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Daxer & Marschall 2012 Daxer & Marschall 2012 & Daxer Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com Daxer&Marshall_cover+20omslag_new.indd 1 17/02/12 17:56 Oil Sketches and Paintings 1760 – 1910 Oil Sketches and Paintings 1760 – 1910 Recent Acquisitions 2012 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Jesco von Puttkamer, for their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Paolo Antonacci, Sonja von Baranow, Gerd Bartoschek, Helmut Börsch-Supan, Sue Cubitt, Florian Eitle, Birte Frenssen, Matthias Fischer, Sabine Grabner, Ulrike von Hase-Schmundt, Kilian Heck, Jean-François Heim, Daniel Katz, Gerhard Kehlenbeck, Wolfram Kittel, Jutta Kleinknecht, Karoline von Kügelgen, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Peter Märker, Verena Marschall, Patrick Matthiesen, Günter Meyer, Michael Mohr, Wolfram Morath-Vogel, Paul Müller, Claudia Nordhoff, Max Pinnau, Peter Pinnau, Erika Rödiger-Diruf, Herbert Rott, John Schlichte Bergen, Anna Katharina Schmid, Carlo Schmid, Ulrike Schön, Gerd Spitzer, Andreas Stolzenburg, Birgit Verwiebe, Wolf Zech axer & Marschall moved into new or einem Jahr bezogen wir unsere neuen Galerieräume in Münchens Dspace in the heart of Munich’s museum VMuseumsquartier. Die Besucher sind begeistert von den hellen, quarter just a year ago. The choice of venue, großzügigen Ausstellungsräumen, die eine ideale Präsentation der the generous layout and the excellent quality Kunstwerke ermöglichen. Internationale Gäste schätzen die zentrale Lage of light make it a perfect exhibition space – direkt an den Pinakotheken. Die Eröffnung unserer ersten Ausstellung war it has drawn very favourable comment from ein großer Erfolg, laufende Veranstaltungen stoßen auf reges Interesse. clients and visitors. International visitors Ein Höhepunkt in diesem Jahr ist sicherlich die Akquisition der in particular have found access to the new bedeutenden Sammlung deutscher klassizistischer Gemälde von Cäsar und location easy and convenient – just across Ruth Pinnau, mit deren Verkauf wir von den Erben beauftragt sind. Einige the street from the Neue Pinakothek, the der wunderbaren Gemälde aus dieser alten Hamburger Privatsammlung Pinakothek der Moderne and the Alte stellen wir Ihnen in diesem Katalog vor. Pinakothek. The inaugural exhibition was a great success and the gallery's showings have attracted strong levels of interest. Mit schöner Regelmäßigkeit sind wir über die letzten Jahre von Sammlern, Kunstinteressierten und deren Erben mit dem Verkauf einzelner A high point this year has been the acquisition of the Cäsar Werke oder ganzer Sammlungen beauftragt worden. Unsere Kunden haben and Ruth Pinnau Collection, an outstanding private collection of die Erfahrung gemacht, dass ihre Kunstwerke bei uns in guten Händen German neoclassical paintings. The gallery has been commissioned sind und wir in allen Fragen, die sich mit dem Verkauf eines Kunstwerkes with the sale of this distinguished Hamburg-based collection on behalf ergeben können, kompetente Partner sind. Breite Fachkenntnis, sowie of the estate. A selection of works are included in this catalogue. weitreichende nationale und internationale Kontakte zu Sammlern, Private collectors and lovers of art have repeatedly Museen und Experten machen uns und unsere Auftraggeber von den called upon and used our services in handling the sale of entire Unwägbarkeiten eines wechselvollen Auktionsmarktes unabhängig. collections and single paintings. This is a vote of confidence in Ich bin dankbar für das in 25 Jahren gewachsene Vertrauen the gallery's expertise in managing the multiple aspects involved unserer Kunden in die Integrität und den Erfolg von Daxer & Marschall. in buying and selling artworks. Its specialist background, its in-depth knowledge of the market and its network of contacts with Bei deutschsprachigen Lesern bitte ich um Nachsicht dafür, dass collectors, art historians and museum experts the world over ensure der Katalog nun schon seit einigen Jahren in englischer Sprache erscheint, independence from the erratic uncertainties of the auction market. um einen möglichst großen Interessentenkreis anzusprechen. I would like to thank our clients for their on-going Unter www.daxermarschall.com finden Sie nicht nur die deutschen Texte, confidence and interest. This is the basis of the gallery's success sondern können sich darüber hinaus auch jederzeit über unser aktuelles story over the last 25 years. Its long-term client relationships are Angebot informieren. the bedrock of its international focus today. Please visit our website for illustrations and descriptions of works currently available: www.daxermarschall.com We look forward to your visit. Wir freuen uns auf Ihren Besuch! Marcus Marschall, Munich, February 2012 JEAN Barbault A Swiss Guard Jean Barbault Jean-François de Troy, the director of the Académie de France in Rome, wrote to Abel François Poisson, (Viarmes/Oise 1718 - 1762 Rome) marquis de Ménars et de Marigny (1727-81) on 10 November 1751: […] Barbault, pensionnaire, a fini six tableaux des douze que vous [Marigny] lui aviés ordonné […]. Ces six tab- A Swiss Guard, 1756 leaux sont: Le Suisse de la garde du Pape; le Cocher du Pape; le Chasseur; la Frascatane; la Fille dotée; la Vénitienne […] Il [Barbault] se dispose à faire, conformément à vos ordres: le Cardinal; le Prélat de Mantellette et de Mantellone Oil on canvas […] le Chevau-Léger; le Gentilhomme en habit de cour; la Neptunese; la Florentine; la Donna della Torre dei Greci; Signed, inscribed and dated lower la Calabrese. S’il y a quelque chose à changer dans ce projet, vous aurés la bonté de me le faire sçavoir.1 left Barbault Rome / 1756 The client in question, the marquis de Marigny, was a favourite of Louis XV and the younger Bearing an inscription on the brother of Madame de Pompadour. At the age of only eighteen he was designated directeur et ordon- stretcher Garde du pape. nateur des Bâtiments, des Jardins, Arts, Académies et Manufactures royales. He arrived in Rome on the Grand Tour in March 1750. It was this visit that was to establish le bon goût in France and lay the foun- 24.6 x 19 cm dations for the emergence of Neoclassicism.2 Marigny met Barbault at the Académie de France. The scholars at the Académie had recently planned a triumphal procession to be held in Marigny’s honour. 1. A. Montaiglon and J. Guiffrey, Correspondance The proposed event and individual costume designs are documented in a large-format frieze painted by des Directeurs de l’Académie de France à Rome…, Barbault.3 Barbault’s skills as a painter will undoubtedly have come to the attention of Marigny in this 1887-1908, X, p.332. connection. 2. Svend Eriksen, Early Neoclassicism in France, London 1974, p.34 ff. The quotation cited above indicates that Barbault’s portrayal of a member of the Swiss Guard 3. La Mascarade des quatre parties du monde, oil on formed part of a series of paintings depicting contemporary Italian costumes.4 A number of these paint- paper, mounted on canvas, signed and dated J. ings later acquired something like cult status in Barbault’s lifetime among travellers visiting Rome on the Barbault Pinx Roma 1751, 37.7 x 39.2 cm, Besan- çon, Musée des Beaux-Arts et d’Archéologie, Grand Tour. This encouraged him to produce ‘new editions’ by painting a number of different versions. inv. 843.1.10, see Jean Barbault (1718-62). Le Several versions of the Swiss Guard are recorded.5 In the present painting the exaggerated pose of the théâtre de la vie italienne, exhib. cat., Strasbourg, dutiful member of the pontifical guard has a distinctly humorous touch. Barbault’s various depictions of Musée des Beaux-Arts de la Ville de Stras- bourg, 22 May - 22 August 2010, no. 14. the Swiss Guards show them smartly uniformed, against a dark brown, often architecturally structured, 4. Sixteen costumes are now known, see Nathalie background. Some of his figures are moustachioed. These miniature masterpieces were directed at a Volle and P. Rosenberg, Jean Barbault (1718- small, exclusive clientele. In Rome, the contemporary art market still favoured scenes from everyday 1762), exhib. cat., Musées de Beauvais / An- gers / Valence, 3 October 1974 - 15 March life over scenes originating in enthusiasm for antiquity. Although Barbault could look back on a long 1975, Rouen 1974, p.47f. tradition of costume painting,6 his works are remarkable for their miniaturistic precision and colouristic 5. - The version commissioned by Marigny was discovered in the estate of the architect virtuosity. In the nineteenth century, similar subjects were frequently depicted but more for reasons of Jacques-Germain Soufflot: oil on panel, 24 x interest in costume and tradition (see the painting by Prieur, page 40 of the present catalogue). 17 cm, no inscription, now in a private collec- Records of Barbault’s life and artistic career are only fragmentary. On stylistic grounds it is tion; - oil on canvas, 25.8 x 19.2 cm, signed and inscribed Barbault Roma, collection Léon thought that he served as an apprentice to Pierre Subleyras (1699-1749). A number of early publications Gaucherel (1816-86), now private collection; describe him as an artist and engraver working with Piranesi. He settled in Rome in 1747 and probably - oil on canvas, 41.5 x 30.5 cm, signed and in- spent the major part of his artistic career in the city. He took up his studies at the Académie de France scribed Barbault fecit / Roma 1750, Besançon, Musée des Beaux-Arts et d’Archéologie; - oil in 1750.
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