Richard Pokorny

Beethoven

c. 1935

Francis Coradal-Cugat, 'Richard Wagner', etching, c. 1928. Signed, titled, and numbered ‘2/50’ in pencil with the artist’s inked fingerprint beneath his signature. A fine, richly ink...

'Harlem Beauty' ('Negress', 'Negro Girl', 'Black Girl'), woodcut, 1930, edition 30, Rose lll.42. Signed, dated, numbered '1 - XXX', and titled 'Negress' in ...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

Paul Landacre, 'Verdi', wood engraving, 1936, edition 60, (only 14 printed), Wien 188. Signed, titled, and numbered '10/60' in pencil. A fine impression, on cream, laid Japan paper, ...

Anton Schutz, 'Delaware Bridge' (Delaware, New Jersey), etching, c. 1927. Signed in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on BFK Rives, cream wove paper, the full sheet with margins (1 1/2 to 2 1/8 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 11 7/8 x 8 7/8 inches (302 x 225 mm); sheet size 15 7/8 x 12 1/4 inches (403 x 311 mm). ABOUT THIS IMAGE The Benjamin Franklin Bridge, originally named the Delaware River...

Anton Schutz, 'L' Abside de Notre Dame' (The Apse of Notre Dame), etching, 1st state, c. 1927. Signed, titled, and annotated 'First State', in pencil. A supe...

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...

Jim Dine, Self Portrait drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate one from Self Portraits (1971) portfolio ...

Jim Dine, Self Portrait 1971 drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate seven from Self Portraits (1971) port...

Renée Mauperin; Ten Etchings, Complete Set for the Illustrations to the Novel by Edmond and Jules de Goncourt 1882 Paris: G. Charpentier et Cie, 1882-1884. The complete set of ten ...

Paris: Gazette des Beaux Arts, 1892. Etching and dry point on cream laid paper. 7 9/16 x 5 7/8 inches (191 x 148 mm), full margins. Signed in pencil, lower right margin. A dark, ink...

A very poignant depiction. A H Marsh is one of the English artists who devoted themselves to the representation of pathetic subjects. The gravity of this painter's idea is always to ...