DROUOT
Until Saturday 20 Jul

1st Timed Auction: Old Master and 19th century Prints, Drawings and Oilpaintings

H. W. Fichter Kunsthandel - +496974389030 - Email

Arndtstr. 49, 60325 Frankfurt - 60325 Frankfurt, Germany
Information Conditions of sale
Online
600 results

Lot 101 - J. REINHART (1761-1847), Gorge near Subiaco, 1799, Etching - Johann Christian Reinhart (1761 Hof/Bavaria - 1847 Rom): Gorge near Subiaco with hunter and dog on the banks of the Aniene, 1799, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "C. Reinhart fec". At the lower part inscribed in the printing plate: "A Subiaco". lower left dated: "Roma 1792". Date: 1799 Description: The engraving depicts an idyllic natural scene in a gorge of the Aniene near Subiaco. Lush trees and rocks form a wild, mountainous landscape. A hunter and his dog appear in the foreground, emphasising the stillness and vastness of the space. Probably a later print for the French-language edition of the "Malerisch radirte Prospekte von Italien". Source: Collection de vues pittoresques de l'Italie : dessinées d'après nature, et gravées a l'eau forte a Rome, par trois peintres allemands / A.-C. Dies, Charles Reinhart, Jaques Méchau, 1799 | print suite, Landscape, Architecture Keywords: Aniene; Campagna Romana; engraving; nature scene; trees; rocks; mountain landscape; shepherd; dog; idyll; wilderness; silence; vastness; foreground;, 18th century, Romanticism, Landscape, Italy, Size: Paper: 42,1 cm x 31,0 cm (16,6 x 12,2 in), Plate: 37,5 cm x 28,3 cm (14,8 x 11,1 in), Depiction: 34,9 cm x 26,7 cm (13,7 x 10,5 in)

Starting price  300 EUR

Lot 104 - H. ROBERT (1733-1808), Views of Rome, around 1765, Etching - Hubert Robert (1733 Paris - 1808 ibid.): Les Soirées de Rome Dédiées a Mde le Comte, des Académies de S Luc de Rome, des Sciences et Arts de Bologne, Florence & c | Suite de Dix Planches dessinées et gravées par Mr Robert, Pensionaire du Roi de France à Rome, c. 1765, Etching Technique: Etching on Paper Inscription: inscribed in the printing plate: "H. Robert". Allgemeine Informationen: Auf dem Titelblatt im Druck bezeichnet: "Les Soirées de Rome Dédiées a Mde. le Comte, des Académies de S Luc de Rome, des Sciences et Arts de Bologne, Florence & c | Suite de Dix Planches dessinées et gravées par Mr. Robert, Pensionaire du Roi de France à Rome". Date: c. 1765 Description: Series of nine (of originally ten) etchings, 9 views of Rome with frontispiece. In addition to views of famous Roman monuments, such as the Cestius Pyramid or the Temple of Hercules Victor (round temple at the Forum Boarium), typical scenes from the everyday life of ordinary people are also depicted. Source: Hubert Robert (1733 Paris-1808 Paris) Les Soirées de Rome Dédiées a Mde. le Comte, des Académies de S Luc de Rome, des Sciences et Arts de Bologne, Florence & c | Suite de Dix Planches dessinées et gravées par Mr. Robert, Pensionaire du Roi de France à Rome., um 1765 | print suite, Landscape Keywords: France, Paris, Rome, Italy, Anike, ruins, everyday life, printmaking, series, 18th century, Classicism, Landscape, Italy, Size: Paper: 14,5 cm x 10,0 cm (5,7 x 3,9 in)

Starting price  900 EUR

Lot 107 - M. SALLIETH (*1749) after SCHMIDT (18th), Jacob Pieter van Braam (1737-1803), 1790, Stipple engravi - Matheus de Sallieth (1749 Prag - 1791 Rotterdam) after Schmidt (18th century): Portrait of Admiral Jacob Pieter van Braam (1737-1803), half-length, 1790, Stipple engraving Technique: Stipple engraving and Aquatint on Paper Inscription: At the lower part signed in the printing plate: "Schmidt del. / M. d. Sallieth f. a. Rotterdam 1790". At the lower part inscribed in the printing plate: "Jacob Pieter Van Braam / aptein ter Zee en thans Schout by Nacht / Van Holland en West Friesland". Lower right dated: "1790". At the lower part further inscription: "Opgedragen aan Zyn Hoog & Gestr. door / deszelfs Onderdangsten Dienaar Md Salieth.". Lower middle additional inscription: "M. d. Salieth excud. Rotterdam". Date: 1790 Description: The portrait of Jacob Pieter van Braam shows the admiral as a half-length figure in front of the open sea. Frigates firing cannonballs can be seen in the background. The admiral appears to be pointing at something with his right index finger. Below the portrait is a coat of arms with a lion and a female figure. Person: Depicted: Jacob Pieter van Braam (1737 Werkhoven - 1803 Zwolle) Admiral Keywords: portrait, portrait, admiral, naval battle, navy, warship, frigates, coat of arms, heraldry, 18th century, Classicism, Portraits, Netherlands, Size: Paper: 52,3 cm x 38,1 cm (20,6 x 15 in), Plate: 40,4 cm x 30,0 cm (15,9 x 11,8 in)

Starting price  250 EUR

Lot 110 - M. TYROFF (1704-1759), St Gregory's Fair, Holzschuher Nuremberg, around 1755, Copper engraving - Martin Tyroff (1704 Augsburg - after 1759 Nuremberg): St Gregory's Mass, after the burial carpet of the Nuremberg patrician family Holzschuher, c. 1755, Copper engraving Technique: Copper engraving on Paper Inscription: lower left signed in the printing plate: "Martin Tyroff sculp:". At the lower part inscribed in the printing plate: "TAPES QUEM HOLZSCHUHERORUM MAIORES OPTIMI A: CDCCCCLXXXXV PER NICOLAM SELBICERVN IN BELGIO CONFCIENDVM SIVSQUE MAGNINIBVS CONDE - CORANDVM CVRAVERVNT VT INSERVIRET SACRIS.QVIBVS INPRIMIS FRIDERICI HOLZSCHVHERI SVORVMQVE MEMORIA IN AEDE. SEBALDINA A DIE MARTIS FINITO AD MERCVRIVSQVE PIE COLEBATVR.". Date: c. 1755 Description: Pope Gregory I is shown celebrating Holy Mass in front of an apparition of the incarnate Christ as the Man of Sorrows, surrounded by the instruments of suffering. In some depictions, blood flows from the side wound of Christ into the chalice Source: Johann Christoph Gatterer (1727 Lichtenau-1799 Göttingen) Historia Genealogicum Dominorum Holzschuherorum, 1755 | Book, Genre Keywords: Renaissance; artwork; monochrome; Descent from the Cross; Christ; Passion; architecture; sacred; interior; clergy; clothing; reverence; mourning; depiction; sacred; hierarchy; contemporary; weighting; religious scene; interaction, 18th century, Classicism, Religious, Germany, Size: Paper: 41,5 cm x 30,6 cm (16,3 x 12 in), Depiction: 34,3 cm x 28,8 cm (13,5 x 11,3 in)

Starting price  180 EUR

Lot 117 - J. LEMERCIER (*1803) after ADAM (*1801), Picture alphabet, letter "C", Lithography - Joseph Lemercier (1803 Paris - 1887 ibid.) after Victor Vincent Adam (1801 Paris - 1866 Viroflay (Seine-et-Oise)): Picture alphabet, letter "C" with numerous illustrations, 19th century, Lithography Technique: Lithography on Paper Inscription: lower left signed in the printing plate: "V. Adam". Date: 19th century Description: This picture shows a collection of vignettes illustrating various scenes of rural life. Depictions of animals, human figures in typical country clothing and agricultural activities can be recognised, harmoniously inserted into individual segments. The engraving is rich in detail and of great delicacy, suggesting an artistic approach of high quality. The background of the document appears to be slightly discoloured due to its age, which lends the overall impression a nostalgic note. A small hand drawing in pencil at the bottom centre complements the depictions. All illustrations bear the same initial, illustrated here, which is printed at the top centre. Keywords: Engraving; rural life; vignettes; animal scenes; country people; agricultural activities; art; quality; harmony; richness of detail; nostalgia; clothing; farm labour; illustration; paper; ageing process; artistic representation, 19th century, Romanticism, Figurative, France, Size: Paper: 36,3 cm x 27,9 cm (14,3 x 11 in), Depiction: 27,5 cm x 21,1 cm (10,8 x 8,3 in)

Starting price  100 EUR

Lot 124 - J. LEMERCIER (*1803) after ADAM (*1801), Picture alphabet, letter "N", Lithography - Joseph Lemercier (1803 Paris - 1887 ibid.) after Victor Vincent Adam (1801 Paris - 1866 Viroflay (Seine-et-Oise)): Picture alphabet, letter "N" with numerous illustrations, 19th century, Lithography Technique: Lithography on Paper Inscription: Upper left signed in the printing plate: "V.Adam". Date: 19th century Description: This artwork presents a collection of vignettes arranged in a large-format grid depicting the repertoire of human actions and interactions. At the centre of the grid is a single character, flanked by a variety of scenes depicting both everyday and idyllic moments of human life. The illustrations appear in a monochrome style, with fine strokes and shading revealing a depth of detail and contrasting with the uniform background. All the illustrations bear the same initial, which is illustrated here and printed at the top centre. Keywords: vignettes; people; everyday life; illustration; monochrome; linework; shading; depth of detail; centre figure; interactions; art sheet; grid arrangement; characters; scenes; human actions; large-format; fine-drawing; moments of life; idyll; background contrast, 19th century, Romanticism, Figurative, France, Size: Paper: 36,5 cm x 27,3 cm (14,4 x 10,7 in), Depiction: 26,9 cm x 19,8 cm (10,6 x 7,8 in)

Starting price  100 EUR

Lot 130 - W. GREBNER (*1784) after BREE (*1786), Duke of Brunswick-Oels on his deathbed, around 1815, Crayon m - Willem Grebner (1784 Vreeland (Utrecht) - 1866 Amsterdam) after Philippe Jacques van Bree (1786 - 1871 ibid.): Duke Friedrich Wilhelm of Brunswick-Oels on his deathbed, c. 1815, Crayon manner Technique: Crayon manner on Paper Inscription: inscribed and signed at the bottom: "M. J. van Brée Pinxt. Wm. Grebner. Sculpt." and inscribed: "Friedrich Wilhelm, Regierender Herzog von Braunschweig-Lüneburg und Oels; bleibt auf den Höhen von Genappe am 16ten Junius 1815. an der Spitze seiner Braunschweiger, im 42ste. Year of his age." Date: c. 1815 Description: The village of Genappe lies on the direct route from Quatre-Bras to the battlefield of Waterloo. A fierce rearguard action took place there between the Allies retreating towards Wellington and Napoleon's victorious troops at Quatre-Bras, in which Frederick William was mortally wounded. Since 1809, the Duke had been building up the Black Corps, which was to bring back his Brunswick heritage; it had been lost to Jérôme Napoleon's model state of Westphalia. Willem Grebner's impressive crayon etching reproduces a lost painting by the Antwerp history painter van Bree, who was commissioned by the Napoleonic Empire from 1801, but from 1814 devoted himself to the glorification of the House of Orange. The luminous white of the dead man's still open eyes is striking. Grebner's use of the crayon technique, which allows for silky nuances as well as strong chiaroscuro, lends the classicist composition a certain intimacy. The composition and motif are reminiscent of David's Death of Marat, but in the service of restorative hero worship, the iconography of the dead Christ is invoked even more strongly here through the visible side wound. Keywords: printmaking, death, dying, nobility, Netherlands, Waterloo, Napoleon, Wellington, printmaking, military, war, 19th century, Romanticism, People, Germany, Size: Paper: 47,6 cm x 44,8 cm (18,7 x 17,6 in), Plate: 38,6 cm x 37,6 cm (15,2 x 14,8 in), Depiction: 31,0 cm x 37,5 cm (12,2 x 14,8 in)

Starting price  800 EUR

Lot 133 - H. MEYER (*1780) after BURNEY (*1760), Charlotte of Wales and Leopold of Saxe-Coburg, 1816, Stipple - Henry Meyer (1780 London - 1847 ) after Edward Francis Burney (1760 - 1848 ibid.): Princess Charlotte of Wales and Prince Leopold of Saxe-Coburg, 1816, Stipple engraving Technique: Stipple engraving and Etching on Paper Inscription: At the lower part signed in the printing plate: "Burney delin. / Meyer Sculp.". At the lower part inscribed in the printing plate: "Princess Charlotte of Wales and Prince Leopold of Saxe Cobourg". At the lower part dated: "Leeds Published by Edwd. Baines Novr 1. 1816". Date: 1816 Description: The artwork presents two portraits, framed in an oval frame, decorated with draping fabric and floral motifs. On the left is a male figure with military insignia, characterised by seriousness and dignity. On the right is the image of a lady of youthful grace, adorned with contemporary jewellery. Classical temple architecture is visible in the background, creating an ideal, historically respectful atmosphere. Keywords: Portraits; Oval frames; Draping; Floral decoration; Military uniform; Orders; Seriousness; Feminine grace; Contemporary jewellery; Classical temple architecture; Historical; Respectful; Idealised representation; Work of art; Double keyword list, 19th century, Romanticism, Portraits, United Kingdom, Size: Paper: 26,5 cm x 21,1 cm (10,4 x 8,3 in), Plate: 24,7 cm x 19,1 cm (9,7 x 7,5 in)

Starting price  80 EUR

Lot 140 - V. ALOJA (19th) after D'ANNA (*1743), Tomb of Mamia near Pompeii, 1806, Etching - Vincenzo Aloja (19th century) after Alessandro d'Anna (1743 Palermo - 1810 ibid.): Tomb of Mamia on the Via dei Sepolcri near Pompeii, 1806, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Ales.o d'Anna dis. / Vinc. Aloja incise". At the lower part inscribed in the printing plate: "Veduta interna del Sepolcro di Mamia [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 23". Date: 1806 Description: The precise engraving reveals a picturesque scene of a historic ruin in a landscape, enlivened by groups of figures and domesticated animals, framed in a balanced relationship between light and shadow. Source: Raccolta di [...] Vedute dell'Citta e Regno di Napoli dipinte da Filippo Hackert, Carlo Grasso, Luigi Fergola etc. incise da Vincenzo Aloja, 1806 | print suite, Landscape, Architecture Keywords: Pompeii; Campania; Vesuvius; graphic; ruin; landscape; engraving; historical; figures; animals; light; shadow; picturesque; park-like; tree; sky; clouds; perspective; culture; architecture; art; scene; nature;, 19th century, Romanticism, Cities, Italy, Pompeii (Campanian), Size: Paper: 31,1 cm x 41,8 cm (12,2 x 16,5 in), Plate: 23,0 cm x 30,3 cm (9,1 x 11,9 in), Depiction: 17,5 cm x 26,0 cm (6,9 x 10,2 in)

Starting price  250 EUR

Lot 141 - V. ALOJA (19th) after D'ANNA (*1743), Tomb of Mamia near Pompeii, 1806, Etching - Vincenzo Aloja (19th century) after Alessandro d'Anna (1743 Palermo - 1810 ibid.): Tomb of Mamia on the Via dei Sepolcri near Pompeii, 1806, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Ales.o d'Anna dis. / Vinco Aloja inc.". At the lower part inscribed in the printing plate: "Veduta del Sepolcro di Mamia [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 23". Date: 1806 Description: This engraving depicts an ancient ruin site on the Pompeii burial route. In the foreground, figures and animals populate a path leading to a partially eroded, columned tomb on a hill. Subtle cloud formations also create an elegiac atmosphere in the sky. Source: Raccolta di [...] Vedute dell'Citta e Regno di Napoli dipinte da Filippo Hackert, Carlo Grasso, Luigi Fergola etc. incise da Vincenzo Aloja, 1806 | print suite, Landscape, Architecture Keywords: Pompeii; Campania; Vesuvius; engraving; ruins; antiquity; temple; columns; hill; path; figures; animals; elegant; clouds; sky; erosion; architecture; history; illustration; classicism; art history; landscape; archaeology, 19th century, Romanticism, Cities, Italy, Pompeii (Campanian), Size: Paper: 31,0 cm x 41,8 cm (12,2 x 16,5 in), Plate: 22,9 cm x 30,6 cm (9 x 12 in), Depiction: 17,4 cm x 26,1 cm (6,9 x 10,3 in)

Starting price  250 EUR

Lot 143 - H. DAUMIER (1808-1879), "La Colere d Agamemnon" Militarist vers. Pazifist, 1842, Lithography - Honoré Daumier (1808 Marseille - 1879 Valmondois): The wrath of Agamemnon Angry old militarist with young soldiers who would rather fish than fight Satirical depiction, 1842, Lithography Technique: Hand colored Lithography on Paper Inscription: At the center inscribed in the printing plate: "HISTOIRE ANCIENNE. | LA COLÈRE D'AGAMEMNON". Upper right numbered in the printing plate: "8.". At the lower part further inscription: "En vain le Rois des Rois épuisant sa rage Ses jurons de troupiers qu’ici nous abrégeons. Achille restait sourd et cloué sur la plage Pleurant sa Briséis en pèchant des goujons.". Date: 1842 Description: Without text on the reverse. The picture depicts a historical scene in which an old, helmeted warrior in ancient armour is shown. He is leaning on a walking stick and dramatically pointing towards a military camp in the distance. Interestingly, the soldiers in the camp are busy fishing instead of preparing for battle. The scene is designed in the style of a bas-relief and contains curved lines that create a dynamic composition. The emotional gestures of the warrior stand in stark contrast to the angler's leisurely resting posture. Keywords: Warrior; helmet; armour; shield; sword; antiquity; bas-relief; gesture; dynamics; Achilles; Agamemnon; militarist; pacifist;, 19th century, Comic, Military, France, Size: Paper: 27,2 cm x 35,7 cm (10,7 x 14,1 in), Depiction: 25,0 cm x 27,9 cm (9,8 x 11 in)

Starting price  220 EUR

Lot 144 - N. BITTNER (*1786) after DE PIAN (*1784), Cariolon, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Cariolon, theatre backdrop with ancient ruins, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N Bittner f. N 48 / de Pian inv.". At the lower part inscribed by another person: "Cariolon". Date: c. 1818 Description: Before us is a work of art with an unmistakable historicist character, depicting a scene of ancient ruins. Selected architectural elements are depicted in the foreground, suggesting the transience of past civilisation. Looking further, an idyllic landscape is revealed, interrupted by further ruined buildings. This picture is caught up in a stylish melancholy that takes the viewer on a journey through time and history. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 48 | Theater, Landscape, Architecture Keywords: Antiquity; ruins; architecture; transience; civilisation; landscape; history; artwork; historicism; melancholy; style; time travel; idyll; past; decay; art history; interpretation; aesthetics;, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,0 cm x 15,5 cm (5,1 x 6,1 in)

Starting price  80 EUR

Lot 145 - N. BITTNER (*1786) after DE PIAN (*1784), Leyulus, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Leyulus, theatre backdrop with classical portico, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N 89 / de Pian invt.". At the lower part inscribed by another person: "Leyulus". Date: c. 1818 Description: This is an architectural drawing, executed in pen and ink, depicting the interior view of a neoclassical vestibule. Ionic columns supporting an architrave can be seen, above which is a richly decorated frieze and a lunette-shaped window. Symmetrically placed sculptures in niches and a wreath-weaving putto above the central portal accentuate the axis of the room. The design is characterised by a determined precision and conveys a palpable interest in the reception of antiquity. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 89 | Theater, Landscape, Architecture Keywords: Architectural drawing; Pen drawing; Ink; Classicism; Vestibule; Ionic columns; Architrave; Frieze; Lunette window; Symmetry; Room axis; Sculptures; Niches; Putto; Portal; Reception of antiquity; Precision; Drawing technique; Interior architecture; Design, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,3 cm x 15,7 cm (5,2 x 6,2 in)

Starting price  80 EUR

Lot 146 - N. BITTNER (*1786) after DE PIAN (*1784), Tragedy, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Tragedy, theatre backdrop with princely crypt, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 21 / de Pian invt.". At the lower part inscribed by the artist's hand: "Die [?]. Trauerspiel / Monumentum antherum". Date: c. 1818 Description: The artwork shows an architectural structure, presumably a vault of monumental character. A central pyramid, surrounded by columns and arches, suggests a sacred or dignified scene. Fine lines and the interplay of light and shadow illustrate the artist's great craftsmanship and attention to detail, emphasising the volumetric presence of the architecture and creating spatial depth. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 21 | Theater, Landscape, Architecture Keywords: architecture; vault; pyramid; columns; arches; sacral; monumentality; craftsmanship; attention to detail; light; shadow; volume; depth of space; artistic; perspective; structure; formal; work of art, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,4 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 147 - N. BITTNER (*1786) after DE PIAN (*1784), Burnt down house, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Burnt down house, theatre backdrop with the ruins of a house, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 74 / de Pian invt.". At the lower part inscribed by another person: "Das abgebrannte Haus". Date: c. 1818 Description: The present work shows a masterful etching depicting abandoned and decaying architecture. The focus is on the ruins of a building whose roof truss has partially collapsed, with exposed beam structures. The depiction is characterised by precise lines in the rich detail of the rubble and brick walls. Through the use of light and shadow, the work conveys an atmosphere of transience and abandonment. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 74 | Theater, Landscape, Architecture Keywords: Etching; ruins; architecture; decay; building; roof truss; beams; rubble; brick wall; precision; lines; richness of detail; light; shadow; transience; abandonment; work of art; depiction; graphic; view, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,5 cm x 15,6 cm (5,3 x 6,1 in)

Starting price  80 EUR

Lot 148 - N. BITTNER (*1786) after DE PIAN (*1784), Moises, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Moise's melodrama, theatre backdrop of a royal square with colonnades, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 51 / de Pian invt.". At the lower part inscribed by another person: "Moises, Melodrama". Date: c. 1818 Description: The depiction shows an idyllic architectural composition in fine line etching. A view through arcade-like structures reveals an ensemble of columns and sculptural decorations. Roofed areas alternate with open sections of sky, while an exotic-looking building stretches out in the background under a finely structured sky. Vegetative elements, symbolised by a palm tree, complement the scenery on the far right. The artistic romanticism of ruins is combined with a touch of orientalist aesthetics. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 51 | Theater, Landscape, Architecture Keywords: Architecture; Arcades; Columns; Sculptures; Architectural composition; Line etching; Sky; Exoticism; Palm tree; Vegetation; Roofing; Romanticism of ruins; Orientalism; Art; Perspective; Light and shadow; Ensemble; Sculptural decoration; Idyll; Architecture, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,0 cm x 15,5 cm (5,1 x 6,1 in)

Starting price  80 EUR

Lot 149 - N. BITTNER (*1786) after DE PIAN (*1784), Palmira, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Palmira, theatre backdrop with antique-style domed hall similar to the Pantheon, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 33 / de Pian invt.". At the lower part inscribed by another person: "Palmira". Date: c. 1818 Description: In front of us is a detailed engraving that presents an architectural view. A colonnade in the foreground leads the viewer's gaze into the depths, where an imposing contrasting façade with rich ornamentation and several onion domes forms the finial. The skilful use of light and shadow adds depth and texture to the scene and reflects the care taken in the craftsmanship. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 33 | Theater, Landscape, Architecture Keywords: Engraving; architecture; colonnade; onion domes; decorations; façade; contrast; light and shadow; depth effect; perspective; texture; craftsmanship; art history, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,3 cm (5,2 x 6 in)

Starting price  80 EUR

Lot 150 - N. BITTNER (*1786) after DE PIAN (*1784), Salem, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Salem, theatre backdrop with oriental architecture and carvings, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 90 / de Pian invt.". At the lower part inscribed: "Salem". Date: c. 1818 Description: The artwork reveals a detailed interior view of an architectural structure in the style of a sacred space, possibly a church or cathedral. In the foreground, the perspective is characterised by pointed arcades and slender columns. The vaulted ceiling is artistically decorated with geometric patterns and coffered segments. Natural light floods through high windows, accentuating the depth of the room and emphasising the delicacy of the drawn lines. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 90 | Theater, Landscape, Architecture Keywords: architecture; interior; church; cathedral; columns; arcades; pointed arches; vaulted ceiling; geometric pattern; coffered ceiling; light; depth; perspective; drawing; detail; sacred space; ornate; window, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,5 cm x 15,5 cm (5,3 x 6,1 in)

Starting price  80 EUR

Lot 151 - N. BITTNER (*1786) after DE PIAN (*1784), Joseph and his brothers, theatre set, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Joseph and his brothers, theatre backdrop with exotic landscape and bed under palm trees, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 68 / de Pian invt.". At the lower part inscribed: "Joseph und seine Brüder". Date: c. 1818 Description: The work shows a carefully engraved scene in the tradition of landscape depiction. In the foreground is a figure resting in the middle of a pastoral scene. In the background is a panoramic view with architectural elements, framed by lush flora. A richly decorated textile curtain adorns the right-hand side and adds to the impression of a theatrical setting. The scene exudes a mood of serenity and is characterised by fine lines and rich detail. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 68 | Theater, Landscape, Architecture Keywords: Engraving; Landscape; Figure; Rest; Panorama; Architecture; Flora; Curtain; Decoration; Theatricality; Serenity; Richness of detail; Lines; Calm; Pastoral; Scene; Nature; Cultural elements; Panoramic view; Reference to tradition, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 152 - N. BITTNER (*1786) after DE PIAN (*1784), Vestal Temple, theatre set, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Temple of the Vestal Virgins, theatre backdrop with round domed hall and sculptures, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 44 / de Pian invt.". At the lower part inscribed: "Vestalin". Date: c. 1818 Description: The artwork presents an architecturally sophisticated interior view. It depicts a vestibule-like space characterised by imposing columns supporting a semi-circular roof. Between the columns are classical sculptures on pedestals. A door decorated with garlands can be seen in the background. The room radiates a symmetry and clarity of line that corresponds to the classicist style. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 44 | Theater, Landscape, Architecture Keywords: artwork; interior; columns; sculptures; architecture; classicism; symmetry; lines; vestibule; roofing; pedestals; door; garland; formal; clear, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,1 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 153 - N. BITTNER (*1786) after DE PIAN (*1784), Lodaisea, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Lodaisea, theatre backdrop with bridge to the portal of a fortress, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 40 / de Pian invt.". At the lower part inscribed: "Lodaisea". Date: c. 1818 Description: The graphic shows medieval-looking architecture, presumably a fortress or bridge, embedded in an urban environment. The picture is dominated by detailed walls and crenellated towers. A multi-storey, mechanical bridge construction connects the wall sections. Gothic spires are visible in the background, which could indicate a church or cathedral. The depiction is done with a fineness that suggests an etching or steel engraving. The condition of the paper suggests age and use. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 40 | Theater, Landscape, Architecture Keywords: Middle Ages; architecture; fortress; bridge; city view; towers; battlements; walls; mechanical construction; etching; steel engraving; Gothic; church; cathedral; art; graphics; richness of detail; urban; cultural heritage; age, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,0 cm x 15,5 cm (5,1 x 6,1 in)

Starting price  80 EUR

Lot 154 - N. BITTNER (*1786) after DE PIAN (*1784), Ferdinand Carter, theatre set, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Ferdinand Carter, theatre backdrop with exotic landscape and probably Latin American temple, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 76 / de Pian invt.". At the lower part inscribed: "Ferdinand Carter". Date: c. 1818 Description: The artwork shows a view through a vaulted arcade structure, which is bedded on massive pillars and is transformed into an idealised landscape panorama. The detailed depiction emphasises the effect of depth and the carefully coordinated lighting conditions, creating a harmonious combination of architectural elements and nature. Statues and smaller figures adorn the scenery, emphasising the impressiveness of the space and its artistic character. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 76 | Theater, Landscape, Architecture Keywords: Arcades; pillars; landscape panorama; depth effect; lighting conditions; harmony; architecture; nature; statues; figures; space; craftsmanship; detail; perspective; idyll; etching; engraving; graphic art, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,4 cm x 15,5 cm (5,3 x 6,1 in)

Starting price  80 EUR

Lot 155 - N. BITTNER (*1786) after DE PIAN (*1784), Peter the Great, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Peter the Great, theatre backdrop with spacious farmhouse with large oven, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 79 / de Pian invt.". At the lower part inscribed: "[?] Peter der Grosse". Date: c. 1818 Description: An etching stretches out before us, offering a detailed depiction of a traditional-style interior. Bold vertical and horizontal lines define a carefully constructed perspective that emphasises the structural skeleton of a building. Elements of everyday life - a staircase, washing lines, a kettle and a chair - enrich the scene and lend it a deceptively simple liveliness. Dark shades intensify the play of light and shadow and create a sense of spatial depth. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 79 | Theater, Landscape, Architecture Keywords: Etching; interior; traditional style; vertical lines; horizontal lines; perspective; structure; daily life; staircase; clotheslines; kettle; chair; shading; light and shadow; spatial depth; art print; handcrafted;, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,3 cm (6,9 x 8,4 in), Plate: 13,5 cm x 15,7 cm (5,3 x 6,2 in)

Starting price  80 EUR

Lot 156 - N. BITTNER (*1786) after DE PIAN (*1784), Lodaisea Hall, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Lodaisea, theatre setting with reception hall in late Gothic, orientalising style, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 70 / de Pian invt.". At the lower part inscribed: "Lodaisea". Date: c. 1818 Description: This depiction illustrates an interior view of Gothic architecture. Details such as pointed arch windows, a ribbed cross vault and wall ornaments suggest a sacral affiliation. A statue on a plinth can be seen in the foreground, creating spatial depth. The artwork is characterised by masterly strokes and precise shading, which render the interior vividly and with great attention to detail. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 70 | Theater, Landscape, Architecture Keywords: Gothic; architecture; interior; cross vault; pointed arch window; statue; depth; work of art; engraving; wall ornamentation; sacral; detail; linework; shading; perspective; historicism; plasticity; structure; play of light and shadow; artistic representation, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,3 cm (5,2 x 6 in)

Starting price  80 EUR

Lot 158 - N. BITTNER (*1786) after DE PIAN (*1784), Destruction of Jerusalem, theatre backdrop, around 1818, E - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Destruction of Jerusalem, theatre backdrop with antique, orientalising city architecture, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 87 / de Pian invt.". At the lower part inscribed: "La Destruzione die Gerusaleme". Date: c. 1818 Description: This work shows an idyllic veduta, captured in an etching. The picture reveals a composition of various architectural elements - Gothic spires, a classical dome and an Egyptian pyramid shape - embedded in an exotic landscape with palm trees. Architectural precision and the atmospheric play of light characterise the depiction, which suggests an imagined, idealised scenery. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 87 | Theater, Landscape, Architecture Keywords: Etching; Veduta; Architecture; Gothic; Classicism; Egypt; Dome; Pyramid; Palm trees; Landscape; Exoticism; Play of light; Imagined; Idealised; Idyll; Art history; Composition; Atmosphere; Accuracy of detail; Precision, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,3 cm x 15,6 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 159 - N. BITTNER (*1786) after DE PIAN (*1784), Pyrus and Astiager, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Pyrus and Astiager, theatre backdrop with magnificent orientalising sanctuary or throne room, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 37 / de Pian invt.". At the lower part inscribed: "Pyrus und Astiager". Date: c. 1818 Description: The artwork shows a perspective interior view of monumental architecture. Richly detailed columns support a geometric ceiling pattern, while the interior is decorated with sculptures, volutes and ornaments. A central incidence of light emphasises the depth of the room, the end point of which is formed by a sun motif. The engraving combines elements of the Renaissance and Mannerism and illustrates the richness of design of imaginary architecture. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 37 | Theater, Landscape, Architecture Keywords: architecture; interior view; columns; perspective; geometric pattern; ceiling; light; depth; ornaments; sun motif; Mannerism; Renaissance; sculptures; volutes; imaginary; work of art; engraving; richness of detail; architectural art; interior design, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,3 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 160 - N. BITTNER (*1786) after DE PIAN (*1784), John of Paris, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): John of Paris, theatre backdrop with the gloomy corridor of a fortress, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 34 / de Pian invt.". At the lower part inscribed: "Johan v. Paris". Date: c. 1818 Description: This is an etching showing a church interior in a differentiated architectural depiction. Characterised by a depth of perspective, the ribbed vaults and pointed arch windows, alongside the sacred objects presented at the edge of the picture, make it possible to recognise the Gothic architecture. The play of light between shadow and brightness accentuates the structure of the walls and vaults, evoking a tranquil atmosphere. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 34 | Theater, Landscape, Architecture Keywords: Etching; church interior; architectural depiction; depth of perspective; ribbed vault; pointed arch window; Gothic architecture; sacred objects; play of light; shadow; brightness; masonry; vault; atmosphere, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,3 cm (5,2 x 6 in)

Starting price  80 EUR

Lot 161 - N. BITTNER (*1786) after DE PIAN (*1784), Henry's youthful years, theatre backdrop, around 1818, Etc - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Henry's youthful years, theatre backdrop with princely room, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 69 / de Pian invt.". At the lower part inscribed: "Heinrichs Jünglings Jahre". Date: c. 1818 Description: The painting presents a carefully detailed interior scene, presumably from a living or working space, by means of pen and ink drawing. The precision of the drawing is manifested in the depiction of the brick walls, furniture and accessories. Framed pictures and plates hang on the wall, while various objects and crockery are visible on a table and on shelves. The room has Gothic arches, which indicates historical architecture. The perspective suggests depth and a sense of space. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 69 | Theater, Landscape, Architecture Keywords: interior scene; pen and ink drawing; precision; furniture; crockery; framed pictures; plate; gothic arch; historical architecture; perspective; depth of space; richness of detail; table; shelves; art historical; wall decoration; drawing; sense of space; cultural history, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 162 - N. BITTNER (*1786) after DE PIAN (*1784), Robbers' castle, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Robbers' castle, theatre backdrop with overgrown ruins in a wooded area, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 41 / de Pian invt.". At the lower part inscribed: "[?]". Date: c. 1818 Description: The picture presents a detailed print. It shows a ruin surrounded by trees with Gothic architectural elements. A gate can be recognised in the foreground, behind it a façade with dilapidated walls and tower structures. The dense tree population and the ruin merge into a picturesque unity that evokes an atmosphere of transience and romanticism. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 41 | Theater, Landscape, Architecture Keywords: printmaking; ruin; Gothic; trees; gate; façade; walls; towers; transience; Romanticism; architecture; richness of detail; tree population; atmosphere; nature; art history; graphics; historical depiction; painterly composition; aesthetics, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,4 cm x 15,5 cm (5,3 x 6,1 in)

Starting price  80 EUR

Lot 163 - N. BITTNER (*1786) after DE PIAN (*1784), Waldburg Sibiu, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Sibiu Forest Castle, theatre backdrop with the overgrown ruins of a castle, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 38 / de Pian invt.". Date: c. 1818 Description: The image presented is a detailed copperplate engraving depicting a landscape of ruins. Ancient architecture, recognisable by Corinthian columns and broken architraves, mingles with lush vegetation. A partially preserved structure rises in the foreground, while multi-layered trees can be seen in the background. The engraving appears extremely accurate due to the fine lines and hatching, and suggests a quiet melancholy of decay. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 38 | Theater, Landscape, Architecture Keywords: copper engraving; ruins; architecture; Corinthian columns; architraves; vegetation; trees; detail; lines; hatching; stillness; melancholy; decay; antique structures; art; nature; fine; accurate, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 164 - N. BITTNER (*1786) after DE PIAN (*1784), Waldburg courtyard, theatre backdrop, around 1818, Etching - Norbert Bittner (1786 - 1851 ) after Antonio de Pian (1784 Venice - 1851 Vienna): Sibiu Forest Castle courtyard, theatre backdrop with colonnades around the atrium of a castle, c. 1818, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "N. Bittner f. N. 67 / de Pian invt.". At the lower part inscribed: "Waldburg Hermannstadt". Date: c. 1818 Description: The illustrated sheet shows a detailed architectural drawing of a neoclassical building with a striking façade, columns and a staircase. The foreground reveals a symmetrically designed portico with a double-sheet portal. The shading suggests depth and conveys a sense of space. The detailed style reflects the draughtsman's artistic approach and emphasises the accurate reproduction of architectural elements. Source: Norbert Bittner (1786 -1851 ) Theaterdecorationen nach den Original Skitzen des k.k. Hof Theater Mahlers Anton de Pian, gestochen und verlegt von Norbert Bittner, um, 1818, No. 67 | Theater, Landscape, Architecture Keywords: classical building; architectural drawing; columns; staircase; portico; portal; symmetry; shading; sense of space; richness of detail; architectural elements; graphic sheet; artistic approach; drawing; perspective; depth effect; structuring, 19th century, Romanticism, Architecture, Austria, Vienna, Size: Paper: 17,5 cm x 21,8 cm (6,9 x 8,6 in), Plate: 13,2 cm x 15,5 cm (5,2 x 6,1 in)

Starting price  80 EUR

Lot 165 - A. DEVÉRIA (1800-1857), Quatre Heures Du Soir, around 1830, Lithography - Achille Devéria (1800 Paris - 1857 ibid.): Quatre Heures Du Soir, Mlle Laure Deveria, c. 1830, Lithography Technique: Lithography on Cardboard Inscription: At the lower part signed in the printing plate: "A. Devéria del.". At the lower part inscribed in the printing plate: "Lith. de Lemercier, à Paris. / 4 Heures du Soir / A Paris, chez Mme. Vve. Turgis, rue St. Jacques N. 16 / et a Toulouse rue St. Piome No. 36". Date: c. 1830 Description: "Quatre Heures du Soir" is part of the series of eighteen lithographs entitled "Les Heures du Jour", which Achille Devéria created in 1829. The artist based his designs on portraits of ladies from his immediate circle, such as the family and friends of Victor Hugo. The series shows young, elegant Parisian ladies in contemporary fashion between seven in the morning and five in the morning of the following day, engaged in a variety of activities: praying, riding, reading, painting, making music at the piano, at the theatre or dancing at a soirée until dawn. Les Heures du Jour can thus be seen as a combination of portrait, fashion illustration and guide to the rules of behaviour that applied in the world of young ladies of the upper middle class. In our sheet "Quatre Heures du Soir", the fourth hour of the evening, we see Devéria's sister Laure, like the brothers Achille and Eugène also an artist, in fine clothes painting watercolours. The detailed rendering of the lady's precious clothing, the texture of the fabric and the exquisite hair ornaments are particularly striking and testify to Devéria's particular finesse as a draughtsman. Source: Les Dix-huit Heures d'une Parisienne | print suite Keywords: Fashion, Paris, Genre, Drawing, 19th century, Biedermeier, Fashion, France, Size: Cardboard: 43,1 cm x 27,8 cm (17 x 10,9 in), Depiction: 27,0 cm x 21,3 cm (10,6 x 8,4 in)

Starting price  500 EUR

Lot 169 - M. DINKEL (1762-1832), Portrait of a woman, around 1800, Indian ink - Markus Dinkel (1762 Oak (Aargau) - 1832 Bern): The presence of antiquity, c. 1800, Indian ink Technique: Indian ink and Pencil on Paper Watermark: Coat of arms - Cross - Fleur-de-Lys with crown - Date: 18th century Inscription: Verso inscribed: "Dinkel Bern". Date: c. 1800 Description: This drawing by Markus Dinkel is an interesting hybrid: With a longing, latently erotic gaze, the young woman looks slightly past the viewer. The loosely tied hair, the loose strands at the nape of her neck and the subtle tilt of her head convey a dreamy liveliness that immediately casts a spell over the viewer. But a second glance at the sheet reveals a certain hardness to the facial features, something chiselled. And indeed, the broad cross-hatching on the cheek and neck look like chisel marks on a marble surface. At this moment, the young woman's gaze is transformed and we recognise the Medicean Venus as the model for this drawing. The right hand, somewhat hidden at the lower edge of the drawing and placed over the left breast, confirms this attribution. However, and this is the special feature of this drawing, it is not a simple copy of an antique, but a transformative approximation. Dinkel breathes life into the marble image in his drawing, literally bringing the cold stone to life. This animation in conjunction with the motif of the venus pudica opens up further possibilities for association, allowing us to recognise the portrait of a human counterpart in the facial features. Dinkel was not alone in using the posture of the statue to create a historical context for a real portrait. Raphael had already made use of this in his Fornarina (1) (2), even if there can hardly be any talk of pudica here, the young woman's hands reveal and emphasise more than they cover. Although this aspect of revealing concealment underlies all these depictions, Raphael expands it through the sitter's self-determined gaze. Dinkel takes a similar approach when he removes any chastity from the drawing through his deliberate gaze. This drawing also oscillates between ideal image and portrait and achieves a fascination precisely through this blurring, which repeatedly directs the viewer's gaze to the woman's facial features, whether she is an antique ideal or a human counterpart. ---- (1) La Fornarina, 1518-19, oil on wood, 87 x 63 cm, Palazzo Barberini, Galleria Nazionale d'Arte Antica, Rome, inv. no. 2333. (2) However, Raphael was not modelled on the Medicean Venus or the similarly designed Capitoline Venus, as both were only discovered in the 17th century. Verso: Pencil drawing of the same motif Keywords: Nude, Woman, Breast, Bust, Portrait, Drawing, View, Antique, Face, Hair, 19th century, Classicism, Portraits, Switzerland, Size: Paper: 40,7 cm x 28,8 cm (16 x 11,3 in)

Starting price  1200 EUR

Lot 181 - I. DUVIVIER (1758-1832), Bingen Mouse Tower and Ehrenfels Castle, around 1800, Watercolor - Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): Bingen Mäuseturm and Ehrenfels Castle Ruins, c. 1800, Watercolor Technique: Watercolor over Pen drawing on Paper Inscription: lower left numbered: "42.". Date: c. 1800 Description: Ignace Duvivier, originally called Noble of Vivier, began his artistic career in Rococo Paris as a battle painter. He was a pupil and later a workshop assistant of the famous battle painter Francesco Casanova. When political events in the wake of the French Revolution made it no longer advisable for noblemen to remain in Paris, Duvivier also left France with the stream of refugees. He first went to Dresden. There Giovanni Casanova, the brother of his teacher in Paris, taught at the then flourishing academy. In Dresden, Duvivier found his real field of activity in landscape painting. It was probably there that he met the still unknown patron for whom he drew views of castles and palaces. Our print is one of a series of views that he created in the years around 1800. Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Watercolour, Ink, Rhine, River, Rococo, Rhine, Middle Rhine, 19th century, Romanticism, Landscape, Germany, Size: Paper: 26,0 cm x 41,4 cm (10,2 x 16,3 in)

Starting price  2600 EUR

Lot 182 - I. DUVIVIER (1758-1832), Heidelberg Castle, around 1800, Watercolor - Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): The ruins of Heidelberg Castle, c. 1800, Watercolor Technique: Watercolor over Pen drawing on Paper Inscription: lower left inscribed by the artist's hand: "Heidelberg". lower left numbered: "84.". Date: c. 1800 Description: Ignace Duvivier, originally called Noble of Vivier, began his artistic career in Rococo Paris as a battle painter. He was a pupil and later a workshop assistant of the famous battle painter Francesco Casanova. When political events in the wake of the French Revolution made it no longer advisable for noblemen to remain in Paris, Duvivier also left France with the stream of refugees. He first went to Dresden. There Giovanni Casanova, the brother of his teacher in Paris, taught at the then flourishing academy. In Dresden, Duvivier found his real field of activity in landscape painting. It was probably there that he met the still unknown patron for whom he drew views of castles and palaces. Our print is one of a series of views that he created in the years around 1800. Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Watercolour, Germany, Castle, Landscape, France, 19th century, Romanticism, Landscape, Germany, Size: Paper: 25,9 cm x 41,6 cm (10,2 x 16,4 in)

Starting price  2600 EUR

Lot 183 - I. DUVIVIER (1758-1832), Albrechtsburg Castle in Meissen, around 1800, Watercolor - Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): Albrechtsburg Castle in Meissen, c. 1800, Watercolor Technique: Watercolor over Pen drawing on Paper Inscription: At the lower part inscribed by the artist's hand: "vue du chateau de Meissen cetoit autre fois […] la residence des Souveraines de la Saxe. maintenant la fabrique de porcelaine". lower left numbered: "72.". Date: c. 1800 Description: Ignace Duvivier, originally called Noble of Vivier, began his artistic career in Rococo Paris as a battle painter. He was a pupil and later a workshop assistant of the famous battle painter Francesco Casanova. When political events in the wake of the French Revolution made it no longer advisable for noblemen to remain in Paris, Duvivier also left France with the stream of refugees. He first went to Dresden. There Giovanni Casanova, the brother of his teacher in Paris, taught at the then flourishing academy. In Dresden, Duvivier found his real field of activity in landscape painting. It was probably there that he met the still unknown patron for whom he drew views of castles and palaces. Our print is one of a series of views that he created in the years around 1800. Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Watercolour, Ink, Meissen, River, Germany, Rococo, 19th century, Romanticism, Landscape, Germany, Size: Paper: 26,4 cm x 41,6 cm (10,4 x 16,4 in)

Starting price  2600 EUR

Lot 191 - I. DUVIVIER (1758-1832), Okehampton Castle bei Devon, Watercolor - Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): Okehampton Castle bei Devon, 19th century, Watercolor Technique: Watercolor and Pen drawing on Paper, mounted on Paper Inscription: At the lower part inscribed by the artist's hand: "Le chateau d’Okenhampton, situé dans le centre de la comté de Devon que a eté continuelement en la possession de la maison de Courtenage Comte de Devonshire, jusqu‘ à ce que Edouard IV s’en [?] cette famille etait restée atachée à la branche royale de Lancaster. Lorsque Henri VII monta au thrône d’Angleterre, ce chateau fut restitueé aux Courtenages, mais quand Henri Courtenage fut mit a mort pour Crime de [?], ce chateau fut [?] confisqué au profit de la couronne et son fils heridetaire y fut même mit en prison pour céla jusque [?] a la reine Marie [?] fit sortir et le restitua dans ses dignitées et tres biens de les ancêtres.". numbered: "95.", "39)" und "15". Date: 19th century Description: View of the ruins of the Norman castle north of Dartmoor in Devon, which has towered over the West Okement River since the 11th century. However, the remains of the fortress still visible today date from the 14th century. Duvivier shows us the ruins in a landscape enlivened by lively rural life. (Later, in the 19th century, artists such as William Turner and Samuel John Birch used the ruin as a motif in some of their works). Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Castle, Ruin, River, England, Great Britain, Landscape, Watercolour, Drawing, 19th century, Romanticism, Landscape, United Kingdom, Size: Paper: 25,2 cm x 41,5 cm (9,9 x 16,3 in)

Starting price  2600 EUR

Lot 192 - I. DUVIVIER (1758-1832), Kenilworth Castle bei Birmingham, Watercolor - Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): Remains of Kenilworth Castle near Birmingham, view from north-east, 19th century, Watercolor Technique: Watercolor and Pen drawing on Paper, mounted on Paper Inscription: At the lower part inscribed by the artist's hand: "Restes du Chateau de Kenilworth. Ce Chateau fut baté sous le rêgne d’Henry par Geoffroid de Clinton. Mais il ne resta pas longtemps dasn cette famille. Henri II en fit une Citadelle rédoutable et le donna ensuite à Simon de Montfort, comte de Leicester. Quand ce ce compte prit les armes contre son souverain légitime, ce Chateau deviant l’azile des nobles insurgés. Le Roy l’attaqua, lui livra plusieurs assauts sans succés. La famine l’obliga enfin a de rendre. Edouard III. donna dans ce Chateau un magnifique tournoi. Le comte Leicester reçu en en 1595 la Reine Elisabeth. La tour que l’on appele la tour de César est a plus ancienne do Chateau.". numbered: "21.", "40)" und "89". Date: 19th century Description: Duvivier's view of Kenilworth Castle shows us Lunn's Tower on the left, the great tower ("the Keep") behind it and Leicester's Gate House on the right. In the foreground, resting people and cattle. Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Castle, Ruin, England, Great Britain, Landscape, Watercolour, Drawing, 19th century, Romanticism, Landscape, United Kingdom, Birmingham, Size: Paper: 25,5 cm x 41,4 cm (10 x 16,3 in)

Starting price  2600 EUR