.
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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3223
Winterauktionen 19.–20.11.2021
Meytens, Martin van the Younger School
1695 Stockholm - 1770 Vienna.
Portrait empress Maria Theresa.
Oil on canvas, relined. Unsigned. Verso on the stretcher on a label handwritten inscribed «Bildnis von Kaiserin Maria-Theresia von Österreich gemalt von Martijn van Meytens d.J. ca. um 1755 Kaiserlicher Kammermaler Restauriert von Maler Woldemar Kohlund, München 1962-63 (portrait of Empress Maria-Theresa of Austria painted by Martijn van Meytens the Younger circa 1755 imperial court painter Restored by painter Woldemar Kohlund, Munich 1962-63)».
H 150,
Empress Maria Theresa (1717 - 1780), Archduchess of Austria and Queen of Bohemia and Hungary, confronts us confidently and in all her stately splendor in this glorious portrait, a stunning testimony to exuberant, late Baroque splendor. The representative of enlightened absolutism is dressed in precious fabrics appropriate to her highest rank, partly interwoven with gold threads and lined with refined lace. The Habsburg potentate has taken her position next to a massive table bearing the weight of her numerous insignia of power, including a stylised Imperial Crown, the Hungarian crown of St Stephen and the Bohemian royal crown. These symbols of power legitimised her claim to rule, which was questioned in many ways. With programmatic portraits such as these, nobles in the provinces of the empire, such as the governors of Ortenau from the House of Neveu, could express their loyalty to the House of Habsburg.
This monumental state portrait is fitted into a fully gilded, magnificent wooden frame, in the flourishing South German Rococo style, with typical ornamentation including dynamic crests of waves, intertwined C-arches, naturalistic floral tendrils, burst pomegranates, and a double-headed eagle emblem.
The portrait of her husband Franz I Stephan of Lorraine is conceived as a counterpart (lot 3222).
Statement: We would like to thank Dr. Georg Lechner, curator of the Baroque collection, Österreichische Galerie Belvedere, Vienna, for the scientific consultation via
We would like to thank Prof. Dr. Marcus Köhler, Technische Universität Dresden, for the kind remarks via
Provenance: private property of the family of Neveu, Durbach.
Condition report 