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Lot 173
Rainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Reclining Nude on green Sofa. 1986. Öl auf Leinwand. Verso auf der Leinwand signiert, datiert, betitelt, bezeichnet 'A 284' und mit den Größenangaben versehen. Auf dem Keilrahmen bezeichnet 'Die Stunde der Rose'. 204 x 254 cm (80,3 x 100 in). [EH]. • Desmond liegt weniger auf, vielmehr in einem an Claude Monet erinnernden Bassin aux Nymphéas, einem Seerosenteich. • Damals 1986 wie heute besteht kein Zweifel: In diesen Bildern geht es um ein gewaltiges Lebensgefühl, glühend, voller Unruhe und Wucht. Die Authentizität der vorliegenden Arbeit wurde vom Künstler bestätigt. Wir danken für die freundliche Auskunft. PROVENIENZ: Privatsammlung Berlin. LITERATUR: Christie's, London, Post-War and Contemporary Art, 1.7.2009, Los 247. 'Ich war immer dort, wo es aufregend war.' Rainer Fetting Wild gepinselte, erotisch aufgeladene Szenen ziehen die Anwesenden in ihren Bann. Rollenmodelle werden von Rainer Fetting direkt und unvermittelt im Bild durchgespielt. Immer wieder sind es neben den 'Großstadteingeborenen' die Künstlermythen, die im Selbst- oder Figurenbild durchgespielt werden. Die Befragung des Standorts in der Gesellschaft und die Frage nach der eigenen Identität stehen immer wieder im Mittelpunkt seiner Malerei. Und so hat Fetting auch seine nackten, durchtrainierten Modelle gemalt wie etwa Desmond: provozierend, monströs und den Betrachter anspringend. 'Desmond hatte ein Stipendium als Balletttänzer. Mit seinem durchtrainierten und definierten Körper war er natürlich ein ideales Model, fast selbst wie eine Skulptur. Sein eigenes Verständnis von Körper hat einen wichtigen Einfluss auf meine Arbeit gehabt. Unsere Beziehung, die bis heute anhält, ist nicht ohne Spannungen abgelaufen, wohl wegen unserer gegensätzlichen Charaktere und des Altersunterschieds, der schwierigen Rolle von Maler und Model und unserer unterschiedlichen kulturellen Herkunft. […] Da die Unterdrückung der Schwarzen und der Rassismus bis heute unsere Gesellschaft tangieren, ist es besonders für mich als Deutschen und 'weißen Mann' nicht unbedingt leicht, unbefangen und naiv ein Bild mit Desmond zu malen oder eine Skulptur von ihm zu machen. Aber das gilt ja eigentlich für meine ganze Arbeit. Porträts von anderen, auch wenn man die Personen darin wiedererkennt, haben auch immer mit dem zu tun, was den Künstler selbst umtreibt und sind auch immer eine Art Selbstausdruck. […] Desmond kannte viele Künstler und wurde von einigen porträtiert, unter anderem von Basquiat, Haring, Fischl, Mapplethorpe, Salomé und Andy Warhol. […] Auch die Beziehung mit Desmond, der dann irgendwo da war, aber dann auch wieder überhaupt gar nicht, plötzlich weg wie der Wind', so Rainer Fetting in einem Interview mit Heinz Stahlhut (zit. nach: Fetting, Köln 2009, S. 204). Damals wie heute besteht kein Zweifel: In diesen Bildern geht es um ein gewaltiges Lebensgefühl, glühend, voller Unruhe und Wucht. Und es geht um das Bekenntnis eines Malers, der an malerische Traditionen anknüpft, um seine eigene Gegenwart in jedem Bild radikal neu zu erfinden. Rainer Fetting erzählt in diesen Bildern zumeist keine kunsthistorischen Anekdoten, auch wenn hier Desmond weniger auf, vielmehr in einem an Claude Monet erinnernden Bassin aux Nymphéas, einem Seerosenteich liegt, und Fetting hier vielmehr das Malen selbst thematisiert: die ungeheure Sinnlichkeit der Farbe in einem lichtdurchfluteten Energiefeld aus gestischen Pinselstrichen, schnell, heftig und dennoch präzise und sicher. [MvL] Aufrufzeit: 07.06.2024 - ca. 15.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Reclining Nude on green Sofa. 1986. Oil on canvas. Signed, dated, titled, inscribed 'A 284' and with the dimensions on the reverse. Stretcher inscribed 'Die Stunde der Rose'. 204 x 254 cm (80.3 x 100 in). [EH]. • Desmond lies not so much on, but rather in a Bassin aux Nymphéas, a water lily pond reminiscent of Claude Monet. • Then, in 1986, as now, there is no doubt: these paintings are about a powerful feeling of life, glowing, full of restlessness and energy. This work's authenticity was kindly confirmed by the artist. We are grateful for his kind support in cataloging this lot. PROVENANCE: Private collection Berlin. LITERATURE: Christie's, London, Post-War and Contemporary Art, July 1, 2009, lot 247. 'I have always been where it was exciting.' Rainer Fetting Wild brushstrokes and erotically charged scenes cast a spell over the audience. Rainer Fetting plays out role models in his pictures with great immediacy. Alongside the 'big city natives', it is repeatedly the artist's myths that he addresses in self- or figure portraits. Questioning his position in society and his identity are always at the center of his art. And this is also how Fetting painted his naked, muscular models, such as Desmond: provocative, monstrous and jumping out at the viewer. 'Desmond had a scholarship as a ballet dancer. With his toned and athletic body, he was, of course, the perfect model, almost like a sculpture himself. His own understanding of the body exerted an important influence on my work. Our relationship, which continues to this day, has not been without tension, probably because of our contrasting characters and age difference, the difficult role of painter and model and our different cultural backgrounds. [..] Since the oppression of black people and racism still affect our society today, it is not necessarily easy, especially for me as a German and 'white man', to paint a picture with Desmond or make a sculpture of him in an unbiased and naive way. But that actually applies to all my works. Portraits of others, even if you recognize the people in them, always have to do with the artist's own concerns, they are always a kind of self-expression. [..] Desmond knew many artists and was portrayed by some of them, including Basquiat, Haring, Fischl, Mapplethorpe, Salomé and Andy Warhol. [..] Also the relationship with Desmond, who was there somewhere, but then again not at all, suddenly gone like the wind,' Rainer Fetting told Heinz Stahlhut in an interview. (in: Fetting, Cologne, 2009, p. 204) Then as now, there is no doubt: these paintings are about a powerful attitude towards life, glowing, full of restlessness and energy. And it is about the confession of a painter who draws on painterly traditions in order to reinvent his own present in every picture. For the most part, Rainer Fetting does not recount art historical anecdotes in his paintings, even if Desmond lies not so much on, but rather in a Bassin aux Nymphéas, a water lily pond reminiscent of Claude Monet, and Fetting's theme in this case is painting itself: the immense sensuality of color in a light-flooded energy field of gestural brushstrokes: fast, fierce and yet precise. (MvL) Called up: June 7, 2024 - ca. 15.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 1446
A Late 19th Century American Carved Mahogany, Marquetry and Mother-of-Pearl-Inlaid Two-Seater Sofa, recovered in buttoned green and gold floral fabric, the carved top rail centred by a vacant cartouche flanked by acanthus-carved scrolls, downswept arms and leopard-mask hand grips, the overstuffed seat above a bowfront seat rail, on carved claw feet with recessed castors137cm by 65cm by 107cmNorth Fields, Massachusettsseat height 48cm.some movement in the arm joints but overall structurally sound. front left foot with one claw broken and reglued. some splits to the carved cartouche on the seating rail. The sprung seat supported but fairly weak, has been recovered. Minor loss to the mother-of-pearl inlay.
Lot 1455
A George III Satinwood, Rosewood-Crossbanded and Polychrome-Painted Single-Cane-Seated Three-Seater Sofa, early 19th century, the top rail painted with an urn, acanthus scrolls and flower garlands above a caned back support, sides and seat, the arm supports with painted leaves above spindles-turned arm supports, on tapering forelegs162cm by 63cm by 88cm
Lot 241
LINLEY: A SYCAMORE SOFA TABLEwith inlays of burr ash and Indian ebony stringing, the rectangular top with drop flaps and frieze drawer, above column supports and a quatrefoil base, 155cm wide x 82cm high x 50cm deep, with original watercolour and pencil design folder of correspondence regarding the design, construction and purchase of the table
Lot 109
Matte porcelain figure of a lady in an elegant white dress on a black sofa. This figure was created in the likeness of the etching Le Sofa by Louis Icart (French, 1888-1950). Heirloom Traditions backstamp. Includes wood base 9.75"L x 5.25"W x 0.75"H. Issued: 1984Dimensions: 9.25"L x 4"W x 5.25"HEdition Number: 3830 of 10000 Manufacturer: Heirloom TraditionsCountry of Origin: JapanCondition: Age related wear.
Lot 103
Limited edition black and white print on paper after an original photograph of two handsome nude males ejaculating on a sofa. On lower center of plate: Aries 1982. Includes the original magazine's photograph used as a template on verso. Housed in a black frame with a pearl grey mat. Edition number and signature on lower left: 1/200 Harry (illegible.) Sight size: 10.50"L x 13.50"H. Frame size: 14.50"L x 18.50"H x 1"W. Artwork can be unframed and rolled for shipment. Issued: 1982Dimensions: See DescriptionEdition Number: 1 of 200 Country of Origin: United StatesCondition: Age related wear.
Lot 48
A REGENCY MAHOGANY SOFA TABLE EARLY 19TH CENTURY With a rounded rectangular twin-flap top and drawers and false drawers to both sides on standard end supports with splayed legs and brass caps and castors, one flap slightly bowed, standards, stretcher and two legs replaced 71cm high, 149cm wide, 70cm deep
Lot 3
A MID-VICTORIAN WALNUT SOFA CIRCA 1880 The slightly curved back, scrolled arms and incurved seat upholstered in Turkey-work on ring-turned baluster legs with brown ceramic castors 89cm high, 166cm wide, 86cm deep Condition Report: Rear right castor bent, and slight bent to rear left castor. Fabric torn and damaged, back left arm and back left top rail, upholstery torn back right arm. Front right upholstery torn and worn above leg. Seat torn and perishing. Over all wear marks and stains to back.Condition Report Disclaimer
Lot 64
A HOWARD & SONS DROP-END SOFA EARLY 20TH CENTURY Now upholstered in eau-de-Nil striped covers with two loose cushions on square tapering legs, and Howard & Sons brass castors, leg stamped 'HOWARD & SONS LTD BERNERS ST' and numbered '2915 7891' 68cm high, 163cm wide, 84cm deep Condition Report: Overall in good condition and structurally secure. There are the inevitable minor dents marks and scratches and shrinkage cracks to the legs and some wear and localised staining to the upholstery. The simple ratchetted drop-end mechanism (though with a nice brass hand-pull) appears sound. Legs and joints are secure, Howard & Sons stamp to back left leg. Original brass castors. Condition Report Disclaimer
Lot 332
Two voided crimson velvet and silk çatma panels,Ottoman Bursa or Istanbul, 17th century,Each woven with large offset floral roundels within repeating serrated bulbous medallions, amidst a field of tulips, pomegranates and saz leaves, four large flowers above and below, each containing a circular floral garland with cintimani motif, each 139 x 62.5cm (2) Footnotes:Note: Of the many arts patronised by the Ottoman court, silk textiles represent some of the finest examples. From the 15th century onwards, with the introduction of sericulture (silk production) to Turkey, weaving centres sprang up around Istanbul and the imperial court. ‘Voided’ velvets woven from silk-velvet pile and thread of silver or gold were among the most impressive and sought-after pieces. The velvet pile is ‘voided’, or contrasted, against areas of no pile, in which the precious metal-threads are exposed, producing the much-admired contrast between the metallic sheen of the thread and the rich hue of the velvet.This panel is formed of two cushion covers, or yastik yüzü. In 17th century Bursa, home of the Ottoman silk industry, yastik were usually woven in pairs or in fours. Rarely however, do they survive together as ours do. They would decorate low benches – or sofa – that lined the walls of Ottoman interiors. The walls would themselves probably have been covered with brocade, adding to the atmosphere. Ottaviano Bon, a Venetian living in Istanbul between 1604 and 1607 wrote of the Sultan’s private rooms, ‘The floors…with their sofas…are about half a cubit from the ground…all covered with the richest Persian carpets…and the quilts for sitting on and the cushions to lean against were all of the finest brocades in gold and silk’ (quoted in Jennifer M. Wearden, Turkish Velvet Cushion Covers¸ London, 1986, p.1). This pair of fine Ottoman velvet yastik give an insight into the rich world of the Ottomans that Bon would have encountered on his travels.
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