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Click here to subscribesquat balbous form, the body with different hues of green glass with patinated bronze with original metal liner, stamped TIFFANY STUDIOS NEW YORK with numerals 238 underside; diameter: 19 cm (7 1/2 in.), height: 11 cm (4 3/8 in.)CONDITIONThe jardiniere is in age-appropriate condition. Patina visible to the interior and bronze accents to the exterior. Minor cracks and losses to several of the glass.
Paul Scheurich (1883-1945): Très rare bronze figurant le Prince héritier Wilhelm de Prusse, circa 1911 Paul Scheurich (1883-1945): A very rare bronze figure of Crown Prince Wilhelm of Prussia, circa 1911Wearing the uniform of the 'Ersten Leibhusarenregiment' in Danzig-Langfuhr, on a square black marble plinth, signed 'Scheurich' and dated 1911 on the back of the base, 30cm highFootnotes:Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021This bronze figure of Crown Prince Wilhelm of Prussia (1882-1951) is one of the earliest known sculptural works by Paul Scheurich. Crown Prince Wilhelm is depicted wearing the uniform of the 1st Leibhusarenregiment of Leipzig-Langfuhr, which he later commanded.In 1911, the Crown Prince stood at the pinnacle of Prussian society and so it is not surprising that Scheurich's humorous and ironic depiction was not published, exhibited or even offered for sale. Even the foundry where it was produced remains unknown and Scheurich may have funded the cast himself. In the heyday of the Berlin Secession, Scheurich exhibited bronzes at their exhibitions, including 'Bruder Lutz' in 1919/20 (see lot 41). The Berlin Secession was an art movement established in Germany in 1898. It was formed in reaction to the Association of Berlin Artists, and the restrictions on contemporary art imposed by Kaiser Wilhelm II, father of the Crown Prince. Under the leadership of Walter Leistikow, Franz Skarbina and Max Liebermann, various artists, including women, converged to form a 'free association for the organization of artistic exhibitions'. This bronze may be seen in the context of criticism of the tight grip the Prussian establishment tried to exert over artistic expression in Berlin in the early 20th century.For further information on this lot please visit Bonhams.com
Cheval cabré en grès Böttger, Meissen, 1951 A Meissen Böttger stoneware model of rearing horse, 1951Modelled by Paul Scheurich, on an oval base with polished edge, 31.9cm high, impressed crossed swords mark, 'BÖTTGER/ STEINZEUG', model number A.1270., former's number 137 and year symbol for 1951Footnotes:Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021This model of a rearing horse is based on an early design by Scheurich for a 1934 commission to design a memorial to the Feldartillerie-Regiment No. 27 'Oranien' in Wiesbaden, for which he created a 3m high bronze rearing horse (Rafael 1995a, ill. 62.1). The manufactory had purchased another model for this monument in August 1937, but this was cancelled by the Saxon Economic Ministry and this less-expensive version was purchased instead and produced in Böttger stoneware. By 1945, a total of 16 examples had been sold.For further information on this lot please visit Bonhams.com
Paul Scheurich (1883-1945): Très rare modèle de cheval cabré en bronze, circa 1934 Paul Scheurich (1883-1945): A very rare bronze model of a rearing horse, circa 1934On a rectangular base, signed 'P. Scheurich', on a rectangular marble stone pedestal, 43cm high; 36.5cm across, foundry mark 'GUSS RICH. BARTH BLN. MARIENDORF' to rear edge of baseFootnotes:Provenance:Wolfgang Müller von Baczko (1894-1947), Director of the Meissen Manufactory 1936-40Literature:Rafael 1995a, ill. 62.2Exhibited:Berlin, Verein Berliner Künstler, Tiergartenstr. 2a, Prof. Paul Scheurich. Malerei. Graphik. Plastik., 30 September-20 October 1938, cat. no. 72 (illustrated);Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021No other examples are recorded.Modelled by Scheurich in 1934 as a model for the 'Oraniendenkmal', the monument to the 1st Nassau Artillery Regiment Nr. 27 'Oranien' in Wiesbaden, that was unveiled in 1934. The model was acquired by the Meissen manufactory in August 1937 but was cancelled in February 1938 in favour of another, less costly model for the Wiesbaden monument, which was subsequently produced in stoneware (see lot 121).For further information on this lot please visit Bonhams.com
Max Esser (1885-1945): modèle unique en plâtre figurant une femme nue (Eve) pour la fontaine de la Fertilité de l'Hôtel de ville rouge de Berlin, circa 1938 Max Esser (1885-1945): A plaster figure of a female nude (Eve) for the Fruchtbarkeitsbrunnen for the Berlin Town Hall, circa 1938Unique Example104cm high (some damage)Footnotes:Provenance:Max Esser (1885-1945);Acquired direct from the Estate of the artistThis figure was modelled by Esser in 1938 for the bronze Fruchtbarkeitsbrunnen [fountain representing fecudity] for a vestibule of the Berlin Rathaus [town hall]. The fountain consisted of a 1.5m diam. bronze basin with a central column with emblems of fruitfulness and four birds perched on spouts at the top (lot 131), all surmounted by the gilt figure of Eve holding the apple. The fountain remained in use until the end of the Second World War when the town hall was heavily damaged.For further information on this lot please visit Bonhams.com
Rare groupe en porcelaine blanche figurant Nésus et Déjanire, Berlin (KPM), circa 1953 A rare Berlin (KPM) white group of Nessus and Deianeira, circa 1953Modelled by Paul Scheurich, on a rectangular base with rounded ends, incised signature 'SCHEURICH' to top edge of base, 72cm high; 55cm across sceptre mark in blue, impressed Ψ/ St/ 9 (one finger of Nessus' left hand restored)Footnotes:Literature: Rafael 2013, pp. 170–171Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021Paul Scheurich became ill again in October 1940 and, as he had done at Meissen in the 1920s during another illness, Max Adolf Pfeiffer purchased several older models by Scheurich: the present group, Mars and Venus and Shepherd and Nymph. It isn't recorded when Scheurich modelled this group, though in Autumn 1938 a bronze example was exhibited at the Verein Berliner Künstler (titled 'Chiron und Venus'), and the following year a bronze was sold at the Grosse Deutsche Kunstausstellung in Munich (this time titled 'Chiron und Helena'). The model was produced for the first time in porcelain in January 1941 (when it was listed as 'Centaur mit Nymphe'), and first published in March 1942 by Ludwig Schnorr von Carolsfeld in the periodical 'Die Kunst', where it was described as the abduction of Deianeira by the centaur Nessus.For further information on this lot please visit Bonhams.com
Paul Scheurich (1883-1945): Groupe en bronze figurant une nymphe et un berger, circa 1938 Paul Scheurich (1883-1945): A bronze group of a shepherd and a nymph, circa 1938On a rocky circular base, signed on the reverse 'Scheurich', 71.8cm high, foundry mark 'GUSS RICH. BARTH BLN. MARIENDORF'Footnotes:Provenance:Annelies von Ribbentrop (1896-1973)Literature: Rafael 2013, pp. 176-177Exhibited:Berlin, Verein Berliner Künstler, Tiergartenstr. 2a Prof. Paul Scheurich. Malerei. Graphik. Plastik., 30 September-20 October 1938, no. 67;Munich, Haus der Deutschen Kunst, Grosse Deutsche Kunstausstellung, 16 July-15 October 1939, cat. no. 993No other example is recorded.The bronze of this model was commissioned by Annelies von Ribbentrop. A porcelain example was made by the Berlin (KPM) manufactory in 1942, although it is not known when the Berlin manufactory acquired the plaster model. Only one porcelain example of this group is recorded, in the archive of the Berlin (KPM) manufactory (Rafael 2013, ill. 13).For further information on this lot please visit Bonhams.com
Paul Scheurich (1883-1945): Très rare groupe en bronze figurant Mars et Venus, circa 1938 Paul Scheurich (1883-1945): A very rare bronze group of Mars and Venus, circa 1938On a circular plinth, signed on the reverse 'Scheurich', 70.5cm high, foundry mark 'GUSS RICH. BARTH BLN MARIENDORF'Footnotes:Provenance:Annelies von Ribbentrop (1886-1973)Literature:Rafael 1995, ill. 16.3;Lechelt 2007, ill. 34;Rafael 2013, ill. 11Exhibited:Berlin, Verein Berliner Künstler, Tiergartenstr. 2a Prof. Paul Scheurich. Malerei. Graphik. Plastik., 30 September-20 October 1938, no. 68;Munich, Haus der Deutschen Kunst, Grosse Deutsche Kunstausstellung, 16 July-15 October 1939, cat. no. 994No other bronze examples of this group are recorded.The plaster model of 'Mars and Venus' is recorded in March 1936. This bronze example was commissioned by Annelies von Ribbentropp, the wife of the German Foreign Minister. The group was produced in porcelain at the KPM Berlin manufactory from 1942 (Rafael 2013, ill. 10).For further information on this lot please visit Bonhams.com
Plaque du Nouvel An en grès Böttger, Meissen, circa 1918, E.A non numérotée A Meissen Böttger stoneware New Year Plaque, circa 1918Unnumbered Artist's ExampleOf rectangular form with a moulded frame and modelled in low relief, lightly polished, depicting a putto scattering flowers from a cornucopia seated on the back of a horse below a ribbon inscribed 'Ihren Freunden', beneath the horse the inscriptions 'P. SCHEURICH' above the dates 1918-19 and 'DIE STAATLICHE/ PORZELLAN-MANUFAKTUR/ IN MEISSEN', pierced for hanging on the reverse of the frame, 19.5cm by 14.7cm, impressed crossed swords mark above '100 AUSFORMUNGEN/ No'Footnotes:Literature:Rafael 1995a, ill. 13.1Exhibited:Meissen, Schauhalle der Staatlichen Porzellan-Manufaktur Meissen, Paul Scheurich 1883-1945 Porzellane für die Meissener Manufaktur, 21 September 1995-10 January 1996;Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021One of Max Adolf Pfeiffer's first initiatives when he became Director of the Meissen manufactory in November 1918 was the introduction of a New Year's gift of a plaque for friends of the manufactory, artists and collectors. Only the best artists were entrusted with these commissions, for which they were allowed complete artistic freedom. The New Year's plaques were also a signal of Pfeiffer's intention that ceramics should become a medium of modern art. Another of Pfeiffer's initiatives was the revival of stoneware production at Meissen, in which he was assisted by the manufactory chemist, William Funk. Known as 'Böttger stoneware', after the manufactory's founder, it was produced for a few years from 1710 until the manufactory perfected the production of white porcelain after which production and interest in the material lapsed. Pfeiffer recognised the possibilities of the material and, in particular, its suitability for modern art (polished stoneware could be a more affordable alternative of comparable quality for sculptures that were otherwise only executed in bronze). Stoneware is especially suited to small-scale plaques and medallions this art reached new heights of artistic quality under Pfeiffer's directorship with medallions by artists such as Scheurich, Paul Börner, Max Esser, and even Oskar Kokoschka.Paul Scheurich's New Year's plaque for 1919 was not only the manufactory's first, it was also the first limited edition signed by the artist, and it was the first modern work of art in the newly-revived Böttger stoneware; it merged the oldest tradition of the manufactory with the newest artistic taste.The manufactory purchased the model on 18 November 1918 for RM 200 and it was initially produced in an edition of 100 (50 in biscuit porcelain [nos. 1-50] and 50 in Böttger stoneware [nos. 51-100]).For further information on this lot please visit Bonhams.com
Figure en grès Böttger représentant une femme allongée, Meissen, circa 1923 A Meissen Böttger stoneware figure of a reclining lady, circa 1923Modelled by Richard Langer, on drapery, impressed 'R. Langer' at the rear, covered in a dark-brown slip and lightly polished, on a polished oval base, 36.5cm across base; 22cm high, impressed crossed swords mark and 'BOTTGER/ STEINZEUG', incised F.278 and L126Footnotes:Provenance:Wolfgang Müller von Baczko (1894-1947), Director of the Meissen Manufactory 1936-40Literature:Rafael 2017, ill. 4One of six models that Richard Langer, a fellow student of Paul Scheurich's under Louis Tuaillon, made for the Meissen manufactory between 1914 and 1927. 'They are among the most important examples of classical-modern style in porcelain and document the Meissen manufactory's efforts to reform its artistic output' (Rafael 2017, p. 37).In February 1919, Länger wrote to Max Adolf Pfeiffer '[...] at the suggestion of Mr Scheurich I have taken the liberty of recently sending you a plaster model of a reclining woman, which I assume would be suitable for an attempt with the brown porcelain' (quoted by Rafael 2017, p. 42). The model was purchased by the manufactory for RM 1,000. The revival of Böttger stoneware was one of the most important of Max Adolf Pfeiffer's achievements at the Meissen manufactory. He wished to make modern art accessible to those who could not afford works in bronze and stoneware, which could be cut, polished, ground, coloured or glazed after firing, offered a myriad of possibilities. Gerhard Marcks' equestrian candlestick and Richard Langer's reclining lady were among the first modern sculptures executed in stoneware, and Pfeiffer considered the reclining lady to be one of the most important new creations of the Meissen manufactory.For further information on this lot please visit Bonhams.com
Paul Scheurich (1883-1945): Statuette en bronze représentant une chasseuse nue, circa 1912 Paul Scheurich (1883-1945): A bronze figure of a naked huntress, circa 1912On an oval base mounted on a black marble rectangular base, inscribed with the foundry mark 'H. NOACK' on the side of the base, 30cm highFootnotes:Literature:Wilhelm Siemen (ed.), Schwarzburger Werkstaetten fuer Porzellankunst (1993), ill. 236Exhibited:Hohenberg a.d. Eger, Museum der deutschen Porzellanindustrie, Schwarzburger Werkstätten für Porzellankunst, 1993;Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021For further information on this lot please visit Bonhams.com
Paul Scheurich (1883-1945): Très rare statuette en bronze figurant 'Bruder Lutz', personnage issu du poème épique Die Wasserkufe de C.M. Wieland, circa 1919 Paul Scheurich (1883-1945): An extremely rare Bronze figure of 'Bruder Lutz' from C.M. Wieland's epic poem Die Wasserkufe, circa 1919On a flat circular base mounted on a black circular pedestal, inscribed foundry mark 'H. NOACK' on the side of the base, 48cm highFootnotes:Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021This unique figure is based on the poem 'Die Wasserkufe oder der Einsiedler und die Seneschallin' by the German poet and writer Christian Martin Wieland (1733 – 1813). He is best-remembered for having written the first 'Bildungsroman', a genre of German literature focussed on psychological and moral growth, in which character change is pivotal to the story. His thought was representative of the cosmopolitanism of the German Enlightenment, exemplified in his remark: 'Only a true cosmopolitan can be a good citizen.''Die Wasserkufe' tells an entertaining, 'Decameronesque' story. Even those who are not familiar with Wieland's work and the figure of the hermit Lutz, will notice the artist's expressiveness, but knowledge of the background to the story makes the enjoyment even greater. The naked hermit stands at his most vulnerable, gaunt and sinewy, his ribs, shoulder blades and vertebrae standing out, his skin hangs limply on the pinched buttocks. He holds his bony left hand shamefacedly in front of his private parts, which play such nasty tricks on him, he has his right hand half in defence, half raised in blessing. Wieland describes these hands of the hermit as 'Tatzen' or 'paws'. Scheurich did not overlook this detail and designed them broadly with short fingers bent with age. Scheurich showed the bronze at the Berlin Secession exhibition in 1919/1920. It was probably only cast in a few copies. The largely lost archive of the Noack bronze foundry does not report on it and the mould has been lost.No other example of this group is known today.For further information on this lot please visit Bonhams.com
Richard Langer (1879-1950): Statuette en bronze figurant une jeune fille debout, circa 1925 Richard Langer (1879-1950): 'Sehnsucht': A bronze figure of a standing girl, circa 1925On a canted rectangular base, 59.5cm high, incised signature on base 'R. Langer D.dorf' and incised foundry mark 'DB'Footnotes:Provenance:Max Esser (1885-1945);Acquired direct from the Estate of the artistRichard Langer originally carved this figure in oak; it was published among other new works by Langer in the journal Deutsche Kunst und Dekoration in 1925 (fig. 1), where it was titled 'Keuschheit' [Chastity].For further information on this lot please visit Bonhams.com
Très rare castor en porcelaine blanche, Meissen, circa 1927 A very rare Meissen large white model of a beaver, circa 1927Urstück [Artist's Proof] No. 2 of 11Modelled by Max Esser, on a circular base inscribed 'M. Esser 1927', 50.5cm high; 59cm across, crossed swords mark and dot in underglaze-blue to edge of base, incised model number A.1180, impressed 136, impressed and incised 'VON 11 UR=/ STUECKEN Nr. 2' (fine haircrack around paw)Footnotes:Modelled by Esser in 1927 and also executed in bronze. In 1936, Esser produced a variation of the model in bronze with the beaver's tail curled to its side which was also produced in porcelain at the Berlin (KPM) manufactory under Max Adolf Pfeiffer from 1939 (Gronert 2020, I, p. 458).For further information on this lot please visit Bonhams.com
Max Esser (1885-1945): modèle en bronze du 'Reineke Fuchs', circa 1920 A bronze model of the 'Reineke Fuchs' by Max Esser, circa 1920Standing on its hind legs on a sphere, mounted on a black marble plinth, 37.5cm high, the sphere incised 'I./ M. ESSER'Footnotes:Provenance:Max Esser (1885-1945);Wolfgang Müller von Baczko (1894-1947), Director of the Meissen manufactory 1936-40;Acquired directly from the Estate of the the aboveCast from a preliminary model for the central piece of the 'Reineke Fuchs table centrepiece, probably modelled in 1919.For further information on this lot please visit Bonhams.com
Max Esser (1885-1945): Croix d'autel en bronze, circa 1929-1930 Max Esser (1885-1945): A bronze Altar Cross, circa 1929-1930Inscribed 'INRI' within a sunburst, the shaft with thorns at the front, on a rectangular base and stepped plinth, ca. 75cm highFootnotes:Provenance:Max Esser (1885-1945);Acquired directly from the Estate of the artistOn 15 December 1929, a new and modern Protestant church was consecrated in Berlin-Schmargendorf, for which the altar garniture was commissioned from Max Essser. He designed a five-metre high porcelain cross and four bronze sculptures of the symbols of the Evangelists, as well as various other altar vessels. On 31 August 1931, Esser wrote to Max Adolf Pfeiffer: 'I have to work extraordinarily hard to finish everything; I shall be finished with the work in the church in about 14 days and everything will be very beautiful in the real material. The altar looks very beautiful with the large brass embossed top and the brass base for the cross. The silver vessels for the church are also finished and at the moment on display. Also three of the symbols of the Evangelists in bronze are finished, also the baptismal font is finished. The church itself is already so advanced that the painters are there. Now I'm worried about the cross, especially as I've heard that the two end pieces of the crossbar have cracked in the firing. The church should definitely be consecrated by the end of November' (quoted by Marusch-Krohn 1993, p. 111).The monumental porcelain cross was destroyed in the war. Esser made a smaller version in porcelain in 1930 (67cm high) of the same design: it and this bronze version are perhaps after a maquette for the original monumental cross.For further information on this lot please visit Bonhams.com
After Giambologna (Jean de Bologne), a 19th Century continental bronze figure of Mercury, his arm outstretched holding a purse, the other with a now detached caduceus standing on the face of Aeolus atop a stepped plinth with cast frieze. 51cm highCondition report: caduceus has broken off an needs to be reattached, a few chips to the rim of the base.
19th-century French cabinet attributed to Gabriel Viardot in an oriental manner, pagoda top having emerging carved wooden dragon, single door mounted with hardstone and mother-of-pearl, small glazed cupboard to side, left upright entwined with a bronze sea monster, shelves and drawers below.width 64cm (2"), height 144cm (4.5")Condition report: Multiple watermarks to the interior and external shelves. Red velvet lining, original but marked. Area of the fretwork frieze missing to the side. Some scratching to the pediment of the cabinet. Overall structurally sound, glass in good order, inlay present with only three small sections missing. No evidence of woodworm. (see photographs)
A CHINESE PATINATED BRONZE TRIPOD CENSER, of typical form, with loop handles and having a carved and pierced wooden cover with a carved jade finial, raised on a wooden tripod stand, character mark to base. 11cm high (excl. stand), 13cm diameterCONDITION REPORTSome surface scratching to exterior of body, including three short but prominent marks. The censer does not appear to fit perfectly on the stand. Cover, finial and stand in good condition.
Art Deco Period - Signed and Stunning Painted Bronze and Ivory Figure. c.1930. Depicts A Young Female Wearing a Long Flowing Robes In a Standing Position, Her Hands Stretched Out Holding In Each Hand a Small Bird ( Dove ) Signed Louis Barthelemy, Raised on Stepped Alabaster Base. Height 11.5 Inches - 28.75 cms. With Age Related Hairline Cracks.
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