We found 137169 price guide item(s) matching your search
There are 137169 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
137169 item(s)/page
Lot 44
Two mounted watercolours of Mettingham Castle Suffolk, early 19th Century attributed to Isaac Johnson of Woodbridge, a mounted watercolour of Bungay Church attributed to the same artist, a mounted watercolour of a church signed C Pye and a framed watercolour of Brecon Beacons signed K Lauden 1973
Lot 153
A RARE YULINTING ‘STAR BLOSSOM’ BOWL, SOUTHERN SONGChina, 1127-1297. The conical bowl shows a characteristic, finely stippled russet-black ‘hare’s fur’ glaze to the exterior, stopping in wavy lines with a distinctive drop well above the broad foot, revealing the earthenware below. Most typical of Yulinting bowls, a distinct ridge runs around the body between the lower extent of the glaze and the foot on the outer wall.Provenance: From a notable Dutch private collection.Condition: Excellent condition with old wear, traces of use, expected firing irregularities, a small glaze flake to the rim, some pitting, one larger open bubble (ca. 2 mm diameter) to the center of the well with an associated microscopic, almost invisible hairline. Overall commensurate with age and exactly as expected on this type of ware.Weight: 263.4 gDimensions: Diameter 13.6 cmWhile the ‘hare’s fur’ glaze continues into the interior of the bowl, it is further covered with a black and white swirling glaze forming a stylized blossom in the shape of a star. This, much like the gold and silver painted decoration and inscriptions found on some Yulinting bowls, appears to be another unique creation from this little-known kiln.The Yulinting kiln-site is situated in a scenic area near Mount Wuyi in Fujian province. It occupies an area of six square kilometers. Excavations in 1998 and 1999 have uncovered remnants of a porcelain workshop, two dragon kilns and some kiln-implements and porcelains. The site is dated from the 11th to the mid-13th century, coinciding with the hey-days of the Jian kilns.Literature comparison: K. Y. Ng, Song Dynasty Black-glazed Tea Bowls from the Yulinting Kilns at Mount Wuyi, published in Kaikodo Journal No. 24 in 2008, updated in 2016.Auction result comparison: Compare with a Yulinting bowl painted with a poetic verse, sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 277, for EUR 50,000.南宋遇林亭窯折枝花卉紋盞 中國，1127-1297年。盞撇口，斜直壁，小圈足。胎呈鐵黑色，裡滿釉。外施釉不到底，腹下部釉垂流如淚痕。碗口釉呈醬色，口下漸為褐黑相間，近裡心為純黑色。釉中有絲狀黑褐色兔毛般結晶，俗稱“兔毫”。典型的遇林亭窯盞，腹下部釉料堆積処圍繞身體分佈著明顯的橫道。 來源：荷蘭貴族私人收藏 品相：狀況良好，有舊磨損、使用痕跡和預期的燒製瑕疵，邊緣上有小釉塊，有點蝕，盞中心一個較大的開孔氣泡（直徑約2毫米），帶有細微的、幾乎看不見的細縫 。 總體上與年齡相稱，並且完全符合此類作品的特徵。 重量：263.4 克 尺寸：直徑13.6 厘米 拍賣結果比較：一件遇林亭詩文盞售于本拍賣行 Fine Chinese Art, Buddhism and Hinduism 拍場，2020年4月25日, lot 277, 售價 EUR 50,000。
Lot 329
A YIXING ‘GONG CHUN’ TEAPOT AND COVER BY HUANG YULIN, LATE QINGChina, 1860-1910. Naturalistically potted in the form of a tree-knurl, the cover surmounted by a stem knob, the handle in the form of a curved stem, the base with an impressed seal Huang Wanglin, artist name of Huang Yulin, two further impressed seal marks to the interior of the cover.Provenance: French private collection, acquired at Thierry Maigret, Paris, on 24 January 2003. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor wear and firing flaws.Weight: 334.8 g Dimensions: Height 10.5 cm, Width 17.5 cm (handle to spout)Huang Yulin (ca.1842-1914) was a native of Yixing, who received training from the renowned Qing dynasty Yixing artist Shao Xiangpu. Huang's superb skills of clay kneading and teapot making are often demonstrated on teapots in various forms. Gu Jingzhou had also highly admired Huang's craftsmanship and commended him as a “versatile potter” especially for making teapots of compressed globular and square forms.The design of this teapot is based on one said to have been made by Gong Chun, a Yixing potter from the Zhengde period of the Ming dynasty. Gong Chun's teapot was so admired that this style, with the roughly textured surface resembling tree bark, came to be named after him. This style continued to be copied into the 19th century.Literature comparison: Compare a similar teapot by Huang Yulin dated to the late 19th century from the K. S. Lo Collection, in K. S. Lo, The Stonewares of Yixing - From the Ming period to the Present Day, p.119, pl.58, another from the Palace Museum, Beijing, illustrated in Zisha Wares in the Palace Museum, Beijing, pl.82, p.147.Auction result comparison: A closely related teapot and cover, together with a second teapot by a different artist, was sold by Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 26 May 2013, lot 427, for HKD 680,000.晚清黃玉麟段泥樹癭“龔春”壺中國，1860-1910年。壺形為樹癭天然形式，蓋上有莖桿旋鈕，手柄為彎曲莖桿，底座上有黃王麟章，黃玉麟的原名。蓋内還有兩個印章。 來源：法國私人收藏，購於巴黎Thierry Maigret，2003年1月24日。隨附當年購物發票複印件。 品相：狀況極佳，有輕微磨損和燒制缺陷。 重量：334.8 克 尺寸：高 10.5 厘米, 寬17.5 厘米 (執柄至壺嘴) 拍賣結果比較：一個相近的蓋壺和另一個不同藝術家的壺一起售于香港邦翰思Fine Chinese Ceramics and Works of Art拍場，2013年5月26日，lot 427，售價HKD 680,000。
Lot 353
AN APPLE-GREEN AND LAVENDER JADE SNUFF BOTTLE, LATE QING TO REPUBLICChina, 1850-1940. The semitranslucent stone of an elegant apple green tone with lavender shadings and milky white clouds. The ovoid body rising from an oval foot to a cylindrical neck. Well hollowed and with a smooth, manual surface polish.Provenance: From a private collection in Chicago, Illinois, USA, and thence by descent. Old collector inventory label ‘K 43’ to base. Condition: Very good condition with minor wear and minuscule nibbles to foot and mouth.Stopper: Coral cabochon with bronze fitting and finely carved old spoon Weight: 91.3 gDimensions: Height including stopper 65 mm. Diameter neck 17 mm and mouth 7 mm清末民初翠玉飄紫素面鼻烟壺 中國，1850-1940年。淡淡的蘋果綠色調半透明玉石，飄著淡紫色和乳白色調。卵形的身體，橢圓形圈足，圓柱形頸部。 掏膛充分，表面拋光極好。 來源：美國芝加哥私人收藏，保存至今。底部藏家舊標簽“‘K 43“。 品相：狀況極佳，有輕微磨損，唇部磕損很小。 壺蓋：珊瑚蓋，銅托，精美舊壺匙 重量：91.3 克 尺寸：總高65 毫米，頸部直徑17 毫米，嘴部直徑7 毫米
Lot 370
A ‘REALGAR’ GLASS SNUFF BOTTLE, QING DYNASTYChina, 18th to early 19th century. Of high-shouldered tapering form, the body with horizontal striations of brilliant orange and pale olive-green with mottled splashes of red imitating the mineral realgar, carved on the narrow sides with a pair of lion mask and ring handles.Provenance: From an old private collection in New York, USA, and thence by descent within the family to the present owner.Condition: Very good condition with minor wear and minuscule nibbles, the neck possibly minimally smoothened.Stopper: Quartz cabochon with a carved and stained spoonWeight: 48.3 gDimensions: Height including stopper 70 mm. Diameter neck 16 mm and mouth 9 mmThere is a wide range of glass, particularly popular with the snuff-bottle maker, which imitated realgar. Realgar is the least toxic of all arsenic compounds, but it tends to break down on long exposure to sunlight and eventually disintegrates into a fine powder. It is the fifth basic element to the Chinese and played an important role for the alchemist, for whom it symbolized longevity and immortality.The present bottle is superbly made, with excellent carving and integrity of form. The abstract markings suggest the heart of a blazing fire in which everything is transformed. This is particularly appropriate for the Daoist alchemist attempting to transform base metal into gold and limited existence into immortality as metaphors for the transformation of human consciousness.Literature comparison: For a realgar glass bottle still in the Imperial Collection, see Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, p. 82, no. 58. For a series of five realgar glass bottles of various types, in The Victoria and Albert Museum, in bequests from 1901-1936, see H. White, Snuff Bottles from China, London, 1992, pl. 63. For a discussion of bottles based on the substance realgar, see H. Moss, V. Graham and K. B. Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, New York, 1993, pp. 578-579, nos. 345-346.Auction result comparison: Compare with a related bottle carved with chilong at Christie’s New York in The Blanche B. Exstein Collection of Chinese Snuff Bottles on 21 March 2002, lot 1, sold for USD 7,638. Compare also with a closely related but marked bottle at Christie’s Hong Kong in Important Chinese Snuff Bottles from the J & J Collection on 25 April 2004, lot 804, sold for HKD 191,200, and another at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 72, sold for HKD 216,000.清代仿雄黃料鼻烟壺 中國，十八至十九世紀初。削肩，扁平，呈亮橙色和泛着淡淡的橄欖綠色，並帶有红色斑纹，仿雄黃。两肩獅面衔耳環。 來源：紐約私人老收藏, 在同一家族保存直至現任藏家 品相：狀況極佳，略有磨損，磕损很小，頸部可能略微打磨过。 壺蓋：石英，染色雕刻小壺匙 重量：48.3 克 尺寸：總高70 毫米，頸部直徑16 毫米，嘴部直徑9 毫米 拍賣結果比較：一件相近螭龍纹鼻烟壺見紐約佳士得The Blanche B. Exstein Collection of Chinese Snuff Bottles拍場，2002年3月21日 lot 1, 售價USD 7,638. ；一件相近但有款的鼻烟壶見香港佳士得Important Chinese Snuff Bottles from the J & J Collection 拍場，2004年4月25日 lot 804, 售價HKD 191,200, ；以及香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月28日 lot 72, 售價HKD 216,000.
Lot 9
AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。
Lot 1311
KENNETH POWELL / ATHLETICS AND TENNIS 1905-1914 / CAMBRIDGE UNIVERSITY 1904 Powell was a British athlete and tennis player who competed in the 1908 and 1912 Summer Olympics?as well as at the Wimbledon Championships. He competed from 1905 until 1914 and was killed in service in 1915. The following 5 lots are medals that Powell won at Cambridge University. Boxed round glass covered medal with separate metal shield which is inscribed C.U.A.C. Freshmans Sports 120 yards Hurdles won by K. Powell Kings College 1904. The box is damaged and the shield is loose. Includes an "In Memorium" sheet for Powell who gave his life for his Country's Cause, 18th February, 1915. Fair to generally good
Lot 251
American Civil War.- Barnes (Surgeon General Joseph K.) The Medical and Surgical History of the War of the Rebellion, 6 vol., all but vol. 2 pt. 2 first issue, plates and illustrations, one or two loose leaves, occasional spotting, cracked hinges, original cloth, upper cover detached (vol. 1 pt. 3 only), rubbed and worn, additional vol. numbers to spines in red crayon, 4to, Washington, Government Publishing Office, 1870-88.
Lot 419
After George Vertue, an 18th century engraving of King Charles II 'From a picture in Bridewell Hall, London, The original painted by S. Peter Lely K', in mount, 30.5x20; together with a coloured engraving after John Conde, 'Mrs Fitzherbert', approx. 29x21cm; together with a Victorian gilt frame, 52.5x44cm internal, and one other
Lot 1152
Schrank, Schränkchen, Metallbett und defektes Porzellankopfmädchen Um 1900-20. Holz, Biskuitporzellan, Metall. H 13 - 40 cm. Schrank mit Spiegeltür und Nachtschränkchen mit weißer Platte, beide mit Frontdekor in Bambus-Optik. Goldbronziertes Himmelbettchen. Puppe (Simon & Halbig / K & R) mit defektem Brustkopf, Lederkörper und Gliederarmen, in dunkelblauem Samtmantel Bespielt, Altersspuren.
Lot 1350
Braunschweiger Fayence-Krug "1717" Ältere (Herzogliche) Fabrik von Horn & von Hantelmann (1710-1749), Braunschweig. Gelbe Pinselmarke "VH K". 1. H. 18. Jh. Weiß glasiert, manganjaspierte Wandung und Bemalung in Blau und Gelb. H 19,5 cm. Walzenkrug mit Bandhenkel. Schauseitig im Wappen monogrammiert "CJR (?)" und datiert "1717". Jünger ergänzter Zinndeckel und Zinnstandring Leicht haarrissig an der Mündung, Glasurriss am Stand, partiell minimal berieben. Provenienz: Aus einer privaten Sammlungsauflösung mit Dokumentation.
Lot 1983
"Rosen" Rosenthal. Marke Kunstabteilung Stammwerk Selb, um 1915. Bezeichnet. Modell-Nr.: K 303, Originaletikett "Kunstverein für die Rheinlande & Westfalen, Düsseldorf, Vereinsabgabe 1914". Entwurf 1913. CAASMANN, Albert(1886 Berlin - 1968 Brandenburg/Havel) Unterglasurbemalung. H 25 cm. Stehende junge Frau, an einem Rosenstrauß riechend
Lot 2264
2 Werke: Ansicht von Rothenburg und Köln Je mit Bleistiftsignatur. Gerahmt & hinter Glas Romm, K.: Blick vom Rheinufer auf den Kölner Dom, Lithografie, verglast und gerahmt: 49,5 x 73,5 cm | Böhme, Hans: "Ständchen am Markusturm. Rothenburg", Farbradierung, Platte: 31,5 x 26,5 cm, verglast und gerahmt: 51,5 x 44 cm
Lot 2296
GOETJES, Carlus (Karl Ludwig)(1905 Erfurt - 1961 Thal) 3 Studien Gerahmt & hinter Glas Stillleben mit Apfelblüten-Zweigen in einer Vase, aquarellierte Bleistiftzeichnung, bezeichnet: "Meinen lieben Eltern zum Osterfest 1936", "K. Goetjes Erfurt Sonntag am 5. April 1936", Blatt: 35,5 x 28 cm, verglast: 40,5 x 30,5 cm, etwas stockfleckig | Studie einer Familie, Tuschzeichnung in Blau, datiert "18.XI.57" und monogrammiert "CG", Passepartoutausschnitt: 28 x 22,5 cm, verglast und gerahmt: 44,5 x 34,5 cm, mit Knicken und Stockflecken | Studie eines Acker-Schaufelpfluges, Tuschzeichnung, signiert und datiert "1937", mit Anmerkungen, Passepartoutausschnitt: 23 x 30 cm, verglast und gerahmt: 41 x 43,5 cm, minimal stockfleckig, verso Zettel der "Großen Deutschen Kunstausstellung 1938 im Haus der Deutschen Kunst zu München"
Lot 2313
Darstellung der Flotte Wilhelm III. während der Glorreichen Revolution 1688 Kupferstich. Blatt: 34 x 40 cm. Im Passepartout: 46 x 55 cm. Ereignisblatt: Blick vom Hellevoetse Deich auf die wartende Schiffsflotte des Wilhelm III. von Oranien-Nassau (1650 - 1702) bei der Verabschiedung von den holländischen Honoratioren; bezeichnet "S[eine] K[önigliche] H[oheit] gehet zu Schiff, in Engelland über zufahren", mit Legende A - M Hinterklebte Bugfalte, durchgehend senkrechter Knick, etwas stockfleckig.
Lot 2421
KESTING, Edmund(1892 Dresden - 1970 Birkenwerder) "Dresdner Totentanz" 5 Blatt Silbergelatineabzüge. Verso Nachlassstempel und signiert von K. Kesting, Stempel "Griffelkunst". 1945 - 1947; Griffelkunst 1992. Abbildung je: 34,5 x 24,5 cm, Blatt je: 40,5 x 30,5 cm. Vollständige Mappe mit Titelblatt, 2 Textblättern und 5 fotografischen Werken - Skelette und Bilder des zerstörten Dresden als Negativ-Positiv-Montagen: "Tod über Dresden", "Sirenen Alarm", "Feuersturm", "Tote und Trümmer" und "Toten-Reigen" Deutscher Maler, Grafiker, Fotograf und Kunstpädagoge; zählt zu den Vertretern der Informellen Malerei.
Lot 250
"Die DDR-Bibliothek" - 24 Bände, je mit einer Originalgraphik Verlag Faber & Faber. Leipzig. 1995 - 2003. 21 x 13 cm. Vorzugsausgabe mit einer Auflage von 300 Exemplaren. Leineneinbände im Schuber. Irmtraud Morgner: "Amanda", Grafik: Harald Metzkes / Erik Neutsch: "Spur der Steine", Grafik: Willi Sitte / Christa Wolf: "Der geteilte Himmel", Grafik: Nuria Quevedo / Thomas Brasch: "Vor den Vätern sterben die Söhne", Grafik: Volker Stelzmann / Christopher Hein: "Horns Ende", Grafik: Rolf Münzner / Volker Braun: "Hinze-Kunze-Roman", Grafik: Baldwin Zettl / Adolf Endler: "Schichtenflotz", Grafik: R.A. Penck / Heiner Müller: "Der Lohndrücker", "Die Umsiedlerin", Grafik: Xago Schröder / J.R. Becher: "Der Aufstand im Menschen", Grafik: Karl-Georg Hirsch / Hanns Eisler: "Johannes Faustus", Grafik: Bernd Heisig / Erich Loest: "Es geht seinen Gang ...", Grafik: Ulrich Hachulla / Hermann Kant: "Das Impressum", Grafik: Joachim John / "Die Kraft der Empfindlichkeit" Essays 1949 - 1990, Grafik: Hermann Naumann / Wolfgang Hilbig: "Die Weiber", Grafik: Hans Ticha / Klaus Schlesinger: "Alte Filme", Grafik: Hartwig Ebersbach / Erzählungen 1949 - 1969, Grafik Dieter Tucholke / Erzählungen 1970 - 1990, Grafik Wolfgang Henne / Erwin Strittmatter, "Ole Bienkopp", Grafik: Gudrun Brüne / Herbert Otto: "Der Traum vom Elch", Grafik: Klaus Süß / Werner Heiduczek: "Tod am Meer", Grafik: Wolfgang Mattheuer / K.-H. Jakobs: "Beschreibung eines Sommers", Grafik: Frank Ruddigkeit / Alfred Welm: "Pause für Wanzka", Grafik: Christ Jahr / Jurek Becker: "Aller Welt Freund", Grafik: Sighard Gille / Anna Seghers: "Überfahrt", Grafik: Heidrun Hegewald Rückentitel und Schuber berieben, einige Einbände schwach verschmutzt. Die Bibliothek umfasst literarische Texte, die zwischen 1949 und 1990 in der DDR entstanden sind und die innere Konfliktlage des Landes dokumentieren.
Lot 2509
7 abstrakte Werke 4 Farbradierungen, 2 Farblithografien, 1 Gouache. Je mit Bleistiftsignatur. Kurt P. Lohwasser: "Das Apparative", 58,5 x 42 cm, Exemplar: 752 K/16/50, [19]73, Rand mit Lichtschaden und kleineren Wasserflecken | Barlach Heuer: Ohne Titel, 65,5 x 50,5 cm, Exemplar: 911 K/36/50, 1977, leichter Lichtschaden | Undeutlich signiert: Ohne Titel, 77 x 56 cm, Exemplar: 816 K/40/100, Rand mit leichter Verschmutzung | Undeutlich signiert: Ohne Titel, 52,5 x 39 cm, Exemplar: 807 K/8/50, Rand mit leichter Verschmutzung | Undeutlich signiert: "Eine Spiegelplatte", 75,5 x 55 cm, [19]71, Exemplar: 88/150 | Undeutlich signiert: "Odradek", 50 x 66 cm, Exemplar: 24/60, [19]88 | Undeutlich signiert: Rötliche Fläche, 65 x 50 cm, Exemplar: 30/100, etwas geknickt
Lot 2527
EGLAU, Otto Wilhelm(1917 Berlin - 1988 Kampen) 2 abstrakte Werke 2 Farbradierungen. Je mit Bleistiftsignatur. [19]73/75. Blatt: je 52,5 x 75,5 cm. "Stillleben am Strand", Platte: 30 x 40 cm, Exemplar: 756 K 70/100, [19]73, leichter Wasserschaden am Rand | "Große Meerlandschaft", Platte: 40 x 49,5 cm, Exemplar: 841 K 15/100, [19]75, verschmutzt und leichter Wasserschaden am Rand.
Lot 2990
SCHÖNBERGER, Alfred von(*1845 Graz) Ansicht Bleder See/Slowenien Öl/Leinwand. Links unten signiert. 29 x 49 cm. Gerahmt 41 x 61 cm. Sonnige Ansicht der idyllischen Landschaft vor dem Gebirge Retuschiert. Landschaftsmaler in Frankfurt/Main bzw. Kronberg i.T., studierte in München bei A. Lier und K. Millner. Literatur: Thieme/Becker.
Lot 670
Zinnschüssel und 3 -Kannen Je gemarkt. 19. Jh. Ø 28 cm, H maximal 26 cm. Tiefe Schüssel mit geflechelter Gravur auf der Fahne; undeutlich Christian Friedrich Hösel in Plauen gepunzt. / Konischer Vogtländer Krug mit Eichzapfen innen und Gravur "JBH 1821" auf dem Deckel; Johann Martin Elias Möller in Schneeberg gepunzt. / Vasenförmige Kanne mit graviertem Fries und Gravur "JM Erfurt 1816". / Kleine gleiche Vasen-Kanne mit gleichem Fries, jedoch Gravur "K"; beide Johann Friedrich Blumentritt in Neustadt/Orla gepunzt Bast/Weidengeflecht 1x defekt, teils stärkere Alters-/Gebrauchsspuren.
Lot 753
Goldene Damen-Halbsavonnette Um 1900. Gehäusenummer 63042. Ungemarktes Werk mit Zylinderhemmung und Kronenaufzug. Läuft. Weißes Emailzifferblatt mit römischen und arabischen Zahlen, Zentrum mit farbigem Hilfszifferblatt für 24 Stunden, umlaufende Minuterie, Spade-Zeiger. 18 k GG, Firmenmarke PF gepunzt, goldener Staubdeckel. Ø 3,2 cm. 28 g. Glattes, teils ziseliertes Gehäuse mit "AC" monogrammiertem Rückdeckel Gehäuse partiell minimal gedellt, ergänztes Zifferblatt mit Defekten. In hellbraunem Lederetui, innen bezeichnet "D. Grau, Königl Hof-Uhrmacher, Cassel".
Lot 1066
Seltenes kleines Googlie-Mädchen Kämmer & Reinhardt. Kopf gemarkt "K & R Simon & Halbig Germany 131 - 21", Körper gem. "Germany 2/ 26 - 21". Ab 1914. Biskuitporzellan. L 24 cm. Kurbelkopf, zur Seite blickende Schlafaugen, rotblonde Mohairperücke. 5-teiliger Stehpuppenkörper. Weiße Bluse, roter Trägerrock Am Körper (rückseitig am Halsansatz) 2 cm langer Riss, partieller Farbabrieb, unter dem rechten Fuß runder Ausbruch (wohl produktionsbedingt).
Lot 1082
Puppenmädchen Simon & Halbig / K & R. Gemarkt, mit "W" auf der Stirn. Um 1900. Biskuitporzellan, Masse. L 62 cm. Kurbelkopf, blaue Schlafaugen, braune Echthaarperücke. 15-teiliger Gliederkörper. Hellrosa Kleid, schwarzes Cape, schwarze Schuhe Kopf durchleuchtet: ohne Defekte, lediglich je 1 feiner Brandriss hinter den Ohren. Wimpern 1x fehlend. Körper mit kleinen (Farb-)defekten.
Lot 1083
Kleines Puppenmädchen S & H. Gemarkt "Simon & Halbig / K & R 43", mit "W" auf der Stirn. Um 1900. Biskuitporzellan, Masse. L 49 cm. Kurbelkopf, blaue Schlafaugen, 1 Ohrring, braune Kunsthaarperücke. 15-teiliger Gliederkörper. Weiß bekleidet, braune Strümpfe Kopf durchleuchtet: ohne Defekte, lediglich 2 Chips an den Ohrlöchern, 1 Zahn fehlt. Körper teils übermalt, mit kleinen Defekten, 1 Finger fehlt.
Lot 1084
Kleines Puppenmädchen Simon & Halbig. Gemarkt "Simon & Halbig / K & R 50", mit "W" auf der Stirn. Um 1900. Biskuitporzellan, Masse. L 48 cm. Kurbelkopf, braune Schlafaugen, Ohrlöcher, blonde Mohairperücke. 15-teiliger Gliederkörper. Violettes Kleid, weiße Schuhe Kurzer Haarriss an der Stirn, linker Zeigefinger repariert.
Lot 1085
Kleiner Puppenjunge Simon & Halbig. Gemarkt S & H / K & R. Biskuitporzellan, Masse. L 28 cm. Kurbelkopf, braune Schlafaugen, blonde Mohairperücke. 5-teiliger Stehpuppenkörper mit modellierten Schuhen und Strümpfen. Weißes Hemd, schwarze Samthose Perücke fest: Kopf nicht durchleuchtet. Minimal brandrissig hinter den Ohren.
Lot 1095
"Mein dicker, kleiner Liebling" Kämmer & Reinhardt. Gemarkt "K & R Simon & Halbig 126 Germany". Ab 1914. Biskuitporzellan, Masse. L 49 cm. Kurbelkopf, braune Schlafaugen, lange Echthaarperücke. 5-teiliger Stehpuppenkörper. Weinrotes Samtkleid, schwarze Schuhe Kopf nicht durchleuchtet, Chip am rechten Augenausschnitt. Körper teilweise übermalt, Perücke ergänzt.
Lot 1105
3 Puppen aus Celluloid und Masse Kämmer & Reinhardt. 2x gemarkt: "K & R Germany". 1930er Jahre. L ca. 50-55 cm. 2x hell, 1x mit dunkler Hautfarbe: alle mit Kurbelkopf, 2x mit Schlaf-/Schelmenaugen. 1 Mädchen mit Mohairperücke, 2x mit modellierten Haaren Bespielter Zustand mit Farbdefekten, 2 Finger fehlen.
Lot 1107
Ausdrucksvolles Porzellankopfmädchen in Puppenstuhl Simon & Halbig. Gemarkt "S & H K & R 3". Biskuitporzellan, Masse. L 48 cm. Kurbelkopf, blaue Schlafaugen, Ohrlöcher, blonde Mohairperücke. 15-teiliger Gliederkörper. Schwarzes Streifenkleid mit Korallenknöpfen, dazu dunkles Täschchen mit Perlstickerei. Auf weißem Stuhl (H 39,5 cm) Kopf durchleuchtet: Wange an einer Stelle minimal retuschiert, linkes Ohrläppchen restauriert, 1 Augenbraue berieben. 2 Finger repariert, 1 Schuh fehlt.
Lot 1109
Kleines Puppenmädchen Simon & Halbig. Gemarkt "Simon & Halbig / K & R 46", mit "W" auf der Stirn. Um 1900. Biskuitporzellan, Masse. L 40 cm. Kurbelkopf, blaue Schlafaugen, Ohrlöcher, braune Echthaarperücke. 5-teiliger Stehpuppenkörper. Helles Kleid, Stoffschuhe An der Kopfkrone Brandriss mit kurzem Haarriss, Farbdefekt am rechten Fuß.
Lot 1112
Porzellankopfmädchen Simon & Halbig, für Kämmer & Reinhardt. Gemarkt "K & R / Simon & Halbig 403 Germany 69". Um 1910. Biskuitporzellan, Masse. L 65 cm. Kurbelkopf, blaue Glasaugen, dunkelblonde Echthaarperücke. 15-teiliger Gliederkörper mit Gummihänden. Rotes Kleid, helle Wachstuchschuhe, Strohhut. Dazu blaues Voilekleid und neuer Sonnenschirm Kopf duchleuchtet: ohne Defekte. Arme und Hände überstrichen. Nachtrag vom 26.2.21: Der Gliederkörper ist rot gestempelt "Heinrich Handwerck Germany"
Lot 1117
Große Mädchenpuppe Kämmer & Reinhardt. Gemarkt "Simon & Halbig / K & R 68", mit "W" auf der Stirn. Um 1900. Biskuitporzellan, Masse. L 70 cm. Kurbelkopf, festgegipste blaue Schlafaugen, Ohrlöcher, mittelblonde Echthaarperücke. 17-teiliger Gliederkörper. Nachgenähtes, weinrotes Kleid, passende Haube Minimaler Brandriss hinter dem rechten Ohr, 2 winzige Chips an der Kopfkrone und an den Ohrlöchern. Körper mit kleinen Farbausbesserungen.
Lot 257
An enamelled iron street sign for Wellbeck Street W1, City of Westminster, with iconic and black and red sans serif lettering first created by Sir Misha Black in 1967 which is unique to the Westminster signs and under copyright law, forbidden to be copied anywhere else in the world, sold together with a signed Certificate of Authenticity44 x 74 cmCondition: All signs have been hung outside and have been exposed to the elements and therefore have a general degree of wear. Patches of enamel loss particularly to 'C', above right 'K' and bottom left of 'E' in Street. Some marks to left edge and around the edges in general.
Lot 24
JULES PASCIN (Bulgarian, 1885-1930)La Figurante du Palace signed 'Pascin' (upper right)oil on board mounted on canvas 65 x 54cm (25 9/16 x 21 1/4in).Painted in Paris in 1927Footnotes:ProvenanceProf. Philippe Dahan Collection.LiteratureY. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. I, Paris, 1984, no. 587 (illustrated p. 300).Jules Pascin, born Jules Pinkas, was only a teenager when he decided to leave his parents to study painting and travel the world. The owner of a brothel in Bucharest triggered his taste for painting. She encouraged him to draw, introduced him to the art of Toulouse-Lautrec and Degas, and advised him to leave for Paris. However, Pascin, went to Vienna to attend a painting academy where he met George Grosz. A year after, he moved to Munich to work as a cartoonist and decided to change his name to 'Pascin'. When Pascin arrived in Paris in 1905, he was welcomed by the 'Dômiers' (regular customers of Le Dôme café): Rudolf Lévy, Walter Bondy and art dealer Henri Bing. The latter one, introduced him to Hermine David, who later became his wife. In 1908 he enrolled in the Matisse Academy where he met Lucy Krohg, who was then a model at the academy and with whom he started an affair. During his time in Montparnasse, Pascin was known for his generous parties, but nevertheless remained fully dedicated to his artistic ambitions.During World War I, Jules and Hermine went to the United States where he produced a series of watercolours and maintained an epistolary relationship with Lucy. Back in Paris in 1920, he continued his painting with specific interest in the female form and women like Kiki, Aicha, Jacqueline Godar, Zniah Pichard, the Perlmutter sisters, Julie Luce, Hermine and Lucy.Between 1920 and 1930, Pascin travelled in North Africa, Europe and the United States. In 1927, German art dealer Flechtheim organized an exhibition in Düsseldorf and asked Pascin for his portrait by commission. In the meantime, the artist signed a contract with the Bernheim-Jeune gallery that endorsed and motivated him to realise his famous 'pearly' nudes.Suffering from depression and alcoolism, he commited suicide at the aged of 45. In June 1930, art galleries in Paris closed as a sign of mourning while over a thousand people followed the cortege to the Montparnasse cemetery. Following his death, Hermine and Lucy supported each other in their grief and remained closely tied.La Figurante du Palace, executed in 1927, is a great example of Pascin's 'nacré' or 'pearly period', after the pearly sheen that characterised his painting during this time.For further information on this lot please visit Bonhams.com
Lot 28
JULES PASCIN (1885-1930)Les Provinciales oil on board mounted on canvas46 x 38cm (18 1/8 x 14 15/16in).Painted in 1913Footnotes:ProvenanceAnon. sale, Sotheby's, London, 1972, lot 62.Anon. sale, Sotheby's, New York, 1974, lot 67.Acquired at the above sale by the previous owner; their sale, Cornette de Saint Cyr, Paris, 28 June 2016, lot 27.Acquired at the above sale by the present owner.LiteratureY. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. II, Paris, 1984, no. 263 (illustrated p. 78).Jules Pascin, born Jules Pinkas, was only a teenager when he decided to leave his parents to study painting and travel the world. The owner of a brothel in Bucharest triggered his taste for painting. She encouraged him to draw, introduced him to the art of Toulouse-Lautrec and Degas, and advised him to leave for Paris. However, Pascin, went to Vienna to attend a painting academy where he met George Grosz. A year after, he moved to Munich to work as a cartoonist and decided to change his name to 'Pascin'. When Pascin arrived in Paris in 1905, he was welcomed by the 'Dômiers' (regular customers of Le Dôme café): Rudolf Lévy, Walter Bondy and art dealer Henri Bing. The latter one, introduced him to Hermine David, who later became his wife. In 1908 he enrolled in the Matisse Academy where he met Lucy Krohg, who was then a model at the academy and with whom he started an affair. During his time in Montparnasse, Pascin was known for his generous parties, but nevertheless remained fully dedicated to his artistic ambitions.During World War I, Jules and Hermine went to the United States where he produced a series of watercolours and maintained an epistolary relationship with Lucy. Back in Paris in 1920, he continued his painting with specific interest in the female form and women like Kiki, Aicha, Jacqueline Godar, Zniah Pichard, the Perlmutter sisters, Julie Luce, Hermine and Lucy.Between 1920 and 1930, Pascin travelled in North Africa, Europe and the United States. In 1927, German art dealer Flechtheim organized an exhibition in Düsseldorf and asked Pascin for his portrait by commission. In the meantime, the artist signed a contract with the Bernheim-Jeune gallery that endorsed and motivated him to realise his famous 'pearly' nudes.Suffering from depression and alcoolism, he commited suicide at the aged of 45. In June 1930, art galleries in Paris closed as a sign of mourning while over a thousand people followed the cortege to the Montparnasse cemetery. Following his death, Hermine and Lucy supported each other in their grief and remained closely tied.Les Provinciales dates from the beginning of his lifelong love affair with Lucy in his early Parisian years. Pascin, who was a man of deep passions, divided his time between Lucy and his wife Hermine, and this painting shows the sensuality and power of his nature and his art.For further information on this lot please visit Bonhams.com
Loading...-
137169 item(s)/page