Tischbein, Johann Heinrich the Elder - Portrait of Johann Jacob von Uckermann II. (Haina 1722-1789 Kassel) Kneeling portrait en-face in justeau corps with blue velvet waistcoat and lavish silver-coloured embroidery, in an interior with armchair and desk. Oil on canvas. 160 x 117 cm. - Thieme/Becker 33 - We would like to thank Dr Marianne Heinz, Kassel, for confirming the authenticity and identification of the sitter. // Tischbein, Johann Heinrich d.Ä. Portrait Johann Jacob von Uckermann II. (Haina 1722-1789 Kassel) Kniestück in en-face-Darstellung in Justeaucorps mit Weste aus blauem Samt und üppigen, silberfarbenen Stickereien, in einem Interieur mit Armlehnstuhl und Schreibtisch. Öl/Lwd. 160 x 117 cm. - Lit. Thieme/Becker 33. - Wir danken Dr. Marianne Heinz, Kassel, für die Bestätigung der Eigenhändigkeit und Identifizierung des Dargestellten.
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Hercules at Omphale with a Woolen Spindle, c. 1750, Etching Technique: Etching on Paper Inscription: Upper middle signed in the printing plate: "J. H. Tischbein invent. et fecit". Date: c. 1750 Description: Depiction of a scene from ancient Greek mythology from the stories about the hero Heracles (Hercules). As punishment for killing Iphitos, he must serve as a slave to Queen Omphale. After years of labour, she recognises him and marries him. The decadent life that follows leads to the effeminacy of Heracles, who soon wears women's clothes and spins wool. This depiction shows Omphale with Heracles' club sitting on his lap. The hero himself holds up a spindle of wool. Keywords: Antiquity, Antique, Figures, Nudes, Ruin, Ideal landscape, 18th century, Classicism, Mythology, Germany, Size: Paper: 21,8 cm x 18,5 cm (8,6 x 7,3 in), Plate: 19,0 cm x 15,6 cm (7,5 x 6,1 in)
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Menelaus and Paris, 1757, Etching Technique: Etching on Paper Inscription: Lower right signed in the printing plate: "JHTischbein Pinx et Sculp.". At the lower part inscribed in the printing plate: "Menlaus et Paris. le Tableau est dans le Cabinet de S.A.Sr Mgr le Landgrave de Hesse Cassell.". Lower right dated: "1757". Date: 1757 Description: Genre scene from ancient Greek mythology with a full-length depiction of warriors in front of a city. The scene tells the story of the legendary abduction of "Beautiful Helen", the wife of Menelaus, King of Sparta, by the king's son Paris. In the myth, the abduction to Troy was the cause of the beginning of the Trojan War. This scene depicts the duel between Menelaus and Paris, which takes place at the gates of Troy and only comes to a successful conclusion thanks to the intervention of the gods - Venus on the left envelops Paris in a cloud and takes him to Helena's chamber. Keywords: antiquising, warrior, antiquity, Greece, Homer, epic, 18th century, Classicism, Mythology, France, Size: Paper: 21,8 cm x 17,1 cm (8,6 x 6,7 in), Plate: 17,7 cm x 13,7 cm (7 x 5,4 in)
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel) Circle: Rural scene, sketch, 19th century, Pencil Technique: Pencil on Laid paper Date: 19th century Description: Pretty and lively drawing with old attribution to Tischbein. s. a. Tischbein Handzeichnungen von Eberhard Preime Bärenreiter Verlag Kassel n.d. ( 1942?). ( 1942?). Keywords: 19th century, Romanticism, Landscape, Germany, Size: Laid paper: 16,4 cm x 20,5 cm (6,5 x 8,1 in)
"Thetis et Achilles" - Diana und ihre Nymphen im Bade. 2 Radierungen. Jeweils in der Platte sign., eine dat. 1757. 17,7 x 13,8 und 16,9 x 13 cm. - Unter Glas (ungeöffnet; Altersspuren). - Nagler XXI, 144, 3 und 10. - Das 2. Blatt etw. stärker fleckig und gebräunt. -
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel) attributed: Three putti at play, figure study, 18th century, Charcoal Technique: Charcoal on Paper (brown) Watermark: Similar to: Figures (Human) - whole figure - Rider with horn - Berlin - Date: 1796 | watermarks online reference: DE0960-Zelter1_61 Date: 18th century Description: The drawing shows three putti apparently feasting on grapes. Keywords: Drawing, Charcoal, Mythology, Bacchus, Putti, Grape, Wine, 18th century, Classicism, Portraits, Germany, Size: Paper (brown): 13,8 cm x 20,1 cm (5,4 x 7,9 in)
Wolfgang Christoph Mayr (unkn. -1776 ibid.) after Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Division of the inheritance of the Landgraviate of Hesse in 1567, 18th century, Copper engraving Technique: Copper engraving on Paper Inscription: Lower right signed in the printing plate: "W. C. Mayr sculp. ". lower left inscribed in the printing plate: " J. H. Tischbein inv: del:". Date: 18th century Description: Miniaturised historical scene from the history of the state of Hesse. Standing around a table with a map of the territory of the Landgraviate of Hesse, four men are depicted in historical costume. They are the brothers William IV of Hesse-Kassel (1532 Kassel - 1592 ibid.), Louis IV of Hesse-Marburg (1537 Kassel - 1604 Marburg), Philip II of Hesse-Rheinfels (1541 Marburg - 1583 Rheinfels Castle) and George I of Hesse-Darmstadt (1547 Kassel - 1596 Darmstadt), who divide the inheritance among themselves after the death of their father Philip I, called the Magnanimous (1504 Marburg - 1567 Kassel). The reverse of the sheet shows a fragmentary text from a historical work. Verso: Typographic printing in German Keywords: History, Hesse, division of inheritance, costume, fashion, 18th century, Classicism, Fashion, Germany, Size: Paper: 8,4 cm x 10,5 cm (3,3 x 4,1 in), additional specification: Paper: 9.6 x 12.2 cm
STUDIO OF JOHANN HEINRICH TISCHBEIN I (Haina 1722-1789 Kassel) Frederick II (1720-1785), Landgrave of Hesse-Kassel (1760-1785), three-quarter... oil on canvas 57 ¾ x 42 ¾ (147 x 109 cm.)
Attributed to JOHANN HEINRICH TISCHBEIN (Haina, 1722 - Kassel, 1789). "Portrait of Christiane Henriette von Pfalz-Zweibrücken-Birkenfeld and her son Prince Karl Ludwig Christian von Waldeck". Oil on canvas. Relined. It presents faults and perforations on the pictorial surface. Measurements: 114 x 91 cm. This painting follows the models of the painting that is in the Schlossmuseum of Darmstadt attributed to Johann Heinrich Tischbein. Christiane Henriette was the daughter of Count Palatine and Duke Christian III of Zweibrücken (1674-1735) from his marriage to Karoline (1704-1774), daughter of Count Ludwig Kraft of Nassau-Saarbrücken. Christiane Henriette was the sister of Duke Christian IV of Zweibrücken, the Grand Landgrave and Field Marshal Friedrich Michael. She was also the aunt of the first Bavarian king Maximilian I. After the death of her husband, she exercised the guardianship of her son Friedrich in the principality from 1764 to 1766. Christiane Henriette was considered an artistically minded woman and highly educated in science. She was a close friend of the anthropologist Johann Friedrich Blumenbach. Christiane created an extensive library, and maintained an art and natural history cabinet at her residence in Arolsen. At her death at the advanced age of 90, Christiane Henriette left behind considerable debts, so that part of her library and her painting collection had to be auctioned off in 1820. Kasseler Tischbein was one of the most respected European painters of the 18th century and an important member of the German Tischbein family of painters, which spanned three generations. His work consisted mainly of portraits of the nobility, mythological scenes and historical paintings. For his mythological paintings, his models were mostly members of the high nobility. He studied painting with Johann Georg von Freese (1701-1775), after which he worked in the service of small princely courts. In 1743, thanks to the patronage of Count Johann Philipp von Stadion, he was able to go to Paris and study with Carle van Loo. In 1749, he traveled to Venice to study with Giovanni Battista Piazzetta, and then spent a year in Rome. In 1753, he was appointed court painter to William VIII, Landgrave of Hesse-Kassel. During the Seven Years' War, he fled the advancing French army and lived in various places until the occupation ended in 1762. Upon his return, he was appointed professor at the new Collegium Carolinum in Kassel.
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Menelaus and Paris, 1757, Etching Technique: Etching on Paper Inscription: Lower right signed in the printing plate: "JHTischbein Pinx et Sculp.". At the lower part inscribed in the printing plate: "Menlaus et Paris. le Tableau est dans le Cabinet de S.A.Sr Mgr le Landgrave de Hesse Cassell.". Lower right dated: "1757". Date: 1757 Description: Genre scene of ancient Greek mythology with full-figure representation of warriors in front of a city. The scene tells the story of the legendary abduction of the "Beautiful Helen", the wife of Menelaus, King of Sparta, by the king's son Paris. In the myth, the abduction to Troy was the cause of the beginning of the Trojan War. In this scene we see the duel between Menelaus and Paris, which takes place at the gates of Troy and is only spared by the intervention of the gods - Venus, on the left, envelops Paris in a cloud and takes him to Helena's chamber. Keywords: Antique, Warrior, Antiquity, Greece, Homer, Epic, 18th century, Classicism, Mythology, France,
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Hercules at Omphale with a Woolen Spindle, c. 1750, Etching Technique: Etching on Paper Inscription: Upper middle signed in the printing plate: "J. H. Tischbein invent. et fecit". Date: c. 1750 Description: Depiction of a scene from ancient Greek mythology from the stories about the hero Heracles (Hercules). As punishment for killing Iphitos, he must serve as a slave to Queen Omphale. After years of labour, she recognises him and marries him. The decadent life that follows leads to the effeminacy of Heracles, who soon wears women's clothes and spins wool. This depiction shows Omphale with Heracles' club sitting on his lap. The hero himself holds up a spindle of wool. Keywords: Antiquity, Antique, Figures, Nudes, Ruin, Ideal landscape, 18th century, Classicism, Mythology, Germany,
Johann Heinrich Tischbein jun. (1742 Haina - 1808 Kassel) after Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): The smiling hermit at the window with a gesture of speech, 1784, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "H. Tischbein Pinx / H. Tischbein Jun. fec.". Lower right inscribed by another person: "A. II No 6". At the lower part dated: "1784". Date: 1784 Description: An old hermit stands at a wooden-framed window or a hatch in his hermitage and smiles at the viewer. His eyes look clear and friendly and he has raised his left hand in a gesture of speech. Keywords: Religion, Hermit, Hermitage, Hermit, Hermitage, Portrait, 18th century, Classicism, Portraits, Germany,
Johann Heinrich Tischbein jun. (1742 Haina - 1808 Kassel) after Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Acis and Galatea, c. 1758, Etching Technique: Etching on Paper Date: c. 1758 Description: Depiction of a scene from ancient Greek mythology. It shows the lovers Aki, son of Pan, and the Nereid Galathea reclining in a landscape. The jealous Cyclops Polyphemus peers out from behind a tree and watches them. Keywords: Antique, Antique, Figures, Nudes, Landscape, 18th century, Classicism, Mythology, Germany,
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel) attributed: Three putti at play, figure study, 18th century, Charcoal Technique: Charcoal on Paper (brown) Watermark: Similar to: Figures (Human) - whole figure - Rider with horn - Berlin - Date: 1796 | watermarks online reference: DE0960-Zelter1_61 Date: 18th century Description: The drawing shows three putti apparently feasting on grapes. Keywords: Drawing, Charcoal, Mythology, Bacchus, Putti, Grape, Wine, 18th century, Classicism, Portraits, Germany,
STAATSBILDNIS DES LANDGRAFS FRIEDRICH II VON HESSEN-KASSEL Öl auf Leinwand. 149 x 111 cm. Das Gemälde zeigt den Landesherrn in Lebensgröße. Mit Blick auf den Betrachter, steht er vor einer hügeligen Landschaft rechts und einem Laubbaum links. Seine rechte Hand auf einen Feldherrnstab gestützt, die linke an die Hüfte gelegt. Landgraf Friedrich II (1720 Kassel - 1785 Schloss Weissenstein) regierte ab 1760. Verehelicht mit einer Tochter des englischen Königs George III 1741 befehligte er seine Truppen im Verband mit Kaiser Karl VII im Österreichischen Erbfolgekrieg, konvertierte heimlich zum Katholizismus, worauf sich seine Gemahlin mit seinen drei Söhnen von ihm trennte. Er sah seine Frau nie-, die Söhne erst 1782 wieder. In zweiter Ehe mit Pilippine von Preußen, befehligte er als Generalfeldmarschall im Siebenjährigen Krieg, was ihm den Schwarzen Adlerorden eintrug. Diese politischen Hintergründe erklären nicht nur die mit Orden geschmückte Brust, sondern auch die Entstehungszeit des Bildes, das dokumentiert, dass es nach den verliehenen Auszeichnungen gemalt wurde. Hier trägt er einen silberbestickten Militärrock mit Silberbesatz, darauf die Sterne des Hosenbandordens, und des schwarzen Adlerordens. Am blauen Ordensband auf der Brust der hessische Orden „Pour la militaire“. Neben dem Degengefäß der Hessische Hausorden vom Goldenen Löwen - dieser wiederholt auf dem roten Futter des Hermelinmantels links unten, darauf der Dreispitz. Sein Reichtum erwuchs aus dem im 18. Jahrhundert geübten Soldatenhandel, vor allem für den Unabhängigkeitskrieg in Amerika, was dem Herrscher auch ermöglichte, das Kunstwesen zu fördern – mit der Akademie 1777, dem Erwerb des berühmten antiken „Apollon“, oder seinem „Friedericianum“, dem ersten öffentlichen Museum Europas. Seine Staatsporträts – wie die auch anderer Herrscher erforderlich für die Schlösser der Adelsfamilien – wurden von Tischbein in mehreren Repliken geschaffen, jeweils mit unterschiedlichen Details, je nach den politischen Ereignissen oder militärischen Erfolgen. Als preußischer Generalfeldmarschall ist er etwa in dem Gemälde vor einer Schlacht zu sehen (Bridgeman Art Library). Das hier vorliegende Gemälde zählt zu den ausgezeichneten Versionen der Porträtreihe des Landgrafen, in hervorragender Malqualität. A.R. Tischbein war einer der bedeutendsten Porträtisten des 18. Jahrhunderts und bekanntesten deutschen Maler. Als Bäckerssohn gelang ihm der Aufstieg zum Hofmaler. In Paris studierte er bei Carle van Loo, in Venedig bei Piazzetta. Seit 1753 Hofmaler in Hessen, schuf er unzählige Bildnisse der landgräflichen Familien, als Professor für Malerei und Direktor an der Kasseler Kunstakademie war er Lehrer mehrerer Mitglieder seiner Familie, so etwa seines Neffen Johann Heinrich Wilhelm Tischbein (1751-1829), der als Goethe-Tischbein berühmt wurde. Er begründete er einen Malstil, der auch das 19. Jahrhundert mitprägte. Provenienz: Dorotheum Wien, März 1998, Lot. 256. Literatur: Vgl. Flohr, Anna-Charlotte: Johann Heinrich Tischbein d.Ä. (1722-1789) als Porträtmaler mit einem kritischen Werkverzeichnis. München 1997, S. 300. Vgl. Heraeus, Stefanie [Bearb.]; Eissenhauer, Michael [Hrsg.]: Spätbarock und Klassizismus. Bestandskatalog der Gemälde in den Staatlichen Museen Kassel. Kassel [u.a.] 2003, S. 105, Kat.Nr. 83. Vgl. Eckhart G. Franz: Haus Hessen – Biografisches Lexikon. 2012, S. 129 ff. Vgl. Sonderausstellung 2022 Schloss Fasanerie Eichenzell bei Fulda: Tischbein – Meisterwerke des Hofmalers, Porträts und Landschaften von Johann Heinrich Tischbein d. Ä. (1722-1789). (13713341) (11) Johann Heinrich Tischbein the Elder, 1722 Heina – 1789 Kassel, attributed STATE PORTRAIT OF LANDGRAVE FRIEDRICH II OF HESSE-KASSEL Oil on canvas. 149 x 111 cm. Provenance: Dorotheum Vienna, March 1998, lot. 256. Literature: cf. Flohr, Anna-Charlotte: Johann Heinrich Tischbein the Elder (1722-1789) as a portrait painter with a critical catalogue raisonné. Munich 1997, p. 300. cf. Heraeus, Stefanie [ed.]; Eissenhauer, Michael [ed:] Late Baroque and Classicism. Catalogue of the Paintings in the Staatliche Museen Kassel. Kassel [et al.] 2003, p. 105, cat. no. 83. cf. Eckhart G. Franz: House of Hesse – Biographical Dictionary. 2012, p. 129 ff. cf. special exhibition 2022 Schloss Fasanerie Eichenzell near Fulda: Tischbein – Masterpieces of the Court Painter, Portraits and Landscapes by Johann Heinrich Tischbein the Elder (1722-1789).
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel) Circle: Rural scene, sketch, 19th century, Pencil Technique: Pencil on Date: 19th century Description: Pretty and lively drawing with old attribution to Tischbein. s. a. Tischbein Handzeichnungen von Eberhard Preime Bärenreiter Verlag Kassel n.d. ( 1942?). ( 1942?). Keywords: 19th century, Romanticism, Landscape, Germany,
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Portrait of an ancient philosopher, c. 1760, Charcoal Technique: White heightened Charcoal on Watermark: - Crown - With monogram LW or WL - Date: 18th century Inscription: labelled top left: "Tischbein" Date: c. 1760 Verso: ancient scene Keywords: antiquity, history, philosopher, thinker, writing, reading, 18th century, Classicism, People, Germany,
Ca. 1760. Oil/canvas. 99,5 x 81 cm. Rest., relined. - One of the most important German painters of the 18th cent. from a dynasty of artists. After apprenticeship in Kassel 1736-41 he continued his studies in the studios of C. van Loo in Paris and G. B. Piazzetta in Venice. In 1753 he was made painter to the court in Kassel, in 1756 also professor. Mus.: Berlin, Kassel, Fulda a. others Lit.: Thieme-Becker, Bénézit a. others
The painting is still in the possession of the descendants of the painter Johann Heinrich Wilhelm Tischbein. Here it always bore the title "Mutterglück" (Mother's Happiness). According to family tradition, it is a portrait of the painter's wife, Anna Martha Kötting (1775 -1832), who is holding her fourth child, daughter Conradine, born in 1810, in her arms.
We would like to thank Dr Marianne Heinz, Kassel, who has viewed the painting in the person, for confirming its authenticity and for providing the following catalogue text. "The painting has not been trimmed or relined, the stretcher is presumably still original. Painted around 1770. This portrait depicts Johann Jacob von Uckermann II (1718 Wahnfried - 1781 Hannover) in a three-quarter figure enface in a justeaucorps with a matching blue velvet waistcoat with lavish silver embroidery in an interior that we often find in the works of Tischbein the Elder. He leans his left hand on an armchair with splendid vermilion upholstery, while his right hand points to a sketchbook on the desk next to him. On top of it, in front of a group of books, stand the writing utensils typical for the era, with an inkwell, quill, pounce box and table bell. A plush red curtain closes the composition on the left. The background remains here - as in many of Tischbein the Elder's portraits - without any specific characterisation or decoration. By leaving the back wall empty, the painter thus provides enough space for the brightly lit and finely painted portrait of the sitter. Since the portrait lacks any medals or comparable accessories that could tell us the identity of the depicted, the only way we can precisely identify him is by the inscriptions on the spines of the books. The spine of the middle book reads: "HOCHFURTL / HESS:POSTOR / 1763". This tells us that the sitter is Johann Jacob Uckermann (II), son of Johann Jacob Uckermann I (1682-1749), who like his father was a merchant and mayor of Wanfried. Uckermann became wealthy as a supplier to the troops during the Seven Years' War. He was appointed Kommerzienrat and Generalpostintendant in 1763 and was responsible for the development and operation of the Hessian postal system. In 1766 he was made privy councillor of war, ennobled in 1769 and raised to the rank of imperial baron in 1770. Through his marriage to his second wife, Johanna Christiane Meyer (1742-1827), in 1761 he came into the possession of Bendeleben Castle in Thuringia and Weesenstein Castle in Saxony. (The information on the Uckermann family is taken from the publication by Hendrik Bärnighausen: Das "Museum" des Freiherrn Johann Jacob von Uckermann und seine Übernahme durch die Universität Leipzig, in: Staatliche Schlösser, Burgen und Gärten Sachsen, Jahrbuch 13, Dresden 2005, here especially p. 129. This also contains a family painting by Uckermann (p. 128), which additionally confirms the identity of the sitter)".
(Haina 1722–1789 Kassel) Portrait of the artist’s daughter Wilhelmine Caroline Amalie (1757–1838) as an Allegory of Painting, oil on canvas, 54 x 42 cm, framed We are grateful to Anna-Charlotte Flohr for confirming the attribution and for the identification of the sitter. Her extensive written analysis accompanies the present lot. Tischbein’s eldest daughter, Wilhelmine Caroline Amalie, was particularly close to the artist. The present, recently rediscovered portrait is a rare, intimate and personal work. The young daughter, who was also an artist in her own right, is depicted with brush and palette in front of an easel and a canvas. She is dressed in an informal shirt which is left casually undone, a shawl and a blueish cloak. Her hair is simply coifed and tied with a ribbon. The whole setting conveys a sense of domestic intimacy. It is unclear whether the painting was intended simply as an artist’s portrait or, in a wider sense, as an allegory of painting. Tischbein had to endure several blows of fate as a young father. He lost both his first wife Marie Sophie Robert in 1759, and his second wife Anne Marie Pernette in 1763. These personal tragedies might have deepened his relationship with his two young daughters. Wilhelmine Caroline Amalie married David Philipp von Apell (1754–1833), who became director of the Kassel court theatre. She exhibited her work at the Kassel Academy and was celebrated by contemporaries, such as the poet Christoph Martin Wieland, who dedicated a poem to her in praise of a self-portrait she had sent to him (see W. Sucher, ‘Amalie Tischbein, verh. von Apell (1756–1839)’, in: M. Sitt (ed.), Aufgedeckt: Malerinnen im Umfeld Tischbeins und der Kasseler Kunstakademie, Hamburg 2016, p. 27). She had met Wieland in Weimar in 1775 (see C. M. Wieland, ‘An Mademoiselle Amalia Tischbein, als sie mir ihr von ihr selbst gemaltes Bildnis übersandte‘, in: Der Teutsche Merkur, vol. 30, Weimar 1776, p. 10). Tischbein depicted his favourite daughter on several occasions and apparently included her in some of his larger history paintings. Almost all known depictions of Amalia show her from a similar angle: one painting entitled La silence, at the Fasanerie Palace in Fulda apparently depicts her in a very similar pose, and we find her again in a preparatory drawing in red chalk in Kassel (Hessische Hausstiftung, Eichenzell, inv. no. FAS B 241; and Graphische Sammlung, MHK, inv. no. GS 453 a). Her portrait with a fan, conserved in the Gemäldegalerie Alte Meister, Kassel (inv. no. LM 1940/481) is also comparable. In Tischbein’s celebrated family portrait, of which there must have been at least two versions, she is also shown once again in the familiar pose: one version is a small-scale painting conserved in the Niedersächsisches Landesmuseum, Hannover (inv. no. PAM 976), whilst a larger variant was recently sold on the German art market (see sale, Lempertz, Cologne, 14 November 2020, lot 2028). The family portrait formerly in Berlin, which was once intended, together with two other paintings of similar size, to form decorative wall panels in Tischbein’s house in the Bellevue in Kassel, shows her in profile, but this time from the left (ex-Berlin, Nationalgalerie, lost in war; see Flohr 1997, cat. G 214). Very closely related to her depiction in the present work is her portrait in another large-scale painting from that series, showing both daughters in highly fashionable Turkish dress. Tischbein of Kassel was one of the most talented and influential members of a family of artists. His patron, Count Stadion, funded the artist’s five-year stay in Paris, where, from 1743 on, he worked in the studio of Charles van Loo. Together with Johann Christian Fiedler, Christian Bernhard Rode, and Januarius Zick, he was among the first German artists to have been trained in Paris. Between 1748 and 1751, Tischbein travelled across Italy. Having sojourned in Venice for several months, he briefly visited Bologna and Florence and then stayed in Rome for two years. In Venice he became a friend of Giovanni Battista Piazzetta. After his return from Italy, Count Stadion recommended the painter to Landgrave William VIII of Hessen-Kassel, who appointed him court painter in April 1753. After the Landgrave’s death, Tischbein continued serving as first court painter under his successor, Frederick II. In 1762, he began teaching drawing and painting at the Collegium Carolinum. In 1776 he was appointed both Professor for painting and Director at the Kassel Academy of Fine Arts. In 1779 he was made an honorary member of the Academia Clementina in Bologna. Tischbein painted important history paintings but is known today primarily for his courtly and highly elegant portraits. The present painting, clearly inspired by Venetian and French contemporary art and in a sophisticated, soft and almost delicate manner typical of Tischbein’s best works, is an important addition to the artists oeuvre.
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Hercules at Omphale with a Woolen Spindle, c. 1750, Etching Technique: Etching on Paper Inscription: Upper middle signed in the printing plate: "J. H. Tischbein invent. et fecit". Date: c. 1750 Description: Depiction of a scene from ancient Greek mythology from the stories about the hero Heracles (Hercules). As punishment for killing Iphitos, he must serve as a slave to Queen Omphale. After years of labour, she recognises him and marries him. The decadent life that follows leads to the effeminacy of Heracles, who soon wears women's clothes and spins wool. This depiction shows Omphale with Heracles' club sitting on his lap. The hero himself holds up a spindle of wool. Keywords: Antiquity, Antique, Figures, Nudes, Ruin, Ideal landscape, 18th century, Classicism, Mythology, Germany,
GemäldepaarLANDGRAF FRIEDRICH II VON HESSEN-KASSEL (1720 - 1785) sowiePRINZESSIN CHRISTINE CHARLOTTE VON HESSEN-KASSEL (1725 - 1782) Öl auf Leinwand. 144 x 112 cm. Das Herrenportrait ist rückseitig oben links bezeichnet und datiert „Tischb. 1765 Kurfürst von Hessen“. In Rokokorahmen, die dem Innenarchitekten und Dekorationsbildhauer Johann August Nahl d. Ä. (1710 Berlin - 1785 Kassel) zugeschrieben werden. Dieser war seit 1755 in Kassel tätig. Der Souverän in Dreiviertelfigur nach links in blauem, reich besticktem Uniformrock dargestellt mit Band und Stern des englischen Hosenbandordens. Neben ihm ein kleiner Tisch, darauf sein Dreispitz und eine Kupferstichkarte, dahinter eine Vorhangdraperie. Christine Charlotte als Kniestück, den Kopf nach links gewandt, mit Band und Stern des russischen Katharinenordens vor Vorhangdraperie. Die Prinzessin hält die Pfote ihres Schoßhündchens, der auf einem Sessel steht. Dessen Halsband mit Bezeichnung C.P.Z.H: Christine Prinzessin zu Hessen. Als Cousine des Landgrafen Friedrich II war sie nach dessen Trennung von seiner Gemahlin im Jahre 1754 die ranghöchste Dame am Kasseler Hof und kam bis 1773 den Repräsentationsaufgaben der ehemaligen Landgräfin nach. Ab 1766 bekleidete sie das Amt einer Koadjutorin der Förstabtei Herford. Provenienz: Familie des Johann Jacob von Uckermann (ehemals Hessischer Geheimrat, Schloss Weesenstein, Bedeleben). Bis 1945 im Besitz der Uckermann‘schen Nachfahren auf Schloss Luttowitz bei Bautzen. 1945 im Rahmen der Bodenreform enteignet mit Übergang in den Besitz der Gemäldesammlung Alte Meister, Dresden. 2008/2009 Restitution an die Erben der rechtmäßigen Eigentümer. Anmerkung: Ein weiteres Portrait der Prinzessin befindet sich im Besitz der Hessischen Hausstiftung, Museum Schloss Fasanerie, Eichenzell. Eine weitere Version findet sich auf Schloss Kronberg (signiert und datiert 1765). Literatur: Das hier angebotene Gemäldepaar ist aufgeführt im Werkverzeichnis: Anna-Charlotte Flohr, Johann Heinrich Tischbein d.Ä. (1722 - 1789) als Porträtmaler. Mit einem kritischen Werkverzeichnis, München 1997, S. 176, WVZ-Nr. G14 (Landgraf) und G41 (Prinzessin), mit Abb. (1370346) (13) Johann Heinrich Tischbein the Elder, 1722 Haina – 1789 Kassel A pair of paintings FREDERICK II, LANDGRAVE OF HESSE-KASSEL (1720 - 1785) and HIS COUSIN PRINCESS CHRISTINE CHARLOTTE OF HESSE-KASSEL (1725 - 1782) Oil on canvas. 144 x 112 cm. The portrait of the gentleman is inscribed and dated top left on the reverse: Tischb. 1765 Kurfürst von Hessen. In Rococo frame, attributed to the interior architect and decorative sculptor Johann August Nahl the Elder (1710 Berlin - 1785 Kassel). He was active in Kassel since 1755. The sovereign is shown in three-quarter length portrait to the left, in a blue, richly embroidered tunic, with the ribbon and star of the Order of the Garter. Beside him a small table, on it his tricorn and a copperplate map, with drapery in the background. Christine Charlotte is shown in knee-length portrait, her head turned to the left, with the ribbon and star of the Russian Order of Saint Catherine in front of curtain drapery. The princess holds the paw of her pet dog, who is standing on an armchair. His collar with the inscription C.P.Z.H: Christine Princess of Hesse. Literature: The pair of paintings on offer for sale in this lot are listed in the catalogue raisonné: Anna-Charlotte Flohr, Johann Heinrich Tischbein d. Ä. (1722 - 1789) als Porträtmaler, mit einem kritischen Werkverzeichnis, Munich 1997, p. 176, catalogue no. G14 (Landgrave) and G41 (Princess), with illustration.
(1722 Haina - 1789 Kassel) Paar Porträts seiner Tochter Wilhelmine Caroline Amalie von Apell geb. Tischbein und seines Schwiegersohnes David August von Apell Gegenstücke. Repräsentative, höfische, wohl um 1780 kurz nach der Heirat (1778) entstandene, künstlerisch herausragende Bildnisse, jeweils als Halbfiguren in Interieurs. Wilhelmine Caroline Amalie als junge Schönheit mit hochgestecktem Haar, gewandet in ein spitzen- und schleifenverziertes sowie besticktes, grünes Rokoko-Kleid, eine Rosenblüte und einen geschlossenen Fächer in den Händen haltend. David August von Apell auf einem Lehnstuhl an einem Schreibtisch sitzend, in standesgemäßer, modischer Kleidung der Zeit (goldbestickter, dunkelblauer Jacke und silberfarbener Weste, mit feinem, weißen Spitzen-Jabot und Ärmeln), den Betrachter im Halbprofil anblickend, während er mit seinen Händen ein Buch, Schriftstücke und eine Schreibfeder hält. Öl/Lwd., eines doubl.; 81cm-82 cm x 61cm-62 cm. Vergoldete, teilw. aus dem vollen Holz geschnitzte Original-Rokoko-Rahmen. Wilhelmine Caroline Amalie von Apell geb. Tischbein (1757 Kassel - 1838 Kassel) war Malerin, Zeichnerin, Miniaturmalerin und, Schülerin ihres Vaters Johann Heinrich Tischbein d. Ä. Sie studierte 1778 an der Kasseler Kunstakademie, zeigte mehrfach Werke auf der jährlichen Ausstellung der Akademie und wurde 1780 lebenslanges Ehrenmitglied der Akademie; 1778 heiratete sie David August von Apell (1754 Kassel - 1832 Kassel), der Schriftsteller, Komponist, Theaterdirektor und Geheimer Kammerrat in Kassel war, ließ sich aber 1819 von ihm scheiden. Wilhelmine Caroline Amalie saß ihrem Vater öfters Modell, doch haben sich nur wenige Gemälde erhalten: ein Porträt aus dem Jahr 1773 (Inv.-Nr. LM 1940/481), außerdem die sog. "Die blaue Dame" (um 1777-1780, Inv.-Nr. GK 717) und ein kleines Bildnis im Profil (um 1780-1785; Inv.-Nr. LM 1938/62) in der Gemäldegalerie Alte Meister in Kassel, Museumslandschaft Hessen Kassel. Provenienz: Laut Informationen des Einlieferers aus dem Besitz der Apotheker- und Politikerfamilie Cybulla in Kassel; Privatsammlung Kassel. A pair of portrait paintings depicting the daughter of Johann Heinrich Tischbein the Elder, Wilhelmine Caroline Amalie von Apell geb. Tischbein und his son-in-law David August von Apell. Oil on canvas, one of them relined. Original frames.
CIRCLE OF JOHANN HEINRICH WILHELM TISCHBEIN 1751 Haina - 1829 Eutin BREAST PORTRAIT OF A YOUNG LADY WITH A HEADSCARF Oil on canvas on soft wood panel (oval). 47 x 35,5 cm (F. 64,5 x 53,5 cm). Part. min. old rest., slightly old retouching. Framed in an oval passepartout. Provenance: Hessian private collection. JOHANN HEINRICH WILHELM TISCHBEIN (UMKREIS) 1751 Haina - 1829 Eutin BRUSTBILDNIS EINER JUNGEN DAME MIT KOPFTUCH Öl auf Leinwand auf Nadelholztafel (oval). 47 x 35,5 cm (R. 64,5 x 53,5 cm). Part. min. altrest., leicht Altretuschen. Im Ovalpassepartout gerahmt. Provenienz: Hessische Privatsammlung.
Pen in black, grey wash, on laid paper. 1771. Inscribed "C.(conjoined) Tischbein pinx. et del. 1771." lower right and "das Gemälde ist im Cabinet seiner Durchlaucht des H. (?) LandGrafs" lower left. Inscribed no. "5" upper right corner. With a margin line in black pen.
Johann Heinrich Tischbein Haina 1722 - 1789 Kassel, Attributed Backgammon game 2nd half of 18th century Oil on canvas, relined 91 x 105 cm, with frame 109 x 122 cm The scene depicted here shows a group of three, a woman and two men, playing a very old board game that has numerous names: it probably originated in Persia in the 2nd millennium BCE and was also known to the Greeks and Romans. Today, in Europe, it is known as backgammon (from the English-speaking world) or trictrac (France), among other names. It first appeared in Italy around 1500; in the 18th century it was extremely popular in aristocratic circles. The game combines chance with strategy: you follow the numbers on two dice to bring your pieces to the goal, but at the same time you want to prevent your opponent from doing the same. The two seated figures look up at the standing man, who is holding a cap behind his back and a staff in his hand. He is also carrying an elaborately decorated bag slung around his shoulders. The centrally positioned woman is holding a dice cup, which could indicate that it is her turn. However, she turns away from the board and her counterpart, and looks back over her shoulder at the standing man. Possibly he is giving her a hint as to which pieces she should move? The man on the right half of the painting is already holding an oversized token in his hand and is looking expectantly at the second man. Interestingly, there are no other game pieces to be seen, suggesting that the game is nearing its end. This depiction is derived from game scenes in engravings or paintings; a possible model would be Jan van Bijlert's (1597/8-1671) "Joueurs de trictrac" (Musée de la loterie, Brussels). However, the painting presented here is of softer modelling and finer execution, especially in the textile details. Overall, the painting shows French inspiration, but was probably painted in Germany. It is possible that it was Johann Heinrich Tischbein the Elder, one of the most important painters of the 18th century, who created this work. He studied in Paris and also travelled to Italy. Later he acted as court painter for two landgraves and founded the Kassel Art Academy. Tischbein often painted courtly, elegant portraits, and this one could also fall into that category. The painter used Caravaggio's chiaroscuro technique here, which was particularly popular in Italy but also in France. However, there is no exact dramatic light source; the three people stand out clearly against the dark interior, with the coloured robes appearing to be glowing as a result. However, the lady's skin is much lighter than that of the male figures, possibly suggesting an erotic component. Could one of the men be the patron who has himself depicted with his beloved and a rival in order to impress his mistress and win her over? Or could the lady have commissioned the painting to proudly present and juxtapose her two suitors? Bibliography: Tristan Donovan, It's all a game. The history of board games from Monopoly to Settlers of Catan, New York 2017, pp. 13-16. Karin Schrader, Tischbein Johann Heinrich the Elder. In: New German Biography (NDB). Vol. 26, Berlin 2016, pp. 300-302.
This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
ATTRIBUTED TO JOHANN HEINRICH TISCHBEIN THE ELDER (HAYNA 1722-1789 CASSEL) ATTRIBUTED TO JOHANN HEINRICH TISCHBEIN THE ELDER (HAYNA 1722-1789 CASSEL) Abraham kneeling before the Three Angels oil on panel 53.3 x 41.9 cm The style and treatment of the painting point to its likely execution during and after the 1740s. The work can be compared on stylistic grounds to treatments after his studies in Paris C1743-48 and most notibly with the studio of Carl van Loo, the present panel is characterised by meticulous detail, refined technique, comparable treatment of light and a similar characterisation of the figures. Tischbein received his early training in Germany, from among others his elder brother, Johann Valentin Tischbein. Paris exerted huge influence on the visual arts at the courts of Germany; and it was therefore perfectly natural for an aspirant painter to further his studies in Paris. Tischbein went there in 1743 and had the prescience to attach himself to the establishment of Carl van Loo. Now somewhat overlooked, van Loo was a sensible choice as a mentor, Tischbein had much to learn, and spent five years in Paris. In 1748, however, he set out for Italy. He spent eight months in Venice and then moved by way of Bologna and Florence to Rome.
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Menelaus and Paris, 1757, Etching Technique: Etching on Paper Inscription: Lower right signed in the printing plate: "JHTischbein Pinx et Sculp.". At the lower part inscribed in the printing plate: "Menlaus et Paris. le Tableau est dans le Cabinet de S.A.Sr Mgr le Landgrave de Hesse Cassell.". Lower right dated: "1757". Date: 1757 Description: Genre scene of ancient Greek mythology with full-figure representation of warriors in front of a city. The scene tells the story of the legendary abduction of the "Beautiful Helen", the wife of Menelaus, King of Sparta, by the king's son Paris. In the myth, the abduction to Troy was the cause of the beginning of the Trojan War. In this scene we see the duel between Menelaus and Paris, which takes place at the gates of Troy and is only spared by the intervention of the gods - Venus, on the left, envelops Paris in a cloud and takes him to Helena's chamber. Keywords: Antique, Warrior, Antiquity, Greece, Homer, Epic, 18th century, Classicism, Mythology, France,
Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): Herkules bei Omphale, c. 1750, Etching Technique: Etching on Paper Inscription: Upper middle signed in the printing plate: "J. H. Tischbein invent. et fecit". Date: c. 1750 Description: Depiction of a scene from ancient Greek mythology from the stories about the hero Heracles (Hercules). As punishment for killing Iphitos, he must serve as a slave to Queen Omphale. After years of labour, she recognises him and marries him. The decadent life that follows leads to the effeminacy of Heracles, who soon wears women's clothes and spins wool. This depiction shows Omphale with Heracles' club sitting on his lap. The hero himself holds up a spindle of wool. Keywords: Antiquity, Antique, Figures, Nudes, Ruin, Ideal landscape, 18th century, Classicism, Mythology, Germany,
This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
Johann Heinrich Tischbein jun. (1742 Haina - 1808 Kassel) after Johann Heinrich Tischbein sen. (1722 Haina - 1789 Kassel): The smiling hermit at the window with speech gesture, 1784, Etching Technique: Etching on Paper Inscription: signed and dated at the bottom of the printing plate: "H. Tischbein Pinx | H. Tischbein Jun. fec. 1784", inscribed at the bottom right in old ink: "A. II No 6". Date: 1784 Description: At a wooden-framed window or a hatch in his hermitage, an old hermit stands and smiles at the viewer. His eyes are clear and friendly, his left hand raised in a gesture of speech. Keywords: Religion, Hermit, Hermit, Portrait, Hermitage, Hermitage, 18th century, Classicism, Portraits, Germany,
This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
This hand-colored engraving on laid paper is from Johann Heinrich Wilhelm Tischbein after Sir William Hamilton's collection of vases. The full title reads Collection Of Engravings From Ancient Vases Of Greek Workmanship: Discoverd In Sepulchres In The Kingdom Of The Two Sicilies But Chiefly In The Neighbourhood Of Naples During The Course Of The Years MDCCLXXXIX and MDCCLXXXX Now In The Possession Of Sir Wm. Hamilton, His Britannic Maiesty's Envoy Extry. And Plenipotentiary At The Court Of Naples. The work was published in Florence by Societe Chalcographique between 1800 and 1803. This plate is from the scarce Florence edition of Tischbein's famous work on Sir William Hamilton's second and greatest collection of antique vases. His first had been sold to the British Museum in 1772, the second nearly did not make it to Britain (about a third were lost in a shipwreck), but the collection was eventually brought by Thomas Hope, one of the great champions of the neo-classical style. The present image is both a technically brilliant record of a priceless object and a highly-pleasing graphic image that has as much appeal today as when it was produced in Florence two hundred years ago. Sir William Hamilton was the British ambassador to Naples from 1764 to 1800, during the city's golden age. An avid antiquarian, Hamilton assembled one of the world's finest collections of Greek and Roman antiquities. In addition to his duties as ambassador, Hamilton was also renowned as a knowledgeable guide and congenial host to the visiting English 'Grand Tourists'. With infectious enthusiasm he would extol the wonders of Naples and the beauties of arts of the ancient world, inspiring in many of his aristocratic visitors a genuine love of the antique. This new-found enthusiasm found its expression in the new style of neo-classicism and in the collections of antiquites which found their way to many of the stately homes of England.
JOHANN HEINRICH TISCHBEIN L'ANCIEN (HAINA 1722-1789 CASSEL) Album contenant neuf portraits de femmes, certaines de profil, d'autres... pierre noire et sanguine (i); pierre noire et sanguine, pastel bleu, filigrane fragmentaire (ii); pierre noire et sanguine (iii); pierre noire et sanguine (iv); pierre noire et sanguine (v); pierre noire et sanguine, estompe, filigrane fragmentaire d'un bouclier surmonté par une couronne (vi); pierre noire et sanguine, estompe, filigrane fragementaire D & C Blauw (vii); pierre noire et sanguine, lavis rouge, filigrane fragmentaire D & C Blauw (viii); pierre noire et sanguine, estompe (ix) (i): 12.5 x 9.5 cm (5 x 3 3/4 in.), ovale (ii): 12 x 10.2 cm (4 3/4 x 4 in.), ovale (iii): 13 x 10 cm (5 x 4 in.), ovale (iv): 13 x 11 cm (5 x 4 1/4 in.), ovale (v): 23 x 19 cm (9 x 7 1/2 in.) (vi): 23.4 x 18.8 cm (9 1/8 x 7 3/4 in.) (vii) 23.4 x 18.8 cm (9 1/8 x 7 3/4 in.) (viii): 20 x 16 cm (7 3/4 x 6 1/4 in.) (ix): 19 x 13.5 cm (7 3/8 x 5 1/4 in.)
(Haina 1722–1789 Kassel) Portrait of Christiane Henriette, Princess of Waldeck and Pyrmont, née Princess of Pfalz-Zweibrücken-Birkenfeld (1725–1816), in an ermine lined pelerine, half-length, oil on canvas, 69 x 62 cm, framed Provenance: possibly sold in 1820 as part of the collection of the late Princess in Arolsen; Cosby Family collection, Stradbally Hall, Leix, Ireland (according to labels on the reverse) We are grateful to Anna-Charlotte Flohr for endorsing the attribution of the present painting after examining it in the original and for her help in cataloguing this lot. Her written analysis accompanies the present lot. In a significant move away from the traditions of princely iconography, especially considering the relatively early date of circa 1765, the present portrait, hitherto unknown and recently rediscovered by Anna-Charlotte Flohr, represents a distinct shift from the formalised aristocratic grand state portrait of the late baroque towards a more intimate and private likeness, both in scale and in the almost complete lack of attributes of the sitter. The rich and velvet-like ermine that lines the elegant pelerine and the mouf are the only indications at her princely status, whereas the elegant and delicate striped white veil covering her head would appear to allude to her widowhood and role as regent of her principality. Tischbein had worked for the family of the Princes of Waldeck on numerous occasions. It is very likely that he was introduced to them through the family of the present sitter, who was born a Princess of Pfalz-Zweibrücken. Count Stadion, Tischbein’s early patron, was well connected at the different courts of the Palatinate through his son-in-law, Karl Theodor Schall von Bell, Reichsgraf von Schall-Riaucour, who was secret privy counsel to the elector Karl Theodor of the Palatinate. Tischbein had also portrayed the Princess Christiane Henriette before. Indeed, an impressive state portrait, now in the Stiftung des Fürstlichen Hauses zu Waldeck und Pyrmont, Bad Arolsen (oil on canvas, 230 x 143 cm, dated 1756), depicts her in all the splendour of a late baroque princess, reminiscent of the unique blend of French and Italian influences that made Tischbein’s contribution to German and European portraiture so distinct (see A. Flohr, Johann Heinrich Tischbein d. Ä. [1722–1789] als Porträtmaler mit einem kritischen Werkverzeichnis, Munich 1997, pp. 190-91, Kat. Nr. G 51). Certainly, this early portrait in Bad Arolsen was popular with its sitter and with other patrons, for a large-scale replica was commissioned by the Landgrave of Hesse-Kassel in 1757 (Schloss Wilhelmsthal, Calden, inv. no. SM 1.1.426 1757). Though both early portrait variants show the Princess at a slightly younger age, the identification of the sitter in the present painted is aided by the presence of a mole on the left-side of her nose. No other portrayed woman, let alone a princess, in Tischbein’s ouevre, shows this singular physiognomic characteristic in such a manner. Furthermore, the Princess is depicted with a very similar physiognomy in Tischbein’s most important commission for the House of Waldeck, a large-scale family portrait (Stiftung des Fürstlichen Hauses zu Waldeck und Pyrmont, Arolsen, oil on canvas, 230 x 143 cm), that was also painted in 1756 and a highlight of German Rococo portraiture. An undated portrait by Johann Georg Ziesenis (1716–1776), that would appear to have been commissioned at about the same time as the present portrait, presents the Princess in a similarly striped white veil covering her hair and an almost identical physiognomy (see fig. 1). The white veil was to become a characteristic article of clothing for the Princess who, following the death of her husband, Karl August, Prince of Waldeck and Pyrmont (1704–1763), ruled the principality of Waldeck from 1764 to 1766 as Regent until the coming of age of her eldest son, Friedrich Karl August (1743–1812). The colour white, along with mauve, were considered acceptable for widows in the eighteenth century. Married to Karl August in 1741, Christiane Henriette was considered highly educated in arts and sciences by her contemporaries. A close friend of the anthropologist Johann Friedrich Blumenbach, she collected a comprehensive library, which by 1788 included about 6,000 volumes. She also maintained an art and natural history collection. At the time of her death in 1816, Christiane left behind a considerable debt, which is why parts of her library and art collection had to be auctioned off in 1820. Given the small format of the present painting, it might have well been part of the Princess’s private collection that was dispersed following her death. The ‘Kasseler Tischbein’ numbers among the most gifted and influential members of this prolific family of artists. His patron, Count Stadion, enabled him to study in Paris for a period of five years, where from 1743 onwards he worked in the studio of Charles Vanloo. Together with Johann Christian Fiedler, Christian Bernhard Rode and Januarius Zick, Tischbein was one of the first German artists to travel to Paris to further develop his artistic education. Between 1748 and 1751, Tischbein was in Italy, where he sojourned in Venice for several months, briefly visited Bologna and Florence, and lived in Rome for two years. After his return from Italy, Count Stadion recommended the artist to Landgrave William VIII of Hesse-Kassel, who appointed him court painter in April 1753. Following William’s death, Tischbein continued to be senior court painter to his successor, Frederick II. The artist started teaching drawing and painting at the Collegium Carolinum in 1762. In 1776, he became professor for painting at the Kassel Academy and simultaneously held the position of director. In 1779, he was appointed honorary member of the Accademia Clementina in Bologna. Tischbein is the author of important history paintings, yet today is primarily known for his courtly and elegant portraits.
TISCHBEIN, JOHANN HEINRICH (ZUGESCHRIEBEN) 1722 Haina - 1789 Kassel Bildnis der Christina Dollin als Schäferin Öl auf Lwd. Restauriert, beschädigt. 76,5 x 61,5 cm. Rahmen. Rückseitig auf der Leinwand undeutlich bezeichnet: "Christina Dollin pinx Tischbein [...]".Provenienz: Auktion Felix Fleischhauer/Otto Greiner: Nachlass Ernst Spannsail, Stuttgart 3. bis 6. Mai 1927, Lot 1096 (s.a. https://piprod.getty.edu/starweb/pi/servlet.starweb# [25.07.2022]).
JOHANN HEINRICH TISCHBEIN THE ELDER (HAINA 1722-1789 KASSEL) An album containing nine portraits of women black and red chalk (i); black and red chalk, blue pastel, fragmentary watermark (ii); black and red chalk (iii); black and red chalk (iv); black and red chalk (v); black and red chalk, stumping, fragmentary watermark shileld surmounted by a crown (vi); black and red chalk, stumping, fragmentary watermark D & C Blauw (vii); black and red chalk, red wash, fragmentary watermark D & C Blauw (viii); black and red chalk, stumping (ix) (i): 12.5 x 9.5 cm (5 x 3 3/4 in.), oval (ii): 12 x 10.2 cm (4 3/4 x 4 in.), oval (iii): 13 x 10 cm (5 x 4 in.), oval (iv): 13 x 11 cm (5 x 4 1/4 in.), oval (v): 23 x 19 cm (9 x 7 1/2 in.) (vi): 23.4 x 18.8 cm (9 1/8 x 7 3/4 in.) (vii) 23.4 x 18.8 cm (9 1/8 x 7 3/4 in.) (viii): 20 x 16 cm (7 3/4 x 6 1/4 in.) (ix): 19 x 13.5 cm (7 3/8 x 5 1/4 in.)
PORTRAIT DES DIMITRI MICHAILOWITSCH GALLIZIN Öl auf Leinwand. 100 x 79 cm. Auf dem Globus datiert und ortsbezeichnet: "Roma 1777". In symmetrischem Louis XVI-Rahmen mit geschnitzter Rankenzier und Festons. Darstellung von Gallizin an einem Tisch sitzend mit Brief in der rechten Hand. Anmerkung 1: Dimitri Michailowitsch Gallizin war russischer Botschafter in Paris. Anmerkung 2: Ein vergleichbares Portrait, den gleichen Herren zeigend, von 1762, befindet sich im Puschkin-Museum Moskau. (1300933) (13) Johann Heinrich Tischbein the elder, 1722 Heina – 1789 Kassel, attributed PORTRAIT OF DMITRY MIKHAILOVICH GALLIZINOil on canvas. 100 x 79 cm. Dated and place-named on the globe: "Roma 1777". Depiction of Gallizin seated at a table with a letter in his hand and a globe on top of the table. Note 1: Dimitri Mikhailovich Gallizin was a Russian ambassador in Paris. Note 2: A similar portrait of the same man dated 1762, is held at the Pushkin Museum in Moscow.
ATTRIBUTED TO JOHANN HEINRICH TISCHBEIN THE ELDER (HAYNA 1722-1789 CASSEL) ATTRIBUTED TO JOHANN HEINRICH TISCHBEIN THE ELDER (HAYNA 1722-1789 CASSEL) Abraham kneeling before the Three Angels oil on panel 53.3 x 41.9 cm (21 x 16 1/2 in)
DIE ERZIEHUNG DES AMOR Öl auf Leinwand. Doubliert. 97 x 85 cm. Ungerahmt. In bergiger, bewaldeter Landschaft die sitzende Göttin mit muschelartiger Rückenlehne, teils umgeben von Wolken. Neben ihr der Götterbote Merkur mit seinen Attributen, einem geflügelten Helm und dem Hermesstab, auf den er seine linke Hand stützt. Vor ihm in Rückenansicht der nackte Amor mit einem Buch, dem gerade das Lesen beigebracht wird. Merkur weist zudem mit seinem rechten Zeigefinger auf ein schnäbelndes Taubenpaar hin, was auf eine weitere zukünftige Aufgabe des Amor als Liebesgott hindeutet. Auch die Göttin hat ihren linken Zeigefinger erhoben und ermahnt ihren kleinen Sohn, aufmerksam den Weisungen des Merkur zu folgen. Gestenreiche Darstellung in harmonischer Farbgebung eines in der Malerei beliebten Themas. Teils Retuschen. Anmerkung: Das Thema des Gemäldes wurde von zahlreichen bekannten Malern umgesetzt, darunter sind Tizian, Boucher und auch Correggio zu finden. (1300312) (18) Johann Heinrich Tischbein the elder, 1722 – 1789, attributed THE EDUCATION OF CUPID Oil on canvas. Relined. 97 x 85 cm.
PORTRAIT DES DIMITRI MICHAILOWITSCH GALLIZIN Öl auf Leinwand. 100 x 79 cm. In symmetrischem Louis XVI-Rahmen mit geschnitzter Rankenzier und Festons. Darstellung von Gallizin an einem Tisch sitzend mit Brief in seiner Hand, auf dem Tisch ein Globus. Anmerkung 1: Dimitri Michailowitsch Gallizin war russischer Botschafter in Paris. Anmerkung 2: Ein vergleichbares Portrait, den gleichen Herren zeigend, von 1762, befindet sich im Puschkin-Museum Moskau. (1300933) (13) Johann Heinrich Tischbein the elder, 1722 Heina – 1789 Kassel, attributed PORTRAIT OF DMITRY MIKHAILOVICH GALLITZIN Oil on canvas. 100 x 79 cm. Depiction of Gallitzin seated at a table with a letter in his hand and a globe on top of the table. Notes 1: Dimitri Mikhailovich Gallitzin was a Russian ambassador in Paris. Notes 2: A similar portrait of the same man dated 1762, is held at the Pushkin Museum in Moscow.
Oil on canvas. 104 x 86 cm. Relined. Restored. Cf. Flohr, Anna-Charlotte, Johann Heinrich Tischbein d. Ä. (1722-1789) als Porträtmaler. Mit einem kritischen Werkverzeichnis. Munich 1997, page 196, Catalogue Raisonné number G 62: a smaller portrait of the prince by J. H. Tischbein, the Elder (97 x 76 cm), signed and dated 1769, in the Princely Waldeck Head Office, Arolsen Castle. Expert opinion by Dr. Marianne Heinz, Kassel, 17 February 2022.
