Wilhelm Hecht Paintings & Artwork for Sale | Wilhelm Hecht Art Value Price Guide

Nov. 16, 2024
W. HECHT (*1843) after SCHWIND (*1804), The devil in church building, Etching
Est: €750 - €1,000
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): St Wolfgang and the devil in church building, , Etching Technique: Etching on , rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". At the lower part inscribed in the printing plate: "Sanct Wolfgang und der Teufel beim Kirchenbau. / Druck u. Verlag der Gesellschaft für vervielf. Kunst in Wien.". Date: Description: Few artists of the 19th century indulged in bizarre fabulation as devotedly as Moritz von Schwind. His pictorial worlds, populated by fairy-tale creatures, indulge in grotesquely heightened embellishment that does not stop at either the characters or the surroundings. His Rübezahl is an apt example of this: the quirky hermit with his lance beard and huge Hercules club roams an enchanted forest in his clogs, in which every tree has as much character as Rübezahl himself. The more gnarled and twisted, the better. This absorption in the confusion of lines, which condense into ever more complex structures, can also be found in the two other sheets shown here, and it is to Wilhelm Hecht's great credit that he has reproduced this way of telling a story with each individual line. In the sheet Wieland the Blacksmith it can be found in the rocks and in St Wolfgang's Church Building it is the lush foliage and the individual branches that become independent characters in their dynamism. It is precisely such a sheet, however, that shows Schwind's great talent for pointed depiction. The labouring devil, panting and sticking his tongue out at the viewer, is congenially contrasted with the saint, who is calmly holding the trowel at the ready and has almost become a building ornament himself. The same applies to Rübezahl, whose quirky wanderings reveal so much self-effacing carefreeness, which Schwind emphasises through small details such as the socks that have slipped down or the bones in his trouser pockets. Adolf Friedrich Graf von Schack acquired all three of Schwind's paintings, after which Wilhelm Hecht created the present prints, for his collection. Rübezahl and St Wolfgang were part of a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel paintings and created them without a commission for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to indulge his passion for the fantastic and revel in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Religious, Germany, Size: Paper: 35,4 cm x 28,6 cm (13,9 x 11,3 in), Plate: 27,6 cm x 17,2 cm (10,9 x 6,8 in), Depiction: 22,0 cm x 13,1 cm (8,7 x 5,2 in)
Fichter Kunsthandel
Nov. 16, 2024
W. HECHT (*1843) after SCHWIND (*1804), Wieland the blacksmith, 1850, Etching
Est: €750 - €1,000
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): Wieland the Blacksmith and the King's Daughter Badhilde, 1850, Etching Technique: Etching and Copper engraving on , rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". At the lower part inscribed in the printing plate: "Wieland der Schmied". Date: 1850 Description: Few artists of the 19th century indulged in bizarre fabulation as devotedly as Moritz von Schwind. His pictorial worlds, populated by fairy-tale creatures, indulge in grotesquely heightened embellishment that does not stop at either the characters or the surroundings. His Rübezahl is an apt example of this: the crotchety hermit with his lance beard and huge hercules club wanders through an enchanted forest in his clogs, in which every tree has as much character as Rübezahl himself. The gnarlier and more intricate, the better. This absorption in the confusion of lines, which condense into ever more complex structures, can also be found in the two other sheets shown here, and it is to Wilhelm Hecht's great credit that he has reproduced this way of telling a story with each individual line. In the sheet Wieland the Blacksmith it can be found in the rocks and in St Wolfgang's Church Building it is the lush foliage and the individual branches that become independent characters in their dynamism. It is precisely such a sheet, however, that shows Schwind's great talent for pointed depiction. The labouring devil, panting and sticking his tongue out at the viewer, is congenially contrasted with the saint, who is calmly holding the trowel at the ready and has almost become a building ornament himself. The same applies to Rübezahl, whose quirky wanderings reveal so much self-effacing carefreeness, which Schwind emphasises through small details such as the socks that have slipped down or the bones in his trouser pockets. Adolf Friedrich Graf von Schack acquired all three of Schwind's paintings, after which Wilhelm Hecht created the present prints, for his collection. Rübezahl and St Wolfgang were part of a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel paintings and created them without a commission for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to indulge his passion for the fantastic and revel in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Mythology, Germany, Size: Paper: 32,2 cm x 26,1 cm (12,7 x 10,3 in), Plate: 27,5 cm x 19,8 cm (10,8 x 7,8 in), Depiction: 18,6 cm x 13,7 cm (7,3 x 5,4 in)
Fichter Kunsthandel
Jul. 27, 2024
W. HECHT (*1843) after SCHWIND (*1804), The devil in church building, Etching
Est: €750 - €1,000
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): St Wolfgang and the devil in church building, 19th century, Etching Technique: Etching on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". At the lower part inscribed in the printing plate: "Sanct Wolfgang und der Teufel beim Kirchenbau. / Druck u. Verlag der Gesellschaft für vervielf. Kunst in Wien.". Date: 19th century Description: Few artists of the 19th century indulged in bizarre fabulation as devotedly as Moritz von Schwind. His pictorial worlds, populated by fairy-tale creatures, indulge in grotesquely heightened embellishment that does not stop at either the characters or the surroundings. His Rübezahl is an apt example of this: the quirky hermit with his lance beard and huge Hercules club roams an enchanted forest in his clogs, in which every tree has as much character as Rübezahl himself. The more gnarled and twisted, the better. This absorption in the confusion of lines, which condense into ever more complex structures, can also be found in the two other sheets shown here, and it is to Wilhelm Hecht's great credit that he has reproduced this way of telling a story with each individual line. In the sheet Wieland the Blacksmith it can be found in the rocks and in St Wolfgang's Church Building it is the lush foliage and the individual branches that become independent characters in their dynamism. It is precisely such a sheet, however, that shows Schwind's great talent for pointed depiction. The labouring devil, panting and sticking his tongue out at the viewer, is congenially contrasted with the saint, who is calmly holding the trowel at the ready and has almost become a building ornament himself. The same applies to Rübezahl, whose quirky wanderings reveal so much self-effacing carefreeness, which Schwind emphasises through small details such as the socks that have slipped down or the bones in his trouser pockets. Adolf Friedrich Graf von Schack acquired all three of Schwind's paintings, after which Wilhelm Hecht created the present prints, for his collection. Rübezahl and St Wolfgang were part of a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel paintings and created them without a commission for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to indulge his passion for the fantastic and revel in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Religious, Germany, Size: Paper: 35,4 cm x 28,6 cm (13,9 x 11,3 in), Plate: 27,6 cm x 17,2 cm (10,9 x 6,8 in), Depiction: 22,0 cm x 13,1 cm (8,7 x 5,2 in)
Fichter Kunsthandel
Jul. 27, 2024
W. HECHT (*1843) after SCHWIND (*1804), Wieland the blacksmith, 1850, Etching
Est: €750 - €1,000
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): Wieland the Blacksmith and the King's Daughter Badhilde, 1850, Etching Technique: Etching and Copper engraving on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". At the lower part inscribed in the printing plate: "Wieland der Schmied". Date: 1850 Description: Few artists of the 19th century indulged in bizarre fabulation as devotedly as Moritz von Schwind. His pictorial worlds, populated by fairy-tale creatures, indulge in grotesquely heightened embellishment that does not stop at either the characters or the surroundings. His Rübezahl is an apt example of this: the crotchety hermit with his lance beard and huge hercules club wanders through an enchanted forest in his clogs, in which every tree has as much character as Rübezahl himself. The gnarlier and more intricate, the better. This absorption in the confusion of lines, which condense into ever more complex structures, can also be found in the two other sheets shown here, and it is to Wilhelm Hecht's great credit that he has reproduced this way of telling a story with each individual line. In the sheet Wieland the Blacksmith it can be found in the rocks and in St Wolfgang's Church Building it is the lush foliage and the individual branches that become independent characters in their dynamism. It is precisely such a sheet, however, that shows Schwind's great talent for pointed depiction. The labouring devil, panting and sticking his tongue out at the viewer, is congenially contrasted with the saint, who is calmly holding the trowel at the ready and has almost become a building ornament himself. The same applies to Rübezahl, whose quirky wanderings reveal so much self-effacing carefreeness, which Schwind emphasises through small details such as the socks that have slipped down or the bones in his trouser pockets. Adolf Friedrich Graf von Schack acquired all three of Schwind's paintings, after which Wilhelm Hecht created the present prints, for his collection. Rübezahl and St Wolfgang were part of a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel paintings and created them without a commission for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to indulge his passion for the fantastic and revel in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Mythology, Germany, Size: Paper: 32,2 cm x 26,1 cm (12,7 x 10,3 in), Plate: 27,5 cm x 19,8 cm (10,8 x 7,8 in), Depiction: 18,6 cm x 13,7 cm (7,3 x 5,4 in)
Fichter Kunsthandel
Jul. 27, 2024
W. HECHT (1843-1920), Programme for a history festival, Woodcut
Est: €75 - €125
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube): Programme for a history festival or costume festival, medieval procession, 19th century, Wood engraving Technique: Wood engraving on Paper Date: 19th century Description: Signed W. Hecht X.A. under the image, titled below: "Programme Section I. Beginning of the Festival March." Inscribed in pencil on verso: "Rüthling Bernhard (Meiningen 1834-Munich 1881) / Heimann, Lingg (Lindau 1820-Munich 1905) / Wilhelm, Hecht (Ansbach 1843 - Linz 1920). Keywords: Knight, Joust, Artist Festival, History Festival, Costume, Middle Ages, 19th century, Figurative, Military, Germany, Size: Paper: 37,9 cm x 28,7 cm (14,9 x 11,3 in)
Fichter Kunsthandel
May. 25, 2024
K. HECHT (*1843) after VLIEGER (*1600), Castle on the Meuse, Etching
Est: €75 - €125
Karl Wilhelm Hecht (1843 Ansbach - 1920 Linz) after Simon de Vlieger (around 1600 Rotterdam - around 1653 ): The little castle on the Meuse, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: inscribed on the right below the image "W. Hecht sc.t", inscribed on the left below the image "S.de.Vlieger pxt.", named "Das Schlösschen an der Maas", from the "Druck & Verlag der Gesellschaft für vervielf. Kunst in Wien". From the banks of the river Meuse, the viewers look out over the water, whose surface reflects the evening sun. Sailing boats and small wooden boats can be made out. Three figures stand on a wooden jetty on the right bank, behind them the walls of a small estate. The title suggests that this is a "little castle"; a small onion tower with a clock forms the highest point of the picturesque architecture. Keywords: 19th century, Romanticism, Landscape, Netherlands, Size: Paper: 19,6 cm x 26,2 cm (7,7 x 10,3 in), Depiction: 15,3 cm x 24,3 cm (6 x 9,6 in)
Fichter Kunsthandel
Dec. 02, 2023
K. HECHT (*1843) after VLIEGER (*1600), Castle on the Meuse, Etching
Est: €75 - €125
Karl Wilhelm Hecht (1843 Ansbach - 1920 Linz) after Simon de Vlieger (around 1600 Rotterdam - around 1653 ): The little castle on the Meuse, 19th century, Etching Technique: Etching on Paper Date: 19th century Description: inscribed on the right below the image "W. Hecht sc.t", inscribed on the left below the image "S.de.Vlieger pxt.", named "Das Schlösschen an der Maas", from the "Druck & Verlag der Gesellschaft für vervielf. Kunst in Wien". From the banks of the river Meuse, the viewers look out over the water, whose surface reflects the evening sun. Sailing boats and small wooden boats can be made out. Three figures stand on a wooden jetty on the right bank, behind them the walls of a small estate. The title suggests that this is a "little castle"; a small onion tower with a clock forms the highest point of the picturesque architecture. Keywords: 19th century, Romanticism, Landscape, Netherlands,
Fichter Kunsthandel
Aug. 19, 2023
W. HECHT (*1843) after REMBRANDT (*1606), Portrait of a young Dutch woman, Etching
Est: €150 - €200
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Rembrandt: Rembrandt Harmenszoon van Rijn (1606 Leiden - 1669 Amsterdam): Young Dutchwoman, Half-Figure Portrait of a Young Woman with Bonnet and Large White Collar, 19th century, Etching Technique: Etching on Paper Inscription: Signed "REMBRANDT PX" below the print on the left and "W. HECHT SC" on the right. Below titled with: "JUNGE HOLLÄNDERIN.". Date: 19th century Keywords: 19th century, Romanticism, Portraits, Germany,
Fichter Kunsthandel
Oct. 26, 2022
Wilhelm Hecht (German), Etching
Est: $100 - $200
Wilhelm Hecht (1843 - 1920), Tre incisioni da Arnold Böcklin: Meeresidille. A fine impression, to heavy paper, with very moderate toning. 6.5" x 11.75" (plate size).
Caza Sikes
Oct. 22, 2022
W.HECHT (1843-1920), Programme for a history festival, Woodcut
Est: €75 - €125
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube): Programme for a history festival or costume festival, medieval procession, 19th century, Wood engraving Technique: Wood engraving on Paper Date: 19th century Description: Signed W. Hecht X.A. under the image, titled below: "Programme Section I. Beginning of the Festival March." Inscribed in pencil on verso: "Rüthling Bernhard (Meiningen 1834-Munich 1881) / Heimann, Lingg (Lindau 1820-Munich 1905) / Wilhelm, Hecht (Ansbach 1843 - Linz 1920). Keywords: Knight, Joust, Artist Festival, History Festival, Costume, Middle Ages, 19th century, Figurative, Military, Germany,
Fichter Kunsthandel
May. 29, 2022
W.HECHT (*1843) after REMBRANDT (*1606), Portrait of a young Dutch woman, Etching
Est: €150 - €200
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Rembrandt: Rembrandt Harmenszoon van Rijn (1606 Leiden - 1669 Amsterdam): Young Dutchwoman, Half-Figure Portrait of a Young Woman with Bonnet and Large White Collar, 19th century, Etching Technique: Etching on Paper Inscription: Signed "REMBRANDT PX" below the print on the left and "W. HECHT SC" on the right. Below titled with: "JUNGE HOLLÄNDERIN.". Date: 19th century Keywords: 19th century, Romanticism, Portraits, Germany,
Fichter Kunsthandel
Mar. 19, 2022
W.HECHT (*1843) after SCHWIND (*1804), Wieland the Smith, 1850, Etching
Est: €1,050 - €1,400
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): Wieland the Smith, 1850, Etching Technique: Etching and Copper engraving on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". Inscribed in the plate at lower left: "M. v. Schwind fect.", signed in the plate at lower right: "W. Hecht sct.", inscribed at lower right: "Wieland der Schmied.". Date: 1850 Description: Few artists of the 19th century indulged in bizarre fabrications as devotedly as Moritz von Schwind. His pictorial worlds populated by fairy-tale creatures indulge in grotesquely heightened embellishment that stops at neither the staff nor the surroundings. His Rübezahl is an apt example: the cranky hermit with his lance-beard and huge Hercules club roams in his clogs through an enchanted forest in which every tree has as much character as Rübezahl himself. The gnarlier and more intricate, the better. This absorption in the jumble of lines, which condense into ever more complex structures, can also be found in the other two prints shown here, and it is to Wilhelm Hecht's great credit that he has understood precisely this way of narrating with each individual line. In Wieland der Schmied (Wieland the Blacksmith) we find it in the rocks, and in Sankt Wolfgangs Kirchenbau (St. Wolfgang's Church) it is the lush foliage and the individual branches that, in their dynamism, become independent personalities. But it is precisely such a sheet that shows Schwind's great talent for trenchant depiction. The devil struggling and panting, sticking his tongue out at the viewer, is congenially contrasted with the saint, who, at peace, holds the trowel at the ready and has almost become a building decoration himself. The same applies to Rübezahl, who in his quirky wanderings reveals so much carefree abandon, which Schwind illustrates with small details such as the socks that have slipped down or the bones in his trouser pocket. All three of Schwind's paintings, after which Wilhelm Hecht created the present prints, were acquired by Adolf Friedrich Graf von Schack for his collection. Rübezahl and St. Wolfgang belonged to a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel pictures and created them without a commissioner for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to abandon himself entirely to his lust for the fantastic and indulge in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Mythology, Germany, Size: 32,2 cm x 26,1 cm (12,7 x 10,3 in), Plate: 27,5 cm x 19,8 cm (10,8 x 7,8 in), Depiction: 18,6 cm x 13,7 cm (7,3 x 5,4 in) Condition: Very good condition. Age-appropriate.
Fichter Kunsthandel
Mar. 19, 2022
W.HECHT (*1843) after SCHWIND (*1804), Saint Wolfgang and the devil building a church, Etching
Est: €1,050 - €1,400
Wilhelm Hecht (1843 Ansbach - 1920 Linz/Danube) after Moritz von Schwind (1804 Vienna - 1871 Munich): Saint Wolfgang and the devil building a church, 19th century, Etching Technique: Etching on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "M. v. Schwind Fect / W. Hecht sct.". At the lower part inscribed in the printing plate: "Sanct Wolfgang und der Teufel beim Kirchenbau. / Druck u. Verlag der Gesellschaft für vervielf. Kunst in Wien.". Inscribed in the plate at lower left: "M. v. Schwind", signed in the plate at lower right: "W. Hecht sct.", inscribed at lower right: "Sanct Wolfgang und der Teufel beim Kirchenbau". Date: 19th century Description: Few artists of the 19th century indulged in bizarre fabrications as devotedly as Moritz von Schwind. His pictorial worlds populated by fairy-tale creatures indulge in grotesquely heightened embellishment that stops at neither the staff nor the surroundings. His Rübezahl is an apt example: the cranky hermit with his lance-beard and huge hercules club roams in his clogs through an enchanted forest in which every tree has as much character as Rübezahl himself. The gnarlier and more intricate, the better. This absorption in the jumble of lines, which condense into ever more complex structures, can also be found in the other two prints shown here, and it is to Wilhelm Hecht's great credit that he has understood precisely this way of narrating with each individual line. In Wieland der Schmied (Wieland the Blacksmith) we find it in the rocks, and in St. Wolfgang's Church it is the lush foliage and the individual branches that, in their dynamism, become independent personalities. But it is precisely such a sheet that shows Schwind's great talent for trenchant depiction. The devil struggling and panting, sticking his tongue out at the viewer, is congenially contrasted with the saint who, at peace, holds the trowel at the ready and has almost become a building decoration himself. The same is true of Rübezahl, whose quirky wanderings reveal so much carefree abandon, which Schwind illustrates with small details such as the socks that have slipped down or the bones in his trouser pocket. All three of Schwind's paintings, after which Wilhelm Hecht created the present prints, were acquired by Adolf Friedrich Graf von Schack for his collection. Rübezahl and St. Wolfgang belonged to a group of 25 paintings that he was able to buy directly from the artist in 1869. Schwind called them travel pictures and created them without a commissioner for a private occasion. This may also explain the unconventional appearance of these pictures. Here he was able to abandon himself entirely to his lust for the fantastic and indulge in whimsical forms and pictorial worlds. Keywords: 19th century, Romanticism, Religious, Germany, Size: 35,4 cm x 28,6 cm (13,9 x 11,3 in), Plate: 27,6 cm x 17,2 cm (10,9 x 6,8 in), Depiction: 22,0 cm x 13,1 cm (8,7 x 5,2 in) Condition: Very good condition. Age-appropriate.
Fichter Kunsthandel
Jun. 14, 2016
Wilhelm Hecht (1843 - 1920), Tre incisioni da Arnold Böcklin: Meeresidille. Villa am Meer, Des hirten Liebesklage.
Est: €240 - €480
3 acqueforti. mm 163x300, 185x265, 250x180. Fogli: mm 250x335. Titoli tipografici in basso. Edite da Gesellschaft für vervielfältigende Kunst Wien (1880). (3)
Gonnelli Casa d'Aste
Mar. 07, 2015
Hecht, Wilhelm Römische Villa am Meere. Radierung nach Arnold Böcklin. Um 1897. 48,5 x 69 cm. B
Est: €120 - €180
Hecht, Wilhelm Römische Villa am Meere. Radierung nach Arnold Böcklin. Um 1897. 48,5 x 69 cm. Blattmaße ca. 53 x 75 cm.
Jeschke Jádi Auctions Berlin GmbH