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Lot 400
Buddha Amitayus, large bronze sculpture , sitting on Lotus base, hand with earth touch and holding bowl , bronze cast with rich chased and engraved decorations and symbols , original gilding and ebonized hair ,peak finial missing ,in two parts ( base and figure ), original copper bottom plate with chased ornament, inside verdigris and coronations , South China 18/19th Century. 56 cm height
Lot 119
A Nordic basalt battle axe Neolithic Period, circa 2500 B.C. Of ovate cross-section, swelling around the shaft-hole, with knobbed butt, 22cm longFootnotes:Provenance:with Bastiaan Blok, the Netherlands.Celtic and Prehistoric Museum collection, Ireland, acquired from the above in 1997.For a similar Danish Middle Neolithic battle axe cf. A. MacGregor (ed.), Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green, Oxford, 1987, p. 74, fig. 4.171.This axe has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com
Lot 85
A Roman bronze Cupid's head appliqué Circa 1st-2nd Century A.D.The plump features framed by luxuriant curling hair, with inlaid eyes and full lips, 5.1cm highFootnotes:Provenance:Anonymous sale; Gorny & Mosch, Munich, 14 December 2005, lot 330.For further information on this lot please visit Bonhams.com
Lot 44
A Cypriot black-topped red polished ware jug Middle Bronze Age, circa 2000-1800 B.C.With beaked spout and globular body, the handle dividing in two at the shoulder, a pierced lug at the base of the neck, with incised zig-zag and nodule decoration, inscribed in capital letters in white ink: 'CYPRUS.', 18cm highFootnotes:Provenance:J. O. Edwards (1911-2000) collection, UK, acquired prior to 5 April 1983; and thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 105
A Byzantine sheet bronze and silver processional cross Circa 10th-12th Century A.D.The arms formed of sheet bronze around an iron core, the flared tips covered in conical polished gilt bronze, with a central gilt copper disc medallion on the front and back secured by a domed pin, with punched repoussé decorated borders and figures including the figure of Christ enthroned on the upper arm, the lateral arms each decorated with a rosette, the lower arm with a repoussé saint, the reverse applied with a shorter silver sheet cross with punch decorated borders, with the figures of Christ on the upper arm, the Virgin Orans on the lower arm, and angels on the lateral arms, 39cm high, 23.2cm acrossFootnotes:Provenance:with Korban Ltd., London, June 1989.For a sheet brass cross of similar size and date see D. Buckton (ed.), Byzantium. Treasures of Byzantine Art and Culture, London, 1994, p.148, no. 161. Such crosses were carried on feast days such as Palm Sunday and the Elevation of the Cross, and when not in use may have been displayed in church. These processional crosses were designed to be seen by the faithful from both the front and back.For further information on this lot please visit Bonhams.com
Lot 88
A Roman bronze Venus Circa 2nd-3rd Century A.D.Solid cast, the goddess depicted nude and standing in contrapposto, with her weight on her right leg, the left bent at the knee, with sensuously modelled body, the eyes inlaid with silver, her wavy hair centrally-parted and bound in a chignon at the nape of the neck, with corkscrew curls falling onto her shoulders, wearing a crescentic diadem and a freely moving separately-made bracelet, her right hand reaching up to clasp a lock of hair, 19.8cm highFootnotes:Provenance:Private collection, St Louis, MO.Anonymous sale; Sotheby's, New York, 7 June 2005, lot 40.Anonymous sale; Pierre Bergé & Associés, Paris, 10 October 2017, lot 291.Private collection, Hong Kong, acquired at the above sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 103
An Anglo-Saxon bronze square-headed brooch Circa 525-575 A.D.The rectangular head-plate decorated with a notched linear design, with ribbed arched bow, the footplate of trefoil lobed form, the two lateral lobes with stylised birds' heads on the shoulder, 13.5cm longFootnotes:Provenance:Discovered in Hambleton, North Yorkshire, 23 August 2008 (PAS recorded and returned to owner, no. NCL-82EDE3).with ArtAncient, London, acquired in 2014.Celtic and Prehistoric Museum collection, Ireland.For a brooch of similar form see A. MacGregor & E. Bolick, A Summary Catalogue of the Anglo-Saxon Collections, Ashmolean Museum, Oxford, 1993, p. 118, fig. 13.13.This brooch has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian, Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com
Lot 143
An Egyptian bronze Osiris-Canopus Roman Period, circa 1st-2nd Century A.D.The canopic jar body cast in relief with a winged scarab supporting a sun-disc with uraei, a naos surmounted by falcons above, flanked on each side by three deities, including Harpocrates, surmounted biy the head of Osiris wearing a striped tripartite wig and double feather crown with ram's horns, sun disc and uraeus, and a small false beard, dotted hatching at the shoulder, a wreath around the foot, a falcon on the reverse wearing a sun disc, 12cm highFootnotes:Provenance:Private collection, Geneva. Private collection, Europe, acquired from the above in 2006.Cf. a similar example at the Allard Pierson Museum, Amsterdam, acc. no. 8023 - the hatching at the shoulder is described as a mesh with pearls, and this example is on an offering-table shaped pedestal.The god Osiris-Canopus was named for the city of Canopus on the western coast of the Nile delta, where the cult of the deity flourished. Iconographically, the jar is thought to represent the abundance brought by the waters of the Nile. Imagery of the god appeared on Alexandrian coins from the 1st Century A.D. onwards, reaching prominence in the 2nd Century in Egypt and beyond. After a visit to Canopus the Emperor Hadrian had an image made in basalt of Osiris-Canopus for his villa at Tivoli (now in the Vatican Museums, Gregoriano Egizio, inv. no. 22852).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 121
A large Danish thin-butted flint axe Early-Mid Neolithic Period, circa 4000-3000 B.C.Of mottled yellow-brown flint, some cortex remaining at the butt, the elongated trapezoid form with curved cutting edge and butt, 26.5cm longFootnotes:Provenance:Thorvald Rasmussen collection, Denmark. Celtic and Prehistoric Museum collection, Ireland, acquired from the above 1994-1995.This axe has been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com
Lot 93
Three Roman bronze satyr mask appliqués Circa 1st-2nd Century A.D.Comprising a mask of Silenus, with balding pate, gaping mouth and flowing beard; another satyr with ram's horns; and a head of a satyr with contorted grotesque features, possibly an actor's mask, 3.5cm-4.4cm high (3)Footnotes:Provenance:A. Bieri collection, 1980s, Switzerland. with Galerie de Serres, Paris.Private collection, Hong Kong, acquired from the above in 1998.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 12
A Roman blue glass trulla and a Roman blue-green glass modiolus Circa 1st-2nd Century A.D.Reputedly discovered together and likely from the same workshop, the trulla with a hemispherical bowl with fine spiral trail decoration, set on a flaring tooled foot, with flattened rim, the spatulate handle with streaks of yellow glass extending to the rim, 11.2cm diam., 6.5cm high; the modiolus with folded rim and triple-ribbed strap handle, the rounded body with encircling bands of fine spiral trail decoration, tapering to an applied foot, 12.5cm high, 13.8cm diam. (2)Footnotes:Provenance:with Antiquarium Ltd, New York. Private collection, USA, acquired from the above 20 March 1991.These ladles or pans with long handles, known in Latin as trullae, were widely used throughout the Roman Empire, though are more frequently found in silver or bronze. They are associated with drinking and serving liquids. There is a similar trulla in the Metropolitan Museum of Art, New York, acc. no. 17.194.125, and another in the Corning Museum of Glass, acc. no. 66.1.224. Gold band and cast blue examples have been found at Herculaneum, confirming the existence of the type in the 1st Century A.D. (L.A. Scatozzao-Höricht, I vetri romani di Erolano, Rome, 1986, pp. 38-9, nos. 54-5). The thin trailing on this example is extremely unusual.This modiolus is more unusual than related examples by having a curved rather than a tapering, straight profile. For an example and a discussion on modioli see D. Whitehouse, Roman Glass in the Corning Museum of Glass, vol. 3, New York, 2003, p. 139, fig. 1126. Most modioli date to the second half of the 1st Century A.D., and were made in various materials such as silver, earthenware and glass. Many of these glass cups have been found in Italy, including Pompeii and Herculaneum. Modiolus is the diminutive form of the Latin word modius, which was a grain measure, from which the cup took its form.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 139
An Egyptian bronze ibis The bronze elements Late Period-Ptolemaic Period, circa 664-30 B.C.With a gesso painted wood body, probably later, the seated bird cast in three bronze sections, the head section with long curved beak and sinuous neck, the disc eyes inlaid with black glass pupils, the bronze tail section feathered, the legs tucked beneath the body, the feet with long pointed talons, all incised with fine naturalistic details, 24.5cm high, 39.5cm long Footnotes:Provenance:Formerly in the personal collection of Matsuda Gonroku (1896-1986), Japan (on a custom-made wood mount).Matsuda Gonruka was one of the leading exponents of the art of lacquering in the 20th century and was awarded the title of Professor Emeritus at Tokyo University of the Arts, and the honorary title of Ningen kokukō ('Living National Treasure').This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 43
A Byzantine bronze censer Circa 5th-7th Century A.D.The hemispherical body incised with a band of saltire crosses and small concentric circles in the top quadrant of the cross motifs and below the band, the bowl set on small semi-circular tripod feet, with three suspension chains connected to a central hook, 25cm high, bowl 11cm diam. Footnotes:Provenance:with Fortuna Fine Arts Ltd, New York.Private collection, USA, formed from the 1980s onwards and acquired from the above.Christian faith was central to Byzantine life and united the many people who made up the Empire. Incense burners, such as this, would have been swung at different parts of the liturgy to symbolize the prayers of the church-goers rising up to heaven like the smoke of the incense.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 120
Two Danish thin-butted flint axes Neolithic Period, circa 4000-3000 B.C. Both of trapezoidal form, the larger example of unpolished yellow-brown flint, patinated white; the other of mottled grey flint with straight sides and curved cutting edge and butt, 24.5cm and 20cm long respectively (2)Footnotes:Provenance:Thorvald Rasmussen collection, Denmark. Celtic and Prehistoric Museum collection, Ireland, acquired from the above 1994-1995.Cf. a very similar Danish Neolithic grey flint thin-butted axe in the British Museum, acc. no. 1862,1101.64.These axes have been exhibited at the Celtic & Prehistoric Museum on the Dingle Peninsula, Republic of Ireland, a private museum founded by musician and antiquarian Harris Moore in 1998. While travelling extensively and immersing himself in museums and antiquarian shops on the continent, Harris developed a deep passion for the form and simplicity of prehistoric stone implements. Over time, he cultivated relationships with several prominent 20th century collectors of Stone, Bronze, and Iron Age European material. Objects acquired from these collections formed the basis of what is now an extensive and eclectic collection at the Museum.For further information on this lot please visit Bonhams.com
Lot 134
A large Egyptian limestone Hathor head sistrum handle fragment Late Period, 26th Dynasty, circa 664-525 B.C.The janiform cow-eared goddess depicted with extended cosmetic eye lines and brows, wearing a full wig with incised details and an elaborate broad collar, surmounted by a cavetto moulding supporting the lower section of a now-missing naos, a uraeus facing outwards on each side of the wig, 11.5cm high Footnotes:Provenance:with Galerie Athena, Brussels. Private collection, Geneva, acquired from the above 11 September 1978. Private collection, Europe, acquired from the above in 2006.Cf. a closely related example in the Princeton University Art Museum, acc. no. y1986-5, and an example in faience at the Seattle Art Museum, acc. no. 58.77. The sistrum was a musical instrument primarily used by women during religious ceremonies, whose sound was believed to please the gods. Sistra were commonly made of bronze, with examples in other materials believed to have been votive offerings dedicated in temples and tombs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 94
A Roman bronze Eros Circa 2nd-3rd Century A.D.The cherubic winged god wearing a Phrygian cap, his right hand holding a set of panpipes towards his face, a shepherd's crook in his lowered left hand, 5.5cm highFootnotes:Provenance:with Sasson Ancient Art, Jerusalem, 2014. Private collection, Hong Kong, acquired from the above.The Phrygian cap and shepherd's crook are attributes more commonly associated with Attis, the consort of Cybele, suggesting this bronze derives from the eastern Roman empire.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 42
A Roman bronze lamp in the form of the head of a satyr Circa 1st-2nd Century A.D.Finely modelled in high relief wearing a garland of vine leaves with two central clusters of ivy berries encircling the wavy hair, his face characteristically depicted with gaping mouth and furrowed eyebrows, pointed ears and long wavy beard, set on a droplet shaped base, 9cm longFootnotes:Provenance:with Antiquarium Ltd, New York. Private collection, USA, acquired from the above 22 December 1987.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 142
An Egyptian bronze Osiris Late Period, circa 664-332 B.C.The seated mummiform deity wearing the atef crown with incised side plumes and central uraeus, the face with inlaid eyes and false beard, holding a crook and flail in crossed hands, with a tang beneath the feet and underside, 13cm highFootnotes:Provenance:Private collection France, before 2002 (with a bespoke wood mount).Private collection, Italy.For further information on this lot please visit Bonhams.com
Lot 97
A Roman bronze herm of a victorious athlete Circa 2nd-3rd Century A.D.Crowned with a wreath with three applied rosettes in his wavy hair, which is bound in a ponytail, the face with large eyes and recessed pupils, with furrowed brow and full lips, the interior filled and with remains of an iron tang on the underside, 5.1cm highFootnotes:Provenance:Private collection, Europe. Anonymous sale; Sotheby's, New York, 11 December 2002, lot 207.The incised hair of the athlete is drawn into a distinctive ponytail at the back of the head. This hairstyle is known from depictions of athletes such as boxers and wrestlers. For an Alexandrian bronze figure of a boxer or wrestler sporting a similar ponytail hairstyle, see the Cleveland Museum of Art, acc. no. 1985.137.For further information on this lot please visit Bonhams.com
Lot 69
A Ludwigsburg gilt-bronze mounted figural scent bottle, circa 1770Modelled by Johann Heinrich Schmidt, as a huntress, wearing a green cap, green-edged white bodice and puce skirt, holding a rifle in her left hand and a bird in the other, the underside with a circle of roses, the stopper attached by a fine chain, 9cm highFootnotes:Provenance:Anon. sale, Sotheby's London, 19 November 1996, lot 171Modelled by Schmidt between 1766 and 1770; see H.D. Flach, Ludwigsburger Porzellan (1997), p. 558, no. 446.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 127
A pair of Sèvres blue-ground vases (vase chapelet), circa 1772Each reserved with gilt-edged panels depicting classical landscape scenes after Boucher, one with a sleeping Venus, the other with a sleeping woman, the reverse with similar reserves depicting flowers, each surrounded by gilt acorn leaves, gilt foliate wreaths to the feet and necks, the gilt handles with beaded borders, moulded bead borders to the neck and foot, on square gilt metal bases, 27.9cm high (one with some damage, covers missing) (2)Footnotes:Provenance: Sir Walter Rockcliffe Farquhar, 3rd Bart (1810-1902), Polesden Lacey; Thence by descent to the current ownerLiterature:R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p.789 and n.4Exhibited: Bethnal Green Museum, from 1929These vases were exhibited from 1929 at the Bethnal Green Museum, which had been founded in 1872 as a branch museum of the Victoria & Albert Museum. Among many other disparate collections, much of Sir Richard Wallace's collection was displayed at the museum between 1872 and 1875 while Hertford House was being converted to receive it.The plaster model for the vase chapelet, made in three sizes, was recorded in the 1814 inventory, illustrated in G. de Bellaigue (2009), p. 383, together with the 18th century drawings of the shape. It is so far unknown, when the shape was introduced in the manufactory, but the Royal Collection garniture is dated T for 1772. Unfortunately, none of the known vases have been identified in the sale records and the name of vase chapelet does not seem to have been used there, although the overtime records does mention the term in 1776. According to R. Savill (see above Literature), a single cover mounted in a gilt-bronze candlestick in the Wallace Collection is possible the cover to one of these vases.A pair of very similar vases (also missing their covers), which are part of a garniture painted by Dodin is in the Royal Collection, see Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. I (2009), no. 87. One of these is decorated with the same scene as one of the vases in the present lot, after the engraving 'Vénus endormie' by G. Demarteau after F. Boucher. A vase chapelet of the second size with a blue Taillandier ground is in Grimsthorpe Castle in Lincolnshire and another smaller pair with covers and pink Taillandier ground were sold at Sotheby's New York, 16 May 1987, lot 2, one of which is probably the one illustrated in M. Brunet/T. Préaud, Sèvres - des origines à nos jours (1978), p. 106, plate XLVI.For further information on this lot please visit Bonhams.com
Lot 200
A set of twenty Sèvres hard-paste dessert plates from the 'Service Fond Bleu Figures en Brun', circa 1808Each painted by Pierre-André Le Guay, with a classical figure painted in brown and heightened in gilding in imitation of bronze, on a faux agate ground, the blue-ground rim with a formal border of gilt anthemia and lotus, 23.5cm diam., each with traces of factory marks, various incised marks (20)Footnotes:Provenance:With Gerald Sattin, London, in 1988 (some);With Seidenberg Antiques, New York (the remainder);Sèvres Porcelain from an International Private CollectionOne plate depicts an enthroned figure inscribing a tablet 'Empire Francais'.See Camille Leprince, Napoléon Ier & la Manufacture de Sèvres (2016), no. 114, and Aileen Dawson, French Porcelain in the British Museum (1994), pp. 215-217, no. 179, for a full discussion of the service. Another plate is in the British Museum, London, illustrated in Aileen Dawson (1994), no. 179. Other plates from the service are in the Metropolitan Museum, New York (Accession no. 1987.224) and The Art Institute of Chicago (Gift of Alfred Duane Pell, 1904.225).The service first appears in the sale records in 1806 under the name 'service Leguay', after the artist Le Guay, who was paid 19 francs and 40 centimes for 'figures en brun rehaussés d'or' on six plates from August-September 1806. It arrived at the factory factory saleroom on 8 March 1808, where it was entered into the sale register as 'Service de dessert sur fond beau bleu figures en brun rehaussées en or sur fond caillouté'. The figures have been identified as having been after engravings by Alexandre-Evariste Fragonard (1780-1850), who later worked at the factory between 1812 and 1835. It is unknown who the service was originally intended for and it ended up staying on the factory shelves until the auction between December 1826 and January 1827.A plate from the service sold at Christie's New York, 14 June 2017, lot 175, and four further plates were sold at Sotheby's London, 22 January 2020, lot 260.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 2355
Oskar E. HöfingerLebensfreude1968BronzeH. 56 cmSigniert, datiert und nummeriert: OSKAR HÖFINGER 1968 1/7Privatsammlung, DeutschlandVgl. Oskar Höfinger (Hg.), Oskar Höfinger. Skulptur, 2015, S. 49.Die Bronzeplastik "Lebensfreude" aus dem Jahr 1968 steht beispielhaft für jene Skulpturen-Generation Höfingers, die den Raum als wesentliches Gestaltungselement und dem Körpervolumen gleichgewichtig integriert. Strahlenförmig streben dynamische, kubenhafte Elemente aus einer kraftvollen Mitte in unterschiedliche Richtungen. Der Titel könnte nicht treffender gewählt sein – das Gefühl der "Lebensfreude", aus dem Innersten des Körpers herrührend, strahlt ins Umfeld aus, nimmt es ein. Höfinger, der sich zu Beginn seines Schaffens vor allem mit der menschlichen Figur auseinandersetzt und aus der Wotruba-Schule kommend, sich erst eine kubistische Formensprache aneignet, später mit kristallinen Strukturen arbeitet, befasst sich nun mit Körperphänomenen – mit Emotionen und mit Seins- und Sinneserfahrungen. Diesen Arbeiten, die seit den späten 1960er Jahren Höfingers Schaffen bestimmen, liegt ein philosophisch-spiritueller Ansatz zugrunde.Um die Arbeit in ihrer Gesamtheit erfassen und erfahren zu können, setzt er die Betrachtung seiner Skulpturen von allen Seiten voraus. Umkreist man Höfingers Werke, so ergeben sich laufend neue und überraschende Ansichten und Raumerfahrungen. Der traditionell vorgegebene, fixe Betrachterstandpunkt ist aufgehoben. (Tippolt, Johann, Über dem Horizont. Oskar Höfinger, Ausstellungskatalog, Schruns 2009)(Isabell Kneidinger)
Lot 2357
Josef PillhoferMaxim1958BronzeH. 97 cmBronzeabguss der Steinskulptur aus dem Jahr 1958Auflage: 6 Stück + 1 Künstlerguss mit Signatur PDieses Exemplar ist nicht signiert.österreichischer PrivatbesitzDie intensive Auseinandersetzung mit der menschlichen Figur ist Josef Pillhofers Plastiken aus übereinander angeordneten, kubischen Elementen eingeschrieben. Durch vor- und zurückspringende Formen, durch Flächen, Kanten und Ecken, definiert Pillhofer differenzierte Körperposen und Bewegungstendenzen, und er tut dies stets im Sinne einer Reduktion auf das Wesentliche.Pillhofers bildhauerischer Arbeit geht ein genaues Observieren und detailliertes Skizzieren des Naturvorbilds voraus. Dabei ist ihm ein zentrales Anliegen, die innere Gestalt, das Wesen des Darzustellenden, zu erfassen und wiederzugeben. Dem Betrachter wird eine intensive Rezeption der kubisch-tektonischen Strukturen abverlangt, um die Wesenheit begreifen zu können. Ein wiederholtes Umrunden der Figur ist erforderlich, sowie ein ausgeprägtes räumliches Vorstellungsvermögen.Die Referenz auf die Natur zeigt sich als Konstante im Werk Pillhofers – sowohl in den Arbeiten, in denen er ein kubistisches Formenvokabular anwendet, als auch in seinen realistischen Darstellungen. Beide Darstellungsmodi verortet Pillhofer als gleichwertig. Der unbekümmerte Wechsel zwischen den scheinbar konträren Polen Abstraktion und Realismus stellt einen signifikanten Wesenszug in Pillhofers Œuvre dar und verleiht ihm eine singuläre Position unter seinen Zeitgenossen.Geprägt wird Pillhofer einerseits von Fritz Wotruba, dessen Schüler er war, andererseits von den französischen Wegbereitern der Moderne Henri Laurens, Ossip Zadkine, Alberto Giacometti und Constantin Brancusi, mit denen er während eines längeren Aufenthalts in Paris Anfang der 1950er Jahre regen Austausch pflegt. Pillhofer studiert die Arbeiten der Avantgardisten Aristide Maillol, Paul Cezanne, Henri Matisse und Pablo Picasso, an dessen kubistisches Erbe er anknüpft.Die 1950er und 1960er Jahre stellen für Pillhofer eine bewegte und produktive Zeit dar: Zwei Jahre nach seiner Rückkehr aus Paris nimmt er 1954 einen Lehrauftrag an der Akademie der bildenden Künste an. 1955 wird er Mitglied der Wiener Secession. 1957 erhält Pillhofer ein dreimonatiges Rom-Stipendium. 1959 gründet er gemeinsam mit Heimo Kuchling die "Gruppe 59", zu der auch Oswald Oberhuber, Otto Muehl und Joannis Avramidis zählen. Pillhofer zeigt seine Arbeiten damals nicht nur in ganz Österreich – er ist international präsent, etwa bei Ausstellungen in der Schweiz, in den Niederlanden, in Belgien, in Frankreich, in Kanada, in den USA und in Italien bei der Biennale in Venedig. 1964 nimmt Pillhofer an den Weltausstellungen in New York und in Paris teil.(Isabell Kneidinger)
Lot 2360
Josef PillhoferKauernder1955Bronze, patiniert32 x 25 x 25 cmMonogrammiert und nummeriert unten: P 5/6Die Angabe der Auflage weicht im Online-Verzeichnis von der Nummerierung auf der Skulptur ab.Auflage: 8 + X Eine zweite Auflage von X wurde um 1995 vom Künstler hinzugefügt.österreichischer PrivatbesitzAntoniou, Mitsch (Hg.), Josef Pillhofer. Zeichnungen 1944-1991, Ausstellungskatalog, Albertina, Wien 1992, Abb. IV; Künstlerhaus (Hg.), Pillhofer. Das Ideal der Proportion, Wien 2011, S. 56 und S. 134.
Lot 2370
Osama ZatarGood fences make good neighbours2019Bronze, auf einem Holzsockel40 x 25 x 20 cmNummeriert unten: Edition 3/3Privatbesitz, WienDer Titel der Bronze ist einem Gedicht von Robert Frost entlehnt: "gute Zäune schaffen gute Nachbarn". Der amerikanische Nationaldichter beschreibt darin, wie zwei Männer die Löcher im Zaun zwischen ihren Grundstücken reparieren. Der Ich-Erzähler möchte dabei den Nachbarn überzeugen, diesen nicht mehr aufzubauen. Denselben Satz verwendete allerdings Ariel Sharon im Jahr 2003 im Zusammenhang mit dem Bau der Mauer zwischen Israel und dem Westjordanland – und pervertierte damit den eigentlichen Sinn der Worte. Hier setzt Osama Zatar, geborener Palästinenser, an. Er, der mit der Mauer gelebt hat, macht sie in dieser Arbeit zum Thema. Denn auf der einen Seite liegt eine Hündin, getrennt von ihrem Wurf auf der anderen Seite. Über die Tiere, die niemandem ein Leid zufügen, öffnet er den Blick auf alle anderen Lebewesen, die mit Mauern leben müssen. Der Künstler erfuhr am eigenen Leib, wie Trennung und Ablehnung einander perpetuieren. Er verließ Palästina und kam nach Österreich, wo er auf der Akademie für Angewandte Kunst bei Heimo Zobernig studierte. Seine Heimat und die damit verbundenen Konflikte sind stets in seinem Werk präsent; doch gelingt es ihm, diese auf eine allgemeine Ebene zu heben. Er hinterfragt hier jede Art von Trennung: die des Muttertiers zu seinen Jungen, die aller Lebewesen voneinander, und letztlich auch seine eigene Trennung von seiner Familie in Palästina. (Alexandra Markl)
Lot 2380
Ernst FuchsJanus Uhr, nach einem Entwurf von Ernst Fuchs1980/81Bronze, patiniertUhr: H. 68 cm; Sockel: H. 90 cmRunder Sockel mit runden Justierfüßchen, drei Aufzuglöcher für Geh- und Schlagwerk sowie zur Zeigereinstellung (seitlich). Drehbarer Zifferring mit 24 Stunden, darauf der Januskopf mit zwei Gesichtsdarstellungen. Das weibliche Gesicht symbolisiert den Tag, das männliche Gesicht die Nacht. IWC Unruhwerk mit einwöchiger Gangdauer, Halbstundenschlag auf zwei Glocken.Bezeichnet und nummeriert am Ziffernkranz: Ernst Fuchs 055/789 Venturi arteIWC International Watch Co. SchaffhausenPrivatbesitz, Wien
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