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C. HAMMER (1779-1864), Arcadia is everywhere, 1855, Christian Gottlob Hammer (1779 Dresden - 1864 ibid.): Arcadia is everywhere, 1855, Pen drawing Technique: Pen drawing on Paper, mounted on Paper Date: 1855 Description: Christian Gottlob Hammer remained committed to his hometown of Dresden throughout his life. He had studied at the academy there from 1794, with Johann Philipp Veith in particular teaching him from 1798 and also introducing him to printmaking techniques. In 1816 he became a member of the academy himself and was finally appointed associate professor in 1829. His works were popular in wider circles beyond the narrower field of teaching. Johann Wolfgang Goethe, for example, appreciated him as a "skilful landscape draughtsman", visited him in his studio in 1810 and purchased some of his prints. Hammer's productivity was by no means limited to making drawings. Rather, he also developed an extensive printmaking activity, reproducing not only his own drawings but also designs by other artists. For the "Bilderchronik" of the Sächsischer Kunstverein, he created prints based on works by Johan Christian Dahl, Caspar David Friedrich and Ernst Ferdinand Oehme, among others. The prints, which are based on his own drawings, often show landscapes, particularly from Saxony, Silesia and northern Bohemia. For his 1855 drawing of a river-crossed landscape, which is closed off by mountain ranges in the background, Hammer orientated himself less on the environment he saw and more on ideal landscape concepts, such as those found among the Dresden artists of the late 18th century. In the age of realism and plein air, he has once again created a haunting memorial to the art of drawing of the past. The calm, southern atmosphere of the drawing is conveyed by the architecture in the centre ground as well as by the staffage. The herd of cattle being driven across the bridge by a shepherd, for example, is a common feature of Arcadian ideal landscapes. What is striking and lends the sheet a completely unique charm is the way in which the lines are drawn, which Hammer has modelled very strongly on the medium of graphic art. The present sheet lacks any spontaneous and impulsive strokes or any pentimenti that would suggest the artist's immediate creative power. The shadow and surface effects are also modelled more on the requirements of the burin than those of the pen. It is precisely for this reason that the beautiful drawing reveals the strict clarity of a copperplate engraving and thus expresses Hammer's talent for consciously utilising the effects of the respective medium in an outstanding manner. Keywords: Landscape, Picturesque, Dresden, 19th century, Romanticism, Landscape, Italy, Size: Paper: 32,9 cm x 28,6 cm (13 x 11,3 in) Condition: Rather good condition. Slightly stained in the margin

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C. HAMMER (1779-1864), Arcadia is everywhere, 1855, Christian Gottlob Hammer (1779 Dresden - 1864 ibid.): Arcadia is everywhere, 1855, Pen drawing Technique: Pen drawing on Paper, mounted on Paper Date: 1855 Description: Christian Gottlob Hammer remained committed to his hometown of Dresden throughout his life. He had studied at the academy there from 1794, with Johann Philipp Veith in particular teaching him from 1798 and also introducing him to printmaking techniques. In 1816 he became a member of the academy himself and was finally appointed associate professor in 1829. His works were popular in wider circles beyond the narrower field of teaching. Johann Wolfgang Goethe, for example, appreciated him as a "skilful landscape draughtsman", visited him in his studio in 1810 and purchased some of his prints. Hammer's productivity was by no means limited to making drawings. Rather, he also developed an extensive printmaking activity, reproducing not only his own drawings but also designs by other artists. For the "Bilderchronik" of the Sächsischer Kunstverein, he created prints based on works by Johan Christian Dahl, Caspar David Friedrich and Ernst Ferdinand Oehme, among others. The prints, which are based on his own drawings, often show landscapes, particularly from Saxony, Silesia and northern Bohemia. For his 1855 drawing of a river-crossed landscape, which is closed off by mountain ranges in the background, Hammer orientated himself less on the environment he saw and more on ideal landscape concepts, such as those found among the Dresden artists of the late 18th century. In the age of realism and plein air, he has once again created a haunting memorial to the art of drawing of the past. The calm, southern atmosphere of the drawing is conveyed by the architecture in the centre ground as well as by the staffage. The herd of cattle being driven across the bridge by a shepherd, for example, is a common feature of Arcadian ideal landscapes. What is striking and lends the sheet a completely unique charm is the way in which the lines are drawn, which Hammer has modelled very strongly on the medium of graphic art. The present sheet lacks any spontaneous and impulsive strokes or any pentimenti that would suggest the artist's immediate creative power. The shadow and surface effects are also modelled more on the requirements of the burin than those of the pen. It is precisely for this reason that the beautiful drawing reveals the strict clarity of a copperplate engraving and thus expresses Hammer's talent for consciously utilising the effects of the respective medium in an outstanding manner. Keywords: Landscape, Picturesque, Dresden, 19th century, Romanticism, Landscape, Italy, Size: Paper: 32,9 cm x 28,6 cm (13 x 11,3 in) Condition: Rather good condition. Slightly stained in the margin

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Estimate 2 100 - 2 800 EUR
Starting price  1400 EUR

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C. HAMMER (*1779) after ZAUSSIG (19th), Arco Scuro bei Rom, before 1829, Copper engraving Christian Gottlob Hammer (1779 Dresden - 1864 ibid.) after Zaussig (19th century): Arco Scuro near Rome with a view of St Peter's Basilica and the Vatican, before 1829, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "gem. v. Zaussig / gest. v. Hammer". At the lower part inscribed in the printing plate: "ARIO SIURO Angekauft vom Sächss. Kunstverein und bey der Verloosung 1829 gewonnen von Herrn Hofmarschall von Lüttchau auf N° 141. 15 Zoll breit, 20 Zoll hoch". Date: before 1829 Description: The painting was created during the miniature painter Zausig's stay in Rome and was then purchased by the Sächsischer Kunstverein, of which Goethe was a member, to promote the artists. In the centre of the picture, under the dark arch, is a bright female figure, to whom a path leads, with a wall to the left and a small slope to the right further concentrating the vanishing point. The traveller in the foreground points with his staff, raised in greeting to her, towards the monumental building of St. Peter's and the walls of the Vatican Gardens. Keywords: Italy, Rome, Campagna Romana, Vatican, St Peter's Basilica, traveller, trip, 19th century, Romanticism, Architecture, Italy, Rome (Latium), Size: Paper: 40,2 cm x 28,7 cm (15,8 x 11,3 in), Plate: 29,2 cm x 23,7 cm (11,5 x 9,3 in), Depiction: 22,2 cm x 17,7 cm (8,7 x 7 in) Condition: Good condition. Im Rand minimal fleckig.