We found 30753 price guide item(s) matching your search
There are 30753 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
30753 item(s)/page
Lot 8
CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 2516
American Art Nouveau silver mounted photograph frame, of rectangular form, with oblique gadrooned rims, embossed iris flowers and vacant oval cartouche, interlaced with ribbons and green blue enamel, upon hobnail effect ground, with hardwood easel style support verso, stamped SterlingCondition Report:H29cm W24cmGeneral wear commensurate with age and use, including surface scratches and nicks. Areas of deeper scratches and creasing to either side of silver body. Small split to inner rim. Cracking to most sections of enamel. Rubbing to higher points of embossed detail. Easel support with chip and loose at hinge, remains fully functional. No glass. Marks with some wear, particularly to Pat No. which is indistinct.
Lot 2517
Art Nouveau silver mounted photograph frame, of rectangular form, with repousse decorated columns of floral and foliate detail, with easel style support verso, hallmarked J Aitkin & Son, Birmingham 1907Condition Report:Max H28cm W17.5cmGeneral wear commensurate with age and use, including surface scratches and nicks. Rubbing to higher points of embossed detail. Compression caused by knock to top of one column. Silver mounting lifting away from leather back in places, remains useable. Leather back with some some wear particularly to corners and bubbling in places. Later replacement easel stand. Hallmarks clear and legible.
Lot 2587
Victorian silver mounted photograph frame, of rectangular form, with bead and dart rim, pierced and embossed green man mask, lattice, bird and foliate decoration and engraved cartouche to top centre, with easel style support verso, hallmarked William Comyns & Sons, London 1898Condition Report:H13.8cm, W16.7cmGeneral wear commensurate with age and use including surface scratches, small nicks and indentations. Some lifting to inner edges of frame. Some rubbing to higher embossed detail. Engraving to cartouche almost completely rubbed away. Silver polish residue build up on silk lining behind pierced decoration. Glass possibly replaced, some chips to edges of glass covered by frame. Missing one clip verso which holds photograph in place but not detrimental. Silk to back of frame heavily marks and discoloured. Easel support functional but fraying where attached to frame.
Lot 313
A mixed group of objects of vertu, to include a George III gilt-bronze watch stand, third quarter 18th century, the circular aperture with bullrushes, cherub, cockerel, Old Father Time and an owl, on a tripod base, 34cm high; a Dutch brass bucket, c.1900, by Meeuws en Zoon, oval oval form with applied maker's label, 19.5 x 34cm; a pierced copper tray, early 20th century, of oval form with wavy edge, 61cm wide; a pair of English brass door handles; six brass escutcheons, 18th century, 7.5cm wide; a pair of brass escutcheons, 18th century, with Chinaman head finials, 8cm wide; and a modern iron table easel, 30.5cm high (14) (VAT charged on the Hammer Price)
Lot 43
A group of silver, comprising: a pair of four division toast racks, Sheffield, 1933, Atkin Brothers, both engraved with initials and dated 1934, 8.7cm wide; an egg cup, Birmingham, 1963, D Bros on integral dish base, 8.5cm diameter; a silver mounted clock, Birmingham, 1900, Douglas Clock Co., the white enamel dial with Roman numerals and seconds subsidiary dial, dial marked LEVER - SWISS MADE, the engine turned brass reverse marked Anchel and having an easel support, with key, 9.5cm high; and an open salt, London, 1904, makers mark rubbed, with two blue glass liners, 8.8cm wide; together with a small coffee pot with cover, stamped 925, 11.5cm high, total weighable silver approx. 14.3oz (lot)
Lot 65
A boxed set of six silver teaspoons, by Mappin & Webb, Sheffield, 1925; together with a boxed set of six coffee bean spoons and pair of sugar tongs, Birmingham, 1924, Hukin & Heath Ltd.; and a silver plate mounted photo frame, with mahogany easel support, 22.2 x 17cm (3) Condition Report: total weight approx. 2.8oz
Lot 731
After Joseph Denis Odevaere, Belgian 1778-1830- An Artist by his Easel; engraving on paper, engraved by Fazet, 77 x 58 cm (framed)Condition Report: Framed and glazed. Unexamined out of frame. Minor scuffs and marks to the frame generally. Losses to the paper in areas, particularly towards the edges. Further creases and tears. Spots of foxing in areas across the sheet, and evidence of further discolouration in areas. Otherwise in fair to poor condition overall.
Lot 437
A late 19th century Meissen porcelain figural group of three putti emblematic of paintingin the 18th century stylethe winged figures depicted standing and seated, one putto holding a palette and brush, the other holding the back of an easel, the canvas depicting a putto, the last reclining before a folio, on a naturalistic rock work base with shaped ribbon tied wreath and moulded gilt Vitruvian scroll border decorated integral plinth, the underside with underglaze blue crossed swords mark, and incised mark No.5, and red painted number 17., 18cm highFor further information on this lot please visit Bonhams.com
Lot 56
Two silver frames to include; An embossed and plain designed silver frame with fabric easel form back, hallmarked Birmingham, 1987, Nat Leslie Ltd, approx. 22.5cm high x 18cm wide. Along with a stylised silver bordered frame with embossed decoration and fabric back, hallmarked Sheffield, 1990, DR and S, approx. 26cm high x 18cm wide.Further Details: Slight wear and tarnishing.
Lot 57
Two silver photo frames to include; A stylised floral Art Nouveau style silver easel form frame with fabric back, hallmarked Birmingham, 1993, maker RBB, approx. 16.5cm wide x 19.5cm high. Along with a plain stylised designed silver frame, with fabric back, hallmarked London, 1994, Kitney and Co, approx. 20.5cm high x 17.5cm wide.Further Details: Some tarnishing, slight wear and scratching.
Lot 79
A collection of silver to include; A pair of Birmingham silver small candlesticks, hallmarked 1961, Adie Bros Ltd, a circular silver photo frame with wooden easel form back, Birmingham 1916, Deakin and Francis Ltd, and another circular Birmingham silver photo frame (broken back), and two small Chinese 'Junk Boat' dollars within circular white metal dishes.Further Details: Tarnishing, slight denting, scratching and frames are loose.
Lot 229
A PARCEL OF ASSORTED SILVER GOLFING PRIZES, ETC, including three Elizabeth II dishes / ashtray engraved with P.G.C. presentation inscriptions, a Carr's of Sheffield easel back bedside clock, the silver front engraved with P.G.C. monogram, quartz movement, height 9cm, four coffee spoons engraved P.G.C. and three other coffee spoons with initials / dates and an EPNS bread fork with silver handle, gross weight of weighable silver 10.36ozt, 322.2 grams (12) (Condition Report: generally in good condition overall except the bread fork which has had a glued repair to the handle)
Lot 234
A PARCEL OF ASSORTED SILVER AND WHITE METAL, MOSTLY 20TH CENTURY, comprising a late Victorian double ended ruby glass scent bottle with white metal mounts, missing hinged cover, a George V easel back rectangular photograph frame in need of attention, Birmingham 1916, a silver mounted glass vesta holder / striker, marks rubbed, silver mount is loose, an Edwardian silver backed hand mirror and a non-matching brush, a pair of oval silver napkin rings with presentation inscriptions, a silver preserve spoon, a Canadian sterling and enamel spoon and a flower handled spoon stamped 800, gross weight of weighable silver 3.38ozt, 105.1 grams (10) (Condition Report: majority of items have condition issues)
Lot 443
ONE BOX OF HABERDASHERY AND ARTISTS EQUIPMENT, to include a new and unused cardboard Mr. Jacksons 'Pantomime' theatre, a wooden easel, water colour palette, paint box, eight 1970's 'Simplicity' clothes patterns, a vintage milliners canvas hat block with a wooden base and a metal band stamped 58, which is the circumference of the hat block, a plaster cast wall mask, an electric Singer 716 sewing machine made in Italy (s.d, sewing machine untested) (1 box + loose)
Loading...-
30753 item(s)/page