J. STRIXNER (*1782) after MANTEGNA (*1430), Dancing Muse, Parnassus, Lithography…

Description

J. STRIXNER (1782) after MANTEGNA (1430), Dancing Muse, Parnassus, Lithography Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Andrea Mantegna (around 1430 Cartura Island - 1506 Mantua): Dancing muse in a pleated robe, from Parnassus, 19th century, Lithography Technique: Lithography over tinted stone on Paper Inscription: At the lower part signed in the printing plate: "Andreas Mantegna del: / N: Strixner fecit.". Verso inscribed by another person: "Winkler 965 1.6.". Date: 19th century Description: Before us we see a graphic depicting a standing female figure in flowing robes. The monochrome style demonstrates technical precision in the use of shading and line, giving the work a distinct three-dimensionality and fine texture. The pose and direct gaze of the model suggest a familiar presence and convey a timelessness that seems to capture both ancient and modern aesthetic ideals. Keywords: graphic art; female figure; flowing garment; monochrome; shading; lines; three-dimensionality; texture; pose; gaze; presence; timelessness; antique aesthetics; modern aesthetics, 19th century, Romanticism, Allegorical, Germany, Size: Paper: 52,6 cm x 26,2 cm (20,7 x 10,3 in)

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J. STRIXNER (1782) after MANTEGNA (1430), Dancing Muse, Parnassus, Lithography Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Andrea Mantegna (around 1430 Cartura Island - 1506 Mantua): Dancing muse in a pleated robe, from Parnassus, 19th century, Lithography Technique: Lithography over tinted stone on Paper Inscription: At the lower part signed in the printing plate: "Andreas Mantegna del: / N: Strixner fecit.". Verso inscribed by another person: "Winkler 965 1.6.". Date: 19th century Description: Before us we see a graphic depicting a standing female figure in flowing robes. The monochrome style demonstrates technical precision in the use of shading and line, giving the work a distinct three-dimensionality and fine texture. The pose and direct gaze of the model suggest a familiar presence and convey a timelessness that seems to capture both ancient and modern aesthetic ideals. Keywords: graphic art; female figure; flowing garment; monochrome; shading; lines; three-dimensionality; texture; pose; gaze; presence; timelessness; antique aesthetics; modern aesthetics, 19th century, Romanticism, Allegorical, Germany, Size: Paper: 52,6 cm x 26,2 cm (20,7 x 10,3 in)

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Starting price 180 EUR

Gilt bronze case, the sides of muses representing the arts (dance, sculpture, painting and music), signed Legastlois, the lid centered with a signed miniature of an elegant woman with a hat in a flower garland frame. 19th century. 13x13x9cm.

Starting price 90 EUR

J. STRIXNER (1782) after BANDINELLI (1493), Christ Child and John, around 1808, Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Baccio Bandinelli (around 1493 - 1560 ibid.): Group of figures, Christ Child and St John, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "B: Bandinelli | N: Strixner del.". Date: c. 1808 Description: Johann Nepomuk Strixner was a German draughtsman and printmaker who made a name for himself particularly through the print reproduction of old hand drawings. Around 1808, he worked together with the inventor of lithography, Aloys Senefelder, on the publication of a series of lithographic reproductions after Albrecht Dürer. In 1809, he enrolled at the Academy in Munich, where he deepened the technical skills he had already learnt in engraving and lithography through intensive study. He was particularly interested in the works of the Old Masters. Between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after Old Master drawings. This multifaceted work emphasises the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and convey a good impression of the original work in their reproductions. A characteristic feature of many of the sheets is the basis of a discreetly coloured clay plate with scratched-out areas, presumably intended to imitate the white heightening and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always endeavoured to give their reprints the same delicacy and depth that characterise the hand drawings of the Old Masters. Keywords: Lithograph series, Old Masters, Study, Jesus Christ, John the Baptist, Mary, Madonna, Lamb of God, 19th century, Romanticism, Religious, Italy, Size: Paper: 10,8 cm x 13,6 cm (4,3 x 5,4 in), Depiction: 6,8 cm x 9,6 cm (2,7 x 3,8 in) Condition: Rather good condition. Slightly discoloured along the edges.

Starting price 90 EUR

J. STRIXNER (1782) after LORRAIN (1600), Italian harbour city, around 1808, Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Claude Lorrain (1600 Chamagne, Lorraine - 1682 Rom): Italian harbour town with fishing boats, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "Cl: Geéle[?] | N: Strixner del:". Date: c. 1808 Description: Johann Nepomuk Strixner was a German draughtsman and printmaker who made a name for himself particularly through the print reproduction of old hand drawings. Around 1808, he worked together with the inventor of lithography, Aloys Senefelder, on the publication of a series of lithographic reproductions after Albrecht Dürer. In 1809, he enrolled at the Academy in Munich, where he deepened the technical skills he had already learnt in engraving and lithography through intensive study. He was particularly interested in the works of the Old Masters. Between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after Old Master drawings. This multifaceted work emphasises the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and convey a good impression of the original work in their reproductions. A characteristic feature of many of the sheets is the basis of a discreetly coloured clay plate with scratched-out areas, presumably intended to imitate the white heightening and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always endeavoured to give their reprints the same delicacy and depth that characterise the hand drawings of the Old Masters. Keywords: Lithograph series, Old Masters, Study, Harbour, Ships, 19th century, Romanticism, Architecture, Italy, Size: Paper: 17,4 cm x 22,7 cm (6,9 x 8,9 in), Depiction: 14,1 cm x 19,5 cm (5,6 x 7,7 in) Condition: Rather good condition. Occasional minimal foxing and age-related discolouration.

Starting price 90 EUR

J. STRIXNER (1782) after PORDENONE (1483), Monks at the deathbed, around 1808, Johann Nepomuk Franz Xaver Strixner (1782 Altötting - 1855 Munich) after Pordenone: Giovanni Antonio Pordenone (around 1483 - 1484 ): Monks around the deathbed of a brother, c. 1808, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "A. Sachi fecit[?] | N: Strixner del.". Date: c. 1808 Description: Johann Nepomuk Strixner was a German draughtsman and printmaker who made a name for himself particularly through the print reproduction of old hand drawings. Around 1808, he worked together with the inventor of lithography, Aloys Senefelder, on the publication of a series of lithographic reproductions after Albrecht Dürer. In 1809, he enrolled at the Academy in Munich, where he deepened the technical skills he had already learnt in engraving and lithography through intensive study. He was particularly interested in the works of the Old Masters. Between 1808 and 1815, together with Johann Nepomuk Strixner, he published an extensive series of lithographs after Old Master drawings. This multifaceted work emphasises the full skill of the two artists, who copied the drawings onto the stone with a sensitive eye and convey a good impression of the original work in their reproductions. A characteristic feature of many of the sheets is the basis of a discreetly coloured clay plate with scratched-out areas, presumably intended to imitate the white heightening and different paper colours of the originals. Piloty and Strixner used the technique of lithography in all its facets and always endeavoured to give their reprints the same delicacy and depth that characterise the hand drawings of the Old Masters. Keywords: lithograph series, old masters, study, monastery, monks, mourning, vanitas, death, abbot, 19th century, Romanticism, Religious, Italy, Size: Paper: 21,2 cm x 17,5 cm (8,3 x 6,9 in), Depiction: 19,1 cm x 15,7 cm (7,5 x 6,2 in) Condition: Rather good condition. Slightly rubbed in places. Slightly bumped and creased along the edges.

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