Null ERASMUS RUDOLF FABIJANSKI. Urban view, Krakow. Oil on canvas
Signed and dat…

Description

ERASMUS RUDOLF FABIJANSKI. Urban view, Krakow. Oil on canvas Signed and dated 1882 80x49.5 cm. Damages, patches and old restoration.

585

ERASMUS RUDOLF FABIJANSKI. Urban view, Krakow. Oil on canvas Signed and dated 1882 80x49.5 cm. Damages, patches and old restoration.

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Estim. 20 - 30 EUR

Convolute documenta consisting of documenta 3 (catalogues 1 and 2); documenta 4 (catalogues 1 and 2); documenta 8 and 9 (3 catalogues each); documenta - Dokumente 1955-1968; materials on documenta 6 and 8; contributions to a documenta urbana; DOCUMENTA - Versuch einer politischen und ideologischen Analyse ihrer Geschichte (d6 1977); Jan Hoet - on the way to documenta IX (Edition Cantz 1991); an art slide series on documenta 7 by Karin Thomas as well as a transparent sleeve with accessories, format max. 4°, partly with traces of age and study, documenta 8 and 9 each in slipcase.

Estim. 150 - 225 EUR

Rudolf Donnerhack, 10 postal scenes Series with historical scenes of Vogtland postal history with explanatory text, including "Postreiter 1550" in front of Elsterberg, "Botenläufer 1650" in front of an old Vogtland village, "Postmeister 1770" in front of a stagecoach, "Der Postillon 1780" in front of the silhouette of the former village of Pöhl, "Der Posthauswirt 1810" in front of the Neudörfel post office, "Postfußbote 1833" in front of Reichenbach im Vogtland, "Der Postillon 1836" in front of a stagecoach, "Handwerksbursche 1840" in front of a mountain landscape, "Landbriefträger 1859" in front of the silhouette of Ruppertsgrün and "Stadtbriefträger 1860" in front of the cityscape of Plauen im Vogtland, mixed media (ink and watercolour over pencil), each signed and dated "Rud. Donnerhack [19]76", traces of age and yellowing, framed behind glass, each approx. 48 x 36 cm, enclosed label "Aquarelle von R. Donnerhack Plauen" in picture support 10.5 x 15 cm. Artist info: German painter and local historian. Painter and local historian (1903 Plauen - 1980 Plauen), pupil at the Plauen art school for the textile industry, later worked as a house painter, until 1922 travelled through Austria, southern Germany, Hungary, Romania and Czechoslovakia, then briefly worked as a miner, 1923-26 emigrated to Argentina, Paraguay and Chile, from 1926 further training in artistic interior design with Alexander Baranowsky at the Kunstgewerbeschule in Dresden, then worked as a journeyman painter, later master painter, from 1940 war service, 1951-70 director of the Vogtland Museum in Plauen, then freelance artist, member of the Association of Visual Artists (VBK) of the GDR and the artists' association "Burgsteiner", source: Frank Weiß "Painting in the Vogtland" and Wikipedia.

Estim. 1 500 - 3 000 EUR

YAMAGUCHI SHOJOSAI: AN UNUSUAL GOLD-LACQUER THREE-CASE INRO IN THE FORM OF AN OI (MONK’S BACKPACK) YAMAGUCHI SHOJOSAI: AN UNUSUAL GOLD-LACQUER THREE-CASE INRO IN THE FORM OF AN OI (MONK’S BACKPACK) By Yamaguchi Shojosai, signed Shojosai saku 松杖斎作 with kakihan Japan, mid-20 th century, Showa era (1926-1989) In the form of a mountain monk's backpack (oi) raised on four feet, the three-case inro bearing a lustrous gold kinji ground, finely decorated in iro-e hiramaki-e and takamaki-e, as well as hirame gold flakes, to simulate various features of an oi. The front mimicking the backpack’s wooden panel doors worked with a sublime mokume ground (simulated wood grain), locked together in place with a clasp, against the typical twill-plaited bamboo panels, the top and bottom registers decorated with a stylized foliate sprig and diapered geometric ground, this design is continued to the sides, the verso further decorated with two braided ropes which form the carrying straps. Signed to the underside SHOJOSAI saku [made by Shojosai] with the artist’s kakihan in red lacquer. The interior compartments of nashiji with gold fundame edges. With a gold lacquer ojime. HEIGHT 11.3 cm, WIDTH 8.3 cm, DEPTH 4.1 cm Condition: Excellent condition with only very minor wear. Provenance: Ex-collection Alan and Simone Hartman. Alan Hartman was born on 9 January 1930, the son of Hazel and Urban Hartman. Urban Hartman opened a shop dealing in Oriental art on Manhattan’s Upper West Side in 1927 and Hartman Rare Art was incorporated in 1945. Alan grew up surrounded by works of art; he purchased his first jade when he was a child – he was 12 – and from that moment until his passing, he continued to acquire antiques and works of art. For a while Alan worked with his brother, Roland, and when they split, he made the decision to run the business on his own. Hence the name Rare Art was to endure, and Alan owned substantial galleries on Madison Avenue in New York and at one point stores in Dallas and Palm Beach. Anyone who visited his New York stores will remember that it was easy to be overwhelmed by the sheer breadth of the stock – including Chinese from Neolithic to the 20th century, Japanese, silver, and jades and hardstones from all over the world. Privately, however, Alan and his second wife, the love of his life, Simone, purchased special pieces for their homes – fine Japanese works of art and objets de vertu, Impressionist paintings, magnificent jades, the best Tang and Ming ceramics, archaic Chinese bronzes, gold boxes, and an important collection of Huguenot silver. Parts of his collection have been donated to the Alan and Simone Hartman Galleries in the Museum of Fine Arts, Boston, Metropolitan Museum of Art, New York, Brooklyn Museum, and the Israel Museum, Jerusalem. With a wood tomobako inscribed to the cover, ‘Tsuta no hosomichi on-inro’ [inro with the Narrow Ivy Road] in allusion to a chapter in Ise monogatari (The Tales of Ise, tenth century), in which travelers pass through an ivy-covered mountain pass. Yamaguchi Shojosai was born Yamaguchi Shozaburo in Niigata; disabled by polio at an early age, he used crutches throughout his life and borrowed two characters from the Japanese word for crutches, matsubazue, to form his own art name. After a time spent lacquering mass-produced butsudan (household Buddhist altars) he joined the Tobe studio and began to manufacture inro and other maki-e items of superior quality, becoming an independent artist in 1928. He made fine inro both before and after World War II.

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