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Shanti Panchal:Untitled (Offering)
signed and dated 88-89 [?] in devanagari upper left
watercolour on paper
75.9 x 55.9cm (29 7/8 x 22in).

Shanti Panchal 无 题

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约翰·威廉·沃特豪斯的《马戏团向奥德修斯献杯》-John William Waterhouse

马戏团向奥德修斯献杯--John William Waterhouse (英国, 1849 - 1917)

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加布里埃尔·弗朗索瓦·多恩的《俄罗斯贵族向密涅瓦献上皇子》-Gabriel-François Doyen

俄罗斯贵族向密涅瓦献礼--Gabriel-François Doyen (法国, 1726 - 1806)

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A TEMPLE BANNER WITH OFFERINGS TO MAHAKALA:TIBET, 19TH/20TH CENTURY
Distemper on silk.
Himalayan Art Resources item no.4546
22 1/2 x 161 in. (57.2 x 409 cm), irregular;
With frilled edges: 22 1/2 x 187 in. (57.2 x 475 cm), irregular

供奉马哈卡拉的寺庙横幅 西藏，19/20世纪

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Paul Gauguin:Te Atua (The Gods), from Noa Noa (Guérin 31), c. 1894-95
Woodcut in black and orange on Japan paper, a fine and rare trial proof of the third (final) state, printed by the artist and Louis Roy, Paris, before the edition of approximately 25 with the halos and the floral offering stopped out, with margins, framed.
8 x 14in (20.5 x 35.5cm)
sheet 9 7/8 x 15 3/4in (25 x 30cm)

保罗·高更 上帝，来自诺亚，

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Hans Hartung，当代艺术I-

Hans Hartung * - Zeitgenössische Kunst I-

(Leipzig 1904–1989 Antibes)
T 1964 - E 40, 1964, signed, dated Hartung 64, titled and inscribed and with directional arrow on the stretcher, acrylic on canvas, 81 x 130 cm, framed

This work is registered at the Foundation Hans Hartung and Anna-Eva Bergman, Antibes, and will be included in the forthcoming Catalogue Raisonné being prepared by the Foundation Hartung Bergman, Antibes (confirmation via email 3. October 2022).

Provenance:
Galerie Kallenbach, Munich
Private collection, North Rhine-Westphalia
Ketterer Kunst, Munich, 18 June 2021, lot 302 - acquired there by the present owner

Hans Hartung\'s entire oeuvre is characterised by abstract, non-objective painting. This interplay of light and shadow, structure, texture and airiness would become the formative elements of his later works. The non-figurative painting T 1964 - E 40 offered here also belongs to his catalogue of work. The canvas is primed in yellow, the upper part of the painting is dipped in a rich black. Above this is a layer of dark blue paint splashes with white accents, which the artist has worked on with a steel brush and scraper. A particular focus of the work is the complementary contrast of blue and yellow as well as the contrast between surface and stroke. The pictorial space is composed of light, shadow and their contrast.

The multitude of brushstrokes and scratches, the result of the painter\'s activity on the canvas, represent Hartung\'s style of the 1960s. The compositional scheme of the work offered here is reminiscent of the depiction of fireworks. The rockets explode in the night sky and colour it a sulphurous yellow.

“The first and most important thing is to remain free, free in each line you undertake, in your ideas and in your political action, in your moral conduct. The artist especially must remain free from all outer restraints.”
Hans Hartung

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A LARGE KEMAN (BUDDHIST PENDANT ORNAMENT):Edo period (1615-1868), 18th/19th century
Of rounded-rectangular form in gilt metal with mineral pigment on the surface with carved in openwork of lotus blossoms and leaves arising from swirling waters, a cord knotted in the center with a central blossom floret and two pendant loops, the surface engraved with details, the hanger and bracket with scrolling vines and a nanako ground, fitted with hanging garland strands of blossoms, colored beads, and bells of various shapes, inscribed next to the cords and on the reverse with the names of the parishioners who made the offering
With a wood tomobako storage box
42 1/2 x 15 1/8in (108 x 38.4cm), including garlands

一个大的可曼（佛教挂饰） 江户时期，18/19世纪

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DEIRYU KUTSU (KANSHU SOJUN, 1895-1954):Procession of Mendicant Monks Leaving and Returning
Taisho (1912-1926) or Showa (1926-1989) era, first half of the 20th century
The pair of hanging scrolls in ink on paper depicting black-robed monks leaving and returning to their temple while carrying staffs and wearing straw sedge hats in their quest for alms; the calligraphy, as translated by Audrey Yoshiko Seo and Stephen Addiss, stating \"One bowl, the offerings of a thousand houses\" on the scene of leaving, and \"Walking, walking this Buddhist path,\" on that of returning; signed Deiryu and sealed Sojun, Deiryu (leaving scroll), Rinzai Shoshu (returning scroll) and Chisoku(both scrolls)
With a single wood tomobako storage box (2)
52 3/4 x 6 5/8in (134.1 x 16.7cm) each

戴瑞的邀请（1895-1954） 20世纪上半叶大正或昭和时代的出家人离开和返回的过程

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Alex Katz，当代艺术I-

Alex Katz - Zeitgenössische Kunst I-

(born in Brooklyn/New York in 1927)
Maria, 1990 signed and dated, oil on board, 45.7 x 60.7 cm, framed

This work is registered in the Alex Katz archive.

Provenance:
Private Collection, Italy
European Private Collection
Acquired from the above by the present owner

In the nineteen-fifties, when most of the serious art being done was abstract, Katz outraged scores of artists and formalist critics by inventing new ways to paint the human figure. He has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style—the way it’s painted—is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away. (…)

His main influences were television ads, movie closeups, Japanese prints (by Utamaro, in particular), and billboards (…).

Katz had found a way to paint portraits that he described, as “brand-new terrific.” Ignoring character and mood, he offered the pure sensation of outward appearance—not who the people were, but how they appeared at a specific moment. “I can’t think of anything more exciting than the surface of things,” he later told an interviewer.
(taken from: Calvin Tompkins, Alex Katz’s Life in Art, The New Yorker, 20/8/2018)

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托姆布雷-

Cy Twombly * - Zeitgenössische Kunst I-

(Lexington, Virginia 1928–2011 Rome)
Untitled, 1963/1964, signed Cy Twombly, colored pencil, wax crayon on paper, 86 x 67 cm, framed

Provenance:
Galleria La Tartaruga, Rome
Galerie Karsten Greve, Cologne
Private Collection, 德国y
Kunsthaus Lempertz, 3 December 2016, lot 450 - acquired there by the present owner

Literature:
Nicola Del Roscio, Cy Twombly, drawings, catalogue raisonné, Gagosian Gallery, New York (Ed.), Munich 2011, vol. 4, no. 20

Cy Twombly occupies a unique position among US artists. Twombly lived and worked in Italy, far from the 美国 art world, and felt free to experiment. In Rome, Twombly refined his distinctive artistic language. Twombly\'s visual language is informed by classical literature, ancient history, poetry and mythology, as well as his own life experience. Since the 1950s, Twombly\'s drawings have been dominated by rhythmically repeated line progressions, swirls, dense tangles and isolated numbers. Pencil, coloured pens and ballpoint pens enabled Twombly to make this \'scriptural\' drawing, which ultimately includes the signature of the artist himself. On the white of the paper, the pictorial elements provoke by appearing as scribbles, appearing as if randomly distributed on the surface.

The untitled work offered here is a vivid example of Twombly\'s unique pictorial language. The pictorial elements merge into an abstract composition that is both delicate and dynamic. The work was created in Italy between 1963-64. Twombly lived in a 17th-century palazzo on Via di Monserrato in Rome at the time the work was created. Untitled is emblematic of the groundbreaking work Twombly produced in the 1960s, widely regarded as a critical and highly fruitful period in his long and illustrious career.

“Paint is something that I use with my hands and do all those tactile things. I really don’t like oil because you can’t get back into it, or you make a mess. It’s not my favourite thing... pencil is more my medium than wet paint.”
Cy Twombly