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Description

Haid, Johann Jacob (near Göppingen 1704 - 1767 Augsburg), Portrait of the painter and composer Christian Ludwig Baron von Löwenstern, stipple engraving after a painting by Johann Christian Fiedler (1697 - 1765), below the "window" from which the painter is looking out, titled in detail, inscription of the engraver and the original painter in the lower margin, 45.8 x 31.8 cm, with distance to the glass under glass in a Biedermeier frame 55.7 x 42 cm, paper slightly browned and somewhat stained in the margins, frame slightly bumped and with scratches, the sheet was professionally cleaned and restored in 2007, restoration report available. 4503-0073

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Haid, Johann Jacob (near Göppingen 1704 - 1767 Augsburg), Portrait of the painter and composer Christian Ludwig Baron von Löwenstern, stipple engraving after a painting by Johann Christian Fiedler (1697 - 1765), below the "window" from which the painter is looking out, titled in detail, inscription of the engraver and the original painter in the lower margin, 45.8 x 31.8 cm, with distance to the glass under glass in a Biedermeier frame 55.7 x 42 cm, paper slightly browned and somewhat stained in the margins, frame slightly bumped and with scratches, the sheet was professionally cleaned and restored in 2007, restoration report available. 4503-0073

Estimate 60 EUR
Starting price 60 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 29.75 %

For sale on Saturday 13 Jul : 10:09 (CEST)
saarbrucken, Germany
Auktionshaus Saarbrücken
+4968195809366
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J. HAID (*1704) after BERGMÜLLER (*1688), Johann Georg Bergmüller, around 1744, Mezzotint Johann Jakob Haid (1704 Kleineislingen - 1767 Augsburg) after Johann Georg Bergmüller (1688 Türkheim - 1762 Augsburg): Self-portrait of the Baroque painter Johann Georg Bergmüller, c. 1744, Mezzotint Technique: Mezzotint on Paper, mounted on Paper Inscription: At the lower part signed in the printing plate: "I. G. Bergmüller inv. et del. / I. I. Haid sculp. et excud. A.V.". Lower right inscribed in the printing plate: "Ioannes Gergivs Bergmüller / Serenmi. et Remi. Principis et / Episc. Avg. Pictor Avl., nec non / Academiæ Diagraphices Director ibid. / Nat9. Anno MDCLXXXVIII. Die XVta. Aprilis". Date: c. 1744 Description: This portrait shows Johann Georg Bergmüller, one of the most influential Baroque painters in southern Germany, who portrayed himself here and provided the model for this mezzotint. Born into a Swabian family of carpenters, Bergmüller learnt his father's trade and was already involved in the construction of the electoral residence in Türkheim as a boy. Impressed by his artistic talent, Duke Maximilian Philipp took the young Bergmüller in and recommended him for training with the Munich court painter Johann Andreas Wolff. After his first major commissions and a study trip to the Netherlands, he settled in Augsburg in 1712, from where he produced numerous Baroque altarpiece designs and coordinated the fresco painting of many southern German churches as well as secular house façades. In addition, the versatile artist was involved in art theoretical studies and published his own work on the theory of human proportions. In order to advertise widely and earn additional income, he worked as a draughtsman for graphic prints, including the self-portrait engraved by the renowned mezzotint artist Johann Jakob Haid. The composition of the portrait combines the depiction of the artist with important attributes of his character, such as the references to faith and church service, his proportion-theoretical work and individual painting tools, with Bergmüller's own way of constellating figures, emphasising important people and aspects through eye relationships and gestures. Person: Depicted: Johann Georg Bergmüller (1688 Türkheim - 1762 Augsburg) Was an important Baroque painter. He painted mainly in fresco technique, but also on canvas. Keywords: Johann Georg Bergmüller; Baroque painter; southern Germany; self-portrait; mezzotint; Swabian carpenter family; electoral residence; Türkheim; Duke Maximilian Philipp; training; Munich court painter; Johann Andreas Wolff; Netherlands; Augsburg; Baroque altars; church frescoes; house facades; studies in art theory; theory of proportions; publisher; draughtsman; prints; Johann Jakob Haid; composition; attributes; faith; church servants; painter's tools; constellation of figures; visual relationships; gestures, 18th century, Classicism, Depiction of Artists, Germany, Size: Paper: 40,9 cm x 27,5 cm (16,1 x 10,8 in)

Haid, Johann JacobDer Abschied des Calas von seiner Familie. Dem Herrn Daniel Chodowiecki zugeeignet. 1777. Mezzotinto auf Velin, ganzflächig auf Unterlage kaschiert. 29,5 x 41,5 cm (36,4 x 47,5 cm). Mit der gestochenen Signatur, Datierung, Betitelung, Widmung und weiteren Bezeichnungen. - An den Rändern vereinzelt mit leichtem Papierverlust, einem kleinen Einstichloch und Falzspuren einer ehemaligen Montierung. Im weißen Rand und vereinzelt in der Darstellung braunfleckig und fleckig. Insgesamt noch gut. Prachtvoller, in den Schwärzen samtener und konstrastreicher Druck, die Figuren plastisch herausgearbeitet. Mit schmalem Rand. Genre Haid, Johann Jacob Der Abschied des Calas von seiner Familie. Dem Herrn Daniel Chodowiecki zugeeignet. 1777. Mezzotinto auf Velin, ganzflächig auf Unterlage kaschiert. 29,5 x 41,5 cm (36,4 x 47,5 cm). Mit der gestochenen Signatur, Datierung, Betitelung, Widmung und weiteren Bezeichnungen. - An den Rändern vereinzelt mit leichtem Papierverlust, einem kleinen Einstichloch und Falzspuren einer ehemaligen Montierung. Im weißen Rand und vereinzelt in der Darstellung braunfleckig und fleckig. Insgesamt noch gut. Prachtvoller, in den Schwärzen samtener und konstrastreicher Druck, die Figuren plastisch herausgearbeitet. Mit schmalem Rand. Nach dem gleichnamigen Gemälde von Daniel Chodowiecki von 1765-1766, dem das Blatt gewidmet ist. - Haid und Chodowiecki waren gute Freunde. Mezzotint on wove paper, fully mounted to underlying mat. With engraved signature, dating, title, dedication and further inscriptions. - Some slight paper loss in the margins, a small pinhole and fold marks from a former mounting. Brown stains as well as stains in the white margins and occasionally in the depiction. Overall still good. Splendid impression, velvety and rich in contrast in the blacks, the figures vividly worked out. With narrow margins. - After the same-named painting by Daniel Chodowiecki whom the print is dedicated to.