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Auction Description for Auctionata: Fine Arts
Viewing Notes:
A preview at Auctionata on November 25/26 is only possible on by prior appointment! Tel: +49 30 9832 0221, E-mail: sales@auctionata.com
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Fine Arts

by Auctionata


120 lots with images

November 29, 2013

Live Auction
120 Lots
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Lucien Adrion (1889-1953), 'Promenade in Biarritz', 1925

Lot 1: Lucien Adrion (1889-1953), 'Promenade in Biarritz', 1925

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Description: Oil on canvas France, 1925 Lucien Adrion (1889-1953) - French painter Signed and dated lower right 'Adrion 25' Ornamental frame Overall dimensions, framed: 77 x 99 cm, stretcher frame: 61 x 81 cm Good condition Provenance: Berlin private collection Lucien Adrion's beach scenes are among the most popular works by the French artist; paintings with these motifs fetch more than 82,000 Euro at international auctions This oil painting by the French painter Lucien Adrion (1889-1953) dates to 1925, depicting a view of a beach promenade in Biarritz, in southwestern France. The painting exhibits a harmonious colouring, which delightfully shimmers on the sidewalks, houses and ocean waves. A few walkers provide little narrative accentuations, giving evidence of the ease of a warm and pleasant summer day on the Atlantic coast. The painting is signed and dated lower right 'Adrion 25'. The condition is appealing with minor signs of age and mounting. Under UV-light a touch-up is visible in the area of the sky (repaired on the back). The lower part shows several small touch-ups. In the corners there are small mounting holes. The canvas is a little thinned in places, especially along the lower left with a small paint chip. The frame is in good condition, featuring slight signs of age and some notches. The overall dimensions with frame are 77 x 99 cm, the stretcher frame measuring 61 x 81 cm. Lucien Adrion (1889-1953) Born in Strasbourg, Lucien Adrion mainly created landscape and still life paintings. In his younger years, he worked first as a fashion illustrator in Paris, travelling to London, Munich and Frankfurt. During the First World War, he studied in the studio of German painter, etcher and lithographer Hermann Struck (1876-1944) in Berlin, who also taught the art of etching to Marc Chagall, Lovis Corinth and Lesser Ury. After the war, Adrion returned to Paris, and a few years later settled in Normandy.

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Boris Anisfeld (1879-1973), Still Life with Fruits, around 1910

Lot 2: Boris Anisfeld (1879-1973), Still Life with Fruits, around 1910

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Description: Oil on cardboard Europa, um 1910-1917 Boris Israelewitsch Anisfeld (1879-1973) - Russian-American painter Signed lower right 'Boris Anisfeld' Overall dimensions framed: 92.7 x 78.7 cm Very good condition Provenance: from a Berlin private collection An expressive oil painting showing the artist's natural gift for colour; Anisfeld's floral still lifes fetch up to 280,000 Euro on the art marketThis floral still life by Boris Anisfeld shows an expressive composition with a lush bouquet of red flowers in a vase, framed by two orchids and a small bunch of field flowers. A bowl of juicy oranges is depicted in the foreground. The colourful flowers and fruits stand out wonderfully against the abstracted surroundings in muted colours. Influences of modernism are clearly visible - Cézanne's colour plasticity and Picasso's abstract aesthetics - but Anisfeld never adhered to any particular movement or style. He was first and foremost a colourist, an 'alchemist of colour', whose virtuosity in terms of colour composition is reflected in his entire oeuvre. The intensity of the yellows, oranges and reds is particularly impressive here. With free broad brushstrokes, the colours are applied impasto, which makes the composition oscillate between figuration and abstraction. This pastose surface texture essentially characterises the works by the Russian-American painter. The oil painting by Boris Anisfeld is in very good condition with only minimal framing marks along the corners. The work is signed lower right 'Boris Anisfeld'. The cardboard is slightly warped. The frame shows signs of age and wear with light color abrasions along the edges. Framed the work measures 92.7 x 78.7 cm. The board measures 78.7 x 64.5 cm. Boris Anisfeld (1879-1973) Boris Anisfeld was born in the province of Bessarabia, in South Eastern Europe, in 1879. From an early age he started drawing. In 1895 he began studying at the Art Academy of Odessa under Kiriak Konstantinov. Kostandi, then the school's leading teacher of portrait and figure painting. Thereafter Anisfeld attended the Imperial Academy of Arts in St. Petersburg. In 1905, the artist and critic Igor Emmanuilovich Grabar took notice of the young painter and introduced him to Sergei Pavlovich Diaghilev. The latter showed some of Anisfeld's works in a Russian exhibition at the Salon d'Automne in Paris. During the same period, the artist exhibited in St. Petersburg and Moscow. From 1907 onwards he designed sets and costumes for the theater, including Diaghilev's Russian Ballet. 1908, several of his paintings were exhibited at the Vienna Secession. In 1918 Anisfeld arrived in New York with his family, where he also worked as a stage and costume designer, particularly for Metropolitan Opera, while his works were exhibited in various museums and galleries. In the same year the Brooklyn Museum dedicated a large-scale exhibition to him, which was shown in nine other cities. In 1928 Anisfeld moved to Chicago where he took a teaching position at the Art Institute. In 1958 the latter devoted a retrospective to the artist, who had fallen into oblivion for almost 20 years. Boris Anisfeld's works are represented in the collections of the Russian Museum in St. Petersburg, the Tretyakov Gallery in Moscow, the Isabella Stewart Gardner Museum in Boston, the Brooklyn Museum in New York and the Smithsonian in Washington.

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Albert Anker, Drawing 'House Hans Baumann in Neuchâtel', 1854

Lot 3: Albert Anker, Drawing 'House Hans Baumann in Neuchâtel', 1854

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Description: Pencil on paper Switzerland, 1854 Albert Samuel Anker (1831-1910) - Swiss painter and graphic artist Signed lower right and dated 'Anker 1854' Verso inscribed by an unknown hand 'von Anker / Haus Hans Baumann Neuenburg' [by Anker / House Hans Baumann Neuchâtel] Overall dimensions, framed: 36.5 x 42.5 cm; sheet dimensions: 18 x 26 cm Good condition Provenance: Swiss private collection Albert Anker is one of the greatest painters of Switzerland's national life and the most famous children portraitist of his time; his pencil drawings fetch up to 13,000 euros at international auctions This pencil drawing by the Swiss painter and graphic artist Albert Anker (1831-1910) was created in 1854, depicting the home of Hans Baumann in Neuchâtel, as it reads on a handwritten note on the back of the sheet. The very finely executed drawing displays a range of extremely thin to strong lines, testifying to the artist's great talent as a draughtsman, already evident in his adolescent years, before he began studying painting in Paris in 1854. Also, his love of children depictions, present throughout his entire oeuvre, is manifested in this work. The vivid display of the little boy playing with a dog, and the two lovely children with large hats, taken by their mothers' hands, evidence the 'true-to-life' narrative style that made Anker an important figure for the Swiss realism of the second half of the 19th Century. The drawing is signed and dated lower right 'Anker 1854'. It is all around matted and mounted in a beautiful, profiled wood frame. The sheet is in good condition, showing usual signs of age. The paper is only slightly browned due to age and shows some creases. The corners of the sheet are minimally trimmed. The overall dimensions with frame are 36.5 x 42.5 cm, the sheet dimensions being 18 x 26 cm. The wooden frame is in very good condition with only minimal signs of use. Albert Anker (1831-1910) A native of Ins in the Canton of Bern, the painter and graphic artist Albert Samuel Anker is one of the most important painters of Switzerland's national life. Between 1845 and 1848, he took his first private drawing lessons with Louis Wallinger in Neuchâtel. In 1851, he went on a trip to Paris, where he studied the works of Nicolas Poussin and Eustache Le Sueur. Between 1852 and 1854, he attended the University of Halle. In 1854, he finally moved to Paris to entirely devote himself to painting. He studied with the painter Charles Gleyre, with whom also Pierre-Auguste Renoir should study from 1861 onwards. Between 1855 and 1860, Anker attended the École Nationale Supérieure des Beaux-Arts in Paris. Between 1859 and 1885, he regularly presented his works at the Parisian Salon. He made numerous trips to Brittany, the Black Forest, Italy, Germany, France and Belgium. In 1890, he left Paris and moved back to his hometown. Anker mainly painted portraits of children, religious and historical motifs, still lifes, and landscapes. Works by Albert Anker are today displayed in many high-ranking Swiss museums, in Bern, Zurich, Solothurn, Winterthur, Basel, Lausanne, and Neuchâtel.

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Alexander Archipenko, Cubist Drawing, around 1920

Lot 4: Alexander Archipenko, Cubist Drawing, around 1920

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Description: Pencil and watercolour on paper Most certainly Berlin, around 1920 Alexander Archipenko (1887-1964) - American sculptor of Ukrainian origin Signed lower right 'Archipenko' Framed with mat Overall dimensions, framed: 47 x 40 cm Good condition Provenance: from a Viennese private collection A colourful little work on paper by Archipenko - a pioneer of modern sculpture; drawings by the artist fetch up to 177,000 Euros at international auctions This small drawing by Alexander Archipenko was created around 1920. It shows a colourful composition, strongly influenced by cubism. Fine lines and hatching delineate the abstracted shapes, dark outlines emphasise the silhouettes. Here and there one imagines to discern a head or a musical instrument. Soft flowing lines and a compositional dynamic characterise this work. Although the drawing does not show any relief, the image has a distinct sculptural quality, such is the illusion of space - despite the disintegration of any perspectival conventions. The contrast between convex and concave elements, between negative and positive forms is also recurrent in Archipenko's three-dimensional works. Despite having been an avant-gardist all his life, the artist of Ukrainian origin has created a coherent oeuvre, within which the works on paper and sculptures perfectly complement each other. The drawing by Alexander Archipenko is in good condition according to its age. The paper shows light foxing and creasing, there are minimal marginal blemishes, such as a small tear along the upper margin. The borders are slightly tanned due to age. The colours are well-preserved. The work is signed lower right 'Archipenko'. The light-coloured frame shows minor signs of use. Framed the work measures 47 x 40 cm. The sheet measures 29 x 23 cm. Alexander Archipenko (1887-1964) Alexander Archipenko was born in Kiev in 1887. From 1902 to 1905 he studied painting and sculpture at the local art academy. Dissatisfied with the academic teaching methods, he went to Moscow to work as a freelance artist. He eventually moved to Paris, where he opened his own art school in 1911 and met Pablo Picasso. Archipenko was the first sculptor to transfer the ideas of Cubism to the three-dimensional art and developed the so-called 'sculpto-painting' by creating colourful reliefs. He exhibited throughout Europe and the USA. For three years he lived in Berlin before emigrating with his wife to America, where he taught at various art schools and finally settled in New York. Today Archipenko's works are in the collections of the Guggenheim Museum and MoMA in New York, the Hermitage Museum in St. Petersburg, the Städel Museum in Frankfurt and the Tate Gallery in London amongst others.

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Circle of Hans Baldung Grien, „Angel with Arma Christi

Lot 5: Circle of Hans Baldung Grien, „Angel with Arma Christi", 1529

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Description: Oil on wood Germany, presumably 1529 Circle of Hans Baldung Grien (1484/85-11545) - German painter and etcher Later applied monogram and date in the lower left „HB 1529" Counterpart to the panel „Kneeling Angel with Rod and Scourge" that has been art technologically analyzed in 2000 by Jens Klocke and safely attributed to Hans Baldung Grien - see picture with both panel paintings at the photo section Overall dimensions, framed: 42 x 49 cm, Dimensions of the panel: 26 x 33 cm Good condition Provenance: German private collection A piece for the scientists among the collectors, as with some time and intensive research this work - like its counterpart - could be classified more precisely. The current estimate reflects the value of an old master painting of the period, yet without further certainty about the artist The panel at hand shows an angel presenting three instruments of Christ's passion and has been attributed to the circle of Hans Baldung Grien. The panel is the counterpart to another one showing a "Kneeling Angel with Rod and Scourge" that comes from the left. The panel with the "Kneeling Angel with Rod and Scourge" has been art technologically analyzed in 2000 by Jens Klocke in Hildesheim and could be safely attributed to Hans Baldung Grien. Both panels have presumably been sawn out of a large painting with Christ in its center and two more angels presenting the rest of the instruments. The angel on the panel at hand is dressed in an elaborate red garment and floats into the scene from the right side, presenting the instruments of passion in his hands. In his right hand he holds tongs, in his left a hammer and the holy sponge set on a reed. A wafting sash underlines the impression of the floatation that the angel gives. His delicately painted face is turned towards the direction of Christ and it bears a passionate expression; a tear can even be seen in his eye. He corresponds in posture and movement with the angel of the other panel that has been attributed to Baldung Grien. Both panels are also equal in terms of quality. The panel is in good condition. It shows some minor colour touch-ups, mainly in the area of the angel's center of the body and its neck. The colour layer has been protected by a layer of varnish. Minor traces of framing can be seen around the edges. The painting is framed in a beautiful wooden frame that shows only small traces of age and use. The overall dimensions, framed, are 42 x 49 cm, the dimensions of the panel are 26 x 33 cm. Hans Baldung Grien (1484/85-11545) and his Circle Hans Baldung Grien received his education with Albrecht Dürer in Nuremberg, where he gained his surname Grien, meaning „The Green" (presumably because he mainly wore green). He was one of Dürer's most important scholars and even chosen to lead the workshop when the master was absent. Baldung moved to Strasburg in 1510 where he was allowed to open his own workshop. He created many of his major works there, even though he left the city in between 1512-16 to go to Freiburg where he painted the main altar of the Munster. Next to religious themes, his oeuvre includes worldly and mythological topics and he was one of the first to introduce erotic and supernatural themes, mainly depictions of witches, into the German painting. Baldung had returned to Strasburg in 1517 and became a successful painter and a respected citizen. He was even elected a juryman and alderman of the city. Thanks to his great success it can be safely assumed that he had a great number of scholars, followers and admirers that worked in his style.

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Emil Betzler (1892-1974), 'Self-Portrait with Skull', 1918

Lot 6: Emil Betzler (1892-1974), 'Self-Portrait with Skull', 1918

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Description: Oil on canvas Germany, 1918 Emil Betzler (1892-1974) - German painter and graphic artist Signed and dated lower right: 'E. Betzler 1918' Dimensions, framed: 70 x 67 cm Good condition Provenance: German Collection Oil paintings by the German expressionist Emil Betzler are rarely seen on the art market which makes this self-portrait even more important This expressive painting was executed by the painter Emil Betzler in 1918. It shows a self-portrait of the artist with wide open green eyes and a monocle in the left eye. A skull that somehow resembles the depicted is peering over his left shoulder. Even though still a young man in 1918, Betzler explores the subject of the perishable and the presence of death, most certainly influenced by the events of the First World War. The painting is in good condition with signs of age. The canvas has been relined and there are minor traces of paint loss. The dimensions, framed, are 70 x 67 cm and the dimensions of the canvas on the stretcher are 50.2 x 47.5 cm. Emil Betzler (1892-1974) Emil Betzler was born in Westphalia in 1910. He studied at the Academy of Arts in Düsseldorf between 1912 and1914. In 1916 he moved to Frankfurt where he worked as an artist and a teacher. The print room of the Städel in Frankfurt exhibited a great body of his work. He stood in connection to the 'Frankfurter Künstlerbund' (Frankfurt Association of Artists) and the artist group 'Ghat', and had a close relation to the renowned artist Max Beckmann. He travelled to Italy, France and Switzerland. In 1933 he was charged with anti-fascist behaviour, which resulted in the withdrawal of his occupation. In 1967 he was awarded the order of merit of the Federal Republic of Germany. In the following year he received the gold medal at the Ancona Biennial.

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Albert Birkle, Chalk, 'In der Königsallee in Berlin', 1920

Lot 7: Albert Birkle, Chalk, 'In der Königsallee in Berlin', 1920

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Description: Coal on paper Berlin, Germany, 1920 Albert Birkle (1900-1986) - German painter and draughtsman Signed lower right 'A. Birkle' Verso titled and dated 'In der Königsallee in Berlin 1920' Very good condition Total dimensions, framed: 91.5 x 117 cm Provenance: Auctioned in May 2003 at Villa Grisebach; afterwards German collection The work dates to the year 1920, the blossoming period of the artist, depicting Birkle's typical style between Expressionism and New Objectivity; a similar work, 'Nächtliche Straße, 1921', reached about 32,000 euros in auction in 2007 The image 'In der Königsallee in Berlin', from 1920 by Albert Birkle is accomplished in the classical style of the New Objectivity. A street scene in Berlin is drawn in deep black calk, in Birkle's typical reduced, distanced style. Depicted are a car and a carriage, drawn by an emaciated horse. An elegantly dressed woman and a worker are crossing the street. The face of the man is chopped by the lower edge of the image and closest to the viewer. The image 'In der Königsallee in Berlin', by Albert Birkle is signed on the lower right 'A. Birkle'. Verso it is titled and dated 'In der Königsallee in Berlin 1920'. The work is in very good condition with merely slight folding marks. The drawing is mounted in a crème coloured mat and a black wooden frame with gold coloured accents. The frame displays slight signs of wear and indentations. The total dimensions of the work, including the frame, are 91.5 x 117 cm, and the sheet is 63.7 x 90 cm in size. Albert Birkle (1900-1986) Albert Birkle studied at the Academy of Arts in Berlin. In 1921, he became a member of the Berlin Secession. In addition, he studied at the Prussian Academy of Arts in the master class of Arthur Kampf. Regular single and group exhibitions in Germany and abroad have honoured his work already during his lifetime. He underwent a blossoming period of his creativity during the twenties in Berlin, when created social-critical works with expressive character and at times grotesque excesses. He was primarily active in painting and drawing. Amongst his favourite subject matters are portraits, landscapes and city views. In 1932, political tensions in Berlin drove him to move to Salzburg. He became an Austrian citizen in 1946. Throughout his life, he worked on the graphics cycle 'De profundis', and in these works he processed atrocities from the Second World War. After the war, he created mainly glass windows for German and Austrian churches. In 1970, he received the commission for the glass windows at the National Cathedral Washington, D.C.

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Richard Bitterlich (1862-1940), Painting 'Sissi', around 1890

Lot 8: Richard Bitterlich (1862-1940), Painting 'Sissi', around 1890

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Description: Oil on canvas Austria, around 1890 Richard Bitterlich (1862-1940) - Austrian portrait painter Signed 'R. Bitterlich.' along the right edge Depiction in an oval medallion Ornamental frame and gold coloured, hand carved wooden inset of the period Overall dimensions, framed: 56 x 43 cm; canvas: 38.5 x 26.5 cm Very good condition Provenance: Viennese private collection The Austrian painter Richard Bitterlich was a master of the female portrait; his paintings fetch up to more than 5,000 euros at international auctions The Austrian portrait painter Richard Bitterlich (1862-1940) depicted Elisabeth of Austria-Hungary (1837-1898), known as 'Sissi', in several portraits. This portrait shows the Duchess of Bavaria, later Empress of Austria and Apostolic Queen of Hungary in her twenties. The portrait testifies to the artist's high craftsmanship skills and gracefully captures Sissi's gracefulness. In this portrait, Bitterlich has depicted the beautiful Sissi in a daily costume with a fashionable feathered hat, high-necked blouse and embroidered floral cape with a brooch. The face, characterized by rosy cheeks and expressive eyes, is particularly striking. A beautiful gold coloured period frame with matching carved inset surrounds the portrait in an elegant manner. The painting is signed 'R. Bitterlich.' along the right edge of the painting. The painting is generally in very good condition, showing slight signs of age. The canvas is a bit wavy. The gold coloured frame from the period is in good condition, featuring some small losses of material and cracks. The overall dimensions with frame are 56 x 43 cm; the canvas measuring 38.5 x 26.5 cm. Richard Bitterlich (1862-1940) The portrait painter Richard Bitterlich worked in Vienna between 1880 and 1900. He created oil paintings and watercolours, often on ivory. One of his favourite motifs was the Empress Elisabeth of Austria, the famous 'Sissi'. In addition to his mostly female nudes and portraits, his oeuvre also includes mythological paintings.

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Luigi Bonazza (1877-1965), 'Evening in Vienna', 1905

Lot 9: Luigi Bonazza (1877-1965), 'Evening in Vienna', 1905

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Description: Oil on canvas Italy / Austria, 1905 Luigi Bonazza (1877-1965) - Italian painter and graphic artist Dated and signed lower right '1905 Bonazza' Atmospheric city view at night Impressive format Overall dimensions, framed: 77 x 131 cm Provenance: Austrian private collection With this impressive painting in Impressionist manner, Luigi Bonazza, who is mostly known for his graphic work of mythological scenes, showcases his skills as a painter to full extent It is probably a view of the Vienna Quai looking towards the city center that Luigi Bonazza (1877-1965) has captured in this oil painting in evening mood. Bonazza, who lived there since 1897, clearly adopted the Impressionist style of painting which spread throughout Europe around 1900. The subtle play of light is particularly striking. The lights of the shops shine like a golden shimmer out of the darkness. People are barely visible in this atmospheric painting. However, they are omnipresent due to the lights in the windows and cars. Bonazza succeeded in creating a nostalgic painting, which evokes the longing for a journey to this city of sparkling lights. The date and signature '1905 Bonazza' are located lower right. The painting shows slight signs of age and wear. The canvas was mounted on strong cardboard. The lower part of the painting displays some touch-ups. In the upper part of the canvas there is a small dent, and the edges feature some paint flaking due to the framing. The gold-coloured wood frame is damaged along the upper and lower right corner, showing small nicks all around. The overall dimensions, framed, are 77 x 131 cm. The canvas measures 64.5 x 119 cm. Luigi Bonazza (1877-1965) The Italian artist Luigi Bonazza was born in Arco in the Province of Trent in 1877. After studying at the Scuola Reale Elisabettiana in Rovereto, he moved to Vienna in 1897, where he studied at the Kunstgewerbeschule. He devoted himself to painting, and was acquainted with the artists of the Secession. In 1912, he returned to Trent, where he founded the artists' circle of Trent (Circolo Artistico Trentino). Before the outbreak of World War I, Bonazza built a house in Trent, whose floor plan, furnishings and frescoes were designed by him. The 'Casa Bonazza' stands in the tradition of famous artists' houses in Europe in the second half of the 20th Century, such as the Villa Franz von Stuck in Munich. The Casa Bonazza is a unique example of the cultural landscape of Tyrol. It represented, at the time, a kind of total work of art, which was also seen as a symbol of an ideal life. Between 1916 and 1918, Luigi Bonazza lived in Milan and created watercolours and etchings. Afterwards, he returned to Trent, where he devoted himself to landscapes and portrait paintings.

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Adriaen Brouwer - attributed, 'The Meat Eater', early 17th C

Lot 10: Adriaen Brouwer - attributed, 'The Meat Eater', early 17th C

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Description: Oil on wood panel Flanders, early 17th Century Adriaen Brouwer (1605-1638) attributed - Flemish artist The reverse with three wax seals of the family von Pölnitz Dimensions, framed: 28 x 26,5 cm Good condition Provenance: Private German collection; formerly private collection of the family von Pölnitz These small, portrait-like character studies, called 'Tronie' in Dutch, are typical for Adriaen Brouwer's oeuvre; Paintings attributed to Adriaen Brouwer fetch up to 69,000 Euro at international auctions The painting "The Meat Eater" dates to the early 17th Century and is attributed to the Flemish painter Adriaen Brouwer. The painter, who has studied in the studio of Frans Hals, is known as the master of peasant genre paintings and 'tronies'. Typically for Brouwer, these were rendered, as here, on small sized panels. It shows a peasant with a rack of meat in one hand and a knife and a piece of the meat in the other. The colour palette is subtle and speaks of his later works in which brown was the fundamental colour. The painter has applied only a few lighter scents highlighting for example his teeth. The mimic of the peasant is closely studied, which would also be typical for Adriaen Brouwer's later works. Adriaen Brouwer's works were collected by Rembrandt and Rubens and had a great influence on Flemish and Dutch genre painters, such as David Teniers the Younger. The work is in good condition with age-related signs of wear. The painting is covered with a layer of varnish. The lower corner has a minimal notch and some traces of framing can be seen all around. The golden colour of the frame has left some traces on the upper margin. The dimensions framed are 28 x 26.5 cm and the dimensions of the panel are 19 x 16 cm. The reverse of the panel shows three different wax seals of the family von Pölnitz, most certainly from three generations. One seal bares the inscription: "GERHARD FRHR VON POELNITZ 1910". Adriaen Brouwer (1605-1638) Adriaen Brouwer was probably born in the Flemish Oudenaerde in 1605. As a young man he went to Holland, where he has learned in the studio of Frans Hals. In 1630 he moved to Antwerp where he was accepted in the St. Luke's Guild in 1931. His paintings that were appreciated very much by Rubens, also show some influences by this painter. They mostly concerned themselves with the common people whose lives and portraits he kept in genre scenes and tronies. His works chronologically speak more and more of a subtle colour palette and the individual character of the depicted is in the foreground of his later works. His paintings can today be found in mostly all of the world's great museums, such as the Wallace Collection in London, the Museo Thyssen-Bornemisza in Madrid, the Royal Museum in Antwerp, the Pinakothek in Munich, the Metropolitan Museum in NY and die Eremitage in St. Petersburg.

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Arnold Böcklin, 'Mrs. Böcklin with Black Veil', 1863

Lot 11: Arnold Böcklin, 'Mrs. Böcklin with Black Veil', 1863

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Description: Oil on canvas Switzerland, 1863 Arnold Böcklin (1827-1901) - Swiss painter of Symbolism Verso inscribed on the canvas 'A. Böcklin' Cat. Rais.: R. Andree, Arnold Böcklin. Die Gemälde, Basel/München 1977 and 1998, No. 167 Inventoried in the Swiss Institute for Art History Exhibited in the Kunstmuseum Basel in the Arnold Böcklin Ausstellung in 1977 as well as described and illustrated in the catalogue Overall dimensions, framed: 39 x 33.6 cm, dimensions of the stretcher frame: 19.6 x 13.8 cm Provenance: Family of the artist, 1946 Kunsthandlung Weder, von Selve family, most recently German Private Collection Arnold Böcklin belongs next to Lovis Corinth, Max Klinger, and Ferdinand Hodler to the main representatives of Symbolism; the auction record for one of his paintings is currently set at 970,000 Euro This painting in oil by the Swiss artist Arnold Böcklin shows his wife at the age of 27. Böcklin married the young Roman Angela Pascucci in 1853 and portrayed her again and again ever since their marriage. Its intimacy and intensity let this small painting stand out from the other portraits of Böcklin's wife. Böcklin shows his young wife in a black veil, a subject that he had already used in an earlier portrait from 1854. The artist uses the veil to frame the face and to distinctively separate it from the olive green background. The facial features of the depicted are even and soft light accentuates the shape her face. In contrary to the portrait from ten years before, Angela Böcklin looks rather serious and pensive, this impression is underlined by the black veil. The small painting has an immaculate provenance. It comes directly from the artist's heirs and was sold in 1946 in the art gallery Weder in Luzern. Here, Else von Selve, wife of Walther von Selve, bought it. The painting stayed in the possession of the von Selve family that lent it to the art museum in Basel in 1977. Here it was part of the exhibition 'Arnold Böcklin, Gemälde, Zeichnungen, Plastiken' (Arnold Böcklin, Paintings, Drawings, Sculptures) and is mentioned and illustrated in the exhibition catalogue (Cat. No. 65, p. 173). It is also mentioned and illustrated in the catalogue raisonné by Rolf Andree from 1977 (p. 277, No. 167). The small painting is in a condition befitting its age. The colour layer has been protected by a varnish, beneath which some large colour touch-ups can be seen, mainly in the background and in the veil. The canvas has been waxed for stabilization. The canvas is inscribed on the back 'A. Böcklin'. There are two old inventory numbers on the back of the stretcher frame. Two labels from the Art Museum in Basel are on the frame, one of them indicating that the painting was lent by Dr. Winzenried-v. Selve to the Böcklin exhibition in 1977. The frame is a broad wooden frame in quite good condition with a plaque on the front with the inscription „1094 Arnold Böcklin". The overall dimensions, framed, are 39 x 33.6 cm, the dimensions of the stretcher frame are 19.6 x 13.8 cm. Arnold Böcklin (1827-1901) Arnold Böcklin was a painter, whose emotional landscapes and dark allegories influenced the artists of the 19th Century and forerun the Symbolism of the 20th Century of the metaphysical and surrealist artists. Böcklin studied at the Art Academy in Düsseldorf from 1845 to 47 and travelled to Belgium, France and the Netherlands afterwards. For a short time he worked with the artist Johann Gottfried Steffan; he then moved to Rome in 1850, where he stayed for seven years and married his wife Angela. He was named a professor at the Grand Ducal Saxonian Art School in Weimar and stayed there from 1860 to 62, but later moved to Munich, Florence and Hottingen near Zurich. From 1892 on, he lived near Florence where he finally decided to settle for the rest of his life. During the last periods of his creativity he became much more subjective in style, with fantabulous creatures or themes inspired by dark allegories, like the five versions of 'The Island of the Death' (1880) exemplify. Wraithlike scenes like in 'Odysseus and Calypso' (1883), and 'The Pest' (1898) show the morbid character of Böcklin's Symbolism. Works by Arnold Böcklin are held by the collections of major international art museums, like the Metropolitan Museum of Art in New York, the Musée d'Orsay in Paris, the National Gallery in London, the Neue Pinakothek in Munich, the State Museums of Florence and the Kunsthaus Zurich.

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Johann U. Burri (1802-1870), Watercolours, Two Swiss Veduta

Lot 12: Johann U. Burri (1802-1870), Watercolours, Two Swiss Veduta

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Description: Watercolour on paper Switzerland, 19th Century Johann Ulrich Burri (1802-1870) - Swiss veduta painter Signed lower right 'J. U. Burri pinx' and signed lower left 'Burri. pinx.' Overall dimensions, framed: each 36 x 43.5 cm; sheet dimensions: 20.7 x 27.4 cm and 20.7 x 27.7 cm Good condition Provenance: Swiss private collection Johann Ulrich Burri is known for his idyllic mountain landscapes; his watercolours fetch up over 3,000 euros at international auctions These two watercoloured veduta paintings were created by the Swiss artist Johann Ulrich Burri (1802-1870). The paintings are rich in detail, depicting, on the one hand, the rural life in a Swiss mountain idyll, on the other, an arcadian view of a landscape with a castle. The attention to detail in these lovely paintings suggests that Burri was deeply devoted to nature. The plants appear in various iridescent colours; the faded colours in the background create an accomplished spatial effect. Burri's paintings were influenced both by the classical and romantic canon of forms. They depict not only harmony and balance in the composition and colouring, but also capture a feeling of wanderlust and the bond with nature. The dark rimmed sheets are signed lower right 'J. U. Burri pinx' respectively lower left 'Burri. pinx.' They are in good condition with lovely fresh colours and only a few signs of age. One watercolour shows traces of the mounting in the upper corners. The sheets are mounted on green paper in the corners and fitted in partly gold-coloured wood frames with only a few signs of use. The overall dimensions, including the frame, are each 36 x 43.5 cm. The sheet dimensions are 20.7 x 27.4 cm and 20.7 x 27.7 cm respectively.

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Jacob Cats (1741-1799), Drawing 'Pastoral Landscape', 18th C.

Lot 13: Jacob Cats (1741-1799), Drawing 'Pastoral Landscape', 18th C.

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Description: Watercolour and brown pen on paper, mounted on cardboard Holland, 2nd half of the 18th century Jacob Cats (1741-1799) - Dutch draughtsman, engraver and painter Lower left signed 'J. Cats' Overall dimensions, framed: 41 x 47 cm, sheet size: 19 x 25.5 cm Very good condition Provenance: German private collection A rare and accomplished drawing of excellent quality; Cats's drawing fetch up to 76.000 euros at international auctions This very fine pastoral landscape was created by Jacob Cats (1741-1799), one of the leading draughtsmen and watercolourists of the late 18th Century in Holland. His numerous veduta paintings convince through a lovely picturesque effect. They do not necessarily follow a topographical accuracy, as Cats often painted from memory. This work clearly shows influences of the 17th Century Dutch school. The delicate watercolour painting is enhanced by the subtle accents of the brown pen. The details in the drawing - beautifully displayed in the large, gnarled tree and in the flock of the shepherd - give evidence of the unmistakable talent of Jacob Cats, not by chance a popular artist already during his lifetime. The sheet is signed 'J. Cats' lower left. It is mounted on thick cardboard, matted and framed in a simple, partly gold-coloured frame. The condition of the work is very good with only slight signs of age. The paper is a little bit browned and wavy. The frame has very few signs of use. The overall dimensions, framed, are 41 x 47 cm, the sheet dimensions are 19 x 25.5 cm. Jacob Cats (1741-1799) Originally from Hamburg-Altona, Jacob Cats worked as a draughtsman, engraver, painter and art teacher. Since 1742, Cats lived in Amsterdam with his Dutch father. His creative period lasted from 1756 until 1799. After training as a bookbinder and engraver with Abraham Starre and Pieter Louw, Cats worked as an independent producer of wallpapers. Besides, he made drawn copies of famous works, for example by Rembrandt or Van der Helst, as well as landscapes and veduta paintings. Works by Jacob Cats were already popular during his lifetime and still achieve high prices at auctions. They are exhibited in major museums, such as the Rijksmuseum in Amsterdam.

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Hugo Charlemont, Oil Painting, 'Still Life with Splendour Vesse

Lot 14: Hugo Charlemont, Oil Painting, 'Still Life with Splendour Vesse

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Description: Oil on canvas Austria, early 1880s Hugo Charlemont (1850-1939) - Austrian painter, draughtsman and etcher Signed on lower right 'Hugo Charlemont' Total dimensions, framed: 100 x 79 cm Provenance: Austrian private property A still life in the typical style of Charlemont with flower vase and reading utensils; similar still lives by the artist fetch up to 19,000 euros on the international auction market This painting was created by the Austrian painter Hugo Charlemont around 1880. It depicts a vase with flowers, a lidded beaker, books and a letter arranged on a table. The painting impresses due to its finely worked details; the writing of the depicted letter seems almost legible. Especially decorative is the rare silver and ivory beaker, adorned with a finely chiselled flower décor and a relief with putti, as it was typical for the 17th century style. The vessel and the academic symbols book and letter suggest a rather wealthy and sophisticated milieu, in which this painting was created. The painting style of Charlemont is characterized by an appealing choice of colours and the meticulous rendering of details. The painting is signed on lower right 'Hugo Charlemont'. A brass badge with the inscription 'Hugo Charlemont Janowitz 1850-1930 Wien', is mounted on the lower edge of the elaborate, antique frame. The painting is in an appealing condition with minor wear to the edges due to framing and some touch-ups underneath the varnish. The frame is time-marked; in the upper right corner; a piece of the stucco décor is missing. The total dimensions, framed, are 100 x 79 cm, and the stretcher frame is 76 x 55 cm in size. Hugo Charlemont (1850-1939) Hugo Charlemont trained from 1873 on as pupil of the landscape painter Eduard Peithner von Lichtenfels at the Academy in Vienna. A study stay in Holland at his brother Eduard followed. He learned printing techniques and the art of etching under Arthur William Unger. Back in Vienna, he received further training from Hans Makart. In the Hofburg Palace in Vienna he created a ceiling painting in the buffet hall ('Gaben und Früchte der Erde'). He made a series of illustrations for the piece 'Die österreich-ungarische Monarchie in Wort und Bild' ('The Austrian-Hungarian Monarchy in Word and Image') for crown prince Rudolph. His works are located for example in the Naturhistorisches Museum and in the Belvedere Museum in Vienna, as well as in Budapest, Prague and Chicago. Hugo Charlemont is the model of the painter in van Helmond in Robert Musil's novel 'A Man without Qualities'.

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Hans Christiansen, Painting „Three Children in a Boat

Lot 15: Hans Christiansen, Painting „Three Children in a Boat", 1909

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Description: Oil on thick cardboard Germany, 1909 Hans Christiansen (1866-1945) - German painter and designer of the Art Nouveau Signed and dated lower left 'HANS CHRISTIANSEN 09' Verso bears several exhibition labels - see detailed description Overall dimensions, framed: 68 x 77 cm Good condition Provenance: German Collection Hans Christiansen was one of the most important designers of the German Art Nouveau movement and also very successful as a painter; his paintings fetch up to 30,000 euros at international auctions The painting 'Three Children in a Boat' (Drei Kinder in einem Boot) by Hans Christiansen shows clearly why the artist is counted amongst the most popular and best known German Art Nouveau artists. Christiansen, whose oeuvre also includes many areas of the arts and crafts as well as advertising, has created a painting that is defined by the clarity of the colours. Three children, two boys in sailor's jackets and a girl dressed in pink, are sitting on a sail boat moored onto the beach. All children look into the same direction, as if they were posing for a photograph. Several boats can be seen in the background as well as a rocky shore leading into the sea. The sea shimmers in various shades of blue and turquoise set off from the cold almost purple sky. All colours in this painting are vivid and sparkle with intensity. The children are coloured in intense hues contrasting with the bluish background. The impasto paint application and the impressionist manner of painting add to the vivacity of the scene. The painting 'Three Children in a Boat' shows several exhibition labels on the back. These refer to an exhibition of the Leipziger Kunstverein from around 1910 and one that took place in the Kunstsalon Emil Richter, Dresden. Several old collectors' numbers and one half covered label are also visible. 2004 was the last time the artwork was exhibited, at the Landesmuseum Oldenburg. The painting by Hans Christiansen is in good condition with very few colour touch-ups especially along the edges and the boat. The painting is signed and dated lower left 'HANS CHRISTIANSEN 09'. The framed dimensions are 68 x 77 cm; the dimensions of the cardboard are 50 x 61 cm. The latter has been reinforced with wood in all four corners. The painting is framed in a matching Impressionist frame. Hans Christiansen (1866-1945) Hans Christiansen was a painter and designer and is counted amongst the most important German artists of the Art Nouveau and classical modernism. He started working as a stage painter in Flensburg from 1881 to 1885 and moved to Munich to study at the Kunstgewerbeschule in 188, after working for two years in an interior design shop in Hamburg. He travelled to Italy, published a book about the 'Neue Flachsornamente' (New Flax Ornaments) and decided, after seeing Tiffany's glass works in Chicago, to move to Paris to attend the Académie Julian. Christiansen, whose painting has been influenced by the artist's group Les Nabis and the French Art Nouveau movement, now turned to the arts and crafts. He soon became known for his title pages and advertising designs. In 1898 he became a professor and was called to the Darmstädter Künstlerkolonie (Darmstadt Artist' Colony) in 1899 where he was one of the first members besides Joseph Maria Olbrich and Peter Behrens. Christiansen moved back to Paris in 1902 and returned to Wiesbaden in 1911 where he worked as a lecturer. As he was married to a Jewish woman he was forbidden to work after 1933. The Villa Rosen, which he had designed in Darmstadt was completely destroyed during the Second World War. His designs are honoured in many museums and exhibitions and the Hans-Christiansen-Haus in Flensburg is named after him. His oeuvre comprises paintings and graphic designs as well as mural paintings, ceramics, wall paper patterns and tapestry designs.

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Edward T. Compton (1849-1921), Grisaille 'Monte Rosa', 19th C.

Lot 16: Edward T. Compton (1849-1921), Grisaille 'Monte Rosa', 19th C.

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Description: Watercolour on paper, matted Switzerland, around 1880 Edward Theodore Compton (1849-1921) - English painter and mountaineer Artist monogram lower right 'ETC' Overall dimensions, framed : 43.5 x 54 cm; image size: 10,5 x 22 cm Very good condition Provenance: Austrian private collection E.T. Compton's impressive and accurate topographical watercolours and drawings make him a highly sought after artist to this date; his watercolours fetch up to 30,000 euros at international auctions This delicate grisaille by the English painter Edward Theodore Compton (1849-1921) dates back to around 1880. The extract view of Monte Rosa seen from the Gornergrat in Switzerland is a typical motif of the avid mountaineer and artist. Compton focused in his work particularly on the exploration of lighting conditions, which he used to represent the current atmosphere in the landscape. However, his scenic artworks are also known for the topographical precision and therefore have a documentary character. This watercolour impresses by the meticulous illustration of the mountain range. The work is monogrammed lower right 'ETC', matted and framed. A cover sheet displays the printed name of the artist with the biographical data and the title 'Monte Rosa vom Gornergrat gesehen' [Monte Rosa seen from the Gornergrat]. The condition of the work is very good with only minor signs of age and wear. The paper is a bit wavy. The mat is browned and slightly soiled due to its age. At the back are some handwritten notes (including the title). The overall framed dimensions are 43.5 x 54 cm. The image size is 10.5 x 22 cm. E.T. Compton (1849-1921) Edward Theodore Compton was an English artist living in Germany. In 1867, his family immigrated to Germany and Compton studied at the drawing school in Darmstadt. Later he lived in Munich, where he exhibited his works for the first time. An ardent mountaineer, Compton travelled Europe's mountain worlds and was particularly taken with the Alps. He recorded his impressions in scenic oil paintings, watercolours and sketches. Compton became famous as an illustrator for the publications of the German and Austrian Alpine Clubs.

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David de Coninck attributed, Painting, 'White Rabbit', 17th C

Lot 17: David de Coninck attributed, Painting, 'White Rabbit', 17th C

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Description: Oil on canvas Flanders, 17th Century David de Koninck (1636 -ca. 1700) attributed - Dutch animal and still life painter Overall dimensions, framed: 56.7 x 69.3 cm Provenance: German Private Collection The Fleming David de Coninck is known for his exceptional depictions of animals and the white rabbit is a recurring guest in his artworks. Paintings attributed to de Coninck fetch up to 98,000 Euro at international auctions The painting at hand is attributed to the Flemish animal painter David de Coninck. A white rabbit sits underneath a tree stub that is overgrown with ivy and nibbles on a leaf. De Coninck has mainly painted large animal still lifes that are composed out of several elements, but there are also some detail paintings of animals to be found in his oeuvre such as the "Rabbit with turnips" that was sold at Schloss Ahlden in 2013. This painting also features the ivory tendrils that can be found in our painting. The white rabbit itself can be found more than once in de Coninck's paintings and so it seem reasonable to assume that he used the painting as a template for his large scale still lifes. The painting is in a condition befitting its age. The canvas is a bit loose and the stretcher frame pushes a bit through. The colour layer has been protected by a varnish, beneath which some colour touch-ups can be seen. These are mainly on the left side, in the sky, in the upper right corner and in the lower right. The rabbit itself is untouched. The back of the canvas shows one restored patch and a three smaller restored bits. The overall dimensions of the work including the frame are 56.7 x 69.3 cm and the stretcher frame has the dimensions 40.3 x 54.3 cm. David de Coninck (1636- ca. 1700) David de Coninck learned in Antwerp with Pieter Boel and became a master of the St. Luke's guild in 1663. Even though little is known about his life, it is documented that de Coninck travelled to France, Germany and Rome (in 1670). In 1699 he moved to Brussels where he stayed. He mainly painted animal still lifes that fascinate in their detailed execution and the accurate observation of the animals. His paintings can today be found in the Kunsthistorische Museum in Vienna, in the National Gallery in London et al.

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Dietz Edzard, Oil Painting, 'La sieste II', France, 1943

Lot 18: Dietz Edzard, Oil Painting, 'La sieste II', France, 1943

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Description: Oil on paper, laid down on cardboard France, 1943 Dietz Edzard (1893-1963) - German painter Monogrammed on lower right 'D.E' Verso sticker by the Atelier Dietz and the Galerie Dominion In a magnificent stuccoed frame Total dimensions, framed: 30.5 x 39.5 cm Sheet size: 13 x 23 cm Provenance: estate Dr. Max Stern, Montréal; Galerie Dominion, Montréal Literature: Gerd Muehsam, Dietz Edzard, New York 1948 Sensible portraits stand in the focus of Edzard Dietz' artistic oeuvre; the auction record for one of his works is currently set at 75,000 euros The oil painting 'La sieste II', originates from the German painter Dietz Edzard, who followed the French Impressionists in style. With a lot of light and vibrating application of his brush, he created a shining and delicate painting of a reclining, young girl. The rather intimate portrait shows quite eminently, how Edzard lines up with great painters such as Velazquez and Goya, Manet and Renoir. The oil painting 'La sieste II', by Dietz Edzard is initialised on the lower right 'D.E'. The verso holds a handwritten badge by the Atelier Dietz, as well as a badge of the Galerie Dominion. The image is mounted in a gold coloured wooden frame. The work is in good condition besides minimal traces of wear and age. The paper is laid down on cardboard. The dimensions of the sheet are 13 x 23 cm, and the total dimensions are 30.5 x 39.5 cm framed. Dietz Edzard (1893-1963) Dietz (Dietrich Hermann) Edzardwaas born in Bremen. From 1911, he studied painting at Max Beckmann in Berlin, and worked in the Netherlands thereafter. In 1927, he moved to France, and in 1929 the first exhibition of his work took place in Paris at the Jeu de Paume, a museum exclusively devoted to Impressionist masters. He got married to the artist Suzanne Eisendieck (1908-1998) in 1938. During the Second World War, he was captured in the detention and deportation camp Les Milles. His works are held by the collections of international art museums, and by American and Canadian private collections. Guiding themes of his creativity are the circus and the theatre.

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Jean Gabriel Domergue (1889-1962), 'Nude Blonde', around 1930

Lot 19: Jean Gabriel Domergue (1889-1962), 'Nude Blonde', around 1930

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Description: Oil on canvas France, around 1930 - or a bit later Jean Gabriel Domergue (1889-1962) - French painter and graphic artist Signed lower right 'Jean Gabriel Domergue' Carved wooden frame Overall dimensions, framed: 95 x 78,5 cm, stretcher frame: 82 x 65 cm Very good condition Provenance: Austrian private collection Jean Gabriel Domergue's favorite subject was the erotic depiction of Parisian women; similar paintings fetch up more than 100,000 euros at international auctions The oil painting of a blonde beauty was created by the French painter and graphic artist Jean Gabriel Domergue (1889-1962) around 1930 or a bit later. The youthful beauty, rendered in the style of this time, gazes with a lustful expression directly at the spectator. The slim line, the curly hair with golden highlights, the swan neck, the sparkling blue eyes and the red and shimmering lips - the sitter's flawless grace completely corresponds with the beauty ideal of her time. Domergue became particularly famous for his female depictions in the poster art, being often compared with Toulouse-Lautrec. He saw himself as the inventor of the 'pin-up' images. His models were mainly from the milieu of the theatre, but also aristocrats like the Baroness de Rothschild wanted to be portrayed by him. His works had a significant influence on the fashion and the beauty ideals of his time. The painting is signed lower right 'Jean Gabriel Domergue' and is mounted in a carved wooden frame. At the back sits a centered circular stamp. On the frame are several original labels. The condition is very good, showing only minimal signs of age. The bronzed wooden frame features beautiful carvings and has only minimal signs of wear. The overall dimensions, framed, are 95 x 78.5 cm, the stretcher frame measures 82 x 65 cm. Jean Gabriel Domergue (1889-1962) Originally from Bordeaux, Jean Gabriel Domergue studied at the École Nationale Supérieure des Beaux-Arts in Paris. Since the 1920s, he focused on portrait depictions of Parisian women. He also designed clothes for fashion designers, such as Paul Poiret and Henry Marque, and created advertising posters. From 1955 to 1962, he worked as a curator at the Musée Jacquemart-André in Paris. In 1911, Domergue was awarded with the famous Prix of Rome. Today, his works are displayed, in institutions such as the Royal Collection in London.

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Carl Duxa (1871-1937), Reclining Nude, Austria, around 1920

Lot 20: Carl Duxa (1871-1937), Reclining Nude, Austria, around 1920

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Description: Oil on canvas Austria, around 1920 Carl Duxa (1871-1937) - Austrian painter Signed lower left 'C. Duxa' Overall dimensions, framed: 51 x 68 cm , canvas: 38.5 x 55 cm Very good condition Provenance: Austrian private collection Female nudes are rarely represented by Carl Duxa; comparable oil paintings fetch up more than 7,000 euros at international auctions This charming oil painting by Carl Duxa (1871-1937) was created around 1920, showing clear elements of the Art Deco style. The sensuality of the subject, the elegance in the shape and the colour scheme in this painting are typical elements of this movement. This female nude is an exception in the work of the Austrian painter Carl Duxa, since he had concentrated on subjects around the peasant and petit bourgeois life. The young lady is shown resting on both arms lying on a chaise longue, probably in the artist's studio. The delicate pink-coloured flesh tones and her slightly reddened cheeks are evidence of a restrained beauty. The artist has given special attention to her face. Her eyes half closed, her expression seems dreamy and lost. The perfect harmony of the position of the nude is enhanced by the pastel-like colours of the background. As unusual and striking the colours in turquoise, lime green and pink of the background might be - they recede behind the beauty of the youthful body, yet flatter it. The painting is signed lower left 'C. Duxa'. It is in very good condition with only minimal paint flaking. The framed canvas lies loosely on the cardboard. The gold-coloured ornament frame is overall in good condition, showing some losses of material and scratches. The overall dimensions, including the frame, are 51 x 68 cm. The canvas measures 38.5 x 55 cm. Carl Duxa (1871-1937) The Austrian painter Carl Duxa was a son of the portrait and genre painter Alois Duxa (1843-1918). From 1888 to 1895, he studied at the Vienna Academy with Johann Mathias von Trenkwald (1824-1897). In the 1890s, he travelled to Holland and Northwestern Germany. Duxa was a member of the Vienna Künstlerhaus and a member of the artist association 'Alte Welt' [Old World]. In 1912, he received the Prize of the Vienna Artists' Association, Dumba.

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Michalis Economou (1888-1933), 'Fisherman House', c. 1930

Lot 21: Michalis Economou (1888-1933), 'Fisherman House', c. 1930

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Description: Oil on wood Greece, between 1929 and 1931 Michalis Economou (also Oikonomou) (1888-1933) - Greek impressionist painter Signed lower left 'M. Economou' Catalogue raisonné: Aphrodite Kouria, M. Economou 1884-1933, Athens, 2001, no. 178, p. 229, illustrated; p. 259 (with incorrect dimensions) Overall dimensions, framed: 48 x 39 cm Good condition Provenance: Greek Private Collection; Sotheby's Catalogue 'The Greek Sale', 12 May 2005, L05100 Landscapes, aflame with the soft, southern light, are the speciality of the Greek impressionist Michalis Economou; the landscape at hand is a very fine example and was sold at Sotheby's in 2005 for 70,000 EuroThis gently coloured painting by the Greek impressionist Michalis Economou shows a blue rowing boat lying still in the water in front of a plain, whitewashed house. The light blue sky and the house are reflected in the sluggish water. Only a small female figure in front of the house appears to be busy on this hot day. She is dressed in a blue skirt and brown top with a white bonnet on her head. This summery scene seems to have been hastily captured by the painter, who was influenced by Manet and Matisse in France and yet found his very own style. The southern sunlight appears almost tangible, making the heat shimmer over the water and creating an interesting interplay of light and dark. The small painting is in good condition with only minor traces of age. Right above the red roof is a small paint chip; minimal paint loss is also noticeable around the boat. The painting is signed 'M. Economou' lower left. The overall dimensions including the frame are 48 x 39 cm; the wooden panel measures 35.5 x 24.5 cm. The panel was additionally mounted onto a chipboard panel. Michalis Economou (also Oikonomou) (1888-1933) Michalis Economou was born in Piraeus, Greece. He received his first lessons from Constantinos Volanakis (1837-1907), one of the most significant Greek painters of the 19th Century. In 1906 Economous moved to Paris, where he tried to earn a living as an engineer. In 1909 he quit this job in order to paint. His works were repeatedly shown in Paris and London in both solo and group exhibitions. Economou returned to Greece in 1926, working as a painter for the rest of his life. Several of his works can be seen in museums, for example in the National Gallery in Athens.

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Albin Egger-Lienz (1868-1926), 'Haspinger' Peasant Head, 1909

Lot 22: Albin Egger-Lienz (1868-1926), 'Haspinger' Peasant Head, 1909

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Description: Oil on canvas Austria, 1909 Albin Egger-Lienz (1868-1926) - Austrian painter Signed and dated upper right 'Egger-Lienz / 1909'; titled upper left 'Studie zum Bilde "Haspinger" [study for the painting "Haspinger"]' Overall dimensions, framed: 66.5 x 61 cm Very good condition Provenance: Private collection An expressive study for a major work by the artist; in comparable sizes Albin Egger-Lienz's peasant portraits fetch up to 300,000 euros on the international art market Albin Egger-Lienz created this expressive portrait of a peasant in 1909 as a study for one of his masterpieces 'Haspinger Anno Neun'. The work shows the head of a man in three-quarter profile. Face, clothes and hat are presented in earthy tones just like the background. Painted with simplified, broad brushstrokes the portrait nevertheless exhibits a haunting quality, showing a determined man - to the right of Haspinger in the large painting - armed with a club, ready to give his life for freedom. Egger Lienz's Haspinger, today in the Schloss Bruck Museum in Lienz, shows the Capuchin priest and freedom fighter Joachim Haspinger (1776-1858) leading a group of peasants during the Tyrolean Rebellion of 1809. Leon Trotsky described the monumental painting, when he saw it in the Vienna Secession in 1909, as a 'perfect mural'. Egger-Lienz is today considered a pioneer of modernism. He has broken away from the realistic history and genre painting and created paintings of imposing expressivity and a reduced formal language. There were many influences - Millet, van Gogh or Hodler - but Egger-Lienz developed his very own monumental style. His main works not only depict rural life but are portraits of the human condition, confessions of human fate between life and death, between struggle and sacrifice. The painting by Albin Egger-Lienz is in very good and original condition. The canvas was mounted on thick cardboard. There are only a few minor surface abrasions to the background. The frame shows minor chipping. Framed, the work measures 66.5 x 61 cm. The board measures 44.3 x 38.6 cm. The work is signed and dated upper right 'Egger-Lienz / 1909' and titled upper left 'Studie zum Bilde "Haspinger" [study for the painting "Haspinger"]'. Albin Egger-Lienz (1868-1926) Albin Egger-Lienz was born in Lienz, Tyrol in 1868. He was first taught by his father, the church painter and photographer Georg Egger. He then attended the Munich Academy of Fine Arts, where he studied painting. During his studies, he already received various awards for his work. In 1899 Egger-Lienz moved to Vienna. He created his most famous works 'Der Totentanz von Anno Neun' and 'Haspinger Anno Neun' in 1908 and 1909 respectively. A central theme in the artist's oeuvre was not only the bitter fate of the peasantry, but the human condition in general, suffering and death. In 1912 Egger-Lienz accepted a professorship at the Academy of Fine Arts in Weimar before working as a war artist during the First World War. In 1918 he moved to Southern Tyrol, where he spent his retirement years. Today Egger-Lienz's works are found in Schloss Bruck in Lienz and the Tiroler Landesmuseum, the Ferdinandeum in Innsbruck, the Heeresgeschichtliches Museum, the Leopold Museum as well as the Belvedere in in Vienna, where in spring 2014 a major retrospective entitled 'Totentanz. Egger-Lienz und der Krieg' is scheduled.

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Maximilian Erler (1888-1958), 'Kitzbühel', around 1930

Lot 23: Maximilian Erler (1888-1958), 'Kitzbühel', around 1930

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Description: Oil on canvas Austria, around 1930 Maximilian Erler (1888-1958) - Austrian painter Signed lower left 'M. Erler JR Kitzbühel' Overall dimensions, framed: 122 x 122 cm Good condition Provenance: Austrian private collection Winter landscapes in Kitzbühel were one of the favorite subjects of the snow painter Maximilian Erler; the painting 'Kitzbühel' delights with its expressive and partly pointillist application of colourThe Viennese painter Maximilian Erler (1888-1958) created this oil painting titled 'Kitzbühel' around 1930. Erler presents us a view of a snow-covered mountain range in the Kitzbühel Alps, one of his favourite subjects. The painting is characterized by a thick, colour surface, partially apply with a spatula, whereas the sky is rendered in a pointillist manner. Erler was certainly influenced by the Austrian painter and architect Alfons Walde (1891-1958), who became internationally known in the 1920s and 1930s due to his posters of winter landscapes and winter sports themes. But the Tyrolean mountain painter Oskar Mulley (1891-1949) might also have inspired Erler. The painting is signed lower left 'M. Erler JR Kitzbühel'. The painting is optically in very good condition, featuring slight signs of age and wear. The color surface shows slight craquelure in the area of the impasto colour layers. On the back several restored areas are visible, which can only be seen under UV-light on the front. The beautiful frame with silvering on bole is in very good condition, showing only minimal signs of use. The overall dimensions, including the frame, are 122 x 122 cm. The stretcher measures 76 x 75.5 cm. Maximilian Erler (1888-1958) The Austrian Maximilian Erler mainly painted landscapes and still lifes. He especially focused on the Tyrolean Alps, Kitzbühel in particular, which the artist depicted both in summer and winter. Erler lived in Vienna, regularly exhibiting his works at the Vienna Artists' Association from 1924 onwards.

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Allart van Everdingen attributed,

Lot 24: Allart van Everdingen attributed, "Nordic Landscape", 17th C

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Description: Oil on wood Netherlands, 17th century Allart van Everdingen (1621-1675) attributed - Dutch painter and etcher Exhibition label of the Budapest Museum of Fine Arts on the back (1938) Overall dimensions, framed: 67 x 92.5 cm; wood panel: 61x 83 cm Provenance: German private collection Allart van Everdingen, the much-travelled Dutch landscape painter, has brought the northern mountainscape to the Dutch painting. His dramatic landscapes with deep canyons and castles are clearly distinguishable from the landscapes of his contemporariesThis atmospheric landscape scene was most certainly painted by the Dutch Allart van Everdingen (1621-1675). The finely executed painting and skillfully captured light, as well as the strong, sometimes somber colours make Everdingen's authorship highly possible. Everdingen was also a master of perspective depth, as it is visible in the present painting. Also, waterfalls in mountain landscapes with castles in the background, as well as animals and figures in the foreground are typical pictorial elements of the artist. The small figures appear almost unexpectedly, when the viewer comes close to the painting; they give the work a surprisingly narrative note. Everdingen traveled to Scandinavia in the 1640s, being from then on deeply influenced by the impressions of the local nature. However, the highly romanticized view with sunset, castle and donkeys in the foreground in the present painting certainly shows these influences. At the back, there is an exhibition label of the Museum of Fine Arts in Budapest (1938) with an attribution to Everdingen and the inventory number 530. The painting is in an optically good condition with signs of age. At the lower margin, an approximately 7 cm broad stripe of the wooden panel was broken off, but has been reattached; the break line has been restored. An approximately 20 cm long fissure can also be seen in the upper right but has been touched up. Along the margin are colour touch-ups from about 1-2 cm width. The painting is covered by a thick layer of varnish; some minor colour touch-ups can be seen mainly in the area of the sky. The wooden panel has been reinforced on the back. The ornamental frame shows traces of use. The overall dimensions with frame are 67 x 92.5 cm; the wood panel measuring 61x 83 cm. Allart van Everdingen (1621-1675) Allart (Aldert) van Everdingen was a Dutch painter who studied with Roelant Savery in Utrecht and Pieter Molyn in Haarlem. His brother, Cesar van Everdingen (1606-1679), also worked as a painter of historical scenes and portraits. Everdingen's preferred subjects were landscapes. He also made some naval pieces, especially in his early work. Between 1640 and 1644, he made trips to Sweden and probably Norway. The rocky mountains, black forests, waterfalls and sea surges of Scandinavia significantly influenced his paintings. He also was inspired by the Bergisch-Märkisch area in Germany. In 1645, Everdingen was admitted to the Haarlem Guild of St. Luke, but moved to Amsterdam in 1651. Besides paintings, Everdingen created etchings with landscapes, seascapes and animals (especially Reynard the Fox). His works can be found today in high-ranking museums, including the Gemäldegalerie in Dresden, the Munich Pinakothek, the Louvre in Paris and the Rijksmuseum in Amsterdam. His works give evidence of a high artistic quality, having inspired such famous artists as Jacob von Ruisdael (1628/29-1682 ) from Haarlem.

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Carl Fahringer (1874-1952), 'Two Polar Bears', ca. 1930

Lot 25: Carl Fahringer (1874-1952), 'Two Polar Bears', ca. 1930

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Description: Oil on canvas Austria, around 1930 Carl Fahringer (1874-1952) - Austrian painter, graphic artist and illustrator Signed lower left 'C. Fahringer' Overall dimensions, framed : 44 x 54 cm Very good condition Provenance: Austrian private collection Carl Fahringer was an eminent painter of animals and has left behind an extensive and diverse body of work; similar paintings fetch up over 28,000 euros at international auctions The eminent Austrian animal painter Carl Fahringer (1874-1952) created this rare painting of two polar bears around 1930. The exotic motif of polar bears is worth collecting due to its rarity. In this work, the myriad spots of colour and strokes merge like a mosaic from the distance. Fahringer thereby tried to increase the brightness of the colours, which, however, appear more naturalistic than colourful. Due to the application of wide brushstrokes, Fahringer succeeded in creating large, shapeless areas, which are typical for his animal depictions. After studying in Vienna, Fahringer went to Carl Marr in Munich in 1898, where he developed his impressionistic style of painting. Also, the echoes of expressionism can be found in his works. The painting is signed lower left 'C. Fahringer', being in very good condition with only minimal signs of age. The overall dimensions, including the frame, are 44 x 54 cm. The simple wood frame with golden trim is in a very good condition with only minimal signs of use. Carl Fahringer (1874-1952) Carl Fahringer was born in 1874 in Vienna. Carl Fahringer studied at the arts academies in Vienna and Munich, and travelled through Europe and the Orient. In 1929, he was at the height of his creative period: He was a member of the professors' college at the Art Academy in Vienna, putting his skills to the service of education of young artists until 1945. Throughout his life, Fahringer sought a refinement of his peculiar style, which shows both influences of impressionism and expressionism. Carl Fahringer is one of Europe's most sought after animal painter today.

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Tsuguharu Foujita, Ink drawing 'Female Portrait', around 1930

Lot 26: Tsuguharu Foujita, Ink drawing 'Female Portrait', around 1930

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Description: In drawing and crayon on paper France, 1930s/40s Tsuguharu-Léonard Foujita (1886-1968) - Japanese-French painter and graphic artist Signed lower right 'Foujita' Sheet dimensions: 55.5 x 45.5 cm Provenance: German private collection Japanese and European influences work together splendidly in this ink drawing by Tsuguharu-Léonard Foujita; comparable works of Foujita fetch up to 40,000 euros at international auctions One of the main motifs of the Japanese-French artist Tsuguharu-Léonard Foujita (1886-1968), widely known for his eccentric lifestyle, represents the female portrait. Clear and distinct lines are combined with delicate shading. With apparent compassion, Foujita captured the melancholic gaze of the young woman. This work delights not only with its inspired representation of the sitter. Foujita has also managed to combine a western figure style with the traditional Japanese ink technique in a very individual manner. The sheet is signed lower right 'Foujita'. The sheet has some signs of age and wear. The paper is somewhat browned, foxed and shows slight traces of a former mounting. The lower edge has a tear and a blemish in the paper. The sheet dimensions are 55.5 x 45.5 cm. Tsuguharu-Léonard Foujita (1886-1968) Born in Tokyo, Tsuguharu-Léonard Foujita (1886-1968) spent three years studying at the local University of the Arts. During his lifetime, the artist was honoured with numerous medals and prizes. On a trip to England and France, he discovered his passion for contemporary European art. In 1913, he therefore moved to Paris. There, he met such prominent artists as Georges Braque, Henri Matisse, Fernand Léger, Jean Cocteau, Pablo Picasso, and Amedeo Modigliani. However, especially due to his eccentric lifestyle, he was even more successful than Picasso at the highest point of his career in the 1920s. He was even considered 'the most important artist of all time'. Nowadays, this seems somewhat forgotten. Foujitas works show a mix of traditional Japanese and modern European art. Since the mid-1920s, his works were represented in every major exhibition in Paris, Berlin, London, and New York. Foujita took the French citizenship in 1950 and converted to Catholicism. His major works include the design of the chapel of Notre-Dame-de-la-Paix in Reims, which he mainly decorated with frescoes of the life of Christ. Further works can be found, among others, at the Masakichi Hirano Museum of Fine Arts in Akita.

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Tsuguharu Foujita, Watercolour, 'Femme grecque nue', c. 1950

Lot 27: Tsuguharu Foujita, Watercolour, 'Femme grecque nue', c. 1950

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Description: Watercolour and black ink on paper France, around 1950 Leonard Tsuguharu Foujita (1886-1968) - Japanese-French painter and graphic artist Signed on lower right in longhand and in Japanese 'Foujita' Original title 'Femme grecque nue' Total dimensions, framed: 58 x 48 cm; sheet dimensions: 35.3 x 25.5 cm With a certificate of origin from Hazlitt Gallery, London from 1972 Good condition Provenance: Pierre de Tartas; Private Collection, Paris; Mc Roberts & Tunnard Gallery; Manning Galleries An extraordinary watercolour by Foujita with subtle eroticism and grace; similar works fetch up to 120,000 euros at international auctions This watercolour drawing by the Japanese-French painter Leonard Tsuguharu Foujita is originally titled 'Femme greqcue nue', and depicts an ink drawing of a female nude coloured in soft pastel tones. The stylised face of the Greek beauty dominates the present composition - the head is shown in semi profile with almond-shaped eyes and black, slightly wavy hair. In his works Foujita combines techniques of Japanese ink painting with the Western painting style of modernism. The watercoloured drawing 'Femme grecque nue', by Leonard Tsuguharu Foujita is signed on the lower right 'Foujita', and additionally signed with his name in Japanese. The sheet is mounted in a velvet mat and decorative wooden frame. Different stamps are located on the verso, among them the stamp of the Mc Roberts & Tunnard Gallery. The backside of the frame holds a logo of the Hazlitt Gallery, London. A certificate of provenance accompanies the piece from Hazlitt Gallery, London, from the year 1972. The condition of the work is good with usual traces of wear and age. The sheet shows slight kink folds and shows along the edges some discolouration, due to a former framing. The frame depicts small signs of wear. The total dimensions are framed 58 x 48 cm, and the sheet dimensions are 35.3 x 25.5 cm. Tsuguharu-Léonard Foujita (1886-1968) Tsuguharu-Léonard Foujita (1886-1968) was born in Tokyo, where he studied for three years at the Academy of the Arts. The artist was honoured with numerous medals and prizes and he discovered his preference for contemporary European art during stays in England and France. For this reason he moved to Paris in 1913. There, he met with artists such as Georges Braque, Henri Matisse, Fernand Léger, Jean Cocteau, Amedeo Modigliani and Pablo Picasso. In the 1920s, when he was at the climax of his career, he was regarded even more successful as Picasso, and was praised as the 'most important artist of all times', influenced by his eccentric lifestyle amongst other reasons. Foujita's works show a combination of traditional Japanese and modern European art. Since the mid-1920s, his works were part of every import exhibition in Paris, Berlin, London and New York. In 1950, Foujita became a citizen of the French state and converted to Catholicism. Among his most important works is the decoration of the chapel Notre-Dame-de-la-Paix in Reims, which he mainly adorned with frescoes of the life of Christ. More of his works are located at the Masakichi Hirano Museum of Fine Arts in Akita for example.

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Edvard Frank (1909-72), Watercolour 'Bathers', 1929-30

Lot 28: Edvard Frank (1909-72), Watercolour 'Bathers', 1929-30

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Description: Watercolour and pencil on paper Germany, 1929-30 Edvard Frank (1909-1972) - German painter and graphic artist Signed upper right and dated 'Frank 30' Dated lower right '1929' A rare and early work by the artist Verso second watercolour drawing with three female nudes Also on the back, lower right, catalog raisonné number EF002647 Sheet dimensions : 30.2 x 46.2 cm Good condition Provenance: German private collection A typical work by the German painter of the 'lost generation' Edvard Frank, whose works currently enjoy increasing popularity; Frank's watercolours fetch up more than 3.000 euros at international auctions This watercolour by the German painter and graphic artist Edvard Frank (1909-1972) is a typical work of the artist, who dedicated himself to the depiction of female nudes. The sheet shows on the front four female bathers in different poses - standing, sitting, kneeing, and lying. Frank created this watercoloured pencil drawing with ease. It is reminiscent of the nudes of the French artist Fernand Léger (1881-1955), as well as of the sturdy female characters of the French sculptor and painter Aristide Maillol (1861-1944). On the back of the sheet is a second watercolour drawing with three bathers, which is rendered in much more sketchy forms. In contrast to the front side, where the women are depicted with faces, on the back side, the artist focuses on the forms of the female body. The critic Heinz Schöffler once said about Frank's works: 'One never tires of looking at the best of his works. Despite of being depicted in clear forms, they propose a conundrum more than they reveal Not least, that's the feature that makes Frank's works so pleasant. They make us happy.' The sheet is in good condition with usual signs of age. The paper is slightly browned with a small tear in the lower right and a blemish in the upper right corner. Top right, there are the signature and date 'Frank 30' and lower right the date '1929'. At the back is the catalogue raisonné number EF002647. The sheet dimensions are 30.2 x 46.2 cm. Edvard Frank (1909-1972) The German painter Edvard Frank is considered a prominent representative of the 'lost generation'. This group consisted of artists, musicians and writers from the years 1890 to 1914, whose works were classified as 'degenerate art' during the period of nationalism. Mostly, it included the second generation of expressionist artists, as well as artists from the New Objectivity. The art historian Rainer Zimmermann coined the term of 'expressive realism', which described some of them. The artists of the 'lost generation', in fact, had no unified style, but worked both in the expressive and realistic, as well as in the representational and abstract manner. Edvard Frank was a student of Karl Hofer at the Academy of Arts in Berlin. After the Second World War, he joined the Trier Secession and had increasing success with exhibitions in Germany. His favorite subjects were erotic subjects, showing an influence of the classical canon of forms. Lately, the works of the 'lost generation' have again increasing success on the international art market.

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Eugène Galien-Laloue, 'Landscape with Birches', around 1890

Lot 29: Eugène Galien-Laloue, 'Landscape with Birches', around 1890

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Description: Oil on canvas France, around 1890 Eugène Galien-Laloue (1854-1941) - French painter Signed lower right with the pseudonym 'L. Dupuy' Carved wood frame Overall dimensions, framed: 108 x 109 cm, stretcher frame: 64 x 90 cm Provenance: German private collection A fine painting in impressionist manner by the French artist Eugène Galien-Laloue; his landscapes fetch over 21,000 euros at international auctions This blossoming heather landscape with birches was created around 1890 by the French painter Eugène Galien-Laloue (1854-1941). The fine painting delights with its beautiful impressionist mood and expression of movement in the trees bent by the wind. The landscape is rendered with dots of paint, appearing in warm colours that beautifully oscillate in the fields and in the treetops. Another eye-catcher is the heather, which forms a lovely contrast with the bright blue sky. The artist has signed the painting lower right, with one of his pseudonyms, 'L. Dupuy'. It is in optically appealing condition, with the usual signs of age. The colour surface shows slight craquelure as well as superficial stains and traces of framing on the edges. Under UV-light some small touch-ups are visible, yet hard to detect due to the layer of varnish. The carved wood frame is in good condition, displaying some cracks and small material losses. The overall dimensions with frame are 108 x 109 cm, the stretcher frame measuring 64 x 90 cm. Eugène Galien-Laloue (1854-1941) A native of the city, Eugène Galien-Laloue is particularly known for his Paris street scenes from the Belle Epoque. His father, Charles Laloue, was a painter, too. In 1874, Galien-Laloue worked as an illustrator for the French railways. Tw years later he exhibited his first painting. Galien-Laloue worked under six different pseudonyms. In addition to Parisian street scenes, Galien-Laloue painted landscapes, especially village views and river landscapes.

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Vincent Van Gogh, Drawing 'The Plain of La Crau', 1888

Lot 30: Vincent Van Gogh, Drawing 'The Plain of La Crau', 1888

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Description: Reed pen and graphite on paper Arles, France, May 1888 Vincent van Gogh (1853-1890) - Dutch painter and drawer Signed lower left 'Vincent' (faded) Catalogue Raisonné Numbers: F. 1448 or JH 1432 Dimensions of the sheet: 29,21 x 46,99 cm; Overall dimensions, framed: 47.5 x 64.5 cm Besides the usual fading of the purple ink the work comes in good condition Provenance: Harold Hecht & Gloria Hecht Dresser, LA - see detailed description for more information The monochrome drawings from Van Gogh's time in Arles fetch up to 6.3 m. euros at international auctions. 'The Plain of La Crau' is not only unique because of its beauty, but also because of the rare and complete provenance. It is the only drawing of the first Montmajour series that is not in possession of a museum Vincent van Gogh drew 'The Plain of La Crau' in May 1888 during his first few month of his stay in Arles, a period that is known to be his most productive. The sheet is one of seven drawings that Vincent sent his brother Theo at the end of May, and they are today known as the first Montmajour Series. All of them, besides the work at hand, are today in museums. Vincent van Gogh described his fascination with the region around Arles in a letter to his brother Theo: 'L'opposition de l'avant plan sauvage & romantique - et les perspectives lointaines larges et tranquilles à lignes horizontales se degradant jusqu'à la chaine des Alpines (...). Cette opposition est très pittoresque.' (The contrast between the wild and romantic foreground - and the broad, tranquil distant prospects with their horizontal lines, shading off until they reach the chain of the Alpilles (...). This contrast is very picturesque.) Thanks to the titles he has given nearly all of them, one gets the impression that he had wanted to give his brother Theo an overall impression of the surrounding landscape not only in a written but also in an illustrated manner. Van Gogh's drawings from this time were strongly influenced by the Japanese woodcuts, known as ukiyo-e, that he had gotten to know during his time in Paris. One of the reasons Van Gogh moved to Arles was his hope to experience a greater closeness to Japan if he moved further south - and apparently he felt closer, since he described the area as 'aussi beau que le Japon' (as beautiful as Japan). Van Gogh executed the first drawings of the Provence countryside in spring of 1888 in reed pen and graphite on simple, half-page Ingres paper. The fact that he did not use canvases and oil colours was for one thing due to his lack of money but also because of the strong winds in the area around Arles that made the placing of an easel nearly impossible. It has also been assumed that Van Gogh wanted to spare his colours and canvas for the time his colleague Gauguin was to visit him in order to be able to paint together. The underlying sketch in graphite is clearly visible in the drawings and also that Van Gogh more than once ignored his own sketching and loosely applied the ink drawing on the sheet. Next to using black-brown ink, Van Gogh has used violet ink that today has turned into faded sepia. But one can still see what Vincent has described in his letter to his brother Theo: the intense and wild foreground, drawn with broad strokes in thick black-brown ink and the slowly flattening, wide background that ends in the chain of the Alpilles at the relatively high horizon. The drawing 'The Plain of La Crau' has a complete provenance that goes right back to the artist. It was he who sent the piece to his brother Theo in Paris in 1888. After Theo's death, just one year after Vincent's, his widow Johanna van Gogh-Bonger inherited the sheet together with the rest of Vincent van Gogh's works. Paul Cassirer bought the sheet in 1907 directly from Johanna van Gogh-Bonger and exhibited it in Berlin. Through the collections of Alfred Walter von Heymel in Munich and of August Heye in Bremen, the sheet came to art dealer Fritz Nathan in Zurich. He sold it at an auction at Kornfeld & Klipstein in 1955, where it was bought by Richard Feigen for the film producer and Oscar winner Harold Hecht (1907-1985). Harold and Gloria Hecht's son Duffy inherited the drawing and it is now the first time since the 1950s that 'The Plain of La Crau' is back on the market - or even in the public, since the last time it was exhibited was in 1953 in Zurich. 'The Plain of La Crau' was executed in reed pen and graphite on half size Ingres paper (demi-feuilles, measuring 30 x 47 cm). The sheet measures exactly 29.21 x 46.99 cm. The framed dimensions are 47.5 x 64.5 cm. It is mounted onto the cardboard of the mat on the upper margin and on several single spots. The drawing is in an original condition. The sheet is browned and has minimal nail holes in all four corners. The former purple ink is, as in all sheets of the Montmajour series, faded. The signature 'Vincent' in the lower left is still faintly visible. According to the catalogue raisonné by J.-B. de la Faille from 1970, the sheet was titled by Van Gogh in the lower right 'vue prise à [...]'. According the catalogue raisonné by Johannes van der Wolk, Ronald Pickvance and E. B. F. Pey, the complete title was 'Vue prise à Montmajour'. This titling today is not visible anymore. It is mentioned and shown in all catalogues raisonnés, either under the number F. 1448 or JH 1432. It is today known not under the title given to it by Van Gogh himself, but under the title 'The Plain of La Crau', or the French version 'La Crau de Montmajour'. Provenance: Johanna van Gogh-Bonger, Amsterdam Paul Cassirer, Berlin A. Walter von Heymel, Munich August Heye, Bremen Fritz Nathan, Zurich Kornfeld & Klipstein Galerie, Bern J. B. Neumann, NYC Richard Feigen Gallery, NYC Harold Hecht - Gloria Hecht Dresser, LALiterature: Faille, J. B. de la, The Works of Vincent Van Gogh, 1970, p. 507. Feilchenfeldt, Walter, Vincent van Gogh & Paul Cassirer, Berlin, published by the Rijksmuseum Vincent van Gogh, Amsterdam, 1988; ill. p. 132. Hulsker, Jan, The Complete Van Gogh, 1984, p. 324. Robertis, Antonio de and Smolizza, Matteo, Vincent van Gogh. Le Opere Disperse, 2005, p. 167. Tellegen, Annet, Van Gogh en Montmajour, Museum Boymans-van Beuningen, 1967, p. 30. Wolk, J. van der, Pickvance, R. and E.B.F. Pey, Vincent Van Gogh. Drawings, 1990, p. 221-222. Vincent van Gogh (1853-1890) The painter Vincent van Gogh is one of today's best known artists worldwide. Back in his lifetime, this was utterly different - he could hardly sell any of his paintings and was forced to economize strictly. His younger brother Theo who worked in the family owned art gallery Goupil supported his older brother financially. Out of gratefulness, he was sent the majority of Van Gogh's paintings and drawings. Due to this close brotherly contact, many letters of Van Gogh are preserved and offer a unique insight into his creativity and thoughts. Born as the son of clergyman in the Dutch town of Groot-Zundert, Vincent van Gogh received a comparably good education and the family was even able to find him a job in the art gallery owned by relatives. But since he did not feel comfortable in this job nor in several others he tried afterwards - including some excursions into theology - he decided to become an artist in 1880. He had received no artistic education whatsoever and this was not going to change very much. Instead of visiting a university, Van Gogh visited several places during the following years, amongst them Brussels, The Hague, Antwerp and Paris, where he visited museums, copied Old Masters and learned from his fellow artists. In Brussels for example he studied with Anthon van Rappard (1858-1892) and in The Hague he learned with Anton Mauve (1838-1888). Van Gogh got to know most of the important artists of his time in Paris, such as Toulouse-Lautrec, Signac and Gauguin, and his painting style got strongly influenced by the French Impressionism. Even more so, the art of the Japanese woodcut influenced Van Gogh and especially his drawings give proof of that inspiration.From Paris, the erratic artist moved to Arles in Southern France, where he had one of his most productive creative period and developed the unique style for which he is mostly known: strong, impasto colours, applied to the canvas with many, small brushstrokes. Here in Arles, van Gogh dreamed of building an art colony where he would live and work with fellow artists - but the only one who came was Gauguin. The shared life of the two artists ended dramatically with the well-known incident of Van Gogh's cut-off ear. This drastic moment was the climax of the artist's increasingly bad mental condition which led to him having nightmares, delusions and depressions and kept him from working regularly. After several stays in different clinics, Van Gogh hospitalized himself in a sanatorium where he was allowed to keep up his painting. He spent his last month under the observation of a certain Dr Gachet, whose role is judged ambivalently by the scholars. Several impressive paintings from this last period are known that hardly give evidence of the artist's mental confusion. It is this Dr. Gauchet, who was portrayed by Van Gogh expressively and holds the current auction for one of Vincent's oil paintings at 80 m. Euro.

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Alexander D. Goltz (1857-1944), Painting 'Tullnerfeld', 1920

Lot 31: Alexander D. Goltz (1857-1944), Painting 'Tullnerfeld', 1920

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Description: Oil on canvas Austria, around 1920 Alexander Demetrius Goltz (1857-1944) - Austrian painter and stage designer Lower right intertwined monogram 'GAD' Reverse on a label titled 'Tullnerfeld' Label with a Vienna Künstlerhaus exhibition numbering, dating to 1920, on the stretcher Overall dimensions, framed: 68.5 x 88.5 cm; stretcher frame: 61 x 80 cm Very good condition Provenance: Austrian private collection In recent years, the paintings by Goltz, a pupil of Otto Seitz, Anselm Feuerbach and Puvis de Chavannes, fetch rising prices on the market; the auction record for one of his works is more than 29,000 Euro This view of the 'Tullnerfeld', created around 1920, belongs to Alexander Demetrius Goltz's (1857-1944) Vienna period. From 1892 onwards, the artist permanently lived in the Austrian capital. As a pupil of the renowned artists Otto Seitz, Anselm Feuerbach and Puvis de Chavannes, Goltz's art shows influences of the Romantic, Impressionist and Symbolist movements. The painter has displayed the beautiful, lush green landscape with the flowing river in an atmospheric evening light. The brushwork, mostly spotted and dashed, in the area of the sky highly dynamic, clearly reflects the Impressionist canon of forms. However, the choice of colours and the planar painting also suggest an Art Nouveau approach. Lower right, the painting shows the artist's intertwined monogram 'GAD'. Reverse on a label is the handwritten title 'Tullnerfeld'. A label on the stretcher frame features an exhibition number of the Viennese Künstlerhaus. The painting is in very good condition, displaying only minimal signs of use. Under UV-light the signature and some strokes along the lower margin glow; most certainly a result of partial cleaning. The magnificent gold coloured ornamental frame is also in very good condition, showing only minor notches. The overall dimensions with frame are 68.5 x 88.5 cm, the stretcher frame measuring 61 x 80 cm. Alexander Demetrius Goltz (1857-1944) The Hungarian-born painter and stage designer Alexander Demetrius Goltz studied painting at the Academy of Fine Arts in Munich with Otto Seitz, and subsequently with Anselm Feuerbach at the Academy of Fine Arts in Vienna. From 1880 onwards, he was a member of the Vienna Künstlerhaus. He undertook numerous study trips and lived in Munich from 1884 to 1888. Then, he studied with Pierre Puvis de Chavannes in Paris and settled in Vienna in 1892. Goltz's favourite motifs were figural paintings, landscapes and portraits. He portrayed numerous personalities from the arts and politics. From 1904 onwards, he was mainly active as a set designer in Vienna. From 1900 to 1911, the artist was a member of the Vienna Hagenbund. During the First World War, he devoted himself to war depictions. Today, works by Alexander Goltz are displayed, among others, in the Museum of Military History in Vienna.

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Jan Gossaert Follower, Painting 'Virgin and Child', 16th C

Lot 32: Jan Gossaert Follower, Painting 'Virgin and Child', 16th C

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Description: Oil on wood Europe, 16th Century - or slightly later Follower of Jan Gossaert called Mabuse (1478-1532) - Flemish painter Double portrait of Anna van Bergen(1492-1541) and her son in the form of the Virgin and Child One Version of this 'Virgin and Child' is in the Metropolitan Museum in New York Overall dimensions, framed: 66.5 x 52 cm; wooden panel: 51.5 x 36.5 cm The painting 'Virgin and Child' has been painted by Jan Gossaert, his workshop and several successors more than once and some of these copies fetch up to 57,000 Euros at international auctions The painting at hand shows a 'Virgin and Child', painted by a successor of the known Flemish artist Jan Gossaert called Mabuse (1478-1532). There exist several versions of this "Virgin and Child" and it is still not known, which one of these is the actual original, which ones are copies by the master himself and which ones are by his workshop or followers. What is known about this painting is that it does not only show Mary and Jesus but is at the same time a double portrait. This information has been provided as early as 1604 by Karel van Mander in his famous Schilder-Boeck, who wrote that Gossaert had portrayed Anna van Bergen (1492-1541), wife of Adolf of Burgundy (1489-1540) as the mother of Christ with her child. The infant Jesus therefore portrays her son Hendrik (1519-1532). Mother and child are placed in front of a monochrome red background that is surrounded by a painted frame. Mary wears an elegant blue robe that is adorned with multi-row stitching partly in gold and a sheer border around her neck. A delicate, hardly visible veil covers her hair and is kept there by a fine ornament made from pearls and gems. The baby Jesus is dressed in a simple white camisole; it sits in front of his mother on an undefined underground, covered by Mary's dress. Just like his mother, he looks directly at the beholder, thus showing of the likeness of their faces. What is very noticeable in this painting are the hands of mother and child and the feet of the latter as they are all arranged very closely to each other and have apparently been studied from all sorts of perspectives.The painting is in an optically good condition, considering its age. The colour layer shows craquelure and fine hairline cracks, colour flaking as well as small damages around the edges. The painting has been covered by a varnish. Underneath this, several colour touch-ups as well small restored areas, one of them being at the border of Mary's face, the others are mainly around the edges, can be seen. The framed dimensions are 66.5 x 52 cm, the dimensions of the wooden panel are 51.5 x 36.5 cm. The panel has been reinforced at the back on the right side; it shows traces of worms (inactive). Jan Gossaert gen. Mabuse (1478-1532) Jan Gossaert gave himself the name Mabuse after his hometown Maubeuge when he entered the St. Luke's gild in Antwerp. Little is known about his early years and his education, but that he moved to Amsterdam in 1503. He travelled to Italy in 1508 under the service of Philipp of Burgundy (1464-1524), a journey that should have a great influence on his work. He returned with Philipp to Zeeland in the Netherlands where he was given the order to paint an altar painting - it is known that Albrecht Dürer travelled to Zeeland especially to see this painting. When Philipp of Burgundy was called to Utrecht, Gossaert followed him there to decorate the bishop's palace. He also had the chance to portray several of the most important persons of the court. He is today known as one of the most important Flemish painters of his age and is considered to be the founder of the more Italian style in Flanders. His journey to Italy is judged to have been the trigger for the soon obligatory travels to Italy for all Flemish artists. His paintings are today in the most important museums all over the world, such as the Alte Pinakothek in Munich, the Kunsthistorische Museum in Vienna, the Louvre, the National Gallery in London as well as the Metropolitan Museum in New York, that held a huge a solo exhibition with his works in 2010/11.

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Circle of Jan van Goyen, 'Town Wall on a River', 17th C.

Lot 33: Circle of Jan van Goyen, 'Town Wall on a River', 17th C.

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Description: Oil on wood Netherlands, 17th Century Circle of Jan van Goyen (1596-1656) - Landscape Painter of the Dutch Golden Age Illegibly inscribed at the lower left Overall dimensions, framed: 81 x 118.5 cm Provenance: German Private Collection Paintings by the Dutch landscape artist Jan van Goyen are considered to amongst the most beautiful ones of the Dutch Golden Age. The painting at hand is clearly inspired by him, as it takes up his impulses and was done by a talented artist from his circle This panel painting from the circle of the Dutch painter Jan van Goyen (1596-1656) shows the view across a river onto the fortified walls of a town. The three towers of the wall lead the view of the beholder from right to left into the depth of the painting. On the left side, the view opens up to a broad valley. Fishermen enliven the scenery in the foreground. The largest part of the painting is taken up by the sky. There are several similar compositions known by van Goyen himself, with the landscape following a diagonal line and the sky taking up the prominent role. He very often also used a river to underline the diagonal composition. Another typical element of the tonal landscapes are the softer lines, since the focus was on creating an atmosphere rather than a realistic depiction. The panel painting has been restored. It is covered by a thick layer of varnish. Underneath, it shows some older, large colour touch-ups. The joints in between the boards of the panel have also been over painted and in between the two lowest ones, a ca. 1 cm broad and 20 cm long piece has been complemented. The edges show traces of framing, such as minimal colour losses. The dimensions of the wooden panel are 67 x 105.5 cm, the dimensions of the frame are 81 x 118.5 cm. Jan Jozefszoon van Goyen (1596-1656) and his Circle Van Goyen received his first artistic education quite early but he was meant to became a glass painter; instead, he chose to make landscape painting his profession. He travelled to Hoorn and learned under Willem Gerritzs and in Haarlem under Esaias van de Velde (1590-1630). Van Goyen lived in Leiden and Den Haag with his family. Amongst his pupils are for example Nicolaes van Berchem (1620-1683), Jan Steen (c. 1626-1679) and Adriaen van der Cabel (1631-1705). His tonal painting has found many admirers and his influence on the Dutch landscape painting was enormous. The Netherlands Institute for Art History names none less than 75 artist who have worked in the style of van Goyen for some time.

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E. Graner (1865-1943), 'Pleasure Palace in the Prater', c. 1940

Lot 34: E. Graner (1865-1943), 'Pleasure Palace in the Prater', c. 1940

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Description: Watercolour and gouache on cardboard Vienna/Austria, around 1940 Ernst Graner (1865-1943) - Austrian painter of vedute Signed lower left 'E. Graner' Reverse on the framing titled in handwriting 'Lustschloss im Prater' [Pleasure Palace in the Prater], Overall dimensions, framed: 40.5 x 50 cm, size of the painting: 28.5 x 38.5 cm Very good condition Provenance: German private collection Ernst Graner is considered one of the foremost watercolorists of his time; similar works fetch up over 8.000 euros at international auctions The painting by the famous Viennese painter of vedute, Ernst Graner (1865-1943), created around 1940, shows the 'Pleasure House' in the Prater in Vienna. The building was first mentioned in sources of 1560 as a hunting lodge of the former imperial hunting ground, the Prater. In the 18th century, it was rebuilt and opened to the public. After its destruction in the Second World War, it was again rebuilt in the original form of the 18th century. The work impresses due to the finely executed painting style of fresh, vibrant colours and harmonious perspectives. The work is signed lower left 'E. Graner'. It is on the top side matted and framed in a simple wood frame. The condition of the painting is very good, featuring only minimal signs of age. It shows mounting lines drawn in pencil on the front side, probably by a different hand. The frame is in very good condition, showing only minimal signs of use. The overall dimensions, framed, are 40.5 x 50 cm, the dimensions of the painting being 28.5 x 38.5 cm. Ernst Graner (1865-1943) A native of Saxony, Ernst Graner is considered one of the most important watercolour painters of his time. He studied at the Vienna Academy under Eduard von Lichtenfels. Since 1890, he exhibited landscapes in Vienna. In his earlier work, he also painted genre scenes. Many watercolours by Graner have a high documentary value, as they depict historical sites that partly do not exist anymore. Today, Graners works are exhibited in various institutions, such as the Historical Museum in Vienna.

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Boris Grigorieff, Pencil Drawing, 'Lilian Slaughter', 1928

Lot 35: Boris Grigorieff, Pencil Drawing, 'Lilian Slaughter', 1928

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Description: Pencil on paper Chile, 1928 Boris Grigorieff (1886-1939) - Russian painter and graphic artist Signed lower right in pencil 'Boris Grigoriev' Dimensions: 19 x 12.5 cm Very good condition Provenance: Sheet from the autograph album of the estate of the Chilean musician Lilian Slaughter; from the family estate of Lilian Slaughter Boris Grigorieff has created an intimate, almost humble, yet very convincing portrait of the Chilean folk hero Lilian Slaughter; pencil drawings of this artist fetch up to 25,000 Euros at international auctions. This pencil drawing by the Russian artist Boris Grigorieff was made in 1928, when he taught at the Academy of Fine Arts in Santiago de Chile. The drawing shows the Chilean musician Lillian Slaughter in profile. Executed with bold lines and soft modeling of the shades, the portrait of the young woman seems almost sculptural in its appearance. The signed drawing is from a personal album of the singer. The drawing is presumably inscribed by Lilian Slaughter in ink with 'Boris Gregorief' to the lower left and was corrected in pencil. The artist's signature is on the lower right in pencil 'Boris Grigoriev'. The drawing is in very good condition. The paper is evenly browned relating to its age. There are some rifts along the left edge, due to the sheet's removal from the book. The dimensions of the sheet are 19 x 12.5 cm Boris Grigorieff (1886-1939) The Russian painter and graphic artist Boris Grigorieff studied from 1903 to 1907 at the Stroganov School of Art. Subsequently, he was admitted to the Russian Academy of the Arts in St. Petersburg in the classes of amongst others, Abram Arkhipov. Only two years later, he presented his work for the first time at the Association of Impressionist Artists. In 1912, he graduated from the Academy. He took part in 1913 in the group exhibition World of Art. In a realistic, sometimes grotesque manner, he painted portraits of famous contemporaries. In addition, he wrote the novel 'The young Rays' (1912), composed poetry, and published critical essays in the press. Between 1916 and 1918, he created impressive paintings of the poor population of Russia, before the revolutionary times began. In 1919, he left Russia to settle first in Berlin and then in Paris, where he studied at the prestigious Académie de la Grande Chaumière, and gathered influences from Paul Cézanne. The series 'fate', rendered media attention and exhibitions in Paris, Milano, Prague and New York honoured his work. He travelled twice to South America and lived until his death in France. He visited South America twice, in 1928 and 1936. In 1928 Grigorieff was engaged by the Chilean Ministry of Public Education to teach at the Academy of Arts in Santiago de Chile. Some of his works are held by the Museum Alexander III in St. Petersburg, the Gallery Tretjakoff and Morosoff in Moscow, the Luxembourg Museum in Paris, and the Museo Moderno in Venice.

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Nikanor Grigorevic Tschernezoff, 'View over the Volga', c. 1838

Lot 36: Nikanor Grigorevic Tschernezoff, 'View over the Volga', c. 1838

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Description: Oil on canvas Russia, most certainly 1838 Nikanor Grigorevic Tschernezoff (1804-1879) - Russian Landscape Painter Panoramic scene from the famous Volga trip of the Brothers Tschernezoff in the year 1838 Overall dimensions, framed: 73 x 93 cm; Dimensions of the stretcher frame: 52 x 74 cm Good condition Provenance: from an important private collection The brothers Tschernezoff are two of the earliest Russian landscape painters and their paintings are amongst the most sought after ones on the market. Paintings by Nikanor Tschernezoff fetch up to more than 1.2 m. euros at international auctions The 'View over the Volga' by Nikanor Grigorevic Tschernezoff shows a sunlit panoramic view of the river. Small fisher huts with fishnets drying in the sun are depicted in the foreground to the left and a bit further away to the right are standing some more on stilts in the flat water. The river itself stretches broadly across the canvas, almost appearing like a lake. The opposite shore looks friendly, with a few buildings here and there and the softly rising hills. The horizon is lined by flat, but still partly snow covered mountains. Above these stretches the sky, flooded with the yellow light of the sun, and almost cloudless. Nikanor Tschernezoff has painted an almost dreamlike, somehow very southern landscape and it is not surprising that his works have astonished and fascinated his compatriots and contemporaries as he showed them their country in a new light. The painting is in an optically good condition. It has several dot-like colour touch-ups in the area of the sky as well as one restored, thin, horizontal line. There are also some touch-ups in the shore on the opposite site. Behind the spanned fishnets is a larger restored area. Fine craquelure covers the entire painting. The canvas has been waxed for stabilization. The dimensions of the stretcher frame are 73 x 93 cm, the dimensions of the frame are 73 x 93 cm. The elegant stucco frame is in a good condition considering its age, with a few traces of use. Nikanor Grigorevic Tschernezoff, (1804-1879) Nikanor Grigorevic Tschernezoff and his older brother Grigori Tschernezoff are amongst the earliest landscape painters from Russia. Several areas of the country had never been painted before and were unknown to most of the city's residents which is why the brothers Tschernezoff had great success. Pushkin for example owned a painting by Nikanor that hung in his study. Nikanor himself got a scholarship for the academy in St. Petersburg in 1823 where he studied under Maxim Nikiforovich Vorobiev (1787-1855). Together with his brother he finished the academy in 1827, both leaving with gold medals. Grigory was engaged as a court painter, whereas Nikanor lived in the Crimea from 1833-36 where he worked for the Russian General Governor. During this time he travelled along the Black Sea and got as far as Turkey. Since 1837, the brothers Tschernezoff worked together and so they travelled along the river Volga in 1838, painting panoramic views of both shores. Paintings by Nikanor can today be found in the Russian Museum in St. Petersburg and in 1999 the exhibition 'The Brothers Tschernezoff and Pushkin' was held there in honour of Pushkin's 200th birthday.

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Franz Heckendorf, Oil Painting 'Klis near Salona', Croatia, 192

Lot 37: Franz Heckendorf, Oil Painting 'Klis near Salona', Croatia, 192

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Description: Oil on canvas Solin, Croatia, 1923 Franz Heckendorf (1888-1962) - German painter and graphic artist Signed and dated lower right 'F. Heckendorf. 23.' Titled on verso 'Glissa bei Salona. Dalmatien' Framed in a suitable, black wooden frame Excellent condition Total dimensions, framed: 86.5 x 110 cm This work, created during the Weimar Republic, belongs to the artist's most significant creative phase; similar works by Franz Heckendorf fetch up to 30,000 Euros at auction This oil painting by the German painter and graphic artist Franz Heckendorf (1888-1962) depicts the fortress Klis (Glissa) near the town of Solin (Salona). In a realistic-expressionist manner the artist renders his personal view in a composition of bold colours and passionate verve. The fortress thrones on a mountain and below a cluster of rural houses with red roofs are depicted. In the foreground one can discern a group of figures. Large trees, exhibiting the painter's typical brushwork, dominate the landscape scene, emphasising the Mediterranean flair of the imagery. The focus lies on the fortress, with the houses below, on the mountain, lit by the sun. The town of Solin, near Split, used to be the capital of the province of Dalmatia at the time of the Roman Empire. The artwork is defined by the well-preserved luminosity of the colours. Noteworthy is the dating of the work to the period of the Weimar Republic. During this time, Heckendorf experienced the prime of his creativity. The oil painting 'Glissa bei Salona', by Franz Heckendorf, is mounted in a suitable, black wooden frame. It is signed and dated lower right 'F. Heckendof. 23.', and additionally titled on the verso of the stretcher frame 'Glissa bei Salona. Dalmatien'. The work is in excellented condition with only minimal traces of age. The canvas has recently been remounted to the stretcher frame. The frame shows signs of wear such as surface scratches. The total dimensions including the frame are 86.5 x 110 cm, and the stretcher frame measures 78.5 x 104 cm. Franz Heckendorf (1888-1962) Franz Heckendorf was a German painter and graphic artist of the Expressive Realism who underwent a blooming period during the time of the Weimar Republic. During the Third Reich he was imprisoned for ten years because he had helped a group of Jews to escape to Switzerland. His works were classified as 'degenerated art' by the Nazi regime. Heckendorf's artistic education began at the young age of 15, when he completed an apprenticeship as a decorative painter. Afterwards, he studied at the Kunstgewerbeschule and the Academy of Arts in Berlin. Shortly thereafter, he already exhibited some of his works at the Berlin Secession. He primarily painted landscapes and still lifes that clearly show a Mediterranean influence from the impressions of his travels to Italy and Croatia during the 1920s and 1930s. After his imprisonment, he worked in Vienna at the Academy of Fine Arts, and afterwards in Munich until his death in 1962. Works by Franz Heckendorf are located amongst others at the Stiftung Moritzburg (Halle/Saale), the Salzburg Museum, the Berlinische Galerie and the Wilhelm-Lehmbruch-Museum in Duisburg.

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Franz Heckendorf, Oil Painting 'Townscape', 1925

Lot 38: Franz Heckendorf, Oil Painting 'Townscape', 1925

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Description: Oil on canvas Germany/Southern Europe, 1925 Franz Heckendorf (1888-1962) - German painter and graphic artist Signed and dated, lower right 'F. Heckendorf. 25' Very good condition Total dimensions, framed: 75 x 95 cm Provenance: acquired at auction from Villa Grisebach in 2002; thereafter German collection This work, created during the Weimar Republic, belongs to the artist's most significant creative phase; similar works by Franz Heckendorf fetch up to 30,000 Euro at auctions This oil painting by the German painter and graphic artist Franz Heckendorf (1888-1962) depicts the view of a Southern European town exhibiting the artist's typical brushwork. It shows the scenery of a town encased by large trees in strong colourfulness and broad contours. Noteworthy is the dating of the work to the period of the Weimar Republic. During this time, Heckendorf experienced the prime of his creativity and he painted landscapes influenced by the impressions he gathered during his travels to Southern European countries such as Italy or former Yugoslavia. In this painting the luminosity of the colours is especially well-preserved, visible in the red roofs of the houses and the green of the trees. The artist changes perspective often, and removes the objectivity of the depicted. The oil painting 'Townscape' by Franz Heckendorf is mounted in a dark wooden frame with a red undercoat. The painting is signed and dated lower left 'F. Heckendorf. 25'. The work is in very good condition with the usual traces of age such as craquelure - mainly to the left border. The dimensions of the work are framed 75 x 95 cm, and the stretcher frame measures 60 x 81 cm. Franz Heckendorf (1888-1962) Franz Heckendorf was a German painter and graphic artist of the Expressive Realism who underwent a blooming period during the time of the Weimar Republic. During the Third Reich he was imprisoned for ten years because he had helped a group of Jews to escape to Switzerland. His works were classified as 'degenerated art' by the Nazi regime. Heckendorf's artistic education began at the young age of 15, when he completed an apprenticeship as a decorative painter. Afterwards, he studied at the Kunstgewerbeschule and the Academy of Arts in Berlin. Shortly thereafter, he already exhibited some of his works at the Berlin Secession. He primarily painted landscapes and still lifes that clearly show a Mediterranean influence from the impressions of his travels to Italy and Croatia during the 1920s and 1930s. After his imprisonment, he worked in Vienna at the Academy of Fine Arts, and afterwards in Munich until his death in 1962. Works by Franz Heckendorf are located amongst others at the Stiftung Moritzburg (Halle), the Salzburg Museum, the Berlinische Galerie and the Wilhelm-Lehmbruch-Museum in Duisburg.

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Bartholomeus van der Helst - attributed, 'Nobleman', 1656

Lot 39: Bartholomeus van der Helst - attributed, 'Nobleman', 1656

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Description: Oil on wood Holland, 1656 Attributed to Bartholomeus van der Helst (1613-1670) - Dutch portrait painter Lower right inscribed and dated in Latin 'Ætatis 24 Ano 1656..' Overall dimensions, framed: 126 x 94 cm, wooden panel: 113 x 81 cm Provenance: German private collection Portrait paintings are the main subject of the Dutch artist Bartholomeus van der Helst; their expressiveness gives evidence of true mastery. Similar works, attributed to Bartholomeus van der Helst, fetch up to 55,000 Euro at international auctions This expressive portrait of a young gentleman probably comes from the hand of the Dutch painter Bartholomeus van der Helst (1613-1670). The sitter was 24 years old at the time of the creation of the painting, which is revealed by the Latin inscription on the right side of the portrait. The young man stands at a lectern, on which lies an open book that unfortunately can no longer be identified. The robe, the jacket, which is loosely thrown over the left shoulder, and the fur gloves testify his bourgeois origins. The focus of the portrait, however, is clearly on the face of the man, that impresses with the flesh tones and glossy spots on the skin and in the eyes. An equally great attraction has the perfectly captured lace collar and the corresponding trims of the sleeves, which strongly stand out from the dark background. Van der Helst, whose reputation as a portrait painter was at times even greater than that of Rembrandt, had specialized in these commissioned portraits. In nearly all of his portraits, the depicted are standing slightly sideways thus turning their right shoulder towards the beholder whereas their left side is in close connection to some attribute that is supposed to identify them further - just like the book on the lectern in this case. The painting is inscribed and dated in Latin on the upper right, 'Ætatis 24 Ano 1656.' On the simple, black wooden frame is a plaque with the inscription 'Portrait - Bartholomeus van der Helst 1613 - 1670'. The back shows rests of old labels and numbers. The painting is in an optically good condition with some signs of age and wear. It is strongly varnished. Beneath the coat of the varnish, large-scale restorations can be seen, especially in the left half of the paintings as well as some minor touch-ups. The edges show some abrasion due to the framing. The upper left corner shows some material loss. The varnished colour surface has some scratches and paint flakes. The joints of the wood panel are clearly visible and have been stabilized in the back. The frame is in an age-appropriate condition with small chips all around and some slightly bigger damage on the back below. The overall dimensions, including the frame, are 126 x 94 cm. The wood panel measures 113 x 81 cm. Bartholomeus van der Helst (1613 - 1670) The Dutch painter Bartholomeus van der Helst was a student of Nicolaes Eliaszoon Pickenoy (1588-1653/56) and appears to be influenced in his paintings by Frans Hals (1580/85-1666), one of the leading portrait painters. In Amsterdam, also the works of Thomas de Keyser (1596 - 1667) and Rembrandt (1606-1669) probably had an influence on him. His principal work is the 'Banquet of the Amsterdam Civic Guard', a colossal painting with 25 life-size figures, which is located in Amsterdam's Rijksmuseum. Through the expressive facial features of the characters and the masterful modeling of the robes, this painting is considered one of the 'masterpieces of all time'. At his time, Van der Helst's good reputation therefore exceeded those of the portrait painters Frans Hals and Rembrandt. Van der Helst became also known due to the St. Luke's guild, which he founded together with the portrait painter H. de Helt-Stokade in Amsterdam in 1653. Further paintings by Bartholomeus van der Helst are featured, among others, in the Louvre and the Uffizi Gallery.

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Philipp Helmer (1846-1912), Dachau Marsh Landscape, around 1900

Lot 40: Philipp Helmer (1846-1912), Dachau Marsh Landscape, around 1900

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Description: Oil on canvas Germany, around 1900 Philipp Helmer (1846-1912) - German artist Artist's estate stamp on verso On the stretcher frame authentication note from the Galerie Thannhauser (from 1921) as well as old labels Overall dimensions, framed: 37.5 x 51 cm, stretcher frame: 26.5 x 40.5 cm Very good condition Provenance: Viennese private collection A member of the Munich school, Philipp Helmer is most known for his atmospheric landscapes of the Dachau Marsh; these paintings fetch up to 4,000 Euro at auction This oil painting of a summer landscape with a house by the water was created by the German artist Philipp Helmer (1846-1912) and dates to around 1900. The painting presumably came from the estate of the artist, being subsequently displayed at the Thannhauser Gallery in Munich, as featured by the artist's estate stamp and an authentication note from the Gallery (1921) on the back. The Thannhauser Gallery apparently exhibited works of Helmer several times and organized a large exhibition of the painter in 1912. Captured in lush greens, the composition provides a view of the Dachau Marsh north of Munich, where Helmer painted frequently. The painting is in good condition, featuring only minimal signs of age. The canvas shows traces of adhesive tape all around the margin. The simple, profiled wood frame is also in very good condition, displaying only minimal signs of use. The overall dimensions with frame are 37.5 x 51 cm, the stretcher frame measuring 26.5 x 40.5 cm. Philipp Helmer (1846-1912) The German artist Philipp Helmer originated from a Tyrolean family of craftsmen. In 1864, he went to Munich to be trained as a sculptor. He obtained first recognition due to a scholarship of King Ludwig I., which allowed him to attend the Munich Academy. There, he studied with the artist Wilhelm Leibl, and in the 1870s with William of Lindenschmit. Later, he was active as a freelance artist and mainly painted landscapes, but also portraits and still lifes. Today Helmers works are exhibited, among others, in the Pfalzgalerie in Kaiserslautern.

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Heinrich Hermanns, Oil painting, 'Amsterdam Gracht', c. 1910

Lot 41: Heinrich Hermanns, Oil painting, 'Amsterdam Gracht', c. 1910

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Description: Oil on canvas Amsterdam / Netherlands, around 1910 Heinrich Hermanns (1862-1942) - Painter and lithographer from Dusseldorf Signed lower right 'Heinrich Hermanns' Magnificent ornamental frame Overall dimensions, framed: 90 x 111 cm; stretcher frame: 64 x 84 cm Good condition Provenance: German private collection Heinrich Hermanns is known for his beautiful cityscapes of Amsterdam; comparable artworks fetch more than 14,000 euros at international auctions This is a typical work by the German painter and lithographer Heinrich Hermanns (1862-1942) with a view of an Amsterdam canal. Already during the artist's lifetime, the picturesque depictions of Amsterdam were among his most successful paintings. The present work displays the Gelderskade with a view of the New Market, and it dates back to around 1910. The Impressionist painting especially delights with its vivid scenery, featuring a groups of people on the sidewalks. The impasto painting in muted colours and coherent perspectives centers in the depiction of the bridge on the horizon, which is surmounted by a church tower and the city backdrop. The painting is signed lower right 'Heinrich Hermanns'. The condition is good, showing some signs of age. The colour surface features a slight craquelure and partial paint flaking. Very few, small touch-ups are visible here and there under UV-light. The canvas has been relined; the edges display adhesive tape all around. The frame is in an appealing condition with usual signs of age and wear. The overall dimensions with frame are 90 x 111 cm; the stretcher frame measuring 64 x 84 cm. Heinrich Hermanns (1862-1942) The painter and lithographer Heinrich Hermanns studied at the Dusseldorf Academy with Eugen Dücker. He belongs to the famous Rhine landscape painters of the late 19th and early 20th Century. Together with Olof Jernberg, Eugen Kampf and Helmuth Liesegang, he founded the so-called 'Lucas Club', an association of progressive landscape painters in Dusseldorf around 1890. They primarily revised the traditional artistic style and choice of subjects. Depictions from Northern and Southern Europe were replaced by subjects from the Lower Rhine and Holland, featuring gentle colours and broad brushstrokes. Hermanns undertook extensive study trips to Italy, France, Spain, and the Netherlands. In his early works, he mainly painted Dutch landscapes, and later went on to depict architectural views. Up to the 1920s, Heinrich Hermanns successfully participated in many significant art exhibitions in Germany. His works entered numerous European and American collections. In Germany, his works are exhibited in museums in Aachen, Dusseldorf, Wiesbaden, Weimar, Essen, Bonn, Freiburg, and Karlsruhe, among others.

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John Frederick Herring I,

Lot 42: John Frederick Herring I, "Farmyard with Horse Rider", c. 1855

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Description: Oil on wood England, um 1855 John Frederick Herring Sr. (1795-1865) - English painter of animals Signed lower right 'J. F. Herring Senr.' Old labels and Christie's stencil numbers on verso Overall dimensions, framed: 34 x 32.5 cm; image size: 25 x 23.5 cm Original, high quality ornamental frame Provenance: German private collection John Frederick Herring painted racehorses for the high society of Victorian England and animal depictions for Queen Victoria. He is considered one of the most important animal painters in the mid-19th century; comparable oil paintings by him fetch up to 50,000 euros at international auctions This oil painting by John Frederick Herring Sr. (1795-1865) originates from the late work of the artist and dates to around 1855, when Herring moved to the countryside in the South East of England, focusing on rural scenes. The small and fine painting depicts a view in a farmyard. The focal point of the depiction is a rider in red jacket on a white horse - the preferred animal motif of the English painter. Also the pigs, pigeons and ducks in the background are recurring motifs in Herring's oeuvre. In the surrounding architecture of the courtyard, the British painter furthermore proves that his good eye was not limited to animal motifs. The harmonious colours and perspectives in this painting bear witness of the artist's wide craftsmanship that goes far beyond his pure horse depictions of the early work. The painting is signed lower right 'J. F. Herring Senr.'. It is optically in good condition with some strong craquelure in parts and some deep scratches. The painting was strongly varnished. Beneath the varnish can be found old restoration works. The edges show small paint flakings due to the framing. Verso, there are handwritten labels probably of former British owners, as well as a Christie's stencil number. The beautiful, original frame with golden paint is also in good condition, featuring only minor nicks. The overall dimensions with frame are 34 x 32.5 cm; the dimensions of the painting are 25 x 23.5 cm.

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Felix Heuberger (1888-1968), View of Klosterneuburg, 1934

Lot 43: Felix Heuberger (1888-1968), View of Klosterneuburg, 1934

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Description: Oil on canvas, relined Austria, 1934 Felix Heuberger (1888-1968) - Austrian painter and etcher Signed and dated lower left 'Felix Heuberger 1934' Overall dimensions, framed : 85 x 146 cm, stretcher frame: 70 x 90 cm Provenance: Austrian private collection Felix Heuberger has achieved true mastery with his atmospheric landscapes; similar oil paintings by this artist, whose artworks rarely appear on the art market, fetch more than 13,000 Euro at international auctions The Austrian painter and etcher Felix Heuberger (1888-1968) has painted this atmospheric view of the Danube and Klosterneuburg in 1934. Depicted from an elevated point of view, the viewer's gaze first passes orchards, subsequently reaching a wide plain. On the right the wide and peaceful river Danube is depicted. On the left, one recognizes the city Klosterneuburg with the spires of the monastery. The landscape is bathed in a yellow glowing evening light, which is a striking eye-catcher. However, it is not only the nostalgic lighting effect with its yearning red light at the horizon that fascinates in this painting - the width of the imagery and the superbly executed details in the landscape are also evidence of a high artistic quality. In this painting, Heuberger shows the influence of the fading New Objectivity, whose classical manifestation included idyllic stylistic features. Moreover, the clear image structure, the emphasized perspective effect, the subdued colouring and the plane application of colours is reminiscent of this style. The painting is signed and dated lower left 'Felix Heuberger 1934'. It is optically in very good condition with only minor signs of age and framing. The canvas is relined. Under UV-light numerous small and large touch-ups are visible, especially in the area of the sky. The gold-coloured wood frame is used and shows several major chips. The overall dimensions, including the frame, are 85 x 146 cm. The stretcher frame measures 70 x 90 cm. Felix Heuberger (1888-1968) A native of Vienna, Felix Heuberger was an autodidact, living in Tyrol since 1923. He worked as a painter and etcher, who became known through the exhibition of his works in the Vienna Künstlerhaus. His favorite subjects were high mountain landscapes, often characterized by a beautiful and atmospheric light.

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Dutch School, Oil Painting 'Fun on the Ice', 18th Century

Lot 44: Dutch School, Oil Painting 'Fun on the Ice', 18th Century

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Description: Oil on wood Holland, 18th Century Overall dimensions, framed: 29 x 36.5 cm; wood panel: 23 x 30.5 cm Good condition Provenance: German private collection This charming winter painting in the style of Dutch painter Thomas Heeremans delights with its bright, warm colours and narrative details This small 18th Century panel painting from the Dutch school depicts an atmospheric winter landscape on a frozen river with a village backdrop. The numerous figures in the scene cheerfully demonstrate the fun on the ice. The painting appears like a 'frozen' snapshot. The joyful bustle shows walkers, skaters, ice fishers and a horse sleigh. In the foreground, a group of men is dedicated to a winter sport, while a man on the right buckles up his skates. The work enchants through warm colours and fine painting, which culminates in the delicate snow crust on the trees. The light pink clouds in the sky indicate a setting sun, creating a calm and peaceful atmosphere in the painting. The style and subject of the painting are clearly inspired by works of Thomas Heeremans (1641-1694), who gained a wide circle of collectors due to his numerous winter depictions. The painting is in good condition, featuring only minor signs of age and traces of a former restoration along the edges and in the clouds. The colour surface shows slight traces of framing and the wood panel shows some loss of material. The frame with decorative leafage is in very good condition, showing only minimal signs of use. The overall dimensions with frame are 29 x 36.5 cm, the wood panel measuring 23 x 30.5 cm.

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Oluf Høst (1884-1966), 'Bognemark Gudhjem Bornholm', 1940/50s

Lot 45: Oluf Høst (1884-1966), 'Bognemark Gudhjem Bornholm', 1940/50s

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Description: Oil on canvas Denmark, around 1940/50 Oluf Høst (1884-1966) - Danish expressionist painter Monogrammed lower left 'OH' and inscribed 'BB', presumably for 'Bognemark, Bornholm' Signed and inscribed on the back of the canvas 'Oluf Høst Fra Gården ved Bognemark Gudhjem Bornholm' Overall dimensions, framed: 54 x 88 cm Very good condition Provenance: Swedish-Swiss Private Collection The views of the Bognemark farm are characteristic of Oluf Høst's oeuvre and are counted amongst his most popular motifs; in comparable format the Bognemark views by Oluf Høst fetch up to 35,000 Euros at international auctions The Danish painter Oluf Høst created this painting with a view of his farm Bognemark near Gudhjem on the island Bornholm during the 1940s or 1950s. Bognemark is one of the main subjects in Høst's oeuvre; he has painted several views of the farm from all possible angles, at different daytimes and seasons. In the left half the painting shows a farm building in somber colours. The right half shows another, light-coloured building depicted in a sketch-like manner. Human silhouettes in a reddish brown can be seen in the yard between and in front of the buildings, also rather resembling motion studies than depictions of real persons. The contrast between the lighter and darker halves of the canvas is held together by the connecting green colour fields of the trees. Unusual is the yellow sky, which the artist has spanned over the scene and that creates an almost surreal atmosphere. Høst was known for only reluctantly selling his paintings as he had the habit of completing them over the years; he did not shy away from 'visiting' his already sold paintings to over paint and finish them. The painting by Oluf Høst is in very good condition. It is monogrammed lower left 'OH' and inscribed with the abbreviation 'BB' which presumably stands for 'Bognemark, Bornholm'. It is additionally signed and inscribed on the back of the canvas 'Oluf Høst Fra Gården ved Bognemark Gudhjem Bornholm'. It is framed in a simple wooden frame, which measures 54 x 88 cm and shows slight traces of age and use. The dimensions of the stretcher frame are 47 x 80.5 cm. Oluf Høst (1884-1966) Oluf Høst was a Danish expressionist painter and a member of the so-called Bornholm School - he was actually the only one born in Bornholm. He received his education at the academy in Copenhagen in the between 1906 and 1915 and at the same time studied at Harald Giersing's school who introduced him to the works of the French expressionists. From 1929 onwards, the artist has lived on the island of Bornholm with his family; he focused on painting the typical island buildings and many views of the village of Gudhjem and his farm Bognemark. During the 1930s, Oluf Høst got more and more recognition for his work as an artist; he won the Eckersberg Medal in 1933, the Thorvaldsen Medal in 1943 and several others. His former home in Gudhjem is now the Oluf Høst Museum.

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Emil Hünten, Oil Painting, Kaiser Wilhelm I. on Horseback, 1883

Lot 46: Emil Hünten, Oil Painting, Kaiser Wilhelm I. on Horseback, 1883

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Description: Oil on canvas Germany, 1883 Emil Hünten (1827-1902) - German painter, draughtsman and illustrator Signed and dated lower right 'E Hünten 83' Beautiful wood and stucco frame Overall dimensions, framed: 81.5 x 69.5 cm Dimensions stretcher frame: 55 x 43 cm Good condition Provenance: from a German private collection A military subject chrasteristic of Emil Hünten's oeuvre, which displays an incredibly fine execution; for portrayals of this kind collectors are willing to pay up to 17,000 euros on the international art market This impressive oil painting by the German painter Emil Hünten shows the German Emperor William I. in full dress uniform, on horseback. Two mounted adjutants are depicted on the left, a group of soldiers is discernable in the background. The then already 86-year-old emperor is portrayed with an incredibly fine brushwork, usually only seen in pastel and watercolour drawings. The detailed face has the delicateness and refinement of a miniature painting. The naturalistic painterly realisation is striking. Here Hünten's talent as a skilled equine painter also becomes apparent. Although the German Emperor is the central motif of the work, the background is also presented in a very elaborate manner. The artist managed to create a festive, patriotic atmosphere without making the staging seem histrionic. A master piece by the artist of high aesthetic quality! The work is presented in a magnificent gilt wood and stucco frame. The painting by Emil Hünten is in good condition, the canvas is original. There is minor craquelure along the centre of the image. There are tiny touch-ups along the body of the horse and the emperor's uniform. The frame shows some signs of age and use with touch-ups here and there. Framed, the work measures 81.5 x 69.5 cm. The stretcher frame measures 55 x 43 cm. The work is signed and dated lower right 'E Hünten 83'. Emil Hünten (1827-1902) Emil Hünten was born in Paris in 1827. He studied at the Ecole des Beaux Arts in Paris under Hippolyte Flandrin and Horace Vernet, later in Antwerp under Gustave Wappers and Josephus Laurentius Dyckmans. In 1854 he moved to Düsseldorf where he became the pupil of the renowned military painter Wilhelm Camphausen. During this time, Hünten executed many studies of horses and finished his first large-scale painting. Before the era of photography Hünten's works were of considerable documentary importance. As a soldier and later officer of the Landwehr the artist was able to give firsthand accounts of his experiences. Thus many military paintings, which impress due to their closeness to reality, were created. Today Emil Hünten is regarded as one of the most important German history painters of his time.

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Jacob Jordaens (1593-1678) attributed, 'Venus and Cupid'

Lot 47: Jacob Jordaens (1593-1678) attributed, 'Venus and Cupid'

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Description: Oil on canvas, relined and attached to a third canvas Flanders, after 1640 Jacob Jordaens (1593-1678) attributed - Flemish Baroque Painter A head study by Jordaens, looking just like the head of the Venus in the painting at hand, is mentioned in the Cat. Raisonné No. A 179 by R.-A. d'Hulst, 1974, to have been in the Collections of the Veste Coburg Similar lady's portrait in 'As the Old sing so the Young pipe', Jagdschloss Grunewald Overall dimensions, framed: 81 x 64 cm, Dimensions of the Canvas: 55 x 38 cm Good condition Provenance: German Private Collection Works like this, that show such an extraordinary closeness to the great Baroque painter Jordaens, are rare. Paintings attributed to Jordaens fetch up to 54,000 Euro at international auctions This painting with the depiction of „Venus and Cupid with Flute Player" is attributed to the great Flemish Baroque painter Jacob Jordaens (1593-1678). Venus is shown as the typically ample Baroque beauty in a rich dress with many jewels, presenting the naked Cupid on her lap in a position that slightly reminds one of Mary presenting Jesus. The small god of love holds an arrow in his left hand and a symbolic heart in his right. His quiver rests in the folds of Venus' dress. A flute player can be seen in the background behind mother and son. There exists a black and red chalk drawing by Jordaens that shows a female portrait that very much resembles the face of the Venus - both wear the pearl ornaments on their heads and around their necks and both show the same mysterious half ironic smile. The chalk drawing appears a bit more realistic and less idealized than the depiction of the Venus. Another lady that resembles our Venus can be found in the painting „As the Old Sing So the Young pipe" that is today in the collection of the Jagdschloss Grunewald in Berlin. Her posture and facial expression are very similar to that of the Venus and she also has a child on her lap. The painting is in an optically very good condition. It has been touched-up around the edges and the stony balustrades on the lower margin have been repainted. Several minimal areas in the face of the Venus have been touched-up. The colour layer shows craquelure. The original canvas has been relined and again attached to a new canvas. The painting is framed in broad, darkened wooden frame whose dimensions are 81 x 64 cm. The dimensions of the canvas are 55 x 38 cm. Jacob Jordaens (1593-1678) Jacob Jordaens studied under Adam van Noort, who had also trained Rubens and was made a member of the St. Luke's Guild in Antwerp in 1615. He married his master's daughter Catharina van Noort in 1616 and established himself in Antwerp. He was later named dean of the guild and was very successful in that position. His oeuvre covers almost anything, from the peasant genre scenes often inspired by proverbs up to religious and mythological paintings. He produced an incredible amount of paintings and it cannot always be said for sure what has been done by him and what by his workshop. With Rubens' death in 1640, Jordaens became even more important and was hugely successful. He is different from Rubens and van Dyck in so far as he had never travelled throughout Europe or left Antwerp; his painting style was thus maybe less influenced by international courtly fashions. His paintings can today be visited in all the great museums of the world, for example in Berlin, in the museums in Brussels and Antwerp, in the Prado in Madrid and in the Hermitage in St. Petersburg.

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Willem Kalf attributed, 'Still Life with Silver Vessel', 17th C

Lot 48: Willem Kalf attributed, 'Still Life with Silver Vessel', 17th C

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Description: Oil on canvas, relined Holland, 17th Century Willem Kalf (1619/22-93) attributed - Dutch still life and genre painter Illustrated in: Portraits of Objects: Oscar and Maria Salzer Collection of Still Life and Trompe-L'oeil Paintings, Cat. No. 49, 1984 Recently exhibited in 2003 in the Douglas F. Cooley Memorial Art Gallery in Oregon Overall dimensions, framed: 67 x 58.5 cm Provenance: German private collection, ex. Collection of Oscar and Maria Salzer, Los Angeles Willem Kalf is one of the most important Dutch still life painters of the 17th Century, who significantly developed the illusionistic still life painting, remarkably influencing the artists of his time; Still lifes attributed to him fetch up to 130,000 Euro at international auctions This 'Still Life with Silver Vessel' can be attributed to the painter Willem Kalf (1619/22-93) who was one of the most important Dutch still life painters from the Rembrandt School. In his 'Banquet Scenes' (banketjes) he created well-conceived still life compositions, often featuring very precious objects made of gold, silver, tin and glass. On one hand, he focused on the depiction of the typical wealth of the Dutch Golden Age, on the other he aimed for a trompe-l'oeil effect in the objects, which he obtained through skillfully captured lighting effects.Due to the strong chiaroscuro contrast, through which the objects in the background only vaguely stand out from the dark, the artfully draped fabric, the harmony in image structure and colours and the ornate silver vessel the painting can be attributed to the painter Willem Kalf. Also, the half-filled wine glass is a typical pictorial element of Kalf. The vessel, the glass and the pitcher show his characteristic light reflection points with an amazingly realistic effect. All these facts allow an attribution to Kalf, even though it was mentioned in earlier catalogues as having been painted by an unknown Dutch painter. The painting has an exclusive provenance as it comes from the collection of Oscar and Maria Salzer and was for years part of their loan and thus exhibited in the Fresno Metropolitan Museum of Art & Science before it came into the possession of the current owner. It is mentioned and illustrated in the catalogue from the Fresno museum „Oscar and Maria Salzer Collection of Still Life and Trompe-L'oeil Paintings" under the number 49. The exhibition history of the still life is also quite extraordinary, as labels on the back of the framing board indicate; it has been shown in the University of Southern California and a handwritten label indicates several other exhibitions. In 2003 it was shown in the Douglas F. Cooley Memorial Art Gallery in Oregon in the exhibition „Feast the Eye, Fool the Eye: Still Life and Trompe L'oeil Paintings from the Oscar and Maria Salzer Collection". The frame itself features a label by the Mint Museum of Art. The painting is in an age appropriate condition. The canvas has been trimmed and relined as well as fixed with framing paper. The colour layer has been strongly varnished; beneath the varnish, some large scale colour touch-ups can be seen, especially in the background and around the margin. The colour layer shows craquelure. The overall dimensions of the work in its frame are 67 x 58.5 cm; the dimensions of the stretcher frame are 53 x 44.5 cm. The black wooden frame is in good condition, with minimal traces of use. Willem Kalf (1619/22-93) Willlem Kalf is one of the most important Dutch still life painters of the 17th century, being associated with the Rembrandt School in the broader sense. The sources indicate that he enjoyed high reputation among his contemporaries. In his early still lifes, he was, among others, inspired by Pieter Claesz, Willem Heda Claeszoon, Floris van Schooten, Jan de Heem Davidszoon and Pieter Gerritsz van Roestraten. From the late 1630s, he showed the influence of Rembrandt's paintings in his works. In his early work, Kalf firstly painted rural interiors and kitchen pieces with simple household items and gray-brown colour range. Later, he developed his famous 'sumptuous still lives', in which he firstly emphasized the preciousness, and then the materiality through sophisticated lighting effects. Kalf specialized in arrangements of fine gold and silver items, porcelain and glassware, which he often combined with fruits and flowers. Sometimes exotic items were added, indicating the Netherlands' richness due to the overseas trade. His later still lifes are characterized by Rembrandt's deeply shining colours.

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Barend Cornelis Koekkoek, Forest with a River Landscape, 1850

Lot 49: Barend Cornelis Koekkoek, Forest with a River Landscape, 1850

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Description: Oil on canvas, Netherlands, around 1850 Barend Cornelis Koekkoek (1803-1862) - Dutch landscape painter Signed lower left 'B. C. Koekkoek' Overall dimensions, framed: 68.5 x 91.5 cm In a period frame Good condition - see condition report by Dr. Bernd Büsche (former head of restoration at the Museum Schleswig-Holstein) Provenance: from a German private collection, see old photographs of the art collection A romantic landscape, painted by Koekkoek with great virtuosity; the highest price at auction for a Koekkoek painting of similar size is over 1.4 million euros This idyllic landscape oil painting was created by Barend Cornelis Koekkoek, probably the most well-known Dutch landscape artist before van Gogh. A plaque on the front of the frame records the date of the work as 1850. The artist shows a sunlit landscape with a family resting by the banks of a river whilst a herdsman drives his cattle and sheep along a forest track. In the far distance, on a hill, the silhouette of a fortified town can be discerned. The town could be Kleve, one of Koekkoek's favourite subject matters. The work displays all the qualities, which made the artist so successful. The composition is beautifully balanced - anchored by two tall trees in the center and wispy clouds in the sky to the right. Every inch of the canvas displays superior artistic delicateness so that every image detail has the quality of a miniature. The evenness of the light and the soporific atmosphere distinguish this as an outstanding romantic landscape. The painting by Barend Cornelis Koekkoek is in good condition. The canvas is relined. The surface shows light craquelure and minor framing marks. Along the edges, especially along the top, there are touch-ups, the sky also shows tiny touch-ups here and there. The surface is covered with a thin matt layer of varnish. When the old varnish was removed, the top layer of paint was also partially removed, thus the herdsman and his animals have a slightly transparent quality. The work is signed lower left 'B. C. Koekkoek'. The signature - the last letters are no longer visible - was subsequently sealed with a layer of varnish. An expertise by Dr. Bernd Bünsche (former head of restoration at the Museum Schleswig-Holstein) is availabe. The frame shows light signs of age and use. Framed, the work measures 68.5 x 91.5 cm. The stretcher frame measures 57.5 x 80 cm. Barend Cornelis Koekkoek (1803-1862) Barend Cornelis Koekkoek was born in the Dutch province of Zeeland in 1803. He studied at the newly opened Royal Academy of Fine Arts in Amsterdam; early on in his career he already received numerous awards for his artistic work. As a prospective landscape painter Koekkoek left the city and moved to the country side, to Hilversum. In the summer of 1828 he travelled to the Harz Mountains, the Rhine region and Italy. In 1934 he moved to Kleve on the Dutch-German border together with his wife where he and his family moved into a manor with an adjacent studio. Koekkoek's former home is now the B.C. Koekkoek House, a museum for Dutch romantic painting. In Kleve the artist founded a school for landscape painting and created many of his most famous works there. Among his patrons were King Friedrich-Wilhelm IV of Prussia, Tsar Alexander II and King Willem II of the Netherlands. During his lifetime Barend Cornelis Koekkoek was known as the 'Prince of Landscape Painting'. Today he is considered probably the most important Dutch landscapist of the first half of the 19th Century.

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Alfred von Wierusz-Kowalski (1849-1918), 'Coach Ride', c. 1900

Lot 50: Alfred von Wierusz-Kowalski (1849-1918), 'Coach Ride', c. 1900

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Description: Oil on wood Poland, around 1900 Alfred von Wierusz-Kowalski, pseudonym Jan Konarksi (1849-1915) - Polish painter Signed lower right 'J. Konarski' Overall dimensions, framed: 28.5 x 35 cm, wood panel: 18 x 24 cm Original ornament frame Very good condition Provenance: German private collection Coach rides and teams of horses were the specialty of the Polish painter Wierusz-Kowalski, a representative of the Munich school; similar works fetch up more than 20,000 euros at international auctions This superb painting of the Polish artist Alfred von Wierusz-Kowalski (pseudonym Jan Konarski) was created around the turn of the 20th century. The subject of the atmospheric coach ride in a snowy landscape was often varied by the artist and brought to a true mastery. In this painting, the artist succeeds in capturing the atmospheric evening mood. The raised snow dust, the wheels of the coach sinking into the snow, the troika of the horses and the characteristic clothing of the riding patriarchs -all these details create a high dynamic symbolically charged composition. The painting is signed lower right 'J. Konarski'. It is in very good condition with slight traces of the framing and some minimal craquelure. The beautiful ornament frame of the time is in good condition with only a few signs of wear. The overall dimensions, framed, are 28.5 x 35 cm; the wooden panel measures 18 x 24 cm. Alfred von Wierusz-Kowalski (1849-1918) Alfred von Wierusz-Kowalski, with the pseudonym Jan Konarski, grew up in the Russian part of Poland. He studied at the academies in Warsaw, Dresden and Prague. From 1873, he was taught by the Hungarian painter Alexander von Wagner at the Academy in Munich. He settled down in Munich in 1876 and joined the Polish circle of Józef Brandt. Alfred von Wierusz-Kowalski favorite subjects were coach rides, teams of horses and packs of wolf. His main work is the colossal painting 'Wolf Attack', which was exhibited in Munich in 1910 with a sensational success.

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