Bonaventura Genelli Paintings & Artwork for Sale | Bonaventura Genelli Art Value Price Guide

Dec. 12, 2025
ATTRIBUTED TO BONAVENTURA GENELLI Berlin, Germany (1798) / Weimar, Germany (1868) "Allegory of Fire" and "Allegory of Water"
Est: €600 - €800
Two ink and gray wash drawings on paper. Presented framed. The reverse bears the stamp of the Giuseppe Tanca Gallery. Dimensions: 11 x 16.8 cm each
Ansorena
Aug. 03, 2025
B. GENELLI (1798-1868) attributed, Biblical scene with archangels, Etching
Est: €90 - €150
Bonaventura Genelli (1798 Berlin - 1868 Weimar) attributed: Christian biblical scene with the seven judging archangels, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: The Madonna-like figure of the group of figures on the left is given a crown by the archangel, while the group of people on the right is punished with lightning. Keywords: 19th century, Classicism, Biblical, Germany, Size: Paper: 30,7 cm x 41,2 cm (12,1 x 16,2 in), Plate: 22,0 cm x 31,5 cm (8,7 x 12,4 in), Depiction: 17,0 cm x 28,5 cm (6,7 x 11,2 in)
Fichter Kunsthandel
Jun. 05, 2025
Signy protects her husband Loki from the snake venom
Est: €1,200 - €1,500
Signed in pen and brown ink lower right: B. Genelli. On the reverse in the centre the stamp L. 1076
Grisebach
May. 31, 2025
B. GENELLI (1798-1868), Nude study of a seated man, Pencil
Est: €1,650 - €2,200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a seated male figure with outstretched left arm and raised right foot, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unassumingly in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes already sought. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a simultaneously haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany, Size: Transparent paper: 26,2 cm x 20,3 cm (10,3 x 8 in), additional specification: 26.3 x 20.3 cm
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Nude study with outstretched arm, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a seated male figure with outstretched left arm, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unassumingly in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a simultaneously haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany, Size: Transparent paper: 22,4 cm x 14,8 cm (8,8 x 5,8 in), additional specification: 22.4 x 14.8 cm
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Nude study, Seated male figure, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a seated male figure with a cup, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unpretentiously in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a simultaneously haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany, Size: Transparent paper: 10,7 cm x 15,3 cm (4,2 x 6 in)
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Nude study and hand study, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a standing male figure and hand study, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unpretentiously in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes already sought. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a simultaneously haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany, Size: Transparent paper: 9,5 cm x 12,9 cm (3,7 x 5,1 in)
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Nude study of a back figure, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a back figure, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unpretentiously in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a simultaneously haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, Mythology, 19th century, Romanticism, People, Germany, Size: Transparent paper: 13,5 cm x 13,1 cm (5,3 x 5,2 in)
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Nude study of a back figure, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a back figure, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "The very first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unpretentiously in humble surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the Roman House of the publisher Hermann Härtel in Leipzig, which ended in a dispute. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and saved the painter, who was already very old at the time, from his material hardship. Genelli used the nude study presented here for one of these paintings - on the theatre curtain ordered in 1864, the personification of Night spreads her wings over her daughters, the seven deadly sins, beneath the banner.Genelli prepared the mortal sin crouching on her lap on the left in the nude study that characterises his entire oeuvre of drawings. Hundreds of similar nude studies by him have survived - the largest collection can be found in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [...] a majestic grandeur, a vigorous life and a great vigour, combined with grace and a genuine sense of antique beauty, speak everywhere."In their ideality, Genelli's nude studies harbour a newly awakened, antique Greekness, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and even in old age Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiarised with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and enormous bodies populate his not without pathos%2presented pictorial worlds. It is these very serious, sometimes eclectic and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his".In fact, his compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were his inspiration. The main subject of his drawings is the nude human being, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets on offer are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual and moral attitude that speaks of antique purity and sublimity. Alongside these were garment studies of delicate delicacy and at the same time haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven deadly sins on the title page of his series Aus dem Leben eines Wüstlings (From the life of a libertine), which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel we see a young man sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. This Cupid is followed by the seven deadly sins, whirling around the chariot."Genelli's focus on classicism in the mould of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have 'fallen out of time', but only if one considers the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany, Size: Transparent paper: 11,5 cm x 18,7 cm (4,5 x 7,4 in)
Fichter Kunsthandel
May. 31, 2025
B. GENELLI (1798-1868), Study of a floating figure, Pencil
Est: €1,500 - €2,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Study of a floating figure, 19th century, Pencil Technique: Pencil on Transparent paper, mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet I looked at. The imprint of a powerful mind was unmistakably imprinted on each of them, and I could not doubt that the artist, who stood before me so modestly and unassumingly in humble surroundings, was one of those great geniuses who rarely appear over the centuries and whom one can only approach with reverence." This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich." Schack was largely alone in his enthusiastic judgement of the artist at the time, as Genelli had hardly attracted any attention apart from the painting of the publisher Hermann Härtel's Roman House in Leipzig, which ended in a rupture. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only materialised after he met Count von Schack in the summer of 1857. The latter ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of Genelli's nude studies have survived - the largest collection is in his estate in the Kupferstichkabinett of the Academy of Fine Arts in Vienna - which he executed with great care in an effort to achieve sculptural modelling and at the same time a sensual, lively depiction of the nude body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who socialised with Genelli in Rome in the 1820s, saw many of these studies, which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great verve, combined with grace and a genuine sense of antique beauty, are expressed everywhere." Genelli's nude studies carry a newly awakened, antique Greekness in their idealism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that the latter died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens and, even in old age, Bonaventura remembered some of Carstens' drawings that were kept in his parents' home. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. It was here that he discovered Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistina had a lasting influence on him - similarly sublime and powerful bodies populate his pictorial worlds, which are not presented without pathos. It is these very serious, sometimes eclectic and out-of-time compositions that prompted Speckter to find details in his drawings "highly mannered and frivolous" and to attest to his "virtuoso genius [...] in so-called stealing", "in that one finds many faithfully copied figures and groups from other things in his."80 In fact, his elaborate compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the nude, but Genelli's studies go far beyond the mere depiction of nudes: Genelli's art is carried by the line, the sheets he offers are characterised by a delicately gentle line full of poetry, which strives for the truth that the Nazarenes already sought. His nudes embody a spiritual and moral attitude that tells of antique purity and sublimity. Alongside these were garment studies of delicate delicacy with a haunting presence, in which he observed certain movement or garment motifs of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven death sins on the title page of his series From the Life of a Desert Boy, which was not published as lithographs until 1866. According to Genelli's description, above a Latin inscription panel there we see a youth sitting on "a light chariot pulled by demons, with the vulgar Cupid on his knees, singing enticing songs to him. The seven sins of death follow this Cupid, whirling around the carriage." Genelli's focus on classicism in the imprint of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 appear to have "fallen out of time", but only if one looks at the development of art from the perspective of realism and naturalism. For idealists such as Hans von Marées or Adolf von Hildebrand, who entered the field of art a little later, Genelli's focus on the nude body, which embodied moral purity and truth in equal measure, signified the anticipation of their idealised Greekness. (Text: Peter Prange) Keywords: figure, drapery, floating, study, garment study, 19th century, Romanticism, People, Germany, Size: Transparent paper: 19,3 cm x 28,2 cm (7,6 x 11,1 in)
Fichter Kunsthandel
Apr. 19, 2025
B. GENELLI (1798-1868), Historicist villa by the lake, 1854, Pencil
Est: €105 - €175
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany, Size: Paper: 15,4 cm x 23,7 cm (6,1 x 9,3 in), Depiction: 9,7 cm x 19,0 cm (3,8 x 7,5 in)
Fichter Kunsthandel
Mar. 17, 2025
Genelli, Bonaventura
Est: €500 - €900
Genelli, Bonaventura (1798-1868), zugeschrieben. Orest gehorcht Elektra und zieht sein Schwert. Zeichnung, Tuschfeder. Papierverlust links oben und links unten ergänzt, Trägerkarton. 28,5:35,3 cm. H. Hunger, Lexikon der griech. und röm. Mythologie, Wien 1953, S. 102: »Die Blutrache ist ihr einziger Gedanke. Als Orestes nach Jahren zurückkehrt, treibt sie den Bruder zur Tat. Orestes erschlägt Aigisthos und Klytaimestra; Elektra triumphiert.«
Schneider-Henn
Feb. 15, 2025
B. GENELLI (1798-1868) attributed, Biblical scene with archangels, Etching
Est: €150 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar) attributed: Christian biblical scene with the seven judging archangels, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: The Madonna-like figure of the group of figures on the left is given a crown by the archangel, while the group of people on the right is punished with lightning. Keywords: 19th century, Classicism, Biblical, Germany, Size: Paper: 30,7 cm x 41,2 cm (12,1 x 16,2 in), Plate: 22,0 cm x 31,5 cm (8,7 x 12,4 in), Depiction: 17,0 cm x 28,5 cm (6,7 x 11,2 in)
Fichter Kunsthandel
Feb. 14, 2025
Genelli, Bonaventura
Est: €500 - €900
Genelli, Bonaventura (1798-1868), zugeschrieben. Orest gehorcht Elektra und zieht sein Schwert. Zeichnung, Tuschfeder. Papierverlust links oben und links unten ergänzt, Trägerkarton. 28,5:35,3 cm. H. Hunger, Lexikon der griech. und röm. Mythologie, Wien 1953, S. 102: »Die Blutrache ist ihr einziger Gedanke. Als Orestes nach Jahren zurückkehrt, treibt sie den Bruder zur Tat. Orestes erschlägt Aigisthos und Klytaimestra; Elektra triumphiert.«
Schneider-Henn
Nov. 18, 2024
Bonaventura Genelli (1798 Berlin - Weimar 1868) – 3 Bll.: Aktstudien (2) – Weibliche Gewandstudie
Est: €800 - €1,000
Bleistift, weiß gehöht (1) auf Velin mit Wz. „J. WHATMAN 1856" (1). 25,4 x 19 cm, 12,5 x 19,6 cm bzw. 15,4 x13,2 cm. Das Inkarnat bzw. die plastisch erscheinenden Drapierfalten mittels zarter Wischspuren fein modelliert. Bei der Gewandstudie handelt es sich wohl um einen Vorentwurf zu einer schwebenden Muse, die auf dem 1862 entstandenen Gemälde „Herkules und Omphale“ (Schack-Galerie, München, Inv.-Nr. 11550) dargestellt ist. – Von unterschiedlicher Erhaltung, insgesamt jedoch gut. Die Echtheit wurde mündlich von Frau Dr. Eva Christine Nielsen bestätigt. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber
Nov. 18, 2024
Bonaventura Genelli (1798 Berlin - Weimar 1868) – 6 Bll.: Verschiedene Darstellungen
Est: €800 - €1,000
Feder in Braun und Bleistift auf chamoisfarbenem Zeichenpapier. Von 9,5 x 29,2 cm bis zu 20,8 x 33,8 cm (Blattgröße). Zwei Bll. rechts unten „Rom“ bezeichnet, links unten in Rot beziffert. Vorhanden: Entwurf für eine Schlachtenzene – Skizzenblatt zu: Philosophen sprechen zum Volk. – 2 Bll.: Herakles ringt mit Thanatos um Alkestis. – 2 Bll.: Mythologische Szenen. Bereits in der römischen Zeit des Künstlers waren verschiedene Variationen des Sujets entstanden, die Philosophen wie z. B. Aesop, Homer oder Sappho zu einer Gruppe sprechend zeigten. Als kompositiorische Vorbilder dienten Genelli die bekannten Gemälde "Homer singt den Griechen" (1796) von Asmus Jakob Carstens und "Apoll unter den Hirten" (1806) von Gottlieb Schick. Ein Bl. verso mit Karikaturen von verschiedenen Männerköpfen sowie drei Figuren auf einem Wagen. Ein Bl. mit einer Bleistiftskizze einer knienden Figur bzw. einer Blume mit hs. Farbangaben. – Ein Bl. an den Ecken zu einem Achteck beschnitten, ansonsten von unterschiedlicher Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber
Nov. 09, 2024
Friedrich Preller der Ältere, "Bonaventura Genelli", signierte Bleistiftzeichnung von 1833
Est: €400 - €500
Friedrich Preller der Ältere, "Bonaventura Genelli", signierte Bleistiftzeichnung von 1833 Johann Christian Ernst Friedrich Preller der Ältere, 1804 Eisenach - 1878 Weimar, Maler, Radierer und ab 1844 Professor an der Fürstlichen freien Zeichenschule in Weimar. Hier: Porträt von Bonaventura Genelli (1798 Berlin - 1868 Weimar) mit dem Rücken zum Betrachter, der Kopf ist hierbei im Profil, Bleistiftzeichnung auf bräunlichem dickem Papier, 11,2 x 13,4 cm, mit Bleistift monogrammiert, bezeichnet Leipzig 7. Aug 1833 und betitelt, im oberen Viertel waagrechte leichte Knickfalte, unter P.p, das Werk stammt aus einem Mal- und Skizzenbuch des Künstlers, Provenienz: Galerienachlass Friedrich Preller the Elder, "Bonaventura Genelli", signed pencil drawing from 1833 Johann Christian Ernst Friedrich Preller the Elder, 1804 Eisenach - 1878 Weimar, painter, etcher and from 1844 professor at the Fürstliche freie Zeichenschule in Weimar. Here: Portrait of Bonaventura Genelli (1798 Berlin - 1868 Weimar) with his back to the viewer, the head is in profile, pencil drawing on brownish thick paper, 11.2 x 13.4 cm, monogrammed in pencil, inscribed Leipzig 7 Aug 1833 and titled, horizontal slight crease in the upper quarter, under P.p, the work comes from a painting and sketchbook of the artist, Provenance: gallery estate
K&K – Auktionen in Heidelberg
Oct. 19, 2024
BONAVENTURA GENELLI : „Palamedes in der Unterwelt“.
Est: €400 - €500
BONAVENTURA GENELLI Berlin 1798 - 1868 Weimar „Palamedes in der Unterwelt“. Der Held beim Würfelspiel mit Thersites. Tuschfederzeichnung. Vgl. Ebert, S. 118, Abb. 106. - Signiert, betitelt und bezeichnet. Auf Vélin. 19 x 27,9 cm. Gering angestaubt und verso mit Montierungsresten. Sammlung R. P. Goldschmidt, Berlin (Lugt 1926). [bg]
Winterberg-Kunst
Oct. 19, 2024
BONAVENTURA GENELLI : Moses und die Töchter Reguels am Brunnen (Moses vertreibt die Hirten).
Est: €360 - €450
BONAVENTURA GENELLI Berlin 1798 - 1868 Weimar Moses und die Töchter Reguels am Brunnen (Moses vertreibt die Hirten). Bleistiftzeichnung mit Einfassungslinie 1856. Vgl. Ebert, Hans, Bonaventura Genelli. Leben und Werk. Weimar 1971, Abb. 110 (Sepiazeichnung). - Unterhalb der Darstellung signiert und datiert „B. Genelli fecit 1856“. Auf transparentem chamoisfarbenen Vélin, auf kräftiges Vélin aufgezogen. 35,8 x 49,8 cm (Blatt: ca. 36,7 x 50,3 cm). Leicht stock- und gering braunfleckig sowie mit vereinzelten winzigen Läsuren. Bei der vorliegenden klassizistischen Bleistiftzeichnung, in der die Linie das formgebende Medium ist, handelt es sich vermutlich um eine Zeichnung für die Fürstin Caroline von Sayn-Wittgenstein, der der Künstler am 22.4.1856 schrieb, dass er nun die Umrisse zu drei Bildern gleich großen Formats [sog. Brunnenbilder] vollendet habe (Staatsbibliothek zu Berlin, Handschriftenabteilung; Eva Nielsen. Bonaventura Genelli. Werk und Kunstauffassung, München 2005, SS. 124-141). Weitere Zeichnungen desselben Themas befinden sich u.a. im Kestner-Museum Hannover (Sepiazeichnung) und in der Staatlichen Graphischen Sammlung München (Bleistiftzeichnung). [bg]
Winterberg-Kunst
Oct. 09, 2024
Genelli, Bonaventura: Umrisse zum Homer
Est: €60 - €100
Genelli, Bonaventura. Umrisse zum Homer, mit Erläuterungen von Ernst Förster. 15 S. Mit radiertem Frontispiz und 48 Umrissradierungen von B. Genelli. 26 x 33,5 cm. Illustriertes OHalbleinen (bestoßen, gering berieben). Stuttgart, Cotta, 1883. -- Vgl. Rümann 536. Vgl. Thieme-Becker. 13, 382 – Enthält jeweils 24 Radierungen zur "Ilias" und "Odyssee". Genellis Illustrationen waren ursprünglich in kleinerer Zahl für die Homer-Übersetzung von J. H. Voß entstanden. "Naturgemäß fand Genelli auch an Homer seine Freude. Befreit von aller klassizistischen Theorie, tief erfüllt vom Erlebnis des Gedichtes, voll Hingabe an Homers unsterbliche Worte, fügte Genelli Szene an Szene." (Rümann, S. 223). – Vereinzelt gering stockfleckig.
Bassenge Auctions
Sep. 28, 2024
B. GENELLI (1798-1868), Historicist villa by the lake, 1854, Pencil
Est: €120 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany, Size: Paper: 15,4 cm x 23,7 cm (6,1 x 9,3 in), Depiction: 9,7 cm x 19,0 cm (3,8 x 7,5 in)
Fichter Kunsthandel
Jul. 27, 2024
B. GENELLI (1798-1868) attributed, Biblical scene with archangels, Etching
Est: €150 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar) attributed: Christian biblical scene with the seven judging archangels, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: The Madonna-like figure of the group of figures on the left is given a crown by the archangel, while the group of people on the right is punished with lightning. Keywords: 19th century, Classicism, Biblical, Germany, Size: Paper: 30,7 cm x 41,2 cm (12,1 x 16,2 in), Plate: 22,0 cm x 31,5 cm (8,7 x 12,4 in), Depiction: 17,0 cm x 28,5 cm (6,7 x 11,2 in)
Fichter Kunsthandel
May. 31, 2024
Genelli, Bonaventura: Sitzender männlicher Akt, ein Trinkgefäß haltend
Est: €600 - €760
Sitzender männlicher Akt, ein Trinkgefäß haltend. Bleistift auf dünnem Velin, alt auf einen stärkeren Karton kaschiert. 32,1 x 24,8 cm. Um 1868. Vorstudie für die zentrale Figur des Bacchus auf Genellis monumentalem Gemälde "Bacchus unter den Musen" von 1868 in der Sammlung Schack der Bayerischen Staatsgemäldesammlungen, München. - Provenienz: Sammlung Matthias Konrad Rech, Bonn (Lugt 2754a). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 31, 2024
Genelli, Bonaventura: Pandora umgeben von Zeus, Eris, dem Höllenhund Zerberos und weiteren mythologischen Figuren
Est: €600 - €800
Pandora umgeben von Zeus, Eris, dem Höllenhund Zerberos und weiteren mythologischen Figuren. Feder in Braun, über Bleistift auf C & I Honig-Bütten. 27,4 x 42,5 cm. Unten rechts in Bleistift bez. (signiert?) "B. Genelli". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Mar. 08, 2024
BONAVENTURA GENELLI
Est: €500 - €1,000
BONAVENTURA GENELLI 1798 Berlin - 1868 Weimar MYTHOLOGICAL SCENE, AROUND 1840 Ink on paper. 30.5 x 21 cm (P. 44.5 x 35). Signed 'B. Genelli fec' lower right. In passepartout. Provenance: Private collection. BONAVENTURA GENELLI 1798 Berlin - 1868 Weimar MYTHOLOGISCHE SZENE, UM 1840 Tusche auf Papier. 30,5 x 21 cm (P. 44,5 x 35). Signiert unten rechts 'B. Genelli fec'. Im Passepartout. Provenienz: Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Feb. 14, 2024
Genelli, Bonaventura.
Est: €240 - €360
Das Leben einer Hexe. In Zeichnungen von Bonaventura Genelli, gestochen von Merz und Gonzenbach. Mit erläuternden Bemerkungen von Dr. H. Ulrici. 2 Bl. (Text) und 10 Bl. Radierungen. Quer-gr. folio. OU (beschädigt, Vorderseite lose). Düsseldorf, Buddeus und R. Weigel, (1847). Rümann 538. Erste Ausgabe des berühmten Zyklus. "Seiner Lust, sich in phantastischem Fabulieren zu ergehen, vermochte er in seinem linearen Stil stärksten Ausdruck zu verleihen." (Rümann S. 223 mit Abb.). - Etwas stockfleckig.
Kiefer Buch- und Kunstauktionen
Feb. 10, 2024
B. GENELLI (1798-1868), Historicist villa by the lake, 1854, Pencil
Est: €120 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany,
Fichter Kunsthandel
Nov. 15, 2023
Bonaventura Genelli (1798 Berlin - Weimar 1868) – 3 Bll.: Aktstudien (2) – Weibliche Gewandstudie
Est: €1,000 - €1,100
Bleistift, weiß gehöht (1) auf Velin, mit Wz. „J. WHATMAN 1856" (1). 25,4 x 19 cm, 12,5 x 19,6 cm bzw. 15,4 x13,2 cm.Das Inkarnat bzw. die plastisch erscheinenden Drapierfalten mittels zarter Wischspuren fein modelliert. Bei der Gewandstudie handelt es sich wohl um einen Vorentwurf zu einer schwebenden Muse, die auf dem 1862 entstandenen Gemälde "Herkules und Omphale" (Schack-Galerie, München, Inv.-Nr. 11550) dargestellt ist. - Von unterschiedlicher Erhaltung, insgesamt jedoch gut. Die Echtheit wurde mündlich von Frau Dr. Eva Christine Nielsen bestätigt. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber - Timed
Nov. 15, 2023
Bonaventura Genelli (1798 Berlin - Weimar 1868) – 6 Bll.: Verschiedene Darstellungen
Est: €1,000 - €1,100
Feder in Braun und Bleistift auf chamoisfarbenem Zeichenpapier. Von 9,5 x 29,2 cm bis zu 20,8 x 33,8 cm (Blattgröße). Zwei Bll. rechts unten „Rom“ bezeichnet, links unten in Rot beziffert.Vorhanden: Entwurf für eine Schlachtenzene – Skizzenblatt zu: Philosophen sprechen zum Volk. – 2 Bll.: Herakles ringt mit Thanatos um Alkestis. – 2 Bll.: Mythologische Szenen. Bereits in der römischen Zeit des Künstlers waren verschiedene Variationen des Sujets entstanden, die Philosophen wie z. B. Aesop, Homer oder Sappho zu einer Gruppe sprechend zeigten. Als kompositiorische Vorbilder dienten Genelli die bekannten Gemälde "Homer singt den Griechen" (1796) von Asmus Jakob Carstens und "Apoll unter den Hirten" (1806) von Gottlieb Schick. Ein Bl. verso mit Karikaturen von verschiedenen Männerköpfen sowie drei Figuren auf einem Wagen. Ein Bl. mit einer Bleistiftskizze einer knienden Figur bzw. einer Blume mit hs. Farbangaben. – Ein Bll. an den Ecken zu einem Achteck beschnitten, ansonsten von unterschiedlicher Erhaltung. Taxation: differenzbesteuert (VAT: Margin Scheme)
Karl & Faber - Timed
Oct. 14, 2023
B. GENELLI (1798-1868), Historism Villa on the Lake, 1854, Pencil
Est: €120 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany,
Fichter Kunsthandel
Oct. 12, 2023
Genelli, Bonaventura.
Est: €360 - €540
Das Leben einer Hexe. In Zeichnungen von Bonaventura Genelli, gestochen von Merz und Gonzenbach. Mit erläuternden Bemerkungen von Dr. H. Ulrici. 2 Bl. (Text) und 10 Bl. Radierungen. Quer-gr. folio. OU (beschädigt, Vorderseite lose). Düsseldorf, Buddeus und R. Weigel, (1847). Rümann 538. Erste Ausgabe des berühmten Zyklus. "Seiner Lust, sich in phantastischem Fabulieren zu ergehen, vermochte er in seinem linearen Stil stärksten Ausdruck zu verleihen." (Rümann S. 223 mit Abb.). - Etwas stockfleckig.
Kiefer Buch- und Kunstauktionen
Sep. 02, 2023
B. GENELLI (1798-1868), Mars and Cupid, Ares and Eros, Lithography
Est: €300 - €400
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Mars and Cupid, Ares and Eros, The god of war Ares has raised his little son Eros grasps the Corinthian helmet of his father At his feet lies a griffin, 19th century, Lithography Technique: Lithography on PaperPaper Date: 19th century Keywords: Antiquity, Father and Son, 19th century, Biedermeier, Mythology, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Nude Study of a Sitting Man, Pencil
Est: €1,650 - €2,200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude study of a seated male figure with outstretched left arm and upraised right foot, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment, and this grew with each new sheet I looked at. Each of them had the unmistakable imprint of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence. This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.â At the time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention, apart from the painting of the Roman House of the publisher Hermann HÃ¤rtel in Leipzig, which ended in disaster. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of nude studies by Genelli have survived - the largest stock is in his estate in the copperplate engraving cabinet of the Academy of Fine Arts in Viennaâ - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensuous, vivid rendering of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who associated with Genelli in Rome in the 1820s, saw many of these studies that had impressed him: â€œHis ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great impetus, combined with grace and a genuine antique sense of beauty, are everywhere expressed. "â Genelli's nude studies carry in their idealism a newly awakened, antique Greekism that he was born with early on: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some of Carstens's drawings that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his pictorial worlds, which are not without pathos. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [â¦] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his. "â80 Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of man were the inspiration. The main subject of his drawings is the naked human being, but Genelliâ€™s studies go far beyond the mere depiction of the nude: Genelliâ€™s art is carried by the line, the sheets offered are determined by a delicate, gentle line management full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven sins of death on the title page of his series Aus dem Leben eines WÃ¼stlings, published as lithographs only in 1866. There, above a Latin inscription panel, one sees, according to Genelli's description, "a youth sitting on a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins. "â Genelli's focus on classicism in the mould of his model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem âout of timeâ, but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von MarÃ©es or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Study of a Floating Figure, Pencil
Est: €1,350 - €1,800
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Study of a Floating Figure, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment, and this grew with each new sheet I looked at. Each of them had the unmistakable imprint of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence. This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.â At the time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention, apart from the painting of the Roman House of the publisher Hermann HÃ¤rtel in Leipzig, which ended in disaster. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of nude studies by Genelli have survived - the largest stock is in his estate in the copperplate engraving cabinet of the Academy of Fine Arts in Viennaâ - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensuous, vivid rendering of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who associated with Genelli in Rome in the 1820s, saw many of these studies that had impressed him: â€œHis ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great impetus, combined with grace and a genuine antique sense of beauty, are everywhere expressed. "â Genelli's nude studies carry in their idealism a newly awakened, antique Greekism that he was born with early on: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some of Carstens's drawings that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his pictorial worlds, which are not without pathos. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [â¦] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his. "â80 Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of man were the inspiration. The main subject of his drawings is the naked human being, but Genelliâ€™s studies go far beyond the mere depiction of the nude: Genelliâ€™s art is carried by the line, the offered sheets are determined by a delicate, gentle line management full of poetry, which strives for the truth already sought by the Nazarenes. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven sins of death on the title page of his series Aus dem Leben eines WÃ¼stlings, published as lithographs only in 1866. There, above a Latin inscription panel, one sees, according to Genelli's description, "a youth sitting on a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins. "â Genelli's focus on classicism in the mould of his model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem âout of timeâ, but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von MarÃ©es or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, drapery, floating, study, robe study, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Nude Study, Seated Male Figure, Pencil
Est: €1,350 - €1,800
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude Study of a Seated Male Figure with a Cup, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment, and this grew with each new sheet I looked at. Each of them had the unmistakable imprint of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence. This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.â At the time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention, apart from the painting of the Roman House of the publisher Hermann HÃ¤rtel in Leipzig, which ended in disaster. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of nude studies by Genelli have survived - the largest stock is in his estate in the copperplate engraving cabinet of the Academy of Fine Arts in Viennaâ - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensuous, vivid rendering of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who associated with Genelli in Rome in the 1820s, saw many of these studies that had impressed him: â€œHis ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great impetus, combined with grace and a genuine antique sense of beauty, are everywhere expressed. "â Genelli's nude studies carry in their idealism a newly awakened, antique Greekism that he was born with early on: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some of Carstens's drawings that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his pictorial worlds, which are not without pathos. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [â¦] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his. "â80 Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of man were the inspiration. The main subject of his drawings is the naked human being, but Genelliâ€™s studies go far beyond the mere depiction of the nude: Genelliâ€™s art is carried by the line, the offered sheets are determined by a delicate, gentle line management full of poetry, which strives for the truth already sought by the Nazarenes. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven sins of death on the title page of his series Aus dem Leben eines WÃ¼stlings, published as lithographs only in 1866. There, above a Latin inscription panel, one sees, according to Genelli's description, "a youth sitting on a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins. "â Genelli's focus on classicism in the mould of his model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem âout of timeâ, but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von MarÃ©es or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Nude Study of a Back Figure, Pencil
Est: €1,350 - €1,800
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude Study of a Back Figure, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment, and this grew with each new sheet I looked at. Each of them had the unmistakable imprint of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence. This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.â At the time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention, apart from the painting of the Roman House of the publisher Hermann HÃ¤rtel in Leipzig, which ended in disaster. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of nude studies by Genelli have survived - the largest stock is in his estate in the copperplate engraving cabinet of the Academy of Fine Arts in Viennaâ - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensuous, vivid rendering of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who associated with Genelli in Rome in the 1820s, saw many of these studies that had impressed him: â€œHis ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great impetus, combined with grace and a genuine antique sense of beauty, are everywhere expressed. "â Genelli's nude studies carry in their idealism a newly awakened, antique Greekism that he was born with early on: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some of Carstens's drawings that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his pictorial worlds, which are not without pathos. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [â¦] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his. "â80 Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of man were the inspiration. The main subject of his drawings is the naked human being, but Genelliâ€™s studies go far beyond the mere depiction of the nude: Genelliâ€™s art is carried by the line, the sheets offered are determined by a delicate, gentle line management full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven sins of death on the title page of his series Aus dem Leben eines WÃ¼stlings, published as lithographs only in 1866. There, above a Latin inscription panel, one sees, according to Genelli's description, "a youth sitting on a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins. "â Genelli's focus on classicism in the mould of his model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem âout of timeâ, but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von MarÃ©es or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, Mythology, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Nude Study of a Back Figure, Pencil
Est: €1,350 - €1,800
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude Study of a Back Figure, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment and this grew with each new sheet that I looked at. Each of them had the unmistakable stamp of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence". This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.At that time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention apart from the painting of the Roman House of the publisher Hermann Härtel in Leipzig, which ended in a falling out. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Genelli used the nude study presented here for one of these paintings - on the theatre curtain ordered in 1864, the personification of night spreads her wings over her daughters, the seven deadly sins, beneath the banner.Genelli prepared the Deadly Sin crouching at her lap on the left in the nude study that is characteristic of his entire body of drawings. Hundreds of similar nude studies by him have survived - the largest stock is in his estate in the Kupferstichkabinett of the Akademie der bildenden Künste in Vienna - which he executed very carefully in an effort to achieve plastic modelling and at the same time a sensuous, vivid rendering of the naked body. As he saw it, these were not sketches but completed, finished studies which he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who kept company with Genelli in Rome in the 1820s, saw many of these studies which had impressed him: "His ideas are always new and striking, beautifully given and equally grouped. [...] a majestic grandeur, a full-bodied life and a great sweep, combined with grace and a genuinely antique sense of beauty, speak themselves everywhere."Genelli's nude studies carry in their ideality a newly awakened, antique Greekism, which he was born with at an early age: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some drawings by Carstens that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was crucial to the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his not without pathos%2presented pictorial worlds. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [...] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his".Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of people were the inspiration. The main subject of his drawings is the naked human being, but Genelli's studies go far beyond the mere depiction of the nude: Genelli's art is carried by the line, the sheets on offer are determined by a delicately gentle line management full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven deadly sins on the title page of his series Aus dem Leben eines Wüstlings (From the Life of a Profligate), which was not published as lithographs until 1866. According to Genelli's description, a Latin inscription panel shows a youth sitting on "a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins."Genelli's focus on classicism in the mould of his role model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem 'out of time', but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von Marées or Adolf von Hildebrand, on the other hand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Aug. 26, 2023
B. GENELLI (1798-1868), Nude study and hand study, Pencil
Est: €1,350 - €1,800
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Nude Study of a Standing Male Figure and Hand Study, 19th century, Pencil Technique: Pencil on , mounted on Paper Date: 19th century Description: "Even the first of the drawings aroused my astonishment, and this grew with each new sheet I looked at. Each of them had the unmistakable imprint of a powerful spirit, and I could not doubt that the artist, who stood before me so modestly and unassumingly in poor surroundings, was one of those great geniuses who rarely appear in the course of the centuries and whom one may only approach with reverence. This is what Adolph Friedrich Graf von Schack wrote about his first encounter with Bonaventura Genelli in Munich.â At the time, Schack was largely alone in his enthusiastic judgement of the artist, for Genelli had hardly attracted any attention, apart from the painting of the Roman House of the publisher Hermann HÃ¤rtel in Leipzig, which ended in disaster. Genelli had come to Munich in 1836 in the hope of finding clients here - but this prospect only came true after he met Count von Schack in the summer of 1857. He ordered no fewer than six large-format paintings from him, which are now in the Schack Gallery, and relieved the painter, who was already very old at the time, of his material hardship. Hundreds of nude studies by Genelli have survived - the largest stock is in his estate in the copperplate engraving cabinet of the Academy of Fine Arts in Viennaâ - which he executed very carefully in an effort to achieve sculptural modelling and at the same time a sensuous, vivid rendering of the naked body. As he understood it, these were not sketches, but completed, finished studies that he was able to transfer unchanged to other contexts. Erwin Speckter, the Hamburg painter who associated with Genelli in Rome in the 1820s, saw many of these studies that had impressed him: â€œHis ideas are always new and striking, beautifully given and equally grouped. [A majestic grandeur, a full-bodied life and a great impetus, combined with grace and a genuine antique sense of beauty, are everywhere expressed. "â Genelli's nude studies carry in their idealism a newly awakened, antique Greekism that he was born with early on: From the very beginning, Genelli saw himself as a draughtsman following in the footsteps of the classicist Asmus Jakob Carstens. Is it a coincidence that Genelli was born in Berlin in 1798, the same year that Carstens died in Rome? Genelli's father Janus and his uncle Hans Christian Genelli had been close friends with Carstens, and even in his old age Bonaventura remembered some of Carstens's drawings that were kept in his parents' house. Familiar with ancient mythology from an early age, his stay in Rome, where Genelli lived for ten years from 1822, was of decisive importance for the development of his artistic personality. Here he found Homer and Dante, to whom he dedicated numerous illustrations that do not deny their training in Carstens, Michelangelo and antiquity. Michelangelo's experience of the Sistine had a lasting influence on him - similarly sublime and enormous bodies populate his pictorial worlds, which are not without pathos. It is these very serious, at times eclectic-looking and out-of-time compositions that led Speckter to find details in his drawings "highly mannered and frivolous" and to attest him "a virtuoso genius [â¦] in so-called stealing", "in that one finds many quite faithfully copied figures and groups from other things in his. "â80 Indeed, his executed compositions are reminiscent of Michelangelo and Raphael, whose powerful depictions of man were the inspiration. The main subject of his drawings is the naked human being, but Genelliâ€™s studies go far beyond the mere depiction of the nude: Genelliâ€™s art is carried by the line, the sheets offered are determined by a delicate, gentle line management full of poetry, which strives for the truth that the Nazarenes were already seeking. His nudes embody a spiritual-moral attitude that tells of antique purity and sublimity. Alongside these were studies in garments of delicate delicacy and at the same time haunting presence, in which he observed certain motifs of movement or garments of individual figures and often repeated the same motif several times, as in one of the present sheets: it is a study for one of the seven sins of death on the title page of his series Aus dem Leben eines WÃ¼stlings, published as lithographs only in 1866. There, above a Latin inscription panel, one sees, according to Genelli's description, "a youth sitting on a light chariot drawn by demons, with the vulgar Cupid on his knees, singing tempting songs to him. This Cupid is followed, whirling around the chariot, by the seven deadly sins. "â Genelli's focus on classicism in the mould of his model Carstens, but also the influence of Joseph Anton Koch, with whom he was still personally acquainted, may make his art around 1850 seem âout of timeâ, but only if one looks at the development of art from the perspective of realism and naturalism. For idealists like Hans von MarÃ©es or Adolf von Hildebrand, who entered the field of art a little later, Genelli's concentration on the naked body, which embodied moral purity and truth in equal measure, meant the anticipation of their ideal Greekism. (Text: Peter Prange) Keywords: Figure, Nude, Study, Drawing, 19th century, Romanticism, People, Germany,
Fichter Kunsthandel
Jun. 09, 2023
Genelli, Bonaventura: Sitzender männlicher Akt, ein Trinkgefäß haltend
Est: €800 - €1,200
Sitzender männlicher Akt, ein Trinkgefäß haltend. -- Bleistift auf dünnem Velin, alt auf einen stärkeren Karton kaschiert. 32,1 x 24,8 cm. Um 1868. -- -- Vorstudie für die zentrale Figur des Bacchus auf Genellis monumentalem Gemälde "Bacchus unter den Musen" von 1868 in der Sammlung Schack der Bayerischen Staatsgemäldesammlungen, München. -- -- - Provenienz: Sammlung Matthias Konrad Rech, Bonn (Lugt 2754a). -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Jun. 09, 2023
Genelli, Bonaventura: Pandora umgeben von Zeus, Eris, dem Höllenhund Zerberos und weiteren mythologischen Figuren
Est: €900 - €1,200
Pandora umgeben von Zeus, Eris, dem Höllenhund Zerberos und weiteren mythologischen Figuren. -- Feder in Braun, über Bleistift auf C & I Honig-Bütten. 27,4 x 42,5 cm. Unten rechts in Bleistift bez. (signiert?) "B. Genelli". -- -- -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 06, 2023
B. GENELLI (1798-1868), Historism Villa on the Lake, 1854, Pencil
Est: €120 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany,
Fichter Kunsthandel
Jan. 06, 2023
B. GENELLI (1798-1868), Mars and Cupid, Ares and Eros, Lithography
Est: €300 - €400
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Mars and Cupid, Ares and Eros, The god of war Ares has raised his little son Eros grasps the Corinthian helmet of his father At his feet lies a griffin, 19th century, Lithography Technique: Lithography on PaperPaper Date: 19th century Keywords: Antiquity, Father and Son, 19th century, Biedermeier, Mythology, Germany,
Fichter Kunsthandel
Dec. 10, 2022
B. GENELLI (1798-1868), Historism villa on the lake with jetty, 1854, Pencil
Est: €120 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Historism villa on the lake with jetty, 1854, Pencil Technique: Pencil on Paper Inscription: Signed and dated in pencil lower right. Date: 1854 Keywords: 19th century, Romanticism, Architecture, Germany,
Fichter Kunsthandel
Dec. 10, 2022
B. GENELLI (1798-1868), Mythological scene, around 1840, Pen drawing
Est: €4,500 - €6,000
Bonaventura Genelli (1798 Berlin - 1868 Weimar): Mythological scene: Possibly Hero and Leander, c. 1840, Pen drawing Technique: Pen drawing on Paper Inscription: Signed lower right: "B.: Genelli fect" Date: c. 1840 Description: Bonaventura Genelli is considered an important representative of late classicism in the 19th century. First educated artistically and literarily by his father, who died at an early age, then by his uncle Hans Christian Genelli and the academy professor Johann Erdmann Hummel, he began studying at the academy under Johann Gottfried Schadow (1764-1850) in Berlin in 1814. The spirit of classicism, rooted in the 18th century, captured him as he studied ancient texts and works of art, and he was particularly impressed by the work of the North German classicist Asmus Jacob Carstens (1754-1798). In 1822 Genelli travelled to Rome, and it was not until he was commissioned to fresco the "Roman House" in Leipzig, which was built in 1832, that he returned to Germany. However, he soon left this building site in dispute and without having achieved anything and settled in Munich. Since his return, Genelli always observed with suspicion the changed conception of art, which was characterised by realistic depictions and the art of the Nazarenes. He strictly rejected both and continued to follow an ideal dedicated to antiquity and the Renaissance. This attitude, as well as his participation in the revolution of 1848, made him an outsider in circles of the nobility and some influential artists. Nevertheless, he successfully financed himself through illustration commissions of the Homeric works and the Divina Commedia and received several commissions even in his late creative phase. Among Genelli's outstanding achievements are the three epics of his own devising, "Aus dem Leben eines Wüstlings" (1866), "Aus dem Leben einer Hexe" (1847) and the autobiographical work "Aus dem Leben eines Künstlers" (1861). Some of the drawings for the etched portfolios were made much earlier, especially during the very productive period in Rome. The present design testifies to Genelli's extensive knowledge of ancient mythology as well as art historical iconography, as here he combines several elements into one composition. The theme seems to invert the myth of Hero and Leander. While in the story it is actually Leander who drowns because of the extinguished beacon and Hero who finds him on the beach, in Genelli's work the protagonists swap genders. In Genelli's work, Cupid, who is frequently seen in 17th-century paintings, becomes the genius of death with his torch turned upside down and pointing accusingly at the deceased. The upturned and extinguished torch as a sign of death receives that accusatory tendency in the mythological connection to Hero and Leander and the extinguished beacon. At the same time, the posture of the dead recalls Scheffer von Leonhartshoff's Saint Cecilia, who in turn was inspired by Stefano Maderno's sculpture in Trastevere. Provenance: Auktion Bassenge Nr. 17 (1971), Los Nr. 658 Keywords: Nudes, Genius, Allegory, Hero, Leander, Figures, Genre, 19th century, Classicism, Mythology, Germany,
Fichter Kunsthandel
Dec. 02, 2022
Genelli, Giovanni Bonaventura: Ludwig der Eiserne lässt Adelige das Land pflügen
Est: €1,200 - €1,800
Ludwig der Eiserne lässt Adelige das Land pflügen. -- Feder in Grau. 64,8 x 42,6 cm. Unten rechts in der Darstellung signiert und datiert "B. Genelli fecit: 1853" sowie unterhalb dieser betitelt "Ludwig der Eiserne Landgraf von Thüringen". -- -- Zwischen 1852 und 1854 führte Genelli für die Großherzogin Maria Pawlowna von Sachsen-Weimar-Eisenach drei gezeichnete Entwürfe zur Thüringer Landesgeschichte aus (vgl. hierzu Eva Nielsen: Bonaventura Genelli. Werk und Kunstauffassung. Ein Beitrag zur Kunst des späten Klassizismus, Diss. München 2005, S. 77, Anm. 259). In Briefen lässt Genelli die Hoffnung verlautbaren, die Szenen als Fresken ausführen zu können - wohl für das seit 1849 in Restaurierung befindliche Landgrafenzimmer auf der Wartburg. Doch dazu kam es nicht. Stattdessen ging der Auftrag an Moritz von Schwind. In einem Schreiben an Carl Rahl echauffiert sich Genelli, Schwind habe die Idee für die Darstellung Ludwigs des Eisernen mit den vor dem Pflug gespannten Adeligen von ihm übernommen. Ein auf Pergamin überführtes Exemplar derselben Komposition befindet sich in der Staatlichen Graphischen Sammlung München (Inv. 35727, abgebildet in op. cit., S. 266). Beigegeben von demselben zwei Federzeichnugen auf Transparentpapier "Deckenentwurf mit geflügelten Figuren und Rankenornamenten" und "Faun und Kind", beide auf demselben Untersatz aufgezogen. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Oct. 22, 2022
B.GENELLI (1798-1868) attributed, Mythological scene with judging goddess, Etching
Est: €150 - €200
Bonaventura Genelli (1798 Berlin - 1868 Weimar) attributed: Ancient mythological scene with a winged goddess - Nike? - who sends angels, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: The Madonna-like figure of the group of figures on the left is given a crown by the goddess of heaven, while the group of people on the right is punished with lightning. Keywords: 19th century, Classicism, Mythology, Germany,
Fichter Kunsthandel
Jun. 03, 2022
Genelli, Giovanni Bonaventura: Minos als Höllenrichter mit Szenen aus Dantes Inferno
Est: €1,800 - €2,400
Minos als Höllenrichter mit Szenen aus Dantes Inferno. -- Feder in Grau auf Transparentpapier. 30,5 x 47,6 cm. Unten rechts signiert und datiert "Genelli fecit 1840". -- -- Genelli schuf in seiner Laufbahn mehrere Illustrationsfolgen zu Dantes Göttlicher Komödie. Erste Zeichnungen entstanden in den 1840er Jahren als eigenständige Kompositionen noch unter dem Einfluss von Joseph Anton Kochs Dekorationen im Casino Massimo in Rom. Im Jahr 1846 erhielt Genelli einen Auftrag für eine weitere Folge von Zeichnungen zu dem Thema. Diese Folge von 36 gestochenen Blatt in 9 Lieferungen wurde von Max Jordan 1865 mit Begleittexten auf Deutsch, Italienisch und Französisch anlässlich des 600. Geburtstags von Dante herausgegeben. Eine zweite Auflage erschien 1867. -- -- - Provenienz: Galerie Grünwald, München. -- Privatsammlung Niedersachsen. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Dec. 02, 2021
Genelli, Giovanni Bonaventura: nach. Umrisse zu Dante's Göttlicher Commödie
Est: €200 - €250
nach. Umrisse zu Dante's Göttlicher Commödie (Heft 1 und 2). 8 Kupferstiche von Hermann Schütz, je vier Blatt lose in zwei originalen Schutzumschlägen (minimal fleckig, Knitterspuren, Falz innen verstärkt). Quer-4to. Stuttgart, J. G. Cotta'sche Buchhandlung (In Commission der Literarisch-artistischen Anstalt, München), (1846-49). Vgl. Volkmann, Iconografia Dantesca, London 1899, S. 146. Der Berliner Künstler Giovanni Bonaventura Genelli verbrachte zehn Jahre in Rom (1822-32), wo er in Joseph Anton Koch einen väterlichen Freund und Mentor fand. Nach seiner Rückkehr ließ er sich in München nieder, wo ihn ansässige Künstler dazu animierten, Dantes Göttliche Komödie zu illustrieren. Ein Abonnement sollte die laufenden Kosten decken. So erschien zwischen 1846 und 1849 ein Korpus von 36 Zeichnungen, zunächst einzeln in Heften à je vier Tafeln publiziert, die erst später als ganze Serie herausgegeben werden sollten. Die originalen Vorlagenzeichnungen verwahrt das Dresdener Kupferstich-Kabinett. In der klaren Einfachheit und Linearität ist Genellis Stil sicherlich Erbe von Asmus Jacob Carstens und natürlich Koch, doch charakterisiert ihn auch der Anspruch, Körpern trotz reduziertester Mittel, Plastizität zu verleihen - das Studium von Michelangelos Fresken in Rom tritt dabei sinnfällig zutage. - Die seltenen ersten beiden Hefte mit Illustrationen zu Dantes Inferno, dem ersten Teil der Göttlichen Komödie, in den originalen Umschlägen in sämtlich ganz ausgezeichneten, feinzeichnenden Drucken mit breitem Rand. Leicht fleckig bzw. stockfleckig, links mit Heftspuren, vereinzelt kurze Randeinrisschen und Bestoßungen, die unteren rechten Ecken der Blätter in Heft 2 mit Knickfalten, weitere Altersspuren, im Gesamteindruck gleichwohl gut. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions