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PAINTING
Italian landscape
Oil on canvas,
Stuttgart, signed and dated Adolf Friedrich Harper 1786
Large landscape in front of the sunset with resting wanderers on a river course with a large waterfall in the depth of the picture. In the background, you can see remains of a castle complex. The painting is made by the Württemberg court painter Adolf Friedrich Harper (1725-1806), who grew up in Berlin and learned there from his father in the workshop. He entered ducal Württemberg service in 1756, which enabled him to make several extended trips to Italy. Johann Wolfgang von Goethe called Harper a born landscape painter. Harper was appointed court painter in 1759, professor at the 'Hohe Karlsschule' in Stuttgart in 1761, and gallery director of the collections in 1784. Several paintings by him have survived in the ducal family.
This painting also comes from the private property of the Dukes of Württemberg and there are still significant works by him, for example, in Ludwigsburg Palace.
Height: 150 cm, width: 185 cm; (with frame)
Stuttgart, signed and dated Adolf Friedrich Harper 1786
Large landscape in front of the sunset with resting wanderers on a river course with a large waterfall in the depth of the picture. In the background, you can see remains of a castle complex. The painting is made by the Württemberg court painter Adolf Friedrich Harper (1725-1806), who grew up in Berlin and learned there from his father in the workshop. He entered ducal Württemberg service in 1756, which enabled him to make several extended trips to Italy. Johann Wolfgang von Goethe called Harper a born landscape painter. Harper was appointed court painter in 1759, professor at the 'Hohe Karlsschule' in Stuttgart in 1761, and gallery director of the collections in 1784. Several paintings by him have survived in the ducal family.
This painting also comes from the private property of the Dukes of Württemberg and there are still significant works by him, for example, in Ludwigsburg Palace.
Height: 150 cm, width: 185 cm; (with frame)
Family Portrait of Duchess Helene zu Württemberg-Oels, née Princess zu Hohenlohe-Langenburg
Carl Rothe, Breslau around 1834
Oil on canvas, marked on the back.
The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.
The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.
Height 136.5 cm, width 111 cm.
Oil on canvas, marked on the back.
The family portrait shows the second wife of Duke Eugen II of Württemberg-Oels (Oels 1788 - 1857 Karlsruhe), Duchess Helene (Langenburg 1807 - 1880 Heinrichsruh near Schleiz) with three of her four children: Wilhelm (1828-1869), Nikolaus (1833-1903) and Alexandrine (1829-1913), later abbess of the noble ladies' convent in Oberstenfeld.
The painting was made before the birth of their fourth child Agnes (1835-1903) and is attributed to the court painter Carl Rothe (Dresden 1810-1865 Liegnitz), who worked as court painter to the dukes of Württemberg in Oels and Breslau. Several portraits of the family by have been preserved.
Height 136.5 cm, width 111 cm.
Portrait of Maria Antonia Walpurgis Symphorosa of Bavaria, Electress Prlncess of Saxony
Anton Raphael Mengs and workshop, around 1750
Oil on canvas.
This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.
The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.
The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.
Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.
Height 142,5, width 110,5 cm.
Oil on canvas.
This representative portrait shows the Electress of Saxony (1724-1780) in a precious brocade decorated dress with a blue ermine cloak and red sheath. She wears the star of the Russian Order of St Catherine and the Austrian Order of the Star Cross.
The Elector Princess was the daughter of the Elector and later Emperor Karl Albrecht of Bavaria and from 1747 was the wife of the Elector Friedrich Christian of Saxony, whose portrait was painted by Mengs as a counterpart.
The first version from Mengs' workshop has been preserved in the Dresden State Art Collections. Another version of similar quality is described in the painter's estate in 1779, so there is reason to suspect that the portrait shown here may have come from the painter's estate.
Anton Raphael Mengs (Bohemia 1728 - 1779 Rome) was born as the son of the Saxon court painter lsmael Mengs and received early support from his parents. From 1741 to 1744 he stayed in Rome with his father to study antiquities. From 1745 to 1761 he was court painter to August Ill, King of Poland and Elector of Saxony, and from 1761 to 1777 court painter to the Spanish King Charles III. Among his patrons were the Margravine Wilhelmine of Bayreuth, Tsarina Catherine ll and Cardinal Alessandro Albani.
Height 142,5, width 110,5 cm.
Large river landscape
Flanders, around 1640
Oil on canvas, doubled.
From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.
The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.
96 x 138 cm. In a partly gilded old frame.
Oil on canvas, doubled.
From an elevated vantage point a wide view opens into a deep river landscape, enlivened with a castle complex and with a row of houses on the left half of the picture, as well as country people and a hunter on the right.
The depth of the green-blue background is enhanced by a strong round fortified tower standing in the river and reached by a wooden footbridge. In the foreground a treescape contrasts the depth with dramatic cloud formation in the background.
96 x 138 cm. In a partly gilded old frame.
Large river landscape
Frankfurt am Main, around 1755, assigned Christian Georg Schütz the Elder
In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.
Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.
Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.
Oil on canvas.
96 x 171 cm.
In a large idyllic river landscape ancient ruins and a castle complex are depicted, the centre of the picture is enlivened by a resting shepherd, the right side shows rich vegetation in front of a hilly riverside landscape in the background.
Christian Georg Schütz the Elder (Flörsheim 1718- 1791 Frankfurt am Main) was a fresco and far;ade painter who worked at the courts of Hohenzollern-Hechingen and Nassau-Saarbrücken during his years of travel before settling in Frankfurt am Main in 1743. He undertook study trips to the Rhine and Switzerland.
Around 1750 he worked for the Duke of Brunswick—Lüneburg and the Landgrave of Hesse for the residences in Kassel. In Goethe's time, his mostly ideal, romantic landscapes, influenced by the Middle Rhine and often executed in oil on canvas, were very popular and widespread. Another work has been preserved in Wilhelmshöhe Palace in Kassel, among other places.
Oil on canvas.
96 x 171 cm.
A pair of high-quality baroque paintings
Signed Franz Christoph Janneck (Graz 1703-1761 Vienna)
Oil on copper.
In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.
In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).
Height 40 cm, width 52 cm.
Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.
Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.
Oil on copper.
In a festive atmosphere, a gallant, courtly company amuses herself on the terrace of a magnificent palace to music, dance and conversation over a lavish feast. On large-format murals in the background of the colorful scenery, mythological depictions of the hunting goddess Diana and the sun god Apollo reflect the demanding lifestyle of the characters and tell as allegories the dream of eternal beauty and youth, of seduction and love, but also of the burden of social expectations and moral demands.
In their brilliant colors and the excellent quality of the painting, these two counterparts are typical examples of baroque art in Austria. Alongside Johann Georg Platzer (1704-1761), Janneck is rightly considered the most important artist at the Vienna Academy. In his characteristic combination of Dutch and French ideals, he succeeded in excellent implementation of the unique, baroque attitude towards life of the noble society in the 18th century. The pair of paintings was exhibited in the Residenzgalerie Salzburg in 1996 and published in the exhibition catalog (cat. no. 4 and 5).
Height 40 cm, width 52 cm.
Juffinger, “Reich mir die Hand, mein Leben. Einladung zu einem barocken Fest“ with pictures by Johann Georg Platzer and Franz Christoph Janneck, Salzburg 1996, p. 100-104.
Pucher, Franz Christoph Janneck 1703-1761, dissertation, Graz 1996, p. 196-197, cat. no. 109 and 110.
Grand Duchess of Mecklenburg-Strelitz
In the manner of Johann Georg Ziesenis around 1770
Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike
Oil on canvas.
This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.
Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.
Height 64 cm, width 46 cm.
Grand Duchess Friederike Caroline Luise of Mecklenburg-Strelitz with the portrait of her first daughter, Charlotte Georgine Luise Friederike
Oil on canvas.
This picture, made in the tradition of courtly portrait painting, offers a symbolic insight into the private life of the depicted princess of Hesse-Darmstadt (1752-1782), through marriage the Duchess of Mecklenburg-Strelitz and mother of the Prussian Queen Luise. The elaborately gathered and embroidered, silk-blue dress, the artfully teased hairstyle, the subtle but expensive jewellery underline her representative function. As an allegory, the little dog refers to marital fidelity and, like the finely executed child portrait in her hands, illustrates the social role of the young duchess.
Commissioned on the birth or christening of their first child, this lovingly painted souvenir was created with the double portrait of mother and daughter. Charlotte (1769-1818), who later, together with her sisters Queen Luise of Prussia, Queen Friederike of Hanover and Princess Therese of Thurn und Taxis, was considered one of the most beautiful women of her time, married Duke Friedrich of Saxony-Hildburghausen at the age of 15.
Height 64 cm, width 46 cm.
Large, ideal river landscape
First half of the 18th century
Workshop of Andrea Locatelli (Rome 1695-1741). Only recently a threatening thunderstorm must have passed through this idyllic, wide landscape, as can be seen from the trees in the foreground that were struck by lightning. The small group of anglers, on the other hand, seems to be hoping for a good catch after the weather change. The high-quality painting method impressively and excitingly testifies to the power of the forces of nature to which people in the 18th century were at the mercy.
Height 112 cm, width 146 cm.
Workshop of Andrea Locatelli (Rome 1695-1741). Only recently a threatening thunderstorm must have passed through this idyllic, wide landscape, as can be seen from the trees in the foreground that were struck by lightning. The small group of anglers, on the other hand, seems to be hoping for a good catch after the weather change. The high-quality painting method impressively and excitingly testifies to the power of the forces of nature to which people in the 18th century were at the mercy.
Height 112 cm, width 146 cm.
3 Scagliola images
Rome, around 1730
Three trompe l'oeil Scagliola pictures Amedeo (active 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome). Scagliola actually served as a substitute material for marble and mainly for architectural decoration, for example on pillars or as a fireplace cladding. The Augsburg artist family Seyter (also Sayter, Seuter or Seytter) perfected the handling of the material in such filigree and refined representations. The wrinkled vedutas of the “Piramide di caio cestio”, the “Tempio di Bacco” and the “Spelonca della Ninfa egeria detta volgarmete la cafarella”, which are based on contemporary engravings with views of the eternal city, appear deceptively real.
Height 33 cm, width 37 cm.
Three trompe l'oeil Scagliola pictures Amedeo (active 1712-1734 in Turin and Rome) or Pietro Seyter (born 1687 in Rome). Scagliola actually served as a substitute material for marble and mainly for architectural decoration, for example on pillars or as a fireplace cladding. The Augsburg artist family Seyter (also Sayter, Seuter or Seytter) perfected the handling of the material in such filigree and refined representations. The wrinkled vedutas of the “Piramide di caio cestio”, the “Tempio di Bacco” and the “Spelonca della Ninfa egeria detta volgarmete la cafarella”, which are based on contemporary engravings with views of the eternal city, appear deceptively real.
Height 33 cm, width 37 cm.
Sample picture “Pietra-Dura“
Probably Italy, 2nd half of the 18th century
The panel is inserted in a profiled frame from the 18th century with gilt strip.
On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.
Height 75 cm, width 57 cm.
The panel is inserted in a profiled frame from the 18th century with gilt strip.
On brown-ochre flecked ground are 42 with black slate strips offset arrays with differently coloured, partly veined kinds of marble.
Height 75 cm, width 57 cm.
Arnoldus Bloemers
Lush fruit still life with insects (Amsterdam 1792 - 1844 The Hague) Monogrammed "AB" lower right. The overripe figs, peaches, grapes and plums, which are already visited by insects, are reminiscent of the transience of everything earthly - in the tradition of the Golden Age. This also corresponds to the high painterly quality and the balanced composition of the overflowing fruit basket by the Dutch master. Oil on canvas.
Height 54 cm, width 65 cm.
Height 54 cm, width 65 cm.
Johann Nepomuk Mayrhofer
High quality still life with fruits, signed around 1810 lower left. Mayrhofer (Oberneukirchen 1764 - 1832 Munich) was known as an extremely precise flower painter. In addition to the artistic, he also showed scientific interest in plants and published numerous botanical lithographs as well as a "guide to flower drawing". In the still life shown here, too, he attached great importance to the exact reproduction of the various flowers and fruits. Oil on canvas, in the original frame.
Height 71 cm, width 61 cm.
Height 71 cm, width 61 cm.
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