HIGHLIGHTS
AUCTION 38 | 07. Dezember 2013 |
013 Ferdinand Kobell (attributed). Landscape with shephards and cattle. 18th cent.
Ferdinand von Kobell 1740 Mannheim – 1799 München
Oil on canvas. Unsigned. Framed in a profiled, gold- and silver coloured decorated frame, verso barely legible inscribed "Steinberg" (?).
We are grateful to Dr. Margret Biedermann, Munich, for her suggestions.
Painting layer with cracks. Small retouchings in the sky. Carrier with unconspicious pressure mark on the bottom central.
33,7 x 43,3 cm, Ra. 46,7 x 57,4 cm.
Johann Heinrich Schönfeld 1609 Biberach a.d. Riss – 1684 Augsburg
Oil on canvas. Verso titled on the frame. Profiled frame with dark braun glaze.
Framed by surrounding accessories in the flat and modeled by light in space, the merging of the oval shape finds ist completion in the realm of the gods, which forms a circle around the main group consisting of Anchises and Aeneas.
The arrangement, presentation and elaboration of the figures, the dramatic bright light coming from the left, the whole composition in an oval shape are characteristic of
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64 x 95 cm, Ra. 89 x 118 cm.
016 Adolph Tidemand "Lystringen" (night fishing). 1849.
Adolph Tidemand 1814 Mandal – 1876 Christiania
Oil on canvas. Signed with brush "A. Tidemand" and dated on the bottom right. Unframed.
Probably catalogue raisonné by Dietrichson No. 323.
See also Boetticher II, Volume 2, Tidemand, A., No.11, two paintings with the same motif.
Having finished his studies at the academy of Fine arts in Düsseldorf (1837-41), Adolph Tidemand went on a journey through his home country Norway. The naturalness of the landscape and the simple, peaceful life of the peasant poulation gave occasion to
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24,5 x 39 cm.
033 Elisabeth Ahnert "Blaue Beete Nr. 5" (Blue garden beds No. 5). About 1960.
Elisabeth Ahnert 1885 Chemnitz – 1966 Ehrenfriedersdorf
Application (different fabrics and yarns). Stitched monogramm "A" at the top left. Verso with a sewd on label on thebottom right. There titled, inscribed "Applikation" and signed "Elisabeth Ahnert" with ink.
Provenance: estate of Ilse Conradus, former head of the Graphic Collections of the Angermuseum, Erfurt. She cultivated a close friendship with Elisabeth Ahnert.
"Oh, at the beginning of an application you often believe, something of what you had in mind, has to fulfill. But
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22 x 29,2 cm.
036 Johannes Beutner "Gardener" 1952.
Johannes Beutner 1890 Cunnersdorf/Sächs. Schweiz – 1960 Dresden
Oil on canvas. Signed with brush "Joh. Beutner" and dated on the upper left. Brown frame.
See Lademann, Jördis (Hrg.): Johannes Beutner 1890-1960. Leben und Werk, p. 112 with image, catalogue number 86. Catalogue generated on the occasion of the exhibition at Stadtmuseum Pirna in 2010.
For more than thirty years his second wife Hilda had been his most important model. Fritz Löffler wrote about the prefered motif "The portrayed woman stays the same, and yet she is always seen in
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115 x 95 cm, Ra. 117 x 97 cm.
048 Hermann Glöckner "Yellowgreen folding between grey and blue". 1955.
Hermann Glöckner 1889 Cotta/ Dresden – 1987 Berlin (West)
Tempera. Tempera and collage on strong paper. Verso monogrammed "HG" and dated. Inscribed by the artist "an F 1957" und numbered "74". Estate number "2699" on the bottom left . Signed "Glöckner" on the backing board, inscribed and numbered. Framed behind glass in artist´s frame.
Painting layer lightely mildewed, on the bottom left a water stain, a scratch on the right. Corners rammed, small damages on the edges.
17,3 x 20,8 cm, Ra. 19,6 x 22,2 cm.
* Droit-de-suite of 2.00 % applies.
058 Konrad Knebel "Houses in Zwickau" 1979.
Konrad Knebel 1932 Leipzig
Oil on canvas. Signed "Knebel" and dated on the bottom left. In a simple white frame.
We are grateful to Mr. Konrad Knebel, Berlin, for his suggestions.
Paionting layer with small retouchings on the top edge.
50,1 x 70,5 cm, Ra. 52,6 x 73 cm.
* Droit-de-suite of 2.00 % applies.
070 Rudolf Nehmer "Cucumbers together" 1949.
Rudolf Nehmer 1912 Bobersberg – 1983 Dresden
Oil on canvas. Signed "Rudolf Nehmer" and dated on the bottom right. Verso signed again "Rudolf Nehmer" and titled on the stretcher. Shaped frame.
Painting layer with cracks on the left edge, one single retouched and overpainted gap. The cucumber on the bottom right with small gap. Carrier with textile patch verso on the bottom right.
38 x 80,5 cm, Ra. 46,5 x 87,7 cm.
071 Rudolf Nehmer "Still life in front of a broad field" 1979.
Rudolf Nehmer 1912 Bobersberg – 1983 Dresden
Oil on plywood. Signed with brush "Rudolf Nehmer" and dated on the bottom right. Verso signed again "Rdolf Nehmer" and titled in the middle. Shaped frame.
Provenance: from the artist´s atelier.
„Next to the portrait, the still life plays an important role in my painting. It’s almost a try of retrieval of it’s honor when I address myself to this often disregarded topic. There is always this astonishment towards these not always pretty items I chose to depict. There is
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76 x 76cm, Ra. 81,5 x 81,5 cm.
074 Curt Querner "Portrait study Inge Auxel with braids". 1968.
Curt Querner 1904 Börnchen – 1976 Kreischa
Oil on cardboard. Unsigned. Verso inscribed "XOX" at the top right and dated on the upper left side. Unframed.
Catalogue raisonné by Dittrich No. A 318.
Corners of the carrier slightly bumped. Uneven varnished, applicated by the artist.
44 x 28 cm, Ra. 50, 6 x 34,7 cm.
* Droit-de-suite of 2.00 % applies.
075 Wilhelm Rudolph, Thunderstorm over Ostrava. Probably 1945.
Wilhelm Rudolph 1889 Chemnitz – 1982 Dresden
Oil on canvas. Signed "W. Rudolph" on the bottom right. Black wooden frame.
The atmospheric phenomenon of rain and storm holds a special place in the artistic creation of Wilhelm Rudolph. It seems that in his woodcuts the uniform structure of the falling rain imitates both the grain of the printing block and the traces of the ripping chisel, but also creates a curtain between motive and beholder. In this oil painting the thunderstorm over the plain appears like a veil covering the
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75 x 92 cm, Ra. 85,6 x 102,8 cm.
088 Hans Unger "Morning". 1920's.
Hans Unger 1872 Bautzen – 1936 Dresden
Oil on cardboard. Unsigned. Verso monogrammed "H.U." and numbered "305". Titled below. Framed in a new, gilded decorated frame.
The subject of awakening, daybreak and dawn predominates the painting of Hans Unger during the 1920’s. In collections and the art-dealing there are several familiar sceneries repeating this theme. On one hand, the accumulation of the motif hints at an artistic interest in the play of colors during daybreak, and on the other hand, it indicates an
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47 x 62 cm, Ra. 60,3 x 75 cm.
092 Paul Wilhelm, Portrait Marion in front of poppies. About 1955.
Paul Wilhelm 1886 Greiz – 1965 Radebeul
Oil on canvas. Unsigned. Verso with written confirmation of authenticity by Prof. Werner Schmidt on the bottom left. Unframed.
Painting probably newly varnished. Carrier remounted. New, glazed stretcher.
75 x 54,5 cm.
103 Albrecht Dürer "St. Sebaldus". 1518.
Albrecht Dürer 1471 Nürnberg – 1528 ebenda
Wood cut. Unsigned. Dated in the printing block on the top left. Print about 1580. In Passepartout.
Catalogue raisonné by Schoch / Mende / Scherbaum No. 251, state 2b, with watermark of 1b (crowned coat of arms).
Hollstein VII, p. 268.
TIB X 1980, p. 288.
Printing block with gap and retouched crack on the bottom central. Narrow-edged, slightly mildewed. Verso inscribed.
Bl. 30,4 x 21,2 cm.
154 Johann Christian Reinhart "Great heroic landscape, dedicated to Schiller". 1800.
Johann Christian Reinhart 1761 Hof / Bayern – 1847 Rom
Etching. on yellowish paper. Signed, dated and inscirbed outside the depiction on the bottom left "J. C. Reinhart inv.t pinx.t et Sculpt. Romae 1800.". With dedication to Friedrich Schiller on the bottom centre. Inscribed "J.F. Frauenholz excudit Norimbergae. 1801."
Andresen I 96, second completed print.
See. F. Carlo Schmid, Naturansichten und Ideallandschaften. Die Landschaftsgraphik von Johann Christian Reinhart und seinem Umkreis, Berlin 1998. p. 105ff.
Intense print. Edges and corners slightly creased. Two small spots on the right edge.
Pl. 50,3 x 40,8 cm, Bl. 52,3 x 41,8 cm.
330 Pol Cassel "Southern France" (IV A). Probably 1930.
Pol Cassel 1892 München – 1945 Kischinau, UdSSR
Watercolour. Unsigned. With estate stamp "Pol Cassel" on the bottom left. Numbered in the upper left corner "75" (rubbed out). Verso again with estate stamp on the bottom right. Below titled and numbered "No. 75" probably by Susanna Cassel.
Corner on the bottom left creased, one unconspicious scratch on the bottom right; slightly mildewed. Verso with traces of an older montage.
30,7 x 46,5 cm.
* Droit-de-suite of 2.00 % applies.
344 Hermann Glöckner "Redish brown spots, with bird head". 1962.
Hermann Glöckner 1889 Cotta/ Dresden – 1987 Berlin (West)
Mixed media on deckle-edge paper. Verso signed "Glöckner" on the bottom left., monogrammed "HG" in the middle and dated on the bottom right. Furthermore with estate number "777" on the bottom left. Signature (?) on the supporting cardboard "Hermann Glöckner".
Technology-related creased and with unconspicous damages on the paper edges. Traces of an older montage, one tear expertly repaired on the top left.
31 x 45,2 cm.
* Droit-de-suite of 2.00 % applies.
391 Willy Kriegel, Waldstück. 1930's.
Willy Kriegel 1901 Dresden – 1966 Starnberg
Mixed media. on cardboard. Monogrammed "K" on the bottom left. In passepartout. Framed behind glass in a nineteenth century frame.
Passe-partout yellowed. Frame slightly bumped.
25 x 31,8 cm, Ra. 44,5 x 51,5 cm.
405 Elfriede Lohse-Wächtler "Elbbrücke Blasewitz - Loschwitz". 1931.
Elfriede Lohse-Wächtler 1899 Dresden – 1940 Pirna-Sonnenstein
Pastel crayons in colours. on drawing cardboard. Unsigned. On supporting cardboard. Framed behind glass in a profiled frame.
Catalogue raisonné by Reinhardt No. 173, differing dimensions.
Slight scratches at the right edge. Edges occasionly dirty. Right edge creased, with two smaller and one larger tear, left edge with one minimal tear. On the bottom edge water spots. Verso traces of a former montage. On the left edge pin-like tiny holes.
49 x 68,1 cm, Ra. 68 x 86, 5 cm.
406 Elfriede Lohse-Wächtler "View over tenements". 1930.
Elfriede Lohse-Wächtler 1899 Dresden – 1940 Pirna-Sonnenstein
Pastel crayons in colours. on drawing cardboard. Unsigned. Verso estate stamp and inscription on the bottom left. In passepartout. Framed behind glass in a profiled frame with ebonized corners.
Catalogue raisonné by Reinhardt No. 66.
Provenance: estate of the artist.
Slightly touched on the edges . Minimal wavy. Verso with traces of a former mounting.
54 cm x 40 cm, Ra. 84 x 70 cm.
428 Curt Querner November landscape. 1958.
Curt Querner 1904 Börnchen – 1976 Kreischa
Watercolour on vellum paper. Monogrammed "QU" and dated on the bottom right. Verso inscribed "XXO" on the bottom right.
Not in the catalogue raisonné by Dittrich.
Inconspicuously bended. Verso slightly spotty and with traces from the creation. On the upper edge with traces of a former mounting.
34,1 x 43 cm.
* Droit-de-suite of 2.00 % applies.
489 Hans Unger "Santa Maria della Salute in Venice". Pres. ar. 1920.
Hans Unger 1872 Bautzen – 1936 Dresden
Pastel crayons in colours on brownish drawing paper. Signed in crayon "H. Unger" top right. Mounted in the original passepartout. Ibidem titled verso in ink top center, differently noted in pencil as well as with the stamped signature "Hans Unger". With dedication by the artist's daughter Maja Unger. Framed behind glass in gilded decorated frame.
Unprofessional mounting, partially showing through. Pin holes. Corner bottom right with very small loss.
32,1 x 48 cm, Ra. 54,2 x 69,3 cm.
501 Paul Wilhelm, Hollyhock and Delphinium in the artist's garden. Around 1930.
Paul Wilhelm 1886 Greiz – 1965 Radebeul
Gouache and water colour on vellum. Signed in pencil "P. Wilhelm" bottom right.
Corner bottom right bended and with smaller losses. Edges partially slightly bended and with pin holes. Corner top left bended and with small bruises. Right edge with insect damages.
79,5 x 56,9 cm.
Ernst Julius Hähnel 1811 Dresden – 1891 ebenda
Gypsum, coloured and patinated. Signed "Ernst Hähnel fec." bottom right. Verso titled in scribed letters and noted "M". With metal sling hook.
Patina and colouring with visible craquelure and many smallest marks. Corners bruised, smaller losses on Bacchus' chaplet, hand and pole as well as on Ganymeds hat and on the bowl next to the eagle.
28,7 x 43,7 cm.
670 Elegant Art-Déco-Collier. Pres. around 1920's.
585 gold and platinum (tested). Balanced centre formed by two engaged circles, gemmed with three framed brilliants in antique cut and two slim bipartide pendants. The pendants each with one larger and one smaller brilliant in antique cut. Gems (together ar. 1,60 ct) in Top Wesselton till Wesselton quality (G-H), high quality cut and with very, very small till very small inclusions (VVS-VS). Tongue and groove clasp. Safety eight with additional safety chain with ring clasp
Length max. 28 cm, total weight 7,28 g.
L. max. 28 cm, Gesamtgew. 7,28 g.
671 Art-Déco brooch with large solitaire. Pres. around 1930.
Platinum. Rectangular brooch in millegriffe design, gemmed with diamond grains and one framed brilliant (ca. 1,05 ct) in the centre. Solitaire in good proportions, Top Crystal Quality (J) and with vers small inclusions (VS). Bajonet pin. With the original Bakelite box.
Including an expertise on the solitaire by Heinz Reinkober, dated 09/2013.
Small braze point top left.
Length 40 mm, total weight 7,46 g.
Eine kleine Verlötung o.li.
L. 40 mm, Gesamtgew. 7,46 g.
673 Grand ring of diamonds. 20th cent.
585 gold and white gold. Quite large, rectangular ringcentre in millegriffe design. Centre graded with three larger brilliants as well as five smaller brilliants at both sides. Altogether 13 gems (ca. 1,27 ct) in Top Wesselton Quality (F-G), very fine cut and with very small till small inclusions (VS-Si).
Including an expertise by Hero Greetveld F.G.G., Nr. 107568670-2013, dated from 21.05.2013.
Diameter: 17,8 mm (Ringsize 56,5), total weight 10,6 g.
D. 17,8 mm (Ringgröße 56,5), Gesamtgew. 10,69 g.