CARVED LIMESTONE GUARDIAN LION SCULPTUREthe lion shown seated, his right paw propping a ball, on a square plinth; overall height: 21 cm (8 1/4 in.)PROVENANCEPrivate collection, New York, since circa 1960sCONDITIONThe lion sculpture appears in age-appropriate condition. Overall visible roughness and unevenness. Scattered chipping to the top of the mane and along the base. Traces of pink paint on the paw.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
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FRENCH NEOCLASSICAL-STYLE BRONZE CANDELABRAa pair of neoclassical candelabra, each nine-light candelabra is held by a woman in neo-classic toga-esque dress, with braided hair, standing on a gilt cube plinth with neoclassical motifs, the candelabra arms feature a cornucopia with bounty, five large arms feature a floral scroll with a small sconce featuring five more arms with a floral scroll. each candelabra sits on a larger cubed base that is black with gilt trim featuring a cartouche of a Neo-classical scene on gold square feet. overall height including base: 150 cm (59 in.)CONDITIONIn age-appropriate condition. Overall surface dust visible, most notably on the figures. Minor surface scuffs and scratches to the figures, most notably their shoulders. One of the candelabras arms is loose, visible wax residue in both candelabras and overall surface dust visible in the crevasses of the floral scrolls.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
18TH CENTURY LATIN AMERICAN POLYCHROME VIRGINshown standing in resplendent cisele robes on a crescent moon with the heads of three seraphs, following the iconography of the Woman of the Apocalypse in the Book of Revelations, on a square plinth; height including base: 77 cm (30 1/4 in.) PROVENANCEPrivate collection, New York, since circa 1960sCONDITIONThe polychrome wood figure appears in age-appropriate fragile condition. Overall craquelure, resulting in scattered losses and flaking, most significantly to the face and garments. Several fingers are missing from the proper left hand. Overall surface dust and grime. Photographs presented in the catalogue are representative of condition.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
CIRCA 300 BCE GREEK TERRACOTTA THYMIATERIONformed as the head of a fashionable woman, surmounted by a shallow bowl, set on a square plinth; height including base: 16.5 cm (6 1/2 in.), dimensions of base: 9 x 9 cm (3 1/2 x 3 1/2 in.)PROVENANCECollection of Mr. and Mrs. H.J.P. Bomford, LondonCharles Ede, Ltd., LondonPrivate collection, New York, acquired from the above in January 1981. (Copy of invoice, certificate of authenticity issued by James Ede of Charles Ede, and customs paperwork available upon request)LITERATUREGreek and Roman Terracottas VI (London: Charles Ede, Ltd., 1981), cat. no. 20 (illustrated)CONDITIONThe head appears in age-appropriate but fragile condition. Scattered chipping and losses. Minor surface soiling visible to the base. All consistent with age.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Elephant de l'espace', 1980, Bronze, dunkel patiniert, auf Marmorsockel, mit Acrylobelisk, lose aufgestellt, Maße (mit Obelisk) 90 cm x 22 cm x 43,5 cm, signiert, Gießerstempel, 1981 datiert, 116/350 nummeriert, Herausgeberstempel, partiell mit Kleberesten, Spitze des Obelisken abgebrochen anbei, leicht bestoßen, Echtheitszertifikat anbei, anbei: Poster zur Ausstellung "Salvador Dalí - Lithografien. Radierungen. Skulpturen.", Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989Provenienz: Kunsthandel Wissing, Bottrop, Privatsammlung"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten.Inspiriert durch Giovanni Lorenzo Berninis Elefanten mit Obelisken auf dem Rücken in Rom, finden sich in Dalís gemaltem Oeuvre mehrfach Elefanten mit Obelisken. Gestaltet nach seiner surrealistischen paranoisch-kritischen Methode zeichnen sie sich durch extrem verlängerte, grazile Beine aus, die die übliche Vorstellung des schweren behäbigen Tiers ad absurdum führen. Die Bronzearbeit stellt die erste plastische Ausformung dieses Gedankens dar, der Dali über einen langen Zeitraum beschäftigte. Ein augenloser Zirkus-Elefant mit skelettartigen Beinen balanciert mit einem schimmernden Obelisken auf dem Rücken. Von der Art, in der das schwere Tier sich auf seinen dürren Beinen hervortastet, bis zu der Brechung des Lichts in der kristallenen Struktur der Pyramide, wirkt alles an der Figur prekär und verletzlich, gefangen in einem Zustand zwischen schweben und fallen. Dalís Werke spielen immer wieder mit abstrus erscheinenden Gegensätzen und Kontrasten, um das Gefühl einer traum-ähnlichen Irrealität zu erzeugen. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)'Elephant de l'espace', 1980, bronze, dark brown patina, acrylic obelisk on brass stand, marble plinth, H with obelisk 90 cm x 22 cm x 43.5 cm, signed, foundry stamp of Venturi Arte, editior's stamp of Camblest Ltd. (dated 1981), numbered 116/350, with certificate of authenticity, tip of the obelisk broken and reattached, the left tusk with some remnants of glue, includes: Exhibition poster 'Salvador Dalí - Lithografien. Radierungen. Skulpturen.' in the Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989, with a photograph of the elephant''My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.'' (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.Inspired by Giovanni Lorenzo Bernini's elephants with obelisks on their backs in Rome, Dalí included several such elephants in his painted works. Designed according to his surrealist paranoiac-critical method, they are characterized by extremely elongated, graceful legs, which reduce the idea of the heavy, ponderous animal to absurdity. The bronze work represents the first sculptural expression of this idea, which preoccupied Dali over a long period of time. The eyeless circus elephant with skeletal legs balances with a shimmering obelisk on its back. From the way in which the heavy animal struggles to rise on its scrawny legs to the refraction of light in the pyramid's crystalline structure, everything about the figure seems precarious and vulnerable, caught in a state between floating and falling. Dalí's works repeatedly play with seemingly abstruse concepts and contrasts to create a sense of dream-like unreality.
Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, Bronze, poliert, auf Holzsockel, Höhe (mit Sockel) 35,5 cm, signiert, 'artcurial' bezeichnet, 47/350 nummeriert, partiell leicht beschädigt, Zertifikat anbei, Kopie des Kaufbeleges anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung Hannover"Ich habe immer jene beneidet, für die ein Werk ein Geheimnis ist." (Man Ray)Der amerikanische Fotograf, Filmregisseur, Maler und Objektkünstler Emanuel Rudnitzky alias Man Ray gilt als einer der wichtigsten Vertreter des Surrealismus und Dadaismus. Schon als Kind beschäftigte er sich mit Kunst und beschloss früh, dass er dies zu seinem Beruf machen wollte. Zusammen mit Marcel Duchamp gründete er die New York DADA-Gruppe. Im Alter von 31 Jahren zog Man Ray nach Paris und machte dort Bekanntschaft mit wichtigen Künstlern wie Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian und Yves Tanguy. Später fanden die meisten von ihnen als Porträts Einzug in Man Rays fotografisches Werk. 1922 spalteten sich die Dadaisten und Surrealisten, woraufhin sich Man Ray dem Surrealismus anschloss. In den späten 1930er Jahren floh er vor den Nationalsozialisten nach New York und kehrte erst 1951 nach Paris zurück. 1958 nahm Man Ray an der großen Dada-Ausstellung im Stedelijk Museum in Amsterdam teil, sowie an der Ausstellung im Kunstverein Düsseldorf. 1966 wurde im County Museum of Art in Los Angeles seine erste große Retrospektive gezeigt. Bei der Figur der "Hermaphrodite", handelt es sich um eine doppelgeschlechtliche Figur aus der griechischen Mythologie. Mit diesem Thema befasste sich Man Ray bereits in den 1930er Jahren im Bereich der Fotografie und vierzig Jahre später griff er es in der Form einer archaischen Statuette wieder auf. Man Ray (1890 Philadelphia - 1976 Paris) (F)Hermaphrodite, 1973, bronze, polished, with wooden plinth, height (with plinth) 35.5 cm, signed, inscribed 'artcurial', numbered 47/350, some minor damage, with certificate and copy of the purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, Hanover''I have always envied those for whom a work is a mystery.'' (Man Ray)The American photographer, film director, painter and sculptor Emanuel Rudnitzky, alias Man Ray, was among the most important representatives of the Dadaist and Surrealist movements. He enjoyed art even as a child and decided early in life to make it his career. He founded the DADA group in New York together with Marcel Duchamp. He moved to Paris at the age of 31, where he made aquaintance with influential artists like Salvador Dalí, Max Ernst, Henri Matisse, Joan Miró, Piet Mondrian and Yves Tanguy. The majority of them would later enter Man Ray's photographic oeuvre in the form of portraits. The Dadaist separated from the Surrealists in 1922, and Man Ray sided with the Surrealists. In the late 1930s, he fled from the Nazis to New York, only returning to Paris in 1951. In 1958 he took part in the great Dadaist exhibitions in the Stedelijk Museum in Amsterdam and the Kunstverein Düsseldorf. An extensive retrospective of his work was exhibited at the County Museum of Art in Los Angeles in 1966. The hermaphrodite was a two-gendered being from Greek mythology. Man Ray had already explored the subject in his photographic works in the 1930s, and 40 years later he returned to the motif in the form of an archaic statuette.
Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', Entwurf 1978, Bronze, braun patiniert, Höhe 30 cm, signiert, 117/150 nummeriert, Plinthe absentLiteratur: Wvz. Egret 411/412Der deutsche Bildhauer und Architekt Arno Breker wurde 19. Juli 1900 in Wuppertal geboren. 1920 begann Breker sein Studium an der Düsseldorfer Kunstakademie. Sein großes Idol war der französische Bildhauer Auguste Rodin. Das Jahr 1936 bezeichnete der Künstler als "Wendepunkt" in seinem Leben. Die deutliche Anlehnung seiner Plastiken an die Antike erregte den Gefallen der Nationalsozialisten. Auf einmal erhielt Breker Aufträge und Auszeichnungen, trat 1937 in die NSDAP ein und wurde schnell als "Michelangelo des Dritten Reichs" gefeiert. So erhielt er 1938 den Auftrag die Büste Adolfs Hitlers zu fertigen. Nicht nur von den Nationalsozialisten, auch von dem französischen Vichy-Regime wurde der Künstler hoch angesehen. Nach Ende des Zweiten Weltkrieges floh Breker nach Bayern, wo er im Rahmen der Entnazifizierung freigesprochen wurde. Er erhielt zahlreiche private Aufträge, porträtierte viele namhafte Industrielle wie Hugo Henkel, Herbert Quandt und Rudolf-August Oetker, sowie die Politiker Konrad Adenauer und Ludwig Erhard. Ebenfalls wurde er mit Architekturprojekten wie dem Bau der Büro- und Wohngebäude für den Gerling-Konzern in Hagen 1955 beauftragt. Trotz zahlreicher Aufträge erhob sich in der Nachkriegszeit auch Kritik gegen den Künstler und seine idealisierende Ästhetik. Dennoch war Breker in der internationalen Künstlerwelt der Nachkriegszeit bekannt und pflegte besondere Freundschaft mit Salvador Dalí und Ernst Fuchs. Dalí sagte einst über die drei Künstler, die zusammen als "Goldenes Dreieck" bezeichnet wurden: "Breker-Dalí-Fuchs. Man kann uns wenden wie man will, wir sind immer oben." In seinen Arbeiten beschäftigte sich Breker zeitlebens mit dem menschlichen Körper in seiner vollen Schönheit. Ernst Fuchs beschrieb ihn sogar als "der wahre Prophet des Schönen". Der sinnlich-sinnende Mädchenakt "Die Erwartung" aus den 1970er Jahren ist ein besonders harmonisches Beispiel seines den Realismus mit dem Idealismus verbindenden Stils. Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', modelled in 1978, bronze, dark brown patina, height 30 cm, signed, numbered 117/150, plinth lackingGerman sculptor and architect Arno Breker was born 19th July 1900 in Wuppertal. In 1920 Breker began his studies at the Düsseldorf Art Academy. His great idol was the French sculptor Auguste Rodin. The artist described the year 1936 as a ''turning point'' in his life. The clear reference of his sculptures to antiquity attracted the favour of the National Socialists. Suddenly, Breker was receiving commissions and awards, joined the NSDAP in 1937, and was quickly hailed as the ''Michelangelo of the Third Reich.'' In 1938, for example, he was commissioned to make the bust of Adolf Hitler. The artist was highly respected not only by the National Socialists, but also by the French Vichy regime. After the end of World War II, Breker fled to Bavaria, where he was acquitted in the denazification process. He received numerous private commissions, portrayed many well-known industrialists such as Hugo Henkel, Herbert Quandt and Rudolf-August Oetker, as well as the politicians Konrad Adenauer and Ludwig Erhard. He was also commissioned with architectural projects such as the construction of the office and residential buildings for the Gerling Group in Hagen in 1955. Despite numerous commissions, criticism also arose against the artist and his idealised aesthetic in the post-war period. Nevertheless, Breker was well-known in the international art world of the post-war period and cultivated friendships with Salvador Dalí and Ernst Fuchs. Dalí once said of the three artists, who together were known as the ''Golden Triangle'': ''Breker-Dalí-Fuchs. You can turn us any way you want, we're always on top.'' Throughout his life, Breker dedicated himself in his work to the human body in all its beauty. Ernst Fuchs even described him as ''the true prophet of the beautiful.'' This sensuous, pensive female nude ''The Expectation'' from the 1970s is a particularly harmonious example of the way in which realism and idealism were combined in his works.
Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Surrealistischer Engel', 1984, Bronze, dunkel patiniert, auf Messingsockel, Maße (mit Sockel) 56 cm x 24,5 cm x 12 cm, signiert, Gießerstempel, 248/1500 nummeriert, anbei: Broschüre zur Edition Rom Y Rom, Heidelberg"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)Surrealist angel, 1984, bronze, dark brown patina, brass plinth, height with plinth 56 cm x 24.5 cm x 12 cm, signed, numbered 248/1.500, with foundry stamp, published by Edition Rom Y Rom, Heidelberg, with edition brochure“My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.” (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.
Fritz Wotruba (1907 Wien - 1975 ebenda)'Kopf', 1958, Bronze, schwarz patiniert, auf Steinsockel, Maße 14,5 cm x 13 cm x 10,5 cm, signiert, 95 nummeriert, Sockel partiell beschädigtProvenienz: Privatsammlung HannoverLiteratur: Wvz. Janett 212Fritz Wotruba wurde am 23. April 1907 in Wien als Sohn eines tschechisch-ungarischen Imigrantenpaares geboren. Er gilt als einer der bedeutendsten österreichischen Bildhauer der Moderne. Der Wiener Künstler löste in seinen Werken zunehmend figürliche Komponenten zu geometrischer Abstraktion auf und trug durch seine blockhaft wirkenden und mit strenge behafteten Plastiken maßgeblich zur Erneuerung der österreichischen Kunstszene nach 1945 bei. 1926 studierte er an der Kunstgewerbeschule Bildhauerei in der Klasse von Anton Hanak. Anschließend nahm er von 1928 bis 1929 an der Klasse von Eugen Steinhof teil. Schon in der Frühphase seines künstlerischen Schaffens neigte er dazu seine menschlichen Darstellungen, ähnlich wie Egon Schiele und Anton Hanak, deutlich zu strecken und zunehmend auf die Ausführung von Details zu verzichten. Für Wotruba war die Gesamterscheinung des Werkes entscheidend, so spielten die Details nur eine sekundäre Rolle. Besonders geprägt wurde die Kunst Wotrubas von Anton Hanak, Egon Schiele, Gustav Klimt, Wilhelm Lembruck, Georg Minnes und Oskar Kokoschka. 1939 musste der Künstler zusammen mit seiner Frau vor den Nationalsozialisten fliehen und für mehrere Jahre in die Schweiz emigrieren. Als er 1945 nach Österreich zurückkehrte gelang es ihm eindrucksvoll an frühere Erfolge anzuknüpfen. Seine Werke fanden auf internationalen Ausstellungen in Europa und den USA Beachtung. Fritz Wotruba (1907 Vienna - 1975 ibid)'Kopf', 1958, bronze on stone plinth, dimensions 14.5 cm x 13 cm x 10.5 cm, signed, dated 95, plinth slightly damagedProvenance: Private collection, HanoverLiterature: Cat. rais. Janett 212Fritz Wotruba was born in Vienna on 23rd April 1907, the son of a Czech-Hungarian immigrant couple. He is considered one of the most important Austrian sculptors of modernism. The Viennese artist increasingly dissolved figurative components into geometric abstraction in his works and made a significant contribution to the renewal of the Austrian art scene after 1945 through his austere, block-like sculptures. In 1926 he studied sculpture at the Kunstgewerbeschule in the class of Anton Hanak. He then took Eugen Steinhof's class from 1928 to 1929. Even in the early phase of his artistic work, he tended to stretch his human representations considerably, similar to Egon Schiele and Anton Hanak, and increasingly abandoned the execution of details. For Wotruba, the overall appearance of the work was decisive, so the details played only a secondary role. Wotruba's art was particularly influenced by Anton Hanak, Egon Schiele, Gustav Klimt, Wilhelm Lembruck, Georg Minnes and Oskar Kokoschka. In 1939 the artist had to flee from the Nazis together with his wife, and the couple emigrated to Switzerland for several years. When he returned to Austria in 1945, he succeeded impressively in continuing the successes of his earlier career, and his works attracted much attention at international exhibitions throughout Europe and the USA.
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Kleine Nike', 1975, Bronze, dunkel patiniert, partiell poliert, auf schwarz-weiß marmoriertem Steinsockel, Höhe (mit Sockel) 58 cm, signiert, Gießerstempel, 416/1000 nummeriert, Sockel partiell beschädigt, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverLiteratur: Wvz. Spielmann 24"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn. 1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge.Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.In Anspielung auf ihr berühmtes Vorbild, der monumentalen Nike von Samothrake im Louvre, hat Paul Wunderlich seine unverhüllte geflügelte Siegesgöttin aus der griechischen Mythologie mit zarten, langgezogenen Beinen und einer sinnlich glatten Oberfläche dargestellt. Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Kleine Nike', bronze with dark patina, partially polished, on a black and white marble plinth, height (with plinth) 58.5 cm, signed, foundry stamp, numbered 416/1,000, plinth partially damaged, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverLiterature: Cat. rais. Spielmann 24''His works are recognised, appreciated, and purchased by a wide audience throughout the world'', Jens Christian Jensen praised the artist, ''Connoisseurs are in agreement: Paul Wunderlich is the leading master of Fantastic Realism and one of the few stylistically pioneering artists of our time.''Paul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka.From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg. In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes.Based upon its famous predecessor, the Winged Victory of Samothrace, Paul Wunderlich depicts his version of the nude goddess of victory from Greek mythology with smooth, elongated legs and soft sensual skin.
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Amazone', 1976, Bronze, dunkel patiniert, partiell poliert, auf schwarz-weiß marmoriertem Steinsockel, Maße (mit Sockel) 56 cm x 82 cm x 12 cm, signiert, Gießerstempel, 130/500 nummeriert, an den Sockelkanten bestoßen, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung HannoverLiteratur: Wvz. Spielmann 29"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit."Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn. 1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge.Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an. In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.In Anspielung auf die "männergleichen" Kriegerinnen aus mythischer Zeit, sitzt die unverhüllte, zart modellierte Amazone mit imaginär gespantem Bogen wie auf einem Pferd reitend. Deutlich wird hier das Motiv der Antike, welchem sich Wunderlich gern bediente, denn die Amazone vertritt einen im Mythischen verwurzelten Archetypus. Die Amazone stellt das Endglied einer Reihe der in der Fläche gedrehten Sitzfiguren Wunderlichs dar. Dieser wollte, dass die Figur so flach wie ein Relief ist, gleichzeitig sollte aber die Illusion großer räumlicher Tiefe geweckt werden. Besonders an der Schmalseite wird die geringe Tiefe der Figur erkennbar. Die Amazone tritt dem Betrachter als kühle und distanzierte Kriegerin gegenüber. Ihr haftet etwas technisch-mechanisches an, was gemäß Spielmann, das bewusst betonte Merkmal der Figur sei und ihren erotischen Reiz ausmache.In seinem Oeuvre nehmen Industrie- und Schiffsmotive, wie der Dampfer A4 mit Ladekran, einen unerwarteten Raum ein und wirken in ihrer auf das Wesentliche reduzierten Abbildung wie Kinderbuchillustrationen. Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)'Amazone', bronze, dark patina, partially polished, mounted on a black and white marbled plinth, dimensions (with plinth) 56 cm x 82 cm x 12 cm, signed, foundry stamp, numbered 130/500, the edges of the plinth chipped, with purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, HanoverLiterature: Cat. rais. Spielmann 29''His works are recognised, appreciated, and purchased by a wide audience throughout the world'', Jens Christian Jensen praised the artist, ''Connoisseurs are in agreement: Paul Wunderlich is the leading master of Fantastic Realism and one of the few stylistically pioneering artists of our time.''Paul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka.From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg. In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes.In an allusion to the ''man-like'' warrior women of mythical times, the nude, delicately modelled Amazon sits with an imaginary bow as if riding a horse. The ancient motif of the Amazon, which Wunderlich used often in his works, is an archetype rooted in myth. The Amazon is the final link in a series of works in which Wunderlich depicted seated figures rotated at an angle. His aim was to create figures which were flat like a relief, but at the same time gave the illusion of great spatial depth. The flatness of the figure is particularly apparent when viewed from one side. The Amazon confronts the viewer as a cool and distanced warrior. There is a technical, mechanical quality about her, which, according to Spielmann, is a deliberately emphasised feature of the figure that constitutes much of her erotic appeal.
A mid-18th century 30-hour provincial longcase clock by John Darke of Holdsworthy (Devon), in an oak case with a flat-topped pediment, square hood door flanked by two free standing pillars with brass capitals, trunk with a flat-topped full-length door on a rectangular plinth with applied shaped skirting, a 9-1/2� square brass dial with a matted centre and brass (unsilvered) chapter ring, engraved with roman numerals, half and quarter hour divisions, single steel hand and "cockle-shell" spandrels, chapter ring engraved � J Darke Holdsworthy�, chain driven countwheel �birdcage� movement with a recoil anchor escapement.With pendulum and weight.H 194cm ****John Darke born in London in1743 moved to Holdsworthy c.1765, then High Street, Barnstable 1769-d.1813.
An early 20th century arch topped mahogany mantle clock with inlaid satinwood stringing on a moulded plinth with four turned feet, two shaped side pillars with brass capitals and reed moulding, 6” slivered metal dial with upright Arabic numerals and minute track, pierced steel hands within a spun brass bezel and convex glass, with an English eight-day spring driven movement striking and chiming the hours and quarters on five coiled gongs, with an engraved presentation plaque dated 1925. With key and pendulum. H36 W24 D18 With a porcelain German bedside clock with an ivorine dial and stamped gilt dial center, steel spade hands, brass bezel with beveled flat glass, timepiece movement with integral key. H13 W13 D6
A large mid-20th century eight-day German mantle clock chiming the quarters and sounding the hours on five gong rods, in an arch topped oak case with a corresponding glazed door on a moulded plinth, sound frets to the sides and rear door, with a silvered etched dial plate and subsidiary chime/silent dial, engraved Roman numerals and minute track with steel spade hands.With key and pendulum.Dimensions: Height: 38cm Length/Width: 15cm Depth/Diameter: 15cm
Victorian mahogany triple wardrobe, the pediment relief carved with urn and linen swags, the central panelled door carved with two fan motifs enclosing slides and drawers, two mirror glazed doors with bevelled plates enclosing hangings space and drawers, plinth baseDimensions: Height: 230cm Length/Width: 193cm Depth/Diameter: 55cm
Miscellany to include 2 marine rulers, two wooden anchors, wooden pestle, wooden seam rubber, 19thC sailor's fid, small wooden plane, small brass bell engraved SS Mongolian sunk Whitby 1917 in a wooden tower with plaque "Honourable East India Company London", plaster bust of a sailor on a black wooden plinth signed N D Clothier, small metal compass, etc.Condition ReportAll with wear, bust with crack to plaster and scuffs to plinth, canoe paddle broken otherwise fair condition.
A 1970s lacquered brass anniversary clock under dome, having a circular dial with Arabic numerals and painted with flowers, under a glass dome and on painted plinth, h.26cm; together with seven other lacquered brass anniversary clocks under domes (8)Condition report: Four of the domes are glass – all intact.
A 19th century porcelain pastille burner in the form of a cottage, having floral encrusted decoration, unmarked, h.14cm; together with a porcelain figure of King John, in seated pose on titled plinth, having gold anchor mark, h.12cm; and one other porcelain figure of a lady in sedan chair flanked by attendants, h.8.5cm (3)
A collection of six Franklin Mint bronzed figures of First Nation Americans, each on a marble base and circular plinth, with titles verso to include Spirit of The Blackbird, Spirit fo the Red Fox, Spirit of the Thunderbird, Spirit of the Raven, and Spirit of the Grizzly Bear, one other without title plaque, tallest h.42cm (6)Condition report: All appear in good condition.Only one lacking label to the base (horse and rider), which has been sanded down and is also missing some feathers.
A matched pair of Victorian mahogany D shaped side cabinets, basically 19th century, with rounded rectangular tops above a pair of panelled and crossbanded doors with scrolled re-entrant corners, raised on plinth bases, the tops (a.f.), 145cm by 46cm by 92cm and 166cm by 48cm by 93cmCondition report: Cabinet one - top with noticeable deep scratches, ring marks, and fading. The base is scuffed and scratched also. Cabinet two - the top with noticeable ring marks and deep scratches throughout. Water damage to the left-hand door and with some scuffs to the base.
An Art Deco silvered spelter figure of a dancing girl after Lorenzl, raised on an onyx plinth (a.f); together with a silvered bronze figural trophy 'Army Unit Team Boxing Championship, 1924-1925, 2nd Bn The Loyal Regt' and a pair of French gilt metal and etched glass single flute epergnes (one tray)Condition report: The Lorenzl figure is reproduction and in generally good condition, with a few flea bite chips to the base. The other figure is in good order. Vases have some chips to rims and the feet are slightly bent.
A late 19th century Continental blue ground and gilt decorated pedestal vase and cover, the striped body with ribbon tied swags above a transfer printed portrait of Marie Antoinette, 30cm high, a late 19th century Continental blue ground and gilt decorated pedestal vase with knopped cover, above a portrait panel of Napoleon, with moulded handles and on pedestal base, 25cm high (restored); a 19th century Sèvres style floral decorated and ormolu mounted shallow bowl, the underside with label Used in the Royal reception rooms on the occasion of the visit of the King and Queen, Newcastle-upon-Tyne 11th July 1906, 20cm diameter (3)Napoleon vase has broken at the pedestal and a piece from the side of the plinth and re-glued.
After Preiss, a modern bronze Art Deco style figure of a female archer on a marble plinthCondition report: Bow possibly bent. Hilt of sword is bent. Scabbard of sword is bent. Some small minor dents to the skirt and light verdigris to the head and base. Marble with one or two very minor chips. Height is 32cm.
A Circa 1900 metal cased mantel clock having a barrel design case to the two-train movement with a domed face having Arabic numerals and floral details, by "A.D. Mougin - Deux Medailles" numbered 114411, the movement with an external count-wheel, striking the hours and half-hours on a bell and having a regulation spindle close to the twelve o'clock position, the case being surmounted by two figures of cherubs wassailing and eating grapes (one a/f) and standing on a white marble plinth. Some slight losses but a key and the pendulum are present. 14" x 7" x 16 1/2".
An elegant green onyx based mantel clock having an attractive face with Arabic numerals, floral details and gilded hands, the two-train movement with Medaille D'Argent stamp numbered 1529-31 striking on a bell and surmounted by a figure of a fairy a plaque to the plinth engraved: "Fee aux Fleurs, Par L Moreau". A Georgian type key and a pendulum are present. 24" tall x 13" wide x 6 1/2" deep.
An amazing Automaton of a drink-swigging Gentleman wearing shorts and a check shirt, socks and black 'Dunlop' shoes, the technically clever mains powered mechanism providing a surprisingly life-life effect, 30 1/2'' tall x 39 1/8'' including plinth. (Will require checking by a qualified electrician prior to use)
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