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A PAINTING OF A CARP A PAINTING OF A CARP Japan, Meiji period (1868-1912) Ink and watercolors on paper. Set inside a vintage frame, behind glass. Painted with a carp with its mouth open as it slurps an aquatic worm among the reeds. Image SIZE 23.5 x 35 cm, SIZE incl. frame 43 x 59.5 cm Condition: Very good condition with minor wear. Some soiling and creasing. The frame in excellent condition. Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. A copy of a receipt, dated July 1980, confirming the dating above, accompanies this lot. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’

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A PAINTING OF A CARP A PAINTING OF A CARP Japan, Meiji period (1868-1912) Ink and watercolors on paper. Set inside a vintage frame, behind glass. Painted with a carp with its mouth open as it slurps an aquatic worm among the reeds. Image SIZE 23.5 x 35 cm, SIZE incl. frame 43 x 59.5 cm Condition: Very good condition with minor wear. Some soiling and creasing. The frame in excellent condition. Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. A copy of a receipt, dated July 1980, confirming the dating above, accompanies this lot. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’

Estimate 250 - 500 EUR
Starting price 250 EUR

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For sale on Wednesday 04 Sep : 11:00 (CEST)
vienna, Austria
Galerie Zacke
+4315320452
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Ludwig Adam Kunz, Table Still Life opulent arrangement of a hare, carp, lobster and oysters next to a bouquet of peonies in a silver Historicist vase, an etagere with fruit and melons and a white cockatoo on a flowerpot, Bruckmann "Münchner Maler des 19./20. Jh." notes: "... he attempted to succeed Frans Snyder, Jan Fyt or Jan Brueghel the Elder. His works have an old-masterly colouring, the objects are brought out of deep darkness in brilliant, rich colours by a warm, luminous incident light. In terms of subject matter, Kunz mainly focussed on still lifes of flowers and fruit, which he occasionally enlivened with animals - in particular a monkey or a parrot. He was also a master in the depiction of precious objects such as old wine glasses or ivory and silver tankards. ...", glazed, partially slightly impasto painting, oil on wood panel, signed and dated "L. Adam Kunz 1911" top right, old handwritten label on the reverse "Adam Ludw. Ad. Kunz - Vienna 1857-1929 Munich "Prunkstilleben" Wood 35.5 x 57 cm, a. Tellerrand bez. 1911", in need of minor restoration, originally framed in a gilt stucco frame, rebate dimensions approx. 35.5 x 57 cm. Artist information: actually Ludwig Adam Kunz, German-Austrian painterAustrian painter (1857 Vienna - 1929 Munich-Maria Einsiedel), regarded as the "Lenbach of still life painting", initially studied sculpture under Victor Oskar Tilgner, 1873-75 studied sculpture at the Vienna Academy, 1875 turned to painting and until 1878 pupil of the genre painter Josef Fux in Vienna, from 1878 further training in Munich with Franz von Lenbach and Friedrich August von Kaulbach, influenced by the painting of Peter Paul Rubens and Hans Makart, 1885-96 stay in Paris and supported by Mihály von Munkácsy, from 1896 Kunz lived in the Asam-Schlössl in the Munich district of Thalkirchen-Maria Einsiedel, Appointed professor at the Munich Academy in 1896, member of the Munich Artists' Association, exhibited at the Vienna, Dresden and Berlin art exhibitions, the Madrid Columbus Exhibition in 1892 and the Munich Glass Palace from 1917-27, received various honours such as the Great Golden Medal at the International Art Exhibition in Munich in 1897, on friendly terms with Lenbach, both artists sometimes created joint works in a division of labour, like their artistic role models Rubens and Brueghel, Lenbach painted the portraits and Kunz the framing garland of flowers, source: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Dressler, Fuchs, Paviere and Wikipedia.

HOSEN HIGASHIHARA: A SCROLL PAINTING OF TWO CARPS HOSEN HIGASHIHARA: A SCROLL PAINTING OF TWO CARPS By Hosen Higashihara (1900-1972), signed Hosen with seal Hosen Japan, Mid-20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a pair of carps swimming close to each other in a stream. Inscriptions: Signed to the top-right, Hosen 方僊 , one seal, Hosen 方僊 . Signed with seal, ‘Hosen gaki’ [Painted and put up by Hosen] 方僊画記 to the underside of the tomobako. Image SIZE 63.5 x 72 cm, SIZE incl. mounting 89 x 181 cm Condition: Excellent condition with minor wear. The mounting with minor traces of wear. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) In Asian lore, the carp is associated with good fortune and perseverance. Although the carp lives primarily in quiet waters, its symbolic meanings have led to a Japanese design convention of showing the fish arching upward, often mounting waterfalls. Hosen Higashihara (1900-1972) was born in Okayama, Japan. He left Kyoto in 1942 and became a student of Takeuchi Seiho. After having his painting Hana Ringo (two paintings of one pair) accepted for the first time at the 9th Bunten Exhibition in 1915, he exhibited his work at many official exhibitions and was recommended for the 11th Teiten Exhibition, and from the following 12th Exhibition he was not accepted. During this period, he frequently exhibited his works at exhibitions in Japan and abroad, and also painted bamboo works, and paintings for the ceiling of Eiheiji Temple and Minatogawa Shrine. His specialties were flower-and-bird paintings such as Chicken-crowned Night (12th Imperial Exhibition), White Camellia (13th Imperial Exhibition) and Seishu (14th Imperial Exhibition).