001   Gustav Friedrich Baumgarten, Lamentation of Christ. 1832. 1832.

Gustav Friedrich Baumgarten 1795 Dresden – letzte Erw. 1855

Oil on canvas. Signed "G.Baumgarten", inscribed "Bologna" and dated on the bottom right.In a gilded, profiled decorated frame.
In 1823 Gustav Friedrich Baumgarten went to Rome with the support of the Saxon royal house to accomplish his artistic education. Under the mediation of the minister of the Free Haseatic cities he copied Old Masters´ works at the Pinacotheca of Bologna about 1830 for the Russian tsar Nikolaus I.
The present work is also an excellent copy with outstanding quality. ...
It shows a part of the painting "Gesù Cristo in pietà pianto dalla Madonna e adorato dai santi Petronio, Francesco, Domenico,Procolo e Carlo Borromeo" of Guido Reni from 1616. Thinking of the high quality it is not astonishing that Baumgarten was admired for his great talent and achieved artistic merits. > Read more

Bildträger oxidiert, sichtbare Klimakante. O.li. konkave, Leinwandbeule. Malschicht mit deutlichem Alterscraquelé. Insgesamt drei Gewebepflaster u.li, Mi. und o.re., nicht ursprünglicher Spannrahmen, erneuerter Firnis. Mehrere Retuschen.

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79,5 x 87,5 cm, Ra. 95 x 103 cm.

011   Carl Gustav Carus, Ruins of Netley Abbey by moonlight. 1844. 1844.

Carl Gustav Carus 1789 Leipzig – 1869 Dresden

Oil painting. Unsigned. In a 19th century frame.Not recorded in the catalogue of works by Prause.A detailed expertise prepared by Prof. Dr. H. J. Neidhardt, Dresden,November 2012, is available.

In his capacity as personal physician to king Friedrich August II of Saxony Carl Gustav Carus escorted the royal family during their journey through England and Scotland from August 22th to September 9th 1844. In this context the present painting came into existence. Carus composed a book about ...
his experiences which was published in 1846 in London under the title "England an Scotland". The diary entry of June 1st reveals that the travellers took a boat tour from the Isle of Wight to Southampton: "In sailing up the river we perceived on the right the beautyful ruins of Netley Abbey, half hidden by large beech and lime trees. The shortness of time did not permit us to land, but the telescope brought the ruins close to our eye, and the high roof of the chruch, with its empty gothic windows, peeped outfrom among the trees in the most pictoresque manner. There, no doubt, might studies of great importance have been made." The official occasion, the rich work agenda during the journey and thefact that Carus could only have seen the ruins by telescope from the west, and not as painted in the picture from the east, indicates that the picture originated after the journey, maybe by using a graphical artwork. The artist affiliates the nocturnal mood with the subtle reproduction of the light phenomena of the wet and dusty climate in England.See also: Carl Gustav Carus: England and Scotland, London 1846, p.57.Prause, Marianne: Carl Gustav Carus. Leben und Werk, Berlin 1968, p.57. > Read more

Malschicht neu gefirnist. Großflächige Strichretuschen entlang der linken Malschichtkante, in den dunklen Partien des Vordergrundes, in der Ruine, in den Bäumen (außer Stamm und Äste) sowie im Felsen u.re. Zarte Haarrisse in den Bäumen o.li. An den Ränder

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22,7 x 15 cm, Ra. 27,3 x 19,3 cm.

012   Carl Gustav Carus, View over the gardens of Hosterwitz (Dresden) to Kepp Castle. About 1860. 1867.

Carl Gustav Carus 1789 Leipzig – 1869 Dresden

Oil painting. Unsigned. Verso inscribed by unknown hand "K. G. Carus". Partly illegibly inscribed on the frame "…rechts unten". Shaped decorated frame with white metal leaf and gold laquer.
Not recorded in the catalogue of works by Prause, but comparable to Prause no. 122 and 123.A detailed expertise prepared by Prof. Dr. H. J. Neidhardt, Dresden, November 2012, is available.
The last decade of his life Carl Gustav Carus lived very seclusively. The present little study of the immediate ...
regional environment of his country house in Pillnitz was certainly painted during one of his long walks. Due to the wealth and abundance of the landscape these small excoursions already provided him a lot of motifs for the important oil studies since the middle of the 1830s. Loyalty to nature was the only important scale to Carus and this guidance motive is represented in his apparently unassuming work. In a muted, warm coloration he shows the view over the roofs, as he firstly did it 1824 in the painting "Die Frauenkirche in Dresden bei Mondschein" (Prause no. 47). The artist paints the castle, the local range of hills and the peaceful heaven with broader brush strokes. There is a kind of coincidence in the excerpt- custodyness of the situation, which is significant for this group of works and underlines the intimate character of the small format picture. > Read more

Malträger mit kleinem Materialverlust am unteren Bildrand mittig, die untere rechte Ecke gebrochen und wieder montiert, ein ganz unscheinbarer Materialverlust im oberen Drittel des linken Bildrandes. Luftblase u.re. durch fehlende Haftung zur Trägerpappe.

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17,5 x 11,9 cm, Ra. 23,5 x 17,6 cm.

020   Johannes Beutner, Portrait of Caroline Schwendy. Early 1950s. 1950's.

Johannes Beutner 1890 Cunnersdorf/Sächs. Schweiz – 1960 Dresden

Oil on fibreboard. Signed "Joh. Beutner" on the top right.1930 Johannes Beutner received a state scholarship and went to Rome for an annual study visit at Villa Massimo.

Nothing was more suitable to consolidate the artist´s tendency to classic, simplicity and clarity. Returning in 1931 he had found and permanently fixed his pictorial structure.The firm structure, the geometry and the harmoniously broken colours remained. But from that moment on Beutner composed his works more by setting contours that structure the surface than by contrasts that underline the plasticity.

Malschicht leicht angeschmutzt. Ecken bestoßen. Kleiner Hitzeschaden am linken Unterarm. Kleine Fehlstellen an den Bildrändern.

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79,7 x 65,2 cm.

035   Hubertus Giebe"Illumination". 1996. 1996.

Hubertus Giebe 1953 Dohna – lebt in Dresden

Oil painting. Signed "GIEBE" and dated on the top right. Verso inscribed on stretcher and frame "Giebe Dresden". Titled on the left strip of the stretcher. Inscribed on the right strip of the stretcher "Galerie Mitte April 95". Framed in a black molding.

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100 x 220 cm, Ra. 112,5 x 234 cm.

036   Hermann Glöckner "Red circle above horizontal stratification in Brown and Grey.". About 1955. 1955.

Hermann Glöckner 1889 Cotta/ Dresden – 1987 Berlin (West)

Material tableau. Verso with a head in profile. Verso monogramed "HG" in the middle bottom.Since the 1930s Hermann Glöckner had been producing a number of works with which he wanted to discover the "fundamental and complex connections" of his painting.
This concept leads to new materials but mainly to an unconventional approach to creativeness itself. He no longer paints pictures but creates "panels". Glöckner layers, glues, removes and - frees himself from the dictum of the two - ...
dimensional medium. At the same time he uses everyday objects to pinpoint both aesthetic limits and the borderlines of art. > Read more

Materialbedingte Randläsionen an der rechten Kante, leicht angeschmutzt. Träger leicht gebogen.

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26 x 17,5 cm.

044   Joachim Heuer, Still life with violin and amaryllis. No dating. No date.

Joachim Heuer 1900 Dresden – 1994 ebenda

Oil on wood panel. Monogramed "Jh" on the bottom right. Framed in a black shadow gap strip.

„You are not a painter, but a scraper.”, art historian Wolfgang Balzer once said to Joachim Heuer. Observing the painting at hand accurately, one can discover the traces of a long painting procedure including changes, rejections, concentrations and cancellation of surfaces.The results of this artistic process are vividly moving spaces and reliefs of color, contrasting to opened sections ...
leaving the color coat below visible. Though his analytic style of painting, Heuer provides the perfect synthesis of color, shape and a traceable process of creating. > Read more

Bildträger verso atelierspurig. Ecke o.re und u.re bestoßen mit Fehlstellen. Malschicht angeschmutzt. teilweise leicht frühschwundrissig, zum Beispiel braune Fläche Mi.re. Laufspur am Bildrand li. Schmuckrahmen mit Bestoßungen, Fehlstellen und Kratzern.

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63 x 100 cm, Ra. 67,9 x 105,5 cm.

048   Hans Jüchser, Still life with pink-colored tulips and white cloth. 1926 1926.

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