Null Klassizismus Riechdose / Hovedvandsaeg, Mathias Peter Traustedt, Tönder/Ton…

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Klassizismus Riechdose / Hovedvandsaeg, Mathias Peter Traustedt, Tönder/Tondern, 1810-1814 Material: Silver 13 lot, Hallmark: Master's mark MT 2x, Height: 8 cm, Weight: 35 g, Condition: good

605492

Klassizismus Riechdose / Hovedvandsaeg, Mathias Peter Traustedt, Tönder/Tondern, 1810-1814 Material: Silver 13 lot, Hallmark: Master's mark MT 2x, Height: 8 cm, Weight: 35 g, Condition: good

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Estim. 240 - 360 EUR

Paul Wallat, Blühender Kirschbaum vorm Friesenhaus Farmyard view with a magnificently blossoming tree in the farm garden in front of a thatched Low German farmhouse, impasto landscape painting with broad brushstrokes and finely coordinated colours, oil on canvas, c. 1950, signed "Paul Wallat" lower right, beautifully framed in silver moulding, rebated dimensions approx. 80.5 x 63.5 cm. Artist information: German painter. Painter, etcher and sculptor (1879 Rostock - 1964 Sønderborg), initially trained as a parlour painter in Rostock, 1899-1902 studied at the Kunstgewerbeschule Hamburg, 1902-09 further training at the Akademie Berlin under Otto Brausewetter and Carl Saltzmann, 1905-06 travelled the world on the SMS "Charlotte" with imperial support, Study visits to Holland and Belgium, worked as a freelance artist until 1917, first in Charlottenburg and later in Berlin-Friedenau, participated in the Great Berlin Art Exhibitions from 1904, later also in the Glass Palace Exhibitions in Munich, member of the Reich Association of Visual Artists in Germany and the General German Art Co-operative, 2nd chairman of the Mecklenburg Artists' Association. Chairman of the Mecklenburg Artists' Association, mentioned in Teisendorf in Upper Bavaria in 1921, then resident in Gehlsdorf near Rostock until 1949 and from 1949 in Tønder [Tondern] and Sønderborg [German: Sonderburg] in Denmark, source: Thieme-Becker, Vollmer, Dressler, Saur Bio-Bibliographisches Lexikon and Wikipedia.

Estim. 200 - 300 EUR

Paul Wallat, Friesenmädchen an der Küste Half-length portrait of a young woman with white bonnet and red cape in profile, on a fishing boat in front of a moving sea, impasto painting with broad brushstrokes in powerful colours, oil on canvas, c. 1940, signed "Paul Wallat" lower right, minor cleaning required, framed in silver moulding (rubbed), rebated dimensions approx. 87.5 x 64 cm. Artist info: German painter. Painter, etcher and sculptor (1879 Rostock - 1964 Sønderborg), initially trained as a parlour painter in Rostock, 1899-1902 studied at the Hamburg School of Arts and Crafts, 1902-09 further training at the Berlin Academy under Otto Brausewetter and Carl Saltzmann, 1905-06 travelled the world on the SMS "Charlotte" with imperial support, Study visits to Holland and Belgium, worked as a freelance artist until 1917, first in Charlottenburg and later in Berlin-Friedenau, participated in the Great Berlin Art Exhibitions from 1904, later also in the Glass Palace Exhibitions in Munich, member of the Reich Association of Visual Artists in Germany and the General German Art Co-operative, 2nd chairman of the Mecklenburg Artists' Association. Chairman of the Mecklenburg Artists' Association, mentioned in Teisendorf in Upper Bavaria in 1921, then resident in Gehlsdorf near Rostock until 1949 and from 1949 in Tønder [Tondern] and Sønderborg [German: Sonderburg] in Denmark, source: Thieme-Becker, Vollmer, Dressler, Saur Bio-Bibliographisches Lexikon and Wikipedia.

Estim. 9 000 - 11 000 EUR

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Sofa-bed "Barcelona", design 1929 (Universal Exposition of Barcelona). Chromed stainless steel and Cognac leather upholstery. African ramin wood frame. Leather-covered cushion sewn with buttons and chains. Includes matching neck pillow. Certified by Knoll International. Original packaging. Brand new. Reproduced and reviewed in "Charlotte & Peter Fiell. 1000 Chairs", p. 133. Measurements: 41 x 195 x 95 cm. 226x103 cm. (packing). The Barcelona sofa bed is a classic work of 20th century industrial design. Mies van der Rohe created it, along with the matching chair and side table, for the German pavilion at the 1929 Barcelona International Exposition, a building that was itself a landmark in the architecture of the last century. Like the chairs, the ottoman was made with a polished stainless steel frame and leather upholstery. Rohe based its creation, in his personal line of modern classicism, on furniture used by Roman magistrates in antiquity. Today, both the Barcelona chair and the matching ottoman and side table are still produced by Knoll, the firm that bought the license from the architect in 1953. Modern models are produced in two different steel configurations, and in various types of leather in different colors. Examples of the Barcelona chair are now held in important collections around the world, including the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany soon after forced him to emigrate to the United States. There he continued his brilliant career, teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings mainly in Germany and the United States, especially his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Starting price 100 EUR

F. KAUKE (1754-1777), Portrait of J.W. Gleim (1719-1803), 1759, Copper engraving Friedrich Johann Kauke (around 1754 - 1777 ibid.): Portrait of Johann Wilhelm Ludwig Gleim (1719 - 1803 ), 1759, Copper engraving Technique: Copper engraving on Paper Inscription: Lower middle signed in the printing plate: "FKauke sc.". Lower middle dated: "1759.". Date: 1759 Description: The sitter founded the 'Halberstadt Poets' Circle', an association of young literary figures, and was in active correspondence with Gotthold Ephraim Lessing. Friedrich Wilhelm Gleim introduced Anacreontic poetry - based on the ancient poet Anacreon - into German literature, which was to have a lasting influence on it. The antique-style oval stone frame in which his face is depicted is probably not only to be understood as a fashion of the 18th century, but also represents the connection between his poetry, which was orientated towards antiquity, and the literature of the mid-18th century. Person: Johann Wilhelm Ludwig Gleim (1719 - 1803 ) Poet and important representative of the cult of friendship in the Enlightenment. Gleim studied law in Halle from 1739, but even then he turned to aesthetic-literary exercises under the influence of Alexander Gottlieb Baumgarten and Georg Friedrich Meier, while his poetic inclinations received much stimulation in friendly exchanges with Johann Peter Uz and Johann Nikolaus Götz. After completing his studies, Gleim became a tutor in Potsdam in 1740 and thus became known to Prince Wilhelm of Brandenburg-Schwedt, who took him into his service as a secretary. In 1744 he accompanied the prince to the Second Silesian War, but the latter fell during the siege of Prague. The following year he became secretary to the Old Dessauer, but the ruthless severity of the prince soon made him dislike the office. He then lived in Berlin for a few years until he was appointed cathedral secretary in Halberstadt in 1747. Later he also became canon of Walbeck Abbey, which provided him with a very good income. Gleim was friends with Johann Peter Uz, Friedrich Gottlieb Klopstock, Moses Mendelssohn, Johann Gottfried Herder, Johann Heinrich Voß and Johann Gottfried Seume and founded the Halberstadt Poets' Circle, an association of young literary figures. In addition, he sought friendship, or at least acquaintance, with all German-speaking poets. His best-known poetry was the Prussian War Songs in the Campaigns of 1756 and 1757 by a Grenadier, which he wrote at the beginning of the Seven Years' War full of enthusiasm for Frederick II. In this he was a forerunner of German political poetry. He was widely respected as "Father Gleim" until his old age. The Gleim Literature Prize is named after him. Keywords: 18th century, Classicism, Portraits, Germany, Size: Paper: 17,8 cm x 10,1 cm (7 x 4 in), Plate: 16,7 cm x 10,0 cm (6,6 x 3,9 in), Depiction: 15,7 cm x 9,4 cm (6,2 x 3,7 in) Condition: Good condition. Minimally stained and with irregular margins.

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