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Lot 1
MÄRKLIN Stuttgarter Hauptbahnhof 1930-1954, Spur 0/H0, handgemalte Blechausführung auf braunfarbenem Sockel und beigefarbener Fassade, bestehend aus Turmteil, Art.-nr. 2039, L 48, 5 cm und Hallenteil, Art.-nr. 2038, L 36 cm, je abnehmbare, grüne Dächer mit Kupfertönung, Glühbirnen für die Innenbeleuchtung lose anbei, nachgebildete Turm- und Fassadenuhren, aufgesteckte Fahne, Unterseiten je gestempelt 'Märklin Germany', Artikelnummern je neben dem Eingängen gestempelt, tlw. Lackabplatzer, Altersspuren. Zwei Orig-Schachteln anbei.| MÄRKLIN main station of Stuttgart 1930-1954. track 0/H0, hand-painted sheet metal design on a brown-colored base and beige-colored facade, consisting of a tower part, item no. 2039, L 48.5 cm and hall part, item no. 2038, L 36 cm, each removable, green roof with copper tint, light bulbs for the interior lighting are loosely attached, replica tower and facade clocks, attached flag, undersides are stamped 'Märklin Germany', article numbers are stamped next to the entrances, some flaked paintwork, traces of age . Two orig boxes attached.
Lot 2
MÄRKLIN Kran und Klingel, um 1950, Spur H0, bestehend aus Kran "451" mit Hebemagnet, Kugelhaken und Beleuchtung, starke Alters- und Gebrauchsspuren, tlw. Lackabplatzer, H ca. 29 cm; mit zwei Schaltpulten im Orig-Karton, dazu elektrifizierte Klingel, gelb lackiert, Lack rissig, besch., H 6 cm. beide mit geprägtem "Märklin"-Firmenlogo, Fkt. nicht geprüft.| MÄRKLIN crane and bell, around 1950, track H0, consisting of crane "451" with lifting magnet, ball hook and lighting, strong signs of age and wear, partly flaked paintwork, height approx. 29 cm; with two control panels in original box, with electrified bell, painted yellow, cracked paint, dam., height 6 cm. both with embossed "Märklin" company logo, function not checked.
Lot 54
Augustus Welby Northmore Pugin (British, 1812-1852): A rare silvered and gilt plated brass and copper three light candelabrumby John Hardman & Co., Birmingham, in the Gothic Revival style, circa 1840the twin spiral scrolling arms flanking a matching central stem supporting bulbous gadrooned drip pans with scalloped plain galleries centred by plain cylindrical candle nozzles, all issuing from a central decorative roundel with applied engraved shields bearing the assumed and unrecorded coat of arms for the Hardman family, on corresponding knopped gadrooned support and swept swirling gadrooned cusped circular base, 80cm high, 55cm wide, 24cm deep approximatelyFootnotes:ProvenanceJohn Hardman Snr., made for John Hardman Jnr. (1812-1867), thence by descent.Neil Phillips, John Hardman Studio, Lightwoods House, Birmingham.With the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, 21st February 2013 (INV 33052).LiteratureThe Journal of Design and Manufactures, II, 1849, p. 52.P. Atterbury & C. Wainwright (eds), Pugin - A Gothic Passion, Exhibition Catalogue, Victoria & Albert Museum 1994, pub. Yale University Press, p. 237, pl. 44. ExhibitedExhibition of Industrial Arts and Manufacturers, Birmingham, 3rd September to 15th December 1849.Arguably one of the most talented and prolific designers of the 19th century, A.W.N. Pugin was an architect, draughtsftsman and designer, antiquary and collector, and artist and critic. Today he is recognised as the trailblazing pioneer of the revival of the Gothic style in Great Britain with a modus operandi derived less from a mere aesthetic but more from exacting religious and moral principles. As the architect of numerous high-profile public and domestic ecclesiastical and secular building commissions in England, Ireland, and Australia, he was also responsible for their interiors and furnishings, collaborating with several individually chosen manufacturers on the design and production of furniture, ceramics, books, textiles, wallpapers, and as with the present lot, metalware. However, his defining commission for the interiors of the Palace of Westminster was ironically instigated via a competition for the commission made by the architect Sir Charles Barry who turned to Pugin for his assistance with the drawings for the proposal. Initially the young Pugin was paid £400 by Barry for assisting with preliminary drawings but as the construction of the Palace progressed, Barry began to rely more heavily on him for the design and execution of the interior furnishings and fittings which ranged from the wall panelling and colour schemes down to the metalwork including the lighting and the door furniture. Pugin's earliest ventures into designing for the medium of metalwork were in the mid 1820's when he met the goldsmith John Gawler Bridge of Rundell, Bridge and Rundell. However, as the company were known for their revivalist historical styles including Rococo and 'Romanticised Gothic', their output was never particularly authentic and consequently few, if any, of Pugin's designs were probably ever realised, despite the existence of archival evidence of sketches showing his involvement with the company. John Hardman & Co. and John Hardman JuniorIn 1835, Pugin's conversion to Catholicism finally provided him with an opportunity to design and produce more purist metalwork pieces whilst undertaking a commission for the seminary of St Mary's College, Oscott. It was at the seminary that Pugin most likely met John Hardman Junior who was a member of a prominent Roman Catholic metalwork manufacturing family, John Hardman & Co. in Birmingham. Hardman Junior and Pugin became close friends sharing a commitment to the revival of their religion and practice. Their subsequent collaboration was responsible for bringing to fruition the majority of Pugin's important designs for precious and base metalwork pieces.Although the pair concentrated on recreating archaeological metalware designs of cathedral and church furnishings, few resources existed documenting domestic metalware forms in the Medieval period. As Pugin had previously dismissed the random application of perceived period detail applied superficially as 'patterns of Brumagen gothic' he was not inclined to 'imagined' Medieval objects to fill a gap in the market. However, he and Hardman inventively produced vessels and lighting of a type that would naturally satisfy this gap. Although it is estimated that as much as 95% of the church and other metalwork supplied by John Hardman & Co were in base metals, most of it being in brass in conjunction with copper, nickel or 'German silver ,' the quality of the gilding and silvering was so good it was often apparently extremely difficult for the firms' patrons to establish if the piece was made in a precious metal, in a base one or constructed in both materials. As a result of increased orders, including those from Charles Barry for the Palace of Westminster (all in base metal) which continued throughout the 1840s, Hardman Junior, although a partner in his father's metalworking company subsequently set up his own firm to provide 'Ecclesiastical Ornaments' from 1838. Continued important commissions and the preparation for the Birmingham Exhibition in 1849 and 1851 Great Exhibition also kept the business at full capacity during this period.In 1849 John Hardman & Co. worked alongside Crace and Co. and Herbert Minton, all of whom collaborated with Pugin at the Birmingham Exhibition of Manufacturers which was held in September of that year where the present lot was shown. An engraved plate with the inscription '(Altar Plate manufactured by Hardman & Co.; Silk Hanging by Crace and Son, London)' shows the candelabrum as the centrepiece of the display and was illustrated in the 'The Journal of Design and Manufacturers, II, 1849, p. 52. Although apparently conceived as an altar candelabrum, its Hardman Family provenance combined with the inclusion of an engraved decorative device assumed to be the unrecorded coat of arms for the Hardmans, demonstrate that its use was almost certainly exclusively secular. The arms were most likely designed by Pugin, who had previously created similar undocumented devices more for aesthetic purposes than from any recognised principles governed by the College of Arms. Indeed this imagined heraldry can perhaps be viewed as a token of Pugin's gratitude and goodwill towards his patron John Hardman junior. A comparable secular candelabrum in gilt brass and cut crystal glass designed by Pugin for the House of Lords circa 1850 also by John Hardman & Co Birmingham was subsequently exhibited at the 1851 Great Exhibition. However the 1849 Birmingham exhibition itself was a precursor of the 1851 Great Exhibition organised by Henry Cole and Prince Albert, both of whom had praised the work of Pugin and his manufacturers at the exhibition, causing Pugin to comment 'Our exposition at Birmingham was very creditable, has attracted a deal of attention, and done much good'. However the 1851 London Exhibition, known as the ''Great Exhibition of the Works of Industry of All Nations,'' held in Joseph Paxton's prefabricated 'Crystal Palace' was problematic for Pugin who was commissioned to design a Medieval Court due to his differences with the designer of such a modern glass and iron structure. Nevertheless, he worked har... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 132
Industrial and later lighting to include a lamp fashioned from an engine part, two vehicle lamps and a retro freestanding floor light with white painted cast iron base together with smaller meter, along with mixed lighting to include a clear glass chandelier and gilt wall lights, A/F, Location:
Lot 371
A 19th century tole ware tea caddy by W Duxbury, 75 Shudehill, Manchester, later converted to a table lamp, of typical cylindrical form, the cover applied with a gilt Greek key pattern frieze, above a painted panel depicting a harbour scene, 38cm high (excluding light fitting) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 372
An Art Deco style brass floor standing uplighter, late 20th century, the yellow moulded bowl set to a floral collar raised on a central reeded column with three rod supports, on spreading foot with six acanthus leaf roundels, 172.5cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 373
A Louis XVI style gilt metal chandelier, mid 20th century, the central column cast as a wicker effect basket with acanthus leaves, extending to four short and eight long curvilinear arms, 47cm high Condition report: 96cm diameter, chain intact, some minor blemishes and tarnishing to gilt, very minor rubbing to painted leaves. Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 375
A pair of decoupage effect table lamps, probably Vaughan of Chelsea, of baluster form with turned gilt wood foot and cap, each 55cm high including fitting, with a brass standard lamp, early 20th century, the fluted column with Corinthian capital, set to a stepped square pedestal base with paw feet, with conforming pleated shade, 141cm high overall (3)Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 411
'Ashthorpe Manor', a handmade, craftsman built dolls house modelled as a four storey Georgian manor house, with hinged real slate roof to three attic rooms, hinged one third/two third split front facade to entrance hall, six rooms and landings, each with wood effect floor, wired for lighting throughout, on purpose made wheeled cabinet, 158cm H x 123cm W x 51cm D overall
Lot 412
A handmade craftsman built dolls house by Bernardo Traettino dating to 1988, modelled as a three storey Georgian townhouse, with side hinged roof to two attic rooms, hinged front facade to two rooms, a hallway and a landing, with wood veneer parquet and board floors, wired for lighting throughout, on flagstone effect base board, 97cm H x 66cm W x 62.5cm D
Lot 404
CHANDELIER. A glass & crystal five branch chandelier. Drop from fitment 53cm. For safety, all used lighting should be checked & fitted by a qualified electrician.Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. Please note: Our shipping service is not available for this lot. We cannot offer in-house shipping for furniture, rugs etc. Buyer collect or collection on their behalf only.
Lot 406
1960's LAMPSHADE. Three 1960's glass pendant lampshades including a Scandinavian style cylindrical green glass shade. Height 37cm. For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 407
1960's LAMPSHADE. Two 1960's 'rise & fall' lampshades: a domed, orange lacquered aluminium shade with frosted glass centre & an aluminium circular shade (diffuser missing). Each 38cm diameter. For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 408
1960's LAMPSHADE. A 1960's lacquered aluminium, Scandinavian style, three tier pendant lampshade. Diameter 38cm. For safety, all used lighting should be checked & fitted by a qualified electrician. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 57
Artist: Henri Cartier-Bresson (French, 1908 - 2004). Title: "Behind the Gare St. Lazare". Medium: Original vintage photogravure. Date: Composed 1932. Printed 1953. Dimensions: Image size: 13 9/16 x 9 1/8 in. (344 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Although Cartier-Bresson noted that he did not prefer any one of his pictures to the others, historians regard “Behind The Gare Saint-Lazare” as his most iconic photograph. He took the black and white photograph in 1932 outside the Saint-Lazar train station in Paris. Color film did not exist at the time and professional photographers rarely used artificial lighting in their works. Regardless, the natural skylight and the black and white lens add elements to the photograph that color and artificial lighting could not. Cartier-Bresson noticed the beautiful frame from the hardly visible architectural buildings in the background to the pool of rainwater in the foreground. Still, he needed a subject. He waited and waited until a busy businessman ran across the pool of water onto a broken and disregarded ladder. He snapped the picture just as the man was in the process of jumping from the ladder back into the water, adding a layer of contrast between the man’s hurry and the water’s stillness. [25078-3-800]
Lot 15
Carl Spitzweg - - 1808 München - 1885 München Einsiedler mit Mädchen. Um 1870. Öl auf Holz. Wichmann 831. Verso mit dem Nachlassstempel (Lugt 2307). 37,5 x 30 cm (14,7 x 11,8 in). • Provenienz aus dem Nachlass des Künstlers und lange im Besitz der erweiterten Nachkommenschaft. • Seltene Darstellung eines so jungen Einsiedlers, der sich wohl nur zu gerne ablenken lässt. • Weitere Eremiten-Gemälde befinden sich in der weltweit größten und bedeutendsten Spitzweg-Sammlung des Museums Georg Schäfer, Schweinfurt. • Am Grotteneingang verwendet Spitzweg das von ihm als Apotheker selbst kreierte, einmalige leuchtende Coelinblau - vom Spitzweg-Kenner Jens Christian Jensen als 'Himmelsaugen' beschrieben. • Faszinierend gelungene Kombination landschaftlicher Gestaltung, theatraler Lichtführung und szenischer Fantasie im reifen Werk Spitzwegs. Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Aus dem Nachlass des Künstlers. Sammlung Major Karl Loreck (angeheirateter Neffe des Künstlers), München (verso mit dem handschriftlichen Namenszug, bis mindestens 1986 in Familienbesitz). Privatsammlung Süddeutschland. AUSSTELLUNG: Carl Spitzweg und die französischen Zeichner. Daumier-Grandville-Gavarni-Doré, Haus der Kunst, München, 23.11.1985-2.2.1986, S. 396, Nr. 749 (mit Abb.), S. 502. Über einen längeren Zeitraum hinweg entwickelt Carl Spitzweg das Motiv des Einsiedlers, dessen Figur er in immer neue landschaftliche und szenische Variationen einbindet. Er zeigt ihn in die Andacht oder in die theologische Diskussion versunken, aber auch bei so profanen Tätigkeiten wie dem Stricken oder Gänserupfen und schließlich den sinnlichen Genüssen des Lebens nachgebend, wie Violine spielend, bei der Weinprobe, oder dem Zauber des weiblichen Geschlechts erliegend. Auch der Eremit ist eine der charakteristischen Sonderlings-Figuren, die in Spitzwegs Oeuvre so liebevoll wie treffend beschrieben werden. Sein Interesse hat durchaus auch einen zeitgeschichtlichen Hintergrund. So setzt sich der hochgebildete und wissbegierige Spitzweg, im Zuge des nach der Säkularisation wiedererstarkenden klösterlichen Lebens und den Reformbewegungen, mit den Ordensregeln der Benediktiner auseinander, die Askese, Armut und Keuschheit gebieten. In seinen Notizen hebt er gerade die durch enthaltsame Einkehr entstehende reformatorische Kraft hervor. Etliche dieser Eremiten-Variationen entstehen zwischen 1865-70, wobei sich nach und nach auch das Motiv der Versuchung oder des verliebten Einsiedlers einstellt. So schließen sich diese Gemälde einer langen kunsthistorischen Tradition an, die auf die Legende des vom Teufel in Versuchung geführten heiligen Antonius verweist. Unter anderem wird dem Eremiten das Trugbild einer schönen Frau präsentiert, um seine asketische Lebensweise auf die Probe zu stellen (vgl. Spitzwegs Gemälde „Die Vision des Einsiedlers“ und „Versuchung des Hl. Antonius“, Wichmann 832, 833). Ein Freund des Theaters, sind Spitzwegs Kompositionen immer auch gekennzeichnet von genauer Beobachtungsgabe menschlicher Verhaltensweisen und körperlichem Ausdruck seelischer Regungen. In bühnenhafter Beleuchtung, die Ebenen des Raums kulissenhaft hintereinanderstaffelnd, inszeniert er hier genau den Moment des Aufschreckens, als der noch junge Einsiedler die beiden herannahenden Mädchen bemerkt. Bemerkenswert ist auch der geschickte Einsatz bunter Farbigkeit: In der tonigen Landschaft verteilt Spitzweg hier und da Akzente in wiederkehrendem Blau, Rot und Grün, etwa in der blauen Vase, den roten Seiten des Buches, Blumen und Brunnentrog sowie nicht zuletzt dem Gewand der beiden Mädchen. Vor dem in der Höhe sich öffnenden Grotteneingang erscheinen die beiden Gestalten wie Himmelsbotinnen oder insgeheim herbeigesehnte weibliche Gesellschaft. [KT] Aufrufzeit: 17.06.2021 - ca. 17.18 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg -1808 München - 1885 München Einsiedler mit Mädchen. Um 1870. Oil on panel. Wichmann 831. With the estate stamp on the reverse (Lugt 2307). 37.5 x 30 cm (14.7 x 11.8 in). • From the artist's estate and in possession of his extended family for a long time. • Rare depiction of such a young hermit who is only too happy to be distracted. • Further hermit paintings can be found in the world's largest and most important Spitzweg collection at the Georg Schäfer Museum, Schweinfurt. • At the entrance to the cave Spitzweg uses the unique glowing cobalt cerulean blue that he had created as a pharmacist - Spitzweg expert Jens Christian Jensen calls it 'the eyes of heaven'. • Fascinating combination of landscape, dramatic lighting and fantasy in Spitzweg's mature work. We are grateful to Mr Detlef Rosenberger, who eyed the original work, for his kind support in cataloging this lot. PROVENANCE: From the artist's estate. Collection Major Karl Loreck (teh artist's nephew in-law), Munich (with the name on the reverse, family-owned until at least 1986). Private collection Southern Germany. EXHIBITION: Carl Spitzweg und die französischen Zeichner. Daumier-Grandville-Gavarni-Doré, Haus der Kunst, Munich, November 23, 1985 - February 2, 1986, p. 396, no. 749 (with illu.), p. 502. Called up: June 17, 2021 - ca. 17.18 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 331
Emil Nolde - - 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Friesisches Bauernhaus und Windmühle. Um 1920. Aquarell. Links unten signiert. Auf Japan. 36,5 x 50 cm (14,3 x 19,6 in), blattgroß. [SM]. • Die Marsch in mystischer Abenddämmerung. • Großformatiges Aquarell. • Seit 60 Jahren in Familienbesitz. PROVENIENZ: Sammlung Dr. Nielsen, Flensburg (bis 1960, Stuttgarter Kunstkabinett, 20./21.5.1960). Privatsammlung (1960 vom Vorgenannten erworben, seither in Familienbesitz). LITERATUR: Stuttgarter Kunstkabinett, 35. Auktion, 20./21.5.1960, Los 454. 'So sind auch seine Landschaftsbilder - nun ganz im Sinne der romantischen Landschaftskunst eines Caspar David Friedrich - nicht bloße Stimmungsbilder, auch keine Spiegelungen zufälliger atmosphärischer Erscheinungen im Ablauf des Jahres oder Tages, sondern wahre 'Seelenlandschaften', freier und unmittelbarer Ausdruck des künstlerischen und menschlichen Erlebens.' Martin Urban, in: E. Nolde. Landschaften. Aquarelle und Zeichnungen, Köln 1969, S. 7. Dunkle Abendwolken am Himmel, sanfter noch gespiegelt im Wasserlauf des Watts, sie erzeugen die intensive Vorstellung einer Abendbeleuchtung. In diesem Einwirken der unmittelbar bildhaft-sinnlichen Verläufe der Farben und der daraus entwickelten Vorstellung dieser typischen Marschlandschaft liegt die eigentliche Kraft und Faszination dieses Motivs. Die Grenze zwischen noch bloßer Farbe und schon gegenständlicher Darstellung ist hier offen und fließend, wird nur durch die kraftvoll vorgetragene schwarze Linie existent: So lässt Nolde das übersteigerte Violettrot der Ferne an das satte Grün der Weiden stoßen, gibt dem roten Backsteinhaus architektonische Konturen und begrenzt den Priel, der wie ein echogebender Spiegel das Szenario fließend wiederholt, auch das über den schweren Regenwolken restliche Tageslicht im dunkelblauen Abendhimmel. Die Farben des Aquarells verlaufen und ziehen ein in das Papier, oft viel intensiver und oft auch ganz anders als in der Natur. Aber sie stehen für die Empfindung eines Natureindrucks, den Nolde mit materiell, aufgetragenen Aquarellfarben sucht, mit Farben auf das vom Künstler Gesehene hinweisen möchte. „Vor der Natur waren meistens die vollen, satten Farbenklänge meine Freude. Doch auch zuweilen bewegten mich die zarten und zartesten Vorgänge. […] Dann auch wieder eigentümlich sind die Tage mit dem unendlichen Grau, dem schleswigschen Grau: die Wolken grau, der Himmel grau, die Menschen grau und ihrer aller Gemüt“, so Emil Nolde über ‚seine‘ Landschaft, die ihn zutiefst bewegt (zit. nach: Emil Nolde, Mein Leben, Köln 1993, S. 333). Noldes dynamische Sicht auf die nahe Umgebung seines Wohnhauses in Utenwarf lässt ihn fortwährend über die fließenden Grenzen des Motivs hinauswirken und eine eindrückliche, malerisch sinnliche Malerei entstehen. [MvL] Aufrufzeit: 18.06.2021 - ca. 18.02 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).ENGLISH VERSIONEmil Nolde -1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Friesisches Bauernhaus und Windmühle. Um 1920. Watercolor. Signed in lower left. On Japon. 36.5 x 50 cm (14.3 x 19.6 in), the full sheet. [SM]. • Marshland in mystical evening twilight. • Large-size watercolor. • Family-owned for 60 years. The expertise was not at hand before printing. PROVENANCE: Collection Dr. Nielsen, Flensburg (presumably until 1960) Private collection. LITERATURE: Stuttgarter Kunstkabinett, May 20/ 21, 1960, 35th auction, lot 454. 'His landscapes - now in the sense of the great landscape art of a Caspar David Friedrich - are not mere atmopsheric pictures, neither are they reflections of random atmospheric phenomena over the course of a year or a day, they are true 'soul landscapes', free and immediate expressions of an artistic and human sensation.' Martin Urban, in: E. Nolde. Landschaften. Aquarelle und Zeichnungen, Cologne 1969, p. 7. Dark evening clouds in the sky, gently reflected on the mudflats, creating an intense impression of evening lighting. The actual quality and fascination of this motif lies in the impact of the colors‘ sensual courses and the idea of the typical marsh landscape that the artist developed from it. The boundary between mere color and representational account is open and fluid here, it only exists in form of the powerful black line: Nolde lets the exaggerated violet-red in the distance clash with the lush green of the willows, gives the red brick house architectural contours and delimits the tidal channel, which, like an echoing mirror, repeats the scenario, as does the remaining daylight above the heavy rain clouds in the dark blue evening sky. The colors, soaked up by the paper and dissolved, are much more intense and very different from their actual occurrence in nature. But they stand for the sensation of an impression of nature that Nolde sought to express with materially applied watercolors, with colors supposed to indicate what the artist saw in front of him. “Before nature, the full, rich color tones were my greatest joy. But sometimes I was moved by the most delicate processes. […] Then again, the days with the infinite gray, the Schleswig gray: the clouds gray, the sky gray, the people gray in both body and soul, ”said Emil Nolde about“ his ”landscape, that so deeply moved him (quote from: Mein Leben, Cologne 1993, p. 333). Nolde's dynamic view of the immediate surroundings of his house in Utenwarf allow him to work beyond the fluid boundaries of the motif and to create impressive and sensual art. [MvL] Called up: June 18, 2021 - ca. 18.02 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).
Lot 44
Andreas Achenbach - - 1815 Kassel - 1910 Düsseldorf Auf stürmischer See. 1894. Öl auf Leinwand. Links unten signiert sowie rechts unten signiert und datiert. 80 x 100 cm (31,4 x 39,3 in). • Dramatische Seenotrettung eines niederländischen Schiffs. • Einfallsreiche Lichtführung unterstützt die dramatische Szene. Wir danken der Galerie Paffrath, Düsseldorf, für die freundliche Auskunft. PROVENIENZ: Sammlung Kommerzienrat Korff, o. O. (bis 1928, Kunsthaus Lempertz, 2. Oktober 1928). Sammlung Theodor Johannsen, Wedel (wohl 1928 vom Vorgenannten erworben, seither in Familienbesitz). LITERATUR: Kunsthaus Lempertz, Sammlung Kommerzienrat Korff und anderer Besitz: Gemälde neuzeitlicher Meister; Versteigerung am 2. Oktober 1928 (Katalog Nr. 268), Los 2, mit SW-Abb. Tafel 16. Stürmisch braust die See. Die Wellen schlagen erbarmungslos gegen das Schiff, das gefährlich im Wasser hin und her schaukelt. Die Besatzung des niederländischen Schiffs kämpft mit den Masten und hat die rote Seenotflagge gehisst. Die gespannten Segel sind verzogen und verlangen jede Kraft um gehalten zu werden. Wagemutig nähert sich ein Rettungsboot und nimmt Mannschaftsmitglieder auf. Genauso dramatisch wie die Wellen formieren sich Wolkenberge am Himmel, die von der Sonne spannungsreich beleuchtet werden und so einen hellen Hintergrund für die im Dunkeln liegende Schiffsszene bieten. Fast schon grell erscheint der Kontrast und unterstützt so die atemberaubende Atmosphäre. Als Andreas Achenbach 1894 dieses Bild malt, ist er eine bedeutende Größe auf dem internationalen Kunstparkett und ein unübertroffener Meister der Marinemalerei. Früh wird sein Talent entdeckt und so beginnt er mit 12 Jahren seine Ausbildung an der Düsseldorfer Malerschule. Seinen ersten Erfolg hat er bereits 1831 mit der Darstellung des Akademiegebäudes. Im Laufe der Zeit treten jedoch architektonische Sujets zugunsten der Natur und insbesondere der See in seinen Gemälden zurück. Anstoß zu dieser Hinwendung gibt die Reise 1831/32 in die Niederlande, wo er in Kontakt mit der holländischen Landschaftsmalerei des 17. Jahrhunderts kommt. Der Durchbruch gelingt ihm sodann mit einem Marinebild 1836. Es folgen Reisen nach Skandinavien, zu den Alpen und ein mehrjähriger Aufenthalt in Italien. Zwischenzeitlich wohnt er in Frankfurt und München, ehe er 1847 endgültig nach Düsseldorf zurückkehrt. Hier residiert Achenbach als hochgeachteter Malerfürst und fördert Kunstvereine sowie das kulturelle Leben der Stadt. Trotz dieser vielfältigen Eindrücke bleibt die Faszination für das Meer bis an sein Lebendsende bestehen. [HO] Aufrufzeit: 17.06.2021 - ca. 17.57 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAndreas Achenbach -1815 Kassel - 1910 Düsseldorf Auf stürmischer See. 1894. Oil on canvas. Lower left signed and signed and dated in lower right. 80 x 100 cm (31.4 x 39.3 in). • Dramatic depiction of a sea rescue of a Dutch boat. • A sophisticated lighting underlines the dramatic scene. We are grateful to Galerie Paffrath, Düsseldorf, for the kind support in cataloging this lot. PROVENANCE: Collection Kommerzienrat Korff, no place (until 1928, Kunsthaus Lempertz, October 2, 1928). Collection Theodor Johannsen, Wedel (acquired from above presumably in 1928, ever since family-owned). LITERATURE: Kunsthaus Lempertz, Sammlung Kommerzienrat Korff und anderer Besitz: Gemälde neuzeitlicher Meister; auction on October 2, 1928 (catalog no. 268), lot no. 2, with black-and-white illu. on plate 16. Called up: June 17, 2021 - ca. 17.57 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 623
FRANCOIS-RAOUL LARCHE (1860-1912) ART NOUVEAU GILT- BRONZE «DANSEUSE LOIE FULLER A DEUX LUMIERES» LAMP SIOT - DECAUVILLE, circa 1900Signed, bearing the foundry seal, numbered 1782 Gilt-bronze table lamp H: 47.5 cm, L: 23.5 cm Provenance: Private collection, Monaco Raoul Larche’s bronze table lamps, modelled after Loie Fuller’s famous Serpentine Dance, are a stylistic masterpiece of Art Nouveau aesthetics. The Art Nouveau dancer and choreographer Loie Fuller (1862-1928) conquered the famous Parisian cabaret Folies-Bergère on her opening night on November 5, 1892, by transforming her dances into syntheses of movement, colour and music. The electric lighting, together with the complex set of mirrors she used on stage, illuminated her immense swirling skirt and evoked the fluid and organic forms of Art Nouveau. Artists and writers of her time praised her talent; her art was received with much acclaim as an aesthetic revolution. The famous dancer was the favourite subject of the brilliant sculptor Raoul Larche and a muse for other Art Nouveau artists such as François-Rupert Carabin, Jules Chéret, Alphonse Mucha, Henri de Toulouse-Lautrec, Théodore Rivière and Pierre Roche. Loie Fuller had her theatre at the 1900 Exposition Universelle in Paris; the architect Henri Sauvage designed it, and Francis Jourdain decorated it. The lamps created by Larche were available for sale in the pavilion that celebrated the icon. The lamps’ Loie Fuller’ are held in the museums’ collections, including the Museum of Modern Art in New York, the Virginia Museum of Fine Arts, and the Villa Stuck Museum in Germany.
Lot 852
This is a Steuben chandelier in pendant form with calcite acid cut back glass and bronze mounts. The unmatched lighting qualities of Steuben calcure was perfected in 1915 by Frederick Carder. Unlit, it has a creamy pearl like appearance which transforms when lit into a soft, golden yellow. Minor chip on rim.Size: 24 1/2 x 24 1/2 x 48 in. Please note that all sales are final. No refunds will be given under any circumstances.
Lot 829
A Dolls House Emporiun Charles Rennie Makintosh-style Scottish House and Furniture. Assembled from a kit made by the Dolls House Emporium of Ripley, Derbyshire as a tribute to the architect at the turn of the millenium. The house is fully furnished with the complete range of matching Mackintosh furniture released by the manufacturer to accompany the house. The range includes lighting, seating soft-furnishing and storage pieces all modelled on full size Mackintosh items found at the Glasgow School of Art, Hill House, the Argyle Street Tea Rooms and the couple?s home. The majority of the kit?s construction has been completed, while the roof needs completing, the interior lighting is installed but awaits connection and other minor details are still to add. Two drawer units of dolls? house hobby equipment relating to the house are included in the sale, as are two large tins of paint for the exterior and interior colours. Measures 900mm H x 1100mm W x 62mm D
Lot 4079
Royalty - Abstracts from Diaries, a late Victorian-Edwardian titled ink manuscript precis of a diary, dated from 1878 to 1910, inscribed over 32 sheets and presumably kept by a gentleman connected to the Royal Court - ?possibly a Guards officer, he records calling at Buckingham Palace with J. Snowden in April 1879 and records that Queen Victoria returned from Florence, going to Ascot with J. Hollis and Charles Lewis (recurring friends through the notes) and noting that he sold his black cob for £18; 2nd March 1882, Roderick Maclean's assassination attempt of Queen Victoria, our author went with the Mayor to the Castle (presumably Windsor) to present an address of congratulations for the monarch's escape; 27th April 1882, he attended the wedding of Prince Leopold, the Duke of Albany to Princess Helen von Waldeck und Pyrmont at St. George's, Windsor, and notes seeing the arrival of European royals and embraces on the platform; 20th October 1882 a detachment of 2nd Life Guards returned from Egypt, on 15th November a reception was held for the Duke of Connaught on his return from Egypt at the castle, six days later Queen Victoria distributed medals to 300 officers in the quadrangle, the torchlight welcome was concluded by a select few being entertained by John Brown beneath the dining-room; 28th March 1883, the death of John Brown; a year later, her son Prince Leopold at Cannes and our author attends the funeral procession from Windsor Station to St. George's Chapel with Queen Victoria in her carriage, the Prince of Wales (later Edward VII) and the Duke of Clarence on foot, and three bands of Guards, he was present at the funeral, too; between these notices he attends the theatre and an Electric & Gas Lighting Appliances display, takes his wife to London, attends the Lord Mayor's banquet, and makes typically English observations on the weather, etc., folio (33cm x 21cm), [1]
Lot 35
Ten Bachmann Branch-Line OO model railways including 31341 04 diesel shunter 11222 BR black, 31335 04 diesel shunter 11226 BR black, 33826A 25 ton Queen Mary brake van S&T Dept, 38040 31 tonne OBA open wagon EWS, 33857A 30 ton bogie bolster wagon LMS grey, 39290 BR mk1 FP Pullman first (with lighting) and 39300 BR mk1 SK Pullman Kitchen second (with lighting), each boxed, (7)
Lot 166
2012 London Olympic Games torch lantern, used specifically to preserve, protect and transport the Olympic Flame on its relay journey, type 6 brass and glass lantern with internal mesh and oil reservoir, with two applied plaques, one engraved with LONDON 2012 emblem and OLYMPIC TORCH RELAY, the other THE PROTECTOR LAMP & LIGHTING CO LTD ECCLES, TYPE 6, height 25cm. The lantern was used for transporting the Olympic flame from Athens to Great Britain. The torch relay embarked on its 70-day journey through Britain before arriving at the Olympic Stadium, London. Made and patented by the British firm The Protector Lamp & Lighting Company Ltd of Eccles, Manchester - the company which has been used for the safe transport of the Olympic flame for the past 30 years.
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