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Auction Description for Auctionata AG: 100 Rare and Fine Works of Art and Antiques
Sale Notes:
On Friday, 7th December 2012, 18:00 CET, the first real live auction in the history of the internet will start. Art enthusiasts all over the world can conveniently follow the auction online and bid in real time - from wherever they are. Every bid is accepted instantaneously and synchronized in a legally dependable manner. The hundred most significant findings that go under the hammer bear witness to Auctionata's enormous range of expert knowledge. An enchanting pair of Meissner candle holders with Chinese boys, a rare Patek Philippe table clock from 1974, the most precious Asian art, including Chinese cinnabar red lacquer chairs from the Qing dynasty, all items are offered at spectacular starting prices. The highlight of this extended list of rarities is Oskar Kokoschka's long-lost painting, "Roses II" - a work of art with an incredible history and a sensational starting price. You can access the auction catalogue with all items, starting prices and estimates at www.auctionata.com/en/auction. All auction items were curated by Victor Wiener. The top-class expert headed the Fine Arts departments of Christie's and Sotheby's for many years and presided over the Appraisers Association of America as Executive Director for 21 years. Do not miss this opportunity! We look forward to your visit!

100 Rare and Fine Works of Art and Antiques

(98 Lots)

by Auctionata AG


98 lots with images

December 7, 2012

Live Auction
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Colour lithograph

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Description: Colour lithograph Germany, 1967 Horst Antes (born 1936) - German artist Prints by Horst Antes fetch up to 4,000 Euros at international auctions Signed lower right in pencil, "Antes" Numbered lower left in pencil, "IX/XXX" Overall dimensions, framed: 67.5 x 52.5 cm Good condition This "Kopffüßler" (literally translated as "head-footer") by the German artist Horst Antes was made in 1967 as a colour lithograph. Antes' depiction of the "Kopffüßler" does not have a neck and only a slight indication of a chest; his head merges directly with his legs and feet. The figure has irregular spots in a variety of colours, with some overlapping. His genitals appear in the exact middle of the sheet; a red-blue box with an open side, in the background a landscape is visible. Even though the figure does not appear sculpted, the effect through the box is three-dimensional. An unusual work that draws interest time and time again! The sheet is in good condition, yet with minor foxing. The frame shows traces of wear. The sheet is signed "Antes", lower right in pencil and numbered lower left in pencil, "IX/XXX". The overall dimensions, framed, are 67.5 x 52.5 cm while the printing plate's size is 59.5 x 43.5 cm. Horst Antes (born 1936) The German artist Horst Antes studied under HAP Grieshaber at the Art Academy in Karlsruhe, where he has been a painting professor since 1967. As one of the first pioneers of figurative painting, Horst Antes searched for new possibilities to create art. He invented his "Kopffüßler", known worldwide and inspired by Pueblo kachina dolls, after 1962. His works are exhibited internationally, for example at the documenta in Kassel and at the Venice biennial.

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Screen print

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Description: Colour screen print Netherlands, around 1980 Karel Appel (1921 - 2006) - Dutch artist of the CoBrA group Screen prints by Appel fetch up to 7,000 Euros at international auctions Signed lower right in pencil, "Appel" Numbered lower left in pencil, "92/160" Overall dimensions, framed: 80 x 98.5 cm Very good condition This screen print by the Dutch artist Karel Appel was made around 1980. It shows an abstract composition in blue and red tones with green and black accents. The composition is divided by the black vertical line; however, all the colours appear on both sides. The colours, emerging in dots, curved lines and short dashes, are assembled beautifully and create a whole. The print shows the CoBrA artist's typical characteristics: a rough, simplified depiction in bright colouring. The print is in very good condition; the frame shows slight traces of wear. The composition is signed lower right, "Appel", in pencil and numbered lower left, "92/160", in pencil. The overall dimensions, framed, are 80 x 98.5 cm; the printing plate's size is 75 x 55 cm. Karel Appel (1921 - 2006) The Dutch artist Karel Appel studied at the Imperial Art Academy in Amsterdam and founded the CoBrA group with other artists, in 1948. He gained international renown in 1953 when his works were exhibited and honoured at the Biennial in Sao Paulo.

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Etching/aquatint

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Description: Etching with aquatint Wifredo Lam (1902 - 1982) - Cuban artist Prints by Wifredo Lam fetch up to 2,500 Euros at international auctions Signed lower right in pencil "Wifredo" Numbered lower left in pencil "3/99" Overall dimensions, framed: 65 x 84.5 cm Good condition This etching with aquatint by Wifredo Lam was made in 1972. It shows a figural composition in a style that is characteristic of the Cuban artist. In this work, too, his inspiration from the Afro-Caribbean Santeria cult is visible; the figures of the composition appear like vivacious ghosts that conjure forms by dancing wildly. The stylized figures appear intense, animated, emotional and spiritual, all at the same time.The print is in good condition; the frame shows traces of wear. The sheet is signed lower right in pencil, "Wifredo", and numbered lower right in pencil, "3/99". The overall dimensions, framed, are 65 x 84.5 cm; the printing plate's size is 37 x 48 cm. Wifredo Lam (1902 - 1982) The Cuban artist Wifredo Lam studied at the Art School in Havana. Already in 1923, he emigrated to Spain and later to France, where he befriended Pablo Picasso and André Breton and was inspired by the art of the time. His Surrealist works, internationally exhibited, often refer to the Santeria cult known and practiced in Cuba.

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Etching/aquatint

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Description: Etching with colour aquatint Chile, 1971 Roberto Matta (1911-2002) - Chilean architect and Surrealist artist Prints by Roberto Matta fetch up to 4,000 Euros at international auctions Signed in pencil lower right, "Matta" Numbered in pencil lower left, "77/100" Listed in the Sabatier catalogue raisonné of the prints, Nr. 259 Overall dimensions, framed: 80 x 59.5 cm Very good condition This etching with colour aquatint by Roberto Matta was made in 1971. The Chilean artist is known for his so-called "technique of psychological morphologies". It was Matta's ambition to translate, in a Surrealist manner, the human psyche into a visual form. In this work, he combines organic and cosmic forms of life and thereby creates new, abstract dimensions. Biomorphic figures seem to be floating in air and playing on a hill - because of the movements and the colouring, it is unclear whether it is a joyful or hasty scene. An interesting composition that was created in a most elaborate manner. The print is in very good condition; the frame shows traces of wear. It is signed in pencil lower right, "Matta", and numbered in pencil lower left, "77/100". The overall dimensions, framed, are 80 x 59.5 cm; the plate size is 41 x 57 cm. Roberto Matta (1911-2002) Matta was born in 1911 in Santiago de Chile. He studied architecture in Chile and later moved to Paris where he worked for Le Corbusier. There, he befriended a number of Surrealists including Federico García Lorca, Salvador Dalí and André Breton, who was the leader of the movement and felt that Matta was a Surrealist at heart. Although at the time, Matta only wrote about architecture for Surrealist publications, such as "Minotaure," Breton encouraged him to begin painting in 1938. That year, he also participated in the great Surrealist Exhibition in Paris. Shortly thereafter, Matta moved to New York, where he was very quickly accepted as an artist, to escape the chaos of WWII. He returned to Europe in 1948 and moved to Rome. Matta's interest in political issues has always been an important element of his art.

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Colour lithograph

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Description: Colour lithograph Netherlands, 1987 Corneille (1922 - 2010) - Dutch artist of the CoBrA group Prints by Corneille fetch up to 3,000 Euros at international auctions Signed and dated lower right in pencil "Corneille '87" Numbered lower left in pencil "107/200" Overall dimensions, framed: 71 x 89.5 cm Very good condition The colour lithograph "La femme avec le tigre" was made by Corneille in 1987. The Dutch artist was frequently inspired by African art, which he also collected; his works are often imaginative, decorated with exotic animals and stylized forms, and composed in the bird's eye perspective that was unusual at the time. In this work, too, the reduced composition, brilliant colouring and exotic ornamentation is visible - the work is divided into five clearly defined elements and created in a unique palette. The bird at the top left is flying into the scene between the pacing tiger and the frozen woman. The sexuality between the tiger and the woman is made clear in the composition - the tiger's tail directs the viewer's gaze directly to the stark naked woman's pubic mound. The print is in very good condition, the frame shows traces of wear. The colour lithograph is signed and dated lower right in pencil, "Corneille '87", and numbered lower left in pencil, "107/200". The overall dimensions, framed, are 71 x 89.5 cm; the printing plate's size is 50.5 x 70.5 cm. Corneille, born Guillaume Cornelis van Beverloo (1922 - 2010) The Dutch artist Corneille was co-founder of the CoBrA-group. He studied at the Imperial Academy in Amsterdam and founded the CoBrA group with other neo-expressionists. He travelled widely and moved finally in 1950 to Paris where he worked with strong colours and reduced compositions. His works were exhibited internationally, including the famed Kassel contemporary art fair Documenta.

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Oil painting

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Description: Oil on canvas South Africa, 1974 Christo Coetzee (1929-2001) - South African painter Paintings by Christo Coetzee fetch up to 58,000 Euros at international auctions Signed and dated lower right „Christo Coetzee 74" Framed Overall dimensions, framed: 83.5 x 70.5 cm Very good condition Coetzee, born in 1929, is one of the best-known South African artists of the 20th century. Thanks to his many stays abroad, during which he formed friendships with European artists, Coetzee's art shows influences of both European and African traditions and forms a completely distinct and unique language of forms. This painting is one of only a few completely abstract compositions in Coetzee's oeuvre. In front of a background of brown, black, beige and blue dashes, we find a large colour field framed by white stripes and consisting of black and yellowish areas. Though its silhouette slightly resembles an African tribal mask, there is no clear connection to any real object. Thick, nearly three dimensional brush strokes have been splashed across the colour field. The composition seems to have been created in layers, starting from the flat background up to the thick colour strokes on top. The flat background surrounds the composition, creating a visual consistency; the painting looks well-balanced, despite the seemingly spontaneous colour application. The painting is in very good condition and so is the original period frame. The overall dimensions, framed, measure 83.5 x 70.5 cm; the dimensions of the canvas measure 73 x 60 cm. The painting is signed lower right, "Christo Coetzee 74". Christo COETZEE (1929-2001) Christo Coetzee was born in Johannesburg in South Africa. He visited the University of Witwatersrand between 1946 and 1950 and formed part of the so called Wit-Group, an informal artists group. Coetzee had his first exhibition in 1951 and was then able to go to London with a scholarship. He went to Rome and Paris as well, where he exhibited together with famous artists such as Ellsworth Kelly and Alexander Calder. He won several awards and medals and his former house has been turned into the Christo Coetzee House Museum and Gallery. Works by Coetzee can be seen in museums all around the world, in Canada, France, Italy, Taiwan and The Netherlands and of course in South Africa.

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Oil painting

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Description: Oil on canvas USA, 1993 James Mitchell Michalopoulos (b. 1951) - American painter and publicist Paintings by James Michalopoulos fetch up to 7,000 Euros at international auctions Signed lower left, "Mitchell" Perspectively alienated houses on the streets of New Orleans are the artist's typical subjects Overall dimensions, framed: 58 x 74 cm Very good condition This very beautiful, colourful oil painting by James Mitchell Michalopoulos depicts a house in New Orleans, well-known for its cosmopolitan and multi-lingual population and cross-cultural heritage. The blue house reminds less of the classic architecture of the American colonial era than a loosely curved Chinese pagoda. This play with forms is what makes the paintings of this American artist so appealing. He combines an alienated perspective with very pastose colours, even partly applied with a painting knife, thereby intensifying the optical effect of the painting. In doing so, he reverts to the law of aesthetic, primarily used in the 18th century, which states that form and content should constitute an entity. Through his artistic and daring use of colour and flow, Michalopoulos succeeds in virtually causing the house to wobble, skillfully manipulating the rules of perspective.The oil painting is in very good condition. The narrow wooden frame displays only minor traces of wear. The stretcher frame is stamped on the reverse and inscribed, "Crispin's". On the front side, the artist's signature, "Mitchell", is found lower right; the reverse is also signed and dated, "Mitchell Michalopoulos 1993". The overall dimensions, framed, are 58 x 74 cm; the dimensions of the canvas are 55.5 x 71 cm.James Michalopoulos (b. 1951) James Michalopoulos was born 1951 in the United States and initially studied at the University of New Orleans, later at the Academy of Fine Arts there, finally graduating from the Bowdoin College. Only in the mid-1990s did the artist start to sign his works with his name Michalopoulos; before then he noted his americanised surname Mitchell on the painting surface. Besides his work as a painter he is well-known for designing posters for the New Orleans Jazz & Heritage Festival. His pastose, expressionist oil paintings of houses or entire rows of houses, whose perspective and architectural composition he manipulates by skillfully morphing them, in his hometown of New Orleans are characteristic of the artist. Michalopoulos alternates between living in New Orleans, New England, Los Angeles and France. He exhibits his work internationally.

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Drawing with museum history

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Description: Ink and crayon on paper USA, 1968 Saul Steinberg (1914-1999) - Rumanian-American Illustrator Drawings by Saul Steinberg fetch up to 70.000 Euros in international auctions Signed and dated lower right "Steinberg 68" Additionally printed on the paper's edge "Copyright © 1969 by Saul Steinberg" Light wooden frame with linen passe-partout Dimensions, framed: 73 x 61 cm Provenance resp. exhibition history (evident through labels on the reverse): B. C. Holland, Inc., Chicago, USA; Whitney Museum of American Art, NY, USA; Fondation Maeght, Saint-Paul, France; Gallery Le Clos de Sierne, Geneva, Switzerland Maybe you do not know Saul Steinberg by name - but you definitely know his "View of the World from 9th Avenue". The front page of the New Yorker from March 29, 1976 shows the view from the New Yorker 9th Avenue down onto the small rest of the States in the background and even further in the back onto Japan, China and Russia. This image has become an icon of the American Cartoon-Art and a symbol of the New Yorker's self-perception.The cartoon at hand shows typical Steinberg elements: straight linear lines, drawn with a ruler for architectural surroundings and free drawn lines for living and human elements. The viewer looks into a room as if looking into an open box standing in front of him. A thin line with frieze-like corners forms the frame for the room constructed in central perspective. A round lamp hangs down the wall, contrasting the straight lines. In the left corner of the room lies a woman on a huge double bed, musingly looking into the room. The right third of the image is visually separated from the rest by a tall pillar of graphical elements. A little devil's face stares into the room from the lower right corner's frieze. Above the lady, a speech bubble floats in the room, but it is not her who is talking. This irritating drawing that has partially been enforced by the use of colour crayons leaves much room for interpretation. The sheet is, besides some pin holes in all four corners, in very good condition with only minor traces of wear. The frame shows some scratches. The artist signature and dating, 'Steinberg 68', are found lower right, as is the Copyright stamp of the artist. Several badges from museums and galleries are located on the reverse. Among others, this artwork has been lent for exhibitions to the Whitney Museum of American Art and the Fondation Maeght, France. The dimensions, framed, are 73 x 61 cm; the size of the sheet is 58 x 46 cm. Saul Steinberg (1914-1999) Born in Rumania, Saul Steinber studied architecture in Milan but also began to produce drawings for weeklies at the time. After Steinberg was able to emigrate to the USA with a fake passport in 1941, he was initially deported to the Dominican Republic from there. In hopes of being able to return to the USA, Steinberg sent some of his drawings to the New Yorker. As a result, the magazine interceded on his behalf, pushing for his admission into the United States. During the Second World War, the self-proclaimed 'brooding scribbler' produced, at the behest of the American Office of Strategic Services, drawings that were meant to ridicule Nazis and Fascists and were dropped behind enemy lines. In 1946, he was inducted into the circle of the Fourteen Americans by the Museum of Modern Art, which made him well-known among a wider audience. Steinberg remained a contributor to the New Yorker for the rest of his life.

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Oil painting,

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Description: Oil on canvas Austria, 1925 Oskar Kokoschka (1886-1980) - Austrian painter and illustrator Monogrammed lower right, "OK" Another flower still life has been painted on the reverse side of the canvas by somebody else Custom-framed to show the front and the reverse of the canvas; both sides behind protective glass Overall dimensions: 87 x 71 cm Good condition Provenance: From the estate of Wolfgang Ritter, entrepreneur from Bremen and one of Oskar Kokoschka's patrons "Roses II" by Oskar Kokoschka was painted in 1925 in Scheveningen in the Netherlands. On a light grey grounded canvas, the artist shows a loose bouquet of roses in a slim glass vase in front of a light blue background indicated with a few sketchy brush strokes. The vase stands on an equally sketchily painted grey-beige area. The white, violet, red and yellow roses both stand and sway well composed over the edges of the vase. Some of the dense and polyfoil rose blooms have been executed in more impasto manner than others which places them closer to the beholder and thus add to the impression of depth in the painting. The colours of the blooms and the nearly turquoise-green stems and leaves harmonise with each other and the delicate blue background. The impression of momentariness that accompanies this painting, despite its well-balanced composition, is not accidental, since the painting has served as a sketch - according to the written statement of the artist: "Sketch for 'Wingler' 204 No." (see Lempertz Catalogue, 1966).In the Catalogue Raisonné by Hans Maria Wingler, published in 1956, the painting is named "Roses I". In the Lempertz auction catalogues from 1960 and 1966 it is named "Roses in a Vase", whereas in 1964, Sotheby's titled it "Roses I". In the posthumous Catalogue Raisonné (published in 1995) by Johann Winkler and Katharina Erling, the painting is titled "Roses II", which is why it is named so here. In this catalogue, the painting is mentioned only under reserve and its authenticity, despite several auctions during Kokoschka's lifetime and his own confirmation of having painted it, is called into question.In the 1960s the painting had an eventful time; after all, it was auctioned off three times within six years. For the first auction in 1960, Kokoschka confirmed the authenticity of the painting to the auction house Lempertz, and as for the subsequent auctions, he never contradicted this claim. In 1966, "Roses II" was bought by Wolfgang Ritter (1905-1993), a friend and patron to Kokoschka. When Ritter bought the painting, he and Kokoschka were verifiably in contact with each other - further, clear evidence towards the painting's authenticity. Since 1966, "Roses II" has been in the possession of Wolfgang Ritter's family. Now, for the first time since then, it is on the auction market.The painting is in good condition with some abrasions; the canvas is in the original, stretched out size bearing nail holes from an earlier mounting on a stretcher frame. It is framed in a double-sided frame that shows both sides of the canvas. One side of the frame is silver and the other is painted in gold. Both sides are behind acrylic glass. The overall dimensions measure 87 x 71 cm, the dimensions of the canvas (flat) measure 76 x 61 cm. The reverse side of the canvas has been painted with another flower still life by someone else. This side bears some larger paint flakes. The painting shows a slim vase with lush red poppies and generally employs a darker palette. The painting on the reverse side of the canvas is not mentioned in the Lempertz Catalogue (No. 463) from 1960 nor in the Sotheby's catalogue from 1964. It is mentioned for the first time in the Lempertz catalogue from 1966 (No. 488): "Auf der Rückseite der Leinwand ein Blumenstillleben von anderer Hand" ("On the reverse side of the canvas a flower still life by someone else"). This clearly indicates that the painting on the reverse must have been done sometime between 1964 and 1966. Oskar Kokoschka (1886-1980) Kokoschka was born in Pöchlarn but grew up in Vienna. Thanks to the intercession of Carl Otto Czeschka (1878-1960), Kokoschka was allowed to study at the arts school where he stayed from 1905 until 1909. He moved to Berlin in 1910 where he illustrated the expressionist magazine Der Sturm and had a huge exhibiton in Paul Cassirer's gallery. Back in Vienna, he met Alma Mahler, yet when their tumultuous affair ended, Kokoschka voluntarily joined the military service. He got injured and spent the rest of the war as a war painter. He was named a professor in Dresden in 1919 and stayed there until 1924. With the beginning of the Nazi regime, Kokoschka had to flee to Prague after he was named, „The most degenerated amongst the degenerated", and, "Hitler's artistic enemy No. 1". TheOskar Kokoschka Bund was founded in Prague with the aim of contradicting the 'artistic' machinations of the National Socialists and to support Kokoschka. In 1938, Kokoschka fled to England and became a British citizen in 1946 (he only re-accepted the Austrian citizenship in 1975). He founded the Schule des Sehens, an international fine arts summer academy in Salzburg and moved to Switzerland in 1953. Kokoschka participated in the documenta I, II and III and received many honours and awards. Regular exhibitions are held in his birthplace in Pöchlarn. Paintings by Kokoschka are today in the most important museums for modern art in Austria and Germany, but also in the National Gallery of Scotland and the National Gallery in Prague as well as in the Museum of Modern Art in New York. Literature: Kunst des 20. Jahrhunderts. Gemälde - Plastik - Aquarelle - Handzeichnungen - Graphik. LEMPERTZ AUKTION, Cat. No. 463, p. 41, with cover photo, 3rd December 1960. Sotheby's London, Catalogue of Impressionist and Modern Paintings, Drawings and Sculpture, 24th and 25th November 1964, p. 113, ill. 149. Kunst des 20. Jahrhunderts. Gemälde - Plastik - Aquarelle - Handzeichnungen - Graphik. LEMPERTZ AUKTION, Cat. No. 488, 14th and 15th June 1966, p. 64, ill. 343. Wingler, Hans Maria, Oskar Kokoschka. Das Werk des Malers, Publisher Galerie Welz, Salzburg 1956, p. 314, Oeuvre-No. 190. Winkler, Johann/Erling, Katharina, Oskar Kokoschka. Die Gemälde 1906-1929, Publisher Galerie Welz, Salzburg 1995, p. 121, No. 212.Important Disclaimer: Auctionata expressly notes that this work has been listed in the 1995 Catalogue Raisonné by J.Winkler and K.Erling only under reserve. Therefore doubts exist regarding the authenticity of this work. In this respect a purchase of the work takes place at the buyer's own risk!

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Watercolour

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Description: Watercolour on cardboard Austria, 1913 Robert Wosak (1876-1944) - Austrian painter Artworks by Robert Wosak fetch up to 6,000 Euros in international auctions Signed and dated lower left "ROBERT WOSAK 1913" In a gilt, carved frame Overall dimensions, framed: 60.5 x 83.5 cm Good condition This extraordinary watercolour by the Austrian painter Robert Wosak shows the most atmospheric view of an ocean surface, colourfully gleaming in the twilight. The horizon is set very high, so that the water surface takes up nearly two thirds of the painting. On the right side, a boat sails right on the horizon. The yellowish evening sky is crossed by a few blue clouds. The painting displays the artist's talent and genius in mastering the watercolour technique to perfection. He lets the colours melt into each other and then seems to have deliberately separated them again. The painting has unique easiness and insouciance. Especially the fine colour nuances that blend from the sunnier, brighter left half into the darker areas on the right side reveal Wosak's great artistic skill. A stylistic affinity with his great contemporary, Ferdinand Hodler, is quite obvious when looking at this work of art. The painting is in good condition with minor traces of age, staining and few tiny abrasions. The beautifully gilded frame has usual traces of age and wear. The painting is signed and dated lower left, "ROBERT WOSAK 1913". The overall dimensions, framed, are 60.5 x 83.5 cm and the cardboard measures 54 x 77 cm. Robert Wosak (1876-1944) The Austrian artist Robert Wosak received his education in the field of graphic design and painting in Munich, Germany. After some international journeys and several years in Germany, Wosak returned to his home country where he soon connected to the local arts and cultural groups. Wosak was a very versatile artist; his motifs range from religious subjects, genre scenes, landscapes and architectural representations to animal studies and still lifes.

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Tempera on wood,

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Description: Tempera on wood Austria, 1936 Thomas Leitner (1876-1948) - Austrian landscape painter Signed and dated lower right, "Th. Leitner 1936" Works by Thomas Leitner fetch up to 9,000 euros at international auctions Framed in an elegant black frame with a gilt inner border Overall dimensions, framed: 34.5 x 43.5 cm Good condition This painting is a typical work by the Austrian artist Thomas Leitner. It shows a view on a wide, flat meadow that is lined with high haystacks. The horizon is set very low, thus allowing the cloudy sky to fully spread out. The sky and the land glow in the warm light of a late summer's day and there are some pink streaks in the sky. Leitner, who was also called "Cloud Leitner", has painted this work true to his nickname. The clouds shimmer in the light and alternately appear heavy with rain or light with wind. The painting is in good condition, with paint flakes along the edges that are not visible due to the frame. The lovely frame has minor traces of wear and gaps in all corners. The painting is signed and dated lower right, "Th Leitner 1936". The overall dimensions, framed, are 34.5 x 43.5 cm; the dimensions of the wooden panel are 25 x 34 cm. Thomas Leitner (1876-1948) Leitner was born in Altmünster in Upper Austria and studied at the Academy for Fine Arts in Vienna around 1893, where he visited the master class taught by Franz Rumpler. He won the Rome prize and in 1908 he became a member of the Vienna Künstlerhaus, where he exhibited regularly. He visited Waidhofen in Austria for the first time in 1911 and from then on, stayed there every summer until finally settling there. Leitner received several awards and was awarded the title of professor in 1936. His strength lay in landscape painting, especially the depiction of skies and clouds. Thanks to his achievements in this area, he received the nickname "Wolken-Leitner", which translates into "Cloud-Leitner". Paintings by Leitner can be found in the Austrian Gallery in the Upper Belvedere.

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Watercolour

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Description: Watercolour and tempera on paper Cologne / Germany, around 1910 Carl Rüdell (1855 - 1939) - Cologne painter and architect Watercolours by Carl Rüdell fetch up to 36,000 Euros at international auctions Signed lower right, "CRüdell" Dimensions of the sheet (without passé-partout): 25 x 37 cm This atmospheric watercolour is characteristic of the painterly work of Carl Rüdell, whose preferred subject was his hometown of Cologne. We look upon the traditional Cologne fish market in front of the "Stapelhaus" and the steeple of Great St Martin. Of course, Cologne Cathedral cannot be left out of this Rhineland impression the - its massive towers project into the cloudy sky in the background. Two covered wagons, an organ grinder and a cart covered with goods are visible in the fish market. A woman in a long white apron is looking at the food, while a man, ready to carry the shopping, is standing to the far side. A small girl impatiently watches the scene from a distance. The white of the apron and the colour of the white horse pulling the wagon are reflected in the picturesque façades of the buildings. The impressionistic execution in combination with the sensitive drawing and Rüdell's extraordinary intuition for atmosphere send the viewer to Cologne during the turn of the century. The watercolour is in very good condition with only minor traces of age. The dimensions of the sheet are 25 x 37 cm. It is signed lower right, "CRüdell". Carl Rüdell (1855 - 1939) Carl Rüdell was born in Trier and moved to Cologne for his architectural studies where he was trained by Reinhold Wirtz and Johann Therodorus Stracke. From 1888 he worked with the architect Richard Odenthal, with whom he built and re-structured different churches in the Rhineland. He also painted and drew watercolours, which also show Rhineland motifs and motifs from the Cologne carnival, during this time.

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Oil painting

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Description: Oil on canvas Austria, 1920 Karl Schreder (1863-1924), Austrian artist Paintings by Karl Schreder fetch up to 2,800 Euros at international auctions Signed and dated lower left, "KARL SCHREDER 1920" Modern gilt frame Overall dimensions, framed: 52 x 62.5 cm Karl Schreder, a well-known Austrian artist, has painted a romantic, arcadian scene on this canvas. The painting shows a rocky coastal landscape, covered with slim birch trees and bushes. A bridge in the foreground leads up to a ruin and on the path between the bridge and the ruins, a young woman is sitting on a rock. She is wearing a long white dress and her full blonde hair falls down her back. Next to her stands a young man, dressed in a short black robe and red scarf, leaning on a shepherd's crook. Above the bridge, the view widens onto the open sea. Dark, grey and white clouds gather on the sky above the sea, hence the island seems to be still covered in sunshine. The autumnally coloured leaves are lighting up in bright orange. This is a finely painted and very atmospheric piece, characteristic of this artist's oeuvre.The painting is of a beautiful appearance, though relined and with some touch ups, the most evident being located above the central tree. The gilt frame is in good condition with traces of wear. The overall dimensions, framed, measure 52 x 62.5 cm; the dimensions of the canvas measure 41.5 x 52.5 cm. The painting is signed lower left, "KARL SCHREDER 1920", and bears an old paper label on the reverse , "'Ruine am Meere' Ölgemälde von Karl Schreder, Wien 1920". Karl Schreder (1863-1924) After his academic studies the painter Karl Schreder lived and worked in Vienna around 1900. He is best known for his artworks in the manner of Arnold Boecklin (1827 - 1901).

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Oil painting

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Description: Oil on canvas Austria, around 1920 Franz Demel (1878-1947) - Austrian painter Paintings by Franz Demel fetch up to 1,800 Euros at international auctions Signed lower right, "F.DEMEL" Overall dimensions, framed: 40 x 34 cm Very good condition Franz Demel, who is primarily known as a fine landscape painter, shows his skill in portraying a human in this painting. It depicts a cardinal who is contemplating a monstrance, appearing less devoted than enraptured, like a successful art collector. Supporting this impression is the magnifying glass in his hand and the letter on the table, which probably came with the acquisition. The painting is dominated by different shades of red, amongst them the tones of his cassock and monzetta, the red velvet of his chair and the red of the table cloth covering the table. On the wall in the background hangs a painting that, at first glance, resembles one of Raffael's Madonnas. The painting is in very good condition, the colours are fresh and the canvas, aside from a little dent in the cardinal's hair, is in perfect shape. The lovely black frame with its golden inner border is also in very good condition. The overall dimensions of the painting, framed, measure 40 x 34 cm; the dimensions of the canvas measure 31.5 x 26 cm. The painting is signed lower right, "F. DEMEL". Franz Demel (1878-1947) Franz Demel, who also signed his artworks with his pseudonym August Waidhofer, is a well-known Austrian landscape and vedute painter. He received his training at the Academy in Vienna. He is mainly known for his landscapes showing subjects of the Austrian region of Wachau.

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Oil painting

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Description: Oil on panel Austria, 1930 Ludwig Koch (1866-1934) - Austrian painter Paintings by Koch fetch up to 18,000 Euros at international auctions Signed and dated lower right "LUDWIG KOCH 1930" Framed in elaborately carved frame Overall dimensions, framed: 57 x 46 cm This is one of the typical paintings by the Viennese painter Ludwig Koch, known to many as the „horse painter". The human subject of this painting, the Austrian emperor Charles VI, is merely an 'excuse' for the painter to show the emperor's powerful and gorgeous black horse in full gallop. The artist manages to show the horse's flexing muscles underneath the shining black coat, thanks to the skillful application of several colour gradations. In the same vein, the brown and the white horse a bit further back are far more detailed than their riders. The emperor is dressed in full state, with long, black riding boots, an elegant uniform, grey wig and a large hat. The imperial coach is waiting at the left side of the painting, together with footmen, dressed in white and golden uniforms. The silhouette of the Castle Neugebäude can be recognized in the background. The painting has been done in an impasto and dynamic way, mirroring this ruler's personality and the importance of the scene. The painting is in still appealing condition, yet with several paint flakes. The frame shows traces of age and wear. It retains a strong texture rendered through the application of thick impasto. The painting is signed and dated in the lower right "LUDWIG KOCH 1930". Its overall dimensions, framed, measure 57 x 46 cm, the dimensions of the wooden panel measure 51 x 41 cm. An old postcard showing a comparable subject by Ludwig Koch comes together with the painting. Ludwig Koch (1866-1934) Ludwig Koch, born 1866 in Vienna, was mainly known for his horse paintings and historical scenes. He studied at the academy in Vienna and was a pupil of Siegmund L'Allemand and August Eisenmenger. He was a regular visitor to the Spanish Riding School in Vienna and studied many of the scholarly lections and jumps. A fine collection of his work can be seen at the Historical War Museum in Vienna.

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Oil Painting

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Description: Oil on canvas Italy, 1953 Louis Wöhner (1876-1958) - German painter of the Munich school Paintings by Louis Wöhner fetch up to 3,800 Euros at international auctions Signed and dated lower right, "Louis Wöhner 53" Framed in pale original frame from this period Overall dimensions, framed: 77.5 x 98 cm Good condition This beautiful oil painting by Louis Wöhner, a painter of the Munich school, displays the expressive view over the ruins of Taormina to the bay with Mount Etna in the background. The ruins of the antique theater in Taormina on the hillsides of Monte Tauros are visible in the foreground. Between the sunken walls at the centre of the painting, the long bay of the Eastern coast of Sicily is recognizable. In the background, the smoking volcano Etna rises over the scenery. The hot, summery atmosphere of Southern Italy can almost be felt in the shimmering depiction of the sky and the brightly illuminated ruins. The artist Louis Wöhner achieves this through the skillful manner of painting with pastose applied, mixed tones of colour.The painting is in good condition with slight craquelure as well as minor paint flakes. The pale original frame from the period displays usual signs of age and wear with minimal loss of material on the edges. The painting is signed and dated lower right, "Louis Wöhner 53". The overall dimensions, framed, are 77.5 x 98 cm; the dimensions of the canvas are 65 x 85.5 cm.Louis Wöhner (1876-1958) The German artist Louis Wöhner studied in several arts schools, for example in Stockholm, Braunschweig, Düsseldorf, Cologne and Nuremberg. Finally, he studied under Carl von Marr as well as Peter Halm and Hugo von Habermann at the Academy of Fine Arts Munich. During his many travels, he painted landscapes and townscapes as well as portraits and still lifes in the late impressionist style. Wöhner was a member of the Münchner Künstlergenossenschaft.

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Oil painting

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Description: Oil on canvas Austria, 1911 Ignaz Mansch (1867-1925) Signed and dated lower right, "Mansch 1911" Framed in embossed stucco frame Overall dimensions, framed: 51 x 44.5 cm Good condition This emotive portrait of a young woman was created by the Austrian painter Ignaz Mansch in 1911. She is turned just a bit sideways, slightly tilting her head towards her right shoulder and smiling at the viewer with an open mouth and beaming eyes. She is dressed in a small white camisole and has a scarf wrapped around her shoulders. Her arms are crossed under her chest in a slightly provocative gesture. The portrait seems like a snapshot, as if she had just received a compliment, blushing with a little shame and also joy over it. Mansch managed to combine intimacy, humanity and warmth in this seemingly simple portrait, doing justice to his own high standard and the girl's personality at the same time. The portrait is in good condition with minor traces of wear; the frame shows several chips along the outer rim. The painting is signed and dated in the lower right, "Mansch 1911". The overall dimensions, framed, measure 51 x 44.5 cm; the dimensions of the canvas are 37 x 30 cm. Ignaz Mansch (1867-1925) Ignaz Mansch was a portrait painter from Vienna, who studied at the local academy. He is known for his delicate and emotive portraits.

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Oil painting

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Description: Oil on panel - reinforced with a cradle France, around 1890 Alfred Benoît Caillaud (1858 -1940) - French landscape and still life painter Signed lower right, "A. Caillaud" Framed in an elaborate, embossed stucco frame Overall dimensions, framed: 40 x 47 cm Good condition This fine painting by the French painter Alfred Benoît Caillaud shows a few sailing boats lying in a harbour. Sky and sea share the wooden panel's surface and only very lightly differ in colour from each other. The sea's surface is intensified due to the mirroring of the boats and the port. It reflects the red and the green of the boat in the front just as well as the pale sails. The boats in the background are in the port with their sails down, in front of the light-hued houses of the city. The artist has managed to create an atmospheric painting with a few determined brush strokes and an unrestrained colour application. The painting is in good condition with few surface scratches; the beautiful frame is in excellent condition. The paintwork has been applied with strong impasto with radiant colours that are still very fresh. The overall dimensions, framed, measure 40 x 47 cm; the dimensions of the wooden panel are 26 x 35 cm. The wooden panel is reinforced with a coffer frame on the back. The painting is signed lower right, "A. Caillaud". Alfred Benoît Caillaud (1858 -1940) Caillaud was born in La Rochelle in France in the middle of the 19th Century and died in 1940. Besides his Maritime paintings he is known for his still lifes showing fruits and flowers and his genre and interior scenes.

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Oil painting

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Description: Oil on canvas France, around 1910 Antonin Roux-Renard (1870-1936) - French landscape painter Paintings by Roux-Renard fetch up to 9,000 Euros at international auctions Signed and inscribed lower right, "A mon viel ami Achille Fry [...]. Roux-Renard" Overall dimensions, framed: 67.5 x 50.5 cm Like so many paintings by Antonin Roux-Renard, this one shows an impression of his beloved home in the French Provence. The artist presents this small corner of the city to us bathed in light, nearly overfed by it. The light, nearly white stone in the foreground seems to reflect the heat. The houses seem to cling to each other, tired and exhausted, and only the flowering roses, the grapevine and the green trees appear to crave the sun no matter how much more there is to come. The painting is done in an impasto way and the intensity of the colours equals the thick layers of paint on the canvas. The bright blue sky above the red roofs, the dark green trees and the pink flowers all shine in full intensity. The summer heat of Southern France is captured on this canvas in everlasting perfection.The painting has an appealing appearance, displaying only minimal craquelure. It is slightly soiled and shows few touch ups that are hardly noticeable. The beautiful frame shows traces of wear and a little material loss along the edges. The painting is signed lower right, "Roux-Renard", along with a dedication to an old friend, "A mon viel ami Achille [...]". The overall dimensions, framed, are 67.5 x 50.5 cm; the dimensions of the canvas are 55 x 38 cm. Antonin Roux-Renard (1870-1936) Antonin Roux-Renard was born in Orange in France and began his studies at the academy for Fine Arts in Avignon. He later transferred to the Academy in Paris, where he was a pupil of Gustave Moreau. Roux-Renard presented his first paintings at the Salon in 1893 and his canvases with the sun-drenched landscapes of the Provence found immediate critical recognition. He was appointed official painter of the Navy at the end of the First World War, but always continued to paint portraits and landscapes, eventually returning to Avignon.

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Pastel drawing

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Description: Pastel crayon, ink and pencil on paper Germany, around 1970 Franz Ehrlich (1907-1984) - German architect and graphic artist Bauhaus artist Monogrammed lower right, "Eh" In original frame Overall dimensions, framed: 72 x 57 cm Very good condition This pastel drawing of the Bauhaus artist Franz Ehrlich shows the vague outlines of a double bass inwardly diminishing in size. The drawing is divided in two halves by a black streak that takes the shape of an endpin on the lower end; the right half is composed of a bright orange tone, whereas the left is coloured in a deep shade of red. The corresponding halves of the bass match the side opposite from the one they occupy, and become darker towards the middle. At the centre of the drawing and the instrument is an f-hole filled out in black. The drawing, with its systematic, mirrored arrangement, conforms to the Bauhaus aesthetic that arose from the functionality and the requirements of the industry. The Bauhaus artists were 'masters of form', who also tried out new concepts of colour; in this drawing, Ehrlich combines colour and shape to a conclusive whole that repeatedly erupts, inviting to be viewed again and again.The drawing is in very good condition and is in the original frame that was also made by the artist. The hand-painted white frame shows minor traces of wear. The overall dimensions, framed, are 72 x 57 cm, while the size of the sheet is 47.5 x 36 cm. The drawing is monogrammed lower right. The frame merely shows slight traces of wear.Franz Ehrlich (1907-1984) Franz Ehrlich grew up in Leipzig and studied - following a precedent apprenticeship as a machine fitter - at the Bauhaus in Dessau, where he first completed a certification exam as a carpenter and later worked for Walter Gropius, from 1927 to 1930. Due to his communist disposition, he was charged with "preparation of high treason" by the Nazis and incarcerated in Zwickau prison and later in the concentration camp Buchenwald. The fact that he designed the front gate inscription, "JEDEM DAS SEINE" [to each their own, or figuratively: everyone gets what they deserve], in Buchenwald, is acrimonious without parallel. Between 1943 and 1945, he was a soldier in the Wehrmacht punishment unit 999 in Greece, and subsequently became a prisoner of war. In 1946, Ehrlich was able to return to Germany and became head of the department of reconstruction in Dresden. He was involved in many significant constructions in the post-war era and is held in esteem for being one of the few artists in the GDR who were able to preserve at least some autonomy in their use of forms.Bauhaus The Bauhaus was founded 1919 in Weimar by Walter Gropius under the slogan, "Bau der Zukunft [construction of the future]", as an art school that was meant to teach all arts unified with architecture into an ideal entity, or in Gropius' words, "to create a new guild of craftsmen, without the class distinctions that raise an arrogant barrier between craftsman and artist." In 1925, the school moved to Dessau and began cooperating with the industry under the motto, "Art and Technology - a new unity". The first tubular steel furniture went into production, "Meisterhäuser [master houses]" designed by Gropius were built, and international attention was attained. After Gropius, Hannes Meyer and later Mies Van der Rohe were directors of the Bauhaus, which had to move to Berlin in 1932, only to be finally closed under Nazi pressure in 1933. Many of the former protagonists fled to the USA where they kept on spreading the ideas of the Bauhaus with great success.

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Tempera

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Description: Tempera on wood Germany, 1933 Reinhold Nägele (1884-1972), German painter and graphic artist Paintings by Nägele fetch up to 28,000 Euros at international auctions Signed and dated lower right, "RNägele 1933" Arosa was a motif preferred by the painter Overall dimension, framed: 74 x 57.5 cm Very good condition This enchanting painting by the Swabian artist Reinhold Nägele depicts the Swiss ski resort Arosa, as painted by him during the season on a sunny day in 1933. Under the glorious blue sky, the mountain peaks rise upward, their slopes leading sometimes more, sometimes less gently down to the valley. It is very busy here; horse-drawn sleighs and riders alternate with pedestrians and skiers. The humorous, in part almost child-like manner of painting deceives the viewer, until they notice the precision and love of detail with which the artist has painted Arosa. The houses and scenery are depicted naturalistically and especially the interplay of light and shadow on the snowy landscape reveals the artist's outstanding skill. The white snow covers all significant scenic characteristics, challenging the artist to paint the white surface in such a way that it is alive, that depth and width are as recognisable as differences in height and small bumps. Nägele has achieved this in an inimitable manner.The painting "Arosa" by Reinhold Nägele is in very good condition. The wooden panel displays small hairlines on the edge. The dimensions of the panel are 71 x 55 cm. The dimensions including the plain wooden frame are 74 x 57.5 cm. The painting is signed and dated lower right, "RNägele 33". Verso, there is an old label of the Stuttgart Kunsthaus Schaller.Reinhold Nägele (1884-1972) Reinhold Nägele was born the son of a stage painter, from whom he learnt his initial skills. He deepened his abilities at the arts school in Stuttgart and already exhibited in 1907/08 for Paul Cassirer in Berlin. During the First World War he had to interrupt his career as an artist, but afterwards he became an active member of the art scene in Stuttgart. In 1923 he was a co-founder of the Stuttgarter Secession and joined the Vereinigung der Freunde schwäbischer Grafik [association of the friends of Swabian graphic art], which was dissolved in 1937 after refusing to expel Nägele as an artist. Nägele emigrated to the United States with his Jewish wife Alice Nördlinger in 1939, only returning to Germany after her death in 1963.

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Ink Drawing

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Description: Ink drawing on paper Germany, around 1930 Arno Breker (1900-1991) - German sculptor and architect Signed lower left in pencil, "A. Breker" Drawings by Arno Breker fetch up to 3,000 Euros at international auctions Framed, in passe-partout, behind glass Overall dimensions: 53 x 44 cm Very good condition This striking ink drawing by Arno Breker depicts an undressed woman, sitting on the ground with her right knee and supporting herself with her right arm, in an elegant pose. Her left leg is cocked forward and the foot, sketched with only a few lines, upholds her body. The graceful placement of the lower thigh hides her pubic area, revealing and concealing at the same time. The woman's breasts are also merely hinted at through small lines, leaving room for the viewer's imagination. The left forearm loosely rests on her strong thigh and the schematically drawn hand dangles in a relaxed manner. Through the artistic use of light and shadow, the sculptor Breker succeeds in adding a sculptural effect to the one-dimensionality of the paper. The young woman's face is multiply framed with bold brushwork, yet not entirely but only up to her contoured eyebrows. It is precisely this detail of non finito, frequently found in sculptures, that challenges the viewer to complete this part of the woman's head for themselves. The ink drawing on paper is in very good condition. The sheet has a minimal, barely visible fold in the middle and the edges show some minor creases. The frame displays minor signs of wear. The drawing is signed lower left, "A. Breker". The dimensions are 53 x 44 cm (framed) and 30 x 20.5 cm (sheet). Arno Breker (1900-1991) Born to a master stonemason in the town of Elberfeld in 1900, Arno Breker already learned his eventual craft early on in the parental enterprise. He first visited the arts school in Elberfelde and from 1920 he studied at the Kunstakademie Düsseldorf. Four years later, he travelled to Paris in order to study the sculptural works of early modernism. There, he met the art dealer Alfred Flechtheim who offered to sell his works in Paris, thus making Breker known in the art scene of Paris, where the artist eventually settled in 1927. He returned to Germany in 1934 after a year of studying in Italy. In Berlin, the repatriate taught at the Akademie der Künste as professor of sculpture. He has remained a controversial figure due to his work for the Nazis during the Third Reich. Numerous exhibits, documentaries as well as scientific publications have been dedicated to the sculptor and architect.

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Charcoal drawing

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Description: Charcoal on paper Austria, around 1918-20 Hans Böhler (1884-1961) - Austrian painter and graphic artist Monogrammed lower right, "HB" Framed, behind glass and in passe-partout Drawings by Böhler fetch up to 4,000 euros at international auctions Overall dimensions, framed: 40 x 56 cm Good condition Hans Böhler is known for his expressionistic, strongly coloured portrait paintings; but also his landscapes and precisely outlined nude drawings are among the best of their kind. The drawing at hand shows a young woman lying in a seductive pose on her back. Her body is shown from the side and she has bent her left arm over her face thus partly covering it. Her taunting look and her mouth, twisted into a small smile, can still be seen. Her other hand lies on one of her thighs that are resting a bit higher since she has her knees bent. Each raising and immersion and each of her body's curves have been accurately banned on paper. Still, Böhler is not exposing the imperfections of the female body but rather paying his respects without the need to palliate. It is a friendly, undisguised and realistic image, neither judged nor retouched. The clear outlines and the unusual pose of the young woman remind of Böhler's famous contemporary, the great Egon Schiele. The sheet is in good condition with some creasing and minor tears along the margin. It is framed behind glass in a passe-partout and the frame shows a few traces of wear. The overall dimensions, framed, are 40 x 56 cm, and the dimensions of the sheet measure 31 x 47.5 cm. The paper is monogrammed on the lower right, "HB", and inscribed on verso, "HANS BÖHLER". Hans Böhler (1884-1961) Hans Böhler (also Boehler) studied at the private painting school Jaschke in Vienna. At the young age of 20 years, he already exhibited at the Wiener Secession. He travelled throughout Europe and Russia after he finished his studies to learn about the different countries' artistic traditions. He was a close friend of Josef Hoffmann who designed his studio in Vienna. In 1954, he was awarded the title of professor in Vienna. A large collection of his artworks can be seen at the Leopold Museum in Vienna.

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Lithograph

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Description: Lithograph on paper (JW Zanders 1900) Germany, 1920 Christian Rohlfs (1849-1938) - German artists Graphic works by Christian Rohlfs fetch up to 17,000 Euros at international auctions Signed lower right in pencil, "Chr. Rohlfs" Titled, monogrammed and dated upper left - within the plate, "Andechs CR 20" Edition of 125 copies Framed, set within passe-partout Overall dimensions, framed: 74 x 84 cm This lithograph, with a view to the Andechs Abbey, by the German artist Christian Rohlfs, was made in 1920. The abbey, and the hill on which the imposing building stands, as well as the firs in the foreground, display the characteristic rhythmic lines for which Rolf is so well-known. The expressionist artist excellently translates the simple strokes in this monochrome lithograph into a sculptural scene.The lithograph on paper by JW Zanders 1900 is on record in the Catalogue Raisonné by Vogt as number 184 and in the Catalogue Raisonné by Utermann as number 168. The sheet displays extensive speckled browning, light-stains with wrinkles as well as tears on the edges, which are partly glued. The frame has clearly visible traces of wear. The lithograph is signed in pencil lower right, "Chr. Rohlfs", and titled, monogrammed and dated within the plate, top left, "Andechs CR 20". The overall dimensions, framed, are 74 x 84 cm; the size of the paper is 49.5 x 62 cm.Christian Rohlfs (1849-1938) The German expressionist painter Christian Rohlfs studied under Paul Thumann at the Weimar Saxon-Grand Ducal Art School. In 1901, he accepted a teaching position at the Folkwang School in Weimar. After the "degenerated art" exhibition in Munich in 1937, hundreds of his works were confiscated and shortly before his death, Rohlfs was banned from painting and was excluded from the Prussian Academy in Berlin. His expressive oeuvre shows primarily naturalistic works in younger years, which later developed into impressionist and finally expressionist works primarily depicting landscapes and floral still lifes.

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Suite of 18 carat White Gold with Sapphires & Diamonds, 1970s

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Description: Bracelet, brooch, ring and pendant Germany, around 1970 18 carat white gold 34 Top Wesselton diamonds (VVSI; overall weight of approx. 2 carat) 45 sapphires (overall weight of approx. 7 carat) Valuable stones and high-quality jewelers craftsmanship Overall weight: 36.5 grams Very good condition This four-piece suite of 18 carat white gold from the 1970s comprises a bracelet, a brooch, a ring and a pendant. In these jewellery pieces, 34 Top Wesselton diamonds, with an overall weight of approx. 2 carat, and 45 sapphires, with an overall weight of approx. 7 carat, are organically and in parts florally composed. The arrangement is structured in different, multi-dimensional layers and thereby appears most sculptural and dramatic. The sparkling, round and marquise cut sapphires are beautifully accentuated by bright diamonds, which emphasise the colour of the sapphires. The interesting composition of the valuable stones and the noble design reveal the high-quality jewellery art of this four-piece set! The ensemble is in very good condition with minimal traces of wear. The box-clasp of the curb chain bracelet has two security clasps; the brooch also has an additional safety needle. The bracelet, the ring and the pendant feature the purity mark 750. The overall weight is 36.5 grams. The length of the bracelet is 17 cm, the brooch 4.5 cm, the pendant 2.5 cm and the ring size is 55.

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18 carat Gold Brooch with Opals, Diamonds & Akoya-pearls, 1950

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Description: Germany, around 1950 18 carat yellow gold and white gold 14 white opals (Overall weight of approx. 6 carat) 14 small Akoya pearls 5 brilliant-cut diamonds (overall weight of approx. 0.1 carat) Organic shape and lovely play of colours Overall weight: 10.65 grams Diameter: 3 cm This 1950s opal brooch of 18 carat yellow and white gold is decorated with small Akoya pearls and brilliant-cut diamonds. The fourteen white opals in different sizes and shapes, from small round ones to larger oval ones, are arranged organically in a garland shape. The opals change in colour and are interrupted, as if at random, by fourteen small Akoya pearls in three sizes. The different colours and textures of the brooch are emphasised by five brilliant-cut diamonds with an overall weight of approx. 0.1 carat mounted in white gold. The composition of the opals, Akoya pearls and brilliant-cut diamonds give the brooch a certain sparkle, dazzle and shine - a true play of colour!The brooch is in good condition with minimal traces of wear, but one opal is cracked. The reverse side is also a perfected work in artistic execution; however, the pin is slightly bent. The brooch features the purity mark 750 on the reverse. The overall weight is 10.65 grams and the diameter is 3 cm.

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Art Deco ring in 18 carat White Gold with Emerald and Diamonds

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Description: Germany, around 1925 18 carat white gold Columbian emerald (approx. 1 carat weight) 60 old cut diamonds (overall weight of approx. 0.6 carat) Geometric, timeless design Overall weight: 3.85 grams Ring size: 54 Good condition This 18 carat white gold ring with an emerald and old cut diamonds is made in the timeless style of the Art Deco. The geometric design incorporates a beautiful Columbian oval-cut emerald with a weight of approx. 1.5 carat. The emerald with the gorgeous colour is framed by sixty old cut diamonds in an octagonal arrangement in two rows. Through the colour contrast the bright green of the emerald is shown off at its best. The stepped assembly of the two diamond rows and the emerald create multi-dimensional layers and a certain fascination. The fine band matches the stylish central point, the diamonds on the band lead the eye to the elegant shape. A sophisticated ring and a witness of the Art Deco movement!The ring is in good condition with traces of wear on the band. The overall weight is 3.85 grams and the ring size is 54.

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14 carat Gold curb chain Bracelet with Fox Head Cabochons, 1950

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Description: Germany, around 1950 14 carat yellow gold Four glass cabochons with fox heads Unusual curb chain bracelet Overall weight: 36.75 grams Length: 20 cm Good condition This unusual curb chain bracelet of 14 carat yellow gold is decorated with four glass cabochons with small figural fox heads. The rounded curb chain bracelet is brightly polished, the multiple links allow the bracelet to lie perfectly on the wrist. On the inside, the four glass cabochons show sculptural fox heads on enameled plates. The beautiful fox heads are shaped in a figural and naturalistic manner: the fur, eyes and open mouths give the impression of intelligent red foxes. A timeless piece of jewellery with a certain something that charms the beholder anew every time he looks at it!The curb chain bracelet is in good condition with age-related traces of wear. It has a box clasp with two security clasps, as well as a security chain. The bracelet is marked on the clasp with the purity mark 585, as well as the manufacturer's mark "GK". The overall weight is 36.75 grams and the length is 20 cm.

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Art Nouveau Diamond & natural Pearl earrings of 14 carat Gold

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Description: Germany, around 1900 14 carat gold with white gold top Two natural Orient pearls Eight old cut diamonds and 24 rose cut diamonds (overall weight approx. 0.3 carat) Elegant, sophisticated execution Overall weight: 7.9 grams Length: 3.5 cm each Good condition These diamond and pearl earrings of 14 carat white and yellow gold are beautiful pieces of Art Nouveau jewellery. The four-part earrings show a large old cut diamond at the top where the stud is attached. The upper three moveable links are each decorated with two stylized leaves with four rose cut diamonds on each side of an old cut diamond in the centre. This multiple linked upper part leads to the beautiful pearl. The Orient pearls hang from a mount in the shape of a stylized fern element. The elegant, sophisticated earrings are finely worked in high-quality. Through the sense of movement, the diamonds sparkle and the pearls iridesce in any light displaying top quality jewellery art of the Art Nouveau period!Both earrings are in good condition with slight traces of age and wear. The poussettes are marked with the purity mark 585. The overall weight (with poussettes) is 7.9 grams, the length is 3,5 cm for each.

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Curb chain bracelet of 14 carat Rose & Yellow Gold, 1960s

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Description: Europe, 1960s 14 carat yellow and rose gold Finely curved, structured links Decoration with half spheres Overall weight: 44.6 grams Length: 19.5 cm Good condition This curb chain bracelet of 14 carat rose and yellow gold is finely worked with a continuous, geometrical pattern. The multi-linked bracelet is composed of finely curved links with neatly structured surfaces. These are interrupted by small half spheres in rose gold. The entire bracelet is polished flat on the reverse side and thus lies especially comfortable on the wrist. An interesting piece of jewellery with a decent play of structures and colours!The bracelet has a box-clasp with two security clasps and is in very good condition with slight traces of wear. The 14 carat bracelet is marked on the clasp with the purity mark 585. The overall weight is 44.6 grams. The length is 19.5 cm.

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Blossom shape 18 carat white gold ring with 9 diamonds, 1960s

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Description: Europe, 1960s 18 carat white gold Eight brilliant-cut Wesselton diamonds VVSI (overall weight of 0.88 carat) One Wesselton diamond VVSI with 0.42 carat weight Timeless, elegant blossom shape Overall weight: 3.95 grams Ring size: 54 Very good condition This 18 carat white gold ring is decorated with diamonds in two different sizes in blossom shape. It shows eight brilliant-cut Wesselton diamonds VVSI with an overall weight of 0.88 carat, which in the shape of a blossom, frame the Wesselton diamond VVSI with 0.42 carat weight in the middle. The elegant ring is made with high quality stones and showcases a timeless design!The ring is in very good condition with only slight traces of wear. The ring size is 54 and the overall weight is 3.95 grams. On the inside a number is incised on the band. A certificate is included.

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Gold Brooch of Organic shape with Gemstones and Pearls, 1970s

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Description: Europe, 1970s 14 carat gold Five tourmalines (each approx. 0.4 carat in weight) Seven sapphires (each approx. 0.4 carat in weight) Eight Akoya pearls (dimensions between 3 and 7 mm) Overall weight: 18.6 grams Lengths: 4.2 cm Very good condition This 14 carat yellow gold brooch shows different gemstones and pearls in an organic shape. The brooch is decorated with five tourmalines with an overall weight of approx. 2 carat, seven pear-cut sapphires with an overall weight of approx. 2.8 carat and eight Akoya pearls in various sizes ranging from 3 to 7 mm. The gold as well as the gemstones and pearls are arranged in an organic manner in the shape of a stylized leaf. A beautiful piece of jewellery with an exceptional shape! The brooch is in very good condition with minimal traces of wear. The 14 carat yellow gold brooch is marked on the reverse side with the purity mark 585. The overall weight is 18.6 grams; the length of the yellow gold brooch is 4.2 cm.

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Coral Cabochon and 18 Diamonds in a 14 carat Gold Ring, 1960s

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Description: Germany, around 1960 14 carat gold Oval coral cabochon (15 x 12 mm) 18 diamonds SI (each of approx. 0.02 carat weight) in prong set Beautiful contrasts and an attractive design Overall weight: 8.15 grams Ring size: 56 Very good condition This 14 carat gold ring is decorated with a coral cabochon and eighteen diamonds. The large, oval coral cabochon (15 mm length, 12 mm width) in the middle is a rare Mediterranean type of exquisite and consistent color. This perfectly shaped middle part in prong setting is framed by 18 small diamonds, which weigh approx. 0.02 carat each and are equally prong-set. Through the sparkling diamonds, the colour of the coral and the composition in two layers is emphasised. An exclusive piece with beautiful contrasts!The ring is in very good condition with minimal traces of wear on the band. On the inside of the band it features the purity mark 585. Additionally, there is a second inner band for better stability. The overall weight is 8.15 grams and the ring size is 56.

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Large 14 carat White & Yellow gold ring with 10 Diamonds, 1960s

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Description: Germany, around 1960 14 carat white and yellow gold 10 Top Wesselton diamonds FL (each approx. 0.12 carat weight) Striking, stylish design Overall weight: 11 grams Ring size: 56 Very good condition This large 14 carat white and yellow gold ring is decorated with ten Top Wesselton diamonds. The flat front is divided into three rows of diamonds (FL) with approx. 0.12 carat weight each. The two outer rows are each set with three diamonds, the middle row with four. The diamonds are interrupted by small, roundly folded white gold elements. The white gold mount emphasizes the diamonds' Top Wesselton colour. The wide band in yellow gold matches the large central point beautifully which, as the band is curved in a concave manner covers the entire finger. A striking piece of jewellery in a stylish design!The ring is in very good condition with minimal traces of wear on the band. It is marked on the inside of the band with the purity mark 585. The overall weight is 11 grams and the ring size is 56.

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Two-piece 14 carat Gold Set with Aquamarines & Diamonds, 1936

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Description: Germany, 1936 Pendant with necklace and bracelet 14 carat yellow and white gold One large emerald-cut aquamarine (approx. 8 carat weight) Five octagon-cut aquamarines (each approx. 2 carat weight) Nine diamonds (overall weight of approx. 0.12 carat) With the original receipt from the jeweler F. J. Schröder, Berlin, dating back to 1936 Overall weight: 28.45 grams Dimensions: 19 cm (length of the bracelet), 4 cm (length of the pendant) Very good condition This two-piece set of 14 carat yellow gold is comprised of a large pendant on a necklace, as well as a link bracelet. The wonderful set shows beautiful gemstones and the pure style of the late Art Deco period! The pendant has a large emerald-cut aquamarine in the middle with approx. 8 carat weight. It is enclosed at the top and bottom by a white gold band with nine diamonds altogether, with an overall weight of approx. 0.12 carat. The band joins the yellow gold framing which is shaped like a knot at the top. The bracelet is comprised of links which are composed of octagon-cut aquamarines with approx. 2 carat weight each and yellow gold elements in a double knot shape. The yellow gold elements showcase the high-quality workmanship, whereby the colour and special characteristics of the aquamarines are emphasised by the cut and the colour contrast of the yellow and white gold with the diamonds. Originally the family of the previous owner bought this set in 1936 from the Berlin jeweler F. J. Schröder on Friedrichstrasse. The original bill and advance payment receipt from 1936 are included. The wonderful set is in very good condition with only slight traces of wear. The clasp of the pendant features the purity mark 585. The bracelet's box-clasp is stamped with the purity mark 14K and 585, as well as "A", "S.K.". Both clasps have additional security clasps. The overall weight of both pieces is 28.45 grams. The length of the bracelet is 19 cm, the length of the pendant is 4 cm and the necklace is 44.5 cm long.

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Exclusive Platinum Brooch with Top Wesselton Diamonds, 1950s

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Description: Europe, 1950s Platinum Large Top Wesselton brilliant (SI) with 1.2 carat weight 123 Top Wesselton diamonds (VS-SI) with 5.95 carat weight altogether Wonderful Art Deco style Sparkling diamonds with incredible "fire" Overall weight: 17.9 grams Dimensions: 6 x 3.2 cm (length x width) Very good condition This brooch was made in the 1950s in the purest Art Deco style. It shows the typical geometric shape of the Art Deco with clear lines, symmetry and fine details. The elegance of the hexagonal form is reflected in the plentitude of sparkling stones. The platinum brooch shows a Top Wesselton brilliant (SI) with 1.2 carat weight in the middle which is surrounded by 123 smaller Top Wesselton diamonds (VS-SI) with a total weight of 5.95 carat. The single, brilliant and swiss-cuts of the diamonds bring out the wonderful fire of the precious stones with their rich spectrum of colours and the full variety of light reflexes. The platinum, embellished with diamonds, is reticulated and worked in different levels. A wonderful piece of jewellery that incorporates the sophisticated style of the Art Deco in a superior quality! The platinum brooch is in very good condition with minimal traces of wear. The pin, as well as the brooch's clasp is stamped, among others with "BCSGD". The overall weight is 17.6 grams, the dimensions are 6 x 3.2 cm (length x width).

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18 carat Yellow Gold Rolex

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Description: Rolex, Switzerland, around 1985 Model: President Casing and wristband of 18 carat yellow gold Automatic movement calibre 2130 and chronometer Sporty, classical design Diameter of the bezel: 2.5 cm Overall weight: 62,6 Gramm Good condition and fully functional This Rolex ladies' wristwatch model "President" was made in Switzerland, around 1985. The timeless casing and the multi-linked wristband are made of 18 carat yellow gold. The ladies' wristwatch includes an automatic movement caliber 2130 and a chronometer. The clock face is black, thus the gold line indices and second, minute and hour hands are emphasised in the classic Rolex manner. A luxury watch with that certain something! The Rolex sign and inscriptions "Rolex, Oyster Perpetual, Superlative Chromometer, Officially Certified, Swiss Made" are located on the dial. On the reverse side, it is marked with "Original Rolex Design". On the crown and on the top of the folding clasp there are further Rolex signs. On the underside of the clasp, the inscriptions read, "Swiss Made, 18K, Rolex, 750, Rolexsa", and additionally, the Helvetia mark is displayed. The watch is in good condition with only slight traces of wear. It is fully functional (no guarantee on timekeeping accuracy). The overall weight is 62.6 grams; the diameter of the bezel is 2.5 cm.

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Patek Philippe 18 carat Gold men's wristwatch

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Description: Patek Philippe, Switzerland, 1999 Model: Golden Ellipse Casing made of 18 carat yellow gold Clock face made of 18 carat blue gold Automatic movement Patek calibre 240 Hour and minute hands made of yellow gold Original clasp on the wristband With archive excerpt and original box Dimensions of the bezel: 3 x 3.5 cm Overall weight: 51.7 grams Very good condition and fully functioning This Patek Philippe men's wristwatch made of 18 carat yellow gold was manufactured in Switzerland in 1999. The model "Golden Ellipse" shows an 18 carat yellow gold casing with an additional exclusive clock face made of 18 carat blue gold. The casing includes an automatic movement Patek calibre 240. The sophisticated clock face with gold line indices has hour and minute hands. A stylish, timeless collector's item that impresses through its simplistic design! The clock face shows the inscriptions, "Patek Philippe, Genève, Swiss." The purity mark "750" and the Helvetia mark are located on the side of the casing. The leather wristband has the original gold Patek Philippe clasp - with the script mark "Patek-Philippe". The watch is in very good condition with only slight traces of wear. It is fully functional (no guarantee on timekeeping accuracy). The "Golden Ellipse" comes in its original box with an archive excerpt. The overall weight is 51.7 grams and the dimensions of the bezel are 3 x 3.5 cm.

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18 carat Gold Cartier Santos Galbée Moon Phase Men's Watch 1993

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Description: Cartier, Switzerland, 1993 Model: Santos Galbée, size L 18 carat yellow gold Quartz movement Sapphire cabochon on the crown With moon phase, date, hour and minute hands Stylish, classic men's wristwatch Width of the bezel (including crown): 3.4 cm Overall weight: 122.1 grams Very good condition and fully functional With original documents This Cartier men's wristwatch model Santos Galbée was made 1993 in Switzerland. The 18 carat yellow gold casing includes a Swiss quartz movement, which is closed on the underside with eight characteristic gold screws. The clock face, covered by a sapphire crystal glass and also closed with eight gold screws, shows a moon phase indicator, a date hand with Arabic numerals, as well as hour and minute hands for the Roman numerals. The blue steel hands are reflected in the sapphire cabochon on the crown. The wristband with the smoothly shaped links lies perfectly on the wrist. The iconic men's wristwatch Santos Galbée is made completely of 18 carat yellow gold and shows the sporty and elegant design by the famous jeweler Cartier. The dial is marked "Cartier" and "Swiss". The casing is inscribed "Santos de Cartier, Quartz, 18K, Swiss Made, 819901, 0853" on the reverse side and also features the Swiss Helvetia and Cartier marks. Numbered twice on the link wristband with "D" or "C 0300550". On the underside of the folding clasp inscribed "Swiss Made (twice), Cartier, 18K, 750", as well as the Swiss Helvetia and Cartier marks. The clasp additionally shows the Cartier logo. The men's wristwatch Cartier Santos Galbée is in very good condition with slight traces of age and wear. The watch is fully functioning (without guarantee on time-keeping accuracy). It comes with original documents, as well as with two additional links and the special needle. The overall weight is 122.1 grams (including the additional links). The length of the wristband is 17.5 cm. The width (including the crown) is 3.4 cm and the dimensions of the sapphire glass are 1.9 x 1.8 cm. The matching lady's wristwatch Cartier Santos Galbée is the next lot in this auction. Cartier The exclusive French jeweller and watchmaker Cartier was founded 1847 in Paris and gained international renown with the "Santos de Cartier" wristwatch in 1904. The Panthère-décor of onyx and diamonds typical for Cartier was first created 1914 for a lady's wristwatch and was then further developed for the Duchess of Windsor and for the famous series "Panthère de Cartier". Apart from the jewellery and watches found in today's Cartier series, there are also diverse leather goods, perfumes, lighters, glasses and other accessories. The label is known as one of the most internationally famous among the luxury sector and for many people is one of the most desired status symbols.

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18 carat Gold Cartier

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Description: Cartier, Switzerland, 1995 Model: Santos Galbée, size S 18 carat yellow gold Quartz movement Sapphire cabochon on the crown With moon phase, date, hour and minute hands Stylish, timeless women's wristwatch Overall weight: 83.4 grams Width (including crown): 2.3 cm Very good condition and fully functional With original documents This Cartier women's wristwatch model Santos Galbée was made 1995 in Switzerland. The 18 carat yellow gold casing includes a Swiss quartz movement which is closed on the underside with eight characteristic gold screws. The clock face, covered by a sapphire crystal glass and also closed with eight gold screws, shows a moon phase indicator, a date hand with Arabic numerals, as well as hour and minute hands for the Roman numerals. The blue steel hands are reflected in the sapphire cabochon on the crown. The wristband with the smoothly shaped links lies perfectly on the wrist. The iconic ladies' wristwatch Santos Galbée is completely made of 18 carat yellow gold and shows the sporty and elegant design by the famous jeweler Cartier. The dial is marked "Cartier" and "Swiss". The casing is inscribed "Santos de Cartier, Quartz, 18K, Swiss Made, 819902, 0486" on the reverse and also features the Swiss Helvetia and Cartier marks. Numbered twice on the underside of the link wristband "C 0200342". On the folding underside of the clasp inscription "Swiss Made, Cartier, 18K, 750 (twice)", as well as the Swiss Helvetia and Cartier marks. The clasp shows the additional Cartier logo. The ladies' wristwatch Cartier Santos Galbée is in very good condition with only minimal traces of age and wear. The watch is fully functional (without guarantee on timekeeping accuracy). It comes with original documents, as well as with three additional links and an enclosed needle (by Chopard). The overall weight is 83.4 grams (including the additional links). The length of the wristband is 15 cm. The width of the bezel (including the crown) is 2.3 cm and the dimensions of the sapphire glass are 1.5 x 1.5 cm. The matching men's wristwatch Cartier Santos Galbée is the previous lot in this auction. Cartier The exclusive French jeweller and watchmaker Cartier was founded 1847 in Paris and gained international renown with the "Santos de Cartier" wristwatch in 1904. The Panthère-décor of onyx and diamonds typical for Cartier was first created 1914 for a ladies' wristwatch and was then further developed for the Duchess of Windsor and for the famous series "Panthère de Cartier". Apart from the jewellery and watches found in today's Cartier series, there are also diverse leather goods, perfumes, lighters, glasses and other accessories. The label is known as one of the most internationally famous among the luxury sector and for many people is one of the most desired status symbols.

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Vacheron & Constantin Pocket Watch, 18 carat Gold, 1890s

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Description: Vacheron & Constantin, Switzerland, around 1890 18 carat yellow gold Chronograph savonette pocket watch Manufacturer's chronograph movement with crown wind and whiplash precision index adjuster Chronometer, 30-minute counter and small second Enamel clock face with spade hands Overall weight: 132 grams Dimensions: 5.7 cm (diameter), 7.5 cm (height) Very good condition and fully functional This savonette by Vacheron & Constantin was made in Switzerland around 1890. The pocket watch made of 18 carat yellow gold has a manufacturer's chronograph movement with a classical crown wind, as well as a whiplash precision index adjuster. The chronograph savonette features a white enamel clock face with gold spade hands for the large black Arabic numerals of the hours, as well as small numerals and line indices for the minutes. The enamel clock face shows a chronometer, a 30-minute counter and a small second - an especially refined watch, which was well ahead of its time and as a result is still extremely rare.The enamel clock face shows the subtle signature "Vacheron & Constantin, Genève". The outer spring cover displays the finely engraved, decorated monogram "JZ". The inner lid has the inscription "Vacheron & Constantin, Genève, R. Laurin, Bâle". The reverse sides of the covers are each marked with the following: the Vacheron & Constantin mark, "V&C", "228441", as well as the purity mark, and twice with the Helvetia gold mark. The movement is inscribed "370225" and "Vacheron & Constantin, Genève". The men's savonette pocket watch by Vacheron & Constantin is in very good condition and fully functional, with some minor scratch marks on the casing and a perfect enamel clock face. The overall weight is 132 grams. The diameter is 5.7 cm and the height is 7.5 cm. Vacheron & Constantin In 1755, Jean-Marc Vacheron established his watchmaker workshop, soon specialising in complications and extravagant designs. Before long, the family company was exporting its fine watches and movements. Vacheron & Constantin won the gold medal at the Swiss National Exhibition in Geneva in 1896, being honoured for their horological creations.

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LIP Mach 2000 chronograph wristwatch by Roger Tallon, 1974

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Description: LIP, France, 1974 Model: LIP Mach 2000 men's chronograph Design by Roger Tallon (1929 - 2011) - French product designer Typical D-shaped black casing with coloured buttons Valjoux manually wound calibre 7734 Subsidiary second, 30-minute counter and date display Unique 70s design Dimensions of the bezel: 4.5 x 4.1 cm Very good condition and fully functional This LIP men's wristwatch model Mach 2000 chronograph was made 1974 in France. It is a design by the French product designer Roger Tallon and was an immediate success and a symbol for the new generation of design-inspired wristwatches. The bicompax chronograph has a remarkable, futuristic black casing typical for LIP with the D-shape and the characteristic coloured buttons in yellow, blue and red. The black dial features white and yellow Arabic numerals and line indices, as well as hour, minute and second hands. The watch with the Valjoux manual wind caliber 7734 (LIP-ref. 23.1) also has a subsidiary second, a 30-minute counter, as well as a date display. The unusual, large format men's wristwatch shows the unique 70s design which LIP is internationally renowned for. The Mach 2000 men's chronograph is in very good condition with slight traces of wear, more distinct on the buttons. The wristwatch is fully functioning (no guarantee on timekeeping accuracy). The dial, as well as the wristband show the LIP logo, on the reverse side of the casing the watch is numbered "103918". The dimensions of the bezel are 4.5 x 4.1 cm. Roger Tallon (1929 - 2011) The French product designer Roger Tallon studied engineering from 1944 to 1950. He then worked at Jacques Viénot and Jean Parthenay's studio, which he later took over. 1957 Tallon taught at the arts and crafts school in Paris. The product designer created hundreds of objects, among others for Peugeot, Kodak, Air France, General Motors and SNCF. His designs for the watchmaker LIP are classics today. LIP watches The French watchmaker LIP was founded 1867 by Emmanuel Lipmann (1844-1913). After his death, the company continued successfully and experimented with several techniques and materials. Soon, LIP achieved a yearly production of up to 500.000 watches, including the LIP Electronic with the movement R.27. In 1974, Claude Neuschwader took over LIP's management and worked with various designers, among others with Roger Tallon, Marc Held and Jean Dinh Van. Since 1975 the Mach 2000 watches became avant-garde style icons.

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Mesmerizing gilt & lacquered Patek Philippe table clock, 1974

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Description: Patek Philippe, Switzerland, 1974 Reference: 1100, movement number 1.800.218 Gilded brass Green lacquer in imitation of Jadeite Electronic quartz movement Patek caliber 29 Gilded line indices and hour, minute and second hands With original documents and original box Dimensions: 21 x 14 x 10.5 cm (width x height x depth) Fully functional, recently overhauled and in very good condition This Patek Philippe electronic quartz table clock was made 1974 in Switzerland. The casing of gilded brass and green lacquered parts, in imitation of jadeite, display a beautiful colour contrast. The green lacquered areas are continued in the clock face which has gilded, applied line indices and hour, minute and second hands. The table clock holds a battery-operated electronic quartz movement Patek caliber 29. The high level of quality is visible in the simplified, yet striking design and in the upscale workmanship quality.The table clock's dial is inscribed with "Patek Philippe, Genève" and "Swiss". The quartz movement is marked with the numbers "No. 31372", "030" and "1.800.218". The gilded table clock is in very good condition with only minimal traces of age and wear, as well as minor scratches on the reverse side of the casing. The clock was overhauled in April 2012 and is fully functional (no guarantee on timekeeping accuracy). It comes in its own case by Patek Philippe (with inscriptions on the inside), which can be swung open, and its original documents are also enclosed. The dimensions of the casing are 21 x 14 x 10.5 cm (width x height x depth). Patek Philippe 1839 the businessman Antoni Patek and the watchmaker Francois Czapek founded "Patek, Czapek & CIe" in Geneva. In 1851 Adrien Philippe officially became associated with the company; they had already worked together on new watchmaking techniques. In 1932 the company was bought by Charles and Jean Stern and is still a family business. Today, they cherish their long-lasting values, such as tradition, innovation, rarity, aesthetics, as well as quality and fine workmanship.

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Signed Ivory Sundial by Conrad Karner, early 17th Century

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Description: Ivory, Brass fittings Nuremberg, Germany, early 17th Century Signed "Conrad Karner" on the inside Conrad Karner II (1571 - 1632) - son of a famous Nuremberg compass maker dynasty European sundial with a foldable compass With wind rose and scale on the lid With latitude curves and table with latitudes and dates Italian and Babylonian time designations Dimensions: l 8.5 x w 5 x h 1 cm Good, age-related condition This folding ivory sundial from the early 17th Century lay undiscovered in a display cabinet for many years, like a secret treasure. The charming and very unusual piece displays two special features: a small compass which is combined with the so-called "European" sundial and a large number of the most diverse scales. Aesthetes with a love for detail will be completely in their element and can read out latitude curves, Italian and Babylonian times, a table of latitudes, seasons and much more from this scientific instrument. The lid is decorated with a compass dial with the 16 points of the compass and a scale of 1 to 32, a figurative pointer in the shape of a hand and a peephole for the compass, the inside of which is inscribed in Italian.This unusual piece has already led the way on many journeys: the owner inherited the diptych ivory pocket sundial from his grandfather who was stationed as the royal Saxon chief inspector of the Post in Plauen, Saxony. He, in turn, obtained it around the turn of the 19th Century from the relative of a captain in Gdansk. Artistically, the sundial is a work of Conrad Karner II (1571 - 1632), by whom various exhibits can be seen in the Oxford Museum of Science and at Harvard University. Karner's family manufactured scientific instruments in Nuremberg from the 16th Century onwards. For its age, the sundial is in good condition with visible traces of age and use (age cracks, discoloration). The sundial is near complete, only parts of the hinges are missing. It has a beautiful patina that gives a warm colour to it. The sundial is inscribed "CONRAD KARNER". The dimensions of the sundial are length 8.5 x width 5 x height 1 cm.

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Oil Painting

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Description: Oil on canvas Germany, around 1870 Fine portrait Framed Overall dimensions, framed: 73.5 x 85.5 cm Good condition This fine portrait in oil on canvas shows the profile of a lady in a green dress. Her brown hair is piled up to an exuberant coiffure that reminds a little of the well-known artistic hair styles of Empress Elisabeth of Austria. The classical profile of the woman is mitigated by her gentle eyes and the delicate Biedermeier jewellery and lace trimming of her dress. The portrait is not static; seemingly unconsciously, the woman plays with the long, filigree gold necklace around her neck. In this way the artist is able to incorporate soft movement into the portrait. Moreover, he creates a bright diagonal in the otherwise quite dark painting, which leads from the lower right corner over her hand and the golden brooch on her dress to her pale face, letting the viewer's gaze wander repeatedly from the woman's hand to her face and back. The bright areas are counterbalanced by the darker areas of the hair and background, which offset and emphasise the brightness.The oil painting is in good condition with craquelure and few paint flakes. It was relined and coated with a varnish. Crossings from one canvas to the other are partly visible on the edges. A small blemish in the coating is visible above the head of the woman. The beautiful stucco frame displays clearly visible signs of age and wear and loss of material as well as touch-ups in some areas. The overall dimensions, framed, are 73.5 x 85.5 cm. The dimensions of the stretcher frame are 68 x 56 cm.

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Oil Painting

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Description: Oil on canvas Germany, around 1700 Johann Heiss (1640-1704) - German Baroque painter Works by Johann Heiss fetch up to 71,000 Euros at international auctions Variation of Heiss' well-known Allegories of the seasons Comes with expertise by Dr. Peter Königfeld, the author of the monograph Der Maler Johann Heiss - Memmingen und Augsburg 1640-1704, Konrad, Weißenhorn 2001 Overall dimensions, framed: 122 x 101.5 cm Johann Heiss, together with Johann Heinrich Schönfeld, counts among the most famous Baroque painters of Augsburg. For this painting, Heiss orientated himself towards a motif he had created once before, the "Allegory of Autumn" (today MAN SE, Augsburg plant). Thus, both paintings show a very similar, arcadian landscape, in which a party gather together under trees and pillars for a rich, rustic meal. The painting in the possession of MAN shows a horizontal format, whereas or painting here is in upright format through the high sky and densification of the group.The group in the foreground consists of scantily clad men, women and naked children. They are all occupied with the consumption of the fruits and drinks spread across a small table or the floor surrounding them. Under a protective cloth roof lays a nude beauty on her bed. In front of her, a man with goats' feet presents a melon in his raised right hand with his back turned towards the viewer. A vine tendril and a hide are hanging down his back from his shoulders. Almost singularly, his figure shifts the entire scene into mythological and allegorical themes. However, the female figure in the foreground, biting into a melon with relish, can also be interpreted as an allegory of taste. The background of the painting is dominated by a dark blue sky, in front of which heavy, grey clouds bank up. Contrary to the abundance that dominates the ground, the two trees on the left and right margins are almost bare and the one on the right is even broken off a little further up. Possibly, the trees are meant as a moral criticism towards the sumptuous, human world. A red cloth that blows in the wind and, through its arrangement of the folds and dark red colour, further emphasises the opulence of the feast, is draped over the tree on the left. Pillars of a Corinthian temple rise behind the naked tree. The painting symbolises the time of autumn as well as fertility. In mythology, the faun ensures fertility for humans and animals and often symbolises crude lewdness. The pomegranates in the foreground are also a symbol of fertility, as are the round, ripe melons. The composition of the painting is framed, as well as constantly held under tension by the trees and different cloths. The heads of the four figures standing or kneeling highest run in a gentle curve from one side to the other, creating a smooth transition from the high trees at the edge to the group sitting on the ground in the middle.The composition of this painting originates from Heiss' painting "Triumph of Summer", from 1676 (municipal museum Memmingen), where a smaller group is assembled on the left margin. Individual persons of this group doubtlessly functioned as models for the figures in our painting. Compositional similarities are displayed in the painting "Diana and Aktaion" (Ravensburg), which dates from 1701 wherefore a dating around this time seems realistic. The relatively dark colouring, from which only the woman dressed in white and red in the foreground and the faun stand out, also speaks for dating this painting to Heiss' late work.The painting is of appealing optical appearance with some restoration and touch-ups as well as visible craquelure. The canvas has been relined and the surface varnished. The rather recent frame is in good condition with minor traces of wear. The overall dimensions, framed, are 122 x 101.5 cm. The dimensions of the stretcher-frame are 109.5 x 88 cm. An expertise by Dr. Peter Königfeld, the author of the monographDerMaler Johann Heiss - Memmingen und Augsburg 1640-1704, Konrad, Weißenhorn 2001, is coming together with the painting.Johann Heiss (1640-1704) Johann Heiss was born 1640 in Memmingen and trained there by Hans Conrad Sichelbein and Johann Sichelbein. Between 1663 and 1664 he stood under the service of Duke Eberhard III of Württemberg and lived in Stuttgart. In 1677, however, he moved to Augsburg and was active there from then on. Today, his works can be viewed in various German museums as well as the Louvre in Paris, the Kunsthistorisches Museum in Vienna and the Hermitage in St. Petersburg.

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Description: Oil on canvas Italy, 17th century Circle of Luca Giordano (1632-1705) Nicely framed Overall dimensions, framed: 79 x 106 cm Very good condition Provence: From the castle of the counts of Brockdorff This wonderful painting, attributed to the circle of Luca Giordano, depicts Cupid and the Fool as they move a sphere to and fro. On the left side of the orb, Cupid, looking extremely strained and grim, is trying with all his force to push the sphere, which is almost as large as he is, with his little child arms. He is, apart from a blowing, red cloth, completely naked and his wings are tensed up in the air. He has set his quiver aside on the ground, to fully devote himself to his task. To the right of the sphere we see the personified Fool in the form of a small child in a jester's motley. The small rogue makes a relatively big lunge towards the sphere with widespread arms - it remains unclear if he wants to help Cupid or push the ball back to him. His blue motley is studded with bells and he is wearing bell ribbons on his arms and legs. Like Cupid has done with his quiver, the Fool has left his marotte on the ground. The scene takes place in the open air; the two boys are framed by a knotted tree to the left and some shrubbery to the left. A giant cloud banks up behind the sphere and boys giving an unreal quality to the scenery. The painting can be interpreted in many ways. It could be seen as a fight between love and humour for rule over the world, if the orb is seen as a globe. One could also see it as roguish, physical love in dispute with true love. However, another interpretation is that the sphere is actually a cannonball, and love and humour join together, to brace themselves against war. The enchanting painting permits a multitude of possibilities, making it all the more fascinating.The painting is in very good condition, with merely tiny paint flakes along the edges. The canvas has been relined and protected at the edge with frame tape. The coating is protected by a varnish. The overall dimensions, framed, are 79 x 106 cm, while the dimensions of the canvas are 56 x 84 cm. The painting is not signed. On the reverse, there are two inscriptions on the stretcher frame, "Zug. [Attr.]: Luca Giordano, * 1632 Neapel † 1705 Neapel", and, "„Amor und Schalck. Aus dem gräflichen Brockdorff'schen Schloss Schney". There is also an older label with the inscription, „Grafen v. Brockdorff", on the stretcher frame.Luca Giordano (1632-1705) Luca Giordano was born in Naples to the painter Antonio Giordano. He was taught by his father as well as Jusepe de Ribera (1591-1652). His byname, "Luca Fà Presto" ['Luca, make it quick'], probably originates from the constant call of his father, pushing him to paint faster. His second byname, "Proteus of painters", comes from the fact that Giordano was not only fast but also able to imitate other painters and their manner of painting. After stays in Rome, Parma and Venice, Giordano's paintings display a baroque style, in which he unconcernedly mixed the learnt influences from Venice and Rome. He completed several large-format frescos that made him widely known so that in 1692, he was called to the Spanish court. He would only return to Naples in 1702, after the death of the king of Spain. His works from this later period already display a lighter, rococo-like style.

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Oil Painting „Bismarck as Blacksmith

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Description: Oil on canvas Germany, 1900 Rudolf Wünsch - Austrian painter of the 19th/early 20th century Signed and dated lower right, "Rud. Wünsch, Gablonz, 1900" Overall dimensions, framed: 91 x 71 cm Very good condition This extraordinary history painting depicts Count Otto von Bismarck, symbolically forging the unification of Germany. Bismarck, in shirtsleeves and a leather apron, stands by an anvil in front of a flickering fire. He is holding the hammer in his right hand and the still glowing sword of German unity, with the inscription 'UNITAS', in his left hand. He is handing the sword, like a torch, up to Germania, who is standing on a shoulder of rock in the cave of the blacksmith. She is clad in a white, sleeveless dress, over which she is wearing a golden chain mail. A floor-length, red velvet cloak lies around her shoulder and on her blond-curled head she is wearing a golden spiked helmet crowned with an eagle. Her left hand is laid on her chest while her right hand is stretched toward Bismarck, ready to receive the sword from the blacksmith. Between the two sits Bismarck's Great Dane, identified as Tyras by his collar. The painting by Wünsch is painted after an original by Guido Schmidt (1834-1922), which was painted in 1866, but is long-since destroyed.The painting is in very good condition, protected by a varnish and with only small, barely visible touch-ups. The precious black-golden frame displays some material loss at the edges. The overall dimensions, framed, are 91 x 71 cm, the dimensions of the stretcher frame are 70 x 50 cm. The painting is signed and dated lower right, "Rud. Wünsch, Gablonz, 1900".

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Oil Painting „Alexander von Humboldt

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Description: Oil on canvas Germany, early 19th century After Karl Joseph Begas (1794-1854) - German painter Framed in elegant ripple moulding frame Overall dimensions, framed: 99 x 84.5 cm Good condition This elegant, reserved portrait shows Alexander von Humboldt, after a portrait by Karl Joseph Begas. We see an elderly Humboldt in front of a monochrome green-brown background that looks slightly brighter around the person. Humboldt wears an elegant, brown coat over a white shirt with popped collar and a white knot around the neck. The symbol of the order Pour Le Mérite for the sciences and arts is around the collar, the bestowal of which was the cause for the original portrait by Karl Begas. The Pour Le Mérite medal was originally a military Order of Merit founded by Frederick the Great. At Humboldt's urging, Frederick Wilhelm IV founded a civil class of the order under the name Pour La Mérite for Sciences and Arts in 1842. The same year, Humboldt received the order and was named its chancellor.The painting is in good condition, protected by a varnish and displays minor touch ups. The beautiful ripple moulding frame is also in good condition with few chips. The attachment of the canvas to the stretcher frame was reinforced on the top and bottom by a narrow strip of wood. The overall dimensions , framed, are 99 x 84.5 cm, the dimensions of the stretcher frame are 76.5 x 63.5 cm.Alexander von Humboldt (1769-1859) Humboldt was born the son of the chamberlain of the crown princess of Prussia and grew up in Tegel Palace, where he and his brother Wilhelm were educated by humanist and enlightened home tutors. The brothers, after benefitting from an extraordinarily comprehensive education at home, began studying at the Viadrina in Frankfurt / Oder, but soon transferred to Göttingen. After his studies, Humboldt joined the public service, where he quickly climbed up the ladder. However, he retired in 1798 in order to pursue his scientific ambitions. Between 1799 and 1804, Humboldt undertook several expeditions to Central and South America, which he concluded with a visit to the President of the United States of America, Thomas Jefferson. After his return, he resided in Paris before he set forth for Russia on another expedition. In 1859, the widely travelled Humboldt returned to Berlin, where he was a welcome, if deemed slightly too liberal-enlightened, guest. He was consulted for numerous diplomatic missions and functioned in political and scientific fields. The honorary citizen of Berlin died in 1859 and received a state funeral. His grave can still be visited in Tegel Palace.Karl Joseph Begas (1794-1854) Karl (also Carl) Begas was descended from an originally Belgian family and grew up in Cologne. After an initial education at the Lyceum in Bonn, he went to Paris in 1813 to study. In 1814, he drew the attention of Frederick Wilhelm III in Paris and from then on he was sponsored by the Prussian King. He undertook an educational trip to Italy from 1822 until 1825 and aligned himself with the Nazarene. In 1825, he moved to Berlin, married and became a professor at the academy. He was able to blend his Parisian and Italian influences, leading him to a new combination of realism and romanticism. When the civil class of the order Pour Le Mérite was founded in 1842, a year later Begas was given the task of portraying the dignitaries, including Alexander von Humboldt.

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Pair of Vedute Watercolours „Vienna Scenes

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Description: Watercolour and pencil on paper Austria, late 19th century Johann Wilhelm Frey - Austrian Painter Watercolours by Johann Wilhelm Frey fetch up to 2,900 Euros at international auctions Each signed, "J. W. Frey" Inscribed passe-partouts Overall dimensions including passe-partouts: 29 x 34.5 cm and 35 x 28.5 cm These two historic watercolour paintings by the Austrian artist Johann Wilhelm Frey show two different scenes of the Schottentor, one of the city gates of the old capital, in Vienna. First, the artist shows us the gate "von der Vorstadt-Seite aus [from the suburban side]", in a delicate landscape format. The painter has chosen an interesting perspective, not placing the gate in the centre but rather on the right margin, partly concealed by the wide bridge that leads to it. An inscription on the upper border of the passe-partout refers to the „Stoß am Himmel" house, which is located a little further left behind the city walls. The second watercolour shows the gate "von der Stadtseite aus [from the city side]". The viewer sees the city guard, who has taken up position next to a beam on which rifles with bayonets are leaning. What is fascinating about these paintings is their richness in detail and the precise interplay of light and shadows, enlivening the cityscapes.Both watercolours show slight traces of age and wear as well as paint abrasions and some stains. Both paintings are signed, "J. W. Frey", and attached to passe-partouts with inscriptions, "Ansicht des Schotten Thores von der Vorstadt-Seite aus", as well as "Das Hauß Stoß am Himmel", and, "Ansicht des Schotten Thores von der Stadt-Seite aus". The dimensions of the passe-partouts are 29 x 34.5 cm and 35 x 28.5 cm while the dimensions of the sheets are 20.2 x 26.7 cm and 27 x 21.4 cm.Johann Wilhelm Frey (1830-1909) Johann Wilhelm Frey was an Austrian landscape and vedute painter. He was born in Radstadt and studied under Royer at the academy in Amsterdam. After his studies, he returned to Vienna where he spent most of his life and which he painted repeatedly in delicate watercolours.

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