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''Die Phantasie'' Simon (Pseudonym) für Friedrich Goldscheider, Wien, um 1899 Junger Frauenhalbakt, auf einem Adler thronend. Terrakotta, in Braun-, Grün-, Beige-, Gold- und Bronzetönen staffiert. Harfe nicht mehr vorhanden. Bez.: Simon (geritzt), Firmenmarke Friedrich Goldscheider Wien, 1943, 24, 7 REPRODUCTION RESERVÉE (eingestempelt). H. 81 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 339 & S. 596

''Le Secret'' Friedrich Goldscheider, Wien, um 1897 Terrakotta, in Grüngrau- und Bronzetönen staffiert. Geritztes, nicht identifiziertes Ligaturmonogramm. Reliefmarke, Zusatz ''REPRODUCTION RESERVÉE'' sowie Modell Nr. 1116, 22. H. 108 cm

''Erste Liebe'' G. Mayre (Entwurf), Friedrich Goldscheider, Wien, um 1898/99 Schäfer und Schäferin in antikisierendem Gewand auf Landschaftssockel. Terrakotta, in Braun-, Grün- und Beigetönen staffiert. Bez.: G. Mayre (geritzt), Firmenmarke Friedrich Goldscheider Wien, 1800, 67, 1, REPRODUCTION RESERVÉE (eingestempelt). H. 66 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 332 (dort A. Etoile als Entwerfer angegeben) & S. 584

Fackelträgerin Cherc (Pseudonym) für Friedrich Goldscheider, Wien, um 1911/12 Stehender junger Frauenhalbakt auf hohem, profiliertem Rundsockel. Terrakotta, in Braun-, Bronze- und Goldtönen staffiert. Rückseitig am Sockelrand bestossen. Bez.: Cherc (geritzt), 4136, 40, 17 (eingestempelt). H. 119 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 559

''Sphinx'' Mantonave (Pseudonym/Entwurf) für Friedrich Goldscheider, Wien, um 1901 Büste einer jungen Frau. Keramik, bunt glasiert. Bez.: Mantonave (geritzt), Firmenmarke Sculpture, 2236, 42, 28, REPRODUCTION RESERVÉE (eingestempelt). H. 56,5 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 351 & 586

Sitzender Damenhalbakt Haniroff (Pseudonym/Entwurf) für Friedrich Goldscheider, Wien, um 1910 Abgetreppter Quadratsockel. Terrakotta, in Grau-, Beige-, Grün- und Brauntönen staffiert. Bez.: Haniroff (geritzt), Firmenmarke Sculpture, 3828, 7, 35, REPRODUCTION RESERVÉE (eingestempelt). H. 73 cm

''Venetianische Wasserträgerin'' Friedrich Goldscheider, Wien, um 1898/99 Stehendes, nach vorne gebeugtes Bauernmädchen auf getrepptem Sockel. Terrakotta, in Grau-, Braun-, Beige-, Grün und Schwarztönen. Die durch einen Stab verbundenen Wassergefäße sind nicht mehr vorhanden. Bez.: Firmenmarke Friedrich Goldscheider, Wien, 1500, 82, 26, REPRODUCTION RESERVÉE (eingestempelt). H. 94 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 323

Mädchenakt Lesca (Pseudonym) für Friedrich Goldscheider, Wien, um 1905/06 Auf hohem Felssockel sitzend. Terrakotta, in Braun- und Bronzetönen staffiert. Ein Finger geklebt. Bez.: Lesca (geritzt), Firmenmarke Sculpture, 3318, 27, 24, REPRODUCTION RESERVÉE (eingestempelt). H. 66,5 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 579

''Malerei'' E. Tell (Pseudonym) für Friedrich Goldscheider, Wien, um 1898/99 Junge Frau mit Malerpalette. Terrakotta, in Braun-, Beige-, Grün-, Bronze- und Goldtönen. Bez.: E. Tell (geritzt), Firmenmarke Friedrich Goldscheider, Wien, 1848, 29, 47, REPRODUCTION RESERVÉE (eingestempelt). H. 80,5 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 334 & S. 599 (Erläuterungen zu dem Pseudonym 'E.Tell')

Allegorie ''Herbst'' Cherc (Pseudonym) für Friedrich Goldscheider, Wien, um 1912 Auf naturalistisch staffiertem Sockel stehende Frauenfigur in antikisierendem Gewand mit Weintrauben. Terrakotta, in Grau-, Beige-, Dunkelblau-, Grün- und Brauntönen staffiert. Bez.: Cherc (geritzt), Firmenmarke Sculpture, 4004, 28, 35, REPRODUCTION RESERVÉE (eingestempelt). H. 70 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 559

''Bacchantin'' Cherc (Pseudonym) für Friedrich Goldscheider, Wien, um 1909/10 Stehender Frauenhalbakt mit Trauben. Terrakotta, in Braun-, Beige- und Goldtönen staffiert. Bez.: Cherc (geritzt), Firmenmarke FRIEDRICH GOLDSCHEIDER WIEN, 3731, 7, 10, PATENT ANGEMELDET, REPRODUCTION RESERVÉE (eingestempelt). H. 100 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 559

''Fides'' Mantonave (Pseudonym), Friedrich Goldscheider, Wien, um 1900/1901 Terrakotta, in Bronze-, Gold- und Schwarztönen. Bez.: Mantonave (geritzt), Firmenmarke Sculpture, 2209, 4, 70, REPRODUCTION RESERVÉE (eingestempelt). H. 61,5 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 350 & 586

''Das Gehör'' Thomas Seidan (Entwurf), Friedrich Goldscheider, Wien, um 1902 Auf Felssockel stehendes Mädchen an Muschel hörend. Terrakotta, in Grün staffiert. Bez.: Firmenmarke Sculpture, 2317, 41, 34, REPRODUCTION RESERVÉE (eingestempelt). H. 67 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 355

''Heilige Elisabeth'' A. Rubelle (Entwurf), Friedrich Goldscheider, Wien, um 1899/1900 Sockel mit Inschrift: ''ELISABETH''. Terrakotta, in Braun-, Grün- und Bronzetönen staffiert. Bez.: A. Rubelle (geritzt), Firmenmarke Sculpture, 1977, 38, 39, REPRODUCTION RESERVÉE (eingestempelt). H. 51 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 340 & 594

Junge Frau mit Schlange Obiols (Pseudonym) für Friedrich Goldscheider, Wien, um 1898/1900 Auf hohem Sockel sitzende junge Dame mit halb entblößter Brust. Terrakotta, in Braun- und Bronzetönen staffiert. Sockelrand an einer Stelle bestossen. Bez.: Obiols (geritzt), Firmenmarke Friedrich Goldscheider Wien, 1820, 5, 12, REPRODUCTION RESERVÉE (eingestempelt). H. 53 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 333 & 601

Stehender Frauenhalbakt (Lampe) Friedrich Goldscheider, Wien, um 1909 Terrakotta, in Beige- und Brauntönen staffiert. Farbige Glasfrüchte, Zinnmontierung. Bez.: Firmenmarke Sculpture, 3751, 7, 3, FABRIQUÉ EN AUTRICHE (eingestempelt), S (geritzt). Elektrifiziert. H. 103 cm

''Flötenspielerin'' Jean-Marie Chavanne (Entwurf), Friedrich Goldscheider, Wien, um 1899/1900 Stehendes junges Mädchen, eine Flöte spielend. Terrakotta, in Braun-, Grau- und Beigetönen staffiert. Bez.: Chavane (geritzt), Firmenmarke Friedrich Goldscheider Wien, 2153, 80, 3, REPRODUCTION RESERVÉE (eingestempelt). H. 63,5 cm Lit.: R.E. Dechant/F. Goldscheider, Goldscheider, S. 347 & 559

A Goldscheider pottery horse, printed marks, with label 'Goldscheider USA', 24.5cm highCondition report: Good overall - original label pottery has no issues.

A GOLDSCHEIDER TERRACOTTA FIGURE OF A BOY wearing a waistcoat, standing with his hands in his pockets, 49cm high, impressed marks

A LARGE GOLDSCHEIDER FIGURAL LAMP modelled as a maiden holding open a box, signed Sydan to side and with impressed marks, 88cm high together with a smaller Goldscheider figure of a Dutch milk maid, signed Heinemann, impressed and applied factory marks, 36cm high (2) Condition Report: Available upon request

GOLDSCHEIDER FIGURE OF A BOY AND GIRL modelled walking, indistinct signature to side, 51cm high, together with another Goldscheider figure of a boy standing with his hands in his pockets, signed Petri, both with impressed and applied marks, 58cm high (2) Condition Report: Available upon request

AUGUSTE RODIN (1840-1917)Age d'Airain, petit modèle dit aussi '2ème réduction' signed 'Rodin' (on the base), inscribed with the foundry mark 'Alexis Rudier Fondeur Paris' (to the verso) and stamped with the raised signature 'A. Rodin' (on the inside of the base)bronze with brown-black patina64.4 cm (25 3/8in). highConceived between 1875-1877, this reduction from November 1904, this bronze version cast by the Alexis Rudier Foundry in November 1943.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Eugène Rudier Collection, Le Vésinet (acquired from the above in 1943).Galerie Beyeler, Basel.Arthur Stoll Collection, Arlesheim (acquired from the above in 1954); his sale, Kornfeld und Klipstein, Bern, 18 November 1972, lot 169.Private collection, Switzerland (acquired at the above sale).Acquired from the above by the present owner.ExhibitedBasel, Galerie Beyeler, Le petit format dans l'art moderne, 1 December 1954 – 10 January 1955, no. 42/b.LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1927 (plaster version illustrated p. 28).M. Aubert, Rodin Sculptures, Paris, 1952 (another cast illustrated pl. 11).M. Fischer, Sammlung Arthur Stoll, Skulpturen und Gemälde des 19. und 20. Jahrhunderts, Zurich, 1961, no. 7 (the present work illustrated).C. Goldscheider, Rodin, Paris, 1962 (another cast illustrated pp. 54-55).R. Descharnes & J-F. Chabrun, Auguste Rodin, London, 1967 (plaster version illustrated p. 54).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum Philadelphia, Philadelphia, 1976, p. 356.C. Goldscheider, Auguste Rodin, catalogue raisonné de l'oeuvre sculpté, Vol. I, 1840-1886, Paris, 1989, no. 95d, p. 116.I. Ross & A. Snow (eds.), Rodin, A Magnificent Obsession, London, 2001, no. 17 (another cast illustrated p. 28).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of works in the Musée Rodin, Vol. 1, Paris, 2007 (plaster version illustrated p. 128).'Beauty is everywhere. It is not beauty that our eyes lack, it is our eyes that are deficient in perceiving it. Beauty is character and expression. And there is nothing in Nature that has more character than the human body. Through its force it evokes the widest variety of images. At times it is like a flower: the way the torso bends is like the stem...At times it is like a supple creeper..At other times still it is an urn...The human body is first and foremost the mirror of the soul and its greatest beauty comes from that' – A. RodinAge d'Airain is a work of unprecedented importance within the oeuvre of Auguste Rodin. It not only transformed European sculpture but truly set the artist on his path as the father of modern sculpture. Initially causing huge controversy through its unfathomable perfection, critics soon realised the importance of both the sculpture and indeed its author. With versions of the figure in major public collections such as the Victoria & Albert Museum, London, the Metropolitan Museum of Art, New York and of course the Musée Rodin in Paris, it is undeniable how key this work is to our appreciation of sculpture as a medium.Rodin began his work on Age d'Airain in Brussels after an inspirational trip to Italy in 1876, where his exposure to the Florentine masters Donatello and Michelangelo had a profound effect on him, particularly Michelangelo's Dying Slave with which we can draw a clear comparison with Age d'airain. His chosen muse was Auguste Neyt, a Belgian soldier, and not a professional model. It was through his form that Rodin sought a raw naturality in place of an exaggerated pose. This is an early example of Rodin's desire to strip away the narrative of myth and allegory from academic sculpture and to explore the natural elements of the human form. He dismissed the gods and muses of Neo-Classical tradition and focused on the distinctly human characteristics of psychology and physicality, making his surfaces rougher and more unfinished in contrast to the polished idealised figures of his predecessors like Jean-Baptiste Carpeaux and Albert-Ernest Carrier-Belluese. As a naturalist, Rodin was more concerned with character, emotion and movement: it is this appreciation for the subtlety of movement that perhaps stems from the influence of his teacher Antoine-Louis Barye, who paid great attention to the details of animals in motion. Auguste Neyt provided a figure that offered Rodin the chance to depict both an outer physicality as well as the inner emotional conflict of the modern man.Age d'Airain recalled an early era in the history of humankind, a suspended moment of self-awareness and human awakening. It possesses a mastery of light, form and shadow, with rugged textured surfaces, all of which add to the work's startlingly realistic presence. After its unveiling at the Salon in Paris in 1877, the perfect realism of Age d'Airain caused many critics to believe it was in fact a surmoulage, cast directly from the body of the model. Whilst fighting to deny these allegations, Rodin's notoriety was in fact boosted by the affair and it eventually led to the French government purchasing a version of the work, in addition to commissioning La porte de l'enfer in 1880 - one of Rodin's most celebrated works. We can see the true precision of the Age d'Airain from the photograph of Neyt, taken by Gaudenzio Marconi, a prolific photographer of nudes. Through studying this image, Rodin's masterful execution of the sculpture is only emphasized and his brilliance in capturing the human profile reinforced.Auguste Rodin's combination of a boldly modern approach to form and finish, whilst maintaining a respect for sculptural tradition through his focus on the human form, is as remarkable today as it was during his lifetime. His sculptures are still revered for their beauty, emotional power and technical brilliance, with Age d'Airain considered amongst his finest work. As one of Rodin's earlier works and the catalyst for his international renown, there is no denying its pivotal importance.This smaller reduction of Age d'Airain, as documented in the Musée Rodin Archive's notes from René Cheruy, Rodin's secretary, would have been created at Rodin's request by Henri Le Bossé, reducer/enlarger, after November 1904 with the aim of donating a bronze copy to Léon Bourgeois, the first French delegate to the Peace Conference in The Hague. The first version, cast in 1907 by the Alexis Rudier Foundry, is now in the Musée Municipal de Chalons-sur-Marne, France.As outlined in the present work's certificate, we know from the production records of the Alexis Rudier Foundry that foundry workers Alliot and Nadiras worked on this cast for thirty-three hours and a further five hours for the mounting. This invaluable archival note is the perfect anecdotal reference that outlines the importance and craftsmanship of these casts of Rodin's work.This particular cast of Age d'Airain has belonged to a number of important collectors and was once housed in the collections of Eugène Rudier (son of Alexis Rudier), Galerie Beyeler and Arthur Stoll. Arthur Stoll (1887-1971) was a prominent Swiss biochemist, who, alongside his interest in science, built a prestigious collection of art. Part of this collection was sold at Kornfeld und Klipstein (today Galerie Kornfeld) in 1972, the year after his death – the auction included over 250 works, in... 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

A Goldscheider terracotta wall mask, c.1930, in the manner of Kurt Goebel, with blue scarf and hair band, printed mark to reverse, height 27.5cmCondition report: Large chip to the forehead.Smaller chips around the eyes.General marks to the whole.

GOLDSCHEIDER POTTERY - a table lamp in the form of a romantic couple and gondola, height including fitting 44cmSmall area of overpainting above the hand on the right-hand figure which is visible, there is a very minor crack next to the hole for the wiring cable only visible on the underside, no other sign of restoration

Pair of early 20th Century gilt decorated figures, possibly Goldscheider, modelled as a peasant man and woman, each signed 'J. Schoop' to reverse.

applied maker's marks ' Fr. Goldscheider/ WIEN./ 1308/ 21', and impressed '7938/ REPRODUCTION RESERVEE'77cm high

applied maker's marks '111/ Fr. Goldscheider/ REPRODUCTION RESERVEE/ 5'64cm high

Large Terracotta Goldscheider Orientalist Figure. Marked on backside. Height: 21.5 in.

A  pair of  early 20th cent Goldscheider Pottery icons 

AN ART DECO GOLDSCHEIDER GLAZED TERRACOTTA WALL MASK, impressed 'No. 7081' and 'Made in Austria', 28cm highCondition Report: Chips in places – left upper eye lid, around eye holes of mask, in hair, top lip, tip of finger, no signs of restoration.

Large Cold Painted Terracotta Figure, in the style of Friedrich Goldscheider, Austria, depicting an Art Nouveau Lady holding a Lily Pad serving tray. Circa 1900. 27" high.

Stefan Dakon (1904-1992) for Goldscheider, Art Deco Pottery Figure of a Dancer, model 7285, in a pink floral painted dress, standing on a black oval base, impressed and painted marks Goldscheider Wien MADE IN AUSTRIA, 7285 904 31 Dakon, paper label Goldscheider Vienna H16cm (Restored)Condition Report: Repair to left hand, scratch to head. Minor fritting to edge of dress, repair to one leg. General surface wear.

Large Goldscheider figure of a girl in a kimono seated with a fawn at her side, impressed mark Goldscheider Keramik, Austria 386, 26cm highCondition Report: Crazing to figure and base. Fritting to one ear of deer. Fritting to tip of one shoe. Minor chips to corners of base and chip to front bottom edge of base. Minor surface scratching.

patinated terracotta, signed E. VILLANIS, 53cm high; together with an ART NOUVEAU GOLDSCHEIDER BUST OF A GIRL, patinated terracotta, signed FLAGOLL DONATELLO, applied and impressed factory marks 2090/ 351/ 19, 72cm high

Goldscheider/Purete/an Art Nouveau painted and gilt terracotta bust, modelled as a maiden with downcast eyes and floral hairband with spray of lilies, impressed marks Friedrich Goldscheider Reproduction Reservée, 2213/430/42, 45cm high/Provenance: purchased from Lapada exhibition 2007 CONDITION REPORT: Professional restoration to a break through her neck and perhaps some to her nose. Minor chipping/losses to flowers.

Goldscheider Terracotta miniature face mask, white shawl, brown face.

in the manner of Goldscheider, unmarked,102cm high

Goldscheider with Myott & Son - A 1930s/1940s Art Deco vase of swollen form with a conical neck and foot, the body decorated with stylised cactus, deer, rabbits and flowers against a blue wash ground, printed mark, height 29.5cm.

Adolf Prischl - Goldscheider - A small 1950s terracotta face mask modelled as a female head with brown black hair and draped in a green scarf, printed mark alongside 8198, length 8.5cm.

Adolf Prischl - Goldscheider - A small 1950s terracotta face mask modelled as a female head with brown black hair and draped in a green scarf, printed mark alongside 8198, length 8.5cm.

GOLDSCHEIDER; a terracotta wall mask representing a maiden with black flowing hair and impressed marks and no.7420-31711 to reverse, height 22cm.Additional InformationLight scratches and wear but overall good condition with no faults.

GOLDSCHEIDER; an Art Deco pottery figure ‘Butterfly Girl’ designed by Josef Lorenzi, impressed marks, numbered 636636 and original Hamon Robert Rennes retail paper label to the underside, height 29cm. Footnote; please see Ora Pinhas Goldscheider Pottery, Richard Dennis Publications, page 122 for an identical example illustrated. Additional InformationThe piece is in good condition with no cracks, restoration, there is a shallow tiny flea bite to the arm and base otherwise good. 

A Goldscheider Pottery Wall Mask, model No.8935, of a woman holding a mask, glazed in colours, printed and impressed marks, original paper label, 22cm; and Another, with white hair, printed and impressed marks, 19cm (2)

An Art Deco Goldscheider Pottery Wall Mask, model No.7883, of a woman, glazed in colours, printed, painted and impressed marks, 30cm

A mid 20th Century Czechoslovakian Goldscheider type glazed pottery figure of a female nude, L. 47cm, H. 27cm.

W. Tomasch for Goldscheider Austria, circa 1925 A Figural candlestick, later electrified,nude within a hoop decorated with stars and supporting three sconces, raised on an oval section base, glazed in polychrome printed marks Goldscheider Wien Made in Austria' and impressed 5366 303 16 Al 5366 models started as candlesticks. Diemnsions: height 38.5cm Condition: In working order, supplied with E.U 2 pin plug. Wiring without earth, should be looked at by an electrician.. Bib: GOLDSCHEIDER, .History of the Company and Catalogue of Works, Robert E. Dechant | Filipp Goldscheider Arnoldsche publishing Page 406

A Goldscheider terracotta figure of a young Arab boy whittling a stick with a knife. Seated on a rocky perch. Bearing impressed marks verso. and an indistinct signature" Leinoire" (?) 80 cm high, Approx 12.60 kg weightCondition report: Old repair to the back of the base some damage/cracks to the blade of his knife

Josef Lorenzl for Goldscheider, a rare large pottery figure of a dancer,black printed ‘Goldscheider made in Austria’ mark, impressed model number 6005/1/10,40cm high

Stefan Dakon for Goldscheider, an Art Deco pottery figure of a girl wearing a Sombrero, c.1935,black printed Goldscheider marks, impressed model no. 6912/84/19,30.5cm high

Große Skulptur "Auerhahn", Goldscheider.Keramik, hellbraune Glasur. Entwurf um 1941. Geprägte Modell-Nr. 8730 und schwarze Stempelmarke Goldscheider, Wien. H. 54,5 cm. Lit.: Goldscheider/Dechant "Goldscheider", Nr. 8730, S. 508 ohne Abb.

Goldscheider Terracotta miniature face mask, white shawl, brown face.

Early 20th century Goldscheider Wall Pocket in the form of a Lady holding an Apple, 19cms high

Goldscheider Pottery wall mask, model no.8249, modelled as a Mediterranean woman with blue hair and gold scarf, ink and impressed marks, height approx 9.5cm

GOLDSCHEIDER PATINATED TERRACOTTA BUST OF A GLADIATOR 29CM H APPROX

A large Art Nouveau terracotta bust in the Goldscheider manner depicting a lady with shawl over her shoulders - minor damage and rubbing

In the manner of Frederick Goldscheider a painted terracotta of a female water carrier on a naturalistic moulded base. 79 cm highCondition report: An old repair to the arm

Frederick Goldscheider Vienna. "Rebecca" is a painted terracotta figure bearing factory mark to the rockwork and entitled at the plinth. 95 cm highCondition report: Some damage to the base, with small nicks and losses. No major cracks evident. some rubbing to the glaze throughout.

Goldscheider Wien Nachtwächter als Lampeum 1900, undeutlich signiert, Modellnummer 1857, Prägemarke Goldscheider mit undeutlichem Schriftzug Vervielfältigung vorbehalten, Majolika matt bemalt, Darstellung eines mittelalterlichen Nachtwächters mit Lanze, eine Laterne aus Blech vor sich hertragend, alt elektrifiziert, restauriert und überlackiert, Funktion nicht geprüft, Laterne mit stärker korrodierten Scharnieren, H 57 cm.Info: Dieser Artikel kann nur mit einer Spedition versendet werden.

Goldscheider Paar Salonfiguren als OrientalenEntwurf um 1900, Ausführung C. & E. Carstens Freden/Leine, einmal Stempelmarke mit Zusatz West-Germany 1953-1960, heller Scherben polychrom bemalt und glasiert, Ausformung als Pendants, jeweils auf rundem Terrainsockel stehender Mann mit Dolch bzw. Frau mit Krug in Phrygischer Tracht, die rückseitige Palmenstamm-Stütze jeweils als Vase gearbeitet, H je ca. 78 cm.

Goldscheider Wien weiblicher Akt mit Lyraum 1900, schwarze Stempelmarke, signiert E. Tell, leicht mit einem Tuch bekleidete junge Frau, sinnend in die Ferne blickend, Steingut farblos glasiert, etwas brandrissig und kleine ausgebesserte oberflächliche Fehlstellen, sonst guter unrestaurierter Zustand, H 64 cm.Info: Dieser Artikel kann nur mit einer Spedition versendet werden.