David Hockney

Maurice Payne David Hockney seated black and white portrait drawing of young man

1971

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...

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...

YOUNG WOMAN BRAIDED HAIR is an original, hand drawn stone lithograph (not digitally or photo reproduced) limited edition print by the artist Raphael Soyer - Russian/American Social Realism Painter, 1899-1987. Printed in NYC 1976 by master printer Joseph Kleineman from a hand drawn lithography stone using traditional hand lithography techniques on archival Arches printmaking paper 100% acid-free rag. YOUNG WOMAN BRAIDED HAIR is a sensitive, realist female portrait drawing depicting a moody girl with dark braided hair wearing a notch neck blouse; her facial expression appearing serious and contemplative as she looks slightly downward. Fine impression - has the feel of a graphite drawing. Print size - 18 x 14 inches, unframed, very good condition, hand signed in pencil by Raphael Soyer, from the master printers private collection. Year published - 1977 Edition size - 150, plus proofs Printer - J K Fine Art Editions Co. NY Raphael Soyer was a Russian-born painter. He was the twin to the artist Moses Soyer (1899-1974) and the older brother of the painter Isaac Soyer...

Portrait of Liz is an original hand drawn lithograph by Raphael Soyer, the renowned Russian-born American realist painter, draftsman, and printmaker. Printed on archival Arches paper...

This rare original lithograph print is from 1899. It is one sheet of a huge 24 sheet poster that was created in 1899 to announce Buffalo Bills Wild West. The size of the complete 24 sheet poster would have been approx. 10 feet tall by 20 feet wide and would have been posted on barns and buildings in 1899 to promote Buffalo Bills Wild West before it would come to towns. This 1 sheet of the 24 sheet lithograph is in such good condition because it was found in the Lithographers draws of the print shop that created the poster. It is black and white because it was a proof that was used to create the final layout of the color poster. It indicates on the image that it is No. 2 Buffalo Bill San Juan Hill 1899, so it would have been the 2nd poster down on the left side of the large total image comprised of 24 separate sheets all unique to create the full image. You can see the two black printed lines on the left side indicate where the edge of the poster would have been. We have never seen a complete image of this rare 1899 poster. When we first acquired this rare proof over 20 years ago, we contacted the The Ringling Museum in Florida that houses a large Buffalo Bill poster...

Unknown Artist Feed Everyone, ca. 1969 Offset lithograph poster Frame included: held in original vintage metal frame Measurements: Framed 27.5 inches vertical by 16 inches vertical b...

"Pennsylvania" is a limited edition poster print by the acclaimed UK artist Ed Fairburn. This captivating piece, released in 2022, is reproduced onto 100% 290gsm cotton rag premium M...

"Keswick" is a limited edition poster print by the acclaimed UK artist Ed Fairburn. This captivating piece is reproduced onto 100% 290gsm cotton rag premium archival Moab paper with ...

"Western Front" is a limited edition poster print by the acclaimed UK artist Ed Fairburn. This captivating piece, released in 2024, is reproduced onto 100% 290gsm cotton rag premium ...

"Colorado Geological" (2023) is a limited edition poster print by the acclaimed UK artist Ed Fairburn. This captivating piece is reproduced onto 100% 290gsm cotton rag premium archiv...