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Orest Adamovich Kiprensky, Portrait of a Young Sculptor

Monogrammed and dated lower left: O.K.S. 1830Orest Kiprensky was born out of wedlock and named after his birth town of Koporje. He was raised by a serf named Adam Schwalb and began his studies at the Royal Art Academy of St. Petersburg at the tender age of six, remaining there until 1803. A portrait of his adoptive father Schwalb painted in 1804 was the beginning of Kiprensky's stellar career as a portrait painter, which would eventually earn him the moniker “the Russian van Dyck”. A planned educational sojourn financed by the Russian Tsarina had to be cancelled several times due to war, but Kiprensky eventually arrived in Italy in 1816, where he travelled between Rome and Naples until 1822. After returning to Russia for a period of six years, he returned to Italy in 1828, where he died in 1836 and was buried in Sant´Andrea delle Fratte. Kiprensky had contact to several sculptors over the course of his life. As a young man in Moscow he was acquainted with Ivan Martos, and later with Antonio Canova and Berthel Thorvaldsen in Rome, but the young sculptor in this work has not yet been identified. The piece was painted in Rome in 1830 and displays the Romantic tendencies characteristic of many of his works. Oreste Kiprensky's portraits are among the finest examples of Russian painting from the first quarter of the 19th century. Today, his works can be found in many important collections, such as the Tretyakov, which houses a charming self-portrait from 1828, among other pieces.Leggi di più

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Karl Otto Götz, Deetam, 1995
Signed 'Karl Otto Götz'. Signed, dated and titled 'K.O. Götz "Deetam" 1995' on frame backing and with stilised self-portrait of the artist (little man with pipe).The present work is to be included in the forthcoming catalogue raisonné of the works on paper by K.O. Götz und Rissa-Stiftung, Niederbreitbach-Wolfenacker. Lempertz
A Meissen porcelain plate with relief and camaieu decor
A rare, early plate with defined peony relief (Marseille) border. The centre decorated with "indianische blumen". The large bouquet conceals a circular firing crack. The cavetto with an unusual chinoiserie border.The relief decor is attributed to Johann Joachim Kaendler, as there is documentation from December 1731 in connection with the production of a service for Oberkämmerer Count Heinrich Friesen, describing the model maker's difficulties in moulding the relief whilst still retaining its sophisticated white-on-white effect. The term "Marseille" first appears in the inventories of the Japanisches Palais, and Boltz transcribes the item as "Three plates with Marseille (...) No. 137". He interprets the name as a derivation from the French term marsais, marsèche, or marsette, meaning a stylised floral ornament. Lempertz
GUSTAV KLIMT, Stehend von vorne, im Mantel mit Manschetten, c. 1917
Pencil drawing on drawing paper 50.1 x 32.4 cm, framed under glass. Verso inscribed by an unknown hand "Gustav Klimt Aus d. Nachlasse, nicht sign." (Gustav Klimt from the estate, not signed). - Slightly yellowed within the former mat opening and slightly light-stained. Some browned stains. A slight crease to the lower left part of the sheet and the upper edge, some further minor creases. Strobl 2589 Provenance Lords Gallery, London; Rex Evans Gallery, Los Angeles (with a label to the frame's paper backing); Sotheby Parke Bernet, New York, Auction 3376, 31 May 1972, nr. 19 illus.; private collection, Rhineland According to Strobl, the cuffs of the robe are not similar to those in the discarded sketches for the portrait of Friederike Maria Beer-Monti (cf. Strobl 2534 and 2535). Nevertheless, she attributes this study to the preliminary works which Gustav Klimt made for the portrait of Ms. Lieser (cf. Novotny-Dobai no. 205). Lempertz
Fritz Winter
Öl auf Leinwand 90 x 80 cm, gerahmt. Unten rechts in der feuchten Farbe signiert und datiert FWinter 69. Rückseitig auf der Leinwand zusätzlich in Schwarz signiert, datiert und betitelt Konstruktion Blau-Rot FWinter 69.\n\nLohberg 2687 ¶ Lempertz
A 14k red gold monogrammed hunter pocket watch.
Three cover case, the first cover monogrammed "EM". Signed enamel dial with a small second hand and gold Louis XV hands. Gilt precision anchor movement with swan neck regulator, 17 rubies, compensator balance wheel and a breguet spiral. Signed plate "Deutsche Uhrenfabrikation Glashütte", no. 14381. In original case with certificate and replacement glass. Lempertz

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