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Lot 4013
Taschenuhr: außergewöhnliche Rotgold-Savonnette Glashütter Herkunft, möglicherweise Schuluhr, signiert S. Schwarzschild/Frankfurt am Main 1899, No.18658: Ca. Ø52mm, ca. 99g, 14K Rotgold, guillochiert, alle 3 Deckel aus Gold, Staubdeckel mit Widmung aus dem Jahr 1899, Gehäuse und Werk nummerngleich 18658, Glashütter Präzisionsankerwerk mit graviertem Kloben und Goldanker, verschraubtes Minutenrad-Goldchaton, Platine signiert, originales, signiertes Emaillezifferblatt mit roter Minuterie und roten Sekunden, rotgoldene Zeiger, guter Erhaltungszustand, gangbar, Reinigung empfohlen, seltene und interessante Glashütter Sammleruhr mit Frankfurter Besitzergravur, vermutlich originale Box.
Lot 136
Birds 1994oil on canvas46.5 x 55.5 cm (18 1/4 x 21 7/8 in.)framed dimensions: 58.5 x 67.5 cm (23 x 26 5/8 in.)signed lower right; signed, dated, titled and dedication Dear Marina S. Happy Birthday in Cyrillic on versoCONDITIONObserved in frame, the painting is in good condition. Age-appropriate craquelure to areas of impasto. Inspection under UV light shows no sign of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 164
Water’s Edge of Seagull oil on canvas44 x 70 cm (17 3/8 x 27 1/2 in.)framed dimensions: 60 x 86 cm (23 5/8 x 33 7/8 in.)signed lower rightPROVENANCEGekkoso Gallery, Tokyo (label on backing board and frame.)EXHIBITIONArt Export Salon of the USSR Art Fund [ Khudozhestvenny salon po eksportu Khudozhestvennogo fonda SSSR ] (label on stretcher.)CONDITIONObserved in frame and under glass, overall age-appropriate craquelure.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 175
Flowers with Blue Background 2013oil on canvas41 x 30 cm (16 1/8 x 11 3/4 in.)unframedsigned and titled on stretcherEXHIBITEDNew York, Sotheby’s, New York Academy of Art: Take Home a Nude Benefit, 2013 (label on verso.)CONDITIONThe painting is in excellent condition. Inspection under UV light shows no sign of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 270
Equality circa 1965oil on canvas76 x 92 cm (29 7/8 x 36 1/4 in.)framed dimensions: 90 x 105 cm (35 3/8 x 41 3/8 in.)signed on stretcher, possibly in another handLOT ESSAYThe pioneering Afro-American comic-book illustrator, poet, painter and educator Alvin Carl Hollingsworth was born in Harlem in 1928 to Barbadian emigrants. He began his career, aged twelve, as an artist assistant at Holyoke Publishing Company for Catman's Comics. He continued working in comics throughout the 1940s and 50s before transitioning to painting and printmaking. With his background in commercial illustration, Hollingsworth was an experienced draftsman with an eye for bold colors and compositions, who oscillated seamlessly between styles, genres, media, and influences as diverse as Henry Ossawa Tanner and Gustave Dore to contemporaries Salvador Dali, Tom Wesselman and Nicholas de Stael.Equality evidently dates to Hollingsworth’s early painting years, characterized by naturalistic modelling and earthy color palettes with fluorescent accents, as well as an interest in found materials and urban life (or, the social inequalities it perpetuates). It is closely related to the artist’s most notable body of work from the period: a series entitled Cry City, the subject of a solo exhibition at Terry Dintenfass Gallery. Using material salvaged from the streets — tar paper the artist found on tenement roofs; fishbones, broken cement, stones, teeth and bits of glass — Hollingsworth presented the city as a psychologically and physically difficult terrain (John H. Hewitt, “The Themes of Alvin C. Hollingsworth,†Black Art – An International Quarterly 2:1 (1977): 5).Compared with the sober, alienated character of many paintings from this time, Equality is rather more emotionally inscrutable. Here, the blackboard — evidently bearing a lesson on the 14th and 15th Amendments to the Constitution — has already been partly erased, and class appears to be in recess. Space is collapsed, figures disjointed. Superimposed over the right side of the board is a portrait of a 19th century man in a European military uniform, whose implied gaze looms over the sea of racially ambiguous but pale faces streaming this way and that. The frontality of the man’s portrait is repeated by the two boys at the lower corners of the frame, but they too don't make direct eye contact with the viewer or the figures around them. (Hollingsworth used a similar composition and narrative device in Group of Children, also circa 1965, sold by Swann Galleries, October 8, 2009, lot 55). Equality, however, shares in the dynamism of Jacob Lawrence’s Migration Series, and perhaps also its reticent optimism for the future.Hollingsworth attributes the crystallizing of social issues in works from the 1960s to his involvement with Spiral, a Black artist’s collective founded by Romare Bearden, Norman Lewis, Hale Woodruff and James Yeargans. A dozen or so members initially gathered in Bearden’s and Charles Alson’s shared Greenwich Village studio in July 1963 to discuss the March on Washington for Jobs and Freedom, planned for August 28th. Realizing their galvanizing potential went beyond the scope of the march, the group began planning their first (and only) group exhibition: “Spiral: First Group Showing (works in black and white)â€, which ran in May-June 1965 at a rented Christopher St. storefront. (Black and white was chosen both as a universal political appeal and an organizing principle, since Spiral’s members did not share any specific aesthetic sensibility). Though the group was active for some two and a half years, their praxis and unifying outlook were enormously influential on future generations of artists. (This contribution was the subject of a 2011 show, Spiral: Perspectives on an African-American Art Collective, at the Studio Museum in Harlem).Between 1960 and 1970, Hollingsworth expanded his reach to muralism and lithography, as well as hosted a popular ten-part series for NBC titled "You're Part of Art". From 1980 until his retirement in 1998, he was a full Professor of Art at Hostos Community College of the City University of New York. Hollingsworth’s role during the Golden Age of Comic Books has recently been covered by Ken Quattro in Invisible Men: The Trailblazing Black Artists of Comic Books (San Diego: YOE Books/IDW Publishing, 2020).CONDITIONObserved in frame, the painting is in good condition. Inspection under UV shows no apparent sign of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 377
Black Fern, plate CCLXXX, No. 56; 1836engraving with etching, aquatint and hand-coloring plate mark: 49.5 x 31.5 cm (19 1/2 x 12 3/8 in.)framed dimensions: 97 x 77.5 cm (38 1/4 x 30 1/2 in.)PROVENANCEStamp of the Herzoglicher S. Meiningischer Bibliothek (now the Thuringisches Staatsarchiv Meiningen)Christie's, New York, 24 June 2004, lot 280Acquired at the above, Private Brooklyn Heights CollectionCONDITIONObserved in frame, matte and under glass. Two soft creases visible to the upper right edge and center left edge. F two areas of surface soiling visible to the upper portion of the sheet.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 378
Black Throated Warbler, Blackburian Warbler, Mourning Warbler, plate CCCXCIX, No. 80 1837engraving with etching, aquatint and hand-coloring plate mark: 49.5 x 31.5 cm (19 1/2 x 12 3/8 in.)framed dimensions: 97 x 77.5 cm (38 1/4 x 30 1/2 in.) PROVENANCEStamp of the Herzoglicher S. Meiningischer Bibliothek (now the Thuringisches Staatsarchiv Meiningen)Christie's, New York, 24 June 2004, lot 399Acquired at the above, Private Brooklyn Heights CollectionCONDITIONObserved in frame, matte and under glass. Two areas of surface soiling visible to the upper portion of the sheet.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 59
Queen Matilda 2008acrylic on four panels173 x 452 cm (68 x 178 in.)unframedsigned lower rightPROVENANCEAcquired at Graffiti Gone Global Exhibition by SUSHISAMBAEXHIBITIONWoodward Gallery Project Space, NYC, Lady Pink mural, June – August 2009. [stamp on verso]Graffiti Gone Global by SUSHISAMBA, Miami, December 3-6, 2009LITERATUREJames and Karla Murray Graffiti Gone Global by SUSHISAMBA (2009), ex. cat., p. 27 (illustrated)LOT NOTESQueen Matilda by Lady Pink is not only a visually vibrant work in the artists quintessential style for which she is most known, synopsistic of Sandra Fubaras oeuvre, but the painting is also a window into the life of the artist, her values, and her life as a young artist in the emerging street art movement in New York City in 1980s.To be more specific, the street art movement was centered in New York City's East Village neighborhood of Manhattan. The East Village is represented in the painting through use of the logos from some of the city's most popular hangouts among counterculture youth -- fertile breeding grounds for creativity that were frequented by the likes of Harring, Basquiat, and a litany of punk and folk musicians. In Queen Matilda, one can see the logos of -- among others -- CBGB, one of the city's most iconic music clubs, the birthplace of punk music and previously a biker bar, and Gem Spa, perhaps the East Village's most iconic corner store, located on St. Marks Place since the 1920s selling newspapers, candy, and one of the pioneers of the Egg Cream, a beverage synonymous with New York City. The logos of such establishments, and the East Village-scaled street seen in the bottom half of the painting, demonstrate the cultural mecca that this neighborhood came to be, and its influence on Lady Pink.Lady Pink often depicts architectural forms in her work. Occasionally, these forms personify a female figure like that of the large form made of pink brick that can be seen as the centerpiece in Queen Matilda. Lady Pinks artistic journey started with graffiti; she became a known member of the tagging scene in New York City and gained acclaim for her work. At the time, there were very few female graffiti artists. In her work, the female form and an overall message of female empowerment can be often seen. In Queen Matilda the architectural, female form shows the city itself as a living, nurturing entity - and emphasizes the role the city played for Lady Pinks upbringing, and the role women play as the backbone of societies overall. One can also see a train running through the city, emerging from behind the female figure on the right side of the work -- an allusion to her artistic beginnings tagging subway trains prior to her finding fame in the fine arts world.This painting showcases Lady Pinks roots, like the roots seen tangled over the head of the female figure the painting is centered around. This work, like the neighborhood Lady Pink hails from, is colorful, fertile, and magical. Perhaps most notably, it is hard to discern whether the work should be seen as solely an ode to the neighborhood the artist calls home, or something of a self portrait as well. As is true with so many now-ubiquitous artists, there would likely not be a Lady Pink were it not for New York City’s East Village.CONDITIONThe group appears in good condition. Minor scattered scuffing to the lower right of the panels with lettering Mendel. Minor cracking and lifting along of the lower edges of the one with the lettering Spa. Each with minor losses to the corners and edges consistent with age. Inspection under UV shows no apparent signs of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 1163
BURBERRYS´ London. 2 Hemden. 1 Jeanshose. 2 Krawatten. 5 Jacketts. Herren.Burberrys´ Herrenhemd in Blau und Schwarz. Größe 40. Burberrys´ Herrenjeans. Innerer Beinlänge: 77 cm. Äußerer Beinlänge: 104 cm: Bund einfach: 43 cm. Zwei Krawatten. Burberrys´ Check aus 100% Seide und Vintage Nova Check Design aus 70% Wolle, 30% Seide. Maße je: 152 cm x 10 cm. Fünf Jacketts. Modelle Bennet-S Größe 25. Modelle Baker-S Größe 24 und 50. Modell Olympia-S -F Größe 25. JeansVersand kann organisiert werden. Burberrys' men's shirt in blue and black. Size 40. Burberrys' men's jeans. Inner leg length: 77 cm. Outer leg length: 104 cm: Waistband single: 43 cm. Two ties. Burberrys' check in 100% silk and vintage nova check design in 70% wool, 30% silk. Measures 152 cm x 10 cm each. Five jackets. Models Bennet-S size 25. models Baker-S size 24 and 50. model Olympia-S -F size 25. jeans.Shipping can be arraged.
Lot 1601
"Imperiale" Drachenrobe. Jacke. Wohl China antik.Herren Größe S / M. Damengröße circa 40. Reich bestickt in Stumpwork und auch vergoldeten Fäden. Wohl späte Quin Dynastie. Oder Republik. Grundgewebe Seide. Versand kann organisiert werden. "Imperial" Dragons Robe. Jaket. Men's size S / M. Ladies' size circa 40. Richly embroidered in stumpwork and also gilded threads. Probably late Quin dynasty. Or Republic. Silk ground fabric. Shipping can be arranged.
Lot 1979
Salor Torba. Turkmenistan, antik.44 cm x 126 cm. Handgeknüpft. Wolle auf Wolle. Frühes Sammlerstück. Wohl Naturfarben vor 1830 oder älter. Stammesteppich. Sogenannte S-Gruppe. Knoten AS3 offen nach links. Versand kann organisiert werden.Salor Torba. Turkmenistan, antique. Hand knotted. Wool on wool. Early collector's item. Probably natural colors before 1830 or older. Tribal rug. Reffered to as S - Group. Asymetric knotts with depressed Wefts (AS3) open to the left. Shipping can be arranged.
Lot 125
A GENTLEMAN'S STAINLESS STEEL OMEGA SPEEDMASTER PROFESSIONAL "MOONWATCH" CHRONOGRAPH BRACELET WATCHCIRCA 1988, REF. ST 145.022 WITH "LONG S & R" DIAL, ACCOMPANIED BY OMEGA BOX AND SERVICE PAPERWORK FROM 2017Movement: 17J, manual wind, cal. 861, signed Omega, numbered 48,xxx,xxx. Case: Diameter approx. 42mm, screw back, Speedmaster emblem embossed with NASA moon landing tribute, signed Omega Watch Co, dust cover, tachymetre bezel, Omega crown.Bracelet: Original Omega Speedmaster bracelet, no (32) 1479/812.CONDITION REPORTDial: Original dial in excellent condition.Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed.Case: In very good condition, with some light scratches and wear due to general use.Strap/Bracelet: In very good condition with some wear due to general use.
Lot 184
Paul Sharits (Denver 1943 – 1993 Buffalo, New York)Damaged Cells IIIFilzschreiberzeichnung. –. 44,8 x 56,5 cm. Betitelt. (2)Pfeffer (Katalog Fridericianum) S. 575. – Aus einer Reihe undatierter Zeichnungen des als Experimentalfilmers bekannt gewordenen Künstlers, bei der die einzelnen, akribisch ausgeführten Schnipsel ihre großen Muster verlassen haben und sich in einer strömenden Bewegung über das Blatt verbreiten. – Auf leichtem, kariertem Papier. – Wie immer rückseitig in fast identischer Farbkraft durchschlagend. – Im Werkkatalog mit einer doppelseitigen, farbigen Abbildung auf S. 78f. – Im äußersten Rand mit kleinen Läsuren und insgesamt sehr schön erhalten.
Lot 147
Walter Ophey (Eupen 1882 – 1930 Düsseldorf)Ohne Titel (Dorfansicht)Farbkreidezeichnung. Um 1923. 25,5 x 33,5 cm. Signiert. (18)Vielteilige und in ihren einzelnen, charakteristisch gekippten Figuren sehr bewegte Ansicht wohl auf das sauerländische Städtchen Bigge mit seiner Kirche und zwei Brücken (vgl. Kraus, S. 163). – Auf leichtem Papier eines Skizzenblockes mit der Perforation am oberen Rand. – Mit wenigen winzigen, nicht störenden Fleckchen und insgesamt schön erhalten.
Lot 137
Late Dynastic Period, Ca. 664-332 BC A fine jar of a squat form, hand-carved from creamy-yellow alabaster with integral tan and white bands coursing throughout. The vessel boasts a flat base, an apple-shaped body with a rounded shoulder, and a thick rim. The drilled interior cavity has a conical shape and would have likely held copious amounts of kohl eye makeup. The exterior of the vessel has been meticulously polished to an aesthetically pleasing texture, making this an exceptional example of skilful Egyptian stone-carving.In Ancient Egypt, alabaster jars were used as containers for ointment, perfume, and other cosmetic products, such as kohl. The alabaster used by ancient civilisations in the wider Middle East (including Egypt and Mesopotamia) is also called “oriental alabaster”, which is a type of calcite.For alabaster vessels of similar style and age see: Hodjash, S.; Ancient Egyptian Vessels, State Pushkin Museum of Fine Art, Moscow. Size: L:93mm / W:84mm; 439g Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 164
Ca. 100-300 AD A wonderfully preserved, mould-made terracotta oil lamp featuring a large, rounded concave body with a central pour hole, a nozzle, and a perforated handle. The shoulders are decorated with a band of short grooves and encircle the discus. Size: L:90mm / W:65mm ; 50g Provenance: From a UK collection; formerly with Mr. T. Green, Oxford 1990's.
Lot 50
Cyprys, Middle Cypriot, Ca.1900-1600 BC A terracotta strainer vessel used in the fermentation of beer; with bulbous base, long neck with flring rim, strap handle and short spout in which is incorporated a series of small holes for straining. Intact / near-choice condition. Size: L:190mm / W:115mm ; 600g Provenance: Property of a London gallery; formely in High Wycombe Estate collection; previously acquired on the US Art market; Ex-private collection of William Dale, a career diplomat stationed in Turkey in the early 1960's, who acquired a vast collection of Greek, Roman and Near-Eastern treasures.
Lot 406
A very rare “M” Sport Production model in a unique colour scheme.The “M” model ZXR’s were built specifically as homologation models for the Formula 3 All Japan Championships, and as such, were equipped with top calibre components, such as a close ratio gearbox, adjustable camshafts, uprated front and rear suspension, 33mm flat slide carburettors, a single racing seat unit and a higher revving motor and ignitionRestored in 2019 This model has a number of subtle improvements to the original specification, such as a period correct stainless and carbon exhaust system, improved motor with flat stainless valves, O/S pistons, unique colour scheme, improved brakes and suspension and an MPH speedometer with the original also supplied with a number of original parts.Fitted with brand new Michelins. Recent valve clearance invoice plus dyno chart (72RWHP) supplied.As per the sale room notice the additional parts with the bike are:Brake callipersRear brake discRear suspension unitTwo footrest rear setsHeadlightTap speedo KMHSpare mirrorExhaust downpipes and headersSpecificationMake: KAWASAKIModel: ZXR400M SPYear: 1991Registration Number: J483 TFPEngine Number: ZX400GE027345Click here for more details and images
Lot 54359
Glas "Otto Prutscher"Farbloses Glas mit weißem Überfang und Schälschliff, schalenförmige Kuppa auf säulenförmigem Schaft mit ausgestelltem Stand, Stand, Schaft und Kuppaboden14-fach facettiert, auf der Kuppa umlaufend Schachbrettschliff, Lippe und Stand geschliffen und poliert, H 11,2 cm, Ø 9,5 cm, Entwurf wohl Otto Prutscher (1880 - 1949) ~1907, Ausführung wohl Glashütte Meyr´s Neffe Winterberg/Böhmen ~1910, sehr guter Zustand, unbeschädigt und unrestauriert 5602 Dieses seltene Modell ist bisher mit blauem, violettem und weißem Überfang bekannt, Ausführungen von Gläsern nach Entwürfen von Otto Prutscher mit weißem Überfang gehören zu den größten Seltenheiten und ist bisher nur als Abbildung ein Stängelglases im Bericht über die Jubiläumsausstellung in Mannheim 1907 bekannt, vgl.: Hermi und Fritz Schedelmayer 2020, Otto Prutscher, Band II, Seite 114, Abb. 125
Lot 54109
Lingelbach, Johannes (Frankfurt am Main 1622 - 1674 Amsterdam) oder UmkreisGemälde, Öl auf Leinwand, Maronenverkäufer und ausgelassene Gesellschaft vor einer italienischen Taverne, unsigniert, 55 x 79,5 cm, 2. Hälfte 17. Jhd., alt doubliert, unten rechts alt retuschierte Druckstelle, sonst guter Zustand mit kleineren Retuschen (ausführlicher Zustandsbericht auf Anfrage), modern gerahmt (65 x 90 cm) 3509 Johannes Lingelbach lernte ab 1637 in Amsterdam, zog 1642 nach Paris und verbrachte ab 1644 einige Jahre in Rom, 1653 kehrte er zurück nach Amsterdam, er war bekannt für seine italienisch beeinflusste Malerei, italienisierende Motive, insbesondere Szenen mit Personengruppen oder rastenden Gesellschaften vor Tavernen gehörten zu seinen bevorzugten Motiven, hier verwendete er oft eine extreme Nahsicht mit hoher, den Hintergrund weitgehend beherrschenden Gebäudenkulisse, die meist nur wenig Raum für den Landschaftsblick lassen, im Vordergrund agieren Bauern, Reisende, Bettler oder Händler typisch niederländischer Prägung, das vorliegende Gemälde schließt sich diesem Genre nahtlos an, das seltene Motiv eines Maronenverkäufers vor hohen Gebäudekulisse findet sich ebenfalls gelegentlich in Oevre des Johannes Lingelbachs, vgl.: Auktion Sotheby´s London 09.07.1998, lot 315 (Peasants grilling chestnuts)
Lot 54151
Makart, Hans (Salzburg 1840 - 1884 Wien) attr.Gemälde/Studie "Abundantia", Öl auf Leinwand, leicht bekleidete Frau mit zwei Kindern, davon eine an ihrer rechten Brust saugend, zu ihren Füßen eine umgekippte Blumenschale, nicht signiert, 40 x 14 cm, 1860er Jahre, leicht angeschmutzt, sonst sehr guter Zustand, sauber alt gerahmt und verglast, auf dem Rahmen altes Namenschildchen 4705 Hinsichtlich Motiv und Duktus fügt sich diese Studie nahtlos an das bekannte Werk des Künstlers, möglicherweise handelt es sich um eine - verworfene - Studie zu dem Monumentalgemälde "Abundantia: Die Gaben der Erde" von 1870 im Museum Boijmans van Beuningen in Rotterdam, vgl.: Gemälde/Studie "Mutter mit zwei Kindern - Sinnbild der Fruchtbarkeit" in Gerbert Frodl 1974, Hans Makart, Monographie und Werkverzeichnis, S. 311f, Nr. 131 Prov.: Privatbesitz Wien, durch Erbgang Privatbesitz Westfalen
Lot 54344
Portraittasse "Königin Katharina von Württemberg" mit UntertassePorzellan, russischgrün fondiert, farbig bemalt und poliervergoldet, flache, breite Glockenform mit J-Henkel und Daumenrast (Teetasse), auf der Tasse frontal ovales, goldgerahmtes Bildfeld mit Portrait der Königin Katharina von Württemberg in schwarzem Hauskleid, Goldrand mit radierter Bordüre und Sternen sowie Weinlaub vor Vermicelligrund, originale Untertasse, Tasse bezeichnet "Morgenroth in Carlsruhe", H 6,7 cm, Untertasse Ø 15,3 cm, wohl Thüringen ~1840, Bemalung Johann Martin Morgenroth Karlsruhe ~1840, auf dem Boden jeweils originales Besitzer- /Inventaretikett ("C" mit Königskrone) ~1850, jeweils sehr guter Zustand, unbeschädigt und unrestauriert, weitere Stücke aus dem gleichen Besitz siehe lot 54164 und 54343 ("König Wilhelm von Württemberg") 5502 Die Tasse zeigt ein recht intimes Portrait der russischen Großfürstin Katharina Pawlowna Romanova als Königin von Württemberg (1788 - 1819, Königin von Württemberg ab 1816) und wurde um 1840 wohl im Auftrag der Kronprinzessin Olga durch den Karlsruher Porzellanmaler Johann Martin Morgenroth (1800 - 1859) bemalt, dieser studierte in Karlsruhe und war dort als Portraitmaler tätig, ab 1830 unterhielt er zusammen mit Johann Spelter auch eine Porzellanmalerei in Karlsruhe, hier entstanden vorwiegend Portraits, die auf Ausstellungen mehrfach prämiert wurden, 1846 verzog er nach Mannheim Lit.: Waltraud Neuwirth 1977, Lexikon der Porzellanmaler II, S.109/110 Prov.: Königshaus Württemberg, Besitz Olga Nikolajewna Romanowa (1822 - 1896, ab 1846 Kronprinzessin bzw. ab 1864 Königin von Württemberg), Fürstenhaus Schaumburg - Lippe, Nachlass Konstantin von Schaumburg - Lippe (1930 - 2008), seither Privatsammlung
Lot 54578
RingWeißgold18kt., schmale Schiene mit gegabelten Schultern und hohem Aufbau, besetzt mit großem Safir P1 (Einschlüsse nur in der Spitze) von guter Farbe von ~2.00ct. (0.87 x 0.64 x 0.45 cm) und acht kleinen Brillanten guter Qualität, ungemarkt (Legierung geprüft), Ø innen 1.94 cm, Ringgröße 61 (D), S½ (GB), 9.4 (USA), 21 (FR), Gewicht 7.4 gr., guter Zustand mit geringen Gebrauchsspuren 0168 Safir nicht geprüft, bitte beachten Sie, dass es sich möglicherweise auch um einen anderen oder nicht natürlichen Stein handeln kann
Lot 54357
Freimaurer - Glas "Arthur Dämmich"Massives farbloses Glas geschliffen und graviert, konische Form mit massivem Boden mit Schälschliff, auf der Kuppa umlaufend gravierte Freimaurersymbole, frontal ovales Medaillon mit Widmung "s/l. Br. Arthur Dämmich Br. H.G.", Boden ausgekugelt und poliert, H 15 cm, Anfang 20. Jhd., typische Gebrauchsspuren am Fuß, rückseitig am Fuß leicht bestoßen 2306 Prov.: Arthur August Dämmich in Wurzen (1883 - 1963), Besitz der Erben, weitere Gegenstände zu der Familie bzw. der Beleuchtungskörperfabrik F.A. Dämmich siehe lot 54180, 54485 und 54486
Lot 54475
Figur "Stehender BacchusBronze gegossen, teils graviert und gepunzt sowie dunkel patiniert, stehender Jüngling mit Trauben auf ovalem Grassockel auf säulenförmigem Piedestal, Piedestal umlaufend graviert mit Schweifblättern und Inschrift "VICGN ERSHIER TO STADOVTRI HISPANIAR" (ungedeutet), auf dem Piedestal Gießermarke (Adlerkopf mit "SGW" oder "S&W"), am Stand nummeriert "108-2", H 22 cm, wohl Italien Ende 19. Jhd. nach einer Figur Michelangelos, guter Zustand 0203
Lot 54352
Logen - Glas "Loge zu den drei Balken Münster"Massives, farbloses Glas geschliffen, graviert, emailbemalt und vergoldet, konische Form mit massivem Boden mit Schälschliff, auf der Kuppa frontal Logenzeichen mit Bezeichnung, rückseitig Widmung "S. l. Br. Gerlach z. A. a. d. 26./4.09 gewidmet von Br. Gösling", Lippe und Reliefringe vergoldet, Boden ausgekugelt und poliert, H 12.6 cm, Entwurf Arthur Gerlach ~1900, Josephinenhütte Schreiberhau ~1900 (Modell 1204), guter Zustand mit leichten Gebrauchsspuren, Rippen am Fuß teils minimal bestoßen 0104
Lot 54358
Glas "Otto Prutscher"Farbloses Glas mit weißem Überfang und Schälschliff, schalenförmige Kuppa auf säulenförmigem Schaft mit ausgestelltem Stand, Stand, Schaft und Kuppaboden 14-fach facettiert, auf der Kuppa umlaufend Schachbrettschliff, Lippe und Stand geschliffen und poliert, H 11,2 cm, Ø 9,5 cm, Entwurf wohl Otto Prutscher (1880 - 1949) ~1907, Ausführung wohl Glashütte Meyr´s Neffe Winterberg/Böhmen ~1910, sehr guter Zustand, unbeschädigt und unrestauriert 5601 Dieses seltene Modell ist bisher mit blauem, violettem und weißem Überfang bekannt, Ausführungen von Gläsern nach Entwürfen von Otto Prutscher mit weißem Überfang gehören zu den größten Seltenheiten und ist bisher nur als Abbildung ein Stängelglases im Bericht über die Jubiläumsausstellung in Mannheim 1907 bekannt, vgl.: Hermi und Fritz Schedelmayer 2020, Otto Prutscher, Band II, Seite 114, Abb. 124
Lot 54202
Klemm, Walter (Karlsbad 1883 - 1957 Weimar)Radierung "Eisbahn" auf Velin, in der Platte unten links bezeichnet "Großh. S. Hochschulke f. bild. Kunst Weimar", rechts unterhalb der Darstellung in Blei monogrammiert "WK", Platte 34,2 x 34,6 cm, Blatt 54,5 x 43,5 cm, 1916, am Oberrand rückseitig Montierungsreste, sonst sehr guter Zustand mit minimalen randlichen Lagerspuren, ungerahmt 6225 Lit.: Gerhard Söhn 1989, HDO Bd.5, Nr. 51004–5. Prov.: Sammlung Dr. Heinrich Becker, Besitz der Erben, Privatsammlung Bielefeld, Dr. Heinrich Becker (Braunschweig 1881 - 1964 Bielefeld) war Leiter des Städtischen Kunsthauses Bielefeld (Vorläufer der Kunsthalle Bielefeld von 1927 bis 1933 und von 1946 bis 1954, in dieser Zeit richtete er über 80 Ausstellungen u.a. mit Werken von Käthe Kollwitz, August Macke, Edvard Munch oder Emil Nolde aus, seine privaten Sammlungen umfassten neben Werken des deutschen Im- und Expressionismus auch umfangreiche Bestände an Graphiken des 18. und 19. Jahrhunderts, sein besonderes Interesse galt den regionalen Künstlern mit umfangreichen Kollektion u.a. von Peter August Böckstiegel, Hermann Stenner, Heinz Lewerenz und Künstlern mit reginalem Bezug wie Conrad Felixmüller oder Robert Sterl
Lot 54100
Beerstraten, Jan Abrahamsz (Amsterdam 1622 - 1666 Amsterdam)Gemälde, Öl auf Eichenplatte, Seestück mit niederländischem Kriegsschiff und Küstenseglern, unten rechts auf einer treibenden Fahne monogrammiert "JB", 27 x 44.5 cm, ~1660, rückseitig alte Sammlungsnummer, guter, kaum berührter Zustand mit minimalen alten Retuschen (ausführlicher Zustandsbericht auf Anfrage), alt gerahmt in guter Reliefgoldrahmen des 19. Jhd. (54 x 69 cm) 0301 Stilistisch sowie hinsichtlich Motiv und Duktus typisches Gemälde des J.A. Beerstraten, welches sich nahtlos an das bekannte Werk anschließt, seine Seestücke zeigen überwiegend Kriegsschiffe zusammen mit Küstenseglern, sein Monogramm findet sich dabei oft auf Treibholz im Bildvordergrund, eine ähnliche, etwas größere Szene mit vergleichbarem Monogramm auf einem Treibholzstück siehe Auktion Sotheby´s New York, 05.10.2001, lot 117 ("Warships and other small Craft in an Estuary")
Lot 54354
Logen - GlasMassives, farbloses Glas geschliffen und graviert, konische Form mit massivem Boden mit durchgehendem Facettschliff, auf der Kuppa frontal ovales Medaillon mit Logenzeichen, auf dem Fuß datierte Widmung "W. Stucke s. l. Frd. u. Br. H. Krause Joh. Fest 1920, rückseitig Motto mit Datum "Ad aspera ad astra 19.VI.1919.", Boden ausgekugelt und poliert, hier nummeriert "78", H 14.2 cm, Deutschland ~1900, guter Zustand mit minimalsten Gebrauchsspuren 0106
Lot 54101
Cox, David the Elder (Birmingham 1783 - 1859 Harbourne)"Progressive Lessons in Landscape for Young Beginners", 24 Tafeln mit Weichgrundätzungen und Vorwort, zehn Tafeln mit formatfüllenden Einzeldarstellungen von Gebäuden und Bäumen, sonst mit mehreren Darstellungen von Gebäuden, Geländestudien, Pflanzen, Personen und Tieren, jeweils in der Platte unten links signiert "D.Cox", jeweils unterhalb der Darstellung bezeichnet und datiert "London, published .... 1816, by S&J Fuller, Temple of Fancy, Rathbone Place" mit exaktem Ausgabedatum, Platten 32,5 x 23 cm, Blätter jeweils 39 x 27 cm, originaler Halbledereinband, 28 x 40 cm, insgesamt guter Zustand mit typischen Gebrauchsspuren, auf der Innenseite illustriertes Exlibris "Buddle Atkinson" , Tafeln am Rand angeschmutzt oder fleckig, Vorsätze und Vorwort vertikal geknickt, Vorwort unten rechts hinterlegt, Einband berieben, Gelenke gerissen und von innen hinterlegt 0157 David Cox, genannt der Ältere, gehört zu den bedeutendsten englischen Landschaftsmalern des 19. Jahrhunderts und war Wegbereiter des Impressionismus in England, ab 1813 veröffentlichte er verschiedene Arbeiten über die Landschaftsmalerei, weitere vollständige Exemplare dieser scheinbar extrem seltenen Arbeit scheinen nicht zu existieren, selbst das British Museum besitzt lediglich eine einzelne Tafel (Tafel 10), vgl.: https://www.britishmuseum.org/collection/object/P_1899-0420-118-6 Prov.: Sammlung Buddle Atkinson (1841 - 1880), Sammlung Frank Buddle Atkinson, Privatsammlung
Lot 214
A cream and gilt-painted three piece bergere suite, 1920's, comprising a three-seat sofa, with acanthus and scrolled crest rail over double caned arms, with squab cushions upholstered in a teal fabric, above blind fret-carved apron, raised on hairy paw supports, the pair of armchairs en suite. Sofa 72cm by 197cm by 92cm
Lot 52
A large George V silver mesh evening purse, S. Blanckensee Ltd, Birmingham 1914, kid-lined; together with an Edwardian silver purse, Joseph Jennens & Co., Birmingham 1906 ,with engraved foliate decoration. (2) Excluding chain handles: 17cm by 19cm and 5.5cm by 9cm, total weight 11 troy ounces
Lot 14
A POIGNANT OCTOBER 1914 CASUALTY GROUP to Lieutenant Spencer Julian Wilfred Railston, 18th Lancers attached 4th Dragoon Guards. 1914 Star with bar. Correctly impressed - Lieut S J W Railston 18/LRS British War Medal. Correctly impressed - Lieut S J W Railston Victory Medal. Correctly impressed - Lieut S J W Railston Two Memorial Plaques to Spencer Julian Wilfred Railston. A rare double issue. With boxes of issue for the medals and Buckingham Palace slip Condition - GEF to Near Mint. Sold by direct order of the family. Spencer Julian Wilfred Railston was born on the 8th of January 1889 in Lanarkshire, Scotland. The son of Colonel Henry Edward Railston and Magdalene Railston. Spencer was educated at Radley College, where he excelled at sports. He represented the school at Boxing and was a Champion Gymnast. Railston played in the first Cricket XI at Radley and at Sandhurst, to which he gained direct entry at age 17. Coming tenth in his class when he passed out in 1907, he was gazetted as Second Lieutenant. He was placed on the unattached list of the Indian Army and spent a year with his father's regiment, the Cameroonians. While with the regiment in India, he took part in the Lightweight Boxing Championship of India and won the title, despite having not trained. In 1908 he joined the 18th King George's Own Lancers, playing Polo for his Bn and participating in Steeplechasing. Railston was a keen 'Big Game' hunter and said to be a very good shot. He undertook a cavalry course and, on the 17th of November 1909, was promoted to Lieutenant. In 1914 he was granted leave in London, where he played with Count De Madre's Polo team 'The Tigers'. As soon as the Great War broke out, Railston volunteered for active service at the front. He was attached to the 4th Dragoon Guards (Royal Irish) and disembarked on the 16th of August 1914. He fought at Mons and was killed in action at Messines. He died while trying to rescue a female Belgian civilian lying wounded between the British and German Lines. The CWGC gives his date of death as the 31st of October, while other sources state the 1st of November. The Major General Commanding the 1st Cavalry Division wrote the following letter to his father: 'I am deeply grieved at the death of your gallant boy, who on every occasion of this war has so distinguished himself. He is a great loss to his regt. He lost his life by a gallant act. His regt was holding one-half of the village of Messines, south of Ypres, and the Germans the other half for 24 hours. In front of his troop, a poor woman was lying wounded, and your boy left his cover to bring her in. He was struck by many bullets and killed. Had he lived, he would certainly have been Mentioned in Despatches' Spencer is mentioned in volume II of 'Deeds That Thrill The Empire' on page 810. The story of how his brother Henry George Moreton Pleydell - Railston, won the DSO is featured on pages 798 to 810. His DSO group is in this sale.
Lot 153
A SHAKO PLATE WORN BY PRIVATE ROBERT LEGG OF THE 40TH FOOT AT WATERLOO The plate is very toned and is mounted in a Victorian-era frame, probably framed circa 1880.The reverse of the frame has the following written on it. ' From the home of Edward Legg from Tolpuddle (who gave evidence against the Dorchester Labourers in 1834) This badge was worn by my grandfather Robert Legg at Waterloo, to be given to Edward’.Robert Legg served with the 1st Battalion 40th Regiment of Foot at Waterloo with Captain S. Streton's Company.
Lot 154
A FRAME OF WWI GERMAN EPAULETTES TAKEN AS SOUVENIRS DURING TRENCH RAIDS the frame looks to be around 1930's to 1940's. On the reverse is written 'Daddy’s Trench Raiding Souvenirs.' One set to a Leutnant (Lieutenant) in the 360th taken at 'Epehy'One set to a Hauptmann (Captain) in the 5th taken at Neuve Chapelle 24th October 1914 One set to a Leutnant (Lieutenant) in 64th (5th Royal Saxon) Field Artillery. Taken at Mashieres 21st November 1917.A single to the 15th Infantry Regiment. Taken at Villers Guislanie on 23rd November 1917.
Lot 199
A MILITARY BLACK TIN TRUNK with owners name "J. S. Williams no. 2" to the lid, made by Warranted Best Steel Japanned Travelling Trunks, containing various military water bottles, canteens, ammunition case etc.; a wooden grenade case; one other military trunk; and ammunition case (a lot)Provenance: From the collection of Lance Corporal Denis Jones, 5th Royal Inniskilling Dragoon Guards
Lot 4
A NAVAL CAMPAIGN GROUP TO ABLE BODIED SEAMAN LANE, ROYAL NAVY. Lane was killed in action in 1941, serving as a DEMS Gunner. 1914/15 Star. Correctly impressed. J.27051 W S Lane Ord RNBritish War Medal. Correctly impressed. J.27051 W S Lane AB RNVictory medal. Correctly impressed. J.27051 W S Lane AB RN GV Naval LSGC. Correctly impressed. J.27051 W S Lane AB HMS Antelope.1939/45 Star. Unnamed as issued.War Medal. Unnamed as issued. Condition GF+ ( First three polished.)Walter Sidney Lane was born in Fordingbridge, Hertfordshire, on the 21st of December 1897. He served on HMS Kent for most of the Great War.Tragically, Walter was killed in action onboard M.V. Edwy R. Brown. He was serving as a DEMS Gunner.Edwy R.Brown was a Motor Tanker. She was torpedoed off the coast of Iceland by U-103 on the 17th of February 1941; all 50 crew members were lost.Walter is remembered on the Portsmouth Naval memorial. he is also entitled to the Great War Victory Medal, Atlantic Star and possibly the Defence Medal.
Lot 5
A SCARCE EII GSM MALAYA GROUP TO WARRANT OFFICER KENT DLI. 1939/45 Star; Burma Star; Defence Medal; War Medal and EII GSM Malaya. Correctly impressed 863741 W O Cl2 J Kent DLICondition GVF Provenance DNW 2008. Harland Military Antiques 2017. A Battalion of the Durham Light Infantry did not serve in Malaya. Warrant Officer Kent will have been attached to another unit. Thus a very rare group to the Durham’s.
Lot 92
A ROYAL NAVY BATTLE DRESS jacket and trousers, medal ribbons for WWII Star, WWII Star Africa, WWII Star Italy, WWII Star France/German, and a war medal from 1939-45; a Royal Navy reserve jacket, Lt. Cadet S. Sutton, medal ribbons WWII Star, WWII Star Africa, WWII Star Italy, WWII Star France/Germany, war medal 1939-45; and a Royal Navy reserve jacket and trousers, Lt. Commander rank, medal ribbons WWII star, WWII star Africa, WWII Star Italy, WWII Star France/Germany, war medal 1939-45, reserve decoration long service (3) Provenance: From Steven Roberts Military Uniform Collection.
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