An Album of Landscapes

comprising

German Drawings, Watercolors, and Oil Sketches 1784 to 1868

NEUE LAGERLISTE 127 (2011)

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Catalogue: Armin Kunz, F. Carlo Schmid Editor: Catherine Bindman

An Album of Landscapes
German Drawings, Watercolors, and Oil Sketches 1784 to 1868

C.G. Boerner
Dsseldorf New York
1

Christoph Nathe

1753 Nieder-Bielau near Grlitz Schadewalde 1806

1. The Capuchin Hospice on the St. Gotthard Pass 1784

pen and point of brush in brown ink with watercolor over pencil on laid paper; 326 x 447 mm (12 78 x 17 34 inches) inscribed, signed, and dated Kapuziner Hosp[iz]/ auf dem St. Gothard / Nathe del. 1784. watermark Pro Patria and C & I Honig provenance Munich art market, 1936 Dr. Franz Ulrich Apelt, Zittau (not stamped) thence by descent literature Frhlich, Nathe, p. 279, no. Z 370 This large, early watercolor demonstrates a very traditional aspect of Nathes stylistically complex drawn oeuvre. It is annotated with the exact location, signed, and dated, yet the sheer size of the sheet makes it unlikely that the drawing was executed en plein air at the top of the St. Gotthard Pass. The artist must have visited it during his extensive trip to Switzerland with the physicist and musician Karl Andreas von Meyer zu Knonow (17441797) and the painter, scientist, and coin-collector Carl Adolf von Schachmann (17251789). Their journey lasted from late summer 1783 until September of the following year and Nathe even rejected a well-paid position as a drawing teacher in Dessau in order to travel. In this watercolor, based on direct observation of the site, Nathe still betrays the influence of the Dutch landscape tradition; this image is especially reminiscent of the work of Lambert Doomer (16241700). While the doughy forms of the buildings here reappear in his later work, it is even more astonishing to compare a drawing like this one with plein-air sketches nos. 2 and 3 that show what Nathe was able to accomplish using the same muted tones.

Christoph Nathe

1753 Nieder-Bielau near Grlitz Schadewalde 1806

Nathe was a prolific draftsman; Anke Frhlichs catalogue raisonn lists no less than 585 drawings (not counting sketchbooks and nearly two hundred documented but lost sheets). The compositions often reflect the seventeenth-century Dutch landscape tradition that still prevailed at the German academies. Nathe was trained first by the Grlitz lawyer and draftsman Johann Gottfried Schultz (17341819); he then continued his studies under Adam Friedrich Oeser (17171799) in Leipzig, and finally under Klengel in Dresden. A small group of watercolors, however, mainly executed in a characteristic, limited range of subtle greens, browns, blues, and grays over a compositional structure swiftly outlined in pen (cf. the sheets in Coburg, Frhlich, Nathe, Z 577; and Berlin, ibid. Z 578579) or, as here, in pencil, show a remarkable freedom of handling. They stand in contrast not only to most of Nathes other work but also to the conventions of drawing in the German lands during this period. Only the few surviving early watercolors by Johann Christian Reinhart (17611847) from his travels through Thuringia between 1784 and 1786 and along the Rhine in 1787 reveal a comparably impressionistic style. Based on the dates on the three sheets mentioned above (the one in Coburg is dated 1788, the two in Berlin 1791), we can assume that the stylistically similar sheets by Nathe must have been executed around 1790 and therefore only a few years after Reinharts works (Schmid, p. 86; the importance of Nathes watercolors is further evidenced by the inclusion of one of them in a recent general survey of German art: Grave, pp. 466f., no. 365 with color plate on p. 159). The freedom of handling in these sketches, so appealing to modern tastes, was probably limited to sheets that were never intended for public display. Rather, these were private notations in which the artist recorded his impressions.

2. Sketch of a Village Road ca. 1790

pencil and watercolor on laid paper; 251 x 307 mm (9 34 x 12 18 inches) provenance Carl Brose, Berlin; his sale, Hollstein & Puppel, Berlin, November 8 and 10, 1928, lot 345 Dr. Franz Ulrich Apelt, Zittau thence by descent literature Frhlich, Nathe, p. 311, no. Z 566

Christoph Nathe

1753 Nieder-Bielau near Grlitz Schadewalde 1806

3. Farmhouse behind Trees ca. 1790

watercolor over pencil on laid paper; 243 x 325 mm (9 12 x 12 34 inches) provenance Carl Brose, Berlin; his sale, Hollstein & Puppel, Berlin, November 8 and 10, 1928, lot 344 Dr. Franz Ulrich Apelt, Zittau thence by descent literature Frhlich, Nathe, p. 311, no. Z 567

Christoph Nathe

1753 Nieder-Bielau near Grlitz Schadewalde 1806

4. A Beech Wood with a Resting Traveller

1803

pen and point of brush in brown ink over pencil on wove paper; 372 x 574 mm (14 58 x 22 34 inches) signed with monogram and dated at lower right; numbered on the verso in pencil No 6 [crossed out] and No 14 watermark fragment along the lower margin at right provenance Arno Hoffmann, Neugersdorf, until 1928 Dr. Franz Ulrich Apelt, Zittau thence by descent exhibition Grlitz, January March 1931 literature Frhlich, Nathe, p. 293, no. Z 453 Nathes finished drawings show a very different approach from the plein-air sketches described under nos. 2 and 3. Intended for sale to collectors, they are highly finished presentation or exhibition drawings. These mostly monochrome sheets were executed in brown or gray ink applied with pen or the tip of the brush. The unusually large sheet presented here, monogrammed and dated and therefore clearly designated as a work for sale, has been almost completely covered in pen-and-ink marks. Only the center has been spared, a sunlit clearing through which a small creek flows and where a wanderer has come to rest amid towering, gnarled trees. A very closely related alternate version of this composition in the Pommersches Landesmuseum (formerly Stdtisches Museum) in Greifswald makes for an intriguing comparison. This latter sheet is similar in size (410 x 574 mm) and repeats the composition of our drawing fairly closely. It is neither signed nor dated and entered the scholarly discussion as attributed to Caspar David Friedrich (17741840; Hinz 96, Sumowski, fig. 289, Bernhard, Friedrich, p. 77) with only Helmut Brsch-Supan rejecting it (p. 485, no. XIII).Werner Sumowski, however, wrote: The pointy way of handling the leaves that are grouped in masses of light and darkness is reminiscent of Veith, while the execution of the decorative scheme of the grassy ground and the rendering of the rocks makes one think of Chr. Nathe (Die punktierende Wiedergabe des in Helldunkelmassen aufgelsten Laubes erinnert an Veith, die dekorativ-schematische Durchfhrung des Grasbodens und die Behandlung der Steine lassen an Chr. Nathe denken, Sumowski, p. 141)an observation that can now be confirmed by linking the drawing in Greifswald with our monogrammed and dated sheet. 8

While the artist was initially dependent on the Dutch landscape tradition of the seventeenth and eighteenth centuries (The motif imitates Ruisdael is what Brsch-Supan, p. 485, says about the Greifswald drawing [Das Motiv ist Ruisdael nachempfunden]), elaborate drawings like this one show that he ultimately developed these models further, both technically and compositionally. 9

Christoph Nathe

1753 Nieder-Bielau near Grlitz Schadewalde 1806

5. A Shepherd with his Dog and Two Cows Resting near a Stream on the Edge of a Forest ca. 1800
pen and point of brush in gray ink over traces of pencil on wove paper; 240 x 300 mm (9 12 x 11 78 inches) provenance Professor Christian Isermeyer, Hamburg (according to Frhlich, Nathe) Professor Dr. Friedhelm Beuker, Meerbusch (his drystamp, not in Lugt) literature Frhlich, Nathe, p. 301, no. Z 504 exhibition Volkmar Hansen/Friedhelm Beuker (eds.), Europische Zeichnungen zur Zeit Goethes, Goethe-Museum, Dsseldorf 2005, cat. no. 63 Another highly finished albeit smaller drawing, in exceptionally fresh condition. This drawing shows the typical elements of Nathes forest landscapes. Such works represent a substantial part of his oeuvre. In addition to the trees, with their foliage characteristically built up by points, dotted with the brush, a method he learned from Adam Friedrich Oeser (17171799) at the Leipzig Academy, there is a brook and a place in the foreground for the staffage figures. In the tradition of Dutch landscape painting, Nathe also depicts a shepherd with his dogs and two cows, although this group seems a bit out of place in a forest. The large rock in the immediate foreground points to the artists interest in geology.

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attributed to (Johann) Philipp Veith

1768 Dresden 1837

6. View of Tollenstein ca. 1800?

pen and gray wash on wove paper; 254 x 411 mm (10 x 16 18 inches) annotated in pencil on the verso A. Zingg Tollenstein
The annotation on the back suggests Adrian Zingg (17341816) as the creator of this sheet. And indeed the wash carefully applied over a composition outlined by fine pen lines brings to mind his drawings as well as the many hand-colored outline etchings that emanated from his workshop. Sabine Weisheit-Possl, who recently published a comprehensive study on Zingg, has, however, pointed to a number of differences between our drawing and Zinggs documented work. Most significantly, Zinggs outlines are generally more fluidly executed. In our drawing, while rendered with great delicacy, the lines are often broken up into small dots.Weisheit-Possl further explained that the choice of perspective and the overall framing of the motif vary distinctively from compositions typical of Zingg who always sets the main subjecthere the hill with the ruins of Tollenstein Castle further toward the background and balances it with a more prominent foreground landscape (cf. Weisheit-Possl, pp. 266f. for Zinggs views of the Tollenstein). Our attribution of the drawing to Johann Philipp Veith follows a suggestion by Helmut Brsch-Supan. It is supported by a passage in Hans Joachim Neidhardts standard study on Romantic landscape painting in Dresden where the author states that Veiths drawings influenced the early Dresden work of Caspar David Friedrich (Neidhardt, Malerei, p. 18:Veith hat mit seinen Arbeiten auf Friedrichs Dresdener Frhwerk gewirkt; see also ibid., p. 61). The finely rendered outlines of the drawing and the detailed brushwork by which the gray wash is applied are in many ways reminiscent of the early sepia drawings of Caspar David Friedrich (17741840). It is equally clear that the drawing is not by Friedrich (and in this we do not hesitate to share the opinion of Christina Grummt who is about to publish the definitive catalogue raisonn of the artists drawings). The way such details as the trees are rendered here as well as some faint pencil sketches on the verso are intriguingly close to Friedrich but nonetheless distinguishable from the work of his hand. The problem of an attribution to Veith, however, lies in the fact that a thorough study of his oeuvre is still lacking and that the holdings of German drawings from this period in the Kupferstich-Kabinett Dresden have never been comprehensively published. As with so many of the lesser-known artist of the Dresden Romantic School, the contributions to Thieme/Becker by Ernst Sigismund remain the basis for all subsequent research. Considerable headway has recently been made by Anke Frhlich with her monographs on Klengel and Nathe as well as with her study of the Dresden landscape painters of the second half of the eighteenth century. She acknowledges that Veith played an important role in introducing Romanticism in Dresden (Er muss zu den wichtigen Wegbereitern der Dresdner Romantik gezhlt werden. Frhlich, Landschaftsmalerei, pp. 131f.). Veith studied at the academy and in Adrian Zinggs (17341816) studio. He also absorbed influences from Johann Christian Klengel (17411824), Johann Christian Reinhart (17611847), and Salomon Gessner (17301788) as he developed his own style. Here, however, he oscillates between a romantically charged staging of the topographical views and a more traditional concept of landscape that remained rooted in the Dutch seventeenth century. An important and often overlooked reason for this adherence to Dutch tradition must be seen in the influence of the marketart dealers and a public that preferred images in the Dutch style to the serene, often moonlit sublimity that we now associate with German Romanticism. Another example of the discrepancy between contemporary taste and our modern perspective is the work of Johan Christian Dahl (1788 1857). At the time he was popular for his views of the rocky hills and wild streams of his native Norway la Allaert van Everdingen (16211675) and not for his Friedrichesque landscapes that are sought after by todays collectors; indeed, by the time of his death in 1840, Friedrichs work had become deeply unpopular. The drawings by Veith that we have traced in publicationsincluding sheets in the Albertina in Vienna (cf. Grning/Sternath, pp. 269274, nos. 911930, and asignedsheet in C.G. Boerners Neue Lagerliste 124, 2008, no. 6)show him as a landscape artist still deeply rooted in the conventions of the seventeenth and eighteenth centuries. The present drawing is noticeably different. It has shed all the formulaic elements of the Dutch landscape. Instead, it shows the ruins of Castle Tollenstein (Hrad Tolstejnon), situated on the

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side of a hill of the same name in Bohemia in what is today the Czech Republic. The rendering has topographical precision and the landscape is seen through a modern, neutral eye. At the same time, however, the artist demonstrates some of the effects that we most appreciate in the mature work of Friedrich: twilight, mist, and stillness, or at least as much as the latter can be conveyed in pictorial language. If our drawing is indeed by Veith, it should be dated around 1800 and might well be one of the drawings that the young Caspar David Friedrich had before him when he developed his own, unique way of capturing the Romantic imagination.

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Johann Christian Klengel

1741 Kesselsdorf near Dresden Dresden 1824

Johann Christian Klengel was supported from early on in his career by members of the academy in Dresden. In 1768 he came to live in the house of Christian Wilhelm Ernst Dietrich, called Dietricy (17121774), one of the academys professors, who taught him landscape painting and etching. Klengel himself became a member of the Dresden Academy in 1777. He travelled to Italy in 179092. He then returned to Dresden and was appointed associate professor for landscape painting in 1800, receiving a full professorship in 1816. Philipp Otto Runge (17771810) called him one of our greatest landscape painters.

7. Hecuba Discovering the Body of Polydorus ca. 1800

brush and gray wash over traces of pencil on laid paper, laid down on an identical second sheet; 345 x 525 mm (13 58 x 20 34 inches); signed at lower right Klengel fec. provenance Dr. Franz Ulrich Apelt, Zittau (not stamped) thence by descent literature Frhlich, Klengel, p. 218, no. Z 541 This large and highly finished monochrome watercolor, executed entirely with the brush in shades of gray, depicts an episode from the Trojan War that is most concisely summarized in book thirteen of Ovids Metamorphoses. Polydorus is the youngest son of Priam and Hecuba. Once the war breaks out and the city of Troy is besieged by the Greeks, Polydorys is sent to Thrace under the protection of King Polymestor to save him in the event of Troys fall. Priam also sends gold treasure along for safekeeping. After the fall of Troy, however, the greedy Polymestor kills Polydorus for the gold by throwing him into the sea from a high tower. This detail of the story is clearly alluded to by the large tower in the background to the right of Klengels watercolor. Hecuba ultimately discovers the body of her son washed up on the shore. Klengel shows her fainting form in the company of her maids. Hecuba will later have a vision in a dream telling her that Polymestor was her sons murderer. Aided by Agamemnon she avenges Polydoruss death by blinding Polymestor and killing his sons. The choice of a subject from Greek mythology, especially one that could be traced back to Homer, was explicitly promoted by Goethe with his so-called Weimarer Preisaufgaben, the annual art competition initiated by Goethe and Heinrich Meyer and conducted through their periodical Propylen between 1799 and 1805. As a means of translating his theories into art, Goethe invited artists to submit compositions based on prescribed subjectsall of them taken from the Iliad and the Odyssey with the sole exception of the subject for 1804 when the given theme was as Men, Threatened by the Element of Water. The main cultural thrust of this venture can be summarized by the motto back to the Greeks, although it was Greek mythology rather than history that was favored in Weimar. The godfather of this enthroning of Homer was, of course, Johann Joachim Winckelmann who had stated in his last major work, the Monumenti antichi inediti of 1767, that Homer is the great teacher of all Greek artists and that anyone who wishes to know the significance of their ideas must therefore seek refuge with 14

the poet himself (da Homerus der groe Lehrer der griechischen Knstler gewesen, und jeder, der die Bedeutung ihrer Vorstellung zu wissen wnschete, musste daher zu dem Dichter selbst seine Zuflucht nehmen, um sich Aufklrung darber zu verschaffen. Quoted after cat. Frankfurt/Weimar 1994, p. 314). Stylistically, however, Klengel remained a stern traditionalist, as his overall handling of this composition makes abundantly clear. In a conversation with Carl Gustav Carus (17891869) he once noted: What is it that you want? Landscape only has two destination points: one is Ruysdael, the other Claude! One has to go one way or the other! Either pure nature or the ideal everything in between is mere confusion (Was wollen Sie? Die Landschaft hat ja doch nur zwei Zielpunkte: der eine ist im Ruisdael, der andere im Claude! Man muss den einen oder den anderen Weg gehen! Entweder die reine Natur oder das Ideal, dazwischen liegt ja lauter Konfusion! Quoted after Frhlich, Klengel, p. 145). 15

Johann Christian Klengel

8. Terme di Traiano ca. 179092

1741 Kesselsdorf near Dresden Dresden 1824

watercolor over pencil on laid paper; 300 x 484 mm (11 34 x 19 inches) watermark I Honig & Zoonen provenance Dr. Franz Ulrich Apelt, Zittau thence by descent literature Frhlich, Klengel, pp. 211f., no. Z 504 In the light of Klengels traditionalism, as exemplified by his highly finished composition of Hecuba Discovering the Body of Polydorus (no. 7), this ravishingly fresh watercolor, executed during his trip to Italy between 1790 and 1792, attains an even more singular position in the artists oeuvre. The fairly large sheet shows a part of the ruins of the Terme di Traiano (the Baths of Trajan). At the time they were believed to be the Baths of Titus and were described as such in Giovanni Battista Piranesis (17201778) various views of this site. The structure depicted in Klengels watercolor can be seen in the center of Piranesis Veduta degli avanzi delle Terme di Tito (Focillon 197; Wilton-Ely 332) from his early series of Le Antichit Romane of 1756 as well as in the large birds-eye view of the site in his Veduta delle Terme di Tito (Focillon 837; Hind 123; Wilton-Ely 256) of 177378 that was part of his Vedute di Roma. Piranesi also monumentalized it as a solitary structure in another of his Vedute etchings, the Veduta degli avanzi delle fabriche del secondo piano delle Terme di Tito, made at the same time (Focillon 838; Hind 127; Wilton-Ely 260). What makes Klengels view so striking is his choice of the other, starker side of the ruin (visible in both of the birds-eye views). Half of his composition is dominated by the simple structure of the brick wall that towers high above the trees. Klengel retains the monumental scale of Piranesis interpretation. But while Piranesi felt the need to embellish the site to enhance its picturesque qualities, Klengel brings it much closer to its actual appearance. And his bold situating of a plain brick wall in the center of the image gives this carefully executed watercolor an astonishingly proto-modern feel that stands out among the often labored and conservative works of this Dresden artist. Klengel used this view as a model for a small etching in reverse (measuring 66 x 218 mm; Frhlich, Klengel, G 323).

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Carl Ludwig Hackert

1751 Prenzlau (Uckermark) Morges (Switzerland) 1798

9. Les Aqueducs de Caserta

1789

gouache on board; 420 x 640 mm (16 58 x 25 18 inches) inscribed, signed, and dated at lower center Les Aqueducs de Caserta peint dapres Nature par Carl Hakert 1789 Many publications and exhibitions have been devoted to the work of Jakob Philipp Hackert (17371807) during the last decade. However, there are no studies on the lives and works of his four younger brothers. While Johann Gottlieb (17441773) and Georg Abraham (17551805) collaborated closely with their successful brother, Carl Ludwig Hackert set out to establish his own independent body of work (although he visited Jakob Philipp in Rome in 1772 and received artistic advice from him). In his biography of Jakob Philipp, Goethe explicitly mentions that Carl preferred and excelled in the technique of gouache. He received support from Johann Friedrich Reiffenstein, usually just known as Hofrat Reiffenstein, the most celebrated Cicerone in late-eighteenth century Rome. Carls brother Georg made etchings after some of his gouaches (the View of the Temple of Diana in Baiae and the View of the Temple of Proserpina on Lago dAverno among them). In 1778 Carl settled in Geneva and was visited by Jakob Philipp the same year. Ultimately, however, his views of the French part of Switzerland did not find a public and Carl apparently suffered terribly from his lack of success, committing suicide in 1798. Like his more famous brother, Carl mainly created views from nature.The present work is a characteristic example.The inscription affirms that this is an accurate view of the site. The Acquedotto Carolino was part of a thirty-eight-kilometer-long water system that funneled water from the Monte Taburno to the palace and park of Caserta. Luigi Vanvitelli (17001773), the architect who build the palace, also designed the acqueduct that was built between 1753 and 1762. Five hundred and twenty nine meters wide and fifty-six meters high, the structure, comprising three superimposed rows of arches, traverses the Valle di Maddaloni, linking Monte Logano and Monte Garzano. Carl depicts the acqueduct parallel to the picture plane, creating a stark and very modern composition. It is worth bearing in mind that what we see here is not an allusion to classical antiquity but a technical monument contemporary to the artist. The fine execution of the landscape and the figures in the foreground demonstrates Carls artistic talent. Notably, one of the staffage figures here is a monk, probably a nod to the public at which this artwork was directed and confirming its expectations of a Catholic Italy.

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Johann Georg von Dillis

1759 Gmain (not Grngiebing) Munich 1841

10. Footbridge with Water Pipe across the Isar, with the Lepers Hospital on the Prater Island to the Right ca. 1822
black chalk and stumping with white heightening on dark-blue paper; on the verso is a study of a tree in black chalk; 185 x 215 mm (7 14 x 8 12 inches) annotated in pencil on the verso Isar-Parthie provenance Bassenge, Berlin, sale 42, December 1983, lot 4192 C.G. Boerner, Neue Lagerliste 81, Dsseldorf 1984, no. 55 private collection, Germany From the 1820s onward, Dillis often experimented with colored papers. Most famously, there is the large group of cloud studies he made on light-blue paper; he also prepared papers in shades of ocher and brown that he then used for chalk drawings enhanced by heightening and wash. For the present drawing he chose a rich, dark blue that can best be described as electric. It must have been carefully protected from light over the years and its intense color has therefore been completely preserved. Dillis depicted the motif of the small bridge with the water pipe (the Quellwassersteg) near the Lepers Hospital (the Siechenhaus) several times in his work. The bridge linked the Prater Island to the Gasteig, the right bank of the Isar. A very similar, slightly larger sheet on blue paper can be found in the artists estate (Hardtwig, p. 226, cat. no. 87 with color ill.). A drawing on prepared brown paper depicting a view taken from further up the river with the bridge to the right of the composition was offered in C.G. Boerners Neue Lagerliste 111, 1999, no. 19 (acquired by Harvard Art Museums/Fogg Museum, Cambridge, Massachusetts).

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Johann Georg von Dillis

1759 Gmain (not Grngiebing) Munich 1841

11. View in Schwabing ca. 1820

black chalk and stumping with white heightening on dark-blue paper with deckled edges; 213 x 265 mm (8 38 x 10 716 inches) monogrammed in the lower right corner: GvD; annotated in the lower left corner (in a different hand?): Schwabingen; on the verso is a rudimentary study of a tower on a hill with clouds in the sky This view of a village scene belongs to the same group of drawings made with chalk on blue paper as the previous drawing by Dillis in this catalogue (no. 9). As the annotation clarifies, this is a view of Schwabing, which only became part of Munich in 1890 by order of Prinzregent Luitpold. During Dilliss lifetime, Schwabing was still a small village to the north of the city. It was clearly not the artists intention to make the location immediately recognizable, however. The houses are hidden behind trees under a cloudy sky. In addition to the trees, always the subject of greatest interest to him, he focuses on the people and their dogs as they meet at the center of an intersection at the entrance to the village. Dillis enjoyed walking from Munich into the surrounding regions to sketch the countryside. His most striking sketches of this kind are those he made on blue paper; they are comparable in mood and atmosphere to his oils sketches (Hardtwig, p. 62). These drawings show Dilliss draftsmanship at his height. Although executed with considerable spontaneity, they are also perfectly composed. As Barbara Hardtwig suggests: These highly individual, detailed views of nature, executed with soft chalks, sometimes stumped and rubbed, provide the sheets with a level of completion that leaves nothing to be added (Die mit weichen Kreiden gestalteten, gewischten, verriebenen [] hchst individuell gesehenen Naturausschnitte geben diesen Blttern einen Vollendungsgrad, dem nichts hinzuzufgen ist; Hardtwig, p. 62).The charming sketch of Schwabing has a surprisingly impressionistic and modern quality. Dillis typically kept such drawings to himself since he believed that the public would not understand them.

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Domenico Quaglio
1787 Munich 1837

12. Courtyard of the Palazzo del Bargello in Florence 1829

pen and brown ink and watercolor on wove paper; 430 x 380 mm (17 x 15 inches) This drawing comes from a larger group, consisting mainly of tracings, brought together over the last thirty years by a private collector. None of these drawings were known to Brigitte Trost when she published the catalogue raisonn in 1973. Quaglio travelled to Italy in 1829 together with Raphael Winter (17841852). He had been commissioned to make drawings for Henry Gally Knights (1786 1846) planned book, The Ecclesiastical Architecture of Italy, that was not ultimately published until 1843. The present watercolor (much more accomplished than the bulk of these surviving drawings) must have been made during this trip.

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Heinrich Reinhold
1788 Gera Rome 1825

Heinrich Reinhold studied in Dresden from 1804 to 1807. He then followed his brother, the painter Friedrich Philipp Reinhold (17791840), to Vienna where he studied at the academy until 1809. During the French occupation of the city the same year, Dominique Vivant Denon (17471825) brought Reinhold to Paris to work on a series of engravings about Napoleon. The artist returned to Vienna after the fall of Napoleon in 1814 where he met Ferdinand Olivier (17851841) and Julius Schnorr von Carolsfeld (17941872). While continuing to make prints, however, Reinhold concentrated increasingly on landscape painting during this period. He traveled to various regions in the Austrian Alps and, in 1819, went to Rome with Johann Christian Erhard (17951822). Reinhold remained in Italy for the rest of his short life and continued to travel in search of inspiration for his landscapes, going repeatedly to Olevano as well as south to Naples and Sicily. Reinholds landscape drawings combine an accurate depiction of nature with elements of religious idealization. In 1823, Bertel Thorvaldsen (17701844) even commissioned landscape paintings with religious scenes from the artist. However, it is Reinholds drawn oeuvre that exemplifies most clearlyunobscured by religious or mystical detailhis talents as an observer of nature. Richter mentions his artist friend in his Lebenserinnerungen (memoirs) in a passage for the year 1824: Reinhold sat up here [in the Serpentara] nearly every afternoon without moving from his place until late in the evening. His drawings had the size of a full sheet, cleanly drawn in pencil, sometimes including appropriate staffage figures, the point of view always chosen in a most advantageous way so that there was a completeness to the composition; the execution was masterly, with great understanding of the forms. (Reinhold sa hier oben fast jeden Nachmittag, ohne sich von der Stelle zu rhren, bis spt zum Abend. Seine Zeichnungen waren in Bogengre, sauber in Bleistift ausgefhrt, oft mit geeigneter Staffage versehen, der Standpunkt stets vortrefflich gewhlt, so da man ein wohl abgeschlossenes Ganzes vor sich hatte, und die Ausfhrung meisterhaft sicher, mit groem Verstndnis der Formen. Quoted from Richter, 1922, p. 167) Richters characterization fits both of the drawings presented here. Our sheets explain why Thieme/Becker refers to Reinholds fame as the most competent artist to depict the Serpentara.

13. An Italian Landscape ca. 182224

pencil on laid paper; 235 x 308 mm (9 14 x 12 18 inches) Watermark AlMasso The fine pencil work with parallel shading is typical of Reinholds landscape drawings. He subtly represents the nuanced tones of the landscape with lines ranging from dark gray in the shades of the valley to a silvery light gray for the sunlit hilltops. 26

Comparable sheets dating between 1822 and 1824 are illustrated in Marianne Bernhards compendium on German Romantic drawing (cf. Bernhard, Romantik, vol. 2, p. 1322: pen and ink; p. 1323: pencil and pen; p. 1330: pencil). 27

Heinrich Reinhold
1788 Gera Rome 1825

14. An Italian Landscape:View from Olevano toward Civitella July 1822

pencil on heavy wove paper; 255 x 347 mm (10 x 13 58 inches) dated at lower left 24 Juli 22; annotated verso von Olevano aus, hinten Civitella provenance C.G. Boerner, Dsseldorf private collection, Germany (acquired November 1978) The drawing shows the view from Olevano toward Civitella on the mountaintop to the far right and the Morra Vallea, a rocky ridge in the distance. The depicted valley is part of the Serpentara, an oak forest strewn with rocks and boulders between Olevano and Civitella that was to become something of a sacred grove for the German artists in Italy. Later in the century, in 1873, the forest was bought by a group of German artists and presented to the German emperor to preserve the trees and save them from being used as cross-ties for railway tracks.

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Adrian Ludwig Richter

1803 Dresden 1884

15. View over the Saint-Pons Monastery and the Paillon Valley toward Nice 1821
pencil on laid paper; 208 x 330 mm (8 18 x 13 inches) inscribed at upper-right corner: St. Ponts Nizza; monogrammed lower-right corner: LR watermark Dresden provenance Helene Kretzschmar (18371927), born Richter, the artists daughter by descent to her granddaughter, Berta Chrambach, born Kretzschmar private collection, Leipzig In 182021 Richter travelled in the entourage of Prince Narischkin, the Oberkammerherr (lord chamberlain) of the empress of Russia, from Dresden via Strasbourg, Lyon, Avignon, and Marseille to Nice. They stayed in Nice between February 17 and March 15, 1821, and it was during this period that Richter drew the view over the Saint-Pons monastery. Indeed, the artists chief role during the trip was to draw the villages and landscapes through which the prince and his retinue passed. It was common for wealthy travellers, usually noblemen, to include draftsmen and painters in their entourage for this very purpose. The artworks were intended to document the journey and as souvenirs of the places visited. Given his youth, it was a great honor for Richter to have been asked to join the group. The passport that he obtained from the police department in Dresden, dated November 18, 1820, refers to his age as nineteen and describes him as looking healthy. Richters advantage was his descent from an artists family: his father was the engraver Carl August Richter (1770 1848) and his godfather was Adrian Zingg (1734 1816). So he received drawing lessons from his father, joined the academy in Dresden as early as 1816, and in 1818 exhibited four of his drawings there for the first time. Anton Graff (17361813) recommended Richter to Prince Narischkin, who spotted his talent immediately when he saw the drawings. During the trip Richter made pencil sketches on the spot and later, still during the journey, used them as the basis for sepia drawings. In Paris, on their way home, the prince ordered that all the sepia drawings should be splendidly bound with his portrait on the cover. He then took the book with him to Russia as a gift for the empresss mother (Richter 1922, p. 83). When the group arrived at Nice (Richters relationship with the prince had deteriorated by then it seems), they stayed only briefly at the Hotel Etranger before moving to a villa in the Paillon valley. In his Lebenserinnerungen, Richter describes the situation: In Nice we moved soon into a villa located in the valley of Paglione, next to the main road, half an hour outside of town. I lodged in a charming corner room on the second floor, from where I had a view over the whole valley with its olive groves, monasteries, and beautiful hills (In Nizza bezogen wir sehr bald eine Villa, welche im Tale des Paglione, unmittelbar 30

an der Landstrae, ein halbes Stndchen vor der Stadt liegt. Ich bewohnte ein reizendes Eckzimmer im zweiten Stockwerk, wo ich das ganze Tal mit seinen Olivenwldern, Klstern und schnen Bergen bersehen konnte. Quoted from Richter 1922, p. 89). It is tempting to assume that the spontaneous sketch presented here shows the view from Richters room in the villa, convincingly describing all the details of the architecture and landscape. Only a few of Richters drawings from this journey survive. This one stayed with the artist and his family as a souvenir of his journey to the south of France. Its rediscovery represents a significant addition to his oeuvre. 31

Adrian Ludwig Richter

1803 Dresden 1884

16. View from Civitella toward the Mammelle with Rocca Santo Stefano ca. 1824
pencil on wove paper; 220 x 315 mm (8 34 x 12 38 inches) annotated with pencil at lower left: Civitella and at lower right: Rocca di Mezzo (crossed out) provenance Helene Kretzschmar (18371927), born Richter, the artists daughter by descent to her granddaughter, Berta Chrambach, born Kretzschmar private collection, Leipzig During Prince Narischkin and his entourages stay in Nice, the painter August Pezold (17941859) came by to show the prince works he had recently made in Rome. Richter was very interested to hear about artistic circles in Rome and was surprised not to know any of the artists names Petzold mentioned. In his memoirs Richter summarized Petzolds description with the words: These were all completely new things to me, just like the report of a traveler who tells from a mighty island in a far-distant ocean (Das waren mir alles ganz neue Dinge, wie etwa die Mitteilung eines Reisenden, der von einer mchtigen Insel im fernen Ozean erzhlt. Quoted from Richter 1922, p. 90). Two years later, in June 1823, he finished his studies at the academy in Dresden only to leave immediately for Rome. He stayed in Italy until 1826 where he made contact with many other artists and was advised by Joseph Anton Koch (17681839). Like many of his fellow painters, Richter made excursions through the Roman Campagna and visited the famous villages in the surroundings of the eternal city, like Civitella (called Bellegra after 1880) and Rocca Santo Stefano. Koch had incorporated some etchings with views of that region in his series of Rmische Ansichten (Roman Views), published in 1810, thereby contributing to their popularity with artists. The refinement of this drawing from Richters Italian sojourn lies in the subtle handling of the pencil. Through nuanced hatching the artist created a range of shades that give a sense of depth to the landscape. While the lower half of the sheet appears dark due to the pencil hatching, the white of the paper in the upper half captures the light of the landscape, with only some fugitive clouds visible above the Monti Ruffi.The small hill town in the middle distance is Rocca di Santo Stefano, not Civitella, as the inscription (by a later hand?) at lower left states. While not in a strict sense a preparatory drawing, one can nevertheless connect it to Richters oil painting Rocca Santo Stefano, executed in 182425 (Museum der bildenden Knste Leipzig; Bischoff/Spitzer, cat. no. 2). In a second painting, dated 1828, Richter shows Rocca Santo Stefano in the evening sun, with the foreground already absorbed by the shadows of the approaching night, an obvious link to the drawing presented here (Museum Folkwang Essen; Bischoff/Spitzer, cat. no. 8).

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August Lucas

1803 Darmstadt 1863

17. The Monti Ruffi (Mammelle) near Olevano

1830/31

oil on paper; 30 x 41 cm (ca. 12 x 16 inches); annotated in pencil on the verso Mamellan vicino Olevano and monogrammed 18AL36 The sketch depicts the southern view of the Mammelle, a prominent double peak in the mountain range of the Monti Ruffi. On a lower elevation in the middle distance sits the small village of Rocca Santo Stefano. The area is situated north of Olevano, beyond the valley of the Serpentara on the way to Civitella. The view was popular among the German artists of the period; we know of depictions of it in drawings, watercolors, and oil paintings by Franz Horny (17981824), Julius Schnorr von Carolsfeld (17941872), and Heinrich Reinhold. Included in this catalogue is a pencil drawing by Ludwig Richter of a nearly identical view executed about six years earlier. It was also represented by Lucass fellow Darmstadt artist Johann Heinrich Schilbach (17891851) who explored the region in the summer of 1824 (cf. his large oil painting of 1838 incorporating this view, illustrated in Mrker/Pohl, pp. 190f. cat. no. 80, color plate p. 80). After studying in Munich with Peter Cornelius (17831867), August Lucas went to Rome in the fall of 1829 on a fellowship from Ludwig I, Grand Duke of Darmstadt. He ventured into the surrounding Alban and Sabine Hills and also travelled further south to visit Naples, Pompeii, Capri, and Sorrento. He returned to Darmstadt in 1834 and between 1835 and 1840 began to use his drawings and plein-air sketches for the execution of large Italianate landscape paintings. Lucas also painted various small-format Italian landscapes (Villa Auriemma, dated 1844, oil on canvas, 26.1 x 32.2 cm, Franzke VG 43; Castel Gandolfo, dated 1845, oil on canvas, 25.4 x 35.2 cm, Franzke VG 48), so it cannot be ruled out that, given the date of 1836 associated with the monogram on the verso, the present painting was made in Darmstadt and based on his Italian studies. However, the fact that it is painted on paper and includes the detailed annotation of the location, applied probably when the sketch was executed, makes it more likely that the work belongs to Lucass first Italian period.This is further supported by two very comparable undated views of Civitella (oil on paper, 15.2 x 33.3 cm, Franzke G 10; and oil on paper, 27 x 41.8 cm, Franzke G 11). For both of them Franzke suggests a date of 1831, noting that the handling of color has not yet reached the subtle tonal transitions on the plein-air sketches after 1832 ([] erreicht aber noch nicht die weichen Tonbergnge der Freilichtstudien ab 1832, Franzke, p. 32). This is to a certain extent also true for the present sketch, suggesting a date of execution closer to the beginning of the 1830s. As for the location, we know that Lucas visited Olevano in 1830 and the region around Civitella and Olevano again in 1831. His trip south dates from 1832; after that he ventured less out of the city during his remaining years in Rome. A drawing of the Mammelle mountain range from a somewhat different angle is dated as early as February 1830 (Franzke Z 168). All of this would further support an early date of 183031 for the present work. The date (and the monogram) on the verso were therefore most likely added by Lucas back in Darmstadt, probably when he sold the painting two years after his return from his first Italian trip.

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Michael Wentzel

1792 Groschnau near Zittau Dresden 1866

Michael Wentzel first attended the drawing classes of Cajetan Toscani (17421815) at the Dresden Academy and remained there until 1812, studying with the still-life specialist Caroline Friederike Friedrich (17491815) and the neo-classical painter Christian Ferdinand Hartmann (17741842). He then went on to Vienna and is documented as being in Munich in 1823 and Leipzig in 1825. In 1828 he travelled for three years in Italy, visiting Rome, Naples, and Sicily. By 1831 Wentzel had returned to Dresden where he taught drawing at the Technische Bildungsanstalt (later Polytechnische Schule, today the Technische Universitt Dresden) and in 1863, late in his life, was appointed professor there. He specialized in still-life and animal paintings while his work as a landscape artist was limited to a short period during and immediately after his return from Italy. Some of these Italian views were disseminated in lithographs by Ludwig Nader (ca. 18111840) and etchings by Traugott Faber (17861863). Nonetheless, the artist remains obscure. The entry in Thieme/Becker, written by the Dresden scholar and collector Ernst Sigismund in 1942, probably remains the most comprehensive account of the artists life and work. Sigismund mentions drawings in private collections in Dresden, including his own, as well as bei Dr. Apelt, which must refer to the two watercolors presented here. Both watercolors, in different ways, are small revelations, especially given the fact that they were executed by an artist who has since been virtually forgotten. Clearly always kept in a portfolio and never matted and displayed, they have retained a remarkable freshness.

18. View of a Road in the Roman Campagna 1829

watercolor over pen and ink on wove paper; 142 x 447 mm (5 58 x 17 58 inches) annotated in pencil at lower right Rom 21 Marz / 29.; verso inscribed Michael Wentzel provenance Dr. Franz Ulrich Apelt, Zittau thence by descent The composition of this plein-air sketch is most unusual in its wide-angled perspective.This is not the result of some accidental cropping of the sheet, however. The annotation at the lower right, the carefully applied watercolor, and the framing of the frieze-like center by a series of summary gray brush strokes to the left, as well as the clouds hinted at by faint pencil traces in the upper-right corner, make clear that this wide view was carefully chosen by the artist. Wentzel depicts what is probably a Roman road cutting through the rolling meadows of the Roman Campagna. A tower-like edifice set in front of three trees is positioned in the distance on the left of the sheet as the focal point of the dramatically receding perspective. Such extremely wide horizontal proportions can also be found in the plein-air sketches of other artists of the period. One prominent example is Carl Blechen 36

(17981840). A group of similarly proportioned oil sketches, mainly focusing on the depiction of sky and clouds (drawings collection of Nationalgalerie in Berlin; Schuster, pp. 151f., cat. nos. 143, 147, 148, 150, and 151) all date from the artists Italian trip of 182829. In December 1828 Blechen arrived in Rome from where he explored the surrounding Campagna before leaving for Naples in May 1829 where he stayed for two months.These dates overlap precisely with those of Wentzels Italian sojourn as far as we can reconstruct it from the dates on the two watercolors presented here. It is intriguing, therefore, to imagine a possible meeting between these two artists, even if we have not been able to find any otherwise documented evidence of such an encounter. 37

Michael Wentzel

1792 Groschnau near Zittau Dresden 1866

19. La Scuola di Virgilio 1829

watercolor over pen and ink with traces of pencil on laid paper; 305 x 473 mm (12 x 18 58 inches); annotated in pencil at upper right La scola de Virgil 22 Junij 29.; in pen and ink nello Camerolle watermark Canson 1826 provenance estate of the artist (according to a pencil inscription on verso) Dr. Franz Ulrich Apelt, Zittau thence by descent The Scuola di Virgilio is a rock formation near Posillippo. The English poet Percy Bysshe Shelley (17921822) had visited it a decade before Wentzel on a boat trip in the Bay of Naples. In a letter of December 1818 the poet writes: We passed Posillippo and came first to the eastern point of the bay of Pozzuoli, which is within the great bay of Naples, and which again incloses [sic] that of Baiae. Here are lofty rocks and craggy islets, with arches and portals of precipice standing in the sea, and enormous caverns, which echoed faintly with the murmur of the languid tide. This is called La Scuola di Virgilio. Wentzels pristinely preserved watercolor captures the dark-blue hues of the sea and the bright ocher of the rocks in Technicolor brilliance, evoking the warmth of an early summer day with the view of Mount Vesuvius in the far distance. As Shelley further observes in the same letter: The colours of the water and the air breathe over all things here the radiance of their own beauty. It is worth pointing out that Wentzel used some of the finest watercolor paper to execute this sheet.The Canson Papermill traces its history back to the sixteenth century. By 1801 it had joined with Montgolfier, another prestigious French mill, and Canson & Montgolfier continued to produce renowned papers that were especially sought after by watercolorists.

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Julie Countess von Egloffstein

1792 Erlangen Marienroda 1869

20. View of Sorrento

1830

pencil on wove paper; 183 x 241 mm (7 316 x 9 12 inches) annotated in pencil at lower right: Sorrento am 25. Juli 1830. and by a different hand: im Hause der Gr[fin]. v[on]. E[gloffstein]. verso: Portrait of Karoline Lauska annotated in pencil on the right: Frau Lauska In 1809 Egloffstein received her first drawing lessons from Johann Heinrich Ramberg (17631840) in Hanover, followed by further studies in Nuremberg with Christoph Jakob Freiherr Haller von Hallerstein (17711839) between 1812 and 1819. From 1816 onward her education was supported by Johann Wolfgang Goethe. Egloffstein specialized in landscape drawings and in portraits. In 1819 she studied at the Dresden Academy where she made contact with Georg Friedrich Kersting (17851847) and the poet Friedrich Tieck (17731853). In 1824 she became Hofdame (lady-in-waiting) at the court in Weimar and was given a studio in the Frstenhaus. In 182829 she made the famous portraits of Louise Groherzogin von Sachsen-Weimar-Eisenach and Goethe als Dichter und Staatsmann (Goethe as poet and statesman). Egloffstein travelled through Italy between 1829 and 1832 and again in 183840. In 1838 she was elected a member of the Antwerp Academy and in 1840 she received an honorary membership of the Accademia di San Luca in Rome. In July 1830, during her first trip to Italy, Egloffstein travelled with the painter Friedrich Preller (18041878) from Rome via Naples to Sorrento. Here, in the pleasant climate of southern Italy, she was able to relax, swimming in the sea and making paintings and drawings. She easily made contact with local intellectual circles and August von Platen (17961835) wrote a poem for her (for the biography cf. Egloffstein, passim, and Boetzkes) On July 25, she made the pencil drawing offered here, showing a view from the house in which she was staying.The artist focused on the trees in the foreground that conceal the houses of Sorrento in the middle ground. In the background rise the mountains of the Sorrentine peninsula. While the trees are carefully realized, the shepherds and the women in the foreground have been rapidly sketched. On the verso (fig. 1) is a portrait of the painter Karoline Ermeler (born 1794 in Berlin), who married the musician Franz Ignaz Lauska (17641825; cf. Geller, no. 763, for Wilhelm Hensels portrait of Karoline Lauska). She was a pupil of Johann Carl Heinrich Kretschmar (17691847) and later of Wilhelm Schadow (17881862) and visited Italy three times. Ermeler is known to have been there in 182930 and it is possible that she went to Sorrento in 1830 when Egloffstein might have made the portrait of her. Egloffstein chose an uncommon pose from the back, allowing her to show the face in profile. The present sheet therefore not only incorporates both of the genres Egloffstein was best-known for, a landscape view and a portrait; it is also significant as a rare portrait of a female painter by a female artist. We are grateful to Professor Dr. Helmut Brsch-Supan, Berlin, for his help in cataloguing this entry. 40

41

Carl-Wilhelm Mller
1839 Dresden 1904

Carl Wilhelm Mller enrolled in the Dresden Academy in 1854 and was a pupil in Ludwig Richters studio from 1858 to 1864. In 1865 he travelled to Italy by way of Munich and Salzburg. He arrived in Rome in 1866 and stayed in Olevano in the late summer and early fall of that year. From September to October he shared lodgings in the Casa Baldi there together with Victor Paul Mohn (18421911) and Albert Venus (18421871). All three were pupils of Richter and all of them must have been aware that their teacher had stayed in the same place in September 1824.

21. View of Olevano 1866

pencil on wove paper; 219 x 294 mm (8 58 x 11 12 inches) signed in pencil with monogram at lower left and annotated at lower right Olevano The picturesque hilltop town of Olevano has been depicted by many artists. Mller not only chooses the often-used viewpoint to depict the German Romantics favorite setting but also works purely in pencil, a somewhat old-fashioned medium by that time, to emulate the drawing style of the Nazarene artists from forty years earlier. The highly finished level of execution as well as the staffage figures of the two women on the left and the swineherd in the right foreground might suggest that the drawing is a copy and that it could therefore have even been made when Mller was still studying back in Dresden. However, if we compare the composition with other views taken from the very same vantage pointfor example Joseph Anton Kochs famous large sepia drawing of ca. 1822 (now in the Kupferstichkabinett in Berlin; Lutterotti Z 580; Riccardi, p. 116, cat. no. 11) the extraordinary level of detail captured by Mller becomes evident. While Koch rounds up the composition on the left with a tree, Mller faithfully continues to render each of the houses that cling to the foot of the hill. Even closer to Mllers sheet is the fine pencil drawing of 1834 by the Hamburg artist Victor Emil Janssen (18071845), now in the Winterstein Collection in Munich (Zeitler, p. 200, no. 40 with ill.). Clearly executed en plein air and without the completed foreground of Mllers drawing, it is equally faithful to the actual viewhere taken from a slightly lower and closer vantage point. Although Mller finishes the composition with the aforementioned set-pieces and frames it with a simple borderline, it is highly unlikely that the architectural view was not recorded in front of the motif. This is ultimately confirmed by a pendant to our drawingof the same size, style, and finished appearance with borderlinein a private collection in Germany, showing a view of the rocky oak forest known as the Serpentara (fig. 1). It is most unlikely that Mller would have copied such a topographically imprecise setting as this without sketching the main elements en plein air, even if the staffage figures might have been filled in later. Both of these superb albeit willfully old-fashioned pencil drawings can therefore be understood as homages to the draftsmanship of the previous generation. 42

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Carl-Wilhelm Mller
1839 Dresden 1904

22. Autumn Landscape in the Erzgebirge 1868

watercolor over pencil on wove paper; 200 x 275 mm (7 78 x 10 78 inches) signed in pen and ink with monogram and annotated at lower left Kupferberg 1. Oktober. 68 Unlike many other artists who would mine their Italian sketches in landscape paintings for years afterward, Mller painted only very few Italian motifs after his return to Dresden in December 1866. Still following his teachers blandishments to draw from nature, Mller concentrated instead on views of the landscapes of his native Saxony and Bohemia. This charming view through a loose row of red-leafed trees in autumn was made near Kupferberg (Mdnec) overlooking the Eger Graben (Ohersk pkop) in the Erzgebirge (Krun hory) in Bohemia, today part of the Czech Republic.

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Carl Wagner

1796 Rodorf an der Rhn Meiningen 1867

Wagner began his studies in forestry and started drawing elements of the landscape as a hobby. Between 1817 and 1820, he took up the formal study of art under Carl August Richter (17701848) at the Dresden Academy, sponsored by Crown Prince Bernhard whom he had known as a child (Carls father, Johann Ernst Wagner, was cabinet secretary to Duke George I of Saxe-Meiningen). Carl Wagner was appointed painter to the court and curator of the Meiningen paintings collections by Bernhard in 1820, a position that ensured his financial security for the rest of his life.Wagner travelled extensively throughout Germany, Switzerland, the Tirol, Belgium, and northern France, and lived in Rome between 1822 and 1825; he recorded some of what he saw in a large number of topographical drawings that also reveal his intimate knowledge of natural forms. Ludwig Richter, the son of Wagners teacher, who travelled in Italy with him, noted in his memoirs that we saw the natural forms in Wagners nature studies as we had them before us in reality, and not translated through a pattern. [] Wagner had been so lucky as not to have had a mannered teacher as they all were then, or at least only at first, and so he stayed with nature and tried to put down for viewing on paper what his eye saw in nature, and especially what brought joy to his heart. (Richter, p. 52: Dagegen erblickten wir in Wagners Naturstudien die Naturformen, wie wir sie in der Wirklichkeit vor uns hatten, und nicht nach einer Schablone bersetzt. [] Wagner war so glcklich gewesen, keinen manierierten Lehrer, wie sie damals alle warenoder nur fr die ersten Anfngegehabt zu haben, und so hielt er sich an die Natur und suchte das auf dem Papier zur Anschauung zu bringen, was in der Natur sein Auge sah und vor allem sein Herz erfreute; translation from cat. Cleveland/Berkeley/Pittsburgh 1994, p. 72) Wagner emerges as a versatile artist. His early drawings are characterized by a fluid drawing style and a delicate palette with rather muted colors. Other watercolors by him have a close affinity to early watercolors by Johann Christian Reinhart (17611847) from the 1780s.Wagner admired the older painter, who had also worked at the Meiningen court a generation earlier. Reinharts friendship with Duke George I in many ways mirrored that of Wagner and Georges son Bernhard. The two artists met during Wagners Italian sojourn and Wagner ultimately assembled the largest-known collection of Reinharts work. Carl Wagner was an all-but-forgotten artist when his signature was discovered on a painting of a moonlit landscape (now in the Wallraf-Richartz-Museum, Cologne; Knig, p. 2) traditionally attributed to Carl Gustav Carus (17891869). This discovery catapulted Wagner into the first rank of the great German Romantic artists, as Thieme/Becker points out (Jahrzehntelang fast vllig vergessen, bis er durch die Aufdeckung der Signatur des bis dahin Carus zugewiesenen Bildes: Mondaufgang in die erste Reihe der groen deutschen Romantiker gerckt wurde). Although Wagners drawings have received somewhat more attention in recent years, a comprehensive overview is still lacking and an exhibition dedicated to his stylistically wide-ranged oeuvre would be a worthwhile and appealing enterprise.

Impressions from a Trip to Switzerland, Summer 1862

The group of watercolors presented here are evidence of yet another stylistic development, what might be described as the artists Sptstil (late style). Wagners handling of both pencil and brush had now become bold and free.The landscape is outlined in strong pencil strokes, accents are set by blocks of parallel hatching. Overlaid on this structure is the brushwork with surprisingly bright watercolors; the vividness of the pigments is pristinely preserved here on sheets that must have always been hidden from the light in portfolios. 46

All of these watercolors showing Swiss landscapes come from the same private collection. While not all the sheets are dated it might therefore be reasonable to assume that the drawings were all executed during the artists trip in the summer of 1862. No. 23 shows Brglen im Schchental, south of Altdorf, in the canton of Uri.The small village has a certain prominence as it is reputed to be the home town of Wilhelm Tell.This would have been important for Wagner because he knew Friedrich Schillers play and was well aware of the latters connection to Meiningen. The poet lived between 1782 and 1783 in the village of Bauerbach near Meiningen. In the drawing described here, Wagner shows an old castle disguised by trees. His focus is less on the building than on the landscape. Watercolor no. 24, although annotated with the name of the village of Oberstocken in the canton of Berne, is also a pure landscape with a valley and a stream. Tiefenmatten, a small village near Zermatt in the canton of Valais, is documented by three watercolors showing the typical wooden houses of the area and the impressive steep structure of the terrain. Wagner used an astonishing variety of colors to evoke the atmosphere of these places (nos. 25, 26, and 27). The second group of watercolors is dedicated to the region around Pontresina near St. Moritz in the Engadine valley in the canton of Graubnden; it includes a view of Poschiavo, south of the Bernina pass. The Graubnden drawings are dated to August 1862 so it is possible to arrange them in the order in which they were drawn. It is obvious that Wagner, like most tourists, was deeply impressed by the beauty of the Alpine landscape. In contrast to the views of the Alps made some decades previously, however, Wagners pictures were not intended to evoke the Sublime, a concept that was extremely outmoded by the 1860s. Instead they are spontaneously drawn impressions of some of the famous sites in areas like the Roseg glacier and the Piz Bernina. Since they must have always been kept in a portfolio, never exposed to light, they retain an incredible freshness only rarely found in watercolors from this period. Curiously, Wagner also drew a sawmill near Pontresina (nos. 30 and 31), a motif similar to that of the watermill that had interested him since his earliest career and which originates in Dutch seventeenth-century painting. Of course, in the Engadine, bathed in the bright August sunlight, these sources are only a distant memory. As both the drawings of the sawmill make clear, Wagner used a small sketchbook to draw them directly on the spot, sometimes drawing over two pages. He later removed them and pasted them together (see also cat. nos. 27 and 29). He used these sketches to create more detailed drawings, perhaps at his hotel later the same day. On August 4, Wagner was still in Pontresina; he then crossed the Bernina Pass and arrived on August 6 in Poschiavo. The drawing presented here (no. 32) shows the historic town with its several churches in the distance, surrounded by the mountains. In the foreground, however, the artist depicts some local houses, not only built with stone, but also covered with stone shingles, as he noted on the recto of the sheet.The houses form a Maienss, a group of buildings that was only inhabited during the summer months by peasants. They differ from the regional architecture of the houses in Tiefenmatten that were mostly constructed with wood. Poschiavo, south of the Alps, is already an Italian-speaking area of Switzerland, only a few miles from the border of Lombardy. It inspired Wagner to create a picturesque panorama of a place where majestic natural beauty and human culture joined.

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23. Brglen with the view through a Wooded Valley to the Mountains 1862
watercolor over pencil on wove paper; 270 x 433 mm (10 12 x 17 18 inches) annotated in pencil at lower right Brgel d 27 []; some color notes in pencil within the image watermark J Whatman 48

25. View of Tiefenmatten near Zermatt 1862 24. A Mountain Stream

1862

watercolor over pencil on wove paper; 364 x 270 mm (14 38 x 10 58 inches) annotated in pencil at lower right Im Brunnenthal bei Ober[stocken]; some color notes in pencil within the image

watercolor and pencil on wove paper; 192 x 125 mm (7 12 x 5 inches) annotated in pencil at lower right (illegible) watermark [Wha]tman 49

26. View of the Hamlet of Tiefenmatten near Zermatt 1862

watercolor over pencil on wove paper; 270 x 217 mm (10 12 x 8 12 inches) annotated in pencil at lower right Bei Tiefen[matten]; some color notes in pencil within the image 50

27. View of the Hamlet of Tiefenmatten near Zermatt August 1862

pencil, pen, and watercolor on two joined sketchbook sheets of wove paper; 200 x 265 mm (7 78 x 10 12 inches) annotated in pencil at lower right Tiefenmatten; some color notes in pencil within the image 51

28. View of the Bernina Mountain Range and the Roseg Glacier in the Morning August 1862
watercolor over pencil on wove paper; 270 x 432 mm (10 58 x 17 18 inches); annotated in pencil at lower right Pontresina d. 1 Aug 62 / Der Roseggh Gletscher / Zrben and at upper right Morgen watermark J Whatman Turkey Mill 1832 52

29. View from the Roseg Valley to the Bernina Range August 1862
pen and watercolor over pencil on two joined sketchbook sheets of wove paper; 200 x 261 mm (7 78 x 10 38 inches) annotated in pencil at upper right Der Bernina d. 3 Aug 62 / Morgen; some color notes in pencil within the image 53

30. The Languard Waterfall near Pontresina August 1862

pencil and watercolor on two joined sketchbook sheets of wove paper; 265 x 200 mm (10 38 x 7 78 inches) annotated in pencil at lower left Bei Pontresina; some color notes in pencil within the image 54

31. The Languard Waterfall near Pontresina August 1862

watercolor over pencil on wove paper; 431 x 268 mm (17 x 10 38 inches) annotated in pencil at lower left Pontresina d. 4. Aug 62 and again at lower right Bei Pontresina; color notes in pencil within the image; a further annotation in pencil on the verso: Bei Pontresina, der Wasserfall kommt vom Piz Langward watermark J Whatman Turkey Mill 1832 55

32. View of Poschiavo August 1862

watercolor over pencil on wove paper; 265 x 435 mm (10 12 x 17 14 inches); annotated in pencil at lower right Boschiavo d. 6 Aug / Die Huser haben mit Steinplatten belegte Dcher / Maienss watermark J Whatman Turkey Mill 1832 56

literature
Marianne Bernhard, Deutsche Romantik. Handzeichnungen, 2 vols., Munich 1974 Marianne Bernhard (ed.), Caspar David Friedrich. Das gesamte graphische Werk, Munich 1974 Ulrich Bischoff/Gerd Spitzer (eds.), Ludwig Richter. Der Maler, exhibition catalogue, Staatliche Kunstsammlungen Dresden/Bayerische Staatsgemldesammlungen Munich, Munich/Berlin 2003 Helmut Brsch-Supan/Karl Wilhelm Jhnig, Caspar David Friedrich. Gemlde, Druckgraphik und bildmige Zeichnungen, Munich 1973 Manfred Boetzkes (ed.), Goethes glckliche Zeichnerin? Das unvollendete Knstlerleben der Julie von Egloffstein (17921869), exhibition catalogue Roemer- und Pelizaeus-Museum Hildesheim/Goethe-Nationalmuseum Weimar, Hildesheim 1992 Herrmann Freiherr von Egloffstein (ed.), Alt-Weimars Abend. Briefe und Aufzeichnungen aus dem Nachlasse der Grfinnen Egloffstein, Munich 1923 Henri Focillon, Giovanni Battista Piranesi. Essai de catalogue raisonn de son uvre, Paris 1918 Andreas Franzke, August Lucas 18031863 [with catalogue raisonn of the paintings and drawings], in: Kunst in Hessen und am Mittelrhein, vol. 12, Darmstadt 1972, pp. 9195 Anke Frhlich, Landschaftsmalerei in Sachsen in der zweiten Hlfte des 18. Jahrhunderts. Landschaftsmaler, -zeichner und -radierer in Dresden, Leipzig, Meien und Grlitz von 1720 bis 1800, Weimar 2002 Anke Frhlich, Glcklich gewhlte Natur. Der Dresdner Landschaftsmaler Johann Christian Klengel (17511824) zwischen Sptbarock und Romantik. Monographie und Werkverzeichnis der Gemlde, Zeichnungen, Radierungen und Lithographien, Hildesheim/Zurich/New York 2005 Anke Frhlich, Einer der denkendsten Knstler unserer Zeit. Christoph Nathe 1753 1806. Monographie und Werkverzeichnis, Bautzen 2008 Hans Geller, Die Bildnisse der deutschen Knstler in Rom. 18001830, Berlin 1952 Terz Gerszi/Zsuzsa Gonda, Nineteenth-Century German, Austrian, and Hungarian Drawings from Budapest, exhibition catalogue Cleveland Museum of Art/ University Art Museum, Berkeley/Frick Art Museum, Pittsburgh, Alexandria (Virginia) 1994 Johannes Grave, Medien der Reflexion. Die graphischen Knste im Zeitalter von Klassizismus und Romantik, in: Andreas Beyer (ed.), Klassik und Romantik, Munich/ Berlin 2006 (Geschichte der bildenden Kunst in Deutschland, vol. 6), pp. 439497 Maren Grning/Marie Luise Sternath, Die deutschen und Schweizer Zeichnungen des spten 18. Jahrhunderts,Vienna/Cologne/Weimar 1997 (Konrad Oberhuber [ed.], Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina, vol. 9) Barbara Hardtwig, Johann Georg von Dillis. Die Kunst des Privaten. Zeichnungen aus dem Nachlass des Historischen Vereins von Oberbayern, exhibition catalogue Lenbachhaus, Munich/Hamburger Kunsthalle, Cologne 2003 Arthur M. Hind, Giovanni Battista Piranesi. A Critical Study.With a List of his Published Works and Detailed Catalogues of the Prisons and the Views of Rome, London 1922 Sigrid Hinz, Caspar David Friedrich als Zeichner. Ein Beitrag zur stilistischen Entwicklung de Zeichnungen und ihrer Bedeutung fr die Datierung der Gemlde, diss. phil. Greifswald 1966 (typescript) 57

Oskar Alfred Knig, Der romantische Landschaftsmaler und Meininger Hofmaler Carl Wagner 17961867, Crailsheim 1991 Brbel Kovalevski (ed.), Zwischen Ideal und Wirklichkeit. Knstlerinnen der Goethezeit. 17501850, exhibition catalogue Schlomuseum Gotha/RosgartenMuseum Constance, Ostfildern-Ruit 1999 Frits Lugt, Les Marques de collections de dessins & destampes, Amsterdam 1921. Supplment, The Hague 1956 Otto R. von Lutterotti, Joseph Anton Koch 17681839. Mit Werkverzeichnis und Briefen des Knstlers, Berlin 1940 Otto R. von Lutterotti, Joseph Anton Koch 17681839. Leben und Werk. Mit einem vollstndigen Werkverzeichnis,Vienna/Munich 1985 Peter Mrker/Klaus-D. Pohl, Der Traum vom Sden: Johann Heinrich Schilbach. Zeichnungen, Aquarelle, lstudien und Gemlde, exhibition catalogue Hessisches Landesmuseum Darmstadt, Heidelberg 2000 Hans Joachim Neidhardt, Die Malerei der Romantik in Dresden, Leipzig 1976 Hans Joachim Neidhardt et al., Ludwig Richter und sein Kreis. Ausstellung zum 100.Todestag im Albertinum zu Dresden, exhibition catalogue, Staatliche Kunstsammlungen Dresden, Knigstein im Taunus 1984 Domenico Riccardi (ed.), Gli artisti romantici tedeschi del primo Ottocento a Olevano Romano Deutsche romantische Knstler des frhen 19. Jahrhunderts in Olevano Romano, exhibition catalogue Villa De Pisa, Olevano, Milan 1997 Ludwig Richter, Lebenserinnerungen, Max Lehrs (ed.), Berlin s.d. [1922] F. Carlo Schmid, Naturansichten und Ideallandschaften. Die Landschaftsgraphik von Johann Christian Reinhart und seinem Umkreis, Berlin 1998 Sabine Schulze (ed.), Goethe und die Kunst, exhibition catalogue Schirn Kunsthalle Frankfurt/Kunstsammlungen Weimar, Ostfildern-Ruit 1994 Peter-Klaus Schuster (ed.), Carl Blechen. Zwischen Romantik und Realismus, exhibition catalogue Nationalgalerie Berlin, Munich 1990 Heinrich Schwarz, Heinrich Reinhold in Italien, in: Jahrbuch der Hamburger Kunstsammlungen, vol. 10, 1965, pp. 7196 Werner Sumowski, Caspar David Friedrich Studien, Wiesbaden 1970 Ulrich Thieme/Felix Becker, Allgemeines Lexikon der bildenden Knstler von der Antike bis zur Gegenwart, 37 vols., Leipzig 19071950 Brigitte Trost, Domenico Quaglio 17871837. Monographie und Werkverzeichnis, Munich 1973 (Materialien zur Kunst des 19. Jahrhunderts, vol. 6) Sabine Weisheit-Possl, Adrian Zingg (17341816). Landschaftsgraphik zwischen Aufklrung und Romantik, Mnster 2010 (Villigst Perspektiven. Dissertationsreihe des Evangelischen Studienwerks e.V . Villigst, vol. 12) John Wilton-Ely, Giovanni Battista Piranesi. The Complete Etchings, 2 vols., San Francisco 1994 Rudolf Zeitler, Die Kunst des 19. Jahrhunderts, Berlin 1966 (Propylen Kunstgeschichte, vol. 11)

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INDEX
Dillis, Johann Georg von............................................................................................................................................................................................10,11 Egloffstein, Julie Countess von...................................................................................................................................................................................20 Hackert, Carl Ludwig................................................................................................................................................................................................9 Klengel, Johann Christian..........................................................................................................................................................................................7, 8 Lucas, August.............................................................................................................................................................................................................17 Mller, Carl-Wilhelm................................................................................................................................................................................................21, 22 Nathe, Christoph.......................................................................................................................................................................................................15 Quaglio, Domenico...................................................................................................................................................................................................12 Reinhold, Heinrich...................................................................................................................................................................................................13, 14 Richter, Adrian Ludwig.............................................................................................................................................................................................15, 16 Veith, (Johann) Philipp, attributed to..........................................................................................................................................................................6 Wagner, Carl..............................................................................................................................................................................................................2332 Wentzel, Michael.......................................................................................................................................................................................................18, 19

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CONDITIONS OF SALE
All items in the catalogue are for sale. Payments made from a US dollar account should be sent to First Republic Bank, Branch 79, 1230 Avenue of the Americas, New York, NY 10020. Account Name: CG Boerner, LLC; ABA: 321081669; Account No: 979000475I9. Payments from a non-US dollar account should be sent to First Republic Bank, 111 Pine Street, San Francisco, CA 94111. Account Name, CG Boerner, LLC; Account No: 979000475I9; Swift Code: FRBBUS6S; ABA: //FW321081669. Foreign clients are requested to remit payment net of bank charges. The client is liable for all costs and risks of shipping, including transit insurance. We will be happy to send items on approval for short periods to clients known to us. Firm orders will take precedence. Title does not pass to the buyer until the seller receives and collects payment in full.

VERKAUFSBEDINGUNGEN
Verkauf der Kunstwerke gegen sofortige Zahlung. Bankkonto bei HSBC Trinkaus & Burkhardt, Knigsallee 21-23, D-40212 Dsseldorf, BLZ 300 308 80, Konto 300 118 003. IBAN: DE07 3003 0880 0300 1180 03, BIC (SWIFT): TUBDDEDD. Versand auf Kosten und Gefahr des Bestellers.Versicherung zu seinen Lasten. Zu kurzfristigen Ansichtssendungen an uns bekannte Kunden sind wir gerne bereit. Festbestellungen werden bevorzugt behandelt. Es besteht kein Lieferungszwang. Eigentumsvorbehalt gem 455 BGB.

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