The early German theatre in New York, ,
Schauer II, Description: An impishly satyric concept intended to move August Zeiss inks and pens off the shelves of local Berlin retailers. Precisely what the connection is between this sylvan deity and something as prosaic as office supplies eludes us. Writing isn't particularly a Dionysian event after all.
Regardless of the association, the spilled-ink image is arresting and one that Sponsel calls "the best poster of Heine" p. Heine, an artist who frequently found inspiration in the macabre, was the first editor of the influential German humor magazine, Simplicissimus. The Nazis closed it down in and Heine was forced to flee, first to Prague, then to Oslo, settling finally in Stockholm in Description: Monogrammed upper right.
Water-coloured ink drawing and opaque white on cardboard.
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Minor foxing. Mounted on original base. Provenance: Hans B. Wagenseil Author, Condition Report: Stockfleckchen. Auf Orig. Description: 1. Here, his signature red dog gleefully appears to announce a publication-sponsored carnival. Here, 30 years later, a festival for the publication is happening "in hell" at the Deutsches Theater.
Condition Report: A. Description: Three paintings in ink on thick paper one on cardboard. Signed with initials. Heine was a Jewish-German illustrator and caricaturist; he was among the founders of the satirical journal "Simplicissimus". Following the Nazi rise to power he was forced to resign from the journal due to his Jewish origins and his opinions.
He later escaped to Prague, Oslo and finally Stockholm, where he lived until his death.
Books by Marcel Prévost
Condition varies. Description: Original Pencil Portrait with Inscription signed and dated Im Schuber mit Deckelschild. Erste Ausgabe mit diesen Illustrationen. Ecken minimal berieben. Fischer Kunstverlag, Berlin An electric purple background offsets the devilish silhouette of a wide-eyed satyr in this rare promotion for August Zeiss inks and pens.
Critics have referred to this design as "the best poster of Heine" Sponsel, p.
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Schuler, Stuttgart While little information remains regarding the contents of Die Weite Welt, it is possible that it was the German equivalent of The Wild World magazine, an English monhtly focusing on bizarre and exciting nonfiction. In zartblauem Farbstift kolorierten Tuschfederzeichnung mit Einfassungslinie Gering angestaubt. Rahmen min. Paris-Leipzig-Munich: Albert Langen, Good condition. Foxing, damage to binding.
Slightly loose binding. The original poster was printed in five colors; this later reissue is the three color variant. Munich: Zum Toten Kind, With 18 color lithographs by Thomas Theodor Heine. Binding partly detached. Detached and loose signatures.
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Tears to spine. Leben, Gedichte. Berta U. Julius Stern. Berta and U. Max Froehlich. Ecole allemande. Description: Simplicissimus - 27x37, Feb.
Wallraf Richartz Museum Wallraf Richartz Museum
Jahrgang by Thomas T. Heine Monogrammiert unten links. Signiert und datiert unten links. Ink, gouache, chalk and opaque white on cardboard, laid down on cardboard. Signed and dated lower left. Condition Report: Erschienen im Simplicissimus, Jg. Signiert unten rechts, monogrammiert unten links.
Description: Brakls Kunsthaus. Farbig lithographiertes Plakat.
In der Vorlage monogrammiert. Description: XXVI. Heine 95x71, , on linen. Condition Report: B-. Description: Heine, Thomas Theodor. Das Heft konnten wir nicht eruieren. Verso mit unsignierter Bleistiftskizze auch Heine? Gerahmt 27 x 35 cm. Sometimes difficulties manufacture themselves where Beethoven could not have intended them: the moto perpetuo of detached chords in the Scherzo is a case where for the orchestra the passage in eminently playable but for the piano is rich in awkwardness, whilst the converse may also apply: the often-mauled horn parts of the Trio are much less notorious at the keyboard.
In order to reflect the enormous variety of orchestral colour which Beethoven brings to the last triumphant statement of the melody, Liszt takes the orchestral chords on the second and third quavers of the bar and deposits them with much ado at the bottom of the keyboard, leaving the middle ground for the chords surrounding the theme and the upper reaches for the semiquaver triplets of the strings, and, just before the Presto coda, Liszt risks leaving out the cello and bass line altogether in order to give a fairer presentation of the delicate chords tossed from winds to upper strings.
And the coda itself avoids fatiguing the ear with endless semiquaver chords by discovering alternative piano textures every few bars to the end. Like the Second Symphony, the Symphony No 4 , dedicated to Count Oppersdorf, transcribed has always had something of an unjustified second-class status beside the larger odd-numbered symphonies. The humour in the piece is offset by the dark seriousness of the introduction, which Liszt clearly had some difficulty in transcribing: the main text unsatisfactorily presents the held woodwind B flat octave for the requisite five bars, with the right hand obliged to descend and move through parallel octaves with the left, making the upper notes impossible to sustain.
https://louatmakamdocno.cf The alternative, employed here, is a demanding pianissimo five-bar octave tremolo for the right hand, and the rest of the material, less one octave doubling, is entrusted to the left hand alone. Liszt responds to the contrasting gaiety of the Allegro with a barrage of piano pyrotechnics which recall the textures of several of his studies. The main theme in all its guises requires the utmost cantabile to be preserved by half of the right hand whilst the other half sustains the dotted rhythm which pervades the whole movement.
The constant semiquaver figuration in the last movement seems to have perplexed Liszt a little.
In one passage towards the end of the Symphony he omits it altogether and proceeds in quavers, while in earlier places he juxtaposes a single line of semiquavers with an alternative suggestion of triplet octaves, or interlocking octaves between the hands. It seems astonishing to us that there can ever have been a time when this most widely known of all symphonies could ever have required any assistance in its dissemination, but any study of the general standards of orchestral performance and repertoire in the early to middle nineteenth century shows us that only a very few cities were privileged enough to have heard such works given with any degree of accuracy or authority.