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Lot 479
A QUANTITY OF FRAMED PRINTS ETC, to include a Brian Eden signed landscape print, approximate size including frame 58cm x 72cm, a Rex Preston landscape print, pastel landscape by Brian Monk, prints by Claude Monet, five botanical study prints by John Wilkinson, oil on canvas water landscape signed C. Alain, oil on canvas coastal landscape indistinctly signed, two metal poppy wall art sculptures - one boxed, together with other assorted prints etc (2 boxes and loose)
![Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle,](https://cdn.globalauctionplatform.com/e326032c-4887-405e-a8c8-af65010ecdd3/20bd11e0-184c-4f59-b2f6-af6d01199218/468x382.jpg)
Lot 179
Kings of East Anglia, Æthelstan (825-40), Penny, [Ipswich], Eadnoth, edelztan re+, draped bust right, breaking inner circle, rev. eadnod monet around cross-crosslet, 1.36g/6h (Naismith E30a, same obv. die = SCBI BM 833, same dies; Pagan, BNJ 1982, p.58; N 434; S 948). Nearly extremely fine, struck on a full round flan, free from the usual porosity but with some patchy toning; extremely rare thus £8,000-£10,000 --- Naismith’s corpus records just two examples of Æthelstan portrait pennies struck by Eadnoth, from two obverse and two reverse dies. The present coin, which is seemingly only the fourth known example, was struck from the same dies as the coin now housed within the British Museum, and the same obverse die as the piece sold through these rooms in 2022. Æthelstan was a king of the independent Kingdom of East Anglia which emerged following the end of Mercian Supremacy in 825. Unfortunately, the paucity of contemporary written sources means that we know little about events in the region during the first half of the ninth century. The Anglo-Saxon Chronicle relates that in 825 the Mercian King Beornwulf, after his disastrous defeat at the battle of Ellendum against King Ecgberht of Wessex, was slain by an anonymous king of the East Angles. Beyond this, little interest was shown by the Chronicle’s compiler towards the East Anglian kings or their activities. This fact, coupled with a complete absence of surviving charters from the area, means that we must turn to the numismatic evidence for answers. The identity of the first independent king of East Anglia is made clear from the hoard record, with the Middle Temple hoard being particularly informative. The large group, deposited at some point during the 840s, contained 243 early ninth century coins produced under various kings across England. Included within were some 39 pieces of Æthelstan. No coins of any other independent East Anglian ruler were present, making Æthelstan’s primacy clear. The name Eadnoth, the moneyer responsible for the striking of the coin offered for sale here, first appears on pennies of the Mercian king Offa in the 780s and then on coins of the obscure local king Eadwald who usurped power in East Anglia for a brief period during the late eighth century. Following this Eadnoth signed no coins during the first two decades of the ninth century, despite the productive nature of the East Anglian mint under the supervision of the Mercian Kings Coenwulf and Ceolwulf. Finally the name reappears in c. 824 on the coins of the last Mercian rulers to exercise power within the region, Beornwulf and Ludica, before continuing onto the coinage of the independent king Æthelstan. Given that several decades lapsed between these episodes of the minting activity we ought to consider the possibility that these are two different moneyers by the same name. Elsewhere, attempts have been made to detect familial connections between successive moneyers operating within the same area who share similar names. The case of Eadnoth may provide another good candidate for such a scenario, and it is possible that the Eadnoth who struck our coin was a relative, perhaps even a son, of Offa’s moneyer. In common with all of Æthelstan’s portrait coins, the present specimen was struck at the beginning of the monarch’s reign, as part of an issue that probably lasted until c. 830. Æthelstan portrait pennies were completely absent from the Middle Temple Hoard. From this some have inferred that these early coins must had dropped out of circulation by this point. However, the same hoard contained numerous pennies struck under Æthelstan’s Mercian predecessors, Coenwulf, Ceolwulf and Beornwulf. It is difficult to believe that all of Æthelstan’s portrait pennies ceased to circulate on account of wear, damage and loss whereas those of earlier rulers consistently did not. We should not dismiss the possibility that Æthelstan’s Portrait coinage was officially called in and deliberately withdrawn from circulation in a renovation monetae. Such a policy was seemingly employed by the Kings of Wessex during the second half of the ninth century to help bring uniformity to their currency and led to a total absence of earlier coins in hoards deposited after the reform’s instigation. It is notable that following the short episode of iconographical variation early in Æthelstan’s reign all of the East Anglian coinage, continuing throughout the reigns of his successors Æthelweard and Eadmund, was of a generally consistent design. If such a reform was implemented it would help to explain why the portrait pennies of Æthelstan remain so excessively rare, despite the general increase in ninth century coins discovered and excavated over the previous two decades. Works cited: Blunt, C.E., Lyon, C.S.S., and Stewart, B.H.I.H., 1963. ‘The coinage of southern England, 796–840’, BNJ 32, pp.1–74 Pagan, H.E., 1982. ‘The Coinage of the East Anglian Kingdom from 825 to 870’, BNJ 52, pp.41-83 Pagan, H.E., 1986. ‘Coinage in southern England, 796-874’ in M.A.S. Blackburn (ed), Anglo-Saxon Monetary History: Essays in memory of Michael Dolley (London), pp.45-66 Naismith, R., 2011. The Coinage of Southern England 796–865, BNS Special Publication 8, 2 vols. (London) Naismith, R., 2012. Money and Power in Anglo-Saxon England: the Southern English Kingdom 757-865 (Cambridge) Stenton, F., 1971. Anglo-Saxon England. Third Edition (Oxford)
Lot 337
After Claude Monet 'Woman with a Parasol Turned to the Right' copy of the 1886 work in the collection of the Musée d'Orsay, pastel on canvas board102 x 66cmCondition ReportFramed 119.5 x 85cm, in ornate gilt, carved frame. The frame appears to be a mixture of late 19th century carved giltwood on the most ornate part, however appears to be put together with 20th century elements to fit the picture. Frame has minor losses and appears to be regilt in parts, but overall presents well. The image itself is in good condition with no obvious condition issues.
Lot 138
* CHARLES NEAL (BRITISH b. 1951),WOMAN GATHERING WOODoil on canvas, signed, titled versoimage size 51cm x 41cm, overall size 64cm x 54cm Framed.Note: Charles Neal is currently one of the leading landscape painters in England and has had many major exhibitions. His style blends realism and impressionism while focusing on light and shadow with stunning subtleties of colour. In 1994 his The Painted Garden Exhibition was opened by His Royal Highness the Prince of Wales at The Museum of Garden History in Lambeth, followed by “Coastline” in conjunction with the National Trust. Charles Neal has exhibited in London, New York and the Royal Society of British Artists and his work is represented in many private and corporate collections. Charles Neal is one of England’ s finest and most successful landscape painters. His works are sought after in increasing numbers for prestigious collections worldwide. As a trained engineer and artist, Neal utilises these two disciplines to produce a rare mix of developed skill and natural flair, making him an artist of choice for art collectors all over the world. Neal is committed to a plein air approach, blending the values of French Impressionism with the naturalistic traditions of English landscape painting. Expertly capturing and preserving fleeting effects of light, the physicality of the location with its unique atmosphere and sense of time and place, Charles Neal deftly crystallizes the essence of his chosen location in the painted image. Over the years his paintings have steadily increased in value. His paintings can be seen in Royal, private and commercial collections all over the world, and in recent years he has had two major public exhibitions under the patronage of HRH The Prince of Wales and HRH The Duke of Edinburgh. Neal has also had solo exhibitions with the National Trust, Royal Horticultural Society, Surrey Wildlife Trust, The Museum of Garden History in London, and The Docklands Museum London. His paintings have also been hung at the Royal Society of British Artists and, internationally, at exhibitions in New York, Palm Beach, Barcelona, Paris and Dubai. Charles Neal’s early painting period was initially influenced through frequent visits in his teenage years to the Amsterdam Rijksmuseum, Stedelijk and Van Gogh museums. In the 1980’s Neal began to paint professionally, working in association with Omell Galleries London and later joined Campbell’s of London and Astley House Fine Art. It was during this period that he became interested in the French Impressionists, in particular Claude Monet, Alfred Sisley and Camille Pissarro, for their lightness of touch, sense of celebration of nature and the daily round of life in general. Further, the ‘en plein air’ approach to painting was a logical move forward and at the same time had reference to Constable’s outdoor sketches. In 2003 Charles Neal joined Wally Findlay Galleries (New York and Palm Beach). Subsequently Neal has painted further thematic series of works that have been incorporated in gallery exhibitions or as special events linked to The National Trust, The Royal Horticultural Society, Surrey Wildlife Trust, The National Rowing Museum, Henley and the Docklands Museum London and The Blenheim Foundation.
Lot 163
Monet by Janice Anderson 2007 First Edition Softback Book with 447 pages published by Grange Books Plc good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 368A
A collection of various items to include a 9ct gold seal, 9ct gold cross and chain, weight approx 1.6gms various costume jewellery including faux pearl and other necklaces, silver chain, silver abalone brooch, costume beads, gilt chains, jewellery including paste set Monet brooch, Chinese pendant, Wedgwood brooch, combs brushes, Royal Crown Derby brooch, etc vintage jewellery case, Alabaster box, etc (1 box)
Lot 155
A Modern Woven Necklace, of satin finish, stamped "925"; a flat figaro link chain stamped "925" suspending a Celtic style double fob pendant stamped "925"; a gilt coloured Monet panel style bracelet, a large circular pendant on chain, a posy style brooch and an Orient Express souvenir scarf and Venice Simplon Orient Express pill box.
Lot 465
A quantity of costume jewellery to include diamanté brooches, Celtic-style brooches, cufflinks, a commemorative silver Monet Royal Canadian Mounted badge, decorative pearl necklaces, brooches, various ladies' and gentlemen's dress watches, small enamelled pillboxes and a quantity of metal models of various regimental soldiers, etc.
Lot 117
A collection of art reference books. Books are: The paintings of LS Lowry oils & watercolours, Essential Monet, Derek Balmer – A Singular Vision, The Faber Gallery Gauuin (second collection), Picasso & the great painters, Atlantic Edge West Cornwall, Picasso Taschen (plastic wrapped sealed), The World of Picasso, Picasso Hans L.C Jaffe, Mary Fedden – Portland Gallery, R.I.P New York Soray Can Memorials, Patrick Heron – early & late garden paintings, Picasso Ingo F Walther Taschen, The Tate – A History – Frances Spalding, Picasso The Arts Council 1960 (damp staining), Crimes of Passion – Street Art Bristol, Charity on Camera in Edwardian Bristol, Futurism & Dadaism – Jose Pierre, The Fundamentals of Figure Drawings, Maus – A Survivors Tale – Art Spiegelman, Musse Picasso – Visitors Guide, Picasso’s Picassos, The Photo Book – Phaidon, The Silent Studio, Mary Fedden – A Retrospective, Clevedon Photographic Memories, Composition, William Blake – Kataleen Raine, 10000 of Art, Van Gogh – Josephine Cutts & James Smith, Augustus John Drawings, Impressions of the 20th Century, Metropolitan seminars in Art, Stencil Graffiti Tristan Manco, Street Logos Tristan Manco, The Life & Works of Andy Warhol. Also included are Adventures with Shapes, Chichester 10 Portrait of a Decade, Matisse Erotic Sketches, Sketches in Pen & Ink, Anatomy Figure Drawing Handbook, The Royal College of Art – Christopher Frayling, Van Gogh A.M Hammacher, Barbara Hepworth, Barbara Hepworth Sculpture Garden, Positivesverses by Thom Gunn, Henry Moore Penguin Books, The Virgin Mary through the eyes of painters, Tutankhamen – Christiane Desroches-Noblecourt, Barnens Konstbook, Leonardo 80 colour plates – dolphin art book, Barbara Hepworth – Centenary, Munch Grange Books, Passion for Paint the life and work of Barrington Tabb (signed), Kurt Jackson – paintings of Cornwall & the Scillies, Gasworks to Gallery – the story of Tate St Ives, Essential Klimt, Bristol Impressionists, The Peggy Guggenheim Collection, Essential William Morris, Simon Schama’s Power of Art, The Story of Art E.H Gombrich, Titian Norbert Wolf, Gauguin , Pablo Picasso Four Themes, Bacon Luigi Ficacci – Taschen, British Watercolour & Drawings Jessica Feather, Klee Will Grohmann, Stanley Spencer an English Vision, Diana in Art, The Banksy Q, Kandinsky – Taschen, Hopper – Taschen, Schiele – Taschen, Japanese Colour Prints, Henry Moore’s Sheep Sketches book, Holbein to Hockney from the Royal Collection, Frida Kahlo Diego Rivera & Mexican Modernism, In the Shadows of no Towers – Art Spiegelman, Home Sweet Home – Banksy, Ben Nicholson Norbert Lynton, Henri Matisse Cut-Outs – Taschen.
Lot 27
JOSÉ ROYO (Valencia, 1945)."Woman with a pitcher".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 129 x 110 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm modelled by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture and silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Lot 87
RICARD CANALS LLAMBÍ (Barcelona, 1876 - 1931)."Cadaqués, Costa Brava".Oil on canvas.Signed in the lower right corner. Titled on the back.Size: 24 x 33 cm; 38 x 47 cm (frame).Ricard Canals was a painter, draughtsman and engraver, member of the "Colla del Safrà" (Saffron Group, so called because of its peculiar chromatic palette) together with the painters Nonell, Mir, Pichot and Vallmitjana. He began his studies at the La Lonja School in Barcelona, but abandoned them shortly afterwards to continue painting in the street. A friend of Isidre Nonell, in 1896 they travelled together to Caldes de Boí, and the following year they moved to Paris. In the French capital they both exhibited at the Chez Dosbourg gallery with great success. Nonell returned to Barcelona and Canals stayed on to work for the dealer Durand-Ruel, the dealer of the Impressionists, representing artists such as Corot, Monet and Pissarro. He was a personal friend of Picasso at this time, who portrayed his wife. He took part in the French Salons of 1897 and 1898, as well as in the exhibition held in 1902 at the Durand-Ruel gallery in New York. In 1907 he returned permanently to Barcelona, where he presided over the association Las Artes y los Artistas. From then on he made several trips around Spain, visiting Madrid, Seville and Granada. From then on his works had a distinctly Spanish flavour, combined with his modern language. It was precisely this Spanish theme that brought him his greatest success in Paris, although in his later years he evolved towards a style of painting closer to noucentisme. He also distinguished himself as a portraitist. His last important work, before his premature death, was the decoration of the ceiling of one of the halls of Barcelona City Hall. In 1933, two years after his death, the Sala Parés in Barcelona held an extensive exhibition in homage to him. Much of his work is kept in the National Art Museum of Catalonia, but it is also in the collections of the Abbey of Montserrat, the Thyssen-Bornemisza Museum and the National Museum of Fine Arts in Chile.
Lot 79
ÉTIENNE MOREAU-NELATON , PARIS, 1859 - PARIS, 1927 L'Omnibus Oil on canvas 62.9 x 80 cm From the top of her promontory, this elegant woman facing us adopts a perfectly symmetrical pose, with her outstretched arms resting on her horizontally placed umbrella. Seated on the bench of the upper platform of an omnibus 'à l'impériale', she occupies, static, the centre of the canvas. She is surrounded by two men, seated on the other side of the bench, offering the light touch of her jacket between their two black clothes. These gentlemen turn to converse with the lady. Relegated to the left, two other men, one in a light jacket, the other in a dark suit, also occupy the same bench. These silhouettes, with their various hats, stand out against the rosy glow of the sky in the background. The alternating shades of their clothes blend into the urban landscape, at the level of the houses on either side of the composition that form the two sides of the street. The tight framing of the scene, which reveals the influence of photography, gives a certain intimacy to this conversation, whose location on the upper platform of a bus is understood thanks to a few clues. The clear pattern of the guardrail bends to the right, suggesting the bus's staircase; a sign mentions 'Ternes', revealing its destination, while underneath, the inscriptions 'St Honoré - 33' inform us of the line it takes. However, the point of view chosen by the painter places us at the same height as the characters, as if we were on the platform of another omnibus. This painting, through its framing, photographic, its palette, restricted, and its subject, contemporary, is imbued with the avant-garde pictorial research carried out by the painters Degas or Manet, whom Moreau-Nélaton also collects.Etienne Moreau-Nélaton (1859-1927) was a French artist - painter, engraver and ceramist - but also an art historian and, finally, an immense art collector who bequeathed some one hundred paintings to the Louvre; he is thus one of the largest private donors to the French state. In the course of three donations, forty paintings by Corot were acquired by the Louvre, as well as many avant-garde works such as Le Déjeuner sur l'herbe by Edouard Manet and Les Coquelicots by Claude Monet, now in the Musée d'Orsay. Finally, he was the author of the most important monographs of his time, devoted to Delacroix, Corot, Manet and Millet. Son of the painter and ceramist Camille Moreau-Nélaton, Etienne owes his vocation as an artist to her. He began by training with the landscape artist Henri Harpignies and then with the painter and decorator Albert Maignan. This Omnibus is one of the rare works that have come down to us and offers an enlightening testimony to Moreau-Nélaton's passion for this realist painting that he loved so much that he bequeathed it to the Louvre Museum. One thinks of Manet's Balcony, where the figures stand behind the openwork railing of a balcony, or the urban subjects of Degas or Caillebotte, whose elaborate angles of view seek to capture the modernity of his time. Provenance: Sotheby's sale, New York, 24 May 1995, lot 00256. Signatur: Signed lower left
Lot 86
CAMILLE PISSARRO , CHARLOTTE-AMÉLIE, 1830 - PARIS, 1903Woman Hanging LaundryOil on canvas 73 x 60 cmThe planes are played with here and the eye must find its bearings to understand the space. Indeed, the peasant woman hangs her laundry on a line that coincides with the roof cornice of the building in the background. The roof is also parallel to the edge of the painting. The space thus reported in bands of sky, roof and wall would seem quite flat if it were not for the slanting parapet that deepens the picture. There are no gradations of light to suggest volumes, but bright, intense colours, juxtaposed in fine vertical hatching, which structure the shapes and build the space. The brushstroke is visible everywhere, sometimes regular, sometimes freer, streaking the composition, with the exception of the sky with its vaporous treatment. The palette is warm, dominated by reds and ochres heightened by green. Only the turquoise-blue apron stands out in this harmony to better draw our attention to the protagonist of this scene whose silhouette blends into the background. The two white cloths she is spreading also constitute two breaks in this mosaic of colours. Here the painter uses colour to construct and unify the space, thanks to a homogeneous touch that treats all the objects in the painting with the same consistency, like so many juxtaposed motifs. Camille Pissarro (1830-1903) was a French painter considered one of the founders of Impressionism. Destined to work in his father's business in the West Indies, he moved to France at the age of 25 and attended the Ecole des Beaux-Arts in Paris. He met Courbet, Daubigny and Corot, whose pupil he claimed to be for a time. He also met Cézanne and Monet, whom he joined in London during the siege of Paris. From 1866 onwards, he stayed regularly in Pontoise to devote himself to landscape painting. He rubbed shoulders with Daubigny, who had settled in nearby Auvers-sur-Oise. Pontoise became the epicentre of impressionist creation where Cézanne, Gauguin, Monet... Pissarro painted most of his work there and was the master of the impressionist movement, organising exhibitions. In 1885, his meeting with Seurat enthused him and invited him to try his hand at the technique of pointillism, of which this Woman Hanging Laundry offers here a rare testimony in his work. The hatched treatment of the colours is similar to Seurat's pointillism but nevertheless retains a warmer vigour, allowing the artist's gesture to be perceived.Provenance: Sale of the Pissarro collection 3.12.1928 lot 43.Work listed in the Catalogue raisonné de l'oeuvre de Camille Pissarro, Rodo & Venturi, n.716 and in the Critical Catalogue of Paintings, Wildenstein Institute, no. 853.Certificate: Lionel Pissarro Signatur: Monogrammed lower left
Lot 16
PAUL CÉZANNE , AIX-EN-PROVENCE, 1839 - AIX-EN-PROVENCE, 1906The Two ChildrenOil on canvas 55 x 45 cmTwo children seated outside a house are petting a rabbit. The second one, huddled next to them, seems to be waiting for his turn. The scene takes place at the foot of the stoop of a house, in a shady courtyard where there is a barrel and probably the hutch, behind the children. The children, a brother and sister with similar features, belong to a wealthy family, judging by their attire. The perceptible details of the architecture behind them suggest a middle-class house with a wrought-iron railing and an arbour supporting a Virginia creeper. A patch of blue sky in the upper right reveals a sunny day bringing light into the courtyard. While the brown palette suggests half-light, the children, with their bright, clear colours, are lit from the front, in contradiction with the light source behind them. The painter's intention here is not so much to respect the rules of a realistic representation as to draw us portraits of two children, probably from his family, fixed in a moment of intimacy. Paul Cézanne (1839-1906) was a major painter of the 19th century, whose controversial work was a turning point in the history of Western painting. Initially destined for a career in law, he decided at the age of 23 to become a painter and moved from Aix-en-Provence to Paris, where he was rejected by the Ecole des Beaux-arts. He frequented the artists Pissarro, Renoir and Monet, with whom he inaugurated the first Impressionist exhibition in 1872, presenting three paintings that were poorly received by the public. Admired by his peers, but maligned by the critics, Cézanne, disappointed, broke away from the Impressionist group to return to his native Provence and continue his formal research in a style that would remain his own. Working on 'the motif', he was interested in the geometry of volumes and the colour relationships in his still lifes and landscapes. His series of views of Mont Sainte-Victoire remains his most famous work. These Two Children date from Cézanne's very first steps in painting, when he was taking his first courses at the Aix-en-Provence School of Drawing. Although the style is still naïve, one can already sense a keen sense of observation. His attempt at chiaroscuro betrays an admiration for the Caravaggio style of religious painting in the churches of his native town. Throughout his life, Cézanne, the self-taught artist, would draw his painting from observation of the great masters, in particular by assiduously frequenting the Louvre, 'this book in which we learn to read'.Work reproduced in the Catalogue raisonné of the painting of Paul Cézanne, John Rewald, 1996, published by Harry N. Abrams and the Wildenstein Committee.Certificate: René Millet Expert appraisal
Lot 13
EUGÈNE BOUDIN , HONFLEUR, 1824 – DEAUVILLE, 1898 Le Vieux Port de Touques Oil on canvas 45 x 65 cm Only a few rare clouds remain in this trailing sky, giving way to a beautiful azure that takes up more than half of the painting. This sky is also reflected in the Touques River, which flows in the lower part of the composition. Between the two lies the old port of Touques, whose houses crowd the river's edge to be reflected in turn, multiplied and diluted. The alignment of pointed gables intermingles its tile and slate roofs, offering a contrasting palette of whites, red ochres and anthracite. Two bell towers punctuate this horizon, in response to the first pointed gable on the left. Beyond, the village is extended by green vegetation. Finally, on the shore, silhouettes are busy. We can make out a few boats moored along a quay, which bear witness to the village's port activity. The port is painted from the opposite bank, where we are standing, with the bank in the foreground on the left. Its truncated representation, depicted at an angle, accentuates the perspective and adds to the effect of distance. Once again, Boudin magnifies this Norman nature that he never tires of representing, offering us each time a new light, a new emotion.In 1859, he exhibited his first painting at the Salon where he was noticed by Baudelaire. He met Courbet, Jongkind and then Monet, whom he introduced to plein-air painting. As he gained notoriety, he devoted himself to more mundane subjects, accompanying the birth of the first seaside resorts, Deauville, Trouville but also Juan-les-Pins. In 1874, he took part in the first Impressionist exhibition at Nadar's. Beyond the scenes of daily life, sketched with vivacity and even picturesqueness, his landscapes are organised with precision according to the laws of perspective and according to a framing influenced by the nascent photography. The characters, secondary or even anecdotal, are inscribed in a perspectival space where the eye is invited to travel over vast expanses. But it is above all his treatment of light that will earn him the recognition of his peers, particularly for his skies. Corot, his elder, gave him the laudatory title of 'king of the skies' when Baudelaire awarded him that of 'painter of meteorological beauties'. Robert Schmit, 'Eugène Boudin, 1824-1898', vol. III, Paris, 1973, no. 2702. Signatur: Signed and dated lower left 'E. Boudin 90'.
Lot 340
Charles-François Daubigny 1817 Paris - 1878 Paris Bords de l’Oise. Um 1870. Öl auf Leinwand. Links unten signiert. Verso auf dem Keilrahmen mit altem Siegel in Rot. 38 x 65 cm (14,9 x 25,5 in). Mit einer Expertise von M. François Delestre, London/Paris, Oktober 2022. Das Werk wird in den zweiten Ergänzungsband des Catalogue raisonné aufgenommen. PROVENIENZ: Privatsammlung Bayern. Privatsammlung Baden-Württemberg (1979 vom Vorgenannten erhalten). Ein Großteil des Schaffens von Charles-François Daubigny entwickelt sich im Dialog mit der Oise, einem in Belgien entspringenden, malerischen Fluss, der nördlich von Paris schließlich in die breitere Seine mündet. In Paris ansässig, stellt Daubigny ab 1838 regelmäßig im Salon aus. Eine erste Landschaft aus Barbizon, wo er sich der Künstlergemeinschaft angeschlossen hatte, folgt 1844. Vor allem Camille Corot bewundert Daubigny sehr und mit ihm verbindet ihn später eine Freundschaft. In der sogenannten Schule von Barbizon entwickelt sich eine neue Landschaftsauffassung, in der romantische und realistische Elemente harmonisch zusammenfließen. Wundervoll zu beobachten ist dies in den kleinen Gemälden Daubignys. Eine fließende Ruhe und lyrische Atmosphäre entsteht in seinen Flusslandschaften, die er als einer der ersten unmittelbar vor dem Motiv anfertigt. Dafür richtet er sich ein kleines Atelierboot ein, getauft „Le Botin“, mit dem er auf der Oise zwischen Cergy, Pontoise, Valmondois und L’Isle Adam zu den unterschiedlichsten Tages- und Jahreszeiten unterwegs ist. Daneben bewohnt er ein Haus mit Atelier in Auvers-sur-Oise. An der Oise findet er zu einer sehr lockeren und freien Malweise, die mit ihrem Interesse an Atmosphäre, Licht und Wetterstimmungen zum Impressionismus hinzuführen beginnt. Als Mitglied der im Allgemeinen eher konservativen Salon-Jury ab 1866 spricht er sich für die Malerei der jüngeren Generation des Realismus und Impressionismus aus, bis die wiederholte Ablehnung der Werke Claude Monets ihn dieses Amt aufgeben lässt. An der ersten Ausstellung der Impressionisten 1874 nimmt Daubigny allerdings nicht teil und präsentiert seine Werke weiterhin im offiziellen Salon. Paul Cézanne, Claude Monet, Auguste Renoir und Vincent van Gogh bringen seiner Malerei, der ein gedämpfter, poetischer Zauber und eine berührende Intimität innewohnt, große Wertschätzung entgegen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCharles-François Daubigny 1817 Paris - 1878 Paris Bords de l’Oise. Um 1870. Oil on canvas. Lower left signed. Verso with an old seal in red. 38 x 65 cm (14.9 x 25.5 in). With an expertise from M. François Delestre, London/Paris, October 2022. The work will be included into the 2nd addenda vol. of the Catalogue raisonné. PROVENANCE: Private collection Bavaria. Private collection Baden-Württemberg (obtained from the above in 1979). Much of Charles-François Daubigny’s work unfolds in dialogue with the Oise, a picturesque river that originates in Belgium and eventually flows into the expansive Seine north of Paris. Based in Paris himself, Daubigny regularly exhibited at the Salon from 1838 onwards. He later joined the Barbizon artists’ community and painted his first Barbizon landscape in 1844. Daubigny greatly admired Camille Corot with whom he later formed a friendship. The so-called Barbizon School developed a new landscape perception in which Romantic and Realistic elements combine in a harmonious blend. Daubigny’s small paintings are magnificent examples of this approach. One of the first to place himself directly in front of the motif while working on his river landscapes, he created a fluid calmness and lyrical atmosphere in his paintings. Having organized a small studio boat, “Le Botin”, for this purpose, he traveled the Oise between Cergy, Pontoise, Valmondois and L’Isle Adam at different times of day and throughout the year. He also occupied a house with a studio in Auvers-sur-Oise. Daubigny adopted a very loose and free style of painting during his time on the Oise which began to suggest Impressionist elements through its attention to atmosphere, light and weather conditions. Starting in 1866 when he became a member of the rather conservative Salon jury, he declared his support for the paintings of the younger generation of Realist and Impressionist painters, until the repeated rejection of Claude Monet’s works prompted him to resign from this post. Daubigny nevertheless declined to take part in the first Impressionist exhibition in 1874 and continued to present his works at the official Salon. Paul Cézanne, Claude Monet, Auguste Renoir and Vincent van Gogh all expressed great appreciation for his art with its subtle poetic magic and touching intimacy. [KT] Called up: December 10, 2022 - ca. 15.23 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 350
Charles Johann Palmié 1863 Aschersleben - 1911 München München, Marienplatz. 1908. Öl auf Leinwand. Links unten signiert sowie ortsbezeichnet und datiert 'München 08'. Verso auf der Leinwand sowie dem Keilrahmen verschiedentlich handschriftlich und typografisch nummeriert, dort mit altem Etikett des Künstlers zur Behandlung des Werkes. 150,5 x 116 cm (59,2 x 45,6 in). • Palmiés Ansichten der Münchner Altstadt um die Jahrhundertwende gehören zu seinen gefragtesten Sujets. • Unter dem Einfluss des französischen Impressionismus entwickelt Palmié ein unvergleichliches, höchst individuelles Kolorit. • Großformatige, ungemein atmosphärische Ansicht mit faszinierender Lichtstimmung. PROVENIENZ: Privatsammlung Nordrhein-Westfalen (aus Familienbesitz erhalten). 'Sein oft gemaltes Lieblingsmotiv: der Münchner Marienplatz als Herz der Stadt mit den schützenden Wahrzeichen der Mariensäule und den Türmen der Frauenkirche im Glanze bunter Lichter, ein Farbenfeuerwerk, das in neo-impressionistischer Behandlung fast an einen orientalischen Teppich gemahnt' Die Kunst für alle, Nr. 26, 1910-1911, S. 552. In vibrierender Farbigkeit gibt Palmié eines seiner Lieblingsmotive, den abendlichen Münchner Marienplatz nach einem Regenschauer, wieder. Die Fassade des Neuen Rathauses verschwimmt in dunklen violetten Tönen, ein durch die elektrische Beleuchtung grünlich erscheinendes Licht wabert durch die Straßen, in den Rathausarkaden verheißen die warm erleuchteten Fenster das schnelle Glück der Warenwelt. Mit unvergleichlicher Intensität macht Palmié hier die transformierende Kraft des Lichtes spürbar, das in allen Facetten des Spektrums in seiner Malerei gewürdigt wird. Die Ansicht des Marienplatzes konzentriert sich weniger auf eine präzise Wiedergabe architektonischer Details, sondern hält den flüchtigen Eindruck der Wetter- und Lichtphänomene fest. In diversen Ansichten diente Palmié – ähnlich wie Claude Monet die Kathedrale von Rouen in seinen seriellen Darstellungen – der zentrale Platz Münchens als malerisches und koloristisches Experimentierfeld, das er in immer neuen Farb- und Lichtstimmungen wiedergibt. Dabei wählt er einen Ausblick, bei dem in dieser Perspektive Monumente aus drei Jahrhunderten mit der mittelalterlichen Frauenkirche, der barocken Mariensäule und dem Neuen Rathaus aus der Mitte des 19. Jahrhunderts zusammen gezeigt werden können. Palmié visualisiert so auf raffinierte Weise den kontinuierlichen Wandel der Stadt, die er im Glanz der elektrischen Beleuchtung der Schaufenster als Bühne des modernen urbanen Lebens inszeniert. Palmié beginnt seine künstlerische Laufbahn mit einer Lehre als Dekorationsmaler und studiert anschließend an der Dresdner Akademie. 1884 siedelt er nach München über, wo er als Schüler von August Fink seine künstlerische Ausbildung vollendet. Palmié gehört zur Münchner 'Luitpold-Gruppe', die sich 1892 von der Münchner Künstlergenossenschaft abspaltet. Zudem ist er 1909 Gründungsmitglied der Neuen Künstlervereinigung München unter dem Vorsitz von Wassily Kandinsky, doch tritt er noch vor der ersten gemeinsamen Ausstellung im Winter 1909 wegen künstlerischer Differenzen aus. Zwei Jahre später stirbt er 1911 in München. Große Berühmtheit erlangt der Künstler zunächst vor allem durch seine Landschaftsdarstellungen. Aus der Tradition der Freilichtmalerei des Biedermeiers kommend, wendet er sich später dem Impressionismus und Pointillismus zu. Unverkennbar ist auch hier der Einfluss der französischen Impressionisten in Bezug auf die Motivwahl einer Stadtansicht, der Perspektive von oben und dem tupfenhaften Pinselduktus, vorformuliert in deren Darstellungen der Pariser Boulevards und Plätzen. Vermutlich kennt Palmié deren Gemälde, die erstmals 1891 auf der Ausstellung im Münchner Glaspalast präsentiert werden - darunter vier von Claude Monet, Seestücke und eine winterliche Landschaft. [KT] Aufrufzeit: 10.12.2022 - ca. 15.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCharles Johann Palmié 1863 Aschersleben - 1911 München München, Marienplatz. 1908. Oil on canvas. Lower left signed, inscribed and dated 'München 08'. Verso of the canvas and the stretcher with several numbers (by hand and in typography), and with an old label inscribed by the artist with care instructions. 150.5 x 116 cm (59.2 x 45.6 in). • Palmié's views of Munich's old town around the turn of the century are among his most sought-after works • Under the influence of French Impressionism, Palmié developed an incomparable, highly individual coloring • Large-format, extremely atmospheric view with a fascinating lighting mood. PROVENANCE: Privat collection North Rhine-Westphalia (obtained from family ownership). Using a range of vibrant colors, Palmié captures one of his favorite motifs, Munich’s Marienplatz in the evening after a rain shower. The façade of the New City Hall dissolves into dark purple tones, greenish light produced by electric lamps wafts through the streets, and the warmly illuminated shop windows in the City Hall arcades hold the promise of instant consumer gratification. In this painting, Palmié conveys with unparalleled intensity the transformative power of light, which his work celebrates in all possible shades of the spectrum. Rather than a precise rendering of architectural details, his view of Marienplatz captures the fleeting impression of weather and light phenomena. Much like Rouen Cathedral in Claude Monet’s serial portrayals, Munich’s central square, which Palmié reproduced in various views in ever changing shades of color and lights, served the painter as a frequent source of artistic and coloristic experimentation. Choosing a perspective that combines monuments from three centuries, he displays the medieval Church of Our Lady, the baroque St. Mary’s Column and the New Town Hall from the mid-19th century. Palmié thus presents an ingenious vision of the continuous transformation of the city, casting it as a backdrop for modern urban life bathed in the glow of the shop windows’ electric lighting. [KT] Called up: December 10, 2022 - ca. 15.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 312
Wilhelm Trübner 1851 Heidelberg - 1917 Karlsruhe Studiosus Michaelis, mit Papierrolle. 1873. Öl auf Leinwand. Rohrandt G 203. Rechts oben signiert und datiert. Verso auf der Leinwand mit Stempeln und Inventarnummern. Verso auf dem Keilrahmen bezeichnet, mit Stempeln und Inventarnummern versehen, mit altem fragmentierten Etikett sowie nummeriert 'D 2232'. 46 x 30,5 cm (18,1 x 12 in). • Von 1989 bis 2022 im Kurpfälzischen Museum Heidelberg. • In der wichtigen Trübner-Retrospektive 1994/95 ausgestellt. • Restitutionsfall aus der bedeutenden Sammlung Carl Sachs. Wir danken Herrn Dr. Klaus Rohrandt, Kiel, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Kunsthandlung Jos. Schall, Wiesbaden (1911, wohl in Kommission aus dem Eigentum des Künstlers). Nachlass des Künstlers (bis 1918: Versteigerung Lepke). Sammlung Carl Sachs (1858-1943), Breslau/Basel (wohl 1918 vom Vorgenannten erworben, spätestens seit 1923, bis 1943: Versteigerung Galerie Fischer). Zur Aufbewahrung mit Werken aus der Sammlung Sachs im Kunsthaus Zürich, Kunstmuseum Basel und Kunstmuseum Luzern (ab 1934). 'Fischer', o. O. (1943 erworben: Versteigerung Galerie Fischer). Kunsthandel Winfried Flammann, Karlsruhe (1988 erworben: Versteigerung Galerie Fischer). Ministerium für Wissenschaft und Kunst Baden-Württemberg (im Aug. 1989 vom Vorgenannten erworben), als Leihgabe an das Kurpfälzische Museum, Heidelberg. Restituiert an die Erben Carl Sachs im Juli 2022. Das Werk ist frei von Restitutionsansprüchen. AUSSTELLUNG: Ausstellung Deutscher Kunst aus der Zeit von 1775-1875, Königliche Nationalgalerie Berlin, 1906, Nr. 1815. Sonderausstellung von Gemälden Wilhelm Trübners, Kunstverein Leipzig, Sept.-Okt. 1908, Nr. 19 (m. Abb.). 1. Große Kunst-Ausstellung, Wiesbaden 1909, Nr. 378 oder 388 (m. Abb.). Große Internationale Kunstausstellung, Kunsthalle Bremen, 1910. Wilhelm Trübner. Ausstellung anlässlich des 60. Geburtstages, Kunstverein Karlsruhe, 2.2.-2.3.1911, Nr. 2612. XXVI. Ausstellung der Berliner Secession, Ausstellungshaus am Kurfürstendamm 208/9, Berlin 1913, Nr. 124. Baltische Ausstellung, Malmö, 15.5.-4.10.1914. Wilhelm Trübner 1851-1917, Kurpfälzisches Museum, Heidelberg, 10.12.1994-19.2.1995; Kunsthalle der Hypo-Kulturstiftung, München, 10.3.-21.5.1995, Kat.-Nr. 25 (m. Abb.). LITERATUR: Georg Fuchs, Wilhelm Trübner und sein Werk, München 1908, S. 89f. (Abb. 25). Hans Rosenhagen, Wilhelm Trübner, Bielefeld 1909, S. 80 (Abb. 19, S. 22). Die Internationale Kunst-Ausstellung in Bremen, in: Die Kunst für Alle, 25, 1910, S. 308. Julius Elias, Wilhelm Trübner, in: Kunst und Künstler, 14, 1916 (Abb. S. 188). Joseph August Beringer, Trübner: des Meisters Gemälde in 450 Abbildungen, Stuttgart 1917, S. XX (m. Abb S. 47). Rudolph Lepke's Kunst-Auctions-Haus, Berlin, Nachlass Wilhelm Trübner: Versteigerung (Nr. 1806b): Eigene Gemälde, Arbeiten seiner Gattin Alice, Werke aus dem Freundeskreise, 4.6.1918, Nr. 16, Abb. Taf. 11 (Notiz Haberstock: Sachs). Versteigerung von Trübners Nachlass, in: Kunst und Künstler, 16, 1918, S. 407. Karl Scheffler, Breslauer Kunstleben, in: Kunst und Künstler, 21, 1923, S. 123 (m. Abb. S. 119). Galerie Fischer, Luzern, Mobiliar aus westschweizerischem Adelsbesitz - Aus Berner und holländischem Privatbesitz - Gemälde alter und neuer Meister, 25.-29.5.1943, Nr. 1829. Galerie Fischer, Luzern, Mobiliar, Kunstgewerbe, teils aus Besitz des Comte de Lenzbourg (..), 27.11.-1.12.1956, Nr. 2466 (ohne Zuschlag). Galerie Fischer, Luzern, Möbel, Zinn, Glas, (..) Gemälde alter und moderner Meister, 8.-10.11.1988, Nr. 2253 (m. Abb.). Monika Tatzkow, 'Es schwimmen aber ja im Kunsthandel eine Menge Arbeiten [..] herum aus den Sammlungen ausgewiesener oder geflohener Leute', in: Peter Mosimann und Beat Schönenberger (Hrsg.), Fluchtgut - Geschichte, Recht und Moral, Bern 2015, S. 37-51, hier Abb. S. 44 (zur Slg. Sachs vgl. ebd.). Ministerium für Wissenschaft, Forschung und Kunst, Land gibt Trübner-Gemälde an die Erben des jüdischen Industriellen und Kunstsammlers Carl Sachs zurück, Pressemitteilung Nr. 084/2022, mwk.baden-wuerttemberg.de, 18.7.2022. Land gibt Gemälde an Erben des jüdischen Besitzers zurück, Süddeutsche Zeitung Online, dpa:220718-99-66910/2, 18.7.2022. Baden-Württemberg gibt Trübner-Gemälde an Erben zurück, Deutschlandfunk Kultur, deutschlandfunkkultur.de, 12.7.2022. Entstanden in der Frühzeit Trübners nach Beendigung seines Studiums im privaten Atelier Hans Canons in Stuttgart sowie kurzzeitig an der Akademie in München, zeigt das Werk einen bisher noch unidentifizierten Studenten. Deutlich geprägt ist Trübners Malerei in den Jahren nach 1869 von der Malweise des großen Meisters des Realismus Gustave Courbet, dessen Werke er bei der Internationalen Kunstausstellung im Glaspalast zu Gesicht bekommt. Dessen Realismus ist weniger einer detailreichen, akribischen Wiedergabe der Dinge verpflichtet als vielmehr der reinen Malerei selbst, die in pastosen breiten Pinselstrichen ihr Dasein behauptet. Neben der Landschaft interessiert sich Trübner für den Menschen, für dessen Darstellung er wesentliche Impulse Wilhelm Leibls aufnimmt, zu dessen Kreis er 1871 gehört. 1872/73 hält er sich den Sommer über in seiner Geburtsstadt Heidelberg auf, auch in Folge eines erneuten Cholera-Ausbruchs in München. Aufgrund der pittoresken Landschaft gilt München als eines der motivischen Zentren der Romantik und Landschaftsmalerei; vor allem aber gewinnt die Stadt aufgrund ihrer Universität – die älteste Deutschlands – und des dortigen liberalen Klimas Ende der 1840er Jahre an Bedeutung. Womöglich handelt es sich bei dem Studenten um einen der zahlreichen, vor allem an der hochrenommierten juristischen Fakultät immatrikulierten jungen Männer. Das Werk stammt aus der bedeutenden Sammlung des jüdischen Industriellen und Kunstsammlers Carl Sachs (1858–1943) aus Breslau. Sachs hatte im Laufe seines Lebens eine vielfältige und hochkarätige Sammlung deutscher und französischer Künstler des 19. Jahrhunderts mit impressionistischem Schwerpunkt zusammengetragen, darunter Werke von Corinth, Liebermann und Trübner sowie Corot, Courbet, Monet und Renoir. Mit dem aufkommenden Nationalsozialismus ist Carl Sachs zusammen mit seiner Ehefrau Margarethe von Diskriminierung und Verfolgung betroffen, die ihn schließlich im Februar 1939 in hohem Alter zur Emigration in die Schweiz zwingen. Seines in Deutschland verbliebenen Vermögens beraubt, ist er genötigt, die zuvor nach Basel verbrachte Kunstsammlung zu veräußern, darunter 1943 das Trübner-Gemälde. Dieses wird 2022 vom Land Baden-Württemberg an die Erben nach Carl Sachs restituiert und kann damit heute, frei von Restitutionsansprüchen, zum Verkauf angeboten werden. [KT] Aufrufzeit: 10.12.2022 - ca. 14.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Lot 383
Charles (Karl) Vetter 1858 Kahlstädt bei Scheidemühl - 1941 München Maffeistraße im Regen. 1913. Öl auf Leinwand. Rechts unten signiert und datiert. Verso auf dem Keilrahmen betitelt sowie mit nummeriertem Etikett '184'. 54 x 45,5 cm (21,2 x 17,9 in). Wir danken Herrn Peter Zimmermann, Ahrensburg, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Deutschland (seit 2008: Auktionshaus Stahl, 26.4.2008). LITERATUR: Alte und Neue Kunst München, Versteigerung - Öl-Gemälde alter und moderner Meister. Sammlung Otto G. Mayer-Schöllkopf Stuttgart, sowie aus Englischem und Süddeutschem Besitz, 6.-7.12.1926, Los 300. Auktionshaus Stahl, Hamburg, 26. April 2008, Lot 126. In seinem Schaffen widmet sich Charles Vetter, der ab 1881 an der Münchner Kunstakademie, zunächst in der Zeichen-, dann in der Landschaftsklasse studiert, am erfolgreichsten dem Motiv impressionistisch wiedergegebener Stadtansichten. Nach Stationen in Merseburg, Leipzig und Dachau lässt er sich 1893 endgültig in München nieder, dessen städtisch-architektonisches Porträt er in immer neuen Blickwinkeln entwirft. Wie zahlreiche andere europäische Metropolen wird auch die Stadt München im Laufe des 19. Jahrhunderts immer wieder von neuen unternehmerischen und architektonischen Projekten geprägt. So erhält die Maffeistraße ihren Namen nach dem Unternehmer Joseph Anton von Maffei (1790-1870), Inhaber einer Maschinen- und Lokomotivenfabrik. Er erwirbt das Grundstück am Promenadeplatz, auf den der Blick hier auch zuläuft, und lässt vom Architekten Friedrich von Gärtner 1841 das Hotel Bayerischer Hof errichten. Zur Entstehungszeit des Werkes führen bereits die Trambahngleise durch die Straßen. Kriegsbedingte Verluste sind jedoch für den Wandel des Stadtbildes verantwortlich, von dem Vetter hier einen atmosphärischen Eindruck entwirft. Kompositorisch sucht Vetter in der extremen perspektivischen Bildanlage durchaus den Vergleich mit den Darstellungen der Boulevards in Paris von Claude Monet oder von Lesser Ury in Berlin, die die Straßen als bewegungsvolle Pulsadern der Stadt inszenieren. Die atmosphärisch wechselnden Lichtstimmungen, hier harmonisch durch Graublau-Töne des sich in der regennassen Straße spiegelnden Himmels gegenüber den warmen ockerfarbenen Häuserfassaden und dem Schwarz der Pferdedroschken und Regenschirme eingefangen, zeigen die Stadt als ein sich stetig wandelndes Motiv. [KT] Aufrufzeit: 10.12.2022 - ca. 16.20 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCharles (Karl) Vetter 1858 Kahlstädt bei Scheidemühl - 1941 München Maffeistraße im Regen. 1913. Oil on canvas. Lower right signed and dated. Verso titled and with a label numbered '184'. 54 x 45.5 cm (21.2 x 17.9 in). We are grateful to Mr Peter Zimmermann, Ahrensburg, for his kind expert advice. PROVENANCE: Private collection Germany (since 2008: auction house Stahl on April 26, 2008). LITERATURE: Alte und Neue Kunst München, Versteigerung - Öl-Gemälde alter und moderner Meister. Sammlung Otto G. Mayer-Schöllkopf Stuttgart, sowie aus Englischem und Süddeutschem Besitz, December 6 - 7, 1926, lot 300. Auction house Stahl, Hamburg, April 26, 2008, lot 126. Called up: December 10, 2022 - ca. 16.20 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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