Null Thomas Stanley Barber,
British fl.1891-1899-

Figure walking along a pathw…

Description

Thomas Stanley Barber, British fl.1891-1899- Figure walking along a pathway in a river landscape; oil on canvas, signed 'TS Barber' (lower right), bears old label inscribed 'H. Knapping / No 3.a Studio Garden' attached to the reverse of the frame, 30.1 x 45.9 cm. Provenance: Private Collection, UK.

345

Thomas Stanley Barber, British fl.1891-1899- Figure walking along a pathway in a river landscape; oil on canvas, signed 'TS Barber' (lower right), bears old label inscribed 'H. Knapping / No 3.a Studio Garden' attached to the reverse of the frame, 30.1 x 45.9 cm. Provenance: Private Collection, UK.

Auction is over for this lot. See the results

You may also like

Starting price 2000 CHF

Jessen, HedwigCollection of 12 original drawings with depictions of Angolan art. Circa 1930-1931, predominantly pen and ink over watercolor, one ink drawing. Motif dimensions from 12 x 10.5 cm to 47 x 30 cm. Each monogrammed in pencil. Each mounted on support and under passepartout. Africa - Angola Jessen, Hedwig Collection of 12 original drawings with depictions of Angolan art. Circa 1930-1931, predominantly pen and ink over watercolor, one ink drawing. Motif dimensions from 12 x 10.5 cm to 47 x 30 cm. Each monogrammed in pencil. Each mounted on support and under passepartout. Each with inscriptions on the verso of the passepartouts revealing the place of origin. The majority of the drawings were created in the surroundings of the capital Huambo, one drawing in the village of Dunduma near Quingenge and another in Quibala. They depict Angolan carvings that can be found on the walls of huts, among other places. The artist chose watercolors in earth tones as the background, on which she drew dancing figures in black pen. The collection was created during a trip to Angola in 1930-31. The sculptor and graphic artist Hedwig Jessen (née Müller, 1899-1956) took part in the Stuttgart Secession exhibitions in 1924 and 1928. In 1926, she married the geographer Otto Jessen (1891-1951), who took up a teaching position for physical geography at the University of Cologne under Franz Thorbecke in 1929. At Thorbecke's suggestion, Jessen, accompanied by his artist wife, undertook a long journey to Angola from 1930, which he documented in his work "Reisen und Forschungen in Angola" (Travels and Research in Angola), published by Reimer in Berlin in 1936. In addition to their creator's personal interest in an art that combines both graphic and sculptural techniques, the drawings probably also served to illustrate her husband's work. - Passepartouts and margins somewhat foxed. Sheet corners somewhat glue-stained. Motifs in very good condition. Africa - Angola - Collection of 12 original drawings with depictions of Angolan art. Pen and ink over watercolor, one ink drawing. Each monogrammed in pencil. Each mounted on backing and under passepartout. - Each with inscriptions on the verso of the passepartouts revealing the place of origin. The majority of the drawings were created in the surroundings of the capital Huambo, one drawing in the village of Dunduma near Quingenge and another in Quibala. They depict Angolan carvings that can be found on the walls of huts, among other places. The artist chose watercolors in earth tones as the background, on which she drew dancing figures in black pen. The collection was created during a trip to Angola in 1930-31. The sculptor and graphic artist Hedwig Jessen (née Müller, 1899-1956) took part in the Stuttgart Secession exhibitions in 1924 and 1928. In 1926, she married the geographer Otto Jessen (1891-1951), who took up a teaching position for physical geography at the University of Cologne under Franz Thorbecke in 1929. At Thorbecke's suggestion, Jessen, accompanied by his artist wife, undertook a long journey to Angola from 1930, which he documented in his work "Reisen und Forschungen in Angola" (Travels and Research in Angola), published in 1936. In addition to their artist's personal interest in an art that combines both graphic and sculptural techniques, the drawings also served to illustrate her husband's work. - Passepartouts and margins somewhat foxed. Sheet corners somewhat glue-stained. Motifs in very good condition. This work is taxed. There is a 23.95% surcharge on the hammer price and 7% (books) or 19% VAT on the final invoice amount in the European Union. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books) or 19% VAT on the final invoice amount in the European Union.

Estim. 800 - 1 200 GBP

Ernst Barlach, "Der Zweifler" Design from around 1930, probably a posthumous cast not authorised by the artist's estate, signed E. Barlach, dark patinated bronze, based on the work "Zweifler Thomas", this is a design as a single figure, which was created alongside other designs by the artist as part of the competition for the Hamburg memorial (for which a kneeling figure was to be submitted, in this case Barlach's "Erschütterter"), and in which Barlach, according to his son, also incorporated self-portrait-like features, bearded man in long robe and bare feet, kneeling with lowered head and intertwined hands, somewhat verdigris-coloured, H 50 cm. Provenance: This sculpture comes from the collection liquidation of the Munich foundry Heinz Mocnik. Source: Barlach House website. Artist information: actually Ernst Heinrich Barlach, important German sculptor, graphic artist and writer. Sculptor, graphic artist and writer (1870 Wedel to 1938 Rostock), youth in Ratzeburg, from 1880 pupil at the Hamburg trade school under Thiele and Woldemar, from 1891 studied at the Dresden academy, from 1892 master student under Diez, 1895-96 at the Academie Julian Paris, 1897-99 Hamburg school of applied arts, from 1900 at the Berlin academy, from 1904 teacher at the Höhr Ceramics College, member and temporary board member of the Berlin Secession and the "Freie Sezession Berlin", from 1919 member of the Prussian Academy of Arts, 1933-45 defamed as degenerate and banned from exhibiting, active in Berlin, Paris, Hamburg and Güstrow, among other places, source: Thieme-Becker, Vollmer, AKL, Dressler and Wikipedia.

Estim. 5 000 - 6 000 GBP

Frederick the Great Letter Signed, Inviting the Marquis de Lafayette to a Prussian Military Exhibition Fascinating LS in French, signed “Frederic,” one page, 7.5 x 9.25, July 1785. Untranslated letter of invitation sent to the Marquis de Lafayette to attend an exhibition of the military maneuvers of the Prussian Army. Invitations like this were also dispatched to other European military leaders including General Cornwallis. In fine condition. Throughout the reign of Frederick II ‘the Great’ of Prussia, the Prussian army conducted parade ground reviews in the summer and realistic combat training exercises in the autumn, with ‘Old Fritz’ often maneuvering between 30-45,000 men during these mock battles and campaigns. In 1785, French, British, and American officers were invited to observe the Silesian review and maneuvers, which occurred in August and September. Many of the leading military figures of the Seven Years' War and the American War of Independence were present. The Marquis de Lafayette attended, as did General Charles Cornwallis and a number of more minor military figures, such as the Duke of York and Albany (the second son of George III), Prince Frederick William of Prussia, British Colonels Abercromby, David Dundas, and Thomas Musgrave, French Generals Duportail and Gouvion, and American Colonel Williams Stephens Smith. Lafayette traveled through Cassel on his way to attend the 1785 review and, in a letter to General George Washington, he recalled meeting with his ‘Hessian friends’ and portrayed the meeting as cordial: ‘I told them they were very fine fellows; they returned thanks and compliments. Ancient foes can meet with pleasure; which, however, I think, must be greater on the side that fought a successful cause.’ By contrast, Lafayette's former foe, Charles Cornwallis, was reportedly downcast throughout the proceedings in Prussia. Cornwallis, perhaps still prickling from Yorktown, recalled: ‘My reception in Silesia was not flattering; there was a most market preference for La Fayette; whether it proceeded from the King's knowing more of France, and liking better to talk about it, I know not.’

Estim. 1 000 - 2 000 GBP

A Kissi Stone Figure, "pomdo" Kissi, Sierra Leone / Guinea Ohne Sockel / without base Stein. H 15 cm. Provenienz: Gérald Minkoff (1937-2009) und Muriel Olesen (1948-2020), Genf. Die meisten der bekannten Steinfiguren wurden im Gebiet zwischen den Sherbro-Inseln und Guinea, zwischen Westliberia und dem Temne-Land in Sierra Leone gefunden. Die Zufallsfunde in den Gebieten der Kissi und den Mende wurden von Feldarbeitern entdeckt oder an Flussufern freigelegt. Der englische Kolonialbeamte T.J. Alldridge fand 1883 als erster auf der Sherbro-Insel zwei Objekte die er anschliessend dem British Museum verkaufte. Seit dem sind eine gewisse Anzahl Objekte in Museen und Sammlungen gelangt, während andere von der lokalen Bevölkerung zurückbehalten wurden. Die Kissi und die meisten anderen Ethnien dieser Region nennen die Plastiken pomdo (Mz. pomtan = die Toten) und betrachten sie als in Stein verwandelte Ahnen denen die Besitzer Opfer bringen. Die Mende nennen die von ihnen gefundenen und stilistisch deutlich abweichenden Arbeiten nomoli (Mz. nomolisia = gefundene Geister). Sie sind sich bewusst dass es sich dabei um von früheren Kulturen hinterlassene Artefakte handeln muss und verwenden sie bei Fruchtbarkeitsriten. Die seltensten Steinarbeiten sind die beeindruckenden, zum Teil lebensgrossen Köpfe aus der Region der Mende. Sie werden lokal als Mahen yafe (Geist des Häuptlings) bezeichnet und sind Eigentum des poro-Bundes. Diese Häupter sind keine Fragmente grösserer Figuren den die als Sockel dienenden Standflächen weisen keine Bruchstellen auf. 1852 entdeckte der britische Missionar George Thompson fünf dieser Objekte am Fuss eines Baumes die alle ev. versehentlich oder auch absichtlich beschädigt waren. Als er die lokalen Herrscher nach dem Ursprung der Steine fragte antworteten sie ihm dass diese Objekte wohl hier gewachsen sein müssten, denn von ihrem Volk könne niemand solche Sachen herstellen. Ein durch das Musée de l'Homme im Jahr 1945 breit angelegter mineralogischer Test von ca. 300 Objekten hat herausgestellt dass in etwa zwei Drittel aus Steatit (= Speckstein, ein natürlich vorkommender leicht zu bearbeitendes chemischer Stoff) bestehen und der Rest aus Chloritschiefer, Amphibolit, Granit und Dolerit. Stilistisch gleichen die Zeugnisse sehr den afro-portugiesischen Elfenbeinschnitzereien aus dem 16. und frühen 17. Jahrhundert die in der gleichen Gegend von lokalen Handwerkern im Auftrag für den Portugiesischen Adel hergestellt wurden. Die europäischen Kaufleute bezeichneten dieses Gebiet entlang der Küste damals als "Land der Sapes" (oder Sapis). Es ist schwer zu sagen wie alt die Steinarbeiten wirklich sind, aber die bisherigen Erkenntnisse legen nahe dass die frühen Arbeiten in Beziehung zur damaligen Schicht der Sapi stehen. Obwohl vor allem die Kissi die althergebrachte Tradition lange Zeit aufrecht erhalten hatten wird die Steinbildhauerei heutzutage in dieser Region nur zu dekorativen Zwecken ausgeübt. Weiterführende Literatur: F.J. Lamp (2018). Ancestors in Search of Descendants: Stone Effigies of the Ancient Sapi. New York: QCC Art Gallery Press, New York. -------------------------------------------- Gérald Minkoff und Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) absolvierte ihre Ausbildung an der Schule für Gestaltung in Genf. Gérald Minkoff (1937-2009) war ausgebildeter Anthropologe und Biologe. Beide erlangten als Künstler Bekanntheit, und ab ihrer Begegnung im Jahr 1967 wurde das symbolträchtige Paar der zeitgenössischen Kunst unzertrennlich. Das reisebegeisterte Duo Olesen-Minkoff erkundete das Leben wie neugierige Nomaden und durchstreifte den Erdball von Afrika über Asien, Ozeanien und Amerika bis nach Patagonien. Die Genfer Wohnung des Paares, vielleicht ihr schönstes Gemeinschaftswerk, wurde dadurch zu einem Ort, an dem die Werke enger Freunde wie Daniel Spoerri, Arman und Man Ray sowie ihre eigenen Fotografien mit fast tausend Objekten aus Afrika, Ozeanien, Asien und Südamerika zusammenlebten. CHF 1 000 / 2 000 Gewicht in Gramm: 691 Zustand: Der Zustand (allfällige Abnutzung, Gebrauchsspuren, Risse, eventuelle andere Beeinträchtigungen und die Altersspuren usw.) dieses Lots ist auf den Fotos, die wir für Ihre Dokumentation hochgeladen haben, zu sehen. Die Angaben zum Zustand der Objekte, die aus Sachdienlichkeit gegenüber den Interessenten gemacht wurden, sind nur eine Meinung und sollten nicht als Tatsachenbehauptung behandelt werden. Hammer Auktionen übernimmt keine Verantwortung für etwaige Fehler oder Unterlassungen. Im seltenen Fall, dass der Artikel nicht mit der Beschreibung im Katalog übereinstimmt, ist Hammer Auktionen hier, um zu helfen. Käufer können das Lot gegen volle Rückerstattung zurückgeben, sofern sie Hammer Auktionen innerhalb von 5 Tagen nach Erhalt des Lots benachrichtigen.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]