Null Carcano FAT Mod. 1942
Cal. 6,5x52Carcano, SN. AL9780, matching numbers. Al…

Description

Carcano FAT Mod. 1942 Cal. 6,5x52Carcano, SN. AL9780, matching numbers. Almost bright barrel, length 67 cm. German proof mark 1972, sights scaled 3 - 10, barrel root in rectangle marked "Krone / FAT / 42", on receiver left Hege importer's stamp and caliber designation. Original finish preserved to approx. 90 %, receiver refinished, breech pitted with rust. Magazine box with heavy wear marks. No-nonsense beech stock with weak storage and usage marks, both sling swivels, cleaning rod. Overall length 117 cm. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: III

12383

Carcano FAT Mod. 1942 Cal. 6,5x52Carcano, SN. AL9780, matching numbers. Almost bright barrel, length 67 cm. German proof mark 1972, sights scaled 3 - 10, barrel root in rectangle marked "Krone / FAT / 42", on receiver left Hege importer's stamp and caliber designation. Original finish preserved to approx. 90 %, receiver refinished, breech pitted with rust. Magazine box with heavy wear marks. No-nonsense beech stock with weak storage and usage marks, both sling swivels, cleaning rod. Overall length 117 cm. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: III

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Estim. 180 - 220 EUR

A SCARCE .177 WALTHER LG51 (53'Z') BREAK-BARREL MATCH AIR-RIFLE, serial no. 026654, circa 1960, with blued 17 3/4in. barrel, tunnel fore-sight with removable element, provision for rear-sight at breech (not supplied), plain air-chamber marked 'WALTHER LG CAL 4.5' over 'MOD 51' and 'WALTHER'S PATENT', no provision for telescopic sight, figured walnut half-stock, the top of wrist fitted with a Walther peep-sight with large pan-head aperture, chequered pistol-grip, deep fore-end with finger grooves, much apparent original finish.

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.

Estim. 25 000 - 30 000 EUR

ROBERT MOTHERWELL (United States, 1915-United States 1991). "Samurai", 1971 Lithograph on Japan Suzuki paper. Hand signed by the artist. Label by Brooke Alexander on the back. Measurements: 200 x 160 cm; 216 x 124 cm (frame). "Samurai" is a paradigm of Motherwell's work: an aggressive black form from which explosions and slashes radiate. It is one of Motherwell's most potent images, invoking elements of sexuality in the phallic abstract form and violence through the title. Although it is difficult to decipher the traces of figuration in Motherwell's work, he was inspired by and referenced literature, life, politics. A multidisciplinary artist, he trained at Stanford and Harvard Universities in Philosophy and at Columbia University in History and Art, under the direction of Meyer Schapiro. He was one of the leading representatives of American abstract expressionism, to whose group of founders he belongs along with Pollock, Arshile Gorky and Rothko. He also excelled as an art critic. He wrote numerous articles in avant-garde magazines and edited books such as "Documents of Modern Art" (1944-1961) or "Documents of 20th Century Art" (1971). He was a member of the editorial board of the Surrealist-linked publication "VVVV", Motherwell's main objective was to show the viewer the artist's mental and physical engagement with the canvas. He used the hardness of the color black as a basic element; one of his best known techniques consisted of diluting the paint with turpentine to create a shadow effect. His series of paintings known as "Elegies to the Spanish Republic" (Elegy to the Spanish Republic) is considered his most significant project. Among his many exhibitions, we can highlight his participation in the most important surrealist exhibition in the United States organized by André Breton, Marcel Duchamp and gallery owner Sidney Janis at the Whitelaw Reid Mansion (Manhattan-1942). Also the exhibition held at the Gallery "Art of this Century" (New York) in 1943 directed by Peggy Guggenheim; in which he participated along with Jackson Pollock and Baziotes. The following year the Museum of Modern Art in New York acquired one of his works; he was subsequently included in several exhibitions at the same Museum. In 1980, Robert Motherwell had his first exhibition in Spain at the Fundación Juan March (Madrid). In 1986, he received the Gold Medal for Merit in the Fine Arts, Spain's highest cultural award. In 1989, the National Medal of Arts of the United States, the Museum of Modern Art in Fort Worth (USA) houses the largest collection of works by Motherwell. In the Empire State Plaza (New York) you can also find some of his works. The Walker Art Center (Minneapolis, USA) has an almost exhaustive collection of his prints. In addition to the representation in numerous museums, public and private collections and in the most prestigious galleries around the world.

Starting price 100 EUR

H. GRASS (1886-1978), Painter at the easel, 1942, Pencil Herbert Grass (1886 Mannheim - 1978 Heidelberg): Painter at the easel, 1942, Pencil Technique: Pencil on Paper Inscription: lower left monogrammed: "H. G.". lower left inscribed by the artist's hand: "Kaiserlautern". lower left dated: "Okt-Nov 42.". Date: 1942 Keywords: 20th century, Modern, Depiction of Artists, Germany, Size: Paper: 35,0 cm x 24,8 cm (13,8 x 9,8 in)

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