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Lot 48
NETSUKE EN BOIS REPRÉSENTANT UN TSUKUMO-GAMI ('OBJET POSSÉDÉ')Par Shugetsu, fin du XVIIIe/début du XIXe siècleA WOOD NETSUKE OF A TSUKUMO-GAMI ('POSSESSED OBJECT') By Shugetsu, late 18th/early 19th centuryA grotesque figure emerging from a tarai (wood basin) that still remains stuck to its exaggeratedly large head, standing upright on a pair of stumpy legs, one hand raised to its forehead, the other at its side, its long tongue curling out of its gaping mouth up towards its nose, one eye inlaid in horn, the other a large glass orb; signed on the reverse Shugetsu. 5.2cm (2in) high.Footnotes:木彫根付 付喪神 銘「舟月」 18世紀後期/19世紀前期Provenance:W. Guest Collection, no.1182.Claude Watney Collection.M. T. Hindson Collection.Sold at Sotheby's, London, 26 June 1967, lot 44.Emile Veranneman Collection.Purchased from Eskenazi, London, July 1998.Published:Eskenazi, PEC, p.34, no.27.Hurtig, MNA, p. 191, no.797.Davey, MTH, p.101, no.283.INSJ, vol.19, no.1, p.24, no.10.Exhibited and Published:Bandini, IAN, p.87, no.173.For a somewhat similar example from the Joseph and Elena Kurstin Collection, see H. Joly, WLB, pl.VIII, no.384, and Eskenazi, Carré, p.96, no.96. This example was sold at Bonhams, New York, 16 December 2022, lot 30.This is an example of a tsukumo-gami, an everyday household object—such as a lantern or, here, a basin—that takes on its own malign kami (spirit or numen) if neglected for more than 99 years. Reflecting the 'make do and mend' recycling spirit of the Edo period (1615-1868), tsukumo-gami served as a warning against unnecessary consumption, but could be pacified if the object was carefully and respectfully discarded before it reached its hundredth year.For further information on this lot please visit Bonhams.com
Lot 49
A collection of five various spirit barrels including two black and white and gold "S.Whisky" and "Rum" 27 cm high another white glazed with red lining decoration inscribed "P.Brandy" 33 cm high, a green, white and gilt decorated example inscribed "Brandy" with brass tap 27 cm high and a transfer decorated pottery example with kingfisher amongst flowers decoration inscribed "I.Whisky" 27.5 cm high together with a Bass & Co's Pale Ale "Bicentenary Ale" for the anniversary 1777-1977 in original box
Lot 401
Canadian First Nation Owl mask, designed, hand carved from cedar wood and hand painted by Bill Henderson Kwakwaka'wakw master carver and a member of the Wei Wai Kum First Nation in Campbell River, BC, decorated with cedar bark fringe, approx 36cm tall, 27cm wide and 30cm deep, marked inside with '2006 owl carved by Bill henderson'The owl is associated with the souls of ancestors. The Native Owl Symbol represents a bird of wisdom, intuition, magic and prophecy. Owls are often seen as messengers. Some First Nations believed that the sound of the Owl was a call to summon the spirit world.
Lot 336
Robertson (Martin). Greek, Etruscan and Roman Vases in the Lady Lever Art Gallery, Port Sunlight [Liverpool Monographs in Archaeology and Oriental Studies], 1st edition, Liverpool: University Press, 1987, monochrome illustrations, original cloth in dust jacket, covers slightly rubbed with to the heads of the front & rear covers, folio, together with:Stewart (Andrew), Greek Sculpture, 2 volumes, 1st edition, New Haven: Yale University Press, 1990, numerous monochrome illustrations, original cloth in dust jackets & slipcase, large 8vo, plusBahat (Dan), Jerusalem Stone and Spirit, 300 years of history and art, New York:Matan Arts, 1997, numerous colour & monochrome illustrations, original cloth in dust jacket & slipcase, folio, and other modern Classical art & architecture reference & related, G/VG, 8vo/folioQTY: (6 shelves)
Lot 841
Churchill (Clementine). Tolstoi (Leo). War and Peace, London: Macmillan & Co, 1942, inscribed by Churchill to half-title, fore-edge spotted, original red cloth gilt, 8vo, contained in custom red quarter morocco clamshell box, lettered in gilt to spineQTY: (1)NOTE:The inscription reads 'This immortal work recalls memories of Russia more than a hundred years ago, & the spirit of the Russian People at that time - These are both alive to-day'.During the Second World War, Clementine Churchill chaired the Red Cross Aid to Russia fund, launched when Germany invaded Russia in June 1941. The fund raised nearly £8,000,000, providing medical supplies and clothing to the Soviet Red Cross.
Lot 156
A Victorian scrapbook, circa 1880, the cover showing early depictions of Father Christmas in red, containing Lincrusta, Valentines, Calling Cards and other items, 29 x 35cms.Note: The tradition of Father Christmas wearing red began in the 1870s with the American cartoonist Thomas Nast, who introduced the red suit and cap, white fur lining and buckled black belt. Nast produced numerous drawings of Santa for Harper’s Weekly over a period of more than 20 years and, having first portrayed him in the Stars and Stripes (Nast was a passionate supporter of the Union side in the American civil war) and in green, eventually achieved a representation of the Santa we know that owed much in spirit to “The Night Before Christmas”. His 1881 image of Santa quickly became something akin to an official portrait.
Lot 108
Lot of 14 ORIGINAL RUSS GIBB POSTCARDS FROM THE LATE 1960S - BY RUSS GIBB. All in excellent condition. Steve Miller Blues Band / Paupers / Byrds and Canned Heat / Youngbloods vg / Blood Sweat Tears / Fugs with Sly and Family Stone / MC5 Concert / Frost Children / Beacon Street Union MC5 / Big Brother Holding Company ( damaged on back ) / Spirit Fever Tree / Butterfield Blues Band / Blue Cheer and Wayne Cochran.Postcards are mostly printed on the reverse .Grande Ballroom, 8952 Grand River Ave, Detroit, Michigan, 48204. Telephone ( 313 ) 834-9348. Please see photos most are approx 18 x 11 cm please see photos.Russel James Gibb (June 15, 1931[1] – April 30, 2019) was an American rock concert promoter, school teacher and disc jockey from Dearborn, Michigan, best known for his role in the "Paul is dead" phenomenon, a story he broke on radio station WKNR-FM in Dearborn,[2] and as the owner of the Grande Ballroom, a major rock music venue in Detroit
Lot 115
Lot of 30 x Original late 1960s Original Russ Gibb Postcards. ( Handbills / Flyers ) All orignal in fair condition - Most of these cards have either some staining small tears or light creasing. ( Please see photos ) 5 of each Card, Grand Ballroom Show, approx sizes 22cm x 13 cm. 5 x Frost 19.5 x 11.5 cm 5 x MC5 18.5 x 10.5cm Big Brother Holding Company 18.5 x 10.5 cm, Wayne Cochran 19 x 11 cm and Spirit 11 x 18 cm.Postcards some printed on the reverse .Grande Ballroom, 8952 Grand River Ave, Detroit, Michigan, 48204. Telephone ( 313 ) 834-9348. Please see photos. Russel James Gibb (June 15, 1931[1] – April 30, 2019) was an American rock concert promoter, school teacher and disc jockey from Dearborn, Michigan, best known for his role in the "Paul is dead" phenomenon, a story he broke on radio station WKNR-FM in Dearborn,[2] and as the owner of the Grande Ballroom, a major rock music venue in Detroit
Lot 330
An early 20th century Greatrex Ltd plated and red leather bound novelty spirit flask in the form of a book, the spine detailed in gilt 'A Pleasant Surprise' above 'Dixon', one corner rotating to reveal a spout, height 18.9cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 269
An 18ct white gold and diamond ‘Juste un Clou’ bangle by Cartier, designed as a hinged wraparound nail, accented by round brilliant-cut diamonds to the head and tip, signed ‘Cartier 750 16 © AHA461’, total diamond weight approximately 0.54 carats, inner diameter 51mm. £3,000-£4,000 --- JUSTE UN CLOU COLLECTION The Juste un Clou Collection was designed in 1971 by Aldo Cipullo (1935-1984), a young Italian goldsmith who had emigrated from Naples to New York. After working at Tiffany & Co., and David Webb, he joined Cartier in 1969. New York in the 1960s and 70s was home to a spirit of revolution and Cartier was adapting their new designs to reflect this. Before creating the nail inspired bracelet, Cipullo had found major success with his Love bracelet, still instantly recognisable. Using his love of nuts, bolts and screws, Cipullo created his Juste un Clou (translating as ‘just a nail’), creating a minimalist and androgynous design, which quickly became a key piece in the Cartier collection, establishing Cartier as a ‘modern’ jewellery house. Condition Report In overall good condition, light surface wear only, gross weight 32.6gm.
Lot 211
A collection of vintage 20th century cameras. The lot to include a Samsung WB100, Vivitar Vivicam 4345, Kodak Brownie 44a & Flasholder 4, Pentax Zoom 70X, Polaroid Spirit 600, Kodak Jr SIX-20, AGFA Isoly, Kodak Brownie, Halina Telewide (all boxed or cased), along with wo pairs of binoculars by Greenkat & Scheffel.
Lot 1004
A late Victorian/Edwardian silver six piece Cape pattern tea and coffee service, comprising teapot, coffee pot, spirit kettle, hot water pot, milk jug and sugar basin, each part-fluted, with beaded borders and chased with a band of crisp acanthus, the kettle 35cm high overall, Goldsmiths & Silversmiths Company Ltd, London 1900, 1902 & 1903, the water pot Martin, Hall & Co, Sheffield 1901
Lot 74
AN IMPORTANT AND RARE LARGE WOOD FIGURE OF A DAOIST DEITYSong (960-1279)Seated facing forward, with her head slightly leaning to the left side, her feet firmly on the ground, hands clasped but hidden in the long sleeves of her robe, wearing a tunic with a stiff inner collar under a feather-bordered short cape, her layered robe falling in ample folds over her arms and cascading over her legs and feet, revealing the tips of her pointed shoes, tied around the chest with a belt and around her upper arms with wide bejewelled armbands, a necklace around her neck, the full oval face with a small cusped mouth and nose, with small slanted eyes below arched brows, framed by large pendulous earlobes, her hair neatly braided and drawn up into a tall chignon framed by an elaborate diadem/headdress consisting of rows of overlapping feathers or leaves, the back of the figure with a large rectangular opening, extensive traces of red, green, white and gold pigments, wood stand.111cm (43 3/4in) high. (2).Footnotes 宋 木雕彩繪道教神仙坐像Provenance:Property of a distinguished German private collector, acquired in Berlin in the 1950s, thence in the family by descentThe result of Ciram Radiocarbon Dating test no. 0423-OA-416R (P1 and P2) (4 May 2023) is consistent with the dating of this lot.來源:德國私人收藏，1950年代於柏林獲得，並由後人保存迄今法國Ciram實驗室碳-14結果，測試編號0423-OA-416R(樣本P1和P2，2023年5月4日）顯示本拍品年份斷代相符This charming figure is as intriguing as it is rare. It was acquired in Berlin in the 1950s and was reputedly dated to the Liao dynasty (901-1125). The results of a recent carbon-14 test have secured a more firm dating to the 11th/early 12th century. Conforming with the high-fashion style popular during the Liao and Song dynasties, the lady is dressed wearing the sumptuous trappings of a gentle woman. Her robe is ample and colourful, the many layers of her dress, tunic and shawl generously draped across her shoulders, arms, and legs, enveloping the body, and gathering around her feet. The outer garment shows traces of painted flower sprays, her tunic and collar a vibrant red colour, the robe over her legs a muted green.Representations of similarly clad elegant ladies feature prominently in murals adorning the walls of important tombs and temples of the Five Dynasties (907-960), Liao (907-1125) and Song (960-1125) periods. Compare, for example, the groups of ladies wearing the same style of collared tunic over long robes tied with colourful sashes on the sides, discovered on the walls of a Liao tomb in Baoshan, Inner Mongolia, illustrated in Wu Hong and Lin Qingquan, Baoshan Liao mu: cailiao yu keshi, Beijing, 2013, p.196, figs.59-61. Similarly, the largest tomb of the Zhang family compound unearthed in Baisha, Henan, illustrates the ladies of the house engaged in various activities, dressed in colourful robes that resemble that of the current seated figure, see Su Bai, Baisha Song mu, Beijing, 1957, col.pl.17.One feature that sets this figure apart from the elegant ladies immortalized in murals of the Liao and Song period, is the precious jewellery she displays. It comprises a large necklace suspending circular beads and earrings which are now lost. Her elaborate headdress which bears extensive traces of gold resembles a crown and is supported on a wide band set with prominent foliate-shaped ornaments repeated on the armbands that fasten her sleeves. It is the very distinctive jewellery of this figure that allows us to attribute it more firmly to the Northern Song dynasty. Foliate-shaped ornaments made in silver very much like those on her headdress and armbands were found in a silver hoard in Yongjia, Zhejiang province, published in Yang Zhishui, Shehua zhise: Song Yuan Ming jin yin yanjiu, vol. 1 Song Yuan jin yin shoushi, Beijing, 2011, pp.39-40, fig.1-10. A similar motif also appears on a band-shaped hairpin from the same hoard, ibid., p.51, figs.1-15:1 and 2. Moreover, the large cloud-shaped plaque around her neck closely resembles a silver ornamental plaque of the same shape discovered in another Northern Song silver hoard unearthed in Xingzi Xian, Jiangxi, ibid., pp.180-183, fig.1-55:1.The inspiration behind her very special jewellery may lie in Buddhist sculptures and paintings of the same period. Like this figure of a gentle lady, Bodhisattvas were similarly adorned with bejewelled necklaces, armbands and crowns, reflecting their elevated status and noble origins. Compare, for example, the manifold representations of bodhisattvas featured on the walls of the Daxiongbaodian Hall in Kaihua Monastery, built between 1076 and 1096, near Taiyuan, Shanxi, each dressed in a dazzling array of jewellery, see Kaihua si Song dai bihua, Beijing, 1983, col.pls.2 and 3.Tombs and temples of the Liao and Song provide us with more visual clues as to who this seated figure might be. Among the myriad of female figures that appear on the walls of important tombs and temples of the tenth to 13th centuries, a small group of female figures stands out. Painted on the wall of an interior chamber in the Liao tomb in Baoshan, Inner Mongolia, is a small figure of a lady descending on a cloud, see Wu Hung and Lin Qingquan, op.cit., p.179, figs.31 and 32. Wearing a similar style of dress in vibrant red with blue borders and adorned with jewellery highlighted in gold, she is wearing a short feathered cape and feather-like sleeves or scarves. Holding a peach in her right hand she is identified as Xiwangmu, the Queen Mother of the West in an inscribed cartouche above her. Like the present wood figure of a seated lady, the Queen Mother of the West is depicted as an aristocratic lady in a manner standardised from the Tang dynasty onward, see Suzanne Cahill, Transcendence and Divine Passion. The Queen Mother of the West in Medieval China, Stanford, 1983, pp.82 and 83.During the Liao and Song, Daoism flourished alongside Buddhism. Numerous Daoist temples and shrines were built where worshippers could congregate and worship. It is a Daoist temple in Northern China that may resolve the puzzle that this figure poses. Located in the centre of the Jinci Temple near Taiyuan in Shanxi province is a large building known as the Sage Mother Hall (shengmu dian). It is dedicated to Shengmu, the Sage Mother, originally a water spirit which was later revered as the Sage mother and first queen of the Zhou dynasty. A large polychrome stucco figure of the seated Sage Mother occupies a central position. She is seated and faces ahead. Her robes are ample, tied high under her chest, she is wearing a bejewelled necklace and an elaborate crown. The forty-three figures of maids that are gathered around her are similarly dressed though without the jewellery. The Shengmu Hall was built between 1023 and 1032 during the Tiansheng reign and may have been sponsored by the Dowager Empress Liu. The dating corresponds loosely with the making of the present figure.The Sage Mother image further corresponds with the image of the Queen Mother of the West represented in the slightly later mural of the Heavenly Court in the Yongle Gong (Palace of Eternal Joy) in southern Shanxi, dated 1325, the most important Daoist temple built in the Jin/Yuan period. Here, in the Hall of Three Purities (Sanqing dian, the largest and most important hall of complex, the Queen Mother of the West is depicted in the same seated position as the Sage Mother, wearing an elegant robe, fluttering scarves, bejewelled necklaces and an elaborate crown.For further information on this lot please visit Bonhams.com
Lot 119
RÉCIPIENT À LIBATION EN FORME DE BHAIRAVA EN TERRE CUITE POLYCHROMENÉPAL, XVE SIÈCLE Himalayan Art Resources item no. 4719 59 cm (23 1/4 in.) highFootnotes:A POLYCHROMED TERRACOTTA BHAIRAVA LIBATION VESSEL NEPAL, 15TH CENTURY尼泊爾 十五世紀 泥塑彩繪陪臚酒器During the beloved Indrajatra and Pachali Bhairabjatra festivals that take place every September in the Kathmandu Valley, libation vessels in the form of Bhairava are often displayed in front of temples and private dwellings. Such vessels typically take the form of a Bhairava mask, made of either wood or copper alloy, and a round earthen pot positioned behind the mask. The pot is filled with beer or rice wine and a bamboo pipe protruding through Bhairava's mouth to distribute the drink, an act regarded as prasad, a divine gift, to devotees as a blessing from the god. Occasionally, the pot itself is shaped into the face of Bhairava and painted in various colors, which the present lot exemplifies. Such Bhairava-shaped terracotta vessels retaining their polychrome decorations are extremely rare. The only direct comparison from the period can be found in the Los Angeles County Museum of Art (M.88.224.1). For other related wood Bhairava masks, see Bonhams, New York, 19 March 2012, lot 1094, and 13 September 2011, lot 1008. Also compare with a larger mask published in Nies, Spirit of Compassion, 1995, pp. 28-9.Provenance:Private European CollectionFor further information on this lot please visit Bonhams.com
Lot 142
12 BOTTLES GINWallhouse Gin "Wally"; Cheshire Botanicals Nantwich; Anholt Gin Kattegat (50cl); Mikrogorzelnia 2 x Z Polskich Botoników (50cl); Favignana Wild Botanicals; Electric Spirit Co Achroous; Sears Imperial No8; The Only Way Is Gin Small Batch Dry; Kakuzo Organic; Bodega 1888 Insulæ Sicilian; Crafty Distillery Hills + Harbour
Lot 149
12 BOTTLES WHISKEYSagamore Spirit Rye; Rossville Union Straight Rye; Bradshaw Kentucky Straight; Heaven's Door Straight Rye and Double Barrel; Bowman Brothers Virginia Straight; Thomas S Moore Kentucky Straight; Bowsaw Small Batch Kentucky; 1792 Small Batch Kentucky and Full Proof Kentucky; Cooper Works Single Malt; Keepr's Honey Infused
Lot 139
12 BOTTLES RUMCarpanini's Emporium Organic; Glashtyn Spiced Manx; The Custom Spirit Co 114 Proof Spiced and Special Breakfast Spiced; Takamaka Dark Spiced; Hidden Loot Dark Reserve; Twiced Buried Rum Co Spiced Botanical; Suncamino Floral; Trash + Treasure Spiced Botanical; Chic Choc Noir Black Spiced; Diablo Spiced; 8 Rivers Spiced
Lot 443
THREE BOXES AND LOOSE CERAMICS, GLASS AND SUNDRY ITEMS, to include a boxed Waterford Crystal 'Overture' 5'' oval bowl, a Waterford clock (sd), a Royal Albert Old Country Roses bud vase height 14.5cm, a blue Dartington Crystal vase, two table lamps, a modern jardiniere and tray, a pink and white Caithness Moon Crystal paperweight, a boxed spirit flask, etc (3 boxes + loose) (sd)
Lot 418
ONE BOX OF METALWARE AND SUNDRIES, to include a blue Harrods coffee grinder, a silverplate purse, two Marple & Sons Ltd brass spirit levels, a brass 'Autoram' grease gun, two small photo frames, a leather cased real amber cigarette/cheroot holder, a J. Hudson & Co. military whistle with leather strap- patent 1900, four large brass bolts, a Victorian leather covered matchbox, etc. (s.d) (1 box)
Lot 651
Ca. 400-500 AD. A bronze ring boasting a broad, flat-sectioned hoop with pairs of incised crosses on its shoulders. The hoop expands to form a bezel that is meticulously adorned with a pentagram and surrounded by sets of dots enclosed within a rounded incised border. In the ancient world, rings held a special significance beyond their function as mere adornments. They were often used to convey messages of power, status, and allegiance. Symbolic rings like this one served as talismans imbued with hidden meanings, decipherable only to those with the knowledge and insight to comprehend them. The pentagram is a particularly powerful and enduring symbol, even to this day. In ancient times, it was regarded as a symbol of mystical significance, representing the union of the divine and the earthly realms. In the context of Roman beliefs, the pentagram was associated with the five elements of earth, air, fire, water, and spirit, and was believed to possess protective and transformative powers. Size: D: 18.34mm / US: 8 1/4 / UK: Q ; 4.47g Provenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.
Lot 344
Ca. 1368-1644 AD or later . A glazed terracotta mingqi depicting a standing attendant on a tiered, integral base. He is portrayed in a noble and dignified manner, with an upright posture and an expression of calm composure. The gentle contours of the figure's face, including the high cheekbones, a prominent nose, and small lips, are carefully crafted with fine details such as the almond-shaped eyes, and the delicately arched eyebrows. The figure is dressed in a long, flowing navy-glazed robe with contrasting accents on the sides, which are painted in red. The robe is tied with a sash of pale blue color, which enhances the elegance of the ensemble. The figure's both hands are clenched. Mingqi, or "spirit objects," were created to be buried with the deceased and were believed to accompany the soul into the afterlife. These objects were often crafted with great attention to detail and were intended to represent the various aspects of life that would be important in the afterworld. Cf. Christie's Live Auction 5564, Asian Art, 15 September 2005, Lot 407.Size: L:190mm / W:50mm ; 260gProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 643
Ca. 300 AD. A carnelian intaglio with captivating beauty features a mesmerizing mermaid in a full sea with calm, accentuated waves. Above three eight-pointed stars. The mermaid, with arms outstretched and facing right, is adorned with a stunning radiating headpiece. The mermaid, a mythical creature of the sea, is a symbol of freedom, grace, and beauty, and embodies the spirit of exploration and adventure. Intaglios were small, intricate carvings made from precious gemstones, such as carnelian, and were often used as seals or amulets. They were highly prized for their exquisite designs and intricate symbolism, which often depicted mythological figures, animals, or scenes from daily life.Size: L:13.4mm / W:15mm ; 0.9gProvenance: Private London collection, UK art market before 2000.
Lot 635
Karl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Auffliegender Graureiher am Havelufer. Um 1892. Öl auf Leinwand. Warmt G 278. Links unten signiert. Verso auf dem Keilrahmen mit altem fragmentiertem Etikett sowie verschiedentlich handschriftlich nummeriert. 75 x 120 cm (29,5 x 47,2 in). PROVENIENZ: Privatsammlung Norddeutschland. 'Wenn ich in die Natur hinausgehe, und es sei auch an eine Stelle, die ich ganz genau kenne, so bin ich gar nicht imstande, mich sofort hinzusetzen und zu malen. Ich muss vielmehr immer erst längere Zeit still die Umgebung auf mich wirken lassen und mich ganz mit der Stimmung durchsättigen, die aus der gegenwärtigen atmosphärischen Verfassung sich um mich ausbreitet. Wenn ich dann den Grundton eingesogen habe, so bringe ich ihn als beherrschenden Farbakkord auf die Leinwand.“ Karl Hagemeister, über seine Gemälde, zit. nach: Hendrikje Warmt, Karl Hagemeister, Berlin 2016, S. 29 Aufrufzeit: 10.06.2023 - ca. 18.16 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Auffliegender Graureiher am Havelufer. Um 1892. Oil on canvas. Warmt G 278. Lower left signed. With old, fragmentarily preserved labels on the reverse, as well as with different hand-written numbers. 75 x 120 cm (29.5 x 47.2 in). PROVENANCE: Private collection Northern Germany. 'When I go out into nature, even if it's to a place that I know very well, I'm not able to sit down and paint right away. I always have to let the surroundings sink in quietly for a long time and saturate myself with the spirit I get from the surroundings. Then, having absorbed the keynote, I bring it to the canvas as a dominant color chord.' Karl Hagemeister, about his paintings, quoted from: Hendrikje Warmt, Karl Hagemeister, Berlin 2016, p. 29 Called up: June 10, 2023 - ca. 18.16 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Lot 645
Philipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Öl auf Malpappe. Hofkamp PK009. Rechts oben signiert und datiert. Verso mit div. alten Etiketten, handschriftlich und typografisch nummeriert und bezeichnet. 60 x 45 cm (23,6 x 17,7 in). PROVENIENZ: Nachlass des Künstlers. Privatsammlung Süddeutschland (seit 1979 in Familienbesitz. AUSSTELLUNG: Leipziger Kunstverein (verso mit dem fragmentarischen Etikett). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, 15.4.-7.5.1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, März-April 1909, Nr. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Köln 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, Nr. 2. LITERATUR: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, 1.11.1912, Nr. 13 [?]. Philipp Klein gehört zu den Künstlern impressionistischer Prägung, die am Ende des 19. Jahrhunderts für Aufbruchsstimmung im deutschen Kunstbetrieb sorgen. 1892 kommt Klein in die Kunststadt München und beginnt zunächst autodidaktisch zu malen, genährt durch den Austausch mit Künstlerkollegen wie Max Slevogt und Lovis Corinth. Als Privatschüler von Josef Wopfner hält er sich mit diesem am Chiemsee und im Voralpenland auf, reist in die Künstlerkolonien nach Dachau und Worpswede. Interessiert an vom akademischen Ausbildungs- und Ausstellungssystem unabhängigen Kunstschaffen orientiert er sich an der Künstlergruppe 'Die Scholle' um Leo Putz. Wie Putz ist auch Klein an dem Motiv der Frau in der Landschaft fasziniert und erreicht mit solchen Sujets erste Erfolge auf den Münchner und Berliner Jahresausstellungen. 1903 begibt auch er sich nach Berlin wo er sich an den Ausstellungen der Secession beteiligt. In der für die Etablierung der Moderne so zentralen Galerie Paul Cassirers ist er eine feste Größe im Programm. Seine verheißungsvolle Karriere wird durch seinen frühen Tod im Frühjahr 1907 jedoch jäh beendet. Charakteristisch für seine Gemälde ist der frei-bewegte Duktus sowie die pastellene, hellfarbige Palette, die besonders den Frauendarstellungen ihre zarte Sinnlichkeit verleiht. Gerade aufgrund der breiten Strichführung ergibt sich eine volumenhafte Plastizität, die sich auch im oftmals pastosen Farbauftrag widerspiegelt. Der nonchalante Charakter in der Ausführung, zwischen spontaner, freier Studie eines Modells im Atelier des Künstlers, die in ihrer scheinbaren Unfertigkeit dennoch als Gemälde überzeugt, macht hier den besonderen Reiz aus. [KT] Aufrufzeit: 10.06.2023 - ca. 18.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPhilipp Klein 1871 Mannheim - 1907 Hornegg/Neckar Aktstudie I. 1907. Oil on cardboard. Hofkamp PK009. Signed and dated in upper right. With several old labels with hand-written and typographic numbers and inscriptions on the reverse. 60 x 45 cm (23.6 x 17.7 in). PROVENANCE: From the artist's estate. Private collectino Southern Germany (family-owned since 1979). EXHIBITION: Leipziger Kunstverein (with a fragmentarily preserved label on the reverse). Kollektionen Ulrich Hübner, Philipp Klein, Emil Potter, Emil Rudolf Weiss, Kunstsalon Paul Cassirer, Berlin, April 15 - May 7, 1908. Nachlass-Ausstellung Philipp Klein, Mannheimer Kunstverein, Mannheim, March - April 1909, no. 3. Nachlass-Ausstellung Philipp Klein, Kölnischer Kunstverein, Cologne 1909. Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, Kunsthalle P.H. Beyer & Sohn, Leipzig, Nov. 1912, no. 2. LITERATURE: Katalog der Versteigerung einer Sammlung moderner Ölgemälde, Aquarelle, Handzeichnungen und Holzskulpturen erster Meister: darunter der künstlerische Nachlaß von Philipp Klein-München, P. H. Beyer & Sohn, Leipzig, November 1, 1912, no. 13 [?]. Philipp Klein is one of the artists with an impressionist influence who created a spirit of optimism in the German art world at the end of the 19th century. In 1892, Klein came to Munich, the then German art capital, and began to paint as an autodidact, nurtured by exchanges with artist colleagues such as Max Slevogt and Lovis Corinth. As a private student of Josef Wopfner, he stayed with him at Lake Chiemsee and in the foothills of the Alps, and also traveled to the artist colonies in Dachau and Worpswede. Interested in creating an art that was independent from the academic training and the exhibition system, he found a home with the artist group 'Die Scholle' around Leo Putz. Like Putz, Klein was also fascinated by the motif of the woman in the landscape and achieved initial success with such subjects at the annual exhibitions in Munich and Berlin. In 1903, he also went to Berlin, where he took part in the Secession’s exhibitions. He was a regular in the program of Galerie Paul Cassirer, which was so important for the development of modern art in Germany. However, his promising career came to an abrupt end when he died early in 1907. Characteristic of his paintings is the freely moving style and the pastel, light-colored palette, which gives the depictions of women their delicate sensuality. Precisely because of the broad strokes, there is a voluminous plasticity, which is also reflected in the often impasto application of paint. The casual execution makes for the special appeal of the present work. [KT] Called up: June 10, 2023 - ca. 18.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
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