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Lot 566
Chinese export porcelain said KraakBlue underglaze decoration of lobated central medallion with landscape with rock outcrop, flowering bush and birdsEight cartouche lip alternating fruits, precious objects and Buddhist symbolsStylised motifs to reverseWanli reign (1573-1600)glaze losses to rim; firing fault)Diam.: 21 cm
Lot 310
A large Chinese blue and white baluster vase adapted as a lamp, the porcelain Kangxi (1661-1722), painted with two panels, one depicting white capped mountains and the other depicting birds in trees, the vase 33cm high, metal mountsCondition Report: 18cm body crack and star crack to base 12cm x 12cm and neck of vase reduced and now with glued metal lamp fitting and some wear to glaze throughout Condition Report Disclaimer
Lot 57
A 19th century Chinese porcelain vase, decorated with dragons and chrysanthemum, four character mark to base. Height 22 cm. CONDITION REPORT: This vase has a star crack to the glaze to the underside, together with a very small flake chip to the foot rim. Otherwise this vase appears to be in good condition.
Lot 10
A collection of Chinese and other eastern snuff bottles, ceramic, enamel, silver coloured metal, jewelled and inlaid mother of pearl, variously set with jade, amber, etc. and a hardback book "Chinese Snuff Bottles" by Lilla S. Perry. Tallest 85 mm. CONDITION REPORT: The blue porcelain snuff bottle has a hairline crack running for +/- 4.5 cm. The folding double snuff bottle has no stoppers. The enamelled example is in good order with no issues. The three other metal snuff bottles are in good order with no issues. The moon shaped example is missing its stopper top.
Lot 447
Max Peiffer WatenphulBlumenstillleben Öl auf Malkarton 64,3 x 54,4 cm Gerahmt. Oben rechts mit schwarzer Kreide monogrammiert 'M. PW'. Rückseitig handschriftlich bezeichnet "A. /25 [?]". - In guter, farbfrischer Erhaltung.Nicht bei Watenphul Pasqualucci/PasqualucciProvenienzPrivatsammlung Nordrhein-Westfalen, FamilienbesitzVor 100 Jahren, im Oktober 1919, beginnt der promovierte Jurist Max Peiffer Watenphul auf Empfehlung von Paul Klee sein Studium an dem soeben von Walter Gropius eröffneten Bauhaus in Weimar und besucht die Grundkurse von Johannes Itten, engagiert sich in den Werkstätten Weberei sowie Töpferei und interessiert sich intensiv für das Medium der Photographie. Skurrile Porträts, außergewöhnliche Städtebilder von Venedig und die italienische Landschaft um Rom, Cefalù und Ischia sind die einen Themen Peiffer Watenphuls, Stillleben und besonders üppige Blumensträuße wie dieser in einer chinesischen Vase sind die anderen bevorzugten Sujets des Künstlers. Vereinzelte Blüten im Stile der Neuen Sachlichkeit in den 1920er Jahren verdichten sich zunehmend zu prachtvollen Gebinden und explodieren geradezu über den Bildrand hinaus. Man spürt die ästhetische Empfindsamkeit des Künstlers für Blumen, die preziöse Fähigkeit, sie nach Art und Farbe zu kombinieren, sie kontrastreich zu binden und so eine beglückende, frühsommerliche Farbenpracht mit Rittersporn, Mimosen, Chrysanthemen, Nelken, Sonnenblumen und anderem zu inszenieren. Ebenso schenkt Peifer Watenphul den Gefäßen seine Aufmerksamkeit. Es sind dies neben Glasvasen zumeist edle Porzellanvasen, wie diese mit chinesischem Dekor, welche den Künstler in seinen Stillleben lebenslang begleiten und immer wieder den gebildeten Schöngeist geschmackvoll herausstellen. Max Peiffer WatenphulBlumenstillleben Oil on artist's board 64.3 x 54.4 cm Framed. Monogrammed 'M. PW' in black chalk upper right. Inscribed "A. /25 [?]" by hand verso. - In fine condition with vibrant colours.Not recorded by Watenphul Pasqualucci/PasqualucciProvenancePrivate collection, North Rhine-Westphalia, family possessionOne hundred years ago - in October of 1919 - Max Peiffer Watenphul, Doctor of Laws, began his studies at the Bauhaus in Weimar, which had just been opened by Walter Gropius. Paul Klee had recommended that he study there, and he attended the elementary courses of Johannes Itten, was active in the workshops for weaving and pottery and became intensely interested in the medium of photography. Bizarre portraits and unusual cityscapes from Venice and the Italian countryside around Rome, Cefalù and Ischia are a few of the subjects of Peiffer Watenphul; still lifes and particularly luxuriant bunches of flowers, like this one in a Chinese vase, were the artist's other favourite motifs. Isolated flowers in the style of the New Objectivity in the 1920s increasingly became concentrated into magnificent bouquets and positively explode past the edges of the painting. We can sense the artist's aesthetic sensibility for flowers, his ability to ornately combine them by species and colour, to gather them in rich contrasts and thus present a delightful, early summer marvel of colours featuring larkspur, mimosas, chrysanthemums, carnations and sunflowers, among others. Peiffer Watenphul also devoted his attention to their containers. In addition to glass vases, these usually consisted of regal porcelain vessels, such as this one featuring a Chinese motif, which accompanied the artist in his still lifes throughout his lifetime and tastefully identify him again and again as a cultured aesthete.
Lot 78
A Chinese blue and white porcelain tureen and cover, length 18cm, and 2 other Chinese blue and white meat plates (3)Tureen has 5cm crack to the body, glaze chips to rim of cover. Larger plate, glaze chips to rim otherwise good condition, smaller plate is discoloured possible tar residue from prolonged smoke exposure.
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