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Lot 127
GREEN-GLAZED BRUSH WASHER QIANLONG MARK BUT LATER supported on a short foot, the splayed body terminated in short straight sides, the interior carved with three bats in flight between lingzhi fungus, the underside decorated with plantain leaves, covered overall in a light green glaze, the base inscribed with a six-character Qialong mark in underglaze blue(15cm diameter)
Lot 294
ROBIN'S-EGG-GLAZED YIXING STONEWARE TEAPOT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY with a tall square body, both the body and the domed cover covered in a thick layer of Lu-Jun-glaze fused with light and dark blue colours, the interior and the foot rim revealed the original purplish clay body, the base with a four-character 'Dan Fu Zhai Zhi' mark in archaic script(20.1cm high)
Lot 94
QINGBAI FOLIATE BOWL SONG DYNASTY supported on a short splayed foot, the finely moulded body with its six lobed sides decorated with folidate tendrils on the cavetto, covered overall with light blue glaze with ivory tinge, leaving only the base unglaze, revealing the fine porcelain body with orange grits(12.2cm wide)Footnote: Provenance: Private Taiwanese collection
Lot 103
Rory Breslin (b.1963) Mask of the Campanile, Demosthenes Bronze, 68 cm high x 47 wide (26¾ x 18½) Number 2 from an edition of 3 Framed by his skull-cap and his energetic billowing hair and beard, the grave and meditative concentration on Demosthenes' face is created by the deep furrows of the fore-head, the protruding brows and the shadows in the corners of the eyes. The concentration of energy in his gaze is achieved by the profound working of forms. The orator's face carries an expression of determination and nervous intensity heightened by the polished gold light that illuminates his eyes. With his mouth slightly parted as if to speak, this image is wholly in accord with ancient writers' descriptions of Demosthenes (384-322 B.C.), which present him as an aggressive politician who defended the interests of Athens. The Mask of the Campanile is an interpretation of Thomas Kirks ' (1781-1845) key stone of Demosthenes on the West facing facade of the Trinity College Campanile. The other figurative keystones depict Homer, Socrates and Plato representing the liberal arts. The Campanile marks the central axis of the main front squares of the Trinity College campus. It was designed by Sir Charles Lanyon, and the foundation stone was laid 1st. December, 1852. Built by Henry Kingsmill at a cost of £3,500, it was complete by 1854. It is the most recent bell tower in a long line dating back to the original tower of the monastery of All Hallows. The college tradition and superstition holds that any student who passes beneath the campanile while the bell is tolling will fail their exams, causing some to never pass under it until they finish their time at Trinity College. On graduation day, a celebratory walk under Demosthenes is a rite of passage.
Lot 11
Camille Souter HRHA (b.1929) Cycling to Chioggia Oil , plaka and printer's ink on paper, 68.5 x 48.1cm (27 x 19'') Signed and dated April (19)'61 Provenance: With Taylor Galleries, label verso; ex Basil Goulding Collection; Literature: 'The Mirror in the Sea: Camille Souter' by Garrett Cormican, catalogue no.130. Camille Souter, who first went to Italy in her mid-twenties, said that 'the first time I went to Italy I felt I was going home.' It was, also, where she began to sell her paintings: 'it was in Trieste, Melegnano and Milan that I really started to sell'. A second trip to Italy in 1958 came about when she was awarded an Italian Government Scholarship and she, then twenty-nine, headed off with three very small children, Natasha, Shelley, Gino, aged three, two and one. And 'contrary to several reports, I did not cycle across Europe on a bicycle!' But this work Cycling to Chioggia would suggest that in Italy she did cycle to Chioggia, a little fishing town fifteen miles south of Venice. Painted in April 1961, it's a memory painting. As is Il Papa E' Morto, also dated 'April 61', a work that remembers the newspaper headlines announcing the death of Pius XII that Souter saw when she was there in October 1958. A third work, Buon Divertimento [meaning Good Time], a work dated 1958, is similar in terms of palette and technique. Of these three Italian-themed works Cycling to Chioggia is the one that sings with life and movement. Bold strokes, marvellously brushworked in plum and blue verticals and that zinging light- orange against a very light puce, create a work that is filled with energy and a delightful sense of humour. A vertical stroke at the base grounds the work and as the eye moves upwards it meets nine wheels outlined with childlike delight to achieve a lovely airiness. Pollock and Klein could certainly be seen as influences and asked if her work, in the 1950s, had been influenced by Jackson Pollock, Souter replied: 'all painting is action painting' and 'I thought of all that Jackson Pollock period as a good, exciting way to use paint. It gave me the feeling that you can do anything with paint' adding that 'seeing the Pollocks and Kleins in Paris I knew I could use anything - aluminium paint, black enamel bicycle paint, a wonderful salmon pink, and a few precious tubes of cadmiums. It opened the door, so when I had no money I realised I can use anything, any kind of paint.' Souter's use of oil, plaka paint and printer's ink for Cycling to Chioggia proves that. Born Northampton 1929 and originally called Betty Pamela Holmes, she moved to Ireland 'when I was about three-and-a-half'. After school, Souter, who 'wanted to be a nurse from the age of seven or eight', went to London at nineteen to train at Guy's. Having had TB when she was twenty-one, and being 'wan and thin' was named Camille after the tubercular heroine in the Alexandre Dumas novel La Dame aux Camélias. Her husband Gordon Souter meant the new surname. Elusive, private, and no self-promoter of her own work, Camille Souter believes that 'as a painter you spend your time looking out on the world. You almost feel as if you're invisible because your job is looking.' Her output, though small, is highly-prized. Souter has had a studio home in Achill since 1956 and her Achill studio is 'a black metal shed. Two skylights. Very private. Concrete floor. Six girders had to be sunk deep into cement because of the weather.' Souter only paints in natural light and prefers that her works be viewed in daylight. Robert O'Byrne sees her as 'a painter of outstanding skill and sensitivity'. Brian Fallon praises her 'perfectionist working methods'. For Fallon, she has held 'a central position in Irish painting' and he describes her vision as 'a very human and affectionate one'. Camille Souter was elected Saoi of Aosdana in 2008, the first woman painter and the second woman ever to be so honoured and when Trinity College conferred an honorary Litt.D on Camille Souter in June 2015 she was described as 'an exceptional painter' and 'one of the most revered living artists in Ireland'. Her work is held in important collections including The Hugh Lane, IMMA, Ulster Museum, Crawford Art Gallery, The Arts Council, OPW, UCD, TCD, UCC. Asked if a painting should say something she replied: 'It has to have a subject matter, otherwise it's just design. There has to be some passion behind it, a rapport between the painter and the world. A painting is pulling in so many things from light, time, subject matter'. For Souter, 'a painter is trying to grasp a vital element in almost a second of time'. And just as time is always a vital element in a novel, so too in painting. In Souter's Cycling to Chioggia, time is present . . . . In this instance, an exhilarating and happy time. Niall MacMonagle, May 2021
Lot 60
Paul Henry RHA (1877 - 1958) Cottages in Achill Oil on canvas board, 35 x 45cm (13¾ x 17¾) Signed, inscribed in pencil verso Mountains can have that effect on a person. According to the artist's Irish Portrait (Henry 1951, p.50), prior to his first visit to Achill, Henry was a plains-dweller and the abruptness of the mountain contours now disturbed him. On Achill there is no getting away from Slievemore (An Sliabh Mór), its 671 meters dominates the landscape from virtually every direction and is instantly recognisable due to its conical form. From its summit there are magnificent views of Croaghan, the Inishkea islands and Belmullet peninsula, the Nephins and all the hills south to Mweelrea. Dr Brian Kennedy, the foremost authority on the artist, when inspecting this painting with the writer in 2002, dated it to 1925-30, at which point Henry had left the island after his prolonged sojourn that ended in 1919. Despite it being painted six to ten years after leaving Achill, the composition still reflects his sense of awe of the majesty of the mountain. As much as in real life, the mountain dominates the composition occupying a central position, the blue hues beautifully painted and modelled with the artist's signature fluid application of paint and glazes. The precision, even economy, of the brushwork throughout is another characteristic of Henry's work in general and is something he learnt from his early teacher, James Abbott McNeill Whistler. The foreground is simply made up of a shallow strip of vaguely arable land on which three thatched cottages anchor the composition, accompanied by small turf stacks. The scale of the tiny habitation nestled into the landscape is made all the more dramatic due to the layered backdrop of two ridges before ascending to Slievemore. The light and fluffy clouds which suggest one of those 'pet' days you get in the West, occupy half the composition, are beautifully modelled and brighten the scene, helping to create a sense of the majesty of nature as opposed to it being oppressive and overbearing. The impact of Henry's time in Achill cannot be overstated. It was to Dugort, on the north of the island and at the eastern foot of Slievemore, that Henry went when he first arrived on Achill in August 1910. But even then he found the village busy with tourists. 'Every second house seemed to be an hotel or boarding house', he later wrote, and so the morning after his arrival he set off for the much quieter village of Keel, itself positioned south of the mountain, where he subsequently established himself, taking rooms with John and Eliza Barrett who ran the post office in Keel.
Lot 79
Hughie O'Donoghue RA (B.1953) Swell, 2019 Oil on tarpaulin, 118 x 177cm (46½ x 69½) Exhibited: Limerick, The Hunt Museum, Time, Tide and the Memory, 2019 Swell is one of a series of paintings created by Hughie O'Donoghue over a period of several years under the thematic title Cargo. The term is deliberately ambiguous, and comes with some sinister connotations. Cargo is, collectively, a personal reimagining of FW Murnau's classic 1922 silent film Nosferatu, loosely inspired by Bram Stoker's Dracula. O'Donoghue delves into the symbolic and allegorical meanings of Murnau's work in the context of its, and our, times. When the film was made, Europe was haunted by the unparalleled disaster of the First World War, succeeded by an epidemic of Spanish flu. The vampire count, sneaked aboard a schooner in a coffin, is a lethal cargo, capable of infecting the world. O'Donoghue's paintings are rich in metaphor and not tied to any one interpretative meaning. The vessel is translated into the wreck of the merchant vessel the Plassy on Inis Oirr. O'Donoghue originally visited the site with his father in 1962. The experience stayed with him and he has returned to the wreck often as a motif in his work. The Plassy had played a military role in the Mediterranean during WWII (where his father served with the British Army). This century, as he worked, the slow tragedy of refugees trying to reach Europe was unfolding in the Mediterranean. And, of course, by the time the work was shown in restricted circumstances at the Galway International Arts Festival in 2020, as the exhibition Night Cargo, we were in the grip of a pandemic. O'Donoghue made the paintings on tarpaulin or sacking; rugged materials, as he put it, with their own histories rather than neutral, fine art supports. He leaves the folds of the tarpaulin clearly visible. In Swell, the ghostly form of the ship looms against an eerily lit expanse of sky, buoyed by a phosphorescent surge of water below. The curiously metallic glow of the composition is inspired by the intense, silvery light of early black-and-white film. Born in Manchester to Irish parents, O'Donoghue lives and works in County Mayo and in London. Elected to the Royal Academy of Arts in 2009 he has been artist-in-residence at the National Gallery London and St John's College, Oxford. His work has been widely exhibited in many solo shows and is included in numerous private and public collections. Often drawing on his own family history, he has described painting as a form of emotional archaeology, a means of recovering and remembering experiences, both individual and universal, often forgotten in grand historical narratives. As in Swell, the picture surface is worked and reworked as a charged terrain that will yield up secrets rather then a blank sheet. Aidan Dunne, May 2021
Lot 88
Patrick Collins HRHA (1910-1994) Boat Standing on the Lake Oil on canvas, 51 x 59cm (20 x 23¼'') Signed Provenance: With Tom Caldwell Gallery, Belfast, label verso. Born in Dromore West, Co Sligo Patrick Collins' early childhood years were, despite his family's relative poverty and practical setbacks, redeemed by the freedom he found in the natural world around him. Alas, he was dispatched to St Vincent's Orphanage in Glasnevin around 1925, and felt imprisoned. There followed 20 years as an insurance clerk in Dublin, during which time he read voraciously - he initially aspired to be a writer - and found himself fascinated by art, attending lectures and classes. From the mid-1940s he lived in a tower at Howth Castle, and began to exhibit paintings annually at the Irish Exhibition of Living Art from 1950, with solo shows at the then Ritchie Hendriks Gallery from 1956 and later with Tom Caldwell Galleries. The writer Aidan Higgins, a close friend during those years, recalled in 1982: He painted the shadows of things, avoiding the direct face... In truth he excelled at evoking the spaces between and around things, capturing the watery, palpable texture of Irish light wrapped around stubborn presences in the boggy landscape or the vast ocean: lone trees, stone walls and monuments, smallholdings, farm animals, birds, people, boats and islands, including Hy-Brazil, a shimmering vision in the distance. All imbued with an epic, mythic, elegiac character. Several years in France did not weaken his links to this terrain, though when he returned to Ireland, in the later 1970s, there was perhaps, as in Boat Standing on the Lake, an enhanced luminosity to the light, a willingness to touch on a brighter palette, and a renewed interest in the use of line. Of this period, Frances Ruane has noted his liking for pivoting a composition around a central point.' He does so in this painting (closely related to Little Harbour, exhibited at Tom Caldwell Galleries in 1979) to great effect. The boat in the centre, concisely indicated by the horizontal and vertical accents of its hull and mast, is static, but the energy of the painting is generated by its irresistible link to the sweeping upwards curve of the shore on the right, a curve that loops around the top to bring the eye back down the left of the picture and the foreground accents along the base of the composition. Collins' subtle management of tonality at every stage of this process is masterly. Always an individualist, he never courted official approval, but his reputation never wavered among his peers and he is generally regarded as one of the country's finest 20th century painters, whose contribution to Irish art was immense. A major touring retrospective organised by the Arts Council in 1982 consolidated his reputation. Aiden Dunne, May 2021
Lot 19
Jewad Selim (Iraq, 1919-1961)Women Waiting oil on canvas, framedexecuted in 194343 x 30cm (16 15/16 x 11 13/16in).Footnotes:WOMEN WAITING: ONE OF JEWAD SELIM'S MOST SIGNIFICANT PAINTINGS'Artists were appalled at the conditions of poverty, illiteracy and subjugation of a lot of Iraqi women during this period in Iraq's history. They were concerned about the situation of illiterate women who were 'waiting' for marriage or who were forced to work as prostitutes. Jewad was very proud of his sister Neziha for having the courage to break out of the tradition of 'waiting' and leaving to study art in Paris. The painting will have been a statement of the plight of women at this time'- Miriam Selim, the artists daughterProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the abovePublished:Exhibition Catalogue: Jewad Selim, National Museum of Modern Art, January 1968, Ministry of CultureExhibited:Jewad Selim, House of Nizar Ali Jawdat in 1950, Baghdad, Iraq, 1950, No.9 (the artists first solo exhibition)Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Bonhams are most privileged to present perhaps one of the rarest and most sought after works of Iraqi art to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted Woman Waiting in 1943, the work was not only exhibited at Jewad's first ever solo exhibition in the house of Ali Jawdat Ayoubi, but also featured in his major 1968 retrospective at the Baghdad National Museum.Executed in Jewad's key transitional period; during a five year stay in Baghdad after returning from Rome and before enrolling at the Slade, the work is a powerful and unique commentary on the plight of Iraqi women, and perhaps one of the first overtly feminist artworks painted in the Middle EastIn this painting Jewad depicts the prostitutes that loitered in the back alleys of Baghdad, entreating business for passers by. Far from being a merely literal appreciation of its subject matter, Jewad's depiction of the women is a wider commentary on the plight of a generation of Iraqi women whose fate and destiny were tied to the men for whom they were 'waiting'; this including not only Women Waiting for male custom, but for girls waiting to be betrothed whose transition to adulthood depended on the presence of a male provider.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Women Waiting' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The affects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department. During this wartime period in Baghdad, Jewad and a group of Iraqi artists became acquainted with several Polish officers who were painters, two of whom had studied with Pierre Bonnard. The Polish artists introduced the young Iraqis to the latest European styles and concepts, leading Jewad to comment in his diary that after discussion with the Poles, he understood the importance of colour and its application; and only then was he able to fully understand the works of European artists such as Rembrandt, Goya and Cezanne.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimFor further information on this lot please visit Bonhams.com
Lot 39
Lorna Selim (Iraq, 1928-2021)The Lemon Sellers oil on board, framedsigned 'Lorna Selim' and dated '1956' in Arabic (lower right), executed in 195645 x 60cm (17 11/16 x 23 5/8in).Footnotes:Provenance:Property from a private UK Collection, acquired directly from the artist in Baghdad circa 1950'sExhibited:National Museum of Modern Art, Baghdad, January 1968.'She came to Iraq with a good eye and sense of proportion, and she loved what she saw here. You have to love to do good work' - Jewad SelimThe present lot is a rare and exceptional early composition by Lorna Selim executed in the inimitable style of the Baghdad Modern Art Group. Mixing traditional Iraqi motifs with a modernist visual language, Lorna, like her illustrious husband Jewad, weaved form of 'folk modernism' which was both vernacular and universal.Focusing on the florid landscape of downtown Baghdad, Selim's compositions are populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Lemon Sellers' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 75
Ibrahim El Dessouki (Egypt, born 1969 )Portrait of the Artist Hend Adnan oil on canvas, framedsigned Ibrahim El Dessouki and dated '99' in Arabic, executed in 199950 x 35cm (19 11/16 x 13 3/4in).Footnotes:Provenance:Property from a private collection, AlexandriaNote:This work has been authenticated by the Artist himself'Art, be it poetry, visual art, drama or dance, is the transformation of what is real into magic, and converting what is magical into a tangible reality, for we perceive that there are, beyond those infantile voices, even more primordial voices. We artists guess the being of those most archaic voices; deeper, and more sagacious - spoken in a language of legend, yet we feel them as not mere legend, but simultaneously as dream and symbol'- Ibrahim El DessoukiBonhams is delighted to be presenting this powerful and enigmatic piece by Ibrahim El Dessouki depicting his wife, the Egyptian female artist Hend Adnan. El Dessouki's painting style is defined by his unique treatment of paint, accentuated by his ability to create subtle changes in its texture; his unusual use of negative space; and his deft manipulation of shadow and light. The artist's painting genres encompass portraiture, landscape and still life and captures his own unique and hypnotic perspective of the soul and essence of Egypt and its people. This painting is heavily influenced by ancient Egyptian paintings and sculptures and beautifully captures the sitters strong Egyptian features such as the prominent eyebrows, jet black hair and elegant resting hand and full lips.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 9
Fahr El-Nissa Zeid (Turkey, 1900-1991)The Earth Mother mixed media on cardboard, framedexecuted circa late 1930's55 x 45cm (21 5/8 x 17 11/16in).Footnotes:Provenance:Property from the private collection, LondonProperty from the collection Fahr-El Nissa Zeid's personal assistant, EnglandGifted directly from the artist to the above owner, circa 1970's'..During my first trip to the orient in Baghdad, I saw in the great expanses, the Bedouins... six or seven silhouettes that came from the depth of the horizon, as if flying over the sands.. They had on top of their heads a pyramid of pots of yoghurt, that looked from afar like very high chimneys ... and their veils floated in this gold [hue] that was ablaze' - Fahrlenissa ZeidLinear ImpressionsAdila Laïdi-Hanieh, PhD.This stunning work marks an important phase in Fahrelnissa Zeid's life and artistic output. As the wife of a member of the Hashemite royal family of Iraq, she visited the country for the first time in 1938, then in 1944. Her sojourns resulted in a prolific output of visual impressions, captured in sketchbooks held by her estate. The existence of this unique sketch from that period, and its availability for sale is a remarkable occurrence. Fahrelnissa Zeid was eager to know her new country. From her Baghdad base, she undertook excursions to Babylon and Nineveh, and a deeply affecting pilgrimage to the holy city of Karbala. She was so affected by the sadness and fervour she experienced around the shrine of Imam Hussein that she painted it for days, capturing the mosques' architecture, and the crowds of pilgrims. These two motifs are found in this sketch, in the background. Occupying the centre of the paper plane is an important motif in Fahrlenissa Zeid's painterly trajectory, that led to her eventual abstract turn. The woman at the centre is found in many of her paintings of from the mid-1940s, titled Bedouins Selling Yoghurt and Bedouin Women. In fact, these women were not Bedouin, but rural ma'eediyyats, who sell fresh homemade gaimar, a clotted cream made from water buffalo milk, a popular breakfast staple in Iraq and the Near East. These women were a common sight at dawn in Iraq in the spring and summer seasons. They walked from homes to markets, piling high on their heads the cream's measuring and serving pots made from round metal containers or palm baskets. The first sight of these strangely clad women to a Fahrlenissa Zeid who had lived only in Istanbul and Europe, would have a lasting influence. She would attribute her late 1940s turn towards abstraction first to her experience of transatlantic air travel in 1949, and to seeing the rapidly receding colourful landscape from above. Lesser known, is the second factor: The sight of advancing and vanishing 'Bedouin' women: 'Another souvenir that played a role in my abstract evolution was during my first trip to the orient in Baghdad. I saw in the great expanses, the Bedouins 'fly' ... from my window, I saw from dawn the very distant road, coloured orange in the morning. This is how I saw six or seven silhouettes that came from the depth of the horizon, as if flying over the sands. I was petrified. They had on top of their heads a pyramid of pots of yoghurt, that looked from afar like very high chimneys ... and their veils floated in this gold [hue] that was ablaze. I ran to the window, but they had already passed.... This little event played a role in my abstract painting... While looking at the Bedouin women, I was seeing space, speed and movement.' This unique work bears the trace of the quintessential Fahrelnissa Zeid gesture: Her sharp rapid thrusting line that turns then returns, criss-crosses and swarms the pictorial plane. In the interstices of the lines are ellipses of light that create depth in the folds of an abaya, in the coloured glass of a mosque window, and in the curve of a cheekbone. This drawing, is a visual record of Iraq, but it is also a study of colour, volume and motion. Always eschewing ethnographic details from her figurative works, Fahrelnissa Zeid juxtaposes here two striking scenes from her travels, and melds the pile of pots into a blue jet foregrounding the central figure. Thus, the central figure anticipates both her turn towards the abstract in the late 1940s, and the hieratic female figures of her 1980s Amman portraits.For further information on this lot please visit Bonhams.com
Lot 1042
PESNE, ANTOINE1683 Paris - 1757 BerlinTitel: Portrait der Louise Albertine Freifrau von Grappendorf (1729-1753) als Flora. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 146 x 112cm. Rahmen/Sockel: Rahmen. Literatur:E. Berckenhagen et al.: Antoine Pesne, Berlin 1958, S. 140, Nr. 136a mit Abb.Provenienz:Kunstsammlung Schloß Demerthin, Brandenburg, seit 1. H. 19. Jh.;1945 ausgelagert nach Schönefeld:im Rahmen der Bodenreform Überführung in das Volkseigentum der DDR;Märkisches Museum, Berlin, seit 1948;1992 an die Familie der Einlieferer restituiert, seitdem weiterhin als Leihgabe ausgestellt im Märkischen Museum."Schönste Seele im hübschesten Leibe" - so beschreiben Zeitgenossen Louise Albertine von Grappendorf, geb. von Brandt, und alle stürzen in tiefe Trauer, als sie mit nur 24 Jahren am 28.11.1753 auf einer Reise nach Schwedt plötzlich verstirbt.Oberjägermeister Wilhelm Hilmar von Grappendorf hat Louise Albertine zu seiner zweiten Gemahlin gewählt. Mit ihrer Jugend und Schönheit bringt sie als Hofdame in der ersten Hälfte des 18. Jahrhunderts Glanz und Anmut an den Hof der Prinzessin Luise Amalie von Preußen und der Königinmutter Sophie Dorothea, der Mutter von Friedrich II. Wahrscheinlich stammt aus dieser Zeit der Auftrag an den preußischen Hofmaler Antoine Pesne, Freifrau von Grappendorf zu malen.Antoine Pesne entscheidet sich dafür die hübsche, junge Frau als Göttin der Blumen und Jugend abzubilden. Er steht damit in der Tradition berühmter Künstler wie Rembrandt oder Tizian, welche die Göttin Flora ebenso als junges Mädchen inmitten ihrer Blüten zeigt.Allerdings wählt der Künstler eine gleichermaßen göttliche wie andeutungsweise leicht frivole Darstellung der jungen Dame als Flora. Er setzt sie als Dreiviertel-Figur federleicht auf Wolken und kleidet sie in ein kostbares, spitzenbesetztes, blaues Atlas-Gewand, welches - umrahmt von einer diagonal geführten Blumenschärpe - ihre linke Brust am üppigen Dekolleté herausblitzen lässt. Ihr Blick im strahlend-schönen Gesicht fixiert den Betrachter freundlich, beinahe verschwörerisch; dazu lächelt sie so anmutig, dass sich kleine Grübchen auf ihren Wangen bilden.Pesne läßt Louise Albertine von Grappendorf mit ihren Händen Blüten streuen, assistiert von einem kleinen Putto, der mit Schmetterlingsflügeln auf sie zuschwebt und ihr ein Blumenbukett bringt.Antoine Pesne zählt mit seinen zahlreichen Portraits der königlich preußischen Familie und der Angehörigen ihres Hofstaates zu den berühmtesten Malern seiner Zeit. Die offiziellen Auftragswerke folgen den hohen Erwartungen an den königlichen Hofmaler. Unser bezauberndes Bildnis der Louise Albertine von Grappendorf dagegen spricht schon die galante, intimere Bildsprache des Rokokos, welche Antoine Pesne zum Ende seines künstlerischen Schaffens für sehr nahe und vertraute Abbildungen von Personen wählt.Erläuterungen zum KatalogAntoine Pesne Frankreich Rokkoko Französische Schule 17./18. Jh. Originale Historische Personen Gemälde Allegorie PESNE, ANTOINE1683 Paris - 1757 BerlinTitle: Portrait of Louise Albertine Baroness von Grappendorf (1729-1753) as Flora. Technique: Oil on canvas. Mounting: Relined. Measurement: 146 x 112cm. Frame/Pedestal: Framed.Literature:E. Berckenhagen et al.: Antoine Pesne, Berlin 1958, p. 140, no. 136a with ill.Provenance:Art collection Schloß Demerthin, Brandenburg, since 1st half of the 19th C.;1945 moved to Schönefeld:Transfer to public ownership of the GDR within the course of the land reform;Märkisches Museum, Berlin, since 1948;Restituted to the family of the consignor in 1992, since then has remained on display as a loan in the Märkisches Museum."Schönste Seele im hübschesten Leibe" ("Most beautiful soul in the loveliest body") - is how contemporaries describe Louise Albertine von Grappendorf, born von Brandt, and everyone falls into deep mourning when she dies suddenly at the age of only 24 on 28.11.1753 on a trip to Schwedt.Master of Hunting Wilhelm Hilmar von Grappendorf had chosen Louise Albertine as his second wife. With her youth and beauty, she brought glamour and grace to the court of Princess Luise Amalie of Prussia and Queen Mother Sophie Dorothea, the mother of Frederick II, in the first half of the 18th century.It is probably from this period that the Prussian court painter Antoine Pesne was commissioned to paint Freifrau von Grappendorf.Antoine Pesne chose to depict the pretty young woman as the goddess of flowers and youth. In doing so, he follows the tradition of famous artists such as Rembrandt or Titian, who also depicted the goddess Flora as a young girl surrounded by flowers.However, the artist chooses an equally divine and suggestively slightly frivolous depiction of the young lady as Flora. He places her as a three-quarter figure light as a feather on clouds and dresses her in a precious, lace-trimmed, blue Atlas robe, which - framed by a diagonally guided flower sash - allows her left breast to flash out at her lush décolleté. Her radiantly beautiful face fixes the viewer with a friendly, almost conspiratorial gaze; she smiles so gracefully that small dimples form on her cheeks.Pesne has Louise Albertine von Grappendorf scatter flowers with her hands, assisted by a little putto who floats towards her with butterfly wings and brings her a bouquet of flowers.With his numerous portraits of the royal Prussian family and members of their court, Antoine Pesne is one of the most famous painters of his time. The officially commissioned works follow the high expectations of the royal court painter. Our enchanting portrait of Louise Albertine von Grappendorf, on the other hand, already speaks to the gallant, more intimate pictorial language of the Rococo, which Antoine Pesne chose at the end of his artistic career for very close and familiar depictions of people.Explanations to the Catalogue
Lot 1092
SPITZWEG, CARLMünchen 1808 - 1885Titel: Der Wäscheplatz vor der Kleinstadt. Wäschebleiche in Meran mit Küchelberg im Hintergrund. Datierung: Um 1879. Technik: Öl auf Karton. Maße: 40 x 20cm. Rahmen/Sockel: Rahmen. Rückseitig:Auf dem Karton Etikett mit handschriflicher Bestätigung und Nachlassstempel: "Ich bestätige hiermit, dass dies Bild 'Die Waschbleiche' von Carl Spitzweg gemalt ist / Otto Spitzweg" sowie Etikett der Galerie Heinemann, München mit der Nummer 11345.Literatur: H. Uhde-Bernays: Carl Spitzweg. Des Meisters Leben und Werk. 5. Aufl. München 1919, Abb. 49;F.v. Ostini: Aus Carl Spitzwegs Welt. Barmen 1924, S. 17;G. Roennefahrt: Carl Sptizweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle. München 1960, Nr. 1447;S. Wichmann: Carl Spitzweg. Verzeichnis der Werke: Gemälde und Aquarelle, Stuttgart 2002, S. 474, Nr. 1252. Hier mit weiteren Angaben zu Literatur und Provenienz.Provenienz:Galerie Xaver Scheidwimmer, München;Versteigerung Koller, Zürich, 11.11.1981, Nr. 5097 mit Abb.;Privatbesitz, Österreich, 1983-1990;Privatbesitz, Deutschland.In diesem Gemälde zieht Carl Spitzweg alle Register seiner Kunstfertigkeit: zunächst stellt er in biedermeierlicher Manier eine sonnendurchflutete Szene an einer alten Stadtmauer mit Stadtgraben dar. Im Vordergrund wässert eine junge Frau weiße Bettlaken, daneben spielt ein Kind. Im Hintergrund staffeln sich Häuser mit roten Dächern und die imposante gotische Nikolaus-Kirche von Meran zu Füßen einer gewaltigen Felsabbruchkante, dem Küchelberg.Ein Motiv mit scheinbarer Alltagsidylle. Aber dieses Gemälde wäre nicht ein Meisterwerk von Spitzweg, wenn nicht eine Botschaft, eine Geschichte, in diesem Kunstwerk stecken würde:Die auf dem ersten Blick so leicht mit der Gießkanne hantierende junge Frau leistet in Wirklichkeit Schwerarbeit. Denn gleich nach dem Waschen wurden zu dieser Zeit die gewichtigen Wäschestücke unausgewrungen auf dem Gras ausgelegt und mit der Gießkanne ständig feucht gehalten, damit die Sonne die Stoffe strahlend weiß bleichen konnte.Die abgebildete Magd läuft also immer wieder zum Bach, der an der Stadtmauer entlang rauscht, um die Gießkanne erneut für ihre Tätigkeit zu füllen. Gleichzeitig passt sie auf das neben der Wäsche spielende Kind auf und verscheucht die Katze, die womöglich noch mit ihren Tatzen über die frischen Leinen läuft. Am Ende der Stadtmauer schlendert scheinbar uninteressiert ein Wachsoldat in Uniform. Allerdings sammelt er offensichtlich gerade seinen ganzen Mut. Soll er die junge Frau ansprechen?Beide sind so in ihrer Welt versunken, dass sie nicht bemerken, wie das ganze Geschehen vom viereckigen Wohnturm der Stadtmauer aus genauestens beobachtet wird. Hier beugt sich eine Gestalt genussvoll aus dem Fenster und betrachtet neugierig den Fortlauf der Geschichte.Und schon hat Spitzweg uns Betrachter in die Bildgeschichte hineingezogen. Wir genießen die wunderbaren Details seiner künstlerischen Handschrift, die handelnden Personen, die genau bestimmbaren Pflanzen, die Darstellung des südländischen Städtchens Meran innerhalb der Stadtmauern, das muntere Licht-Schattenspiel. Und gleichzeitig amüsieren wir uns über die versteckten Andeutungen des Künstlers. Zu gerne würden wir in einer zweiten Variante des Bildes erfahren, wie die Geschichte ausgeht.Erläuterungen zum KatalogCarl Spitzweg Deutschland Münchner Schule 19.Jh. Gemälde Dorfleben Malerei Italien SPITZWEG, CARLMunich 1808 - 1885Title: Washing Place in front of the Town. Laundry bleach in Merano with the Küchelberg in the background. Date: Ca. 1879. Technique: Oil on card. Measurement: 40 x 20cm. Frame/Pedestal: Framed.Verso:On the card label with handwritten confirmation and estate stamp: "Ich bestätige hiermit, dass dies Bild 'Die Waschbleiche' von Carl Spitzweg gemalt ist / Otto Spitzweg" as well as label from Galerie Heinemann, Munich with the number 11345.Literature: H. Uhde-Bernays: Carl Spitzweg. Des Meisters Leben und Werk. 5th ed. Munich 1919, ill. 49;F.v. Ostini: Aus Carl Spitzwegs Welt. Barmen 1924, p. 17;G. Roennefahrt: Carl Sptizweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle. Munich 1960, no. 1447;S. Wichmann: Carl Spitzweg. Verzeichnis der Werke: Gemälde und Aquarelle, Stuttgart 2002, p. 474, no. 1252. Here with additional details to literature and provenance.Provenance:Galerie Xaver Scheidwimmer, Munich;Auction Koller, Zürich, 11.11.1981, no. 5097 with ill.;Private ownership, Austria, 1983-1990;Private ownership, Germany.In this painting Carl Spitzweg uses all the skills of his art: first he depicts a sun-drenched scene at an old city wall with a moat in Biedermeier style. In the foreground a young woman is washing white sheets, next to her a child is playing. In the background, houses with red roofs and the imposing Gothic Church of St. Nicholas in Merano are staggered at the foot of a huge cliff, the Küchelberg.A motif with an apparent everyday feel. But this painting would not be a masterpiece by Spitzweg if there were not a message, a story, in this work of art:The young woman using the watering jug so lightly at first glance is in fact doing hard work. For at that time, immediately after washing, the weighty pieces of laundry were laid out unwringed on the grass and kept constantly damp with the watering can so that the sun could bleach the fabrics brilliant white.So the depicted maid keeps running to the stream that rushes along the city wall to fill the watering can again for her job. At the same time, she keeps an eye on the child playing next to the laundry and shoos away the cat that may still be running its paws over the fresh linen. At the end of the city wall, a guard soldier in uniform strolls seemingly uninterested. However, he is obviously gathering all his courage. Should he approach the young woman?Both are so absorbed in their world that they do not notice how the whole event is being closely observed from the square residential tower of the city wall. Here a figure leans out of the window with relish and curiously watches the story unfold.And already Spitzweg has drawn us viewers into the pictorial story. We enjoy the wonderful details of his artistic handwriting, the characters, the precisely identifiable plants, the depiction of the southern town of Merano within the city walls, the lively play of light and shadow. And at the same time we are amused by the artist's hidden hints. We would love to find out how the story ends in a second version of the painting.Explanations to the Catalogue
Lot 1095
PREYER, EMILIEDüsseldorf 1849 - 1930Titel: Früchtestillleben. Technik: Öl auf Leinwand. Maße: 17,5 x 23cm. Bezeichnung: Signiert unten rechts: Emilie Preyer. Rahmen/Sockel: Rahmen. Rückseitig:Auf dem Keilrahmen Galerieetikett Kunsthaus Bühler, Stuttgart.Literatur: S. Weiß & H. Paffrath (Hrsg.): PREYER. Johann Wilhelm 1803-1889 und Emilie 1849-1930. Mit den Werkverzeichnissen der Gemälde von Johann Wilhelm und Emilie Preyer, Köln 2009, S. 174, Nr. 73.Provenienz:Privatsammlung, Deutschland, erwoben bei Galerie Paffrath, Düsseldorf.Die Stillleben Emilie Preyers sind in ihren reduziert konzentrierten Arrangements und ihrer akribisch naturgetreuen Darstellungsweise überzeitlich. Die Düsseldorfer Künstlerin, die vor allem bei Ihrem Vater Johann Wilhelm Preyer die Malerei erlernt hatte, die aber auch inoffizielle Akademie-Schülerin bei dessen Professoren-Kollegen sein durfte, begeisterte zu ihren Lebzeiten und bis heute mit ihren handwerklich so brillanten kleinformatigen Arbeiten, die sich nie einer Modernität unterwarfen.Das hier vorliegende Gemälde ist ein ganz typisches Werk der Malerin.Auf einer parallel zum unteren Bildrand ausgerichteten und von den seitlichen Bildrändern überschnittenen Tischplatte, die mit einem weißen Damasttischtuch bedeckt ist, liegt die herbstliche Ernte: überreife, teilweise leicht aufgeplatzte Pflaumen mit Zweig und Blättern, blaue und helle Trauben, eine halbe Aprikose und zwei Haselnüsse.Die harmonische Farbwirkung, die reduzierte Komposition vor dem neutralen, nur durch den Lichteinfall akzentuierten Hintergrund aber besonders die meisterliche Darstellung der Oberflächen fasziniert. Emilie Preyer behandelt die Bügelfalten und die leichten Stauchungen des Tischtuchs mit derselben Aufmerksamkeit wie die unterschiedlichen Reifegrade und Oberflächen der Früchte und die süßen Safttropfen, die eine Fliege angelockt haben. Die Schöpferin dieses Augenschmauses gehört zu den wenigen Malerinnen, die im 19. Jahrhundert von ihrer Malerei leben konnten. Ihre Bilder sind heute in nationalen wie internationalen Sammlungen und Museen vertreten.Erläuterungen zum KatalogEmilie Preyer Deutschland Düsseldorfer Schule 19.Jh. Gemälde Stillleben Malerei Obst PREYER, EMILIEDüsseldorf 1849 - 1930Title: Fruit Still Life. Technique: Oil on canvas. Measurement: 17,5 x 23cm. Notation: Signed lower right: Emilie Preyer. Frame/Pedestal: Framed.Verso:On the stretcher gallery label Kunsthaus Bühler, Stuttgart.Literature: S. Weiß & H. Paffrath (eds.): PREYER. Johann Wilhelm 1803-1889 und Emilie 1849-1930. With the catalogue raisonné of the paintings by Johann Wilhelm and Emilie Preyer, Cologne 2009, p. 174, no. 73.Provenance:Private collection, Germany, acquired from Galerie Paffrath, Düsseldorf.Emilie Preyer's still lifes are supra-temporal in their reduced, concentrated arrangements and their meticulously naturalistic style of depiction. The Düsseldorf artist had studied painting primarily with her father Johann Wilhelm Preyer, but was also allowed to be an unofficial pupil of his professor colleagues at the academy. She inspired throughout her lifetime and to this day with her brilliantly crafted small-format works, which never submitted to modernity.The painting presented here is a very typical work by the painter.On a tabletop aligned parallel to the lower edge of the picture and overlapped by the lateral edges, which is covered with a white damask tablecloth, lies the autumnal harvest: overripe, partly slightly burst plums with twig and leaves, blue and light grapes, half an apricot and two hazelnuts.The harmonious colour effect, the reduced composition in front of the neutral background, accentuated only by the incidence of light, but especially the masterly depiction of the surfaces is fascinating. Emilie Preyer treats the creases and slight compressions of the tablecloth with the same attention as the different degrees of ripeness and surfaces of the fruit and the sweet drops of juice that have attracted a fly. The creator of this feast for the eyes is one of the few women painters who were able to make a living from her painting in the 19th century. Today, her paintings are represented in national and international collections and museums.Explanations to the Catalogue
Lot 1117
MAUFRA, MAXIME ÉMILE LOUIS1861 Nantes - 1918 PoncéTitel: Remorquage sur l'Oise, l'Ile-Adam. Datierung: 1901. Technik: Öl auf Leinwand. Maße: 57,5 x 81cm. Bezeichnung: Signiert und datiert unten links: Maufra 1901. Rahmen/Sockel: Rahmen. Rückseitig: Bezeichnet auf dem Keilrahmen: "Remorquage sur l'Oise (Ile Adam) / D.R. No. 2608 2886". Hier zudem ein Aufkleber mit Angaben zum Werk.Dem Werk liegt eine Expertise von Caroline Durand Ruel-Godfrey, Genf, vom 28. Februar 2012, bei. Die Arbeit wird in das sich in Vorbereitung befindliche Werkverzeichnis der Gemälde aufgenommen.Literatur:V.E. Michelet: Maufra, peintre et graveur, Paris 1908, S. 32, mit Abb.;J. Le Paul: Gauguin and the Impressionists at Pont Aven, New York 1987, S. 170/171, mit Abb.Provenienz:Durand Ruel, Paris (direkt vom Künstler 1901 erworben);Durand Ruel, New York (Inv. Nr. 2608);Galerie Salis & Vertes, Salzburg;Privatbesitz, Deutschland.Inspirationen für seine nachimpressionistische Malerei erhält der Autodidakt Maxime Maufra unter anderem von den Werken Camille Pissarros, Alfred Sisleys und den Künstlern der Schule von Pont-Aven wie Gustave Loiseau und Henry Moret. Er teilt mit den Impressionisten die Vorliebe für das Licht und die Klarheit, entwickelt jedoch eine eigene Ausdrucksweise. So malt er seine lyrischen Landschaften ohne starke Effekte oftmals in zarten aber auch in kräftigen Farben, mit denen er stets die Schönheit der Natur veranschaulichen will. Dies tut er auch in unserem Gemälde. Mit lichtem Kolorit gibt er eindrucksvoll die Stimmung der sonnenbeschienenen Flusslandschaft wieder. Dabei löst er die Formen durch die nebeneinandergesetzten Pinselstriche auf und schafft auf der Bildebene ein facetten- und kontrastreiches Farbsystem, das sich beim Betrachten in unserem Auge zu einem großen Ganzen zusammenfügt.Erläuterungen zum KatalogMaxime Émile Louis Maufra Frankreich Französischer Impressionismus Moderne Kunst Gemälde Fluss Malerei Frankreich MAUFRA, MAXIME CAMILLE LOUIS1861 Nantes - 1918 PoncéTitle: Remorquage sur l'Oise, l'Ile-Adam. Date: 1901. Technique: Oil on canvas. Measurement: 57,5 x 81cm. Notation: Signed and dated lower left: Maufra 1901. Frame/Pedestal: Framed.Verso:Inscribed on the stretcher "Remorquage sur l'Oise (Ile Adam) / D.R. No. 2608 2886". Here additionally a label with details about the work.Enclosed is an expertise by Caroline Durand Ruel-Godfrey, Geneva, from 28th February 2012. This work will be included in the catalogue raisonné of paintings currently in preparation.Literature:V.E. Michelet: Maufra, peintre et graveur, Paris 1908, p. 32, with ill.;J. Le Paul: Gauguin and the Impressionists at Pont Aven, New York 1987, pp. 170/171, with ill.Provenance:Durand Ruel, Paris (acquired directly from the artist 1901);Durand Ruel, New York (inv. no. 2608);Galerie Salis & Vertes, Salzburg;Private ownership, Germany.The self-taught Maxime Maufra drew inspiration for his Post-Impressionist painting from the works of Camille Pissarro, Alfred Sisley and the artists of the Pont-Aven School such as Gustave Loiseau and Henry Moret. He shared with the Impressionists a preference for light and clarity, but developed his own style of expression. Thus he painted his lyrical landscapes without strong effects, often in delicate but also in strong colours, with which he always wanted to illustrate the beauty of nature. This is also what he does in our painting. With light colours he impressively reproduces the mood of the sunlit river landscape. In doing so, he dissolves the forms through the juxtaposed brushstrokes and creates a multifaceted and contrast-rich colour system on the picture plane, which, when we look at it, comes together in our eye to form a great whole.Explanations to the Catalogue
Lot 1140
ZÜGEL, HEINRICH VON1850 Murrhardt - 1941 MünchenTitel: Kälber im Sonnenlicht. Technik: Öl auf Leinwand. Maße: 60 x 80cm. Bezeichnung: Signiert und datiert unten rechts: H.v. Zügel 914. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland.Heinrich von Zügel gehört neben Lovis Corinth, Max Liebermann und Max Slevogt zu den bedeutenden deutschen Impressionisten. 1850 in Murrhardt geboren, wurde er ab 1869 von Heinrich von Rustige und Bernhard von Neher zum Tier- und Genremaler ausgebildet. Zwei Jahre später ging er nach München um bei Anton Braith zu lernen. Im Laufe seiner Karriere tendierte Heinrich von Zügel immer mehr zum Impressionismus. Dabei beherrschte er insbesondere das Spiel zwischen Licht und Schatten, welches seine Arbeiten zum Leben erweckt.Das vorliegende Gemälde zeigt drei Kühe vor einem Futtertrog. Das Licht zieht sich kaleidoskopisch durch das gesamte Bild, sodass die Kühe sich trotz des breiten Farbauftrags nicht nur zu bewegen scheinen, sondern auch der Eindruck erweckt wird, das Rascheln der Blätter im Wind zu hören.Von Zügels Gemälde sind trotz der einfachen Motive heimischer Tiere doch immer wieder faszinierend. 1893 erhielt er auf der Großen Berliner Kunstausstellung eine kleine Goldmedaille und wurde nur zwei Jahre später als Professor an die Kunstakademie München berufen. Heinrich von Zügel starb 1941 in München im Alter von 90 Jahren.Erläuterungen zum KatalogHeinrich von Zügel Deutschland Münchner Schule Münchner Sezession 1.H. 20.Jh. Gemälde Tiere Gemälde ZÜGEL, HEINRICH VON1850 Murrhardt - 1941 MunichTitle: Calves in Sunlight. Technique: Oil on canvas. Measurement: 60 x 80cm. Notation: Signed and dated lower right: H.v. Zügel 914. Frame/Pedestal: Framed.Provenance:Private ownership, Germany.Along with Lovis Corinth, Max Liebermann and Max Slevogt, Heinrich von Zügel is one of the most important German Impressionists. Born in Murrhardt in 1850, he was trained as an animal and genre painter by Heinrich von Rustige and Bernhard von Neher from 1869. Two years later he went to Munich to study under Anton Braith. In the course of his career Heinrich von Zügel tended more and more towards Impressionism. He particularly mastered the play between light and shadow, which brings his works to life.The present painting shows three cows in front of a feeding trough. The light runs kaleidoscopically through the entire painting, so that the cows not only seem to move despite the broad application of paint, but the impression is also created of hearing the rustling of the leaves in the wind.Von Zügel's paintings are always fascinating, despite their simple motifs of native animals. In 1893 he received a small gold medal at the Great Berlin Art Exhibition and was appointed professor at the Munich Art Academy only two years later. Heinrich von Zügel died in Munich in 1941 at the age of 90.Explanations to the Catalogue
Lot 1151
PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitel: Das Picknick im Wald. Technik: Öl auf Leinwand. Maße: 116 x 96cm. Bezeichnung: Signiert unten rechts: Otto Pippel. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland.Otto Pippel zählt heute zu den bedeutendsten Spätimpressionisten aus dem süddeutschen Raum. Zu seinen Motiven gehören insbesondere das städtische Leben Münchens an berühmten Orten wie dem Englischen Garten, dem Hofgarten oder dem Hirschgarten. Aber auch Stadtveduten, Figuren, Stillleben und Landschaften finden sich in großer Anzahl in seinem Oeuvre wieder. In dieser Fine Art-Auktion können wir vier Arbeiten anbieten, die die Vielfalt der Natur- und Stadtdarstellungen Pippels in seinem unverkennbaren, pastosen Umgang mit Farbe sowie sein malerisches Lichtspiel aufzeigen. Der Künstler wurde 10. Februar 1878 in Lódz geboren. Sein Studium begann er an der Kunstgewerbeschule in Karlsruhe, musste dieses jedoch durch einen Dienst im russischen Heer unterbrechen. 1905 setzte er sein Studium zunächst in Karlsruhe bei Julius Hugo Bergmann und Friedrich Fehr fort, bevor er in den Jahren 1907 und 1908 in Dresden bei Gotthardt Kuehl studierte, der ihn an den Impressionismus heranführte. Im Rahmen einer Studienfahrt nach Paris machte der junge Otto Pippel Bekanntschaft mit den ortsansässigen Impressionisten und beschäftigte sich mit dem Malstil des großen Claude Monets, den er fortan zu einem eigenständigen Impressionismus weiterentwickelte. Otto Pippels Stil zeichnet sich aus durch einen charakteristischen pastosen Farbauftrag und seine malerischen Landschaftsstimmungen, die die Betrachtenden in seine vielschichten Farbwelten hineinzuziehen scheint. Erläuterungen zum KatalogOtto Eduard Pippel Deutschland Münchner Schule Impressionismus 1.H. 20.Jh. Gemälde Familien Gemälde Bürgerliches Leben PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitle: Picnic in the Forest. Technique: Oil on canvas. Measurement: 116 x 96cm. Notation: Signed lower right: Otto Pippel. Frame/Pedestal: Framed.Provenance:Private ownership, Germany.Otto Pippel today ranks among the most important late Impressionists from southern Germany. His motifs include in particular the urban life of Munich in famous places such as the English Garden, the Hofgarten or the Hirschgarten. But also city scenes, figures, still lifes and landscapes can be found in large numbers in his oeuvre. In this Fine Art auction we are able to offer four works which show the variety of Pippel's depictions of nature and cities in his unmistakable, painterly handling of colour as well as his painterly play of light. The artist was born in Lódz on 10 February 1878. He began his studies at the Kunstgewerbeschule in Karlsruhe, but had to interrupt them due to service in the Russian army. In 1905 he continued his studies in Karlsruhe under Julius Hugo Bergmann and Friedrich Fehr, before he studied in Dresden under Gotthardt Kuehl in 1907 and 1908, who introduced him to Impressionism. During a study trip to Paris, the young Otto Pippel became acquainted with the local Impressionists and studied the painting style of the great Claude Monet, which he further developed into an independent Impressionism. Otto Pippel's style is characterised by a characteristic impasto application of paint and his painterly landscape moods, which seem to draw the viewer into his multi-layered worlds of colour. Explanations to the Catalogue
Lot 3
A Loetz style iridescent green glass vase, of bulbous form with spotted papillon pattern throughout, together with a Kralik style iridescent green bowl designed with applied tubing decor, both unsigned, tallest 8.8 cm high x 10.9 cm wideCondition report: no breaks on either, some light surface wear, mainly to the bases
Lot 123
Hornby Dublo 00 Gauge 2-Rail 2030 Good Train Set and Accessories, Set comprising BR green Bo Bo Diesel D8017, five wagons, oval of track, rail clips, Instructions, Meccano Magazine application and two guarantee slips in original box, VG, box F, base good, two lid corners loose and tears on side, together with 2400 TPO Set, 4627 Salt wagon, 4615 Double Bolster wagon and open wagon, in original box, unboxed Level Crossing, Buffers (3), small quantity of track and three points, Signal, Marshall Transformer and Tri-ang Colour Light Signal, generally G, boxes F-G (qty)
Lot 133
Hornby-Dublo 00 Gauge 3-Rail Locomotives Passenger and Goods Rolling Stock Accessories and track, L30 BR Bo-Bo Diesel D8000 with instructions, in original blue striped picture box, unboxed, BR black Class 8f 48158 with instructions, short maroon Suburban coaches (3), tin and super detail rolling stock (17), Colour Light Signals (2), Semaphore Signals (3), Station Staff (6), Destination Boards, Train Labels, blue Hoarding, various switches, quantity of Track and points, Instructions booklet and various leaflets, other accessories including Merit Trees, Coal Stathes, Platform accessories, Animals, Airfix House, Hut and Figures, Master Models Figures, Platform Timetable and Advert, F-G (qty)
Lot 158
Trix 00 Gauge pre and post war Train Set and Accessories, BR Train Set comprising black 0-4-0 Tank Loco and three BR blood and custard coaches, additional pre-war LMS 4-wheel coaches (3) LMS open wagons (2), Guards Van, SR Refrigerator Van, NE open wagon, Shell Oil tank wagon, Derelict Coach and various accessory boxes (empty), in original LNER Suburban Passenger Train box No 4/314 set, pre-war wooden Footbridge, in light grey with mid grey trim (1) and cream with yellow trim (1), over track wooden Signal Box, all in plain card boxes, metal Manyways Wayside Station, in original box and unboxed pre-war Wooden Water Tower and metal buffers, Electric Signal and various Transformers and Controllers and quantity of track, some boxed, F-VG, boxes F-G (qty)
Lot 159
Trix Train Set and Accessories LMS Dining Car, LMS Brake 3rd, Bogie Brick Wagon, Bogie Bolster wagon and Tarpaulin Truck, all in original boxes, unboxed LNER black 0-4-0 Tender Locomotive No 103, LMS (2) and NE (1) open wagons, quantity of loose Track and point (boxed), Transformer and two Controllers (one boxed), together with possibly French maker over track non operating Colour Light Signal, F-VG, boxes F-G (qty)
Lot 215
Faller and other makers HO Gauge Buildings Scenery and Accessories, 368 Trees in blossom (9 trees in three boxes), 384 Hedges, 4062 Road Signs (part used), 367 Small Trees, 503 Hydrozell plaster, 670 Light fitting (8) and 527 Fencing, all in original boxes, kitbuilt buildings, House, Goods Store/Freight Depot, Church, Chapel, Station Halt and Signal Box, Faller 1967 and later Catalogue, unmade Superquick two-road Engine Shed, Signal Box and Coal Office and Low Relief Shops, Pavement and Brick sheets G-VG, most boxes appear complete and buildings generally undamaged, boxes G-VG (qty)
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