Full title: A Chinese Yixing 'phoenix' stoneware teapot and cover, KangxiDescription: L.: 17 cm - H.: 11 cmÊ Ref.:- Patrice ValfrŽ: 'Yixing, Des thŽires pour l'Europe', p. 172, nrs. 29-30, for two carp- and frog-shaped examples in the collection of the Porzellansammlung Zwinger, Dresden, Germany.- The Peabody Essex Museum, inv. no. AE86563.AB, for a nearly identical example (link available on our website), accompanied by the following text: The form of the Yixing stoneware ewer is that of a phoenix (feng huang), a mixture of a pheasant and a peacock, a bird that appeared in times of peace and prosperity, and was an emblem of the Empress of China and consequently an emblem of femininity. The long tail curls under the body to form the handle, with the lid in the form of a pearl rising from the waves of the sea. The ball may also represent the sun rising out of the sea as the phoenix was considered the product of the sun or of fire and is often pictured gazing on a ball of fire. The two fold term feng huang might be rendered as ‘crested love pheasants.’ These are often identified as teapots although they may equally have been used for wine, or even made entirely for decorative purposes. This is among the more graceful of the published examples, with its high arching neck, finely swirled head feathers, and a highly vitrified body that results in a sheen not seen on what may be later and less refined versions.Please contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
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Full title: A Chinese blue and white Augsburg gilt-mounted bowl, ex- coll. August the Strong, KangxiDescription: L.: 29 cm - H.: 9,5 cm (incl. mounts)Ê Provenance: With an engraved inventory number from the collection of August the Strong.Ê The Saxon elector and Polish king Augustus the Strong was a major proponent of porcelain in the early 18th century. His love for the material drove him to imprison a talented young alchemist named Johann Friedrich Böttger in hopes of finding the formula for white porcelain, which at that time was a secret known only in China and Japan.Ê When Böttger perfected the recipe for porcelain in 1709, Augustus the Strong quickly founded the Meissen Porcelain Manufactory—the first porcelain manufactory in Europe—revolutionizing the porcelain market worldwide. He eventually amassed what is still the largest collection of Chinese and Japanese porcelain in the West, and began plans for a palace built to store the royal collection—an ambition that ultimately remained a dream.Ê The number of Chinese and Japanese porcelain Augustus the Strong collected grew to 29,000 until his death in 1733. Roughly 8000 pieces from his collection are still preserved in Dresden. They are actually the subject of a major cataloguing, digitization, and research project of the Dresden Porcelain Collection, something experts from all over the world are working on. The remaining third can be considered as a representative cross section of the original collection. The other pieces were dispersed throughout the world in many different ways: In the 19th century, when the Porcelain Collection tried to turn itself into a museum of world ceramics, so-called duplicates were sold or given away in exchanges. When Saxony became a republic in 1918, parts of the porcelain collection became public whereas others stayed with the royal family and were partly auctioned. More losses occurred during the Second World War, when the collections were moved to different repositories outside of Dresden and later to Russia, from where the biggest part returned to Dresden in 1958. Today, we can recognize the pieces originally in the collection of Augustus the Strong thanks to their historic inventory numbers. They are treasured objects in public as well as private collections and in the art market.Please contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
English & Continental 19th / 20th century ceramics, comprising; Royal Worcester jug, Dresden teapot and cover, Paris tea bowl and saucer, Crown Derby saucer and a Hutschenreuther teapot and cover, (qty). Condition Report Finial chipped, losses to gilt on spout, lid also chipped to underside.
Daisy Patton Untitled (10th grade 1954), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Daisy Patton Untitled (Sincerely, Aleycal Matsumura 1938), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Daisy Patton Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Daisy Patton Untitled (L.B. 1937 Westchester Photo Finishing Co. Dec. 7 1936), 2018, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
BERNHARD MÜHLIG 1829 Eibenstock - 1910 Dresden Feldarbeit am Abend Öl auf Leinwand (maroufl.). 21 x 24,5 cm (R. 26 x 30 cm). Signiert unten links 'B. Mühlig'. Min. besch., rest. Rahmen. BERNHARD MÜHLIG 1829 Eibenstock - 1910 Dresden Field work in the evening Oil on canvas (maroufl.). 21 x 24.5 cm (F. 26 x 30 cm). Signed lower left 'B. Mühlig'. Min. damaged, rest. Frame.
RUDOLF POESCHMANN 1878 Plauen - 1954 Dresden Heinrichtsplatz in Meissen Öl auf Leinwand. 56 x 70 cm (R. 68 x 82 cm). Signiert unten links 'Rud. Poeschmann Dr'. Verso: Auf Keilrahmen handschr. bez. und betitelt. Min. rest. Rahmen. RUDOLF POESCHMANN 1878 Plauen - 1954 Dresden Heinrichtsplatz in Meissen Oil on canvas. 56 x 70 cm (F. 68 x 82 cm). Signed lower left 'Rud. Poeschmann Dr'. Verso: on stretcher handwritten indicated and titled. Min. rest. Frame.
DECKELVASE MIT WATTEAU-MALEREI Deutsch, Dresden, Oswald Lorenz, Ende 19. Jh. Porzellan, polychrome Malerei, Goldstaffage. H. 37,5 cm. Aufglasurblaue Manufakturmarke. Auf leicht eingezogenem Rundfuß balusterförmiger Korpus und zylindrischem Hals. Glockenförmiger Deckel mit Pinienzapfenknauf. Schauseitig dekoriert mit galanten Szenen, dazwischen in vergoldeten Reserven Blumenmalerei auf Hellblaufond mit Gittermuster in Gold. Part. ber., Deckel rest.
BARBARA ROSINA DE GASC (NACH) 1713 Berlin - 1783 Dresden BILDNIS DER MARIA ANTONIA VON BRANCONI Gouache auf Elfenbein. 10,5 x 8,5 cm (R. 13 x 11 cm). Seitlich rechts bez. 'Rosina d. Gask e.'. Hinter Glas im floral verzierten Bronzerahmen. Bitte beachten Sie, dass aufgrund der aktuellen Cites-Bestimmungen für Objekte aus Elfenbein ein uneingeschränkter Handel nur innerhalb der Europäischen Gemeinschaft erlaubt ist. Ein Export in Drittländer ist derzeit nicht möglich.
VIERTEILIGES TEE- UND KAFFEESERVICE AUF TABLETT, DREIFLAMMIGER KERZENLEUCHTER UND STÖVCHEN Darunter Dresden, Hermann Behrnd / Schwäbisch Gmünd, Jakob Grimminger, 20. Jh. Silber. H. 6,4-25,2 cm, 4001 g. Punziert mit Halbmond, Krone, Herstellersignets, Feingehaltsangaben '835', '925' und '830' sowie mit Juweliermarke 'F. J. Schröder' und 'Handgearbeitet'. 'Dresdner Barock' - Stil. Oberflächenkratzer.
ALTES MEISSENER TEEKÄNNCHEN MIT KAUFFAHRTEISZENEN Deutsch, Meissen, um 1730 (Ausformung), um 1740 (Bemalung) Porzellan, polychrome Malerei, Goldstaffage. H. 11,7 cm. Unterglasurblaue Schwertermarke mit geschweiften Parierstängen und Punktknäufen, 'X' eingeritzt, '29' in Gold (Deckel). Auf niedrigem Standring kugeliger Korpus. Mit Blattwerk angesetzter Bogenhenkel. Geschweifter Röhrenausguss mit plastischem, bunt staffiertem Maskaron am Ansatz. Gewölbter Deckel mit Kugelknauf. Beidseitig aufwendig gemalte Kartuschen in Gold, Eisenrot und Purpur mit Lüsterfeldern, darin Darstellungen der Kauffahrtei- und Hafenszenen mit Staffage. Dazwischen und am Henkel indische Blumenmalerei. Unter dem Hals Spitzenbordüre in Gold. Deckel mit umlaufender Hafenszenerie. 1. Wahl. Min. ber. Neben den Chinoiserien haben auch die reizvollen Kauffahrteiszenen auf Meissener Porzellanen dem Ruf der Manufaktur in Bezug auf ihre eindrucksvollen Dekore wesentlich beigetragen. Das hier angebotene Teekännchen vereint in sich sämtliche Eigenschaften der qualitativvollen Malerei, für die man frühes Meissener Porzellan europa- und weltweit schätzt. Der Hauptreiz des Kännchens ist seine beeindruckend feine, einwandfreie Malerei. Zwei Sichtweisen auf einen lebhaften Hafen sowie dementsprechend zwei verschiedene Raumkonzepte bieten dem Betrachter beide Darstellungen in den reich verzierten Kartuschen. Auf einer Seite bildet die im Dunkeln liegende Baumkulisse mit daneben befindlichen Holzkisten den Vordergrund, wodurch die Vierergruppe der miteinander sprechenden Kaufmänner im Mittelgrund weit entfernt wirkt und beinahe der figurenreichen Staffage gehört, die man stundenlang studieren könnte. Zwei Geschäftsmänner auf der anderen Seite rücken dagegen in die Nähe des Betrachters und suggerieren damit stärker das Gefühl der Beteiligung am Alltagsleben eines agilen Hafens. Außergewöhnliches Talent in der Darstellung der Kauffahrteiszenen besaß der bekannte Maler Christian Friedrich Herold, von dessen Hand die feine Bemalung der signierten Tabatière stammt, die heutzutage in der Porzellansammlung der Staatlichen Kunstsammlungen Dresden aufbewahrt wird. Die Ähnlichkeit des Repertoires der Figurenstaffage auf dem Kännchen und der Tabatière, die feinen violett-rosafarbenen Töne des Hintergrunds sowie die Grundprinzipien der Raumbildung sprechen dafür, dass der Maler aus der engen Umgebung Herolds stammt oder mit diesem im regen Austausch zusammengearbeitet hat.
DEKORATIVE KOMMODE MIT GALANTER PORZELLAN-MALEREI Deutsch, Dresden, um 1870/ 1880 Nussbaum, furniert, vergoldete Bronze-Beschläge. H. 89 cm, B. 41 cm, T. 29 cm. Über vier geschwungenen Kurzbeinen hoher passig bewegter Korpus mit insg. sechs Schubladen und korrespondierender Deckplatte. Porzellan-Medaillons mit galanter Polychrom-Malerei. Part. mit Furnierschäden.
FÜNFTEILIGE SITZGARNITUR Deutsch, Dresden, um 1870/ 1880 Nussbaum, furniert, vergoldete Bronze-Beschläge. H. 114 cm, B. 125 cm, T. 66 cm (Sitzbank), Rücken-. Aus fünf Teilen bestehende Garnitur mit geschwungenen Beinen, Arm- und Rückenlehnen: Sitzbank, zwei Stühle und zwei Armlehnsessel. Gebrauchsspuren, part. min. besch.
JOHANN JOACHIM KAENDLER 1706 Fischbach/Arnsdorf - 1775 Meißen und MICHEL VICTOR ACIER (1736 Versailles - 1799 Dresden) SAMMLUNG VON NEUN GÄRTNERKINDERN Deutsch, Meissen, 1970er Porzellan, polychrome Malerei, Goldstaffage. H. bis 13,5 cm ('Gärtnerkind mit Lamm'). Unterglasurblaue Schwertermarke, Press- und Malernummer, Jahreszeichen, Modellnr. 1 Gärtnerkind mit Gießkanne (Modellnr. '60334'), 2 Gärtnerkinder mit Gemüsekorb (Modellnr. '60335'), 1 Gärtnerkind mit Blumenkorb (Modellnr. '60309'), 1 Gärtnerkind mit Lamm (Modellnr. '60343'), 1 Gärtnerkind mit Schalmei und Kiepe (Modellnr. '60300'), 1 Gärtnerkind mit Schalmei und Hund (Modellnr. '60342'), 1 Gärtnerkind mit Rosenstrauch (Modellnr. '60348'), 1 Gärtnerkind mit Trauben (Modellnr. '60400').Literatur: Bergmann, Sabine und Thomas: Meissener Figuren, Bd. III.2, Erlangen, 2017, S. 63-75; Bergmann, Sabine und Thomas: Meissener Figuren, Bd. II, Erlangen, 2014, S. 93. 1. Wahl. Leine besch., ein Hut, ein Finger und eine Schalmei rest.
MICHEL VICTOR ACIER 1736 Versailles - 1799 Dresden GÄRTNERGRUPPE Deutsch, Meissen, 1976 (Entwurf 1778) Porzellan, polychrome Malerei, Goldstaffage. H. 21 cm. Unterglasurblaue Schwertermarke, Press- und Malernummer, Jahreszeichen, Modellnr. '61259'. Auf Felssockel mit Ornamentband Darstellung drei Gärtnerkinder mit Blumenkorb, Vogelkäfig bzw. Amphorenvase. 1. Wahl. Ein Blatt best. Literatur: Bergmann, Sabine und Thomas: Meissener Figuren, Bd. II, Erlangen, 2014, S. 67.
MICHEL VICTOR ACIER 1736 Versailles - 1799 Dresden KNABE MIT LAMM UND BRIEFTAUBE Deutsch, Meissen, vor 1924 (Entwurf 1777) Porzellan, polychrome Malerei, Goldstaffage. H. 19 cm. Unterglasurblaue Knaufschwerter, Press- und Malernummer, Modellnr. 'F73'. Auf rundem Felssockel mit Ornamentband Figur eines stehenden jungen Mannes, seine rechte Hand zu einer auf Baumstumpf sitzenden Taube mit Liebesbrief streckend. Davor ein stehendes Lamm. 1. Wahl. Linker Fuß, ein Finger und Hut rest., sehr min. Brandfleck, am Schnabel sehr min. Haarriss, part. sehr min. ber. Literatur: Bergmann, Sabine und Thomas: Meissener Figuren, Bd. II, Erlangen, 2014, S, 57.
MICHEL VICTOR ACIER 1736 Versailles - 1799 Dresden MÄDCHEN MIT HOLZSCHAF Deutsch, Meissen, vor 1924 (Entwurf 1770) Porzellan, polychrome Malerei, Goldstaffage. H. 15,6 cm. Unterglasurblaue Knaufschwerter, Press- und Malernummer, Modellnr. 'C 90'. Auf Rocaillesockel Figur eines Mädchens, einen Holzschaf vor sich haltend. 1. Wahl. Schaf fehlend, eine Hand und Kopf part. rest., Federbesatz und Brettchen rest. Literatur: Bergmann, Sabine und Thomas: Meissener Figuren, Bd. II, Erlangen, 2014, S. 48.
ARTHUR LEWIN-FUNCKE 1866 Niedersedlitz bei Dresden - 1937 Berlin Junge Tänzerin Alabaster, heller Marmorsockel. Ges.- H. 48 cm, H. 44,5 cm (Figur). Auf der Plinthe bezeichnet 'Lewin-Funcke'. Über einem runden Sockel gleichförmige Plinthe mit der vollplastisch ausgeführten Darstellung einer jungen Frau in gedrehter Haltung. Part. min. besch. und rest.
REINHARD SCHNAUDER 1856 Plauen - 1923 Dresden Kniender Frauenakt mit einem Schäferhund Alabaster, Bronze, hell patiniert, schwarzer Marmor. Ges.- H. 38 cm, B. 43 cm. Auf dem Sockel bezeichnet und datiert 'R. Schnauder 1925'. Über einem ovalen Sockel naturalistische Plinthe mit der vollplastisch ausgeführten Aktdarstellung einer Frau, neben einem Schäferhund kniend. Part. rest., Sockel part. best.
OTTO PILZ 1876 Sonneberg - 1934 Dresden Frauenakt auf einem Känguru Bronze, braun patiniert, grauer Marmor. Ges.- H. 46 cm, H. 38 cm (Figur). Auf der Plinthe bezeichnet 'O. Pilz'. Über einem zylindrischen Sockel flache Plinthe mit der vollplastischen Darstellung eines Kängurus, auf dessen Rücken ein Frauenakt reitet. Min. ber.
WALTER GEBLER Deutscher Bildplastiker, tätig Anfang 20. Jh. Stehender Hirsch Bronze, braun patiniert, schwarzer Marmor. Ges.- H. 49 cm, H. 35,5 cm, B. 35,5 cm. Auf der Plinthe bezeichnet und datiert 'W. Gebler 24', seitlich mit Giessereimarke 'Guss v. Pirner & Franz Dresden'. Über einem hohen rechteckigen Sockel korrespondierende Plinthe mit der naturalistischen Darstellung eines stehenden Hirsches.
PEDER MARIUS JENSEN 1883 Frederica/Dänemark - 1925 war tätig in Dresden und Berlin Zwei kämpfende Bisons Bronze, braun patiniert, schwarzer Marmor, Bein. Ges.- H. 29 cm, B. 75 cm. Auf der Plinthe bezeichnet 'P. Jensen'. Über einem rechteckigen Sockel korrespondierende Plinthe mit der vollplastischen Darstellung zweier Bisonbullen, die sich mit gesenkten Köpfen aufeinander bewegen. Part. min. ber.
WALTER GEBLER Deutscher Bildplastiker, tätig Anfang 20. Jh. Falke mit Beute Bronze, dunkel, teils grün patiniert. H. 32,5 cm. Auf dem Sockel bezeichnet 'W. Gebler', am unteren Rand mit Giessereimarke 'Guss v. Pirner & Franz Dresden'. Über einem Felssockel vollplastisch ausgeführte Darstellung eines sitzenden Falken mit seiner Beute. Part. min. ber.
PEDER MARIUS JENSEN 1883 Frederica/Dänemark - 1925 war tätig in Dresden und Berlin Fasanenpaar Wohl Bronze, dunkel patiniert, schwarzer Marmor. Ges.- H. 29 cm, B. 86 cm. Auf der Plinthe bezeichnet 'P. Jensen'. Über einem ovalförmigen Sockel korrespondierende Plinthe mit der vollplastischen Darstellung eines Fasanenpaars. Part. min. ber.
PETER STRANG 1936 Dresden SULTAN SCHEHEREBAN UND SCHEHERZADE AUS '1001 NACHT' Deutsch, Meissen, 1980er Weißporzellan, glasiert, teils Blaufond, Goldstaffage. H. 17,3 und 20 cm. Unterglasurblaue Schwertermarke, Pressnummer, Jahreszeichen, Modellnr. '67081', '67082'. Jeweils auf hohem Sockel Figur eines sich auf Kissen lehnenden Mannes bzw. einer in Schneidersitz sitzenden Frau. Limitierte Auflage mit Echtheitszertifikat. 1. Wahl. Literatur: Bergmann, Sabine und Thomas: Nachtrag, Meissener Künstler - Figuren, Erlangen, 2018, S. 385.
CHRISTIAN WILHELM ERNST DIETRICH (UMKREIS) 1712 Weimar - 1774 Dresden PORTRAIT EINES BÄRTIGEN MANNES Öl auf Holztafel. 12,5 x 9 cm (R. 26,5 x 22,5 cm). Part. besch., Farbverluste im Randbereich. Rahmen. Provenienz: Rheinische Privatsammlung. CHRISTIAN WILHELM ERNST DIETRICH (CIRCLE) 1712 Weimar - 1774 Dresden PORTRAIT OF A BEARDED MAN Oil on wooden panel. 12,5 x 9 cm (F. 26,5 x 22,5 cm). Part. damaged, colour losses in the edge area. Frame. Provenance: Rhenish Private Collection.
FRIEDRICH ANTON PRÖLSS 1855 Dresden - 1934 München Die Kartenspieler Öl auf Leinwand auf Holz (?). 83 x 115 cm (R. 97 x 130 cm). Signiert unten rechts 'F. Prölls'. Min. verschmutzt, part. besch., rest. Rahmen. Provenienz: Privatsammlung Ruhrgebiet. FRIEDRICH ANTON PRÖLSS 1855 Dresden - 1934 Munich The card players Oil on canvas on wooden panel (?). 83 x 115 cm (R. 97 x 130 cm). Signed lower right 'F. Prölls'. Min. soiled, part. damaged, rest. Frame. Provenance: private collection Ruhr region.
JULIUS SCHOLTZ 1825 Breslau - 1893 Dresden Hochzeit auf dem Lande Öl auf Leinwand (wachsdoubl.). 99,5 x 140 cm (R. 122 x 161 cm). Signiert und datiert unten links 'Julius Scholtz 1851'. Rest. Rahmen, auf Messingsschild bez. und betitelt 'German Wedding'. Stolz verlässt das frisch vermählte Paar die Traukirche, dicht um den Eingang gedrängt hat sich eine fröhliche Hochzeitsgesellschaft eingefunden. Blumenkinder und Musikanten begleiten die Eheleute auf dem Weg in eine glückliche Zukunft. Julius Scholtz nimmt uns mit auf eine Reise ins Jahr 1851, als das Königreich Sachsen von starkem Bevölkerungswachstum geprägt war und Dresden zu einer deutschen Großstadt aufstieg. Die Szenerie setzt einen idyllischen Kontrapunkt zu dieser Entwicklung. Die beständige Qualität von Scholtz' detailverliebten Genregemälden machte ihn zu einer der wichtigsten Künstlerpersönlichkeiten der Stadt. Hans Posse bezeichnete ihn gar als 'bedeutendste Erscheinung des malerischen Realismus in Dresden nach Rayski'. Mit 'Hochzeit auf dem Lande' präsentieren wir nun eines der Hauptwerke des Künstlers, dessen Oeuvre sich vornehmlich in öffentlichen Sammlungen befindet. Nur noch selten kommen gefragte Arbeiten auf den Markt. In der lebensfrischen Wiedergabe und vielgestaltigen Ausarbeitung der Gesichter stellt das Gemälde Scholz` volle akademische Meisterschaft unter Beweis. Provenienz: Rheinische Privatsammlung. JULIUS SCHOLTZ 1825 Breslau - 1893 Dresden Wedding in the Country Oil on canvas (wax relined). 99.5 x 140 cm (F. 122 x 161 cm). Signed and dated lower left 'Julius Scholtz 1851'. Rest. Frame, on brass plate indicated and titled 'German Wedding'. A newly wed couple is proudly leaving the church, closely surrounded by a merry wedding-party. Flower children and musicians escort the spouses on their way into a bright future. Julius Scholtz is taking us back to the year 1851, when the kingdom of Saxonia was characterized by a strong population growth and Dresden was evolving into a German metropolis. The scenery is marking an idyllic counterpoint to this development. The constant quality of Scholtz`s complex genre paintings made him one of the most important artists of the city. Hans Posse even called him the 'most significant representative of pictorial realism in Dresden after Ryski'. With 'Wedding in the Country' we present one of the artist`s main works, whose oeuvre is mostly kept in public collections. It is on rare occasions, that sought-after paintings come into the market. In its vibrant recaption of variously shaped faces the painting proves to be one of Scholtz`s academic masterpieces. Provenance: Rhenish private collection.
LOUIS URLASS 1809 Dresden - nach 1857 In der Wirtsstube Öl auf Leinwand. 46 x 67,5 cm (R. 60,5 x 81,5 cm). Signiert unten rechts 'L. Urlass'. Min. besch. (rest.). Rahmen. Provenienz: Bedeutende Rheinische Privatsammlung. LOUIS URLASS 1809 Dresden - after 1857 In the tavern Oil on canvas. 46 x 67.5 cm (F. 60.5 x 81.5 cm). Signed lower right 'L. Urlass'. Min. damaged (rest.). Frame. Provenance: major Rhenish private collection.
LUDWIG RICHTER (ATTR.) 1803 Dresden - 1884 ebenda GEBIRGSLANDSCHAFT MIT WANDERERN Aquarell über Bleistift auf Papier. SM 33 x 44 cm (R. 60 x 70 cm). Unten links bez. 'L. Richter'. Gebräunt. Im Passepartout und hinter Glas gerahmt (ungeöffnet). LUDWIG RICHTER (ATTR.) 1803 Dresden - 1884 ibidem MOUNTAINOUS LANDSCAPE WITH WANDERERS Watercolours over pencil on paper. Visible size 33 x 44 cm (f. 60 x 70 cm). Inscribed in the lower left 'L. Richter'. Brownish. Framed in a passepartout and behind glass (not opened).
CARL ROBERT KUMMER 1810 Dresden - 1889 ebenda Wanderer in den Gipfeln Öl auf Holz. 20,5 x 35 cm (R. 25 x 40 cm). Signiert und datiert unten rechts 'R. Kummer 1879'. Min. verschmutzt, min. besch., min. rest. Rahmen. Vgl.: Grisebach 27.11.2019, Lot-Nr. 199 CARL ROBERT KUMMER 1810 Dresden - 1889 Ibid. Wanderer in the mountains Oil on wooden panel. 20.5 x 35 cm (F. 25 x 40 cm). Signed and dated lower right 'R. Kummer 1879'. Min. soiled, min. damaged, min. rest. Frame. Cf.: Grisebach 27.11.2019, Lot-No. 199
CARL ROBERT KUMMER 1810 Dresden - 1889 ebenda Reiter in weiter Landschaft Öl auf Platte. 22 x 48 cm (R. 27 x 53 cm). Signiert und datiert unten rechts 'R. Kummer 1879'. Min. verschmutzt, sehr min. besch., min. rest. Rahmen. Zum Motiv vgl. E. Nüdling: Carl Robert Kummer. Ein Dresdner Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, S. 270, Nr. 312 'Reiter in der Ungarischen Steppe' (1847) CARL ROBERT KUMMER 1810 Dresden - 1889 Ibid. Rider in wide landscape Oil on panel. 22 x 48 cm (F. 27 x 53 cm). Signed and dated lower right 'R. Kummer 1879'. Min. soiled, very min. damaged, min. rest. Frame. Regarding the motif see also E. Nüdling: Carl Robert Kummer. Ein Dresdner Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, p. 270, no. 312 'Rider in Hungarian steppe' (1847)
CARL ROBERT KUMMER 1810 Dresden - 1889 ebenda Im Cintragebirge bei Lissabon, 1859 Öl auf Karton. 28 x 45 cm (R. 36,5 x 54 cm). Verso: Auf Etikett auf Platte vom Künstler handschr. bez., betitelt und datiert 'Rob: Kummer. Cintrageb. v. Lissabon 1859'. Min. besch., min. rest. Rahmen. Im Jahr 1859 begleitete Carl Robert Kummer Prinz Georg, den späteren König Georg I. von Sachsen, auf dessen Hochzeitsreise nach Portugal. Dort sollte er die Heimat der Braut, Maria Anna von Portugal, in den schönsten Ansichten festhalten. Von Lissabon aus unternahm Kummer Ausflüge, die ihn vor allem in die nordwestlich gelegene Region um Sintra führten. 'Nachdem der Maler in Schottland bereits viele seiner Landschaften bei besonderen Wetterstimmungen wiedergegeben hatte, hielt seine Vorliebe für spezielle Beleuchtungssituationen und Wolkenhimmel in Portugal noch an (.)'. Laut Elisabeth Nüdling waren es erst die Eindrücke aus dem Sintragebirge, die den Maler zu wirklich spektakulären Lichteffekten bewegten. In den portugiesischen Landschaften erreichte Kummers Interesse an atmosphärischen Erscheinungen einen Höhepunkt. (E. Nüdling: Carl Robert Kummer. Ein Dresdner Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, S. 121 ff.) Provenienz: Rheinische Privatsammlung. CARL ROBERT KUMMER 1810 Dresden - 1889 Ibid. In the 'Cintra' mountains near Lisbon, 1859 Oil on cardboard. 28 x 45 cm (F. 36.5 x 54 cm). Verso: on label on panel by the artist handwritten indicated, titled and dated 'Rob: Kummer. Cintrageb. v. Lissabon 1859'. Min. damaged, min. rest. Frame. In 1859 Carl Robert Kummer accompanied Prince George, who later became King George of Saxonia, on his honeymoon to Portugal. He was supposed to paint the home country of the bride, Mary Anne of Portugal, in the most lovely views. From Lisbon he mostly undertook tours to the northwestern region of Sintra. 'Having painted many of his Scottish landscapes in particular atmospheres, the artist`s preference for special lighting and cloudy skies was still evident in Portugal'. According to Elisabeth Nüdling it was foremost his impressions of the Sintra mountains that made the artist paint spectacular light-effects. In the Portuguese landscapes, Kummer`s interest for atmospheric phenomenons reached a peak. (E. Nüdling: Carl Robert Kummer. Ein Dresdner Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, p. 121 ff.) Provenance: Rhenish private collection.
HERMANN BAISCH 1846 Dresden - 1894 Karlsruhe Monumentales Gemälde: Kühe auf der Weide Öl auf Leinwand. 130 x 200 cm (R. 158 x 226 cm). Signiert unten rechts 'Hermann Baisch'. Part. besch., rest. Rahmen. HERMANN BAISCH 1846 Dresden - 1894 Karlsruhe Monumental painting: cows on a pasture Oil on canvas. 130 x 200 cm (F. 158 x 226 cm). Signed lower right 'Hermann Baisch'. Part. damaged, rest. Frame.
OTTO KUBEL 1868 Dresden - 1951 München Kinder vor dem Rothenburger Tor Öl auf Leinwand. 66,5 x 55,5 cm (R. 79 x 66 cm). Signiert unten links 'O. Kubel'. Verso: Auf Etiketten auf Keilrahmen handschr. bez. und betitelt. Min. verschmutzt, min. ber. Rahmen. OTTO KUBEL 1868 Dresden - 1951 Munich Children at the Rothenburg Gate Oil on canvas. 66.5 x 55.5 cm (F. 79 x 66 cm). Signed lower left 'O. Kubel'. Verso: on label on stretcher handwritten indicated and titled. Min. soiled, min. abraded. Frame.
HUGO MÜHLIG 1854 Dresden - 1929 Düsseldorf Mädchen im Klostergarten Öl auf Holz. 32 x 48 cm (R. 47 x 64 cm). Signiert unten rechts, part. ber. 'H. Mü(hlig)'. Part. ber., rest. Rahmen, auf Messingsschild bez. Provenienz: Privatsammlung Ruhrgebiet. HUGO MÜHLIG 1854 Dresden - 1929 Duesseldorf Girl in the monestary garden Öl auf Holz. 32 x 48 cm (R. 47 x 64 cm). Signiert unten rechts, part. ber. 'H. Mü(hlig)'. Part. ber., rest. Frame, on brass plate indicated. Provenance: private collection Ruhr region.
MICHEL VICTOR ACIER 1736 Versailles - 1799 Dresden DEVISENKIND 'JE LES ACCOUPLE' Deutsch, Meissen, vor 1924 (Entwurf 1755) Porzellan, polychrome Malerei, Goldstaffage. H. 13,2 cm. Unterglasurblaue Knaufschwerter, Press- und Malernummer, Modellnr. 'F9'. Über polygonalem Sockel, auf plastischer Wolke sitzender Amor, im Begriff zwei Herzen mit einem Band zu verbinden. 1. Wahl. Part. min. best. Literatur: Bergmann, Sabine: Meissener-Figuren, Band II, Erlangen, 2014, S. 101.
MICHEL VICTOR ACIER 1736 Versailles - 1799 Dresden MÄDCHEN ALS KARTENLEGERIN Deutsch, Meissen, vor 1924 (Entwurf 1775-1778) Porzellan, polychrome Malerei, Goldstaffage. H. 16,2 cm. Unterglasurblaue Knaufschwerter, Pressnummer, Modellnr. 'F 64'. Auf rundem Sockel mit Ornamentband Figur eines stehenden Mädchens, Karten auf einen Tisch auflegend. 1. Wahl. Spitzenbesatz min. best. Literatur: Bergmann, Sabine und Thomas: Meissener Figuren, Bd. II, Erlangen, 2014, S. 49.
Deckelvase mit Blumenmalerei, A. Hamann/Richard Klemm, Dresden, Anf. 20. Jh. Weißporzellan mit polychromer Dresdner Floralmalerei, Goldornamentbordüren und Goldstaffage; Balusterform mit gewölbtem Deckel und Zapfenknauf; Höhe 23 cm; blaue Malermarke von Hamann bzw. Klemm ("Dresden" mit Krone) und blindgeprägte Marken, u.a. "T.K.".
Historismus-Zuckerschale + 2 Gießer, wohl Henniger & Co., Ende 19. Jh. 800/-Silber, Gesamtgewicht ca. 597 g; ovoid bzw. kugelig gebauchte Korpusformen auf profilierten Rundsockelfüßen, an den Mündungen jeweils umlaufende filigrane Voluten-Bandwerk-Ornamentbordüren in gravierter Optik, Innenvergoldung; die Gießer in 2 unterschiedlichen Größen jeweils mit seitlichen Ohrenhenkeln aus Silber, die Zuckerschale mit seitlichen Doppelhenkelgriffen aus Silber; wohl ursprünglich Bestandteile eines mehrteiligen Kaffee-/Tee- bzw. Mocca-Sets; Höhe 8,5, 9,5 und 10 cm; jeweils mit Silberstempel und Handels- bzw. Herstellermarke "H & Co." im Rechteck (vermutlich für Henniger & Co., 1842 in Berlin gegr., die im 19. Jh. in Deutschland die führenden Hersteller für hochwertige versilberte Waren waren, zugleich aber auch seit Ende des 19. Jh. große Verkaufsräume für Silberwaren, auch Importsilber, in diversen deutschen Großstädten unterhielten, u.a. in Berlin, Breslau, Dresden, Hamburg, Leipzig, Magdeburg und München).
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