We found 641361 price guide item(s) matching your search
There are 641361 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
641361 item(s)/page
Lot 3715
Schweiz, 19.Jh., in der Art des 15.Jhs. Eisen, korr. Die massive Vierkantspitze über einer quadratischen Basis in eine gabelförmige Klammer mit flachen, vernieteten Schaftfedern mündend. Der aufgesetzte Teil aus einem in vier kurzen Spitzen endenden Hammer und einem langen rückwärtigen, leicht gebogenen, massiven Vierkantschnabel, beim Ansatz beidseitig kurze massive Vierkantdornen. Zwei zusätzliche Schaftfedern. Achtkantschaft. L 150 cm.
Lot 14
PAUL CÉZANNE (1839-1906)Plantes aquatiques mural transferred to canvas 92 x 76cm (36 1/4 x 29 15/16in).Painted in 1862–1864Footnotes:ProvenanceThe artist's family, Aix-en-Provence.Louis Granel, Aix-en-Provence (acquired in 1899).Dr. Frédéric Corsy, Aix-en-Provence (by descent from the above).Anon. sale, Galerie Charpentier, Paris, 17 June 1960, lot 61.France Art Center, Paris.Private collection, France.Anon. sale, Binoche & Giquello, Paris, 30 November 2016, lot 58.Private collection, France (acquired at the above sale).ExhibitedParis, Galerie Élysée Matignon, Cézanne et les maîtres du XXe siècle, 15 November – 20 December 1995 (titled 'Bord de rivière').LiteratureJ. Rewald, Cézanne, sa vie - son œuvre, son amitié pour Zola, Paris, 1939 (full mural referenced pp. 44-45).D. Cooper, 'Au Jas de Bouffan', in L'Œil, Revue d'art, no. 2, 15 February 1955 (full mural illustrated pp. 12 & 13).L. Gowing, Cézanne, The Early Years 1859-1872, exh. cat., London, 1988, fig. 2 (full mural illustrated p. 5; dated 1860 - 1862).M. T. Benedetti, Paul Cézanne, Sa vie, son œuvre, Paris, 1995 (full mural illustrated p. 10).J. Rewald, The Paintings of Paul Cézanne, A Catalogue Raisonné, Vol. I, The Texts, New York, 1996, no. 38 (full mural illustrated p. 75; titled 'Bord de rivière').J. Rewald, The Paintings of Paul Cézanne, A Catalogue Raisonné, Vol. II, The Plates, New York, 1996, no. 38 (illustrated p. 16; titled 'Bord de rivière').M. T. Lewis, 'Cézanne's Paintings in the Grand Salon at Jas de Bouffan', in Jas de Bouffan, Cézanne, Aix-en-Provence, 2004, fig. 50 (illustrated).D. Coutagne, F. Chédeville & Société Paul Cézanne, Cézanne, Jas de Bouffan, art et histoire, Lyon, 2019, fig. 85 (full mural illustrated p. 102).W. Feilchenfeldt, J. Warman & D. Nash, The Paintings, Watercolors and Drawings of Paul Cézanne, An Online Catalogue Raisonné, online catalogue, no. FWN 12 (illustrated).Plantes aquatiques is one of eight sections of the mural Paysage romantique aux pêcheurs that was painted by a young and aspiring Paul Cézanne on the walls of the family home shortly after the purchase of the Jas de Bouffan by his father, Louis-Auguste, in 1859. The full mural, along with another mural in the salon of the Jas de Bouffan, was later hidden under wallpaper for almost fifty years before being rediscovered and removed from the structure. Paysage romantique aux pêcheurs was subsequently mounted onto canvas before later being divided into eight individual works, all of which were offered at Galerie Charpentier in 1960 and became separated.Paysage romantique aux pêcheurs was a bright, colourful 18th century style landscape, with a blend of conventional and romantic idioms consistent with the classical training of an artist at the time. Executed when the artist had only just persuaded his father to allow him to follow this blossoming passion, the present work is one of the earliest known painted works by Paul Cézanne and is accompanied by an equally unique and intriguing history.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
PIERRE-AUGUSTE RENOIR (1841-1919)Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) signed 'Renoir' (lower right) oil on canvas32.1 x 41.2cm (12 5/8 x 16 1/4in).Painted circa 1910Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceAmbroise Vollard Collection, Paris (acquired directly from the artist before 1919).Private collection; their sale, Piasa, Paris, 27 June 2007, lot 11.Private collection, Portugal (acquired at the above sale).Thence by descent to the present owners.ExhibitedMarseilles, Musée Cantini, Renoir, Peintre et Sculpteur, 8 June - 15 September 1963, no. 27.LiteratureA. Vollard, Pierre-Auguste Renoir, Paintings, Pastels and Drawings, San Francisco, 1989, no. 702 (illustrated p. 176)G-P. & M. Dauberville, Renoir, catalogue raisonné des tableaux, pastels et aquarelles, Vol. IV, 1903-1910, Paris, 2012, no. 2931 (illustrated p. 150).Painted around 1910, the present work issues from a time of great success for the mature Renoir, who by the early twentieth century was firmly established as one of the leading artists of the Impressionist movement. Paysage (Repos sous l'arbre, Cagnes-Sur-Mer) depicts the countryside around Les Collettes, the farm the artist and his family moved to in search of a warmer climate, and upon the advice of his doctor to aid the rheumatism which had struck at the height of his career. Located on the hillside overlooking the medieval town of Cagnes on the Mediterranean coast, Renoir was so captivated by Les Collettes' rural nature that he left the original buildings untouched and instead built a new house and studio in the grounds for his family to move into in 1908.Renoir's interest in the landscape genre was reignited by the lush coastal landscape which became a rich source of inspiration, with his vibrant depictions of the olive groves, sun-drenched garden and endless blue skies hailed as amongst the most radiant of his oeuvre. The strong Mediterranean sunlight encouraged Renoir to brighten his already vivid palette and led to an increasing use of red and umber in all its nuances to capture the ruddy Provencal earth. The scarlet of the figure's skirts in the present work is answered in the red tree trunk behind her and the warm glow the sun casts on her face, while the cool blue shadows of her blouse echo the arching sky overhead. The trees around her softly curve inwards, acting as a framing device and reinforcing the sense of the figure's gentle absorption into the landscape around her. The burnt ground, verdant greens and brilliant blue sky of a Mediterranean summer can be felt in the composition, whose whole appears enveloped in a warm golden tone, perhaps denoting late afternoon and a time for repose. In capturing a moment of everyday life, the artist seeks to ennoble and elevate it: 'I love painting that has something of the eternal...but unspoken; an eternity of the everyday, captured on the nearest street corner; the maid stops cleaning her pots for a moment and suddenly becomes Juno on Mount Olympus!' (G. Adriani, Renoir, Cologne, 1999, p. 43). Renoir typically eschewed black as a colour and instead, as beautifully illustrated in the present work, modelled shadows with emerald greens and deep russets, allowing the eye to dance across the composition uninterrupted. Albert André described the artist's practice thus: 'He prepares areas of the canvas that will be luminous by applying pure white directly onto the canvas. He reinforces shadows and half-tints in the same manner. He almost never mixes the colors on his palette, which is covered with oily squiggles of almost pure tones' (Albert André quoted in A. Wofsy, Renoir's Atelier, San Francisco, 1989, foreword). A sense of continual movement is further evoked in the composition through Renoir's bold, loose brushwork, whereby the ground is enlivened just as much as the trees with their wonderful impasto. Despite this modern approach to colour and brushwork, Renoir would remain somewhat apart from his Impressionist contemporaries who painted the modern world as they saw it, unembellished and un-idealised. Renoir's oeuvre maintained a distance from artistic doctrine, politics or the developments in photography and cinema which influenced so many others. His timeless compositions offered a refuge from the contemporary world and indeed, by the time the present work was painted, Renoir was increasingly looking back to eighteenth century classicism. Upon settling on the shores of the Mediterranean he rediscovered his love of classical antiquity, as well as his early interest in artists such as Watteau, Fragonard and Delacroix, whose works he had studied at the Louvre as a young student. Renoir told Albert André that the distant mountains at Cagnes reminded him of Watteau's backgrounds, just as the true blue of the sky recalled the velvet-like firmaments of the older master's compositions. Renoir's travels through Europe in the mid-1880s and his study of the ancient painters also had a profound effect on his work. He sought to add an increasing monumentality and delineation to the more dappled and transitory compositions which had defined his early Impressionist years and rearranged the topography of the landscape before him to instil balance and harmony. Renoir acknowledged his admiration of and debt to eighteenth century art when discussing his Cagnes landscapes with René Gimpel in 1918: 'A painter can't be great if he doesn't understand landscape. Landscape, in the past, has been a term of contempt, particularly in the eighteenth century; but still, that century that I adore did produce some landscapists. I'm one with the eighteenth century. With all modesty, I consider not only that my art descends from a Watteau, a Fragonard, a Hubert Robert, but also that I am one with them' (Renoir, exh. cat., op. cit., p. 277).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1
RENÉ MAGRITTE (1898-1967)La chambre d'Ecoute signed 'Magritte' (lower right)pen and black ink on paper15.5 x 20.8cm (6 1/8 x 8 3/16in).Footnotes:The authenticity of this work has kindly been confirmed by the Comité Magritte.ProvenanceLouis K. Meisel Gallery, New York, no. 6701. Private collection, US (a gift from the above in December 2009).La chambre d'Ecoute celebrates one of Magritte's most famous motifs, the apple, which was oft repeated in playful yet unsettling compositions. Illustrating the artist's virtuoso draughtsmanship, the present work shows the mature realisation of the artist's iconic style which was first ignited by his meeting key figures from the Surrealist movement in the 1920s.The twenties were a decade which sculpted the young Belgian into a prominent artist within the Surrealist group and helped carve his name into the annals of modern art history. A defining moment in the lead up to Magritte's visit to Paris in 1927 and involvement with the likes of Salvador Dalí and André Breton was an earlier encounter with Giorgio de Chirico's metaphysical masterpiece The Song of Love, in 1923. It was a profoundly moving experience for the artist, both emotionally and artistically, and the work of de Chirico was hugely influential for not only Magritte, but also a great number of the Surrealist artists. The work's inconsequential objects, its sinister architectural forms, vacuous passageways and a train that flicks past just out of sight, conjures feelings of both the absurd and the ominous. The presence of absurdity coupled with the quietly disconcerting is a common element of the Surrealist output, although it was by no means of their sole invention. The group had in fact found this common ground within the prose-poem Les Chants de Maldoror (1868-1869) by the Comte de Lautréamont. Having existed in something of obscurity at the time of publishing, this piece of transgressive literature was rediscovered by the Surrealists, who found mutual sentiment in the verse's themes of violence and the absurd. The piece also captured one of the most important principles of the Surrealist aesthetic: to challenge the observer's preconceived and preconditioned perception of reality through the juxtaposition of two entirely foreign realities.This principle is most evidently revealed in the biomorphic abstraction that was so prevalent with the Surrealists through the late 1920s, in particular in the work of the Joan Miró and Jean (Hans) Arp (see lot 45). From the Greek words for life, 'bios', and form, 'morphe', the abstracted imagery adopted by these artists presented a world of bulbous, enticing, sexually-charged forms that were simultaneously totally alien to the viewer whilst maintaining a presence of uncanny familiarity. In contrast, Magritte's figurative creations challenged the real world through a naturalistic and highly detailed depiction of ordinary objects suspended in everyday settings, juxtaposed in an entirely illogical manner, often transposing the monumental into the seemingly mundane or vice versa: 'In view of my determination to make the most familiar objects scream aloud, these had to be disposed in a new order and to be charged with a vibrant significance' (R. Magritte quoted in P. Waldberg, René Magritte, Brussels, 1965, p. 116).It is from this methodology that Magritte's use of the motif is so entirely important whilst, in a most satirically Magritte-ian way, remaining utterly irrelevant. His works are characterized by a series of these motifs – apples, curtains, bowler hatted men, birds, objects in flames, and more – which he endlessly arranges and re-arranges within varying settings whilst the viewer struggles to find meaning and theory in his image. His most iconic and successful subjects challenge the viewer. They challenge the viewer to find and define reason, clarity and meaning in the work, to question their idea of what is real and what is not.In addition to his use of motifs, Magritte used the titles of his works to divert and test the thought process of his viewers, subverting their expectations by assigning descriptions that bore almost no relevance to the depicted scene. In his own words, 'the titles are meant as an extra protection to counter any attempt to reduce poetry to a pointless game' (R. Magritte quoted in D. Sylvester (ed.), René Magritte, catalogue raisonné, Vol. V, Supplément, London, 1997, p. 20). La chambre d'Ecoute presents the viewer with the iconic, orb-like apple hanging seemingly unaided within a room. Immediately we must question which object is 'real'; is it the apple that is oversized, or is the room extremely small? Of course, our questioning is futile, for the presence of either must discredit the reality of the situation entirely and regardless, the artist has led us into an endless loop of unanswerable uncertainty. Aside from probing the viewer's constructs of reality, Magritte prompts us to question what we are not seeing, to question that which is hidden within. Objects in his works are often partially concealed, as in the 1964 Son of Man, so the viewer can deduce that the apple here may well be concealing something – or indeed nothing at all. It is a somewhat Schrödinger's cat-like situation; the potentially hidden presence is both simultaneously present and absent. It is another characteristic of the quietly ominous.Whilst it is easy to attribute the playful, potentially Machiavellian nature of this to nothing more than toying with his viewership, a more disturbing explanation for Magritte's use of the everyday object to obscure can be found in his childhood memories of his mentally ill mother. As a young boy he would sit for long periods of time locked in her room until after several attempts she eventually escaped and took her own life in the River Sambre in 1912. The claustrophobic nature of the expanded apple sucking the space from the room in the present work could certainly be linked to this experience, as the artist attempts to eliminate what was once his normality with an alternate reality, leading us also to question what, or who, is hidden behind the apple.As a study for two seminal paintings from 1952 and 1958 titled La chambre d'écoute, or The Listening Room, the present work sits firmly within Magritte's seminal mature period and its importance as a study for one his most recognisable works cannot be understated, with both finished paintings now residing in public collections in the US and Switzerland.The nature of Magritte's studies for his paintings offers the viewer an intimate insight into the bubbling mind of this Surrealist master like no other. Whilst the present work appears to be a study for the aforementioned paintings, we are immediately drawn to the highly finished nature of the draughtsmanship and the considered ink line, which, coupled with the artist's signature in the lower right corner, offers an elevated position for the work and almost allows it to be placed within The Listening Room series as a finished work in its own right.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 10
LEONOR FINI (1907-1996)La Leçon d'acupuncture, dit aussi Le Traitement (Les Leçons) signed 'Leonor Fini' (lower right)oil on canvas100 x 100cm (39 3/8 x 39 3/8in).Painted in 1972Footnotes:ProvenanceGalerie Lambert Monet, Geneva.Chalet Saqqarah, Gstaad.Private collection, US (acquired from the above circa 1970s).LiteratureX. Gauthier, Leonor Fini, Paris, 1973.L. Fini, Le Livre de Leonor Fini, Lausanne & Paris, 1975.Leonor Fini, Das groβe Bilderbuch, Munich, 1975.M. Gagnebin, Fascination de la laideur, Lausanne, 1978 (p. 251).C. Jelenski, Leonor Fini, découverte et masquée, Paris, 1978.J. Audiberti (et al.), Leonor Fini, Paris, 1981.P. Borgue, Leonor Fini ou le Théâtre de l'imaginaire, Paris, 1983.K. Ogata, A New Species which Violates Boundaries, Leonor Fini, Tokyo, 2006 (p. 197).P. Webb, Leonor Fini, Métamorphoses d'un art, Paris, 2007.P. Webb, Sphinx, The Life and Art of Leonor Fini, New York, 2009.R. Overstreet & N. Zukerman, Leonor Fini, Catalogue Raisonné of the Oil Paintings, Zurich, 2021, no. 792 (illustrated p. 439).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 13
LEONOR FINI (1907-1996)Squelette de mariée signed 'Leonor Fini' (lower right)gouache, pen and India ink and pencil on paper50.2 x 32.8cm (19 3/4 x 12 15/16in).Footnotes:The authenticity of this work has kindly been confirmed by Mr. Richard Overstreet.ProvenanceArt Cadre, Paris.Acquired from the above by the present owner circa 1985.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 17
MAX ERNST (1891-1976)Comète signed and dated 'Max Ernst 51' (lower right); signed, inscribed and dated 'Comète, 1951, Ernst' (on the reverse)oil on canvas61.2 x 101.5cm (24 1/8 x 39 15/16in).Painted in 1951Footnotes:The authenticity of this work has kindly been confirmed by Dr. Jürgen Pech.ProvenanceMax Ernst Collection.Dorothea Tanning Collection, US (by descent from the above).Thence by descent to the present owner.LiteratureW. Spies, S. & G. Metken, Max Ernst Œuvre-Katalog, Vol. V, Werke 1939-1953, Cologne, 1987, no. 2884 (illustrated p. 298; with incorrect cataloguing).'I never lose touch with the world around me' - Max ErnstThe present work Comète refers to Ernst's interest in astrology, which can be traced back through his early oeuvre. Imagery of the cosmos with the earth, sun, moon and the sky can be seen in examples as early as 1909, such as Landschaft mit Sonne. Ever since the subject has remained important throughout his career. 'When you walk through the woods keeping your eyes fixed on the ground, you will doubtless discover many wonderful, miraculous things. But when you suddenly look upwards into the sky, you are overcome by the revelation of another, equally miraculous world. Over the past century the significance of suns, moons, constellations, nebulae, galaxies and all of outer space beyond the terrestrial zone has increasingly entered human consciousness, as it has taken root in my own work and will very probably remain there' (Max Ernst quoted in W. Spies (ed.), Max Ernst: A Retrospective, Munich, 1991 p. 10).Comète was painted in 1951 during Ernst's last years living in exile. Ernst fled to America in 1941 to escape a second arrest by the Gestapo and settled in New York with other European emigré artists such as André Breton, Amadée Ozenfant, Yves Tanguy and Fernand Léger. After a short marriage to Peggy Guggenheim, he met Dorothea Tanning with whom he would stay for the rest of his life. After a few years the couple decided to escape New York and settled in the desert of Arizona in 1945. Ernst's new surroundings were transformative for his art as the starry nights in the Sedona desert took him to otherworldly imagery. During the interbellum years Ernst's fantastical pictures had mainly focused on images of brutality and destruction. His visual lexicon propagated a degree of ominousness and discomfort that can be seen in the work Orobas from 1942, where the viewer is presented with a daunting landscape in decay. However, after the Second World War, the artistic landscape had changed. On a visit to Paris in 1950 Ernst noticed that everyone was focused on post-war American art: 'I came back to France at a time when...the terribles simplificateurs were busy praising only abstract art and condemning Surrealist art, especially if it was at all figurative, as too literary, so that it appeared to be irretrievably discredited' (Max Ernst quoted in W. Spies (ed.), Max Ernst Retrospective, exh. cat., Ostfildern, 2013, p. 279). Ernst's outlook changed and he began to adopt theories from American artists who had a more formal approach to painting.In the present work Ernst embraced abstraction to a certain degree, by treating the canvas as a flat surface onto which he created a playful, almost childlike, image of the cosmos. Ernst flattened the image by constructing the composition through fluid colour arrangements. The glowing sphere of the comet dominates the centre and appears to have facial features, each element composed of small dabs of paint which are enhanced with black outlines. The swirling atmosphere is moving in a counter-clockwise direction, starting with swift brush strokes executed in dark blue and burgundy tones around the comet. The flowing strokes gradually move outwards and change into divisionist touches of fiery red, hot orange and green which echo the speed of light. The foreground is executed in a symphony of dark blue and green hues, that stand in stark contrast to the brightly coloured whirling cosmos, like the sun and the moon. Ernst's choice of bright colours in Comète is not a coincidence as his palette changed during the post-war years. Muted greys, greens and blues were substituted by more vibrant and uplifting hues, resembling the mesmerising colours of the Sedonian landscape. His new surroundings not only allowed Ernst to reconsider his colour scheme, but he also felt a new sense of optimism to return home during this period. Just the year before Comète was executed, Ernst visited France for the first time since 1941 and was able to witness Europe's recovery with his own eyes. It was not until 1953 when Ernst and Tanning were able to return to France for good, that Ernst continued to work on a series of cosmological paintings in his revived palette.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 18
MAX ERNST (1891-1976)La Tourangelle signed, numbered and inscribed with the foundry mark 'Max Ernst 0/VIII, Susse Fondr Paris' (on the back of the base)polished brass with a golden patina26.3cm (10 3/8in). highConceived in 1960, this brass version cast in 1961-1962 by the Susse Foundry.Footnotes:The authenticity of this work has kindly been confirmed by Dr. Jürgen Pech.ProvenanceMax Ernst Collection.Dorothea Tanning Collection, US (by descent from the above).Thence by descent to the present owner.LiteratureExh. cat., Max Ernst, New York, 1961, no. 171 (another cast referenced p. 56).Exh. cat., Max Ernst, London, 1961, no. 202 (another cast referenced p. 67).Exh. cat., Max Ernst, Œuvre sculpté 1913-1961, Paris, 1961, no. 37 (another cast illustrated p. 35).A. Ferrier, 'Max Ernst, sculpteur', in Œil, Revue d'art, no. 84, December 1961 (another cast illustrated p. 69).Exh. cat., Max Ernst, Sculptures et Masques, Stockholm, 1963, no. 10 (another cast illustrated p. 14).Exh. cat., Max Ernst, Sculpture and Recent Painting, New York, 1966, no. 116 (another cast referenced p. 64).J. Russell, Max Ernst, Leben und Werk, Cologne, 1966, no. 139 (another cast illustrated p. 326).G. Diehl, Max Ernst, Paris, 1973 (another cast illustrated p. 59).Exh. cat., Max Ernst, Saint-Paul, 1983, no. 105 (another cast referenced p. 144).W. Rubin (ed.), Primitivism in 20th Century Art, New York, 1984, no. 839 (another cast illustrated p. 567).Exh. cat., Max Ernst, Sculpture 1934-1974, New York, 1987, no. 38 (another cast illustrated p. 31).Exh. cat., Max Ernst, The Sculpture, Edinburgh, 1990, no. 46 (another cast illustrated p. 39).Anno 93/94, Düsseldorf, 1995 (plaster cast illustrated p. 19).Exh. cat., Max Ernst, Skulptur, Malmö, 1995 (another cast illustrated p. 161).Exh. cat., Max Ernst, Sculture / Sculptures, Castello di Rivoli, 1996 (another cast illustrated p. 172).Exh. cat., Max Ernst, Esculturas, obras sobre papel, obras gráficas, São Paulo, 1997, no. 42 (another cast illustrated p. 88).Exh. cat., Max Ernst, Skulpturen, Klagenfurt, 1997 (another cast illustrated p. 123).Exh. cat., Max Ernst, Sculptures, Maisons, Paysages, Paris, 1998, no. 105 (plaster cast illustrated p. 187).W. Spies, S. & G. Metken, Max Ernst Œuvre-Katalog, Vol. VI, Werke 1954-1963, Cologne, 1998, no. 3821.I (another cast illustrated p. 406).Exh. cat., Max Ernst, esculturas sculptures, Lisbon, 1999 (another cast illustrated p. 64).Exh. cat., Max Ernst, The Surrealist Universe in Sculpture, Painting and Photography, Tokyo, 2000, no. 45 (another cast illustrated p. 65).Einblicke, Düsseldorf, 2000 (plaster cast illustrated p. 110).Exh. cat., Max Ernst, Okazaki, 2001, no. 3-45 (another cast illustrated p. 137).S. Kaufmann, Im Spannungsfeld von Fläche und Raum, Studien zur Wechselwirkung von Malerei und Skulptur im Werk von Max Ernst, Weimar, 2003, no. 170 (another cast illustrated p. 332).Exh. cat., Max Ernst, Traumlandschaften, Apolda, 2004, no. 65 (another cast illustrated p. 112).J. Pech, Max Ernst, Plastische Werke, Cologne, 2005 (another cast illustrated pp. 158-159).Exh. cat., Max Ernst läßt grüßen, Münster, 2009 (another cast illustrated p. 113).Exh. cat., Max Ernst, Le Jardin de la France, Tours, 2009 (another cast illustrated p. 114).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 19
MAX ERNST (1891-1976)Apaisement signed and numbered 'Max Ernst 5/6', stamped with the Modern Art Foundry mark and dated 'MA06' (on the back of the base)bronze with a green patina67.5cm (26 9/16in). highConceived in 1961, this bronze version cast in 2006 by the Modern Art Foundry in a numbered edition of 6.Footnotes:The authenticity of this work has kindly been confirmed by Dr. Jürgen Pech.ProvenanceDorothea Tanning Collection, US.Thence by descent to the present owner.LiteratureExh. cat., Max Ernst, Œuvre sculpté 1913-1961, Paris, 1961, no. 45 (another cast illustrated p. 39).L'Œil, Revue d'art, no. 84, December 1961 (another cast illustrated p. 18).M. Ragon, 'The Sculpture of Max Ernst', in Cimaise, Vol. IX, no. 57, January/February 1962 (another cast illustrated p. 24).R. de Solier, 'Les sculptures récentes de Max Ernst', in XXe Siècle, no. 18, February 1962 (another cast illustrated p. 24).Exh. cat., Max Ernst, Cologne, 1962, no. 213 (another cast illustrated p. 216).Exh. cat., Max Ernst, Sculptures et Masques, Stockholm, 1963, no. 14 (another cast illustrated p. 18).Exh. cat., Max Ernst, Sculpture and Recent Painting, New York, 1966, no. 117 (another cast referenced p. 64).Exh. cat., Max Ernst, Oltre la pittura, Venice, 1966, no. 102 (another cast referenced p. 19).J. Russell, Max Ernst, Leben und Werk, Cologne, 1966, no. 142 (another cast illustrated p. 326).Hommage à Max Ernst, Paris, 1971 (another cast illustrated p. 131).U. M. Schneede, Max Ernst, Stuttgart, 1972, no. 384 (another cast illustrated p. 196).G. Diehl, Max Ernst, Munich, 1973 (another cast illustrated p. 58).Exh. cat., 50 Jahre Kunsthandelsverband der Schweiz, Jubiläumsausstellung mit Werken des 15 – 20 Jahrhunderts aus öffentlichem und privatem Besitz, Zurich, 1973, no. 91 (another cast referenced).Exh. cat., Max Ernst, Basel, 1974 (another cast referenced p. 97).Hommage à Max Ernst, Wiesbaden, 1976 (another cast illustrated p. 135).Exh. cat., Max Ernst, Sculpture 1934-1974, New York, 1987 (another cast illustrated p. 31).Exh. cat., Max Ernst, The Sculpture, Edinburgh, 1990, no. 48 (another cast illustrated p. 40).Exh. cat., Max Ernst, Skulptur, Malmö, 1995 (another cast illustrated p. 166).Exh. cat., Max Ernst, Esculturas, obras sobre papel, obras gráficas, São Paulo, 1997, no. 44 (another cast illustrated p. 90).Exh. cat., Max Ernst, Skulpturen, Klagenfurt, 1997 (another cast illustrated p. 128).W. Spies, S. & G. Metken, Max Ernst Œuvre-Katalog, Vol. VI, Werke 1954-1963, Cologne, 1998, no. 3823.I (another cast illustrated p. 407).Exh. cat., Max Ernst, Sculptures, Maisons, Paysages, Paris, 1998, no. 112 (another cast illustrated p. 186).Exh. cat., Max Ernst, esculturas sculptures, Lisbon, 1999 (another cast illustrated p. 65).Exh. cat., Max Ernst, The Surrealist Universe in Sculpture, Painting and Photography, Tokyo, 2000, no. 46 (another cast illustrated p. 64).Exh. cat., Max Ernst, Okazaki, 2001, no. 3-46 (another cast illustrated p. 138).S. Kaufmann, Im Spannungsfeld von Fläche und Raum, Studien zur Wechselwirkung von Malerei und Skulptur im Werk von Max Ernst, Weimar, 2003, no. 171 (another cast illustrated p. 332).J. Pech, Max Ernst, Plastische Werke, Cologne, 2005 (another cast illustrated pp. 162-163).Exh. cat., Max Ernst, Paramyths, Sculpture, 1934-1967, New York, 2015 (another cast illustrated pp. 47, 49 & 91).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 23
JOHN TUNNARD A.R.A. (1900-1971)Fish Trap signed, inscribed and dated 'John Tunnard. 46 W.9., W.19.' (lower left); inscribed 'Fish Trap.' (on the reverse)gouache, watercolour and crayon on paper39.5 x 57.5cm (15 9/16 x 22 5/8in).Executed in 1946Footnotes:ProvenanceLefevre Gallery, London (January 1947).Dalzell Hatfield Galleries, Los Angeles.Private collection, UK (acquired from the above).LiteratureA. Peat & B. Whitton, John Tunnard, His Life and Work, Aldershot, 1997, no. 491 (p.175).During spring 1937, the Artists' International Association (AIA) presented a large, competitive exhibition at Grosvenor Gallery in London, 'Unity of Artists for Peace, for Democracy, for Cultural Progress'. This materialised during a period of artistic support in Britain for the Republican cause, particularly regarding the outbreak of war in Spain. At the same time, the First British Artists' Congress was established which aimed to outline the terms of an art policy in Britain, including the formation of artists' trade unions. Surrealists played a noticeable role in these events, and the Grosvenor Gallery show devoted a jury specifically for this increasingly significant body of artists. It is here that Tunnard's name first becomes associated with Surrealism. Over one hundred works were Surrealist in nature with an astonishing forty-three British artists represented, including John Tunnard.Writing in The Saturday Book–25 in 1965, Sir Herbert Read commented, 'Tunnard is, of course, a surrealist if that word has any precise meaning. He has not actively participated in the Surrealist Movement as such, but if surrealism is to be defined, in the phrase of André Breton, as 'pure psychic automatism', then I know no artist who has more consistently practised surrealism.'Fish Trap, painted the year after World War II ended, displays the artist's deep connection with the natural world and his fascination with submarine life, an unknown world to many humans. A variety of paintings from this period continue his idiosyncratic style developed during the war as an auxiliary coastguard and conscientious objector, located at Cadgwith in Cornwall; Fishes' Window (1944), Surreal Seascape (1945), Portuguese Man O'War (1945) and Seabed (1947) all explore the colourful and bizarre life which flourishes under the water. The organic forms lent themselves well to Tunnard's surrealist tendencies. In Fish Trap a jellyfish floats close to the seabed, displaying its luminosity, with a sea urchin suspended just above. Beyond, loom abstract rhythmic forms which allude to infinite space and invite the viewer to engage. Sir Herbert Read likened this vision of Tunnard's to André Masson's 'dream of the future desert'.Michel Remy comments in his chapter on the artist in Surrealism in Britain, 'Tunnard's contribution to surrealism in Britain, even if it lasted only until around 1945, was instrumental in investigating the poetic fusion between constructivist and surrealist principles' (Michel Remy, Surrealism in Britain, Aldershot, 1999, p. 261).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 3
LEONOR FINI (1907-1996)Duel oratoire signed 'Leonor Fini' (lower right)gouache, pen and ink on paper45.4 x 37.7cm (17 7/8 x 14 13/16in).Footnotes:The authenticity of this work has kindly been confirmed by Mr. Richard Overstreet.ProvenanceAnon. sale, Dobiaschofsky Auktionen AG, Bern, 10 May 2019, lot 722.Private collection, Madrid (acquired at the above sale).LiteratureJ-C. Dedieu, Leonor Fini, Fruits de la passion, Trente-Deux Variations sur un Theme de Leonor Fini, Paris, 1980 (illustrated p. 31).The present work is an original illustration for a plate in the 1980 portfolio Fruits de la passion by Jean-Claude Dedieu, published in a limited number. It was Leonor Fini's final major portfolio published in book form and the thirty-two drawings within offered the viewer highly stylised choreographies that were greater in detail than earlier in her oeuvre. The scholar Peter Webb writes in Sphinx, The Life and Art of Leonor Fini that, 'the drawings in this album display an assured elegance in their examinations of sexual behaviour, even when the images are at their most violent'.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 4
LEONOR FINI (1907-1996)Sphinx Ariene oil and gouache on paper laid on canvas72 x 57cm (28 3/8 x 22 7/16in).Painted in 1973Footnotes:ProvenanceGalerie Lambert Monet, Geneva.Private collection, Luxembourg.Anon. sale, Kunsthaus Lempertz, Cologne, 6 December 2008, lot 123.Weinstein Gallery, San Francisco.Private collection, US (acquired from the above on 7 November 2009).ExhibitedNew York, Heather James Fine Art, The Female Gaze, Women Surrealists in the Americas and Europe, 8 May - 31 July 2019.LiteratureR. Overstreet & N. Zukerman, Leonor Fini, Catalogue Raisonné of the Oil Paintings, Zurich, 2021, no. 813 (illustrated p. 443).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 46
MAN RAY (1890-1976)Revolving doors - Jeune fille signed and inscribed in the weave 'Man Ray, A3' (lower left); numbered in the weave 'II/VI' (on the reverse) and signed 'Man Ray' (on a label on the reverse)wool tapestry145 x 111cm (57 1/16 x 43 11/16in).Conceived circa 1916-1917, this tapestry executed circa 1970 by the Aubusson workshop in a numbered edition of 6.Footnotes:Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition of this work will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation.ProvenanceJuliet Man Ray Collection; her sale, Sotheby's, London, 23 March 1995, lot 144.Private collection, US (acquired at the above sale).LiteratureK. Shinoyama, 'Man Ray's Atelier', in Art Vivant, no. 15, 1985.C. Aillaud, 'Dada mon amour, l'appartamento parigino di Juliet Man Ray', in Architectural Digest, February 1989 (illustrated p. 90).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 47
WERNER ROHDE (1906-1990)On the Umbrella's Point, c. 1928 Vintage gelatin silver print, inscribed 'Mein Freund der Regenschirm!' ('My Friend the Umbrella!') dated '1930' by the artist, credit, and various notations in an unknown hand in pencil on the verso.16.5 x 11.7cm (6 1/2 x 4 5/8in)sheet 17.8 x 12.7cm (7 x 5in)Footnotes:ProvenancePaul Hertzmann, San Francisco.Private collection, North Carolina.This extraordinary image of On the Umbrella's Point was probably taken at the same time as another great work by Rohde, Dunkle Figur, dated 1928, which was originally part of the Thomas Walther Collection and later acquired by The Museum of Modern Art, New York. Another print of Dunkle Figur, sold in Germany in June 2015, set an auction record for the artist of over $200,000. Vintage photographs of this calibre by Rohde are extremely rare.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 48
MAN RAY (1890-1976)Mathematical Object (Othello), 1936 Gelatin silver print, 'Val-de-Grâce' credit, stamped 'Éditions Cahiers d'Art' and '18 Sept 1936' on the verso.29.1 x 23.2cm (11 1/2 x 9 1/8in)Footnotes:ProvenanceFraenkel Gallery, San Francisco.ExhibitedSan Francisco, San Francisco Museum of Modern Art, A History of Photography from California Collections, 9 February - 30 April 1989.In the 1930s, Max Ernst encouraged fellow Surrealist Man Ray to use the models of mathematical equations - objects made out of white plaster, papier mâché, string and metal, on display at the Institut Poincaré in Paris - as inspirations for his own art. Man Ray photographed the models from 1934-1936, using dramatic lighting to bring out their angles, shadows, and grooves. A dozen of the resulting images, including the present work, were published in a 1936 issue of the French artistic and literary journal Cahiers d'art, devoted to the Surrealist object.In the late 1940s, now back in his native United States, Man Ray based paintings on these photographs which he called Human Equations and those with Shakespearean titles, his Shakespearean Equations.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 5
LEONORA CARRINGTON (1917-2011)Operation Wednesday signed and dated 'Leonora Carrington March 1969' (lower left) and extensively inscribed (to the foreground); signed, inscribed and dated 'Operation Wednesday, Dr. Fernando Ortiz Monasterio., Leonora Carrington, March 1969.' (on the reverse)oil and tempera on board61.1 x 45.1cm (24 1/16 x 17 3/4in).Painted in March 1969Footnotes:The authenticity of this work has kindly been confirmed by Dr. Salomon Grimberg. This work will be included in the forthcoming Leonora Carrington catalogue raisonné of paintings, currently being prepared by Dr. Grimberg.Please note that this work has been requested for an upcoming Leonora Carrington exhibition at the Arken Museum of Modern Art, Copenhagen, 17 September 2022 – 15 January 2023, later travelling to the Fundación MAPFRE, Madrid, 8 February – 14 May 2023.ProvenanceDr. Fernando Ortiz Monasterio Collection, Mexico City (acquired directly from the artist).Thence by descent from the above; their sale, Sotheby's, New York, 28 May 2013, lot 29.Private collection, US (acquired at the above sale).ExhibitedDublin, Irish Museum of Modern Art, Leonora Carrington, The Celtic Surrealist, 18 September 2013 – 26 January 2014 (later travelled to San Francisco).Liverpool, Tate, Leonora Carrington, Transgressing Discipline, 6 March – 31 May 2015.San Francisco, Gallery Wendi Norris, Threads of Memory, One Thousand Ways of Saying Goodbye, 21 October – 15 November 2017.Mexico City, Museo de Arte Moderno, Leonora Carrington Magical Tales, 21 April – 23 September 2018, no. 68 (later travelled to Monterrey).New York, Gallery Wendi Norris, Leonora Carrington, The Story of the Last Egg, 23 May - 29 June 2019.The painting Operation Wednesday (1969) by Surrealist artist and writer Leonora Carrington (1917-2011), is a work that presents a wonderful fusion of Christian, Mayan, and esoteric symbolism. It also marks a critical decade in Carrington's career when her art increasingly took on a socio-political message, demonstrating a firm allegiance to her adopted homeland, Mexico, where she had lived since 1943. The title is deceptively simple and its caption, written on the work in Spanish, reveals more: 'no olvides Tlatelolco.. les tres culturas,,, no tenernos tumba... campo military número 1' (Don't forget Tlatelolco... the three cultures...we don't fear the grave... military camp number 1).' These words make clear that Carrington's painting pays homage to the student movement or Movimiento Estudiantil, led by the students and staff of the Universidad Nacional Autonoma de Mexico (UNAM), which began on July 22, 1968. She commemorates those killed and injured in the massacre in Plaza de las Tres Culturas (Plaza of the Three Cultures) in Mexico City on Wednesday October 2, 1968, and those rounded up, detained and tortured in Military Camp One. On October 2, 1968, ten thousand students gathered in the Plaza in Tlatelolco to begin a peaceful protest march through the city only to find themselves surrounded by Federal troops, many in tanks, who opened fire as night fell. They were protesting against the nation's one party government under Gustavo Díaz Ordaz and the lack of political freedom; he in turn was determined to quash months of student protests, especially in the lead up to the opening of the Olympic Games, scheduled for 12 October. Some 200-400 protestors, innocent bystanders, children (the precise number has never been firmly established) were killed, an estimated two thousand students rounded up, imprisoned, beaten and tortured. In her book documenting this massacre, Elena Poniatowska writes of October 2, 1968: 'There are many. They come down Melchor Ocampo, the Reforma, Juárez, Cinco de Mayo, laughing, students walking arm in arm in the demonstration [...] carefree boys and girls who do not know that tomorrow and the day after, their dead bodies will be lying swollen in the rain.'1Carrington's own sons, Gabriel and Pablo, were involved in the student protests and had been printing anti-government propaganda leaflets and posters on the mimeograph belonging to their father, the Hungarian photographer Emerico 'Chiki' Weisz (1911-2007), in their family home. Carrington asked Gabriel to introduce her to his student circle in the aftermath of the massacre and together they planned a silent protest by marching through the city centre, all dressed in black. However, soon she and her family were in danger of arrest too: one morning they received a phone call warning them that the writer Elena Garro had denounced Carrington and Gabriel to the police; they quickly arranged to leave the country, flying to New Orleans, where they stayed until Chiki advised them it was safe to return.2In addition to commemorating the student protestors, Carrington's painting pays homage to those who supported and saved some of the wounded students, notably Dr Fernando Ortiz Monasterio (1923-2012), to whom the painting is dedicated. Monasterio's 'operation' was radically different to Díaz Ordaz's oppressive regime, of course. He is presented as a medical and humanitarian shaman. He dominates the composition in his tall slender form as the healer at a time of military terror, or an intermediary between a violent moment in history and a better future. Fernando Ortiz Monasterio was a surgeon and teacher who specialized in cranio-facial surgery, assisting many children born with facial abnormalities or suffering tumours. He worked for the Ministry of Health in Mexico and was affiliated with the Graduate Division of UNAM as well as the Hospital General Gea Gonzalez, in the Tlalpan district. Monasterio was known for his interest in music, literature, anthropology and sociology, and for his determination to understanding how and why so many Mexican children were born with cranial deformations.3Carrington's choice of medium for this work also pays homage to the humanism and skill of the doctor. She uses egg tempera, a technique which involves an emulsion of pigment and a water soluble binder – here the binder is egg yolk. Whilst a difficult process, prone to dry flaking, tempera had great symbolic significance in bringing art and science, the feminine (symbolised by the egg) and the masculine (the technical skill), together. Tempera and temperament share a common Latin root - temperare, to mix - and both involve the binding of things whether humors and tempers or pigments. In being associated with the feminine, her choice of tempera technique also serves as a striking counterpoint to the mechanical violence of the massacre. Tempera speaks to an old, life-giving process through the alchemical symbolism of the egg and by extension may be read as a means to challenge an emphatically modern, masculinist, political regime. Tempera was a popular medium in Surrealist circles, especially for women painters, and once Carrington moved to Mexico in 1943 it became a staple technique in her studio there. One friend described her studio as a 'narrow little room in old Mexico, the most dream-saturated place I know here'.4Carrington's recourse to diverse cultural symbols ensures the viewer is intrigued by her use of dramatic colour and detail alike and searches out the stories behind them. We find English and Spanish text in the foreground, some of it in mirror writing; a palette dominated by bands of white and black - the doctor and his assistant are in white which symbolises light, and the androgynous patient they assist is dressed in a black cloak, the colo... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 57
GUNTHER GERZSO (1915-2000)La Isla signed and dated 'Gerszò 45.' (lower right)oil and enamel paint on board laid on board56.2 x 70.8cm (22 1/8 x 27 7/8in).Painted in 1945Footnotes:ProvenanceEstate of Luis Lindau, Mexico City.Thence by descent to Juan Lindau, Colorado.Acquired from the above by the present owner in 2008.ExhibitedMonterrey, Museo de Monterrey, Exposición retrospectiva de Gunther Gerzso, January - March 1981.New York, Mary-Anne Martin Fine Art, Gunther Gerzso, In His Memory, 12 October - 11 November 2000, no. 7.LiteratureD. Du Pont, Risking the Abstract, Mexican Modernism and the Art of Gunther Gerzso, Santa Barbara, 2003, fig. 27 (illustrated p. 48).Gunther Gerzso was born in Mexico City to a Hungarian father and a German mother, five years after the birth of the Mexican Revolution, and identified as a chilango – a native to Mexico City – throughout his life. After the arrival of André Breton in 1938, Mexico became a sanctuary for the Surrealists – a pre-modern utopia far removed from the ravages of World War II. Exiled émigrés such as Remedios Varo, Alice Rahon and Leonora Carrington found fertile creative ground in Mexico's seductive landscapes and rich Pre-Columbian mythologies. Gerzso joined this circle of exiles in 1943, gathering regularly at the home of Varo and Benjamin Péret to share notes on painting and play Surrealist parlour games such as Exquisite Corpse.La Isla exemplifies Gerzso's Surrealist interest in anthropomorphising ancient landscapes, distilling their eerie beauty with the spiritual incantations of his brushwork. A spectacle of unruly terrain, the island appears to breathe and swell, its life force charged by the flowing tides and currents that envelop it. Abstracted humanoid figures appear to sprout from the upper-left quadrant, sheltering beneath a spiralling, geometric structure. Gerzso's energetic layering of cool grey, teal and azure over earthen tones invokes fertility and abundance, while the glossy sheen of the enamel paint is a fitting vessel for La Isla's geological and crystalline forms. Gerzso's use of enamel was motivated by social realist painters like David Alfaro Siqueiros, who used industrial paints to generate 'art for the people', whilst his thick black outlines and piercing, vivid forms echo the zeals of Mexican Muralism.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 58
CONROY MADDOX (1912-2005)Condottiere signed and dated 'Conroy Maddox /, 40' (lower right)gouache on paper51.5 x 32.9 cm (20 1/4 x 13 in).Executed in 1940Footnotes:ProvenanceJ.P.L. Fine Arts, London.Private collection, UK.ExhibitedLondon, Holsworthy Gallery, The Surrealist Eye, Conroy Maddox, 10 - 27 September 1980, no. 40.London, Blond Fine Art, Conroy Maddox, Gouaches of the 1940s, 29 March - 28 April 1984, no. 19.The year 1940 was one of high visibility for Maddox. He had been an official member of The Surrealist Group in England for two years and was then exhibiting at the Zwemmer Gallery. A year earlier he had exhibited at the Lucy Wertheim Gallery, Birmingham Museum and Art Gallery, Guggenheim Jeune, the London Gallery and the City of Birmingham Museum and Art Gallery. Seemingly as a gesture of defiance, his works took on a playful and jovial tone at the outbreak of war. This comical humanoid figure is given the title 'condottiere', the Italian for mercenary soldier. The satirical allusion to Benito Mussolini is thinly disguised.We are grateful to Dr. Silvano Levy for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 70
SALVADOR DALÍ (1904-1989)Song of Songs of Solomon (M./L. 468-479; F. 71-17), 1971, the complete portfolio, comprising 12 etchings in colours with stencil and gold dust, each signed in pencil, numbered on the colophon 248/250, on Arches paper (there were also 6 copies on parchment and 44 copies on Japon, both in Roman Numerals, and 20 hors commerce designated A-T), with the blindstamp of the publisher Leon Amiel, New York, printed by Jacques David, Paris, with full margins, folded and loose (as issued), original blue cloth-covered boards and slipcase with cast lead medallion stamped by Hôtel des Monnaies, Avignon, title in green on the leather spine, each etching mounted for framing.Titles include: King Solomon; The Kiss; The Shepherd; The King's Train; The Dovelike Eyes of the Bride; The Bridegroom Leaps upon the Mountains; The Beloved Looks Forth Like a Roe; The Beloved is as Fair as a Company of Horses; Thou art Fair, My Love, and Thy Breasts; The Beloved Feeds Among the Lilies; The Fruits of the Valley; Return, O Shulamite, each 29.8 x 24.8cm (11 3/4 x 9 3/4in). (sheets 65.4 x 50.2cm)(12 works)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 120
Swiftiana.- Gulliverianus (Martinus, pseud.) The Art of Beauing: in Imitation of Horace's Art of Poetry. Addres'd to a Certain Lord...The Third Edition, [6], 17pp., only known edition, half-title, woodcut initial and head- & tail-pieces, small stain, trimmed, minor marginal defects and repairs, modern marbled boards, [Foxon G320; Teerink 1045], small 8vo, [Dublin] London Printed, and Dublin: Reprinted by J.Watts, and W.S.Anburey...sold by J.Thompson, 1730.⁂ "Presumably no London edition existed; no earlier Dublin edition seen". FoxonDedicatory verses "To Martin on his Art of Beauing" (A2r-v) signed "C. W." are dated "January the 13th, 1729-30", which would make this probably the earliest of the Martin Gulliver satires - if indeed "Gulliverianus" and "Gulliver" are identical. But it has nothing to do with Hugh Graffan, or any other Trinity College matters, being a rather close imitation or parody of the Earl of Roscommon's translation of Horace. Its other debts are to Pope and Swift.ESTC records 8 UK copies (British Library and 7 in Ireland, including one with a pencilled attribution to James Dalacourt), and 4 in America (Princeton, Southern Illinois, Huntington, and Clark).
Lot 175
Cocktails.- Craddock (Harry) The Savoy Cocktail Book, first edition, printed in black and colours with illustrations and decorations by Gilbert Rumbold, pictorial endpapers, some spotting and foxing, heavier to first few ff., original cloth-backed art deco boards in black, gold and green, lightly rubbed but overall a bright, crisp copy, 8vo, 1930.
Lot 206
Whistler (Rex, 1905-1944) Two original designs for a mural in Port Lympne, Kent, a pair, watercolours, pen and black ink, pencil, some heightening with white, each sheet approx. 118 x 183 mm (4 5/8 x 7 1/4 in), under glass, old folds and one with split within the image, minor spotting and surface dirt, both with pen and ink inscribed labels on reverse with details of the commission, which read '... These designs were abandoned...', presented in uniform contemporary frames, [circa 1929-1930] (2)Provenance:Commissioned from the artist by Philip Sassoon (1888-1939)Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 20th November 1991, lot 163Private collection, UK⁂ Sir Philip Sassoon (1888-1939) was a British politician, art collector, and social host entertaining many celebrity guests at his homes, including Port Lympne Mansion, Kent, which he purchased in 1913. Sassoon commissioned Whistler to decorate the Tent Room at Port Lympne, and several other original designs that were used for the room are held in the Rex Whistler Archive, Salisbury Museum. Rex Whistler was also a regular visitor to the Wilton Estate where his friend Edith Olivier lived.
Lot 236
Frigoni, called Bazzicaluva (Ercole, c.1607-1661) Wooded landscape with river, fortified town and bridge in the distance, pen and brown ink with double ruled framing lines, on laid paper affixed to collector's mount, 205 x 250 mm (8 1/8 x 9 3/4 in), under glass, minor browning and surface dirt, framed.Provenance:Private collection, London⁂ This delicately rendered topographical view is an excellent example of the artist's printmaker-like technique, largely inherited from his master Giulio Parigi, where he utilises thicker and darker pen lines in order to create depth, with finer pen work reserved for the distant town; the view is probably inspired by the landscape of the Marche region situated between the Apennine Mountains and the Adriatic Sea. For a comparable example recently offered on the art market, see 'View of Urbino with the Ducal Palace' from the Cornelia Bessie Estate (sold by Christie's, New York, 28th January, 2021, lot 14).
Lot 249
Gubitz (Friedrich Wilhelm, 1786-1870) Album containing over 175 original designs for woodcut illustrations, including classical and religious figure studies, ornamental design, genre studies, and other miscellaneous subjects, together with 17 trimmed printed illustrations of borders and ornamental designs etc., pen and ink, pencil, some heightened with wash, one or two with overlays, the majority on thin tissue paper, some with chalk rubbing and oil staining from transfer, various sizes, all neatly tipped onto album leaves, each approx. 210 x 260 mm (8 1/4 x 10 1/4 in), occasional old folds and handling creases, some surface dirt and browning, original marbled paper wrappers, rubbed and scuffed, without spine and boards, oblong 4to, [circa 1825].⁂ An original workbook of Gubitz, the German illustrator, theatre critic, poet, and art professor. The artist was the son of a type-setter, and was appointed Professor of woodcut illustration at the Berlin Academy of Art. The printed illustrations within this volume were published in Gubitz's Sammlung von Verzierungen in Abgüssen für die Buchdrucker-Presse, (Collection of Ornaments in Casts for the Printing-Press) no. 867- 1272, published in Berlin, 1826 but part of a long running series dating between 1823-59.
Lot 295
Scientific Instruments.- Manzini (Carlo Antonio) L'occhiale all'occhio dioptrica pratica, woodcut vignette to title with a telescope, woodcut illustrations in text, woodcut tail-pieces and decorative initials, lacking engraved portrait of Eustachio Divini, some staining and spotting, 18th century carta rustica, later paper label to foot of spine, spine lightly browned, some staining, [Krivatsy 7389; Riccardi ii, 96; Wellcome II, p.48; V. Ilardi, Reinassance Vision from Spectacles to Telescope, Philadelphia 2007], small 4to, Bologna, Heirs of Benacci, 1660.⁂ First and only edition of this important treatise on practical optics and lens making, once owned by Eustachio Divini (1610-1685), a leading 17th century manufacturer of optical instruments, who is referenced in the work. Indeed, Manzini in his preface credits him with being the first to perfect the art of telescope making. It is possible that the volume was sent to Divini pre-publication, accounting for the missing portrait of the recipient, which was printed separately on different paper. Provenance: Eustachio Divini (ink ownership inscription to title); ink monogram combining the letters O and K at foot of title; Giorgio Tanarroni (modern bookplate).
Lot 57
Turner (Joseph Mallord William, landscape and history painter, 1775-1851) Autograph Letter signed To Hugh Munro, 1p., 8vo, Queen Anne Street West, 'Thursday Morning', n.d., [?1831], "My dear sir, I can have the pleasure of waiting upon you today (to dinner) not tomorrow. I dine with your neighbour Genl Phipps. If I do not hear from you to the contrary I shall be with you at 7 Oclock according to the message I received yesternight, Yours faithfully, J M W Turner", folds, slightly browned.⁂ Hugh Andrew Johnstone Munro of Novar (1797-1864), the probable recipient of this letter, was an art collector and patron, especially of Turner, of whom he was a close friend, travelling companion, and executor. "His collection of Turners was of ... paramount importance. He owned some dozen oils, twenty or so large drawings, and fifty-five vignettes, all of which fetched high prices at sales from the collection during his lifetime and after his death. Among the more important Turner oils were Venus and Adonis (c. 1803; priv. coll.), Venice from the Porch of Madonna della Salute (1837; commissioned by Munro but not liked by him, later sold, and now in New York, at the Metropolitan Museum), Snow-Storm, Avalanche and Inundation (1837; Art Institute, Chicago), Modern Italy, the Pifferari (Glasgow Art Gallery), and Ancient Italy (1838; priv. coll.). At his death the whole collection, old and modern masters, numbered some 2500. Seven sales by Christies between 1860 and 1878 aroused great public interest". - Oxford DNB.
Lot 67
Hunt (William Holman, painter, 18271910) 8 Autograph Letters signed to William Linnell (1826-1906 painter), 21pp. & 1 envelope, 8vo, Warwick Gardens (2), Draycott Lodge (5) and the Orient Line RMS Ormuz, 1879-1892 where dated, on a variety of subjects, including: informing Linnell of the death of John L[ucas] Tupper (1824?-1879), who had been a fellow-student of the two of them and became an early member of the Pre-Raphaelite circle, praising his work, and asking Linnell for his assistance in setting up a public subscription for the widow and two young children, one of whom, Holman, was named after Hunt, his godfather; inviting him to come to view a picture; expressing his condolences on the death of Linnell's father (John Linnell, 1792-1882), and of his sister [Hannah, widow of Samuel Palmer]; asking (1887) Linnell to confirm an anecdote about John Varley (1778-1842), with Linnell's autograph copy of his response, reminiscing about Varley; a long letter written on board ship on Hunt's return voyage from his last visit to Jerusalem in 1892, discussing his models in England, praising the attractions of Greece and of Egypt, which he urges Linnell to visit, and denying his waning powers (a long paragraph written by Linnell at the foot of the eighth page denounces the Royal Academy); promising to write to Antonio Corio, apparently a potential model, "... At this moment I feel that I know better how to employ my talents, such as they are in Art better than ever before, but as the same time I feel the greater hopelessness of any attempt to get a fair chance of any really but mere household work in England - so that were I a young man I should doubt the opportunity of profiting by my greater certainty of aim and by what I also persuade myself I might command - a more decided and effective power of execution. When I speak of of the limitation of age you will see that it is only in respect to the time left not to the acuteness of perceptions and precision of hand which in trust I cannot regard as on the wane in any degree...": and another, a cut signature of Holman Hunt, folds (10).
Lot 9
Architecture.- Serlio (Sebastiano) Il terzo libro...nel qual si figurano, e descrivono le antiquita di Roma..., Venice, Francesco Marcolini, 1540; Regole generali di architettura, Venice, Francesco Marcolini, 1540, together 2 works in 1, first work collation: A2, B-V4, lacking H1 and H4, probably replaced by the first recorded owner with leaves from an ordinary copy, also lacking R2 and R3, supplied with two manuscript leaves, printed on blue paper, Roman and italic type, woodcut title, printer's device and colophon framed by cartouche on verso of final leaf, 120 woodcuts, including 32 full-page and 4 double-page, woodcut animated initials throughout, second work collation: A-T4, lacking B1, supplied with a manuscript leaf, Roman and italic type, woodcut architectural title, printer's device and colophon framed by a cartouche on verso of final leaf, 126 woodcuts, including 56 full-page and 6 plates on 3 leaves (fols. S4-T2), woodcut animated initials throughout, both works printed on blue paper, a few repairs and some ink stains, 18th-century brown half morocco, folio (342 x 240mm.)⁂ Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading to its becoming one of the most important architectural books to disseminate knowledge of antique heritage and invention throughout Europe during the Italian Renaissance. This copy, printed on blue paper, contains the first edition of Book iii and is followed by the second edition of Book iv, which originally appeared in Venice in 1537. The work is made up of seven Books, which were published separately according to an order explained by Serlio in his preface to Book iv, although in reality the order was only partially followed. Book iii, on ancient monuments, is dedicated to the King of France, François I, and appeared in Venice in 1540, while Books i and ii, on geometry and perspective, respectively, were published simultaneously in bilingual Italian-French editions in Paris in 1545, after Serlio's move to Fontainebleau. Book v, containing twelve temple designs, followed in 1547; it was the last to be published during Serlio's lifetime, once again in Paris in a bilingual version. Book vi, on domestic architecture, was never published, and survives only in two manuscript versions and a series of trial woodcuts. Finally, Book vii was edited posthumously by Jacopo Strada and published in Frankfurt in 1575. By the early 17th century, Serlio's treatise and its various parts, had been translated into several languages, some as unauthorised editions. Book iii is especially important, and the layout Serlio adopted for it, with its well-balanced blocks of text and images, was later copied by Palladio in his Quattro Libri dell'Architettura of 1570. "The first genuine advance in architectural illustration seems to have been made by Serlio, and his Libro Terzo set the type of architectural illustration in Italy for the rest of the Century" (Fowler). The printer Marcolini, born in Forlì and active in Venice until 1559, issued a handful of copies of his editions published between 1539 and 1540 on large blue paper as presentation or special copies, including Serlio's Book iii and Book iv. These were intended for patrons or very distinguished clientele, as the copy on blue paper of both Books, bound together as they are here, once owned by the Prince of Bibliophiles Jean Grolier (1479-1565) and now in the Bibliothèque nationale de France well attests. The Walters Art Gallery in Baltimore has a copy of each of these Books, while a copy of Book iii only is preserved at the Metropolitan Museum of Art in New York, bequeathed by the great collector W. Gedney Beatty (1869-1942). Copies printed on blue paper of the other Books belonging to Serlio's 'architectural encyclopedia' are not recorded. The early owner of this volume might be identified as the Bolognese antiquarian Francesco Bartoli (1675-1733), who drew numerous copies after antiques, and played a notable role in the reception of the classical tradition during the eighteenth-century, particularly in Britain. It is also likewise possible to attribute to his hand the finely drawn leaves on white paper which replace those lacking on blue paper. Some of Bartoli's drawings preserved in the Eton College Library show plans and decorative elements featured by Serlio in his Book iii, relating to, among other things, the Tempio di Bacco and the decorative mosaics in the vaulting of the Roman Church of S. Costanza, considered by Serlio the ancient Temple of Baccus (see Il terzo libro, fols. C4v-D1r). Provenance: Francesco Bartoli, possibly the Bolognese antiquarian (1675-1733; early ownership inscription on the first title and margins of fol. V3 in first work as well as fol. A4v of second work, partially legible under UV lamp). The marginalia as well as the drawings that replace the missing leaves are attributed to the skilled hand of this early owner. Literature: Casali Annali, 51; Mortimer Italian, 472; Berlin Katalog 2560; Fowler 308; RIBA 2968 and 2966. II. Casali Annali, 52; Charvet 2; Fowler 314; W. B. Dinsmoor, "The Literary Remains of Sebastiano Serlio", The Art Bulletin, 24 (1942), esp. pp. 64-68; L. Gwynn - A. Aymonino (eds.), Paper Palaces. The Topham Collection as a Source for British Neoclassicism, Eton 2013, esp. pp. 22-39.
Lot 1192
PAAR VOYEUSEN À GENOUXLouis XVI, Paris um 1780. Signiert J.B. Lelarge (Jean-Baptiste III Lelarge, Meister 1775).Buche moulüriert sowie fein geschnitzt mit Rosetten, Flechtbändern, Blüten. Trapezförmiger gepolsterter Sitz auf gerader Zarge und tordierten konischen Beinen. Hohe, rechteckige und gepolsterte Rückenlehne mit breiter gepolsterter Armstütze. Gebrauchter, geblumter, apricotfarbener Damastbezug.58 × 57 × 85 cm.Stoffbezug zu ersetzen.Die "voyeuse" oder "voyelle" wurde ab Mitte des 18. Jahrhundert als Sitzmöbel für einen Spielsalon oder privaten Theateraufführungen konzipiert und war für Zuschauer gedacht, die auf der gepolsterten Lehne sich stützend, das Geschehen im Raum bequem mitverfolgen konnten. Dabei gab es Voyeusen, die zum Knien oder Sitzen bestimmt waren. Der Typus "voyeuse à genoux" ist mit einer niedrigeren Sitzfläche ausgestattet.Ein identisches Paar Voyeusen mit vergoldetem Holz wurde bei Christie’s London verkauft (Auktion 7592, 5. Juni 2008, Four British Collections Including Important Furniture, Lot 45). Eine ähnliche Voyeuse wurde bei Christie's New York verkauft (9. Oktober 2013, Auktion 2776, The Art of Collecting: Three Private Collections, Lot 545).Jean-Baptiste III Lelarge (1743-1802) erhält 1775 seine Meisterauszeichnung und gehört zu den besten Sitzmöbel-Ebenisten des Louis XVI Stils. Er absolvierte seine Lehre in der Rue de Cléry in der Werkstatt seines Vaters, Jean-Baptiste II Lelarge, und wurde dessen Nachfolger. Unter seinen wichtigsten Auftraggeber im Ausland zählte unter Anderem der König von Portugal.Das Modell von Lelarge abgebildet bei: Pierre Kjellberg, Le mobilier français du XVIII siècle, Paris 1989, S. 504. PAIR OF VOYEUSE CHAIRS (VOYEUSES À GENOUX)Louis XVI, Paris ca. 1780. Signed J.B. Lelarge (Jean-Baptiste III Lelarge, maître 1775).Moulded beech, finely carved with rosettes, braided bands, and blossoms. Padded seat and conical legs. Tall, rectangular padded backrest with broad padded armrests. Worn, apricot-colored, flower-patterned damask cover.58 × 57 × 85 cm.Cover, to be replaced.A "voyeuse" or "voyelle" was designed from the mid-18th century as seating furniture for a gaming salon or private theater performances, and was intended for spectators to lean on the padded backrest so as to be able to comfortably follow the action in the room. There were "voyeuses" designed for kneeling as well as for sitting. The type "voyeuse à genoux" is equipped with a lower seat.An identical pair of "voyeuses" with gilt wood was sold at Christie's London (Auction 7592, 5 June 2008, Four British Collections Including Important Furniture, Lot No. 45). A similar "voyeuse" was sold at Christie's New York (9 October 2013, Auction 2776, The Art of Collecting: Three Private Collections, Lot No. 545).Jean-Baptiste III Lelarge (1743-1802) received his "master craftsman" title in 1775 and was one of the finest Louis XVI-style seating-furniture makers. He completed his apprenticeship in the Rue de Cléry in the workshop of his father, Jean-Baptiste II Lelarge, and succeeded him. His most important clients abroad included, inter alia, the King of Portugal.Lelarge's model illustrated in: Pierre Kjellberg, Le mobilier français du XVIII siècle, Paris 1989, p. 504.
Lot 1205
SELTENER UND FEINER ASTRONOMISCHER TISCHREGULATOR MIT SEKUNDE, MONAT, TAG, DATUM UND MONDPHASELouis XVI/Directoire, Paris um 1800/10. Das Zifferblatt signiert Ferdinand Berthoud (Ferdinand Berthoud, 1727–1807, Meister in Paris 1754), diese Uhr eventuell von dessen Neffe Louis Berthoud, der anfangs mit dem Namen des Onkels signierte.Messing und Bronze ziseliert und teils vergoldet. Skelettiertes Werk mit fünf emailierten Zifferringen. Zentraler grosser Zifferring für die römischen Stunden, darüber ein mit Wolken und Sternen bemaltes Zifferblatt mit Anzeige der Mondphasen. Im unteren Bereich drei leicht versetzt nebeneinander angeordnete Zifferringe für den Tag, Datum und Monat. Werk mit Scherenhemmung und grossen, seitlich ausstehenden Antriebsrädern, Kompensations-Hinterpendel mit Schneideaufhängung und schwerer Lünette. Vermutlich Monatswerk. Halbstundenschlag auf Glocke. Die Schlagwerkfeder bedient die astronomischen Anzeigen. Auf schwarzem Steinsockel und vergoldeten Kreiselfüssen. Der Sockel frontseitig mit durchbrochenem und vergoldetem Bronzezier in Form von Blätter- und Blumenvoluten sowie Lyra.35 × 13 × 62 cm.Provenienz: Schweizer PrivatsammlungMonatszeiger verbogen. Pendelgabel fehlt.Ferdinand Berthoud, Sohn eines "justicier" des Val-de-Travers, lernte die Uhrmacherkunst bei seinem Bruder Jean Henri 1741–1745 und gilt als einer der absolut führenden Uhrmacher der ganzen Uhrengeschichte. Seine Pendulen, Taschenuhren und Chronometer gehören zu den besten Arbeiten des 18. Jahrhunderts.Nach seiner Lehre liess sich Berthoud in Paris nieder, wo er wohl zunächst bei P. de Rivaz tätig war, ehe er mit Julien Le Roy zusammenarbeitete. 1764 wurde er Mitglied der "Royal Society" in London und erhielt den Titel "Horloger Mécanicien de Sa Majesté et de la Marine ayant l'Inspection de la Construction des Horloges Marines". Es folgte die Mitgliedschaft in der Kommission für die Gründung einer königlichen Uhrmacherwerkstatt, nach der Französischen Revolution die Aufnahme in die "Jury chargé de décider les questions relatives au nouveau système horaire" (1793). Zudem wurde er 1804 zum "Chevalier de la Légion d'Honneur" ernannt. Die grosse Bedeutung von F. Berthoud, der für die Herstellung von Standuhren in geschweifter Louis-XV-Form fast immer Gehäuse von F. Lietaud verwendete, liegt nicht nur in seiner regen Tätigkeit als Uhrmacher und Mitglied von Kommissionen zu Fragen der Zeitmessung, sondern auch in seinen beeindruckenden Schriften zur Konstruktion und Entwicklung von Uhrwerken. Seine ersten theoretischen Arbeiten über eine "pendule à équation" wurden bereits 1752 durch die "Académie des Sciences" anerkannt. Zwei Jahre später veröffentlichte er neue Erkenntnisse zu den "horloges marines", die in einem königlichen Auftrag für eine Pendule für die "Salle du Conseil" in Versailles gipfelte. Ab 1766 war er der einzige Hersteller der "horloges et montres marines" der königlichen Flotte. Sein Werk "Traité des Horloges Marines" wurde mit Hilfe eines königlichen Kredites gedruckt; Louis XVI kaufte ihm für 30'000 Livres "l'intégralité de ses outils et horloges" ab, überliess ihm aber die Verwendung der Stücke. Die ungemein aufwendige Produktion seiner Pendulen, die nicht nur durch die Qualität des Werkes, sondern auch durch jene des Gehäuses und der Bronzen bestechen, liess eine jährliche Herstellung von ca. 30 bis 50 Objekten zu. Nachdem F. Berthouds Neffe die Führung des Ateliers übernommen hatte, wurde die Produktion erhöht. Die meisten noch erhaltenen Pendulen befinden sich heute in bedeutenden Museen wie zum Beispiel im Patrimonio Nacional in Madrid, Victoria & Albert Museum in London, Metropolitan Museum in New York, Musée Nissim de Camondo in Paris und im Museum der Angewandten Kunst in Wien. (J.D. Augarde, Les ouvriers du temps, La pendule à Paris de Louis XIV à Napoléon I, 1996, Biog. F. Berthoud, S. 280.) Die hier angebotene Pendule stammt wohl von Ferdinands Neffen Pierre-Louis Berthoud (1754–1813), genannt Louis, der bereits zu Lebzeiten den Betrieb seines Onkels führte und später übernahm. Dabei signierte er anfangs noch mit dessen Namen. Auch Louis wurde bekannt für feinst gearbeitete und hochpräzise Uhren sowie Marine Chronometer. Er war Mitglied der französischen Gesellschaft der Wissenschaften und publizierte 1812 ein Buch über Marine Zeitmessung: Entretiens sur l’Horlogerie à l’Usage de la Marine.Ein anderes Modell einer astronomischen Uhr von Ferdinand Berthoud findet sich in der Sammlung Ferdinand Berthoud in Fleurier. Die gleichen Zeiger finden sich auf einem Regulateur à la Gorgone von Ferdinand Berthoud, aus der Sammlung Léon Raugel, abgebildet bei: Tardy. La pendule Française. 2. Teil. Paris 1969. S. 410. RARE AND FINE ASTRONOMICAL TABLE REGULATOR CLOCK WITH SECOND, MONTH, DAY AND MOON PHASELouis XVI / Directory, Paris ca. 1800/10. The dial signed Ferdinand Berthoud (Ferdinand Berthoud, 1727-1807, maître in Paris 1754), this clock possibly by his nephew Louis Berthoud, who initially signed with his uncle's name.Brass and bronze, chased and parcel-gilt. Skeleton movement with five enameled chapter rings. Central chapter ring for the Roman hours, there-above: a dial painted with clouds and stars, indicating the phases of the moon. The lower part features three slightly staggered chapter rings for the day, date and month. Movement with scissor escapement and large driving gears, which protrude from the sides. Compensation rear-pendulum. Probably a 30-day movement, striking the 1/2-hour on bell. The spring of the striking mechanism operates the astronomical indications. On a black stone plinth with gilt spherical feet. The front of the base is decorated with pierced and gilt bronze.35 × 13 × 62 cm.Provenance: Swiss private collection.Month hand, bent. Pendulum fork, missing.Ferdinand Berthoud, son of a "justicier" of Val-de-Travers, learned the art of watchmaking from his brother, Jean Henri (1741-1745), and is considered one of the leading watchmakers in the whole history of clocks. His pendulum clocks, pocket watches, and chronometers are among the finest works of the 18th century.
Lot 1209
DETAILGETREUE REPRODUKTION EINER PENDELUHR "À TROIS ROUES" MIT REPUBLIKANISCHEM UND GREGORIANISCHEM KALENDERVon Abraham-Louis Breguet, Paris, entworfen um 1795.Messing poliert. Skelettiertes Gehäuse, graviert mit den Wochentagen. Auf schwarzem Marmorsockel, appliziert mit vergoldetem B in Messing sowie mit Plaketten bez. Breguet et fils N. 1501. Drei versilberte, übereinander angeordnete und gravierte Zifferringe: der untere mit dem gregorianischen und republikanischen Kalender; der grosse mittlere Zifferring mit zwei Zwölfstundenfolgen, zwei Indexe zeigen die wahre und die Normalzeit an. Auf dem Zapfen des Zwischenrades ein dreiarmiger Zeiger, welcher die Minuten angibt. Der oberste Zifferring gibt mittels eines Indexes die Sekunden an. Der Antrieb erfolgt über 2 an Ketten hängenden Gewichte, welche durch ihre Position den auf der Werksplatine eingravierten Tag anzeigen. Werk mit Scherenhemmung, das Pendel an Messeraufhängung. Kompensation durch Doppelstreifen aus zwei Metallen oberhalb der Pendelaufhängung sowie Justierung mittels ein mit Gewinde versehenem Gewicht. Kleines Zifferblatt in Sektorform zeigt den Wechsel der Temperaturen an.30,5 x 19,5 x 60 cm.Provenienz: Schweizer PrivatsammlungAbraham-Louis Breguet (1747 – 1823), der sich bereits seit 1775 am Quai de l’Horloge in Paris niedergelassen hatte, war schon vor der Revolution bekannt. Als 1789 sich die Revolution störend auf die Arbeit der Uhrenproduzenten auswirkte und sich Breguet, durch seine guten Beziehungen zum französischen Adel, verdächtig machte, verliess er im August 1793 Paris und begab sich in die Schweiz. In Neuenburg arbeitete er mit verschiedenen lokalen Handwerkern des Neuenburger Juras zusammen. Unter den Rohwerkherstellern, den Vergoldern, den Federfabrikanten und den Uhrmachern waren Namen wie David Courvoisier, J.F. Houriet, A.L. Perrelet und Samuel Roy. Nach seiner Rückkehr nach Paris im Jahre 1795 lanciert Breguet seine berühmten Subskriptionsuhren. Aus dieser Epoche stammen auch seine ersten Modelle der Pendeluhr mit drei Rädern und republikanischem Kalender.Es gibt mehrere Ausführungen dieser Uhr. Das Vorbild der hier angebotenen Pendule, Bestand des Musée International d'Horlogerie (Inventarnr. IV-522), ist abgebildet in: Musée International d'Horlogerie. Sous la direction de Catherine Cardinal. La Révolution dans la mesure du temps. Calendrier républicain heure décimale 1793-1805. La Chaux-de-Fonds 1989. S. 48, Nr. 14. Eine weitere bei der Firma Breguet, die um 1820 gebaut wurde, abgebildet bei: Tardy. La pendule française. 2me partie. Du Louis XVI à nos jours. Paris 1969. S. 409.Weitere Ausführungen bei George Daniels. The Art of Breguet. London 1974. Nr. 99, S. 155 bzw. Nr. 104. S. 158.Die hier angebotene Pendeluhr "à trois roues" ist eine originalgetreue Replika der Uhr Nr. 3583 von Abraham-Louis Breguet aus dem Jahre 1820. Sie wurde 1983 vom Musée International d'horlogerie in La Chaux-de-Fonds hergestellt. Sie ist nummeriert II/10. FAITHFUL REPRODUCTION OF A PENDULUM CLOCK "À TROIS ROUES" WITH THE FRENCH REPUBLICAN AND GREGORIAN CALENDARSBy Abraham-Louis Breguet, Paris, designed ca. 1795.Polished brass. Skeleton case, engraved with the days of the week. On a black marble base, applied with gilt B in brass, and featuring plaques inscribed Breguet et fils N. 1501. Three silvered, superimposed and engraved chapter rings: the lower one with the Gregorian and Republican calendars; the large central chapter ring with two twelve-hour sequences, two indexes indicating the true time and the standard time. The pivot of the intermediate cogwheel, with a three-armed hand indicates the minutes. The upper chapter ring indicates the seconds by means of an index. The clock is driven by 2 weights suspended from chains, the weights indicate the day engraved on the movement plate by means of their position. Movement with scissor escapement. Compensation by means of a double-strip made of two metals above the pendulum suspension, and adjustment via a threaded weight. Small dial in sector shape, indicates the change of the temperature.30.5 x 19.5 x 60 cm.Provenance: Swiss private collection.The pendulum clock "à trois roues" on offer here is a faithful replica of Abraham-Louis Breguet's clock No. 3583 from 1820, and was made in 1983 by the Musée International d'horlogerie in La Chaux-de-Fonds. It is numbered II/10.
Lot 1244
FRANZ ABART(1769 - 1863)Figur des Winkelrieds. Nussbaumholz ungefasst. Ganzfigurige Plastik des bärtigen, leicht nach vorne geneigten Winkelried, der mit dem Arm (das nicht mehr vorhandene) Spiessbündel umfasst, steht auf einer runden flachen Basis. Kleidung, Halbharnisch mit Sturmhaube in der Art des 16. Jahrhunderts. Mit der linken Hand hält er einen grossen ovalen auf dem Boden ruhender Schild mit dem als Nidwaldner Wappen dienenden Schlüssel. Eine grosse Schärpe erstreckt sich von der rechten Schulter an die linke Hüfte. Der rechte Fuss ruht auf abgebrochenen Spiesseisen und Federn, welche an die besiegten Österreicher erinnern. Die Figur steht auf einem geschwärzten, achteckigen Holzsockel.H Figur 24 cm.Die Figur des Winkelried, der 1386 bei Sempach den Heldentod erlitten haben soll, inspirierte sowohl den Nidwaldner Bildhauer Josef Maria Christen (1767-1838) als auch den seit 1821 in Obwalden ansässigen Franz Abart. Eine in Holz geschnitzte Winkelried-Version von Christen wurde 1818 zusammen mit einer Bruder Klaus Statue dem Berner Schultheissen von Mülinen geschenkt. 1810 erhielt Abart an der Kunst- und Industrieausstellung in Bern für seine Winkelriedfigur eine Goldmedaille. In seiner Dynamik unterscheidet sich diese Abart zuzuschreibende Winkelriedfigur deutlich vom statischen Konzept eines Christen. Einziger profaner Grossauftrag Abarts waren zwei lebensgrosse Granitbären, die das Murtentor der Stadt Bern flankierten; sie stehen heute vor dem Bernischen Historischen Museum. Vgl. Otto Hess. Franz Abart. Obwaldner Geschichtsblätter 3, 1913. SIKART, Lexikon zur Kunst der Schweiz, „Abart Franz“. FRANZ ABART(1769 - 1863)Figure of Winkelried. Painted walnut. The figure is standing on a blackened octagonal wooden base.H (figure) 24 cm.The figure of Winkelried, who is said to have suffered a heroic death at Sempach in 1386, inspired both the sculptor Josef Maria Christen (1767-1838) from Nidwald and Franz Abart, who had lived in Obwalden since 1821. A version of Winkelried carved in wood by Christen was presented to the Bernese mayor von Mülinen in 1818 together with a statue of Brother Klaus. In 1810, Abart received a gold medal for his Winkelried figure at the Art and Industry Exhibition in Bern. In its vitality, this Winkelried figure, which can be attributed to Abart, clearly differs from the static concept of the work by Christen. Abart's only large-scale secular commission was for two life-size granite bears that flanked the Murten Gate in the city of Berne; they now stand in front of the Bernese Historical Museum. Cf. Otto Hess. Franz Abart. Obwaldner Geschichtsblätter 3, 1913. SIKART, Lexikon zur Kunst der Schweiz, "Abart Franz".
Lot 1011
REICH GESCHNITZTES DEUX CORPSRenaissance, Frankreich, Burgund oder Rhônetal um 1600.Nussbaum reich und fein geschnitzt mit Löwenköpfen, Früchte und Blätterfestons, teils von Händen gehalten, Palmetten und Rosetten, Jagdszenen und Adlern. Rechteckiger Korpus mit wenig vorkragendem geradem Kranz auf gerader profilierter Zarge und Vierkantfüssen. Front mit doppeltürigem Oberteil über zwei Schubladen sowie doppeltürigem Unterteil. Die vier Türfüllungen mit Darstellungen von vier Kaisern zu Pferd vor Stadtansichten. Bezeichnet Nero Augustus, Avi Vitellus Augustus, Tiberius Cesar, Claudius Caes. Eisenbeschläge. 3 Schlüssel.152 × 64 × 190 cm.Kleinere Ergänzungen und Fehlstellen.Der Schrank steht in einer Folge von mehreren französischen Aufbauschränken, welche die Thematik antiker Helden, vielfach der römschen Caesaren sowie anderer Herrscher aufnehmen. Das Thema geht unter anderem zurück auf die in der Zeit starke Rezeption von Suetons Bücher über Leben der Cäsaren (De vita Caesarum), das in der zweiten Hälfte des 18. Jh. mehrfach in neuen Editionen übersetzt und durch Stichfolgen von Philppe Gall, Nicolas de Bruyn, Hubert Goltzius und andere illustriert wurden. Man darf davon ausgehen, dass auch die Darstellungen der Cäsaren auf diesem Schrank auf Stichvorlagen zurückgehen. (Vgl. Thirion Jacques. Les cavaliers de l'histoire ancienne dans le cécor du mobilier de la Renaissance. In: Bulletin de la Société Nationale des Antiquaires de France, 1967. S. 171-185.)Ein im Dekor sehr ähnlicher Schrank aus der Sammlung Bruno Perrier, der einem Atelier in Avignon um die Zeit 1610-20 zugewiesen wird, wurde von Ader Tajan Paris, 6. April 1992 unter der Katalognummer 46 versteigert. Ein aus Lyon stammender Schrank, der in der Form viel schlichter ist und das Motiv der Herrscher auf den Türkassetten etwas variiert zeigt, steht im Museum für angewandte Kunst Köln. Vgl. Edla Colsman. Möbel. Gotik bis Jugendstil. Köln 1999. Nr. 54, S. 98. Weitere vergleichbare Schränke bei: Édith Mannoni. Mobilier Provençal. Paris 1995. S. 19 und 20. OPULENTLY CARVED "DEUX CORPS"Renaissance, France, Burgundy or Rhône Valley ca. 1600.Walnut, opulently carved with lion heads, fruit and leaf festoons, in part held by hands, palmettes and rosettes, hunting scenes and eagles. Upper part with double-doors over two drawers, lower part with two doors. The four door panels depict four Emperors and are inscribed: Nero Augustus, Avi Vitellus Augustus, Tiberius Cesar, Claudius Caes. Iron mounts. 3 keys.152 × 64 × 190 cm.Small restorations and losses.The cabinet on offer is part of a series of French cabinets, displaying heroes from Antiquity, often Roman emperors and other rulers.A cabinet with a very similar decoration, from the Bruno Perrier Collection, and attributed to a studio in Avignon ca. 1610-20, was auctioned by Ader Tajan in Paris on 6 April 1992, Cat. No. 46. A much more simple cabinet from Lyon is on display in the Museum of Applied Art, Cologne. Cf. Edla Colsman. Möbel. Gotik bis Jugendstil. Cologne 1999. No. 54, p. 98. Other comparable cabinets can be found in: Édith Mannoni. Mobilier Provençal. Paris, 1995. pp. 19 and 20.
Lot 1016
GROSSER DECKELHUMPENHamburg 1642. Meistermarke Hans Lambrecht III. und preussischer Steuerstempel.Silber gegossen, getrieben, ziseliert und teilvergoldet.H 31 cm. 3890 g.Provenienz: - Sammlung U. und M. Bey, Hamburg. - Galerie Neuse, Bremen 1989.- Hamburger Privatsammlung. Ausstellung: Hamburg 1966, Altes Tafelgerät. Sammlung Udo und Mania Bey, Sonderausstellung des Altonaer Museums, 11. Mai bis 19. Juni 1966; Nr. 28.Literatur:- Ausst.-Kat. Altes Tafelgerät. Sammlung Udo und Mania Bey, hrsg. v. Manfred Meinz und Altonaer Museum, Hamburg 1966, Kat.-Nr. 28 (mit Abb.).- Erich Schliemann: Die Goldschmiede Hamburgs, Hamburg 1989, Bd. II, S. 105, Nr. 9.- Ausst.-Kat. Silber, Galerie Neuse, 1994, S. 21-22.Vorliegender prachtvoll gestaltete Deckelhumpen ist eine Barockarbeit des Hamburger Goldschmieds, Hans Lambrecht III. Er gehört einer in drei Generationen lebenden Goldschmiedefamilie an, die während der Blütezeit der Hamburger Goldschmiedekunst im 17. Jahrhundert tätig waren und, deren Werke wesentlich dazu beigetragen haben, das Ansehen der Hamburger Goldschmiede zu prägen. Er lernte bei seinem Onkel Hinrich Lambrecht und wurde 1630 zum Goldschmiedemeister ernannt. Nebst Auftragsarbeiten für den Senat seit 1637, sind auch Bestellungen von Gottorper Hof (1639–66) und dem schwedischen Königshaus (1665) bekannt. Unterschiedlichen Quellen ist zudem zu entnehmen, dass eine beachtliche Zahl der Arbeiten des Hamburger Goldschmieds nach Moskau exportiert wurden. So gelangte eine Gruppe Hamburger Arbeiten zum Kreml, während der Verhandlungen über die russische-dänische dynastische Verbindung, die zwischen Prinz Waldemar und der Grossfürstin Irina von Dänemark geplant war, jedoch nie stattfand. Weiter gab Prinz Waldemar Christian von Dänemark (1603–47) zwei Humpen bei Lambrecht III. in Auftrag, die er dem russischen Zaren Michail Fedorowitsch (1596–1645) als Geschenke überreicht haben soll. Entsprechend liegt die Vermutung nahe, dass dieser prachtvoll gestaltet und für jene Zeit in ungewöhnlicher Grösse und schwer gearbeitete Prunkhumpen, nicht einfach ein übliches Diplomatengeschenk ist, sondern viel mehr eine kostbare Aufmerksamkeit des Dänenprinzen an den russischen Zaren darstellt.In Treibarbeit sind Fuss und Deckel mit Blattwerk und Masken geschmückt, während eine zentrale in den Deckel eingelassene Plakette mit Darstellungen der Venus, Mars und Amors geziert ist. Ein Relief mit der Darstellung eines Lapithen und Kentaurenkampfs ummantelt die Wandung des Deckelhumpens und ist der griechischen Mythologie entlehnt. Es verweist wohl auf die Hochzeit von Pelrithoos, dem Lapithenkönig, während der der es zum Kampf zwischen Kentauren und Lapithen kam, nachdem sich einer der Kentauren – berauscht durch den süssen Wein –an der Braut vergreifen wollte. Peirithoos und Theseus gingen als Sieger über die Kentauren hervor und schworen sich ewige Freundschaft.Der dramatische Schwung und Dynamik in der Szene lassen auf eine mögliche Beeinflussung durch die Malerei von Peter Paul Rubens deuten. Zwar dürfte Lambrecht III. wie in den meisten Fällen, eine graphische Vorlage gedient haben, doch bestand die Schwierigkeit für den Goldschmied darin, die Komposition aus der Fläche in ein Hochrelief zu arbeiten, was Lambrecht III. in hervorragender Weise bei diesem Schmiedekunstwerk gelungen ist. (Vgl. hierzu: Der Raub der Hippodamia, Öl auf Leinwand, 182 × 290 cm, Museo del Prado, Inv.-Nr. P001658) LARGE TANKARD WITH LIDHamburg 1642. Maker's mark Hans Lambrecht III. and Prussian tax stamp.Cast silver, chased, chiseled and parcel-gilt.H 31 cm. 3,890 g.Provenance: - Collection U. and M. Bey, Hamburg. - Galerie Neuse, Bremen 1989.- Hamburg private collection. Exhibition: Hamburg 1966, Altes Tafelgerät. Collection Udo and Mania Bey, Sonderausstellung des Altonaer Museums, 11 May to 19 June 1966; No. 28.Literature: - Exhibition catalogue, Altes Tafelgerät. Collection Udo and Mania Bey, published by Manfred Meinz and The Altonaer Museum, Hamburg 1966, Catalogue No. 28 (with illustrations).- Erich Schliemann: Die Goldschmiede Hamburgs, Hamburg 1989, Vol. II, p. 105, No. 9.- Exhibition catalogue: Silver, Galerie Neuse, 1994, pp. 21-22.This magnificently designed lidded tankard is a Baroque work by the Hamburg goldsmith, Hans Lambrecht III. He belonged to a family of goldsmiths, operating over the course of three generations, who were active during the heyday of the Hamburg goldsmith's art in the 17th century, and whose works contributed significantly to shaping the reputation of the Hamburg goldsmiths. Hans Lambrecht III. learned his trade from his uncle Hinrich Lambrecht and was appointed Master Goldsmith in 1630. In addition to commissions for the Senate since 1637, he also received orders from the Gottorp Court (1639-66) and the Swedish Royal House (1665).
Lot 1030
KABINETT MIT SEIDENDEKORATIONBarock, flämisch, wohl Antwerpen, Mitte 17. Jh.Holz ebonisiert. Rechteckiger Korpus auf gerader Zarge und Quetschfüssen. Eingezogener Abschluss mit Fach unter Schiebedeckel. Front mit kassettierten Doppeltüren. Innenleben eingeteilt in 25 Kassetten, belegt mit Seiden- und Silberfadenstoffen, öffnend auf neunzehn Schubladen auf fünf Rängen. Die Stoffarbeiten mit Blumen, Blätter und Vogelmotiven. Die beiden zentralen Traversen des Innenlebens herausziehbar und mit Geheimfach. Die Türen innen mit Kassetten, Darstellungen von Orientalen. Kleine Bronzegriffe in Form von Knöpfen (unvollständig). 1 Schlüssel.78 × 43,5 × 76 cm.Wenige Risse und Restaurierungen. Füsse später.Gewebte Seidenstoffe wurden sowohl in England als auch in Holland als dekorative Elemente benutzt. Dabei kamen verscheidene Webe- und Sticktechniken wie Petit- und Gross-Point etc. zur Anwendung, häufig auf Seidenbasis. Neben biblischen und historischen Szenen waren auch Tierdarstellungen sowie florale Motive beliebt. Vgl. Monique Riccardi-Cubitt. The art of the Cabinet. London 1992. S 64 und 65 mit einigen Vergleichbeispielen. CABINET WITH SILK DECORATIONBaroque, Flanders, probably Antwerp, middle of the 17th century.Ebonized wood. Rectangular body. Retracted upper part with a compartment below a sliding cover. Front with paneled double-doors. Fitted interior with 25 panels, lined with silk and silver-thread fabrics, opening up into 19 drawers arranged in five rows. The two central traverses of the fitted interior can be pulled out and feature a secret compartment. The inside of the doors, paneled. Small bronze handles, designed as buttons (incomplete). 1 key.78 × 43.5 × 76 cm.Some cracks and restorations. Feet, later.With reference to the woven silk fabrics, see: Monique Riccardi-Cubitt. The art of the Cabinet. London 1992. pp 64 and 65, with several comparative examples.
Lot 1038
BÖTTGERSTEINZEUG KENDIMeissen, um 1710-13.Nach einem chinesischen Yixing-Vorbild. Die kugelige Form mit einem „Qilin” Tierausguss und mit schlankem zylindrischen Hals, schwach reliefert mit dem Drachen- und flammender Perle- Motiv über stilisiertem Blattkranz-Kragen. Sammlungsetikett mit Inv. Nr.1.H 17,5 cm.Tierausguss restauriert, zwei kleine Bestossungen am Standring.Provenienz:- Sammlung Dr. Siegfried Ducret, Zürich.- durch Erbfolge an Rosmarie Schmidt-Ducret, Binningen, Nachlass.Vergleichsstücke: Staatliche Kunstsammlungen Dresden (Ausst.-Kat. Johann Friedrich Böttger zum 300. Geburtstag, 1982, Taf.I/3; The Wark Collection (Florida 1984, S. 82 Abb.114, mit der Erwähnung von 44 Flaschen im Johanneumsinventar von 1779). "BÖTTGER" STONEWARE KENDIMeissen, ca. 1710-13.After a Chinese Yixing model. Collection label with Inv. No. 1.H 17.5 cm.Spout, restored, two small chips on the base ring.Provenance:- Collection Dr. Siegfried Ducret, Zurich.- By succession to Rosmarie Schmidt-Ducret, Binningen, estate.Comparable items: Dresden State Art Collections (Exhibition Catalogue: Johann Friedrich Böttger zum 300. Geburtstag, 1982, Plate I/3; The Wark Collection (Florida, 1984, p. 82, Ill. 114, with a mention of 44 bottles in the Johanneum Inventory of 1779).
Lot 1040
DECKENLEUCHTER "AUX BUSTES DE FEMMES ET DE BACCHUS"Louis XIV, Paris um 1700/10. Atelier von André Charles Boulle (1642 - 1732).Bronze ziseliert und punziert sowie feuervergoldet. Auf Balusterschaft sechs geschweifte Lichtarme, montiert an Frauen bzw. Bacchusbüsten. Die schalenförmigen Tropfteller godroniert und mit Blattdekor, vasenförmige Tüllen. Der obere Nodus mit Espagnoletten verziert und appliziert mit Blattdekor. Dekor in Form von reliefierten Friesen, Blättern und Palmetten.D 67, H 60 cm.Durchbohrungen einer ehemaligen Elektrifizierung, Schrauben teils ersetzt.Verschiedene Leuchter von André Charles Boulle in dieser Art sind bekannt und in wichtigen Sammlungen wie dem Louvre, der Bibliothèque Mazarin oder der Münchner Residenz. Auffällige Zierelemente wie die Bacchus- und Frauenbüsten, die geschwungenen gekanteten Lichtarme mit Akanthusblattdekor sowie die applizierten Blätter sind diese eigen (vgl. Hans Ottomeyer/Peter Pröschel. Vergoldete Bronzen. München 1986. Bd. 1, S. 51 - 55. Ebenso: Jean Nérée Ronfort. André Charles Boulle 1642 - 1732. A new style for Europe. Paris 2009. S. 33/34). Auch die feine und gute Ausarbeitung sowie die Qualität der Vergoldung sprechen für eine Herkunft des Leuchters aus der Werkstatt von Boulle. CHANDELIER "AUX BUSTES DE FEMMES ET DE BACCHUS"Louis XIV, Paris ca. 1700/10. Atelier of André Charles Boulle (1642 - 1732).Bronze, chiseled and punched, and fire gilt. Six curved light branches, mounted to busts of women and Bacchus.D 67 cm, H 60 cm.Holes from former fittings for electricity, screws in part replaced.Various chandeliers by André Charles Boulle and in this style are known and in important collections, such as the Louvre, the Bibliothèque Mazarin and the Munich Residence. The striking decorative elements, such as the busts of Bacchus and women, the curved light branches and the applied leaves, are particular to these kinds of chandeliers (see Hans Ottomeyer/Peter Pröschel. Vergoldete Bronzen. Munich, 1986. Vol. 1, pp. 51 - 55, and Jean Nérée Ronfort. André Charles Boulle 1642 - 1732. A new style for Europe. Paris, 2009. pp. 33/34). The fine workmanship and the high quality of the gilding also point to the chandelier originating from Boulle's workshop.
Lot 1054
SELTENER PRUNKSPIEGELBarock, Venedig, 18. Jh.Holz geschnitzt in Form von Voluten, Blumen und Blättern sowie teils vergoldet. Teils braun gelackt, teils in der Art von Schildpatt sowie bemalt in Gold und mit Perlmutteinlagen in Form von Blättern und Blüten. Rechteckiger, leicht profilierter Rahmen mit ausgestellten Ecken, die Seitenmitten mit volutenförmigen Auskragungen. Aufsatz in Volutenform.169 × 111 cm.Späteres Spiegelglas, Fehlstellen, Schnitzerei etwas unvollständig.Vgl. Giovanni Mariacher, Specchiere italiane, Milano 1963 (Abbildung eines vergleichbaren Spiegels auf dem Buchumschlag). RARE OPULENT MIRRORBaroque, Venice, 18th century.Wood, carved with scrolls, flowers and leaves, and parcel-gilt. In part, lacquered brown, in part painted to look like tortoise shell, and painted in gold, and with mother-of-pearl inlays.169 × 111 cm.- Mirror glass, later.- Losses.- Carving, somewhat incomplete.Cf. Giovanni Mariacher, Specchiere italiane, Milan, 1963 (Illustration of a similar mirror on the book jacket).
Lot 1055
PAAR GESCHNITZTE KONSOLENBarock, Italien, wohl Genua um 1700.Holz reich geschnitzt mit Blattvoluten, Blumen, Akanthusblättern sowie vergoldet. Rechteckiges, randmulüriertes gelbes Onyx Blatt "Onice Nuvolato", frontseitig an den Ecken gestuft, auf gerader Zarge, ausgeschnitten in der Art einer Draperie, auf durch markant geschweiften X-Steg mit stilisiertem Blütenaufsatz verbundenen Doppelvolutenbeinen mit Bocksfüssen.121 x 63 x 88 cm.Vergoldung später. Verstärkungen und Nivellierungsleisten für den Marmor. PAIR OF CARVED CONSOLESBaroque, Italy, probably Genoa ca. 1700.Wood, opulently carved with scrolled leaves, flowers, acanthus leaves, and gilt. Rectangular, yellow "Onice Nuvolato" onyx top with shaped edges.121 x 63 x 88 cm.Gilding, later. Reinforcements and leveling strips for the marble.
Lot 1059
BEDEUTENDER ZYLINDERKRUG MIT HÖFISCHER GENRESZENEMeissen, um 1723-24. Die Bemalung Johann Gregorius Höroldt (1696-1775) zugeschrieben.In einer unterglasurblau und goldgerahmten, schildförmigen Kartusche mit Laub- und Bandelwerk in Eisenrot und Gold, eine galante Szene inmitten einer Schlossarchitektur mit Parkanlage. Kavaliere und Damen beim Kartenspiel auf einer mit Orangenbäumchen bepflanzten Terrasse. Rechterhand an einem Tisch ein Herr, der mit einer auffordernden Geste eine Dame zum Spiel auffordert, während eine weitere Dame im Begriff ist ihre Karte auszuspielen, sich jedoch zurückwendet mit dem Blick auf ein flanierendes Paar. An den Seiten mit Prunuszweigen bemalt. Ohne Marke.H 16,5 cm (19 cm).Ergänzter Silberdeckel des 19. Jh. Provenienz: - Sammlung Dr. Siegfried Ducret, Zürich. - durch Erbfolge an Rosmarie Schmidt-Ducret, Binningen, Nachlass. Literatur: - Siegfried Ducret, Die Arbeitsmethoden Johann Gregor Höroldts, Keramikfreunde der Schweiz, MB 39, 1957, S. 39, Abb. 68. - Siegfried Ducret, Porzellan der europäischen Manufakturen im 18. Jahrhundert, Zürich, 1971, S. 18, Abb. 9. - Ulrich Pietsch, Johann Gregorius Höroldt 1696-1775 und die Meissener Porzellanmalerei, Leipzig 1996, S.70 Nr.48, Abb. S. 71. Ein sehr ähnlicher Krug mit korrespondierender Szene, ehemals aus den Könglichen Sammlungen des Hauses Wittelsbach, befindet sich heute im bayerischen Nationalmuseum München (Rückert 1966, Kat. Nr.128; Pietsch 1996, Abb. S.71). Beide Darstellungen gehen zurück auf einen Kupferstich mit dem Titel „Nur frisch heraus mich dünket schon /Ich trag den besten g'win davon”, im Archiv der Manufaktur. Ulrich Pietsch hatte in der Alongeperrücke tragenden Figur eine Darstellung von August dem Starken vermutet. Auf den wenigen frühen, vergleichbaren Dekoren mit europäischen Szenen, finden sich bei ein paar Exemplaren Figuren, die der Physiognomie des Königs ähnlich zu sehen scheinen. Höroldt hatte versucht, dem König zu schmeicheln indem er ihn in die Porzellandekore einbezog (Pietsch 1996 S.16). Ein weiterer Krug aus dem Jahr 1723/24, aus der Serie von Krügen mit dieser Art Kartuschenmalerei, Höroldt zugeschrieben, in der Sammlung Arnhold, vgl. M. Cassidy-Geiger (2008), S.406-408 Kat. Nr. 164. IMPORTANT CYLINDRICAL JUG, WITH A COURTLY SCENEMeissen, ca. 1723-24. The paintwork, attributed to Johann Gregorius Höroldt (1696-1775).Depiction of a gallant scene featuring ladies and gentlemen playing cards in a park landscape, in an underglaze blue and gold-framed cartouche with foliage and bands in iron red and gold. No mark.H 16.5 cm (19 cm).Silver cover from the 19th century.Provenance: - Collection Dr. Siegfried Ducret, Zurich. - By successionn to Rosmarie Schmidt-Ducret, Binningen, estate. Literature: - Siegfried Ducret, Die Arbeitsmethoden Johann Gregor Höroldts, Keramikfreunde der Schweiz, MB 39, 1957, p. 39, Ill. 68. - Siegfried Ducret, Porzellan der europäischen Manufakturen im 18. Jahrhundert, Zurich, 1971, p. 18, Ill. 9. - Ulrich Pietsch, Johann Gregorius Höroldt 1696-1775 und die Meissener Porzellanmalerei, Leipzig 1996, p. 70 No. 48, Ill. p. 71.
Lot 1081
TAFELAUFSATZHamburg zwischen 1737 und 1752. Meistermarke Conradt Blom.Silber, gegossen und getrieben.H 27 cm. 2305 g.Provenienz:- Schwedischer Adelsbesitz. - Auktion Bruun Rasmussen, Kopenhagen, 1999, Los 707. - Deutscher Privatbesitz.Der schlicht gearbeitete, auf vier Kugelfüssen stehende Tafelaufsatz, besteht aus einer Basis, in die 4 grosse ovale und 8 kleine Schalen auf verschiedenen Ebenen eingehängt sind. Wohl dem Zwecke eines festlichen Essens dienlich, bei dem Obst, Gebäck und andere Süssigkeiten dargereicht wurden, lässt sich bei der Gestaltung des Tafelaufsatzes eine Anlehnung an englische Vorbilder erkennen. Die ersten englischen Silberschmiedearbeiten dieser Art, lassen sich ab 1720 nachweisen.Dieser Tafelaufsatz, gefertigt Conradt Blom, ist die einzige bekannte Hamburger Silberschmiedearbeit dieser Art und stellt durch ihre Singularität eine rare Kostbarkeit dar. TABLE CENTERPIECEHamburg between 1737 and 1752. Maker's mark Conradt Blom.Silver, cast and chased.H 27 cm. 2,305 g.Provenance:- Swiss noble family. - Auction Bruun Rasmussen, Copenhagen, 1999, Lot No. 707. - German private collection.This table centerpiece, made by Conradt Blom, is the only known Hamburg silversmiths' work of its kind and is an exceptionally rare treasure due to its being unique.
Lot 1087
PAAR BEDEUTENDE INTARSIERTE KOMMODEN AUS DER WERKSTATT VON JOHANN FRIEDRICH SPINDLERRokoko, Potsdam um 1765. Johann Friedrich Spindler (1726 – 1799).Nussbaum, Nussbaummaser, Zwetschge sowie weitere, teils getönte Früchtehölzer reich und fein eingelegt in Rocaillenreserven mit Blumenbouquets sowie Filets. Feine spätere Bemalung mit Rautenwerk. Trapezförmiger, dreiseitig geschweifter und bombierter Korpus auf ausgeschnittener Zarge und geschweiften Beinen. Front mit zwei Schubladen ohne Traverse. Das leicht überstehende, moulürierte und passig geschweifte Blatt intarsiert mit Fantasielandschaften, zentralem Brunnen mit Neptunfigur als sitzende Figur, darunter bäuerliche Szenen mit Vieh und Menschen sowie Darstellung eines Schlosses in Rocaillenreserven, flankiert von Blumenbouquets. Die Seitenwandungen ebenso eingelegt mit Blumenbouquets in Rocaillenreserven. Feine vergoldete Bronzebeschläge sowie Sabots in Form von durchbrochenen Rocaillen mit Blumen und Blättern. Rückseitig mit Siegel, die Schubladen innen mit Stempel "Prinzlich Reussisches Familien Privatfideikommiss Trebschen" sowie Nummerierungen auf Etiketten 15 bzw. 1048. 2 Schlüssel.134 × 66 × 82,5 cm.Kleinere Furnierergänzungen. Erhaltungsrestaurationen und Verstärkungen. Furnier teils geschliffen und aufgebleicht.Provenienz:- Prinzlich Reuss’scher Privat Familienfideikommiss Schloss Trebschen, vermutlich unter Graf Heinrich IX. Reuss zu Köstriz (1711 - 1780), königlich preußischer Oberhofmarschall und Staatsminister Friedrich II. des Grossen in den Familienbesitz gekommen- Auktion Leo Grünpeter Berlin, 23. und 24. April 1928; Sammlungen des Prinzlich Reuss’schen Privat Fiedeikommissbesitzes Schloss Trebschen, Los Nr. 31 und 32- Sammlung Max Emden (dokumentiert auf einem Foto im Arbeitszimmer auf der Isola di Brissago, 1935)- 1940 durch Erbschaft an Sohn Heinrich Emden- wohl verkauft anlässlich einer Auktion des Inventars Emden, Isola di Brissago, Sommer 1948 - Sammlung Hausamann, Schloss Rolle- Auktion Koller Zürich, 5. November 1982, Lot 2493- im Münchner Antiquitätenhandel vom heutigen Besitzer erstanden- Schweizer PrivatbesitzDieses Kommodenpaar ist auf den Schubladeninnenseiten mit Stempeln versehen, welche die beiden Möbelstücke als Bestandteile des Prinzlich Reuss’schen Privat Familienfiedeikommiss Schloss Trebschen ausweisen. Der Reuss’sche Fideikommiss wurde als Sammlungen des Prinzlich Reuss’schen Privatfideikommissbesitzes Schloss Trebschen durch das in Berlin ansässige Kunst- und Möbelauktionshaus Leo Grünpeter 1928 versteigert. Unsere beiden Kommoden sind in diesem Auktionskatalog fälschlich als "Kommode. Französisch um 1750. Reich und fein intarsiert, bauchig gearbeitet. Bronzebeschläge der Zeit." bzw. als dessen Gegenstück unter den Losnummern 31 und 32 versteigert. Die Abbildung von Los 31 auf Tafel IV belegt jedoch, dass es sich tatsächlich um die hier angebotenen Stücke handelt. Auch wenn bisher keine schriftlichen Beweise vorliegen, darf wohl davon ausgegangen werden, dass die beiden Kommoden durch Graf Heinrich IX. Reuss zu Kösteriz (1711 – 1780) in den Familienbesitz gelangten. Dieser fungierte als königlich preussischer Oberhofmarschall und Staatsminister des preussischen Königs Friedrich II. Ob die Kommoden ein Geschenk des Monarchen an seinen Hofmarschall und Staatsminister waren, wie der Münchner Antiquitätenhändler Neidhardt vermutete oder die Kommoden durch Graf Heinrich IX. Reuss selber bei Spindler bestellt wurden, lässt sich nicht schlüssig beantworten. Neidhardt gründet seine Vermutung auf einer Bemerkung Grünpeters im Vorwort seines Auktionskataloges, in dem eine Schenkung von Bibliotheksschränken an den damaligen Zweig der Familie Reuss durch Friedrich den Grossen erwähnt wird. Ob Grünpeter in diesem Fall, wie bei der Beschreibung der Kommoden, ein weiterer Fehler unterlaufen ist und mit den Bibliotheksschränken tatsächlich die beiden Kommoden gemeint waren, ist bloss eine Vermutung. PAIR OF IMPORTANT INLAID COMMODES FROM THE WORKSHOP OF JOHANN FRIEDRICH SPINDLERRococo, Potsdam ca. 1765. Johann Friedrich Spindler (1726 – 1799).Walnut, walnut burlwood, plum and other, in part tinted fruitwoods, opulently inlaid with flower bouquets in reserves and fillets. Fine, later paintwork. Front with two drawers, one sans-traverse. Moulded, curved top, inlaid with fantasy landscapes, a central well with Neptune, and bucolic scenes as well as a castle. The lateral walls, likewise inlaid with flower bouquets in reserves. Fine gilt bronze mounts and sabots. The back with a seal, the inside of the drawers featuring the stamp "Prinzlich Reussisches Familien Privatfideikommiss Trebschen" and numbers on labels: 15 and 1048. 2 keys.134 × 66 × 82.5 cm.Minor replacements to the veneer. Conservation restorations and reinforcements. Veneer, in part sanded and bleached.Provenance:- Prinzlich Reuss'scher Privat Familienfideikommiss Schloss Trebschen, presumably under Count Heinrich IX. Reuss zu Köstriz (1711 - 1780), Royal Prussian Marshal and Minister of State of Frederick II the Great.- Auction Leo Grünpeter Berlin, 23 and 24 April 1928; Collections of the Prinzlich Reuss'schen Privat Fiedeikommissbesitz Schloss Trebschen, Lot Nos. 31 and 32.- Max Emden Collection (documented in a photograph taken in Emden's study on the Isola di Brissago, 1935).- 1940 by inheritance to his son, Heinrich Emden.- Probably sold on the occasion of an auction of the Emden Inventory, Isola di Brissago, in the summer of 1948. - Hausamann Collection, Rolle Castle.- Auction Koller Zurich, 5 November 1982, Lot No. 2493.- Purchased in the Munich antique trade by the present owner.- Swiss private collection.The pair of commodes on offer has stamps on the inside of the drawers, identifying the two pieces of furniture as part of the Prinzlich Reuss'schen Privat Familienfiedeikommiss Schloss Trebschen. The Reuss'sche Fideikommiss was auctioned off as collections of the Prinzlich Reuss'schen Privatfideikommissbesitz Schloss Trebschen by the Berlin-based art and furniture auction house, Leo Grünpeter, in 1928. The two chests of drawers on offer are erroneously listed in that Auction Catalogue as "Kommode. Französisch um 1750. Reich und fein intarsiert, bauchig gearbeitet. Bronzebeschläge der Zeit." and were auctioned under Lot Nos. 31 and 32. However, the illustration of Lot No. 31 on Plate IV proves that these are indeed the items currently on offer.Literature:- Afra Schick. Friedrich der Große und der Hof Johann Friedrich und Heinrich Wilhelm Spindler. Die Möbelaufträge Friedrichs des Großen für das Neue Palais. In: Friedrich 300 – Colloquien Vol. 2 (2008) (https://perspectivia.net//servlets/MCRFileNodeServlet/ploneimport_derivate_00000046/Schick_Spindler.doc.pdf).- A. Gonzales-Palacios et al. Il valore dei mobili antichi. Turin, 1983. p 53. With illustration and a reference to the Koller Auction.
Lot 1089
GEFASSTE STANDUHR,Rokoko, das Gehäuse in der Art von J.C. HOPPENHAUPT (Johann Christian Hoppenhaupt, 1719-1785), Berlin/Potsdam um 1760/70.Holz ausserordentlich reich beschnitzt mit Blumen, Kartuschen, Blättern und Zierfries sowie beige gefasst bzw. teils vergoldet. Prismierter, sich nach unten verjüngender Korpus mit jochförmig abschliessendem Volutenkranz auf profiliertem Sockel mit Volutenfüssen. Feiner Messingzifferring mit römischen Stunden- und arabischen Minutenzahlen sowie kleinem Ring für die Sekunden und darüber Einstellmechanismus. Feine, teils durchbrochene Zeiger. Später zugefügtes Werk mit Ankergang und Stundenschlag auf Glocke.H 268 cm.Sehr guter Zustand. Werk revidiert.Die reiche und phantasievolle Schnitzerei sowie die Fassung und Vergoldung finden sich in analoger Weise an diversen Möbeln und Boiserien von J.C. Hoppenhaupt; man denke an die opulenten Dekorationen des Potsdamer Palastes, der Schlösser Charlottenburg und Sanssouci. Johann Christian Hoppenhaupt war zusammen mit seinem Bruder Johann Michael als Dekorationsbildhauer für Friedrich II. von Preussen tätig und wurde 1746 Nachfolger von Johann August Nahl als "Directeur des ornements" an Friedrichs Hof. Er gilt als Hauptmeister des späteren friderizianischen Rokoko. Vgl.: K. Maurice, Die deutsche Räderuhr, München 1976; II, Nr. 892 (mit Abb. einer ähnlichen Standuhr). PAINTED LONG-CASE CLOCKRococo, the case in the style of J. C. HOPPENHAUPT (Johann Christian Hoppenhaupt, 1719-1785), Berlin/Potsdam ca. 1760/70.Opulently carved wood, painted beige and parcel-gilt. Fine brass chapter ring with the hours in Roman numerals and the minutes in Arabic numerals, and with a small ring for the seconds, and an adjustment mechanism on top. Fine, partly pierced hands. Movement with verge escapement, later, striking the hour on bell.H 268 cm.In very good condition. The movement has been serviced.Cf.: K. Maurice, Die deutsche Räderuhr, Munich 1976; II, No. 892 (with an illustration of a similar long-case clock).
Loading...-
641361 item(s)/page