Franz Kaisermann

LOT 215 FRANZ KAISERMANN YVERDON 1765 - 1833 ROME A: VIEW OF ROME AT SUNSET FROM FRASCATI B: VIEW OF VILLA FRASCATI FROM VILLA CONTI AT SUNRISE Quantity: 2 Both watercolor with touches of gum arabic over black chalk; A: signed, lower center, in black ink: F Keiserman and inscribed lower left, in black ink: Vue prise a Frascati dou lon voit Rome au coucher du soleil and also inscribed in black ink, verso: Vue prise ou sort de la Villa Belvedére a Frascati/ le chemin qui conduit a villa Bracciano dans le lointain lon voit Rome pris au coucher du soleil/ Dessiné et peint d'apres nature par François Kaiserman Rome 1820; B: signed and dated, lower center, in black ink: F. Keiserman/ 1820 and inscribed, lower left, in black ink: Vue de la villa de Frascati au lever du soleil and inscribed verso: Vue de la villa de Frascati pris de villa Conti lon voit le Palais de la Princesse Pauline le Palais du Cardinal York dans le lointain la jardin Monte Genaro/ Dessiné et peint sur la nature par Francois Keiserman/ artiste Rome. 1820 Each 397 by 555 mm; 15 5/8 by 21 7/8 in

LOT 147 FRANZ KAISERMANN YVERDON 1765 - 1833 ROME A: THE TEMPLE OF ANTONINUS AND FAUSTINA IN THE ROMAN FORUM; B: THE TOMB OF CECILIA METELLA ON THE VIA APPIA ANTICA Quantity: 2 Both watercolour over etched outline; A: etched signature and date: Keiserman 1799; bear inscriptions in pen and ink on the old mount: vue du Templed'Antonin & faustine and Tombeau de Cecila Mettella[sic] Both circa 294 by 410 mm

Franz Kaisermann (Swiss, 1765-1833) The tomb of Celia Metella signed (on the drawing) 'Kaiserman' and inscribed 'Tombeau deCecile Mettella' (on the mount) traces of black chalk, watercolor over etched outlines onpaper 11¼ x 16½ in. (28.6 x 41.9 cm.) THE PROPERTY OF A PRIVATE COLLECTOR (LOTS 163-164)

LOT 126 FRANZ KAISERMANN YVERDON 1765 - 1833 ROME A) A SCENE IN THE ROMAN CAMPAGNA: A FAMILY SEATED OUTSIDE A HOUSE, A WOMAN ON A DONKEY TO THE RIGHT; B) PEASANTS WORSHIPPING AT A SHRINE AT NIGHT 6,000—8,000 GBP DESCRIPTION Both watercolour over traces of black chalk, with touches of gum arabic; a) pencil inscription top left erased; signed and dated in pen and brown ink: Keiserman 1802 b) bears pencil inscription top left: Petite Chapelle qui conduit/aux cascades de Tivoli; signed and dated in pen and brown ink: Keiserman F. Roma 180[?] These two watercolours are particularly charming examples of Kaisermann's work. Instead of being the more familiar large scale views of famous monuments, which were classic Grand Tour souvenirs, they record local scenes around Tivoli and are full of informal details. Perhaps because of their scale, they were not framed and hung but instead were kept in an album which has preserved their freshness. They are thought to have been acquired on the Grand Tour by the ancestors of the present owners. Kaisermann went to Rome in 1789 to work as an assistant to his compatriot from Yverdon, Abraham-Louis-Rodolphe Ducros, who was well-established there. After quarrelling with his master, he became destitute until rescued by the patronage of Pauline Bonaparte Borghese and her husband Camillo, for whom he produced large watercolors of Rome. From that point he became highly fashionable among the Grand Tour visitors, particularly the English and Germans, as well as among the Roman collectors.

Measurements note a) 315 by 455 mm; b) 280 by 413 mm DESCRIPTION Both watercolor over traces of black chalk, with touches of gumarabic;a) pencil inscription top left erased; signed and dated in pen andbrown ink: Keiserman 1802b) bears pencil inscription top left: Petite Chapelle quiconduit/aux cascades de Tivoli; signed and dated in pen and brownink: Keiserman F. Roma 180[?] CATALOGUE NOTE This and the following five lots are particularly charmingexamples of Kaisermann's work. Instead of being the more familiarlarge scale views of famous monuments, which were classic GrandTour souvenirs, they record local scenes around Tivoli and are fullof informal details. Perhaps because of their scale, they were notframed and hung but instead were kept in an album which haspreserved their freshness. They are thought to have been acquiredon the Grand Tour by the ancestors of the present owners. Kaisermann went to Rome in 1789 to work as an assistant to hiscompatriot from Yverdon, Abraham-Louis-Rodolphe Ducros, who waswell-established there. After quarrelling with his master, hebecame destitute until rescued by the patronage of PaulineBonaparte Borghese and her husband Camillo, for whom he producedlarge watercolors of Rome. From that point he became highlyfashionable among the Grand Tour visitors, particularly the Englishand Germans, as well as among the Roman collectors.