Description

Oberstdorf.

Wilde Mändles Tanz 28.2.1928. Honorary disc G.T.V. Oberstdorf won by M.Köpl. Oil on round wooden disc. Dm. 52 cm. The disk of the Gebirgs- und Heimatschutzverein e.V. Oberstdorf shows two wild men in front of conifers. - Paint chipping in places. D

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Oberstdorf.

Estimate 200 - 300 EUR
Starting price 200 EUR

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For sale on Thursday 04 Jul : 10:00 (CEST)
pforzheim, Germany
Kiefer
+49723192320
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Italian school of the second half of the 17th century. "The Preaching of Jean-Baptiste". Oil on canvas. Relined. Size: 90 x 63 cm; 109 x 81 cm (frame). In this work the painter narrates a biblical episode: the preaching of Saint John the Baptist in the desert. When the saint went out to preach, he chose the Palestinian desert, an uninhabited place to which crowds flocked, as the Gospel narrates: "crowds came to him from all the region of Judea, and all the inhabitants of Jerusalem, and were baptised by him, confessing their sins" (Mk. 1:5). John turned the desert (which was not a dry plain but a wild and uninhabited area) into a hive of people, who came from all over to hear his message, confess their sins and change their lives. St. John chose this enclave precisely because it was the same place where General Joshua, centuries earlier, had entered with the people of Israel to seize the Promised Land and inaugurate a new age of splendour (Jos. 4:13,19). This scene depicts St. John the Baptist preaching in the Palestinian desert. Alongside him, the inhabitants of Judea are represented as coming before him to listen to him and be baptised. John the Baptist is depicted with his staff adorned with phylactelia. The disciples and listeners exchange impressions among themselves, showing a variety of attitudes to John's words. The way in which the figures have been portrayed, with their volumetric musculature and classically inspired clothing, brings us closer to the aesthetic precepts of the Italian school. The Gospels say of John the Baptist that he was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the Judean desert to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah foretold by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin that leaves his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei". Spanish school; late 18th century.

Attributed to Elsa Niemeyer-Moxter, German, fl. early 20th century- Dance of the Seven Veils; oil on canvas, indistinctly signed 'Els... Mo..ter [?]' lower right, feigned tondo, 103 x104 cm. Provenance: Private Collection, UK. Note: Elsa Moxter, also known as Elsa Niemeyer-Moxter, was a designer and illustrator who is recorded in Munich during the first half of the 20th century. She is referred to in art journals of the time as a designer of cabinet figurines, or “Vitrinenpuppen”, and as an illustrator, including for Jugend, a Munich-based art magazine. Her illustrations provide witty and acutely observed glimpses into turn-of-the-century city life, and several examples are held in the collection of the Lenbachhaus, Munich. The artist’s affinity with graphic design and illustration is apparent in the present painting, with its strikingly stylised central figure and bold application of colour. Niemeyer-Moxter also appears to have been influenced by the works of other artists active in Munich at the same time, including Adolf Münzer (c.1870-1953) and Reinhold Max Eichler (1872-1947), both of whom are known to have supplied illustrations for Jugend magazine. The painting depicts the Biblical figure of Salome dancing, captured in the midst of her performance before King Herod. While it is not given a name in the Bible, Salome's dance became popularly referred to as the 'Dance of the Seven Veils' during the late 19th century in arts and literature, reputedly after Oscar Wilde first used the title in his 1893 play 'Salome'.