.
Karl Hauptmann
«The Feldberg Painter»
24th April 1880 – 7th April 1947
Karl Hauptmann was born on 25th of April in 1880 in Freiburg i.Br., Germany. He received his artistic training in Nürnberg and Munich and was thereafter engaged as a decorative painter.
In 1908 he produced the first of what were to be his typical Black Forest paintings. In the years between 1915 and 1919, he produced numerous images of the Alpine region he had visited during his deployment with the mountain infantry in the First World War.
In 1918 Karl Hauptmann purchased «Molerhüsli», which for him encompassed his dwelling, atelier, and exhibition space. It soon became a favourite meeting place for skiers, hikers, students, and visitors to Feldberg.
Due to Hauptmann’s ever-present health problems, his doctor prescribed a trip to Italy in 1940, to which he again travelled the following year.
On 7th of April in 1947, Karl Hauptmann died at the age of 67 at his «Molerhüsli».
Lit.: Exhibition Catalogue, Feldberg, 1993.
Karl Hauptmann
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3235
Winterauktionen 19.–20.11.2021
Bommel, Elias Pieter van
1819 Amsterdam - 1890 Vienna.
«Winteransicht auf die Stadt Dordrecht (winter view of the city of Dordrecht)». Snowy capriccio with skaters and walkers.
Oil on panel. Signed lower middle. Verso on an original label signed again, handwritten dated «Wien Dez. 1877 (Vienna December 1877)», titled and inscribed «Gemalt von Elias P. van Bommel, Ehrenmitglied der Königl. Akademie vor Bildenden Kunsten in Amsterdam (painted by Elias P. van Bommel, honorary member of the Royal Academy of Fine Arts in Amsterdam)» as well as «Eigene Unterschrift (own signature)». Verso a branding stamp of the painting supplies shop A. Chramosta, Vienna.
H 29,
The present work can be assigned to the late work of the veduta painter Elias P. van Bommel on account of its loose brushstrokes and rather muted colours. Towards the end of his life he worked mainly in Vienna and was inspired by his sketchbooks, which he had filled throughout his life with a variety of building motifs on his wanderings through the Netherlands, to produce quite imaginative capricci. The «Winteransicht auf die Stadt Dordrecht (winter view of the city of Dordrecht)» does show elements reminiscent of the silhouette of the South Holland harbour metropolis, first and foremost the tower of the Grote Kerk, but the painter allowed himself too much mimetic freedom with regard to the exact topography and architecture to make an exact physical assignment of the winter scene.
Authentication: We would like to thank Christiaan Lucht MA, expert on Dutch and Belgian painting of the 19th and
Provenance: private collection Munich.
Condition report 