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Lot 524
Stark Carpet Corporation, United States. Large wool rug, with a central medallion of scrolling foliage interspersed with delicate pink florals against a cream ground, bounded by floral and geometric borders. Retains the original Stark label to the underside.Length: 20 ft 8 in x width: 13 ft 10 in.
Lot 11
MAX PECHSTEIN (1881-1955)Bildnis Charlotte Cuhrt signed and dated 'Pechstein 1910' (lower left)oil on canvas175.8 x 85.4cm (69 3/16 x 33 5/8in). shapedPainted in 1910Footnotes:ProvenanceMax Cuhrt Collection, Berlin (commissioned from the artist in 1910).Private collection, Germany (by descent from the above).Private collection, Europe (acquired from the above in 2008).Anon. sale, Ketterer, Munich, 11-13 June 2015, lot 221.Private collection, Switzerland (acquired at the above sale). ExhibitedBerlin, Galerie Maximilian Macht, Neue Secession, III. Ausstellung, February - April 1911, no. 33 (titled 'Bildnis L.C.').Vienna, Österreichische Galerie Belvedere, 2009-2014 (on loan).LiteratureJ. Sievers, 'Die Neue Sezession in Berlin', in Der Cicerone, no. 3, 1911, p. 178. A. Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, Vol. I, 1905-1918, Munich, 2011, no. 1910/62 (illustrated p. 275).A. Soika, 'Max Pechstein's Rahmen', in Unzertrennlich, Rahmen und Bilder der Brücke-Künstler, exh. cat., Berlin, 2020, pp. 430-431 (illustrated p. 431).Uniting his dynamic Expressionistic style with the luxurious design and architecture of pre-war Berlin, Max Pechstein's Bildnis Charlotte Cuhrt stands as a testament to familial love, creative collaboration, and a city at the precipice of artistic revolution. In 1910, Berlin was in a state of flux. Having recently become the capital of the newly unified Germany in 1871, the city held an aura of optimism and ambition, as booming innovations in science, medicine and technology brought with it a rapidly growing population and economy. New buildings in a grandiose, Neoclassical style sprung up in Berlin's affluent neighbourhoods, while participants of the city's vibrant nightlife enjoyed opportunities to revel, re-identify, and exchange ideas with Berlin's coterie of avant-garde thinkers. This burgeoning Weltstadt ('World City') – thriving before the decades of war and catastrophe that would soon take hold – was therefore a metropolis of contradictions, one in which the young Max Pechstein found his footing as a stalwart of Expressionism and its subgroups.Having recently completed his studies at the Royal Art Academy in Dresden, Pechstein met the artist Erich Heckel in 1906, who was captivated by the vitality and chromatic intensity of Pechstein's works. Heckel invited Pechstein to join Die Brücke ('The Bridge'), a newly established collective of young German artists seeking to establish links between the primordial and primitive on one hand and the conceptual and radical on the other. Together with his energetic peers – among them Karl Schmidt-Rottluff, Ernst Ludwig Kirchner and Emil Nolde – Pechstein's creative experiments came to define Expressionism, a fluid term denoting the depiction of intense emotion through non-naturalistic forms and highly saturated colours. In this, Die Brücke were directly influenced by the Fauves ('Wild Beasts'), a movement catalysed by the shocking experiments in colour and form by Henri Matisse, André Derain and other members. Pechstein was first exposed to Fauve art in 1908 at the Salon des Indépendants in Paris, thence forming a friendship with Kees van Dongen, whose mastery as a colourist further liberated Pechstein and Die Brücke's emphases on chromatic supremacy.In 1906, the young Pechstein – then enjoying the first blushes of artistic success – also drew the attention of the architect Bruno Schneidereit, who saw his works at the Third German Decorative Arts Exhibition in Dresden. Following this meeting was a series of fruitful collaborations between Pechstein and Schneidereit, within which Pechstein would create designs to accompany Schneidereit's plans for opulent apartment buildings in Berlin's wealthy neighbourhoods. Pechstein in turn completed a series of portraits of the architect: Männerbildnis – Bruno Schneidereit (The Courtauld Gallery, London) echoes the vigorous handling and bold palette of Bildnis Charlotte Cuhrt. Through his friendship with Schneidereit, Pechstein was introduced to Max Cuhrt, a magistrate secretary who with Schneidereit became one of Pechstein's foremost patrons. With Pechstein's new studio space in a Schneidereit-designed building in Charlottenburg, and the financial backing of these two benefactors, Pechstein was given the means through which to fully delineate his highly influential style.Bildnis Charlotte Cuhrt, an exquisite full-length portrait depicting Max Cuhrt's daughter, was commissioned at the height of Pechstein's involvement with Die Brücke. A symphony of vibrant, seductive colour fields and dynamic brushwork, the portrait truly exemplifies Pechstein's proficiency as a colourist, one who deftly juxtaposes complementary and opposing tones to conjure up emotive tension. Looking out earnestly with the slightest hint of a smile, Charlotte Cuhrt radiates with the optimism and naïveté of youth. The crimson of her dress bleeds out into the rich carpet, whose striking yellows and greens – favoured tones of the Fauves and the Expressionists – are mirrored in her blonde hair, as well as the chair and the wardrobe beyond. The arch-like structure of the picture was formatted so that the portrait could be affixed to a Schneidereit-designed piece of furniture in the family's Berlin apartment. Standing alone, however, this shape imparts a certain spiritual intensity, framing Charlotte within a domestic altar. The portrait thereby stands a statement of utmost devotion to familial love and the beauty of youthful innocence.In his designs for the Cuhrt family's apartment, Schneidereit's aim was to create a spectacular Gesamtkunstwerk, or total sensory artwork. A foundational concept appearing across many Modernist movements – from Art Nouveau to Arts and Crafts – this design goal was espoused by the Wiener Werkstätte ('Vienna Workshop'), who encouraged collaborations between furniture and interior designers with fine artists and architects. Aesthetic harmony between all facets of a building – its accessories, furnishings, textiles, wallpaper and architectural plans – took hold in palaces, villas and government buildings across twentieth century Europe. In the present work, Schneidereit's architectural endeavours are illustrated in the grand, Neoclassical wardrobe behind Charlotte, as the exterior of the home becomes inseparable from its interior. Furthermore, this element generates an off-centre caesura, as the portrait's asymmetrical composition highlights not just the sitter but the design elements of the home with a strictly Modern sensitivity. The blank yet vivid green wall holds as much dramatic force as the carpet, wardrobe and protagonist.The summer of 1910 was a particularly productive period for Pechstein, especially concerning his depiction of human bodies and psychological states. Sunning by the lakes of Moritzburg near Dresden with his friends Heckel and Kirchner, Pechstein completed a range of nudes and portraits of the people he met there, relishing the fact that they were not professional models who were constrained by habitual studio poses. In harmony with their surroundings, the three Die Brücke artists traded techniques and philosophies that culminated in some of their most raw and intense masterworks. In Pechstein's 1910 painting, Mädchen auf grünem Sofa mit Katze (Museum Ludwig, Germany), Pechstein captures the sitter Marzella Sprentzel's gentle innocence as she lounges, her gaze a... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 86
Carpet; Charles IV style, first half of the 20th century.Wool.Signed Sert.Measurements: 245 x 400 cm.Made in wool, the carpet presents a field in ochre and pink tones with a floral decoration combined with scrolls and plant elements, arranged around the area as in the central oval zone. The border consists of a single band of a darker tone than the field, but similar to visually unify the composition. The Sert family of Barcelona was one of the owners of the most important textile factories in the city.
Lot 128
A TABRIZ RUG approximately 320 x 210cm Condition Report: Wear to carpet overall. Patches of additional wear to pile in places - see images. Strands of broken weft and pale knot head visible in places. Fading and surface dirt. Longest edges have been re-bound. Both sides have wear and undulation. Fringing is short at both ends and has fraying and losses. The wear has encroached into the guard stripe slightly at one end. This end has some later thread applied to help secure. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 652
TABRIZ CARPET, SIGNED AMIR KHIZI JAVAN NORTHWEST PERSIA, EARLY/MID 20TH CENTURY the ivory field with allover palmette and foliate vine pattern, within red border, signature to one endDimensions:393cm x 288cmNote: Note: Amir Khizi Javan (1899-1973) opened his first workshop in Tabriz in the early 1920s and was one of the notable master weavers of the mid-20th century.
Lot 653
TABRIZ BENLIAN 'HUNTING' CARPET NORTHWEST PERSIA, EARLY/MID 20TH CENTURY the cream field with slate blue medallion, within bottle green border, signature star to one cornerDimensions:325cm x 223cmNote: Note: The Anglo-Armenian firm of Benlian was founded between the two World Wars by Edward Benlian (d.1972) and lasted until the 1960s. It specialised in high quality versions of Safavid designs. Benlian carpets can be recognised by the star-shaped signature cartouche found in one corner.
Lot 667
TETEX CARPET GERMANY, EARLY/MID 20TH CENTURY the cream field with allover palmette and foliate pattern, within rust red borderDimensions:340cm x 250cmNote: Note: The Tetex carpet company in Munich was a producer of high quality hooked copies of Persian and Caucasian carpet designs in the inter-war period.
Lot 670
THE DYERS' COMPANY USHAK CARPET WEST ANATOLIA, EARLY 20TH CENTURY the camel field with allover palmette and foliate vine lattice pattern, within blue borderDimensions:1007cm x 697cmNote: Provenance: The Worshipful Company of Dyers, Dyers Hall, LondonNote: The Company’s Gift Book records that this carpet was commissioned and presented in 1930 by Court Assistant Dr. Gerald Moody. The carpet remained in the Court Room from that time until its recent removal as part of the hall’s renovations, which commenced in 2018; the most significant works since the building of the hall in the 19th century.Henry VI granted the Guild of Dyers their first charter in 1471, confirming that the guild had the authority to control the quality of workmanship and hence the reputation of London dyers. Once the guild became incorporated by charter, it was legally possible for it to own land and their first hall was then acquired in 1482. Over the centuries the Dyers have had several halls, both on the riverside and at the current site. The present Dyers’ Hall, occupying a corner position at the junction of Dowgate Hill and College Street in the City of London, was designed and built by the aptly named architect Charles Dyer in 1839-41. The hall is listed Grade II* and is a Scheduled Ancient Monument.The Court Room, occupying the same space as the previous hall, faces out on to College Street. It is used for the monthly meetings of the Court of Assistants and several dinners each year. Some of the furniture and furnishings were transferred from the old to the new hall, but whether or not the carpet in the Court Room was new at the time the building was finished in 1841, it was no longer at its best by the time Dr Moody offered to replace it with a bespoke commission.Dr Gerald Tattersall Moody DSc. FCS. (1864-1943) was initially a chemist although later read for the bar and was called in 1910. He also took a keen interest in finance and applied his analytical mind to investing. He became chairman or director of a number of companies and had a high reputation in the City. Dr Moody joined the Livery in 1918 and became Prime Warden of the Dyers in 1935.When Dr. Moody commissioned this impressive carpet for the Court Room, the city of Ushak in the new Republic of Turkey had established a significant reputation for the production of large scale good quality carpets designed for European tastes and room sizes.Ushak (or Uşak) in Western Anatolia, and its surrounding region, has a long and illustrious history of carpet weaving. In the fifteenth century it produced carpets for the Ottoman court in Istanbul and from the sixteenth century on it was one of the largest producers of commercial carpets for Europe. With revitalised demand from the late 19th century onwards, the carpet weaving trade in Ushak boomed once more. Mary Beach Langton notes in her book How to Know Oriental Rugs, published in 1904, that: “at Oushak [sic], alone, it is estimated that from five to six thousand weavers and dyers are employed. And here the best rugs are made…They are usually of good wool, often of permanent dyes” (p177).An Ushak production would thus have been an obvious choice for a good quality carpet on a grand scale for the principle room of the Dyers’ Hall. The Company notes that to produce a carpet of this size required a specially built loom to be constructed at the time.Almost a century on, a new bespoke carpet was commissioned to mark the 550th anniversary of the Company Charter and it is now time for the Dyers’ Hall Ushak to find a new home.
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