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Lot 368
Two trays of assorted china to include: a Coalport leadless glaze trio, florally decorated in cream, navy and gilt, a Crown Devon Fieldings 'Morning Glory' Art Deco salad bowl and salad servers in cream and green with a stylised country scene, a Beswick ware pottery vase decorated with pastel colours, Poole Pottery dolphin, a marmalade jar and cover, some Beswick and Wade figures, a Portuguese 'Secla' cabbage decorated pot with lid, a black and gilt cow cream jug, a small Delft plate decorated with a windmill etc. (2)(B.P. 21% + VAT)
Lot 396
Two trays: one with Maling of Newcastle, gilt edged, flower shaped, lustre trifle bowls (twelve of various colours) and a tray of cut glass glasses, together with a vase. Mixture of glasses including: three brandy balloons, two champagne flutes, assorted sherry glasses, liqueur glasses etc. (2)(B.P. 21% + VAT)
Lot 424
Two trays of assorted china to include; various jugs and pitchers including; Beswick 98-1, Wade Heathware shape no. 787794, floral, Beswick palm tree design etc, pottery planter with relief deer and tree decoration and a large floral Falcon ware posie vase marked Sheila to the bottom.(B.P. 21% + VAT)
Lot 435
Tray containing various figures of people and animals to include; a carved wooden deer, carved wooden bookends of seated figures, an elephant with inlaid glass detail, a brass elephant, ceramic German Dachshund, Pekinese, ceramic springer spaniel marked Redalli, a very small Limoges china cat with gilt detail, Nachtmann glass elephant, two hardstone dachshunds, three continental figures of boys, a small pill box with pheasant decoration to the top, carved wooden vase etc. (B.P. 21% + VAT)
Lot 66
An Attic black-figure lekythos Attributed to the Phanyllis Group, circa 5th Century B.C.Depicting a central nude male facing right, holding a spear in his right hand, flanked on both sides by two draped male figures, all holding staffs and facing the central figure, the shoulder with a palmette above the nude figure, and two draped figures either side, details in added red, 21.5cm highFootnotes:Provenance:with L'Art Ancien, Montreal, April 1986.The central scene on this lekythos is a common motif known as the 'departing warrior'. Shown beardless and without armour, this vase depicts an ephebe, a young Greek who has just turned 18 and has officially become an adult and a citizen. He will serve as an ephebe for two years: the first will comprise his military training, the second will be spent protecting the frontiers of the Attic territory, before transitioning into a hoplite warrior at the age of 20. For an exploration of departure of warrior scenes as primary evidence for activities and attitudes of 5th Century Athens, see S.B. Matheson, 'Beardless, Armed, and Barefoot: Ephebes, Warriors, and Ritual on Athenian Vases', in D. Yatromanolakis (ed.), An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodology, Athens, 2009, p. 373-413.For further information on this lot please visit Bonhams.com
Lot 59
An Attic black-figure amphora (Type B) Attributed to Group E, circa 540 B.C.Side A with Herakles in combat with the Nemean lion, the hero depicted nude, Athena standing to the left wearing a high-crested helmet and a long peplos, holding a lance towards the hero, Iolaos standing to the right, wearing a Corinthian helmet and greaves, a long scythe in his hand, side B with a similar scene, with a band of linked lotus buds above each scene, a red band around the neck, another running beneath each scene and encircling the lower belly, a band of rays above the foot, details in added red, small holes on the neck for ancient repair, 42cm highFootnotes:Provenance:German art market.W. R. (1932-1991) collection, acquired in 1970s in Germany; and thence by inheritance to the H.-J. Gehrmann collection.with Galerie Günther Puhze, Freiburg (Kunst der Antike, Katalog 12, 1997, no. 182).Anonymous sale; Sotheby's, New York, 5 June 1999, lot 141.Anonymous sale; Sotheby's, New York, 14 June 2000, lot 54.Private collection, Switzerland, acquired at the above sale.Anonymous sale; Bonhams, London, 28 November 2017, lot 79.Private collection, USA.Beazley Archive no. 20477.Beazley identified the painters of Group E as 'a large and compact group which is very closely related to the work of the painter Exekias, though earlier...'E' alludes to the connection with Exekias; and group E is...the soil from which the art of Exekias springs' (J.D. Beazley in BSA, vol. 32, p. 3-4 as quoted in Attic Black-Figure Vase-Painters, New York, 1978, p. 133). Exekias, the 'flower' of Group E (ibid., p. 143), is the acknowledged master of the black-figure technique. The work of both Exekias and Group E is characterised by a preference for mythological subjects, a sense of monumentality, and the use of added red. Boardman notes that Beazley later came to think that most of the vases attributed to Group E are actually by one hand, and himself states 'the artist or artists deserve our attention and some respect, more than we may naturally accord an anonymous group, since their work leads not only to Exekias...but [also] more painters of the second half of the century follow the lead of this group and Exekias than of Lydos or the Amasis Painter' (J. Boardman, Athenian Black Figure Vases, London, 1974, p. 56-7).Slaying the Nemean lion was Herakles's first Labour. He was said to have stunned the beast with his famous club, before using his immense strength to strangle it. After vanquishing the lion, the hero tried to skin it with his knife, but failed. Eventually Athena, watching Herakles's plight, advised him to use one of the lion's own claws and the pelt was duly recovered. Herakles is often depicted wearing this lionskin, which is symbolic of his enormous strength and valour. Athena is shown as an onlooker on the present lot, along with Iolaos, Herakles's nephew and companion.Herakles' struggle with the Nemean lion was a favoured subject of Group E, though amphora with this scene on both sides are rare. For another Type B Group E amphora with Herakles, the Nemean lion, Athena and Iolaos on both sides, see Museo Gregoriano Etrusco Vaticano, Vatican City, no. 354, Beazley Archive no. 310379.For further information on this lot please visit Bonhams.com
Lot 54
A large Corinthian pottery oinochoe Circa 590-570 B.C.The broad-bottomed jug with tall strap handle, the body decorated in umber and crimson with two animal friezes, the upper band with panthers, a lion, a bird, sphinxes and a goat, a band of chequer pattern dividing the lower band composed of sirens, goats and felines, with rosettes in the field, details incised, 26cm high incl. handle, 22cm diam.Footnotes:Provenance:Private collection, Switzerland, since 1978.For a similarly decorated flat-bottomed oinochoe with wide mouth by the Canessa Painter see D. Amyx, Corinthian Vase Painting of the Archaic Period, vol. III, University of California, 1988, pl. 92, no.2, which is from the Metropolitan Museum of Art, New York, acc. no. 06.1021.23a, b. The Met example retains its original lid, the presence of which distinguishes Corinthian examples of this type from those of surrounding regions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 56
An Attic black-figure kylix Close to the Leafless Group, circa 550-500 B.C.The tondo depicting a running male youth wearing a pointed cap, with draped outstretched left arm, his right clutching a sword at his waist, each side of the exterior with a battle scene, with two helmeted warriors holding circular shields, interspersed with two warriors mounted on horseback, dolphins underneath the handles, details incised and in added red and white, 21cm excl. handlesFootnotes:Provenance:Private collection, London, formed 1980-late 1990s.The Leafless Group were a group of Late Athenian black-figure vase painters who were so named for the stripped branches that appeared on many of their painted cups. Other signature features of the Leafless Group were dolphins, birds or leaves under the handles as well as single figures and Gorgons in the tondo (J. Boardman, Athenian Black Figure Vases, London, 1974, pp.150-151).For further information on this lot please visit Bonhams.com
Lot 60
An Attic black-figure Little Master lip-cup Circa mid 6th Century B.C.Decorated with a fine band of black around the lip and middle of the bowl, the lower section of the bowl, stemmed foot and handles black-glazed, the interior with central dot and circle, circumscribed with one thick and numerous slender linear bands, 8.5cm high, 17cm incl. handlesFootnotes:Provenance:Anonymous sale; Sotheby's, London, 14-15 December 1981, lot 252. Private collection, Switzerland.Cf. an example in the Metropolitan Museum of Art, New York, acc. no. 03.24.32; the present lot is a finer example of this type. The Little Masters specialised in a delicate, miniature style of vase-painting, and were active in Athens in the first half of the 6th Century B.C. The lip-cup was one of their favoured shapes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 215
A Sèvres blue-ground cup and saucer (gobelet 'litron' et soucoupe), dated 1775Of the first size, each painted by J.-F. Micaud (père) with a gilt-edged medallion enclosing a flower still life on a table, the saucer with flowers in a Sèvres vase, one surrounded by a berried laurel wreath, the other with a rose garland, the blue ground decorated with elaborate gilt scrollwork borders, the cup with gilt scrollwork handle, the cup: 7.7cm high, the saucer: 15cm diam., interlaced LL monograms enclosing date letter x, painter's marks x for Micaud and gilder's marks B for J.-P. Boulanger, incised marks o and f (typical minor wear to enamels on saucer)For further information on this lot please visit Bonhams.com
Lot 11
A rare Meissen Augustus Rex vase and cover, circa 1730Of ovoid form, superbly painted in the manner of J.E. Stadler with a vignette depicting two large chinoiserie figures enclosed by vividly coloured indianische Blumen and birds in flight and perched on the flowers, the neck with similar flowering branches, the domed cover similarly decorated with an iron-red border of whorls and sunbursts to the rim, 38.4cm high, AR monogram in underglaze-blue, (2)Footnotes:Provenance:Anon. sale, Sotheby's London, 2 March 1993, lot 269;The Rosa Alba Collection of Meissen PorcelainLiterature:U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 177Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresdeb, Porzellansammlung im Zwinger, Albertinum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-13 July 1997A closely similar vase, possibly the pair to the present lot, is in the Victoria & Albert Museum, London (accession no. C.48&A-1971).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 127
A pair of Sèvres blue-ground vases (vase chapelet), circa 1772Each reserved with gilt-edged panels depicting classical landscape scenes after Boucher, one with a sleeping Venus, the other with a sleeping woman, the reverse with similar reserves depicting flowers, each surrounded by gilt acorn leaves, gilt foliate wreaths to the feet and necks, the gilt handles with beaded borders, moulded bead borders to the neck and foot, on square gilt metal bases, 27.9cm high (one with some damage, covers missing) (2)Footnotes:Provenance: Sir Walter Rockcliffe Farquhar, 3rd Bart (1810-1902), Polesden Lacey; Thence by descent to the current ownerLiterature:R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p.789 and n.4Exhibited: Bethnal Green Museum, from 1929These vases were exhibited from 1929 at the Bethnal Green Museum, which had been founded in 1872 as a branch museum of the Victoria & Albert Museum. Among many other disparate collections, much of Sir Richard Wallace's collection was displayed at the museum between 1872 and 1875 while Hertford House was being converted to receive it.The plaster model for the vase chapelet, made in three sizes, was recorded in the 1814 inventory, illustrated in G. de Bellaigue (2009), p. 383, together with the 18th century drawings of the shape. It is so far unknown, when the shape was introduced in the manufactory, but the Royal Collection garniture is dated T for 1772. Unfortunately, none of the known vases have been identified in the sale records and the name of vase chapelet does not seem to have been used there, although the overtime records does mention the term in 1776. According to R. Savill (see above Literature), a single cover mounted in a gilt-bronze candlestick in the Wallace Collection is possible the cover to one of these vases.A pair of very similar vases (also missing their covers), which are part of a garniture painted by Dodin is in the Royal Collection, see Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. I (2009), no. 87. One of these is decorated with the same scene as one of the vases in the present lot, after the engraving 'Vénus endormie' by G. Demarteau after F. Boucher. A vase chapelet of the second size with a blue Taillandier ground is in Grimsthorpe Castle in Lincolnshire and another smaller pair with covers and pink Taillandier ground were sold at Sotheby's New York, 16 May 1987, lot 2, one of which is probably the one illustrated in M. Brunet/T. Préaud, Sèvres - des origines à nos jours (1978), p. 106, plate XLVI.For further information on this lot please visit Bonhams.com
Lot 14
A Meissen lilac-ground Augustus Rex vase and cover, circa 1730Of ovoid form with a narrow, flared foot and cylindrical neck, each side reserved with a gilt quatrelobe cartouche painted with a chinoiserie scene, one side in the manner of J.G. Höroldt depicting a bending figure preparing tea attended by another figure holding a basket and fan, with birds in flight overhead, the reverse in the manner of J.E. Stadler showing a figure holding a parasol together with a smaller figure by flowering plants and with birds overhead, the rim of the neck with a band of scrollwork, the domed cover similarly decorated, the finial embellished in gilding, 49cm high, AR monogram in underglaze-blue (haircrack to cover) (2)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
A large Dutch Delft baluster vase and cover, De Paauw factory, circa 1700Decorated in blue and green with details in red and yellow with a peacock amidst flowering shrubs surrounded by scattered birds and insects in flight, above a stiff leaf border, the shoulder with a band of pendant motifs enclosing flower heads, the domed cover similarly decorated, 53cm high (cover restored) (2)Footnotes:Provenance:The Property of a Spanish Noble FamilyThe De Paauw factory was founded in 1651 in the east of the city of Delft. Marion van Aken-Fehmers in her seminal book 'Delfts Aardewerk, geschiedenis van een nationaal product' (2001) describes the history of the factory in detail. The success of the factory can be measured at least in part by the rapid succession of owners. From 1701, the Kam family took ownership of the factory and under the leadership of father and son Gerrit and David Kam, the factory flourished. Like many Dutch delft potters, the Paauw factory produced sought-after blue and white objects designed after Chinese blue and white example. Another lucrative branch of the production of the Paauw factory were pieces decorated in berettino with a blue ground-colour picked out in lighter decorative schemes of flowers much in the style of Nevers production. The ambitious Paauw factory was responsible for several technical developments in the production of Dutch Delftware, which also included experiments with polychrome colours in grand feu, which were very hard to manage. In this vase, we can see blue, green and yellow tones, and traces of the cold-decorated red too. From an inventory of the factory and house contents from 1725 and documented minutely by Van Aken-Fehmers (op.cit. pp. 160-163), it becomes clear that in the living room on a large cabinet, there was a large Kaststel or garniture of vases. It is tempting to think this vase would have been one of that type. It is noted by Van Aken-Fehmers (op.cit. p. 162) that the factory was producing eight-sided large garnitures. Examples of these kinds of polychrome wares are rare, and only a few vases with polychrome grand feu colours are known today, a fully marked garniture previously in the collection of Dr. F. H. Fentener van Vlissingen (1882-1962), is now with Aronson Antiquairs.For further information on this lot please visit Bonhams.com
Lot 134
A Sèvres style blue-ground flower vase (vase hollandois), late 19th centuryReserved with panels of a putto, trophies and birds within gilt floral and foliate scrollwork cartouches, gilt dentil borders to rims, 19cm high, pseudo interlaced LL monogram to stand (stand restuck)Footnotes:Provenance:Sir Walter Rockcliffe Farquhar, 3rd Bart (1810-1900), Polesden Lacey;Thence by descent to the current ownerFor further information on this lot please visit Bonhams.com
Lot 224
A very large Sèvres vase (vase 'Cordelier'), dated 1872Of the third size, decorated with a 'lapis-lazuli' ground heightened in gilding, the foot with a wide gilt scrollwork border and the neck with a gilt border of leaves and berries, 72cm high, 42cm diam. at widest, RF and 'Doré à Sèvres' 72 within a circle stencilled in iron-red to inside rimFor further information on this lot please visit Bonhams.com
Lot 170
Various items of European porcelain, 19th century and laterComprising: eight hard-paste Sèvres style plates after 18th century originals, a modern hard-paste porcelain tulip, a Sèvres style lobed oval dish with putto in monochrome colours, a Worcester cup and saucer of Jabberwocky pattern, circa 1770, two Wedgwood cups and covers (one in creamware and one jasper ware), three Sèvres-style plates, all with different decoration, a Sèvres style flower vase, a Sèvres-style turquoise-ground cup and saucer, and a hard-paste porcelain neo-classical cup and saucer with a scale pattern, a later-decorated Sèvres blue-ground helmet-shaped jug (pot à lait aiguière), the plates: 25.5cm diam., various marks (25)Footnotes:Provenance:Property from the Collection of Dr. Johannes Ralph LafrenzFor further information on this lot please visit Bonhams.com
Lot 234
A Meissen mantel clock and base, late 19th centuryModelled by Ernst August Leuteritz, moulded with gilt-edged scrollwork and recessed panels at the sides painted with flowers, the gilt-metal dial with applied enamel Roman numeral plaques, flanked by moulded reeds, applied flowers and four putti emblematic of the Seasons, above a moulded panel painted with an elegant couple in a landscape, surmounted by a flower vase with a similar scene and four flower panels, the base similarly decorated, the scroll feet applied with flowers, the drum-shaped movement striking on a bell, numbered 8952, 51.5cm high overall, crossed swords marks in underglaze-blue, incised 'No.399' (clock) and 572 (base), painter's mark 22 to clock, impressed numeral to base (minor chips) (2)Footnotes:Provenance:A Private Swiss Collection of 19th century MeissenThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1093
Philipp de MarlierBlumenbouquet mit Lilie, Tulpen, Iris und Rosen in chamoisfarbener Keramikvaseum 1625Öl auf Holz47,5 x 32 cmDorotheum, Wien, 6. Dezember 1989, Lot 17; österreichische PrivatsammlungVerschiedene Blumenarten, die zu der Zeit Philipp de Marliers als florale Kostbarkeiten galten, sind in Form eines aufgelockerten Ovals einander zugeordnet. Tulpen, Rosen, Iris, Lilie, Vergissmeinnicht und andere heben sich von einem diffus dunklen Hintergrund ab, wodurch die einzelnen Blüten mit ihrer Farbgebung und Leuchtkraft isoliert wirken. Die zarten Pflanzen, die zu unterschiedlichen Zeiten blühen, sind fein säuberlich und mit einigen wenigen Überschneidungen platziert, um einerseits Plastizität zu suggerieren sowie die verschiedenen Arten zu dokumentieren.Die Gestaltung solcher Blumenstücke ist keinesfalls zufällig, sondern unterliegt oftmals Regeln des Repertoires eines Künstlers, Wünschen des Auftraggebers oder bestimmter Symbolik. So wurde die Lilie kaum zufällig derart prominent ins Zentrum gesetzt, sondern nimmt als Zeichen für Reinheit stets eine besondere Stellung in Blumenbouquets ein.Die sich bereits zum Boden neigenden Rosen und die aus dem Strauß gefallenen Blüten und Blätter weisen auf die Vergänglichkeit hin. Zugleich bewirkt die Inszenierung der über den Rand der Tischkante hinausragenden Pflanzenstücke, dass die Darstellung belebt und eine Raumtiefe angedeutet wird. Auch bei der präzisen Umsetzung der changierenden Farben und verschiedener Texturen, so auch bei der Musterung der Keramikvase, kommt die technische Virtuosität des Antwerpener Malers besonders zum Ausdruck. Stilistisch und qualitativ vergleicht Ingvar Bergström vorliegendes Gemälde mit dem 1637 datierten Werk "Blumen in einer Vase" (vgl. Le siècle de Rubens, Ausstellungskatalog, Musées Royaux des Beaux-Arts de Belgique, Brüssel 1965, S. 133, Nr. 144). Der dunkle Hintergrund und die intensive Lichtgebung, welches das florale Werk strahlen lässt, sind häufig wiederkehrende Charakteristika in den Blumenstillleben Marliers.
Lot 138
Paar große ZiervasenPorzellan, glasiert, farbig staffiert, z. T. vergoldet; quadratische Sockelplatte, runder Fuß, Schaftring, halbkugelig angesetzter Vasenkörper und eingeschwungene hohe Wandung mit stark ausgeweiteter Lippe, jeweils 2 seitliche Handhaben mit horizontalem Henkel; die Oberfläche überzogen mit mattem und poliertem Gold, die Wandung mit umseitig bunt gemalten Blumen mit landschaftlichem Hintergrund; 1 Vase signiert und datiert: "J: FISCHER / 1818.", auf der Unterseite Buchstabe "W" und Malernummer; 1 Vase signiert: "Joh Fischer.", auf der Unterseite Bindenschild-Marke, geprägte Jahreszahl (1)818; sowie Bossiernummer 25 und MalernummerH. 34,5 cm
Lot 2007
Marc ChagallLe nu sur le bouquet1978Ölkreide, Gouache, Tusche, Bleistift, feiner Stoff, Papier collé auf Papier28,7 x 22,7 cmSigniert rechts unten: Chagallaus dem Nachlass des Künstlers (Nr. D 2256);Galerie Salis, Salzburg;dort 1993 erworben, seither österreichischer PrivatbesitzIm Spätwerk von Marc Chagall entfernt sich der Künstler allmählich von der jüdisch-orthodoxen Tradition und der russischen Folklore. Motive aus dem christlichen Glauben, der griechischen Mythologie, aber auch Wahrnehmungen aus dem täglichen Leben werden aufgegriffen. Jedoch bleibt in seinem Werk noch immer die Verbindung zwischen Traum und Wirklichkeit und das Sichtbarmachen von Unsichtbarem bestehen. Auch bedient er sich in der im Jahr 1978 ausgeführten Arbeit mit dem Titel "Le nu sur le bouquet" jener beiden Bildthemen, die in Marc Chagalls Oeuvre eine wesentliche und immer wiederkehrende Rolle spielen, nämlich das Liebespaar und ein prachtvoller Strauß von Blumen. In dieser zauberhaften Szene im Innenraum einer Wohnung nimmt der üppige Blumenstrauß in der Vase, die auf dem Tisch steht, dominant und zentral den Bildraum ein. Die Frau ist gebettet auf der Blütenpracht. Ihr Körper nimmt in seiner Biegung die runde Form des Bouquets auf. Mit der rechten Hand und den überschlagenen Beinen scheint sie ihre Nacktheit verbergen zu wollen. Ihr Kopf ruht auf dem linken Arm. Der Mann tritt vom linken Bildrand in das Zimmer ein. Er ist wohl gerade erst gekommen und hält noch seinen Hut in der Hand. Das Fenster im linken oberen Bildbereich erlaubt einen Ausblick hinaus in den sonnigen Tag. Mit der Tusche erzeugt der Künstler im Blumenstrauß ein lebendiges Durcheinander der dicht aneinandergedrängten Blüten, setzt Schraffuren im Raum und schafft klare Konturen der Figuren. Auch und gerade in seinem Spätwerk ist Marc Chagalls meisterhafter Umgang mit der Farbe deutlich. Besonders die floralen Motive bieten Chagall eine schöne Gelegenheit, Tonwerte mit viel Gefühl zu modellieren und harmonische Farbkontraste herzustellen. Im Bouquet setzt der Künstler auch mit einer Collage auf dem Strauß farbliche Akzente. In den letzten Lebensjahrzehnten hat Chagall sein unstetes Leben mit dem häuslichen Glück eingetauscht. Er bezieht 1950 ein Haus in Saint-Jean-Cap-Ferrat und heiratet seine zweite Frau, die Russin Valentina Brodsky, die ihn künstlerisch sehr positiv beeinflusste. Er feierte bis zuletzt große Ausstellungserfolge und genoss weitreichende Popularität und wird aus gutem Grund als einer der wichtigsten Vertreter der modernen Kunst angesehen.(Sophie Höfer)
Lot 2051
Ernst NepoBlumenstillleben mit Landschaftsausblick1959Öl auf Hartfaser65 x 101 cmSigniert und datiert links unten: E / Nepo / 1959österreichischer PrivatbesitzErnst Nepo gehört zu den bedeutendsten Vertretern der Neuen Sachlichkeit in Österreich. Nach den Kriegswirren, als er sich wie viele andere Künstler neu zu orientieren versuchte, fand er in seinem Malstil zu einer Balance zwischen expressiver Farbe und sachlicher Nüchternheit. Ein wesentliches Sujet der späten Schaffensjahre war das Stillleben, vor allem die Darstellung von Blumen in einer Vase in Verbindung mit einer Landschaftsszenerie gewinnt an Bedeutung.Es überwiegen nun hellere kräftige Farben, die Blumenarragements sind vielfältiger und raffinierter und werden oft als eine romantische Reminiszenz mit Landschaftsausblicken kombiniert. Ein neuer sanfter Tenor prägt den Stimmungsgehalt der Bilder. An die Stelle einer distanzierten Anonymität der Dinge tritt nun eine kontemplative Stille, die den Fokus der Betrachtung auf die Schönheit der dargebotenen Blumen und des in der Ferne liegenden Naturausschnitts lenkt.(Claudia Mörth-Gasser)
Lot 554
Johann Lötz WitweVasefarbloses Glas, rosafarben unterfangen, eingeschmolzene hell- und dunkelblaue Fäden und Krösel; modelgeblasen, frei geformter Mündungsrand, Wandung 6fach gedrückt; reduziert und irisiertH. 25,3 cmUnsere Vase ist eine sehr seltene, von uns erst zwei Mal zu Gesicht bekommene Variante des sogenannten "Argus"-Dekors; in diesem Fall noch ergänzt durch senkrechte Streifen, die an den Koloman Moser 1901 entworfenen Dekor "Streifen und Flecken" angelehnt sind. Wir nehmen an, dass diese Vase von Lötz im Auftrag des Verlegers E. Bakalowits Söhne produziert worden ist und auf einem Entwurf einer Schülerin der Wiener Kunstgewerbeschule beruht. Dafür spricht, dass Objekte die Lötz im Auftrag von Bakalowits ausgeführt hat, kaum jemals signiert sind. (EP)
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