Friday, 10 February 2012

26 Schwanthaler Winterhalter

25 Sigl_Vespermann Winterhalter

Friday, 10 February 2012

Franz Xaver Winterhalter – Catalogue Updates

Another new image is that of no 28e – the portrait of the renowned Bavarian sculptor, Ludwig von Schwanthaler, of c. 1825-26, which was recently posted on Schwanthaler was a student at the Munich Academy around the same time as Winterhalter, and it is most likely that the portrait stems from this date, and prior to the sculptor’s departure forItaly in 1826. The dating of the portrait is also helped by a prominent watermark on the paper, which bears the date 1826.

The same website yielded another image of a work which was previously unknown to me, and it is with great pleasure that I am adding a new entry to the Catalogue Raisonne – no 28f, portrait of the celebrated opera singer, Katharina Sigl-Vespermann (1802-1877), of c. 1825. As per the explanation above, it is most likely that Winterhalter created the original portrait drawing on which this lithograph was based (it is signed in plate lower right Winterhalter fecit).

For more details, see

© Eugene Barilo von Reisberg, 2012

Franz Xaver Winterhalter – Catalogue Updates

19 friedrich_leopold_graf_zu_stolberg WinterhalterWednesday, 8 February 2012

Franz Xaver Winterhalter – Catalogue Updates

Very few known engravings and lithographs from Winterhalter’s Freiburg-im-Bresgau period have survived. I emphasise the word known as a number of prints on which Winterhalter may have worked or collaborated were published without bearing his name in margin under image as was the custom of the day.

The research indicates that the majority of Winterhalter’s known prints (i.e. the ones bearing his name in margin under image) were executed during his Munich period. Unless a more exact date has been discovered, the dates for Munich period prints can be roughly amended to c. 1823-1830.

Winterhalter’s involvement in print production was varied. He was employed to create charcoal or watercolour copies of paintings as guides or aids for lithographers and / or actual drawings on lithographic stone from which prints were to be made (these are usually marked Gez[eichnet]. von Winterhalter: see nos 25 – 28; or Lith. von Winterhalter: see no 29a). Winterhalter also produced original drawings or watercolours which were later lithographed by the artist himself and / or other printmakers (these are usually marked Winterhalter fecit: for example, see nos 28c, 28f, etc).

24 Titian WinterhalterNos 23 and 24 support an argument that at some point there were in existence original drawings and watercolours by Winterhalter which were either copies after works by other artists, or his own original compositions created expressly to be engraved and / or lithographed. Unfortunately, most of these works have not been located to date, and most of them are only known from lithographs created after them (as indicated in the catalogue entries nos 28b, 28c, 28e, 28f, etc.)

The research indicates that Winterhalter’s lithographic output during the Munich period can be roughly divided into three sections: prints after the Old Masters; prints after contemporary portraits; and prints after contemporary artists. The numerical order of the catalogue list has been amended slightly to group these items accordingly.

25 Eckner WinterhalterRecent research has uncovered further lithographs by Winterhalter after the Old Masters, which form new entries on the list:

–          no 24d – a lithograph after Giovanno Francesco Caroto (1470-1546);

–          no 24e – a lithograph after Adrian Brouwer (c.1605-c.1638)

–          no 24f – a lithograph after David Teniers the Younger (1610-1690)

–          no 24h – a lithograph after after Carlo Maratta (1625-1713)

–          no 24g – a lithograph after [a painting attributed to] Sir Anthony van Dyck (1599-1641), though conflicting evidence points that the latter work could also have been done by Hermann Winterhalter.

As Munich was predominantly Winterhalter’s base between 1823 and 1830, it is identified as the most likely place where these works would have been created. Works that are known to have been produced during Winterhalter’s travels in Germany in 1827 (especially in Landshut – see nos 31a and 32b); as well as those drawn or painted in Karlsruhe are marked accordingly.

For more details, see

© Eugene Barilo von Reisberg, 2012