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Lot 280
Elliot Erwitt, Yokohama Japan (two dogs in goggles), 2003, gelatin silver printElliot Erwitt, (*1928)2003Yokohama Japan (Zwei Hunde mit Schutzbrillen). 2003. SW-Fotografie. Silbergelatineabzug. 39,5 x 48 cm. Verso mit Bleistift signiert, bezeichnet und datiert. Im Passepartout hinter Glas gerahmt.
Lot 283
Thomas Ruff*, C Print, Nacht - Haus EstersThomas Ruff*, (*1958)1996Nacht - Haus Esters. 1996. Farbfotografie, C-Print. Ausschnitt 20 x 21 cm. Aus einer Edition von 25 Exemplaren, hier die Nummer 2. Verso auf Etikett bezeichnet: Thomas Ruff, Nacht - Haus Esters, 1996, Auflage 25+III, Herausgegeben vom Förderverein Krefelder Kunstmuseen e.V. zu Gunsten der Restaurierung der Häuser Lange und Esters, und handschriftlich mit Bleistift nummeriert und signiert: 2/25 Thomas Ruff. Hinter Glas gerahmt und so beschrieben.
Lot 25
Italian School. Early 17th century "The Crowning with Thorns" Oil on canvas. 142 x 110 cm. After the flagellation ordered by Pontius Pilate, Jesus was tortured and mocked by the executioners and soldiers, who put a crown of thorns on his head to accredit Him, sarcastically, as the King of the Jews: “Then the governor’s soldiers took Jesus into the Praetorium and gathered the whole company of soldiers around him. They stripped him and put a scarlet robe on him, and then twisted together a crown of thorns and set it on his head. They put a staff in his right hand. Then they knelt in front of him and mocked him. “Hail, king of the Jews!” they said. They spit on him, and took the staff and struck him on the head again and again. After they had mocked him, they took off the robe and put his own clothes on him. Then they led him away to crucify him” (Matthew 27: 27-31). All the elements and actions narrated in the cited extract are those which appear in this superb painting, probably created in Italy, and which faithfully copies an engraving made in 1597 by Hendrick Goltzius (1558-1617), although in a more reduced version, considering that in the aforementioned print we see Christ situated before the steps of the praetorium, mocked by numerous people who are both standing and kneeling, besides others – one of whom could be Pilate himself – who observe the scene impassively from the praetorium. The anonymous painter of this picture, which is of exquisite style and quality, has focussed his creation on just three characters who have acquired greater monumentality that those in Goltzius’ engraving. The scene takes place in a sombre atmosphere lit only by an exterior beam of light which emanates from the left side. This is tenebrist illumination and is a distant reminder of the results obtained by Caravaggio (1571-1610) and his followers. This containment of the light contrasts vividly with the gesture and dynamism of one of the executioners, who appears to be engaged in beating Christ impetuously with the stick he holds in his left hand. At the same time, in his right hand he holds an element with which he braids the crown of thorns on the Lord’s head, along with his colleague. At the feet of this executioner, who is dressed in trousers hacked off to the mid-thigh, is a recipient which contains part of the set of tools with which this new torture of Christ is being carried out. The other executioner, dressed in clothes in different gradations of green which contrast with the reds of the other two characters, has a calmer and more passive attitude in the scene. Christ is seated on a stone step. He has his hands tied and is holding the staff with an expression on his face which is between relaxed and resigned. His calm attitude contrasts with that of the mocking soldiers who are making the crown of thorns. He wears a crimson tunic with some very rich gradations of colour that form a potent focal point of light, which also occurs with the footwear and smock of the executioner who is attacking him. The clothes that both executioners are wearing are those worn by men in the period that this canvas was painted, meaning the early 17th century. The painting is outstanding, not just because of its extremely rich colouring, in which the vivid reds contrast with the greens and blues, but also because of the careful drawing with which it has been conceived and the brushwork with which it has been carried out. It is difficult to establish an identity for the painter, but it could be from an Italian workshop, although without being able to specify a School, the most illustrious at the time were the Roman, Bolognese and Tuscan-Florentine Schools. We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
![[PRINT] William Wilson, O.B.E., R.S.A., R.S.W., S.A.P., S.S.A. (Scottish, 1905-1972) 'Avila', engraving, titled lower left](https://cdn.globalauctionplatform.com/28553fd3-c7f3-4f9f-af4e-ae7400e9f39c/d4e3e927-e6ce-447d-89b6-ae8500dd3d4c/468x382.jpg)
Lot 657
[PRINT] William Wilson, O.B.E., R.S.A., R.S.W., S.A.P., S.S.A. (Scottish, 1905-1972) 'Avila', engraving, titled lower left, signed lower right, 30cm x 37cm, mounted, unframed. Condition Report : Good condition. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 121
Selection of various Beatles items including Beatles print by Johnathan Wood, two framed Beatles photographs (copies), Beatles Help! album in gatefold sleeve, Beatles A Hard Day's Night album, Beatles 1962 - 1966 album, Beatle Mania album, copy of Sergeant Pepper's Lonely Heart's Club Band (A/F), three VHS videos of Help!, Magical Mystery Tour and A Hard Day's Night
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