(1736 Winterthur - 1813 Dresden) attr.; Bildnis von Prinz Friedrich Heinrich Ludwig von Preussen Das repräsentative Brustbildnis zeigt Prinz Heinrich im Harnisch und mit weißer Halsbinde, darüber die Schärpe des Schwarzen Adlerordens, einen Hermelinmantel über die Schulter geworfen. "Im Jahr 1777 malte ich in Rheinsberg den Printen Heinrich" notierte Graff in seiner Selbstbiographie. In Graffs Atelier entstanden danach bis 1778 eine Reihe von Bildnissen des Prinzen, Brustbildnisse sowohl in hochrechteckigem Format als auch im Oval, aber auch große, ganzfigurige Porträts in Feldherrenpose. Die Komposition des vorliegenden Gemäldes ist in mehreren anderen Versionen Graffs bekannt (u.a. im Museum des Goethe-Hauses in Frankfurt/M. und in der Royal Collection in England) und wurde schon 1779 auch in einem Kupferstich von Johann Friedrich Bause (1738 1814) umgesetzt. Das durch eine subtile Lichtführung und die ausdrucksvolle, präzise Charakterisierung des Dargestellten künstlerisch herausragende Porträt zeigt die ganze Meisterschaft Graffs als Bildnismaler. Graff war einer der bedeutendsten und gefragtesten Porträtmaler seiner Zeit, es gab kaum eine wichtige Persönlichkeit in Deutschland- darunter Fürsten, Staatsmänner, Generäle, Gelehrte, Dichter, Künstler oder Kaufmänner, die sich nicht gerne von ihm porträtieren ließ. 1766 wurde er von Kurfürst Friedrich August III. von Sachsen als Hofmaler an die Kunstakademie nach Dresden berufen. Besonders schätzte man Graff auch am preußischen Hof in Berlin, wohin er öfters reiste und 1781-1786 auch sein berühmtes Porträt König Friedrich II. schuf. Öl/Lwd., doubl.; 72 cm x 58 cm. Rahmen. Prinz Friedrich Heinrich Ludwig von Preußen (1726 Berlin - 1802 Rheinsberg) war ein jüngerer Bruder König Friedrich II. von Preußen, diente im Siebenjährigen Krieg erfolgreich als General. Er war zudem ein so geschickter Diplomat, dass Heinrich die Herrschaft über ein von Zarin Katharina II. geplantes Königreich in der Walachei erhielt und ihm sogar die Statthalterschaft über die amerikanischen Kolonien Englands in Aussicht stellte, bis sich diese jedoch 1776 für unabhängig erklärten. Er verbrachte alljährlich die meiste Zeit im idyllischen Schloss Rheinsberg, das ihm sein Bruder 1744 geschenkt hatte und dessen Park er großräumig erweitern ließ. Er machte Rheinsberg zu einem Musenhof, ließ 1774 ein neues Schlosstheater erbauen, das von zahlreichen Schauspielertruppen bespielt wurde, es fanden Konzerte statt und zahlreiche Besucher bildeten einen kleinen Hofstaat; auch der König kam öfters zu Besuch. Provenienz: Auktion Hermann Historica. München, 09.05,2007, Lot 6234; deutsche Privatsammlung. Attributed to Anton Graff (1736 - 1813). Oil on canvas, relined. Inscribed on the reverse.
(1736 Winterhur - 1813 Dresden) attr.; Bildnis eines Fürsten Um 1765 entstandenes, ausdrucksvoll charakterisierendes Hüftporträt des stehenden, älteren, hohen Adeligen in rotem Hermelinmantel, die linke Hand leger auf die Lehne eines Stuhl gelegt, den Kopf mit weiß gepuderter Perücke fast en face mit ruhigem Blick auf den Betrachter gerichtet. Bei dem Dargestellten handelt es sich aufgrund der Porträtähnlichkeit vermutlich um Fürst Ludwig zu Hohenlohe-Langenburg (1696 - 1765), der im Januar 1764 eine Standeserhöhung vom Grafen zum Fürsten erlebte, indem ihn Kaiser Franz I. in den Reichsfürstenstand aufnahm. Wohl aus diesem Anlass gab er ein Bildnis bei einem meisterlichen Porträtisten wie Graff in Auftrag. Graff, den George Desmarées und Antoine Pesne beinflussten, war 1759-1766 in Augsburg tätig, bevor er als Hofmaler nach Dresden berufen wurde. Öl/Lwd.; Verso altes Etikett mit Zuschreibung "Pes(ne)". 95 cm x 73,5 cm. Wohl Original-Rahmen. Attributed to Anton Graff (1736 - 1813). Oil on canvas. Old label with attribution to Antoine Pesne on the canvas stretcher. Probably original frame.
(1736 Winterthur - 1813 Dresden) Ovales Porträt von Marie Madeleine (Magdalene) Platzmann geb. Lautier Graff, der als Schöpfer des bürgerlichen Frauen- und Männerporträts in Deutschland gilt, schildert Marie Madeleine Platzmann in einem getupften weiß-rosafarbenen Seidenmantel und mit einem zarten, weißen Chiffontuch, das sie locker am Hals geknotet und über ihr grau gepudertes Haar gelegt hat. Graffs Meisterschaft, dem Wesen einer Person in seinen Porträts künstlerischen Ausdruck zu verleihen, zeigt sich auch in diesem um 1775 entstandenen Bildnis. Er legte es mit weich modellierender Lichtführung vor einem dunklen, neutralen Hintergrund an, höchst subtil nuanciert im Kolorit. Virtuos hat Graff die Stoffe wiedergegeben, doch legt er sein eigentliches Hauptaugenmerk auf den Ausdruck des sanften Gesichts, wie sie uns mit offenem Blick, glänzenden, regen Augen und leicht angedeutetem Lächeln entgegnet, wodurch eine vertraute, dialogartige Beziehung zum Betrachter entsteht. Die Dargestellte war eine Tochter des Berliner Hofjuweliers Pierre Lautier und heiratete 1752 den Berliner Seidenfabrikanten Jean (Johannes) Platzmann (1720 - 1770), nach dessen Tod in zweiter Ehe den preußischen Geheimrat Pierre Vigne. Hierdurch gehörte sie weiterhin zur gehobenen Gesellschaft, daher war kaum ein Anderer und Besserer geeignet, als Graff, um sich porträtieren zu lassen. Der weilte oft in Berlin, um dort Bildnisse auszuführen (und seinen Schwiegervater Johann Georg Sulzer zu besuchen). Das vorliegende Gemälde zeigt sie somit als ungefähr 45-jährige Dame. Bei dem vorliegenden, bisher unpublizierten Gemälde dürfte es sich um eine der drei von Graff eigenhändig für die Kinder Platzmanns angefertigten Versionen handeln. Eine Fassung befindet sich im Herzog-Anton-Ulrich-Museum in Braunschweig (Inv.-Nr. 767), eine zweite Version im Museum in Chemnitz, diese dritte Version befand sich in Winterthurer Privatbesitz. Professor Helmut Börsch-Supan schreibt hierzu: "Wegen seiner herausragenden Qualität halte ich es für eine eigenhändige Arbeit von Graff. In der Leichtigkeit der Handschaft scheint es mir sogar dem Braunschweiger Exemplar überlegen". Die Dargestellte und Anton Graff als Schöpfer des Gemäldes lassen sich überdies durch einen alten Klebezettel in Französisch auf der Rückseite des originalen Keilrahmens identifizieren: "Marie Magdalaine Platzmann (/...) à Berlin le 6 Decem(bre) 1752. morte le 8 Dec:(embre) 1790. (/) La mère de Henry Charles P:(latzmann/) a épousée apres de son (...) second mariage (...) Pierre Vigne peint par Graf la père". 76,5 cm x 63 cm, im Oval. Rahmen. Beigefügt: Gutachten von Prof. Dr. Helmut Börsch-Supan, Berlin, 26.02.2024. Lit./Vgl. Ekhart Berckenhagen: "Anton Graff. Leben und Werk", Berlin 1967, Nr. 1085-86. Oil on canvas, relined. Old label with information about the sitter and painter on the reverse. Accompanied by an expertise from Professor Dr. Helmut Börsch-Supan, Berlin, 24th of February 2024.
Portrait einer Dame Signiert und datiert "A. Graff p. 1786". Elfenbeinrahmen Im- und Export unterliegen der Int. Konvention CITES. Sammlung Dr. Erika Pohl-Ströher; Christie's, London, 6 July 2005, Lot 138 Ausrufdatum: 29.11.2024 Ungefähre Ausrufzeit: 10:06
A magnificent Glashuette hunting case pocket watch with case decoration according to Prof. Carl Ludwig Graff, manufactured in quality 1A Movm. No. 16335, Case No. 16335, Dimensions 54 mm, circa 1883, Weight 149 g, Origin Deutschland Case: 18 K pink gold, on both sides engraved Renaissance style ornaments according to Prof. Graff, glazed movement. Dial: Silver, applied floral gold ornaments. Movm.: 3/4 plate movement, club-tooth lever escapement, gold screw compensation balance. The pink gold case of this splendour hunting case watch is decorated with designs in the style developed by Professor Graff. Both sides are each engraved with grotesques. The spring lid has a central monogram cartouche. The edge is intricately ornamented on both sides with classic ornaments. Among the many different Glashütte case forms, those by Professor Graff were the most elaborate and costly pieces. Professor Carl Ludwig Theodor Graff (1844-1906), Privy Councilor, was in 1875 professor and managing director at the Royal School of Arts and Crafts of Dresden. His designs were inspired by renaissance-style architecture.
Christian Gottlieb Geyser (1742 Görlitz - 1803 Leipzig) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of CFGellert (1715-1769), 18th century, Copper engraving Technique: Copper engraving on Paper Inscription: Signed "Graff pinx." and "Geyser sc." in the printing plate below the image. Date: 18th century Description: After an original by Anton Graff (1736 Winterthur - 1813 Dresden). Half-length portrait of the famous German poet and moral philosopher of the Enlightenment Christian Fürchtegott Gellert (1715 Hainichen - 1769 Leipzig). During his lifetime, Gellert was considered the most widely read German writer in the transitional period between the Enlightenment, Empfindsamkeit and Sturm und Drang. Below the round-framed portrait, the name of the sitter can be read on a fictitious plaque with a laurel wreath. Keywords: Portrait, Writer, Printmaking, Germany, Engraving, Artist portrait, 18th century, Classicism, Portraits, Germany, Size: Paper: 13,8 cm x 9,5 cm (5,4 x 3,7 in), Depiction: 11,8 cm x 6,9 cm (4,6 x 2,7 in)
A Marklin Luftschiff 'Graff Zeppelin' late 1990's, model 11400, 60cm. long, silver painted with ‘Graf Zeppelin' in red and ‘D-LZ 130' in black to sides, with 4 engine pods and control room to front. A special edition example with ‘1859-1999' to rear tailfin, in original box, 70 x 17cm. x 17cm. high.
19th C Portrait Painting Of A Gentleman Oil On Board Roberson & Miller Art Board. Framed Art Measure 12 3/4" X 10 3/4", Sight 10 3/4" X 8 3/4". Provenance: One Person Private Estate Central Florida. RBFineArts CFL Inc. Shipping, Payment & Auction Policies: PLEASE MAKE SURE YOU HAVE READ THE TERMS AND CONDITIONS BEFORE YOU BID. Any registration and/or bid placed by you does guarantee RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. All sales are recorded. These Terms and Conditions control this Auction in all regards and supersede all previous announcements, advertisements, catalogs, and published information however distributed. All announcements from the Auction block will take precedence over any Internet description or printed material. RBFineArts CFL Inc. internet descriptions and printed materials are meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, condition, description, weight, count, or measure of any of the lots specified herein. We are not an authentication service. We can only declare the work as attributed to based upon the factors mentioned in the specific lot listed. Please make yourself familiar with the merchandise you are bidding on, and again, the Terms and Conditions of the sale. RBFineArts CFL Inc., in its role as sales agent for individuals, estates, trusts, public and private institutions, and other individuals and entities, sells consigned property. Bidders are encouraged to carefully inspect all items prior to bidding. All items offered for sale are available for preview and inspection prior to the sale. By registering for a sale and bidding on an item or items in a lot or entire lot, you are representing that you or your agent have examined the item as fully as you desire and that you are specifically waiving any rights to rescind your final bid after the item(s) or lot is declared sold or to rescind the contract created as a result of the Auction sale. The items sold are often of considerable age and will exhibit wear, show usage, and/or damage often NOT LISTED IN THE CATALOG ENTRY. The absence of condition remarks in the catalog entry DOES NOT mean the item is in perfect condition. PLEASE ASK FOR A CONDITION REPORT AND MORE PICTURES IF YOU HAVE QUESTIONS ABOUT THE ITEM. Please determine condition, genuineness, and/or authenticity BEFORE you bid as all items are sold AS-IS, Where-is! ALL SALES ARE FINAL! WE DO NOT GIVE REFUNDS ON A SOLD ITEM. All sales are final, and all property is sold "as is." RBFineArts CFL Inc. does not give refunds. *We reserve the right to amend our terms and conditions at any time without notice.* PAYMENT: Auction purchases must be paid in full within 3 Business days of the auction. Please let us know if you have a problem making payments as we will work with buyers. Processing fees on invoices are charged as a convenience fee to pay your invoice. There is a processing fee via platform payments that is reflective on the invoice, please see the individual invoice. Please contact RBFineArts CFL Inc about receiving a credit card authorization form. A 3.7% processing fee is required to run the card. *ALL PRECIOUS METALS (INCLUDING BUT NOT LIMITED TO: JEWELRY, GOLD, AND SILVER), GEMSTONES, WATCHES, VEHICLES, WEAPONS (INCLUDING BUT NOT LIMITED TO FIREARMS AND KNIVES), AND DECORATIVE WEAPONRY MUST BE PAID VIA BANK WIRE TRANSFER OR CERTIFIED CHECK. ANY INVOICE OVER $3000.00 REQUIRES A BANK WIRE TRANSFER OR CERTIFIED CHECK. ALL INTERNATIONAL BUYERS ARE REQUIRED TO PAY VIA BANK WIRE TRANSFER OR CERTIFIED CHECK. THERE ARE NO EXCEPTIONS TO THIS POLICY.* *PLEASE NOTE, WE WILL ALLOW 72 HOURS FOR FULL PAYMENTS, WE WILL CALL YOU AND IF THERE IS NO CONTACT, WE WILL EMAIL YOU DIRECTLY WITH A FINAL NOTICE. WE WILL THEN PROCEED TO FILE AN UNPAID CASE ON ALL ACCOUNTS WITH NO EXCEPTION UNLESS ARRANGEMENTS ARE MADE OTHERWISE!* We accept: Bank Wire Transfer: Fees are not included in the invoice. || Zelle: info@rbfinearts.net || PayPal: We DO NOT use Friends and Family invoicing. || Certified Checks || Credit Cards: Visa, MasterCard, American Express, Discover Autopay: If you have a card on file with Live Auctioneers, it will be automatically charged 72 hours after you receive your invoice. The buyer is responsible for communicating with RBFineArts CFL Inc. if they are paying with an eCheck, bank wire or other means so your credit card is not processed with autopay. SALES TAX: Online purchases from RBFineArts CFL Inc. may be subject to sales tax. Please see the following for more details. If you are tax-exempt, you can submit your tax-exempt certificate to prevent the collection of tax. a) Out of state taxes: As a result of recent and ongoing legislation, most U.S. states now require businesses to collect and remit sales tax on online purchases made from their states. Regardless of where sellers are located, they are required to charge tax on internet orders if the state mandates it. Each state has different requirements and thresholds on what is taxed and how much. Note that purchases shipped to or picked up in states that do not impose sales tax will not be subject to tax. b) Sales Tax Exemption: Lake County Florida state sales tax is 7%. Applicable Sales or use taxes will be added to the purchase price of taxable purchases. To be sales tax exempt, a current sales tax exemption certificate, including sales tax exemption number, must be presented to RBFineArts CFL Inc to avoid paying sales tax. AUCTION CATALOGS: Catalogs, brochures, and internet descriptions are guides only based on information from sources believed to be reliable, but their accuracy cannot be guaranteed or warranted. The auctioneer will not be liable for any errors or omissions. Statements made by Auctioneer and/or staff of Auctioneer whether oral or written, are only opinions and should not be construed as statements of fact. All measurements are approximate. a) Rugs: RBFineArts CFL Inc does not guarantee the names or patterns of any Oriental rugs. All rug dimensions are approximate. b) Jewelry: Regarding jewelry, all weights, grades, sizes, and metal content(s) are approximate. c) Clocks and Watches: Due to their delicate nature, all clocks and watches are sold as not working even though they may be working. d) Antiques: Antiques, by the very nature of their age, have wear that reflects their years of use. As a result, honest wear from use is to be expected and is sometimes the proof that an item is an antique. Normal wear will not be noted in the description. e) Artwork: Because artwork is known to be copied from pre-existing examples, the dating of such objects is often difficult to ascertain and opinions vary from expert to expert. Due to this, RBFineArts CFL Inc strongly suggests all potential bidders or a representative to meticulously inspect any and all items prior to bidding. Any reference to a specific time period and/or culture are only the opinion of RBFineArts CFL Inc and are not a guarantee of authenticity. If the bidder or a representative cannot inspect an item in person prior to the auction, then RBFineArts CFL Inc strongly suggests that you do not place a bid on the lot. Buyers who would like to know the fine points regarding the condition should call 877-660-3271 or (352) 508-5738 or info@rbfinearts.net, prior to the auction. RBFineArts CFL Inc advises buyers to examine the item before placing a bid. All other guarantees of authenticity of authorship, expressed or implied, are hereby disclaimed. We are not an authentication service. We can only declare the work as attributed to based upon the factors mentioned in the specific lot listed. There is no other warranty, expressed, or implied. Each lot is sold AS IS. All sales are final, and all property is sold "as is." RBFineArts CFL Inc. does not give refunds. Note: If an unpaid item/s has been relisted in a future auction catalog there will be a $100.00 removal penalty per item, plus any storage penalties, before it will be released for shipping or pickup. If the item/s has not been relisted there will only be storage penalties of $10.00 per item per day before it can be released for shipping or pickup. REGISTRATION: Bidder must register for the Auction before his/her bid will be accepted. Proper identification and credit card information will be required. Auctioneer reserves the right to refuse to register any prospective bidder for any reason. CUSTOMER AND CLIENT CONDUCT: While visiting our gallery to preview auction items, to pick up any items, or to drop off any items, should you act in a way that causes offense or might cause danger to others or which risks damage to property belonging to others you will be asked to promptly leave, and face law enforcement being called. Further, RBFineArts CFL Inc reserves the right to hold you liable for reimbursement for any expenses incurred because of any damage or injury. We expect all correspondence by phone or online to be respectful, any rude, harassing, or offensive behavior may result in actions including canceled sales and/or being blocked on all bidding platforms and in extreme cases being reported to law enforcement. Any request to alter documents with the intent to defraud insurance or government entities will be summarily declined and reported to appropriate authorities. ABSENTEE BIDS: Please adhere to the bidding increments. It is possible that an item could go to another bidder for the same amount as your absentee bid. For example, if your maximum Internet bid on an item is $325.00 and the required opening bid is $300.00, the Internet auction software will only bid $300.00 since that is all that is required to start the Auction. The Auction begins with you at $300.00. The next increment would be $325.00, if no one else bids you will be declared the winner. If a live auction bidder bids $325.00, they are at $325.00, not you. We always encourage bidders to bid by phone or to leave absentee bids through our gallery to avoid this. To make an absentee bid with our physical location instead of an online absentee bid, please call the storefront at 1-877-660-3271 or (352) 508-5738. AUCTION PROCEDURES: RBFineArts CFL Inc. auctions items at approximately 60 lots per hour. Occasionally, the bidding software or your internet connection may not be able to keep up with the pace of the auction or the floor may respond before the internet bid is presented to the auctioneer. We recommend placing a realistic absentee bid for the live Internet auction before the auction begins as insurance to avoid this. Occasionally, the Auctioneer may eliminate or reject an Internet bid, or the auctioneer may reopen a lot after the close of the live internet bidding. In this case, we may reject your bid even if it shows you as the winning bidder. By bidding via the internet, you agree that RBFineArts CFL Inc. may award the lot to another bidder at its sole discretion under the circumstances described above or any other reasonable circumstances. Internet bids are treated just like floor bids. The Auctioneer reserves the right to reject any bids that are deemed inappropriate or withdraw any item before or during the sale. In the unlikely event internet connection is lost during a live Auction, RBFineArts CFL Inc. Auction Services reserves the right in its sole and absolute discretion to cancel the remainder of the auction. ESTIMATES AND RESERVES: Pre-sale estimates are intended as guides and may not be reflective of the actual gavel price. Some of the items in this Auction are subject to a reserve. The reserve is a confidential minimum price agreed upon by both the consignor and RBFineArts CFL Inc. Buyers should assume that all listed items are reserved unless otherwise stated. We reserve the right to bid on behalf of consignors up to, but not more than, the reserve to protect against selling at a price below the reserve. This will be accomplished as necessary by a proxy placing successive bids, or bids in response to buyer's bids. Auctioneers reserve the right to invoke Auctioneer's discretion at any time during the bidding process. If any dispute arises after the sale, the RBFineArts CFL Inc Auction Services sale record is final and conclusive. PICKUP: Upon pick up the buyer, or their contracted third-party pick-up company, will be presented with a release stating that they acknowledge all items purchased were available to be inspected and by signing confirm they find no fault with the items and agree to all terms and conditions presented by RBFineArts CFL inc. auction including the condition of the items and that all sales are final. Buyer accepts that we cannot insure or guarantee any items not packaged or wrapped by RBFineArts CFL Inc or RBFineArts Shipping Inc. unless specifically stated. RBFineArts CFL Inc. and RBFineArts Shipping Inc. will not cover issues with items arising from a previous repair, structural deficiencies, or any subsequent damage from any incident. RBFineArts Shipping Inc. will not guarantee delivery or receipt of any item picked up by a third-party company. SHIPPING AND PACKING & INSURANCE: RBFineArts CFL Inc. uses a 3rd party shipping and packing company, RBFineArts Shipping, as our default packing and shipping partner. RBFineArts CFL Inc. is not making any warranty, guarantee, or promise as to the performance of RBFineArts Shipping Inc. Arrangements and costs are the sole responsibility of the buyer. a) Shipping Estimates: Shipping estimates can be obtained by emailing pertinent Auction information such as the auction lot number, and the auction date along with the buyer's zip code or country. No items will be released prior to an auction for the purpose of obtaining a shipping quote. c) Release of Items: No property will be released until payment is made in full. *Any shipping or insurance issue(s) is between RBFineArts Shipping Inc. and the buyer. RBFineArts CFL Inc. is not responsible for any denied claims from the shipping offices. *RBFineArts CFL Inc. (online auction) and RBFineArts Shipping Inc. (packing and shipping) are TWO SEPERATE companies and SHOULD NOT be assumed to be the same business. STORAGE AND HANDLING FEES: Items must be picked up either by the buyer or a shipper within fourteen (14) days of payment. Items remaining at RBFineArts CFL Inc.'s offices at the expiration of fourteen (14) days past payment will be subject to storage fees of $10 per day per item. All storage fees must be paid before item/s will be released to a shipper or for pick-up. Any items remaining thirty (30) calendar days following the date when the buyer completed payment on an invoice will be considered Abandoned Property of items on that invoice and will be donated at our discretion. LEGAL DISPUTES: Bidder agrees that any controversy or claim arising out of this Auction, or any related dealings with RBFineArts CFL Inc or Seller must be resolved by final and binding arbitration with no appeal is permitted except as provided by Florida statute in the State of Florida in and for Lake County. The parties voluntarily waive their rights to seek traditional remedies in any court including the right to a trial by jury. The prevailing party will be entitled to collect from the other all costs associated with the arbitration, including reasonable attorney's fees. Notwithstanding, this requirement for binding arbitration, the parties agree on RBFineArts CFL Inc, and Seller retain their right to pursue a traditional lawsuit against any Buyer for the collection of any payment due to them by RBFineArts CFL Inc for any purchase at the Auction and it is agreed that in that event the defaulting bidder will be responsible for all RBFineArts CFL Inc and/or Sellers costs of collection including reasonable attorney's fees of thirty-three and one-third percent (33.3%), plus a finance charge of two percent (2%) per month (24 percent per annum) from the date of the auction until the balance is paid in full. DAMAGE AND/OR LOSS: Auctioneer will have no responsibility for any loss or damage resulting from RBFineArts CFL Inc staff carrying, handling, or loading any item(s) for any person. RBFineArts CFL Inc is not liable for damage or loss of items not removed after the auction per Terms and Conditions. ACCEPTANCE OF TERMS: Registering to bid and or placing a bid of any kind indicates to us that the bidder has a full understanding of the terms and conditions and accepts these terms along with the agreement to be so bound. Terms may not be amended in any way except by a signed, written agreement between RBFineArts CFL Inc and Bidder. If there is anything relevant to this Auction that you do not understand, please ask RBFineArts CFL Inc staff to assist you. The staff members of RBFineArts CFL Inc want your experience to be a smooth and positive one. If any disputes arise after the sale, the RBFineArts CFL Inc Auction Services sale record is final and conclusive. RBFineArts CFL Inc reserves the right to cancel any sale or remove any item prior to, or post-auction for any reason deemed necessary.
Frederick August II of Saxony (1696-1763) as August III, King of Poland Miniature painting on ivory, signed, set in a new wooden frame 6.7 x 4.8 cm, frame: 14 x 12 cm
PORTRAIT LEOPOLD II (1747-1792) Öl auf Leinwand. Doubliert. 63 x 42,5 cm. In vergoldetem Prunkrahmen. In einem Innenraum mit zur Seite gerafft hängendem türkis-grünen Vorhang das Ganzkörperportrait des Erzherzogs von Österreich aus dem Haus Habsburg-Lothringen in mit Gold reich verzierter heller Galauniform und weiß-grauer Allonge-Perücke. Er hat ein feines junges Gesicht und blickt mit seinen Augen direkt aus dem Bild heraus. Er lehnt sich mit seinem linken Unterarm an die auf einem Sockel stehende Steinskulptur des Mars, der in seiner Hand ein Schwert hält und dessen Fuß auf seinem abgelegten Helm steht. Dies könnte auf einen friedliebenden Erzherzog hindeuten, der zudem Großherzog der Toskana sowie von 1790-1792 Kaiser des Heiligen Römischen Reich Deutscher Nation und König von Böhmen, Kroatien und Ungarn war. Repräsentative Darstellung in qualitätvoller Malweise. (1401272) (18) Provenienz: Sammlung Mona von Bismarck, Florenz, bis 1970er-Jahre. Anton Graff, 1736 Winterthur– 1813 Dresden, attributed PORTRAIT OF LEOPOLD II (1747 – 1792) Oil on canvas. Relined. 63 x 42.5 cm. Provenance: Collection Mona von Bismarck, until 1970s. (†)
Anton Graff (1736-1813), workshop or copy after, Portrait of Johann Friedrich Carl Count von Dallwitz (1742-1796), Privy Councillor of Electoral Saxony and Dean of Meissen Cathedral, bust portrait in oil on canvas, mounted, unsigned, probably an excerpt-like repetition of a knee-length portrait by Anton Graff, painted around 1770, 48 x 37.5 cm, framed 61 x 53 cm
(Winterthur 1736–1813 Dresden) Kopie Bildnis des Pierre Lautier. Öl auf Leinwand. 76,5x63 cm (oval). Gerahmt. - Doubliert. Minime Bereibung im unteren rechten Bereich sowie am linken oberen und unteren Bildrand.
Christian Gottlob Scherf (born 1793 Werdau) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of the German writer and publicist Gottlieb Wilhelm Rabener (1714 Rittergut Wachau - 1771 Dresden), bust to the right, c. 1825, Copper engraving Technique: Copper engraving on Paper Inscription: Signed on the left and right below the depiction, inscribed with the sitter's name in the centre below. Date: c. 1825 Person: Depicted: Gottlieb Wilhelm Rabener (1714 Wachau manor - 1771 Dresden) German writer and publicist of the Enlightenment. Already during his time in Leipzig, he wrote articles for various journals, mostly in satirical or essayistic form. He was often called the "German Swift" because of his writing style, probably because he later approximated the style of the English weeklies. Rabener's prose satire in the form of short novels, letters, poems and proverbs, in which he satirised human misconduct as well as the social ills of the bourgeoisie, was widely published in periodicals. He published his publications in the 1750s under the title Sammlung satirischer Schriften (Collection of Satirical Writings) as a collection that would ultimately comprise four volumes. This publication went through several editions within a few years and was also published in Danish, French, English and Swedish, among other languages. Keywords: Portrait, Portrait, Writer's portrait, Rabener, Graff, Enlightenment, Satirist, 19th century, Classicism, Portraits, Germany, Size: Paper: 25,8 cm x 19,0 cm (10,2 x 7,5 in), Depiction: 18,7 cm x 14,9 cm (7,4 x 5,9 in)
Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of the writer Gottlieb Wilhelm Rabener, half-length portrait in three-quarter profile to the left, looking forwards, 18th century, Copper engraving Technique: Copper engraving on Paper Stamp: Verso Collector's stamp, Lugt no.: 5741. Julius Johann Grober (1875 Bremen - 1971 Bonn) . Jena. 20th century Date: 18th century Description: Portrait of a man with a wig and elegant clothing, in an oval depiction, framed by classical elements and a name underneath. Person: Gottlieb Wilhelm Rabener (1714 Wachau manor - 1771 Dresden) German writer and publicist of the Enlightenment. Already during his time in Leipzig, he wrote articles for various journals, mostly in satirical or essayistic form. He was often called the "German Swift" because of his writing style, probably because he later approximated the style of the English weeklies. Rabener's prose satire in the form of short novels, letters, poems and proverbs, in which he satirised human misconduct as well as the social ills of the bourgeoisie, was widely published in periodicals. He published his publications in the 1750s under the title Sammlung satirischer Schriften (Collection of Satirical Writings) as a collection that would ultimately comprise four volumes. This publication went through several editions within a few years and was also published in Danish, French, English and Swedish, among other languages. Keywords: portrait; man; curly hair; allonge wig; clothes; oval portrait; frame; classicism; signature, 18th century, Classicism, Portraits, Germany, Size: Paper: 32,2 cm x 23,2 cm (12,7 x 9,1 in), Plate: 28,6 cm x 20,8 cm (11,3 x 8,2 in), Depiction: 25,4 cm x 17,8 cm (10 x 7 in)
GRAFF, ANTON 1736 Winterthur - 1813 Dresden Title: Portrait of Johann Gottfried Herder (1744-1803). Date: 1790s. Technique: Oil on canvas. Measurement: 71.5 x 57.5cm. Frame: Framed. Literature: E. Berckenhagen: Anton Graff. Leben und Werk, Berlin 1967, p. 392, no. 1565. Provenance: Private ownership, Germany. We are grateful to Helmut Börsch-Supan, Berlin, for confirming the attribution of this portrait to Anton Graff on the basis of a high-resolution photograph. Börsch-Supan refers to the portrait of Johann Gottfried Herder from the Gleimhaus in Halberstadt depicted by Berckenhagen and sees the present painting as a new discovery. It is in the nature of things that a portrait depicts the sitter as closely as possible. However, the great skill of the outstanding portraitist lies in visualising not only the outward appearance, but also the nature and character of the model. When this succeeds, a portrait conveys a comprehensive personality that transcends the boundaries of time and lends the person portrayed the immediacy of a contemporary. Swiss-born Anton Graff was the outstanding portraitist in the German-speaking world of the 18th century. During his three-year training at Schellenberg's drawing school in Winterthur, he had already specialised in portraiture. At the age of 20, he moved to southern Germany. He travelled to Augsburg, Ansbach and Regensburg, where he already worked independently but also completed his training. His meeting with the Bavarian court painter Désmarées in Schleißheim was of decisive importance for Graff. As was his access to large collections of paintings, where he was able to study works by leading portraitists such as Pesne, Rigaud and Kupetzky. The young Graff attracted attention and, in 1766, he was offered a permanent position as court painter. This appointment signalled Anton Graff's final breakthrough. Dignitaries and politicians, aristocrats and military officers, great intellectuals and actors wanted to be painted by Anton Graff. And demand was not only high in Dresden. Graff negotiated a limited attendance requirement in his employment contract, which allowed him to travel and paint personalities in other cities as well. In Carlsbad in 1785, he also portrayed Johann Gottfried Herder, the great polymath who had been working in Weimar as a theologian, philosopher, writer, cultural historian, anthropologist and translator since 1776. Together with Goethe, Schiller and Wieland, he formed the intellectual centre of the Weimar court of the muses. The portrait painted by Anton Graff in 1785 (Gleimhaus, Halberstadt) shows the 41-year-old scholar as a bust portrait without a wig. It is known from a letter by Friedrich Schiller that Herder was not entirely happy with this painting. Schiller also criticised the lack of seriousness in this earlier portrait. In the painting presented here, the famous thinker appears several years older. On the basis of various Herder portraits made by Angelika Kaufmann (1789), Johann Heinrich Tischbein (1796/1800), Gerhard von Kügelgen (1799) and Friedrich Rehberg (1800), it can be assumed that it was painted around 10 years after the first portrait, i.e. around 1795. An oval-format chalk drawing attributed to Graff, which may be a preparatory drawing for our portrait, was sold at auction in Bern in 1950 and 1955. "Bust portrait in dark skirt with white jabot, eyes turned to viewer." The treatment of the light in this painting is striking: Herder's body in the black skirt merges almost without contrast into the background, which is kept very dark at the edges. The oval face with its high forehead under the powdered wig is turned towards the viewer in three-quarter profile. The ivory-coloured collar with jabot increases the concentration of light in the centre of the picture. The lighting from the front on these crucial parts of the picture is absorbed by the partial lighting of the background, which Graff has realised in a very painterly manner. The philosopher casts no visible shadow; he appears in front of this bright part of the background with an immense presence. This stylistic detail appears in Graff's oeuvre in other paintings from the early 1790s, which supports the proposed dating of our picture. In his left hand, Herder holds a document that attributively identifies him as a man of the (written) word. It is an interesting detail that only one of the philosopher's hands can be seen. The agreed (high) price for ordering a portrait from Anton Graff was increased if hands were to be shown - with each hand being charged individually. This portrait of Johann Gottfried Herder was hitherto unknown. It shows the scholar, whose insights continue to have an impact even today, as an approachable and friendly character, with a clear, intense gaze from deep, dark eyes. The resulting image is somewhat more austere than Graff's 1785 painting, which presumably pleased the interlocutor. Estimated shipping costs for this lot: Germany: 77,31 Euro plus 14,69 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 159,66 Euro plus 30,34 Euro VAT additional shipping insurance Explanations to the Catalogue Anton Graff Germany German School 18./19. C. Old Masters Framed Historical people Painting Artist's Portait
Anton Graff (1736-1813), workshop or copy after, Portrait of Johann Friedrich Carl Count von Dallwitz (1742-1796), Privy Councillor of Electoral Saxony and Dean of Meissen Cathedral, bust portrait in oil on canvas, mounted, unsigned, probably an excerpt-like repetition of a knee-length portrait by Anton Graff, painted around 1770, 48 x 37.5 cm, framed 61 x 53 cm
ANTON GRAFF (Winterthur 1736–1813 Dresden) Portrait of a man in profile to the left. Silver pen on board primed in white. Unsigned. 9.5 x 7.5 cm (oval). Framed. Bendemann 656. --------------- ANTON GRAFF (Winterthur 1736–1813 Dresden) Brustbildnis eines Mannes in Seitenprofil nach links. Silberstift auf weiss grundiertem Karton. Nicht signiert. 9,5 x 7,5 cm (im Oval). Gerahmt. Bendemann 656. ---------------
Brosche mit Miniatur des Alten Fritz, Gold/Silber Fassung 835er Silber mit 8kt Gelbgold, Miniatur-Porträt Friedrich II. von Preußen (Alter Fritz), nach Anton Graff (1736-1813), Feinmalerei, sign. M. Kayser, H 5 cm, hinter Glas in Fassung Brooch with miniature of Old Fritz, gold/silver Set in 835 silver with 8ct yellow gold, miniature portrait of Frederick II of Prussia (Old Fritz), after Anton Graff (1736-1813), fine painting, sign. M. Kayser, height 5 cm, behind glass in frame
Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of Christian Felix Weiße (1726-1804), 1771, Copper engraving Technique: Copper engraving on Paper Date: 1771 Description: The half-length portrait of the writer and educator Christian Felix Weisse (1726-1804) is depicted in an oval to the right. Above a garland, below the inscription plate. Johann Friedrich Bause (1738-1814) made the engraving in 1771 after a painting by Anton Graff. Signed below the depiction " Anton Graff pinx / to be found in Leipzig atj Bause / Bause sculps. Lips. 1771." Keywords: 18th century, Figurative, Portraits, Germany,
Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait Johann Gottlob Quandt (1721 - 1784 ), 1784, Copper engraving Technique: Copper engraving on Paper Stamp: Verso Collector's stamp, Lugt no.: 2809. Germanisches Nationalmuseum. Nrnberg. 19th century Verso Relocation stamp, Duplikatsstempel Germansiches Nationalmuseum. Nrnberg Date: 1784 Description: Half-length portrait in a medallion. Inscribed below with the sitter's name and dates of life. Signed and dated 1784 by the artist along the lower edge of the sheet in the printing plate. Person: Depicted: Johann Gottlob Quandt (1721 - 1784 ) Keywords: 18th century, Classicism, Portraits, Germany,
ANTON GRAFF (WINTERTHUR 1736-1813 DRESDEN) Portrait of Philipp Daniel Lippert (1702-1785), half-length, in a green robe... oil on canvas 25 ½ x 21 1⁄8 in. (65 x 53.5 cm.)
Scuola tedesca del XVIII/XIX secolo Ritratto di Federico Guglielmo II di Prussia Olio su tela 72,5 x 56,5 cm L'opera ripropone il ritratto di Anton Graff (Winterthur, 18 novembre 1736 - Dresda, 22 giugno 1813). German school of the 18th/19th century Portrait of Frederick William II of Prussia Oil on canvas 72,5 x 56,5 cm The artwork presents the portrait of Anton Graff (Winterthur, 18th of November 1736 - Dresden, 22th of June 1813).
Graff, Anton (1736 Winterthur - 1813 Dresden, nach) - Porträt der Gräfin Zofia Potocka-Witt (1760-1822), Farblithografie nach dem Original Gemälde, ca. 26,5 x 21,5 cm, unter Glas gerahmt, Gesamtmaße ca. 37 x 32 cm, Goldstuckrahmen leicht bestoßen
Oil on canvas, relined. 1785. 64.4 x 52.2 cm. Signed, dated and inscribed with the location "AGraff pinx:/Dresde. 1785" beneath the relined canvas (see illus.). Framed.
C. Barth (19th century) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of the German poet Johann Wolfgang von Goethe (1749 Frankfurt am Main - 1832 Weimar), 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Signed below in the printing plate and titled with the sitter's name. Above is a reference to Meyer's Konversations-Lexikon and the numbering "No 83". Date: 19th century Description: Half-length portrait of the famous German poet and representative of the Weimar Classicism. Person: Johann Wolfgang von Goethe (1749 Frankfurt - 1832 Weimar) Was a German poet and naturalist. He is considered one of the most important creators of German-language poetry. Keywords: 19th century, Romanticism, Portraits, Germany,
Porzellanplakette mit dem Bildnis Friedrich II . Polychrome Malerei über Vordruck, vergoldeter Metallrahmen. L 7,5 cm. Ovale Plakette mit dem Porträt des Königs Friedrich II. von Preußen, nach einem Gemälde von Anton Graff (1736-1813) . Aufrufzeit 27. | Okt 2023 | voraussichtlich 19:16 Uhr (CET) Porcelain plaque with the portrait of Frederick II . Polychrome painting over pre-print, gilded metal frame. L 7,5 cm. Oval plaque with the portrait of King Frederick II of Prussia, after a painting by Anton Graff (1736-1813) . Call time 27th | Oct 2023 | expected 19:16 (CET). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Anton Graff (1736 Winterthur - 1813 Dresden): In the countryside, c. 1801, Charcoal Technique: Charcoal on Inscription: Verso inscribed by another person: "Anton Graff". Date: c. 1801 Description: In today's understanding, Anton Graff appears as the epitome of the gifted portraitist at the turning point of Classicism and Romanticism. But it was particularly in Dresden, where Graff had been decisively active since he moved there in 1766 and was appointed professor of portrait painting in 1788, that he occupied himself with landscape painting and thus also had an influence on the young artists of the Saxon landscape school. Philipp Otto Runge, who came to Dresden in 1801 and found close contact with Graff, reported: "yesterday I was with old Graff, he has just painted a landscape" and Elisa von der Recke also enquired on 5 November 1801: "Are you, noble friend, painting landscapes quite diligently? Even though Graff had contact with Adrian Zingg and Conrad Gessner and was not closed to the romantic charm of the landscape, especially in the Plauenschen Grund, he seems to have begun to deal with nature in drawings and paintings only around 1800. Berckenhagen's comprehensive catalogue raisonné lists 98 landscape drawings by Graff that came from his son's estate, including a depiction of the interior of a stable with a view of a farm. Probably created around 1801 in Blasewitz, it belongs to the group of spontaneous "Erlebnis-Niederschriften". The picture we are presenting here shows the same stable, only the angle of view has been slightly shifted. The interest is not in the view from the gate, but in the structure of the interior with the boarded wall and the hayracks. Our sheet is probably the first clarifying sketch Graff made of this situation. With quick, rough strokes he captures the immediate impression of the stable lying in dim light. The present work comes from the famous collection of Graff drawings that was auctioned by C. G. Boerner in Leipzig in 1914, largely compiled from the estate of his son. The sheet listed by Berckenhagen is listed under catalogue number 64 and ours under number 65. Provenance: Keywords: Germany, stable, farm, drawing, coal, door, rack, window, room, 19th century, Classicism, Architecture, Germany,
Johanna Christiana Eltz, geb. Voigt Brustbildnis nach dem Original Nr. 2173 in der Gemäldegalerie Alte Meister in Dresden. Lwd. 78×63 cm. Rückseitig bez. u. dat. 1922. (59219)
Anton Graff (1736 Winterthur - 1813 Dresden): In the countryside, c. 1801, Charcoal Technique: Charcoal on Inscription: Verso inscribed by another person: "Anton Graff". Date: c. 1801 Description: In today's understanding, Anton Graff appears as the epitome of the gifted portraitist at the turning point of Classicism and Romanticism. But it was particularly in Dresden, where Graff had been decisively active since he moved there in 1766 and was appointed professor of portrait painting in 1788, that he occupied himself with landscape painting and thus also had an influence on the young artists of the Saxon landscape school. Philipp Otto Runge, who came to Dresden in 1801 and found close contact with Graff, reported: "yesterday I was with old Graff, he has just painted a landscape" and Elisa von der Recke also enquired on 5 November 1801: "Are you, noble friend, painting landscapes quite diligently? Even though Graff had contact with Adrian Zingg and Conrad Gessner and was not closed to the romantic charm of the landscape, especially in the Plauenschen Grund, he seems to have begun to deal with nature in drawings and paintings only around 1800. Berckenhagen's comprehensive catalogue raisonné lists 98 landscape drawings by Graff that came from his son's estate, including a depiction of the interior of a stable with a view of a farm. Probably created around 1801 in Blasewitz, it belongs to the group of spontaneous "Erlebnis-Niederschriften". The picture we are presenting here shows the same stable, only the angle of view has been slightly shifted. The interest is not in the view from the gate, but in the structure of the interior with the boarded wall and the hayracks. Our sheet is probably the first clarifying sketch Graff made of this situation. With quick, rough strokes he captures the immediate impression of the stable lying in dim light. The present work comes from the famous collection of Graff drawings that was auctioned by C. G. Boerner in Leipzig in 1914, largely compiled from the estate of his son. The sheet listed by Berckenhagen is listed under catalogue number 64 and ours under number 65. Provenance: Keywords: Germany, stable, farm, drawing, coal, door, rack, window, room, 19th century, Classicism, Architecture, Germany,
Anton Graff (1736 Winterthur - 1813 Dresden) after Johann Elias Haid (around 1737 Augsburg - 1809 ibid.): August Gottlieb Spangenberg, 18th century, Mezzotint Technique: Mezzotint on Paper Inscription: Below the sitter with inscription plate, on it the sitter's name and in Latin: "Episcopus Fratrum", signed below left and right in the printing plate. Date: 18th century Keywords: August Gottlieb Spangenberg, Founder of the Evangelical Brotherhood, Brother Josef, Theologian, Adjunct, Herrnhut Brotherhood, Missionary, Bishop, 18th century, Classicism, Portraits, Germany,
Graff, Anton. 1736 Winterthur/ Schweiz-1813 Dresden, Werkstatt o. Kopie nach. Bildnis Johann Friedrich Carl Graf von Dallwitz (174-1796 Dresden). Brustbild, Öl auf Leinwand, doubl., 48 x 37,5 cm, gerahmt, Ra. 61 x 53 cm. Der Dargestellte war Kursächsischer Geheimrat und Domdechant von Meißen. Angebotenes Gemälde stellt eine ausschnitthafte Wiederholung eines Kniestückes von Anton Graff dar, entstanden um 1770. Vgl. WV Berckenhagen Nr. 209. Die malerische Qualität lässt keine Einordnung als eigenhändige Arbeit Graffs im Sinne einer zweiten Fassung des oben genannten Porträts zu. Eher kann man eine Werkstattarbeit oder aber zeitnahe Kopie vermuten. Copy after Anton Graff. Portrait of Johann Friedrich Carl Count of Dallwitz. Oil on canvas, doubl., framed.
Graff, Anton 1736 Winterthur - 1813 Dresden. Porträt eines Herren in roter Jacke. Öl auf Leinwand. Unten rechts signiert. Größe ca. 80 x 63 cm, Rahmen ca. 97 x 80 cm. Starkes Craquelé, Leinwand doubliert. Teils minimal Farbverlust. Bitte beachten Sie den hohen Versand aufgrund des großen Formats. Graff, Anton 1736 Winterthur - 1813 Dresden. Portrait of a gentleman in a red jacket. Oil on canvas. Signed lower right. Size approx. 80 x 63 cm, frame approx. 97 x 80 cm. Strong craquelé, canvas doubled. Partly minimal loss of colour. Please note the high shipping due to the large format.
A pair of Graff black enamel and diamond cufflinks 18k yellow gold; Stamped: Graff Set with a total of ninety-two round full-cut diamonds totaling approximately 1.25cts. in combined weight and each graded G-H color and VS clarity 21.1 grams 2 pieces
Signed and dated (on the stone plinth): A: Graff pinx: 1767 This portrait of a young lady holding a parasol and leaning on a stone plinth in a garden is a new discovery in Anton Graff's extensive oeuvre. Privately owned in Germany for generations, it has remained unknown even to the author of the artist's catalogue raisonné, Ekhart Berckenhagen ("Anton Graff. Leben und Werk", Berlin 1967).
GRAFF, ANTON1736 Winterthur - 1813 Dresden Title: Portrait of Agathe Dorothea Elisabeth "Lisette" von Rutenberg (1770-1832). Date: Ca. 1790. Technique: Oil on canvas. Mounting: Relined. Measurement: 68,5 x 53,5cm. Frame: Framed. Verso: On the relined canvas details of the sitter. Provenance: Private ownership, Germany; Consul Harry Kühne, Hamburg. Literature: E. Berckenhagen, Anton Graff. Leben und Werk, Berlin 1967, p. 314, no. 1183. The young woman casts a fleeting glance at the viewer from large, intelligent eyes. Her reddened cheeks and lips reveal inner emotion, as if she had just entered the intimate space that encloses her. Her dark, wild hair, which she tames with a wide bow, still seems to be in motion. Her clothing underlines this impression: over her chemise, the shirt dress typical of the time with a raised waist, she wears a blue silk jacket lined in turquoise, which appears thoroughly casual and gives the noble lady-in-waiting a perky, exceedingly natural expression. Jewellery in the form of pearls and ornaments is completely absent. Instead, the painter has rendered the ruffles and draperies in an almost old-masterly manner. His focus, however, is on the woman's contemplative, enraptured countenance. With this painting, Anton Graff did not create a society portrait, but a snapshot of a moment in time. Even his contemporaries judged that Graff was not painting the body but the spirit. He left behind the conventions of the representative rococo portrait and emphasised the individuality and naturalness of the sitter. His art is an important testimony to the Age of Enlightenment, which saw the bourgeoisification of the aristocracy and the rise of the educated middle classes. Due to his talent for making his sitters pose as if casually, he was one of the most sought-after and influential portrait painters of his time. He had been a member of the Dresden Art Academy since 1766 and held the office of Court Painter of Saxony throughout his life. His portraits include more than 800 portraits of personalities from the nobility and upper middle classes, science, the military and politics, the most famous of which is, of course, the portrait of Frederick the Great, which has since become iconic through Andy Warhol's silkscreen of 1986. Explanations to the Catalogue
Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait of Johann Gottlob Böhme (1717 - 1780) Historian at the time of the Enlightenment, portrait in oval with wig and jacket with buttons, 1782, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "Anton Graff pinx / I. E. Bause sculps Lips". At the lower part inscribed in the printing plate: "Ioh. Gotlob. Boehmius | Toparcha Golish | serel sax cons avl et historiogr historiarvm prof lips | Nat. d.20 Martii a. 1717 | Ob. D.30 lulii a 1780". Lower right dated: "1782". Date: 1782 Keywords: 18th century, Realism, Portraits, Switzerland,
A painting depicting a family's musical get-together. Black chalk accentuated with white chalk on perpared paper. Framed. Painting dimensions: 25X19 cm Including frame: 34X29 cm
Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar) after Anton Graff (1736 Winterthur - 1813 Dresden): Portrait Johann August Ernesti (1707 Tennstedt - 1781 Leipzig), 1778, Copper engraving Technique: Copper engraving on Paper Stamp: Verso Collector's stamp, Lugt no.: 3549. Erhard Oskar Kaps (1915 Leipzig - 2007 Leipzig) . Leipzig. 20th century Inscription: At the lower part signed in the printing plate: "IOH. AUGUST ERNESTI | Ant. Graff pinx. zu finden in Leipzig bey Bause | J. F. Bause sculps Lips. 1778". Date: 1778 Description: Breast portrait of the Protestant theologian, philologist, pedagogue and rector of the Thomas School in Leipzig, Johann Agust Ernesti, with a little beff and curly wig, after a painting by Anton Graff from 1773, which is now kept in the Custody Art Collection of the University of Leipzig. Person: Depicted: Johann August Ernesti (1707 Tennstedt - 1781 Leipzig) German Protestant theologian, philologist, educator and rector of the Thomas School in Leipzig during the Enlightenment. Keywords: Germany, printmaking, Leipzig, theologian, philology, pedagogy, portrait, 18th century, Classicism, Portraits, Germany,
Rosenthal Bildplatte "Alter Fritz" datiert 1941, unsigniert, Firmenetikett, gepinselte Firmenmarke mit Zusatz Germany und Buchstabe G, hochrechteckige Porzellanplatte mit feiner polychromer Bemalung, Brustbildnis des Preußenkönigs Friedrich II. in Uniform vor dunklem Grund nach einem Gemälde von 1781, rückseitig bezeichnet "Friedrich d. Große von Anton Graff 1736-1813" und montierte Dedikation "Unserem Kommandeur, Herrn Hauptmann Leister, in dankbarer Verehrung gewidmet, Das Offz.-Korps J.E.B.437/Darmstadt 6.5.(19)41" mit 20 handschriftlichen Signaturen, dazu angeheftete maschinenschriftliche Abschrift Qualifikationsbericht über den Leutnant Karl Leistner, in breiter Goldleiste, diese minimal bestoßen und farblich kaschiert, sonst guter Zustand, Maße Platte 32 x 26 cm, Maße gesamt 43 x 37,5 cm. Rosenthal picture plate "Alter Fritz" dated 1941, unsigned, company label, brushed company mark with addition Germany and letter G, high rectangular porcelain plate with fine polychrome painting, bust portrait of the Prussian King Frederick II. in uniform in front of a dark background after a painting from 1781, inscribed on the reverse "Friedrich d. Große von Anton Graff 1736-1813" and mounted dedication "Unserem Kommandeur, Herrn Hauptmann Leister, in dankbarer Verehrung gewidmet, Das Offz.Korps J.E.B.437/Darmstadt 6.5.(19)41" with 20 handwritten signatures, plus attached typewritten copy qualification report on Lieutenant Karl Leistner, in wide gold border, this minimally bumped and colour laminated, otherwise good condition, dimensions plate 32 x 26 cm, dimensions overall 43 x 37.5 cm.
Anton Graff (Winterthur 1736 - Dresda 1813) Ritratto di nobiluomo in un parco con cane Olio su tela 92 x 74 cm L'opera trova significativi riscontri attributivi se viene paragonata al ritratto di Georg Sachs del National Museum di Varsavia e al ritratto di Carl Adolph von Carlowitz della Gemäldegalerie Alte Meiste di Dresda. Anton Graff (Winterthur 1736 - Dresden 1813) Portrait of a nobleman in a park with a dog Oil on canvas 92 x 74 cm The artwork finds significant attributive confirmation if it is compared to the portrait of Georg Sachs in the National Museum in Warsaw and to the portrait of Carl Adolph von Carlowitz in the Gemäldegalerie Alte Meiste in Dresden.
(1736 Winterthur - Dresden 1813), zugeschrieben. Der junge Bellini. "Der symp(h)atische Teufel". O.J. Öl auf Karton. 30 x 24 cm. - Attrib. The young Bellini. Oil on cardboard. D
Anton Graff (1736 Winterthur - 1813 Dresden) after Johann Elias Haid (around 1737 Augsburg - 1809 ibid.): The theologian Johann August Ernesti, 1776, Mezzotint Technique: Mezzotint on Paper Date: 1776 Description: Portrait in neoclassical style with an inscription plate showing the sitter's name and dates of life. Signed and dated below in the printing plate on the left and right. Keywords: Portrait, portrait, Johann August Ernesti, Protestant theologian, philologist, pedagogue, rector, Thomas School in Leipzig, 18th century, Baroque, Portraits, Germany,
Anton Graff (1736 Winterthur - 1813 Dresden) after Johann Elias Haid (around 1737 Augsburg - 1809 ibid.): August Gottlieb Spangenberg, 18th century, Mezzotint Technique: Mezzotint on Paper Inscription: Below the sitter with inscription plate, on it the sitter's name and in Latin: "Episcopus Fratrum", signed below left and right in the printing plate. Date: 18th century Keywords: August Gottlieb Spangenberg, Founder of the Evangelical Brotherhood, Brother Josef, Theologian, Adjunct, Herrnhut Brotherhood, Missionary, Bishop, 18th century, Classicism, Portraits, Germany,
Anton Graff (1736 Winterthur - 1813 Dresden) after Johann Friedrich Bause (1738 Halle (Saale) - 1814 Weimar): Gottlieb Wilhelm RABENER, c. 1800, Copper engraving Technique: Copper engraving on Paper Date: c. 1800 Description: With the sitter's name on a written panel below the round portrait. Signed below on the left and right in the printing plate. Keywords: Gottlieb Wilhelm Rabener, the German Swift, Jonathan Swift, writer, publicist, Enlightenment, Leipzig, 19th century, Realism, Portraits, Germany,
