WOHN! DESIGN MAGAZINE
You only exist once.
And you want to live as unique as you are - independently and individually, cultivate the style that defines your life.
We see ourselves as gold miners, flaneurs and conaisseurs - we are the magazine with a special view of extraordinary people, objects and places.
We dig in the mines for the special, stroll with you through the great world of design and art, are connoisseurs for culinary art and travel - we want to make you want to enjoy yourself.
We are independent of a group and have a free spirit, want to inform and entertain you - always with a pinch of humor for ease.
What do art experts value?
What do auctioneers and proven professionals burn for privately?
We asked ten experts from different houses. Not for your most expensive or best piece of 2020, but for real favorite objects. The answers couldn't be more different - join us on a discovery tour through art.
President Christie's EMEA
Buying carpets is one of the most complicated things, especially when they are antique. They have to be pleasing (which is difficult enough), the right size, and then still fit into the budget. You mustn't remind me of the so-called “real” Persians of my grandparents and please don't have any flowers in the pattern. There is not much left! This (flat-woven) French rug was produced in the famous Aubusson workshops around 1790. With its unusual geometry, the pattern is almost modern, but individual shapes and colors are typical of the era. I like the “Wedgwood-y” emblems with the exotic animals, especially the crocodile. Comic antique!
drs. Herbert van Mierlo
Senior Director, Valuation Specialist
“Even as a student of art history, I was so enthusiastic about medieval sculpture that I focused my studies on it. It is therefore not surprising that, both as an expert at Sotheby's and as an art historian, I pay special attention to the art and crafts of the Romanesque and Gothic periods. Therefore, the story of this sculpture was something of a small but very fine 'revelation' for me. I received the request for the figure in the form of a small photo from a customer in my home country; the owner had recently inherited the sculpture from a deceased private collector, which had been part of this private collection since 1989. In the photo she looked really 'nice', and Johann Dannecker is not the 'greatest' German neoclassical artist name, but certainly not insignificant; therefore, an on-site assessment was of course relevant. All of these more 'professional' considerations that I had in advance then completely fizzled out during my visit ... you can practically say that the direct encounter with the sculpture was like 'love at first sight'. The photo with the description just couldn't capture the quiet beauty, the spirituality, the sensuality of this sculpture; the proverbial 'spark' can only skip over for everyone on closer inspection. I was assured and it was also clear - the sculpture was in a separate room - that this was the deceased collector's absolute favorite. I could understand.
During the auction in London in July 2019 it became clear that the enthusiasm of the original collector, my enthusiasm and that of my colleagues were also shared by some of our customers. Our conservative but real auction estimate was £ 120.00-180.000. Up until then, the most expensive auction price achieved to date for a work by Dannecker was around € 30.000. GIRL WITH THE DEAD BIRD (LESBIA AND HER SPARROW), Johann Dannecker's tender homage to his wife, then achieved £ 2,3 million with the participation of several international interested parties after a long bidder switch - a sensational price for Dannecker! "
JOHANN HEINRICH VON DANNECKER (1758-1841)
STUTTGART, DATED 1836
GIRL WITH THE DEAD BIRD (LESBIA AND HER SPARROW)
Wetzlar Camera Auctions GmbH
Decorative material for shop windows in photo shops has been produced for Leica cameras, lenses and accessories in a wide range over the decades. Unfortunately, not many of the displays from the early days have survived, as sensitive materials such as paper mache, foil, fabrics and wood were used, and dealers often threw discarded material away at a time when there was no collectors' market at all. Today, these displays are particularly sought after, as they increase the attractiveness of any exhibition in showcases in private collections when they are decorated with the camera models from that time.
This stand for four Leica models dates from 1958. The construction consists of four panels for the cameras, painted in different pastel colors, mounted on a large metal bracket on a black wooden base plate with rubber feet. The labels attached to the panels are labeled with the names of the individual camera models and lenses.
When I found this display in the basement of the property of a customer and a very long-time collector, I felt a kind of pity that such a piece of jewelery had obviously only been stored for decades and was not allowed to be used anywhere. Nevertheless, buying such an exhibit from a collection is quite a task. A particular challenge, however, was the careful dismantling and very careful packing of all individual parts on site for shipment to Wetzlar. The storage location did not allow travel by car and so only air freight was considered.
One of the last (before) tasks was to find the four matching Leica camera models from the same year of construction as the one in which the display was made - and in the most beautiful original condition possible. The display now presents itself beautifully, like a window dressing in a Leica specialist shop in the late 1950s, and almost laughs at me as the viewer of our current auction catalog. During more than 35 years of daily dealing with the history of the Leica camera and the Leica system, I have not come across any other copy of this version. I am sure that the future owner will have the appropriate space to effectively stage this piece. My wish would be to finally document this and present the display to the previous owner again in its new environment.
charismatic front man from Quittenbaum Kunstauktionen is enthusiastic about a pioneer of modern design:
A Henry van de Velde vase is my favorite this year. I am a great admirer of van de Velde anyway, but in this vase I combine properties that exert a great attraction on me. First of all, it is the form that is typically van de Velde, perfectly proportioned and elegant and - as is so often the case with his designs - also suggests something else. The shape is vaguely reminiscent of a technical device, historically speaking the association goes in the direction of stylized floral ornaments as we know them from the Romanesque and Gothic. The color of the vase makes it look like a shiny stone, a find. If you know a little about ceramics, you will be very impressed by the glaze. At high temperatures and with the exclusion of oxygen, the so-called hot-fire glaze has produced a delicate gray running glaze - at the edge of the mouth and at a shoulder in the middle of the wall, bluish and slightly reddish shimmering crystals collect; if you look into the vase it is 'ox blood red'. This is an object that I like to immerse myself in for a long time and that has a very calming effect on me. Of course, I also know about the particular rarity of this model, which of course I, as an art dealer, cannot ignore and which also influences my choice.
Henry van de Velde
On a round standing zone, wall offset in the middle, two handles pulled out of the shoulder towards the multi-profiled mouth edge. H. 24 cm. Execution: Reinhold Hanke, Höhr. Vase in gray stoneware with hot-fire glaze, gray gradient with bluish and reddish efflorescence. Marked on the bottom: artist's mark (embossed). Estimate: € 9.000 - 12.000 (auction on December 8, 2020)