Skarbina, Franz (Berlin 1849 - 1910 Berlin)Pastell "Wintertag am Berliner Stadtrand" auf chamoisfarbenem Karton, verschneite Allee am Berliner Stadtrand mit Kutsche und Spaziergängern, seitlich zwei Straßenlaternen, unten rechts signiert "F. Skarbina", 64 x 77 cm, ~1905, oben links minimal angeschmutzt, sonst sichtbar guter Zustand, sauber original gerahmt und verglast (78 x 90 cm), rückseitig Etikett der Kunsthandlung Otto Fischer Bielefeld, ungeöffneter Originalzustand 7209 Das Werk stammt aus der Spätphase des Künstlers, zu dieser Zeit entstehen mehrere winterliche Stadtbilder in einem locker - impressionistischen Stil, wobei der Künstler insbesondere den Lichteffekten erhellter Fenster oder brennender Straßenlaternen besondere Aufmerksamkeit widmet, die vorliegende Arbeit steht thematisch und technisch in enger Beziehung zu dem Pastell "Winterlicher Spätnachmittag in Berlin", siehe Auktionshaus Lempertz Köln, 18.06.2006, lot 1305 Otto Fischer (1879 - 1927) eröffnete 1902 in Bielefeld den "Kunstsalon Otto Fischer" und machte schnell mit Ausstellungen moderner Kunst mit Arbeiten der Berliner und Münchner Secessionisten oder Arbeiten u.a. von Max Klinger, Käthe Kollwitz, Max Liebermann, Lesser Ury, Franz Skarbina, Otto Modersohn oder Edvard Munch auf sich aufmerksam Prov.: Kunstsalon Otto Fischer Bielefeld, Privatbesitz Bielefeld, Sammlung Bernhard Hergarden (1880 - 1966), Besitz der Tochter Beatrix Kramer, geb. Hergarden Versand aufgrund der Größe und der Verglasung nur nach Absprache per Spedition
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Laumen, Maria (Deutsche Malerin, 1878 - 1957)Gemälde, Öl auf Leinwand, Stillleben mit Blumentöpfen, mittig links signiert "M. Laumen", 46,5 x 42 cm, 1920er Jahre, sehr guter, farbkräftiger Zustand, rückseitig Etikett der Kunsthandlung Otto Fischer in Bielefeld, später sauber gerahmt 4812 Otto Fischer (1879 - 1927) eröffnete 1902 in Bielefeld den "Kunstsalon Otto Fischer" und machte schnell mit Ausstellungen moderner Kunst mit Arbeiten der Berliner und Münchner Secessionisten oder Arbeiten u.a. von Max Klinger, Käthe Kollwitz, Max Liebermann, Lesser Ury, Franz Skarbina, Otto Modersohn oder Edvard Munch auf sich aufmerksam
HMV - CLASSICAL LP COLLECTION. A timeless collection of 29 classical LPs, mostly released on HMV. Composers/ performers include Jacqueline Du Pre - Cello Concertos (ASD 2466), Sir John Barbirolli - Symphony 4 (ASD 2433), De Burgos - Falla: The Three Cornered Hat (ASD 608), Michelangeli - Piano Concertos (ASD 255), Menuhin - Handel (ASD 491), Charles Munch - Berlioz (ASD 2342), Ogdon - Stevenson (ASD 2321/ 2322). Other catalogue numbers include ASD 2332, 2323, 2289, 574, 575, 581, 585, 587, 606, 607, 545, 2653, 643, 629, 631, 613, 2497, 2483, 2436, 2491, 2492. Records are generally VG+ to Ex+. Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
HMV - CLASSICAL LP COLLECTION. A collection of 37 classical LPs, all released on HMV. Composers/ performers include Smetana Quartet (ASD 2402), Victoria De Los Angeles (ASD 2415), Charles Munch inc (ASD 2467), (ASD 2497). Emil Gilels (ASD 2483), Jacqueline Du Pre/ Daniel Barenboim (ASD 2498), Roberto Gerhard (ASD 613), The Melos Ensemble (ASD 620), Rudolf Barshai (ASD 631), Cziffra (ASD 629), Mirella Freni (ASD 622). Other catalogue numbers include ASD 643, 640, 650, 635, 639, 2653, 2547, 2755, 606, 607, 601, 592, 591, 587, 585, 574, 567, 2279, 2289,, 2296, 2760, 2323, 2764, 491, SAL 3589 & SAL 3588. Records are generally VG+ to Ex+. Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
HMV - CLASSICAL LP COLLECTION. An identical collection of 37 classical LPs to the previous lot, all released on HMV. Composers/ performers include Smetana Quartet (ASD 2402), Victoria De Los Angeles (ASD 2415), Charles Munch inc (ASD 2467), (ASD 2497). Emil Gilels (ASD 2483), Jacqueline Du Pre/ Daniel Barenboim (ASD 2498), Roberto Gerhard (ASD 613), The Melos Ensemble (ASD 620), Rudolf Barshai (ASD 631), Cziffra (ASD 629), Mirella Freni (ASD 622). Other catalogue numbers include ASD 643, 640, 650, 635, 639, 2653, 2547, 2755, 606, 607, 601, 592, 591, 587, 585, 574, 567, 2279, 2289,, 2296, 2760, 2323, 2764, 491, SAL 3589 & SAL 3588. Records are generally VG+ to Ex+. Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
HMV - CLASSICAL LP RARITIES PACK. A fine selection of 8 classical LPs, all released on HMV. Composers/ performers include Sir John Barbirolli - Mahler: Symphony No. 9 (ASD 596/ 597 - 2 record set. Records both Ex. One half moon label/ other coloured postage stamp), Paul Kletzki - Prokofiev: Symphony No. 5 (ASD 578, Ex), Yehudi Menuhin - Bloch: Violin Concerto (ASD 584, Ex), George Szell - Schubert: Great C Major (ASD 2760, Ex+), Michelangeli (ASD 255, Ex), Charles Munch - Berlioz (ASD 2342, VG+) & Leonid Kogan - Vainberg: Violin Concerto (ASD 2755, VG+). Please note that all sleeves will contain archival stickers from the BBC. The majority of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
Seven boxed / cased diecast model motorbikes to include 2 x cased Nacoral models featuring Guzzi 750 VS 3601/M and Norton 750 Roadster 3604/M, 2 x Guiloy models to include Norton Police 103 and 12693 Norton Commando Mk 3 Interstate 1977, 2 x Maisto models to include Munch Mammut 2000 and Triumph T120 Bonneville 1969 and 1 x Polistil Norton 750 Commando, diecast ex overall, boxes gd-vg overall
Edvard Munch (1863–1944) was a Norwegian painter and printmaker known for his emotionally charged and psychologically intense works, which often explored themes of love, death, anxiety, and existential angst. Munch's art played a pivotal role in the development of expressionism and modernism in the late 19th and early 20th centuries.Born in Loten, Norway, Munch grew up in Oslo and studied art at the Royal School of Art and Design in Oslo and later in Paris. He was deeply influenced by the Symbolist movement and the work of artists such as Vincent van Gogh and Paul Gauguin, as well as by his own personal experiences of illness, loss, and existential turmoil.Munch's most famous painting is "The Scream" (1893), which has become an iconic symbol of modern anxiety and alienation. The painting depicts a figure standing on a bridge, his face contorted in a scream of anguish against a backdrop of swirling sky and water. "The Scream" is part of a series of works by Munch exploring themes of anxiety and existential dread, often featuring distorted figures and vivid, expressionistic colors.In addition to "The Scream," Munch created a vast body of work encompassing paintings, prints, and drawings. His art often featured recurring motifs such as death, illness, love, and the human condition, depicted with a raw emotional intensity and a bold, expressive style.Munch's work was controversial in its time for its radical subject matter and its departure from traditional artistic conventions. However, he found acclaim among avant-garde circles in Europe and was instrumental in shaping the development of modern art.Today, Edvard Munch is regarded as one of the greatest painters of the modern era, and his works are celebrated for their emotional depth, psychological insight, and groundbreaking approach to artistic expression. His legacy as a pioneer of expressionism and a master of modern art endures to this day, influencing generations of artists and continuing to resonate with viewers around the world.Measures 36.0 x 42.5.
Walkers Crisps liveries Oxford Cubs Vintage Diecast Commercial Models in Trade Boxes (185), eight trade boxes, (seven full), includes models in Monster Munch, Quavers, French Fries liveries, six variations in the series, each full trade box comprises 24 models with card display stands, eighth box contains seventeen models, G-E, packaging P-VG, (185)
CLASSICAL LPs - UK STEREO PACK. A fine selection of 13 classical LPs, all UK stereo pressings. COmposers/ performers include Klemperer - Mozart/ Handel (SBO 2751, 10"), Orff inc Der Mond (SAX 2457), Die Kluge (SAX 2456), Karajan inc Der Rosenkavalier (SAX 2423), 1812 Hungarian March (SAX 2302), Sibelius: Symphony No5 (SAX 2392). Walton - Belshazzar's Feast (SAX 2319), Schwarzkopf - In Songs You Love (SAX 2265), Steinberg - Le Coq D'or (SP8445), Fennell (AMS 16106), Dorati (AMS 16117), Munch (LSC 2683) & Perahia - Chopin (CBS 76242). Condition is generally VG+ to Ex+.
Original antique advertising poster for the 1889 Universal Exhibition / Exposition Universelle featuring the image of Central Dome / Le Dome Central in Paris, depicting ladies and gentlemen in front of a colourful building, with statues lining the alley. The Exposition Universelle of 1889 also known as the 1889 Paris Exposition, was held to celebrate the 100th anniversary of the Storming of the Bastille, which marked the beginning of the French Revolution, the most famous structure created for the exposition was the Eiffel Tower. Among other celebrities and notable people such as the Shah of Persia Nasereddin Shah, Prince of Wales Edward VII and his wife, Princess Alexandra, artists Antoni Gaudi, James McNeill Whistler, Edvard Munch, Rosa Bonheur and Paul Gauguin, U.S. journalist and diplomat Whitelaw Reid, author Henry James, Filipino patriots Jose Rizal and Marcelo H. del Pilar, and inventors Nikola Tesla and Thomas Edison, with latter visiting the exhibit where his phonograph was demonstrated. Good condition, creasing, folds, staining, tears Country of issue: France, designer: Unknown, size (cm): 60x41, year of printing: 1889.
EDVARD MUNCHCURT GLASER: Eduard Munch. Berlin: Cassirer 1917. 25,6 x 19 cm. Mit OrRadierung von Edvard Munch und zahlreichen Abbildungen. 3 Bll., 191 SS. Illustr. OrLn.(Vorsätze und Schnitt l. feuchtfleckig.)Erste Ausgabe mit der Original-Radierung „Kopf eines bärtigen Mannes“ („Bildnisstudie“; Schiefler 243). - Gutes Exemplar.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 60 x 70cm (23½ x 27½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower left) 60 x 50cm (23½ x 19½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left); further signed (verso) 65.5 x 92cm (25¾ x 36 in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower right) 65 x 54cm (25½ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
NIUE ISLANDS. Gold 2-coin set, 2013. Edvard Munch Proof. Commemorating 150 years of the famous artist Edvard Munch. Each coin is 4.75 grams of 14 carat gold. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Mintage: 150.Weight: 9.5 g. (AGW=0.1787 oz.)Composition: 585.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Karl Kluth (Halle/Saale 1898 - Hamburg 1972). Bildhauer. 1962. Öl/Hartfaser. 200 x 90 cm. Verso betitelt. Min. Farbabspl. - K. ist einer der herausragenden Hamburger Maler der Moderne. K. studierte an der Karlsruher Akademie bei A. Haueisen, anschließend als Meisterschüler bei A. Babberger. Zurück in Hamburg wurde er 1928/29 mit dem ersten Lichtwark-Preis ausgezeichnet. E. Munch war im Frühwerk das prägende Vorbild für K. Ende der 20er Jahre und Anfang der 30er Jahre besuchte er den Meister in Olso und führte einige Arbeiten gemeinsam mit ihm aus. K. nahm 1951 eine Professur an der Hochschule für Bildende Kunst in Hamburg an, wo er u.a. Maler der Gruppe 'Zebra' unterrichtete. Unter seinen Auszeichnungen war 1957 der Edwin-Scharff-Preis der Stadt Hamburg, zudem war er als Ehrengast der Villa Massimo in Rom. Er blieb künstlerisch nie beim einmal Erreichten stehen, bis ins hohe Alter setzte er neue Ideen um. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Mus. für Kunst u. Gewerbe), Berlin (Nat.-Gal.), Schleswig (SHLM), Hannover (Sprengelmus.), Halle (Moritzburg) u.a. Lit.: Thieme-Becker, Der Neue Rump, Ausst.-Kat. K. K, Hamburg 1998, H. Spielmann: K. K. u.a.
Karl Kluth (Halle/Saale 1898 - Hamburg 1972). Windbruch IV. 1969. Öl/Hartfaser. 80 x 100 cm. R. u. monogr. und dat. K69, verso betitelt und num. K 2109. - Provenienz: Privatsammlung Hamburg - K. ist einer der herausragenden Hamburger Maler der Moderne. K. studierte an der Karlsruher Akademie bei A. Haueisen, anschließend als Meisterschüler bei A. Babberger. Zurück in Hamburg wurde er 1928/29 mit dem ersten Lichtwark-Preis ausgezeichnet. E. Munch war im Frühwerk das prägende Vorbild für K. Ende der 20er Jahre und Anfang der 30er Jahre besuchte er den Meister in Olso und führte einige Arbeiten gemeinsam mit ihm aus. K. nahm 1951 eine Professur an der Hochschule für Bildende Kunst in Hamburg an, wo er u.a. Maler der Gruppe 'Zebra' unterrichtete. Unter seinen Auszeichnungen war 1957 der Edwin-Scharff-Preis der Stadt Hamburg, zudem war er als Ehrengast der Villa Massimo in Rom. Er blieb künstlerisch nie beim einmal Erreichten stehen, bis ins hohe Alter setzte er neue Ideen um. Mus.: Hamburg (Kunsthalle, Altonaer Mus., Mus. für Kunst u. Gewerbe), Berlin (Nat.-Gal.), Schleswig (SHLM), Hannover (Sprengelmus.), Halle (Moritzburg) u.a. Lit.: Thieme-Becker, Der Neue Rump, Ausst.-Kat. K. K, Hamburg 1998, H. Spielmann: K. K. u.a.
Prof. Max Slevogt, „Don Quixote” Don Quixote mit Lanze zu Pferd in weiter Landschaft, neben ihm schlafend sein Getreuer Sancho Panza mit seinem Esel, siehe Sievers-Waldmann-Imiela 477, Vernis mou-Radierung, 1912, unter der Darstellung rechts in Blei signiert "Slevogt", leichte Altersspuren, hinter Glas gerahmt, Plattenmaße ca. 11 x 17,5 cm, Falzmaße ca. 20,5 x 27,5 cm. Künstlerinfo: eigentlich Max Franz Theodor Slevogt, bedeutender dt. Maler, Graphiker, Zeichner und Illustrator (1868 Landshut bis 1932 Neukastel), Kindheit in Würzburg, studierte 1885-89 an der Akademie München bei Wilhelm von Diez, Gabriel von Hackl, Johann Caspar Herterich und Karl Raupp, 1889 Schüler der Académie Julian in Paris, beeinflusst von Wilhelm Trübner, unternahm zahlreiche Studienreisen, unter anderem nach Italien, Ägypten, Dänemark und Paris, Gründungsmitglied der Arbeitsgemeinschaft Pfälzer Künstler, ab 1896 Mitarbeiter der "Jugend" und des "Simplizissimus", ab 1900 früheste Buchillustrationen, erschienen im Verlag Bruno Cassirer, ab 1917 Professor an der Akademie Berlin, neben Max Liebermann, Edvard Munch und Lovis Corinth Mitglied der Berliner Sezession, Mitglied und Senator der Akademie der Bildenden Künste Berlin, Mitglied der Dresdner Akademie, Ehrenmitglied der Akademien Wien und München, Mitglied im Reichsverband Bildender Künstler Deutschlands und im Deutschen Künstlerbund, tätig in München, Berlin und Neukastel, Quelle: Thieme-Becker, Vollmer, Dressler, Matrikel der Münchner Akademie und Wikipedia.
Paul Herrmann, Sitzender weiblicher Aktin einem Sessel sitzende nackte junge Frau mit zum Betrachter gerichtetem Blick, Deckfarben und Aquarell auf leichtem Karton, rechts unten signiert und datiert "Paul Herrmann (19)29", leicht gebräunt, hinter Glas gerahmt, Falzmaße ca. 56 x 70 cm. Künstlerinfo: eigentlich Paul Lorenz Otto Heinrich Herrmann, auch Henri Héran genannt, dt. Maler und Graphiker (1864 München bis 1940 Berlin), aufgewachsen im Kreis seines Onkels Paul Heyse, zum Architekturstudium vorgesehen, heimlich Malunterricht und Zerwürfnis mit Heyse, später Schüler der Malschule von Max Ebersberger und zwei Jahre Schüler von Ferdinand Barth, 1883 kurzzeitige Immatrikulation an der Akademie München, später Panoramenmaler und Restaurator von Fresken in Bayern und Schwaben, anschließend einige Jahre in New York und Chicago (Weltausstellung 1893), 1895 Übersiedlung nach Paris und Annahme des Künstlernamens "Henri Héran", verkehrte hier im Freundeskreis um Edvard Munch, Strindberg und Oscar Wilde, 1906 Übersiedlung nach Berlin, schuf hier u. a. Deckengemälde für die Hotels Adlon und Eden, tätig für die Zeitschriften "Pan" und "Le Centaure", erhielt diverse Ehrungen, u. a. die Goldene Staatsmedaille Berlin und 1914 die Sächsische Staatsmedaille sowie den Großen Ehrenpreis der Stadt Leipzig, Mitglied im Verein Berliner Künstler, der Freien Vereinigung der Graphiker zu Berlin und der Münchner Sezession, Quelle: Thieme-Becker, Singer, Dressler, Matrikel der Münchner Akademie, Akten der Reichskammer der Bildenden Künste Berlin und Internet.
Prof. Ivo Hauptmann, Zwei Studienblätterin einer Badewanne liegende Frau, Graphit auf leichtem Karton, Blattmaße ca. 33 x 49 cm und Blatt mit Ruderbootszenen, Tuschefeder auf Papier, Blattmaße ca. 22 x 29 cm, entstanden um 1960, jeweils rechts unten Signaturstempel "Ivo Hauptmann" und rückseitig Nachlassstempel, leichte Altersspuren. Künstlerinfo: dt. Maler und Graphiker (1886 Erkner bei Berlin bis 1973 Hamburg), ältester Sohn von Gerhart Hauptmann, Jugend in Dresden, hier Bekanntschaft mit Otto Mueller, mit dem er 1900 in die Schweiz und an die Riviera reist, 1903 Studium an der Académie Julian in Paris, 1903-04 Schüler von Lovis Corinth in Berlin, studierte 1904-09 an der Akademie Weimar bei Hans Olde, hier Meisterschüler von Ludwig von Hofmann und Freundschaft mit Hans Arp, Henry van de Velde und Edvard Munch, 1907 Griechenlandreise mit Gerhart Hauptmann und Ludwig von Hoffmann, 1909-12 Parisaufenthalt und Studium an der Académie Ranson bei Pierre Bonnard, Maurice Denis und Paul Signac, hier Freundschaft zu Rainer Maria Rilke und Auguste Rodin, 1911-14 Mitglied der "Société Indépendants", 1912 Heirat mit Erica von Scheel, 1913-19 in Hamburg-Dockenhuden tätig und Schüler von Arthur Illies an der Kunstgewerbeschule, 1914 Mitgründer der Freien Sezession Berlin, 1915-18 Kriegsdienst im 1. Weltkrieg, 1919-25 freischaffend in Dresden-Loschwitz, 1925 Übersiedlung nach Hamburg-Altona, hier als Prokurist Angestellter der Reederei Otto Blumenfeld, ab 1914 Mitglied im Dresdner Künstlerbund und im Dresdner Künstlerverein und 1928-33 Mitglied der Hamburgischen Sezession, nach 1933 als "entartet“ diffamiert, 1936 mit Max Pechstein in Leba, bis 1938 regelmäßige Aufenthalte beim Vater im Haus „Wiesenstein“ in Agnetendorf im Riesengebirge, im Haus Seedorn im Kloster auf Hiddensee, in Rapallo und Ascona, nach 1945 Neugründung der Hamburgischen Sezession und zeitweise deren Vorsitzender, 1950 Gründungsmitglied der Akademie der freien Künste Hamburg und ab 1965 deren Ehrenpräsident, 1955-65 Dozent an der Hochschule der Bildenden Künste (HBK) Hamburg, 1961 Bundesverdienstkreuz, 1973 Professorentitel durch den Hamburger Senat, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Rump und Wikipedia.
* JOHN HOUSTON OBE RSA RSW RGI SSA (SCOTTISH 1930 - 2008), STILL LIFE IN YELLOW oil on canvas, signedframedimage size 110cm x 110cm, overall size 118cm x 118cm Note: Painter and teacher, born in Buckhaven, Fife, married to the artist Elizabeth Blackadder. Houston studied at Edinburgh College of Art, 1948–54, his final year being spent in Italy on a travelling scholarship. He returned to Edinburgh to teach at the College. In 1957 Houston helped start the 57 Gallery in Edinburgh, having his first solo show there in 1958. Other one-man shows were held at Scottish Gallery, Edinburgh, and Mercury Gallery for many years. A keen traveller, Houston exhibited widely abroad. He was a member of SSA and RSW and was elected RSA in 1972. Houston tended towards Expressionism in his landscapes, Munch being a key influence, employing bold colours. Sixty-five examples of his paintings are held in UK public collections including at The Scottish National Gallery of Modern Art, The Hunterian, The Fleming Collection, The City Art Centre (Edinburgh) & Glasgow Museums & Galleries.
* Classical Records. Collection of approximately 120 classical records / LPs, including "The French Touch" featuring The Sorcerer's Apprentice by Dukas, Omphale's Spinning Wheel by Saint-Saens and Mother Goose Suite by Ravel, with Charles Munch conducting the Boston Symphony Orchestra (RCA Victor Living Stereo LSC-2292, ED1 first pressing, 1S/2S matrix numbers), Beethoven "Piano Concerto 'Emperor' No 5" featuring Hans Richter-Haaser on piano and Istvan Kertesz conducting the Philharmonia Orchestra (Columbia SAX 2422, ED1 first pressing), Tchaikovsky "Pathetique Symphony No 6" with Carlo Maria Giulini conducting the Philharmonia Orchestra (Columbia SAX 2368, ED2), Beethoven "Pastoral Symphony No 6" with Otto Klemperer conducting the Philharmonia Orchestra (Columbia SAX 2260, ED2), "John Stanley Concertos from OPUS 2" with Emanuel Hurwitz and the Hurwitz Chamber Orchestra (2-LP TEST pressing, L'Oiseau-Lyre SOL 315 Stereo), "Highlights from Madam Butterfly" featuring Carlo Bergonzi and Renata Scotto with Sir John Barbirolli conducting the Orchestra and Chorus of the Opera House, Rome (HMV ASD 2453, S/C), Beethoven "Violin Concerto" featuring Yehudi Menuhin and Otto Klemperer conducting the New Philharmonia Orchestra (HMV ASD 2285, coloured dog-in-stamp), Grieg "Sonata No 3" and Schubert "Sonata No 5" featuring Fritz Kreisler and Sergei Rachmaninov (RCA Red Seal RB-16154, ED1 first pressing), selection of Decca SXL records and a batch of records on the DGG label, together with approx. 25 LP box sets including Mahler "Symphony No 5" featuring Janet Baker and with Sir John Barbirolli conducting the New Philharmonia Orchestra (2-LP HMV ASD 2518-19 / SLS 785, ED1 first pressing, coloured dog-in-stamp, TAS-listed) and several other good quality sets, plus 13 vinyl 10" records such as Beniamino Gigli "Neapolitan Songs" (HMV BLP 1034), Schubert "Unfinished Symphony No 8" with Toscanini conducting the N.B.C. Symphony Orchestra (HMV BLP 1038) and Mendelssohn "Fingal's Cave Overture" with Carl Schuricht conducting the Vienna Philharmonic Orchestra (Decca LW 5193), plus a collection of approximately 20 classical CD box sets.QTY: (3 cartons)NOTE:All records sold as seen and not subject to return
RCA - LP COLLECTION. A genre-spanning collection of around 111 LPs, all released on RCA Records. Artists/ titles include Art Bears - Winter Songs, Average White Band inc Shine, Feel No Threat, Warmer Communication. Joey Travolta - S/T, The Godz - S/T, Bobby Bear - This Is Bobby Bear, Pablo Casals - Plays Works By Bach, Albanese - Puccini: Manon Lescaut, Cliburn - Rachmaninov: Piano Concerto 2, Szeryng - Brahms: Violin Concerto, Charles Munch - Tchaikovsky: Romeo And Juliet, Ozawa - Tchaikowsky: Symphony No.5. The collection can include duplicates and some LPs from box sets that don't contain the outer box. Ref box: GSS012843 - GSS013031. Condition is generally VG+ to Ex+, odd one may drop to VG. Please note that all sleeves will contain archival stickers from the BBC. These stickers can be 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
DEUTSCHE GRAMMOPHON/ RCA AND RELATED - CLASSICAL LPs. An extensive collection of around 417 classical LPs, mostly on RCA & Deutsche Grammophon. Composers/ performers include Rostropovich, Karajan, Barenboim, Aloys Kontarsky, Ozowa, Munch, Gould, The Amazig Music Of The Electric Arp Synthesizer, George Jones, Kuentz and Milstein. The collection can include duplicates and some LPs from box sets that don't contain the outer box. Ref box: GST103191 - GST103309, GST252421 - GST252894, GST107435 - GST107738 & GSS009472 - GSS009709. Condition is generally VG+ to Ex+, odd one may drop to VG. Please note that all sleeves will contain archival stickers from the BBC. These stickers can be 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
RCA RECORDS - CLASSICAL/ JAZZ LP COLLECTION. A lovely collection of around 288 LPs, mostly jazz & classical released on RCA Records. Artists/ titles include Charlie Mingus - Tijuana Moods (LSA 3117), The Heifetz-Platigotsky Concerts (LSC 2739), Heifetz - Bruch/ Vieuxtemps (LSC 2603), Scorpions - In Trance (INTS 5261), Connie Smith, David Bowie - Pinups, Skeeter Davis, Chet Atkins, Jerry Reed, Hank Locklin, Dolly Parton, Jimmy Dean, Norma Jean, Previn, Munch, Lanza, Ashkenazy, Gilels, Heifetz, Gil Evans Orchestra - Plays The Music Of Jimi Hendrix. The collection can include duplicates and some LPs from box sets that don't contain the outer box. Ref box: GSS002399 - GSS002566, GSS003058 - GSS003190 & Gss002636 - GSS003214. Condition is generally VG+ to Ex+, odd one may drop to VG. Please note that all sleeves will contain archival stickers from the BBC. These stickers can be 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Generally G to VG.
CLASSICAL - UK HMV LP RARITIES. Selection of 5 x UK HMV stereo LP rarities. Works are Victoria De Los Angeles - Spanish Song Of The Renaissance (cream/gold ASD 452 - Ex+/VG re-laminated sleeve), Arturo Benedetti - Michelangeli (ASD 255 cream/gold - Ex record/VG sleeve re-laminated), Carl Schuricht - Bruckner (ASD 2284 semi-circle - Ex+ record/VG sleeve re-laminated), Du Pre/Barenboim - Haydn (ASD 2231 semi-circle - Ex record/VG sleeve re-laminated) and Munch - Breloiz (ASD 2342 semi-circle - Ex+ record/VG sleeve re-laminated).
CLASSICAL - (LARGELY) DECCA SXL '2000' ED1 LPs. Collection of 12 x (largely) UK stereo original edition LPs on Decca. Works include Wolff - Invitation To The Dance (SXL 2105 ED1 deep groove), Martino - Music Of Berlioz (SXL 2134 ED1 deep groove), Richter - Handel (SXL 2115, ED1 deep groove/blue border) Katchen - Beethoven Piano Concerto (SXL 2106, ED1 deep groove, blue border), Munch - Berlioz (HMV ASD 2342 semi-circle), Vienna Octet - Beethoven (SXL 2157, ED1 deep groove/flipback scalloped), Solti (SXL2124, ED1 label, non-deep groove) and also records only for SXL 2108, 2118, 2160, 2162 and 2158. Please note that all sleeves will contain archival stickers from the BBC. Some of these stickers are 'on top' of the plastic with some 'underneath' (i.e. on the sleeve itself). Some sleeves have been 'laminated' either by way of 'punching' the plastic wallet to two parts of the sleeve or by fully wrapping the plastic to the sleeve. Where sleeves are laminated stickers can be removed with the use of appropriate sticker removal fluids however it is unlikely that stickers can be removed from any sleeves that are not laminated. The sleeves as such in this collection are generally graded as VG with the records often clean VG+ to Ex+/archive.
Edvard Munch original poster, 'Beyond the Scream', for an exhibition of his work being held in Athens, 2010-2011, measures 69cm by 49cm, framed and glazed. Edvard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious Taspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter, such as his famed painting titled The Scream. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters.
Edvard Munch original poster, 'Beyond the Scream', for an exhibition of his work being held in Athens, 2010-2011, measures 69cm by 49cm, framed and glazed. Edvard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious Taspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter, such as his famed painting titled The Scream. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters.
3 Kunstbände Edvard Munch dabei 2 illustr. Hardcover Ausgaben *Edvard Munch in Chemnitz* hrsg. von Ingrid Mössinger, Beate Ritter, Kerstin Drechsel, in Zusammenarbeit mit dem Munch-museet Oslo, zur Ausstellung Kunstsammlungen Chemnitz 14.11.99-20.2.2000, Wienand Verlag 1999 sowie *Henry van de Velde und Edvard Munch in Chemnitz* hrsg. von Ingrid Mössinger, Katharina Metz, mit einem Beitrag von Klaus-Jürgen Sembach, Kerber Verlag Bielefeld/Berlin 2013 dazu illustr. OBroschur *Munch im Munch Museum Oslo* Arne Eggum, Gerd Woll, Marit Lande, Scala Publishers/Munch-museet, Oslo 2007, First Edition, ges. 3 Stück
Konvolut von 48 Bündchen der Insel-Bücherei mit: 39/1 Magelona, 42/1A Daudet, 43 Rilke, 45/2B Storm, 72/1 Emerson, 73 Tolstoi, 96/3 Carus, 99/4 Seghers, 112/3 Morgenstern, 149 Dostojewski, 153/2B Macaulay, 165/3 Michelangelo, 170/3 Tempel, 199 Björnsson, 211/2 Storm, 214/1B Streuvels, 217/2 Mayer, 219/3 Schüttelreime, 220/1A Wilde, 221/1B Holbein, 222 Lab‚, 231/1A Eckart, 234/1B Stevenson, 260/2 Bierbaum, 288/3 Benet, 301/2 Stevenson, 309/1B Fabeln, 362 Timmermanns, 407/1A Omar, 433 Masereel, 375 Tolstoi, 406/1A Rilke, 418ll, 423 Gracian, 425 Löns, 450/1A Minne, 452 Hausbuch, 475/1 Binding, 475/2 Seghers, 490/1A Eckart, 535/2 Munch, 567/1 Marc, 575/1 Hindemith, 585 Hermlin, 594 Toulouse-Lautrec, 657/1 le Fort, 691 Schaefer-Ast, 1000/2 Goethe/Rilke
Konvolut von 44 Bändchen der Insel-Bücherei mit 39/1 Magelona, 42/1A Daudet, 43 Rilke, 45/2B Storm, 72/1 Emerson, 73 Tolstoi, 96/3 Carus, 99/4 Seghers, 112/3 Morgenstern, 149 Dostojewski, 153/2B Macaulay, 165/3 Michelangelo, 170/3 Tempel, 199 Björnsson, 211/2 Storm, 214/1B Streuvels, 217/2 Mayer, 219/3 Schttelreime, 220/1A Wilde, 221/1B Holbein, 222 Lab, 231/1A Eckart, 234/1B Stevenson, 260/2 Bierbaum, 288/3 Benet, 301/2 Stevenson, 309/1B Fabeln, 362 Timmermanns, 407/1A Omar, 433 Masereel, 375 Tolstoi, 406/1A Rilke, 418ll, 423 Gracian, 425 Löns, 450/1A Minne, 452 Hausbuch, 475/1 Binding, 475/2 Seghers, 490/1A Eckart, 535/2 Munch, 567/1 Marc, 575/1 Hindemith, 585 Hermlin, 594 Toulouse-Lautrec, 657/1 le Fort, 691 Schaefer-Ast, 1000/2 Goethe/Rilke.
TWO BOXED MINICHAMPS CLASSIC BIKE SERIES 1:12 SCALE DIECAST MODEL MOTORCYCLES, the first is a Munch Mammut 4 TTS, numbered 122 011000, model is black and silver, appears new however contents not checked, housed inside plastic casing and outer folding cardboard box with plastic sleeve, some scuffs, scratches and price label to the box exterior, the second is a Munch Mammut 4 TTS, numbered 122 011001, model is red with silvered detail, appears in new condition however contents not checked, with tissue paper and housed inside plastic casing in its folding box , box has some scuffs to the exterior
Cooper (Douglas). Picasso Theatre, 1st English edition, London: Weidenfeld & Nicolson, 1968, tipped-in colour plates, monochrome illustrations, origianl pictorial cloth in glassine dustwrapper, torn and restrengthened with clear adhesive tape to edges, thicj square 4to, together withRamié (Suzanne and Georges). Céramiques de Picasso, Geneva: Albert Skira, 1948, tipped-in colour plates, original colour lithograph wrappers (designed by Picasso, with thin glassine overwrapper, torn along spine, folio, plus others on Picasso and modern art, including John Elderfield, Kurt Schwitters, 1985, Albert E. Elsen, The Sculpture of Henri Matisse, Abrams, 1972, Arne Eggum, Edvard Munch, Paintings, Sketches and Studies, 1st English editon, Thames 7 Hudson, 1984, Alexander Romm, Henri Matisse, translated by Chen. I-Wan, Ogiz-Izogiz, 1937, etc., all 20th-century publications, many original cloth in dustwrappers, some paper-bound editions, 4to/8voQTY: (6 shelves)
Gustav Klimt (Austrian, 1862-1918) Le Tre Eta Della Vita Offset lithograph poster Migneco & Smith 81cm x 79cm (32" x 31") Edvard Munch (Norwegian, 1863-1944) The Scream Offset lithograph poster by the Modern Masters Collection, Icon 80cm x 60cm (31.5" x 23.5") Each unframed, unglazed & previously stored rolled.
Three iconic and striking 20th century modern art lithograph posters. Comprising: Henri Matisse (French, 1869-1954) Icarus Offset lithograph Limited edition of 2000 58cm x 47.5cm (23" x 18.75") Edvard Munch (Norwegian, 1863-1944) The Scream Offset lithograph printed 1999 80cm x 75cm (31.5" x 29.5") Reuven Rubin (Israeli, 1893-1974) Girl with Flower Pot Offset lithograph poster, produced for the exhibition of Israeli art in Jerusalem Please measure Presented unframed, unglazed & previously stored in roll
Edvard Munch (Norwegian, 1863–1944 Madonna Print on paper Maestri Della Pittura N. K715 Copyright The Munch Museum - The Munch-Ellingsen Group SIAE 1999 80 cm x 60 cm (31 1/2" x 23 5/8") Ruth Alder (American, 1923-2023) Night Palm Print on paper Copyright Ruth Alder 1989 Published by King Publishing 90 cm x 64 cm (35 1/2" x 25") Klaus Malyska - (German, b 1958) Chromatic Blue 1992- 1993 Silkscreen print on paper Copyright Klaus Malyska 1993 Published by Mercurius Art Publishing 100 cm x 70 cm (39 1/2" x 27 1/2") Ljubomir Popović (Serbian, 1934 -2016) Title, Unknown LJUBA -Galerie Beaubourg - 15 Fevrier - 11 Mars 1978 Screenprint on paper 80 cm x 62 cm (31 1/2" x 24 3/8") Presented unframed, unglazed and previously stored in roll.
Scofield Thayer (American 1889-1982): 'Living Art' (Twenty Facsimile Reproductions after Paintings, Drawings and Engravings and ten photographs after sculptures by Contemporary Artists).' limited edition portfolio of 400 printed at Ganymed Press, Berlin, 1923Notes: Scofield was an American Poet and Publisher and editor in chief of the Dial magazine. Living Art contains reproductions of what Thayer believed was the best in the art of the period, containing lithographs of works from his own collection by Pablo Picasso, Henri Matisse, Gaston Lachaise, Marc Chagall and Edvard Munch. All the works within the folio were owned by Thayer and bequeathed to the MET museum.
NIUE ISLANDS. Gold 2-coin set, 2013. Edvard Munch Proof. Commemorating 150 years of the famous artist Edvard Munch. Each coin is 4.75 grams of 14 carat gold. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Mintage: 150.Weight: 9.5 g. (AGW=0.1787 oz.)Composition: 585.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Edvard Munch (Løiten 1863 – 1944 Ekely bei Oslo). „Badende Frau“. 1902Ätzradierung und Kaltnadel in Braunschwarz auf Velin. 25,7 × 17,8 cm (44,7 × 31,5 cm) (10 ⅛ × 7 in. (17 ⅝ × 12 ⅜ in.)). Signiert. Mit der Signatur des Druckers Otto Felsing.Woll 180 b) II.–[3235] Gerahmt. Provenienz: Peter Kölln, Elmshorn, Schleswig-Holstein (1913 in der Galerie Ernst Arnold, Dresden, erworben) / Privatsammlung, RheinlandWir berechnen auf den Hammerpreis 32% Aufgeld.
Friedrich Karl Gotsch (1900 Pries b. Kiel - 1984 Schleswig)"Vorahnung". OriginaltitelMit furiosem, breitem Duktus gemalte Strandszene mit badenden weiblichen Akten und sinnierendem Mann. Arbeit aus einer 1966 entstandenen Werkreihe von Strandbildern. Gotsch, den die "Brücke"-Maler und Edvard Munch beeinflussten, ging 1920 an die Dresdener Akademie, 1921-1923 als Meisterschüler bei Oskar Kokoschka. Im "Dritten Reich" gehörte Gotsch zu den verfemten modernen Künstlern, im II. Weltkrieg wurde sein Atelier und fast sein ganzes Oeuvre in Berlin zerstört. 1945/46 gründete er in St. Peter-Ording eine Malschule und eine Zweigstelle des "Baukreises", an der er bis zur Schließung 1951 auch lehrte. 1962 erhielt Gotsch den Villa-Romana-Preis in Florenz, 1967 war er Ehrengast der Villa Massimo in Rom. Öl/Lwd.; R. u. monogr.; Verso überdies vom Künstler sign. betitelt u. dat. "F. K. Gotsch Vorahnung (1932) Reprise 1966". 95 cm x 95 cm. Rahmen.Aufgeführt im Wvz. Goeritz/Leuba, Nr. 767.Oil on canvas. Monogrammed. Signed, titled and dated 1932/1966 on the reverse.
Hauptmann, Ivo -- Selbstbildnis.Öl auf Leinwand. 72 x 60 cm. Um 1910-20.Ein junger Mann mit wachem Blick. Fein abgemischte Farben setzt der junge Maler in dem Selbstbildnis sorgsam nebeneinander, mit kleinen Abständen, so dass die Leinwand hindurchschimmert. Kurze diagonale Strichlagen überkreuzen sich in seiner Jacke, violette Konturen trennen die gelb-orangen von den blauen Partien und setzen die Figur vom Hintergrund ab, während die Gesichtszüge fein gezeichnet inmitten der wolkigen, punktierten Flächen erscheinen. Viele Bilder des ältesten Sohnes Ivo hingen im Haus des Dramatikers in Agnetendorf, der dazu schreibt: "Wie kaum ein anderer hat er sich an Frankreich geschult: er war der eifrigste Schüler der Pointillisten (...)" (Hans von Hülsen: "Gerhart Hauptmann über Frankreich", in: Gespräche und Interviews mit Gerhart Hauptmann, hg. v. H.D. Tschörtner, Berlin 1994, S. 120). Seurat, Signac und Cross beeindrucken den jungen Ivo Hauptmann, der bald nach der Jahrhundertwende einen neoimpressionistischen Stil pflegt. 1903 Schüler der Académie Julian in Paris, lernt er anschließend in Berlin bei Lovis Corinth und an der Kunstakademie Weimar bei Hans Olde, wo er Edvard Munch und Henry van de Velde kennenlernt. Er wird Meisterschüler bei Ludwig von Hofmann. Ab 1909 schließt er bei einem zweiten Aufenthalt in Paris und Studien an der Académie Ranson Freundschaft mit Rainer Maria Rilke, Auguste Rodin und Paul Signac. Eine Phase intensiven Schaffens beginnt, in der sichIvo intensiv mit Theorien zu den Spektralfarben beschäftigt. In seinen Erinnerungen zum Jahr 1913 schreibt Hauptmann: "Ich blieb Pointillist. Ich malte mit kleinen Farbflecken, die einer an den anderen gesetzt wurden. Das Gerüst des Bildes wurde aufgezeichnet und an den Linien die gegenseitigen Kontrastfarben aufgetragen, aus denen das Ganze unabhängig von der Natur in eigener Gesetzmäßigkeit sich erhob." (Ivo Hauptmann: Bilder und Erinnerungen, Hamburg 1976, S. 55). Das Gemälde befand sich in Hauptmanns Bibliothek.Errata/Addenda: Entgegen den Angaben im Printkatalog nicht mehr auf loser Leinwand, sondern in der Zwischenzeit fachmännisch auf neuen Keilrahmen aufgespannt. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
MUNCH, EDVARD1863 Loten - 1944 EkelyTitel: Woman Putting on her Nightgown. Datierung: 1896. Technik: Radierung auf ARCHES (Wasserzeichen). Darstellungsmaß: 29,5 x 20cm. Blattmaß: 31 x 21,5cm. Bezeichnung: Signiert. Rahmen/Sockel: Rahmen. In dem Katalog von Gustav Schiefler von 1907 ist das Werk unter der Nummer 45 aufgeführt (hier betitelt mit "Aktfigur"). Provenienz: - Sammlung Peter Dobler, Kaufbeuren (Stempel)- Privatsammlung Nordrhein-WestfalenLiteratur: - Woll, Gerd: Edvard Munch - Werkverzeichnis der Grafik, München 2001, WVZ.-Nr. 52 I, Abb. Voraussichtliche Versandkosten für dieses Los: Deutschland: 34,00 Euro inkl. 5,43 Euro MwSt EU: 50,00 Euro inkl. 7,98 Euro MwSt Weltweit: 85,00 Euro inkl. 13,57 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog
BARLACH, ERNST1870 Wedel - 1938 RostockTitel: Der singende Mann. Datierung: 1928 (Entwurf). Technik: Bronze, dunkelbraun patiniert. Maße: 49,5 x 46,5 x 37cm. Bezeichnung: Signiert an der Fußstütze verso links: E. Barlach. Gießerstempel: Daneben Gießerstempel: H. NOACK BERLIN. Bei diesem Werk handelt es sich um einen von insgesamt 38 posthumen Güssen. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Laur, Elisabeth: Ernst Barlach - Werkverzeichnis II, Das plastische Werk, Güstrow 2006, WVZ.-Nr. 432, Abb.- Der singende Mann zählt zu den bedeutendsten bildhauerischen Werken des deutschen Expressionismus- Die zurückgelehnte Haltung sowie die geschlossenen Augen unterstreichen die gleichzeitig ausdrucksstarke und nachdenkliche Natur der SkulpturIn seinen vielschichtigen, stillen und zugleich vitalen Skulpturen beschäftigt sich Ernst Barlach stets mit der menschlichen Figur. Sie ist ihm Ausdrucksträger für eine symbolhaft überhöhte Darstellung existenzieller, oft leidvoller Gefühle und Zustände. Zu Beginn inspirieren ihn hierzu der Jugendstil und vor allem die Werke von Alfred Kubin und Edvard Munch. Doch während einer erlebnisvollen Reise durch Russland 1906 entdeckt er das Metaphysische und Geheimnisvolle im Alltäglichen für sich und wagt einen Neuanfang. "Form - bloß Form? Nein die unerhörte Erkenntnis ging mir auf, die lautete: Du darfst alles Deinige, das Äußerste, das Innerste, Gebärde der Frömmigkeit und Ungebärde der Wut, ohne Scheu wagen, für alles, heiße es höllisches Paradies oder paradiesische Hölle, gibt es einen Ausdruck." (Barlach 1927, in: Ein selbst erzähltes Leben, Kap. 15 - Ich finde freie Bahn). So befreit er seine schlichten Gestalten von jeglichem individuellen Moment und aus dem gesellschaftlichen Kontext und verdichtet sie zu einem allgemeingültigen Sinnbild für das menschliche Dasein. Dabei entwickelt er einen neuartigen, ekstatisch-expressiven Formenkanon, den er in den 1920er Jahren mildert und harmonisiert. Wie bei dem "singenden Mann" verzichtete Barlach stets auf überflüssige Details und beschränkt sich auf elementare Formen. In einer weitestgehend geschlossenen, raumgreifenden Dreieckskomposition stellt er die Gewandfigur da: leicht zurückgelehnt, das rechte Knie umfassend und das linke Bein angewinkelt abgelegt, sitzt der Jüngling auf dem Boden. Mit geschlossenen Augen und leicht geöffnetem Mund scheint er ganz auf sich selbst konzentriert, singend in sich lauschend. Auf eindrucksvolle Weise gibt Barlach hier dem Inbegriff von Kontemplation, von medialer Gestimmtheit und der Einsamkeit des in sich versunkenen Menschen Ausdruck. Schon 1912 hat Barlach in einer Kohlzeichnung diesen Ausdruck des völligen Gelöstseins eines Singenden festgehalten (vgl. WVZ. Probst, WVZ.-Nr. 1189). "Wenn der Künstler zeigt, wie mystisch alles ist, so ist das aussichtslos, es sagt dem Publikum bloß, daß es im Trüben verharren muß. Wenn der Künstler aber das Mystische so sinnlich gestaltet, daß es vertraute Welt wird, so hat er erhoben: durch das Gewöhnliche zum Unendlichen. Und er hat gezeigt: sieh, die ganze Welt ist großartig, überall, der mystische Gehalt geht voll auf im Gewöhnlichen." (Barlach, ebenda, Kap. 2 - In einem Tagebuch 1906) Barlach, der u.a. Bach, Beethoven und Schubert wie auch die Volksmusik schätzt, hat sich mehrfach gattungsübergreifend mit dem Thema Musik beschäftigt. "Der Singende Mann" gehört wohl zu den bekanntesten seiner Skulpturen. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog
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