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Processional chariot sculpture India Wood Late 18th - Early 19th century H 48 cm

Tue 28 May

The Education of The Virgin Carved and polychrome wood sculpture 16th / 17th century (minor losses, faults and restoration) 68x62 cm

Tue 28 May

The Madonna and Child Carved and polychrome wooden sculpture France, 17th century (restoration, repainting and evidence of woodworm) Height 89,5 cm

Tue 28 May

Saint Benedict Carved, polychrome and gilt wooden sculpture Portugal, 18th century Alt: 54 cm

Tue 28 May

Saint John The Baptist Carved, polychrome and gilt wooden sculpture Silver banner With no Portuguese marks Portugal, 18th century (minor losses) Height 60 cm (total)

Tue 28 May

The Child Jesus Carved and polychrome wood sculpture Glass eyes and natural hair 18th century Height 49 cm

Tue 28 May

The Nursing Madonna Polychrome and gilt wooden sculpture Carved and gilt stand Silver crown and radiant halo Height 31 cm (Nossa Senhora) Height 42 cm (total)

Tue 28 May

The Madonna of the Immaculate Conception Carved, polychrome and gilt wooden sculpture Silver crown With no Portuguese marks Gilt wooden stand Portugal, 18th century Height 35 cm (Nossa Senhora) Height 51 cm (total)

Tue 28 May

A Pieta Polychrome and gilt wood sculpture Portugal, 18th century (minor faults and losses) 43x29x21 cm

Tue 28 May

A Pieta Carved and polychrome wooden sculpture Europe, 17/18th century (minor faults) Height 31 cm

Tue 28 May

A crucified Christ Ivory sculpture Darkened wooden cross and stand Europe, 18th century (minor losses and faults) 19x14 cm (Cristo)

Wed 29 May

A Japanese cherrywood sculpture of a dancing man, signed Toshiaki Shimamura, total H 47 - 25,5 x 23 cm (base) - A Japanese cherrywood sculpture of a dancing man, signed Toshiaki Shimamura, total H 47 - 25,5 x 23 cm (base) Fixed on a matching wooden base, comes in a custom tomobako, H 54 - W 29,5 x D 27 cm Includes certificate in Japanese. Based on an expertise rapport of inventory.

Wed 29 May

Spanish school. Late Gothic, 15th century. "Pietà. Polychrome wood carving. Frontal work (niche for niche on the back). Presents faults, restorations and Repainting. Measurements: 105 x 55 x 55 cm. Important Spanish carving belonging to the late Gothic. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is captured in the pathos printed on both faces (the mother with half-closed eyelids and arched eyebrows, the son with his mouth half-open and showing the upper row of teeth), as well as in the lifeless body of Jesus, whose left arm is taken by the loving hand of Mary. With her other hand she holds Christ's head, the naked body (except for the purity cloth) sliding down to touch the ground with the tips of her toes. The draperies of the Marian mantle are skillfully draped with deep, broken folds that fall to the ground in zigzagging meanders. In this piece, characteristic elements of the Renaissance, such as naturalism and the harmony of the anatomical proportions, can already be glimpsed. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

Wed 29 May

Attributed to PEDRO ROLDÁN (Seville, 1624 - ibidem, 1699). "Saint". Carved and polychrome wood. It presents faults and restorations. Measurements: 130 x 67 x 37 cm. Round sculpture carved in wood and polychrome, representing a saint with a bearded face, dressed in habit, with his right hand raised, originally carrying a staff or other object. Aesthetically the work is close to the sculpture of Pedro Roldán. Sculptor from Seville, although he spent a brief stay in Granada, where he trained in the workshop of the sculptor Alonso de Mena. In 1646, he returned to Seville, where he achieved great success and fame. The cultural richness of Seville led to a greater demand for commissions. This led to the creation of a workshop where a large number of artists worked and trained. Roldán's sculpture shows an interest in realistic carving. His style was characterized by the search for a new artistic language, moving away from the aesthetics of the masters of the first half of the century such as Montañés, Cano, Mesa and Ribas. Roldan's compositions are characterized by being very dynamic, using foreshortenings, faces with pronounced profiles, with straight noses and very marked cheekbones, and the clothes with sinuous waves. In this case the sculptor presents a carving in which the Prophet is seated, thus creating a pyramidal composition. Although this composition gives a certain hieratism to the piece, the sculptor has resolved the movement thanks to the mantle, which has been arranged in an undulating way over the prophet. With Renaissance sculpture we find the purest expression of the Spanish soul. In the hierarchy of our artistic excellence, the sculpture of the 16th century represents an equivalence of perfection with the painting of the following century. All the passion, the mysticism, the yearning for beauty, the exaltation of the spirit, the flame that burns the matter, we find it in these statues and reliefs that cover the altarpieces. Likewise, it can be affirmed that yes, there is a distinctly Hispanic renaissance that uses Italian forms to express an essentially anti-classical temperament and ideals, derived directly from Spanish religiosity. There is no radical break with the plastic art of the late Gothic; the naturalistic rhythms and excesses, the angular folds and violent chiaroscuro are softened, and more harmonious and balanced rhythms and more delicate lines are introduced. However, the expressive intensity is the same, seeking above all to delve into the soul, to disrupt the classical type of correction in favor of the spiritual effusiveness that goes beyond pure aesthetics. It presents faults and restorations.

Wed 29 May

16th century Spanish school. "Saint Andrew". Relief in polychrome wood. Measurements: 85 x 36 cm. Devotional image of Saint Andrew which presents the saint with the attribute of his martyrdom, the cross in a crossbuckle to which he was tied by order of the proconsul Aegeas. At the beginning of the 16th century, Spain was the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of plastic forms, its adaptation of those introduced by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this desire to return to the classical Greco-Roman world, which in its nudes exalts the individuality of man, creating a new style whose vitality surpasses mere copying. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintained expressivity as a vehicle for the profound spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favours the continuity of religious sculpture in polychrome wood, which accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Wed 29 May

Spanish baroque carving from the 17th century. "Bishop". Carved and polychrome wood. It presents faults in the carving and polychrome. Measurements: 53 cm (height). Baroque sculpture in carved wood representing with verism and naturalistic will a Pope or bishop, richly dressed with tunic and mantle, touched with mitre and, probably, originally carrying a crosier. The tunic is undulated with vertical folds that enhance the play of chiaroscuro. It is a carving worked practically in the round, but it was intended for frontal contemplation, so the back is not worked. It presents faults in the carving and polychromy.

Wed 29 May

Central European school, XVIII century. "Saint John Nepomuk". Hand painted wood carving. Measurements: 38 cm. height. John of Nepomuk, patron saint of Bohemia, appears in this carving represented with his characteristic costume. The tunic is folded in sinuous and complex draperies that follow with naturalism the movement of the body. The saint holds his finger to his mouth in allusion to the silence of the secret of confession. Stylistically, it is inscribed in the baroque tradition. It presents a preferably frontal work, given that on the back it has a hollow for a niche. Saint John Nepomuk or John of Nepomuk (Nepomuk, c. 1340 - Prague, March 20, 1393) is the patron saint of Bohemia. He is the patron saint of the Spanish Marines, and his feast day is celebrated on May 16. According to some historians, he was the confessor of Sophia of Bavaria, the queen consort of Bohemia, and refused to break the vow of sacramental secrecy, which caused the wrath of King Wenceslas IV of Bohemia;1 so John Nepomucene would be the first saint to receive martyrdom for keeping the secret of confession. He is the protector against slander, and due to the manner of his death, protector against floods.

Wed 29 May

Granada master of the late 17th century. "Virgin of the Anguish". Virgin of candlestick. Polychrome wood carving. Velvet cape with gold and silver thread embroidery of the 18th century. The velvet dress embroidered with gold and silver thread is from the 20th century. Crown in silver-plated brass. It presents restorations in the polychrome. Measurements: 183 x 160 x 60 cm. In this excellent processional image it is clear the strong influence of models of the Granada school, and not only in the iconography, but also in the model chosen as influence for it, in the decoration of the clothes, in the coloring, in the features of the face, etc. The embroidery of the cape, made with gold and silver threads of the 18th century, stands out especially, presenting a floral design that tends to horror vacui, with a profusion of foliated motifs sprinkled with delicate pearls. The dress, for its part, has also been exquisitely embellished with typically baroque foliate motifs in gold. The delicate face of the virgin, who mourns the death of her son, is crowned by a large headdress in silver-plated brass, perfectly finished with the twelve stars. The Granada school, which is strongly influenced by the Renaissance period, had great figures such as Pablo de Rojas, Juan Martínez Montañés (who was trained in the city with the previous one), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows the naturalism, as usual at the time, but it would always emphasize more the intimate and the recollection in some delicate images that would be somewhat similar to the rest of Andalusian schools in another series of details but that do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). One of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image makers, which spanned from the last third of the seventeenth century to the second half of the eighteenth century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, an influence that led him to create a very personal and characteristic style. There are many and very varied iconographic representations that have as central theme the Virgin Mary in her Dolorosa aspect, emphasizing in importance the theme of the Virgin of Sorrows and Solitude, in which the image that we present here is framed. In this iconography Mary is alone, sometimes with her heart pierced by the swords that symbolize the pains she suffered, generally seven: the prophecy of Simeon, the flight to Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age.

Wed 29 May

Spanish school of the 17th-18th century. "Virgin of Bethlehem. Polychrome wood carving. Presents wear and faults in the polychrome. With Repainting. It has some flaws in the wood. Measurements: 87 x 47 x 22 cm. Devotional image in which the Virgin Mary is presented with the Child in her arms, both embracing and looking directly to the viewer. It is an iconography that combines the divine power and grace with the happy innocence and humble condition of God incarnate. The presence of the Virgin, although none of the figures establishes contact between them, conveys the bond between Jesus and his mother that allows Mary to act as an intermediary, as an advocate for the human race before Christ at the moment of the Last Judgment.

Wed 29 May

Spanish School of the 18th century. "Saint Joseph and Child". Carved and polychrome wood. Presents Repainting and faults. Measurements: 84 x 31 x 28 cm. Wood carving of baroque period and naturalistic invoice in the reproduction of the faces and drapery. Saint Joseph and the Child responds to an iconographic pattern that began to be popularized with the Counter-Reformation, when Joseph is vindicated as a primordial figure in his paternal role, although he will continue to be subordinate to the Virgin. It presents repainting and faults.

Wed 29 May

Italian school of the second half of the 18th century. "Holy Family". Polychrome wood carving, gilded and painted. Period costumes. Measurements: 56 x 37 x 26 cm. Sculptural group that represents the Holy Family that, in the most common sense of the expression, includes the closest relatives of the Child Jesus, that is to say, mother and grandmother or mother and nurturing father. In both cases, whether it is St. Anne or St. Joseph who appears, it is a group of three figures. From the artistic point of view, the arrangement of this terrestrial Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are fewer. It is no longer a question of a single God in three persons whose essential unity must be expressed at the same time as diversity. The three personages are united by a blood bond, certainly, but they do not constitute an indivisible block. Moreover, all three are represented in human form, while the dove of the Holy Spirit introduces into the divine Trinity a zoomorphic element that is difficult to amalgamate with two anthropomorphic figures. On the other hand, this iconography was traditionally, until the Counter-Reformation, a representation of the Virgin and Child to which the figure of St. Joseph was added in the foreground. It was not until the reforms of Trent when St. Joseph began to take center stage as protector and guide of the Infant Jesus.

Wed 29 May

Spanish school of the 18th century. "Saint Dominic". Sculpture in carved and polychrome wood. It retains traces of its original polychrome. It presents wear and marks of old xylophagous. With lack of polychrome on the wood. Measurements: 75 x 32 x 20 cm. Saint Dominic is represented here in round figure, although its back has not been worked because the sculpture would be intended to be seen only from the front. The habit has been draped with a verist will. The head of the saint presents a monastic tonsure, and a lively and kind expression illuminates his countenance. In one hand he holds the open Scriptures. At his feet is a dog that alludes, according to legend, to one of the many omens that announced his birth. His mother, Juana de Aza, dreamed of a child with his forehead marked by a star, accompanied by a black and white dog carrying a lighted torch in his mouth. Saint Dominic of Guzman, born in Castile in 1170, was the founder of the Order of Preachers, better known as Dominicans. During his childhood he received a careful moral and cultural formation, finally awakening his vocation to the ecclesiastical state. After studying humanities, theology and philosophy in Palencia, where he was also a professor, he was ordained a priest, and was finally named ambassador extraordinary by King Alfonso VIII of Castile. After obtaining in 1216 the authorization to found his order, he devoted his last years to its organization and to several missionary journeys to France and Italy. Legend, however, has added much to his biography. Numerous miracles were also attributed to the saint during his preaching, especially the resurrection of a young man who died from a fall from a horse and the rescue of pilgrims who were going to drown while trying to cross the Garonne to Santiago de Compostela.

Wed 29 May

Spanish school; second half of the 16th century. ‘Saint’. Carved, gilded and polychrome wood. It has faults. Measurements: 111 x 50 x 28 cm. The lack of iconographic attributes of this sculpture does not allow us to discern who the protagonist of this devotional work is. However, its dimensions and gestures indicate that it was probably originally part of a larger sculptural group, probably made up of a procession of saints. At the beginning of the 16th century, Spain was the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of plastic forms, its adaptation of those introduced by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this desire to return to the classical Greco-Roman world, which in its nudes exalts the individuality of man, creating a new style whose vitality surpasses mere copying. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintained expressiveness as a vehicle for the profound spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favoured the continuity of religious sculpture in polychrome wood, which accepted the formal beauty offered by Italian Renaissance art with a sense of balance that avoided its predominance over the immaterial content that animated the forms. In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Wed 29 May

Spanish school of the 17th century and later. "Archangel St. Michael". Carved and polychrome wood. Presents faults. Measurements: 106 x 64 x 46 cm. Wood carving representing the archangel St. Michael in full body, dressed in armor. He raises his right hand, in which he would brandish a sword with which he would be ready to finish off the devil (in this sculpture not represented). This is a dynamic and naturalistic work, with a classic work of anatomy. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is therefore a military saint, and therefore patron saint of knights and of all trades related to arms, as well as to the scales, for his role as apocalyptic judge.

Wed 29 May

Two polychrome wood sculptures in the round, one depicting Saint John the Baptist and the other a figure holding an object in his left hand. 19th century, Brazil H. 16 and 29.5 cm Missing paint and elements

Wed 29 May

XIXth CENTURY SCHOOL Angel of victory surmounting a sphere Carved wood on a rectangular wooden base Height: 71 cm Accident and missing

Wed 29 May

LEVI (XIX-XX) Bust of a young woman, her braids gathered in a chignon, alabaster print, signed on the back, on a griotte marble base. Height: 33 cm

Wed 29 May

DUE SCULTURE IN LEGNO PARZIALMENTE LACCATO, XVIII SECOLO - possibly representing patron saints in draped robes; defects, woodworm marks, widespread wear and missing polychrome, cracks in bodies, restorations, hands missing H 85 cm, W 30 cm TWO PARTIALLY LACQUERED WOOD SCULPTUREA, 18TH CENTURY; DEFECTS, WOODWORM TRACES, LOSSES, DAMAGES, RESTORATIONS, MISSING HANDS (2)

Wed 29 May

SCULTURA IN LEGNO POLICROMA, XVIII-XIX SECOLO - depicting male bust, possibly a saint; defects, restorations, and missing pictorial decoration, possible retouches in the lacquer, hands with restorations in the fingers and a missing little finger H. cm 61, W. cm 49.5, D. cm 28 A PAINTED WOOD SCULPTURE, 18TH-19TH CENTURY; DEFECTS, RESTORATIONS, LOSSES, A FINGER MISSING

Wed 29 May

SCULTURA IN LEGNO POLICROMO E PARZIALMENTE DORATO, XVIII SECOLO - depicting bishop, holding a book in his left hand and cloak richly decorated with stylized motifs illuminated in gold; defects, falls, missing and restorations in pictorial decoration, left index finger missing, upper part of tiara with breakage H. cm 132, W. cm 42, D. cm 30 A PARTIALLY GILT AND PAINTED WOOD SCULPTURE, 18TH CENTURY; DEFECTS, LOSSES, RESTORATIONS, A FINGER MISSING, TIARA WITH DAMAGE

Wed 29 May

COPPIA DI SCULTURE IN LEGNO DIPINTO, XIX-XX SECOLO - representing allegorical figures from classical repertories, perhaps as dancers or vestals, circular bases; flaws, falls, missing and possible retouches in the paint material, restorations, minor cracks in the body H. cm 164, W. cm 73, D. cm 51 H. cm 168, W. cm 68, D. cm 51 A PAIR OF PAINTED WOOD SCULPTURES, 19TH-20TH CENTURY; DEFECTS, LOSSES, RESTORATIONS, MINOR DAMAGES (2)

Wed 29 May

Napoli, XVIII secolo - Christ blessing with book Painted wood sculpture cm 31x20

Wed 29 May

ESCUELA ESPAÑOLA ANTIGUA - Carving made of wood with some gold details. Possible Spanish job. 112cm high

Wed 29 May

ESCUELA CENTROEUROPEA SS. XVI-XVII - Braised wood carving. It shows the image of a Virgin, possibly belonging to a Calvary. *It has some losses. 23.5cm high.

Wed 29 May

ESCUELA ESPAÑOLA FFS. S.XVII - Polychrome and gilded wood carving. Represented in the traditional manner of the Salvator Mundi, with the right hand blessing and the left hand ready to support the orb, which is not preserved. Dressed in a silk tunic embroidered with silver threads and beads, in the central part the IHS emblem "Iesus Hominum Salvator", possibly 18th century. On a base of ribs in stewed wood. According to the model of Juan Martínez Montañés (1568-1649). *Regilding and subsequent repainting with some deterioration. 70 cm high with base

Wed 29 May

ESCUELA CASTELLANA S. XVI - Braised wood carving. It shows in the traditional way the image of the Virgin with the Child in her arms, the latter carrying an orb in his left hand. With a popular tone and hieratic attitude, it is slightly reminiscent of the flamenco works of Mechelen from the same period. On wooden base. *Relatively intact piece with original braising, some losses. Front part of the child's foot is not preserved. 66cm high

Wed 29 May

ESCUELA EUROPEA S. XIX - Wood carving. Following Renaissance models from northern Europe. Minor faults on the base. 60cm high

Wed 29 May

Mallica Reynolds "Kapo" (Jamaican, 1911-1989). Carved wooden sculpture titled "Moses" depicting the head of the Biblical figure. Titled and signed in pen along the verso. Provenance: Stanton L. Catlin, former director of the Center for Inter-American Relations; thence by descent. Heavily driven by his religious convictions, Kapo believed he was divinely inspired to create paintings and sculptures, reflecting his Zion Revival beliefs. Dr. Veerle Poupeye, from the National Gallery of Jamaica, remarked that Kapo's artworks vividly portray the world of Zion Revival, including its ceremonies, music, and dance. Regarded as one of the greatest artists of the "Intuitives" movement, he is categorized by the National Gallery of Jamaica among self-taught artists formerly labeled as "Jamaican Primitives." Height: 11 in x width: 6 1/2 in x depth: 1 in.

Wed 29 May

Eloi Lokossou - Single lot consisting of no.4 works Painted wood sculptures cm 22x50x15 approx. (total work)

Wed 29 May

Josef Felix Müller - Hasen I-XIV No. 14 painted poplar wood carvings ca 220x900x16 cm (total work) - ca 220x28x16 cm (each element)

Thu 30 May

Guy PAVEC (1935-2021) Saint Benoit Polychrome carved wood bas-relief signed on back 56 x 22 cm

Sat 01 Jun

OTTO FLATH DIE LAUSCHENDE - OTTO FLATH 1906 Staritzke - 1987 Bad Segeberg DIE LISTENING Wood, carved. H. 90 cm, weight 6,7 kg. Signed below 'FLATH'. Part. rubbed.OTTO FLATH 1906 Staritzke - 1987 Bad Segeberg DIE LAUSCHENDE Wood, carved. H. 90 cm, weight 6.7 kg. Signed 'FLATH' at the bottom. Part. ber.

Sat 01 Jun

JAKOB ADLHART KRUZIFIX - JAKOB ADLHART 1898 Munich - 1985 Hallein CRUCIFIX Stone pine wood, fully sculptured carved, not set, on glazed cross. Cross h. 119 cm, w. 45 cm, d. ca. 30 cm. Cross carved with I.N.R.I., inscribed on the reverse 'J. ADLHART HALLEIN'. Partly rest., loss of parts of the crown of thorns, partly dam.JAKOB ADLHART 1898 München - 1985 Hallein KRUZIFIX Swiss stone pine, carved in full relief, unframed, on glazed cross. Cross h. 119 cm, w. 45 cm, d. approx. 30 cm. Cross carved with I.N.R.I., inscribed 'J. ADLHART HALLEIN' on the reverse. Partly rest., loss of parts of the crown of thorns, partly dam. Please note that this object is subject to a flat-rate surcharge of 2% on the hammer price due to the compensation of the statutory resale right § 26 UrhG. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).

Sat 01 Jun

MODERNER BILDPLASTIKER KRUZIFIX, EXPRESSIONISTISCH GESCHNITZT IN DER ART VON JAKOB ADLHART - MODERN SCULPTOR active in 20th century CRUCIFIX, EXPRESSIONIST CARVING IN THE STYLE OF JAKOB ADLHART Wood, carved in full relief. H. 4,5, w. 38, d. 15,5 cm, weight approx. 0,74 kg. Min. rubbed, crown of thorns min. dam.MODERN PICTURIST Active in the 20th century KRUZIFIX, EXPRESSIONISTICALLY CARVED IN THE ART OF JAKOB ADLHART Wood, carved in full relief. H. 4,5, w. 38, d. 15,5 cm, weight approx. 0,74 kg. Min. rubbed, crown of thorns min. dam.

Sat 01 Jun

Emil Sutor RELIEF MARIA IMMACULATA MIT DEM CHRISTUSKIND - EMIL SUTOR 1888 Offenburg - 1974 Karlsruhe 1888 Offenburg - 1974 Karlsruhe RELIEF MARIA IMMACULATA WITH THE CHRIST CHILD 30, d. 7 cm, weight approx. 4.38 kg. Signed 'Sutor' lower right. Part. dam. and losses to mounts. Wood, carved in relief, gilded, on plaster, in wooden frame. Overall h. 69, w. 30, d. 7 cm, weight approx. 4,38 kg. Signed 'Sutor' lower right. Part. bumped and losses to frame.EMIL SUTOR 1888 Offenburg - 1974 Karlsruhe RELIEF MARIA IMMACULATA MIT DEM CHRISTUSKIND Wood, carved in relief, gilt, on plaster, in wooden frame. Overall h. 69, w. 30, d. 7 cm, weight approx. 4.38 kg. Signed 'Sutor' lower right. Part. dam. and losses to frame.

Sat 01 Jun

MARGARITA PUEVA 'PORTRAIT IN ROT' (1992) - MARGARITA PUEVA 1950 Pernik, Bulgaria - 2016 Düsseldorf 'PORTRAIT IN RED' (1992) Walnut, acrylic. 69 x 37 x 16 cm, weight. 8,2 kg. Signed lower right 'Pueva'. Literature: SKU013. Provenance: Private collection Düsseldorf.MARGARITA PUEVA 1950 Pernik, Bulgaria - 2016 Düsseldorf 'PORTRAIT IN ROT' (1992) Walnut, acrylic. 69 x 37 x 16 cm, weight 8.2 kg. Signed 'Pueva' lower right. Literature: SKU013. Provenance: Private collection Düsseldorf.

Sat 01 Jun

LEO FERRE (1916/1993): A set of 3 items: 1 program from the Théâtre Dejazet in Paris, autographed on May 18, 1988 to Françoise Travelet nicknamed "Biche", 1 book "Je vous attends" published by Paul Ide Gallery in 1981 and autographed on May 28, 1982 and 1 framed chased wood sculpture. The lot

Sat 01 Jun

JOHNNY HALLYDAY: A Polynesian sculpture in wood, brought back by Joe Dassin from Tahiti in 1978 and offered to Johnny Hallyday. Height 53 cm. Width 22 cm. Representation of an ancestral divinity. Very fine original sculpture.

Sun 02 Jun

Wooden sculpture of a monk asleep on a gourd - Quote on request (minimum €12) : Registered Colissimo with AR + compulsory insurance or Transfer to Paris, Deauville or Rouen

Sun 02 Jun

French school from the first half of the 20th century Sculptures in an undergrowth Watercolor on paper 55 x 38 cm

Mon 03 Jun

Francis PELLERIN, 1915-1998 KOSI, 1980-82 sculpture in red, blue, yellow and gilded polychrome wood on a metal base (minor rubbing and oxidation to base), unsigned Height: 30 cm Width: 25 cm Width: 20 cm. 20 cm

Mon 03 Jun

Francis PELLERIN, 1915-1998 VARA , 1964 sculpture in gilded beechwood on metal base (slight rubbing and small stains, oxidation on the base), signed and dated under the base. Height: 49.5 cm Width: 23 cm

Mon 03 Jun

Francis PELLERIN, 1915-1998 Disc, 1990 carved wood sculpture assembled with dowels Height: 20 cm + base. Height: 20 cm + base

Tue 04 Jun

A Chinese hardwood carving of Hotei, a hardwood figural lamp, and a square jardinière stand, Qing dynasty, The square stand with carved and pierced frieze raised on square supports, 104cm high, hardwood carvings - 45cm and 47.5cm high (3)

Tue 04 Jun

Four Chinese wood carvings figural carvings, Late 19th - early 20th century, One finely carved as Budai with five climbing boys, 21cm - 37cm (4)

Tue 04 Jun

A pair of Chinese hardwood wire inlaid wood carvings, Early 20th century, Carved as immortals with glass inset eyes, wire inlaid throughout with floral motifs, 35cm high (2)

Tue 04 Jun

A Chinese hardwood carving of an emaciated Buddhist monk, Late Qing dynasty, Carved with a rosary around his neck and a gnarled staff in his hand, the emaciated figure with long eyebrows and tattered robes, seated on a lotus pillow, the foliage finely detailed, 25cm high, with matching carved and pierced wood stand

Tue 04 Jun

Edison PARRA (born 1945) Untitled Sculpture in white lacquered wood. 62 x 120 x 80 cm

Tue 04 Jun

Nicolas VALABRÈGUE (b. 1950) Untitled Wood sculpture monogrammed below. 12 x 12 x 12 cm PROVENANCE: Daniel Cordier collection, Paris.

Tue 04 Jun

Nicolas VALABRÈGUE (b. 1950) Untitled, 1983 Wooden sculpture mounted on a metal base, monogrammed and dated below. 14.5 x 19 x 10 cm PROVENANCE: Daniel Cordier collection, Paris.

WOODEN SCULPTURE OF AN ASIAN "BOUDA" FIGURE Gold paint on the figure and red paint on the stele

WOODEN SCULPTURE OF A WARRIOR MONKEY AND A NAGA H : 34 cm Good condition

Tue 04 Jun

Lyonel Feininger - Lyonel Feininger Locomotive with tender and two passenger carriages. Comes with: Four construction drawings 1913/1914 Four-part wooden sculpture, painted in color by the artist. 6.5 x 61.8 x 3.5 cm. With 4 construction drawings in pen and ink, pencil and watercolor on laid paper. From 6.3 x 26 cm to 28 x 63.5 cm. - Sculpture: With insignificant traces of use, one chimney added later. Drawings: Well preserved, one drawing with traces of use and irregularly cut. With a photo-certificate by Achim Moeller, New York, Managing Director of the Lyonel Feininger Project LLC, New York, dated April 10, 2024 and March 6, 2024. The sculpture is registered under no. 1917-04-10-24. The drawings are registered under Nos. 1907-03-06-24 to 1910-03-06-24. Provenance Sculpture: Private collection; Christie's New York, February 12, 1987, lot 74; Collection Dr. Royal E.S. and Martha Philips Haves, Waterbury/Connecticut; Christie's New York, November 5, 1991, lot 172; Moeller Fine Art, New York; Private collection New York Drawings: Alois Schardt, Los Angeles; private collection; Moeller Fine Art, New York; private collection, New York Exhibitions: Sculpture Sculpture: Essen 1997/1998 (Museum Folkwang), Die Maler und ihre Skulpturen: Von Degas bis Gerhard Richter, p. 154 with color illus.; Berlin 2013 (Moeller Fine Art), Lyonel und T. Lux Feininger; Berlin 2013 (Moeller Fine Art), Lyonel Feininger: Drawn from Nature, Carved in Wood / T. Lux Feininger: Sixty Years of Painting; 2 drawings additionally: Madrid 2017 (Fundación Juan March), Lyonel Feininger, cat. No. 162, p. 133 with color illustrations, p. 400 Drawings: Berlin 2013 (Moeller Fine Art), Lyonel and T. Lux Feininger; Berlin 2013 (Moeller Fine Art), Lyonel Feininger: Drawn from Nature, Carved in Wood / T. Lux Feininger: Sixty Years of Painting; 2 additional drawings: Madrid 2017 (Fundación Juan March), Lyonel Feininger, cat. No. 162, p. 133 with color illustrations, p. 400 With three model locomotives, a model railroad and six accompanying construction drawings, an ensemble of works by Lyonel Feininger that is extremely rare in the art trade is being offered for sale. These are the few surviving prototypes of wooden trains built around 1913, which the Munich toy manufacturer Otto Löwenstein was commissioned to produce on Feininger's behalf. Although Feininger had already applied for a patent for his "Block Railway", production had been prepared and even the cardboard packaging had been designed, industrial production had to be halted because the First World War broke out in August 1914. Feininger had been fascinated by railroads and the dynamics associated with them since childhood. In his early years in New York, he experienced the frenzy of Grand Central Station, which opened in the year of his birth, the construction of the elevated railroad over Second Avenue and the construction of the Brooklyn Bridge. As the epitome of modern engineering achievements, however, he was particularly enthusiastic about the large steam locomotives: "I often stood," he wrote in an autobiographical account, "on one of the long pedestrian bridges on Fourth Avenue that lead over the tracks of the New York Central Railway and watched the trains arrive and depart." (quoted from Martin Faass, Eine Phantasiewelt parallel zur Kunst Lyonel Feiningers Spielzeug, in: Jahrbuch des Museums für Kunst und Gewerbe, Hamburg, vol. 20, 2001, p. 116). With a great interest in all things technical, Feininger developed an enthusiasm for old-fashioned steam locomotives while still in the USA, which he repeatedly drew, sometimes painted and even built himself out of wood. After carving houses, churches, city gates and figures for his three sons, he developed prototypes for model trains for the toy industry around 1913. Even before his artistic breakthrough, Feininger hoped this would provide him with another source of income. As Martin Faass explains, he invented the "block train", a wooden train without wheels or tracks, which was simply pulled across the floor with its smooth underside. Beforehand, he took great pleasure in drawing detailed construction drawings of historical locomotives with their tenders and passenger carriages. He used the "Adler" built by Robert Stephenson in England and the American "Pacific" as models. He had the components for the prototypes made by a carpenter friend; he assembled the parts himself and painted them. (cf. Faass, ibid., p. 116). These were always historical railroads, because unlike the Futurists, Feininger's affinity for technology did not go hand in hand with a belief in progress. And yet he proved to be an expert in the subject matter, displaying the greatest technical precision in his design drawings, such as that of the "American passenger D-carriage "1915". As he wrote on May 26, 19

Tue 04 Jun

Lyonel Feininger - Lyonel Feininger Locomotive with tender (American eight-wheeler with linear smokestack and three axial tender). In addition: The construction drawing, train in profile Around 1913/1914 Two-part wooden sculpture, painted in color by the artist. 5.5 x 19.8 x 3.4 cm. Pen and ink drawing, watercolor, on laid paper. 8.5 x 33.2 cm. - Each with numbered textile label "68.1018a" and "68.1018b" under one part of the wooden locomotive. - Sculpture: In perfect condition. Drawing: Fresh colors. With faint handling creases, the margins minimally browned. The upper corners with thumbtack holes. With a photo expertise by Achim Moeller, New York, Managing Director of the Lyonel Feininger Project LLC, New York, dated April 10, 2024 and March 6, 2024. The sculpture is registered under No. 1920-04-10-24. The drawing is registered under No. 1906-03-24. Provenance Sculpture: From the estate of the artist, Andreas Feininger, New York; private collection; Moeller Fine Art, New York; private collection USA. Drawing: As a gift to Alois Schardt, Los Angeles; private collection; Moeller Fine Art, New York; private collection USA With three model locomotives, a model train and six accompanying construction drawings, an ensemble of works by Lyonel Feininger that is extremely rare in the art trade is being offered for sale. These are the few surviving prototypes of wooden trains built around 1913, which the Munich toy manufacturer Otto Löwenstein was commissioned to produce on Feininger's behalf. Although Feininger had already applied for a patent for his "Block Railway", production had been prepared and even the cardboard packaging had been designed, industrial production had to be halted because the First World War broke out in August 1914. Feininger had been fascinated by railroads and the dynamics associated with them since childhood. In his early years in New York, he experienced the frenzy of Grand Central Station, which opened in the year of his birth, the construction of the elevated railroad over Second Avenue and the construction of the Brooklyn Bridge. As the epitome of modern engineering achievements, however, he was particularly enthusiastic about the large steam locomotives: "I often stood," he wrote in an autobiographical account, "on one of the long pedestrian bridges on Fourth Avenue that lead over the tracks of the New York Central Railway and watched the arriving and departing trains." (quoted from Martin Faass, Eine Phantasiewelt parallel zur Kunst Lyonel Feiningers Spielzeug, in: Jahrbuch des Museums für Kunst und Gewerbe, Hamburg, vol. 20, 2001, p. 116). With a great interest in all things technical, Feininger developed an enthusiasm for old-fashioned steam locomotives while still in the USA, which he repeatedly drew, sometimes painted and even built himself out of wood. After carving houses, churches, city gates and figures for his three sons, he developed prototypes for model trains for the toy industry around 1913. Even before his artistic breakthrough, Feininger hoped this would provide him with another source of income. As Martin Faass explains, he invented the "block train", a wooden train without wheels or tracks, which was simply pulled across the floor with its smooth underside. Beforehand, he took great pleasure in drawing detailed construction drawings of historical locomotives with their tenders and passenger carriages. He used the "Adler" built by Robert Stephenson in England and the American "Pacific" as models. He had the components for the prototypes made by a carpenter friend; he assembled the parts himself and painted them. (cf. Faass, ibid., p. 116). These were always historical railroads, because unlike the Futurists, Feininger's affinity for technology did not go hand in hand with a belief in progress. And yet he proved to be an expert in the subject matter, displaying the greatest technical precision in his design drawings, such as that of the "American passenger D-carriage "1915". As he wrote to his wife Julia on May 26, 1913, he was very enthusiastic about his work: "I am very firm with the models and build very sophisticated things and very carefully thought out in all parts [...]. In this work I am once again the happy boy of 15 years, and now it has a purpose on top of that." (quoted from T. Lux Feininger, Die Stadt am Ende der Welt, Munich 1965, p. 28). With a view to the planned production, he also saw the benefit of these designs: "And yet with a happy subconsciousness of doing something like a work that will soon be visible to hundreds of thousands and really enjoyable - not like 'lumpy oil paintings'." (quoted from T. Lux Feininger, ibid., p. 30). With an origin from the estate of the eldest son Andreas Feininger or from the collection of the museum man

Tue 04 Jun

Lyonel Feininger - Lyonel Feininger Locomotive (type Adler) Around 1913/1914 Wooden sculpture, painted in color by the artist. 5.7 x 11.7 x 3.3 cm. Numbered textile label "68.1019" and "68.1017b" under the locomotive. - With minimal traces of use. With a photo expertise by Achim Moeller, New York, Managing Director of the Lyonel Feininger Project LLC, New York, dated April 10, 2024 - The sculpture is registered under no. 1919-04-10-24. Provenance From the estate of the artist, Andreas Feininger, New York; private collection; Moeller Fine Art, New York; private collection USA. Exhibitions Frankfurt 2023/2024 (Schirn Kunsthalle), Lyonel Feininger. Retrospective, p. 38 with color illustrations, p. 267. With three model locomotives, a model railroad and six accompanying construction drawings, an ensemble of works by Lyonel Feininger that is extremely rare in the art trade is being offered for sale. These are the few surviving prototypes of wooden trains built around 1913, which the Munich toy manufacturer Otto Löwenstein was commissioned to produce on Feininger's behalf. Although Feininger had already applied for a patent for his "Block Railway", production had been prepared and even the cardboard packaging had been designed, industrial production had to be halted because the First World War broke out in August 1914. Feininger had been fascinated by railroads and the dynamics associated with them since childhood. In his early years in New York, he experienced the frenzy of Grand Central Station, which opened in the year of his birth, the construction of the elevated railroad over Second Avenue and the construction of the Brooklyn Bridge. As the epitome of modern engineering achievements, however, he was particularly enthusiastic about the large steam locomotives: "I often stood," he wrote in an autobiographical account, "on one of the long pedestrian bridges on Fourth Avenue that lead over the tracks of the New York Central Railway and watched the arriving and departing trains." (quoted from Martin Faass, Eine Phantasiewelt parallel zur Kunst Lyonel Feiningers Spielzeug, in: Jahrbuch des Museums für Kunst und Gewerbe, Hamburg, vol. 20, 2001, p. 116). With a great interest in all things technical, Feininger developed an enthusiasm for old-fashioned steam locomotives while still in the USA, which he repeatedly drew, sometimes painted and even built himself out of wood. After carving houses, churches, city gates and figures for his three sons, he developed prototypes for model trains for the toy industry around 1913. Even before his artistic breakthrough, Feininger hoped this would provide him with another source of income. As Martin Faass explains, he invented the "block train", a wooden train without wheels or tracks, which was simply pulled across the floor with its smooth underside. Beforehand, he took great pleasure in drawing detailed construction drawings of historical locomotives with their tenders and passenger carriages. He used the "Adler" built by Robert Stephenson in England and the American "Pacific" as models. He had the components for the prototypes made by a carpenter friend; he assembled the parts himself and painted them. (cf. Faass, ibid., p. 116). These were always historical railroads, because unlike the Futurists, Feininger's affinity for technology did not go hand in hand with a belief in progress. And yet he proved to be an expert in the subject matter, displaying the greatest technical precision in his design drawings, such as that of the "American passenger D-carriage "1915". As he wrote to his wife Julia on May 26, 1913, he was very enthusiastic about his work: "I am very firm with the models and build very sophisticated things and very carefully thought out in all parts [...]. In this work I am once again the happy boy of 15 years, and now it has a purpose on top of that." (quoted from T. Lux Feininger, Die Stadt am Ende der Welt, Munich 1965, p. 28). With a view to the planned production, he also saw the benefit of these designs: "And yet with a happy subconsciousness of doing something like a work that will soon be visible to hundreds of thousands and really enjoyable - not like 'lumpy oil paintings'." (quoted from T. Lux Feininger, ibid., p. 30). The works also have excellent provenance, having come from the estate of Feininger's eldest son Andreas Feininger or from the collection of the museum man and friend Alois J. Schardt. As director of the Municipal Museum in Halle from 1926, Schardt arranged Feininger's first important commission for a series of paintings of the Marktkirche in Halle (1929-1931).

Tue 04 Jun

Lyonel Feininger - Lyonel Feininger Locomotive with tender (American eight-wheeler with funnel shaped smokestack, straight fire box lamp). Accompanied by: The construction drawing, train in profile Around 1913/1914 Two-part wooden sculpture, painted in color by the artist. 5.8 x 19.3 x 3 cm. Pen and ink drawing, watercolor, on laid paper. 5.6 x 29.5 cm. - Each with a numbered textile label "68.1017a" and "68.1017b" under part of the wooden locomotive. - With insignificant traces of use. Each with a photo-certificate by Achim Moeller, New York, Managing Director of the Lyonel Feininger Project LLC, New York, dated April 10, 2024 and March 6, 2024. The sculpture is registered under No. 1918j-04-10-24. The drawing is registered under No. 1905-03-24. Provenance Sculpture: From the estate of the artist, Andreas Feininger, New York; private collection; Moeller Fine Art, New York; private collection USA. Drawing: As a gift to Alois Schardt, Los Angeles; private collection; Moeller Fine Art, New York; private collection USA Exhibitions: Sculpture Sculpture: Frankfurt 2023/2024 (Schirn Kunsthalle), Lyonel Feininger. Retrospective, p. 38 with color illustrations, p. 267. Drawing: Berlin 2013 (Moeller Fine Art), Lyonel and T. Lux Feininger; Berlin 2013 (Moeller Fine Art), Lyonel Feininger: Drawn from Nature, Carved in Wood / T. Lux Feininger: Sixty Years of Painting; Madrid 2017 (Fundación Juan March), Lyonel Feininger, cat. No. 162, p. 133 with color illustrations, p. 400 With three model locomotives, a model railroad and six corresponding construction drawings, an ensemble of works by Lyonel Feininger that is extremely rare in the art trade is being offered for sale. These are the few surviving prototypes of wooden trains built around 1913, which the Munich toy manufacturer Otto Löwenstein was commissioned to produce on Feininger's behalf. Although Feininger had already applied for a patent for his "Block Railway", production had been prepared and even the cardboard packaging had been designed, industrial production had to be halted because the First World War broke out in August 1914. Feininger had been fascinated by railroads and the dynamics associated with them since childhood. In his early years in New York, he experienced the frenzy of Grand Central Station, which opened in the year of his birth, the construction of the elevated railroad over Second Avenue and the construction of the Brooklyn Bridge. As the epitome of modern engineering achievements, however, he was particularly enthusiastic about the large steam locomotives: "I often stood," he wrote in an autobiographical account, "on one of the long pedestrian bridges on Fourth Avenue that lead over the tracks of the New York Central Railway and watched the arriving and departing trains." (quoted from Martin Faass, Eine Phantasiewelt parallel zur Kunst Lyonel Feiningers Spielzeug, in: Jahrbuch des Museums für Kunst und Gewerbe, Hamburg, vol. 20, 2001, p. 116). With a great interest in all things technical, Feininger developed an enthusiasm for old-fashioned steam locomotives while still in the USA, which he repeatedly drew, sometimes painted and even built himself out of wood. After carving houses, churches, city gates and figures for his three sons, he developed prototypes for model trains for the toy industry around 1913. Even before his artistic breakthrough, Feininger hoped this would provide him with another source of income. As Martin Faass explains, he invented the "block train", a wooden train without wheels or tracks, which was simply pulled across the floor with its smooth underside. Beforehand, he took great pleasure in drawing detailed construction drawings of historical locomotives with their tenders and passenger carriages. He used the "Adler" built by Robert Stephenson in England and the American "Pacific" as models. He had the components for the prototypes made by a carpenter friend; he assembled the parts himself and painted them. (cf. Faass, ibid., p. 116). These were always historical railroads, because unlike the Futurists, Feininger's affinity for technology did not go hand in hand with a belief in progress. And yet he proved to be an expert in the subject matter, displaying the greatest technical precision in his design drawings, such as that of the "American passenger D-carriage "1915". As he wrote to his wife Julia on May 26, 1913, he was very enthusiastic about his work: "I am very firm with the models and build very sophisticated things and very carefully thought out in all parts [...]. In this work I am once again the happy boy of 15 years, and now it has a purpose on top of that." (quoted from T. Lux Feininger, Die Stadt am Ende der Welt, Munich 1965, p. 28). With a view to the planned production, he also saw the benefit of these designs: "And yet with a happy subconscious

Wed 05 Jun

Expressionist animist dance mask, NEPAL. Hardwood, patina of use. Size: 27 x 29 cm

Wed 05 Jun

Ivan Tovar (San Francisco de Macoris, 1942 - Saint-Domingue, 2020) Sculpture objet, 1971 Wood and painted metal object with a female shoe tree on a metal cage Signed on the central wooden part 37,5 x 9,5 cm (diameter) Provenance: - Urvater Collection, Belgium - Geneviève and Jean-Paul Kahn, Paris Our thanks to Mrs. Daniela Tovar for her kind contribution in referencing this work.

Thu 06 Jun

ANTONIO DEL DONNO , 1927 - 2021 - ANTONIO DEL DONNO 1927-2021 Gospel, 1976 Wood sculpture cm. 35x66 Archive on photograph PROVENANCE Private collection, Alexandria

Thu 06 Jun

Indian school. 20th century. - Indian school. 20th century. "Goddesses. Pair of carved wood sculptures, mounted on lamp. 90 x 15 x 9 cm each.

Fri 07 Jun

*Carved, lacquered and gilded wood sculpture depicting a seated dignitary, her clasped hands masked by the flaps of her long robe, her face looking serene, her eyes almond-shaped, her nose wide and her mouth thin, her hair in a high bun held in place by a tiara. CHINA, 17th century. H: 49.5 ; W: 22 cm (excluding base) (some accidents and missing parts)

Fri 07 Jun

Lacquered and gilded wood sculpture depicting a Buddha seated in padmasana, hands clasped in dhyana mudra, shown with a serene face, half-closed eyes, curly hair topped with ushinisha. VIETNAM, 19th century. H: 61; W: 32; D: 28 cm (cracks, missing parts)

Fri 07 Jun

Gilded wood sculpture in the form of the Quan Âm deity seated on a rock, with a rocky arch below. VIETNAM, 19th century. Height: 30.5 cm

Wed 12 Jun

Unsigned 'Squire' wood sculpture | Height 37 cm.

Wed 12 Jun

KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Therianthropy", 2018. Sculpture in serval cat taxidermy, turkey wing taxidermy, glass and steel. Unique piece . Attached certificate signed by the artist. Measurements: 105 x 115 x 106 cm. In his Therianthropy series, Vanmechelen tackles an artificial crossbreeding that shows two mesmerizing bodies entangled and carrying the transparency of life. A hybrid born from accidents in time and raised in a nest, formed by the past. This work is inspired by the cabinets of curiosities of the sixteenth century, a source of erudition to understand the layout of the world and nature, but also a prestigious space where the collector's most precious treasures were exhibited. At that time, imagination was fertile and cabinets of objects were traditionally classified according to their nature. In 2021, curator Els Wuyts selected three works by Vanmechelen for the show "A Soft Gentle Breeze", among them was Therianthropy and together they formed what was called the circle of life. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), a unique art project he launched in the late 1990s. This project focuses on the chicken and, more specifically, on crossing national chicken breeds to turn them into "cosmopolitan chickens". In 2018, the 22nd generation within this global project was born at the Serlachius Museum in Finland: the Danish Malinois, a cross between a Finnish breed and the Danish Malinois (CCP21) that hatched at the Danish Biennale a year earlier. Meanwhile, the various cosmopolitan chickens carry genes from Belgium, France, England, the United States, Germany, the Netherlands, Mexico, Thailand, Brazil, Turkey, Cuba, Italy, Russia, China, Egypt, Senegal, Slovenia, Austria, Indonesia and Denmark. Biocultural diversity and the resulting interaction between art and science are the main theme of his work. Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Wed 12 Jun

KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Mechelse Bresse C.C.P.", 2012. Sculpture in taxidermy of hen, wooden base and two photographs (rooster and hen, father and mother of the hen in the sculpture). Unique piece. Enclosed certificate signed by the artist. Measurements: 52 x 48 x 22 cm (hen); 62 x 56,5 x 36,5 cm (hen urn); 30 x 30 cm (each of the two photographs). Throughout his life, the artist Koen Vanmechelen has been fascinated by the chicken and the egg. Already as a child he built cages and aviaries, and had an incubator in his room. Then he realized that the domestic chicken has its cage inside. The egg is its prison. The chick that breaks through the eggshell is a symbol of liberation. This work belongs to "The Cosmopolitan Chicken Project (CCP, 1999)" a global, transdisciplinary and transtemporal examination of the themes of biocultural diversity and identity through the interplay of art, science and beauty. In the CCP, artist Koen Vanmechelen crosses chicken breeds from different countries. His ultimate goal is the creation of a Cosmopolitan Chicken carrying the genes of all chicken breeds on the planet. Much more than a simple domestic animal, the chicken is art in itself. It serves as a metaphor for the human animal and its relationship to the biological and cultural diversity of the planet. While native breeds descended from the original chicken (the Red Junglefowl) are evolutionary dead ends (being shaped to reflect the typical cultural characteristics of their community), Vanmechelen crosses are solutions. Many years of crossbreeding have shown that each successive generation is hardier, lives longer, is less susceptible to disease and exhibits less aggressive behavior. Genetic diversity is essential, demonstrates the Cosmopolitan Chicken Research Project (CC®P), which studies the various cosmopolitan chickens. In the millennial year 2000, Vanmechelen presented its first "crossbreed", the Mechelse Bresse, a "cross" born from the Belgian Mechelse Koekoek and the French Poulet de Bresse. To date, twenty-one pure breeds have been included in the CCP. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Wed 12 Jun

KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Kitovu", 2016. Mixed media (neon, horns, cowhide, ropes and other materials) in plexiglass urn. Unique piece. Attached certificate issued by the artist. Measurements: 64 x 76 x 33 cm (urn). Osotwa (Kitovu) means "umbilical cord" in the language of the Masai. This work, titled Osotwa, is linked to Koen Vanmechelen's and Labiomista's joint project. It is the result of the artist's collaboration with the city of Genk. An experimental idea born from a shared vision of the potential of identity and diversity. As part of the transdisciplinary team, Koen Vanmechelen assigned several themes to a group of people and a work of art, as a tool for reflection and regrouping and as a source of inspiration. This work is the indivisible part of the conclusions reached by the second working group, whose discussion had revolved around freedom. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), a unique art project he launched in the late 1990s. This project focuses on the chicken and, more specifically, on crossing national chicken breeds to turn them into "cosmopolitan chickens". In 2018, the 22nd generation within this global project was born at the Serlachius Museum in Finland: the Danish Malinois, a cross between a Finnish breed and the Danish Malinois (CCP21) that hatched at the Danish Biennale a year earlier. Meanwhile, the various cosmopolitan chickens carry genes from Belgium, France, England, the United States, Germany, the Netherlands, Mexico, Thailand, Brazil, Turkey, Cuba, Italy, Russia, China, Egypt, Senegal, Slovenia, Austria, Indonesia and Denmark. Biocultural diversity and the resulting interaction between art and science are the main theme of his work. Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Wed 12 Jun

KOEN VANMECHELEN (Sint-Truiden, Belgium, 1965). "Mechelse Silky C.C.P.", 2012. Taxidermy sculpture of Japanese hen, wooden base and two photographs (rooster and hen, father and mother of the hen in the sculpture). Unique piece. Attached certificate signed by the artist. Measurements: 34 x 30 x 16 cm (hen); 47 x 36,5 x 29 cm (hen urn); 30 x 30 cm (each of the two photographs). Throughout his life, the artist Koen Vanmechelen has been fascinated by the chicken and the egg. Already as a child he built cages and aviaries, and had an incubator in his room. Then he realized that the domestic chicken has its cage inside. The egg is its prison. The chick that breaks through the eggshell is a symbol of liberation. This work belongs to "The Cosmopolitan Chicken Project (CCP, 1999)" a global, transdisciplinary and transtemporal examination of the themes of biocultural diversity and identity through the interplay of art, science and beauty. In the CCP, artist Koen Vanmechelen crosses chicken breeds from different countries. His ultimate goal is the creation of a Cosmopolitan Chicken carrying the genes of all chicken breeds on the planet. Much more than a simple domestic animal, the chicken is art in itself. It serves as a metaphor for the human animal and its relationship to the biological and cultural diversity of the planet. While native breeds descended from the original chicken (the Red Junglefowl) are evolutionary dead ends (being shaped to reflect the typical cultural characteristics of their community), Vanmechelen crosses are solutions. Many years of crossbreeding have shown that each successive generation is hardier, lives longer, is less susceptible to disease and exhibits less aggressive behavior. Genetic diversity is essential, demonstrates the Cosmopolitan Chicken Research Project (CC®P), which studies the various cosmopolitan chickens. In the millennial year 2000, Vanmechelen presented its first "crossbreed", the Mechelse Bresse, a "cross" born from the Belgian Mechelse Koekoek and the French Poulet de Bresse. To date, twenty-one pure breeds have been included in the CCP. Koen Vanmechelen is a conceptual artist of Belgian origin. He began his career in the early 1990s. His work focuses on biocultural diversity. Around this theme, Vanmechelen has also collaborated with scientists from different disciplines. These cross-border projects earned him an honorary doctorate from Hasselt University in 2010 and the Golden Nica Hybrid Art Prix Ars Electronica in 2013.Koen Vanmechelen is best known for his The Cosmopolitan Chicken Project or (CCP), Vanmechelen often collaborates with scientists and experts from various disciplines, such as Jean-Jacques Cassiman, Willem Ombelet, Maarten Larmuseau, Rik Pinxten and Marleen Temmerman. He uses innovative technologies such as 3D scanning, morphometry, 3D printing and interactive visualization techniques. His work is multimedia and ranges from expressive paintings and drawings to photography, video, installations, glasswork and wood sculptures. The common thread that often recurs is the chicken and the egg. Over the years, these objects have become symbols connecting scientific, political, philosophical and ethical issues. Throughout his prolific career he has had solo and group exhibitions at the National Gallery (London), Victoria and Albert Museum (London), Museum Kunstpalast (Düsseldorf), Muziekgebouw aan 't IJ (Amsterdam), Macro (Rome), MAD Museum (NY), Slot Belvedere (Vienna), ZKM (Karlsruhe) and Pushkin Museum (Moscow), among others. In addition to the Venice Biennale, his work has been exhibited at the Moscow, Dakar, Havana and Poznan Biennials, the 2010 Shanghai World Expo, the Guangzhou Triennial, Manifesta 9 and dOCUMENTA (13).

Thu 13 Jun

MANOLO VALDÉS (Valencia, 1942). "Reina Mariana in Art Decó", 1982. Iron and wood. Provenance: Maeght Gallery. Work reproduced in "Manolo Valdés In Cardiff". Measurements: 172,8 x 112 x 27,5 cm. The game of combinations and stylistic permutations and references to the history of art was an inexhaustible source for Manolo Valdés. Here, in this iron and wood sculpture, we are faced with a classic example of this playful spirit: we recognise Queen Mariana of Austria dressed in her court dress with a pompous skirt, just as Velázquez represented her in his day, albeit in an Art Deco version. Thus, the angular, idealised, balanced and proportioned, yet synthetic and essential forms pay homage to Velázquez and make this sculpture a true statement of intent by the Valencian painter, vindicating the role of the great traditional and modern painters in the evolution of the history of art. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Sat 29 Jun

A WOODEN SCULPTURE SHOWING ST. SEBASTIAN damaged, probably 16/17th c. H: 89 cm