We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 598
ARMAN (FRENCH-AMERICAN 1928-2005)Des Ramblas,1997bronze with medium and dark brown patina height including base: 41 cm (16 1/8 in.)signed and marked with Bocquel foundry mark and edition 4/99 (of a total edition 103) on baseLOT NOTESThe work registered at the A.R.M.A.N. Foundation of Geneva under inventory no. 152003 (MUL-I-018)CONDITIONThe sculpture appears in good condition. Patina visible around the base. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 753
CIRCA 1920S COLD-PAINTED VIENNA BRONZEformed as a spring branch with three cold painted eurasian blue tits resting, all atop a green onyx square basedimensions: 17 x 25 cm (6 3/4 x 9 7/8 in.), dimensions of base: 7 x 25 cm (2 3/4 x 9 7/8 in.)CONDITIONThe bronze appears in good original condition. Rubbing visible to the cold-painted birds resulting in scattered losses. Light surface dust visible to the birds and branch. With no significant issues to report otherwise. Not inspected under UV light.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 754
COLD-PAINTED VIENNA BRONZEformed as a wicker basket, with four chicks perched around the rim, each bird stamped with unique serial number under the taildimensions of basket: 20 x 25 cm (7 7/8 x 9 7/8 in.); overall height: 13 cm (5 1/8 in.)CONDITIONThe sculpture appears in good original condition. Rubbing visible to the painted birds and basket resulting in scattered losses. With no significant issues to report otherwise. Not inspected under UV light.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 731
1ST/2ND CENTURY BRONZE ROMAN FIGURE modelled in the round, shown standing in three-quarters view, half-nude, holding a scalloped tray of bunches of grapes in both hands, mounted on modern plastic base; height of sculpture only: 24 cm (9 1/2 in.), including base: 26 cm (10 1/4 in.) PROVENANCEPrivate collection, New York, since before 1967. (Copy of insurance appraisal available upon request)CONDITIONThe sculpture is in good age-appropriate condition, with overall verdigris. No significant losses apparent to the naked eye.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 659
19TH CENTURY BLOCH & CIE ORMOLU CANDELABRASeach with a porcelain courting couple atop a naturalistic base, each atop a ormolu gilt-bronze bases pierced with trellis, extending around foliate vines into three candelabra with colorful soft-paste porcelain flowers, each with factory mark in blue underglaze back of naturalistic base; height: 40 cm (15 3/4 in.)CONDITIONThe pair appears in age-appropriate but fragile condition. Overall patina, surface dust and discoloration. Scattered chips visible to the soft paste flowers along with visible repairs. Each courting couple attached but loose to the gilt-brass bases. Would benefit from professional cleaning. Inspection under UV light shows fluorescence along with scattered repairs to the soft paste flowers.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 46
A JAPANESE BRONZE ONI IN MIYAO EISUKE OF YOKOHAMA STYLE SCULPTURE, MEIJI PERIODthe Oni holding a flat rounded sculptural piece with motifs of dragons designed from different patina of bronze, the Oni figures dressed traditionally in robes adorned with jewels, atop a oblong rectangular plinth with animalistic feet, the rounded finial reveals a small interior compartment; height: 44.5 cm (17 1/2 in.)CONDITIONThe bronze appears in good condition. Overall surface dust and minor discoloration visible. Would benefit from a polish.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 19
MONUMENTAL THAI BRONZE GROUP OF RAMA AND RAVANAdepicting the Lord Rama as archer, standing with one raised leg, standing over the king Ravana; height: 129 cm (50 3/4 in.)CONDITIONThe sculpture appears in overall good age-appropriate condition. N.B. sculpture was installed outdoors, resulting in surface wear, corrosion and patination.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 219
ERNST NEIZVESTNY (RUSSIAN 1925-2016)Wrestlers,bronze with brown patinaheight: 30 cm (11 3/4 in.)signed on baseCONDITIONThe sculpture is in overall age appropriate condition. Rubbing to the patina visible with the naked eye on the left top arm, on the left side of the base, and on the right legs. Apparent in photographs.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 760
MAURICE GUIRAUD-RIVIERE (FRENCH 1881-1947)Le reveil,circa 1900bronze with light brown patinaheight including base: 40 cm (15 3/4 in.)signed on baseCONDITIONThe sculpture appears in very good original condition. Light surface dust visible to the naked eye. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 801
LIKELY BACCARAT ORMOLU BRONZE CRYSTAL CENTERPIECEformed as an oval fluted bowl supported at each end by a winged putti, on a lozenge-shaped base atop four feet; height: 20 cm (7 78 in.), length: 38 cm (15 in.)CONDITIONThe centerpiece appears in good condition. Visible surface discoloration to the each of the putti's along with minor scattered losses. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 43
EARLY 20TH CENTURY JAPANESE BRONZE KANON FIGUREshown standing, holding a pair of blooming lotus stalks, with a flame-like halo, atop a double-gourd rounded base; overall height: 64 cm (25 1/4 in.) CONDITIONThe figure appears in age-appropriate condition. Overall surface dust and minor patina visible. Photographs presented in the catalogue are representative of condition.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 650
TIFFANY-STYLE 'HOLLY BUSH' TABLE LAMPleaded glass and bronze, with a bronze cover, on a Tiffany-style base with conforming feet, stamped TIFFANY STUDIOS NEW YORK on interior of shade, stamped TIFFANY STUDIOS NEW YORK and stamped with inventory numeral 21667 under base; height: 60 cm (23 5/8 in.), diameter of shade: 40 cm (15 3/4 in.)CONDITIONThe lamp appears in age-appropriate condition. Overall surface dust. A thin fissure visible across one of the leaded glass panels, measuring 5 cm (2 in.) in length. One of the feet has come loose, but the base remains in stable condition.The lamp is not wired therefore not in working condition.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 802
PAIR OF BACCARAT BRONZE DORE CANDELABRASwith seven candle holders each with fourteen icicle spiral cut glass mounted on a glass tray, each candle holder features a motif of acanthus leaves, three winged puttis hold the candelabra from below, centered is a pinecone finial, all atop a glass rounded cut base with toupie feet, a tray of each signed BACCARAT;overall height: 58 cm (22 7/8 in.)CONDITIONThe pair appears in good condition. Several of the icicle cut glass has previously been replaced along with several of the metal mounting pieces. Minor discoloration and patina present to the dore bronze bodies of the puttis, drip trays and candle holders.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 48
A CHINESE BRONZE 'QILIN' INCENSE BURNER AFTER MING DYNASTY MODELSformed as the auspicious mythological Kirin with the head of a dragon and the torso of a deer, an oxtail, and horse hooves, the cover conforming to the back; height: 51 cm (20 1/8 in.)PROVENANCEGrosvenor Gallery, LondonAcquired at the above by the present owner at an Asian art sale, 1974CONDITIONThe censer appears in good original condition. Beyond light surface dust to the tail and crevices, no significant issues apparent to the naked eye.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 599
ARMAN (FRENCH-AMERICAN 1928-2005)Untitled (Horse),circa 1997bronze with medium and dark brown patina height including base: 41 cm (16 1/8 in.)signed and marked with Bocquel foundry mark and edition 4/99 on base CONDITIONThe sculpture appears in good condition. Patina visible around the base. Scattered nicks and dents to the horses back.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 25
HAN DYNASTY FANGHU BRONZE RITUAL VESSELS AND COVERSbaluster form, with a square neck with conforming covers the four corners decorated with the neck and head of a bird, each with two circular handles terminating from a mouth of a dragon, with square foot rims; height including covers: 43 cm (16 7/8 in.), height without covers: 37 cm (14 5/8 in.)CONDITIONThe pair appears in age-appropriate condition. Overall patina, discoloration and variation in color. All consistent with age. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 654
FRENCH NEOCLASSICAL-STYLE BRONZE CANDELABRAa pair of neoclassical candelabra, each nine-light candelabra is held by a woman in neo-classic toga-esque dress, with braided hair, standing on a gilt cube plinth with neoclassical motifs, the candelabra arms feature a cornucopia with bounty, five large arms feature a floral scroll with a small sconce featuring five more arms with a floral scroll. each candelabra sits on a larger cubed base that is black with gilt trim featuring a cartouche of a Neo-classical scene on gold square feet. overall height including base: 150 cm (59 in.)CONDITIONIn age-appropriate condition. Overall surface dust visible, most notably on the figures. Minor surface scuffs and scratches to the figures, most notably their shoulders. One of the candelabras arms is loose, visible wax residue in both candelabras and overall surface dust visible in the crevasses of the floral scrolls.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 675
PAIR OF PORCELAIN AND ORMOLU CANDLE HOLDERSthe pair each formed from bronze, with porcelain figurines, one depicting Mercury, the other depicting Venus, each attributes atop a naturalistic base, each with a single candle holder formed from bronze with porcelain flowers; height: 20 cm (7 7/8 in.) CONDITIONThe pair appears in good condition. Scattered nicks to the porcelain flowers, along with surface dust. Patina visible to the interior of each candle holder. Inspection under UV light shows repainting to each of the figurines along with scattered retouching to the porcelain flowers.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 752
FRANZ BERGMAN (AUSTRIAN 1861-1936)Running Moorish Soldier,circa 1900cold-painted bronzeoverall height: 26 cm (10 1/4 in.)the body and base signed with 'B in a vase' and stamped Geschutzt 2897LITERATUREJoseph Zobel, Antique Vienna Bronzes, (Atglen: Schiffer Publishing, 2008), p. 147CONDITIONThe bronze sculpture appears in very good age-appropriate condition. Overall craquelure apparent to his clothing. Scattered losses of paint, most notably to the base. Inspection under UV light shows fluorescence, but no apparent signs of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 510
BRONZE SCULPTURE OF ANTONIO BELVEDERE,bronze with light brown patinaheight including base: 40 cm (15 3/4 in.)PROVENANCE Estate of Peter GlenvilleAcquired from the above by the present ownerLOT NOTESPeter Glenville was an English film and stage actor and director. Early in his career directing films such as Me and the Colonel (1958), Summer Smoke (1961), The Comedians (1967), starring Elizabeth Taylor. Later in his career his production and Broadway debut of Tennessee Williams', Out Cry (1973). Glenville was nominated for four Tony Awards, two Golden Globe Awards, one Academy Award and one Golden Lion at the Venice Film Festival.CONDITIONThe sculpture appears in good condition. Very light surface scuffs and dings visible to his arms, legs and torso.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 218
ERNST NEIZVESTNY (RUSSIAN 1925-2016)Prophet (with Exposed Heart),bronze with green and rust-brown patinaoverall height: 138 cm (54 3/8 in.)signed, stamped with copyright symbol, edition 1/9 and foundry mark ART Research and Technology on basePROVENANCEProperty of an Important Private Collection, ConnecticutCONDITIONThe sculpture appears in good condition, with wear as intended. N.B. Sculpture was installed outdoors, resulting in some surface wear and corrosion.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 820
PAIR OF TIFFANY STUDIOS 'GRAPEVINE' BOOKENDS the pair of bronze with leaded green and white glass, the overlay of bronze featuring a grapevine motif, each stamped TIFFANY STUDIOS NEW YORK and numbered 1024 under base; height: 15 cm (5 7/8 in.)CONDITIONThe bookends appear in good condition. Minor patina visible to the edges. Light surface dust along with scuffs and scratches to the bronze. All consistent with age and use. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 4
A fine 'Leaping Tiger' mascot by Casimir Brau for Hermes, French, circa 1925,signed 'C Brau' and stamped 'Depose' to base, nickel-plated bronze mascot with Art Deco styling, stamped '215' to underside of body, 22.5cm long, mounted on a turned wooden display base, offered together with a photocopy of the Hermes catalogue advertisement reproduced in the reference title Michel Legrand: Mascottes Passion. (2)This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 22
Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Elephant de l'espace', 1980, Bronze, dunkel patiniert, auf Marmorsockel, mit Acrylobelisk, lose aufgestellt, Maße (mit Obelisk) 90 cm x 22 cm x 43,5 cm, signiert, Gießerstempel, 1981 datiert, 116/350 nummeriert, Herausgeberstempel, partiell mit Kleberesten, Spitze des Obelisken abgebrochen anbei, leicht bestoßen, Echtheitszertifikat anbei, anbei: Poster zur Ausstellung "Salvador Dalí - Lithografien. Radierungen. Skulpturen.", Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989Provenienz: Kunsthandel Wissing, Bottrop, Privatsammlung"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten.Inspiriert durch Giovanni Lorenzo Berninis Elefanten mit Obelisken auf dem Rücken in Rom, finden sich in Dalís gemaltem Oeuvre mehrfach Elefanten mit Obelisken. Gestaltet nach seiner surrealistischen paranoisch-kritischen Methode zeichnen sie sich durch extrem verlängerte, grazile Beine aus, die die übliche Vorstellung des schweren behäbigen Tiers ad absurdum führen. Die Bronzearbeit stellt die erste plastische Ausformung dieses Gedankens dar, der Dali über einen langen Zeitraum beschäftigte. Ein augenloser Zirkus-Elefant mit skelettartigen Beinen balanciert mit einem schimmernden Obelisken auf dem Rücken. Von der Art, in der das schwere Tier sich auf seinen dürren Beinen hervortastet, bis zu der Brechung des Lichts in der kristallenen Struktur der Pyramide, wirkt alles an der Figur prekär und verletzlich, gefangen in einem Zustand zwischen schweben und fallen. Dalís Werke spielen immer wieder mit abstrus erscheinenden Gegensätzen und Kontrasten, um das Gefühl einer traum-ähnlichen Irrealität zu erzeugen. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)'Elephant de l'espace', 1980, bronze, dark brown patina, acrylic obelisk on brass stand, marble plinth, H with obelisk 90 cm x 22 cm x 43.5 cm, signed, foundry stamp of Venturi Arte, editior's stamp of Camblest Ltd. (dated 1981), numbered 116/350, with certificate of authenticity, tip of the obelisk broken and reattached, the left tusk with some remnants of glue, includes: Exhibition poster 'Salvador Dalí - Lithografien. Radierungen. Skulpturen.' in the Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989, with a photograph of the elephant''My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.'' (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.Inspired by Giovanni Lorenzo Bernini's elephants with obelisks on their backs in Rome, Dalí included several such elephants in his painted works. Designed according to his surrealist paranoiac-critical method, they are characterized by extremely elongated, graceful legs, which reduce the idea of the heavy, ponderous animal to absurdity. The bronze work represents the first sculptural expression of this idea, which preoccupied Dali over a long period of time. The eyeless circus elephant with skeletal legs balances with a shimmering obelisk on its back. From the way in which the heavy animal struggles to rise on its scrawny legs to the refraction of light in the pyramid's crystalline structure, everything about the figure seems precarious and vulnerable, caught in a state between floating and falling. Dalí's works repeatedly play with seemingly abstruse concepts and contrasts to create a sense of dream-like unreality.
Lot 69
Alfred Hrdlicka (1928 Wien - 2009 ebenda) (F)'Striptease II', 1973, Bronze, gold-braun und dunkel patiniert, Maße 36,5 cm x 15 cm, signiert, Gießerstempel, 12/55 nummeriert, 'MS' monogrammiertProvenienz: Privatsammlung HannoverLiteratur: Wvz. Lewin 151a"Alle Macht in der Kunst geht vom Fleisch aus." (Alfred Hrdlicka)Oskar Lafontaine schreibt 1994 im Vorwort des Bandes "Alfred Hrdlicka, Zeichnungen", dass Hrdlickas Werk getragen sei von "einem schonungslosen Humanismus, der auch Mord und Terror und sexuelle Brutalität mit expressiven Stilmitteln und bisweilen schockierender Deutlichkeit vor Augen führt." Alfred Hrdlicka wurde am 27. Februar 1928 in Wien geboren und war ein bedeutender österreichischer Bildhauer, Zeichner, Maler und Schriftsteller. Für den überzeugten Kommunisten war Kunst ein Mittel politischer Agitation und fungierte als Sprachrohr der Unterdrückten, so sind viele seiner Werke Mahnmale gegen Krieg und Faschismus. Er selbst begriff die Kunst als Versuch etwas zu bewegen. Er orientierte sich nicht an den vorherrschenden Strömen der österreichischen Kunstszene und interessierte sich weder für Erwartungen ihm gegenüber noch für Ehrungen. Die abstrakte Kunst lehnte Hrdlicka ab und bezeichnete diese sogar als Blankoscheck, den jeder Kritiker nach Belieben mit seiner eigenen Interpretation füllen könne. Hrdlickas Kindheit war geprägt von der Zwischenkriegszeit, seine Jugend von der Zeit des Nationalsozialismus. Sein Vater war ein kommunistischer Gewerkschaftsfunktionär, so ist es nicht überraschend, dass er schon früh für politische Fragen sensibilisiert war. Im Zentrum seiner Arbeit stehen die traumatisierten Menschen der Nachkriegszeit. Von 1946 bis 1957 studierte Hrdlicka Malerei an der Akademie der bildenden Künste in Wien bei Josef Dobrowsky und Albert Paris Gütersloh, sowie Bildhauerei bei Fritz Wotruba. Der internationale Durchbruch gelang dem Künstler 1964 durch die Teilnahme an der 32. Biennale in Venedig, wo er, gemeinsam mit Herbert Boeckl, als offizieller Vertreter Österreichs ein großes Publikum auf sich aufmerksam machen konnte. Die zentralen Elemente seiner politischen Kunst waren menschliches Leid und Schmerz, ausgelöst durch Krieg und Faschismus. So implizieren fast alle seiner figurativ-expressiven Werke politische Inhalte wie Gewalt, Sex und Faschismus, die provozieren und immer wieder zu gesellschaftlichen Kontroversen führen. Obwohl seine Lehrtätigkeit umstritten war, hatte Alfred Hrdlicka hatte mehrere Professuren inne. Von 1973 bis 1975 lehrte er an der Hochschule für Bildende Künste in Hamburg, anschließend unterrichtete er von 1986 bis 1989 als Professor für Bildhauerei an der Universität der Künste in Berlin. Darauffolgend wurde er 1989 an die Universität für Angewandte Kunst in Wien berufen. Alfred Hrdlicka (1928 Vienna - 2009 ibid) (F)'Striptease II', 1973, bronze, golden brown and dark brown patina, dimensions 36.5 cm x 15 cm, signed, foundry stamp, numbered 12/55, monogrammed 'MS'Provenance: Private collection, HanoverLiterature: Cat. rais. Lewin 151a''All power in art is derived from flesh.'' (Alfred Hrdlicka)In his foreword to the 1994 publication ''Alfred Hrdlicka, Zeichnungen'', Oskar Lafontaine described Hrdlicka's work as characterised by a ''merciless humanism, one that depicted murder, terror, and sexual brutality with expressive stylistic devices and at times shocking clarity.'' Alfred Hrdlicka was born in Vienna on 27th February 1928. He became an important sculptor, draftsman, painter and writer in Austria. For the staunch Communist, art was a means of political agitation and acted as a mouthpiece for the oppressed, so many of his works are memorials against war and fascism. He himself understood art as an attempt to move something. He did not orientate himself to the prevailing currents of the Austrian art scene and was not interested in expectations towards him or in honours. Hrdlicka rejected abstract art, even describing it as a blank cheque that every critic could fill with his own interpretation at will. Hrdlicka's childhood was shaped by the interwar period, his youth by the National Socialist era. His father was a Communist trade union official, so it is not surprising that he was sensitized to political issues at an early age. His work focuses on traumatized people in the postwar period. From 1946 to 1957, Hrdlicka studied painting at the Academy of Fine Arts in Vienna with Josef Dobrowsky and Albert Paris Gütersloh and sculpture with Fritz Wotruba. The artist's international breakthrough came in 1964 when he participated in the 32nd Venice Biennale, where, together with Herbert Boeckl, he was able to attract a large audience as the official representative of Austria. The central elements of his political art were human suffering and pain, triggered by war and fascism. Thus, almost all of his figurative-expressive works imply political content such as violence, sex and fascism, which provoke and always lead to social controversy. Although his teaching activities were controversial, Alfred Hrdlicka held several professorships. From 1973 to 1975 he taught at the Hochschule für Bildende Künste in Hamburg, then from 1986 to 1989 he taught as professor of sculpture at the Universität der Künste in Berlin. Subsequently, he was appointed to the University of Applied Arts in Vienna in 1989.
Lot 52
Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, Bronze, poliert, auf Holzsockel, Höhe (mit Sockel) 35,5 cm, signiert, 'artcurial' bezeichnet, 47/350 nummeriert, partiell leicht beschädigt, Zertifikat anbei, Kopie des Kaufbeleges anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung Hannover"Ich habe immer jene beneidet, für die ein Werk ein Geheimnis ist." (Man Ray)Der amerikanische Fotograf, Filmregisseur, Maler und Objektkünstler Emanuel Rudnitzky alias Man Ray gilt als einer der wichtigsten Vertreter des Surrealismus und Dadaismus. Schon als Kind beschäftigte er sich mit Kunst und beschloss früh, dass er dies zu seinem Beruf machen wollte. Zusammen mit Marcel Duchamp gründete er die New York DADA-Gruppe. Im Alter von 31 Jahren zog Man Ray nach Paris und machte dort Bekanntschaft mit wichtigen Künstlern wie Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian und Yves Tanguy. Später fanden die meisten von ihnen als Porträts Einzug in Man Rays fotografisches Werk. 1922 spalteten sich die Dadaisten und Surrealisten, woraufhin sich Man Ray dem Surrealismus anschloss. In den späten 1930er Jahren floh er vor den Nationalsozialisten nach New York und kehrte erst 1951 nach Paris zurück. 1958 nahm Man Ray an der großen Dada-Ausstellung im Stedelijk Museum in Amsterdam teil, sowie an der Ausstellung im Kunstverein Düsseldorf. 1966 wurde im County Museum of Art in Los Angeles seine erste große Retrospektive gezeigt. Bei der Figur der "Hermaphrodite", handelt es sich um eine doppelgeschlechtliche Figur aus der griechischen Mythologie. Mit diesem Thema befasste sich Man Ray bereits in den 1930er Jahren im Bereich der Fotografie und vierzig Jahre später griff er es in der Form einer archaischen Statuette wieder auf. Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, bronze, polished, with wooden plinth, height (with plinth) 35.5 cm, signed, inscribed 'artcurial', numbered 47/350, some minor damage, with certificate and copy of the purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, Hanover''I have always envied those for whom a work is a mystery.'' (Man Ray)The American photographer, film director, painter and sculptor Emanuel Rudnitzky, alias Man Ray, was among the most important representatives of the Dadaist and Surrealist movements. He enjoyed art even as a child and decided early in life to make it his career. He founded the DADA group in New York together with Marcel Duchamp. He moved to Paris at the age of 31, where he made aquaintance with influential artists like Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian and Yves Tanguy. The majority of them would later enter Man Ray's photographic oeuvre in the form of portraits. The Dadaist separated from the Surrealists in 1922, and Man Ray sided with the Surrealists. In the late 1930s, he fled from the Nazis to New York, only returning to Paris in 1951. In 1958 he took part in the great Dadaist exhibitions in the Stedelijk Museum in Amsterdam and the Kunstverein Düsseldorf. An extensive retrospective of his work was exhibited at the County Museum of Art in Los Angeles in 1966. The hermaphrodite was a two-gendered being from Greek mythology. Man Ray had already explored the subject in his photographic works in the 1930s, and 40 years later he returned to the motif in the form of an archaic statuette.
Lot 10
Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, Bronze, schwarz patiniert, Maße 33 cm x 17 cm, signiert, Gießerstempel, 52/175 nummeriert, partiell restauriert, Gießerstempel verschlagen, Kaufbeleg anbeiProvenienz: Die Galerie, Offenbach a.M., Privatsammlung Hannover,Literatur:Pech, Jürgen: Max Ernst - Plastische Werke, Köln 2005, S. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, Ausst.-Kat. Kunstsammlung Nordrhein-Westfalen 1998, S. 183 (mit Abb.).Hauptsächlich für seine innovativen Techniken im Bereich der Malerei bekannt, war der deutsche Künstler Max Ernst genauso experimentierfreudig in der Bildhauerei. Spielerisch setzte er alltägliche Gegenstände wie Löffel, Muscheln oder Töpfe zusammen, um sie in Form seiner zugleich humorvoll wie mysteriös erscheinenden Bronzefiguren neu zu interpretieren. Als Pionier der Dada- und Surrealismus-Bewegungen, schätzte Ernst das Medium der Skulptur für die Freiheit und beschrieb diese als "mehr pures Spiel als die Malerei". Geboren in Brühl in der Nähe von Köln, entdeckte Ernst früh ein Interesse an der Kunst und brachte sich Malerei und Zeichnen als Autodidakt neben seinem Studium der Philosophie und Kunstgeschichte bei. Während seiner Studienzeit lernte er August Macke kennen und durch die Unterstützung des Künstlers und seinem Freundeskreis wurde Ernst ermutigt, sich als Maler zu betätigen. Er hatte seine erste Ausstellung 1912 in der Galerie Friedmann in Köln, doch seine Karriere wurde schon 1914 durch seine Einberufung im Ersten Weltkrieg unterbrochen.Die Rückkehr aus dem Krieg empfand Ernst als eine Art Wiedergeburt und gründete kurz darauf 1919 die Kölner Dada-Gruppe zusammen mit befreundeten Künstlern. Die Bewegung verstand sich als eine bewusste Ablehnung von bürgerlichen Normen und Idealen aber auch als eine Rebellion seitens der Künstler gegen die Kunst selbst, in einer Gesellschaft, von der sie sich aufgrund ihrer Kriegserfahrungen immer weiter entfernt fühlten. Dada blieb jedoch als Bewegung relativ kurzlebig und schon 1924 unterzeichnete Max Ernst in Paris das "Manifeste du Surréalisme". Ähnlich der Dadaisten verwendeten die Surrealisten den Zufall als wichtiges Prinzip in ihren Arbeiten mit dem Ziel - ausgehend von den psychologischen Theorien Sigmund Freuds und Carl Jungs - den Prozessen ihres Unterbewusstseins bildhafte Form zu verleihen. Obwohl Max Ernst schon 1938 aus der Bewegung wegen persönlichen Differenzen austrat, blieb dieser psychologische Ansatz für seine Werke von großer Bedeutung.Im Spätwerk "Chéri Bibi" lächelt eine kükenartige Fratze dem Betrachter entgegen. Obwohl sie aus blockhaften geometrischen Formen zusammengestellt ist, wirkt die Figur lebendig und verschmitzt. Der spitze Schnabel und die glänzenden Augen erinnern an die Vogelmotive, welche sich wie ein roter Faden durch Ernsts gesamtes Oeuvre ziehen. Die vielleicht berühmteste Vogelfigur des Malers war der Charakter "Loplop", den der Künstler fast selbstporträtartig in vielen seiner Gemälde als symbolische Darstellung seines eigenen Egos integrierte. Der Titel dieses Werkes bezieht sich auf Gaston Lerouxs gleichnamige Romanfigur Chéri Bibi: Ein Metzgerjunge, der mehrmals aus dem Gefängnis ausbricht, nachdem er unschuldig verhaftet wurde. Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, bronze, dimensions 33 cm x 17 cm, signed, foundry stamp, numbered 52/175, partially restored, foundry stamp indistinctly struck, with purchase receiptProvenance: Die Galerie, Offenbach a.M.; private collection, HanoverLiterature:Pech, Jürgen: Max Ernst - Plastische Werke, Cologne 2005, p. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, exhib. cat. Kunstsammlung Nordrhein-Westfalen 1998, p. 183 (illus.).Although primarily known for his innovative techniques in the field of painting, German artist Max Ernst was equally experimental in sculpture. He playfully assembled everyday objects such as spoons, shells, and pots to reinterpret them in the form of bronze figures, which appear both humorous and mysterious. A pioneer of the Dada and Surrealist movements, Ernst valued the medium of sculpture for its freedom, describing it as ''more pure play than painting.'' Born in Brühl, near Cologne, Ernst discovered an interest in art at an early age and taught himself painting and drawing alongside his studies in philosophy and art history. During his time as a student he met August Macke, and through the support of the artist and his circle of friends, Ernst was encouraged to pursue painting. He had his first exhibition in 1912 at the Friedmann Gallery in Cologne, but his career was interrupted in 1914 when he was conscripted for the First World War.Ernst perceived his return from the war as a kind of rebirth and shortly thereafter founded the Cologne Dada group together with artist friends in 1919. The movement propagated a conscious rejection of bourgeois norms and ideals but also as a rebellion on the part of the artists against art itself, in a society from which they felt increasingly distant due to their wartime experiences. Dada remained relatively short-lived as a movement, however, and as early as 1924 Max Ernst signed the ''Manifeste du Surréalisme'' in Paris. Similar to the Dadaists, the Surrealists used chance as an important principle in their work with the goal - based on the psychological theories of Sigmund Freud and Carl Jung - of giving pictorial form to the processes of the subconscious. Although Max Ernst left the movement as early as 1938 due to personal differences, this psychological approach remained of great importance for his works.In the late work ''Chéri Bibi'', a chick-like creature smiles crookedly out towards the viewer. Although composed of stark geometric shapes, the figure appears lively and mischievous. The pointed beak and shining eyes are reminiscent of the bird motifs that run like a thread through Ernst's entire oeuvre. The painter's perhaps most famous bird figure was the character ''Loplop'', which the artist integrated almost like a self-portrait in many of his works as a symbolic representation of his own ego. The title of this piece refers to Gaston Leroux's eponymous novel character Chéri Bibi: a butcher's boy who escapes from prison numerous times after being arrested for a crime he didn't commit.
Lot 2
Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', Entwurf 1978, Bronze, braun patiniert, Höhe 30 cm, signiert, 117/150 nummeriert, Plinthe absentLiteratur: Wvz. Egret 411/412Der deutsche Bildhauer und Architekt Arno Breker wurde 19. Juli 1900 in Wuppertal geboren. 1920 begann Breker sein Studium an der Düsseldorfer Kunstakademie. Sein großes Idol war der französische Bildhauer Auguste Rodin. Das Jahr 1936 bezeichnete der Künstler als "Wendepunkt" in seinem Leben. Die deutliche Anlehnung seiner Plastiken an die Antike erregte den Gefallen der Nationalsozialisten. Auf einmal erhielt Breker Aufträge und Auszeichnungen, trat 1937 in die NSDAP ein und wurde schnell als "Michelangelo des Dritten Reichs" gefeiert. So erhielt er 1938 den Auftrag die Büste Adolfs Hitlers zu fertigen. Nicht nur von den Nationalsozialisten, auch von dem französischen Vichy-Regime wurde der Künstler hoch angesehen. Nach Ende des Zweiten Weltkrieges floh Breker nach Bayern, wo er im Rahmen der Entnazifizierung freigesprochen wurde. Er erhielt zahlreiche private Aufträge, porträtierte viele namhafte Industrielle wie Hugo Henkel, Herbert Quandt und Rudolf-August Oetker, sowie die Politiker Konrad Adenauer und Ludwig Erhard. Ebenfalls wurde er mit Architekturprojekten wie dem Bau der Büro- und Wohngebäude für den Gerling-Konzern in Hagen 1955 beauftragt. Trotz zahlreicher Aufträge erhob sich in der Nachkriegszeit auch Kritik gegen den Künstler und seine idealisierende Ästhetik. Dennoch war Breker in der internationalen Künstlerwelt der Nachkriegszeit bekannt und pflegte besondere Freundschaft mit Salvador Dalí und Ernst Fuchs. Dalí sagte einst über die drei Künstler, die zusammen als "Goldenes Dreieck" bezeichnet wurden: "Breker-Dalí-Fuchs. Man kann uns wenden wie man will, wir sind immer oben." In seinen Arbeiten beschäftigte sich Breker zeitlebens mit dem menschlichen Körper in seiner vollen Schönheit. Ernst Fuchs beschrieb ihn sogar als "der wahre Prophet des Schönen". Der sinnlich-sinnende Mädchenakt "Die Erwartung" aus den 1970er Jahren ist ein besonders harmonisches Beispiel seines den Realismus mit dem Idealismus verbindenden Stils. Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', modelled in 1978, bronze, dark brown patina, height 30 cm, signed, numbered 117/150, plinth lackingGerman sculptor and architect Arno Breker was born 19th July 1900 in Wuppertal. In 1920 Breker began his studies at the Düsseldorf Art Academy. His great idol was the French sculptor Auguste Rodin. The artist described the year 1936 as a ''turning point'' in his life. The clear reference of his sculptures to antiquity attracted the favour of the National Socialists. Suddenly, Breker was receiving commissions and awards, joined the NSDAP in 1937, and was quickly hailed as the ''Michelangelo of the Third Reich.'' In 1938, for example, he was commissioned to make the bust of Adolf Hitler. The artist was highly respected not only by the National Socialists, but also by the French Vichy regime. After the end of World War II, Breker fled to Bavaria, where he was acquitted in the denazification process. He received numerous private commissions, portrayed many well-known industrialists such as Hugo Henkel, Herbert Quandt and Rudolf-August Oetker, as well as the politicians Konrad Adenauer and Ludwig Erhard. He was also commissioned with architectural projects such as the construction of the office and residential buildings for the Gerling Group in Hagen in 1955. Despite numerous commissions, criticism also arose against the artist and his idealised aesthetic in the post-war period. Nevertheless, Breker was well-known in the international art world of the post-war period and cultivated friendships with Salvador Dalí and Ernst Fuchs. Dalí once said of the three artists, who together were known as the ''Golden Triangle'': ''Breker-Dalí-Fuchs. You can turn us any way you want, we're always on top.'' Throughout his life, Breker dedicated himself in his work to the human body in all its beauty. Ernst Fuchs even described him as ''the true prophet of the beautiful.'' This sensuous, pensive female nude ''The Expectation'' from the 1970s is a particularly harmonious example of the way in which realism and idealism were combined in his works.
Lot 41
Bruno Bruni (1935 Gradera/Italien)'Zärtlichkeit', Bronze, Maße 76 cm x 40 cm x 1,7 cm, signiert, Gießerstempel, 8/250 nummeriert, partiell weiße Farbrückstände, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung HannoverDer italienische Bildhauer, Maler und Lithograf Bruno Bruni wurde 1935 in der kleinen Gemeinde Gradara geboren, kam jedoch 1960 nach Hamburg und ist einer der erfolgreichsten italienischen Künstler in Deutschland. Erste künstlerische Ausbildung erhielt Bruni im "Istituto d'Arte di Pesaro", wo er die Traditionen der Bildhauerei und Malerei Italiens kennenlernte. Später lernte er unter dem Maler Georg Gresko, der ihm dabei half, die Einflüsse des abstrakten Expressionismus und des Surrealismus in Einklang zu bringen. Nach dem frühen Tod Greskos führte Bruni sein Studium unter Paul Wunderlich fort. Bei diesem erlernte er die Technik der polychromen Lithografie, die Bruni wie kaum ein anderer beherrscht. Bruno Bruni ist hauptsächlich für seine erotischen Frauenakte bekannt. Die schlanken und sinnlichen Figuren werden oft zusammen mit geheimnisvollen männlichen Figuren oder rasenden Stieren präsentiert und kontrastiert. Viele seiner bildhauerischen und druckgrafischen Arbeiten gingen in Serienproduktion, was Bruni zu einem der erfolgreichsten Künstler Deutschlands machte. Entgegen dem besonders in den 1970er und 1980er Jahren vorherrschenden Trend zu immer mehr Abstrahierung in der Kunst, entschied sich Bruni für einen figürlichen Stil. Er sagte einst von sich: "Ich kann keine Abstrakten Werke malen. Wenn ich die Trends verfolgt hätte, wäre ich schon längst untergegangen." Bruno Bruni (1935 Gradera/Italy)'Zärtlichkeit', bronze relief, dimensions 76 cm x 40 cm x 1.7 cm, signed, foundry stamp, numbered 8/250, with some traces of white pigment, with purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, HanoverThe Italian sculptor, painter and lithographer Bruno Bruni was born in 1935 in the small municipality of Gradara, but came to Hamburg in 1960 and became one of the most successful Italian artists in Germany. Bruni received his first artistic training at the ''Istituto d'Arte di Pesaro'', where he became acquainted with the traditions of Italian sculpture and painting. Later he studied under the painter Georg Gresko, who helped him reconcile the influences of abstract expressionism and surrealism. After Gresko's early death, Bruni continued his studies under Paul Wunderlich. Under the latter he learned the technique of polychrome lithography, which Bruni mastered like no other. Bruno Bruni is mainly known for his erotic female nudes. The slender and sensual figures are often presented and contrasted together with mysterious male figures or raging bulls. Many of his sculptural and printed works went into serial production, making Bruni one of Germany's most financially successful artists. Contrary to the trend towards more and more abstraction in art, which was particularly prevalent in the 1970s and 1980s, Bruni opted for a figurative style. He once said of himself, ''I can't paint abstract works. If I had followed the trends, I would have gone under long ago.''
Lot 72
Rolf Szymanski (1928 Leipzig - 2013 Berlin) (F)'Eng sind die Schiffe II', 1978, Bronze, dunkel patiniert, Maße 68 cm x 75 cm x 28 cm, monogrammiert, 3/8 nummeriert, partiell mit Grünspan, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverLiteratur: Das Kunstwerk. Zeitschrift für moderne Kunst, Sept. 1985, S. 17 (Abb.)Der expressiv arbeitende Bildhauer Rolf Szymanski stellte den menschlichen Körper ins Zentrum seines Schaffens, besonders den weiblichen Körper, mit dem er auf existenzielle Zustände verweist. "Eng sind die Schiffe" ist der Titel mehrerer gezeichneter, radierter und plastischer Arbeiten des Künstlers, den er einem Gedicht des Dichters Saint-John Perse aus dem Jahr 1957 entlehnte. Der aufrecht hinter dem Heck eines Ruderboots stehende weiblicher Torso zeigt die Frau als Lotsin oder Wegführerin. Die Bronzegüsse seiner Arbeiten verleugnen ihre Entstehung aus Ton- und Gipsmodellen nicht, im Gegenteil geht der Arbeitsprozess des Aufschichtens von Gipsmasse unmittelbar-sinnlich auf die Bronze über und lässt die Faktur, das Gemachtsein, als ästhetisches Moment weiterwirken. So sind die amorph wirkenden Figuren mit offenen, krustigen und schrundigen Oberflächen ein Sinnbild für Brüche und Unwägbarkeiten des Lebens. Zahlreiche Arbeiten Szymanskis befinden sich als Großplastiken im Öffentlichen Raum zum Beispiel in Hannover, Berlin und München. Rolf Szymanski (1928 Leipzig - 2013 Berlin) (F)'Eng sind die Schiffe II', 1978, bronze, dark patina, dimensions 68 cm x 75 cm x 28 cm, monogrammed, numbered 3/8, partial verdigris, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverLiterature: Das Kunstwerk. Zeitschrift für moderne Kunst, Sept. 1985, S. 17 (Abb.)The expressive sculptor Rolf Szymanski placed the human body at the centre of his work, especially the female body, with which he refers to existential states. ''Narrow are the Ships'' is the title of several of the artist's drawn, etched and sculptural works, which he borrowed from a 1957 poem by the poet Saint-John Perse. Standing upright behind the stern of a rowing boat, the female torso depicts the woman as pilot or guide. The bronze casts of his works do not attempt to conceal their origin from clay and plaster models; on the contrary, the working process of layering plaster mass is transferred directly and sensually to the bronze and allows the facture, the creation process, to form a part of the works' aesthetic appeal. Thus the amorphous figures with their rough, crusted and chapped surfaces are a symbol of the fractures and the imponderables of life. Numerous works by Szymanski can be found as large sculptures in public spaces, for example in Hanover, Berlin and Munich.
Lot 21
Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Surrealistischer Engel', 1984, Bronze, dunkel patiniert, auf Messingsockel, Maße (mit Sockel) 56 cm x 24,5 cm x 12 cm, signiert, Gießerstempel, 248/1500 nummeriert, anbei: Broschüre zur Edition Rom Y Rom, Heidelberg"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)Surrealist angel, 1984, bronze, dark brown patina, brass plinth, height with plinth 56 cm x 24.5 cm x 12 cm, signed, numbered 248/1.500, with foundry stamp, published by Edition Rom Y Rom, Heidelberg, with edition brochure“My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.” (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.
Lot 51
Henry Moore (1889 Castleford/Yorkshire - 1986 Much Hadham) (F)'Figures with Sky Background I', Farblithografie auf Bütten, 46 cm x 45 cm Blattmaß, 27 cm x 27,5 cm Plattenmaß, signiert, 30/50 nummeriert, verso betiteltProvenienz: Privatsammlung HannoverHenry Moore wurde am 30. Juli 1898 in Castleford im britischen West Yorkshire geboren und zählt zu den bedeutendsten englischen Bildhauern des 20. Jahrhunderts. Moore, der am besten für seine großformatigen Skulpturen bekannt ist, hinterließ auch ein beachtliches graphisches Oeuvre. Viele seine Grafiken sind als zweidimensionale Vorstudien zu seinen Werken in Marmor oder Bronze zu verstehen oder greifen auf die unverkennbare Formensprache seiner bildhauerischen Arbeiten zurück, dabei war das zentrale Thema seiner Arbeit der menschliche Körper, überwiegend der weibliche. Bei zahlreichen Aufenthalten in Paris knüpfte der Künstler Kontakte mit der Avantgarde, insbesondere mit Constantin Brancusi und Pablo Picasso. Trotz seines Aufstiegs zu einem der erfolgreichsten britischen Künstler der Nachkriegszeit, lebte Moore, der als siebtes von acht Kindern einer Bergarbeiterfamilie aufwuchs, sehr sparsam, sodass der größte Teil seines Geldes in die Finanzierung der Henry Moore Stiftung floss, die bis heute die Bildung und Förderung im Bereich der Kunst unterstützt. Henry Moore (1889 Castleford/Yorkshire - 1986 Much Hadham) (F)'Figures with Sky Background I', lithograph in colours on laid paper, sheet size 46 cm x 45 cm, plate size 27 cm x 27.5 cm, signed, numbered 30/50, titled on the reverseProvenance: Private collection, HanoverHenry Moore was born on 30th July 1898 in Castleford in West Yorkshire, England, and was one of the most important English sculptors of the 20th century. Moore, who is best known for his large-scale sculptures, also left behind a considerable graphic oeuvre. Many of his prints are to be understood as two-dimensional preliminary studies for his works in marble or bronze or draw upon the unmistakable formal language of his sculptural works. The central theme of his work was the human body, predominantly the female. During numerous stays in Paris, the artist established contacts with the avant garde, especially with Constantin Brancusi and Pablo Picasso. Despite his rise to become one of the most successful British artists of the postwar period, Moore, who grew up as the seventh of eight children in a miner's family, lived very frugally, so that most of his money went into funding the Henry Moore Foundation, which to this day supports education and promotion in the field of art.
Lot 8
Georg Kolbe (1877 Waldheim - 1947 Berlin)'Sitzende', Entwurf von 1926, Bronze, gold-braun patiniert, Höhe 28,6 cm, monogrammiert, Gießerstempel H. Noack Berlin, Expertise von Frau Dr. Ursel Berger anbeiProvenienz: Wir danken Frau Dr. Ursel Berger für die Bestätigung der Echtheit der Bronze, Privatsammlung Hannover (auf Anfrage)Literatur:Wvz. Berger, Ursel: Georg Kolbe - Leben und Werk mit dem Katalog der Kolbe-Plastiken im Georg-Kolbe-Museum, Berlin 1990, S. 293f., Kat. 91.Binding, Rudolf, G.: Vom Leben der Plastik. Inhalt und Schönheit des Werkes von Georg Kolbe, 8. Aufl., Berlin 1941, S. 40.Heise, Carl Georg: Georg Kolbe. Zu seinen neuen Arbeiten, in: Das Kunstblatt, 11 (1927), S. 382-392, S. 392.Justi, Ludwig: Georg Kolbe, Berlin 1931, Abb. 22.Kolbe, Georg: Plastik und Zeichnungen, Aufnahmen im Kunstgeschichtlichen Archiv des Seminars, Magdeburg a.d. Lahn 1931, Taf. 54, 55.Georg Kolbe wurde am 15. April 1877 im sächsischen Waldheim geboren und zählt zu den erfolgreichsten deutschen Bildhauern in der ersten Hälfte des 20. Jahrhunderts. In seiner Schaffenszeit zwischen 1910 und 1949 sind verschiedene Werkphasen feststellbar. Anfänglich studierte er von 1891 bis 1898 Malerei in München und Dresden. 1887 folgte ein halbjähriger Aufenthalt in Paris, wo er erstmalig Plastiken von Auguste Rodin und Louis Tuaillon begegnete. Nach dieser Erfahrung wandte er sich zunehmend von der Malerei ab hin zur Bildhauerei. Von 1898 bis 1901 folgte ein Aufenthalt in Rom, wo unter der Anleitung des Bildhauers Louis Tuaillon erste Plastiken entstanden. 1902 kehrte Kolbe, nachdem er auf zahlreichen Reisen durch Italien, Frankreich, Belgien und Holland neue Impulse und Eindrücke gewinnen konnte, zurück nach Deutschland und zog nach Berlin. Dort gab er die Malerei auf und wurde 1905 als Bildhauer in die "Berliner Sezession" aufgenommen. 1913 wechselte er schließlich zur "Freien Sezession", der zu dieser Zeit wichtigsten Künstlergemeinschaft Berlins. Im selben Jahr unternahm Kolbe eine Reise nach Ägypten, die für die Entwicklung seines Stils maßgeblich war. Nach dem Ersten Weltkrieg wurde Kolbe vom Preußischen Kultusministerium ein Professorentitel verliehen. Ein Jahr später, 1919, wurde er Mitglied der Preußischen Akademie der Künste und Vorsitzender der "Freien Sezession". In seinen plastischen Werken war Kolbe um eine harmonische, zeitgemäße Personendarstellung bemüht. Besonders in den 1920er Jahren konzentrierte er sich auf die Aktplastik und modellierte Frauenfiguren, die bei der Öffentlichkeit Anklang fanden und dem Bildhauer zahlreiche Ausstellungen in Deutschland, Europa und den USA bescherten. Die Bronzen Kolbes wurden begehrte Objekte zeitgenössischer Sammler. Die weiblichen Sitzfiguren, mit denen er sich auch in zahlreichen Zeichnungen beschäftigt hatte, erscheinen in komplexen, anatomisch ausdrucksstarken Haltungen und weisen eine offene, bewegte und impressionistische Oberflächengestaltung auf. In vielen Fällen, so auch bei der Sitzenden aus dem Jahr 1926, diente ihm eine gewisse Hanna Weber als Modell. Die "Sitzende" präsentiert sich anmutig dem Betrachter mit angezogenen Beinen, welche sie mit ihren Armen umschlingt. Die Figur war bei Sammlern außerordentlich beliebt, so dass über die Zeit ca. 80 Ausformungen gegossen wurden, davon 14 posthum. Georg Kolbe (1877 Waldheim - 1947 Berlin)'Sitzende', modelled in 1926, bronze, golden brown patina, height 28.6 cm, monogrammed, foundry stamp of H. Noack Berlin, with an expertise from Mrs. Dr. Ursel BergerProvenance: We are thankful to Mrs. Dr. Ursel Berger for confirming the authenticity of this work, Private collection, Hanover (upon request)Literature:Cat. rais. Berger, Ursel: Georg Kolbe - Leben und Werk mit dem Katalog der Kolbe-Plastiken im Georg-Kolbe-Museum, Berlin 1990, p. 293f., Kat. 91.Binding, Rudolf, G.: Vom Leben der Plastik. Inhalt und Schönheit des Werkes von Georg Kolbe, 8th ed., Berlin 1941, p. 40.Heise, Carl Georg: Georg Kolbe. Zu seinen neuen Arbeiten, in: Das Kunstblatt, 11 (1927), p. 382-392, p. 392.Justi, Ludwig: Georg Kolbe, Berlin 1931, illus. 22.Kolbe, Georg: Plastik und Zeichnungen, Aufnahmen im Kunstgeschichtlichen Archiv des Seminars, Magdeburg a.d. Lahn 1931, pl. 54, 55.Georg Kolbe was born on 15th April 1877 in Waldheim, Saxony, and was one of the most successful German sculptors of the early 20th century. Various phases can be identified in his creative period between 1910 and 1949. He first studied painting in Munich and Dresden from 1891 to 1898, and in 1887 he embarked upon on a six-month stay in Paris , where he first encountered the sculptures of Auguste Rodin and Louis Tuaillon. This experience led him to increasingly turn away from painting in favour of sculpture. He resided in Rome from 1898 to 1901, where he created his first sculptures under the guidance of the Louis Tuaillon. Kolbe returned to Germany in 1902 and moved to Berlin, having gained new impulses and impressions during numerous trips through Italy, France, Belgium and Holland. He eventually gave up painting and in 1905 was accepted as a sculptor in the ''Berlin Secession''. In 1913 he finally joined the ''Freie Sezession'', the most important artists' community in Berlin at that time. In the same year, Kolbe undertook a trip to Egypt, which became decisive for the development of his style. After World War I, he was awarded a professorship by the Prussian Ministry of Culture. A year later, in 1919, he became a member of the Prussian Academy of Arts and chairman of the ''Freie Sezession''. In his sculptures, Kolbe aimed to create harmonious figures appealing to the tastes of the era. Especially throughout the 19220s, he concentrated on nudes and modelled numerous female figures that were popular among a wide audience and were included in numerous exhibitions in Germany, Europe and the USA. Kolbe's bronzes were highly sought after among contemporary collectors. His seated female figures, which he planned in numerous drawings, are shown in complex anatomically expressive poses and often display a loose, impressionist surface structure. In many of these works, as was also the case with this figure from 1926, a girl named Hanna Weber was his model. This figure sits before the beholder with her legs drawn up towards her, holding them with her arms. The figure was so popular with collectors that over time around 80 casts were made, 14 of which posthumously.
Lot 77
Clemens Pasch (1910 Sevelen - 1985 Düsseldorf) (F)Mädchen im Mantel, 1962, Bronze, grün-braun patiniert, auf Steinsockel, Höhe (mit Sockel) 76 cm, signiertLiteratur: Wvz. Gertz/Günther 73Der Düsseldorfer Bildhauer Clemens Pasch schuf überwiegend Figuren in betont gelängter Statur, die in statuarischer Positur, oft mit gestreckten Gliedmaßen, oder in lässiger Beiläufigkeit dastehen. In späteren Arbeiten finden sich Körperrundungen wie Oberschenkel und Hüften des weiblichen Körpers stark betont. Eine Reihe seiner Arbeiten finden sich als Großskulpturen im öffentlichen Raum. Es geht dem Künstler nicht um die Abbildung individueller Figuren und Modelle, sondern um den Körper als plastische Erscheinung in seiner Beziehung zur räumlichen Umgebung. Das sitzende "Mädchen im Mantel" setzt dazu gewissermaßen einen Kontrapunkt. Ihr Körper ist von einem Kapuzenumhang vollständig verhüllt, der in seiner ästhetischen Beschaffenheit die Grenze zwischen Abbildfunktion und der reinen schrundigen Materialität der rohen Bronze markiert, während die im Schoß ruhenden Hände und das Gesicht naturalistisch ausgebildet sind. Materialität, Bearbeitungsspuren und aufgerissene Oberflächen sowie der rohe Natursteinsockel treten in ein spannungsgeladenes Verhältnis zur grazilen Ausarbeitung der offenen Körperpartien des Mädchens. Clemens Pasch (1910 - 1985)Girl in a cloak, bronze with greenish brown patina on a stone base, height with base ca. 74 cm, signedLiterature: Wvz. Gertz/Günther 73The Düsseldorf sculptor Clemens Pasch mainly created elongated figures of statuesque posture, often standing in casual poses. In later works, curves of the body such as thighs and hips of the female body are strongly emphasized. A number of his works can be found as large sculptures in public spaces. The artist is not concerned with the depiction of individual figures and models, but with the body as a sculptural form in its relationship to its spatial environment. The sitting ''Girl in a Coat'' sets a counterpoint to this, so to speak. Her body is completely enveloped by a hooded cloak, which in its aesthetic quality marks the boundary between the function of the image and the pure, rounded materiality of the raw bronze, while the hands resting in the lap and the face are naturalistically formed. The materiality, the traces left by tools, the roughness of the surface as well as the raw natural stone base are placed in a tense relationship to the gracefully rendered uncloaked parts girl's body.
Lot 66
Fritz Wotruba (1907 Wien - 1975 ebenda)'Kopf', 1958, Bronze, schwarz patiniert, auf Steinsockel, Maße 14,5 cm x 13 cm x 10,5 cm, signiert, 95 nummeriert, Sockel partiell beschädigtProvenienz: Privatsammlung HannoverLiteratur: Wvz. Janett 212Fritz Wotruba wurde am 23. April 1907 in Wien als Sohn eines tschechisch-ungarischen Imigrantenpaares geboren. Er gilt als einer der bedeutendsten österreichischen Bildhauer der Moderne. Der Wiener Künstler löste in seinen Werken zunehmend figürliche Komponenten zu geometrischer Abstraktion auf und trug durch seine blockhaft wirkenden und mit strenge behafteten Plastiken maßgeblich zur Erneuerung der österreichischen Kunstszene nach 1945 bei. 1926 studierte er an der Kunstgewerbeschule Bildhauerei in der Klasse von Anton Hanak. Anschließend nahm er von 1928 bis 1929 an der Klasse von Eugen Steinhof teil. Schon in der Frühphase seines künstlerischen Schaffens neigte er dazu seine menschlichen Darstellungen, ähnlich wie Egon Schiele und Anton Hanak, deutlich zu strecken und zunehmend auf die Ausführung von Details zu verzichten. Für Wotruba war die Gesamterscheinung des Werkes entscheidend, so spielten die Details nur eine sekundäre Rolle. Besonders geprägt wurde die Kunst Wotrubas von Anton Hanak, Egon Schiele, Gustav Klimt, Wilhelm Lembruck, Georg Minnes und Oskar Kokoschka. 1939 musste der Künstler zusammen mit seiner Frau vor den Nationalsozialisten fliehen und für mehrere Jahre in die Schweiz emigrieren. Als er 1945 nach Österreich zurückkehrte gelang es ihm eindrucksvoll an frühere Erfolge anzuknüpfen. Seine Werke fanden auf internationalen Ausstellungen in Europa und den USA Beachtung. Fritz Wotruba (1907 Vienna - 1975 ibid)'Kopf', 1958, bronze on stone plinth, dimensions 14.5 cm x 13 cm x 10.5 cm, signed, dated 95, plinth slightly damagedProvenance: Private collection, HanoverLiterature: Cat. rais. Janett 212Fritz Wotruba was born in Vienna on 23rd April 1907, the son of a Czech-Hungarian immigrant couple. He is considered one of the most important Austrian sculptors of modernism. The Viennese artist increasingly dissolved figurative components into geometric abstraction in his works and made a significant contribution to the renewal of the Austrian art scene after 1945 through his austere, block-like sculptures. In 1926 he studied sculpture at the Kunstgewerbeschule in the class of Anton Hanak. He then took Eugen Steinhof's class from 1928 to 1929. Even in the early phase of his artistic work, he tended to stretch his human representations considerably, similar to Egon Schiele and Anton Hanak, and increasingly abandoned the execution of details. For Wotruba, the overall appearance of the work was decisive, so the details played only a secondary role. Wotruba's art was particularly influenced by Anton Hanak, Egon Schiele, Gustav Klimt, Wilhelm Lembruck, Georg Minnes and Oskar Kokoschka. In 1939 the artist had to flee from the Nazis together with his wife, and the couple emigrated to Switzerland for several years. When he returned to Austria in 1945, he succeeded impressively in continuing the successes of his earlier career, and his works attracted much attention at international exhibitions throughout Europe and the USA.
Lot 37
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Kleine Nike', 1975, Bronze, dunkel patiniert, partiell poliert, auf schwarz-weiß marmoriertem Steinsockel, Höhe (mit Sockel) 58 cm, signiert, Gießerstempel, 416/1000 nummeriert, Sockel partiell beschädigt, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverLiteratur: Wvz. Spielmann 24"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn. 1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge.Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.In Anspielung auf ihr berühmtes Vorbild, der monumentalen Nike von Samothrake im Louvre, hat Paul Wunderlich seine unverhüllte geflügelte Siegesgöttin aus der griechischen Mythologie mit zarten, langgezogenen Beinen und einer sinnlich glatten Oberfläche dargestellt. Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Kleine Nike', bronze with dark patina, partially polished, on a black and white marble plinth, height (with plinth) 58.5 cm, signed, foundry stamp, numbered 416/1,000, plinth partially damaged, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverLiterature: Cat. rais. Spielmann 24''His works are recognised, appreciated, and purchased by a wide audience throughout the world'', Jens Christian Jensen praised the artist, ''Connoisseurs are in agreement: Paul Wunderlich is the leading master of Fantastic Realism and one of the few stylistically pioneering artists of our time.''Paul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka.From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg. In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes.Based upon its famous predecessor, the Winged Victory of Samothrace, Paul Wunderlich depicts his version of the nude goddess of victory from Greek mythology with smooth, elongated legs and soft sensual skin.
Lot 55
Joannis Avramidis (1922 Batumi, Georgien - 2016 Wien)'Dreifiguren-Relief', 1976, Bronze, dunkel patiniert, Maße 40 cm x 25 cm x 5 cm, signiert, Gießerstempel, 172/400 nummeriert, partiell weiße Farbrückstände, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverDer griechisch-österreichische Künstler Joannis Avramidis wurde 23. September 1922 in Batumi geboren und ist insbesondere für seine abstrakt-figürlichen Arbeiten bekannt. 1937 begann er ein Studium der Malerei an der Kunstakademie von Batumi, musste dies jedoch abbrechen, da er, aufgrund der von Stalin verordneten ethnischen Säuberungen, seine Heimatstadt verlassen musste. Später studierte er von 1945 bis 1949 in Wien an der Akademie der bildenden Künste Malerei bei Robin Christian Andersen und von 1953 bis 1956 Bildhauerei bei Fritz Wotruba. Von der klassischen Antike inspiriert, beschäftigte er sich in seinen Werken mit Proportionen und Bewegungen. Er verbindet das Figürliche mit dem Abstrakten, um auf diese Weise Arbeiten zu schaffen, deren sanfte und stilisierte Formen an menschliche Figuren erinnern ohne diese gänzlich abzubilden. Joannis Avramidis (1922 Batumi, Georgia - 2016 Vienna)'Dreifiguren-Relief', 1976, bronze, dimensions 40 cm x 25 cm x 5 cm, signed, foundry stamp, numbered 172/400, the upper edge with some traces of pigment, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverThe Greek-Austrian artist Joannis Avramidis was born 23rd September 1922 in Batumi and is especially known for his abstract-figurative works. In 1937 he began to study painting at the Art Academy of Batumi, but had to abandon his studies when he was forced to leave his hometown due to the ethnic cleansing ordered by Stalin. He later studied painting under Robin Christian Andersen at the Academy of Fine Arts in Vienna from 1945 to 1949 and sculpture with Fritz Wotruba from 1953 to 1956. Inspired by classical antiquity, he concerned himself in his works with proportions and movement. He combines the figurative with the abstract to create sculptures whose soft and stylized forms are reminiscent of human figures without depicting them definitively.
Lot 59
Rainer Kriester (1935 Plauen - 2002 Castellaro, Italien)Stiefel mit Hand, Bronze, Maße 51 cm x 29 cm x 6,5 cm, signiert, 3/4 nummeriertProvenienz: Privatsammlung HannoverDer deutsche Bildhauer und Maler Rainer Kriester wurde am 12. Juni 1935 in Plauen geboren. Er verließ kurz nach seinem Medizinstudium die ehemalige DDR und begann 1961 an der Berliner Kunsthochschule Malerei und Bildhauerei zu studieren. Seine Arbeiten stellen zumeist abstrahierenden Köpfe da, die oft mit Nieten und Schnüren überzogen sind und dadurch eingeschlossen oder gefangen erscheinen. Rainer Kriester (1935 Plauen - 2002 Castellaro, Italy)Boot with hand, bronze, dimensions 51 cm x 29 cm x 6.5 cm, signed, numbered 3/4Provenance: Private collection, HanoverThe German sculptor and painter Rainer Kriester was born on 12th June 1935 in Plauen. He left the former GDR shortly after studying medicine and began studying painting and sculpture at the Berlin Art Academy in 1961. His works mainly depict abstract heads, often covered with rivets and cords, making them appear enclosed or trapped.
Lot 39
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Minotaurus', 1977, Bronze, dunkel patiniert, partiell poliert, Edelstahl, Messing, Maße 78 cm x 18,5 cm x 14,7 cm, signiert, Gießerstempel, 159/2000 nummeriert, Stahlrohr partiell mit Rissen, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung HannoverLiteratur: Wvz. Spielmann 37"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn. 1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge. Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen. Die Bronze zeigt das mythologische Mischwesen aus Mann und Stier, Minotaurus, als geharnischten Krieger mit Vezier. Aus einem maskenartigen Helm wachsen lange nach oben aufgestellte und leicht geschwungene Hörner. Der Oberkörper, teils verdeckt durch eine Panzerung, präsentiert sich dem Betrachter weitgehend nackt mit erregtem Glied. Wie bei einem antiken Torso sind nur Fragmente von Rumpf, Kopf und Füßen übergeblieben, die von einer Stange miteinander verbunden werden. Der Minotaurus steht mit einem Bein im dreidimensionalen Labyrinth auf dem Sockel. Seine Glieder werden unnatürlich auseinandergerückt und entsprechen nicht der natürlichen Körpergröße. "Auf diese Weise nimmt sich die Gestalt einerseits wie ein die Menschengröße überragendes Götterbild, andererseits wie ein menschliche Proportionen entbehrendes Wesen aus." (Spielmann, S. 98) Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Minotaurus', 1977, bronze, dark patina, partially polished, height 78 cm, signed, foundry stamp, numbered 159/2,000, the steel rod slightly cracked, with purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, HanoverLiterature: Cat. rais. Spielmann 37''His works are recognised, appreciated, and purchased by a wide audience throughout the world'', Jens Christian Jensen praised the artist, ''Connoisseurs are in agreement: Paul Wunderlich is the leading master of Fantastic Realism and one of the few stylistically pioneering artists of our time.''Paul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka. From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg. In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes. This bronze depicts the mythological Minotaur - a half bull, half man creature - as an armoured warrior with a visor covering his face. Long, upturned and slightly curved horns grow from the mask-like helmet. The torso, partially concealed by armour, is largely nude and with erect limbs. Like an ancient statue, only fragments of the torso, head and feet remain, joined together by a rod. The Minotaur stands with one leg in a three-dimensional labyrinth on the pedestal. Its limbs are spread in an unnatural manner and do not correspond to the size of its body. ''This causes the figure on the one hand to appear like an image of a god, towering above human size, and on the other like a creature without human proportions.'' (Spielmann, p. 98)
Lot 1
Hans Gerwing (1893 Gelsenkirchen - 1974 Düsseldorf)Knabenakt, Bronze, braun patiniert, Höhe 49 cm, signiert, partiell Grünspan, minimale KratzerDer deutscher Bildhauer Hans Gerwing besuchte die Kunstgewerbeschule in Dortmund und wurde später Meisterstudent unter Karl Janssen und Richard Langer an der Kunstakademie in Düsseldorf. In seinen Arbeiten als Bildhauer war er vor allem von Georg Kolbe, Fritz Klimsch und Arno Breker beeinflusst. Mit letzterem verband ihn eine tiefe Freundschaft und ein künstlerischer Austausch bis zu seinem Tod. Hauptmotive seiner Arbeiten waren neben dem Bergbau auch Sportler, weibliche Akte, Tanzende und Tiere. Darüber hinaus erhielt er zahlreiche öffentliche Aufträge für Denkmäler. Hans Gerwing (1893 Gelsenkirchen - 1974 Düsseldorf)Nude youth, bronze, brown patina, height 49 cm, signed, some slight verdigris, minor scratchesGerman sculptor Hans Gerwing attended the Kunstgewerbeschule in Dortmund and later became a master pupil under Karl Janssen and Richard Langer at the Kunstakademie in Düsseldorf. In his work as a sculptor he was influenced above all by Georg Kolbe, Fritz Klimsch and Arno Breker. With the latter he maintained a deep friendship and an artistic exchange until his death. The main motifs of his works were miners, athletes, female nudes, dancers and animals. In addition, he received numerous public commissions for monuments.
Lot 38
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Amazone', 1976, Bronze, dunkel patiniert, partiell poliert, auf schwarz-weiß marmoriertem Steinsockel, Maße (mit Sockel) 56 cm x 82 cm x 12 cm, signiert, Gießerstempel, 130/500 nummeriert, an den Sockelkanten bestoßen, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung HannoverLiteratur: Wvz. Spielmann 29"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn. 1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge.Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.In Anspielung auf die "männergleichen" Kriegerinnen aus mythischer Zeit, sitzt die unverhüllte, zart modellierte Amazone mit imaginär gespantem Bogen wie auf einem Pferd reitend. Deutlich wird hier das Motiv der Antike, welchem sich Wunderlich gern bediente, denn die Amazone vertritt einen im Mythischen verwurzelten Archetypus. Die Amazone stellt das Endglied einer Reihe der in der Fläche gedrehten Sitzfiguren Wunderlichs dar. Dieser wollte, dass die Figur so flach wie ein Relief ist, gleichzeitig sollte aber die Illusion großer räumlicher Tiefe geweckt werden. Besonders an der Schmalseite wird die geringe Tiefe der Figur erkennbar. Die Amazone tritt dem Betrachter als kühle und distanzierte Kriegerin gegenüber. Ihr haftet etwas technisch-mechanisches an, was gemäß Spielmann, das bewusst betonte Merkmal der Figur sei und ihren erotischen Reiz ausmache.In seinem Oeuvre nehmen Industrie- und Schiffsmotive, wie der Dampfer A4 mit Ladekran, einen unerwarteten Raum ein und wirken in ihrer auf das Wesentliche reduzierten Abbildung wie Kinderbuchillustrationen. Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Amazone', bronze, dark patina, partially polished, mounted on a black and white marbled plinth, dimensions (with plinth) 56 cm x 82 cm x 12 cm, signed, foundry stamp, numbered 130/500, the edges of the plinth chipped, with purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, HanoverLiterature: Cat. rais. Spielmann 29''His works are recognised, appreciated, and purchased by a wide audience throughout the world'', Jens Christian Jensen praised the artist, ''Connoisseurs are in agreement: Paul Wunderlich is the leading master of Fantastic Realism and one of the few stylistically pioneering artists of our time.''Paul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka.From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg. In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes.In an allusion to the ''man-like'' warrior women of mythical times, the nude, delicately modelled Amazon sits with an imaginary bow as if riding a horse. The ancient motif of the Amazon, which Wunderlich used often in his works, is an archetype rooted in myth. The Amazon is the final link in a series of works in which Wunderlich depicted seated figures rotated at an angle. His aim was to create figures which were flat like a relief, but at the same time gave the illusion of great spatial depth. The flatness of the figure is particularly apparent when viewed from one side. The Amazon confronts the viewer as a cool and distanced warrior. There is a technical, mechanical quality about her, which, according to Spielmann, is a deliberately emphasised feature of the figure that constitutes much of her erotic appeal.
Lot 802
Full title: A Chinese partly gilded bronze censer with jade-topped wooden cover, Xuande mark, KangxiDescription:H.: 23 cm - L.: 13 cm (incl. the cover and the stand)H.: 15 cm - L.: 13 cm (the censer)The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 800
Full title: An exceptionally large Chinese silver-inlaid bronze figure of Guanyin, Yutang Shi Sou mark, QingDescription:H.: 114,5 cm (incl. the stand)H.: 92 cm (the figure)Ref.:- Bonham's, San Francisco, Dec. 13, 2010, lot 5151, for a slightly larger example of comparable quality. (sold USD 302.000) (link available on our website)- Bonham's, Hong Kong, May 27, 2021, lot 27, for a somewhat smaller example dated to the 16th/17th C. (sold HKD 4.377.500) (link available on our website)The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 804
Full title: A Chinese semi-precious stone embellished gilt-bronze wall clock, Canton workshop and George Prior of London for the Chinese market, QianlongDescription:H.: 21,5 cm (the clock)L.: 3,5 cm (the key)The dial signed George Prior. He was active from 1765 until 1812, working from his English workshop located at 31 Prescot Street, Goodman's Fields, London. As a clock and watch maker, he specialised in clocks and watches for the Turkish market.Ê Ref.:- Christie's, Paris, June 22, 2016, lot 306, for a related example. (link available on our website)- Christie's, London, Nov. 10, 2015, lot 75, for a related example. (link available on our website)- Sotheby's, London, July 12, 2006, lot 463, for a related example. (link available on our website)The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Loading...-
350105 item(s)/page