- 96
Franz Kaiserman
Estimate
25,000 - 35,000 EUR
bidding is closed
Description
- Franz Kaiserman
- Rome, the Arch of ConstantineRome, the Temple of Antoninus and Faustina
- Signed located and dated lower right Keiserman fct. Roma / 1791, the other signed lower right Keiserman f.
- Watercolour, a pair
Provenance
Collection Baron Octave le Vavasseur de Précourt, second half of the 20th century, Normandy ;
Thence by descent to the present owner
Thence by descent to the present owner
Condition
Les deux gouaches sont dans un état de conservation très satisfaisant. On ne compte que quelques rousseurs dans le ciel qui ne gênent en rien la lecture globale de l'oeuvre. Les papiers sont en excellent état dans des encadrements anciens, de plus d'un siècle, on ne voit aucune déchirure. Une des vitre est brisée en bas.
Les médiums sont très puissants.
Both gouaches are in a very good condition. Few little foxing in the sky, nothing that would disturb the general aspect of the works. Papers are in great condition, framed in old frames. We cannot see any tear. Just the one depicting the arch of Constantine has a broken glass. Medium are very powerfull throughout.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Invited to Rome in 1789 by another Swiss artist Abraham Louis Rodolphe Ducros (1748-1810), Franz Kaisermann began his Roman career as a simple collaborator for the former. The growing success of our artist led him to open his own studio in 1792 and to settle definitively in Rome in 1798 after some travels to Naples and Sicily.
A scene similar to ours, also depicting the arch of Constantine, was auctioned in New York more than ten years ago during a remarkable sale devoted to Art during the Revolution (Sotheby's New York, Revolution in Art, January 24th, 2002, no. 119).
Signed by the artist, who would sometimes inscribe "Keiserman" or "Kaiserman", our two Roman views bear this revolutionary legacy of fondness for ruins, for a past forever lost with the Old Regime society. This melancholy inclination initiated in France by Hubert Robert, Robert of the Ruins as he liked to be called, will be, as we know, resumed in abundance and for almost a century by the Romantics with their poetic aesthetics about the disappeared relics, that drew the illustration of their woe during the century.
A scene similar to ours, also depicting the arch of Constantine, was auctioned in New York more than ten years ago during a remarkable sale devoted to Art during the Revolution (Sotheby's New York, Revolution in Art, January 24th, 2002, no. 119).
Signed by the artist, who would sometimes inscribe "Keiserman" or "Kaiserman", our two Roman views bear this revolutionary legacy of fondness for ruins, for a past forever lost with the Old Regime society. This melancholy inclination initiated in France by Hubert Robert, Robert of the Ruins as he liked to be called, will be, as we know, resumed in abundance and for almost a century by the Romantics with their poetic aesthetics about the disappeared relics, that drew the illustration of their woe during the century.