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

100 Rare and Fine Works of Art and Antiques

by Auctionata


98 lots with images

December 7, 2012

Live Auction
98 Lots
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Study for „The Horse Fair

Lot 51: Study for „The Horse Fair", attributed to Rosa Bonheur, 19th C

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Description: Crayon and opaque white on paper France, around 1850-1855 Attributed to Rosa Bonheur (1822-1899) - French animal painter Studies of Rosa Bonheur fetch up to 303,000 Euros at international auctions Most probably a study for "The Horse Fair", today in the permanent collection of the Metropolitan Museum New York, by the artist's own hand Expressive sketch Framed, in a passé-partout and behind glass Dimensions, framed: 44 x 53 cm Rosa Bonheur is considered to be one of the most important animal painters of the 19th century. Her best-known work is "The Horse Fair" ("Le marché aux chevaux", 1852-1855), which today hangs in the Metropolitan Museum in New York (another version can be found in the National Gallery in London). With this painting, Bonheur gained international fame in 1853 when she exhibited it in the Salon in Paris. Looking at the magnificent and heavy animals, the delicate trees and the dramatic sky, this is no surprise. The sketch at hand shows exactly the friendly head, neck and shoulder of the horse at the centre of the painting - for comparison, excerpts of the painting are among the images. As the sketch displays neither a signature nor a monogram, we can only attribute it to Rosa Bonheur although the exceptional quality of the work clearly speaks for the authorship of the great master of animal painting.The horse is bridled with a headcollar and a thin snaffle on top whose reins lead to the rider of the horse, something which is understood only when viewing the actual painting. The head is especially elaborated as the nature of the horse is expressed here, through the attentive ears and gentle eyes with long lashes. The muscles of the horse are emphasised by shades of crayon and highlights of opaque white in this sketch, so that this section of the horse is enough to be able to visualise it in its full glory. The sheet displays minimal foxing and clearly visible discoloration along the margins. It is mounted on cardboard, which also displays foxing in some parts. The dimensions of the sheet are 36.8 x 27 cm; the cardboard measures 39.7 x 30 cm. The mounted sheet is set in a passé-partout and comes in a nice, gold coloured frame; the dimensions framed are 44 x 53 cm. The painting „The Horse Fair", in the Metropolitan Museum in New York is oil on canvas, originated between 1852 and 1855 and measures 244.5 x 506.7 cm. Rosa Bonheur (1822-1899) Rosa Bonheur was born into a French family of artists and received her sole education from her father Raymond Bonheur. Early on, she focused completely on animal painting; she studied the animals in her environment, copied famous paintings in the Louvre and even went so far as to dissect and sketch animals in the École nationale vétérinaire d'Alfort. She freed herself of the archaic role of the woman as a 'hobby painter', and understood her work as her profession that was to be taken seriously. In 1841 she became well-known with two small animal pieces, but she achieved world-wide fame with the painting "The Horse Fair", which was exhibited as the main attraction in the Salon. The animals portrayed by her are always rather heavy and she preferably painted rural breeds. Paintings by her can be found in the Metropolitan Museum in New York and the National Gallery in London, among others.

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Oil Painting

Lot 52: Oil Painting "Schiller", after Ludovike Simanowiz, around 1800

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Description: Oil on canvas Germany, around 1800 Portrait after Ludovike Simanowiz (1759-1827) - German painter With certificate by Beatrice Scherzer MA Framed Overall dimensions, framed: 34.5 x 29.5 cm Good condition This fine bust portrait of Friedrich Schiller shows the poet, his head slightly tilted, contemplatively looking beyond the picture. His famously curly hair is diligently combed to the back of the neck and emphasises the lofty brow and gentle face of the poet. The high, wrinkly knotted collar and the blue frock-coat round out the portrait. The small painting originated after one of the well-known works by the painter Ludovike Simanowiz (1759-1827), which portray Schiller once as in bust and once in full as a 35 year old, pensive poet. In contrast to the originals, the portrait at hand has smaller dimensions. It unifies different elements of the originals; in its depiction, it is guided by the small bust portrait, in its choice of material, however, by the large, oil-painted knee-length portrait. Simanowiz' portraits have shaped the image of Schiller as a sensitive, free-spirited poet, to this day. This portrait was presumably painted by one of Simanowiz' students, but also possibly by Schiller's sister, Christophine Reinwald (1757-1847).This fine portrait of Friedrich Schiller is in good condition, with slight craquelure. The extraordinarily richly decorated frame is in good condition with only minor traces of age and wear. The overall dimensions, framed, are 34.5 x 29.5 cm: the dimensions of the stretcher frame are 27 x 22 cm. The stretcher frame is inscribed, "The Poet Shelley", on the reverse, probably stemming from an acoustic misunderstanding.Ludovike Simanowiz (1759-1827) Ludovike Simanowiz was born to a military physician and grew up with Schiller, whose father had the same occupation, in Ludwigsburg. Despite all societal odds, Simanowiz was able, with the support of her family, to make painting her career. The Württemberg court painter and art professor of the Hohe Karlsschule in Stuttgart, Nicolas Guibal, privately tutored her and placed her in the Württemberg court, whose financial help enabled her to an initial, almost two year-long study visit in Paris. After her wedding, she returned to Paris in the winter of 1791. In 1793, she was able to flee to Germany from the revolutionary unrest. In this period, she painted the two aforementioned portraits (bust and knee-length portrait) of her childhood friend, Friedrich Schiller, whose parents and wife were also painted by Simanowiz. In 1799, her husband suffered from a stroke and from then on, Ludovike Simanowiz was forced to increase the meagre family pension with her painting.Friedrich Schiller (1759-1805) Growing up in Ludwigsburg, together with the painter Ludovike Simanowiz, Friedrich Schiller left his parents' home at the age of fourteen on the Duke's orders to visit the military academy Karlsschule near Stuttgart. He already composed poems as a boy and he was first published in 1776. At the same time, he completed his medical training. When The Robbers was premiered in 1782, it sparked a storm of excitement from freedom-loving youths and made Schiller famous in Germany practically overnight. He fell out with the Duke Carl Eugen von Württemberg and fled Stuttgart, travelling across Germany and repeatedly publishing poetry and dramas. In 1789, Schiller settled in Jena as a history professor, marrying Charlotte von Lengefeld in 1790. He formed a friendship with Goethe, moving to Weimar in 1799 where he was ennobled in 1802. There, despite being repeatedly plagued by bouts of tuberculosis, he led a harmonious familial life that enabled him to quietly devote himself to his work.

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Oil painting

Lot 53: Oil painting "Coast by Naples" by Teodoro Duclère, 19th Century

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Description: Oil on wood Italy, 19th century Teodoro Duclère (1816-1869) - French-Italian landscape painter Paintings by Teodoro Duclere fetch up to 30,000 Euros at international auctions Framed in golden stucco frame Metal plaque inscribed "Teodoro Duclère, Napoli" Dimensions, framed: 28.8 x 36.4 cm Good condition This fine and detailed painting shows the Italian coast, with a few softly rising mountains in the background. Three slender fishing boats, each manned by at least three rowers, are preparing to leave the coast. Some more boats are lying on the beach, some of them covered with white cloths that seem to serve as shelter. A few houses line the beach, among them a round defensive tower and a narrow baroque gate. The hills in the background, of which some are vegetated with palm trees, rise not much higher than the buildings in front of them. The sky above takes up nearly one half of the painting, which is just enough space for the dramatic play of the clouds. The wind blows the thick white and grey clouds over the scenery and their movement contrasting with the rather quiet sea below. The clouds bank up behind the tower, thus further highlighting it. The whole painting is pervaded with the warm southern light, giving it a soft, golden glow. The painting, aside from age-related soiling, is in good condition with tiny paint flakes and abrasions at the edges, resulting from framing. The frame shows minor traces of age and wear as well as few small chips. The overall dimensions, framed, measure 28.8 x 36.4 cm; the dimensions of the wooden panel measure 18.5 x 26 cm. Teodoro Duclère (1816-1869) Duclère was born in Naples to French parents. He visited the school of Posilippo that was one of the most progressive schools for landscape painting back then. The pupils were taught to paint outside and a group of the most important Italian landscape painters emerged from the school. One of the leading artists was the Dutch Antonio Pitloo (1790-1837) who not only taught Duclère but also became his father-in-law. Duclère himself soon became known for his detailed oil paintings and watercolours that show his proximity to Verism. He became so famous that even the Russian Tsar ordered a few paintings by him. He died at only 51 years of age. Artworks by Duclère can now be viewed at the museum in Sorrento, among other places.

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Oil painting

Lot 54: Oil painting "Flock of Sheep", Friedrich Wilhelm Keyl, 19th C

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Description: Oil on canvas England, 19th century Friedrich Wilhelm Keyl (1823-1871) - German-English animal and landscape painter Paintings by Friedrich Wilhelm Keyl fetch up to 13,000 Euros at international auctions Golden stucco frame Metal plaque with inscription, "Fr. W. Keyl, London 1823-1871" Dimensions, framed: 26.5 x 36 cm This extremely delicate painting by the well-known animal painter Friedrich Wilhelm Keyl shows a small flock of sheep in a coastal landscape. The painting is dominated by a large, standing sheep that has turned its back towards the beholder and calls another sheep a bit further away, which stands on a small rise and bleats back. The other four sheep - apparently mothers with lambs that are already a bit older - are lying relaxed in the grass. Two of them look at the beholder, their ears turned towards him, giving you the impression of having stumbled upon the flock while taking a walk. The brushy plants, the sandy ground and the gently rolling landscape that levels off flatly in the background convey the impression of the vicinity of the coast. Keyl has spent all his life painting animals close to life and full of character and he reached a highly virtuoso level. The nearly tangible thick and fluffy fur of the animals, their movements and their faces give prove of his skills and it will be hard to find something similar with this high a standard.The painting is generally in good condition, with some soiling and craquelure. The canvas shows a small hole with surrounding paint flakes in the upper margin; additionally framing abrasions are to be found around the edges. The beautiful stucco frame in in very good, age-related condition. The overall dimensions, framed, measure 26.5 x 36 cm; the dimensions of the canvas measure 16.8 x 26.3 cm.Friedrich Wilhelm Keyl (1823-1871) Friedrich William Keyl was born in Frankfurt in 1823 but spent much of his life in England. He learned at the Städelsche Kunstinstitut, the Art Academy in Frankfurt, under Jakob Becker. He then moved to Brussels where he studied with Eugène J. Verboeckhoven before he came to London in 1845. Here he worked closely with Sir Edwin Landseer who introduced him to the Royal family. He exhibited nearly every year at the Royal Academy between 1847 and 1871 and many of his works can now be found in the Royal Collection. He died in London in 1871 as a recognized artist.

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Water colour

Lot 55: Water colour "Primrose Gatherers", by Benjamin D. Sigmund, 1895

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Description: Watercolour on paper England, 1895 Benjamin D. Sigmund (active 1880-1904) - English painter Watercolours by Benjamin D. Sigmund fetch up to 5,000 Euros at international auctions Signed and dated lower right "B. D. SIGMUND / 95" Elegant, wide golden frame with plaque Verso with old paper labels from an exhibition and by the framer Framed behind glass Dimensions, framed: 42.5 x 52 cm Very good condition This water colour is a fine painting by the popular English landscape painter Benjamin D. Sigmund. Sigmund was active between 1880 and 1904, but little is known about his life. The water colour at hand belongs to his popular paintings depicting children gathering primroses. It shows two girls sitting between the roots of a big tree. They lean on its thick trunk and make garlands out of the gathered flowers. A basket containing more flowers stands in front of them. Sigmund has placed the scene in a light forest of birch trees and beeches whose ground is still covered in winter leaves. However the vernal green is already coming through in several spots on the ground. The view in the back of the forest gets lost in the typical mist of the English weather. Sigmund has achieved extraordinary skills when it comes to painting with watercolours and managed to conquer this technique's particularities: he could paint the finest lines and details as well as using the typical blurred character of the watercolours, as he did in the background or with the moss's structure.The water colour is in very good condition. The gold coloured frame shows extensive traces of age and wear. The frame bears a metal plaque yet without inscription on it. The overall dimensions, including the frame, measure 42.5 x 52 cm; the dimensions of the image cut-out measure 35 x 25.5 cm. The back of the frame bears two old paper etiquettes: one of the frame makers, "W. Brooks & Son" and the other with an exhibition note,"2/ Primrose Gatherers. B. D. Sigmund. 113 Lothair Rd. Finsbury Park. London N.£ 12 ---".

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Oil painting

Lot 57: Oil painting "Sands Bay, Whitby", by Edmund John Niemann, 1870

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Description: Oil on artist's board England, 1870 Edmund John Niemann (1813-1876) - British landscape painter Paintings by Niemann fetch up to 38,000 Euros at international auctions Signed and dated lower right "Niemann 70" Beautifully framed Overall dimensions, framed: 42 x 56 cm Good condition This fine painting by the British artist Edmund John Niemann is characteristic of the renowned landscape artist. The clouded English sky, in shades of pink, blue and white, takes up the most part of this painting. The landscape underneath is painted in the classical colour perspective, with the rich green-brown countryside in the foreground, and the background getting a bit paler, slightly blurred and bluer. The man and girl that are resting next to the brook bed in the foreground serve as staffage figures. The colours of the girl's garment reflect those of the sky, but in a more intensified way. The silhouette of Whitby Abbey, which arises on the horizon, is painted in colours similar to those of the sky, forming a symbolic connection between the swampy, English countryside in the foreground and the whitish, cloudy sky above it. The painting is in good condition, with some minor traces of wear and visible craquelure, which appears natural due to the impasto execution of the paintwork. There are some touch ups along the edges. The carved gilt frame has minor traces of use. The painting is signed and dated lower right "Niemann 70". The overall dimensions, framed, measure 42 x 56 cm, the dimensions of the board measure 30 x 45.5 cm. Several old labels are on the back of the painting, among them one of the board's manufacturer (Winsor & Newton), one of the gallery and studio W. Boswell, as well as a handwritten label,"Niemann, Edmund John, 1813-1876, Schottisches Hochland, London, Christie's 27. - 28. Juli 1967....". Edmund John Niemann (1813-1876) Edmund John Niemann was born in London in 1813 and began working as a clerk at Lloyd's, but he decided to start a career as an artist in 1839 and settled in High Wycombe, Buckinghamshire, where he turned towards landscape painting, mostly painting outdoors. Between 1844 and 1872, he exhibited his paintings in a wide range of prestigious galleries, including the Royal Academy. A collection of his paintings can be found at the Wolverhampton Art Gallery.

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Oil painting

Lot 58: Oil painting "A la Rivière", Barbizon School, Mid-19th Century

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Description: Oil on canvas, mounted on board France, Mid-19th Century Barbizon School Inscribed lower left "TH. Rousseau" Overall dimensions, framed: 34 x 44.5 cm The painting at hand is a typical, delicate landscape painting of the French Barbizon school. The small format and the realistic manner of representation, which today might seem a bit romanticizing, are sure indications for that. It shows a quietly flowing river in the foreground with a little forest on the shore to the left. The trees reach up to the upper border of the canvas and the dark area thereby created acts as a contrast to the lighter area of the sky on the right side. A small path leads away from the river into the landscape lying behind the little forest on its left side. A small female figure is walking along the path, dressed in a blue skirt, a white blouse and a red head scarf. The overcast sky and the dark leaves of the trees, along with the glassy, grey-brown river, convey the impression of a countryside damp from the rain, thankfully soaking up every bit of sun it can get at this time of the year. The fine brush strokes, especially at the trees, and the wide surface of the sky with its fine nuances, plus the well observed water surface, all suggest a truly talented landscape painter from the school of Barbizon. The painting shows traces of age and discolouration. The canvas has been attached to a wooden panel for its protection as it has small, though when framed hardly visible, tears and little material loss along the edges. The frame shows traces of wear and age. The painting is inscribed lower left, "TH. Rousseau". This becomes only clear when observed with the UV light - please see detail picture. The overall dimensions, framed, measure 34 x 44.5 cm; the dimensions of the canvas measure 25 x 35.2 cm. The School of Barbizon The school of Barbizon consisted of a group of French landscape painters that got together in the middle of the 19th Century, united in the idea of finding a new way of painting, free from academic traditions. The movement met in Barbizon, a small French village in the forest of Fontainebleau, wherefrom one went into nature to paint under the open sky and capture the results on canvas. The artists' colony had been founded in 1830 by Théodore Rousseau (1812-1867) and existed until 1870; during this time it influenced the landscape painting all over Europe. Characteristic of the paintings of the Barbizon School are a small format, the remarkable realism of the depiction and the creation of the sketches in the open air.

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Oil painting „North African

Lot 59: Oil painting „North African" attributed to F.X. Kosler, 19th C

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Description: Oil on canvas, mounted on canvas Austria, late 19th Century Attributed to Franz Xaver Kosler (1864-1905) - Austrian orientalist and portrait painter Orientalist portraits by Franz Xaver Kosler fetch up to 52,000 Euros at international auctions Intertwined monogram lower left Frame with four gold and white patera in all four corners Overall dimensions, framed: 63 x 50.5 cm Good condition This unique portrait reveals the genius of its creator in every brush stroke. The North African man is portrayed from a very short yet respectful, observing distance. The impressive profile of the man, which is even prolonged through the boldly protruding beard, is highlighted through skillfully placed light reflexes. His long nose and high forehead are being illuminated and thus become an eye catcher for the viewer. The thick black area of the man's hair acts as a counterweight to the lighter areas and directs the viewer back to them. The white cloth in which the man is wrapped is so subtly rendered that it also does not draw any attention from the face. The background's grey-turquoise colour harmonises with the dark skin and is not at all distracting, appearing to be quiet but not still. The portrait is an outstanding, well-balanced composition and the melancholic look of the African attracts every beholder's view again and again. The painting clearly resembles those by Franz Xaver Kosler in its painting style, the exact observation and the realistic and soft colouring are very similar to these. As the entwined monogram is not a known signature by Kosler, our expert chose to only attribute the portrait to this fine Orientalist. The painting is in good condition, with few surface scratches and minor touch ups. The beautiful period frame with the exceptional four gold and white patera is in good condition with age-related traces of wear. The original canvas has been mounted to another canvas underneath. The painting is signed in the lower left with a monogram consisting of intertwined letters. The overall dimensions, framed, are 63 x 50.5 cm; the dimensions of the canvas are 52 x 40 cm. Franz Xaver Kosler (1864-1905) Kosler was born in Vienna and studied at the local academy as a pupil of Leopold Carl Müller. After his studies, he travelled to Spain, Montenegro and repeatedly to Egypt. He had several exhibitions in Kairo that made him known to a wider audience and helped him receive many more orders. Today, most of his paintings can be found in private collections primarily in England.

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Oil painting

Lot 60: Oil painting "Wintry Market Day" Karl Stuhlmüller around 1890

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Description: Oil on canvas Germany, around 1890 Karl Stuhlmüller (1859 - 1930) - Painter of the Munich School Paintings by Karl Stuhlmüller fetch up to 33,000 Euros in international auctions Signed lower right "K. Stuhlmüller, München" Overall dimensions, framed: 32 x 40 cm Good condition This painting, a depiction of a market day in winter, is a characteristic work by Karl Stuhlmüller (1859 - 1930), who often painted street and winter scenes. In this painting, Stuhlmüller captures the winter light of a cloudy day. The street, trees and roofs are still covered in snow and the people are dressed in warm clothes - one can practically feel the coldness of the day. Despite the cold weather, the mood is still dynamic; on the right side a man is buying something and another man, about to sell his cows, is standing on the street while a third one is sitting on his carriage on the way back from the market. On each side of the street, women are walking towards the village in the background. Karl Stuhlmüller liked to use the central perspective for his street and market scenes. In this painting the street leads the way into the village in the background and the carriages, walking figures and trees emphasize the applied visual angle. The painting is in good condition with thin colour layer in some parts. The overall dimensions including the frame are 32x 40 cm; the dimensions of the canvas are 18.5 x 26.5 cm. The painting is signed lower right „K. Stuhlmüller, München". Karl Stuhlmüller (1859 - 1930) The German painter Karl Stuhlmüller is part of the Munich School and his genre and landscape artworks are painted in a precise and naturalistic manner. From 1850 to 1914, Munich was an important centre for German art. Stuhlmüller's works are still much sought after on the art market, especially his winter paintings are in high demand with collectors.

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Oil painting

Lot 61: Oil painting "Moonlight Scene", by Adolf Stademann, around 1870

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Description: Oil on canvas, mounted on panel Germany, around 1870 Adolf Stademann (1824-1895) - German landscape painter Paintings by Stademann fetch up to 23,000 Euros at international auctions Signed lower right, "A. Stademann" Framed Overall dimensions, framed: 46 x 72.5 cm Very good condition The painting at hand shows a dramatic nightly landscape, lit only by the moon, that definitely belongs to Adolf Stademann's best works. In the foreground, a few boats lie on the shore of a river or lake. A small plot of land, covered with small houses, reaches into the water from the right side. A few windows are lit and a fire is burning right next to the shore in front of the houses. On the opposite side, the water extends to the other shore with only a few trees and church steeples breaking out of the rather flat silhouette and reaching up into the nightly sky. The largest part of the painting is taken up by the torn nightly sky, in the middle of which the moon emits its pale light. The moon is partially covered by the tails of a large, dark cloud on the right side of the painting. Several other clouds pile up above, under and next to the moon. The light of the moon that is filtered, softened and partially covered by the clouds is finally mirrored in the soft waves of the water underneath. It is definitely the main theme of this painting and reveals the artist's exact observation of nature and his enormous skill as a painter. Additionally to this large source of light, the artist has added a few other smaller ones into the dark painting, such as the few lit windows and the burning fire on the right side. The painting is partially painted in an impasto style and in an impressionist manner which appears especially atmospheric in the torn sky. The painting is in very good condition, with little craquelure. The painting is recently framed and the frame is in very good condition with only few traces of wear. The overall dimensions of the painting, framed, measure 46 x 72.5 cm; the dimensions of the wooden panel and canvas measure 30 x 56.5 cm. The painting is signed lower right, "A. Stademann". On the back of the frame is a small dedication plaque. Adolf Stademann (1824-1895) Adolf Stademann was the son of Ferdinand von Stademann, a counselor and privy secretary to King Otto that also worked as a draughtsman and lithographer. Stademann junior started working as a forester before he turned towards painting and began to take lessons with Carl August Lebschée. He focused on landscape painting and the depiction of nightly and wintery scenes under the moonshine and developed a very unique impressionist style.

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Large oil painting

Lot 62: Large oil painting "Winter landscape" by Anton Doll, 1861

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Description: Oil on canvas Germany, 1861 Anton Doll (1826-1887) - German landscape and architectural painter Paintings by Doll fetch up to 28,000 Euros at international auctions Signed and dated lower right "Doll. 61." Framed Overall dimensions, framed: 85 x 100 cm This fascinating painting by Anton Doll shows the border of a city on the shore of a frozen lake in front of barely recognizable mountains. A few citizens are walking on the lake in the foreground on the left side and the icy surface mirrors the figures and shows traces of vats. The city stands on the lake's right border and a church can be seen behind the high city walls. In front of the wall, a few wooden houses and huts can be recognized. A lonely farmer walks next to his horse pulling a cart with logs alongside the way towards the city gate. Smoke escapes out of one of the hut's doors. Covering it all are the snow and the fog that even reduce the high mountains in the back to mere schemes. Doll has managed to combine the unique, cold atmosphere of the winter with the concealment of the protected city behind its high wall. The hazy winter's light and the especially detailed, fine manner of painting are typical for Doll and his atmospheric winter paintings. The painting is overall in good condition. The canvas is relined and is coated with a protective varnish that covers partial craquelure and paint flakes. The painting has been restored right above the tree. Its overall dimensions, framed, measure 85 x 100 cm; the dimensions of the stretcher frame are 73 x 88 cm. The painting is signed and dated, "Doll. 61.". Anton DOLL (1826-1887) Doll began studying law in Munich before he turned towards painting. In 1852, he became a member of the Munich Art Society that had exhibited his paintings from very early on. Doll was influenced by Carl August Lebschée and Adolf Stademann and his main subject was the city of Munich. Next to his historical architectural paintings with a few staffage figures, he painted wintry landscapes, clearly influenced by the great Dutch old masters. Today, works by Doll can be seen in the New Pinakothek in Munich and in the Graphic Collection of the Staatsgalerie Stuttgart.

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Unique KPM Porcelain painting

Lot 63: Unique KPM Porcelain painting "Ruth", by Hermann Meisel, 1904

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Description: KPM porcelain, hand painted Germany, 1904 Hermann Meisel - German porcelain painter of the late 19th and early 20th centuries Signed lower left, "Herm. Meisel" KPM marks as well as a mark from a Thuringia porcelain painter's studio on the back In original gold-coloured wood & stucco frame, under glass Unique piece Overall dimensions, framed: 47 x 33 cm Very good condition This delicate and beautiful painting depicts biblical Ruth gleaning, a scene from the book Ruth of the Old Testament. Ruth, a woman from Moab, married the son of an immigrated Jewish family. After a short time, her father-in-law died and only a bit later, her husband and brother-in-law died as well. Ruth followed her mother-in-law Noomi to her home country Israel, even though she, Ruth, would have to fear rejection as a woman from Moab. She found work as a gleaner on the estate of a relative of her mother-in-law. This relative, Boas by name, was impressed by the young woman's loyalty to her husband's family and he fell in love with her and married her. Ruth is often depicted gleaning and so she is here. The noble young woman and her tragic story are joined together into an appealing painting and it is easy to understand why Boas fell in love with the beautiful foreigner. The quality of the porcelain that, instead of soaking up the colours, renders them nuanced and lets them shine is especially visible on Ruth's delicate face. Also the hair and the cereal ears and even the structure of her dress can be recognized in detail. The painting is of an extremely fine, delicate and detailed manner of painting and it is unique in its quality. The porcelain painting is in a very good condition and so is the beautiful original stucco frame that shows minor repairs to the outer rims. The overall dimensions, framed, measure 47 x 33 cm and the dimensions of the porcelain plate are 33 x 20 cm. The painting is signed in the lower left "Herm. Meisel". The porcelain plate is marked on the back with the KPM scepter and the year letter "D" as well as other numberings and the blue stamp mark of a Thuringia porcelain painter's studio. KPM - Königliche Porzellan-Manufaktur Berlin The manufactory that was founded in 1763 by Frederick the Great was based on three private companies that had tried for some time to produce porcelain in Berlin. The manufactory has been located near the Tiergarten in Berlin since 1871. It took up the production of painted porcelain tiles under the direction of Professor Alexander Kips and made a huge profit. After the destruction of the manufactory during the Second World War the Land of Berlin took over the company in 1988. Since 2006 the company is owned by the private banker Jörg Woltmann.

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Rare Steiff

Lot 64: Rare Steiff "Bully on wheels" with 11 Steiff buttons, 1927-1931

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Description: Germany, 1927-1931 Maker: Steiff „Bully" on wheels with connecting frame (1335,2 / series 11) Mohair plush white/gold (= orange) Swivel head and pull voice Leather and horse hair collar with bell 11 Steiff buttons in total - one in the ear and 10 on the collar Maker's height: 35 cm (without wheels) The prominent feature of this rare Steiff "Bully" on wheels, produced between 1927 and 1931, is the leather collar with horsehair backing, bell and 10 Steiff buttons, the age of which are confirmed by the long trailing 'f'. The little chap has white/gold (orange coloured) fur made of mohair plush and stands on four green painted, wooden wheels connected through metal rods.A small child was able to sit on it and make the bulldog bark by pulling on a metal ring. Even though the pull-cord voice box no longer functions, this dog with his loyal gaze is particularly charming thanks to his dual coloured face and brown eyes as well as his ears which are wire-lined to enable them to adopt endlessly new positions. The Steiff-button is in his left ear. The broad muzzle is made of fine velvet, the nose and claws are embroided with dark-brown yarn.The partially severely thinned fur trimming shows that this dog was a most loyal companion to a grateful child for a long time. The horsehair on the dog's collar is equally thin; the bell is slightly dented. Bully has some small holes and a few surgical scars on his ears and also his back. The velvet muzzle is a little soiled and the glass eyes are slightly scratched. The green paintwork on the wheels has only survived on the outer and inner sides. The pull-voice is no longer functional. The Steiff buttons on the collar and ear display the Steiff inscription in print letters and a long curve on the second 'f'. The height according to the manufacturer is 35 cm (without wheels) and 38 cm (with wheels). Steiff The story of Steiff starts in Germany where Margarete Steiff (1847-1909) began sewing little textile elephants with a filling that were supposed to be used as pin cushions. This was in 1879. These elephants turned out to be a favorite toy amongst many children and so Margarete started adding other little textile animals to her production. Her motto now was: "Only the best is good enough for children". The teddy bear that we now know has been created by Margarete's nephew, Richard Steiff (1877-1939) in 1902, who admired bears and spent hours sketching the animals in the nearby zoo. They presented the bear 1904 at the World Exhibition in St. Louis and sold it so successfully that they won the fair's Golden Medal.

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Rare Louis Vuitton steamer trunk, France, around 1900

Lot 65: Rare Louis Vuitton steamer trunk, France, around 1900

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Description: France, around 1900 Natural leather lined with linen Removable inner workings with two compartments Original studs with the initials "LV" Tumber safety lock Titled at the lid, "A. Bolz Hauptmann" Monogrammed on the side, "A. v. B." Overall dimensions: 90.5 cm wide; 52 cm high; 50.5 cm deep Good original condition Provenance: From the estate of Captain Arnold Ritter von Bolz (born 1868) This rare steamer trunk is a creation of French leather goods manufacturer Louis Vuitton from around 1900. The wooden construction with two handles attached at the side features a case with metal tops and is made from high-quality manufactured material, like the durable natural leather with "LV" logo prints border. The generously applied original studs carry the initials "LV" as well. TheTumber safety lock is engraved "BTE S.G.D.G. Patent, 1 Rue Scribe, Paris Louis Vuitton, London 49 New Bond Street, Made in France". There is an inset made from bright beige linen in the inner workings, removable by two cloth handles. The inset is divided into two compartments of different sizes. Equipped with movable dividers, these units can be split into smaller compartments again. Two tied cords can be stretched with a hook above the smaller one of the compartments. The trunk originates from the estate of Arnold Ritter von Bolz. The lid carries his name and military status, "A. Bolz Hauptmann" [captain], the side is monogrammed, "A. v. B." The vintage trunk is in good original condition with traces of age and wear. The overall dimensions are: 90.5 cm wide; 52 cm high; 50.5 cm deep. Louis Vuitton (since 1854) Louis Vuitton (1821 - 1892) started his training as a bag maker at suitcase manufacturer Monsieur Maréchal in 1837 in Paris. This was essential in times of rough luggage transport on carriages, steam boats or trains. He opened his own shop in 1854 under the name of Louis Vuitton Malletier in Rue Neuve-des-Capucines 4. His modern dirt-resistant and waterproof products were of such good quality, that they were soon in high demand. The frameworks of the trunks were made from wood and metal constructions. 1886 Georges Vuitton (1857 - 1936), son of the company's founder, invented the revolutionary locking system that is still used today. The patentedTumber Lock protects the trunk's content from theft with an innovative locking system with two spring caps. When Louis Vuitton died in 1892, Georges took over the company. It was him who designed and established the iconic LV monogram. The luxury brand is popular worldwide and is one of the leading companies of the world of fashion.

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Cognac

Lot 66: Cognac "E. Piercel de Saint Jacques Napoleon", Vintage 1802

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Description: Cognac Grande Fine Champagne Bottling: E Piercel de Saint Jacques France, Vintage 1802 One of the oldest Cognacs in the world - collector's item! 0.7 Liter bottle, 40% ABV Dimensions: height: 31 cm, circumference: 25 cm, base diameter: 7.5 cm This over 200 year old cognac is an absolute rarity that will set any cognac aficionado's pulse racing. This "Cognac Grande Fine Champagne" was produced using grapes from the two best cognac growing areas (Crus), Grande Champagne and Petite Champagne. As more than 50% of the grapes come from Grand Champagne, it bears the name "Grande Fine Champagne". The soil of Grande Champagne is particularly calcareous, so the cognac is able to develop a rich bouquet and unfurl a perfumed scent within the glass. A significant amount of time devoted to the ripening process in oak casks rounds out the strong, full-bodied aroma. The label of this most rare bottle is difficult to decipher, but the name "Cognac Napoléon" is clearly recognizable. The inscription "Grande Fine Champagne" and the alcohol content of "40%" may also be credibly reconstructed along with the typical medallion depicting the Phrygian cap and the crossed staffs of E. Piercel de Saint Jacques. The front of the bottle also bears a blind-embossed medallion with the Napoleonic 'N' and a crown. Thus, the design of the bottle and the name of the cognac thereupon refer to the fact that E. Piercel de Saint Jacques served as the official purveyor to Napoléon Bonaparte, the French emperor.The top of the bottle and the etiquette show clearly visible signs of age. The coating seal is damaged and partly broken off, and the cork, which is only held by the seal, is dried up. The vintage seal is no longer present. The liquid is turbid and the fill level is lowered. The bottle has an overall height of 31 cm, measures 25 cm in perimeter and its base diameter is 7.5 cm.Cognac Cognac, which is produced by distilling white wine, is named after the French town of Cognac in Charente, north of Bordeaux. Wine was grown in Cognac since the early Middle Ages and from the 17th century the wine was distilled to make Eau de Vie, which was shipped from the small town across the globe, especially to England, Ireland, Scandinavia and North America. The best-known production and stock sites steeped in tradition, like Martell, Rémy Martin and Hennesy, are found in the region, among a multitude of smaller cognac companies. As an appellation d'origine contrôlée (controlled designation of origin), only brandy that originates from one of six zones, calledcrus, in the region surrounding the town of Cognac may bear that name. The six zones, listed in the order of their esteem, are: Grande Champagne, Petite Champagne, Borderies, Fins Bois, Bons Bois and Bois Ordinaires. Depending on climate, sunlight and the different soil conditions of the respective growing area, wines are produced that each give specific qualities to the cognac.

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Large, florally forged silver-Cachepot, Mario Poli - Italy

Lot 67: Large, florally forged silver-Cachepot, Mario Poli - Italy

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Description: 800 Silver Italy / Milano, last third of the 20th Century Signed on the bottom, "Poli Mario" Marked with the silver hall mark, the Italian silver mark and the silversmith number "103" and the city mark for Milano "MI" Weight: 3.934 g Height: approx. 25 cm, Diameter (mouth): 36 cm Very good condition This extraordinary cachepot made from 800 silver comes from the Milanese silver smith Mario Poli (later Mario di Angela). The huge bulging body that ends in a blossom shaped, waved rim rests on a multiple profiled silver base that changes from a convex curve into a slimmer concave one. The body is extensively decorated with flowers in life sizes. The blossoms have been forged from massive silver and are applied from the outside whereas the leaves and the stems have been done in elaborate repoussé work. The sweeping design and the exquisite quality of the cachepot reveal the highly talented and experienced silver smith. The Mario Poli silversmith workshop earned world fame due to their masterly crafted silver objects after historical models. The cachepot is in very good condition and shows only a few minor traces of wear. It weighs 3.934 grams and showcases a height of 25 cm and a diameter (mouth) of 36 cm. It is marked at the bottom with the silver hallmark 800, the signature of "Poli Mario", and the star for Italy and "103 MI", for the silversmith's number and the city of Milano.

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Delicately forged silver confectionary bowl, dated 1820

Lot 68: Delicately forged silver confectionary bowl, dated 1820

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Description: 800 Silver Berlin, Germany, 1820 Marked with the year letter „A" (indicating 1820) and the bear mark for Berlin Silversmith's mark „R", presumably for Johann Friedrich Raue Extremely delicately forged silversmith's work Weight: 345.25 g; Height: 20 cm Very good condition This extremely delicate and exceptional silver vessel combines several classicist style elements. A round base stands on three widespread acanthus feet and is multiply profiled and chiseled with different patterns. The base rises up in the middle and standing on this enhancement are six high and lightly curved ostrich feathers. A wide open bowl, which is made to serve candy or sugar, is decorated with geometrical leaf patterns on the outside and rests upon the six feathers. The soft feathers elements give this cup a very delicate look and it seems as if the next breath of wind could easily sway it into another direction. The silver cup is in a very good condition and serves very well as a confectionary or sugar bowl. It shows soft traces of age and use and displays a beautiful patina. The overall weight is 345.25 grams and its height is approximately 20 cm. The cup is marked at the base with the year letter "A", the bear with a "K" for Berlin and the letter "R", which is presumably the mark of Johann Friedrich Raue.

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Charming signed double vase of bronze by Ferville-Suan, 1895

Lot 69: Charming signed double vase of bronze by Ferville-Suan, 1895

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Description: Patinated bronze France, around 1895 Charles Ferville-Suan (1847 - 1925) - French Art Nouveau artist Works by Charles Ferville-Suan fetch up to 13,000 Euros at international auctions Engraved signature on the lower side "Ferville Suan" Double vase Charming putto with butterfly wings Height: 15 cm Good condition This charming double vase of bronze was made by Charles Ferville-Suan around 1895. The round vase in amorphous shape, known under the title "grenade", shows a small winged putto sitting between the two stem openings. He is looking down and thereby sees with dismay that two small frogs are climbing up to him quickly and in a light-footed manner. The scared putto is balancing insecurely on the round receptacle; he is saving himself with one hand. The vase shows fine details all around - from the water drops running down the openings to the putto's small toes and hair curls via the amusing frogs. Even though the vase was made as an object for daily use, it is actually a piece of naturalistic art! The signed bronze vase is in good condition with minor manufacturing imperfections and traces of wear. The height is 15 cm, the maximal width is 9 cm. Charles Ferville-Suan (1847 - 1925) The French sculptor Charles Ferville-Suan studied at the École des Beaux-Arts in Paris under François Jouffroy. His works were exhibited at the Salon and he was later named member of the Société des Artistes Français.

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Rare Vienna bronze table bell with thermometer, around 1890

Lot 70: Rare Vienna bronze table bell with thermometer, around 1890

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Description: Bronze, partly fire-gilt and silver-plated Austria, around 1890 Table bell with an integrated thermometer Noble execution and fine workmanship Mounted on white marble Dimensions: 12.8 cm long; 8.8 cm deep; 26 cm high Fully functioning Very good condition This very rare table bell with an integrated thermometer is a wonderful example for the small-scale sculptures which were made in the late 19th and early 20th Century under the broader term of Vienna bronzes. The finely decorated, beautifully worked scene of partly fire-gilt and partly silver-plated bronze shows a squire who is striking the church bell, here functioning as the table bell. The large bell is visible under an ornamentally decorated gable and the fully functioning thermometer is located under the bell. The "wood construction" is framed by ornate, naturalistic ramages with chiseling and relief decoration. The fence behind it is also naturalistically depicted with the wood and wire being incredibly finely worked. Even the ground of this charming scene in noble execution and fine workmanship shows beautiful details, from the frog to the undergrowth! The bronze table bell is mounted on white marble and in very good condition with only slight traces of age and wear. The table bell is 12.8 cm long, 8.8 cm deep and 26 cm high. Vienna bronzes To this day, Vienna bronzes are very popular amongst collectors. Made in the 19th and early 20th Centuries, these bronzes depict human figures, often with exotic features, humans and animals, or just animals. The bronzes were so fashionable that there were 80 companies in Vienna that focused on these products. Since a large part of these small sculptures were melted during the World Wars, the bronzes are now not only treasures but rare collectibles.

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Unique Vienna Bronze „Lizard on a Branch

Lot 71: Unique Vienna Bronze „Lizard on a Branch", around 1900

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Description: Cold painted Bronze and root wood Vienna/Austria, around 1900 Franz Xaver Bergmann (1861-1936), Austrian Bronze artist Marked on the lizard and the branch Overall dimensions: length: 32 cm, height: 8 cm Length of the lizard: 19 cm, height: 5 cm Very good condition This Viennese Bronze is an extraordinary piece that actually consists of three bronzes arranged on a naturally grown piece of root wood. In the centre next to the lizard, a fern has grown that serves as a home to a little bronze snail. On one end of the branch, three mushrooms have taken place. The branch is exactly the right platform for the lizard, which can present itself in its full length, and its elegantly scaled tail lies on the whole length of the branch in small curves. The animal reveals the maker's exact field observation; the widely spread toes, the detailed, tangible scales and even the visible eardrums are modeled on the small animal. Even the alert pose with the highly erected head is typical for these agile animals that can disappear so very quickly when they sense danger. The bronze is in very good condition, only the fern is slightly bent. The lizard is marked on the bottom with a number and the lettering "Geschützt" (=protected). The wooden branch also bears embossed numberings. The bronze's overall dimensions are 32 cm (length) and 8 cm (height). The length of the lizard is 19 cm and its height is 5 cm. Franz Xaver Bergmann (1861-1936) Bergmann's father was a chaser who owned a small bronze factory in Vienna that was inherited by his son. The younger Bergmann opened a new foundry in 1900 and many of his bronzes were based on designs of his father. The firm specialized in naturalistic miniature animal bronzes finished by fine manual cold painting. 'Cold painted bronzes' are different from the fire glazed ones as they are decorated in several layers with so-called dust paint. Today, the know-how for the mix of this kind of paint has been lost which makes these bronzes even more valuable.

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Large, colourful Lavere Kerman carpet, Persia, around 1930

Lot 72: Large, colourful Lavere Kerman carpet, Persia, around 1930

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Description: Wool on cotton Persia, around 1930 Lavere Kerman (Rose Kerman) 300.000 knots per square meter, ghiordes knots Rose bouquet with corner medallions Richly embellished borders Especially bold colours Dimensions: 403 x 615 cm Very good condition This Lavere Kerman carpet originated in Persia where it was made around 1930 in an extraordinary size. The warp is of wool, the weft is of cotton, the threads were knotted by hand with 300.000 knots per square meter with ghiordes knots. The rose bouquet, the blossom embellished middle medallion on the ruby-red mirror, is contrasted by the richly decorated corner medallions on a blue ground. The main border, too, is diversely adorned with corner medallions and additionally, with two medallions on the lengths of the Rose Kerman. The inner and outer borders reflect the rich design of the carpet with blossom vines and branches. This is a particularly beautiful Rose Kerman in splendid colours and high quality. It is in very good condition and its dimensions are 403 x 615 cm.

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Incredibly fine, signed Hereke silk prayer carpet, Mid-20th C

Lot 73: Incredibly fine, signed Hereke silk prayer carpet, Mid-20th C

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Description: Silk on silk Turkey, mid of the 20th Century Hereke carpet 2 million knots per square meter, ghiordes knots Prayer motif with a mihrab Signed masterpiece Dimensions: 101 x 134 cm Very good condition This Hereke prayer carpet is from Turkey where it was completely made of silk in an extraordinarily fine manner mid of the 20th Century. The warp and also the weft are made of silk, while the threads were knotted by hand with two million knots per square meter with ghiordes knots. In the middle part, the prayer motif shows a mihrab in warm red tones, richly embellished with tree, vase and floral motifs. The three borders in different elementary colours are also extensively adorned with blossoms. In the middle part of the mihrab, embellished with a cartouche and writings of the Koran, there are two star-shaped motifs with an "H" for Hereke. The carpet is also signed twice in the bordures. This incredibly fine Hereke prayer carpet of silk is in very good condition. Its dimensions are 101 x 134 cm (measured without the fringes).

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Fine Gladenbeck bronze bust of Nietzsche by Max Klinger, 1909

Lot 74: Fine Gladenbeck bronze bust of Nietzsche by Max Klinger, 1909

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Description: Dark patinated bronze Germany, 1909 Expressive bust of the German philosopher Friedrich Nietzsche (1844 - 1900) Max Klinger (1857 - 1920) - German artist Bronze busts by Max Klinger fetch up to 62,000 Euros at international auctions Signed on the shoulder, "M. Klinger" With the foundry stamp on the back, "Aktien-Gesellschaft Gladenbeck, Berlin-Friedrichshagen" Mounted on a Serpentine base Total height is 23 cm Very good condition This dark-brown patinated bronze bust of the German philosopher Friedrich Nietzsche was made by the Berlin bronze foundry Gladenbeck in 1909. The bust is cast in bronze after a design by the German artist Max Klinger. Nietzsche's expressive face is a naturalistic artwork; it shows his typical facial features with the serious expression and the characteristic frown, as well as the thick moustache. A beautiful example of Max Klinger's bronzes from the renowned Gladenbeck foundry!This bronze bust of Friedrich Nietzsche is in very good condition with only slight traces of wear. The bust is signed on the shoulder, "M. Klinger", and on the back, "Aktien-Gesellschaft Gladenbeck, Berlin-Friedrichshagen". The dimensions are (without base): 21 cm high, 15.5 cm wide and 9.5 cm deep. The total height including the base is 23 cm. Max Klinger (1857 - 1920) The German sculptor, painter and printmaker Max Klinger studied at the Art School in Karlsruhe and later at the Art Academy in Berlin. 1891 he became a member of the Art Academy in Munich and later a member of the Academy in Berlin. Hermann Gladenbeck (1827 - 1918) The German picture caster Hermann Gladenbeck is known for his internationally renowned bronze sculptures, for example the Victoria on the Berlin victory column. He completed his training at the foundry Egells, before working with the most renowned caster at the time, Christoph Heinrich Fischer. Gladenbeck's talent was known in Berlin artist circles; he quickly gained his first commissions, among others from Christian Rauch.

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Original Furniture from 1870 from the Wannsee Conference Villa

Lot 75: Original Furniture from 1870 from the Wannsee Conference Villa

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Description: Walnut and oak wood, leather, serpentine, brass caps, kilim cushions; additional documentary material Germany, around 1870 Original furniture from the Wannsee Residence Elaborately carved paw-feet as table legs Beautiful leather patina High historical and art historical value Dimensions: table: 63 cm (height), 75 cm (diameter); chairs: 97 cm (height), 74 cm (width), 80 cm (depth). Very good condition This ensemble, from early historicism around 1870, consists of a games table made of walnut wood with an octagonal, serpentine tabletop, surrounded by two armchairs with oak carcass, original leather covering, brass caps and seats with ornamental kilim cushions. The wide apron is disconnected at the edges by broad consoles, on which the tabletop seems to lie on. In between are optically eight drawers, of which four are just for show and cannot actually be pulled out. The table stands on large, broad volute-shaped legs, that are connected in the middle by a quadratic base. The table legs end in carved lion legs and paw-feet, which vigorously claw into the ground. The two chairs are different in design: one of them has a slightly higher back rest and two wings, while the other features neither. Both have small baluster legs that end in blockfeet and are connected by crossbars. The lathed front leg of the wing chair directly merges into the arm rests, which lie on top of it. The arm and back rests as well as the wings are completely covered and upholstered in leather. The leather is nailed to the chair with brass caps. The lower chair features rolled arms and a broad back rest without wings, in addition to a contoured carved apron. Both chairs are missing the original leather seats, instead they feature harmoniously blending kilim cushions with antique material. The ensemble is complimented by documentary material, books from the old library of the house and photographs of the family.This museum ensemble of the Wannsee Residence is not just unique in its appearance, but is also evidence of an eventful family history. It belonged to the original furnishings from the residence, into which the businessman Friedrich Minoux (1877-1945) settled with his family in 1937.Friedrich Minoux grew up close to Mannheim and was orphaned at the young age of 16. After several stations, Minoux began to work for the Hugo Stinnes AG in 1912. He proved to be a lucky find for the company and in the 1920s, he procured profits for the Stinnes corporation of around 200 million Goldmark. In 1919, he was appointed director general of the Berlin branch by Stinnes. Altogether roughly 60 companies - active among other things in coal extraction, shipping, publishing, the automobile and paper industries - belonged to this economic empire.In 1923, Minoux bowed out of the Stinnes AG to start up his own business, consisting of different, interwoven companies around the Friedrich Minoux AG für Handel und Industrie. As a friend of party leaders, Minoux enjoyed the economic advantages of these acquaintances. Two years after he moved into the Wannsee Residence, one of the most representative living quarters in Berlin, criminal proceedings due to accounting fraud were initiated against him, though he was acquitted.Between 1927 and 1938, Minoux was a member of the supervisory board of the Berliner Gaswerke AG (Gasag). In 1940, he was accused of embezzlement of the assets of the Berlin gas works, the municipal works in Potsdam and the Gasbetriebsgesellschaft AG Berlin over roughly 8.8 million Reichsmark, along with other businessmen. He was convicted and sentenced to five years in prison, a 600,000 RM fine, and the loss of his civil rights for five years, in 1940. In order to pay some of his debts, Minoux sold the Wannsee Residence for 1.95 million Reichsmark to the Nordhav trust of the SS. However, he never received this sum as it was retained for the payment of recourse claims of banks and the capital of the Reich Berlin. Friedrich Minoux died in 1945 shortly after the liberation by the Red Army.The furniture includes comprehensive documentary material from the private collection of the Minoux family, consisting of photographs, passports, letters and the diary entries of Friedrich Minoux from 1945. Among the passports are the passports of Friedrich Minoux between 1924 and 1926 as well as 1934 and 1939, the passport of his wife Maria Karolina, referred to as Lilly, between 1953 and 1958, and the passport of his daughter Monika, valid from 1941 until 1946. The passports verify numerous travels of the active businessman Friedrich Minoux. Additionally, a military pass and a firearms licence that allowed Minoux to carry a hand gun are among the documents. Furthermore, numerous personal documents like baptismal, marriage and death certificates of the family belong to the bundle of documents. Minoux' letters to his wife Karolina, affectionately called Lilli, which he wrote to her from prison, are among the more interesting documents. These date to the 21st November 1943, 2nd January 1944 and 11th March 1945. Moreover, this small collection includes typewritten diary entries by Friedrich Minoux, which begin on the 29th of April 1945 with detailed, unprettified accounts of the capture of Berlin by the Russians and end in cryptic notes on the 27th of August 1945, a few weeks before his death. The latest document is a copy of a letter of Erich Honecker, who was imprisoned at the same time as Minoux, though they did not personally know each other.Karl-Heinz von Liebezeit, the great-grandson of Friedrich Minoux: "I wish that the heirloom of this residence which later became a bitter symbol of the failure of humanism, attain to a surrounding which stands for the exact opposite: human co-operation with mutual respect and regard."The furniture is in very good condition, with visible traces of age and wear. The leather has a beautiful patina and is only a little recalcitrant in parts. All nails are in place. The table has some traces of wood worms (inactive). The table is 63 cm high and the diameter of the octagonal tabletop is 75 cm. The smaller chair is 80 cm high and 74 cm wide. It is roughly 80 cm deep, the depth of the seat alone is about 55 cm. The wingchair has a height of 97 cm, a width of 70 cm and a depth of 80 cm. The depth of the seat is roughly 50 cm.Wannsee Residence The Wannsee Residence was built by the Architect Paul O. A. Baumgarten in 1914/15 for the industrialist Ernst Marlier. The Norddeutsche Grundstücks Aktiengesellschaft, bought the land in 1921 and in 1937, the property was inherited by way of universal succession by the businessman Friedrich Minoux. When Minoux was arrested in 1941 for embezzlement, he found himself forced to sell the house to the SS trust Nordhav in 1940. The purchase price was never paid out to him but was retained for payment of claims by banks and the Reich capital Berlin. From then on the residence served as a retreat for high officials.In 1942, the Wannsee Conference was held here, where Reinhard Heydrich presented his plan for the mass deportation and subsequent murder of the Jewish population of Europe. After the war, the August-Bebel-Institut of the SPD Berlin and later a country school house were located here. Since 1992, it is a Holocaust memorial.

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Important Pair of Meissen candelabras with Chinese boys, 1750s

Lot 77: Important Pair of Meissen candelabras with Chinese boys, 1750s

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Description: Porcelain and fire gilt bronze Germany / Meissen, around 1750 Bronze mounting also dating back to the 18th century Models by Johann Joachim Kaendler and Friedrich Elias Meyer Numerous Vincennes flowers Three candle sleeves on each candle holder A similar pair can be found in the Metropolitan Museum of Art in New York Overall dimensions (for both): 38 cm high; 18 cm wide; 15 cm deep Height of each Chinese boy: 22 cm This pair of figural candle holders with charming Chinese boys is an outstanding example of Meissen porcelain art. Both holders have a rectangular, fire gilded bronze period base with a skipping Chinese boy standing in front of a bronze tree with ascending, widespread branches. The trees hold three bronze candle sleeves which are richly embellished with leaves and fine, brightly decorated porcelain 'Vincennes' blossoms.One of the two boys is a so-called 'nodding pagoda': the head of the boy is attached through an interior construction in a way that allows it to move. He wears a hat made of green leaves on his head and a violet garment with contrasting gold underneath a white scarf with floral decor. This repeats itself with the white garment of the second boy. He too wears a white scarf, which he has thrown over his shoulders. On his head is a green hat made of cabbage leaves. Both lads wear little yellow slippers on their feet. While one has raised his left foot, the other prepares to jump with his right foot. The candle holders date from around 1750 and are the works of Johann Joachim Kaendler (1706-1775) and Friedrich Elias Meyer (1723-1785), two of Meissen's most famous modeling masters. Kaendler was working at Meissen since 1731, whereas Meyer began working at the manufactory in 1745. The candle holders are in excellent optical appearance. They display minor manufacturing imperfections as well as minimal chips on the flowers and some minor, professionally done restorations to exposed areas such as the leaves on the head or the collars of the garments. They have recently been professionally cleaned. The bronze mounting and gilding are also in very good condition for their age with minor material loss and one soldered branch. In order to see the Meissen sword mark on the underside of the boys, they have to be removed from the brass mounting. The flowers are individually detachable. The dimensions of the candle holders are 38 (height) x 18 (width) x 15 (depth) cm and the Chinese lads are each 22 cm high. Details The figures of the Chinese boys are not noted down in the Meissen pattern books. But since they appeared in several auctions over the time, they are mentioned in some of the relevant literature. The term Vincennes-flowers comes from a porcelain manufactory close to Paris that specialized in the production of this kind of small, naturalistic porcelain buds. The seventeen year old wife of the French Dauphin Louis XV was absolutely amazed by the sight of the flowers and sent a bouquet of these flowers in 1749 to her father August III, king of Poland and elector of Saxony. This bouquet can nowadays be seen in the Dresdner Zwinger and has a total height of around 1.15 meters. It has been attributed to Kaendler for over 100 years until it was rightly attributed to the French manufactory. The bronze mounting has been done in Dresden (see Ehert, Gloria, Battenberg Antiquitäten-Kataloge. Porzellan, p. 172, tab. 380). Johann Joachim Kaendler (1706-1775) Kaendler was born to a clergy man and received a classical education. He began his education as a sculptor in Dresden with Johann Benjamin Thomae (1682-1751) where his talents were soon recognized. He joined Meissen in 1731 where he first worked as model master and later as the head of the plastic department. He was especially honoured in 1749 when he was named „Court Commissioner". He first began creating naturalistic animal figures, later courtly and pastoral scenes, and is mostly known for his famous swan service. He is worldwide acknowledged as a genial creator of European porcelain figures. Friedrich Elias Meyer the Elder (1723-1785) Meyer, son of a sculptor, learned in Gotha with the court sculptor. He was named one himself and worked at the courts in Weimar and Sondershausen. He joined Meissen in 1745 and led the model and design development department. Due to the anxious times during the Seven Years' War, he went to Berlin to work at the Royal Porcelain Manufactory (KPM). Some of the best-known porcelain service designs have been created by him and are still produced by KPM. Meissen Porcelain was known in Europe since the 13th Century, but always had to be imported from China and was thus mostly of lower quality - the Chinese seldom gave their best ware to foreigners - and extremely expensive. Europeans tried to copy the Chinese porcelain for centuries but only in 1708 managed to create real porcelain - in Meissen. The manufacturer's brand, the crossed swords in blue, has been in use since 1722 and is still a guarantee for the high quality of the porcelain. Meissen celebrated its 300 years of existence in 2008. Quality has always been the number one criteria for Meissen and they go as far as to have their own mine to win the needed kaolin, also known as china clay, for the production. It takes several years to reach the degree of a "master painter" in Meissen but judging by the quality of the painting, it is definitely worth it. Comparable pieces: The Metropolitan Museum of Art, New York, The Wrightsman Collection, Inventory No. 1973.315.13 and No. 1973.315.12.

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White Jade Plaque with Emperor Qianlong's Poem, Qing

Lot 78: White Jade Plaque with Emperor Qianlong's Poem, Qing

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Description: China, Qing Dynasty - 18th / 19th century White jade Fine chiseling Meticulous calligraphy inscription with Qianlong's famous poem Fine polish and oily surface Dimensions: 7 x 5,7 cm Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This extremely rare plaque of white jade dates to Qing Dynasty China, most certainly to the 18th Century. The corners are rounded and the edge is offset. On the front there is a meticulous calligraphy with a dedication and Qianlong's famous poem (regent from 1735 to 1796). The inscription is an excerpt from the poem "The Banquet with the Thousand Elders", by Emperor Qianlong. They translate to: 御制诗 yu zhi shi: written by the Emperor 君酢臣酬九重会 jun cu chen chou jiu chong hui: "The Emperor and the officials and guests toast each other at the large banquet." 天恩国庆万春延 tian en guo qing wan chun yan: "The Emperor's welfare is celebrated in the whole country and for the next thousand years it will always be spring." A banquet with the elders was an old tradition in the Qing Dynasty. Emperor Qianlong's father, Emperor Kangxi, had started it. This was a good deed out of respect to the elders. In 1785 Qianlong invited about 3000 guests. Among others, officials, representatives from different sectors and places were present. The elders, who had to be over 90 years of age, were even allowed to come to Qianlong and toast him. Qianlong generously gave presents. After this banquet Qianlong wrote the poem "The Banquet with the Thousand Elders". The jade itself displays a beautiful white colour and is of a translucent quality. The piece shows traces of wear and small notches, especially in the area of the reverse side and in the eyelets. The surface is, as is usual only for original pieces, of a shiny and oily appearance - showcasing the exclusive polish of the stone. The dimensions are 7 x 5.7 cm.

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Significant & Large Jade Gui Vessel with Qianlong Mark, Qing

Lot 79: Significant & Large Jade Gui Vessel with Qianlong Mark, Qing

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Description: Spinach green jade China, 18th / 19th century during the Qing dynasty (1644-1912) Six character Qianlong reign mark on underside Provenance: from the estate of a German commercial attaché, who lived in China around 1900 Ritual vessel Gui in the archaic style of the Western Zhou period Fine diaper ground and relief carving Fine polish and oily surface Width 30 cm; Height 20.5 cm Good condition This extremely finely carved spinach green jade Gui dates to the Chinese Qing dynasty. A flawless, gilded six character mark of the Qianlong period is located on the underside. The size and massiveness of the vessel is remarkable and makes this a true rarity, even for a sophisticated collector.The ritual vessel is representative of the archaic style of the early Western Zhou dynasty. The popularity of antiquarian tastes continued from the Song Dynasty through the Qing Dynasty, spurred by the literati who were eager to ground themselves in the classics and wealthy merchants who were interested in establishing an air of artistic cultivation. Jade pieces such at the present lot were in high demand in the 18th century. The designs were based on Song and Ming text books with woodblock illustrations of bronze forms. One of the books used was The Illustrated Research of Antiquities (Kaogu tu) written in the Song Dynasty by Lu Dalin, reproduced inThrough the Prism of the Past, National Palace Museum, Taipei, 2003, II-02.This vessel features a globular body with a convex cove on the neck and foot. There are two opposing handles on the sides, artistically carved in the shape of stylized Chilong dragon heads and each suspending one versatile, smooth ring. The body is covered in sublimely carved Ruyi motifs and stylised dragons. The fine diaper ground is extensively decorated with geometric-floral ornaments. The neck is also adorned with dragon motifs that almost assume the form of Taotie masks, while the foot features further Ruyi motifs. The vessel is additionally structured by four vertical, ornamental crosspieces.The jade has an outstanding, intense spinach tone with few dark inclusions and, despite its massiveness, it is translucent. The vessel displays minor, age-related traces of wear. One of the rings was lost and has been almost perfectly remodeled and added. The surface has a shiny, oily appearance - as is only the case with original pieces - displaying the excellent polish of the stone. The height is 20.5 cm; the maximum width is 30 cm.

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Archer's ring of white jade with horses & hallmark, Qing

Lot 80: Archer's ring of white jade with horses & hallmark, Qing

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Description: China, Qing dynasty - 18th / 19th Century White jade with russet inclusions Fine chiseling and relief carving Four-character hallmark „Ren De Mei Shou" (= Kindness, Virtue, Brown Eyes and Longevity) Fine polish and oily surface Dimensions: height 3 cm; inner diameter 1.8 cm Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This extremely rare archer's thumb ring of jade dates to Qing-Dynasty China. This little gem of white jade has natural russet speckles on one side and on the show side depicts grazing horses under a pine tree. The half-moon on the right and the four-character hallmark „Ren De Mei Shou" on the left create the perfect framing for the scene. On the upper rim, the ring is finely chiseled with a meander pattern. The jade features a beautiful colour and is of extraordinary translucent quality. The piece shows some very slight traces of wear and the surface has a gleaming, oily appearance, which is usual only for original pieces - showcasing the excellent polish of the stone. The height is 3 cm, the maximal width 3.6 cm and the inner diameter 1.8 cm.

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Flawless Archer's ring of white jade, Qing Dynasty

Lot 81: Flawless Archer's ring of white jade, Qing Dynasty

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Description: China, Qing dynasty - 18th / 19th Century White jade of exquisite quality Fine polish and oily surface Dimensions: Height 2.3 cm; inner diameter 1.8 cm Excellent condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This delicate archer's thumb ring of jade dates to Qing-Dynasty China. It is made of pure white Jade and has a perfectly rounded shape.The jade itself boasts a beautiful white colour and is of translucent quality. The piece shows only minimal traces of wear and the surface has a wonderful oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The height is 2.3 cm, the maximal diameter 3 cm and the inner diameter 1.8 cm.

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Archaic Jade Archer's ring with vivid bats, Qing Dynasty

Lot 82: Archaic Jade Archer's ring with vivid bats, Qing Dynasty

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Description: China, Qing dynasty - 19th Century Celadon jade with russet inclusions Fine chiseling and relief carving Fine polish and oily surface Dimensions: Height 2.4 cm, inner diameter 2.2 cm Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This archaic archer's thumb ring of jade dates to the 19th Century of Qing-Dynasty China. This little gem of Celadon colour jade has natural russet speckles. On the outer wall are five vividly depicted bats - a traditional symbol for longevity in Chinese tradition. The jade shows a beautiful colour play and is of fine, translucent quality. The piece shows some very slight traces of wear and the surface has an appealing, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The height is 2.4 cm, the maximal diameter measures 3 cm and the inner diameter is 2.2 cm.

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Beautiful white Jade bangle with dragons, China Qing Dynasty

Lot 83: Beautiful white Jade bangle with dragons, China Qing Dynasty

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Description: China, Qing dynasty - 18th/19th Century White Jade Fine chiseling and relief carving Fine polish and oily surface Dimensions: Outer diameter 7.4 cm, inner diameter 5.8 cm Good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This archaic bangle of jade dates to the 18th or early 19th Century in Qing Dynasty China. It shows an appealing white color and is comprised of two Qilong dragons that meet at the upper end with the Magical pearl in their mouths. On the bottom a lovely garland rounds off the wonderful design. The jade is of a lovely white colour and displays fine translucent quality. The piece shows some very slight traces of wear and the surface has an appealing, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. An opaque inclusion with traces of weathering is found on the underside. The outer diameter is 7.4 cm and the inner diameter 5.8 cm.

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White Jade bangle with twisted rope pattern, China Qing Dynasty

Lot 84: White Jade bangle with twisted rope pattern, China Qing Dynasty

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Description: China, Qing dynasty - 18th/19th Century White Jade Very fine carving Fine polish and oily surface Dimensions: outer diameter 7.8 cm, inner diameter 5.7 cm Excellent condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This elegant jade bracelet dates to the 18th or early 19th Century in Qing Dynasty China. It shows an appealing white color and is shaped like a twisted rope, immaculately in its form. The jade is of a fine translucent quality. The piece shows some very slight traces of wear and the surface has an appealing, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The outer diameter is 7.8 cm and the inner diameter 5.7 cm.

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Precious white Jade pendant with falcon and fawn, Qing Dynasty

Lot 85: Precious white Jade pendant with falcon and fawn, Qing Dynasty

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Description: China, Qing dynasty - 19th Century White jade with few ochre colored inclusions Fine chiseling and relief carving Partly reticulated Fine polish and oily surface The pendant comes with remainders of the old string and a coral bead Dimensions: Height 5.5 cm, width 4.2 cm Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This rare Jade pendant of the Qing Dynasty in China is carved figuratively and shows, besides the reticulated eyelet for suspension, further areas of reticulation. Featured is a falcon attacking a fawn, lying on the ground. The scene is captured naturalistically and detailed - best visible at the beautiful plumage of the bird of prey. The jade shows a beautiful white colour and is of a translucent quality. At the legs of the fawn, few ochre colored inclusions can be seen. The piece shows some very slight traces of wear and the surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. It comes complete with remainders of the old string and a coral bead. The height is 5.5 cm, the maximal width 4.2 cm.

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Lovely Jade sculpture with deer eating Lingzhi, Qing Dynasty

Lot 86: Lovely Jade sculpture with deer eating Lingzhi, Qing Dynasty

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Description: China, Qing dynasty - 19th Century White jade with subtle Celadon hue Fine chiseling and relief carving Partly reticulated Fine polish and oily surface Dimensions: Length 6 cm, height 3,6 cm Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This fabulous Jade miniature sculpture of the Qing Dynasty in China is carved figuratively and shows delicate areas of reticulation. Featured is a pair of sika deer, both lying on the ground and nibbling on a Lingzhi branch. Especially this marks the deer as the animal companions of the lucky god Shoulao. He is often shown with a tamed stag, which he indulges with Lingzhi mushrooms. The jade shows a beautiful white colour with a subtle Celadon hue and is of a translucent quality. The piece shows some very slight traces of wear and the surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The length is 6 cm, the height 3.6 cm.

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Wonderful Jade sculpture with playful dogs of Fo, 17th Century

Lot 87: Wonderful Jade sculpture with playful dogs of Fo, 17th Century

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Description: China, 17th Century Jade shows a color play from celadon green to dark brown Fine chiseling and relief carving Partly reticulated Fine polish and oily surface Dimensions: length 5 cm, height 3.1 cm Good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This delightful Jade miniature sculpture of the 17th Century in China is carved figuratively and shows delicate areas of reticulation. Featured is a Fo dog and his playful young. The cub is tearing on his parent's ear and is curled up on its back. The bushy tails and the lion-like faces mark these two as classical Chinese Fo lion dogs. The jade shows a beautiful color play, ranging from Celadon green to dark brown, and is of near opaque appearance. The piece shows some very slight traces of wear and tiny notches while the surface has a gleaming, oily appearance which is usual only for original pieces - showcasing the excellent polish of the stone. The length is 5 cm, the height 3.1 cm.

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Imposing Tianqiuping Celadon Vase with Lotus, China around 1800

Lot 88: Imposing Tianqiuping Celadon Vase with Lotus, China around 1800

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Description: Carved and glazed porcelain China, around 1800 Tianqiuping bottle shape with long elongated neck Dense lotus décor Beautiful elegant design Imposing height of 54 cm Excellent condition Provenance: From the estate of Wolfgang Ritter, entrepreneur from Bremen and one of Oskar Kokoschka's patrons This rare and large Chinese vase made of Celadon glazed porcelain dates back to China around 1800. It has an elegant Tianqiuping shape with a bulbous lower body and a slightly tapered, elongated neck. The lotus scrolls and the relief borders are neatly carved into the porcelain before glazing with a thick layer of light Celadon. The interior and the bottom of the vase are glazed in white, leaving only the foot rim in the raw porcelain material. Very elegant is also the irregular crazing which coats the entire Celadon glaze of the vessel. The vase is in excellent condition with only minor traces of wear and very few manufacturing imperfections. The total height is 54 cm.

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Beautiful Cloisonné Tee Serving Tray with Flowers, Qing Dynasty

Lot 89: Beautiful Cloisonné Tee Serving Tray with Flowers, Qing Dynasty

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Description: Cloisonné with copper wire on bronze body China, 19th century during the Qing dynasty (1644-1912) Overall dimensions: 25.5 x 16 cm; rim height: 1 cm Very beautiful floral motif Good condition Provenance: from the estate of a German commercial attaché, who lived in China around 1900 A lush tendril of colourful, large peony flowers adorns this beautiful cloisonné tea serving tray. Next to the tendril is another branch, on which stylised pomegranates grow. This tray from the 19th century of the Qing dynasty impresses with its many small details, like the enameled inner rim featuring different floral motifs or the outer rim that also displays a varied floral motif. On the reverse side, there is an abstract-looking cloud decor on a blue base. This blue is referred to as 'blue of Jingtai', because blue was the first colour for enamels and Jingtai was the title of the seventh Ming emperor, during whose reign cloisonné works enjoyed particularly great popularity. The tray is in good condition with traces of wear and minimal nicks. The overall dimensions are 25.5 x 16 cm and the rim is 1 cm high.

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Finely Chiseled Bai Tung Tray with Love Scene, Qing Dynasty

Lot 90: Finely Chiseled Bai Tung Tray with Love Scene, Qing Dynasty

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Description: Bai Tung brass tray China, 19th century during the Qing dynasty (1644-1912) Overall dimensions: 29 x 17.5 cm; rim height: 1 cm Very elegant, fine workmanship Good condition Provenance: from the estate of a German commercial attaché, who lived in China around 1900 This very beautiful Bai Tung tea serving tray, from the 19th century of the Qing dynasty, impresses with its supremely fine and delicate engraving. A noble gent, dressed in wide garb and holding a fan in his left hand, walks down the steps of the palace terrace. He encounters an attractive lady, whose elaborate and finely adorned garment suggests she belongs to the court as well. The young woman leans out of the window of her house, of which we can only see the outlines, to extend a friendly greeting to the promenader. The effusive finger positions of the figures and the fine chiseling of the courtly lady's chignon hairstyle speak for the extremely high skill of the engraver. The individual facial expressions, charmingly smiling towards the viewer, are a particularly beautiful detail that gives the scene a joyful atmosphere.This tray, made of Bai Tung brass that contains a high silver content, is in good condition with traces of wear. The front side of the tray displays a small dent that can be felt on the reverse side as well; therefore the tray will not lay entirely level on a flat surface. The overall dimensions are 29 x 17.5 cm and the rim is 1 cm high.

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Pair of Marble Sculptures,

Lot 91: Pair of Marble Sculptures, "Adorants", India, 19th Century

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Description: Marble India, 19th century Two sculptural, figural stelae Extremely fine sculpturing with hand-painted, polychrome lacquer coating Total height, including base: each 89.5 cm Provenance: From the estate of Wolfgang Ritter, entrepreneur from Bremen and one of Oskar Kokoschka's patrons This pair of marble stelae dates to the 19th century India. It displays two sculptural adorant figures. They stand on elevated, octagonal pedestals; each adorant has one leg crossed over the other, a lotus sceptre in one hand and a fly whisk above the head in the other. The adorants wear crowns and are dressed in rich garments. In addition, they are fitted out with pieces of jewellery like earrings, necklaces, and arm and ancle bracelets. The finely carved and chiseled surface displays clearly visible remains of hand-painted lacquer ornaments in gold, red, green and blue. The coating is more preserved on the reverse and shows impressively beautiful, elaborate decorations.Underneath the pedestals, which are adorned with lotus flowers, there are four small, sitting lions each. The work, which indicates striking artisanship of the highest degree, displays a combination of different stylistic characteristics: on the one hand, Indian elements are clearly employed, while on the other hand the lion figures are unusual for Asian imagery and suggest European influences. Viewing the richly decorated pillars on the reverse side of the figures, the influence of the Mughal style is obvious. These different aspects lead to the assumption that these stelae could have adorned the house entrance of an important European in India, before they were converted to lamp stands and mounted on gilded bronze bases in later times.The marble stelae have an optically appealing appearance, appropriate for their age. Besides the usual signs of age and loss of colour, both stelae display various breakages with loss of material in protruding spots like nose and corners, two lion figures per piece are completely lost. Additionally, one hand shows a repaired breakage with the lower grip of the fly whisk missing. Some smaller parts were remodeled and restored. The dimensions for both are 89.5 cm (total height including the bronze base) and 82.5 cm (height of each stele).

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Pair of Carved Cinnabar Lacquer Seats, China, Qing Dynasty

Lot 92: Pair of Carved Cinnabar Lacquer Seats, China, Qing Dynasty

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Description: Lacquer carving in distinctive cinnabar red China, Qing dynasty - 19th century High-quality craftsmanship Fine polish Richly carved with imperial celestial dragon Dimensions: 36 cm (width) and 37.5 cm (height) Very good condition This pair of cinnabar lacquer seats of quatrefoil form dates from the 19th century in Qing dynasty China. It was hand-crafted with traditional Chinese lacquer work in a distinctive cinnabar red. Under the quadratic seat, which is ornamented with a meander bordure, an apron-shaped shoulder with hinted lotus bordure stands out. The four cabriole legs are joined together by stretchers at the base. All parts are extensively figurally and ornamentally carved in relief and polished: at the top, three celestial dragons writhe around a pearl licked by flames. The fierce five-clawed dragons are symbols solely reserved for the emperor and his most high-ranking officials. They are confronting over 'flaming pearls' amongst dense clouds. This motif is repeated in varied composition on all sides and parts. The inner sides of the construction are classically black.The pair of seats is in impressively beautiful condition with minor traces of age and wear. Merely the rim of the apron and one heel show some chips. The dimensions are 36 x 36 cm (maximal width) and 37.5 cm (height)Chinese cinnabar lacquer Extravagant art objects made of lacquer where manufactured in China over many centuries. The material is obtained from the bark secretion of the lacquer tree, to which colour pigments are added. The most intense and striking colour is the well-known cinnabar red. Through lengthy and tedious handiwork, the lacquer is applied in countless layers on a wooden core. Every layer must first dry before the next one can be applied. Once the desired thickness is attained, the lacquer is carved with a knife and polished. This process, depending on the size of the object, results in a manufacturing duration between several months and several years.

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Blue & white porcelain vase with lotus scroll décor, Kangxi

Lot 93: Blue & white porcelain vase with lotus scroll décor, Kangxi

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Description: Hand painted porcelain China, Kangxi period (1662 - 1722) Blue decoration under the glaze Dense lotus scroll décor Beautiful elegant design Total height: 35 cm Double circle mark on the bottom Very good condition Provenance: collection of a sailor who acquired his antiques in Shanghai during the 1950s This mesmerizing lidded Chinese blue and white porcelain vase originates from the early 18th Century in China, more precisely the Kangxi period (1654 - 1722). The entire vessel is coated with a dense lotus scroll décor and floral garlands, as is the lid. The neck and a small rim just above the foot are left unglazed. The glazed bottom shows a double circle mark. The shape of the vase is rather appealing with a slightly tapered shoulder. The vase is in good condition with minor manufacturing imperfections and one hairline on the lid. The total height is 35 cm; the height of the vase alone is 32 cm.

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Masterly carved Ivory Relief,

Lot 94: Masterly carved Ivory Relief, "Court Lady", China, Qing Dynasty

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Description: Ivory relief China, Qing dynasty - 18th or early 19th century Canton school Incredibly fine carving quality Delicately reticulated Dimensions: 9.3 x 6.9 cm Good condition This ivory plaque with pierced diaper ground of the Canton school was made in China during the Qing dynasty in the 18th or early 19th century. It shows a rounded rectangular, reticulated panel, into which an oval medallion is integrated, where we see a traditionally dressed court lady holding a fan underneath an overlay built of curved peony tendrils.The background of the framing consists of a star decor while the background of the medallion consists of a comb decor. The incredibly fine quality of the carving and the workmanship are apparent in the elaborate ornamentation, the soft face and the detailed hair jewellery. The ivory displays visible remains of lacquer gilding as well as traces of black and red staining.The fine relief is in good condition and displays mere minor signs of age and wear that do not impair the beautiful appearance of this impressive piece of carving: few links of the delicate carving are broken, the face of the lady and the staining are slightly rubbed off. The dimensions are 9.3 cm (height) and 6.9 cm (width).

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Pair of important Cinnabar Lacquer Horseshoe Chairs, Qing

Lot 95: Pair of important Cinnabar Lacquer Horseshoe Chairs, Qing

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Description: Carved lacquer work in distinctive cinnabar red China, Qing dynasty - 18th or 19th century High-quality craftsmanship Fine polish Richly carved with figural and ornamental motifs Diaper ground Dimensions: 98.7 cm (total height), 52.5 cm (seat height) and 66.5 cm (width) Very good condition This pair of cinnabar lacquer horseshoe chairs dates from the 18th or 19th century in Qing dynasty China. It was hand crafted with traditional Chinese lacquer work in a distinctive cinnabar red. The armrests and chair backs are shaped like horseshoes, roundly formed and joined together through one curved backrest and three round, partly curved side rests each. The legs are connected at the top and bottom by multiple stretchers.All parts are extensively carved with textured ornamental elements and polished: the bars are adorned with the symbolic plants chrysanthemums, peonies, lotus and lingzhi. The chair backs each show a landscape with Taihu rocks and a bird of paradise on a cherry blossom branch in front of a geometrical background, on both sides. This diaper pattern is also found on the seats and parts of the arm rests. The inner sides of the construction are classically black.The pair of horseshoe chairs is in very good condition with only minimal cracks and traces of age and wear. Merely the feet display minor material loss. The dimensions are 98.7 cm (total height), 52.5 cm (seat height) and 66.5 cm (width). Chinese cinnabar lacquer Extravagant art objects made of lacquer where manufactured in China over many centuries. The material is obtained from the bark secretion of the lacquer tree, to which colour pigments are added. The most intense and striking colour is the well-known cinnabar red. Through lengthy and tedious handiwork, the lacquer is applied in countless layers on a wooden core. Every layer must first dry before the next one can be applied. Once the desired thickness is attained, the lacquer is carved with a knife and polished. This process, depending on the size of the object, results in a manufacturing duration between several months and several years.

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Polychrome Painted Porcelain Vase with Court Scene, Kangxi

Lot 96: Polychrome Painted Porcelain Vase with Court Scene, Kangxi

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Description: Hand-painted porcelain China, Kangxi period (1662-1722) Underglaze blue / polychrome enamels over the glaze Height: 28 cm Provenance: from the estate of a German commercial attaché, who lived in China around 1900 The main motif of this Yen Yen vase, hand-painted with enamels of the Famille Verte palette, is a court scene, in which men at a reception present a dignitary, with his servant at his side, with gifts. This scene is framed by elaborate architecture that creates a spatial effect within the vase. In addition, it is covered in a detailed landscape. Red clouds cover the top area of the vase and green trees and shrubbery round out the decor, which extends in a full blaze of colours up to the neck of the vase. The footrim is encompassed by two very fine double circles; it ends at the neck with an ornamental floral bordure. The blue colour was applied underglaze while the multi-coloured enamels of the Famille Verte were applied over the glaze. The vase has a Yen Yen baluster form with a bulbous shoulder and a slightly flared foot. The vase has an optically appealing appearance with traces of age and wear. Presumably, it was shortened at the neck, and it features a bronze insert, reaching down to roughly the inner half of the vase, that was done in later times. The vase's height is 28 cm, the neck has a diameter of 12 cm and the base diameter is 14.5 cm.

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Polychrome Painted Wucai Porcelain Vase with Scholar, 17th C

Lot 97: Polychrome Painted Wucai Porcelain Vase with Scholar, 17th C

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Description: Hand-painted porcelain China, Transitional Period - 17th century Underglaze blue / Polychrome enamels over the glaze Height: 18.5 cm Excellent condition Provenance: from the estate of a German commercial attaché, who lived in China around 1900 This multi-coloured Wucai porcelain Vase in Meiping shape origins from the Chinese Transitional period (17th century) and depicts a scholar with paper scroll and quill. The surrounding, where he and his two adorants are located, at first appears like an abstract landscape, yet it shows scholar stones, so-called Taihu rocks. Chinese scholars consequently searched for these natural stones for meditative purposes, this is why in this scene we see the small, hunched Chinese drawing attention to such a stone. Literary figures and scholars used these stones, which were not allowed to be altered by human hand, as a source of inspiration.Classic Wucai colours, like bold iron red, radiant blue and different luminous green tones, unify in this fine transitional vase to form a very beautiful decor. Narrow blue circles run around the florally painted neck of the vase; they are repeated at the lower part above the accentuated footrim. The underside is unglazed, apart from a small dab in the middle. The vase has a beautiful Meiping shape with a slender, elongated neck. The vase is in excellent condition with merely minor signs of wear. Its height is 18.5 cm, the diameter at the neck is 5 cm and the base diameter is 7 cm.

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Porcelain Bowl with Chenghua Mark,

Lot 98: Porcelain Bowl with Chenghua Mark, "Boy and Lotus", Kangxi

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Description: Hand-painted porcelain China, Kangxi period (1662-1722) Apocryphal mark of the Chenghua period (1465-1487) on the underside Elegantly, finely painted in the palette of the Famille Verte On the underside mark in underglaze blue, polychrome enamels over the glaze Diameter: 21.5 cm Good condition Provenance: from the estate of a German commercial attaché, who lived in China around 1900 Four different motifs are unified on the elegantly curved outer surface of this quatrefoil paneled Famille Verte porcelain bowl. There are four distinct segments and in each one, a Chinese scholar is depicted in nature. The figures are all very detailed and the fine faces impress with their different expressions. The inner underside of the bowl is painted with a scantily clad 'lucky boy', whose lotus flower climbs up in the air. A depiction such as this is regarded as a symbol for the wish, "may the heavenly powers grant you a son". The upper rim of the bowl is adorned with a strip of stylised lilies and chrysanthemums, as well as peaches that symbolise immortality in China.This very finely, polychrome painted bowl is in good condition with small nicks on the rim and a tiny firing crack on the stand. There is an apocryphal six-character mark of the Chenghua period (1465-1487) underglaze. The bowl measures 21.5 cm in diameter and is 10 cm high. Famille Verte The term Famille Verte, which originated in the 19th century, designates a specific variety of Chinese export porcelains from the late 17th and the early 18th centuries. In those days, during the reign of Emperor Kangxi (1662-1722), porcelain factories in China made an effort to develop new forms and ornamentation techniques that would meet the demands of customers both in and outside of China. One of these new varieties was especially successful: Famille Verte, which is characterised by ornaments in enamels over the glaze with multiple green tones being dominant. The ornaments were generally finely hand-painted in great detail.

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Fine Hongzhi Mark & Period Porcelain Dish with lovely scenery

Lot 99: Fine Hongzhi Mark & Period Porcelain Dish with lovely scenery

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Description: Hand-painted porcelain China, Hongzhi period (1488 - 1505) Six-character mark of the Hongzhi period inside a double circle, on the underside Painting later - presumably Kangxhi period (1662-1722) Very decorative motif Elegant, fine ornamental painting Diameter: 21 cm Provenance: from the estate of a German commercial attaché, who lived in China around 1900 This exquisite porcelain dish is an authentic piece from the Hongzhi period (1488 - 1505) and features the mark from this period on the underside. The vivid colours in green and iron red tones and the cheerful motif are captivating. In the middle, five boys crowd round a young maiden, each one of them pursuing a different activity. One is walking a small crab on a leash, two are fighting one another with resolute facial expressions, and another cheekily peeps from behind the girl's dress. These small figures in colourful garments each have very individual facial features. The scene is rounded out with exotic plants and on the upper rim a small pagoda rises over the clouds. The small butterfly, the crab as well as the small sun show a great love for detail that make the decor of this dish so appealing. Four stylised depictions of the Chinese plum tree are rendered on the outer wall of the plate.The porcelain dish is in optically flawless condition. It used to have three small and one larger chips on the rim, which were professionally restored and are barely visible. The dish, according to the very well-set mark on the underside, originates from the Hongzhi period (1488 - 1505). The delightful painting was added later, probably in the Kangxi period (1662-1722). The dish measures 21.5 cm in diameter and is 4.5 cm high.

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Red Sandstone Sculpture

Lot 100: Red Sandstone Sculpture "Yaksi Ambika", India, 10/11th Century

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Description: India - 10th / 11th century Red Sandstone Sculpture of a "Yakshi Ambika" Dimensions: ca. 75 cm (height) x 40 cm (width) Good, age-related condition This sculptural work made of red sandstone is of Indian origin and dates to the 10th or 11th century. It showsAmbika, one of the 24Yaksinis. In Jainism, she symbolises motherhood and fertility and is depicted as sensually beautiful with wide hips, a slim waist and pronounced, spherical breasts. Her iconography varies depending on region and religious circle and has repeatedly changed over the centuries. Here we see Ambika two-armed inLalitasana sitting posture under a wide, figurally shaped overlay with ripe mango fruits. Almost nude, she is bedecked with head regalia, necklaces as well as arm and ankle bracelets. Her sonPriyankara, whom she holds in her shielding arm with a loving smile, sits on her tucked up left leg, while her other sonSubhankata stands to her right. A lotus flower lies on her lap. HerVanaha, a lion that serves as her mount and distinctive mark, is found underneath her left knee.The elaborately and detail-richly carved sculpture is in good condition appropriate for its age with according surface traces and loss of material in parts. The height is approx. 75 cm and width is approx. 40 cm.

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