Marius Bauer (1867-1932)
Marius Bauer (1867-1932)

A Temple on the Ganges at Benares (recto); A Sketch of Temples and other Buildings along the Ganges (verso)

细节
Marius Bauer (1867-1932)
A Temple on the Ganges at Benares (recto); A Sketch of Temples and other Buildings along the Ganges (verso)
signed 'M Bauer' and signed and inscribed 'MBauer Benares.'
black chalk, watercolour heightened with white, pencil framing lines (recto); black chalk (verso)
322 x 495 mm.
来源
with Van Wisselingh & Co, Amsterdam (their label, numbered 3805)
with De Dood, Amsterdam, 1954
出版
M. Jansen, A. Kraayenga, Marius Bauer 1867-1932, Reisimpressies uit India en de Orint, exhibition catalogue, Heino Haarlem, 1991, p. 88
展览
Arnhem, 1958, no. 10
Utrecht, 1959/60, no. 4
Nijmegen, 1965, no. 134
Heino, Het Nijenhuis Haarlem, Teylers Museum, Marius Bauer, August 1991-January 1992

拍品专文

Marius Bauer was not only well-known for his pictures, watercolours and drawings, but also for his many etchings, which are clearly influenced by Rembrandt's oeuvre. Most of Bauer's work shows his love for the Orient, where he travelled extensively. At the age of nineteen, he made his first trip to Constantinople. Soon followed journeys to Egypt and Palestine, and in 1898 he travelled to India. Bauer's etchings of scenes from these journeys were widely appreciated, and he was awarded a 'Grand Prix' at the World Exhibition in Paris in 1900, an honour he shared with famous etchers such as Whistler and Zorn. Soon his work was sold abroad, even to America and Canada.
For many years Bauer worked closely with the art dealer Van Wisselingh and his successors in Amsterdam. They financed many of his journeys in addition to selling his prints.
The recto of the present drawing is closely related in reverse to Bauer's etching 'Hindoos bathing at Benares' of 1919 (Van Wisselingh & Co., M.A.J. Bauer - his etched work, Amsterdam, after 1932, no. 246). The verso of the drawing is comparable to two etchings of temples along the Ganges, Van Wisselingh & Co, op.cit., nos. 102 and 222, dated 1897 and 1898 respectively. The drawing can therefore be dated to circa 1897-1919