november, 10 th 2018 at 2 pm CET viewing in our gallery galerie zacke

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2 A Viennese Private Estate november, 10 th 2018 at 2 pm CET CATALOG PE1118 viewing in our gallery November 5 th 10 th Monday-Friday 10 am 6 pm Saturday, Nov. 10 th 10 am 2 pm and by appointment galerie zacke MARIAHILFERSTRASSE VIENNA AUSTRIA Tel Fax office@zacke.at

3 IMPORTANT INFORMATION (According to the general terms and conditions of business Gallery Zacke Vienna) ABSENTEE BIDDING FORM FOR THE AUCTION a viennese private estate PE1118 ON DATE november, 10 th 2018 at 2 pm CET Absentee Bids: Absentee bids are carried out under the regulations of the terms of business of Gallery Zacke which requires written submission of your purchase limit. Orders without purchase limits cannot be processed. Only the submitted lot number of the purchase object is binding for the processing of the absentee bid. The place of jurisdiction is Vienna, Austrian Law and Austrian jurisdiction are exclusively applicable for all legal questions arising from the business relationship. Absentee bids for this auction will be accepted until the day of auction by 8:00 a.m. We regret that absentee bids received after the time stated above will not be processed until after the auction. Please send absentee bid for this auction to: Fax: +43 (1) or office@zacke.at or Telephone +43 (1) We accept the following methods of payment: Cash Check Bank transfer (please inquire to receive our bank information) Credit card (Visa, MasterCard, Diners, Amex) Telephone Bids: It is generally possible to bid by telephone during the auction for purchases over 100 euros. Please fill out the absentee bidding form enclosed in this catalogue including the telephone number where you can be reached during the auction. In the highest bid column please write TEL and then send us the absentee bidding form. We will contact you by telephone during the auction, whereby you will be able to bid directly. Please keep in mind that such telephone bids are always classified as a bid equivalent to the starting price. Should no other person bid for the specified lot, you will automatically win the bidding and the respective lot will knocked down to the starting price. Estimated Price / Starting Price: The auction will begin with the starting price and written bids will also accordingly be accepted starting with an amount equivalent to the stated starting price. Shipping and Transportation Insurance: For domestic shipping Gallery Zacke (hereinafter called the company ) charges in average EUR 15,- to EUR 50,- per item, depending on size and weight. These fees cover the costs of packing and shipping. Postage fees (e.g. bulky or fragile items, shipping abroad) will be quoted upon request. The purchased goods are transported at the risk of the customer following handover of the packaged item to the post office or another carrier which the customer agrees to through his/ her submission of the purchase order. According to specific wish of the customer, the auctioned goods may be insured for the value of the purchase price (highest bid and surcharge). This insurance fee is 3% of the purchase price. For purchase prices exceeding EUR 350,- per auction transportation insurance will be automatically arranged by the company if it does not expressively receive the purchaser s written denial of this service. Payments due to the company under the insurance contract will be charged to the customer. The company is also entitled to assign claims under the insurance contract for the customer providing the terms of the insurance contract do not prevent this. In any case, the company is exclusively required to make payment to the customer specifically if payment has effectively been received from the insurance company. Color and Condition: Objects lots coming to auction will be exhibited for viewing prior to the auction, thus offering all interested customers the opportunity to examine the quality and condition of the works exhibited. The catalogue illustrations are intended to assist customers during pre-viewing. In illustrations, print colors cannot naturally correspond hundred percent to the originals. The catalogue images are neither for condition nor qualities of the illustrated pieces authoritative. Flaws and damage are only indicated in some cases in the catalogue. Our illustrations in the catalogue can be so strongly magnified, that damage and restorations are usually clearly recognizable and much more exact than words are able to communicate (excerpt from 22 Business Terms and Conditions). Please send inquiries concerning this matter to office@zacke.at. Endangered Species / CITES Information: Some items in this catalogue may consist of material such as for example ivory, rhinoceros horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee that such export permit may or will be obtained, but will by order of the winning bidder, once and exclusively after the item in question has been paid in full, apply to obtain such a permit at a fixed administrative fee of euro 500, - per application. Important Notice for Prospective Wine Buyers: All rare wines are currently stored at our premises in a dedicated wine cooler space. After the auction the winning bidders can either collect these wines in person or arrange for third party shipping via DPD wine shipping services: Reclamation: Gallery Zacke offers objects or items exclusively from commission contracting partners for purchase in its auctions. In case of complaints or return of goods, please note that these must be processed within six (6) weeks of acceptance of the purchased goods. The condition of objects/pictures in this catalogue is only indicated in some cases. Upon request, we are glad to offer you more information. Our complete general terms and conditions of business can be found on our website Later complaints cannot be considered. All items starting above 1300 EUR are checked by the Art Loss Register. NO. TITLE BID IN EURO PLEASE RAISE MY PURCHASE BID BY ONE BID STEP (APPROX. 10%) IF NECESSARY Notice: All bids are to be understood plus buyer`s premium (incl. VAT). If you like to bid by telephone please write in the column purchase limit TEL. A bid by telephone shall automatically represent a bid at the starting price for this item. If Galerie Zacke cannot reach the Client during the auction, Galerie Zacke will bid up to the starting price for him. If no one else bids on the corresponding good, then the Client shall automatically receive the winning bid at the starting price. TERMS OF PAYMENT, SHIPPING AND COLLECTION: NAME ADDRESS POSTCODE & CITY PHONE CASH ON DELIVERY (MAILING) UP TO A VALUE OF EUR 350, ONLY CUSTOMER COLLECTION PAYMENT ON SITE AND IN CASH, BY CHEQUE OR CREDIT CARD INVOICE PAYMENT UPON RECEIPT OF INVOICE SHIPPING UPON RECEIPT OF PAYMENT With the signature on this form the client declares his consent to aforementioned commissioning of Galerie Zacke. Bids by telephone shall be governed by the AGB (terms and conditions) of Galerie Zacke. The AGB of Galerie Zacke are part of the commissioning of Galerie Zacke by the client. The client agrees with his signature that he has taken note of the AGB (terms and conditions) of Galerie Zacke and that he agrees with them. DEBIT OF CREDIT CARD PLEASE MARK THE DESIRED CARD WITH A CROSS: AMEX DINERS MASTERCARD NAME TEL CARD NUMBER PLEASE CALL ME IF THERE IS ALREADY A HIGHER WRITTEN BID DATE & SIGNATURE VISA Further images of all lots at: EXPRESS PARCEL SERVICE REQUIRED TRANSPORT INSURANCE: PLEASE TAKE OUT A TRANSPORT INSURANCE POLICY FOR THE ITEMS I HAVE BOUGHT PURSUANT TO THE TERMS CONCERNING THE SHIPPING AND TRANSPORT INSURANCE EXPIRY DATE For your information: At its auctions, the Galerie Zacke offers exclusively third-party contributions for sale on commission. We would like to draw your attention to the fact that, in case of any complaints arising from a purchase, these have to be reported to us within 6 weeks after the receipt of the item. Galerie Zacke Mariahilferstr. 112, 1070 Vienna. office@zacke.at. Tel Fax

4 ABSENTEE BIDDING FORM 50 YEARS ZACKE GALLERY FOR THE AUCTION a viennese private estate PE1118 ON DATE november, 10 th 2018 at 2 pm CET NO. TITLE BID IN EURO how to find us on mariahilferstrasse BY PUBLIC TRANSPORT: 2-3 minutes from the U3 station ZIEGLERGASSE 3-5 minutes from the U3/U6 station WESTBAHNHOF BY CAR: Best route: take the Gürtel to the Westbahnhof and turn onto Mariahilferstraße; house number 112 is just after the Kaiserstraße. Access is possible by car, with loading and unloading all day as well as short term parking. Multiple garages directly nearby ADDRESS: Mariahilferstr Vienna STAIRCASE 1, 2 nd FLOOR (ELEVATOR) Further images of all lots at: 4 5

5 Terms of Auction Further images of all lots at 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) as well as in accordance with sections of the Gewerbeordnung [Industrial Code] The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct out the auction deviating from the order of the catalogue numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning off the item. The figures attached to the text shall be the expected last and highest bid in EURO (E) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See list of the bidding increments). 2) The acceptance of a bid shall be granted to the highest bidder unless a seller s reserve price has been agreed with the consignor. Such a seller s reservation (also referred to as limit) shall be the minimum price limit below which particular lots shall not be sold during the auction. This limit shall be disclosed upon request and may not exceed the lower estimated price. If a limit (seller s reserve price) is not achieved, the bid of the highest bidder shall be accepted subject to reservations only. In this case, the highest bidder shall be bound to its highest bid for a period of 8 (eight) working days. If the highest bid from the highest bidder is not finally accepted within this period of time, its binding commitment to this bid shall expire. In order for the final acceptance of the bid to become effective, it is sufficient to send a corresponding notification to the address named by the highest bidder within the stated period of 8 working days. 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value added tax applicable to the surcharge to the amount of 20% shall be added to the achieved highest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bid in total. 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a country which is not a member country of the European Union (third country), the legal requirements are met and the proof of exportation is provided. The value added tax shall not be shown separately on the invoice. 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the amount of 20%). However, the company may grant the auction buyer a respite for the payment of the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of the bid may be revoked and the item may be reoffered. In the event of revocation of the acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. 6) In the event of respite in whole or in part, the company shall be entitled to charge default interest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per month commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be handed over exclusively upon full payment of the purchase price including all costs and charges accrued since the acceptance of the bid. 7) The buyer can take acquired items in possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the reauction as well as for any default interest and storage charges. 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer. 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying that it acts as a representative of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide security by the beginning of the auction at the latest. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective. 10) The company s experts evaluate and describe the items received for auction and determine the starting prices unless otherwise stated in the catalogue or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company s experts with the necessary care and accuracy. The company shall warrant to the buyer according to 22 of the AGB (General Terms and Conditions) that properties are correct provided that any possible complaints referring to this are made within four weeks upon their taking into possession. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalogue and expert opinion as well. This shall also apply to illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The catalogue and the expert opinions shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concernwwing the price shall be excluded upon acceptance of the bid. The company reserves the right to amend catalogue information prior to the auction. These amendments shall be made either by a written notice at the place of auction or orally by the auctioneer immediately prior to offering of the respective item. In this case, the company shall be liable for the amendment only. All items offered may be checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction and has made sure that the item corresponds to the description. 11) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing, via or fax. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing, via or fax. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase orders with equal top bid limits will be considered in the order of their receipt. Bids which are only one increment above the starting price shall be exhausted totally. Bids which do not correspond to the increments determined by the company (see bidding increments) in tabular form will be rounded up to the next higher increment. The table of these increments can be sent upon request. In the case of lots auctioned without any limits, bids below the estimated price shall be exhausted totally. The written bid (purchase order) must include the item stating the catalogue number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer s commission and without value added tax. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction. 12) The company may refuse to process a purchase order without explanation until offering or make this dependent on payment of a deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge. 13) Every contributor shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering. 14) Items paid must be collected within 30 days of payment. Items which have not been collected may be delivered without further communication at a starting price from the recent auction reduced by 50% after 30 days from the respective auction date. Items which have not been collected within 3 (three) working days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) within 3 (three) working days after the auction shall be stored at the owner s risk. Furthermore, the company shall be entitled to store items which have been purchased at auction and paid but not collected at the buyer s risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provisions concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred the buyer at the time of handing over the delivery note. 15) In the case of mixed lots with a starting price of less than EUR , the company shall not warrant for the completeness or correctness of the individual items within a mixed lot. 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting price for these items. If the company cannot reach the bidder by telephone, it will bid on behalf of the bidder by phone up to the starting price when the respective auction lot is called. 17) Payments made to the company by mistake (through the payer s fault) (e.g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded. 18) In the case of individual auction lots, it may happen that they are delivered several times. In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s). In this case, the text in the catalogue and not the illustration in the catalogue shall also be exclusively binding with regard to the warranty (relating to these auction lots). 19) When making a bid, whether personally, in writing or by telephone, the bidder shall acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules of procedure and the schedule of fees (as amended) of the company. 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna. 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide information about art objects for which an export permit will probably not be granted at the beginning of the auction. 22) Zacke reserves the right to assign to the customer all rights and obligations resulting from the contractual relationship between Zacke and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between Zacke and the customer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship following the submission of the aforementioned declarations by Zacke shall exclusively be between the contributor and the customer, which is in accordance with the basic model of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment. 6 7

6 1 WILLIAM NEALE & SONS, SILVER AND ENAMEL VESTA, 1925 Willian Neale & Sons LTD Birmingham based silver manufacturer Silver and enamel England, dated 1925 This precious silver and enamel matchsafe is a typical produce of the prolific silver manufactory William Neale & Sons, bearing their mark. The show side features the portrayal of a nude Art Deco beauty with long maroon colored hair, Venus-like emerging from a lotus pond. To the left of the girl is an oval silver reserve which serves as space for a monogram. The original silver manufactory was established by William Neale in 1850 in Birmingham. Later the firm became William Neale & Sons as a partnership of William Neale senior, William Neale Junior and Arthur Neale. In 1905 the firm was converted into a limited liability company under the name of William Neale & Sons Ltd. Signature / Marks: marked with the Birmingham city mark, the date mark 1925, the makers mark of William Neale & Sons LTD (W.N LTD in a shield), additional mark Bulls Silversmiths Bedford (sales outlet) as well as Patent Nr , Dimensions: height is 8,5 cm, length is 12 cm Weight: 45 grams Condition: excellent condition with hardly any traces of wear Starting price: EUR 200,- (Estimate: EUR 400,-) 2 A BIEDERMEIER SILVER MINIATURE JARDINIERE WITH IBEXES, 1820s Silver with partial gilding Austria, around 1820 This silver artwork dates to the Biedermeier period and is of Austrian origin. It was used for flowers or maybe herbs or spices at the table. The side handles are made in the shape of rather whimsical ibexes with long curved horns. Delicate chase work at the fur but also the floral border adorning the rim and gilding on the inside round off the precious look of this little object. Signature / Marks: marked with two illegible marks as well as 12 (= 12 lot silver) at the base Dimensions: height is 8,5 cm, length is 12 cm Weight: 87 grams Condition: very good condition with minor traces of wear and age Starting price: EUR 100,- (Estimate: EUR 200,-) 3 WILLIAM COMYNS, SILVER INLAID TORTOISE SHELL TRINKET BOX, 1905 Silver manufactory William Comyns & Sons Ltd. Tortoiseshell, sterling silver, textile inlay of silk, leather London, England, 1905 This noble trinket casket was crafted by the silver manufactory William Comyns & Sons Ltd. in London in The casket is modelled in its form as a miniature version according to cylinder desks. The lid caps, as well as the sidewalls consist of real tortoiseshell and the fittings are of sterling silver, with a finely chased pattern along the edges. Engraved In silver, allegorical depictions of music are inserted into the tortoiseshell. William Comyns & Sons Ltd. is known as a large silver manufactory based in London. The silversmith was founded by William Comyns in ca. 1859, when he purchased the company from Robert Tagg, which had been in existence itself since The company name William Comyns & Son. existed since ca. 1885, when both his sons Charles and Richard became associates. In 1925, the firm was bought by Bernard Copping, which survives until today as one of the few silversmiths based in London. Signature / Marks: shows the maker s mark W.C, the country hallmark England, the town hallmark London, and the year hallmark k (1905). It is also marked with Wilson & Gill, 139 Regent St. London Dimensions: 10 x 12.7 x 10 cm (height x width x depth) Condition: very good condition with the usual signs of wear and age Starting price: EUR 300,- (Estimate: EUR 600,-) 8 9

7 4 A LARGE PAIR OF VIENNESE LATE BIEDERMEIER CANDLESTICKS WITH 4-LIGHT GIRANDOLE INSERT, 1854 Silversmith A. Köll Vienna Silver Austria, dated 1854 This fine pair of silver candlesticks can be used as a pair of normal sized candleholders or with the girandole insert in place as 4-armed candlesticks. The central candleholder can either be closed off by the lid or used as well. The shape is very classic for the late Biedermeier period and the execution of the finest quality. Signature / Marks: at the top and the base part marked with the Vienna Radlpunze hallmark, dating of Additionally, makers initials AK standing for A. Köll Dimensions: total height 57 cm each, height of only lower part candleholders is 31 cm each, diametr of the base is 16,5 cm each Weight: total weight is grams Condition: very good condition with minor traces of wear and age and only very few small dents Auction result comparison: DOROTHEUM, Silver, , Palais Dorotheum Vienna, lot 80 (for a comparable pair of candlesticks by A. Köll) Starting price: EUR 500,- (Estimate: EUR 1.000,-) 10 11

8 5 FRITZ GERBER & CO., A 93-PIECE SILVER CUTLERY SET IN FITTED ORIGINAL CASE, 1920s Fritz Gerber & Co. German silver manufactory 800 silver (with partial gilding), stainless steel knife blades Germany, 1920s This table silver was manufactured by the Silesian Company Fritz Gerber and Co. in the 1920s and shows an ornate fruit and flower décor at the handles. The cutlery set comes complete with its fitted three-drawer wood case, with handles and key. This silver cutlery set for 12 people consists of: 11 large forks 12 large knifes 12 large spoons 12 mocha spoons 12 coffee spoons 12 hors d oeuvre forks 12 hors d oeuvre knifes 1 soup ladle with partial gilding 2 serving spoons with partial gilding 2 serving knifes with partial gilding 1 saucier spoon with partial gilding 1 large serving spoon 2 meat forks 1 cake lifter All pieces are stamped with the maker s mark KA which was originally used by the silversmith company of Karl Altermann in Lobau / Saxonia. The Fritz Gerber & Co. Company (founded 1879) took over the Altermann silver manufactory and used their mark in addition to their own makers mark FG & Co.. Signature / Marks: all pieces are marked 800, with the German crown and crescent silver hallmark and the makers mark KA. Dimensions: Lengths range from 33 to 10 cm Weight: Total weight is approx grams Condition: very good condition with usual signs of wear and age Starting price: EUR 750,- (Estimate: EUR 1.500,-) 12

9 6 J. C. KLINKOSCH, A 111-PIECE VIENNA SILVER CUTLERY SET, 1920s JC Klinkosch AG Austrian silver manufactory 800 silver (with partial gilding), stainless steel knife blades Austria, 1920s This classical Vienna table silver was manufactured by the famed Klinkosch Company in the 1920s. This silver cutlery set for 12 people consists of: 12 large forks 12 large knifes 12 large spoons 11 mocha spoons 12 coffee spoons 12 desert spoons with partial gilding 12 desert forks with partial gilding 12 hors d oeuvre forks 12 hors d oeuvre knifes 1 soup ladle (another silver-plated ladle included by Berndorf) 1 cake lifter 2-piece serving cutlery 1 desert serving spoon with partial gilding Josef Carl Klinkosch ( ) was one of the best Viennese silversmiths who worked for the Emperor Franz Josef. Important Austrian artists such as Otto Wagner or Otto Prutscher made designs for the prolific Klinkosch Company. In 1831 his father Carl Klinkosch formed a partnership with Stephan Mayerhofer and the partnership traded as Mayerhofer & Klinkosch. The company expanded quickly and within a few years employed several hundred workers. In 1869/1870 he ended his partnership with Stephan Mayerhofer and the company was renamed J. C. Klinkosch. The company participated in the World Exhibition in Vienna in 1873 and the World Exhibtion in Paris in 1878 and won numerous silver and gold medals. From 1855 the Klinkosch Company held the Imperial Warrant to the Court of Franz Josef. Klinkosch was a member of the Vienna Municipal Council from 1861 to 1862 and his customers were largely drawn from the upper middle class and the nobility. Josef Carl Klinkosch was knighted in 1879 and could then call himself Joseph Carl Ritter von Klinkosch. In 1884 he retired from business, the company passed to his two sons, Arthur ( ) and Isidor ( ). In 1918, the company was acquired by Arthur Krupp and was incorporated under the name JC Klinkosch AG. Signature / Marks: all pieces are marked 800 and with the Tucan W4 mark, which is the Austrian silver hallmark for 800 silver, additionally the gold plated pieces show the maker s mark AP for the goldsmith August Partsch, the other pieces all show the Klinkosch trademark in the shape of a knight s helmet Dimensions: Lengths range from 32 to 10,5 cm Weight: Total weight (without the Berndorf ladle) is approx grams Condition: very good condition with usual signs of wear and age Literature comparison: Waltraud Neuwirth, Wiener Goldund Silberschmiede und ihre Punzen (= Viennese Goldand Silversmiths and their signs), vol. I, Vienna 1976, pages and vol. II (page 372) Auction result comparison: DOROTHEUM, Jugendstil and 20th Century Arts and Crafts, , Palais Dorotheum Vienna, lot 130 (for an identical Vienna cutlery set by Klinkosch, with 105 parts and weighing 3600 grams) Starting price: EUR 500,- (Estimate: EUR 1.000,-) 14 15

10 7 TURBO CONCH PERFUME CONTAINER WITH AGATE STOPPER, 19th CENTURY Turbo conch, silver plate metal and brass, Agate Europe, late 19th century This turbo conch has a silver plate metal mount at the base and a brass inset that bears an Agate stopper with a little spoon. At the stopper are two loop hinges so that this 19th century vanity item could also be worn as a pendant. Dimensions: 3,5 cm height, 7 cm length Condition: very good condition with minor traces of wear and age Starting price: EUR 20,- (Estimate: EUR 50,-) 9 LARGE SILVER PLATE SERVING TRAY WITH WINE GRAPES DECORATION, 1900s Silver plate metal Europe, 1900s This appealing serving tray shows chiseled decoration at the center and bears two ornate handles as well as four little feet. The handles as well as the rim showcase an ornate high relief decoration incorporating floral designs as well as wine leaves and grapes. Signature / Marks: inscribed Lanc 33 on the backside Dimensions: length 57 cm, width 34 cm and height 3 cm Condition: very good condition with minor traces of wear and age and small dents to feet Starting price: EUR 70,- (Estimate: EUR 150,-) 8 A 19TH CENTURY RUSSIAN LIDDED BOX EAGLE ON ORB Silverplate metal and gilt bronze Russia, around This lidded box features an eagle atop an orb. The vessel is mounted to three figural feet, taking up the shape of winged creatures with ferocious expressions and a prominent central lion leg. Dimensions: height is 17,5 cm, maximum width is 10 cm Condition: shows traces of age and wear such as abrasions or scratches, the bronzes with some manufacturing flaws and cracks, few of the mounting screws missing Starting price: EUR 70,- (Estimate: EUR 150,-) 10 WMF ART NOUVEAU CARAFE WITH SILVER PLATED HANDLE, 1900 WMF Württembergische Metallwarenfabrik Glass, silver plated Britannia metal Germany, around 1900 This Art Nouveau carafe was made in Germany by the Württembergische Metallwarenfabrik (WMF) and dates to around The carafe has a round ring base with a bulbous body, showing faceted flowers. The handle and lidded spout are made of silver-plated Britannia metal and beautiful leaves and fruits are rendered. WMF Württembergische Metallwarenfabrik has produced quality household metal wares ever since WMF was founded under the name Straub & Schweizer and won its first gold medal at the World Fair in London, 1862, then merged with Ritter & Co. in 1880 and emerged as the Württembergische Metallwaren Fabrik AG, with headquarters in Geislingen. Signature / Marks: mounting bears the marks WMF, B, as, I/O as well as the numbers 986 and 347 Dimensions: height is 32 cm Condition: very good condition with only slight age-related signs of wear such as scratches and nicks here and there Starting price: EUR 70,- (Estimate: EUR 150,-) 16 17

11 Vienna Bronzes / Franz Xaver Bergmann ( ) The term Vienna bronze simply refers to antique bronzes that were made by artists from Vienna, Austria. In the 19th and early 20th centuries more than 100 small workshops and foundries manufactured these small objects. The bronzes started becoming popular in the middle of the 19th century. The bronzes are known to have extremely fine detail and are often cold painted with polychrome enamels. The subjects include animals like cats, pigs, foxes and dogs as well as human figures and nudes. Vienna bronzes come in all sizes but are most popular in the smaller scale. These bronzes can be as tiny as 2 cm tall. The most famous Vienna Bronze manufacturer was Franz Xaver Bergmann ( ) who often signed his pieces with the letter B in an urn-shaped cartouche. 13 VIENNA BRONZE, GROUP WITH FOUR CAT FIGURES, 1920s Company of Franz Xaver Bergmann ( ) Bronze with cold paint Austria, 1920s 11 VIENNA BRONZE, GROUP WITH FOUR FROG FIGURES, 1920s Company of Franz Xaver Bergmann ( ) Bronze with cold paint Austria, 1920s This lot comprises four individual miniature bronzes in the shape of frogs. The three larger frogs are rather naturalistic, and all bear the Bergmann urn shaped B mark, the smaller figurine shows a pipe smoking frog. Signature / Marks: all three larger frogs bear the Bergmann B in urn mark as well as the mark WW2 on the underside Dimensions: maximum width of larger frogs is 6,5 cm, small frog is 2,5 cm tall in height Condition: good condition with abrasions to cold paint here and there Auction result comparison: CHRISTIE S, Interiors, 7 October 2015, London - South Kensington, lot 537 (for a larger version of the naturalistic frog) Starting price: EUR 70,- (Estimate: EUR 150,-) This lot comprises four individual miniature bronzes in the shape of humanized cats. We see a dancing couple, a wanderer in traditional costume with a walking stick, a chamber maid with a broom and a tamer that is training a little mouse seated on a chair. Signature / Marks: dancing couple with Bergmann B in urn mark on underside, tamer group bears a fleurs de lis mark which also identifies Bergmann pieces Dimensions: heights range from 3,5 cm to 5,5 cm Condition: good condition with abrasions to cold paint here and there Starting price: EUR 70,- (Estimate: EUR 150,-) 14 VIENNA BRONZE, FIGURAL BOOKENDS WITH OWLS, 1900s Company of Franz Xaver Bergmann ( ) Bronze with cold paint Austria, 1900s 12 VIENNA BRONZE, GROUP WITH THREE DOG FIGURES, 1920s Company of Franz Xaver Bergmann ( ) Austria, 1920s These large cold painted bookends feature a naturalistically rendered owl each, whereas the bust of the wise bird is placed on a pedestal with a leaf shape at the front. The backside bears an ornate web decoration. Signature / Marks: numbering 9738 on both lower backsides Dimensions: 16 cm height, 17 cm width each Condition: good condition with abrasions to cold paint here and there Starting price: EUR 120,- (Estimate: EUR 250,-) This lot comprises three individual miniature bronzes in the shape of dogs. The smallest in the group is a dachshund with a green collar, the middle sized shows a Basset hound and the largest a humanized Dachshund as an injured wanderer with his cub tied to his back inside a rucksack. Signature / Marks: small dachshund as well as basset hound both show the B in urn mark as well as Austria marked on the underside Dimensions: length of little dachshund is 5,5 cm, length of basset hound is 7 cm and the humanized dachshund measures 8,5 cm in height Condition: good condition with abrasions to cold paint here and there Starting price: EUR 70,- (Estimate: EUR 150,-) 18

12 15 MAJOLICA CERAMIC FLOWER PILLAR STAND, GERMANY 1890 Majolica ceramic, polychrome glazed Germany, around 1890 This majolica flower pillar stand dates to late 19th Century Wilhelmine Germany. In characteristic Gründerzeit manner, the pillar is adorned with an opulent relief décor of leaves, pedicels and ribbons. The fond is brown and accents are set in green, yellow and pink. Dimensions: 86.5 x 20 x 20.2 cm (height x width x depth) Condition: very good optical appearance with minor glaze chips, restored Starting price: EUR 150,- (Estimate: EUR 300,-) 16 MAJOLICA CERAMIC FLOWER PILLAR STAND WITH ACORNS, GERMANY 1890 Majolica ceramic, polychrome glazed Germany, around 1890 This majolica flower pillar stand dates to late 19th Century Wilhelmine Germany. In characteristic Gründerzeit manner, the pillar is adorned with an opulent relief décor of leaves and an ornate border at the stand. Standing out beautifully against the deep blue background are high relief garlands with wreaths of acorns. Dimensions: 79 cm (height), Diameter at the top measures 38 cm Condition: good condition with minor traces of wear and age as well as very few glaze chips Starting price: EUR 150,- (Estimate: EUR 300,-) 17 BERNHARD BLOCH, TERRACOTTA SCULPTURE NEW ORLEANS DANDY, 1900 Manufactory Bernhard Bloch ( ) Terracotta, very fine cold paint Eichwald, Bohemia, around 1900 This figurine of a young Afro-American originates from the manufactory Bernhard Bloch in Eichwald, Bohemia and dates to around The figurine is made of terracotta and is finely hand painted. The young man is wearing a fashionable suite and hat. He is leaning casually against a fence. Bloch was the most significant entrepreneur from the region around Eichwald in Bohemia where the so called Eichwaldceramics became fashionable. The range of products included useful and decorative ceramics. This was high-quality decorative and usable ceramic for the middle class, affordable and original. With the beginning of his production, Bloch focused on articles for smokers, such as cigarette holders and tobacco jars in figural and naturalistic configuration. Signature / Marks: marked at the bottom BB, embossed P and with the model no Dimensions: height is 60 cm Condition: optical appearance excellent, smaller breakages restored Starting price: EUR 250,- (Estimate: EUR 500,-) 21

13 18 KPM PORCELAIN PAINTING RAPHAEL SELF-PORTRAIT, BERLIN, 19th CENTURY KPM Königliche Porzellan-Manufaktur (Royal Porcelain Manufactory) Glazed porcelain plaque, painted in polychrome overglaze Berlin, Germany, 19th century The present porcelain painting was created by the Royal Porcelain Manufactory KPM. The Renaissance portrait of a young, long-haired man looking to the right is rendered on a glazed porcelain plate. The portrait after the famous self-portrait by Raphael from 1506, now in the Uffizi Gallery in Florence depicts the young artist in a black robe with a white collar and black hat. The face is rendered in the finest manner and with wonderful detail. The work is presented in a beautiful decorative frame. The Königliche Porzellan-Manufaktur Berlin is one of the oldest and most famous porcelain manufacturers in the world. It was founded by Frederick the Great in 1763, after there had already been several attempts to bring the production of the white gold to Berlin. In 1871 the company moved to its current location near the Tiergarten. During the 19th century KMP was a leading manufacturer of porcelains with fine veduta painting. In addition to extravagantly painted vases, a myriad of table sets, and figurative porcelain have been produced over the years. To this today all porcelain is crafted almost entirely by hand and adorned with hand-painted decorations. The style-defining KPM designs can be found in the collections of many major museums. 20 A 19th CENTURY VIENNA MAHOGANY WALL DISPLAY CABINET WITH BRASS APPLICATIONS Mahogany, glass and brass applications, key Austria, second half of the 19th century This appealing wall display cabinet is of purist form and has a facetted glass pane at the front and two more glass panes to the sides. Inside two shelves can be placed (not included), the key is still in place. The cabinet is inset with brass linings and fan shaped ornaments also made of brass. Dimensions: height 77 cm, width 42 cm and depth 20 cm Condition: very good condition with minor traces of wear and age Provenance: Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) Mark: Incised scepter mark with KPM and 6 4 3/6 Frame: Hand carved wooden frame Dimensions: 22 x 18 cm (frame); 15.5 x 12 cm (plate size) Condition: porcelain plate in excellent condition, frame shows signs of wear and age Starting price: EUR 150,- (Estimate: EUR 300,-) 19 A 19th CENTURY KHAMSEH RUG WITH ANIMALS AND HUMAN FIGURES Wool, dyed with natural colors Persia, late 19th century 21 A VIENNA BIEDERMEIER HOME MEDICINE CHEST, 1840s Wood, metal fittings, key Austria, around 1840 This authentic 19th century Khamseh rug shows intense colors and an intricate pattern with various animals such as donkeys, camels or birds as well as human figures. 19th century Persian Khamseh rugs have strong similarities to the weavings of the nomadic Qashqai, which share their attention to saturated color and intricate, stylized geometric motifs. Khamseh was a 19th-century confederation of tribes in Southern Persia whose rugs are related in style and geographic origins to the Qashqai and Afshar traditions. Khamseh rugs are especially known for their idiosyncratic use of a diverse collection of tribal and zoomorphic devices. The most prized Khamseh design is the murgi motif, usually interpreted as a dense field of up to one hundred flying birds, incorporated within and around one to three diamond shaped medallions. Like other nomadic weavings from the mountainous Fars region, the ornamentation is often continually varied, and augmented by naturally dyed hues of a saturated intensity. Dimensions: 188 x 146 cm measured without fringes Condition: strong colors, yet worn condition, thin pile, few small holes at the margin Starting price: EUR 100,- (Estimate: EUR 200,-) Miniature cabinets such as the example at hand were used as medicine chests in Biedermeier period, Austria. The front and sides are coffered which is highlighted by black coated wooden inserts. Inside three shelves could be placed (not included), the key is still in place. Dimensions: height 77 cm, width 66 cm and depth 35 cm Condition: very good condition with minor traces of wear and age Starting price: EUR 200,- (Estimate: EUR 400,-) 22 23

14 22 CORINTHIAN SANDSTONE CAPITAL WITH LEAVES AND VOLUTA, 19th CENTURY OR EARLIER Sandstone Europe, 19th century or earlier This sandstone capital certainly would be a decorative eyecatcher for the home or garden. It shows a simplified Corinthian form and is carved on all four sides. The shaft with double-grooved fluting merges into short carved leaves of a purist form. The upper surface of the capital, is flat and uniform. Curled spirals adorn the center. Carved from one piece of natural stone by a master craftsman! Impression of Hematite seal Dimensions: 44 x 44 x 44 cm Condition: very good condition with usual signs of age and wear Starting price: EUR 500,- (Estimate: EUR 1.000,-) Impression of Lapislazuli seal 23 LOT WITH 2 OLD BABYLONIAN CYLINDER SEALS, BC Hematite and Lapis Lazuli Mesopotamia / Babylon BC This lot comprises two old Old-Babylonian cylinder seals. The larger is made from Hematite and the smaller from Lapis Lazuli. Both show deep relief carving and a central drilled channel for suspension. The Hematite seal forms the impression of a worship scene with high priests and confronting mythical creatures with a sun symbol in-between. The Lapis seal features a row of confronting mythical creatures. The impressions are still very crisp please see detail pictures. Cylinder seals were used in ancient times to roll an impression onto a two-dimensional surface, generally wet clay. They were invented around 3500 BC in the Near East and were used as an administrative tool, a form of signature, as well as jewelry. Cylinder seals were made from hard stones such as hematite, obsidian, steatite, amethyst, lapis lazuli or carnelian. Most seals have a hole running through the center of the body, and they are thought to have typically been worn on a necklace so that they were always available when needed. Shape: Cylindrical shapes with central channel for suspension. Dimensions: 3,7 cm (height of Hematite seal), 2,2 cm (Height of Lapis Lazuli seal) Condition: Good condition with extensive hand patina Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Literature comparison: For an interesting selection of Old-Babylonian cylinder seals and their impressions visit the webpage of the Spurlock Museum of World Cultures at the University of Illinois. Starting price: EUR 150,- (Estimate: EUR 300,-) 24 25

15 24 A LARGE VIENNESE PAIR OF 19TH CENTURY GILT CARYATIDS White metal with gold lacquer coating Austria, around GEORG MERZ ( ), A BRASS AND MAHOGANY 5-DRAW TELESCOPE IN ORIGINAL CASE Mahogany, brass, glass, leather and cardboard case Germany, around 1860 This large pair of caryatids is of Viennese origin, dating to the late 19th century. The winged, female creatures are barebosomed and show classic facial features of idealized beauty. Leaves and floral garlands round off the elegant look. The tops of the heads are flattened which is typical for this type of objects as caryatids were used as figural supports for either large pieces of furniture or architectonic elements. A caryatid is a sculpted female figure serving as an architectural support, taking the place of a column or a pillar supporting an entablature on her head. The earliest know examples date back to the 6th century BC, yet incorporating caryatids to interiors, furniture, fireplaces and other areas in- and outside the house has a long-standing tradition since the Renaissance era until around Dimensions: height is 58 cm, maximum depth is 34 cm each Condition: good condition with some abrasions to gold lacquer and few smaller stress cracks to metal material Provenance: Austrian private collection Starting price: EUR 300,- (Estimate: EUR 600,-) This antique 5-draw telescope is of German origin and can be dated to around It comes complete with its original leather and cardboard case. Georg Merz ( ) was a Bavarian optician and manufacturer of astronomical telescopes and other optical instruments. At the age of 15 he went to work in the glassworks recently set up by Joseph von Utzschneider in the nearby deconsecrated monastery of Benediktbeuern. There he became the assistant of Joseph Fraunhofer. From 1826, when Fraunhofer died, Merz was in charge of the optical division of the business. On the death of von Utzschneider in 1839 Merz, in partnership with Joseph Mahler, bought the firm. After Mahler s death he ran the business in partnership with his sons Ludwig and Sigmund. When Ludwig died in 1858 the name was changed to G. & S. Merz. Georg Merz died in Munich in 1867 and in 1882 the firm passed to Jacob and Matthias Merz, Sigmund s cousins. The company moved to Munich and closed in Signature / Marks: neatly incised G. & S. Merz vorm. Utzschneider u. Fraunhofer in München Dimensions: diameter is 6,2 cm, length when extended 79,5 cm, length of the case is 25 cm Condition: good condition with some soldering marks to the brass lid Starting price: EUR 150,- (Estimate: EUR 300,-) 26 27

16 26 A LARGE PAIR OF CHARLES X BRONZE AND ORMOLU SIX-LIGHT CANDELABRA, 1820s Patinated and fire gilt bronze, Marble bases France, 1820s This large pair of six-light Charles X candelabra shows greenbrown patinated and fire gilt bronze in beautiful interplay. Details such as floral or leaf decoration are masterly incised. Each candelabra has a column shaped middle section that is supported by three lion feet. The bases are made of dark red marble with ormolu inset. At the center of the six candle holders is a mythical creature with a lion body, a bird head and wings. Dimensions: height is 74 cm, maximum width is 24 cm each Condition: excellent condition with few small chips to marble bases Auction result comparison: SOTHEBY S, PRIVATE COLLEC- TIONS, 18 APRIL 2015, NEW YORK, 28 (for a very similar pair) Starting price: EUR 750,- (Estimate: EUR 1.500,-) 28

17 27 IMPORTANT IVORY CEREMONIAL HAMMER FOR 1ST LEAGUE OF NATIONS ASSEMBLY IN GENEVA, 1920 Ivory, velvet lined fitted cardboard case with metal fittings Europe, around 1920 According to the previous owner, the legendary antiques specialist Paul de Grande from Belgium, this large ivory hammer in its original violin-case shaped box is an important piece of history. It was present and used during the 1st assembly of the League of Nations in 1920 in Geneva. The hammer is segmented of two parts the long handle and the head. The case is of unusual miniature violin-case shape with a metal handle at the top and metal fittings. The official opening of the League of Nations, 15 November 1920 The League of Nations was an intergovernmental organization founded on 10 January 1920 as a result of the Paris Peace Conference that ended the First World War. After some notable successes and some early failures in the 1920s, the League ultimately proved incapable of preventing aggression by the Axis powers in the 1930s. The credibility of the organization was weakened by the fact that the United States never officially joined the League and the Soviet Union joined late and only briefly. Despite US President Woodrow Wilson s efforts to establish and promote the League, for which he was awarded the Nobel Peace Prize in October 1919, the United States never joined. But the names of the League and the then US president are forever connected as The Palais Wilson on Geneva s western lakeshore, named after US President Woodrow Wilson in recognition of his efforts towards the establishment of the League, was the League s first permanent home. The League held its first council meeting in Paris on 16 January 1920, six days after the Versailles Treaty and the Covenant of the League of Nations came into force. On 1 November 1920, the headquarters of the League was moved from London to Geneva, where the first General Assembly was held on 15 November Dimensions: length of hammer is 34 cm, maximum width is 10 cm; the case measures 40 x 16 cm Weight: the ivory hammer weighs 364 grams Condition: hammer is in excellent condition with minor age hairlines, the case shows some cracks and little material loss Provenance: Paul de Grande, Belgium; Austrian private collection Starting price: EUR 750,- (Estimate: EUR 1.500,-) 30 31

18 28 A 17th CENTURY GERMAN WROUGHT IRON ARMADA CHEST WITH MERMAIDS Wrought iron, paint Germany, 17th century This 17th century antique wrought iron safe is an Armada chest, identifiable due to the mermaid motif on the inside of the lid. The trunk features a large decorative medallion on the front, which also serves as a false keyhole. Two strong handles are on the sides, and a lock and original key on the top. The lock mechanism inside is very intricate and covered by a pierced and incised steel plate that shows stylized mermaids. The mechanism attached to the underside of the lid covers the entire surface, using a meticulous system of gears that activate several bolts with a single turn of the key. The outside is patinated and inside is a green varnish. Dimensions: length is 87 cm, height is 48 cm, maximum depth is 49 cm Condition: chest is in excellent condition commensurate with age and use, two padlocks are additions as is the additional and removable opening mechanism supports inside Auction result comparison: CHRISTIE S, Interiors Masters & Makers, London, South Kensington, 3 December 2013, 238 (for a comparable Armada chest) Starting price: EUR 750,- (Estimate: EUR 1.500,-) 32 33

19 29 A VERY RARE CARD AND CHESS GAMES TABLE IN ORIENTAL STYLE, VIENNA 1880s Wood with marquetry work, bone, various fruit and precious woods, brass, containers, cards, wooden card press and more accessories Austria, 1880s This elaborate multi-functional games table is made in oriental style, which was highly fashionable in Europe at the period. The table top is inlaid as a chess and backgammon board and can be unfolded, revealing a card table with brass insets for chips, reserves where the four included candleholders can be screwed in and a felt mat. Underneath the tabletop is a drawer which can be pulled out to one side only. It holds various accessories such as a felt brush, four containers for chips, a wooden card press, a complete set of chess figures, complete set of backgammon stones, a complete set of domino stones a.s.o. Everything on and in this rarity is made with much attention for detail and highest craftsmanship quality the marquetry inlay work, the carved wooden ornaments, the brass candleholders and even the stag antler play stones or the card containers that bear little enamel signs. Dimensions: height is 78 cm, table top when used for chess measures 60 x 60 cm, when unfolded as cards table the tabletop measures 84 x 84 cm Condition: in excellent condition with usual traces of wear and age, small scratches to lacquer varnish on tabletop, one small wooden ornament missing Starting price: EUR 750,- (Estimate: EUR 1.500,-) 34

20 30 CARLO BUGATTI ( ), HANGING WALL SHELF IN ORIENTAL STYLE, 1895 Carlo Bugatti ( ) Italian designer and architect Black and brown stained wood, chased copper, mirror glass, small metal parts, fabric, parchment Italy, around 1895 The present wall shelf by Carlo Bugatti ( ) shows an architectural design, reminiscent of a city wall. The horizontal midsection is mirrored. The tower-like construction on the left with its small gallery of columns show typical Moorish horseshoe arches. The circular top on the right is decorated with a chased and engraved copper plate. The round tray is covered with parchment, a material that became the hallmark of Bugatti s designs, as well as the decorative tassel curtain and rich inlay work. Pieces of furniture by Carlo Bugatti are among the most extravagant creations that emerged at the end of the 19th century. His unique style is considered to be his personal interpretation of Art Nouveau. Bugatti s furniture is characterized by an imaginative mix of style elements and unusual materials, combining elements from Moorish, Japanese, Medieval, Egyptian and Byzantine culture. Carlo Bugatti ( ) studied at the Accademia di Brera in Milan and then at the Parisian Académie des Beaux-Arts. From 1880 onwards, he worked as an architect in Milan but soon turned to furniture design. His unusual creations, merging influences of East and West, were presented for the first time at the Milan Industrial Arts Exhibition in More exhibitions and awards followed and in 1900 his pieces were honored with a silver medal at the World Exhibition in Paris. By now Bugatti was internationally renowned and received the commission to furnish the Turkish Salon at the Waldorf-Astoria Hotel in New York. Until 1904 he had a workshop in his hometown Milan. Later Bugatti settled in Paris, where he created silver and bronze objects and increasingly devoted himself to painting. In 1910 he moved to Pierrefonds in northern France, where he set up his own studio. In addition to his ceramics, musical instruments, silverware and textiles Bugatti s oeuvre includes primarily furniture which is instantly recognizable due to its eclectic design. Carlo Bugatti was the father of Ettore Bugatti, the founder of the legendary car manufactory. Dimensions: 115 cm height, 156 cm length and 27 cm depth Condition: good overall condition with signs of age and wear such as some losses to the inlays Provenance: Austrian private collection Auction result comparison: SOTHEBY S, 20TH CENTURY DESIGN, 07 MARCH 2012, NEW YORK, lot 219 (for a comparable mirrored shelf) Starting price: EUR 1.500,- (Estimate: EUR 3.000,-) 36 37

21 31 CARL AUBÖCK ( ), WALL-MOUNTED COAT RACK WITH 8 HOOKS, 1953 Carl Auböck ( ) Austrian designer Beech wood, brass and bronze screws Austria, 1953 This iconic coat rack by Carl Auböck ( ) comes complete with eight detachable hooks, seven are double hooks and one is a single hook which is also marked Auböck and Made in Austria. This simplistic and highly functional piece of furniture is known under Model Nr and dates back to Carl Auböck ( ) began his apprenticeship as a bronze worker and chaser in his father s workshop. From , he studied at the Academy of Fine Arts in Vienna. After this, he followed his teacher Johannes Itten to the Bauhaus in Weitmar and became friends with the director, Walter Gropius. Little over a year later, he left in order to take over his father s workshop in Vienna and raise a family. Here, through his circle of friends and acquaintances, he became convinced of the ideas of Adolf Loos and developed into an opponent of the Viennese workshops. The styles he developed in the early 1940s for everyday objects achieved cult status after the Second World War. At the end of the 1940s, he worked with his son Carl in the workshop. In 1954, he was awarded a total of four gold medals at the Triennale in Milan. In 2010, Auböck s works were placed under protection by the Austrian Federal Monuments Office. Signature / Marks: marked Auböck and Made in Austria on one hook Dimensions: 78 cm height, 83 cm width, 9 cm depth Condition: very good condition with minor traces of wear and age Literature comparison: Die Kataloge der Werkstätte Carl Aubock , Vienna, 2005 and Arbeiten der Werkstätte Carl Auböck Fotografiert von , Vienna, 2005 Auction result comparison: SOTHEBY S, WYETH: THE ART OF TIMELESS DESIGN, 07 JUNE 2016, NEW YORK, lot 301 (for a near identical coat rack) Starting price: EUR 500,- (Estimate: EUR 1.000,-) 38

22 32 ALDO TURA ( ), BAR CABINET MODEL 1208, 1960s Aldo Tura ( ) Italian designer and furniture manufacturer Wood, bronze finished metal, lacquered goatskin, glass, mirrors Italy, 1960s The double doors of this truly funky piece of 1960s furniture conceal an illuminated mirrored bar. The column and base are made of wood coated with a lacquer resin whilst the cabinet is coated with malachite-dyed goatskin, finished off with a transparent lacquer coating. Ornamental hinges and prominent doorknockers round of this eccentric conversation piece. The electrification is working and the key is in place. Aldo Tura ( ) was an Italian furniture designer best known for his mid-century tables and lamps. Combining his interest in Art Deco and Art Nouveau with low-slung minimalist design of the 1940s and 50s, he often utilized unusual materials like parchment, egg shell, and goatskin, frequently employing wheels and casters in his designs. Born in 1909, Tura began manufacturing his signature furniture in the 1930s, focusing on limited production of handcrafted designs produced within the confines of traditional craftsmanship. Dimensions: 157 cm height, 80 cm width and 41 cm depth Condition: besides one crack and hairline to the back of the column very good condition with usual signs of age and wear Auction result comparison: DAVID RAGO, 3 MARCH 2013, Lambertville, lot 859 (for a similar illuminated bar cabinet by Aldo Tura) Starting price: EUR 1000,- (Estimate: EUR 2.000,-) 40 41

23 33 ALDO TURA ( ), MOBILE NIGHTSTAND WITH DRAWER, 1960s Aldo Tura ( ) Italian designer and furniture manufacturer Rosewood, bronze finished metal, lacquered goatskin, rubber wheels Italy, 1960s This mobile nightstand is a produce of the Aldo Tura Company in Milano and bears the original paper label on the underside. The wooden corpus is coated with chocolate brown-dyed goatskin which is coated with transparent lacquer. Ornate bronze finished knobs at the drawer, bronze finished columns and wheel covers are typical Aldo Tura enhancements that lend this useful piece of furniture a classy touch. Aldo Tura ( ) was an Italian furniture designer best known for his mid-century tables and lamps. Combining his interest in Art Deco and Art Nouveau with low-slung minimalist design of the 1940s and 50s, he often utilized unusual materials like parchment, egg shell, and goatskin, frequently employing wheels and casters in his designs. Born in 1909, Tura began manufacturing his signature furniture in the 1930s, focusing on limited production of handcrafted designs produced within the confines of traditional craftsmanship. Signature / Marks: Old paper label, inscribed Tura Milano Italia on the underside Dimensions: 56 cm height, 60 cm width and depth Condition: very good condition with minor traces of wear and age and very little notches here and there Starting price: EUR 150,- (Estimate: EUR 300,-) 34 VICO MAGISTRETTI ( ), TWO ARTEMIDE DEMETRIO 45 STACKING TABLES, 1966 Vico Magistretti ( ) Italian furniture designer Polyester Italy, 1966 This set with two stacking table was manufactured by Artemide, Milano after the design by Vico Magistretti. Vico Magistretti ( ) was born in Milan. After taking his architecture degree in 1945, he immediately joined his father Piergiulio s firm. During the war, he met both Gio Ponti, at the Regio Politecnico, and Ernesto N. Rogers in Switzerland. In the post-war period he was actively involved in the reconstruction, especially through the MSA (Movement for Architectural Studies), of which he was one of the founders. He also actively participated in the Milan Triennial Exhibitions, as supervisor of various sections, as well as winning a gold medal in the 9th edition of 1951, and the Grand Prize (Granpremio) in the 10th edition of As a prolific designer, he won the price Compasso d Oro in 1967 for the Artemide Eclisse lamp, in 1979 for the Oluce Atollo lamp and for the Cassina Maralunga sofa. He also produced designs for De Padova, Fritz Hansen, Campeggi, Fontana Arte, Fredericia and Kartell. Since 1967 he has been a member of the San Luca Academy and the London Royal College of Art, where he was also visiting professor. Signature / Marks: Impressed Artemide Logo and product details on undersides Dimensions: 22 cm height, 45 cm width and depth each Condition: good condition with minor traces of wear and age such as little notches or scratches here and there Starting price: EUR 70,- (Estimate: EUR 150,-) 43

24 Bertolt Brecht ( ) Bertolt Brecht was an influential German theatre practitioner, playwright and poet. Born 1898 in Augsburg, Bavaria, his critical stance towards authority became evident early on. In 1915, during the First World War, he was nearly expelled from school for writing an anti-war essay. Brecht was drafted into military service shortly before the war ended, but did not participate as a soldier. After the war, Brecht quickly found success as a playwright in Munich, receiving the coveted Kleist Prize for his first three works. In 1924 he moved to Berlin and during this time his Marxist views began to inform his work more and more. In 1927 he became part of Erwin Piscator s theatre company; Piscator originated the idea of epic theatre, the genre Brecht perfected and is arguably best known for. In the same year, he also first collaborated with the composer Kurt Weill, with whom he would develop The Threepenny Opera and Rise and Fall of the City of Mahagonny, which both found great success and are performed internationally to this day. Brecht left Nazi Germany just after Hitler took power in 1933, living first in Scandinavia and later the United States. While in exile, he expressed his opposition to Nazism and Fascism with some of his most famous plays, including Mother Courage and her Children and The Good Person of Szechuan. During the Red Scare, he was blacklisted in Hollywood and interrogated by the House Un-American Activities Committee. The day after his controversial testimony, Brecht returned to Europe, living in Zurich for a year before settling in East Berlin. He established a new theatre company, the Berliner Ensemble, and focused on directing and developing new talent, while also penning some of his most famous poems. Bertolt Brecht died of a heart attack on August 14, 1956, at the age of BERTOLT BRECHT ( ) DIRECTOR S CHAIR FROM BERLIN THEATER, 1928 Wood, linen, iron hinges, fringes Germany, 1928 This at first sight simplistic folding chair actually is an interesting piece of history in terms of literature, theater and design. It once belonged to the theater revolutionary Bertolt Brecht and served as his director s chair. It was part of the Schiffbauerdamm Theater s inventory in Berlin, where Bertolt Brecht staged his piece The Three Penny opera for the first time in August The chair was later given to Brecht as a present. The chair frame is made of wooden rods, which are covered with linen banners. A fringed border is attached on either side, below the armrest. Dimensions: the chair is 79 cm high and 57 cm wide Condition: original condition with traces of wear and age, linen shows some stains and holes Provenance: Barbara Brecht-Schall (daughter of Bertolt Brecht), Swiss private collection Starting price: EUR 500,- (Estimate: EUR 1.000,-) 44

25 A selection of Art Glass Ware Lots 36 to

26 Emile Gallé French designer Emile Gallé is considered to be one of the leading driving forces behind the Art Nouveau movement. His naturalistic designs incorporated with innovative techniques makes him one of the pioneering glass makers of the late 19th, early 20th century. Taking his inspiration from nature and plants along with a heavy Japanese feel it is no wonder the French have been known to describe his work as poetry in glass. Born in the Eastern French town of Nancy, in 1846 Emile Gallé was almost destined to become a glassmaker as his father, Charles Gallé was already a successful faience and tradition glassmaker with his own factory. After studying botany, philosophy and art he later went on to learn the technique of glassmaking at Meisenthal before joining his father at the factory in Gallé also travelled extensively around Europe developing his knowledge of glassmaking by visiting museums and studying the work of other influential designers. He was introduced to techniques such as enameling which he discovered in the Oriental collection at the Victoria and Albert museum in London and was fascinated by the cameo works of great designers such as Eugene Rousseau. Gallé s work really became well-known after being so well received at the Paris Exhibition of 1878, where he was awarded with several gold medals. In 1894 built his own manufacturing company in Nancy and began to create his own designs. He employed a team of designers and craftsmen who together worked on his designs and each only applied his signature on Gallé s approval. He continued to exhibit and gradually his fresh, new Art Nouveau styles began to win him International awards. The factory now had 300 employees and demand for Gallé s work was high. So, they started to mass produce using industrial techniques. Every piece created by his hands was always heavily influenced by his passion of naturalistic designs. The effects almost brought his subject matter to life and they jump out at you as if they are truly growing around the vessel. The plant life that adorns his pieces are varied and incorporate everything from the thistle to fuchsias and clematis to chrysanthemums. He applied these decorative subjects mainly on vases but also created some stunning table lamps, some of which were wheel-carved, a process of cutting into facets aided by a rotating wheel. Determined to make his new style known worldwide he decided to set up his own grouping of artists and craftsmen in Known as the Ecole de Nancy this team would become part of building the new fresh Art Nouveau style with the objective of carrying this movement forward, sealing the union between art and industry. The designers also drew their inspiration from nature but in particularly the area that surrounded them in Lorraine, France and this was transferred not only onto glassworks but also furniture and ceramics. Just four years later in 1904, Emile Gallé died from Leukemia. The Ecole de Nancy continued to run until 1909 and his widow operated the glassworks together with another leading light of the Art Nouveau, furniture designer Victor Prouvè. All of the glass being made continued to bear Emile Gallè s signature although a star was engraved alongside to indicate the pieces were produced after his death. Production then ceased with the outbreak of World War I in 1914 and was not started again until after the war when Paul Perdrizet, Emile s son-in-law took over the factory. Paul s contribution was to add new designs although these were still very much in the same technique and style that Gallé had used throughout his lifetime. Finally, production ceased altogether in ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH ROSE HIPS Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow, orange and red France, designed and manufactured around This Émile Gallé ( ) cameo glass vase was designed around 1900 and is decorated all round with rose hips and finely veined leaves. Signature / Marks: etched signature Gallé on the side Dimensions: 11 cm (total height); 12 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 250,- (Estimate: EUR 500,-) 48 49

27 37 ÉMILE GALLÉ ( ), LARGE CAMEO GLASS LAMP WILD ROSES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow, orange and red, patinated bronze mount France, designed around 1900 and manufactured around This very rare Émile Gallé ( ) Cameo glass lamp was designed around 1900 and shows a wonderful décor all round with wild roses on the shade and base. Signature / Marks: etched signature Gallé on the wall of the lampshade and on the foot Dimensions: 60 cm (height, including lampshade); 26 cm (diameter of lampshade) Condition: the lamp shows some minor scratches, otherwise the condition is very good. During a short-term test, the lamp was in working condition, but long-term functionality cannot be guaranteed Provenance: From an Austrian private collection Auction result comparison: SOTHEBY S, 20TH CENTURY DE- SIGN; 10 MARCH 2011, NEW YORK, lot 30 (for a Gallé Cameo glass table lamp, smaller in size) Starting price: EUR 1.500,- (Estimate: EUR 3.000,-) 50 51

28 38 ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH INDIAN CRESS Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of pink, violet and green France, designed and manufactured around ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH FERNS Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow and green France, designed and manufactured around This Émile Gallé ( ) cameo glass vase has a long neck and is decorated all round with Indian cress. Signature / Marks: etched signature Gallé on the side; numbered and illegibly inscribed on the base Dimensions: 17 cm (total height); 6 cm (max. diameter) Condition: Excellent condition with minor wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) This Émile Gallé ( ) cameo glass vase is decorated all round with ferns. Signature / Marks: etched signature Gallé on the side Dimensions: 10 cm (total height); 7.5 cm (max. diameter) Condition: Excellent condition with minor wear; manufacturing flaws on the interior and base Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 39 ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH BERRIES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow, brown and green France, designed and manufactured around ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH WATER LILIES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of orange and brown France, designed and manufactured around This Émile Gallé ( ) trumpet shape cameo glass vase is decorated all round with berried twigs. Signature / Marks: etched signature Gallé on the side Dimensions: 14 cm (total height); 6.5 cm (max. width) Condition: Very good condition with minor wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) This Émile Gallé ( ) bottle shape cameo glass vase with an accentuated rim is decorated all round with water lilies. Signature / Marks: etched signature Gallé on the side; numbered and illegibly inscribed on the underside Dimensions: 13 cm (total height); 5 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 52 53

29 42 ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH FUCHSIAS Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow and violet France, designed and manufactured around This Émile Gallé ( ) bottle shape cameo glass vase with an accentuated rim is decorated all round with fuchsias. Signature / Marks: etched signature Gallé on the side Dimensions: 13 cm (total height); 5 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 43 ÉMILE GALLÉ ( ), CAMEO GLASS FLACON WITH WATER LILIES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow, brown and green France, designed and manufactured around This cameo glass flacon was made in the manufacture of Émile Gallé ( ) and is decorated all round with water lilies. Signature / Marks: etched signature Gallé on the side Dimensions: 17.5 cm (total height); 8.5 cm (max. width) Condition: Very good condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 44 ÉMILE GALLÉ ( ), CAMEO GLASS FLACON WITH ANEMONES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow, brown, red and violet; silver-plated metal mounting France, designed and manufactured around This cameo glass flacon was made in the manufacture of Émile Gallé ( ) and is decorated all round with anemones. The bend on the underside of the neck is a special detail, presumably a manufacturing flaw but a beautiful accent underlining the vegetal shape and handicraft. Signature / Marks: etched signature Gallé on the side Dimensions: 18 cm (total height); 8.5 cm (max. width) Condition: Very good condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 54 55

30 45 ÉMILE GALLÉ ( ), FIRE-POLISHED CAMEO GLASS VASE WITH WINE GRAPES Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of orange, fire-polished France, designed and manufactured around This Émile Gallé ( ) fire-polished cameo glass vase is decorated all round with wine grapes, vines and leaves. The falling grape floating above the signature is a very appealing detail. Signature / Marks: etched signature Gallé on the side Dimensions: 8 cm (total height); 6 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 200,- (Estimate: EUR 400,-) 47 ANDRÉ DELATTE ( ), CAMEO GLASS VASE WITH BIRDS ON A CHERRY BLOSSOM BRANCH André Delatte ( ) French glass artist Multilayered glass, matted, with milk glass inclusions, overlay and relief etched floral decoration in shades of pink and Bordeaux France, around 1925 This globular cameo glass vase was made in the manufacture of André Delatte ( ) and is decorated all round with cherry blossom branches. A bird is perched on a branch on the front side. André Delatte ( ) founded his glass manufacture in 1921 in Jarville, near Nancy. This manufacture specialized in high-quality cameo glassware with a classical Art Deco visual language. Signature / Marks: Etched signature A Delatte Nancy on the side Dimensions: 23 cm (total height); 21 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 300,- (Estimate: EUR 600,-) 46 ÉMILE GALLÉ ( ), CAMEO GLASS VASE WITH FUCHSIAS Émile Gallé ( ), Nancy Multilayered glass, matted, with overlay and relief etched floral decoration in shades of yellow and violet France, designed and manufactured around This Émile Gallé ( ) cameo glass vase with a bulbous miniature shape is decorated all round with fuchsias. Signature / Marks: etched signature Gallé on the side Dimensions: 6 cm (total height); 7 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 100,- (Estimate: EUR 200,-) 56 57

31 48 DAUM FRÈRES, LARGE CAMEO GLASS VASE WITH NOCTURNAL LAKE LANDSCAPE, 1910 Daum Frères Verreries de Nancy Multilayered glass, matted, with relief and etched decorations in shades of blue France, around 1910 This large cylinder shape cameo glass vase was made in the Daum Frères manufactory in Nancy and is decorated all round with a landscape scene. Tall trees and water plants surround a lake, mirroring their shimmering outlines. The tree silhouettes are finely crafted in nocturnal midnight blue, striking a fine contrast with the light blue sky. The Daum glass manufactory was founded by Jean Daum ( ) in Nancy and continued by his sons Auguste ( ) and Antonin ( ). The brothers Daum were, along with Emile Gallé, condidered the most important representatives of the École de Nancy. In particular, they perfected the technique of pâte de verre. Important artists such as Henri Bergé or Almaric Walter worked as designers for Daum around Signature / Marks: Etched signature Daum Nancy with the Cross of Lorraine on the side Dimensions: 43 cm (total height); 16.5 cm (max. diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 350,- (Estimate: EUR 700,-) 58 59

32 Johann Lötz Witwe In 1850 Johann Lötz purchased one of the oldest glassworks in the Otava Valley in the Bohemian Forest. In 1879, one of his grandsons, Max Ritter von Spaun, inherited the factory from his grandmother and continued the business under its old name, Johann Lötz Witwe. Lötz Glass was always considered a specialty due to its purity and fiery colors. Sample stores were located in Vienna, Berlin, Hamburg, Paris, London, Brussels, Milan and Madrid, soon making the products famous worldwide. This glass could artfully imitate all kinds of onyx, jasper, carnelian, malachite or lapis. The luxury glass produced by this factory received the highest distinctions. The largest vase made from glass at the time, designed by Josef von Storck and executed by Lötz in grey onyx, the Emperor Franz Josef Vase, was shown at the anniversary exhibition in Most world s fairs also included special pieces produced by Lötz, which received the highest awards, including the Grand Prix in Paris Similar to glass art by Louis Comfort Tiffany, Lötz was able to produce metallically iridescent high-quality glasses with the Phänomen pattern. The business had contacts with other producers such as J. & L. Lobmeyr und E. Bakalowits Söhne in Vienna as well as the Argentor works, and worked together with well-known artists such as Josef Hoffman, Koloman Moser and the Wiener Werkstätte. 49 LÖTZ, WELLENOPTISCH GLASS VASE WITH OVERLAID THREADS, 1904 Johann Lötz Witwe Glasmanufaktur Black glass with iridescent thread decorations Austria, around 1904 This Jugendstil glass vase from the glass manufactory Johann Lötz Witwe dates to around 1904 and belongs to the group Wellenoptisch ( wave-optical ). The four-sided wavy body and wavy rim appear even more lively due to the overlaid and iridescent glass threads. Dimensions: 27.5 cm (total height) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) 50 LÖTZ, GLOBULAR PAPILLON GLASS VASE WITH IRIDISCENT LUSTER, 1900 Johann Lötz Witwe Glasmanufaktur Transparent violet glass with iridescent luster decorations Austria, around 1900 This Jugendstil glass vase from the glass manufactory Johann Lötz Witwe dates to around 1900 and belongs to the group Papillon. The wavy rim and irregular, iridescent oil spot decorations give this vase a striking liveliness. Dimensions: 13 cm (total height); 18 cm (diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) The First World War and the collapse of the monarchy brought difficult times for the business. The Second World War and the displacement of the German-speaking population in Czechoslovakia, however, would put a final end to it. 51 LÖTZ, ELEGANT PHAENOMEN GLASS VASE WITH BLUE STRIPES, 1900 Johann Lötz Witwe Glasmanufaktur Transparent colored glass with iridescent luster decorations and irregular blue overlay stripes Austria, around 1900 This Jugendstil glass vase from the glass manufactory Johann Lötz Witwe dates to around 1900 and belongs to the group Phänomen ( Phenomenon ). The vase with its bulbous base and long neck, the iridescent lusters and prominent overlaid stripes form an elegant composition. Dimensions: 26.5 cm (total height) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 250,- (Estimate: EUR 500,-) 60 61

33 Glass lamps from Emile Gallé and Tiffany Lots 37, 52 and

34 52 TIFFANY, FAVRILE TABLE LAMP, USA 1905 Louis Comfort Tiffany ( ) American painter and glass artist Patinated bronze lamp base and Favrile glass shade USA, around 1905 This elegant Art Nouveau table lamp was crafted around 1905 by the Tiffany Studios New York, renowned for their very precious glass designs. The shade is made of so-called Favrile glass, which is characterized by an iridescent, metallically gleaming surface. This special glass was invented by Louis Comfort Tiffany, who patented it in 1894 and first used it for church windows two years later. This type of glass was highly popular especially during the Art Nouveau era and won the grand prize at the World s Fair 1900 in Paris. The height-adjustable lamp base is made of patinated bronze. It consists of four slim legs, ending in lion s paws, standing on a circular base. Louis Comfort Tiffany is certainly one of the most important figures in American Art Nouveau. Inspired by a journey through Egypt where he learned about glass art during the period of the Pharaohs, he designed outstanding glass objects with a specific iridescent lustre. In 1879 Tiffany founded the Tiffany Glass and Decorating Company in New York and was active as a painter, craftsman and glass artist for the firm. The special technique he used for the Tiffany Favrile Glasses was patented in In 1902 he also took over the New York jewelry shop Tiffany & Co., founded by his father Charles Lewis Tiffany. Signature / Marks: the etched signature L.C.T. (Louis Comfort Tiffany) and the name Favrile are inscribed along the inner rim of the glass shape. The underside of the base is signed Tiffany Studios New York and numbered 427 Dimensions: the lamp shade has a diameter of 18 cm. The lamp base measures between 30.5 and 43 cm in height, depending on the height adjustment Condition: the lamp is in very good working condition with only light signs of age and use. The glass shade is in mint condition. It has an old electrification (without warranty on functional reliability). The lamp stand shows a malachite-colored patina, especially on the bulb holder and underneath Starting price: EUR 750,- (Estimate: EUR 1.500,-) 64 65

35 53 TIFFANY STUDIOS, TABLE LAMP POMEGRANATE, USA 1900 Tiffany Studios, New York Bronze, brown patina, stained glass New York, USA, 1900 This elegant Art Nouveau table lamp was manufactured around 1900 by Tiffany Studios New York, who were known for their exquisite creations of glass. The shade of pale green and yellow, marble-like opal glass is mounted on a baluster shaped stand of bronze, which previously was used as a petroleum lamp. Tiffany & Co was founded in 1837 by Charles Lewis Tiffany and John B. Young in New York. In 1845, Tiffany published the first ever mail-order catalogue of the US. Last but not least, the motion picture Breakfast at Tiffany s introduced an even larger audience to the company. Signature / Marks: marked Tiffany Studios TGDCO D.888 and TG & D.Co. on the base as well as TIFFANY STUDIOS NEW YORK 1467 on the lampshade Dimensions: 55 cm height, 40 cm diameter Condition: good condition with light signs of age and wear such as minor dents and hairlines, knob of the shade missing. The lamp is electrified and tested functional, but with no guarantee of long-term function Starting price: EUR 1.000,- (Estimate: EUR 2.000,-) 66 67

36 54 KARL WIEDMANN ( ), WMF MYRA GLASS GOBLET VASE Karl Wiedmann ( ) WMF Württembergische Metallwarenfabrik Glass, iridescent luster Germany, around 1930 This iridescent glass goblet vase was designed by Karl Wiedmann ( ) as part of the Myra series for WMF and dates to around WMF Württembergische Metallwarenfabrik produces highquality household metalware since Originally called Metallwarenfabrik Straub & Schweizer, they were already awarded a gold medal at the Great London Exposition in In 1880 Straub & Schweizer merged with Metallwarenfabrik Ritter & Co. and was renamed Württembergischen Metallwarenfabrik AG with headquarters in Geislingen, Baden-Württemberg. Between the 1920s and 1950s, WMF successfully marketed the glass series Ikora and Myra under the artistic direction of Karl Wiedmann. 56 A SMALL JUGENDSTIL GLASS VASE WITH GOLD PATINATED COPPER RELIEF Transparent green, slightly iridescent glass, gold patinated copper Austria, around 1910 This pretty Jugendstil vase has a gold patinated, geometrically and florally open worked copper casing. The glass itself is of a fine, iridescent quality. Dimensions: 12.5 cm (height); 12 cm (diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 70,- (Estimate: EUR 150,-) Dimensions: 21.5 cm (height); 13 cm (diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 70,- (Estimate: EUR 150,-) 55 PALLME KÖNIG, GLASS VASE WITH THREAD DECORATIONS, 1910 Pallme König Glasmanufaktur Transparent green glass with iridescent glass threads Austria, around 1910 This Jugendstil glass vase from the Pallme-König manufactory dates to around The wavy body and irregular, iridescent thread decorations give this vase a striking liveliness. The Pallme glassworks was first established in Steinschonau, Austria, in approximately 1786 by Ignaz Pallme-König. In the 1880s and 1890s the firm of Ignaz Pallme-König was making and exporting high quality engraved glass and chandeliers. Around the turn of the century they merged with Wilhelm Habel s Elizabethhutte glassworks near Teplitz and became known as Glasfabrik Elisabeth, Pallme-König and Habel. During the Art Nouveau period, this glass company produced high quality iridized glass. Hot glass trails were wound around the iridized glass forming a network, and the piece was then blown into a mold so that the trails were pressed into the glass. 57 A SMALL JUGENDSTIL GLASS VASE WITH HAND-PAINTED GILT DECORATIONS Transparent violet, slightly iridescent glass, gilt Austria, around 1910 This small Jugendstil vase is decorated with gilt corn poppies in high relief. The amethyst-colored glass body and the gilt decorations strike a fine contrast. Signature / Marks: Numbered on the base I / 580 Dimensions: 10 cm (height); 12 cm (diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 70,- (Estimate: EUR 150,-) Dimensions: 14 cm (height) Condition: slightly shortened rim with several chips Provenance: From an Austrian private collection Starting price: EUR 70,- (Estimate: EUR 150,-) 68 69

37 58 FRATELLI TOSO, MURANO MILLEFIORI GLASS LAMP, 1950s Fratelli Toso Glass manufactory on the island Murano / Venice Millefiori glass small beads or discs, called tessera, from a colored glass cane, known as murrine, are melted into transparent glass, electrification, bronze-colored metal mounting Italy, 1950s This delicate table lamp from the glass manufactory Fratelli Toso shows the well-known millefiori design, both on the lampshade and the base. For glass collectors, the name Fratelli Toso is mostly associated with delicate vases, small handled jugs, lamps and bowls with colorful murrine in millefiori decorations. This technique, which was already known in its basics by Roman glass manufacturers in the first century BC, involves cutting glass canes, known as murrine, into small disks or beads, known as tessera, in order to melt them int transparent glass. Fratelli Toso used 1,500 different kinds of murrine, which were divided into categories (Cattedrale, Farfalle, Kiku, Millepiedi, Millepunti, Pavone, Spicchi, Stellati); all kinds of combinations are possible, allowing for a multitude of unique decorations. Dimensions: 30 cm (height), 11 cm (base diameter) Condition: Good, functional condition with signs of age and wear such as minor heat damage on the lampshade Provenance: From an Austrian private collection Starting price: EUR 50,- (Estimate: EUR 100,-) 59 FRATELLI TOSO, MURANO MILLEFIORI TRAY AND SMALL JUG, 1950s Fratelli Toso Glass manufactory on the island Murano / Venice Millefiori glass small beads or discs, called tessera, from a colored glass cane, known as murrine, are melted into transparent glass, electrification, bronze-colored metal mounting Italy, 1950s Further images of all lots at This set consists of a tray and a small jug from the Fratelli Toso glass manufactory. Both pieces have a wavy rim and therefore go well together visually. For glass collectors, the name Fratelli Toso is mostly associated with delicate vases, small handled jugs, lamps and bowls with colorful murrine in millefiori decorations. This technique, which was already known in its basics by Roman glass manufacturers in the first century BC, involves cutting glass canes, known as murrine, into small disks or beads, known as tessera, in order to melt them int transparent glass. Fratelli Toso used 1,500 different kinds of murrine, which were divided into categories (Cattedrale, Farfalle, Kiku, Millepiedi, Millepunti, Pavone, Spicchi, Stellati); all kinds of combinations are possible, allowing for a multitude of unique decorations. Dimensions: 10 cm (jug height), 15 cm (tray diameter) Condition: Excellent condition with only minimal wear Provenance: From an Austrian private collection Starting price: EUR 20,- (Estimate: EUR 50,-) 70 71

38 60 JAN WIJNANTS (c ), OIL ON CANVAS LANDSCAPE WITH A BLEAK DUNE Jan Wijnants (around ) Cornelis Hofstede de Groot ( ) has listed it as an original painting by Wijnants in his monumental work A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth century. Whereas Klaus Eisele, author of the catalogue raisonné published in 2000, calls it a copy Oil on canvas Netherlands, 17 th century This oil painting is known as Landscape with a Bleak Dune amongst the paintings by Jan Wijnants. The art historian Cornelis Hofstede de Groot ( ) has listed it as an original painting by Wijnants in his monumental work A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth century. Whereas Klaus Eisele, author of the catalogue raisonné published in 2000, calls it a copy. As always with these attributions, this does not necessarily mean that the final word is spoken and it is easily imaginable that it could be acknowledged as an original at a later date. However, when it comes to quality it certainly does not need to be afraid of any comparisons with the doubtless originals. The foreground of the painting is dominated by a steep little dune on the left, with a willow struck by lightning on the left. The thin, leafless branches extend into the clouded sky. The motif of the bald tree in an otherwise blooming landscape is typical for Wijnants. The tracks formed by a carriage lead around the dune on the right side. A rider in an elegant dress can be seen on the road. The low horizon offers a lot of space for the artist to demonstrate his skills in the thoroughly studied and painted clouds of different shades and sizes. The painting has been done by a true master who managed to create and combine a harmonious overall impression and a detailed foreground scene. The foreground shows stones and leaves as well as an amusing detail a dog defecating next to the road. Little is known about the artist Jan Wijnants (also Wynants), except that he was born in Haarlem and moved to Amsterdam in 1660 where is was known to be working as both a painter and an innkeeper. Landscapes with dunes form the largest part of his work. He was the teacher of Adriean van de Velde, and it is known that his paintings inspired both Boucher and Gainsborough. Amongst others, the Rijksmuseum Amsterdam, the Museo Thyssen-Bornemisza in Madrid, the Wallace Collection in London, the Hermitage in Saint Petersburg and the Louvre in Paris have paintings by him in their permanent collections. Frame: antique wood frame Condition: the painting is, considering its age, in very good condition. The paint has been protected by a varnish and shows a bit of craquelure. Relined and additionally fixed by framing paper on all four sides. The frame shows traces of age and use Dimensions: 68.5 x 58 cm (size incl. frame); 55 x 43.5 cm (stretcher frame) Literature comparison: Hofstede de Groot, Dr C., Catalogue raisonné of the Works of the most eminent Dutch painters of the Seventeenth Century listed as original Eisele, K., Jan Wijnants (1631/32-168): Ein Niederländischer Maler der Ideallandschaft im Goldenen Jahrhundert, 2000, Germany listed as copy Starting price: EUR 1.000,- (Estimate: EUR 2.000,-) 72 73

39 61 JOHANN BURRI ( ), WATERCOLOR WITH SWISS FARMHOUSES Johann Ulrich Burri ( ) Watercolor on paper Switzerland, 19th Century This veduta was created by the Swiss artist Johann Ulrich Burri ( ). The painting is rich in detail and depicts rural life in the Swiss mountains. Burri s paintings were influenced both by the classical and romantic canon of forms. They depict not only harmony and balance in the composition and coloring, but also capture a feeling of wanderlust and the bond with nature. Signature: Signed lower left Burri. pinx. Frame: mounted on green paper in the corners and fitted in gold-colored wood frame Dimensions: 36 x 43.5 cm (frame); 20.7 x 27.5 cm (image size) Condition: Sheet in good condition with fresh colors and only a few signs of age. Frame with chipping and wear Provenance: Swiss private collection 63 FLOWER PAINTER FROM THE CIRCLE OF THE VIENNA PORCELAIN MANUFACTORY, AROUND 1840 Anonymous Gouache on paper Austria / Vienna, around 1840 This wonderful floral still life is unsigned yet made by a true master and therefore attributed to the circle of the Viennese flower painters or the painters of the Vienna Porcelain Manufactory. A rich bouquet of different flowers, including roses, peonies and violets, inside a gorgeous goblet. A closer look reveals dew drops, a butterfly, as well as a small maybug or fly. Viennese flower painting has its roots in the paintings of the Dutch Golden Age. Its first peak was during the Biedermeier period with beautiful flower arrangements. The most important painter of this epoch was Ferdinand Georg Waldmüller. Although he only peripherally worked in this genre, he proved to be a considerable influence. Flower painting reached a crisis around the mid-19th century; Biedermeier had outlived itself, while the Revolutions of 1848 brought fundamental social change. This necessitated a new beginning, which occurred in the 1880s and brought the second heyday of Viennese flower painting. Frame: Framed behind glass, wood and stucco frame Dimensions: 50 x 61 cm (size incl. frame); 43 x 55 cm (sheet size) Condition: Good condition with slightly darkened colors and few small stains; tiny tears and minimal loss of material around the margins. Frame with significant chipping and restorations Provenance: From an Austrian private collection. Starting price: EUR 400,- (Estimate: EUR 800,-) Auction result comparison: Stuker, GEMÄLDE UND ARBE- ITEN AUF PAPIER, DECEMBER 1, 2017, BERN, lot 2133 (for a comparable watercolor) Starting price: EUR 150,- (Estimate: EUR 300,-) 62 JOHANN BURRI ( ), WATERCOLOR ARCADIAN LANDSCAPE Johann Ulrich Burri ( ) Watercolor on paper Switzerland, 19th Century This veduta was created by the Swiss artist Johann Ulrich Burri ( ). Depicted is an arcadian landscape with a castle as the central motif. Burri s paintings were influenced both by the classical and romantic canon of forms. They depict not only harmony and balance in the composition and coloring, but also capture a feeling of wanderlust and the bond with nature. Burri s paintings were influenced both by the classical and romantic canon of forms. They depict not only harmony and balance in the composition and colouring, but also capture a feeling of wanderlust and the bond with nature. Signature: Signed lower right, J. U. Burri pinx Frame: mounted on green paper in the corners and fitted in gold-colored wood frame Dimensions: 36 x 43.5 cm (frame); 20.7 x 27.5 cm (image size) Condition: Sheet in good condition with fresh colors and only a few signs of age. Frame with chipping and wear Provenance: Swiss private collection Auction result comparison: Stuker, GEMÄLDE UND ARBE- ITEN AUF PAPIER, DECEMBER 1, 2017, BERN, lot 2133 (for a comparable watercolor) Starting price: EUR 150,- (Estimate: EUR 300,-) 74 75

40 64 JOSEF DANHAUSER ( ), OIL ON CANVAS BUSTED! Josef Danhauser ( ) Oil on canvas, relined Austria, around 1840 This artwork was painted by the famed Austrian artist Josef Danhauser ( ) around It depicts a typical Biedermeier interior with a finely executed group of figures gathered around a coffee table. On the left, two uniformed officers are standing in the doorway. In the foreground, a boy crouches on the floor behind the table, hiding from the guards. They seem to have appeared so unexpectedly that the startled boy jumped up, pulling down the tablecloth and throwing the expensive tea set to the floor. The dynamic composition shows Danhauser s meticulous attention to detail and distinct touch of humor that endows the painting with a special charm. Josef Danhauser was the son of the famous Viennese furniture manufacturer Joseph Ulrich Danhauser. He received his first drawing lessons from his father. In 1820, he attended the Academy of Fine Arts in Vienna, where he exhibited his first works, and studied under the historical painter Johann Peter Krafft. During a stay in Venice, Danhauser studied the works of the Italian old masters. After his father s death he took over the furniture factory and in the following years designed numerous pieces which are considered precursors of modern design. In 1836, he received an award from the Academy for his painting Die Verstoßung der Hagar. During this creative period, he mainly devoted himself to genre painting. Today, Danhauser is one of the most significant painters of the Viennese Biedermeier period, together with Ferdinand Georg Waldmüller and Peter Fendi. His works are characterized by a socio-critical and often humorous touch. In 1841, Danhauser held a professorship for historical painting at the Academy, followed by an extended trip to Germany and Holland. In 1862, the Danhausergasse in Vienna was named after the artist. Frame: Broad frame with plaque Josef Danhauser Dimensions: 64 x 80.5 cm (frame); 50 x 66.5 cm (stretcher frame) Condition: The painting is in overall good condition. The canvas is relined. There is fine craquelure in a few places. Inspection under UV-light reveals some retouching to the background, for instance in the upper left and lower right corners. The frame shows some wear Provenance: Dorotheum, Wien, Auktion Dezember 1970, Lot 25; private collection, Vienna Auction result comparison: Dorotheum, 19 th Century Paintings, April 27, 2017, VIENNA, lot 1137 (for another Biedermeier genre scene by Danhauser) Starting price: EUR 3.000,- (Estimate: EUR 6.000,-) 76 77

41 65 PETER CONRAD SCHREIBER ( ), OIL ON CANVAS ITALIAN LANDSCAPE Peter Conrad Schreiber ( ) Oil on canvas, relined Germany/Italy, mid-19th century 66 THOMAS CRESWICK ( ), OIL ON CANVAS LANDSCAPE WITH COWHERDESS Thomas Creswick ( ) Oil on canvas, laid down on panel England, 19 th century This work by Peter Conrad Schreiber depicts an arcadian landscape a typical subject matter for the artist, whose oeuvre is defined by Mediterranean landscape motifs. Schreiber s work consists primarily of landscapes created during a stay in Italy as well as townscapes of Nuremberg, where he settled in In the present work Schreiber has created a perspective with coherent depth. The foliage of the trees is rendered with the finest brushwork and the scene with a family of wanderers resting underneath a wayside cross, which takes up the center of the image, is executed in an incredibly detailed manner. From an early age, Peter Conrad Schreiber s talent for drawing was encouraged by his father. He studied at the Nuremberg school of art and later at the Royal Academy in Berlin where he was a student of Wilhelm Ferdinand Schirmer. In 1835 Schreiber exhibited two of his works at the Berlin Art Exhibition which earned him recognition as Schirmer s best student. After graduating, he moved to Italy where he created many of his Italian landscapes and cityscapes as well as numerous sketches. From Schreiber held a position as a teacher of drawing at the Latin school in Nuremberg. Signature: Signed Schreiber, lower right Frame: Gold colored wooden frame Dimensions: 83 x 111 cm (frame); 74 x 103 cm (stretcher frame) Condition: The painting is in very good condition with fresh colors; minimal craquelure and retouchings, mostly in the lower area and to the center of the background, the frame shows some wear Provenance: Austrian private condition Auction result comparison: Neumeister, FINE ART & ANTIQUES, MARCH 21, 2018, MUNICH, lot 388 (for a comparable painting) Starting price: EUR 500,- (Estimate: EUR 1.000,-) This painting by the artist Thomas Creswick ( ) depicts an arcadian landscape with a river. A cowherdess has settled on the shore with her cattle resting at the water and is looking towards a group of men who are gathered around a campfire inside the forest, bathing in the gentle sunlight. Thomas Creswick RA was an English landscape painter and illustrator, and one of the best-known members of the Birmingham School of landscape painters. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London and he also settled in London around that time. He soon attracted some attention as a landscape painter. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy. His artworks are exhibited in several British collections such as Sheffield, Canterbury, Derby Art Gallery and the Northampton Gallery. Signature: Fragmentary signature Cres k lower right Verso: Old paper label with expertise by Gallery Erich Beckmann, Hanover Frame: Antique gold colored wooden frame with relief decoration Dimensions: 50.5 x 61.5 cm (frame); 37.5 x 48.5 cm (image size) Condition: Overall good impression; the canvas shows occasional smaller restorations and retouching in some places, frame with signs of wear Provenance: Austrian private condition Auction result comparison: CHRISTIE S, Two Distinguished American Collections, New York, 4 5 March 2014, lot 491 (for a comparable painting, larger in size) Starting price: EUR 400,- (Estimate: EUR 800,-) 78 79

42 67 ANTON DOLL ( ), OIL ON PANEL FROZEN RIVER 68 ADOLF STADEMANN ( ), OIL ON WOOD FISHERMEN ON THE SHORE Anton Doll ( ) Oil on panel Germany, mid-19 th century Adolf Stademann ( ) Oil on wood Germany, 19 th century The present painting is the work of the German painter Anton Doll and dates to the mid-19th century. The composition shows loose brushwork, depicting a group of people while walking on a frozen river. The artist has innovated the traditional Dutch genre, enhancing it with his own modern style. The hazy light, for instance, is a characteristic feature of Doll s winter landscapes. Anton Doll began studying law in Munich, before he turned towards painting. In 1852, he became a member of the Munich Art Association that had exhibited his paintings from very early on. Doll was influenced by Carl August Lebschée and Adolf Stademann, and his main subject was the city of Munich. Besides his historical architectural paintings with a few staffage figures, he painted wintry landscapes, clearly influenced by the great Dutch old masters. Today, works by Doll can be seen, for example, in the New Pinakothek in Munich, and in the Graphic Collection of the Staatsgalerie Stuttgart. Signature: Signed lower right, A. Doll Frame: Gilded stucco frame Dimensions: 30.5 x 45.5 cm (frame); 17 x 31 cm (panel size) Condition: The painting is in good condition, showing minor framing marks and some small scattered areas of retouching. The frame is in very good condition, presenting only minor wear marks Provenance: German private collection Starting price: EUR 500,- (Estimate: EUR 1.000,-) This painting is the work of German artist Adolf Stademann ( ). It shows an atmospheric river landscape with fishermen on the shore. Stademann was an admirer of Dutch landscape painting of the 17th century. This influence is clearly visible in this work. However, the impressionistic composition also clearly testifies to Stademann s own style of painting. Born in Munich, Adolf Stademann studied with the landscape and architectural painter Carl August Lebschée, and the landscape painter Moritz Eduard Lotze. In addition to landscapes, Stademann painted nocturnal pieces. Influenced by the Dutch landscape painting of the 17th century, he later focused on winter landscapes with figure staffage, and impressionistic moonlight scenes. Signature: Signed A. ST lower right (barely legible) Frame: Decorative wood frame Dimensions: 30.5 x 37.5 cm (frame); 18 x 24.5 cm (panel size) Condition: The painting is in good condition, showing light framing marks. A very small loss of color can be seen towards the left border. A few areas of slight retouching can be found, mainly towards the left border. The decorative frame is in very good condition Provenance: German private collection Starting price: EUR 500,- (Estimate: EUR 1.000,-) 80 81

43 69 ANTON DOLL ( ), OIL ON CANVAS ICE SKATING Anton Doll ( ) Oil on canvas Germany, 1861 This painting by Anton Doll shows outer walls of a city on the edge of a frozen lake with only barely recognizable mountains in the background. A few citizens are walking on the lake in the foreground on the left side and the icy surface mirrors the figures and shows traces of vats. The city stands on the lake s right border and a church can be seen behind the high city walls. In front of the wall, a few wooden houses and huts can be recognized. A single farmer walks next to his horse pulling a cart with logs alongside the way towards the city gate. Smoke escapes out of one of the hut s doors. Covering it all are the snow and the fog that even reduce the high mountains in the back to mere schemes. Doll has managed to combine the unique, cold atmosphere of the winter with the concealment of the protected city behind its high wall. The hazy winter s light and the especially detailed, fine manner of painting are typical for Doll and his atmospheric winter paintings. Anton Doll began studying law in Munich, before he turned towards painting. In 1852, he became a member of the Munich Art Association that had exhibited his paintings from very early on. Doll was influenced by Carl August Lebschée and Adolf Stademann, and his main subject was the city of Munich. Besides his historical architectural paintings with a few staffage figures, he painted wintry landscapes, clearly influenced by the great Dutch old masters. Today, works by Doll can be seen, for example, in the New Pinakothek in Munich, and in the Graphic Collection of the Staatsgalerie Stuttgart. Signature: Signed and dated lower right Doll. 61. Frame: Simplistic wooden frame Dimensions: 85 x 100 cm (frame); 73 x 88 cm (stretcher frame) Condition: The painting is overall in good condition. The canvas is relined and is coated with a protective varnish that covers partial craquelure and paint flakes. The painting has been restored right above the trees Auction result comparison: Dorotheum, 19 th CENTURY PAINTINGS, OCTOBER 19, 2017, VIENNA, lot 1298 (for a comparable, yet smaller painting) Starting price: EUR 750,- (Estimate: EUR 1.500,-) 82 83

44 70 RUDOLF RIBARZ ( ), OIL ON PANEL MEDITERRANEAN GIRL ON THE SHORE 1872 Rudolf Ribarz ( ) Oil on panel Austria / Italy, ERICH HLAVACEK-HÜRDEN ( ), OIL ON CARDBOARD CHIESA DELLA MADONNA NEVE Erich Hlavacek-Hürden ( ) Oil on cardboard Austria, around 1911 This oil painting by the Austrian landscape painter Rudolf Ribarz ( ) shows a young Italian woman with a tambourine. A sailing boat that has not yet been completed can be seen on the grass behind the woman. A little girl is also lying on the grass in a dreamy pose with the sea in the background. This small work was painted by the artist during a study trip in northern Italy in Rudolf Ribarz ( ) studied at the Academy of Fine Arts in Vienna under Albert Zimmerman and befriended Emil Jakob Schindler and Eugen Jettel there. He travelled to South Tyrol, Trentino and Venice between 1870 and 1872 as well as Brussels on a study visit in In 1876 Ribarz moved to Paris, where he was in contact with Jean-Baptiste Camille Corot and the Barbizon school. He travelled to and studied in Holland (Wezep, Dordrecht, Rotterdam) and Normandy. In 1892 he returned to Vienna and was offered to head the flower painting department at the Vienna Arts and Crafts School, despite his long absence. There, he first preferred the plain, introverted landscape painting of the French (Paysage intime) and later a more decorative form of landscapes. In 1900 he had to give up his position due a worsening nervous disorder. This oil painting by the Austrian landscape painter Erich Hlavacek-Hürden ( ) shows the interior of the Church of St Mary of the Snows (Chiesa della Madonna Neve) in Portoroz / Pirano in Slovenia. Erich Hürden, son of the famous landscape painter Anton Hlavacek, has captured the view on the church altar s architecture in an Expressionist style and with a pastose quality. Signature: Signed lower right and dated, Erich Hürden 1991 Verso: Inscribed and monogrammed by the artist, Interieur Chiesa della Neve Pirano Sommer 1991 EH Frame: Broad wooden frame Dimensions: 33 x 40 (size incl. frame); 20 x 27.5 cm (cardboard) Condition: Painting in good condition with soiling and slightly darkened. Small nicks and creases around the margins, frame with considerable signs of wear Provenance: From an Austrian private collection Starting price: EUR 100,- (Estimate: EUR 200,-) Signature: Signed and dated lower left R Ribarz 72 Frame: Gilt wood and stucco frame Dimensions: 40 x 54.5 cm (size incl. frame); 15 x 29 cm (wood panel) Condition: Painting in good condition with soiling and slightly darkened as well as a few scratches. Frame in need of renovation with considerable loss of material Provenance: From an Austrian private collection Auction result comparison: IM KINSKY KUNSTAUKTIONEN, ALTE MEISTER, BILDER DES 19.JH., KLASSISCHE MODERNE, OCTOBER 14, 2008, Vienna, lot 195 (for a French fisher village, also oil on panel, larger size) Starting price: EUR 250,- (Estimate: EUR 500,-) 84 85

45 72 MAURICE LELOIR ( ), OIL ON PANEL IN THE LIBRARY 1890 Maurice Leloir ( ) Oil on panel France, 1890 This atmospheric painting by Maurice Leloir depicts a private library scene with a young couple and a French officer around a table. The quality of the painting lies in the excellent execution of the scenery and the portrait-like facial features of the sitters that almost appear like in a photograph. Furthermore, it may be mentioned that Leloir was very passionate about costumes. His extensive knowledge about different materials and textures is mirrored in the neat execution of the clothing of the sitters here as well as the textiles in the library. Born in Paris, Maurice Leloir was raised in an artist s family. He therefore received his first artistic training under his father s guidance. Active as an incredibly successful illustrator, Leloir was asked to illustrate works by famous writers such as Rousseau, Moliere and Balzac. Watercolor was another field of his proficiency; accordingly, he was elected president of the French Watercolor Society. Besides, Leloir was an expert in costumes and published The Dictionary of Costume in Later, in 1929, he followed an invitation to work as a movie art advisor in America. Signature: Signed and dated lower left Maurice Leloir 1890 Verso: Embossed on the panel Tachet Brevete A Paris Dimensions: 55 x 46 cm (panel size) Condition: The painting is in overall good condition with tiny touch ups as well as few paint flakes, crazing and surface scratches Auction result comparison: Tessier-Sarrou, TABLEAUX, MEUBLES ET OBJETS D ART, JUNE 26, 2015, PARIS, lot 64 (for a comparable painting, oil on canvas) Starting price: EUR 1.200,- (Estimate: EUR 2.500,-) 86 87

46 73 JOHANN HAMZA ( ), OIL ON PANEL FALLING IN LOVE Johann Hamza ( ) Oil on panel Austria, around 1890 This delicate oil painting was created by the famed Austrian artist Johann Hamza ( ) around It shows a handsome couple sitting on a bench. The young lady looks slightly shy on the floor while her companion tries to approach her. Johann Hamza is one of those artists who brought Viennese genre painting to new prosperity in the 1880s. His mostly small-size paintings often represent charming scenes from high society as well as the ambience of Rococo, and enjoy great popularity, especially because of their narrative content. Signature: At the lower right signed and inscribed J. Hamza. Wien Frame: Opulent wood and stucco frame with relief and reticulation Dimensions: 55 x 46.5 cm (frame), 42 x 33 cm (panel size) Condition: The painting and frame both are in excellent condition with minor signs of age and wear Auction result comparison: Dorotheum, 19 th century paintings and watercolors, September 17, 2013, VIENNA, lot 149 (for another depiction of a love couple by Hamza) Starting price: EUR 1.200,- (Estimate: EUR 2.500,-) 88 89

47 74 JOHANN HAMZA ( ), OIL ON PANEL WEDDING 75 JOHANN HAMZA ( ), OIL ON PANEL CHRISTENING Johann Hamza ( ) Oil on panel Austria, around 1890 Johann Hamza ( ) Oil on panel Austria, around 1890 This delicate oil painting was created by the famed Austrian artist Johann Hamza ( ) around It shows a wedding scene in the church interior. The happy couple is shown after the ceremony, surrounded by friends and family who express their felicitations. Johann Hamza is one of those artists who brought Viennese genre painting to new prosperity in the 1880s. His mostly small-size paintings often represent charming scenes from high society as well as the ambience of Rococo, and enjoy great popularity, especially because of their narrative content. Signature: At the lower right signed and inscribed J. Hamza. Wien Frame: Opulent wood and stucco frame with relief decoration Dimensions: 50 x 43 cm (frame), 35 x 26 cm (panel size) Condition: The painting is in excellent condition with only minimal signs of age. The frame with chipping to exposed margins Provenance: Acquired at Sotheby s New York in 1991; Austrian private collection Starting price: EUR 1.000,- (Estimate: EUR 2.000,-) This charming genre painting by the famed Austrian artist Johann Hamza ( ) depicts a baptism scene in the church of Garsten in Upper Austria. The young mother in traditional garment is carrying her child, who is covered with a lace-cloth, to the ceremony, accompanied by a young couple and an older lady. Johann Hamza is one of those artists who brought Viennese genre painting to new prosperity in the 1880s. His mostly small-size paintings often represent charming scenes from high society as well as the ambience of Rococo, and enjoy great popularity, especially because of their narrative content. Signature: At the lower right signed and inscribed J. Hamza. Wien Frame: Opulent wood and stucco frame with relief decoration Dimensions: 50 x 43 cm (frame), 35 x 26 cm (panel size) Condition: The painting and frame both are in excellent condition with only minimal signs of age Auction result comparison: Auktionshaus im Kinsky, 19 th century paintings, APRIL 24, 2018, VIENNA, lot 884 (for a comparable painting, showing a wedding in the Garsten church) Starting price: EUR 1.000,- (Estimate: EUR 2.000,-) 90 91

48 76 KARL STUHLMÜLLER ( ), OIL ON CANVAS WINTER MARKET DAY 77 BENJAMIN D. SIGMUND (active ), WATERCOLOR PRIMROSE GATHERERS Karl Stuhlmüller ( ), Munich School Oil on canvas Germany, around 1890 Benjamin D. Sigmund (active ) Watercolor on paper England,1895 This painting is characteristic of the work of Karl Stuhlmüller ( ), who often painted street and winter scenes. In this painting, the artist masterfully captures the light passing through dense clouds on a winter s day. The street, trees and roofs are still covered in snow and the people are dressed in warm clothes; yet the street is very lively, with a man about to make a purchase on the right while another is selling his cows on the street while a third is sitting on his carriage on the way back from the market. Women are walking towards the village in the background on each side of the street. Karl Stuhlmüller liked to use the central perspective for his street and market scenes. In this painting the street leads into the village in the background and the carriages, walking figures and trees all emphasize this perspective. Signature: Signed lower right K. Stuhlmüller, München Frame: Wooden frame with multi-stepped profiles Dimensions: 32 x 40 cm (frame); 18.5 x 26.5 cm (canvas size) Condition: Good condition with thin color layers in some areas and minor signs of wear on the frame Auction result comparison: Nagel, KUNST & ANTIQUITÄTEN, OCTOBER 12, 2017, MUNICH, lot 863 (for a comparable painting in style and size, oil on wood) Starting price: EUR 500,- (Estimate: EUR 1.000,-) This watercolor by the English landscape painter Benjamin D. Sigmund shows children gathering primroses. Two girls are sitting under a big tree, leaning on its thick trunk and making garlands out of the flowers they have gathered, with a basket containing more flowers in front of them. The scene takes place in a light birch and beech tree forest, with the ground still covered in winter leaves but already announcing the arrival of spring with several spots of vernal green. Sigmund was extraordinarily skilled with the watercolor medium and managed to master this technique s particularities: he could paint the finest lines and details but could also employ the typical blurred character of watercolors, as exemplified by the background or the structure of the moss in this work. Signature: Signed and dated lower right, B. D. SIGMUND / 95 Verso: Old paper labels from an exhibition, 2/ Primrose Gatherers. B. D. Sigmund. 113 Lothair Rd. Finsbury Park. London N. 12, and by the frame makers, W. Brooks & Son Frame: Elegant, wide golden frame with plaque; Framed behind glass Dimensions: 42.5 x 52 cm (frame); 35 x 25.5 cm (image size) Condition: The watercolor is in very good condition. The frame shows significant signs of age and wear Starting price: EUR 150,- (Estimate: EUR 300,-) The German painter Karl Stuhlmüller is part of the Munich School and his genre and landscape artworks are painted in a precise and naturalistic manner. From 1850 to 1914, Munich was an important center for German art

49 78 ALEXANDER DEMETRIUS GOLTZ ( ), OIL ON CANVAS VIEW OF A VILLAGE, Alexander Demetrius Goltz ( ) Oil on canvas Austria, KARL MARTIN SCHADE ( ), OIL ON CANVAS CORN FIELDS IN THE INN VALLEY Karl Martin Schade ( ) Oil on canvas Austria, around 1900 This oil painting by the Austrian artist Alexander Demetrius ( ) is reminiscent of Impressionist works and shows an impasto use of paint. Thin trees before a lively sky make up the foreground, with a village on the horizon. Alexander Demetrius Goltz (also Alexander Demeter Goltz) was an Austrian painter and set designer. He grew up in Vienna from 1859 as the son of a train engineer. In 1874 and 1875 he studied painting under Otto Seitz at the Munich Academy of Fine Arts. Between 1875 and 1988 Goltz was a student of Anselm Feuerbach at the Vienna Academy of Fine Arts. In 1876 he first exhibited female portraits. He became a member of the Wiener Künstlerhaus in Subsequently, he undertook extensive study trips, lived in Munich from 1884 to 1888, studied in Paris under Pierre Puvis de Chavannes and settled in Vienna in He first focused on figural paintings with a historical background, later landscapes and portraits. Alexander Demetrius Goltz, who was part of the Hagenbund between 1900 and 1911, was its president from 1906 to During the First World War, Goltz was a war painter in the Imperial War Press Bureau and active in the Belgian, Russian, Italian, Serbian, Albanian and Turkish war zones. From 1925 to 1929 he was president of the Association of Fine Artists in Vienna. Signature: Signed and dated lower right, Goltz 909 Frame: Very fine Impressionist frame Dimensions: 85 x 100 cm (size incl. frame); 68 x 83 cm (stretcher size) Condition: Painting and frame both in excellent condition Provenance: From an Austrian private collection Comparative auction result: CHRISTIE S, Orientalist Art, 19th Century European Art, New York, October 25, 2006, lot 208 (for a figural work by this artist) Starting price: EUR 500,- (Estimate: EUR 1.000,-) This colorful oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows corn fields with flowers in different colors under the striking backdrop of a chain of hills and mountains. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Signature: Signed lower left, K. Schade Verso: Fragment of old paper label with title, Inntale Frame: Wood frame Dimensions: 88.5 x 73 cm (size incl. frame); 80 x 65 cm (stretcher size) Condition: Painting in excellent condition; frame with chipping Provenance: From an Austrian private collection Starting price: EUR 400,- (Estimate: EUR 800,-) Later, his artistic focus shifted to set design and Goltz was head of scenery and costumes at the Hofburgtheater from 1904 to 1907 and the Hofoper from 1909 to

50 80 KARL MARTIN SCHADE ( ), OIL ON CANVAS THE PRATER MEADOWS Karl Martin Schade ( ) Oil on canvas Austria, around 1900 This graceful oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows the meadows in the Prater park in Vienna around the New Danube, a side channel of the famous Danube River. Contrary to the title (seen verso) Es herbstelt Autumn is approaching the viewer must have a summery feeling here, as the glow of nature is fully rendered from the deep blue of the sky to the flowers in the meadow. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Signature: Signed lower left, K. Schade Verso: Old paper label with title, Es herbstelt Motiv aus den Praterauen N. Donau Frame: White wooden frame Dimensions: 78 x 94 cm (size incl. frame); 64 x 80 cm (stretcher size) Condition: Painting in excellent condition with few, thin paint layers around the margins Provenance: From an Austrian private collection Auction result comparison: Dorotheum, KUNST UND ANTIQ- UITÄTEN, May 19, 2006, LINZ, lot 326 (for another meadow landscape by this artist) Starting price: EUR 200,- (Estimate: EUR 400,-) 81 KARL MARTIN SCHADE ( ), OIL ON CANVAS VIENNESE FOREST PATH Karl Martin Schade ( ) Oil on canvas Austria, around 1920 This evocative oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows an autumn forest in glowing colors. The viewer is drawn in by the skillfully incorporated path surrounded by trees. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Signature: Signed lower right, K. Schade Verso: Several older paper labels, titled below, Wiener Waldweg Dimensions: 86 x 80.5 cm Condition: Painting in good condition with minor soiling and few, very small and thin paint layers around the margins, slightly darkened Provenance: From an Austrian private collection Auction result comparison: Dorotheum, MODERNE UND ZEITGENÖSSISCHE KUNST, December 17, 2009, VIENNA, lot 31 (for a comparable painting) Starting price: EUR 200,- (Estimate: EUR 400,-) 82 KARL MARTIN SCHADE ( ), LARGE OIL ON CANVAS THE STORM Karl Martin Schade ( ) Oil on canvas Austria, around 1920 This large oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows a group of trees in the foreground, bending sideways due to the violent storm. Dark clouds as well as a picturesque river landscape can be seen on the horizon. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Signature: Signed lower right, K. Schade Frame: Painted wood frame with relief bordure Dimensions: 141 x 185 cm (size incl. frame); 128 x 171 cm (stretcher size) Condition: Painting shows craquelure, minor dents and soiling; frame with flaws Provenance: From an Austrian private collection Auction result comparison: Dorotheum, MODERNE UND ZEITGENÖSSISCHE KUNST, December 17, 2009, VIENNA, lot 31 (for a comparable, significantly smaller painting) Starting price: EUR 350,- (Estimate: EUR 700,-) 96 97

51 83 KARL MARTIN SCHADE ( ), DUAL-SIDED OIL ON CANVAS WACHAU FARM / AUTUMN FOREST Karl Martin Schade ( ) Oil on canvas Austria, around KARL MARTIN SCHADE ( ), DUAL-SIDED OIL ON CANVAS WATER CASTLE / WATER LILY POND Karl Martin Schade ( ) Oil on canvas Austria, around 1900 This dual-sided oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows an outside view of a typical farm in Wachau on the front side. A farmwoman is seated by the entrance amid bright flowers and two chickens are running around in the foreground. The reverse shows an oil sketch of an autumn forest. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Signature: Signed lower right, K. Schade Frame: Modern metal frame (Atelier Brodar) with broad mount Dimensions: 74 x 89 cm (size incl. frame); 59.5 x 75.5 cm (stretcher size) Condition: Painting in excellent condition with few, thin paint layers around the margins Provenance: From an Austrian private collection Auction result comparison: Dorotheum, GEMÄLDE JAHRHUNDERT, 22. NOVEMBER 2011, SALZBURG, lot 125 (for a painting of a mill by this artist) Starting price: EUR 250,- (Estimate: EUR 500,-) This dual-sided oil painting by the Austrian landscape painter Karl Martin Schade ( ) shows a view of a small, enchanted water castle on the front side. Rays of sunlight are seen on the overgrown walls and the mirror effect on the water surface in the foreground is splendidly executed. The reverse shows an oil sketch of a water lily pond and an avenue. Karl Martin Schade ( ) was a well-known Austrian landscape painter. He studied at the Vienna School of Arts and Crafts (now the University of Applied Arts Vienna) from 1881 and subsequently at the Academy of Fine Arts Vienna between 1882 and He was a student of Ludwig Minnerode from 1889 to Schade participated in art exhibitions in Vienna, Munich, Brno and Prague. He received the Gold Order of Merit of the Republic of Austria in In 1935, his paintings were exhibited at a collective exhibition at the Palmenhaus by the Burggarten in Vienna. Auction result comparison: Dorotheum, GEMÄLDE JAHRHUNDERT, 22. NOVEMBER 2011, SALZBURG, lot 125 (for a painting of a mill by this artist) Starting price: EUR 250,- (Estimate: EUR 500,-) Painting on Verso Water Lily Pond Signature: Signed lower left, K. Schade Frame: Wood frame Dimensions: 64 x 82 cm (size incl. frame); 54.5 x 72.5 cm (stretcher size) Condition: Painting in good condition with minor paint flaking around the water, framing marks, soiling, craquelure in the reverse, frame with considerable signs of wear. Provenance: From an Austrian private collection Painting on Verso Autumn Forest 98 99

52 85 FRANZ VON STUCK ( ), BRONZE THE ATHLETE, 1892 Franz von Stuck ( ) German artist of the Munich Secession Black-patinated bronze Germany, 1892 This black-patinated bronze sculpture by Franz von Stuck is the first fully sculptural work of the famous Munich painter, who began making sculptures in the 1890s. This work shows a shot-putter, whose muscles are tensed over his entire body. Especially remarkable are the very fine details such as the structure of the man s hair, his fingernails but also the meticulous artist s signature which have been worked out and chiseled, during the final process of the creation. This was one of the most favorite works of the artist and one cast of the athlete can be still found today at the Villa Stuck in Munich. The sculpture reflects the classic ideal of beauty in Antiquity and the Italian Renaissance, expressing force and power. The painter and sculptor Franz von Stuck was born 1863 in Tettenweis and went to the arts school in Munich before studying at the academy there between 1881 and Stuck founded the Munich Secession together with the painter Heinrich Wilhelm Trübner in Three years later Franz von Stuck became a professor at the Munich academy, where Paul Klee and Wassily Kandinsky were among his most famous students. Besides his many paintings, which were greatly inspired by the Symbolist Arnold Böcklin, Stuck created numerous sculptures especially in his last creative phase starting in the 1890s. These sculptures partly reflect the lightness of the Art Nouveau, whereas others are influenced by the spirit of Antiquity. Next to Franz von Lenbach and Friedrich August von Kaulbach, Franz von Stuck is one of the so-called Münchner Malerfürsten (Munich painter-princes). His works, for which he was frequently awarded medals during his lifetime, are exhibited in international museums; the largest part of his work, however, is found in the Villa Stuck in Munich. Signature / Marks: Signed in the center of the plinth Franz von Stuck, foundry mark on the base: Guss C. Leyrer München Dimensions: overall height of 65 cm, the base measures 28.5 cm in diameter Condition: good condition with light age-related traces of wear in the form of minimal scratch marks, appealing patina Starting price: EUR 2.500,- (Estimate: EUR 5.000,-) 100

53 86 AUGUST GAUL ( ), BRONZE STANDING BEAR, 1914 August Gaul ( ) German animal sculptor Bronze with dark brown patina Germany, circa 1914 This bronze figure by the German sculptor August Gaul depicts a recurring motif of the artist: the bear. This figure titled Stehender Bär (Standing Bear), which shows the bear in a slim and stylized form on a stepped base, is one of a series of works in which Gaul represented these majestic animals in different positions and sizes. The attitude with outstretched arms is reminiscent of Gaul Berlin Bear, which the patriotic artist modeled at the beginning of the war. Gaul s sculptures are characterized by clear forms with an emphasis on the sculptural qualities. Thus the artist shows the animals in a calm position, revealing their innate character, without meticulously imitating nature. The German animal sculptor August Gaul was born in 1869 in Großauheim (Hanau). He initially worked as a modeler and chaser and then studied at the Drawing Academy in Hanau. In 1888, he went to Berlin and worked in the studio of the sculptor Alexander Calandrelli. At the Berlin Zoo, he produced numerous drawings and sketches. In 1894, he began studying at the Berlin Academy of Arts and became a master student of Reinhold Begas, an important representative of the Neo- Baroque movement in Berlin. Gaul was one of the founding members of the Berlin Secession in He maintained friendly relations with Bernhard Heising, Ernst Barlach, Heinrich Zille and Paul Cassirer. In 1908, Gaul was appointed professor at the Academy of Arts. Signature / Marks: the base shows the artist s signature A. GAUL and the numeral I Dimensions: 30.1 cm (height) Condition: the figure is very good condition, the patina is a little rubbed in places. The cast-on base shows some nicks Literature comparison: listed in the catalogue raisonné by Josephine Gabler under the number 213. A metal model of the sculpture (h: 31 cm) can be found in the foundry Noack, Berlin. Starting price: EUR 1.500,- (Estimate: EUR 3.000,-)

54 87 ERNST SEGER ( ), MARBLE STATUE STANDING FEMALE NUDE WITH VEIL 1908 Ernst Seger ( ) German sculptor and medalist Marble Germany, around 1908 This magnificent marble sculpture by the German sculptor Ernst Seger ( ) is known in two sizes and dates to around Designed originally for the Goldscheider Company this statue is known to exist under model nr. 3697/64 as a ceramic figurine. A delicate girl gazes with her head turned downwards, a veil loosely draped around her legs. The young woman s left foot slightly extends over the square base, animating the statue, as if she was about to step down. Ernst Seger ( ) visited the sculpting class of the Royal Arts and Crafts School Breslau (Wrocław) under Robert Härtel and worked from 1886 in the workshop of Christian Behrens. He received his first larger commissions for monuments in the late 1880s. After working at Auguste Rodin s studio in Paris in 1893 and 1894 he started his own studio in Berlin. In 1895 he created a monument of Wilhelm II for Glatz. He became popular around 1990 for his Jugendstil sculptural works, especially female nudes. Seger was a respected artist in the German Empire as well as during the Nazi Regime. In 1938 three of his bronze sculptures were shown at the Große Deutsche Kunstausstellung ( Great German art exhibition ) in Munich, including a female thrower. Ernst Seger s oeuvre shifts between different stylistic influences and shows tendencies towards Neobaroque, Neoclassicism, Jugendstil and Symbolism. Dimensions: The sculpture measures 80 cm in total height Condition: Very good condition with minor traces of wear due to age and chips on the base Provenance: From an Austrian private collection Comparative auction result: Auktionshaus Quentin, October 20, 2012, Berlin, lot 249 (for the larger, signed piece) Starting price: EUR 1.500,- (Estimate: EUR 3.000,-)

55 89 ANTONIO CANOVA ( ), BRONZE SCULPTURE THE PUGILIST CREUGAS 1792 Antonio Canova ( ) Italian Neoclassical sculptor Patinated bronze Italy / Rome, 19th century cast after the original from 1792 This high-quality, copper-colored patinated bronze sculpture after the original by Antonio Canova shows one of the famous pugilists, Creugas of Durres, ready to attack with clenched fists. Creugas and his opponent Damoxenes of Syracuse are featured in their original marble sculptures by Canova in the Vatican. Bronze sculptures after Canova were especially popular during the 19th century and this piece stands out due to its particularly fine design exemplified by the curls, nails and other details. Antonio Canova ( ) is often considered the greatest of the Italian Neoclassical artists. His father, a stonemason, died when Antonio was only three years old and he grew up with his paternal grandfather, Pasino Canova. At the age of 14 he began an apprenticeship with the Venetian sculptor Giuseppe Bernardi, who was named after his teacher Torretti. After Bernardi s death in 1773 Canova first worked under the sculptor Giovanni Ferrari, a nephew of Bernardi s, before he set up his own workshop in The successful artist returned to his home in 1798 after the French troops under Napoleon occupied Rome. He was made a foreign member of the Académie des Beaux-Arts in As Inspector-General of Antiquities and Fine Art of the Papal State (from 1802), he was responsible in 1815 for the restitution of artworks stolen by the French. Signature / Marks: Inscribed on the plinth, fecit Antonio Canova, Roma 1792 Dimensions: The sculpture measures 65 cm in total height. The plinth size is 37.5 x 19 cm Condition: Very good condition with minor traces of wear due to age. Very appealing patina Provenance: From an Austrian private collection Starting price: EUR 750,- (Estimate: EUR 1.500,-) His works, like Orpheus and Eurydice (1776), were commissioned by Venetian patricians. In 1779 Canova moved to Rome, where he lived as a guest of the Venetian ambassador. 88 EJNAR HANSEN ( ), SCULPTURE MALE HEAD, USA 1943 Ejnar Hansen ( ) Danish-American artist White metal cast with bronze finish, composite stone USA, 1943 This sculpture is an artwork by Danish-American artist Ejnar Hansen and shows the bust of a man with a distinctive, wellproportioned face and a stern expression. He is wearing a wreath of oak leaves, a traditional symbol of power and loyalty since Classical Antiquity. This impressive bust is very similar as well in its corrugated surface as in the characteristic eye area to the bust of the famous art critic Sadakichi Hartmann, created by Ejnar Hansen around 1928, nowadays to be found in the Tobey C. Moss Gallery in Los Angeles. Ejnar Hansen was born in Denmark and studied at the Royal Academy of the Arts in Copenhagen before emigrating to the United States of America in He lived in the Mid-West before settling in Pasadena, California in Hansen, whose works are inspired by Scandinavian Expressionist artists, regularly exhibited his works from 1927 onwards and taught at different art institutes. Signature / Marks: signed and dated Hansen 43 on the back of the neck Dimensions: the overall height of the sculpture is 49 cm. The bust is 35 cm high, 18 cm wide and 27 cm deep, The square pedestal measures 17 x 17 cm Condition: good condition with merely few age-related traces of wear. The pedestal has a few notches in the rear area, especially in the lower left corner. Starting price: EUR 250,- (Estimate: EUR 500,-)

56 90 RAOUL DUFY ( ), PONTS SUR LA TAMISE Raoul Dufy ( ) Watercolor and Gouache on paper London, um Authenticity has been confirmed by Ms. Fanny Guillon-Laffaille (Certificate Number A / 18 th October 2011) and the work will be included in the forthcoming catalogue raisonné of watercolors; the certificate is included in this lot. This drawing by Raoul Dufy offers a view of London, from one bridge on the Thames to another, with Waterloo Bridge in the background. The pastel-colored composition, defined by flowing lines, is part of a series of works created at the end of the 1920s and early 1930s in which the artist portrays the British capital. These works are characterized by a delicate color scheme and the artist s typical loose brushwork with which he captures an urban landscape full of atmosphere. Raoul Dufy was born in Le Havre in Normandy and first attended the arts school of his hometown before studying at the École Nationale Supérieure des Beaux-Arts in Paris. From there, Dufy transferred as a student to the studio of the French painter Léon Bonnat. Initially influenced by the Impressionists, a painting by Henri Matisse led him then to Fauvism and his works became richer in color. Later he was also inspired by Braque s Cubism and the works of Cézanne. In 1906 Dufy had his first solo exhibition at the Galerie Berthe Weill in Paris. In addition to his paintings and drawings, he designed fabric patterns for the fashion house Poiret and created ceramics, woodblock prints and designs for tapestries. From 1920, he undertook regular trips to the South of France. Here he painted numerous sailing regattas, horse races and landscapes in luminous colors. For the Paris World Exhibition in 1937, Dufy created the Pavillon de la lumière; in 1952 he received the main prize for painting at the Biennale in Venice. Some of his works were exhibited posthumously at documenta 1 (1955) and documenta III (1964) in Kassel. Signature: signed in pencil lower right Raoul Dufy Frame: behind glass; nice wood & stucco frame Dimensions: 73.5 x 87.5 cm (size incl. frame); 50 x 65.5 cm (sheet size) Condition: the work is in very good condition. The sheet is permanently mounted on cardboard along the edges. The margins are a little mat-stained. The left and lower margin are frayed and there is a small tear (approx. 8mm) to the right margin. The frame shows slight signs of wear Auction result comparison: Christie s, BETSY BLOOMINGDALE: A LIFE IN STYLE, APRIL 5, 2017, NEW YORK, lot 30 (for a comparable work) Starting price: EUR 5.000,- (Estimate: EUR ,-)

57 91 LEOPOLD SCHEIRING ( ), OIL PAINTING SNOWY MOUNTAINS 1923 Leopold Scheiring ( ) Oil on artist s board Austria, 1923 This painting by Leopold Scheiring shows a typical composition for this Tyrolean artist. The work is primarily painted in contrasting blue, lilac and gray nuances, which are skillfully juxtaposed, creating an evocatively dense effect. Often, the painter has captured the Tyrolean Alps and the landscapes around Innsbruck in his works. Especially in his winter images Scheiring created impressive portrayals of nature with charming light effects through reflective snow-covered surfaces. Leopold Scheiring was born in Tyrol in 1884 and was selftaught. He lived and worked in Innsbruck and primarily painted mountain landscapes as well as illustrations for posters. He was a board member of the Kunstgemeinschaft, where he exhibited his paintings and drawings. Works by Scheiring are held in the Ferdinandeum in Innsbruck. Signature: Signed and dated L. Scheiring 23 lower right Frame: Ornamented gold colored stucco frame Dimensions: 56 x 67 cm (frame); 49 x 61 cm (board size) Condition: The painting is overall in very good condition. There are some tiny retouchings here and there along the edges, which are only visible under UV light. The frame shows wear with some chipping Auction result comparison: Hassfurther, ALTE MEISTER BIEDERMEIER KLASSISCHE MODERNE, JUNE 21, 2010, VIENNA, lot 39 (for a comparable painting, dated 1916) Starting price: EUR 400,- (Estimate: EUR 800,-) Authenticity has been confirmed by Ms. Fanny Guillon-Laffaille (Certificate Number A / 18 th October 2011) and the work will be included in the forthcoming catalogue raisonné of watercolors; the certificate is included in this lot

58 92 FRANZ HECKENDORF ( ), OIL ON PANEL MEDITERRANEAN LANDSCAPE 1932 Franz Heckendorf ( ) Oil on panel Germany/Southern Europe, FRANZ HECKENDORF ( ), OIL ON CANVAS TOWNSCAPE 1925 Franz Heckendorf ( ) Oil on canvas Germany/Southern Europe, 1925 This oil painting by the German painter and graphic artist Franz Heckendorf ( ) depicts the view of a Southern European town. It shows the scenery of a coastal town with palm trees, boats and people in the foreground. The artwork dates to the period of the Weimar Republic. During this time, Heckendorf experienced the prime of his creativity and he painted landscapes influenced by the impressions he gathered during his travels to Southern European countries such as Italy or former Yugoslavia. Franz Heckendorf was a German painter and graphic artist of the Expressive Realism movement who underwent a blooming period during the time of the Weimar Republic. During the Third Reich he was imprisoned for ten years because he had helped a group of Jews escape to Switzerland. His works were classified as degenerated art by the Nazi regime. Heckendorf s artistic education began at the young age of 15, when he completed an apprenticeship as a decorative painter. Afterwards, he studied at the Kunstgewerbeschule and the Academy of Arts in Berlin. Shortly thereafter, he already exhibited some of his works at the Berlin Secession. He primarily painted landscapes and still lifes that clearly show a Mediterranean influence from the impressions of his travels to Italy and Croatia during the 1920s and 1930s. After his imprisonment, he worked in Vienna at the Academy of Fine Arts, and afterwards in Munich until his death in Works by Franz Heckendorf are located amongst others at the Stiftung Moritzburg (Halle), the Salzburg Museum, the Berlinische Galerie and the Wilhelm-Lehmbruch-Museum in Duisburg. Signature: Signed and dated lower left F. Heckendorf 1932 Frame: Simplistic crème and brown colored wooden frame Dimensions: 109 x 129 cm (frame); 79.5 x 103 cm (panel size) Condition: Very good condition with minor signs of age and wear, frame in very good condition as well Auction result comparison: Kastern, KUNSTAUKTION, JUNE 11, 2016, HANOVER, lot 83 (for a comparable painting) Starting price: EUR 1.000,- (Estimate: EUR 2.000,-) This oil painting by the German painter and graphic artist Franz Heckendorf ( ) depicts the view of a Southern European town exhibiting the artist s typical brushwork. It shows the scenery of a town encased by large trees in strong colors and broad contours. The artwork dates to the period of the Weimar Republic. During this time, Heckendorf experienced the prime of his creativity and he painted landscapes influenced by the impressions he gathered during his travels to Southern European countries such as Italy or former Yugoslavia. Franz Heckendorf was a German painter and graphic artist of the Expressive Realism movement who underwent a blooming period during the time of the Weimar Republic. During the Third Reich he was imprisoned for ten years because he had helped a group of Jews escape to Switzerland. His works were classified as degenerated art by the Nazi regime. Heckendorf s artistic education began at the young age of 15, when he completed an apprenticeship as a decorative painter. Afterwards, he studied at the Kunstgewerbeschule and the Academy of Arts in Berlin. Shortly thereafter, he already exhibited some of his works at the Berlin Secession. He primarily painted landscapes and still lifes that clearly show a Mediterranean influence from the impressions of his travels to Italy and Croatia during the 1920s and 1930s. After his imprisonment, he worked in Vienna at the Academy of Fine Arts, and afterwards in Munich until his death in Works by Franz Heckendorf are located amongst others at the Stiftung Moritzburg (Halle), the Salzburg Museum, the Berlinische Galerie and the Wilhelm-Lehmbruch-Museum in Duisburg. Signature: Signed and dated lower left F. Heckendorf. 25 Frame: Mounted in a dark wooden frame with a red undercoat Dimensions: 75 x 95 cm (frame); 60 x 81 cm (stretcher frame) Condition: The work is in very good condition with the usual signs of age such as craquelure, the frame is in good condition as well Auction result comparison: Kastern, KUNSTAUKTION, JUNE 11, 2016, HANOVER, lot 83 (for a comparable painting) Starting price: EUR 750,- (Estimate: EUR 1.500,-)

59 96 FRIEDRICH AHLERS-HESTERMANN ( ), OIL ON CANVAS ON THE LAKESIDE Friedrich Ahlers-Hestermann ( ) Oil on canvas Germany, 1930s This North German landscape is a work by Friedrich Ahlers- Hestermann ( ) from the 1930s. With a lucent painting style, it shows soft green and earthen color shades that are immersed in a silvery light. Two houses set on a lakeshore are reflected in the gentle greenish waters. The dark brown tree trunks and blue window shades provide bold accents. The painter and art critic Friedrich Ahlers-Hestermann received his first artistic training from the Hamburg nature painter Arthur Siebelist. In 1909, he was a student of the Académie Matisse in Paris, where he was also in contact with the German artist circle of the Café du Dôme. After the First World War, he co-founded the Hamburg Secession, and after the Second World War, he was the founding director of the Hamburg State Art School. From 1956 to 1973, he worked as director of the Department of Visual Arts at the Academy of Arts in Berlin. Signature: F. Ahlers-Hestermann, lower left Frame: Gold colored wooden frame Dimensions: 61 x 76 cm (frame); 50 x 64 cm (stretcher frame) Condition: The painting is in good condition, showing tiny, scattered stains as well as framing marks and craquelure, frame with chips and wear Provenance: German private collection Auction result comparison: Stahl, NORDDEUTSCHE KUNST, FEBRUARY 28, 2015, HAMBURG, lot 1 (for a comparable painting) Starting price: EUR 250,- (Estimate: EUR 500,-) 94 FRANZ HECKENDORF ( ), OIL ON BOARD MEDITERRANEAN HARBOR 1939 Franz Heckendorf ( ) Oil on hardboard Germany/Italy, JOSEF DOBROWSKY ( ), WATERCOLOR MOUNTAIN LANDSCAPE 1926 Josef Dobrowsky ( ) Watercolor and charcoal on wove paper Austria, 1926 This work was created by the German painter Franz Heckendorf in During this time the artist had traveled to Italy and the Orient. These influences were expressed in his paintings, which are characterized by the use of intense colors and a dynamic style of painting, also influenced by the Expressionists Erich Heckel and Ernst Ludwig Kirchner. Franz Heckendorf was a German painter and graphic artist of the Expressive Realism movement who underwent a blooming period during the time of the Weimar Republic. During the Third Reich he was imprisoned for ten years because he had helped a group of Jews escape to Switzerland. His works were classified as degenerated art by the Nazi regime. Heckendorf s artistic education began at the young age of 15, when he completed an apprenticeship as a decorative painter. Afterwards, he studied at the Kunstgewerbeschule and the Academy of Arts in Berlin. Shortly thereafter, he already exhibited some of his works at the Berlin Secession. He primarily painted landscapes and still lifes that clearly show a Mediterranean influence from the impressions of his travels to Italy and Croatia during the 1920s and 1930s. After his imprisonment, he worked in Vienna at the Academy of Fine Arts, and afterwards in Munich until his death in Works by Franz Heckendorf are located amongst others at the Stiftung Moritzburg (Halle), the Salzburg Museum, the Berlinische Galerie and the Wilhelm-Lehmbruch-Museum in Duisburg. Signature: Signed lower left F. Heckendorf Verso: Inscribed F. Heckendorf Frame: Simplistic wooden frame Dimensions: 37.5 x 47.5 cm (frame); 30 x 38 cm (image size) Condition: The work is in very good condition with only slight framing marks around the edges, frame with signs of wear Provenance: German private collection Starting price: EUR 250,- (Estimate: EUR 500,-) This bright, picturesque watercolor by the Austrian artist Josef Dobrowsky shows a mountain landscape. The village in the center of the image is surrounded by trees through which some red and blue color accents emerge. The use of color and light contrasts is characteristic of this artist s work and provides a particularly atmospheric impression in many of his landscape watercolors. Born in Carlsbad, Josef Dobrowsky was a portrait, genre and landscape painter who is considered one of the most important Austrian artists during the interwar period. After studying at the Vienna School of Applied Art, he attended the Vienna Academy of Fine Arts under Christian Griepenkerl and Rudolf Bacher. From 1919, Dobrowsky worked as a freelance artist and was a member of the Vienna Secession. In 1934, he joined the Prague Secession. Between the years 1946 and 1963, he taught a master class in painting at the Vienna Academy. Dobrowsky s early work shows influences of Gustav Klimt, Albin Egger-Lienz and Ferdinand Hodler. From 1920, he intensively studied the paintings of Pieter Bruegel the Elder. In this time, he created paintings with an earthy color scheme. In his late work, he mainly created portraits and landscapes in an expressive manner, including some watercolors. Signature: Signed lower left J. Dobrowsky ; Stamped and dated lower right Originalität Datierung Juli 1926 Frame: Gold colored frame Dimensions: 73 x 88 cm (frame); 43.5 x 51.5 cm (sheet size) Condition: The sheet is in good condition, slightly toned and light-stained with minor foxing around the edges, frame with signs of wear Auction result comparison: Dorotheum, MODERN AND CONTEMPORARY ART, MARCH 16, 2016, VIENNA, lot 77 (for a comparable work) Starting price: EUR 250,- (Estimate: EUR 500,-)

60 97 PAUL CAMENISCH ( ), OIL ON CANVAS FLOWERING GARDEN 1939 Paul Camenisch ( ) Oil on canvas Switzerland, 1939 This oil painting by the Swiss artist Paul Camenisch was created in Depicted is a landscape near Muttenz in the canton of Basel with a view into a garden that is located next to a forest. A narrow path leads along a fence, behind which the yellow facade of a house appears. According to the previous owner, the work shows the property of his grandparents, where Camenisch left his art supplies during a visit. The painting shows a return to realist tendencies, which Camenisch increasingly developed during the 1930s; nevertheless, it is still close to the style of Expressionism due to its intensely luminous colors. Paul Camenisch was born 1893 in Zurich. He studied from 1912 to 1916 architecture at the Technische Hochschule in Zurich and was subsequently active in several architectural firms. In the early 1920s Camenisch decided to become a painter. He spent a long time in Davos with the Brücke artist Ernst Ludwig Kirchner and was greatly influenced by his work and the expressionism. It was also the mid-1920s, when Camenisch was about to start the artists group called Rot-Blau along with Albert Müller and Hermann Scherer. Later called Rot-Blau II, together with Hans Stocker, Coghuf (Ernst Stocker), Otto Staiger, Charles Hindenlang and Max Sulzbachner. In addition, Camenisch was also co-founder of the Basel Artists Association Gruppe 33, from which he was excluded in 1953 due to his strong communist political views. His work was defamed in the Munich exhibition Degenerate Art in Signature: Signed and dated lower right Camenisch 39 Frame: Wide, golden ornament frame Dimensions: 73.5 x 93.5 cm (frame); 49 x 68 cm (image size) Condition: The painting is in overall good condition and shows faint craquelures in the sky as well as a tiny, barely visible loss of color in the lower right area. The frame shows signs of wear as well Provenance: Gift of the artist to the grandparents of the owner and family-owned ever since; Swiss private collection Auction result comparison: For a two-sided painting by Paul Camenisch with a garden view on one and dating to 1926 see CHRISTIE S, SWISS ART, Zurich, December 5, 2016, lot 65. Starting price: EUR 1.500,- (Estimate: EUR 3.000,-)

61 98 ARNOLD CLEMENTSCHITSCH ( , OIL PAINTING TREES AT A LAKE ERNST HUBER ( ), OIL ON CANVAS SUMMER LANDSCAPE IN UPPER AUSTRIA Arnold Clementschitsch ( ) Oil on artist s board Austria, 1947 Ernst Huber ( ) Oil on canvas Austria, around 1935 Several trees in the foreground structure the composition of this painting and take up almost the entire image, guiding the beholder to look through the trees towards the lake and hills on the horizon. The colors are clearly dominated by shades of blue, reinforcing the crisp atmosphere. Along with the loose brushwork, the Austrian artist has created a very harmonious composition. Arnold Jacob Clemenschitsch was born in Villach in Carinthia, Austria. He first studied at the Graphische Lehr- und Versuchsanstalt in Vienna, under Hubert Landa and Erwin Puchinger. Subsequently, he attended the Vienna Academy and the Vienna School of Applied Arts. At the Munich Academy, he also took courses in writing and book design. He developed his own painting style of images determined by color and a lyrical mood during the 1920s. Clemenschitsch was a member of the Art Association of Carinthia and received the Austrian State Prize for Fine Arts in His work has been shown at numerous exhibitions at home and abroad. Signature: Lower center A. Clemenschitsch, dated upper right 1947 Verso: Signed on the reverse within a handwritten statement of authenticity, dated July 1958 Frame: Gilded profile frame Dimensions: 48 x 53 cm (frame); 34 x 40 cm (image size) Condition: The painting is overall in good condition. It shows slight framing traces and is firmly attached to the frame at two corners. The frame is in good condition with minor signs of wear Auction result comparison: Dorotheum, KLASSICHE MOD- ERNE, May 31, 2016, VIENNA, lot 447 (for an oil on canvas with a similar color scheme) Starting price: EUR 750,- (Estimate: EUR 1.500,-) Viennese landscape painter Ernst Huber created this summery landscape around 1935, depicting the so-called Mühlviertel, a region located in upper Austria with mills in the field. The rolling landscape, executed in broad brushstrokes, illuminates in vibrant colors. The artist created quite a special lighting effect through the breaking of the sky at the horizon as well as the slightly impasto grain field in the foreground, which shines in bright yellow. Ernst Huber was first trained as a typesetter in Vienna. He practiced his profession for a few years before working as a lithographer. At the same time, he attended a course by Otto Prutscher at the Vienna School of Applied Arts. Huber was a self-taught painter and exhibited his first works in They attracted the attention of Josef Hoffmann, who introduced Huber to the sculptor Gustinus Ambrosi and admitted him to the artist group Kunstschau, whose members included artists such as Gustav Klimt and Oskar Kokoschka. In 1932 Huber became a member of the Vienna Secession and in 1935 he was awarded the Austrian State Prize for painting. The artist s initially somber color palette brightened gradually and finally exhibited bright and intense colors. Landscapes from Austria but also from distant lands, which he discovered during his travels, occupy a central position in Huber s oeuvre. Works by Ernst Huber are held by the Galerie Belvedere, the Leopold Museum and the Graphische Sammlung Albertina in Vienna, as well as by the Oberösterreichisches Landesmuseum in Linz. Signature: Signed lower left E. Huber Verso: On the stretcher frame by unknown hand Ernst Huber and in red No.12 Dimensions: 65.5 x 73.5 cm Condition: The painting is overall in very good condition, with small, barely visible retouching on the upper margin Auction result comparison: Auktionshaus im Kinsky, GEMÄL- DE DES 19. JAHRHUNDERTS, KLASSISCHE MODERNE & ZEITGENÖSSISCHE KUNST, FEBRUARY 28, 2018, VIENNA, lot 742 (for a comparable painting) Starting price: EUR 400,- (Estimate: EUR 800,-)

62 101 VIKTOR RAFAEL GYÖZÖ ( ), OIL ON CANVAS RECLINING WOMAN Viktor Rafael Gyözö ( ) Oil on canvas Hungary, around 1950 This large oil painting by Hungarian artist Viktor Rafael Gyözö, dates to around 1950 and shows a reclining woman. The work exhibits cubist influences, which characterize the majority of the artist s oeuvre. The abstracted and segmented body, in warm shades of red and orange, is reminiscent of the nude paintings by Cubists such as Picasso and Braque but also of the sculptures by Henry Moore. In terms of color, the figure contrasts beautifully with the cool tones of the background. The impasto layers of paint give the image surface an appealing texture and create a certain depth. Viktor Rafael Gyözö was born in Hungary in He studied at the Hungarian Academy of Arts from 1921 to 1928 taking several educational journeys to Paris, Munich and Rome. Later even to Egypt, Syria and Irak. He further participated at the Biennale in Venice in Signature: Signed lower right, Rafael V Frame: Simplistic fabric coated wooden frame Dimensions: 102 x cm (frame); 90 x 120 cm (stretcher frame) Condition: The painting is in good condition. The impasto colour surface shows craquelure here and there. The frame shows light signs of age and wear Auction result comparison: for a cubist painting by Viktor Rafael Gyözo, dated 1952, see Kieselbach Gallery, Budapest, Hungary, December 10, 2004, lot 218. Starting price: EUR 500,- (Estimate: EUR 1.000,-) 100 GEORG JUDERSLEBEN ( ), OIL ON CANVAS MY GARDEN Georg Judersleben ( ) Oil on canvas Germany, around 1950 This oil painting by Georg Judersleben ( ) shows a view of the artist s garden, probably in his hometown Bad Sulza near Weimar. The vivid, impasto painting is rendered in an expressionist manner, delighting with its cheerful, bright color scheme and dynamic brushwork. A native of Bad Sulza in Weimar, Georg Judersleben studied at the University of Fine Arts in Weimar in the 1920s. He then worked as a teacher and painter in Bad Sulza. Judersleben mainly created landscapes, frequently visiting the famous Ahrenshoop artists colony. His works created on the Baltic Sea feature a particular expressive conception of nature. Today, works by Georg Judersleben are displayed in the Weimar art collections, among others. Signature: Signed upper left G. Judersleben Verso: Inscribed on the stretcher frame G. Juderslen [sic] and Mein Garten ( My Garden ) Frame: White painted wooden frame Dimensions: 74 x 79.5 cm (frame); 69.5 x 75 cm (stretcher frame) Condition: The condition of the painting is very good, showing only minimal signs of age. The color surface shows slight craquelure. The white wood frame is also in very good condition, showing only minimal signs of wear Provenance: German private collection Starting price: EUR 200,- (Estimate: EUR 400,-)

63 102 FANIZANI AKUDA ( ), SERPENTINE SCULPTURE FEMININITY Fanizani Akuda ( ) Zimbabwean sculptor Serpentine Zimbabwe, 1980s This life-affirming sculpture by the Zimbabwean sculptor Fanizani Akuda ( ) is crafted from a piece of greenish serpentine and shows an abstract woman with protruding shapes. Fanizani Akuda was an ethnic Chewa who left his homeland of Zambia (then Northern Rhodesia) for Zimbabwe (then Southern Rhodesia) in 1949 to initially work as a farmhand. From 1967 to 1979 he was a member of the artist village Tengenenge. Subsequently he moved with his family to a township house in Chitungwiza near Harare. He was a member of the sculptural movement known as Shona sculpture, although he and some other members were not ethnically Shona. Signature: Carved signature on the underside Fanizani Dimensions: The total height of the sculpture is 42 cm. Its maximal width is approximately 33 cm Condition: Very good condition with minor wear Provenance: From an Austrian private collection Auction result comparions: DROUOT-RICHELIEU, Collection Olivier Sultan: Nouveau regard sur l art contemporain africain; April 2, 2007, Paris, lot 4 (for a comparable serpentine figure by this artist) Starting price: EUR 150,- (Estimate: EUR 300,-) 103 DICK NGULEINGULEI ( ), BARK PAINTING TOTEM KANGAROO Dick Nguleingulei ( ) Bark, pigments, string Oenpelli, Arnhem Land, Australia, 1966 This bark painting was created in Oenpelli, Arnhem Land, Australia in It was painted by Aboriginal artist Dick Murrumurru better known as Nguleingulei. The western Arnhem Land is known for its Aboriginal art. Over thousands of years the indigenous population created art in caves and on rocks in the area around the Oenpelli (Gunbalanya) community. The present painting belongs to one of the two art styles of the region the X-ray style. It depicts a totem kangaroo with its bones and internal organs visible. Nguleingulei was tutored by his father, an aboriginal rock and bark painter. During the 1960s and 1970s he was based at Oenpelli, an Aboriginal community in west Arnhem Land in the Northern Territory of Australia, where he made a name for himself as a skilled and prolific bark painter. Like other artists from this region he predominantly painted images of common animal species in the typical X-ray style. Nguleingulei s figurative forms show an accuracy, delicacy and sense of proportion reminiscent of the finest rock painters. On a solid red ochre background, he rendered animals and figures in white with details in red and yellow and sometimes black. Verso: Label from the Aboriginal Art Centre with expertise dating to 1970 Dimensions: 60 x 123 cm Condition: The painting is in good condition with minor signs of age and wear Provenance: German private collection, acquired in the 1970s Auction result comparison: Mossgreen Auctions, AUSTRALIAN INDIGENOUS & OCEANIC ART, JULY 22, 2014, MELBOURNE, lot 142 (for a comparable work) Starting price: EUR 250,- (Estimate: EUR 500,-) Label from the Aboriginal Art Centre with expertise dating to

64 104 BRIGITTE BRUCKNER-MIKL (born 1963), OIL ON PAPER STILL LIFE WITH BLUE JACKET, 1993 Brigitte Bruckner-Mikl (born 1963) Oil on grounded paper Austria, HANS GEORG DAMM (born 1930), MONUMENTAL WELDED SCULPTURE WORKER S FIST Hans Georg Damm (born 1930) Berlin artist Sheet iron Berlin / Germany, around 1970 This oil painting by the Austrian artist Brigitte Bruckner-Mickl shows a bowl with a large peony blossom in the foreground on a brown table, painted in an expressive manner. A fine blue jacket with a pocket square of the same colors as the blossom hangs in the background. Brigitte Bruckner-Mikl was born 1963 in Linz and has been working as a freelance artist since the end of the 1980s. In 1990 she married her husband, the famous Austrian painter, Josef Mikl and gave birth to her daughter Anna. Since the mid-1980s there have been numerous exhibitions of her works, including in the Essl Museum and the Traklhaus, Salzburg. Britigitte Bruckner-Mikl lives and works in Vienna and Burgenland. Signature: Signed and dated lower left Bruckner 93 Dimensions: 82 x 119 cm Condition: Painting in good condition with minor soiling and some yellowing. Some loss of material around the margins Provenance: From an Austrian private collection Comparative auction result: Auktionshaus im Kinsky, March 25, 2014, WIEN, lot 20 (for a comparable work from 1995, however oil on canvas). Starting price: EUR 250,- (Estimate: EUR 500,-) This monumental welded sculpture by the Berlin sculptor Hans Georg Damm (born 1930) dates to around 1970 and shows a human hand clenched into a fist. Hans Georg Damm was torn his entire life, sharing the ideals of the GDR but in conflict with the system. This sculpture was made during the best period of his artistic work around He was a member of Die Rote Nelke and exhibited his works in the Majakowski Galerie as well as the Drehscheibe in Berlin. His monument The Seven Swabians can still be seen in Berlin at the Hohenzollerndamm. From the mid-1970s, Damm turned away from his socialist ideals and his work faded into obscurity. Signature / marks: Relief signature welded on the underside Damm Dimensions: The sculpture measures 75 cm in total height. The maximal width is approximately 46 cm Condition: Original, severely corroded condition with natural holes Provenance: From an Austrian private collection Literature comparison: Dieter Biewald, Berliner Künstler im Gespräch, Koska Verlag, 1975; pages 40 bis 46. Starting price: EUR 500,- (Estimate: EUR 1.000,-)

65 106 JOSEF HEINRICH DARCHINGER ( ), LARGE PHOTOGRAPH QUELLE HEADQUARTERS WITH IBM COMPUTER Josef Heinrich Darchinger ( ) Photograph Germany, 1958 This large photograph by the well-known photo journalist Jupp Darchinger is also pictured in his book Wirtschaftwunder Germany after the war. It shows the central office of the German retail giant Quelle in Fürth. Modern times are represented by the large IBM / 701 computers but the man in the foreground strikes contrast by writing in the order book. A delightful snapshot, typical of Darchinger s visual language. The German photo journalist Josef Heinrich Darchinger ( ) worked as an apprentice on a farm before he was drafted to the Reichsarbeitsdienst (Reich Labor Service) in 1942 after his 17th birthday. A year later he was drafted as a Wehrmacht soldier in the Second World War. He was severly wounded in 1945 and was captured by the French army. He escaped imprisonment in He learned to become a photo lab technician and taught himself how to take pictures. In 1848 he married his colleague Ruth in Bonn. In 1949 Darchinger bought his first camera, a Leica IIIc with three lenses. Three years later he began his career as an independent photo journalist, first for publications of the Socialist Party and unions. In the mid-1960s he became a correspondent for the weekly magazine Spiegel as well as the newspaper Die Zeit in the West German capital Bonn and followed government officials on foreign visits. When the parliament and parts of government moved to Berlin in the 1990s, Darchinger retired from documenting political life. Wirtschaftswunder Germany after the war, Taschen 2008, pages 136 and 137 The Rheinische Landesmuseum in Bonn honored Darchinger in 1977 with an exhibition of 300 of his pictures. An obituary in the Süddeutsche Zeitung his work was placed in the tradition of the photo journalist Erich Salomon and said to have been a master of the arranged portrait, the seemingly coincidental snapshot as well as capturing an unplanned gesture. He was a chronicler of the Bonn Republic. Signature / Verso: Signed J.H. Darchinger, dated 1958 and with edition number 1/12 Frame: Framed behind glass, plain wooden frame Dimensions: 120 x 123 cm (framed); 114 x 112 cm (sheet size) Condition: Photograph and frame in excellent condition Literature comparison: see Wirtschaftswunder Germany after the war, Taschen 2008, pages 136 and 137. Comparative auction result: VAN HAM KUNSTAUKTIONEN, PHOTOGRAPHIE, JUNE 20, 2012, Cologne, Los 47 (for a work from the same series) Starting price: EUR 500,- (Estimate: EUR 1.000,-)

66 108 LUIGI KASIMIR ( ), COLOR ETCHING MARIAN COLUMN IN VIENNA LUIGI KASIMIR ( ), COLOR ETCHING ST. STEPHEN S CATHEDRAL Luigi Kasimir ( ) Color etching on wove paper Austria / Vienna, 1911 Luigi Kasimir ( ) Color etching on wove paper Austria / Vienna, around FERDINAND SCHMUTZER ( ), ETCHING SOUP KITCHEN, 1906/1907 Ferdinand Schmutzer ( ) Etching Austria, 1906/1907 This etching by the Austrian artist Ferdinand Schmutzer ( ) shows a monastery gate with many people in front. A closer look reveals soup bowls in the hands of individual people as well as a dark, heavy mood. Like many artists of his time, Käthe Kollwitz in Berlin or Jules Adler in Paris, Schmutzer captured a soup kitchen of the period with a socio-critical perspective. Ferdinand Schmutzer ( ) came from a long-standing Viennese artist family. Like his grandfather and father, Schmutzer first tinkered with sculpture but subsequently studied painting at the Vienna Academy. While studying in the Netherlands, the influence of Rembrandt van Rijn awakened his interest in etchings. Soon Schmutzer became very successful with his portraits of Viennese society. His models included prominent contemporaries like Sigmund Freud, Albert Einstein, Emperor Franz Josef, the Vienna Philharmonic or Karl Lueger. Schmutzer exhibited his works internationally and received several prizes and awards. In 1901 he received a small gold medal at the Great Berlin Art Exhibition in 1901 and a large in His large-scale etchings were a special innovation, as these were unseen before him. In 1901 Schmutzer became a member of the Vienna Secession and in 1908 he was appointed as a professor at the Academy of Fine Arts Vienna as a recognized master of his craft. Besides the large-scale works, he introduced new techniques: he used new etching techniques and experimented with new kinds of needles. He was head of the academy between 1922 and In 1928 Ferdinand Schmutzer died at the age of 58 in his villa on Sternwartestraße in Vienna. Frame: Framed behind glass, wood and stucco frame Dimensions: 48.5 x 60 cm (size incl. frame); 42.5 x 53.5 cm (sheet size) Condition: Slightly trimmed along the margin and small tears around the margins. Significantly browned, frame with signs of wear. Provenance: From an Austrian private collection This color etching by Luigi Kasimir ( ) depicts the wide square Am Hof with the Mariensäule. The original sandstone figure created in 1646 was donated by Ferdinand III for the rescue from the Swedish troops during the Thirty Years War. It was replaced by a copy in bronze in Luigi Kasimir ( ) was an Austro-Hungarian-born etcher, painter, printmaker and landscape artist. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the colored etching, and also to his future wife, the artist Tanna Hoernes. Kasimir was among the first to develop the technique of the colored etching. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favorite genres was the landscape, or veduta. He demonstrated a predisposition for monuments, street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers. Luigi Kasimir s etchings can be seen in many galleries and museums, from the New York Metropolitan Museum of Art to countless galleries and fine print collections around the world. Signature: Estate signature in pencil on the lower middle NL Luigi Kasimir as well as inscribed and dated Luigi Kasimir Wien 1911 in the plate Frame: Ornate wooden frame Dimensions: 54.3 x 42.5 cm (framed); 30 x 21.6 cm (plate size) Condition: The etching and the frame are in very good condition Starting price: EUR 20,- (Estimate: EUR 50,-) This color etching by Luigi Kasimir ( ) features a roof top view of Vienna with the St. Stephen s cathedral as the prominent view point. Luigi Kasimir ( ) was an Austro-Hungarian-born etcher, painter, printmaker and landscape artist. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the colored etching, and also to his future wife, the artist Tanna Hoernes. Kasimir was among the first to develop the technique of the colored etching. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favorite genres was the landscape, or veduta. He demonstrated a predisposition for monuments, street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers. Luigi Kasimir s etchings can be seen in many galleries and museums, from the New York Metropolitan Museum of Art to countless galleries and fine print collections around the world. Signature: Estate signature in pencil on the lower middle NL Luigi Kasimir Frame: Ornate wooden frame Dimensions: 54.3 x 42.5 cm (framed); 34.5 x 24.7 cm (plate size) Condition: The etching and the frame are in very good condition. The margins of the plate are minimally discolored Starting price: EUR 20,- (Estimate: EUR 50,-) 110 LAURENZ JANSCHA ( ), RUIN IN THE GARDEN OF SCHÖNBRUNN PALACE, HAND-COLORED ETCHING, 1785 Artist: Laurenz Janscha ( ) Execution: Johann Ziegler ( ) Publisher: Artaria Hand-colored outline etching Austria, 1785 This rare hand-colored outline etching originates from a series of five large sheets published by Artaria in 1785 after vedute by Laurenz Janscha ( ). Originally titled Ruin of Carthage, this roman ruin lies at the bottom of the tree-covered Schönbrunnerberg. This structure was designed by Johann Ferdinand Hetzendorf von Hohenberg and built in Hohenberg created the roman ruin in Schönbrunn after the ancient Temple of Vespasian and Titus in Rome, its ruins could be seen in an engraving by Giovanni Battista Piranesi from around Laurenz Janscha (also Lorenz Jantscha oder Lovro Janša), the son of a Matthias Janscha ( ), a farmer, and Lucia Debellak ( ), was accepted at the engraving academy in Vienna around 1770, where he received his training in landscape painting. Franz Edmund Weirotter was also one of his teachers. From 1780 Janscha also worked on etchings. In 1785 he contributed watercolor templates for seven sheets, predominantly landscapes, for the Collection de 50 vues de la ville de Vienne by the Viennese publisher Artaria. Subsequently, the artist focused on producing vedute and scenes from around Vienna and other places, which were published by different Viennese publishers. In 1803 he painted a large panorama of Vienna which was displayed in a show booth in the Prater and in other cities. In 1797 Janscher became assistant professor for landscape painting at the academy in Vienna, after the death of Carl Philipp Schalhas. In 1806 he was appointed head of the master school and in 1811 he became a professor. Frame: Framed behind glass, broad mat, wood and stucco frame Dimensions: 69 x 83 cm (size incl. frame); image: ca x 62 cm; sheet size ca x 66.5 cm Condition: Generally good condition, slightly foxed, small creases, a little loss of material around the margins. Frame with considerable signs of wear and chipping Provenance: From an Austrian private collection Starting price: EUR 70,- (Estimate: EUR 150,-) Literature comparison: Schwarz 39. Nebehay-W. 671, 39. Starting price: EUR 120,- (Estimate: EUR 250,-)

67 111 RARE RUSSIAN ICON WITH BRASS AND ENAMEL INLAYS AND OKLAD, 19th CENTURY Wood, polychrome egg tempera and gold details, brass and enamel miniature icons as well as floral bras oklad Russia, 19th century or earlier 112 LARGE RUSSIAN ICON RESURRECTION AND THE TWELVE GREAT FEASTS, 19th CENTURY Wood, polychrome egg tempera and gold details Russia, 19th century or earlier This icon shows two seraphim flying above two inset miniature icons made of brass and enamel, showing Jesus and the Saints as well as Mary with Baby Jesus. Four Saints are portrayed at the left and right edge. A finely embossed floral oklad is mounted as well. Dimensions: 17 cm x 27,5 cm Condition: repaired condition with cracks, scratches and material loss still evident. Potentially the previous central image of this icon was replaced by the miniature insets, one back slat missing Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) This fascinating icon shows the Twelve Great Feasts of the Orthodox church as well as Easter, the so-called Feast of Feasts at the center with the resurrection of Jesus. Each depiction is additionally inscribed. Back slats on verso still in place. Dimensions: 44,5 cm x 52,5 cm Condition: painting shows craquelure and some paint chips, yet overall fine and appealing condition Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-) The 12 Great Feasts are: The Nativity of the Theotokos The Entrance of the Theotokos into the Temple The Annunciation Christmas Theophany The Transfiguration Exaltation of the Cross The Dormition Pentecost The Ascension Palm Sunday Presentation of Christ in the Temple

68 113 LARGE RUSSIAN ELEUSA ICON, VIRGIN OF TENDERNESS, 19th CENTURY Wood, polychrome egg tempera Russia, 19th century or earlier 114 RUSSIAN ICON WITH PORTRAYAL OF JESUS CHRIST, 19th CENTURY Wood, polychrome egg tempera Russia, 19th century or earlier This large and curved icon is executed very finely with much attention for detail. Some of the hand painting shows evident relief such as the hems of Mary s garment. The icon bears inscriptions with the abbreviations for example for the names of Mary and Jesus. Back slats on verso still in place. The Eleusa (or Eleousa) (Greek: tenderness or showing mercy) is a type of depiction of the Virgin Mary in icons in which the infant Jesus Christ is nestled against her cheek. In Eastern Orthodoxy the term Panagia Eleousa is often used. The Theotokos of Vladimir and Theotokos of Pochayiv are well-known examples of this type of icon. Dimensions: 67 cm x 58 cm Condition: painting shows craquelure and some paint chips, yet overall fine and appealing condition, woodworm holes are noticeable, yet no activity Provenance: From an Austrian private collection Starting price: EUR 250,- (Estimate: EUR 500,-) This expressive icon in earthen hues shows the portrayal of Jesus Christ with a prominent halo behind his head. The son of God is depicted with a sincere facial expression and his head slightly bowed. Dimensions: 26,5 cm x 30,5 cm Condition: painting shows craquelure and some paint chips, minor material loss to edges. Back slats missing Provenance: From an Austrian private collection Starting price: EUR 100,- (Estimate: EUR 200,-)

69 115 QUADRIPARTITE ICON WITH MARY AND JESUS, SAINTS NICOLAS AND GEORGE, 19th CENTURY Wood, polychrome egg tempera Russia, 19th century or earlier 116 QUADRIPARTITE ICON WITH MARY AND JESUS, ARCHANGEL AND SAINTS, 19th CENTURY Wood, polychrome egg tempera and gold details Russia, 19th century or earlier This quadripartite icon in earthen hues shows the portrayals of Mary and Baby Jesus as well as Saint Nicolas and St. George on horseback whilst defeating the dragon. The fourth image shows four saints. Dimensions: 27,5 cm x 31 cm Condition: painting shows craquelure and some paint chips, minor material loss to edges. Glue is visible surrounding the imagery. Back slats missing Provenance: From an Austrian private collection Starting price: EUR 100,- (Estimate: EUR 200,-) This quadripartite icon of slightly curved shape is executed in bright colors and shows four central images with Mary and Jesus, an archangel and various saints. Four more holy men are portrayed surrounding the central section. All images are inscribed in detail. Back slats on verso still in place. Dimensions: 31 cm x 35 cm Condition: painting shows craquelure, small touch ups and some paint chips, yet overall fine and appealing condition Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-)

70 117 A GÄGON BIRD MASK, CÔTE D IVOIRE / LIBERIA, DAN PEOPLE Wood with painted metal, black ape hair, leather string Côte d Ivoire / Liberia, Dan people, 1st half of 20th century 119 A DEANGLE MASK, CÔTE D IVOIRE / LIBERIA, DAN PEOPLE Painted wood, kaolin Côte d Ivoire / Liberia, Dan people, 20th century This mask type with a long, carved beak, known as gägon, represents a stylized rhino bird. Dancers using gägon masks also wear a full-body costume made from fabric and plant fiber as well as a helmet-like cap with feathers and cowrie shell onsets. The gägon mask is worn to entertain the village but can also have a guardian function during initiation ceremonies. This piece is carved from hard wood and is colored black in some areas on the front. A beard of black ape hair is attached to the underside of the beak. Round notches around the eyes and holes on the sides for a string. Dimensions: 43 cm (height excl. beard); 33 cm (width) Condition: Good condition with usual signs of age and wear, minor nicks as well as pressure cracks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) Deangle masks were worn, together with full-body costumes, by men who guide the young initiates in their closed-off bush camps, collect food for them in the village or accompany the boys to the village. Deangle masks of the Dan people always show thinly slit eyes, and sometimes teeth and tattoos, such as in this piece. This piece is carved from relatively light wood and is painted brown and dyed with white kaolin on the front. Slit notches around the eyes and holes on the sides for the string. Dimensions: 32 cm (height); 19 cm (width) Condition: Good condition with usual signs of age and wear, as well as minor nicks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) 118 A PASSPORT GÄGON BIRD MASK, CÔTE D IVOIRE / LIBERIA, DAN PEOPLE Wood with painted metal, black ape hair Côte d Ivoire / Liberia, Dan people, 1st half of 20th century This mask type with a long, carved beak, known as gägon, represents a stylized rhino bird. Dancers using gägon masks also wear a full-body costume made from fabric and plant fiber as well as a helmet-like cap with feathers and cowrie shell onsets. The gägon mask is worn to entertain the village but can also have a guardian function during initiation ceremonies. Dan mask dancers were allowed to carry with them a miniature of the mask they would usually wear while performing, for their personal safety or as a kind of passport during travels. This piece is carved from hard wood and is colored black in some areas on the front. A beard of black ape hair is attached to the underside of the beak. The small, almond-shaped eyes show a black-colored overlay with metal. Holes on the sides for a string. Dimensions: 25 cm (height excl. beard); 8.5 cm (width) Condition: Very good condition with usual signs of age and wear Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s 120 A NGIL MASK, GABON / CAMEROON / EQUATORIAL GUINEA, FANG PEOPLE Painted wood, kaolin, leather string Gabon / Cameroon / Equatorial Guinea, Fang people, 20th century The tribal art of the Fang people is known particularly for their large ngil masks, which are crafted as elongated, ghost-like faces. These ngil masks have had a strong influence on modern European art, especially the works of Amedeo Midigliani, including his wonderful marble busts and several paintings. This piece is carved from relatively light, brown-dyed wood. There are extensive remnants of kaolin, which underline the carved tattooed areas. Slit-like notches around the eyes and holes on the sides for the string. Dimensions: 46 cm (height); 23 cm (width) Condition: Good condition with usual signs of age and wear, minor nicks as well as pressure cracks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) Starting price: EUR 100,- (Estimate: EUR 200,-)

71 121 A SUAGA MASK, CAMEROON / NIGERIA, MAMBILA PEOPLE Painted wood, leather string Cameroon / Nigeria, Mambila people, 20th century Zoomorphic helmet masks known as suaga were worn for the agrarian rites of the same name and also during burial ceremonies. The wearer of the mask would wear a loose, braided and sometimes feathered costume, which was a taboo for women to see. This mask type painted in different colors is known for the cubistic fusion of different, symbolic animals such as crows, owls, dogs as well as a strong, horned animal. This piece is carved from relatively light, brown-dyed wood. There are extensive remnants of kaolin and red wood powder, which underline the carved areas. Small, round notches around the eyes and holes on the sides for the string. Dimensions 29 cm (height); 37 cm (width) Condition: Good condition with usual signs of age and wear, minor nicks as well as pressure cracks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 100,- (Estimate: EUR 200,-) 122 AN INITIATION MASK, CÔTE D IVOIRE / LIBERIA, DAN PEOPLE Wood with painted metal, fabric, raffia, cowrie shells, leather string Côte d Ivoire / Liberia, Dan people, 1st half of 20th century This mask type was worn for peaceful purposes, for example during initiation ceremonies for boys. These initiation masks are characterized by the use of different materials, colorfully painted wood as well as cowrie shell decorations. These elaborate masks have been also used by acrobatic stilt dancers in more recent times. This piece is carved from relatively light wood and is painted in different colors on the front. The forehead is decorated with a band of cowrie shells and the beard is made of raffia threads. Dimensions: 28 cm (height excl. beard); 22 cm (width) Condition: Good condition with usual signs of age and wear, minor nicks as well as pressure cracks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s 123 A ROUND KIFWEBE MASK, CONGO, LUBA PEOPLE Wood with remnants of paint, leather string Democratic Republic of the Congo, Luba people, 1st half of the 20th century Starting price: EUR 150,- (Estimate: EUR 300,-) Like the neighboring Songye people, the Luba people in the southeastern Congo have a secret society known as Bwadi Ba Kifwebe. Kifwebe masks are part of full-body costumes used during initiations, funeral and by the police. In contrast to the better known Songye kifwebe masks, the kifwebe masks of the Luba people are much rounder or entirely round, and painted dark-brown to black. This mask is carved from relatively light wood and darkly colored. The skillfully placed, small, geometric relief lines on the exterior are characteristic for this type of mask. Slit-like openings for the eyes and red-painted mouth, as well as holes on the side edges, for a string. Dimensions: 25 cm (diameter) Condition: Good condition with usual signs of age and wear; minor nicks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 200,- (Estimate: EUR 400,-)

72 124 A FEMALE KIFWEBE MASK, CONGO, SONHGYE PEOPLE Painted wood, mounted on modern metal stand Democratic Republic of the Congo, Songye people, 1st half of the 20th century The kifwebe mask belongs to the secret Bwadi Ba Kifwebe society of the Songye people in the southeastern part of the Congo. Kifwebe masks are part of full-body costumes used during initiations, funeral and by the police. This mask represents the female type. Male kifwebe masks have a high sagittal crest. This mask is carved from relatively light wood and colored black or grey in some areas. The skillfully placed, small, geometric relief lines on the exterior are characteristic for this type of mask. Large openings for the eyes and protruding mouth, as well as on the side edges, for a string. Dimensions: 49 cm (total height incl. stand); 21 cm (width); 39 cm (mask height) Condition: Good condition with usual signs of age and wear; minor nicks and pressure cracks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 200,- (Estimate: EUR 400,-) 125 A BOMBOU TORO SCULPTURE OF A SEATED NOMMO, MALI, DOGON PEOPLE Wood with remnants of paint Mali, Dogon people, 1st half of the 20th century This sculpture s abstract, angular style is known as Bombou Toro and is an invention of the Dogon people. This piece is a figure of a female Nommo, ancestral spirits worshipped by the Dogon people, in a seated position. It is carved from hard wood and shows original paint remnants. Figures like this one were worshipped specifically during fertility rituals. Dimensions: 52.5 cm (height) Condition: Shows signs of age and wear as well as minor nicks, cracks and some loss of material. Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 250,- (Estimate: EUR 500,-)

73 126 A WOOD MATERNITY FIGURE, GABON, PUNU PEOPLE Painted wood, kaolin Gabon, Punu people, 20th century The tribal art of the Punu people is distinguished by its diamond-shaped scar tattoos and kaolin dye. The black, brown and white kaolin coloration are typical of the art works of Punu people. This piece is a maternity figure, a Punu beauty breastfeeding her child. Her breasts are pointy and protruding, she is seated on a small stool and the child is eagerly sucking on her breasts, which are also decorated with rhombuses. Dimensions: 44 cm (height) Condition: Shows signs of age and wear as well as minor nicks, cracks and some loss of material. Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) 128 A WOODEN STOOL WITH A HUMAN FACE, BURKINA FASO, LOBI PEOPLE Brown painted wood, iron blade Burkina Faso, Lobi people, 20th century This small stool, made from brown painted hardwood, shows a human face in the usual manner of the Lobi people. The jagged piece of iron on the opposite side is rather unusual, however. The feet are loosely attached. The seat is decorated with a diamond pattern. Dimensions: 18 cm (height); 49 cm (width) Condition: Very good condition with usual signs of age and wear Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 100,- (Estimate: EUR 200,-) 127 A WOOD STATUE OF A MEDICINE MAN, NIGERIA, YORUBA PEOPLE Wood, animal horn pendant Nigeria, Yoruba people, 20th century This expressive figure of the Yoruba people was carved from hardwood and presumably shows a medicine man. He is holding a drinking vessel in his hands and is wearing a horn pendant around his neck. His pronounced genitalia are a striking detail. Dimensions: 38 cm (height) Condition: Good condition with usual signs of age and wear; minor nicks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) 129 A PAIR OF ANCESTRAL FIGURES, NIGERIA, YORUBA PEOPLE Wood, fur, and glass beads Nigeria, Yoruba people, 20th century This appealing ancestral figure of the Yoruba people is carved from reddish patinated hardwood and shows a seated couple. Details are carved into the figures, which are also decorated with a glass bead necklace and a fur loin cloth. Dimensions: 19.5 cm (height); 17 cm (width) Condition: Good condition with usual signs of age and wear; minor nicks Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 100,- (Estimate: EUR 200,-)

74 130 AFRICAN TRIBAL ART, A PASSPORT MASK OF A WARRIOR Terracotta with black glaze in some areas Africa, 20th century 132 A PROCESSIONAL CROSS, CHASED AND OPENWORKED BRASS, ETHIOPIA, 19TH CENTURY Brass, copper nails Ethiopia, late 19th century In some African cultures, most famously the Dan people, mask dancers were allowed to carry with them a miniature of the mask they would usually wear while performing, for their personal safety or as a kind of passport during travels. This miniature ceramic mask presumably shows a warrior. The scar tattoo and prominent crest show relief decorations. The mouth, nose and eyes have openings; holes on the sides for a string. Dimensions: 16 cm (height); 9 cm (width) Condition: Very good condition with usual signs of age and wear Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 100,- (Estimate: EUR 200,-) Processional crosses such as this piece are present in every procession of the Ethiopian Orthodox church. The cross is crafted from brass, openworked and chased with geometric ornament. The cross is omnipresent in Ethiopia not only in its churches but also in everyday life. Meskel, which is Ge ez for cross and commemorates the discovery of the True Cross by the Roman Empress Helena, is one of the most important Ethiopian holidays. The history of the cross in Ethiopia goes back to the 4th century AD, when Oriental Orthodox Christianity became the established church under King Ezana of the Axumite Kingdom. Ethiopia was one of the first kingdoms to make coins that showed the cross. From generation to generation, more and more variations and forms of crosses have developed in Ethiopia; traditional garments are also often decorated with them. Some Ethiopians even have a cross tattooed on their forehead or chest. Dimensions: 56 cm (height); 40 cm (width) Condition: Good condition with usual signs of age and wear; one small copper nail is missing Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) 131 AFRICAN TRIBAL ART, A PAIR OF FIGURAL TERRACOTTA VESSELS Terracotta with earthy glaze Africa, 1st half of the 20th century 133 A FINELY CARVED NECK REST, ETHIOPIA, KAMBATA PEOPLE Wood, remnants of kaolin Ethiopia, Kambata people, 1st half of 20th century Many African tribes and peoples have made and are making pottery to this day. Some of the most famous include the Nok culture and the Mangbetu. This pair of figural vessels is executed in an abstract human shape with an earthy glaze and is decorated with an expressively carved relief ornament. One vessel has the spout on the figure s belly, the other at the mouth; figural handles. Dimensions: 15 and 16 cm (height) Condition: Very good condition with usual signs of age and wear Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 150,- (Estimate: EUR 300,-) Neck rests have been found in several cultures but most frequently with African tribes, as they would protect their elaborate hairstyles while resting or sleeping. This neck rest is decorated with geometrical lines and made from hardwood. It originates from the Kambata people of Ethiopia. Dimensions: 17 cm (height); 19.5 (width) Condition: Very good condition with usual signs of age and wear Provenance: From an Austrian private collection, purchased from an art dealer in Austria during the 1980s Starting price: EUR 100,- (Estimate: EUR 200,-)

75 134 1 BOTTLE 1934 CHÂTEAU D YQUEM SAUTERNES Sauternes, Bordeaux/France, 1934 Original filling quantity: 0.75 l Fill level: upper shoulder Jancis Robinson (2008): 19/20 René Gabriel (2014): 18/20 The French wine region of Sauternes is famous for its sweet white wine, which is produced only in low quantities due to the great effort involved. The best-known estate in Sauternes is Château d Yquem, the only Premier Cru Supérieur in the 1855 classification, and has an average yield of 9 hl/ha. Sémillon, Sauvignon Blanc and Muscadelle grapes are left on the vine until noble rot sets in; the grapes need to be hand-picked several times until enough wine can be made. According to the website of Château d Yquem, Spring was warm and there was a major heatwave in summer (19 days over 35 C). Heavy rain on the 31st of August set botrytis going and picking began on the 7th of September. This was intense and went on totally uninterrupted which is very rare until the last grapes were picked on the 4th of October. This is a memorable Yquem showing remarkable finesse and purity. Jancis Robinson, jancisrobinson.com (February 2008): 19/20 Dark tawny with greenish hints at the rim. Muted nose though hints of age. Quite dry by now but very tight and dynamic. Like a polished chestnut in taste somehow. Lively clean finish but not especially sweet. I think this is probably just past its best but very good. Wonderfully creamy. René Gabriel, Bordeaux Total (2014): 18/20 Leuchtendes Gold mit orangen Reflexen. Wunderschönes frisches Bouquet, Goldmelisse, Zitronat, Mandarinen, persische Kaki, weisser Pfeffer. Nicht übersüss, sondern die feine Süsse ist elegant mit der vielschichtigen Botrytis verpackt. Im Gaumen wirkt er wesentlich süsser als in der Nase, zeigt Feigentöne, Melassentouch und ein gebündeltes Finale. Condition: The label is soiled and damaged; the capsule is in perfect condition. Provenance: From an Austrian private collection Starting price: EUR 250,- (Estimate: EUR 500,-) Further images of all lots at BOTTLE 2005 CHÂTEAU D YQUEM SAUTERNES Sauternes, Bordeaux/France, 2005 Original filling quantity: 0.75 l Fill level: into neck Robert Parker s The Wine Advocate (2016): 96/100 Wine Spectator (2012): 97/100 The French wine region of Sauternes is famous for its sweet white wine, which is produced only in low quantities due to the great effort involved. The best-known estate in Sauternes is Château d Yquem, the only Premier Cru Supérieur in the 1855 classification, and has an average yield of 9 hl/ha. Sémillon, Sauvignon Blanc and Muscadelle grapes are left on the vine until noble rot sets in; the grapes need to be hand-picked several times until enough wine can be made. According to the website of Château d Yquem, Everything about the 2005 growing season pointed towards a great vintage: moderate water stress, a temperate end to the summer season conducive to good acidity, alternating periods of rain and dry heat for optimum botrytisation, etc. The wine has a phenomenally complex bouquet, confirming the extraordinary quality of the vintage. Neal Martin, The Wine Advocate (June 2016): 96/100 Tasted at the property 12 months on from my last visit, my note for the Château d Yquem 2005 is almost exactly the same. I feel that there is still just a little new oak to be resolved on the nose. But the palate is extremely well balanced, perhaps just a little nuttier than I remember from 12 months ago, with hints of white chocolate and crème brûlée just appearing on the finish. This needs another decade, but it is a very serious Yquem in the making. Tasted April James Molesworth, Wine Spectator (Web Only, 2012): 97/100 This has a deliciously pure feel, with juicy, inviting green plum, ginger, heather, creamed pineapple and Jonagold apple flavors all melded together and gliding through the lengthy finish, which echoes with lilting flowers and dried citrus notes. Best from 2015 through Condition: The bottle and capsule are in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 150,- (Estimate: EUR 300,-)

76 136 1 BOTTLE 1978 CHÂTEAU PICHON-LALANDE PAUILLAC Pauillac, Bordeaux/France, 1978 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (1997): 92/100 Wine Spectator (2014): 92/100 Antonio Galloni (2017): 94/100 Château Pichon-Longueville Comtesse de Lalande, also known as Château Pichon- Lalande, is a famous winery in the Pauillac appellation on the border of Saint-Julien, which is considered by wine experts as one of the best regions in Bordeaux. In the Bordeaux Wine Official Classification of 1855, it was awarded Deuxième Cru and thus belongs to the second-best class of Grand Cru estates in Médoc. Until the mid-19th century, the estate belonged, along with Château Longueville au Baron de Pichon-Longueville, to Château Pichon-Longueville, before it was divided into two estates by its owner Baron Joseph de Pichon-Longueville, who kept the smaller part that would eventually become Château Pichon Baron. Château Pichon-Lalande has a vineyard area of 75 hectares, with 45 % Cabernet Sauvignon, 35 % Merlot, 12 % Cabernet Franc and 8 % Petit Verdot. The relatively high amount of Merlot results in softer, more feminine wines than most Pauillac. Robert Parker, Bordeaux Book, 3rd Edition, The Wine Advocate (December 1997): 92/100 An excellent 1978 (one of the top wines of the vintage), Pichon-Lalande s offering displays an aromatic profile consisting of roasted herbs, chocolate, cedar, tobacco, and ripe curranty fruit. Medium-bodied, with low acidity, some tannin, and a round, attractive personality, this wine has reached its plateau of maturity, where it should remain for another decade. James Molesworth, Wine Spectator (Web Only, 2014): 92/100 Fully mature, with a slightly juicy feel to the cedar, singed vanilla, blood orange, clove, tobacco, dried currant and cherry fruit flavors. Long, finegrained tannins let an echo of iron linger. Not fully ripe, but everything has melded elegantly with time. Antonio Galloni, Vinous (October 2017): 94/100 A host of Cabernet Sauvignon-infused aromas make a strong opening statement in the 1978 Pichon Lalande. There is certainly no shortage of power or character. If anything, the 1978 is perhaps a bit lacking in mid-palate depth, which gives it an element of austerity. Aside from that small critique, the 1978 is deeply expressive and gorgeous. Condition: The label is somewhat soiled. The capsule is in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 70,- (Estimate: EUR 150,-) MAGNUM 1986 CHÂTEAU BEYCHEVELLE SAINT-JULIEN Saint-Julien, Bordeaux/France, 1986 Original filling quantity: 1.5 l Fill level: Into neck Robert Parker s The Wine Advocate (2016): 90/ was a very good wine year in Bordeaux, producing tannin-rich wines that develop wonderfully over many years. This wine will taste great especially from a magnum bottle, for which only the best grapes are reserved. Château Beychevelle is a very well-known winery in the Saint-Julien appellation of Bordeaux. With its large flower field that spells out Château Beychevelle, it has also become a tourist attraction. Vines have been cultivated on the estate s soil since the Middle Ages and Château Beychevelle was awarded Quatrième Grand Cru Classé in the Bordeaux Wine Official Classification of The winery is advised by oenologist Jacques Boissenot, who also advises four of the five Premier Crus, as well as various other renowned wineries in Bordeaux. Château Beychevelle has 90 hectares of vineyard area, planted with Cabernet Sauvignon (62 %), Merlot (31 %), Cabernet Franc (5 %) and Petit Verdot (2 %). The vines are, on average, approximately 25 years old. The wine is stored in oak barrels over a period of 18 months. 300,000 bottles of the first wine are produced every year on average. Neal Martin, The Wine Advocate (December 2016): 90/100 The 1986 Beychevelle, which I tasted from magnum at the château, has what you might describe as a light-hearted nose with joie-devivre. Even from a larger format, among many 1986s tasted, this is one of the most approachable with wild strawberry, mulberry, cola and graphite aromas that unfurl in the glass. The palate is mediumbodied with spice and clove on the entry. It comes across as fleshier than I was anticipating and atypically for the vintage, tapering towards the finish. Arguably rustic compared to some of its Saint Julien bedfellows, it nonetheless has charm and a sense of classicism. Condition: The label is slightly soiled; the capsule is in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 100,- (Estimate: EUR 200,-) BOTTLE 1983 CHÂTEAU MARGAUX Robert Parker, Bordeaux Book, 4th Edition, The Wine Advocate (December 2002): 96/100 Margaux, Bordeaux/France, 1983 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2003): 96/100 Wine Spectator (2014): 98/100 Jancis Robinson (2018): 19.5/20 The 1983 vintage was particularly successful for Château Margaux, which may just have produced the wine of the vintage in that year, with some critics even declaring it better than the This wine has developed wonderfully over the decades and is now at its peak, where it will remain for many years to come. Château Margaux is a renowned wine-growing estate belonging to the appellation of the same name, in the Médoc region in Bordeaux. It is one of just four wines to achieve Premier Cru (first growth) status in the Bordeaux Bordeaux Wine Official Classification of It is located on some of the best wine-growing land in Médoc; the earth is highly calciferous and consists of a layer of 4-11 cm of pebble stone, forcing the grapevines to form deep roots, allowing them to absorb more nutrients. Of the 99 hectares of vineyards, 87 hectares are reserved for red wine production, planted with 75 % Cabernet Sauvignon, 20 % Merlot and 5 % Cabernet Franc and Petit Verdot. 12 hectares are planted with Sauvignon Blanc, used to make their white wine, Pavillon Blanc. The red wine is prepared according to traditional procedures: after fermenting in wooden vats, the wine matures in oak barrels over a period of 18 to 24 months, before being bottled unfiltered. Only 40 to 60 % of this is sold as the Grand Vin, the remainder is sold as Pavillon Rouge. James Molesworth, Wine Spectator (Web Only, 2014): 98/100 This pulls together all the glorious notes of a fully mature Margaux, with singed cedar, rooibos tea, rose water and sandalwood aromas, followed by a stunning mélange of both fresh and dried red and black fruits, including currant, cherry, raspberry and plum. The long finish lets everything drape together beautifully. Absolutely stunning, this seems in no hurry to go anywhere. Remarkably fresh and defined at this time. Jancis Robinson, jancisrobinson.com (March 2018): 19.5/20 Still very dark, intense blackish ruby. Powerful perfume of mulberries brûlées but much fresher than that suggests really very Margaux indeed. A little bit mineral/gravelly but perfect texture and tannins fully melted into the background. This particular bottle tastes at the top of its form. A firm line running through it and a clean, refreshing finish after beautiful classic claret balance. Pure pleasure. I could imagine that eventually when the fruit fades the acidity that is now so refreshing may be in the ascendant but for now the whole thing is glorious. Condition: The label is slightly soiled; the capsule is in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 70,- (Estimate: EUR 150,-) MAGNUM 1988 DOM PÉRIGNON VINTAGE, CHAMPAGNE Épernay, Champagne/France, 1988 Original filling quantity: 1.5 l Fill level: < 2 cm Robert Parker (1994): 93/100 Antonio Galloni (2014): 94/100 Falstaff (2004): 98/100 Dom Pérignon is the prestige champagne brand of Moët & Chandon, one of the largest and most prominent champagne houses. Numerous wines are sold under the brand, including rosé and late-disgorged champagnes, as well as the classic Vintage. As a vintage champagne, it is only made in the best years and is often stored in the champagne house s vast cellar for years before it is released. The wines need at least a decade of aging before they can be fully enjoyed and develop over many more, making them highly renowned and sought-after by wine lovers and collectors alike. Robert Parker, The Wine Advocate (December 1994): 93/100 Antonio Galloni, Vinous (March 2014): 94/100 An unexpected treat, the 1988 Dom Pérignon is a fabulous surprise. Here the flavors are bright, focused and tense, with attractive floral and citrus notes that cut through the richness of the chilled lobster appetizer. Falstaff (January 2004): 98/100 Kräftiges Gelb, Perlage mit gutem Volumen am Gaumen, in der Nase sehr frisch und sauber, zunächst etwas verhalten, sehr jugendlich und frisch, dann kommt etwas Biskuit, Mokka, am Gaumen sehr komplex, zeigte eine feine Kernsüße, finessenreich und mit eindrucksvoller Länge ausgestattet, August F. Winkler nennt seine Struktur gotisch, weil so klar in der Linienführung, zarte Hibiskusanklänge im Finish. Beeindruckender Champagner. Condition: The label and capsule are each slightly damaged but overall in good condition. Provenance: From an Austrian private collection Starting price: EUR 150,- (Estimate: EUR 300,-)

77 140 3 BOTTLES 2000 CHÂTEAU LATOUR PAUILLAC Pauillac, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 98/100 Wine Spectator (2016): 99/100 Stephen Tanzer (2003): 97/100 René Gabriel (2013): 20/20 With copy of original invoice and certificate see Provenance Château Latour is one of the most famous wine estates in the world. It is one of just four wine estates to achieve Premier Cru (first growth) status in the Bordeaux Bordeaux Wine Official Classification of Wine has been produced here since the 14th century and Michael de Montaigne mentioned it as early as the 16th century. The wines from the estate were also known to Thomas Jefferson, for example, who counted it as one of his favourite wines. Today, the estate is owned by French billionaire François Pinault. Latour has an acreage of 78 hectares, on which Cabernet Sauvignon (80 %), Merlot (18 %), Cabernet Franc and Petit Verdot (2 % in total) are grown. The grapes for the Grand Cru are grown on 47 hectares known as L Enclos. Alongside this wine, Château Latour also produces a second wine, Les Forts de Latour. Robert Parker, The Wine Advocate (June 2010): 98/100 The 2000 Latour [ ] is packed and stacked. The extremely rich, black/purple color to the rim is followed by a wine with some subtle smoke, loads of minerals, a hint of vanilla, and plenty of creme de cassis as well as roasted meat and a slight scorched earth character. James Molesworth, Wine Spectator (Web Only, 2016): 99/100 The fruit here is still very much in the primary phase, with a decidedly racy feel to the raspberry coulis, cassis and blackberry reduction notes that are streaked with violet, iron and graphite flavors. The superlong finish alternates between a tug of sweet earth and a velvety feel, as the fruit and grip are still melding together, but there s so much vivacity here, there s no concern with waiting it out. The wait may be a while though. Rather stunning that this can separate itself so clearly from the rest of 2000 s high-class field. Stephen Tanzer, Vinous (May 2003): 97/100 Full medium ruby. Wonderfully sweet, rich aromas of cassis, minerals and bitter chocolate. A huge wine with almost painful intensity; solid as a rock and at the same time utterly sensual and creamy, with great inner-mouth complexity and depth of flavor and a complete absence of rough edges. Almost too easy today, says Engerer. Sweet notes of roasted nuts and chocolate add to the wine s early appeal. A powerful, hugely rich Latour with a great building finish and perfectly suave tannins. René Gabriel, Bordeaux Total (2013): 20/20 Fast schwarze Farbe satt und dicht. Und so schwarz wie die Farbe sind auch die ersten Nasenaromen, Rauch, dunkles Malz, Black Currant, Palisander. Im Gaumen die Perfektion schlechthin, sicherlich noch zu jung, aber alles in unglaublich ausgeglichener, sanft fordernder Adstringenz. Selten habe ich einen so kompakten, extrem versprechenden, aber leider noch viel zu jungen Wein in diesem Stadium erlebt. Die Latour Legende für Übermorgen. Trotz seiner minimen Jugendattraktivität muss man hier noch lange warten. Condition: The labels and capsules are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Pétrus, Margaux and Haut-Brion, called CARRÉ D AS. Starting price: EUR 750,- (Estimate: EUR 1.500,-) Lots all come with the copy of original invoice and certificate. They were originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Pétrus, Margaux and Haut-Brion, called CARRÉ D AS

78 141 1 BOTTLE 2000 PÉTRUS POMEROL Pomerol, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 100/100 Wine Spectator (2016): 98/100 Jancis Robinson (2010): 19/20 René Gabriel (2011): 20/20 With copy of original invoice and certificate see Provenance BOTTLE 2000 PÉTRUS POMEROL Pomerol, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 100/100 Wine Spectator (2016): 98/100 Jancis Robinson (2010): 19/20 René Gabriel (2011): 20/20 With copy of original invoice and certificate see Provenance A stone statue of St. Peter lends his name to one of the most famous vineyards in Bordeaux. The vineyards are located in the so-called buttonhole of Pétrus. The plateau of Pomerol consists mainly of gravel with a subsoil of clay. What is now Pétrus used to be the highest peak, ablated through erosion. Thus, the layer of gravel and sand here is only one meter thick. This geological buttonhole spans 20 hectare with 11 hectares belonging to Pétrus. The layer of clay, rich in iron, provides Pétrus with its generous round richness, always dominated by the tannin and responsible for the truffle-like aroma the wine acquires with age. The grapevines are over 40 years old; the yield varies between 15 and 45 hl/ha. The wine is stored exclusively in new oak barriques and is not filtered. There is no second wine. The vineyard area spans merely 11.5 hectare which are planted with Merlot at 95% and Cabernet Franc at 5%. The use of grapes is decided after the harvest, Cabernet Franc is often not included. Thus Pétrus is a Merlot of a variety of grapevines, not a Cuvée. In the 1950s the portion of Cabernet Franc was still at 30%.Robert Parker, The Wine Advocate (June 2010): 100/100 A prodigious Pétrus, this wine has that extra level of intensity and complexity that is monumental. The magic is clearly Pétrus, and the 2000 will always be an interesting vintage to compare to another legend in the making, the 1998, or more recently, of course, the 2005, 2008, and Extremely full-bodied, with great fruit purity, an unmistakable note of underbrush, black truffle, intense black cherries, licorice, and mulberry, the wine seems to show no evidence of oak whatsoever. It has a sumptuous, unctuous texture, plenty of tannin, but also vibrancy and brightness. This is a remarkable wine that seems slightly more structured and massive than the 1998, which comes across as slightly more seamless, as if it were haute couture. James Molesworth, Wine Spectator (Web Only, 2014): 98/100 This has a pretty jam-packed core of blackberry, plum and boysenberry confiture notes inlaid with ample charcoal-edged tannins and carrying through a robustly tobacco-coated finish. But even with that density and power, there is a really beguiling backdrop of incense and black tea flavors waiting to emerge further. It s all there, but this seems a touch more backward than the rest of the field, so hold on here Jancis Robinson, jancisrobinson.com (March 2010): 19/20 Dark ruby with a black tinge. Rich and with minerals and a strong, pungent note that reminds me of fireworks. Very rich and explosive. Much more impact than the Le Pin. Very long and gorgeous. The most exciting wine here!! Very rich and complete. René Gabriel, Bordeaux Total (2011): 20/20 Extrem dunkle Farbe, keine Reifetöne, Violett und schwarz in der Mitte. Unwerfendes Bouquet, rotes Cassis, kandierte Cakesfrüchte, Ingwer, Zitronenthymian, flüssige Schokolade gibt eine ernorme Fülle in der Nase. Im Gaumen eine noble Weincreme pur, sublim mit opulentem Fluss, alles ist perfekt eingebunden. Er nach einer einfach nachvollziehbaren Merlot-Perfektion sucht, der suche nach einem solchen Schluck, viel Bountynoten mit Kokos und Pralinen im langen Finale. Condition: The label and capsule are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Latour, Margaux and Haut- Brion, called CARRÉ D AS. Starting price: EUR 500,- (Estimate: EUR 1.000,-) A stone statue of St. Peter lends his name to one of the most famous vineyards in Bordeaux. The vineyards are located in the so-called buttonhole of Pétrus. The plateau of Pomerol consists mainly of gravel with a subsoil of clay. What is now Pétrus used to be the highest peak, ablated through erosion. Thus, the layer of gravel and sand here is only one meter thick. This geological buttonhole spans 20 hectare with 11 hectares belonging to Pétrus. The layer of clay, rich in iron, provides Pétrus with its generous round richness, always dominated by the tannin and responsible for the truffle-like aroma the wine acquires with age. The grapevines are over 40 years old; the yield varies between 15 and 45 hl/ha. The wine is stored exclusively in new oak barriques and is not filtered. There is no second wine. The vineyard area spans merely 11.5 hectare which are planted with Merlot at 95% and Cabernet Franc at 5%. The use of grapes is decided after the harvest, Cabernet Franc is often not included. Thus Pétrus is a Merlot of a variety of grapevines, not a Cuvée. In the 1950s the portion of Cabernet Franc was still at 30%.Robert Parker, The Wine Advocate (June 2010): 100/100 A prodigious Pétrus, this wine has that extra level of intensity and complexity that is monumental. The magic is clearly Pétrus, and the 2000 will always be an interesting vintage to compare to another legend in the making, the 1998, or more recently, of course, the 2005, 2008, and Extremely full-bodied, with great fruit purity, an unmistakable note of underbrush, black truffle, intense black cherries, licorice, and mulberry, the wine seems to show no evidence of oak whatsoever. It has a sumptuous, unctuous texture, plenty of tannin, but also vibrancy and brightness. This is a remarkable wine that seems slightly more structured and massive than the 1998, which comes across as slightly more seamless, as if it were haute couture. James Molesworth, Wine Spectator (Web Only, 2014): 98/100 This has a pretty jam-packed core of blackberry, plum and boysenberry confiture notes inlaid with ample charcoal-edged tannins and carrying through a robustly tobacco-coated finish. But even with that density and power, there is a really beguiling backdrop of incense and black tea flavors waiting to emerge further. It s all there, but this seems a touch more backward than the rest of the field, so hold on here Jancis Robinson, jancisrobinson.com (March 2010): 19/20 Dark ruby with a black tinge. Rich and with minerals and a strong, pungent note that reminds me of fireworks. Very rich and explosive. Much more impact than the Le Pin. Very long and gorgeous. The most exciting wine here!! Very rich and complete. René Gabriel, Bordeaux Total (2011): 20/20 Extrem dunkle Farbe, keine Reifetöne, Violett und schwarz in der Mitte. Unwerfendes Bouquet, rotes Cassis, kandierte Cakesfrüchte, Ingwer, Zitronenthymian, flüssige Schokolade gibt eine ernorme Fülle in der Nase. Im Gaumen eine noble Weincreme pur, sublim mit opulentem Fluss, alles ist perfekt eingebunden. Er nach einer einfach nachvollziehbaren Merlot-Perfektion sucht, der suche nach einem solchen Schluck, viel Bountynoten mit Kokos und Pralinen im langen Finale. Condition: The label and capsule are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Latour, Margaux and Haut- Brion, called CARRÉ D AS. Starting price: EUR 500,- (Estimate: EUR 1.000,-)

79 143 3 BOTTLES 2000 CHÂTEAU MARGAUX Margaux, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 100/100 Wine Spectator (2014): 98/100 Stephen Tanzer (2003): 98/100 With copy of original invoice and certificate see Provenance Château Margaux is a renowned wine-growing estate belonging to the appellation of the same name, in the Médoc region in Bordeaux. It is one of just four wines to achieve Premier Cru (first growth) status in the Bordeaux Bordeaux Wine Official Classification of It is located on some of the best wine-growing land in Médoc; the earth is highly calciferous and consists of a layer of 4-11 cm of pebble stone, forcing the grapevines to form deep roots, allowing them to absorb more nutrients. Of the 99 hectares of vineyards, 87 hectares are reserved for red wine production, planted with 75 % Cabernet Sauvignon, 20 % Merlot and 5 % Cabernet Franc and Petit Verdot. 12 hectares are planted with Sauvignon Blanc, used to make their white wine, Pavillon Blanc. The red wine is prepared according to traditional procedures: after fermenting in wooden vats, the wine matures in oak barrels over a period of 18 to 24 months, before being bottled unfiltered. Only 40 to 60 % of this is sold as the Grand Vin, the remainder is sold as Pavillon Rouge. Robert Parker, The Wine Advocate (June 2010): 100/100 Absolutely compelling in two tastings of this vintage, the 2000 Margaux is composed of 90% Cabernet Sauvignon and 10% Merlot. The extraordinary seductiveness, complex aromatics, and purity it exhibits lead me to believe it has reached its window of full maturity. Medium-bodied, with layers of concentration, stunning blue, red, and black fruits intermixed with spring flowers, a subtle dosage of new oak, and a distinctive personality that is elegant while at the same time powerful and substantial, this is a multi-dimensional wine that was extremely approachable and drinkable in both tastings I had of it. The color remains a healthy, even opaque bluish/purple, but there is no reason to hesitate to drink it. James Molesworth, Wine Spectator (Web Only, 2016): 98/100 This continues to be a jaw-dropper, with beguiling lapsang souchong tea, singed sandalwood and fresh bay leaf aromas slowly wending along, while the core of pure cassis, raspberry reduction and warmed fig notes sits on a throne of perfectly embedded charcoal and tar-laced tannins. And with all the heft, there s a beautifully long iron note to give the finish cut and elegance. Just dreamy. Stephen Tanzer, Vinous (May 2003): 98/100 Full ruby-red. Penetrating, highly perfumed aromas of sappy dark berries, violet and minerals; seems less oaky today than the 01. Offers compelling mouthfilling concentration and perfume. A wine of great power and consistency, with a pungent minerality lingering on the palate-staining finish. This somehow doesn t flag or grow narrower even after one swallows or spits. Makes the 2002 seem almost dry in comparison. Wine-of-the-vintage material. Condition: The labels and capsules are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Pétrus, Latour and Haut-Brion, called CARRÉ D AS. Starting price: EUR 750,- (Estimate: EUR 1.500,-) BOTTLE 2000 PÉTRUS POMEROL Pomerol, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 100/100 Wine Spectator (2016): 98/100 Jancis Robinson (2010): 19/20 René Gabriel (2011): 20/20 With copy of original invoice and certificate see Provenance A stone statue of St. Peter lends his name to one of the most famous vineyards in Bordeaux. The vineyards are located in the so-called buttonhole of Pétrus. The plateau of Pomerol consists mainly of gravel with a subsoil of clay. What is now Pétrus used to be the highest peak, ablated through erosion. Thus, the layer of gravel and sand here is only one meter thick. This geological buttonhole spans 20 hectare with 11 hectares belonging to Pétrus. The layer of clay, rich in iron, provides Pétrus with its generous round richness, always dominated by the tannin and responsible for the truffle-like aroma the wine acquires with age. The grapevines are over 40 years old; the yield varies between 15 and 45 hl/ha. The wine is stored exclusively in new oak barriques and is not filtered. There is no second wine. The vineyard area spans merely 11.5 hectare which are planted with Merlot at 95% and Cabernet Franc at 5%. The use of grapes is decided after the harvest, Cabernet Franc is often not included. Thus Pétrus is a Merlot of a variety of grapevines, not a Cuvée. In the 1950s the portion of Cabernet Franc was still at 30%.Robert Parker, The Wine Advocate (June 2010): 100/100 A prodigious Pétrus, this wine has that extra level of intensity and complexity that is monumental. The magic is clearly Pétrus, and the 2000 will always be an interesting vintage to compare to another legend in the making, the 1998, or more recently, of course, the 2005, 2008, and Extremely full-bodied, with great fruit purity, an unmistakable note of underbrush, black truffle, intense black cherries, licorice, and mulberry, the wine seems to show no evidence of oak whatsoever. It has a sumptuous, unctuous texture, plenty of tannin, but also vibrancy and brightness. This is a remarkable wine that seems slightly more structured and massive than the 1998, which comes across as slightly more seamless, as if it were haute couture. James Molesworth, Wine Spectator (Web Only, 2014): 98/100 This has a pretty jam-packed core of blackberry, plum and boysenberry confiture notes inlaid with ample charcoal-edged tannins and carrying through a robustly tobacco-coated finish. But even with that density and power, there is a really beguiling backdrop of incense and black tea flavors waiting to emerge further. It s all there, but this seems a touch more backward than the rest of the field, so hold on here Jancis Robinson, jancisrobinson.com (March 2010): 19/20 Dark ruby with a black tinge. Rich and with minerals and a strong, pungent note that reminds me of fireworks. Very rich and explosive. Much more impact than the Le Pin. Very long and gorgeous. The most exciting wine here!! Very rich and complete. René Gabriel, Bordeaux Total (2011): 20/20 Extrem dunkle Farbe, keine Reifetöne, Violett und schwarz in der Mitte. Unwerfendes Bouquet, rotes Cassis, kandierte Cakesfrüchte, Ingwer, Zitronenthymian, flüssige Schokolade gibt eine ernorme Fülle in der Nase. Im Gaumen eine noble Weincreme pur, sublim mit opulentem Fluss, alles ist perfekt eingebunden. Er nach einer einfach nachvollziehbaren Merlot-Perfektion sucht, der suche nach einem solchen Schluck, viel Bountynoten mit Kokos und Pralinen im langen Finale. Condition: The label and capsule are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Latour, Margaux and Haut-Brion, called CARRÉ D AS. Starting price: EUR 500,- (Estimate: EUR 1.000,-)

80 145 1 BOTTLES 2000 PÉTRUS POMEROL Pomerol, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 100/100 Wine Spectator (2016): 98/100 Jancis Robinson (2010): 19/20 René Gabriel (2011): 20/20 With copy of original invoice and certificate see Provenance A stone statue of St. Peter lends his name to one of the most famous vineyards in Bordeaux. The vineyards are located in the so-called buttonhole of Pétrus. The plateau of Pomerol consists mainly of gravel with a subsoil of clay. What is now Pétrus used to be the highest peak, ablated through erosion. Thus, the layer of gravel and sand here is only one meter thick. This geological buttonhole spans 20 hectare with 11 hectares belonging to Pétrus. The layer of clay, rich in iron, provides Pétrus with its generous round richness, always dominated by the tannin and responsible for the truffle-like aroma the wine acquires with age. The grapevines are over 40 years old; the yield varies between 15 and 45 hl/ha. The wine is stored exclusively in new oak barriques and is not filtered. There is no second wine. The vineyard area spans merely 11.5 hectare which are planted with Merlot at 95% and Cabernet Franc at 5%. The use of grapes is decided after the harvest, Cabernet Franc is often not included. Thus Pétrus is a Merlot of a variety of grapevines, not a Cuvée. In the 1950s the portion of Cabernet Franc was still at 30%.Robert Parker, The Wine Advocate (June 2010): 100/100 A prodigious Pétrus, this wine has that extra level of intensity and complexity that is monumental. The magic is clearly Pétrus, and the 2000 will always be an interesting vintage to compare to another legend in the making, the 1998, or more recently, of course, the 2005, 2008, and Extremely full-bodied, with great fruit purity, an unmistakable note of underbrush, black truffle, intense black cherries, licorice, and mulberry, the wine seems to show no evidence of oak whatsoever. It has a sumptuous, unctuous texture, plenty of tannin, but also vibrancy and brightness. This is a remarkable wine that seems slightly more structured and massive than the 1998, which comes across as slightly more seamless, as if it were haute couture BOTTLES 2000 CHÂTEAU HAUT-BRION PESSAC-LÉOGNAN Pessac-Léognan, Bordeaux/France, 2000 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (2010): 99/100 Wine Spectator (2014): 94/100 Stephen Tanzer (2003): 96/100 René Gabriel (2014): 20/20 With copy of original invoice and certificate see Provenance James Molesworth, Wine Spectator (Web Only, 2014): 98/100 This has a pretty jam-packed core of blackberry, plum and boysenberry confiture notes inlaid with ample charcoal-edged tannins and carrying through a robustly tobacco-coated finish. But even with that density and power, there is a really beguiling backdrop of incense and black tea flavors waiting to emerge further. It s all there, but this seems a touch more backward than the rest of the field, so hold on here Jancis Robinson, jancisrobinson.com (March 2010): 19/20 Dark ruby with a black tinge. Rich and with minerals and a strong, pungent note that reminds me of fireworks. Very rich and explosive. Much more impact than the Le Pin. Very long and gorgeous. The most exciting wine here!! Very rich and complete. René Gabriel, Bordeaux Total (2011): 20/20 Extrem dunkle Farbe, keine Reifetöne, Violett und schwarz in der Mitte. Unwerfendes Bouquet, rotes Cassis, kandierte Cakesfrüchte, Ingwer, Zitronenthymian, flüssige Schokolade gibt eine ernorme Fülle in der Nase. Im Gaumen eine noble Weincreme pur, sublim mit opulentem Fluss, alles ist perfekt eingebunden. Er nach einer einfach nachvollziehbaren Merlot-Perfektion sucht, der suche nach einem solchen Schluck, viel Bountynoten mit Kokos und Pralinen im langen Finale. Condition: The label and capsule are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Latour, Margaux and Haut-Brion, called CARRÉ D AS. Starting price: EUR 500,- (Estimate: EUR 1.000,-) Château Haut-Brion is one of the most renowned wine estates in the world. It was acquired by C. Douglas Dillon, who later became United States Secretary of the Treasury, and has been owned by his family ever since. It has been run by the Delmas family since 1921 and is now in its third generation under their management. Construction of the estate began in 1549, and it is the oldest of the four Châteaux that were classified as Premier Cru Classé at the 1855 world exhibition in Paris. Earlier, it was officially located on the edge of Bordeaux, before the city boundaries expanded to include the vineyard. The microclimate of the estate plays a considerable role in the unmistakable taste of the wine it produces. The vineyard area of Haut-Brion spans hectares, planted with 45 % Merlot, 40 % Caberet Sauvignon and 15 % Cabernet Franc. The wine matures in oak barrels over a period of 18 to 22 months. On average, 10,000 to 12,000 cases of Château Haut-Brion s first wine are produced every year. Robert Parker, The Wine Advocate (June 2010): 99/100 the 2000 Haut-Brion (a blend of 51% Merlot, 43% Cabernet Sauvignon, and the rest Cabernet Franc) showed incredibly at the tasting, and for me is one of the three or four most prodigious wines of the vintage. A compelling nose of roasted herbs, scorched earth, sweet blueberries, plums, black currants, and a hint of graphite is followed by a deep, layered, sumptuously textured, full-bodied Haut-Brion, but one with extraordinary complexity. This wine seems more evolved and approachable than I had expected it to be at age 10. James Molesworth, Wine Spectator (Web Only, 2014): 94/100 This is well-endowed with a large core of fig, blackberry and black currant fruit that has light mulling spice, bay and tobacco nuances peeking out, while the tarry finish cuts a broad and deep swath. Obvious heft, but the elegance wins out in the end, with a lilting sandalwood and sweet tobacco infused finish that just sails on and on. Stephen Tanzer, Vinous (May 2003): 96/100 Full red-ruby. Roasted plum, currant, tobacco and minerals on the nose. Compellingly dense and thick but almost miraculously lively and light on its feet. Has a texture like liquid velvet, coating the entire palate. Wonderfully unmanipulated wine, with perfectly integrated acids giving it superb subtle vinosity and thrust. Finishes with outstanding building persistence, with the substantial tannins perfectly supported by the wine s fat middle. René Gabriel, Bordeaux Total (2014): 20/20 Extrem dunkle Purpur, immer noch violette Reflexe. Sehr delikates, hoch nobles Bouquet, feine Zederntöne, frische Kräuter, legt permanent zu und schöpft immer mehr aus dem Vollen. Obwohl da viel nasaler Power vorhanden ist, obliegen die Finessen. Im Gaumen sehr elegant, hoch reife, filigrane Tannine, das macht dann auch die Adstringenz royal und vermittelt eine superbe Balance. Er wird wohl schon früh zu gefallen wissen, hat aber ein dekadenhaftes Genusspotential, trotzdem er zu jung ist, bewegt er die Sinne und katapultiert ein Glücksgefühl durch den ganzen Körper. Condition: The labels and capsules are in perfect condition. Provenance: From an Austrian private collection. Originally sold in an en primeur case from Etablissements Duclot (today Duclot Export, an important Bordeaux wine merchant) that also included Châteaux Pétrus, Margaux and Latour, called CARRÉ D AS. Starting price: EUR 400,- (Estimate: EUR 800,-)

81 147 2 BOTTLES 1979 TENUTA SAN GUIDO SASSICAIA Bolgheri, Tuscany/Italy, 1979 Original filling quantity: 0.75 l Fill level: Into neck CellarTracker: 92/100 The 1979 vintage Sassicaia is a blend of 85 % Cabernet Sauvignon and 15 % Cabernet Franc. The weather during the growing season was good. After 12 days of maceration in steel vats followed by malolactic fermentation, the wine was aged in oak barrels for 21 months. This wine has an aggregate score of 92 points on CellarTracker. Sassicaia is the flagship wine of Tenuta San Guido and the first Super Tuscan. When Marchese Mario Incisa della Rocchetta first planted Cabernet Sauvignon and other Bordeaux grape varieties at Tenuta San Guido in the 1940s, he never expected to sell wine made from these grapes. Yet twenty years later the wines tasted so wonderful, his nephew Piero Antinori convinced him to sell them to the public. The 1968 Sassicaia became the first vintage to see a commercial release; the rest is history. Condition: The labels are soiled and one is damaged; the capsules are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 100,- (Estimate: EUR 200,-) BOTTLE 1988 TENUTA SAN GUIDO SASSICAIA Bolgheri, Tuscany/Italy, 1988 Original filling quantity: 0.75 l Fill level: Into neck Wine Spectator (1996): 97/100 Jancis Robinson (2010): 18.5/20 The 1988 vintage Sassicaia is a blend of 85 % Cabernet Sauvignon and 15 % Cabernet Franc. The weather during the growing season was similar to 1985, which is widely regarded as the best vintage for Sassicaia ever, with a consistent spring climate and a hot and dry summer and autumn. The wine was aged in barriques for 22 months. Sassicaia is the flagship wine of Tenuta San Guido and the first Super Tuscan. When Marchese Mario Incisa della Rocchetta first planted Cabernet Sauvignon and other Bordeaux grape varieties at Tenuta San Guido in the 1940s, he never expected to sell wine made from these grapes. Yet twenty years later the wines tasted so wonderful, his nephew Piero Antinori convinced him to sell them to the public. The 1968 Sassicaia became the first vintage to see a commercial release; the rest is history. Per-Henrik Mansson, Wine Spectator (July 1996): 97/100 The brute power of the 88 brings to mind Château Latour in top vintages. Full-bodied, it s firm and rock-solid yet tastes very silky thanks to sensational concentration of fruit. Loads of minerally, peppery character and blackberry and red berry flavors. Supercharged, intense, long finish. Jancis Robinson, jancisrobinson. com (February 2010): 18.5/20 Very dark and glowing ruby. Very ripe and assertive and almost right bank-like. Hint of meat extract. Sweet start and very lively very marked acidity in fact. Racy and sweet and yet with real distinction and wonderful juiciness. Not too hot on the end. Really on the cusp of ancient and modern styles. Condition: The label and capsule are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 50,- (Estimate: EUR 100,-) BOTTLES 1987 TENUTA SAN GUIDO SASSICAIA Bolgheri, Tuscany/Italy, 1987 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker s The Wine Advocate (2017): 86/100 The 1987 vintage Sassicaia is a blend of 85 % Cabernet Sauvignon and 15 % Cabernet Franc. The weather during the growing season was good, with fine temperatures. Despite high yields, the grapes were of good quality. The wine was aged in barriques for 21 months. Sassicaia is the flagship wine of Tenuta San Guido and the first Super Tuscan. When Marchese Mario Incisa della Rocchetta first planted Cabernet Sauvignon and other Bordeaux grape varieties at Tenuta San Guido in the 1940s, he never expected to sell wine made from these grapes. Yet twenty years later the wines tasted so wonderful, his nephew Piero Antinori convinced him to sell them to the public. The 1968 Sassicaia became the first vintage to see a commercial release; the rest is history. Monica Larner, The Wine Advocate (April 2017): 86/100 The 1987 Sassicaia maintains considerable momentum despite its age. As you would expect, the bouquet exhibits savory tones of cured meat, smoked bacon, wild porcino mushroom and dried fruit. Parts of the bouquet feel stewy and heavy, but other parts show more brightness and buoyancy. Linear mineral definition with lasting background tones of licorice and balsam herb help to add sharpness and much-needed focus. The mouthfeel is less satisfying, however, mostly because the tannins are very dry and muted. The palate is almost exclusively driven by the residual acidity of the fruit. Condition: The labels and capsules are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 150,- (Estimate: EUR 300,-) BOTTLE 1989 TENUTA DELL ORNELLAIA MASSETO Bolgheri, Tuscany/Italy, 1989 Original filling quantity: 0.75 l Fill level: Into neck Antonio Galloni (2011): 95/100 Masseto is 100 % Merlot. The growing season in 1989 was marked by warm weather with some rainfall and temperatures peaking in August, slowing down the ripening process of the grapes and delaying the harvest. The wine was fermented in French oak casks and aged for 11 months in French oak barriques and another 26 months in the bottle. Tenuta dell Ornellaia (known today as Ornellaia e Masseto) was established in the 1980s by Marchese Lodovico Antinori, the younger brother of famed winemaker Piero Antinori. Even though Sassicaia (Ornellaia is located adjacent to Tenuta San Guido) is known as the first Super Tuscan, the Antinori family was experimenting with Cabernet blends as early as the 1920s. The first vintage produced was The first wine from the Masseto vineyard, was the 1986 vintage and was simply called Merlot. Today, Masseto is one of the most highly praised and sought-after wines in the world. Antonio Galloni, Vinous (April 2011): 95/100 The 1989 Masseto is pure silk. It shows striking inner perfume and sweetness as it blossoms on the palate with layers of expressive fruit. This is a fabulous showing for the Condition: The label and capsule are in perfect condition Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 150,- (Estimate: EUR 300,-)

82 151 1 BOTTLE 1988 TENUTA DELL ORNELLAIA MASSETO Bolgheri, Tuscany/Italy, 1988 Original filling quantity: 0.75 l Fill level: Into neck Antonio Galloni (2011): 96/100 Masseto is 100 % Merlot. The growing season was marked by hot, sunny weather, with temperatures peaking in August. The harvest occurred in mid-september 1988, with all grapes being hand-picked. The wine was fermented in French oak casks and aged for 17 months in French oak barriques and another 22 months in the bottle. Tenuta dell Ornellaia (known today as Ornellaia e Masseto) was established in the 1980s by Marchese Lodovico Antinori, the younger brother of famed winemaker Piero Antinori. Even though Sassicaia (Ornellaia is located adjacent to Tenuta San Guido) is known as the first Super Tuscan, the Antinori family was experimenting with Cabernet blends as early as the 1920s. The first vintage produced was The first wine from the Masseto vineyard, was the 1986 vintage and was simply called Merlot. Today, Masseto is one of the most highly praised and sought-after wines in the world. Antonio Galloni, Vinous (April 2011): 96/100 The estate s 1988 Massseto takes things to another level. It is the first of the early wines that is stratospheric. In some ways, I wish we had decanted this a little longer. The 1988 is a firm, structured Masseto endowed with considerable power, length and the stuffing to drink well for at least another handful of years. The 1988 is in my view the first truly epic Masseto. Condition: The label and capsule are in perfect condition Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 150,- (Estimate: EUR 300,-) BOTTLE 1998 TENUTA DELL ORNELLAIA MASSETO Bolgheri, Tuscany/Italy, 1998 Original filling quantity: 0.75 l Fill level: Into neck James Suckling (2004): 96/100 Antonio Galloni (2017): 96/100 Masseto is 100 % Merlot. Each vineyard lot was vinified and aged separately, in wooden fermenters and subsequently in new French oak barriques for 24 months, before being assembled and reintroduced into the barriques for another 6 months of aging. After the wine was bottled it was aged for another 12 months before release. Tenuta dell Ornellaia (known today as Ornellaia e Masseto) was established in the 1980s by Marchese Lodovico Antinori, the younger brother of famed winemaker Piero Antinori. Even though Sassicaia (Ornellaia is located adjacent to Tenuta San Guido) is known as the first Super Tuscan, the Antinori family was experimenting with Cabernet blends as early as the 1920s. The first vintage produced was The first wine from the Masseto vineyard, was the 1986 vintage and was simply called Merlot. Today, Masseto is one of the most highly praised and sought-after wines in the world. James Suckling, Wine Spectator (October 2004): 96/100 Dark color, with intense aromas of green and black olives and rich, ripe raspberries. Full-bodied, with big velvety tannins and a bold, exciting finish. This is very structured. Full throttle. Antonio Galloni, Vinous (January 2017): 96/100 Exotic, ripe and voluptuous, the 1998 Masseto is another wine that is in the zone today. The 1998 is an especially flamboyant Masseto. There is no shortage of richness in the cherry jam, mocha, plum and spice flavors. This is another gorgeous wine to drink now and over the next decade. Condition: The label and capsule are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 150,- (Estimate: EUR 300,-) BOTTLES 1993 TENUTA DELL ORNELLAIA MASSETO Bolgheri, Tuscany/Italy, 1993 Original filling quantity: 0.75 l Fill level: Into neck Robert Parker (1997): 91/100 Antonio Galloni (2011): 94/100 Masseto is 100 % Merlot. The growing season was marked by a very warm spring and moderate rainfall, resulting in early flowering. This was followed by a very hot summer and dry weather during the harvest. The wine was aged for 24 months in new French oak barriques and another 18 months in the bottle. Tenuta dell Ornellaia (known today as Ornellaia e Masseto) was established in the 1980s by Marchese Lodovico Antinori, the younger brother of famed winemaker Piero Antinori. Even though Sassicaia (Ornellaia is located adjacent to Tenuta San Guido) is known as the first Super Tuscan, the Antinori family was experimenting with Cabernet blends as early as the 1920s. The first vintage produced was The first wine from the Masseto vineyard, was the 1986 vintage and was simply called Merlot. Today, Masseto is one of the most highly praised and sought-after wines in the world. Robert Parker, The Wine Advocate (August 1997): 91/100 The single vineyard, 100% barrel-fermented Merlot, Masseto, is stunning in both the 1992 and 1993 vintages. The 1993 Masseto reveals a deeper, more saturated ruby/purple color, plenty of sweet, toasty oak, gobs of fruit, full body, plenty of suppleness, and gorgeously pure, sweet fruit. In a blind tasting, it would be easy to mistake for a top-notch, right bank Bordeaux. The 1993 is still youthful, but accessible. It can be drunk now and over the next years. It should come as no surprise that this wine is Italy s greatest Merlot and is in a class with the first-growths of Bordeaux. Antonio Galloni, Vinous (April 2011): 94/100 The 1993 Masseto is a rich, layered wine. This isn t a particularly big Masseto, yet the wine possesses striking balance and a totally harmonious, complete personality that is hard to capture with mere words. This mid-weight Masseto is pure pleasure. Condition: The labels and capsules are in perfect condition Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 250,- (Estimate: EUR 500,-)

83 BOTTLES ORNELLAIA VERTICAL, VINTAGES Bolgheri, Tuscany/Italy, Original filling quantity: 0.75 l Fill level: Into neck Tasting notes for the top 7 bottles range between 92 and 96 points out of 100 Tenuta dell Ornellaia (known today as Ornellaia e Masseto) was established in the 1980s by Marchese Lodovico Antinori, the younger brother of famed winemaker Piero Antinori. Even though Sassicaia (Ornellaia is located adjacent to Tenuta San Guido) is known as the first Super Tuscan, the Antinori family was experimenting with Cabernet blends as early as the 1920s. The first vintage produced was This vertical of one bottle each from the 1988 to 1999 vintages offers a unique opportunity to taste the development of this fascinating wine over twelve years, before this winery was taken over by Robert Mondavi Winery James Suckling, Wine Spectator (November 1993): 93/100 Stephen Tanzer, Vinous (September 2004): 92/ James Suckling, Wine Spectator (October 2000): 96/100 Stephen Tanzer, Vinous (September 2004): 96/ James Suckling, Wine Spectator (December 1998): 91/100 Stephen Tanzer, Vinous (September 2004): 93+/ James Suckling, Wine Spectator (November 1999): 94/ Robert Parker, The Wine Advocate (August 2000): 94/100 James Suckling, Wine Spectator (Web Only, 2007): 95/ Stephen Tanzer, Vinous (September 2004): 94/ Stephen Tanzer, Vinous (September 2004): 94+/100 Condition: The labels and capsules are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 750,- (Estimate: EUR 1.500,-)

84 155 8 BOTTLES 1997 FELSINA BERARDENGA CHIANTI CLASSICO DOCG Chianti Classico, Tuscany/Italy, 1997 Original filling quantity: 0.75 l Fill level: Into neck James Suckling (1999): 91/ BOTTLES 1998/1999 MONTEVERTINE LE PERGOLE TORTE Chianti Classico, Tuscany/Italy, 1998/1999 Original filling quantity: 0.75 l Fill level: Into neck James Suckling (2001): 91/100 Antonio Galloni (2016): 94+/100 Fèlsina is one of the most highly regarded wine estates in Chianti Classico and their Berardenga wines are considered an expression of the true essence of Sangiovese and the region was one of the hottest and best vintages in Tuscany, producing wines with great aging potential (20 years or more), and this classic wine is no exception. James Suckling, Wine Spectator (1999): 91/100 Just as expected from Felsina: a superb Chianti Classico, displaying lots of cherry, berry and wet earth character. The wine is medium-bodied, with medium, silky tannins and a long, flavorful finish. Condition: The labels and capsules are in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 150,- (Estimate: EUR 300,-) Le Pergole Torte is 100 % Sangiovese, fermented in cement and aged first in oak barrels for one year, followed by a second year in barriques and approximately a year in bottle before release. Both vintages show great aging potential of thirty years or more and should therefore be a delight to drink today. Le Pergole Torte was the first vineyard planted by Sergio Manetti at Montevertine in 1968, when Italian wine laws still required winemakers to include white grapes for their wines to be labelled as Chianti wine. Manetti was one of the first to flaunt this regulation with Le Pergole Torte, made entirely from Sangiovese, which became an instant success and a truly groundbreaking wine. Since 1990, Le Pergole Torte is no longer a single vineyard wine but comes from a selection of the estate s best grapes across several parcels. These wines from the 1998 and 1999 vintages are one of the last to be made by Sergio Manetti himself, who sadly passed away in James Suckling, Wine Spectator (October 2001): 91/100 Very pretty aromas of plums, dried cherries and berries, with hints of porcini. Medium-bodied, with tight, well-integrated tannins and a smooth, concentrated palate. A beauty Antonio Galloni, Vinous (January 2016): 94+/100 The 1999 Le Pergole Torte is powerful, structured and intense, with a big backbone of tannin and tremendous energy. This is one of the more delineated, sinewy vintages of Pergole Torte. In some ways, the 1999 reminds me of the 1988 because of its classicism, but it also has a sense of mid-palate sweetness that is evident. In a bit of an awkward stage, the 1999 is neither young nor old. Clearly, it is closer to the mature end of the spectrum, but I would hold off for a few years in the hope the tannins will soften a touch. Today, the 1999 is awkward, but the pedigree is evident. Cherry pit, smoke, tobacco and cedar resonate on the incisive finish. With time in the glass, the wine gets better and better. Condition: The labels and capsules are in perfect condition. Provenance: From the wine cellar of a hotel in San Gimignano, Tuscany, that was turned into a winery by the owner, a passionate winemaker and collector, in Starting price: EUR 150,- (Estimate: EUR 300,-)

85 157 2 HALF BOTTLES 1966 SCHLOSS JOHANNISBERGER ROSALACK RIESLING EISWEIN-AUSLESE Geisenheim, Rheingau/Germany, 1966 Original filling quantity: l Fill level: < 3 cm 1966 was a good vintage in Germany. The early-ripened grapes allowed for the wines to be tasted earlier than expected. The wines are nobly sweet with slightly above average acidity. Spanning just three thousand hectares of vineyards, Rheingau is admittedly one of the smallest winegrowing regions in Germany. Here, however, where the Rhine wears down powerful rock formations whose escarpments have been cultivated with vines since late antiquity, is the home of the Rheingauer; a myth-shrouded classic of the wine world. Rheingau is one of the birthplaces of the Riesling, which is probably the most expressive and sublime of the white grape varieties. The region is similar to Wachau: a wildly romantic, cultural landscape. Riesling develops its own unique character here, thanks to the combination of the river climate and the bedrock of the region, which is comprised of slate, quartzite, marl, loam and loess. The finest and most highly-prized white wines have been produced here since the 18th century. The first Riesling-only vineyard was cultivated in Schloss Johannisberg during the 18th century. During the same century, in 1775, the Spätlese was also discovered a new type of fine wine. Rheingau was also the setting for the revival of the fine Riesling during the 1980s BOTTLES 1962 H. W. RAUTENSTRAUCH RIESLING SPÄTLESE MOSEL Eitelsbach, Mosel/Germany, 1962 Karthäuser Hofberger Kronenberg Riesling Spätlese Original filling quantity: 0.75 l Fill level: < 7 cm 1962 was a good year for German wine, Eiswein from this year are especially fine but other sweet wines like this Spätlese taste very good today as well. Mosel is one of the best wine regions in the world. The region was known as Mosel-Saar-Ruwer until 2006 as the area also includes the neighbouring Saar and Ruwer valleys. It is the largest steep slope vine-growing area in the world and grows more Riesling than any other with 5,300 hectares. The wines are generally sweet and fruity with a low alcohol content. The best of these develop over decades. Condition: The labels and capsules show considerable signs of age. Provenance: From an Austrian private collection. Starting price: EUR 100,- (Estimate: EUR 200,-) Condition: The labels are slightly damaged; the capsules are in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 100,- (Estimate: EUR 200,-) BOTTLES 1994 J.J. PRÜM WEHLENER SONNENUHR RIESLING SPÄTLESE Wehlen, Mosel/Germany, 1994 Original filling quantity: 0.75 l Fill level: < 2 cm James Suckling (1998): 86/100 Wehlener Sonnenuhr the house vineyard of the Prüm winery faces the south and has strong heat reflection due to long exposure to direct sunlight was an inconsistent vintage in Germany, but first-class Riesling wines were produced in the Mosel region was a good vintage in all German wine regions, the best Riesling wines came from the best Mosel wineries, and J. J. Prüm is definitely one of them. These Spätlese wines will are ready to drink now, but they can develop over many years and if stored properly will only get better! The legendary wines of the Johann Josef Prüm wine estate are produced today by Dr. Manfred Prüm and his daughter Katharina. The foundation of the family business is an impressive 22 hectares in the best locations of middle Mosel Valley. The most care is given to the vineyards, because according to the family they are responsible for great wines. No outsider has ever been allowed to enter the legendary cellar. J. J. Prüm produces traditionally fruity wines with a moderate, natural residual sweetness. The high acidity, character and mineral quality of the wines make them appear rather dry. The wines can age unbelievably well, the balance is singular and sensational! Many vintages deemed inferior by critics developed into true masterpieces and after years of storage these wines are quite unique and of exceptional quality. James Suckling, Wine Spectator (July 1998): 86/100 Plenty of lemon and mineral aromas. Medium-bodied, off-dry, with fine acidity and a fruity finish. A bit reserved. Condition: The labels and capsules are in perfect condition. Provenance: From an Austrian private collection. Starting price: EUR 50,- (Estimate: EUR 100,-)

86 160 1 BOTTLE 1997 EGON MÜLLER SCHARZHOFBERGER RIESLING AUSLESE Wiltingen, Mosel/Germany, 1997 Original filling quantity: 0.75 l Fill level: < 3 cm Jancis Robinson (2004): 18.5/20 Scharzhofberg is one of the most celebrated vineyards in Germany. This steep slope lies between Wiltingen and Oberemmel in the wine-growing area of Mosel, in the Saar region. The area the vineyard is located in is secondary, therefore Scharzhofberger is the only name mentioned on the label. Only Riesling is grown on these 28.1 hectares of land. The slate soil has an extremely high rock content, as well as being clayey and ferrous. The hillside is south-facing with an inclination of 30 to 60 percent. The Egon Müller wine estate, a fourth-generation family business, produces some of the best wines in the world. The family is one of eleven members of the Primum Familiae Vini, a very exclusive association of elite international family wineries. The wines are probably better known internationally than in Germany and fetch top prices at auction. Some of them are stored for a long time before they are even made available for purchase. Qualitätswein and Kabinett are surprisingly long-lasting and can be drunk worry-free after 20 years of maturing, whilst the Spätlese only reach their peak after 10 to 15 years of ageing. Their Auslese wines taste wonderful after 25 years. Jancis Robinson, jancisrobinson.com (December 2004): 18.5/20 Very pale, meaty nose but extraordinary green leaf acidity on the palate. So youthful! Just as though it had been embalmed. Very low yields, very concentrated. Egon s favourite recent vintage. It s opening out but that leafiness persists. Condition: The label and capsule are slightly soiled but otherwise in good condition. Provenance: From an Austrian private collection. Starting price: EUR 20,- (Estimate: EUR 50,-) LOT 209 LOT BOTTLE 1997 EGON MÜLLER SCHARZHOFBERGER RIESLING KABINETT AUCTION WINE Wiltingen, Mosel/Germany, 1997 VDP auction wine Original filling quantity: 0.75 l Fill level: < 2 cm Wine Spectator (1999): 87/100 Jancis Robinson (2012): 17.5/20 LOT 182 This is an auction wine. Auction wines are special bottles predominantly marketed via auctions and generally indicating a higher quality than normal wines. These are the finest and rarest wines produced by the respective winemaker in that year. The amount normally lies at just a few cases and at a maximum of bottles for the international market. Wines such as this one should be part of any serious wine collection! Bruce Sanderson, Wine Spectator (May 1999): 87/100 Packed with slate and herb elements, but also peach and hints of passion fruit, this sleek, delicate white delivers intensity on a tightrope. Succulent and pure--a fine example of Mosel Riesling. LOT 184 Jancis Robinson, jancisrobinson.com (February 2012): 17.5/20 This racy little number in the prime of life smelt of currant leaves and tasted of green apples. Very clean and delicate (not a whiff of JJ Prüm-like reduction. Because of the high acidity, it tasted almost dry. Super fresh and a lovely aperitif for the array of heavier wines to come. Great with buttery cheese shortbreads. Condition: The label and capsule are slightly soiled but otherwise in good condition. Provenance: From an Austrian private collection. This bottle was originally sold at a VDP (German wine estate association) auction, as evidenced by the auction label. Starting price: EUR 20,- (Estimate: EUR 50,-)

87 162 AN ETERNITY BAND PLATINUM RING WITH 10.2 CARAT OF MARQUISE CUT DIAMONDS After 1980, unmarked 950 platinum, 17 marquise cut diamonds with a total weight of approximately 10.2 carat, purity grading VSI-SI, color grading H I Entirely formed of a circlet of marquise cut diamonds embedded in a platinum setting. The stones increase in size from small to large and backwards. This effect optically doubles the light reflection of the stones, which is further amplified by their predominantly Top Wesselton colors and high grades of purity. The memory or eternity band ring concept was originally created in France to serve as a symbol and reminder of an eternal covenant and has been popular all over the world ever since its invention. Weight: 10.7 grams Dimensions: Ring size 56 (EU) Condition: Excellent, with hardly any wear Insurance value: This ring was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: Private collection, Hamburg, Germany Auction result comparison: Magnificent Jewels, Christies, New York, 16 October 2012, lot 211. (for an eternity band ring by Harry Winston, ca. 1960, also consisting of marquise cut diamonds, but significantly smaller) Starting price: EUR 4.000,- (Estimate: EUR 8.000,-)

88 163 A MAGNIFICENT ART DECO PLATINUM BROOCH WITH 9 CARATS OF DIAMONDS French, after 1930, hallmark BCSGD Stick pin with standard security lock on the backside The hexagonal brooch shows a typical geometric openwork design of the Art Deco period with its clear lines, classic symmetry and fine details in a multi-level arrangement. The elegance of this form is mirrored by a plentitude of sparkling diamonds with a Top Wesselton brilliant of ca. 1.2 carat weight and SI clarity in the center, surrounded by 123 smaller diamonds of VS-SI clarity, color grades from G-H and a total weight of ca. 7.8 carat. The brilliant and baguette cuts of the stones subtly amplify the rich spectrum of reflected colors and lights. Shape: Hexagonal Weight: 17.5 grams Dimensions: 6.2 x 3.3 x 0.7 cm. Condition: Excellent with hardly any wear Insurance value: This brooch was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: German private collection, acquired at auction during the early 1980s (by repute) and thence by decent, thereafter Austrian private collection Literature recommendation: Art Deco Jewelry: Modernist Masterworks and their Makers, by Evelyne Possémé, Laurence Mouillefarine (2009). Auction result comparison: MAGNIFICENT JEWELS AND JADEITE. Sotheby s, 03 OCTOBER 2017, HONG KONG, lot (for a related Art Deco platinum brooch, with 11 carats of diamonds, and a sapphire instead of a diamond as the center stone) Starting price: EUR 2.000,- (Estimate: EUR 4.000,-) 172

89 LOT 173 LOT 163 LOT 162 LOT 167 LOT

90 164 A FORMIDABLE CUPID S ARROW BROOCH WITH 12 CARATS OF DIAMONDS United Kingdom, Victorian, ca. 1890, unmarked Elongated stick pin with standard security lock on the backside The brooch is meticulously crafted of yellow gold with silver topping in a style that became popular in the United Kingdom around 1890 to The arrow is crested with old Europeancut, old mine and single-cut diamonds of colors grading J-M and clarities grading SI-P2, which is typical for the period, totaling approximately 12 carats in weight. Shape: Arrow Weight: 23.3 grams Dimensions: Length 11.4 cm. Condition: Very good with some old wear Insurance value: This brooch was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: From an old United Kingdom private collection, acquired at Christies, Manson & Woods around 1925 (by repute) and thence by descent Literature recommendation: Victorian Jewelry, by RH Publishing, Portland House, Auction result comparison: IMPORTANT JEWELS, Sotheby s, 2 FEBRUARY 2011, NEW YORK, lot 328. (for a related brooch, with only 6.4 carats of diamonds, by Cartier) Starting price: EUR 1.500,- (Estimate: EUR 3.000,-) 165 AN ART NOUVEAU PINK GOLD AND SILVER BROOCH WITH 1.4 CARATS OF DIAMONDS Around 1900/1910, unmarked Stick pin with standard security lock on the backside The simple yet elegant brooch with a strand of five old cut diamonds weighing a total of 1.4 carats. The setting of each stone precisely worked in a traditional round fashion. Weight: 2.9 grams Dimensions: Length 2.9 cm. Condition: Very good with some wear and a good age-patina Insurance value: This brooch was recently appraised with an insurance replacement value of 2.400,- Euro; the original certificate will be handed to the winning bidder, inherited in the 1960s and thence by decent Starting price: EUR 200,- (Estimate: EUR 400,-)

91 166 A 3.61 CARAT SOLITAIRE DIAMOND RING Italy, after 1980, hallmark 750 Accompanied by GIA (Gemological Institute of America) diamond authenticity report dating to March 20th, 2018, stating that this diamond has an L color, a clarity of VVS2, an excellent polish and a good symmetry The prominent center stone is elegantly held by a rectangular prong setting executed in 18 carat yellow gold. Shape: Emerald cut Weight: 6 grams Dimensions: The measurements of the solitaire stone are x 8.38 x 4.92 mm. Ring size is 56 (EU). Condition: Excellent, as new Insurance value: This ring was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 6.000,- (Estimate: EUR ,-)

92 167 AN ANTON HELDWEIN 3 CARAT SOLITAIRE DIAMOND PLATINUM RING Austria, after 2000, hallmarks PL950 and AH trademark Accompanied by GIA (Gemological Institute of America) certificate number GIA (laser inscription registry) grading the solitaire stone with a weight of 3.01 carat, a color grade of I and a purity grade of VS1, polish and symmetry being graded as very good Captured in a four-claw prong setting, the center stone is held by two quadruple platinum bridges crested with dozens of small diamonds, and highly complex yet timeless design highly typical for the House of Anton Heldwein. Founded in 1902, the House of Heldwein is run by master goldsmith and gem expert Anton Heldwein as a family business in the fourth generation. After finishing his goldsmith training in Vienna and graduating as a gemologist in California, Anton Heldwein collected extensive experience in national and international studios before taking over the family business in Vienna s noble first district in Since then, Anton Heldwein operates one of the trade s very last family-owned jewelers himself, personally attending to daily business, creative decisions and, above all, his customers. Deeply rooted in the traditions of classical Viennese craftsmanship, Anton Heldwein maintains a modernist style in every aspect, most lately with the complete redesign of the flagship store in Vienna s most traditional and famous high street the Graben. Weight: 8.7 grams Dimensions: Ring size 57 (EU) Condition: Mint condition Insurance value: This ring was recently appraised with an insurance replacement value of ,-Euro; the original certificate will be handed to the winning bidder Literature recommendation: Jewelers: A. E. Kochert, V. Mayer s Sohne, Garrard & Co, Asprey, C. F. Rothe & Neffe, Anton Heldwein, Charles Lewis Tiffany. ISBN-10: Starting price: EUR 7.500,- (Estimate: EUR ,-)

93 168 A 19th CENTURY INDIAN MANGALA SUTRA WEDDING NECKLACE India / Tamil Nadu, 19th century An authentic and rare 19th century gilt repousse Mangala Sutra with an ornamental Thali centerpiece that is inset with a little ruby. A mangala sutra is a necklace that the groom ties around the bride s neck in Indian and sub-indian countries, in a ceremony called Mangalya Dharanam, which identifies her as a married woman. Shape: beaded chain necklace with ornamental Thali centerpiece Weight: 26.8 grams Dimensions: total length is 47 cm Condition: Excellent with minor wear Insurance value: This necklace was recently appraised with an insurance replacement value of 2.300,- Euro; the original certificate will be handed to the winning bidder 170 AN ORIENTAL 22 CARAT YELLOW GOLD SET WITH NECKLACE AND EARRINGS India, 1990s, hallmarked 22C on backside of necklace and one earring as well as with makers marks A jewelry set of very fine quality comprising a necklace and matching earrings. Crafted from 22 carat gold the color is a reddish yellow. The style is traditional oriental with dangling tassels and filigree as well as application work. Shape: stylized floral shapes Weight: 93.5 grams Dimensions: length of necklace is 55 cm, length of centerpiece is 6.5 cm, length of one earring is 3 cm Condition: Excellent with minor wear Insurance value: This set was recently appraised with an insurance replacement value of 6.900,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 750,- (Estimate: EUR 1.500,-) Starting price: EUR 250,- (Estimate: EUR 500,-) 169 A MASSIVE SILVER TWO-PART BELT BUCKLE WITH OPEN WORK AND INSET STONES Burma, dated 1920, inscription on backside of bridge This large and highly decorative Burmese two-part belt buckle is made of silver and fire gilt bronze inset at the centers. Amidst a dense floral pattern, crafted in openwork, there are either transparent or pink glass stones inset in imitation of diamonds and rubies. The backside of the smaller part shows a bridge with an inscription and the date Shape: tapered rounded shapes Weight: 160 grams Dimensions: larger element measures 9 x 6.5 cm, smaller element measures 8 x 4 cm Condition: Excellent with minor wear Starting price: EUR 100,- (Estimate: EUR 200,-)

94 171 A PAIR OF 18 CARAT GOLD AND DIAMOND EARRINGS WITH AQUAMARINE DROPS incised at the sides with the carat weight of stones (hardly legible) A pair of 18 carat rhodium-plated yellow gold creole earrings, encrusted with diamonds and with 9 large drop shaped aquamarines each. The diamonds have a total weight of 0.5 carat and the aquamarines weigh 10 carat. Shape: stylized flower shapes, brilliant cut diamonds and drop shaped aquamarines Weight: 18.5 grams Dimensions: Diameter 2.6 cm each Condition: Excellent with minor wear Insurance value: This pair of earrings was recently appraised with an insurance replacement value of 4.600,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 400,- (Estimate: EUR 800,-) 172 AN 18 CARAT WHITE GOLD COCKTAIL RING WITH AQUAMARINE hallmarked K18, 750 and with a symbol mark, additionally incised with the carat weights of the stones A retro style cocktail ring, made of 18 carat white gold with a central aquamarine, weighing 5.4 carat. The center stone is framed by a row of sapphires, weighing 1.35 carat and an outer, pronged row of diamonds, weighing 0.3 carat. Shape: in retro-style oval cocktail ring shape, facetted, round and rectangle cut stones Weight: 11.6 grams Dimensions: Ring size 55 (EU) Condition: Excellent with hardly any wear Insurance value: This ring was recently appraised with an insurance replacement value of 1.800,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 300,- (Estimate: EUR 600,-) 173 AN 18 CARAT GOLD BRACELET WITH 10 CARAT DIAMONDS Hallmarked 18K and inscribed with the stone weight of carat This precious 18 carat gold bracelet is rhodium plated and has a double-latched security clasp. It is inset with diamonds with a total weight of carat. The stones have a color grade ranging from J to K and a clarity grade of SI to VSI. Shape: round bracelet with floral diamond encrusted elements Weight: 19.3 grams Dimensions: diameter is 6.3 cm Condition: Excellent with minor wear Insurance value: This bracelet was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 1.200,- (Estimate: EUR 2.500,-)

95 174 AN ART DECO YELLOW GOLD, TOURMALINE AND DIAMOND RING Austria, late 1920s, hallmarked 585 and with the Austrian post-1925 mixed material hallmark in shape of a heron head with the letter w An original Art Deco ring, made of 14 carat yellow gold and silver bridges at the top. Inset with 10 old cut diamonds, weighing 0.5 carat and a tourmaline in rectangular cut, weighing 1 carat. Embossed and pierced floral side bridges. The diamonds of color J and clarity grading P1. Shape: ring in classic Art Deco shape, old-cut and rectangle cut stones Weight: 6.3 grams Dimensions: Ring size 55 (EU) Condition: Excellent with minor wear Insurance value: This ring was recently appraised with an insurance replacement value of 2.400,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 300,- (Estimate: EUR 600,-) 175 AN ART DECO PLATINUM DIAMOND AND RUBY RING Austria, early 1930s, one hallmark, being an Austrian post-1925 platinum hallmark in shape of a butterfly with the letter w 176 A DEEP PURPLE AMETHYST AND DIAMOND 14 CARAT PINK GOLD RING Attributed to Erwin Paltscho, Austria, after 1930 Two hallmarks, one 585, the other illegible An original Art Deco platinum ring with 20 octagon cut diamonds, weighing 0.2 carat and 6 rectangle cut rubies of deep violet-red color. Ornate openwork side bridge. Shape: ring in classic Art Deco shape, octagon and rectangle cut stones Weight: 8.8 grams Dimensions: Ring size 55 (EU) Condition: Excellent with minor wear Insurance value: This ring was recently appraised with an insurance replacement value of 3.600,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 400,- (Estimate: EUR 800,-) The center stone of almost flawless deep purple color, nicely flanked by four small diamonds, set in a 14 carat gold mounting with vertical high-relief lines, which are a design trademark of the House of Paltscho. The House of Paltscho was founded in Vienna, Austria, in 1899 by Ernst Paltscho who had trained under his father Karl. He soon established himself and began attracting the attention of a diverse group of clients including Austro-Hungarian aristocracy and the Greek Royal household. Ernst s son Erwin joined his father in the business in 1918 and after Ernst s death in 1929, Erwin carried on the business alone. The company produced finely crafted pieces of jewelry that were influenced by the aesthetics of the Art Deco period and were frequently inspired by the natural world. Motifs including flowers, leaves and fruit were beautifully carved in a veritable rainbow of colorful hardstones as well as being painted into reverse carved rock crystal before being set in gold. Deep purple amethyst, pale pink rose quartz and bright red corals all lent their hues to a stylish array of bracelets, brooches, earrings and rings. Erwin Paltscho was regarded as a designer at the very vanguard of Austrian artistic style and development of the period. Shape: Ring size 54 (EU) Weight: 10.9 grams Condition: Very good with some wear Insurance value: This ring was recently appraised with an insurance replacement value of 2.800,- Euro; the original certificate will be handed to the winning bidder Auction result comparison: FINE JEWELLERY. Bonham s, 6 December 2012, London, lot 121. (compare the amethyst in this ring with an array of deep purple amethysts in a 1950s brooch by Erwin Paltscho) Starting price: EUR 300,- (Estimate: EUR 600,-)

96 LOT 178 LOT 176 LOT 177 LOT 197 LOT

97 177 A SAPPHIRE, DIAMOND AND MOONSTONE YELLOW GOLD COCKTAIL RING BY PALTSCHO Erwin Paltscho, Austria, after 1930, one Austrian hallmark 178 A TIGER S EYE AND TURQUOISE 14 CARAT YELLOW GOLD COCKTAIL RING Attributed to Erwin Paltscho, Austria, after 1930, two illegible hallmarks The large center stone in highly raised cabochon cut and with its typical moon iridescence, elegantly surrounded by a row of 11 deep blue sapphires in prong settings, weighing a total of approximately 2 carats, and a second row of small diamonds, weighing a total of approximately 0.15 carats, in a 14 carat gold mounting with vertical high-relief wave-lines, a design trademark of the House of Paltscho. The House of Paltscho was founded in Vienna, Austria, in 1899 by Ernst Paltscho who had trained under his father Karl. He soon established himself and began attracting the attention of a diverse group of clients including Austro-Hungarian aristocracy and the Greek Royal household. Ernst s son Erwin joined his father in the business in 1918 and after Ernst s death in 1929, Erwin carried on the business alone. The company produced finely crafted pieces of jewelry that were influenced by the aesthetics of the Art Deco period and were frequently inspired by the natural world. Motifs including flowers, leaves and fruit were beautifully carved in a veritable rainbow of colorful hardstones as well as being painted into reverse carved rock crystal before being set in gold. Moon stones, tiger s eye, amethysts, sapphires, pale pink rose quartz and bright red corals all lent their hues to a stylish array of bracelets, brooches, earrings and rings. Erwin Paltscho was regarded as a designer at the very vanguard of Austrian artistic style and development of the period. Shape: Ring size 54 (EU) Weight: 19 grams Condition: Good with some wear and minor flakes to the gold Insurance value: This ring was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 1.500,- (Estimate: EUR 3.000,-) The large center stone of intense iridescence, elegantly surrounded by a row of small turquoise cabochons in prong settings, in a 14 carat gold mounting with vertical high-relief wave-lines, a design trademark of the House of Paltscho. The House of Paltscho was founded in Vienna, Austria, in 1899 by Ernst Paltscho who had trained under his father Karl. He soon established himself and began attracting the attention of a diverse group of clients including Austro-Hungarian aristocracy and the Greek Royal household. Ernst s son Erwin joined his father in the business in 1918 and after Ernst s death in 1929, Erwin carried on the business alone. The company produced finely crafted pieces of jewelry that were influenced by the aesthetics of the Art Deco period and were frequently inspired by the natural world. Motifs including flowers, leaves and fruit were beautifully carved in a veritable rainbow of colorful hardstones as well as being painted into reverse carved rock crystal before being set in gold. Tiger s Eye, turquoise, deep purple amethyst, pale pink rose quartz and bright red corals all lent their hues to a stylish array of bracelets, brooches, earrings and rings. Erwin Paltscho was regarded as a designer at the very vanguard of Austrian artistic style and development of the period. Shape: Ring size 57 (EU) Weight: 23 grams Condition: Very good with some wear Insurance value: This ring was recently appraised with an insurance replacement value of 3.500,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 350,- (Estimate: EUR 700,-)

98 179 A VINTAGE CARTIER PEN AND PROPELLING PENCIL SET, 14 CARAT GOLD, ca New York, USA, each with hallmark 14k and signature Cartier, one with serial number 3456 Makers box, handwritten label by Neil Marrs, New York 180 A CARTIER 18 CARAT GOLD LOVE BANGLE WITH 1.2 CARATS OF DIAMONDS France, 2007, signed Cartier, numbered OD7246, hallmarks 750 and 19 Accompanied by original makers box, original screwdriver, a photocopy of the original invoice from Cartier Vienna, dating to July 14th, 2007, and stating a sales price of 8.000,- Euro, a Cartier certificate of authenticity in its original pouch, numbered OD7246 and dated July 14th, 2007 Early and complete pen and propelling pencil sets from this period are extremely rare, as indicated by the low serial number and an inquiry at Cartier New York, which confirmed that the house does not hold this set in their own archives. The design shows abstracted bamboo segments held together by miniature rivets. Both can be unscrewed easily to release the pencil lead and ball pen for exchange. Weight: 48,7 grams Dimensions: Length 10.2 cm (both have exactly the same length) Condition: Both pen and pencil come in perfect working condition and show only minor wear Insurance value: This set of pen and pencil was recently appraised with an insurance replacement value of 7.500,- Euro; the original certificate will be handed to the winning bidder Literature recommendation: Cf. F. Chaille, Cartier Creative Writing, Paris, Flammarion, 2000, front piece for pen and pp for pencil. Auction result comparison: FINE JEWELS, Sotheby s, 14 DE- CEMBER 2017, GENEVA, lot 561. (compare with a single propelling pen of similar design) GENTLEMAN S LIBRARY SALE. Bonham s, 19 January 2011, LONDON, lot 110. (compare with another Cartier bamboo pencil from the estate of the private secretary of the Duke and Duchess of Windsor) Starting price: EUR 750,- (Estimate: EUR 1.500,-) The idea of the love bangle is that it is not removable, hence the screwdriver. It is worn by lovers as a statement of their eternal love and has been one of the most prestigious and popular high-end jewelry gifts of the last decade. Obviously, it bears all the many high-quality traits that the House of Cartier typically applies to their products. The present bangle represents the most luxurious version of all love bangles, with a total of 10 diamonds in brilliant cut, weighing a total of 1.2 carats, with purities ranging from VVSI to VSI and colors ranging from F to H. The French jeweler and watch company Cartier, founded in Paris in 1847, gained international fame in 1904 with the Santos de Cartier, a wristwatch created for the famous Brazilian aviator Alberto Santos Dumont. With their Paris boutique established in the Rue de la Paix, Cartier soon opened further branches in London, New York and St. Petersburg to cater to the demand of a growing international clientele. Cultivating ties to important members of the aristocracy, Cartier became the supplier to the most notable royal dynasties of the 20th century. The famous Panthère motif, for example, was introduced with a ring specially made for the Duchess of Windsor. Since the beginning, Maison Cartier created innovative pieces of jewelry, inspired either by flora and fauna, or simply by the natural beauty of untreated stones such as Indian sapphires, Burmese rubies or Colombian emeralds, often amplified by innovative designs and extravagant combinations with other, smaller stones. Shape: Bangle Weight: 34.8 grams Dimensions: Diameter 6.8 cm from screw to screw Condition: Excellent, almost never worn Insurance value: This bangle was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Auction results comparison: FINE JEWELS. Sotheby s, 14 DE- CEMBER 2011, LONDON, lot 245. (for an identical bangle, sold for GBP ,-) Starting price: EUR 1.200,- (Estimate: EUR 2.500,-)

99 181 A CARTIER 10 CARAT SAPPHIRE AND DIAMOND BROOCH France, ca. 1930, signed Cartier Stamped with serial number 9483 and 18k on the reverse Three strands of 49 round sapphires of superior quality and intense royal blue, weighing ca. 10 carat in total, accompanied by 20 small round brilliant cut diamonds, set in an elegant combination of white and yellow gold, in a style typical of the Art Deco period. Stick pin with safety lock on the backside. The French jeweler and watch company Cartier, founded in Paris in 1847, gained international fame in 1904 with the Santos de Cartier, a wristwatch created for the famous Brazilian aviator Alberto Santos Dumont. With their Paris boutique established in the Rue de la Paix, Cartier soon opened further branches in London, New York and St. Petersburg to cater to the demand of a growing international clientele. Cultivating ties to important members of the aristocracy, Cartier became the supplier to the most notable royal dynasties of the 20th century. The famous Panthère motif, for example, was introduced with a ring specially made for the Duchess of Windsor. Since the beginning, Maison Cartier created innovative pieces of jewelry, inspired either by flora and fauna, or simply by the natural beauty of untreated stones such as Indian sapphires, Burmese rubies or Colombian emeralds, often amplified by innovative designs and extravagant combinations with other, smaller stones. Weight: 25.8 grams Dimensions: 4.3 x 4.2 cm. Condition: Excellent with only little wear Insurance value: This brooch was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: American private collection, purchased at Cartier shortly before the war (by repute), thereafter Austrian private collection Auction result comparison: FINE JEWELS. Sotheby s, 1 DECEM- BER 2015, LONDON, lot 270. (compare with a related 1930s Cartier sapphire brooch) Starting price: EUR 3.000,- (Estimate: EUR 6.000,-)

100 182 AN IMPORTANT CARTIER EMERALD AND DIAMOND RING France, ca. 1990, signed Cartier, assay 750, numbers and 54 Accompanied by original makers case, original Cartier certificate of authenticity and original price label from ca stating a retail price of EUR48.300,- The superb center stone with a weight of 1.2 carat, of Colombian origin and natural deep emerald green color, untreated, flanked by two diamonds on each side, with a combined weight of 1.2 carats and of excellent purity and color, set in 18 carat yellow gold The French jeweler and watch company Cartier, founded in Paris in 1847, gained international fame in 1904 with the Santos de Cartier, a wristwatch created for the famous Brazilian aviator Alberto Santos Dumont. With their Paris boutique established in the Rue de la Paix, Cartier soon opened further branches in London, New York and St. Petersburg to cater to the demand of a growing international clientele. Cultivating ties to important members of the aristocracy, Cartier became the supplier to the most notable royal dynasties of the 20th century. The famous Panthère motif, for example, was introduced with a ring specially made for the Duchess of Windsor. Since the beginning, Maison Cartier created innovative pieces of jewelry, inspired either by flora and fauna, or simply by the natural beauty of untreated stones such as Indian sapphires, Burmese rubies or Colombian emeralds, often amplified by innovative designs and extravagant combinations with other, smaller stones. Shape: The center stone in emerald cut, the diamonds in baguette cut Weight: 4,5 grams Dimensions: Ring size 54 (EU), 6 (US), dimensions of center stone approximately 7 x 6 x 5 mm. Condition: Excellent condition with minor natural wear edges of center stone Insurance value: This ring was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: From the private collection of the former principal licensee of Cartier Germany Literature comparison: The use of fine and untreated Colombian emeralds by Cartier goes back a long time, compare for example with a related pair of earrings in Cartier, Meisterwerke aus Platin, Franco Cologni and Eric Nussbaum, Bruckmann, 1995, pages Auction result comparison: IMPORTANT JEWELS. Sotheby s, 24/25 SEPTEMBER 2015, NEW YORK, lot 266 (for another emerald ring by Cartier, with a moon-shaped center stone, with approximate dimensions of 9 x 8 x 8 mm) Starting price: EUR 5.000,- (Estimate: EUR ,-)

101 183 A VAN CLEEF & ARPELS GOLD BRACELET WITH 11 CARATS OF EMERALDS AND DIAMONDS New York, ca. 1940, signed V. C. A. N. Y. on the clasp Bearing a standard Double Safety locking mechanism at the backside, which was frequently used by Van Cleef & Arpels, New York, at the time Elegantly gadrooned heart shaped links 18 carat of yellow gold are followed by arrays of almost flawless emeralds and brilliant cut diamonds, weighing a total of ca. 11 carats, the diamonds with Top Wesselton color grades and a clarity range from VVSI to VSI. A total of 56 stones have been assembled to build eight groups, each meticulously held 18 carat white gold by prong settings. It is known that VCA made several versions of this bracelet, with numbers of stones ranging from 30 at the minimum and 56 at the maximum. The Van Cleef & Arpels brand was founded in 1906 and instantly conjures up an exciting image of large diamonds, rare rubies, historic sapphires and emeralds from princely collections. Throughout the firm s illustrious history, this highjewelry house has consistently worked to improve methods for cutting stones, mounting stones, in the process crafting sophisticated pieces that will be treasured for generations. Faithful to the spirit of their founders, each piece of Van Cleef & Arpels jewelry is designed to enhance the beauty of exceptional stones. Van Cleef & Arpels is actively involved with the preservation and presentation of their history today, putting together sublime shows from their archives in major world capitals. Shape: Bracelet with movable links Weight: 50 grams Dimensions: Length 18.5 cm Condition: Excellent with only minor wear Insurance value: This bracelet was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: Italian private collection, purchased by a noble family from Rome at VCA in New York shortly after the war (by repute) and thence by descent Literature recommendation: Van Cleef & Arpels: The Art & Science of Gems. Laurence Mouillefarine and Berenice Geoffroy- Schneiter, ED XAVIER BARRAL, Auction result comparison: Magnificent Jewels. Christies, New York, 16 October 2012, lot 72. (compare with a related bracelet) Starting price: EUR 5.000,- (Estimate: EUR ,-) Estelle Arpels and Alfred Van Cleef,

102 184 A 10 CARAT EMERALD & DIAMOND BROOCH ON A NECKLACE OF 800 BLACK PEARLS Austria, the brooch ca. 1850, the necklace added around 2005 by Anton Heldwein, umarked With a certificate by the Austrian Gemological Laboratory, dating from November 13th, 2003, confirming the authenticity and dating of the brooch, and specifically the emerald being of Colombian origin 185 A PAIR OF EMERALD AND BLACK PEARL EARRINGS BY ANTON HELDWEIN Austria, after 2005, hallmark 750 and stamped AH mark of Anton Heldwein The brooch holds a natural and untreated Colombian emerald with an intense, deep green color in its center, weighing approximately 5 carats, which is surrounded by an array of old-cut diamonds, the two largest weighing approximately 1 carat, the remaining 54 weighing a total of 3.7 carats, mounted in antique gold with silver doubling, the clasp segments made of antique gold. The emerald exhibits characteristics similar to those mined in the Chivor region of Colombia high up in the Andes. Emerald deposits were discovered there by conquistadors in 1537 and mined by the indigenous people, who were enslaved by the Spanish explorers. Given the connection between the Austrian and Spanish courts during the Habsburg Empire, it is likely that this stone made its way from the Colombian mines almost directly into the Austrian court, possibly as early as in the late 16th century, being mounted into this brooch in the 19th century. Until the discovery of the Chivor deposits, the only emerald mines known to the Western world were those in Egypt, which were largely exhausted by the 16th century. The remarkable availability of fine emeralds from mines under Spain s control afforded their extensive use in jewelry during the Renaissance and thereafter. Portraits of the Habsburg royal family and the nobility of the time show the sitters bejeweled, and often with gem-set appliques sewn directly onto their garments. The present emerald may well have been used for this purpose. The necklace is made of six strands with a total of approximately 816 small black and iridescent south-sea black pearls and was created by prestigious Viennese jeweler Anton Heldwein in 2005 to complement the brooch and add an alternative option of wearing it. Therefore, the center piece can be disconnected from the necklace and is worn as a brooch only. The two clasps that connect the brooch with the necklace are made of 18k yellow gold. The House of Heldwein, founded in 1902, is run by master goldsmith and gem expert Anton Heldwein as a family business in the fourth generation. After finishing his goldsmith training in Vienna and graduating as a gemologist in California, Anton Heldwein collected extensive experience in national and international studios before taking over the family business in Vienna s noble first district in Since then, Anton Heldwein operates one of the trade s very last family-owned jewelers himself, personally attending to daily business, creative decisions and, above all, his customers. Deeply rooted in the traditions of classical Viennese craftsmanship, Anton Heldwein maintains a modernist style in every aspect, most lately with the complete redesign of the flagship store in Vienna s most traditional and famous high street the Graben. Shape: The brooch rectangular, the necklace in wave-shape with four segments Weight: The brooch 18.9 grams; the necklace 27.5 grams Dimensions: The brooch 44 x 27 x 15 mm. The necklace 35 x 2 cm. Condition: Excellent condition, the stick pin of the brooch was lost but can be replaced by Anton Heldwein upon request Insurance value: This necklace and brooch were recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder, since before 1918 (by repute) Literature recommendation: Colour of Paradise: Emeralds in the Age of the Gunpowder Empires, Kris Lane, Yale University Press (2010). Auction result comparison: MASTERWORKS. Sotheby s, 1 FEB- RUARY 2013, NEW YORK, lot 11. (compare this emerald with a Renaissance Colombian emerald set in a gold jewel recovered from the shipwrecked Spanish galleon Nuestra Señora de Atocha) ISLAMIC AND INDIAN ART, Bonham s, 5 April 2011, LONDON, lot 329. (compare this emerald with an important Mughal inscribed emerald mounted in an early Victorian gold bangle) Starting price: EUR 2.500,- (Estimate: EUR 5.000,-) Two emerald cabochons, weighing a total of 6 carats, mounted in 18 carat yellow gold, with 12 short strands of 10 black and iridescent south-sea pearls each. Weight: 16 grams Dimensions: Height 4.5 cm Condition: Excellent Insurance value: This pair of earrings was recently appraised with an insurance replacement value of 4.400,- Euro; the original certificate will be handed to the winning bidder Literature recommendation: Jewelers: A. E. Kochert, V. Mayer s Sohne, Garrard & Co, Asprey, C. F. Rothe & Neffe, Anton Heldwein, Charles Lewis Tiffany. ISBN-10: Starting price: EUR 400,- (Estimate: EUR 800,-)

103 186 A RARE MARIO BUCCELLATI SAPPHIRE AND DIAMOND RING, PLATINUM AND YELLOW GOLD Italy, late 1960s, signature M. Buccellati, two hallmarks, one for gold and the other for platinum Accompanied by original makers case inscribed Mario Buccelatti and dai A POMELLATO LABRADORITE AND YELLOW GOLD RING Italy, after 1990, signed Pomellato The center stone is a natural royal blue sapphire with a weight of 1.5 carat surrounded by 22 small diamonds with a total weight of ca. 0.5 carat. The ring subtly combines 18 carat yellow gold with platinum and its partially raised openwork floral décor is finely chiseled and intricately incised. It is an appealing example of the exceptional craftsmanship and innovative design of the Buccellati House during late 1960s, which was significantly influenced by the global Flower Power trend of this period. In 1919 Mario Buccellati opened his first enterprise and, after the establishment of stores in Milan, Rome and Florence, began the development of his overseas business by opening a store on Fifth Avenue in New York in In 2015, Buccellati launched a special Art Collection where five one-of-a-kind pieces were created, inspired by Impressionist and Post-Impressionist artworks. This collection was designed by Lucrezia Buccellati, who is the first female and youngest designer to join the House of Buccellati. Shape: The center stone shows an oval cut, the diamonds are in brilliant cut Weight: 11,7 grams Dimensions: Ring size 57 (EU) Condition: The ring is in very good condition and hardly shows any signs of wear Insurance value: This ring was recently appraised with an insurance replacement value of 6.500,- Euro; the original certificate will be handed to the winning bidder Provenance: From an Austrian private collection Literature recommendation: Buccellati, by Vincent-Emmanuel Ragot, Assouline Publishing, Auction result comparison: IMPORTANT JEWELS. Sotheby s, 23 SEPTEMBER 2014, NEW YORK, lot 110. (for another twocolored sapphire ring by Buccellati) Starting price: EUR 600,- (Estimate: EUR 1.200,-) Eight labradorites, each elegantly polished and cut to a teardrop shape and delicately set into a tapering 18 carat gold ring. Pomellato began operating in 1967, introducing a concept of prêt-à-porter jewelry with the idea that jewelry is not just a status symbol, but an accessory to be worn at any moment of the day and changed like clothes. Since the 1990s, Pomellato particularly focused on working with colored stones by increasingly merging superb Italian craftsmanship with audacious designs. From the Vespa to the Summer of Love, from Andy Warhol to Twiggy, Pomellato s unique style confronts the great cultural moments of the late 1960s with stunning shapes, metals and minerals. The results are often emblematic pop art creations, comic designs, and sometimes kaleidoscopically rounded, colorful jewels in playful compositions. Shape: The stones cut in various teardrop shapes Weight: 29,8 grams Dimensions: Ring size 56 (EU) Condition: Excellent with hardly any wear, as new Insurance value: This ring was recently appraised with an insurance replacement value of 3.800,- Euro; the original certificate will be handed to the winning bidder Literature recommendation: Pomellato: Since Sheila Weller and Giusi Ferre, Rizzoli, Milan 2018 Starting price: EUR 400,- (Estimate: EUR 800,-)

104 188 A TIFFANY & CO TORQUE NECKLACE BY FRANK GEHRY, 277 GRAMS OF 18 CARAT GOLD New York, USA, after 2000, Signed Tiffany & Co., Gehry This is both the rarest and largest of all Torque design fancylink necklaces, counting a total of 64 interlinked squareshaped open links of various sizes, all made of 18 carat yellow gold, weighing a total of 277 grams. Frank Owen Gehry, CC, FAIA, born February 28, 1929, is a Canadian-born American architect, residing in Los Angeles. A number of his buildings, including his private residence, have become world-renowned attractions. His works are cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as the most important architect of our age. Gehry s best-known works include the titanium-clad Guggenheim Museum in Bilbao, Spain; Walt Disney Concert Hall in downtown Los Angeles; Louis Vuitton Foundation in Paris, France; the Vitra Design Museum in Germany. His co-operation with Tiffany & Co and especially the creation of the Torque design for jewelry was highly acclaimed by critics, media and public. Shape: Necklace Weight: 277 grams Dimensions: Length approximately 105 cm when opened Condition: Excellent with only little wear Insurance value: This necklace was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder, directly purchased at Tiffany & Co in the earlier 2000s by the previous owners (by repute) Auction result comparison: Jewelry, Christies, London, 9 June 2015, lot 149. (compare with a small (21 cm) otherwise identical bracelet by Gehry for Tiffany & Co, which sold for GBP 4.375,-) Starting price: EUR 3.000,- (Estimate: EUR 6.000,-) Frank Owen Gehry (born 1929)

105 189 A GÜBELIN 18 CARAT GOLD BROOCH WITH TWO BAROQUE STYLE SOUTH-SEA PEARLS Switzerland, 1978, with two hallmarks, one reading 750, the other with the Gübelin trademark Accompanied by its original invoice from Gübelin, dated May 8th, A GÜBELIN 18 CARAT GOLD RING WITH A 12 CARAT BAROQUE STYLE SOUTH-SEA PEARL Switzerland, 1978, with two hallmarks, one reading 750, the other with the Gübelin trademark Accompanied by its original invoice from Gübelin, dated March 2nd, 1978 Set in a reticulated yellow gold grid design typical of the late 1970s, the two large south-sea baroque style pearls sit prominently in central, slightly raised positions. Their size of ca. 6 carats each is counter-balanced by a subtle and elegant luster. Gübelin has grown from a small watchmaker s shop in Lucerne to an internationally operating, family-owned luxury brand. In the 1920s Gübelin opened its own jewelry atelier and at the same time set up a small gemological laboratory so that it could test and be sure of the authenticity of the stones and pearls its jewelers used. The Gübelin Jewelry Atelier has become known globally for its exquisite, handcrafted pieces which celebrate the beauty and mystique of magnificent gemstones and pearls. The Gübelin Gem Lab, based in Lucerne and with branches in Hong Kong and New York, has grown into one of the most renowned and respected institutions of its kind. It provides highly trusted analyses and reports, and is relied on by famous auction houses, royal families, collectors, and others for its authoritative expertise. Weight: 25.8 grams Dimensions: 6 x 4.5 cm. Condition: Excellent Insurance value: This brooch was recently appraised with an insurance replacement value of 2.800,- Euro; the original certificate will be handed to the winning bidder Provenance: Swiss private collection Literature recommendation: Eduard Gübelin Story, Gübelin Group, Unicorn Press Ltd., Starting price: EUR 300,- (Estimate: EUR 600,-) Set in a reticulated yellow gold grid design typical of the late 1970s, the large south-sea baroque style pearl sits prominently in a central, slightly raised position. It s staggering 12 carat size is counter-balanced by its subtle and elegant luster. Gübelin has grown from a small watchmaker s shop in Lucerne to an internationally operating, family-owned luxury brand. In the 1920s Gübelin opened its own jewelry atelier and at the same time set up a small gemological laboratory so that it could test and be sure of the authenticity of the stones and pearls its jewelers used. The Gübelin Jewelry Atelier has become known globally for its exquisite, handcrafted pieces which celebrate the beauty and mystique of magnificent gemstones and pearls. The Gübelin Gem Lab, based in Lucerne and with branches in Hong Kong and New York, has grown into one of the most renowned and respected institutions of its kind. It provides highly trusted analyses and reports, and is relied on by famous auction houses, royal families, collectors, and others for its authoritative expertise. Weight: 16.4 grams Dimensions: Ring size 53 (EU) Condition: Excellent Insurance value: This ring was recently appraised with an insurance replacement value of 3.800,- Euro; the original certificate will be handed to the winning bidder Provenance: Swiss private collection Literature recommendation: Eduard Gübelin Story, Gübelin Group, Unicorn Press Ltd., Starting price: EUR 400,- (Estimate: EUR 800,-)

106 191 AN 18 CARAT AQUAMARINE AND YELLOW GOLD ETERNITY KNOT BRACELET Germany, by F.J. Schröder Jewelers of Berlin, the bracelet s box-clasp is stamped with the purity marks 14K and 585 as well as the hallmarks A, S.K.. Accompanied by the original invoice from the House of Schröder, dating March 5th, 1936, stating a price of 329,- Reichsmark for the bracelet 192 A 10 CARAT AQUAMARINE AND DIAMOND PENDANT Germany, by F.J. Schröder Jewelers of Berlin, hallmark 585 Accompanied by a photocopy of the original invoice from the House of Schröder, dating March 5th, 1936, stating a price of 506,- Reichsmark for the pendant and 27,- Reichsmark for the gold chain The five, almost flawless aquamarines in emerald cut all show a fine and clear color and are rare to find in such an untreated, natural state. They come in a hollow 14 carat yellow gold setting with five links, each delicately crafted in the design of an endless knot, a symbol of eternity. The House of F.J. Schröder was founded in 1855 and was among the most prominent jewelers in Berlin during the roaring twenties. Situated at Leipzigerstrasse, one of the most prominent locations at the time, its clientele consisted of noble families as well as famous artists and actors of the time. In 1945, the building was destroyed during a bomb raid and the family fled to the west, never re-opening their jewelry business. Shape: Bracelet Weight: 16.4 grams Dimensions: length 19 cm Condition: Excellent, with hardly any wear Insurance value: This bracelet was recently appraised with an insurance replacement value of 3.400,- Euro; the original certificate will be handed to the winning bidder Provenance: Family of Dr. Radicke, Berlin, thence by descent, Austria private collection Starting price: EUR 350,- (Estimate: EUR 700,-) This absolutely flawless aquamarine in emerald cut is of a superb clear color and extremely rare to find in such a large size and untreated, natural state. It comes in a hollow 14 carat yellow gold setting, surrounded by a number of smaller diamonds in brilliant cut. The gold chain bears a security clasp. The House of F.J. Schröder was founded in 1855 and was among the most prominent jewelers in Berlin during the roaring twenties. Situated at Leipzigerstrasse, one of the most prominent locations at the time, its clientele consisted of noble families as well as famous artists and actors of the time. In 1945, the building was destroyed during a bomb raid and the family fled to the west, never re-opening their jewelry business. Shape: Pendant on necklace Weight: 11.9 grams Dimensions: The pendant 3.5 cm height, total length 26 cm, the stone measures 16 x 12 x 7 mm. Condition: Excellent, with hardly any wear Insurance value: This pendant was recently appraised with an insurance replacement value of 5.600,- Euro; the original certificate will be handed to the winning bidder Provenance: Family of Dr. Radicke, Berlin, thence by descent, Austria private collection Auction result comparison: FINE JEWELS. Sotheby s, 14 JUNE 2018, GENEVA, lot 576. (compare with a 1920s brooch with an aquamarine of similar size and color) Starting price: EUR 600,- (Estimate: EUR 1.200,-)

107 Otto Jakob (born 1951) Already as a child the artist Otto Jakob was fascinated with antique jewelry and rare minerals. It is thus not surprising that he crafted his very first ring at the tender age of 17 for his then girlfriend and now wife as a symbol of love. Still, Jakob first turned to another form of art and studied painting from under the German artist Georg Baselitz. Since 1980 he has devoted himself exclusively to the creation of jewelry. Inspired by the magic and artistic power of Etruscan, Celtic and Hellenic masterpieces, he learned their complex techniques using treatises by Pliny and Cellini. From 1981 to 1986 the renowned art dealer Hans Neuendorf acquired a large part of Otto Jakob s early work and the following three lots come from Neuendorf s private collection. Other early collectors of Otto Jakob s works were contemporary German artists including Georg Baselitz, Jörg Immendorff, Markus Lüpertz, Günther Förg, and Sigmar Polke. Just as his first creation was an act of love he seems to turn to each of his works with an immense sense of passion mixed with a sentiment towards tradition. His pieces are each crafted with true devotion and an underlying force of uniqueness. This drive to create something unique with the use of almost forgotten techniques has led to an increasing fascination with his admirers and collectors and has also led to Otto Jakob s creations being noticed by the art world. Today Otto Jakob employs 10 master goldsmiths in his atelier in Karlsruhe, and the output is limited to about 100 pieces a year. He is one of the leading jewelry designers worldwide and yearly exhibits his pieces at the TEFAF in Maastricht. His work was honored in a limited luxury book band The Impossible Collection of Jewelry by Vivienne Becker, in which she lists his Turbine earrings as one of the top 100 most important pieces of jewelry of the 20th century. 193 OTTO JAKOB (b. 1951), 18 CARAT GOLD, LAPIS LAZULI AND CORAL PENDANT, 1985 Germany, 1985, accompanied by the original inventory file card of the Hans Neuendorf Collection; the recent caoutchouc and gold string with the hallmark 750 and makers mark at the fastening bolt 194 OTTO JAKOB (b. 1951), 18 CARAT GOLD HAND WOVEN FOXTAIL CHAIN WITH EXTENSION, 1987 Germany, 1987, hallmarked 750 and artist signature Jakob to the end-pieces of the long chain, accompanied by the original inventory file card of the Hans Neuendorf Collection This 18 carat gold, lapis lazuli and coral pendant was made by Otto Jakob in The corpus is hollow, and the walls adorned with coral and lapis lazuli inlays. The shape of the pendant closely resembles the shape of the tip of a spear. Comes together with a modern caoutchouc and 18 carat gold string necklace. Shape: spear-head shaped pedant Weight: weight of pendant is 6 grams, total weight is 16.5 grams Dimensions: length of pendant is 3.5 cm; length of string necklace is 44 cm Condition: Excellent with minor wear Insurance value: This necklace was recently appraised with an insurance replacement value of 3.500,- Euro; the original certificate will be handed to the winning bidder Provenance: private collection of Hans Neuendorf, thereafter Austrian private collection Starting price: EUR 300,- (Estimate: EUR 600,-) This unique necklace was crafted by Otto Jakob in A fine gold thread was meticulously hand woven by the artist to achieve this unique fox tail chain. A pronged bayonet catch forms the clasp and also serves as a connecting piece for the extension chain. The extension piece with 18 cm length allows for the wearer to vary the length depending on the neckline. Shape: foxtail chain Weight: total weight is 75 grams Dimensions: total length is 59 cm with extension Condition: Excellent with minor wear Insurance value: This necklace was recently appraised with an insurance replacement value of 9.500,- Euro; the original certificate will be handed to the winning bidder Provenance: private collection of Hans Neuendorf, thereafter Austrian private collection Starting price: EUR 750,- (Estimate: EUR 1.500,-)

108 195 OTTO JAKOB (b. 1951), GOLD, EBONY AND LAPIS LAZULI EARRINGS RAVENS IN ARMOR, 1984 Germany, 1984, accompanied by the original inventory file card of the Hans Neuendorf Collection The earrings Ravens with Armor were made by the artist Otto Jakob in Jakob carved these two miniature raven heads from ebony in an outstanding sculptural quality. In ancient times the raven was the messenger of news. Otto Jakob therefore attached a scroll carved from lapis lazuli to the ravens. The underside of the scroll is decorated with pronged armor in 900 gold that closely resembles a morning star. The earrings are one of a kind hand crafted works of art that combine artisan craft with design at its best. Shape: figural shapes Weight: 19.3 grams for the pair Dimensions: length is 3.5 cm each Condition: Excellent with minor wear Insurance value: This pair of earrings was recently appraised with an insurance replacement value of 7.500,- Euro; the original certificate will be handed to the winning bidder Provenance: private collection of Hans Neuendorf, thereafter Austrian private collection Starting price: EUR 750,- (Estimate: EUR 1.500,-) 196 AN UNUSUAL PAIR OF EGYPTIAN REVIVAL EAR CLIPS After 1900, possibly French, each with 25B hallmark stamped into a hexagonal reserve 18 carat yellow gold setting embellished with translucent enamels, rose quartz, lapis lazuli and turquoise Depiction of the mystic Sa-Rê goose with spread wings below a sun disc neatly executed in embossed and incised yellow gold, with its feathers inlaid in translucent ruby red, sapphire blue and white enamels. A triple hanging with 12 turquoises and sculpted uraeus snakes adorns the lower end. The title Sa-Rê, literally meaning Son of Ra, was written with the sign of a sun-disc and that of a goose placed below, placed at the end of the cartouche containing the name of the king and read as King of Lower- and Upper-Egypt, son of Râ. The Uraeus is the stylized, upright form of an Egyptian cobra, used as a symbol of sovereignty, royalty, deity and divine authority in ancient Egypt. Shape: Pair of figural ear clips Weight: 30.4 grams Dimensions: Height 6.5 cm Condition: Excellent Insurance value: This pair of ear clips was recently appraised with an insurance replacement value of 2.600,- Euro; the original certificate will be handed to the winning bidder Provenance: German private collection, Berlin, for several decades in family ownership (by repute) Literature recommendation: The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West, by James Stevens Curl, Routledge Auction result comparison: MAGNIFICENT JEWELS: STAR- RING THE SHIRLEY TEMPLE BLUE DIAMOND. Sotheby s, 19 APRIL 2016, NEW YORK, lot 218. (compare with an Egyptian- Revival Gold-Plated Silver, Colored Stone and Enamel Necklace, by Émile Philippe, Paris) Starting price: EUR 400,- (Estimate: EUR 800,-)

109 197 AN IMPORTANT OPAL AND DIAMOND RING Austria, early 1970s, three hallmarks, one reading 750, one being an Austrian post-war 18 carat gold hallmark and one being the maker s mark Attributed to the House of Schullin, Vienna, Austria 198 A DAVID WEBB PAIR OF 18 CARAT GOLD, PLATINUM AND TURQUOISE STAR EAR CLIPS New York, USA, ca. 1960, each signed WEBB on the clasp and marked PLAT and 18K Each bearing a platinum-enforced clipping mechanism at the backside A superb fantasy-cut opal with iridescent hues of emerald, sapphire and mother-of-pearl, weighing in excess of 10 carat, is prominently set in the center and surrounded by an arrays of brilliant-cut diamonds, with a total weight of 3.8 carats, averaging colors E and clarity V1, the ring itself made of 18 carat yellow gold. The house of Schullin was founded in 1802 and belongs to the most prominent and renowned Austrian jewelers. It is known for outstanding designs executed in only the very best materials. Weight: 24 grams Dimensions: Ring size 56 (EU) Condition: Excellent with minor wear Insurance value: This ring was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: Purchased by a well-known Austria family of publishers at Schullin Jewelers shortly after 1970 (by repute) and thence by descent, Austrian private collection Literature recommendation: 1990s Jewelry: The Hans Schullin Collection, Sophie Beer und Hans Schullin, Arnoldsche, Starting price: EUR 1.200,- (Estimate: EUR 2.500,-) A large oval turquoise cabochon is surrounded by one row of beams executed in carefully embossed and chiseled 18 carat yellow gold and a row of 13 prong set turquoise teardrops. All 14 stones have the typical, slightly yellowish age-patina. American jeweler David Webb ( ) came to New York as a young man to establish his business in He was selftaught, with an exceptional talent for unusual color combinations as evidenced by the large archive of original sketches he created. Turquoise combined with yellow gold is frequently found in his work, which is not only instantly recognizable, but also has remained a fixture in American high society up to this day. Upon his untimely death at the age of 50, the house was carried on by Nina Silberstein, originally his accountant and later business partner, and her family. David Webb jewelry has always been created and manufactured in its own workshops on their own premises in Manhattan, as it is today. Recently, the first retrospective exhibition of Webb s extensive work was held at The Norton Museum of Art in Palm Beach, accompanied by the publication of a book, David Webb: The Quintessential American Jeweler, by Ruth Peltason. Shape: Oval Weight: 27 grams Dimensions: Height 2.9 cm. Condition: Excellent with only minor wear Insurance value: This pair of ear clips was recently appraised with an insurance replacement value of 6.500,- Euro; the original certificate will be handed to the winning bidder Provenance: From a Hungarian private collection, originally acquired at the David Webb store in Manhattan in the mid- 1960s (by repute) and thence by decent Literature recommendation: David Webb: The Quintessential American Jeweler, by Ruth Peltason, Assouline Publishing Auction result comparison: FINE JEWELS. Sotheby s, 19 APRIL 2018, NEW YORK, lot 573. (for a related pair of David Webb turquoise ear clips) Starting price: EUR 750,- (Estimate: EUR 1.500,-)

110 199 A DAVID WEBB 18 CARAT GOLD AND TURQUOISE SOLEIL BROOCH New York, USA, ca. 1960, signed WEBB on the clasp Bearing a Double Safety locking mechanism at the backside A large oval turquoise cabochon is surrounded by two rows of sunrays executed in carefully embossed and chiseled 18 carat yellow gold and a row of 16 prong set turquoise cabochons. All 17 stones have the typical, slightly yellowish age-patina. American jeweler David Webb ( ) came to New York as a young man to establish his business in He was selftaught, with an exceptional talent for unusual color combinations as evidenced by the large archive of original sketches he created. Turquoise combined with yellow gold is frequently found in his work, which is not only instantly recognizable, but also has remained a fixture in American high society up to this day. Upon his untimely death at the age of 50, the house was carried on by Nina Silberstein, originally his accountant and later business partner, and her family. David Webb jewelry has always been created and manufactured in its own workshops on their own premises in Manhattan, as it is today. Recently, the first retrospective exhibition of Webb s extensive work was held at The Norton Museum of Art in Palm Beach, accompanied by the publication of a book, David Webb: The Quintessential American Jeweler, by Ruth Peltason. Shape: Oval Weight: 40 grams Dimensions: Length 5.3 cm. Condition: Excellent with only minor wear Insurance value: This brooch was recently appraised with an insurance replacement value of 7.500,- Euro; the original certificate will be handed to the winning bidder Provenance: From a Hungarian private collection, originally acquired at the David Webb store in Manhattan in the mid- 1960s (by repute) and thence by decent Literature recommendation: David Webb: The Quintessential American Jeweler, by Ruth Peltason, Assouline Publishing Auction result comparison: MAGNIFICENT JEWELS. Sotheby s, 29 APRIL 2014, NEW YORK, lot 300. (for a related David Webb brooch) Starting price: EUR 750,- (Estimate: EUR 1.500,-) A rare set of photographs of legendary jewelry designer David Webb

111 200 A DAVID WEBB IVORY AND YELLOW GOLD BRACELET New York, USA, ca. 1960, signed WEBB, stamped 18k Bearing the patented Triple Safety locking mechanism at the backside, which was created by David Webb, New York, and is and exclusively used by the House of Webb up to this day Five carved ivory segments in semi-relief with a smooth golden patina and fine grain, connected with six hammered 18 carat yellow gold movable links, form a stylish yet timeless bracelet that clings perfectly around the wrist. American jeweler David Webb ( ) came to New York as a young man to establish his business in He was selftaught, with an exceptional talent for unusual color combinations as evidenced by the large archive of original sketches he created. Hammered gold and ivory are frequently found in his work, which is not only instantly recognizable, but also has remained a fixture in American high society up to this day. Upon his untimely death at the age of 50, the house was carried on by Nina Silberstein, originally his accountant and later business partner, and her family. David Webb jewelry has always been created and manufactured in its own workshops on their own premises in Manhattan, as it is today. Recently, the first retrospective exhibition of Webb s extensive work was held at The Norton Museum of Art in Palm Beach, accompanied by the publication of a book, David Webb: The Quintessential American Jeweler, by Ruth Peltason. Shape: Bracelet Weight: 92,7 grams Dimensions: Length 21 cm. Condition: Excellent with only minor wear Insurance value: This bracelet was recently appraised with an insurance replacement value of ,- Euro; the original certificate will be handed to the winning bidder Provenance: From a Hungarian private collection, originally acquired at the David Webb store in Manhattan in the early 1960s (by repute) and thence by decent Literature recommendation: David Webb: The Quintessential American Jeweler, by Ruth Peltason, Assouline Publishing Auction result comparison: FINE JEWELLERY. Bonham s, 17 April 2018, New York, lot 21. (for a related bracelet, executed in white enamels instead of the much rarer ivory) Starting price: EUR 1.500,- (Estimate: EUR 3.000,-)

112 201 A FUNKY 1980s SILVER AND GOLD PENDANT IN SHAPE OF PEACE SIGN Austria, 1980s, hallmarked 835 and with the makers mark WF A unique and cool pendant of large size, in shape of the peace symbol. Crafted from partially textured silver the outer ring shows high relief applications in yellow and white gold. With leather string for suspension. Shape: Peace symbol Weight: 56.6 grams Dimensions: diameter is 7.2 cm Condition: Excellent with minor wear Starting price: EUR 200,- (Estimate: EUR 400,-) 203 A 1970s 18 CARAT YELLOW GOLD COCKTAIL RING WITH 18 DIAMONDS Austria, 1970s, hallmarked 750 and with a maker s mark A stylish 1970s 18 carat yellow gold ring with curved outline and set with a total of 18 diamonds, weighing 0.6 carat. The stones of color E and clarity grading VSI2. Shape: in classic 1970s wavy cocktail ring shape, round cut stones Weight: 9.7 grams Dimensions: Ring size 55 (EU) Condition: Excellent with minor wear Insurance value: This ring was recently appraised with an insurance replacement value of 2.600,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 300,- (Estimate: EUR 600,-) 202 A NECKLACE WITH LARGE TURQUOISE BEADS AND 18 CARAT GOLD CLASP Gold clasp with various Austrian hallmarks The untreated turquoises on this necklace show a very good color and are all of natural ovoid nugget shapes in different sizes. The necklace is rounded off by a very fine S shaped textured clasp made of 18 carat yellow gold. Shape: irregular turquoise nuggets and S-shaped clasp Weight: grams Dimensions: total length is 57 cm Condition: Excellent with minor wear Insurance value: This necklace was recently appraised with an insurance replacement value of 1.800,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 250,- (Estimate: EUR 500,-) 204 A 1950s YELLOW AND PINK GOLD MOON BRACELET Italy, after 1950, stamped hallmark 585 Safety lock with two clasps Elegant curb chain bracelet consisting of a continuous, geometrical pattern of curved links in 14 carat yellow gold with neatly incised lozenges to their surfaces, interrupted by movable moon half spheres made of 14 carat pink gold. The entire bracelet is polished flat on the reverse and lies comfortable on the wrist. An unusual piece of jewelry with a decent play of structures and colors. Shape: Bracelet Weight: The overall weight is 44.6 grams Dimensions: The length is 19.5 cm. Condition: Very good with slight traces of wear Insurance value: This bracelet was recently appraised with an insurance replacement value of 3.200,- Euro; the original certificate will be handed to the winning bidder, acquired in Italy around 1958 (by repute) and thence by descent Literature recommendation: Heavenly: The Sun, Moon and Stars in Jewelry, Fritz Falk, Arnoldsche, Starting price: EUR 350,- (Estimate: EUR 700,-)

113 205 A PAIR OF 14 CARAT YELLOW GOLD EAR STUDS WITH PEARLS AND DIAMONDS hallmarked 14K and with a numbering to either backside, fasteners are hallmarked 585 A pair of 14 carat yellow gold ear studs, each with a diamond and a cultured pearl. The diamonds have a combined weight of 0.12 carats. Shape: stud shape Weight: 2.3 grams Dimensions: Diameter is 3 cm each Condition: Excellent with minor wear Starting price: EUR 150,- (Estimate: EUR 300,-) 206 A PAIR OF 18 CARAT YELLOW GOLD DISC SHAPED EARRINGS France, 1990s, hallmarked 750 and 18K to either fastener, pegs also hallmarked 208 A PAIR OF 18 CARAT GOLD AND CORAL CABOCHON EAR CLIPS Italy, after 1950 Two hallmarks, one reading 750 and the other NK The two large coral cabochons of an elegant even color, accompanied by three brilliant cut diamonds each, weighing 0.3 carats in total, mounted with a decent prong setting in yellow gold. Shape: Oval Weight: 14.8 grams Dimensions: Length 2.7 cm. Condition: Excellent with hardly any wear, acquired in Italy during the late 1970s (by repute) and thence by descent Literature recommendation: Jewelry from Nature: Amber, Coral, Horn, Ivory, Pearls. Ruth Peltason, Thames & Hudson, Starting price: EUR 250,- (Estimate: EUR 500,-) A pair of 18 carat yellow gold disc earrings, each with a total of nine textured rings in various sizes, dangling from the lower end. Shape: disc shape Weight: 10.6 grams Dimensions: Diameter of the disc is 3.1 cm each Condition: Excellent with minor wear Starting price: EUR 200,- (Estimate: EUR 400,-) 209 A PAIR OF APPLE GREEN JADE AND DIAMOND PENDANT EARRINGS Possibly French, after 1930, marked A PAIR OF 18 CARAT YELLOW GOLD AND DIAMOND CREOLE EARRINGS Germany, 1990s, hallmarked 750 to either earring A pair of 18 carat yellow gold creole earrings, encrusted with a total of nine diamonds in various sizes each. Shape: creole shape, brilliant cut diamonds Weight: 13 grams Dimensions: Diameter 1.8 cm each Condition: Excellent with minor wear Insurance value: This pair of earrings was recently appraised with an insurance replacement value of 1.900,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 100,- (Estimate: EUR 200,-) Each eardrop delicately carved in the shape of a peapod, the jadeite of natural apple green color with hues of emerald green, mounted in 18 carat white gold with a millegrain-set of 10 small and one slightly larger diamond, altogether weighing ca. 0.5 carat. Shape: The diamonds in rose cut Weight: 7 grams total Dimensions: Length 6,5 cm. each Condition: Excellent with very little wear Insurance value: This pair of earrings was recently appraised with an insurance replacement value of 6.900,- Euro; the original certificate will be handed to the winning bidder Literature recommendation: Appreciation and Collection of Jewelry and Jade, Zhihua Liu, Tsai Fong Books Inc., China, Starting price: EUR 600,- (Estimate: EUR 1.200,-)

114 210 A GOLD-PLATED SILVER BROOCH IN SHAPE OF A LAUGHING ROMAN GOD, 1930s Austria, 1930s, hallmarked 835 and with the numbering E51 An appealing figural brooch that can also be worn as a pendant due to the separate hinge at the backside top. Made in shape of a Roman god, presumably Bacchus, as like in the present piece images of the god of wine are usually depicting a laughing and bearded character. Shape: figural shape Weight: 13 grams Dimensions: 4.5 x 3.3 cm Condition: very good with some rubbing to gilding Starting price: EUR 70,- (Estimate: EUR 150,-) 211 A 1930s BAKELITE AND WOOD EBONY & IVORY NECKLACE Austria, 1930s, hallmarked 925 on the (modern) silver clasp Bakelite necklaces like the present example were highly in fashion during the 1930s. The then new material was perfect for imitating precious materials such as in this case ivory. The ivory beads on this necklace are separated by black stained wooden beads, the clasp is modern and made of silver. Shape: string necklace with ovoid beads Weight: 77 grams Dimensions: total length is 58 cm Condition: good condition with minor wear and some discoloration Starting price: EUR 50,- (Estimate: EUR 100,-) 212 A RENAISSANCE STYLE TURQUOISE AND GARNET INSET SILVER PENDANT Austria, 1900s, hallmarked 835 on a link of the gilt silver chain 213 A WIENER WERKSTAETTE STYLE CORAL AND PEARL BEADS NECKLACE, 1920s Austria, 1920s, clasp marked 750 and with makers mark JKa A very fine example of early costume jewelry, dating back to the 1900s. The Renaissance style of the amulet is evident as the use of floral and star shapes as well as inset of cabochons were the high fashion during that era. The gilt silver pendant is inset with turquoises and garnets. It comes complete with a gilt silver chain. Shape: chain necklace with undulated and pierced pendant Weight: 60 grams Dimensions: diameter of the pendant is 6.8 cm Condition: very good condition with rubbing to gilding Starting price: EUR 70,- (Estimate: EUR 150,-) This original 1920s rarity clearly shows the style of the Vienna Workshops (Wiener Werkstätte) that was famous for its miniature beads jewelry and handbags during the Art Nouveau and Art Deco periods. The necklace shows 18 round elements that are coated by a densely sawn net of coral and pearl miniature beads. Between these spheres are gilt ornaments and the modern clasp is made of 18 carat yellow gold. Shape: necklace with spherical elements and clasp Weight: 67 grams Dimensions: total length is 44 cm Condition: very good condition with only very few lose threads Insurance value: This necklace was recently appraised with an insurance replacement value of 3.200,- Euro; the original certificate will be handed to the winning bidder Starting price: EUR 250,- (Estimate: EUR 500,-)

115 214 AN 18 CARAT YELLOW GOLD SIGNET RING WITH LAPIS LAZULI COAT OF ARMS Germany, mid-20th century, hallmarked 750 and with a makers mark A finely executed signet ring, made of 18 carat yellow gold and a carved Lapis Lazuli inset. The seal shows the coat of arms of the aristocratic Wallenstein family in Germany. Shape: traditional signet ring shape Weight: 12.6 grams Dimensions: Ring size 52 (EU) Condition: Excellent with minor wear Starting price: EUR 150,- (Estimate: EUR 300,-) 215 A CULTURED PEARL NECKLACE WITH DIAMOND CLASP Austria, 1950s-1970s, hallmarked 585, makers mark JKa as well as with Austrian assay mark on fastening peg A classic and long one-string cultured pearl necklace of fine quality and even color. The 14 carat white gold clasp is of ovoid shape and encrusted with octagonal cut diamonds, weighing 0.7 carat in total. Shape: string necklace with ovoid clasp Weight: 62.6 grams Dimensions: total length is 86 cm Condition: Excellent with minor wear Insurance value: This necklace was recently appraised with an insurance replacement value of 3.600,- Euro; the original certificate will be handed to the winning bidder 217 A WHITE GOLD SOLITAIRE DIAMOND RING Hallmark 585 and makers mark E.F. The solitaire center stone with a weight of 0.7 carat, color H and a P2 clarity, nicely set in 14 carat white gold raised prong setting. Shape: The center stone with a brilliant cut Weight: 2.2 grams Dimensions: Ring size 57 (EU) Condition: Excellent with only minor wear Provenance: Austrian private estate Starting price: EUR 250,- (Estimate: EUR 500,-) Starting price: EUR 350,- (Estimate: EUR 700,-) 218 A PAIR OF WHITE GOLD, DIAMOND AND SOUTH-SEA PEARL EARRINGS Possibly French, after 1930, each marked 750 The two cultured pearls elegantly suspended on a butterflyshaped white gold mounting with 13 rose cut diamonds each, weighing ca. 0.3 carat in total. 216 A 14 CARAT ROSE GOLD PRINCE OF WALES CHAIN NECKLACE Austria, 1930s-1950s, hallmarked 14K as well as with Austrian assay marks on fastening links A classic Prince of Wales chain necklace, crafted from 14 carat rose gold and dating to the 1930s or 1950s in Austria. Worked with hollow chains this at first sight simplistic piece of jewelry is rather sophisticated. Can be worn as a long necklace or wrapped twice as a double-chain necklace. Weight: 8.8 grams Dimensions: Length 2.1 cm. Condition: Excellent with only minor wear 4.800,- Insurance value: This pair of earrings was recently appraised with an insurance replacement value of Euro; the original certificate will be handed to the winning bidder Literature recommendation: Pearls of Wisdom: An Educational Guide to Pearls. Kiesha Joseph, Gatekeeper Press, Starting price: EUR 500,- (Estimate: EUR 1.000,- Shape: Prince of Wales chain Weight: 24 grams Dimensions: total length is 96 cm Condition: Excellent with minor wear Starting price: EUR 250,- (Estimate: EUR 500,-)

116 imprint Publisher GALERIE ZACKE 1070 WIEN (VIENNA) Mariahilferstraße 112 AUSTRIA Tel (0043-1) Fax Editor Susanne Zacke Experts Alexander Zacke Susanne Zacke Max Zacke Photography Georg Bodenstein Design (graphics) Hermann Kienesberger Printing Gröbner Druck Oberwart Website Copyright GALERIE ZACKE Reproduction forbidden Errors excepted 228

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