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United States of America - Collection of over 570 stereophotographs from the states and territories of North America, including only a few duplicates. Taken ca. 1860-1905, prints probably 2nd half of 20th century. Mounted on cardboard, print labels on the reverse with precise details of locations, motifs and people as well as approximate dates. Individual images: mostly 8 x 7.5 cm. Cartons: 10 x 20.5 cm, a few larger. In 3 older archive boxes (bumped). Extensive archive collection from the great era of American stereophotography, one image shows the pioneer photographer William Henry Jackson with equipment in front of his tent in Echo Canyon, Utah. Several images show indigenous people (also captured or hanged), widely represented themes are Civil War (approx. 120 photos) and Modoc War 1872/73 (20) as well as construction of the Union and Central Pacific Railroad (30). Larger geographical units are: Alaska (ca. 30 photos), California (55), Colorado (40, Ute tribes), Dakota (over 40; Sioux, Sitting Bull, Cusher's Black Hill Expedition), Florida (almost 50, including captured Indians at Fort Maine), Kansas (11, including Cheyenne Prisoners), Massachusetts (13, mainly Boston), Maine (30), Minnesota (9), Missouri (7), Montana (5, Buffalos), Nebraska (24), Nevada (5), New Mexico (6, including Lynching Navayo Frank), Pennsylvania (8), South Carolina (7, cotton plantations), State of New York (5), Utah (10), Vermont (5) and Wyoming (8). Arizona, Georgia, Idaho (Snake Chiefs), Indiana, Iowa, Kentucky, Louisiana, Mississippi, New Jersey, New Hampshire, North Carolina, Ohio, Texas, Washington and West Virginia each account for less than 5 images. - Very well preserved. VAT: #

Estim. 2 000 - 3 000 EUR

Live in progress

Rare lunarium by Ernst Schotte. Berlin, around 1877, the globe labeled "Die Erdkugel nach den neuesten u. besten Quellen bearbeitet, Berlin Ernst Schotte & Co.", the globe as a papier-mâché sphere covered with 12 lithographed paper segments, country borders partly colored by hand, brass half meridian with 2 x 90° graduation, mounted on a turned and ebonized wooden base with a rotating device for the rotation of a wooden moon sphere, the base with mounted paper horizon with indication of seasons, months, zodiac signs and a graduation. Signs of age. Earth globe diameter: approx. 24 cm. Moon globe: approx. 5 cm. Height: approx. 46 cm. Early edition of a lunarium from the publishing program of the Berlin globe manufacturer Ernst Schotte & Co. datable to the time around 1877 (mapping the course of the Congo according to Stanley and Livingston). Cf. literature: Lehmann, R., Berliner Globenhersteller 1790-1970, 2010, p. 54 ff. A rare Ernst Schotte Lunarium. Berlin c, 1877, the terrestrial globe signed "Die Erdkugel nach den neuesten u. besten Quellen bearbeitet, Berlin Ernst Schotte & Co.", 12 lithographed globe gores mounted on cardboard sphere, boundaries partly coloured by hand, graduated brass half-meridian, ebonized turned wooden stand with a rotating moon sphere. Signs of age. Diameter globe c. 24 cm, moon sphere c. 5 cm, height c. 46 cm.

Estim. 1 200 - 1 800 EUR

Live in progress

Imitation of a shrunken head. Papua New Guinea, around 1920, the shrunken head an imitation of goatskin and horsehair, mounted on a black turned wooden base. Height: approx. 22 cm. These souvenirs were sold by locals to tourists as "real" shrunken heads. A shrunken head imitation. Papua-New Guinea c. 1930, imitation made of goat leather and horse hair, mounted on ebonized wooden stand. Height c. 22 cm.

Estim. 300 - 450 EUR

Sat 11 May

A MONUMENTAL AND IMPRESSIVE ITALIAN SCULPTED LIMESTONE GROUP OF BACCHUS WITH A SATYR, FIRST QUARTER 20TH CENTURY - The god of wine portrayed nude and standing, a cup in his raised right hand, the infant satyr at his feet 250 cm. high. Atop a rectangular section limestone plinth with molded upper edges and base. 100 cm. high, 350 cm. high overall. It seems that the sculptor of this striking limestone group was heavily influenced by Michelangelo's marble Bacchus of 1496-7, in which the master portrayed the wine god in a reeling, drunken posture. The inspiration for the work appears to be the description in Pliny the Elder's Natural History of a lost bronze sculpture by Praxiteles, depicting "Bacchus, Drunkenness and a Satyr." The sense of precariousness resulting from a high center of gravity can be found in a number of later works by the artist, most notably the David If anything, the representation of the inebriated unsteadiness of the god in this lot is more emphasized, his torso almost involuntarily arching to his left in an apparent over reactionary attempt to balance. The more obviously portrayed drunkenness in the current example is further underlined by the differences in the treatment of the eyes in relation to the drinking cup. In Michelangelo's Bacchus the god is seemingly trying to focus his eyes in a concentrated manner on the skyphos before him, and succeeding; whereas in the example offered here there is more of a narrowing of the eyes, more of a suggestion of the blurred vision more associated with advanced inebriation that will come just prior to collapse In this respect, the rendition here is in fact a portrayal of a less refined and more animalistic Bacchus altogether. This Bacchus has been sculpted with more pronounced musculature than the more refined and Antinous-like model in the Museo Nazionale del Bargello and importantly, has been carved with pubic hair, where Michelangelo's was not. The depiction of the wine god as a more barbaric figure in this instance is therefore almost certainly by design."

Estim. 18 000 - 25 000 EUR

Mon 13 May

WILFREDO LAM (Sagua La Grande, Cuba, 1902 - Paris, 1982). Untitled, 1966. Ink on paper. Attached certificate issued by the Wilfredo Lam Foundation. Signed in the upper left corner. Dated and located (Paris), in the lower right area. Measurements: 29,5 x 40 cm; 48 x 59 cm (frame). In this work one can appreciate the artistic language developed by Wilfredo Lam, translated into a series of characters and aesthetic elements, which became his own iconography. During the forties Lam began an artistic activity based on the roots of a people that, in the painter's opinion, should recover its dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. Wifredo Lam was trained in Havana, where he studied at the School of Fine Arts. He made his individual debut in the early 1920s, with an exhibition at the Salon of the Association of Painters and Sculptors of the Cuban capital. In 1923 he moved to Madrid, with a scholarship from the City Council of Sagua La Grande, where he continued his training in the workshop of Fernando Alvarez de Sotomayor, director of the Prado Museum and recognized for having been Salvador Dali's teacher. At the same time, he attended the Academia Libre del Pasaje de la Alhambra, and visited the Prado, where his preferences leaned towards the works of Bosch, Brueghel and Goya. Little by little, his painting assumed a modern language that combined a geometrical structure with a certain surrealist vein. In 1938 he traveled to Paris, with a letter of recommendation for Picasso written by Manolo Hugué. Lam, who had had the opportunity to attend the Picasso exhibition held in Madrid in 1936, defined this experience as "a shock". In 1939 he made his first personal exhibition in Paris, with Pierre Loeb. During World War II Lam remained in the Caribbean, in contact with representatives of the avant-garde such as Masson and Breton, who, fascinated by the Cuban's pictorial work, asked him to illustrate his poem "Fata Morgana" (1940). Back in Cuba, Lam began an artistic activity based on the roots of a people who, in the painter's opinion, had to recover their dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. In the second half of the forties, Lam alternated his residence between Cuba, New York and Paris, where he settled in 1952. His international prestige grew progressively, and he held periodic exhibitions in galleries such as the Pierre Matisse Gallery in New York. He traveled intensely during the following years and, in 1960, he settled in Albisola Mare, on the Italian coast. In 1961 he received the Guggenheim International Prize, and between 1966 and 1967 multiple retrospectives of his work were held at the Kunsthalle in Basel, the Kestner-Gessellschaft in Hannover, the Stedelijk Museum in Amsterdam, the Museum of Modern Art in Stockholm and the Palais des Beaux-Arts in Brussels. Wifredo Lam is represented at the Guggenheim and MoMA in New York, the Museo Patio Herreriano in Valladolid, the Tate Gallery in London and the Museo Thyssen-Bornemisza, among others. Attached is a certificate issued by the Wilfredo Lam Foundation.

Estim. 7 000 - 8 000 EUR
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