Jacob Alt

Jacob Alt (Frankfurt am Main 1789–1872 Vienna) Scene of Castellamare on the Gulf of Naples, signed, dated J. Alt 1837, oil on canvas, 53 x 66 cm, framed, (Rei) Provenance: Alfred Eisler to 1937; his widow Valerie Eisler to 1941; Nazi appropriation by means of a loan agreement with the Joanneum Graz which was later converted into a non-gratuitous arrangement; 1953 restitution settlement with the legal heirs of Valerie Eisler, the painting remained at the Joanneum as a “quid pro quo”; January 2012 restitution to the legal heirs of Valerie Eisler by the provincial government of Styria.

ALT, JAKOB (1789-1872). Near Limone at Lake Garda. Pencil and watercolour on paper, heightened white, signed and dated 1849, verso label "La Princesse Sophie Liechtenstein". 31 x 41 cm Am Gardasee bei Limone. Aquarell über Bleistift auf Papier, weiß gehöht, unten rechts signiert und datiert 1849, verso Etikett "La Princesse Sophie Liechtenstein".

Jacob Alt (Frankfurt /Main 1789-1872 Vienna) Donau-Ansichten vom Ursprunge bis zum Ausflusse ins Schwarze Meer (Views of the Danube from its origin to its mouth into the Black Sea), an album with 116 lithographs from an edition of three volumes, titled "Zwey hundert vier und sechzig Donau-Ansichten nach dem Laufe des Donaustromes von seinem Ursprunge bis zum Ausflusse in das schwarze Meer sammt einer Donaukarte", edited by Adolph Kunike, Vienna 1826, drawn by Jakob Alt, with a foreword and a description by Dr. Georg Carl Borromäus Rump, dimensions of sheets each 36.5 x 53.5 cm, browned and partly stained, in a cardboard album, with a leather book spine, damaged (corners and edges pushed), (116), (Sch) We are grateful to Dr. Sándor Békési for the scientific support in cataloguing the present album. The album included 264 sheets and contained the earliest series of views of the Danube. Its execution was one of the most significant projects of the monarchy. With this album we come across a vision to capture a large part of a landscape as a whole. Vast areas along the river banks from the Black Forest to the Black Sea belonged to the Ottoman Empire at that time. The journey was therefore considered risky for a landscape draftsman and stranger because he could be easily regarded as a spy. For the expected dangers Jacob Alt resigned from the commission although he had originally assumed the completion of the entire river course. Alt only drew the Danube river to Belgrade. Ludwig Erminy continued from there onwards. Thus the artistic quality among the preliminary drawings which were subsequently transferred to the lithgraphic stone differs sometimes quite considerably. The series combines important artistic, scientific and technical developments. Instead of an ideal landscape the artist laid his priority upon the immediate view of a realistic setting. The new process of lithographic reproduction led to a wide dissemination of the views. Nine views of the present album are related to the Vienna area of the Danube between Leopoldsberg und the Lobau. The Vienna Museum preserves the complete album with all 164 lithographs (Inv. Nr. 105.081/1-264). It was shown in the exhibition "Donauansichten vom Ursprunge bis zum Ausflusse ins Meer, 1826" from September 7th to 24th , 2010 in the Primariatspalace in Bratislava. Specialist: Mag. Astrid Schierz

Jacob von Alt (Austrian, 1789-1872) Der Graben in Wien signed and dated 'J. Alt 1852.' (lower right) pencil and watercolour heightened with white on paper 9½ x 12 5/8 in. (24.1 x 32.1 cm.) Executed in 1852 Lot Notes Jacob Alt, a reknowned watercolourist and one of the first to use the new technique of lithography, was commissioned by the Austrian Archduke (later Emperor) Ferdinand to produce over 600 views of Austria in 1837. Alt's two sons had accompanied him on study trips for earlier commissions, colouring his drawings and learning to paint the surrounding landscape. Of the two sons Rudolph was the most talented. By the time Jacob received the Archduke's important commission Rudolph was regularly travelling with him. The present works are very late for Jacob as he had largely stopped painting by 1850. Although he still signed all the paintings from his studio for the commission, it is known that by then some were produced by Rudolph. While the view of the Graben is technically not as fine as that of Saint Stephens, it is likely that Jacob was looking at Rudolph's earlier works of the same subject (for example see Der Graben in Wein, um 1843 in W. Koschatzky, Rudolph von Alt, Salzburg, 1975, no. 93, illustrated p. 94). Der Stephansdom (lot 71), however, is most probably Rudolph's work throughout. The quality of line and skill with which the clouds and sky have been rendered far surpasses that of the earlier works in the group. We are grateful to Dr. Koschatzky for his help in the preparation of this catalogue entry.