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Chamisso, Adelbert von10 Künstler illustrieren: Peter Schlemihls wundersame Geschichte. 1824 bis 1993. Chamisso, Adelbert von 10 Künstler illustrieren: Peter Schlemihls wundersame Geschichte. 1824 bis 1993. Enthält: From the German of Lamotte Fouqué. 8 rad. Tafeln von G. Cruikshank. Hldr. 1824. (etw. stockfl.) - Förster, F., P. Schlemihls Heimkehr. mit 16 Handzeichn. von Th. Hosemann. HLdr. 1843. (etw. stockfl.). - Illustriert von H. Looschen. Kl.-8°. Lwd. 1900. - Illustriert von Emil Preetorius. Gr.-8°. OLwd. 1918. - Illustriert von Istvan Zador (ungar. Ausg.). Gr.-8°. OLdr. 1921. Numm. u. sign. - Illustriert von Alfred Thon. Gr.-8°. OHLdr. 1923. - Mit den Holzschnitten von A. Menzel. 2.A. OHLdr. 1923. - Mit 9 Or.-Holzstichen von I. Reiner. OPp. (min. fl.). 1964. - Mit Illustrationen von A.R. Penck. Vorz.-Ausg. mit sign. farb. Aquatintarad. 100 Expl. Gr.-8°. OPp. im OU im OPp.-Schuber. - Mit 12 Zeichnungen von Karl-Georg Hirsch. IB 1225. Vorz.Ausg. in OLdr. 2001. -

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Chamisso, Adelbert von10 Künstler illustrieren: Peter Schlemihls wundersame Geschichte. 1824 bis 1993. Chamisso, Adelbert von 10 Künstler illustrieren: Peter Schlemihls wundersame Geschichte. 1824 bis 1993. Enthält: From the German of Lamotte Fouqué. 8 rad. Tafeln von G. Cruikshank. Hldr. 1824. (etw. stockfl.) - Förster, F., P. Schlemihls Heimkehr. mit 16 Handzeichn. von Th. Hosemann. HLdr. 1843. (etw. stockfl.). - Illustriert von H. Looschen. Kl.-8°. Lwd. 1900. - Illustriert von Emil Preetorius. Gr.-8°. OLwd. 1918. - Illustriert von Istvan Zador (ungar. Ausg.). Gr.-8°. OLdr. 1921. Numm. u. sign. - Illustriert von Alfred Thon. Gr.-8°. OHLdr. 1923. - Mit den Holzschnitten von A. Menzel. 2.A. OHLdr. 1923. - Mit 9 Or.-Holzstichen von I. Reiner. OPp. (min. fl.). 1964. - Mit Illustrationen von A.R. Penck. Vorz.-Ausg. mit sign. farb. Aquatintarad. 100 Expl. Gr.-8°. OPp. im OU im OPp.-Schuber. - Mit 12 Zeichnungen von Karl-Georg Hirsch. IB 1225. Vorz.Ausg. in OLdr. 2001. -

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Follower of MATTHIAS STOMER (c. 1600 - after 1652); Italian school; 17th century. "Evening Evening". Oil on canvas. Re-coloured. Measurements: 121 x 147 cm. Scene of costumbrist character in which the artist gathers in the composition a group of men with a woman. All of them are arranged around a table which can hardly be seen. However, a plate of pasta, a knife and a candle are the only points of light in the scene. The men are eating, smoking a pipe and drinking, all of them showing relaxed attitudes that can be seen not only in the act they are performing but also in the poses in which the artist has depicted them, with the figure on the left of the composition standing out to a great extent. All of them are dressed in clearly detailed 17th-century clothing, as are the faces of the characters, created in the tradition of Baroque naturalism, bringing realism and narrative to the scene. Due to its subject matter, the work can be classified as a type of tavern painting, which in the 17th century was a vindication of the popular. However, it is worth noting the presence of the only woman in the scene. She gazes at one of the figures and holds her shoulders in her hand, hinting at some kind of close relationship, which in the darkness of the scene suggests a courtesan rather than a waitress. Matthias Stom or Matthias Stomer was a Dutch, or possibly Flemish, painter who is only known for the works he produced during his residence in Italy. His painting was greatly influenced by the work of non-Italian followers of Caravaggio in Italy, in particular his Dutch followers often referred to as the Utrecht Caravaggists, as well as by Jusepe de Ribera and Peter Paul Rubens, and he worked in various locations in Italy where he enjoyed the patronage of religious institutions as well as prominent members of the nobility.

English school; circa 1700. "Portrait of a Knight of the Order of the Garter". Oil on canvas. Relined. Presents faults in the frame. Measurements: 63 x 48 cm; 79 x 64 cm (frame). Portrait of a gentleman that presents the bust of a young man wearing a wig. The man, as it is habitual in the portrait painting of the time, is inscribed on a neutral background of ocher tonality on which stands out the iridescent blue lead of the clothes and the snowy face with rosy cheeks of the protagonist. It is these touches of white that turn the face into the main focus of the piece's illumination. A resource through which the author enhances the corporeality of the figure, which is monumentalized with the darkness and the volume of the wig itself. The position of the body, erect and with a straight back, combines a regal with an air of distinguished authority. The composition shows great skill in the drawing, which gains prominence over color. An example of this is the use of a measured palette, without great stridency, in which the author has sought a balance between the different tonalities. Another common feature, typical of the portraits of this period, and which is reflected in this work in particular, is the interest in capturing reality, reflecting truthfully the features of the protagonist, but without leaving aside the idealization, so we see an effigy with soft, rounded, and friendly forms. The young man is fashionably dressed and the qualities of the fabrics are faithfully portrayed by the artist. The delicacy of the drawing, the composition and the style bring the work closer to the aesthetics of the English school. Specifically to the painting of the artist Mary Beale (1633-1699). A professional painter from the mid-1650s, Mary Beale painted numerous portraits, mostly of her family and friends, including prominent churchmen. Her father's acquaintance with the artist Sir Peter Lely, who took over from Van Dyck as court painter, fostered a friendship between the royal painter and Mary, who copied many of his paintings as an indispensable part of her training, which was largely self-taught. It was this exercise that led to her being praised by Peter Lely himself. Many details of her busy professional life are recorded in the notebooks of her husband, who was her studio assistant. It presents faults in the frame.