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Lot 12
MAURICE FEILD (1905-1988). An interior scene with seated woman, studio stamp verso, pastel on paper, framed and glazed, 26 x 29 cm, together with a beach scene with two figures, studio stamp verso, framed and glazed, 12 x 12 cm and an interior scene with figures, studio stamp verso, oil on paper, framed and glazed, 9 x 9 cm (3)
Lot 24
LAURENCE STEPHEN LOWRY RA (1887-1976). 'Britain At Play', signed L S Lowry lower right in pencil, coloured reproduction with Fine Art Trade Guild blind stamp, 47 x 60.5 cm, un-glazed, original handwritten receipt form 1979 £200Condition Report:Possibly a little faded but no obvious damage, minor spots of damp evident.
Lot 763
John Maltby (British, 1936 -2020), a stoneware figurative sculpture, early to mid-1990s, painted maker's mark underneath with the title 'Sight seeing (Rievaulx)', 'M' Maltby stamp towards the front of the piece. 25 by 35cm. Provenance: Round House Gallery, Foston, Derbyshire. Note: Artist Resale Rights apply
Lot 311
Lionel Louis Edwards (British, 1874-1954), 'Epsom Races', signed and blind stamp l.l., colour print published by Rowland Ward, 1951, 24 by 38cm, with 'Warren Hill, Newmarket', 'The Two-Year-Old' and 'The Ditch, Newmarket', a set of three, signed l.l., colour prints, 24 by 40cm, all framed (4)
Lot 790
A set of eight Minton dessert plates, circa 1877, circular form decorated with a monogram to a sage green ground, within reticulated chain link borders and relief moulded flowers, heightened in gilt, impressed marks and bearing pink retailers stamp for John Mortlock, London, together with a matching strawberry dish (9)
Lot 439
George Grosz, eigentlich „Georg Ehrenfried Groß“, 1893 Berlin – 1959 ebendaHOMMAGE À RENOIR, 1938Öl auf Leinwand.66,1 x 51,2 cm.Rechts unten mit Pinsel in Rot signiert „Grosz“, verso mit dem Nachlaßstempel versehen und numeriert I-A5-7.Beigegeben eine Expertise von Ralph Jentsch, 20.2.2018, in Kopie.„Meine Welt ist vornehmend eine düstere, a haunted one, wie sie hier über mich sagten – aber hie und da (welche Spaltung) gibt es auch Gegenden ohne Furcht, Schmerz und Krieg, Gegenden, wo Nymphen leben und eine eigene Sinnlichkeit.“ (George Grosz, 1946, Brief an Elisabeth Lindner). Ab 1937 wandte Grosz sich vermehrt der Aktmalerei zu und ließ sich von den Werken der Alten Meister inspirieren. Für fast alle Akte stand ihm seine Frau Eva Modell, von deren sinnlichem Körper er behext und fasziniert war. Als Pendant zu Hommage à Renoir malte er 1938 auch eine Hommage à Rubens.Grosz‘ stehender Rückenakt ist in einem Harem-ähnlichen Interieur dargestellt. „Festzuhalten bleibt, dass die Rückenfiguren zu den besten Werken dieses Themas zählen.“ (Birgit Möckel, George Grosz in Amerika, Frankfurt u.a. 1997, S. 132). Mit Beginn des Jahres 1937 wendet Grosz sich wieder in größerem Umfang der Aktmalerei zu. Bereits in den Berliner Jahren hatte ihm seine Frau Eva Modell gestanden. Wie prägend ihre weibliche Erscheinung für seine künstlerische Arbeit wurde, beschreibt der befreundete Schriftsteller Walter Mehring u.a. so: „Wo immer (Grosz) die weibliche Figur in ihrer üppigen Vollendung anbringen wollte, in seinen Aktstudien der Rubens- und Bouchermanier, erschien ihm leibhaftig Eva. Kaum ein anderer Künstler hat so monoman, so behext eine Geliebte, die eigene Frau bis zur Erschöpfung in allen ersinnlichen Stellungen abgezeichnet, nach der Natur entblößt und an die Leinwand gemalt“. Ebenfalls 1938 malte Grosz einen Doppelakt, den er „Hommage to Rubens“ betitelte. Grosz verehrte Breughel, Bosch, Courbet und nicht zuletzt Renoir. In einem 1946 verfassten Brief an Elisabeth Lindner, eine Tante seiner Frau, beschreibt er die doppelte Natur seiner Aktmalerei: „Malte auch die andere Seite. Viele Akte - die Frau ist für mich Leben, Zukunft, Trägerin des Kommenden. Sie stelle ich positiv dar – obwohl oft in von Winden (Gedanken und Melodien) bewegter Szenerie. Renoir hat niemals die Vision gehabt von einer Frau, eine seiner so schön gemalten Akte, angebrannt, zerschunden oder zerstört. Man kann solcherlei Gabe bewundern. Ich meine die Gabe, die einer besitzt, seine bukolisch-arkadische Welt zu beschwören – ich habe diese so wunderbare Gabe nur halb – meine Welt ist vornehmend eine düstere, a haunted one, wie sie hier über mich sagten – aber hie und da (welche Spaltung) gibt es auch Gegenden ohne Furcht, Schmerz, und Krieg, Gegenden, wo Nymphen leben und eine eigene Sinnlichkeit“.Provenienz:Atelier des Künstlers, Douglaston, Long Island, 1938.Nachlass George Grosz, 1959.Sheldon Ross Gallery, Birmingham, MI.Privatsammlung, New York.Ausstellung:Northport, Long Island, Vera Lazuk Country Life Art Center, George Grosz. Nudes, 1.-29.6.1958, Kat.-Nr. 1.Berlin, Kunsthandel Jörg Maas, George Grosz. Arbeiten aus fünf Jahrzehnten, Kat.-Nr. 24, Farbabb. (1381763) (10)George Grosz, also know as „Georg Ehrenfried Groß“, 1893 Berlin – 1959 ibid.HOMMAGE À RENOIR, 1938Oil on canvas.66.1 x 51.2 cm.Signed lower right: Grosz, verso stamp of the artist’s estate and numbered I-A5-7Accompanied by an expert’s report by Ralph Jentsch, dated 20 February 2018, in copy.Provenance:From the artist’s studio, Douglaston, Long Island, 1938.Estate of George Grosz, 1959.Sheldon Ross Gallery, Birmingham, MI.Private collection, New York.Exhibition:Northport, Long Island, Vera Lazuk Country Life Art Center, George Grosz. Nudes, 1st - 29th June 1958, cat. No. 1.Berlin, Kunsthandel Jörg Maas, George Grosz. Arbeiten aus fünf Jahrzehnten, cat. no. 24, illustated in colour.
Lot 4014
Anschütz, Ottomar -- Selected animal studies (taxidermy models). 1885-89. 8 albumen prints. Each circa 14,5 x 20,5 cm. Each with photographer's name, date and location in the negative lower right. Each mounted to board, number label and number in red pencil in upper corner as well as annotated in pencil in lower edge of mount.Ottomar Anschütz made significant contributions to the realms of early motion picture and high-speed photography, gaining renown for his expertise in capturing swift move- ments of both animals and humans. Among his notable works, the eight photographs in this series depict taxidermied ani- mals within carefully arranged settings, including painted backgrounds and various props, closely simulating their natural habitats. – A few minimal surface scuff marks/slight surface soiling, otherwise in very good condition. – With: Ottomar Anschütz. Calvary horse with rider. 1883. Albumen print. 15 x 20 cm. Photographer's blindstamp with year in lower right; photographer's stamp on the verso. - Some staining in upper edge, some creases in upper left corner.Lit.: Ilustrirte Zeitung, Leipzig No. 2365, vol. 91, 27.10.1888, p. 425 (4 illustrated).Provenance: Robert Lebeck Collection
Lot 4018
Baldus, Edouard-Denis -- Notre Dame, Paris. 1860s. Albumen print. 21,5 x 28,4 cm. Mounted to original board (some light foxing spots and light traces of use), photographer's signature stamp in lower right on the mount, hinge-mounted along upper edge to window mat.A few small spots in sky area, otherwise a strong print and in very good condition. Provenance: Uta and Wilfried Wiegand Collection
![[*] Matsuchi, Nakajima -- Japanese bronze vases with and flower and plant arrangements. Circa 1890. 34 albumen prints, each m](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/b75f273e-6c9e-4a4c-b477-b0b600b5bd76/468x382.jpg)
Lot 4048
[*] Matsuchi, Nakajima -- Japanese bronze vases with and flower and plant arrangements. Circa 1890. 34 albumen prints, each mounted to board in clamshell box. Each ca. 25 x 20,3 cm (34,3 x 27,4 cm). Most with photographer's studio stamp on mount verso. The Japanese photographer Nakajima Matsuchi, renowned during the 1880s-1890s, was a founding member of the Nihon Shashin Kyokai (Japanese Photographic Society) in 1889. His exquisitely hand-colored lantern slides, created in collaboration with his wife, Sonoko, received numerous accolades, including recognition at the Japanese National Exhibitions of 1877 and 1881. Although Nakajima worked with various photographic formats, including stereographs, cartes de visites, and cabinet-sized photographs, his large-format work remains particularly rare. – Some buckling and foxing on mounts, some slight fading along edges of prints, otherwise in very good condition. Lit.: Terry Bennett. Photography in Japan 1853-1912. North Clarendon, Vermont. 2006. see pp. 182-184.
Lot 4085
Architecture & Design -- Photographer: Wilhelm Niemann (1891-1981). International World's Fair Barcelona, Pavilion of the German Electrical Industry, designed by Ludwig Mies van der Rohe. 1929. Vintage gelatin silver print. 16,2 x 20,9 cm. Berliner Bild Bericht agency stamp on the verso.Wilhelm Niemann had an influential role in early 20th-century architectural photography. He contributed substantially to the documentation and promotion of modernist and Bauhaus architecture and captured iconic designs by Mies van der Rohe, such as the German Pavilion at the 1929 International World Exposition in Barcelona. – A fine tonal print in very good condition.Lit.: Zentralblatt der Bauverwaltung. Vol. 49, iss. 34, 1929, p. 546 (titled: Pavillon der Deutschen Elektrizität-Lieferungsindustrie).Helmut Reuter and Birgit Schulte (eds.): Mies und das Neue Wohnen. Räume, Möbel. Fotografie. Ostfildern 2008, ill. 258 (variant), p. 269.
![[*] Aviation -- Construction of the Hindenburg airship. 1932-1937. 5 vintage gelatin silver prints. Each ca. 17,5 x 23,5 cm.](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/f5bc99b5-dea4-491a-b19f-b0b600b68314/468x382.jpg)
Lot 4087
[*] Aviation -- Construction of the Hindenburg airship. 1932-1937. 5 vintage gelatin silver prints. Each ca. 17,5 x 23,5 cm. With Luftschiffbau Zeppelin Friedrichshafen copyright stamp on verso. These images provide a glimpse into the Friedrichshafen airship wharf during the construction phase of the infamous Hindenburg Zeppelin. The photographs of the interior offer a profound insight into the vast scale of this ambitious endeavor. – Corners slightly bumped, some scuff marks, otherwise in very good condition.
Lot 4089
Bailey, David -- South India. 1960s. Vintage gelatin silver print on Agfa-Brovira paper. 22 x 33 cm (30,5 x 40,5). Photographer's stamp, annotated in pencil and newspaper article taped to the verso.Renowned British fashion photographer David Bailey has made multiple trips to India since the 1960s, creating a rich and varied collection of images that beautifully showcase the country's diverse landscapes, people, and culture. In addition to his portraits of prominent figures like Mother Teresa and Indian actress Aishwarya Rai, Bailey's portfolio also includes a series of black-and-white landscape photographs imbued with a sense of subtle contemplation. – Handling creases throughout, especially in margins.
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