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Lot 340
Stephan Balkenhol 1957 Fritzlar - lebt und arbeitet in Karlsruhe und Meisenthal Frau in gelben Shorts. 2019. Wawa-Holz, farbig gefasst. Höhe: 56 cm (22 in). Mit dem Sockel: 166,5 cm (65,6 in). [CH] Der Strichcode des Lebens – Die Sammlung Hans Braun Weitere Werke der Sammlung werden in unserem zeitgleich stattfindenden Online Sale (Auktion endet am 15.12.2024) angeboten. • Charakteristische Holzarbeit von hohem Wiedererkennungswert. • Durch die Aufsockelung auf Augenhöhe von großer räumlicher Präsenz. • Im Mittelpunkt von Balkenhols künstlerischem Schaffen steht der Mensch, den der Künstler nicht als einzigartiges Individuum darstellt, sondern ein Stück weit als anonymisierte, durchschnittliche und doch seltsam vertraut wirkende, greifbare und ausdrucksstarke Person. • Mit traditionellen Werkzeugen wie Hohleisen, Schnitzmesser und Klöpfel werden die Figuren aus dem Holz geschlagen und geschnitten. • So nutzt Balkenhol die klassische Form der Holzbildhauerei und kehrt zur Urtechnik dieser Gattung zurück. • Der traditionellen Technik stellt der Künstler hier außergewöhnlich zeitgenössische Kleidungsstücke gegenüber. PROVENIENZ: Galerie Löhrl, Mönchengladbach. Sammlung Hans Braun, Baden-Württemberg (vom Vorgenannten erworben). 'Meine Arbeiten sind keine Porträts im konkreten Sinne, sie stellen niemand Bestimmtes dar, sind aber auch nicht nur Zeichen oder Symbol [..].' Stephan Balkenhol, 1988, in einem Gespräch mit Rainer Krone, zit. nach: Ausst.-Kat. 'BINATIONALE'. Deutsche Kunst der späten 80er Jahre, Köln 1988. 'Ich will alles auf einmal: Sinnlichkeit, Ausdruck, aber nicht zuviel, Lebendigkeit, aber keine oberflächliche Geschwätzigkeit, Momentaneität, aber keine Anekdote, Witz, aber keine Kalauer, Selbstironie, aber keinen Zynismus. Und in erster Linie eine schöne, stille, bewegte, viel- und nichts-sagende Figur. Die Figur soll über sich hinauswachsen, über sich und über andere Dinge erzählen, ohne sich zu verrenken und Grimassen zu schneiden.' Stephan Balkenhol, zit. nach: Hans Werner Schmidt (Hrsg.), Stephan Balkenhol, Museum der bildenden Künste, Leipzig 2001, S. 2. Aufrufzeit: 07.12.2024 - ca. 16.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONStephan Balkenhol 1957 Fritzlar - lebt und arbeitet in Karlsruhe und Meisenthal Frau in gelben Shorts. 2019. Wawa-Wood, in color. Height: 56 cm (22 in). Including base: 166,5 cm (65,6 in). More works from the collection are available in our Online Sale (ends December 15, 2024). • Characteristic woodwork of high recognition value. • The base puts the work at eye level with the observer and lends it an impressive spatial presence. • Man is a central theme in Balkenhol's work. Not to represent the human being as a unique individual, but as an anonymous yet strangely familiar person. • Using traditional tools such as gouges, carving knives and mallets, the figures are hewn and cut out of the wood. • Balkenhol uses the classic form of wood carving and returns to the original technique of this genre. • The artist juxtaposes the traditional technique with exceptionally contemporary apparel. PROVENANCE: Galerie Löhrl, Mönchengladbach. Hans Braun Collection, Baden-Württemberg (acquired from the above). “My works are not portraits in a narrow sense, they do not represent anyone in particular, but they are also not just signs or symbols [..].” Stephan Balkenhol, 1988, in a conversation with Rainer Krone, quoted in: ex. cat. “BINATIONALE”. Deutsche Kunst der späten 80er Jahre, Cologne 1988. “I want everything at once: sensuality, expression, but not too much, liveliness, but no shallow banter, immediacy, but no anecdotes, wit, but no corny jokes, self-irony, but no cynicism. And first and foremost, a beautiful, silent, emotional figure that says a lot and nothing. The figure should transcend itself, tell about itself and about other things without contorting or grimacing.” Stephan Balkenhol, quoted in: Hans Werner Schmidt (ed.), Stephan Balkenhol, Museum der bildenden Künste, Leipzig 2001, p. 2. Called up: December 7, 2024 - ca. 16.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 267
Hermann Glöckner. (1889 Dresden - 1987 Berlin). Aufgipfelung in Blau. 1977. Faltung und Tempera auf Maschinenbütten. 21 x 29,7 cm. Verso monogrammiert (ligiert) und datiert. - Untere linke Ecke minimalst bestoßen, im Oberrand wenige leichte Griffspuren, recto und verso vereinzelte kleine werkimmanente und atelierbedingte Farbspuren, punktueller blassbrauner Fleck, insgesamt sehr gut und ausgesprochen schön. Die Farbe frisch. Provenienz: Sammlung Werner Timm, Berlin. - Schlichte Einfachheit, konstruktivistische Strenge und stille Poesie sprechen aus Hermann Glöckners Arbeiten. Der Spur der Linie und Geometrie folgend, setzt er Farbe und Formen zu harmonischen Kompositionen höchster Anziehungskraft zusammen. Seine Faltungen repräsentieren das Unprätentiöse in geradezu feinfühliger Manier. Unsere Arbeit zeigt ein strahlendes Himmelsblau, das sich mit dem cremefarbenem Weißton des Papiers symbiotisch verbindet. Das Ineinandergreifen von Farbe, Form und Materialität rückt Glöckners künstlerische Gestaltungsmittel prominent in den Vordergrund, betont deren Eigenwert. Die Autonomie der Mittel eröffnet eine Erkundung malerischer Abstraktion. Folding and tempera on machine-made laid paper. Monogrammed (ligated) and dated on the verso. - Lower left corner very minimally and hardly visible bumped, few slight handling traces on upper margin, recto and verso isolated small colour traces, immanent to work and due to studio, isolated tiny faint-brown stain, all in all very good and impeccably nice. Colour fresh. - Provenance: Werner Timm Collection, Berlin. - Unadorned simplicity, constructivist rigour and quiet poetry are the hallmarks of Hermann Glöckner's work. Following the trail of line and geometry, he combines colour and form to create harmonious compositions of the highest appeal. His folded works represent the unpretentious in an almost delicate manner. Our work shows a radiant sky blue that blends symbiotically with the cream-coloured white of the paper. The interweaving of colour, form and materiality brings Glöckner's artistic tools prominently to the fore, emphasising their intrinsic value. The autonomy of his tools opens up an exploration of painterly abstraction.
Lot 145
A collection of antique tools, to include: a W Greenslade of Bristol plane, 40cm, two other smaller planes, one marked Campbell, another G Pringle (?), moulding saw T F Harrison and John Baker & Sons, ( A lot ) The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso
Lot 251
Two trumpets of different sizes, comprising a King brass trumpet possibly model 1501, serial number 803311, with three mouth pieces, assorted muting tools, an MW pocket trumpet, a Boosey & Hawkes Regent clarinet, all three with hard fitted cases, together with a plastic recorder and some sheet music. (qty)
Lot 37
18 Model Figure/Scene Kits Various - Mainly 1/35 Scale (2500G).MB (Master Box Ltd) - Outlaw. Gunslinger Series. Kit No. 1 - MB35203MB - Indian Wars Series Raid - MB35138MB - On the Great Plains - MB35189MENG - Middle Easterners - HS-001MB - Ali - Status Check - MB24028MiniArt - French Guardsman XVII Century - 16011 - 1/16 Scale.Verlinden Productions - Hun Warrior 400 AD - 877 - Super Scale 120mm (Box a little scuffed)K&R Replicas - KR13 Triumph TR6 1969-1975 (Box very scruffy)T5418 - Woodland Indian Allied to Britain FIW.Francois L'Olonnais, 1660 - Pirates of the Caribbean - PC-10 - 1/32 ScalePegaso Girls Tamiya - Livestock Set.Fujimi - Garage & Tools Drivers (Box scruffy)Verlinden - Indian Army Scout - 935 - Super Scale 120mmVerlinden - Mounted Beduin - 1728 - 1/35 Scale. (Box is scruffy) Condition Report - Kits - Advised all are unbuilt. Appear Complete in their boxes, however some boxes are poor. (see photos)
Lot 2548H
A VICTORIAN SILVER COROMANDEL & SATINWOOD TRAVELLING TOILET BOX rectangular with hinged cover inset with a monogrammed brass plaque engraved 1853, the velvet-lined interior with fourteen silver-topped glass jars / bottles, engraved with baskets of flowers surrounded by scrolling foliate decoration, by Hilliard & Thomson, Birmingham 1850, with mother of pearl tools including button hooks and scissors, the underside removable with a mirror and correspondence folder, the box with two internal drawers, with key, 34 x 28 x 20cm Condition Report:"There is no missing drawerLeft side: rectangular glass is broken, the circular one has nibbles, the two bottles at the back have their original labels to the bases. Middle glass box is missing, only a lid, the scent bottle is broken. circular topped glass jar in centre has small chip,Right: the square jar to the right has a bent lid. The circular jar to the top right has nibbles to glass.Rectangular box to right has nibblles to glass, the circular example above it has nibbles. the square cut scent bottle to left has chips / holes.Some splits to the wood lid and sides"
Lot 2524
AN IMPRESSIVE RENAISSANCE-STYLE VICTORIAN SILVER EWER by Frederick Elkington, Birmingham 1871, designed by Benjamin Schlick and adapted from designs by Francois Briot and Caspar Enderlein, the tapered ovoid body with a central band depicting three continents, Europe, Africa, the above band decorated with the seasons Autumn, Winter and Spring, further decorated with masks, the handled formed as a caryatid terminating in a grotesque mask, with a knopped stem supported on a stepped circular base, stamped 978, 30cm high 1,080gms / 34.72oz This ewer's extravagant design belongs to one of Elkington's most interesting periods of production which saw the company employ foreign designers to create decorative silver in various styles. This early period also heralded Elkington’s foray into the Electroplating process. Benajmin Schlick was a Danish-born designer and architect who, in the early years of his life, had spent time in Italy and France and was directly exposed to Classical visual and material culture. In 1839 he become one of the leading figures in the restoration and preservation of the ancient remains at Pompeii, making observations and sketches which would influence his designs made for Elkington. Shlick’s ewer makes direct reference to two makers, Francois Briot (1550-1616), the Huguenot die-cutter and medallist, as well as Casper Enderlein (1560-1633), a Master pewterer who was active in Nuremberg. Francois Briot’s most famous design is undoubtedly the ‘Temperantia’ basin, his only known signed work and a prime example of ‘Edelzinn’ (precious pewter) that was produced in France and Germany during the late 16th and early 17th centuries. The basin featured a figure of Temperance in the centre, surrounded by four plaques depicting the four elements. The patron was most likely Friedrich I, Duke of Württemberg and Count of Montbéliard. Briot moved to Montbeliard in 1579 and a few years later he was appointed seal-engraver to the count and is known to have made medals for Friedrich. The ’Mars’ basin is another masterwork of Briot’s that follows a similar allegorical composition to the ‘Temperantia’ basin. The God Mars replaces the figure of Temperance, while the elements are now depictions of Pax, Invidia, Abundantia and Bellum. The outer border features depictions of famous commanders (Caeser, Cyrus, Julius, Alexander) and the four continents, of which the latter group draws on a series of prints by Jan Sadeler the Elder (1550-1600) after Dirk Barendsz (1534-1592). Basins such as the Temperantia and Mars basin nearly always accompanied ewers with complimentary decoration. Briot seems to have designed ewers at around the same time as the basins, circa 1585. See Hanns-Ulrich Haedeke 'Zinn' 1973. Abb. 129-130 & 134 in the Germanischs Nationalmuseum Nurnberg. Briot’s moulds were made to be copied. His basins and ewers were disseminated widely and in different materials such as Palissyware. Caspar Enderlein’s reproduction of Briot’s Temperance basin brought him great fame. Like many artists who take inspiration from others, Enderlein embellished Briot’s moulds and forms. An ewer made by Enderlein was sold at Sotheby’s (L12230, lot 47) which lifts from an example by Briot in the Metropolitan Museum of Art (accession number :1975.1.1473, Robert Lehman collection). The three continents (minus Asia) represented in Shlick’s design feature an inscribed cartouche below, an addition Enderlein made to Briot’s work. Shlick’s design further incorporates designs from another dish made by Enderlein from a later date. The dish, made around 1628 (an example is found in the Victoria and Albert Museum, accession number 1203-1903) depicts the creation of Eve in the centre surrounded by four allegorical figures of the four seasons. Shlick’s ewer design takes three seasons (excluding Summer) to be used as the top band of decoration. The form also differs – Shlick’s handle is longer and straighter, while the foot differs in decoration and is slightly taller. Most works by Briot and Enderlein that Shlick used as reference material are held in the Victoria and Albert Museum. The museum also holds an identical example of the ewer, though theirs is electroplated parcel-gilt rather than silver. Henry Cole, the first director of the Victoria & Albert Museum (then known as The South Kensington Museum) quickly grasped the potential of Elkington’s newly-bought patent for the process of Electroplating, as they shared a belief that classical source material should be disseminated to aid in the development of good taste. Cole agreed with Elkington to take moulds of ancient objects in the museum and others around the world and reproduce electrotypes of them. These were a huge success and by 1920, the museum held over 1000 electrotypes. Schlick also shared this belief and was instrumental in procuring source material for Elkington. As one of the company’s earliest commissioned designers, Schlick provided direct source material, with his designs being patented by the firm and reproduced as early as 1845. During excavations at Pompeii, he had patented a form of pantograph to make reproductions of works discovered in the ruins. One such example is the famed inkwell / taperstick in the form of a roman lamp, based on Shlick’s sketches from Pompeii and given by Queen Victoria to Prince Albert on their wedding anniversary in 1850. Schlick’s relationship with Elkington’s was not without its problems and their relationship ended in 1851, possibly due to the fact that Elkington was mainly a commercial enterprise. The company continued to produce and sell Shlick’s designs, namely international events such as the Great Exhibition and the 1867 Paris Exposition. To buy an electroplate example of the ewer being sold would cost £9, 9s in 1854. An example in silver would have been much more expensive and of which there are scarcer examples. The lot above provides a detailed and varied insight not only into the commercial activities of the silver and plate industry at a key time in its history and how these objects were used as educational tools for the improvement of general public taste, but also the constant adaption of artists’ works across myriad mediums which produced a wholly different piece that simultaneously looks towards the past and future. Condition Report:There is a dent to the left of Winter (Hyems). The top band is slightly uneven below autumn probably caused by a fall. Some unevenness to the bottom band also.The foot appears to have solder repairs below the knop, the decoration is disrupted - the underside base may have been a later addition
Lot 1158
HO gauge model railway, Gaugemaster by Noch of Germany modelling Tools and accessories to include GM619 Precision Lubricator x11, GM628 Hobby Hammer x2, GM672 Zona Razor Saw x3, GM693 Model Railway Drill Set x3, GM620 Locking Forceps, GM621 Locking Forceps, GM636 Glass Fibre Refills x2, GM639 Inspection Mirror, GM628 Tweezers, GM617 Pick-Up Tool, GM650 HSS Jobbers Drills x3, GM645 Jobbers Drills x2, GM653 Jobbers Drills, GM644 Jobbers Drills, GM653 Jobbers Drills x2, GM635 Glass Fibre Scratch Pencil, GM587 Pro Paintbrush Starter set etc. each boxed or carded. (40)
Lot 1126
Woodland Scenics of Missouri, model diorama acessories to include Talus ballasts x37, plastic tree kits x4, C1186 Plaster Brush set x2, C1203 Plaster, C1187 Plaster Mixing Set, C1206 E-Z Water x2, C1185 Easy Rock Carving Tools, C1294 Flexi Edge, C1145 Wood Plank, S32 Broken Trumps, C1292 Road Striping Pen Yellow x4, C1291 Road Striping Pen White x4, etc. around eighty units in total. (~80)
Lot 1219
A rare Webley .45 Long Spur percussion five shot revolver No. 1374 with 6¾" octagonal barrel marked "Blakemore and Son", plain steel cylinder, engraved frame "Webley's Patent" and "By Her Majesty's Royal Letters Patent" contained in a 19th Century fitted case with a brass and copper powder flask, brass mounted bullet mould and tools etc
Lot 36
Titled: Las Dulces Maneras Del Combate. This large acrylic painting includes a sharp-edged anchor with a cement core that is in the center of an undefined background. The cordless maritime tool is painted with a smooth surface while Acosta has created a heavy impasto of muted colors that he burrowed with deep tools. Acosta has left paint drip on parts of the anchor that appears to float in a thick ocean base. Signed and dates top right. On Verso: Acosta, Las dulces maneras del combate, Acrylic; 55"x 70", Miami 1994 May, pen signature. On side of canvas: signed W. C. Estill, Domingo De Montejo. Artist: Gustavo AcostaIssued: 1994Dimensions: 70.75"L x 0.75"W x 54.5"HProvenance: The Bass Museum of Art Condition: Good condition.
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