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Lot 143
An Italian marble model of a youth in Roman taste, probably 18th century, possibly representing Antinous or Narcissus, the truncated male subject portrayed nude for a drape over his left shoulder, on a rectangular plinth, 57cm high, 28cm wideCondition Report: The surface is quite weathered and distressed, showing striations, darkening and advanced granulation, as well as some cracking to the torso and face. The neck has been restored, as has the right thigh. There is a chip to the nose.Condition Report Disclaimer
Lot 150
An unusual parcel gilt copper model of the Virgin and Child, French or German, in late Gothic taste, the Virgin portrayed standing and draped, holding the Christ Child in her arms, on a canted square veined white marble plinth, 22cm high overallThe technique of laying copper over wooden, usually walnut, cores to create free-standing figures was perfected by craftsmen in Limoges as early as the 13th century, and it is possible that the present lot is an example of this tradition of manufacture.A silver-gilt and copper finial from the Rhineland representing a Virgin and Child of similar iconographic type to the present lot, dated to the mid-15th century, is in the Boston Museum of Arts.Condition Report: The sculpture is firmly attached to the base and as such its core has not been inspected. Presumably this is copper laid over wood.There is an old horizontal repair to the hair, by the shoulders, which also extends to clear residue by the neck. There is another larger repair nearer the feet.Gilding is quite rubbed, and there is some scuffing/tarnishing. Condition Report Disclaimer
Lot 318
A George I walnut eight-day longcase clock, James, Leicester, London, circa 1725, the five finned pillar rack and bell striking movement with anchor escapement for regulation by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed James Leicester, ye Strand, London to lower margin, with pierced steel hands and gilt mask and scroll cast spandrels to angles beneath arch centred with subsidiary Strike/Silent dial flanked by conforming mounts, in a case with foliate fret fronted domed caddy box upstand over moulded cornice and hinged break-arch glazed dial aperture flanked by three-quarter columns and rectangular side windows with conforming quarter columns set against bargeboards to the rear, the trunk with concave throat over herringbone-bordered book-matched veneered rectangular door over conforming reduced plinth base, (generally distressed, lacking pendulum and weights), 241cm (95ins) high. James Leicester is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from circa 1710 until 1729 when he was declared bankrupt.Condition Report: Movement appears essentially complete and in sound original condition with no obvious alterations, significant repairs or replacements although the pendulum suspension block is later and is generally in dirty/neglected condition. The dial is also in sound original albeit dirty/neglected condition, the seconds hand is missing and both the hour and minute hands have been repaired; there is also a very small chip to the lower left hand corner of the dial plate and the chapter ring is somewhat rubbed. The movement rests on an old seatboard which has packing slips applied to the underside where it rests on the case uprights (cheeks) this would indicate that the movement and dial are most likely not original to the case.The case is generally structurally sound and fundamentally original but presents in unrestored and somewhat distressed condition. The superstructure to the hood is lacking part of its front fretwork and the quadrants above the dial now have applied wooden panels where there would have been frets. The rear quarter columns are replacements and one is lacking its capital. The side apertures have been blanked-off with wooden panel inserts. The mask around the dial (behind the hood door) has additions to the veneer overlap which adds to the view that the movement and dial are probably not original to the case. Faults to hood otherwise limited to bumps, scuffs shrinkage and veneer and moulding chips. The trunk has losses to the mouldings of the front door as well as overall wear, chips and losses to the veneers. The base is basically structurally intact but has significant wear to the lower edge as well as large losses to the veneers and chips to the mouldings.Clock does not have pendulum, weights, case keys or winder. Condition Report Disclaimer
Lot 182
Coalport, a set of ten The Royal Brides, each with plinth and certificate of authenticity, original boxes, Queen Elizabeth (Queen's Mother), Queen Mary, Queen Elizabeth II, Princess Anne, Princess Margaret, Queen Victoria, Sarah, Duchess of York, Sophie Countess of Wessex, Princes Alexandra, The Millennium Bride.
Lot 673
TWO SIMILAR ITALIAN ALABASTER LAMPS IN THE FORM OF A EWER, THE UPPER PART FORMING THE COVER, CARVED WITH FLOWERS AND FESTOONS, DOUBLE SERPENT OR GROTESQUE HANDLE, ON FLARED FOOT AND SQUARE BASE, 52 AND 55CM H, C1900 Square plinth drilled for electricity and natural old encrusted dust and dirt, one or two minor old repairs but no substantial damage or extensive repair. Good examples of the type
Lot 1382
A pair of 19th century leaf carved and fluted Carrara marble columns, each raised on a stepped plinth with square base. Height 108 cm, top diameter 27 cm (see illustration). CONDITION REPORT: Both columns are in generally good condition. There are minor nibbles around the top edges and some small chips. The main bodies of the columns are also in generally very good order with only very minor chips. The main issues are around the bottom edges o the columns were they are raised on the circular bases. There are numerous nibbles and losses around both columns at this point, principally below the fluting. Both columns rest well on their plinths. The plinths themselves also have extremity nibbles, chips and small losses. The columns separate from the bases and this is likely to be where the damage has occurred in the past. None of the chips are recent at all.
Lot 1512
A Gillows of Lancaster inlaid mahogany wardrobe with mirror door and base drawer. CONDITION REPORT: The mirror door opens to a full width brass rail for hanging. There is nothing else inside other than a few hanging hooks. The interior is cloth lined. Height 205.5 cm, depth at cornice 62.5 cm, width at cornice 142 cm. The wardrobe is in generally extremely good condition. The cornice is in good order all round with only very minor scuffs. Both sides are in very good order with no issues. The mirror door is in good condition. It is not warped and closes correctly. We have the lock and the key is present. The side panels and drawer are in good condition. The plinth base has minor scuffs and marks as one would expect. The backboards are original. This is an Edwardian wardrobe circa 1900-1910. It is stamped Gillows on the top edge of the drawer. The drawer lock is also stamped Gillows Lancaster.
Lot 1347
A 19th century mahogany pillar clock, with eight day striking movement by Francis Wells, London. Height 243 cm (see illustration). CONDITION REPORT: The movement is a little dirty. The pendulum suspension is missing. We have therefore not had the clock running. With the weights attached the movement does strike when advanced. The clock also ticks away when weight is applied to the going train. The repeat mechanism operates. The strike silent mechanism operates also. The face is in generally good condition. The clock winds on both trains. The hood is in generally good order. The right hand cornice return has a rear 2 mm x 6 cm loss and there are nibbles also to the left hand side return moulding. The left hand return moulding below the hood is detached. We do however have the detached piece. The case itself is in generally good order. The door closes as it should. It is not warped. There are some scuffs to the plinth but no significant problems with the hardwood on the case. The backboard is pine. There is a detached section of this backboard. This is from the top right hand side of the rear of the case (when viewed form the front). This has snapped. There is a smattering of woodworm here but this appears to be long gone. This would easily reattach. Overall the condition is really very good.
Lot 1267
A Victorian walnut music cabinet, with canted angles, glazed door and shelves with plinth base. Width 61 cm. CONDITION REPORT: The cabinet is structurally sound and in generally good order. The wooden gallery is a later replacement. It is slightly smaller than the original. The outline of the original gallery is visible on the left hand side. The top is in generally good condition with only very minor blemishes to the veneers. The rear left hand corner of the edge moulding has a small loss. The sides of the cabinet are in good condition. The drawer runs smoothly. The handle is original. The door is not warped. It closes correctly. The lock is present, we have the key. The interior is in good condition. The plinth moulding has minor marks but no significant issues. The backboards are original. There is no evidence of any woodworm.
Lot 1543
A Victorian mahogany bookcase on cupboard in two sections, the top half with a moulded cornice above a pair of arched glazed doors enclosing shelves flanked by foliate corbels, the base fitted with two drawers with centre tablet and with pair of well figured panelled cupboard doors beneath with shelf and plinth base. Width 130 cm (see illustration). CONDITION REPORT: Depth of base at deepest point 49 cm. Height of base 86 cm. Width of base 127 cm.
Lot 1239
A narrow George III mahogany bookcase, with detachable moulded cornice above a glazed door enclosing adjustable shelves, the base with panelled door. Height 227 cm, width 59 cm, depth 33.5 cm (see illustration). CONDITION REPORT: The bookcase is in generally good condition. There is no significant damage. The cornice has minor veneer nibbles. The glazed door closes correctly and is not warped. The base door is also not warped. Both locks are present. They are both locked. We have the key. There is a veneer nibble to the bottom right hand corner of the upper section of the bookcase. The bookcase sides are in good condition with no significant issues. The plinth base is in good condition all round.
Lot 51
A large Chinese bronze prowling lion, with rectangular seal mark beneath and raised on a wooden plinth. Length 58 cm, height excluding stand 31 cm (see illustration). CONDITION REPORT: The lion is in extremely good order with no damage or excessive wear. The wooden base is in good order with only very minor surface marks and scratches as one would expect. This item is signed.
Lot 1581
A Victorian walnut vitrine, with moulded edge above a pair of glazed boxwood strung drawers and raised on bracket feet. Height 104 cm, width 106 cm, depth 32.5 cm. CONDITION REPORT: The cabinet is in generally good condition. It is structurally sound. The top is flat with no significant marks or scuffs. There has been a small repair at the front right hand corner. The frieze beneath has one small veneer loss to the right hand side. The doors close correctly and are not warped. The lock is present but we have no key. Both pilasters are in good order. The sides are in generally good condition. The plinth base has minor scuffs and marks but no real problems. The back panel is original. The velvet lining is somewhat faded.
Lot 1430
A Victorian mahogany secretaire bookcase, with moulded cornice above a pair of glazed doors enclosing shelves, the base with secretaire drawer above a pair of panelled cupboard doors flanked by corbels and raised on a plinth base. Height 233 cm, width above secretaire drawer 127 cm, depth 58 cm (see illustration).
Lot 1552
An 18th century small oak Bach coffer, with hinged box top, three panelled front, fitted with two drawers beneath and raised on bracket feet. Width 68 cm, depth 36 cm, height excluding top. Box 43.5 cm (see illustration). CONDITION REPORT: The coffer is structurally very sound. We have not seen a coffer of this construction before. Clearly the top lidded box has been in situ for a very long time but whether it is original to the piece is difficult to ascertain. The grain and colour of the oak to the top lid is different to the main body of the piece. However the colour of the sides and bottom moulding of the top box are similar to the rest of the piece. We feel that this top box is a later edition albeit a very old one. The colour and patina of the top of the coffer itself are very good. The panels are in good condition to the front. The side panels are in good order. The back is unfinished but original. The rear plinth similarly is unfinished at the back but clearly original. There is possibly a section of moulding missing here. The base side panels are in good order with some minor scuffs and marks to the extremities. The drawers run smoothly. The handles are not original.
Lot 888
After Pierre-Alexandre Schoenewerk (French 1820-1885), a terracotta figure "Jeune Fille a La Fontaine". Height 75 cm, base 29 cm x 18 cm, incised "Schoenewerk, Paris" (see illustration). CONDITION REPORT: The figure is generally in extremely good condition. There have been some minor repairs to the front right and both rear corners of the plinth. This is evidenced by small sections of overpainting which in our opinion are very minor. There are some small nibbles to the paintwork at the extremities and around the fountain drip tray. There are some minor scratches and scuffs to the main body but other than the small base repairs referred to we can see no evidence of any significant damage, repairs or restoration.
Lot 1260
A Victorian walnut secretaire Wellington chest, with caddy top above a series of drawers with wooden knob handles, with carved corbels and raised on a plinth base. Height 124 cm, width 59 cm (see illustration). CONDITION REPORT: The lock is present and appears to be complete. We do not have the key. It is not currently locked. The Wellington chest is in generally good original condition. The colour is uniform and the patination is good. The top has a full width 1 mm stress fracture. There is no movement and the top is still basically flat with only very slight warping. There is a veneer nibble to the front left hand corner of the top. The beading below is present all round. The Wellington chest action operates as it should. The lock is present but we do not have the key. All corbels are in good order. The drawer fronts are all also in generally good condition with only very minor old veneer nibbles. All knob handles are present. The drawers all run fairly smoothly. The linings are mahogany. The secretaire drawer operates as it should. The interior has some stains, but no losses. All drawers and pigeon holes are present. The right hand side of the cabinet is in good order. The left had side has minor veneer stress fractures and one stain to the polish. The plinth base is in generally good condition with only minor veneer nibbles as one would expect. There is no evidence of woodworm.
Lot 1500
A late 19th century rosewood credenza, with green marble top above cupboard doors with brass grilles and cloth backing flanked by pilasters, with foliate cast metal mounts, bowfront, open shelves with mirror glass backing and raised on a plinth base. Height 94.5 cm, width 164.5 cm, depth 36 cm.
Lot 1268
A Victorian mahogany Wellington chest, of typical form, seven drawers with wooden knob handles and raised on a plinth base. Width 51 cm. CONDITION REPORT: Height 105 cm, width 51 cm, depth 35.5 cm. There is no evidence of any woodworm. The top is flat with no splits. There are nibbles to the rear right hand corner and front left hand corner. The edge veneer is slightly lifting on both returns. The losses are minimal. The Wellington chest action operates as it should. The lock and key are present. All drawer fronts are in generally good order. Drawer 5 has a minor surface scratch. All knob handles are original and present. The right hand side is in good order. The left hand side has minor veneer stress fractures. The plinth moulding has the usual veneer nibbles. On the right hand side at the rear there is some lifting veneer. The backboards are original. There is no evidence of any woodworm.
Lot 1250
A George III mahogany partners desk, with tooled leather writing surface and fitted with frieze drawers, cupboards and pedestal drawers. Height 78 cm, width 143 cm, depth 98.5 cm (see illustration). CONDITION REPORT: The desk is in generally good condition and has only very minor issues. The tooled leather writing surface is in generally good condition with only minor surface scratches and small stains. There are no holes and no losses. The crossbanded edge surrounding has some veneer losses and slight fractures, particularly to the corners. There are two missing handles and two of the drawers are locked. We do not have a key. All locks are present. The drawers that open do run smoothly. There are some minor sections of cockbeading missing. One side applied moulding is lifting and a small section has broken away. We have part of this. One shallow frieze drawer has a section of timber detached on the right hand side. There are minor stress fractures to the frieze on both the left and right hand sides. The plinth is in generally good condition all round.
Lot 1212
An oak pedestal desk, fitted with three frieze drawers and cupboards and sliding trays to each pedestal. Width 155 cm, depth 80 cm. CONDITION REPORT: The desk separates into three pieces. It is generally structurally sound. The writing surface is not pierced and it does have numerous surface marks and scratches as one would expect. The oak surround is a little scuffed at the extremities and there are some minor polish losses. All three frieze drawers run smoothly. The handles are original. The left hand door is missing the actual lock mechanism. The three pull out trays are modern replacements. The centre tray will not slide out due to the later lock hasp. The right hand door opens to original shelves. The handle is missing but the lock is present. We have no keys. The sides and back panels are all in good order. The plinth base has the usual scuffs and marks as one would expect.
Lot 396
Georg KolbeStatuette 1 (Statuette mit erhobenen Armen) Bronze Höhe 42,7 cm Auf der Plinthe neben dem rechten Fuß monogrammiert 'GK' (ligiert'). Guss ca. 1919. - Selten. Edition Galerie Arnold, Dresden. - Mit schöner rotbrauner, matter Patina, partiell etwas aufgelichtet.Mit einem Gutachten von Ursel Berger, Berlin, vom 1. September 2019.ProvenienzPrivatbesitz Schweiz (seit den 1970er Jahren); seitdem FamilienbesitzLiteraturWilhelm R. Valentiner, Georg Kolbe. Plastik und Zeichnung, München 1922, S. 46 ("Weibliche Statuette") mit Abb. S. 22.Entstanden 1917, wurden nur sehr wenige Exemplare dieses Werkes in Berlin und eventuell auch Dresden gegossen, wobei die entsprechende Gießerei aufgrund fehlender Stempel bei diesem Werk vielfach nicht eindeutig zu benennen ist. Zur Entstehungszeit vermerkt Ursel Berger in ihrem Gutachten: „Die Figur wird meist 1917 datiert. Das bedeutet, dass sie in Istanbul entstanden ist, wo Georg Kolbe während des Ersten Weltkrieges künstlerisch tätig war. Bronzegüsse konnten erst nach Kriegsende herstellt werden, deshalb gibt es auch die Datierung 1919 (von Kolbe selbst).“ Georg KolbeStatuette 1 (Statuette mit erhobenen Armen) Bronze Height 42.7 cm Monogrammed 'GK' (joined) on the top of the plinth next to the right foot. Cast approx. 1919. - Rare. Edition Galerie Arnold, Dresden. - Fine matt, reddish brown patina, partially slightly lightened.With an expert report by Ursel Berger, Berlin, dated 1 September 2019.ProvenancePrivate possession, Switzerland (since the 1970s); familiy possession sinceLiteratureWilhelm R. Valentiner, Georg Kolbe. Plastik und Zeichnung, Munich 1922, p. 46 ("Weibliche Statuette") with illus. p. 22.Made in 1917, only a very few casts of this work were made in Berlin and possibly in Dresden, too; in this context because of lacking foundry marks the corresponding foundry be unequivocally identified. Ursel Berger states in her expert opinion on the period when it was made: “The figure is usually dated to 1917. This means it arose in Istanbul, where Georg Kolbe was active as an artist during World War I. Bronze casts could not be made until after the end of the war, which is why it also dated as 1919 (by Kolbe himself).”
Lot 548
Emil CimiottiPriapos I Bronze, geätzt, mit gold-brauner Patina Ca. 45 x 32 x 18 cm. Auf der Plinthe geritzt signiert und datiert 'CIMIOTTI 60'.Dieter Brusberg (Hg.), Brusberg Dokumente 10, Emil Cimiotti, Werkverzeichnis der Plastiken, Hannover 1978, WVZ-Nr. 58ProvenienzSammlung Pachen, Mainz/RockenhausenAusstellungenMainz 1962 (Gemäldegalerie), Sammlung Pachen, Gemälde, Graphik, Plastik, Ausst.Kat.Nr.9 mit Abb.Mainz 1978 (Mittelrheinisches Landesmuseum), Sammlung Pachen, Eine Auswahl, Ausst.Kat.Nr.9 mit Abb. Emil CimiottiPriapos I Bronze, etched, with golden-brown patina Approx. 45 x 32 x 18 cm. Signed and dated 'CIMIOTTI 60' (scratched) on the plinth.Dieter Brusberg (ed.), Brusberg Dokumente 10, Emil Cimiotti, Werkverzeichnis der Plastiken, Hanover 1978, cat.rais.no. 58ProvenancePachen Collection, Mainz/RockenhausenExhibitionsMainz 1962 (Gemäldegalerie), Sammlung Pachen, Gemälde, Graphik, Plastik, exhib.cat.no.9 with illus. Mainz 1978 (Mittelrheinisches Landesmuseum), Sammlung Pachen, Eine Auswahl, exhib.cat.no.9 with illus.
Lot 523
Horst AntesFigur 1000 Stahl, graviert und verschweißt, mit Rostpatina Höhe ca. 220 cm. Auf der Plinthe mit gestempelter Signatur "Antes" und Nummerierung. Exemplar 801/1000. Edition Volker Huber, Offenbach. - Mit geringfügigen Altersspuren. Horst Antes Steel, engraved and welded, with rust patina Height approx. 220 cm. Stamped signature "Antes" and numeration on plinth. Numbered 801/1000. Edition Volker Huber, Offenbach. - Minor traces of age.
Lot 341
Giorgio de ChiricoLe Muse Inquietanti Bronze- und Metallplastik, versilbert, auf Plinthe montiert (3,3 x 27,3 x 20 cm) Höhe 49 cm (inkl. Plinthe) Seitlich links auf der Plinthe signiert 'G de Chirico', vorn am Plinthenrand mit dem Werktitel bezeichnet 'LE MUSE INQUIETANTI' und am hinteren Plinthenrand mit dem Gießerstempel "FONDERIA CAVALLARI ROMA" und der Exemplarnummer versehen. Exemplar 3/9. - Eine Figur oberflächlich berieben, das Silber angelaufen.ProvenienzGalleria Sacchetti, Ascona (2012); Privatsammlung NorddeutschlandLiteraturClaudio Bruni Sakraischik, Giorgio de Chirico, Catalogo Generale Giorgio de Chirico, Mailand 1971, Vol. II, No. 280 (andere Auflage); Isabella Far de Chirico/Domenico Porzio, Conoscere de Chirico, Mailand 1979, S. 302, Pl. 347 (andere Auflage); Wieland Schmied/Alain Jouffroy/Maurizio Fagiolo dell'Arco/Domenico Porzio, De Chirico. Leben und Werk, München 1980, S. 302, Nr. 347 mit Abb. (andere Auflage); Giovanni dalla Chiesa, De Chirico Scultore, Mailand 1988, Nr. 7, S. 54 f. mit Abb. (andere Auflage) Giorgio de ChiricoLe Muse Inquietanti Bronze and metal sculpture, silver-plated, mounted on plinth (3.3 x 27.3 x 20 cm) Height 49 cm (incl. plinth) Signed 'G de Chirico' on left side of plinth, inscribed with work title 'LE MUSE INQUIETANTI' on front plinth edge and with foundry mark "FONDERIA CAVALLARI ROMA" and exemplar number on rear plinth edge. Exemplar 3/9. - One figure rubbed on surface, the silver tarnished.ProvenanceGalleria Sacchetti, Ascona (2012); Private collection, North GermanyLiteratureClaudio Bruni Sakraischik, Giorgio de Chirico, Catalogo Generale Giorgio de Chirico, Mailand 1971, vol. II, no. 280 (other edition); Isabella Far de Chirico/Domenico Porzio, Conoscere de Chirico, Milan 1979, p. 302, pl. 347 (other edition); Wieland Schmied/Alain Jouffroy/Maurizio Fagiolo dell'Arco/Domenico Porzio, De Chirico. Leben und Werk, Munich 1980, p. 302, no. 347 with illus. (other edition); Giovanni dalla Chiesa, De Chirico Scultore, Milan 1988, no. 7, p. 54 f. with illus. (other edition)
Lot 501
Toni StadlerStehende mit Gewand Englischer Zement Höhe 38 cm Auf der Plinthe rechts monogrammiert 'T S.'. - Kleine Abplatzung an der vorderen linken Ecke der Plinthe.Weczerek 36ProvenienzPrivatbesitz HessenLiteraturArmin Zweite (Hg.), Toni Stadler, München 1978, S. 31 mit Abb. Nr. 33 Toni StadlerStehende mit Gewand English cement Height 38 cm Monogrammed 'T S.' on plinth to right. - Small chip to front left corner of plinth.Weczerek 36ProvenancePrivate possession, HesseLiteratureArmin Zweite (ed.), Toni Stadler, Munich 1978, p. 31 with illus. no. 33
Lot 471
Richard ScheibeDie Aufsteigende Bronze Höhe 54 cm. Auf braunem Marmorsockel (2 x 15 x 15 cm) montiert An der Standfläche seitlich rechts monogrammiert 'R. Sch' und an der Rückseite mit dem Gießerstempel "H. NOACK BERLIN" versehen. - Mit gleichmäßiger dunkelbrauner Patina.ProvenienzSammlung Pachen, Mainz/RockenhausenAusstellungenMainz 1962 (Gemäldegalerie), Sammlung Pachen. Gemälde - Graphik - Plastik, Kat. Nr. 84; Mainz 1978 (Mittelrheinisches Landesmuseum), Sammlung Pachen. Eine Auswahl, Kat. Nr. 71LiteraturHans Hofstätter, Sammlung Pachen. Deutsche Kunstwerke aus dem 20. Jahrhundert. Malerei, Graphik, Plastik, Mainz 1960, S. 64 mit Abb. S. 62 Richard ScheibeDie Aufsteigende Bronze Height 54 cm. Mounted on brown marble base (2 x 15 x 15 cm) Monogrammed 'R. Sch' on right side of plinth and foundry mark "H. NOACK BERLIN" on the back side. - Even dark brown patina.ProvenanceCollection Pachen, Mainz/RockenhausenExhibitionsMainz 1962 (Gemäldegalerie), Sammlung Pachen. Gemälde - Graphik - Plastik, cat. no. 84; Mainz 1978 (Mittelrheinisches Landesmuseum), Sammlung Pachen. Eine Auswahl, cat. no. 71LiteratureHans Hofstätter, Sammlung Pachen. Deutsche Kunstwerke aus dem 20. Jahrhundert. Malerei, Graphik, Plastik, Mainz 1960, p. 64 with illus. p. 62
Lot 482
Renée SintenisGehender Widder Bronzeplastik auf mitgegossener Plinthe Höhe 10,5 cm Hinten rechts auf der mitgegossenen Plinthe monogrammiert 'RS' und am rechten Plinthenrand mit dem Gießerstempel "NOACK BERLIN" versehen. - Mit dunkelbrauner, teils heller aufgelichteter Patina.Berger/Ladwig 161; Buhlmann 205ProvenienzGalerie Vömel, Düsseldorf (mit Galerie-Etikett unter der Plinthe); Privatbesitz ÖsterreichAusstellungenBerlin 1958 (Haus am Waldsee), Renée Sintenis. Das plastische Werk, Zeichnungen, Graphik, Kat. Nr. 66LiteraturHanna Kiel, Renée Sintenis, Berlin 1956, S. 59; Rudolf Hagelstange/Carl Georg Heise/Paul Appel, Renée Sintenis, Berlin 1947, S. 117 mit Abb.; Aussaat 1, 1946/1947, Heft 8/9, S. 41 mit Abb. Renée SintenisGehender Widder Bronze sculpture on cast-with plinth Height 10.5 cm Monogrammed 'RS' on cast-with plinth to rear right and foundry mark "NOACK BERLIN" to right plinth edge. - Dark brown patina, partly lightened.Berger/Ladwig 161; Buhlmann 205ProvenanceGalerie Vömel, Düsseldorf (gallery label under plinth); Private possession, AustriaExhibitionsBerlin 1958 (Haus am Waldsee), Renée Sintenis. Das plastische Werk, Zeichnungen, Graphik, cat. no. 66LiteratureHanna Kiel, Renée Sintenis, Berlin 1956, p. 59; Rudolf Hagelstange/Carl Georg Heise/Paul Appel, Renée Sintenis, Berlin 1947, p. 117 with illus.; Aussaat 1, 1946/1947, issue 8/9, p. 41 with illus.
Lot 371
Bernhard HoetgerPleureuse Bronzeplastik Höhe 27 cm Auf der Plinthe rechts signiert 'B. Hoetger'. Eines von mindestens 22 Exemplaren. - Mit dunkelbrauner, stellenweise aufgelichteter Patina.Werner 6; Drost 16ProvenienzOtto Busch, Amsterdam; Privatsammlung NiederlandeAusstellungenHagen 1906 (Folkwang Museum), Hoetger - Segantini - Bernard, Liste Nr. 8 ("Weinende"); Bremen/Münster 1964 (Museum Böttcherstraße/Westfälischer Kunstverein), Bernhard Hoetger, Gedächtnisausstellung zum 90. Geburtstag, Kat. Nr. 2, Abb. 2; Bremen 1977 (Graphisches Kabinett Kunsthandel Wolfgang Werner), Bernhard Hoetger. Plastiken aus den Pariser Jahren 1900-1910, Kat. Nr. 6 mit Abb.; Bremen/Wuppertal/Berlin/Darmstadt 1998/1999 (Kunstsammlungen Böttcherstraße/Von der Heydt-Museum/Georg Kolbe Museum/Institut Mathildenhöhe), Bernhard Hoetger. Skulptur, Malerei, Design, Architektur, Kat. Nr. 207 mit ganzseitiger Farbabb. S. 316LiteraturDocuments sur L'Art Industriel au XXe Siècle, Edition de La Maison Moderne, Paris 1901, S. 4, Nr. 3421-1 mit Abb. Bernhard HoetgerPleureuse Bronze Height 27 cm Signed 'B.Hoetger' on the plinth to the right. One of at least 22 casts. - Dark brown patina, partially lightened.Werner 6; Drost 16ProvenanceOtto Busch, Amsterdam; Private collection, The NetherlandsExhibitionsHagen 1906 (Folkwang Museum), Hoetger - Segantini - Bernard, list no. 8 ("Weinende"); Bremen/Münster 1964 (Museum Böttcherstraße/Westfälischer Kunstverein), Bernhard Hoetger, Gedächtnisausstellung zum 90. Geburtstag, cat. no. 2, illus. 2; Bremen 1977 (Graphisches Kabinett Kunsthandel Wolfgang Werner), Bernhard Hoetger. Plastiken aus den Pariser Jahren 1900-1910, cat. no. 6 with illus.; Bremen/Wuppertal/Berlin/Darmstadt 1998/1999 (Kunstsammlungen Böttcherstraße/Von der Heydt-Museum/Georg Kolbe Museum/Institut Mathildenhöhe), Bernhard Hoetger. Skulptur, Malerei, Design, Architektur, cat. no. 207 with full-page colour illus. p. 316LiteratureDocuments sur L'Art Industriel au XXe Siècle, Edition de La Maison Moderne, Paris 1901, p. 4, no. 3421-1 with illus.
Lot 389
Ludwig KasperWeiblicher Torso Bronze Höhe 114,8 cm Auf der mitgegossenen Plinthe rückseitig links monogrammiert 'K' und mit dem Gießerstempel "GUSS BARTH RINTELN" versehen. Posthumer Guss einer Auflage von vermutlich insgesamt 6 Exemplaren. - Mit grünlich-bräunlicher Patina.Haftmann 88ProvenienzEhemals Privatsammlung Westfalen; seitdem in FamilenbesitzAusstellungenZell an der Pram 1979 (Landes-Bildungszentrum), Ludwig Kasper 1893 - 1945. Ein Innviertler Bildhauer, o. Kat. Nr. mit Abb. (Marmorzement)LiteraturRegina Maria Hillert, "Gebaute Figur" - Studien zu Leben und Werk des Bildhauers Ludwig Kasper, Hamburg 2017, S. 393 mit Abb. 139a, b (Marmorzement) Ludwig KasperWeiblicher Torso Bronze Height 114.8 cm Monogrammed 'K' on the cast-with plinth back left and foundry mark "GUSS BARTH RINTELN". Posthumous cast of a total edition of presumably 6. - Greenish brown patina.Haftmann 88ProvenanceFormerly private collection, Westphalia; in familiy possession sinceExhibitionsZell an der Pram 1979 (Landes-Bildungszentrum), Ludwig Kasper 1893 - 1945. Ein Innviertler Bildhauer, without cat. no. with illus. (marble cement)LiteratureRegina Maria Hillert, "Gebaute Figur" - Studien zu Leben und Werk des Bildhauers Ludwig Kasper, Hamburg 2017, p. 393 with illus. 139a, b (marble cement)
Lot 589
Otto Herbert HajekRaumschichtung 63/30 Bronze und Stahl 69 x 41 x 20 cm. Auf der Plinthe geritzt signiert, datiert und betitelt 'Hajek 63/30' sowie dem Gießerstempel "H. NOACK BERLIN".Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (Hg.), O.H. Hajek, Eine Welt der Zeichen, Köln 2000, WVZ-Nr. P 221, S.174 mit Abb. (Werkverzeichnis von Anuschka Kross)ProvenienzPrivatsammlung, SüddeutschlandAusstellungenCheb 1994 (Staatsgalerie der Bildenden Künste), Otto Herbert Hajek, Ikonosféra, Ikonosphäre, Ausst.Kat.Nr.53, S.18 mit Abb.Moskau 1989 (Zentrale Kunsthalle), O.H. Hajek, Farbwege, Plastiken, Bilder, Stadtikonographien, Ausst.Kat., S.88 mit Abb.Prag 1988 (Nationalgalerie Waldsteinpalais), Otto Herbert Hajek, Dráhy Barev, Ausst.Kat.Nr.7, S.44 mit Abb.Lüdenscheid 1988 (Galerie Hoffmeister). Kontraste IV, Kunst nach '45 Nürnberg 1987 (Germanisches Nationalmuseum), O.H. Hajek, Werke und Dokumente, Ausst.Kat., S.90Köln 1987 (Baukunst Galerie), O.H. Hajek, Farbwege und Bilder, Ausst.Kat.Nr.6 Rom 1981 (Museo Nazionale di Castel Sant' Angelo), O.H. Hajek, Sculture, pitture e opere, urbanistische Plastiken, Bilder, Stadtikonographien, Ausst.Kat.Nr.36, S.307 mit Abb. Köln 1964 (Galerie Abels), Otto Herbert Hajek, Farbwege, Ausst.Kat., o.S. mit Abb.LiteraturEugen Gomringer (Hg.), Kunst stiftet Gemeinschaft, O.H. Hajek, Das Werk und seine Wirkung Stuttgart 1993, S.148 mit Abb.Eugen Gomringer (Hg.), O.H. Hajek, Farbwege in Moskau, Begegnungen mit einer Ausstellung, Stuttgart, Zürich 1989, S.72 mit Abb.Ulmer Museum, Schuhhaus (Hg.), Otto Herbert Hajek Werke, 1950 – 1986, Ulm 1986, S.40 mit Abb.Galerie Spála (Hg.), Otto Herbert Hajek, Ausst.Kat. Galerie Spála, Prag, Bratislava 1966, S.26 mit Abb. Otto Herbert HajekRaumschichtung 63/30 Bronze and steel 69 x 41 x 20 cm. Signed, dated and titled 'Hajek 63/30' (scratched) on plinth and with foundry mark "H. NOACK BERLIN".Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), O.H. Hajek, Eine Welt der Zeichen, Wienland 2000, cat.rais.no. P 221 p.174 with illus. (catalogue raisonné by Anuschka Kross)ProvenancePrivate collection, South GermanyExhibitionsCologne 1964 (Galerie Abels), Otto Herbert Hajek, Farbwege, exhib.cat., n.pag. with illus. Rom 1981 (Museo Nazionale di Castel Sant' Angelo), O.H. Hajek, Sculture, pitture e opere, urbanistische Plastiken, Bilder, Stadtikonographien, exhib.cat.no.36, p.307 with illus.Cologne 1987 (Baukunst-Galerie), O.H. Hajek, Farbwege und Bilder, exhib.cat.no.6, n.pag.Nürnberg 1987 (Germanischen Nationalmuseum), O.H. Hajek, Werke und Dokumente, exhib.cat., p.90Lüdenscheid 1988 (Galerie Hoffmeister). Kontraste IV, Kunst nach '45 Prag 1988 (Nationalgalerie Waldsteinpalais), Otto Herbert Hajek, Dráhy Barev exhib.cat.no.7, p.44 with illus.Moscow 1989 (Zentrale Kunsthalle), O.H. Hajek, Farbwege, Plastiken, Bilder, Stadtikonographien, exhib.cat., p.88 with illus.Cheb 1994 (Staatsgalerie der Bildenden Künste), Otto Herbert Hajek, Ikonosféra, Ikonosphäre, exhib.cat.no.53, p.18 with illus.LiteratureGalerie Spála (ed.), Otto Herbert Hajek, exhib.cat. Galerie Spála, Prag, Bratislava 1966, p.26 with illus.Ulmer Museum, Schuhhaus (ed.), Otto Herbert Hajek Werke: 1950 – 1986, Ulm 1986, p.40 with illus.Eugen Gomringer (ed.), O.H. Hajek, Farbwege in Moskau Begegnungen mit einer Ausstellung, Stuttgart, Zurich 1989, p.72 with illus.Eugen Gomringer (ed.), Kunst stiftet Gemeinschaft, O.H. Hajek, Das Werk und seine Wirkung Stuttgart 1993, p.148 with illus.
Lot 671
Sophie RyderLady Hare Holding Dog Bronze mit braun-grüner Patina Höhe 118 cm. Auf der Plinthe geritzt signiert und datiert 'Ryder 2001' sowie nummeriert. Exemplar 6/9. - Mit leichten Altersspuren.ProvenienzBerkeley Square Gallery, London (2003); Privatsammlung, HessenLiteraturJonathan Benington, Sophie Ryder, Aldershot 2001, o.S. mit Farbabb. (anderes Exemplar) Sophie RyderLady Hare Holding Dog Bronze with brown-green patina Height 118 cm. Signed and dated 'Ryder 2001' (scratched) and numbered on plinth. Numbered 6/9. - Minor traces of age.ProvenanceBerkeley Square Gallery, London (2003); private collection, HesseLiteratureJonathan Benington, Sophie Ryder, Aldershot 2001, unpag. with col. illus. (different cast)
Lot 363
August GaulSitzender junger Löwe (Dusselchen) Bronzeplastik Höhe 14,9 cm Auf der mitgegossenen Plinthe mittig signiert 'A. Gaul'. Wohl einer von rund 15 Lebzeitgüssen entstanden zwischen 1903 und 1906. - Die schöne dunkelbraune Patina teils aufgelichtet.Gabler 41ProvenienzPrivatbesitz, BerlinAusstellungenU.a. Berlin 1900 (Berliner Secession); Dresden 1901 (Internationale Kunstausstellung); Berlin 1919 (Galerie Cassirer), Sonderausstellung August Gaul; Berlin 1922 (Akademie der Künste/Paul Cassirer), August Gaul Gedächtnisausstellung; Berlin/Hamburg/Hanau 1999 (Georg-Kolbe-Museum/Ernst Barlach Haus/Museen der Stadt Hanau), Der Tierbildhauer August Gaul, Kat. Nr. 3, ganzseitige Farbabb. S. 86LiteraturU.a. Hans Rosenhagen, Bildwerke von August Gaul, Berlin 1905, S. 23 mit Abb.; Curt Glaser, August Gaul, in: Die Kunst XXVIII, 1913, S. 234 mit Abb.; Angelo Walther, Der Bildhauer August Gaul, Phil. Diss., Leipzig 1961, Nr. 13; Angelo Walther. August Gaul, Leipzig 1973, Abb. 10; Roland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (Hg.), Der Tierbildhauer August Gaul, Berlin 1999, Nr. 14; Bestandskatalog der Nationalgalerie Berlin, XIX. Jahrhundert, Berlin 2006, Nr. 294; Katalog der Bildwerke in der Niedersächsichen Landesgalerie Hannover, München 1957, Nr. 426 August GaulSitzender junger Löwe (Dusselchen) Bronze sculpture Height 14.9 cm Signed 'A. Gaul' in the centre of the cast-with plinth. Probably one of about 15 lifetime casts created between 1903 and 1906. - The fine dark brown patina partially lightened.Gabler 41ProvenancePrivate possession, BerlinExhibitionsI.a. Berlin 1900 (Berlin Secession); Dresden 1901 (International Art Exhibition); Berlin 1919 (Galerie Cassirer), special exhibition August Gaul; Berlin 1922 (Akademie der Künste/Paul Cassirer), August Gaul Memorial Exhibition; Berlin/Hamburg/Hanau 1999 (Georg-Kolbe-Museum/Ernst Barlach Haus/Museen der Stadt Hanau), Der Tierbildhauer August Gaul, cat. no. 3, full-page colour illus. p. 86LiteratureI.a. Hans Rosenhagen, Bildwerke von August Gaul, Berlin 1905, p. 23 with illus.; Curt Glaser, August Gaul, in: Die Kunst XXVIII, 1913, p. 234 with illus.; Angelo Walther, Der Bildhauer August Gaul, Phil. Dissertation, Leipzig 1961, no. 13; Angelo Walther. August Gaul, Leipzig 1973, illus. 10; Roland Dorn, Verzeichnis der bei Paul Cassirer nachweisbaren Arbeiten von August Gaul, in: Ursel Berger (ed.), Der Tierbildhauer August Gaul, Berlin 1999, no. 14; Bestandskatalog der Nationalgalerie Berlin, XIXth century, Berlin 2006, no. 294; Katalog der Bildwerke in der Niedersächsichen Landesgalerie Hanover, Munich 1957, no. 426
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