Null A. MESS (active in the 20th century)
Ships in rough weather
Panel
Signed lo…

Description

A. MESS (active in the 20th century) Ships in rough weather Panel Signed lower right A. Mess 12.5 x 17.5 cm

248

A. MESS (active in the 20th century) Ships in rough weather Panel Signed lower right A. Mess 12.5 x 17.5 cm

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Estim. 1 600 EUR

Three-masted sailing ship, late 18th century H 57x78 cm Oil painting on canvas In dark waters shaken by the wind and partially illuminated by a faint light from the sky, the romantic marine scene shows a three-masted sailing ship on which the Australian flag flies, hit by a wave caused by a storm in progress. The light source reveals the conclusion of the difficult time the ship is undergoing, for the sea is indeed rough but the waters will quieter shortly thanks to the bright glimpse that signals the change in the weather: the rain has ceased and the blue-violet hues are about to be replaced by the brightening tones of blue. The sailing ship also points straight toward a destination already sighted, the harbor of a volcanic island with a kind of fortification perched on a hill, largely concealed by the focus of the entire composition, the sailing ship. The painting, which can be placed in the last years of the 18th century, anticipates the scenic seascapes of Ivan Konstantinovich Aivazovsky (1817-1900). ASORstudio

Starting price 1000 EUR

Friedrich Hohe (1802 Bayreuth - 1870 Munich) after Heinrich Maria von Hess (1798 - 1863 ): St Boniface bids farewell to his monastery in England, 1843, Lithography Technique: Lithography on Paper Stamp: At the bottom Blank stamp, Kunstverein in München. Inscription: At the lower part signed in the printing plate: "Auf Stein gez. v. Fr. Hohe / Gedr. v. J. B. Kuhn". At the lower part inscribed in the printing plate: "Abschied des Heiligen Bonifacius von seinem Kloster in England. / Der Kunstverein in München seinen Mitgliedern für das Jahr MDCCCXLIII. | Zweites Bild aus dem Cyklus der das Leben des heil. Bonifacius darstellenden Wandgemälde in der Basilica zu München.". Date: 1843 Description: When King Ludwig I of Bavaria expanded his residential city of Munich at the beginning of the 19th century, the art-loving ruler had to consider not only the aesthetic design of the sprawling city but also religious needs, which even corresponded to the current zeitgeist in the idea of combining art and religion, characterised by Nazarene art. From 1828, the construction of the Benedictine Abbey of St Boniface was planned in Maxvorstadt. The monastery church was also to take on the function of a parish church for the newly developed and increasingly populated district. The form of a basilica had already been specified in the earliest designs and the king suggested that the architects orientate themselves on the basilical churches of Rome and Ravenna, not least "[...] because of the wall decorations above the columns." (Letter dated 14 May 1829, St Bonifaz Abbey Archive, Munich). The design of the interior was entrusted to Heinrich Hess, who had been a member of Ludwig's circle of visual artists even before the crown prince's coronation and had been a professor at the Munich Academy since 1826. He had already become acquainted with the Italian buildings with their figural paintings during a travelling scholarship. In Munich, he was entrusted with the painting of the new Allerheiligen-Hofkirche from the 1830s, creating a beautiful cycle of frescoes in a Byzantine-inspired style, before beginning the history cycle on St Bonfatius in the church of St Boniface in 1837. The present lithograph shows a scene from the fresco cycle, in which the young clergyman can be seen on the deck of a small ship on the south coast of England, bidding farewell to his homeland. As a Benedictine monk, he had set himself the task of spreading the word of God among the unbaptised peoples of the continent and is therefore particularly known for his intensive missionary work among the Frisians and Franks. He is probably shown here on his departure on his first missionary journey in 716, as the simple costume of the Anglo-Saxon reveals. His later journeys, during which he succeeded in missionising the Frankish kingdom and founding numerous monasteries, he did so in the position of abbot of a monastery in Nursling. In the depiction according to Hess, Boniface's humble gaze shows the young monk's willingness to sacrifice himself in his God-pleasing activities. The saint's charisma, which probably characterises a successful missionary, can be seen in the admiring glances of his fellow travellers and the departing monks. As a depiction in the clerestory of the Munich basilica as well as in this large-format lithograph, the rousing effect of the missionary unfolds, who here receives the blessing of his abbot along the way. Keywords: King Ludwig I; of Bavaria; residential city of Munich; religious needs; Nazarene art; combination of art and religion; Benedictine Abbey of St; Boniface; monastery church; basilica; Heinrich Hess; Allerheiligen-Hofkirche; history cycle; Saint Boniface; Anglo-Saxons; missionary activity; Frisians; Franconia; departure on the first missionary journey; monastic costume; abbot of a monastery in Nursling; humble look; willingness to sacrifice; fellow travellers; monastic brothers; blessing; lithograph; clerestory; Munich, 19th century, Romanticism, Religious, United Kingdom, Size: Paper: 49,0 cm x 65,7 cm (19,3 x 25,9 in), Depiction: 38,2 cm x 60,2 cm (15 x 23,7 in)

Starting price 480 EUR

Carlo Naya (1816 Tronzano Vercellese - 1882 Venice) Circle: Bird's eye view of the San Marco district with the Doge's Palace and St Mark's Tower as well as large and small ships on the water, Venice, c. 1880, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: Lower middle inscribed on the support: "- Venise. Vue prise de l'île de S. Giorgio - ". Date: c. 1880 Description: The picture, taken from the platform above the bell tower of the church of San Giorgio, shows a particularly frequently used motif that has helped to create those clichés in the minds of tourists and collectors that have become iconic for the lagoon city: The San Marco district with the sights of the Palazzo Ducale, the Basilica and domes of San Marco, the Campanile and Library of Sansovino. The Campanile forms a vertical axis, while the horizontal is emphasised by the horizon line in the distance and the coastline in front of San Marco, as well as the steamer in the foreground. Original photograph with high sharpness of detail. An early example of travel photography. Around the middle of the 19th century, more and more tourists from bourgeois circles travelled to Italy. At that time, photographs could only be taken at great expense in terms of time and with expensive, unwieldy equipment. This made many tourists all the more grateful for the work of the professional photographer's studios on site, so that they could bring back a souvenir from their holiday home or collect them as mementos. Famous photographers such as Carlo Naya, Giorgio Sommer and the Alinari brothers photographed the most famous sights of their home cities and travelled themselves to photograph their customers' favourite destinations and offer them as albumen prints. Ancient art treasures were also photographed and offered to travellers. The high-quality photographs of sculptures and frescoes continued to make an important contribution to documenting the art treasures and making them accessible to scholars from all over Europe, who previously had to rely on reproductions or engravings if they were unable to view the original themselves. Keywords: Italy view, documentary photography, architectural photography, travel photography, photo album, world cultural heritage, lagoon, Basilica di San Marco, St Mark's Basilica, St Mark's Tower, Campanile, Doge's Palace, island, ships, lagoon city, 19th century, Historicism, Cities, Italy, Size: Cardboard: 26,8 cm x 35,0 cm (10,6 x 13,8 in), Depiction: 19,0 cm x 24,3 cm (7,5 x 9,6 in)

Starting price 320 EUR

Stengel & Co. (19th century): Elevated view from the lighthouse over the harbour of Trieste with large ships and fenced-off outdoor pool with bathers, c. 1900, albumen paper print Technique: albumen paper print, mounted on Cardboard Stamp: Blank stamp, Stengel & Co . Dresden. 19th century Inscription: Lower middle inscribed on the support: "- Trieste - Vue prise du phare, à l'entrée du port -". Date: c. 1900 Description: Original photograph with high detail sharpness. An early example of travel photography. Around the middle of the 19th century, more and more tourists from bourgeois circles travelled to Italy. At that time, photographs could only be taken at great expense in terms of time and with expensive, unwieldy equipment. This made many tourists all the more grateful for the work of the professional photographer's studios on site, so that they could bring back a souvenir from their holiday home or collect them as mementos. Famous photographers such as Carlo Naya, Giorgio Sommer and the Alinari brothers photographed the most famous sights in their home cities and travelled themselves to photograph their customers' favourite destinations and offer them as albumen prints. Ancient art treasures were also photographed and offered to travellers. The high-quality photographs of sculptures and frescoes continued to make an important contribution to documenting the art treasures and making them accessible to scholars from all over Europe, who previously had to rely on copies or engravings if they were unable to view the original themselves. Keywords: Italy view, documentary photography, architectural photography, travel photography, photo album, world cultural heritage, harbour, Trieste harbour, free port, Mediterranean harbour, swimming pool, outdoor pool, swimmers, ships, boats, lighthouse, 20th century, Historicism, Cities, Italy, Size: Cardboard: 26,8 cm x 35,0 cm (10,6 x 13,8 in), Depiction: 22,5 cm x 28,5 cm (8,9 x 11,2 in)

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