Ketterer Kunst Auction House Celebrates 70th Anniversary with German Art and Pop Art Sale

This June, Germany’s Ketterer Kunst auction house will mark 70 years in the auction business. To celebrate, the house has announced an evening sale of German Expressionist work, one of its specialties, along with a collection of American Pop art works on June 7.

Leading the sale will be Alexej Jawlensky’s Spanische Tänzerin (1909) with an estimate of €7 million – €10 million ($7.57 million – $10.81 million). The picture has been out of the public eye for more than 90 years and has only ever been photographed in black and white, robbing afficionados of German Expressionism that opportunity to admire its rich blue and vibrant red hues.

The sale with also feature Ernst Ludwig Kirchner’s 1911 work Tanz im Varieté, which has been held by the same family for 80 years and carries an estimate of €2 million – €3 million ($2.16 million – $3.24 million).

The German artists in the sale will also include Erich Heckel, Karl Schmidt-Rottluff, Konrad Klapheck, Georg Baselitz, and Gerhard Richter.

The sale will also highlight works by American Pop Art masters James Rosenquist, Frank Stella, and Robert Rauschenberg. A rare full set of 10 brightly colored screenprints from Andy Warhol’s Flowers series from 1970 will be included in the sale with an estimate of €800,000 – €1.2 million ($865,000 – $1.3 million), as will Rosenquist’s risqué large-format picture Playmate (1966), which carries an estimate of € 1,000,000 – €1.5 million ($1.08 million – $1.62 million).

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Investigation Leads To 133 Antiquities Worth $14 M. Returned to Pakistan

The Manhattan District Attorney’s office recently announced the return of 133 antiquities “collectively valued at $14 million” to Pakistan after being seized as part of multiple investigations of trafficking networks.

The press release specifically mentioned Subhash Kapoor and Richard Beale, both of whom have been previously charged with trafficking artifacts. The items were returned during a ceremony with Consul General Aamer Ahmed Atozai and a special agent from the New York office of Homeland Security Investigations.

“These artifacts are now being returned to where they belong. This repatriation is more than the return of physical objects; it is the restoration of a part of Pakistan’s soul and identity,” Atozai said in a press statement.

Among the items being returned is a Gold Strato I Coin from circa 105-85 B.C.E. According to the Manhattan District Attorney’s office, Beale tried to smuggle the coin into the US through John F. Kennedy airport, resulting in its seizure in 2023. Beale was arrested in New York last January on multiple charges relating to the sale of a multimillion-dollar ancient coin. Prior to his arrest for the “Eid Mar” (Ides of March) coin, Beale was the owner and managing director of Roma Numismatics, a London-based auction house that dealt in ancient coins. Beale and Italo Vecchi were convicted of crimes related to antiquities trafficking in August last year.

The other highlighted item being returned to Pakistan is an elaborately carved stone head of a Bodhisattva wearing a headdress featuring a lotus flower from the 2nd or 3rd century. The Manhattan District Attorney’s office said the stone head was recovered from a storage facility “allegedly hidden by Kapoor.”

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The 1605 Oxford City Charter

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This photo depicts the 1605 Oxford city charter in which ‘for the first time the constituents and powers of the council were defined, and its election procedures described’.[1] As a result of this charter, Oxford became a corporate, free city, and as such, Oxford city  corporation had the power to make by-laws, punish breaches by fine or imprisonment, sue and be sued in the corporate title, and be able to hold or dispose of property under a common seal.[2] This charter served as the foundation of civic governance in Oxford until 1835.

Oxford City Charter granted by James I, 1605. Reproduced by permission of Oxford History Centre. Photo taken by the author.

The 1605 charter is adorned with decorative borders that highlight the strong connection between the city corporation and the crown. Upon closer inspection, this charter does not just assert the authority of the crown but also appears to have been used as a heraldic device by the corporation to assert the authority and power of civic government.  While the borders feature various symbols that promote the corporation’s ties to the crown, such as the harp, the city’s coat of arms is equally prominent. The coat of arms depicts a shield with a red ox, which symbolises courage and valour, especially in public office. Therefore, the symbolism within the coat of arms may have been a way for the corporation to assert its authority to the public. Further examination highlights that the charter is decorated extensively with what are called heraldic colours, including red, black, and yellow which were used not necessarily to reinforce the power of the crown but rather the civic virtues of the city government as in the case of black which often symbolised constancy and which it can be argued that the corporation expected the townspeople to emulate.

During the early seventeenth century, this document was employed by the corporation to strengthen its authority against objections from the university. By the 1630s, this document had become particularly significant as it enabled the corporation to challenge both the power of the university and the crown. It also helped establish the corporation’s authority over the townspeople, at least the freemen. This was a crucial objective for the corporation since the civic authorities were responsible for ensuring that the city was free from public disorder and unrest.

An example of how the charter was used to support the corporation’s authority can be found in the corporation minutes of 1636. At this time, the corporation refused to pay the full costs of accommodating the crown’s officers during the royal visit. The corporation’s minutes record that if this decision was challenged, they would display the charter in parliament and use it to support the mayor’s decision.[3]This refusal may have been due to the changing relationship with the crown in the 1630s, in which the corporation saw the gradual erosion of the liberties that had been granted in 1605 and was fighting to restore many of them.

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Emma Stone stars in 'wacky' and 'dark' comedy

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Megalopolis is a 'pretentious, portentous curio'

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The 'lost' horror that's the UK's Rosemary's Baby

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What the butterfly in the King's portrait means

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