swiss painter (25 resultados)

Booklet - Unbound Pages. Condición: Very Good. 6 pages. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Preserved in a modern card cover, prepared for practicality - an unassuming but serviceable presentation that favours function over finery. Size: 13 x 20 cms. Category: Annual Register; Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on.

Single Sheet. Condición: Very Good. No Jacket. Alfred EDWARD CHALON Ilustrador. First Edition. original mezzotint, , engravings, printed circa 1840. Mounted and ready to frame. A fine opportunity to purchase an attractive and decorative engraving A SPEAKING LIKENESS, AFTER A PAINTING BY THE SWISS PORTRAIT PAINTER ALFRED EDWARD CHALON [1780-1860] , MEZZOTINT PORTRAIT, CIRCA 1840.

Stipple engraving, from Biographical Magazine, fine delicate portrait with biographical information in letterpress below. stain on surround,

Engraving, Basle, 1784, trimmed and laid down,

E.Postkarte (Kunstpostkarte seines Gemäldes VERKÜNDIGUNG aus "Christ ist geboren") mit Datum, Unterschrift signiert 24.12.53 - an den Schweizer Kaufmann, Journalist und Schriftsteller ADOLF GALLIKO (1892-1959) in Zürich (dito : E.Brief mit Ort, Datum, Unterschrift signiert Wattwil (im Toggenburg, Schweiz), 23.9.1952 1 S. 4° - an denselben betreffend Möglichkeiten einer Zusammenarbeit BEILAGEN: E.Briefumschlag + Grosser Zeitungsartikel über ihn "Der Maler der Passion" , Euro 65,-) (dito : 2 weitere E.Briefe mit O,D,U. signiert Wattwil 1952 + 1957, je 2 S. 4° mit Beilage : Durchschrift des Briefes von Adolf Galliko an ihn, je Euro 65,-).

Der Maler Willy Fries von Kurt Dietrich, Evangelische Verlagsanstalt, Berlin 1954 , mit 59 Abbildungen von Werken des Künstlers, davon sechs farbig - eigenhändig signiert.

DIE PASSION gemalt von Willy Fries. Zwingli-Verlag Zürich, 1. Auflage 1945, ERSTAUSGABE, gebunden (Hardcover kl. 8°, Halbpergament), farbig illustriert, gut erhalten, im Original-Schuber - limitierte, nummerierte VORZUGSAUSGABE, in Tinte eigenhändig signiert und nummeriert # 73/150.

8vo. 4 pp. With envelope. To Albert Adès. He had Après le cubisme sent to him, written in collaboration with Ozenfant. "The ideas expressed therein are the result of many life experiences, and we have obliged ourselves to write them with clarity, perhaps even with a certain dryness and a deliberate lack of lyricism that may offend you. However, there are undeniable things to be said at this time, to crystallize around the splendid torch of our era, so many devoted wills that desire serious work but feel too isolated. I know you to be very passionate; I am, at the bottom, sometimes vehement and, under apparent calm, violent. But I do not admit that art should be wanton when in all human activity, discipline and rigor are indispensable, factors of beauty, order, and harmony. From there to putting it in painting? At the very least, some guidance is required. Perhaps you do not agree at all. It would be very agreeable to us if a strong and orderly artist like you judged our work, even if you were to clearly oppose our ideas. I believe controversy is useful on this subject, and I would be very happy to see you develop these ideas in the Grande Revue or elsewhere.".

Hardcover. Condición: Very Good. 1st Edition. n.d. [1765]. First edition. Sm. 4to. In contemporary tan quarter-calf spine gilt, and with french marbled paper sides. Engraved pictorial title, engraved "Liste des Caracteres" and 23 very fine engraved plates depicting French and Italian actors (many with original tissue guards), each interleaved with contemporary manuscript descriptions, bound in. A note on the front pastedown gives the writer as " Mde. Langland de Rille"(?) Ink collector's/seller's stamp to verso ffep. Holland House bookplate also to pastedown, with usual crayon markings to bookplate. (An early Jacobean country house in Kensington, known as the Whig social epicentre of the early 19th century). During his visit to Paris in 1765, David Garrick was presented with a collection of miniature portraits by Faesch of actors at the Comedie-Francaise. The artist pursued the connection, arriving in London in May 1768 with an introduction to England's greatest actor and within two years saw the first series of his theatrical portrait engravings published by Sayer. He went on to portray many actors and actresses of the Comedie-Francaise and Comedie-Italienne in Paris and Drury Lane Theatre in London. Scarce with OCLC locating four coloured copies and four uncoloured copies in libraries and institutions worldwide. Brunet III, 1676 - Pas dans Béraldi. - Cohen p. 1066. - Colas 3073. "Fäsch is the first artist to be said with certainty to have drawn his subjects directly from actual performance." (Harvard Theatre Collection) Literature: Maria Ines Aliverti, The Miniatures of Jean Louis Faesch and their Printed Versions. A Theatrical Paper Museum, 2011.

See their separate entries in the Oxford DNB. On 12.5 x 9.5 cm piece of light-grey paper, cut from. The large signatures are written one on top of the other on one side of the paper, with the only other writing the date at the head: 'Alfd. Edwd. Chalon / Jno. Jas Chalon'. On the reverse is the beginning of an application to the Artists' General Benevolent Institution: 'Gentlemen, Your Petitioner Elizth. Debh. Bone, only Daughter of the late Mr Bone R.A. certifieth that her necessities remain unabated since last year, & she most respectfully intreats your charitable consider[ation] [.]'. Likewise see the entry for Henry Bone, RA, in the Oxford DNB. See Image.

49 loose doublesheets of thick untrimmed 'Papier de [B.F.K.] Rives a la Forme' with watermark (= 193 [3] pages in total) with 25 half- and wholepage original colour-lithographs. - Loose in titled white cardboards illustrated dustjacket in a strong illustrated and spine-titled half-vellum folder which again lies in the publisher's illustrated stiff cardboard-slipcase; large-4to.(ca. 36 x 26 x 6 cm; ca. 2,8 kg.). *** [ERWEITERTER SOMMERVERKAUF / EXPANDED SUMMER-SALE: um über 30% REDUZIERTER PREIS bis Montag, den 20.07.2026 / PRICE-REDUCTION of over 30% until Monday, July 20; ursprünglicher Preis / originally EUR 180,-] --- FIRST EDITION, LARGESIZE FRENCH-STYLE BIBLIOPHILE ORIGINAL, #94 of 199 numbered copies (#22-#220) on '[B.F.K.] Rives a la Forme'-paper (total edition 220+XXX copies); WITH ALL OF GENOUD'S DELICATE LITHOGRAPHS, SIGNED BY THE ARTIST AND THE PUBLISHER at the end of the colophone: ''La présente Édition de 'Lettres de mon Moulin' a été réalisée par André Gonin . . . La couverture et les vingt-cinq lithgraphies original en couleurs de Nanette Genoud, artiste peintre, `Lausanne, ont été dessinées sur la pierre par l'artiste et tirées sur les presses d'Hermann Kratz, Arts graphiques, à Zurich, avec le concours d'Émile Matthieu. Toutes les pierres ont été poncées après le tirage. . .''. - LETTRES DE MON MOULIN is a collection of short stories by Alphonse Daudet first completely published in 1869. ''The stories are all told by the author in the first person, typically addressing a Parisian reader. The author, having relocated his home from Paris, recounts short bucolic tales about his new life in Provence as well as his trips to Corsica and French Algeria. . . It is cherished by many French, particularly in the South, for the picture it paints of the local culture.''(wikipedia) --- Corners of the slipcase somewhat rubbed, original top of slipcase replaced by plain grey cardboard; FOLDER AND CONTENT IN BEST CONDITION.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Der Zweck der Kunst ist nicht nur auffallen zu wollen! Die Kunst sollte wieder deutsch werden, dem Wesen u. Volksempfinden der b[r]eiten Schichten des deutschen Volkes entsprechen. Die Streber sind die verachtungswürdigsten u. schädlichsten Menschen, sie sind ein Hindernis für die Strebsamen, die doch wohl das Gute u. Wahre anstreben []". - Starting with Rokoko interiors, Bachmann specialized in landscape and genre painting from the 1880s, his stays in the Swiss mountains, where he travelled to cure a lung ailment, inspiring many of his works. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Hiermit erfülle ich Ihren Wunsch []". - A pioneer of modern art in Switzerland, Amiet was a member of Gauguin's Pont-Aven school, as well as of the expressionist artists' society "Brücke" in Dresden. His work comprises more than 4,000 paintings, of which more than 1,000 are self-portraits. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo. 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Hochachtend grüsst Sie []". - Balmer travelled Paris, the Netherlands, London and Rome before returning to Switzerland in 1892 to create portraits and several murals on the fronts of the Basel city hall, as well as the monumental "Landsgemeinde" fresco in the Bern Bundeshaus in collaboration with his friend Albert Welti (1862-1912). - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Verliere als bildender Künstler nie die engsten Beziehungen zur wichtigen Natur [.]". - Specializing in portraiture, genre and nude painting, Ritter was appointed professor for portraiture at the Karlsruhe Academy in 1888, taught at this institution until 1919, and was awarded a gold medal at the "Internationale Kunstausstellung" in Berlin in 1896. - A few tiny ink spots. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau. - Born into a prominent family of Swiss artists, Rüdisühli specialized in landscapes, allegories and portraiture. He operated painting schools in Stuttgart and Basel from 1888 to 1898, when he moved to Munich, where his paintings proved quite popular with the Bavarian nobility. - A few tiny ink spots. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau. - A co-founder of the graphic artists' association "Die Walze", Meyer-Basel specialized in landscapes inspired by the Munich neighborhood, Lake Constance and Hesse. He created pastels and oil paintings as well as lithographs, etchings and numerous postcards. - Traces of postmarks; small ink spots. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - A member of the Munich Secession and the "Eidgenössische Kunstkommission", Lehman specialized in landscape painting, inspired by Swiss scenery as well as by his tours of Northern France, Frauenchiemsee and Sylt, and created frescoes for serveral public buildings in Switzerland, including the Zurich Stadthaus. - Traces of 2 postmarks. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Komme Ihrem Wunsche hiermit gerne nach [.]". - Born in Basel, Thoma-Höfele studied at the Munich Academy from 1883, remained in Munich after completing his studies, and applied himself mainly to the painting of still lifes, frequently exhibiting his works at the Munich Glaspalast between 1904 and 1911. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - Dropping out of his pharmaceutical training to become a painter in the 1880s, Hirzel specialized in etching and created advertisements, sheet music covers, and bookplates featuring floral ornaments. His career was interrupted by a six-year period during which he worked in the cotton trade in Russia before returning to Berlin in 1910 to focus on commercial art. - Traces of postmarks. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.

8vo. 1 page on bifolium. With autograph address verso. To the enamel painter Henry Bone (1755-1834) in London about a Dutch admirer eager to see his works: "Mr. Vinkeles a Dutch artist being very desirous of se[e]ing your works, you will by allowing a sight of them, confer a favour on [.] yours very truly [.]".

4to. 1 p. 27 x 17.5 cm. An interesting letter to the gallery owner Rudolf Probst following a successful exhibition of Klee's works in Dresden, written shortly before the Bauhaus completed its move from Weimar to Dessau.Probst had exhibited works by Paul Klee in his Dresden gallery until June 1926. In the present letter, Klee expresses satisfaction with the outcome of the exhibition, noting with understated irony that "at least 'a little'" commercial success had been achieved: "Ihr letzter Bericht war ja recht erfreulich, es hat sich auch geschäftlich wenigstens 'ein wenig' gezeigt." He further suggests that Probst retain the collection for some time even after the exhibition had ended, adding that under no circumstances should the works be returned to Weimar, "because everything is currently being packed up".Klee then gives precise instructions concerning the shipment of five drawings to the National Gallery in Berlin. These works had originally been intended for the large watercolour exhibition on the Brühl Terrace in Dresden: "Besessenes Mädchen, Ansicht eines Bergheiligtums, mss Perlenschwein, Verachtetes Pier, Oslo".The letter vividly documents Klee's professional activities during the decisive transitional phase of the Bauhaus relocation and offers insight into the circulation and exhibition history of his works during the mid-1920s. From an important French private collection.

1½ pp. on bifolium. 19 x 16.5 cm. An important letter to the art critic Wilhelm Hausenstein concerning Hausenstein's writings on Klee and the possibility of a teaching appointment at the Stuttgart Academy of Art.Klee discusses the proposal that he succeed Adolf Hölzel at the Stuttgart Academy, emphasizing that the initiative had come from the students themselves a circumstance he regarded as particularly encouraging: "Die Stuttgartercompagnie Schüler hätten mich da gern als Lehrer gehabt, und daß es von den Schülern ausging wäre für mich ein gutes Zeichen f. d. Ersprießlichkeit gewesen" ("The Stuttgart group of students would gladly have had me there as a teacher, and the fact that the initiative came from the students would for me have been a good sign for the fruitfulness of such work"). He contrasts this favourably with the usual antagonism between teachers and students, remarking that "Lehrer gegen die Schüler, wie es fast alle sind, ist so doch noch schlimmer" ("teachers against the students, as almost all of them are, is even worse").Klee further assures Hausenstein that he entirely accepts his right to express his opinions publicly and without restriction: "Jedenfalls bin ich damit stets einverstanden, daß Sie öffentlich über mich alles sagen, was Ihrer Überzeugung entspricht" ("In any case, I am always in agreement that you should say publicly about me whatever corresponds to your convictions"). He apologizes for delaying the promised autobiographical sketch, explaining that it concerns "fast nur um innere Vorgänge" ("almost exclusively inner processes") and therefore requires particular conscientiousness.Klee and Hausenstein had first become acquainted in 1911 through Alfred Kubin. In 1921 Hausenstein published Kairuan oder eine Geschichte vom Maler Klee und von der Kunst dieses Zeitalters, among the earliest comprehensive appreciations of Klee's art, written at a time when the painter was still known only to a small circle. Although the proposed Stuttgart appointment ultimately failed, Klee joined the Bauhaus in Weimar in 1921, where his influence and reputation rapidly expanded. - From an important French private collection.Accompanied by: Correspondence from Paul Klee's son Felix Klee (19071990), dating from 19621983, including 3 autograph letters, 3 autograph cards, and 3 photographs (one with autograph greeting on the verso), together with additional related material.

4to. 1 p. Some folds and wear to the letter. An Paul Dermée regarding his book Urbanisme (G. Grès, 1925): Seriez vous disposé à faire pour Crès une causerie TSF PTT de 20 minutes sur Urbanisme qui va paraitre, honoraires 200 f. Crès m'avait prié de le faire. Mais je désire écrire et parler le moins possible. Le sujet vous serait exposé clairement par le livre qui va sortir cette semaine et que je vous remettrais. Soyez gentil d'accepter cette affaire, j'en serais enchanté []".

From the estate of Gunter Böhmer (1911-1986). (Ruvigliana ), 1940-47. Interesting document of the friendship between the graphic artist Imre Reiner and his wife Hedwig, and Maria Geroe-Tobler (1895-1963), friend of the painter Hans Purrmann, known for her colorful woven wall hangings. Born in St. Gallen, she studied at the Bauhaus Dessau and was a pupil of Klee, Kandinsky, and Gunta Stölzl, the weaving teacher there; since 1925, she lived in Montagnola, where she also befriended Hermann Hesse and his wife Ninon. Most of the prints were birthday greetings, inscribed, e.g., "zum 12. XII. 1940 mit den herzlichsten Wünschen I.R." Two leaves pertain to the novel "Madame Bovary" and were executed in 1935, 1 color etching has the date 1937 in the plate. A short handwritten note signed "Hedwig, Imre, Michael und Roland Reiner" is addressed to "Die liebe Frau Mareili Geroe-Tobler", another letter on stationery with Hedwig Reiner's letterhead in the addressed envelope is in Hedwig's hand, signed "Hedwig u. Imre Reiner". It refers to Gunter Böhmer: "Wir wollen ganz fest hoffen u. bitten, dass der liebe Boehmer weiterhin malen u. zeichnen darf". Böhmer lived in Montagnola too and was a friend of both the Reiners and Maria Geroe-Tobler. - Some foxing. ART - GENERAL & APPLIED ; AUTOGRAPHS ;