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Auction Description for Lempertz: 19th Century Paintings and Drawings, Sculptures
Viewing Notes:
Friday 8 November, 10 am - 5,30 pm Saturday 9 November, 10 am - 4pm Sunday 10 November, 11am - 3pm Monday 11 - Wednesday 13 November, 10 am - 5,30 pm Thursday 14 November, 10 am - 1 pm Friday 15 November, 10 am - 5,30 pm Berlin (selection) Poststrasse 22 Thursday 31 October - Saturday 2 November, 11am - 5 pm Munich (selection) St.-Anna-Platz 3 Tuesday 5 - Wednesday 6 November, 10 am - 6 pm
Sale Notes:
www.lempertz.com

19th Century Paintings and Drawings, Sculptures

(114 Lots)

by Lempertz

Platinum House

114 lots with images

November 16, 2013

Live Auction

Neumarkt 3

Cologne, 50667 Germany

Phone: +49 221 92 572917

Fax: +49 221 92 57296

Email: info@lempertz.com

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JEAN-JOSEPH-XAVIER BIDAULT, circle of, MOUNTAIN LANDSCAPE

Lot 1500: JEAN-JOSEPH-XAVIER BIDAULT, circle of, MOUNTAIN LANDSCAPE

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Description: JEAN-JOSEPH-XAVIER BIDAULT, circle of, MOUNTAIN LANDSCAPE MOUNTAIN LANDSCAPE

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JACOB PHILIPP HACKERT, VIEW ON THE GULF OF POZZUOLI

Lot 1501: JACOB PHILIPP HACKERT, VIEW ON THE GULF OF POZZUOLI

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Description: JACOB PHILIPP HACKERT, VIEW ON THE GULF OF POZZUOLI VIEW ON THE GULF OF POZZUOLI Signed and dated lower centre: Philipp Hackert 1805 With a label to the reverse at the top of the stretcher inscribed by a hand other than that of the artist: No (.) / Veduta di Pouzzolo, Baja Capo Misono, / Procida, Ischia, presa ai. P: P: Capucini / a Pouzzolo. 1805. Filippo Hackert. The four paintings in lots 1501 - 1504 form a previously unknown original series of Italian landscapes, were painted in Hackert's last two years as an artist, and despite his advanced age he still proves himself to be at the height of his genius. They prove without doubt his confidence in himself as an artist even in old age, and their provenance, which can be traced back to the artist himself, also adds to their interest. As a group, the order and configuration of which was decided in this form between the artist and his unknown patron, the works take up a prominent place in Hackert's late oeuvre. The unknown commissioner probably chose the motifs based on drawings in Hackert's studio and listened to the artist's descriptions of the places, at which point they probably also noted their names and locations. This suggestion is supported by the inscriptions to the backs of three of the paintings, which I presume were made by Hackert's customer upon receiving the paintings. It can also be assumed that Hackert's customer was French. On 4th March 1806, the artist sent a letter from Florence to Johann Wolfgang von Goethe in Weimar: "Da jetz Wenig Fremde in Italien Reisen, so sind wenige bestellungen, ohn erachtet, so mache ich immer Kleine Geschäfte, habe noch vor Achtag 4 Stück Landschaften a 60 Zech[inen]: nach Frankreich Geschicket." ("As few foreigners travel in Italy nowadays, I haven't had a lot of commissions, only small dealings, eight days ago I sent four landscapes for 60 Zech each to France." cited from Nordhoff 2012, op. cit., p. 216-217). In my opinion, these four works are the same ones mentioned in this letter to Goethe: Hackert probably completed the view of the Gulf of Pozzuoli in autumn 1805, and the other three paintings in the first two months of 1806. Thus, the pieces must have been sent to France in late February. The Gulf of Pozzuoli, located next to the Gulf of Naples and separated from it by the Capo Posillipo, was among the most well known places in Italy due to its picturesque landscape. The present work shows a view of the Gulf from 120m above it, from the east of Pozzuoli near to the Capuchin church of S. Gennaro. The viewer looks out over the small town built on a tuff stone bank jutting out into the sea, with the domes of the cathedral and the church of S. Maria delle Grazie rising up above the rooftops. The "Ospizio dei Cappuccini" is located on a small penninsula to the left. Baja's 15th century "Castello Aragonese" can be seen on the opposite shore of the Gulf with the flat island of Procida, the high cone of Monte Epomeo and the Island of Ischia behind it. The stretch of land ends on the left of the painting with the Capo Miseno and Monte Miseno. Claudia Nordhoff

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JACOB PHILIPP HACKERT, VIEW ON SESSA AURUNCA

Lot 1502: JACOB PHILIPP HACKERT, VIEW ON SESSA AURUNCA

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Description: JACOB PHILIPP HACKERT, VIEW ON SESSA AURUNCA VIEW ON SESSA AURUNCA Signed and dated lower left: Phi Hackert 1806 With a label to the reverse at the top of the stretcher inscribed by a hand other than that of the artist: No (2) / Sessa pres de St. Agata sur la Route de Rome / à Naples. Phi: Hackert f: 1806. This second painting also shows a location in the Kingdom of Naples, but one less well known than the popular Gulf of Pozzuoli, and far from the usual tourist routes. The painting shows the small town of Sessa Aurunca, located to the north of Naples at the base of Monte S. Croce, the extinct volcano of the nearby town of Roccamonfina. It is located on the Via Appia, which Hackert used for his hikes from Rome to Naples. The artist first explored the area in 1792, but returned in 1794, and in this year made a sketch (Berlin, Kupferstichkabinett; cf: Nordhoff/Reimer 1994, op. cit., nr. 875) of a road lined by trees, presumably the Via Appia. The sketch also shows the ruins of Fort Sessa on a hill and a high, angular tower in soft colours in the distance. The roofs of the town can be seen to the left, surmounted by the maiolica-covered dome and bell tower of the Baroque church of S. Maria dell`Annunziata. The hazy contours of the Monti Aurunci are also visible in this distance. Hackert appears to have used the background of this sketch with the town of Sessa Aurunca, the buildings of which are clearly recognisable, and the curve of the Via Appia which leads around the front of the sketch. However for the painting, Hackert has changed the original composition of the landscape and added a small river with a waterfall to the front right, the banks of which are lined with poplars and hedges. Claudia Nordhoff

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JACOB PHILIPP HACKERT, THE CHURCH OF SANTA MARIA DEI MIRACOLI IN SCAFATI NEAR NOCERA INFERIORE

Lot 1503: JACOB PHILIPP HACKERT, THE CHURCH OF SANTA MARIA DEI MIRACOLI IN SCAFATI NEAR NOCERA INFERIORE

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Description: JACOB PHILIPP HACKERT, THE CHURCH OF SANTA MARIA DEI MIRACOLI IN SCAFATI NEAR NOCERA INFERIORE THE CHURCH OF SANTA MARIA DEI MIRACOLI IN SCAFATI NEAR NOCERA INFERIORE Signed and dated lower centre: Philipp Hackert 1806 With a label to the reverse at the top of the stretcher inscribed by a hand other than that of the artist: No (.) / Scaffata di Nocera da Pregano, Regno / di Napoli. Filippo Hackert. dipinse 1806. The third work also presents a view from the Kingdom of Naples, this time the small town of Scafati, located near Nocera Inferiore between Naples and Salerno on the banks of the river Sarno. The viewer looks out over this river, spanned by a brigde built in the 18th century, behind which the 15th century church of S. Maria delle Vergini can be seen. A ruined, probably mediaeval, tower can be seen on the right edge of the painting, alluding to former fortifications, and an old oak frames the left edge of the painting. Neither the bridge nor the tower still exist. A detail in this painting displays the artist's interest not only in the landscapes he walked in, but also the people inhabiting them: On the bank of the river, a family and a traveller are shown beside a press, presumably an olive press, and several barrels can be seen to the right - their lids weighed down with stones - presumably containing the olive oil being made. This interest in the lives of the rural population is typical of this artist. Thus, Hackert's painting is not merely to be viewed as a landscape, but also a document informing the observer of the conditions in a certain place at a certain time. Claudia Nordhoff

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JACOB PHILIPP HACKERT, VIEW ON THE ABBY OF VALLOMBROSA

Lot 1504: JACOB PHILIPP HACKERT, VIEW ON THE ABBY OF VALLOMBROSA

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Description: JACOB PHILIPP HACKERT, VIEW ON THE ABBY OF VALLOMBROSA VIEW ON THE ABBY OF VALLOMBROSA Signed and dated lower left: Vallombrosa Filippo Hackert 1806 This last work shows a motif from Hackert's new home of Tuscany, which the artist had just begun to investigate after moving there from Florence in 1800. The thick pine forests of Casentino and Pratomagno surrounding the abbeys of Camaldoli, la Verna and Vallombrosa fascinated Hackert, and he wrote an enthused letter to Goethe on 10th May 1803: "Vallombros, Camaldoli, Alla Verna sind die, die eine Menge Stof geben in verschieden arten der Schönen und auch Wilden Natur, dise Mönche verstehen zimlich die Kultur der Bäume, die Natur ist nicht verstümmelt, man läst sie ihren freien lauf dadurch siehet man sie in ihrer Volkommen heit, Felsen, Baume von verschieden Arten, P[f]lantzen von außerordentlicher Schönheit, Kurtz Allen Stof zu die Schönsten u besten Vorgründe so wohl in Form als Farbe, so daß ich Jung werde wen ich mit den innigsten Vergnügen sie nach Mahle." ("Vallombros, Camaldoli and Alla Verna provide many motifs of beautiful and wild nature, the monks there are knowledgeable in the growing of trees, nature is not stunted but left to take its course and can be seen in its perfection, rocks, trees of various kinds, beautiful plants, in short, all the best motifs of finest form and colour, so that I feel young when I paint them and do this with the greatest pleasure." cited from Nordhoff 2012, op. cit., p. 193). This painting shows a view of Vallombrosa Abbey in the distance, the current architecture of which goes back to the 15th century. A 12th century bell tower rises above the building, and a more squat, 15th century tower is depicted beside it. The hermitage "Il Paradisino" is shown slightly higher up on a slope. Founded in the 9th century and extended in the 13th, the monks of the abbey would often withdraw here to do penance. Alongside the stately pines framing the right edge of the painting, a traveller with his dog and pack donkey are also depicted walking in the foreground. Claudia Nordhoff

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WOLFGANG ADAM TÖPFFER,  THE RHONE VALLEY NEAR BEX WITH VIEW ON THE LAKE GENEVA

Lot 1505: WOLFGANG ADAM TÖPFFER, THE RHONE VALLEY NEAR BEX WITH VIEW ON THE LAKE GENEVA

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Description: WOLFGANG ADAM TÖPFFER, THE RHONE VALLEY NEAR BEX WITH VIEW ON THE LAKE GENEVA THE RHONE VALLEY NEAR BEX WITH VIEW ON THE LAKE GENEVA This landscape, painted by Wolfgang-Adam Töpffer en plein air, shows a view of Lake Geneva from the south, as seen from Bex. The landscape is simple and unpretentious, painted in light, clear colours. It is bathed in a mild, pale light and arranged in a series of parallel levels leading into the distance; with a meadow in the foreground, followed by a valley with gently rolling hills and Lake Geneva in the background. Interestingly, a work exists by the other great Genevan landscape painter Alexandre Calame showing exactly the same view. The composition is exactly the same as that of Töpffer, and the positions of the mountains in the right of the background are almost identical, so much so that Boissonas assumes a direct influence (see ill., Museum Oskar Reinhart am Stadtgarten, Winterthur). Comparing the compositions of both artists with the conventional depiction of this landscape by Francois Diday shows how novel Töpffer's simple approach to painting this landscape truly was. Whilst Töpffer depicts the meadow in the foreground without additions or interventions, Diday creates a classical landscape painting through the inclusion of a tall tree and a path leading out into the image in order to fill the supposed emptiness of the foreground. This view of Lake Geneva presents a fine example of a painting en plein air, a genre in which Töpffer formed one of the pioneers and which was to revolutionise landscape painting in the 19th century.

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CARL ROTTMANN, A PARK LANDSCAPE

Lot 1506: CARL ROTTMANN, A PARK LANDSCAPE

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Description: CARL ROTTMANN, A PARK LANDSCAPE A PARK LANDSCAPE Signed lower right: Rottmann Includes three other early drawings by Carl Rottmann which can be dated to the time before he moved from Heidelberg to Munich: 1. "Panoramic landscape with groups of trees at the sides", pencil, 11.4 x 20.7 cm, signed, Heinrich Lempertz collection (Lugt 1337); 2. "Female figure with her head covered", pencil, 13.8 x 11.4 cm; 3. "View of a meadow surrounded by trees, with a view of a church spire in the distance", pencil, 13.8 x 21.1 cm, signed. According to Rödiger-Diruf, the latter could possibly have been made during a trip along the Rhine made by the artist with friends in 1818/19. There are barely any comparable drawings by Carl Rottmann from the time before 1821, but the artist often signed with one "n" in his early phase, so this offers a foundation for the date. The exemplary attention to detail, the composition and the aerial perspective also indicate the hand of a talented, but not yet thoroughly mature, artist. We would like to thank Dr. Rödiger-Diruf for her support.

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CARL ROTTMANN, LANDSCAPE SKETCH WITH MOUNTAINS IN THE BACKGROUND

Lot 1507: CARL ROTTMANN, LANDSCAPE SKETCH WITH MOUNTAINS IN THE BACKGROUND

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Description: CARL ROTTMANN, LANDSCAPE SKETCH WITH MOUNTAINS IN THE BACKGROUND LANDSCAPE SKETCH WITH MOUNTAINS IN THE BACKGROUND Verso: Landscape sketch with a prominent group of trees. Inscribed in the lower right by an unknown hand: K. Rottmann. The piece shows a landscape with a group of mountains in the background, a large deciduous tree in the mid-ground to the right, and a river along the lower edge of the image. Consisting of broad, smooth elements and lines, the sketch presents a typical example of the way in which Carl Rottmann prepared his compositions in the 1840s (cf. E. Bierhaus-Rödiger WV 595 - 600 and WV 648). The present work is probably a preparatory sketch for a painting of the German Alps, although so far no finished image with this motif has been found. We would like to thank Dr. Rödiger-Diruf for her support.

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WILLIAM EWING, A CARVED IVORY PORTRAIT OF A WOMAN

Lot 1507A: WILLIAM EWING, A CARVED IVORY PORTRAIT OF A WOMAN

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Description: WILLIAM EWING, A CARVED IVORY PORTRAIT OF A WOMAN A CARVED IVORY PORTRAIT OF A WOMAN A carved ivory portrait of a woman. A high relief portrait of a young woman facing left. Signed to the lower right and dated: "W. Ewing sc. 1822.". William Ewing was heavily influenced by contemporary English portraits. It is probable that he visited Rome in 1820.

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JOSEPH GOTT, PORTRAIT OF A MAN

Lot 1508: JOSEPH GOTT, PORTRAIT OF A MAN

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Description: JOSEPH GOTT, PORTRAIT OF A MAN PORTRAIT OF A MAN A raised relief portrait bust of a young man in profile facing left on a smooth ground. Signed to the reverse: "J. GOTT. FT." The English sculptor Joseph Gott was a pupil at the Royal Academy in London. Although he lived in Rome from 1830 onwards, he continued to successfully take part in the London Academy exhibitions. With minor wear. Mounted into a frame.

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MONOGRAMMIST H.J., STILL LIFE WITH PLUMS AND PEARS

Lot 1509: MONOGRAMMIST H.J., STILL LIFE WITH PLUMS AND PEARS

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Description: MONOGRAMMIST H.J., STILL LIFE WITH PLUMS AND PEARS STILL LIFE WITH PLUMS AND PEARS Monogrammed and dated lower right: H.J.1803

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JOSEF DANHAUSER, attributed to, PORTRAIT OF A YOUNG MAN

Lot 1510: JOSEF DANHAUSER, attributed to, PORTRAIT OF A YOUNG MAN

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Description: JOSEF DANHAUSER, attributed to, PORTRAIT OF A YOUNG MAN PORTRAIT OF A YOUNG MAN Dr. Gerbert Frodl, until 2007 director of the Galerie Belvedere in Vienna, has attributed the painting to the Austrian portrait and genre painter Josef Danhauser and dated it to 1820/25.

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GILLES-FRANCOIS-JOSEPH CLOSSON, attributed to, ROMAN RUINS IN THE CAMPAGNA ROMANA

Lot 1511: GILLES-FRANCOIS-JOSEPH CLOSSON, attributed to, ROMAN RUINS IN THE CAMPAGNA ROMANA

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Description: GILLES-FRANCOIS-JOSEPH CLOSSON, attributed to, ROMAN RUINS IN THE CAMPAGNA ROMANA ROMAN RUINS IN THE CAMPAGNA ROMANA Gilles-Francois Closson, to whom this oil sketch is attributed, was a gifted landscape painter who is known to art history as "the Belgian Corot". Following a seven year stay in Paris, he resided in Rome from 1824 to 1829, where he developed a penchant for scenes of ancient ruins and the landscapes of Campania, painted in the romantic spirit. The ruins of ancient Rome had been a beloved motif of Northern artists since the 16th century and they exerted a strong appeal. Our sketch shows the remains of a building, covered with ivy and undergrowth, displaying the characteristic rhomboid brickwork known by the Romans as "opus reticulatum". Closson carried out a large number of similar, rarely signed oil sketches on paper, some half finished and some, like the present work, completed. Following his return to Liège, Closson began to paint motifs of this city and its surroundings, meaning that this composition was most likely made during his time in Rome between 1824 and 1829.

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CARL FRIEDRICH WERNER, A VIEW OF THE TEMPLE OF THE TIBURTINE SIBYL IN TIVOLI

Lot 1512: CARL FRIEDRICH WERNER, A VIEW OF THE TEMPLE OF THE TIBURTINE SIBYL IN TIVOLI

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Description: CARL FRIEDRICH WERNER, A VIEW OF THE TEMPLE OF THE TIBURTINE SIBYL IN TIVOLI A VIEW OF THE TEMPLE OF THE TIBURTINE SIBYL IN TIVOLI Signed and dated lower right: C Werner f. 1839 Carl Werner was first a pupil of the Leipzig and then of the Munich Academy. In 1832 he received a substantial grant for a study trip to Italy after submitting several studies. He was a member of the Deutscher Künstler Verein in Rome from 1845, and became its first president. He founded a studio for watercolour painting in Venice in 1851, and returned to Germany in 1856, where he settled in Leipzig and took up the teaching post for watercolour at the academy there. His works can be found in many museums, for example in Berlin, Leipzig, Munich and London.

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JOSEF VON FÜHRICH, CHRIST, AFTER LEONARDO DA VINCI

Lot 1513: JOSEF VON FÜHRICH, CHRIST, AFTER LEONARDO DA VINCI

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Description: JOSEF VON FÜHRICH, CHRIST, AFTER LEONARDO DA VINCI CHRIST, AFTER LEONARDO DA VINCI Monogrammed to the lower left: JF (ligatured), dated and inscribed lower right Milan 13.8. 28. Two backed tears to the upper right and left. An illegible dedication to the top centre. Thanks to a grant, Josef von Führich was able to live in the Eternal City from 1827 to 1829, where he had connections to the Nazarenes. During this time he also travelled to Milan, as noted on this sketch, and obviously viewed Leonardo's "Last Supper" in Santa Maria delle Grazie, upon which this head of Christ sketch is based.

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JEAN BAPTISTE LE SUEUR, VIEW ON TIVOLI

Lot 1514: JEAN BAPTISTE LE SUEUR, VIEW ON TIVOLI

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Description: JEAN BAPTISTE LE SUEUR, VIEW ON TIVOLI VIEW ON TIVOLI Signed and dated lower left: Le Sueur 1825 The upper corners damaged. The architecht Jean Baptiste le Sueur received the Prix de Rome in 1819. He is also known to have stayed in Italy later. He designed the church of Notre-Dame de Vincennes in Paris.

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FRIEDRICH PRELLER THE ELDER, SHIPS WITH WOOD IN THE HARBOUR OF DESENZANO

Lot 1515: FRIEDRICH PRELLER THE ELDER, SHIPS WITH WOOD IN THE HARBOUR OF DESENZANO

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Description: FRIEDRICH PRELLER THE ELDER, SHIPS WITH WOOD IN THE HARBOUR OF DESENZANO SHIPS WITH WOOD IN THE HARBOUR OF DESENZANO Inscribed lower right: Desenzano am 22. mai 1827

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ERNST FERDINAND OEHME, LANDSCAPE IN THE HARZ REGION

Lot 1516: ERNST FERDINAND OEHME, LANDSCAPE IN THE HARZ REGION

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Description: ERNST FERDINAND OEHME, LANDSCAPE IN THE HARZ REGION LANDSCAPE IN THE HARZ REGION Signed and dated lower right: Ernst Oehme 27

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HEINRICH BRANDES, AN ALPINE LANDSCAPE WITH A RUIN

Lot 1517: HEINRICH BRANDES, AN ALPINE LANDSCAPE WITH A RUIN

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Description: HEINRICH BRANDES, AN ALPINE LANDSCAPE WITH A RUIN AN ALPINE LANDSCAPE WITH A RUIN Monogrammed lower right: HB The landscape painter Heinrich Brandes was born in Brunswick and educated at the academy in Munich, where he lived until 1830. This painting was presumably made in this early phase, as Brandes returned to Brunswick in 1835 following a stay in Rome. He found the motifs for his works around the town and in the nearby Harz mountains. However, the stony mountains of this painting are more likely the Alps. Characteristic of this period is the recognisable influence of Claude Lorrain, but also of Rottmann (Thieme / Becker).

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FRANCOIS PASCAL, BARON GÉRARD, PORTRAIT OF A LADY

Lot 1518: FRANCOIS PASCAL, BARON GÉRARD, PORTRAIT OF A LADY

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Description: FRANCOIS PASCAL, BARON GÉRARD, PORTRAIT OF A LADY PORTRAIT OF A LADY Signed centre right: Bron. Gérard In 1786 Gérard joined the studio of David in Paris where he was supposedly a favourite pupil. His greatest artistic success came during the reign of Napoleon. For his first commission he created a series of large historical paintings which are now located in the Palace of Versailles. In addition, Gérard was also the official painter of state portraits of the first Empire and historian to the Bonaparte family. Later, he was sponsored by Louis XVIII, who ennobled him in 1819. Since this painting is signed Baron Gérard, it is dateable between 1819 and 1837 when he died. Apart from the portraits of the Bonaparte family, the portraits of Isabey with his young daughter and also Madame Recamier, both in the Louvre, can be considered his most famous paintings.

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JOHANN PHILIPP HEINEL, A MOUNTAINOUS LANDSCAPE WITH HUNTERS

Lot 1519: JOHANN PHILIPP HEINEL, A MOUNTAINOUS LANDSCAPE WITH HUNTERS

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Description: JOHANN PHILIPP HEINEL, A MOUNTAINOUS LANDSCAPE WITH HUNTERS A MOUNTAINOUS LANDSCAPE WITH HUNTERS Signed and dated lower right: P. Heinel 1837 Philipp Johann Heinel attended the Munich Academy in 1820. The artist, who sadly died young, was much praised in Munich in the 1830s for his detailed genre paintings of Upper Bavarian and Tyrolean landscapes.

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LUDWIG VON HOFER, copy after, A MARBLE FIGURE OF PSYCHE

Lot 1520: LUDWIG VON HOFER, copy after, A MARBLE FIGURE OF PSYCHE

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Description: LUDWIG VON HOFER, copy after, A MARBLE FIGURE OF PSYCHE A MARBLE FIGURE OF PSYCHE A marble figure of Psyche. Worked in the round, the wings recognisably attached. Signed and dated to the front of the plinth: "L. HOFER IN ROMA / MDCCCXXXV." Following his apprenticeship in Stuttgart, Ludwig von Hofer moved to Munich in 1819 and then to Rome to study further in the studio of Berthel Thorvaldsen. Upon his return to Stuttgart, von Hofer brought a marble statue of Psyche with him from Rome, which was subsequently purchased by Wilhelm I von Württemberg and displayed in his residential palace. This 140 cm high work was sold at auction in 1922, but its whereabouts since then are not known. The present work is probably a contemporary replica of this piece.

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JOHAN CHRISTIAN CLAUSEN DAHL, MOONLIT TREES

Lot 1521: JOHAN CHRISTIAN CLAUSEN DAHL, MOONLIT TREES

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Description: JOHAN CHRISTIAN CLAUSEN DAHL, MOONLIT TREES MOONLIT TREES Signed and dated upper right: JDahl (JD ligatured). 1837 This small painting, within which the texture of the paper is evident, was previously laid down on wood (the panel is still existent). This work is probably the small, landscape format work which was previously only known to the editor of the catalogue raisonné of 1987 Marie Lodrup Bang through a non-illustrated entry in the Dahl Auction catalogue of 1860, the whereabouts of which were previously unknown. The varying dimensions given by Bang are probably to be explained by her approximate conversion of the old measurements into inches.

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JAN JACOB SPOHLER, A TREE LINED RURAL ROAD WITH CATTLE AND A FARMHOUSE

Lot 1522: JAN JACOB SPOHLER, A TREE LINED RURAL ROAD WITH CATTLE AND A FARMHOUSE

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Description: JAN JACOB SPOHLER, A TREE LINED RURAL ROAD WITH CATTLE AND A FARMHOUSE A TREE LINED RURAL ROAD WITH CATTLE AND A FARMHOUSE Verso: J. J. Spohler f. Beek

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BAREND CORNELIS KOEKKOEK, SUMMER LANDSCAPE

Lot 1523: BAREND CORNELIS KOEKKOEK, SUMMER LANDSCAPE

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Description: BAREND CORNELIS KOEKKOEK, SUMMER LANDSCAPE SUMMER LANDSCAPE Signed and dated lower right: B. C. Koekkoek ft 1850 Shortly after finishing his studies at the Royal Academy in Amsterdam, Barend Cornelis Koekkoek decided to devote himself to landscape painting. After his time as a student and journeyman in various locations throughout the Netherlands, he eventually settled in the picturesque town of Kleve on the Dutch-German border. The wooded hills of this landscape henceforth played an important role in his paintings. The painter didn't see Kleve as a retreat, but rather as the ideal location to express his vision of landscapes. Here his paintings rose to ever more sublime and heroic heights, Koekkoek to the greatest landscape painter of his time, and Kleve to one of the most important centres of Dutch Romantic painting. Two years prior to the creation of this painting, the artist had finished the building of his grand house in which he lived and worked and which is now a museum. He had also finished a large commission for the Dutch King Wilhelm II. His style and skill had earned him with a wide base of collectors throughout Europe, who praised his poetic realism, which suggested an ideal reality with none of the weight of historic pomp and pathos. This painting whose provenance can be traced back to the 19th century was made in the artist's best years.

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BARTHOLOMEUS-JOHANNES VAN HOVE, A VIEW OF A CITY

Lot 1524: BARTHOLOMEUS-JOHANNES VAN HOVE, A VIEW OF A CITY

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Description: BARTHOLOMEUS-JOHANNES VAN HOVE, A VIEW OF A CITY A VIEW OF A CITY Signed and dated lower right: B. J. van Hove 1830 Bartholomeus van Hove was cousin to the painter Andreas Schelfhout (1787-1870), and like him born in The Hague, where he visited the Royal Academy in 1812. He retained a life-long connection to the city of his birth, and played a significant role there as a painter and teacher. His students included Charles Leickert, Johannes Bosboon and Hendrik Weißenbruch. Van Howe was most famed for his dreamy, atmospheric views of cities, in which he combined real topographic sights with fantastic architecture in an unmistakeable style. Thus, these paintings can hardly be considered as vedutas, but rather capricci. These fantastic images not only caught the imaginations of middle-class collectors, but also of the Russian Tsar Alexander and the Dutch royal family. The present work, dated 1830, is with regard to its form, still a product of his early style, which was shaped by the spirit of the Romantic movement and characterised by carefully constructed, detailed views. We would like to thank Christian Lucht M.A., The Hague, for confirming the authenticity of this work via a photograph.

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ANDREAS SCHELFHOUT, A COASTAL VIEW IN SCHEVENINGEN

Lot 1525: ANDREAS SCHELFHOUT, A COASTAL VIEW IN SCHEVENINGEN

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Description: ANDREAS SCHELFHOUT, A COASTAL VIEW IN SCHEVENINGEN A COASTAL VIEW IN SCHEVENINGEN Signed and dated lower left: A. Schelfhout f 1837 This particularly fine painting by Andreas Schelfhout from a South German private collection is an appealing new discovery, and presents further proof of his importance as one of the best representatives of the Dutch romantics. The painting shows the beach of Scheveningen, a motif that was also often depicted by the painters of the "golden age". However, Schelfhout here shifts the emphasis away from a classical panorama towards the suggestive power of the moment: The sunday mood of the staffage, the sunny spring weather despite the heavy and brilliantly painted clouds, reflections on the still water and long noonday shadows. Characteristic of the Dutch romantic movement is the reception and continuation of national artistic tradition, with a profoundly patriotic connotation (cf. Benno Tempel: Die Romantik in den Niederlanden, in: Die Sammlung Rademakers, Exhibition catalogue The Hague, Leuven and Kleve 2011). Despite his less than gentlemanly manners, Andreas Schelfhout was a close aquaintance of Willem III and Queen Sofie, and died a celebrated personality at the age of 83. His works can today be found in numerous museums and private collections. We would like to thank Christian Lucht M.A., The Hague, for confirming the authenticity of this work from a photograph.

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CORNELIS SPRINGER, VIEW OF A MEDIEAVAL TOWN WITH CHURCH

Lot 1526: CORNELIS SPRINGER, VIEW OF A MEDIEAVAL TOWN WITH CHURCH

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Description: CORNELIS SPRINGER, VIEW OF A MEDIEAVAL TOWN WITH CHURCH VIEW OF A MEDIEAVAL TOWN WITH CHURCH Monogrammed and dated lower right: CS (joined) 43 Cornelis Springer specialised early in townscapes and can be considered to be part of a long tradition of Netherlandish painting. The refined play of colour and light as well as the accurate depiction of places and people made them very popular and were much sought after. This relatively small painting dates from his early period and with its specific rendering of atmosphere can be related to works reproduced in Laastra´s book on pages 28, 29, and 30. Neither the town nor the Romanesque church with its distinctive Gothic gate have been identified to this day, but it is known that Springer used to combine motifs from different places in a painting. We thank Mr. Jan de Meere for his help in cataloguing this painting.

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JAN WEISSENBRUCH, A VIEW OF A CITY GATE

Lot 1527: JAN WEISSENBRUCH, A VIEW OF A CITY GATE

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Description: JAN WEISSENBRUCH, A VIEW OF A CITY GATE A VIEW OF A CITY GATE Signed lower left: Jan Weissenbruch f In an attractive, probably original frame.

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JOSEPH-BARTHÉLEMY LONGREE, VIEW OF THE TOWN OF SPA

Lot 1528: JOSEPH-BARTHÉLEMY LONGREE, VIEW OF THE TOWN OF SPA

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Description: JOSEPH-BARTHÉLEMY LONGREE, VIEW OF THE TOWN OF SPA VIEW OF THE TOWN OF SPA The museum of the town of Spa also owns a very similar, slightly larger view signed by the artist and with the same title.

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EUGÈNE DELACROIX, SATYR AND NYMPH (AFTER PETER PAUL RUBENS)

Lot 1529: EUGÈNE DELACROIX, SATYR AND NYMPH (AFTER PETER PAUL RUBENS)

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Description: EUGÈNE DELACROIX, SATYR AND NYMPH (AFTER PETER PAUL RUBENS) SATYR AND NYMPH (AFTER PETER PAUL RUBENS) Eugène Delacroix never occupied himself more intensely with any other artist than Peter Paul Rubens, whose works he copied and whom he studied attentively in his journal. The copies covered several genres: Religious and mythological works, portraits and hunting scenes, whereby Delacroix's copies are always in a smaller format than Rubens' originals. They can generally be divided into two groups, copies of complete compositions and of small details. Delacroix was mainly interested in the dynamics of the composition or individual figures. This is apparent in the present work, which was found in the artist's estate along with a number of further copies. The motif is taken from the history painting "Diana Departing for the Hunt", dated 1615 (216 x 178 cm, Cleveland Museum of Art, Inv.-Nr. 1959.190). Compared to the other pieces, which were mainly dated between 1620 and 1630, this large format painting was from Ruben's early phase. Delacroix has chosen the most dynamic section of the mythological scene for his copy: A satyr is shown besetting a nymph from the goddesses' entourage, pressing his mouth against her cheek to steal a kiss, whilst the nymph turns away and attempts to free herself from the embrace. Delacroix isolates both of the figure's heads and increases the dynamic nature of the scene through his strong brushstrokes - the powerful advance of the satyr, the jutting of his chin and the nymph's struggling are all dissolved in an expressive flurry of colour. Delacroix had many opportunities to view and copy Ruben's originals, such as the large format history paintings of the Medici cycle, which he copied several times. He also saw many of Ruben's works whilst travelling, such as in Brussels and Antwerp, the birthplace of the Flemish artist. In Delacroix's times, the "Diana" was kept in the collection of Sir Simon Clarke in East Barnet, Herfordshire. It is probable that Delacroix saw the painting during his trip to England in 1825, when he also copied other works by the artist in London, such as the Apotheosis of the Duke of Buckingham (then in the collection of the artist David Wilkie) or the Adoration of the Magi (then in the collection of the Marquis of Westminster, Grosvenor House).

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AUSTRIAN ARTIST, A PORTRAIT OF A GIRL

Lot 1530: AUSTRIAN ARTIST, A PORTRAIT OF A GIRL

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Description: AUSTRIAN ARTIST, A PORTRAIT OF A GIRL A PORTRAIT OF A GIRL

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CASPAR SCHEUREN, A RIVER LANDSCAPE WITH A CASTLE AND BRIDGE

Lot 1531: CASPAR SCHEUREN, A RIVER LANDSCAPE WITH A CASTLE AND BRIDGE

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Description: CASPAR SCHEUREN, A RIVER LANDSCAPE WITH A CASTLE AND BRIDGE A RIVER LANDSCAPE WITH A CASTLE AND BRIDGE Signed and dated lower right: C. Scheuren 184 [the last number indistinct]

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JOHANN WILHELM SCHIRMER, ITALIAN LANDSCAPE (STUDY)

Lot 1532: JOHANN WILHELM SCHIRMER, ITALIAN LANDSCAPE (STUDY)

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Description: JOHANN WILHELM SCHIRMER, ITALIAN LANDSCAPE (STUDY) ITALIAN LANDSCAPE (STUDY) Verso attached the page from the auction catalogue of 1917.

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JOHANN WILHELM SCHIRMER, attributed to, ITALIAN LANDSCAPE

Lot 1533: JOHANN WILHELM SCHIRMER, attributed to, ITALIAN LANDSCAPE

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Description: JOHANN WILHELM SCHIRMER, attributed to, ITALIAN LANDSCAPE ITALIAN LANDSCAPE Verso handwritten inscription on the canvas: "Ich bestätige dass umstehendes Gemälde ein Original von der Hand meines Vaters J. W. Schirmer 1807-1863 ist. München 11.VI.1919. Willy Schirmer"

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FRIEDRICH AUGUST ELSASSER, WOODED LANDSCAPE WITH TORRENT

Lot 1534: FRIEDRICH AUGUST ELSASSER, WOODED LANDSCAPE WITH TORRENT

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Description: FRIEDRICH AUGUST ELSASSER, WOODED LANDSCAPE WITH TORRENT WOODED LANDSCAPE WITH TORRENT Signed lower right: Elsasse(r)

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FREDERIK NIELS MARTIN ROHDE, MOUNTAIN LANDSCAPE WITH HUNTSMAN

Lot 1535: FREDERIK NIELS MARTIN ROHDE, MOUNTAIN LANDSCAPE WITH HUNTSMAN

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Description: FREDERIK NIELS MARTIN ROHDE, MOUNTAIN LANDSCAPE WITH HUNTSMAN MOUNTAIN LANDSCAPE WITH HUNTSMAN Signed and dated lower left: F. Rohde 1841

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HONORÉ DAUMIER, copy after, BUST OF KING LOUIS XIV OF FRANCE

Lot 1536: HONORÉ DAUMIER, copy after, BUST OF KING LOUIS XIV OF FRANCE

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Description: HONORÉ DAUMIER, copy after, BUST OF KING LOUIS XIV OF FRANCE BUST OF KING LOUIS XIV OF FRANCE A bronze bust of King Louis XIV of France. Cast in the round, with patina. This bronze bust of the king of France was made by Daumier circa 1846/1850. This piece is signed "Daumier" to the edge of the right shoulder and the edition number "4/10" has been cast into the reverse of the plinth on the right, as well as the forger's stamp "CIRE C. VALSUANI PERDUE" to the left. Subsequent casts were made by Valsuani circa 1950.

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MORITZ VON SCHWIND, attributed to, KNIGHT IN A LANDSCAPE WITH MEDEAVAL CASTLE

Lot 1537: MORITZ VON SCHWIND, attributed to, KNIGHT IN A LANDSCAPE WITH MEDEAVAL CASTLE

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Description: MORITZ VON SCHWIND, attributed to, KNIGHT IN A LANDSCAPE WITH MEDEAVAL CASTLE KNIGHT IN A LANDSCAPE WITH MEDEAVAL CASTLE This depiction of a knight is a highly curious work. It shows the head and shoulders of a knight, dressed in a helmet and chain mail beneath a pale cloak. He leans on his sword in front of a castle which appears to grow out from a steep, rocky hill, and the snow-capped peaks of a mountain range can be seen in the background. The knight's face shows no sign of fierce or militant qualities, in contrast, his features are fine, almost soft, and his beard well groomed. However, especially his gaze - turned slightly to the left and overshadowed by his helmet - appears thoughtful and melancholy, as does his general pose. One asks oneself automatically who this figure depicts - a character from an old German legend or fairytale, or perhaps a Saint? The quality of the painting, however, leaves no room for doubt. The face is depicted in a fine play of light and shadow, and the metal of the helmet, chain mail and armour is shown in realistic detail, but without appearing cold. The heavy, pale cloak provides a material contrast to the armour and lends the figure a sculptural quality. In contrast to the knight, the castle and mountains appear lighter, and have been painted in smooth, translucent colours to show distance, but this also adds to the mysterious quality of the work. It can generally be said that the work captures a vague, "romantic" atmosphere.

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ANDREAS ACHENBACH, SAILING SHIPS IN A STORMY SEA NEAR THE CLIFF LINE

Lot 1538: ANDREAS ACHENBACH, SAILING SHIPS IN A STORMY SEA NEAR THE CLIFF LINE

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Description: ANDREAS ACHENBACH, SAILING SHIPS IN A STORMY SEA NEAR THE CLIFF LINE SAILING SHIPS IN A STORMY SEA NEAR THE CLIFF LINE Signed lower centre: A. Achenbach

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ANDREAS ACHENBACH, STORMY SEA

Lot 1539: ANDREAS ACHENBACH, STORMY SEA

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Description: ANDREAS ACHENBACH, STORMY SEA STORMY SEA Signed and dated lower left: A. Achenbach 1836

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ANDREAS ACHENBACH, A FARMHOUSE BY A RIVER (OIL STUDY)

Lot 1540: ANDREAS ACHENBACH, A FARMHOUSE BY A RIVER (OIL STUDY)

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Description: ANDREAS ACHENBACH, A FARMHOUSE BY A RIVER (OIL STUDY) A FARMHOUSE BY A RIVER (OIL STUDY) Monogrammed and dated lower left: A 69

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ANDREAS ACHENBACH, TWO LANDSCAPES NEAR ROME

Lot 1541: ANDREAS ACHENBACH, TWO LANDSCAPES NEAR ROME

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Description: ANDREAS ACHENBACH, TWO LANDSCAPES NEAR ROME TWO LANDSCAPES NEAR ROME Monogrammed and dated lower left: AA Rom Januar 1845 and Februar 1845 resp. Yellowed.

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CARL JUSTUS HARMEN FEDELER, SAILING SHIPS ON THE SEA

Lot 1542: CARL JUSTUS HARMEN FEDELER, SAILING SHIPS ON THE SEA

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Description: CARL JUSTUS HARMEN FEDELER, SAILING SHIPS ON THE SEA SAILING SHIPS ON THE SEA Signed and dated lower right: C I Fedeler 18.7 (date indistinct)

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ALBERT FLAMM, VIEW OF THE TORRE DI BADIA AT MARINA DI VIETRI BETWEEN SALERNO AND AMALFI

Lot 1543: ALBERT FLAMM, VIEW OF THE TORRE DI BADIA AT MARINA DI VIETRI BETWEEN SALERNO AND AMALFI

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Description: ALBERT FLAMM, VIEW OF THE TORRE DI BADIA AT MARINA DI VIETRI BETWEEN SALERNO AND AMALFI Signed and dated lower right: A. Flamm 1849 This painting, dated 1849, is an early work of Albert Flamm. It was made during his first trip to Italy which he undertook in 1845 together with Oswald Achenbach. They both travelled to Italy again in 1850, where Flamm stayed until 1853. Thus, the artist's oeuvre is dominated by depictions of Italian landscapes, which show a particular similarity to those of his friend Achenbach.

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LOUIS HONORÉ FRÉDÉRIC GAMAIN, A THREE-MASTER IN A MEDITERRANEAN HARBOUR

Lot 1544: LOUIS HONORÉ FRÉDÉRIC GAMAIN, A THREE-MASTER IN A MEDITERRANEAN HARBOUR

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Description: LOUIS HONORÉ FRÉDÉRIC GAMAIN, A THREE-MASTER IN A MEDITERRANEAN HARBOUR A THREE-MASTER IN A MEDITERRANEAN HARBOUR Signed and dated lower right: L. Gamain 1859

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GEORG WILLEM OPDENHOFF, SHIPS IN THE BAY OF ROTTERDAM

Lot 1545: GEORG WILLEM OPDENHOFF, SHIPS IN THE BAY OF ROTTERDAM

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Description: GEORG WILLEM OPDENHOFF, SHIPS IN THE BAY OF ROTTERDAM SHIPS IN THE BAY OF ROTTERDAM Signed lower right: G. W. Opdenhof

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JOHANNES FREDERIK HULK THE ELDER, A DUTCH HARBOUR (DORDRECHT?)

Lot 1546: JOHANNES FREDERIK HULK THE ELDER, A DUTCH HARBOUR (DORDRECHT?)

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Description: JOHANNES FREDERIK HULK THE ELDER, A DUTCH HARBOUR (DORDRECHT?) A DUTCH HARBOUR (DORDRECHT?) Signed and dated lower left: J. F. Hulk 1857 We would like to thank Christiaan Lucht M.A., The Hague, for confirming the authenticity of this work from a photograph.

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JOHANN BERNHARD KLOMBECK, WOODED LANDSCAPE WITH SHEPHERDESS

Lot 1547: JOHANN BERNHARD KLOMBECK, WOODED LANDSCAPE WITH SHEPHERDESS

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Description: JOHANN BERNHARD KLOMBECK, WOODED LANDSCAPE WITH SHEPHERDESS WOODED LANDSCAPE WITH SHEPHERDESS Signed and dated lower centre: J. B. Klombeck f./1859 Johann Bernhard Klombeck was among the leading representatives of the Kleve school of Romanticism, which was largely influenced by the Dutch master Barend Cornelis Koekkoek and the art academy founded by him in Kleve in 1841. Klombeck was one of Koekkoek's first pupils, and later became director of the academy. The aim of the school was the renewal of Dutch landscape painting in the spirit of Romanticism, which was meant to follow on from the Dutch "Golden Age" of landscape painting.

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GUSTAVE COURBET, LES LUIS D´OR

Lot 1548: GUSTAVE COURBET, LES LUIS D´OR

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Description: GUSTAVE COURBET, LES LUIS D´OR LES LUIS D´OR Signed lower left: G. Courbet The painting shows the indistinct silhouette of a man with a walking stick in front of a steep cliff. He wears a wide-brimmed hat and a dark blue cape. Courbet's inspiration for this image came from a song by the French chanson writer Pierre Dupont (1821-1870). The first verse of which goes: Un soir, le long de la rivière, Sous l´ombre des noirs peupliers, Près du moulin de la meunière, Passait un homme de six pieds: I avait la moustache grise, Le chapeau rond, le manteau bleu, Dans ses cheveux, soufflait la brise, C´était le Diable ou le Bon Dieu, Sa voix, qui sonnait comme un cuivre, Et qui rendait le son du cor, Me dit: "Au bois, il faut me suivre, Je te promets cent louis d´or."

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