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Auctions in Austria
23. Tiberius Auction - Day 1
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23. Tiberius Auction - Day 1
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23. Tiberius Auction - Day 1
Active
25d 0h 59m
Lots
550
Location
Vienna AT
Ends
1 Dec 2026, 15:00
Currency
EUR
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Vienna
Lots (550)
Lots in this auction
Madonna and Child with Saint Catherine Italy, c. 1450 Oil on wood 37.5 x 46.5 cm, with frame 39.5 x 48 cm Madonna mit Kind und Heiliger Katharina Italien, um 1450
Domenico Fetti Rome 1589-1623 Venice, attributed Lot and His Daughters Oil on canvas, relined 96 x 75 cm, with frame 115 x 98 cm Domenico Fetti was a prominent Italian painter of the early Baroque period who worked in Rome, Mantua, and Venice. He is considered one of the most important mediators between Roman naturalism and Venetian color painting. Fetti combined Caravaggio’s dramatic use of light with a finely nuanced, color-rich style influenced by the Venetian masters Titian and Veronese. His works are characterized by psychological depth, emotional immediacy, and a clear narrative structure—qualities that made him one of the defining artists of his time. The painting discussed here, attributed to Domenico Fetti, presumably depicts the biblical scene of Lot and his daughters (Genesis 19:30-36). After the destruction of Sodom and Gomorrah, Lot and his two daughters flee to a cave. Believing that the world has come to an end and that no men are left alive, the daughters get their father drunk in order to ensure the continuation of the human race through him. This ambivalent story, which oscillates between the breaking of a moral taboo and the preservation of the lineage, was frequently taken up in Baroque art as a symbol of temptation, guilt, and moral conflict. Against a dark background, a dense, emotionally charged scene unfolds in dramatic lighting. Two figures appear closely entwined: on the right, an older man in a brown robe tied at the shoulder, with striking facial features and a tall turban; on the left, a young woman who has draped her left arm around his shoulder and is holding out a chalice in the shape of a cornucopia to him with her right hand—presumably the wine with which Lot is being made drunk. Her gaze is intense, almost pleading, directed at him, while his face—marked by deep wrinkles and warm, earthy tones—is turned toward the viewer. The woman’s blue scarf contrasts with the delicate flesh tones of her face, which stands out in the light and is enlivened by rosy cheeks. The painting exhibits a remarkable intimacy that sets it apart from many other depictions of the subject. Often, both of Lot’s daughters are shown—one pouring wine while the other approaches her father. Here, however, only one daughter is present, almost bringing the vessel to her father’s mouth. This focus on two figures heightens the emotional intensity of the depiction. The man’s flushed face, a sign of wine consumption, already hints at his state of intoxication, while his gaze, directed toward the viewer, further underscores the moral ambivalence of the scene. The radiant blue of the daughter’s headdress deserves special attention, as it stands out vividly against the dark background and the warm flesh tones. In Baroque color iconography, blue was associated with purity, fidelity, and spiritualization, among other things. In this context, the color can be interpreted as a deliberate contrast to the depicted action, thereby reinforcing the scene’s ambivalence. The result is a work of great psychological depth and emotional tension, in which the moral dilemma of the biblical narrative is expressed through dramatic lighting, nuanced coloration, and an almost theatrical intimacy among the figures. Domenico Fetti Rom 1589-1623 Venedig,
Alexandre Calame 1810-1864, attributed Landscape Oil on cardboard 20 x 33 cm, with frame 27.5 x 40.5 cm Alexandre Calame 1810 - 1864,
The Pissling Siblings Biedermeier, 19th century Oil on canvas, relined 52.5 x 65 cm, with frame 67.5 x 79.5 cm Inscribed on the back of the stretcher and labeled Geschwister Pissling Biedermeier, 19.
H. de Vaudoncourt France, early 19th century French Army Camp Oil on canvas 32.5 x 40.5 cm, with frame 49.5 x 50 cm Inscribed on the reverse Damaged H. de Vaudoncourt Frankreich, Anfang 19.
Abraham Hulk 1813-1897 Beach scene with boats Oil on canvas, relined on a backing board 30 x 50.5 cm, with frame 39 x 59 cm Signed lower left Abraham Hulk 1813 - 1897 Strandszene mit Booten
Ernst Kaiser 1803-1865 The Salzach Valley Oil on canvas, relined 53 x 82.5 cm, with frame 64.5 x 92.5 cm Signed lower right Ernst Kaiser 1803 - 1865 Das Salzachtal
László Mednyánszky 1852-1919 River Landscape Oil on wood 20.3 x 26 cm, with frame 38 x 43.5 cm Signed lower right Certificate of authenticity from the Magyar Nemzeti Galéria included László Mednyánszky 1852 - 1919 Flusslandschaft
László Mednyánszky 1852-1919 River Landscape Oil on cardboard 32.5 x 24.5 cm, 45 x 37 cm Signed lower right Certificate of authenticity from the Magyar Nemzeti Galéria included László Mednyánszky 1852 - 1919 Flusslandschaft
Leon Abramovicz 1899-1978 Man and Woman Oil on cardboard 43 x 31 cm Catalog number B 161 on the reverse, estate stamp Leon Abramovicz 1899 - 1978 Mann und Frau
Portrait of a Young Girl 19th century Oil on canvas 52 x 39 cm, 69 x 55 cm with frame Portrait eines jungen Mädchens 19.
Franz Xaver Gruber 1801-1862 Winter in Graz Oil on cardboard 25 x 37.5 cm Signed lower right Franz Xaver Gruber 1801 - 1862 Winter in Graz
Unknown Painter 16th/17th century Saint Mary Magdalene Oil on wood 26 x 24 cm, with frame 36 x 34 cm Restored Unbekannter Maler 16./17.
Franz Xaver Gruber 1801-1862 Winter in Graz Oil on cardboard 25 x 32.2 cm Signed lower right Franz Xaver Gruber 1801 - 1862 Winter in Graz
August von Pettenkofen 1822-1889, attributed Horse Stud Oil on canvas 15.5 x 36.7 cm, with frame 57 x 37 cm Signed lower left August von Pettenkofen 1822 - 1889,
Léonard Saurfelt 19th century Village Scene Oil on canvas 66 x 54.5 cm, with frame 73 x 62 cm Signed and dated 1880, lower right Léonard Saurfelt 19.
Théodore Levigne 1848-1912 19th century Hunting still life Oil on canvas 151.5 x 104 cm, with frame 162 x 114 cm Théodore Levigne 1848 - 1912 19.
Robert Alott 1850-1910 Drinkers at the Barrel Oil on wood 30 x 22 cm, with frame 40.5 x 34 cm Signed lower right Robert Alott 1850 - 1910 Die Trinker beim Fass
Cabin by a Wild Stream Oil on wood 20.5 x 27.5 cm, with frame 33 x 38.5 cm Hütte am wilden Bach
Leopold Till 1830-1893 Family Idyll Oil on canvas, relined 39.5 x 31 cm, with frame 50.5 x 40.5 cm Signed lower left Leopold Till 1830 - 1893 Familienidylle
Unknown 19th-century painter House by the Lake Against an Alpine Landscape Oil on canvas, relined 31.5 x 39.5 cm, with frame 40.5 x 48 cm Unbekannter Maler des 19. Jahrhunderts Haus am See vor alpiner Landschaft
Unknown painter Madonna and Child Oil on canvas, relined 65 x 51 cm, with frame 81 x 67.5 cm Signed illegibly lower left Unbekannter Maler Muttergottes mit dem Kind
Leopold von Stoll 1803-1884 Flower Still Life 19th century Oil on canvas, relined 46.5 x 34.5 cm, with frame 65 x 55 cm Signed and dated 1882, lower right Leopold von Stoll 1803 - 1884 Blumenstillleben 19.
17th-century Prague School Hans Van Aachen, Circle of Portrait of Rudolf II Oil on canvas, relined 62.5 x 49 cm Inscribed on the reverse: ‘Charles Quint, King of Spain, Emperor of Germany, King of the Romans, born 24 February 1500, died 20 October 1558’ Expert report by Stéphane Pinta dated 22 June 2022 is included Hans von Aachen (1552-1615) is regarded as one of the leading figures of European late Mannerism and one of the foremost artists at the court of Emperor Rudolf II. His portraiture combines a precise observation of individual facial features with the ceremonial dignity of courtly portraiture. Alongside allegorical and mythological compositions, his portraits of rulers formed an important part of the Emperor’s self-representation. The painting, attributed to his circle, follows this tradition. Rudolf II (1552-1612), Emperor of the Holy Roman Empire from 1576, was one of the outstanding patrons of the arts and collectors of his time. With the relocation of his residence to Prague in 1583, the city developed into a centre of European art and scholarship. The international community of artists surrounding the Emperor, known as the Prague School, came to play a particularly significant role in the late 16th and early 17th centuries. Artists such as Hans von Aachen, Bartholomäus Spranger and Joseph Heintz the Elder shaped a sophisticated style of court art in which Italian and Northern European traditions converged. Set against a dark background, the subject is depicted in a three-quarter profile, facing left. His gaze is directed straight at the viewer. The furrowed brow, the emphasised eyes and the receding hairline lend the face the expression of a mature man. A straight nose, a full, slightly protruding lower lip, as well as the long moustache and thick full beard define his striking features. The scrutinising gaze lends the portrait a commanding presence. The tall black hat is adorned at the brim with a precious band set with pearls and gemstones. An agraffe-like ornament, whose shape is reminiscent of a horse’s head, adds a further accent. The ruffled white ruff frames the face and effectively sets it off against the dark clothing. A gold-striped undergarment peeks out from beneath the black cloak. The subdued colour scheme enhances the effect of the light-coloured sections of fabric and the rich jewellery. A lavishly designed chain rests across the chest, from which hangs the Golden Fleece as the insignia of the order. Founded in 1430 by Duke Philip the Good of Burgundy, the Order was one of the most distinguished chivalric societies in Europe and was closely linked to the Habsburg dynasty. Its emblem, designed as a golden ram’s fleece, signifies in the portrait the highest social rank, dynastic affiliation and the ideal of chivalric virtue. The focus on the face, the gaze and selected symbols of courtly dignity reflects the representational aspirations of a portrait of a ruler. The dark background allows the figure to stand out clearly and draws attention to the interplay of individual physiognomy and sumptuous attire. In this respect, the painting can be viewed within the context of that courtly portrait tradition which Hans von Aachen and his artistic circle played a decisive role in shaping at the court of Emperor Rudolf II. Prager Schule des 17. Jahrhunderts Hans Van Aachen,
P. Dolnek 19th century Hiker at the Hut Oil on canvas 55 x 68 cm, with frame 84 x 96.5 cm Signed lower right P. Dolnek 19.
Heinrich Carl Schubert 1827-1897 Boy Smoking Oil on canvas, relined 81 x 65.5 cm, with frame 91.5 x 76 cm Signed and dated 1860, lower right Heinrich Carl Schubert 1827 - 1897 Rauchender Junge
Unknown Artist Portrait of a Lady Oil on canvas 100 x 74.5 cm, with frame 111.5 x 85 cm Signed, inscribed, and dated “Vienna 1908” lower right Unbekannter Maler Damenportrait
P. Dolnek 19th century Hiker in an idyllic landscape Oil on canvas 55.5 x 68.5 cm, with frame 84 x 96.5 cm Signed lower left P. Dolnek 19.
19th-century painter Cattle Drive in Front of the Dachstein Oil on canvas 55.5 x 68.5 cm Signed “Gehrich” lower left Maler des 19. Jahrhunderts Viehtrieb vor dem Dachstein
Saint Barbara Viennese Ringstrasse painter, ca. 1880 In the style of Franz Maatsch Oil on canvas 94.5 x 69.5 cm Heilige Barbara Wiener Ringstrassenmaler um 1880 In der Art des Franz Maatsch
The Face of Christ - Veronica’s Veil Oil on canvas 56.5 x 44.5 cm, with frame 68 x 56 cm Monogrammed “AnKa” and dated 1901, lower right Surface damaged Antlitz Christi - Schweißtuch der Veronika
Portrait of a Young Girl 19th century Oil on canvas 49.5 x 37 cm, with frame 99 x 53.5 cm Restored Portrait eines jungen Mädchens 19.
The Cow at the Watering Hole 19th century Oil on canvas on wood 31.5 x 40.5 cm, with frame 46.5 x 55.5 cm Die Kuh bei der Tränke 19.
Johann Wilhelm Jankowski Active 1825-1870 View of Venice Oil on wood 15.5 x 31.5 cm, with frame 28.5 x 44.5 cm Signed lower right Johann Wilhelm Jankowski Tätig von 1825 - 1870 Motiv aus Venedig
Josef Heintz the Younger 1600-1678, Circle of Battaglia dei pugni - Traditional Fistfight Italy, 17th century Oil on canvas 96 x 133.5 cm, with frame 117.5 x 155 cm Josef Heintz the Younger, a native of Augsburg, spent most of his artistic career in Venice. In addition to religious and mythological paintings, he created multi-figure depictions of Venetian festivals, processions, and public entertainments. His combination of cityscapes and vivid depictions of events makes these works vivid testimonies to Venetian festive culture and precursors to the later veduta genre. This painting, attributed to his Circle of artists, depicts a “battaglia dei pugni,” a traditional fistfight between rival Venetian factions. The groups known as the Castellani and the Nicolotti faced off on bridges, attempting to push their opponents back or throw them into the canal. These fights combined the competition for dominance on the bridge with a public spectacle that attracted numerous spectators. In the center, the tightly packed fighters clash on the bridge, while individual figures are already plunging into the canal. Red head coverings on the left and black ones on the right distinguish the opposing groups within the depiction. Two boats in the foreground, whose occupants are shown from behind, serve as a link between the viewer and the action. On the right, a skirmish apparently fought with swords complements the lively scene; two women wearing long, veil-like head coverings further enrich the depiction of the assembled city population. The houses lining the canal form a cohesive backdrop. Blue and pink cloths hanging from the windows add splashes of color, while the dark gray, cloud-filled sky heightens the dramatic effect of the action. The multitude of small figures, their varied movements, and the scattered secondary scenes reflect the narrative approach to painting that characterizes Heintz’s Venetian depictions. The painting thus combines the spectacle of the turbulent event with a vivid portrayal of urban rivalry and communal entertainment in 17th-century Venice. Josef Heintz der Jüngere 1600-1678,
Carl Probst 1854-1924 Study from Kreuzenstein Oil on wood 40 x 30 cm, with frame 50 x 39.5 cm Exhibition label from the Künstlerhaus on the reverse Carl Probst 1854 - 1924 Studie aus Kreuzenstein
Rudolf Julius Benno Hübner 1806-1882, follower of the Golden Age High-quality reproduction of the original work Oil on canvas 61 x 101.5 cm, with frame 83.5 x 123.5 cm Marked “Restored by A. Wagner” lower left Rudolf Julius Benno Hübner 1806 - 1882,
W. Ziller 19th/20th-century painter Venice Oil on canvas 54.5 x 81.5 cm, with frame 74.5 x 98 cm Signed lower left W. Ziller Maler des 19./20. Jahrhunderts Venedig
Carl Haase 1820-1876 Capri Oil on canvas 63.5 x 94.5 cm, with frame 73.5 x 105 cm Signed lower left Carl Haase 1820 - 1876 Capri
Ferdinand Lepié 1824-1883 View of Salzburg Oil on canvas 84.5 x 113.5 cm, with frame 94.5 x 124 cm Signed lower left Canvas damaged lower right Ferdinand Lepié 1824 - 1883 Blick auf Salzburg
Ferdinand Lepié 1824-1883 Lake Attersee Oil on canvas 25.5 x 41 cm, with frame 31.5 x 47 cm Signed lower right Ferdinand Lepié 1824 - 1883 Attersee
Antonio Ermolao Paoletti 1834-1912 Venetian Pearl Stringer Oil on canvas, relined 103 x 82 cm, with frame 115 x 94 cm Signed lower left Antonio Ermolao Paoletti 1834 - 1912 Venezianische Perlenfädlerin
Adolf Chwala 1836-1900, attributed The Hut Oil on panel 37 x 27 cm, with frame 58 x 48 cm Signed lower left Label on the reverse Adolf Chwala 1836 - 1900,
Rudolf Ernst 1854-1932 Portrait of a Girl Oil on wood 53 x 41.5 cm, with frame 81 x 69 cm Signed and dated 1873, lower right Rudolf Ernst 1854 - 1932 Portrait eines Mädchens
Anton Ebert 1835-1896 Portrait of a Girl with a Wreath of Vine Leaves and Grapes Oil on canvas, relined 46.5 x 39.5 cm, with frame 57.5 x 50.5 cm Signed lower right Anton Ebert 1835 - 1896 Portrait eines Mädchens mit Weinlaub- und Traubenkranz
Old Master Painting German, 16th/17th century Bathing Scene Oil on wood 34 x 72 cm, with frame 48.5 x 86.5 cm Altmeistergemälde Deutsch, 16./17.
Anton Schrödl 1820-1906 The Goat Herder Oil on panel 20.5 x 13.5 cm, with frame 27.5 x 21 cm Inscribed on the reverse Anton Schrödl 1820 - 1906 Der Ziegenpeter
Anton Schrödl 1820-1906 Landscape with a Hut Oil on cardboard 23 x 28 cm, with frame 35.5 x 40 cm Signature incised into the cardboard, lower right Anton Schrödl 1820 - 1906 Landschaft mit Hütte
Anton Schrödl 1820-1906 Cow in the Barn Oil on canvas 21.5 x 27 cm, with frame 28 x 32.5 cm Signed lower right Anton Schrödl 1820 - 1906 Kuh im Stall
Anton Schrödl 1820-1906 The Reclining Sheep Oil on canvas relined on cardboard 15.5 x 24 cm, with frame 30 x 39 cm Estate stamp on the reverse Anton Schrödl 1820 - 1906 Das liegende Schaf
Franz Russ 1844-1906 View of the Village of Weißenkirchen in the Wachau Region Oil on canvas relined on cardboard 25 x 31 cm, 35.5 x 41.5 cm with frame Signed lower right Franz Russ 1844 - 1906 Dorfansicht in Weißenkirchen in der Wachau
Pierre Jean Edmond Castan 1817-1895 Girl in Prayer Oil on canvas, relined 56 x 41 cm, with frame 74.5 x 59 cm Signed and dated 1874 (?) lower left Pierre Jean Edmond Castan 1817 - 1895 Mädchen im Gebet
Léon Cogniet 1794-1880 Oriental Scene Sketch for the major painting “L’Expédition d’Egypte sous les ordres de Bonaparte” (Louvre, Inv. No. 3287) Oil on canvas 40 x 30.5 cm, with frame 49.5 x 40 cm Léon Cogniet 1794 - 1880 Orientalische Szene Bozzetto des bedeutenden Gemäldes "L’Expédition d’Egypte sous les ordres de Bonaparte" (Louvre, Inv.-Nr. 3287)
Marie Onken-Palme 1871 - 1951 Rural Path in Loiben, Wachau Oil on cardboard 15 x 21.5 cm, with frame 25 x 31 cm Signed lower left Marie Onken-Palme 1871 - 1951 Ländlicher Weg in Loiben, Wachau
Emilie Mediz-Pelikan 1861-1908 Night-Blooming Plants Oil on canvas, relined 59.5 x 49 cm, with frame 68 x 58 cm Monogrammed lower left Inscribed and dated 1882 (?) on the back of the stretcher Emilie Mediz-Pelikan 1861 - 1908 Nachtgewächse
John Frederick Herring London 1795-1865 Tonbridge Lunchtime Oil on panel 20 x 30.5 cm, with frame 30 x 40 cm Signed lower left John Frederick Herring London 1795 - 1865 Tonbridge Die Mittagspause
Monsù Desiderio or Desiderio Monù Boat Ride in the Moonlight Oil on canvas on wood Diameter 32.5 cm, with frame 61 x 61 cm Pseudonyms for two painters active in Rome and Naples during the first half of the 17th century, whose real names were François de Nomé and Didier Barra. Monsù Desiderio bzw. Desiderio Monù Bootfahrt im Mondschein
Unknown artist In the style of Franz Russ the Elder (1817-1892) 19th century Madonna and Child Oil on canvas relined on panel 74 x 60.5 cm, with frame 101.5 x 85 cm Damaged Unbekannter Künstler In der Art von Franz Russ der Ältere (1817 - 1892) 19.
Eduard Ameseder 1856-1938 Joan of Arc Oil on canvas, relined on a backing board 93 x 73.5 cm Signed lower right Inscribed on the back of the stretcher Eduard Ameseder 1856 - 1938 Jeanne d`Arc
Remigius Adrianus van Haanen 1812-1894 Tree with an Owl After Jacob van Ruidael Oil on canvas, relined 71.5 x 53 cm, with frame 80 x 62 cm Monogrammed at the bottom center Remigius Adrianus van Haanen 1812 - 1894 Baum mit Eule Nach Jacob van Ruidael
Remigius Adrianus van Haanen 1812-1894 River Landscape Oil on wood 10 x 19 cm Signed lower left Remigius Adrianus van Haanen 1812 - 1894 Flusslandschaft
Portrait of a Woman from the South 19th century Oil on canvas 26.5 x 21 cm, with frame 45.5 x 40 cm Portrait einer Südländerin 19.
Rosa Schweninger 1849-1918 Boy in the Snow Oil on canvas 81 x 58.5 cm, with frame 88 x 66 cm Inscribed and dated 1878, Roma, on the reverse Rosa Schweninger 1849 - 1918 Junge im Schnee
Leopold Carl Müller 1834-1892 Portrait of a Boy Oil on canvas relined on cardboard 42.5 x 35 cm Signed lower left Label on the reverse Leopold Carl Müller 1834 - 1892 Jungenportrait
Hubert Sattler 1817-1904 Balloon Ride Near Neuschwanstein Castle, the Famous Fairytale Castle in the Bavarian Allgäu, Built by King Ludwig II Oil on wood 18 x 26 cm, with frame 33.5 x 41 cm Signed lower left Inscribed on the reverse Hubert Sattler 1817 - 1904 Ballonfahrt bei Schloss Neuschwanstein, dem berühmten Märchenschloss im bayerischen Allgäu, von König Ludwig II.
Anders Montan Bröddarp 1845-1917 Düsseldorf The Wine Tasting Oil on wood 31.5 x 40.5 cm, with frame 42.5 x 52 cm Signed lower right Anders Montan Bröddarp 1845 - 1917 Düsseldorf Die Weinprobe
Portrait Study in a Tondo Italy 17th century Oil on cardboard Diameter 28 cm, with frame 45 cm In an original 17th-century frame Portraitstudie im Tondo Italien 17.
Pompeo Mariani 1857-1927 Ball Scene in Milan Oil on cardboard 39.5 x 49.5 cm, with frame 58 x 67.5 cm Signed lower right Pompeo Mariani 1857 - 1927 Ballszene in Mailand
Pompeo Mariani 1857-1927 Ball Scene in Milan Oil on cardboard 30 x 20 cm, with frame 45.5 x 35 cm Signed lower left Estate stamp on the reverse Pompeo Mariani 1857 - 1927 Ballszene in Mailand
Pompeo Mariani 1857-1927 Ball Scene in Milan Oil on cardboard 30.5 x 19.5 cm, with frame 46 x 34.5 cm Signed lower right Estate stamp on the reverse Pompeo Mariani 1857 - 1927 Ballszene in Mailand
In the style of Giacomo Favretto 1849 - 1887 After Lunch in the Garden Oil on canvas 40.5 x 52.5 cm, with frame 66.5 x 77.5 cm Apocryphal signature lower right In der Art von Giacomo Favretto 1849 - 1887 Nach dem Mittagessen im Garten
Gottfried Seelos 1829-1900, attributed South Tyrol Oil on canvas 16.5 x 26 cm, with frame 26 x 35 cm Gottfried Seelos 1829 - 1900,
Gottfried Seelos 1829-1900, attributed Landscape with Ruins Oil on canvas 16.5 x 26 cm, with frame 26 x 35 cm Gottfried Seelos 1829 - 1900,
Eduard von Grützner 1846-1925 The Monk Oil on cardboard Diameter 8.7 cm, with frame 18.9 x 15.5 cm Signed and dated 1880 on the right side Eduard von Grützner 1846 - 1925 Der Mönch
Julius von Blaas 1845-1922 Horse Heads Oil on canvas 84 x 54.5 cm Signed lower right
Rubens Santoro 1859-1941 Venice Oil on canvas, relined 46 x 38 cm, with frame 55 x 46.5 cm Signed lower right Rubens Santoro 1859 - 1941 Venedig
Louis Uhl 1860-1909 The Scythe Maker Oil on canvas, relined 60 x 77 cm, with frame 76 x 93 cm Signed lower right Louis Uhl 1860 - 1909 Der Sensenschmied
Jan van Goyen 1596-1656 River Landscape Oil on wood 29 x 36.5 cm, with frame 48 x 56 cm Monogrammed and dated lower left Jan van Goyen 1596 - 1656 Flusslandschaft
François-Etienne Musin 1820-1888 Seascape Watercolor on paper 16.5 x 34.5 cm, with frame 24 x 41.5 cm Signed lower right François-Etienne Musin 1820 - 1888 Maritime Szene
Hans Makart 1840-1884 Study for a Ceiling Painting Oil on cardboard 46.5 x 66 cm, with frame 62.7 x 82 cm Hans Makart did not limit his outstanding talents to massive canvases teeming with figures or to portraits no less commanding of respect. He also scattered them in smaller, all the more precious forms—as sketches, studies, or etudes. Alongside his penchant for the grandiose, his painting exhibits an equally pronounced tendency toward the intimate. The loose, even ethereal quality of the execution, in contrast to the stricter style of his major works, has always been regarded as a virtue. One drawback is that these small formats—which could be described as fragments of Makart’s overall body of work—usually lack a signature; this is also the case with the present small nude painting, Were this not ultimately too general a characteristic, one might already see a clue to Makart’s authorship in the view from behind, for he often employed the deviation from the “front view”—whether in nudes or portraits—as an artistic device. Another typical Makart characteristic is that the artist introduces a motif of movement even into the classically serene pose of his model—namely, the outstretched right arm, even though it is actually reaching into the unknown—for the static was simply not Makart’s element. This motif recurs—quite casually, yet still—in the branches of the vegetal background, thereby establishing a close connection between the figure and the surrounding nature. The reclining figure is thus presented as a creature of nature, interwoven with her plant-like surroundings, which, in Makart’s work, always have a somewhat artificial quality. Very typical of his painting is the almost cozy, warm sepia tone of the entire pictorial space, here in transitions from the reddish ground to the autumnal pallor of the background. This uniform color scheme is “disrupted” only by the cold sky blue breaking through the branches, which Makart—as in so many of his works—employs as a dramatic color effect in contrast to the homogeneous brown tone. The almost exaggeratedly supple curves of the nude could be interpreted as having an eroticizing effect, but they could also be cited as evidence of the alleged “bonelessness” of Makart’s conception of the human form—an argument often used against Makart, but one that must yield here in light of the exceptionally harmonious composition. There is, in fact, nothing about this painting that does not speak in Makart’s favor, and there is therefore no doubt that it is a work of his hand; a masterpiece that, despite its small format, possesses a well-rounded character and stands as a work in its own right. As for its chronological dating, the years 1870-75 are the most likely candidates. Nikolaus Schaffer Hans Makart 1840 - 1884 Entwurf zu einem Deckengemälde
Ivan Konstantinovich Aivazovsky 1817-1900, attributed Seaside Landscape Oil on canvas 92 x 146 cm Iwan Konstantinowitsch Aiwasowski 1817 - 1900,
Gusztáv Magyar Mannheimer 1859-1937 Evening Landscape Oil on canvas 50 x 69.5 cm, with frame 60.5 x 81 cm Signed lower left Gusztáv Magyar Mannheimer 1859 - 1937 Abendlandschaft
Vincent van Gogh 1853-1890, in the style of Still Life with Green Fruits Oil on canvas relined on board 33.5 x 40.5 cm, 58.5 x 66 cm with frame Inscribed “Vincent” lower left From the private collection of Armin Pertsch, Mannheim (Collection liquidation) The still life depicts green fruits in a bowl decorated with a zigzag pattern on a wooden table against a brown background. Another green fruit lies alone in the lower right corner of the painting. The focus on everyday objects and the combination of green and brown hues are reminiscent of Vincent van Gogh’s simple fruit still lifes. The painting comes from the private collection of the art dealer and collector Armin Pertsch. He ran a gallery in Mannheim and was particularly active in the 1980s. His name appears in the provenance records of European paintings and drawings from various periods, including works associated with Rembrandt as well as 19th-century pieces. For example, Pertsch is documented in the ownership history of a drawing by Joseph Anton Koch that later found its way to the Metropolitan Museum of Art. The present still life adds to this spectrum a work in the style of van Gogh and thus an example of the reception of his painting. Vincent van Gogh 1853 - 1890, in der Art von Stillleben mit grünen Früchten
J. Guillaume Active 1840-1890 The Dog in the Chicken Coop Oil on wood 14 x 25 cm Signed lower left J. Guillaume Tätig 1840 - 1890 Der Hund im Hühnerstall
Oriental on Horseback Oil on panel 24.5 x 20 cm, with frame 32 x 27.5 cm Illegibly signed and dated Vienna 18... lower right Orientale zu Pferd
Heinrich Bürkel 1802-1869, attributed At the Farrier’s Oil on canvas, relined 16 x 21 cm, with frame 34 x 39.5 cm Heinrich Bürkel 1802 - 1869,
Gabriel von Max Prague 1840-1915 Munich, attributed Mother with Child Oil on canvas 53 x 42.5 cm, with frame 65 x 55 cm Gabriel von Max Prag 1840 - 1915 München,
Filippo Palizzi 1816-1899 The Shepherd Oil on canvas, relined 23 x 28 cm, with frame 38 x 43.5 cm Monogrammed and dated 1862, lower right Filippo Palizzi 1816 - 1899 Der Schäfer
Anthonis van Dyck 1599-1641, attributed Study of a Horse First half of the 17th century Oil on paper 20 x 28 cm Alongside Peter Paul Rubens, Anthonis van Dyck is considered one of the most important figures in Flemish Baroque painting. As a collaborator of Rubens and later as a successful portrait painter, he developed an elegant visual language characterized by lively brushwork and nuanced lighting. Horses played a particularly important role in his equestrian portraits, in which their powerful presence underscores the representational impact of the subjects. This study depicts several saddled horses in various perspectives and movements. A gray roan is shown from the rear, galloping into the depth of the picture; behind it, the hindquarters of another white horse are visible. In the lower right corner of the painting, a bridled horse raises its head, while its flowing mane underscores the animal’s excitement. The finely rendered musculature and the shifting body postures lend the study a powerful dynamism. Particularly effective are the highlights of white on the coat, which accentuate the play of light and emphasize the sculptural modeling of the bodies. The dynamic execution, the physical presence of the animals, and the lively use of light are closely aligned with the Flemish painting of the early 17th century, as epitomized by Rubens. These characteristics provide stylistic points of reference for attributing the work to van Dyck, whose depictions of horses also reveal a pronounced interest in anatomy, movement, and expression. Points of comparison include van Dyck’s study for an equestrian portrait in the Metropolitan Museum of Art (Inv. No. 40.91.16), in which the horse also appears from the rear, as well as the painting “The Horses of Achilles” (Inv. No. NG156) in the National Gallery, London, which is attributed to Anthonis van Dyck. These examples clearly place the present study within the context of Flemish depictions of horses. Anthonis van Dyck 1599 - 1641,
Paul-Marie Lenoir 1843-1881 Ritual Ablution Before Prayer in the Mosque Oil on canvas 101.5 x 76.5 cm, with frame 134.5 x 109 cm Signed and dated 1878, lower left Paul-Marie Lenoir 1843 - 1881 Rituelle Waschung vor dem Gebet in der Moschee
Patrizius Kittner 1809-1900 The Birth of Venus High-quality reproduction after William-Adolphe Bouguereau from 1879 Oil on canvas, relined 126.5 x 94 cm, with frame 145 x 115 cm Label on the back Patrizius Kittner 1809 - 1900 Die Geburt der Venus Qualitätvolle Wiederholung nach William-Adolphe Bouguereau von 1879
F. Stoitzner Vienna, ca. 1920 The Drinker Oil on canvas 26.5 x 21.5 cm, with frame 34.5 x 29 cm Signed lower left F. Stoitzner Wien um 1920 Der Trinker
Unknown painter The Oriental Woman Oil on canvas, relined 130.5 x 97.5 cm, with frame 156 x 123 cm Illegibly signed and dated 19.. lower right Unbekannter Maler Die Orientalin
Portrait of an Austrian Officer Circa 1900 Oil on cardboard 36.5 x 28 cm, with frame 67.5 x 58 cm Surface damaged, frame damaged Portrait eines österreichischen Offiziers Um 1900
Jakob Koganowsky 1874-1926 Farmhouse in Salzburg Oil on cardboard 59 x 72.5 cm, with frame 67 x 81.5 cm Signed lower left + E123 Jakob Koganowsky 1874 - 1926 Bauernhaus in Salzburg
Heinrich Tomec 1863-1928 View of Melk Watercolor on cardboard 66 x 50 cm Signed lower right Heinrich Tomec 1863 - 1928 Blick auf Melk
Marie Egner 1850-1940, attributed Sunflowers Oil on cardboard 27 x 11.5 cm, with frame 34.5 x 23.5 cm Marie Egner 1850 - 1940,
Stefan Simony 1860-1950 Italy Oil on cardboard 20 x 31.5 cm, with frame 32.5 x 44 cm Signed lower left Stefan Simony 1860 - 1950 Italien
Unknown Artist Circa 1900 Portrait of a Man Oil on canvas 75.5 x 65 cm, with frame 81 x 71 cm Monogrammed “ML” in the upper left The portrait, monogrammed “ML” in the upper left, depicts a middle-aged man with short dark brown hair and a mustache. He is seated facing the viewer, but has turned his head to the right and appears to be looking through an open window. Light falls on his face from that direction, while the left half of the painting lies in shadow. His hands, tucked into his pants pockets, emphasize his reserved, pensive demeanor. An expressive surface treatment, rendered in varying shades, lends the portrait a painterly vitality. Unbekannter Künstler Um 1900 Männerportrait
Frans Francken the Younger 1581-1642, Circle of Noble Lady with a Red Hat Oil on wood 41 x 45.5 cm Frans Francken der Jüngere 1581 - 1642,
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