Hans Juergen Diehl

Beobachtung

1973

Hans Juergen Diehl "Protest:" 1972 Etching Edition: 19/25, Size: 33 ½ x 25 ½, Signed in pencil, Ketterer #5 Hans-Jürgen Diehl (born May 22, 1940 in Hanau ) is a German painter of th...

Hans Juergen Diehl "The Golden Egg", 1972 Etching Edition: e.a.3 Size: 33 ½ x 25 ½, Signed in pencil, Ketterer Hans-Jürgen Diehl (born May 22, 1940 in Hana...

Klaus Staeck “Frembarbeiter-Situationen”, 1973 Silkscreen and collage, Edition: 6/50, 23 ½ x 19 ½ Signed in red ball point pen, From portfolio, Fremdarbeiger-Situationen COA provided...

Manuel Ayaso Artist with Models Etching on wove paper Year: 1970 Size: 6.5x7.25 on 15x13in Edition: 50 Signed and numbered by hand COA provided Ref.: 924802-1357 Manuel Ayaso is known for Mod figure, genre, sculptor. Painter; Sculptor Born in Riviera, Spain in 1934. Studied at Newark School of Fine and Industrial Arts. His work is in the Whitney Museum of American Art, Worcester Museum and the Pennsylvania Academy of Fine Arts.

Marino Marini Due Pomone Plate X from "Tout pres de Marino" Aquatint Etching on Arches paper Year: 1971 Lithograph Size: 10.25x7.45 on 22x15in Edition: 95 Not individually signed (o...

Friedrich Meckseper Feuer Etching on Velum, BFK Rives Year: 1973 Size: 7.2x8.8 on 14.8x13.4in Edition: 200 Signed, dated and numbered by hand Drystamp lower left COA provided Ref.: 924802-1356 Friedrich Meckseper (born June 8, 1936 in Bremen ; † June 5, 2019) was a German painter, graphic artist, draftsman, designer and author. Friedrich Meckseper grew up in Stuttgart . The building researcher Cord Meckseper is his older brother. From 1952 to 1955 he completed his apprenticeship as a mechanic with the planned professional goal of becoming a locomotive engineer. Then he first began studying at the State Academy of Fine Arts in Stuttgart under Karl Rössing , in order to continue this from 1957 to 1959 at the Academy of Fine Arts in Berlin under Wolf Hoffmann . The first of his etchings also date from this period. In addition to his artistic work, Meckseper was also interested in technology. He designed and built a steamboat from 1972 to 1974 and crossed the Alps five times in a gas balloon between 1978 and 1986. Meckseper was influenced by, for example, Anton Heyboer...

Albert Ernst (1909 Fronhofen - 1996 Hamburg), View of a Coastal Town, etching, 30 x 37 cm (picture), 45 x 50.5 cm (frame), signed in pencil lower right "Albert Ernst", framed under g...

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...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

"Marine Chantier de Construction", plate VIII from the 18th century "Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers" (Encyclopedia, or a Systematic Dict...

A spray of tulips printed in vibrant cerulean blue emerges at the center of this floral etching by Jim Dine. The artist’s line drawing conveys the swaying of spring tulips in a sligh...

César Baldaccini Original Etching Dimensions: 56.5 x 40 cm Signed and Numbered Edition of 99 It is the only original etching ever made by César. César Baldaccini was born in Marseille in 1921. At the age of 12, he left the school to help his father, cooper. At 15 years old, he studied at the Art college of Marseille. He took evening drawing teachings, and then was interested in sculpture until 1939. In 1942, César received a scholarship and went to Paris. He studied ten years at the School of Beaux-Arts; he worked in the studios of Gaumont and Alfred Jeanniot and was named “Grand Massier” (teacher) of this school. At that time, he was living in the same house as Alberto Giacometti. In 1944, short of resources, he went to Marseille, then return to Paris, next year. With the 50s, he made discovered his work through his first exhibitions. One of its works (« The fish ») obtained a place in the Museum of Modern Art in Paris (1955). Henceforth, he exhibited ceaselessly, participating in numerous “Salons” in France and abroad. César received numerous prices there. He got personal exhibitions everywhere (Japan, the United States, Holland, France, Italy, etc.). Important retrospectives came, later. In 1970, he was named professor a foreman to the School of Beaux-Arts in Paris. During his all life, Caesar was stimulated by « the love of the profession » and by an extraordinary will to innovate. The humor of the man did not miss and was noticed through his work. Pablo Picasso was his major reference, also Alberto Giacometti, Germaine Richier, Pablo Gargallo and Julio Gonzales...