Masterdrawings

Masterdrawings
Summer 2011
01. FRANZ VON BAYROS Zagreb 1866 - 1924 Vienna
“und doch ist der Himmel voller Geigen” [and yet heaven is filled with violins]. Pencil, watercoloured and white heightened, on the front side of a postcard, 1907. Signed, dated and titled. Marked on reverse with the artists address stamp,
as well as with a hand written text. On strong beige wove paper. 14 x 9 cm.
Provenance: South German private collection.
The Austrian painter, illustrator and bookplate artist von Bayros studied under Christian Griepenkerl in Vienna, Heinrich
Knirr in Munich, and Adolf Hölzel in Dachau. He became particularly well known through his scandals and lawsuit-provoking illustrations of erotic and pornographic literature, which in 1911 ultimately forced him to leave his residence of many
years – Munich – and to settle down in Vienna.
The postcard is addressed to Otto Rupprecht in the “Elisée Palace Hotel” in Paris, and was postmarked 11th December
1907. The sketch can be seen as a draft for a wedding card or for a personally designed congratulation to his friend
Rupprecht.
The drawing at hand shows a small Cupid with parasol and muff, as a symbol of marital bliss, both in good times
and bad.
1.500,-
Masterdrawings
Summer 2011
02. SAMUEL BIRMANN 1793 - Basel - 1847
Swiss landscape. Water colour with pen-and-ink over pencil. On teinted wove paper. 29 x 41,8 cm. Mildly stained, with
minimal crease marks, as well as 2 small backed margin tears.
Provenance: South German private collection.
The artist Samuel Birmann was the son of Peter Birmann, and from 1811 onwards worked with his father in the “Werkstatt für Kunst und Flachmalerei” in Basel, which went on to develop into an art dealership and publisher. His landscape works were initially strongly influenced by his father, but soon went on to show his great interest in topographic
precision and panorama-like sketches.1 Initially he found his motifs in the Jura region and in the neighbouring Baden,
later his preferred motifs lay in the Berner Oberland, in the Wallis and in Savoyen. From 1825 onwards he mostly spent
his summers in the high Alps, where he created watercolours in delicate tones, drawings and oil paintings, which he later
converted into paintings or reproduced as aquatint etchings.2
Birmann’s works are dedicated to the Early Romantic Realism era, and testify to a sensitive rendering of landscape
moods. Many works can now be found in the Kunstmuseum Basel.
1 Cp. Peter und Samuel Birmann. Künstler, Sammler, Händler, Stifter. Exhibition catalogue. Kunstmuseum Basel, 1998, pp.
23-27 with illustration 9-11.
2 Cp. SAUR Allgemeines Künstler-Lexikon, München/Leipzig, 1995, vol. 11, p. 164.
4.500,-
Masterdrawings
Summer 2011
03. JAN DE BISSCHOP, known as JOHANNES EPISCOPIUS - circle Amsterdam 1628 - 1671 Den Haag
The holy family sitting under a tree. Washed pen and brush in brown ink with bordering line in pencil. On teinted laid
paper, mounted on strong laid paper with slanted lower edges. 28,3 x 20,3 cm. Mildly stained, with a few small margin
faults.
Provenance: Swiss private collection.
Little is known of the artistic training of the broadly educated Jan de Bisschop. Due to stylistic similarities in his sketches, a period of training under Bartolomäus Breenbergh can be assumed. Bisschop most certainly counted as one of
the most talented and well educated artists who were active in this time in the Netherlands. He stood out as expert of
the ancient world, as a literary figure, as well as an illustrator and etcher. It was through his publications that he made a
strong contribution towards the spread of New Classicism, which in increasing measure came to influence the Dutch art
and culture in the late 17th Century, and thus influenced many artists of his generation.
4.500,-
Masterdrawings
Summer 2011
04. BARBARA REGINA DIETZSCH 1706 – Nuremberg – 1783
Bird with black and yellow feathers on a branch. Gouache, around 1770. Original mounting on reverse. On strong wove
paper. 28,5 x 20,8 cm. With tiny creases and pin pricks in the corners.
Provenance: Swiss private collection.
The artist, who comes from a well-known family of painters, illustrators and etchers from Nuremberg, is particularly specialised in depictions from the plant and bird world. Her picture works, executed in opaque colours, show single flowers
and floral arrangements, single birds and bird pairs before landscapes, and follow a picture tradition introduced by Maria
Sibylla Merian in Nuremberg, but also show great haptic and picturesque qualities. The carefully executed pictures were
hung – often as pairs – in cabinets or were collected in folios. They were sought after both in Germany and abroad, in
particular in England and in Holland. Dietzsch rarely signed her pictures, which is why her works are often confused with
those of other artists.1
1 Cp. SAUR, Allgemeines Künstler-Lexikon, München/Leipzig, 2000, vol. 27, p. 330.
4.800,-
Masterdrawings
Summer 2011
05. CARLO DONELLI, known as IL VIMERCATI (?) 1660 - 1715 (?); worked in Milan.
Boy standing. Red chalk, partially white heightened, with a detailed study of a flag, draped on the floor, in the left lower
margin. On strong brownish laid paper. 41 x 25,2 cm. Minimally dusted and with slight blemishes. Traces of colour on
reverse.
Provenance: Collection G. Soulier, Florence (Lugt 1215 a.)
Donelli, known as Il Vimercati, was a pupil of Ercole Procaccini the younger and trained himself through the study of the
works of Giulio Cesare Procaccini and Daniele Crespi. His career mostly centred around Milan. His drawings, mostly done
in red chalk, are represented in many collections – the biggest complex to be found in the Bibliotheca Ambrosiana in
Milan.1 Despite his success during his lifetime, only a few pictures and frescos by his hand are retained.
1 Galleria dell’Accademia, Venice (Cp. U. Ruggeri, Disegni Lombardi, Milan, 1982, nos. 150–152) and Ambrosiana, Milan
(Cp. A. Barigozzi and R. Bossaglia, Disegni del settecento lombardo, Vicenza, 1973, nos. 97-98).
4.500,-
Masterdrawings
Summer 2011
06. JOHANN JAKOB HOCH 1750 - Mainz - 1829
The vegetable seller. Watercolour in brown tones, with brownish black bordering line, and pale grey watercolour framing,
1778. Signed and dated “Johann Jacob Hoch inventor et fecit 1778”. Signed again on reverse, dated “19 ten August 1778”
and marked. On laid paper. 34 x 47,4 cm. Margins backed.
Johann Jacob Hoch stems from an artistic Mainzer family from the 18th and early 19th century, and was surely their most
versatile talent. As a nineteen year old he resided in Dusseldorf and schooled himself from the paintings of Dutch artists
in the galleries there. Residencies in Dresden and Vienna followed. Following this in 1783-88, he went to Paris, where he
already exhibited in January 1788 in the Salon de la Correspondance and was positively written about by the press. He
was soon in relations with the portrait artist Alexandre Roslin, who helped him with his entrance into the academy. After
his return from France, Hoch worked in Mainz up until his death.
His works can be found, amongst other places, in the Louvre in Paris, in the Courtauld Institute in London and in the
Fogg Art Museum of Harvard University, Cambridge.1
The watercolour at hand stands in a close connection to the painting “Die Heringsverkäuferin” [The herring saleswoman]
by Gerard Dou, which originally stood in the picture cabinet of the elector Johann Wilhelm von der Pfalz in Dusseldorf,
and which later passed through the electors court to Munich via Mannheim in 1799, and which today is kept in the state
gallery of Schloss Johannisburg zu Aschaffenburg.2 Hoch copied this painting twice on the commission of the Mainzer
electorate; once in 1777 in ink, and shortly afterwards in gouache.3 The composition at hand, which is closely related,
shows a vegetable saleswoman, with her head supported by her left hand, looking up at a woman standing to her left
who carries a basket full of purchases. Next to a bare tree in the forefront stands, in contrast to the Dou example, a
small begging travelling boy, who looks with a pleading glance at the vegetable saleswoman. The further composition as
well as the background shows with minor modification the same scenery as the Dou copies.
1 Oil on wood, 46,3 x 59,2 cm, dated 1654, inventory number 552.
2 Miriam Hoch-Gimber, Die Mainzer Malerfamilie Hoch, Frankfurt/M. amongst others, 2010, pp. 119-120, “Selbstportrait des
74-Jährigen im Interieur, ein Portrait seiner jungen Frau malend” [Self portrait by the 74 year old in the interior, a portrait
of his young wife painting], 1824, Louvre, without illustration on the supplied CD; a “Profilportrait eines jungen Mannes
nach rechts im Oval” [Profile portrait of a young man to the right in an oval], black chalk, 35,5 x 24,5 cm, signed and dated 1787, previously collection Sir Robert Witt, Courtauld Institute, London (D.1952.RW.788); “Der Zauberer im Märchenwald erweckt eine junge Frau wieder zum Leben, ein Nachtstück” [The magician in the fairy tale forest awakens a young
woman to life, a night piece], 43,2 x 57,3 cm, unsigned, Harvard University, Fogg Art Museum (1985.68), see also Dacosta
Kaufmann, Central European Drawings 1680 - 1800, 1989, catalogue number 82, pp. 122f.
3 35,5 x 50,6 cm. Signed, dated and marked “Gdov” and 30,5 x 43,2 cm. Unmarked, both in album II (13 & 14) in the
Hofbibliothek zu Aschaffenburg. See Miriam Hoch-Gimber, l.c., pp. 89, 167f, and illustration 119-120 on CD.
9.200,-
Masterdrawings
Summer 2011
07. FRIEDRICH HORNER 1800 - Basel - 1864
Constantinople, the marina of Pera with the Tophane Mosque (today Karaköy district). Partly gouached watercolour over
pencil. Signed. On firm teinted drawing card. 41 x 55,8 cm.
Johannes Fichter, catalogue of works Friedrich Horner (CD) no. 149.
After initial drawing lessons from Rudolf Huber and Peter Birmann in Basel, Horner furthered his education in Paris and
Munich. From 1822 he resided in Italy, where he lived at first in Naples and from 1838 in Rome. Here he lived together
with his painter friend Rudolf Müller, who most probably accompanied him on his Orient trip. On his return, Horner had
to leave Italy in 1848, due to political turmoil, and returned to Basel. The artist was renowned for his watercolours, which
were very popular with collectors, and which to a large part ended up with English and Russian private hands. In particular, it was the luminosity of colour that he created that made him famous, which he achieved by mixing the watercolours
with glue substances.
In the print cabinet of the Kunstmuseum in Basel one can find around 80 compositions of Horner with oriental motifs
(Balkans, Greece and Turkey), to which a legend of the artist exists. Sheet 34 shows the same image as that described
above, although many details – especially in the foreground – have been changed. To this sheet there are two drafts to
be found in Basel. Horner probably used the same draft for both watercolours. “Die 80 Blätter in Basel sind alle mit viel
grün bzw. einheitlichen Farbtönen aus einem Guß gemalt. Es kann sehr gut sein, dass Ihr Blatt zu den an die Großfürstin
(Helena von Rußland) verkauften Blättern gehörte. Ihr Blatt ist etwas größer und m.E. lebendiger und schöner. Bisher ist
mir nur eine Ansicht des Hippodroms bekannt, die auch mit der gleichen Farbgebung wie Ihr Blatt gemalt wurde und von
der auch ein entsprechendes Blatt in der Basel Serie vorhanden ist“ [The 80 sheets in Basel are all painted with a lot of
green, or rather similar colours from the same palate. It could well be that your sheet belongs to those which were sold
to the Grand Duchess (Helena of Russia). Your sheet is somewhat larger and in my opinion more vivid and nicer. So far
I have only known one view of the hippodrome, which was painted with the same colour scheme as your sheet, and of
which there is an applicable sheet in the Basel series] (Quoted from a letter from Johannes Fichter, Weisslingen
from 10.05.06).
27.500,-
Masterdrawings
Summer 2011
08. JULIUS HÜBNER DER ÄLTERE Oels/Schlesien 1806 - 1882 Dresden-Loschwitz
Flower and plant studies. 3 pencil sketches (of which one is in pale yellow watercolour) from a sketchbook 1852-55.
2 sheets monogrammed (ligated).1 All are dated (partly repeatedly) and marked as well as 2 sheets site marked “Coblenz” or rather “Dresden”. On wove paper. Each 11,5 x 19,5 cm.
Provenance: Collection Julius Samuel Held, Bennington/Vermont (JSH ligated; not in Lugt).2 Sterling and Francine Clark Institute, Williamstown/MA, with inventory number 207/14. Christie’s, sale 2249: The Scholars Eye: Property from the Julius
Held Collection Part II. New York, January 2009, from lot 331.
Julius Hübner belonged, alongside his brother-in-law Eduard Julius Friedrich Bendemann, as well as Karl Friedrich Lessing,
to the most important representatives of the Dusseldorfer Malerschule. 1821 he was taken up at the Akademie der
Bildenden Künste in Berlin. In 1823 he came to Friedrich Wilhelm Schadow, with whom a few years later he went to the
Kunstakademie in Dusseldorf. Following sojourns in Berlin and a trip to Italy, he was in 1839 called to the Akademie der
Bildenden Künste in Dresden, where from 1842 onwards he was professor and director of an atelier for historical painting, and from which he exercised a great influence on the art world of Dresden. 1871 to 1882 he took over the post of
director of the Dresdner Gemäldegalerie from Julius Schnorr von Carolsfeld. His particular strength lay in portrait painting;
furthermore he created works with religious or rather historical themes, as well as paintings with literary model. On top
of this, Hübner also worked as an illustrator.
1 Cp. Franz Goldstein, Monogramm Lexikon. Internationales Verzeichnis der Monogramme Bildender Künstler seit 1850.
Berlin, 1964, p. 337.
2 Julius Samuel Held (Mosbach 1905-2002 Bennington/Vermont) was a German-American art historian, whose specialist
field was Dutch artists – in particular Peter Paul Rubens and Rembrandt Harmensz van Rijn. From 1937 to 1979 Held
primarily taught at Barnard College and at Columbia University, but also at New York University, Yale University, University
of Pittsburgh and at Williams College. In retirement he still taught as a guest professor in Williamstown (Massachusetts),
as well as at Williams College and also at the Sterling and Francine Clark Art Institute. In 1984 he gave some 200 works
from his over 1,000 masterpieces to the National Gallery of Art in Washington.
3.200,-
Masterdrawings
Summer 2011
09. JEAN-BAPTISTE HUET 1745 - Paris - 1811
Boy with feather cap standing at a gate. Black chalk, partially white chalk heightened. On blue grey fibrous laid paper
with watermark: three lines of writing. 27 x 19,8 cm. Left margin shows minor crease marks.
Provenance: South German private collection.
Jean-Baptiste Huet grew up as the son of the art dealer Nicolas Huet in Louvre, and thus had access early on to artists
such as François Boucher and Jean Baptiste Leprince. With pastoral scenes, animal depiction and the use of ornaments
in his drawings and graphics, as well as with his artistic ideas for carpet and fabric weaving and other craft works, Huet
had a strong influence on the contemporary taste.1
1 Cp. Französische Zeichnungen im Städelschen Kunstinstitut 1550-1800. Exhibition catalogue. Städtische Galerie im Städelschen Kunstinstitut, Frankfurt/M. 1986/87, p. 146ff.
3.400,-
Masterdrawings
Summer 2011
10. FRANZ KAISERMANN Yverdon/Canton Waadt 1765 - 1833 Rome
Rome: View from the Monte Mario on the city. Watercoloured outline etching with bordering in ink pen, margins brown
washed. Signed “Keiserman” (sic!) in the copperplate. On laid paper with watermark: C & I Honig with coat-of-arms with
crowned post horn. 30,5 x 43,2 cm. Minimally stained, of a very good general impression.
In order to work under the instruction of the watercolour and etching specialist Louis Ducros, Kaisermann had come to
Rome in 1789. The veduta style of painting of his teacher made a decisive impression on his artistic perception. Following a sojourn of several years in Naples, he settled in Rome in 1797. Around 1800 he took on the only 19-year-old artist
Bartolomeo Pinelli into his services, so that he could sketch the figure staffage in his pictures. Together they partook in
study trips in the local area, and focused intensely on the depiction of ruins and landscapes, the Tivoli and Terni waterfalls and the Patrician villas of the Albanian mountains in watercolour and outline etching. Kaisermann was very successful in the sales of his veduta works to enthusiastic Rome travellers. His successor and heir was his nephew Franz Knebel,
who sold off his inheritance after his death.
In 1805 in a letter to Goethe, August Wilhelm von Schlegel considered him as one of the best landscape painters from
Rome.
The coloured etching at hand, as is the following catalogue number, is done in light yellow and blue toned watercolours,
which was typical for Louis Ducros and his pupil Kaisermann.
7.500,-
Masterdrawings
Summer 2011
11. FRANZ KAISERMANN Yverdon/Canton Waadt 1765 - 1833 Rome
Pozzuoli: Coastal landscape with fishermen. Watercoloured outline etching with bordering in ink pen, margins brown
washed. Signed “Keiserman” (sic!) in the copperplate. On laid paper with watermark: C & I Honig with coat-of-arms with
crowned post horn. 31 x 45 cm. Minimally stained, of a very good general impression.
In order to work under the instruction of the watercolour and etching specialist Louis Ducros, Kaisermann had come to
Rome in 1789. The veduta style of painting of his teacher made a decisive impression on his artistic perception. Following a sojourn of several years in Naples, he settled in Rome in 1797. Around 1800 he took on the only 19-year-old artist
Bartolomeo Pinelli into his services, so that he could sketch the figure staffage in his pictures. Together they partook
in study trips in the local area, and focused intensely on the depiction of ruins and landscapes, the Tivoli and Terni
waterfalls and the Patrician villas of the Albanian mountains, in watercolour and outline etching. Kaisermann was very
successful in the sales of his verduta works to enthusiastic Rome travellers. His successor and heir was his nephew Franz
Knebel, who sold off his inheritance after his death.
In 1805 in a letter to Goethe, August Wilhelm von Schlegel considered him as one of the best landscape painters from
Rome.
The coloured etching at hand, as is the previous catalogue number, is done in light yellow and blue toned watercolours,
which was typical for Louis Ducros and his pupil Kaisermann.
7.500,-
Masterdrawings
Summer 2011
12. EUGEN JOHANN GEORG KLIMSCH 1839 - Frankfurt/Main - 1896
The love secret. Watercolour, heightened with opaque white. Signed. On teinted wove paper, mounted on card.
14,5 x 9 cm. Opaque white partially oxidised.
Provenance: Swiss private collection.
Klimsch initially studied with his father Ferdinand Karl Klimsch, who introduced him to painting in his childhood and
encourage his talent. He studied at the Städelschen Kunstinstitut under Jakob Becker and Johann Nepomuk Zwerger. From
1859 to 1865 he took private lessons from Andreas Müller in Munich, who carried the name “Komponier-Müller” [composer Müller] and who had a strong influence on his pupil. Following his return to his home town of Frankfurt, he worked for several years as a teacher at the towns school for applied arts, before he was called as the successor of Frank
Kirbach in 1895 as director of the Maler- und Komponierschule am Städelschen Kunstinstitut. He took on work for the
embellishment of public buildings and private villas; thus he decorated the grand salon of the Frankfurter Palmengarten.
He had his biggest successes in book illustrations and genre paintings.
The watercolour at hand shows a lovingly depicted scene, typical for Klimsch, which takes up the gallant style of
the Rococo.
1.500,-
Masterdrawings
Summer 2011
13. ITALIAN ARTIST
The adoration of the shepherds, surrounded by angels. Greyish brown washed pen-and-brown ink with red chalk, 18th
century. On teinted laid paper with slanted upper edges with watermark: writing (not legible). 26,4 x 35,7 cm. Partially
stained, and with part backed damaged areas and thin paper marks in the margin area.
Provenance: South German private collection.
An interesting composition, which fills the pictorial space, whereby the wash strokes run parallel to the red chalk lines.
The drawing obtains a picturesque effect through the flowing use of washing.
3.800,-
Masterdrawings
Summer 2011
14. SOUTH GERMAN ARTIST
Scene from the last judgement. Grey washed pen-and-brown ink over pencil in the manner of Wolfgang Hölswanger
around 1600. On reverse, old collectors mark. On teinted laid paper, originally mounted on underlay with watercolour
bordering lines. 19,5 x 33,9 cm. Slight margin damages. Mildly dusted and minimally foxed.
Provenance: Swiss private collection.
On reverse various unidentifiable collectors stamps. The manneristic appearing figure composition holds its appeal in the
interplay of contours and clever washing, which emphasises the plasticity of the figures.1
For the attribution we have to thank Dr. Achim Riether, conservator for German drawings and graphic prints 15th-18th
century at the Staatlichen Graphischen Sammlung München.
1 Cp. H. Geissler; Zeichnung in Deutschland, Deutsche Zeichner 1540-1640, vol. 1, p. 180, no. D 45 with illustration.
4.800,-
Masterdrawings
Summer 2011
15. WILHELM LINDENSCHMIT DER ÄLTERE 1806 - Mainz - 1848
The king abducts a virgin. Watercolour with brownish black borderlines. Signed. On teinted wove paper. 19,8 x 20,1 cm.
Minor foxing.
Provenance: South German private collection.
Lindenschmit obtained his initial artistic training in 1823 at the academy in Munich, the years 1824-1825 were spent at
the academy in Vienna. When Peter von Cornelius moved from Dusseldorf to Munich, Lindenschmit also followed. He
worked as his student and co-worker, and created decorations with motifs from the history of Bavaria for the rooms of
the Schloss Hohenschwangau. In 1848 he was made court painter in Meiningen, but he died in the same year. The artist’s
works are especially defined by a thorough study of history and profound knowledge of historical costumes.
The watercolour at hand could well lie in connection with a picture cycle which concerns itself with the history of Wettin
and the depiction of Friedrich des Freidigen (also known as Friedrich with the bitten cheek), which shows how he abducts his second wife.1
1 Cp. F. von Boetticher, Malerwerke des 19. Jahrhunderts, Hofheim/Taunus, unchanged new print from 1969,
vol. I,2, no. 15.
4.800,-
Masterdrawings
Summer 2011
16. JOHANN GOTTLIEB LOEHRER Bichofszell/Switzerland 1791 - 1840 Bern
Biedermeier interior. View into a salon. Watercolour, partially heightened in opaque white, with bordering line in brown
ink pen and pale green watercolour frame, around 1820. Signed “G. Loehrer del:”. On J. Whatman wove paper.
39,5 x 56,5 cm.
Provenance: From an English album of old masters drawings and European sketches from the 19th century.
Loehrer was a historical and a landscape painter, but specialised in architecture drawings. The Kunsthaus in Zurich owns
two sepia sketches by the artist with historical subjects.
6.800,-
Masterdrawings
Summer 2011
17. EUGENIO LUCAS Y PADILLA, also known as LUCAS VELASQUEZ Alcalá de Henares near Madrid 1824 - 1870
Madrid
Adoration. Ink pen. On lightly structured wove paper. 15,9 x 22 cm.
Provenance: Southern German private collection.
Lucas y Padilla counts as one of the Spanish artists who were active in the succession of Francisco de Goya y Lucientes. He took on the perception and style, as well as the painting manner of Goya.1 He initially studied at the Academy
of Madrid. On travels to France, Italy and to Switzerland he came into contact with the works of contemporary artists.
Edouard Manet, with whom he held a lively correspondence, particularly impressed him. Apart from bull fighting scenes,
landscapes and portraits, his works also covered the painting of the Teatro Real in Madrid.
1 Cp. Exhibition catalogue “L’imaginari d’Eugenio Lucas. La influència de Goya a la poética romàntica”, Museu Nacional
d’Art de Catalunya, Barcelona 2008/2009, p. 49 with illustration 43 (there pen in ink sketch “Mare I fills”).
3.800,-
Masterdrawings
Summer 2011
18. MARIE CHRISTINE MOUILLET 1802 - Courrendlin/Canton Bern - 1885
View of Ariccia. Watercolour over pencil, after 1828. Marked “Etude Juillerat”. On “Whatman Turkey Mill 1828” wove
paper. 25 x 34,2 cm. On reverse glue remnants.
The artist, who was particularly drawn to landscapes, was the sister-in-law, student and co-worker of Jacques-Henri Juillerat. She lived with her sister and her brother-in-law, who was a teacher at the Art Academy of Bern since 1823, and accompanied these initially to Nice, then in 1830 to Turin and Naples, and eventually in 1841 to Rome. In 1855 she returned
to Bern, where she occupied herself with finishing the watercolours started in Italy, and with giving painting lessons.
In her delicate landscape watercolours, and virtuously presented views of southern cities, the artist achieved great mastery and was represented at many exhibitions in Switzerland between 1856 and 1868.
4.800,-
Masterdrawings
Summer 2011
19. JOSEPH-IGNACE-FRANÇOIS PARROCEL Avignon 1704 - 1781 Paris
Two seated ladies looking afar. Black chalk, partially heightened in white chalk, around 1755. On brownish laid paper.
24,8 x 31,2 cm. Remargined and with small thin paper mark.
Provenance: Saam and Lily Nijstad; auction of their collection, Sotheby’s, Amsterdam 19th May 2004, no. 153.
Joseph-Ignace-François Parrocel was a particularly productive sketcher.1 Sketching was always a natural form of expression to him, of discovery. Drafts for big works, for pictures or graphics are rare, and typically serve far less as the tries and
studies of variants or changes. The nature of sketching for Joseph-Ignace-François lay in the rapid capture of an ensemble or of specific details. He was concerned with the greatest possible freedom of expression, which required a rapid
notation. He himself estimated this art so highly, that he for example, exhibited only a selection of sketches in the Salon
for the year 1757. As a result of the rarity of dated works, a chronology is difficult to define. According to Jean-François
Méjanès, the strong pen drawings were made during the sojourn in Italy, from 1736 onwards, whilst the white heightened
sketches in black chalk can be dated after his return to Paris, from 1753 onwards. During this time, Parrocel cultivated a
close relationship to the enlightener Diderot.
1 Cp. Une Dynastie de Peintres, les Parrocel. Carnets d’Etude 9, Exhibition Catalogue. Ecole Nationale Supérieure des
Beaux-Arts, Paris/Museé Calvet, Avignon, 2008, pp. 63ff with illustration; passim.
4.500,-
Masterdrawings
Summer 2011
20. FRIEDRICH CHRISTIAN REINERMANN Wetzlar 1764 - 1835 Frankfurt/Main.
Campagna landscape with villa, near waters. Washed brush in brown and sepia, with bordering line in brown ink pen,
around 1790. On the underlay original marking “F. C. Reinermann inven.” On laid paper, original mounting on underlay
and remargined. 23,2 x 33,5 cm.
Reinermann became famous through his many watercolours, sketches and gouaches. As of 1789, he resided in Kassel,
where amongst others, he studied the works of Claude Lorrain, Nicholas Berghem and Paulus Potter. Although a man of
few means, he then moved to Italy. It was through meeting the artists Louis Ducros and Peter Birmann, that he learnt the
art of watercolour painting. This was a great help to him in later years, as he created a large amount of drawings during
his Italian sojourn, and in the following residency in Switzerland, which he later used for engravings.
“Seine landschaftlichen Ansichten sind alle mit Verstand und künstlerischem Gefühl behandelt, niemals nur trockene
Veduten... Viele seiner Aquarelle und besonders seiner Sepiazeichnungen sind vorzüglich zu nennen. Seine Landschaften
erfreuen durch richtige Zeichnung, guten wenn auch von einer gewissen Manier nicht freien Baumschlag, schöne heitere
Fernsicht und anmuthige Staffage...“ [His landscape pictures have all been treated with understanding and artistic feeling,
never just dry veduta… Many of his watercolours and in particular his sepia sketches can be called excellent. His landscapes please through correct sketching, good, if also in a certain manner not free groups of trees, nice friendly views of
afar and graceful staffages…].1
1 Ph. Friedrich Gewinner, Kunst und Künstler in Frankfurt am Main vom dreizehnten Jahrhundert bis zur Eröffnung des
Städel’schen Kunstinstitutes. Frankfurt am Main, 1863, p. 428.
2.800,-
Masterdrawings
Summer 2011
21. REMBRANDT HARMENSZ VAN RIJN - circle
Small windmill on the Bastion De Passeerder. Washed pen-and-ink in brown and grey with bordering line in brown,
around 1700. On fine laid paper with an even structure. 13,7 x 20,8 cm. Mildly foxed, slightly wavy, some mild rubbing
marks at the margins, as well as thin paper marks. Around 3,5 cm long marginal tear and backed corner tear.
Provenance: Collection M. J. Perry, Providence/Rhode Island (Lugt 1880). On applied glue sticker the marking “Drawing for
‘The Mill’. Authenticated by Sir Seymour Haden, Professor Legros and Louis Fagan. From the collection of the Countess
Andreossy”.1
Fluid drawing, which differs in some details, through its picturesque interpretation, from the Rembrandt etching “The
windmill”, from 1641.2 The names of the famous previous owners vouch for the quality of the drawing at hand, and
make an attribution to the circle of Rembrandt van Rijn plausible.
1 Cp. Frits Lugt, Les Marques de Collection de Dessins & Estampes, La Haye, 1956, vol. 1, no 1227 or rather Supplément
no. 140a and cp. nos. 119 and 2445 (there Général Comte Andreossy, mentioned under A. Firmin-Didot, or rather Sir Thomas Lawrence).
2 Cp. Adam Bartsch, Le Peintre-Graveur, Vienna, 1803-1812, no. 233.
4.800,-
Masterdrawings
Summer 2011
22. FRANZ and JOHANNES RIEPENHAUSEN Gottingen 1786 and 1788 - Rome 1831 and 1860.
Country folk from Ischia, in the background the coast of San Angelo. Watercolour over pencil, with triple bordering line in
black and grey, from around 1808. Signed “Riepenhausen ad vivum del”. On teinted laid paper. 30,5 x 31,7 cm.
Following initial instruction from their father, the renowned copperplate engraver Ernst Ludwig Riepenhausen of Gottingen, the brothers Riepenhausen were then creatively inspired by Wilhelm Tischbein, during their participation of the
engraving of his illustration to “Homer nach Antiken”. This permanently awakened their interest for the subject. In 1804,
they became students of Johann Heinrich Tischbein the younger at the Kassler Kunstakademie, and in 1805 of Carl Friedrich Hartmann in Dresden. There they converted to Catholicism.
In that same year they travelled to Rome with Karl Friedrich von Rumohr and the Tieck brothers, where they resided up
until their death. They were close to the circle of the Nazarenes, but did not adhere as closely to the formal canon of
the group. They took on important roles within the German artist colony – Franz for example was board member of the
Artists Help Fund and founding partner of the German Artist Organisation; they also cultivated friendly relations with
archaeologists, scholars and diplomats, as well as artists and literati. For a period they themselves held literary circles.
Political circumstances and strokes of fate led to the fact that they suffered from financial difficulties throughout their
life, and died poor, and almost unknown. Their artistic focus lay on archaeological, historical, mythological and literary
themes.
Especially the merry themes from everyday life were particularly popular, and quickly found admirers, typically amongst
travellers to Italy. From 1808 onwards, the brothers Franz and Johannes Riepenhausen delivered drawings for copperplate
engravings and etchings for the “Morgenblatt für gebildete Stände” published by the Cotta-Verlag, with depictions of
Roman carnivals, of religious festivities, Italian folk dances and street scenes.
8.500,-
Masterdrawings
Summer 2011
23. FRANÇOIS (FRANZ) ROETTIERS, also ROTTIER or ROTTIERS London 1685 – 1742 Vienna
Male nude seen from the back, reclining on a rock. Pen-and-brown ink. Signed “Le Chev. De Roettiers”, dated “Ao. 1735”
and marked “Ich bin auch einer schaut nur da / der von Fuß auf gezeichnet war” [I am also one, look at him / who was
sketched from foot upwards]. On laid paper, with non-identifiable watermark. 33,9 x 22 cm. Mildly foxed.
François Roettiers was a member of the artist family of the same name, who were active as medallists in the capital
cities of Europe between the 17th and 19th century. Roettiers entered into the services of Maximilian II Emanuel von Bayern as court painter, during the period that the elector resided in St. Cloud, near Paris, whilst he was outlawed between
1706–14. Around 1715 he came to Munich with the elector. At court he obtained many commissions, which he completed
in his studio in the Herzog-Max-Burg. Residing in Vienna from 1718 onwards, he was pronounced director of the academy
there, and in 1720 emperor Karl VI ennobled him to “Chevalier”, a title, which he used from then on as part of his signature. To his main works count the paintings with the depiction of the return of Max II Emanuel to Schloss Nymphenburg,
St. Catharine of Siena and the miracle of the St. Vincenz Ferrer in the Dominikanerkirche zur Heiligen Maria Rotunda in
Vienna, as well as the altar in the chapel of the Jagdschlosses zu Fürstenried with a depiction of the St. Hubertus.
4.200,-
Masterdrawings
Summer 2011
24. LEOPOLD ROTTMANN Heidelberg 1812 - 1881 Munich
The Watzmann seen from the Wimbachtal. Watercolour. On teinted wove paper. 43,5 x 57,5 cm. Slightly browned and
margins backed.
Provenance: South German private collection.
Typographically marked on the glued label on the reverse of the former frame: “Herkunft: verkauft 1922 durch Dir. Zimmermann, Mch., im Auftrag einer bayerischen Prinzess“ [Origin: sold 1922 through Dir. Zimmermann, Mch., in commission
of a Bavarian princess]. Leopold Rottmann was the son of the university drawing instructor and painter Friedrich Rottmann in Heidelberg, who initially instructed him too. His further development was encouraged by Jacob Roux and by his
older brother Carl Rottmann. In 1830, for a short time, he attended the Kunstakademie München as a student, where in
1840 he received a teaching position for the technique of lithography. He was the drawing instructor of the Crown Prince
Ludwig, the later King Ludwig II of Bavaria, as well as his cousin Princess Therese of Bavaria.
Leopold Rottmann had a preference for landscape subjects and found innumerable motifs in the near and far surroundings of Munich. In the watercolour at hand, which by means of its clever use of light creates an atmospheric mood, the
artist used colours typical to him: „In der Technik und der großräumigen Auffassung wurde er von seinem Bruder Carl
beeinflußt, vermied aber dessen Stilisieren und blieb vielmehr bewußt Naturalist. Seine minutiös ausgeführten Aquarelle
haben im Gegensatz zu Carl Rottmanns Farbigkeit einen vorwiegend braunen Grundton“ [In the technique and large scale
presentation he was influenced by his brother Carl, but avoided his conventionality and purposely stayed a naturalist.
His precisely executed watercolours have, in contrast to Carl Rottmanns use of colours, a mainly brown base tone].1
1 Ulrich Thieme/Felix Becker, Allgemeines Lexikon der Bildenden Künste von der Antike bis zur Gegenwart. Leipzig, (o.J.),
vol. XXIX, p. 102.
6.500,-
Masterdrawings
Summer 2011
25. JOHANN MICHAEL ROTTMAYR, also known as ROTTMAYR VON ROSENBRUNN - attributed Laufen/Salzach
1654 - 1730 Vienna
Kneeling woman before a high priest. Watercolour with pen-and-brown ink, over pencil and squared for transfer with pencil,
probably a drawing for the decoration for a pendentive. On reverse marked “Tintoretto”. On fine laid paper. 22,2 x 16,4 cm. Minor
foxing and with tiny prick marks.
Rottmayr counted as one of the most important representatives of the emerging Austrian High Baroque. In his extensive works,
a large portion of artistic influences and currents are reflected. He most probably learnt to paint from his mother, and in 1675
he went to Venice, where became a pupil of Johann Carl Loth. In 1688 he returned via Passau, and is proven to have been in
Salzburg from 1689 onwards, where he became court painter to the Archbishop.1 His painting style of highly decorative impact,
combines Italian elements with features of Flemish Baroque to a new entity, which is reflected through an ideal spatial concepts
and strong colours. More so than his German and Austrian contemporaries, he gives the watercolour a dominant role in his paper
works.2
1 Cp. Ulrich Thieme/Felix Becker, Allgemeines Lexikon der Bildenden Künste von der Antike bis zur Gegenwart. Leipzig, (o.J.), vol.
XXIX, p. 102.
2 Cp. Exhibition catalogue. “Johann Michael Rottmayr (1654 – 1730) – Genie der barocken Farbe”, Dommuseum Salzburg/Altes
Rathaus Laufen, 2004 Catalogue nos. 11.2 and 46.
1.800,-
Masterdrawings
Summer 2011
26. CASPAR JOHANN NEPOMUK SCHEUREN Aachen 1810 - 1887 Dusseldorf
The crossing. Watercolour with pen-and-brown ink over pencil, 1873. Signed “C. Scheuren” and dated. On light teinted
card. 22,5 x 38,4 cm. Slightly browned and foxed, with glue remnants on reverse.
Provenance: South German private collection.
Caspar Johann Nepomuk Scheuren is one of the most well known representatives of the Düsseldorfer Malschule, and is
counted as one of the most important painters from the Rhine in the 19th century. He was active as a landscape painter,
watercolourist, illustrator and graphic artist. At the centre of his creations, alongside the views of the Rhine and its surroundings, stand primarily historical and mythological themes. It is in particular the transparency and finesse, which he
achieves in his watercolours, that show the zenith of his creations.
4.500,-
Masterdrawings
Summer 2011
27. ADOLF SCHILL Stuttgart 1848 - 1911 Dusseldorf
Cloister in Ravello on the Amalfi coast. Watercolour, white heightened, around 1875. Signed and site marked “Ravello”.
On structured wove paper. 37,5 x 25,9 cm. With pin pricks in the corners, and original mounting.
Provenance: South German private collection.
From 1864–1870, Adolf Schill studied architecture at the Technische Hochschule in Stuttgart and later obtained further
architectural experience during the construction of the Ringtheater in Vienna. On completion, he went on an initial study
trip for two years to Italy. At the end of 1880, Schill became professor for ornamentation and décor at the Düsseldorfer
Kunstakademie, and, up until his death he directed the so-called “Decoration” or “Architecture class”. Many painting
students attended this class as a supplement to their comprehensive training, as in particular the fundamentals for the
completion of monumental mural paintings were transmitted.
The artist Adolf Schill became especially well known through his watercolours, with which he created marvellous atmospheric works, influenced by the architectural impressions of Italy.1 He has been most successful in the focus of light and
atmosphere in the drawing at hand.
1 Cp. Carsten Roth in: Lexicon der Düsseldorfer Malschule 1819–1918, vol. 3, München, Bruckmann, 1998, pp. 200ff with
illustration 256 and 257.
3.200,-
Masterdrawings
Summer 2011
28. JAKOB MATTHIAS SCHMUTZER 1733 - Vienna - 1811
A Woman’s head in three-quarter profile to the right. Red chalk, 1787. Signed and dated “Schmuzer fec 1787” (barely
visible). On laid paper with watermark: D & C Blauw. 50,5 x 36,8 cm. Slightly dirtied and with small restorations in the
margins.
Cp. auction catalogue: Österreichische Zeichnung des 18. Jahrhunderts: Ausgewählte Werke aus böhmischen und
mährischen Sammlungen. Worked on by P. Preiss, Prague 1996, no. 57, illustration p. 110.
Andreas Schmutzer’s son was initially a pupil at the Wiener Akademie, later of Josef Ignaz Mildorfer. Following a short sojourn in Pressburg, he then moved to Vienna, where he became an assistant drawing teacher at the Emanuel-Savoyschen
Institut. In 1762, he undertook a study trip to Paris, where he worked at the academy and also with Johann Georg Wille.
In 1766 there followed the appointment as court copperplate engraver in Vienna, and in 1771 the nomination as principal of the Erbländsichen Normalzeichenschulen, and as director of the Vienna Academy, where he led the copperplate
classes. On top of this, he was a member of the academies in Berlin, Dresden, as well as Copenhagen and Petersburg.
Drawings by Jakob Matthias Schmutzer can be found in the Akademie der Bildenden Künste in Vienna and in the Albertina, in the graphic collection of the Lambach convent, as well as amongst others in the copperplate cabinet in the
musems of Budapest, Berlin, Dresden and Munich.
5.800,-
Masterdrawings
Summer 2011
29. JULIUS SCHORR VON CAROLSFLED Leipzig 1794 - 1872 Dresden
Ahab’s demise. Illustration draft. Pen-and-ink over pencil, 1858. Monogrammed (ligated) and dated “d. 10. October 1858”.
On brownish wove paper. 21,9 x 26 cm. Mild staining and with thin paper marks in the right top corner.
Provenance: South German private collection. Collection Consul C. Heumann, Chemnitz and A. O. Mayer, Hamburg (Lugt
555b and 1994).
This drawing is directly used for the wood engraving referred to as the sheet 118 of “Bibel in Bildern von Julius Schnorr
von Carolsfeld” [Bible in images by Julius Schnorr von Carolsfeld]. The sheet illustrates 1st Book of kings, chapter 22,
verse 34-38. Already 1818 Schnorr absorbed with the intention of bringing the message of the bible to his contemporaries in the form of a book, embellished with simple and clear illustrations.1 At the latest, by 1824, he intensified his
efforts, and in the following 30 years developed his own program of pictures, until between October 1852 and December
1860, this bible was published in some 30 instalments of eight sheets each, by Georg Wiegand in Leipzig.
1 Cp. F. von Boetticher, Malerwerke des 19. Jahrhunderts, Hofheim/Taunus, unchanged reprint from 1969, vol. II,2, no. III,
from 316. Cp. exhibition catalogue “Julius Schnorr von Carolsfeld – Zeichnungen”, Mainz/München 1994, pp. 133ff.
9.800,-
Masterdrawings
Summer 2011
30. JULIUS SCHNORR VON CAROLSFELD Leipzig 1794 - 1872 Dresden
Standing male nude. Pencil. On reverse with old collectors marking “J. Schnorr” as well as with the marking “Julius
Schnorr von Carolsfeld ausgestellt Bremer Kunsthalle Okt/Nov 38”. On grey green fibrous laid paper with watermark
“PM”. 35 x 21,8 cm.
Provenance: Collection Blome (not in Lugt).
Julius Schnorr von Carolsfeld stems from the well-known artist family of the same name. He was the youngest son and
pupil of the painter Veit Schnorr von Carolsfeld. He first studied at the Kunstakademie in Vienna, where the circle around
Ferdinand Johann von Olivier took him up. Already in 1817, he became a member of the Lukasbund in Rome, and attached himself to the circle of artists called the Nazarenes under Friedrich Overbeck. In 1827 King Ludwig I appointed him
as a professor at the Kunstakademie in Munich, and in 1846 he then obtained a professorship at the Kunstakademie in
Dresden, and became the director of the painting gallery there.
For the Nazarenes, whose artistic aim was especially focused on historical and religious painting, the drawings of nudes
was an important prerequisite. In the works of Schnorr von Carolsfeld, these studies and exercises play a special role.
The drawing at hand with its fine parallel and cross-hatching and the delicate contouring work show the determined
handling by the artist of the drawing pencil.
3.800,-
Masterdrawings
Summer 2011
31. FRANZ SCHÜTZ Frankfurt/Main 1751 - 1781 Geneva
Ideal landscape: buildings by the river. Washed pen and brush in grey and brown ink with border lines in ink pen. On
laid paper with watermark: D & C Blauw. 28,2 x 40 cm.
Provenance: Collection R. Holtkott (not in Lugt).
Franz Schütz stems from a famous family of artists from Frankfurt, and was the son of Christian Georg Schütz the older,
from whom he received his initial training. His sponsor was the industrialist from Basel, Johann Rudolf Burckhardt, whom
he accompanied to Switzerland in 1777, and for whom he worked up until his early death. According to the descriptions
given by his contempories, Schütz was richly talented in both painting and music.
The drawing at hand stands in close connection to two etchings from “Erste Folge von Gegenden und Bruchstücken
Alter Gebaeude” and “ Vierte Folge von Verschiedenen Gegenden” by Franz Edmund Weirotter. The right hand half of the
picture shows an inhabited house, which has been constructed alongside the ruin remains of an ancient aqua duct (cp.
Winterberg, F. E. Weirotter, catalogue raisonné no. 167; there titled “Waßerleitung am Berg Vimiale”), whilst the left half
of the picture shows a partial view of Ricci, with a mighty round turret and a three bowed stone bridge by the river (cp.
Winterberg no. 124). Schütz changed very few details in the combination of the two differing picture motifs, for example
the figure staffage before the house or the close view and the cloud formation in the left corner of the picture. In particular through the delicate washing, which can be especially well observed in the area of the waters, the artist achieves
great spatial depth.1
Due to his early death and his limited productivity, works by Schütz are very rare. It is known that he sent few of his
best works to his father in 1779. These drawings were used by his father for his own paintings.
1 Cp. Zeichnung der Goethezeit aus einer neu erworbenen Sammlung. Exhibition catalogue. Germanisches Nationalmuseum Nürnberg, 1983/84, nos. 88ff.
7.500,-
Masterdrawings
Summer 2011
32. JEANNE SELMERSHEIM-DESGRANGES 1877 - Paris - 1958
River landscape. Watercolour with black and blue chalks, around 1935. On laid paper. 21,9 x 34,7 cm.
Provenance: Swiss private collection.
Jeanne Selmersheim-Degranges stems from a family of artists and architects. She initially worked in the area of applied
arts. When in the early 20th century she became the partner of Paul Signac, her career as a painter began. In 1909 one
of her works was exhibited in the Salon des Indépendants in Paris for the first time, a place where she would be represented on a regular basis in the following years.1
In her works, Selmersheim-Desgranges shows herself strongly influenced by the work of Paul Signac, the advocate of
Neo-Impressionism. With this art movement, she shows, alongside the choice of motif – river landscapes and boats
– also formal design principals such as the lightened colourful colour palate.
In the watercolour at hand, the neo-impressionistic rules on form and colour usage have not been applied in strict
measure. Much rather the artist here finds her way to a liberal creation, according to the medium, as can be found in the
watercolours of Paul Signac.2
1 Cp. exhibition catalogue. Neo-Impressionism, The Solomon R. Guggenheim Museum, New York 1968, no. 61, and Floyd
Ratliff, Paul Signac and Color in Neo-Impressionism, New York 1992, pp. 12, 32 and 185.
2 Cp. the watercolour “Seinebrücke in Paris mit Booten am Ufer”, Winterberg Kunst, Heidelberg, Auction 45 on 10th
October 1992, Catalogue no. 3077.
2.800,-
Masterdrawings
Summer 2011
33. WILHELM TRÜBNER Heidelberg 1851 - 1917 Karlsruhe
View into the Necker valley. Pencil, around 1872. Monogrammed (ligated).1 On wove paper. 10,4 x 15,5 cm. Stitching
tracks on upper margin.
Provenance: From a sketch book around 1871/72.
Wilhelm Trübner was born in Heidelberg, spent the summer of 1871 together with his artist friends Carl Schuch and Albert
Lang in Bernried at the Starnberger See, before he briefly stayed in Heidelberg in April 1872. The monogram is typical for
the time period between 1871 and 1876; after this time Trübner hardly used it anymore. Interesting drawing where the
two trees form a framework for the view over a meadow onto the Neckar, a style means that he also uses in his paintings.
1 Cp. Franz Goldstein, Monogramm Lexikon. Internationales Verzeichnis der Monogramme Bildender Künstler seit 1850.
Berlin, 1964, p. 734; there monogram from 1902.
2.800,-
Masterdrawings
Summer 2011
34. GEORG KARL URLAUB Ansbach 1749 - 1811 Darmstadt
Fighting couple. Grey washed pen-and-brown ink, 1801. Signed and dated. On reverse with further pencil sketches: foot
studies. On beige laid paper with watermark: Coat-of-arms with Fleur de Lys (slanted). 18,8 x 21,3 cm. With slight creases
at the edges.
Provenance: Private collection from Hessen.
Along with his uncle Georg Anton, and his brother Georg Anton Abraham, Karl Georg was considered one of the most important members of the artistic family Urlaub in Franconia. Many pictures, historical and mythological depictions, as well
as genre paintings, were preserved of this versatile artist. He was active in Schweinfurt, Wertheim and Frankfurt/Main,
and resided in Hanau for many years.
The drawing at hand is able, through the use of just a few contour lines and an effective washing, to capture the fight in
its turbulent dynamics. We are probably seeing the result of initial spontaneous ideas sketched for a later painting.
1.800,-
Masterdrawings
Summer 2011
35. GERARDUS JOHANNES VERBURGH Rotterdam 1775 - after 1843 (?)
Dutch winter landscape with farmers by a mill. Watercolour, partially white heightened, with pen-and-brown ink, 1840,
based on a painting of 1832 by Wijnand Jan Joseph Nuyen.
On reverse marked with the name Nuyens and the date of painting. On teinted wove paper. 32 x 40,3 cm. Mounted on
upper margin. Slightly browned and some staining, as well as small restoration damages. Edges have some damage.
Provenance: South German private collection.
Verburgh was a pupil of August Christian Hauck in Rotterdam and became well-known for his watercolours. His motifs
and inspirations were found with the Dutch masters. The painting by W. J. J. Nuyen (1813 – Den Haag – 1839) from the
collection of J. C. de Bieth in Rotterdam, served directly as an inspiration for the watercolour at hand by Verburgh.
3.800,-
Masterdrawings
Summer 2011
36. CHRISTIAN THOMAS WINK Eichstatt 1738 - 1797 Munich
Angels carrying the cross, aside a holy figure. Black chalk. On beige laid paper with watermark: coat-of-arms with crossbeam and Fleur de Lys (slanted).1 15 x 29 cm. Mildly stained with backed faults on the upper margin.
Provenance: Collection Blome (not in Lugt).
Christian Thomas Wink learnt to paint under Anton Scheidler in Eggernfelden and Jakob Feichtmayr in Eichstatt, before he
became the assistant of the portrait painter Johann Michael Kaufmann in Munich. Initially as a theatre painter, then as a
court painter at the court of the elector in Munich, he counted to the founders of the art school there. He is considered
up to 1780 as being one of the most commissioned fresco painters of his time, and alongside many altar paintings also
created drafts for the tapestry manufacturers in Munich.2 For the attribution we thank Dr. Gode Krämer, Augsburg (mail
from 16.05.2006).
1 Cp. W. A. Churchill, Watermarks in Paper, Nieuwkoop de Graaf Publishers, 1990 (reprint), nos. 29 (dated 1683) or 433
and 437 (dated 1722 or 1724).
2 Cp. Monika Heffels, Die Deutschen Handzeichnungen vol. IV: Die Handzeichnungen des 18. Jahrhunderts. Nürnberg,
1969, pp. 287ff with illustration. 287-354; passim.
3.500,-
Masterdrawings
Summer 2011
37. ANDREAS WOLFF, also known as JOHANN ANDREAS WOLFF 1652 - Munich - 1716
Guardian angel holding a child, Seraphim above. Depiction in oval. Grey washed pen-and-brown ink. On reverse and on
the underlay original marking “Strudel fec(it)”. On strong laid paper, mounted on left hand frame on underlay with triple
borderlines in brown brush. 17,1 x 13,5 cm.
Provenance: Collection Julius Samuel Held, Bennington/Vermont (JSH ligated; not in Lugt).1 Sterling and Francine Clark Institute, Williamstown, MA, with inventory no. 688/14. Christies, sale 2249: The Scholars Eye: Property from the Julius Held
Collection Part II. New York, January 2009, from Lot 316 (there as Peter Studel, also Peter Freiherr von Strudendorff ).
Wolff received his initial artistic lessons from his father, Jonas Wolff, and from the sculptor Balthasar Ableitner. Even as
a boy he was already considered very gifted. He furthered his knowledge in the study of the Masters of the Italian High
Baroque, and worked as court painter for the electorate and the bishop in Freising. Wolff mainly created altar paintings,
but alongside he cultivated the mythological genre and the portrait.2
1 Julius Samuel Held (Mosbach 1905-2002 Bennington/Vermont) was a German-American art historian, whose specialist
field was Dutch artists – in particular Peter Paul Rubens and Rembrandt Harmensz van Rijn. From 1937 to 1979 Held
primarily taught at Barnard College and at Columbia University, but also at New York University, Yale University, University
of Pittsburgh and at Williams College. In retirement he still taught as a guest professor in Williamstown (Massachusetts),
as well as at Williams College and also at the Sterling and Francine Clark Art Institute. In 1984 he gave some 200 works
from his over 1,000 masterpieces to the National Gallery of Art in Washington.
2 Cp. the draft for the side altar created in 1712 of the “Enthauptung der Heiligen Brbara” [Beheading of St. Barbara]
in the Augustinerkirche Indersdorf (Staatlich Graphische Sammlung München, Inv. Nr. 34605, H.M. III, 40; Kuno Schlichtenmaier “Studium zum Münchner Hofmaler Johann Andreas Wolff unter besonderer Berücksichtigung seiner Handzeichnungen”, Tübingen, Univ., Diss. 1988, Ze 57, pp. 471f; displayed in colour in “Mit Kalkül und Leidenschaft. Inszenierung
des Heiligen in der Bayerischen Barockmalerei”, Landshut 2004, vol. 2, no. 70, pp. 198-199).
4.800,-