Null Anonymous portrait painter of the Biedermeier period 1st half of the 19th c…

Description

Anonymous portrait painter of the Biedermeier period 1st half of the 19th century, small portrait of a young man with sideburns, oil on wood, unsigned, 18.5 x 14 cm, framed 24 x 20 cm, accompanied by a Baroque portrait of a man, lithograph on cardboard, finely overpainted in oil, unsigned, framed 24 x 21.5 cm

7556

Anonymous portrait painter of the Biedermeier period 1st half of the 19th century, small portrait of a young man with sideburns, oil on wood, unsigned, 18.5 x 14 cm, framed 24 x 20 cm, accompanied by a Baroque portrait of a man, lithograph on cardboard, finely overpainted in oil, unsigned, framed 24 x 21.5 cm

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Starting price 400 EUR

Bisson, EduardFeengestalt. Ca. 1900. crystoleum on convex glass plate. 27 x 18 cm. Signed. Framed in period frame. Bisson, Eduard Fairy figure. Ca. 1900. Crystoleum on convex glass plate. 27 x 18 cm. Signed. Framed in the frame of the period. In the crystoleum technique, an albumen print is glued to the inside of a convex glass plate. In the next step, the paper backing of the print is rubbed off, leaving only the transparent emulsion behind. The work was then colored on the reverse by hand in oil paint. Crysstoleen were very popular between the 1880s and 1910s. - Edouard Bisson was a French painter of the fin de siècle. He is best known for his ethereal depictions of women, in which he concentrated on the exaggeration of a stylized form of female beauty and which are stylistically reminiscent of the Pre-Raphaelites. Bisson exhibited several times at the Paris Salon and won the bronze medal at the 1900 World Exhibition. - The glass with a few superficial scratches in places. Good overall. Crystoleum on convex glass plate. Signed. Framed in a frame of the time. - In the Crystoleum technique, an albumen print is glued to the inside of a convex glass plate. In the following step, the paper backing of the print is rubbed off so that only the transparent emulsion remains. The work was then colored on the reverse side by hand in oil paints. - Edouard Bisson was a French painter of the Fin de Siècle. He is best known for his ethereal depictions of women, in which he concentrated on the exaggeration of a stylized form of female beauty and which are strongly reminiscent of the Pre-Raphaelites in terms of stillness. - On the glass with few and superficial scratches in spots. Overall well preserved.

Starting price 400 EUR

Punzo, CiroThe Gulf of Naples. Circa 1900. Oil on wood panel. 18.5 x 31.8 cm. Signed. Verso inscribed several times by an unknown hand. Framed in an opulent, gold-colored stucco frame. - Slight paint abrasion along the edges as a trace of the framing. Occasional small, superficial brown stains. Paint layer somewhat darkened. Good overall. Italy Punzo, Ciro The Gulf of Naples. Circa 1900. Oil on wood panel. 18.5 x 31.8 cm. Signed. Verso inscribed several times by an unknown hand. Framed in an opulent, gold-colored stucco frame. - Slight paint abrasion along the edges as a trace of the framing. Occasional small, superficial brown stains. Paint layer somewhat darkened. Good overall. Italian painter of the turn of the century, who paid artistic homage to his home city of Naples with several views of the city. Oil on wooden panel. Signed. On the verso inscribed several times by an unknown hand. Framed in an opulent, golden stucco frame. - Slight color abrasion along the edges as a trace of the framing. Sporadically with small, superficial brown stains. Paint layer slightly darkened. Overall good. - Italian painter from the turn of the century who paid artistic homage to his home city of Naples with unnumerous views of it.

Current bid 200 EUR

Zuelzer, GertrudPortrait of a young man. 1954. Pastel on laid paper, heightened with white in spots. 45 x 35.5 cm. Signed and dated. Laminated to support over the entire surface and framed under glass. - Slightly irregularly trimmed along the edges. Upper right corner with short marginal tear. Partial light brownish stains. Good overall. Classical art Zuelzer, Gertrud Portrait of a young man. 1954. Pastel on laid paper, heightened with white in places. 45 x 35.5 cm. Signed and dated. Laminated to support over the entire surface and framed under glass. - Slightly irregularly trimmed along the edges. Upper right corner with short marginal tear. Partial light brownish stains. Good overall. The German painter Gertrud Zuelzer was decisively influenced in her life and artistic career by the major events of the First and Second World Wars. She received her training in Paris in the 1890s under Franz Lippisch, Gustave Courtois, Lucien Simon and Charles Cottet. The work of Paul Cézanne was also a decisive influence. Back in Berlin, she received further lessons from the history painter and representative of the Düsseldorf school of painting Arthur Kampf. After graduating, she worked independently as a portrait and landscape painter in the capital and took part in the Great Berlin Art Exhibition, among others. During the First World War, Zuelzer was a nurse on the Western Front. After the Nazi seizure of power, Zuelzer decided to emigrate to Switzerland in 1942, but was arrested at the border and taken to the Theresienstadt concentration camp. She only survived internment thanks to parcels of food and painting utensils from her sister. After being liberated by the Red Army, she returned to Berlin in poor health. Painting and drawing helped her to recover and she spent the rest of her life in West Berlin actively engaged in art. Portraits run like a thread through her oeuvre, mostly in the form of bust portraits and focusing exclusively on the sitter. The subject of our portrait is Hermann von Seefeld. Pastel on laid paper, highlightet in white. Signed and dated. Fully mounted to underlying mat and framed under glass. - Slightly irregularly cut along the edges. Upper right corner with short marginal tear. Partial light brownish stains. Good overall. - The German painter Gertrud Zuelzer was decisively influenced in regards to her life and artistic career by the major events of the First and Second World War. She received her training in Paris in the 1890s under Franz Lippisch, Gustave Courtois, Lucien Simon and Charles Cottet. Decisive impulses also came from the work of Paul Cézanne. Back in Berlin, she took further lessons from the history painter and representative of the Düsseldorf school of painting Arthur Kampf. After graduating, she worked independently as a portrait and landscape painter and took part i.e. in the Great Berlin Art Exhibition. During the First World War, Zuelzer was a nurse on the Western Front. After the Nazi seizure of power, Zuelzer decided to emigrate to Switzerland in 194 but was arrested at the border and taken to the concentration camp Theresienstadt. She only survived her internment thanks to parcels of food and painting utensils sent by her sister. After being liberated by the Red Army, she returned to Berlin with health issues. Painting and drawing helped her to recover and she spent the rest of her life in West Berlin actively engaged in art. Portraits are a favored motif in her oeuvre, mostly held as breast pieces and focussing exclusively on the sitter. Depicted in our portrait is Hermann von Seefeld.

Starting price 400 EUR

Portrait of Maria Leszczynska, Queen of France (miniature painting). Gouache on leg. 14 x 10 cm. Monogrammed. Framed under glass in decorative frame of bone. - Edges slightly irregularly trimmed due to the work. Occasional slight surface rubbing and barely noticeable, slight traces of scratching. The areas heightened in white applied retrospectively. Overall very good and in rich, fresh colors. Miniature portrait of the Queen of France in fine painterly quality. Miniatures - France Portrait of Maria Leszczynska, Queen of France (miniature painting). Gouache on leg. 14 x 10 cm. Monogrammed. Framed under glass in decorative frame of bone. - Edges slightly irregularly trimmed due to the work. Occasional slight surface rubbing and barely noticeable, slight traces of scratching. The areas heightened in white applied retrospectively. Overall very good and in rich, fresh colors. Miniature portrait in fine painterly quality of the Queen of France. Our work shows Maria Leszczynska (1703-1768) in a full-length portrait, seated in a magnificent dress. The interior surrounding her is also luxurious in the furnishings, fabrics and carpeting and serves to represent her status as the wife of the French King Louis XV (1710-1774). The sumptuous crown and a book in a leather cover, both draped on the table in the left-hand section of the depiction, are interesting and significant. The meaning behind the crown refers to Leszczynska's rank at the side of one of the most powerful monarchs in Europe, while the book can be interpreted as a symbol of her witty erudition. In her left hand, the queen holds a fan, which is closed but still shows its rich ornamentation. The overall effect of the portrait must have been one of representation and a demonstration of power, with the aim of managing the queen's public image. Leszczynska came from the Polish royal family and was regarded as an ideal marriage candidate for the Duke of Bourbon, a contender for the French royal throne. The marriage was characterized by mutual respect, but not love, and produced 10 children. In keeping with the genre of miniature painting, our portrait is on bone. Gouache was used for the paint, particularly in France, in delicate washes that were applied in layers to achieve their opaque luminosity. Gouache on bone. Monogrammed. Framed under glass in a decorative bone frame. - Edges slightly irregularly cut due to maerial character. Occasional slight surface rubbing and barely noticeable, light scratch marks. The white heightened areas were applied subsequently. Overall very good and with rich, fresh colors. Miniature portrait in fine painterly quality of the Queen of France. - Our work shows Maria Leszczynska (1703-1768) in full-length portrait, seated in a splendid dress. The interior that surrounds her is also luxurious in the furnishings, fabrics and carpet and serves to represent her status as the wife of the French King Louis XV (1710-1774). The sumptuous crown and a book in a leather cover, both draped on the table in the left-hand section of the depiction, are also interesting and significant. The meaning behind the crown refers to Leszczynska's rank at the side of one of the most powerful monarchs in Europe, while the book can be interpreted as a symbol of her witty erudition. In her left hand, the queen holds a fan, which is closed but still shows its rich ornamentation. The overall effect of the portrait must have been one of representation and a demonstration of power, with the aim of guiding the queen's public image. Leszczynska came from the Polish royal family and was regarded as an ideal marriage candidate for the Duke of Bourbon, a contender for the French royal throne. The marriage was characterized by mutual respect, but not love, and produced 10 children. In keeping with the genre of miniature painting, our portrait is on bone, which was considered an ideal painting surface. Gouache was used for the color, particularly in France, in delicate washes that were applied in layers to achieve their opaque luminosity.

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