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Lot 11
Ca. 650-480 BC.This is a beautiful example of archaic Greek statuary. The bust is buff colour formed of terracotta, originally from a figure depicting a broad chested male holding his left arm to his chest. Wearing a pointed, brimmed pilos helmet and large disc earrings, his hair falling forward over each shoulder, with horizontal bands and falling in ringlets below, with a moulded bust, one arm hanging by side.Size: L:193mm / W:120mm ; 952g.Provenance: Property of a London Art Gallery; formerly in a Private New York city collection, previously acquired on the US Art market (Fortuna Fine Arts).
Lot 3
Ca. 300 AD.A stunning silver bowl with a central medallion presenting the high-relief bust of Zeus with good facial details, and abundant hair and beard. The bowl is modelled as a truncated cone with a concave base, and with grooved decoration around the rim. Zeus, the god of the sky, lightning and thunder, was also the king of the gods. He was the most important god in the Greco-Roman pantheon and was as celebrated as he was feared.Size: L:75mm / W:165mm ; 230gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 307
.Gordianus III AD 238-244, Rome Mint, ca. AD 240-241.Laureate, draped and cuirassed bust of Gordianus right, IMP GORDIANVS PIVS FEL AVG;Venus standing left, holding scepter and helmet, leaning on shield set on ground, VENVS VICTRIXRIC IV.3 131. Flat areas on the reverse. Very fine Size: D: 20.8mm; 2.74gProvenance: Private UK collection.
Lot 7
Ca. 200 AD (Head) / Ca. 1800 AD (Bust).A marble head and torso of the emperor Hadrian wearing military dress. His face features a broad brow, narrow nose, and clipped beard. The head is framed with curling locks. Hadrian (76-138 AD) was Roman emperor from 117 to 138 AD. He often travelled through the vast provinces of the Roman Empire, establishing new settlements or granting city rights to already existing centres. He supported trade and craftsmanship and reformed the tax system. He was an educated and empathetic man. A great patron of the arts, and a famous admirer of Greek culture. He wore a beard and moustache to fashion himself as a Greek philosopher. Cf. The British Museum, Museum number 1805,0703.94. Size: L:610mm / W:420mm ; 38.75kgProvenance: Ex French Collection, Paris Gallery, previously with Maître LEFRANC Frédéric Eurl Auxerre Engheres Auction.
Lot 83
Ca. 100-300 AD.A wearable gold ring with an ellipsoid hoop widening at the shoulders, which are embellished with parallel grooves, and a bezel with inset oval garnet gemstone with an intaglio depicting a left-facing female bust, flanked by quiver and arrows; the latter lead to identifying this female portrait as a depiction of the Roman goddess Diana. Good condition, repaired. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemmological and historical report by an independent specialist Anna Rogers. In Roman art, Diana usually appears as a huntress with a bow and quiver, accompanied by a hound or deer. In Rome, the most important temple of Diana was on the Aventine. This temple housed the foundation charter of the Latin League and was said to date back to King Servius Tullius (6th century BC). Another important centre for the worship of Diana was Ephesus, where the Temple of Artemis (or Diana) was one of the Seven Wonders of the World.Size: D: 16.51mm / US: 6 / UK: M; 10.5g.Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1980s.
Lot 428
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Plakat: Der neue Kunstsalon. 1913. Holzschnitt, schwarz auf blau grundiertem Papier. Gerken A 79 I (von II). Dube H 717 I (von II). Nicht bei Schiefler. Signiert und bezeichnet . Auf dünnem Pakatpapier. 84 x 61,5 cm (33 x 24,2 in). Papier: 91 x 64,5 cm (35,8 x 25,3 in). Das ausgeführte Plakat zeigt in dem Bogen links neben der dargestellten Frauenbüste den Schriftschnitt 'E.Heckel und EL Kirchner', das vorliegende einzige Handdruckexemplar zeigt hier noch einen durchgehenden Bogen ohne Schrift. Die untere Schrifteinteilung und der untere Schriftschnitt sind von Erich Heckel. [EH]. • Einziges bekanntes Exemplar. • Plakat zur Neueröffnung des Kunstsalons Dr. Paul Ferdinand Schmidt und Max Dietzel, München. PROVENIENZ: Wolfgang Wittrock Kunsthandel, Düsseldorf. Sammlung Hermann Gerlinger, Würzburg (1980 vom Vorgenannten erworben, mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Wolfgang Wittrock Kunsthandel Düsseldorf, Lagerkatalog 3, Neuerwerbungen: Graphik, Zeichnungen, Düsseldorf 1980, Kat.-Nr. 67 (m. Abb.). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 122, SHG-Nr. 88. Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 742, SHG-Nr. 742. Gemeinsam mit Max Dietzel eröffnet der Kunsthistoriker und Museumsmann Paul Ferdinand Schmidt (1878–1955) im Oktober 1912 die Galerie 'Der Neue Kunstsalon' in München. Bereits 1908 hat Schmidt erste Kontakte zu den 'Brücke'-Künstlern und wird passives Mitglied. Noch im Eröffnungsjahr 1912 präsentiert die Galerie Werke von Ernst Ludwig Kirchner und Emil Nolde erstmals in München. Und im Januar 1913 folgt eine der letzten gemeinsamen Ausstellungen der Künstlergruppe, wofür Heckel und Kirchner gemeinsam routiniert den Holzschnitt für das Plakat entwerfen: Kirchner den eleganten Frauenkopf mit langem, vollem Haar, den feingliedrigen vor der Brust gehaltenen Händen und Heckel den umfänglich informierenden Text über den Namen der Galerie, deren Adresse, die Betreiber und was in der Ausstellung zu sehen sein wird. 'Brücke'? – auf den Namen des Kollektivs verzichten Kirchner und Heckel erstmals und ersetzen die Information mit dem selbstbewusst programmatischen Hinweis auf ihren Anspruch: Sie sind die Repräsentanten der 'Neuen Kunst'. Und es fehlt auch die jeweilige Signatur der beiden ausführenden Künstler. Dieses Plakat ist ein von Kirchner handsignierter Eigendruck. Bis auf den ausgeschlossenen Max Pechstein zeigen Heckel, Kirchner, Mueller und Schmidt-Rottluff die mit dem Plakat angekündigten Gemälde, Grafiken (Zeichnungen), Kunsthandwerk und wohl auch Plastiken, wie schon zuvor 1912 in der Wanderausstellung bei Gurlitt, Bangel und Commeter. [MvL] Aufrufzeit: 10.12.2022 - ca. 17.07 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Plakat: Der neue Kunstsalon. 1913. Woodcut, black and blue on primed paper. Gerken A 79 I (von II). Dube H 717 I (of II). Not in Schiefler. Signed and inscribed. On thin poster paper. 84 x 61.5 cm (33 x 24.2 in). Sheet: 91 x 64,5 cm (35,8 x 25,3 in). The executed poster shows the lettering 'E.Heckel und EL Kirchner' in the arch in left of the depicted female bust, however, this only hand-printed copy still shows the arch withouit the lettering. Typescript by Erich Heckel. [EH]. • Only known copy • Poster for the reopening of Kunstsalon Dr. Paul Ferdinand Schmidt and Max Dietzel, Munich. PROVENANCE: Wolfgang Wittrock Kunsthandel, Düsseldorf. Collection Hermann Gerlinger, Würzburg (acquired from the above in 1980, with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Wolfgang Wittrock Kunsthandel Düsseldorf, Lagerkatalog 3, Neuerwerbungen: Graphik, Zeichnungen, Düsseldorf 1980, cat. no. 67 (with illu.). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 122, SHG no. 88. Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 742, SHG no. 742. Together with Max Dietzel, the art historian and museum man Paul Ferdinand Schmidt (1878-1955) opened the gallery 'Der Neue Kunstsalon' in Munich in October 1912. As early as 1908, Schmidt had his first contacts with the 'Brücke' artists and became a passive member. In 1912, the year of its opening, the gallery presented works by Ernst Ludwig Kirchner and Emil Nolde for the first time in Munich. And in January 1913 one of the last joint exhibitions of the artist group followed. Heckel and Kirchner created the woodcut for the exhibition poster: Kirchner made the elegant female head with long, full hair, the delicate hands held in front of the chest, while Heckel was in charge of the extensive text about the name of the gallery, its address, the owners and the exhibition's content. 'Brücke'?' - Kirchner and Heckel omit the name of the collective for the first time and replace the information with the self-confident programmatic reference to their claim: they are the representatives of 'New Art'. And the respective signature of the two executing artists is also missing. This poster is an own print signed by Kirchner. Except for the excluded Max Pechstein, Heckel, Kirchner, Mueller and Schmidt-Rottluff showed the paintings, graphics (drawings), handicrafts and probably sculptures as announced on the poster, just the way they had in the traveling exhibition at Gurlitt, Bangel and Commeterin 1912. [MvL] Called up: December 10, 2022 - ca. 17.07 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 351
Wilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Öl auf Leinwand. Vgl. Rohrandt G 278. Rechts oben monogrammiert. 76,5 x 62 cm (30,1 x 24,4 in). Wir danken Herrn Dr. Klaus Rohrandt, Kiel, für die freundliche wissenschaftliche Beratung. Das Werk wird in das Werkverzeichnis aufgenommen. PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Vgl. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, S. 278. Zur Entstehungszeit dieses Porträts ist Wilhelm Trübner auf der Höhe seines Erfolgs angekommen. Nach seinem Studium in Karlsruhe, München und Stuttgart hatte er auch im Austausch mit Künstlerkollegen wie Corinth, Slevogt und Liebermann zu seinem farbkräftigen und pastosen, breiten Stil gefunden, der nicht nur seinen Landschaften eine prägnante Kraft verleiht. 1904 ist er Direktor der Karlsruher Kunstakademie, an der er ebenso 1903–1917 als Professor lehrt. Für den Großherzog Ernst Ludwig von Hessen und bei Rhein (1868–1937) entstehen um 1904 Brustbildnisse und ein großformatiges Reiterporträt in seiner Uniform, die er im Rahmen seiner für den Adel üblichen militärischen Laufbahn trägt. Auf der Brust gut sichtbar der Großherzoglich Hessische Philipps-Orden mit dem Ritterkreuz der Schwerter. Ernst Ludwig ist bis 1918 der letzte Großherzog in Hessen und ein wichtiger Mäzen vor allem in Darmstadt, wo er den Ausbau der Künstlerkolonie vorantreibt und die Stadt zu einem Zentrum des Jugendstils werden lässt. In seinem Porträt gelingt es Trübner hier erneut auf faszinierende Weise, mit seinen breiten Strichen dennoch eine höchst präzise und fein modellierte Darstellung der charakteristischen Physiognomie des Modells zu erreichen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Großherzog Ernst Ludwig von Hessen und bei Rhein. Wohl 1904. Oil on canvas. Cf. Rohrandt G 278. Monogrammed in upper right. 76.5 x 62 cm (30.1 x 24.4 in). We are grateful to Dr. Klaus Rohrandt, Kiel, for the kind expert advice. The work will be included into the catalog raisonné. PROVENANCE: Private collection Rhineland-Palatinate. LITERATURE: Cf. Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, p. 278. At the time this portrait was painted, Wilhelm Trübner had reached the height of his success. Following his studies in Karlsruhe, Munich and Stuttgart, his contact with fellow artists such as Corinth, Slevogt and Liebermann helped Trübner develop his own broad, colorful impasto style which lends his landscapes their striking power. In 1904 he was appointed Director of the Karlsruhe Art Academy, where he also taught as a professor from 1903 to 1917. Around the year 1904, he painted bust portraits and a large-scale equestrian portrait of Ernest Louis Grand Duke of Hesse and by Rhine (1868–1937). With military careers common among the nobility at the time, the Grand Duke is depicted in his uniform. Clearly visible on his chest is the Grand Ducal Hessian Order of Philip the Magnanimous bearing the Knight’s Cross of Swords. With his reign ending in 1918, Ernest Louis was the last Grand Duke of Hesse and a key patron of the arts, above all in Darmstadt where he promoted the expansion of the artists’ colony and transformed the city into a center of Art Nouveau. Although applying his typical broad strokes in this portrait, Trübner nevertheless achieves a strikingly accurate and finely modeled portrayal of the Grand Duke’s distinctive physiognomy. [KT] Called up: December 10, 2022 - ca. 15.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 8
Orden & Ehrenzeichen Deutschland - Braunschweig : Herzogtum Braunschweig, Waterloo-Medaille 1815.Bronze, ohne Ring und Band. Stempelschneider ?C. Häsler?. Mit Randinschrift ?AUG: SCHULZ. SERGT. AV. GARDE?. Die Avantgarde hatte 22 Sergeanten. Sehr Selten. German Orders and Medals - Duchy of Brunswick : Brunswick Waterloo 1815. Bronze, without ring and ribbon. Obverse bust signed "C. Häsler". Rim officially named: "AUG: SCHULZ. SERGT. AV. GARDE." The Avant-Garde roll shows only 22 seargants. Very rare.
Lot 362
Militaria Ausland - Österreich : Kaiser Franz Joseph I. und Kaiserin Elisabeth (Sisi) - Paar Bronze Büsten. Die Büste Kaiser Franz Josephs rückseitig signiert: R. WEIGL WIEN 98". Schönes Brustporträt in Uniform mit dem kaiserlich - österreichischen Doppeladler. Bronze, auf schwarzem Marmorsockel. Höhe: 38 cm. Die Büste der Kaiserin rückseitig signiert: "Johann Klotz". Schönes Halbporträt mit um die Stirn gelegten geflochtenen Haarzopf. Bronze, auf schwarzem Marmorsockel. Höhe: 37,5 cm. Sehr schönes Paar Porträtbüsten des legendären Kaiserpaars in hervorragender Erhaltung.Foreign Militaria - Austria : Emperor Francis Joseph and Empress Elisabeth (Sisi) - Pair of Bronze Busts. The bust of Emperor Franz Joseph signed on the reverse: R. WEIGL VIENNA 98". Beautiful breast portrait in uniform with the imperial Austrian double eagle. Bronze, on a black marble base. Height: 38 cm. The bust of the empress Sisi signed on the reverse: "Johann Klotz". Beautiful half portrait with plaited hair braid around the forehead. Bronze, on a black marble base. Height: 37,5 cm. Very fine pair of portrait busts of the legendary imperial couple in excellent condition.
Lot 67
A LARGE AND MASSIVE FAHUA-GLAZED STONEWARE BUST OF GUANYIN, MING DYNASTY 明代大型法華釉觀音半身像China, 16th century. The scarves, jewelry, and crown are glazed turquoise, the hair is glazed black, and the face is detailed with pigment. Exposed areas of flesh are fired in the biscuit to lend a greater naturalism to the figure.Expert's note: This impressive statue is a classic example of the vibrant fahua-decorated Buddhist images made at Jingdezhen in the mid-Ming period. Fahua wares have been produced since the 14th century in the north in Shanxi, during the Yuan dynasty, and in the south at Jingdezhen during the 15th century. The distinct alkaline glazes of fahua wares were mainly used for large objects and it is likely that the present lot was used in a temple or shrine for many centuries.Guanyin's left hand is raised and held in vitarka mudra. She wears billowing scarves and is adorned with a floral necklace. Her serene face shows heavy-lidded downcast eyes, gently curved brows, plump cheeks, and full lips, all framed by long pendulous earlobes and neatly incised hair falling elegantly in strands over the shoulders, tied up into a high chignon behind the foliate tiara, which is centered by a small image of the Buddha Amitabha.Provenance: French trade. Condition: Excellent condition, commensurate with age, with extensive old wear and expected firing flaws, intentional glaze crackling, one finger missing, some glaze flaking, remnants of ancient pigment.Weight: 9,760 g Dimensions: Height 55 cmLiterature comparison: Compare a related polychrome figure which may represent the Daoist deity Yuan Shi Tian Zun (The Primal Celestial Excellency) of the San Qing (Three Pure Ones), dated to the Ming dynasty, circa 1488-1644, in the collection of the British Museum, museum number 1930,0719.62. Compare with a closely related sancai Buddha from the Avery Brundage collection, now in the Asian Art Museum, San Francisco, object number B60P139.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 3767 Price: HKD 4,580,000 or approx. EUR 781,000 converted and adjusted for inflation at the time of writing Description: A rare Ming sancai glazed stoneware figure of Guanyin, Ming dynasty, 16th century Expert remark: Note the sancai glaze and larger size (89.8 cm).明代大型法華釉觀音半身像中國，十六世紀。觀音的飄帶、瓔珞和王冠是綠松石色釉，頭髮施黑色釉，面部彩繪。身體部分為素抷。觀音的左手舉起結安慰印。觀音身披飄帶，戴著瓔珞，面容平靜祥和，眼睛微垂，微彎的眉毛，臉龐豐滿，長耳垂，頭髮優雅披在肩上，葉冠後有高髻，葉冠中央有阿彌陀佛像。 專家注釋：這尊造像可以説是明代中期景德鎮法華佛教造像的經典例子。十四世紀北方山西以及十五世紀南方景德鎮開始生產法華器。法華釉主要用於大型物件，這件造像很可能在寺廟裏使用了多個世紀。 來源：法國古玩交易。 品相：品相極佳，有大量磨損和燒製缺陷，釉面開片和剝落，一根手指缺失，一些釉剝落，顏料殘餘。 重量：9,760 克 尺寸：高 55 厘米 文獻比較： 比較一件相近的1488-1644年明代可能為彩釉元始天尊，收藏於大英博物館，編號1930,0719.62。比較一件非常相近的三彩佛陀，來自 Avery Brundage collection，現藏於舊金山亞洲藝術博物館，編號B60P139。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 3767 價格：HKD 4,580,000（相當於今日EUR 781,000） 描述：十六世紀明代三彩觀音像 專家評論：請注意三彩和尺寸較大(89.8厘米)。
Lot 238
A PINK SANDSTONE BUST OF VISHNU, MADHYA PRADESHIndia, 8th-9th century or slightly earlier. The round face finely carved with almond shaped eyes below gently arched eyebrows, flanked by two ears with elongated earlobes, surmounted by a tall crown with a lion head at the center, and bejeweled with beaded pendants, round earrings, and an armlet, backed by a halo. Note the subtle yet distinct Gupta influence on the sculptural composition overall.Provenance: Old Dutch private collection, by repute acquired no later than 2002. A French private collection, acquired from the above in 2018. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks.Weight: 12 kg (incl. stand) Dimensions: Height 38.5 cm (excl. stand), 49 cm (incl. stand)Mounted to a modern wood stand. (2) Literature comparison: Compare a related Gupta terracotta bust of Vishnu, dated to the 5th-6th century, in the collection of the Metropolitan Museum of Art, accession number 2000.82.
Lot 59
HERMES Paris. Buste de vitrine avec les carrés Grands Fonds et Smiles third millenaryCréation des carrés: Annie Faivre et Kwumi SEFEDIN En soie imprimée sur buste femme.Condition d'état: BHaut.: 70 cmFootnotes:HERMES Paris. A Silk Showcase BustCondition grade: BFor further information on this lot please visit Bonhams.com
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