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Lot 61
Registration: K328NEJ VIN: SALLDVAF7KA922718 Milage Showing: 175,000 Transmission: Manual MOT: 07/11/2024First registered January 1993 this 200tdi model has been upgraded to a "tomb raider" style with two-tone 5 spoke alloy wheels with all terrain tyres, roof rack with rear access ladder, LED light upgrade and snorkel.Sold with 2 sets of keys and folder of history including records of brake overhaul and other servicing. Please see our walk around video for more information and engine start upGUIDE PRICE £4,000 - £5,000
Lot 19
Registration: NNJ623F VIN: WA2S31075842A Mileage Showing: 52,000 Transmission: Manual MOT: 18/12/2024Restored in 2013 998ccValid MOT although now exemptFirst registered December 1967 this 998cc Hornet shows 52,000 miles and although is now tax and MOT exempt still carries a valid MOT till December. Sold with a large history file including previous MOT certificates as well as receipts for servicing and maintenance as well as a light restoration in 2013.Please see our walk around video for more information and engine start upGUIDE PRICE £5,500 - £6,500
Lot 31
Four 1960's FA Cup Final Programmes & Songsheet. 1965 FA Cup Final programme Leeds v Liverpool. Very light creasing. No rust or writing. 1966 FA Cup Final programme Everton v Sheffield Wednesday. Very light creasing. No rust or writing. 1968 FA Cup Final programme Everton v West Brom. Horizontal fold. Very slight staple rust. No writing. 1969 FA Cup Final programme and songsheet Leicester v Man City. Horizontal fold. Very slight creasing. No writing or staple rust.
Lot 173
A pair of 19th century blue vaseline glass jack-in-the-pulpit vases, height 13cm, together with a set of three vaseline glass vases, each having triform rim to bulbous lower body, height 9cm, a vaseline glass pedestal vase (a/f), and four satin glass fairy light shadesLargest yellow – chipped.One pink – small chip.The rest appear intact.
Lot 238
A late Victorian 18ct gold and opal five stone carved half-hoop ring with rose diamond points. The five graduated oval cabochon white opals display a pleasing play of mostly green and yellow colours with 'light-orange' hues, all claw set on a scroll-carved gallery and D-section shank with hallmarks for Birmingham 1894, the makers mark indistinct, size Q, 6.2g gross Condition Report: Overall excellent condition for age, general light wear and tear commensurate with age and light use. THe central opal measures approx. 10.2mm x 7.2mm x 3.4mm, the smallest measure approx. 4.3mm x 3.8mm, minor scuffs and surface scratches only.
Lot 61
An Edwardian silver pin cushion in the form of a pig. Modelled standing four square, mark of Levi & Salaman, Birmingham 1905, 5.5cm long overall (2 1/4 inches) Condition Report: Overall good condition for age. General light and shallow dings and wear and tear commensurate with age and use. The ears are recessed into the head but don't appear to be damaged in any way and are pointing forward (see image). there is a small 'dent' under the snout, and one of the back legs has been very slightly push up int the body by maybe half-a-millimeter. There is no interior stuffing, velvet or leather covering to the base oval 'hole' (as a boinus this allows access should you wish to do any light work with the barely noticeable dings etc). This model appears to have been made in two pieces (left half and right half) and there is evidence of old or maybe original(?) solder at the joint, no obvious splits.
Lot 196
Three Edwardian brooches. Comprising; a rose gold and oval cabochon white opal 'whiplash' open scroll brooch with the mark of Murrle, Bennett & Co., later base metal pin, 39mm wide overall, 2.4g gross; an Arts and Crafts gold and boulder-opal doublet brooch, in the form of a drop-shaped boulder-opal doublet collet and stylised planished leaves, berries and stems, an indistinct mark, 31mm wide; and a silver, red-paste-lozenge and varigated-blue enamel double scroll brooch, maker's mark 'S.B' probably that of Stainton Brothers, Birmingham probably 1913(?), later steel pin, 35mm wide overall Condition Report: Whiplash scroll brooch; Opal small but a good play of mostly green play of colour, mount good.Arts and crafts brooch; Boulder opal a very good play of colours, mount good, requires a clean.Silver brooch; Minor chips and crack to enamel none through to the base, the red-paste with a couple of chips and the collet it is sat in has been 'crimped' a little at the sides (see image), light wear and tear to the paste facet edges, mount good, date letter mis-struck.
Lot 147
An early 20th century 18ct rose gold and diamond solitaire gypsy ring. The old-cut stone approx. 0.32cts, claw set on a tapering D-section shank with hallmarks for Birmingham 1912, size M+, 4.4g gross Condition Report: Overall good condition for age, general light wear and tear commensurate with age and use. Evidence of an old sizing, marks crisp.The diamond bright and lively, measures approx. 4.4mm x 4.5mm x 2.55mm
Lot 7
A Queen Anne britannia standard silver oval tobacco box. With plain moulded borders, the pull-off cover engraved with a crest and coat of arms within foliate mantling, mark of Edward Cornock, London 1710, 2.5cm high, 9,75cm long, 8cm wide (1 x 3 7/8ths x 3 1/8th inches), 121g (a little under 4 ozs) Condition Report: Overall good condition for age, general wear and tear commensurate with age and light use over 300+years! There are no major dents or dings however there are many small and slight dents oe 'depressions' mostly along the high spots and borders etc. General light scuffs and marks all over. Evidence of a small repair to one end of the base approx. 8mm long and the beginings of a crease but this is a little harsh and mentioned for completeness sake, together with another old repair mabe 17mm long and another 12mm long all these are at the edge of the base and sides. The engraving is good (neither crisp or worn) Marks good, lid with leopards head and maker's mark only, The base with angular-mis-struck marks but legible, the date letter a little less so. Overall about 6/7 out of 10.
Lot 124
An early 20th century 18ct gold and diamond five stone 'boat' ring. The graduated old-cut stones approx. 0.21cts total, all grain set within a boat-shaped channel, on a D-section shank with hallmarks for Chester 1911, size Q, 3g gross Condition Report: The diamonds measure approx. ,Centre 2.7mm diameter, 2.1mm (2) & 1.7mm (2). No obvious chips, gletz or damage to the stones, colouyr and clarity not possible due to size, bright stone and face-up 'white'. . Mount good, evidense of an old 'sizing' otherwise light scuffs and general wear and tear commensurate with age and use.
Lot 50
A pair of silver specimen vases. Each with a pierced rim, trumpet shaped stem and round base, mark of Walker & Hall, Sheffield 1915, 23cm high overall (9 inches), 253g (a little over 8 ozs) Condition Report: Overall good condition for age, general light wear and tear commensurate with age and use, each has a few minor dingss and scuffs. One has a slightly more pronounced shallow crease (crease is a little too strong a word really) approx 4/5mm long near the top. Each wobbles very slightly on a flat surface, both require a thorough clean.
Lot 146
Frank Gerritz 1964 Bad Oldesloe - lebt und arbeitet in Hamburg Place of Pleasure. 2002. Paintstick auf eloxiertem Aluminium. Verso signiert, datiert und betitelt. 60 x 180 cm (23,6 x 70,8 in). [AR]. • Der berühmte Kunstkritiker Donald Kuspit bezeichnete Frank Gerritz einst als den letzten 'abstract hardliner'. • Streng konzeptionelle, auf geometrische Formen reduzierte Wandskulptur. • Gekonntes Spiel von Dunkel und Hell: Die Oberfläche erscheint geschlossen schwarz, doch die Striche des Paintstick bleiben erkennbar und die sichtbaren Aluminiumelemente reflektieren gedämpft das Licht. • 2008 ausgestellt in der umfassenden Museumssausstellung des Künstlers in der Weserburg, Museum für Moderne Kunst, Bremen. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. AUSSTELLUNG: Frank Gerritz - further down the line, Weserburg, Museum für Moderne Kunst, Bremen, 29.1.-4.5.2008, Kat.-Nr. 3 (m. Farbabb. S. 21, dort unter Nr. 4). Aufrufzeit: 07.06.2024 - ca. 14.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONFrank Gerritz 1964 Bad Oldesloe - lebt und arbeitet in Hamburg Place of Pleasure. 2002. Paintstick on anodized aluminum. Signed, dated and titled on the reverse. 60 x 180 cm (23.6 x 70.8 in). [AR]. • The renowned art critic Donald Kuspit once described Frank Gerritz as the last “abstract hardliner”. • Strictly conceptual wall sculpture reduced to geometric forms. • Skilful interplay of dark and light: the surface appears completely black, but the strokes of the paintstick remain visible while the aluminum elements reflect the light in a muted way. • Exhibited in the artist's comprehensive museum exhibition at the Weserburg, Museum of Modern Art, Bremen in 2008. PROVENANCE: Private collection North Rhine-Westphalia. EXHIBITION: Frank Gerritz - further down the line, Weserburg, Museum für Moderne Kunst, Bremen, January 29 - May 4, 2008, cat. no. 3 (illu. in color on p. 21, there under no. 4). Called up: June 7, 2024 - ca. 14.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 173
Rainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Reclining Nude on green Sofa. 1986. Öl auf Leinwand. Verso auf der Leinwand signiert, datiert, betitelt, bezeichnet 'A 284' und mit den Größenangaben versehen. Auf dem Keilrahmen bezeichnet 'Die Stunde der Rose'. 204 x 254 cm (80,3 x 100 in). [EH]. • Desmond liegt weniger auf, vielmehr in einem an Claude Monet erinnernden Bassin aux Nymphéas, einem Seerosenteich. • Damals 1986 wie heute besteht kein Zweifel: In diesen Bildern geht es um ein gewaltiges Lebensgefühl, glühend, voller Unruhe und Wucht. Die Authentizität der vorliegenden Arbeit wurde vom Künstler bestätigt. Wir danken für die freundliche Auskunft. PROVENIENZ: Privatsammlung Berlin. LITERATUR: Christie's, London, Post-War and Contemporary Art, 1.7.2009, Los 247. 'Ich war immer dort, wo es aufregend war.' Rainer Fetting Wild gepinselte, erotisch aufgeladene Szenen ziehen die Anwesenden in ihren Bann. Rollenmodelle werden von Rainer Fetting direkt und unvermittelt im Bild durchgespielt. Immer wieder sind es neben den 'Großstadteingeborenen' die Künstlermythen, die im Selbst- oder Figurenbild durchgespielt werden. Die Befragung des Standorts in der Gesellschaft und die Frage nach der eigenen Identität stehen immer wieder im Mittelpunkt seiner Malerei. Und so hat Fetting auch seine nackten, durchtrainierten Modelle gemalt wie etwa Desmond: provozierend, monströs und den Betrachter anspringend. 'Desmond hatte ein Stipendium als Balletttänzer. Mit seinem durchtrainierten und definierten Körper war er natürlich ein ideales Model, fast selbst wie eine Skulptur. Sein eigenes Verständnis von Körper hat einen wichtigen Einfluss auf meine Arbeit gehabt. Unsere Beziehung, die bis heute anhält, ist nicht ohne Spannungen abgelaufen, wohl wegen unserer gegensätzlichen Charaktere und des Altersunterschieds, der schwierigen Rolle von Maler und Model und unserer unterschiedlichen kulturellen Herkunft. […] Da die Unterdrückung der Schwarzen und der Rassismus bis heute unsere Gesellschaft tangieren, ist es besonders für mich als Deutschen und 'weißen Mann' nicht unbedingt leicht, unbefangen und naiv ein Bild mit Desmond zu malen oder eine Skulptur von ihm zu machen. Aber das gilt ja eigentlich für meine ganze Arbeit. Porträts von anderen, auch wenn man die Personen darin wiedererkennt, haben auch immer mit dem zu tun, was den Künstler selbst umtreibt und sind auch immer eine Art Selbstausdruck. […] Desmond kannte viele Künstler und wurde von einigen porträtiert, unter anderem von Basquiat, Haring, Fischl, Mapplethorpe, Salomé und Andy Warhol. […] Auch die Beziehung mit Desmond, der dann irgendwo da war, aber dann auch wieder überhaupt gar nicht, plötzlich weg wie der Wind', so Rainer Fetting in einem Interview mit Heinz Stahlhut (zit. nach: Fetting, Köln 2009, S. 204). Damals wie heute besteht kein Zweifel: In diesen Bildern geht es um ein gewaltiges Lebensgefühl, glühend, voller Unruhe und Wucht. Und es geht um das Bekenntnis eines Malers, der an malerische Traditionen anknüpft, um seine eigene Gegenwart in jedem Bild radikal neu zu erfinden. Rainer Fetting erzählt in diesen Bildern zumeist keine kunsthistorischen Anekdoten, auch wenn hier Desmond weniger auf, vielmehr in einem an Claude Monet erinnernden Bassin aux Nymphéas, einem Seerosenteich liegt, und Fetting hier vielmehr das Malen selbst thematisiert: die ungeheure Sinnlichkeit der Farbe in einem lichtdurchfluteten Energiefeld aus gestischen Pinselstrichen, schnell, heftig und dennoch präzise und sicher. [MvL] Aufrufzeit: 07.06.2024 - ca. 15.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Reclining Nude on green Sofa. 1986. Oil on canvas. Signed, dated, titled, inscribed 'A 284' and with the dimensions on the reverse. Stretcher inscribed 'Die Stunde der Rose'. 204 x 254 cm (80.3 x 100 in). [EH]. • Desmond lies not so much on, but rather in a Bassin aux Nymphéas, a water lily pond reminiscent of Claude Monet. • Then, in 1986, as now, there is no doubt: these paintings are about a powerful feeling of life, glowing, full of restlessness and energy. This work's authenticity was kindly confirmed by the artist. We are grateful for his kind support in cataloging this lot. PROVENANCE: Private collection Berlin. LITERATURE: Christie's, London, Post-War and Contemporary Art, July 1, 2009, lot 247. 'I have always been where it was exciting.' Rainer Fetting Wild brushstrokes and erotically charged scenes cast a spell over the audience. Rainer Fetting plays out role models in his pictures with great immediacy. Alongside the 'big city natives', it is repeatedly the artist's myths that he addresses in self- or figure portraits. Questioning his position in society and his identity are always at the center of his art. And this is also how Fetting painted his naked, muscular models, such as Desmond: provocative, monstrous and jumping out at the viewer. 'Desmond had a scholarship as a ballet dancer. With his toned and athletic body, he was, of course, the perfect model, almost like a sculpture himself. His own understanding of the body exerted an important influence on my work. Our relationship, which continues to this day, has not been without tension, probably because of our contrasting characters and age difference, the difficult role of painter and model and our different cultural backgrounds. [..] Since the oppression of black people and racism still affect our society today, it is not necessarily easy, especially for me as a German and 'white man', to paint a picture with Desmond or make a sculpture of him in an unbiased and naive way. But that actually applies to all my works. Portraits of others, even if you recognize the people in them, always have to do with the artist's own concerns, they are always a kind of self-expression. [..] Desmond knew many artists and was portrayed by some of them, including Basquiat, Haring, Fischl, Mapplethorpe, Salomé and Andy Warhol. [..] Also the relationship with Desmond, who was there somewhere, but then again not at all, suddenly gone like the wind,' Rainer Fetting told Heinz Stahlhut in an interview. (in: Fetting, Cologne, 2009, p. 204) Then as now, there is no doubt: these paintings are about a powerful attitude towards life, glowing, full of restlessness and energy. And it is about the confession of a painter who draws on painterly traditions in order to reinvent his own present in every picture. For the most part, Rainer Fetting does not recount art historical anecdotes in his paintings, even if Desmond lies not so much on, but rather in a Bassin aux Nymphéas, a water lily pond reminiscent of Claude Monet, and Fetting's theme in this case is painting itself: the immense sensuality of color in a light-flooded energy field of gestural brushstrokes: fast, fierce and yet precise. (MvL) Called up: June 7, 2024 - ca. 15.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 194
Miriam Cahn 1949 Basel - lebt und arbeitet in Basel liebenmüssen, 2008 + 20.8.19. 2008/2019. Öl auf Leinwand. Verso auf dem Keilrahmen betitelt sowie bezeichnet mit 'meine kriegerin'. 130 x 100 cm (51,1 x 39,3 in). [AW]. • Mit exquisiter Sensibilität setzt Cahn Farben ein, um ihren Modellen ein Gefühl von Zerbrechlichkeit und innerem Leben zu verleihen. • 2023 widmet das Palais de Tokyo in Paris der Künstlerin eine große Retrospektive und ab Oktober 2024 findet die Ausstellung 'Reading Dust' im Stedelijk Museum, Amsterdam, statt. • Cahn setzt sich künstlerisch mit Friedens- und Frauenbewegungen auseinander, für die sie sich auch selbst aktiv einsetzt. • Arbeiten Cahns befinden sich in internationalen Sammlungen, wie u. a. im Museum of Modern Art, New York, in der Tate Modern, London, im Museo Reina Sofía, Madrid, und in der Städtischen Galerie im Lenbachhaus, München. PROVENIENZ: Galerie Meyer Riegger, Berlin. Privatsammlung Österreich (vom Vorgenannten erworben). Drei Gestalten stehen im Zentrum der Leinwand und auch im Mittelpunkt des künstlerischen Schaffens Miriam Cahns steht der Mensch. Die Zerbrechlichkeit des menschlichen Körpers, aber auch die Beziehung zur Natur. Gegenwärtige Beobachtungen, familiäre Erinnerungen und persönliche Erfahrungen verbinden sich bei ihr mit gesellschaftspolitischen Ereignissen. Liebe, Gewalt, Frausein, Geschlecht, Sexualität, Krieg, Antisemitismus und Flucht sind wiederkehrende Themen in der Arbeit der 1949 in Basel geborenen Künstlerin. Als Tochter eines jüdischen Numismatikers und Kunsthändlers besucht Cahn schon ab 1968 die Grafikklasse an der Kunstgewerbeschule in Basel, erhält 1978/79 ein Atelierstudium in Paris und wird bereits 1982 zur documenta 7 sowie 1984 zur Biennale nach Venedig eingeladen. Mit einer illegalen nächtlichen Kunstaktion im Winter 1979/80, bei der sie mit Kohle Wandzeichnungen an eine Baseler Autobahnbrücke anbringt, erhält sie auch mediale Betrachtung. Miriam Cahns facettenreiches Œuvre beschränkt sich demnach nicht nur auf figurative Malerei, sondern umfasst auch Schreiben, Fotografieren, Filmen, skulpturales Arbeiten, Rauminstallationen und Performances. Einende Elemente dieser künstlerischen Ausdrücke sind jedoch die kompromisslose Konfrontation sowie die Einforderung eines genauen Hinschauens von den Betrachtenden und damit eine tiefgreifende Beschäftigungen mit den Widersprüchen unserer Welt. In 'liebenmüssen, 2008 + 20.8.19.' greift Cahn das Thema des Frau- und Mutterseins auf. Sind die drei Körper mit klaren Linien umrissen, scheinen sie doch mit der Umgebung zu zerfließen. Insbesondere der Mutterkörper scheint in seiner Farbigkeit im Hintergrund zu verschwinden, wie auch viele Mütter im realen Leben in ihrer Rolle als Mutter ihr eigenes Ich verblassen sehen. Ebenso vielschichtig ist auch der Titel, der die Rolle der Frau als Mutter und auch die Mutterliebe als ambivalent erscheinen lässt. Die Farbwahl zwischen leichten Pastelltönen und dunkleren Grautönen unterstreicht diese Aspekte der heillosen Zärtlichkeit wie Hilflosigkeit, die sie ihren Figuren entgegenbringt. Cahn malt ihre Ölbilder schnell, mit dünnflüssiger Farbe, so lange sie die Körperspannung aufrecht erhalten kann und vermeidet so eine traditionelle Meisterschaft sowie jegliche Korrekturmöglichkeit. So spielt das direkte Gefühl auch im Entstehungsprozess eine große Rolle. Die Künstlerin dekonstruiert hier das gesellschaftliche Rollenbild der Frau, stellt es infrage und wirft zugleich den Spiegel zurück auf die Betrachtenden, die so letztlich auch die eigene Identität, den (weiblichen) Körper und die eigene Sexualität durch eine ästhetische Reflexion beginnen zu durchdringen. [AW] Aufrufzeit: 07.06.2024 - ca. 15.38 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONMiriam Cahn 1949 Basel - lebt und arbeitet in Basel liebenmüssen, 2008 + 20.8.19. 2008/2019. Oil on canvas. Titled on the reverse of the stretcher and inscribed 'meine kriegerin'. 130 x 100 cm (51.1 x 39.3 in). [AW]. • With exquisite sensitivity, Cahn uses color to give her models a sense of fragility and an inner life. • In 2023, the Palais de Tokyo in Paris dedicated a major retrospective to the artist, from October 2024, the Stedelijk Museum in Amsterdam hosts the exhibition 'Reading Dust'. • In her art, Cahn addresses the peace and women's movements, of which she is also an active advocate. • Cahn's works are in international collections like the Museum of Modern Art, New York, the Tate Modern, London, the Museo Reina Sofía, Madrid, and the Städtische Galerie im Lenbachhaus, Munich. PROVENANCE: Galerie Meyer Riegger, Berlin. Private collection Austria (acquired from the above). Three figures are at the center of this work, while the human being in general is at the center of Miriam Cahn's artistic work. The fragility of the human body, but also the relationship with nature. She combines observations of the present, family memories and her own experiences with socio-political events. Love, violence, womanhood, gender, sexuality, war, anti-Semitism and migration are recurring themes in her work. Born the daughter of a Jewish numismatist and art dealer in Basel in 1949, Cahn attended the Arts and Crafts School in Basel from 1968, received a scholarship to study in Paris in 1978/79 and was invited to documenta 7 in 1982 and to the Venice Biennale in 1984. An illegal nocturnal art action in the winter of 1979/80, in which she applied charcoal drawings to a Basel highway bridge, also earned her widespread media attention. Miriam Cahn's multifaceted oeuvre is not limited to figurative painting, but also includes writing, photography, film, sculpture, installations and performances. What these expressions have in common is the uncompromising confrontation of the viewer with the contradictions of our world. In 'liebenmüssen, 2008 + 20.8.19.', Cahn addresses being a woman and a mother. Although the three bodies are clearly outlined, they seem to merge with their surroundings. The colors of the mother's body seem to fade into the background, just as many women see their own self fade in their role as mothers. The title is just as complex, making the role of the woman as mother and motherly love appear ambivalent. The choice of colors between light pastels and darker grays emphasizes her figures' utter tenderness and helplessness. Cahn executes her oil paintings quickly, with thin paint, while she can maintain body tension, thus avoiding traditional mastery and any possibility of correction. Immediacy also plays a major role in the creation process. The artist deconstructs the social role model of the woman, and challenges the observer, who ultimately also begin to reflect on their own identity, their (female) body and their own sexuality. [AW] Called up: June 7, 2024 - ca. 15.38 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.
Lot 158
A. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich Ende im Osten (Ostende). 1979. Dispersion auf Leinwand. Rechts unten signiert und bezeichnet. 132 x 178,5 cm (51,9 x 70,2 in). • 'Ende im Osten' entsteht ein Jahr vor A. R. Pencks erzwungener Übersiedelung in den Westen • Außergewöhnlich feingliedrig bespielen die symbolhaften Zeichen die Bildfläche. • Das von A. R. Penck entwickelte Zeichensystem basiert auf seiner umfassenden Beschäftigung mit wissenschaftlichen Themen. • 1972, 1982 und 1992 stellt Penck auf der documenta in Kassel aus, 1984 auf der Biennale von Venedig. Das Werk ist im Archiv der Galerie Michael Werner, Berlin, verzeichnet. PROVENIENZ: Galerie Michael Werner, Köln (verso auf dem Keilrahmen zweifach mit Etikett). Sabine Knust, München. Privatsammlung Süddeutschland (seit 1981 in Familienbesitz). 'Jedes Bild ist eine Art Reise, und dem Bild folgen heißt mehr als Droge' A. R. Penck, zit. nach: Katalog documenta 6, Bd. 1, S. 118. A. R. Penck entwickelt ab der Mitte der 1960er Jahren einen Piktogrammstil, mit dem er die komplexen Verhältnisse und Themen seines Daseins zu klären sucht. Das macht seine Bildinhalte nicht nur für die argwöhnischen Machthaber seines Landes schwer zu lesen. Doch ist diese Formensprache nicht ausschließlich in der schutzsuchenden Verschlüsselung zu erklären. Der Künstler entwickelt dieses System über mehrere Jahre auch in dem Gedanken, eine neue Bildsprache zu entwickeln, die ihrer eigenen Logik folgt. Seine Bilder lassen sich lesen, doch niemals nur auf die eine oder andere Weise. A. R. Penck thematisiert darin immer wieder das Unheilvolle des Kalten Krieges zwischen Ost und West in dauerhafter Bildform. Nicht ohne Anspielung auf diese national verordnete Eiszeit wählt der Künstler 1969 sein Pseudonym nach dem Geologen und Eiszeitforscher Albrecht Penck (1858–1945). Doch zudem benutzt er noch verschiedene Pseudonyme, wie z. B. hier das 'Y', um unter dem Radar der Staatssicherheit Ausstellungen im Westen zu bestücken. Schon 1965 hat er über Georg Baselitz seinen späteren Galeristen Michael Werner kennengelernt. In dessen Galerie finden mehrfach Ausstellung statt, schon 1971 ist im Haus Lange in Krefeld eine erste Soloschau in einem westdeutschen Museum zu sehen. Sein Erfolg ist weitreichend: Seine Beteiligung an der documenta V 1972 bringt ihm zwar die künstlerische Anerkennung im Westen, der Erfolg beschränkt aber gleichzeitig den Handlungsraum im Osten: Penck erhält Ausstellungsverbot. 1980 schließlich, von den Repressalien in eine Krise gestürzt, beantragt Penck mehr unfreiwillig als freiwillig die Ausreise und siedelt in die Bundesrepublik Deutschland über. 'Ende im Osten (Ostende)' aus dem Jahr 1979 ist also durchaus als Thematisierung dieser schmerzhaften Verabschiedung aus der Heimat in Dresden zu lesen. Die Figuren und Zeichen schweben in leichten Farben über die Bildfläche, in manchen Bereichen dichter als in anderen. Unser Bild ist rechts unten mit Kugelschreiber mit 'Y' signiert und damit auch ein Zeugnis der höchst schwierigen Lebensumstände dieses zwischen Ost und West zerrissenen Künstlers. Das Ende im Osten scheint wie eine ferne Vision, die auch Elemente der Bedrängung in sich trägt. Der Künstler selbst will seine Bilder nicht entschlüsseln, da er sie so ihres Zaubers berauben würde. Jeder von uns muss das auf seine Weise selbst tun und damit die Stimmung und Bedeutung für sich selbst finden. Das macht auch die Faszination seiner Werke aus. [EH] Aufrufzeit: 07.06.2024 - ca. 14.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONA. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich Ende im Osten (Ostende). 1979. Dispersion on canvas. Lower right signed and inscribed. 132 x 178.5 cm (51.9 x 70.2 in). • “Ende im Osten” was created one year before A. R. Penck was expatriated and forced to move to the West • The symbolic signs spread across the painting's surface with extraordinary delicacy. • The pictorial system that A. R. Penck devised is based on his extensive preoccupation with scientific themes. • Penck exhibited at the documenta in Kassel in 1972, 1982 and 1992, and at the Venice Biennale in 1984. The work is registered in the archive of Galerie Werner, Berlin. PROVENANCE: Galerie Michael Werner, Cologne (with two labels on the reverse) Sabine Knust, Munich Private collection Southern Germany (family-owned since 1981). 'Every picture is a kind of journey, and following the picture is more than just a drug' A.R.Penck, documenta 6 catalog, vol. 1, p. 118 To clarify the complex circumstances and themes of his existence, A. R. Penck developed his signature pictogram style in the mid-1960s. It was not only the suspicious authorities of his country that found his pictorial content difficult to decipher. However, his inimitable formal language cannot be explained solely in terms of encryption, as the artist also developed this system with the idea of finding a new visual language with inherent logic. There is a way of reading his pictures, however, there is always more than one way. In his art, A. R. Penck repeatedly addresses the ominous nature of the Cold War. It was not without alluding to this nationally decreed ice age that the artist chose his pseudonym in 1969 after the geologist and ice age researcher Albrecht Penck (1858-1945). But he also used various other pseudonyms, such as the 'Y' here, to mount exhibitions in the West under the radar of state security. As early as 1965, he met his future gallery owner Michael Werner through Georg Baselitz and he mounted several exhibitions in his gallery. His first solo show in a West German museum was on display at Haus Lange in Krefeld as early as 1971 and his success would be far-reaching: although his participation in documenta V in 1972 brought him artistic recognition in the West, his success also restricted his scope of action in the East, as Penck was banned from exhibiting there. In a deep crisis caused by the reprisals, Penck finally filed for emigration in 1980, more involuntarily than voluntarily, and moved to West Germany. 'Ende im Osten (Ostende)' from 1979 can therefore be understood as a take on this painful parting with his Dresden home. The figures and signs float across the picture in light colors, denser in some areas than in others. Our picture is signed 'Y' in ballpoint pen at the bottom right and thus also bears witness to the extremely difficult circumstances of an artist torn between East and West. The end (of his life) in the East seemed like a distant vision that also contained elements of oppression. The artist himself did not want to decipher his pictures, as this would rob them of their magic. Each of us has to discover the mood and meaning himself and that is what makes his works so fascinating. [EH] Called up: June 7, 2024 - ca. 14.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 114
Paul Thek 1933 Brooklyn, New York - 1988 New York Untitled (Blue Seascape). 1970. Gouache auf Zeitungspapier, New York Times vom 29. Mai 1970. 37 x 57 cm (14,5 x 22,4 in). [AR]. • 'Newspaper Painting' des legendären Artist's Artist Paul Thek. • 1969 beginnt seine Beschäftigung mit der Malerei auf Zeitungspapier und dauert bis in die 1980er Jahre an. • Meist entstehen diese Arbeiten als Serien oder sind Bestandteil größerer Installationen. • Hellblauer Himmel über dunkelblauem Meer, auch oft mit Schwimmern oder Inseln versehen, ist ein typisch idyllisches Motiv dieser Werkgruppe; den Sommer 1970 verbringt er mit Franz Deckwitz auf der Insel Ponza. • Schon in der Entstehungszeit findet das Schaffen des amerikanischen Künstlers vor allem in Europa große Anerkennung: 1968 Teilnahme an der documenta 4 und 1972 an der documenta 5 sowie 1976 und 1980 an der Biennale di Venezia. • Große Retrospektiven im ZKM Karlsruhe (2008), in der Reina Sofia, Madrid (2009) und im Whitney Museum, New York (2011) bestätigten in den letzten Jahren seine herausragende Rolle für die Kunst der Gegenwart. PROVENIENZ: Privatsammlung. Sammlung Schweiz. Aufrufzeit: 07.06.2024 - ca. 13.50 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONPaul Thek 1933 Brooklyn, New York - 1988 New York Untitled (Blue Seascape). 1970. Gouache on newsprint, New York Times of May 29, 1970. 37 x 57 cm (14.5 x 22.4 in). [AR]. • “Newspaper Painting” by the legendary Artist's Artist Paul Thek. • He began painting on newsprint in 1969 and continued until the 1980s. • Most of these works were created in series or were part of larger installations. • A light blue sky over a dark blue sea, often with swimmers or islands, is a typically idyllic motif from this group. • The American artist's work was met with great acclaim, particularly in Europe, even at the time of its creation: he took part in the 4th documenta in 1968, in documenta 5 in 1972 and in the Biennale di Venezia in 1976. • His works on newsprint are among the artist's most sought-after works on paper on the international art market (source: artprice.com). PROVENANCE: Private collection. Collection Switzerland. Called up: June 7, 2024 - ca. 13.50 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
Lot 174
A large tram destination blind/roll (canvass) with various Edinburgh stops (Portobello, Murrayfield, Princes St, Haymarket etc...l- 1285cm), together with several items of tram/transport interest including a tram conductor's cap, several rolls of tickets (and loose tickets), a tram mirror, tram light shade, and a 1953 tram adornment/bunting for the coronation of the late Queen Elizabeth II
Lot 162
A large group of Wedgwood Jasperware items, all with sprigged decoration on light blue ground, comprising a teapot, a tea plate (w- 24cm), several miniature vases (campagna style, bud form etc...), trinket dishes, boxes including Royal wedding Charles and Diana themed, miniature bell etc... (20)
Lot 8025A
AMENDED DESCRIPTION: James Bond - Goldfinger (1964) Berkely Mathers Association copy script - Title-page reads, 'Ian Flemings Goldfinger, Screenplay by Richard Maibaum and Berkely Mather, Second Draft Screenplay, September 23rd 1963', marked File top right, 136 loose mimeographed typescript pages on white sheets held together with a large clip top centre, the script without annotations but showing variations in the text to the final released version, 21 x 30 cm, contained within a buff coloured card folder, with ownership name Berkely Mather in black ink to folder's front cover, 24 x 35cm overall; together with, an accompanying LOA from Berkely Mather's son. Provenance: Ex Christie's James Bond Auction, LOT 232, 14 February 2001 (withdrawn by Wynne Weston-Davies). The Estate of the late John Evan Weston-Davies.Berkely Mather. John Evan Weston-Davies (1909-1996) was a British writer, known to his family and friends as Jasper, who published under the nom de plume Berkely Mather. He was also a prolific writer for radio, television, and films from his retirement from the army in 1957 until his death in 1996. Amongst other achievements he was responsible for putting Steed into a bowler hat and umbrella (The Avengers, Series 15, Episode 1: The Frighteners.)In 1961 Ian Fleming recommended Mather to Harry Saltzman and Cubby Broccoli, the producers of Dr No, to revise the dialogue of the Maibaum/Harwood script which he considered to be too American. They first met at the offices of Curtis Brown, Mathers agents, on 28th November 1961 when Mather accepted £1,000 to revise the entire dialogue within a 2 week period (see Lot 3). Subsequently Mather carried out several re-writes of the script but declined a screen credit.He is credited with many of the famous one-liners including The names Bond, James Bond and with accidentally transposing the original vodka martini stirred not shaken (as in the books) to shaken not stirred (Mather himself never drank cocktails, preferring whisky and soda).In this script two lines which are undoubtedly Mathers according to his son are: Shocking, positively shocking after the electrocution of the villain in his bathtub and the final line in the film when Bond introduces the heroine to Felix Leiter as Pussy Galore, to which Leiter replies, Are you telling me. (Mather worked with Honor Blackman on both The Avengers and Goldfinger and remained friendly with the actress for many years afterwards.After Dr No Mather worked on the dialogue of both From Russia with Love and Goldfinger but subsequently turned down any further work on Bond films. He had a very good relationship with Sean Connery who insisted that he was present on the studio floor for the entire shooting of both films. He was present in Istanbul and Belgrade for the location shooting of From Russia with Love (see Lot 5). Whenever Connery found a line of dialogue difficult he would turn to Mather and say, Jasper give me a line whereupon Mather would ad lib a line that was more to Connerys liking and the shooting would continue. Mathers son Wynne was employed by Saltzman as a messenger boy during the shooting of Goldfinger at Pinewood and witnessed this procedure taking place throughout the making of that film.Condition Report: light creasing to front title-page and some rust staining underneath the large clip top centre to front and rear pages, otherwise overall a clean, crisp, bright copy.
Lot 8005A
AMENDED DESCRIPTION: James Bond Doctor No (1962). Original Letter of Contract between Berkely Mather and Eon Productions Ltd., for the Script Services of Berkely Mather, 1961 Typescript Letter Signed on behalf of Eon Productions Ltd., by Harry Saltzman, 50-lines, on single sides of two pages, sent to Eon Productions, Audley Square, London, from Mathers agent, Curtis Brown Ltd., with their printed Covent Garden, London, address to top of the first page, dated 28th November 1961, 20.5 x 25.5cm . . . Dear Sirs, Doctor No by Ian Fleming Script services by Berkely Mather, This letter will confirm our telephone deal, the terms of which are as follows:- . . .. Berkely Mather was to receive £1,000, payable half on signing the agreement and half on delivery of the authors completed work, and undertook to revise the dialogue in a screenplay based on Ian Flemings novel. Clause 3) stipulates that Mather shall receive no screen credit for the work done under this agreement, and Clause 7) states that it is understood between the parties that if Eon Productions or their assignees should wish to re-engage Berkely Mather for further work on the script after delivery of his completed revised script, a further deal shall be made at terms to be arranged at the time and subject to his availability at the time, Page-two of the contract has notes in Mathers hand, written in pen on reverse referring to characters in the film including Puss Feller. According to Mathers son, these are contemporaneous notes made by his father whilst working on the Dr No script; together with an LOA from Berkely Mathers son. (2) PLEASE ALSO SEE LOT 8015A.Provenance: The Estate of the late John Evan Weston-Davies, Berkely Mather.This is believed to be the first contact that Mather ever had with Harry Saltzman and Cubby Broccoli and, until then, he had never heard of or read a James Bond book although he knew Ian Fleming in his capacity as Book Critic for the Sunday Times in which he had given favourable reviews to Mathers first two novels: The Achilles Affair and The Pass Beyond Kashmir.Berkely Mather. John Evan Weston-Davies (1909-1996) was a British writer, known to his family and friends as Jasper, who published under the nom de plume Berkely Mather. He was also a prolific writer for radio, television, and films from his retirement from the army in 1957 until his death in 1996. Amongst other achievements he was responsible for putting Steed into a bowler hat and umbrella (The Avengers, Series 15, Episode 1: The Frighteners.)In 1961 Ian Fleming recommended Mather to Harry Saltzman and Cubby Broccoli, the producers of Dr No, to revise the dialogue of the Maibaum/Harwood script which he considered to be too American. They first met at the offices of Curtis Brown, Mathers agents, on 28th November 1961 when Mather accepted £1,000 to revise the entire dialogue within a 2 week period. Subsequently Mather carried out several re-writes of the script but declined a screen credit. He is credited with many of the famous one-liners including The names Bond, James Bond and with accidentally transposing the original vodka martini stirred not shaken (as in the books) to shaken not stirred (Mather himself never drank cocktails, preferring whisky and soda).In this script two lines which are undoubtedly Mathers according to his son are: Shocking, positively shocking after the electrocution of the villain in his bathtub and the final line in the film when Bond introduces the heroine to Felix Leiter as Pussy Galore, to which Leiter replies, Are you telling me. (Mather worked with Honor Blackman on both The Avengers and Goldfinger and remained friendly with the actress for many years afterwards.After Dr No Mather worked on the dialogue of both From Russia with Love and Goldfinger but subsequently turned down any further work on Bond films. He had a very good relationship with Sean Connery who insisted that he was present on the studio floor for the entire shooting of both films. He was present in Istanbul and Belgrade for the location shooting of From Russia with Love (SEE LOT 8015A). Whenever Connery found a line of dialogue difficult he would turn to Mather and say, Jasper give me a line whereupon Mather would ad lib a line that was more to Connerys liking and the shooting would continue. Mathers son Wynne was employed by Saltzman as a messenger boy during the shooting of Goldfinger at Pinewood and witnessed this procedure taking place throughout the making of that film.Condition Report: light marks and light foxing to contract and some rust staining to top left corners of front and rear pages from paper clip, otherwise coverall good condition.
Lot 8079
James Bond: Fleming (Ian). Five first edition and later printing hardback books includes; You Only Live Twice, first edition, first printing, Jonathan Cape, 1964, first state binding, original boards with Japanese characters in gilt to upper board, dust-jacket unclipped, priced 16s. net, design by Richard Chopping; The Man With the Golden Gun, first edition, first printing, Jonathan Cape, 1965, second state binding, ownership name in blue ink to front pastedown, original cloth, lettered in gilt to spine, dust-jacket front inner flap torn (with loss to price) design by Richard Chopping; together with, Thunderball, lacking title-page and imprint, first state binding, original black cloth with embossed skeleton hand to front board, titles in gilt to spine, dust-jacket clipped, design by Richard Chopping; together with, The Spy Who Loved Me, sixth impression, Jonathan Cape, March 1964, dust-jacket priced 16s. net; On Her Majestys Secret Service, Eighth impression, Jonathan Cape, 1964, dust-jacket clipped, 8vo. (5) Condition Report: You Only Live Twice light marks to boards, otherwise clean and bright, dust-jacket rubbed and worn, with loss to spine ends and corners, toning and rubbing to dust-jacket, foxing to edges, and occasional foxing internally.The Man With the Golden Gun clean bright boards, dust-jacket with some rubbing and loss to corners and spine ends, foxing to edges, otherwise internally clean and bright.Thunderball lacking title-page/imprint, clean bright boards, dust-jacket with some rubbing and nicks to spine ends, edges very toned with some foxing, further toning and occasional foxing internally. The Spy Who Loved Me boards bright save some damp to lower front corner dust-jacket bright with some rubbing and slight loss to corners, marginal foxing to preliminaries, otherwise internally clean and bright. On Her Majestys Secret Service clean bright boards, ski tail in white to upper board, titled in silver on spine, dust-jacket faded to spine, some fading to edges and slight loss to corners and spine ends, 6 -line inscription in ink to front free endpaper,marginal foxing to edges, otherwise, internally clean and bright.
Lot 8089
REVISED ESTIMATE James Bond: On Her Majestys Secret Service (Im Geheimdienst Ihrer Majestat) (1969) two German A1 format posters, starring George Lazenby, United Artists, both folded, 33 x 23 inches (2) Provenance: Part of the Steve Oxenrider James Bond Collection Condition Report: Both some light wear to folds, and staining. Overall good.
Lot 8016
James Bond: From Russia With Love (Agent 007 Jages) (1970s re-release) Danish one-sheet poster, United Artists, starring Sean Connery, featuring artwork after Renato Fratini and Eric Pulford, folded, approximately 33 x 23 ½ inches. Provenance: Part of the Steve Oxenrider James Bond Collection Condition Report: Good condition overall some light wear and creases to fold lines.
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