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Lot 107
CHARITY LOT SUPPORTING OUR 2023 NOMINATED BENEFICIARY TENOVUS CANCER CARE LARGE SELECTION of artwork and books to include, 19TH CENTURY CENTURY CONTINENTAL SCHOOL oil on canvas - old testament scene of standing male and kneeling female with smoke ascending from a fire, unsigned, 39 x 29cms, OBEDIAH HODGES (Welsh, 1873-1938) gouache on board - three exotic birds perched on leafy branches and flying overhead, signed and inscribed 'Guilote Mexican', and a companion similar inscribed 'Uraca, Mexican', handwritten labels verso, 53 x 18cms (2), WALTER ASHWORTH (1883-1952) oil on board - 'An Italian Landscape', cowherd with two cows in an Alpine landscape, signed, titled on label verso, 35 x 24cm, ALWYNNE BOWEN (Welsh, 20th Century) oil on canvas - landscape with farm and outbuildings, entitled verso 'The Little Fields of Lleyn From Braigh-y-Bwll', signed, dated 1975, 50 x 75cms, THREE OILS ON BOARD, Mediterranean scenes, two signed 'R. Witchard', 55 x 90cms, 47 x 59cms, and 45 x 53cms (3), ANDREW CLEMENT VERSTER (South African, 1937-2020) etching – lady in chair, signed and dated ’72 in pencil, 73 x 54cms, C M CRUTTENDEN (English 20th Century) oil on board - still life of flowers in a vase and vegetables, JOHN CLEAL (South African, 1929-2007) pen and ink sketch - Mumbles Pier, GEORGE KILIBARDA (Welsh, b. 1954) limited edition (4/5) colour print - busy city park scene, W WARD coloured engraving after an original painting by George Moreland (1763-1804) - entitled 'Juvenile Navigators', JOHN COTHER WEBB (British, 1855-1927) coloured mezzotint - mother watching her children at play, signed in pencil, STANLEY ORCHART (born Stanley James Orchart - British, 1920-2005) print - entitled 'Butlers Hard, Hampshire', THOMAS G APPLETON (British, 1854-1924) two coloured aquatints - Fruit Seller and Family Group, TWO MONOCHROME PAINTINGS ON GLASS, MOIRA HUNTLY (b.1932) watercolour - 'Farm Nr. World's End', COLIN BITHELL (Contemporary) limited edition (57/160) lithograph - opera singer Sir Bryn Terfel, limited edition (623/850) colour print - paddle steamer 'Cardiff Queen', leaving pier head, Cardiff, dated 1956, J LEWIS STANT Rembrandt Guild artist's proof etching - titled in pencil 'Llewellyn's Cottage, Beddgelert', signed, 24 x 32.5cms, GROUP OF EPHEMERA / PRINTS ETC including a framed printed portrait of composer Edvard Grieg, WRAXALL (NATHANIAL W.) The History of France, 3 vols., 1795, contemp. full calf gilt, 4to, selection of Miller's Antiques hardback books ETC
Lot 1
. Moses Bianchi (1840-1904) is among the most important painters of the Italian 1800s. Starting in the first half of the 1960s, thanks to his vigorous talent, he was recognized (still a student at the Brera Academy) among the most relevant artistic personalities on the national scene. He fully lives the Risorgimento ideals of his peers by participating in the Second War of Independence, but it is above all on the cultural level that he finds himself one of the protagonists of the Milanese Scapigliatura, translating into his paintings elements that skillfully reshape late-historical themes with the new ideals that see in naturalism and the everyday city life the values, not only artistic, of united Italy. He concluded his formidable career in 1898 when he was appointed director of the Cignaroli Academy of Fine Arts in Verona, as well as professor of the Chair of Painting; a position he would follow with great passion until December 1899, when he was struck down by a severe stroke. He died on March 15, 1904 in Monza, assisted by his wife Carolina Marignani (by whom he had no children) and his nephew Pompeo Mariani.
Lot 15
(Milano 1827 - 1887)Cm 37x61 | In 14.57x24.02Oil on canvasHe was born in Milan on June 21, 1827, to Antonio and Carolina Bianchi (Milan, Arch. histor. diocesano, Parrocchia di S. Vittore al Corpo, Registri di morte, anno 1887), into a well-to-do family living on Via Rastrelli (Antonini, p. 177). In March 1848 he participated enthusiastically in the anti-Austrian uprisings, leaving a brief memoir of them (ibid.). His patriotic commitment continued in the following years, at least until 1859, when he fought in Garibaldi's ranks. The question of his artistic training remains open. The news reported by Ortolani that Lelli's teacher was the elderly M. Gozzi, who died in 1839, when Lelli was just 12 years old, is probably to be denied. Lelli's earliest known paintings, which were presented at the annual exhibitions of the Brera Academy beginning in 1855, drew from his frequentation and study of the region of the lakes, the foothills of the Alps and the Lombardy Alps. The Veduta del lago di Lecco in the vicinity of Varenna and the Veduta del paese di Omegna, lago d'Orta (Milan, Pinacoteca di Brera, on deposit at the Galleria d'arte moderna), exhibited in 1862 and 1863, respectively, document his balanced poetics, respectful of the precepts of the Lombard vedutistica tradition of the early 20th century (proper, for example, to Lelli Bisi, G. Canella, A. Inganni) and moderately open to the new instances of realism. In the mid-1960s Lelli began giving drawing lessons at the Royal Girls' College. To the audience of aristocratic "amateurs" he addressed the successful manual, entitled Corso progressivo di paesaggi. Studies from life, which he drafted for the publisher Vallardi around 1867. In that year he presented at Brera, where it is still preserved, the painting Nella pianura (The Po River near Vaccarizza), in which his adherence to "modernity," in its most prosaic aspects, is revealed in the inclusion of the stagecoach motif in the foreground. At the same time he participated in the Universal Exhibition in Paris with a View of the village of Omegna, Lake Orta (location unknown), a probable variant of the one painted in 1863. Over the next ten years the painter, stimulated to the renewal of atelier practice by his contact with G. Fasanotti and L. Riccardi, earned the esteem of the most advanced circles of the city's artistic culture, as well as a large group of followers (among others, A. Besozzi, T. Dell'Orto, S. Fornara, M. Reina, F. Rognoni Gratognini, G. Vigoni). He was among the first Milanese "paesisti" to give centrality to the method of working en plein air, in direct contact with the motif, and to adopt a teaching method involving long summer stays in mountainous or hilly areas. From reading the correspondence and analyzing the early work of U. Dell'Orto and S. Poma, who were his pupils between 1867 and 1872, we can see the custom of prolonged stays, and in selected groups, in Valtellina and Monte Rosa. On such occasions Lelli used to make small oils on paper for teaching purposes, leaving the students to draw the natural elements in pencil. Having fixed his studio at Via S. Primo, 6 (Noris - Rea), Lelli continued to exhibit regularly in Milan, also proposing himself at the Turin (1880, 1884) and Roman (1883) exhibitions. His monotonous inspiration and a certain repetitiveness in the choice of motifs gradually annoyed critics, who began to review his works harshly. Judged to be a "very civilized painter, very close-minded ingenuity, but floppy and mannered and monotonous" at the 1868 Braidense exhibition (J. Cosmate, in Il Pungolo, Sept. 25, 1868: cf. Rebora, La pittura..., p. 40), Lelli ended up becoming, during the eighth and ninth decades of the century, the symbol of resistance to the experimentation promoted by the Scapigliati, F. Carcano and E. Gignous in particular. In 1883, commenting on the canvases exhibited in Rome (Monte del Tonale and Cava di granito nel monte Orfano: location unknown), P. Levi commented, "nothing could be flatter, more false, more conventional." Lelli died in Milan on Apr. 13, 1887.
Lot 16
(Milano 1855 - 1917)Cm 80x50 | In 31.50x19.69Oil on canvasOf humble origins, belonging to a working-class family, following the early death of his father he became head of a large household; he employed himself as a garzone, devoting his spare time to drawing. He enrolled in 1875 at the Brera Academy of Fine Arts, where he attended courses by Raffaele Casnedi and Giuseppe Bertini until 1880, and where he met fellow students Gaetano Previati, Emilio Longoni and Giovanni Segantini. In the following years he participated in Braidese exhibitions with portraits and still lifes conducted from life with which he enjoyed wide market success. At the beginning of the new decade he approached painting with social themes, thus experimenting with Divisionist technique in works such as L'alba dell'operaio (1897, Milan, Galleria d'Arte Moderna). In later years he returned to portraits, genre scenes inspired by family affections and, during his stays in the Lombard Pre-Alps, landscapes. Present at Milanese and Venetian exhibitions, he combined painting with his work as a teacher and restorer. He died in Milan on February 12, 1917. His remains rest in Milan's Monumental Cemetery.
Lot 17
(Milano 1855 - 1917)Cm 46x37 | In 18.11x14.57Pastelli su cartaOf humble origins, belonging to a working-class family, following the early death of his father he became head of a large household; he employed himself as a garzone, devoting his spare time to drawing. He enrolled in 1875 at the Brera Academy of Fine Arts, where he attended courses by Raffaele Casnedi and Giuseppe Bertini until 1880, and where he met fellow students Gaetano Previati, Emilio Longoni and Giovanni Segantini. In the following years he participated in Braidese exhibitions with portraits and still lifes conducted from life with which he enjoyed wide market success. At the beginning of the new decade he approached painting with social themes, thus experimenting with Divisionist technique in works such as L'alba dell'operaio (1897, Milan, Galleria d'Arte Moderna). In later years he returned to portraits, genre scenes inspired by family affections and, during his stays in the Lombard Pre-Alps, landscapes. Present at Milanese and Venetian exhibitions, he combined painting with his work as a teacher and restorer. He died in Milan on February 12, 1917. His remains rest in Milan's Monumental Cemetery.
Lot 26
(Codogno (LO) 1861 - Mezzegra (CO) 1944)Cm 90x140 | In 35.43x55.12Oil on canvasA pupil of Giuseppe Bertini at the Brera Academy of Fine Arts, he made his debut in 1879 with two perspective views of interiors. After a stay in Verona, during which he devoted himself to the execution of his first landscapes en plein air, he settled in Milan, where he established himself as a landscape painter from 1882. His participation in the 1887 National Art Exhibition in Venice marked an important success and assured him notoriety beyond regional borders. He was also present at several Milan Triennials, the Paris Exposition of 1900, Munich and Vienna, where he was awarded a gold medal. In 19 16 he ordered a -big exhibition in Milan at the Pesaro Gallery. Among his best-known works are: Cattivi affari (1885), Torna il sole and Vento (1887); Marascari and Sopra i monti di Erbesio (1889); Pesci and Torna il sereno (1890); Mare a Sampierdarena and Tramonto sereno (1895); Libeccio menaccioso, Tempo triste and Ritratto di mia moglie (1898); Spiaggia viva (1920); La notte si avvicina (1929). His paintings are preserved, as well as in private collections, at the Gallery of Modern Art in Milan (Visions of Peace, 1908); the Revoltella Museum in Trieste (Serene Sunset); the Museum of Brooklyn, New York (Spring Waterfall, 1894); the Gallery of Modern Art in Florence (Twilight, 1914); and the Museo Civico in Turin (Symphony, 1892; Last Teporos, 1907). From the early 1980s he approached the research of Lombard naturalism, specializing in the execution of seascapes, taken from life during summer stays in Sturla, Noli and Forte dei Marmi, but marked by poetic and evocative atmospheres. His prevalent activity as a landscape painter, in which he was engaged in the execution of extensive Alpine and Brianza views, was flanked by a minor production of portraits and still lifes. In the years between the two centuries he was influenced by the suggestions of Divisionist painting, but declined in a personal interpretation of light. He carried out an intense exhibition activity at major national and international exhibitions, culminating in the setting up of a personal room at the Venetian Biennale in 1914 and at the Pesaro Gallery in 1919. Among others he participated in the III International Art Exhibition in Venice in 1899. He died in Azzano, a hamlet of Mezzegra, Como, on April 12, 1944. He rests at the Monumental Cemetery in Milan.
Lot 27
(Fucine (TN) 1851 - Cles (TN) 1923)Cm 62x100 | In 24.41x39.37Oil on canvasOn February 6, 1851, Bartolomeo Teofilo Ismaele Bezzi, son of Domenico Bezzi, a surveyor and great art lover, and Luigia Taraboi, was born in Fucine d'Ossana in Val di Sole. In 1862 he was orphaned by his father. He left Fucine to seek his fortune as a peddler. After a few years, in 1870, tired of that kind of life, thanks to savings and the help of a cousin and his uncle Don Ambrogio, a priest in Pellizzano in Val di Sole, he decided to enroll in the Brera Academy of Fine Arts. Here he became a pupil of Giuseppe Bertini and in the course of his studies he soon made a name for himself and, already in his second year, managed to obtain mentions and medals with his works. During these years he also frequented a group of young artists with a renewing and anti-academic spirit and took an active part in debates on French Impressionism. In 1876 he has his first exhibition at the annual group show prepared by the academy. He presents Landscape and Impression. The following year he exhibits At the Well and Val Solandra. Two years later, he gained recognition with his work Valle di Rabbi, which impressed the commission with its colors that succeeded in making even those sharp and steep alpine landscapes softer and softer. In 1879 he was forced to abandon his academic studies because of his poor health. But not even the illness prevented him from continuing his work as an artist, enjoying enormous success, heartened by his friends, admirers, collectors and art lovers. During these years he opened his own studio in Milan but spent several days in Trent, where he portrayed the city on a canvas of vast proportions. This is also a testimony to how Bartolomeo Bezzi remains affectively attached to Trentino. Recurring episodes will be in the capital city as well as in Val di Non and Val di Sole. In Turin he was present at the Fourth National Exhibition of Fine Arts with the works Sul Tonale, Una via di Trento, La vigna, and Una frana in Val d'Adige. In 1881 at the National Exhibition in Brera he exhibited Il mio paesello, Ricordo dei bagni, again Sul Tonale and Confidenze. At age thirty-one, in 1882, he won his first major prize in Milan: the Fumagalli Prize. A few months later he received 4,000 liras for the work Pescarenico, purchased by Prince Ruspoli. During these years he lived between Verona and Milan. During the Verona period he painted several landscape-related works and some of them were exhibited at the Esposizione di Belle Arti in Rome: Verona along the Adige, Un mattino a Verona, Pescarenico, Mulini sull'Adige and Giornata d'Autunno. Here he finds great success but, of all his paintings, the one that receives the most attention is: Mulini sull'Adige. The work Mulini a Verona was purchased by the National Gallery of Modern Art. In 1884 in Turin, at the Italian National Exhibition organized by the Società Promotrice di Belle Arti, he presented Venice, Roman Campagna, Autumn, Memories of Rome, Gray Weather in Venice, Evening. At the Brera exhibition he exhibited Bambocci, Sito alpestre and Acqua morta, purchased by Count Aldo Annoni of Milan. Shortly thereafter he became an honorary member of the Brera Academy. He exhibited Sulle rive dell'Adige, in Milan in 1885 and the following year at a group exhibition in Berlin and finally in Venice in 1887 where he was purchased by King Umberto. In 1886 he participated in the inaugural exhibition of the newly formed Society for Fine Arts and Permanent Exhibition in Milan with A Chioggia, Mulini a Verona, Paesaggio, Betulle and with the sketch Pescarenico. The following year he exhibited six works at the National Exhibition in Venice: Riva di Trento, Studio, Mestizia, Sulle rive dell'Adige, Paesaggio and Bosco ceduo, the latter painting, known as Bosco di birulle, in 1890 would be purchased for 500 florins by the Trento City Hall and placed in the city's Historical Museum. In 1888 at the Paris Exhibition he was awarded a prize for his work Falling Sun on Lake Garda, which would later be purchased by the Revoltella Museum in Trieste. The following year, he participated in an exhibition in Rome with Venezia che dorme, Armonie della sera, Raggio di luna and Amori dell'aria. He participated for the first time in the Universal Exhibition in Paris with Les bords d'un rivière. The same year he is named a Knight of the Order of St. Michael of Bavaria. He moved to Venice, where he lived on the Fondamenta delle Zattere, a neighborhood at the time frequented by many artists, poets and writers. Here he met realist and post-macchiaioli painters such as Guglielmo Ciardi, Luigi Nono, Silvio Rota, Alessandro Milesi and Mario de Maria. It was during this period, influenced by the Venetian artistic environment and especially by the works of Giacomo Favretto, that he abandoned, albeit briefly, landscape painting to devote himself to genre painting. Another important encounter is with the artist Pietro Fragiacomo and his fascinatingly luminous lagoon landscapes. In Venice, he lays the foundations of a project for an International Art Exhibition, which will materialize in the Biennale. Bezzi participated in all editions, from the first, in 1895, to that of 1914. Membership in the organizing committee enabled him to make numerous trips abroad, in 1897 to Scotland and England, in 1898 and 1901 to Germany, Austria and France, during which he came into contact with different international artistic languages. In 1891 he exhibited his work Spiaggia del Lido at the Brera Triennale in Milan. This painting is later awarded a silver medal at the 1893 Rome exhibition by the city's City Hall. In Munich he won the gold medal for the work Spring Night. In 1892 he went to Trent, where he was part of the jury to determine who should be entrusted with the creation of the monument to Dante in the square of the same name. Here he befriended Cesare Battisti and devoted himself to irredentist propaganda, participating in artistic events aimed at affirming the Italian character of Trentino. A few months later, during a visit to the home of Counts Cesarini Sforza in his homeland, he met Isabella Dal Lago of Cles and married her on September 26, 1892. The Ministry of Education awards him a gold medal for the painting Paesaggio trentino o Da Cles exhibited at the Turin exhibition. Three years later he was present at the first International Art Exhibition of the city of Venice with S. Michele all'Adige and Giorno di magro. In 1896 he participated in the Munich Secession Exhibition presenting the work Canal Grande in Venice. During this period he became acquainted with Secessionist floral art and Art Noveau however, he was not influenced by this vision of landscape softened by plant lines and decorative colors. Bezzi continued to cultivate a lyrical, twilight representation of nature that would characterize his production until about 1910. In 1897 he presented Prelude of the Evening at the Second Venice Biennale, and three years later he received a silver medal at the Universal Exhibition in Paris for the painting Day of the Skinny, executed in 1895. In 1899 he participated in the Third International Art Exhibition in Venice. At the 1901 Venice Biennale he presented the works, Autumn Vagueness, In the Evening and Night Calm. Two years later, at the Fifth Biennale: Morning on the Lake, Clear Night, The Trees, On the Shore of Lake Garda and First Snow. In 1905 his nervous illness began to worsen, but he still participated in the sixth Venice Biennale, presenting Fantasie dell'aria, Pescarenico and Acqua morta. Two years later his only solo art exhibition while alive is organized in Trent. In the same year he is in Turin with Notte di luna, in Venice with Sulle rive del Ticino, Mattino d'autunno, Tramonto and also travels abroad: to Buenos Aires, Montevideo and Valparaiso with the works Prima neve a Desenzano and Quiete del lago. In 1909 he participated in t [...]
Lot 95
Günther Uecker (1930 Wendorf) (F)'Nagel', 1989, hg. von der Galerie Waßermann, München, Stahlskulptur, Höhe 180 cm, im unteren Teil des Nagels 'UECKER' bezeichnet, eines von 100 Exemplaren, partiell oberflächliche Kratzer, partiell korrodiert, Kopie der Bestätigung von Günther Uecker (2014) anbeiGünther Uecker gilt als einer der bekanntesten lebenden und weiterhin auch schaffenden deutschen Künstler. Er studierte an den Kunstakademien in Düsseldorf und Berlin. Bereits in den ausgehenden 1950er Jahren fand Uecker eine Gestaltungsform in Nägeln und machte sie zu seinem ausdrucksstarken kompositorischen Element. Auf Platten, Holzbrettern, Baumstümpfen wurden sie genagelt und teilweise weiß getüncht, wodurch er Raum und Bewegung erarbeiten konnte. Er fügt sie in sowohl dynamischer als auch streng symmetrischer Anordnung zu einer bewegten Masse und Formationen zusammen oder präsentiert sie, wie hier, in einzelner Form. 1961 schloss sich Uecker der ZERO-Gruppe an und arbeitete mit Heinz Mack und Otto Piene zusammen. Die zentrale Frage der ZERO-Gruppe ist die der Kunst selbst. Ist Kunst nur zur Abbildung gedacht? Eben diese Frage gilt es zu überwinden! Die genannten Künstler haben damit revolutionäre Arbeit geleistet, die bis heute in der zeitgenössischen Kunst nachhallt. Wir freuen uns in dieser Auktion einen überlebensgroßen einzelnen Nagel aus Stahl anbieten zu können. Auf dem Nagelkopf stehend und die Spitze des Nagels emporragend ist er mit Griffrillen detailliert und mit einer Höhe von 178 cm geschaffen. Durch den Nagel als Skulptur übersetzt Uecker das Hauptelement seiner künstlerischen Sprache selbst in eine eigene Form - eine Form immenser Größe bedenkt man die tatsächliche Größe eines handelsüblichen Nagels. Ein kleiner Nagel, der für gewöhnlich eingeschlagen oder eingetrieben wird, um Dinge zu befestigen, zusammenzuhalten oder zu konstruieren ist hier nicht gezeigt. Sondern die Methode des Künstlers und das damit einhergehende Mittel seiner Kunst ist in eine skulpturale Form gebracht: Der Nagel selbst. Es geht hier also nicht um die Abbildung eines Nagels, sondern um die Darstellung seines eigenen künstlerischen Schaffens, innerhalb einer Skulptur.Günther Uecker (1930 Wendorf) (F)'Nail', 1989, steel sculpture, height 180 cm, in the lower part of the nail inscribed 'UECKER', one of 100 copies, published by Galerie Waßermann, Munich partially superficial scratches, partially corroded, Copy of the confirmation by Günther Uecker (2014) attachedGünther Uecker is considered one of the best-known living and still creating German artists. He studied at the art academies in Düsseldorf and Berlin. Already in the late 1950s, Uecker found a form of design in nails and made them his expressive compositional element. On boards, wooden planks, tree stumps they were nailed and partly whitewashed, enabling him to work out space and movement. He assembled them in both dynamic and strictly symmetrical arrangements to form moving masses and formations or, as here, presented them in single forms. In 1961 Uecker joined the ZERO group and worked together with Heinz Mack and Otto Piene. The central question of the ZERO group is that of art itself. Is art only meant to be depicted? It is precisely this question that must be overcome! The aforementioned artists have done revolutionary work that continues to resonate in contemporary art to this day. We are pleased to offer in this auction a larger-than-life single nail made of steel. Standing on the head of the nail with the tip of the nail rising up, it is detailed with grip grooves and created with a height of 178 cm. Through the nail as sculpture, Uecker translates the main element of his artistic language itself into a form of its own - a form of immense size considering the actual size of a common nail. A small nail that is usually hammered or driven in to fasten, hold together or construct things is not shown here. Rather, the artist's method and the accompanying means of his art are brought into a sculptural form: the nail itself. So it is not a matter of depicting a nail here, but of representing his own artistic work, within a sculpture.
Lot 123
Wahed Khakdan (1950 Teheran)Stillleben mit Pierrot-Marionette und Clown, Öl auf Leinwand, 32 cm x 43 cm, signiert, 92 datiert, Rahmen partiell beschädigtWahed Khakdan (1950 Tehran)Still life with Pierrot marionette and Clown, oil on canvas, 32 cm x 43 cm, signed, dated 92, frame partly damaged
Lot 6
Johann Schlesinger (1768 Ebertsheim - 1840 Sausenheim)Früchtestillleben mit Äpfeln und Trauben, Öl auf Leinwand, 49 cm x 49 cm, signiert, 1834 datiert, craqueliert, partiell kleine Farbabplatzer, partiell retuschiertJohann Schlesinger (1768 Ebertsheim - 1840 Sausenheim)Still life with apples and grapes, oil on canvas, 49 cm x 49 cm, signed, dated 1834, craquelure, small paint chippings in places, partially retouched
Lot 121
Oya Zaim Katoglu (1940 Türkei)'Denizde Gezinti', Öl auf Leinwand, 40 cm x 30 cm, signiert, 73 datiert, leicht fleckig, partiell minimal craqueliert, minimaler FarbabplatzerDie 1940 in Istanbul geborene Malerin Oya Katoglu schloss ihr Studium an der Universität Ankara, Fakultät für Sprache, Geografie und Geschichte, Fachbereich Kunstgeschichte, ab. Die Tochter des Malers Turgut Zaim wurde Mitglied der in der Schweiz ansässigen Gruppe "Henri Rousseau". 1969 gewann die Künstlerin den zweiten Preis im der Art Critisism Society, sowie im Jahr 1975 den Sonderpreis der Jury der Internationalen Malereiausstellung Zürich. Nur zwei Jahre zuvor, entstand das Gemälde "Denizde Gezinti" (dt. "Eine Kreuzfahrt auf dem Meer"). Im Stile der Naiven Malerei zeigt die Künstlerin ein heutzutage weiterhin aktuelles und politisch brisantes Bildthema: Kleine Boote auf offenem Meer, die mit Menschen gefüllt sind. Einige der Personen sind in Rückenansicht dargestellt, doch einige betrübte Gesichter voller Sorge, ob sie ein Leben in einem Land mit besseren Lebensbedingungen finden würden, sind deutlich zu erkennen. Männer, Frauen und Kinder sitzen in diesen Booten. Die genaue Aussage des Werkes bleibt aufgrund der zurückhaltenden Formsprache verborgen. Sicherlich könnte es sich um Flüchtlinge handeln, damals genauso wie heute. Zumal keine Person Hab und Gut oder jegliche Besitztümer bei sich haben, ausser der Kleidung die sie tragen. Auf künstlerische Art und Weise spricht Oya Zaim Katoglu gesellschafts- und sozial-kritische Themen an.Oya Zaim Katoglu (1940 Türkei)'Denizde Gezinti', oil on canvas, 40 cm x 30 cm, signed, dated 73, slightly stain spotted, partial minimal craquelures, minimal paint chippingsBorn in Istanbul in 1940, the painter Oya Katoglu graduated from Ankara University, Faculty of Language, Geography and History, Department of Art History. The daughter of the painter Turgut Zaim became a member of the Swiss-based group ''Henri Rousseau''. In 1969, the artist won the second prize in the Art Critisism Society, as well as the special prize of the jury of the International Painting Exhibition Zurich in 1975. Only two years earlier, she created the painting ''Denizde Gezinti'' (engl. ''a cruise on the sea''). In the style of naive painting, the artist depicts a subject that is still topical and politically explosive today: small boats on an open meet filled with people. Some of the people are depicted in back view, but some saddened faces full of concern as to whether they would find a life in a country with better living conditions are clearly visible. Men, women and children sit in these boats. The exact message of the work remains hidden due to the restrained formal language. Certainly, they could be refugees, then as now. Especially since none of the people have any belongings with them, except the clothes they are wearing. In an artistic way, Oya Zaim Katoglu addresses societal and socially critical themes.
Lot 50
Pablo Picasso (1881 Malaga - 1973 Mougins) (F)'Spanish pitcher', weißes Steingut, polychrom staffiert, Maße 18 cm x 12 cm x 26 cm, unterseitig 'EDITION PICASSO 139/200 MADOURA' bezeichnet und nummeriert, 'MADOURA PLEIN FEU' und 'EDITION PICASSO' gestempelt, partiell minimal fleckig, unterseitig berieben, Literatur: Wvz. Ramié 244, mit farb. Abb.Pablo Picasso gilt als einer der bedeutendsten Künstler des 20. Jahrhunderts. Sein umfangreiches Oeuvre beinhaltet ebenso Gemälde, Zeichnungen, Skulpturen wie Grafiken, Literatur und Keramik. Zu Lebzeiten hat er seine nahestehenden Künstlerkollegen sicherlich ebenso beeinflusst, wie sie ihn - zumal er mit einigen Kollegen im berühmten Pariser Bateau-Lavoir lebte und dessen Ateliers mit ihnen teilte. So hat er mit George Braque den Kubismus erarbeitet, sowie seine bekanntesten Werke Guernica und die Demoiselles d'Avignon geschaffen. Neben diesen weltbekannten Kunstwerken sind die rund 3000 Keramiken, die Picasso anfertigte, zwar kaum bekannt, doch nicht weniger bedeutend. Entstanden sind diese Keramiken gleichermaßen in einem ebenso kreativen und geradezu experimentellen Prozess, wie er zu seinen Skulpturen und Gemälden verfolgte. Die Keramiken Picassos sind nicht nur ein Nebenprodukt seiner künstlerischen Tätigkeit, sondern eine künstlerische Möglichkeit seiner Kreativität weitere Ausdrucksmöglichkeiten zu bieten. Angefertigt wurde ein enormes Gesamtwerk, mit dem er das bestehende Kunstsystem herausfordern und überwinden wollte. Denn durch die Mischung aus Gebrauchsgegenstand und Kunstwerk hat er einen Weg finden können die Kunst nicht etwa zu glorifizieren, sondern sie in das alltägliche Leben einfließen zu lassen. Picasso wollte seine Kunst einem breiten Publikum zugänglich machen. Seine Keramiken und vor allem die Serienauflagen ermöglichten ihm, dieses Ziel zu erreichen: durch die Form der Gebrauchskeramik. Während einer Töpferausstellung traf der Künstler Suzanne und Georges Ramie, die Eigentümer der Keramikwerkstatt Madoura. Picasso unternahm seine ersten Versuche mit Keramik. Er nutzte Ton, schuf Faune und Nymphen, dekorierte Platten und Teller mit seinen bevorzugten Motiven wie den Stierkampf, Frauen, Eulen, Ziegen, benutzte ungewöhnliche Unterlagen und entwickelte selbst eine weiße Tonmasse. Immer wieder ist in seinen Keramiken zu erkennen, wie eng verwurzelt Picasso mit der jahrtausendealten Geschichte der Keramik war. Von klassischen griechischen Vasen mit roten und schwarzen Figuren über die etruskischen Buccheri, den Tongefäßen der prähispanischen Kulturen bis zur volkstümlichen Keramik aus Spanien und Frankreich. Picasso kannte die zahlreichen im Louvre in Paris ausgestellten Keramikobjekte der antiken Mittelmeerkulturen, besaß viele Bücher zu antiker Kunst und bezog seine Inspirationen - sowohl hinsichtlich der Formen als auch der Themen eines Großteils seiner Keramiken - aus Gefäßen mit menschlichen oder tierischen Formen. Der Künstler schuf sogar fiktive "antike" Keramiken und bemalte archäologische Keramikfragmente. Als ganz wesentlich ist an dieser Stelle anzumerken, dass Picassos Keramiken sich nicht nur auf die Traditionen dieser Kunstform beziehen, sondern auch auf seinen eigenen Werdegang als Künstler. Durch verschiedene Keramiken wird deutlich, wie er seine gestalterischen Erfahrungen als Maler, Graveur und Bildhauer und die entsprechenden Motive seiner Gemälde, Lithografien und Zeichnungen auch in der Ausformung und Bemalung des Steinzeugs verwendet. Ebenso nutzt er seine neu gewonnenen Erfahrungen aus dieser Arbeit für Kunstwerke malerischer Form. Somit erneuerte er auch das eigens geschaffene Motiv der Taube, das er 1949 als Plakat für den Pariser Weltfriedenskongress entwarf, welches bis heute als weltweites Friedenssymbol gilt. Pablo Picasso (1881 Malaga - 1973 Mougins) (F)'Spanish pitcher', white stoneware, polychrome painted, dimensions 18 cm x 12 cm x 26 cm, on the reverse EDITION PICASSO 139/200 MADOURA inscribed and numbered, MADOURA PLEIN FEU and EDITION PICASSO stamped, partially minimally stained, rubbed on the reverse side, Literature: Cat. Rais. Ramié 244, with colour ill. Pablo Picasso is considered one of the most important artists of the 20th century. His extensive oeuvre includes paintings, drawings, sculptures, graphics, literature and ceramics. During his lifetime, he certainly influenced his close artist colleagues as much as they influenced him - especially since he lived with some colleagues in the famous Parisian Bateau-Lavoir and shared its studios with them. He thus worked on Cubism with George Braque, as well as creating his most famous works Guernica and the Demoiselles d'Avignon. In addition to these world-famous works of art, the 3000 or so ceramics that Picasso made are little known, but no less important. These ceramics were created in an equally creative and almost experimental process as he pursued for his sculptures and paintings. Picasso's ceramics are not just a by-product of his artistic activity, but an artistic opportunity to offer his creativity further possibilities of expression. An enormous body of work was produced with which he wanted to challenge and overcome the existing art system. For by mixing utilitarian objects and works of art, he was able to find a way not to glorify art, but to let it flow into everyday life. Picasso wanted to make his art accessible to a broad public. His ceramics and especially the serial editions enabled him to achieve this goal: through the form of utilitarian ceramics. During a pottery exhibition, the artist met Suzanne and Georges Ramie, the owners of the Madoura ceramics workshop. Picasso made his first experiments with ceramics. He used clay, created fauns and nymphs, decorated plates and platters with his favourite motifs such as the bullfight, women, owls, goats, used unusual supports and developed a white clay mass himself. Time and again, his ceramics reveal how closely Picasso was rooted in the millennia-old history of ceramics. From classical Greek vases with red and black figures to the Etruscan buccheri, the clay vessels of the pre-Hispanic cultures and the popular ceramics from Spain and France. Picasso was familiar with the numerous ceramic objects of the ancient Mediterranean cultures exhibited in the Louvre in Paris, owned many books on ancient art and drew his inspiration - both in terms of the forms and the themes of a large part of his ceramics - from vessels with human or animal forms. The artist even created fictitious "ancient" ceramics and painted archaeological ceramic fragments. It is essential to note at this point that Picasso's ceramics not only refer to the traditions of this art form, but also to his own development as an artist. Through various ceramics, it becomes clear how he uses his creative experiences as a painter, engraver and sculptor and the corresponding motifs of his paintings, lithographs and drawings in the shaping and painting of the stoneware. Likewise, he used his newly gained experience from this work for works of art in painterly form. Thus, he also renewed the specially created motif of the dove, which he designed as a poster for the Paris World Peace Congress in 1949 and which is still considered a worldwide symbol of peace today.
Lot 120
1980 Rolls-Royce Silver Shadow II Transmission: automaticMileage:5613The Rolls-Royce Silver Shadow II is the epitome of 1970's luxury motoring. The original Silver Shadow was released in 1965 and made way for the vastly improved Shadow II in 1977, which would stay in production until 1980. The Silver Shadow II was known for its silky-smooth ride and powerful V8 engine, which provided plenty of power for the car's substantial size. It also featured a number of advanced features for its time, such as a sophisticated self-levelling suspension system and an air conditioning system which could be operated independently for the driver and front passenger. The Shadow II also gained rack and pinion steering, which vastly improved the handling over its predecessor. The interior of the Silver Shadow II was of course the height of luxury, with the finest wood veneer and leather upholstery.This particular example is something of a time-warp, showing just 5,613 miles and having been cherished in present ownership since 1980. The car was purchased as a virtually brand new car, supplied by Lex Mead in Weybridge, allegedly a cancelled order due to the original purchaser opting for the newly released Silver Spirit instead. The car presents exceedingly well in white with a period correct vinyl roof and brown leather upholstery. For a 43 year old car, the condition is certainly impressive, with just a few minor paint blemishes, all commensurate with the age and originality of the car. The history file contains eight MoT test certificates ranging from 1983 to 2018, showing a steady increase in mileage over the time.A vast majority of the mileage was attained during the early part of the cars' life, a Rolls-Royce service stamp records a mileage of 5,179 miles in May 1986, the service sticker is still present inside the driver's door shut. Following that, we have MoT's in September 1986 at 5,216 miles, October 1988 at 5,269 miles and then March 2000 at 5,276 miles. We then arrive at an invoice dating from May 2005, for work at West Hoathly Rolls-Royce specialists, with an odometer reading of 5,380 miles. The work undertaken was a very thorough service and recommissioning process, which includes drive belts, the invoice totalling £3,233.66. The car was then MoT'd again in June 2011 with 5,490 miles and most recently, in November 2018 with 5,603 miles. The most recent service invoice was also in November 2018, again from West Hoathly, for work on a very thorough service and recommission, the invoice totalling £5,465.33.This Shadow II would be the perfect addition to any Rolls-Royce collection, it is likely one of the lowest mileage examples remaining and has been virtually a single owner car its whole life. Don't miss the opportunity to purchase a highly original, remarkably low mileage example of one of the greatest status symbols of the 1970's.
Lot 129
1994 Jaguar XJS Convertible Transmission: automaticMileage:67500The Jaguar XJS Convertible, which first appeared in 1988, was considerably more than just a coupé with the roof removed. The earlier 'T'-top cabriolet paved the way as the first open Jaguar since the demise of the E-Type in 1975 but this was to be the first full convertible and a strengthened sub-frame was employed in order to alleviate scuttle shake. Retaining the roomy cockpit space of the coupé, the new convertible naturally boasted all the expected Jaguar refinements as standard making for a very fine, open grand touring car. The XJS was continuously developed during its 20 year production life. Today, this model is very much establishing itself as a most worthy latter day classic with good examples being eagerly sought by connoisseurs of the marque.This superb example of this luxurious sports convertible is presented in Regency Red with a cream leather interior, which was re-upholstered in 2020 to a very high standard. The car comes with a black electrically operated hood and both the interior and exterior are in absolutely superb condition. The history file is comprehensive with 19 service stamps and accompanied by two keys. Our vendor has treated the car to ceramic Pro-paint protection. Powered by the smooth six-cylinder 4.0 litre engine mated to an automatic gearbox, this British sports car still looks as fabulous as it did the day it was manufactured.
Lot 132
1987 BMW 325i Sport M-tech 1 Transmission: manualMileage:121407The BMW E30 325i Sport was manufactured between 1986 and 1991. It is best known for its sporty looks, powerful engine, and excellent driving dynamics. The E30 325i Sport is a rear-wheel-drive car, which features a 2.5 litre inline-six engine, producing 161bhp and 167 lb-ft of torque. The engine was paired with either a five-speed Getrag manual transmission or a four-speed automatic unit, both providing a smooth and responsive driving experience. The E30 325i Sport was also equipped with sport suspension, a limited-slip differential, and larger brakes, which made the car one of the very best driver's cars of its time.This particular example presents superbly in Diamondschwartz with a two-tone grey houndstooth and black cloth interior. With just four owners from new, this car has clearly been cherished throughout its life and looks as though it has never been repainted. Small details such as the VIN number on the scuttle panel are still very clear to see, something which can often be lost when a car is repainted and the pinstripes down the flanks of the car look to be original.The service history for this car is particularly impressive, with 22 stamps in the service book and further invoices for servicing. The most recent service stamp is showing as a BMW Inspection II and cambelt service at ETA Motorsport in October 2019. The car is currently fitted with a later M-tech 2 steering wheel, but the original M-tech 1 steering wheel is supplied with the car, along with all owner's manuals and books.These cars are very rarely available, and even less so with such a comprehensive service record. Interest has really piqued in these cars in recent years, with some even leaning towards the 325i Sport instead of the M3, due to its silky smooth straight-six engine opposed to the M3's tamer four-cylinder offering. This example ticks all the boxes and is estimated very reasonably, offering much more character than many of the latest BMW M departments offerings.
Lot 204
2004 Porsche 911 / 996 Carrera 4S Transmission: automaticMileage:122977The Porsche 911/996 Carrera 4S is fast becoming one of the most desirable 996 models, given its wide turbo body looks and still remaining very affordable in the modern classic world. It offers a thrilling driving experience and is powered by 3.6 litre flat-six engine, producing a highly respectable 316bhp. This engine was paired to either a six-speed manual transmission or an optional five-speed Tiptronic automatic. The car was also fitted with an all-wheel drive system, giving it excellent traction and handling in any conditions. The 996 Carrera 4S has a top speed of 174mph and a 0-60 time of just 4.8 seconds, making it one of the fastest cars in its class.This example was optioned from new with the Tiptronic gearbox, making it a fine package for long distance cruising, or city commuting. The car has a comprehensive service history, with 12 stamps in the service book, all being from Porsche main agents until 2012 at 91,049 miles. Following that, the servicing has been carried out by Porsche specialists JMG Porsche and Tower Porsche, with one more visit to Porsche Mid Sussex in 2016 at 108,952 miles. The most recent service was carried out by Tower Porsche in March 2023 at 122,576 miles.The car presents in Arctic Silver, which still looks in great condition. The interior also looks excellent with the seat bolsters still in very good shape and the overall impression is of a car which has been in caring ownership throughout its life. Our vendor had a very detailed inspection carried out prior to purchasing the car in November 2021, which can be viewed upon request as a PDF or indeed read through it in the history file.Our vendor also went to the trouble of fitting a Pioneer SPH-DA230DAB 7 € touch screen entertainment system, which offers Apple CarPlay, Bluetooth and DAB radio, bringing the car up to modern day standards. The car was also fitted with upgraded Alpine speakers, which are an improvement over the ageing original items.
Lot 211
2003 Bentley Arnage T Transmission: automaticMileage:127418The Arnage T can lay claim to the title of world's fastest saloon, needing all but the last two spots on its 170mph speedometer. It is powered by another version of the 6.75 litre Rolls-Royce, V8 engine but treated to what Bentley described as 'the most thorough re-engineering of its life'. Other changes included the adoption of a 'drive-by-wire' throttle to go hand-in-glove with Bosch's Electronic Stability Program which replaced the Red Label's traction control but what really gives this nearly three-ton car its immense poise is a revised suspension that features 57% more roll stiffness than the Red Label. The car's basic structure is also 10% stiffer which means there are no creaks and squeaks of the sort that distinguished previous generations of Bentleys.This lovely three owner example is presented in Silver Storm with Linen leather interior. The servicing was carried out by Broughtons of Surrey up until 2010 with invoices totalling £8083.54 and from 2010 to 2022 the car was looked after by N.Sandell Rolls Royce and Bentley specialists with invoices totalling £32,853.80 €“ which shows clearly that this rare and sought after Bentley Arnage T has indeed been kept with no expense spared in its lifetime. The previous owner, who was only the second owner having purchased the car in 2005, had been the only driver predominantly and being generally the only individual in the car has resulted in the interior being in excellent general condition and still is as the present owner has used it sparingly. A great luxury tourer which ouzes opulence but has terrific performance to match. Rare indeed!
Lot 224
1990 Porsche 928 S4 Transmission: automaticMileage:124287The Porsche 928 burst onto the scene in 1978 and became the first (and still only) sports car to win European car of the year award. The 928 was continually developed until reaching the S4 in 1987, which would stay in production until 1991. The 928 S4 is powered by a 5.0-litre V8 engine, producing 316bhp and 317 lb-ft of torque, which provides effortless acceleration and a top speed of 165mph. The 928 S4 was also one of the most technologically advanced cars of its time, with features such as ABS, airbags, and an advanced suspension system. Its timeless design, with its low profile and smooth lines, has aged exceedingly well and is still highly regarded by car enthusiasts across the globe.This particular example began its life in Japan, which is far from a bad thing. Many will know that the cars being imported from Japan tend to find themselves in far better condition than their UK delivered siblings, due to the lack of salt on Japanese roads and their highly scrutinous MoT requirements. This car is no exception, the Slate Grey metallic paintwork still presents in superb order and the Linen leather interior is also in exceptional order. The odometer reading of 124,287km would translate to around 76,000 miles and the condition could easily pass as being far lower. The wheels look to still be in their factory finish too.There is some evidence of servicing during the cars time in Japan, however without being an expert in the Japanese language, it is rather hard to translate. Since the cars arrival in the UK in 2016, it has been maintained properly, with evidence of four services in that time, including a £3,862 invoice in 2021 for work on a big engine overhaul including the all important cambelt service. The car comes to auction with a valid MoT until 2nd May 2024.Our vendor has owned this car as part of his private collection and has now decided he needs to free up a space in his garage. The car will be missed, but since it hasn't been getting as much use as intended, he has decided it is time to let someone else enjoy this excellent 928. What better way to celebrate the 75th anniversary of Porsche this year than with one of the models which helped to save the company?
Lot 1653
CERNY, GERHILD (Malerin 20. Jh.), "Stillleben mit Blumen in Glasvase", u.re. signiert, Öl/Leinwand, HxB: ca. 60x40 cm (68x48 cm mit Rahmen). Leichte Altersspuren. Mit Rahmen.| CERNY, GERHILD (painter 20. Century), "Still life with flowers in a glass vase", l.r. signed, oil/canvas, HxW: approx. 60x40 cm (68x48 cm with frame). Slight signs of age. With frame.
Lot 1684
STEINER, H. (Maler/in 20. Jh.), "Stillleben mit Maiskolben", vor Früchtekorb, Blumenvase und Flasche drapiert, u.re. signiert, auf der Leinwandrückseite bezeichnet, Öl/Leinwand, HxB: ca. 65x50 cm (80x65 cm mit Rahmen). Wenige minim. Farbabplatzer/-berieb. Mit Rahmen. Leichte Altersspuren.| STEINER, H. (painter 20th century), "Still life with corn on the cob", draped in front of a fruit basket, flower vase and bottle, signed, inscribed on the back of the canvas, oil / canvas, HxW: approx. 65x50 cm (80x65 cm with frame). A few minim. paint chipped / rubbed. With frame. Slight signs of age.
Lot 68
Attributed to Basilio Santa Cruz Pumacallao (Cuzco, Peru, 1635 - 1710) "Death of St. Joseph before Mary, Jesus and St. John the Evangelist" Oil on canvas. 128 x 175.5 cm. Basilio de Santa Cruz Pumacallao, along with Diego Quispe Tito, dominated the artistic panorama during the last quarter of the 17th century of the Cuzco school. Its most relevant patron was Bishop Manuel de Mollinedo y Angulo (1673-1699), a Spanish cleric who arrived in Cuzco in 1673. As indicated by the Royal Academy of History, Pumacallao was an: “Active painter in Cuzco in the second half of the 17th century. He was an indigenous painter considered to be among the founders of the Cuzco school. Like Quispe Tito and other painters of his time, Santa Cruz was a member of the Inca aristocracy. His career began around 1661, when the Franciscans of Cuzco commissioned him to paint twelve angels and an equal number of Madonnas for their church, paintings that are now lost. This painting is comparable to that preserved in the Church and Convent of St. Francis in Santiago de Chile, which represents the appearance of a musical angel to ailing St. Francis. The scene narrates, in an everyday and natural environment - the room of a Jewish home with a beautiful still life of flowers and fruit on a table - the definitive departure to Heaven of the Putative Father of Jesus. According to the Apocryphal Gospels, the Carpenter is said to have lived 111 years in perfect health, spending about 20 with Jesus. "His body was not haggard, he had not delicate eyesight, nor even a single tooth spoiled in his mouth. He never lacked sanity and prudence, and always preserved his sound judgment, even being a venerable old man of 111." On a certain day - he explains in apocryphal text - St. Joseph received the visit of an angel who informed him that that same year he was going to die. He then travelled to Jerusalem, "entered the temple of the Lord, knelt before the altar, and prayed asking that when the moment came, he would not be abandoned by his guardian angel or St. Michael the Archangel." Pumacallao captured that moment, with St. Michael at the foot of his bed, wearing a crown of glory, waiting to help him make the passage into eternity. In the background, but without being unimportant, are the friends and apostles of Jesus, among whom the artist highlights St. Peter, "waiting for the moment when the gates of Paradise will be opened to him." An apparently normal scene, charged with the mysticism of the characters and the gentleness and humility with which he dies.
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