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Lot 146
Albert Birkle - - 1900 Berlin - 1986 Salzburg Begegnung in der Abenddämmerung. 1926. Öl auf festem Malkarton. Rechts unten signiert. Verso wohl von Carl Birkle, dem Vater des Künstlers, betitelt 'Begegnung' und wohl von der ersten Frau des Künstlers bezeichnet 'für Kunstfreunde zu zu Forst'. 71,3 x 51,3 cm (28 x 20,1 in). Ein Archiv-Foto des Gemäldes ist auf dem Passepartout von Birkle eigenhändig datiert '1926'. Gemäß eines handschriftlichen Vermerkes des Künstlers im Archiv wurde das Gemälde 1931 zur Herbstausstellung der Preußischen Akademie der Künste zu Berlin eingereicht, laut publiziertem Ausstellungskatalog jedoch vermutlich nicht ausgestellt. [JS]. • Seltene neusachliche Berliner-Straßenszene mit der charakteristischen Figurenstaffage der Goldenen Zwanziger. • Birkle inszeniert die Beziehungslosigkeit und die stumme Interaktion zwischen dem Mensch und den technischen Errungenschaften der Zeit, wie Straßenbahn und U-Bahn, im künstlichen Licht der Straßenlaterne. • Birkles sezierend klare Malerei der Weimarer Zeit gehört zu den spektakulären Wiederentdeckungen des Kunstmarktes. • Das Gemälde 'Der Bahnwärter' (1927), in dem Birkle sich ebenfalls mit dem Themenkomplex Mensch und Technik auseinandersetzt, wechselte im vergangenen Jahr für 824.000 Euro den Besitzer. Mit einem Fotogutachten von Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, vom 28. März 2021. PROVENIENZ: Neue Münchner Galerie Dr. Hiepe, München (ab Mai 1977 vom Künstler in Kommission). Privatsammlung Süddeutschland (1979 vom Vorgenannten erworben). Privatbesitz Süddeutschland. 'Birkle hat [..] eines allen anderen voraus. [..] Er hat nüchtern-klaren Blick und Besessenheit. Das Zündend-Mitreißende aber ist dieser Schwung, den ihm keiner nachmacht, den man nicht erlernen kann, den man hat oder nicht hat; ist diese frisch gewagte Linie, die sein ureigenstes Erzeugnis ist, die wir überall in seinen Bildern finden, in seinen Großstadtbildern, seinen Landschaften, ja selbst in seinen Porträts.' Hans Bornmann, in: Hellweg - Zeitschrift für deutsche Kunst, 1927. Aufrufzeit: 18.06.2021 - ca. 14.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlbert Birkle -1900 Berlin - 1986 Salzburg Begegnung in der Abenddämmerung. 1926. Oil on firm board,. Lower right signed. Verso titled 'Begegnung' presumably by Carl Birkle, the artist's father and inscribed 'für Kunstfreunde zu zu Forst' presumbaly by the artist's first wife. 71.3 x 51.3 cm (28 x 20.1 in). Birkle inscribed an archive photo of the painting with the date '1926'. According to a hand-written note from the artist in the archive the painting was submitted for the 1931 Autumn Exhibition of the Prussian Academy of Arts, howver, according to the exhibition catalog it was not on display. [JS]. • Rare New Objectivity Berlin street scene with a figure staffage characteristic of the Roaring Twenties. • Birkle stages the alienation and the silent interaction between man and the technical accomplishments of these times, among them street car and subway, in the artificial light of a street-lamp. • Birkle's dissecting style of the Weimar days is one of the most spectacular rediscoveries on the art market. • The painting 'Der Bahnwärter' (1927), in which Birkle also examines issues revolving around man and technology, changed owners for 824,000 euro last year. Accompanied by a photo expertise issued by Viktor Pontzen, Albert Birkle archive and catalog raisonné, Salzburg, from March 28, 2021. PROVENANCE: Neue Münchner Galerie Dr. Hiepe, Munich (on consignment as of May 1977). Private collection Southern Germany (acquired from aforementioned in 1979). Private collection Southern Germany. 'There's something that Birkle [..] does better than anyone else. [..] He's got a clear and sober persepective and he is obsessed. Even more, he's s got this inimitable verve that you either have or you don't; this fresh and bold line that is his very own product, and which we find in all of his pictures, be it his townscapes or landscpaes and even in his portraits.' Hans Bornmann, in: Hellweg - Zeitschrift für deutsche Kunst, 1927. Called up: June 18, 2021 - ca. 14.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 26
A charm bracelet, the brick link bracelet with heart shape padlock clasp suspending seventeen charms to include two George V sovereigns dated 1911 and 1913, a 22ct gold band ring, a wedding cake, pair of dice, oil lamp etc., length 19.5cm, gross weight 105.5g.Condition report: Overall condition good to fairScratches, abrasion and discolouration in keeping with age and wear, some links slightly worn, some slightly misshapenWith safety chainPadlock clasp stamped 9c, makers mark I.S.C13 charms with hallmarks for 9ct goldSovereign 1913 - mount with hallmarks, metal content stamp concealed, likely 18ctSovereign 1911 - mount stamped 9ctOne charm unmarkedRing with hallmarks for 22ct
Lot 5119
Elkington. A set of four Elkington plated 19thC chamber candlesticks, each with a central candle holder and detachable nozzle within a gallery frame, with a suspended conical extinguisher attached, the ring neck handle with a thumb rest. Elkington & Co. Impressed marks with date letter for 1867 together with six "Cricklite" glass chamber lamp shades (6)
Lot 623
FRANCOIS-RAOUL LARCHE (1860-1912) ART NOUVEAU GILT- BRONZE «DANSEUSE LOIE FULLER A DEUX LUMIERES» LAMP SIOT - DECAUVILLE, circa 1900Signed, bearing the foundry seal, numbered 1782 Gilt-bronze table lamp H: 47.5 cm, L: 23.5 cm Provenance: Private collection, Monaco Raoul Larche’s bronze table lamps, modelled after Loie Fuller’s famous Serpentine Dance, are a stylistic masterpiece of Art Nouveau aesthetics. The Art Nouveau dancer and choreographer Loie Fuller (1862-1928) conquered the famous Parisian cabaret Folies-Bergère on her opening night on November 5, 1892, by transforming her dances into syntheses of movement, colour and music. The electric lighting, together with the complex set of mirrors she used on stage, illuminated her immense swirling skirt and evoked the fluid and organic forms of Art Nouveau. Artists and writers of her time praised her talent; her art was received with much acclaim as an aesthetic revolution. The famous dancer was the favourite subject of the brilliant sculptor Raoul Larche and a muse for other Art Nouveau artists such as François-Rupert Carabin, Jules Chéret, Alphonse Mucha, Henri de Toulouse-Lautrec, Théodore Rivière and Pierre Roche. Loie Fuller had her theatre at the 1900 Exposition Universelle in Paris; the architect Henri Sauvage designed it, and Francis Jourdain decorated it. The lamps created by Larche were available for sale in the pavilion that celebrated the icon. The lamps’ Loie Fuller’ are held in the museums’ collections, including the Museum of Modern Art in New York, the Virginia Museum of Fine Arts, and the Villa Stuck Museum in Germany.
Lot 486
Banbury Cross Series. The Banbury Cross Series, prepared for children by Grace Rhys, 9 volumes (of 12), 1st editions, London: J.M. Dent, 1894-95, comprising: Jack the Giant-Killer and Beauty and the Beast, The History of Cinderella or the Little Glass Slipper, The House that Jack Built & Other Nursery Rhymes, Blue Beard and Puss in Boots, Aladdin or the Wonderful Lamp, Fireside Stories, The Fairy Gifts and Tom Hickathrift, Aesop's Fables, The History of Ali Baba and the Forty Thieves, illustrations by R. Anning Bell, R. Heighway, V. & E. Holden, Charles Robinson, H. Granville Fell, Alice M. Mitchell, Sidney H. Heath and others, Fireside Stories illustrations with contemporary hand-colouring and printed slip adhered to front free endpaper verso 'The illustrations in this book were coloured by hand by Miss Gloria Cardew', decorative endpapers, most free endpapers toned, Fireside front pastedown with small surface loss and both hinges with adhesive tape stain, top edges gilt, Fireside all edges gauffered, all except Fireside in original pictorial green or burgandy cloth gilt, with cloth ties, spines faded, partial light fading to a few covers, Cinderella front cover stained to lower left corner, Fairy Gifts & Cinderella lacking rear silk ties, Aladdin lacking both ties, Fireside Stories in full brown morocco gilt by the Guild of Women-Binders (ink stamp to verso of front free pastedown), front cover with gilt pictorial design based on the story of Chicken-Licken combined with the 'Banbury Cross', neatly rebacked, top edges of covers a little darkened, 3 corners showing, edges somewhat rubbed, tiny mark to chicken's foot, together with three duplicates: Aesop's Fables in original grey/cream cloth with blue printed design to front cover, and two copies of Fireside Stories in original pictorial cloth gilt (one with covers stained), all small 8voQty: (12)
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307192 item(s)/page