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Lot 188
Antoni Tapies (1923 - 2012) 'Dessin inedite de Antoni Tapies', 1995 Lithograph in colours on Arches paper Signed in the stone by the artist and by Phillipe de Rothschild Around the image and text is an indented section made by a machine. Edition: Size unknown Paper size 46 by 33cm Literature: Mouton Rothschild, “Paintings for the Labels”, Published by Sotheby's 2007. The book was published when the exhibition of the original paintings for all the labels was hosted by Sotheby's in New York City. ARR charges may be applicable
Lot 473
pair of earrings in white gold (18 carat) each with one stone - in total : 1,26 carat of quality old brilliant cut diamonds || Paar oorbellen met dormeusemodel in witgoud (18 karaat) telkens met een old cut briljant met mooie schittering - in totaal : 1,26 karaat witte (H/I) kwaliteitsbriljant (Vs)
Lot 161
Ca. 200-300 AD.A beautiful gold pendant featuring a ribbed loop and plaque with an openwork foliate border. The central cell displays a stone intaglio engraved with a left-facing portrait of Hermes, depicted in the Archaic Greek fashion. The back is plain and unworked. Adopted in the Roman pantheon as Mercury, he was the messenger of the gods and an important deity in the Graeco-Romano pantheon. This item is fully wearable and it comes with a modern necklace cord.Size: L:28.6mm / W:21.1mm ; 8.25gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 188
Ca. 100-200 AD.A red stone intaglio engraved with a central tropaion, the war trophy flanked by two kneeling figures of captives. The intaglio is set in a beautiful gold finger ring composed of a tapering hoop, slightly rounded on the outside and flat inside. Tropaion was a victory monument built by ancient Greeks and Romans after the battle from the captured armour and weapons of the enemy from the battlefield. It would be a votive offering to a deity in thanksgiving for the victory. Only the winning party had the right to build a tropaion; in the event of a seemingly inconclusive result, both sides set up a tropaion.Size: D: 15.8mm / US: 5 1/8 / UK: K; 6.19gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.
Lot 200
Ca. 400-300 BC.A rock crystal ring stone depicting standing goddess Aphrodites, partially draped and leaning her foot on a short column. Venus was the god of love, beauty, desire, sex, fertility, prosperity and victory. Adopted in the Roman panthon as Venus, she was an especially important goddess for the Romans as she was also the mother of Aeneas, their mythical ancestor.Size: L:17.1mm / W:11.6mm ; 0.78gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Lot 203
Ca. 1-100 AD.An amethyst disc-shaped ring stone engraved with a depiction of Eros seated with a laurel wreath on the back of a large winged phallus with the legs and tail of an eagle. Size: L:13.1mm / W:13.1mm ; 0.94gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Lot 214
Ca. 100-300 AD.An oval chalcedony ring stone depicting Eros, the god of love, holding a whip and sitting upon the dolphin's back, finely detailed with its pointed snout and fan tail. For a similar intaglio see Richer Gisela M. A., Catalogue of Engraved Gems. Greek, Etruscan and Roman, (Met Museum), Plate XLII, nos. 312-314.Size: L:12.6mm / W:10.9mm ; 0.9gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 215
Ca. 100-300 AD.A chalcedony ring stone with a left-facing portrait of Apollo, portrayed with youthful and handsome features. Worshipped as the god of archery, music and dance, and the patron of Delphi, he was one of the most important god in the Greco-Roman pantheon.Size: L:17.4mm / W:13.7mm ; 1.03gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 217
Ca. 100-300 AD.A charming chalcedony ring stone with a finely engraved portrait of a left-facing goddess. She is displayed with an elaborately styled coiffure, aquiline nose, and overall calm expression.Size: L:16.1mm / W:13.4mm ; 2.17gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 239
Ca. 100 AD.A pink carnelian ring stone bearing an engraved depiction of a bee within a laurel wreath - a symbol of glory, fame, triumph, and victory, also a prize for a winner in a battle or sports competition. It was awarded to victorious leaders, artists, and sportsmen.Size: L:12.8mm / W:11mm ; 0.62gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 240
Ca. 100-300 AD.A carnelian ring stone with a left-facing portrait of Zeus, the god of the sky, lightning, and thunder, who was also the king of the gods. He was the most important god in the Greco-Roman Pantheon and was as celebrated as he was feared. Size: L:10.4mm / W:9.9mm ; 0.6gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 25
Late Dynastic Period, Ca. 664-332 BC.A fine jar of a squat form, hand-carved from creamy-yellow alabaster with integral tan and white bands coursing throughout. The vessel boasts a flat base, an apple-shaped body with a rounded shoulder, and a thick rim. The drilled interior cavity has a conical shape and would have likely held copious amounts of kohl eye makeup. The exterior of the vessel has been meticulously polished to an aesthetically pleasing texture, making this an exceptional example of skilful Egyptian stone-carving. In Ancient Egypt, alabaster jars were used as containers for ointment, perfume, and other cosmetic products, such as kohl. The alabaster used by ancient civilisations in the wider Middle East (including Egypt and Mesopotamia) is also called “oriental alabaster”, which is a type of calcite. For alabaster vessels of similar style and age see Hodjash, S.; Ancient Egyptian Vessels, State Pushkin Museum of Fine Art, Moscow.Size: L:93mm / W:84mm; 439g.Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection.
Lot 309
Ca. 19th century AD or earlier.An elongated shape agate bead pendant with applied gold fittings on both terminals, decorated with filigree. The bead design suggests the origin of the “Dzi bead”. Although the geographic origin is uncertain, it is accepted that they are now generally known as 'Tibetan beads'. The Dzi are stone beads worn as part of a necklace or bracelet. Many Asian cultures around Tibet prize Dzi as protective amulets and for positive spiritual benefits. Artisans used agate as the base stone and then embellished the bead's lines and shapes using ancient methods that remain unknown. Treatments may have included darkening with plant sugars and heat, bleaching and white line etching with natron, and protecting certain areas with grease, clay, wax, or a similar substance. The number of "eyes" (circular designs on the stone), is considered to be significant.Size: L:10.3mm / W:34.9mm ; 8.84gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 31
Ca. 1085-713 BC.A black stone scarab with an oval body and a gently rounded upper side detailing the clypeus, prothorax, and wings. This scarab has wonderfully moulded morphological features in a conventionalised representation of the scaraboid beetle. The underside is flat and unworked. The scarab was thought to represent the sun god Ra. As the sun rolls across the sky between day to night, the Egyptians saw this as the scarab beetle rolling its ball of dung across the desert. The beetle would lay its egg within the dung which became a symbol of rebirth and regeneration. The scarab was the most important amulet in Ancient Egypt.Size: L:17.7mm / W:12.8mm ; 3.08gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 34
Ca. 3100-2500 BC.A fine Bactrian alabaster bowl, featuring a flat foot, a slightly bulbous body with the sides flaring outwards terminating at a flared rim. It has a beautiful cream colour, with contrasting veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these are all characteristic of the Bactrian material culture. Size: L:115mm / W:45mm ; 269gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 342
Ca. 100-300 AD.Modeled with thin features, the face with a serene expression, with heavy-lidded downcast eyes and bow-shaped lips, his crescent-form rippling curls pulled over the domed ushnisha. His ears elongated showing intricate form, a large central hole for urna which would have been a precious stone. Mounted on a custom-made stand.Size: L:220mm / W:145mm ; With stand: 3.2kg.Provenance: Property of a London Ancient Art Gallery; previously with a London gentleman; formerly with Mahboubian Gallery, London, UK; acquired before 1972; accompanied by an old museum-quality photograph; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10795-177900.
Lot 353
Ca. Late 3rd – early 2nd millennium BC.A finely carved and polished stone trade weight in the shape of a sleeping duck with its head, resting on its back. The base is flat and unworked. Sumerian duck weights were made in various sizes and materials (hematite, alabaster, agate) and they were commonly used to trade goods of equivalent value. For a similar example, see The Metropolitan Museum of Art, Accession Number: 1980.324.2.Size: L:32.8mm / W:67.6mm ; 70.23gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.
Lot 355
Ca. 3000 BC.Cylinder seal of brown stone. Standing horned animal, big ear of grain behind, eye-shape between legs. Good condition. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. Size: L:47mm / W:17mm ; 20.36gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 356
Ca. 3000 BC.Cylinder seal of translucent greenish stone. Three pairs of two fish. Worn, but design clear. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:27mm / W:22mm ; 22.66gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 357
Ca. 3000 BC.Cylinder seal of pink stone. Ten vertical rows of sundry pots done with the drill. Condition very good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:23mm / W:23mm ; 22.41gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 358
Ca. 3000 BC.Cylinder seal of brown stone. Three squatting women holding pots with handles, other pots around. Worn, but design clear. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:22mm / W:20mm ; 15.94gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 359
Ca. 2200-2000 BC.Cylinder seal of black stone. Two heraldic eagles tête-bêche, between running, looping band of three lines. Condition very good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:21mm / W:10mm ; 3.29gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 373
Ca. 3000 BC.Cylinder seal of white stone, not drilled. Frieze of two eye-shapes separated by vertical lines. Very good condition. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:20.5mm / W:18mm ; 12.35gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 374
Ca. 3000 BC.Cylinder seal of pink stone. Frieze of three walking horned animals. Condition good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:18mm / W:19mm ; 11.43gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 376
Ca. 3000 BC.Cylinder seal of black stone. A standing horned quadruped and two eye-shapes, then a temple facade like a tree between bands of zig-zag. Condition fine. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:18mm / W:13mm ; 5.76gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 383
Ca. 3000 BC.A stone carved vessel featuring a shallow bowl with rounded walls, standing on three short legs. Each leg in the shape of a bulbous shaped lug. Possibly ritual artefact. Size: L:70mm / W:155mm ; 2.37KgProvenance: Property of a London doctor; formerly with a London ancient art gallery; previously in the Derek Content collection; acquired from Richard Trescott in the 1980s.
Lot 384
Ca. 3000 BC.A stone carved vessel featuring a shallow bowl with rounded walls, standing on three short legs. The thick rim contains four longitudinal cuts. Possibly ritual artefact. Size: L:100mm / W:250mm ; 4.39KgProvenance: Property of a London doctor; formerly with a London ancient art gallery; previously in the Derek Content collection; acquired from Richard Trescott in the 1980s.
Lot 386
Ca. 700-500 BC.A stone scaraboid decorated on the flat side with a left-facing running deer with a human-like figure on its back. Perforated longitudinally for suspension. The Phoenicians were a major maritime civilisation originally based in the Eastern Mediterranean before spreading across the Eastern Mediterranean to found Rome's great rival, Carthage. Phoenician culture developed its own distinct and rich mythological tradition. Size: L:19.7mm / W:26.4mm ; 8.64gProvenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1970s on the UK / International art markets.
Lot 39
Ca. 3000-2000 BC.A fine Bactrian alabaster vessel featuring a rounded base with the sides of the body slightly flaring outwards terminating at a flared rim. It has a beautiful cream colour, with veins of white and light brown running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, together with the well-known column or circular idols, these are all characteristic of the Bactrian material culture.Size: L:205mm / W:100mm ; 1.62kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 40
Old Kingdom, Ca 2686-2160 BC.A beautiful conical bowl, with tapering walls and a flat base. Sculpted to exploit the natural veining of the stone. Clearly, the craftsman knew how to take advantage of the swirling bands of colour of the alabaster to give a sense of movement as a decorative element on the vessel.Size: L:70mm / W:25mm ; 96gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 400
Ca. 3000 BC.Cylinder seal of fawn and pink stone. A repeated panel of two water creatures with interposed shape. Condition very good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:19mm / W:10mm ; 3.09gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 401
Ca. 3000 BC.Cylinder seal of black stone. Frieze of three waking quadrupeds with items above their backs. Condition fair. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:13mm / W:13mm ; 4.13gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Lot 428
Ca. 3000 BC.A boat-shaped axe head with a rounded butt and a central hole drilled in to accept a haft. During the Neolithic period, stone axes were a widely used tool for multiple different tasks: to clear forests for early farming, and to make space to grow crops. When needed, they were also used as a weapon.Size: L:140mm / W:55mm ; 600gProvenance: Property of a London collector; formerly in an old Austrian collection formed since the 1980s.
Lot 44
Ca. 3000 BC.A smooth black stone cup comprising a deep squat body, a flat circular base, and a deep groove running just below the rim. It may have contained any number of things, but the quality of workmanship suggests it was a high-status piece and perhaps only contained valued cosmetic goods, or else ordinary goods at important events.Size: L:60mm / W:90mm ; 351gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 45
Ca. 1st millennium BC.A carved stone foot and lower leg with simplified features. This type of object belongs to a group called anatomical votives - miniature fragments of the human body created from various materials (bronze, pottery, stone) and offered to gods in a plea for healing.Size: L:138mm / W:138mm ; 1.15KgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 46
Ca. 3100-2500 BC.A stunning alabaster chalice with a tall stem and a conical base topped with a bowl with slightly flaring walls. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as columns or circular idols, these objects are all characteristic of the Bactrian material culture. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Cf. Christie's, Live Auction 1915, Antiquities, 6 December 2007, Lot 61.Size: L:140mm / W:75mm ; 425gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Lot 500
Ca. 600-800 AD.A fine amber oval-shaped ring stone bearing an incised depiction of a cross with an X at the centre, on a double plinth. The whole composition is enclosed within a dotted border. The cross, the principal symbol of Christianity, recalls the crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the Christian faith.Size: L:16.4mm / W:12.5mm ; 1.48gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 51
Ca. 1069 BC-664 BC.A stone scarab with well-modelled body, perforation for suspension, and engraved underside. Scarabs, from Latin scarabaeus (“beetle”), which in turn comes from Greek karabos (“beetle”; “crayfish”), were artistic depictions of the Egyptian dung beetle. In Egyptian mythology, these insects were linked to the Sun God Ra, who after his death in the Underworld, was reborn as a scarab. Used as amulets, seals, and to fulfil commemorative functions, scarabs were an important element of dress. Their undersides frequently feature hieroglyphic or geometric designs to identify their owners or ward off evil spirits. See K. M. Kooney (2008). ‘Scarabs,’ in The UCLA Encyclopaedia of Egyptology, available online at https://escholarship.org/uc/item/13v7v5gd Fair condition.Size: L:23.1mm / W:17.7mm ; 8.08gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.
Lot 58
Ca. 3rd Century BC or earlier.A beautiful alabastron made of alabaster of slender form with cylindrical neck and convex disk rim, several encircling lines incised on the shoulder. Alabastra are ubiquitous in the Greek world and frequent in neighbouring regions, particularly the Levant and Egypt. On Cyprus, stone examples begin during the Archaic period (seventh and sixth centuries BC) and become widespread during Classical times. The consistency of the shape makes it difficult to date them and to distinguish local from imported examples. Alabastra served men and women in life and frequently were placed in burials. For a similar alabastron sold at Sotheby’s, see https://www.sothebys.com/en/buy/auction/2021/ancient-sculpture-and-works-of-art/a-hellenistic-gypsum-alabaster-alabastron-circa.Size: L:175mm / W:48mm; 284.3g.Provenance: Formerly in Private US collection; ex. Tom Carson collection, Pennsylvania, acquired 40 years ago.
Lot 94
Ca. 100-500 AD.A beautiful necklace composed of assorted carnelian, stone, and gold beads from the Pyu Dynasty. Restrung on a modern thread and suitable for contemporary wear. Pyu is the name given to an ancient Tibeto-Burman-speaking ethnic group that lived in the Irrawaddy basin, in what is now Burma in the first millennium AD. The Pyu are one of the first advanced civilizations in Southeast Asia.Size: L:260/515mm / W:mm ; 19.78gProvenance: Private UK collection; From an old British collection formed in the 1990s.
Lot 45
CARTIER VINTAGE Sonnenbrille "VENDOME LOUIS AVIATOR". 140 - 1983 - 62 - 14.Goldfarbenes Gestell mit getönten Gläsern in Blau (MIT DIOPTRIN). Nasensteg besetzt mit 3 Brillanten, zus. ca. 0,1 ct. (W-W-/Si-P1). Seitlich fehlt ein Stein. Etui und Papiere anbei. Altersspuren vorhanden. | CARTIER VINTAGE Sunglasses "VENDOME LOUIS AVIATOR". 140 - 1983 - 62 - 14.Gold colored frame with tinted lenses in blue (WITH DIOPTRIN). Nose bridge set with 3 brilliant-cut diamonds, total approx. 0.1 ct. (W-W-/Si-P1). One stone is missing on the side. Case and papers enclosed. Signs of age present.
Lot 409
Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Mitgliedskarte für die passiven Mitglieder der 'Brücke' für 1910. 1910. Lithografie. Ebner/Gabelmann 467 L. Dube L 145. Bolliger 34. Auf blauem Karton. 11,3 x 25,8 cm (4,4 x 10,1 in). Papier: 16,8 x 29 cm (6,6 x 11,4 in). Ausgestellt für 'P. Holstein' (mit handschriftlicher Bezeichnung in Tusche). [KT]. • Aus dem Besitz von Paul Holstein (1884–1947), Jugendfreund von Erich Heckel und Mitschüler Karl Schmidt-Rottluffs in Chemnitz, mit denen ihn anschließend eine lebenslange Freundschaft verbindet. • Holstein ist eines der ersten Mitglieder der 'Brücke', 1906 eingetreten mit der Mitglieds-Nr. 3. • Eines von bisher nur sieben bekannten Exemplaren dieser Mitgliedskarte; weitere befinden sich in der Hamburger Kunsthalle, dem Brücke-Museum Berlin, dem Landesmuseum Oldenburg sowie in Privatbesitz. • Mit emblematischem Brücke-Motiv. • Bisher erst ein anderes Exemplar auf dem Auktionsmarkt angeboten (Quelle: artprice.com). PROVENIENZ: Paul Holstein (1884-1947), Leipzig/Berlin. Barbara Wentzel, Stuttgart (wohl 1975 durch Erbschaft von Prof. Dr. Hans Wentzel erhalten). Sammlung Hermann Gerlinger, Würzburg (1984 von der Vorgenannten erworben, mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). Erich Heckel. Einfühlung und Ausdruck, Buchheim Museum, Bernried, 31.10.2020-7.3.2021, S. 147 (m. Abb.). LITERATUR: Hans Bolliger, E. W. Kornfeld (Hrsg.), Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-1912, Bern 1958, S. 25, Nr. 34 (m. Abb., anderes Exemplar). Hans Bolliger, Die Publikationen und Dokumente der Künstlergruppe „Brücke“, in: Philobiblon, Jg. III, Heft 1, März 1959, S. 41-71, Nr. 31 (m. Abb., anderes Exemplar). Annemarie und Wolf-Dieter Dube, Erich Heckel: Das graphische Werk, Bd. II Radierungen Lithographien, New York 1965, Nr. 145 (m. Abb., anderes Exemplar). Hans Bolliger, Die Publikationen und Dokumente der Künstlergruppe „Brücke“, in: Die Jahresmappen der „Brücke“ 1906-1912, hrsg. von Magdalena Moeller, Ausst.-Kat. Brücke Museum Berlin, Berlin 1989, S. 12-31 (m. Abb. S. 21, anderes Exemplar). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 111, SHG-Nr. 63 a (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 176, SHG-Nr. 393 a (m. Abb.). Renate Ebner, Andreas Gabelmann, Erich Heckel. Werkverzeichnis der Druckgraphik, Bd. I 1903-1913, München 2021, S. 288, Nr. 467 L (m. Abb., anderes Exemplar). 1910 übernimmt Erich Heckel die Gestaltung der Mitgliedskarte. Diese Mal wählt der Künstler das Medium Lithografie und kann technisch bedingt das Motiv der sich auf Brücken bewegenden Figuren sehr frei und großzügig auf den Stein zeichnen. Den Namen des Mitglieds integriert er jeweils direkt in das Motiv. Damit erzielt Heckel nicht nur eine kostbare, persönliche Wirkung, auch der Abzug auf dunkelblauem Papier erhöht den gestalterischen Effekt. Der Theologe Paul Holstein (Chemnitz 1884 – Berlin 1947), 1906 eingetreten, gehört zu den ersten passiven Mitgliedern. Holstein ist Jugendfreund von Erich Heckel und Mitschüler von Karl Schmidt-Rottluff. In dem von Holstein angeregten Debattier-Club 'Vulcan' lernen Heckel und Schmidt-Rottluff sich kennen. Die Freundschaft zu Heckel und Schmidt-Rottluff hält lebenslang. Einer der frühesten Holzschnitte Erich Heckels von 1904 zeigt 'Meinen Freund P' (Ebner/Gabelmann 8H) [MvL] Aufrufzeit: 10.12.2022 - ca. 16.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Mitgliedskarte für die passiven Mitglieder der 'Brücke' für 1910. 1910. Lithograph. Ebner/Gabelmann 467 L. Dube L 145. Bolliger 34. On blue cardboard. 11.3 x 25.8 cm (4.4 x 10.1 in). Sheet: 16,8 x 29 cm (6,6 x 11,4 in). Issued for 'P. Holstein' (with inscription in ink). [KT]. • From the ownership of Paul Holstein (1884–1947), a school day friend of Erich Heckel and fellow student of Karl Schmidt-Rottluffs in Chemnitz, who was his lifelong friend. • Holstein was one of the first 'Brücke' members, he joined the group in 1906 as member number 3. • One of to date only seven knwon copies of this membership card; others are at the Kunsthalle Hamburg, the Brücke-Museum Berlin, the Landesmuseum Oldenburg as well as as in private ownership. • With the emblematic Brücke motif. • To date only one other copy has been offered on the auction market (source: artprice.com). PROVENANCE: Paul Holstein (1884-1947), Leipzig/Berlin. Barbara Wentzel, Stuttgart (inherited from Prof. Dr. Hans Wentzel, presumably in 1975). Collection Hermann Gerlinger, Würzburg (acquired from the above in 1984, with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). Erich Heckel. Einfühlung und Ausdruck, Buchheim Museum, Bernried, October 31, 2020 - March 7, 2021, p. 147 (with illu.). LITERATURE: Hans Bolliger, E. W. Kornfeld (eds.), Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-1912, Bern 1958, p. 25, no. 34 (with illu. different copy). Hans Bolliger, Die Publikationen und Dokumente der Künstlergruppe „Brücke“, in: Philobiblon, year III, issue 1, March 1959, pp. 41-71, no. 31 (with illu. different copy). Annemarie und Wolf-Dieter Dube, Erich Heckel: Das graphische Werk, vol. II Radierungen Lithographien, New York 1965, no. 145 (with illu. different copy). Hans Bolliger, Die Publikationen und Dokumente der Künstlergruppe „Brücke“, in: Die Jahresmappen der „Brücke“ 1906-1912, ed. by Magdalena Moeller, ex. cat. Brücke Museum Berlin, Berlin 1989, pp. 12-31 (with illu. p. 21 different copy). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 111, SHG no. 63 a (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 176, SHG no. 393 a (with illu.). Renate Ebner, Andreas Gabelmann, Erich Heckel. Werkverzeichnis der Druckgraphik, vol. I 1903-1913, Munich 2021, p. 288, no. 467 L (with illu. different copy). In 1910 Erich Heckel took over the design of the membership card. This time the artist chose the medium of lithography and, for technical reasons, was able to draw the motif of the figures moving on bridges very freely and generously on the stone. He integrated the name of the member into the motif. This way Heckel not only achieved a precious, personal effect, but the print on dark blue paper also enhanced the creative effect. The theologian Paul Holstein (Chemnitz 1884 - Berlin 1947), who joined in 1906, was one of the first passive members. Holstein was a childhood friend of Erich Heckel and a fellow student of Karl Schmidt-Rottluff. Heckel and Schmidt-Rottluff got to know each other in the debating club 'Vulcan' which was initiated by Holstein. The friendship with Heckel and Schmidt-Rottluff lasted a lifetime. One of Erich Heckel's earliest woodcuts from 1904 shows 'Meinen Freund P' (My friend P.). [MvL]. Called up: December 10, 2022 - ca. 16.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 533
Marc Chagall 1887 Witebsk - 1985 Saint-Paul-de-Vence La baie des anges au bouquet de roses. 1967. Farblithografie nach einer Gouache. Sorlier CS 30. Signiert und nummeriert. Im Stein bezeichnet 'MARC CHAGALL PINX' und 'CH. SORLIER SCULP.'. Verso typografisch bezeichnet. Aus einer Auflage von 75 römisch nummerierten Exemplaren. Auf Velin von Arches (mit Wasserzeichen). 61 x 45,7 cm (24 x 17,9 in). Papier: 73 x 53 cm (28,7 x 20,8 in). Aus der Folge Nizza und die Côte d'Azur. Gedruckt bei Mourlot, Paris. [EH]. • Aus der Folge 'Nizza und die Côte d'Azur'. • Die Folge ist eine Liebeserklärung Chagalls an seine zweite Heimat. • Chagall findet in der Farblithografie sein Medium der Druckgrafik. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 10.12.2022 - ca. 19.27 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONMarc Chagall 1887 Witebsk - 1985 Saint-Paul-de-Vence La baie des anges au bouquet de roses. 1967. Lithograph in colors after a gouache. Sorlier CS 30. Signed and numbered. Inscribed 'MARC CHAGALL PINX' and 'CH. SORLIER SCULP.' in the stone. Verso inscribed in typography. From an edition of 75 Roman numbered copies. On Arches wove paper (with watermark). 61 x 45.7 cm (24 x 17.9 in). Sheet: 73 x 53 cm (28,7 x 20,8 in). From the series 'Nice and the Côte d'Azur'. Printed by Mourlot, Paris. [EH]. • From the series 'Nice and the Côte d'Azur'. • The series is Chagall's declaration of love to his second home. • The color lithograph is Chagall's preferred print medium. PROVENANCE: Private collection North Rhine-Westphalia. Called up: December 10, 2022 - ca. 19.27 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 534
Marc Chagall 1887 Witebsk - 1985 Saint-Paul-de-Vence Femme au bouquet. 1967. Farblithografie nach einer Gouache. Sorlier CS 37. Signiert und nummeriert. Im Stein bezeichnet 'MARC CHAGALL PINX' und 'CH. SORLIER SCULP.'. Verso typografisch bezeichnet. Aus einer Auflage von 150 lateinisch nummerierten Exemplaren. Auf Velin von Arches (mit Wasserzeichen). 62 x 46 cm (24,4 x 18,1 in). Papier: 74 x 52,5 cm (28,9 x 20,6 in). Aus der Folge Nizza und die Côte d'Azur. Gedruckt bei Mourlot, Paris. [EH]. • Aus der Folge 'Nizza und die Côte d'Azur'. • In dieser Folge vereinigen sich in lyrischen Kompositionen die bevorzugten Motive Chagalls. • Entstanden nach einer Gouache von Marc Chagall, gedruckt im Atelier Mourlot. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 10.12.2022 - ca. 19.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONMarc Chagall 1887 Witebsk - 1985 Saint-Paul-de-Vence Femme au bouquet. 1967. Lithograph in colors after a gouache. Sorlier CS 37. Signed and numbered. Inscribed 'MARC CHAGALL PINX' and 'CH. SORLIER SCULP.' in the stone. Verso inscribed in typography. From an edition of 150 Latin numbered copies. On Arches wove paper (with watermark). 62 x 46 cm (24.4 x 18.1 in). Sheet: 74 x 52,5 cm (28,9 x 20,6 in). From the series 'Nice and the Côte d'Azur'. Printed by Mourlot, Paris. [EH]. • From the series 'Nice and the Côte d'Azur'. • In the lyrical compositions in this series Chagall unites his preferred motifs. • Made after a gouache from Marc Chagall, printed at Atelier Mourlot. PROVENANCE: Private collection North Rhine-Westphalia. Called up: December 10, 2022 - ca. 19.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
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