Electrum jewelry for sale1/11/2024 ![]() Paul Klee Foundation and the Kunstmuseum Bern (eds.), Paul Klee, Catalogue Raisonné, vol. ![]() New York, Saidenberg Gallery, Paul Klee: A Retrospective Exhibition, 14 October - 29 November 1969, no. London, Marlborough Fine Art Ltd., Paul Klee, June - July 1966, no. London, Marlborough Fine Art Ltd., Painters of the Bauhaus, March - April 1962, no. London, The Mayor Gallery, Paul Klee, June 1935, no. Marlborough Fine Art Ltd., New York (1989)ĭüsseldorf, Kunstverein für die Rheinlande und Westfalen in Zusammenarbeit mit Alfred Flechtheim, Paul Klee, 14 June - 6 July 1931, no. Saidenberg Gallery, Inc., New York (since 1969) 7.' – below right 'Bildnis in der Laube' - below left with pencil 'VIII'Īlfred Flechtheim, Dusseldorf (until 1931) Inscribed on the cardboard left below '1930. Watercolour and gouache on paper, on cardboardģ1 cm × 24.3 cm (57.5 cm × 46.4 cm), 12.2 × 9.6 in. WEICKERT C., Zu ionischen Löwen in Athenische Mitteilungen 71, 1956, pp. C., Greek Funerary Animals in American Journal of Archaeology 76, 1972, pp. KOZLOFF A., ed., Animals in Ancient Art from the Leo Mildenberg Collection, Mainz, 1981, pp. B., Greek Funerary Sculpture: Catalogue of the Collections at the Getty Villa, Los Angeles, 2001, pp. C., Sculpture in Stone, The Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, Boston, 1976, p. Surface worn remains of encrustation a few scratches and chips in places the tip of the nose and eyebrows are damaged.Įx- US private collection, acquired in 1989ĬOMSTOCK M. Two rather small and round ears are seen between flamelike tufts going in different directions, the mane consisted of a few distinct rows. ![]() The open mouth shows individually carved teeth. The features are far from to be naturalistic and they are highly stylized especially remarkable is almost human expression of raised eyebrows and deep-set eyes. Greek sculptor from the Greek mainland could hardly see the real animal, and his knowledge was based on the tradition transmitted by the generations of artists. ![]() They were placed in pairs at the corners of family grave plots as the monuments of Kerameikos, ancient cemetery of Athens, testify, or, in case of a royal tomb they would line the sides of the alley leading to the entrance of mausoleum or even be placed at the roof level as the reconstructions of the famous Halicarnassus Mausoleum suggest. Lions symbolized strength, courage, ferocity - their images, standing or crouching, were highly suitable as tomb guardians. Funerary statues usually show the animal crouching on his front legs, his head faces the viewer sometimes the body is seen from the side and the head is turned to confront the viewer. The fragment still shows a considerable thickness of the marble in the back, that is why the idea of a statue is more plausible. Similar heads were employed for the gutters of a building – its protruding concave tongue would have channeled the rainwater down.Īlthough the cavity below the muzzle indicates the wide open mouth, this piece did not serve as a water spout. The latter is frequent in the fountain house being attached to the wall water from the pipe gushed from the open mouth of the animal (many representations on the black-figure vases capture that image). Classical antiquity was dealing with two major functions of lion’s representations in stone: figures as funerary monuments and heads as waterspouts. ![]()
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