Arnold Bocklin - "Zomerdag" (after)| heliogravure Bruckmann (1892) - in originele lijst - Sold
This item has been sold Show item
18k gold ring with pearl, ruby and diamond up to 0.20ct
Starting bid
€250
Bid 
Imanol Marrodán - "Mir gefällt die Farbe Rot" handsignierte Künstlerbuch
Starting bid
€50
Bid 
Starting bid
€25
Bid 
Francois Morellet - 3 carrés (1990)
Starting bid
€575
Bid 
- Description
- Arnold Bocklin (1827-1901)
| Type of artwork | Prints & Editions |
| Period | 1800 to 1899 (19th century) |
| Technique | Miscellaneous |
| Style | Impressionist |
| Subject | Landscape |
| Dimensions | 34.5 x 30 cm (h x w) |
| Signed | Printed signature |
Translated with Google Translate. Original text show .
A unique heliogravure or 'photogravure' after ( after ) the painting 'Summer Day' (1881) by Arnold Böcklin (1827-1901). This photogravure was made around 1892 by Bruckmann and framed by Bruno Richter in Breslau (then Prussia).
The thin cardboard top is in an original decorated wooden frame from the same period (late 19th century), see photos of the back.
Dimensions sheet: 27 x 23 cm
Quality: see Condition. Photos are part of the description.
NB: The last photo is of the original painting
Note : There is some color difference between the photos. In reality, the colors tend towards green and gray tones.
About the artist:
The paintings of the Swiss painter Arnold Böcklin are so powerfully and masterfully expressed that one would happily sit for hours in front of his masterpieces. Limited yet expressive, that was his strength and it is not for nothing that he is considered one of the founders of Symbolism.
Born in Basel in 1827, Arnold Böcklin was entangled as a young man with an uninterrupted wanderlust, which would not leave him until after his death. After his education in Düsseldorf, he spent a long time in Belgium and the Netherlands, in Paris in the Louvre or in ancient Rome. Each stay left a lasting impression and had a special impact on his works of art. While his first paintings were characterized by calm landscapes, in which muted colors, a gentle breeze and winking sun rays predominate, his style later changed to the overcompensating ideal of ancient mythological art. Instead of green hills and colorful trees, dark motifs such as ruins, wars, death and plague increasingly came to the fore.
Böcklin was influenced, among other things, by his travels and numerous movements from one vibrant European city to another, which was mainly reflected in his love for landscape painting. However, the paradigm shift in Europe at that time towards growing nationalism and imperialism combined with wars and epidemics and personal fortunes also had a decisive influence on Böcklin.
Böcklin loved the play of light and shadow, of light and dark between plants, trees, water and rocks.
source: www.meisterdrucke.nl
The thin cardboard top is in an original decorated wooden frame from the same period (late 19th century), see photos of the back.
Dimensions sheet: 27 x 23 cm
Quality: see Condition. Photos are part of the description.
NB: The last photo is of the original painting
Note : There is some color difference between the photos. In reality, the colors tend towards green and gray tones.
About the artist:
The paintings of the Swiss painter Arnold Böcklin are so powerfully and masterfully expressed that one would happily sit for hours in front of his masterpieces. Limited yet expressive, that was his strength and it is not for nothing that he is considered one of the founders of Symbolism.
Born in Basel in 1827, Arnold Böcklin was entangled as a young man with an uninterrupted wanderlust, which would not leave him until after his death. After his education in Düsseldorf, he spent a long time in Belgium and the Netherlands, in Paris in the Louvre or in ancient Rome. Each stay left a lasting impression and had a special impact on his works of art. While his first paintings were characterized by calm landscapes, in which muted colors, a gentle breeze and winking sun rays predominate, his style later changed to the overcompensating ideal of ancient mythological art. Instead of green hills and colorful trees, dark motifs such as ruins, wars, death and plague increasingly came to the fore.
Böcklin was influenced, among other things, by his travels and numerous movements from one vibrant European city to another, which was mainly reflected in his love for landscape painting. However, the paradigm shift in Europe at that time towards growing nationalism and imperialism combined with wars and epidemics and personal fortunes also had a decisive influence on Böcklin.
Böcklin loved the play of light and shadow, of light and dark between plants, trees, water and rocks.
source: www.meisterdrucke.nl
| Condition | |||||||||||
| Condition | Reasonable | ||||||||||
| foxing present: brown spots and dots, see photos | |||||||||||
| Shipment | |||||||||||
| Pick up | The work can be picked up on location. As a buyer you must bring your own packaging materials. The location is: Hoorn, The Netherlands | ||||||||||
| Shipment | Parcel post | ||||||||||
| Price | Up to 2 kg.
| ||||||||||
| Guarantee | |||||||||||
| Guarantee | By putting the item up for auction, I agree with the Terms of Guarantee as they are applicable at Kunstveiling regarding the accuracy of the description of the item | ||||||||||
The seller takes full responsibility for this item. Kunstveiling only provides the platform to facilitate this transaction, which has to be settled directly with the seller. More information .
Swiss