Null (1881 Zwickau - Berlin 1955). The Lord's Prayer II (Our Father, Thou art in…

Description

(1881 Zwickau - Berlin 1955). The Lord's Prayer II (Our Father, Thou art in heaven). Woodcut. 1921. ca. 39.5 x 29.5 cm, sheet 48.7 x 34.8 cm. Signed lower right. "HMPechstein", as well as signed lower left by the printer F. Voigt. Hint. Mounted on mount. One of 250 copies from the portfolio "Das Vater Unser". - Remainder. Ob. center br. Fl. upper left, as well as center bottom rest. Tears (one within the image), resp. losses. Verso fl., tls. Spor. and inscribed D

4039

(1881 Zwickau - Berlin 1955). The Lord's Prayer II (Our Father, Thou art in heaven). Woodcut. 1921. ca. 39.5 x 29.5 cm, sheet 48.7 x 34.8 cm. Signed lower right. "HMPechstein", as well as signed lower left by the printer F. Voigt. Hint. Mounted on mount. One of 250 copies from the portfolio "Das Vater Unser". - Remainder. Ob. center br. Fl. upper left, as well as center bottom rest. Tears (one within the image), resp. losses. Verso fl., tls. Spor. and inscribed D

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Estim. 6 000 - 8 000 EUR

A MASSIVE EARLY 19TH CENTURY FRENCH SILVER SOUP TUREEN AND STAND BY LEBRUN, PARIS, 1819-1838 PROBABLY MADE FOR BARON HEINRICH, WITH THE ARMS OF VON BULOW, 255 OZ TROY IN WEIGHT the large Charles X centrepiece in the Empire style designed as a classical urn and cover, the oval body with leaf-tip borders, the bowl cast on both sides with heraldic crest, arms and comte coronet flanked by birds holding rings, the leaf-capped scroll handles springing from grapevine and terminating at rim in cornucopiaes of fruit and flowers, raised on a conforming oval pedestal base with foliate border, the domed cover with reeded, acanthus wrapped handle issuing vines and grapes, opening to the removable silver gilt liner, raised on a very large oval plinth stand, also decorated with the same coat of arms to both sides and with stiff leaf and beaded border, raised on four paw feet issuing acorn leaves, marked throughout with maker's mark and French guarantee marks for 1819-1838, 7945 grams (255.43 oz troy) in weight 47cm wide x 43cm high A similar soup tureen by Lebrun but without the large stand was sold at Sotheby's, New York, 4th November 2011, lot 261, $22,500. The arms that are appliqued upon this massive soup tureen and stand by the noted Paris Silversmith Marc-Augustin Lebrun, Paris, dating to circa 1819 – 1838 are those of the family of von Bülow. They are blazoned as follows: Arms: Azure fourteen bezants four four three two and one Supporters On either side an oriole proper each holding in its beak a ring or The whole ensigned with a baronial (Freiherr) coronet. The oriole is also borne by the Von Bülow family as their crest standing between elephant’s trunks and wings, the elephant’s trunks each being charged with seven bezants (see image on page 2). The use of the oriole as both the crest and supporters as seen here is an example of an heraldic pun or cant as ‘bülow’ was also a word for the oriole in the local dialect based on Wendish roots. Given the date of manufacture of this tureen and stand, together with the use of the baronial coronet the likely candidate for its ownership is Baron (Freiherr) Heinrich. Baron (Freiherr) Heinrich Ulrich Wilhelm von Bülow (1792 – 1846) was the second son of Bernhard Joachim von Bülow and his wife Elisabeth Marie von der Lühe. Heinrich married Matilde Constance Eleonore Gabriele von Humboldt5 (born 28th May 1802 died 16th April 1887) at Berlin in Brandenburg- Prussia6 on the 28th May 1802. She was the youngest daughter of Friedrich Wilhelm Christian Carl Ferdinand von Humboldt and his wife, Carolina Friederica von Dacheröden. Although Heinrich studied law, he later served in the Prussian Army and distinguished himself in several campaigns. After his military service, he joined the Prussian diplomatic service working at one time under Wilhelm von Humboldt, his future father-in-law. In London, he worked with his father-in-law in the Prussian Embassy as the Embassy’s Secretary in 1817 and was subsequently appointed to head the section for trade and maritime affairs in the Prussian Foreign Office in Berlin in 1819. In 1827, Heinrich was appointed the Prussian Ambassador to the Court of St James in London. His last appointment within the Prussian Government was as the Foreign Minister of Prussia took place on the 2nd April 1842. On retirement, he lived at Schloss Tegel, Tegel in the Reinickendorf district of Berlin. The Schloss being a von Humboldt family estate which his wife, Matilde had inherited from her father. The House of Bülow is of ancient noble German and Danish stock of Mecklenburg origin. Members of the family over the centuries have been created as Barons (Freiherr), Counts (Graf) or Princes (Fürst). The family can trace its main line back to a knight named Godofridus de Bulowe who was mentioned in a deed dated 1229 and is named after the village of Bülow near Königsfeld, then part of the Bishopric of Ratzeburg. Use this link for a bespoke instant shipping quote to your location: https://app.thepackengers.com/en/product_widgets/cczZ3e9XoF/destination/new

Estim. 450 - 500 EUR

Hugo Mühlig (Dresden 1854 - 1929 Düsseldorf), ,Heimkehrender Bauer, gouache on laid paper, signed lower right, 13 x 20 cm, a view of this Lower Rhine farmhouse from the same angle, albeit less detailed, was offered at Villa Grisebach, Berlin, on 1.6.2019 (lot 1216), under glass in a golden wooden frame, overall size: 17.5 x 24.5 cm. Limit 450,- >> First lessons with his father Meno Mühlig, 1877-80 studied at the Dresden Academy of Art (master student of Viktor Paul Mohn in the master class for landscape painting); 1880 moved to Düsseldorf, 1887-1929 member of the Düsseldorf artists' association Malkasten, from 1891 member of the secessionist Free Association of Düsseldorf Artists; during the summer he was often in the Hess. Favorite motifs: Lower Rhine, Eifel, Hesse a. the dune landscapes of the Belgian a. German North Sea coast; bibliography: TB a. Lexikon der Düsseldorfer Malerschule.

Hoff, Carl Heinrich the Younger - 1866 Düsseldorf - 1904 Feldberg/Black Forest, was a German portrait, genre, still life, landscape and veduta painter as well as lithographer and graphic artist. From 1878 he studied painting and graphic techniques in Karlsruhe at the Grand Ducal Baden School of Art, where his father taught as a professor. From 1881 to 1904, when he died in an accident on the Feldberg in the Black Forest, Hoff was active as an artist, particularly in Karlsruhe and Dachau, and traveled to France, England and Italy. In 1887, together with Heinrich Deiters, Carl Irmer, Carl Jutz, Franz Stegmann and Max Volkhart, he contributed to the collection of 40 original engravings compiled in an art portfolio, which was published by Estes & Lauriat in Boston in 1888 under the title The Dusseldorf Gallery. In 1892 he lived in Paris, where he created Impressionist-influenced engravings, and in 1897 he visited Volendam in the Netherlands. Hoff last lived in a villa in Berghausen near Pfinztal, district of Karlsruhe. "Nordische Landschaft", oil on canvas, flat, North German landscape with farmhouses, inscr. and illegible inscription on the reverse, needs to be restored, approx. 24x36cm, rubbed, dam. c. 34x46cm

Estim. 12 000 - 14 000 EUR

HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (frame). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

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