WILHELM I: (1797-1888) King of Prussia 1861-88 and the first German Emperor 1871-88. L.S., Guillaume PR, as Prince Regent, two pages, folio, Baden-Baden, 26th June 1860, to the King of the Two Sicilies, in French. The Prince Regent writes to inform King Francis II that he did not wish to leave the position formerly held by the Baron of Canitz, who had been called to other duties, vacant any longer then necessary and continues 'I have chosen the…..Count of Perponcher-Sedlnitzky, former Minister of Prussia at the Grand Ducal Court of Hesse, who recently completed an extraordinary mission in St. Petersburg, to sit with Your Majesty as an Envoy Extraordinary and Minister Plenipotentiary', further adding 'My knowledge of Count Perponcher's diplomatic talents and his diligence for the service, as well as his particular effort to cultivate the good relationships which have always existed between the two Courts and Governments, leaves no doubts about his ability to curry favour with Your Majesty'. Countersigned at the foot by Alexander von Schlenitz (1807-1885) Prussian Foreign Minister 1848, 1849-50, 1858-61. With blank integral leaf. Some very light, extremely minor creasing and one small, light circular stain affecting a small part of the text but not the signature, otherwise VGFrancis II (1836-1894) King of the Two Sicilies 1859-61.
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ANTONIONI MICHELANGELO: (1912-2007) Italian film Director and Author. Academy Award winner, also awarded with the Palme d´Or, Golden Lion and Golden Bear. T.L.S., `M. Antonioni´, one page, 4to, Rome, 30th January 1990, to Hank Kaufman, in Italian. Antonioni informs his correspondent about his filming issues and states `.. La Ciurma is still fully stopped because of production problems. The re-start of the filming is therefore postponed and sincerely I do not see light on the horizon. I will not fail to contact you if the film really goes ahead and if we will film in Miami.´ Accompanied by the original envelope, postmarked and stamped. Also accompanied by Kaufman´s response to Antonioni. Small traces of former staples to the upper left corner. G Antonioni started working on La Ciurma in 1982, but gave up the project in 1983. He would re-start working on it from 1988 to 1990. An American-Italian production under the new title The Crew. The project was definitively abandoned in 1990due to financial difficulties.
BATHURST HENRY: (1762-1834) 3rd Earl Bathurst. English Politician who served as Foreign Secretary 1809 and as Secretary of State for War and the Colonies 1812-27. A.L.S., Bathurst, two pages, 4to, Saltram [House, Plympton], 9th October 1822, to Hudson Lowe. Bathurst explains that he has been travelling and not been able to acknowledge receipt of his correspondent's letter earlier and continues to explain that the continuation of pensions from the widow to the daughters of general officers is met with difficulty, although adding 'But if the Duke of Wellington will make the application (and as General De Lancey served under him in the Peninsular, & it is for these services that the Pension is asked, the application ought to come from his Grace) I shall be very to review (?) it'. Bathurst also comments on a proposed memorial for a Lieutenant Colonel and writes that it is of so grave a nature 'that I should hesitate at any rate before I made such an application and I certainly do not think that the reason assigned by Lt. Col. Gorringer (?) sufficient, particularly as the Promotion was given to him on the termination of those duties for which he was rewarded'. With blank integral leaf. Some very light, extremely minor age wear, VGHudson Lowe (1769-1844) Anglo-Irish Soldier and Colonial Administrator, Governor of St Helena where he was the 'gaoler' of Napoleon Bonaparte.William Howe De Lancey (1778-1815) English Colonel who served during the Napoleonic Wars and died of wounds he received at the Battle of Waterloo.De Lancey and the Duke of Wellington were close allies and on the return of Napoleon Bonaparte from Elba, De Lancey was appointed deputy quartermaster-general of the army in Belgium, replacing Sir Hudson Lowe, whom Wellington disliked.Wellington was engaged in conversation with De Lancey on the battlefield when the Colonel received the wounds which ultimately led to his death. The Duke of Wellington described the events to Samuel Rogers such - 'De Lancey was with me and speaking to me when he was struck. We were on a point of land that overlooked the plain. I had just been warned off by some soldiers (but as I saw well from it, and two divisions were engaging below, I said "Never mind"), when a ball came bounding along en ricochet, as it is called, and, striking him on the back, sent him many yards over the head of his horse. He fell on his face, and bounded upwards and fell again. All the staff dismounted and ran to him, and when I came up he said, "Pray tell them to leave me and let me die in peace." I had him conveyed to the rear, and two days after, on my return from Brussels, I saw him in a barn, and he spoke with such strength that I said (for I had reported him killed), "Why! De Lancey, you will have the advantage of Sir Condy in 'Castle Rackrent'--you will know what your friends said of you after you were dead." "I hope I shall," he replied. Poor fellow! We knew each other ever since we were boys. But I had no time to be sorry. I went on with the army, and never saw him again' (from The Recollections of Samuel Rogers, 1856)One of De Lancey's two sisters, Susan, married Sir Hudson Lowe in December 1815.
LLOYD GEORGE DAVID: (1863-1945) British Prime Minister 1916-22. An unusual D.S., D Lloyd George, one page, 4to, n.p. (Paris?), 17th January 1920, on the blind embossed stationery of the British War Cabinet Offices at the Villa Majestic, Paris (struck through). The manuscript document, in an unidentified hand, is a statement prepared by Lloyd George as a birthday message to be printed in the Daily Graphic and states, in full, 'The tumult of human anger and unrest is settling down to an assured peace. The weather indications are becoming more and steadily more favourable'. Signed and dated by Lloyd George at the conclusion. With blank integral leaf. Some light age toning. Accompanied by a small news clipping from the Daily Graphic reproducing the message. G, 2
HOFFMANN HEINRICH: (1885-1957) German Photographer & Publisher, Adolf Hitler's official photographer and a member of his intimate circle. Hoffmann was tried and sentenced for war profiteering after World War II. An original pencil drawing signed by Heinrich Hoffmann on a 7 x 9.5 light brown card, the detailed and well-executed image depicting a Jewish gentleman in a half length semi-profile pose holding a chalice in one hand. Signed by Hoffmann at the base and with an inscription in his hand to Andreas Birner, in German, to the upper left corner. Beneath his signature Hoffmann has also drawn a small self-caricature showing him taking a photograph from beneath a dark covering with a camera and tripod. A light pencil sketch of the upper part of a man's head appears to the verso. Rare in this form. Two file holes to the left edge, one of which affects the drawing of the hand and with some slight corner creasing, about VGProvenance: The present drawing is accompanied by a certificate of provenance signed by Peter Birner in 2001 stating that Hoffmann presented them to his grandfather, Andreas Birner, who was commander of the German guards in the section of the Nuremberg prison in which Nazi war criminals were held by the International Military Tribunal whilst awaiting their Denazification Trials.
DI PRIMA DIANE: (1934- ) American Poet, associated with the Beat movement. T.L.S., Diane, one page, 4to, Sawyer's Bar, California, 11th October 1969, to 'Dearest Brother John', on the attractive printed stationery of the Poets Press Inc. of San Francisco. Di Prima writes a friendly letter, reporting on her recent activities, in part, '….I am now this minute sitting in a barn loft, typing by the light of a kerosene lamp, at Black Bear Ranch, which is about 10 bumpy hours by car from that little oasis of civilization and violence which is San Francisco. The ghosts of Oak Street became too much for me to cope with, the little neighbourhood (black) kiddies became too much for Mini & Alex [two of her five children] and then the FBI kept coming around to see me, so I cut out with the kids and Grant Fisher [her future second husband, whom she married in 1972]…..Hope to make the barn loft more or less snug with good heating stoves and rugs, it's a pleasant enuf space…..Maybe you'll come and visit us one day……I have got rid of Poets Press. I'm going to try out some of the things I wrote about in the Rev[olutionary] letters, & see what happens from there. I'm also going to write a lot of the shit I wanted to write, and forget about how much or little bread I get out of it all…..What else? except to say I love & miss you & wd like to hear…..' VGOn several occasions Di Prime faced charges of obscenity and in 1961 had been arrested by the Federal Bureau of Investigation for the publication of two poems. In 1969, the year of the present letter, Di Prima wrote a fictionalised, erotic account detailing her experience in the Beat movement entitled Memoirs of a Beatnik.
TUTTLE, RICHARD TUTTLE, RICHARD 1941 Rahway, NJ/USA Titel: Sentences IV. Aus der Serie: Twenty Floor Drawings. Untertitel: Mehrteilige Installation. Datierung: 1989. Technik: Mixed Media (Holz, Blech, Styropor, Eisenstangen, Leinwandstoff, Farbe, Draht, Tackerklammern, Lichterkette, Lampenfassungen und Glühbirnen). Maße: 180 x 180cm. Provenienz: - Galerie Schmela, Düsseldorf - Privatsammlung Nordrhein-Westfalen Ausstellungen: - ICA, Amsterdam 1991 - Institut Valencià d'Art Modern, 1992 - Sezon Museum of Art, Tokyo 1995 - Galerie Schmela, Düsseldorf 2002 - Museum of Modern Art, San Francisco 2005 - Whitney Museum of American Art, New York 2005/06 - Des Moines Art Center, 2006 - Dallas Museum of Art, 2006 - Museum of Contemporary Art Chicago, 2006/07 - Museum of Contemporary Art Los Angeles, 2007 Literatur: - Ausst.-Kat. Richard Tuttle - Twenty Floor Drawings, ICA, Amsterdam 1991, Abb. - Ausst.-Kat. Richard Tuttle - Selected Works: 1964 - 1994, Sezon Museum of Art, Tokyo 1995, S. 88, Nr. 73, Abb. - Ausst.-Kat. Richard Tuttle, Galerie Schmela, Düsseldorf 2002, Abb. - Ausst.-Kat. The Art of Richard Tuttle, Retrospektive Wanderausstellung, San Francisco 2005, S. 304, Abb. Richard Tuttle gilt als einer der wichtigsten und progressivsten Künstler der Nachkriegszeit. Er hat die Landschaft der zeitgenössischen Kunst revolutioniert, indem er immer wieder die Regeln und Vorstellungen von Genre und Medien in Frage stellt. Losgelöst von rationalen Festlegungen, sensibilisiert er den Betrachter für die Wahrnehmung und das Unbewusste und beschäftigt sich mit allen Aspekten der Kunst. Oft wird Richard Tuttle mit dem Kunstbegriff "Post-Minimalismus" in Bezug gebracht. Als junger Künstler der Pop-Bewegung und den Anfängen des Minimalismus ausgesetzt, beginnt Tuttle, die Möglichkeiten von Material und Form frei von historischen Anspielungen und Präzedenzfällen zu erforschen. Frühe Untersuchungen über die Verschmelzung von Malerei und Skulptur zeigen sich in seinen konstruierten Gemälden, welche in einem Schwellenraum zwischen den gewählten Medien existieren. Auch die Auseinandersetzung mit der Erweiterung des Begriffes der Zeichnung ist in seinem Werk allgegenwärtig. So schafft er bereits früh "Drahtzeichnungen" welche auf Nägeln direkt an die Wand gebracht werden. In seiner Serie "Twenty Floor Drawings" erweitert er den Begriff der Zeichnung in den Raum: Mit den auf den Boden liegenden oder an einer Wand stehenden "Skulpturen" erforscht er die mit einer Zeichnung verbundenen, traditionellen Zwänge in Bezug auf Material, Medium und Methode. Gekonnt stößt er diese um, wobei er eine Vielzahl traditioneller und nicht-traditioneller Verfahren anwendet. Die 1980er und 1990er Jahre markieren für Tuttle ein breiteres Experimentieren mit Material und eine Hinwendung zu installativen und raumfüllenden Arbeiten. Wie auch in der Arbeit "Sentences IV" beginnt er die Grenzen zwischen dem Kunstwerk und seinem es umgebenden Raum zu überwinden und somit eine neue individuelle Wahrnehmungserfahrung zuzulassen. Die intensive Auseinandersetzung mit Maßstab, Licht und Ausstellungssystemen, welche sich durch sein ganzes Werk hindurch fortsetzt, lässt sich anhand des vorliegendem Werk deutlich erfahren. Bewusst lehnt Tuttle die Rationalität und Präzision des Minimalismus ab und wendet sich einer handgefertigten Qualität und einer Neuerfindung der Form zu. Das Werk, welches aus der Aufeinanderstapelung seiner Bestandteile in sich selbst Stand erhält, krallt sich an Wand und Boden und besetzt den Raum durch seine Strahlkraft, Komplexität und Volumen. Tuttle zeichnet in dem Werk die Schönheit und Poesie aus bescheidenen Materialien und schafft es somit, dem Betrachter die Zerbrechlichkeit der Welt als Spiegel vorzuhalten. Erläuterungen zum Katalog Richard Tuttle USA Minimalismus Zeitgenössische Kunst Objekte 1980er Abstrakt Installation Mixed Media Licht TUTTLE, RICHARD TUTTLE, RICHARD 1941 Rahway, NJ/USA Title: Sentences IV. From the series: Twenty Floor Drawings. Subtitle: Multi-part installation. Date: 1989. Technique: Mixed Media (wood, sheet metal, styrofoam, iron rods, canvas, paint, wire, staples, chain of lights, lamp holder and bulbs). Measurement : 180 x 180cm. Provenance: - Galerie Schmela, Düsseldorf - Private collection North Rhine-Westphalia Exhibitions: - ICA, Amsterdam 1991 - Institut Valencià d'Art Modern, 1992 - Sezon Museum of Art, Tokyo 1995 - Galerie Schmela, Düsseldorf 2002 - Museum of Modern Art, San Francisco 2005 - Whitney Museum of American Art, New York 2005/06 - Des Moines Art Center, 2006 - Dallas Museum of Art, 2006 - Museum of Contemporary Art Chicago, 2006/07 - Museum of Contemporary Art Los Angeles, 2007 Literature: - Exhibition catalogue Richard Tuttle - Twenty Floor Drawings, ICA, Amsterdam 1991, ill. - Exhibition catalogue Richard Tuttle - Selected Works: 1964 - 1994, Sezon Museum of Art, Tokyo 1995, p. 88, no. 73, ill. - Exhibition catalogue Richard Tuttle, Galerie Schmela, Düsseldorf 2002, ill. - Exhibition catalogue The Art of Richard Tuttle, Retrospektive Wanderausstellung, San Francisco 2005, p. 304, ill. Explanations to the Catalogue Richard Tuttle USA Minimalism Contemporary Art Sculptures 1980s Abstract Installation Light
BÉOTHY, ETIENNE BÉOTHY, ETIENNE 1897 Heves/Ungarn - 1961 Paris Titel: Ionisation À 3 Tours, Forme Nucléaire II. Untertitel: (Rhytmoplastique). Datierung: 1950 (Entwurf). Technik: Bronze, hellbraun patiniert. Maße: 30 x 35 x 14,5cm. Bezeichnung: Signiert und bezeichnet am unteren Rand: EBéothy EA 5/6. Gießerstempel: Hier zudem Gießerstempel: Blanchet Fondeur. Exemplar: EA 5/6. Sockel/Rahmen: Sockel (14,5 x 14,5 x 4cm; Gesamthöhe: 34,5cm). Provenienz: - Erdész Galéria, Szentendre (Aufkleber) - Galerie Franka Berndt, Paris - Privatsammlung Hessen Literatur: - Vgl. Passuth, Krisztina: Étienne Beothy - Le sculpteur de la série d'or, Budapest 2011, WVZ.-Nr. Opus 112. Erläuterungen zum Katalog Etienne Béothy Ungarn Abstraktion Moderne Kunst Objekte 1950er Formen Skulptur Bronze BÉOTHY, ETIENNE BÉOTHY, ETIENNE 1897 Heves/Hungary - 1961 Paris Titel: Ionisation À 3 Tours, Forme Nucléaire II. Subtitle: (Rhytmoplastique). Date: 1950 (Design). Technique: Bronze, patinated light brown. Measurement: 30 x 35 x 14,5cm. Notation: Signed and inscribed at the lower edge: EBéothy EA 5/6. Foundry Mark: Here additionally foundry mark: Blanchet Fondeur. Number: EA 5/6. Frame/Pedestal: Base (14,5 x 14,5 x 4cm; Total height: 34,5cm). Provenance: - Erdész Galéria, Szentendre (label) - Galerie Franka Berndt, Paris - Private collection Hesse Literature: - Cf. Passuth, Krisztina: Étienne Beothy - Le sculpteur de la série d'or, Budapest 2011, cat. rais. no. Opus 112. Explanations to the Catalogue Etienne Béothy Hungary Abstraction Modern Art Sculptures 1950s Shapes Sculpture Bronze
LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Titel: Ohne Titel. Datierung: 1980. Technik: 121 quadratische, konkave Spiegel auf gewölbter Plexiglasscheibe mit Holzrückwand in Plexiglaskastenrahmen. Maße: 71,5 x 71,5 x 10cm. Bezeichnung: Signiert und datiert verso: Luther 80. Provenienz: - Galerie Löhrl, Mönchengladbach - Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Adolf Luther Deutschland OP Art Kinetische Kunst ZERO Nachkriegskunst Objekte 1980er Licht Objekt Mischtechnik Spiegel LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Title: Untitled. Date: 1980. Technique: 121 rectangular, concave mirrors on curved plexiglass panel with wooden rear panel in plexiglass frame. Measurement: 71,5 x 71,5 x 10cm. Notation: Signed and dated verso: Luther 80. Provenance: - Galerie Löhrl, Mönchengladbach - Private collection North Rhine-Westphalia. Explanations to the Catalogue Adolf Luther Germany OP Art Kinetic Art ZERO Post-War Art Sculptures 1980s Light Object Mixed media Mirror
LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Titel: Ohne Titel. Untertitel: Hohlspiegelobjekt. Datierung: Ca. 1973. Technik: 20 Hohlspiegel, quadratisch, konkav. Holzrückwand, Holzrahmung (Dibondplatten mit Aluminium verblendet), Aluminiumstreifen, Acrylglasabdeckung. Maße: 75 x 93 x 5,5cm. Bezeichnung: Nummernvermerk verso: 73/905. Zu diesem Werk liegt ein Zertifikat der Adolf Luther Stiftung/Stiftung für konkrete Kunst, Krefeld, vom 24.9.2020 vor. Es ist dort unter der Werkverzeichnisnummer HSP 73 007 registriert. Provenienz: - Privatsammlung Nordrhein-Westfalen (direkt vom Künstler). Erläuterungen zum Katalog Adolf Luther Deutschland OP Art Kinetische Kunst ZERO Nachkriegskunst Objekte 1970er Licht Objekt Mischtechnik Spiegel LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Title: Untitled. Subtitle: Hollow mirror object. Date: Ca. 1973. Technique: 20 hollow mirrors, rectangular, concave. Wooden rear panel, wooden framed (dibond platted with aluminum veneer), aluminium stripes, acrylic glass cover. Measurement: 75 x 93 x 5,5cm. Notation: Number reference verso: 73/905. Accompanying the work is a certificate from Adolf Luther Stiftung/Stiftung for concrete art, Krefeld, from 24.9.2020. It is registered under the cat. rais. no HSP 73 007. Provenance: - Private collection North Rhine-Westphalia (directly from the artist). Explanations to the Catalogue Adolf Luther Germany OP Art Kinetic Art ZERO Post-War Art Sculptures 1970s Light Object Mixed media Mirror
LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Titel: Zwei Steh-Linsen. Beschreibung: Jeweils: Zwei konvexe, transparente Hohlspiegel in Kunststoffhalterung auf Metallstange. Mit Erdanker und Kunststoffummantelung. Ca. 280 bzw. 277 x Ø 63 x 10cm. Eine Linse signiert und datiert oben auf der Halterung: Luther 87. Provenienz: - Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Adolf Luther Deutschland OP Art Kinetische Kunst ZERO Nachkriegskunst Objekte 1980er Licht Objekt Mischtechnik Spiegel LUTHER, ADOLF LUTHER, ADOLF Krefeld 1912 - 1989 Title: Zwei Steh-Linsen. Beschreibung: Each: Two concave, transparent hollow mirrors in synthetic holders on metal rod. With ground fixing and synthetic coating. Ca. 280 resp. 277 x Ø 63 x 10cm. One lens signed and dated top on the holder: Luther 87. Provenance: - Private collection North Rhine-Westphalia. Explanations to the Catalogue Adolf Luther Germany OP Art Kinetic Art ZERO Post-War Art Sculptures 1980s Light Object Mixed media Mirror
PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westfalen - 2014 Berlin Titel: Ohne Titel. Datierung: 1972. Technik: Mischtechnik (Feuergouache) auf bedrucktem Karton. Montierung: Auf dickem Karton aufgezogen (150 x 100cm). Maße: 146 x 96,5cm. Bezeichnung: Signiert und datiert unten Mitte: Piene(eingekreist) 72. Rahmen/Sockel: Rahmen. Provenienz: - Galerie Schoeller, Düsseldorf (Aufkleber) - Unternehmenssammlung Deutschland Feuer, Rauch und Licht sind Wirkungselemente in der Kunst von Otto Piene, die eng miteinander verbunden sind. Ende der 1950er Jahre entstehen die ersten Rauchzeichnungen auf Papier, in denen Rauch einer Kerze oder Petroleumlampe als bildnerisches Gestaltungsmittel eingesetzt wird. Daraus entwickelt Otto Piene in den 1960er Jahren die sogenannten Feuerbilder. Sie zeigen Krusten und Blasen, die beim Anbrennen von Fixativ, Pigment und Ölfarbe auf Leinwand oder Karton entstehen. Die Kraft der Flammen formt oder zerstört nicht nur das von ihr erfasste Material, ihr Ruß wird als bildnerisches Gestaltungsmittel eingesetzt und kann Farbe teilweise ganz ersetzen. Hierbei kommen Momente wie Zeit und das Prozesshafte der experimentellen bildschöpferischen Mittel ins Spiel. In Feuer- und Rauchbildern schreibt sich unwiderruflich die einst stattgefundene Aktion ein. Diese ist nur bis zu einem gewissen Grad kontrollierbar, und auch der Verfallsprozess entwickelt eine eigenständige Dynamik. Der Vorgang des Abbrennens hat für Piene dabei nichts Dekonstruktives an sich, sondern ist für ihn ganz im Gegenteil "ein Prozess, der Neues schaffen kann". Durch das In-Brand-Stecken von Farbe werden Pienes Feuergouachen der späten 1960er- und 1970er-Jahre zunehmend assoziativ als Blumen, Pflanzen etc. lesbar und meist über die Vergabe von Titeln zusätzlich inhaltlich deutbar. Welchen spielerischen und gleichzeitig expressiven Ausdruck Piene seinen Werken geben kann, macht das vorliegende Werk deutlich, das zusätzlich durch seine Größe beeindruckt. Erläuterungen zum Katalog Otto Piene Deutschland Zero Lichtkunst Nachkriegskunst Unikate 1970er Abstrakt Papierarbeit Mischtechnik Feuer PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westphalia - 2014 Berlin Title: Untitled. Date: 1972. Technique: Mixed media (fire gouache) on printed cardboard. Mounting: Mounted on thick cardboard (150 x 100cm). Measurement: 146 x 96,5cm. Notation: Signed and dated lower centre: Piene (circled) 72. Frame/Pedestal: Framed. Provenance: - Galerie Schoeller, Düsseldorf (label) - Corporate collection Germany. Explanations to the Catalogue Otto Piene Germany ZERO Light Art Post-War Art Post War 1970s Abstract Works on paper Mixed media Fire
PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westfalen - 2014 Berlin Titel: Ohne Titel. Datierung: 1976. Technik: Mischtechnik (Feuergouache) auf Leinwand. Maße: 24 x 30cm. Bezeichnung: Signiert und datiert verso: Piene(eingekreist) 76. Rahmen/Sockel: Modellrahmen. Provenienz: - Galerie Löhrl, Mönchengladbach - Privatsammlung Nordrhein-Westfalen (2003 von vorheriger erworben). Erläuterungen zum Katalog Otto Piene Deutschland Zero Lichtkunst Nachkriegskunst Unikate 1970er Abstrakt Gemälde Mischtechnik Feuer PIENE, OTTO PIENE, OTTO 1928 Laasphe/Westphalia - 2014 Berlin Title: Untitled. Date: 1976. Technique: Mixed media (fire gouache) on canvas. Measurement: 24 x 30cm. Notation: Signed and dated verso: Piene (circled) 76. Frame/Pedestal: Craftman's frame. Provenance: - Galerie Löhrl, Mönchengladbach - Private collection North Rhine-Westphalia (2003 previously acquired). Explanations to the Catalogue Otto Piene Germany ZERO Light Art Post-War Art Post War 1970s Abstract Painting Mixed media Fire
A Victorian diamond and enamel heart brooch pendant, the diamond and turquoise-set bow suspends a blue enamel heart locket pendant, set with old circular-cut diamonds in silver and gold, 5.2cm high, fitted case by Tessier Condition report: A really pretty example generally all in very good condition for age, a little light wear to diamonds, to be expected.
A George III novelty silver jockey cap caddy spoon, by Elizabeth Morley, London 1798, bright-cut decoration, length 4.7cm, approx. weight 0.1oz. Provenance: A Private Collection. Purchased from Julian Pawle Limited, New Bond Street, London 7 February 1991. Condition Report: Marks are good, gauge is a little light, details of the decoration are good, a shallow dent in near the button and the bowl is slightly misshaped, there are some small nicks in the edges and overall fine surface scratches.
A Gentleman's gold 'Instantaneous' perpetual calendar wristwatch by Daniel Roth, the signed skeletonised dial with black Roman numerals, three subsidiary dials indicating date, day and month, blued steel hands, signed 27 jewel automatic movement, barrel-form case with stepped bezel and skeleton back, caseback signed and numbered 119.X.40. 16301, Numero 33, case 48mm, on a blue leather signed strap with gold buckle clasp, box and papers Condition reports: Working (although not guaranteed at the time of purchase). Generally in very good condition with only light wear commensurate with having been worn.
A Kay Bojesen Solvsmedie silver and Amazonite brooch, oval cast in relief with flower border, set with central Amazonite, roundel, stamped marks, 5.5cm. wide Condition report: structurally sound, no dents, splits or signs of repair. the pin catch is copper i think original. the stone has some light surface wear otherwise ok. Nice clear stamped makers marks.
A Georg Jensen silver neck ring and rock crystal pendant designed by Vivianna Torun Bulow-Hube, model no. 169, the pendant model no.132, streamlined form, set with rock crystal panel, stamped marks and Torun, 16.5cm. wide. 13ozt (neck ring), (2) Literature Georg Jensen Jewellery, BGC/Yale an example illustrated on the back cover. Condition report: no damage detected, no chips, cracks or repairs- some light surface wear and tarnish. the piece has nice clear markers marks to the back. the pendant ok with light surface wear wear commensurate with age - nice clear marks,
A Georg Jensen silver brooch designed by Kristian Mohl-Hansen, model no.166, rounded form stamped in low relief with a bird and vine design, stamped factory marks, 5.5cm. wide. Condition report: no damage detected, no signfiicant dents,splits or repairs just some light surface scratches. the brooch has nice factory marks to reverse.
A Georg Jensen silver ring designed by Vivianna Torun Bulow-Hube, model no.150, angular, solid form, stamped factory marks, size J Condition report: the ring is not circular so difficult to size but has been on a client's finger which is size J. No damage detected, light wear to marks commensurate with age.
An Art Nouveau diamond-set flower brooch, centred with an old circular-cut diamond, with shaded polychrome enamel decoration, with further rose-cut diamonds to the border, 2.8cm wide Condition report: Really pretty example. Minor areas of surface enamel loss/wear to the edges of the leaves which is only visible with magnification and does not detract. Otherwise only light scratches/minor wear commensurate with age and use. Pendant fittings.
A George III novelty silver hand caddy spoon, by Josiah Snatt, London 1805, the terminal with engraved decoration and initials, length 7cm, approx. weight 0.2oz. Provenance: A Private Collection. Purchased from Julian Pawle Limited, New Bond Street, London, 7 February 1991. Condition Report: Marks are good but some wear to the lion passant, gauge is a little light, details of the decoration are good, some fine surface scratches.
A pair of Georg Jensen silver candlesticks designed by Harald Nielsen, model no.747B, circular disc base with cylindrical necks, stamped marks, 5.5cm. diam. 2.5ozt. (2) Condition report: no damage detected, no dents, cracks or repairs just some mlight surface scratches for light use. the factory marks are nice and clear.
A Georg Jensen silver brooch designed by Henning Koppel, model no.325, pierced and cast abstract form, stamped factory marks, 5.6cm. wide Condition report: structurally sound with no damage detected, no cracks, splits or repairs. there is light surface wear commensurate with age and light wear to the factory marks on the back.
A natural pearl ring, the silver pearl set with diamonds to the shoulders in platinum, size P 1/2 Accompanied by report number 04100 dated 10 May 2011 from The Gem & Pearl Lab stating that the button-shaped cream/white to light grey pearl weighs 11.45cts, measures 11.7 - 12.1mm and is natural saltwater. Condition report: Off-round pearl with a few natural blemishes visible in images. Lustre ok but not great. Colour changes from almost white underneath to silver on top (see images). Mount all fine.
A tourmaline and diamond-set gold ring by Tiffany & Co, the mixed-cut tourmaline set within pierced shoulders with diamond crosses, signed Tiffany & Co, size L, case Condition reports: Stamped 750 and c2000 to inside shank. Tourmaline a little loose in mount with a little surface wear including a scratch. Only light wear to mount commensurate with being worn. Tiffany box and outer Tiffany cardboard box.
A Georg Jensen silver brooch designed by Georg Jensen, model no.65 oval pierced and cast in low relief with a bell flower stem, stamped factory marks, import hallmarks for London 1948, 5cm. wide Condition report: no damage detected, no dents, splits or signs of repair, light surface wear commensurate with age, nice marks to back with hallmarks.
A ceramic and white gold 'LOVE' bracelet by Cartier, the interconnecting white gold and black ceramic loops on black silk bracelet, 20cm, Cartier case and outer case Accompanied by Cartier certificate. Condition report: A patina of very light scratches commensurate with age and wear but generally in good condition.
![Coin, GB, Elizabeth II, 1967 gold sovereign, 22mm, 8g, BU with a few light surface scratches, [1]](https://cdn.globalauctionplatform.com/cd84c7f2-5ae3-46ab-8d60-ac4d00ef1f74/c22779d9-5637-45c3-b0d4-ac8000d271e8/468x382.jpg)
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