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Emil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Bärtiger Männerkopf im Profil und junges Paar. 1931/1935. Aquarell und Federzeichnung mit schwarzer Tusche. Links unten signiert. Auf Japan. 30,5 x 22,9 cm (12 x 9 in), blattgroß. [AM]. • Farbstarkes Aquarell aus der wichtigen Motivfolge der „Phantasien“, die Nolde im Herbst 1931 beginnt. • Gestalten aus Märchen und Sagen, Spukfiguren und fratzenhafte Gesichter verbindet der Künstler in den „Phantasien“ zu höchst charaktervollen Kompositionen. • Unnachahmliche Ausdruckskraft durch Noldes meisterhafte Beherrschung der Nass-in-Nass-Aquarelltechnik • Bedeutende Provenienz: Ehemals Teil der Sammlung Sprengel, Hannover. Mit einer Fotoexpertise von Prof. Dr. Manfred Reuther, Ada und Emil Nolde Stiftung Seebüll, vom 6. Mai 2009. PROVENIENZ: Sammlung Bernhard Sprengel, Hannover. Privatsammlung Norddeutschland (wohl Galerie Nierendorf, Berlin). AUSSTELLUNG: Emil Nolde. Ausstellung zu Ehren des 80-Jährigen, Galerie Günther Franke, München, 1947, Kat.-Nr. 17. Emil Nolde, Kestner-Gesellschaft, Hannover, Oktober/November 1948, Kat.-Nr. 66. Emil Nolde. Gemälde, Aquarelle, Graphik, Städtisches Kunsthaus, Bielefeld, 1.-30.4.1951, Kat.-Nr. 20. Emil Nolde, Kunsthalle Mannheim, 20.4.-21.5.1952, Kat.-Nr. 50. Emil Nolde, Kunsthalle Kiel, 22.6.-27.7.1952, Kat.-Nr. 72. Sammlung Sprengel, Kunstverein Hannover, 10.10.-28.11.1965, Kat.-Nr. 242 (m. Abb. S. 174) (hier betitelt „Gegensätze“). In der Technik des Aquarells gelingen Emil Nolde Arbeiten von unvergleichlicher Meisterschaft. Aus den scheinbar zufällig gesetzten Farbklecksen arbeitet er mit Tusche und Feder zeichnerisch die Umrisse der drei Figuren heraus. Die sehr polychrome Auffassung basiert auf einer künstlerischen Freiheit, die sich Nolde in diesen Jahren erarbeitet hat und die seinem gesamten späteren Werk ihre Prägung gibt. Der Gestaltungswille, aus dem Pinselstrich und der Farbe den Gegenstand zu formen, findet sich hier bis auf das Äußerste gesteigert. Der farbdurchtränkte Bildgrund entwickelt mit seinen sanften Übergängen eine eigene Dynamik und bedarf einer beschreibenden Zeichnung. Der Betonung des Malerischen steht das gezeichnete Motiv gegenüber und verleiht der Komposition ihren besonderen Reiz. Als Nolde erstmals 1934 die „Phantasien“ bei Ferdinand Möller in Berlin präsentiert, sind sie eine Sensation, werden aber kontrovers diskutiert. Nolde, der sich eigentlich als Figurenmaler versteht, wendet sich wegen der lauter werdenden Kritik an seinen „abnormen“ und „negroiden“ Figurendarstellungen vermehrt den weniger verfänglichen Landschafts- und Blumendarstellungen zu, bei denen er seinen ungestümen Malstil beibehalten kann. Ab 1938 zieht sich Nolde immer mehr zurück und malt seine „ungemalten Bilder“, gestalterische Grundlage für diese sind jene farbkompositorischen Lösungen, die er sich in den „Phantasien“ erarbeitet hatte. [AM] Aufrufzeit: 10.12.2022 - ca. 18.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEmil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Bärtiger Männerkopf im Profil und junges Paar. 1931/1935. Watercolor and pen drawing with black ink. Signed in lower left. On Japon. 30.5 x 22.9 cm (12 x 9 in), the full sheet. [AM]. • Watercolor in strong colors from the important series 'Phantasien“ that Nolde began in 1931. • In the 'Phantasien', the artist unites figures from fairy tales and sagas, ghosts and grotesque faces to highly characterful compositions. • Inimitable expressiveness through Nolde's masterly handling of the wet-in-wet watercolor technique. • Significant provenance: Formerly part of the Sprengel Collection, Hanover. Accompanied by a photo expertise from Prof. Dr. Manfred Reuther, Ada and Emil Nolde Foundation Seebüll, from May 6, 2009. PROVENANCE: Collection Bernhard Sprengel, Hanover. Private collection Northern Germany (presumably Galerie Nierendorf, Berlin). EXHIBITION: Emil Nolde. Ausstellung zu Ehren des 80-Jährigen, Galerie Günther Franke, Munich, 1947, cat. no. 17. Emil Nolde, Kestner-Gesellschaft, Hanover, October/November 1948, cat. no. 66. Emil Nolde. Gemälde, Aquarelle, Graphik, Städtisches Kunsthaus, Bielefeld, April 1 - 30, 1951, cat. no. 20. Emil Nolde, Kunsthalle Mannheim, April 20 - May 21, 1952, cat. no. 50. Emil Nolde, Kunsthalle Kiel, June 22 - July 27, 1952, cat. no. 72. Sprengel Collection, Kunstverein Hanover, October 10 - November 28, 1965, cat. no. 242 (with illu. p. 174) (titled 'Gegensätze“). Emil Nolde made watercolors that are characterized by an unmatched mastery. Using ink and pen, he draws the outlines of the three figures from the apparently randomly placed dabs of paint. The polychrome approach is based on an artistic freedom that Nolde developed in these years and which would characterize all of his later work. The urge to create, to form the object from the brushstroke and the color, is taken to an extreme in the present work. The color-soaked ground develops an own dynamic with its gentle transitions and requires a descriptive drawing. The emphasis on the painterly is contrasted with the drawn motif and gives the composition its special appeal. When Nolde first presented the 'Phantasien' at Ferdinand Möller in Berlin in 1934, they were a sensation, but also subject to controversial discussions. Due to increasing criticism of his 'abnormal' and 'Negroid' depictions, Nolde, who actually saw himself as a figure painter, increasingly turned to the less incriminating landscape and flower depictions. From 1938 Nolde withdrew himself more and more and painted his 'unpainted pictures', the creative basis for which can be found in the compositional solutions he had worked out in the 'Phantasien'. [AM] Called up: December 10, 2022 - ca. 18.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Walter Leistikow 1865 Bromberg - 1908 Berlin Hafen. Um 1895. Öl auf Leinwand. Links unten signiert. Verso auf der Leinwand mit Künstlerbedarf-Stempel Hermann Neisch & Co, Dresden. Verso auf dem Keilrahmen verschieden handschriftlich und typografisch nummeriert, diverse alte bezeichnete sowie nummerierte Etiketten, u.a. Galerie Heinemann, Nr. 5070. 73 x 121 cm (28,7 x 47,6 in). PROVENIENZ: Galerie Paul Cassirer, Berlin. Galerie Heinemann, München (verso mit dem Etikett, Nr. 5070, in Kommission von Paul Cassirer, April 1905). Galerie Paul Cassirer, Berlin. Sammlung Dr. Ulrich Thieme, Leipzig (1908 vom Vorgenannten erworben). Privatsammlung Baden-Württemberg. AUSSTELLUNG: Leipziger Kunstverein, Nr. 3866 (verso mit dem Etikett). Walter Leistikow gilt als einer der prägendsten Künstler um die Jahrhundertwende, der in Berlin den Aufbruch in die Moderne wesentlich mitbereitet. Als er 1883 mit 17 Jahren das in der westpreußischen Provinz liegende Bromberg verlässt und an die Berliner Akademie kommt, wird er bereits nach einem halben Jahr dort wieder wegen „Talentlosigkeit“ entlassen, wie Lovis Corinth – mit dem er nach anfänglicher Antipathie eng befreundet ist – in seiner zwei Jahre nach Leistikows Tod erschienenen Biografie schreibt (Das Leben Walter Leistikows. Ein Stück Berliner Kunstgeschichte, Berlin: Cassirer 1910). Dies ist sicherlich als Verleihung eines antiakademischen Gütesiegels zu verstehen, das die Aufbruchsbewegungen der Moderne um 1900 kennzeichnet. Leistikow wendet sich schließlich an das private Atelier des norwegischen Landschaftsmalers der Düsseldorfer Schule Hans Gude. Seine ersten Motive sucht er sich im Berliner Umland sowie seiner pommerschen Heimat – sie sind ganz einem unaufgeregten, aufrichtigen Realismus verpflichtet, in dem jedoch bereits die fein getönten farblichen Stimmungen der späteren symbolistischen Zeit anklingen. 1892 ist Leistikow einer der Mitbegründer der Gruppe „Vereinigung der XI“, benannt lediglich nach der Anzahl ihrer Mitglieder und ohne Zwang eines künstlerischen Programms, die grundlegende Veränderungen im Ausstellungswesen bezüglich der von den Entscheidungen einer Jury bestimmten Auswahlkriterien fordern, 1903 engagiert er sich mit Harry Graf Kessler für die Gründung des Deutschen Künstlerbunds in Weimar. Einer der engsten Freunde Leistikows, der Schriftsteller und Journalist Theodor Wolff, charakterisiert seine Landschaften als „realistische Romantik“ - Ein realistischer Natureindruck liegt ihnen zwar zugrunde, über den hinaus der Maler aber sein Einfühlungsvermögen mit einfließen lässt und diese so in psychologisierte Stimmungslandschaften verwandelt. In seinem Enthusiasmus für die nördliche, symbolistisch beeinflusste Malerei etwa seines Freundes Edvard Munch, für den er sich bereits 1893 eingesetzt hatte, wird Leistikow zum Vertreter einer „nervösen Romantik“ (Hermann Bahr), deren Werke eine kontemplative, mystifizierte Seherfahrung bereithalten. Über den dunkel daliegenden Kanal wird der Blick Richtung Meer geführt, mit den dort anliegenden Booten und Segelschiffen - ungewöhnlich geheimnisvoll verborgen wird die Aussicht auf von den ruhig und voluminös aufgereihten Bäumen über denen in der Ferne die rosigen Wolkenformationen schweben. [KT] Aufrufzeit: 10.12.2022 - ca. 15.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWalter Leistikow 1865 Bromberg - 1908 Berlin Hafen. Um 1895. Oil on canvas. Lower left signed. Verso of the canvas with a stamp of the art supplies store Hermann Neisch & Co, Dresden. Verso of the stretcher with several numbers by hand and in typography, various old numbered and inscribed labels, e.g. of Galerie Heinemann, no. 5070. 73 x 121 cm (28.7 x 47.6 in). PROVENANCE: Galerie Paul Cassirer, Berlin. Galerie Heinemann, Munich (verso with the label, no. 5070, on consignment from Paul Cassirer, April 1905). Galerie Paul Cassirer, Berlin. Collection Dr. Ulrich Thieme, Leipzig (acquired from the above in 1908). Private collection Baden-Württemberg. EXHIBITION: Leipziger Kunstverein, no. 3866 (verso with the label). Walter Leistikow, who played a major role in setting the stage for the advent of modernism in Berlin, is widely recognized as one of the most defining artists of the turn of the century. In 1883, at the age of 17, he left his home town of Bromberg, West Prussia, to attend the Berlin Academy. In his biography of the artist, which was published two years after Leistikow's death, Lovis Corinth, with whom Leistikow formed a close friendship after some initial animosity, wrote that his friend was dismissed from the Academy after six months due to his “lack of talent” (The Life of Walter Leistikow. A Piece of Berlin’s Cultural History, Berlin: Cassirer 1910). No doubt, this was the kind of anti-academic seal of approval that typified the advent of modernist movements around the year 1900. Leistikow finally approached the private studio of Hans Gude, a Norwegian landscape painter of the Düsseldorf School. His first motifs, which he found in the Berlin countryside and his native Pomerania, are entirely rooted in an understated, sincere realism that nevertheless exhibits hints of the delicately tinged color atmosphere of the later Symbolist period. In 1892, Leistikow was among the co-founders of the “Vereinigung der XI” (Association of the XI) group, named simply after the number of its members. Foregoing a mandatory artistic program, the group demanded fundamental changes concerning the selection criteria dictated by jury decisions at exhibitions. A decade later, in 1903, Leistikow and Harry Graf Kessler were involved in the establishment of the Deutscher Künstlerbund (German Artists’ Association) in Weimar. One of Leistikow’s closest friends, the writer and journalist Theodor Wolff, described his landscapes as “realistic Romanticism”. Although based on a realistic impression of nature, Leistikow’s paintings were infused with the artist’s deep empathy which transformed them into psychologically charged landscapes. Through his enthusiastic support of the northern, symbolist-imbued paintings by artists like his friend Edvard Munch, whom he had championed as early as 1893, Leistikow became the representative of the “nervous Romantics” (Hermann Bahr) whose works conveyed a contemplative, mystified visual experience. The eye is drawn along the dark canal towards the sea, providing glimpses of moored boats and sailing ships. Peaceful lines of expansive trees, topped by rosy cloud formations hovering in the distance, shroud the view in enigmatic mystery. [KT] Called up: December 10, 2022 - ca. 15.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Friedrich Voltz 1817 Nördlingen - 1886 München Weidelandschaft mit Hirtejunge. 1885. Öl auf Holz. Rechts unten signiert und datiert. Verso mit zwei kleinen fragmentierten alten Etiketten. 27,5 x 41,5 cm (10,8 x 16,3 in). PROVENIENZ: Privatsammlung Baden-Württemberg. Nach erster künstlerischer Ausbildung bei seinem Vater, ebenfalls Maler, setzt Friedrich Volz ab 1834 seine Studien an der Münchner Akademie fort, bleibt aber hauptsächlich Autodidakt. Für seine Motive begibt er sich zunächst ins Münchner Umland, wo er sich der Landschafts- und Tiermalerei widmet. Entscheidende weiterführende Impulse erhält er während einer Studienreise nach Holland, wo er die Landschaftsmalerei von Barend Cornelis Koekkoek und dessen Umkreis kennenlernt, die wiederum auf die immer noch wegweisenden niederländischen Meister des 17. Jahrhunderts zurückgreifen. Ab den 1850er Jahren arbeitet er eng mit seinen Künstlerfreunden Carl Spitzweg und Eduard Schleich d. Ä. zusammen. Von der gegenseitigen Beeinflussung des prägnanten Zeichners und hervorragenden Bildarrangeurs Voltz und des Mitbegründers der deutschen Freilichtmalerei Schleich zeugen insbesondere mehrere große Gemeinschaftsarbeiten, die die beliebten Münchner Bildthemen – Hirtenszenen, Rinder-, Pferde- und Ziegenherden inmitten von Baumkulissen – behandeln. Atmosphärische Stimmungen von Luft und Wetter, die gleichmäßige sanfte Verteilung des Lichts im landschaftlichen Bildraum sowie der effektvolle Einsatz von Hell-Dunkel-Kontrasten machen den besonderen Reiz der intimen Hirtenlandschaften aus Voltz’ Atelier aus. [KT] Aufrufzeit: 10.12.2022 - ca. 14.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFriedrich Voltz 1817 Nördlingen - 1886 München Weidelandschaft mit Hirtejunge. 1885. Oil on panel. Lower right signed and dated. With two small fragmentarily preserved labels on the reverse. 27.5 x 41.5 cm (10.8 x 16.3 in). PROVENANCE: Private collection Baden-Württemberg. Having received his first artistic training from his father, who was a painter in his own right, Friedrich Voltz pursued further studies at the Munich Academy from 1834 onwards. In the main, however, he remained a self-taught artist. Initially, he ventured to the Munich countryside in search of motifs, specializing in landscape and animal painting. A study trip to Holland, where he was introduced to the landscape painting of Barend Cornelis Koekkoek and his circle who were influenced by the groundbreaking Dutch masters of the 17th century, proved to be a crucial inspiration. From the 1850s onwards, he worked closely with his artist friends Carl Spitzweg and Eduard Schleich the Elder. Several major collaborative works exploring popular themes of the Munich School – pastoral scenes or herds of cattle, horses and goats set against a backdrop of trees – bear witness to the mutual influence between Voltz, a distinctive draftsman and outstanding visual arranger, and Schleich, a pioneer of German outdoor painting. Ambient air and weather scenes, the even, mellow distribution of light in the landscape composition and the effective use of chiaroscuro contrasts all add to the special appeal of the intimate pastoral landscapes Voltz created in his studio. [KT] Called up: December 10, 2022 - ca. 14.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Edward Cucuel 1875 San Francisco - 1954 Pasadena Zwei Damen im Kahn. Um 1910. Öl auf Leinwand. Links unten signiert. 80 x 80 cm (31,4 x 31,4 in). • Charakteristisches Motiv im Schaffen Cucuels, der sich vor allem den eleganten Frauengestalten in der Natur widmet • Cucuel zeigt sein malerisches Können im lebhaften Wechselspiel von Licht und Schatten, die die sommerliche Leichtigkeit spürbar machen • In der pastosen, impressionistischen Malweise fasziniert besonders das schillernde nuancenreiche Farbenspiel • Entstanden in der Sommervilla des Malers am Ammersee, seinem zentralen Wirkungsort. PROVENIENZ: Privatsammlung Bayern. 'Cucuel ist ein äußerst frisches Temperament. Die französische Schule und Anregungen von der 'Scholle' sind in seinen Damenbildnissen deutlich sichtbar. Aber er ist ein Maler, der aparte Situationen zu finden weiß und in seinen fröhlichen Frauenporträts sehr interessanten Farbenreizen nachgeht.' Kunstnachrichten, III. Jahrgang, Nr. 19/20, Berlin Juli 1914, S. 95. Das Werk Edward Cucuels ist ab den 1910er Jahren geprägt durch eine heitere, unbeschwerte Freiluftmalerei, die er zunächst mit seinem Freund und Lehrmeister Leo Putz in Hartmannsberg am Chiemsee betreibt. Hier arbeiten die Maler über vier Jahre hinweg jeden Sommer Seite an Seite. Zuvor ist er hauptsächlich als Grafiker und Illustrator für die Presse tätig, unter anderem in den 1890er Jahren in New York, nachdem er in seiner Geburtsstadt San Francisco an der Kunstakademie und in Paris an der fortschrittlichen Académie Julian studiert hat. Ab 1914 ist Cucuel am Ammersee und anschließend am Starnberger See südlich von München ansässig, wo er eine Villa mit weitläufigem Seegrundstück besitzt. Dort führt er die zuvor gewählte Motivik fort: junge, elegant gekleidete Damen, die lässig drapiert im Grünen ihrem Freizeitvergnügen nachgehen. Im Stil unabhängiger von Putz werdend, fängt Cucuel seine Bilder durch einen ungebrochen flüssig bis flüchtigen Pinselduktus in satten Farbtönen von hoher Leuchtkraft ein. Den besonderen Reiz von Edward Cucuels Gemälden macht ihre spürbare Leichtigkeit und nonchalante Eleganz aus. Die Inszenierung der Modelle lässt die Grenze zwischen Pose und unbeobachteter Spontaneität verschwimmen, in der lockeren Ausführung erscheint die Malerei als angenehmer sommerlicher Zeitvertreib. Häufig verwendet er dabei nicht nur den Pinsel, sondern trägt die Farbe in breiten Strichen mit dem Malmesser auf, wodurch seine Motive trotz der hellen, pastelligen Farben eine solide Körperlichkeit erlangen. Insbesondere die Welt der schönen, unbeschwerten jungen Frau in sommerlicher Seenlandschaft ist eines der erfolgreichsten Motive von Edward Cucuel. Seine Bilder vom Ufer des Starnberger Sees sind Ausdruck einer Lebenshaltung, die gleichzeitig charakteristisch für eine bestimmte Gesellschaftsschicht ist, der der Maler in seiner vom Spätimpressionismus beeinflussten Malweise auf exemplarische Weise huldigt. Die in einer kleinen Badebucht ins Boot steigenden jungen Damen sind ganz in den farblichen Zauber des blaugrün schimmernden Sees und der üppigen Vegetation eingebunden. Leichte Lichtreflexe auf der weißen Kleidung geben der Szene jenen imaginären Zauber des optisch Entrückten, der für viele Arbeiten Cucuels aus dieser Epoche so charakteristisch ist. [KT] Aufrufzeit: 10.12.2022 - ca. 15.40 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdward Cucuel 1875 San Francisco - 1954 Pasadena Zwei Damen im Kahn. Um 1910. Oil on canvas. Lower left signed. 80 x 80 cm (31.4 x 31.4 in). • Characteristic motif in Cucuel's work, which is primarily dedicated to the elegant female figures in nature • Cucuel shows his painterly skills in the lively interplay of light and shadow, which makes the summery lightness tangible • In the impasto, impressionistic style of painting, the shimmering, nuanced play of colors is particularly fascinating • Created in the painter's summer villa on Ammersee, his central place of work. PROVENANCE: Private collection Bavaria. 'Cucuel has an extremely fresh temperament. The French school and inspiration from the 'Scholle' are clearly visible in his portraits of women. But he is a painter who knows how to find unusual situations and pursues very interesting color stimuli in his cheerful female portraits.' Kunstnachrichten, vol. III, no. 19/20, Berlin, July 1914, p. 95. From the 1910s onwards, Edward Cucuel’s work was defined by a cheerful, light-hearted outdoor painting style, which he initially pursued together with his friend and teacher Leo Putz in Hartmannsberg on Lake Chiemsee. During four summers, the painters worked side by side, capturing the scenery and their models in vibrant, harmonious colors and fluid brushwork. From 1914 Cucuel was based in Holzhausen on Lake Ammersee, where he continued to paint his earlier motif of young, elegantly dressed ladies in casual poses pursuing their leisure activities in the countryside. The world of beautiful, carefree young women in summer lake landscapes is one of Edward Cucuel’s most successful motifs. His paintings of the shores of Lake Starnberg manifest an attitude to life typical of a certain social class, which his painting style, inspired by Late Impressionism, skillfully exemplifies. The young ladies climbing into a boat in a small cove are engulfed in the colorful magic of the shimmering blue-green lake and the lush vegetation. Light reflections on their white dresses lend the scene an enchanted visual enrapture that is characteristic of many of Cucuel’s works from this period. [KT] Called up: December 10, 2022 - ca. 15.40 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Otto Pippel 1878 Lódz - 1960 München Abendgesellschaft. Um 1930. Öl auf Holz. Rechts unten in der nassen Farbe signiert. Verso mit Etikett des Künstlers. 29,7 x 32,7 cm (11,6 x 12,8 in). PROVENIENZ: Privatsammlung Süddeutschland (bis 2012). Privatsammlung Baden-Württemberg. Pippels von lockerer Hand und in pastosem Farbauftrag geschaffenen Gemälde finden nach seinen ersten Münchner Ausstellungsbeteiligungen um 1912 eine große Anhängerschaft und so entsteht in den folgenden Jahren ein umfangreiches Œuvre, das immer wieder die atmosphärische Stimmung des Lichts in den Vordergrund rückt. Neben den im Freien und vor dem Motiv entstandenen Szenen widmet sich Pippel mit Vorliebe auch dem Interieur, vornehmlich der abendlich musizierenden oder tafelnden mondänen Gesellschaft. Hier tritt die künstliche Beleuchtung in sein Interesse, mit der sich ebenso stimmungsvolle Effekte erzielen lassen, kunstvoll verstärkt durch die goldenen Boiserien und großen Spiegelflächen der schemenhaft prunkvollen Architektur. Pippel schafft so ein ihm eigenes Genre, das bei der großbürgerlichen Gesellschaft seiner Zeit großen Anklang findet. 'In seinen Werken ist es zuweilen, als wäre den Farben Champagner beigemischt, so prickeln und flirren und flimmern sie. Und es mag Manchen geben, der vor diesen Bildern spät und zum ersten Male zum vollen Bewusstsein dessen kommt, was Impressionismus, Eindruckskunst, eigentlich ist.' (Richard Braungart, Leipziger Illustrierte Zeitung, o. J., zit. nach: Hermann Reiner, (Hrsg.), Otto Pippel, München 1948, S. 19). [KT] Aufrufzeit: 10.12.2022 - ca. 15.52 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONOtto Pippel 1878 Lódz - 1960 München Abendgesellschaft. Um 1930. Oil on panel. Signed in wet paint in lower right. With the artist's label on the reverse. 29.7 x 32.7 cm (11.6 x 12.8 in). PROVENANCE: Private collection Southern Germany (until 2012). Private collection Baden-Württemberg. Created with a light hand and painted in an impasto style, Pippel’s works found a large following after his first exhibitions in Munich around the year 1912. In the subsequent years, he produced an extensive oeuvre that consistently showcased the atmospheric ambience of light. In addition to the scenes created outdoors in full view of the motif, Pippel also devoted himself to interior scenes, focusing on fashionable socialites at dinner parties or musical evenings. In this painting, he brings out the artificial lighting to produce ambient effects, skillfully enhanced by the golden boiseries and large mirrored surfaces of the opulent silhouetted architecture. Pippel thus established his very own genre, which was well received by the upper middle-classes of his time. “Now and again, it feels as if champagne has been added to the colors in his works, the way they sparkle and shimmer and flicker. And there may be some who, standing in front of these pictures, belatedly and for the first time arrive at the full realization of what Impressionism and Impressionist art actually are.” (Richard Braungart, Leipziger Illustrierte Zeitung, n.d., quoted from: Hermann Reiner, (ed.), Otto Pippel, Munich 1948, p. 19). [KT] Called up: December 10, 2022 - ca. 15.52 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Karl Georg Naumann 1827 Königsberg - 1902 München Der entflogene Kanarienvogel. Wohl 1875. Öl auf Holz. Links unten signiert. Verso mit altem fragmentierten Etikett. 49,5 x 34,5 cm (19,4 x 13,5 in). PROVENIENZ: Privatsammlung Deutschland. Deutlich zeigt sich in den Werken Naumanns die Bewunderung für den um 6 Jahre jüngeren großen Meister und Namensvetter Karl Spitzweg (1808-1885). Dessen genau beobachtende, mit subtilem Humor erfüllte Genrebilder erfreuen sich nicht nur bei den Käufern sondern auch bei den Malern als neue, zu erkundende Gattung großer Beliebtheit. Nach seiner Ausbildung an der Königsberger Akademie lässt sich Naumann in München nieder, wo er sicherlich den umtriebigen und stetig reisenden Spitzweg dennoch persönlich getroffen haben dürfte. Naumann nimmt sich ebenso wie Spitzweg häufig die Sonderlinge der Gesellschaft vor, die ihrem Steckenpferd erlegen sind, wie der Botaniker oder der in der Dachstube experimentierende Alchimist. In der hier gezeigten Szene versucht der im Hausmantel auf die Gartenmauer kletternde distinguierte Herr mit Brille seinen kleinen gelben Kanarienvogel mit bittendem Blick wieder in den Käfig zu locken. Naumann lokalisiert die Szene mit den Frauentürmen im Hintergrund in München, die sich vor der verwinkelten Hinterhofarchitektur abheben. Vor der atmosphärische gehaltenen Stadtkulisse widmet er sich mit viel Akribie den Details wie der Musterung des seidigen Mantels und den Stofflichkeiten der Gegenstände, die auch sein technisches Können im Fach der Genremalerei unter Beweis stellen. [KT] Aufrufzeit: 10.12.2022 - ca. 16.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Georg Naumann 1827 Königsberg - 1902 München Der entflogene Kanarienvogel. Wohl 1875. Oil on panel. Lower left signed. Verso with an old, fragmentarily preserved label. 49.5 x 34.5 cm (19.4 x 13.5 in). PROVENANCE: German private collection. Naumann’s works bear witness to his admiration for the great master and namesake Karl Spitzweg (1808-1885), who was 6 years his junior. Minutely observed and infused with subtle humor, Spitzweg’s genre paintings were very popular not only with buyers but also with painters who regarded them as a new genre worth exploring. After completing his studies at the Königsberg Academy, Naumann settled in Munich where he is likely to have encountered the busy, widely traveling Spitzweg in person. Like Spitzweg, Naumann often depicted society’s misfits succumbing to their pet hobby, such as the botanist or the alchemist experimenting in the attic. In the scene shown here, a distinguished gentleman wearing a housecoat, glasses and a pleading look climbs onto the garden wall in an attempt to coax his little yellow canary back into its cage. Silhouetted against the labyrinthine backyard architecture, the spires of the Church of Our Lady in the background locate the scene in the town of Munich. Against the ambient city backdrop, the artist pays meticulous attention to details, such as the pattern of the silky coat and the texture of the physical objects, displaying his outstanding technical skills in the field of genre painting. [KT] Called up: December 10, 2022 - ca. 16.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Carl Spitzweg 1808 München - 1885 München Auf dem Pirschgang. Um 1865-70. Öl auf Holz. Wichmann 1481. Unten links mit der Signaturparaphe. Verso mit alten, teilw. unleserlichen Etiketten sowie mit Sammlerstempel Hugo Toelle, Barmen sowie handschriftlich bezeichnet. 17,8 x 23 cm (7 x 9 in). Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Nachlass Friedrich Volz (bis 1895). Sammlung Hugo Toelle, Barmen. Galerie Abels, Köln, in Magdeburger Privatbesitz verkauft (1950). Sammlung G. Steiner, Hannover (1958). Privatsammlung Deutschland. AUSSTELLUNG: Gedächtnis-Ausstellung, Juni 1908, Kunstverein München, Nr. 61 (hier betitelt: 'Jäger mit seinem Liebchen im Walde'). Galerie Abels, Köln, Juni 1950, Kat.-Nr. 236 (Beiblatt). Sammlung G. Steiner, Hannover 1958. LITERATUR: Galerie Fleischmann, München, Auktion 30.11.1895, Abb. 16 (Nachlass Friedrich Volz). Fritz von Ostini, Aus Carl Spitzwegs Welt, Barmen 1924, S. 98 (m. Abb.). Max von Boehn, Carl Spitzweg, Bielefeld/Leipzig 1937, S. 51 (m. Abb.). Günter Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, München 1960, Nr. 394 (m. Abb., hier betitelt: 'Auf dem Pürschgang'). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald, Dokumentation, Starnberg-München, R.f.v.u.a.K. 1984, Bayer. Staatsbibliothek München, Inv.-Nr. Ana 656 SW 19. Villa Grisebach, Berlin, Auktion 29.6.2001, Kat.-Nr. 1 (m. Abb.). Ein wiederkehrendes Motiv in Spitzwegs Œuvre ist das des verliebten Paares in der alpenländischen Natur, mit den Typen des Jägers und der Sennerin. Bereits seit seiner Frühzeit variiert Spitzweg das Thema immer wieder in kleinen Details und Nuancen: mal findet ein Treffen in der Felsenschlucht statt, mal auf einem Gebirgspfad am kleinen Marterl, im Hochwald oder am Brunnen. Die künstlerische Subtilität Spitzwegs zeigt sich in dem unterschiedlichen Charakter der Begegnungen, die als zufälliges Rendez-vous erfolgen, in nächtlicher Heimlichkeit oder auch tagsüber, wie die Chronik einer Liebesgeschichte in den Alpen, wenn man alles zusammennähme. Die beiden Figuren und ihre Romanze scheinen ihn nicht nur malerisch nachhaltig beschäftigt zu haben, merkt man doch an den zahlreichen Varianten die theatralische Lust am inszenieren und an der Erzählung. Bei einigen der Gemälde steht die Landschaft im Vordergrund, bei anderen - so wie in diesem Fall - treten die Figuren größer im Vordergrund auf. Sie wenden sich, ganz ineinander vertieft, vom Betrachter ab und spazieren in den dichten Wald, hinter dem man - in ganz Spitzwegscher Manier - einen kleinen Ausblick erhaschen darf auf die von der Abendsonne beschienenen Bergspitze vor dem Blau des Himmels. Neben die in tupfenhafter und lockerer Malweise in den unterschiedlichsten Grüntönen wiedergegebenen Vegetation und dem Anzug des Jägers setzt Spitzweg im Gewand der Sennerin seinen bevorzugten Farbklang aus rotem Rock, blauer Schürze, schwarzem Mieder und weißer Bluse, zurückhaltend hier jedoch in kleinster und subtiler Dosierung. Die beiden Figuren des Jägers und der Sennerin finden sich auch einzeln in Spitzwegs Œuvre, hier finden sie auf heimlich-romantische Art im Gemälde zusammen. Als begnadeter Landschaftsmaler, der schon in seiner Frühzeit mit Eduard Schleich im Voralpenland und im Inntal unterwegs ist, gelingen Spitzweg wundervolle Naturdarstellungen. Die darin eingefügten Figuren sind mehr als bloße Staffage, sie dienen zur Charakterisierung der Landschaft und fügen ein emotionales und erzählerisches Moment hinzu. Wo könnte die Verliebtheit des jungen Paares besser stattfinden als in der lieblich-idyllischen Voralpenlandschaft, die Spitzweg so gerne zeigt. [KT] Aufrufzeit: 10.12.2022 - ca. 16.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Auf dem Pirschgang. um 1865-70. Oil on panel. Wichmann 1481. Bottom left with the paraph. Verso with old, partly illegible labels and with a collector stamp of Hugo Toelle, Barmen and hand-written inscriptions. 17.8 x 23 cm (7 x 9 in). We are grateful to Mr Detlef Rosenberger, who saw the original work, for his kind expert advice. PROVENANCE: Estate of Friedrich Volz (until 1895) Collection Hugo Toelle, Barmen. Galerie Abels, Cologne, sold to a private collector from Magdeburg (1950) Collection G. Steiner, Hanover. (1958) German private collection. EXHIBITION: Commemorative exhibition, June 1908, Kunstverein Munich, no. 61 (titled: 'Jäger mit seinem Liebchen im Walde'). Galerie Abels,Cologne, June 1950, cat. co. 236 (supplement sheet). Collection G. Steiner, Hanover 1958. LITERATURE: Galerie Fleischmann, Munich, auction on November 30, 1895, illu. 16 (estate Friedrich Volz). Fritz von Ostini, Aus Carl Spitzwegs Welt, Barmen 1924, p. 98 (with illu.). Max von Boehn, Carl Spitzweg, Bielefeld/Leipzig 1937, p. 51 (with illu.). Günter Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich 1960, no. 394 (with illu., titled: 'Auf dem Pürschgang'). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald, Dokumentation, Starnberg-Munich, R.f.v.u.a.K. 1984, Bayer. Staatsbibliothek Munich, inv. no. Ana 656 SW 19. Villa Grisebach, Berlin, auction on June 29, 2001, cat. no. 1 (with illu.). Called up: December 10, 2022 - ca. 16.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Einladung zur Ausstellung der Künstlergruppe 'Brücke'. 1906. Holzschnitt. Gercken A -29 II.2. (von II. 2.). Dube H. 693. Mittig im Holzstock monogrammiert. Eines von 6 bekannten Exemplaren dieses Zustands. Auf bräunlichem Karton. 10,1 x 10,1 cm (3,9 x 3,9 in). Papier: 13,6 x 13,6 cm (5,4 x 5,4 in). Gedruckt von Wilhelm Guth, Dresden (verso mit dem typografischen Vermerk). [SM]. • Äußerst selten. • Seit 30 Jahren wurde kein Exemplar auf dem internationalen Auktionsmarkt angeboten. • Frühes Zeugnis aus den Anfängen der 'Brücke'. PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (verso 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: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, S. 31, Nr. 44. (m. Abb, anderes Exemplar). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 99, SHG-Nr. 36. Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 289, SHG-Nr. 653. Einladungskarten zu ihren Ausstellungen selbst zu gestalten, ist von Beginn an ein wichtiges Marketing-Tool der 'Brücke'-Künstler. Die Einladungskarte für die erste Gruppenausstellung der 'Brücke' im Mustersaal der Lampenfabrik Karl Max Seifert in der Gröbelstaße in Dresden-Löbtau entsteht im internen Wettbewerb mit Vorgaben wie Format, Text und auch für das Bildmotiv zwischen Heckel, Kirchner und Pechstein. Während Heckel und Pechstein die für Gebrauchsgrafiken gängige Technik der Zinkätzung wählen, bevorzugt Kirchner den Holzschnitt, was nicht nur seinem Bildmotiv Authentizität verleiht, sondern auch den Buchstaben und Worten eine eigene Kraft und Eindringlichkeit gibt. Dadurch wirkt der Text zwar etwas sperrig, fügt sich aber mit dem Bild zu einer kunstvollen und stimmigen Gestaltung. Kirchners Holzschnitt wird schließlich gedruckt. Ausgestellt haben vom 24. September bis Ende Oktober 1906 Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein und Schmidt-Rottluff. Durch Heckels Arbeit als Zeichner, Assistent und Bauführer im Architekturbüro von Wilhelm Kreis lernen die 'Brücke'-Künstler den Fabrikanten Karl Max Seifert kennen. Kreis war mit dem Neubau von Seiferts Schauräumen beauftragt und setzte Heckel als Bauführer ein, der Seifert in diesem Zusammenhang für das Ausstellungsvorhaben begeistern kann. Fritz Bleyl erinnert sich später an die Umstände der Präsentation: 'Der Neubau an der Gröbelstraße war ein mittelgroßes, mehrräumiges Saalgebäude mit stoffbespannten Wandflächen, Parkettfußboden und Polstersesseln, von dessen Decke nun zwar die Kronleuchter herabhingen, dessen Wände aber noch leer waren und Gelegenheit zum vorteilhaften Aufhängen von Bildern boten.' (Abb.) (Hans Wentzel, Fritz Bleyl. Gründungsmitglied der Brücke, in: Kunst in Hessen und am Mittelrhein, 1968, S. 96) Die Entwürfe von Heckel und Pechstein für die Einladung sowie ein Entwurf für ein Verzeichnis der ausgestellten Werke befinden sich im Brücke-Museum Berlin. [MvL] Aufrufzeit: 10.12.2022 - ca. 16.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Einladung zur Ausstellung der Künstlergruppe 'Brücke'. 1906. Woodcut. Gercken A -29 II.2. (of II. 2.). Dube H. 693. Monogrammed in center of the wooden block. One of 6 known copies from this state. On brownish board. 10.1 x 10.1 cm (3.9 x 3.9 in). Sheet: 13,6 x 13,6 cm (5,4 x 5,4 in). Printed by Wilhelm Guth, Dresden (with note in typography on the reverse). [SM]. • Extremely rare. • No copy offered on the international auction market in thirty years. • Document from the early days of the 'Brücke'. PROVENANCE: Collection Hermann Gerlinger, Würzburg (verso with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, p. 31, no. 44. (with illu., different copy). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 99, SHG no. 36. Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 289, SHG no. 653. The creation of invitation cards for their exhibitions was an important marketing tool for the 'Brücke' artists from the very beginning. The invitation card for the first group exhibition of the 'Brücke' at the lamp factory Karl Max Seifert on Gröbelstaße in Dresden-Löbtau was the result of an internal competition between Heckel, Kirchner and Pechstein. While Heckel and Pechstein chose the zinc etching technique, which was common for commercial prints, Kirchner preferred the woodcut, which not only lends authenticity to his image motif, but also gives the letters and words an own strength and urgency. Although this makes the text seem somewhat bulky, it blends with the image to create an artistic and coherent design. Kirchner's woodcut was eventually printed. Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein and Schmidt-Rottluff exhibited from September 24 to the end of October 1906. Through Heckel's work as a draftsman, assistant and construction foreman in Wilhelm Kreis's architectural office, the 'Brücke' artists became acquainted with the factory owner Karl Max Seifert. Kreis was commissioned with the new construction of Seifert's showrooms and appointed Heckel as construction foreman, who was able to inspire Seifert for the exhibition project in this context. Fritz Bleyl later recalled the circumstances of the presentation: 'The new building on Gröbelstraße was a medium-sized, multi-room hall with fabric-covered walls, parquet flooring and upholstered armchairs, and chandeliers hung from the ceiling, but the walls were still empty and waiting for the pictures.' (Fig.) (Hans Wentzel, Fritz Bleyl. Gründungsmitglied der Brücke, in: Kunst in Hessen und am Mittelrhein, 1968, p. 96) Today Heckel's and Pechstein's drafts for the invitation, as well as a draft for a list of the exhibited works are in the Brücke Museum Berlin. [MvL] Called up: December 10, 2022 - ca. 16.58 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Anselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Öl auf Leinwand. Ecker 293. 74 x 62 cm (29,1 x 24,4 in). PROVENIENZ: Kunsthandlung Fritz Gurlitt, Berlin. Privatsammlung Bayern (seit den 1920er Jahren in Familienbesitz). LITERATUR: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, München 1929, Nr. 158 (m. Abb.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, Bilddatei-Nr. fm145146 (www.bildindex.de/document/obj20418121). Anselm Feuerbach erreicht in den 1870er Jahren große Bekanntheit als Vertreter einer neuen Schule mythologisch-literarischer Historienmalerei, wie sie neben ihm die sogenannten Deutschrömer Arnold Böcklin und Hans von Marées aus der Taufe heben. Großformatige Bilder wie „Medea“ (1870, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, München) oder „Iphigenie“ (1871, Staatsgalerie Stuttgart) überführen die Grandiosität und Erhabenheit, die er in seiner Wahlheimat Rom gefunden zu haben meint, in ihr visuelles Äquivalent. Während seiner ersten Studienjahre an der Düsseldorfer Akademie begegnet er Größen wie dem aus dem Umkreis der Nazarener geprägten Wilhelm von Schadow, und dem Vorbild romantischer Landschaftsmalerei Johann Wilhelm Schirmer. Künstlerisch prägend ist für ihn ebenso die Zeit im Pariser Atelier des Historienmalers Thomas Couture. 1855 reist Feuerbach über Venedig nach Rom, wo er sich bis 1872 mit nur vereinzelten kurzen Unterbrechungen aufhält. Feuerbach ist ebenso auf der Suche nach einer Idealität und dem Fortwirken antiker Erhabenheit, wie er sie in den italienischen Menschen – wie insbesondere seiner über alles verehrten Muse Nanna – aber auch in der seit Jahrhunderten dort existierenden Natur zu finden glaubte. So entstehen auch einige Landschaften von mysteriöser Wirkung. Menschenleer und trotzdem auf seltsame Art beseelt in seiner zerfurchten und verschatteten Struktur, in der Hitze vor dem blauen Himmel aufragend scheint der zerklüftete Fels ideale Heimstätte für Wald- und Naturgeister wie Faune und Dryaden. Feuerbachs derzeitige römischer Malerkollege Arnold Böcklin führt diese Vorstellung 1858/1860 mit dem im Schilff versteckten oder aus dem Gestein auftauchenden Pan, einen Hirten erschrecken, malerisch aus. (Neue Pinakotheks sowie Sammlung Schack, München). Im schattigen Gras am Boden liegend und beobachtend, scheint man als Betrachter:in nur auf das Auftauchen der Naturwesen zu warten. Die Landschaft wird – ähnlich wie Feuerbachs Vorgehen in seinen Historiengemälden – trotz ihrer ruhenden Monumentalität zum bewegten Gefühlsträger, in dem sich die Empfindungen des Realen mit dem Idealen und der Imagination zu vermischen beginnen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAnselm Feuerbach 1829 Speyer - 1880 Venedig Landschaft, Felsgestein. Um 1857/58. Oil on canvas. Ecker 293. 74 x 62 cm (29.1 x 24.4 in). PROVENANCE: Art dealer Fritz Gurlitt, Berlin. Private collection Bavaria (family-owned since the 1920s). LITERATURE: Hermann Uhde-Bernays, Feuerbach: beschreibender Katalog seiner sämtlichen Gemälde, Munich 1929, no. 158 (with illu.). Fotokonvolut: Wolfgang Gurlitt-Archiv, Bildarchiv Foto Marburg, image file no. fm145146 (www.bildindex.de/document/obj20418121). In the 1870s, Anselm Feuerbach achieved great fame as a representative of a new school of mythological-literary historical art, which he created alongside the so-called “Teutonic Romans” Arnold Böcklin and Hans von Marées. Large-scale paintings such as “Medea” (1870, Bavarian State Painting Collections, New Pinakothek, Munich) or “Iphigenie” (1871, State Gallery of Stuttgart) translate into their visual equivalent the grandiosity and sublimity he believed to have found in his adopted hometown of Rome. During his first years of study at the Düsseldorf Academy, he met famous artists like Wilhelm von Schadow, who was inspired by the Nazarenes, and Johann Wilhelm Schirmer, the paragon of Romantic landscape painting. His time at the Paris studio of the historical painter Thomas Couture also had a formative effect on him. In 1855, Feuerbach traveled first to Venice and then on to Rome, where he stayed with brief interruptions until 1872. Feuerbach searched for an idealism and a continuation of ancient sublimity which he believed to have found both in the Italian people – especially in his idolized muse Nanna – and in the nature that had survived there for centuries. His search gave rise to a number of landscapes that are imbued with a mysterious effect. Deserted and yet strangely animated in its ragged and shaded structure, towering in the heat against the blue sky, the craggy rock appears to be the perfect abode of forest and nature spirits like fauns and dryads. Feuerbach’s fellow artist in Rome, Arnold Böcklin, painted this concept in 1858/1860, with Pan hiding in the reeds or emerging from the rocks, frightening a shepherd. (New Pinakothek and Schack Collection, Munich). Lying on the ground in the shady grass, looking on, the viewer seems to be waiting for the emergence of the mystical creatures. Similar to Feuerbach’s approach in his historical paintings, the landscape – despite its dormant monumentality – becomes a turbulent vehicle of emotions, merging perceptions of reality with the ideational and the imaginative. [KT] Called up: December 10, 2022 - ca. 15.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Fabrik. 1913. Aquarell und Bleistift. Rechts unten signiert und datiert sowie links unten betitelt. Auf Bütten (mit Wasserzeichen). Ca. 34 x 50,5 cm (13,3 x 19,8 in), blattgroß. [AR]. • Spannungsvolle Landschaftsszenerie in wirkmächtiger Farbigkeit. • Eine der seltenen Fabrikdarstellungen Erich Heckels. • Zum ersten Mal auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). Das Werk ist im Nachlass Erich Heckel, Hemmenhofen am Bodensee, verzeichnet. Wir danken Frau Renate Ebner und Herrn Hans Geissler für die freundliche Unterstützung. PROVENIENZ: Nachlass des Künstlers. Sammlung Hermann Gerlinger, Würzburg (1975 vom Vorgenannten erworben, mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Erich Heckel. Aquarelle und Zeichnungen. Sonderausstellung zur Eröffnung der neuen Otto-Richter-Halle, Würzburg, Oktober/November 1975, Kat.-Nr. 26. Erich Heckel 1883-1979. Aquarelle. Zeichnungen. Ausstellung zum 100. Geburtstag des Malers, Städtische Galerie, Würzburg, 1983, Kat.-Nr. 40 (m. Farbabb.). 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). Im Rhythmus der Natur: Landschaftsmalerei der 'Brücke'. Meisterwerke der Sammlung Hermann Gerlinger, Städtische Galerie, Ravensburg, 28.10.2006-28.1.2007 (m. Farbabb., S. 106). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 99 (m. Farbabb. S. 167). Erich Heckel, Einfühlung und Ausdruck, Buchheim Museum, Bernried, 31.10.2020-7.3.2021, verlängert bis 20.6.2021 (m. Farbabb. S. 201). 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. 202, SHG-Nr. 253 (m. Farbabb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 196f., SHG-Nr. 442 (m. Farbabb.). Eine selten bei ihm zu entdeckende Motivik präsentiert uns Erich Heckel in dem vorliegenden Aquarell. Der im sächsischen Döbeln geborene Künstler hat während seiner Schaffenszeit nur wenige Fabrikbauten in Gemälden und Aquarellen festgehalten. Unter anderem in dem Gemälde 'Ziegelei am Wasser', das wie unsere Darstellung aus dem Jahr 1913 stammt, zeigt er uns eine dieser Produktionsstätten – die Einbettung des Gebäudes in die Landschaft ist jedoch eine deutlich andere als bei dem hier angebotenen Blatt. In unserem Aquarell scheint das Fabrikgebäude für Heckel von eher geringer Bedeutung zu sein. Nur einen relativ kleinen Teil der Bildfläche nutzt der Künstler für die Darstellung des Bauwerks. Dem Himmel verleiht er hingegen eine starke und kraftvolle Präsenz: Die beinahe bedrohlich wirkenden aufziehenden Wolken, die von den bräunlich-gelben Rauchsäulen der Schornsteine unterbrochen werden, tragen maßgeblich zum aussagekräftigen Charakter der Darstellung bei. Im Zusammenspiel mit weiteren Faktoren wie der spannungsvollen Farbgebung vermittelt uns Heckel die Stimmung und die Besonderheiten der vorgefundenen Landschaft. [AM] Aufrufzeit: 10.12.2022 - ca. 17.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Fabrik. 1913. Watercolor and pencil. Lower right signed and dated, titled in lower left. On laid paper (with a watermark). Ca. 34 x 50.5 cm (13.3 x 19.8 in), the full sheet. [AR]. • Fascinating landscape scene in powerful colors. • One of Erich Heckel's rare factory depictions. • For the first time offered on the international auction market (source: artprice.com). Das Werk ist im Nachlass Erich Heckel, Hemmenhofen am Bodensee, verzeichnet. Wir danken Frau Renate Ebner und Herrn Hans Geissler für die freundliche Unterstützung. PROVENANCE: From the artist's estate. Collection Hermann Gerlinger, Würzburg (acquired from the above in 1975, with teh collector's stamp Lugt 6032). EXHIBITION: Erich Heckel. Aquarelle und Zeichnungen. Special exhibition on the occasion of the opening of the Otto-Richter-Halle, Würzburg, October/November 1975, cat. no. 26. Erich Heckel 1883-1979. Aquarelle. Zeichnungen. Exhibition on the occasion of the artist's 100th birthday, Städtische Galerie, Würzburg, 1983, cat. no. 40 (with color illu.). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Im Rhythmus der Natur: Landschaftsmalerei der 'Brücke'. Meisterwerke der Sammlung Hermann Gerlinger, Städtische Galerie, Ravensburg, October 28, 2006 - January 28, 2007 (with color illu, on p. 106). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Vienna, June 1 - August 26, 2007, cat. no. 99 (with color illu. on p. 167). Erich Heckel, Einfühlung und Ausdruck, Buchheim Museum, Bernried, October 31, 2020 - March 7, 2021, extended until June 20, 2021 (with color illu. on p. 201). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 202, SHG no. 253 (with color illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, pp. 196f., SHG no. 442 (with color illu.). In the present watercolor, Erich Heckel presents us a motif that is rarely found in his oeuvre. The artist, who was born in Döbeln in Saxony, captured only a few factory buildings in paintings and watercolors during his creative period. In the painting 'Ziegelei am Wasser” (Brickyard on the Waterfront), also from 1913, he shows us a similar production facility that he embedded in the landscape in a different way than in the present sheet. In our watercolor, the factory building seems to be of rather little importance to Heckel. The artist used only a relatively small part of the picture's surface to depict the building. On the other hand, he gives the sky a strong and powerful presence: the almost threatening looming clouds interrupted by the brownish-yellow smoke from the chimneys, significantly contribute to the work’s expressive character. In combination with other factors like the coloring, Heckel conveys the atmosphere and the particularities of the landscape. [AM] Called up: December 10, 2022 - ca. 17.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Militaria Ausland - Frankreich : Schwert zur kleinen Uniform (Glaive de Petit Apparat), für einem Mitglied des Direktoriums, Exemplar aus dem Besitz Paul Barras (ex Collection Bernhard Franck). Griff aus ziselierter, vergoldeter Bronze. Klinge mit der Inschrift: "Pour la Nation - Vaincre ou Mourir" (Für die Nation - Sieg oder Tod). Scheide aus vergoldeter Bronze mit granatrotem Samtboden. Dieses Schwert stammt aus dem Nachlass von Grand de Deydem, dessen Vorfahre der Adjutant von Paul Barras war (Verkauf nach dessen Tod, 28. Mai 1921, Hôtel Drouot, Nr. 103 des Katalogs). Paul-François-Jean-Nicolas, Vicomte de Barras (* 30. Juni 1755 in Fox-Amphoux; ? 29. Januar 1829 in Chaillot) war ein französischer Politiker und Mitglied des Direktoriums, in dem er als einziger von 1795 bis zu seiner Auflösung 1799 durchgehend Mitglied war. Es war Zufall, dass er am 14. Juli 1789 Zeuge des Sturms auf die Bastille wurde. Bis dahin hatte der Vizegraf de Barras keine festen politischen Ideen. Er traf Mirabeau bei Sophie Arnould. Vielleicht war es dieses Treffen, das ihn dazu veranlasste, sich der Freimaurerei und dann dem Jakobinerklub anzuschließen und als Republikaner in die Politik einzusteigen. Als Kandidat für die Legislative für das Département Var scheiterte er. Er wurde danach jedoch Mitglied des Nationalen Hochgerichtes in Orléans. Nachdem dieses aufgelöst war, kehrte er nach Paris zurück und wurde zum Kommissar der italienischen Armee ernannt. Die Wahl zum Nationalkonvent von 1792 glückte dann und er stimmte für die Hinrichtung Ludwigs XVI. Er beteiligte sich 1794 maßgeblich am Sturz Robespierres vom 9. Thermidor. Er wurde später Präsident des Nationalkonvents. 1795 stand Barras als einer der ersten fünf Direktoren an der Spitze des Staates. Nach dem Staatsstreich des 18. Fructidor V (4. September 1797) übernahm das Triumvirat aus Barras, Louis-Marie de La Révellière-Lépeaux und Jean François Reubell die Macht im Direktorium. Joséphine de Beauharnais, die spätere Frau von Napoleon Bonaparte, war seine Geliebte. Barras förderte den jungen General, der für ihn in Paris einen royalistischen Aufstand gegen das Direktorium niedergeschlagen hatte, indem er ihn mit der Führung der Italienarmee beauftragte und später die Ägyptische Expedition unterstützte. Napoleons Staatsstreich des 18. Brumaire VIII (1799) zwang Barras jedoch zum Rücktritt. Barras hatte sowohl Napoleons als auch Joseph Fouchés Aufstieg begünstigt, was die beiden nicht daran hinderte, ihn abzusetzen und in die Verbannung zu schicken. Erst nach Napoléons Abdankung kehrte Barras wieder zurück, obwohl er auch als Königsmörder (Régicide) stigmatisiert war. Provenienz: Nachlaß Grand de Deydem Auktion 28. Mai 1921, Hôtel Drouot, Nr. 103 des Katalogs. Sammlung Bernard Franck, Auktion bei Hotel Drouot Paris, 3. und 4. April 1935 "Collections Bernard Franck (Quatrième Vente) Èpoque Révolution, Los 191. Das Schwert wird im Titelblatt der Auktion als eines der "Highlights" genannt und ist auf S. 23 - 25 abgebildet und beschrieben. Der Originaltext des Kataloges lautet: "Glaive de Petit Apparat, de Membre du Directoire, ayant appartenu à Barras. Poignée en bronze ciselé, doré. Lame portant l'inscription: "Pour la Nation - Vaincre ou Mourir". Fourreau en bronze doré, à fond de velours grenat. Provient de la Succession Grand de Deydem, dont l'ancêtre était l' Aide de Camp de Barras. (Vente après décès, 28. mai 1921, Hôtel Drouot, no. 103 du catalogue)." Bedeutende Blankwaffe eines der bekanntesten Führer der Französischen Revolution und ein historisches Liebhaberstück von musealem Wert.Foreign Militaria - France : Sword to the small uniform (Glaive de Petit Apparat), for a member of the Directory, from the estate of Paul Barras (ex Collection Bernhard Franck). Handle of chiselled, gilt bronze. Blade with the inscription: "Pour la Nation - Vaincre ou Mourir" (For the Nation - Victory or Death). Scabbard of gilt bronze with a garnet red velvet base. This sword comes from the estate of Grand de Deydem, whose ancestor was the aide-de-camp of Paul Barras (sold after his death, 28 May 1921, Hôtel Drouot, no. 103 of the catalogue). Paul-François-Jean-Nicolas, Vicomte de Barras (* 30 June 1755 in Fox-Amphoux; ? 29 January 1829 in Chaillot) was a French politician and a member of the Directory, of which he was the only member continuously from 1795 until its dissolution in 1799. It was by chance that he witnessed the storming of the Bastille on 14 July 1789. Until then, the Vice-Count de Barras had no firm political ideas. He met Mirabeau at Sophie Arnould's house. Perhaps it was this meeting that led him to join Freemasonry and then the Jacobin Club and to enter politics as a republican. He failed as a candidate for the legislature for the Var department. However, he subsequently became a member of the National High Court in Orléans. After this was dissolved, he returned to Paris and was appointed commissioner of the Italian army. He then succeeded in being elected to the National Convention of 1792 and voted for the execution of Louis XVI. He took a leading part in the overthrow of Robespierre from the 9th Thermidor in 1794. He later became president of the National Convention. In 1795, Barras was one of the first five directors of state. After the coup d'état of 18 Fructidor V (4 September 1797), the triumvirate of Barras, Louis-Marie de La Révellière-Lépeaux and Jean François Reubell took power in the Directory. Joséphine de Beauharnais, later Napoleon Bonaparte's wife, was his mistress. Barras promoted the young general who had put down a royalist uprising against the Directory for him in Paris, putting him in charge of the Italian army and later supporting the Egyptian Expedition. Napoleon's coup d'état of 18 Brumaire VIII (1799), however, forced Barras to resign. Barras had favoured both Napoleon's and Joseph Fouché's rise, which did not prevent the two from deposing him and sending him into exile. Barras only returned after Napoléon's abdication, although he was also stigmatised as a regicide (Régicide). Provenance: Grand de Deydem estate auction 28 May 1921, Hôtel Drouot, no. 103 of the catalogue. Bernard Franck Collection, auction at Hotel Drouot Paris, 3 and 4 April 1935 "Collections Bernard Franck (Quatrième Vente) Èpoque Révolution, lot 191. The sword is mentioned in the title page of the auction as one of the "highlights" and is illustrated and described on pp. 23 - 25. The original text of the catalogue reads: "Glaive de Petit Apparat, de Membre du Directoire, ayant appartenu à Barras. Poignée en bronze ciselé, doré. Lame portant l'inscription: "Pour la Nation - Vaincre ou Mourir". Fourreau en bronze doré, à fond de velours grenat. Provient de la Succession Grand de Deydem, dont l'ancêtre était l' Aide de Camp de Barras. (Vente après décès, 28. mai 1921, Hôtel Drouot, no. 103 du catalogue)." Important edged weapon of one of the most famous leaders of the French Revolution and a historical collector's item of museum value.

Italien - Herzogtum Parma : Herzogtum Parma: Geschenksäbel Herzog Carlo III. di Borbone - Parma (1849 - 1854) an General Antonio Crotti.Eisernes Bügelgefäß mit in Gold tauschiertem Wappen des Herzogtums Parma und der gekrönten vergoldeten Chiffre Herzog Karl II. von Bourbon - Parma (reg. 1849 - 1854. Auf dem Bügel Medaillon mit der vergoldeten Bezeichnung in Fraktur: "GEN. A.C." (General Antonio Crotti, Brigadegeneral und letzter Kommandeur der Armee des Herzogtums Parma.Griff in Rochenhaut. Die gekehlte Rückenklinge mit reicher beidseitiger Zierätzung von Waffentrophäen und Arabesken. Auf der Quartseite die Herstellersignatur: "Cio Sassi Milano". Glatte Eisenscheide mit zwei Tragringen. Gesamtlänge: 103 cm. Klinge 88 cm. Schöne und bedeutende Blankwaffe von größter Seltenheit und Wichtigkeit für die Geschichte des Herzogtums Bourbon - Parma. Ferdinand Karl III. von Parma (* 14. Januar 1823 in Florenz; ? 27. März 1854 in Parma) war von 1849 bis 1854 Herzog von Parma. Ferdinand Karl war der einzige Sohn von Herzog Karl II. Ludwig von Parma (1799?1883) und Prinzessin Maria Theresia (1803?1879), Tochter des Königs Viktor Emanuel I. von Sardinien-Piemont und dessen Gattin Maria von Modena. Nachdem sein Vater zu seinen Gunsten abgedankt hatte, kehrte er im August 1849 unter dem Schutz österreichischer Truppen aus London nach Parma zurück und errichtete ein reaktionäres Willkürregime, das ihn derart verhasst machte, dass er im März 1854 in Parma auf offener Straße von einem Unbekannten erdolcht wurde. Für den noch unmündigen Thronerben Herzog Robert (1854?1859/60) übernahm dessen Mutter, die gebürtige französische Bourbonen-Prinzessin Louise Marie von Bourbon, die Regentschaft. Italy - Herzogtum Parma : Duchy of Parma: Presentation sabre from Duke Carlo III di Borbone - Parma (1849 - 1854) to General Antonio Crotti. Iron bow hilt with the coat of arms of the Duchy of Parma inlaid in gold and the crowned gilded cipher Duke Charles II of Bourbon - Parma (r. 1849 - 1854. On the bow medallion with the gilded inscription in fracture: "GEN. A.C." (General Antonio Crotti,Brigadier General and last commander of the army of the Duchy of Parma). Handle in ray skin. The fullered single-edged blade with rich decorative etching of weapon trophies and arabesques on both sides. The maker's signature on the quarterside: "Cio Sassi Milano". Smooth iron scabbard with two suspension rings. Total length: 103 cm. Blade 88 cm. Beautiful and important blank weapon of great rarity and importance for the history of the Duchy of Bourbon - Parma. Ferdinand Charles III of Parma (* 14 January 1823 in Florence; ? 27 March 1854 in Parma) was Duke of Parma from 1849 to 1854. Ferdinand Charles was the only son of Duke Charles II Louis of Parma (1799-1883) and Princess Maria Theresa (1803-1879), daughter of King Victor Emmanuel I of Sardinia-Piedmont and his wife Maria of Modena. After his father abdicated in his favor, he returned to Parma from London in August 1849 under the protection of Austrian troops and established an arbitrary reactionary regime that made him so hated that in March 1854 he was stabbed to death in the open street in Parma by an unknown man. The heir to the throne, Duke Robert (1854-1859/60), who was still underage, was succeeded by his mother, the French-born Bourbon princess Louise Marie of Bourbon.

Orden & Ehrenzeichen Deutschland - Preußen : Königreich Preußen: Schwarzer Adler Orden - Ordenskreuz in Brillanten.Gold und Emaille, das Medaillon und der Bandring mit Altschliff-Brillanten besetzt.Auf dem unteren Kreuzarm Hersteller- und Verleihungsgravur des Berliner Hofjuweliers: „J. WAGNER & S. 24.7.97“. Exemplar des letzten Kreuztypus mit den eleganten schwarz emaillierten Adlern zwischen den Kreuzarmen.Die Diamanten des Medaillons in Silber gefasst. Die Öse mit aufgesetztem Diamantreif.Der Bandring mit sieben Altschliff-Brillanten besetzt. Rückseitig „à jour“ gearbeitet.Die Silberfassung auf der Rückseite mit Golddoublierung. Der Tragebügel Gold. Die Vorderseite in nahezu perfekter Erhaltung. Auf der Rückseite im Zentrum minimale, tragebedingte Chips. Der Schwarze-Adler-Orden in Brillanten wurde nur ausgesprochen selten verliehen, meist an ausländische Monarchen wie etwa den Kaiser von China oder die verschiedenen Sultane des Osmanischen Reiches aber auch an bedeutende preußische Politiker und Militärs wie z. B. den Reichskanzler Fürst Otto von Bismarck oder Großadmiral von Tirpitz.Seit dem Regierungsantritt Friedrich des Großen bis zum Jahr 1918 wurden weniger als 100 Ordensdekorationen in Brillanten ausgegeben. In dem für das hier angebotene Ordenskreuz maßgeblichen Verleihungszeitraum unter Kaiser Wilhelm II. erfolgten ca. 28 Verleihungen.Die Seltenheit bei der Verleihung der Brillantdekorationen ist auch darin begründet, dass die Insignien in der Regel einen hohen materiellen Wert verkörperten (z.B. beim Roten-Adler-Orden 1. Klasse in Brillanten einen Wert von 6.000,– Reichsmark).Die zur Herstellung privilegierten Ordensjuweliere waren von höchster Stelle angehalten bei Rücklieferung der Dekorationen durch die Beliehenen diese Beträge an die Berechtigten auszuzahlen.Da eine Ordensverleihung in Brillanten von den preußischen Monarchen stets auch als indirekte finanzielle Zuwendung gedacht war (die Brillantdekorationen waren nicht rückgabepflichtig), machten viele Träger von dem Recht Gebrauch, die Ordensdekorationen mit echten Steinen beim Hersteller durch solche mit Simili-Brillanten ersetzen und sich den Gegenwert ausbezahlen zu lassen. Von dieser Regelung machte beispielsweise Reichskanzler Otto v. Bismarck gebrauch, dessen Ordensdekorationen mit Simili - Steinen auf Schloß Friedrichsruh in Schleswig - Holstein aufbewahrt werden.Die im Familienbesitz verbliebenen Dekorationen der Träger, die ihre Orden mit echten Steinen belassen hatten, wurden oftmals nach deren Ableben von den Erben veräußert. Dabei kam es in den seltensten Fällen dazu, dass die Steine der Orden bei den ursprünglichen Herstellern in der oben geschilderten Weise ausgetauscht wurden.Zumeist wurden die Dekorationen an Juweliere verkauft, die die Orden „ausschlachteten“ und die Fassungen dabei zerstörten. Dementsprechend haben sich nur sehr wenige Originaldekorationen mit echten Brillanten erhalten. Prachtexemplar in feinster Berliner Juweliersqualität. Eines der ganz wenigen Ordenskreuze im Originalzustand, die Brillanten in sehr schöner Qualität. Dieses Stück ist bei Klingbeil/Thies, Orden 1700 – 2000, Band III, S. 29, Nr. 1458 abgebildet und beschrieben. Bedeutende Ordensdekoration von größter Seltenheit.German Orders and Medals - Kingdom of Prussia : Kingdom of Prussia: Order of the Black Eagle - Sash Badge in Diamonds. Gold and enamel, the center and the suspension loop set with old-cut diamonds. On the lower arm of the cross maker and award engraving of the Berlin court jeweler: J. WAGNER & S. 24.7.97. This badge represents the last type of the order with the elegantly shaped black enameled eagles between the arms of the cross. The diamonds of the obverse center set in silver. set with diamonds. The suspension loop set with seven old cut diamonds, worked à jour on the back. The obverse in near perfect condition. On the back in the center minimal chips due to wear. The Order of the Black Eagle in diamonds was awarded in very few examples, mostly to foreign monarchs such as the Emperor of China or the various Sultans of the Ottoman Empire but also to important Prussian politicians and military leaders such as the Imperial Chancellor Prince Otto von Bismarck or Grand Admiral von Tirpitz. From the beginning of the reign of Frederick the Great until 1918 less than 100 decorations in diamonds were issued. In the period of Emperor Wilhelm II, (1888-1918) which is decisive for the badge offered here, about 28 awards were made. The rarity of the award of Prussian jewelled decorations is also due to the fact that the insignia usually embodied a high material value (e.g. for the Red Eagle Order 1st Class in brilliants a value of 6.000, Reichsmark). The jewelers who were privileged to produce the medals were ordered by the highest authority to pay the amounts to the entitled persons in case of return of the decorations. Since the Prussian monarchs always considered the bestowal of an order in diamonds as an indirect financial benefit (the diamond decorations did not have to be returned after the recipient's death), many recipients made use of the possibility to replace the decorations with real stones by those with simili-brilliants at the manufacturer and to have the equivalent value paid out. Chancellor Otto v. Bismarck, whose decorations with simili-stones are kept in Friedrichsruh Castle in Schleswig-Holstein, made use of this regulation. The decorations of recipients who had left theirinsignia with real stones were often sold by the heirs after their death. In the rarest cases it happened that the stones of the medals were exchanged at the original manufacturers in the way described above. Mostly the decorations were sold to jewelers, who cannibalized the medals and destroyed the settings. Accordingly, very few original decorations with genuine diamonds have survived. Splendid badge in finest Berlin jeweler quality. One of the very few examples preserved in original condition, the diamonds of very fine quality. This piece is illustrated and described in Karsten Klingbeil/Andreas Thies, Orden 1700 - 2000, Vol. III, p. 29, No. 1458. Important piece of great rarity.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Rußland: Malteser Orden. Die Halsdekoration Gold und Emaille, ohne Band. Die besonders plastisch gearbeitete Krone und Waffentrophäe fein ziseliert. Rückseitig Öse zur Befestigung am Halsband. Die beidseitig gearbeiteten russischen Doppeladler mit Reichsapfel unnd Schwert in besonders feiner Juweliersqualität und Ziselierung. Die Adler zwischen den Kreuzwinkeln entsprechen dem russischen Typ des Doppeladlers bei dem beide Adlerköpfe gekrönt sind und der Doppeladler dann nochmals von einer Krone überhöht ist. Wie auf zahlreichen zeitgenössischen Porträts zu sehen ist trugen viele russische Ritter des Malteserordens entweder das internationale Modell (mit Fleur de Lys) oder Ordenskreuze ohne Symbole zwischen den Kreuzwinkeln, so daß anzunehmen ist das eine rein russische Version erst nach der Annahme der Großmeisterwürde durch Zar Paul I. im November 1798 erfolgte. Die Französische Revolution und die Dritte Polnische Teilung 1795 änderte auch die Lage des Malteserordens. Zar Paul I. von Rußland wurde nach der Dritten Polnischen Teilung zwischen Österreich, Preußen und Russland 1795 Protektor des Großpriorats Polen des Malteser - Ordens und errichtete ein orthodoxes polnisch-russisches Großpriorat, das er 1797 durch Ordensbeschlüsse, also noch vor Eroberung Maltas durch Napoleon im Juni 1798, mit der Englisch-Bayerischen Zunge des Malteserordens verband. Paul I. gründete sowohl das katholische - polnische Großpriorat als auch das russisch - orthodoxe Großpriorat. Er stattete den Malteser - Orden durch ein Dekret vom 4. Januar 1797 mit beachtlichen Privilegien und Gütern aus, darunter den Vorontsov - Palast in St. Petersburg. Nach der Eroberung Maltas durch Napoleon 1798 befahl der sich dadurch persönlich brüskiert fühlende russische Zar seinem Admiral Ushakov mit seinen im Mittelmeer stationierten Schiffen die Briten und Türken in ihrem Kampf gegen Frankreich zu unterstützen. Am 15. August 1798 erklärten russiche Würdenträger und Ritter des Malteserordens auf einer in St. Petersburg gehaltenen Versammlung den bisherigen Großmeister des Malteserordens Ferdinand Gompes als Verantwortlichen für die Vertreibung der Ordensritter von der Insel Malta für abgesetzt und trugen Zar Paul I. die Großmeisterwürde an, die dieser annahm. Am 29. November 1798 wurde der Zar in einer feierlichen Zeremonie im Thronsaal des Winter - Palastes in St. Petersburg als Großmeister installiert und gründete durch Dekret vom selben Tage den Orden St. Johannis von Jerusalem (Malteserorden) in Rußland. Der Zar legte großen Wert auf seine neu erlangte Würde und ist auf verschiedenen Porträts in dem Ordensornat des Malteser - Ordens - Großmeisters abgebildet. Vermutlich entstand unser Ordenskleinod im Zusammenhang mit dieser Stiftung, bzw. Zeremonie als russisches Sondermodell. Meines Wissens ist es das einzige bekannte Exemplar mit russischen Doppeladlern zwischen den Kreuzwinkeln. Selbst in der Schatzkammer des Kremls und anderen russischen Museen ist kein weiteres Exemplar bekannt. Bedeutendes Ordenskleinod von größter Seltenheit. 91 x 39 mmForeign Orders & Decorations - USSR/Russia : Imperial Russia: Order of Malta. The neck decoration gold and enamel, without ribbon. The particularly sculpted crown and weapon trophy finely chased. Eyelet on the back for fastening to the neck ribbon. The Russian double headed eagles between the arms of the cross with orbs and swords worked on both sides in especially fine jeweler's quality and chasing. The eagles correspond to the Russian type of double eagle where both eagle heads are crowned and the double eagle is then surmounted by an additional crown. As can be seen on numerous contemporary portraits, many Russian Knights of the Order of Malta wore either the international model (with fleur de lys) or Order crosses without symbols between the cross angles, so that it can be assumed that a purely Russian version was only created after Tsar Paul I accepted the Grand Mastership in November 1798. The French Revolution and the Third Polish Partition in 1795 also changed the situation of the Order of Malta. Tsar Paul I of Russia, after the Third Polish Partition between Austria, Prussia and Russia, became Protector of the Polish Grand Priory of the Order of Malta in 1795 and established an Orthodox Russian Grand Priory, which he united with the English-Bavarian Tongue of the Order of Malta by Order Decree in 1797, even before Napoleon conquered Malta in June 1798. Paul I founded both the Catholic - Polish Grand Priory and the Russian - Orthodox Grand Priory. He endowed the Order of Malta with considerable privileges and property, including the Vorontsov Palace in St. Petersburg, by a decree of January 4, 1797. After the conquest of Malta by Napoleon in 1798, the Russian tsar, who felt personally insulted by this, ordered his admiral Ushakov to support the British and Turks in their fight against France with his ships stationed in the Mediterranean. On August 15, 1798, at a meeting held in St. Petersburg, Russian dignitaries and Knights of the Order of Malta declared the previous Grand Master of the Order of Malta, Ferdinand Gompes, deposed as the person responsible for the expulsion of the Knights of the Order from the island of Malta and offered the Grand Mastership to Tsar Paul I, who accepted it. On November 29, 1798, in a solemn ceremony in the throne room of the Winter Palace in St. Petersburg, the Tsar was installed as Grand Master and by decree of the same day founded the Order of St. John of Jerusalem (Order of Malta) in Russia. The Tsar attached great importance to his newly acquired dignity and is depicted on various portraits in the Order's habit of the Grand Master of the Order of Malta. Presumably, our medal was created in connection with this foundation or ceremony as a special Russian model. As far as I know, it is the only known example with Russian double headed eagles between the arms of the cross. Even in the treasury of the Kremlin and other Russian museums no other specimen is known. Magnificent and extremly important piece of insignia of the greatest rarity. 91 x 39 mm

Ausländische Orden & Ehrenzeichen - Frankreich : Frankreich: Banddekoration der "Volontaires / Vainqueurs de la Bastille" (Eroberer der Bastille.)Das Band in den Farben für die Eroberer der Bastille mit breitem roten Streifen und schmäleren blauen und weißen Streifen mit Beschriftung: "LE14 JUILLET 1789", darunter fallender Turm (der Bastille) sowie Schiff und darunter: VAINQUEUR DE / LA BASTILLE. 145 x 40 mm Diese Banddekoration wurde von den Eroberern der Bastille getragen, die in der von Hulin geführten Kompanie "Volontaires de la Bastille" ihren Dienst verrichteten. Sie wurden später in die speziell für sie geschaffene 35. Gendarmerie Division übernommen. Ein ähnliches Exemplar ist bei André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, Band 1, S. 26 abgebildet und beschrieben. Außerordentlich seltenes Originalexemplar in hervorragender Erhaltung.Foreign Orders & Decorations - France : France: Honorary Ribbon for the "Volontaires / Vainqueurs de la Bastille" (Conquerors of the Bastille.) The ribbon in the colors for the conquerors of the Bastille with wide red stripe and narrower blue and white stripes with inscription: "LE14 JUILLET 1789", below falling tower (of the Bastille) and ship and below: VAINQUEUR DE / LA BASTILLE. 145 x 40 mm This ribbon decoration was worn by the conquerors of the Bastille, who served in the "Volontaires de la Bastille" company led by Hulin. They were later transferred to the 35th Gendarmerie Division, created specifically for them. A similar specimen is illustrated and described in André Souyris - Rollande, Histoire des distinctions et des récompenses nationales, vol. 1, p. 26. Exceptionally rare original example in excellent condition.

Ausländische Orden & Ehrenzeichen - Frankreich : Frankreich: Abzeichen der Mitglieder des Wohlfahrtsausschusses (Comité de Salut Public).Die Dekoration in Form des Liktorenbündels in vollplastischer Ausführung aus Bronze, teilweise vergoldet, bzw. versilbert. Am außergewöhnlich aufwendigen gestickten Originalband in den Farben der Trikolore mit goldgestickten Eichenlaubgirlanden. In der Mitte großes Medaillon in feinster polychromer Seidenstickerei mit den Symbolen der französischen Revolution: Liktorenbündel bekrönt von der Jakobinermütze in den Farben der Trikolore und von einem Triangel unterlegt. Eingerahmt von Eichenzweigen. Das Ganze umgeben von der goldgestickten Umschrift: "CONVENTION NATIONALE - COMITE DE SALUT PUBLIC". Die Rückseite mit weißer Tuchabdeckung. Der Wohlfahrtsausschuss (französisch Comité de salut public) wurde am 5. und 6. April 1793 während der Französischen Revolution vom Nationalkonvent als Ausschuss der öffentlichen Wohlfahrt und der allgemeinen Verteidigung eingerichtet. Er diente als Exekutivorgan des Nationalkonvents. Nachdem die weniger radikalen Girondisten Mitte 1793 beseitigt worden waren, gelang es den Führern der Jakobiner (Robespierre, Danton, der sich bereits unter den ersten Mitgliedern des Ausschusses befunden hatte und an dessen Stelle Robespierre am 27. Juli 1793 eingetreten war, und Louis Antoine de Saint-Just), den Ausschuss unter ihre Kontrolle zu bringen. Sie bauten den Wohlfahrtsausschuss bis Ende 1793 zur zentralen Schaltstelle der Macht um. Am 10. Oktober erhielt das Gremium unbeschränkte Vollmachten zugebilligt. Vor allem unter dem Einfluss Robespierres wurde der Wohlfahrtsausschuss, ausgestattet mit diktatorischen Vollmachten, zum Organ der jakobinischen Schreckensherrschaft. Der erste Wohlfahrtsausschuss (April bis Juli 1793) setzte sich aus folgenden Mitgliedern zusammen: Bertrand Barère, Abgeordneter aus dem Département Hautes-Pyrénées, Théophile Berlier, aus Côte d'Or (25. Juni bis 30. Juli 1793), Jean-Jacques Bréard, aus Charente-Inférieure, zurückgetreten am 25. Juni 1793, Pierre Joseph Cambon, aus Hérault, Georges Danton, aus Paris, Jean Antoine Debry, aus Aisne, zurückgetreten und ersetzt durch Robert Lindet, aus Eure, Jean-François Delacroix, aus Eure-et-Loir, Jean-François Delmas, aus Haute-Garonne, Louis Bernard Guyton-Morveau, aus Côte d'Or, Jacques Alexis Thuriot, aus Marne, Jean-Baptiste Treilhard, aus Seine-et-Oise, zurückgetreten 16. Juni 1793 Während der Zeit des Terrors (Schreckensherrschaft) vom 20. September 1793 bis 27. Juli 1794 war die Zusammensetzung des Wohlfahrtsausschusses mit wenigen Ausnahmen unverändert: Bertrand Barère aus dem Département Hautes-Pyrénées, Jacques Nicolas Billaud-Varenne, Abgeordneter aus Paris, Lazare Carnot, aus Pas-de-Calais, Jean-Marie Collot d?Herbois, aus Paris, Jeanbon St. André aus Lot, Georges Couthon aus Puy-de-Dôme, Marie-Jean Hérault de Séchelle aus Seine-et-Oise (im Dezember 1793 ausgeschlossen, hingerichtet am 5. April 1794), Pierre Louis Prieur aus Marne, Claude-Antoine Prieur aus Côte-d'Or, Maximilien de Robespierre aus Paris, Louis Antoine de Saint-Just aus Aisne, Robert Lindet aus Eure. Der Wohlfartsausschuß wurde am 4. Brumaire des Jahres IV (26. Oktober 1795) abgeschafft, als der Konvent aufgelöst wurde und die Verfassung vom 5. Fructidor des Jahres III (22. August 1795) in Kraft trat, die das Direktorium einsetzte. Hochbedeutendes museales Objekt zur Geschichte der Französischen Revolution und von allergrößter Seltenheit, da das Comité de Salut Publique nur die oben aufgelisteten Mitglieder umfaßte. Meines Wissens das einzige bekannte Exemplar. Foreign Orders & Decorations - France : France: Badge for the members of the "Comité du Salut Publique" (Committee of Public Safety's "reign of terror" ) The decoration in the form of the lictor bundle made of bronce partially gilded and silver-plated. On it's exceptionally elaborate embroidered original ribbon in the colors of the tricolor with gold embroidered oak leaf garlands. In the center large medallion in finest polychrome silk embroidery with the symbols of the French Revolution: lictor bundle crowned by the Jacobin Cap in the colors of the tricolor and underlaid by a triangle. Framed by oak branches. The whole surrounded by the gold embroidered inscription: "CONVENTION NATIONALE - COMITE DE SALUT PUBLIC". The reverse with white cloth cover. The Committee of Public Safety's (Comité de salut public in French) was established by the National Convention on April 5 and 6, 1793, during the French Revolution, as a committee of public welfare and general defense. It served as the executive body of the National Convention. After the less radical Girondists were eliminated in mid-1793, Jacobin leaders (Robespierre, Danton, who had already been among the first members of the Committee and in whose place Robespierre had stepped in on July 27, 1793, and Louis Antoine de Saint-Just) succeeded in bringing the Committee under their control. They transformed the Welfare Committee into the central locus of power by the end of 1793. On October 10, the committee was granted unlimited powers. Under Robespierre's influence in particular, the Welfare Committee, endowed with dictatorial powers, became the organ of the Jacobin reign of terror. The first Committee of Public Safety (April to July 1793) was composed of the following members: Bertrand Barère, deputy from Hautes-Pyrénées, Théophile Berlier, from Côte d'Or (June 25-July 30, 1793), Jean-Jacques Bréard, from Charente-Inférieure, resigned June 25. June 1793, Pierre Joseph Cambon, from Hérault, Georges Danton, from Paris, Jean Antoine Debry, from Aisne, resigned and replaced by Robert Lindet, from Eure, Jean-François Delacroix, from Eure-et-Loir, Jean-François Delmas, from Haute-Garonne, Louis Bernard Guyton-Morveau, from Côte d'Or, Jacques Alexis Thuriot, from Marne, Jean-Baptiste Treilhard, from Seine-et-Oise, resigned June 16, 1793. During the period of the Terror (Reign of Terror) from September 20, 1793 to July 27, 1794, the composition of the Committee of Public Safety was unchanged, with a few exceptions: Bertrand Barère from the Hautes-Pyrénées department, Jacques Nicolas Billaud-Varenne, deputy from Paris, Lazare Carnot, from Pas-de-Calais, Jean-Marie Collot d'Herbois, from Paris, Jeanbon St. André, from Lot, Georges Couthon, from Puy-de-Dôme, Marie-Jean Hérault de Séchelle, from Seine-et-Oise (expelled in December 1793, executed April 5, 1794), Pierre Louis Prieur, from Marne, Claude-Antoine Prieur, from Côte-d'Or, Maximilien de Robespierre, from Paris, Louis Antoine de Saint-Just, from Aisne, Robert Lindet, from Eure. The Committee of Public Safety was abolished on the 4th Brumaire of Year IV (October 26, 1795), when the Convention was dissolved and the Constitution of the 5th Fructidor of Year III (August 22, 1795) came into force, which established the Directory. Highly important and magnificent object relating to the history of the French Revolution and of the utmost rarity, as the Comité de Salut Publique comprised only the members listed above. To my knowledge the only known badge worldwide.

A great entry-level 2.4-litre car in period colours.Finished in Sherwood Green with Suede Green interiorA matching numbers example that has resided in the Republic of Ireland in recent yearsFamily ownership for almost last 40 yearsJust mechanically overhauled by Alan Mann Racing who have carried out a major service including a brake overhaul with new calipersRecent additions include black-painted wire wheels with new hubs, tyres and exhaust systemA well-presented example, running and driving extremely well and ready for its next custodianNot currently UK-registered, however, taxes have been paid and as such it's offered with NOVA certification in readiness for registrationSpecificationMake: JAGUARModel: MK2 2.4Year: 1962Chassis Number: 113308DNRegistration Number: TO BE REGISTEREDTransmission: ManualDrive Side: Right-hand DriveOdometer Reading: 90000 MilesMake: RHDInterior Colour: Suede Green HideClick here for more details, condition report and images

Delightful little Mk2 from 46-year family ownership prior to our vendor, with a magazine featured restoration. Purchased new on 17/11/1969 by 60-year-old Mrs Millie Properjohns who decided to learn to drive in itGiving up driving at the age of 98, the car went into dry storage with less than 33,000 miles on the clockIn 2015, the Mini was chosen by Lancaster Insurance to be restored by the MG Owners Club for eventual charity auctionThis high-profile, engine-out restoration was extensively documented by Classics Monthly in 2016Superbly refinished in its original Tartan Red and the original matching interior reinstatedBought by our vendor from Silverstone Auctions in November 2016, all proceeds went to Prostate Cancer UKThe current odometer reading of 33,202 miles (at time of cataloguing) is corroborated by the original Service Book and known historyPresented to auction with a V5C showing two former keepers, its original manuals and a published record of the restoration running to dozens of pages  SpecificationMake: MORRISModel: MINIYear: 1969Chassis Number: MA2S68710418ARegistration Number: UNJ 827HTransmission: ManualEngine Number: 99H159AH28361 Drive Side: Right-hand DriveOdometer Reading: 33202 MilesMake: RHDInterior Colour: Red VinylClick here for more details, condition report and images

A childhood dream turned in to reality for this superb Cobra homage.Dodging school to run over to Goodwood as a child, our vendor fell in love with a Cobra in the 1970s and planned to do his best to own one20 years later, he engaged local engineers, Gavin and Stuart Thomas of Autopoint, to build his dream car, not just a replica but an homage to the 1965 Shelby 427 Semi-Competition Cobra, the fastest road car in the world at the timeA Southern Roadcraft chassis was fitted with rebuilt and adjusted front and rear suspension from a Jaguar XJ Series and its number plate was carried over. The body was supplied by Pilgrim Motorsports but it was highly modified to match the original AC design which included a larger air intake on the bonnet, a flat lower dashboard, Aston Le Mans-style fuel filler cap, a large capacity fuel tank and internal hinges for the bootThe new engine and gearbox were imported from the USA through specialist engine suppliers Roadcraft, and a Chevrolet engine was chosen over a Ford as it sits lower in the chassis to help handling. The total project cost appears to be around £35,000Built during 1998/9, it was further developed in 2003 by RaceTech Engineering using new springs and dampers, and subsequently at Madgwick Cars in 2004, who had acquired Southern Roadcraft by this time, when better springs and tyres improved the handling still furtherClassically finished in Guardsman Blue with the obligatory twin Shelby stripes in Wimbledon WhiteOnly recent attention has been preventative maintenance with regular oil and filter changes and occasional replacement partsUsed on a run to Le Mans and regularly enjoyed in the past, it's now used less and less and it's time to let it go. Displaying only 8,412 miles at its recent MOT (21/09/2023) and very sensibly guided, this is really specialSpecificationMake: ACModel: COBRAYear: 1975Chassis Number: 2S4685BWRegistration Number: HKP 512NTransmission: ManualEngine Number: 1M0806098Drive Side: Right-hand DriveOdometer Reading: 8412 MilesMake: RHDClick here for more details, condition report and images

Stately Mark VI clothed by Freestone & Webb in their elegant 'Design 3406' four-door, six-light coachwork.Dating from 1951, this elegant Mark VI (#B10LJ) continues to present well in Mason Black over Dark Olive Green with a gold coachline echoed on the Olive Green wheel rimsLong established coachbuilder, Freestone & Webb of Willesden, North London created bespoke bodywork for 106 Mark VI Bentleys of which 18 were finished to their design reference 3046/C. #B10LJ was further specified with privacy glass and electric rear windows (the front ones are manual quick release)The car's first owner is recorded as Lieutenant-Colonel W.E.Frieze of the European Wool Co. Ltd who kept the Bentley from June 1951 until 1969. It was subsequently enjoyed by Ernest Hilton until 1972, Cyril Voce to 2004, Timothy Lovell to 2018 and finally our vendor. All this information is included in the car's fascinating history fileDescribed by our vendor as predominantly unrestored but well maintained and benefitting from an engine rebuild in 1998The interior is comfortable and has been retrimmed at some point in a lovely shade of Sage Green piped in blackIt's supplied with its original large and small tools, early handbook and a copy of Bernard King’s book on the model, Complete Classics No. 9, picturing B10L and signed by the authorWith a current indicated mileage of 87,468 over 71 years, this venerable Bentley appears to have enjoyed a fairly gentle life and is said to drive rather well for its advancing years     SpecificationMake: BENTLEYModel: MARK VI BY FREESTONE AND WEBBYear: 1951Chassis Number: B10LJRegistration Number: LGK 64Transmission: ManualEngine Number: B5.LDrive Side: Right-hand DriveOdometer Reading: 87454 MilesMake: RHDInterior Colour: Sage Green LeatherClick here for more details, condition report and images

Just over 11,000 miles, one family ownership from new and offered at No Reserve.First registered on 10/04/2002 this is a very late model example (production ended late 2001, but stock remained in dealers until July 2002) finished in silver and sits upon its original nine-spoke 15” alloy wheelsFitted with the desirable 1.7 16-V VCT engine generating 123bhp and mated to a 5-speed manual gearboxAs a 1.7 variant, the car boasts low-speed traction control, ABS and electric windowsPurchased new by a former employee of Ford who believes it was one of the last off the production lineFull Ford history (21 stamps) to back up the indicated mileage of 11,140. Last service in September 2021 (10,987 miles)Supplied with its original Handbooks, tax discs and MOT Certificates, this vehicle has never even had an advisory on any previous MOTsOffered with No Reserve so the highest bidder gets to drive away in this super cool little 'Noughties' coupé SpecificationMake: FORDModel: PUMAYear: 2002Chassis Number: WF0CXXGAEC1C82671Registration Number: BM02 WFMTransmission: ManualEngine Number: 1C82671 Drive Side: Right-hand DriveOdometer Reading: 11140 MilesMake: RHDClick here for more details, condition report and images

Enthusiast-owned for the last eight years, this is a lovely genuine car on offer at No Reserve.Finished in Signal Red over a nice original interior in Doeskin leatherThree registered owners from new. Eight years with our vendor who is a member of the XJ-S Owners Club155,440 miles. MOT until September 2023 issued with no advisories Original engine, lots of maintenance records. Runs well. 4-speed automatic in excellent orderExtensive documentation with service invoices from 1990 to present day which support recorded mileageOriginal Book Pack and Service Manual. Multiple MOT Certificates, however no Service Book  SpecificationMake: JAGUARModel: XJS COUPÉYear: 1990Chassis Number: SAJJNAEC3CA167865Registration Number: H367 DGSTransmission: AutoEngine Number: 9DPAMA192944 Drive Side: Right-hand DriveOdometer Reading: 155440 MilesMake: RHDInterior Colour: Magnolia LeatherClick here for more details, condition report and images

1st half of the 17th Cent. Flemish oil on panel from the family/studio Francken - Antwerp its panel shows the mark of panel maker Guilliam Gabron I, who was active from 1609 to 1660 (was an important supplier to large workshops Jordaens, Van Dijck, Francken etc) and the Antwerp hand || VLAANDEREN - 1° HELFT 17° EEUW - FAMILIE/STUDIO FRANCKEN olieverfschilderij op paneel van ca 1620 : "Bezoek van Koningin Seba aan Salomon" - 49,5 x 63,9 het paneel draagt het merkteken van paneelmaker Guilliam Gabron I, die actief was van 1609 tot 1660 (was een belangrijk leverancier aan grote ateliers Jordaens, Van Dijck, Francken etc) en het Antwerps handje nagezien door expert Jean-Pierre De Bruyn Een vergelijkbare versie bevindt zich in het Musée des Beaux-Arts in Quimper (paneel, 127 x 117 cm). Een andere bevond zich in 1986 bij Douwe Fine Arts in Amsterdam (paneel, 54,6 x 41,9 cm).

set of eight antique neoclassical armchairs in painted and sculpted wood bought from A. Vervoordt who furnished the villa in the 90s || Reeks van acht antieke neoclassicistische armstoelen in beschilderd gesculpteerd hout ooit aangekocht bij A. Vervoordt, die de villa in de jaren '90 inrichtte

three armchairs, made by A. Vervoordt, who furnished the villa || Lot (3) van een paar fauteuils en een flapoorzetel, gerealiseerd door A. Vervoordt, die de villa inrichtte

'THREE CHICKS', BY SHEN QUAN (1682-1760), DATED 1757 1757年沈銓款《雞雛尋食圖》China. Ink and watercolors on silk, in a silk brocade mounting and laid down on paper. Depicting three chicks on grassy ground amid two flowering chrysanthemums.Inscriptions: The inscription reading 'written in the fifth month in the year of Dingchou Qianlong period (1757), Nanping Shen Quan 76'. Provenance: From the collection of Dr. David Ho (1911-1986), and thence by descent within the family. Dr. David Ho (Chinese name Ho Hangchi) was born in Guangzhou in 1911. His father was a well-known dentist in Nanjing who counted Chiang Kai-shek among his patients. Dr. Ho was a legal officer at the United Nations in New York from 1949 until his retirement in 1971. Interested in Chinese history and art, Dr. Ho was particularly fascinated by objects that were inscribed. His extensive archive suggests that it was during his time in New York that he began collecting and researching Chinese artifacts. Condition: Good condition with some old wear, minor creasing with associated old repairs, small losses here and there.Dimensions: Image size 60.2 x 35.5 cm, Size incl. mounting 86.8 x 47.5 cmShen Quan (ca. 1682-1760) was active during the Qing dynasty and painted in the Ming academic style. Shen was very influential in Japan, inspiring an entire school of painting, the Nanping School, which flourished in Nagasaki during the Edo period and was named after the artist's courtesy name. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 28 May 2018, lot 1043Price: HKD 1,000,000 or approx. EUR 130,000 converted and adjusted for inflation at the time of writingDescription: Shen Quan (1682-1762), Pheasants under Blossoming BranchAuction result comparison: Type: Related Auction: Christie's Hong Kong, 25 November 2013, lot 1007 Price: HKD 400,000 or approx. EUR 60,500 converted and adjusted for inflation at the time of writingDescription: Shen Quan (1682-1762), Plum Blossom and Mandarin Ducks1757年沈銓款《雞雛尋食圖》中國，絹本設色，鏡心。圖中繪三隻小雞，描繪傳神，將雛雞的尋食的情態表現得淋漓盡致。 款識：隆丁丑蕤宾七十六叟，南蘋沈銓寫 來源：David Ho何昌熾 (1911-1986) 醫生舊藏，保存在同一家族至今。何昌熾先生於1911年出生於廣州。他的父親是南京有名的牙醫，他的病人包括蔣介石。何醫生從 1949 年到 1971 年退休，一直在紐約聯合國擔任法律官員他對中國歷史和藝術尤其感興趣，特別是對有款識的藝術品特別著迷。大量檔案表明，他是在紐約工作期間開始收集和研究中國文物。 品相：狀況良好，有一些磨損，與舊維修相應的輕微摺痕，很多有小缺損。尺寸：畫面60.2 x 35.5 厘米, 總86.8 x 47.5 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月28日，lot 1043 價格：HKD 1,000,000（相當於今日EUR 130,000） 描述：沈銓 (1682-1762)《開花枝頭下的野雞》 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月25日，lot 1007 價格：HKD 400,000（相當於今日EUR 60,500） 描述：沈銓(1682-1762)《梅花和鴛鴦》

A FINELY DETAILED 'JOURNEY TO THE WEST' FAMILLE ROSE PORCELAIN PLAQUE, QING DYNASTY 清代粉彩《西游記》場景飾盤China, 1644-1912. Finely painted in bright enamels, gilt, and iron-red above the glaze to depict a winter scene from the classic Journey to the West, with Xuanzang surrounded by men on the left, and Sun Wukong, Zhu Bajie, and Sha Wujing, Xuanzang's protectors and disciples, standing beside his horse. Note the superb detail work to the faces of Sun Wukong, the powerful monkey king, and Zhu Bajie, the greedy pig-like demon.Provenance: British trade. Condition: Very good condition with some wear and minor firing irregularities.Weight: 1,482 g Dimensions: Diameter 34.7 cmJourney to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip, the honest but hapless Buddhist monk is accompanied by Sun Wukong, a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, a greedy pig-like demon, and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang Imperial court.Auction result comparison:Type: Distantly relatedAuction: Sotheby's New York, 11 September 2012, lot 395Price: USD 37,500 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'monkey king' vase, Qing dynastyExpert remark: Note that this vase also depicts a scene from The Journey to the West with a similar rendering of the monkey king Sun Wukong清代粉彩《西游記》場景飾盤中國，1644-1912年。釉上彩描金，精美繪製了《西遊記》中的冬天場景，左邊玄奘被幾個文人圍住，他的徒弟孫悟空、豬八戒、沙悟净站在白馬旁邊。猴王孫悟空和豬八戒的面部細節刻畫。 來源：英國古玩交易市場。 品相：狀況極好，有一些磨損和輕微的燒製不規則現象。 重量：1,482 克 尺寸：直徑34.7 厘米 拍賣結果比較： 形制：些微相近 拍賣：紐約蘇富比，2012年9月11日，lot 395 價格：USD 37,500（相當於今日EUR 47,500） 描述：清代粉彩「西遊記」圖棒槌瓶 專家評論：請注意此瓶也是描繪《西遊記》場景，有相似的孫悟空繪畫。

A COPPER ALLOY REPOUSSE PLAQUE OF A 'PANCHA RAKSHA' PROTECTOR GODDESS 鎏金銅錘鍱五部護法Tibet, 18th-19th century or slightly earlier. Seated in lalitasana atop a double lotus base with beaded upper edge, the right foot on a small lotus support. Her main left hand holds the dharmachakra at her chest and her main right grasps her billowing scarf, the other six hands radiating around her held in karana mudra and holding a sword, bow, arrow, trident, vajra, and axe. Her face with almond-shaped eyes, thick brows, urna, and full lips, flanked by three further heads. Backed by a flaming mandorla. The reverse neatly incised with a short inscription. Inscriptions: To reverse, 'Khung Nak la Namo' ('Greetings to Khung Nak')Provenance: From a private collection in southern Germany, acquired before 2007, and thence by descent.Condition: Very good condition with minor old wear, minuscule nicks, light scratches, small dents. Weight: 268.0 gDimensions: Height 15.3 cmThe Pancha Raksha, or five protector goddesses, are a group of female deities who are personifications of five early Buddhist sutras, the oldest of which dates to the 4th century. Principle among the five deities are Maha Pratisara, Maha Sahasrapramardini, Maya Mayuri, Shitavati and Mantra Manudharani. Each has specific functions directed towards accomplishing worldly welfare and happiness, preventing and surviving natural disasters, curing snakebites, overcoming fear, and averting pestilence and epidemics.The iconography for the Pancha Raksha varies with local practice, and each can differ in color, attributes, and number of faces and arms, making it difficult to identify any representation of these deities with a particular sutra.鎏金銅錘鍱五部護法西藏，十八至十九世紀或更早。五部護法呈游戲姿坐於雙層蓮座上，左腳踩在一個小蓮台上。左主手在胸前握住法輪，右手握住飄帶，其他六隻手分別持不同法器，如劍、弓、箭、三叉戟、金剛杵和斧頭。細眉長目，雙眉之間有白毫，旁邊還有三首，後有光背，背面有款。 款識：Khung Nak la Namo（向Khung Nak問好） 來源：德國南部私人收藏，購於2007年，保存至今。 品相：品相極好，輕微磨損，微小的劃痕和小凹痕。 重量：268.0 克 尺寸：高15.3 厘米

A WHITE AND RUSSET JADE GROUP OF A WATER BUFFALO AND A CALF, 18TH - 19TH CENTURY 十八至十九世紀白玉留皮子母牛擺件China. Carved in the round as a large water buffalo lying placidly on its stomach with four legs bent underneath and the head turned to the left towards a smaller buffalo, the gracefully curved horns flanking the flat forehead, the neck detailed with an undulating dewlap, the tail finely detailed with hair markings. The calf with its head raised playfully facing his larger companion. The translucent stone of even white to very pale celadon tone with distinct russet and white veining.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition with minor wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The stone with an attractive soft polish.Weight: 340.0 g Dimensions: Length 8 cmAs a familiar beast of the fields, the water buffalo underpinned rice production and the rural economy. As such it is emblematic of agriculture and springtime and represents strength, endurance, dedication to hard work, prosperity, and tranquility. It is also used in artistic representations, particularly in Chinese paintings, to evoke a bucolic, idealized existence in the countryside. This, in turn, feeds into a more mythical or spiritual side to the buffalo, recalling both Buddhist and Daoist concerns with retreat, and the founder of Daoism, the philosopher Laozi, who departed from the borders of the known world on a buffalo.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 December 2021, lot 220Price: HKD 852,500 or approx. EUR 107,000 converted and adjusted for inflation at the time of writingDescription: A superb pale green jade 'buffalo and young' group, 18th centuryExpert remark: Compare the closely related pose, and the fine incision work. Note the larger size (12.5 cm) and the fact that this group is firmly dated to the 18th century.十八至十九世紀白玉留皮子母牛擺件中國。圓雕子母牛，五官清晰，呈俯臥狀，腿彎曲在肚子下面，一隻小牛依偎在大牛身旁，頑皮地抬起頭，面對著母牛。玉質溫潤細膩，包漿醇厚。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：狀況極好，有一些磨損。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的裂縫。 重量：340.0 克 尺寸：長 8 厘米 牛是最早被人類馴養的六畜之一，成為農耕社會裡重要的生產力。作為農耕社會的圖像符號，牛還像徵著春天，代表著力量、耐力、對辛勤工作的奉獻、繁榮和安寧。它也用於藝術表現，特別是在中國畫中，它是宋元畫家筆下描繪鄉野之趣、田園牧歌的詩意“化身”，也因此牛還有其神秘的一面，比如道教對退隱的嚮往，比如老子騎著青牛。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年12月2日，lot 220 價格：HKD 852,500（相當於今日EUR 107,000） 描述：十八世紀青白玉雕子母牛擺件 專家評論：比較非常相近的姿勢和精緻的雕刻。請注意尺寸較大 (12.5 厘米) ，以及此玉被斷為十八世紀。

A THANGKA OF TSONGKHAPA AND THE GELUGPA REFUGE TREE, 19TH CENTURY 十九世紀宗喀巴上師皈依境圖Tibet. Distemper on cloth. Tsongkhapa is seated in dhyanasana on a lotus throne with a mandorla and halo behind him, holding an alms bowl in his lowered left hand, two lotuses coming to full bloom at his shoulder supporting the sword and sutra. Surrounded by a retinue of Buddhas, celestial beings, lineage holders, dakinis, wrathful protectors, and other figures, all within the framework of a tree growing from the water below.Matted and framed behind glass.Provenance: From a Hungarian private collection.Condition: Overall very good condition with old wear, soiling, creasing, and minor losses. Possibly with minuscule touchups.Dimensions: Image size 31.3 x 23.4 cm, Size incl. frame 44 x 36 cmThis thangka represents the field of accumulation of merit in which all of the teachers of a specific tradition, their teachings written in religious texts, deities that are the focus of practices in that tradition, and its protectors are visually arranged as one large gathering. Such depictions are meant for devotional practices and also represent the Three Jewels of the Buddhist Faith. This field is arranged around the central teacher Tsongkapa (1357-1419), the founding teacher of the Gelug tradition. He is surrounded by teachers, meditational deities, and protectors, shown below. The practitioner would identify with a monk depicted in the lower right, who was probably the donor for this painting.Literature comparison: Compare a related thangka of Tsongkhapa and a refuge field, also dated to the 19th century, but of much larger size, in the collection of the Rubin Museum of Art, object number F1997.37.1Auction result comparison: Compare a closely related thangka (76.5 x 50 cm) in similarly well-preserved condition, at Bonhams London in The Jongen-Schleiper Collection of Fine Thangkas on 11 May 2017, lot 19, sold for GBP 22,500.十九世紀宗喀巴上師皈依境圖西藏。布面膠彩。畫面中心為格魯派的創始人宗喀巴大師，頭戴黃色桃形尖帽，面容俊逸且安詳，內著僧坎，外披袈裟，左手托缽，右手結法印，兩肩飾有經書和寶劍，寓意大師為文殊菩薩的化身。下身著寬鬆僧裙，雙腿結跏趺坐於蓮花座上。唐卡上方左右兩個圓形畫框內繪阿彌陀佛的極樂淨土和彌勒菩薩的兜率天淨土。中央上方和下方二組人物分別為“密乘”的主要傳承以及格魯派“主要信奉”的聖眾，包括諸佛、菩薩、護法、羅漢、空行母等。玻璃裝框。 來源：匈牙利私人收藏。 品相：整體狀況極好，有舊時磨損、髒汙、摺痕和輕微缺損，輕微修補。 尺寸：畫面31.3 x 23.4 厘米，總44 x 36 厘米 拍賣結果比較：比較一件形制和品相相近的唐卡 (76.5 x 50 厘米) ，見倫敦邦翰思The Jongen-Schleiper Collection of Fine Thangkas 2017年5月11日 lot 19, 售價GBP 22,500。

AN INDIAN MINIATURE PAINTING OF KRISHNA AND RADHA BY THE YAMUNA RIVERIndia, Rajasthan, Jaipur, 19th century. Watercolors and gold on paper. Krishna is standing with legs crossed and holding a flute in his raised right hand, adorned with fine jewelry and billowing scarves, embracing Radha, who is wearing red and yellow robes and holding a lotus flower. The holy white bull Nandi stands beside them with the head raised. The background with a row of trees in front of the Yamuna river with lotus.Provenance: From a private collection in London, United Kingdom, formed during the 1970s. The reverse with old pen and pencil inventory inscriptions.Condition: Very good condition with minor wear, soiling, and creasing, few minuscule losses, possibly microscopic touchups.Dimensions: Image size 23 x 17.5 cm. Mounted with a protective flyleaf.The Yamuna is the second-largest tributary river of the Ganga. Originating from the Yamunotri Glacier at a height of 6,387 meters on the slopes of the Lower Himalaya, it travels a total length of 1,376 kilometers. Like the Ganga, the Yamuna is highly venerated in Hinduism and worshipped as the goddess Yamuna. In Hinduism, she is the daughter of the Sun God, Surya, and the sister of Yama, the God of Death, hence also known as Yami. According to popular legends, bathing in its sacred waters frees one from the torments of death.Literature comparison: Compare a closely related miniature painting of Krishna and Radha, painted in an identical style typical of 19th century Jaipur, in the collection of the Victoria and Albert Museum, accession number D.405-1908. Compare also a related miniature painting with identical iconography, dated 1768, in the Victoria and Albert Museum, accession number IM.24-1917.Auction result comparison:Type: RelatedAuction: Christie's London, 12 June 2018, lot 146Price: GBP 5,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: Krishna and Radha, Kangra, Punjab Hills, North India, circa 1810Expert remark: Compare the related motif, and size (19.3 x 12.4 cm)

AN IMPERIAL SPINACH-GREEN JADE 'LUOHAN' PANEL AFTER GUANXIU (823-912 AD), WITH A POETIC EULOGY BY HONGLI (1711-1799) 貫休款御製羅漢弘曆(1711-1799)詩文碧玉板Opinion: Imperial jade plaques from this distinct group are exceedingly rare. It is impossible to say whether the present lot once served as a table screen, possibly within a group of sixteen, or if it was once part of an Imperial jade book, such as the example in the Chester Beatty Library, Dublin, which portrays all sixteen luohan with accompanying inscriptions (see literature comparison). Either way, the supreme skill level of the incision work overall, as well as the carefully chosen stone and the immaculate calligraphy, all very clearly reflect Imperial workshop quality, no less.The poetic eulogy: Shaking the rock, he leans his knee on it and there takes his rest. It is only this superior being, neither speaking nor silent, who has such eyebrows that trail to the ground. As he pulls them up by hand, does he not seem to be sorting through clouds, and this shows how very fine they are.The author: Born Hongli, the fourth son of Yongzheng, Qianlong was the sixth Emperor of the Qing dynasty, reigning from 1735 to 1796. In 1796, he abdicated in favor of his son, Jiaqing, a filial act in order not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.China, 1736-1795. Superbly incised and gilt with the luohan Kalika seated in a relaxed pose atop a rocky outcrop, a pair of sandals on the ground below him, all beneath a minute inscription identifying him along with an Imperial eulogy, and three finely incised seal marks. In one hand the luohan holds one of his extremely long eyebrows between two fingers. He is wearing loose-fitting monastic robes with well rendered folds, while the structure of the rock below is expressively incised as well. Provenance: From a noted private collection in Paris, France. Condition: Very good condition with minor wear, natural imperfections to the stone, and minuscule nicks here and there. The gilt to the incisions is partially faded and lost. Smooth silky matte polish overall, as expected on this type of imperial jade plaque.Weight: 265.6 g Dimensions: Size 14.1 x 9 cmThe distinctively exaggerated depiction of the luohan Kalika, finely incised and gilt on the present jade panel, originated with the famous Five Dynasties painter Guanxiu (823-912 AD), whose hugely influential rendition of each luohan's iconography is seen on a number of Qing dynasty Imperial jade carvings and other works of art.In 1757, Qianlong embarked upon a tour of inspection in southern China and visited Hangzhou where he was stationed near Shengyin Si, the monastery that owned the original paintings of the sixteen luohans by Guanxiu. The emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu, the inventory of the Song dynasty emperor Huizong. Upon examining the paintings, it is reported that Qianlong wrote a poetic eulogy to each luohan image, renumbering them and providing a translation of their names in Chinese, see Nick Pearce, 'Images of Guanxiu's Sixteen Luohan in Eighteenth-Century China', Apollo, February 2003, pp. 25-31.In 1764, the head abbot at the Shengyin Si monastery, Master Mingshui, instructed local stone engravers to copy the sixteen portraits, incising Guangxiu's lines as well as the emperor's calligraphy and seals onto sixteen large flat stones that were embedded into the sixteen sides of the Miaoxiang marble Pagoda, illustrated in the exhibition catalog The Emperor's Private Paradise, Treasures from the Forbidden City, Peabody Essex Museum, Salem, 2010, fig. 23.In the following decades, the Qianlong emperor had artisans reproduce the images in a variety of mediums, including incising them on jade plaques. A Qianlong period jade book in the Chester Beatty Library, Dublin portraying sixteen luohan with accompanying inscriptions, is illustrated in William Watson, Chinese Jade Books in the Chester Beatty Library, Dublin, 1963, pls. 6-7.Literature comparison: Compare a stone rubbing after the set attributed to Guanxiu, possibly by Ding Guanpeng, in the collection of the Metropolitan Museum of Art, accession number 59.195.16.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 11 December 2014, lot 164Price: EUR 97,500 or approx. EUR 113,500 adjusted for inflation at the time of writingDescription: Important ecran Imperial en jade celadon, Dynastie Qing, epoque QianlongExpert remark: Compare the closely related depiction of Kalika, with the same identifying inscription and poetic eulogy found on the screen as on the present lot.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 March 2016, lot 401 Estimate: USD 50,000 or approx. EUR 58,000 converted and adjusted for inflation at the time of writingDescription: A rare incised and gilt spinach-green jade 'luohan' table screen, Qing dynasty, 18th-19th century.貫休款御製羅漢弘曆(1711-1799)詩文碧玉板中國，1736-1795年。雕刻精美，鎏金嘎禮嘎尊者以游戲姿坐在岩石上，腳下放著一雙涼鞋。羅漢一隻手二指之間夾著他的長眉。他身著寬鬆的僧袍，褶皺紋理流暢。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON AND RUSSET JADE FIGURE OF A CRANE, MING DYNASTY 明代青玉留皮仙鶴擺件China, 1644-1912. The bird perched on a lotus leaf with the feet tucked under the body, its head turned, the feathers and eyes finely incised. The translucent stone of a deep celadon tone with russet veins and highlights as well as small areas of calcification.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus. Condition: Good condition with significant old wear, commensurate with age. The stone with natural inclusions and fissures, some of which have developed into small hairlines, small nicks here and there.Weight: 61.9 g Dimensions: Length 5.5 cm明代青玉留皮仙鶴擺件中國, 1644-1912年。仙鶴棲於荷葉上，雙足埋於身下，轉頭，翎毛與眼珠精雕細琢。深青色調的半透明玉料，帶有赤褐色的脈理和小面積的鈣化。 來源：Dr. Ferdinand 與Dr. Gudrun Thaler-Szulyovsky收藏，保存在同一家族至今。這對一直從事法律工作的夫婦於 1967 年因對藝術的共同熱情而相識。 幾十年來，他們一起建立了一個種類豐富的收藏。他們的第一批亞洲藝術古玩中有一幅《關羽肖像畫》，這是著名的施蒂里亞釀酒商 Sigurd Reininghaus 作爲法律服務給與的報酬。 品相：狀況良好，大面積磨損，與年代相符。玉料帶有天然内沁和裂紋，其中一些已經發展成細小的裂縫，大面積小刻痕。 重量：61.9 克 尺寸：長 5.5 厘米

† A SMALL WHITE MARBLE FIGURE OF A LION, TANG DYNASTY 唐代小漢白玉獅Published: Religion and Ritual, Michael B. Weisbrod, Inc., 1987, no. 19.China, 618-907. Finely carved, the beast seated on its haunches atop a rectangular plinth and facing forward with the mouth wide open in a ferocious roar, the fierce expression further marked by large bulging eyes. Three long strands of a split beard are smoothly carved on the chest below the chin in rounded relief. The pointed ears are laid back above the thick, subtly carved curls of the mane. Its tail curls around the figure's right side with the end lying over the back paw and below the chest.Provenance: Michael B. Weisbrod, Inc., New York, USA, acquired 1985 in the Hong Kong market. The collection of J. Abraham Cohen, New York, USA, acquired from the above. Michael B. Weisbrod, Inc., New York, USA, 2010, acquired from the above. A notable Canadian private collection, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Superb condition, commensurate with age. Small losses and nicks, light scratches, old wear and weathering, some imperfections to the stone. Fine, naturally grown patina with an unctuous feel and a magnificent ivory color overall.Weight: 1,837 g Dimensions: Height 16.2 cmThe lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically related to other marble lions of Tang date that are also seated on a plinth, some facing forward, some with the mouth open.Literature comparison: The present marble lion bears a strong resemblance to one of the large stone guardian lions along the spirit path of the Qian Ling mausoleum, the tomb of Emperor Gao Zong and Empress Wu Zetian near Xi'an, illustrated by Qian, Out of China's Earth, page 156, and also by Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, volume 4, pl. 431A. Allowing the difference in size and material, there is a marked similarity in the shape of the muzzle, the split beard and the collar of flesh between the shoulders and legs. The large stone lion is probably no later than AD 683, the year of Gao Zong's death.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2020, lot 908 Price: USD 475,000 or approx. EUR 533,500 converted and adjusted for inflation at the time of writing Description: A small white marble figure of a seated lion, China, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 742 Price: USD 75,600 or approx. EUR 74,000 converted at the time of writing Description: A superb carved white marble figure of a lion, Tang dynasty Expert remark: Compare the closely related pose, roar, split beard, bulging eyes, and plinth. Note the similar size (17 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代小漢白玉獅中國，618-907年。雕工精巧，石獅呈現蹲坐式樣，前肢斜伸，胸部挺起，獅頭昂揚，雙目圓睜，頭頸處鬃毛分成數縷垂捲，細膩逼真，體格雄健。它的尾巴捲曲在右側，末端位於後爪上方和胸部下方。出版：Michael B. Weisbrod，Inc.，《Religion and Ritual》，1987年，編號19。 來源：美國Michael B. Weisbrod藝廊，1985年購於香港；美國紐約J. Abraham Cohen收藏；B. Weisbrod藝廊2010年購於上述收藏。美國紐約Michael B. Weisbrod私人收藏。 品相：狀態極好，小缺損和刻痕，輕微的劃痕，磨損和風化，石質有些不完美之美。自然包漿，瑩潤細膩。 重量：1,837 克 尺寸：高16.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A MINIATURE PAINTING OF MUGHAL EMPEROR BABUR PAYING HOMAGE TO GURU NANAKIndia, 18th - 19th century. Ink, gouache, and gold on paper. Depicting the Mughal emperor Babur on his visit to Guru Nanak, dressed in a red robe revealing his chest, with scripts in front of him, surrounded by a group of men, praying and listening to his teachings, all within a brown and turquoise border. Provenance: Danish private collection.Condition: Good condition, some wear, soiling to the backside. Dimensions: Size 34.7 x 29.1 cmGuru Nanak was the founder of Sikhism and is the first of the ten Sikh Gurus. He is said to have travelled far and wide across Asia, teaching people of 'ik onkar', a concept with a unique spiritual, social, and political platform based on equality, fraternal love, goodness, and virtue. This image depicts his encounter with the Mughal emperor Babur, who had invaded his town and imprisoned him.

A PALE CELADON JADE-MOUNTED WOOD RUYI SCEPTER, QING DYNASTY 清代青玉三鑲嵌木製如意China, 19th century. The hardwood frame inset to either terminal and to the center with three oval jade plaques carved in low relief with an endless knot, bat, and plums, a Buddha's hand citron, and a pomegranate. An old green cord with an endless knot is attached to the lower end, suspending two tassels. The translucent stone is of a pale celadon tone with cloudy white inclusions and icy veining. All three jade plaques with a fine polish overall.Provenance: From the collection of Gurli and Valter Justusson, Sweden. Gurli (1918-2000) and Valter Justusson (1918-2009) were two folk art dealers who lived in SimlÃ¥ngsdalen just outside Halmstad on the west side of Sweden. The couple bought from many auctions and were avid collectors until their deaths in 2000. An old label with a collector's note 'hanger for mandarin' written in Swedish to the backside. Condition: Good condition commensurate with age, with old wear and traces of use. The wood frame with a nice patina, small losses, age cracks and minor old repairs. The jade with small losses and chips as well as natural inclusions and fissures, some of which have developed into small hairline cracks.Weight: 272 g Dimensions: Length 34.7 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2013, lot 138Price: USD 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade-mounted wood ruyi scepter, Qing dynasty, 19th centuryExpert remark: Note the slightly larger size (41.3 cm)Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 10 November 2017, lot 320Price: GBP 13,750 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon jade-inset wood ruyi scepter, Qing dynasty, 19th centuryExpert remark: Note the slightly larger size (40 cm)清代青玉三鑲嵌木製如意中國，十九世紀。此件如意以木製器身襯托著首、腹、尾部的三鑲玉飾，富麗華貴。如意首鑲盤長、蝙蝠與雙桃紋，中鑲佛手瓜紋以及尾鑲石榴紋。下端繫著一條帶有綠色盤長，兩條流蘇。 這塊半透明的玉料呈淡青色調，帶有絮狀物和冰紋。三塊玉牌整體瑩潤光滑。 來源：瑞典私人收藏，背面標籤上有藏家注釋瑞典語“hanger for mandarin” 字樣。 品相：狀況良好，有磨損和使用痕跡。良好的包漿，小缺損、老化裂縫和輕微的小修。玉石有少量的磕損，還有天然的絮狀物和裂紋，有的已經發展成細小的裂縫。 重量：272 克 尺寸：長 34.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2013年9月17日，lot 138 價格：USD 18,750（相當於今日EUR 24,000） 描述：清十九世紀木嵌白玉八吉祥紋如意 專家評論：請注意尺寸較大(41.3厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2017年11月10日，lot 320 價格：GBP 13,750（相當於今日EUR 19,000） 描述：清十九世紀木嵌青白玉太平有象紋如意 專家評論：請注意尺寸較大(40厘米)。

A CAST IRON 'BAGUA' TEMPLE BELL, GUANGXU PERIOD, DATED 1876 光緒1876年八卦紋鐵鐘China. Of domed shape with everted rim, surmounted by a loop handle in the form of a mythical beast, the top pierced with two holes, the sides cast in low relief with an inscription, the lower part decorated with the eight trigrams (bagua) within four reserves, surrounded by a wavy border.Inscriptions: Inscribed around the body describing the bell as a donation, signed 'Chao Shixiang', dated 'Da Qing Guangxu bingzi er nian', corresponding to 1876.Provenance: From the collection of Ralph Pike and thence by descent in the same family. Ralph Pike was a British customs officer in China, who returned to Southwest England in 1934. Condition: Fair condition, overall as expected and still displaying very well. Extensive wear, casting imperfections, some losses, corrosion and weathering, minor dents here and there.Weight: 23 kg Dimensions: Height 46.2 cm Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 25 June 2013, lot 8348Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A large cast-iron bellExpert remark: Compare the related form and similar size (49 cm)光緒1876年八卦紋鐵鐘中國，鐵鐘頂部有神獸形環柄，外壁淺浮雕，下方有八卦紋與波浪紋。 款識：皇圖鞏固，大清光緒丙子二年仲冬，月 谷旦；帝道遐昌，眾姓弟子仝捐神鐘一口 于；風調雨順，中矶觀，永遠供奉；國泰民安，金火，趙仕祥。 來源：Ralph Pike，保存在同一家族。Ralph Pike是一名在中國的英國海關官員，1934 年返回英格蘭西南部。品相：狀況良好，大面積磨損、鑄造缺陷、缺損、風化和局部小凹痕。 重量：23 公斤 尺寸：高 46.2 厘米 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2013年6月25日，lot 8348 價格：USD 11,250（相當於今日EUR 13,500） 描述：1906年大型鐵鐘 專家評論：比較相近外型和相似的尺寸(49厘米)。

A PORCELAIN WATER POT, WITH MATCHING BRONZE SPOON AND WOOD STAND, QING DYNASTY 清代青花釉裏紅纏枝蓮紋蝙蝠水丞China, 18th-19th century. Of compressed globular form with a short straight neck, painted in underglaze blue and copper red, the neck encircled by a ruyi shaped border, the shoulders with a ring of ten stylized bats above a diapered floral band, surrounded by a dense pattern of red dots, the lower half with four stylized lotus flowerheads amid scrolling vines. The recessed base with a single-line circle in underglaze blue against a creamy-white crackled ground.With a finely carved wood stand and an elegantly curved bronze spoon showing an open worked and cloud-shaped terminal, all most likely dating from the same period and therefore a rare set. (3)Provenance: From the collection of David and Diane Buck, Milwaukee, Wisconsin, USA. The base with an old collector's label inscribed 'Buck'. Prof. Emeritus David Douglas Buck (born 1936) is an American scholar of Chinese history who worked as a professor at the University of Wisconsin-Milwaukee from 1972 until his retirement. He received his PhD from Stanford University and has written several books on Chinese history, including “Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”. Condition: Very good condition with minor wear and manufacturing flaws, including pitting and dark spots, the base with minuscule nicks and light surface scratches. The wood stand with some wear, few nicks, and a minor old repair to one foot. The bronze spoon in superb condition with a fine patina overall.Weight: 121.3 g (excl. base and spoon), 174.7 g (total) Dimensions: Diameter 9.2 cm Literature comparison: Compare a remotely related Yongzheng-marked ruby-red glass waterpot with a related curved metal spoon terminating in a dragon head at Sotheby's Hong Kong, 2 May 2005, lot 549.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 28 November 2012, lot 2403Price: HKD 400,000 or approx. EUR 64,500 converted and adjusted for inflation at the time of writingDescription: A carved white jade water pot and metal spoon, Qing dynasty, 18th centuryExpert remark: Compare the related form and bat motif of the water pot, and related curved metal spoon. Note the different size (5.2 cm) and that the water pot is carved from white jade.清代青花釉裏紅纏枝蓮紋蝙蝠水丞中國，十八至十九世紀。短直頸，鼓腹，圈足。青花釉裏紅，頸圍青花如意紋帶，肩部一圈釉裏紅點為地，由十隻蝙蝠組成的紋飾；腹部以上為一圈菱形花紋飾帶，腹部以下纏枝蓮紋。圈足内藍花單圈。相配的銅勺和木底座。 來源：美國威斯康星州密爾沃基David 與Diane Buck收藏。底部有收藏標籤，上寫“Buck”字樣。Emeritus David Douglas Buck (出生於1936) 教授是一位美國中國歷史學者，1972 年至退休，一直在威斯康星大學密爾沃基分校擔任教授。他在斯坦福大學獲得博士學位，並撰寫了多本關於中國歷史的書籍，包括《Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”》（中國的城市變遷：1890-1949 年山東天安的政治與發展）。 品相：狀況極好，有輕微磨損和製造缺陷，包含點時和黑點，底座有微小的刻痕和輕微的表面劃痕。木架有一些磨損和刻痕，一隻腳有輕微的修理。銅勺狀況極佳，整體帶有細膩包漿。 重量：121.3 克 (不含底座和小勺)，總174.7 克 尺寸：直徑9.2 厘米 文獻比較： 比較一件稍微相近雍正款寶石紅水丞，有相近的龍首金屬小勺，見香港蘇富比，2005年5月2日，lot 549。 拍賣結果比較： 形制：稍微相近 拍賣：香港佳士得，2012年11月28，lot 2403 價格：HKD 400,000（相當於今日EUR 64,500） 描述：清十八世紀白玉雕蝠紋桃形水丞及金屬龍首勺 專家評論：比較相近的外型、蝙蝠主題和相配的金屬小勺。請注意尺寸不同 (5.2 厘米) ，以及此水丞為白玉雕。

A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。

A THANGKA OF GURU DRAGPO, 18TH-19TH CENTURY 十八至十九世紀忿怒蓮師唐卡Tibet. Distemper on cloth. The wrathful three-headed deity with Garuda wings, striding with his consort in alidhasana on prostrate figures atop a lotus throne in a flaming mandorla, holding a vajra, a skull cup and other ritual implements in his hands, dressed in a tiger skin. The bottom of the picture with dancing Dakinis and patron deities.Provenance: From a noted Hungarian private collection. Condition: Good condition with old wear, some soiling, minuscule losses and creases. The cotton mounting with tears, wear, losses, and loose threads. Dimensions: Image size 50.5 x 35.5 cm, Size incl. frame 98 x 61.5 cmGuru Dragpo, also referred to as Guru Drakpoche, is a meditational deity form of Padmasambhava, in his most wrathful Heruka form. A Heruka, or 'blood drinker', usually refers to wrathful male deities, often with three faces, six arms, four legs, wings, and a consort, who adopt a fierce countenance to benefit sentient beings. Literature comparison: Compare a related thangka, dated to the 18th century, in the collection of the Rubin Museum of Art, accession number P1998.30.1, also published on Himalayan Art Resources, item no. 788.Auction result comparison: Compare with a related thangka of Guru Dragpoche, but without consort, at Sotheby's New York in The Jucker Collection of Himalayan Paintings on 28 March 2006, lot 97, sold for USD 27,000.十八至十九世紀忿怒蓮師唐卡西藏，布面膠畫。蓮師三首六臂與四足，翅膀張開，身著虎皮裙，拿著斧頭、金剛杵、頭骨杯和蝎子，擁抱著他的佛母。兩人站立於蓮座上，火焰光背，腳踩魔鬼上。畫面底部可見跳舞的空行母和守護神。 來源: 匈牙利知名私人收藏。 品相: 狀況良好，磨損，一些污漬，微小的缺損和摺痕。錦框帶有撕裂、磨損、缺損和絲線鬆弛。 尺寸: 畫面尺寸 50.5 x 35.5 厘米, 總98 x 61.5 厘米 拍賣結果比較: 比較一件相近的忿怒蓮師唐卡，見紐約蘇富比 The Jucker Collection of Himalayan Paintings 2006年3月28日 lot 97, 售價USD 27,000。

A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件

A CELADON JADE 'BIRD' PENDANT, SONG DYNASTY 宋代青玉鳥形掛墜China, 960-1279. The recumbent bird finely carved and incised with a long tail, and almond shaped eyes, the curled wings with double-line grooves, a short beak, and claws tucked underneath. The back is pierced for suspension. The translucent stone of a pale celadon tone with icy inclusions and small areas of opaque gray and white alteration.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884. Condition: Fine condition, commensurate with age. The stone with minor nibbles and losses, natural fissures and some distinctly calcified areas. The jade with a good, unctuous feel overall.Weight: 64.1 g Dimensions: Length 7.3 cmAuction result comparison:Type: RelatedAuction: Sotheby's London, 11 May 2011, lot 100Price: GBP 10,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A rare carved jade bird, Song dynasty宋代青玉鳥形掛墜中國，960-1279年。玉鳥雕工精美，長尾，杏眼，雙線凹槽雕刻，短喙，爪子藏於身下。背部刺穿用以懸掛。淺青色調的半透明玉料，帶有冰狀内沁和不透明的灰色白色變化的小區域。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：狀況良好，與年齡相稱。 石頭有輕微磕損，天然裂縫和一些明顯的鈣化區域。玉質整體感覺瑩潤。 重量：64.1 克 尺寸：長 7.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2011年5月11日，lot 100 價格：GBP 10,000（相當於今日 EUR 15,000） 描述：罕見宋代玉鳥掛墜

A LARGE PUCE-GROUND 'SLEEPING TEACHER & MISCHIEVOUS BOYS' VASE, LATE QING TO REPUBLIC PERIOD 清末民初胭脂紅地粉彩《稚子拈吉祥》瓶China, 1850-1949. The baluster sides rising from a thick tall foot to a waisted neck with flared rim. The exterior is finely painted in bright enamels against a puce ground with a charming and humorous scene of an elderly scholar who has fallen asleep at his desk and the chaos ensuing around him. One boy is standing behind the scholar on his chair, removing his hat, while another holds up a rod with a small spider attached to it in an effort to frighten the poor teacher once he awakes. The base and interior glazed turquoise.Inscriptions: To one side, 'The children bring happiness and joy. They laugh and sing and celebrate the new year.'Provenance: Lyon & Turnbull, Edinburgh, United Kingdom, 8 January 2005, lot 109 (invoice not available, old label to interior). A Scottish private collection, acquired from the above, and thence by descent.Condition: Excellent condition with minor wear and minimal firing irregularities only. Must be considered extremely rare in this splendid state of preservation.Weight: c. 7.2 kg Dimensions: Height 45 cmFurther boys are seen idling about or playing games, while one particularly studious child sits at a desk much like his master's, holding a brush and showing a pensive expression, and another is leafing through a book from a pile on a stand in front of him. The back with a poetic inscription. The recessed base with an apocryphal iron-red gilt-ground four-character mark Qianlong nianzhi.Expert's note: Most porcelain vases painted with the 'boys' motif use this subject to reference a certain festivity, such as the New Year or the Dragon Boat Festival. The present lot, however, lacks any such allusions and instead offers a humorous and very lifelike scene of children running amok in the absence of an attentive guardian, and is thus much rarer than comparable examples.清末民初胭脂紅地粉彩《稚子拈吉祥》瓶中國，1850-1949年。瓶口外撇，束頸，溜肩，豐胸圓腹，圈足。胎質堅實。胭脂紅彩地，粉彩描繪書院小孩童們趁夫子瞌睡之際一旁玩鬧戲耍，天真活潑。人物刻畫細膩傳神，一個男童站在夫子身後，正摘下他的帽子（圖 1）；而另一個男孩則舉起一根綁著一隻小蜘蛛（圖 2）的杆子，打算嚇唬父子。色彩雅麗。瓶内與圈足内施松石綠色釉。 款識：稚子拈吉祥，染翰作屏圖，和風徊笑語，齊歌樂嵗詩 來源：蘇格蘭私人收藏，購於英國愛丁堡Lyon & Turnbull拍賣行，2005年1月8日，lot 109 (發票遺失，瓶内標簽)，保存至今。 品相：狀況極好，輕微磨損，輕微燒製瑕疵。 重量：約7.2公斤 尺寸：高45 厘米 圈足内描金鐵紅“乾隆年製”四字款。 專家注釋：很多以“嬰戲圖”為主題的陶瓷器皿與某個節日相聯繫，例如新年或端午節。 然而，本拍品沒有任何此類典故，而是提供了一個幽默活潑的場景，即孩子們在學校裏嬉戲搗亂的場景，因此比同類例子少得多。

Ɏ A RHINOCEROS HORN ARCHAISTIC LIBATION CUP, JUE, EARLY QING DYNASTY 清初螭龍紋犀角杯China, 17th to early 18th century. Finely carved, one side of the vessel with a flattened spout, the other slightly raised and tapering into a wide curve. The lip surrounded by a wave border incised in shallow relief. The body carved with two sinuous chilong holding branches of lingzhi in their mouths. The rhinoceros horn of a deep honey color, darkening towards the legs, and with a silky, naturally grown patina.Provenance: From the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was a State Magistrate in the Civil Service in India from 1928 and 1949. After retiring he returned to Edinburgh, Scotland. Condition: Some losses to lip and body, minor age cracks. Absolutely untouched original condition.Weight: 133.5 gDimensions: Height 12.3 cmThe present libation cup, superbly carved in the form of the well-known bronze ritual vessel jue, exhibits an exceptional level of skill exercised by the carver, who used the highly complex technique of bending different sections of the split horn outwards to form the three splayed blade legs.Literature comparison: See T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, page 93, lot 46, for a similar libation cup from the collection of Chun-hung Li. Compare a rhinoceros horn jue decorated with a taotie design illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 205, together with a four-legged ding form cup, pl. 206, and a tripod ding vessel, pl. 207.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 2710 Price: HKD 2,420,000 or approx. EUR 413,500 converted and adjusted for inflation at the time of writing Description: A rhinoceros horn 'jue' libation cup, 17th centuryExpert remark: Compare the related color of the horn, splayed legs, and chilong decoration. Note the size (11 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 197Price: USD 182,500 or approx. EUR 230,500 converted and adjusted for inflation at the time of writingDescription: A rare rhinoceros horn archaistic libation cup (jue), Qing dynasty, 17th century Expert remark: Compare the related color of the horn and splayed legs. Note the size (10.2 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.清初螭龍紋犀角杯中國，十七至十八世紀初。爵形杯，雕刻精美，杯子一側的杯流扁平，另一側略微凸起並逐漸變細。杯口外壁淺浮雕波浪紋，外壁浮雕兩條螭龍，嘴裡叼著靈芝。犀角杯呈深蜜色，向腿部往下逐漸變深，並帶有絲般的光澤。 來源：Malcolm Moncrieff Stuart 收藏，OBE，CIE，保存至今。Stuart曾從 1928 年到 1949 年，擔任印度州治安法官。退休後，他回到了蘇格蘭的愛丁堡。 品相：杯口和杯體有局部磕損，輕微的年代裂縫。原始狀況。 重量：133.5 克 尺寸：高 12.3 厘米 文獻比較： 一件相似的犀角杯，Chun-hung Li收藏，見 T. Fok，《Connoisseurship of Rhinoceros Horn Carving in China》，頁93，lot 46。比較一件饕餮紋犀角爵，見《故宮博物院藏珍品全集‧竹木牙角雕刻》，上海，2001年，編號205，與一件四足鼎杯，編號206，和三足鼎，編號207。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 2710 價格：HKD 2,420,000（相當於今日EUR 413,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色、杯腳外撇和螭龍裝飾。請注意尺寸(11厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2012年3月20日，lot 197 價格：USD 182,500（相當於今日EUR 230,500） 描述：十七世紀爵形犀角杯 專家評論：比較相近的犀角顏色和杯腳外撇。請注意尺寸(10.2厘米)。

A WHITE JADE BOWL, QIANLONG PERIOD 乾隆時期白玉碗Opinion: In recent years, perhaps no other Chinese work of art has been copied more often than the Qianlong white jade bowl, as its simple form and absolute lack of decoration make it a seemingly “easy” target for forgers. However, this particular bowl demonstrates that such an erroneous assumption is bound for failure. In reality, it is quite the opposite: The more sober a jade vessel, the more the observer's eye is diverted to the various aspects and dynamics of its shape and, maybe even more important, the quality of its polish, two features that are in fact the most difficult to reproduce convincingly. For some reason, the copies that this author has handled always lacked the masterfully equilibrated proportions of the massive yet slightly splayed foot, strictly focused on function, the elegant swing of the wall - in stark contrast to the present lot, and most remarkably the slanted lip, a distinct feature that forgers often “forget”, probably for the lack of reward given in exchange with the painstaking effort required to add this ”minor” embellishment in a well-controlled manner. Furthermore, and almost needless to mention, this bowl comes from an old collection that precedes the recent wave of copies, which only started around 15-20 years ago.China, 1736-1795. The bowl is well carved with deep rounded sides rising to a gently flaring rim, with a slanted lip, all supported on a massive yet slightly splayed cylindrical foot. The translucent stone is of an almost pure white tone with scattered cloudy inclusions and few minuscule dark-gray specks. It shows a masterfully applied manual polish overall, giving it a decent, lustrous shine.Provenance: From the collection of an English antiques dealer who was active between the 1960s and 1980s, and thence by descent to the last owner. Condition: Excellent condition with minor old wear, the rim with a microscopic nick.Weight: 212.3 g Dimensions: Diameter 12.3 cmNotable for their harmonious proportions, thinly carved walls, and lustrous finish, undecorated jade bowls were among the most luxurious dining utensils available, and their use at court was thus strictly regulated by sumptuary laws. The Guochao gongshi [court history] of the Qianlong period records that only the Empress Dowager and the Empress were allowed to own a 'jade bowl with a gold stand'. Furthermore, on the occasion of feasts at the imperial court, 'jade bowls and golden plates' could be used only in the presence of the Emperor.Auction result comparison: Type: Closely related Auction: Christie's London, 10 November 2015, lot 51 Price: GBP 68,500 or approx. EUR 94,500 converted and adjusted for inflation at the time of writing Description: A finely carved white jade bowl, Qianlong period Expert remark: Compare the closely related form, with a gently flaring rim, slanted lip and slightly splayed foot. Note the slightly larger size (15.6 cm)Auction result comparison: Type: Closely related Auction: Christie's London, 7 November 2012, lot 426 Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writingDescription: A Chinese white jade bowl Expert remark: Compare the similarly slated lip and related size (12.3 cm). Note the slightly different form.乾隆時期白玉碗中國，1736-1795年。碗身光素，敞口微外撇 ，直圈足。素玉碗比例協調、薄壁雕琢，半透明白玉，可見絮狀物和内沁，表面光滑瑩潤。 專家注釋：近年來，可能沒有其他中國藝術品比乾隆白玉碗更頻繁地被複製，因為它簡單形式和光素使其成為偽造者看似“容易”的目標。然而，這個特殊的碗表明，這種錯誤的假設注定會失敗。實際上恰恰相反：玉器越簡單，觀者的眼睛就越會被轉移到其形狀的各個方面上，也許更重要的是其拋光的質量，以及玉碗整體和諧的比例和形制。此外，這個碗來自一個古老的收藏，在近15-20年前出現的複製浪潮出現之前。 來源：來自一位活躍於1960年代至1980年代之間的英國古董商的收藏，一直保存到最後一位繼承者。 品相：狀況極好，輕微磨損，邊緣帶有微小的刻痕。 重量：212.3克 尺寸：直徑12.3厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2015年11月10日，lot 51 價格：GBP 68,500（相當於今日EUR 94,500） 描述：乾隆時期白玉碗 專家評論：比較非常相近的外型、敞口微外撇 ，直圈足。請注意尺寸稍大 (15.6厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年11月7日，lot 426 價格：GBP 20,000（相當於今日EUR 29,500） 描述：白玉碗 專家評論：比較相似的敞口和相近的尺寸 (12.3厘米)。請注意稍微不同的外型。

A BRONZE VAJRATibet, 18th - 19th century. The rounded eight-pronged vajra with a central knob flanked by lappet bands, finely cast in bronze.Condition: Good condition with wear, few minuscule nicks and small dents. Provenance: South German private collector, who mostly purchased from Schoettle Ostasiatika between 1968 and 1980. Weight: 233 g Dimensions: Length 12.5 cm

A JUN PURPLE-SPLASHED TRIPOD CENSER, NORTHERN SONG TO YUAN DYNASTY 北宋至元鈞窯紫斑三足爐China, 960-1368. The globular body supported on three coiled feet (rare!) and rising to a waisted neck with flared rim. Covered overall in a thick pale-blue glaze, decorated with purple splashes suffused with hues of malachite-green to the exterior and with dense black specks to the interior. Provenance: From the collection of Derek and Sonja Howlett, no. 496 (according to label to base). Derek and Sonja were Curator and Research Assistant at The Powell-Cotton Museum during the 1980s. The museum is located in Birchington, Kent, United Kingdom, and houses the diverse personal collections of noted explorer Percy Powell-Cotton. It also contains the collections of Powell-Cotton's two daughters, Antoinette and Diana Powell-Cotton, who shared their father's passion.Condition: Two feet with a small loss, one with an associated old repair. Minor related cracks. Otherwise in very good condition with old wear and some firing flaws, including dark spots, glaze recesses, and glaze lines.Weight: 378.4 gDimensions: Height 9.8 cmExpert's note: Wares from the type site Juntai in Yu county, Henan province, an area formerly known as Junzhou, are remarkable for their luscious thick glaze of intense coloration which can vary from light blue to deep turquoise. It was in the early twelfth century that potters started applying splashes of copper to the glaze before firing, resulting in patches of purple, lavender and tones of deep blue on the milky-blue primary glaze. The present bowl shows patches of malachite green precipitated among the purple clouds, which has been noted to occur due to a high concentration of copper oxide. See Rosemary Scott, Imperial Taste: Chinese Ceramics from the Percival David Foundation, London, 1989, page 39.Auction result comparison: Compare a closely related Jun tripod censer, dated to the Northern Song dynasty, at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 17 March 2009, lot 14, sold for USD 12,500.北宋至元鈞窯紫斑三足爐中國，960-1368年。香爐口沿平出，束頸，鼓腹微下沉，下出三足，外卷。器身施淺青色釉，腹部覆蓋紫斑，外部泛著孔雀石綠色的色調，內部則帶有濃密的黑色斑點。來源：Derek 與Sonja Howlett收藏，編號no. 496 (見底足標籤)。Derek 和 Sonja 是 1980 年代Powell-Cotton博物館的策展人和研究助理。該博物館位於英國肯特郡的伯欽頓，收藏了著名探險家Percy Powell-Cotton的各種個人收藏以及 Powell-Cotton 的兩個女兒 Antoinette 和 Diana Powell-Cotton 的收藏品，她們繼承了父親的收藏熱情。品相：兩隻腳有小缺損，一隻腳有舊時修復，輕微裂縫。除此之外狀況極好，有舊時磨損和一些燒製瑕疵，包括黑斑、釉面凹陷和釉線。重量：378.4 克尺寸：高9.8 釐米拍賣結果比較：比較一件相近的北宋鈞窯三足爐，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2009年3月17日 lot 14, 售價USD 12,500。

A BLUE AND WHITE 'EIGHT IMMORTALS' BOWL, 18TH CENTURY 十八世紀青花八仙碗China. Delicately potted, the deep rounded sides rising from a short foot, finely painted in underglaze blue depicting the eight immortals standing on clouds holding their characteristic attributes. The recessed base inscribed with an underglaze-blue four-character mark.Inscriptions: To base, 'Ruoshen Zhencang' (Collection of the Deep Twin Streams)Provenance: French trade. Condition: Fine condition commensurate with age. Some old wear and manufacturing flaws. The rim with few minor chips, hairlines and small old fills, which are well visible at the images.No hidden repairs of any kind.Weight: 474.1 g Dimensions: Diameter 19.1 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, the Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 750Price: 81,250 HKD or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: Four blue and white 'chrysanthemum' cups, early Qing dynastyExpert remark: Note that the cups each show a related six-character mark, 'Shuangxi Ruoshen Zhencang'十八世紀青花八仙碗中國。胎體細膩，深圓腹，圈足。青花描繪八仙人物，手持法器。圈足內青花四字款款識：若深珍藏 來源：法國古玩交易。 品相：狀況良好，與年齡相符的。一些磨損和製造瑕疵，少量小磕損、冲線，這些在圖像中清晰可見。沒有任何形式的隱藏維修。 重量：474.1 克 尺寸：直徑19.1 厘米 八仙是中國民間傳說中廣為流傳的道教八位神仙，據説他們住在渤海五座島嶼之上。“八仙”一詞在中國歷史上的不同時期一直擁有不同的涵義，直到明朝吳元泰的《八仙出處東遊記》（一般稱為《東遊記》），才正式定型為呂洞賓、鍾離權（或漢鍾離）、鐵拐李、張果老、何仙姑、曹國舅、韓湘子及藍采和。八仙人物出處不一，時代不同。拍賣結果比較：形制：相近 拍賣：香港蘇富比，2019年5月29日，lot 750 價格：81,250 HKD（相當於今日EUR 10,500） 描述：清代早期四件青花菊花杯 專家評論：請注意每杯底有相近的 〝若深珍藏 〞款識。

A FAMILLE ROSE PORCELAIN PAINTING OF TAO YUANMING (365-427), BY WANG QI (1884-1937) 王琦款粉彩陶淵明采菊瓷板China. The plaque of rectangular form, painted in polychrome enamels and iron-red to depict the poet Tao Yuanming kneeling, one hand resting on his knee, his head raised toward the left, a bamboo cane and double gourd laying in front of him, and a basket with flowers to his right. A poem related to the scene, the artist's signature, and two seal marks at the upper left corner.Inscriptions: Upper left, signed 'Xichang Wang Qi'. Two seals, 'Xichang Wang Qi' and 'Taomi'. Provenance: From the property of a Gentleman in London, United Kingdom. Condition: Very good condition with minor wear and manufacturing flaws, the top right corner with a small chip to the reverse.Weight: 1,918 g Dimensions: Size 36.7 x 24.6 cmTao Yuanming (365-427) was a Chinese literati and politician who was one of the best-known poets during the Six Dynasties period. He spent much of his life in reclusion in the countryside writing poems in which he often reflected on the pleasures and difficulties of life, as well as his decision to withdraw from civil service. Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 14 April 2022, lot 34Price: USD 16,562 or approx. EUR 15,700 converted and adjusted for inflation at the time of writingDescription: A Pair of Figural Porcelain Plaques Depicting Tao Yuanming and Li Bai Expert remark: Compare with this porcelain plaque, also depicting Tao Yuanming, but by He Xuren. Note that He Xuren was also a member of the Eight Friends of Zhushan, the school of porcelain painters of Wang Qi. Also note that the sale result is for two plaques.王琦款粉彩陶淵明采菊瓷板中國。彩繪鐵紅，繪製詩人陶淵明一手搭膝，頭向左轉，手前擺著一根竹杖和雙葫蘆，在他的右邊有一個裝著菊花的籃子。畫面光影富於變化，有西洋繪畫暈染技法，立體感強。 款識：西昌王琦；鈴印：西昌王琦、陶迷來源：英國倫敦紳士收藏。 品相：狀況極好，有輕微磨損和製造缺陷，右上角背面有一個開片。 重量：1,918克 尺寸：36.7 x 24.6厘米 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年4月14日，lot 34 價格：USD 16,562（相當於今日EUR 15,700） 描述：一對陶淵明和李白人物瓷板 專家評論：比較亦是描繪陶淵明的瓷板，但為何許人所繪。請注意何許人也是珠山八友，與王琦為同一個瓷版畫學派。請注意此件有兩塊瓷板。

A BLACK POTTERY AMPHORA WITH APPLIED BRONZE BOSSES, HAN DYNASTY 漢代黑陶嵌銅泡釘雙耳壺China, 202 BC to 220 AD. With waisted, incised neck and everted, pinched mouth emanating two bold wide strap handles joining the ovoid, tapering body centered by spiral designs. Applied overall with conical metal bosses.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 11 July 2022, based on sample number C122f97, sets the firing date of two samples taken at 1500 - 2400 years ago. A copy of the report, issued by Oxford Authentication, is accompanying this lot.Provenance: From a private collection in Bavaria, Germany, built since the 1970s into one of the largest collections of Buddhist bronzes and sculptures in Central Europe. The collector was a noted magician and as such guided by the fundamental idea that one thing can also be another, always looking for a second nature or hidden meaning behind the primary appearance of an artwork. Condition: Good condition with old wear and weathering, some casting flaws, small nicks here and there, the bosses with malachite-green encrustations and corrosion, some losses and minor repairs, all exactly as expected from an authentic piece with this age. Small holes from sample-taking.Weight: 1,391 g Dimensions: Height 21.6 cm Many non-Han peoples lived in southwest China, even after the establishment of the Qin and Han dynasties. This unusually shaped amphora may have been the product of the Qiang people who probably came from the steppe but later also lived in the region of the Dian people in southwest China. Vessels such as this with lozenge shaped mouths and twin flat handles have been discovered in present day Sichuan and are known as Lifan ware, after the area in Sichuan Province where such jars have been found.Auction result comparison: Type: Near identical Auction: Galerie Zacke, Vienna, 5 March 2021, lot 138 Price: EUR 56,880 or approx. EUR 61,500 adjusted for inflation at the time of writingDescription: A black pottery amphora with applied bronze bosses, Han dynastyExpert remark: Note the larger size of 33 cm in height.漢代黑陶嵌銅泡釘雙耳壺中國，公元前202至公元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 科學檢測報告：隨附牛津熱釋光檢測報告副本，根據樣本C122f97，2022年7月11日測試結果，該拍品應爲1500 - 2400年前所製。 來源：德國巴伐利亞的私人收藏，該收藏創建於1970年代，是歐洲最大的佛教青銅器和造像收藏之一。這位收藏家是一位著名的魔術師，因此遵循“一物也可以是另一物”這一基本理念，總是在藝術品的主觀背後尋找第二本性或隱藏的意義。 品相：狀況良好，磨損和風化，一些鑄造瑕疵，到處都是小刻痕，銅綠與結殼。因爲檢測進行樣品採集而鑽孔，一些缺損和小修，與其年代相符。重量：1,391克 尺寸：高21.6厘米拍賣結果比較： 形制：幾乎相同 拍賣：維也納Zacke藝廊，2021年3月5日，lot 138 價格：EUR 56,880（相當於今日EUR 61,500） 描述：漢代黑陶嵌銅泡釘雙耳壺專家評論：請注意尺寸較大(33厘米)。

† A LARGE 'FIVE DRAGON' WOOL CARPET, QIANLONG 乾隆大型紅地五龍紋羊毛地毯China, 1736-1795. Finely woven with a central front-facing five-clawed dragon writhing around a flaming pearl, encircled by two pairs of confronting sinuous dragons, each chasing a pearl, surrounded by swirling clouds, bordered to the long sides with bands of pearls, key-fret, and the Eight Buddhist emblems alternating with floral designs, each end with a terrestrial diagram above lishui stripe.Provenance: From the personal collection of Michael B. Weisbrod, New York, by repute acquired at Sotheby's in the 1990s for approx. USD 30,000. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Overall fair condition with extensive wear, minor fading to colors, losses and tears, possibly minor old repairs.Dimensions: Size ca. 480 x 350 cmWhile the dragon itself is the symbol of the emperor, the number five is most auspicious and represents the 'Five Blessings (wufu)' of old age, wealth, health, virtue and peaceful death. The design of 'Five Dragons' also alludes to the 'Five Dragons of Yanshan (Yanshan wulong)', named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Auspicious Buddhist Symbols (bajixiang) amongst the dragons in the design are also unusual and suggest the possibility of the rug being used at Buddhist ceremonies or on special religious occasions. However, it also demonstrates the level of creative freedom exercised by artists during Qianlong's reign who were encouraged to produce pieces with one-off designs. See a zitan closet, where the bajixiang is carved amongst dense ruyi-form clouds, from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 206, and a red sandalwood throne also carved with dragons and clouds, where the bajixiang is used as a design element on its own, ibidem, pl. 26.Literature comparison: A related Imperial dragon carpet dating from the 18th century is illustrated by R. Soame Jenyns, Chinese Art, Vol. III, Oxford, 1981, no. 18.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.乾隆大型紅地五龍紋羊毛地毯中國，1736-1795年。地毯正中央盤旋著一條五爪大龍，龍身與龍頭為深藍色，龍爪則是深藍色，龍看上去炯炯有神，面對一顆火珠，氣勢十足。在這條大龍的上下兩側，分佈著四條模樣相似的小龍，這些小龍都面向大龍團團圍住，一派祥和。而在五條龍盤踞的區域外圍，則有規律地分佈著花草、祥雲、五色波紋，圖案豐滿，氣勢恢宏。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：整體狀況良好，磨損嚴重，輕微褪色、缺損，撕裂，可能有輕微的維修。 尺寸：約480 x 350 厘米 龍象徵帝王，數字五是最吉祥，是代表著長壽、財富、健康、美德和安寧的“五福”。此外，地毯上的八吉祥紋也很不尋常，表明地毯可能用於佛教儀式或特殊的宗教場合。同時，它也展示了乾隆年間藝術家的創作自由程度。文獻比較： 一件相近的十八世紀御製龍紋地毯，R. Soame Jenyns，《Chinese Art》，卷III，牛津，1981年，編號18。

A THANGKA OF SIDDHA LAKSHMI, 17TH-18TH CENTURY 十七至十八世紀吉祥天女唐卡Nepal. Distemper and gold on cloth. The ten-headed, twenty-two-armed goddess standing in a dancing pose atop a prostrate blue-skinned Mahakala on a lotus base supported by five semi-wrathful goddesses. Her two left hands are holding a kapala and ghanta, while one right hand holds a khatvanga, the other hands radiating around her holding numerous weapons and attributes. She is surrounded by a floral and foliate mandorla against a blue foliate ground.Provenance: German private collection.Condition: Good condition with some wear, soiling, staining, creases, small losses, slightly frayed edges.Dimensions: Size 65 x 47 cmThe upper heads are flanked by the sun and moon, which are depicted as heads as well. The upper register with two red-skinned wrathful deities, one of whom has severed their own head, holding it aloft as blood gushes from his neck, trampling on an amorous couple and flanked by smaller deities.The fierce Siddha Lakshmi, a wrathful manifestation of the Hindu goddess Durga, was the protecting and guiding goddess of the Malla kings, who ruled Nepal's Kathmandu Valley from the thirteenth through the eighteenth century. Her name opens with the Sanskrit term 'siddha', which indicates that she has mastered the art of accomplishment, and as such, she is appealed to by followers for the successful completion of projects.Literature comparison: Compare a related Nepalese thangka depicting Siddhi Lakshmi, dated by inscription to 1694, in the collection of the Rubin Museum of Art, object number C2006.42.1.十七至十八世紀吉祥天女唐卡尼泊爾，布面膠畫。唐卡藍地，女神十頭二十二臂，以舞姿站立，大黑天俯伏在下，蓮座上由五位半忿怒女神支撐。她的左手分別拿著一個嘎巴啦碗和銅鈴，而一隻右手拿著一個天杖，其他手分別拿著法器。她周圍環繞著曼陀羅，藍靠在藍色的葉狀地面上。 來源：德國私人收藏。 品相：狀況良好，有一些磨損、污漬、染色、摺痕、少量缺失、邊緣輕微磨損。 尺寸：65 x 47 厘米 最頂端的頭兩側是太陽和月亮，它們也被描繪成頭。 上方是兩個紅皮膚的忿怒本尊，其中一個砍下了自己的頭顱並高舉著著，鮮血從他的脖子上噴湧而出，脚踩一對夫婦身上。 兇猛的 Siddha Lakshmi 是印度教女神杜爾迦的憤怒表現，是十三至十八世紀統治尼泊爾加德滿都谷地的馬拉國王的保護和引導女神。她的名字以梵文“siddha”開頭，這表明她已經掌握了成就的藝術，因此吸引了衆多追隨者。 文獻比較： 比較一件相近的1694年尼泊爾吉祥天女唐卡，收藏於Rubin藝術博物館，編號C2006.42.1。

'GRAPES, LEAVES AND VINES' BY LI KUCHAN (1899-1983) 李苦禪款《葡萄》China. Ink on paper. Depicting leaves and vines with hanging grapes at the center, below some branches with small buds, superbly painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper right, inscribed 'Binglong di Li Nianchan' ('For Brother Binglong Li Nianchan'), one seal, 'Li Ying zhiyin'. Provenance: British trade. Condition: Very good condition with minor wear, foxing, a small tear to the central fold, minor creasing.Dimensions: Size 63.7 x 44.7 cmLi Kuchan (1899-1983) was a renowned Chinese painter, calligrapher and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957), a famous contemporary Chinese painter and was considered to be his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).Auction result comparison:Type: RelatedAuction: Christie's London, 13 November 2015, lot 1198Price: GBP 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1898-1984), LotusExpert remark: Compare the related motif and technique. Note the smaller size (49 x 41.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2017, lot 1443Price: HKD 150,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) Fragrant Plantain LilyExpert remark: Compare the closely related motif and technique. Note the similar size (62 x 46 cm) and that this lot comprises two paintings.李苦禪款《葡萄》中國，紙本設色。大寫意描繪葡萄以及藤蔓與葉子。 款識：柄龍弟李念禪鈴印：李英之印 來源：英國古玩市場。 品相：狀況極好，有輕微磨損、褐變、中央褶皺處有小撕裂、輕微摺痕。 尺寸：63.7 x 44.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年11月13日，lot 1198 價格：GBP 8,125 （相當於今日EUR 11,000） 描述：李苦禪(1899-1983)《蓮花》 專家評論：比較相近的主題和技術。請注意尺寸較小 (49 x 41.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月30日，lot 1443 價格：HKD 150,000（相當於今日EUR 20,500） 描述：李苦禪(1899-1983)《魚戲》 專家評論：比較非常相近主題和技術。請注意尺寸較小(62 x 46 厘米) ，此組圖為兩幅。

A RARE BRONZE SWORD, JIAN, WARRING STATES PERIOD 戰國時期罕見銅劍China, 475-221 BC. The long, tapering blade has beveled edges and a median ridge on each side. The guard and pommel are prominently cast with a taotie mask in high relief, and the hilt is encircled by raised diagonal designs.Provenance: From the collection of Harry Geoffrey Beasley (1881-1939), acquired 1 October 1929 (according to label) and thence by descent. From the collection of Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.2.24. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters.Condition: Very good condition, commensurate with age. Extensive wear, losses and fissures, some possibly with associated old fills, weathering and erosion. Fine, naturally grown patina with extensive malachite and cuprite encrustation.Weight: 579.7 gDimensions: Length 40.4 cmLiterature comparison: Similar cast decoration can be seen on the guard of a Warring States bronze sword of related size (42.1 cm) included in the Illustrated Catalogue of Ancient Bronze Weaponry in the National Palace Museum, Taiwan, 1995, p. 204, pl. 33. Related taotie masks can also be seen on the guards of two Warring States bronze swords illustrated by M. Loehr in Chinese Bronze Age Weapons, Baltimore, 1956, pls. 38 and 40, nos. 98 and 99. Compare also with a closely related sword in The Frank Collection, Christian Deydier, Paris, 2011, page 60, number 19, dated mid - late Spring and Autumn period, 6th-5th century BC, probably Qin culture.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1443 Price: USD 27,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A bronze sword, early Warring States period, 5th century BCExpert remark: Compare the similar form and related but sparse taotie mask design. Note the size (56.5 cm).戰國時期罕見銅劍中國，公元前475-221年。劍柄頂端和劍身頂端鑄有饕餮紋，劍柄扁圓分格，劍身有道稜於中間突起，通身積厚綠銅鏽。 來源：Harry Geoffrey Beasley (1881-1939)收藏，購於1929年10月1日 (根據標籤)，保存至今；吳 權博士購於上述收藏，收錄與吳蓮白美術館，收藏編號 H.2.24。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。品相：狀況機好，與年齡相符。大面積磨損、缺損，有裂縫，有些可能與修補、風化和侵蝕有關。天然包漿，大量紅綠色銅鏽。 重量：579.7 克 尺寸：長40.4 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

'KINGFISHER AND LOTUS', BY WANG XUETAO (1903-1982) 王雪濤《翠鳥荷花圖》China. Ink and watercolors on paper, mounted as a hanging scroll. Vividly painted with a kingfisher perched on the stem of a large lotus blossom above grasses, leaves, a pink lotus flower, a closed pink lotus bud, and an insect.Inscriptions: Upper right, signed 'Wang Xuetao', two seals of the artist. Lower left, one seal of the artist.Provenance: London trade. Condition: The painting in very good condition with minor wear, foxing, and faint creases, the mounting backed in some areas and generally with more extensive wear and foxing as well as small tears.Dimensions: Image size 136.5 x 68 cm, Size incl. mounting 210.5 x 82.5 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2020, lot 1135 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writingDescription: Wang Xuetao, Lotus and Mandarin DucksExpert remark: Compare the closely related manner of painting with similar lotus and birds. Note the addition of mandarin ducks in this work and the smaller size (96.5 x 60 cm).王雪濤《翠鳥荷花圖》中國，紙本水墨設色，掛軸。生動地描繪了一隻翠鳥棲息在荷葉梗上，似乎正要起飛，荷葉大如傘，一朵荷花和一個花蕾斜插而出。也許是荷花的花香吸引了蜻蜓飛來。畫面清新生動。 款識：丙辰夏初雪濤時客燕市；鈴印：老雪，遲園 來源：倫敦古玩交易。 品相：狀況極好，有輕微的磨損、褐變、起毛和摺痕。尺寸：畫面136.5 x 68 厘米，總210.5 x 82.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年12月1日，lot 1135 價格：HKD 500,000（相當於今日EUR 61,500） 描述：王雪濤《荷花鴛鴦》 專家評論：比較非常相近的繪畫風格，例如荷花和鳥。manner of painting with similar lotus and birds. 請注意此幅畫中還有鴛鴦，尺寸較小(96.5 x 60厘米)。

MIXED MARVEL UK LOT (104 in Lot) - Includes AVENGERS #2, 3, 4, 5, 8, 10, 12, 16, 23, 24, 25, 26, 29, 56, 58, 60, 67, 68, 73, 82, 83 + MIGHTY WORLD OF MARVEL #32, 64, 78, 95, 97, 98, 101, 112, 113, 116, 121, 122, 125, 127, 173, 175, 195, 200, 201, 202, 203, 204, 208, 227 + RAMPAGE #2 to 32, 34 + THE SUPER-HEROES #3, 6, 7, 9, 14, 30, 31, 32, 33, 34, 36, 37, 40, 41, 44, 47, 48, 50 + STAR WARS WEEKLY #104 + THE TITANS #3, 5, 7 + MARVEL COMIC #336 + DOCTOR WHO WEEKLY #1, 2, 3, 4 - Flat/Unfolded

BATMAN #302, 303, 304, 305, 306, 307, 308, 309, 310, 311, 312, 315 (12 in Lot) - (1978/1979 - DC) - Includes the first appearances of Lucius Fox and Tiffany Fox (who becomes Batgirl in the Future's End reality) - Flat/Unfolded

BATMAN: THE DARK KNIGHT RETURNS #1, 2, 3, 4 (4 in Lot) - (1986 - DC) - ALL First Printings + Classic Batman story - First appearance of Carrie Kelly who becomes the first female Robin + "Death" of Joker + Batman vs Superman + "Death" of Alfred - Frank Miller story and cover + Miller and Klaus Janson interior art + Lynn Varley colours - Flat/Unfolded - a photographic condition report is available on request

TOPPS 1976 MARVEL COMIC BOOK HEROES COMPLETE STICKER & PUZZLE CARD SET - Set is complete with 40 stickers and the complete set of 9 Puzzle Checklist Cards which form the cover of Conan The Barbarian 1 - The variation charcaters have the following captions - Conan - "Shall we Dance?" Hercules - "Like my nail polish?" Hulk - "Help cure athlete's feet!" Loki - "Who says I'm bull-headed?" Luke Cage "Like my denture work?" Volstagg "Fat is beautiful!"

TOMB OF DRACULA #10 - (1973 - MARVEL - UK Price Variant) - GRADED 6.0 (FN) by CGC - HOT KEY BOOK & CHARACTER - First appearance of Blade the Vampire Slayer, who is scheduled to return to the Marvel Cinematic Universe in the near future + Currently at #16 most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gene Colan cover and interior art - Flat/Unfolded - CGC 6.0 (FN) White Pages - Presented Slabbed & Sealed