Georg Balthasar Probst

London

1995

Detailed hand colored landscape lithograph of a stone bridge in the countryside by an unknown European artist. Signed "Clym" in the lower right corner. Nu...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark navy blue ...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark violet blu...

This large, horizontal diptych woodcut print on paper evokes the peacefulness of ocean waves depicted in shades of cobalt blue with purple undertones and the artist's addition of wat...

This large, horizontal diptych of two woodcut prints on paper evokes the peacefulness of ocean waves depicted in shades of blue, bright royal blue offset by soft, pale blue tones. Th...

Days Like These i [2021] limited_edition Screenprint with watercolour pencils Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these i is the first in a series of coastal print editions seeking to connect to memories of moments away from our busy urbane lives. For the aesthetic of reverie and reflection, a vintage colour palette is used to capture the feeling of Halcyon Days. This series capture a stillness and a sense of calm where we can pause and catch a breath. This small limited edition of 15 prints is hand printed with multiple layers, using blends and experimental techniques to achieve a piece that is reminiscent of a painting. For contemporary, fine-art print-maker, Emma Reynolds...

Claude Lorrain landscape with the temptation of Saint Anthony .Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Country...

Claude Lorrain landscape. Richard Earlom aquatint c1810 by Lorrain, Claude le/Earlom, Richard Countryside with hunters and a deer , by Richard Earlom after Claude Lorrain. Richard ...

Claude Lorrain landscape with the God Hermes, Amor and the Muses. Richard Earlom aquatint c1817 by Lorrain, Claude le/Earlom, Richard Countryside with ...

A fine hand coloured 18th Century engraving after the original by Piranesi (Rome 1743), published by Danisy, Paris. Presented in period gold leaf frame, under glass. Piranesi was born in Venice, in the parish of S. Moisè where he was baptised. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, Matteo Lucchesi, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced him to the art of etching and engraving of the city and its monuments. Giuseppe Vasi found Piranesi's talent was much greater than that of a mere engraver. According to Legrand, Vasi told Piranesi that "you are too much of a painter, my friend, to be an engraver." After his studies with Vasi, he collaborated with pupils of the French Academy in Rome to produce a series of vedute (views) of the city; his first work was Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna. From 1743 to 1747, he was mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice. It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and antiquarian engravings. He then returned to Rome, where he opened a workshop in Via del Corso. In 1748–1774, he created an important series of vedute of the city which established his fame. In the meantime Piranesi devoted himself to the measurement of many of the ancient buildings: this led to the publication of Le Antichità Romane de' tempo della prima Repubblica e dei primi imperatori ("Roman Antiquities of the Time of the First Republic...