Fischotter Bronze mit schwarzer Patina, auf grauen Marmorsockel montiert. 1902. 19 x 8 x 12,5 cm. Hinten rechts auf dem Schwanz signiert "A. Gaul", auf dem Rücken links mit dem Gießerstempel "NOACK BERLIN". Gabler 93-2. Der Fischotter zählt zu den gefragtesten Kleinbronzen August Gauls. Der Künstler beschäftigte sich in verschiedenen Versionen mit dem marderartigen Tier, später u.a. auch ohne Fisch - etwa um 1903 als Keramikausformung (Gabler 109) oder 1908 in einer Variante in Bronze (Gabler 142). Es existiert zudem eine sehr seltene Version unserer Bronze mit vergoldetem Fisch (Gabler 93-1). Mit seiner realistisch gestalteten glatten Oberfläche, der aufrechten Haltung und dem Fisch im Maul schuf Gaul ein besonders markantes Motiv. Max Liebermann erwarb für seine Frau Martha anlässlich einer Ausstellung der Berliner Sezession 1909 den Fischotter als große Brunnenplastik. In den 1970er Jahren wurde, vom Nachlass veranlasst, eine vergrößerte Version des Fischotters von 1902 gegossen (Gabler 93-x). Laut Gabler existieren von unserem reizenden Fischotter wohl keine Lebzeitengüsse, sie kennt nur einige Güsse neueren Datums. Prachtvoller Guss mit schöner, harmonischer Patina. Gesamthöhe mit Sockel: 27 cm. - Provenienz: Privatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Laufende Gans Bronze mit dunkelbrauner Patina auf Bronzeplinthe, auf Marmorsockel montiert. 1901. 14,5 x 14,5 x 4,5 cm. Auf der Plinthe signiert "A. Gaul", hinten am Rand mit dem Gießerstempel "H. NOACK BERLIN". Gabler 76. Mit dem Motiv der Gans beschäftigte sich August Gaul im Jahr 1901 gleich mehrfach, ob als Einzelfigur wie in der vorliegenden Bronze oder als Gruppe von zwei, drei, vier oder fünf Gänsen (vgl. Gabler 75-79). Die "Laufende Gans" stellt eine Einzelform aus der Bronze "Gänse (Drei Gänse)" (Gabler 75) dar, zu der sich das Metall-Modell in der Gießerei Noack befindet. Gabler vermutet von der "Laufenden Gans" nur wenige Güsse neueren Datums, zu denen auch unser Exemplar gehört. Minutiös und detailliert arbeitet Gaul die Oberfläche des luftigen Gänsegefieders durch feines Ziselieren heraus. Prachtvoller Guss mit schöner Patina. Gesamthöhe mit Sockel: 16 cm. - Provenienz: Privatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Around 1898. Bronze, darkbrown patinated. H. 5,5 x w. 6,5 x d. 5 cm, marble base: H. 2 cm. Sign. Gaul, foundry mark HNOACK BERLIN. - Animal sculptor and graphic artist, studied first at the drawing academy in Hanau and later at the academy in Berlin, was a master pupil of Reinhold Begas and one of the founding members of the Berlin Secession, member of the Deutscher Werkbund, professor in 1908, most important German animal sculptor of his time. Lit.: Josephine Gabler Das Werkverzeichnis der Skulpturen, 2007;
Signed 'A. Gaul' on the plinth, foundry mark "GUSS H. NOACK FRIEDENAU BERLIN" on the side edge of the plinth. Probably lifetime case. Cassirer has 33 documented purchases from 1903 to 1915.
Radierung mit Kaltnadel auf chamoisfarbenem Simili-Japan. (Ca. 1910er Jahre). Ca. 7,5 x 20 cm (Blattgröße ca. 25 x 32 cm). Exemplar „XX.“, Auflagenhöhe unbekannt. Signiert unten rechts. Vereinzelte winzige Fleckchen, leichte Druckspuren im Papier, kleine Griffknicke und Knickspuren, Blattkanten teils leicht bestoßen. Sonst insgesamt in guter Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
August Gaul 1869 Hanau - 1921 Sitting bear Stoneware, 1895; H 9 cm; marked at the bottom with the sword marks for Meissen ''BÖTTGER STEINZEUG'', ''A 10159''; Provenance: MUSEUM PACHEN Rockenhausen (adhesive label with inventory number 0390)
August Gaul, 1869-1921, sitting brown bear, cast bronze, signed, height approx. 11cm . German Description: August Gaul, 1869-1921, sitzender Braunbär, Bronzeguß, signiert, H. ca. 11cm
Bär und kleine Doppelbüste . Meissen. Schwertermarke, 2. H. 20. Jh., 1. Wahl und 2 Schleifstriche. Weiß. 1x sitzender Bär, Modell-Nr. A 1059, Entwurf 1922 von August Gaul (1869-1921). / 1x Doppelbüste Bacchus und Bacchantin (H 5 cm) . 2 kleine Brandrisse im Nacken des Bären. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 16:09 Uhr (CET) Bear and small double bust . Meissen. Sword mark, 2nd half 20th century, 1st choice and 2 grinding marks. White. 1x seated bear, model no. A 1059, design 1922 by August Gaul (1869-1921). / 1x double bust Bacchus and Bacchante (H 5 cm) . 2 small fire cracks in the neck of the bear. Call time 25 | Oct. 2024 | probably 16:09 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Bär . Meissen. Prägeschwerter und Schwertermarke, Jahreszeichen 1965, 1. Wahl. Bezeichnet. Modell-Nr.: A 1059. Entwurf: 1895. GAUL, August (1869 Großauheim – 1921 Berlin) Weiß. H 8,5 cm. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 16:05 Uhr (CET) Bear . Meissen. Precious sword and sword mark, year mark 1965, 1st choice. Marked. Model no.: A 1059. design: 1895. GAUL, August (1869 Großauheim - 1921 Berlin) White. H 8.5 cm. Call time 25 | Oct. 2024 | probably 16:05 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
August Gaul (German, 1869 - 1929) Bear on Socle For Meissen, model number, '86190' Signed and dated, 'A. Gaul '94' Provenance: Historica Auction House, September 2004; Private Collection, London UK; Manteuffelstraße 27, 12103 Berlin, Germany. Dimensions: 9 in. (H) x 7 in. (D)
August Gaul (1869 Hanau - 1921 Berlin): Lusitania' Title page of 'Kriegszeit - Künstlerflugblätter', issue no 39, 12 May 1915, published by Paul Cassirer, 1915, Lithography Technique: Lithography on Paper Date: 1915 Description: On the reverse the lithograph: 'Straße in Kalisch' by Hans MEID (1883 Pforzheim - 1956 last mention). The etchings are each titled in the lower centre and signed next to it on the right. About the magazine 'Kriegszeit': In August 1914, the Paul Cassirer Verlag began publishing Kriegszeit, a weekly, four-page publication on artistic reactions to the First World War. Most of the artists represented in the magazine belonged to the Berlin Secession. At first, the Kriegszeit contributors greeted the war with enthusiasm and had faith in the military under Wilhelm II and belief in the righteousness of the Germans. However, this basic current was soon followed by disillusionment, which found expression in changed themes. Instead of patriotically enthusiastic soldiers in battle scenes, escapist pictorial works with critical undertones and partly pacifist approaches soon appeared. Keywords: 20th century, Expressionism, Military, Germany, Size: Paper: 48,4 cm x 32,0 cm (19,1 x 12,6 in)
August Gaul (1869 Hanau - 1921 Berlin): Outlook to the West' Title page of 'Kriegszeit - Künstlerflugblätter', issue no 20, 30 December 1914, published by Paul Cassirer, 1914, Lithography Technique: Lithography on Paper Date: 1914 Description: On the reverse the lithograph: 'Vorstadt im Schnee' by Rudolf GROßMANN (1881 Freiburg - 1941 ibid), below the text 'Das Geld' by Hans Ostwald. The etchings are each titled in the lower centre and signed and dated in the lower right. About the magazine 'Kriegszeit': In August 1914, the Paul Cassirer Verlag began publishing Kriegszeit, a weekly, four-page publication on artistic reactions to the First World War. Most of the artists represented in the magazine belonged to the Berlin Secession. At first, the Kriegszeit contributors greeted the war with enthusiasm and had faith in the military under Wilhelm II and belief in the righteousness of the Germans. However, this basic current was soon followed by disillusionment, which found expression in changed themes. Instead of patriotically enthusiastic soldiers in battle scenes, escapist pictorial works with critical undertones and partly pacifist approaches soon appeared. Keywords: 20th century, Expressionism, Military, Germany, Size: Paper: 48,4 cm x 32,0 cm (19,1 x 12,6 in)
um 1930, Manufaktur Meissen, Entwurf August Gaul, stehende Löwin, Widmung am Boden, Modelnummer 1054, Signatur am Sockel, Stempelmarke am Boden, H. 31,5 cm, B. 47 cm (Versandhinweise beachten) / c. 1930, Meissen manufactory, designed by August Gaul, standing lioness, dedication on base, model number 1054, signature on base, stamp mark on base, h. 31.5 cm, w. 47 cm (note shipping instructions)
(1869 Großauheim - Berlin 1921). Bärenstudien. Kaltnadelradierung auf Bütten. 11 x 17 cm., Blgr. 31 x 40,5 cm. Signiert u. numer. Unter Passep. mont. - Ex. 14/20. D
August Gaul 1869 Hanau - 1921 Seated brown bear Böttger stoneware Meissen, 1895; H 9 cm; marked ''A Gaul'', ''Böttger Steinzeug'', ''86192'', ''131 m'' and with the sword brand
August Gaul (1869-1921), "Sieg", two fighting bison, lithograph on cream wove paper, signed and numbered 15/30 lower right, inscribed "Sieg" lower left, 20 x 29 cm, framed behind glass and passepartout 35 x 43 cm
AUGUST GAUL (Hanau, 1869- Berlin, 1921). "Don penguins", c. 1911. Patinated and gilded bronze. Signed A. Gaul. Measurements: 16 x 17, 5 x 8,5 cm; 4,5 x 21,5 x 10,5 cm (base). During the nineteenth and twentieth century the animal-themed sculpture will finally reach a status of its own, within the context of romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense. August Gaul was a German sculptor and medalist active during the transition from historicism to modernism. The son of the stonemason Philipp Gaul (1840-1910), he received his first inspiration for his later profession in his father's workshop. He served an apprenticeship as a model maker in a silversmith's factory, and from 1884 he was a student at the Royal Prussian Academy of Drawing in Hanau. With the support of his teacher, the sculptor Max Wiese, he moved to Berlin in 1888. There he initially worked in the sculpture workshop of Alexander Calandrelli and attended courses at the Museum of Decorative Arts in Berlin. After obtaining a permanent free pass to the Berlin Zoological Garden in 1890, he studied drawing there intensively. In 1894 he began studying at the Berlin Academy of Art, in the class of the painter Paul Meyerheim, whose strong point was the depiction of animals. In 1895, Gaul began working as an advanced student in the studio of Reinhold Begas, the leading exponent of neo-baroque at the Berlin sculpture school. Begas commissioned from him and August Kraus two of the four lions for the National Monument to Kaiser Wilhelm, located in front of the Berlin City Hall. A prize awarded by the Academy for a relief allowed Gaul to study in Italy between 1897- 1898. Upon his return, he became best known for his sculpture of the two Roman goats, which he was also able to exhibit at the 1900 Paris Universal Exposition. In 1898, he was one of the founding members of the Berlin Secession, an association of artists such as Max Liebermann, Louis Tuaillon and Walter Leistikow, who opposed the prevailing academic art scene; he was a member of the board of the Secession from 1902. August Gaul was appointed professor at the Academy of Art in 1908 and in 1919 he was appointed member of the acquisitions commission of the National Gallery in Berlin.
Gaul, August (Hanau 1869 - 1921 Berlin, studied at the Hanau Drawing Academy and the Berlin School of Applied Arts, worked for a time in the studio of R. Begas, popular animal sculptor and graphic artist, member of the Berlin Secession),(Hanau 1869 - 1921 Berlin, studied at the Hanau Drawing Academy and the Berlin School of Applied Arts, worked for a time in the studio of R. Begas, popular animal sculptor and graphic artist, member of the Berlin Secession), "Unter dem Mistelzweig", lithograph on paper, signed Aug. Gaul in pencil lower right, 41.5 x 30 cm (BM), framed under glass Gaul, August (Hanau 1869 - 1921 Berlin, Studium an der Hanauer Zeichenakademie und der Kunstgewerbeschule Berlin, zeitweise im Atelier R. Begas tätig, beliebter Tierbildhauer und Grafiker, Mitglied der Berliner Sezession), "Unter dem Mistelzweig", Lithografie auf Papier, signiert unten rechts mit Bleistift Aug. Gaul, 41.5 x 30 cm (BM), unter Glas gerahmt
August Gaul 1869 Großauheim – 1921 Berlin Porzellan-Manufaktur Meissen 1710 Meißen Böttgersteinzeug. Seitlich auf der Plinthe signiert "A.Gaul". Unterseits die geritzte Schwertermarke, die geprägte Modellnummer "A 1059" sowie die geritzte Bossierer-Nr. und das Jahresprägezeichen. Ausformungsjahr: 1948 WVZ Gabler 20–3, mit leicht abweichendem Maß. August Gaul 1869 Großauheim – 1921 Berlin Beginnt als Zwölfjähriger seine künstlerische Ausbildung, ab 1882 Besuch der Königlichen Zeichenschule Hanau. 1888 Beginn des Studiums an der Unterrichtsanstalt des Berliner Kunstgewerbemuseums. 1892 Studium an der Akademischen Hochschule der bildenden Künste Berlin, bei Paul Meyerheim und Ernst Herter. 1894 Gehilfe bei Reinhold Begas, 1895–97 Meisterschüler in dessen Atelier. 1904 Mitglied der Preußischen Akademie der Künste, 1908 Ernennung zum Professor. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kändler (Plastik).
Hasengruppe und Äffchen, vermutlich August Gaul . Ungemarkt. Um 1910/20. GAUL, August(1869 Hanau - 1921 Berlin, Tierbildhauer) Affe H 7,5 cm, Hasen H 14,5 cm. Heller Scherben, Hasengruppe braun glasiert und grün glasiertes Äffchen . Hasen bodenseitig bestoßen. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 13. | Juni 2024 | voraussichtlich 17:13 Uhr (CET) Rabbit group and monkey, probably August Gaul . Unmarketable. Circa 1910/20. GAUL, August(1869 Hanau - 1921 Berlin, animal sculptor) Monkey H 7.5 cm, hare H 14.5 cm. Light body, brown glazed rabbit group and green glazed ffchen . Rabbit bumped on the bottom. Provenance : From Thuringian aristocratic property. Restitution item with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 13 June 2024 | probably 17:13 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Hühnergruppe und Pelikangruppe. August Gaul . Ungemarkt. Um 1910/20. 1x am Sockel signiert "Gaul", 1x unterseitig 2x bezeichnet "Gaul".. GAUL, August(Tierbildhauer, 1869 Hanau - 1921 Berlin) Heller Scherben, braune und weiße, irisierende Laufglasur. Hühner H 17 cm, Pelikane 13,7 cm. 1x reparierter Bruch am Hühnersockel mit kleinem Ausbruch. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 13. | Juni 2024 | voraussichtlich 17:12 Uhr (CET) Chicken group and pelican group. August Gaul . Unmarked. Circa 1910/20. 1x signed "Gaul" on the base, 1x inscribed "Gaul" 2x on the underside. GAUL, August(animal sculptor, 1869 Hanau - 1921 Berlin) Light body, brown and white, iridescent running glaze. Hens H 17 cm, pelicans 13.7 cm. 1x repaired break on the chicken base with small chip. Provenance : From Thuringian aristocratic property. Restitution item with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 13 June 2024 | probably 17:12 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Schleichender Panther auf Sockel. August Gaul . Ungemarkt. Um 1910/20. Am Sockel signiert "Gaul". GAUL, August(1869 Hanau - 1921 Berlin, Tierbildhauer) Heller Scherben, braune und gelbgrüne, irisierende Laufglasur. L 33 cm. Kleiner Chip am Fuß. Provenienz : Aus Thüringer Adelsbesitz. Restitutionsgut mit Inventarnummer des Residenzschlosses Altenburg, vormals Sammlungsbestand der Familie von der Gabelentz auf Schloss Poschwitz. Aufrufzeit 13. | Juni 2024 | voraussichtlich 17:11 Uhr (CET) Sneaking panther on a pedestal. August Gaul . Unmarked. Circa 1910/20, signed "Gaul" on the base. GAUL, August(1869 Hanau - 1921 Berlin, animal sculptor) Light body, brown and yellow-green, iridescent glaze. L 33 cm. Small chip to the foot. Provenance : From Thuringian aristocratic property. Restitution property with inventory number of the Altenburg Residential Palace, formerly part of the von der Gabelentz family collection at Poschwitz Castle. Call time 13 June 2024 | probably 17:11 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
mit Steinzeichnungen von Aug[ust] Gaul. [Berlin], Paul Cassirer 1919. Mit zahlreichen Lithographien im Text, davon 14 blattgroß. Rotbrauner Oasenziegenlederband mit reicher Vergoldung, besonders des Rückens (signiert: P. A: Demeter, Hellerau). Die Normalausgabe auf leicht rosa getöntem Papier, eine Vorzugsausgabe auf Bütten wurde auf der Pan-Presse gedruckt. – Der Text und Gauls Zeichnungen wurden gemeinsam lithographiert. – Die Fabeln stammen aus Karl Wilhelm Ramlers »Fabellese« (Leipzig 1783). – August Gaul (1869–1921), der eine Dauerfreikarte für den Berliner Zoologischen Garten gewonnen hatte, gehörte 1898 zu den Gründungsmitgliedern der Berliner Secession, deren geschäftsführende Sekretäre die Vettern Bruno und Paul Cassirer waren. Die Galeristen vermittelten ihm kaufkräftige Kunden wie den Zeitungsverleger Rudolf Mosse, Max Liebermann, den Reeder Albert Ballin und Alfred Lichtwark, der 1906 neun Tierskulpturen für die Hamburger Kunsthalle erwarb. 27,5 : 21 cm. 106 Seiten. – Eine Ecke mit leichter Schabstelle. – Die vom Buchbinder eingefügten Büttenvorblätter leicht stockfleckig. Es fehlt das leere Blatt am Ende des Buches. Feilchenfeldt/Brandis 158.1. – Lang, Impr. 63 [Keywords: Modern Literature and Book Art]
3 Gaul, August (1869-1921): 'Eating Bear' and 'Seagulls on the Beach', lithographs, each sign. b.r. and monogr. b.r. in plate, 18.7x24.5/21x28cm (w.f. 33.8x43.8cm) and 'Leopard' etching, XIX/XX, b. sign./num., PM 8.6x11.2cm (w.f. 20.5x30.8cm), slight signs of age 3 Gaul, August (1869-1921): "Fressender Bär" und "Möwen am Strand", Lithographien, je u.r. sign. und u.r. i.d. Platte monogr., 18,7x24,5/21x28cm (m.R. 33,8x43,8cm) sowie "Leopard" Radierung, XIX/XX, u. sign./num., PM 8,6x11,2cm (m.R. 20,5x30,8cm), leichte Altersspuren
Schweinestudien Bleistift auf festem Velin. Um 1910. Ca. 22,8 x 29 cm. Unten mittig mit Bleistift signiert "Aug. Gaul", verso mit dem Nachlaßstempel. Mit feinem, sicherem Strich skizziert Gaul in unserer Studienzeichnung Hausschweine aus verschiedenen Blickwinkeln von vorne oder hinten betrachtet, stehend, liegend oder fragmentarisch in Detailstudien. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
August Gaul Großauheim near Hanau 1869 – 1921 Berlin ”Ente”. 1911 Bronze with brown golden patina 14 3/4 × 9 × 15 3/8 in. Signed on the back of the plinth on the left: A. Gaul. There on the short side of the plinth the foundry mark: H.NOACK BERLIN
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: Young Swan Cleaning Itself. Date: Design 1920. Later casting. Single figure from the swan chick fountain that Gaul created in 1920 as the last fountain project for Elsa Wolff-Eßberger's garden on Hamburg's Elbchaussee. Technique: Bronze, dark-brown-patinated. Measurement: 29.5 x 21 x 12cm. Notation: Inscribed on the plinth: "A. Gaul (mit Ring)". Foundry Mark: On the plinth's edge Foundry inscription: "W. Füssel Berlin". Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, p. 150ff, No. 286a. Exhib. cat. "August Gaul. The Alfons and Marianne Kottmann Collection", Museen der Stadt Hanau 21.06 - 04.09.2011, p. 105. Provenance: Collection Kottmann, Hanau. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Animal Bronze Birds
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: Young Swan. Date: Draft ca. 1919. Later casting. Technique: Bronze, brown-patinated. Measurement: 31 x 25 x 11cm. Notation: Inscribed on the plinth: "A. Gaul". Foundry Mark: On the plinth's edge Foundry inscription: "H. Noack Berlin". Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, p. 150ff, No. 272. Exhib. cat. "August Gaul. Die Sammlung Alfons und Marianne Kottmann", Museen der Stadt Hanau 21.06 - 04.09.2011, p. 103. Provenance: Collection Kottmann, Hanau. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Animal Bronze Birds
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: Striding Deer. Date: Ca. 1918. Casting persumably 1922. From the 1913 draft for an unrealised memorial in honour of the painter Walter Leistikow, with whom Gaul was closely associated through the Berlin Secession. Technique: Bronze, dark-brown-patinated. Measurement: 32.5 x 36 x 8cm. Notation: Inscribed on the plinth: "A. Gaul". Foundry Mark: On the plinth's edge numbered: X. Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, pp. 150ff, No. 266. Exhib.Cat. "August Gaul. The Alfons and Marianne Kottmann Collection", Museen der Stadt Hanau 21.06 - 04.09.2011, p. 64. Provenance: Collection Kottmann, Hanau. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Animal Bronze
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: The Hamster. Date: 1917. Technique: Iron casting. Measurement: 23,5 x 13,5 x 8cm. Notation: Inscribed verso on the plinth: "A. Gaul 1917". Foundry Mark: On the lower plinth edge Foundry disc drawing: "Akt.-Ges. vorm. H. Gladenbeck u. Sohn". Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, pp. 228f, No. 244-1. Mentioned here under the heading "unidentifizierter Nachweis": "Wiegand 1917 (Nr. 18)". Provenance: Collection of the Berlin archaeologist Theodor Wiegand (1864-1936); Since then in family possession. In her catalogue raisonné of August Gaul's works, Josephine Gabler lists 38 casts of the hamster at the Cassirer Gallery from 1917-19. The present work, listed by Cassirer as no. 18, was probably acquired there by Theodor Wiegand and has remained in the family's possession ever since. The hamster, with plump cheeks and an ear of corn in its paws, was designed by Gaul as a contrast to the mighty Berlin bear. During the war years, it alluded to the population's supply shortages and their hamster purchases, but its subtle humour made it one of Gaul's most popular works at the time. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Animal
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: Two Beavers on a Tree Trunk. Date: 1908. Technique: Bronze, brown-patinated with gilt teeth. Measurement: 24 x 22 x 21cm. Notation: Inscribed left on the trunk: "Fr.A. Krauss z. Er. an 1907 v. A. Gaul / Weihnacht 1908". Foundry Mark: Right on the trunk indistincly inscribed: "A. Gaul / 1908".Plinth. Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, p. 134, No. 143. Exhib. cat. "August Gaul. The Alfons and Marianne Kottmann Collection", Museen der Stadt Hanau 21.06 - 04.09.2011, p. 45. Provenance: Collection Kottmann, Hanau. Like many of Gaul's works, the group shown here was originally based on a design for a fountain, which was never realised. Instead, the beavers were cast in smaller dimensions; individual examples also feature gilt teeth. The name Krauss mentioned on the dedication of our copy refers to the Berlin architect Friedrich August Krauss, who had built both the Berlin Secession building and Gaul's studio building on Roseneck in the years before 1907. Gaul subsequently gave him this cast as a Christmas present in 1908. Six further casts are documented at Cassirer from 1909 onwards. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Plinth Animal Bronze
GAUL, AUGUST 1869 Großauheim - 1921 Berlin Title: Two Penguins. Date: Ca. 1911. Technique: Bronze, dark-brown-patinated and partially gilt. Measurement: 15,5 x 17 x 9,5cm. Notation: Inscribed on the plinth: "A. Gaul". Plinth. Literature: J. Gabler: August Gaul. Das Werkverzeichnis der Skulpturen, Berlin 2007, p. 149, No. 155-1. Provenance: Collection of the Berlin archaeologist Theodor Wiegand (1864-1936); Since then in family possession. "I don't want to pedantically imitate nature at all, but rather capture what is typical and its emotional core.... I make animals because it makes me happy." These words come from August Gaul, one of the most influential sculptors of the turn of the century and a pioneer of modern sculpture in the 20th century. The artist devoted himself almost exclusively to the depiction of animals, removing them from a larger context of meaning and making them worthy of depiction as autonomous living beings. Wild and domestic animals, which he produced in stone, bronze or porcelain, no longer symbolised human characteristics for him, but became the centre of attention for their own sake. In the 19th century, interest in zoology grew steadily among the educated middle classes. Zoological gardens were founded in the larger cities, which were initially primarily intended to serve scientific research, but over time also served the bourgeois public for viewing and recreation. Alfred Edmund Brehm wrote his immensely successful and high-circulation "Tierleben" (Animal Life), which was extensively and impressively illustrated in its second edition in the 1870s. It was against this background that August Gaul, the son of a stonemason from the provincial town of Großauheim near Hanau, set off for the metropolis of Berlin in 1888. He had gained experience in his father's workshop as well as during his training as a modeller and chaser in a silver processing company and at the Hanau Drawing Academy. In Berlin, Gaul initially worked in the arts and crafts and as a sculptor's assistant, in line with his training. Around 1892, he began studying at the art academy, where he became a pupil of the animal painter Paul Meyerheim. Gaul's artistic interest had already focussed on animals since he had won a free annual ticket to the Berlin Zoo in a prize draw in 1890; here he found models in abundance. As early as 1895, August Gaul became a master student of Berlin's leading sculptor Reinhold Begas. A competition organised by the academy, which Gaul won, was rewarded with a scholarship for a one-year stay in Rome in 1897/98. His impressions there, and in particular his contact with the somewhat older Begas student Louis Tuaillon, had a lasting influence on August Gaul's work. He moved away from the neo-baroque style of his teachers in favour of a simple, closed form. After his return to Berlin, August Gaul, like Louis Tuaillon, was a founding member of the Berlin Secession in 1898, which propagated a rejection of the academic conception of art. In this circle around Max Liebermann and Walter Leistikow, he worked closely with Paul Cassirer. The well-connected gallery owner and secretary of the Secession became a close friend of August Gaul. Cassirer offered the artist a regular income and the advance financing of the expensive materials and casting costs, in return for which the gallery was granted the exclusive right to represent the artist. This extremely fruitful collaboration gave August Gaul access to new private collector circles and important museum contacts. In 1906, Alfred Lichtwark bought nine of Gaul's animal sculptures for the Hamburger Kunsthalle. In 1908, August Gaul became a professor at the Berlin Academy of Arts and influenced younger sculptors with his style. Gerhard Marcks and Georg Kolbe also sought his advice. With his progressive view of art, he supported Ernst Barlach and the "animal specialist" was able to impress the acquisition commission of the Berlin National Gallery with his positive judgement of Franz Marc. Some of the animal species that lived near water offered August Gaul the opportunity to use them either independently or in connection with a fountain. The penguins (lot 1194), the beavers (lot 1195) and the swans (lots 1198 and 1199) from the "menagerie" assembled in this catalogue can be seen in such a context. August Gaul's fountains were very successful with both private collectors and public clients. Examples of his practice of harmoniously merging autonomous animal sculpture with applied art in public spaces include the Duck and Swan Fountain in Berlin and the Penguin Fountain in Hamburg. Gaul's training and skills as an artisan also shine through in the use of partial gold plating on his bronze sculptures. The penguins' plumage and the beavers' teeth emphasised in this way share the fact that Gaul was no purist. His bronzes could be enriched with a little "jewellery". August Gaul was brilliantly able to harmonise the materials he worked with the animals he depicted. In some cases, it is possible to observe a summarised, yet clearly legible surface treatment that conveys the texture of beaver fur or swan feathers to the viewer. Other sculptures are less tactile. The striding deer (lot 1197) embodies more "the idea of a deer", which can be experienced through the silhouette. This may also be due to the fact that this sculpture emerged from the planning for a monument. The hamster (lot 1196)- a small wartime antipode to the Berlin bear - is proof of August Gaul's sense of humour. The sculpture, made of iron in 1917, also occupies a special position in Gaul's oeuvre in terms of content. The little rodent personifies the perseverance of the population, who had to overcome the hardships of war by buying hamsters. August Gaul's joy in the artistic depiction of his models is always palpable and is still conveyed to his audience today. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue August Gaul Germany Berlin Secession Bronzes Plinth Animals Bronze Birds
Gaul, Georg August (1869-1921) Hunde Studie, Bleistiftzeichnung auf Papier. Ein schlafender und ein noch nicht fertiggestellter Hund. Rechts unten signiert. Blatt 12 x 18,5 cm. Passepartout 20 x 24 cm. Gaul, Georg August (1869-1921) Dog Study, pencil drawing on paper. A sleeping and a not yet finished dog. Signed lower right. Sheet 12 x 18.5 cm. Passepartout 20 x 24 cm.
Gaul , August (German, 1869-1922); b. Großauheim GERMANY , Öst West , 1915, a cast silver medal by A. Gaul, ‘Russian’ bear walking right, rev . sea-lion balances a ball on its head, cockerel at right, 46mm, 42.59g (Zetzmann –; DGMK 7, 6.9; Hamburger Kunsthalle 577; cf . Höhn 92, 549). About very fine £80-£100 ------ For more information , additional images and to bid on this lot please go to the auctioneers website, www.noonans.co.uk
August Gaul 1869 Großauheim – 1921 Berlin Porzellan-Manufaktur Meissen 1710 Meißen Böttgersteinzeug. Auf der Plinthe signiert "A. Gaul". Unterseitig mit der geprägten, dreifach geschliffener Schwertermarke der Pfeifferzeit und Bezeichnung "BÖTTGER STEINZEUG", geritzte Modell-Nr. "A 1132" und "L245". Rückseitig auf der Plinthe nochmals mit dreifach geschliffener Schwertermarke der Pfeifferzeit. Ausformungszeitraum: Pfeiffer-Zeit, 1924–1934. WVZ Gabler 149–4, mit leicht abweichendem Maß. Die motivgleiche, unikale Skulptur in Stein /WVZ Gabler 149–1) wurde 1909 auf der Ausstellung der Berliner Secession gezeigt. Lit.: Meissen Figuren und Gruppen aus den Jahren 1919–1928, Abb. Tafel 4. 1921/22 wählte das Nachlass-Kuratorium August Gauls 19 Werke aus, die von der Meissner Manufaktur in Porzellan bzw. Böttgersteinzeug übertragen werden sollten. Max Esser war als künstlerischer Mitarbeiter für die Ausformung und Überarbeitung verantwortlich. August Gaul 1869 Großauheim – 1921 Berlin Beginnt als Zwölfjähriger seine künstlerische Ausbildung, ab 1882 Besuch der Königlichen Zeichenschule Hanau. 1888 Beginn des Studiums an der Unterrichtsanstalt des Berliner Kunstgewerbemuseums. 1892 Studium an der Akademischen Hochschule der bildenden Künste Berlin, bei Paul Meyerheim und Ernst Herter. 1894 Gehilfe bei Reinhold Begas, 1895–97 Meisterschüler in dessen Atelier. 1904 Mitglied der Preußischen Akademie der Künste, 1908 Ernennung zum Professor. Porzellan-Manufaktur Meissen 1710 Meißen Nach der Erfindung des europäischen Hartporzellans durch Johann Friedrich Böttger 1710 von August dem Starken als erste Porzellanmanufaktur in der westlichen Welt gegründet. Bis 1863 befand sich die gesamte Produktion auf der Meißener Albrechtsburg, um dann in das neu angelegte Fabrikgebäude im Triebischtal umzuziehen. Ihre große Blüte erlebte die Manufaktur in den Jahren um 1720 bis 1750, verbunden mit den Namen Johann Gregorius Höroldt (Malerei) und Johann Joachim Kaendler (Plastik).
Gaul, August Großauheim, 1869 - Berlin, 1921 13 x 30,5 x 11 Lying lion. Meissen, Böttger stoneware. Inscribed AGAUL on the plinth. Embossed marks swords, A 1051 BÖTTGER STEINZEUG
"Sitzender Bär mit Rüben". Keramik mit heller Glasur und Kunst-Craquelé. Auf Sockel monog. Seltene Ausführung durch Berliner Kunstkeramik (Boden mit grüner Stempelmarke), um 1922 nach dem Entwurf von 1909. Auflage unbekannt, es finden sich keine Vergleichsstücke (laut Gabler kein Ex. bekannt). Kl. Kerbe im Boden. H. 20 cm. Eine Vergleichskeramik, jedoch als Puma, von August Gaul der Berliner Kunstkeramik Firma befindet sich im Keramik Museum Berlin. Wvz. Gabler 148-3. Walter 1961 Nr. 53.
August Gaul (1869 Hanau - 1921 Berlin), Sketch for the bear fountain (Warenhaus Wertheim in Berlin), around 1900 and sketches of animal studies, around 1920, 4 sheets etchings on paper, 2 sheets charcoal drawings on paper. 6.4 x 8.7 cm to 29.3 x 25.3 cm. Partially signed lower right: Aug. Gaul (pencil). Two etchings and one charcoal drawing framed under glass (in a passe-partout).,
