Null Schweser,C.H.
The cautious and faithful accounting officer who clearly show…

Description

Schweser,C.H. The cautious and faithful accounting officer who clearly shows how an official should behave in all incidents... should handle the accounting work himself with caution and set himself above all responsibility. As a supplement to the works. Nuremberg, Raspe 1769. 4°. With engraved front. Front. and 1 folded. Table. 3 p., 602 p., 5 p. Hprgt. d. Central binding with original title. GV 132, 291 - The frontispiece shows a large office with clerks at tables etc.. - Overall a good copy.

421

Schweser,C.H. The cautious and faithful accounting officer who clearly shows how an official should behave in all incidents... should handle the accounting work himself with caution and set himself above all responsibility. As a supplement to the works. Nuremberg, Raspe 1769. 4°. With engraved front. Front. and 1 folded. Table. 3 p., 602 p., 5 p. Hprgt. d. Central binding with original title. GV 132, 291 - The frontispiece shows a large office with clerks at tables etc.. - Overall a good copy.

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Estim. 350 - 525 EUR

The India List Civil and Military, Issued by Permission of the Secretary of State for India in Council, London by WM H. Allen & Co. 1877-1889 resp. Harrison and Sons 1898-1914, 28 volumes, volumes 1877 to 1883 complete, also volumes 1888 to 1904 and 1905 to 1808 as well as volume 1914, plus three issues The Colonial Office List, volumes 1882, 1892 and 1894 as well as The Foreign Office List and Diplomatic and Consular Hand Book 1902, ownership stamp The Society of Writers to His Majesty's Signet resp. of the Signet Library of Edinburgh, all format 8°, all in original gilt-stamped full cloth bindings, each with several full-page colour maps and folding maps, bindings with clear signs of age and wear, inside mostly barely worn. Info: The India Office List contains the names and positions of all high officials and officers of the India Office, the Indian Government, the Indian Army and the British Army in India, for the corresponding years of service.

Estim. 600 - 900 EUR

Franz Emil Krause, Shipwreck on the Coast Morning scene on a rocky coast with a stranded sailing ship and fishermen in the light of dawn, salvaging the still usable belongings of the stranded, only on closer inspection of the painting, which is contemplative despite all its drama, does the ambiguity and subtle philosophy of the composition become clear, for example the name "Fortuna" is inconspicuously emblazoned on the hull of the stranded ship, This Latin term can be translated as "luck" but also "fate", so the painting also represents an allegory of the human condition, in which fate determines our path, luck and misfortune sometimes lie close together and, despite everything, luck does not completely perish and life progresses with energy in the face of the rising sun, impasto impressionist genre painting in restrained colours and interesting light, oil on canvas, around 1890, signed lower right "Fr. Krause", newer label "Franz Krause 1836-1900, Niederschönhausen bei Berlin" verso on stretcher, craquelure, somewhat restored, framed with brass frame label "Franz Emil Kraus *1936 † 1900", folded dimensions approx. 47.5 x 74 cm. Artist information: also Francis or Frances Krause, German landscape and marine painter (ca. 1836 Berlin-Niederschönhausen to 1900 Conway/Wales), exhibited at the Berlin Academy exhibitions in the 1870s, later moved to Birkdale/Southport in Lancashire/England and later probably to Conway/Wales, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Boetticher, Müller-Singer, "The Dictionary of British Artists 1880-1940" and Internet.

Estim. 2 800 - 4 200 EUR

Astrid Lowack, "Falling Asleep" abstract photographic composition, this motif is paradigmatic for Lowack's works; on the one hand, the play of light on the moving water reveals her understanding of art, which is based on Impressionism, as well as her willingness to use colourful irritation and alienation, the moving water as the dominant transcendent pictorial element opens up a sensory world between the conscious and the unconscious in the transition to the dream world ("Falling Asleep"), with the eye looking out of the surface of the water in the left half of the picture, in which the viewer can see himself reflected, something charmingly indeterminate opens up, as it were; the eye could be a person drowning in nightmares or symbolise the slipping into the human imagination and dream world; in any case, the pictorial elements together create an autosuggestive, captivating fascination typical of Lowack, almost like a whirlpool, which the observer cannot escape, as the German art historian Klaus Honnef commented on Lowack's style: "The longer one looks at Astrid Lowack's paintings, and above all, the more intensely, the more clearly contours of patterns and formations seem to emerge, [....] as if a world is revealed in the diverse colour formations that is still emerging", quoted from the exhibition catalogue "The Elements of Transcendence" from 2019, enclosed, photo print on canvas, monogrammed in ligature on the reverse of the stretcher frame and titled "FALLING ASLEEP" in a typical manner for the artist, dated "2019" and numbered "1/6" with regard to the edition of the limited print, folded dimensions approx. 97 x 97 cm. Artist info: German photo artist (1969 Bamberg), since 1991 self-employed in the field of marketing and advertising, since 1997 freelance designer, since 2011 working as a photo artist, her increasingly internationally recognised photo compositions have been exhibited throughout Germany in recent years, including in Berlin, Karlsruhe, Brühl and Cologne, she lives and works near Amsterdam, source: Internet.

Estim. 3 000 - 3 500 EUR

JOSÉ MONTENEGRO CAPELL (Cádiz, 1865 - Jerez de la Frontera, Cádiz, 1929). "Patio de Comares, Alhambra. Oil on panel. It has granadino frame. Signed and located in the lower right corner. Measurements: 21.5 x 14 cm; 34 x 26.5 cm (frame). The orientalism was born in the XIX century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Along with the change of vision comes a technical and formal change; since it is no longer a question of recreating an imagined world in all its details, the brushstroke acquires impressionist fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations. José Montenegro was born in Cádiz, and his training, his contacts with other artists and the exact year he arrived in Jerez remain a mystery. His life is surrounded by a halo of legend, and in fact the people have invented a thousand stories around his figure, considering him a new Velázquez. He focused his production on the Andalusian costumbrista landscape, with special attention to the Hispano-Muslim architectures, taking his models mainly from Cadiz, Jerez and Seville. His style shows a certain influence of the so-called School of Rome, although with a marked regionalist accent. Montenegro arrived in Jerez attracted by the work possibilities that were open to him in a prosperous place full of bourgeoisie enriched by the wine trade. However, he would soon become a true exponent of local bohemia at the beginning of the 20th century. Eternally drunk and dressed in black, he sold paintings at very low prices in order to buy alcohol and some food. He finally died in the Santa Isabel Hospital in Cadiz in 1929, due to a liver problem. Montenegro is currently represented in numerous private collections, mainly in Jerez de la Frontera, where he is still highly appreciated today.

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