HIGHLIGHTS AUCTION
FINE ART 16 - 20 CENTURY

26 JUNE
CA. 3:30 PM

HIGHLIGHT: CARL SPITZWEG
DAS PFERD ALS WERT: JOHANN ADAM KLEIN
TAFELFREUDE (Slg. Figdor)
MAXILMALE MACHT: GOLDENER REITER (Slg. Figdor)

 

 

FRANZ XAVER NACHTMANN
1799 Obermais – 1846 München

STILLLEBEN MIT FRÜCHTEN UND INSEKTEN (Detail)

Öl auf Leinwand. 43,5 × 32,5 cm

AUKTION 413 // LOT 176
SCHÄTZPREIS € 8.000 – 10.000


KRIEG UND FRIEDEN


MANIERIST, ENDE 16. JH.

ALLEGORIE AUF KRIEG UND FRIEDEN

Putten mit Kriegsgerät und Füllhorn.
Öl auf Holz. 78 × 57,5 cm

AUKTION 413 // LOT 149
SCHÄTZPREIS € 10.000 – 12.000

ALBRECHT DÜRER
1471 Nürnberg – 1528 ebenda

MARIA VON EINEM ENGEL GEKRÖNT

Kupferstich auf Bütten. 13,8 × 9,7 cm

AUKTION 413 // LOT 133
SCHÄTZPREIS € 5.000 – 6.000

BARTOLOMÉ ESTEBAN MURILLO
1617 Sevilla – 1682 ebenda, Nachfolge (Werkstatt)

MARIA IMMACULATA

Öl auf Leinwand. 59 x 44,5 cm

AUKTION 413 // LOT 152
SCHÄTZPREIS € 4.000 – 6.000

The motif of the Immaculate Conception of Mary, the "Immaculata", can be found in numerous versions in Murillo's work. Cf. the large-format painting in the Detroit Arts Institute (inv. no. 89.70) and an oil study in a private collection in London (see Valdivieso, Enrique, Murillo. Catálogo razonado de pinturas, Madrid 2010, p. 473, no. 300).

MICHELE ROCCA, GEN. IL PARMIGIANINO
1670-75 Parma – zuletzt 1751 in Venedig nachweisbar

DIE GEBURT DES ADONIS

Öl auf Leinwand. 64,7 × 49,7 cm

AUKTION 413 // LOT 167
SCHÄTZPREIS € 7.500 – 8.000

There are several versions of Adonis' parentage in mythology. One of them tells that the beautiful Myrrha falls in love with her own father Kynaris, King of Cyprus. After a night together, she flees her father. Now heavily pregnant, the gods transform her into a tree, the myrrh tree, from which the boy Adonis is born.


FLIGHT TO EGYPT


BATTISTA DOSSI (BATTISTA LUTERI; BATTISTADI NICCOLÒ DI LUTERO)
um 1500 – 1548 Ferrara

DIE FLUCHT NACH ÄGYPTEN

(Detail). Öl auf Pappelholz. 66,1 × 87,3 cm

AUKTION 413 // LOT 143
SCHÄTZPREIS € 25.000–30.000

ITALIEN (VENETO)
2. Viertel 16. Jh.

DIE HLL. NIKODEMUS UND JOSEPH VON ARIMATHIA AM GRABE JESU

Öl auf Holz. 21,1 × 16,9 cm

VAUKTION 413 // LOT 144
SCHÄTZPREIS € 2.000 – 3.000

The small panel could originate from the former context of a predella. Stylistically, the artist was influenced by the work of Bartolomeo Cincani, gen. Bartolomeo Montagna (1450 Vicenza - 1523 ibid.). For example, Montagna's predella panels from S. Bartolomeo in Vicenza (now in the Pinacoteca of the Musei Civici in Vicenza) can be used for comparison. These date from the end of the 15th century. The present panel could be dated to around 1520/30 on the basis of fashionable details, such as the boots of St. Nicodemus. One of Montagna's pupils could therefore be the author.

GILLIS VAN CONINXLOO
1544 Antwerpen – 1606 Amsterdam, Umkreis

WALDLANDSCHAFT MIT JÄGERN

Öl auf Leinwand. 121 × 186 cm

AUKTION 413 // LOT 157
SCHÄTZPREIS € 5.000 – 7.000

EYECATCHERIN

PETRUS STAVERENUS
tätig in Den Haag, erwähnt 1634 – 1654, Nachfolge 17./18. Jh.

„SEHEN“

Öl auf Leinwand. 55,5 × 49 cm

AUKTION 413 // LOT 163
SCHÄTZPREIS € 3.000 – 4.000

The present painting is the personification of "seeing" in the sense of the sense of sight ("Gezicht" in Dutch). A print after a painting by Petrus Staverenus served as the basis for the composition. Petrus Staverenus, a genre and portrait painter and engraver, became a member of the Haarlem Sint-Lucasgilde in 1635. His work is reminiscent of that of Frans Hals. One of his most famous works is a series of depictions of the Five Senses. This series seems to have been very popular in the 17th and 18th centuries. Abraham Blooteling created mezzotint etchings based on the series, and Pieter Schenck and Jan Verkolje also produced engravings based on Staverenus' designs. In the present case, a reproduction engraving after the "Gezicht" - which, as usual, depicts the motif upside down - ended up in the hands of an artist who spoke German. He described his work as follows: "Seeing / The pleasure comes through the face, / what is lovely to look at. / The innermost is inflamed / by this marble pair. / [As] soon as she is seen, / the effect is done, / that the enamored haas / presents his samples." 

 

 

FRANKREICH
(JEAN PERRÉAL, CA. 1455 LYON – 1530 PARIS, NACHFOLGE?) 16. Jh.

BILDNIS KARL VIII. VON FRANKREICH (1470 – 1498)

Öl auf Holz. 47,7 × 37,5 cm

AUKTION 413 // LOT 146
SCHÄTZPREIS € 4.000 – 5.000

Charles VIII was the son of Louis XI and his wife Charlotte of Savoy. He was King of France from 1483 to 1498 and the last king of the Valois dynasty. Charles VIII wears the chain and the Order of St. Michael (Ordre de Saint-Michel). The order had been founded by his father Louis XI in 1469. 

 

 

 

 

NICOLAUS TREU
1734 Bamberg – 1786 Würzburg

FRANZ CHRISTOPH REICHSFREIHERR VON HUTTEN ZUM STOLZENBERG (1706 STEINBACH – 1770 BRUCHSAL)

Öl auf Kupfer. 17,2 × 12,5 cm (im Oval).

AUKTION 413 // LOT 172
SCHÄTZPREIS € 1.500 – 2.000


FACETIME. FRÄNKISCH.


JOHANN CHRISTOPH FESEL
1737 Ochsenfurt – 1805 Würzburg, zugeschrieben

FRANZ LUDWIG FREIHERR VON UND ZU ERTHAL (1730 LOHR A. M. – 1795 WÜRZBURG)

Öl auf Leinwand. 62 × 47,5 (im Oval)

AUKTION 413 // LOT 173
SCHÄTZPREIS € 3.000 – 3.500

FRÄNKISCHER MEISTER
2. Hälfte 17. Jh.

BILDNIS EINES DOMHERRN
(KONRAD WILHELM VON WERNAU, 1638 DETTINGEN – 1684 WÜRZBURG, ?)

Öl auf Leinwand. 84 × 69 (im Oval)

AUKTION 413 // LOT 171
SCHÄTZPREIS € 4.000 – 4.500


PRINCE ROLL


GEORGES DESMARÉES
1697 Gimo (Schweden) – 1776 München zugeschrieben

PRINZ KARL VON POLEN UND SACHSEN

Öl auf Leinwand. 81,5 × 65 cm

AUKTION 413 // LOT 169
SCHÄTZPREIS € 9.000 – 12.000

Prince Karl Christian Joseph Ignaz Eugen Franz Xaver (1733 Dresden - 1796 ibid.) was the fifth son of Augustus III, Elector of Saxony and King of Poland, and Maria Josepha of Austria. Among his siblings was Maria Anna Sophie, who later became Electress of Bavaria. During the Seven Years' War, he fled to Munich together with a large part of the electoral-royal family, to the court of his brother-in-law Maximilian III Joseph of Bavaria and his sister. It was during this time that Georges Desmarées was commissioned to paint a portrait of the prince - in armor and with a determined expression on his face as a reflection of the prevailing times of war. In 1758, his father appointed him Duke of Courland and Semgallen, and he provided a splendid court in his castle of Mitau. Charles abdicated as duke in 1763 and returned to Dresden. 

 

 

HENRI MILLOT
um 1721 erstmals erwähnt – ab 1730 tätig in Straßburg und danach in Paris, zugeschrieben

CHRISTIAN IV. VON PFALZ-ZWEIBRÜCKEN

Öl auf Leinwand. 151,5 × 118 cm

AUKTION 413 // LOT 170
SCHÄTZPREIS € 3.000 – 4.000

Christian IV of Palatinate-Zweibrücken (1722 Bischweiler/Bischwiller - 1775 Pettersheim Castle) was the son of Duke Christian III of Palatinate-Zweibrücken and Caroline of Nassau-Saarbrücken. He received the title of Duke at the age of twelve after the death of his father, and his mother therefore reigned until 1740. He spent the years 1737 to 1739 training with his brother in Leyden, followed by a stay at the French royal court until 1740. In 1751, Christian entered into a morganatic marriage with the Frenchwoman Marianne Camasse (1734 - 1807), later Countess of Forbach. His nephew, Maximilian Joseph, later King Maximilian I Joseph of Bavaria, came into the care of Christian IV after the death of his father, Christian's younger brother, Friedrich Michael von Pfalz-Zweibrücken-Birkenfeld.

This portrait shows the young prince of the Palatinate during his father's lifetime. His parents had already had their portrait painted by Henri Millot in 1722, the year of his birth. 


ELEGANT PALLOR


DEUTSCH
3. Viertel 18. Jh.

BILDNIS EINER JUNGEN DAME

Pastell auf Pergament. 47,3 × 37,3 cm

AUKTION 413 // LOT 135
SCHÄTZPREIS € 1.200 – 1.500

According to the bequeather, it is a portrait of a princess from the House of Hesse-Darmstadt. Due to certain physiognomic similarities, the sitter could possibly be identified as Princess Luise of Hesse-Darmstadt (1757 Berlin - 1830 Weimar). 

 

 


WEIGHTY WETNESS


PETER JACOB HOREMANS
1700 Antwerpen – 1776 München

MAGD AM BRUNNEN

Öl auf Leinwand. 37 × 28,5 cm

AUKTION 413 // LOT 164
SCHÄTZPREIS € 4.000 – 5.000

 

 

HEINRICH WILHELM (HENRY GUILLAUME) SCHLESINGER
1814 Frankfurt a. M. – 1893 Neuilly

FAMILIENBILDNIS

Öl auf Leinwand. 63,5 × 80 cm

AUKTION 413 // LOT 180
SCHÄTZPREIS € 6.000 – 8.000

SPANIEN
um 1800

BILDNIS EINES KÜNSTLERS MIT ZEICHNUNG

Öl auf Holz. 36,5 × 26,6 cm

AUKTION 413 // LOT 174
SCHÄTZPREIS € 10.000 – 12.000

A young man with short black hair and a gold earring sits in an armchair at a simple wooden table. The light falls on the scene from a side window. The sitter, with androgynous features, holds a drawing on bluish paper towards us viewers. In his right hand, the young artist holds a pencil and a portfolio in which red chalk drawings can be seen. The young age of the sitter contrasts with the experienced painting style of the painting, which relativizes the probability of a self-portrait of the artist. It is possible that a teacher portrayed his pupil with this successful figurative study.

 

 


THE HORSE AS A VALUE


Johann Adam Klein was one of the most important realist artists of the first half of the 19th century. His passion for drawing was strongly developed from an early age and stands for the artist's perpetual striving for objectivity in representation. Over the course of his life, he filled more than 50 sketchbooks, the motifs of which he combined in his studio to create prints and paintings. His travel pictures are of great topographical value, his folk scenes - such as a horse market here - are precisely captured and could be described as "reportage-like".

Johann Adam Klein was the son of a Nuremberg wine merchant. He received a thorough training in drawing and printmaking at an early age. From 1811 to 1818, he studied at the Vienna Academy of Fine Arts, earning his living by painting staffage figures in topographical views for the famous publisher Artaria, among others. This was followed by numerous study trips. His Nuremberg publisher and patron Johann Friedrich Frauenholz put him in touch with wealthy clients. For example, Klein traveled to Hungary with Prince Metternich's court equipage to paint portraits of noble horses. From 1819, Johann Adam Klein spent time in Rome, where he made the acquaintance of the Bavarian Crown Prince Ludwig (later King Ludwig I), who was traveling incognito. From then on, Ludwig was one of his patrons. Klein returned to Nuremberg in 1821. In 1839, he finally moved to Munich, where the landscape of Upper Bavaria held a special attraction for the artist.

In terms of its combination of topographical accuracy and brilliant depiction of horses and traditional costumes, the present painting can be considered the sum of his artistic life. Johann Adam Klein lovingly depicts the details, aptly characterizing sly horse dealers and their benevolent customers, including officers, students and townspeople. On the far left, a distinguished gentleman in a top hat has his beer tapped by a maid wearing the typical Munich hood. In the right foreground, a farmer shares the proceeds of a successful sale with a beggar by placing coins on his hat. The thundery sky gives the main protagonists of the painting - the horses - a majestic glow when the powerful sunlight suddenly hits them, their coats gleaming silky, their powerful bodies perfectly rendered in the Kleinian manner. The movements are elegant and inspire with their variation.

RS

 

JOHANN ADAM KLEIN
1792 Nürnberg – 1875 München

PFERDEMARKT

Öl auf Leinwand. 47,5 × 61 cm

AUKTION 413 // LOT 183
SCHÄTZPREIS € 12.000 – 15.000


BREATHTAKING


JOHANN ADAM KLEIN
1792 Nürnberg – 1875 München

PFERDEFUHRWERK

Öl auf Holz. 30,5 × 39 cm

AUKTION 413 // LOT 184
SCHÄTZPREIS € 5.000 – 6.000

JOHANN ADAM KLEIN
1792 Nürnberg – 1875 München

IM STALL

Öl auf Holz. 27 × 36 cm

AUKTION 413 // LOT 185
SCHÄTZPREIS € 4.000 – 5.000

 

HEINRICH BÜRKEL
1802 Pirmasens – 1869 München

ÜBERFALL AUF EINE KUTSCHE

Öl auf Leinwand. 43,5 × 46 cm

AUKTION 413 // LOT 187
SCHÄTZPREIS € 10.000 – 12.000


COWGIRLS


 

JOSEF WOPFNER
1843 Schwaz am Inn – 1927 München

KUHHIRTIN AM SEEUFER

Öl auf Leinwand. 29,5 × 66,5 cm

AUKTION 413 // LOT 204
SCHÄTZPREIS € 8.000 – 10.000

 

XAVIER DE COCK
1818 Gent – 1896 Deurle

MÄDCHEN MIT KÜHEN

Öl auf Leinwand. auf Holz. 57,5 × 84 cm

AUKTION 413 // LOT 195
SCHÄTZPREIS € 6.000 – 8.000

The Belgian animal painter Xavier de Cock studied at the Academy of Fine Arts in Ghent from 1830-35 and was then a pupil of Ferdinand de Braekeleer in Antwerp. Together with his brother, the landscape painter César de Cock (1823 -1904), he settled in Paris in 1855. From there, the brothers made numerous trips to Barbizon and became fans of open-air painting. In the style of the Barbizon School, Xavier de Cock mainly painted landscapes, mostly showing animals such as cows or sheep in the foreground.

 

 


BREAKFAST READING


A seemingly well-off newspaper reader dressed in a dark red robe stands in his secluded little garden. Behind him is the wall of the house, above the window an 18th century façade painting. An abandoned birdcage hangs on the corner of the house. Under a bush on the left is a small table with the morning coffee and an armchair. However, the reader prefers to devote himself to his reading while standing. The bush provides him with shade, making the dark silhouette of the reader stand out clearly against the sunlit wall of the house. The man's lower jaw is slightly protruding, his lips pursed. He is looking intently at his reading through his glasses. The visor of his headgear allows him to read without being disturbed. According to Siegfried Wichmann (AK 1985/86, see below), the sitter is Spitzweg's neighbor, whom he was able to observe on a daily basis.

The morning idyll seems perfect. But the peace is deceptive. A tranquillity that is conveyed to the viewer all the more strongly by the empty bird feeder (without a funny chirping bird) and the forbiddingly closed window. This is because the reader is deliberately looking for a place to retreat to without being disturbed. His only interest is limited to the newspaper. He has forgotten his surroundings, the short distance between the page and his eyes seems to be the measure of his world. This small world ends with the garden fence: because outside is revolution! However, the uprisings and bourgeois revolutionary uprisings of 1848 and 1849 were crushed. And this suppression was accompanied by a restriction of civil rights. Newspapers and reading societies were banned and publications were subject to strict censorship. Spying on each other was at its height. And "Justitia" was no longer impartial - our master, Carl Spitzweg, created the most eloquent and accusatory work dedicated to these circumstances: with "Fiat Justitia" (auctioned by NEUMEISTER in 2020), he risked his career; the writer Heinrich Heine, who formulated his criticism not in the form of a painted small-town idyll but in writing, had to go into exile for it.

It was advisable for citizens not to express themselves politically. Retreating into the private sphere, on the other hand, allowed a small, quiet happiness. Unobserved and far away from society, the newspaper reader could inform himself about what was happening "outside" and at least express his opinion mimically about what was in the newspaper every morning.

RS

 

CARL SPITZWEG
1808 München – 1885 ebenda

DIE FRÜHSTÜCKSLEKTÜRE

Öl auf Karton. 20,6 × 13,6 cm

AUKTION 413 // LOT 181
SCHÄTZPREIS € 50.000 – 60.000


PLAYING FIELD


 

JOHANN SPERL
1840 Buch b. Fürth – 1914 Bad Aibling

WIESENSTÜCK

Ölstudie auf Leinwand. 20,5 × 30,7 cm

AUKTION 413 // LOT 194
SCHÄTZPREIS € 3.000 – 5.000

JOHANN SPERL
1840 Buch b. Fürth – 1914 Bad Aibling

„SOMMERLUST“

Öl auf Holz. 22,3 × 32 cm

AUKTION 413 // LOT 193
SCHÄTZPREIS € 8.000 – 10.000

Unlike his friend and companion Wilhelm Leibl (1844 - 1900), Johann Sperl placed a strong focus on nature, at the latest when he moved from Munich to Berbling in 1878. Sperl's works show the diversity of nature; the meadows in his paintings are enlivened by a wide variety of plants, flowers and insects. And man finds himself in this nature, especially in playing children, as in this painting. The girl in the meadow is chasing a butterfly with all her might. The scene depicts the moment of exuberant frolicking, without any hidden moralizing or narrative layers. As viewers, we should simply enjoy this moment and the summery atmosphere

 

 

THUNDER OF BATTLE


WILHELM TRÜBNER
1851 Heidelberg – 1917 Karlsruhe

„SCHLACHT VON AMPFING“

Ölstudie auf Leinwand. 44,5 × 36,5 cm

AUKTION 413 // LOT 215
SCHÄTZPREIS € 3.000 – 4.000

NIGHT IN SUMMER


FRANZ VON STUCK
1863 Tettenweis – 1928 München

SOMMERNACHT. 1910

Pastellkreide über Heliogravure.
59,8 × 50,3 cm

AUKTION 413 // LOT 141
SCHÄTZPREIS € 8.000 – 12.000

Franz von Stuck was not only extraordinarily successful with his originals. However, the increasing importance and appreciation of his motifs on the part of the public soon demanded reproductions. As Stuck was not only a good painter, but also a clever businessman, he entered into a business relationship with the publisher Franz Hanfstaengel as early as 1888 for the purpose of marketing, which would later prove to be extremely lucrative. Hanfstaengel chose an elaborate printing process, photogravure, for a limited selection of Stuck's most popular subjects. Due to its velvety appearance, this intaglio printing process has a decidedly artistic effect. It is known that some of these reproduced sheets were subsequently reworked by Franz von Stuck himself. The extremely high-quality execution of the pastel treatment of our picture certainly suggests that it was a work by Franz von Stuck himself, although ultimately the evidence must remain open. The frame, an original from the time of its creation, is based on a design by Franz von Stuck. It therefore underlines the impression of a successful, well-composed original, which only reveals its underlying secret with a very strong magnifying glass. 

 

 

FRANZ VON LENBACH
1836 Schrobenhausen – 1904 München

BILDNIS EINER DAME MIT HUT

Öl auf Karton. 77,5 × 69,5 cm

AUKTION 413 // LOT 218
SCHÄTZPREIS € 6.000 – 8.000

GABRIEL VON MAX
1840 Prag – 1915 München

„ENTSAGUNG“

Öl auf Leinwand. 70,5 × 58,5 cm

AUKTION 413 // LOT 216
SCHÄTZPREIS € 5.000 – 7.000


LITTLE EMPRESS. STILL AVAILABLE


Marie-Victoire Jaquotot was famous as a porcelain painter. She initially worked as an anonymous artist for the porcelain manufactory in Sèvres. She then worked there under her own name from 1801 to 1842. In 1801 (after separating from her first husband, her teacher Etienne-Charles Le Guay), she made her debut at the Paris Salon. In addition to her own works on porcelain or as a miniaturist, she created numerous models, particularly for portraits as porcelain decorations. At the beginning of the 19th century, Jaquotot worked for the French court, painting its porcelain services and producing portraits of members of the court. In 1803, her son Philippe Comairas was born (who inherited her artistic estate in 1855), after which she married Isidore Pinet for the second time. In 1808, she was awarded the first ever gold medal for porcelain painting. Under King Louis XVIII, she was appointed cabinet painter to the king and shortly afterwards was awarded the title "Premier Peintre sur porcelaine du Roi". The present portrait of the empress could have served as one of the models for the porcelain manufactory in Sèvres. It is certain that Marie-Victoire Jaquotot spoke in 1812 of a portrait of Joséphine that she had made from nature. She then used a stencil to transfer it to the porcelain. 

 

MARIE-VICTOIRE JAQUOTOT
1772 Paris – 855 Toulouse

JOSÉPHINE DE BEAUHARNAIS, KAISERIN DER FRANZOSEN

Bleistift auf Velin. ca. 6,4 × 4,6 cm

AUKTION 413 // LOT 136
SCHÄTZPREIS €1.500 – 2.000

 

ERNST FRIES
1801 Heidelberg – 1833 Karlsruhe

DOPPELBILDNIS HERMANN UND HEINRICH FRIES

Bleistiftzeichnung auf braunem Papier.
Im Oval 22,1 × 28,3 cm

AUKTION 413 // LOT 138
SCHÄTZPREIS € 2.000 – 3.000


ROMANTIC


VICTOR JEAN NICOLLE
1754 Paris – 1826 ebenda

TIVOLI

Aquarell und Feder in Grau und Braun auf Velin.
Ca. 7,2 × 11,3 cm

AUKTION 413 // LOT 137
SCHÄTZPREIS € 1.500 – 2.000

HIGHLIGHTS

FINE JEWELLERY
FINE ART AND ANTIQUES
FINE ART 16 - 20. CENTURY
MODERN & CONTEMPORARY ART

ONLINECATALOGUE

LOTS 1 - 26, 2 PM
LOTS 50 - 124, CA. 2.30 PM
LOTS 125 - 228, CA. 3.30 PM
LOTS 300 - 338, CA. 5 PM