Null CARRASCO. "NUDE".
Patinated bronze on marble stand. Signed.
29 x 9.1 x 9.1 …

Description

CARRASCO. "NUDE". Patinated bronze on marble stand. Signed. 29 x 9.1 x 9.1 x 9.1 cm (stand).

456

CARRASCO. "NUDE". Patinated bronze on marble stand. Signed. 29 x 9.1 x 9.1 x 9.1 cm (stand).

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Starting price 200 EUR

Hahn, BerndGrafik-Kalender 1998. 6 signed mixed media with serigraph on wove paper (12 x 12 cm (20.5 x 15 cm)). 4°. OKt. with cloth spine (cover sheet with crease). Ostdeutsche Kunst Hahn, Bernd Grafik-Kalender 1998. 6 signed mixed media with screenprint on wove paper (12 x 12 cm (20.5 x 15 cm)). 4°. OKt. with cloth spine (cover sheet with crease). The splendid prints each signed, dated and with "E.A." - Published by Edition B53, Borthen. - Printed by Bernd Hahn. - Some sheets detached from the perforation, overall in very good condition. With 6 works. Each mixed media and serigraph on wove paper, each signed, dated and inscribed "E.A.". - Cover leaf with crease mark, sheets partly detached from perforation. Altogether in a very good condition. Splendid, richly colored prints.

Estim. 200 - 300 EUR

Albert Hennig, Altschedewitz Suburban houses with a person in the warm light of the fading day, pastel and felt-tip pen on wove paper, signed and dated "AHennig (19)93" lower left, mounted on cardboard, sheet dimensions approx. 19.5 x 23.3 cm. Artist info: German painter, photographer and graphic artist. Painter, photographer and graphic artist (1907 Leipzig - 1998 Zwickau), studied 1932-33 with a scholarship at the Bauhaus Dessau/Berlin under Joost Schmidt, Mies van der Rohe, Wassily Kandinsky, Paul Klee and Josef Albers, subsequently unemployed, 1935-45 conscripted as a construction worker, after 1945 founding member of the group "Bildender Künstler" at the Kulturbund Zwickau, from 1952 member of the Verband Bildender Künstler (VBK) of the GDR, worked as a concrete worker from 1952-72 due to disputes with dogmatic cultural functionaries, in his free time he created an important work in the tradition of the Bauhaus, freelance from 1972 and his work was increasingly recognised in the GDR, received numerous awards, including the Max Pechstein Prize and the Federal Cross of Merit, worked in Zwickau, source: Vollmer, Eisold "Painters in the GDR" and Internet.

Estim. 3 000 - 4 000 EUR

Jacques-Ignace HITTORF (Cologne 1792 - Paris 1867) and Jean-Baptiste LEPERE (Paris 1761-1844) Restoration projects for the Vendôme Column in Paris: view of the Column with projected new restorations and project for the sculpture surmounting the Column. Pen and black ink, watercolor over black pencil lines. Signed, dated "MDCCCXXX", located and captioned at bottom: "This column, erected in 1805 and dedicated to the Grande Armée by Napoleon in memory of the German War ended in III months under his command, was built with bronzes taken from the enemy. Mutilated in 1814, Louis Philippe I, after Paris had regained its freedom in III days on July 27, 28 and 29, 1830, restored and rededicated this monument to the military and civic heroism of the French. This project consists I) In surmounting this monument with a radiant, winged victory holding a palm in one hand and two wreaths in the other, one of laurel leaves offered to the warriors to whom Napoleon dedicated this column, and the other of oak leaves offered to the heroic citizens who made its restoration possible. II) To replace the old Latin inscription "Neapolio - Imp - Aug - Monumentum - Belli - Germanici - Anno - MDCCCV - Trimestri - Spatio - Ductu - Suo - Profligati - Ex - Aere - Captu - Gloriae - Exercitus - Maximi - Dicavit" with an inscription in French, adding the date of the monument's mutilation, the date of the heroism of the citizens of Paris and the date of the new consecration of this glorious trophy. " Restored drawings, restored missing parts and accidents, small stains, horizontal central fold and small tears at edges. 72.5 x 49 cm Best known for his redesign of the Place de la Concorde under Louis-Philippe and the construction of the Gare du Nord, Jacques Hittorf was appointed architect to the City of Paris in 1830. He was the son-in-law of Jean-Baptiste Lepère, with whom he collaborated on several projects, including the Saint-Vincent-de-Paul church and the restoration of the Vendôme column. Erected by Lepère and Gondouin to celebrate the victory of Austerlitz, the sculpture on top of the column, Napoleon as Caesar by Chaudet, was removed in 1814 in favor of the white flag with fleurdelys. On July 8, 1831, Louis-Philippe issued an order for the reinstatement of a sculpture bearing the effigy of Napoleon. The work Napoléon en petit caporal by Charles Émile Seurre was selected in 1833. Our drawing shows that, as early as 1830, Lepère and Hittorff proposed "a radiant, winged Victory" after David, which "once again dedicates this monument to the military and civic heroism of the French", in the context of the Trois Glorieuses of 1830. This is a particularly interesting piece of documentary evidence, highlighting the political stakes involved in the development of Paris. The project was clearly not to be retained, and a few decades later, in 1863, Napoleon III had a copy of the original statue by Chaudet erected in place of Seurre's sculpture, which can still be seen today despite the destruction of the Column under the Paris Commune in 1871. See Alfred Normand and Charles Normand, "La colonne Vendôme", Bulletin de la Société des amis des monuments parisiens, t. 11,? 1897, p. 128-149.

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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