Emanuel LEUTZE (Schwäbisch, 1816 - Washington, 1868 ) La Peri Huile sur toile (Toile d'origine) Signée, localisée et datée 'E Leutze. Düsrd. 1858' en bas à droite The Peri, oil on canvas, signed and dated, by E.Leutze 57.68 x 42.13 in. 146.5 x 107.0 cm Provenance : Vente anonyme ; New York, Bonham’s, 6 novembre 2013, lot 120 ; Acquis lors de cette vente par l’actuel propriétaire Emmanuel Leutze est né en 1816 près de Stuttgart, mais sa famille émigre aux Etats-Unis en 1825, alors qu’il n’est âgé que de neuf ans. Il reçoit son éducation artistique à Philadelphie où il débute une carrière prometteuse, à la fois comme portraitiste et peintre d’histoire. En 1841, il décide de rentrer dans son pays natal et s’établit à Düsseldorf. En effet, cette ville s’est dotée en 1819 d’une nouvelle et prestigieuse académie des Beaux-Arts au programme d’enseignement très élaboré, et dont la direction a été confiée successivement à deux peintres de renom issus du mouvement nazaréen : Peter von Cornelius (1784- 1867) jusqu’en 1824, puis Wilhem von Schadow (1788- 1862). Ce mouvement artistique prône le renouveau de l’art allemand par la religion, en s’inspirant de Dürer et de Raphaël. Leutze y travaille sous la direction de Lessing, mais suite à des différents avec son maître, il monte rapidement son atelier particulier. En 1842, l’artiste visite Munich, Venise et Rome puis revient à Düsseldorf en 1845. Après plusieurs voyages en Amérique, en 1851 et en 1859, il choisit de s’établir définitivement aux Etats-Unis en 1863. Bien que né en Allemagne et formé dans le style narratif de l’école de Düsseldorf, Leutze s’est toujours considéré comme un peintre américain. Imprégné de l’identité et de l’histoire américaine, il explore différents aspects culturels du Nouveau Monde dans nombre de ses créations. Son chef-d’œuvre incontesté, Washington traversant le Delaware, gigantesque panorama exposé en 1852 dans le Capitole devient presque immédiatement une icône américaine. Peint en 1858, notre toile illustre le poème Paradise and the Peri de l’auteur irlandais Thomas Moore, publié en 1857. La Peri, descendante ailée des anges déchus dans la mythologie Perse et Islamique, se voit refuser l’entrée du Paradis tant qu’elle ne se sera pas repentie. Les vers de Moore choisis par Leutze décrivent l’instant où : « La Peri pourrait être pardonnée / Qui rapporte à la porte éternelle / Le cadeau qui est le plus cher au Paradis / Va, cherche-le et repend toi de tes péchés / Cette douceur pour laisser entrer le pardon » Dans la mythologie perse, Peri est un esprit qui a été renié du Paradis. Dans des sources plus anciennes, les Peri sont décrites comme des agents du mal ; plus tard elles sont devenues inoffensives. Ce sont des créatures exquises, ailées, semblables à des fées qui sont classées entre les anges et les esprits maléfiques. Ces êtres sont parfois représentés, comme c’est le cas dans notre toile, dans un paradis avec, à leur tête, la reine des fées. Dans notre tableau, la Peri, couverte de bijoux, offre son troisième et dernier cadeau, une larme sacrée. Cette larme, d’après Moore, a été prise par Peri à un pêcheur qui se repentait. Ce pêcheur, ému par un enfant priant Dieu, versa une larme. Par cette larme de repentance, la Peri pourra retrouver l’accès au Paradis. L’ange du paradis est immergé dans une lumière éclatante qui confère à la toile un caractère irréel. C’est la lumière d’un autre monde. L’arc en ciel et la végétation exotique qui n’est pas sans rappeler la flore du ‘nouveau continent’ accentuent l’idée de rêve. Emanuel LEUTZE (Schwäbisch, 1816 - Washington, 1868 ) 146.5 x 107.0 cm Emmanuel Leutze est né en 1816 près de Stuttgart, mais sa famille émigre aux Etats-Unis en 1825, alors qu’il n’est âgé que de neuf ans. Il reçoit son éducation artistique à Philadelphie où il débute une carrière prometteuse, à la fois comme portraitiste et peintre d’histoire. En 1841, il décide de rentrer dans son pays natal et s’établit à Düsseldorf. En effet, cette ville s’est dotée en 1819 d’une nouvelle et prestigieuse académie des Beaux-Arts au programme d’enseignement très élaboré, et dont la direction a été confiée successivement à deux peintres de renom issus du mouvement nazaréen : Peter von Cornelius (1784- 1867) jusqu’en 1824, puis Wilhem von Schadow (1788- 1862). Ce mouvement artistique prône le renouveau de l’art allemand par la religion, en s’inspirant de Dürer et de Raphaël. Leutze y travaille sous la direction de Lessing, mais suite à des différents avec son maître, il monte rapidement son atelier particulier. En 1842, l’artiste visite Munich, Venise et Rome puis revient à Düsseldorf en 1845. Après plusieurs voyages en Amérique, en 1851 et en 1859, il choisit de s’établir définitivement aux Etats-Unis en 1863. Bien que né en Allemagne et formé dans le style narratif de l’école de Düsseldorf, Leutze s’est toujours considéré comme un peintre américain. Imprégné de l’identité et de l’histoire américaine, il explore différents aspects culturels du Nouveau Monde dans nombre de ses créations. Son chef-d’œuvre incontesté, Washington traversant le Delaware, gigantesque panorama exposé en 1852 dans le Capitole devient presque immédiatement une icône américaine. Peint en 1858, notre toile illustre le poème Paradise and the Peri de l’auteur irlandais Thomas Moore, publié en 1857. La Peri, descendante ailée des anges déchus dans la mythologie Perse et Islamique, se voit refuser l’entrée du Paradis tant qu’elle ne se sera pas repentie. Les vers de Moore choisis par Leutze décrivent l’instant où : « La Peri pourrait être pardonnée / Qui rapporte à la porte éternelle / Le cadeau qui est le plus cher au Paradis / Va, cherche-le et repend toi de tes péchés / Cette douceur pour laisser entrer le pardon » Dans la mythologie perse, Peri est un esprit qui a été renié du Paradis. Dans des sources plus anciennes, les Peri sont décrites comme des agents du mal ; plus tard elles sont devenues inoffensives. Ce sont des créatures exquises, ailées, semblables à des fées qui sont classées entre les anges et les esprits maléfiques. Ces êtres sont parfois représentés, comme c’est le cas dans notre toile, dans un paradis avec, à leur tête, la reine des fées. Dans notre tableau, la Peri, couverte de bijoux, offre son troisième et dernier cadeau, une larme sacrée. Cette larme, d’après Moore, a été prise par Peri à un pêcheur qui se repentait. Ce pêcheur, ému par un enfant priant Dieu, versa une larme. Par cette larme de repentance, la Peri pourra retrouver l’accès au Paradis. L’ange du paradis est immergé dans une lumière éclatante qui confère à la toile un caractère irréel. C’est la lumière d’un autre monde. L’arc en ciel et la végétation exotique qui n’est pas sans rappeler la flore du ‘nouveau continent’ accentuent l’idée de rêve.
LEUTZE, Emanuel Gottlieb (1816-1868). Map of the World. Oil on Canvas. Signed in monogram and dated lower left: "EGL 1865/66" 32 1/2" x 40 1/2" canvas, 45" x 53" framed. Provenance: The collection of the United States Department of State; Private Collection, New York. As a strong supporter of Europe's Revolutions of 1848 and as one of the greatest proponents of American democracy, the celebrated history painter, Emanuel Leutze, created powerful visual landmarks illustrating the distinctiveness and independence of the United States. Painted in 1865, in the same year as the end of the American Civil War, his oil painting, A Map of the World, is a monument to America's concept of Manifest Destiny and a powerful symbol of her return to universal authority. The era from the end of the War of 1812 to the beginning of the American Civil War, has traditionally been called the "Age of Manifest Destiny" as, under the Monroe Doctrine, the union of States spread westward from the Atlantic to the Pacific. However, the ideas behind the policy were once again resurrected at the close of the Civil War, this time responding to the need for American expansion and political influence overseas. In Building the Continental Empire (Chicago, 1996, p.61), the historian William Earl Weeks identifies the main themes behind the concept of Manifest Destiny. Nineteenth-century advocates, including Leutze, sought to highlight the virtue of the American people and their institutions and spread these institutions, thereby redeeming and remaking the world in the image of the United States. Emanuel Leutze's oil painting is a visual testament to the beliefs governing these concepts. To reinforce America's ideological supremacy and her physical return to world politics he cleverly combines Old World mapmaking representation with the concepts of New World destiny. In the cartouche at the lower edge of the painting can be seen personifications of Old World explorers and their contact with native inhabitants of the New World. A galleon, possibly representative of Columbus' arrival in the New World, is also pictured. At the lower left corner of the painting, a herald, boldly wearing the Hapsburg imperial eagle upon his tunic and perhaps representative of the German-born Leutze himself, proclaims America's return to the world stage after the end of the Civil War. The idea is cemented by a nymph holding a phoenix rising out of the flames, placed to the left of the cartographic representation of the United States. The nymph stands upon a peacock, a traditional emblem of resurrection and rebirth. In a further attempt to forward the idea, the flanking Corinthian columns are wrapped in banners proclaiming in Latin 'plus ultra' [further beyond]. This is the national motto of Habsburg Spain, as introduced by Charles V, King of Aragon and Castile and Holy Roman Emperor (1500-1558). Above the painted map of the world, the Roman sun-god Apollo rides in his chariot drawn by four glorious white horses.
After Achenbach, Andreas (1815 - 1910) and Leutze, Emanuel Gottlieb (1816 - 1868), "Wein, Weib und Gesang/Rheinfahrt",(1815 - 1910) and Leutze, Emanuel Gottlieb (1816 - 1868), "Wein, Weib und Gesang/Rheinfahrt", Oil on canvas, inscribed lower left Copie von Rheins 1898, 80.5 x 107 cm. The original painting, owned by the city of Neuss, hung in the city hall for a long time and is now in the Clemens Sels Museum in Neuss Nach Achenbach, Andreas (1815 - 1910) und Leutze, Emanuel Gottlieb (1816 - 1868), "Wein, Weib und Gesang/Rheinfahrt", Öl auf Leinwand, bezeichnet unten links Copie von Rheins 1898, 80.5 x 107 cm. Das Original-Gemälde, im Besitz der Stadt Neuss, hing eine lange Zeit im Rathaus der Stadt und befindet sich nun im Clemens Sels Museum in Neuss
(German/America,1816-1868) Stephen Austin Crossing into Texas--Two O'clock and No Water, signed and dated lower right "E. Leutze 1857", oil on canvas, 24 x 41-1/2 in.; fine period carved gilt wood frame, 35-1/2 x 51-1/2 in. Provenance: The artist, 1857; A Valuable Collection of Oil Paintings Comprising the most Recent and Important Works of E. Leutze, Esq., Derby Fine Arts Institute, D.W. Ives &; Co., Edward Sintzenich, Auctioneer. May 7, 1863, lot 24; Unidentified collection, probably New York; Marshall O. Roberts, New York (probably) by 1864; Hudson House Antiques, Funkstown, Maryland circa 2000; Charles Samuel Kurtz, Maryland; By descent in the Kurtz family; Private Collection, Washington, D.C. Note: This important work by Emanuel Leutze is thought to be the earliest known painting relating to the founding of the State of Texas. It depicts a Mexican soldier on horseback leading a train of Anglo-American emigrants, and represents the colonization of Mexican territory by Anglo-Americans during the 1820s. It is also highly likely that the subject on horseback at the far left of the canvas represents Texas empresario Stephen Austin, as he accompanies the emigrants into Tejas. This painting relates to a decorative plan Leutze proposed for the U.S. Capitol building of which Westward the Course of Empire Takes Its Way, hanging in the grand staircase on the House of Representative side of the Capitol is the lone realized version. Emanuel Leutze is widely considered the preeminent painter of American History. His dramatic rendering of Washington Crossing the Delaware, is an iconic image known the world over, and a version of it recently sold for over $45,000,000 at public auction. Literature: Artist's Fund Society of New York, Catalogue of The Fifth Annual Sale of Paintings, at the Galleries, No. 625 Broadway, New York. 1864-1865; Emmanuel Leutze, 1816-1868, Freedom is the only King, Barbara S. Groseclose, Smithsonian Institution Press Washington, D.C. 1976. For details and additional research into the subject and history of this painting, see the accompanying information.
German/American, 1816-1868 Portrait of a Woman Signed E Leutze (ll) Oil on canvas 12 5/8 x 10 3/8 inches Wax relined; craquelure; careful inpainting in the face; repaired tear (3 inches) running diagonally to the left of the sitter.
Attributed to EMANUEL LEUTZE (German/American, 1816-1868), portrait of William Morris Hunt, circa 1858, pencil on paperboard, inscribed in pencil lower left ''Sketch by Emanuel Leutze about 1858. Certified by his son, Rear Admiral E. H. C. Leutze, USA'', hinge-mounted, matted and framed under glass. Toning, matburn, minor waterstain lower left. Paperboard 10''h, 7-1/8''w.
Leutze, Emanuel Gottlieb 1816 Schwäbisch Gmünd - 1868 Washington Friedrich der Große vor seiner Mutter. Signiert? Datiert: Düsseldorf 1838. Zeichnung mit Weiß gehöht. 20 x 35 cm.
Emanuel Leutze (American, 1816-1868) Young Woman Daydreaming with Mandolin and Dog Signed and dated "E Leutze. 1865' bottom right; also with original preparer's stencil verso, oil on canvas 26 x 17 in. (66 x 43.2cm) Provenance The Estate of Amy Van Vliet, Holmdel, New Jersey. Acquired directly from the above. Property from the Estate of Angela Gross Folk, New Jersey. Note The present work will be accompanied by a letter dated April 11, 1984 from Barbara Groseclose, Associate Professor of Art History at The Ohio State University, who confirms the authenticity of the painting to the son of the consignor. The unlined canvas in overall good to very good condition. With slight abrasions along the top outer edge, and in the upper portions of the left and right outer edges. Examination under UV light reveals minor inpainting in the sky at upper center left (pinpoints). Small touch-up at upper right, on the tower. The figure is mostly intact, save for a pin-sized dot of inpainting on her cheek; and similar dots at center right on her dress and embroidered cape (minuscule, each). Minor repairs at center left on the parapet, and at bottom center left, to the right of the dog (one of its paw appears slightly enhanced). With remnants of old glowing varnish in some areas, convincing us the work was selectively cleaned. See Specialist's pictures for more details. To request additional information or access to more images, please contact Specialist Raphael Chatroux at rchatroux@freemansauction.com Frame: 35 1/2 x 27 1/2 x 4 3/4 in.
Attributed to Emanuel Gottlieb Leutze (German/New York, 1816-1868) "Conquistadors on Horseback at Dusk" oil on canvas unsigned and "McCaughen & Burr, St. Louis" label and label identifying artist en verso. Framed. 13" x 19", framed 20" x 26-1/2" Provenance: McCaughen & Burr, Inc., St. Louis, Missouri.
Emanuel Gottlieb Leutze 1816 - 1868 Portrait Friedrich W. Huetz (Guten Morgen Vielliebchen) Oil on canvas; H 132 cm, W 100.5 cm; signed and dated ''E. Leutze 1863'' and inscribed ''Guten Morgen Vielliebchen''; Provenance: received directly from the artist, since then in family possession; Lit.: Groseclose, Barbara S.: Emanuel Leutze, 1816-1868: freedom is the only king.''; Washington 1975
(German/America, 1816-1868) Sacagewa, signed lower left "EG Leutze", oil on canvas, 18-1/4 x 13-3/4 in.; period carved gilt wood frame, 23-3/4 x 19-1/2 in. Provenance: Kennedy Galleries, New York, NY
AN AMERICAN FEDERAL REVIVAL STYLE GILTWOOD ÉGLOMISÉ PAINTED TRUMEAU MIRROR, "Washington Crossing the Delaware," LAST QUARTER 19TH CENTURY, the ring turned, applied columnar frame with block and rosette applied corners, centering an upper glass panel painted with églomisé, reproduction after Emanuel Gottlieb Leutze (American 1816-1868), "Washington Crossing the Delaware," from 1851, over a rectangular mirror. Height: 32 3/4" Width: 16 1/4" Depth: 2"
after EMANUEL LEUTZE (German/American 1816-1868) A PRINT, "Washington Crossing the Delaware," hand colored engraving on paper. 21 3/4" x 37 1/2" Provenance: Property from a Corporate Art Collection
LEUTZE, Emanuel Gottlieb zugeschrieben (1816 Gmünd - 1868 Washington D.C.) Feste Rosenberg Kronach Aquarell.Rechts unten undeutlich signiert, links unten betitelt.Mitte 19. Jh. Passepartoutausschnitt 24,5 x 34,5 cm.Gerahmt & hinter Glas: 44 x 53 cm. Romanischer Gewölbekeller im schummrigen Licht. Wenn E. G. Leutze, dann: Deutscher Maler, tätig in Düsseldorf und Philadelphia. Literatur: Thieme/Becker.
(1) Emanuel Gottlieb Leutze (American, 1816-1868). Washington Crossing The Delaware. The Metropolitan Museum of Art color print. Sight size 6 3/4 x 11 3/4 inches, matted and framed; (2) Mary Cassat (American, 1844-1926). Feeding the Ducks. The Metropolitan Museum of Art color print. Sight size 8 1/4 x 11 1/4 inches, matted and framed. Notice to bidders: Condition reports and additional photographs are provided by request as a courtesy to our clients, as such any condition report is only an opinion and should not be treated as a statement of fact. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, restoration, wear and tear, or the effects of aging. Capo Auction shall have no responsibility for any error or omission, additionally all lots are sold 'As Is' and in accordance with the conditions of sale.
School of Emanuel Gottlieb Leutze (American/German: 1816 - 1868) historical oil painting on canvas depicting an American Frontier westward settlement scene of emigrant travelers fleeing restlessly along the Oregon Trail in hope to achieve the American Dream as they are pursued by hostile Native American warriors on horseback. Mounted in an ornate gilt hand carved wooden frame. Signed "E. Leutze" to lower right. Circa: Late 19th Century. Measures: 29-1/2" W x 19-5/8" H + 3" Frame. Local Pick Up or Third Party Shipping Required.
EMANUEL GOTTLIEB LEUTZE (AMERICAN, 1816-1868) COLUMBUS, 1863 Oil on canvas: 24 1/2 x 39 1/2 in. Framed; signed lower right: E. Leutze '63 Provenance: A. J. Sordoni; Private Collection.
Large oil on canvas historical portrait of President Andrew Jackson (1767-1845), after the 1820 full-length portrait by John Vanderlyn. Attributed to historical genre painter Emanuel Gottlieb Leutze (District Of Columbia/New York/Germany, 1816-1868). This life sized painting depicts Jackson on the battlefield (likely at New Orleans), attired in his military dress uniform, holding his sword in one hand and hat in the other, with his horse and fellow soldiers in the background. Housed in a carved cove style gilt wood frame with applied corner elements. Sight - 94 3/4" H x 64 1/2" W. Framed - 106 1/2" H x 76 1/2" W. Provenance: private Tennessee collection, acquired at Freeman's Auction, Philadelphia, Nov. 13, 2013 Lot 267; Private Pennsylvania collection, acquired at Freeman's Auction, April 12, 2003, Lot 196; The Free Library of Philadelphia, where it hung for many years in Pepper Hall at the Central Branch; given to the Library March 2, 1931, by John Frederick Lewis, who acquired the portrait from the estate of Almira K. Schwenk. This painting came to the library with the tradition that it had been exhibited at the Centennial Exposition in 1876, although we have not been able to confirm this. (Additional high-resolution photos are available at www.caseantiques.com.)
The bronzed copper medal with the Great Seal of the United States on one side, the other depicting a scene of a sailor pulling another ashore with a sinking ship mast and lighthouse in the background. Raised casted lettering on bottom border beneath waves and rescuer's feet, "LEUTZE DEL." and "ELLIS SC." These medals were struck for and awarded to officers of foreign vessels who saved the lives and property of shipwrecked Americans. The banner above the figures was intentionally left blank and later engraved with the recipient's name. The second with 'RME' engraved on reverse beneath Lord Nelson's attire. Diameters 2 5/8 inches and 2 inches.Literature: Leonard L. Forrer, Biographical Dictionary of Medallists, A.H. Baldwin & Sons, 1930, pp. 423.
EMANUEL GOTTLIEB LEUTZE (AMERICAN, 1816-1869) THE LETTER Oil on canvas: 14 x 20 in. Framed; lower right signed: E. Leutze Provenance: The Thiel Collection, New Hope, PA
Title is ÒPortrait of Albert George EmerickÓ. Oil on canvas in amazing oval frame. The painting depicts a young man in 19th century dress. Provenance: It came from the collection of Physicians Planning Service CORP. Painting is in very good condition. Size of the painting is: 24 by 19 _ inches (61 by 50 centimeters) Size of the frame is: 31 _ by 27 inches (80 by 68.5 centimeters) Emaunuel Gottlieb Leutze(1816-1868) Brought to the United States from Germany when he was 9 years old, he was raised in Fredericksburg, Virginia, and then in Philadelphia where he got his art instruction. Early recognized for his portrait and figure painting, he became well-known in Lancaster County, Pennsylvania, and in Southern States, but he returned to Philadelphia in 1839. Local persons sponsored him to study at Dusseldorf Art Academy in Germany, and he stayed from 1841 to 1859 but left the Academy to set up his own studio. If you would like to receive more detailed photos, please let us know. Any condition statement is given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hidden Treasures shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
WASHINGTON CROSSING THE DELAWARE AFTER EMANUEL LEUTZE (GERMAN-AMERICAN, 1816 - 1868). Engraving by F. Merckel after the painting of same title, in the permanent collection of the Metropolitan Museum of Art in New York City. 8.5"h. 11.5"w., framed 12"h. 15"w.
Emanuel Leutze American, 1816-1868 Bust of a Young Girl, 1839 Signed E. Leutze and dated 1839 (lr) Oil on canvas 20 x 16 3/4 inches C Property from a Private New York State Collector
ATTRIBUTED TO EMANUEL LEUTZE (german/american 1816-1868)/span THE DIET OF WORMS; AND JAN HUS AT THE COUNCIL OF CONSTANCE (AFTER KARL FRIEDRICH LESSING, GERMAN 1808-1880) Pair oils on canvas Each approximately 19 x 27 3/4 in. (48.3 x 70.5cm) (2) provenance: /spanProperty of a Philadelphia Institution.
“Windowside Contemplation” Signed l/l. Dated 1859. Bears old gallery label on canvas. Oil on Canvas. Measuring 15 1/2” by 19 1/2”. Period gesso-cast gold frame. (Cond: overall crazing, minor paint chips to u/l quadrant and l/r quad, darkening of varnish, minor inpainting) (5000/7000)
LANDSCHAFT MIT BURGDORF, 1849 Öl auf Leinwand. 62,5 x 78,5 cm. Rechts unten signiert und datiert „49“. Gerahmt. (1032653) (12) Emanuel Gottlieb Leutze, 1816 Gmünd - 1868 Washington D.C. LANDSCAPE WITH VILLAGE 1849 Oil on canvas. 62.5 x 78.5 cm. Signed and dated “49“ lower right.
Oil on canvas USA, 1863 Emanuel Gottlieb Leutze (1816-1868) – German-US-American painter and draftsman Signed and dated lower right ‘E. Leutze. 1863’ as well as inscribed ‘Guten Morgen Vielliebchen.’ Dimensions: 132 x 100.5 cm Frame: 172 x 139.5 cm Literature: Groseclose, Barbara S.: ‘Emanuel Leutze, 1816-1868: freedom is the only king.’, Washington 1975 Provenance: Received directly from the artist, since then in family property This men’s portrait originates from the present owner’s family and is an excellent example of Emanuel Gottlieb Leutze’s talent as a portrait painter; the work also surprises by a charming anecdote Estimate by Auctionata Expert: 24,000 Euro In the 19th century Emanuel Gottlieb Leutze enjoyed the reputation of a first-class portraitist, who was frequently commissioned by the European immigrants who had settled in the industrialized areas in the US. Leutze typically rendered his sitters with a realistic approach and hereby often exceeded the quality of his monumental and multi-figured historical paintings. The painting also surprises by a charming anecdote, the current owner and great-grandson of the present sitter, has provided: The portrait of his great-grandfather, Friedrich W. Huetz, is the result of a lost bet that had been placed between Leutze and the latter. The German inscription ‘Guten Morgen Vielliebchen’ was a common saying at the end of a betting and was therefore kindly documented by the artist above his signature. As is was typical for 19th century’s portraits, Leutze captured his sitter in fashionable costumes and with a burning cigarette, that make his fun-loving character even more obvious for posterity. Condition: The paint surface is evenly craquelured and shows faint marks, where the frame has rubbed. There is a restored vertical tear of approximately 3 cm at the upper edge of the sitter’s hat, which has been supported with a piece of fabric from the reverse. Inspection under UV light reveals scattered areas of retouching to the tear, the face and the hands as well as to the clothes of the sitter. Otherwise of good overall impression. The stretcher measures 132 x 100.5 cm. The monumental stucco frame shows small marks and measures 172 x 139.5 cm. Emanuel Gottlieb Leutze (1816-1868) Emanuel Gottlieb Leutze was born in Schwabisch Gmund, even though he emigrated with his family to Philadelphia in 1825. It was John Rubens Smith (1775-1849) who gave him his first drawing lessons around 1834. Leutze then worked as a portraitist from 1837 to 1839, while travelling in Virginia and Maryland. In 1841 he took private lessons from Carl Friedrich Lessing (1808-1880) in Düsseldorf, where he also attended the art academy and studied under Wilhelm von Schadow (1789-1862). In 1848 Leutze was one of the co-founders of the artists’ association ‘Malkasten’, which contributed significantly to his artistic and social status in Düsseldorf. Leutze frequently travelled, including trips to Munich, Berlin, Rome, Amsterdam and Venice. His artistic output was not focused on portraits, but also beared dramatic reproductions of historical scenes, mainly concerned with the confessional struggles in England and Spain as well as the American past. Leutze, who finally became a member of the ‘Deutsche Kunstgenossenschaft’ in 1856, mainly served the American market. He thus returned to America in 1859 and established studios in New York and Washington. A selection of his works is today preserved at the Museum of Art in Boston, the Museum Kunstpalast in Düsseldorf and at the Staatsgalerie in Stuttgart. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Oil on canvas USA, 1863 Emanuel Gottlieb Leutze (1816-1868) – German-US-American painter and draftsman Signed and dated lower right ‘E. Leutze. 1863’ as well as inscribed ‘Guten Morgen Vielliebchen.’ Dimensions: 132 x 100.5 cm Frame: 172 x 139.5 cm Literature: Groseclose, Barbara S.: ‘Emanuel Leutze, 1816-1868: freedom is the only king.’, Washington 1975 Provenance: Received directly from the artist, since then in family property This men’s portrait originates from the present owner’s family and is an excellent example of Emanuel Gottlieb Leutze’s talent as a portrait painter; the work also surprises by a charming anecdote Estimate by Auctionata Expert: 30,000 Euro In the 19th century Emanuel Gottlieb Leutze enjoyed the reputation of a first-class portraitist, who was frequently commissioned by the European immigrants who had settled in the industrialized areas in the US. Leutze typically rendered his sitters with a realistic approach and hereby often exceeded the quality of his monumental and multi-figured historical paintings. The painting also surprises by a charming anecdote, the current owner and great-grandson of the present sitter, has provided: The portrait of his great-grandfather, Friedrich W. Huetz, is the result of a lost bet that had been placed between Leutze and the latter. The German inscription ‘Guten Morgen Vielliebchen’ was a common saying at the end of a betting and was therefore kindly documented by the artist above his signature. As is was typical for 19th century’s portraits, Leutze captured his sitter in fashionable costumes and with a burning cigarette, that make his fun-loving character even more obvious for posterity. Condition: The paint surface is evenly craquelured and shows faint marks, where the frame has rubbed. There is a restored vertical tear of approximately 3 cm at the upper edge of the sitter’s hat, which has been supported with a piece of fabric from the reverse. Inspection under UV light reveals scattered areas of retouching to the tear, the face and the hands as well as to the clothes of the sitter. Otherwise of good overall impression. The stretcher measures 132 x 100.5 cm. The monumental stucco frame shows small marks and measures 172 x 139.5 cm. Emanuel Gottlieb Leutze (1816-1868) Emanuel Gottlieb Leutze was born in Schwabisch Gmund, even though he emigrated with his family to Philadelphia in 1825. It was John Rubens Smith (1775-1849) who gave him his first drawing lessons around 1834. Leutze then worked as a portraitist from 1837 to 1839, while travelling in Virginia and Maryland. In 1841 he took private lessons from Carl Friedrich Lessing (1808-1880) in Düsseldorf, where he also attended the art academy and studied under Wilhelm von Schadow (1789-1862). In 1848 Leutze was one of the co-founders of the artists’ association ‘Malkasten’, which contributed significantly to his artistic and social status in Düsseldorf. Leutze frequently travelled, including trips to Munich, Berlin, Rome, Amsterdam and Venice. His artistic output was not focused on portraits, but also beared dramatic reproductions of historical scenes, mainly concerned with the confessional struggles in England and Spain as well as the American past. Leutze, who finally became a member of the ‘Deutsche Kunstgenossenschaft’ in 1856, mainly served the American market. He thus returned to America in 1859 and established studios in New York and Washington. A selection of his works is today preserved at the Museum of Art in Boston, the Museum Kunstpalast in Düsseldorf and at the Staatsgalerie in Stuttgart. (cbo) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Emanuel Leutze (German-American, 1816-1868), lot of two drawings to include: young woman looking down sitting under tree, graphite on paper, signed and dated lower left "E Leutze 1850," 12" h x 7" w (view), 22" h x 16" w (frame) and young woman in fur collar, graphite on paper, 13" h x 8 3/4" w (view), 23 1/4" h x 16 1/2" w (frame). Provenance: From a California collector.
Oil on canvas USA, circa 1900 Copy after Emanuel Gottlieb Leutze (1816-1868) - German-American history painter Dimensions: 69 x 120 cm Provenance: Private collection, Berlin Copy after the large-format painting from 1851, which is now in the Metropolitan Museum of Art, New York The present painting is a copy after the painting 'Washington Crossing the Delaware' by Emanuel Gottlieb Leutze. Leutze created two versions of the work in 1851 when he worked in Dusseldorf. One was destroyed in air raids in 1942, the second one is held in the Metropolitan Museum of Art in New York (accession no. 97.34) since 1897. Today, the work is one of the most famous images in American history. It depicts a scene from the American Revolution, showing George Washington with 2,500 of his men crossing the Delaware River in a surprise attack on the Hessian troops. Today there are numerous copies of the painting, including one in the White House. There is a vertical tear (approx. 25mm) with color loss on the lower left. There are several large areas of retouching, partly backed with patches of canvas, predominantly to the sky and background as well as some scattered retouchings to the figures. The frame shows some wear. The framed work measures 94 x 146 cm, the stretcher frame measures 69 x 120 cm. (tfa) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Due to the legal obligation for the resale royalty in the art market the following applies: As a result of its membership in the AV Kunst, Auctionata charges additionally to the hammer price the contribution to the AV Kunst of currently 2.1% of the revenues from the sale of fine arts and photographs pro rata towards the buyer. More information about royalty right in our T&C.
After Emanuel Gottlieb Leutze (German/American, 1816-1868), "George Washington Crossing the Delaware", 1853, mezzotint and engraving by Paul Girardet, New York, Goupil & Co., pencil titled and inscribed "Subscriber's Copy" and numbered "176" in lower margins, sight 25 in. x 39 1/4 in., gilt frame Provenance: Property sold for the benefit of a Private Institution.
After Emanuel Gottlieb Leutze (American 1816-1868) Washington Crossing the Delaware Hand-colored engraving, engraved by Paul Girardet; with scattered foxing throughout. Framed.* Frame size: 34-1/2 x 48-3/4 inProperty of Various Owners
German Marquetry Panel of "Washington Crossing the Delaware", ca. 1917, marked "Nuerting en, Germany, 1917", after the painting by Emanuel Gottlieb Leutze (German, 1816-1868), h. 13", w. 23".
