A COLLECTION OF BAROQUE SKETCHES
A RNOLDI-L IVIE
JOHANN WOLFGANG BAUMGARTNER, The Departure of the Prodigal Son
CHRISTOPH THOMAS SCHEFFLER, The Apparition of Saint Johann Nepomuk before Pope Benedict XIII
GIOVANNI ANTONIO PELLEGRINI, The Supper at Emmaus
CARLO INNOCENZO CARLONE, The Sacrifice of Iphigenia, 1730­ – 33
JOHANN CHRISTIAN THOMAS WINK, The Annunciation to the Virgin, 1783
FRANZ JOSEPH STÖBER, Saint Cecilie surrounded by an Orchestra of Angels
GEORG WILHELM NEUNHERTZ
(BRESLAU 1689 – 1749 PRAGUE)
A banqueting Scene:
Saint Elizabeth of Thuringia feeding the Poor (?) Pen and ink in brown and grey over traces of black chalk,
grey wash, heightened with white on blue paper
28,1 x 14,8 cm
Provenance: Private collection, Germany
We kindly thank Joseph Strasser, Munich, for attributing
the drawing and Marius Winzeler, Prague, for confirming
the attribution.
GEORG WILHELM NEUNHERTZ, A banqueting Scene
JOHANN WOLFGANG BAUMGARTNER
CHRISTOPH THOMAS SCHEFFLER
(KUFSTEIN 1702 – 1761 AUGSBURG)
(MUNICH 1699 – 1756 AUGSBURG)
The Departure of the Prodigal Son
The Apparition of Saint Johann Nepomuk
before Pope Benedict XIII
Oil on canvas 30 x 40 cm
Literature: Exhib. cat. Meisterwerke aus baden-württembergischem
Privatbesitz, Staatsgalerie Stuttgart 1958/59, cat. no. 14
Exhib. cat. Johann Wolfgang Baumgartner – Ölskizzen und Hinterglasbilder, Barockmuseum Salzburg, 2009, p. 25, color ill. 8
Provenance: Trauwitz Collection, Stuttgart
Private collection, Southern Germany
Johann Wolfgang Baumgartner represents a scene from the ‘Parable
of the Prodigal Son’, one of the parables of Jesus from the Gospel of
Luke. Two further scenes from the same series, ‘The Prodigal Son in
a Brothel’ and ‘The Prodigal Son Feasting’ are in the collection of the
‘Statens Museum for Kunst’, Copenhagen while ‘The Return of the
Prodigal Son’ remains in a German private collection.
Four mezzotints, one after our scene by Johann Philipp Koch
(1716 –1796) are in the collection of the Veste Coburg.
Oil on canvas
58 x 77 cm
Signed lower right: “CT Scheffler. invenit et pinxit”
Provenance: Private collection, France
In 1729 Johann Nepomuk (1350–1393) was canonized
by Pope Benedict XIII.
First apprenticed to Cosmas Damian Asam in Munich, Christoph
Thomas Scheffler subsequently settled in Augsburg. After
commissions in Worms and Silesia he returned to Augsburg in 1730
where the Jesuit order became his principal client. His most significant
surviving works are found in Swabia, Bavaria, Mainz and Trier.
Two comparable works in grisaille are in the municipal collections
of Augsburg (ill. see Städtische Kunstsammlungen Augsburg,
Deutsche Barockgalerie, vol. II, Augsburg 1970, p. 162ff).
GIOVANNI ANTONIO PELLEGRINI
CARLO INNOCENZO CARLONE
(1675 – VENICE – 1741)
(SCARIA 1686 – 1775 COMO)
The Supper at Emmaus
The Sacrifice of Iphigenia, 1730–33
Oil on paper, laid on panel
19,5 x 28,3 cm
Literature: Georg Knox, Antonio Pellegrini – catalogue raisonné,
Oxford 1995, p. 240, P.192
Provenance: Sotheby’s London, Old Master Paintings, April 4,
1984, lot 107, ill.
Colnaghi, London (c. 1985)
Private collection, Southern Germany
Oil on canvas 42,6 x 70,2 cm
Exhibited: P. & D. Colnaghi and Co., Paintings by Old Masters,
May 20 -June 11, 1965, London, cat. no. 16, ill. plate XI
Knoedler and Co., Masters of the Loaded Brush – oil sketches from Rubens
to Tiepolo, April 4-29, 1967, New York, cat. no. 33, ill. p. 43
Literature: F. Lechi, Un elenco di abbozzi delle opere di Carlo Carloni,
in: Arte Lombarda, vol. X, 1965, p. 134
A. B. Brini and K. Garas, Carlo Innocenzo Carlone, Milan 1967, p. 125
Provenance: S. L. Forwood, London
P. & D. Colnaghi and Co., London
Private collection, USA
Preliminary sketch for Carlone’s program of ceiling frescoes in
Schloss Ludwigsburg, the grand residence of Eberhard-Ludwig,
Duke of Württemberg.
The fresco depicting the ‘Sacrifice of Iphigenia’ was part of a l­arger
decorative scheme for the Ancestors’ Hall. Painted in 1730–33, the scenes depict Roman and Greek mythology as well as allegories of the
arts and sciences. The standing soldier at right is repeated in a
composition by Carlone now in the Musée des Beaux-Arts, Strasbourg. JOHANN CHRISTIAN THOMAS WINK
FRANZ JOSEPH STÖBER
(EICHSTÄTT 1738 – 1797 MUNICH)
(ACTIVE IN THE 18TH CENTURY)
The Annunciation to the Virgin, 1783
Design for the choir fresco of the Parish Church ‘Maria Himmelfahrt’
in Schwindkirchen near Dorfen, Upper Bavaria
Design for a ceiling fresco
Oil on canvas
33,5 x 44,5 cm
Upper left dimensions specified by the artist:
“Länge 27 Schuh, Breite 20 Sch:”
Provenance: Private collection, Southern Germany
The ceiling frescoes by Johann Christian Wink as well as the
stucco by Franz Xaver Feichtmayr for the parish church in
Schwindkirchen rank among the most masterly decorative
schemes of Bavarian church architecture of the 18th century.
Another signed oil sketch of the same date by Johann Christian
Wink for the fresco of the nave is kept in the rectory of the
parish church.
Saint Cecilie surrounded by an Orchestra of Angels
Oil on canvas
49 x 69,5 cm Signed and dated lower middle: “F. J. Stöber inv. et pinxit”
Provenance: Private collection, Southern Germany
With a letter from Hermann Brommer, Merdingen, dated
January 10, 2000, who points out that Franz Joseph Stöber’s artistic
career was advanced by his uncle Abbot Landelin Fluem. Our
sketch could have been intended for a Benedictine abbey church
in Strasbourg; Stöber had repeatedly worked on commissions for
several abbeys of the order. Almost all of these structures were later
destroyed, with the only surviving works by Stöber in the church
of Ettenheim.
A RNOLDI-L IVIE
We are looking forward to welcoming you at
MARCH 10-19, 2017
MECC, Maastricht, Stand 339
Palais de la Bourse, Paris, Stand 13
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