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Auction Description for Auctionata: Paintings, Works on Paper and Sculptures
Viewing Notes:
Preview Dates : 17./18.06.2013, only by appointment. Email: sales@auctionata.com, Tel.:+49 30 9832 0221
Sale Notes:
http://auctionata.com

Paintings, Works on Paper and Sculptures

by Auctionata


100 lots with images

June 21, 2013

Live Auction
100 Lots
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Circle of Thomas Heeremans (1641-1694),

Lot 1: Circle of Thomas Heeremans (1641-1694), "Fun on the Ice"

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Description: Oil on wood Holland, presumably 17th century Circle of Thomas Heeremans (1641-1694) - Dutch painter Inscribed lower left, "TH Mans ft." Measurements, framed: 37 x 47.5 cm Good condition Provenance: from a Southern German private collection This small, amusing panel painting originates from the circle of the Dutch landscape painter Thomas Heeremans (1641-1694). It shows people enjoying themselves on the ice in front of a small town on a nice winter's day. The sky is streaked with bright pink stripes, the sun is shining its pale light on the earth. The townspeople are making the most of the pleasant weather, spending the day on the ice. Some of them are more clumsy than others; a weighty matron has landed on her back, her skirts have slid upwards and her legs are showing. A single dog on the ice also appears to be a little uneasy, slipping on the ice and barking at the skaters. A peasant woman passes by the scene with her donkey, who stands on skates, along a path by the left bank. The Dutch painter Thomas Heeremans painted many winter landscapes, which are quite similar to the painting at hand and surely served as a model. The panel painting is in good condition. The coat of paint displays fine craquelure and is covered with a varnish. Minor restorations are visible especially around the edges and corners. The painting is inscribed "TH Mans f t. " lower left. It has an elegant wooden frame in good condition with only minor traces of age and wear. The overall measurements including the frame are 37 x 47.5 cm; the wooden panel measures 25 x 35.7 cm.

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Circle of Lucas van Leyden, Painting

Lot 2: Circle of Lucas van Leyden, Painting "Noli Me Tangere", 16th C.

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Description: Oil on wood Flanders or Germany, 16th Century Circle of Lucas van Leyden (1494-1533) -Dutch painter and engraver Stylicical influence of the Danube School Subtle colour palette Beautiful, hand painted frame from the 18th Century Overall dimensions, framed: 112 x 86 cm Provenance: Southern German Private Collection A very well kept Panel Painting from the 16th Century for connoisseurs This precious panel painting of the 16 th Century shows the Biblical Scene when the risen Christ appears to Mary Magdalene as described in the Gospel according to John. Christ is depicted to the left; to the right Mary Magdalene is kneeling, with two more women standing behind her. In the background to the left behind Christ a ruin is discernible; the right background is filled with exotic trees, and palm trees. Above the scene stretches a cloudy sky. The 16 th century artist shows this scene slightly altered than described in the gospel, since the women next to Mary Magdalene are Johanna and Mary, the mother of Jacobus, which are told to have come to the grave at the first day after Christ's death to embalm his body with aromatic ointments but were not present when Christ appeared to Mary Magdalene. The women are dressed in 16 th century garments, her faces are distinctively European, even slightly Flemish. Mary Magdalene has fallen to her knees, adoringly, almost swooning, with the ointment vessels next to her. Christ is adorned with a red, flowing gown, a broad brimmed hat and a spate on which he leans, indicating his disguise as a gardener. His left hand is raised in a gesture of teaching. Christ's face appears slightly peasant-like, as are those of the women, something that can be noticed in the works by Lucas van Leyden as well as in the works by artists of the Danube School. All these have tried to translocate the biblical scenes into the here and now of the 16 th century to create a stronger immediacy. Just like others before him, the artist of this painting, who presumably came from the circle of Lucas van Leyden and has also been incluenced by Albrecht Altdorfer, has placed the scene into the world he knew. He found orientation in paintings by other artists with the same motif such as the Noli Me Tangere by Hans Baldung Grien that he painted in 1539 and where Christ is also shown leaning on a spate and wearing a red coat. The style, in which the three figures have been painted, is very different from that of the trees in the background, that are shown in a very detailed manner. The collaboration for this painting of two artists is possible, as it was very common at this time. The panel painting is in good, condition in relation to its age. There is some craquelure visible, yet secured by a layer of varnish. Due to dryness, the paint has arched at some small areas and there are few, minor flake-offs and touch-ups. The panel is jointed from several, thin planks and there are two small cracks, which are restored and secured. The two cracks are visible at the front. Along the edges are traces of a framing. The overall dimensions of the painting are framed 112 x 86 cm, unframed 90.5 x 63.5 cm. The frame is a very beautiful one from the 18 th Century and has been hand painted.

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Jan Borritsz Smit, Oil on Board, 'Ships in the Harbour', 1626

Lot 3: Jan Borritsz Smit, Oil on Board, 'Ships in the Harbour', 1626

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Description: Oil on board Netherlands, 1626 Jan Borritsz Smit (1598-1644) - Dutch marine painter Signed and dated on the red flag of the barque: IAN BORRITSZ SMIT 1626 Measurements in frame: 54 x 90 cm Good, age-related condition Authentication: We thank the RKD (Rijksbureau voor kunsthist. Documentie) Provenance: Helene Tepelmann estate, birth name Vieweg This marine painting is due to its age and the good condition a true rarity even for the advanced collector of Old Master Paintings The marine painter Jan Borritsz Smit painted this oil painting 'Ships in the Amsterdam Harbour' in 1626, in the middle of the Dutch Golden Age. Like with many other painters there is an identifiable component of national pride in Smit's work; the sheer number and variety of naval vessels give an instant impression of the power of the Netherlands, as a seafaring and trading nation. The silhouettes of mills along the shore suggest wealth and possession of grain; the fishing vessels imply rich waters. The most noticeable boat in the picture is the mighty barque on the left. Its stern has rich carvings and cannons reach out from its bow. The crew is cluttered towards the front of the ship, as if they could hardly await arrival on the shore. Jan Borritsz Smit was capable of both - to paint even minute details as well as creating a harmonious overall composition. The painting by Jan Borritsz Smit comes from the estate of Mrs. Helene Tepelmann, birth name Vieweg at Castle Wendhausen near Braunschweig. The painting was already auctioned once in 1940 by Lempertz, where it was described as follows: 'JAN BORRITSZ SMIT, Marine painter of the 17 th century, Amsterdam. 95 ships at harbour. A number of vessels on grey waters. At the rear, a large barque, a sail barque on its right; a crowded rowboat in between. Several large vessels at shore towards the right. Inscription on the red flag of the barque: Jan Borritsz Smit 1626. Oil on board, H. 35, B. 70 cm." The painting is in age-related good condition, with framing marks along the margin and few touch ups in the sky (the motifs are left untouched by this). The board has a few minimal notches with loss of material in some places, especially in the top right corner for example.The painting is signed and dated on the red flag of the barque 'IAN BORRITSZ SMIT 1626". The elegant dark wood frame shows signs of age and use. The measurements in frame are 54 x 90 cm, the wood board alone measures 34 x 70 cm. Jan Borritsz. Smit (1598 - 1644) Little is known of the Dutch marine painter Jan Borritsz Smit except that he was born 1598 in Amsterdam, and died there in 1644. He was a reformist by belief, so there are a few accounts of Smit in the city's archives; an entry of his marriage in 1622 and the baptism of his son for example. The Dutch art-historian Abraham Bredius (1855-1946) mentions Jan Borritsz Smit in his monograph, where he writes that he saw paintings by Smit in several of Amsterdam's inventories. An artwork signed and dated 'J. Borriss Smit 1621' could also be found in the Nostitz collection, Prague.

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Anton R. Mengs attributed,

Lot 4: Anton R. Mengs attributed, "Thirty pieces of Silver, 18th C.

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Description: Oil on canvas, relined Germany, mid-18th Century Anton Rafael Mengs (1728-1779) attributed - German painter The stretcher frame bears remnants of the seal of Frederick The Great (1712-1786) Overall dimensions, framed: 97.5 x 116 cm Provenance: German Private collection; According to the labelings on the back: Property King August III. von Sachsen (1696-1763); Property Frederick II., The Great (1712-1786) of Prussia; Challinor Collection, Great Britain; Bought by G. Hedley Vickers Esq. for the Barnfield House Sammlung The famous painter Anton Raphael Mengs was one of the few internationally successful German Baroque painters. He worked for the Vatican and the royal courts of Naples and Madrid and was a member of nearly all the important artists' academies. Paintings, attributed to Mengs, thus fetch up to 37.000 Euros at international auctions. This atmospheric oil painting, attributed to the German painter Anton Raphael Mengs, impresses due to its dark, earthy palette and the intimate illumination of the scene. Mengs got to know this play with light in Italy, where he learned from the great masters themselves, mainly Caravaggio and Tiepolo. The painter shows us a biblical scene, the moment, when Judas receives his reward for having betrayed Jesus. This is given to him by the high priests and Pharisees who were willing to pay thirty pieces of silver for the betrayal. In the painting, all men are carefully watching the open hand of Judas, into which the high priest is slowly counting the pieces of silver. Seductively lies the money in the hand, shining metallically. This and the red bag in the traitorous disciple's hand are attracting the viewer's eye; especially since the rest of the canvas is held in rather dark colours. The painter Anton Raphael Mengs converted to Catholicism in young years and has painted several large scale paintings with religious motifs. The painting is in visually appealing condition with age-related traces of wear. There are some paint flakes at the lower rim. The colour is protected by a varnish, and the few restorations lying underneath are hardly visible. These are mostly done around the heads of the figures that are mostly in their original condition. The canvas has been relined. The stretcher frame is labeled verso with informiation of the provenance and bears remnants of the seal of Frederick the Great. The canvas is signed verso with "A. Mengs 1770" and shows a label with further inscriptions of the provenance. The overall dimensions are 97.5 x 116 cm (framed) and 78.5 x 99 cm (stretcher frame). Anton Rafael Mengs (1728-1779) The Bohemian born painter Anton Raphael Mengs initially learned to paint in his father's studio, who was the Saxon court painter Ismael Mengs. They traveled to Rome in 1741, where Mengs spent the three following years to study the old masters. The young Mengs only returned briefly to Germany and was then able to go back to Rome, thanks to an annual pension given to him by the Saxon king. With only 17 years of age, Mengs was made court painter at the court in Saxony. In 1749 he returned home from Rome - converted to Catholicism and married; here, he was made premier court painter in 1751, the same year he again travelled to Rome - this time, he would never come back. He was highly appreciated in Italy and made a member of the Accademia di San Lucca, directed the artists' colony on the Capitol in Rome and received the Knight's Cross from the Pope. He was also a member of the academies in Florence, Genoa, Venice and Bologna as well as Augsburg. He followed a call to the royal court in Spain in 1761, where he stayed eight fruitful years. Back in Rome, he painted several more important paintings and wrote publications about art. His paintings can today be visited at such renowned museums like the Art Institute of Chicago, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan Museum in New York, the National Gallery in London, in the Prado and in the Rijksmuseum in Amsterdam. Several of his large scale frescoes can still be seen in the churches of Italy and Madrid.

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Marble Bust of a Satyr, France, early 19th Century

Lot 5: Marble Bust of a Satyr, France, early 19th Century

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Description: Polished marble Alabaster pedestal Presumably France, around 1820 In the manner of Jean Raon (1630-1707) Height: 53 cm (incl. pedestal) Height of the bust: 41 cm Good condition Satyrs are mythological creatures, half-man and half-goat, and this example made from white, polished marble appears to be particularly witty with his mouth slightly opened, as if he was scheming for his next amourous adventure... This marble bust in the style of the French Baroque is reminiscent of the sculptures of the French artist Jean Raon (1630-1707) and stands out due to the creature's distinctive face and lifelike curls. A small tuft of fur on the neck reveals the Satyr's animal side. The marble bust is in good condition with light traces of age and wear. Small notches are seen here and there. The bust is mounted on an alabaster pedestal, which is also slightly chipped along the edges. The bust measures 53 cm in height including the pedestal, and 41 cm in height by itself. The back of the neck shows an inventory number executed in pencil.

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J.-B. Pillement, Painting 'Fisherman at a Waterfall', 1791

Lot 6: J.-B. Pillement, Painting 'Fisherman at a Waterfall', 1791

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Description: Oil on canvas, waxed France, 1791 Jean-Baptiste Pillement (1728-1808) - French Painter Signed and dated bottom, centre: 'Jean Pillement 1791' Elaborately carved frame Measurements in frame: 30 x 39.5 cm Good condition Provenance: South German Private Collection Idyllic and romantic - thus are the landscapes by Jean-Baptiste Pillement and offer enough room for endless reveries. Collectors of these getaways on canvas have paid up to 70,000 Euros at previous auctions for artworks of similar sizes. This fine oil painting by the artist Jean-Baptiste Pillement shows one of the typically romantic landscapes, for which he is famed for. Through a rampantly grown landscape with rocks and scattered trees meanders a broad river, coming from the blued background. The river pours down as a waterfall in the centre of the painting, framed left and right by mossy rocks. Two fisherman at the front right add life to the scene, bowing over the river with a home-made dip net. Pillement found the inspiration for his landscapes on his countless travels through Europe and created ever new composition out of the captured sceneries and elements. The unusually shaped rock in this painting, for example, reappears in several others of his works. Pillement was a genius when it came to applying the effect of sunlight in his paintings. He used it so naturally that it is only visible at a second glance how skilfully and naturally the landscape is illuminated; several sections appear to be shining from the inside whilst others get blurred in foggy humidity. The small painting by Jean-Baptiste Pillement is in good condition. It is protected by a varnish, shows slight signs of craquelure and has a few scattered colour touch-ups on the sky as well as small, isolated losses of colour, hardly noticeable without close inspection. The canvas is covered by a protective coat of wax on the reverse. The painting is signed and dated in the lower margin: 'Jean Pillement 1791'. The piece measures 30 x 35.5 cm in its frame and 18 x 27.5 without it. The frame is in relatively good condition, but shows partial loss of colour and material. It is fitted with a small plaque showing the name and biographical data of the artist. Jean-Baptiste Pillement (1728-1808) Jean-Baptiste Pillement was born 1728 in Lyon. He took his artistic education not at an academy, but at the tapestry manufacturers in Beauvais, where the painter Jean-Baptist Oudry (1686-1755) taught apprentices in a far more artistic way than the usual. After two years in Beauvais, Pillement moved to Portugal and turned towards the sort of landscape painting, which would later make him famous; rivers meandering about rocks and around the landscape, traversed by simple bridges; the rivers' banks surrounded by sheep and other animals. From Portugal, the young painter moved first to England, where he enjoyed great success, and then later to Italy and Vienna, where he worked, amongst others, for Maria Theresia. From the Austrian court, Pillement moved to the Polish court, where King Stanislaw August Poniatowski was to enjoy his paintings to such an extent, that he awarded the artist the title 'Premier peintre du Roy de Pologne' and was said to have even catalogued Pillement's works himself. After Poland, Pillement returned to Paris, where again, he enjoyed great success, as Marie Antoinette had called upon him to be her personal painter. After stops in Portugal and Spain, Pillement returned to Lyon, where he was called to the École de Beaux-Arts. During his work in Europe, Pillement developed a unique style of landscape painting, which seemingly remained uninfluenced by the countries he stayed in. His paintings are romantic and artistic, rather than realistic; nature invariably bows to the will of the artist. In return he coats it in fine light, endows it with a romantic atmosphere and adds idyllic details. His pieces can now be admired in the most important collections worldwide. Amongst other places, they can be found in the Louvre, Paris, in the Metropolitan Museum, New York, at the Courtauld Institute, London and at the Albertina, Vienna.

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Carl Blechen (1798-1840) attributed,

Lot 7: Carl Blechen (1798-1840) attributed, "Waterfront Scene"

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Description: Oil on wood Germany, around 1830 Carl Blechen (1798-1840) attributed - German landscape painter Very detailed execution Fine colouration Overall measurements, framed: 28 x 39 cm¸ the wooden panel measures 8.2 x 19 cm We would like to thank Prof. Dr. Helmut Börsch-Supan for the attribution, according to him it is very likely that this is an authentic piece by the hand of Carl Blechen Provenance: German Private Property Small and enchanting but always realistic - this describes almost all of Carl Blechen's landscape paintings. And it also describes the delicate "Waterfront Scene" that is attributed to the painter. Paintings that can be attributed to Blechen fetch up to 50,000 Euros at international auctions. This small wooden panel shows a peaceful waterfront landscape and can be attributed to the German landscape painter Carl Blechen, who presumably painted it around 1830. Even though it is not signed, it can be attributed to Carl Blechen due to the fine execution and characteristic style. This attribution has been confirmed by the internationally renowned expert for 18 th and 19 th Century painting in Germany, Prof. Dr. Helmut Börsch-Supan. The small panel painting shows a still water extending to the right and reflecting the clouds in the sky. A fine shoreline covered with delicate trees divides the water from the sky, forming a horizon that separates the small panel in two almost equal halves. A detail of the waterfront is shown in the foreground. Sandy surface transitions into an embankment with bushes and slender birches a little further aback. The sky is painted in a gentle blue interspersed with white clouds. The landscape that clearly bears all the characteristics of the landscape painter Carl Blechen, is immersed in a gentle light and delights especially with the finely detailed and seemingly easy manner of painting. The small panel painting is in good condition and shows age related flaws on the surface. The coat of paint displays craquelure and traces of framing can be seen all around. The wooden panel measures 8.2 x 19 cm. The overall measurements including the frame are 28 x 39 cm. The frame is in good condition with minor traces of age and wear. Carl Blechen (1798-1840) The German painter Carl Blechen initially served an apprenticeship as a bank clerk before studying at the Berlin Academy of the Arts from 1822 onwards. After completing his studies he first worked as a stage painter for the Königsstädtische Theater on Alexanderplatz in Berlin, but was released in 1827 and subsequently worked as a freelance painter. He travelled to Italy, where he was deeply impressed by the Mediterranean countryside. In contrast to many of his contemporaries, Blechen's landscapes were never romantically idealising but rather realistic, often showing early factories such as steel or paper mills. None other than Karl Friedrich Schinkel appointed Blechen as professor for landscape painting at the Berlin academy; two years later he was elected a full member of the Academy of the Arts. Already at this time, Blechen's mental illness began to manifest itself and in 1836 Blechen was put on leave due to severe depression. In 1840 the painter died in a state of mental derangement. His work is celebrated today above all for its realism, which made it so hard for Blechen's audience at the time, used to heroic and idyllic landscapes of early Romanticism and Biedermeier, to appreciate the exceptional artist. Today it is impossible to imagine one of the larger German museums without his landscapes hanging on the walls. Blechen's works are found in the Alte Nationalgalerie and Gemäldegalerie in Berlin, the Düsseldorf Art Museum, the Wallraf-Richartz-Museum in Cologne and the Neue Pinakothek in Munich, among others.

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Johann H. Schröder (1757-1812), Pastel 'Henriette', 1780/90

Lot 8: Johann H. Schröder (1757-1812), Pastel 'Henriette', 1780/90

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Description: Pastel on parchment Germany, around 1780/90 Johann Heinrich Schröder (1757-1812), German Portrait painter Most certainly a portrait of Henriette-Louise-Charlotte Béguelin (1763-1810) Label with indications about the Béguelin family on the back of the frame Beautiful antique frame with gilding and carved ornaments Overall dimensions, framed: 49 x 41 cm Provenance: Property of the Béguelin family The pastel painter Johann Heinrich Schröder was one of the most talented portraitists of the 18th Century and there is hardly any high aristocratic beauty or potentate in Germany whom he did not portray. His insightful portraits appear very rarely on the art market This sublime pastel portrait of an elegant, courtly lady has been made by the German painter Johann Heinrich Schröder. It shows a young woman, sitting on a fine chair with blue velvet cover in front of a dark, plain background. The woman is dressed with the newest fashion of her time, a white, delicate chemise dress that was brought into fashion by Marie Antoinette. Her grey powdered hair style is typical for the time shortly before the revolution; it would have been adorned with little hats or ribbons, such as this beautiful blue one she is wearing. Her appearance is that of a young, fashion-conscious lady, and even although Berlin was not always up to date with the latest fashion in Paris, this outfit is at the height of fashion in 1780/90. A label ion the verso gives the name of Katharina Maria von Béguelin (1733-1794). This identification however cannot be correct, due to the obvious young age of the depicted. She is more likely Katharina's daughter, Henriette-Louise-Charlotte von Béguelin (1763-1810) and the label has been added mistakenly in later times. A print by Daniel Chodowiecki shows Henriette in a very similar costume and hairstyle; the print, called 'La Cavalcata infortunata', was published in 1784. The fine quality of the painting at hand and its resemblance with other works of Johann Heinrich Schröder of that time identify him as the artist of this portrayal. The pastel is on parchment. The colours are bright and well preserved. There are few, minor foxing stains and small spots of dirt detectable. The parchment has been framed with paper. At the back, it is supported with a wooden panel on which the label is fixed, which is inscribed with ""Katharina, Maria von Beguelin, Tochter des Kaufmann Jean-Barthélémé Pelloutier und seiner Ehefrau Charlotte geb. Jassoy. geboren... 1733 zu Petersburg, gestorben 13.3.1794 zu Berlin. beigesetzt im [...]begräbniß Gr. Lichterfelde 18.3.1794. Ehefrau des Nikolaus von Beguelin Erb. Und [...] Erzieher Sr. M. König Friedrich Wilhelm II. [...]." . The overall dimensions, framed are 49 x 41 cm. The dimensions of the parchment are 37 x 29 cm. The beautiful antique frame is partially gilded and has fine carved ornaments. Johann Heinrich Schröder (1757-1812) The German painter Johann Heinrich Schröder, born in Meining, studied at the Académie de Peinture et de Sculpture de Cassel under Johann Heinrich-Tischbein d. Ä. (1722-1789). Schröder soon became a portrait painter at the German royal courts, such as the one of Brunswick and Baden, where his lively, bright pastel portraits were highly acclaimed. Between 1790 and 1800 it is documented that the artist stayed in Berlin; after that he travelled to England and the Netherlands. Today, Johann Heinrich Schröder is known for being one of the best portrait painters of the 18th Century. His portraits can be found in many German private collections, as well as in international institutions.

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Adolph von Menzel, Drawing

Lot 9: Adolph von Menzel, Drawing "Study of a Male Head", 1880/90

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Description: Pencil on paper Germany, Berlin, around 1880/90 Adolph von Menzel (1815-1905) - Berlin painter and draughtsman Signed with monogram in the lower left "AM" Overall dimensions, framed: 36.5 x 30.5 cm; Size of the sheet 12.5 x 7.5 cm Very good condition Provenance: Estate of Adolph Menzel's sister, Emilie Menzel The authenticity of the study has been confirmed by Dr. Marie Ursula Riemann-Reyker of the Kupferstich Museum in Berlin, Germany Small drawings by Menzel are highly treasured amongst collectors and fetch up to 90.000 Euros at international auctions. This expressive study of a bearded man was drawn by Adolph Menzel between 1884 and 1890. The drawing can be dated to this period firmly as it is executed on the same paper; the format and style identical to those from Menzel's drawing book of these years, which is preserved at the Berliner Kupferstichkabinett. There can be found several, other portrait studies, similar to this one. The drawings from Menzel's sketchbooks are of an incredibly high artistic value and fascinate with their directness that has nothing mannered or artificial. In this portrayal the long, dark beard occupies almost as much as space as the rest of the face, which exhibits a vigorous expression. Frowning, almost slightly fierce looking, with his eyebrows drawn together, the bearded man gazes to the right. Who the depicted is might be is not known, however it is known that Menzel often travelled to Southern Tirol to study the locals. The work is in very good condition. It is mounted onto high quality parchment paper. The artist's monogram "AM" is in the lower left. There is a thin lining on the paper, caused by sunlight. This sheet, just like the others from Menzel's sketch books, have very small, hardly visible tears on the surface of the paper, caused by the firm use of the pencil. The overall dimensions framed are 36.5 x 30.5 cm, and unframed 12.5 x 7.5 cm. The back of the framing board is provided with the inscription (translated) " Hand Drawing by Ad. V. Menzel, received after his death from his sister Mrs. Krigar-Menzel as a gift Dr. F[...]". The drawing is kept behind a fine, dark red matte and is framed. The original frame is in good condition with only minor traces of age and use. Adolph von Menzel (1815-1905) Adolph Menzel was born in Breslau as a son of a lithographer. In 1830, his family moved to Berlin, probably to offer a more adequate education for the highly talented son. Sadly, however, the father died only two years later and now the young Adolph had to take over the father's business to provide for the family. Next to his work, the young Menzel managed to attend courses at the Berlin Art Academy, which disappointed him, however, so that he decided to study on his own. In 1839 Menzel had his first commission, an illustration of the biography of Frederic the Great, which made him well known to a broader audience. Next to his numerous drawings, Menzel then began to create paintings, as well and received in 1861 the commission to paint the crowning portrait of Whillhelm I. Due to his increasing fame, Menzel was awarded with many honours, such as the membership of the Royal Academy of the Arts, of which he became a professor in 1856 (although he never taught there). In 1905 Menzel died and received a stately funeral by Wilhelm II. Often Menzel is described as the perfect Prussian artist which can be seen as a certain paradox to the artist's life as the artist, who only had the height of 1.40 m, never became a soldier. Also, the artist described in his oeuvre the life of the poor as in his painting Eisenwalzwerk, 1972-75.Works by Menzel can be found in many institutions such as the Nationalgalerie in Berlin, the Staatlichen Kunstsammlungen in Dresden, the Wallraf-Richartz-Museum in Cologne and the Neue Pinakothek in Munich.

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Gabriele Carelli (1821-1900), Pair of fine drawings, 19th C.

Lot 10: Gabriele Carelli (1821-1900), Pair of fine drawings, 19th C.

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Description: Ink, watercolour, pencil on paper Italy / England, 19th Century Gabriele Carelli (1821-1900) - Italian artist One sheet signed lower left "Gab Carelli" Fine drawings of various farm animals and people Dimensions, framed: 33 x 39 cm and 38 x 32 cm Provenance: from an old Eastern German private collection, bought at Sotheby's (see label) This pair of drawings is highly collectible due to the fineness of its execution and the exquisite period frames; watercolours by Gabriele Carelli fetch up to 13,000 Euros in international auctions. These small drawings exhibit the creative talent of the Italian artist Gabriele Carelli to render people and animals in an accurate fashion with very fine lines. With a few well-placed strokes the artist managed to emphasise the sketches and endow the people and animals with a lively gesture. On one sheet dogs, sheep and hens are depicted in a very life-like manner, despite the monochrome colours. A particularly appealing portrayal in the upper right hand corner shows a musician. The young man is playing a musical box and gives the viewer a mischievous look. On the other sheet, a little scene showing a mother and child is also very adorable. Both must have been picking fruit and now enjoy a break in the shade of a tree. The child, probably expecting to pinch a piece of fruit, looks up to its mother who lovingly returns the gaze. Both works are in good condition with some signs of age. The paper is yellowed and slightly foxed, the edges are a little creased. One sheet is wavy and glued on cardboard in the upper corners. There is minor material loss along the margins. The sheet with the depictions of humans is signed in the lower left corner with "Gab Carelli". The beautiful period frames show traces of age and use with a few colour and material losses. Framed, one work measures 33 x 39 cm and the sheet 17.5 x 26 cm. The other work measures 38 x 32 cm framed, the sheet measures 23 x 30 cm. The frames show signs of age and use with some colour and material abrasions. Gabriele Carelli Gabriele Carelli was born in Naples and trained in Rome to where he had followed his brother Consalvo. Thereafter he spent most of his life in England. The father introduced him to influential patrons, who helped establish him as an artist in the British capital. In 1847 Carelli became a member of the Royal Academy and exhibited regularly in London until his death. From 1880 onwards Queen Victoria was one of his most important benefactors. The artist is most famous today for his small watercolours, which were created during his travels through Europe and North Africa.

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J. E. A. Forst (1783-1866), Painting

Lot 11: J. E. A. Forst (1783-1866), Painting "At the Tiergarten", 1821

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Description: Oil on canvas, relined Germany, Berlin, 1821 Johann Eusebius A. Forst (1783-1866) - German Porcelain- and Miniature Painter Signed and dated lower left "J. Forst f 1821" Overall dimensions, framed: 53 x 64 cm Provenance: East German Private Collection Only a few, rare paintings in oil are known by the porcelain painter Johann Eusebius Anton Forst which makes this one even more precious. This fine painting is by the Berlin painter Johann Eusebius Anton Forst (1783-1866). Forst, who worked mainly as a porcelain painter at the Königliche Porzellanmanufaktur, created only a few paintings in oil, showing different views of Berlin. This painting at hand shows a noble villa closely situated by the Tiergarten. Rendered in a very delicate and detailed style, which reveals the hand of a porcelain painter, the villa is shown framed by tall, vernal trees and a decorative fence. People taking a promenade on a wide street are shown in the foreground of the image, admiring the elegant architecture. Above the scene stretches a friendly, blue sky with feathery, white clouds. The painting is of visually appealing condition. The paint shows some very fine craquelure and is protected by a layer of varnish. At some areas touch-ups are discernible, especially along the lower edge. The canvas has been relined. The painting is signed and dated lower left "J. Forst f(ecit) 1821". It is framed by a fine stucco frame, which shows some minor traces of age and wear. The overall dimensions are framed 53 x 64 cm, and unframed 44 x 54 cm. The stretcher frame is inscribed on verso "Berlin Haus am Tiergarten 1821" and is provided with a label, comprising a short biography and information on the artist. Johann Eusebius Anton Forst (1783-1866) Johann Eusebius Forst was a Berlin porcelain painter, who worked for the Königliche Porzellanmanufaktur in Berlin. He is famous for several vases, decorated by him with military scenes and views of Berlin and of which some were royal property. He was the son of Johann Hubert Anton Forst (born 1756), who himself was responsible for the porcelain paintings at the KPM as the principal.

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Panel Painting

Lot 12: Panel Painting "Wedding Procession", Germany, around 1880

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Description: Oil on wood Germany, around 1880 Festive wedding procession Fine details and fresh colours Overall dimensions, framed: 42 x 138 cm Good condition Some of the faces almost remind of artworks of the New Sobriety, the painting at hand was surely created by a masterful artist. This remarkable panel painting of a wedding procession through the historical town of Landshut was painted at the end of the 19 th Century. The wedding procession is shown during winter time, with musicians playing along right at its beginning. Behind them follow the wedding guests, young and old, adorned with beautiful garments. A bagpipe player and two pages are leading on the precession, traditionally followed by the groom with his family and behind them the bride with relatives and other wedding guests. The traditional Landshuter wedding precession is especially famous due to the wedding of the Bavarian Duke George der Reiche (1455-1503) and Hedwig Jagiellonica (1457-1502) from Poland in 1475, which was celebrated for eight days. Often, paintings such as this were donated as a remembrance of the wedding day or decorated the walls of town halls, such as it is the case in Landshut. This panel painting at hand is painted with a great eye for detail and vivid colours. The panel painting is in overall good, age-related condition. There are a few touch-ups at the outer margin, as well as one paint chip at the upper middle area of the painting, which due to the rich decoration are not affecting the overall beautiful appearance of this piece. There are a few light streaks on the right edge of the painting. The overall dimensions framed are 42 x 138 cm, and unframed 34.5 x 135 cm.

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Alfred Elias, Oil Painting 'Cattle Drive in Zermatt'

Lot 13: Alfred Elias, Oil Painting 'Cattle Drive in Zermatt'

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Description: Oil on canvas Switzerland, around 1900 Alfred Elias (active around 1881-1911) - British landscape artist Signed in the lower right: 'A. Elias [...] Zermatt' Precious stucco frame Rare and highly sought-after subject of the Swiss Alps! Measurements in frame: 84 x 109 cm Very good condition Provenance: from a Southern German private collection This atmospheric painting by the English painter Alfred Elias shows a cattle drive in Zermatt. Two sedate cows, connected by a head harness, walk along the alpine path, directly towards the beholders. Their faithful cows' eyes almost looking directly at them. A relaxed shepherd walks along the left side of the path, one hand holding a stick, the other in his pocket. The remaining cattle are behind a bend in the path, slightly further away. The entire scene is idyllic with an almost magical rural feel. The snow covered peaks of the Alps can be seen in the background. The first sun of spring paints bright spots on the cows and on the green meadow. Alfred Elias was known for his atmospheric landscapes populated by animals; this painting is a perfect example. The painting 'Cattle Drive in Zermatt' by Alfred Elias is in very good condition. The colour layer is protected by a varnish. It shows no flaws save for the usual traces of framing. It is signed in the lower right: 'A. Elias [...] Zermatt'. The painting is framed in an elaborate stucco frame which shows some signs of age-related wear and use, as well as some material loss, but basically retained its beauty. The artwork measures 84 x 109 cm in its frame and 50.5 x 76 cm without it. Alfred Elias (1881-1911) Alfred Elias was born in Hayes, Kent and studied at Hatherley's Academy, London. He also studied in Paris with the portrait painter Léon Bonnat (1833-1922). Elias focused on rural scenes early on; he showed cows, sheep, dogs and horses, sometimes with human accompaniments, and sometimes without. He regularly exhibited in the Salon de Paris, which is also how he gained his fame. He won a medal at the international exhibition in Paris, 1889. Beyond Paris, he also exhibited his artworks at the Royal Academy in London, where he also gained success. One of his pieces, 'Summer Afternoon', was even shown at the World Fair in St. Louis, 1904. Elias was a member of the Pastel Society, London.

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Peter Mork Moensted (1859-1941), Oil Painting

Lot 14: Peter Mork Moensted (1859-1941), Oil Painting "Königssee", 1899

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Description: Oil on canvas Germany, 1899 Peder Mork Moensted (1859-1941) - Danish landscape painter Signed, titled and dated lower right "P Mônsted. - Konigssee. - 1899" Overall dimensions, framed: 81 x 113.8 cm Very good condition Provenance: from an old German Private Collection; since the 1920s in possession of this family Reflections in water surfaces are at the centre of Moensted's artistic work; the auction record for an artwork by him stands at 200,000 Euros The Danish landscape painter Peder Mork Moensted created this painting of the Bavarian Königssee in 1899. He painted the lake, framed by massive mountain ranges, with the lakeshore at the foreground and mossy rocks and young fir trees at the left hand side. A solitary rowboat with two anglers is shown at the mirror like surface of the large lake as if to even further emphasize the greatness of the nature surrounding them. Due to the good weather, the landscape surrounding the lake is reflected on its surface. The painter rendered the different materiality of the nature very skillfully: the rocks, the grass and the water is executed in individual ways and he even managed to let the water at the edge of the lake appear sheer, while towards the middle of the lake where it becomes deeper, it turns into the mirror of the landscape surrounding it. Above the scene stretches a clouded sky. The painting is in very good condition. It shows traces of framing along the edges with minimal loss of colour. It is signed, titled and dated lower right "P Mônsted. - Konigssee. - 1899". The gilded stucco frame shows minor abrasions as well as minor chipping. The overall dimensions are framed 81 x 113.8 cm, the stretcher frame measures 53 x 86 cm. Peder Mork Moensted (1859-1941) Born as the son of a wealthy shipbuilder, Peder Mork Moensted already received drawing lessons in his early youth and later studied at the Art Academy of Copenhagen from 1875-1879. After his studies he travelled to France and Italy, Greece and Egypt, where his works became increasingly influenced by the warm light and brightness of the South. During the artist's time in Germany, his landscape paintings became a huge success. Especially in Munich, he was considered to be one of the most important, contemporary landscape artists. In his works, Moensted often combined riverscapes and forests and although many of his paintings dealt with all different European landscapes, he often returned to depictions of the vast, open Northern landscapes. His paintings are influenced by the Impressionism, which he developed into an own, personal style. Most of his works are in American, English, or German private collections but can also be found at the KUNSTEN Museum of Modern Art Aalborg.

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Mihály von Munkácsy - attributed, Painting

Lot 15: Mihály von Munkácsy - attributed, Painting "Interior"

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Description: Oil on wood France, around 1880 Mihály von Munkácsy (1844-1900) attributed - Hungarian painter Style and colour pallet speak for Munkácsy The palm in the flower pot is found in very similar execution in several artworks by Munkascy - for example In the case of the paintings "Paris Interior" or "Lady seated in an Elegant Interior" Overall dimensions, framed: 79 x 68 cm Good condition This panel painting attributed to Mihály von Munkácsy, was painted in oil on wood. In the foreground is a lush bouquet of flowers on a small iron table, next to a palm tree in a pot displayed on a small flower table. The colours in which the plants are rendered shine in front of a dark, plain background. To the left side is the view into a salon discernible, into which sunlight pours through a window with rose, ruffled curtains. The painting has an inviting atmosphere to it, the rooms look very elegant and the flower arrangement in the foreground brings life to the entrance area. Flowers and palm tree are painted in dynamic brushwork, which adds to their vivid appearance. Also the other elements of this painting are executed with distinctive brushstrokes; especially the seemingly randomly placed highlights speak for the artist's talent. The attribution to Mihály von Munkácsy was undertaken due to the style and the colour palette which are typical of the artist. But also the similarity between the palm in the flower pot on this painting and the ones depicted in Munkacsy's paintings "Paris Interior" or "Lady seated in an Elegant Interior" speak for this attribution. The painting is of beautiful optical appearance. There are few restored areas in the dark background and the paint is protected by a layer of varnish. There are minor traces of framing alongside the margin. The painting shows no signature; a stamp from a Parisian shop for artists' supplies from the 19 th Century can be seen at the back of the wooden panel. The overall dimensions are framed 79 x 68 cm, and unframed 61 x 46 cm. Mihály von Munkácsy (1844-1900) Mihály von Munkácsy, also named Michael Lieb, stemd from a German, in Hungary residential family. Munkács is the birthplace of the artist, after which he named himself. Munkácsy was first an apprentice of a cabinetmaker before he began to study at the Academy in Budapest in 1863. After that, the artist moved to Paris, where he stayed until 1896 and exhibited his works at the Parisian Salon on a regular basis. Munkácsy created mainly small landscape paintings, in the style of the Barbizon School, but also genre images, portraits, delicate still lifes, historical paintings and religious images are part of his oeuvre. In his early works, the artist criticized often the contemporary, social situations, something he had to abandon due to his marriage to a rich Baroness in Paris and only took up again at the end of his career. Many of his paintings are in the National Gallery of Budapest, but also at the Neue Pinakothek in Munich, in the Von der Heydt-Museum in the Wuppertal and the Metropolitan Museum or the Public Library in New York.

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Adelsteen Normann (1848-1918), Large Oil Painting 'Fjord'

Lot 16: Adelsteen Normann (1848-1918), Large Oil Painting 'Fjord'

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Description: Oil on canvas Norway, around 1900 Adelsteen Normann (1848-1918) - Norwegian landscape artist Signed lower right 'A. Normann' In precious frame Measurements in frame: 118 x 148 cm Very good condition Large-sized Fjord landscapes with mystical aura are Adelsteen Normann's trademark as an artist; comparable paintings were sold in the past for up to 50,000 Euros in international auctions. This large-format oil painting by Adelsteen Normann shows a Norwegian fjord on a splendid summer's day. The gaze is captured by the mirror-like surface of the water, is then guided right along the high rocky cliffs and finally left, to the narrow area leading to the open sea. A steamer has just entered the fjord through the rocks, seeming tiny in front of this breath-taking natural backdrop. A part of the right hand shoreline is still discernible, offering space for a number of summer cottages. A sailboat is anchored in front of them; a rowboat loaded with hay, glides across the sea. Normann varies the surfaces by using different amounts of paint - the rock surface and the pebble beach are painted with a rather restless brush and a thicker coat of paint, creating a rough texture. The water surface and the sky were painted a little more delicately. This way Normann has managed to create an exceptionally realistic, fresh and dynamic nature painting. The oil painting is in very good condition. It shows only slight craquelure. It is signed in the lower right: 'A. Normann'. The artwork measures 118 x 148 cm in its frame and 90 x 120 cm without it. The painting is framed in a beautiful stucco frame with a recent bracket. The frame is in good condition with usual signs of age-related wear and use as well as smaller restorations. Adelsteen Normann (1848-1918) Adelsteen Normann was born into a wealthy family, allowing him to study at a decent school, and then, at the Art Academy in Düsseldorf. He studied landscape painting as a student of Oswald Achenbach. He married a Rhenish woman and lived in Düsseldorf from 1873 onwards. Normann rose to fame especially quickly. His works were exhibited all around Europe and the US, winning numerous medals. King Oscar II., Emperor Wilhelm II. and archduke Franz Ferdinand were among his Royal customers. Normann moved to Berlin in 1887, where he met Max Liebermann and other painters. He organized an exhibition of the, then unknown, Edvard Munch in 1892, causing a scandal but on the other hand helping Munch gain fame. Normann returned to Norway in 1917, for reasons of health, and died there in 1918 after a long period of illness. His paintings are frequently auctioned very successfully and some of them are represented at larger museums. There is a museum dedicated to Normann in Bodoe, Norway showing a permanent exhibition of his works. Further works can be found in the museums of Stockholm, Düsseldorf, Hamburg and Malmö and in countless private collections.

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Camillo Innocenti (1871-1961), Oil Painting 'Mother and Child'

Lot 17: Camillo Innocenti (1871-1961), Oil Painting 'Mother and Child'

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Description: Oil on canvas, relined Italy, around 1900 Camillo Innocenti (1871-1961) - Italian painter Signed lower right 'Innocenti' Measurements in frame: 81 x 72 cm Very good condition Provenance: from a Southern German private collection Motherly love is a main subject in Camillo Innocenti's oeuvre; the auction record for an artwork by him stands at 75,000 Euros This delicate painting of a mother with her child by the Italian painter Camillo Innocenti was created around 1900. As far as one can make out the surroundings, the young mother is sitting in a simple parlour room by a fire. The wall is only roughly indicated; floor boards are discernible. The woman is sitting in a simple kitchen chair with her child. She has turned her left side towards the beholder, her right is turned towards the warming fire. She is wearing traditional Italian costume with a red skirt and apron and a wide, white peasant blouse. She is also wearing a loose, floral head scarf and jewellery; a necklace with golden beads and fitting large Creoles. Her child, a girl, lies deep asleep in the mother's arm, her bonnet covered head resting on her mother's breast. The woman holds the toddler carefully in her arms. Innocenti has captured this scene with a lot of empathy; despite the austere surroundings, this painting emits a warmth and motherly love. The painting 'Mother and Child' by Camillo Innocenti is in very good condition. The colour layer has some age-related signs of craquelure and is covered by a varnish. The canvas is relined. The painting has been signed lower right: 'Innocenti'. The beautiful carved frame shows signs of repair and partial new gilding as well age-related signs of use and smaller areas with loss of material. The painting measures 81 x 72 cm with its frame and 55 x 46 without it. Camillo Innocenti (1871-1961) Camillo Innocenti was the son of an architect and he completed his fine-art studies at the Accademia di Belle Arti, Rome. Afterwards, he travelled throughout Europe, where he was particularly influenced by a visit to Spain in 1901 and a two-year stay in Paris (1901-1903). Back in Italy, Innocenti became acquainted with pointillism, which occupied him for a certain period of time. He also joined the group 'XXV della campagna romana ', a group of artists working in the realist landscape tradition. He was also a member of the Accademia Nazionale di San Luca. After World War I, he worked as a set designer in film, but was called to Cairo to be director of the Academy of Fine Art. With the onset of World War II, Innocenti returned to Rome, where he had sadly been forgotten due to his long absence. He died in poverty. Only in 1965, four years after his death, he was acknowledged with a large retrospective exhibition during the 9 th Quadriennale di Roma. Today his works are part of exhibitions at Italy's largest museums; they can be found at the Galleria Nazionale d'Arte Moderna in Rome; the Galleria Nazionale dell'Accademia di San Luca, also in Rome, or in the Galleria d'Arte Moderna, Palermo.

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Friedrich II Paul Nerly (1842-1919), Oil on panel

Lot 18: Friedrich II Paul Nerly (1842-1919), Oil on panel "Capri Scene"

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Description: Oil on panel Italy, around 1880 Friedrich II Paul Nerly (1842-1919) - German-Italian painter Signed lower right "Nerly" Measurements, framed: 60 x 50 cm Good condition Provenance: German Private Collection Capri, Naples and Venice are the favoured motifs of Fritz Nerly and highly sought after by collectors worldwide; his current auction record stands at 85,000 Euros. The German-Italian painter Friedrich Paul Nerly created this delicate work "Motif from Capri" towards the end of the 19 th century. Born in Venice as the son of the painter Friedrich I von Nerly, Friedrich Paul Nerly became familiar with the subject of the Italian landscape, soon being his artistic focus, at an early age. This painting depicts an elevated coastal street paved with brick clay on the island of Capri in Southern Italy. The blue sea is seen in the background behind a low wall. A garden is fenced off by a high brick clay wall, which is already partly overgrown with the blooming trees in the garden. There is a gate in the wall around which four countrywomen have gathered. One of them is leaning against the archway; two of the women are sitting at her feet, one of them with a baby in her arms and the other absorbed in handiwork. The fourth woman stands apart from the others, barefooted with a jug in her hand. This quaint scene is lit up by the bright Mediterranean sun, immersing it in a lively interplay of light and shadow. The painting is in good condition. The paint coat displays only minor craquelure, slight discolouration and minimal loss of colour. The framing marks all around are only visible without the frame. The painting is signed "Nerly" lower right. The overall measurements including the frame are 60 x 50 cm; the wooden panel measures 40.5 x 31.5 cm. Small nail holes are seen in all four corners of the panel. There is a label on the back of the panel with the inscription " 'Motiv aus Capri' von Fritz Nerly Rom (...)". The painting has an elaborate stucco frame, decorated with small medallions in the corners; one of them is missing while the others are loose. Minor loss of material is also visible. Friedrich II Paul Nerly (1842-1919) Friedrich Paul Nerly was the son of the painter Friedrich von Nerly (1807-1878) and received his first artistic training from his father. Born in Venice, he studied landscape painting under the painters Karl and Eugene von Blaas as well as Federico Moja and Pompeo Molmenti. The young artist was drawn to Rome, where he painted Italian landscapes, predominantly seasides, ports and towns, until 1915.

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Luis Jiménez y Aranda (1845-1928), Painting 'Cherry Picking'

Lot 19: Luis Jiménez y Aranda (1845-1928), Painting 'Cherry Picking'

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Description: Oil on canvas France, Pontoise, around 1890 Luis Jiménez y Aranda (1845-1928) - Spanish painter Signed lower right: 'Luis Jiménez - Pontoise' Measurements in frame: 76 x 57.5 cm Good condition Provenance: from a Southern German private collection The paintings showing farm girls in Pontoise count among the most sought after by Luis Jiménez y Aranda; the auction record for such an artwork stands at 140,000 Euros. This fine oil painting by the Spanish painter Luis Jiménez y Aranda shows a young girl picking cherries. On a slightly sloping meadow, with a view of a hilly landscape in the background, there is a great cherry tree yielding plenty fruit. The young girl is wearing a traditional costume and has bent one of the lower branches towards her. Two baskets filled with already picked cherries stand ready at her side and a third one at her feet is also almost full. Behind the tree there is a ladder leaning against its trunk, where a second girl is also picking cherries. All that can be seen of her is a heavy shoe and a blue-brown skirt, wheras the rest is veiled by the tree's leaves and fruit. Luis Jiménez was especially successful as a historical painter, but also followed the Spanish art movement of the Costumbrismo, which intended to show the customs and traditions of the people. As such, he was probably as close to French realism as he was to impressionism - and 'Cherry Picking' shows influences from all these movements. The painting 'Cherry Picking' by Louis Jiménez Aranda is in good condition. The colour is protected by a varnish and shows a bit craquelure as well as some traces of framing. The painting is signed in the lower right: 'Luis Jiménez - Pontoise'. It measures 76 x 57.4 cm in its frame and 65 x 46 without it. The recent frame shows signs of wear, especially at the corners. Louis Jiménez Aranda (1845-1928) Louis Jiménez Aranda was born in Sevilla to a family of artists. He took painting lessons from his older brother José Jiménez y Aranda (1837-1903) before he studied at the Academia de Bellas Artes de Santa Isabel de Hungría in Sevilla, like before his brother had. After a short stay in Rome, Louis Jiménez Aranda moved to Pontoise near Paris and took on French citizenship. He was already exhibiting his artworks at the Salon de Paris when he took part at the World Fair in Paris and Chicago. At the same time, he was also exhibited at national Spanish exhibitions and received, amongst other awards, the 1892 gold medal for the painting La visita del médico . He focused mainly on historical painting but was also part of the so-called Costumbrismo movement, which sought to depict the customs and traditions of society in a realistic way. Luis was influenced by his elder brother for parts of his life, but never copied him.

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Wilhelm Velten (1847-1929), Oil Painting 'Hussars in a Village'

Lot 20: Wilhelm Velten (1847-1929), Oil Painting 'Hussars in a Village'

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Description: Oil on wood Germany, around 1890 Wilhelm Velten (1847-1929) - Russian-German Painter Signed lower right 'W. Velten' Lively depiction of a historical scene Measurements in frame: 35.5 x 41 cm Good condition Provenance: from an old German Private Collection; since the 1920s in possession of this family Hussars, Dragoons and their encounters with country people are often shown in Velten's artworks; the auction record for an artwork by him stands at 35,000 Euros This fine painting by Russian-German painter Wilhelm Velten shows a regiment of Hussars meeting with the inhabitants of a town they are passing through. Two riders have ridden ahead to talk to a farmer and his wife in front of the farmstead, as the rest of the group approaches on the country road. It looks almost as though the riders are asking for directions; the locals are studying their map to find the route. Their own horse is behind them, carrying a heavy yoke around its neck - a stark contrast to the Hussar's groomed animals. The painting conveys a large amount of life; the sun beams down on buildings, roads and people. The busy farmers add to the apparent liveliness, which the artist has so masterfully rendered with brushstrokes, free and precise at the same time. The painting is in good condition, there is a small colour touch up in the upper right corner , but apart from that, the paint layer retains its original varnish. The upper right corner shows some thinning of colours, but apart from that, it shows only slight signs of framing. The painting is signed 'W. Velten' at the lower right. It measures 35.5 x 41 cm in its frame and 15.3 x 21 cm without it. Wilhelm Velten (1847-1929) Wilhelm Velten was born in Russia and studied at the Academy in St. Petersburg. After completion of his studies, he moved to Munich and began to specialize in genre painting depicting wild horsemen and the Hussars' life - to great success, as his painting can now be found, among other places, at the Fine Arts Academy in Buffalo, at the Neue Pinakothek in Munich and the State Gallery in Prague.

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Circle of Eugène Delacroix (1798-1863),

Lot 21: Circle of Eugène Delacroix (1798-1863), "Selim and Suleika"

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Description: Oil on canvas, mounted on canvas France, mid-19th century Circle of Eugène Delacroix (1798-1863) - French painter Dramatic setting Measurements, framed: 45 x 52.5 cm Provenance: from an old Eastern German private collection This vivid painting is attributed to the circle of the French artist Eugène Delacroix due to its style and its excellent artistic execution. A woman is lying on the ground in front of a spring in the foreground of this flat landscape, broken up by rocks and bushes. A dog is sniffing at her and the horse from which she appears to have just fallen off is giving her an irritated look. A lonely wayfarer is seen beyond in the landscape. The night sky above is dark and cloudy with a bright flash of lightning above the woman. The horse was probably startled by the lightning and as a result threw off the woman. The horse is painted in a manner which is characteristic of Delacroix, very expressive and full of character. The dark, dramatic sky also speaks for the French painter, who took up the subject of a horse startled by lightning in some of his paintings. The boundary between reality and dream seems to blur in this landscape, with precisely painted areas alternating with more obscure sections. The painting is in visually appealing condition. The paint coat displays craquelure and is covered with a thick varnish. There are paint restoration noticeable once around, but they never touch the actual motif. The canvas is relined and shows framing paper on the edge. The artwork is not signed. The overall measurements including the frame are 45 x 52.5 cm; the canvas measures 32 x 40.5 cm. The frame displays traces of age and wear as well as restoration marks on the back. The label of an English art dealer is attached to the back of the frame. Eugène Delacroix (1798-1863) Eugène Delacroix was born into a family that profited from the French Revolution and participated in the social recovery (according to several sources Charles Maurice de Talleyrand was Delacroix' biological father). From 1815 the young Delacroix took lessons from Pierre-Narcisse Guérin (1774-1833) and began studying at the École Nationale Supérieure des Beaux-Arts a year later. Influenced by Théodore Géricault (1791-1824), Delacroix painted his work "Dante-Barke", which was purchased by the state immediately after he first exhibited it in 1822. At the age of 24 he left the École des Beaux-Arts and travelled to Morocco, where he was fascinated by the light, colours and foreign culture. Delacroix painted by order of the government but refused to commit himself to current art trends, which is why he was seen as a pioneer by the Impressionists, who also wanted to be free of the dominating Romanticism. His works are found in the most important museums worldwide, including the Louvre in Paris, the Wallace Collection in London and the Hermitage in Saint Petersburg.

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Jean-Baptiste Fresez, Three Landscape Miniatures, 1828

Lot 22: Jean-Baptiste Fresez, Three Landscape Miniatures, 1828

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Description: Oil on paper, laid down on wood Luxembourg, 1828 Jean-Baptiste Fresez (1800-1867) - Luxembourgish landscape painter All three signed and dated "Fresez, 1828" All three matted and framed Overall dimensions, framed: 23.5 x 28.5 cm each Very good condition Jean-Baptiste Fresez is considered to be the most important 19th century Luxembourgish landscape painter, yet his artworks hardly appear on the art market - this is a unique opportunity for the collector! These three landscape paintings by the Luxembourgish landscape painter Jean-Baptiste Fresez were executed in 1828. With fine brush strokes and great richness of detail, the artist rendered his home country in quiet colours and a soft light. Almost magical the country appears with wide streams and high mountains. The cloudy sky is lit by a subtle, diverse light. With these three little vedute paintings from his early working period, it becomes quite obvious, why Fresez is known as the most important Luxembourgish landscape artist of the 19 th Century. The three small landscape paintings are in good to very good condition. They are painted on paper, mounted on wood and framed by green, velvet matt and a small wooden frame. All three are signed and dated "Fresez, 1828". One of the paintings show minor scratches at the area of the water. The colours are protected by a layer of varnish. The overall dimensions framed are 23.5 x 28.2 cm each, and unframed 12.5 x 17 cm. Jean-Baptiste Fresez (1800-1867) Jean-Baptiste Fresez was born in France, however moved very early in his life with his family to Luxembourg. When only 14, Fresez was awarded at the Luxembourgian drawing school. He studied at the Academy in Brussels and then returned back to Luxembourg where he became a citizen in 1848. Before the beginning of his career as an artist, Fresez worked at Villeroy and Boch in Mettlach and at an architect's bureau. In 1824 he became teacher at a drawing school and later at the famous Luxembourgian Athénée. The artist often travelled to Antwerp to study the Old Masters and there received a diploma of the Royal Academy of Beaux-Arts. In 1857 he published 30 lithographs with views of Luxembourg, which were a huge success and facilitated Fresez's membership at the Royal Archeological Society and the Institute of Beaux-Arts de Brussels. Fresez mainly painted small, detailed landscape vedute paintings of his home country but also portraits of high society members of the time. Because of the geographical correctness and the great amount of detail the landscape are of high documentary value. The State Museum of Luxembourg has a collection of his works, others are held in private collections worldwide.

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Christian Zeuthen (1812-1890), Pasture Landscape, 1854

Lot 23: Christian Zeuthen (1812-1890), Pasture Landscape, 1854

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Description: Oil on canvas Denmark, 1854 Christian Zeuthen (1812-1890) - Danish painter Signed and dated lower right "Zeuthen 1854" A major work from this artist and of his best period Dimensions, framed: 110 x 83 cm Good condition Provenance: from an old Eastern German Private collection, originally bought at Christies in the 1920s (see Christies stencil numbering on the backside of the stretcher frame) This beautiful landscape by the Danish painter Christian Zeuthen fascinates due to the very fine execution of the leaves of the massive trees forming an idyllic alley. Two sheep are resting on the dry and sandy path in the shadow of the large trees. Another animal grazes in the background and enjoys the taste of the lush green grass. Another sheep keeps company with his sleepy friend. A countrywoman with her child walks on the way and approaches the little flock - but the animals keep calm and enjoy their rest. The painting is in good condition with only slight traces of age and wear. The canvas shows craquelure and is a bit soiled. The frame has some traces of age as well. The painting is signed and dated lower right "Zeuthen 1854". The overall dimensions are 110 x 83 cm (framed) and 95 x 66 cm (stretcher frame). Christian Olavius Zeuthen (1812-1890) The Danish painter Christian Zeuthen studied architecture at the Academy in Copenhagen until 1834. Then, he began to paint landscape and architectural scenes. He exhibited his works during 1834 and 1881 - some of them are now presented in the Museum of Fine Arts in Copenhagen.

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Eugène Deshayes (1828-1890), Painting

Lot 24: Eugène Deshayes (1828-1890), Painting "Town on the river bank"

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Description: Oil on canvas France, 19th Century Eugène Deshayes (1828-1890) - French landscape painter Signed lower left "Deshayes" Dimensions, framed: 43.5 x 57.5 cm Good condition Provenance: from an old Eastern German private collection, originally acquired in the 1930s in the Gallery Neupert, Zurich Eugene Deshayes' scenic riverscapes are well recognized among connoisseurs of the Barbizon school paintings; the auction record for one of his artworks stands at 17,000 Euros. This scenic oil painting by the French artist Eugène Deshayes shows an idyllic village by a quiet river. Skillfully placed brush strokes give shape to the houses and their rural surroundings. In the foreground three stylized figures, probably fisherman, are outlined in the misty riverbed. Rays of sun break through the cloudy light blue sky and accentuate certain areas. Deshayes mastered the use of light and was able to animate his works with a lyrical romanticism through impressionist brushstrokes. The painting is in good condition with light signs of age. There is slight craquelure and some colour abrasions here and there. Small colour touch ups can be seen under the black light. The edges show framing marks. The frame shows signs of age and use with some colour and material loss. The work is signed in the lower left corner with "Deshayes". On the back the canvas is reinforced with paper along the edges. There is a label on the stretcher from the Neupert gallery "1087, Eugène Deshayes, 1828-1890, Städtchen am Flussufer". Framed, the work measures 43.5 x 57.5 cm, the stretcher measures 31 cm x 45.5 cm. Eugène Deshayes Eugène Deshayes is a painter of the Barbizon School. He trained at the school of fine art in Algiers and received part of his education from his father Jean Eléazard Deshayes, who was a landscape painter. Between 1848 and 1867 Deshayes regularly exhibited at the Salon in Paris. He became famous for his small, delicate, landscapes bathed in light, which can be compared to the works of Jean-Baptiste Camille Corot and Eugène Boudin.

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Adolf Heinrich Lier, Painting „Summer Horseback Ride

Lot 25: Adolf Heinrich Lier, Painting „Summer Horseback Ride", 1860

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Description: Oil on canvas Germany, 1860 Adolf Heinrich Lier (1826-1882) - German landscape painter Signed and dated lower right "ALier. 1860" Dimensions, framed: 119.5 x 117 cm Good condition Provenance: from an old Eastern German private collection The painting at hand is an early major work by the artist Adolf Heinrich Lier which fascinates through the fineness of its execution; the auction record for one of his paintings stands at 110,000 Euros This romantic painting is an early major work by the German artist Adolf Heinrich Lier. The large-scale scene shows an elegantly dressed lady riding in side saddle into a thick forest. She is accompanied by a chaperone. However the human figures are not the focus of this work but rather the overwhelming beauty of nature. The imposing, lusciously green trees are depicted with fine, flowing brush strokes. Even the brushwood is painted with much detail. The fresh colours give vitality to the work; one can almost smell the bitter-sweet scent of the cool woods. The interplay of light and shadow, which bestows a certain internal dynamic upon the work, is very impressive. The beholder is able to look deep into the land in between the trees and is able to see a lake and a town on the lake shore. The painting is in good condition. There is light craquelure due to age. Along the edges there are framing marks. In the lower right corner the work is signed "ALier." and dated with "1860". Framed, the work measures 119.5 x 117 cm, the canvas measures 98 x 97 cm. The frame shows signs of age and use with some colour and material loss. Adolf Heinrich Lier Adolf Heinrich Lier is among the most important Pleinair landscape painters of the Munich School. He was particularly influenced by his teacher Richard Zimmermann at the academy of fine arts in Munich as well as the French Barbizon School, which he became acquainted with during a study visit in 1861. But it were the landscapes of Bavaria, around the Chiemsee and Lake Starnberg, which particularly inspired him to paint many of his works. Later Lier founded his own school for landscape painting.

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E.T. Compton (1849-1921), Watercolour of an idyllic lake

Lot 26: E.T. Compton (1849-1921), Watercolour of an idyllic lake

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Description: Watercolour on paper Most probably Germany, around 1900 Edward Theodore Compton (1849-1921) - English painter and mountaineer Signed lower right "E.T. Compton" Dimensions, framed: 42.5 x 74.5 cm Good condition Provenance: from an old Eastern German private collection Mountains and their lakes were at the artistic focus of the passionate mountaineer Edward Theodore Compton; the auction record for one of his watercolours stands at 30,000 Euros. This picturesque watercolour shows an idyllic lake in front of an imposing mountain landscape. In the foreground an autumn flora is suggested, two small ferry boats are docking at the pier. The silhouettes of the mountain peaks are skilfully contoured in delicate shades of blue. The artist E.T. Compton, famous for his scenic depictions of mountainous regions, knew how to use harmonising colours and subtle emphases of light in order to endow his works with a peaceful and romantic mood. The watercolour is in good condition, yet slightly yellowed. Along the upper edge there are small white marks. For the sheet was mounted onto cardboard the back shows some residue. The frame shows signs of age and use with some colour and material abrasions. The work is signed on the lower right with "E.T. Compton". Framed the watercolour measures 42.5 x 74.5 cm, the artwork itself measures 17.5 x 23 cm. E.T. Compton (1849-1921) Edward Theodore Compton was an English artist living in Germany. In 1867 his family immigrated to Germany and Compton studied at the drawing school in Darmstadt. Later he lived in Munich where he exhibited his works for the first time. An ardent mountaineer, Compton travelled Europe's mountain worlds and was particularly taken with the Alps. He recorded his impressions in scenic oil paintings, watercolours and sketches. Compton became famous as an illustrator for the publications of the German and Austrian Alpine Clubs.

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Philipp Herrlich (1818-1868),

Lot 27: Philipp Herrlich (1818-1868), "Monk with Children", 1839

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Description: Oil on canvas Germany, 1839 Philipp Herrlich (1818-1868) - German painter Signed and dated lower left, "PHerrlich 39" Measurements, framed: 34 x 31 cm Good condition This painting is mentioned in the Thieme-Becker section about Phillip Herrlich Provenance: from a Southern German private collection Children portrayals in miniature format were Philipp Herrlich's showpieces; one of these rarely appearing pieces was auctioned for 22,000 Euros recently. The Frankfurt painter Philipp Herrlich created this small genre painting "Monk with Children" in 1839. Four small children have gathered in front of the stable door of an old farmhouse to listen to an elderly Franciscan monk. A woman is observing them from the door. The smallest child is receiving a picture of the Virgin Mary from the monk, earning envious looks from the others. The monk is dressed in the traditional brown wool habit of the Franciscans and not wearing any shoes, emphasising the poverty and humbleness of the order. A leather-bound Bible is pinched under his right arm. The window of a small Gothic church, almost concealed by the bushes and trees in front, is seen in the background of the painting. The work is very harmonious and detailed, best seen in the cute children's faces which express curiosity, suspicion, joy and envy. The small painting is mentioned in the literature (Thieme-Becker) on Philipp Herrlich, as it was shown in the exhibition of the Berlin Academy in 1839. The painting "Monk with Children" by Philipp Herrlich is in good condition, especially considering its age. There is a small restoration visible in the area of the kneeling girl's right arm. The paint coat is covered with a protective varnish and displays even craquelure. Minimal framing marks are seen around the edges. The painting is signed and dated "PHerrlich 39" lower left. The overall measurements including the frame are 34 x 31 cm; the canvas measures 18 x 16 cm. Philipp Herrlich (1818-1868) Philipp Herrlich initially began his artistic career as a craftsman, before studying painting at the Städel in Frankfurt. He participated in the March Revolution, for which he was imprisoned. He subsequently led a disorderly life, taking him from prison to France and America. Several smaller genre paintings from his time at the Städel have survived and have been repeatedly reproduced.

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Painting

Lot 28: Painting "Portrait of a Young Woman", J. Portielje, around 1880

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Description: Oil on wood Belgium, around 1880 Jan Frederik Pieter Portielje (1829-1908) - Dutch-Belgian painter Signed upper right "Portielje" Elaborately carved frame with gold-leaf details Overall dimensions, framed: 44.5 x 40.5 cm Good condition Female beauty is the focus of Jan Portielje's artistic oeuvre; the collectors are appreciative and therefore his artworks fetch up to 60,000 Euros in international auctions. This delicate portrait of a woman was painted by the Dutch-Belgian painter Jan Portielje in 1880 in his adoptive country, Belgium. It shows a young woman in three-quarter profile. A faint smile plays around the corners of her mouth and a blush suffused her fine cheeks. The young woman's brown curly hair cascades onto her shoulders, only loosely held together by a ribbon. She is dressed in historical garment and wears a red hat with white plumes (this hat can be found on other portraits by the artist, too). Around her neck she wears several, fine golden necklaces, one set with green and white, oval gemstones. The subtle, toned-down colour palette and the dreaming gaze of the young woman give this image an overall feel of ease and harmony. The portrait is in good condition with only minor traces of age. The colour is protected by a layer of varnish and the painting is in its original condition. There are traces of framing along the edges, as well as slight colour alterations. The painting is signed upper right "Portielje" and is framed by an elaborately carved frame with gold-leaf highlights. The frame shows traces of age and use, as well as some material loss and smaller restorations. It is fitted with a plaque bearing the name of the artist. The overall dimensions framed are 44.5 x 40.5 cm, and unframed 26.7 x 23 cm. Jan Frederik Pieter Portielje (1829-1908) Jan Portielje was born in Amsterdam as the tenth of eleven children and studied from 1842-1849 at the Academy of Amsterdam. During a stay in Paris, the artist came under the influence of fellow, French, contemporary artists. After his studies, he moved to Antwerp, where he got married and began with his successful work as an independent, free artist. Next to his portraits, Portielje painted interiors and elegant park scenes. His portraits are characterized by a great richness of detail and truth to material and are often executed in the Neo Baroque and Napoleon III style. He also collaborated with other artists and worked together with art dealers. Portielje exhibited his paintings at national as well as at international shows. Some of his works can be found in the Museum Boijmans-Van Beuningen in Rotterdam, in the Collection of the Royal Museums in Brussels, the Wallraf Richartz Museum and the Cincinnati Art Museum.

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F. Hiddemann (1829-1892), Painting

Lot 29: F. Hiddemann (1829-1892), Painting "Ill-humoured adolescent"

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Description: Oil on canvas Germany, around 1880 Friedrich Peter Hiddemann (1829-1892) - member of the Düsseldorf Painting School Signed lower right "F. Hiddemann." Overall dimensions, framed: 71 x 56 cm Good condition Children portraits amidst Genre scenes made Friedrich Hiddemann a popular artist already during his lifetime; the auction record for one of his artworks stands at 28,000 Euros. This charming oil painting was painted around 1880 by the genre painter Friedrich Peter Hiddemann. It depicts a youthful adolescent holding a bottle of some sort of alcoholic drink and clutching a loaf of bread under his arm, whilst dismissively regarding a younger boy who seems to be enjoying winter's pleasures and threatening him with a snow ball in his right hand. As in so many of his paintings, Hiddemann manages to capture a day to day scene with a humorous undertone. Often these scenes are placed in his beloved Westphalia. The oil painting is in relatively good condition. In the upper right hand corner there is some loss of paint. The oil paint is protected by a layer of varnish. The canvas was stretched onto a newer slightly bigger stretcher at one point and there are framing related traces around the outer rim. The painting is framed; the frame shows signs of wear. The overall dimensions, framed are 71 x 56 cm and without a frame the dimensions are: 60 x 45 cm. Friedrich Peter Hiddemann (1829 - 1892) Born in Düsseldorf in 1829, Friedrich Peter Hiddemann at first was educated as a lithographer. After completion he studied at the Academy of Art Düsseldorf and was part of the Düsseldorf Painting School. In 1856 he travelled to Belgium, France and the Netherlands. He returned to Düsseldorf, where he lived and worked until his death in 1892. In his early work he treated the subject of historical painting, whereas in his later years he turned to genre painting. His most famous work Preußische Werber unter Friedrich dem Großen (Prussian promoters under Friedrich the Great) from 1873 is on display in the National Gallery in Berlin.

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Vincenz Havlicek (1864-1915), Painting

Lot 30: Vincenz Havlicek (1864-1915), Painting "Leopoldsberg", ca. 1900

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Description: Oil on canvas, mounted on cardboard Austria, around 1900 Vincenz Havlicek (1864-1915) - Austrian landscape painter Signed and titled lower left "Leopoldsberg V.Havlicek" Dimensions, framed: 70,5 x 49 cm Good condition Provenance: from an Austrian private collection This atmospheric oil painting by the Austrian landscape painter Vincent Havlicek offers a charming view onto the 425 meter high mountain called "Leopoldsberg", Vienna's famous "own" mountain, which was and still is a popular destination for a day trip. The beholder looks into a beautiful spring landscape, bordered by the "Leopoldsberg" with its distinctive shaped eponymous church on the right edge. A mother rests with her young daughter on a lush green meadow and they share the wonderful view with the beholder of this slightly hilly landscape. This work by Havlicek reminds stylistically of his former teacher, the landscape painter Eduard Peithner von Lichtenfels. Especially the intimate atmosphere that is inherent in this landscape has been captured impressively. The painting is in good condition with only slight traces of wear and age. The canvas is slightly soiled and there are some minor paint flakes at the lower left. The frame as well has some traces of age and wear. The painting is signed "VHavlicek" and titled "Leopoldsberg" lower left. The overall dimensions are 70.5 x 49 cm (framed) and 53 x 32.5 cm (cardboard). Vincenz Havlicek (1864-1915) The landscape painter Vincenz Havlicek was born in 1864 in Vienna where he studied at the Academy of Fine Arts under Eduard Peithner von Lichtenfels (1833-1913). Havlicek exhibited his paintings in the "Künstlerhaus" in Vienna. He also taught the Austrian aristocracy in painting watercolours, the artist's favourite technique. With his students, well-known Austrian painters like Eduard Zetsche, Johann Nepomuk Geller or Maximilian Suppantschitsch, he underwent frequent study trips in the countryside around Vienna.

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Antoine-Louis Barye (1795-1875), Bronze

Lot 31: Antoine-Louis Barye (1795-1875), Bronze "Lion qui marche"

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Description: Bronze, Malachite & golden-brown patination France, design from 1841, the cast is a little later Antoine-Louis Barye (1795-1875) - French sculptor and animalier Signed on plinth, "BARYE" and inscribed with the maker's mark "F. Barbedienne, Fondeur Paris" Dimensions (including plinth): 39 cm (width), 22 cm (height), 10 cm (width) Very good condition In this size the "Lion qui marche" bronze by Antoine-Louis Barye fetches up to 68,000 Euros at international auctions. Antoine-Louis Barye was one of the most successful sculptors in France, primarily known for his animal bronzes. The "Lion qui marche" from 1841 is one of his most popular designs and was cast in different sizes and finished off with various patinations. The piece at hand is roughly 22 cm high, including the plinth, and has a very beautiful, golden-brown and malachite-coloured patina. The lion is strong yet slender and every muscle of the king of beasts is tensed and visible. The tension of the striding animal goes as far as the tip of its tail; the mouth is threateningly opened and the ears are aggressively pinned back. The artist has closely observed the lion and studied its behaviour, in order to sculpt it with such perfection and capture it in bronze. This bronze by Antoine-Louis Barye displays the lion as a monument of strength and royalty. The high quality craftsmanship by the renown Parisian foundry Barbedienne rounds off the expressive appearance of this fine animal sculpture. The bronze is in very good condition with only minor traces of wear and few tiny scratches. The overall dimensions, including the plinth, are: 39 cm (width), 22 cm (height) and 10 cm (width). The plinth is signed, "BAYRE" and shows the foundry mark "F. Barbedienne, Fondeur Paris". Antoine-Louis Barye (1795-1875) Antoine-Louis Barye already learned the craft of metal engraving at the age of 14 and he was able to deepen his skills as an engineer in the French army during the Russian Campaign. After his return to civilian life, Barye learned the art of chiseling and in 1816 he became a student of the sculptor François Joseph Bosio (1769-1845) who recommended him to the painter Antoine-Jean Gros (1771-1835). Only a year later, Barye was able to achieve a prize at the exhibition of the École Nationale Supérieure des Beaux-arts de Paris with his relief "Milo of Croton in battle with a lion". In 1831, Barye introduced his work "A tiger mauling a crocodile" and established his reputation as an animal sculptor. He received orders from the Duke of Orléans and was knighted as Chevalier of the Legion of Honour. The Museum de Luxembourg preserves several of his models and bronzes.

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Franz Rosse (1858-1900), Bronze Sculpture

Lot 32: Franz Rosse (1858-1900), Bronze Sculpture "Fool", 1888

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Description: Bronze, ivory Germany, 1888 Franz Rosse (1858-1900) - Berlin sculptor Signed and dated "Fr. Rosse.88." on the plinth Measurements: 17 x 17 x 30 cm Very good condition Fine patina This handsome bronze sculpture by the Berlin sculptor Franz Rosse shows a combination of polychrome-patinated bronze and light ivory out of which the expressive face and gesticulating right hand are carved. The portrayed figure is sitting on a throne-like chair and wearing a classic court jester garment with a long pointed cap with suggested horns. The fool is slightly leaning forwards, facing the parrot sitting on his left hand. The ivory index finger of his right hand is raised warningly. The jester seems to be trying to teach the seemingly sceptical bird some tricks. He purses his lips and furrows his brows - perhaps he will succeed in teaching the parrot a few words... Especially notable is the multi-toned patination of the bronze and the cut in décor on the chair and the carpet that also serves as the figural plinth. The sculpture is in very good condition with merely slight traces of age and wear seen such as few abrasions. The ivory components on hand and face show a little patina and one age hairline in the face. The bronze is signed and dated "Fr. Rosse.88." on the plinth. The measurements are 17 x 17 x 30 cm (length x width x height). Franz Rosse (1858-1900) The Berlin artist Franz Rosse studied sculpture in Hanau and at the Akademie der Künste (Academy of the Arts) in Berlin. Besides numerous decorative miniature bronzes, he also created the monument of Wilhelm I in Rathenow.

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Gaetano Chiaramonte (1872-1962), Bronze Sculpture

Lot 33: Gaetano Chiaramonte (1872-1962), Bronze Sculpture "Fisherboy"

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Description: Patinated bronze Italy, around 1910 Gaetano Chiaramonte (1872-1962) - Neapolitan painter and sculptor Signed on the plinth, "CHIARAMONTE" Fine patina Height: 45 cm Very good condition Sculptures by Gaetano Chiaramonte are rarely found on the auction market Provenance: from an important German private collection This fine bronze sculpture by Gaetano Chiaramonte lightens the mood, as the joy and smile of the boy are almost contagious. Dressed only in a loincloth, he is observing the crab crawling on his lower arm and proudly presenting its claws. The boy's especially lifelike straw hat, reminiscent of the adventurous Huckleberry Finn, is a fine detail. The sculpture stands on a naturally shaped plinth, imitating a rocky surface. The sculpture is in very good condition with only minimal traces of age and wear in form of sporadic abrasions. The base is signed "CHIARAMONTE". The sculpture measures 45 cm in height. It has a very fine, natural patina. Gaetano Chiaramonte (1872-1962) Gaetano Ciaraonte was born 1872 in Salerno in southern Italy and studied at the Neapolitan Academy of Fine Arts. From 1906 he exhibited his works at the World's Fair in Paris. Some of his works are in the possession of the museum of the arts academy in Naples. Besides paintings, he also created few sculptures.

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Maurice Bouval (1863-1916), Figural Art Nouveau Bronze Lamp

Lot 34: Maurice Bouval (1863-1916), Figural Art Nouveau Bronze Lamp

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Description: Brown-patinated bronze France, around 1900 Maurice Bouval (1863-1916) - French Art Nouveau sculptor Signed on the plinth, "M. Bouval" Fine marble pedestal Height: 51 cm Very good condition and fine patina Provenance: from an important German private collection Figural bronze lamps by Maurice Bouval are highly sought after by collectors and fetch up to 40,000 Euros in international auctions. This figural bronze lamp was made by the French sculptor Maurice Bouval around 1900. The attractive female nude only catches the viewer's eye at second glance. She appears to wrap her shapely body around the blooming hollyhock. The sculpture impresses especially with the lifelike and detailed composition of the funnel-shaped flowers reaching out in all directions. A few buds on the upper end of the twig are still closed, a mesmerising blossom bows down and serves as the actual mount for the light bulb. A very imaginative and playful piece of the Art Nouveau, a true feast for the eyes in every respect! The bronze is in very good condition and has a fine, natural patina. Only the marble pedestal is minimally chipped along the edge, which is barely visible to the naked eye due to the marble's grain. The plinth is signed "M. Bouval". The lamp measures 51 cm in height; the pedestal has a diameter of approximately 20 cm. There is some electrical wiring, function has not been tested and cannot be guaranteed for. Maurice Bouval (1863-1916) The French sculptor Maurice Bouval, student of the painter and scuptor Alexandre Falguière (1831-1900), created most of his artworks between 1880 and 1914. He also crafted art objects from bronze such as candlesticks, candelabra and chandeliers or table lamps in the style of the Art Nouveau. He presented several of his works at the World's Fair in Paris in 1890. His bronze bust of Ophelia is considered his most famous work.

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Eugène Delaplanche, Bronze

Lot 35: Eugène Delaplanche, Bronze "L'Éducation maternelle", 1873

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Description: Patinated bronze France, 1873 Eugène Delaplanche (1836-1891) - French sculptor Signed and numbered: "E. Delaplanche", "860" Foundry mark "F. Barbedienne, Fondeur" Height: 32 cm Fine patina! After "L'education maternelle", life-sized in solid marble, which stands on Square Samuel-Rousseau in Paris Provenance: from an important German private collection This beautiful bronze sculpture by the French artist Eugène Delaplanche fascinates through the intimate, physical connection between mother and child. The girl is diligently reading her book, her mother's caring arms around her. The elegantly composed faces of the figures are very fine details. The voluminous drapery of the mother's garment reminds of the representation of figures in classical antiquity. The sculpture has two nicks on the mother's right hand; the pencil has been repaired. There are also minimal abrasions. The sculpture is signed "E. Delaplanche" and numbered "860". It is also stamped with a symbol mark on the base and has a foundry mark, "F. Barbedienne, Fondeur". The sculpture measures 32 cm in height. Eugène Delaplanche (1836-1891) Eugène Delaplanche was born 1836 in Paris and later studied under the academy professor Francisque Joseph Duret (1804-1865), who made several sculptures for the Palace of Versailles. After receiving the Prix de Rome in 1864, Delaplanche spent the years between 1864 and 1867 in Rome and studied at the Villa Medici. Especially during the period of the Second Empire, Delaplanche was one of the most successful sculptors in France. Many of his works are found in French museums and churches. The figural group "L'education maternelle" (Maternal education), life-sized in solid marble, stands on Square Samuel-Rousseau in Paris.

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Léon Tharel (1858-1902), Bronze Sculpture

Lot 36: Léon Tharel (1858-1902), Bronze Sculpture "Idle Fiddler"

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Description: Brown-patinated bronze France, around 1880 Léon Tharel (1858-1902) - French sculptor Signed on the base, "THAREL sculpt." Foundry mark "Susse Freres" Fine patina Height: 26 cm Provenance: from an important German private collection The auction record for this bronze stands at 18,000 Euros. This charming bronze sculpture by the French artist Léon Tharel shows a young boy with a fiddle. Apparently the boy is exhausted from playing music, as he has fallen asleep leaning against a wall. His pretty face is completely relaxed and his left arm keeps the violin from falling to the ground. The sculptural composition of the clothes, loosely swirling around his body, is particularly appealing. The naked toes, pertly sticking out over the plinth, are another playful detail. The bronze is in good condition; the bow, which was initially placed in the boy's right hand, is missing though. The strings of the instrument are slightly bent. The base is signed "THAREL sculpt." And bears the foundry mark "Susse Freres". The plinth measures 27 x 16 cm and the sculpture measures 26 cm in height. Léon Tharel (1858-1902) The French sculptor Léon Tharel (1858-1902) was a pupil of Athanase Fossé. Sculptures by Tharel were exhibited in the Paris Salon in the years 1882 and 1899.

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Walter Schott (1861-1938), Bronze

Lot 37: Walter Schott (1861-1938), Bronze "Girl with ball", 1897

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Description: Patinated bronze, marble Germany, 1897 Walter Schott (1861-1938) - German sculptor Signed on the base, "Walter Schott fec." Foundry mark, "Akt = Ges: v. H. Gladenbeck u. Sohn." Overall height (incl. pedestal): 35.5 cm Very good condition Provenance: from an important German private collection "Woman playing with a ball" is Walter Schott's most famous creation and fetches up to 13,000 Euros in international auctions. This bronze sculpture by Walter Schott makes it hard for the viewer to decide from which angle the pretty lady appears the most beautiful... The German sculptor Walter Schott, who built numerous monuments by order of Wilhelm II and is one of the main exponents of the neo-Baroque Berlin School of sculpture, designed this sculpture in 1897. He made two versions of this noble, very feminine sculpture: nude and dressed. This nude variant fascinates with the elegantly draped veil and the cascading hair. The antique-like decorations on the plinth of the sculpture are another fine detail as is the ball that has been patinated in a lighter gold hue. The sculpture is in very good condition with only minimal traces of age and wear such as abrasions to her toes. The marble pedestal shows few notches on the corners. The base is signed "Walter Schott fec." and shows a foundry mark, "Akt = Ges: v. H. Gladenbeck u. Sohn.". The sculpture measures 35.5 cm in height including the pedestal; the figure alone has a height of 27 cm. Walter Schott (1861-1938) Walter Schott was born 1862 in Ilsenburg (Harz) and studied at the Berlin arts academy under Fritz Schaper (1841-1919). From 1885 he worked as a freelance artist in Berlin. Schott, who was later granted the title Royal Professor, created numerous monuments in the neo-Baroque style for Wilhelm II. Besides the "Kugelspielerin" (Woman playing with a ball), the "Nymphenbrunnen" (nymph fountain) in the park of Schlitz Castle and the figures for the Berlin Cathedral are his best-known works. Next to Reinhold Begas, Walter Schott was one of the most popular sculptors in the Wilhelminian era and designed busts, fountains, decorative works and many monuments.

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Alfred Boucher (1850-1934), Rare & large Bronze

Lot 38: Alfred Boucher (1850-1934), Rare & large Bronze "La Paysanne"

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Description: Patinated Bronze France, around 1910 Alfred Boucher (1850-1934) - French painter and sculptor Artist's signature on the base, "A. Boucher" Height: 80 cm Very good condition Alfred Boucher, who himself was the son of a farm worker, created with a passion for detail country people as they were; his bronzes fetch up to 60.000 euros at international auctions. This dark patinated bronze sculpture "La Paysanne" by Alfred Boucher is rare in this large variant and shows a beautiful rural woman who is leaning against a pitchfork. Alfred Boucher is known for his country subjects since he grew up in the countryside and primarily portrayed rural people. This country beauty stands confidently in contrapposto, shyly looking downwards with subtle eroticism. Her languidness is emphasised by the top of her dress, which slips from her shoulder. The rural woman's muscular body creates a wonderful contrast with her finely crafted face and the elegant arrangement of the folds. The bronze shows a dark patination and is in excellent condition. Boucher accurately portrays the peasant woman as she prepares to labor in the fields. Very rare in this size and execution, only smaller versions can be found frequently on the art market. Alfred Boucher (1850-1934) In 1869 the French painter and sculptor Alfred Boucher started studying at the arts academy in Paris under Dubois and Augustin Dumont. After his study stay in Italy, Alfred Boucher gained recognition in his home country of France as well. He exhibited at the Paris Salon and was awarded important prizes at the Paris World Exhibition in 1900.

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Alphonse Saladin (1878-1956), Bronze Sculpture

Lot 39: Alphonse Saladin (1878-1956), Bronze Sculpture "Nude Dancer"

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Description: Golden patinated bronze on onyx pedestal France, around 1900 Alphonse Saladin (1878-1956) - French sculptor Signed on the base, "A. SALADIN" A rare opportunity to bid on a sculpture by this famed Rodin student! Overall height, with pedestal: 42 cm Provenance: from an important German private collection This beautiful bronze statuette by the French sculptor Alponse Saladin enchants with the elegant pose of the young dancer, whose blissful expression shows that the nude beauty is completely immersed in her movement. The round pedestal made from green onyx invites the beholder to turn the sculpture, which is a feast for the eyes from every angle. It is composed with great attention to detail, which is especially noticeable in the hair jewellery. Her hair is decorated with roses on all sides and there is a small comb in her hair on the back. The sculpture exudes the playful and erotically charged charm of the Art Nouveau in every respect. The sculpture is in good condition; however the patina is quite abraded in places. The base is signed "A. Saladin". The green onyx pedestal shows notches in some places. The overall height of the sculpture is 42 cm. The sculpture alone measures 31 cm. Alphonse Saladin (1878 or 1886-1956) The French sculptor Alphonse Saladin was born in Épinal. He was trained in sculpture by such greats as Jean-Marie Mengue (1855-1939) and Auguste Rodin (1840-1917). Saladin, who worked for the Museum of Fine Arts in Le Havre as an artist-curator, founded the "Galerie des Modernes" for the museum. For this purpose he persuaded famous artists like Maurice Denis (1870-1943), Maurice de Vlaminck (1876-1958) and others to sell their works to the museum for only 250 Francs. Unfortunately only few of Saladin's monumental bronze works have survived, as they were melted during the war.

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Luca Madrassi (1848-1919), Bronze

Lot 40: Luca Madrassi (1848-1919), Bronze "Zéphir éveillant la nature"

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Description: Dark brown patinated bronze France, late 19th century Luca Madrassi (1848-1919) - Italian sculptor Signed "L. MADRASSI. PARIS" Plaque on the front side, "Zéphir éveillant la nature par Madrassi" Very rare allegorical subject Measurements: 40 x 44 cm (height x width) Very good condition and fine patina Provenance: from an important German private collection This elegant bronze sculpture by the Italian artist Luca Madrassi captures the tender gesture between the Greek god of the west wind Zephyr and Nature, embodied by a very beautiful young woman. She is reclining on her full hair. Zephyr is gently nibbling on her ear lobe, in order to lovingly awake Nature from her deep slumber. Her subtle smile shows his success... The bronze sculpture is in very good condition with minimal traces of age and wear. It displays a very fine patina. The bronze is signed "L. MADRASSI. PARIS" on the right side and measures 40 x 44 cm (height x width). Luca Madrassi (1848-1919) The Italian sculptor Luca Madrassi was born in Tricessimo and studied in Rome. The young artist moved to Paris early on, where he studied at the École des Beaux-Arts and later learned from Antoine Bourdelle (1861-1929) in his studio. He also assisted the Scottish sculptor Lord Ronal Gower (1845-1916). Madrassi regularly exhibited his works in the Salons in Paris and created a broad range of works including busts, statuettes, sculptures and groups, mainly with allegorical motifs. Several of his works are found in public collections today and his gentle sculptures are sold for top prices at international auctions.

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Pierre Félix Fix-Masseau (1869-1937), Bronze Sculpture

Lot 41: Pierre Félix Fix-Masseau (1869-1937), Bronze Sculpture "Secret"

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Description: Dark patinated bronze France, around 1894 Pierre Félix Fix-Masseau (1869-1937) - French sculptor and painter Signed left on the plinth "FIX.MASSEAU" Foundry stamp and number at the reverse lower rim Height: 62 cm Very good condition and beautiful patina Provenance: from an important German private collection Crafted in every detail after the famous model in the Musée d'Orsay; sculptures by Pierre Félix Fix-Masseau fetch up to 60,000 euros at international auctions. This mesmerizing bronze sculpture by the French artist Pierre Félix Fix-Masseau delights with its Gothic-like shape. The cascading cloak ends with an elegant arrangement of folds around the cornered pedestal. Viewed from the front, the woman's nude body is half-concealed by the folds of her clothes. She is holding a Gothic casket, decorated with figures of Saints incised in low relief; her fingers are attenuated, which add to the mystical nature of the piece. The Magician appears to wish to keep its contents a secret, as she gracefully holds her index finger in front of her mouth. The closed eyelids of the woman, manifesting her intention of silence, are a very fine detail. Composition, the arrangement of the folds and lines of the body but especially the gesture of the woman speak of a mystery, which one wants to reveal while at the same time is afraid of doing so. Right from the first glance onwards, the spectator is captured by the "Secret" this beautiful woman does not want to show! This bronze is in its dimensions close to the version made from mahogany and ivory, which the artist created in 1894 and which can be found nowadays in the collection of the Musée d'Orsay. Since this bronze was a long time part of a private collection, our auction is a rare opportunity to get hold of this beautiful piece in this hard to find large size version. The sculpture is in very good condition with merely minimal traces of age and wear. The plinth is signed lower left, "FIX.MASSEAU". The sculpture measures 62 cm in height. It has a fine patina. Pierre Félix Fix-Masseau (1869-1937) Pierre Félix Masseau, known as Fix-Masseau, studied at the École des Beaux Arts in Paris. After travelling through Europe and spending some time in Italy, he became director of the École Nationale d'Art Decoratif in Limoges. He exhibited his predominantly sculptural works in the style of the Art Nouveau and Symbolism around the turn of the century in the Parisian Salon des Artistes. Numerous sculptures by Fix-Masseau are found in the Musée d'Orsay in Paris today, such as "Le Secret".

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Paul Philippe (1870-1930), Bronze Statuette of a Nude

Lot 42: Paul Philippe (1870-1930), Bronze Statuette of a Nude "L'Éveil"

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Description: Malachite and brown-patinated bronze, mounted on a stepped marble base France, around 1920 Paul Philippe (1870-1930) - French sculptor and painter Signed "Philippe" on the back of the plinth Total height, including pedestal: 48 cm Good condition Provenance: from an important German private collection Paul Philippe counts among the most influential sculptors of the Art Deco movement; his artworks with female beauties fetch top prices up to 70,000 Euros in international auctions. "L'Éveil" - "Awakening" is the title of this lovely sculpture by the French sculptor and painter Paul Philippe (1870-1930). The young woman is straightening herself - she stretches her right arm, raising her hand up; her left hand is behind the back of her head. Her back is slightly arched. The sculpture shows precisely that moment in the morning when we stretch ourselves after a night of sleep. Paul Philippe depicts this moment in a naturalistic manner. The Malachite and brown-patinated bronze figure is in good condition with only minor signs of wear. There is a slight nick on the right hand. The marble base is slightly scratched on the back on the upper side. The artist's signature "Philippe" is found on the back of the plinth. The total height including the base is 48 cm. The figure measures 39 cm in height. Paul Philippe (1870-1930) Paul Philippe studied sculpture at the École des Beaux-Arts in Paris under Antonin Larroux (1859-1913). He made works from bronze, ivory as well as in combination of both materials. Philippe regularly exhibited his works in the Parisian Salons.

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Art Déco Sculpture

Lot 43: Art Déco Sculpture "Shark Hunter", by R. Varnier, around 1925

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Description: Metal with malachite-coloured patina Base with black Onyx panels France, around 1925 R. Varnier - French sculptor of the Art Deco movement Signed on the lower reverse of the sculpture "R. Varnier" Measurements of the sculpture: 74 x 50 x 10 cm Measurements of the base: 78 x 15 x 4.5 cm Very good condition This expressive sculpture delights with its fine malachite-coloured patination and its pure Art Deco style. A muscular man kneels on a rock with an athletic pose and stabs the shark underneath him, whose fin is almost elegantly raised upwards, with his long spear. Varnier is famous for his sculptural rendering of the ideal male in his battle against nature. The sculpture is in very good condition with merely minimal traces of age and wear. The base shows some notches along the etches. The sculpture is signed "R. Varnier" and inscribed "Made in France" on the lower rear. The dimensions of the plinth are 78 x 15 x 4.5 cm; the dimensions of the bronze are 74 x 50 x 10 cm.

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Peter Tereszczuk, Bronze Inkwell

Lot 44: Peter Tereszczuk, Bronze Inkwell "Figures in rowboat", 1900s

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Description: Bronze with gold patination Austria, around 1900 Peter Tereszczuk (1895-1925) - Austrian sculptor Signed at the back on the left, "P. Tereszczuk"; foundry mark "w" Measurements: 39 x 18 x 13.5 cm (length x width x height) Very good condition and fine patina Provenance: from an important German private collection Once a well-kept secret amongst Art Nouveau collectors, artworks by Peter Tereczczuk fetch up to 15,000 Euros nowadays. This figurative writing set with an integrated inkwell is especially charming due to its romantic motif: a boy and girl are sitting together in a rowboat, which glides over the waves. The girl, dressed in traditional Dutch costume, is slightly leaning forwards and keeping a close watch on the round barrel with freshwater. The athletic boy takes charge, rowing the boat with his muscular arms. The hinged barrel functions as the inkwell, where a small glass container was placed inside. The writing set is in very good condition with only minimal traces of age and wear. The sculpture is signed "P. Tereszczuk" on the rear left side. The measurements are 39 x 18 x 13.5 cm (length x width x height). The surface has a very fine gold patina. Peter Tereszczuk (1875-1963) The sculptor Peter Tereszczuk was born in 1875 in the Ukrainian city Wybudow. He created most of his works, which stylistically correspond to the Art Nouveau period, during 1895 and 1925 in Vienna where he also spent most of his life time. Tereszczuk mainly created bronze sculptures, sometimes which very delicate ivory elements and small figural art works like inkwells or other desktop items.

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Hans Gerwing (1893-1974), Large Bronze Sculpture

Lot 45: Hans Gerwing (1893-1974), Large Bronze Sculpture "Discobolus"

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Description: Brown-patinated bronze Germany, 1930s Hans Gerwing (1893-1974) - German sculptor Signed on the plinth "Hans Gerwing" Foundry mark "A. Eischoff Broncebildgießerei Düsseldorf-Oberkassel" Height of the sculpture (incl. plinth): 68 cm Measurements of the pinth: 42.5 x 20 x 3 cm Very good condition and fine patina Provenance: from an important German private collection With exhibition seal of the Deutsche Haus der Kunst, Munich 1939 This bronze sculpture was made by the German artist Hans Gerwing and shows a discus thrower, already a popular motif in sculpture during classical Antiquity. The athlete is depicted in an upright position holding the discus in his strong right hand. His left arm is slightly bent and he appears to be preparing to twist his body in order to throw the disc. The man's elegant foot posture is particularly appealing. His distinctive face is impassive as he is entirely focused on the throw. The bronze is in very good condition with only light traces of age and wear. It has a fine, natural patina. The plinth measures 42.5 x 20 x 3 cm (length x width x height). The sculpture has an overall height of 68 cm. As inscribed on the seal suspended on his right foot, the bronze was exhibited in the Haus der Deutschen Kunst in Munich in 1939.

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Ejnar Hansen (1884-1965) attributed, Male Portrait, 1943

Lot 46: Ejnar Hansen (1884-1965) attributed, Male Portrait, 1943

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Description: Metal with a bronze finish USA, 1943 Ejnar Hansen (1884-1965) attributed - Danish-American artist Signed and dated "Hansen 43" Serpentine pedestal Measurements of the bust: 35 cm high, 18 cm wide, 27 cm deep Measurements of the pedestal: 17 x 17 cm Overall height: 52 cm Good condition and fine patina Provenance: from an important German private collection This sculpture is attributed to the Danish American artist Ejnar Hansen and shows the bust of an unidentified man. With a distinctive, well-proportioned face and a stern expression he is wearing a wreath of oak leaves. Oak leaves have been a symbol of power and loyalty since Classical Antiquity. This impressive bust is very similar as well in its corrugated surface as in the characteristic eye area to the bust of the famous art critic Sadakichi Hartmann, created by Ejnar Hansen around 1928, nowadays to be found in the Tobey C. Moss Gallery in Los Angeles - a similarity, which together with the signature allows the attribution to the Danish-American artist. The sculpture is in good condition with merely few age-related traces of wear. There is a crack as well as a larger scratch in the front area on the neck. The pedestal has a few notches in the rear area, especially in the lower left corner. The sculpture is signed and dated "Hansen 43" on the back of the neck. The square pedestal measures 17 x 17 cm; the overall height of the sculpture is 49 cm. The bust is 35 cm high, 18 cm wide and 27 cm deep. Ejnar Hansen (1884-1965) Ejnar Hansen was born in Denmark and studied at the Royal Academy of the Arts in Copenhagen before emigrating to the United States of America in 1914. He lived in the Mid-West before settling in Pasadena, California in 1924. Hansen, whose works are inspired by Scandinavian Expressionist artists, regularly exhibited his works from 1927 and taught at different art institutes.

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Albert Saverys (1886-1964), Impressionist Landscape

Lot 47: Albert Saverys (1886-1964), Impressionist Landscape

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Description: Oil on canvas Belgium, around 1915 Albert Saverys (1886-1964) - Belgian painter Signed lower right, "A. Saverys" Measurements, framed: 58 x 73.5 cm Good condition Provenance: According to the present owner, this painting was bought directly from the artist by his grandfather. The early impressionist paintings by Albert Saverys are the ones considered to be his best; the current auction record for such an artwork stands at 100,000 Euros. This impressionist painting by Albert Saverys shows a view over a wide body of water towards a row of high, slender trees and a wind mill on the left edge of the picture. Saverys was one of the best-known exponents of Pointillismand Fauvism in Belgium and this painting is a fine example of his work. The short, broad brushstrokes of which the coloured areas are composed are clearly discernible and similar to those in the early works by the great Maurice de Vlaminck. They are enlivening the water surface in which the trees are reflected in the background and coalescing into a restless shore, trees, the rainy sky and a wind mill further back. They slightly distort the image, creating the impression of looking into the landscape though a rainy window. Saverys was a master of this technique and was considered one of the best-known painters in Belgium during the first half of the 20 th century. The painting is in good condition with minor framing marks on the edge and slight soiling. It is signed "A. Saverys" lower right. The work measures 58 x 73.5 cm including the frame. The canvas measures 45 x 61 cm. The frame displays age-related traces of wear. Albert Saverys (1886-1964) Albert Saverys was the son of a stage painter and took drawing lessons already at a young age. After his father's early death Saverys was forced to earn money by managing the family business. He took evening classes at the École Nicaise in Ghent, studying marbling and Faux Bois painting. From 1912 he studied at the Academy of Fine Arts in Ghent and began to exhibit his works nationally shortly afterwards. He became a member of the artist association of East and West Flanders, an organisation that was still active during the war. Saverys soon became successful on a national level and participated in the Venice Biennale six times during the interwar period. His works were represented in all important exhibitions on Belgian art; he was also acquainted with members of the Royal family. In 1937 Saverys had a solo exhibition in the Palais des Beaux-Arts in Brussels. In the same year he was appointed professor at the Institute of Fine Arts in Antwerp, where he remained until 1951.

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Heinrich Zügel (1850-1941), Oil on cardboard,

Lot 48: Heinrich Zügel (1850-1941), Oil on cardboard, "Cows in a Moor"

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Description: Oil on cardboard Germany, around 1908 Heinrich von Zügel (1850-1941) - German impressionist Signed lower left "H. Zügel" Overall dimensions, framed: 39 x 53 cm Good condition Provenance: from an old Eastern German private collection; originally bought in a Danish auction house 25 years ago Heinrich von Zügel is one of the most famous German impressionists whose small animal paintings can be found in many museums and collections. The highest auction record for this artist has been achieved in 2001, when a painting with a sleeping shepherd dog next to his flock fetched almost 165.000 Euros. This oil painting by one of the most famous German painters Heinrich von Zügel depicts two cows in the moorland in the early morning hours. Heinrich von Zügel has painted the same motif several times and one copy is in the possession of the Neue Pinakothek in Munich and a watercolour has just recently been sold in a German auction house. Von Zügel is, amongst artists such as Max Liebermann and Lovis Corinth, one of the renowned German impressionists. He began painting outdoors in the late 19 th century and concentrated on creating a natural overall impression through a close study on the effect of light. He painted animals in an interaction with different elements, mainly water, but also air and light. This can be observed in many of his paintings from around 1908 on and is also notable in the soft change of his colour palette. The painting at hand gives proof of the artist's intentions. The two cows function as a mere staffage; the actual main person is the morning sun that is slowly pushing its way through the cloud filled sky and imbuing the canvas in the dull light that only occurs in the very early morning hours. The cattle turn away from the first glimpses of sunlight and try to enjoy their last few hours or maybe minutes of sleep. The white cow, whose face is turned towards the beholder, has its eyes still half closed and makes a very sleepy impression. In 1930 Heinrich von Zügel was granted an honorary doctorate by the faculty of veterinary medicine in Giessen, Germany. In the introductory remarks, his talents were nicely summed up: "Honored as the greatest animal painter, who with his exceptional works, manages to capture the character as well as the soul of animals set into harmonious landscapes, that due to the perception of light and the air, comprehend in to a perfect execution. (...)". The painting is in an age related good condition. Around the edges of the cardboard you see traces of the framing. The black paint shows some craquelure and at the lower right hand corner and the upper left hand corner there is minor paint loss. The painting is signed in the lower left hand corner with "H. Zügel". The overall dimensions, framed are 39 x 53 cm and without the frame: 24 x 38 cm. Heinrich von Zügel (1850-1941) Heinrich von Zügel started taking his first drawing classes and practiced the study of animals at the tender age of 14. He received a scholarship in 1869, which enabled him to study at the Art School in Stuttgart under Bernhard von Neher (1806-1886) and Heinrich von Rustige (1810-1900), where he came across oil paint for the first time. As off 1871 he gained international success and in 1878 he took part in the Great Exhibition in Paris. Study trips to Belgium, the Netherlands, France, and England followed. Especially the trips to Belgium and the Netherlands brought von Zügel closer to Impressionism and familiarized him with the art of painting en plein air . With the beginning of the 1880s, Zügel painted in the moor landscape around the German city Dachau and began to paint the animals more as a natural part of the landscape and not as protagonists as before. In 1888 he was made an honorary member of the Art Academy of Munich, where he started teaching the subject of animal painting. Alfred Lichtwark, the director of the "Kunsthalle Hamburg" commissioned him to arrange a collection of paintings of Hamburg. He taught at the Academy until his 70 th Birthday and died in Munich at the age of 91 in 1941.

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Antonin Roux-Renard (1870-1936), Oil painting

Lot 49: Antonin Roux-Renard (1870-1936), Oil painting "Provencal Town"

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Description: Oil on canvas France, around 1910 Antonin Roux-Renard (1870-1936) - French landscape painter Signed and inscribed lower right, "A mon viel ami Achille Fry [...]. Roux-Renard" In a beautiful frame Overall dimensions, framed: 67.5 x 50.5 cm Provenance: Austrian Private Collection The French artist Roux-Renard loved to paint the most beautiful areas of his home, the French Provence. 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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Clara von Sivers (1854-1924),

Lot 50: Clara von Sivers (1854-1924), "Still life with Red Currants"

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Description: Oil on canvas, mounted on cardboard Germany, around 1890 Clara von Sivers (1854-1924) - German painter Signed lower right, "C. von Sivers" Overall dimensions, framed: 54 x 70 cm Good condition Still lifes by Clara von Sivers are highly sought after and fetch up to 17.000 Euros at international auctions. This very decorative oil painting by the German painter Clara von Sivers impresses with its very fine brushstrokes and the balanced, harmonious composition. The plump currants are presented in a glazed bowl and shine in a very beautiful red. In the depiction of this still life, the artist shows all her talents and the shimmer of the berries is reminiscent of the delicate lustre of precious pearls. The full bouquet of white daisies crowns this scene - a true allegory of early summer! The painting is of beautiful optical appearance and in good condition. The canvas has been mounted on cardboard and there are very few paint touch-ups. The (rather recent) frame shows some traces of wear. The painting is signed at the lower right "C. von Sivers". The overall dimensions are 54 x 70 cm (framed) and 44 x 60 cm (without frame). Clara von Sivers (1854-1924) Clara von Sivers was born in 1854 in Pinneberg and studied painting in Copenhagen, Lyon, Paris, Stuttgart and Dresden. She mainly painted still lifes which are characterized by a very harmonious composition. She spent most of her life in Kiel and Berlin.

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