Georges Braque

Der gelbe Vogel

FRIEDRICH KING Vienna 1857 – 1941 Vienna “From the Saga of the Nibelungs” Oil on canvas 159 x 205 cm Signed u.l. Reverse: Munich Secession exhibition label Provenance: Modern Gallery Heinrich Tannhauser, Munich Secession, Munich Private collection, Vienna Friedrich König...

"Afternoon in Abbazia" Oil on canvas on cardboard 34.5 x 60 cm Kolhammer & Mahringer Archive Leontine von Littrow WVLL No. 338 Literature: Barta, Dubrovic, Kolhammer & Mahringer Li...

"Piazza San Marco after the rain" Oil on canvas 60,5 x 90 cm Signed u.r. Reverse: Label Collezione Monti, Modena eppe Ciardi was born in Venice in 1875, the son of the painter Gugl...

Nok culture Sitting 500 B.C. - 200 A.D. Terracotta Height 60 cm TL expert opinion of the University of Vienna Prof. Dr. Rudolf Erlach Provenance: Private collection Nice

Standing angel with banner Flemish Around 1450/60 Sandstone 60 x 21 x 15 cm This museum figurine shows a standing angel with a banner in his right hand and a small box in his left. The youthful, ageless figure wears a coat held together with a triangular, floral brooch in front of the chest over a long robe. The angel’s gaze is directed forward, his head tilted slightly to the left. The elongated face is sculpted: the large almond-shaped eyes with accentuated upper and lower eyelids are alertly open and sharp eyebrows lead directly into the root of the nose. The straight nose above the pronounced mouth completes the idealized oval face of the angel and his calm, internalized facial expression. What is particularly remarkable, however, is the magnificent curls, which are only partially tamed by a simple headband. As if puffed up by the wind, the hair, which is sometimes streaked in parallel, sometimes wildly twisted and richly curled, stands out dynamically from the ears. The tilted head with these sideways protruding waves of hair thus conveys an immediate impression of movement. The physicality of the sculpture is expressed particularly through this organic, lifelike movement of the loosened hair. The lively overall impression of the figure is further enhanced by the multiple rolled banners that the angel presents to the viewer. The outstretched palm of the right hand appears both intimate and confidential as well as mystically revealing. This banderole winds in gentle curves in front of the figure’s body, throws a fold over the second attribute in the angel’s left hand and falls downwards in a loose manner. The volute-shaped rolled up end of the banner clearly shows the fine texture of the banner and at the same time draws the viewer’s attention to the small cube-shaped box that the angel is holding in its slender, long-limbed fingers. The cube is decorated with a Gothic quatrefoil motif, which is often seen in the architectural tracery of windows, but was also often used to decorate caskets and other small treasures. The sweeping gestures in the presentation of the attributes suggest three-dimensionality, in contrast to the tubular folds at the base of the neck and the intricate draperies in flat and multiple overlapping garment sections. The soft curves of the folds give the impression that the clothing is made of a heavy fabric that falls diagonally down the front and is laid in several bowl folds under the right hand. Overall, the sculptural work testifies to the highest artistic skill, which emphasizes the virtuosity of sculpture in its precious and representative overall impression. The memorable characteristics recognizable here can be seen in comparable pictorial works from Utrecht around the middle of the 15th century, when sculptural art – especially stone sculpture – was characterized by a remarkably high quality. Particularly noteworthy is the accentuated Utrecht head type with an elongated oval face, almond-shaped eyes with heavy lids and dense, vividly protruding tufts of hair framing the head. For example, the figure is comparable to a capital of an angel on the east side of the rood screen of the Joriskerk in Amersfoort (province of Utrecht) from the second quarter of the 15th century. Not only the physiognomy and hair, which in the comparative example stand somewhat more horizontally to one side, but also the garment puff above the girdle are similar. Even more related motifs, such as the cleverly placed bowl folds, can be found on the limestone figure...

ROMAN MADONNA “Sedes Sapientiae” Auvergne Around 1175/80 Pine wood Polychrome remains Height 44 cm This depiction of the Madonna is a masterfully carved, extremely early figure made...

Geoffrey Key. English ( b.1941 ). Horse with Rising Sun, 1989. Ink and Watercolor Wash. Signed & Dated. Image size 13.6 inches x 9.7 inches ( 34.5cm x 24.5cm ). Frame size 20.5 inch...

Geoffrey Key. English ( b.1941 ). Horse and Rider I, 1988. Ink and Watercolor Wash. Signed & Dated. Image size 10 inches x 6.7 inches ( 25.5cm x 17cm ). Frame size 16.1 inches x 12....

Walter Spies was one of the first Europeans to settle in Bali after a stay in Java. He greatly contributed to the discovery and popularization of Balinese...

John Aldrich Ruthven American Painter Bison in a Snow Blizzard Watercolor and Gouache on Paper signed lower left

David B. Smith Gallery is proud to present Cosmos, by Laura Ball, the artist’s fourth solo exhibition with the gallery. Featuring 18 new watercolor paintings, Ball’s deep connection ...

David B. Smith Gallery is proud to present Cosmos, by Laura Ball, the artist’s fourth solo exhibition with the gallery. Featuring 18 new watercolor paintings, Ball’s deep connection ...