Null Wocher, Marquard (1760-1830). Home slaughter. Drawing. Brush and India ink …

Description

Wocher, Marquard (1760-1830). Home slaughter. Drawing. Brush and India ink in sepia over pencil, heightened with white, light cardboard. 18,8:22,7cm. Acquired from the previous owner in the auction Hartung & Hartung, Mchn., Nov. 2000, No.3138 (invoice enclosed).

373

Wocher, Marquard (1760-1830). Home slaughter. Drawing. Brush and India ink in sepia over pencil, heightened with white, light cardboard. 18,8:22,7cm. Acquired from the previous owner in the auction Hartung & Hartung, Mchn., Nov. 2000, No.3138 (invoice enclosed).

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Starting price 360 EUR

Zwinger, Gustav PhilippScuola d' Athene (nach Raffael). 1801. Laviertes Aquarell in Sepia mit Umrisszeichnungen in schwarzer und grauer Feder, auf Bütten (mit WZ. "C & I Honig). 53,2 x 26,5 cm. Signiert, datiert, betitelt und bezeichnet "Gez. n. Caneig (?) v. G. P. Zwinger d. 15. Jan. 1801". Verso nochmals signiert und mit Bezeichnungen von fremder Hand in Bleistift. Punktuell unter Passepartout montiert. - Ränder leicht unregelmäßig beschnitten und verso mit Spuren ehemaliger Montierung. Oben mit einer diagonalen Knickspur und mehreren Randeinrissen (bis zu ca. 5 cm), diese teils verso hinterlegt. Vereinzelt braunfleckig. Insgesamt gut. Kraftvolle Szene, die einen Bildausschnitt aus Raffaels "Schule von Athen" in den Mittelpunkt stellt. Alte Kunst - Zeichnungen Zwinger, Gustav Philipp Scuola d' Athene (nach Raffael). 1801. Laviertes Aquarell in Sepia mit Umrisszeichnungen in schwarzer und grauer Feder, auf Bütten (mit WZ. "C & I Honig). 53,2 x 26,5 cm. Signiert, datiert, betitelt und bezeichnet "Gez. n. Caneig (?) v. G. P. Zwinger d. 15. Jan. 1801". Verso nochmals signiert und mit Bezeichnungen von fremder Hand in Bleistift. Punktuell unter Passepartout montiert. - Ränder leicht unregelmäßig beschnitten und verso mit Spuren ehemaliger Montierung. Oben mit einer diagonalen Knickspur und mehreren Randeinrissen (bis zu ca. 5 cm), diese teils verso hinterlegt. Vereinzelt braunfleckig. Insgesamt gut. Kraftvolle Szene, die einen Bildausschnitt aus Raffaels "Schule von Athen" in den Mittelpunkt stellt. Zwinger war ein Nürnberger Radierer und Maler, der Ende des 18. bis Anfang des 19. Jhds. wirkte. Seine Ausbildung erhielt er zunächst bei seinem Vater, dem Künstler Johann Eberhard Ihle (1727-1814) und sodann an der Akademie der Bildenden Künste Wien bei Heinrich Füger von 1799-1801. Im gleichen Jahr des Abschlusses entstanden, stammt unsere Arbeit aus dem Frühwerk, denkbar ist ebenso eine Entstehung noch zur Studienzeit. Hierfür kann das Motiv nach Raffael sprechen, das Zwinger wählte. Die Auseinandersetzung mit den Alten und Neuen Meistern war innerhalb des Studiums der Malerei meist obligatorisch, die Szene aus Raffaels Fresko kann neben einer Übung eine Hommage an den italienischen Meister oder an die großen antiken Philosophen sein. Die Männer, die Zwinger für seine Szene aus Raffaels Fresko wählte, konnten nach aktuellem Forschungsstand bisher keinem Philosophen eindeutig zugeordnet werden. Watercolour, with lavage, in sepia with outline drawings in black and grey feather, on laid paper (with watermark "C & I Honig"). Signed, dated, titled and inscribed. On the verso signed again and inscribed by another hand in pencil. Spot-mounted to mat. - Margins slightly irregularly cut and on the verso with traces of former mounting. With a diagonal crease at the top and several marginal tears (up to approx. 5 cm), some closed on the verso. Occasional brown stains. Good overall. Powerful scene focussing on a detail from Raphael's "School of Athens".

Estim. 200 - 300 EUR

Album of drawings. Attractive collection of 27 drawings in graphite, wash, sepia, watercolor: landscapes, city views, historical or literary scenes, caricatures, etc. some dated (between 1821 and 1905) and/or signed (Arm. Cassagne, E. Marguery, Charlotte Napoléon, O.Le Picard, Arm. Hugonet). sl, 19th c. In-4 purplish chagrin, smooth spine decorated with double gilt fillets and fleurons, gilt and cold framing fillets and gilt rocaille irons on covers, gilt edges (period binding). Ex-libris JM.

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Apple Computer: 1984 Annual Report Archive with Production Notes and Documents, including Signed Waivers from Jim Henson, Kurt Vonnegut, and Stephen Sondheim Unique and historically significant archive that provides a comprehensive look behind the scenes of one of Apple Inc.'s most iconic projects: the 1984 Annual Report. This collection, originating from the personal archive of Dennis Gobets, Apple's Production Manager from 1982 to 1997, offers unparalleled insight into the meticulous planning, coordination, and execution of this landmark publication. This extensive archive contains printed meeting notes, budget and mailing information, preliminary design sketches, and, most importantly, a group of six releases signed by well-known Macintosh users Jim Henson, Stephen Sondheim, Kurt Vonnegut, Ted Turner (2), Maya Lin, and Dianne Feinstein, who granted Apple permission to use their photographs and stories in the report. The Sondheim and Turner releases include TLSs from the respective figure, the Lin includes an ALS, and each release includes the original form letter that was sent to the participant. In overall fine condition. The 1984 Annual Report is renowned not only for its detailed financial and operational review of a pivotal year in Apple's history but also for its innovative design and influential content. This year marked the release of the original Macintosh, a revolutionary product that redefined personal computing. The report is a testament to Apple's commitment to excellence and innovation, overseen by Dennis Gobets, whose role was crucial in bringing this project to fruition. This comprehensive archive not only documents the production of the 1984 Apple Annual Report but also encapsulates a significant moment in the history of technology and design. A unique opportunity to own a piece of history that highlights the intersection of technology, creativity, and strategic communication. A sampling of quotes pulled from the archive: - "Meeting Scheduled for Aug. 6 with Sculley/Jobs to get buy off on concepts. Next steps are full sized prototypes." - "Presentation of concept to Jobs/Sculley 7/20. Begin contact of participants, distribution of Macs and orientation immediately after." - "We will make it really easy and simple to the participants. We need to induct them with Apple values and get them very excited about Macintosh." - "East Coast trip week of 9/3/84 - Rockefeller, Pei, Vonnegut, Letterman?" - "1984, a banner year for Apple. This is the year we turned the wave around and laid building blocks/the foundation for the future for the company. We’ve taken big risk and we’ve pulled through; we’ve proven we can succeed." - "We must illustrate the importance and significance of our products through the 'portfolio' concept, and not end up with a variety of cute drawings generated on Macintosh." - "We must focus upon the people of Apple who were responsible for our success, and not just focus upon the executive staff." - "The first section would focus upon the people who have been so instrumental in the successes mentioned above. We would execute this photographically." - "The second section would be a 'portfolio' containing the work of a cross-section of 10 to 15 famous as well as not famous people. These people either are currently using our products, or would be given new products to use."

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HENRI GÖETZ (United States, 1909 - France, 1989). "Composition", 1978. Mixed media on paper. Signed and dated in the lower left corner. Measurements: 28 x 37 cm; 30 x 39 cm (frame). French-American painter and engraver, Henri Goetz is as well known for his work as for his invention of the carborundum engraving process, a procedure that uses carbon silicide as an abrasive. Born in New York, he began to draw as a child, feeling frustrated by the clumsiness of his drawings. He later began his training at the Grand Central School of Art in New York, and after finishing his studies there, in 1930 he went to Paris to broaden his knowledge. In the French capital he attended courses at the Colarossi, Julian and Grande Chaumière Academies, where he met his wife, the Dutch painter Christine Boumeester, born in Java. During these years Goetz already developed a personal surrealist style, which influenced his wife's work. In 1934, thanks to his friend Victor Bauer, an Austrian artist, Goetz held his first solo exhibition in London. It was also at this time that he met Hans Hartung, who introduced him to his circle of friends. Through him he comes into contact with Fernand Léger and Wassily Kandinsky. In 1937 he had his first exhibition in Paris, at the Bonaparte Gallery. After the outbreak of the Second World War, Goetz and his wife will collaborate with the French Resistance printing pamphlets and posters, although their main occupation will be to create identity cards. In 1939 Goetz, Christian Dotremont and Raoul Ubac created "La Main à Plume", the first surrealist publication under the occupation. After the war, Goetz devoted himself to visiting the studio of a different artist every week, and thus met Picasso, Brancusi, Julio Gonzalez, Picabia and Max Ernst. In 1947 he became the protagonist of Alain Resnais' short film "Portrait de Henri Goetz", made for the Musée National d'Art Moderne. Two years later, he began teaching, first independently and then at the Académie Ranson. Later he will also teach at the Grande Chaumière, and finally he will found his own academy, although he never charged for his lessons. In the meantime, he continued to exhibit his work in prominent European galleries. In 1968 he accepted a teaching position at the Ecole des Beaux-Arts in Paris, but when the school closed due to student strikes two weeks later he moved to the University Paris 8. That same year his wife became ill, and three years later she died. After her death Goetz came across her diaries, which he published in a book with a foreword by himself. After being hospitalized for illness, the artist committed suicide by jumping from a window on the fifth floor of the hospital in Nice in 1989. He is currently represented at the Goetz-Boumeester Museum in Villefranche-sur-Mer, on the French Riviera, as well as at the Centre Georges Pompidou in Paris, the Miró Foundation in Barcelona, the San Francisco Museum of Art, the French State Museum, the Budapest Museum, the National Museum of Modern Art in Brussels and many others around the world.

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