Christ on the Cross between the Virgin and Moses. Woodcut. Hollst. 43. Dodg. II, S. 421, 197. Benzing 462. Geisberg, die deutsche Buchillustration III, 306, plate 6. 14,2:13,3 cm.
From: Martin Luther. Ein Sermon von dem heiligen Kreuz.
Augsburg M. Ramminger 1522. Verso title.
Ysele quema la Casa. (And his house is on fire). 18. Etching and aquatint. H. 18 III. 21,5:15,0 cm. CHF 4’000.-
Se repulen (They spruce themselves up). 51. Etching and aquatint.
H. 86 III. 21,5:15 cm. CHF 5’000.-
Plates from the first edition of Goya’s Caprichos. In 1799, this series
of 80 aquatint prints was published under the name “Caprichos”.
The influence of Piranesi’s “Carceri” (prisons) and also of Tiepolo’s series “Vari Capricci” and “Scherzi” are noticeable.
At first glance the prints may seem easy to understand. The series was created after the American and French revolutions had taken place, and while the ideas of the Enlightenment were still a force. Spanish intellectuals were not alone in questioning the usefulness of a large
body of nobles, many extremely wealthy and most of them idle.
The clergy were widely criticized for their laziness, greed, ignorance, and moral decay. Men saw poverty, widespread and without remedy, as the cause of the frightening degree of brigandage and the great prevalence of prostitution. They blamed this poverty on governments that failed to promote agriculture and industry or to educate the poor and teach them useful trades. The inquisition still was very powerful and persisted until 1834. Especially the interaction between the examination and criticism of contemporary life, and the exploration of one’s own soul and imagination created the great charm of this series and the intensity of the scenes.
The “Caprichos” are unique in its conception and technically outstanding with its use of both etching and aquatint; by implementing his ideas through a perfect handling of the technique, Goya is seen as one of the great printmakers in art history – comparable to Dürer and Rembrandt and the beginning of modernism.
Bird’s eye view of the river Bregenzer Ach from Schnepfau, Mellau and Bezau to Schwarzenberg. Black and grey brush. With annotated locations and mountain peaks. 22,3:29,1 cm.
Eugen Felle, who completed his training as a painter and sculptor at the Munich Academy of Fine Arts, already opened in his student years in 1892 in his hometown the “Atelier Felle”. With his artistically ambitious, bird eye view postcards, he soon made himself a name. 1910 employed the studio up to six artists. The First World War interrupted this development. To not provide the enemy with any useful orientation maps the bird’s eye views were even banned in 1916. After the war, the postcards offered especially as modern advertising media for restaurant owners, hotel owners and spa houses the artist a stable income.
Eugen Felle made his drawings on the spot, the carefully executed originals went as a master to the printers. For less demanding jobs or for promotional postcards he also used photographs that were weakly exposed and painted. The views are distinguished, primarily by their high documentary value, as they show often buildings and settings that no longer exist today.
Capri. Sketch, tree landscape. Pencil. Wz: J. Whatman 1807. 24,4:34,4 cm.
Prov.: Nachlass Salathé; Kurt Meissner, Zürich
Lit.: Boerlin-Brodbeck, Ein Zeichner der Romantik,
Friedrich Salathé. Basel 1988, Nr.