Franciszek Tepa Art

Two Daffodil Stems English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The dr...

Dog-tooth violet Flower English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: T...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Apple English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 15 x 13 inches Provenance: private collection, England. Condition: The drawing is in ...

Cornelius Pearson b.1805 – d.1891 & Thomas Francis Wainewright, b.1794 – d.1883 English Crymlyn Bog And Neath River Estuary Swansea Bay, 1872 Watercolor. Signed & Dated 1872. Image size 7.9 inches x 15.9 inches ( 20cm x 40.5cm ). Frame size 15.2 inches x 23 inches ( 38.5cm x 58.5cm ). Available for sale; this original painting is by Cornelius Pearson with a significant contribution by Thomas Francis Wainewright, and is dated 1872. The watercolor is presented and supplied in a sympathetic pinned corner frame dating from the 1950s or 1960s (which is shown in these photographs), mounted and behind glass. This antique painting is in very good condition whilst the frame is in a good condition, commensurate with age. It is ready to hang and display. The watercolor is signed by both artists and dated 1872 lower left. The mount is titled and attributed by hand. Cornelius Pearson was an accomplished landscape artist. He was born in Boston, Lincolnshire but moved at an early age to London where he became apprenticed to a copper-plate engraver. He soon abandoned engraving however to devote himself to being a watercolor painter. Although he lived in London throughout his career, he travelled for his work to paint in Kent, Ireland, Wales, the Lake District, Scotland, on the Thames and Devon. He was a regular exhibitor at the Suffolk Street Galleries, and also exhibited at the Royal Academy, the New Watercolor Society and elsewhere. He was one of the oldest members of the Langham...

Wood Anemone English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The drawing ...

Peach Flower English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The drawing ...

Well-drawn early 19th century French watercolor of a family in a wooded landscape. Framed in an antique water gilded frame, which might be the original to the piece. The quality o...

Sweet Violet Flower English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The ...

A woman must remain fashionable, even when at the beach. This late 19th-century gouache and watercolor piece, likely created between 1885 and 1900, depicts two lively young women in ...

Violet Oakley (1896-1961). Portrait of a Baby, ca. 1930. Conte crayon and pencil on laid paper, sheet measuring 11 x 14 inches. Framed measurement: 13.5 x 16.5 inches. Signed low...

English School, 18th century Pen and black ink with gray wash on cream laid paper, 9 1/4 x 5 inches (238 x132 mm). 1/4 inch repaired loss, top center, to the left of the figure’s h...