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Lot 2225
PORZELLAN-FIGURENGRUPPE "Faun mit Böckchen", 1930er Jahre, Porzellan, polychrom staffiert. Unter dem Stand mit Manufaktur-Pressmarke, geprägt "G.F. 832" sowie vertieft signiert "Gustafsson". Entwurf Gustafsson, um 1920. Goebel Porzellanfabrik / Oeslau - Bayern (Marke 1935-1937). Vollplastische Figurengruppe eines stehenden jungen Faunes mit Böcklein (Ziegenbock); beide stoßen im spielerischen Kampf Ihre Köpfe aneinander. H. 12 x L. 20 cm. (Herstellungsbedingte Glasurfehler, 1 Ohr und 1 Horn des Böcklein Restauriert, Stand gering bestoßen).
Lot 6162
Vienna, Galerie Nächst St. Stephan, 1975. Rare first edition catalogue and symposium booklet. (1) Catalogue. Softcover, 29.7 x 21 cm, 52 pp. Ills. b/w, texts in German. Signed and dated by Valie Export, curator of the encompassing project, on the last page. The exhibition that took place at Galerie nächst St. Stephan in Vienna was intended to provide 'an overview of female sensitivity, imagination, projection, and problems, suggested by a tableau of pictures, objects, photos, lectures, discussions, readings, films, video tapes and actions.' Artists included Hilde Absalon, Renate Bertlmann, Valie Export, Birgit Jürgenssen, Maria Lassnig, Friederike Pezold, Dorothy Iannone, Rebecca Horn, Ulrike Rosenbach and Katharina Sieverding et al. (2) Conference booklet, 23 x 21 cm, 4 pp. Features the four-day program for the 21st International Art Talk (2-5 April 1975), curated by Valie Export. It included discussion groups, lectures and film/video screenings by a wide range of artists and academics such as Gislind Nabakowski, Carolee Schneemann, Agnes Varda, Dr. Erika Runge, Elfriede Jelinek, Kirsten Justesen, Meret Oppenheim, Rose Richter and others. Both the catalogue and conference booklet are pivotal documents, in fine condition. (3) Added is an invitation sheet for a performance 'bevaegelses imaginationer' (Movement Imaginations) held by Valie Export on 11 Dec. 1975 at Tranegarden, Hellerup (Danmark), 29.5 x 21 cm. (total 3)
Lot 6311
Cullompton, Beau Geste Press, 1975. Softcover, 29 x 21 cm, 90 pp. with 8 inserts including booklets and a stick. Edited by David Mayor, printed and bound by Takako Saito. Edition of 550. Contributors include Eric Andersen, Ian Breakwell, Robin Crozier, Coum, Felipe Ehrenberg, Richard Kostelanetz, Jaroslaw Kozlowski, Takehisa Kosugi, Jiri Valoch, Stu Horn, Opal L. Nations and others. Light bend to top right corner, moderate imprint of inserted object to back cover, else a fine copy.
Lot 6414
New York, Franklin Furnace Archive, 1977-1979. Extensive bibliography cataloguing the main archive of Franklin Furnace’s artists’ book collection, published in the form of a card index. Comprises 429 notecards, 10 x 15 cm, 143 loose cards for each volume. Published in a limited edition of 500-1100 copies. Features publishing information and artists' statements, often not found elsewhere. Artists include Jacki Apple, Vito Acconci, John Baldessari, Joe Brainard, Jamie Davidovich, Constance De Jong, John Giorno, Dan Graham, Dick Higgins, Davi Det Hompson, Stuart Horn, Robert Jacks, Alison Knowles, Sherrie Levine, Joan Lyons, Antonio Muntadas, Adrian Piper, Marcia Resnick, Edward Ruscha, Carolee Schneemann, Patricia Tavenner, Hannah Weiner, Lawrence Weiner et al. Volume I and II wrapped in vellum paper, Vol III held together by rubber band (included but taken off to avoid further imprint). Scarce complete set in good condition. (total 3)
Lot 575
MB - Waddington - Hasbro - Parker - Horn. A selection of Nine Boxed board games appearing in Excellent condition with Good to VG+ boxes. Lot consists of: Game of Life, The International Travel Game, Battle of Little Big Horn, Cluedo, Lord of the Rings, The Roman Game, Mouse Trap, United Challenge and UBI. Unable to confirm completeness. (This does not constitute a guarantee). [MP]
Lot 322
Annual edition 1996 Fabulous Creatures, Clear faceted crystal body with frosted horn, beard, mane and tail. Blue crystal eyes. Swarovski backstamp. This item has its original box: 9.5"L x 10"W x 4.5"H. Artist: Martin ZendronIssued: c. 1996Dimensions: 5.5"L x 1.75"W x 4.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 25
RARE HUBERTUS SOLINGEN FORESTRY HUNTING DAGGER, 50s OF THE 20th CENTURY. With single sided, bright blade. Acid etched. Deer and forestry designs. Maker mark by Hubertus Solingen on ricasso. Shield with the image of a dog attacking a deer, ending on the guard in the form of the heads of a deer and a hunting dog. Black leather scabbard with brass details on the edges. The handle is made of horn. German forestry hunting knife in excellent collectible condition.
Lot 37
Unique, Important dagger Elisabeth Charlotte Palatine Duchesse d'Orleans, France, 1670s. Straight double-edged blade, decorated with perforations, engravings and gold inlay. Handle carved from bone, guard made from bone and horn, inlaid with mother-of-pearl and semi-precious stones. At the top of the handle is the description I.N.R.I. (Jesus of Nazareth, King of the Jews). A magnificent 17th century Baroque scabbard decorated with carved mother-of-pearl, bone, turquoise, corals, carnelian and enamel. At the top of the scabbard there is an insert with the inscription "Elisabeth Charlote" and at the bottom there is an insert with the inscription "Palatine Duchesse d'Orleans" between them there is a portrait of a young woman. On the reverse side of the scabbard, mother-of-pearl inserts depict a gallant scene depicting a young woman accompanied by a man under the rays of the sun. This was probably a gift to Elisabeth Charlotte Palatine from Louis XIV. Madame Elizabeth Charlotte, Duchess of Orleans ( born Princess Elizabeth Charlotte of the Palatinate, 27 May 1652 Ð 8 December 1722), also known as Liselotte von der Pfalz, was a German member of the House of Wittelsbach who married into the French royal family.Liselotte became very close to her brother-in-law Louis XIV. He was "...enchanted by the fact that this was an extremely witty and lovely woman, that she danced well...". He was often quite amused by her open, humorous and refreshingly uncomplicated nature. They often went hunting togetherÑa rather unusual occupation for a noble lady of the time. Her habit of going for long walks was also noticed by the French court and was initially mocked (she even went for a walk in the park at night) but the King was delighted: "The King used to say: il n'y a que Vous qui jouisses des beautes de Versailles (you are the only one who enjoys the beauties of Versailles)."Liselotte not only became the ancestress of the House of Orleans, which came to the French throne with Louis Philippe I, the so-called "Citizen King" from 1830 to 1848, but also became the ancestress of numerous European royal families, so she was also called the "Grandmother of Europe". Through her daughter she was the grandmother of Francis I, Holy Roman Emperor, the husband of Maria Theresa, and great-grandmother of Joseph II and Leopold II (both Holy Roman Emperors) and Marie Antoinette, the last Queen of France before the French Revolution. Provenance: Castle Ahlden (Germany)A unique relic worthy of being in the collection of the best museums in the world.Height: 47 cm;
Lot 55
Good Silver Mounted Islamic Yemen Jambiya Dagger with Decorative Belt, 19th century. Large, curved, double-edged blade with a center edge on each side. Horn grip with silver ring-nut, carved with filigree and rivets with coin decorations. Wooden scabbard covered with leather on the back, front part with velvet band and a big, silver chape, richly carved with fine drawings. Together with belt, richly decorated on the front part with drawings, embroidered in gilded thread and with silver mounts. A wonderful collector's item in good condition.Height: 98 cm;
Lot 68
A Very high quality Indian hunting knife, decorated with gold, carved bone handle, 19th century. Straight, steel blade. The handle is skillfully carved from bone and depicts the procession of the Maharaja, with wars, courtiers and elephants. A magnificent pommel made of bronze with high-quality gilding. The straight steel guard is decorated with gold inlay. The scabbard is made of horn and decorated with magnificent openwork fittings made of gilded brass. A wonderful Indian knife in European style. Length 39 cm.
Lot 54
Magnificent, richly decorated knife, Indonesia, first half of the 20th century. The massive steel blade is decorated with engraved floral patterns and gilding. The skillfully carved handle is made of horn. The scabbard made of horn plates is decorated with beautiful carvings in the form of floral decoration. The metal parts of the hilt and scabbard are made of silver and decorated with chasing and engraving. A wonderful collectible.Height: 54 cm;
Lot 202
A VERY IMPORTANT NORTH SUMATRAN SIKKIN PANJANG SWORD MID 19TH CENTURY. Of characteristic form with bifurcate hilt carved of a single section of horn, with petaled ferrule and bolster which are decorated with gold inlay. Finely pattern-welded damascus blade with fuller and radiused tip. It is inlaid with gold on both sides with an Acehnese star. In its teak wood scabbard with engraved decor. The mouth of the scabbard is large and skillfully carved from bone. Mid-19th century. Swords like this, of such high quality, are very rare to acquire.Height: 72 cm;
Lot 132
Rare Hunting Sword, 18th Century, Germany. Strong, straight, single -and false-edged blade with wide central fuller and rear groove. Both sides of the blade are decorated with beautiful engraved patterns. Beautiful, gilt brass hilt, at the sword shell a monogram of the owner. Horn handle with silver wire. A wonderful collectible in good condition.Height: 68 cm;
Lot 7
A Rare Large curved folding knife Beltrame (Roncola), Italy mid-20th century. Large curved steel blade with Beltrame mark at the base of the blade. The horn handle is inlaid with the initials P.F.. A very rare example of a knife made by Beltrame family of knife-makers from Maniago, Italy. Length - 78 cm.
Lot 160
Very rare Italian ceremonial sword with gilding and mother-of-pearl from the 15th century. The broad blade of sharply tapering form consistent with Oakeshott Type XV, forged with a high median ridge and marked with a trefoil at either side. The forte finely worked with figures on both sides, probably Biblical, and inlaid with gold. The stepped grip of horn inlaid with mother of pearl panels, lightly-recurved guard and fig-shaped pommel of copper heavily gilt, superbly engraved overall in elaborate vine motifs. Late 15th century. Chiseling and inlay at forte showing wear, grip lacking one mother of pearl panel. Provenance: Deaccessioned from the John Woodman Higgins Armory Museum, Worcester, Ma. Acquired by the Higgins from the American Art Association Auction, New York, of October 10-15, 1932, from the Morosini Collection, lot 525, Auctions Imperial Inc, May 20, 2011, lot 100. A magnificent museum quality item.Height: 111 cm;
Lot 6
Very rare large Italian stiletto, _irca 1840 to 1865. Obviously the later modern style of the Italian switch blade stiletto came from this much earlier design. Enormous knife with medial ridge running down the center of both sides of the blade. Etched designs on full length of blade on one side. Indecipherable two-lined markings. Brass mounts. "S" shaped cross guard. Very elaborate pommel. Bone and brown horn, two on each side, with brass separator. Lock back design. Forerunner to the Italian Switch Blade Stiletto. Excellent preservation. Provenance: Dan Morphy Auctions, 13 October 2012, lot 434. Length 56 cm.
Lot 34
Ernst Barlach (1870 Wedel - 1938 Rostock)'Lachende Alte', Entstehungszeit des Modells um 1936/37, Bronze, goldbraun patiniert, 21 cm x 31 cm x 12 cm, im Guss signiert, Gießerstempel 'H NOACK BERLIN', Literatur: Wvz. Laur 605, mit Abb. S. 267/Schult 483, mit Abb. S. 252. Weiterführende Literatur (jeweils anderes Exemplar): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, Nr. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2. Aufl., Schleswig 1995, Nr. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 18, 154f. Ernst Barlach fokussierte sich in seinen Plastiken nahezu ausschließlich auf die menschliche Figur. Sein Ziel war es keineswegs ein Ideal zu erschaffen, sondern seinen Figuren einen zutiefst menschlichen Ausdruck zu verleihen und so ein lebendiges Bild des zeitgenössischen Menschen in all seinen Facetten des Alltags zu kreieren. Der Bildhauer erschuf den Menschen nicht neu, sondern formte ihn so, wie er ihn selbst sah und empfand. Vom Jugendstil inspiriert, fand Barlach seine ganz eigene und unverwechselbare Formensprache. Insbesondere die Russlandreise, die der Künstler 1906 unternahm, hatte eine prägende Wirkung auf sein Leben und Werk.Fröhliche Gesichter sind im Oeuvre Barlachs nur zweimal zu finden: im "Singenden Jüngling" von 1928/30 und in der befreit lachenden Alten, aus den Jahren 1936/37. Die hier angebotene Lachende Alte zeugt von einer offensichtlichen seelischen Erleichterung, die der sonst sehr ernste Künstler zuweilen selbst empfand. Er selbst sagte: "Manchmal scheint eine grundlose Heiterkeit sich aus Himmelhöhen directement herabzulassen auf den Boden der gewohnten Depression zu erweichen, die ihre Trübseligkeit dann von neuem Aufbauen muss, wenn sie es nicht lassen kann." (Friedrich Droß (Hg.): Ernst Barlach, Briefe, München 1968, Bd. II, S. 776). Schmucklos, ohne viele dekorative Elemente modellierte Barlach eine ältere Dame, die aus vollem Herzen und tiefster Kehle lacht - ein Urgefühl der menschlichen Psyche und doch etwas so Besonderes in den schweren Zeiten der 1930er Jahren. Für einen kurzen Moment scheinen alle Lasten und die allgegenwärtige Schwermütigkeit von der Dame abgefallen zu sein. Die Plastik besticht besonders durch die große Natürlichkeit ihres Ausdrucks, denn die reine Emotion, das Temperament der Alten und ihre expressive Gefühlslage stehen im Vordergrund. Keine überflüssigen Details sollen von diesem kurzen Moment der Unbeschwertheit ablenken. Stattdessen scheint sich die Plastik regelrecht aus dem Lachen der Alten zu formen. Ihr ganzer Körper wiegt sich überschwänglich nach hinten und scheint fast schon zu brechen, während sie mit weit verzerrtem Mund aus vollem Halse lacht.Auch wenn die Lachende Alte dem Spätwerk Barlachs entspringt, ist sie doch elementar für sein Gesamtwerk und veranschaulicht meisterhaft sein Können, wenn es um die Umsetzung menschlicher Emotionalität geht.Ernst Barlach (1870 Wedel - 1938 Rostock)'Laughing Old Woman', date of origin of the model c. 1936/37, bronze, golden brown patina, 21 cm x 31 cm x 12 cm, signed in the casting, foundry stamp 'H NOACK BERLIN', literature: Cat. rais. Laur 605, with ill. p. 267/Schult 483, with ill. p. 252. Further literature (different specimen in each case): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, no. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2nd ed., Schleswig 1995, no. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, pp. 18, 154f. Ernst Barlach focused almost exclusively on the human figure in his sculptures. His aim was by no means to create an ideal, but to give his figures a deeply human expression and thus create a vivid image of contemporary man in all his facets of everyday life. The sculptor did not recreate man, but shaped him as he himself saw and felt him. Inspired by Art Nouveau, Barlach found his very own and unmistakable formal language. In particular, the trip to Russia that the artist undertook in 1906 had a formative effect on his life and work.Happy faces can only be found twice in Barlach's oeuvre: in the Singing Youth from 1928/30 and in the liberated Laughing Old Woman, from 1936/37. The Laughing Old Woman offered here testifies to an obvious spiritual relief that the otherwise very serious artist himself sometimes felt. He himself said: ''Sometimes a causeless cheerfulness seems to descend directement from the heights of heaven to soften the ground of habitual depression, which then has to build up its gloom anew when it cannot let it go''. (Friedrich Droß (ed.): Ernst Barlach, Briefe, Munich 1968, vol. II, p. 776). Unadorned, without many decorative elements, Barlach modelled an elderly lady laughing from the bottom of her heart and throat - a primal feeling of the human psyche and yet something so special in the difficult times of the 1930s. For a brief moment, all the burdens and the omnipresent melancholy seem to have fallen away from the lady. The sculpture is particularly captivating because of the great naturalness of its expression, for the pure emotion, the temperament of the old woman and her expressive emotional state are in the foreground. No superfluous details are meant to distract from this brief moment of light-heartedness. Instead, the sculpture seems to literally form itself out of the old woman's laughter. Her whole body sways exuberantly backwards and almost seems to break as she laughs at the top of her lungs with her mouth wide open. Even though the Laughing Old Woman originates from Barlach's late work, it is elementary to his oeuvre as a whole and masterfully illustrates his skill when it comes to translating human emotionality.
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