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

H. W. Fichter Kunsthandel - +496974389030 - Email

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Lot 203 - V. ALOJA (19th) after FERGOLA (*1768), Landscape near Naples with Caserta, 1806, Etching - Vincenzo Aloja (19th century) after Luigi Fergola (1768 - 1834 ): Landscape near Naples with baroque Caserta Castle, Reggia di Caserta, 1806, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Luigi Fergola dis dal vero / Vincenzo Aloja incise". At the lower part inscribed in the printing plate: "Veduta di Caserta disegnata dal Giardino Inglese [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 23". Date: 1806 Description: This depiction shows an idyllic landscape near Naples, centred by a detailed rendering of a group of deciduous trees. A tranquil mountainous landscape is visible in the background, complemented by architecture on the right-hand side of the picture, possibly a manor house. 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: Campania; baroque castle; Vesuvius; landscape; group of trees; mountains; manor house; idyll; architecture; engraving; graphic; art; nature; panorama; foliage; classicism; perspective; print; vegetation; horizon; clouds; sky; scenery, 19th century, Romanticism, Landscape, Italy, Size: Paper: 31,1 cm x 41,9 cm (12,2 x 16,5 in), Plate: 22,7 cm x 29,9 cm (8,9 x 11,8 in), Depiction: 17,5 cm x 25,9 cm (6,9 x 10,2 in)

Starting price  250 EUR

Lot 206 - V. ALOJA (19th) after FERGOLA (*1768), Veduta of Naples, 1806, Etching - Vincenzo Aloja (19th century) after Luigi Fergola (1768 - 1834 ): Veduta of Naples Gulf of Naples with smoking Vesuvius, 1806, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Luigi Fergola dis dal vero / Vincenzo Aloja incise". At the lower part inscribed in the printing plate: "Veduta di Napoli dalla parte di Mergellina [...] In Napoli presso Nicola Gervasi al Gigante di Palazzo No. 23". Date: 1806 Description: The artwork presents a detailed depiction of the lively coastal landscape on the Gulf of Naples. In the foreground, we recognise historical architecture and figures entering the scene, while the middle and background planes are enriched with urban buildings and a mountain silhouette. Cloud formations accentuate 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: Campania; Gulf of Naples; Vesuvius; Sorrento; Coastal landscape; Historical architecture; Figures; Urbanity; Mountain silhouette; Cloud formations; Work of art; Representation; Foreground; Middle ground; Background; Buildings; Richness of detail; Scenery; Sky; Revitalisation; Cultural history; Graphics; Perspective; Composition, 19th century, Romanticism, Landscape, Italy, Size: Paper: 31,1 cm x 41,8 cm (12,2 x 16,5 in), Plate: 22,4 cm x 30,2 cm (8,8 x 11,9 in), Depiction: 17,5 cm x 26,3 cm (6,9 x 10,4 in)

Starting price  250 EUR

Lot 211 - G. GIGANTE (1806-1876), Cave of Seiano (Posillipo), 1827, Etching - Giacinto Gigante (1806 Naples - 1876 ibid.): View of the sea from the hill of the Grotta di Seiano (Posillipo), 1827, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "Gigante". Inscribed by another person: "Fuori Grotta". lower left dated: "1827". Date: 1827 Description: The Gulf of Naples, with its azure waters and volcanic rocky landscape, has long attracted artists and pleasure travellers to its shores. In addition to Naples and Sorrento, it was the small coastal town of Posillipo in particular that Romantic artists favoured in the 1930s. To the west and east, the slopes there offer stunning views of Naples, Mount Vesuvius and the islands and peninsulas near the coast. Depending on the location, a forest landscape and the architecture of a small settlement could even come into view, as in this brochure, while the sweeping bay of the famous gulf remains visible on the horizon. A group of landscape artists centred around Anton Smick van Pitloo (1790-1837), whose pupil was Giacinto Gigante, settled in Posillipo and founded the so-called "Posillipo School". The paintings of this group were characterised by their detailed and realistic depiction of the landscape in the Gulf region. One looks in vain for heroic exaggerations in the vedute of the "School of Posillipo", and instead finds harbour views with fishermen and country folk going about their daily lives. In view of our etching, which, apart from the prominent friar in the foreground, is sparsely populated but contains many scenic details, it is hardly surprising that Gigante also worked as a topographer during his training. The precise understanding of topographical features, the location and course of coasts and roads, as well as the accurate depiction of towns and landscape markers, were important foundations for the artist's work, whose vedutas became increasingly picturesque and romantic as he grew older. Keywords: Naples, Posillipo, Grotto, Sea, Italy, Etching, 19th century, Romanticism, Landscape, Italy, Size: Paper: 27,3 cm x 37,7 cm (10,7 x 14,8 in), Plate: 22,2 cm x 29,0 cm (8,7 x 11,4 in), Depiction: 18,4 cm x 26,1 cm (7,2 x 10,3 in)

Starting price  500 EUR

Lot 212 - L. BERGER (*1800) after GIRODET-TRIOSON (*1767), Portrait of a woman, 1825, Lithography - Léonard-François Berger (around 1800 Parisunkn. - 1872 Chalon-sur-Saône) after Anne-Louis Girodet-Trioson (1767 - 1824 ): Portrait of a woman in a light-coloured robe in a landscape, 1825, Lithography Technique: Lithography on Paper Inscription: lower left signed in the printing plate: "L Berger". At the lower part inscribed in the printing plate: "Lithographie d'apres un croquis de Girodet par L. B. son Eléve. Impr. lith. de Senefelder". lower left dated: "1825". Date: 1825 Description: On our sheet, the artist Léonard-François Berger, who was later active primarily in Burgundy, explicitly identifies himself as a pupil of Girodet-Trioson, who died in 1824. In doing so, he draws attention to a side of his teacher that was only duly rediscovered in the course of the Girodet exhibition at the Louvre in 2005. While the history painter was celebrated for works such as the visually stunning Ossian cycle and the Chateaubriand-inspired Burial of Atala, his late work emphasises his high quality as a sensitive portraitist. The model for the lithograph belongs to the studies surrounding the portrait of Madame Reisert (1823), which appears in a sketch from 1819 against a landscape background. In contrast to the representative formulae there, the model in our study appears in the mode of deshabillé and is extremely flirtatious. This creates a combination of intimacy and 'nature' that was typical of the type of female portrait in an open landscape coined by David around 1800, but which is given new accents here by the close-up view and the dusk. Berger translates the sinuous beauty lines of the figure and the chemise dress flowing around her into lines and scraped bands that overlay the shading hatching and achieve an almost autonomous expressive value. This creates a sensitive and feminine atmosphere from which the gaze and gestures create a close relationship with the male counterpart. Keywords: Empire, beauty, lady, fashion, costume, hairstyle, youth, 19th century, Classicism, Portraits, France, Size: Paper: 42,2 cm x 33,9 cm (16,6 x 13,3 in), Depiction: 29,9 cm x 22,0 cm (11,8 x 8,7 in)

Starting price  500 EUR

Lot 217 - H. AUBRY-LECOMTE (*1787) after HERSENT (*1777), The children of the Duke of Berry, 1822, Lithograph - Hyacinthe-Louis-Victor-Jean-Baptiste Aubry-Lecomte (1787 Nice - 1858 Paris) after Louis Hersent (1777 Paris - 1860 ibid.): The children of the Duke of Berry, 1822, Lithography Technique: Lithography on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "Hersent pinx. - Bonnemaison direxit - Aubry-Lecomte delineavit 1822". At the lower part further inscription: "S. A. R. Mgr le Duc de Bordeaux - S. A. R. Mademoiselle - Imp. lith. de Villain". Date: 1822 Description: Louise Marie Thérèse stands on a small chair and holds the hand of her brother Henri d'Artois, Duke of Bordeaux. The painting's political significance as a portrait of a ruler is due to the absence of the actual regent. The father of the two children, Charles-Ferdinand d'Artois, Duke of Berry, was murdered seven months before Henri's birth by Pierre Louis Louvel, a saddler in the royal stables, on 13 February 1820 in front of the Paris Opera. Louvel wanted to end Bourbon rule in France with this assassination, but created a martyr who now symbolised the Restoration in France. His posthumous successor Henri d'Artois, the enfant du miracle, became Charles X's successor after his abdication following the July Revolution, although he was unable to remain in France. After the death of Charles X, Henri was again proclaimed the rightful king of France by the Bourbon loyalists and after both 1848 and 1870 he was to ascend the throne again as Henry V, but this failed. The masterly graphic depiction of the Infante shown here is therefore particularly interesting because it celebrates the continuation of the reign after the assassination of the Duke of Berry. The comparison with the Christ child in the stable suggests itself and the fixated gaze prefigures a claim to power that is to be honoured. The painter Louise Hersent (1777 Paris - 1860 ibid.) studied under Jean-Baptiste Regnault and became a celebrated portrait and history painter. He was a member of the Institut de France and was appointed professor at the École des Beaux-Arts. Keywords: Children, Genre, Bourdeaux, Bourbon, France, Interior, Family, Revolution, 19th century, Biedermeier, Portraits, France, Size: Paper: 43,1 cm x 31,7 cm (17 x 12,5 in), Plate: 32,8 cm x 26,7 cm (12,9 x 10,5 in)

Starting price  900 EUR

Lot 218 - F. HOHE (*1802) after HESS (*1798), Farewell to St Boniface, 1843, Lithography - 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  1000 EUR

Lot 221 - A. HOFFMANN (*1810) after HOFFMANN (*1776), Portrait of Julius von Voß, after E. T. A. Hoffmann, Etc - August Hoffmann (1810 Elberfeld - 1872 Berlin) after E.T.A. Hoffmann (1776 Königsberg - 1822 Berlin): Portrait of Julius von Voß, after E. T. A. Hoffmann, 19th century, Etching Technique: Etching on Paper Inscription: inscribed at the bottom of the plate: "Muthmaßliches Bild des Julius Voß", inscribed and signed below: "gez v E.T.W. Hoffmann rad v. A. Hoffmann" Date: 19th century Description: This etching by the Düsseldorf-trained graphic artist August Hoffmann reproduces a drawing by E. T. A. Hoffmann, now lost, which he created during his time in Bamberg between 1809 and 1813. Hoffmann met the writer Julius von Voß in Glogau, where he had been transferred due to some unpopular reform proposals in the military. Even though Voß probably enjoyed a dissolute life and a dubious reputation, Hoffmann seems to have felt a spiritual closeness. Like Hoffmann himself, Voss was active in many of the arts, painting, writing and composing. The two met again in Berlin in 1807. However, the drawing itself was only created during a cheerful evening in Bamberg with the publisher and friend Carl Friedrich Kunz, at which Voss' comedy La retraite pour les Dames was read. After the roaring laughter at the obscene humour of this "farce in one act" had subsided, Hoffmann answered Kunz's question about Voss's personality with a quick portrait drawing from memory, hence the addition "presumably". August Hoffmann ultimately created the present etching from that drawing for the five-volume publication E.T.A. Hoffmann's Erzählungen aus seiner letzten Lebensjahren (E.T.A. Hoffmann's Tales from the Last Years of his Life) in 1839. Our copy appears to be a separate print outside of the book edition, which is characterised by a clearer line drawing and still visible engraving samples in the margin. Keywords: 19th century, Romanticism, Portraits, Germany, Size: Paper: 14,3 cm x 10,9 cm (5,6 x 4,3 in), Depiction: 13,7 cm x 9,8 cm (5,4 x 3,9 in)

Starting price  1500 EUR

Lot 257 - J. EGAN (*1799) after JONES (*1812), Fighting Orientals on the brink, Mezzotint - James Egan (1799 County Roscommon - 1842 ) after Samuel John Egbert Jones (around 1812 - 1849 ): Fighting Orientals on the precipice of a deep gorge, 19th century, Mezzotint Technique: Hand colored Mezzotint on Paper Inscription: At the lower part signed in the printing plate: "Painted by S. J. E. Jones / Engraved by J. Egan". At the lower part inscribed in the printing plate: "London. Published by Relfe and Fletcher Cornhill". Date: 19th century Description: The artwork shows a dramatic scene in the open air in which two figures are depicted in hand-to-hand combat. The aggressor, in traditional oriental dress, is attacking from above, while the defender, also in oriental garb, appears to be falling. A third, female figure in the background observes the confrontation. Richly detailed and colourful garments contrast with the gloomy, natural background. Keywords: artwork; drama; battle scene; Orient; traditional clothing; aggressor; defender; third figure; observation; richness of detail; colourfulness; contrast; natural background; scenery; posture; interaction; tension; narration; robes; open air; Mongolia; Turkey; Orient; Orient; fairy tale; 1001 Nights, 19th century, Romanticism, Military, Turkey, Size: Paper: 44,3 cm x 33,7 cm (17,4 x 13,3 in)

Starting price  250 EUR

Lot 265 - F. WOLF (19th) after KUNIKE (*1777), Königssee near Salzburg, Lithography - Franz Wolf (19th century) after Adolph Friedrich Kunike (1777 Filovitz/Greifswald - 1838 Vienna): Landscape at Königssee near Salzburg with ferry boat, 19th century, Lithography Technique: Hand colored Lithography on Paper Inscription: At the lower part signed in the printing plate: "Kunike del. / Lith. von F. Wolf". At the lower part inscribed in the printing plate: "SALZBURG Der Königs See. 1. Ansicht". Date: 19th century Description: The graphic shows an idyllic landscape with a wide river in the foreground, on which a raft filled with loads is floating. Behind the river rises a detailed hilly landscape with lush vegetation and grouped trees in various autumnal colours. In the background, monumental-looking mountain ranges dominate the scenery. Small houses nestle against the slopes, indicating human habitation. The depiction testifies to an accurate power of observation and a closeness to nature in the composition. Keywords: Landscape painting; river; raft; mountains; hilly landscape; vegetation; trees; autumn; houses; idyll; flora; fauna; historical graphics; perspective; depth; composition; depiction of nature; settlement; closeness to nature; attention to detail, 19th century, Romanticism, Landscape, Austria, Salzburg, Size: Paper: 33,9 cm x 44,6 cm (13,3 x 17,6 in), Depiction: 25,3 cm x 35,0 cm (10 x 13,8 in)

Starting price  180 EUR

Lot 266 - L. MARIN-LAVIGNE (*1797) after LALLEMAND (*1716), Napoleon Bonaparte with monocular, Lithography - Louis Stanislas Marin-Lavigne (1797 Paris - 1860 ibid.) after Jean-Baptiste Lallemand (1716 Dijon - around 1803 Paris): Portrait of Napoleon Bonaparte as a general with monoculars, 19th century, Lithography Technique: Lithography on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "L'allemand pinxt. / Marin Lavigne lith.". At the lower part inscribed in the printing plate: "Napoléon / Paris, publié par Jeannin, Place du Louvre, 20. / Herausgegeben von F.C.Vogel in Frankfurt S./M.". Date: 19th century Description: In this half-length portrait, Napoleon Bonaparte is depicted as a general and commander, prominent but at the same time forlorn. As a silent observer of a battle, his focussed gaze is distracted by an event to his left. Taking the telescope from his eye, the experienced tactician follows a turn of battlefield fortune that was to have devastating consequences for him. Retrospectively, the portrait artist Conrad L'Allemand, who is best known for his portraits of the royal family of Hanover, was evidently concerned with the rise of Napoleon and the decline of his power after the Battle of Waterloo in 1815. This portrait shows the once mighty Emperor of the French in a tense posture with slumped shoulders, the epaulettes of his uniform roughly displaced and the medals of the Legion of Honour and the Order of the Iron Crown proudly worn on his chest shamefacedly concealed by his hand and the cuff of his coat. In the right background, the cavalry of the Grande Armée rides through the gunpowder vapour of Prussian artillery and disappears like shadows in the mist. In this portrait of Napoleon, the artist, who lamented the spread of photography, especially towards the end of his creative period, provides an impressive example of the way in which painting and graphic art can carry a meaningful content beyond the lifelike depiction of a person, which can often only be recognised in finely accentuated details. Keywords: Napoleon Bonaparte; half-length portrait; general; commander; battle; telescope; concentrated gaze; tactician; fighting skill; Battle of Waterloo; Conrad LAllemand; royal family of Hanover; rise of Napoleon; decline of power; Emperor of the French; uniform; epaulettes; badge of honour; Legion of Honour; Order of the Iron Crown; gunpowder; Prussian guns; Grande Armée; cavalry; fog; painting; graphic; photography; meaningful content; details, 19th century, Biedermeier, Portraits, France, Size: Paper: 66,9 cm x 43,6 cm (26,3 x 17,2 in), Depiction: 40,5 cm x 32,3 cm (15,9 x 12,7 in)

Starting price  1500 EUR

Lot 268 - K. LOEILLOT-HARTWIG (*1798), King Louis-Philippe I, Lithography - Karl Loeillot-Hartwig (1798 Szczecin - 1841 Paris): King Louis-Philippe I on horseback, 19th century, Lithography Technique: Lithography on Paper Inscription: Lower right signed in the printing plate: "Loeillot". At the lower part inscribed in the printing plate: "I. Lith. de Gihaut frères éditeurs, - Boulevard des Italiens N° 5 / Louis-Philippe Ier. Roi des Français". Date: 19th century Description: While Karl Loeillot-Hartwig, known primarily as a lithographer, had not only contributed to the cult of the exile with his print The Emperor Ploughs a Furrow (ca. 1823), but also admonished the connection between good government and the pre-revolutionary demand for agrarian reforms, in this lithograph he provides an apotheosis of the so-called Citizen King. Louis-Philippe I rides over the barricades of the July Revolution of 1830, which brought him to power, surrounded by soldiers and ordinary citizens cheering him on. Although a few agitated expressions are reminiscent of the past unrest, the mass of the people make gestures of homage. Loeillot heightens this scene to an epiphany of the king by precisely contrasting the horse and rider with more freely drawn and coarsely hatched areas. The statue of Athena looking down from a podium also appears significant. Indeed, the extent of the monarch's symbolic exaggeration can only be understood by recourse to classical pictorial formulae. While the Roman emperor rode over the bodies of defeated enemies, here it is the new king who, as the guarantor of order and prosperity, triumphs over the signs of disorder, and this under the eyes of Athena, the patron goddess of ancient virtuous heroes. Person: Depicted: Bürgerkönig; King Louis-Philippe I., France (1773 Paris - 1850 Claremont House, Esher, Surrey) Was French king in the so-called July Monarchy from 1830 to 1848. He is also known as the Citizen King (French Roi Citoyen or Roi Bourgeois). His official title was "King of the French" and no longer "King of France and Navarre", which the French kings since Henry IV had borne. Keywords: France, Ancien Régime, military, king, horseman, uniform, infantry, battlefield, 19th century, Biedermeier, Portraits, France, Size: Paper: 54,2 cm x 42,0 cm (21,3 x 16,5 in), Depiction: 44,7 cm x 36,4 cm (17,6 x 14,3 in)

Starting price  900 EUR

Lot 272 - W. MARTIN (1772-1851), Folding picture with three motifs, Copper engraving - William Martin (1772 - 1851 ): Folding picture with three motifs, religious and picture story, 19th century, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: At the lower part signed in the printing plate: "W Martin Inventor of Perpetual Motion & Exhibited in the same in[...]". Inscribed in the printing plate: "Unbekannt (18.Jhd), Klappbild mit drei Motiven, Kunstwerk Historisch undefined Druckgraphik Unbekannt (18.Jhd), Klappbild mit drei Motiven, Kunstwerk Historisch undefined 79 Klappbild mit drei Motiven Klappbild mit drei Motiven, Religiös und Bildergeschichte 57 Unbekannt (18. Jahrhundert) Cain the first of men by birth Bring a Offering with his Brother Cain brings the first fruits of the Earth Turn up and see the other. The Lion row'd his flowing main, And curls display his fiery breast He rampant breaks out through disdain Turn up and see a stranger beast. But see what Providence has done The Child is safe the Eagle flown His heart now after Gold doth run Turn down and see what there is shown.". Date: 19th century Description: The painting presents a three-part, horizontally divided composition showing various allegorical scenes. On the left is a figure, apparently engaged in agricultural work, standing next to an altar on which a flame is blazing. In the centre, a powerful lion's tail with a raised mane and open mouth illustrates dynamic expression. On the right, a child is depicted under a large geometric form, presumably a stretched net, in a rural scene. A coat of arms, flanked by two lions facing each other, and text can be found in the lower register. All three motifs can be opened upwards and downwards to reveal further motifs and texts from the narrative. Keywords: Allegory; Composition; Figure; Agriculture; Altar; Flame; Lion; Dynamics; Child; Geometry; Net; Rural; Scene; Crest; Depiction of a lion; Sky; Analogy; Nature; Symbolism; Engraving, 19th century, Romanticism, Religious, United Kingdom, Size: Paper: 12,0 cm x 22,0 cm (4,7 x 8,7 in), additional specification: Unfolded: 23.7 x 22 cm

Starting price  150 EUR

Lot 273 - B. JULIEN (*1802) after MAURIN (*1793), King Louis Philippe and family, around 1830, Lithography - Bernard Romain Julien (1802 Bayonne - 1871 ibid.) after Antoine Maurin (1793 Perpignan - 1860 Paris): The Royal Family of France, Louis Philippe, c. 1830, Lithography Technique: Lithography on Paper Inscription: At the lower part signed in the printing plate: "Lith. par Julien d'après N. Maurin / Lith. de Lemercier, rue du Four S. G. No. 55.". Inscribed in the printing plate: "A Paris, chez Bulla, rue S'. Jacques No. 38. / Famille Royale.". Date: c. 1830 Description: The French lithographer Nicolas-Eustache Maurin created a large number of portraits of famous contemporaries in addition to book illustrations and some erotic depictions. Surrounded by his closest family, the "Citizen King" Louis-Philippe I from the House of Bourbon is portrayed here. He is grouped with his wife Maria Amalia of Naples-Sicily and the nine sons and daughters of the royal couple above two crossed flags and in front of insignia at the sides. After the profound political and social upheavals of the French Revolution and the July Revolution in 1830, it was of great importance for the monarch to be portrayed as being close to the bourgeoisie. The emphasis on the family in this lithograph, as well as the reference to Louis-Philippe's military achievements for France, place him closer to the people, despite the grouping resembling a divine Olympus. However, the ambiguity of this depiction is also reminiscent of Louis-Philippe's initially liberal government, which later showed increasing ambitions to strengthen the ancien régime again. Keywords: Louis-Philippe I, Citizen King, Bourbon, Naples-Sicily, France, Nobility, Princes, King, Family, Ancien Régime, 19th century, Biedermeier, Portraits, France, Size: Paper: 34,2 cm x 45,2 cm (13,5 x 17,8 in), Depiction: 28,0 cm x 41,5 cm (11 x 16,3 in)

Starting price  450 EUR

Lot 274 - A. MAURIN (1793-1860), Anton Raphael Mengs, Lithography - Antoine Maurin (1793 Perpignan - 1860 Paris): Portrait of the painter Anton Raphael Mengs (1728-1779), 19th century, Lithography Technique: Lithography on China paperPaper Inscription: Lower right signed in the printing plate: "Maurin". At the lower part inscribed in the printing plate: "Imp. lith. de Chabert, rue Cassette, No. 20. / Raphael Mengs.". Date: 19th century Description: The portrait of Anton Raphael Mengs drawn on stone by Antoine Maurin shows the painter with a penetrating gaze and delicately indicated wrinkles around his eyes and nose. It is easy to recognise the model for the lithograph in the artist's Berlin self-portrait, which was painted in the last years of his life, probably in 1778. The exhaustion of the court artist, who travelled widely between Dresden, Rome and Madrid and was extremely productive throughout his life, is effectively indicated in the portrait of himself. The portrait is considered to be one of the "most impressive and personal documents of self-representation ever", as it shows the unadorned traces of age as well as the mastery of technique achieved only through age and years of practice. The model for this lithograph is dated to the last years of Anton Raphael Mengs' life. It shows the artist at the age of around 50, after he had moved to Rome in 1777. Serious illnesses increasingly burdened him, but hardly kept him from working. Finally, the death of his wife in April 1778 took its toll on the artist's ailing mind and health. Sensitively captured by Maurin, the lithograph also reveals the artist's strength of character, the proud demeanour of the sought-after court artist and, last but not least, his clear, observant gaze. Keywords: Lithograph, Portrait, France, 19th century, Classicism, Portraits, Germany, Size: China paper: 48,5 cm x 32,0 cm (19,1 x 12,6 in), Depiction: 24,7 cm x 22,5 cm (9,7 x 8,9 in)

Starting price  900 EUR

Lot 278 - C. PFEIFFER (1769-1829), Portrait of J. C. Lavater (1741-1801), 1800, Stipple engraving - Carl Hermann Pfeiffer (1769 Frankfurt on the Main - 1829 Vienna): Portrait of Johann Caspar Lavater (1741 Zurich - 1801 Zurich), 1800, Stipple engraving Technique: Stipple engraving on Paper Stamp: Lower right Blank stamp, Lugt no.: 994. Johann Friedrich Frauenholz (1758-1822). Nrnberg. 19th century Inscription: Signed and inscribed "Gemahlt von Oelenhainz. | Engraved by C. H. Pfeiffer. | Lavater. | Nuremberg by Johann Friedrich Frauenholz. 1800." Date: 1800 Description: The bust portrait of Johann Caspar Lavater (1741 Zurich 1801) shows him in a jacket and waistcoat with his shirt collar open, his gaze directed into the distance. He is holding a book in his right hand, his index finger between the pages. At the back, an open curtain provides a glimpse of the books on the shelf. The philosopher and writer became particularly famous for his four-volume work "Physiognomische Fragmente, zur Beförderung der Menschenkenntniß und Menschenliebe", which was published between 1775 and 1778 and contains instructions on how to characterise people by their physical features and facial features. Person: Depicted: Johann Caspar Lavater (1741 Zurich - 1801 Zurich) Swiss theologian, philosopher and writer of the Enlightenment. Known for his work on physiognomy "Physiognomische Fragmente, zur Beförderung der Menschenkenntniß und Menschenliebe" (Physiognomic Fragments, for the Promotion of Human Knowledge and Human Love), according to which he explains that human character traits are reflected in profile and physiognomy. Keywords: Book, Writer, Germany, Switzerland, Printmaking, Portrait, Physiognomy, 19th century, Romanticism, Portraits, Germany, Size: Paper: 46,9 cm x 34,8 cm (18,5 x 13,7 in), Plate: 38,7 cm x 27,7 cm (15,2 x 10,9 in), Depiction: 27,7 cm x 22,5 cm (10,9 x 8,9 in)

Starting price  280 EUR

Lot 279 - F. PIRANESI (*1758) after PIRANESI (*1720), Interior of a house in Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Interior of a house in Pompeii Commercial building at the entrance to the town, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 12/1804". At the lower part inscribed in the printing plate: "Vue Interieure d'une Boutique dépendante de la derniere maison placée à droite en entrant dans la Ville de Pompeia". Date: 1804 Description: The artwork shows a scene in a simple interior with two figures, one drawing, the other looking, and a stove. Various objects complete the detailed depiction. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Pompeii; Campania; Vesuvius; artwork; interior; figures; oven; lighting; shadow; richness of detail; composition; scene; objects; mood; contrast; engraving; historical; study; observation; working life; everyday scene, 19th century, Romanticism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 46,1 cm x 62,5 cm (18,1 x 24,6 in), Plate: 42,2 cm x 57,3 cm (16,6 x 22,6 in), Depiction: 37,4 cm x 55,7 cm (14,7 x 21,9 in)

Starting price  600 EUR

Lot 280 - F. PIRANESI (*1758) after PIRANESI (*1720), At the tomb of Mamia, Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Ustrinum, burial site at the tomb of Mamia on the via dei Sepolcri, Pompeii, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'An 12/1804". At the lower part inscribed in the printing plate: "Vue intérieure de links'ustrinum, du tombeau de Mamia, [...]". Date: 1804 Description: The picture presents a detailed engraving showing architectural reliefs on the tomb of the priestess Mamia. Stone faces and geometric patterns indicate the cultural significance of the burial site. Framed by vegetation, the work evokes an atmosphere of a sublime past. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Engraving; Antiquity; Architecture; Relief; Stone faces; Geometric patterns; Cultural significance; Vegetation; Sublimity; Past; Richness of detail; Stone wall, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 68,0 cm x 49,0 cm (26,8 x 19,3 in), Plate: 57,2 cm x 42,5 cm (22,5 x 16,7 in), Depiction: 52,2 cm x 40,7 cm (20,6 x 16 in)

Starting price  600 EUR

Lot 283 - F. PIRANESI (*1758) after PIRANESI (*1720), Profile of the Ionic Column Order, 1805, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Profile of the Ionic column order with details and sections Architectural image of the tomb of Mamia, 1805, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Grave par P. Piranesi". At the lower part inscribed in the printing plate: "Profils en grand de links'ordre Ionique, qui forme la partie supérieure du tombeau de Mamia". Lower right dated: "L'an 13/1805". Date: 1805 Description: The meticulous depiction shows architectural elements, including a frieze with acanthus decoration, an Ionic capital, detailed drawings and geometric design sketches. The composition is precise and clearly structured. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Via dei Sepolcri; Tomb of Mamia; Architectural detail; Frieze; Acanthus decoration; Ionic capital; Column; Design; Sketch; Geometry; Precision; Classicism; Drawing; Art history; Architecture; Structure; Plan; Design; Architecture; Ornamentation;, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 64,9 cm x 46,6 cm (25,6 x 18,3 in), Plate: 56,7 cm x 38,8 cm (22,3 x 15,3 in), Depiction: 53,5 cm x 37,8 cm (21,1 x 14,9 in)

Starting price  250 EUR

Lot 291 - F. PIRANESI (1758-1810), Decorations and fittings from Pompeii, 1806, Etching - Francesco Piranesi (1758 Rom - 1810 Paris): Decorations and fittings from Pompeii, door knockers, hinges and door hinges, 1806, Etching Technique: Etching on Paper Inscription: lower left signed in the printing plate: "Dessiné et Gravé par F. Piranesi L'an 1806". At the lower part inscribed in the printing plate: "Mains, heurtoirs, gonds et pentures en bronze qui ont servi aux portes des maisons à Pompeia". Date: 1806 Description: A detailed engraving shows a collection of metal fittings and decorative elements from the ruins of Pompeii in a symmetrical arrangement. In the centre are door handles in the shape of lions, flanked by geometrically shaped objects and decorative elements. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Engraving; metal fittings; architectural elements; symmetrical arrangement; door handles; lion's head; geometry; decoration; art history; craftsmanship; study; richness of detail; illustration; historical; object collection; design elements, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 65,0 cm x 92,5 cm (25,6 x 36,4 in), Plate: 54,0 cm x 65,5 cm (21,3 x 25,8 in), Depiction: 48,9 cm x 63,4 cm (19,3 x 25 in)

Starting price  600 EUR

Lot 293 - F. PIRANESI (*1758) after PIRANESI (*1720), Atrium der Surgeon's House, Pompeji, 1805, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Atrium of the Casa del Chirurgo, Pompeii, landscape of ruins in ruined Pompeii with figures, 1805, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 13/1805". At the lower part inscribed in the printing plate: "Vue de la Cour ou Cavedium Corinthien de la maison la plus remarquable après celle du Chirurgien indiquée [...]". Date: 1805 Description: View of the ruins of the Casa del Chirurgo in Pompeii. Two figures of shepherds with sheep are depicted in the foreground, adding to the grandeur of the site and emphasising the transience of human creativity. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Antiquity; ruins; columns; vegetation; engraving; art history; decay; archaeology; transience; perspective; sky; clouds; figures; animal; tree; light and shadow; contrast; tranquillity; history; sublimity;, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 65,0 cm x 94,0 cm (25,6 x 37 in), Plate: 51,5 cm x 72,9 cm (20,3 x 28,7 in), Depiction: 47,3 cm x 71,4 cm (18,6 x 28,1 in)

Starting price  500 EUR

Lot 294 - F. PIRANESI (*1758) after PIRANESI (*1720), Interior of a house in Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Interior of a house in Pompeii Landscape of ruins in destroyed Pompeii with figures, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 12/1804". At the lower part inscribed in the printing plate: "Vue Interieure d'une Boutique dépendante de la derniere maison placée à droite en entrant dans la Ville de Pompeia". Date: 1804 Description: This etching shows an interior scene with two figures, one drawing, the other with a blank stare. The picture is dominated by darkness, emphasised by light-flooded accents and a wealth of detail in the deep black and white depiction. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Etching; Interior; Figures; Reading; View; Darkness; Light; Accents; Richness of detail; Black and white; Representation; Art; Composition; Texture; Shadow; Contrast; Drama; Scenery; Image analysis; Art history, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 65,0 cm x 93,0 cm (25,6 x 36,6 in), Plate: 42,7 cm x 57,2 cm (16,8 x 22,5 in), Depiction: 37,4 cm x 55,4 cm (14,7 x 21,8 in)

Starting price  600 EUR

Lot 295 - F. PIRANESI (*1758) after PIRANESI (*1720), Tavern on a street in Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Tavern on a street in Pompeii, landscape of ruins in destroyed Pompeii with figures, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 12/1804". At the lower part inscribed in the printing plate: "Vue de la Taverne de Pompeia, qui a pour enseigne un Priape. L'on appercoit l'interieur par les deux entrées". Date: 1804 Description: The artwork shows a detailed depiction of a landscape of ruins in the centre of Pompeii. In the foreground, two figures interact with a horse; behind them, a path lined with the remains of ancient architecture opens up with a quadriga rushing towards it. The atmosphere is characterised by the play of light and shadow and the dramatic cloudy sky. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Ruins; figures; architecture; antiquity; path; light; shadow; cloudy sky; artwork; interaction; atmosphere; richness of detail; perspective; scenery; engraving; cultural history; archaeology; decadence; historicism, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 67,9 cm x 97,4 cm (26,7 x 38,3 in), Plate: 57,0 cm x 78,3 cm (22,4 x 30,8 in), Depiction: 53,7 cm x 77,3 cm (21,1 x 30,4 in)

Starting price  500 EUR

Lot 296 - F. PIRANESI (*1758) after PIRANESI (*1720), Tomb of Mamia, Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Ustrinum, burial site at the tomb of Mamia on the via dei Sepolcri, Pompeii, landscape of ruins in destroyed Pompeii, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 12/1804". At the lower part inscribed in the printing plate: "Vue intérieure de links'ustrinum, du tombeau de Mamia, [...]". Date: 1804 Description: The picture shows a detailed engraving depicting architectural reliefs on the tomb of the priestess Mamia. Stone faces and geometric patterns indicate the cultural significance of the burial site. Framed by vegetation, the work evokes an atmosphere of a sublime past. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Etching; Ruins; Façade sculptures; Trees; Exotic flora; Cultural heritage; Historical scenery; Art history; Archaeological site; Wall; Treetops; Engraving; Reverent depiction, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 93,3 cm x 64,6 cm (36,7 x 25,4 in), Plate: 57,2 cm x 42,8 cm (22,5 x 16,9 in), Depiction: 52,2 cm x 41,1 cm (20,6 x 16,2 in)

Starting price  600 EUR

Lot 297 - F. PIRANESI (*1758) after PIRANESI (*1720), Main gate at the Tomb of Mamia, Pompeii, 1805, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Main gate at the Tomb of Mamia on the Via dei Sepolcri, Pompeii, landscape of ruins in ruined Pompeii with figures, 1805, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 13/1805". At the lower part inscribed in the printing plate: "Vue Extérieure de la porte principale du tombeau de Mamia [...]". Date: 1805 Description: The artwork shows a massive ancient ruin under the radiant rays of the sun. A figure in the foreground rests on the ground, leaning on a long pole. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Ustrinum; Tomb; Antiquity; Ruin; Sunbeams; Exploration; Figures; Nature; History; Reconquest; Work of art; Radiance; Transience; Architecture; Light; Shadow; Tree; Wall; Sky; Perspective; Silence; Antiquity;, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 93,0 cm x 64,7 cm (36,6 x 25,5 in), Plate: 56,9 cm x 42,5 cm (22,4 x 16,7 in), Depiction: 51,9 cm x 41,1 cm (20,4 x 16,2 in)

Starting price  600 EUR

Lot 298 - F. PIRANESI (*1758) after PIRANESI (*1720), Street at the entrance to Pompeii, 1804, Etching - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): Street at the entrance to Pompeii near the surgeon's house Landscape of ruins in destroyed Pompeii with figures, 1804, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 12/1804". At the lower part inscribed in the printing plate: "Vue de toutes les Boutiques de droite et de gauche [...]". Date: 1804 Description: The graphic shows an ancient street in the ruins of Pompeii, flanked by the ruins of columns and the remains of buildings and commercial premises. Individual figures move on the stones, immersed in the silence of past splendour. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: graphics; antiquity; street; column ruins; building remains; figures; stones; past; stillness; splendour; art history; architecture; ruins; historical; representation; depth perspective; attention to detail; cultural heritage, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 49,2 cm x 80,6 cm (19,4 x 31,7 in), Plate: 43,3 cm x 74,0 cm (17 x 29,1 in), Depiction: 38,4 cm x 70,0 cm (15,1 x 27,6 in)

Starting price  600 EUR

Lot 300 - F. PIRANESI (*1758) after PIRANESI (*1720), In the cella of the Temple of Isis, Pompeii, 1805, Etch - Francesco Piranesi (1758 Rom - 1810 Paris) after Giovanni Battista Piranesi (1720 Mogliano Veneto - 1778 Venice): In the cella of the Temple of Isis, Pompeii, landscape of ruins in ruined Pompeii with figures, 1805, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Dessiné par J. B. Piranesi / Gravé par F. Piranesi L'an 13/1805". At the lower part inscribed in the printing plate: "Vue interieure du Pronao, et de la cellule du Temple d'Isis". Date: 1805 Description: Depiction of a classical interior with imposing columns, ruins and masonry architectural elements inside the pronaos with a view of the cella of the Temple of Isis at Pompeii. A single figure, presumably clad in historical garments, sits reading in a corner. The play of light and shadow emphasises the spatial depth. Source: Giovanni Battista Piranesi (1720 Mogliano Veneto-1778 Venice) Antiquités de Pompeïa, 1804/1835 | print suite, Mythology, Architecture Keywords: Classicism; Ruins; Columns; Architecture; Reading figure; Historical; Interior; Light and shadow; Spatiality; Walls; Antiquity; Contrast; Silence; Study; Scholarship; Timelessness; Education; Ambience, 19th century, Classicism, Architecture, Italy, Pompeii (Campanian), Size: Paper: 64,8 cm x 93,0 cm (25,5 x 36,6 in), Plate: 50,4 cm x 72,0 cm (19,8 x 28,3 in), Depiction: 47,9 cm x 71,2 cm (18,9 x 28 in)

Starting price  600 EUR
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Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
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