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Click here to subscribeBali, two various wooden kris handles, one showing probably Dewi Sarasvati in a kneeling position, traces of polychromy, the other showing a demon figure holding a rice sheaf at the back of his head. H. 11; 11,5 cm. For the second item provenance: Willem Zwiep, Amsterdam.First item publ.: Duuren, David van (2202), Krisses, a critical bibliography, p. 108. [2]
Bali, two wooden kris handles, both shaped as a longhorn beetle, kocet-kocetan, one in a more stylized shape, the other with triangles at the base. h. 12 en 9,5 cm. First item provenance: Nefertari Tabak, Bussum, 1999; F. Blok, The Hague; Theo Alkema, The Hague; Second items, Nefertari Tabak, Bussum, 1999; Theo Alkema, The Hague. [2]
Bali, two wooden kris hilts, consisting of a dark brown cecekahan type and a cecekahan type with red and black pigments and traces of gold foil. h. 10 and 11 cm. Provenance second item: Nefertari Tabak, Bussum, 1999; Willem Zwiep, Amsterdam. Second publ.: Zonneveld, Albert van 2001, ' Traditional weapons of the Indonesian Archipelago', p. 67, ill. 246. [2]
Bali or Lombok, betel nut pestle, the horn handle showing a paranakan, Semar with a mask in between legs and the left hand touching the kris on his back. A floral ornament in his hair set with gold. h. 17,4 cm. Provenance: Kunsthandel Aalderink, Amsterdam, 1997; Christie's Amsterdam, 16-4-1997, part of lot 312. [1]
East-Sumba, two turtle shell combs, hai kara jangga, one showing on the upper part an open worked pattern of deer, cockerels and snakes, the other with an open worked design of deer, cockerels, lions, birds and other zoomorphs. H. 116,5 and 15,7 cm. Provenance: Daeng Iskandar, Bali 1994 and Willem Zwiep, Amsterdam 1992 resp. [2]
Central-Sulawesi, Toraja, three copper alloy pendants/ amulets, taiganja, one with an open worked design showing spirals, one with an open centre and horns along the periphery and one item showing downward pointing horns along the periphery. H. 4,5; 4 and 4,5 cm. resp. Provenances: first item J.P. Jernander, Brussels 1987; the second item Willem Zwiep, Amsterdam 1990; the last item Daeng Iskandar, Bali 1987. [3]
Bali, polychrome wooden sculpture, ca 1900, being a pillar base, representing Wilmana, his right hand originally holding an implement (not there anymore), his left holding a slip of the sash, traces of black, white and red pigments. H. 54,5 cm. Christie's Amsterdam, 25-10-1995, lot 152. [1]
Bali, a polychrome wooden singa, togog, standing on all four, opened muzzle showing a long protruding tongue, traces of red, black and gold pigments; herewith a polychrome wooden stopper with a singa on top with raised tail. H. 31 cm. [2] Seond item provenance: Willem Zwiep, Amsterdam 2004.
A TWENTY PIECE ROYAL CROWN DERBY 'BALI' TEA SET, pattern no A1100, comprising a cake plate, a cream jug, a sugar bowl, six tea plates, six teacups and five saucers, with nine Royal Crown Derby protective plastic bags (20 + 9 bags) (Condition Report: most pieces appear in good condition, one cup has extensive cracks, another having smaller hairlines, one saucer is a little stained, the cake plate has UV postcode marking verso, signs of light use)
Franz Kienmayer, 2 Ölgemälde & 3 Zeichnungen mit 2 x Bali 1929, dazu kl. Katalog der Kienmayer-Ausst. Java-Bali-IndonesienFranz Kienmayer, 1886 Wien - 1963 Baden-Baden, österreichischer Maler und Illustrator sowie Orientalist, hier: Junge balinesische Schönheit, Öl/Platte, 45 x 35 cm, sign., gerahmt -- Porträt eines Mädchens mit blonder Zopffrisur, Öl/Platte., 50 x 40 cm, sign.-- Sich räkelnder Frauenakt, Zeichnung, 32 x 42 cm -- Erotisch posierender junger Frauenakt, Rötelzeichnung, 62 x 50 cm, sign. u. dat. 1942-- "Sen Dasar", vielfiguriges Hindu-Fest in Bali 1919, große Zeichnung/ Karton, 50 x 65 cm, bez. u. sign., dazu kleiner Ausstellungskatalog " Kulturelle Kunstausstellung: Java- Bali- Indonesien" von Prof. Franz Kienmayer.Frank Kienmayer während wurde im WK 1 als Kriegsmaler in die Kunstgruppe des k.u.k. Kriegspressequartiers aufgenommen. Die Werke aus dieser Schaffensperiode befinden sich heute größtenteils im Heeresgeschichtlichen Museum in Wien. Nach dem Krieg war Kienmayer in Wien, Predlitz-Turrach, Graz, zuletzt in Leipzig und Baden-Baden tätig. In Leipzig wurde er als Kunstprofessor tituliert. Ab 1929 bereiste er Java, Bali und Indonesien, Motive aus dieser Zeit, wie Landschaften, Tempel- und Genreszenen, finden sich heute zahlreich auf Kunstauktionen wieder und befinden sich in Privatbesitz.
FASHION BOOKS - LOUIS VUITTON FASHION EYE SERIES COMPRISING: Bali by Quentin de Briey, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2018 Berlin by Peter Lindbergh, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2017 British Columbia by Sølve Sundsbø, Michel Mallard (ed.), Louis Vuitton Malletier, Paris 2017 California by Kourtney Roy, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2016 Córdoba by Miles Aldridge, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2022 Cretto di Burri by Oliviero Toscani, Michel Mallard (ed.), Louis Vuitton Malletier, Paris 2018 French Riviera by Slim Aarons, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2019 Geneva by Paul Rousseau, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2018 Greece by François Halard, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2020 India by Henry Clarke, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2016 Iran by Harley Weir, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2018 Japan by Adolphe de Meyer, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2019 Kyoto by Mayumi Hosokura, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2021 London by Robi Rodriguez, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2021 Miami by Guy Bourdin, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2016 Monte Carlo by Helmut Newton, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2017 Morocco by Vincent van de Wijngaard, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2017 New York by Saul Leiter, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2017 Normandie by Jean Moral, Sylvie Lécallier (ed.), Louis Vuitton Malletier, Paris 2021 Paris by Feng Li, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2021 Paris by Jeanloup Sieff, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2016 Paris by Melvin Sokolsky, Michel Mallard (ed.), Louis Vuitton Malletier, Paris 2021 Saint Tropez by Osma Harvilahti, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2019 São Paolo by Alexandre Furcolin, Pierre Bessard (ed.), Louis Vuitton Malletier, Paris 2021 Shanghai by Wing Shya, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2016 Silk Road by Kishin Shinoyama, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2018 Transsiberian by Coco Capitán, Damien Poulain (ed.), Louis Vuitton Malletier, Paris 2022 Ukraine by Synchrodogs, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2020 Venice by Cecil Beaton, Patrick Remy (ed.), Louis Vuitton Malletier, Paris 2021 (30) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A 1930s/40s Naval photograph album including views of China (Hong Kong, Shanghai, Pekin, Wei-Hai-Wai, Tsing Tao), Suez Canal, Bali, Aden and Colombo, etc., also naval vessels & aircraft in action, & various postcards, inscribed “T. Hutchinson” to title page & “H.M.S. Eagle Xmas 1939” to an inserted postcard of King George VI & Queen Elizabeth.
Theo Meier (1908-1982) Thai Dancer, signed and dated 'Theo Meier / 63' (lower right) oil on canvas 86 x 72cm Theo Meier's life was a vibrant odyssey, spanning from Switzerland to the South Pacific - notably, Bali and Thailand. Born in Basel in 1908, Meier initially pursued a commercial apprenticeship, but soon embraced his desire for true artistic and geographic autonomy.Meier’s breakthrough came with a portrait commission for the University of Basel, which led to subsequent commissions from a parade of prominent patrons. Inspired by the writings of Jean-Jacques Rousseau and the ‘primitivism’ of Gauguin, at aged twenty four, Meier embarked on a transformative journey to the South Pacific. Financing his expedition through an unusual business in which his clients pledged monthly sums in exchange for one of his paintings upon his return, he explored Tahiti and Bali. Whilst Tahiti provided a vibrant tropical palette, it lacked the cultural depth Meier sought. Venturing further west, in Bali he encountered what he considered to be the perfect mixture of culture, beauty and community. Before long, the island became his muse and daily inspiration.Enjoying the patronage of Sukarno, Indonesia's first President, Meier continued to paint the people and landscapes of Bali for 15 years, before briefly returning to Switzerland. Pining for his adopted hemisphere, in 1957 Meier journeyed to Thailand where he met his wife, Laiad, and settled in Chiang Mai. Unlike many of his peers, Meier’s cultural familiarity, coupled with his dogged pursuit of artistic exploration, allowed him to transcend superficial exoticism and capture the essence of his Thai and Balinese subjects. Canvas is in plane, though surface tension is very slightly slack. There is a light layer of surface dust throughout, commensurate with age. Along the left hand edge and on the right-hand side of the figure's head there are some white paint flecks, it is not clear whether these were done during execution or at a later date. There are some minor scattered brown accretions, mostly localised to the lower left quadrant. The paint layer appears generally stable, though there are some very fine networks of drying cracks, which are most noticeable where the paint has been more thickly applied, for example, to the headdress. Along the lower and upper edges there are some faint indents to the canvas made by the stretcher bars behind. Otherwise, appears in nice original condition. The work has not been out of the frame, though it appears that the composition is as the artist intended.
Vintage wooden hand statue ring holder Bali wood carving of Akash mudra Buddhist art wooden hand carved in the Akash mudra position--middle finger near thumb--a healing symbol for clarity, energy, space. This piece of Balinese art is perfect as a ring holder, or is lovely as is, to set on a shelf, add to a hand collection, or even a Buddhist altar. Measures about 6-1/2" tall on a 1-5/8" by 1-1/2" base. Thin, elegant fingers are about 3/8" to 1/4" wide. Lovely patina on the wood. Good vintage condition. (Apt 10)
Bali: Made Togok Schule Sammlung v. 3 Gemälden2 Darstellungen der Saraswati - Göttin des Wissens. Sign. Ida Bagus, made Togok- unmd id. Bgs Wyn Piuja - jeweils 80x40cm, passende Rahmungen. Und "Durma im Wald" - Szene aus dem Rajapala Epos. Signiert Hang Mai -Bali- Kasein auf Maltuch, 43x36cm.
TENG-HIOK CHIU (1903-1972) 'Rowing Boat, Polperro Harbour' signed and dated 1930 lower right, oil on panel, 31cm x 23cmPainter Teng Hiok Chiu was born into a notable family of tea merchants in Amoy on the Gulangyu Island outside of Xiamen, China, in 1903. In 1920 he moved to the USA to attend Harvard University for a semester, focusing on art history, architecture, and archaeology. The following year he enrolled at the Museum School of Fine Arts, Boston, training under the portrait painter Irwin D. Hoffman.In 1923, Teng set sailed for Europe, enrolling briefly at the École des Beaux-Arts in Paris, then moving to the University of London in 1924. From 1925–30 he studied painting under the tutelage of Sir George Clausen, Sir Walter Russell and Charles Sims at the Royal Academy Schools, winning every medal, prize and scholarship for which he competed; in 1929 he earned the distinction of being the first foreign artist to be awarded the Turner Gold Medal and the Royal Academy Scholarship for Landscape Painting. Demonstrating an early command over the western oil paint medium, Chiu focused on exploring western modernist concepts and became a master of still-life compositions, developing skillful techniques of naturalistic oil painting.In 1929 he held his first solo show in London at the Claridge Gallery. Her Majesty Queen Mary honoured the show with a visit, and the paintings sold out the next day. This exhibition was followed by a second held at the Fine Art Society in 1930.Art critics praised his subtle sense of colour and his ‘suave, transparent, clean handling of the oil medium' (The Observer 1930, p. 14).From 1927–30 Chiu’s oil paintings of landscapes and figures were included in exhibitions of the Royal Society of British Artists and other institutions; between 1927 and 1938, he exhibited at the Annual Exhibition of the Royal Academy of Arts six times.Chiu, who had not been exposed to the tradition and history of Chinese painting before he left China in 1920 (Ying-Ling Huang 2019, p. 384), reached the apogee of his artistic career in 1930, working in the British Museum with his mentor Laurence Binyon, the renowned orientalist scholar and Keeper of Oriental Prints and Drawings. Together, they analysed many significant works of Chinese calligraphy and painting. From then onwards, Chiu blended eastern and western aesthetic ideas and philosophies to produce works which addressed both western technique and Chinese sensibilities, such as adopting the concept of multi-point perspective and the technique of directing the viewers' gaze, both typical of Chinese landscape painting.Between 1925 and 1930, Chiu travelled throughout the British Isles, spending his summers painting in Cornwall (particularly around Polperro), East Anglia, the Lake District and Scotland.In 1930 Chiu began almost a decade of world travel, which took him to Bali, Java, Beijing, Shanghai, Indochina, Siam (now Thailand), Cambodia and various European countries.In 1935 he painted a notable portrait of Madame Chiang Kai-shek (Madame Chiang), First Lady of the Republic of China, the wife of Generalissimo and President Chiang Kai-shek. In 1936 Chiu held a solo show at the Fine Art Society which included the new subject-matter of Chinese landscape in Nanjing and important architecture and monuments in Peking (Beijing). Binyon, who wrote the preface to the exhibition catalogue, noted that Chiu ‘has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift’ (Binyon 1936, n.p.).
A BRONZE PECTORAL PLAQUE DEPICTING HANUMAN, BAJRANG BALI, 18TH CENTURYWestern India, Maharashtra or Karnataka. Finely cast, the circular plaque depicts a striding Hanuman, who carries in his left hand the healing plant (sanjivani buti), walking above an armed figure lying prone. The leafy plant hangs down to his knees, twisting back behind his body. The outer frame serves as a circular mandala with a band of stylized flames (prabhavala) and rosettes, enclosed by a rope-like border formed by the tails of two peacocks at the top, centered by a seven-headed hooded cobra hovering over a figure of Krishna dancing atop Hanuman's head. The mandorla further with sun and moon symbols. The back is cast with a vertical loop for mounting.Provenance: From a private collection in London, United Kingdom. The stand with an old label, 'India. Hanuman. In wheel of rosettes and seeds with peacock terminals. Nagas and Krishna.' Condition: Very good condition with minor old wear and expected casting flaws, small nicks, light scratches, minor dents.Weight: 751 g (excl. stand) and 1,084 g (incl. stand) Dimensions: Height 22.9 cm (excl. stand) and 26.3 cm (incl. stand) With a fitted modern stand. (2)The scene depicted on this plaque recalls an episode in the Indian Ramayana epic when Hanuman flew through the air to bring a healing, medicinal herb (sanjivani buti) to the wounded Rama and his army. The small figure below Hanuman's feet could be Lakshmana, the brother of Rama, who was wounded during the battle. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride. This unique ability, according to myth, enabled the god to rescue Rama.Expert's note: Known as a bajrang bali (strong monkey), this distinctive type of pectoral plaque depicts Hanuman, The Divine Monkey. It is worn suspended around the neck by Vaishnava ascetics devoted to Hanuman, in the regions of Karnataka and Maharashtra.Literature comparison:Compare a closely related bronze circular plaque depicting Hanuman mid stride, 21 cm high, dated 18th-19th century, in the British Museum, registration number 1853,0108.8. Compare a closely related plaque depicting Hanuman mid stride, 23 cm high, dated to the 16th century, in the Los Angeles County Museum of Art, accession number M.87.160.1. Compare a related bronze circular plaque depicting Hanuman, 6.75 cm high, dated 17th-18th century, in the British Museum, registration number 1940,0716.323.
Ceramics - Royal Crown Derby including Mikado, Rougement, Bali, unfinished blue and white paperweights, etc; an Abbeydale Chrysanthemum plate; a Beatrix Potter Jemima Puddleduck musical box; a Crown Staffordshire model of a bluebird, by J. T. Jones; Crown Staffordshire Kowloon; a Beswick owl; Hammersley sugar sifter; Wedgwood; Aynsley; Royal Worcester, etc, qty
Hotel-Etiketten. - Koffer-Aufkleber. Umfangreiche Sammlung von ca. 950 originalen Hotel-Etiketten, teils in Originalgraphik, meist Farblithographie oder Offset. Alle sauber montiert auf Tonkarton. Zwischen 10 x 8 und 20 x 16 cm. Europa, Afrika und Asien ca. 1900-1950.Eine veritable Kulturgeschichte der Hotellerie ergibt sich anhand dieser vielfältigen, farbenfrohen Sammlung von Hotel-Etiketten, die zahlreiche Koffer der Reisenden aus und in die ganze Welt zierten. Da vielfach neben den zahlreichen Stadtveduten auch die Hotels selbst abgebildet wurden, bieten die Etiketten interessante historische Ansichten einer meist vergangenen Zeit, da nichts so oft umgebaut und modernisiert wurde, wie Hotelfassaden oder -interieurs. Die meisten Etiketten stammen aus der Zeit um 1930. Auf vielen sind auch die besonderen Vorzüge der Hotels vermerkt, wie z. B. beim Hôtel Venezia, Torino, "Ascenseur - Luce elettrica", Hôtel Royal Superga ebendort bietet eine "Auto-Garage" etc. Vorhanden sind hier Brasilien (ca. 20), Deutschland, Österreich, Schweiz (ca. 70), Indien (ca. 6), Italien (ca. 100), Japan und China (ca. 120), dabei auch zahlreiche Restaurant- und Teestuben-Etiketten, Portugal (ca. 100), Spanien (ca. 100), Tschechien (ca. 60) Ungarn (ca. 80) und vieles, vieles mehr, z. B. Albergo Croce di Malta, Firenze, Albergo Pensione, Balestri, Firenze, Albergo Rufolo, Ravello, Alpenhof, Bad Aussee, Alpenrose, Feldkirch, Aston, Stockholm, Bali Hotel, Den Pasar, Bayerischer Hof, Leipzig, Beau Rivage, Interlaken, Carlton, Bratislava, Clark's Hotel, Benares, Continental Savoy, Kairo, Copacabana, Rio de Janeiro, Coq d'Or, Ostende, Corvetto Plaza, Genova, Crazy Corner, Ginza Tokio, Eden, Düsseldorf, Eskilstuna, Stockholm, Excelsior, Rio de Janeiro, Excelsior, Sao Paulo, Fenix, Lisboa, Gellert, Budapest, Goldener Hirsch, Rothenburg, Grand Hotel & Des Palmes, Palermo, Grand Hotel Bellevue, Cortina d'Ampezzo, Grand Hôtel Kitzbühel, Grand Hotel Regina, Salsomaggiore, Grand Hôtel, Falun, Grand Hotel, Napoli, Guldhedens, Göteborg, Haarlass, Heidelberg, Horfolk Hotel, Nairobi, Hotel Astor, Dresden, Hotel Belgica, Puerto de la Cruz, Tenerife, Hotel Bellevue, Hamburg, Hotel Cavalletto e Doge Orseolo, Venezia, Hotel Central, Wien, Hotel Colón, Sevilla, Hotel Compostela, Santiago, Hotel de la Gare, Venezia, Hotel Erzherzog Johann, Semmering, Hotel Héviz, Gyöngyvirág, Hotel Hokyoko, Kobe, Hotel Imperial, Vienne, Hotel International, Prag, Hotel La Pace, Pisa, Hotel Las Salina, Peñon de Ifach, Hotel Massimo d'Azeglio, Roma, Hotel Moskva, Gottwaldow, Hotel Mosser, Villach, Hotel Mozart, Wien, Hotel Nettuno, Pisa, Hotel Oriente, Barcelona, Hotel Post, Bad Ischl, Hotel Regina, Wien, Hotel Reichshof, Hamburg, Hotel Sacher, Baden, Hotel Sta Caterina, Amalfi, Hôtel Stella, Firenze, Hotel Suizo, Gerona, Hotel Terme, Abani Terme, Hotel Timeo, Taormina, Hotel Turismo, Luanda, Hôtel Venezia, Torino, Hotel Victoriano, Granada, Intourist, (Ost-)Berlin, Knaust, Sundsvall, Langbian Palace, Dalat, Luisenhof, Hannover, Majestic Hotel "Già Baglioni", Bologna, Margitsziget, Budapest, Mollberg, Helsingborg, Palace Hotel, Milan, Palace Hotel, Praha, Palace, Bahia, Brasil, Palace-Hotel, Göteborg, Parc Hotel Concordia, Cortina, Pensione Villa Barbara, Lerici, Royal Hôtel S. Marco, Ravenna, Savoy-Hotel, Davos,Schwarzer Bär, Jena, Seilerhaus, Zermatt, Semiramis, Kairo und viele, viele hunderte mehr. "Aufkleber auf Koffern hatten ursprünglich ganz praktische Gründe: Hoteldiener brachten Name und Adresse des an- oder abreisenden Gastes auf dessen Gepäck an, um Verwechselungen auszuschließen. Findige Hotelbesitzer ließen etwa ab 1880 neben den ersten lithografisch gedruckten Postkarten auch typografisch gestaltete Etiketten herstellen. Den Koffer mit Aufklebern, den Visitenkarten bekannter Hotels, schmücken zu lassen, galt von Beginn an als ebenso selbstverständlich wie schick. 'Wenn ich in irgendeinem großen Hotel in Berlin, Dresden, München, Wien, Montreux, Zürich, London oder Paris Koffer sah, die Etiketten aus allen Erdteilen trugen, aus Kairo, New York, San Francisco, Sidney, Buenos Aires, Schanghai, Yokohama, Kapstadt oder Kalkutta, dann habe ich immer ein wenig Neid empfunden. Vor allem beneidete ich die Besitzer dieser Koffer um die Stunden der Erinnerung, die leuchtend auftauchen, wenn das Auge wieder einmal auf den kleinen, bunten Kunstwerken ruht. Es sind kaleidoskopartige Bilder, die uns, wie ein orientalischer Märchenerzähler, von entschwundenen, glücklichen Tagen und von Zeiten des Weltdurchstreifens vorplaudern,' schrieb Harry Nitsch 1927 in seinem Buch 'Das Hotel - und Gastgewerbe - Moderne Propaganda-Methoden'.Die Hoteletiketten, in englischsprachigen Ländern "Luggage Labels" genannt, waren die heißgeliebten Clubabzeichen der Globetrotter dieser goldenen Tage - Reisetagebuch und Ansichtskarte zugleich adelten Sie das Gepäck des Reisenden mit seiner ureigensten Geographie, die nicht in wenigen Tagen zu haben war. Die schönsten Exemplare entstanden in der Zeit zwischen 1900 und 1930. Mit dem einsetzenden Massentourismus der sechziger Jahre und der zunehmenden fotografischen Berichterstattung durch Print und TV wurde diese Form der Reiseandenken nicht mehr gebraucht." (Der Spiegel 01.03.2008, 16.40). - Wenige doppelt, hin und wieder unwesentliche Gebrauchsspuren, meist sehr gut erhalten.
A QUANTITY OF ASSORTED MIDWINTER DINNER AND TEAWARES, including thirteen pieces of 'Happy Valley' designed by Jessie Tait, a Stylecraft set of six coffee cups, six saucers and six saucers with blue and grey flowers, three pieces in the Carmen pattern, five Bali-Ha'i pattern plates, Bella Vista comports and plates, etc, s.d. (Qty)
INDONESIAN, LATE 20TH C. - MONKEYS AND PARROTS IN A JUNGLE Gouache on fabric, signed MD Sutra, Ubud Bali lower right 120 x 128cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
INDONESISCHE SKULPTUR / TEMPELFIGUR, Holz, geschnitzt, farbig gefasst und teilweise vergoldet; Indonesien / Bali, 19./20. Jh.. Auf karreeförmigem Postament stehende männliche Figur mit reichem Kopf- und Brustschmuck und prächtiger Kleidung. H. 34 cm (Rückseitige Strebe mit Spannungsriss). Aus dem Nachlass einer westfälischen Sammlung.
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