von der Vorgenannten erworben). Galerie St. Etienne, New York (vom Vorgenannten, auf der Rahmenabdeckung m. Etikett). Sammlung Serge Sabarsky (1912-1996), New York. Nachlass Serge Sabarsky, New York. Sammlung Vally Sabarsky (1909-2002), New York. Vally Sabarsky Stiftung, New York. AUSSTELLUNG: Egon Schiele. A Centennial Retrospective, Nassau County Museum of Art, Roslyn Harbor, NY, 28.1.-15.4.1990 (auf der Rahmenabdeckung mit Etikett). Egon Schiele. Gemälde, Zeichnungen und Aquarelle, Schloss Mainau, 22.9.-13.11.1994, Kat.-Nr. 3. Egon Schiele, Fondation Pierre Gianadda, Martigny, 3.-14.5.1995, Kat.-Nr. 7. Egon Schiele. The Ronald S. Lauder and Serge Sabarsky Collections, Neue Galerie, New York, 11.10.2005-20.2.2006, Kat.-Nr. P3 (mit farb. Abb.). From Klimt to Klee. Masterworks from the Serge Sabarsky Collection, Neue Galerie, New York, 15.10.2009-15.2.2010, Kat.-Nr. 32. Gustav Klimt and Egon Schiele, Neue Galerie, New York, 28.6.2018-3.9.2018. LITERATUR: Otto Kallir, Egon Schiele, Persönlichkeit und Werk, Wien 1930, S. 50, Nr. 24 (Abb. Taf. 4). Rudolf Leopold, Egon Schiele. Gemälde Aquarelle Zeichnungen, Salzburg 1972, S. 527, Nr. 49. Gianfranco Malafarina, L'Opera di Egon Schiele, Mailand 1982, Nr. 44. Jane Kallir, Egon Schiele: The Complete Works, New York 1990, S. 273, Nr. 49 (m. Abb.). Kai Artinger, Egon Schiele. Leben und Werk, Köln 1999, S. 20. Der Rechtsanwalt Dr. Alfred Spitzer (1861–1923) steht Egon Schiele als Förderer und Sammler während der Akademie-Zeit bei und betreut später den Nachlass des Künstlers. Auch dieses Gemälde hat sich im Besitz des frühen Freundes und Förderers befunden und ist nach dessen Tod bei den beiden Töchtern Spitzers verblieben. Edith, die über mehrere Stationen 1938 in die USA fliehen kann, hat diese Arbeit 1966 an Otto Kallir verkauft, der damals in New York die Galerie St. Etienne betreibt. Dieses frühe Bild aus dem Jahr 1907 zeigt mit breiten Pinselstrichen und flächigen Ortsangaben schon eine klare Loslösung von dem detailverliebten akademischen Stil. Egon Schiele nimmt die räumliche Tiefe aus der Darstellung heraus, ein hoher Fluchtpunkt ohne Horizont führt zu einer geschlossenen Erscheinung, auch farblich ist das Bild auf wenige Töne reduziert. Es klingen also hier schon die weiteren Entwicklungen seiner Bildkompositionen an. Wichtig ist auch, dass er hier Figur und Landschaft zugleich thematisiert. Sonst sind es oft entweder Personen oder Landschaften, die gezeigt werden. Und noch ein dritter Punkt ist bemerkenswert: Die dargestellte Person ist als Frau und Malerin definiert, doch ist sie nicht individualisiert wie in seinen Porträts. Es ist laut Werkverzeichnis das einzige Gemälde in seinem Œuvre, das eine Person beim Akt des Malens zeigt, und dies ist eine Frau! Er selbst ist im selben Jahr auf die Akademie gekommen und lernt dort eine völlig andere, damals selbstverständliche Realität kennen: Bis 1920 sind ausschließlich männliche Studenten an der Wiener Akademie der bildenden Künste zugelassen. Aufrufzeit: 10.06.2023 - ca. 13.40 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONEgon Schiele 1890 Tulln - 1918 Wien Malende Frau. 1907. Oil on thin cardboard. Kallir P 49. Signed in lower right. 27.6 x 25.7 cm (10.8 x 10.1 in). [EH]. • From the collection of Dr. Alfred Spitzer, a close friend of Egon Schiele and his legal advisor. • Consistent provenance. • Egon Schiele counts among the most important visual artists of Viennese Modernism. • Over that past 39 years, only 5 figurative paintings from this early year of origin have been offered on the international auction market. (artprice.com). PROVENANCE: Estate of Dr. Alfred Spitzer (1861-1923), Vienna (1930 at the latest). Edith Spitzer Neumann (the above's daughter), Vienna and New York. Private collection New York (acquired from the above in 1966). Galerie St. Etienne, New York (from the above, with a label). Serge Sabarsky Collection (1912-1996), New York. Serge Sabarsky Estate, New York. Vally Sabarsky Collection (1909-2002), New York. Vally Sabarsky Foundation, New York. EXHIBITION: Egon Schiele. A Centennial Retrospective, Nassau County Museum of Art, Roslyn Harbor, NY, January 28 - April 15, 1990 (with a label). Egon Schiele. Gemälde, Zeichnungen und Aquarelle, Schloss Mainau, September 22 - November 13, 1994, cat. no. 3. Egon Schiele, Fondation Pierre Gianadda, Martigny, May 3 - 14, 1995, cat. no. 7. Egon Schiele. The Ronald S. Lauder and Serge Sabarsky Collections, Neue Galerie, New York, October 11, 2005 - February 20, 2006, cat. no. P3 (with color illu.). From Klimt to Klee. Masterworks from the Serge Sabarsky Collection, Neue Galerie, New York, October 15, 2009 - February 15, 2010, cat. no. 32. Gustav Klimt and Egon Schiele, Neue Galerie, New York, June 28, 2018 - September 3, 2018. LITERATURE: Otto Kallir, Egon Schiele, Persönlichkeit und Werk, Vienan 1930, p. 50, no. 24 (illu. on plate ). Rudolf Leopold, Egon Schiele. Gemälde Aquarelle Zeichnungen, Salzburg 1972, p. 527, no. 49. Gianfranco Malafarina, L'Opera di Egon Schiele, Milan 1982, no. 44. Jane Kallir, Egon Schiele: The Complete Works, New York 1990, p. 273, no. 49 (with illu.). Kai Artinger, Egon Schiele. Leben und Werk, Cologne 1999, p. 20. The lawyer Dr. Alfred Spitzer (1861–1923) supported Egon Schiele as a patron and collector during his time at the academy and later oversaw the artist's estate. This painting also used to be in possession of the early friend, after his death it would remain with Spitzer's two daughters. Edith, who was able to flee to the USA via several stations in 1938, sold this work to Otto Kallir in 1966, who ran St. Etienne Gallery in New York at that time. Owing to the broad brushstroke and the two-dimensional account of the setting, this early picture from 1907 already hints at an overcoming of the academy style and its love for detail. Egon Schiele takes the spatial depth out of the depiction, a high vanishing point without a horizon conveys a closed impression, the colors are also reduced to just a few tones. The further development of his pictorial compositions can already be observed here. It is also important to note that he puts figure and landscape on a par, as we often find either people or the landscape at the center of the depiction. Another aspect worthwhile to mention is that the person portrayed is defined as a woman and a painter, however, she can not be identified as an individual as it is the case with the subjects of his portraits. According to the catalogue raisonné, it is the only painting in his oeuvre that shows a person painting, and it is a woman on top of that! When he started at the academy that same year, he found an entirely different reality: Until 1920, only male students were admitted to the Vienna Academy of Fine Arts. Called up: June 10, 2023 - ca. 13.40 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Straßenszene II. 1914. Tuschfederzeichnung. Verso von Lise Gujer bezeichnet 'Zeichnung von E.L. Kirchner. Lise Gujer'. Auf Zeichenpapier (aus dem Skizzenbuch 43 mit rotem Schnitt). 20,2 x 17,2 cm (7,9 x 6,7 in), Blattgröße. [SM]. • Aus dem Besitz von Lise Gujer, einer mit Kirchner befreundeten Schweizer Textilkünstlerin, die ihre Motive häufig nach seinen Entwürfen gestaltet. • Eine der berühmten Berliner Straßenszenen. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Auskunft. PROVENIENZ: Aus dem Nachlass Lise Gujer, Davos-Sertig (verso bezeichnet). Sammlung Georg Friedrich Büchner, Berlin (1968). Sammlung Hermann Gerlinger, Würzburg (2004 erworben: Bassenge, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Zum 30. Todestag. Ernst Ludwig Kichner, Handzeichnungen der Sammlung G.F. Büchner, Berlin, Saalbau-Galerie, Berlin, 1968, Kat.-Nr. 32 (m. Abb.) Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, (2017-2022). LITERATUR: Bassenge, Berlin, Auktion Kunst des 20. Jahrhunderts, 4.12.2004, Los 6689 (m. Abb). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 338, SHG-Nr. 760. Aufrufzeit: 10.06.2023 - ca. 13.52 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Straßenszene II. 1914. Pen and India ink drawing. On paper (from a sketchbook with red edges). 20.2 x 17.2 cm (7.9 x 6.7 in), size of sheet. [SM]. • From the ownership of Lise Gujer, a Swiss textile artist and a friend of Kirchner, who based many of her motifs on his creations. • One of the artist's famous Berlin street scenes. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: From the estate of Lise Gujer, Davos-Sertig. (inscribed on the reverse) Sammlung Georg Friedrich Büchner, Berlin (1968). Hermann Gerlinger Collection, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Zum 30. Todestag Ernst Ludwig Kichner, Handzeichnungen der Sammlung G.F. Büchner, Berlin, Saalbau-Galerie, Berlin, 1968, cat. no. 32 (with illu.) Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Bassenge Kunst des 20. Jahrhunderts, 4.12.2004 Los 6689 (mit Abb). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 338, SHG no. 760 (with illu.). Called up: June 10, 2023 - ca. 13.52 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Skizze zu 'Strasse mit roter Kokotte' (Straßenszene I). 1914. Bleistiftzeichnung. Verso mit dem Nachlassstempel (Lugt 1570 b) und der handschriftlichen Nummerierung 'B Be/Bb 3'. Auf Zeichenpapier (aus dem Skizzenbuch 37 mit rotem Schnitt). 20,5 x 16,3 cm (8 x 6,4 in), blattgroß. [EH]. • Aus einem Skizzenbuch (mit Rotschnitt). • In den Berliner Straßenszenen der Jahre 1913-15 findet E.L.Kirchner zu einer ungeheuren Steigerung seiner Ausdrucksfähigkeit. • Temperamentvolle Skizze zu dem berühmten Gemälde 'Strasse mit roter Kokotte' (Gordon Nr. 366) in der Sammlung Thyssen-Bornemisza, Madrid. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Auskunft. PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Sammlung Hermann Gerlinger, Würzburg (2001 vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, Katalog 62, 2001, Kat. 40 (m. Farbabb. auf dem Titel, der Rückseite des Kataloges sowie als SW-Abb. auf S. 51). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 338, SHG-Nr. 759. Dieses Blatt ist die Skizze zu einem der Schlüsselwerke in Ernst Ludwig Kirchners Œuvre. In 'Straße mit roter Kokotte', das sich in der Sammlung Thyssen-Bornemisza, Madrid, befindet, verdichten sich alle Eindrücke, die Ernst Ludwig Kirchner aus der Großstadt Berlin aufgesogen hat. Eindringlich skizzieren die berühmten Straßenszenen Kirchners das Leben in der Metropole Berlin. Im Mittelpunkt stehen dabei die Kokotten, die mit gewagt-geschlitzten Kleidern und großen, Aufmerksamkeit heischenden Federhüten an den Straßenecken auf ihre Freier warten. Genau diese Szenerie zeigt unser Blatt mit rastlosen, schnell hingeworfenen Strichen. Die Darstellung erfasst für Kirchner die Situation so prägnant, dass er sie in der Farbkreide-Tempera-Zeichnung 'Rote Kokotte' (Staatsgalerie Stuttgart) und in dem besagten Gemälde in der Sammlung Thyssen-Bornemisza eindrucksvoll ausarbeiten wird. [EH] Aufrufzeit: 10.06.2023 - ca. 14.11 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Skizze zu 'Strasse mit roter Kokotte' (Straßenszene I). 1914. Pencil drawing. With the estate stamp (Lugt 1570 b) and the hand-written number 'B Be/Bb 3' on the reverse. On paper (from the sketchbook 37 with red edges). 20.5 x 16.3 cm (8 x 6.4 in), the full sheet. • From a sketchbook (with red edges). • In the Berlin street scenes from the years 1913 to 1915, E.L. Kirchner attained an increased expressiveness. • Spirited sketch for the famous painting 'Strasse mit roter Kokotte' (Gordon no. 366) in the Thyssen-Bornemisza Collection, Madrid. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: From the artist's estate (with the estate stamp on the reverse, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Hermann Gerlinger Collection, Würzburg (acquired from the above in 2001, with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, catalog 62, 2001, cat. 40 (with color illu on the catalog's front and rear cover and as black-and-white illu. on p. 51). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 338, SHG no. 759. This sheet is the sketch for one of the key works in Ernst Ludwig Kirchner's oeuvre. All the impressions that Ernst Ludwig Kirchner absorbed in the big city of Berlin find expression in the painting 'Straße mit roter Kokotte' (Street with a Red Cocotte', which is in the Thyssen-Bornemisza Collection in Madrid). Kirchner's famous street scenes hauntingly outline life in the metropolis. The focus is on the cocottes, who wait for their customers on the street corners with daringly slit dresses and large feather hats. Our sheet shows exactly this scenery rendered in restless, swift strokes. For Kirchner, the depiction captured the situation so succinctly that he elaborated it impressively in the color chalk and tempera drawing 'Rote Kokotte' (Staatsgalerie Stuttgart) and in said painting in the Thyssen-Bornemisza Collection. [EH] Called up: June 10, 2023 - ca. 14.11 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Helmut Kolle gen. vom Hügel 1899 Berlin - 1931 Chantilly Brustbild eines jungen Mannes im weissen Hemd (Matrose?). Um 1928. Öl auf Leinwand. Nicht bei Chabert. Rechts oben signiert. 60,5 x 49,5 cm (23,8 x 19,4 in). • Progressiv-reduziertes Porträt aus der Pariser-Zeit. • Kolle stirbt bereits 1931 und hinterlässt ein hochkarätiges malerisches Œuvre, das seit den 1980er Jahren kunsthistorisch erschlossen wird. • Zentrales Bildthema ist für Kolle die Auseinandersetzung mit dem eigenen Ich: Auch seine Figurenbilder von Toreros, Soldaten und Matrosen zeichnen sich durch den fließenden Übergang zum Selbstporträt aus. • 2023 zeigt die Pinakothek der Moderne in München Gemälde Helmut Kolles in der Ausstellung 'Schön und verletzlich. Menschenbilder der Sammlung Garnerus' u. a. neben Arbeiten von Karl Hofer und Joseph Scharl (15.6.-24.9.2023). PROVENIENZ: Sammlung Bernard Gimbel, Greenwich, Connecticut. Sammlung Alva Gimbel, Greenwich, Connecticut (1966 vom Vorgenannten durch Erbschaft erhalten). William Doyle Galleries, New York (1983 aus dem Nachlass von Alva Gimbel). Privatsammlung USA (1983 vom Vorgenannten erworben, seither in Familienbesitz). Helmut Kolles malerisches Werk, das mit seinem frühen Tod mit nur 32 Jahren ein zu frühes Ende findet, hat eine singuläre Stellung in der Kunstgeschichte der europäischen Moderne. 1899 in Berlin geboren, muss der junge Künstler schon bald feststellen, dass die Berliner Kunstszene, in weiten Teilen noch immer von den impressionistischen Arbeiten Max Liebermanns beherrscht, noch nicht reif für sein Werk zu sein scheint. Im September 1918 macht der junge Kolle die Bekanntschaft des Kunsthändlers und -kritikers Wilhelm Uhde. Die enge Freundschaft mit Uhde, der bereits 1904 eine Galerie am Montparnasse eröffnet und als Entdecker von Picasso, Braque und Rousseau gilt, wird für die künstlerische Entwicklung Kolles von entscheidender Bedeutung. Auch ist es der Freund und Förderer Uhde, der nach Kolles frühem Tod die erste Biografie des Malers verfasst, welche Kolles Ruf bis heute als eines zu früh verstorbenen Protagonisten der europäischen Moderne festschreibt. Gemeinsam mit seinem Lebensgefährten Uhde siedelt der Künstler, der nach den überlieferten Fotografien ein besonders modisches, geradezu dandyhaftes Auftreten pflegte, 1924 schließlich in die Kunstmetropole Paris über, wo das vorliegende Porträt entstanden ist. Auffällig ist die einfache Kleidung, das schlichte weiße Hemd, das entgegen seiner charakteristischen Rollenporträts in ausgefallenen Kostümen, seine stilistische Besonderheit, seine Reduziertheit der malerischen Mittel auf besondere Weise betont. Kolles Arbeiten sind in Paris bald beim Publikum und bei der Presse gleichermaßen erfolgreich. Kurz nachdem französische Sammler und Museen Arbeiten des deutschen Malers anzukaufen beginnen, muss der herz- und lungenkranke Kolle 1928 die Stadt verlassen. Er zieht zu seinem Freund Wilhelm Uhde nach Chantilly, wo er am 17. November 1931 im Alter von 32 Jahren stirbt. Während Kolles Berliner Frühwerk häufig noch deutliche Reminiszenzen an die Künstler der Pariser Avantgarde zeigt, findet Kolle in Paris mehr und mehr zu seiner eigenen, unverwechselbaren künstlerischen Handschrift. Nahezu ausschließlich entstehen fortan Selbstporträts und Porträts, darunter mehrheitlich solche von jungen kräftigen Männern. Selbst mit einer labilen Gesundheit lebend, scheint Kolle in der Darstellung junger kräftiger Männer ein erträumtes Ideal von Kraft und Männlichkeit gesehen zu haben, das er selber nie erreichte. So bevölkern meist isolierte Matrosen, Soldaten und Toreros seine Gemälde; Figuren, die vor Kraft und Tatendrang strotzen und bei denen der Übergang zum idealisierten Selbstporträt häufig fließend zu sein scheint. [JS] Aufrufzeit: 10.06.2023 - ca. 14.12 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHelmut Kolle gen. vom Hügel 1899 Berlin - 1931 Chantilly Brustbild eines jungen Mannes im weissen Hemd (Matrose?). Um 1928. Oil on canvas. Not in Chabert. Signed in upper right. 60.5 x 49.5 cm (23.8 x 19.4 in). • Progessive reduced portrait from the artist's time in Paris. • Kolle died as early as in 1931, leaving behind a high-quality pictorial oeuvre that became subject to art-historical research only in the 1980s. • Self-examination is Kolle's key theme: His portraits of toreros, soldiers and sailors are characterized by notions of self portraiture. • In 2023 the Pinakothek der Moderne, Munich, shows paintins by Hemut Kolle in the exhibition 'Schön und verletzlich. Menschenbilder der Sammlung Garnerus' alongside works by, among others, Karl Hofer and Joseph Scharl (June 15 - September 24, 2023). PROVENANCE: Bernard Gimbel Collection, Greenwich, CT. Alva Gimbel Collection, Greenwich, CT (inherited from the above in 1966). William Doyle Galleries, New York (from the estate of Alva Gimbel in 1984). Private collection USA (inherited from the above in 1984, ever since family-owned). Helmut Kolle's painterly work, which came to an early end with his death at the age of only 32, has a unique position in the art history of European Modernism. Born in Berlin in 1899, the young artist soon realized that the Berlin art scene, still largely dominated by the impressionist works of Max Liebermann, was not not ready for his work. In September 1918, the young Kolle made the acquaintance of the art dealer and art critic Wilhelm Uhde. The close friendship with Uhde, who opened a gallery in Montparnasse as early as in 1904 and is regarded the discoverer of Picasso, Braque and Rousseau, was of decisive importance for Kolle's artistic development. It was also the friend and supporter Uhde who, after Kolle's early death, wrote the painter’s first biography, which continued to establish Kolle's reputation as one of the protagonists of European Modernism. In 1924, together with his partner Uhde, the artist, who, according to the photographs that have survived, cultivated a particularly fashionable, almost dandy-like appearance, finally moved to the art metropolis of Paris, where the present portrait was created. What is striking is the simple clothing, the plain white shirt, which, contrary to his characteristic role portraits in unusual costumes, emphasizes his stylistic peculiarity and his reduced painterly means in a special way. Kolle's works were soon equally successful with the public and the press in Paris. In 1928, shortly after French collectors and museums began buying works by the German painter, Kolle, who was suffering from heart and lung disease, had to leave the city. He moved to his friend Wilhelm Uhde in Chantilly, where he died at the age of 32 on November 17, 1931. While Kolle's early work in Berlin often shows clear reminiscence of the artists of the Parisian avant-garde, Kolle increasingly found his own, unmistakable artistic signature in Paris. From then on, he created almost exclusively self-portraits and portraits, mostly of young, strong men. Living in unstable health himself, Kolle seems to have seen the portrayal of strong young men as a dreamed-up ideal of strength and masculinity that he himself never achieved. Thus mostly sailors, soldiers and toreros are subjects of his paintings; Figures that burst with strength and zest for action and which suggest to be idealized self-portraits. [JS] Called up: June 10, 2023 - ca. 14.12 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Christian Rohlfs 1849 Niendorf/Holstein - 1938 Hagen Sonnenblumen. 1929. Wassertempera. Nicht bei Vogt. Rechts unten monogrammiert und datiert. Auf festem Velin. 65,4 x 48 cm (25,7 x 18,8 in), blattgroß. [AR]. • Blumenbildnis von großer Leichtigkeit und harmonischer Einheitlichkeit. • Der experimentierfreudige Künstler erzeugt mit einer Bürste feine Strukturen in der Farbfläche und bezieht den Papiergrund in die Darstellung mit ein. • Im Entstehungsjahr beteiligt sich Christian Rohlfs an der Ausstellung 'Garten und Blume in der Bildenden Kunst' im Museum Folkwang in Essen. • Blumendarstellungen zählen unter den Aquarellen zu den gefragtesten Arbeiten des Künstlers auf dem internationalen Auktionsmarkt (Quelle: artprice.com). PROVENIENZ: Privatsammlung Österreich. Privatsammlung Süddeutschland. LITERATUR: Villa Grisebach, Berlin, Auktion 146, Kunst des 19./20. Jahrhunderts, 9.6.2007, Los 261 (m. Farbabb.). Galerie Henze & Ketterer, Expressionisten. Insbesondere die Maler der Brücke, Katalog 79, Zürich 2010, Kat.-Nr. 103 (m. Farbabb. S. 159). Aufrufzeit: 10.06.2023 - ca. 15.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONChristian Rohlfs 1849 Niendorf/Holstein - 1938 Hagen Sonnenblumen. 1929. Water-tempera. Not in Vogt. Lower right monogrammed and dated. On firm wove paper. 65.4 x 48 cm (25.7 x 18.8 in), the full sheet. [AR]. • Flower portrait of great lightness and harmonious unity. • The artist, who enjoyed experimenting, created fine structures in the color surface with a brush and incorporates the paper background into the depiction. • In the year it was created, Christian Rohlfs took part in the exhibition 'Garten und Blume in der Bildenden Kunst' at the Museum Folkwang in Essen. • Among the watercolors, depictions of flowers are among the artist's most sought-after works on the international auction market (source: artprice.com). PROVENANCE: Private collection Austria. Private collection Southern Germany. LITERATURE: Villa Grisebach, Berlin, auction 146, Kunst des 19./20. Jahrhunderts, June 9, 2007, lot 261 (with color illu.). Galerie Henze & Ketterer, Expressionisten. Insbesondere die Maler der Brücke, catalog 79, Zürich 2010, cat. no. 103 (with color illu. p. 159). Called up: June 10, 2023 - ca. 15.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Hannah Höch 1889 Gotha - 1978 Berlin Clown im entstehen. 1955. Collage auf Karton. Rechts unten mit dem collagierten Monogramm. Verso signiert datiert und mit einem Ausstellungsvermerk, auf einem Etikett betitelt. 29,9 x 19,5 cm (11,7 x 7,6 in). Karton: 34,5 x 26,2 cm (13,5 x 10,3 in). [EH]. • Aus der Sammlung Peter Carlberg, dem Neffen und engsten Verwandten der Künstlerin. • 1957 in der Galerie Rosen, Berlin, und 1976 in der Nationalgalerie, Berlin ausgestellt. • Hannah Höch – eine der bedeutendsten deutschen Künstlerinnen der klassischen Moderne. • Die Dada-Ikone Hannah Höch ist eine Pionierin der Collage. • Distanzierte und antiromantische Definition eines Clowns. • Collagen von Hannah Höch befinden sich u. a. in den Sammlungen des Germanischen Nationalmuseums, Nürnberg, der Berlinischen Galerie, Berlin, sowie dem Museum of Modern Art, New York. Eine Fotografie der Collage befindet sich im Bildarchiv der Berlinischen Galerie. Wir danken dem Archiv Hannah Höch, Berlinische Galerie für die freundliche Auskunft. PROVENIENZ: Nachlass der Künstlerin (verso mit dem Nachlassstempel). Sammlung Peter Carlberg. AUSSTELLUNG: Galerie Gerd Rosen, Berlin 1957, Kat.-Nr. 12. Hannah Höch. collages, peintures, aquarelles, gouaches, dessin, Musée d'Art Moderne de la Ville de Paris, Paris, 30.1 - 7. 3.1976. Hannah Höch. Collagen, Gemälde, Gouachen, Aquarelle, Zeichnungen, Nationalgalerie Berlin, 23.3. - 9.5.1976, Kat.-Nr. 136. Schon seit den frühen 1920er Jahren arbeitet Hannah Höch mit dem Medium der Collage. Es erscheint, als ob diese Technik ihrem Innersten entspricht. Wie mit spitzer Feder geschrieben gestaltet sie aus exakt ausgeschnittenen Zeitschriftenfundstücken hintergründige Collagen. So ist der 'Clown im entstehen' aus einer Abbildung von Luftschlangen angedacht. Mit sezierender Schärfe wird ein Vorhang der Fröhlichkeit geschnitten, aus dem der Geist des Clowns entstehen wird. Die Kunst der Collage beherrscht die durch die Verfemung während des Regimes der Nationalsozialisten zur Ruhe gezwungene Grande Dame des DADA mit Perfektion. Ihre Arbeiten werden schon kurz nach dem Zweiten Weltkrieg wieder in Berlin gezeigt und schon 1948 ist sie in der Ausstellung 'COLLAGE' im Museum of Modern Art in New York vertreten. Aufrufzeit: 10.06.2023 - ca. 15.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONHannah Höch 1889 Gotha - 1978 Berlin Clown im entstehen. 1955. Collage on cardboard. With a collaged monogram in lower right. Signed, dated and with an exhibition note on the reverse, as well as titled on a label. 29.9 x 19.5 cm (11.7 x 7.6 in). Cardboard: 34,5 x 26,2 cm (13,5 x 10,3 in). [EH]. • From the collection of Peter Carlberg, the artist's nephew. • Exhibited at Galerie Rosen, Berlin, in 1957. • Hannah Höch – one of the most important female artists of Modernism in Germany. • The Dada luminary Hannah Höch was a pioneer of the collage. • Distanced and anti-romantic definition of a clowns • Collages by Hannah Höch can be found at, among others, the Germanisches Nationalmuseums, Nuremberg, the Berlinische Galerie, Berlin, and the Museum of Modern Art, New York. PROVENANCE: From the artist's estate (with the estate stamp on the reverse). Peter Carlberg Collection. EXHIBITION: Galerie Gerd Rosen, Berlin 1957, cat. no. 12. Hannah Höch had been working with the medium of collage since the early 1920s. It seems as if this technique corresponded to her innermost being. She created enigmatic collages from precisely cut out finds from magazines. Accordingly, 'Clown im entstehen'(Clown in the making) is conceived from a depiction of a blow-out. With anatomizing sharpness, the artist created a curtain of merriment from which she lets the ghost of the clown emerge. The grande dame of DADA, who was doomed to remain silent as a result of National Socialist oppression, mastered the art of the collage with perfection. Shortly after the Second World War, her works were shown again in Berlin, and as early as in 1948, she was represented in the exhibition 'COLLAGE' at the Museum of Modern Art in New York. Called up: June 10, 2023 - ca. 15.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Pablo Picasso 1881 Malaga - 1973 Mougins Tête de chèvre de profil. 1952. Keramik. Weißer Scherben mit farbiger Engobenmalerei auf teilweise gebürsteter Glasur. Ramié 145. Auf der Standfläche mit den Prägestempeln 'Madoura plein feu' und 'Empreinte originale de Picasso'. Aus einer Auflage von 250 Exemplaren. 31,5 x 51,7 cm (12,4 x 20,3 in). [AR]. • Das von Picasso so bekannte Motiv des Ziegenkopfs in farbschöner blaugrüner Ausführung. • In ihrem Umfang, Variantenreichtum und Ausdrucksvermögen stellen die Keramiken einen bedeutenden Teil seines Gesamtwerks dar. • Zahlreiche Museen weltweit widmen dem vor 50 Jahren verstorbenen Künstler dieses Jahr Sonderausstellungen, wie etwa das Centre Pompidou in Paris, das Museum of Modern Art in New York, die Albertina in Wien, die Fondation Beyeler in Riehen, das Guggenheim-Museum in Bilbao und New York sowie viele weitere. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 10.06.2023 - ca. 15.52 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONPablo Picasso 1881 Malaga - 1973 Mougins Tête de chèvre de profil. 1952. Ceramics. White sherd with color engobe on partly brushed glazing. Ramié 145. With the embossined stamps 'Madoura plein feu' and 'Empreinte originale de Picasso' on the stand. From an edition of 250 copies. 31.5 x 51.7 cm (12.4 x 20.3 in). [AR]. • Picasso's famous motif of the goat head in a particularly fine blue-green execution. • In terms of its extent, wealth of variants and expressiveness, the ceramics make for an important part of his œuvre. • This year numerous museums around the world honor the artist who died 50 years ago with extra exhibitions, among them the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Albertina in Vienna, the Fondation Beyeler in Riehen, the Guggenheim-Museum in Bilbao and New York as well as many others. PROVENANCE: Private collection Northern Germany. Called up: June 10, 2023 - ca. 15.52 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Im Tanz (Tanzendes Weib). 1905. Holzschnitt. Ebner/Gabelmann 64 H. Dube H 83. Signiert und nachträglich datiert '06'. Im Druckstock monogrammiert 'H'. Frühdruck. Eines von bisher sieben bekannten Exemplaren. Auf festem Bütten. 20 x 11,1 cm (7,8 x 4,3 in). Papier: 36,8 x 22 cm (14,4 x 8,7 in). Bisher sind ausschließlich Frühdrucke des Holzschnitts bekannt. Heckel äußert sich später zur Auflagenhöhe des Holzschnitts und erinnert, dass 'es kaum mehr als 10 Abzüge geben wird.' (Erich Heckel in einem Brief an den Sammler Stump. 10.10.1963, zit. nach: Ebner/Gabelmann, Erich Heckel. Werkverzeichnis der Druckgrafik, Bd. 1 (1903-1913), München 2021, Kat.-Nr. 64 H). Der Holzschnitt gehört im September 1907 zu den frühesten Erwerbungen, die der Hamburger Landgerichtsdirektor Gustav Schiefler (1857-1935) direkt beim Künstler für seine bedeutende Grafiksammlung erwirbt. In den darauffolgenden Jahren wird Schiefler Heckels wichtigster Grafiksammler. • Früher Holzschnitt aus dem Gründungsjahr der Künstlergruppe 'Brücke'. • Ausdruck der Faszination und der intensiven Auseinandersetzung der 'Brücke'-Künstler mit den Holzschnitten von Félix Vallotton (1865–1925) und der Wiener Moderne. • Bei der Dargestellten handelt es sich wohl um die als Modell besonders geschätzte Isabella, die neben Heckel auch Bleyl, Kirchner und wenig später Pechstein für Aktdarstellungen Modell steht. • In den letzten 30 Jahren wurde erst ein weiteres Exemplar auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • Fünf der nur sechs weiteren bekannten Exemplare befinden sich in den Sammlungen des Museum Folkwang, Essen, des Sprengel Museum, Hannover, des Brücke-Museums, Berlin, der Stiftung Ada und Emil Nolde, Seebüll, und der Staatlichen Kunsthalle Karlsruhe. PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 163, SHG-Nr. 170 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 147, SHG-Nr. 327 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 16.20 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Im Tanz (Tanzendes Weib). 1905. Woodcut. Dube H 83. Signed and antedated '06'. Monogrammed 'H' in the printing block. On firm laid paper. 20 x 11.1 cm (7.8 x 4.3 in). Sheet: 36,8 x 22 cm (14,4 x 8,7 in). To date only early prints of this woodcut are known. Later Heckel recalled on the print run of the woodcut that 'there will hardly be more than 10 copies.' (Erich Heckel in a letter to the collector Stump. October 10, 1963, quoted from: Ebner/Gabelmann, Erich Heckel. catalog raisonné, vol. 1 (1903-1913), Munich 2021, cat. no. 64 H). In September 1907, the woodcut was among the first acquisitions the Hamburg district court director Gustav Schiefler (1857-1935) made directly from the artist for his important collection. Over the following years, Schiefler became the most important collector of Heckel's prints. • Early woodcut from the founding year of the 'Brücke'. • An expression of the 'Brücke' artist's intensive examination of the woodcuts by Félix Vallotton (1865-1925) and Viennese Modernism. • The depicted person presumably is the highly valued model Isabella, who posed nude for Heckel and Bleyl, as well as for Kirchner and a little later for Pechstein. • In the past 30 years only one other copy was offered on the international auction market (source: artprice.com). • Five of the six known copies are owned by the Museum Folkwang, Essen, the Sprengel Museum, Hanover, the Brücke-Museum, Berlin, the Ada and Emil Nolde Foundation, Seebüll, and the Staatliche Kunsthalle Karlsruhe. PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 163, SHG no. 170 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 147, SHG no. 327 (with illu.). Called up: June 10, 2023 - ca. 16.20 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Schlafender weiblicher Akt. 1910. Holzschnitt. Ebner/Gabelmann 411 H. Dube H 189. Signiert, datiert '10' und abweichend betitelt. Eines von nur 12 dem Werkverzeichnis bekannten Exemplaren. Auf Velin. 26,3 x 33,5 cm (10,3 x 13,1 in). Papier: 38,8 x 57,5 cm (15,2 x 22,6 in). Wohl ein Spätdruck. Weitere Spätdrucke befinden sich im Folkwang-Museum Essen, dem Brücke-Museum Berlin und dem Kupferstichkabinett, Staatliche Museen zu Berlin. • Motiv der gesuchten Dresdener 'Brücke'-Zeit. • 1910 lernt Heckel seine spätere Ehefrau, die Tänzerin Milda Frieda Georgi (1891–1982) kennen, die unter dem Künstlernamen Sidi Riha auftritt. • Auf einer zeitgenössischen Fotografie um 1910/11 ist Siddi mit dem schwarzen Modell Nelly in Heckels Dresdener Atelier zu sehen, gemeinsam einen Tanzschritt einstudierend. • Nelly sowie die ebenfalls schwarzen Modelle Milly und Sam sind auf mehreren Fotografien, in Druckgrafiken, Zeichnungen und Gemälden Erich Heckels und E. L. Kirchners zu erkennen (E. L. Kirchner, Schlafende Milli, 1911, Kunsthalle Bremen). • Über Nelly, Milly und Sam und generell über das Leben schwarzer Menschen um 1910 im Deutschen Kaiserreich ist heute noch immer wenig bekannt. • 2021/22 thematisiert das Berliner Brücke-Museum die Kunst der 'Brücke' im Kontext der damaligen Kolonialisierung sowie der Faszination der Künstler mit der Kunst und Kultur aus Afrika und der Südsee. PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 185, SHG-Nr. 215 (m. Abb., S. 184). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 302, SHG-Nr. 394 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 17.02 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Schlafender weiblicher Akt. 1910. Woodcut. Ebner/Gabelmann 411 H. Dube H 189. Signed, dated '10' and with a differently titled. One of only 12 copies mentioned in the catalogue raisonné. On wove paper. 26.3 x 33.5 cm (10.3 x 13.1 in). Sheet: 38,8 x 57,5 cm (15,2 x 22,6 in). Presumbaly later print. Other later prints are at the Folkwang-Museum Essen, the Brücke-Museum Berlin and the Kupferstichkabinett, State Museums Berlin. • Motif from the sought-after Dresden 'Brücke' time. • In 1910, Heckel met his future wife, the dancer Milda Frieda Georgi (1891–1982), who performed under the stage name Sidi Riha. • A contemporary photograph from around 1910/11 shows Siddi with the black model Nelly in Heckel's Dresden studio, rehearsing a dance together. • Nelly and the black models Milly and Sam can be seen in several photographs, prints, drawings and paintings by Erich Heckel and E. L. Kirchner (EL Kirchner, Schlafende Milli, 1911, Kunsthalle Bremen). • Little is known about Nelly, Milly and Sam and generally about the life of black people around 1910 in the German Empire. • In 2021/22, the Berlin Brücke-Museum put focus on the art of the 'Brücke' in context of the colonization of the time and the fascination of the artists with the art and culture from Africa and the South Seas. PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p.185, SHG no. 215 (with illu., p. 184). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 302, SHG no. 394 (with illu.). Called up: June 10, 2023 - ca. 17.02 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Jacob Philipp Hackert 1737 Prenzlau - 1807 Florenz Berglandschaft mit Pinien. 1770-75. Aquarell und Feder über Bleistift. Nordhoff 1244. Am unteren Rand linksseitig signiert. Auf Ingres-Bütten, kaschiert auf Leinwand. 67,5 x 103,5 cm (26,5 x 40,7 in). PROVENIENZ: Privatsammlung Süddeutschland. LITERATUR: Leo Spik, Berlin, Auktion 9.-11.10.1975, Los 320. Karl & Faber, München, Auktion 28./29.5.1976, Los 360. Im für die Technik des Aquarells außergewöhnlich großen Format bietet sich den Betrachtenden ein der Blick in ein weites baumbestandenes Tal, durchzogen von einem schmalen Fluss, in der Weite die zartgrünen Höhenzüge schimmernd. in den 1770er Jahren unternimmt Hackert, der 1768 nach Italien gekommen war, in der Gegend um Rom und den Albaner Bergen etliche Wanderungen, die ihm die Motive für seine herausragenden und die Landschaftsmalerei Italiens prägenden Veduten liefern. Die Landschaft um die Dörfer Frascati, Grottaferrata oder dem etwas weiter entfernte Olevano wird zum Inbegriff der italianità, die Hackert in seiner Konzeption der Vedute eigenen Mischung aus Präzision und idealisierend-künstlerischem Eingriff ins Bild setzt. Besonders in der ersten Hälfte der 1770er Jahre bedient er sich dabei der Technik des Aquarells, die er in den feinen Lasuren und dem detailfreudig ausgearbeiteten Vordergrund zu wahrer Meisterschaft führt. Obwohl die Ansicht sich genauer Lokalisierung entzieht, entwirft Hackert hier doch mit dem wie auch Olevano auf der steinigen Berganhöhe liegenden Dorf und der in typische Tracht gekleideten Staffagefigur eine charakteristische Szenerie der albaner Landschaft. In der Gliederung des Raumes spielt Hackert effektvoll mit der Perspektive, die im Vordergrund mächtig erscheinenden zwei Pinien finden ihr weit entferntes Echo im Talgrund, ergänzt um zwei nicht minder emblematisch für die italienische Flora stehenden Zypressen. Sanft und geschickt wird so der Blick vom erhöhten Standpunkt aus in das Tal geführt, um am Fluss kurz zu verweilen, bevor er die Wanderung in die Weite über Hügel und Himmel wieder aufnimmt. Kompositionen wie diese lassen nachvollziehen, weshalb Hackert bereits zu Lebzeiten als einer der bedeutendsten Landschaftsmaler verehrt wurde; unter anderem von Johann Wolfgang von Goethe, der ihn in Italien kennengelernt hatte und 1811 nach seinem Tod eine erste Biographie veröffentlicht. [KT] Aufrufzeit: 10.06.2023 - ca. 17.43 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJacob Philipp Hackert 1737 Prenzlau - 1807 Florenz Berglandschaft mit Pinien. 1770-75. Watercolor and pen over pencil. Nordhoff 1244. Signed in lower left margin. On Ingres laid paper, laminated on canvas. 67.5 x 103.5 cm (26.5 x 40.7 in). PROVENANCE: Private collection Southern Germany. LITERATURE: Leo Spik, Berlin, auction on October 9-11, 1975, lot 320. Karl & Faber, Munich, auction on May 28/29, 1976, lot 360. In a format exceptionally large for the watercolor technique, the observer is offered a view of a wide tree-lined valley, traversed by a narrow river, with the soft green ridges shimmering in the distance. In the 1770s, Hackert, who had come to Italy in 1768, went on a number of hikes in the area around Rome and the Alban Hills, which provided him with the motifs for his outstanding views that would be formative for paintings of Italian landscapes. The area around the villages of Frascati, Grottaferrata or Olevano, which is a little further away, became the epitome of Italianità, which Hackert depicted in his conception of the veduta with his own mixture of precision and an idealizing artistic intervention. In the first half of the 1770s in particular, he used the watercolor technique, which he brought to true mastery in the fine glazes and the elaborately detailed foreground. Although the view cannot be localized more precisely, Hackert created a characteristic scenery of the Alban landscape with the village located on the stony hill and the staffage figure dressed in a typical local costume. By structuring the space, Hackert effectively plays with perspective; the two pines that appear mighty in the foreground find their distant echo in the valley’s ground, supplemented by two cypresses that are no less emblematic of Italian flora. Gently and skillfully, the gaze is guided from the elevated position down into the valley, to linger briefly on the river before continuing the hike into the expanse over hills and sky. Compositions like these make it easy to understand why Hackert was revered as one of the most important landscape painters during his lifetime; among others by Johann Wolfgang von Goethe, who met him in Italy and published his first biography posthumously in 1811. [KT] Called up: June 10, 2023 - ca. 17.43 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Christoph Heinrich Kniep 1755 Hildesheim - 1825 Neapel Sizilianische Küste bei Taormina. 1787. Federzeichnung, laviert. Auf Bütten (mit angeschnittenem Wasserzeichen 'Bekrönte Lilie', darunter 'C & I Hon[..]'). 40,3 x 55 cm (15,8 x 21,6 in), blattgroß. PROVENIENZ: Wohl Sammlung Joachim Gustav Heinrich Winckler (geb. 1822), Hamburg/London (recto links unten mit dem Sammlerstempel, Lugt 2702). Privatsammlung Süddeutschland (wohl 1979 erworben). LITERATUR: Karl & Faber, München, 150. Auktion, 28.11.1979, Los 42 (als Jacob Philipp Hackert). Vgl. Georg Striehl, Der Zeichner Christoph Heinrich Kniep (1755-1825). Landschaftsauffassung und Antikenrezeption, Hildesheim u.a. 1998, Kat.-Nr. 61 (SW-Abb. 152). Christoph Heinrich Knieps künstlerische Laufbahn sowie sein Motivrepertoire ist aufs Engste mit Johann Wolfgang von Goethe und dessen Sizilienreise 1787 verknüpft. Seit 1781 hält er sich dank eines Stipendiums in Rom auf und schließt sich dem Zirkel um Johann Heinrich Wilhelm Tischbein und Jakob Philipp Hackert an. Wie diese siedelt er schließlich 1785 nach Neapel über. Tischbein, der die Reise mit Goethe nicht antreten kann, vermittelt ihn als Landschaftszeichner an Goethe, der das bildnerisch anders als die römische Campagna noch wenig erschlossene Sizilien als Inbegriff der italienischen Seele und des griechisch-antiken Einflusses zu entdecken bereit ist. Anfang Mai weilen die beiden in Taormina, wo Kniep die Küste und vor allem das antike Theater zeichnerisch festhält, wie Goethe in seinem Reisetagebuch schreibt. Im Anschluss an die Sizilienreise vermittelt Goethe Kniep bedeutende Aufträge für großformatige Veduten, die u.a. über die Herzogin Anna Amalia Eingang in die Weimarer Graphischen Sammlungen finden; mit über 60 Zeichnungen beherbergen diese einen Großteil der in Sizilien als Begleitung Goethes entstandenen Blätter. [KT] Aufrufzeit: 10.06.2023 - ca. 17.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONChristoph Heinrich Kniep 1755 Hildesheim - 1825 Neapel Sizilianische Küste bei Taormina. 1787. Pen and ink drawing, with wash. On laid paper (with truncated watermark 'Crowned lilly', and 'C & I Hon[..]' below). 40.3 x 55 cm (15.8 x 21.6 in), the full sheet. PROVENANCE: Presumably Joachim Gustav Heinrich Winckler Collection (born in 1822), Hamburg/London (with the collector's stamp in bottom left, Lugt 2702). Private collection Southern Germany (presumably acquired in 1979). LITERATURE: Karl & Faber Munich, 150th auction, November 28, 1979, lot 42 (offered as a Jacob Philipp Hackert). Cf. Georg Striehl, Der Zeichner Christoph Heinrich Kniep (1755-1825). Landschaftsauffassung und Antikenrezeption, Hildesheim et al 1998, cat. no. 61 (black-and-white illu. 152). Christoph Heinrich Kniep's artistic career and his repertoire of motifs are closely linked to Johann Wolfgang von Goethe and his trip to Sicily in 1787. Thanks to a scholarship, he had been in Rome since 1781 and joined the circle around Johann Heinrich Wilhelm Tischbein and Jakob Philipp Hackert. Like them, he finally moved to Naples in 1785. Tischbein, who was unable to embark on the journey with Goethe, recommended him to Goethe as a landscape draftsman, who was ready to discover Sicily, which was still little far less explored artistically than the Roman Campagna, as the epitome of the Italian soul and the influence of ancient Greece. At the beginning of May, the two stayed in Taormina, where Kniep drew the coast and, above all, the ancient theater, as Goethe wrote in his travel diary. Following the trip to Sicily, Goethe helped Kniep to important commissions for large-format vedutas, which found their way into the Weimar Graphic Collections through, among others, duchess Anna Amalia. With more than 60 drawings, they house a large part of the sheets created during the time with Goethe on Sicily. [KT] Called up: June 10, 2023 - ca. 17.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Jakob Maurer 1826 Obereschbach - 1887 Kronberg im Taunus Heuernte im Süßen Gründchen bei Mammolshain. Um 1860. Öl auf Leinwand. Links unten signiert. Verso auf dem Keilrahmen mit alten fragmentierten Etiketten der Cronberger Malerkolonie sowie neueren Etiketten. 98 x 80 cm (38,5 x 31,4 in). PROVENIENZ: Metallgesellschaft AG, Frankfurt a. Main. Dresdner Bank (1972 vom Vorgenannten als Geschenk erhalten). Galerie F.A.C. Prestel, Frankfurt a. Main Privatbesitz Süddeutschland. LITERATUR: August Wiederspahn, Die Kronberger Malerkolonie, Frankfurt a. Main 1971, S. 107 (m. Abb.), 696. Jakob Maurer gehört zu den Mitgliedern der Kronberger Malerkolonie im Taunus, eine der frühesten Künstlerkolonien Deutschlands. Einige Städelschüler der Landschaftsklassen um Anton Burger und Jakob Dielmann hatten diese auf der Suche nach unverfälschten Natureindrücken 1858 ins Leben gerufen. Vorbildhaft hierfür waren die französischen Maler in Barbizon, die um 1830 in der Pleinair-Malerei vor dem Motiv das Genre der paysage intime, der dem individuellen Blick des Malers folgenden Ansicht, aus der Taufe gehoben hatten. Nach einem einige Jahre währenden Exkurs an die Düsseldorfer Akademie, die neben München als das fortschrittlichste und wichtigste Zentrum der Landschaftsmalerei galt, kehrt Maurer 1869 endgültig in den Taunus zurück. Das einfache Leben der Landbevölkerung, eingebettet in die idyllische hügelige Landschaft um Kronberg wird zu seinem zentralen Motiv. Die von Lichtungen und Wiesen durchzogenen Gehölzgruppen mit altem Baumbestand, hier und da ein Bach oder ein Waldteich, bieten dem Maler wechselvolle Ausblicke und interessante Lichtführung. Effektvoll belässt Maurer hier den Vordergrund im Schatten und akzentuiert den Wiesengrund als hellen Durchblick, in dessen belebte Tiefe sich der Bildraum von der unbeobachteten Intimität der Betrachtenden vorne weitet. Eine besondere Rolle spielt – wie bei den Malern von Barbizon – die Schilderung der imposanten, in vollem Laub stehenden Baumgruppen, die mit den sommerlichen Wiesen eine Farbharmonie in den unterschiedlichsten Grüntönen bereithalten. [KT] Aufrufzeit: 10.06.2023 - ca. 17.51 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJakob Maurer 1826 Obereschbach - 1887 Kronberg im Taunus Heuernte im Süßen Gründchen bei Mammolshain. Um 1860. Oil on canvas. Lower left signed. With old, fragmentairly preserved labels of the Cronberg Painters Colony and later labels on the reverse. 98 x 80 cm (38.5 x 31.4 in). PROVENANCE: Metallgesellschaft AG, Frankfurt a. Main. Dresdner Bank (gifted from the above in 1972). Galerie F.A.C. Prestel, Frankfurt a. Main Private collection Southern Germany. LITERATURE: August Wiederspahn, Die Kronberger Malerkolonie, Frankfurt a. Main 1971, p. 107 (with illu.), 696. Jakob Maurer was a member of the Kronberg painters colony in the Taunus mountains, one of the earliest artist colonies in Germany. In search of unadulterated impressions of nature, Städel students in the landscape classes of Anton Burger and Jakob Dielmann founded it in 1858. Exemplary for this were the French painters in Barbizon, who had started the genre of the paysage intime by painting plein-air around 1830. After a few years at the Düsseldorf Academy, which, alongside Munich, was considered the most progressive and important center of landscape painting, Maurer finally returned to the Taunus in 1869. The simple life of the rural population, embedded in the idyllic, hilly landscape around Kronberg, became his central motif. The groups of old trees, here and there a stream or a forest pond traversed by clearings and meadows, offered the painter varied views and interesting lighting. Maurer effectively leaves the foreground in the shadows and accentuates the meadow as a bright perspective. As with the painters of Barbizon, the depiction of the imposing groups of trees in leaf plays a special role, which, together with the summery meadows, provide a color harmony in the most diverse shades of green. [KT] Called up: June 10, 2023 - ca. 17.51 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Wilhelm Brücke 1800 Stralsund - 1874 Stralsund Blick auf Bad Warmbrunn. 1851. Öl auf leichtem Karton. Unten rechts im Stein signiert und datiert. 18,5 x 25 cm (7,2 x 9,8 in). PROVENIENZ: Privatbesitz Süddeutschland. Wilhelm Brücke studiert an der Berliner Kunstakademie u.a. bei Johann Erdmann Hummel, der besonders für seine gewagten Perspektiven und geometrische Raumkonstruktionen bekannt ist. Nach dem Studium absolviert er 1829-34 die für junge Künstler - besonders für die an der Landschaftsmalerei interessierten - obligatorische Reise nach Italien, wohin ihn ein weiterer Aufenthalt 1839-40 führt. Unter dem Einfluss der in Berlin durch Karl Wilhelm Gropius eingeführten Panoramenmalerei spezialisiert er sich schon früh auf Architektur-Veduten und wird neben Eduard Gaertner zu einem geschätzten und wichtigen Vertreter dieser Gattung. In den 1830er und -40er Jahren entstehen hauptsächlich Berliner Stadtansichten, die ebenso wie Gaertner die Neugestaltung des Stadtzentrums begleiten, gefördert durch Friedrich Wilhelm III von Preußen. Nach dem Tod des Königs geraten die Hauptstadtmotive zunächst etwas aus dem Fokus, dafür entstehen von spätromantischer Stimmung geprägte Landschaften, oftmals von beeindruckender topografischer Genauigkeit. Brückes Landschaften sind gekennzeichnet von einer ausgezeichneten Beherrschung perspektivischer Mittel, in denen er den Bildraum weit öffnet und in die Tiefe führt. Ein warmes, abendliches Licht durchdringt seine Szenerien und verleiht dem Kolorit jenen charakteristischen rötlichen Unterton. [KT] Aufrufzeit: 10.06.2023 - ca. 17.54 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Brücke 1800 Stralsund - 1874 Stralsund Blick auf Bad Warmbrunn. 1851. Oil on light board. Signed and dated in the rock in lower right. 18.5 x 25 cm (7.2 x 9.8 in). PROVENANCE: Private collection Southern Germany. Wilhelm Brücke studied at the Berlin Art Academy with, among others, Johann Erdmann Hummel, who is particularly well known for his daring perspectives and geometric spatial constructions. After completing his studies, he made the journey to Italy obligatory for young artists from 1829 to 1834 - especially for those interested in landscape painting – and returned in 1839-40. Under the influence of the panorama painting introduced in Berlin by Karl Wilhelm Gropius, he specialized early on architectural views and, alongside Eduard Gaertner, became a valued and important representative of this genre. In the 1830s and 40s, he mainly made Berlin cityscapes, which, like Gaertner, accompanied the redesign of the city center, promoted by Friedrich Wilhelm III of Prussia. After the death of the king, the attention shifted from the main city motifs to landscapes characterized by a late romantic atmosphere, often with impressive topographical accuracy. Brücke's landscapes are characterized by his excellent command of the perspective, in which he opens the pictorial space wide and leads it into depth. His scenes are suffused with a warm, evening light that adds the characteristic reddish undertone to the coloring. [KT] Called up: June 10, 2023 - ca. 17.54 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Wilhelm Brücke 1800 Stralsund - 1874 Stralsund Sommerliche Landschaft mit Kornernte. 1849. Öl auf leichtem Karton. Rechts unten signiert und datiert. 18,5 x 25,5 cm (7,2 x 10 in). PROVENIENZ: Privatbesitz Süddeutschland. Wilhelm Brücke studiert an der Berliner Kunstakademie u.a. bei Johann Erdmann Hummel, der besonders für seine gewagten Perspektiven und geometrische Raumkonstruktionen bekannt ist. Nach dem Studium absolviert er 1829-34 die für junge Künstler - besonders für die an der Landschaftsmalerei interessierten - obligatorische Reise nach Italien, wohin ihn ein weiterer Aufenthalt 1839-40 führt. Unter dem Einfluss der in Berlin durch Karl Wilhelm Gropius eingeführten Panoramenmalerei spezialisiert er sich schon früh auf Architektur-Veduten und wird neben Eduard Gaertner zu einem geschätzten und wichtigen Vertreter dieser Gattung. In den 1830er und -40er Jahren entstehen hauptsächlich Berliner Stadtansichten, die ebenso wie Gaertner die Neugestaltung des Stadtzentrums begleiten, gefördert durch Friedrich Wilhelm III von Preußen. Nach dem Tod des Königs geraten die Hauptstadtmotive zunächst etwas aus dem Fokus, dafür entstehen von spätromantischer Stimmung geprägte Landschaften, oftmals von beeindruckender topografischer Genauigkeit. Brückes Landschaften sind gekennzeichnet von einer ausgezeichneten Beherrschung perspektivischer Mittel, in denen er den Bildraum weit öffnet und in die Tiefe führt. Ein warmes, abendliches Licht durchdringt seine Szenerien und verleiht dem Kolorit jenen charakteristischen rötlichen Unterton. [KT] Aufrufzeit: 10.06.2023 - ca. 17.55 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Brücke 1800 Stralsund - 1874 Stralsund Sommerliche Landschaft mit Kornernte. 1849. Oil on light board. Signed and dated in lower right. 18.5 x 25.5 cm (7.2 x 10 in). PROVENANCE: Private collection Southern Germany. Wilhelm Brücke studied at the Berlin Art Academy with, among others, Johann Erdmann Hummel, who is particularly well known for his daring perspectives and geometric spatial constructions. After completing his studies, he made the journey to Italy obligatory for young artists from 1829 to 1834 - especially for those interested in landscape painting – and returned in 1839-40. Under the influence of the panorama painting introduced in Berlin by Karl Wilhelm Gropius, he specialized early on architectural views and, alongside Eduard Gaertner, became a valued and important representative of this genre. In the 1830s and 40s, he mainly made Berlin cityscapes, which, like Gaertner, accompanied the redesign of the city center, promoted by Friedrich Wilhelm III of Prussia. After the death of the king, the attention shifted from the main city motifs to landscapes characterized by a late romantic atmosphere, often with impressive topographical accuracy. Brücke's landscapes are characterized by his excellent command of the perspective, in which he opens the pictorial space wide and leads it into depth. His scenes are suffused with a warm, evening light that adds the characteristic reddish undertone to the coloring. [KT] Called up: June 10, 2023 - ca. 17.55 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Wopfner 1843 Schwaz/Tirol - 1927 München Prozession am Walchensee. Um 1895-1900. Öl auf Holz. Holz 360. Links unten signiert. 15,7 x 28,3 cm (6,1 x 11,1 in). PROVENIENZ: Galerie Heinemann, München (verso mit dem Etikett, Nr. 11577). Kommerzienrat Isidor Bach (1849-1946), München (1916 vom Vorgenannten erworben). Privatsammlung Österreich. Das Werk ist frei von Restitutionsansprüchen. Das Angebot erfolgt mit freundlichem Einverständnis der Erben von Isidor Bach. AUSSTELLUNG: Permanente Ausstellung von Werken erstklassiger deutscher, französischer, altenglischer und altspanischer Meister, Galerie Heinemann, München, 1914 (m. Abb. S. 189). Das kleine Format von Joseph Wopfner zeigt eine außergewöhnlich figuren- und handlungsreiche Szene. Der sonst hauptsächlich am Chiemsee tätige und für seine mit Fischern spärlich bevölkerten Seebilder bekannte Künstler widmet sich hier hingebungsvoll der Darstellung bayerisch-katholischen Brauchtums, das sich vor der imposanten Kulisse der den hochgelegenen Walchensee umrahmenden Berge abspielt. Ziel der Prozession anlässlich des katholischen Hochfestes Mariä Himmelfahrt am 18. August ist die kleine barockisierte Kirche St. Margareth auf der Halbinsel Zwergern. Unter dem roten Baldachin spricht der Prieser das Gebet, im Vordergrund zeigt Wopfner eine andächtig versammelte Gruppe Frauen, rechts daneben die blau und golden leuchtende Statue der Muttergottes. Unterstrichen wird die Feierlichkeit des Augenblicks durch einen die Wolken durchbrechenden Lichtstrahl – was durchaus gewisse Realität beinhalten kann, kennt man die dortigen Licht- und Wetterstimmungen. In sommerlicher Blüte leuchten die Wiesen blau, gelb und rot, am Wegesrand davor spielt eine Mutter mit ihrem Kind. Trotz des kleinen Formats birgt die Szene eine Erhabenheit in der einfühlsamen Wiedergabe der tiefgläubigen und vertrauenden Andacht der Menschen, eingebettet in die fruchtbare Sommerlandschaft der friedvollen und schützenden Bergwelt. [KT] Der Kommerzienrat Isidor Bach, in dessen Sammlung sich Wopfners „Prozession am Walchensee“ einst befindet, erlangt als „Erfinder“ von Konfektionsbekleidung aus Loden überregionale Bekanntheit. Sein gesellschaftliches Engagement lässt sich an der Gründung einer gemeinnützigen Stiftung ebenso ablesen wie an seiner großzügigen Spende von Kunstwerken für eine Benefiz-Auktion bei Hugo Helbing. Als Sammler gilt Isidor Bachs Interesse insbesondere reizvollen Landschafts-, Tier- und Architekturdarstellungen. Es ist heute trotz intensiver Recherchen nicht mehr nachvollziehbar, ob das hier angebotene Werk noch vor Bachs NS-verfolgungsbedingter Emigration in die Schweiz die Sammlung verlässt, oder ob er das stimmungsvolle kleine Gemälde doch mit sich nehmen kann. Heute erfolgt das Angebot dieses schillernden Kleinods daher mit ausdrücklichem Einverständnis der Erben nach Isidor Bach, denen wir für die Zusammenarbeit herzlich danken. Aufrufzeit: 10.06.2023 - ca. 17.56 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Wopfner 1843 Schwaz/Tirol - 1927 München Prozession am Walchensee. Um 1895-1900. Oil on panel. Holz 360. Lower left signed. 15.7 x 28.3 cm (6.1 x 11.1 in). PROVENANCE: Galerie Heinemann, Munich (with the label on the reverse, no. 11577). Councillor of commerce Isidor Bach (1849-1946), Munich (acquired from the above in 1916). Austrian private collection The work is free from restitution claims. The offer is made with the kind consent of Isidor Bach's heirs. EXHIBITION: Permanente Ausstellung von Werken erstklassiger deutscher,französischer, altenglischer und altspanischer Meister, Galerie Heinemann, Munich, 1914 (with illu. on p. 189). The small format by Joseph Wopfner shows a scene that is extraordinarily rich in figures and action. The artist, who was mainly active on the Chiemsee and is known for his lake pictures that are just sparsely populated with fishermen, devoted himself to the depiction of Bavarian-Catholic customs, which take place in front of the imposing backdrop of the mountains surrounding Walchensee. The destination of the procession on the occasion of the Catholic Feast of the Assumption on August 18 is the small baroque church of St. Margareth on the Zwergern peninsula. The priest says the prayer under the red canopy. In the foreground, Wopfner shows a devout group of women, to the right the blue and golden statue of the Mother of God. The solemnity of the moment is underlined by a ray of light breaking through the clouds. In summer bloom, the meadows shine in blue, yellow and red, a mother is playing with her child on the edge of the path in front of them. Despite the small format, the scene emanates sublimity in the sensitive account of the pious people embedded in the fertile summer landscape of the peaceful and protective mountains. [KT] Called up: June 10, 2023 - ca. 17.56 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Heinrich von Zügel 1850 Murrhardt - 1941 München Bäuerin mit Schafen. 1920er Jahre. Öl auf Leinwand. Rechts unten signiert. Verso auf dem Keilrahmen mit altem, typografisch nummeriertem Etikett. 35 x 46 cm (13,7 x 18,1 in). PROVENIENZ: Privatsammlung Österreich (seit ca. 50 Jahren in Familienbesitz). 1869 kommt Heinrich von Zügel nach München und besucht die aufsehenerregende internationale Ausstellung im Glaspalast, auf der unter anderem Gustave Courbet und Constant Troyon als bedeutende Vertreter eines neuen Realismus gefeiert werden. Vor allem die Tiermalerei Anton Braiths wird vor diesen neuen Einflüssen für Zügel zum Vorbild, dessen Nachfolge als erfolgreichster deutscher Tiermaler er schließlich antreten wird. Mit seinen ländlichen Tiermotiven kann sich Zügel schnell bei der Käuferschaft etablieren. Etliche seiner Gemälde entstehen auf dem 1883 erworbenen Wolkenhof in Murrhardt nordöstlich von Stuttgart, den er sich als Atelierhof mit Tierbestand eingerichtet hatte. Von der dortigen Schafherde entstehen zahlreiche impressionistische Motive, die sich vor allem durch die freie pastose Malweise auszeichnen. Die Gegenständlichkeit löst sich so fast vollständig auf und lässt das Werk zum malerischen Ereignis von Licht und Farbe werden. Besonders in den Werken der Spätzeit erreicht Zügel eine malerische Freiheit, die die jahrelange Beschäftigung mit Licht, Natur und vor allem mit dem charakteristischsten seiner Motive, den Schafherden, verrät. Wie viele seiner Zeitgenossen kommt Zügel in seinem Alterswerk zu einer Konsolidierung der Ausdrucksmittel. Das erzählerische Moment tritt zugunsten einer Vereinheitlichung der Komposition zurück. Die Farbigkeit wird in ihrem Grundton ausgeglichener und die Motive in ihrer Grundhaltung beruhigter, nur schwach klingt noch die drängende Dynamik an, die Zügel besonders in den Schafherden anfangs bevorzugte. Sein eigentliches Interesse gilt nun dem alles auflösenden Licht, das das Bildgeschehen bestimmt. Zügels späte Werke zeigen einen Künstler, der bis in seine letzte Schaffensphase einer Pleinair-Malerei treu bleibt, die ganz aus der delikaten Farbigkeit heraus lebt. [KT] Aufrufzeit: 10.06.2023 - ca. 18.03 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHeinrich von Zügel 1850 Murrhardt - 1941 München Bäuerin mit Schafen. 1920s. Oil on canvas. Lower right signed. With an old label with a number in typography on the reverse. 35 x 46 cm (13.7 x 18.1 in). PROVENANCE: Austrian private collection (family-owned for ca. 50 years). In 1869 Heinrich von Zügel came to Munich and attended the sensational international exhibition at the Glass Palace, where Gustave Courbet and Constant Troyon, among others, were celebrated as important representatives of a new realism. In the face of these new influences, Anton Braith's animal paintings in particular became a model for him, and he would eventually succeed him as the most successful German animal painter. With his rural animal motifs, Zügel quickly established himself among buyers. Many of his paintings were created on the Wolkenhof farm in Murrhardt, north-east of Stuttgart, which he acquired in 1883 and which he had set up as a studio farm with animals. Numerous impressionistic sheep motifs characterized by the free impasto painting style were made there. Objectivity is thus almost completely dissolved and the work becomes a painterly event of light and color. Especially in his late works, Zügel achieved a painterly freedom that testifies to years of preoccupation with light, nature and, above all, with the most characteristic of his motifs, the herds of sheep. Like many of his contemporaries, Zügel consolidated his means of expression in his late work. The narrative element gave way to a harmonization of the composition. The color scheme became more balanced and the motifs calmer. He put main focus on the all-dissolving light that determines the pictorial event. Zügel's late works show an artist who remained true to plein-air painting that entirely lives on a delicate colorfulness right up to his last creative phase. [KT] Called up: June 10, 2023 - ca. 18.03 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Heinrich von Zügel 1850 Murrhardt - 1941 München Zwei Esel. 1896. Öl auf Leinwand. Links unten signiert und datiert. 63 x 45 cm (24,8 x 17,7 in). PROVENIENZ: Privatsammlung Schleswig-Holstein. Heinrich von Zügel widmet sich Zeit seines Lebens der Tiermalerei, wobei er sich insbesondere der Darstellung von Nutz- und Haustieren verschreibt. Eine Reminiszenz an seine Kindheit ist sicherlich die Tatsache, dass in seinen Werken zeitlebens Schafe und Rinder eine Hauptrolle spielen. In dieser Arbeit entscheidet er sich für zwei Esel als Hauptdarsteller. Während seine Malerei zu Beginn noch akademisch geprägt ist, gelangt er später zu einer impressionistischen Ausdrucksweise. Für seine Malerei verlässt er sein Atelier und fängt das Lichtspiel für seine Gemälde ein. Mit raschen Pinselstrichen und pastosem Farbauftrag gelingen Zügel liebevolle Tierdarstellungen, die die Beziehung zwischen Mensch und Tier schildern. In der hier angeboten Arbeit spielt er virtuos mit Licht und Schatten und setzt gekonnt Lichtreflexe auf das helle und dunkle Fell der beiden Tiere. Als Professor an der Karlsruher und Münchner Kunstakademie bringt er in der sogenannten 'Zügelschule' seinen Studenten seine Malweise näher. Die Sommermonate verbringt man auf dem Lande und es entstehen zahlreiche Landschafts- sowie Tierbilder. Der Landbevölkerung dienen diese Aufenthalte als lohnenswerte Einnahmequelle, so verleiht man besonders schöne oder brave Tiere als Modell. Die 'Malbuben' trugen die Malutensilien oder standen selbst Modell. [JK] Aufrufzeit: 10.06.2023 - ca. 18.04 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHeinrich von Zügel 1850 Murrhardt - 1941 München Zwei Esel. 1896. Oil on canvas. Lower left signed and dated. 63 x 45 cm (24.8 x 17.7 in). PROVENANCE: Private collection Schleswig-Holstein. Heinrich von Zügel devoted his entire life to the art of animal painting, showing a particular interest in the depiction of farm and domestic animals. The fact that sheep and cattle played a leading role in his works throughout his life is most certainly a tribute to his childhood. In this work, two donkeys are the main characters. While starting out with an academic approach to painting, Zügel later adopted an Impressionist style. The artist liked to paint outside his studio to capture the play of light. Working with rapid brushstrokes and an impasto paint application technique, Zügel created charming portrayals of animals which focus on the relationship between man and beast. In the art work offered here, he displays a virtuoso mastery of light and shadow, skillfully placing light reflections on the animals’ light and dark fur. In his role as professor at the Karlsruhe and Munich Art Academies, he introduced his students to the so-called “Zügelschule” style of painting. His summer months were spent in the countryside producing numerous landscape and animal paintings. For the rural population, who provided the artist with particularly attractive and well-behaved animals to serve as models, these visits were a profitable source of income. So-called “Malbuben” (painter boys) carried the painting utensils or posed as models themselves. [JK] Called up: June 10, 2023 - ca. 18.04 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Edward Theodore Compton 1849 London - 1921 Feldafing Herbstliche Voralpenlandschaft (Studie). Um 1890-1900. Öl auf Leinwand, kaschiert auf Malpappe. Rechts unten signiert. Verso verschiedentlich nummeriert. 14,2 x 24,3 cm (5,5 x 9,5 in). Wir danken Frau Sibylle Brandes, Tutzing, für die freundliche Auskunft. In all ihrer Vielfalt und stimmungsvollen Variationsbreite widmet sich Edward Theodore Compton zeitlebens der alpinen Landschaften der Schweiz und Südtirols sowie der bayerischen Bergwelt. Sein Werk überzeugt vor allem durch die immer neuen Perspektiven und Atmosphären der Wetterlage, Jahreszeiten und Lichtstimmungen, die der ab 1869 in München, später am Starnberger See beheimatete Maler einfängt. In Zeichnungen, Aquarellen, Grisaillen und nicht zuletzt den großformatigen Ölgemälden entstehen mal imposante Schilderungen karstiger unnahbarer Gletscher und Gipfel, mal liebliche Almlandschaften und Blicke in tiefe Täler. Bei seinen Wanderungen und Klettertouren sowie Gipfelbesteigungen sammelt Compton in Zeichnungen, Aquarellen und Ölstudien das Material, das er später im Atelier im Gemälde ausführt. In schneller, lockerer Weise, um den Eindruck und die herbstliche Farbstimmung einzufangen, hält er in dieser kleinen Studie seine Impressionen fest. Gerade diese Frische und Unmittelbarkeit machen die Schönheit solcher kleinen Arbeiten Comptons aus. [KT] Aufrufzeit: 10.06.2023 - ca. 18.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONEdward Theodore Compton 1849 London - 1921 Feldafing Herbstliche Voralpenlandschaft (Studie). Um 1890-1900. Oil on canvas, laminated on board. Signed in lower right. With several numbers on the reverse. 14.2 x 24.3 cm (5.5 x 9.5 in). We are grateful to Mrs Sibylle Brandes, Tutzing, for her kind support in cataloging this lot. Throughout his life, Edward Theodore Compton was dedicated to the alpine landscapes of Switzerland and South Tyrol, as well as to the Bavarian mountains in all their diversity and atmospheric variation. His work is particularly impressive because of the ever-changing perspectives and atmospheres of the weather, seasons and lighting moods, which the painter, who lived in Munich from 1869 and later on Lake Starnberg, captured in drawings, watercolors, grisailles and, not least, the large-format oil paintings, imposing descriptions of karstic, unapproachable glaciers and peaks, as well as lovely alpine landscapes and views into deep valleys. During his hikes, climbing tours and ascents, Compton collected the material in drawings, watercolors and oil studies, which he later executed in paintings in his studio. In a quick and easy way he captured his impression of the autumnal colors in this small study. It is precisely this freshness and immediacy that make for the beauty of such small works by Compton. [KT] Called up: June 10, 2023 - ca. 18.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.