Luigi Kasimir

London, Holborn House

1920

This artwork titled "Bonn, Bethovenhaus" c. 1970 is an color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed, titled, dedicated and resigned a second time in pencil by the artist. The plate mark (image) size is 12 x 9.10 inches, framed size is 21.65 x 17.65 inches. Custom framed in a dark wood frame, with green matting. It is in excellent condition. About the artist. Josef Eidenberger was born in 1899 in the little town of Goisern, Austria,he began his artistic career as a landscape painter. In 1923 he enrolled in the famed Graphic Academy of Art in Vienna and studied under Professor Alfred Cossman. His recognized talent brought him many commissions from city officials and members of the business communities throughout Europe, especially in Austria and Germany. In 1973 after visiting the United States for the first time he created a series of California etchings...

This artwork titled "Scene Galante au XVIII eme Siecle" c.1930 in an aquatint on paper by French artist Antoine Calbet, 1860-1944. It is hand signed in pencil at the lower right corner. The plate mark (image) size is 9.60 x 12.25 inches, framed size is 16.5 x 19.5 inches. Framed in a wooden gold and black frame, with fabric matting. The artwork is in very good condition, frame and matting are in good condition, frame have some minor dents, matting have a small point of discoloration at upper left. About the artist. Antoine Calbet is the son of Marie Singlande and Jean-Baptiste Calbet, landowner at a place called Gaubert. Trained at the School of Fine Arts in Montpellier by Édouard - Antoine Marsal (1845-1929) where he learned drawing, this illustrator and illustrator, a painter of nudes and gallant scenes, was very popular during his lifetime. Antoine Calbet is then admitted to the School of Fine Arts in Paris in the studio of Alexandre Cabanel (1823-1889). He was a member of the admission jury of the Beaux-Arts from 1913 to 1930. He began to exhibit in 1880 and became a member of the Society of French Artists . He was the friend of his compatriot of Lot-et-Garonne, the President of the Republic Armand Fallières , for which he drew the menus of his meals, which made him known in Parisian salons.He illustrated works by Jean Lorrain , Henri de Regnier , Pierre Loues 3 and for periodicals like L'Illustration . Selected museums and collections Dallas , Dallas Museum of Art : Back woman...

Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...

Bernhard Pankok (1872 Münster - 1943 Baierbrunn), General Wilhelm von Blume, 1915, aquatint etching, 34 x 29.5 cm (sheet size), 26 x 22 cm (plate size), signed in the plate at upper left, in pencil at lower right and dated in pencil at lower left. - At lower left old collection stamp, at the right broad margin with a small spot, otherwise very good condition. About the artwork The 1915 aquatint etching of General Wilhelm von Blume is based on a 1912 oil painting in the LWL-Museum für Kunst und Kultur in Münster. A second oil portrait of the general by Pankok is in the Staatsgalerie Stuttgart. When Pankok painted the first oil portrait in 1912, the general had already been retired for 16 years. It is therefore a retrospective portrait. Accordingly, the orientation of his head is such that he is looking back in both the oil painting and the etching. Without fixing on anything in particular, he looks thoughtfully inwards and reflects on his life. Uniformed and highly endowed, it is his military activities in particular that he is reviewing attentively and, as his gaze reveals, quite critically. Pankok has literally written the sum of his experiences on Wilhelm von Blume's face: The physiognomy is a veritable landscape of folds, furrows, ridges and gullies, all the more striking against the flat background. It is clear that each of the medals was also won through suffering. However, by breaking the boundaries of the picture, his bust appears as an unshakable massif, which gives the general a stoic quality. The fact that the design of the portrait was important to Pankok can be seen from the different versions, the present sheet being the third and probably final revision, which Pankok dates precisely to 18 February 1915. Compared with the previous state, the light background now has a dark area against which the sitter's face stands out, the dark background in turn combining with the uniform to create a new tension in the picture. Pankok's taking up of the portrait of the high-ranking military veteran and its graphic reproduction can also be seen in relation to the First World War, which had broken out in the meantime. In the face of modern weapons of mass destruction, Wilhelm von Blume's warfare and military writings were relics of a bygone, more value-oriented era. About the artist After studying at the Düsseldorf Art Academy from 1889 to 1891 under Heinrich Lauenstein, Adolf Schill, Hugo Crola, and Peter Janssen the Elder, Bernhard Pankok went to Munich in 1892, where he worked primarily as a graphic artist for the two major Jugendstil magazines "Pan" and "Jugend," which established his artistic success. Through this work he met Emil Orlik, with whom he had a lifelong friendship. In 1897, he exhibited his first furniture, and in 1898, together with Richard Riemerschmid, Bruno Paul and Hermann Obrist...