Adolph von Menzel Art

Los Angeles-based artist, Laura Owens' horse prints often incorporate her characteristic style, which challenges traditional assumptions about figuration and abstraction . Her work f...

Edgar DEGAS (after) Client Arriving in a Whorehouse Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great art se...

Edgar DEGAS (after) Whorehouse Scene : The Yellow Saloon Original etching and aquatint On Japan paper 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great ar...

Jacques BOULLAIRE Mythological Beauty Original etching Printed signature in the plate On Arches vellum 30 x 25 cm (c. 12 x 10 inch) Printed in Haasen workshop in 1943 Excellent con...

Artist: Roberto Matta, Chilean (1911 - 2002) Title: Epaisser de haut-mer from Hom'mere II - L'Eautre Year: 1974-75 Medium: Aquatint Etching on Japon, Signed and numbered in pencil Ed...

Hand signed, dated and numbered by the artist. EP edition. Image size: 11.75 x 8.75 inches. Artwork is in excellent condition. Certificate of authenticity included. All reasonable o...

"Roberto Fabelo (Cuba, 1950) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 17.6 x 23.6 in. (44.6 x 59.8 cm.) Edition of 200 ID: FAB-301"

Jean-Emile Laboureur (1877-1943), Chez la Fleuriste, etching, 1919-1920, unsigned [with initials and date in the plate]. Reference: Laboureur 192, second state (of 2), from the editi...

"The Urchin (Le Gamin)" is an original etching by Edouard Manet. It depicts a young boy holding a basket with his long-haired dog. This is the second and fina...

Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout. - Strong, precise impression. Frame a little bit rubbed and with two small damages. About the artwork The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight. During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906. After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image. The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life. Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...

"Celestine, Young Girl and Client," 1968 is an aquatint from Picasso's 347 Series. The image size is 3.5 x 5 inches and the framed size is 18.25 x 19.5 inches. Signed 'Picasso' lower...

This original etching on Chine appliqué to wove paper is signed in pencil by the artist “Henri Matisse.” at the lower right margin. The work is also hand numbered 4 from the edition ...