COLT, USA A SCARCE EARLY .38 (SUPER) SEMI-AUTOMATIC PISTOL, MODEL 'SUPER .38 AUTOMATIC', serial no. 3245, for first year of production,1929, with blued 5in. barrel, brushed bright chamber, blued slide signed by the maker and with patents to 1913, blued frame of 1911A1 type, chequered arched mainspring housing, grip-safe, spurred hammer and chequered walnut grips, complete with correct magazine, the whole in fine condition and apparently little used, overall length 9 3/4in.. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Section 7.3 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.
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FRANK WESSON, USA A SCARCE .22 (L/R) SINGLE-SHOT POCKET-RIFLE, MODEL '1870 SMALL-FRAME', serial no. 2044, produced between 1870-90, with octagonal 15in. barrel, tunnel fore-sight, buckhorn rear-sight with auxiliary aperture, fluted breech marked 'FRANK WESSON WORCESTER MASS PATENTED MAY 31 1870, twist opening, manual ejector, plated frame (plating renewed), central hammer, spur trigger and smooth walnut grips, complete with its plated wire skeleton stock with matching number, overall length with stock attached 29 1/2in., approximate weight including stock 2 7/8lbs.. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Section 7.3 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement. * Please note this item is subject to 5% VAT on the hammer price.
KONGSBERG, NORWAY A SCARCE 11.25mm (.45 ACP) SEMI-AUTOMATIC SERVICE-PISTOL, MODEL 'M1914', serial no. 30594, dated for 1945 and a licenced copy of a Colt 1911, with 5in. barrel, blacked slide marked '11.25m/m AUT PISTOL M/1914' together with the serial number, date to right hand side, slide release with lowered thumb-piece, frame of '1911' type, straight smooth mainspring housing and chequered wood grips, complete with original magazine with lanyard loop to base, overall length 9 3/4in.. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Section 7.3 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement. ** Please note this item is subject to 20% VAT on the hammer price.
WEBLEY, BIRMINGHAM A SCARCE .455 SIX-SHOT SERVICE-REVOLVER, MODEL 'MKII 6-INCH', serial no. 59861, commercial model with ordnance marks to 1915, ramp fore-sight with detachable blade, fluted cylinder with automatic eject, holster-guides to breech, break-open frame with stirrup closure, all matching numbers, broad hammer spur, double action mechanism, chequered hard rubber birdshead grips, the backstrap marked 'N' over '104' over 'D56', finish thin and faded, 12in. overall. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.
FORMERLY THE PROPERTY OF CAPT. JAMES ALEXANDER PURDEY WEBLEY A .455/.476 DOUBLE-ACTION SERVICE REVOLVER, MODEL 'W.G. ARMY', serial no. 19212 / A1175, for 1903, 1896 Model with blued 6in. barrel, nickel bladed fore-sight, rear-sight notch to the barrel locking catch, blued fluted cylinder with quick release and twin securing claws, blued break-open frame, brushed bright hammer and trigger, chequered walnut flared grips and lanyard ring at heel, the back-strap engraved 'J.A. PURDEY. 21ST LANCERS.', the trigger guard bow engraved with Purdey's own serial number, the whole retaining much original blued finish and complete with a period full flap leather service holster, the inside of the flap inked 'J.A.P. 21ST LANCERS.'. S5 - Sold as a Section 5 Firearm under the 1968 Firearms Act, Sections 7.3 and 7.1 Eligible.Unless prior arrangement has been made, two weeks after the Sealed bid sale, all Section 5 (and Section 7.1 / 7.3) items will be moved to a Section 5 carriers where storage charges will be incurred.Goods will not be released until all outstanding charges have been met. Collection will be by arrangement.
Kakemono mit Darstellung des Daikoku, Japan, datiert 1864 Farbige Darstellung des Glücksgottes mit seinem typischen Attribut, einem Hammer, bei der Teilnahme an einem Furzwettstreit. Dazu ein fein kalligraphiertes Heiku, bezeichnet "Nakano Chosen", und ein Künstlersiegel, rs. altes Klebeetikett. Etwas fleckig und beschädigt, Endstück der Holzrolle fehlt. Bildmaße 24 x 32 cm, Gesamtmaße 41 x 123 cm.Zustand: IIIA Japanese kakemono with a depiction of Daikoku, dated 1864 Farbige Darstellung des Glücksgottes mit seinem typischen Attribut, einem Hammer, bei der Teilnahme an einem Furzwettstreit. Dazu ein fein kalligraphiertes Heiku, bezeichnet "Nakano Chosen", und ein Künstlersiegel, rs. altes Klebeetikett. Etwas fleckig und beschädigt, Endstück der Holzrolle fehlt. Bildmaße 24 x 32 cm, Gesamtmaße 41 x 123 cm.Condition: III
* GERARD BURNS, GIRL AT THE GLASGOW ART CLUB oil on canvas, signed image size 60cm x 50cm, overall size 88cm x 78cm Framed. Note: In the most recent Scottish Contemporary Art Auction (May 2021) lot 502A "Red Coat in the City" a 60 x 60 cm oil by Gerard Burns sold for £3000 (hammer). Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* HERBERT WHONE (BRITISH 1925 - 2011), GLASGOW TRAM (The Johnny Beattie picture) oil on canvas, signed and dated '62 image size 57cm x 40.5cm, overall size 66cm x 50.5cm Framed. Provenance: The Estate of the late Johnny Beattie MBE (9th November 1926 - 9th July 2020). Note: Herbert Whone was born in Bingley, West Yorkshire, where his parents were both employed in the cloth mills. He was encouraged by his mother to ''improve'' himself culturally, and from an early age took photographs and practised the violin. After education at the Royal Manchester College of Music (now the Royal Northern College of Music) and Manchester University, he secured positions in the Royal Opera House Orchestra and the BBC Symphony Orchestra, before moving to Glasgow in 1955, where he took up the position of deputy leader of the Scottish National Orchestra. He was inspired by Glasgow's changing fortunes and painted a series of notable canvases featuring the beauty of a city and surrounding areas in transition. His paintings of trams and shipbuilding on and around the Clyde, to pick two of his fondest subjects, were presented with warmth and beauty, almost impressionistic in their depiction of glowing sunsets and use of rich colour. Herbert Whone (often incorrectly catalogued as Herbert Bannister Whone, his father's name) continued to paint long after his departure from Glasgow in 1964 and made several trips back to Scotland to paint. but It's the relatively small body of work produced in and around the city that stand testament to his exceptional talent. Whone's paintings, while highly collected and critically acclaimed, are still to attain the full recognition and commercial value they deserve and will surely eventually achieve. Known collectors of Herbert Whone's paintings included Joan Eardley, Margot Sandeman, Cyril Gerber, Johnny Beattie and Magnus Magnusson. Growing collector interest in Herbert Whone has seen his auction record price being beaten on an almost annual basis in recent years and his current "high" is £11,000 (hammer). This is even more impressive as auction appearances of his Glasgow paintings are becoming ever rarer. Public collections include: Glasgow Museums & Galleries, The Scottish National Gallery of Modern Art, The Hepworth, Kirklees Museums & Galleries, Salford Museums & Galleries and The Mercer Gallery (Harrogate). A copy of "Hertbert Whone, Glasgow - In Transition" (a 112 page illustrated hardback book) accompanies this lot. Johnny Beattie and his wife are shown in the book, holding their painting in a newspaper clip. Johnny Beattie MBE enjoyed a career spanning more than 60 years and appeared on shows including Scotch & Wry, Rab C. Nesbitt before later starring in the BBC Scotland soap opera River City. He was one of the pillars of Scottish entertainment. Beattie, along with fellow Glaswegians Rikki Fulton, Jack Milroy, Jimmy Logan and Stanley Baxter were the blueprint of post war Scottish comedy. What set them apart was their ability to turn their hand to almost anything. In his incredible 63-year career Johnny was a stand-up, film and TV actor, presenter, panto dame, TV soap star and even rapper. In The Scottish Contemporary Art Auction of 24th January 2021, lot 23 "Factories in the Snow" by Herbert Whone sold for £8000 (hammer).
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), STREAM UP ON NICKS TUG AT CRINAN oil on canvas, signed, further signed, titled and dated 2005 verso image size 76cm x 76cm, overall size 100cm x 100cm Framed and under glass. Artist's label verso. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer), just one of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), HEAVY SNOWFALL GRIBUN, MULL oil on canvas, signed, further signed, titled and dated 2005 verso image size 41cm x 41cm, overall size 64cm x 64cm Framed and under glass. Artist's label verso. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer), just one of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), WINTER EVENING TOBERMORY, MULL oil on canvas, signed, further signed, titled and dated 2005 verso image size 30.5cm x 30.5cm, overall size 54cm x 54cm Framed and under glass. Artist's label verso. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer), just one of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.
HUW WILLIAMS (AKA THE HORSE PAINTER) (b. 1968 - ), JUMPING HORSE oil on canvas, signed 100.5cm x 180.5cm Unframed, as intended. Note: Huw Williams (The Horse Painter) is a fine artist whose work is dominated by the horse, specifically stunning, striking stallions showing their power and movement. From his Perthshire studio Huw produces works on a large scale, ranging from 5ft to 12ft, always in oil. Typically any individual piece can take from four to eight weeks to complete. His work hangs in the homes of many well-known private clients and prestigious corporate collections Worldwide. These include those of : Beverly Hills Luxury Interiors for His Majesty Hamad bin Isa Al Khalifa (King of Bahrain), Roger Myers, Cafe Rouge; Exponent, London; Mr Teo Khing, TAK Design architect to Sheikh Mohammed bin Rashid al-Maktoum.; Mr Kenneth Bordewick (Designer BHLI Los Angeles); Mr. Robert Friedland – Ivanhoe Mines (corporate); Darren Clark (Golf); Squire De Lisle (corporate); Sir Stephen Hastings; Mr. Philip Gerrard Esq (corporate) Gerrards; Mr. Raymond Andersen Green Esq (racehorses/corporate); Lloyds TSB Bank (corporate); Prudential Bank corporate); Form (Los Angeles); Mrs. Fiona Martin; Mr Clive Wells Skadden, London; The China Horse Club; The Meydan, Dubai; Lady Fiona Savory; Ms Whitney Kroenke (Walmart); Ms Chitrangda Singh (Bollywood); The Audeh Group; Le Gray, Amman; Michela Auert Design; Kathryn Levitt Design and Ms Jenny Wang (Chairman AEC). Huw Williams paintings rarely appear at auction but one of similar dimensions to the one offered sold at Mander Auctions (Suffolk) lot 260 19th August 2017 for £4800 and in The Scottish Contemporary Art Auction on 8th November 2020, lot 520. "Peleton III" sold for £4600 (hammer).
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Nudes with Beach Ball". Medium: Color offset lithograph. Date: Composed 1994. Dimensions: Overall size: 32 3/4 x 23 in. (832 x 584 mm). Image size: 25 1/2 x 23 in. (648 x 584 mm).Lot Note(s): Signed in pencil, lower right. Edition unknown, presumed small. Smooth, white wove paper. Full margins. Fine impression. Folds as issued for mailing, else fine. Literature/catalogue raisonne: Doring/Van der Osten 63. Provenance: Private collection, La Canada Flintridge, California. Comment(s): Very scarce. Although the poster was issued over 25 years ago we could locate only two auction records in ‘Gordon’s Art Reference,’ one of the two unsigned, the hammer price of the signed impression at $2,040 at Swann Auction Galleries, September 14, 2006, lot #696. Printed for the exhibition held at Leo Castelli, New York City, November 19th - December 17th, 1994. Design by Smatt Florence, Inc. Image copyright © Estate of Roy Lichtenstein. [29226-5-1600]
LLADRO 'Junge mit Hammer', 20. Jhd. Weißporzellan polychrom gefasst, Junge mit einem Hammer im Arm, zu seinen Füßen ein Würfel und ein Spielzeugauto, H. ca. 21,5cm. | LLADRO 'Boy with hammer', 20th c. White porcelain polychrome painted, boy with a hammer in his arm, at his feet a cube and a toy car, h. ca. 21.5cm.
Artist: Frantisek Kupka (Czech, 1871-1957). Title: "Elements mecaniques". Medium: Gouache, charcoal, and chalk drawing on paper. Date: Composed c1927-29. Dimensions: Overall size: 10 1/4 x 7 13/16 in. (260 x 198 mm).Lot Note(s): Signed in pencil, lower right recto; signed in pencil, verso; collector and gallery ink stamps, verso. Painted on brown wove paper. Fine condition with no issues to report. Provenance: If you have a genuine interest in bidding on this work kindly send an email to: provenance@stanfordauctioneers.com for provenance information and additional image(s). Comment(s): The two best comparables to our example that we could find are “Les mecaniques,” watercolor and gouache on paper, 4 3/8” x 7 1/8,” sold for $16,570 (€10,533) including premium at Tajan, Paris, April 9, 2008, lot #241; and “Etude pour les machines,” gouache and pencil on paper, c1927-29, 8 1/4” x 9,” sold for $9,400 hammer price at Phillips, London, April 4, 1990, lot #50. Image copyright © Artists Rights Society (ARS), New York. [30234-2-10000]
Artist: Jan Toorop (Dutch/Indonesian, 1858 - 1928). Title: "In de Aanwezigheid van Jezus". Medium: Colored crayons and pencil drawing on paper. Date: Composed c1924. Dimensions: Overall size: 9 1/8 x 14 1/2 in. (232 x 368 mm). Image size: 9 1/8 x 14 1/2 in. (232 x 368 mm).Lot Note(s): Signed and titled in pencil, lower left recto; titled again in pencil in the Artist's hand, verso; collector's ink stamps, verso. Drawn on thin cream wove paper. Very good to fine condition with no serious issues to report; uneven lower edge; a few fox marks; remains of newspaper (?), verso. Provenance: If you have a genuine interest in bidding on this work kindly send an email to: provenance@stanfordauctioneers.com for provenance information and additional image(s). Comment(s): A very similar work to our example is “Voor het Sanctus,” pastel, watercolor, and colored pencil on cardboard, 16 1/2" x 13 3/8,” 1923, sold for $29,580 (¥3,000,000) hammer price at Mainichi Auction Inc., Tokyo, 03/15/2014, lot #273. Johannes Theodorus 'Jan' Toorop was a Dutch-Indonesian painter who worked in various styles, including Symbolism, Art Nouveau, and Pointillism. His early work was influenced by the Amsterdam Impressionism movement. [30224-3-12000]
Sowjetischer Propagandateller nach Adamowitsch "Wer nicht arbeitet, der isst nicht", Russland, 20. Jh., Porzellan, weiß glasiert, polychrome Aufglasur-Malerei, flacher Teller mit gewelltem Rand. Darstellung mit einem Bildnis Lenins, einem roten Stern mit Hammer und Sichel über einem halben Doppeladler, dem Monogramm RSFSR, zwei Rationierungscoupons mit dem Datum 1921. Dekor wohl nach einem Motiv Michail Michailowitsch Adamowitschs (1884-1947) aus dem Jahr 1921, am Boden aufglasurblaue Pseudomarke der Staatlichen Porzellanmanufaktur St. Petersburg (Hammer/ Sichel und Zahnrad) und aufglasurschwarz auf kyrillisch bez., D.: ca. 24 cm, leichte Alters- und Gebrauchsspuren. Vgl. Lobanov-Rostovsky, Revolutionskeramik. Sowjetisches Porzellan 1917-1927, London/Basel 1990, Nr. 2.
Bronzebüste, auf gelben Marmorsockel (2,5 x 15,5 x 10 cm) montiert. Höhe 21 cm Links am Hermenschaft unten signiert 'M. KLINGER' und rückseitig beschriftet "AKT. GES.... H. GLADENBECK...SOHN BERLIN=FRIEDRICHSHAGEN." - Mit anthrazitfarbener, glänzender Patina. Auf Stirn und Brust mit kleinen, unauffälligen Bereibungen.ProvenienzPrivatsammlung SüddeutschlandLiteraturMax Schmid, Max Klinger (Künstler-Monographien, Bielefeld/Leipzig 1906, S. 133, Abb. 104 (Büste); Jürgen Krause, "Märtyrer" und "Prophet". Studien zum Nietzsche-Kult in der Bildenden Kunst der Jahrhundertwende, Berlin/New York 1984, vgl. S. 186 mit Anm. 780, vgl. Nrn. 42 - 45 sowie 46, 47; Gerhard Winkler, Max Klinger, Leipzig 1984, vgl. Nr. 195 mit Abb.; Herwig Guratzsch (Hg.), Max Klinger, Bestandskatalog der Bildwerke, Gemälde und Zeichnungen im Museum der bildenden Künste Leipzig, Leipzig 1995, vgl. Nr. A 21 (Totenmaske Friedrich Nietzsche 1901) und Nr. A 24, jeweils mit Abb.Verkleinerte Bronzebüste nach der hermenartigen monumentalen Marmorversion für das Nietzsche-Archiv Weimar (Weimar, Stiftung Weimarer Klassik, Nietzsche-Archiv)."Von der Gladenbeck AG, Berlin, wurden seit 1904 von Klinger autorisierte Bronzereduktionen der sognenannten "Archivherme" [...] in 22 cm [...] bzw. 38 cm Höhe auf 3 bis 4 cm hohem Marmorsockel herausgebracht." (Max Klinger Bestandskatalog Leipzig, op. cit. S. 70).Taxation: Regular Scheme (19% VAT on hammer price and buyer´s premium) if not exported outside EU (R)
An 18th Century flintlock pistol, the lock plate and hammer engraved with scrolled work joining a rounded barrel, the walnut inlaid with white metal wire, embossed metal butt and cartouche to grip, signs of restoration. Action requires attention. 49cm total length. ANTIQUE FIREARM: No license required
Mixed lot of musical instruments, including Olympic Premier snare drum, half size contemporary double bass in need of restoration, five various cased small student quality violins and various instrument music stands, Covloc Display Systems cased set of display felt screens etc *This lot is subject to 20" VAT on the hammer price
Two original WWII Second World War USSR Russian Soviet Union battle order medals. Medals to include Order Of The Patriotic War 1st Class medal, usual form with red and white enamel hammer and sickle emblem marked with issue number 5206518 to the reverse and an Order Of The Red Star medal, with issue number 2875538.
Two 20th Century medieval re-enactment replica prop weapons / war hammers. Weapons to include a Swiss Lucerne hammer with a forward pointing spike and four pronged hammer type head mounted to a wooden polearm and a flanged Mace / Bludgeon with fletched arrow type head and wire bound grip. Both having leather hanging rope attachments. Each to measure approx 62cm.
Bronze Höhe 23,2 cm Rückseitig links an der unteren Kante signiert 'E.Barlach' sowie mit dem Gießerstempel "H. NOACK BERLIN". Einer von 27 nicht nummerierten, seit 1938 entstandenen Güssen aus einer Gesamtauflage von 31 nicht nummerierten Exemplaren. - Mit schöner dunkelbrauner Patina, teils etwas aufgehellt. - In guter Erhaltung.Laur 517; Schult I, 71Mit einer Expertise von Hans Barlach, Ratzeburg, vom 13. Juni 1990 (in Kopie)AusstellungenBremen 1959 (Kunsthalle), Ernst Barlach, Kat. Nr. 496; Rostock 1998 (Kunsthalle), Ernst Barlach, Artist of the North, S. 84; Hamburg 2001 (Kunsthalle), Private Schätze. Über das private Sammeln von Kunst in Hamburg bis 1933, S. 169; Flensburg/Ribe 2002 (Museumsberg Flensburg/Ribe Kunstmuseum), Ernst Barlachs Wege und Wandlungen, Vom Jugendstil zum Expressionismus, Nr. 14; Hamburg 2002 (Ernst Barlach Gesellschaft), Barlach und Russland, Ernst Barlachs Russlandreise im Sommer 1906, S. 347LiteraturErnst Barlach, Werke und Werkentwürfe aus fünf Jahrzehnten, Veröffentlichung der Akademie der Künste der DDR in Zusammenarbeit mit den Staatlichen Museen zu Berlin, bearb. von Elmar Jansen, Bd. 3, Berlin 1981, Nr. 16; Anita Beloubek-Hammer, Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 26f.; Eva Caspers, Ernst Barlach Haus, München 2001, Nr. 34f.Die fünf Bronzeplastiken von Ernst Barlach, die wir in dieser Auktionssaison anbieten dürfen, geben einen Eindruck von der künstlerischen Entwicklung, die sich in seinem plastischen Oeuvre abzeichnet. Die „Russische Bettlerin mit Schale", 1906 entstanden, und die „Russische Bettlerin II", die, obwohl in dieser Größe erst 1932 realisiert, in ihrer Gestaltung der kleinen Fassung von 1907 folgt, verdeutlichen die motivischen und künstlerischen Impulse, die Barlach aus seiner mehrwöchigen Russland-Reise im Jahr 1906 zog. Nach seinen vom Jugendstil beeinflussten Anfängen findet der Künstler nun zu vereinfachten, in sich geschlossenen Formen. Die den Körper verhüllenden langen Gewänder der russischen Landbevölkerung setzt er leicht stilisiert in fließende, ornamentale Linien um. Überwiegen bei der früher entstandenen „Bettlerin mit Schale" noch die darstellerischen Details und der erzählerische Aspekt, so überführt er die Gestalt der vornüber gebeugten zweiten „Bettlerin" bereits in eine stark abstrahierte Form, die den menschlichen Körper unter den Stoffbahnen lediglich erahnen lässt.Das Gewand bleibt auch in Barlachs später entstandenen Plastiken ein bestimmendes Element, er baut die Figur über die Gewandform auf. Sie bildet eine vereinheitlichende Hülle für den Körper und sorgt durch diese Formreduktion für eine Konzentration auf die Gestik und Haltung; auch emotionale Bewegtheit kann dadurch veranschaulicht werden. Barlachs Hauptwerk ab 1910 wird stark von den gotischen Bildwerken in den Kirchen seiner norddeutschen Heimat beeinflusst. Die dort gesehenen formalen Grundsätze übersetzt er in seine eigene expressive Sprache. Dabei bedient er sich konkreter Kompositionen der sakralen mittelalterlichen Werke, ohne notwendigerweise deren ikonografischen Gehalt zu übernehmen. Es entstehen Plastiken von zeitloser Ausdruckskraft, die die Grundaussagen menschlicher Existenz veranschaulichen.Die gelängten, statuarischen Gestalten von Christus und Thomas im „Wiedersehen" von 1926 sind durch ihre körperlich distanzierte, aber dennoch innige Umarmung zu einer Einheit verschränkt; die stark differierende Körperhaltung der beiden gibt eine beredte Aussage über die Umstände ihrer Begegnung. Blockhaft und erdschwer stellt sich der „Zweifler" von 1930 dar, das Gewand fasst den knienden Körper zu einer Einheit zusammen, die innere Zerrissenheit offenbart sich durch die Neigung des Kopfes und die gerungenen Hände. Die Figur des „Buchlesers" von 1936 - auch „Lesender Mann im Wind" betitelt - zeigt ebenfalls eine in sich geschlossene Einheit, Haltung und Blick sind ganz auf die Lektüre ausgerichtet. Die etwas gebauschten Gewandschöße und das zerzauste Haar können als Auswirkungen des Windes, aber auch als subtile Zeichen innerer Unruhe gelesen werden.
Otto Dix - - 1891 Gera - 1969 Singen Leonie. 1923. Farblithografie. Karsch 58/III b (von b). Signiert, datiert und nummeriert. Aus einer Auflage von 65 Exemplaren. Auf Maschinenbütten von Johann Wilhelm (mit den angeschnittenen Wasserzeichen). 47,4 x 37,4 cm (18,6 x 14,7 in). Papier: 59,6 x 46,6 cm (23,5 x 18,3 in). Herausgegeben von Karl Nierendorf, Berlin. [CH]. • Bei den Lithografien und Radierungen aus den frühen 1920er Jahren handelt es sich um die auf dem internationalen Auktionsmarkt gesuchtesten druckgrafischen Arbeiten des Künstlers. • Weitere Exemplare dieser Farblithografie befinden sich u. a. in der Sammlung des Museum of Modern Art, New York, des Kunstmuseums Bern und des Hammer Museum, Los Angeles. • Nach den traumatischen Erfahrungen und in der angespannten sozialen Lage nach dem Ersten Weltkrieg erhebt Dix die Außenseiter der Gesellschaft zum schillernden Motiv seiner Darstellungen. • Die karikaturesken, übersteigerten künstlerischen Mittel, mit denen Dix sein Anliegen zur Darstellung bringt, bestätigen seine große Wertschätzung als einer der bedeutendsten deutschen Grafikkünstler des frühen 20. Jahrhunderts. Aufrufzeit: 18.06.2021 - ca. 14.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOtto Dix -1891 Gera - 1969 Singen Leonie. 1923. Lithograph in colors. Karsch 58/III b (of b). Signed, dated and numbered. From an edition of 65 copies. On machine-made laid paper from Johann Wilhelm (with the truncated watermark). 47.4 x 37.4 cm (18.6 x 14.7 in). Sheet: 59,6 x 46,6 cm (23,5 x 18,3 in). Published by Karl Nierendorf, Berlin. [CH]. • Lithographs and etchings from the early 1920s are among the artist's most sought-after graphic works on the international auction market. • Other copies of this color lithograph are part of the collections of, among others, the Museum of Modern Art, New York, the Kunstmuseum Bern and the Hammer Museum, Los Angeles. • Following the traumatic events of World War I and in context of an increasingly tense social situation, Dix declarde society's outsiders the dazzling main motif of his depictions. • The caricaturesque exaggerated artistic means that Dix uses to express his concern confirm his renown as one of most important German graphic artists of the early 20th century. Called up: June 18, 2021 - ca. 14.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Friedrich Kunath - - 1974 Chemnitz - lebt und arbeitet in Los Angeles Sentimental Air. 2016. Acryl auf Leinwand. Verso auf der Leinwand zweifach signiert und datiert. Auf dem Keilrahmen wohl von fremder Hand bezeichnet 'FK'. 153 x 122 cm (60,2 x 48 in). [CH]. • Friedrich Kunath verbindet die ästhetischen Grundprinzipien der Romantik mit einer comichaft-karikaturesken Bildsprache. • Mit Humor, Paradoxien und ironischen Untertönen (meist in Schriftform) zerstört der Künstler jegliche emotional aufgeladenen Ansätze eines romantischen Gefühls. • Kunaths Arbeiten wurden mit Einzelausstellungen in bedeutenden Museen und Institutionen gewürdigt, u. a. in der Sammlung Philara, Düsseldorf, im Sprengel Museum, Hannover, im Schinkel Pavillon, Berlin, und im Hammer Museum, Los Angeles. PROVENIENZ: Galerie BQ, Berlin (verso auf dem Keilrahmen mit dem Galerieetikett). Privatsammlung Deutschland. Aufrufzeit: 19.06.2021 - ca. 17.08 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFriedrich Kunath -1974 Chemnitz - lebt und arbeitet in Los Angeles Sentimental Air. 2016. Acrylic on canvas. Twice signed and dated on the reverse. Stretcher inscribed 'FK' by a hand other than that of the artist. 153 x 122 cm (60.2 x 48 in). • Friedrich Kunath combines the basic aesthetic principles of romanticism with a comic-like caricature imagery. • With humor, paradoxes and ironic undertones (mostly in writing) the artist destroys any kind of romantic sensation. • Kunath's work has been honored in solo exhibitions at major museums and institutions, including the Philara Collection, Düsseldorf, the Sprengel Museum, Hanover, the Schinkel Pavilion, Berlin, and the Hammer Museum, Los Angeles. PROVENANCE: Galerie BQ, Berlin (with a label on the reverse). Called up: June 19, 2021 - ca. 17.08 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Prunkvolles Historismus-Set: Paar Fußbecher (vergoldete Trinkeinsätze aus Metall), Pulverflasche (L. 17 cm) ohne Deckel und Hammer (L. 19 cm). Je mit sehr aufwendig geschnitzten Jagd- und Tierdarstellungen. Hirschhorn/Bein. Beide Becher mit Trockenrissen, 1 Fuß lose bzw. mit 2 Fehlteilen. Süddeutsch, wohl Erbach, 19. Jh. Becher H. 19 cm.
Norwegian interest- a Marius Hammer, silver gilt and turquoise enamel 'Solje' brooch, comprising an open work fan like top each terminal with white enamel dots, (one deficient) scrolled decoration set with three round turquoise enamel domes, suspending an enamel drop with further chain swags suspending three droppers, the centre open work pendant with turquoise enamel droppers, length approx 90mm, with pin and C clasp, marked M930SCondition report: Good- clear, one terminal missing, some slight gilt wear commensurate with age
A 19th century all steel flintlock muff pistol, the frame indistinctly signed to one side and stamped 'London' verso within simple foliate scrolls, with screw-off 1.5" rifled cannon barrel, overall length 15cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThere is very light wear to the surface of the gun throughout. Overall in good condition. The barrel is not seized. The hammer does not hold on half cock but it does fire from half cock and full cock positions.
CLAMPITT; a 19th century percussion cap muff pistol with 1.5" screw-off barrel, the frame stamped 'Clampitt' to one side and 'Skipton' verso and mounted with a walnut grip, complete with barrel key, overall length 15cm (af).Provenance: The Captain Allan Marshall Collection.Additional InformationThe screw-on barrel is seized. The frame is indistinctly signed with two proof marks. This gun is most likely a conversion from a flintlock. It does have a slot behind the hammer for a mechanical safety which is missing and although there is tension in the main spring, the hammer is not latching at any point. Surface pitting throughout with further minor wear to the woodwork.
A 19th century percussion cap pocket pistol with 3" octagonal barrel, indistinctly stamped with various letters and numbers, to the top, further proof marks to the side and further stamped '91' to the underside on both the barrel and the frame, overall length 20cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe spur off the hammer is missing, the screw-off barrel is seized and the mechanism fires from both the half and full cock positions and there are scuffs and scrapes to the woodwork.
A 19th century percussion cap pocket pistol with 3" octagonal barrel, the trigger guard stamped 'A.V. & G.S' and further proof marks to the underside of the barrel, overall length 20cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe grip is probably a later replacement, the retaining screw for the hammer is protruding. The percussion nipple is missing and the barrel is seized to the action. Overall wear throughout. Does not hold on the 1/2 cock position.
A 19th century percussion cap pocket pistol with skelp screw-off 2.5" octagonal rifled barrel, the action with simple engraving and fitted with a walnut grip with area for a metal inlay to the reverse that is missing, overall length 18cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe top screw is missing from the tang so the grip is loose. As mentioned in the description there is an inlaid section to the reverse of the grip for a metal insert. The barrel has been over-tightened and seized in that position. The hammer doesn't hold anywhere. The main spring is not latching at all and the folding trigger does not retract with the hammer. There is a section to the pommel where there would have been a hinged cover for additional shot, the cover is missing leaving a vacant space on the bottom of the pommel.
A 19th century percussion cap pocket pistol with 3" screw-off barrel, simple foliate engraving and walnut stock, overall length 18cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe screw-off barrel is seized. The hammer does not hold at half cock but fires from both half and full positions. There are indistinct proof marks to the underside of the barrel and the frame, both appear to be crossed halberds. The grip is probably a later replacement and is not the best fit to the back of the lock plate.
A 19th century large bore percussion cap pocket pistol with 5" octagonal screw-off barrel, with foliate engraving to the lock and tang and further engraving to the hammer and fitted with checkered walnut grips, bearing various indistinct proof marks to the barrel and frame, overall length 27cm.Provenance: The Captain Allan Marshall Collection.Additional InformationHeavy wear throughout. The grips are loose and probably a later replacement. The action has a mechanical lock with the back section snapped off, there is no tension in the main spring and the trigger does not appear to be connected to anything internally. The screw-on barrel is seized and has been drilled in two places to the underside and there are two screws missing to the left hand side of the action.
A 19th century percussion cap large bore pocket pistol with 6" screw-off barrel, simple foliate engraving and smooth walnut grip, with proof marks to the barrel and frame, overall length 27cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe screw-on barrel appears to be seized. The main spring is completely missing and the hammer is just loose so we cannot check the functionality. There is surface wear including nicks, scuffs and scrapes to the woodwork.
A 19th century percussion cap pocket pistol, overall length 19cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe screws for the top plate and tang are missing, the percussion nipple is damaged, the hammer is seized, the screw-on barrel is also seized. The grip is loose due to the missing screw in the tang and is ill-fitting to the back of the lock. There are various proof marks to the underside of the barrel and the frame that are indistinct through wear. Surface pitting throughout, etc.
STAUDENMAYER; a 19th century percussion cap pistol with 9" octagonal barrel stamped with the maker's name and further stamped '35 Cockspur St, Charing Cross, London', with two bands of applied yellow metal and foliate engraving around the hammer, the lock plate further stamped with the maker's name and '1357' and mounted on a checkered walnut stock with steel furniture, overall length 37cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThere are various losses throughout. The retaining disc around the push-through is snapped on one side. The ramrod is missing and it appears there is a section half way down the barrel where there would have been a further retaining loop for the ramrod which is also missing. The tang is standing proud from the back of the stock, and there is significant wear and tear through the woodwork and further dulling to the metalwork on the trigger guard and throughout.
A 19th century East India Co percussion cap pistol with integral hinged ramrod and lanyard fitting to the brass pommel, further set with brass furniture, overall length 40cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThere is wear throughout commensurate with age. The main spring is not latching the hammer correctly, and is not holding on the 1/2 cock.
An unusual pair of 19th century flintlock over/under double barrel pocket pistols of all brass construction, with 3.5" cylindrical barrels with side lever to determine which chamber is being used, light engraving throughout the action and fitted with walnut grips, overall length 19.5cm.Provenance: The Captain Allan Marshall Collection.Additional InformationOne of the guns has a loose hammer and is latching in position but is not currently functional. It does have a mechanical safety but there is part missing but with the main spring functioning as it does, it is hard to determine that the safety works. The second gun has a gap behind the action to the left hand side where the grip is mounted. Similar issues with the hammer and main spring on this gun, although it appears that the safety is complete and functions by locking the powder cover.
A 19th century flintlock pistol with 9" barrel, mounted on a dark stained stock and mounted with brass furniture and steel ramrod, overall length 42cm (af).Provenance: The Captain Allan Marshall Collection.Additional InformationHeavy wear throughout. The brass muzzle cap appears to be a later addition. The back end of the stock has had a replacement pommel spliced onto it. There is heavy wear throughout the timber with various splits, scuffs, scratches, etc. There is indistinct stamping of various letters and numbers to the underside of the trigger guard. The hammer holds in the half cocked position and fires in the fully cocked position.
A large 19th century flintlock pistol with 19" engraved barrel, mounted to a carved and floral inlaid stock and mounted with brass and white metal furniture, overall length 70cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThere are losses to the inlay throughout and heavy pitting to the outside of the barrel. The lock is possibly a later replacement. Some of the furniture is worn in places. It does not have a 1/2 cock so does not stop on the hammer pull.
FOTHERBY; a 19th century double barrel percussion cap pistol with revolving over/under barrel, maker's name to one side of the action and foliate scrolls verso, fitted with a checkered walnut grips and steel furniture, the percussion nipple section stamped with broad arrows to both barrels, overall length 20cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThe barrels are a little bit loose when in the set positions. The grip is slightly offset to the action behind the hammer. Holds from the half cocked position and fires from the fully cocked position. The hammer is a little bit loose. There is light surface pitting throughout.
A 19th century percussion cap six shot pepper-pot revolver, with 2.5" barrel mounted to a lightly engraved frame and fitted with walnut grips, overall length 20cm (af).Provenance: The Captain Allan Marshall Collection.Additional InformationThe section that determines the rotation of the barrel is not functioning correctly. The trigger is not moving the hammer. There is a screw missing from the left hand side of the lock plate. The grips are most likely a later replacement with minor losses to the pommel. The metalwork is fairly heavily pitted throughout.
A Belgian pinfire brevet six shot revolver, the 6" barrel stamped 'E. Lefaucheux' and fitted with a foliate engraved cylinder and frame and mounted with a well-figured walnut grip, overall length 31cm, bearing various Belgian proof marks throughout and to the lower section of the frame in front of the trigger guard it is stamped 'FW', SN:174043.Provenance: The Captain Allan Marshall Collection.Additional InformationThe main spring is not holding the hammer correctly although it is intermittently functional. The lanyard loop is very loose. There is very light surface wear throughout the metalwork and slightly more significant wear through the walnut grips.
AKRILL; a late 19th century 12 bore side-by-side percussion cap hammer gun, fitted with steel furniture and checkered walnut stock, length of barrel 30", overall length 116cm.Provenance: The Captain Allan Marshall Collection.Additional InformationMinor surface pitting to the metalware and more significant wear to the woodwork.
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