Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Ludwig Richter (1803 Dresden - 1884 ibid.): Monte Serone area, 1875, Etching Technique: Etching on Paper Inscription: Lower right signed: " "St sc 1835" Unterhalb der Darstellung signiert und bezeichnet: "Gem. v. L. Richter | Gest. v. Stölzel | Gegend am Monte Serone"". Date: 1875 Description: Etching after Richter's painting, presumably first created for the Sächsischer Kunstverein and later included in Hoff-Budde's compilation of Richter's twelve landscapes. The present print was made in 1875 from the original printing plate for Hoff-Budde's edition. Source: Landschaften von Ludwig Richter. Zwölf Original-Radirungen, No. 6 | print suite, Landscape Keywords: Devotion, Italy, Monte Serone, Genre, 19th century, Romanticism, Landscape, Italy, Size: Paper: 24,1 cm x 28,9 cm (9,5 x 11,4 in), Plate: 22,8 cm x 27,4 cm (9 x 10,8 in), Depiction: 18,4 cm x 22,4 cm (7,2 x 8,8 in)
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Johann Heinrich Ramberg (1763 Hannover - 1840 ibid.): Illustration to the poem 'Der neue Pausias und sein Blumenmädchen' by J W Goethe, 19th century, Copper engraving Technique: Copper engraving on Paper Inscription: Signed on the lower left with: "H. Ramberg del" and on the right with "Stölzel d. j. sc.". Below the title of the Goethe poem: "Der neue Pausius und sein Blumenmädchen. Date: 19th century Description: While Pausius continues his painting with one hand, he turns to his beloved with the other and looks lovingly up at her. She sits raised on a stool and is tying a wreath of flowers. In the foreground, a cherub sits on the stones of the garden terrace surrounded by magnificent bouquets of flowers. Keywords: 19th century, Romanticism, Botany, Germany,
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Ludwig Richter (1803 Dresden - 1884 ibid.): Monte Serone area, 1875, Etching Technique: Etching on Paper Inscription: Lower right signed: " "St sc 1835" Unterhalb der Darstellung signiert und bezeichnet: "Gem. v. L. Richter | Gest. v. Stölzel | Gegend am Monte Serone"". Date: 1875 Description: Etching after Richter's painting, presumably first created for the Sächsischer Kunstverein and later included in Hoff-Budde's compilation of Richter's twelve landscapes. The present print was made in 1875 from the original printing plate for Hoff-Budde's edition. Source: Landschaften von Ludwig Richter. Zwölf Original-Radirungen, No. 6 | print suite, Landscape Keywords: Devotion, Italy, Monte Serone, Genre, 19th century, Romanticism, Landscape, Italy,
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Ludwig Richter (1803 Dresden - 1884 ibid.): Evening prayer at Monte Serone, 1835, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Gem. v. L. Richter. / Gest. v. Stölzel". At the lower part inscribed in the printing plate: "Abendandacht vor einem Madonnenbilde. Gegend am Monte Serone. / Angekauft vom Saechsischen Kunstvereine auf das Jahr 1834.". Lower right dated: "1835". Date: 1835 Description: Very beautiful view of Italy near Olevano Keywords: Shepherds, Family, Devotion, Religion, Landscape, 19th century, Romanticism, Landscape, Italy,
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Johann Heinrich Ramberg (1763 Hannover - 1840 ibid.): Illustration to the poem 'Der neue Pausias und sein Blumenmädchen' by J W Goethe, 19th century, Copper engraving Technique: Copper engraving on Paper Inscription: Signed on the lower left with: "H. Ramberg del" and on the right with "Stölzel d. j. sc.". Below the title of the Goethe poem: "Der neue Pausius und sein Blumenmädchen. Date: 19th century Description: While Pausius continues his painting with one hand, he turns to his beloved with the other and looks lovingly up at her. She sits raised on a stool and is tying a wreath of flowers. In the foreground, a cherub sits on the stones of the garden terrace surrounded by magnificent bouquets of flowers. Keywords: 19th century, Romanticism, Botany, Germany,
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Gustav Heinrich Naeke (1786 Frauenstein (Saxony) - 1835 Dresden): Saint Elisabeth gives alms at Wartburg Castle near Eisenach, 1834, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "H. Näke del. et pinx. / E. Stölzel sc.". At the lower part inscribed in the printing plate: "DIE HEILIGE ELISABETH. Genaue Nachbildung einer Zeichnung von H. Näke/welche sich nebst dem großen danach ausgeführten Oehlgemälde in der Sammlung des Herrn v. Quandt in Dresden befindet Angekauft vom Sächs. Kunstverein auf das Jahr 1835". At the lower part dated: "1834". Date: 1834 Description: Naeke's painting "Saint Elisabeth in the Courtyard of the Wartburg Giving Alms" is one of the major works of German Nazarene art. The rank of the painting, which was lost for a long time, is undisputed today. Naeke worked for seven years in Rome and Dresden on the large-format painting, which reflects the essence of German-Roman Romanticism in unusual purity. In the 1820s, the subject from the Christian Old German legend circle was rather the exception among the Nazarenes, for here, in panel painting, material from the New Testament was almost exclusively preferred, and a few from the Old Testament as well. The artistic composition of the scene, rich in figures, in which two groups of people face each other in front of a medieval architectural backdrop, is admirable. That of the merciful Countess Palatine with her retinue, who receives the poor and sick in her castle courtyard, occupies almost exactly one third of the picture's surface, the larger part of which is reserved for the "people" characterised as bitterness-stricken subjects. The idealisation of the miserable figures and their beautifully linear outlines - today rather perceived with alienation - was praised by contemporaries. While the noble ladies in the left third of the picture appear smooth and beautiful like made-up models, there are interesting character heads in carefully drawn detail among the thronging crowd. In 1834, the draughtsman and engraver Christian Ernst Stölzel was commissioned to produce an etching after Naeke's painting as an annual gift for the members of the Sächsischer Kunstverein. The print, issued in 1835, the year of Naeke's death, shows a number of remarkable deviations from the painting. Stölzel used as a model for his etching a drawing of the same size by the artist, which is in the Dresden Kupferstich-Kabinett. The comparison shows that the changes to the painting correspond to the artist's intention. They relate in particular to the main figure, Saint Elisabeth herself. Her special position in the 1834 version of the engraving has been reduced in two respects. In the painting, Naeke has particularly emphasised her social status. There it is the noble princess in splendid robes, adorned and decorated with the golden count's crown, who condescends graciously to the poor people. The late version, on the other hand, has the saint, also in her appearance rather plain, without crown and princely costume, appear almost like a bourgeois woman and step back into the group of her companions. This emphasises the Franciscan element of the Elizabeth legend. Also not to be overlooked is the change in the imaginative, Romanesque-intended architecture. The octagonal bevelling of both the palace corner and the two-step staircase to the portal in the painting is replaced by simplified cubic "straightening". Here, the study of Albrecht Dürer seems to have had an effect once again, in whose work there are no such broken forms as in the painting. In the graphic version, the two groups are visually separated by the corner of the wall and the edge of the shadow. The figure of Elisabeth now stands more clearly against a dark background. Thus the composition of 1834 appears more austere than that of the painting. The simplification of the architecture and the clear separation of the light and shadow areas also benefit the graphic effect of the print. Like many Nazarene paintings, Naeke's painting also shows colouristic weaknesses, for the colour is not used as a sensual, optical phenomenon, but subordinates itself in colouring to the plastic-linear framework. Thus20the later Düsseldorf-oriented Nazarene friend Athanasius Count Raczynski preferred the uncoloured after-engraving to the painting, because "it reproduces everything beautiful without containing the embarrassing". Incidentally, the engraving and preparatory drawing show Naeke's drawing style at the height of his late maturity. The drawing by the forty-eight-year-old Dresden academy professor, which is now very yellowed and its effect impaired by staining, may be described as the bequest-like expression of his aesthetic credo, for he died a few months after completing this work. It is the confession of a Nazarene to the line as a vehicle of expression and to the human form as the noblest object of visual art. In the transparent structure of the abstracting drawing, the idea is condensed into a closed form even more strongly than in the painting. With goldsmith-like delicacy and precision, Naeke has drawn the composition, so rich in internal form, through to the details of the smallest figures in the background. Nothing remains unclear, nothing is left to chance, nothing is lost in twilight shadows. All the artful interweavings are understood in their formal contexts. Here, the additive method of plastic-linear drawing is once again pushed to a climax. Stölzel, himself a "Nazarene" who had been in Rome with Naeke, has accurately and sensitively transposed his friend's drawing into graphic technique. Prof. Dr Hans Joachim Neidhardt Keywords: Printmaking, copperplate engraving, Germany, Wartburg, Saints, Nazarenes, 19th century, Romanticism, Religious, Germany,
Blick über den Johannis Friedhof auf die Burg von Nürnberg. -- Feder in Schwarz über Bleistift auf Bütten. 21 x 28 cm. Oben links eigenh. betitelt, mit dem Monogramm des Nachnamens und datiert "Burg zu Nürnberg vom S. Johannis Kirchhof / St[ölzel] - d 7ten Juley 1828". Wz. Taube auf Dreiberg. -- -- Die Zeichnung entstand im Zusammenhang mit den Dürer-Feiern und dem sog. Dürer-Stammbuch im Jahr 1828. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Kopf eines Mönches. -- Bleistift auf Velin. 28,3 x 25,9 cm. Rechts neben der Darstellung bez., monogrammiert und datiert "Pintorecchio pinx. da S. Maria à Aracoeli. St[ölzel]. Rom 1827". -- -- Stölzel wiederholt in dieser überaus feinen Bleistiftstudie den Kopf des links betenden Mönches in Pinturicchios um 1485 entstandenen Freskos "Tod des hl. Bernhard von Siena" in der Cappella Bufalini in Santa Maria in Aracoeli, Rom. Beigegeben von Stölzel eine weitere Bleistiftzeichnung nach Pinturicchio "Kopf eines Mönches und eines Mädchens". -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
[*] Tiberlandschaft bei Acqua Acetosa nahe Rom. -- Aquarell über Bleistift. 10,1 x 18,1cm. Unten links signiert "E. Stölzel fec." sowie rechts bezeichnet und datiert "Prèsso di acqua acetosa, vicino all Tiber / Roma di 20 Nov 1829". -- -- -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Christian Ernst Stölzel (1792 Dresden - 1837 ibid.) after Johann Heinrich Ramberg (1763 Hannover - 1840 ibid.): Illustration to the poem 'Der neue Pausias und sein Blumenmädchen' by J W Goethe, 19th century, Copper engraving Technique: Copper engraving on Paper Inscription: Signed on the lower left with: "H. Ramberg del" and on the right with "Stölzel d. j. sc.". Below the title of the Goethe poem: "Der neue Pausius und sein Blumenmädchen. Date: 19th century Description: While Pausius continues his painting with one hand, he turns to his beloved with the other and looks lovingly up at her. She sits raised on a stool and is tying a wreath of flowers. In the foreground, a cherub sits on the stones of the garden terrace surrounded by magnificent bouquets of flowers. Keywords: 19th century, Romanticism, Botany, Germany,
Christian Ernst STÖLZEL (1792 - 1837), Goethe portrait "After a cut stone", copper engraving Inscription: Titled and signed below the image . Description: After a lithograph by Friedrich Wilhelm Facius (1764 - 1843). Keywords: Romanticism, Engraving, Portrait, Germany
Christian Ernst Stölzel (1792 Dresden - 1837 Dresden) after Ludwig RICHTER, Landscape at Monte Serone, 1875, Etching Technique: Etching on paper Size: 24,1 x 28,9 cm, Depiction: 18,4 x 22,4 cm, Plate: 22,8 x 27,4 cm | 9 1/2 x 11 1/3 in, Plate: 9 x 10 3/4 in Inscription: lower right signed in the plate and dated: "St sc 1835" Below the image signed and inscribed: "Gem. v. L. Richter | Gest. v. Stölzel | Gegend am Monte Serone" Condition: Very good condition. Pale stains on the lower right. The corners of the sheet are minimally scuffed. Description: Etching after Richter's painting, probably first created for the Sächsischer Kunstverein and later included in Hoff-Budde's compilation of twelve of Richter's landscapes. The present print was made in 1875 from the original printing plate for the Hoff-Buddes edition. Series: Landschaften von Ludwig Richter. Zwölf Original-Radirungen, 6 Cat.Rais.: Hoff 2802; vgl. Budde 2972 Keywords: Romanticism, Landscape, Devotion, Italy, Monte Serone, Genre
Grey ink and watercolour over pencil drawing. (18)33. 10.6 x 21.6 cm. Inscribed upper left: “May 33. Ascenzione di N. S./ Domc. pect: o. L. Md.-”. Signed on the lower left of the backing card.
Pencil drawing auf Bütten mit Wasserzeichen. Eine Zeichnung aquarelliert, verso mit einer Architektur- und Gewandstudie. Unsigniert. Jeweils betitelt, eine Zeichnung datiert.Blätter leicht gebräunt, Ränder mit kleineren Mängeln und Brandspuren.
