Hamed Abdalla (Egypt, 1917-1985)The Workers oil on panel, framedsigned 'H. Abdalla' (lower right)45 x 55cm (17 11/16 x 21 5/8in).Footnotes:Provenance:Property from a private collection, CairoBonhams are honoured to present these two lots by the pioneer of the Creative word and a prolific figure in Egyptian Modernism, Hamed Abdullah. Abdullah took his artistic focus one step further than the rest of his counterparts with his expansion into what he labelled the 'Creative Word.' The result was a series of written words expressed in paint, combining abstract concepts and human forms to bring radically different cultures, religions, and philosophies together on canvas. He was a self-taught artist from a modest peasant family of upper Egypt who gained recognition early in his life for this artist talent. At the age of 24 he had his first solo exhibition and from there showcased his works all over Egypt and was honoured a solo exhibition at the Museum of Egyptian Art in Cairo in 1949. Over the next decade he showcased his works worldwide and in 1956 he participated in a group exhibition at the Metropolitan Museum of Art in New York. He left Egypt to Denmark in 1956 and then moved to France in 1966.Abdullah refused to decide between figuration and abstraction, and the attraction he had for the experimentation of forms with various materials, brought Abdalla closer to the Cobra movement he was introduced to in the 1950s. This series defines one of the most original and radical moments in his diverse practice. Initially trained in calligraphy in Egypt but frustrated by the political and social situation in his home country, Abdalla settled in Copenhagen, where he experienced a period of intense experimentation and discovery. The ideas that had pervaded the work of the CoBrA artists (based in Copenhagen, Brussels and Amsterdam) were still prominent at this time in the local and international context. Their concepts of freedom of form and colour had a significant impact on Abdalla, who shared CoBrA's fascination with scrutinising familiar methods and radically exploring new artistic forms.Abdalla was an autodidact who loved to experiment by himself to find his own voice and claimed his Arab and Oriental heritage: 'my main rule - like the Oriental artist - is to paint nature as I see it in my mind and not as it appears to the eye. ' Having migrated from his country in March 1956, fleeing the regime's slavish art-propaganda and no longer in immediate contact with the physical realities of his people, Abdalla found inspiration in the Arabic letters with which he invented new forms, unique in their kind, even suggesting 'the Arab being', in line with the emancipation projects of his time.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Ibrahim El Dessouki (Egypt, born 1969 )Portrait of the Artist Hend Adnan oil on canvas, framedsigned Ibrahim El Dessouki and dated '99' in Arabic, executed in 199950 x 35cm (19 11/16 x 13 3/4in).Footnotes:Provenance:Property from a private collection, AlexandriaNote:This work has been authenticated by the Artist himself'Art, be it poetry, visual art, drama or dance, is the transformation of what is real into magic, and converting what is magical into a tangible reality, for we perceive that there are, beyond those infantile voices, even more primordial voices. We artists guess the being of those most archaic voices; deeper, and more sagacious - spoken in a language of legend, yet we feel them as not mere legend, but simultaneously as dream and symbol'- Ibrahim El DessoukiBonhams is delighted to be presenting this powerful and enigmatic piece by Ibrahim El Dessouki depicting his wife, the Egyptian female artist Hend Adnan. El Dessouki's painting style is defined by his unique treatment of paint, accentuated by his ability to create subtle changes in its texture; his unusual use of negative space; and his deft manipulation of shadow and light. The artist's painting genres encompass portraiture, landscape and still life and captures his own unique and hypnotic perspective of the soul and essence of Egypt and its people. This painting is heavily influenced by ancient Egyptian paintings and sculptures and beautifully captures the sitters strong Egyptian features such as the prominent eyebrows, jet black hair and elegant resting hand and full lips.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
JOORS, EUGENE1850 Borgehoût - 1910 AntwerpenTitel: Stillleben mit Weintrauben, Pfirsichen und einer Melone. Technik: Öl auf Leinwand. Maße: 46 x 55,5cm. Bezeichnung: Signiert oben rechts: E. Joors. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland.Erläuterungen zum KatalogEugene Joors Belgien 2.H. 19.Jh. Gemälde Stillleben Gemälde Früchte JOORS, EUGENE1850 Borgehoût - 1910 AntwerpTitle: Still Life with Grapes, Peaches and a Melon. Technique: Oil on canvas. Measurement: 46 x 55,5cm. Notation: Signed upper right: E. Joors. Frame/Pedestal: Framed.Provenance:Private ownership, Germany.Explanations to the Catalogue
PREYER, EMILIEDüsseldorf 1849 - 1930Titel: Früchtestillleben. Technik: Öl auf Leinwand. Maße: 17,5 x 23cm. Bezeichnung: Signiert unten rechts: Emilie Preyer. Rahmen/Sockel: Rahmen. Rückseitig:Auf dem Keilrahmen Galerieetikett Kunsthaus Bühler, Stuttgart.Literatur: S. Weiß & H. Paffrath (Hrsg.): PREYER. Johann Wilhelm 1803-1889 und Emilie 1849-1930. Mit den Werkverzeichnissen der Gemälde von Johann Wilhelm und Emilie Preyer, Köln 2009, S. 174, Nr. 73.Provenienz:Privatsammlung, Deutschland, erwoben bei Galerie Paffrath, Düsseldorf.Die Stillleben Emilie Preyers sind in ihren reduziert konzentrierten Arrangements und ihrer akribisch naturgetreuen Darstellungsweise überzeitlich. Die Düsseldorfer Künstlerin, die vor allem bei Ihrem Vater Johann Wilhelm Preyer die Malerei erlernt hatte, die aber auch inoffizielle Akademie-Schülerin bei dessen Professoren-Kollegen sein durfte, begeisterte zu ihren Lebzeiten und bis heute mit ihren handwerklich so brillanten kleinformatigen Arbeiten, die sich nie einer Modernität unterwarfen.Das hier vorliegende Gemälde ist ein ganz typisches Werk der Malerin.Auf einer parallel zum unteren Bildrand ausgerichteten und von den seitlichen Bildrändern überschnittenen Tischplatte, die mit einem weißen Damasttischtuch bedeckt ist, liegt die herbstliche Ernte: überreife, teilweise leicht aufgeplatzte Pflaumen mit Zweig und Blättern, blaue und helle Trauben, eine halbe Aprikose und zwei Haselnüsse.Die harmonische Farbwirkung, die reduzierte Komposition vor dem neutralen, nur durch den Lichteinfall akzentuierten Hintergrund aber besonders die meisterliche Darstellung der Oberflächen fasziniert. Emilie Preyer behandelt die Bügelfalten und die leichten Stauchungen des Tischtuchs mit derselben Aufmerksamkeit wie die unterschiedlichen Reifegrade und Oberflächen der Früchte und die süßen Safttropfen, die eine Fliege angelockt haben. Die Schöpferin dieses Augenschmauses gehört zu den wenigen Malerinnen, die im 19. Jahrhundert von ihrer Malerei leben konnten. Ihre Bilder sind heute in nationalen wie internationalen Sammlungen und Museen vertreten.Erläuterungen zum KatalogEmilie Preyer Deutschland Düsseldorfer Schule 19.Jh. Gemälde Stillleben Malerei Obst PREYER, EMILIEDüsseldorf 1849 - 1930Title: Fruit Still Life. Technique: Oil on canvas. Measurement: 17,5 x 23cm. Notation: Signed lower right: Emilie Preyer. Frame/Pedestal: Framed.Verso:On the stretcher gallery label Kunsthaus Bühler, Stuttgart.Literature: S. Weiß & H. Paffrath (eds.): PREYER. Johann Wilhelm 1803-1889 und Emilie 1849-1930. With the catalogue raisonné of the paintings by Johann Wilhelm and Emilie Preyer, Cologne 2009, p. 174, no. 73.Provenance:Private collection, Germany, acquired from Galerie Paffrath, Düsseldorf.Emilie Preyer's still lifes are supra-temporal in their reduced, concentrated arrangements and their meticulously naturalistic style of depiction. The Düsseldorf artist had studied painting primarily with her father Johann Wilhelm Preyer, but was also allowed to be an unofficial pupil of his professor colleagues at the academy. She inspired throughout her lifetime and to this day with her brilliantly crafted small-format works, which never submitted to modernity.The painting presented here is a very typical work by the painter.On a tabletop aligned parallel to the lower edge of the picture and overlapped by the lateral edges, which is covered with a white damask tablecloth, lies the autumnal harvest: overripe, partly slightly burst plums with twig and leaves, blue and light grapes, half an apricot and two hazelnuts.The harmonious colour effect, the reduced composition in front of the neutral background, accentuated only by the incidence of light, but especially the masterly depiction of the surfaces is fascinating. Emilie Preyer treats the creases and slight compressions of the tablecloth with the same attention as the different degrees of ripeness and surfaces of the fruit and the sweet drops of juice that have attracted a fly. The creator of this feast for the eyes is one of the few women painters who were able to make a living from her painting in the 19th century. Today, her paintings are represented in national and international collections and museums.Explanations to the Catalogue
SIMM, FRANZ XAVER1853 Wien - 1918 MünchenTitel: Die Harfenspielerin. Technik: Öl auf Leindwand.Maße: 40,5 x 30cm.Bezeichnung: Signiert unten links: F. Simm. Rahmen/Sockel: Rahmen. Rückseitig:Auf der Tafel Klebezettel des Londoner Künstlerbedarfshandels Winsor&Newton.Provenienz:Privatbesitz, Deutschland.Als Ensemble mit seinem originalen und opulenten Rahmen wirkt das Portrait einer jungen Dame an der Harfe wie eine offene Tür, die den heutigen Betrachter in die Epoche des Biedermeier zieht - auch wenn wir eigentlich nur durch ein Schlüsselloch schauen, da die Szene eher sehr intim und persönlich gehalten ist. Die elegant gekleidete Musikerin, die versonnen und nur für sich auf der Harfe spielt - allein die Darstellung einer Harfe als Instrument hat für sich schon Seltenheitswert - lebt in ihrer eigenen Welt, als einziges Attribut erscheint das Blumenstillleben mit den weißen Lilien, die Bezug nehmen auf die Lilien, mit denen schon auf mittelalterlichen Gemälden die Gottesmutter gekennzeichnet wurde. Der Stuhl und die opulent verzierte Seidentapete lassen auf ihre gehobene soziale Stellung schließen. Die Harfe können wir als Symbol für die innere Harmonie der jungen Dame verstehen.Alles dies ist sinnbildlich für das gesellschaftliche Leben, als sich das Bürgertum sein eigenes Idyll im Inneren geschaffen hat, für die Kunst und Kultur, Architektur und Mode von unmittelbarer Bedeutung waren.Franz Xaver Simm, geboren in Wien, hat dort bei Anselm Feuerbach studiert und ist nach Aufenthalten in Rom und Tiflis zusammen mit seiner Frau, die ebenfalls Malerin war, in München ansässig geworden. Dort machte er sich schnell einen Namen durch seine kleinformatigen Genredarstellungen, die sich stilistisch am Empire orientieren, dieser Spielart des Klassizismus, die nicht nur für die Innenarchitektur prägend war. Die Kombination seiner ausgezeichneten und detailreichen Malkultur zusammen mit dem prächtigen geschnitzten Goldrahmen von nicht minderer Qualität harmonieren und beeindrucken bei der Harfenspielerin in besonderer Weise.Erläuterungen zum KatalogFranz Xaver Simm Österreich Wiener Schule Münchner Schule 2.H. 19.Jh. Gemälde Musikinstrument Malerei Porträt SIMM, FRANZ XAVER1853 Vienna - 1918 MunichTitle: A Young Lady Playing the Harp. Technique: Oil on canvas.Height: 40,5 x 30cm.Notation: Signed lower left: F. Simm. Frame/Pedestal: Framed. Verso:On the panel adhesive label from the London artists' supply dealer Winsor&Newton.Provenance:Private ownership, Germany.As an ensemble with its original and opulent frame, the portrait of a young lady at the harp seems like an open door that draws today's viewer into the Biedermeier era - even if we are actually only looking through a keyhole, as the scene is rather intimate and personal. The elegantly dressed musician, who plays the harp pensively and only for herself - the depiction of a harp as an instrument alone has rarity value in itself - lives in her own world, the only attribute appearing to be the floral still life of the white lilies, which refer to the lilies with which the Mother of God was identified with already in medieval paintings. The chair and the lavishly decorated silk wallpaper suggest her elevated social status. We can understand the harp as a symbol for the inner harmony of the young lady.All this is emblematic of social life when the bourgeoisie created its own idyll in the interior, for which art and culture, architecture and fashion were of immediate importance.Franz Xaver Simm, born in Vienna, studied there with Anselm Feuerbach and, after stays in Rome and Tbilisi, settled in Munich with his wife, who was also a painter. There he quickly made a name for himself with his small-format genre depictions, which were stylistically oriented towards the Empire, this variety of classicism that was influential not only for interior design. The combination of his excellent and detailed painting culture together with the splendid carved gold frame of no lesser quality harmonise and impress in this painting of A Young Lady Playing the Harp in a special way.Explanations to the Catalogue
PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitel: Das Picknick im Wald. Technik: Öl auf Leinwand. Maße: 116 x 96cm. Bezeichnung: Signiert unten rechts: Otto Pippel. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland.Otto Pippel zählt heute zu den bedeutendsten Spätimpressionisten aus dem süddeutschen Raum. Zu seinen Motiven gehören insbesondere das städtische Leben Münchens an berühmten Orten wie dem Englischen Garten, dem Hofgarten oder dem Hirschgarten. Aber auch Stadtveduten, Figuren, Stillleben und Landschaften finden sich in großer Anzahl in seinem Oeuvre wieder. In dieser Fine Art-Auktion können wir vier Arbeiten anbieten, die die Vielfalt der Natur- und Stadtdarstellungen Pippels in seinem unverkennbaren, pastosen Umgang mit Farbe sowie sein malerisches Lichtspiel aufzeigen. Der Künstler wurde 10. Februar 1878 in Lódz geboren. Sein Studium begann er an der Kunstgewerbeschule in Karlsruhe, musste dieses jedoch durch einen Dienst im russischen Heer unterbrechen. 1905 setzte er sein Studium zunächst in Karlsruhe bei Julius Hugo Bergmann und Friedrich Fehr fort, bevor er in den Jahren 1907 und 1908 in Dresden bei Gotthardt Kuehl studierte, der ihn an den Impressionismus heranführte. Im Rahmen einer Studienfahrt nach Paris machte der junge Otto Pippel Bekanntschaft mit den ortsansässigen Impressionisten und beschäftigte sich mit dem Malstil des großen Claude Monets, den er fortan zu einem eigenständigen Impressionismus weiterentwickelte. Otto Pippels Stil zeichnet sich aus durch einen charakteristischen pastosen Farbauftrag und seine malerischen Landschaftsstimmungen, die die Betrachtenden in seine vielschichten Farbwelten hineinzuziehen scheint. Erläuterungen zum KatalogOtto Eduard Pippel Deutschland Münchner Schule Impressionismus 1.H. 20.Jh. Gemälde Familien Gemälde Bürgerliches Leben PIPPEL, OTTO EDUARD1878 Lodz - 1960 PlaneggTitle: Picnic in the Forest. Technique: Oil on canvas. Measurement: 116 x 96cm. Notation: Signed lower right: Otto Pippel. Frame/Pedestal: Framed.Provenance:Private ownership, Germany.Otto Pippel today ranks among the most important late Impressionists from southern Germany. His motifs include in particular the urban life of Munich in famous places such as the English Garden, the Hofgarten or the Hirschgarten. But also city scenes, figures, still lifes and landscapes can be found in large numbers in his oeuvre. In this Fine Art auction we are able to offer four works which show the variety of Pippel's depictions of nature and cities in his unmistakable, painterly handling of colour as well as his painterly play of light. The artist was born in Lódz on 10 February 1878. He began his studies at the Kunstgewerbeschule in Karlsruhe, but had to interrupt them due to service in the Russian army. In 1905 he continued his studies in Karlsruhe under Julius Hugo Bergmann and Friedrich Fehr, before he studied in Dresden under Gotthardt Kuehl in 1907 and 1908, who introduced him to Impressionism. During a study trip to Paris, the young Otto Pippel became acquainted with the local Impressionists and studied the painting style of the great Claude Monet, which he further developed into an independent Impressionism. Otto Pippel's style is characterised by a characteristic impasto application of paint and his painterly landscape moods, which seem to draw the viewer into his multi-layered worlds of colour. Explanations to the Catalogue
NILOUSS, PIERRE1869 Buseny - 1943 ParisTitel: "Citrons, carafe et tissu bleu". Stillleben mit Zitronenund einer Glaskaraffe. Technik: Öl auf Leinwand. Maße: 50,5 x 61cm. Bezeichnung: Signiert unten rechts: P. Nilouss Paris. Rahmen/Sockel: Rahmen. Rückseitig:Auf Rahmen und Keilrahmen Etikett der Kölner Galerie Boisserée.Provenien:Privatbesitz, Deutschland.Erläuterungen zum KatalogPierre Nilouss Ukraine Russische Schule Impressionismus 19./20. Jh. Gemälde Stillleben Gemälde Früchte NILOUSS, PIERRE1869 Buseny - 1943 ParisTitle: "Citrons, carafe et tissu bleu". Still life with lemons and a glass carafe. Technique: Oil on canvas. Measurement: 50,5 x 61cm. Notation: Signed lower right: P. Nilouss Paris. Frame/Pedestal: Framed. Verso:On frame and stretcher label from the Galerie Boisserée, Cologne.Provenance:Private ownership, Germany.Explanations to the Catalogue
FIJT, JANAntwerpen vor 1611 - 1661Titel: Jagdstillleben mit Singvögeln. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 39 x 58,5cm. Bezeichnung: Signiert unten rechts: Joannes Fyt. Rahmen/Sockel: Rahmen. Provenienz:Sammlung Arthur Maier, Karlsbad, vor 1925;Auktion Lempertz, Köln, 30.11.1939, Nr. 14;Privatbesitz, Deutschland.Veräußerer und die Erbengemeinschaft nach Marianne Matella haben sich hinsichtlich eventuell bestehender Restitutionsansprüche geeinigt. Seitens der Erbengemeinschaft nach Marianne Matella werden keinerlei Ansprüche mehr hinsichtlich der vorliegenden Arbeit geltend gemacht.Wir danken Fred G. Meijer, Amsterdam, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochaufgelösten Digitalfotografie bestätigt hat.Jan Fijt Niederlande Niederländische/ Flämische Schule 17.Jh. Originale Stillleben Malerei Vögel FIJT, JANAntwerp before 1611 - 1661Title: Hunting Still Life with Song Birds. Technique: Oil on canvas. Mounting: Relined. Measurement: 39 x 58,5cm. Notation: Signed lower right: Joannes Fyt. Frame/Pedestal: Framed. Provenance:Collection Arthur Maier, Karlsbad, before 1925;Lempertz Auction, Cologne, 30.11.1939, no. 14;Private ownership, Germany.The seller and the community of heirs of Marianne Matella have come to an agreement regarding possible restitution claims. The community of heirs of Marianne Matella will no longer assert any claims regarding this painting.We are grateful to Fred G. Meijer, Amsterdam, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph.
MORTEL, JANLeiden um 1650 - 1719Titel: Früchtestillleben. Datierung: Um 1675-1680. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 59 x 47cm. Rahmen/Sockel: Rahmen. Provenienz:Privatbesitz, Deutschland. Das vorliegende Stillleben mit Obst, Schmetterling und Glas wurde 1958 von Walther Bernd zu Harmen Loeding zugeschrieben; Fred G. Meijer korrigierte den Verweis und erkannte das Werk als ein Frühwerk von Jan Mortel (1652-1719), wahrscheinlich aus den Jahren 1675-1680. Jan Mortel war ein niederländischer Blumenmaler des Goldenen Zeitalters, der in Leiden geboren wurde und starb. Er war Lehrling von Jan Porcellis van Delden und malte hauptsächlich Stillleben, wobei er oft Früchte und Blumen mit Schmetterlingen und anderen Insekten kombinierte. Einige seiner Arbeiten waren Kopien oder Nachahmungen der Werke von Harmen Loeding, Abraham Mignon oder Mignons Meister Jan Davidsz de Heem. Wir danken Fred G. Meijer, Amsterdam, der die Zuschreibung des vorliegenden Gemäldes auf Grundlage einer hochauflösenden Digitalfotografie vorgeschlagen hat.Erläuterungen zum KatalogJan Mortel Originale Stillleben Gemälde Früchte MORTEL, JANLeiden ca. 1650 - 1719Title: Fruit Still Life. Date: Ca. 1675-1680. Technique: Oil on wood. Mounting: Parquetted. Measurement: 59 x 47cm. Frame/Pedestal: Framed. Provenance:Private ownership, Germany.The present still life with fruit, butterfly and glass was attributed to Harmen Loeding by Walther Bernd in 1958; Fred G. Meijer corrected the reference and recognised the work as an early work by Jan Mortel (1652-1719), probably from the years 1675-1680. Jan Mortel was a Dutch flower painter of the Golden Age who was born and died in Leiden. He was an apprentice of Jan Porcellis van Delden and painted mainly still lifes, often combining fruits and flowers with insects and butterflies. Some of his works were copies or imitations of the works of Harmen Loeding, Abraham Mignon or Mignon's master Jan Davidsz de Heem.We are grateful to Fred G. Meijer, Amsterdam, for suggesting the attribution of the present painting on the basis of a high-resolution digital photograph.Explanations to the Catalogue
GYSBRECHTS, FRANCISCUS1649 Antwerpen - um 1677Titel: Trompe-l'oeil eines Vanitas-Stilllebens mit Uhr und Totenschädel auf einem Regal an einer Wand, daneben Malutensilien. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 143 x 99cm. Bezeichnung: Schwach lesbar signiert unten links auf dem Zettel: F. Gijsbregt. Rahmen/Sockel: Rahmen. Ausstellungen:"Mémoires du futur. La collection Olbricht". La Maison Rouge, Paris, 2011/2012;"Lebenslust & Totentanz", Kunsthalle Krems, 2010.Provenienz:Sammlung Jacques Heinrich Bassenge sr., Dresden 1812-1840;durch Erbschaft an Jacques Heinrich Bassenge jr., Dresden 1840-1893;durch Erbschaft an Friedrike Bassenge, Dresden 1893-1901;durch Erbschaft an Johanna Held, Dresden 1901-1923;Auktion Sotheby's, Amsterdam, 07.05.2008, Lot 37;Rafael Valls, London 2009;Sammlung Prof. Dr. Thomas Olbricht, Essen, erworben 2010.Das vorliegende Gemälde ist dokumentiert in der Datenbank des RKD, Den Haag, unter der Abb.Nr. 205299.Franciscus Gysbrechts war vermutlich der Sohn des Malers Cornelis Norbertus Gysbrechts. Gesichert ist, dass er 1649 in Antwerpen getauft wurde und dass er bei dem älteren Künstler gleichen Namens lernte, eng mit diesem zusammen arbeitete und ihn wohl auch auf Reisen an den dänischen Hof begleitete. Beide Gysbrechts waren berühmt für ihre überaus raffinierten Trompe-L'oeil-Gemälde.Das vorliegende, von Franciscus Gysbrechts signierte Gemälde bringt den sicheren Standpunkt des Betrachters in vielerlei Hinsicht ins Wanken. Auf der ersten Ebene stellt es eine Holzwand im Atelier dar: Ein an einer Holzwand befestigtes Bord mit darauf liegenden Mal-Utensilien führt den Betrachter in den Arbeitsraum des Künstlers. Der halbrunde obere Abschluss des Gemäldes mit dem gemalten blauen Vorhang ist später hinzugefügt. Auf dem Bord steht ein üppig mit verschiedensten Elementen staffiertes Vanitas-Stillleben, das seinerseits Trompe-l'oeil-Qualitäten besitzt: Die Gegenstände in einer steinernen Nische sind so plastisch gemalt, dass sie nicht nur in den Bildraum des (gemalten) Ateliers, sondern auch in den des realen Betrachters zu ragen scheinen. Ähnliche Farbigkeiten und Stofflichkeiten in den verschiedenen Bildebenen verschränken diese raffiniert. Ein Spiel mit Sein und Schein. Dies führt wiederum zu der inhaltlichen Ebene des im Gemälde gemalten Bildes. Vielfältige Objekte führen vor Augen, dass die Welt der Sinne und des irdischen Reichtums flüchtig und eitel ist. Zeit, Vergänglichkeit und Tod soll der Betrachter sich vor Augen führen, wobei die Krone aus Getreidehalmen, die der Schädel trägt, auf die Eucharistie und das eigentlich anzustrebende ewige Leben hindeutet.Mit dem "Gesamt-Gemälde" stellt Franciscus Gysbrechts somit auch die flüchtige Kunst der Malerei mit all ihrer Raffinesse selbst in Frage und fordert den Betrachter auf, seine realen und geistlichen Standpunkte dauerhaft zu hinterfragen.Erläuterungen zum KatalogFranciscus Gysbrechts Niederlande Niederländische/ Flämische Schule 17.Jh. Originale Vanitas-Stillleben Gemälde Atelier GIJSBRECHTS, FRANCISCUS1649 Antwerp - ca. 1677Title: Trompe-l'oeil of a Vanitas Still Life with Clock and Skull on a Shelf on a Wall, Next to it Painting Utensils. Technique: Oil on canvas. Mounting: Relined. Measurement: 143 x 99cm. Notation: Signed faintly bottom left on the note: F. Gijsbregt. Frame/Pedestal: Framed. Exhibitions:"Mémoires du futur. La collection Olbricht". La Maison Rouge, Paris, 2011/2012;"Lebenslust & Totentanz", Kunsthalle Krems, 2010.Provenance:Collection Jacques Heinrich Bassenge Sr., Dresden 1812-1840;Inherited by Jacques Heinrich Bassenge Jr., Dresden 1840-1893;Inherited by Friedrike Bassenge, Dresden 1893-1901;Inherited by Johanna Held, Dresden 1901-1923;Auction Sotheby's, Amsterdam, 07.05.2008, Lot 37;Rafael Valls, London 2009;Collection Prof. Dr. Thomas Olbricht, Essen, acquired 2010.The present painting is documented in the database of the RKD, The Hague, under the ill. no. 205299.Franciscus Gysbrechts was probably the son of the painter Cornelis Norbertus Gysbrechts. It is certain that he was baptised in Antwerp in 1649 and that he studied under the older artist of the same name, worked closely with him and probably also accompanied him on journeys to the Danish court. Both Gysbrechts were famous for their extremely refined trompe l'oeil paintings.The present painting, signed by Franciscus Gysbrechts, shakes the viewer's secure point of view in many ways. On the first level, it depicts a wooden wall in the studio: A shelf attached to a wooden wall with painting utensils lying on it leads the viewer into the artist's working space. The semicircular upper end of the painting with the painted blue curtain was added later. On the shelf is a Vanitas still life lavishly staffed with a wide variety of elements, which in turn has trompe-l'oeil qualities: the objects in a stone niche are painted so vividly that they seem to project not only into the pictorial space of the (painted) studio, but also into that of the real viewer. Similar colours and similar materials in the different picture levels intertwine them in a sophisticated way. A play on being and appearance. This in turn leads to the level of content of the picture painted in the painting. Multiple objects demonstrate that the world of the senses and earthly wealth is fleeting and vain. Time, transience and death are to be brought to the viewer's mind, whereby the crown of corn stalks worn by the skull points to the Eucharist and the eternal life that is actually to be striven for.With the "total painting", Franciscus Gysbrechts thus also questions the ephemeral art of painting itself with all its sophistication, and challenges the viewer to permanently question his real and spiritual standpoints.Explanations to the Catalogue
PSEUDO-ROESTRATENtätig um 1700Titel: Vanitas-Stillleben mit Globus, Laute, einer Korbflasche, Büchern und einem Manuskript. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 107 x 89cm. Rahmen/Sockel: Rahmen. Ausstellungen: "Go for it! Olbricht Collection (a sequel)". Bremen, Weserburg Museum für moderne Kunst, 10.05.2008 - 17.01.2010. Provenienz:Auktion Christie's, London, 07.12.1996, Lot 144;Sammlung Prof. Dr. Thomas Olbricht, Essen, erworben 2008.Erläuterungen zum KatalogPseudo-Roestraten Niederlande Niederländische Schule 17./18. Jh. Originale Vanitas-Stillleben Gemälde Musikinstrument PSEUDO-ROESTRATENactive around 1700Title: Vanitas Still Life with Globe, Lute, a Wicker Bottle, Books and a Manuscript. Technique: Oil on Canvas. Mounting: Relined. Measurement: 107 x 89cm. Frame/Pedestal: Framed. Exhibitions: "Go for it! Olbricht Collection (a sequel)". Bremen, Weserburg Museum für moderne Kunst, 10.05.2008 - 17.01.2010. Provenance:Auction Christie's, London, 07.12.1996, lot 144;Collection Prof. Dr. Thomas Olbricht, Essen, acquired 2008.Explanations to the Catalogue
FRANZÖSISCHE SCHULE18. Jh.Titel: Vanitas-Stillleben. Neben einem Blumenstrauß ein Totenschädel auf einem Buch. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 38 x 46cm. Rahmen/Sockel: Rahmen. Rückseitig:Auf dem Keilrahmen verschiedene Etiketten.Ausstellung:"Lebenslust & Totentanz". Ausst. Kunsthalle Krems, 18.07. - 07.11.2010.Provenienz:Privatsammlung Frankreich;Sammlung Prof. Dr. Thomas Olbricht, Essen, seit 2005.Erläuterungen zum KatalogFranzösische Schule Frankreich Originale Stillleben Gemälde Vanitas FRENCH SCHOOL18th C.Title: Vanitas Still Life. Next to a flower bouquet a skull on top of a book. Technique: Oil on canvas. Mounting: Relined. Measurement: 38 x 46cm. Frame/Pedestal: Framed. Verso:On the stretcher various labels.Exhibitions:"Lebenslust & Totentanz". Exhibition Kunsthalle Krems, 18.07. - 07.11.2010.Provenance:Private collection, France;Collection Prof. Dr. Thomas Olbricht, Essen, since 2005.Explanations to the Catalogue
EXQUISITE TABATIERE MIT WIDMUNG WILHELM I. HERZOG VON NASSAU. Hanau. Datierung: Auf dem Innenrand datiert 1835. Meister/Entwerfer: Charles Collins & Söhne. Technik: Gold 'de trois couleurs', farbiges Email. Altschliffdiamanten. Beschreibung: Rechteckige, scharnierte Grundform. Auf der Oberseite feine, ovale Emailplakette mit Blumen- und Früchtestillleben in reliefiertem Rahmen mit Emailband in Lapisblau. In den Ecken je dreiblättrige Blüten mit Altschliffdiamanten in Silberfassung auf Fond sablé. Entlang der Deckelkante umlaufend fein ziselierte Reliefbordüre mit Akanthusblättern, die Ecken durch florale Dekorelemente in farbigem Email akzentuiert. Die Seiten und der Boden mit feiner Guillochierung. An den Seitenkanten Blumenvasen im Relief, korrespondierend zu dem Motiv der Emailplakette. Entlang des inneren Deckelrands Widmungsgravur inklusive Datierung: "Andenken von Seiner Durchlaucht dem Herzog von Nassau am 8. September 1835". Maße: 2x9x6cm. Marke: Innen auf Boden MZ Charles Collins & Söhne, tlw. verschlagen. Emailplakette signiert: B. px. Provenienz:Privatsammlung Rheinland. Erläuterungen zum KatalogHanau Deutschland Silber 19. Jahrhundert Tabatiere Charles Collins & Söhne EXQUISITE GOLD AND ENAMEL SNUFFBOX SET WITH OLD-CUT DIAMONDS AND WITH DEDICATION TO WILLIAM I DUKE OF NASSAU. Hanau. Date: On the inner rim of the lid dated 1835. Maker/Designer: Charles Collins & Sons. Technique: Gold 'de trois couleurs', coloured enamel. Old-cut diamonds. Description: Rectangular shape with hinged lid. On the topside, a fine oval enamel plaque with a still life of flowers and fruit inside a relief frame with enamel trim in lapis blue. In each corner a blossom with three petals decorated with old-cut diamonds in silver settings on sablé fond. Along the lid's rim finely chiseled relief trim decorated with acanthus leafs, the corners accentuated with floral decorative elements in coloured enamel. The sides and the bottom with fine guilloche. Sides decorated with reliefs of flower vases, corresponding to the motif on the enamel plaque. Along the inner rim of the lid engraved dedication with date: "Andenken von Seiner Durchlaucht dem Herzog von Nassau am 8. September 1835" ("In memory of His Serene Highness the Duke of Nassau on the 8th of September 1835"). Measurement: 2x9x6cm. Mark: Inside on the bottom maker's mark Charles Collins & Sons, partly indistinct. Enamel plaque signed: B. px. Provenance:Private collection Rhineland. Explanations to the Catalogue
Edith Alice Andrews (1873-1958), four small still life watercolours of flowers, comprising two seasonal arrangements of holly and Christmas roses, one of pansies in a vase and another entitled 'The Ancestor', with chrysanthemum in a jug and a taperstick on a table, a miniature portrait in the background, signed, on board, unframed, 29 x 20cm (largest)
Annie Louise Pressland (1862-1933), a group of four small still life floral and garden watercolours, on board and paper, comprising 'Hyacinths', 'Azaleas', 'Rock Garden' and 'Old Mill Gardens with Madame Butterfly Roses and Begonias', variously signed and/or inscribed verso, unframed, each approx 28 x 18cm
Edith Alice Andrews (1873-1958), 'In the Rock Garden' and three still life watercolours of flowers on paper and board, comprising, 'Early Autumn', 'From a Summer Border' and another with anemones and catkins in a vase on a table, a mirror in the background, signed, three inscribed verso, unframed (4) 44 x 32cm (largest)
Savile Lumley (20th century), still life of a model ship and another watercolour of huntsmen and hounds and two other hunting scenes, one by Edward W. Holland, huntsmen and hounds passing a cottage, signed and dated 1950 verso, the other of a hunt emerging from woods by A. B. White, all on board and unframed (4), 20 x 16.5cm to 36 x 27.5cm
Clare Arbuthnott (b.1974) Chrysanthemum Still Life Signed with initials CA (lower right) Gouache, acrylic and ink 56.5 x 74cm (including frame). Horatio's Garden will receive 50% of the hammer price. Clare Arbuthnott is a Scottish painter who exhibits throughout the UK and whose work is collected internationally. She was bought up in the countryside but Edinburgh is now where she calls home. Her work whether landscape or floral still life is filled with rich colour and lively brushstrokes. Both subjects are approached with vigor and joyful enthusiasm. Clare is delighted to be taking part in the Art Auction to raise awareness and funds for Horatio's Garden.
John Illsley (b.1949) Still Life with Two Oranges Signed verso Oil on canvas 60 x 60cm Horatio's Garden will receive 100% of the hammer price on this lot. Since Dire Straits stopped working together in 1993, John has pursued his other passion of painting. What followed were six solo exhibitions in London, and solo exhibitions in New York, Sydney, Dublin and France, over the last 25 years. "Painting is a kind of dance between reality and unreality, figuration and abstraction, where all this ambiguity leads us, I have no idea only that it challenges painters to produce something that not only means something to himself but hopefully to someone else". "I know from personal experience about the trauma and life changing effect that spinal injuries can cause when 15 years ago the son of one of my oldest friends was left paralysed from the neck down after a bicycle accident. Horatio's Gardens enable patients with spinal injuries to get out in the open air in a beautiful environment either alone or with their friends and families which must be both uplifting and transformative. I am very happy to be able to help in some way with a painting for the upcoming Art auction."
Madeleine Braithwaite-Exley (Contemporary) Soft Light, Scottish West Coast Signed MBE (lower right) Oil on canvas board 43 x 53cm (including frame). Horatio's Garden will receive 50% of the hammer price. Madeleine was born and brought up in Scotland. A keen artist from an early age, she is self taught, working in oils and acrylics, she favours still life and landscapes. Spending family holidays on the white sandy beaches of the Scottish West Coast or fishing the highland rivers, she has long memories of the strong colours on the mountains, in the seas and of dramatic skies. She gets her inspiration from the shores of the Hebrides, through the winding highland Glens and the rich farmland of Perthshire, where she now lives. Her work will usually have an abundance of colour, a variety of moody skies or a scattering of lobster & lemons! As the seasons change so do the inspiring opportunities.
Wilhelm von Gloeden (1856-1931), collodion photos depicting three young men in the garden with olive trees. Numbered 1096. It has no signature, but published on page 10 of the book Love and Art Wilhelm von Gloeden, and. Avvenire 2000 Messina, Malambri author. Cm 11,8x16,5"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed erotic intent and explicit, while remaining faithful to a composition-oriented classical and mythological construction. "
Wilhelm von Gloeden (1856-1931), albumin photos depicting nude guy. Published on page 14 of the book Love and Art Wilhelm von Gloeden, and. Avvenire 2000 Messina, Malambri author. Cm 11,4x15,8"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological "
Wilhelm von Gloeden (1856-1931), depicting nude photos of two boys. Numbered on the back 1117. Cm 20,9x15. Photo Late Original slab of Von Gloeden"Wilhelm Von Gloeden was a German-born photographer who spent much of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), depicting nude pictures of guy. Numbered on the back 695. Cm 23,3x17. Photo Late Original slab of Von Gloeden "Wilhelm Von Gloeden was a German-born photographer who spent much of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always. He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her. His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity. In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities. By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War. Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting Capo Taormina with character. Double stamp on the back and numbered 210. Cm 17x22"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), vintage photo print on salted paper depicting "Bimba Gloeden with jar in the backyard", c 1900. Numbered "212" and hallmarked on the back. Cm 39x29,5. Slight foxing stains in verse"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photo depicting a bust of young Taormina. hallmarked on the back and named as Pancrazio Dall'Ura. Cm 17x22"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting couple of kids in costume Sicilian villa. hallmarked on the back. Cm 17x22"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting child crouching with dog. Numbered 1258 and hallmarked on the back. Published on page 15 of the book Love and Art Wilhelm von Gloeden, and. Avvenire 2000 Messina, Malambri author. Cm 11,5x16"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting the young Sicilian face. Numbered 1015 and hallmarked on the back. Cm 11x16"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting young Sicilian boy who plays the flute. Numbered in pencil on the back 434B and hallmarked. Cm 12x16"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), photos depicting young man with flute in the villa. Numbered 168 and hallmarked on the back. Cm 10,5x15"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting young Sicilian with palm tree. Numbered in pencil on the back and hallmarked 404. Cm 12x16"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
Wilhelm von Gloeden (1856-1931), albumin photos depicting the Sicilian girl first floor. Numbered and hallmarked on the back three. Cm 11x16"Wilhelm Von Gloeden was a German-born photographer who spent most of his life in Sicily, specifically in Taormina, a city that he chose as a second home. It was the youth health issues to take in the peninsula. Specifically, the choice of Taormina is linked dreamy ideal of Sicily that the photographer releases in his pictures through the choice of models dressed as always.He began his career as a hobby, but soon his pictures became famous thanks to the publication in London in 1893 of a snap her.His work is now recognized internationally and is mainly related to nude photos featuring young subjects and clothes that go back to classical antiquity.In fact its production is far more extensive and characterized by a wide range of photos devoted to news reports, such as those dedicated to the earthquake that destroyed Messina in 1908, the Taorminese landscape and its ancient ruins, but also to local people, such as farmers, in traditional robes. It was these photos, often used as postcards, to increase the myth of the city and its tourism. The Taormina Von Gloeden is indeed the late nineteenth century a fascinating and mysterious city that attracts intellectuals and artists from all over Europe, but really poor and economically still underdeveloped. It was precisely the reason that often drove young taorminesi to agree to pose nude for the goal of Von Gloeden, who because of his erotic vein initially was not well received by the local population and the ecclesiastical authorities.By the time the photographer was accepted by the local community and continued its production made based on photos of young taorminesi portraits such deities with ornaments classic taste. This production lasted roughly until the First World War.Today it is widely recognized internationally not only for the issues addressed above all for its technical quality. His photos are in fact cleverly balanced and studied with al'uso lighting and the installation of the subjects. In addition to its innovation lies in the experimentation in the field of photographic filters and precautions taken in respect of its models. Just think of a lotion that was often used to clear skin blemishes of his photographic subjects. Interesting to see that despite the criticisms against him, his photography has never resulted in really pushed and explicit erotic intent, always remaining true to a composition-oriented classical construction and mythological. " ASORstudio
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