Search
-
Bibliography T — Z
... rsitätsgründung. Kulturgeschichtliche Denkmäler und Zeugnisse des 17. Jahrhunderts aus der Sphäre der Herzöge von ...
... 26...
... vom Jahre 1723’, Repertorium fur Kunstwissenschaft 10 (1887), pp. 14–24...
... dischen Gemälde, mit einem Verzeichnis der Bilder anderer Schulen, Götti...
... istoph von Württemberg (1515-1568)’, Antiek. Tijdschrift voor oude kunst en kunstnijverheid 31 (1996), no. 5, pp. 205–21...
... mberg († 1568)’, Jahrbuch des Kunsthistorischen Museums Wien 2 (2001), pp. 85–103...
... ist?’, Simiolus 26 (1998), pp. 187–200...
... isseur, London (Wallace Collection) 2011...
... iser Kunstmarkt durch Friedrich II. von Preußen ab 1755 – ein Sammler und seine Bezugsquellen’, in: F. Windt (ed.), Die B...
... ister Katalog der ausgestelten Werke, Staatliche Kunstsammlungen Dresden 1992...
... ismus (1735–1806)‘, in: J. Luckhardt et al., Das Herzog Anton Ulrich-Museum und seine Sammlungen: 1578–1754–2004, Mun...
... ing the Traces of an Artist’s Hand (Kyoto Studies in Art History, vol. 2), Kyoto 2017, pp. 73–82...
... ische Sammlung der Kasseler Gemäldegalerie. Kassel (Staatliche Museen Kassel, Schloss Wilhelmshöhe), 2006...
... t Hessen Kassel), The Hague (Mauritshuis) 2009–2010...
... ptik und Farbe im 18. und frühen 19. Jahrhundert (Schriften des Historischen Kollegs Kolloquien; 67), Munich 2008, pp. 167–183...
... l, Schloss Wilhelmshöhe), Amsterdam (Museum het Rembrandthuis) 2001...
... itrag zur Geschichte des deutschen Territorialabsolutismus (Schriften des Instituts für Geschichte; 2), Be...
... ish Still-Life Painters Working in Oils, 1525-1725, Leiden 2003...
... ischen Werke in der Malerey und Bildhauerkunst, Dresden/Leipzig 1756 (second edition)...
... unst’, in: Bibliothek der schönen Wissenschaften und der freyen Künste...
... ner Galerie’, Repertorium für Kunstwissenschaft 10 (1887), p. 153–159...
... schmack, 2. Theil, Schwerin und Wismar (Bödnersche Buchhandlung) 1...
... issenschaft im 16. Jahrhundert, Regensburg, 2002...
... n early eighteenth-century Paris, University Park 2012...
-
Bibliography I — M
... Meister-Sammlerin: Karoline Luise von Baden, Karlsruhe (Staat...
... is, ‘Mariette’s annotated copies of the Tallard and Jullienne sale catalogues’, Burlington Magazine 131 (...
... des Städtischen Historischen Museums in Frankfurt. Dem Historischen Museum dargebracht vom Verein für Geschichte, Frankfurt...
... ischen Handelsgeschichte des 16. und 17. Jahrhunderts, Berlin 1914...
... isdael, Van Goyen und die Künstler des Goldenen Zeitalters, Hamburg (Bucerius Kunst Forum) 2017...
... chim de Wicquefort and Diego Duarte’, English Studies 92 (2011), pp. 496–507...
... uel Hartlib’s London and Frederick Clodius’s Gottorf’, Isis 106 (March 2015), pp. 17–42...
... iscovered fragment by Geertgen tot Sint Jans’, The Burlington Magazine 1271/151 (2009), pp. 76–78...
... is der verkauften Gemälde im deutschsprachigen Raum vor 1800 (3 vols.), Munich 2002...
... la construction des savoirs en histoire de l’art, Rennes 2017...
... Frankfurter Exil, Frankfurt (Haus Giersch – Museum Regionaler Kunst), Dessau (Anhaltische Gemäldegalerie Dessau) 2002, p. 71–89...
... ury Dutch paintings’, Simiolus. Netherlands quarterly for the history of art 28 (2000–2001), pp. 251–311...
... 0’, in: N. Büttner, E. Meier (eds.), Grenzüberschreitung. Deutsch-Niederländischer Kunst- und Künstleraustausch im 17. Jahrhundert, Marburg 2011, pp. 16...
... et al., Dutch Masters from the Hermitage, Amsterdam (Hermitage) 2017, pp. 126–137...
... en and Kassel’, in: A. Tacke et al., Kunstmärkte zwischen Stadt und Hof, Petersberg 2017, pp. 263–278...
... ischen Vorlagen bei Norbert Grund], Umění 32 (1984), pp. 281–305...
... Hofe: nebst einer ausführlichen historischen Beschreibung der kayserlichen Re...
... ottorfer Herzöge. Symposium Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Nordhausen 2008, pp...
... ise, Kurfürst von Sachsen. Eine Biographie, Wittenberg 2004...
... istian Seybold’, Alte und moderne Kunst (1981), 178/179, pp. 16–18...
... ürer’, Mitteilungen aus den Sächsischen Kunstsammlungen 4 (1913), ...
... isal of the paintings and sculptures of Gerrit Uylenburgh’, in: Lammertse/Van der Veen 2006, pp. 301–305...
... stand in den Jahren 1640, 1650 und 1657', in : F.W. Kaiser, M. North, Die Geburt des Kunstmarktes, Hamburg 2017, ...
... isamling, Naestved 1876...
... andgraf Carl (1654–1730). Fürstliches Planen und Handeln zwischen Innovation und Tradition, Marburg 2017, pp. 215–229...
... ish Art in Jürgen Ovens’ (1623–1678) Paintings in Schleswig-Holstein’, in: R. van Leeuwen, J. Roding (eds.), Masters...
... ischen Holland und Schleswig-Holstein’, in: Fürsen/Witt 2003, pp. 55–64...
... at de l’art et perspectives’, Annales d’Histoire de l’Art et d’Archéologie 43 (202...
... iss.), Cologne 1924...
... Pfalz-Neuburg. (Aus dem Kgl. Bayerischen Geh. Staatsarchiv.) I. Teil...
... is in Hamburg (2 vols.), Hamburg 1898...
... dericianum in Kassel im Kontext des historischen Besucherbuches (1769–1796), Kassel ...
... bbildungen. Kupferstecher des 17. Jahrhunderts im Umkreis des Gottorfer Hofes, Husum (Schloß vor Husum) 1981, ...
... ist’, The Bulletin of the Cleveland Museum of Art 59 (1972), pp. 67–77...
... ist’, in: J. K. Cassill et al., European paintings of the 16th, 17th and 18th centuries. The Cleveland Museum of Art c...
... htweisen auf ein Periodikum im Zeitalter der Digitalisierung’, Wiener Geschichtsblätter 74/2 (2019), pp....
... isak, G. Kölsch, Freies Deutsches Hochstift – Frankfurter Goethe-Museum. Die Gemälde. Bestandskatalog, Fran...
... isian art market in the mid-eighteenth century’, Apollo 158 (2003), pp. 32–42...
... français et art allemand au XVIIIe siècle, Paris (Ecole du Louvre) 2008, pp. 265–273...
... istian Seybold’, in: Ars auro prior: Studia Ioanni Białostocki sexagenario dicata, Warsaw 1981, pp. 583–587...
... in: G. Unverfehrt et al., Niederländische Malerei aus der Kunstsammlung d...
... nna (1781) as seen through the eyes of the Berlin publisher, book dealer and writer Friedrich Nicolai’, in: ...
... ianten, Fabricanten, Künstler, Commercial-Profeßionisten, u.s.w., Frankfurt 1778...
... de peinture au XVIIIe siècle, Dijon (Musée des Beaux-Arts de Dijon), Paris 2001, pp. 158–166...
... is dans la seconde moitié du xviiie siècle: acteurs et pratiques, Villeneuve d’Ascq 2007...
... och, Heinrich Graf von Brühl (1700–1763): ein sächsischer Mäzen in Europa, Dresden 2017, pp. 398–413...
... istoffer Hartoogvelt’, Mitteilungsblatt der Gesellschaft für Friedrichstädter Stadtgeschichte, no. 73 (2007), pp. ...
... ischbein. Goethes Maler und Freund, Oldenburg 1986...
... ischbein. Aus meinem Leben, Berlin 1956...
... cher des Vereins für Mecklenburgische Geschichte und Altertumsku...
... ischen Malerei des 17. Jahrhunderts, Frankfurt 1987...
... issener Porzellanplastik des 18. Jahrhunderts: die Schweriner Sammlung, Schwerin 2006...
... ischen Reichsstädte. Zweyter Theil Reichsstadt Frankfurt (Paragraph 4), Frankfurt 1786...
... gten Niederlande und der schleswig-holsteinischen Küstenregion’, in: Fürsen/Witt 2003,...
... istocratic collections], Prague 2012...
-
Bibliography A — B
... ische Kultur in der Pfalz, Speyer 2008...
... isserien des 16. Jahrhunderts, Arnstadt (Schloßmuseum Arnstadt) 2010...
... M. le président de Tugny & de celui de M. Crozat, Paris, June–July 1751 (Lugt 762)...
... t le Cabinet de feu Monsieur le Duc de Tallard, Paris, 22 March–13 May 1756 (Lugt 910)...
... ismus im Biedermeier’, in: H. Lorenzová, T. Petrasová (eds.), Biedemeier v českých zemich (Sborník přípěvku z 2...
... de auf das Grabmal in Norddeutschland zwischen 1650 und 1725, Frankfurt am Main ...
... ische Weber im deutschsprachigem Raum’, in: Delmarcel 2002, pp. 63–89...
... ischen Barockmuseums im unteren Belvedere, Vienna 1980...
... issenstransfer und Kulturimport in der frühen Neuzeit. Die Niederlande und Schleswig-Holstein, Petersberg 2020...
... ees et al. 1997, vol. 1, pp. 261–267...
... d Peace in Europe (2 vols.), Münster (Westfälisches Landesmuseum für Kunst und Kulturgesch...
... Nederlandse kunst- en rariteitenverzamelingen, 1585–1735 (2 vols.), Amsterdam (Amsterdams Historisch Museum) 1992, vol. 1, pp. 169–191...
... isserie, 1500–1700. Trente-cinq ans de recherche’, Perspective 2 (2008), pp. 227–250...
... iserende Landschapschilders, Utrecht 1965...
... n Eeuw’, in: M.J. Bok, M. Gosselink (eds.), Thuis in de Gouden Eeuw. Kleine meesterwerken uit ...
... . Bordes, P. Bertrand (eds.), Portrait et tapisserie, Turnhout 2015, pp. 61–69...
... isserien und Politik. Funktionen, Kontexte und Rezeption eines repräsentativen Mediums, Berlin 1992...
... 26 (1908), pp. 219–224...
... oro“, in: A. Henning, Die Sixtinische Madonna. Raffaels Kultbild...
... try Maker and the Commission’, Revue belge d’archéologie et d’histoire de l’art 63 (1994), pp. 37–62...
... an Adriaen van de Venne’, Oud Holland 126 (2013), pp. 65–135...
-
10.3 Dutch and Flemish Paintings
... Rembrandt’. Interestingly, he mentions that at the end of the 18th century (1797–1798), the painting was registered under the name of Arnold de Gelder in the collection of Jean-Baptiste-Pierre Le Brun (1748–1813).Hoser acquired several important works from the Fries collection, for example, the four small pictures of a five-senses series by Adriaen van Ostade (1610–1685). The sense of sight is missing in the series, which Hoser originally interpreted as a sign that ‘sight’ should be embodied by the observer himself [7-10].21 Thematically exceptional is a picture by Jan Steen (1626–1679), showing a charivari during carnival [11].22...
... Prague from 1844. Additionally, Hoser obtained an evening landscape by Aert van der Neer (1603–1677) from the same source, showing the rarely depicted topic of a game of Kolf on a course, and not on ice [15].26 Another painting from the Puthon collection was Road through the Woods by Guillam Du Bois (1623/5–1680) [16].27 A late, impressive landscape by Pieter de Molijn (1595–1661) from 1653 [17]28 and a beautiful landscape by Herman Saftleven (1580–1627) [18] were both aqcuired from other collections.29...
... id rock as gneiss merging with mica schist [19].30 Hoser also owned numerous Flemish paintings, amongst other by Joos de Momper II (1564–1635) [20],31 David Tenie...
Notes
... k/Bartilla/Seifertová 2012, pp. 266–268, cat. no. 244. ...
... ...
... is mit Glimmerschiefer’. Ševčík/Bartilla/Seifertová 2012, p. 146, cat. no. 120. ...
-
9.4 Dutch and Flemish Paintings
... rees too green, without the haziness and airiness that one perceives in distant objects’.69Quite a few of the smoothly executed landscapes as well as the rougher, mass-produced ones seem to derive from Antwerp cabinets, as one can tell by the characteristic narrow shape of the small panels and copper plates. Fine examples of such works are two landscapes in portrait format with Apollo and Daphne and Cephalus and Procris, attributed today to Hans Jordaens III (1595–1643),70 but in 1829 listed as ‘Brueghel’. A river scene in a narrow, landscape format was painted on the cut-out, reused back of a copperplate for Gerard de Jode’s (1516–1591) Atlas Speculum Orbis Terrarum; it was probably painted by Abraham Govaerts (1589–1626),71 who is known to have executed small paintings for Antwerp cabinets.The amount of Flemish history paintings in Prehn’s collections equals that of Flemish landscapes; with our new attributions, the number of history paintings is even higher. This group is dominated by sacred histories and contains only a few allegories and mythological themes, all of varying quality. There are routinely, often stiffly painted copies after engraved models, as well as high-quality individual paintings, such as the small, monogrammed Virgin and Child by Erasmus Quellinus II (1607–1678) of about 1640-1645, which probably also came from an Antwerp cabinet.72Evidently, Johann Valentin Prehn wanted to play with a variety of themes and references in the composition of his Miniature Cabinet; the quality of the individual paintings was of secondary importance. In the second box, he placed a very delicately painted teamwork by Jan Breughel I and Hendrick van Balen I (1573–1632) depicting Three Nymphs Eavesdropping on a Satyr in the upper row on the left side [21], combining it, on the right-hand side, with a clumsy and crude copy after an etching published by the Amsterdam print seller Clement de Jonghe (1624–1677) showing Venus and Cupid Sleeping, Watched by a Satyr [22]. With subtle humour, the confectioner created a contrast in quality but a coherence in the erotically tinged subjects, in which the active roles of the satyr and nymphs in eavesdropping or spying are reversed.73...
... 4 They show the influence of Adriaen Brouwer (1603–1638) in their ribald humour and are smoothly executed, with precise, pointed brushstroke in the details. Obviously, Johann Valentin Prehn’s was fond of humorous and sometimes carnivalesque subjects; in his collection of ‘larger’ paintings he kept a very similar work showing a fighting couple consisting of a cooper and a potter dressed in absurd costumes made of their own products, which is attributed to the workshop of Pieter Jansz. Quast (1605–1647).75...
Notes
... 26 and Pr227. On the last two paintings: Cilleßen et al. 2021, cat. no. 35 (J. Ellinghaus). ...
... 262. Gerson/Van Leeuwen et al. 2017–2018, chapter 5.2. ...
... ...
... is teacher Poelenburch painted the subject twice, see Sluijter-Seijffert 2016, p. 294, cat. no. 13-14. ...
... wo entries in the order book Morgenstern (p. 296, no. 26 and no. 27) from 1831 with the artist name ‘Gyzen’ probably refer to these pictures. ...
... is aspect was already mentioned by Wettengl/Schmidt-Linsenhoff 1988, p. 46. ...
... idt-Linsenhoff 1988, p. 110, already mentioned Prehn’s predilection for odd topics in connection with this painting. ...
-
9.3 German Paintings in the ‘Dutch Style’
... ists from other German-speaking regions. Friedrich Rauscher I (1754–1808) from Coburg for example is represented with two landscapes.49 A handful of paintings originate from Dresden, where artists like Christian Wilhelm Ernst Dietrich (1712–1774) 50 or Alexander Thiele (1685–1752) 51 worked in the ‘Dutch style’. Of the many paintings once attributed to Christian Hilfgott Brand (1694–1756)52 and his son Johann Christian Brand (1722–1795),53 the most famous representatives of the Vienna school of painting, only a pair of landscapes in the Miniature cabinet is nowadays connected to the name of the former. A pastoral piece by Johann Franz Lauterer (1700–1733) shows that this Austrian artist had specialised in imitating southern landscapes in the manner of a Nicolaes Berchem (1621–1683).54According to the auction catalogue of 1829 the next largest group in the Miniature Cabinet were paintings from Nuremberg. A Landscape with the Flight into Egypt signed by Bartholomäus Wittig (1614–1684) is the only example of his small-sized landscapes on copper for which he was famous in his time [15].55 It is known for a fact that his small copper paintings were highly popular because they were the subject of a legal dispute.56 However, most of works that are still known today, are genre scenes with rather large figures in the style of the Bamboccianti. Wittig's painting in the Prehn Collection thus expands our knowledge about the artist’s oeuvre....
Notes
... , he still assumes that Dutch art is the primary object of the colle...
... pendants to Dutch or Flemish paintings’ and c) ‘Works by artists that are “historicizing” and consciously refer to and are inspired by Dutch and Flemish art within the pictorial idiom of their own country and time’. ...
... istian Georg Schütz’ and ‘Johann Georg Trautmann’ in the Prehn Collection online database; Gerson 1942/1983, pp. ...
... ...
... ...
... rnus, auctioned May 7th 1781 in Frankfurt (Getty Provenance Index, Catalogue D-A134, Lot 0351, 0352); A Cavalry Skirmish and A Military Camp Scene from the collection of Johann Friedrich Müller, auctioned September 26th 1791 in Frankf...
... ...
... ...
... ...
... ...
... ...
... ...
... 269–270. Gerson/Van Leeuwen et al. 2017-2018, chapter 5.6. Gerson only mentions night pieces in the manner of Wolfgang ...
-
9.2 The Confectioner’s Paintings and their Provenance
... ing example of a work in his collection with further provenance information was once part of the auction organized by the painter and art dealer Johann Andreas Benjamin Nothnagel (1729–1804) in 1784. Johann Valentin Prehn did not buy anything at this event, but his son Carl carefully recorded in the annotated auction catalogue which of the items became part of his father’s collection over time. The respective 12 paintings were purchased by nine different people in 1784, but there is no evidence of how and when they ended up in the confectioner’s possession. One of these paintings was A Doctor with a Sick Lady and her Mother by Jan Steen (1626–1679). Numerous versions of this popular subject exist either by the artist himself or his workshop. A version that appeared on the art market in 2004 may serve here as a comparative example [10]. Prehn’s version can be located in the lowest row on the right-hand wall of Prehn’s painting saloon in the watercolour drawing by Carl Morgenstern [9].34 It was Princess Henriette Amalie of Anhalt-Dessau (1720–1793) who bought it in 1784 for 10.15 gulden for her art collection which she kept in her estate in Bockenheim outside the gates of Frankfurt. 1794, after her death, it still shows up in the inventory of her painting collection there, but by 1811 it must have been put up for sale, because it was restored for Johann Valentin Prehn during that year by his neighbour Morgenstern.35 It is not yet clear how and from whom the confectioner acquired the painting. It is not clear, either, why Ernst Friedrich Carl followed the work on the Frankfurt art market – did the fact that it had been previously owned by a princess perhaps made the painting especially interesting?36 Or was Prehn merely interested in tracking the prices of various works of art, or of their respective attributions to particular artists?It seems plausible that Johann Valentin Prehn purchased most of his artworks not at auctions but from art dealers.37 With regard to the Miniature Cabinet, size mattered and ranked before quality. The tricky task of arranging the cabinet, which a visitor in 1843 accurately referred to as an ‘Art Gallery for the King of Lilliput’38, must have become more and more difficult as it progressed. The remaining space had already been measured, as the 31st box shows, where the entry for Number 781 in the auction catalogue says ‘vacant’ but gives the concrete dimensions [11]. So I imagine that the confectioner, visiting his art dealer in search of a companion piece for the little Flemish landscape to the left of the free space, would have been kindly asked: ‘How small would you like it, Mr Prehn?’...
Notes
... he winged, altar-like cabinets are preserved in the HMF (inv. no. B.1981.11 and B.1981.12) and one in the Freies Deutsches Hochstift, Frankfurter Goethe-Museum (inv. no. IV-1980-004): Wettengl/Schmidt-Linsenhoff 1988, pp. 123–145. Maisak/Kölsch 2011, pp. 180–190, cat. no. 184 (G. Kölsch). Cilleßen 2012. ...
... e. In accordance with this usage, in the following this part of the collection will be referred to as the ...
... ...
... is becomes clear from a short note by a friend of the Prehn family in one exemplar of the Prehn sales catalogue 1...
... t in the 18th and early 19th centuries is still lacking. For a brief overview ...
... ised and can be found via the library catalogue (opac). ...
... Abteilung Oranienbaum, Amalienstiftung Dessau, C 4 Lit J Nr. 1 II, fol. 61, Nr. 265 („Pulsfühlender Arzt“). I thank Gerhard Kölsch for sharing this archival mat...
... 1716–1778), for example, added provenance notes to the list of sales of the Gotzkowsky Collection in Berlin in 1...
... at the confectioner himself appeared as a client—with the exception of his neighbour, painter Morgenstern. ...
-
7.2 Hoet, Wilhelm von Hessen-Kassel and Tallard
... collection of paintings, prints and drawings, sculpture and porcelain formerly owned by Marie Joseph d’Hostun (1683–1755), duc de Tallard — one of the most prestigious of the time — was auctioned in the spring of 1756.16 Among the works in his collection were paintings by or attributed to Leonardo da Vinci (1452–1519),17 Titian (1488/1490–1576), Rubens, Van Dyck and Rembrandt [9-10]. Remarkably, it did not include the highly fashionable small-format cabinet pictures by painters such Dou, Van Mieris, Godefridus Schalcken (1643–1706) and Van Poelenburch. In the introduction to the sales catalogue, the characteristics of the collection were summarised: ‘The paintings of the great Italian masters have always been regarded as veritable masterpieces: they are the only paintings through which a collector can gain the respect of the true connoisseurs. The collection of the late Duc de Tallard is rightly mentioned as the first in France, after those of the King and the Duc d’Orléans’.18...
... is good and original,No. 59 [Annibale Carracci, Mary and Child] is not original, but no. 52 [Annibale Carracci, Saint Francis] is good and no. 53 [Annibale Carracci, Saint Jerome] and no. 55 [Annibale Carracci, Mary with Child] are also good. The rest of the paintings by “Carats” are “onegten knolle” [i.e. inauthentic crap].No. 71 [Guercino, Judith and Holofernes] is good and original,No. 82 [Titian, Portrait of a Nobleman [13]] it is not marked so it will probably not be very good, but no. 83 [Titian, The Duchess of Parma with her Daughter] is good, no. 84 [Titian, Allegory with the Portraits of Alfonso d’Este, Julius II and Charles V [14]] as well,No. 91 [Jacopo Bassano, The Wedding at Cana] is very good,No. 101 [Jacopo Tintoretto, The Parable of the Rich Man and Lazarus] is good,No. 104 [Paolo Veronese, Mary and Child] also good,No. 139 [Peter Paul Rubens, Saint Cecilia [15]] is very good in the Flemish manner; this is a famous painting in Paris,No. 140 [Peter Paul Rubens, The Adoration of the Shepherds [16]] is also good,No. 141 [Peter Paul Rubens, A Landscape [17]] is “extra”, will be expensive, because landscapes by Rubens are rare,No. 150 and no. 151 [Anthony van Dyck, Portrait of a Woman, possibly identical with [18] and Portrait of a Man, possibly identical with [19]] are both very good and original. If they are not what they are supposed to be, I will not buy them.Your Highness, please leave it to me because it is impossible to explain on paper, especially if the time lacks to do it properly’.24...
... tings by artists such as Rembrandt, Rubens and Van Dyck, Hoet did not buy them. He chose Italian works instead. As mentioned before, Hoet and Wilhelm had purchased the majority of their North Netherlandish paintings in The Hague, Delft and Rotterdam, while a couple of outstanding South Netherlandish works had been bought in Antwerp. By 1756, Wilhelm had almost completed his collection, which comprised a great deal of Netherlandish masterpieces. Italian art, on the other hand, was less well represented.Other German rulers, such as Frederick the Great (1712–1786), King of Prussia, had also sent their agents or middlemen to the auction rooms of Paris, and Russian, English and French collectors of means were represented as well. They were Wilhelm’s direct competitors at the Tallard sale and might have overbid him. Saint Cecilia by Rubens, for example, ended up in Potsdam because Frederick the Great paid the capital sum of 20,000 livres for it, half of Wilhelm’s budget.30...
Notes
... itten by Plumque to De Mann, 9 August 1753 (Marburg, Hessisches Staatsarchiv, Bestand 4a, 79, nr. 7) informs us th...
... is can be deduced from the introduction in Hagedorn 1755, pp. 19–20, where Hoet, Schouman and Freesen are mention...
... e reconnu: leur originalité est depuis longtems constatée par les plus célebres Connoiseurs, qui les ont souvent admirés dans les fameux Cabinets où ils ont passé success...
... e la Peinture: ils sont les seuls qui puissent acquerir à un Cabinet l’estime des vrais Connoisseurs. C’est donc avec justice que la collection de feu Monsieur le Duc de Tallard tenoit l...
... ands & Hollandois, admirables à la vérité par la finesse de l’exécution, & le gracieux du coloris, mais dans la composition desquels l’esprit ne trouve point à s’occuper solidement, ils ne lui présentent que des beautés superficielles & momentanées. Mais ne craignons pas que ce goût de mode jette de plus fortes racines; il passera & fera place à un goût plus sur & plus épuré’. ...
... for Mariette’s annotations in Rémy’s Jullienne catalogue. See also chapter 5 in Pomian 1990, pp. 139–168: ‘Dealers, connoisseurs and enthusiasts in 18th-century Paris’; Smentek 2014 and Kobi 2017. ...
... ...
... tionale, Paris). In the margin of the catalogue Hoet is mentioned eight times: nrs. 4 (Andrea del Sarto), ...
... 159. Spenlé 2008, p. 177. Marandet 2008A, pp. 267–268; Vogtherr 2015. Frederick the Great acquired si...
-
6.2 Status Quaestionis: Seybold’s Biography and Œuvre
... lleged birth in Mainz cannot be debunked solely on the basis of the baptismal entry in the Neuenhain register.19 The second reason for questioning Mainz as being Seybold’s place of birth is that ‘gebürtig’ in combination with ‘aus Mainz’ should be interpreted as him staying more than ten years in the city in question, rather than actually being born there.20 It is therefore conceivable that Seybold completed his apprenticeship in Mainz before he moved to Vienna....
... gisters as ‘Mahler’, from that year also as ‘Akademie-Mahler’, from 1732 as ‘Cammer-Mahler’, and in another source from 1736 as ‘pictor aulicus’. Although these court titles had protected status, they did not guarantee constant commissions, payments or other benefits. This changed in 1745, when Seybold was officially appointed court painter by decree to the Dresden court of Friedrich August II (1696-1763). This honour, which came with remunerations and privileges, was also bestowed upon him at the Viennese court of Maria Theresa (1717-1780) and Franz I Stephan von Lothringen (1708-1765) in 1749....
... self-portraits, which show that he often worked simultaneously in different styles and continued to vary over time. The fact that he rarely signed or dated his works makes it difficult to establish a chronology within his artistic development or to assign particular works to a fixed period....
Notes
... curator of the Alte Pinakothek, Munich, relating to expertise on two copies of Seybold’s self-portraits: Kultzen 198...
... atte (sieht man davon ab, dass es auch schneller ging). Das bedeutet aber noch lange nicht, dass die/der Betreffende dort auch geboren ist’. ...
-
6.1 Horst Gerson and Christian Seybold
... ne of the two tronies by Seybold now in London, which were both previously misattributed to Denner [3-4].Seybold borrowed this manner from the North German portrait and tronie painter Balthasar Denner, who was the first and most famous exponent of this meticulous style: these kinds of tronies were even termed Porendenners [5-6].6 Strictly speaking, the use of this term is anachronistic, as it was only at the end of the 19th century that it came into being in respect of Denner’s extremely detailed tronies. Apart from the fact that the analogy with pores was not an uncommon qualification for detailed portraits,7 in this case the designation Porendenner is probably engrafted upon Johann Basilii Küchelbecker’s account of the imperial art collection from 1730, in which he identified this characteristic in Denner’s tronies of old people: ‘One does not see a brush stroke at all, and yet all pores are expressed’.8...
... ished this stylistically very closely related self-portrait as a work by Balthasar Denner [9]. When this self-portrait was in the collection of François Tronchin (1704-1798) of Geneva, it was already misidentified as a work by Denner.14 Currently at least three copies of it are known,15 and most recently a reduced-scale version of the work appeared on the art market in 2013 [10].Gerson can hardly be blamed for working with erroneous data, as by 1942, very little had been published about the painter outside of Vienna and Dresden, and the biographical material that was available was apparently not accessible to him at the time.16 Partly because of its inclusion in Gerson’s compendium, Seybold’s name has acquired a permanent position in modern art historiography. Most of his works can indeed be understood as particularly clever ‘Nachwirkungen’ of mostly Dutch and Flemish colleagues from the 17th and early 18th centuries. Horst Gerson was one of the first acclaimed modern art historians to pay attention to this aspect....
Notes
... ...
... and Van der Werff about one of his self-portraits, already quali...
... t mentioning the name of their painter, who, he wrote, came from Hamburg. That is why ‘Denner’ does not appear in the extensive register. ...
... , vol. 3, pp. 408, 409; vol. 4a, pp. 54, 89-92; vol. 4b, pp. 224, 327. In 1800 Denner is still represented in Jacques Alexandre de Chalmot’s Biographisch woordenboek der Nederlanden (De Chalmot 1798-1800, vol. 8, p. 232-238); Knolle 2008, p. 38 ff. ...
... isches Diarium, Num. 98. Mittwochs-anhang, den 7. December 1763. ...
... Portrait d’un artiste peint par Balthazar Denner); copy 2: ‘Catherine Saint-Ours, Copie de ce Portrait d’un artiste, Aquarelle. Ancien album Charles Bois de Chêne – Non localisé’, idem p. 231. ...