Wilhelm (1768) Reuter Paintings & Artwork for Sale | Wilhelm (1768) Reuter Art Value Price Guide

May. 25, 2024
W. REUTER (1768-1834), Woman with scarf, 1818, Lithography
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman with a turban-like scarf wrapped around her head, 1818, Lithography Technique: Lithography on Paper Inscription: Upper left signed in the printing plate: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he began working with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did so in a very unusual, today one would say modern way. Hardly any other artist has created such unique works of art on stone that emphasise the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. His self-declared aim was to "depict the spirit that prevails in a good drawing". For the first time, lithography offered the possibility of drawing directly onto the stone as freely as with a pen, pencil or brush, thus avoiding the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings that no longer had to imitate the crayon technique or aquatint. Reuter combined this technical development and the artistic spontaneity that came with it with the basic discursive idea of graphic art. The intimacy of the drawing was to become accessible to other people and spread far beyond the one-off. As a result, he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch-like character. For the first time in the history of printmaking, it was possible to transfer the unique character of the drawing to a reproducible medium and no one utilised this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder had patented in Munich in 1798, at a very early stage and contributed to its widespread distribution with the publication of the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithography technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for exerting influence with images and words on an unprecedented scale. Honoré Daumier's more than 4,000 lithographs are only a small part of this democratic aspect of lithography, which Schadow had already recognised when the technique was developed: "This newly discovered technique, which requires no more time than a drawing on paper, would save time and money" and Reuter also succeeded in ensuring that "every drawing is original". Verso: the same motif printed again Keywords: 19th century, Biedermeier, Portraits, Germany, Size: Paper: 28,2 cm x 22,0 cm (11,1 x 8,7 in), Depiction: 18,6 cm x 15,3 cm (7,3 x 6 in)
Fichter Kunsthandel
May. 25, 2024
W. REUTER (1768-1834), Woman's head, 1818, Crayon manner
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman's head looking upwards, 1818, Crayon manner Technique: Crayon manner on Paper (brown) Stamp: Verso Collector's stamp, Lugt no.: 2037. Adam Politzer (1835-1920). Vienna. 20th century, 19th century Inscription: Upper right signed in the printing plate: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he began working with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did so in a very unusual, today one would say modern way. Hardly any other artist has created such unique works of art on stone that emphasise the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. His self-declared aim was to "depict the spirit that prevails in a good drawing". For the first time, lithography offered the possibility of drawing directly onto the stone as freely as with a pen, pencil or brush, thus avoiding the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings that no longer had to imitate the crayon technique or aquatint. Reuter combined this technical development and the artistic spontaneity that came with it with the basic discursive idea of graphic art. The intimacy of the drawing was to become accessible to other people and spread far beyond the one-off. As a result, he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch-like character. For the first time in the history of printmaking, it was possible to transfer the unique character of the drawing to a reproducible medium and no one utilised this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder had patented in Munich in 1798, at a very early stage and contributed to its widespread distribution with the publication of the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithography technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for exerting influence with images and words on an unprecedented scale. Honoré Daumier's more than 4,000 lithographs are only a small part of this democratic aspect of lithography, which Schadow had already recognised when the technique was developed: "This newly discovered technique, which requires no more time than a drawing on paper, would save time and money" and Reuter also succeeded in ensuring that "every drawing is original". Provenance: Literature: Winkler, Friedrich: Die großen Zeichner; Berlin 1951. Cat. Rais. No.: 273. Keywords: 19th century, Biedermeier, Portraits, Germany, Size: Paper (brown): 24,4 cm x 19,5 cm (9,6 x 7,7 in), Depiction: 20,8 cm x 16,2 cm (8,2 x 6,4 in)
Fichter Kunsthandel
Dec. 13, 2023
Reuter, Wilhelm
Est: €50 - €75
(1768 Hildesheim - Berlin 1834). Großer Frauenkopf mit Mittelscheitel, einviertel nach rechts gewendet. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein. Seltene Inkunabel der Lithographie. Winkler 671, 265. Nicht bei Dussler. - Ca. Bildmitte durchgeh. horizontale Quetschfalte u. etw. fleckig, ob. re. Eckabriss. D
Kiefer Buch- und Kunstauktionen
Dec. 02, 2023
W. REUTER (1768-1834), Woman with scarf, 1818, Lithography
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman with a turban-like scarf wrapped around her head, 1818, Lithography Technique: Lithography on Paper Inscription: Upper left signed in the printing plate: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he began working with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did so in a very unusual, today one would say modern way. Hardly any other artist has created such unique works of art on stone that emphasise the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. His self-declared aim was to "depict the spirit that prevails in a good drawing". For the first time, lithography offered the possibility of drawing directly onto the stone as freely as with a pen, pencil or brush, thus avoiding the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings that no longer had to imitate the crayon technique or aquatint. Reuter combined this technical development and the artistic spontaneity that came with it with the basic discursive idea of graphic art. The intimacy of the drawing was to become accessible to other people and spread far beyond the one-off. As a result, he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch-like character. For the first time in the history of printmaking, it was possible to transfer the unique character of the drawing to a reproducible medium and no one utilised this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder had patented in Munich in 1798, at a very early stage and contributed to its widespread distribution with the publication of the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithography technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for exerting influence with images and words on an unprecedented scale. Honoré Daumier's more than 4,000 lithographs are only a small part of this democratic aspect of lithography, which Schadow had already recognised when the technique was developed: "This newly discovered technique, which requires no more time than a drawing on paper, would save time and money" and Reuter also succeeded in ensuring that "every drawing is original". Verso: the same motif printed again Keywords: 19th century, Biedermeier, Portraits, Germany,
Fichter Kunsthandel
Dec. 02, 2023
W. REUTER (1768-1834), Woman's head, 1818,
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman's head looking upwards, 1818, Crayon manner Technique: Crayon manner on Stamp: Verso Collector's stamp, Lugt no.: 2037. Adam Politzer (1835-1920). Vienna. 20th century, 19th century Inscription: Upper right signed in the printing plate: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he began working with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did so in a very unusual, today one would say modern way. Hardly any other artist has created such unique works of art on stone that emphasise the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. His self-declared aim was to "depict the spirit that prevails in a good drawing". For the first time, lithography offered the possibility of drawing directly onto the stone as freely as with a pen, pencil or brush, thus avoiding the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings that no longer had to imitate the crayon technique or aquatint. Reuter combined this technical development and the artistic spontaneity that came with it with the basic discursive idea of graphic art. The intimacy of the drawing was to become accessible to other people and spread far beyond the one-off. As a result, he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch-like character. For the first time in the history of printmaking, it was possible to transfer the unique character of the drawing to a reproducible medium and no one utilised this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder had patented in Munich in 1798, at a very early stage and contributed to its widespread distribution with the publication of the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithography technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for exerting influence with images and words on an unprecedented scale. Honoré Daumier's more than 4,000 lithographs are only a small part of this democratic aspect of lithography, which Schadow had already recognised when the technique was developed: "This newly discovered technique, which requires no more time than a drawing on paper, would save time and money" and Reuter also succeeded in ensuring that "every drawing is original". Provenance: Keywords: 19th century, Biedermeier, Portraits, Germany,
Fichter Kunsthandel
Jul. 13, 2023
Reuter, Wilhelm
Est: €70 - €100
(1768 Hildesheim - Berlin 1834). Großer Frauenkopf mit Mittelscheitel, einviertel nach rechts gewendet. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein. Seltene Inkunabel der Lithographie. Winkler 671, 265. Nicht bei Dussler. - Ca. Bildmitte durchgeh. horizontale Quetschfalte u. etw. fleckig, ob. re. Eckabriss. D
Kiefer Buch- und Kunstauktionen
Feb. 18, 2023
Reuter, Wilhelm
Est: €100 - €150
(1768 Hildesheim - Berlin 1834). Großer Frauenkopf mit Mittelscheitel, einviertel nach rechts gewendet. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein. Seltene Inkunabel der Lithographie. Winkler 671, 265. Nicht bei Dussler. - Ca. Bildmitte durchgeh. horizontale Quetschfalte u. etw. fleckig, ob. re. Eckabriss. D
Kiefer Buch- und Kunstauktionen
Oct. 15, 2022
Reuter, Wilhelm
Est: €120 - €180
(1768 Hildesheim - Berlin 1834). Großer Frauenkopf einviertel nach rechts, Mittelscheitel. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein. Seltene Inkunabel der Lithographie. Winkler 671, 265. Nicht bei Dussler. - Ca. Bildmitte durchgeh. horizontale Quetschfalte u. etw. fleckig, ob. re. Eckabriss. D
Kiefer Buch- und Kunstauktionen
Mar. 19, 2022
W.REUTER (1768-1834), Woman with scarf, 1818, Lithography
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman with scarf, 1818, Lithography Technique: Lithography on Paper Inscription: Monogrammed and dated in reverse in the centre top left: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he became involved with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did this in a very unusual, today one would say modern way. Hardly any other artist has executed such individual works of art on stone, emphasising the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. To depict the "spirit that reigns in a good drawing" was his self-declared aim. For the first time, lithography offered the possibility of drawing directly on the stone as freely as with a pen, pencil or brush, thus circumventing the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings, which no longer had to imitate the crayon manner or aquatint. Reuter connects this technical development and the artistic spontaneity that went with it with the discursive basic idea of graphic art. The intimacy of the drawing should become accessible to others and spread far beyond the unique work. It so happens that he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch character. For the first time in the history of printmaking, it was possible to transfer the peculiarity of the drawing into a reproducing medium, and no one used this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder patented in Munich in 1798, at a very early stage and contributed to its wide dissemination by publishing the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as intensively committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithographic technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for using images and words to exert an unprecedented degree of influence. Honoré Daumier's more than 4000 lithographs are only a small part of this democratic aspect of lithography, which Schadow already recognised when the technique was first developed: "With this newly discovered manner, which requires no more time than a drawing on paper, time and costs would be saved" and for Reuter, too, it succeeds so that "every drawing is original". Verso: the same motif printed again Literature: Winkler, Friedrich: Die großen Zeichner; Berlin 1951. Cat. Rais. No.: 276. Keywords: 19th century, Biedermeier, Portraits, Germany, Size: 28,2 cm x 22,0 cm (11,1 x 8,7 in), Depiction: 18,6 cm x 15,3 cm (7,3 x 6 in) Condition: Good condition. Age-appropriate.
Fichter Kunsthandel
Mar. 19, 2022
W.REUTER (1768-1834), Woman's head, 1818, Crayon manner
Est: €1,350 - €1,800
Wilhelm Reuter (1768 Hildesheim - 1834 Berlin): Woman's head, 1818, Crayon manner Technique: Crayon manner on Paper (brown) Stamp: Verso Collector's stamp, Lugt no.: 2037. Adam Politzer (1835-1920). Vienna. 20th century, 19th century Inscription: Monogrammed and dated in reverse at the top right: "WR 1818". Date: 1818 Description: Wilhelm Reuter is one of the exceptional personalities of early 19th century art. Not only because he became involved with the then completely new lithography technique at a particularly early stage and recognised its potential, but also because he did this in a very unusual, today one would say modern way. Hardly any other artist has executed such individual works of art on stone, emphasising the individuality of the stroke. The group of three portraits of women shown here, all painted in 1818, exemplifies this claim. To depict the "spirit that reigns in a good drawing" was his self-declared aim. For the first time, lithography offered the possibility of drawing directly on the stone as freely as with a pen, pencil or brush, thus circumventing the resistance that every other printmaking technique offered the artist due to the material. This made it possible to create spontaneous works similar to drawings, which no longer had to imitate the crayon manner or aquatint. Reuter connects this technical development and the artistic spontaneity that went with it with the discursive basic idea of graphic art. The intimacy of the drawing should become accessible to others and spread far beyond the unique work. It so happens that he signed most of his lithographs and labelled them as finished works of art, although they retained their sketch character. For the first time in the history of printmaking, it was possible to transfer the peculiarity of the drawing into a reproducing medium, and no one used this as intensively as Wilhelm Reuter. He came into contact with the new technique, which Aloys Senefelder patented in Munich in 1798, at a very early stage and contributed to its wide dissemination by publishing the collection Polyautographische Zeichnungen vorzüglicher Berliner Künstler in 1804. Only Benjamin West and Johann Heinrich Füssli in England were as intensively committed to dissemination as Reuter. He taught Karl Friedrich Schinkel, Karl Blechen, Franz Krüger, Gottfried Schadow and Bonaventura Genelli the lithographic technique and won them over to his project. The true triumph of lithography went hand in hand with the democratisation of society. It offered the politically active citizen the ideal basis for using images and words to exert an unprecedented degree of influence. Honoré Daumier's more than 4000 lithographs are only a small part of this democratic aspect of lithography, which Schadow already recognised when the technique was first developed: "With this newly discovered manner, which requires no more time than a drawing on paper, time and costs would be saved" and for Reuter, too, it succeeds so that "every drawing is original". Provenance: A. Politzer, Wien. Literature: Winkler, Friedrich: Die großen Zeichner; Berlin 1951. Cat. Rais. No.: 273. Keywords: 19th century, Biedermeier, Portraits, Germany, Size: 24,4 cm x 19,5 cm (9,6 x 7,7 in), Depiction: 20,8 cm x 16,2 cm (8,2 x 6,4 in) Condition: Good condition. full paper margin, at lower left margin tiny restored tear (as good as not visible). Small hole to the right of the nose (old restored).
Fichter Kunsthandel
Jul. 31, 2021
REUTER, Wilhelm, ATTRIBUIERT (1768-1834, Hofmaler in Berlin), 2x "Jugendbildnis seiner Tochter Luise",
Est: -
REUTER, Wilhelm, ATTRIBUIERT (1768-1834, court painter in Berlin), 2x "youth portrait of his daughter Luise", later married to Wilhelm Reuter, Ausig, 1x miniature portrait of the young woman born in 1805 with a white dress and chain, gouache / ivory (?) , oval, HxW: approx. 6.5x5 cm. Signs of age and use. In a glazed miniature frame (external dimensions, rectangular frame approx. 18.5x17 cm; edges partially damaged); 1x "Half portrait of Luise", pencil / paper, HxW: approx. 18.5x16 cm (22x19 cm with frame). Browned, blotchy. With a glazed frame. JE VERSO handwritten designation by the descendant of the sitter.
Auktionshaus Eppli
Jul. 04, 2020
Reuter, Wilhelm
Est: €160 - €240
(1768 Hildesheim - Berlin 1834). Großer Frauenkopf einviertel nach rechts, Mittelscheitel. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein.
Kiefer Buch- und Kunstauktionen
Oct. 12, 2019
Reuter, Wilhelm
Est: - €300
Reuter, Wilhelm (1768 Hildesheim - Berlin 1834). Großer Frauenkopf einviertel nach rechts, Mittelscheitel. Kreidelithographie 1818. 39,8 x 31,3 cm., Blgr. 44 x 37 cm. Mit d. Monogr. u. Datum spiegelbildl. unten rechts im Stein. Seltene Inkunabel der Lithographie. Winkler 671, 265. Nicht bei Dussler. - Ca. Bildmitte durchgeh. horizontale Quetschfalte u. etw. fleckig, ob. re. Eckabriss.
Kiefer Buch- und Kunstauktionen
Mar. 12, 2016
Reuter, Wilhelm (1874-1958), Rote Dalien in Tonvase, Öl/Malkarton, re. u. s
Est: -
Reuter, Wilhelm (1874-1958), Rote Dalien in Tonvase, Öl/Malkarton, re. u. sign. Ca. 93 x 73 cm, gerahmt.
Kunst- und Auktionshaus Wiesbaden
Nov. 26, 2015
Reuter, Wilhelm: Kopf eines Bärtigen mit Kappe nach links
Est: €600 - €800
Kopf eines Bärtigen mit Kappe nach links. Lithographie auf dünnem Bütten. 17,5 x 13,8 cm. 1821. Nicht bei Dussler, Winkler. Wohl unikathafter, stark überätzter Druck mit breitem Rand. In den Rändern etwas knitterfaltig und mit nicht weiter störenden Alters- und Gebrauchsspuren, sonst sehr gut erhalten. Beigegeben: 36 weitere Graphiken aus der Frühzeit der Lithographie, darunter von Leopold, Niedlich, Reuter und Schiesl.
Bassenge Auctions
May. 29, 2014
Reuter, Wilhelm: Kopf eines Bärtigen mit Kappe nach links
Est: €600 - €800
Kopf eines Bärtigen mit Kappe nach links. Lithographie auf dünnem Bütten. 17,5 x 13,8 cm. 1821. Nicht bei Dussler, Winkler. Wohl unikathafter, stark überätzter Druck mit breitem Rand. In den Rändern etwas knitterfaltig und mit nicht weiter störenden Alters- und Gebrauchsspuren, sonst sehr gut erhalten. Beigegeben: Von demselben 14 Blatt Gebrauchsgraphiken und unikathafte Probedrucke (darunter Winkler 671. 107, 155, 185, 203, 204, 210, 213, 215, 375, 381).
Bassenge Auctions
Nov. 05, 2011
Reuter, Wilhelm, 1874-1958, Landschaft am
Est: €180 - €216
Reuter, Wilhelm, 1874-1958, Landschaft am Niederrhein, Öl/Lwd, re. u. sign., ca. 70x80cm, R.
Henry's Auktionshaus
Feb. 06, 2010
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834).
Est: - €450
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834). 3 Geschäfts- u. Besuchskarten. Federlithogr., davon 2 mit negativer Schrift, zw. 1818-1834, 1 mit dem Monogr. u. Datum 1818 im Stein. Plgr. 4 x 6,7, 4,8 x 8,5, 3,5 x 5,4 cm. Nebeneinander auf Karton mont. Seltene Inkunabeln der Lithographie. - Zu 1: vgl. Winkler 671, 222 (vorl. als negative Schiefertaf., sprich schwarze Schrift auf weißem Grund). - Zu 2: Winkler 671, 218. Zu 3: vgl. W. 671, 224 (bei W. abw. Maße: 4,8 x 7,6 cm u. mit "Lesezirkel" statt Adr.). - Tls. etw. angestaubt u. fleckig.
Kiefer Buch- und Kunstauktionen
Sep. 26, 2009
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834).
Est: - €750
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834). Pluto raubt Proserpina (2. Fassung). Der von links auf den Kampfwagen unten rechts tretende, gekrönte Pluto hat mit beiden Armen die nach rechts liegende Proserpina umfaßt und hält in der linken Hand den nach links gerichteten Zweizack. Federlithographie 1803. 28,4 x 18,7 cm., Blgr. 32 x 20,3 cm. Von der bei Winkler beschriebenen Schrift unter dem rechten Fuß des Pluto ist nur das W. und darunter das f zu erkennten, sowie das von unten nach oben spiegelbildl. geschriebene "Weihnachten". Auf der Rückseite des Blattes ein undeutlicherer Abdruck desselben Steins. Druck auf gelblichem, geripptem (strukturiertem) Papier. Auf Kart. mont. Sehr seltene frühe Lithographie. Winkler 7, Dussler 5a. Slg. Aufsesser Nr. 72, mit Abb. - Ger. fleckig u. kl. Quetschfalte unten.
Kiefer Buch- und Kunstauktionen
Sep. 26, 2009
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834).
Est: - €900
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834). Pluto raubt Proserpina (1. Fassung). 2 Bl. mit verschiedenen Druckproben des Steines auf 3 S. u. Bleistiftskizze der Szene. Federlithographie und Umdruck (?) 1803. Blgr. 31,6 x 25,1 u. 32,7 x 20,5 cm. 1 Bl. auf Kart. mont. Sehr seltene frühe Lithographie. Winkler 5, Dussler 4a. - Das erste Blatt enthält, wie bei Winkler 5 beschrieben auf der Vorderseite eine undeutliche Hochdruckätzung mit den durch die Tönung des Steines ersichtlichen Maßen 28,1 x 18,7 cm. Unten, tls. im weißen Rand Abdruck des Kopfes des Pluto und 2 Abdrucke der erhobenen Hand der Proserpina in Federlithogr., sowie in den Seitenrändern 4 weitere undeutliche Teildrucke, davon oben links mit dem Schriftzug "W.Reuter fec Paris 1803" u. oben rechts spiegelbildl. "Die gute Linie". Auf d. Rücks. ein schwacher, unvollständiger Probedruck der Federlithographie. - Das zweite Blatt auf strukturiertem Bütten mit Wasserzeichen (Propatria-Papier, wohl Papiermühle in Cröllwitz a.d. Saale, vgl. Weiß, Histor. Wasserzeichen Nr. 35) zeigt einen undeutlichen u. unvollständigen Probedruck der Federlithographie und einigen Tuschkritzeleien an den Rändern u. auf der Rückseite eine gegenseitige Bleistiftskizze der Szene mit Tuschfederkritzeleien an den Seiten. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Etw. angestaubt u. kl. Fleck oben außerhalb d. Darstellung.
Kiefer Buch- und Kunstauktionen
Sep. 26, 2009
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834).
Est: - €450
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834). Stehendes nacktes Kind, eine Puppe an sich gedrückt, links davon ein kleines Bäumchen u. unten die Schrift "3ten Juni 1806". Kreidelithographie auf kräftigem Papier, 1806. 15 x 13,7 cm., Blgr. 21,5 x 15 cm. Seltene frühe Lithographie. Winkler 113, 356. Dussler 44. W - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Etw. angestaubt u. kl. Fleck oben außerhalb d. Darstellung.
Kiefer Buch- und Kunstauktionen
Jun. 20, 2009
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834).
Est: - €450
Reuter, Wilhelm: (1768 Hildesheim - Berlin 1834). Frauenkopf nach vorn geneigt, Gesicht wenig nach links, die geschlossenen Augen mit Strahlenwimpern... Kreidelithographie auf kräftigem Papier, 1821. 19 x 17,5 cm., Blgr. 28 x 21,9 cm. Rechts (auf Wangenhöhe) mit spiegelbildl. Monogramm u. Datum. Seltene frühe Lithographie. Winkler 671, 356. Dussler 122. Wohl Probedruck, auf d. Rückseite des Blattes ist dieselbe Lithographie nochmals abgedruckt. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Etw. gebräunt u. fleckig, schwach wasserrandig, 1 Darst. mit 2 kl. weißen Farbfleckchen. Tls. Rd. mit Montierresten. - Selten.
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Jan. 24, 2009
Reuter, Wilhelm Friedrich (1768 Hildesheim -
Est: - €1,200
Reuter, Wilhelm Friedrich (1768 Hildesheim - Berlin 1834). Die Dioskuren (Castor und Pollux), große Ausführung. Lithographie auf kräftigem, weißem Papier, 1804. 42,8 x 31,9 cm. Unter der Darstellung im Stein bezeichn.: "Polyautographische Zeichnung von W.Reuter". Blgr. 58,2 x 41,1 cm. Seltene Inkunabel der Lithographie. Winkler 671, 64. Dussler 25b. Aus den Polyautographischen Zeichnungen, Blatt 13. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Etw. stockfl., vorwieg. in d. Rändern u. tls. Rd. knickfalt., kl. Einr. im unt. Rand. - Sehr selten.
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Jan. 24, 2009
Reuter, Wilhelm Friedrich (1768 Hildesheim -
Est: - €500
Reuter, Wilhelm Friedrich (1768 Hildesheim - Berlin 1834). Männerkopf im Profil nach rechts, mit wehendem Haar nach rechts. Kreidelithographie auf kräftigem, weißem Papier, (1804). 14,6 x 9,5 cm., Blgr. 21,9 x 15 cm. Unten in d. Darstellung in Spiegelschrift im Stein "W.Reuter f. et: p."Maß . Seltene Inkunabel der Lithographie. Winkler 671, 36. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Verso roter Sammlerst. "St." im Rund (nicht bei Lugt). Etw. fleckig u. mit Montierresten verso. Blattränder etw. ungerade beschnitten. - Selten.
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Jan. 24, 2009
Reuter, Wilhelm Friedrich (1768 Hildesheim -
Est: - €750
Reuter, Wilhelm Friedrich (1768 Hildesheim - Berlin 1834). Christuskopf nach rechts im Profil. Kreidelithographie auf rückseitig gelb eingestrichenem Bütten (mit Wz. Baum), 1818. 21,2 x 15,4 cm., Maß des Steins 22,1 x 17 cm., Blgr. 28,6 x 22,5 cm. Unten rechts mit spiegelbildl. Monogramm u. Datum. Seltene Inkunabel der Lithographie. Winkler 671, 243. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Winkler). - Verso roter Sammlerst. "St." im Rund (nicht bei Lugt). Tls. Rd. etw. fleckig u. mit Montierresten verso. - Selten.
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Sep. 27, 2008
Reuter, Wilhelm Friedrich: (1768 Hildesheim -
Est: €2,000 -
Reuter, Wilhelm Friedrich: (1768 Hildesheim - Berlin 1834). Die Dioskuren (Castor und Pollux), große Ausführung. Lithographie auf kräftigem, weißem Papier, 1804. 42,8 x 31,9 cm. Unter der Darstellung im Stein bezeichn.: "Polyautographische Zeichnung von W.Reuter". Blgr. 58,2 x 41,1: Seltene Inkunabel der Lithographie. Winkler 671, 64. Dussler 25b. Aus den Polyautographischen Zeichnungen, Blatt 13. - "Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist" (Wink
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May. 16, 2008
Reuter, Wilhelm Friedrich (1768 Hildesheim -
Est: - €500
Reuter, Wilhelm Friedrich (1768 Hildesheim - Berlin 1834). Frauenbrustbild (müde Trauer). Lithographie auf vorderseitig gelb eingestrichenem Bütten (mit Wz. Baum), 1818. 21 x 14,6 cm., Blgr. 27,8 x 22,2 cm. Oben links mit spiegelbildl. Monogramm u. Datum. Seltene Inkunabel der Lithographie. Winkler 671, 269. Dussler 107. - Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um gut hundert Jahre voraus ist.
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May. 16, 2008
Reuter, Wilhelm (1768 Hildesheim - Berlin 1834).
Est: - €500
Reuter, Wilhelm (1768 Hildesheim - Berlin 1834). Männerkopf im Profil nach rechts (Der Geistige). Lithographie auf vorderseitig gelb eingestrichenem Bütten (mit Wz. Baum), 1819. Maß der Steins 22 x 18 cm., Blgr. 29 x 22,1 cm. Unten rechts (unter dem Kinn) mit spiegelbild Seltene Inkunabel der Lithographie. Winkler 671, 293. Dussler 109. Wohl Probedruck, auf d. Rückseite des Blattes ist dieselbe Lithographie abgedruckt. - Höhepunkte sind die frühen Polyautographien... und die Porträts ab 1818, in denen er seiner Zeit um g
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