10.930 Ergebnisse
Qu.-4to. (202:157 mm). Auf Papierträger (232:173 mm) montiert. In Bleistift. Antikisierende Studie badender Frauen, für eine bukolische oder arkadische Szenerie. Zur linken Frauenstudie, die eine Unbekleidete mit Schleier zeigt, vgl. Dietrichs Gemälde "Diana und die Nymphen"; die rechte zeigt zwei Frauen in griechischem Gewand (vgl. hierzu "Landschaft mit Diana und Nymphen"). - Papierbedingt etwas gebräunt und mit einem kleinen Ausriss in der rechten oberen Ecke.
Radierung. 8vo (170:205 mm) unter Passepartout (Folio). Der Hauptplatz der Stadt Landsberg am Lech mit dem Marienbrunnen und figürlicher Staffage. Originalgraphik in kleiner Auflage (82/100) mit nicht identifizierter Signatur ("Kondotti"?) in Bleistift.
590 x 460 mm. Pastel on vellum. Framed and glazed. Unsigned, undated half-length portrait of the Duke (1757-1828), Goethe's friend and patron, in his early twenties. This work by an unidentified Thuringian master strongly resembles the one at Dornburg castle listed as no. 19 in Hans Wahl's census ("Pastellgemälde von unbekannter Hand. 1775-80"). Goethe frequently stayed at this Ducal palace when in Dornburg on business. The painting is probably one of a small number of contemporary copies based on the oil painting by Johann Ernst Heinsius (Wahl no. 14), but with softer contours and brighter colours, as common for pastel crayons. - Two tears of about eight centimetres each near top and bottom edge of paper, professionally restored. Occasional rubbing to colours; some overpaintings and staining. Ownership of the anthroposophical physician Karl Hanno Matthiolius (1923-91), dated Solingen-Landwehr, 28 Nov. 1945, on the reverse. H. Wahl, "Die Bildnisse Carl Augusts von Weimar" (Weimar 1925), no. 19.
Royal folio. In later years mounted onto uniform backing boards by Geyling himself and laid into two simple portfolios, both of which contain his autogr. table of portraits. All leaves numbered throughout by the artist (1-24; Schnitzler's letters on their own backing are no. 23) and captioned with the name and dates of the person portrayed. The earliest portrait dates from 1897, the year in which the Vienna Secession and the artistic periodical "Ver Sacrum" were founded. According to his inscription, it was for the latter that Geyling drew the present portrait of the Secessionist sculptor Rudolf Bacher. Many of the pictures collected in these two portfolios were created several years later, in 1905, during the heyday of the Wiener Werkstätte (for which Geyling designed postcards) and a year after Geyling and his partner Otto Prutscher closed their joint studio for furnishings and décor. "Although a member of the conservative 'Künstlerhaus', Geyling always was close to the Vienna Secession" (cf. AKL LII, 462). For Geyling, "Klimt, Hoffmann, Roller, Olbrich were not only my colleagues, but also my friends, and many a night did we debate about the 'new and pure art'" (cf. Remigius Geyling erzählt, aufgezeichnet von Gerald Szyszkowitz. In: Nebehay/Krug, pp. 5-8, here: p. 7). These nights apparently offered numerous opportunities for Geyling's portrait studies: apart from the portraits of the aforesaid, the present collection contains a picture of the frequent Tivoli patron Egon Schiele (from the year of his death) as well as a portrait of Adolf Loos, drawn in the famous Café Museum. It was probably here where also Karl Kraus (entitled "Fackl-Kraus" by the artist) sat for Geyling. The great painter enjoyed an especially close relationship to Gustav Klimt: for many years he belonged to the circle of those who shared breakfast with Klimt at the Tivoli (cf. Nebehay/Krug, p. 3). In that legendary restaurant at the Green Hill in Vienna's Meidling district, he drew the two portraits of Klimt in May 1905. Together with Peter Altenberg and Otto Wagner, Klimt is one of the few persons whom Geyling sketched in more than one portrait only (all on a single page). It was upon Klimt's recommendation that Geyling was hired as head of decorations at the "Neue Wiener Bühnen" in 1910; his first production was the premiere of Schnitzler's "Undiscovered Country". It was during the rehearsals for this production, on 14 October 1911, that Geyling produced the present portrait of Schnitzler. Schnitzler's two letters to Geyling concern their joint project of a "Medardus movie". Geyling had worked as decorator for the most important Austrian film productions. So successfully had he transferred the stylistic devices of the Wiener Werkstätte into historical tragedy that in 1924 Fritz Lang used Geyling's designs for his great silent "Nibelungen" series (cf. AKL LII, 462). - Provenance: From a Viennese private collection, to which the artist himself sold both portfolios. Nos. 6-8 and 18, 21 and 22 are each illustrated in full-page size in: Ch. M. Nebehay & H. Krug (eds.). Remigius Geyling. Künstler und Literaten. Gezeichnet in Wien um 1900. Wien 1974. (= Jahresgabe der Wiener Bibliophilengesellschaft). This work does not describe the present collection; all other drawings are unpublished.
1200 x 400 mm. Gerahmt hinter Glas. Schöne Ansicht von Leipzig, gestochen von Friedrich Salathé (1793-1858) nach der Zeichnung von Adolf Eltzner. Aus dem Besitz des gebürtigen Leipzigers Walter Ulbricht (1893-1973), rückseitig in Bleistift bezeichnet: "Geschenk an den Vorsitzenden des Staatsrates, Gen. Walter Ulbricht, anlässlich des 75. Geburtstages. 30.6.1966 [!] überreicht von Prof. Dr. Dieckmann". Händleretikett Erwin Paetzel, Berlin, Linienstraße 155.
60 mm (diameter) and 62 x 75 mm. In their original brass and wooden frames. Half-length portrait of baron de La Châtre, the father of the publisher Maurice Lachâtre, with the decoration of the "Légion d'honneur" clearly visible on his robe. He was born and died in Issoudun, was appointed a knight on 12 December 1803 and promoted to the rank of an officer on 14 June 1804. He participated in the Revolutionary Wars as well as in the Napoleonic Wars, reaching the rank of colonel, and was granted the title of a "Baron de l'Empire" on 19 March 1808. Narrow cracks in the portrait; small flaw at lower margin. - Half-length portrait of his wife and the mother of Maurice Lachâtre, Élisabeth-Constance Séonnet (born on 23 June 1784 in Issoudun, died on 13 November 1860 in Maisons-Laffitte), in a sitting position, her left arm resting on the back of the chair, wearing a white dress and a furry scarf round her shoulders. The miniature was probably created soon after her wedding on 13 April 1803. Marginal flaw to wooden frame. Xavier Gaignault et Hervé Coutau-Bégarie, Le colonel Pierre-Denis de La Châtre, baron de l’Empire (Éditions Guénégaud, 2007).
190 x 125 mm. Stahlstich von Georges François Louis Jaquemot. Brustbild nach links. - Gebräunt.
160 x 120 mm. Lithographie von Franz Eibl (1806-80) nach Moritz-Michael Daffinger (1790-1849).
Kupferstich. 82 x 80 mm.
8vo. 16 numbered hand-coloured aquatint panels (70 x 200 mm). With 2 sheets of publisher's advertisements. In original cardboard box (163 x 223 mm) with mounted hand-coloured aquatint title-page engraved by Sidney Hall. Curious art toy created by the London bookseller Samuel Leigh, featuring aquatint panels by the noted landscape and battle artist John Heaviside Clark (1771-1863), depicting idealized English and Scottish scenery, including ruins, lakes, and mountains. - A "myriorama", a term derived from the Greek words "myrias", meaning "multitude", and "orama", meaning "scene" or "view", comprised a set of illustrated cards, each representing a slice of a landscape. No matter what order you placed them in, the cards created a cohesive scene. The near-endless possibilities made it a popular entertainment for people of all ages. After the success of the first myriorama, designed by Jean-Pierre Brès in France, the toy took off across Europe from the 1820s, sparking imitations in Austria, England, Germany, and the Netherlands. Leigh and Clark adopted the name and the design of the box that housed the cards from the original French version, in hopes of inspiring other artists to draw attractive landscapes. Their myriorama also introduced the innovation of numbering each panel, making it possible to record and later recreate scenes found especially pleasing. Myrioramas provided dynamic visual entertainment at a time when the advent of cinema was still decades away. With their incredible number of possible combinations and charming visuals, myrioramas were "one of the most diversified and exhaustless inventions for variety and pleasing amusement that has hitherto appeared", according to the London's Morning Chronicle at the time. - The present 16-card myriorama can be arranged into an astounding 20,922,789,888,000 (that's 20 trillion!) different scenes. Later myrioramas with larger sets of cards could provide an unfathomable number of permutations, reaching well beyond our standard naming conventions. - Pencil ownership of Isabella Hord to the inside of upper cover. Box somewhat rubbed at extremities; corners lightly bumped; some brownstaining. The panels very well preserved. A copy is held at the Huntington Library in California. A charming item rarely seen at auction.
Lithographie. 290 x 190 mm. Hüftbild des österreichischen Komponisten Joseph Edler von Eybler (1765-1846).
Schabkunstblatt, 181 x 128 mm. Druck von Tommaso Benedetti nach einem Gemälde von Peter Fendi.
300 x 220 mm. Dreiviertel-Portrait des Komponisten, Stich und Druck von Weger.
Lithographie. 175 x 125 mm. Auf Trägerkarton. Portrait des böhmisch-österreichischen Komponisten und Pianisten Joseph Gelinek (1758-1825) nach einem Stahlstich von Carl Meyer. - Braunfleckig.
290 x 220 mm. Kupferstich von Simon Charles Miger (1736-1822) nach dem 1775 entstandenen Gemälde von Joseph Siffred Duplessis (1725-1802).
Kupferstich. 185 x 126 mm. Profilbild von Auguste de Saint-Aubin mit der Unterschrift: "Il préféra les Muses aux Sirènes". - Leicht braunfleckig.
Stich. 255 x 190 mm. Profilbild des wallonisch-französischer Komponisten Gossec (1734-1829) von Edme Quenedey (1756-1830). - Etwas braunfleckig.
280 x 195 mm. Kolorierter Kupferstich von Amadée Geille nach Jean-Baptiste Isabey (1767-1855). Der französische Komponist Grétry (1741-1813) wird an seinem Schreibtisch sitzend und schreibend abgebildet.
230 x 160 mm. Brustbild des italienischen Dichters und Librettisten Pietro Metastasio (1698-1782). Druck von Giovanni Steiner nach einer Zeichnung von Paolo Caronni.
Lithographie. 295 x 235 mm. Brustbild nach einer Zeichnung von Kriehuber (1830).
Kupferstich. 380 x 270 mm. Brustbild des italienischen Komponisten Paër (1771-1839).
Kupferstich. 300 x 205 mm. Brustbild Webers von Albert Henry Payne (1812-1902), umrahmt von Szenen aus seinem "Freischütz".
Lithographie. 355 x 276 mm. Lithographisches Portrait des österreichischen Komponisten und Dirigenten Joseph Weigl (1766-1846).
Kupferstich. 125 x 85 mm. Brustbild im Oval.
1 Blatt. Ca. 148:165 mm. Dargestellt ist ein kleines Steinmarterl mit umgebender Vegetation. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.