Christof Mascher

"Isometrics 1", landscape, architecture, conceptual, contemporary, watercolor

2016

Corinna Schnitt is mostly known as a video artist. She belongs to Germany's most important protagonists of that scene of the last 25 years. While she is teaching at the Braunschweig ...

The starting point for Koen van den Broek‘s (*1973 in Bree, Belgium) works are often photographs of land- or cityscapes that are more or less direct...

Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of mainly three artists: the Swiss Max Bill, the American Edward Hopper and the Belgian René Magritte – all being his father's heroes. "Uhu Schuhu" has been collaged with reproductions stemming from illustrations of paintings by René Magritte. It is a neo-surrealist work that Hess – with a tongue in cheek – loaded with humor. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009); Escape, Schloß Ringenberg, Hamminkeln (2009); Sculptures, The Project, New York (2008); Food4Less, Museo de Zapopan, Zapopan (2007); Walls/Muri (with Federico Herrero...

Nic Hess (*1968 in Zurich, where he also lives and works) studied at the Gerrit Rietveld Academy in Amsterdam and at the University of the Arts, Berlin. He got mainly known for his expansive installations and wall collages made of tapes and foils. With these, he deconstructed signs (logos) and symbols from the worlds of business and art history. Now, however, he resorts to his own sign-system, signs that stem from his biography or his personal environment. In particular, for his collages, that he was doing in the last years, he was using hundreds of art and architecture books that he had found in his late father’s library. Like many people in a similar situation, Hess asked himself what he was to do with the books. And he decided to make productive use of them and for his own work. By transforming the books of the library into his own art he created a sort of memorial to his father. Because with the reproductions of some of the illustrated books he made collages, playful new compositions based on the works of artists like – amongst others – Edward Hopper or Roy Liechtenstein. For his own "Frightened Girl" Hess made use of girls of Roy Liechtenstein-paintings. He cut and re-connected them, creating a kind of cubist version of the original. The result, that even made use of the caption in a Liechtenstein-monograph, was carefully put in a frame chosen by the artist. Hess looks back to a long career and to a very large number of institutional solo-shows of which here just a few are mentioned: Zulieferer unter Druck, Städtische Galerie, Wolfsburg (2016); Der Stoff aus dem die Träume waren, Kunsthalle Münster, Münster (2015); Ein Titel muss her!, Kunststation Wolfsburg, Wolfsburg (2013); The Birds (for Lilou), Swiss Institute, New York (2012); Silberpfeil, Mercedes Benz Museum, Stuttgart (2011); Automatic Crash Response, Armand Hammer Museum, Los Angeles (2009...

Yelena Popova’s background as an artist who was born behind the so-called Iron Curtain in the USSR, when Socialism was still very much alive and when the world had not even thought a...

"The Yellow Hammer" is a work executed with watercolor on an offset print of a British, vintage bird identification book that has been used by Yelena Popova. For the series of these ...

View of St. Marks Basilica, Venice Italy Landscape Watercolor with Gondolas Beautifully detailed landscape watercolor of an iconic ...

Gustav Melcher (German, 1898-?) Segelschiffe vor Venedig - Sailing ships off Venice • India ink, water colour wash • Visible image ca. 11.5 x 18 cm • Glased Frame ca. 20 x 25 cm • Verso various inscriptions • Signed lower right Gustav Melcher was a German painter and a pioneer in film, film criticism and film theory and created this clever little picture of the skyline of Venice with various vessels. Going by the various inscriptions an the backing paper, this drawing was made in 1918 when Gustav was twenty years old and passed on three years later to Gertrud Melcher on the 1. 2. 1921. I have no reasons to doubt this information. The small drawing is still in its unopened frame, so maybe there is more information to be discovered , however this will be the privilege of the next owner. The picture also has retained its original antique frame – note that it has lost over the years various sections of the gesso decoration. The very precisely executed drawing is most enjoyable to look at and doing so, remember you are looking through the eyes of a young man, who saw this foreign sea cape over a century ago. Thank you for your interest and please note, that I offer free worldwide shipping on all my items. Gustav Melcher began his studies at the Düsseldorfer Kunstakademie under Peter Janssen and Eduard von Gebhardt. Originaly he was interested in figurative and portrait painting, but after time he decided to pursue the depiction of land- and marinescapes. Durin his studies the young artist undertook trips to visit England, Scotland, Belgium and France and he joined the artist society Malkasten. It was in those days he would hold speeches to his colleges about this new invention called ‘Kintopp’ – Melcher was a great advocate of the moving pictures...

Statue of Vishnu Garuda, Bali, 1904 Signed with initials Pencil and ink on paper, 21.4 x 21.3 cm Literature: Bruce W. Carpenter, W.O.J. Nieuwenkamp. First European Artist in Bali,...

Four outrigger proa’s on the beach of Kusambe, Bali, 1937 Signed with initials, dated and described with location bottom left Pencil and ink on paper, 29.7 x 35 cm In ebonized frame with white mount WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art and objects for their collections, Nieuwenkamp immediately started to purchase and order a wide range of ethnographic art and objects from local artists and craftsmen. Through his drawings and books, he gave an excellent impression of Balinese art and culture at that time. Since 1854 Northern Bali was under Dutch...

Wobbly bridge, Tabanan, Bali, 1937 Signed with initials bottom right and dated, bottom left Pencil and ink on paper, 22 x 26.3 cm In ebonized frame with white mount Willem Otto Wi...

Rio della Misericordia. October 1924. Watercolor. 14 x 8 3/4. McBey did a striking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. Housed in a French mat and a 22 x 16 1/2-inch gold leaf frame. The Rio Della Misericordia ( from the Venetian to the Misericordia Canal ) is a canal from Venice in the sestiere of Cannaregio, Contrada San Marzillan in Italy. The river runs along the old Servite convent. The canal is crossed by two bridges, from east to west: the San Marziale spawning linking the campo of the same name with the Fondamenta de la Misericordia and the dei dei Servi or Betania linking the Mensa di Betania to the Fondamenta de la Misericordia . Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon's School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil's Gallery, and shortly after this highly successful first show, he traveled to Morocco with James Kerr...