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Lot 151
FOUR ETCHED INDO-PERSIAN AXES, 19TH CENTURY the first with double-head etched on each face with scrolling foliage inhabited by peacocks, robust terminal spike, and integral steel haft with domed terminal; the second of similar form, decorated with foliage in small panels and at the borders; the third with crescentic head decorated with foliage inhabited by figures in traditional dress, flat rear pean, terminal spike and integral haft; and the fourth similar, decorated with calligraphy, the first 76.0 cm (4)
Lot 227
Door H. Aeneae. Uitgegeven door de Maarschappy Tot nut van 't algemeen. Meest onöpgelost, en zonder antwoorden voorgesteld. Ontbonder door Jacobus Acquoy. Te Amsterdam, 1796. Manuscript in fine, legible calligraphy, 2 parts in one vol. (parts 1 w. title-p. as mentioned, part 1 starts w. table of contents), (2),80,(2 blank); (1),(5 blank),203,(3 blank) p., cont. vellum, 4to. Several lvs. at the front with blindst. bookplate of "L.S.D. Steenveld, Amsterdam", some sm. lvs. w. notes added, very good condition. A very similar manuscript by Acquoy ("Reekenboek, voor meisjes, ten dienste der schoolen") w. the same blindst. was previously sold at this auction. Acquoy (1732-1818) was a gifted mathematician who gave lessons in Amsterdam to his grandson (also named) Jacobus (1803-73), who later also published books on mathematics. Our manuscript is presumably by the elder Acquoy. Not an exact copy of the book of H. Aeneae.
Lot 232
Germany, 2nd half 18th cent., 362 p. (paginated by the writer), w. the names of the recipes in calligraphy in blue and green (w. traces of gilding on the first letters), with index (p. 347-362), orig. calf, gilt and ribbed spine, marbled edges, 4to. An interesting, attractive manuscript, w. bookplate of Werner Friedrich Allmann (1928-2020), in 1961 founder of the still existing Allmann'sche Apothek in Biberach. A few examples: Für Hauptwehe und blödes Haupt, Fur das Hauptwhe ein Tabak, Für das Hauptwehe von Melancholia, Wider den Schwindel ein Pulver, Für verschiedene Gebrechen der Ohren, Das schwalben Wasser zu machen, F'r den Schlag, oder Apoplexia, Für schwaches Gehör und Gesicht, Ein vortreffliches Augen Wasser, Für den Krebs, u. Brand Wunden, Für Enge auf der Brust, Für den Magen ein Trank, Von den Brand oder schwarzen Blut, Für die Franzosen ein Raüch. Occas. foxed/ stained, spine rubbed.
Lot 6066
Munich, Heiner Friedrich, 1969. Softcover, 21 x 14.5 cm, 104 pp. A collection of writings by and about composer La Monte Young. Includes several pages of Zazeela's hallucinatory calligraphy, a poem by Young for Diane Wasoski, as well as essays, lectures and interviews by the artists on their work. One of the 98 books that were signed, dated (Munich 7 Aug. 1969) and numbered 23/98 by Young and Zazeela. Printed in West Germany by a patron of Young and Zazeela. Rare document in mint condition. Young was a forerunner of the Fluxus movement and is widely regarded as the first Minimalist composer; Zazeela began as psychedelic painter and became one of the first artists working with light. Their collaborative performance group, The Theatre of Eternal Music, and their Dream House sound and light-environments are discussed at length in this volume.
Lot 56
A PERSIAN ZAND DYNASTY KARD DAGGER WITH WOOTZ BLADE AND GOLD INLAY. The straight blade made of damask steel is decorated with gold inlay in the form of Arabic calligraphy. Handle made of bone, between the bone plates there is an iron insert, with inscriptions in Arabic that are inlaid with gold. The magnificent scabbard is made of wood, covered with barzat and has decorated silver mounted. A dagger of this high standard rarely comes on the market, A fine 18th century Persian collectible. Length 43 cm.
Lot 327
A Large Pair of Modern Chinese Porcelain Bottle Vases, red ground, enamelled with lotus scrolls, having roundels containing calligraphy and with hexagonal landscape panels, later mounted as lamps, porcelain 53cm high (2)Both drilled, light fitting bonded to the tops, free from any cracks and repair
Lot 101
MOTOHARU: A FINE BRONZE OKIMONO OF KANZAN AND JITTOKUBy Motoharu, sealed MotoharuJapan, Meiji period (1868-1912)The finely cast bronze superbly finished to a lustrous black polish, depicting the eccentric Zen-Buddhist hermits Kanzan (Hanshan) and Jittoku (Shide) depicted in typical pose, Hanzan holding a scroll incised with minute calligraphy, and Jittoku standing behind, pointing at the scroll and with a broom lodged under his arm. The details are finely chiseled and the expressions of the pair are crafted with humor. Sealed to the back of Kanzan's robe MOTOHARU.HEIGHT 24.5 cmWEIGHT 3,402 gCondition: Excellent condition with only minor typical wear, few light scratches, some expected casting irregularities. Auction comparison:Compare a closely related bronze signed Kiyoshi and depicting the same subject at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 541 (Estimate GBP 3,500-4,000).
Lot 15
HENMI TOYO: A SUPERB TSUISHU AND TSUIKOKU LACQUER KOGO (INCENSE BOX) AND COVERBy Henmi Toyo (1846-1920), signed Hen (Itsu) ToyoJapan, Meiji period (1868-1912)Of circular form, intricately carved in low relief to one side with Kannon leaning against a craggy rock and holding a rosary beside a sinuous dragon and to the other with Daruma standing on a reed, his head backed by a halo, surrounded by thick swirling clouds, all in tsuikoku against a tsuishu ground neatly incised with waves, the interior lacquered black. Signed within a raised rectangular reserve HEN TOYO.DIAMETER 9 cmCondition: Very good condition, minor wear, few minuscule nicks and tiny chips to edges, few light scratches.Henmi Toyo (1846-1920) went to Kyoto in 1862 to study swordsmithing techniques. In 1864 he returned to his hometown in Okayama Prefecture and became a swordsmith under the name of Chikukansai Yoshitaka. He possessed exceptional skills and was much admired but his business was discontinued when the Sword Law was abolished in 1872. After that, he became involved in a wide range of crafts, including wood carving, bamboo carving, and lacquerwork. In 1895, he won the first prize and a gold medal at the 4th National Industrial Exhibition for his boxwood crab figurine. He also presented a tsuishu food basket to the Emperor Meiji in 1910 and a sword, a joint work with his brother, to the Emperor Taisho in 1915. In addition to crafts, he was also skilled in jujutsu, archery, calligraphy, chanting, and tea ceremony.
Lot 341
A RINPA-STYLE INLAID THREE-CASE GOLD LACQUER INRO WITH GRASSHOPPERSUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of upright rectangular form and oval sectional, the three-case inro bearing a fine kinji ground and inlaid with mitsuda (pewter) and aogai to depict grasshoppers amongst autumnal grasses. The interior compartments of gold fundame.HEIGHT 6.4 cm, LENGTH 5.5 cmCondition: Good condition with minor wear, typical losses to inlays, and few tiny nicks here and there.Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Auction comparison:Compare a related three-case gold lacquer inro, similarly rendered in the Rinpa style with inlays of aogai and pewter, at Bonhams, The Edward Wrangham Collection of Japanese Art, 9 November 2010, London, lot 203 (sold for GBP 1,680).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 235
A PAIR OR CHINESE FRAMED PORCELAIN TILES, 20TH CENTURY. Each tile similarly decorated with a landscape scene and calligraphy, mounted in wood frames carved in deep relief with treasured items in red lacquer and gilt. Each with metal handle. Total size 72cm x 28cm. (2) Slight minor crack to lower relief panel to one. Porcelain in good condition.
Lot 36
A CHINESE 'WU SHUANG PU' SQUARE FORM PORCELAIN BRUSH POT, REPUBLIC PERIOD. Decorated in famille rose enamels to each side with a figure and calligraphy from Wu Shuang Pu. Six character seal mark of Qianlong to base. 16.3cm tall. With a carved and pierced square form wood display stand.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Brush pot in good condition with no signs of damage or repair. The wooden stand has most likely shrunk and does not fit the pot.
Lot 2328
A CHINESE HARDSTONE PENDANT BROOCHcarved with calligraphy and in a white metal mount, 22.42 grams, 4 x 3cm and a jade belt disc,carved with chilong,34.40 grams,4.2 x 3.5cm (2) Please note this lot has been renumbered from 2356A.Condition report: "the belt disc with minor rim nicksthe brooch with minor nick to rim"
Lot 245
Lavishly illustrated, this volume explores American folk art, including scrimshaw, calligraphy, carved furniture, and more. Covering unique artists and movements, the book showcases America's tradition of embellishing everyday objects, from whirligigs to carousel animals. ISBN: 0-8317-8098-3, 142 pages, vibrant color photography. Issued: 1995Dimensions: 9.5"W x 1"D x 13"HManufacturer: Smithmark Publishers Inc.Country of Origin: United States
Lot 61
QI GONG (1912-2005): 'BAMBOO AND BUTTERFLIES'China. Ink and watercolors on paper. With a silk brocade frame, mounted as a hanging scroll. Finely painted in varying shades of green with leafy stalks of bamboo and two red butterflies playfully flying below.Inscriptions: Upper right, signed ‘Jianjingweng Qi Gong’ and inscribed with a poem. One seal of the artist.The poem inscribed on this painting can be translated as follows:The green bamboo shoots from the earth and supports the sky,One cannot take them in the hand as a fishing rod, The leaves and the branches are so long and get tangled,It is so difficult to remove the superfluous leaves and branches. Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Very good condition with only minor wear and little foxing.Dimensions: Image size 82 cm x 33 cmQi Gong (1912-2005), whose artist name was Jianjingweng, was a descendant of the Yongzheng Emperor through his son Hongzhou, formally known as Prince He. He grew up in extreme poverty but learned Chinese calligraphy in his childhood and studied various historical stone inscriptions of calligraphy. Qi Gong was versatile in all writing styles, especially the regular script (kaishu), the running hand (xingshu), and the cursive script (caoshu).Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8396Price: USD 13,420 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: Qi Gong (1912-2005), Green BambooExpert remark: Compare the closely related motif and fine details. Note the size (94 x 46 cm).
Lot 81
SANDAYA HIRAKU (1881-1962): 'CALLIGRAPHY'Japan, 20th century. Ink on straw tissue paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with lacquer handles. Inscribed with poetic calligraphy.Inscriptions: Signed ‘Hiraku’ with seal ‘Sandaya Hiraku’ 三田谷啓. Inscribed with a poem, ‘Takayama no, iwane kinone wo koeshi ... kaze no midori no umi wo ... fuku’ 高山の、岩根木根を 越えし 風の みどりの海を… 吹く[At tall mountain ranges, the winds that cross the alpine, rocky roots, blow over the blue sea, the fragrant wind blows]. To the back, inscribed ‘Sandaya sensei ofude’ 三田谷先生御筆 [The brush of Teacher Sandaya].Provenance: From a private collection in Massachusetts, USA.Condition: Very good condition with minor wear. The mounting with usual wear and traces of use.Dimensions: Image size 57 x 35.3 cm, Size incl. frame 117.5 x 62 cmSandaya Hiraku (1881-1962) was an educator and social philanthropist. He studied therapeutic pedagogy for mentally handicapped children under Yu Fujikawa. In 1918, he became the director of the Children's Division of the Osaka City Social Affairs Bureau, established a children's consultation center, and in 1920, launched the monthly magazine "Mother and Child". In 1927, he opened the Mita Valley Therapeutic Education Institute in Ashiya, and in 1929, he founded the Japan Mother's Association.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.
Lot 74
BUDDHAS, BODHISATTVAS, ARHATS, AND A VAJRAPANI'Published: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, pp. 18-20 and 111, no. 8.China, Ming dynasty (1368-1644). Ink, watercolors, gouache, and gold highlights on silk. Mounted as a hanging scroll with a paper frame. Finely painted with five buddhas above four bodhisattvas, nine luohan, and a fierce Vajrapani, all amid thick scrolling five-color clouds. Inscriptions: Upper left, titled ‘Buddhas of the Ten Directions, Eight Great Bodhisattvas, Luohans, and a Vajrapani’. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. 130. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and a noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.Condition: Good condition with wear, creases, small tears, and minor losses with associated old repairs. The paper frame in similar condition with losses, tears, creasing, and associated repairs. Presenting overall very well given its age and material. Dimensions: Image size 83.8 x 134 cm, Size incl. frame 94.3 x 184 cmThe grandest of the Buddhist mortuary rites is the Water-Land (shuilu) ritual. This esoteric ceremony is conducted for the salvation of “all souls of the dead on land and sea.” The ostentatious ritual was performed for imperial ancestors and high officials from the Song (960–1279) to the Ming dynasties and drew large crowds. On the second day of the weeklong ceremony, paintings are hung in the inner altar.Originally one of a pair, most likely flanking a central painting of the Buddha. It has been claimed that the total of twelve characters is a feature of a painting created at the imperial court. Almost certainly, the matching right-hand painting of the pair would have featured another inscription in gold, with details of the temple where it was dedicated and the date.At the top of the painting, against a background of auspicious 'five-colored' clouds, are five of the Buddhas of the Ten Directions. They are not individually identified, but display different mudras or hand gestures. From the left, these are: abhaya, dharmacakra, anjali, abhaya, and dhyani mudra.Immediately below them are four of the Eight Great Bodhisattvas, who are more easily identifiable by the attributes they hold. From the left, the first figure, holding a khakkhara or priest's staff, and with a Sanskrit seed character in his headdress, is Kshitigarbha; next to him, holding a ruyi or wish-fulfilling sceptre, is Sarvanivaranavishkambin; following him is Maitreya holding a fan on which is depicted the sun and moon and a two-story building representing the Tushita Paradise in which he resides; and finally Samantabhadra. Similarly, the group of nine luohan in this painting would have been completed by a parallel group in the facing painting. Although they are not all immediately identifiable, they have very distinctive characters, old and young, Chinese and foreign. The first figure in the second row, holding a fan with outline clouds, is Pindola, an old man with immensely long, white eyebrows.Museum comparison:Compare a pair of related Water-Land ritual paintings, dated 1454, in the Cleveland Art Museum, accession number 1973.70.
Lot 49
XU BEIHONG (1895-1953) AND ZHANG SHUQI (1899-1956): 'TWO PIGS', DATED 1937China. Ink and watercolors on paper. Mounted as a hanging scroll with finely carved and lacquered wood handles. Superbly painted with two black pigs standing foursquare side by side below a tree, one with its head raised and turned to the side. The top left corner with a text written in calligraphy about the two pigs.Inscriptions: Inscribed and signed with ‘Shuqi and Beihong in Chengdu, in the twenty-sixth year of the Republic era (corresponding to 1937) and two seals, ‘Shuqi’ and ‘Donghai Wang Sun’. Lower left, a collector’s seal, ‘Zuhou Yingnan’. Lower right, one seal.Provenance: A noted private collector. Previously sold at Bonhams, Hong Kong, Admiralty, Chinese Paintings, March 2022, lot 22, for HKD 38,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writing. Condition: Very good condition with minor wear, few water stains with associated small touchups. The handles with minuscule chips.Dimensions: Image size 115 x 50 cm, Size incl. mounting 205 x 62.5 cm Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the Peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.Zhang Shuqi (1899-1956) was a Chinese painter from Zhejiang, noted for painting flowers and birds. He studied at Shanghai under Liu Haisu. He temporarily taught at the National Center University. From 1942 to 1946, he lived in the United States. After that, he returned to China for a time, but ultimately settled in the US. His works are held in the Art Gallery of Greater Victoria, the Ashmolean Museum, and Stanford University.Literature comparison:Compare a painting of two pigs by Xu Beihong, sold at Christie’s Hong Kong, 30 November 2012, lot 2591. Compare the closely related depiction of the pigs, with similarly painted snouts and tails. Note the smaller size (89.5 x 53.5 cm).
Lot 6216
(Eric Gill, Typography, Calligraphy, Printing.) Edward Johnston: 'Manuscript & Inscription Letters for Schools & Classes & for the Use of Craftsmen.', London, John Hogg, 1911, 2nd impression, 16 calligraphic plates as called for, of which 5 by Eric Gill which are reproductions of his carved and written alphabets, housed loose as issued in large 4to (32 x 25cm) original cloth backed portfolio (worn), ribbon ties
Lot 94
ZHANG DAQIAN (CHANG DAI-CHIEN) (1899-1983) A scroll incorporating a panel of calligraphy speckled with gold and a continuous landscape with mountains and figures in boats, pavilions, houses and cloud-shrouded mountains, the exterior with a finely woven silkwork cover and a ribbon with a celadon jade attachment, 793cm x 27.5cmProvenance: Acquired in Hong Kong in the 1970's by the grandfather of the present owner and thence by descent.
Lot 11
An original page , leaf of an antique 16th Century Qur'an , Koran from North India circa 1500 1550. This fine manuscript of unusual design was scribed by Uthman bin al Husain al Waraf in North India in the early to mid-16th Century. The script is Naskhi and is of fine quality with the first, middle and last lines in gold thuluth. Margins have been illuminated with gold vines and some later suras are marked with blue roundels in the margins. It is very similar to the illustration on page 65 of Safadi's textbook Islamic Calligraphy which was dated AD 1538. The volume as a whole was too damaged to repair but most of the leaves have been saved. This is a finely scribed and very good example from a Qur'an , Koran dating back almost 500 years with an identified scribe from North India and measures approx 6cm wide x 9.5cm high, nicely framed (overall size of fame approx 21.5cm x 26cm) and is in very good condition (see photographs)Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 307
Ben Shahn, American 1898–1969 - My True Love Hath My Heart; gouache, ink and gouache on paper, signed lower right 'Ben Shahn', 18.8 x 31.6 cm Provenance: with Kennedy Galleries, New York, stock no.BSZ# 877 (according to the label attached to the reverse of the frame); Dr John & Mary Esther O'Driscoll, Kildare, Ireland; thence by descent to the present ownersNote: the reverse is inscribed with the words of the Sonnet 'My True Love Hath My Heart' by Sir Philip Sidney (1554-1586), one of the most prominent and beloved figures in the Elizabethan court. Ben Shahn illustrated and provided calligraphy for 'Love Sonnets. Selected and with notes' edited by Louis Untermeyer in 1964, a selection of love sonnets written by seventeen poets between 1265 and 1964, also including pieces by William Shakespeare, John Keats and Christina Rossetti. Kennedy Galleries held exhibitions of the artist's work in 1968 and 1969.
Lot 5
A Chinese watercolour scroll, depicting tree, lilies and rock with calligraphy with signature bottom right dated Hong Kong 20.11.52. Image size 121 cm x 44 cm (see illustration). CONDITION REPORT: This work on paper is very much in poor condition. Numerous folds, a tear to the top margin that runs for at least 12”. The image itself is not torn but it is heavily creased with foxing and discolouration around the edge. There is also a tear to one margin that runs to 1.5 cm wide. Condition is poor but the paper image that is painted is intact but well worn, used and folded.
Lot 279
Karl Schmidt-Rottluff Bäume im Winter. Orig.-Holzschnitt. Monogrammiert. Im Druckstock nochmals monogrammiert. 1905/1975. Auf dünnem Japanbütten. 11,8 : 16 cm. Papierformat 22 : 28 cm. Der kleine, auf wenige Linien konzentrierte Holzschnitt zeigt deutlich die intensive Auseinandersetzung Schmidt-Rottluffs mit japanischer Kalligraphie. Der Künstler schafft durch die reduzierte Formgebung eine kühle winterliche Atmosphäre. Späterer Abzug für die Edition Griffelkunst, Hamburg 1975. - ZUSTAND: Auf Anfrage. - LITERATUR: Kruglewsky-Anders, 50 Jahre Griffelkunst-Vereinigung, Hamburg 1977, S. 172. - Gerlinger/Spielmann, S. 91 (SHG-Nr. 22). - Gerlinger/Schneider, S. 27 (SHG-Nr. 26). - The small woodcut, concentrated on a few lines, clearly shows Schmidt-Rottluff's intensive study of Japanese calligraphy. Orig. woodcut. Monogrammed again in the woodblock. 1905/1975. On thin Japanese laid paper. 11.8 : 16 cm. Paper size 22 : 28 cm. - Later proof for Edition Griffelkunst, Hamburg 1975. - With 2 barely visible creases, mounted on cardboard in 2 places on the reverse of the upper edge. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
Lot 6
Melchior Pfintzing Die geuerlicheiten und eins teils der geschichten des löbliche(n) streitbaren und hochberümbten helds und Ritters Tewrdannckhs. Nürnberg, Joh. Schönsperger d. Ä. 1519. • Eines der schönsten und aufwendigsten deutschen Holzschnittbücher des 16. Jahrhunderts • Der höfische Versroman erzählt die Lebensgeschichte Maximilian I. und die Brautwerbung um Maria von Burgund • Gedruckt in einer eigens dafür geschaffenen Type mit Ober- und Unterschleifen • Illustriert mit großartigen Holzschnitten von Leonhard Beck, Hans Schäufelein, Hans Burgkmair u. a., die auf Zeichnungen des Kaisers beruhen Der Theuerdank stellt eine der wichtigsten Quellen für die Kenntnis der ritterlichen Gebräuche und Sitten sowie von Turnieren und Festlichkeiten im ausgehenden Mittelalter dar. Der Held besteht alle möglichen Abenteuer und Gefahren bei der Jagd, im Krieg und im Turnier. Maximilian nutzte die Druckkunst, um zum Ruhm der Dynastie und seiner Person beizutragen. Für sein großes autobiographisches Werk diktierte er selbst oder gab seinem Silberkämmerer Sigismund von Dietrichstein und seinem Geheimsekretär Marx Treitzsaurwein zumindest genaue Anweisungen. Die endgültige sprachliche Form gab Melchior Pfintzing dem Werk. Während der erste Druck von 1517 von Kaiser Maximilian fast ganz zu Geschenkzwecken aufgebraucht wurde, war die zweite Ausgabe zum Verkauf bestimmt. Vorliegend der erste Druck der zweiten Ausgabe, mit den bei Fairfax Murray genannten Merkmalen. Die schöne Drucktype ist 'eine aus der Kanzleischrift entstandene Vorform der Fraktur mit verzierenden Ober- und Unterschleifen' (Arnim, Fünf Jh. Buchillustr. 70). Um ein homogenes Satzbild zu gewährleisten, wurden von einem einzigen Buchstaben bis zu 20 verschiedene Lettern angefertigt, ein ungeheurer Aufwand, der noch heute beeindruckt. EINBAND: Lederband des 18. Jahrhunderts mit reicher Rückenvergoldung und rotem Rückenschild. 36 : 24,5 cm. - ILLUSTRATION: Mit 117 Textholzschnitten (st. 118). - KOLLATION: 289 (st. 290) nn. Bll. - ZUSTAND: Auf Anfrage. - LITERATUR: VD 16, M 1651. - Adams P 963. - Fairfax Murray 330. - Muther 846. - Hollstein V, 112. - Lipperheide Cg 12. - Vgl. Fünf Jahrhunderte Buchillustration, Slg. O. Schäfer Nr. 70 (EA). - Second edition (first print) of probably the most lavishly produced German 16th cent. book of woodcuts for which a specific typeface was created. One of the most important sources of chivalry customs, tournaments and festivities of the late Middle Ages. Contains 117 (of 118) woodcuts in text by L. Beck, H. L. Schäufelein, H. Burgkmair, J. Breu, W. Traut and others. 18th cent. calf with gilt spine and label on spine. 289 (of 290) unnumb. leaves, lacking P4. The missing text and woodcut was added to the following original sheet P 5, which remained unprinted, in excellent calligraphy and pen drawing (probably at the time of new binding in the 18th century). - Here and there slightly stained and browned, at the beginning and at the end with a few small worm traces, 1 leaf with rebacked marginal cutout. Binding rubbed, spine and joints renewed using old material. Overall a nice, clean and wide-margined copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Lot 88
Hubert Berke. (1908 Buer - 1979 Radekirch). Improvisation auf Goldgrund. 1955. Öl auf Leinwand, ganzflächig kaschiert auf Unterlage. 70 x 49 cm. Signiert und datiert. Freigestellt im schwarzen Rahmen. Dort verso mit dem Etikett der Galerie Der Spiegel, mit typographischen Werksangaben. - In der oberen linken Ecke mit wenigem, sehr feinen Craquelé. Unter UV keine Retuschen erkennbar. Insgesamt sehr gut. Kraftvolle, expressive Arbeit in abstrahierter Formensprache. Deutlich zeigt sich der Einfluss von Hubert Berkes Lehrer Paul Klee in unserer Arbeit. In geradlinig-abstrahierter, gleichzeitig verspielter und farbenfroher Formensprache zeigt Berke verschachtelte Formen vor goldenem Grund. Etwas prachtvoll Reifes ist der Arbeit inhärent, die aus dem Spätwerk des Künstlers stammt und zeigt, wie sicher Berke figurative Elemente mit abstrahierenden Formen verbinden konnte zu einem in sich stimmigen Bildausdruck, der das spannungsgeladene Spiel der Kräfte meistert. Der Einfluss der Künstlergruppe "ZEN 49", bei der Berke 1951 Mitglied wurde, zeigt eine Reduktion des Kolorits und den Einfluss der Kalligraphie bzw. der Zen-Philosophie und ostasiatische Ästhetik. Oil on canvas, laminated over the entire surface on underlying mat. Signed and dated. Released in a black frame. On the verso with the label of the gallery Der Spiegel, with typographical indications of the work. - In the upper left corner with a few, very fine craquelé. No retouching visible under UV. At all very good. Powerful, expressive work in an abstract formal language. - The influence of Hubert Berke's teacher Paul Klee is clearly evident in our work. In a linear, abstract, yet playful and colorful formal language, Berke shows nested forms against a golden background. Something magnificently mature is inherent in the work, which comes from the artist's late work and shows how confidently Berke was able to combine figurative elements with abstracting forms to create a coherent pictorial expression that masters the tense interplay of forces. The influence of the artists' group "ZEN 49", of which Berke became a member in 1951, shows a reduction of coloration and the influence of calligraphy, Zen philosophy and East Asian aesthetics.
Lot 617
A Tooled Black Leather Box with Royal Coat of Arms containing a Letters Patent dated the 24th October 1873 granting a patent in the name of William Edward Newton for ' The Invention of Improvements in the construction of Electro Magnets' 'communicated to him from abroad by José Santiago Camacho of Cuba'. This document is accompanied by An Assignment of Letters Patent dated April 24th 1874 to the same José Santiago Camacho. Both documents are in fine calligraphy on vellum. The box also contains a two sided wax seal in a black lacquered tin box and a certificate from The Office of the Commissioners of Patents for Inventions dated the 24th October 1873, and stamped the 24th April 1874. All contained in the original box. (H 5 cm x W 28.5 cm D 22 cm)
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