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alb3666275 Speculum Romanae Magnificentiae: The Column of Trajan. Artist: Anonymous, Italian, 16th century; After Antonio da Labacco (Italian, near Vigevano ca. 1495-after 1567). Dimensions: mount: 26 5/16 x 19 1/2 in. (66.8 x 49.6 cm)sheet: 21 1/8 x 14 3/8 in. (53.6 x 36.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 95 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

akg8011907 Piene, Otto1928 Laasphe/Westphalia - 2014 BerlinUntitled. 1967. Mixed media (fire gouache) on canvas. 68 x 96cm. Signed verso centre: Piene (circled) '67. Studio bar. Provenance: - Private collection North Rhine-Westphalia - Private collection North Germany Fire, smoke and light are effective elements in the art of Otto Piene, which are closely connected to each other. At the end of the 1950s, the first smoke drawings were made on paper, in which smoke from a candle or kerosene lamp is used as a pictorial design medium. In the 1960s, Otto Piene used this to develop the fire gouaches. They show crusts and blisters, which are visible during the burning of fixative, pigment and oil paint on the canvas. The power of the flames not only forms or destroys the material, it captures, its carbon black is used as f artistic design and can partially replace paint completely. Moments such as time and the processual nature of the experimental means comes into play. . In this work, a black sun floats in front of a glowing red background - crusty and bubbly in the middle and with a softly tapering edge from traces of smoke. It is ""grounded"" by a sooty-black track that divides the image in the middle. The black volume in the center of this early work combines with the energy of the red colour in the background form a powerful whole, from which one cannot escape as a viewer. Due to the balanced composition the work radiates a certain lightness at the same time. This duality makes the present work one of the most beautiful and powerful examples of the series of fire gouaches. . ""But praising the light alone no longer seems enough to me. I walk the darkness. I make it transparent, I take away its horror, I turn it into volume of power, moved by breath like my body and I take smoke, so it can fly."" (Otto Piene, 1963 in: Exhibition Cat. Kestner Society Hanover, 1965, p. 118f.). . Art trade, Van Ham.