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Lot 42
Karl Kluth (Halle/Saale 1898 - Hamburg 1972). Der Trinker. 1964. Pastell, 65 x 50 cm, r. u. monogr. und dat. K64, unter Glas gerahmt, ungeöffnet. - 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. Kluth, Karl (Halle/Saale 1898 - Hamburg 1972). The drinker. 1964. Pastel, 65 x 50 cm, lo. ri. monogr. and dat. K64, framed under glass, uninspected out of frame. - Painter adn graphic artist. K. studied at the Karlsruhe academy under A. Haueisen and was master student of A. Babberger. In 1938/29 he was awarded the first Lichwark prize. He cooperated with E. Munch in Norway. 1951 to 1962 he was professor at the Hamburg academy, where he trained the painters of the artist group 'Zebra'. He was awarded the Edwin Scharff prize in 1957 and was guest of honour of the Villa Massimo, Rome. Mus.: Hamburg (Kunsthalle, Altonaer Museum, Museum für Kunst u. Gewerbe a. others), Berlin (Nationalgalerie), Schleswig (SHLM), Hannover (Sprengelmuseum), Halle (Moritzburg) a. others. Lit.: Thieme-Becker, Der Neue Rump, Ausst.-Kat. K. K, Hamburg 1998, H. Spielmann: K. K. a. others.
Lot 52
Arnold Fiedler (Hamburg 1900 - Hamburg 1985). Aurore boréale. 1965. Pastell über Tempera, 23,5 x 31,5 cm, r. u. sign. und dat. Arnold Fiedler 65, l. u. betitelt, unter Glas gerahmt, ungeöffnet. - Hamburger Maler und Graphiker. F. studierte an der Kunstgewerbeschule Hamburg bei J. Wohlers und A. Illies und wurde Mitglied des Hamburger Künstler-Vereins. Studienreisen führten ihn anschließend nach Italien und Frankreich. Das NS-Regime belegte ihn mit einem Ausstellungsverbot, als Folge dieses Drucks emigrierte er 1938 nach Paris, wo er zwischen 1959 und 1969 ein zweites Atelier unterhielt. F. war in Hamburg Lehrer von R. Drenkhahn und R. Diener. Unter seinen Auszeichnungen waren der Edwin-Scharff-Preis und der Kunstpreis der Stadt Hamburg, F. war zudem Ehrengast der Villa Massimo in Rom. Mus.: Hamburg, Schleswig, Darmstadt, Paris, Tokio. Lit.: Vollmer, Der Neue Rump, Heydorn, H. T. Fleming: Arnold Fiedler, 1980, U. Schoop: A. F. - Der Maler 1900-1985. Ein Werkverzeichnis. Fiedler, Arnold (Hamburg 1900 - Hamburg 1985). Aurore boréale. 1965. Pastel and tempera, 23,5 x 31,5 cm, lo. ri. sign. and dat. Arnold Fiedler 65, lo. le. titled, framed under glass, uninspected out of frame. - Painter and graphic artist. F. studied at the Hamburg school of applied arts under J. Wohlers and A. Illies, study trips to Italy a. France, exhibition ban in the Nazi era, teacher of Drenkhahn and Diener. Mus.: Hamburg, Schleswig, Darmstadt, Paris, Tokyo. Lit.: Vollmer, Der Neue Rump, Heydorn, U. Schoop: A. F. - Der Maler 1900-1985. Ein Werkverzeichnis.
Lot 026002
Unbekannter Maler des Biedermeier, deutsch, um 1820, 2 Porträts eines Paares, Pastell auf Papier, teils löchrig, je ca. 36x30cm, u.Gl., R. ca. 48.5x42cmUnidentified artist of the Biedermeier, german, around 1820, 2 portraits of a couple, pastel on paper, partly holey, each approx. 36x30cm, under glass, frame approx. 48.5x42cm
Lot 1074
Attributed to Patricia Douthwaite (1939-2002) ScottishFemale dancer with auburn hair and green dressColoured chalks, 63.5cm by 49cmCondition report: On buff paper. Cockling/rippling to the paper throughout, in particular to the lower section and upper left. Areas of medium-sized sporadic foxing spots within the orange of her hair. The odd grubby mark where the pastel has transferred, especially right hand side edge and within areas of the background. Some light surface dirt and debris trapped under glass. Not examined out of the frame.
Lot 213
§ Diana Armfield RA, PS, NEAC (British 1920-) Waitress Attending, Fortnum & Mason, St James Restaurantinitialled (lower left)pastel21 x 30.5cmExhibited: Gloucestershire, Southgate Gallery, The New English Tradition, October 22 - 29, 1989, cat. no.13Condition report: Not examined out of the frame, but appears in good, clean condition.
Lot 248
§ Peggy Somerville (British 1918-1975) Orange Daisies pastel48 x 36cmProvenance:Studio Collection With Messum Fine Art, where acquired in 2001Condition report: Not examined out of the grame. Appears in good overall condition, with good, strong colours. There are one or two very small, shallow creases, otherwise good.
Lot 309
§ Margaret Mellis (British 1914-2009) Drawing for a painting - Black Brown Blue Redsigned, titled and bearing estate stamp and opus reference to the reversepastel and gouache on paper laid to board22 x 16cmCondition report: Paper stuck to a cardboard (?) backing and float mounted in frame. Each corner with pin holes and creases. Sheet appears to have been folded into quarters at some point.There are further creases running the length of the sheet, approx 2cm in from the left edge, and along the breadth of the sheet, approx 1cm in from the top edge. Nibbles and knocks along all edges of the sheet. Some slight fading and some slight surface scratching, but this may be intrinsic to the work.
Lot 123
Circle of IL GUERCINO (Cento, Italy, 1591-Bologna, 1666); second half of the 18th century."Penitent Saint Jerome.Oil on canvas. The original canvas is preserved.It has repainting and restorations.It has a 20th century frame.Measurements: 114 x 91 cm; 119 x 96 cm (frame).In this canvas the theme of penitent Saint Jerome is approached through a classical composition, in which the author arranges the saint in a sober interior, in which any anecdotal detail that could cloud the message of transmission of the Christian faith and devotion is eliminated. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from its paw, and from then on kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal.Given its technical characteristics, it is possible to relate this piece to the artistic circle of Guercino, who was one of the most acclaimed Italian artists of the first half of the 17th century. He was born in Cento, in the province of Ferrara. The principal influences that shaped his style were the Bolognese Ludovico Carracci, his cousin Hannibal Carracci and the Ferrara-born Ippolito Scarsella. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregorio XV Ludovisi, he was active in his native town until 1642 when he moved to neighbouring Bologna. He was about twenty-five years old when he came to the attention of his first important clients, among them Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany and Duke Ferdinand Gonzaga of Mantua. By the mid-1620s he had turned down invitations to work outside Italy, from Charles I of England among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni, who from around 1610 was the most celebrated painter in Italy. Most of his abundant output consists of altarpieces and easel paintings, but in the first half of his career he also painted frescoes in Cento, Bologna, Rome (the Aurora on the ceiling of the Casino Ludovisi) and the cathedral of Piacenza (1626-1627). His early "Tenebrist" style is characterised by dramatic lighting, saturated colours and agitated compositions. His stay in Rome led him to gradually modify his style towards a much more idealised and classical language, with calmer and more structured compositions, more elegant contours, a generally lighter palette and richer pastel tones.
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46300 item(s)/page