Carl Spitzweg

Carl Spitzweg (German, 1808-1885) Berglandschaft mit Liebespaar (Jäger und Mädchen) signed with rhombus monogram (lower right) oil on paper laid on canvas 20¼ x 21¾ in. (51.2 x 55.1 cm.) Painted circa 1863. Acquired directly from the artist by Kaufmann Bayer, Prague, May 1863 (for 240 guilders). Thence by descent to Sophie and Margarethe Bayer. (probably) Acquired from the Bayer family by Norbert Nusser, Biberach-Riss, 1938. Acquired from the above by Heinrich Nauer, Lindenberg. Anonymous sale; Weinmüler, Munich, 2 July 1942, lot 568. with Galerie Thum, St. Gallen. Acquired from the above by J. Huber, 8 October 1948, thence by descent to the present owners. Please note that this lot should be starred in the catalogue and that VAT is payable at 5 on the hammer price and at 20 on the buyer's premium. PROPERTY FROM A SWISS PRIVATE COLLECTION E. Kalkschmidt, Carl Spitzweg und seine Welt, Munich, 1945, p. 24, no. 91 (illustrated). G. Roennefahrt, Carl Spitzweg. Beschreibendes Verzeichnis seiner Gemälde, Ölstudien und Aquarelle, Munich, 1960, pp. 43, 176, no. 395 (illustrated). S. Wichmann, Carl Spitzweg. Kunst, Kosten und Konflikte, Frankfurt/Berlin, 1991, pp. 126, 327, no. 174. S. Wichmann, Carl Spitzweg - Verzeichnis der Werke, Stuttgart, 2002, p. 533, no. 1478 (illustrated). The subject of the huntsman, typically depicted in a mountain landscape, is a leitmotif in the oeuvre of Carl Spitzweg. His treatment of the subject varied from the comical (der Sonntagsjäger), in which the hunter appears as a stock type drawn from artist's large gallery of caricatures, to compositions in the vein of the present work, one of the largest in the series; typically set in rugged, deep-valleyed mountain environments, these works are exceptional for combining naturalism and romanticism. Dramatic landscapes featuring mountains, cliffs and gorges had a tradition in German art going back to the heroic landscapes of the Nazarenes painted some 60 years before the present work, but Spitzweg toned down this quasi-spiritual genre of painting with a far more naturalistic approach to his subject. Indeed Spitzweg was intimately familiar with the Bavarian, Swiss and Austrian Alps, where he produced a large body of pencil studies, which sought to capture the mass and texture of large rock formations. His interest was more than just artistic: he had a geologist's eye for his subject, and amassed a considerable minearological collection. The present painting contains all the trademarks for which the artist is famed. The soaring eagles, the contrast between the small figures and the vast landscape, and the curve of the path, which leads the viewer's eye towards the cliff-face and sky, have distinctly romantic overtones, but landscape details are naturally rendered, and the whole composition is softened by the inclusion of a human narrative. The end result is a painting that combines several elements to which Spitzweg's audience could immediately relate, and which ensured him very considerable commercial success in his own lifetime.

Carl Spitzweg (Munich 1808–1885) Maids on the Alpine Pastures, signed with rhombus signature, on the reverse remains of old labels, oil on canvas, 30 x 41 cm, framed, (W) Compare: Günther Roennefahrt, Carl Spitzweg - beschreibendes Verzeichnis seiner Gemälde, Bruckmann 1960, no. 369–377, 379, 380. Siegfried Wichmann, Carl Spitzweg, Verzeichnis seiner Werke, Besler Verlag Stuttgart 2002, no. 1448–1457, 1459. Provenance: formerly Collection of Countess Giovanna D’’’’Arco di Bologna; thence by descent; Casa d’’’’asta, Babuino, 27 October 2010, lot 264; Italian private property. Letter of authentication issued by Prof. Dr. phil. Dr. H. C. Jens Christian Jensen is available. From the letter of authentication issued by Prof. Dr. phil. Jens Christian Jensen: “The painting is set amongst rocks, forming a natural pedestal for the girls, one divided into small sections and differentiated, in a style characteristic of the older Spitzweg. This contrasts with the general treatment of the background. The high, misty sky hangs behind the rocky plateau like a thin film. To the left, the slope leading down to the valley floor filled with fir trees is depicted in detail before sinking into blackness in the background. The group of figures is composed of flecks of colour, but in Spitzweg’’’’ s typical style - not worked thoroughly, yet the harmony of the colours is impressive. Conclusion: I consider the painting (….) an original work by Spitzweg and one which has not been completely finished – a common occurance in the artist’’’’s body of work. Accordingly the signature may have been overwritten. The overall impression of the painting is harmonious and this is typical of the idyllic subject matter that Carl Spitzweg preferred to paint in his later years, and the case for all his works which deal with the theme of maids in alpine pastures. The painting (….) can be dated circa 1870/75.” Carl Spitzweg, known for his humorous depictions of human nature, was self-taught, giving up his studies of chemistry, botany and pharmacy and subsequent work as a pharmacist to finally turn to painting. His friendship with Eduard Schleich, with whom he made many study trips to Italy, Germany, London and Paris, significantly influenced his artistic representations of landscapes and mountain ranges decorated with rustic figures. Spitzweg had the ability to bring together an exact observation of nature, the formation of clouds and play of light to lend his works an atmospheric impact. Thanks to his pharmaceutical and chemical training, Spitzweg was able to mix his own paints and these had a special brilliance and durability, as is evident in the present work. Initially working in the style of the late Romantics, Spitzweg increasingly turned towards Impressionism, this change also expressed in modifications to his method of applying colour. Glazed colours give way to pastose textures. In the work here Spitzweg chose, as so often, an elevated view, stressing the breadth of the country and freeing it from the constraints of time. This representational form ushered in the next generation of landscape painters for whom perceptions of nature would play a central role.

DescEN Spitzweg, Carl Munich 1808 - 1885 Susanna and the Elders. Circa 1849. Inscribed with estate stamp on lower left: S in lozenge Spitzweg (presumably reapplied). Oil on wood. 19,8 x 23,3cm. Framed. Verso: - Estate stamp and numerous notes; - On frame and stretcher exhibition label: Haus der Kunst M├╝nchen Literature: Wichmann, Siegfried: Carl Spitzweg. Verzeichnis der Werke, Stuttgart 2002, p. 246. Here listed and illustrated under no. 687; Exhibitions: - Haus der Kunst, M├╝nchen 1968. Carl Spitzweg und sein Freundeskreis. Here listed under no. 14, p. 32; - Haus der Kunst, M├╝nchen 1985. Carl Spitzweg und die franzoesischen Zeichner. Here listed under no. 105, p. 138 and 427. Provenance: - Auction Neumeister, Munich, 1998, no. 105; - Private collection, Southern Germany.

Auktion W232 Lot 6963 - 26 March 2012 10:00 to 26 April 2012 10:00 SPITZWEG, CARL (Unterpfaffenhofen 1808 - 1885 Munich) Various figure studies on a sheet. Pencil. 14.5 x 19.5 cm (image). Framed. Provenance: - The artist's estate, Lugt 2307 - private collection Switzerland CHF 400.- / 600.- € 330.- / 500.- SPITZWEG, CARL (Unterpfaffenhofen 1808 - 1885 München). Verschiedene Figurenstudien auf einem Blatt. Bleistift. 14,5 x 19,5 cm (licht). Gerahmt. Provenienz: - Nachlass des Künstlers, Lugt 2307 - Privatbesitz Schweiz CHF 400.- / 600.- € 330.- / 500.-

SPITZWEG, CARL (Unterpfaffenhofen 1808 - 1885 Munich) Various figure studies on a sheet. Pencil. 14.5 x 19.5 cm (image). Framed. Provenance: - The artist's estate, Lugt 2307 - private collection Switzerland CHF 800.- / 1 200.- € 700.- / 1 040.- SPITZWEG, CARL (Unterpfaffenhofen 1808 - 1885 München) Verschiedene Figurenstudien auf einem Blatt. Bleistift. 14,5 x 19,5 cm (licht). Gerahmt. Provenienz: - Nachlass des Künstlers, Lugt 2307 - Privatbesitz Schweiz CHF 800.- / 1 200.- € 700.- / 1 040.-