Manual Ein selbsterzähltes Leben: Güstrower Fragmente (German Edition)

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Subjects; Gombrich, E. Ernst Hans Braque, Georges Violin and pitcher. Rodin, Auguste Rilke, Rainer Maria Aesthetics History. Art Philosophy. Art, Renaissance. Art Europe History. Art Addresses, essays, lectures. Art, Medieval. Published by Bad Godesberg : Inter Nationes Fine paperback copy. Subject: Marx, Karl Fine copy in the original gilt-blocked pictorial cloth. Subjects: Agriculture --Sweden --Statistics. Atlases -- Sweden. Published by Jena; Guatav Fischer About this Item: Jena; Guatav Fischer, Near fine copy in the original title-printed stiff card wrappers.

Slightest suggestion only of creasing and dust-dulling to the spine bands and panel edges. Remains particularly and uncommonly well-preserved; tight, bright, clean and sharp-cornered. Published by Tubingen : J. Mohr Paul Siebeck About this Item: Tubingen : J. Mohr Paul Siebeck , Fine copy in the original title-blocked, cloth-backed boards. Subjects: Bible. Romeinen bijbelboek. Paulus Apostel -- Romerbrief. Series: Handbuch zum Neuen Testament, 8a. Language: German.

Published by London : The Nonesuch Press Fair to good copy in the original stiff-card wrappers. Spine cover missing from wrappers - text block intact. Wrapper edges somewhat nicked and dust-dulled as with age. Previous owner's stamp uninked and signature to ffep. Internally, pages are very clean and sound. Subjects: Toller, Ernst, German drama - Translations into English.

Published by Princeton University Press About this Item: Princeton University Press, Series: Princeton Classics. Num Pages: pages, 32 halftones. Dimension: x Published by Briza About this Item: Briza, A complete English translation of the correspondence between the philosopher Martin Heidegger and the novelist and essayist Ernst Junger, together with a translation of Junger's essay Across the Line.

Translator s : Quinn, Timothy Sean. Series: New Heidegger Research. Num Pages: pages. Published by Belknap Press About this Item: Belknap Press, The author argues that the physical sciences cannot address many aspects of nature and that living organisms must be understood at every level of organization. He attempts to map out the territorial overlap between biology and the humanities, especially history and ethics.

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Ernst Barlach Leben und Werk - Projekt Gutenberg

Published by Tate Publishing About this Item: Tate Publishing, Published by Universe Publishing About this Item: Universe Publishing, Published by Wm. Eerdmans Publishing Company About this Item: Wm. Eerdmans Publishing Company, Translator s : Rhodes, Erroll F. Item added to your basket View basket.

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Continue shopping. Search Within These Results:. As head of the Paris Underground, he led the popular uprising against the German Occupation of Paris, taking up arms against the occupiers one week prior to the Liberation on 25th August Conceived circa and posthumously executed in terracotta before under the supervision of Lucien Maillol and Jean van Dongen in an edition of 6. We are grateful to Olivier Lorquin for his assistance in the cataloguing of this work. John Rewald, Maillol, Paris, , n. Maillol exhibition catalogue , Sala de exposiciones de Caixa Catalunya, Barcelona, , n. Pissarro towards lower left gouache on silk overall: Paysannes ramassant des herbes, Eragny signed C.

Güstrower Fragmente (German Edition)

Pissarro and dated lower right oil on canvas 38 by 46cm. Kansas City, Art Institute, , n. III, no. Dating from , the present work was painted in Eragny, a small village on the banks of the river Epte. Pissarro and his family moved to Eragny, situated some three kilometres from Gisors, in the spring of In Pissarro, with the financial help of Claude Monet who lived in the neighbouring Giverny, would purchase the house his family had been renting for the previous eight years; the house exists to this day, in a street named after the artist. Pissarro was delighted with the tranquillity of his new environment, and with the endless source of inspiration it offered him.

The house is superb and inexpensive: a thousand francs, with garden and meadow. Durand-Ruel Snollaerts, op. DurandRuel Snollaerts, op. The brushwork is remarkable. Pissarro paints with small, distinct, precise touches and subtle and penetrating juxtapositions of pure tones. During the years spent in Eragny, Pissarro liked to alternate between urban and rural scenes. He often went to harbour cities like Rouen and Le Havre, to Paris where he met with friends as well as dealers, and to London, where he was visiting his sons.

Exhausted by frequent travels, the artist would return to the peace of Eragny, where he took joy in painting the garden and the meadow in front of his house, as well as the neighbouring villages of Gisors and Bazincourt. Pissarro, Camille Pissarro, London, , p. Pissarro and Seurat were developing the pointillist technique independently of each other, and when they finally met in , they were keen to exchange ideas on colour theories and scientific research into the nature and effect of colour.

Whilst he adopted this technique with an assured manner, he did not apply it with the doctrinary vigour of Seurat, and he retained his interest in exploring the nuances of light and atmospheric changes, a legacy of his earlier Impressionist style. Included in the eighth and final official Impressionist exhibition in under the title Plein soleil, the present work introduced the new neo-Impressionist divisionist style that Pissarro would develop over the following years.

Critical reception of the Eighth Impressionist exhibition identified a stylistic turning of the tides in the paintings of some of the participants, including those of Pissarro and newcomers Seurat and Signac. Edgar Degas, La Sortie du bain, circa , pastel.

The private moments of introspection experienced by a woman at her toilette have long captured the attention of the painterly eye. Intent on observing the curation of female beauty from its genesis at the dressing table, the artist has been no stranger to the boudoir since the playful scintillation of the Rococo. For Degas, however, the intimate subject of le bain precedes this drama of decoration. Gracefully extending the left arm to reach the side of her chest, the artist reveals the gentle torsion of her back and shoulders through areas of subtle cross-hatching, while the natural contours of the female body are alternatively highlighted and muted by soft shading.

This work appears to be a study for several later works executed mainly in pastel, such as La Sortie du bain, circa , in which the background furnishings are further developed. The ability to distil the essence of a subject through the simple consideration of line, light and shade, is captured evocatively. Drawn in Rome in Remarkable for the extraordinary quality of the draughtsmanship, the present work was executed in Rome during the three years that the artist spent in Italy from to The source has been identified as The Climbers, an engraving by Marcantonio Raimondi after.

He reached Rome in October and promptly enrolled in evening life drawing sessions at the French Academy in the Villa Medici. Under the directorship of Jean-Auguste-Dominque Ingres, the French Academy had had a strict policy that meant that these classes were exclusively reserved to pensioners but after they were opened up to non-pensioners such as Degas who found it a convenient place to meet and study.

It was here that Degas met another young French artist named Gustave Moreau. The subtle modelling of the muscular torso and the similarity between the two seated poses indicate that the present work, Homme nu, assis, may well have been drawn at. The present work was once a part of the celebrated collection of David Daniels.

Pissarro upper right pastel on paper 49 by 31cm. Pastels Watercolors Drawings, , no. The secluded location in Montfoucault provided calm and serenity and in August of Piette wrote to Pissarro urging him to visit. I have several projects for genre paintings Paris, Galerie Charpentier, Paul Helleu, , no. Portret van Miss J. Pontifex Hall Portrait of Miss J.

Pontifex Hall signed J. Toorop twice, dated and inscribed lower left , signed J. Jan Toorop was a Dutch-Indonesian painter. In , he married a young British woman named Annie Hall, and proceeded to live between Brussels, the Netherlands and England. She would have been 35 at the age of execution; at this time their daughter Annie Pontifex Toorop would have been 4 years old. It was during the s that the artist developed his distinctive Symbolist style, depicting his subjects in willowy guises and working in fine and intricate lines, often floral and curvilinear, inspired by Javanese motifs.

In , the year before the date of the present work, Toorop was commissioned by the Dutch Oil Company to design a poster for their salad oil. The present work is executed in the precise and intricate manner for which Toorop is celebrated. A decade later, they held another exhibition entitled Toorop: Melodies of the Time in which the present work was exhibited. Pommes signed Renoir lower left oil on canvas 24 by New York, Charles E. II, n. The artist painted and sold many small still-life paintings during the later years of his life and the present work, with its charmingly informal composition, can be seen to epitomise this type of still life.

The still life genre allowed for a certain degree of improvisation that the portraiture most often associated with the artist restricted him from. In Pommes one can see how the subject matter allowed for experimentation with light and colour. Short, yet slightly feathery, brushstrokes enhance the tactile nature of the pieces of fruit whilst retaining dynamism that further brings them to life. Within the present work, Renoir interweaves the traditional subject matter of the still life with the softness of the Impressionist palette to superb effect.

Sisley was intent on capturing the different effects of the seasons, weather and time of day on the rural landscape, and remained preoccupied with describing the varying effects of light throughout these moments. The artist builds his compositions by repeatedly layering pigment applied in quick brushstrokes in different directions, creating a richly textured surface saturated with composite colours. What is more beautiful indeed than the summer sky, with its wispy clouds idly floating across the blue? What movement and grace! The transformative quality of light in the region was a constant source of inspiration for the artist, allowing him to experiment ceaselessly from both a technical and chromatic point of view.

Canal avec maison blanche, Harfleur signed Le Sidaner lower left oil on canvas 60 by 73cm. Depicting the centre of Harfleur - a town in Normandy - at twilight, the present work was painted in , when Le Sidaner was at the peak of his creative powers. A symphony of quiet colours and gentle tonalities, the eye is inexorably drawn towards the glowing lights above the bridge, which imbues the scene with a sense of welcoming warmth whilst serving as a masterful focal point for the composition. The lack of figures is a continual theme in the work of Le Sidaner, who preferred to suggest presence through absence.

The ordinary is transformed into magic by the miracle of the moment and of the silence. Ohne Titel Untitled signed Schiele and dated 08 lower right pencil on paper 43 by 26cm. The authenticity of this work has been confirmed by Jane Kallir and it has been assigned the provisional number D.

Garten Garden signed M Liebermann lower left pastel on paper 23 by Galerie Weber, Berlin Private Collection, Berlin probably acquired from the above Thence by descent to the present owners. The subject is a female figure standing in an unbuttoned summer suit within a wooded landscape: bathed in light. In his canvases of onwards, Wouters succeeded in evoking light and light filled environments without using a pale paint layer, as he had done in previous years.

Like Ensor, Wouters realised that light reveals the identity of the component parts of the composition but in doing so also erodes their contours which lends an almost abstract quality to these later canvases. Wouters is.


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However, Wouters retains the life and joy of his muse in fusing the canvas with an atmosphere that conjures a sense of dishevelled and romantic celebration. Throughout the course of his short career Wouters would paint fifty still lifes, sixteen self-portraits and thirty-three landscapes. Keen to develop his personal artistic idiom, Wouters would turn to still life and sculpting to advance his quest for the perfect synthesis between colour and form. However, one can see that his experiments in classical still lifes and landscapes were stepping stones that ultimately led him back to painting his muse with the newly learnt techniques that he had developed.

Liegende Reclining Woman signed Egon Schiele and dated lower right ; stamped with the Nachlass mark on the verso pencil on paper With her undergarments drawn up to display her stockings and her hand resting between her thighs, the young model in Liegende radiates a palpable erotic appeal. Even in his most explicit of auto-erotic representations, Schiele eclipses the shock-value of his subject with his brilliance as a draughtsman, capturing the intricacy and proportional balance of the recumbent and foreshortened figure here with incomparable virtuosity.

Sale: Dorotheum, Vienna, 25th November , lot 44 Purchased at the above sale by the present owner. Wolfgang Gerke, Der falsch abdiskontierte Tote. Exhibition, , no. Jahrhundert, , no. Les Pochards De Dronkaards signed Ensor lower right oil on canvas Impressive in both scope and scale, the present work features a slightly warmer palette than the version and an assuredness of handling which only. Les Pochards De Dronkaards depicts two somewhat worldweary Flemish men in the throes of advanced inebriation; the man on the right part sunk into a drunken stupor, whilst his companion gazes blankly out into the middle distance, seemingly likely to follow suit and take refuge from daily cares in temporary oblivion.

In its sensitivity to the degradation of the. Guggenheim Museum, New York, , p. Both works share a brutal yet profoundly moving honesty, catching the figures off-guard as they wallow within their cares. Ensor suggests no element of censure towards his two subjects; rather, Les Pochards De Dronkaards serves as an indirect criticism of a society that perpetuated the problem and the difficult living conditions that drove farmworkers and poorly paid inhabitants of the towns to seek solace in alcohol.

The only decoration adorning the wall behind the figures is a large poster advertising the sale of an estate due to bankruptcy, a theme which held personal significance for Ensor. Referring to the version, Susan M. The young artist took painting lessons from the age of thirteen, enrolling at the Academy of Fine Arts in Brussels in Remarkably he rarely ventured out of Belgium for the rest of his life, aside from brief trips to France and a single short visit to England, finding plentiful artistic stimulation in his home town of Ostend. Garten am Wannsee Garden in Wannsee signed Max Liebermann and indistinctly dated lower right charcoal on paper The authenticity of this work has been confirmed by Dr Margreet Nouwen.

Private Collection, Berlin acquired circa Private Collection, Brazil by descent from the above Thence by descent to the present owner. Birkenweg Path with Birch Trees signed with the initials P. M-B lower left oil on board laid down on panel 41 by Sale: Kunstkabinett R. Ketterer, Stuttgart, 3rd May , lot Axel Springer, Berlin purchased at the above sale Acquired from the above by the present owner in Hamburg, Kunsthalle, Paula Modersohn-Becker, , no.

Le Moulin Bouchardon, Creuse signed Guillaumin lower right oil on canvas Basse mer, le soir signed Henry Moret and dated 97 lower left oil on canvas Le Pont signed H. Matisse lower right oil on canvas Le Pont was painted from the window of a studio in Paris that Matisse rented from to , and again in It depicts a spectacular view over the Seine, with the impressive Pont Saint-Michel dominating the foreground.

The footpath is bathed in sunshine, almost aglow with golds and yellows, whilst the shadows cast onto the water by the three round arches below are indicated with deft strokes of dark blue and red. Originally constructed in , the medieval bridge was subsequently rebuilt several times, most recently in Matisse painted a series of works from his studio window featuring the same view of which the present work is undoubtedly the most vibrant. Nu pencil on paper Drawn in Paris in Among these was Henri Matisse, whose most well-known portrait of Greta is currently held in the permanent collection of the Centre Pompidou, Paris fig.

The first owner of this work was celebrated Norwegian painter, critic and dealer Walther Halvorsen, husband of Greta Prozor, who became a student of Matisse until and introduced Impressionist, Cubist and Modern art to Scandinavia. Photo Dist. Lump, whom he encouraged to eat off a plate he had made himself and decorated with his self-portrait. Picasso kept hold of the present works for the duration of his life and upon his death they passed to his granddaughter Marina Picasso.

Oiseau and. Oiseau stamped Madoura plein feu on the underside painted and incised ceramic length: 26cm.

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Executed circa , this work is unique. Le Condor Vase Zoomorphe painted, incised and partially glazed terracotta height: 42cm. Sans titre signed Sonia Delaunay, dated , numbered 2 and inscribed lower right ; signed with the initials SD, dated and numbered on the verso gouache on paper 27 by 22cm. Paysage de Juan-les-Pins signed Picasso lower left oil on canvas Christian Zervos ed. VII, no. In , Pablo Picasso first visited the seaside resort of Juanles-Pins, a town in Antibes, during a trip with his first wife Olga and was immediately captivated by the beauty of the area.

Returning again in the summer of he created a series of works throughout his stay depicting the landscape of his villa and capturing the radiant light of the south of France. A Greek and later Roman settlement, Antibes provided the ideal combination to inspire Picasso: stunning landscape alongside a history of classical art and a mild climate. The South of France had been an important historical and cultural meeting-point since the early 19th century and had become a thriving artistic centre by the time Picasso discovered it.

The villa he had taken, complete with a tower reminiscent of medieval castles, became the subject of various studies in which the artist was observing from the viewpoint of his garage, which he had turned into a studio. The thick black outlines of the composition serve as a striking visual focus, whilst the villa is nestled between two adjacent trees, juxtaposed against vibrant primary colours of blue, red and brown. Three horizontal swathes of paint are applied to the background creating an extra layer of depth to the composition and marking a bold contrast to the predominant black. Vue de Cannes, Le Suquet signed van Dongen lower left oil on canvas Imbued with the vibrancy of Mediterranean sunshine, Vue de Cannes, Le Suquet depicts the picturesque old quarter of Cannes, celebrated for its winding cobbled streets and charming architecture.

Van Dongen illustrates the scene from a particularly striking birds-eye perspective, allowing the sweeping expanse of the wider bay in the background to be glimpsed in the distance. Van Dongen references his earlier Fauve works with his use of strong, bright colours which suggest a sensation of heat and shimmering light, conveying an overall effect of immense joiedi-vivre. By the early s Van Dongen had achieved widespread critical acclaim, and was able to enjoy a correspondingly lavish way of life, travelling around France for race meets and visiting the south of the country for the climate and social opportunities.

His newfound wealth enabled him to buy an elaborate villa in the city of Cannes, a location that afforded him greater accessibility to his clients and high society, and in the s van Dongen rendered a series of highly accomplished scenes of the Cannes shoreline. The present work appears to express these characteristics within painterly form, capturing a glorious moment of carefree enjoyment within the glamorous surroundings of the French Riviera.

Nature morte aux fleurs signed Ch. Camoin lower right oil on canvas 46 by Port de Cassis signed Ch Camoin lower left oil on canvas Painted in Nice in London, Lefevre Gallery, Raoul Dufy, , no. Pierre Courthion, Raoul Dufy, Paris, , n. Glasgow Herald, 1st February , n. The present work shows the renowned stretch of coastline in Nice, La Baie des Anges, running along the right side of the composition, giving primacy to the warm blue spectrum of sea and sky which dominates the centre of the work. The iconic casino and music-hall was taken up by Dufy as something of a motif, crystallising the elegant coterie and alluring ambience which had become synonymous with the French Riviera.

Nature morte au goblet et au citron signed Marie Laurencin and dated lower right oil on board Charlotte Gere, Marie Laurencin, London, , n. The present work was formerly in the collection of Lady Ashton, known as Madge Garland, a hugely influential figure on the British fashion scene in the s and 30s and founder of the first fashion course at the Royal College of Art.

She is lauded for being a pioneer in the intellectualising of fashion, central to establishing it as an industry worthy of academic rigour and education. Garland became a close friend to a number of artists and photographers of the time and her portrait was captured by creatives ranging from Man Ray to Cecil Beaton, the latter whom she introduced to Vogue. Marie Laurencin was another friend who painted her portrait and Madge recalls how Laurencin once brought her to tea at the house of M. Armand Lowengardt. It was here where Garland first saw the present work and was enamoured with it instantly.

However, Lowengardt said that he would never part from it. Many years later, after the death of M. Lowengardt, Garland spied the work in a small gallery in Paris. The work was later exhibited in Japan alongside the portrait Laurencin painted of her. Le Bouquet de tulipes bears the signature Van Dongen lower right oil on canvas 79 by Paysage signed Jean Dufy and dated 26 lower right watercolour on paper Les Moissonneurs signed Jean Dufy and dated lower right watercolour on paper 49 by 64cm. Lys dans un vase signed Bernard Buffet and dated 61 centre right oil on canvas Galerie E.

Promenade au bois, banc dans un parc stamped Bonnard lower right oil on canvas 40 by 55cm. Everything has its moment of beauty. Beauty is the fulfilment of seeing. Seeing is fulfilled by simplicity and order. La Pergola Gloriette signed Henri Martin lower left oil on canvas 80 by Glowing with a luminous and vibrant light, La Pergola Gloriette depicts the gardens of Marquayrol, the house that Henri Martin bought in a small village near Toulouse in Trying to capture its diverse effects, I was compelled to paint it differently.

In Marquayrol, the landscape and surroundings served as a constant source of inspiration to Martin and he was determined to capture the change in light and tones which occurred during the day and throughout the seasons. His depictions of landscapes and architecture open a window to turn-of-the-century France animated by vivid palettes. Loiseau and dated lower right oil on canvas 50 by 61cm. V lower right oil on canvas 60 by 73cm. Valtat lower right oil on canvas 54 by IV, no. Blumen in blauer Vase Flowers in a Blue Vase signed A Jawlensky lower right and indistinctly dated lower left watercolour, pen and in and pencil on paper Zeichnungen, , no.

XLII, n. Returning to Berlin in following his release from military service, Pechstein experienced a great flurry of artistic activity and quickly regained his old fluency and vigour. During these inter-war years Pechstein revived the brilliant colours of his pre-war style which he applied in thick brushstrokes.

In the present work Pechstein creates a panorama of form and strong colour that in its density conveys a powerful sense of the solidity and materiality of the still life. The powerful composition, with its picture plane tilted up towards the viewer, provides a feeling of being fully immersed with the work.

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The authenticity of this work has been confirmed and the work is listed in the Ernst Ludwig Kirchner Archives, Bern. Deutzie in rotem Krug Deutzia in Red Jar signed SRottluff towards lower right and numbered lower right gouache, pastel, coloured crayon and brush and ink on paper 70 by 50cm. Serenade signed Bargheer and dated 47 lower right watercolour on paper 42 by 54cm. Mann grabend Man Digging signed Grosz lower right watercolour and brush and ink on paper 49 by 62cm.


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  • The authenticity of this work has been confirmed by Ralph Jentsch. Paul Klee Foundation ed. Sitzender Akt Seated Nude signed with the initials HMP and dated lower right and numbered lower left pencil and wash on Japan paper We are grateful for the assistance of Mrs Julia Pechstein in researching this work. Private Collection, Switzerland acquired in the late s Thence by descent to the present owners.

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    La Baie de St Tropez signed A. Dunoyer de Segonzac lower right watercolour, gouache and pen and ink on paper The authenticity of this work has been confirmed by Madame de Varine. Etang-la-Ville signed Bernard Buffet and dated 62 upper left oil on canvas Soldat Guerre signed G. Rouault lower right oil on paper laid down on panel 23 by 18cm. Grand bouquet, vase de fleurs signed Kisling lower left oil on canvas 65 by 50cm. Newhouse acquired in Sale: Artcurial, Paris, 6th December , lot 30 Purchased at the above sale by the present owner. Painted in Sannois circa Le Paquebot signed Marquet lower left oil on canvas I, illustrated in colour p.

    Geburtstag, , no. Chanteurs de rue signed Van Dongen. Soutine lower left oil on canvas The present work by Chaim Soutine is a delicately-rendered still life painted in the years following his move to France from Vilnius. The considered yet bold application of impasto in the present work is evidence of. The artist stands apart from many others in his profession for never having executed any drawings, conducting the process of working and reworking an image entirely in layers finished with oil or pastel.

    Pulcinella con chitarra Pulcinella with Guitar signed G. Severini lower right oil on canvas laid down on canvas 89 by Le Centaure mourant numbered 4 and stamped with the foundry mark Susse Fdrs bronze height: cm. Conceived circa and cast in bronze circa by the Susse Foundry, Paris in an edition of 4. Jacques Lassaigne, Daumier, Paris, , n.

    Amsterdam, E. VII, , n. The authenticity of this work has been confirmed by Cyrille Martin.

    Ein selbsterzähltes Leben: Güstrower Fragmente

    In his later years, Henri Martin spent the summer months at his country retreat in Labastide-du-Vert, in Marquayrol, where he worked enchanted by the beauty of his surroundings. The figure and goat prove a wonderful centrepiece to the scene and epitomise the tranquility of his rural idyll. Jardin sous la neige signed G. Cariot and dated lower right oil on canvas 45 by Private Collection by descent from the artist Private Collection, Burgundy Acquired from the above by the present owner.

    Effet de neige signed G. Loiseau lower left oil on canvas 60 by Sainte famille signed with the initials MauD and dated upper right ; titled on the reverse oil on canvas Bateaux au port signed B. The authenticity of this work has been confirmed by Philippe Piguet. BHM 61, illustrated p. Palette, jardin public signed P. Bouquet de fleurs signed G. Cariot and dated lower left oil on board Cariot and dated lower right oil on canvas 41 by 48cm.

    Cariot and dated lower left oil on canvas Le Verger fleuri signed Montezin lower left oil on canvas Tentes et cabines sur la plage signed Bernard Buffet lower right oil on canvas 73 by Usines de banlieue signed Maurice, Utrillo, V, lower right gouache on paper AG, illustrated p. Jahrhunderts in Deutschland, , no. Barlach and stamped with the foundry mark H. Noack Berlin bronze height: 16cm. Conceived in and cast in bronze by the Noack Foundry, Berlin in an edition of This work cast in the ss. The authenticity of this work has been confirmed by the Ernst Barlach Lizenzverwaltung Ratzeburg.

    Ernst Barlach exhibition catalogue Berlin, Galerie Nierendorf, , no. Das Plastische Werk. Boys, My Village! Executed before Noack Berlin bronze Conceived circa and cast in bronze by the H Noack Foundry, Berlin at a later date, probably in the s. XI, illustrated in colour p. Portrait de Madame Berthe Delaunay signed H.

    Delaunay lower right oil on canvas Painted in April Das plastische, graphische und dichterische Werk, 5th ed. Katalog der Plastik, Munich , no. Das Plastische Werk, Hamburg , no. Das Wirkliche und Wahrhaftige, Wiesbaden , p. Jahrhunderts, Museum am Ostwall, Dortmund , p. Bestandskatalog, Cologne , p. Plastiken, Konstruktionen, Objekte. Bestandskatalog der Skulpturenabteilung der Hamburger Kunsthalle, Hamburg , p.

    Rostock , p. Essays zu Ehren von Helmut R. Leppien, ed. Die Sammlung zum Jahrhundert, Nuremberg , p. Neuauflage des Bestandskataloges von , Wuppertal , p.