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Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Press Release 1
PRESS RELEASE 1. Oktober 2020 Caspar David Friedrich and the Düsseldorf Romanticists 15 October 2020 - 7 February 2021 Caspar David Friedrich (1774-1840) is regarded as one of the most eminent 19 th -century painters and the most important representative of German Romanticism. Comprising approximately 130 works, the exhibition at the Kunstpalast, Düsseldorf, explores the relationship between Caspar David Friedrich and the Düsseldorf Romanticists, which was characterised by criticism as well as mutual respect and affinity. The exhibition addresses the changes in taste occurring in the period between early Romanticism and the beginnings of the Realist movement. For the first time Saxonian landscape painting forms a dialogue with its Düsseldorf counterparts. “No other artist from the Romantic period is similarly well-known in Germany as Caspar David Friedrich and admired both by the public and experts”, emphasizes Felix Krämer, Director General of the Kunstpalast. “At the same time, few are aware that the oeuvre of the painter from Greifswald started to fall into oblivion from the mid-1830s. This was largely due to the enormous success of the representatives of Düsseldorf Romanticists.” Presented alongside works by fellow artists from Dresden such as Carl Gustav Carus (1789-1869), Ludwig Richter (1803-1884) and Ernst Ferdinand Oehme (1797-1855), around 60 of Friedrich’s works will be juxtaposed with paintings by a number of Düsseldorf artists, including Andreas (1815-1910) and Oswald Achenbach (1827-1905), Carl Friedrich Lessing (1808-1880) and Johann Wilhelm Schirmer (1807-1863). “From today’s perspective, it may come as a surprise that it was the Düsseldorf artists who were celebrated as the true Romanticists.”, comments Bettina Baumgärtel, curator of the exhibition. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Global Vistas: American Art and Internationalism in the Gilded Age
Global Vistas: American Art and Internationalism in the Gilded Age Nicole Williams Honorary Guest Scholar and Postdoctoral Teaching Fellow (2019–2020) in the Department of Art History & Archaeology in Arts & Sciences at Washington University in St. Louis Global Vistas: American Art and Internationalism in the Gilded Age explores the importance of international travel and exchange to American art of the late nineteenth century, a period of transition for the United States marked by the rise of global trade, international tourism, massive waves of immigration, and forces of orientalism and imperialism. Through a selection of paintings, prints, photographs, and decorative arts from the Mildred Lane Kemper Art Museum, as well as other collections at Washington University in St. Louis, this Teaching Gallery exhibition reveals how Americans increasingly defined their nation by looking to the foreign cultures and landscapes of Asia, the Middle East, Europe, and the Caribbean basin. They imbued their art with a modern, multicultural spirit that also announced the country’s emerging status as a global power. In the decades following the Civil War, many Americans eagerly turned away from recent violence at home toward new vistas of adventure and opportunity abroad. A boom in international travel was facilitated by improvements to communication and transportation networks, such as the laying of the first transatlantic cable, the completion of the transcontinental railroad, the opening of the Suez Canal, and the introduction of regular steamship service between San Francisco and Yokohama, Japan. Young American artists flocked to study in Europe’s great art centers, often staying overseas for many years and establishing vibrant expatriate communities. -
Newsletter & Review
NEWSLETTER & REVIEW Volume 58 z No. 1 Summer z Fall 2015 Cather and the Wolves Nella Larsen, Willa Cather, and Cultural Mobility Fitzgerald’s Daisy and Cather’s Rosamond Teaching “The Enchanted Bluff ” Willa Cather NEWSLETTER & REVIEW Volume 58 z No. 1 | Summer z Fall 2015 2 9 17 31 24 30 33 CONTENTS 1 Letters from the Executive Director and the President 17 More Than Beautiful Little Fools: Fitzgerald’s Daisy, Cather’s Rosamond, and Postwar Images of 2 “Never at an End”: The Search for Sources of Cather’s American Women z Mallory Boykin Wolves Story z Michela Schulthies 24 Upwardly Mobile: Teaching “The Enchanted Bluff ” 4 New Life for a Well-known Painting to Contemporary Students z Christine Hill Smith 5 Describing the Restoration z Kenneth Bé 30 New Beginnings for National Willa Cather Center 9 Meanings of Mobility in Willa Cather’s The Song of 31 In Memoriam: Charlene Hoschouer the Lark and Nella Larsen’s Quicksand Amy Doherty Mohr 33 Willa Cather and the Connection to Kyrgyzstan Max Despain On the cover: Sleigh with Trailing Wolves by Paul Powis. Photo courtesy of the Nebraska State Historical Society’s Gerald R. Ford Conservation Center. Letter from the City of Red Cloud, and the area Chamber of Commerce the Executive Director to further develop and enhance the visitor experience. Through Ashley Olson the hire of a Heritage Tourism Development Director, the partnership will increase Red Cloud’s appeal as a destination for tourists through creation of new services and amenities. Jarrod As I write this, a productive and busy summer at the Willa Cather McCartney, a scholar and Red Cloud native, has already settled Foundation is drawing to a close and we are celebrating the success of into this position comfortably. -
Catalogue of Modern Paintings and Sculpture :|Bcollected by the Late
THE ART COLLECTION OF THE LATE J. W. KAUFFMAN ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES FROM SATURDAY, JANUARY 28th UNTIL THE MORNING OF THE DAY OF SALE, INCLUSIVE SALE AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY FRIDAY EVENING, FEBRUARY 3rd BEGINNING PROMPTLY AT 8.15 O’CLOCK ! CATALOGUE OF MODERN PAINTINGS AND SCULPTURE COLLECTED BY THE LATE J. W. KAUFFMAN > % • OF ST. LOUIS TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OP MRS. N. B. KAUFFMAN, EXECUTRIX, ON THE DATE HEREIN STATED THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK: 1905 Copyright, 1905, by THE AMERICAN ART ASSOCIATION Press of J. J. Little & Co. Astor Place, New York . , CONDITIONS OF SALE 1. The highest Bidder to he the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be im- mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or other- wise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold them- selves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. -
The Patronage and Collections of Louis-Philippe and Napoléon III During the Era of Queen Victoria and Prince Albert
Victoria Albert &Art & Love Victoria Albert &Art & Love The patronage and collections of Louis-Philippe and Napoléon III during the era of Queen Victoria and Prince Albert Emmanuel Starcky Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love The patronage and collections of Louis-Philippe and Napoléon III during the era of Queen Victoria and Prince Albert Emmanuel Starcky Fig. 1 Workshop of Franz Winterhalter, Portrait of Louis-Philippe (1773–1850), 1840 Oil on canvas, 233 x 167cm Compiègne, Musée national du palais Fig. 2 After Franz Winterhalter, Portrait of Napoleon III (1808–1873), 1860 Tapestry from the Gobelin manufactory, 241 x 159cm Compiègne, Musée national du palais The reputation of certain monarchs is so distorted by caricaturists as to undermine their real achievements. Such was the case with Louis-Philippe (1773–1850; fig. 1), son of Philippe Egalité, who had voted for the execution of his cousin Louis XVI, and with his successor, Napoléon III (1808–73; fig. -
Kat. Lithographie 30.#1BF1E.Qxd
. r J r e d i e n h c S . P . J www.j-p-schneider.com Editor: J. P. Schneider jr. Kunsthandlung Catalogue entries: Max Andreas (MA) Dr. Eva Habermehl (EH) Dr. Roland Dorn (RD) Translations: Bronwen Saunders Rossmarkt 23 Photography: D-60311 Frankfurt am Main Marthe Andreas +49 (0)69 281033 Layout and reproduction: [email protected] Michael Imhof Verlag, Petersberg www.j-p-schneider.com Print: Werbedruck GmbH Horst Schreckhase, Spangenberg © J. P. Schneider jr. Verlag 2017 ISBN 978-3-9802873-3-3 Prices on request German Catalogue available CONTENT Foreword .................................................................................... 7 17 Johann Heinrich Hasselhorst Bei Civita Castellana (Near Civita Castellana) ....................... 42 18 Eduard Wilhelm Pose 1 Johann Jakob Jung Römische Campagna mit Aquädukt Die Heilige Familie (The Holy Family) .................................... 8 (Campagna Romagna with Aqueduct) ................................... 44 2 Johann Rasso Januarius Zick 19 Carl Morgenstern Kreuzigung, Golgatha (Crucifixion, Golgotha) ........................ 10 Golf von Sorrent (Gulf of Sorrento) ........................................ 46 3 Wilhelm Altheim 20 Eduard Wilhelm Pose Der barmherzige Samariter (The Good Samaritan) .................. 12 Haus des Tasso, Sorrent (House of Torquato Tasso, Sorrento) .... 49 4 Joseph Carl Cogel(s) 21 Gustav Friedrich Papperitz Blick auf die Stadt Frankfurt am Main Abendliche Landschaft bei Rom mit Castel Gandolfo (View of the City of Frankfurt am Main) ............................... -
Pistolenschuss Zum Mittagessen. Die Wandernden Maler Um Johann
Pistolenschuss zum Mittagessen Die wandernden Maler um Johann Wilhelm Schirmer in Altenahr Marcell Perse „Ich sitze jetzt wieder ruhig in Altenar, habe Gruppenexkursion junger mehrere Studien angefangen und warte auf’s Landschaftsmaler gute Wetter um sie fertig zu machen. Da Du Als Vertretung des auf Italienreise weilenden nun weißt wie es hier ist wenn es regnet, so Direktors leitete er im Schuljahr 1830/31 schon lade ich Dich ein so schnell wie möglich hier selbstständig den Unterricht der Landschaf- an meiner Langeweile theil zu nehmen auf ter und noch bevor im nächsten Schuljahr daß wir dann nachher zusammen Kloster Lach 1831/32 diese Hilfslehrerfunktion zu Ostern und Broler Thal bereisen können. Dieser Brief in eine feste Anstellung umgewandelt wurde, ist Sonntag wahrscheinlich in Jülich. Montag finanzierte die Akademie eine Gruppenexkur- fährst Du zur Post nach Köln, gehst Dienstag sion ins Ahrtal, wie sich der Schirmerschüler nach Bonn oder womöglich hierher. Als Dank Caspar Scheuren rückblickend erinnert: „Dorf kannst du zwischen Bonn und hier in Mecken- Altenahr im Ahrtal wohin wir damals zu 14 heim bei Unkelbach einen Jungen bestellen, Landschafter[n], Schirmer an der Spitze hin[ge] der Deinen Tornister trägt und Dir den Weg ga[n]gen. Die Regierung hatte die bevorzugte bis hierher zeigt. (…) Ich bin ganz allein. Kei- 28 Thaler Reise-Stipendium gegeben /jedem; u. ne Seele ist hier, womit [ich] herumstreichen so blieben wir 6 Wochen. (...) Dieseits und Jen- könnte. Bringe doch etwas zu lesen mit, ist seits Motiv vom Ahrtal, wo wir wie Krähe[n] egal was.“ überall verstreut in u. zwischen den Felsen hockten u. -
Charity Art Auction in Favor of the CS Hospiz Rennweg in Cooperation with the Rotary Clubs Wien-West, Vienna-International, Köln-Ville and München-Hofgarten
Rotary Club Wien-West, Vienna-International, Our Auction Charity art Köln-Ville and München-Hofgarten in cooperation with That‘s how it‘s done: Due to auction 1. Register: the current, Corona- related situation, BenefizAuktion in favor of the CS Hospiz Rennweg restrictions and changes 22. February 2021 Go to www.cs.at/ charityauction and register there; may occur at any time. please register up to 24 hours before the start of the auction. Tell us the All new Information at numbers of the works for which you want to bid. www.cs.at/kunstauktion Alternatively, send us the buying order on page 128. 2. Bidding: Bidding live by phone: We will call you shortly before your lots are called up in the auction. You can bid live and directly as if you were there. Live via WhatsApp: When registering, mark with a cross that you want to use this option and enter your mobile number. You‘re in. We‘ll get in touch with you just before the auction. Written bid: Simply enter your maximum bid in the form for the works of art that you want to increase. This means that you can already bid up to this amount, but of course you can also get the bid for a lower value. Just fill out the form. L ive stream: at www.cs.at/kunstauktion you will find the link for the auction, which will broadcast it directly to your home. 3. Payment: You were able to purchase your work of art, we congratulate you very much and wish you a lot of pleasure with it.