After Josef Karl Stieler, German 1781-1858- Portrait of Ludwig von Beethoven; watercolour on ivory, oval, bears signature 'Stieler' (lower right), 4.5 x 3.6 cm. Ivory submission reference: DG3N6TM8. Provenance: Private Collection, UK. Note: The present work is copy, executed in reverse, after Stieler's portrait of Beethoven (1770-1827) with the manuscript of the Missa Solemnis, now in the collection of the Beethoven-Haus in Bonn [B 2389].
Five of these are portraits of ladies, including one of Nanette Kaula, signed, "Stieler". It is after a work by Joseph Karl Stieler (German, 1781-1858). The other portraits are of a Napoleonic military officer and three women in elegant dress. The woman with the large hat has a large crack across her portrait, and two smaller cracks. The last two paintings are of a large seaside castle, and a woman prisoner being escorted to the scaffold. This last painting is after a work by Francois Marie Queverdo (French, 1748-1797), depicting Marie Antoinette being led to the guillotine after being sentenced to death. The lot has some surface wear and cracks on the frames, but looks to be in overall good condition. The largest frame measures 5 7/8" x 5" x 3/8". In-house shipping is available. Please see our website regarding in-house shipping procedures.
4 3/4" tall by 4 1/2" wide. Portrait of Anna Hillmayer. Joseph Karl Stieler (1781 - 1858) was active/lived in Germany. Joseph Stieler is known for Painting and sculpture. After two initial years of apprenticeship in Wuerzburg Joseph Karl Stieler went to Vienna in 1800. With the local development under Henry Füger of 1800, Stieler already received numerous commissions for portraits of the Eastern European nobility. The years 1807-08 Stieler spent in Paris. Here he got the key for his future work impulses led by David's pupil François Gérard. From 1809, he spent several years in Italy. After several years of residence in Vienna, where he, on behalf of the Bavarian King, portrayed Emperor Franz and Empress. Under Louis I, Joseph was appointed court painter. He was overwhelmed with orders of kings and emperors. One of his works, the portrait of his fourth daughter from his first marriage "Ottilie Stieler with the straw hat" was at the Munich Art Exhibition in 1848. Stieler fell once again into the focus of contemporary criticism. Rightly it was seen in the artistic successor of famous portraits, beginning with the "Le Chapeau de Paille" called Portrait of Helene Fourment by Peter Paul Rubens (National Gallery, London), the beruhendem out image of Lavinia Countess Spencer Joshua Reynolds (Earl Spencer Althorp collection, Northamptonshire) and the resulting 1715 "girl with a vegetable basket" of Antoine Pesne (now in the Bavarian State Painting collection Schleissheim Palace). In records of the grandchild Dora Stieler is narrated that Stieler had the portrait in the summer in the garden of his house at Tegernsee, and not, as usual, made in his studio. In contrast to the rather cool, very clear and line highlighted portraits of earlier years of the Napoleonic portraiture were committed in whole or in, the painter here his pretty daughter atmosphere in the bright backlit by the sun again, falling obliquely from the right over her back and right touches his shoulder and both arms sideways. With his left hand holding a lace shawl, she prefers the wide brim straw hat a little in the face, which, as the torso is quite in the shade. In spite of the shadow to the painter achieved an impressive materiality by peaks, embroideries and the shirred pleated draperies. The once sharp contours are modeled much softer with a broad brush in running order, the outlines begin almost to flicker. Remarkably, he dispensed with the traditional Kreidevorzeichnung. 1 The comprehensive idea of the hat brim left detects, as clear contour lines. It is reported that a gust of wind blew the just finished portrait from the easel and the still wet portrait ended up in the gravel. Stieler had only a year later freed it from the rocks and painted over the appropriate places. Nevertheless, it is one of the earliest incurred in the great outdoors portraits in the aftermath of one of his most famous works.
Joseph Karl Stieler (Germany, 1781-1858) oil on canvas, 36" x 28", portrait of a woman. The frame dimensions are 42" x 34.25". The painting has been relined.
Five of these are portraits of ladies, including one of Nanette Kaula, signed, "Stieler". It is after a work by Joseph Karl Stieler (German, 1781-1858). The other portraits are of a Napoleonic military officer and three women in elegant dress. The woman with the large hat has a large crack across her portrait, and two smaller cracks. The last two paintings are of a large seaside castle, and a woman prisoner being escorted to the scaffold. This last painting is after a work by Francois Marie Queverdo (French, 1748-1797), depicting Marie Antoinette being led to the guillotine after being sentenced to death. The lot has some surface wear and cracks on the frames, but looks to be in overall good condition. The largest frame measures 5 7/8" x 5" x 3/8". In-house shipping is available. Please see our website regarding in-house shipping procedures.
A miniature oval shaped hand painted portrait of a lady on a porcelain plaque after the original oil painting, Portrait of Amalie Adlerberg Von Krudener, by Joseph Karl Stieler, 1781 to 1858. Signed by the artist, lower right. Presented in a frame made in an ornate foliate scroll design, encrusted with semi precious stones. A suspension ring is on the top. Countess Amalie Maximilianovna Adlerberg, 1808 to 1888, was an illegitimate daughter of Duchess Therese of Mecklenburg Strelitz, fathered by Bavarian diplomat Maximilian Emmanuel Graf von und zu Lerchenfeld auf Kofering und Schonberg. One of a kind artwork.
Friedrich Wilhelm von Schelling (1775-1854) was one of the most important and influential philosophers of the first half of the 19th century. Alongside Johann Gottlieb Fichte and Friedrich Schlegel, it was above all Schelling who laid the foundations of early German Romanticism. At the age of 15, he studied together with Hegel and Hölderlin in Tübingen and wrote his ground-breaking "Ideas for a Philosophy of Nature" in 1797. Goethe became aware of the young philosopher early on and offered him a teaching position at the University of Jena in 1798. In 1827, he was called to Munich and in 1842, after Hegel's death, Schelling took up a teaching position in Berlin for four years. Schelling is regarded as the main founder of speculative natural philosophy, in which he analyses the relationship between nature and spirit and develops the idea of an organic connection between them. Joseph Stieler presents the outstanding philosopher in a three-quarter view, with the head depicted almost frontally. The viewer is immediately captivated by the sitter's eyes, which fixate him attentively and almost penetrate him. In her catalogue raisonné of Stieler's work, Ulrike von Hase even describes them as "the most expressive eyes in an early 19th century portrait" (op. cit., p. 74). As Ulrike von Hase writes, Stieler proved to be a specialist in capturing the focus and action of the gaze. In addition to the philosopher's penetrating eyes, the painting's impression is determined above all by the contrast between the red cloak, reminiscent of a toga, and the black of the other clothing and the deliberately indeterminate dark background. Further accents are set by the bright white collar and the precisely drawn curly hair. The portrait of Schelling, which is still in the possession of his descendants and of which a further version is kept in the Bavarian State Painting Collection, stands at the transition from Stieler's mature phase to his late period and in this respect also occupies a special position in the artist's oeuvre.
Stieler, Joseph Karl (1781-1858), Konvolut mit fünf Miniaturporträts. Zwei davon signiert "Stieler", jeweils 4,6 x 4 cm in Rahmen des 19. Jh. Beigabe drei Ovalrahmen, 19. Jh., mit modernen Porträtdrucken, max. Größe 9 x 8 cm. Stieler, Joseph Karl (1781-1858), group of five miniature portraits. Two of them signed "Stieler", each 4.6 x 4 cm in 19th century frames. Enclosed three oval frames, 19th century, with modern portrait prints, max. size 9 x 8 cm.
After Joseph Karl Stieler (1781 Mainz - 1858 Munich): Ludwig I (1786-1868), King of Bavaria, c. 1810, Tinted Lithographie Technique: Tinted Lithographie on Paper Date: c. 1810 Description: Half-length portrait in oval: Ludwig I, King of Bavaria, as Crown Prince Person: King Ludwig I., Bavaria (1786 - 1868 ) Keywords: Portrait; Man; Crown Prince; Fashion; Order (Honours), 19th century, Romanticism, Portraits, Germany,
Gouache miniature on paper stuck to ivorine and leather On the back, the name of the model. Copy with variations of the original portrait made in 1831 for the Schönheitengalerie, at the Nymphenburg Palace in Munich. 11x11 cm.
Joseph Stieler 1781 Mainz - 1858 München Letizia Bonaparte, née Ramolino, called Madame Mère Remnants of a handwritten contemporary inscription and the exhibition label from 2001 on the frame verso. Latter numbering in chalk "X 20/303" on the stretcher. Oil auf canvas. 64 x 54 cm. Restored. Minor damage to frame (83 x 71 cm). Label of the Parisian frame manufacturer Souty, 10 rue dAngivilliers [sic!], Paris on the frame verso. "Quatre jours après la mort de Madame, le peuple de Rome, non informé, sempressait en foule vers léglise Saint-Pierre, qui venait douvrir son vaste portique et de revêtir ses magnifiques insignes de cérémonie pontificale, à lappel des cloches et des décharges dartillerie. On célébrait lintronisation dun nouveau pape, on allait rendre foi et hommage au Saint-Père, tandis quun modeste char funèbre, suivi de quelques fidèles et par les pauvres, sortait en silence du palais Rinuccini, tendu de noir et traversait, au pas lent de la douleur, la place de Venise et le Corso, pour se rendre à léglise Saint-Louis-des-Français. Ce convoi était celui de lhumble princesse qui navait pas reçu le titre dImpératrice Douairière, au temps de prospérité de lempire, ni conservé son grand nom de Bonaparte, pour sappeler, simplement, selon son cour, Madame Mère." "Four days after Madames death, the uninformed people of Rome rushed in droves to St Peters Church, which had just opened its vast portico and donned its magnificent ceremonial pontifical regalia to the call of bells and artillery fire. They were celebrating the enthronement of a new pope, and were about to pay homage to the Holy Father, while a modest funeral procession, followed by a few of the faithful and by the poor, left the black-clad Palazzo Rinuccini in silence and crossed the Piazza di Venezia and the Corso with the slow step of grief, on its way to the church of Saint-Louis-des-Français. This convoy belonged to the humble princess who had not been given the title of Empress Dowager during the prosperous period of the Empire, nor had she kept her great name of Bonaparte, but simply called herself Madame Mère, according to her heart." [1] Who was this Madame Mère who was given such a simple funeral? It was the mother of Napoleon Bonaparte! Letizia Bonaparte was the mother of three kings, a queen, two princesses and Napoleon I. She lived through decisive years in European history, from the reign of the French King Louis XV to the year before the accession of Queen Victoria of England. Born into poor circumstances, she married at the age of 13 and was widowed at 34 after giving birth to 12 children, eight of whom survived. Letizia was the centre of a family of eccentric character. Her maternal pride in Napoleon was clouded by constant concern for his safety and a foresight that his meteoric rise to power would be followed by an equally precipitous fall. Letizia Ramolino was born in Ajaccio on 24 August 1750. She received only a rudimentary school education. At the age of six she lost her father, and her mother soon married a captain in a Swiss regiment named Franz Fesch. Around the time of the birth of her half-brother Joseph (1763), who was later to become her economic and spiritual advisor, plans were already being made for the 13-year-old beauty to marry. A student of jurisprudence, the 18-year-old Carlo Bonaparte, was chosen, and the wedding took place on 2 June 1764. Early on, both fought for the independence of Corsica, and after the conquest of the island by the French in 1769, Bonaparte joined them. For 20 years, Letizia devoted herself to having children, sometimes with medical complications. When she became pregnant at 14, she lost her first two children. Not only an emotional burden for the young woman in a country where a womans worth was measured by the number of children, especially sons. In 1768 she gave birth to Joseph, the first child to survive infancy. Her second son was Napoleon (called "Nabulione" by his mother), who was born nine days before her 19th birthday. By 1778 Letizia had given birth to three more children: Lucien, Elisa and Louis. At almost 30 she had her tenth child, Pauline, and 15 months later her eleventh, Carolina. The household was virtually overcrowded with children, a number of relatives and a nurse; Letizias talent for maintaining discipline was taxed. The familys financial situation was quite difficult. Her last child, Jérôme, was born ten days after her husband left Corsica to be treated for a protracted illness. The family was not to see her husband and father again. At only 39 years of age, Carlo Bonaparte died shortly after New Years Day 1785, leaving Letizia with eight children, five of whom were not yet ten years old. It was the second-born son Napoleon, the only child with a professional education, who was to determine the familys future. When the Bonapartes were classified as "personae non gratae" by the corsican nationalists in 1793, Letizia fled with her family into exile in France, where they lived in poverty - a humiliating experience that had a great influence on the rest of her life. Napoleon, meanwhile, was making a career for himself: After the successful defence of Toulon, he was appointed brigadier general and given command of the army in Italy. By the age of 30, he was the ruler of France. After Napoleon had crowned himself emperor in 1804, he continued to support his family financially, also providing his relatives with positions for which not all were fully suited. Out of loyalty to Corsica, he made his sister Elisa Princess of Piombino in 1805. In the following months Joseph was made King of Naples, Louis King of Holland and Jérôme (by now married to his second wife, Princess Catherine of Württemberg) King of Westphalia. The mother distrusted the good fortune bestowed on her daughters and sons during this time. On the occasion of Napoleons imperial coronation, which she did not attend, Letizia uttered the iconic phrase: "Pourvu que ça dure!" ("Long may it last!"). [2] Her daughters refused to wear Joséphines train on the occasion of the coronation. But his family had not reckoned with Napoleons subtle revenge: Madame Mère will recognise herself four years later in Davids famous depiction of the "Sacre". The artist certainly did not integrate the emperors mother into the crowd-pleasing scene without Napoleons knowledge. Letizia, who now bore the title of Madame la Mère de lEmpereur, impressed the European courts with her modesty (there was also talk of stinginess) and dignity. She invested her newly acquired wealth wisely and tried to keep the unruly family together. There were a number of unhappy marriages and unions and illnesses in the family. Napoleons marriage to Joséphine de Beauharnais, that remained childless and led to divorce, and his second marriage to Marie-Louise of Austria were met with reservations by Letizia. Marie-Louise finally gave birth to the hoped-for son and heir to the throne in 1811. Napoleons star, however, began to decline. Madame Mère accompanied Napoleon in his exile on Elba. For the first time in years, she was able to join the members of her family and provide them with moral support. This was not to last, however, as Napoleon returned to Paris for 100 days. The last family dinner before the debacle at Waterloo was attended by almost all of Letizias children. Napoleons tearful farewell to his mother is legendary. In 1818, Letizia bought a 17th century palace in Rome, the Palazzo dAste Rinuccini (now Palazzo Bonaparte) to retire to. After the fall of Napoleon, Pope Pius VII had shown impressive magnanimity towards her relatives. No country had been willing to take in the Corsicans family, above all Napoleons mother. In the Eternal City she was granted asylum. "I am truly the mother of all sorrows, and my only consolation is to know that the Holy Father has consigned the past to oblivion and to be mindful of all the kindness he has always shown to all members of my family. We found support in the papal government and our gratitude will find no bounds." With these words Letizia describes her gratitude in a letter to Cardinal Secretary of State Ercole Consalvi. [3] She led a pious and contemplative life in Rome, but waited anxiously for news of Napoleon, who was meanwhile living in exile on St Helena. After learning about his death death on 22 July 1821, she surrounded herself with a "museum of memories". Six months before her own death at the age of 87, almost blind, she dictated her memoirs, in which she said of her own last years: "My life ended with the fall of the Emperor. From that moment I gave up everything forever." Letizia Bonaparte died in Rome on 2 February 1836. The death of Madame Mère was announced by the Capitol bell. The Danish sculptor Bertel Thorvaldsen took the death mask from the deceased. At the insistence of the foreign envoys in Rome, the Bonaparte family was forbidden to place the words "Mater Imperatoris Francorum" on the sarcophagus. They had to make do with the inscription "Mater regum". The imperial coat of arms was visible at the funeral, with the initials "LRB" for Letizia Ramolino Bonaparte and the inscription "Mater Napoleonis". She left 1,700,000 francs to be divided among her children, although her fortune was probably at least twice as high. Asked about her enormous wealth, Letizia had wisely formulated, "I have six or seven princes as children who will one day be on my back." [4] Letizia Bonapartes remains were transferred to Ajaccio in 1851 and buried in the imperial chapel in 1860. __________________ "Madame Mère must have been a beauty of the first rank in her youth. Her face was well modeled, with regular features [...] There was always something haughtiness and severity in her look. But the beauty of her features lost part of its effects because of the thick layer of paint which she put on her cheeks. This did not harmonize with her age, which required greater naturalness in the color of her skin. Too much rouge does not go well with wrinkles. On ordinary weekdays her dress was simple, though rich. She ordinarly wore a little bonnet ornamented with flowers. On Sundays and holidays, when she was in full dress to come to the palace, she had on a toque with feathers. On these occasions she wore very fine diamonds. I knew nothing about her household arrangements; I know that she was very religious and was said to be very miserly. When she spoke French she had a very marked Italian accent. She said very little." [5] Louis-Etienne Saint-Denis (1788-1856), a Mameluke in the Imperial Guard, describes Letizia Bonapartes physiognomy in 1814, when she was on Elba. A benevolent but also critical description, which is confirmed in part by Joseph Stielers portrait, painted three years earlier. A "portrait privé" in the classical sense, for in the depiction all jewellery is dispensed with, Letizia wears a relatively simple dress, a simple - though noble - shawl. The only jewellery is her elaborately worked lace bonnet. So this is how Madame Mère showed herself in private: rather modest, reserved, turned towards the people. In his autobiography of 1811, which remains fragmentary, Joseph Stieler writes: "After a years stay [in Rome] I had to make a trip to Naples, where I painted portraits for the then K.M. [King Murat]." [6] "On 9 May I went to Naples and took 180 scudi with me; on 22 August I returned and brought 160 ducati with me ... I earned 50 Louis dOr for the portrait of the [...] Queen." [7] The commission is also mentioned in the Munich press (albeit very briefly): "After completing it [an altarpiece depicting St. Leonhard], Stieler made a trip to Naples, where he painted several portraits for King Mürat [sic!]" [8] The wife of his client Joachim Murat, King of Naples from 1808 to 1815 as Joachim Napoléon I (Gioacchino Napoleone I), was Caroline Bonaparte (1782-1839), Napoleons youngest sister and Letizias second youngest child. It is not known whom Joseph Stieler actually painted in Naples. However, this stay in Naples was the only opportunity in the artists biography to deal with Letizia Bonaparte. In the estate inventory of Letizias half-brother, Cardinal Joseph Fesch (1763-1839), there is an interesting entry: "[N°] 3908 Quadro in tela alto piedi due, largo piede uno, e tre quarti rappresentante un Ritratto in mezza figura die madama Letizia scudi quindici" by an unknown artist. The painting was in the Palazzo Falconieri in Rome, in the "Camera appresso detta la Toletta". [9] It is tempting to assume that it could have been the present portrait of Madame Mère because of its similarity in measure. Moreover, Stielers portrait is not signed, which could be the reason why it is listed in the Fesch inventory as the work by an unknown artist. Heir to the Cardinals collection was Joseph Bonaparte (1768-1844), as Joseph I first King of Naples from 1806-1808, then King of Spain from 1808-1813. Joseph Bonaparte had his uncles collection auctioned off in 1843-1845. He kept 300 paintings in his own possession, apparently including Letizias portrait. This is not listed in the corresponding auction catalogues. In addition to two legitimate daughters, of whom only the first-born, Zenaïde Charlotte Julie (1801-1854), survived her father, Joseph Bonaparte, who called himself Comte de Survilliers after the fall of Napoleon, had an illegitimate daughter from the time of his exile in the United States: Caroline Charlotte (1822-1890). One of the two was to have come into possession of the portrait of Letizia Bonaparte after Josephs death. [1] Larrey, Félix Hippolyte Baron de, Madame Mère (Napoleonis Mater). Essai historique. Vol. 2. Paris 1892, p. 491 f. [2] Müchler, Günter, Napoleon - Revolutionär auf dem Kaiserthron. Darmstadt 2019, p. 30. [3] Nersinger, Ulrich, Aus der Geschichte des Kirchenstaates - Madame Mère und die Päpste, in: LOsservatore Romano, 25 June 2021. Available online at: https://www.osservatoreromano.va/de/news/2021-06/madame-mere-und-die-papste.html [4] Müchler, Günter, Napoleon - Revolutionär auf dem Kaiserthron. Darmstadt 2019, p. 29. [5] Napoleon - From the Tuileries to St. Helena. Personal recollections of the emperors second mameluke and valet, Louis Etienne St. Denis (known as Ali). New York 1922, p. 80. [6] Manuscript Department of the Bayerische Staatsbibliothek Munich, Stieleriana. Autobiography II. [7] Manuscript Department of the Bayerische Staatsbibliothek Munich, Stieleriana, Abrechnungsheft 1805-1811. [8] Marggraff, Rudolph, Zur Erinnerung an Joseph Stieler und seine Zeit, in: Abendblatt zur Neuen Münchener Zeitung No. 144, 18 June 1858, p. 574. [9] Archivio di Stato, Roma, Italia (Notai Capitolini, ufficio 11, not. Augusto Apolloni, anno 1839, vol. 609, ff.37-503v), here f.264. Literature: Schwartz, Constance / Hill Perrell, Franklin (editor), Napoleon And His Age. Exhibition catalogue Nassau County Museum of Art, Roslyn Harbour, New York, 28. January - 29 April 2001, page 88 and illustration on page 49: exhibited there as a work by an unknown artist and dated "circa 1805". Confirmation of authenticity: Dr. Ulrike von Hase-Schmundt, Munich, 20 July 2023. The painting will be included in the 2nd edition of the catalogue raisonné of Joseph Stielers work. We thank Dr. Ulrike von Hase-Schmundt for providing her transcriptions from Stielers notes in the Bavarian State Library. Provenance: [Joachim and Caroline Murat, Naples]. - [Cardinal Joseph Fesch, Rome]. - Acquired in the 1980s by Christopher Rehnlund-Ross, then USA. - Private owner, South Germany.
After Joseph Karl Stieler (1781 Mainz - 1858 Munich): Ludwig I (1786-1868), King of Bavaria, c. 1810, Tinted Lithographie Technique: Tinted Lithographie on Paper Date: c. 1810 Description: Half-length portrait in oval: Ludwig I, King of Bavaria, as Crown Prince Person: King Ludwig I., Bavaria (1786 - 1868 ) Keywords: Portrait; Man; Crown Prince; Fashion; Order (Honours), 19th century, Romanticism, Portraits, Germany,
Johann Nepomuk Muxel (1790 Munich - 1780 Landshut) after Joseph Karl Stieler (1781 Mainz - 1858 Munich): Apotheosis of Maximiliane Josepha Karoline of Bavaria, c. 1825, Lithography Technique: Lithography over tinted stone on Paper Stamp: Collector's stamp, Lugt no.: 971. Friedrich August II. von Sachsen (1797-1854). Dresden. 19th century Inscription: At the lower part signed in the printing plate: "Stiller [sic] pinx. / Gedruckt von Jos. Selb. / Nep. Muxel del.". Date: c. 1825 Description: The princess is dead. Died of typhoid fever. King Maximilian I of Bavaria and his wife Karoline have lost their youngest child. The depiction of a divine ascension of the daughter is supposed to help the mourning. The court painter Joseph Karl Stieler sensitively takes on this task: In a flowing robe with a garland of roses, he lets the girl ascend to heaven. Five angels' heads await her on the ceiling. She holds out her arm into the light-filled night to receive the wreath of stars handed to her by the angel in the middle. It is the brother who died in infancy. Below on the earth we see the Munich Residence and the Theatinerkirche, where the girl was buried. The tower of the imperial court strikes the hour of the princess' death. The print has a clear chiaroscuro structure. The lower part of the depiction with the earthly elements, the palace and the church lie hidden in the darkness of the night. The upper part is brightly illuminated by the heavenly rays. A comforting image: the daughter who died too soon to ascend to heaven like Mary. Joseph Karl Stieler studied under François Gérard in Paris and was considered one of the representative representatives of Napoleonic Classicism. As court painter to the Bavarian kings Max I and Ludwig I, he became one of the most sought-after portrait painters in Germany. The fact that Stieler knew how to stage sad strokes of fate in a sentimental as well as representative manner is proven to us by this touching piece. It is not without reason that he was described as "the last representative painter of princes in Europe, who performed his courtly duties with integrity". Person: Maximiliane Josepha Karoline von Bayern (1810 - 1821 ) Keywords: Assumption, Child, Death, Munich, King, Princess, Bavaria, Lithograph, 19th century, Romanticism, People, Germany, Munich,
Joseph Karl Stieler 19th c Miniature Portrait, Lady Jane of Erskine. Beautiful miniature portrait painting of young Lady Jane of Erskine by Joseph Karl Stieler (German 1781-1858), who worked as royal court painter of the Bavarian kings from 1820 until 1855. Signed lower right by the artist, in an ebonized wood frame with brass accents. Dimensions are 5.5 in h x 4.25 in w x .5 in d. The artwork is 3.25 in h 2.5 in w. Condition is good with some surface wear to frame. Please call or email for a detailed condition report.
Joseph Karl Stieler, 1781-1858, German painter. A colored print copy of Stieler's 1829 painting, Portrait of Anna Hillmayer, mounted on board. Anna Hillmayer was a daughter of a meat dealer in Munich. She is shown in a traditional German headdress and with a prayer book in front of the Munich Frauenkirche as a symbol of piety. Golden frame. Collectible Classical European Art Print.
(1781 Mainz - 1858 München) nach Porträt von Prinz Eduard Karl Wilhelm Christian von Sachsen-Altenburg Bildnis als königlich bayerischer Generalleutnant und Kommandant der I. Armee-Division in Chevauxleger-Uniform mit Sächsischem Verdienstorden und Militär-Max-Joseph-Orden, den Kopf ins Halbprofil gewandt. Feinflüssig gemaltes, künstlerisch qualitätvolles Porträt, gemalt 1848-1852. Vergleichbar mit dem vorliegenden Gemälde ist eine eigenhändige Replik Stielers im Schloss Nymphenburg in München (vgl. Hase, Wvz. Nr. 245), eine weitere Version von F. J. Kießling nach Stieler im DHM in Berlin (Inv.-Nr. Kg 58/10). Außerdem eine in Details abweichende Lithographie von Jakob Melcher nach Stieler, die ihn als "Kgl. Bayer. Generalleutnant und Commandat der I. Armee Division" benennt. Öl/Lwd.; Verso auf dem Keilrahmen altes Etikett mit bez. "M 48 Eduard Herzog [sic!] von Sachsen Altenburg". 75 cm x 59,5 cm. Original-Prunkrahmen mit Krone und Monogramm "E" (für Eduard). Vgl./Lit: Ulrike von Hase: "Joseph Stieler 1781-1858 (...)", München 1971, Nr. 245. Eduard (1804 - 1852), jüngster Sohn des Herzogs Friedrich von Sachsen-Altenburg (1763 - 1834), trat 1821 in den bayerischen Militärdienst im 6. Chevauxlegerregiment "Herzog Leuchtenberg" ein, da seine ältere Schwester Therese König Ludwig I. von Bayern geheiratet hatte. Er absolvierte eine militärische Karriere, wurde 1829 Major und 1832 Oberstleutenant. An der Spitze eines bayerischen Militärkontingents begleitete er seinen Neffen Otto 1832 als neuen König nach Griechenland und wurde dort Gouverneur von Nauplia. Nach seiner Rückkehr nach Bayern 1834 diente Prinz Eduard weiter in der bayerischen Armee, stieg weiter auf und wurde 1840 zum Generalmajor befördert. 1848 betraute man ihn als Generalleutnant mit dem Gouvernement von München und dem Kommando der 1. Kavalleriedivision, zugleich erhob man ihn zum Chef des 1. Chevauxlegerregiments. 1849 führte er Truppen des Deutschen Bundes gegen Dänemark an und nahm die Düppeler Schanzen ein. Danach war Eduard bis 1851 Generalleutnant und Kommandant der Kavalleriedivision des I. Armee-Korps in München. Provenienz: Königliches Haus Hannover; Inventarium vom Königlichen Residenzpalais (Wangenheimpalais in Hannover) 1857, S. 64, "1tes Wohnzimmer Ihrer Majestät" (Königin Marie; Nichte des Dargestellten); Schloss Marienburg 1906/07, Inv. Nr. 24/60 (im Besitz von Königin Marie von Hannover); Auktion "The Royal House of Hanover/Das Königshaus von Hannover", Sotheby's, Schloss Marienburg, 5.-15.10.2005, Kat. Bd. II, S. 272, Lot 1827 (zusammen mit dem Porträt seiner Nichte Prinzessin Alexandra von Sachsen-Altenburg, seit 1848 Großfürstin Alexandra Iossifowna von Russland; in derselben Auktion unter Lot 1828 fünf weitere Porträts der Herzogsfamilie nach Stieler in vergleichbarer Rahmung, teilw. dat. 1847 und 1848). After Joseph Karl Stieler (1781 - 1858). Painted 1848-1852. Oil on canvas. Original frame. Inscribed on an old label on the reverse.
ivory With miniature lid depicting Ludwig van Beethoven after the oil painting by Joseph Karl Stieler (Germany, 1781-1858) Signed Stieler France, 19th/20th Century, (minor restorations and wear signs) Diam.: 8,6 cm
Joseph Stieler, nach 1781 Mainz - 1858 München Ludwig I King of Bavaria in uniform Oil auf canvas. 71.5 x 57.5 cm. Restored. Damaged. Damage to frame (83.5 x 69 cm). After the painting by Joseph Stieler, cf. Hase, Ulrike von, Joseph Stieler 1781-1858. Munich 1971, page 145, catalogue raisonné number 252.
Joseph Karl Stieler (1781 - 1855) portrait of noble woman, signed lower right. Portrait of woman holding a locket, signed R. Asti middle right. Together with pair depicting Louis XVI and Marie Antoinette; portrait of Louis XVI signed indistinctly. Portrait of seated noble woman initialed DT.
Joseph K.Stieler (1781-1855) Miniature of Georgiana Cavandish. An oval portrait of Georgiana Cavandish,nee Spencer(1757-1806) after Thomas Gainsborough. The daughter of John Spender,1st Earl Spencer of Althorp,Northamptonshire. Signed lower right "ino Gainsborough",presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm.
Joseph K.Stieler (1781-1855) Miniature of Nanette Heine. An oval portrait of Nanette Heine,nee Kaula (1812-1876),one of the "Nymphenburg Beauties". Signed lower right "Stieler",presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm.
3" by 3 3/8" framed. Joseph Karl Stieler (1781 - 1858) was active/lived in Germany. Joseph Stieler is known for Painting and sculpture. After two initial years of apprenticeship in Wuerzburg Joseph Karl Stieler went to Vienna in 1800. With the local development under Henry Füger of 1800, Stieler already received numerous commissions for portraits of the Eastern European nobility. The years 1807-08 Stieler spent in Paris. Here he got the key for his future work impulses led by David's pupil François Gérard. From 1809, he spent several years in Italy. After several years of residence in Vienna, where he, on behalf of the Bavarian King, portrayed Emperor Franz and Empress. Under Louis I, Joseph was appointed court painter. He was overwhelmed with orders of kings and emperors. One of his works, the portrait of his fourth daughter from his first marriage "Ottilie Stieler with the straw hat" was at the Munich Art Exhibition in 1848. Stieler fell once again into the focus of contemporary criticism. Rightly it was seen in the artistic successor of famous portraits, beginning with the "Le Chapeau de Paille" called Portrait of Helene Fourment by Peter Paul Rubens (National Gallery, London), the beruhendem out image of Lavinia Countess Spencer Joshua Reynolds (Earl Spencer Althorp collection, Northamptonshire) and the resulting 1715 "girl with a vegetable basket" of Antoine Pesne (now in the Bavarian State Painting collection Schleissheim Palace). In records of the grandchild Dora Stieler is narrated that Stieler had the portrait in the summer in the garden of his house at Tegernsee, and not, as usual, made in his studio. In contrast to the rather cool, very clear and line highlighted portraits of earlier years of the Napoleonic portraiture were committed in whole or in, the painter here his pretty daughter atmosphere in the bright backlit by the sun again, falling obliquely from the right over her back and right touches his shoulder and both arms sideways. With his left hand holding a lace shawl, she prefers the wide brim straw hat a little in the face, which, as the torso is quite in the shade. In spite of the shadow to the painter achieved an impressive materiality by peaks, embroideries and the shirred pleated draperies. The once sharp contours are modeled much softer with a broad brush in running order, the outlines begin almost to flicker. Remarkably, he dispensed with the traditional Kreidevorzeichnung. 1 The comprehensive idea of the hat brim left detects, as clear contour lines. It is reported that a gust of wind blew the just finished portrait from the easel and the still wet portrait ended up in the gravel. Stieler had only a year later freed it from the rocks and painted over the appropriate places. Nevertheless, it is one of the earliest incurred in the great outdoors portraits in the aftermath of one of his most famous works.
Black chalk highlighted in white, on yellow tinted natural paper with laid paper edge. (1825). This work is accompanied by a confirmation of authenticity by Dr. Ulrike von Hase-Schmundt, Munich, dated 1.2.2022.
Joseph K.Stieler (1781-1855) Miniature of Georgiana Cavandish. An oval portrait of Georgiana Cavandish,nee Spencer(1757-1806) after Thomas Gainsborough. The daughter of John Spender,1st Earl Spencer of Althorp,Northamptonshire. Signed lower right "ino Gainsborough",presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm.
Joseph K.Stieler (1781-1855) Miniature of Nanette Heine. An oval portrait of Nanette Heine,nee Kaula (1812-1876),one of the "Nymphenburg Beauties". Signed lower right "Stieler",presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm.
European school; 19th century. "Portrait of Beethoven". Gouache on vellum. It has a bronze frame. Measurements: 11 x 7,5 cm. Work that reproduces the portrait of Ludwig van Beethoven made in 1820 by the German painter Joseph Karl Stieler (Mainz, 1781-Munich, 1858). The piece shows the bust of the musician, holding the score of his Missa solemnis in his hands, on which he appears to be about to write, as can be deduced from the gesture of the hand holding the pencil and the reflective face. The original portrait was created in about four sittings in 1820 as a result of the friendship between the musician and the painter. The work was included in the Spring Exhibition at the Academy of Fine Arts in Vienna, where it was well received by critics and the public.
Framed R.P.M German Porcelain Portrait of Female Beauty of Antonia Von Ott (1840) by artist Karl Joseph Stieler (German, b. 1781-d.1858). Marked on back: "R.P.M. / Germany / 7972". Measures: Frame: 11" x 12-1/2" Site: 7" x 9"
of "Alex Princess von Bayern" after Joseph Karl Stieler (Germany, 1781-1858). Bust length portrait, signed lower right, in an octagonal frame with engraved border and engraved brass liner. Old label verso with title. Not examined out of frame. Frame size: 5 3/4" high, 5" wide. Miniature: 3 1/4" high, 2 1/2" wide. Lifting to frame with small losses and several small cracks. *This item may contain material not permitted to be shipped internationally or to CA, NY, NJ or MA. It is the responsibility of the buyer to obtain any necessary documentation, permits or paperwork necessary including but not limited to such documents as required to comply with any and all requirements and restrictions imposed by US Federal trade regulations related to endangered species prior to finalization of any sale.
After Joseph Karl Stieler (German, 1781-1858) - Miniature Portrait of Helene Sedelmayer. Signed. Painting: 8x6cm. Frame: 15.5x13cm. When Helene Sedelmayer was 14 she came to Munich and became a delivery girl for a toy store located near the Royal Residence. Whilst making a delivery she met King Ludwig. He immediately offered her a place in the Beauty Gallery, and bought the complete traditional Munich costume for her. The costume consisting of "a beautiful silver headdress, silver chains, shawl and dress". King Ludwig compared Helene to the paintings of Fra Angelico and stated that "Helene belongs to the pure" and that in Helene's case "beauty is effaced by virtue".
Antique miniature portrait painting by Josef Karl Stieler (German, 1781-1858) depicting the young Princess of Prussia Marie, later Queen of Bavaria (German, 1845-1912), wearing a diamond necklace and ermine fur cape, signed upper left, housed in a gilt metal easel frame with scrolling foliate motif. 4.25" H x 3.75" W x 2.25" D when stand is extended.
Joseph Karl Stieler, 1781-1858, German painter. A colored print copy of Stieler's 1829 painting, Portrait of Anna Hillmayer, mounted on board. Anna Hillmayer was a daughter of a meat dealer in Munich. She is shown in a traditional German headdress and with a prayer book in front of the Munich Frauenkirche as a symbol of piety. Golden frame. Collectible Classical European Art Print.
Joseph Karl Stieler Mainz 1781 - 1858 Munich Portrait of Therese of Saxony-Hildburghausen (1792-1854) Oil on canvas 77 x 62 cm, with frame 95 x 78 cm Inscribed & dated on the reverse by his own hand "Ihre k. Majestaet, Therese Königin v. Bayern gemalt v. Jos. Stieler 1856". Provenance: Property of Henriette Hohenlohe We thank Dr. Ulrike von Hase-Schmundt, Munich, for her kind assistance. The portrait, dated by the painter himself to 1856, is listed in Stieler's list of sales: " Königin Therese in Brustbild, 2 mal gemalt für Erzherz. Hildegarde 50 (Louis d’Or)” (translation: “Queen Therese in bust portrait, painted 2 times for Archduchess Hildegarde 50 (Louis d'Or).") As such, there are two paintings mentioned here. Both works were intended for her daughter, Hildegard Grand Duchess of Hesse in Darmstadt. In the collection of the palace in Darmstadt there is a lithograph, which is clearly based on this picture. Illustration in: Barbara Beck, Mathilde, Grossherzogin von Hessen und bei Rhein geb. Prinzessin von Bayern (1813-1862). Mittlerin zwischen München und Darmstadt, Arbeiten der Hessischen Historischen Kommission, Neue Folge Band 7, Darmstadt 1993.
Maximilian II of Bavaria as Crown Prince (1811 Munich - 1864 ibid.). . Oil on canvas. 73 x 59 cm. Relined. Minor restoration. Minor damage to frame (96 x 81.5 cm). Expert opinion: Dr. Ulrike von Hase-Schmundt, Munich, 18 August 2022. Provenance: gift from the crown prince to his philosophy teacher Friedrich Wilhelm Joseph von Schelling. - Owned by Schelling's descendants, since then Literature: Trost, Ludwig / Leist, Friedrich (editor), König Maximilian II. von Bayern und Schelling. Briefwechsel. Stuttgart 1890. Cf. Hase, Ulrike von, Joseph Stieler. 1781-1858. Munich 1971, catalogue raisonné number 176.
Miniature portraits, oil on ivory, marked verso "Comptesse de la Vichy" (illegibly signed) & Anna R. Kaula n. Stieler", signed J. Stieler and housed in ivory and tortoiseshell frames, OS: 4 3/4" x 5 3/4".
Joseph Karl Stieler German1781-1851 Miniaturist From 1820 until 1855. An oval portrait miniature of Georgiana Cavendish nee Spencer 1757-1806 after Thomas Gainsborough. The daughter of John Spencer, 1st Earl Spencer of Althorp, Northamptonshire. signed lower right "ino Gainsborough", presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm
Joseph Karl Stieler German1781-1851 Miniaturist From 1820 until 1855 he worked as royal court painter of the Bavarian kings. An oval portrait miniature of Elisabeth Ludovika of Bavaria,Queen of Prussia wearing Ermine Cape, signed mid right "Steiler", presented in an elaborate engraved oval ebony/ tusk frame. 11.5 x 13.5 cm
Joseph Karl Stieler German1781-1851 Miniaturist From 1820 until 1855 he worked as royal court painter of the Bavarian kings. An oval portrait miniature of Nanette Heine, nee Kaula (1812-1876), one of the "Nymphenburg Beauties", signed lower right "Steiler", presented in an elaborate engraved oval tusk frame. 11.5 x 13.5 cm
Joseph Karl Stieler (1781 Mainz - 1858 München) nach Brustbildnis König Ludwig I. von Bayern im Krönungsornat Um 1830 entstandene, variierende Ausschnittkopie des berühmten, repräsentativen, lebensgroßen, ganzfigurigen Porträts, das 1826 von Stieler geschaffen und direkt vom Künstler für die späteren Staatsgemäldesammlungen in München erworben wurde (Neue Pinakothek, Inv.-Nr. 1062). Stieler wurde Ende 1820 zum Hofmaler ernannt und malte bereits 1822 von König Maximilian I. Joseph ein offizielles Staatsporträt im Krönungsornat. 1825 folgte ihm der restaurativ regierende Ludwig I. (1786 - 1868) auf den Thron, der im Revolutionsjahr 1848 nicht zuletzt wegen seiner Affäre mit der Tänzerin Lola Montez abdanken musste. Öl/Lwd.; 71 cm x 58,5 cm. After Joseph Karl Stieler (1781 - 1858). Oil on canvas.
PORTRAIT OF EMPRESS AMÉLIE OF BEAUHARNAIS attributable to the school of Joseph Karl Stieler (1781-1858). Oil on canvas, ca. 1830. Empire frame. Dim.: 81x64 cm. Note: Amélie of Leuchtenberg was the second wife of Emperor Pedro I of Brazil. Was daughter of Prince Eugenio of Beauharnais, Duke of Leuchtenberg and his wife, Princess Augusta of Bavaria.
Attribution Johann Baptist Hirschmann, 1770 Burgkundstadt-1829, pastel and miniature painter, here: Portrait of Auguste Amalies of Bayern after a model of Joseph Karl Stieler's (1781-1858, Goethe portraitist) portrait in French Chateau de Malmaison around 1816, puffed Clothing ornament in the style of the Renaissance, distinctive jewel chain with crucifix, pastel painting, image carrier torn at the bottom right, age space, oval picture detail, under glass framed, gilded frame, approx. 44x34 / 54x45 cm . German Description: Zuschreibung: Johann Baptist Hirschmann, 1770 Burgkundstadt-1829, Pastell- u. Miniaturenmaler, hier: Porträt Auguste Amalie von Bayern nach dem Vorbild von Joseph Karl Stieler (1781-1858, Goethe-Porträtist) Porträt im frz. Chateau de Malmaison um 1816, gepufftes Kleidungsornament im Stile der Renaissance, markante Juwelenkette mit Kruzifix, Pastellmalerei, Bildträger re. unten eingerissen, Alterssp., ovaler Bildausschnitt, u. Gl. gerahmt, vergoldeter Rahmen, ca. 44x34/54x45 cm
