We found 26534 price guide item(s) matching your search

Bachmann OO Gauge 31-213DS 4-6-0 BR green un-rebuilt Patriot Class No.45504 "Royal Signals", (damage & parts missing to valve gear on one side),one loco side step detached but present, box quotes DCC sound fitted but cannot confirm yes or no, has 21-pin decoder included in the accessory pack, box also includes etched nameplates & detailing parts.  Conditions:  Fair to Excellent Plus in Excellent box & outer card sleeve.  

Dynamix Step Master, metal garden parasol base, box of Xmas decorations and box of fireguard, hammock, wine rack etc

15 FEET Aluminium step ladders

EMERALD AND DIAMOND RING, set with an octagonal step cut emerald within a halo of diamonds and flanked by two oval diamonds on either shoulder, marked 18K, size M 1/2Qty: 3.4gWorn condition. Chips and abrasions to the emerald. Emerald heavily included. Inclusions visible to the naked eye within the side diamonds. Smaller diamonds heavily included under magnification. All stones intact.Emerald approx. 0.80 carats. Diamonds approx 1.00 carat.

LARGE COCKTAIL RING, set with a octagonal step cut stone, likely zircon, marked 9CT, size nQty: 9.8g

EMERALD AND DIAMOND RING, set with an octagonal step cut emerald of approximately 2.98 carats, on diamond shoulders, in platinum, size L

SAPPHIRE AND DIAMOND RINGStep-cut sapphire and step-cut diamonds, mounted in 18 carat white gold, sapphire approx. 1.40cts, diamonds approx. 0.60ct total, London hallmark, European convention mark, ring size approx. NFor further information on this lot please visit Bonhams.com

A. CODOGNATO: EMERALD AND DIAMOND SNAKE RINGThe engraved coiled serpent, with a step-cut emerald head and cushion-shaped diamond eyes, emerald very approx. 2.25cts, signed A. Codognato, ring size very approx. L (square-shaped hoop), weight approx. 58.0gFor further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND DRESS RINGMarquise and brilliant-cut diamonds and three step-cut emeralds, diamonds approx. 2.40cts total, ring size approx. Q For further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND RINGCentral step-cut emerald and brilliant and shield shaped diamond and emerald shoulders, emerald approx. 1.25cts, diamonds approx. 2.10cts total, maker's mark, French assay mark, ring size approx. J½ For further information on this lot please visit Bonhams.com

EMERALD PENDANT/NECKLACEThe step-cut emerald, weighing 9.93 carats, within a brushed mount, on a fancy-link chain, lengths: pendant 3.0cm, chain 58.0cmFootnotes:The Gem & Pearl Laboratory: Colombian origin, evidence of moderate clarity enhancement, report number 23219, 28 May 2023.For further information on this lot please visit Bonhams.com

TWO EMERALD AND DIAMOND RINGS1st: 2001, Step-cut emerald and brilliant-cut diamonds, mounted in 18 carat gold, 2nd: 1978, Oval and step-cut emeralds, brilliant-cut diamonds, mounted in 18 carat gold, London hallmarks, 1st ring size approx. O½, 2nd ring size approx. M½For further information on this lot please visit Bonhams.com

SAPPHIRE AND DIAMOND RINGEmerald-cut sapphire, between square step-cut diamond shoulders, sapphire approximately 4.30 carats, diamonds approx. 1.20cts total, ring size approx. IFootnotes:The Gem & Pearl Laboratory: Sri Lankan origin, no evidence of heat treatment, report number 23912, 17 November 2023.For further information on this lot please visit Bonhams.com

EMERALD AND DIAMOND-SET BRACELET, CIRCA 1969Brilliant-cut diamonds and step-cut emeralds, on an 18 carat white gold textured strap, UK import mark, length 17.2cmFor further information on this lot please visit Bonhams.com

DIAMOND BRACELETSquare-step and brilliant-cut diamonds, diamonds approx. 4.55cts total, length 16.0cmFor further information on this lot please visit Bonhams.com

AQUAMARINE AND DIAMOND RINGRectangular step-cut aquamarine and baguette-cut diamonds, aquamarine approx. 27.50cts, ring size approx. LFor further information on this lot please visit Bonhams.com

A fine pair of cut glass pedestal bowls, probably Irish, early 19th centuryOf circular form, the everted rims cut with fans and hobnail diamonds, the sides with step-cutting above a band of hobnail diamonds, raised on spreading octagonal stems, the square plinth bases cut with hobnail diaper underneath, 13cm high, 17.4cm diam (2)For further information on this lot please visit Bonhams.com

A collection of vintage tools including: a box of drill bits and augers, a box of saws, a box of spanners, various brass fittings, two power drills, a circular saw, two vintage spirit levels, a box of assorted jacks, two heat guns, a pump, a tray of drill and auger bits, two step down transformers, a router and accessories, an amp meter, a grinding stone set, a sawing jig, an industrial electrical distribution box, a belt sander, a large vice, a box of various die cast equipment, two large pipe benders, a vernier gauge, a vintage power drill, a box of chuck keys, three boxes of various punches, a box of various clamps, and four tool cabinets.

Mixed wine, Chateau Giscours 1987, one bottle, Ransom R Syrah 2007, one bottle, Cotes de Provence Les Maitres Vignerons 1991, one bottle, and Chateau Guiraud 1980, one bottle, and a presentation of six mixed white wines, Tooma River Shiraz 2019, 2 bottles, Sanctury Step Shiraz 2020, one bottle, Vina Elena Tempranillo 2019, one bottle, Chateau Crabitau-Bellevue, 1988, one bottle (15)

BR and Other Railway Metalware, various items, circular enamel ground signal disc, some retouching, square alloy AWS sign, 38cm square, BR (W) cast iron lever pivoting lever bracket, a group of Abtus Voidmeters, (6) two minus parts, a Disconnected Workman label and a cast iron two tiered bracket/step, P-F, (11)

A mahogany metamorphic library step/chair.

Two aluminium step ladders and a further two-tread step

A rectangular step cut single stone aquamarine ring, in white metal unmarked setting, the stone 1.5 x 1.3 x 0.9 cm, approx 13.91 carats, size O, approx 6g all in c/w AnchorCert gem lab report

Three rings - a rectangular step cut citrine in 9ct yellow gold shank with decorative plume shoulders, size L 1/2, and two 9ct yellow gold rings each set with five graduated garnets, size K and M (3)

An Art Deco sapphire and diamond bar brooch, the step cut sapphire flanked by two round brilliant cut diamonds, in white gold, stamped '15C', 52mm wide, 1.8g gross.

A 19th century Victorian cast iron doorstop. The doorstop of cast iron construction being ebonised and  in the form of a Maltese dolphin. Raised on a step plinth base. Measures 41cm x 24cm

A pair of Lane Altavista teak and walnut 'step end'/telephone tables in the 1927 pattern. With slatted backing and tapered supports. Height: 57cm, Width: 73cm, Depth: 51cm.

Corgi - Eddie Stobart - Haulage. A selection of Four boxed die cast haulage model vehicles appearing in Excellent condition with Certificates and mirrors within box. Boxes appear in VG+ condition. Lot consists of: #CC14002 Volvo FH Box Trailer. #CC12607 Scammell Crusader Tautliner. #CC13414 MAN TGA XXL Step Frame Fridge Trailer Innovate Logistics. #CC12936 Scania Topline Curtainside. (This does not constitute a guarantee). [MP]PLEASE NOTE; ALL ITEMS MUST BE PAID FOR BY THE 13 TH DECEMBER TO BE SHIPPED OUT BEFORE WE CLOSE FOR CHRISTMAS.

An Abru aluminium folding step ladder

A wooden scissor effect rope strung clothes airer together with a folding three step set of steps

A plastic two tier step/tool carrier; a plastic step; magazine rack etc

A small aluminium set of steps; a metal two step set of steps and a metal grate

A Zarges step ladder platform

A wooden folding step ladder

A wooden folding step ladder together with various tools to include spirit levels; hand saws etc

A TITAN COMPETITOR ALUMINIUM DOUBLE EXTENSION LADDER, closed 3m, along with an aluminium step ladder (2)

A super original Victor FB for Vauxhall fans or enthusiasts that may want to 'teleport' back to the 1960s. The Victor FB was a return to a more genteel style for Vauxhall following a decade of flashy American styling. The FB was actually a huge step forward aestheticallyProduced at a time when Ford and Vauxhall slugged it out for the burgeoning UK domestic family saloon marketJudging by its remarkable condition, very tidy engine bay and the badges on the grille, this 1963 1,508cc FB appears to have been owned by a marque enthusiastIt's finished in Limestone White with a matching leather interior with grey inserts and has covered an indicated mileage of 106,600With a sweet four on the floor gearbox, Vauxhall reliability, easy maintenance, no Road Tax, cheap insurance and a friendly and active FB Owners Club, what better classic saloon car motoringSpecification Make: VAUXHALL Model: VECTOR Year: 1963 Chassis Number: FBE3159283 Registration Number: EBW 279A Transmission: Manual Engine Number: 155033 Drive Side: Right-hand Drive Odometer Reading: 106600 Miles Make: RHD Interior Colour: Beige/GreyClick here for more details, condition report and images

Step back in time in one of Morris' final offerings with just 4,548 miles from new and offered at No Reserve. Built between 1980-84, the Ital (ADO73F/L) was a development of the Series 2 MarinaThe 1300 was fitted with the tried and tested 1,275cc 'A-Series' four-cylinderThis very smart 1300 HL four-door is finished in Vermillion with a charcoal half-vinyl and half-cloth interiorBequeathed to our vendor by his neighbour, he has enjoyed the car since 2017The odometer displays just 4,550 miles from new which we are told is correct as it was dry stored for many yearsAlthough the log book states three keepers, in essence it is just the first gentleman and then our vendorSupplied with some original documentation and interestingly shows a 'Ziebart' sticker in the rear window which has clearly helped to preserve this time-warp MorrisSpecification Make: MORRIS Model: ITAL Year: 1981 Chassis Number: SAMMAHLD1AM639428 Registration Number: RJU 438W Transmission: Manual Engine Number: -32325 Drive Side: Right-hand Drive Odometer Reading: 4548 Miles Make: RHD Interior Colour: Dark Grey ClothClick here for more details, condition report and images

A very good 18ct yellow gold (hallmarked) emerald and diamond ring - the rectangular step cut emerald approx 2.28ct surrounded by 24 round brilliant cut diamonds - approx 0.51ct, G-H, VS2-SI1 - ring size L - weight approx 7 grams

A 1922 gilded Tiffany style table lamp. In the form of a Doric column on a two step square base, with three P & S light fittings and a stained marble glass and brass lightshade, H54cm x diameter 40cm

A modern emerald and diamond five stone ring. Centred with a square step-cut emerald, approx. 4.3mm, between pairs of round brilliant diamonds each approx. 0.13cts (0.52cts total, all grain set in white with square surrounds on a shallow D-section broad band approx. 4.6mm wide and stamped '750', size T, 7.8g gross

A pair of small small emerald and diamond flower-head quatrefoil cluster stud earrings. Each centred with a small, bright-green square step-cut emerald approx. 2.7mm, claw set within four round brilliant diamond three stone leaf trefoils, set throughout in white on plain posts with the butterflies only stamped '18K.750', the pair weigh 1.8g gross

Automobilia - Holsman spare parts to include : original belt drive, part of primary drive assembly, four wooden spoked wheels, two engine blocks (of the correct age) Burgess air filter, Pannier tanks x 3 various sizes, 3 leaf springs, side member step, hood springs, all manner of castings, brake shoes, sprung loaded wheel caps, luggage box (AF) , etc

A vintage gold and amethyst single stone ring. The cut-corner rectangular step-cut amethyst approx. 15.20cts, set to an openfluted-fan-shaped gallery on a two-row shank, unmarked, size about Q (culet of stone prevents a more accurate size), 7.4g gross Condition Report: The mount overall good condition for age, general weasr and tear commensurate with age and use over a period of time. The amethyst a good medium colour, some general wearing of most of the prominent the facet edges, measures approx. 15.7mm x 14.4mm x 10.3mm. the culet of the stone will touch the top of the wearer's finger.

An aquamarine single stone ring. The pale blue rectangular step cut stone approx. 7.35cts, claw set between plain shoulders on a flat-section shank with an indistinct mark, size U, 6.2g gross Condition Report: Overal good condition for age, general wear and tear commensurate with ge and use. The aquamarine measures approx. 16.6mm x 9.25 x 6.15

Edward Step, Wayside and Woodland Blossoms, A Guide to British Wild Flowers, three volumes, published by Frederick Warne & Co, 1941

Chinese style step shaped chest 92cm wide x 88cm tall x 35cm deep

Vintage wooden step ladder by Lattis Step

Two step ladders.

Karl Otto Götz 1914 Aachen - 2017 Wolfenacker/Westerwald 5.8.53 / I. 1953. Mischtechnik auf Leinwand. Links unten signiert. Verso auf der Leinwand signiert, datiert 'Dez. 65' und bezeichnet 'Karin zugeeignet Dez 65'. Auf dem Keilrahmen mit dem Sammlungsstempel 'Sammlung K. O. Götz'. 70 x 60 cm (27,5 x 23,6 in). Auf dem Keilrahmen wohl von fremder Hand bezeichnet „BRACHE RUE DE L´ODÉON“. Pierre Brache war ein bekannter Pariser Sammler und Mäzen, der einige Werke von K. O. Götz gekauft hatte. Es kann aber nicht mit Sicherheit gesagt werden, ob sich dieses Bild tatsächlich in der Sammlung Brach befunden hat. [CH]. • Karl Otto Götz gehört zu den Protagonisten des deutschen Informel. • Gemeinsam mit Heinz Kreutz, Bernard Schultze und Otto Greis begründet er im Dezember 1952 – wenige Monate vor Entstehung unserer Arbeit – die Künstlergruppe 'Quadriga'. • 1952 entwickelt Götz zudem eine ganz eigene, neue Maltechnik mit Kleister, Gouachefarbe, Rakel und Pinsel, durch die er zu der für ihn charakteristischen informellen Malerei findet und die damit für sein gesamtes weiteres Schaffen ausschlaggebend sein wird. • Mit dem kraftvollen Pinselduktus und der gestischen Expressivität macht das Werk die rhythmischen Bewegungen des Künstlers während des Schaffensprozesses erfahrbar. • Bereits 1958 ist Götz mit seinen Arbeiten auf der XXIX. Biennale in Venedig vertreten, 1959 auf der II. documenta in Kassel. • Vergleichbare Arbeiten befinden sich in bedeutenden Museen und Institutionen, darunter die Nationalgalerie Berlin, das Museum für Moderne Kunst, Frankfurt a. Main, die Stiftung Museum Kunstpalast, Düsseldorf, und das Bundespräsidialamt in Berlin. Das Werk ist im Online-Werkverzeichnis der Leinwandbilder der K. O. Götz und Rissa-Stiftung unter der Nummmer WVL-1953-28 verzeichnet. Wir danken Herrn Joachim Lissmann für die freundliche wissenschaftliche Beratung. PROVENIENZ: Galerie Raymand Creuze, Paris (1954, auf dem Keilrahmen mit einem handschriftl. bezeichneten, durchgestrichenen Etikett). Privatsammlung Paris. Sammlung Prof. Karin Götz (ab 1965, verso auf der Leinwand bezeichnet). Galerie Schlichtenmaier, Stuttgart. Galerie Maulberger, München. Privatsammlung Baden-Württemberg (vom Vorgenannten erworben). LITERATUR: Ina Ströher, K. O. Götz. Werkverzeichnis, Bd. I (1937-1979), Köln 2014, S. 114, WVZ-Nr. 1953-28 (m. Farbabb.). Manfred de la Motte (Hrsg.), K. O. Götz, Bonn 1978 (m. Abb. zwischen S. 232 u. 233). K. O. Götz, Erinnerungen und Werk, Bd. I a, Düsseldorf 1983, Kat.-Nr. 1 (m. Abb, S. 2 bzw. Frontispiz). 'Als ich im Sommer 1952 Kleisterfarben für meinen kleinen Sohn anrührte, fand ich quasi durch Zufall meine [..] Maltechnik: Erst Kleister auf's Papier, dann mit Gouache hinein, und fertig war das Bild [..]. Der Schritt vom Karton (Gouache) zur Leinwand ergab sich von selbst. So fand ich im Winter 1952/53 jene Technik und Konzeption, die die Faktur meiner Bilder fortan bestimmen sollte [..].' K. O. Götz, zit. nach: H. Zimmermann, in: Ausst.-Kat. K. O. Götz. Malerei 1935-1993, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden 1994, S. 12. Aufrufzeit: 08.12.2023 - ca. 13.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Otto Götz 1914 Aachen - 2017 Wolfenacker/Westerwald 5.8.53 / I. 1953. Mixed media on canvas. Lower left signed. Signed, dated 'Dez. 65' and inscribed 'Karin zugeeignet Dez 65'. With the stamp 'Sammlung K. O. Götz' on the stretcher. 70 x 60 cm (27.5 x 23.6 in). Inscribed 'BRACHE RUE DE L'ODÉON' on the stretcher, probably by a hand other than his own. Pierre Brache was a well-known Parisian collector and patron who had bought several works by K. O. Götz. However, it cannot be said with certainty whether this painting was actually in the Brach collection. [CH]. • Karl Otto Götz was one of the protagonists of German Informalism. • Together with Heinz Kreutz, Bernard Schultze and Otto Greis, he founded the artist group 'Quadriga' in December 1952 - just a few months before our work was created. • In 1952, Götz also developed his very own new painting technique using paste, gouache paint, squeegee and brush, which led him to his characteristic informal style of painting and would be decisive for the rest of his oeuvre. • With its powerful brushstrokes and gestural expressiveness, the work makes the artist's rhythmic movements of the creative process tangible. • Götz showed his works at the XXIX Venice Biennale in 1958 and in the II documenta in Kassel in 1959. • Comparable works can be found in important museums and institutions like the Nationalgalerie Berlin, the Museum für Moderne Kunst, Frankfurt am Main, the Stiftung Museum Kunstpalast, Düsseldorf, and the Office of the Federal President in Berlin. The work is registered in the online catalogue raisonné of canvas pictures at K. O. Götz and Rissa Foundation with the number WVL-1953-28. We are grateful to Mr Joachim Lissmann for his kind expert advice. PROVENANCE: Galerie Raymand Creuze, Paris (1954, with an inscribed and crossed out label on the stretcher). Private collection Paris. Collection of Prof. Karin Götz (from 1965, inscribed on the reverse). Galerie Schlichtenmaier, Stuttgart. Galerie Maulberger, Munich. Private collection Baden-Württemberg (acquired from the above). LITERATURE: Ina Ströher, K. O. Götz. Catalogue raisonné, vol. I (1937-1979), Cologne 2014, p. 114, no. 1953-28 (color illu.). Manfred de la Motte (ed.), K. O. Götz, Bonn 1978 (fig between pp. 232 and 233). K. O. Götz, Erinnerungen und Werk, vol. I a, Düsseldorf 1983, cat. no. 1 (fig., p. 2 and frontispiece). 'When I was mixing paste paint for my little son in the summer of 1952, I found my [..] painting technique almost by chance: first put paste on the paper, then gouache into it, and the picture was finished [..]. The step from cardboard (gouache) to canvas came about naturally. Thus, in the winter of 1952/53, I found the technique and concept that would determine the structure of my paintings from then on [..].' K. O. Götz, quoted from: H. Zimmermann, in: ex. cat. K. O. Götz. Malerei 1935-1993, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden 1994, p. 12. Called up: December 8, 2023 - ca. 13.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Gotthard Graubner 1930 Erlbach/Vogtland - 2013 Neuss Ohne Titel. 1979. Aquarell auf Papier. Unten mittig signiert und datiert. 123 x 82 cm (48,4 x 32,2 in). [JS]. • Großformatiges, frühes Aquarell von strahlender Farbkraft. • Graubner erkundet in den 1970er Jahren intensiv die Leuchtkraft der Farben auf Papier, indem er die Pigmente in mehreren Schichten aufträgt und damit eine maximale Farbsättigung von faszinierender Brillanz und Tiefe erreicht. • Seit den 1960er Jahren strebt Graubner nach maximaler Befreiung der Farbe. PROVENIENZ: Privatsamlung Süddeutschland (direkt vom Künstler). 'Der nächste Schritt war, dass er die als bewegt bewegende Erscheinung begriffene Farbe nun auch entsprechend als Substanz behandelte. Das geschah zunächst in den Aquarellen [..] Graubner öffnete der Farbmasse [..] das Bildfeld ohne formale Vorbehalte, nutzte das Verlaufen der Farbe, das Stocken der Farbe, das Einsinken, das Tränken des Grundes, das Randabsetzen, Pfützen Bilden, Verlaufen, Verschwimmen, Sichzurückziehen, Überdecken, Verschleiern. Die Durchsichtigkeit der Aquarellsubstanz war neben ihrer Beweglichkeit für diese Verwendung ausschlaggebend: erst in der Überdeckung mehrerer transparenter Schichtverläufe bilden sich gesättigte Farbfelder, Farblichtvertiefungen.' Dietrich Helms, zit. nach: Gotthard Graubner, Zeichnung-Aquarell, 1946-1986, Bonn 1986, S. 46. Aufrufzeit: 08.12.2023 - ca. 14.37 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONGotthard Graubner 1930 Erlbach/Vogtland - 2013 Neuss Ohne Titel. 1979. Watercolor on paper. Signed and dated in bottom center. 123 x 82 cm (48.4 x 32.2 in). [JS]. • Large-format, early watercolor of an intense radiance. • In the 1970s, Graubner intensively explored the luminosity of colors on paper by applying the pigments in several layers and thus achieving a maximum color saturation of fascinating brilliance and depth. • Since the 1960s, Graubner has been striving for the maximum liberation of color. PROVENANCE: Private collection Southern Germany (directly from the artist). 'In a next step, he wanted to treat the color, understood as a moving phenomenon, as a substance. This first happened in watercolors [..] Graubner opened up the pictorial field to the mass of paint [..] without formal reservations, using the running paint, its stagnation, soaking the ground, settling in the edges, forming puddles, running, blurring, retreating, covering, veiling. In addition to its flow property, the transparency of the watercolor substance was decisive for this use: saturated color fields and color light impressions only form after several transparent layers have been applied.' Dietrich Helms, quoted from: Gotthard Graubner, Zeichnung-Aquarell, 1946-1986, Bonn 1986, p. 46. Called up: December 8, 2023 - ca. 14.37 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Öl auf Malpappe. Links unten monogrammiert sowie rechts unten datiert. Verso mit einer Ölstudie zu einem Bauernschrank sowie der Bezeichnung '12'. 22 x 15,5 cm (8,6 x 6,1 in). • Ein besonders farbstarkes Exemplar aus der wichtigen Serie der 'Abstrakten Köpfe'. • Radikal überwindet Jawlensky hier die klassische Porträtmalerei. • Harmonische Komposition in reizvoller, geometrisch-inspirierter Symmetrie. • 1933 als Geschenk von Jawlensky an die Kunsthistorikerin und Freundin Mela Escherich. PROVENIENZ: Sammlung Mela Escherich, Wiesbaden (1933 als Geschenk vom Künstler erhalten). Nachlass Mela Escherich, Wiesbaden (seit 1956). Sammlung Hanna Bekker vom Rath, Hofheim im Taunus. Privatsammlung. Privatsammlung (1989 vom Vorgenannten erworben). Privatsammlung Süddeutschland (1992 vom Vorgenannten erworben). LITERATUR: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, Bd. II (1914-1933), München 1992, S. 481, WVZ-Nr. 1417 (m. Farbabb. S. 493). Sotheby's, London, 29.11.1989, Los 199 (m. Farbabb.). Grisebach, Berlin, 24. Auktion, 29.5.1992, Los 63 (m. Farbabb.). Mela Escherich, in: Der Cicerone, Jg. XVIII, 1926, zit. nach: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, S. 129. Von Beginn an verfolgt Alexej von Jawlensky konsequent lediglich drei Bildsujets: Das Stillleben, die Landschaft und das Porträt. Zunehmend wendet er sich der Thematik des Porträts zu, das er in den 'Meditationen', 'Variationen' und später in Serien bis zu seinem Tod 1941 in Wiesbaden immer wieder aufgreift. Schon 1914 im Exil in der Schweiz entstehen erste 'Heilandsgesichter' und 'mystische Köpfe', die den Porträtcharakter der bisherigen Köpfe bereits fast vollständig hinter sich lassen. In logischer Konsequenz geht er einen weiteren Schritt in Richtung Abstrahierung sowie Entwicklung der Farbfeldmalerei und wendet sich von 1918 bis 1933 den 'Abstrakten Köpfen' zu. Unser 'Abstrakter Kopf' von 1933 verbindet ein besonders spannendes Spiel von fröhlicher Farbigkeit einerseits und einem geschlossenen Blick voll innerer Einkehr andererseits. Das den traditionellen russischen Ikonendarstellungen entnommene Schema entrückt Jawlensky restlos einer naturalistischen Darstellung. Auf der Suche nach einer Tiefe im Ausdruck werden die Gesichtsmerkmale aufgelöst in geometrische Formen und in einer beinahe architektonischen Symmetrie neu angeordnet. Mit einer Komposition aus scharfen Linien und fein abgestimmten Farbfeldern dringt Jawlensky mit seiner Kunst auf eine mythische Ebene vor und macht das Unsichtbare fühlbar. Diese Thematik beschäftigt auch die Kunsthistorikerin, Schriftstellerin und Freundin Jawlenskys Mela Escherich, aus deren Besitz das Gemälde stammt. Nach ersten Kontakten zu Beginn der 1920er Jahre entwickelt sich eine enge Freundschaft zwischen diesen beiden Gleichgesinnten. Escherich versorgt ihn sowohl mit Lektüre als auch mit finanzieller Unterstützung und wird mit Jawlenskys zunehmender Bewegungseinschränkung eine seiner sog. 'Nothelferinnen'. Der Künstler dankt es ihr mit Bildgeschenken wie dem 'Abstrakten Kopf' von 1933. Auch nach seinem Tod agiert sie als unermüdliche Befürworterin und unternimmt sogar erste Anstrengungen hinsichtlich eines Werkverzeichnisses. Es ist also nicht nur die besondere Ausdruckskraft des Werkes, was dieses mit einem so geistvollen Charakter kennzeichnet, sondern auch die spannende Provenienz und einzigartige Hintergrundgeschichte. [AW] Aufrufzeit: 09.12.2023 - ca. 17.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Oil on cardboard. Lower left monogrammed and lower right dated. With an oil study of a rustic wardrobe and the inscription '12' on the reverse. 22 x 15.5 cm (8.6 x 6.1 in). • A particularly color-intense copy from the important series of the 'Abstract Heads'. • Jawlensky left classic portraiture behind him in a radical manner. • Harmonious composition in an appealing symmetry informed by geometry. • In 1933 present from Jawlensky to the art historian and friend Mela Escherich. PROVENANCE: Mela Escherich Collection, Wiesbaden (gifted from the artist in 1933). Estate of Mela Escherich, Wiesbaden (since 1956). Hanna Bekker vom Rath Collection, Hofheim im Taunus. Private collection. Private collection (acquired from the above in 1989). Private collection Southern Germany (acquired from the above in 1992). LITERATURE: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. II (1914-1933), Munich 1992, p. 481, no. 1417 (color illu. p. 493). Sotheby's, London, November 29, 1989, lot 199 (color illu.). Grisebach, Berlin, 24th auction, May 29, 1992, lot 63 (color illu.). Mela Escherich, in: Der Cicerone, year XVIII, 1926, quoted from: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, p. 129. From the beginning on, Alexej von Jawlensky consistently pursued only three subjects: the still life, the landscape and the portrait. He increasingly turned to portraits, which he revisited in meditations, variations and in serial works, until his death in Wiesbaden in 1941. As early as in 1914 while in exile in Switzerland, he made first “Savior Faces” and “Mystical Heads” in which he would almost completely overcome the portrait character of previous heads. As a logical consequence, he made another step towards abstraction and the development of color field painting with the “Abstract Heads” made between 1918 and 1933. Our 'Abstract Head' from 1933 combines a particularly exciting play of cheerful colors on the one hand, and inner contemplation on the other. Jawlensky entirely removed the scheme, taken from traditional Russian icons, from all naturalistic representation. In search of depth of expression, he broke facial features into geometric shapes and rearranged in an almost architectural symmetry. With a composition of sharp lines and finely coordinated color fields, Jawlensky's art reached a mythical level at which he made the invisible tangible. This topic also concerned the art historian Mela Escherich, writer and friend of Jawlensky, who was among the work’s early owners. After they had met in the early 1920s, the two like-minded people became close friends. Escherich provided him with reading material as well as with financial support and, as Jawlensky became increasingly ill, she was one of his so-called 'emergency helpers'. In return for her help, the artist gave her pictures such as the present 'Abstract Head' from 1933. Even after his death, she acted as a tireless supporter and even made first efforts to compile a catalogue raisonné. So it's not just the special expressiveness of the work that gives it such a spirited character, but also the exciting provenance and the unique background story. [AW] Called up: December 9, 2023 - ca. 17.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Silbermünze anlässlich der ersten Mondlandung durch Apollo 11 im Jahre 1969, auf einer Seite umlaufend geprägt mit Neil Armstrongs Satz „That's one small step for man, a giant leap for mankind", ca. 50 g.

Art Deco emerald and diamond unmarked yellow gold and platinum ring, the square step cut emerald measuring approx 6 x 5.5mm, rubover set, two old round brilliant cut diamonds at opposite ends, rubover set, each weighing approx 0.15 carat, small round eight cut diamonds, grain settings, small rose cut diamonds to each scroll v shaped shoulder, (five deficient) knife edge settings, size of head approx 2 x 1cm, ring size O-O½

Emerald and diamond 18ct yellow gold ring, five square step cut emeralds, twelve small round brilliant cut diamonds, claw settings, tapered shoulders, ring size R

Blue stone and diamond 18ct white gold ring, possibly a synthetic blue spinel, rectangular step cut with truncated shoulders, three small round brilliant cut diamonds to each shoulder, illusion settings, ring size J-J½

Ruby and diamond 18ct yellow gold cross pendant, five marquise rubies, dimensions approx 4.5 x 2.5mm, single square step cut ruby to the centre, four tapered baguette cut diamonds, five small round brilliant cut diamonds, claw settings, length approx 27 x 19mm, curb link yellow metal bracelet, length approx 46cm

Pair of 19th century Indian foiled gemstone and pearl white metal and yellow metal set drop earrings, the stylised triangular form set with rectangular step cut gemstone, foil backed, two cream-grey seed pearls, applied scrollwork, bead decoration, yellow metal shepherds hook ear fittings, length approx 28mm (excluding fittings)

Diamond 18ct yellow gold ring, rectangular step cut diamond with truncated shoulders, measuring approx 3.95 x 5.51 x 2.83mm (approx 0.40 carat) tapered shoulders, ring size M

A tradesman's 3 step podium work platform.