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Lot 305
A Polish NKN plaque commemorating the beginning of the Polish Legions and NKN. Naczelny Komitet Narodowy (Supreme National Committee) quasi-goverment for Poles in Galicia 1914-17. Dimensions: 10 x 6,8 cm (the plaque itself is 5,8 x 5 cm). Mounted on a white stone. Most possibly used as a paper press.
Lot 323
Replica of the Cross of the Order of the White Eagle from the Diamond Suit of August IICopy, second half of the 20th century, metal, glass.dimensions; total height with suspension 126mm,dimensions around the perimeter of the order 111mm x 111mm. Replica of the Cross of the Order of the White Eagle from the Diamond Suit of August II, a well-made copy with a faithfully reproduced obverse, using glass instead of diamonds. The original Cross was part of the collection of the Dresden Museum in 2019, it was lost in a robbery. Even a copy of a unique order is a fantastic material for a museum exhibition.The obverse of the order in the shape of a Maltese cross, studded with cut glass stones. On each of the four visible large crystal gems (faceted figure eight) separate. Between the main arms you get four rays with embedded ground glass. Between the basic arms of the cross there are short decorative rays with one glass stone embedded. The part of the order consists of a massive suspension of the order, studded with seven auxiliary pebbles. In part of the order, a crowned eagle with wings spread upwards is visible. The eagle is entirely encrusted with cut glass, visible preservation of details reminiscent of the original of the order. In the central or visible part of the stones of the order. A stone in the shape and cut of a teardrop, framed in several smaller glass diamonds surrounding it. A small defect in the jewel of the eagle's crown is visible. The legs and talon of the eagle in the color of darkened gold were the only ones in the order not set with stones, as in the case of the original order. Between the eagle and the main cross, visible in cross-section, there is a burgundy Maltese cross.Order made by casting, finished with great attention to detail. The eagle ends with a solder between the wings and the tail. The reverse of the order on the entire chiseled surface, resulting from the mechanism of manual rotation. order. The reverse of the ribbon ring is smooth, silver in color.
Lot 11
A GEORGE III YELLOW METAL MOURNING RING, probably 18ct gold, bearing enamelled initials surrounded by seed pearls, indistinctly inscribed to back "GC Wheley died 28 Feb 1818 aged 7", a George IV yellow metal mourning ring, inscribed to the shank "In Memory Of" and inscribed to the back "Mrs Howard Watson Ob. 2nd Jan 1823 ag. 87", set with seed pearls and blue enamel, together with a further Victorian gilt metal, seed pearl and single stone ring, an early 19th Century gilt metal mourning brooch, inscribed "Sam Rowlandson, OB. 15th August 1837, ag. 34", set with sead pearls on an enamelled ground, total gross weight 18.53 grams (4).
Lot 15
A SET OF THREE HEXAGONAL TRAYS AND A PAIR OF STONE BOOKENDS The metal trays mottled effect glass inserts, by Notre Monde; and a pair of marble book ends The Largest 29cm Wide Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 52
A GROUP OF SIX JADE / STONE DISCS Comprising of various colours and sizes, each mounted on a metal stand The largest disc 40cm diameter Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 73
A GROUP OF JADE / SERPENTINE AND STONE CARVINGS Comprising; an elegant female figure beneath a fruiting peach tree; a twin handled tripod censer and cover, with dragon handles and cover on mythical beast supports; another smaller censer, lacking cover; a pair of models of horses; a small baluster twin handled vessel; and a mottled brown/white stone twin handled vase and cover, most with wood stands The largest 24cm high including stand Condition: A repair to the tail of one of the horses and a small nick to the end of this tail. A chp to the side of one dragon handles on the censer. the occasional further minor nick to other items. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 14
A GROUP OF THREE STONE DISCS ON STANDS Each with metal easel stand The largest disc 30cm diameter Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 17
A PAIR OF CARVED STONE LIONS Typically modelled on plinth base 25cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Additional Information: .
Lot 294
Ca. 3000 BC. Cylinder seal of brown stone. A frieze of wavey lines enclosing two big "fish" in the middle, to small "fish" top and bottom. Condition good. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:20.1mm / W:9.8mm ; 2.74gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 477
Ca. 4th century BC. A restrung necklace composed of barrel-shaped beads, showcasing a stunning array of translucent and opaque hues, ranging from milky white to rich, earthy browns. The bands of color in each bead create an alluring and mesmerizing effect, drawing the eye in and captivating the senses. The smaller beads, delicately interspersed between the larger ones, add a touch of intricacy and elegance to the design. In ancient times, stone beads were prized for their beauty and rarity. The creation of beaded necklaces was a true art form, requiring skill and patience. The Hellenistic era saw the emergence of new techniques and designs, such as the use of banded agate, which became very popular due to its unique and captivating beauty. These necklaces were not only worn for their aesthetic value but also held symbolic significance, as they were believed to possess magical or protective powers. Size: L:510mm / W:14mm ; 101.23g Provenance: Property of a London Ancient Art Gallery, formerly acquired on Monaco art market; ex. French private collection.
Lot 404
New Kingdom, ca. 1550-1070 BC. An alabaster vessel, an exquisite work of art skillfully crafted from a rare and prized stone adorned with stunning veins that seem to come alive with light and shadow. This cylindrical vessel, gently flaring to its circular and flat base, boasts a wide mouth with an everted rim that adds an element of grace and refinement to its simple yet elegant form. In ancient Egypt, alabaster was regarded as a stone of great beauty and importance, known for its translucence and luminosity. This versatile material was widely used in the creation of a range of objects, from ornamental items to practical vessels used for various functions. The shape and form of this particular vessel suggest that it may have been used for holding precious oils, perfumes, or unguents, prized substances that were used in religious ceremonies, funerary rites, and everyday life. Its cylindrical shape would have allowed for easy pouring and application, while its wide mouth and everted rim would have allowed for easy access and minimised spillage.Size: L:60mm / W:70mm ; 155gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 142
Ca. 1100-1200 AD. A gold ring of tapering profile, crafted with the utmost skill and attention to detail. The ring's shoulders are richly adorned with chiselled arabesque patterns, testifying to the Seljuk dynasty's mastery of the decorative arts. The oval bezel of the ring is secured with multiple prongs, which serve to highlight and enhance the beauty of the central gem. This ring is a stunning example of Seljuk gold jewellery, which was prized for its exceptional quality and craftsmanship. During the Seljuk era, which spanned from the 11th to the 13th century, goldsmiths and jewellers created works of unparalleled beauty and sophistication. Seljuk jewellery was known for its intricate patterns, delicate filigree work, and use of precious gemstones. It was also prized for its symbolic significance, as jewellery was often used to convey messages of wealth, power, and status. For a similar, see Bonhams Islamic and Indian Art, London, 24 April 2012, Lot 69. Stone is replaced. Size: D: 16.51mm / US: 6 / UK: M; 2.32gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 515
Western Asiatic/Aegan, ca. 1200-700 BC. A bronze spearhead featuring a leaf-shaped blade tapering to a sharp point, and is characterized by its prominent midrib and short, outward turned tang with a small discoid pommel. Bronze spearheads of this type were highly prized due to their superior strength and durability compared to other materials such as bone or stone. The use of bronze for weapons production was a hallmark of advanced civilizations, as it required significant knowledge and expertise in metallurgy.Size: L:360mm / W:55mm ; 250gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.
Lot 286
Ca. 2nd-1st millennium BC. A storage vessel, crafted from hard stone. Its delicate form features a skillfully carved globular body that elegantly tapers towards the open mouth. The vessel rests upon a flat circular base, proudly displaying its exquisite craftsmanship and the mastery of the artisans who created it. In the Bronze Age, storage vessels played a vital role in the daily lives of the people of the Holy Land. This stone vessel would have served as a sturdy container for various commodities, including grains, oil, and wine. Such vessels were an essential part of the agricultural and economic systems of the time, used for the safe storage and transportation of valuable goods.Size: L:115mm / W:120mm ; 980gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 607
Ca. 100-300 AD. A chalcedony cameo, with its finely carved features and lifelike detail, depicts the infamous Gorgon with her characteristic serpent hair and petrifying gaze. The golden setting, with its delicate flounced border and ribbed suspension loop, serves to frame and accentuate the beauty of the stone. In ancient mythology, Medusa was a fearsome creature whose mere gaze could turn onlookers to stone. She was one of the three Gorgon sisters, whose appearance was said to be so terrifying that even their own reflection could turn them to stone. Medusa was ultimately slain by the hero Perseus, who used her own reflection in his polished shield to avoid her gaze and strike the fatal blow. Roman medusa cameos were often worn as protective talismans or incorporated into jewelry, such as this stunning pendant. The Romans believed that Medusa's image could ward off evil and protect the wearer from harm. Setting repaired; wearble. Size: L:29.7mm / W:21.3mm ; 7g Provenance: Private London collection, UK art market before 2000.
Lot 325
Ca. 200-300 AD. A high-relief panel crafted from a schist stone. This frieze portrays two scenes from the life of Buddha. The scenes are separated by a Corinthian column and set within a stunning architectural backdrop, creating an aura of grace and grandeur. The Buddha and other figures in the frieze are dressed in long robes known as sanghatis, intricately draped with folds that have been incised with the utmost precision. These figures exhibit elaborate hairstyles that add to the intricacy and detail of the piece. The figures are depicted in a dynamic and naturalistic manner, with each pose capturing a sense of movement and energy that is truly mesmerizing. The left-hand side of the frieze depicts an elephant, which is an animal that features prominently in Buddhist iconography. The elephant is often seen as a symbol of strength, wisdom, and compassion, all qualities that are associated with the Buddha himself. This exquisite frieze is a prime example of Gandharan art, a style known for its unique blend of Indian, Greek, and Roman artistic traditions, resulting in a fascinating fusion of Eastern and Western styles.Size: L:135mm / W:475mm ; 10.79kgProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.
Lot 612
Ca. 100-300 AD. A gold pendant with a conical-shaped dangle, delicately decorated with ropework and filigree bands, culminates in a round-bottomed carnelian gem with exquisite coloring, creating a stunning contrast against the golden metal. This simple yet elegant design exudes timeless beauty, reflecting the taste and refinement of Roman aristocrats. Roman jewelry often featured beads made of precious and semi-precious stones, like this carnelian gem. The Romans believed that carnelian had protective properties and could ward off evil spirits. They also valued the stone for its bright red-orange color, which was associated with power, wealth, and vitality. Carnelian was a popular choice for jewelry, both as a standalone gem and as a decorative accent in gold and silver settings. While this pendant does not depict a figure or symbol of particular significance, it exemplifies the Roman love for luxury and adornment. In a society where jewelry was an essential element of dress and social status, this piece would have undoubtedly been cherished and worn with pride. Size: L:25mm / W:8.9mm ; 3.3g Provenance: Private London collection, UK art market before 2000.
Lot 692
Ring - ca. 600-700 AD; Stone - ca. 200 AD. A gold ring of a flat-section hoop, with its grooves and edges adding texture and dimension to the piece. The raised bezel is set with a garnet intaglio that depicts a left-facing dog in fine detail, his body and legs rendered with delicate precision. His head is turned to the side, revealing his sharp features and keen gaze. Roman intaglios with animals were highly prized during ancient times, as they served as symbols of power, status, and protection. Dogs, in particular, were revered for their loyalty and fierce protective instincts, making them popular subjects for intaglios. These intaglios were often set in rings, which served not only as decorative jewelry but also as functional objects that could be used to seal documents and letters, signifying the importance of the wearer's identity and status.Size: D: 15.49mm / US: 4 3/4 / UK: J; 3.77gProvenance: Private London collection, UK art market before 2000.
Lot 408
Old Kingdom, ca. 2686-2160 BC. This cone-shaped bowl, expertly carved from alabaster, boasts a wide opening, circular and flat base, and delicate earthy deposits. Alabaster was a highly prized material in ancient Egypt, revered for its translucent quality and ability to capture and refract light in a truly beautiful way. This versatile stone was used in a wide range of applications, from funerary objects to items of everyday use.Size: L:50mm / W:110mm ; 245gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 645
Ca. 100-300 AD. A stone cameo featuring a stunning depiction of a swan with exquisite details and remarkable craftsmanship. The swan, a symbol of purity, beauty, and grace, is rendered with impeccable skill, its feathers delicately carved and the curve of its neck captured with breathtaking accuracy. The bird is depicted standing on one leg, evoking a sense of poise and balance, while its folded wings and sharp beak lend a sense of movement and vitality to the scene. Bird cameos were a popular motif in ancient Roman art, and were often associated with themes of love, freedom, and the natural world. The intricate details and lifelike quality of this cameo suggest that it may have been a treasured possession of its owner, worn as a personal talisman, or gifted as a symbol of affection.Size: L:14.5mm / W:11.1mm ; 0.84gProvenance: Private London collection, UK art market before 2000.
Lot 323
Ca. 202 BC-220 AD. A beautiful rectangular stone relief depicting a dragon in left profile with a high-arched tail. A short beard extends from the lower jaw of the open mouth of the dragon. The prominent eyes are set below finely incised brows and a pair of slender horns swept back above a rounded ear on either side of the neck, which is finely detailed with small feather-like scales, as are the upswept wings. The back of the relief is unworked, suggesting that in its original context, this relief was meant to be seen only from the front. Good condition. Believed to bring good luck and represent peace, courage, and wisdom, dragons were considered auspicious symbols in the Han dynasty and came to be associated with imperial power. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. For more information about the Han Dynasty, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art.Size: L:710mm / W:520mm ; 50+kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Lot 263
Ca. 1st millennium BC. A stone block fragment with incised characters in Ancient South Arabian script to the top edge and a walking figure of a warrior, who holds a long, curved sword in the right hand. During the first millennium BC, this part of the ancient world saw several different kingdoms; Qataban, Saba (Sheba), and Himyar, emerge that had built their wealth upon desert trade and in particular frankincense and myrrh.Size: L:160mm / W:120mm ; 1.4KgProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 348
Sui Dynasty, ca. 581-618 AD or later. A stone head of a Bodhisattva depicted with a regal headdress and elaborately coiffured hair, suggesting the importance and significance of this figure. The face is rendered with great attention to detail, with arched brows, heavily lidded, half-closed eyes, a bulbous nose, full lips, a rounded chin, and large, pendulous ears. Bodhisattvas were revered figures in Mahayana Buddhism, embodying the ideal of enlightenment and compassion. They are beings who have attained enlightenment but choose to remain in the earthly realm to help others achieve enlightenment. The Bodhisattva ideal emphasizes the importance of compassion and altruism in the pursuit of spiritual awakening. The Sui Dynasty was a crucial period in Chinese history, known for its unification of the northern and southern regions and the restoration of a centralized government. This era also saw the emergence of a distinctive style of Buddhist art, which fused elements of Indian, Central Asian, and Chinese traditions. This Bodhisattva head is a superb example of this artistic fusion, combining the sophistication of Chinese art with the spiritual depth of Buddhist symbolism.Size: L:240mm / W:175mm ; 5.74kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 290
Ca. 3000 BC. Cylinder seal of red stone. Frieze of four spiders. Good condition. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:14.1mm / W:15.5mm ; 6,.2gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 644
Ca. 200 AD. A jasper ring stone with intricate left-facing portrait of an imperial male figure. The details are so finely crafted that it is possible this depicts a ruler or member of an imperial family, with his aquiline nose, large eyes, and abundant beard that flows with regal poise. The curly hair is adorned with a complex headpiece, and his bust is depicted with incised folds of his tunic. Roman intaglios with portraits of noble personas were highly prized and sought after during the Roman period. These small works of art were often used as personal seals, signet rings, or as decorative elements in jewelry. The portraits were typically carved in a reverse manner, so that when impressed onto wax or clay, the image would appear in the correct orientation. Such intaglios were not only beautiful but also practical, as they served as a way to authenticate documents and correspondence. In addition, they were often used as a way to display one's loyalty to a powerful figure or family, and to cement one's social status in Roman society. Size: L:13.6mm / W:17.2mm ; 0.75g Provenance: Private London collection, UK art market before 2000.
Lot 402
New Kingdom, ca. 1550-1070 BC. This cylindrical wonder is expertly sculpted from alabaster, a stone prized for its unique beauty and versatility. The alabaster's stunning veins shimmer and dance in the light, adding a touch of elegance and majesty to this already remarkable piece. The vessel's gentle flare gives way to a circular and flat base, providing a stable foundation for the vessel to rest upon. The mouth of the vessel is wide and welcoming, with an everted rim that adds a touch of grace and fluidity to the vessel's overall design. In ancient Egypt, alabaster was considered a precious material and was often used to craft luxurious objects such as vessels, jars, and figurines. These objects were prized for their beauty and were often used in ceremonial contexts or gifted to esteemed individuals.Size: L:140mm / W:120mm ; 1.72kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 642
Ca. 100-300 AD. A restrung necklace composed of a stunning array of carnelian beads in various shapes - polygonal, spherical, and tubular - arranged in a pleasing order with darker-hued beads interspersed with lighter ones. The carnelian stone, a type of chalcedony, was highly valued in the Roman world for its vibrant reddish-orange color and durability. It was believed to have magical properties, such as the ability to ward off evil spirits and protect the wearer from harm. It was also associated with courage and strength and was often used to adorn military regalia and other symbols of power. Roman necklaces have a rich history, dating back to the earliest days of the Roman Empire, and were worn for a variety of reasons, from personal adornment to social status. These necklaces were often made from a variety of materials, including precious metals, gemstones, and glass, and were crafted using a range of techniques, from beading and stringing to wirework and casting. Size: L:240/480mm / W:mm ; 34.83g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 295
Ca. 3000 BC. Cylinder seal of black stone. Standing woman holding standard, three animals, rosette and fillers. Worn but design clear, rare. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert.Size: L:17.9mm / W:16.2mm ; 9.07gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 306
Likely Bactrian/Turkmenistan, ca. 3rd - 2nd millennium BC.A brown coloured stone cylinder seal from Central Asia (Bactria/Turkmenistan). It depicts a row of ibexes. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:12mm / W:7.2mm ; 1.03gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 262
Ca. 1st millennium BC. A stone block fragment with incised characters in Ancient South Arabian script to the top edge and below are two standing figures with simplified features. The standing figures are likely representations of the deceased or the gods who were believed to protect them in the afterlife. South Arabian alabaster funerary stelae are important artifacts that shed light on the funerary practices of the ancient peoples of the Arabian Peninsula. These stelae, which date from the 4th century BCE to the 4th century CE, were used to mark the tombs of the deceased and often feature inscriptions and intricate relief carvings.Size: L:225mm / W:190mm ; 3.85KgProvenance: Private collection of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 314
Edvard Munch 1863 Loyten - 1944 Ekely bei Oslo Selbstporträt. 1895. Lithografie. Woll 37 II (von IV). Signiert. Im Stein mit dem Namenszug und der Datierung. Auf zartem Velin. 45,8 x 32 cm (18 x 12,5 in), blattgroß. Gedruckt von Lassally, Berlin. [AM]. • Frühestes druckgrafisches Selbstbildnis Edvard Munchs. • Markantes Selbstporträt von einmaliger Präsenz. • Exemplare dieser charaktervollen Lithografie befinden sich in bedeutenden internationalen Museen wie u. a. dem Museum of Modern Art, New York, dem British Museum, London, und dem Museum Folkwang, Essen. PROVENIENZ: Sammlung Serge Sabarsky (1912-1996), New York. Nachlass Serge Sabarsky, New York. Sammlung Vally Sabarsky (1909-2002), New York. Vally Sabarsky Stiftung, New York. AUSSTELLUNG: Munch and Expressionism, Neue Galerie, New York, 18.2.-13.6.2016. Aufrufzeit: 10.06.2023 - ca. 13.48 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONEdvard Munch 1863 Loyten - 1944 Ekely bei Oslo Selbstporträt. 1895. Lithograph. Woll 37 II (of IV). Signed. Stone with the name and the date. On soft wove paper. 45.8 x 32 cm (18 x 12.5 in), the full sheet. Printed by Lassally, Berlin. [AM]. • Early print self-portrait of Edvard Munch. • Striking self-portrait characterized by an unmatched presence. • Copies of this characterful lithograph are in renowned international museums like the Museum of Modern Art, New York, the British Museum, London, and the Museum Folkwang, Essen. PROVENANCE: Serge Sabarsky Collection (1912-1996), New York. Serge Sabarsky Estate, New York. Vally Sabarsky Collection (1909-2002), New York. Vally Sabarsky Foundation, New York. EXHIBITION: Munch and Expressionism, Neue Galerie, New York, February 18 - June 13, 2016. Called up: June 10, 2023 - ca. 13.48 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Lot 315
Egon Schiele 1890 Tulln - 1918 Wien Männlicher Akt (Selbstbildnis). 1912. Lithografie. Kallir 1 b 2 (von 1 b 2). Söhn 355-12. Signiert und datiert. Von fremder Hand bezeichnet. Im Stein signiert, datiert und mit dem Editions-Signet. Eines von 200 Exemplaren auf diesem Papier. Auf schwach gelblichem, glattem Velin. 42 x 23,5 cm (16,5 x 9,2 in). Papier: 45 x 32 cm (17,6 x 12,5 in). Erschienen in der Mappe 'SEMA. 15 Originalsteinzeichnungen', herausgegeben vom Delphin-Verlag, München 1912. [EH]. • Aus der bedeutenden Sammlung Serge Sabarsky. • 'Männlicher Akt (Selbstbildnis) I' ist die erste von Egon Schiele geschaffene Lithografie. • Erschienen in der 'SEMA-Mappe' der expressionistischen Künstlervereinigung 'SEMA' um Paul Klee. • Das druckgrafische Werk Egon Schieles umfasst insgesamt nur 17 Nummern. • Weitere Exemplare dieses Blattes befinden sich u. a. im Leopold Museum, Wien, und im Los Angeles County Museum of Art. PROVENIENZ: Sammlung Serge Sabarsky (1912-1996), New York. Nachlass Serge Sabarsky, New York. Sammlung Vally Sabarsky (1909-2002), New York. Vally Sabarsky Stiftung, New York. LITERATUR: Otto Kallir, Egon Schiele. Das druckgraphische Werk, Wels 1970, S. 84f., Kat.-Nr. 1 b 2. Susanne M. I. Kaufmann, Die 'Künstlervereinigung Sema' - Eine Künstlergruppierung zwischen expressionistischer Kunstauffassung und den Mechanismen des Kunstmarktes, München 2008, S. 67ff. Mit erstaunlicher Perfektion gestaltet Egon Schiele seine erste grafische Arbeit. Er wählt als Basis die Zeichnung, die über ein Umdruckverfahren auf den Stein gebracht wird. Die Darstellung zeigt den kühn erfassten Akt seiner selbst. Egon Schiele reicht für die Veröffentlichung in der 'SEMA-Mappe' 1912 zwei Vorschläge ein, von denen schließlich unser Motiv ausgewählt wird. Man muss beachten, dass das druckgrafische Œuvre von Egon Schiele insgesamt nur 17 Werke umfasst und unser Blatt die erste Arbeit ist, die er für eine druckgrafische Veröffentlichung gestaltet. Die 'SEMA-Mappe' erscheint 1912 parallel zur Ausstellung der Künstlergruppe 'SEMA' in der Galerie Thannhauser. In einem Schreiben an den Delphin-Verlag wünscht Egon Schiele sich zunächst, dass als Titel für seinen Beitrag zur Mappe 'Zeichnung' gewählt wird. Als Antwort wird ihm vom Verlag mitgeteilt: '[..] Es erscheint nämlich uns wie diesen [den Herren der Sema] unmöglich, Ihr Blatt einfach Zeichnung zu nennen, da ja ein jedes Blatt so heißen könnte. [..] Wir möchten deshalb Ihr Blatt zum mindesten 'Akt' nennen und hoffen sie damit einverstanden.' (zit. nach: Susanne Kaufmann, Die Künstlervereinigung Sema, Magisterarbeit LMU 2008, S. 64). Es zeigt, wie gleichwertig aufgrund des Zeichnerischen Egon Schiele diese Lithografie im Hinblick auf eine originale Zeichnung bewertete. Erst im Jahr 1918 wendet sich Schiele auf Einladung der Wiener Secession wieder der Lithografie zu. Es folgen noch zwei weitere lithografische Arbeiten im gleichen Jahr. Aufrufzeit: 10.06.2023 - ca. 13.50 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONEgon Schiele 1890 Tulln - 1918 Wien Männlicher Akt (Selbstbildnis). 1912. Lithograph. Kallir 1 b 2 (of 1 b 2). Söhn 355-12. Signed and dated. Inscribed by a hand other than that of the artist. Signed, dated and with the editions signet in the stone. From an edition of 200 copies on this type of paper. On smooth, slightly yellowish wove paper. 42 x 23.5 cm (16.5 x 9.2 in). Sheet 45 x 32 cm (17,6 x 12,5 in). Released in the portfolio 'SEMA. 15 Originalsteinzeichnungen', published by Delphin-Verlag, Munich 1912. [EH]. • From the acclaimed Serge Sabarsky Collection. • 'Männlicher Akt (Selbstbildnis) I' is the first lithograph that Egon Schiele ever made. • Released in the 'SEMA-Mappe' of the expressionistic artist group 'SEMA' around Paul Klee. • Egon Schiele's print œuvre merely comprises 17 works. • Other copies of this sheet are at, among others, the Leopold Museum, Vienna and the Los Angeles County Museum of Art. PROVENANCE: Serge Sabarsky Collection (1912-1996), New York. Serge Sabarsky Estate, New York. Vally Sabarsky Collection (1909-2002), New York. Vally Sabarsky Foundation, New York. LITERATURE: Otto Kallir, Egon Schiele. Das druckgraphische Werk, Wels 1970, pp. 84f., cat. no. 1 b 2. Susanne M. I. Kaufmann, Die 'Künstlervereinigung Sema' - Eine Künstlergruppierung zwischen expressionistischer Kunstauffassung und den Mechanismen des Kunstmarktes, München 2008, pp. 67ff. Egon Schiele created his first graphic work with amazing perfection. As a basis, he made a drawing which he transferred onto the stone in transfer printing. The depiction shows the boldly captured self-portrait nude . Egon Schiele submitted two works for the 'SEMA portfolio' in 1912, of which our motif was ultimately chosen. It is important to note that Egon Schiele's print oeuvre comprises a total of only 17 works, of which our sheet is the first one made for publication. The 'SEMA portfolio' was published in 1912 parallel to the exhibition of the artist group 'SEMA' at Galerie Thannhauser. In a letter to the publisher ‘Delphin-Verlag’, Egon Schiele expresses the wish that his contribution to the portfolio is merely titled 'Zeichnung” (Drawing). The publisher replied: '[..] It seems to as impossible for us as it is for them [the gentlemen of SEMA] to simply call your sheet ‘drawing’, since every sheet could be called that. [..] We would therefore like to call your sheet at least 'Akt/' (Nude) and hope you agree to that.' (quoted from: Susanne Kaufmann, Die Künstlervereinigung Sema, Master's thesis LMU 2008, p. 64). This shows how Egon Schiele saw this lithograph on a par with an original drawing due to its graphic origin. It was not until 1918 that Schiele returned to lithography at the invitation of the Vienna Secession. Two more lithographs followed the same year. Called up: June 10, 2023 - ca. 13.50 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Lot 325
Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Anhänger mit Lapislazuli. 1910/11. Silberplatte, geschnitten, ziseliert. Lapislazuli, gefasst. Wietek 382. Auf der Vorderseite rechts oben mit dem Signaturstempel. 7,7 x 6,8 cm (3 x 2,6 in). Stein: 2,3 x 2 cm (0,9 x 0,7 in). [KT]. • Von den 'Brücke'-Künstlern schafft Schmidt-Rottluff das umfangreichste und vielfältigste Schmuckwerk. • Seine Schmuckstücke zeichnen sich durch ihren unkonventionellen und künstlerischen Umgang mit Material, Technik und Form aus und bringen so eine eigene Ästhetik hervor. • Die Stücke vereinen auf faszinierende Weise charakteristische Formideen aus dem Schaffen des Künstlers zwischen Schmuckstück, Sammlerobjekt und Gebrauchsgegenstand. • Schmuckstücke des Künstlers sind individuellste Preziosen, oftmals eigens hergestellt für einen engen Kreis an Sammlerinnen, Freundinnen und Familie. • Aus der am seltensten auf dem Auktionsmarkt zu findenden Werkgruppe des Künstlers (Quelle: artprice.com). Die Arbeit ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin dokumentiert. PROVENIENZ: Aus dem Nachlass des Künstlers. Sammlung Hermann Gerlinger, Würzburg. AUSSTELLUNG: Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, 20.8.1977-15.1.1978, Kat.-Nr. 145. Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, Kat.-Nr. 5. 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). Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), 26.10.2003-11.1.2004, Nr. 3 (m. Abb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, 29.9.2018-3.2.2019, S. 176 (m. Abb.). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 230f., SHG-Nr. 326 (m. Abb.). Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, München 2001, Nr. 382 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 51, SHG-Nr. 79 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 14.03 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Anhänger mit Lapislazuli. 1910/11. Silver plate, cut, chased. Fitted lapis lazuli. Wietek 382. Front side with signature stamp. 7.7 x 6.8 cm (3 x 2.6 in). Stone: 2,3 x 2 cm (0,9 x 0,7 in). [KT]. • Schmidt-Rottluff was the most prolific jewelry maker among the 'Brücke' artists. • His objects are characterized by an unconventional and artistic approach to material, technique and form and possess a very special aesthetic appeal. • His pieces are one-of-a-kind gems, often made fora close circle of collectors or friends and family. • These items, which are pieces of jewelry, collectibles and at the same objects of utility, unite forms characteristic of the artist's creation. • From the artist's rarest work group on the auction market (source: artprice.com). The work is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation, Berlin . PROVENANCE: From the artist's estate Hermann Gerlinger Collection, Würzburg. EXHIBITION: Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, August 20, 1977 - January 15, 1978, cat. no. 145. Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, cat. no. 5. Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), October 26, 2003 - January 11, 2004, no. 3 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022) Schmidt-Rottluff. Form, Farbe, Ausdruck, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, p. 176 (with illu.). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 230, SHG no. 326 (with illu.) Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, Munich 2001, no. 382 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 51, SHG no. 79 (with illu.). Called up: June 10, 2023 - ca. 14.03 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 326
Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Anhänger mit Topas. 1910/11. Silberblech, geschnitten, ziseliert. Stein mit Krallen gefasst. Wietek 381. Auf der Vorderseite unter der Lasche mit dem Signaturstempel. Durchmesser: 4,8 cm (1,8 in). Höhe: 6 cm (2,3 in). Stein: 1,6 x 1,4 cm (0,6 x 0,5 in). [KT]. • Von den 'Brücke'-Künstlern schafft Schmidt-Rottluff das umfangreichste und vielfältigste Schmuckwerk. • Seine Schmuckstücke zeichnen sich durch ihren unkonventionellen und künstlerischen Umgang mit Material, Technik und Form aus und bringen so eine eigene Ästhetik hervor. • Die Stücke vereinen auf faszinierende Weise charakteristische Formideen aus dem Schaffen des Künstlers zwischen Schmuckstück, Sammlerobjekt und Gebrauchsgegenstand. • Schmuckstücke des Künstlers sind individuellste Preziosen, oftmals eigens hergestellt für einen engen Kreis an Sammlerinnen, Freundinnen und Familie. • Aus der am seltensten auf dem Auktionsmarkt zu findenden Werkgruppe des Künstlers (Quelle: artprice.com). Die Arbeit ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin dokumentiert. PROVENIENZ: Aus dem Nachlass des Künstlers. Sammlung Hermann Gerlinger, Würzburg. AUSSTELLUNG: Maler der Brücke in Dangast von 1907 bis 1912. Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein, Emma Ritter, Oldenburger Kunstverein, 2.6.-30.6.1957, Kat.-Nr. 221. Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, 20.8.1977-15.1.1978, Kat.-Nr. 153. Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, Kat.-Nr. 13. 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). Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), 26.10.2003-11.1.2004, Nr. 2 (m. Abb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). Schmidt-Rottluff. Form, Farbe, Ausdruck!, Buchheim Museum, Bernried, 29.9.2018-3.2.2019, S. 176 (m. Abb.). LITERATUR: Gerhard Wietek, Schmidt-Rottluff. Oldenburger Jahre 1907-1912, hrsg. von der Stiftung Kunst und Kultur der Landessparkasse zu Oldenburg, Oldenburg 1994, S. 62, 469. Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 230f., SHG-Nr. 325 (m. Abb.). Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, München 2001, Nr. 381 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 51, SHG-Nr. 78 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 14.04 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Anhänger mit Topas. 1910/11. Sheet Silver, cut, chased. Stone fitted with claws. Wietek 381. With signature stamp on the front side of the flap. Diameter: 4.8 cm (1.8 in). Height: 6 cm (2,3 in). Stone: 1,6 x 1,4 cm (0,6 x 0,5 in). [KT]. • Schmidt-Rottluff was the most prolific jewelry maker among the 'Brücke' artists. • His objects are characterized by an unconventional and artistic approach to material, technique and form and possess a very special aesthetic appeal. • His pieces are one-of-a-kind gems, often made fora close circle of collectors or friends and family. • These items, which are pieces of jewelry, collectibles and at the same objects of utility, unite forms characteristic of the artist's creation. • From the artist's rarest work group on the auction market (source: artprice.com). The work is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation, Berlin. PROVENANCE: From the artist's estate Hermann Gerlinger Collection, Würzburg. EXHIBITION: Maler der Brücke in Dangast von 1907 bis 1912. Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein, Emma Ritter, Oldenburger Kunstverein, June 2 - June 30, 1957, cat. no. 221. Karl Schmidt-Rottluff: Das nachgelassene Werk seit den 20er Jahren. Malerei, Plastik, Kunsthandwerk, Brücke-Museum, Berlin, August 20, 1977 - January 15, 1978, cat. no. 153. Karl Schmidt-Rottluff: Aquarelle, Farbstiftzeichnungen, Schmuck, Kunstverein Paderborn 1982, cat. no. 13. Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Nur für ihre Frauen. Schmuck von Karl-Schmidt-Rottluff, Emil Nolde, Erich Heckel und Ernst Ludwig Kirchner, Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Halle (Saale), October 26, 2003 - January 11, 2004, no. 2 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022) Schmidt-Rottluff. Form, Farbe, Ausdruck, Buchheim Museum, Bernried, September 29, 2018 - February 3, 2019, p. 176 (with illu.). LITERATURE: Gerhard Wietek, Schmidt-Rottluff. Oldenburger Jahre 1907-1912, ed.by Stiftung Kunst und Kultur der Landessparkasse zu Oldenburg, Oldenburg 1994, pp. 62, 469. Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 230ff, SHG no. 325 (with illu.). Gerhard Wietek, Karl Schmidt-Rottluff, Werkverzeichnis der Plastik und des Kunsthandwerks, Munich 2001, no. 381 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 51, SHG no. 78 (with illu.). Called up: June 10, 2023 - ca. 14.04 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 345
Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Geißblatt und Steintopf. 1939. Aquarell. Mittig rechts signiert, datiert und betitelt. Auf chamoisfarbenem Bütten. 69,5 x 55,2 cm (27,3 x 21,7 in), blattgroß. [CH]. • Ausgearbeitetes Aquarell von gemäldehafter Wirkung. • Heckel erweitert das klassische Blumenstillleben im Hintergrund um die Darstellung eines auffällig gerahmten Kunstwerks, womöglich eines Farbholzschnitts. • Die frei herabhängenden Zweige und verspielten Blüten des Geißblatts wie auch die dekorative Bemalung des Steintopfes verleihen dem Werk eine ganz besondere, ornamentale Ästhetik. Die Arbeit ist im Archiv des Nachlasses Erich Heckel, Hemmenhofen am Bodensee, registriert. Wir danken Frau Renate Ebner für die freundliche Auskunft. PROVENIENZ: Nachlass Erich Heckel, Hemmenhofen. Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel, Lugt 6032, 1973 vom Vorgenannten erworben). AUSSTELLUNG: Erich Heckel, Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main, Juli 1947, Nr. 23 (Faltblatt). Erich Heckel, Neue Galerie, Kiel 1948, Kat.-Nr. 26. Erich Heckel. Aquarelle, Zeichnungen (Ausstellung zum 100. Geburtstag des Malers), 3.7.-11.9.1983, Städtische Galerie, Würzburg, Kat.-Nr. 91. 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). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 333, SHG-Nr. 526 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 246, SHG-Nr. 550 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 14.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Geißblatt und Steintopf. 1939. Watercolor. Signed, dated and titled in right center. On off-white laid paper. 69.5 x 55.2 cm (27.3 x 21.7 in), the full sheet. [CH]. • Balanced watercolor with the qualities of a painting. • Heckel expands the classic flower still life in the background by the depiction of an artwork, presumably a color woodcut, in an eye-catching frame. • The loose-hanging branches and the honeysuckle's blossoms, the indistinct artwork and the stone pot's decorative makeup give the painting an ornamental aesthetic appeal. The work is registered in the archive of the Erich Heckel Estate, Hemmenhofen on Lake Constance. We are grateful to Mrs. Renate Ebner and Mr Hans Geissler for the kind support in cataloging this lot. PROVENANCE: Erich Heckel Estate, Hemmenhofen. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032, acquired from the above in 1973). EXHIBITION: Erich Heckel, Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt am Main, July 1947, no. 23 (leaflet). Erich Heckel, Neue Galerie, Kiel 1948, cat. no. 26. Erich Heckel. Aquarelle, Zeichnungen (Ausstellung zum 100. Geburtstag des Malers), July 3 - September 11, 1983, Städtische Galerie Würzburg, cat. no. 91. Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 333, SHG no. 526 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 246, SHG no. 550 (with illu.). Called up: June 10, 2023 - ca. 14.30 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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