Johann Moritz Rugendas (Augsburg, Germany, 1802 - Weilheim an der Teck, Germany, 1858) “Peruvian type with cape and hat” Oil on canvas adhered to board Signed with initials and dated in Lima in April 1846 38 x 21 cm 12.000 - 15.000 €
MAURICIO RUGENDAS Scene of a street in the center of Lima. 1844. Exceptional find, this work was with unknown whereabouts since its sale in Leipzig,Germany, in 1930, and had been acquired by a Uruguayan collector. Oil on canvas. Measures: 41 x 34 cm. Framed work. We are excited to announce that along with the painting will be delivered the catalog where it was reproduced, the purchase invoice, a letterSent by the selling firm announcing the dispatch of the same to Uruguay, and a family portrait of its acquirer, a vintage photograph that brings together the whole set. The painting was cataloged by the German firm and reproduced with the title Popular scene in Lima (no.7), indicating in the introductory text: "The seven oil paintings offered here for sale, all come from the artist's heritage and are rigorously original. (...)» Regarding this work, says the Argentine art historian, RobertoFriend: "Popular scene in Lima is among those that do not have a signature, but there is no doubt about the authorship." (1) "In the same auction - we continue with the word of R. Friend- is Group of South American soldiers (no. 2), titled laterGaribaldi's return after the battle of San Antonio, preserved in the Cabildo de Montevideo Historical Museum from the Octavio Assunçao collection, who had acquired it from Buenaventura Caviglia, son. This, according to invoice from K. W. Hiersemann, noHe only bought the painting of the historical theme of Río de la Plata but also this scene of Lima customs in possession of the descendants until today. Both were dispatched together to Montevideo, in mid-July 1930." Such magnificent oil-Whose photographic image was reproduced by José Flores Aráoz in his Book Juan Mauricio Rugendas. Romantic Peru of the 19th century (Lima: Carlos Milla Batres, 1975), indicating "unknown whereabouts" is part of a sequence of three works referring to the same subject.Amigo describes it as follows: "A scene of a street in the center of Lima presents variation in the brushstrokes, sometimes following the figure, in others placing the color in a pasty way or with little load of matter, almost diluted, in figures of removed planes.Thus, it presents its own character expressed in the smallest detail than the larger Lima paintings, also with the favor of the smaller number of figures. In this way, at the same time that pictorial richness presents a feeling of spontaneity, almost as if fUera a sketch executed in the open air. On the contrary, in La Catedral and Plaza Mayor de Lima ... the faces have been painted with the precision of the portrait, in a composition painting; as happens in other great costume scenes, although of moMore mitigated, such as Paseo en la Alameda nueva, El Mercado de la Independencia in Lima, Baños en Chorrillos, Fiesta San Juan in Amancaes that belonged, from 1970 to the corporate collection Baring Brothers until the 2016 auction (Christie's, London)." That auction at the London headquarters of Christie's will be remembered for the records obtained: The Independence Market in Lima: $909,200 and "The Quince Beach of Valparaíso": $698,377. Now Montevideo is in the news for this finding; Scene ofA street in the center of Lima captures the interest of public institutions and private collectors, and for us it is an honor that the brushes of the German Johann Moritz Rugendas (1802-1858) captured in this work seek their new destination through this catalog.What a beautiful painting of the Great American Journey of Rugendas continues towards its new destination! MAURICIO RUGENDAS Escena de una calle en el centro de Lima. 1844. Excepcional hallazgo, esta obra se encontraba con paradero desconocido desde su venta en Leipzig, Alemania, en 1930, y había sido adquirida por un coleccionista uruguayo. Óleo sobre tela. Medidas: 41 x 34 cm. Obra enmarcada. Nos emociona comunicar que junto con la pintura se entregará el catálogo donde fue reproducida, la factura de compra, una carta enviada por la firma vendedora anunciando el despacho de la misma hacia Uruguay, y un retrato familiar de su adquirente, una fotografía vintage que aúna todo el conjunto. La pintura fue catalogada por la firma alemana y reproducida con el título Escena popular en Lima (núm. 7), indicando en el texto introductorio: «Las siete pinturas al óleo que aquí se ofrecen en venta, proceden todas de la herencia del artista y son rigurosamente originales. (...)» A propósito de esta obra, afirma el historiador del arte argentino, Roberto Amigo: “Escena popular en Lima se encuentra entre las que no presentan firma, pero no hay duda alguna sobre la autoría.” (1) “En la misma subasta -seguimos con la palabra de R. Amigo- se encuentra Grupo de soldados suramericanos (núm. 2), titulada luego Retorno de Garibaldi después del combate de San Antonio, conservada en el Museo Histórico Cabildo de Montevideo procedente de la colección Octavio Assunçao, quien la había adquirido a Buenaventura Caviglia, hijo. Este, según factura de K. W. Hiersemann, no sólo compró la pintura de tema histórico rioplatense sino también esta escena de costumbres limeñas en posesión de los descendientes hasta la actualidad. Ambas fueron despachadas juntas hacia Montevideo, a mediados de julio de 1930”. Tan magnífico óleo -cuya imagen fotográfica fue reproducida por José Flores Aráoz en su libro Juan Mauricio Rugendas. El Perú romántico del siglo XIX (Lima: Carlos Milla Batres, 1975), indicando “paradero desconocido”-, forma parte de una secuencia de tres obras referidas al mismo asunto. Amigo así la describe: “Escena de una calle en el centro de Lima presenta variación en las pinceladas, a veces siguiendo la figura, en otras colocando el color de manera pastosa o con escasa carga de materia, casi diluida, en figuras de planos retirados. Así, presenta un carácter propio expresado en el menor detalle que las pinturas limeñas de mayor formato, también con el favor de la menor cantidad de figuras. De este modo, a la par que riqueza pictórica presenta sensación de espontaneidad, casi como si fuera un boceto ejecutado al aire libre. Por el contrario, en La Catedral y Plaza Mayor de Lima … los rostros han sido pintados con la precisión del retrato, en una pintura de composición; tal como ocurre en otras grandes escenas costumbristas, aunque de modo más mitigado, como Paseo en la Alameda nueva, El Mercado de la Independencia en Lima, Baños en Chorrillos, Fiesta San Juan en Amancaes que pertenecieron, desde 1970 a la colección corporativa Baring Brothers hasta la subasta de 2016 (Christie’s, Londres).” Aquel remate en la sede londinense de Christie’s será recordado por los récords obtenidos: El Mercado de la Independencia en Lima: 909.200 u$ y “La playa del membrillo de Valparaíso”: 698.377 u$. Ahora Montevideo es noticia por este hallazgo; Escena de una calle en el centro de Lima capta el interés de instituciones públicas y coleccionistas particulares, y para nosotros es un honor que los pinceles del alemán Johann Moritz Rugendas (1802-1858) plasmados en esta obra busquen su nuevo destino a través de este catálogo. ¡Que tan bella pintura del Gran Viaje Americano de Rugendas prosiga hacia su nuevo destino!
Moritz Rugendas (1802 Augsburg - 1858 Weilheim (Teck)) after Johann-Baptist Pflug (1785 - 1866 ): Fire jumping in Württemberg, c. 1820, Aquatint Technique: Hand colored Aquatint on Paper Inscription: lower left signed in the printing plate: "n Pflug v. Rugendas". Lower middle inscribed in the printing plate: "Ländliche Gebräuche in Württemberg / Das Feuerspringen / Stuttgart im Verlag der Ebner'schen Kunsthandlung". Date: c. 1820 Description: This work of art, "Jumping over fire", illustrates a traditional rural ceremony from Württemberg. In the foreground, young men jump over a burning fire, surrounded by festively dressed women and children. The scene tells of communal celebrations in a rural setting, embedded in lush, green nature. Keywords: fire ritual; Württemberg; tradition; fire jumping; rural customs; community; festival; ceremony; traditional costumes; rural life; cultural history; folklore; colourful traditional costumes; nature; solemnity; smoke; spectators; historical representation; group activity; conviviality, 19th century, Romanticism, Genre, Germany, Size: Paper: 19,5 cm x 23,7 cm (7,7 x 9,3 in), Depiction: 15,9 cm x 20,2 cm (6,3 x 8 in)
(1802 Augsburg - 1859 Weilheim an der Teck) "anda siempre!". Originaltitel Humorvolle szenische, lebendige Darstellung eines Reiters auf einem buckelnden Pferd, der eine kleine Bambusbrücke über einer Schlucht überqueren will, während auf der anderen Seite ein Rind stehen geblieben ist. Während einer seiner jahrelangen Südamerika-Reisen bzw. -Expeditionen (wohl 1822-1825) entstandenes Blatt des Künstlers, der Brasilien, Mexiko, Chile, Peru, Argentinien und Uruguay bereiste. Befreundet mit Alexander von Humboldt brachte Rugendas 1827 das Werk "Voyage pittoresque dans le Bresil" mit 100 eigenen Lithographien in Paris heraus. Auf Anregung von König Ludwig I. von Bayern erwarb der bayerische Staat 1848 sein bedeutendes Amerika-Oeuvre von 3353 Studien (größtenteils erhalten in der Staatl. Graphischen Sammlung München). Bleistift/Papier. R. u. monogr.; L. o. betitelt. Auf dem Rückenkarton Provenienzangabe u. Widmung von 1968. 14 cm x 20,5 cm. Rahmen Provenienz: Sammlung Dr. Kurt Riedler, Zürich. Pencil on paper. Monogrammed and titled.
VON MARTIUS, Carl Friedrich Philipp (1794-1868) and RUGENDAS, Johann Moritz (1802-1858). A Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground. Pencil, ink and watercolor on paper. Inscribed along lower margin: Manicaria Saccifera/Desmoncus orthacanthos Tab:98. 19 1/2" x 15 1/4" sheet, 28 1/2" x 24" framed. Literature: C. F. P. von Martius, Historia Naturalis Palmarum, II (De Brasiliae Palmis Singulatim) (Leipzig, 1823-1850), pp.87, 140-141, pl.98 (‘Manicaria Saccifera/Desmoncus orthacanthos’). This remarkable watercolor is a study for plate 98, volume two of Martius’s exhaustive work, Historia Naturalis Palmarum. The plate credits the lithographer (‘C. Hess in lap. del’) working from the author’s model (‘Martius palm ad nat.’). The snake and crocodile are omitted in the plate. If Martius provided the original sketches of the two palms (as credited in the plate), the present watercolor may nevertheless have been worked up by Johann Rugendas for publication. ---------------- Martius’s Historia Naturalis Palmarum was based on his travels in Brazil with Johann Baptist von Spix from 1818 to 1820, but expanded, in a third volume (Expositio Systematica), to include all species then known worldwide. The majority of drawings of palms for the second volume, dedicated to Brazilian palms, were credited to Martius with just a few landscapes, representing areas not traveled over by Martius, taken from works by Frans Post and Johann Moritz Rugendas. As with the present watercolor, Rugendas probably worked up many of Martius’s sketches for publication. King Maximilian Joseph of Bavaria sent Martius, a botanist, with Spix, a zoologist, to Brazil in 1817 in the suite of the Archduchess Leopoldina. The team investigated the natural history and tribal Indians and traveled extensively from Rio de Janeiro to Sao Paulo before making their way north, inland to Montes Claros and the Upper Sao Francisco, across to Salvador de Bahia and then northwest to Para. They became the first non-Portuguese Europeans to obtain permission to visit the Brazilian Amazon, starting upstream in August 1819. They split up in December, Martius ascending the Japura for two months reaching territory close to the frontier with modern-day Colombia, before reuniting at Barra (Manaus) in March 1820 and returning to Belem. From there, they sailed for Europe with a vast collection of natural history specimens and Indian artifacts. The journey was the subject of their co-authored Reise in Brasilien, published in three volumes with an atlas (Munich, 1823-1832) and spawned Martius’s two monumental works on natural history, Historia Naturalis Palmarum and the mammoth Flora Brasiliensis, the latter published between 1840 and 1906, with just one third published by the time of Martius’s death in 1868.
The Vanguard Spirit: Modern and Surrealist Masterworks from an Important Estate Johann Moritz Rugendas 1802 - 1858 El rapto signed M. Rugendas and dated Lima 1842 (lower right) oil on canvas 13⅛ by 17¼ in. 33.3 by 43.8 cm. Executed in 1842.
Johann Moritz Rugendas Mixed lot 2 pieces: Pinhero - Araucaria brasiliano (Brazil pine) 1825 India ink, pencil on paper; unframed 36.6 x 27.7 cm; 36.5 x 24 cm one sheet monogrammed on the lower right: MR. inscribed and dated at the bottom: Pinhero. Araucaria brasiliano Serra Sao Joao d'El Rey. - 1825. - one sheet with dedication on the lower left: Zwei Handzeichnungen / von M. Rugendas / Herrn Wilhelm Schirmer / zu(m) freundlichen / Andenken von / Alexander Humboldt / Febr. 1837 according to dedication until 1837 property of Alexander von Humboldt (1769-1859), Berlin; from February 1837 Wilhelm Schirmer, probably August Wilhelm Schirmer (1807-1863), Berlin; Austrian private property for approx. 100 years
Moritz Rugendas (1802 Augsburg - 1858 Weilheim (Teck)): Portrait of Elisa Brock Tupper (?), c. 1840, Pencil Technique: Pencil on Paper Date: c. 1840 Description: Similar to Joseph Selleny, Johann Moritz Rugendas was a world traveller in matters of art. He travelled through South America for over 19 years, partly in the footsteps of Alexander von Humboldt - a first trip took him to Brazil from 1822 to 1825, and from 1831 to 1846 he travelled the entire continent. Via Mexico he came to Chile and Argentina, then to Peru, Bolivia and via Uruguay finally again to Brazil. He saw himself as an illustrator of "the new world discovered by Columbus [...] and wanted to show the world what picturesque treasures the tropical world offers", as he wrote to Humboldt after his return to Germany.In July 1834 he had come from Acapulco to Valparaiso in Chile, and from there to Santiago, where he had to stay longer than originally planned. Financial constraints and a riding accident in which Rugendas was seriously injured in the head in the Argentine border country forced him to stay longer, which only ended with his departure for Peru in November 1842. In Santiago, where Rugendas lived from July 1834 to October 1835 and from April 1836 to November 1837, he was quickly well established in society, which provided him with occasional portrait commissions - among others, he first drew and then painted an equestrian portrait of Jorge Huneeus Lippmann in 1835.Lippmann had married Isidora Zegers Montenegro at the beginning of the year; a native of Madrid, Isidora Zegers had come to Chile with her family in 1823. There, the Paris-educated musician made her house a cultural centre where Rugendas also frequented. In 1836 he painted a portrait of her brother José, and in 1844 Rugendas' meeting with the French colleague Raymond Auguste Monvoisin is said to have taken place in her house.From her first marriage to Colonel Guillermo Vic Tupper, who died in the Battle of Lircay in 1830, Isidora Zegers had three children - Flora Luisa Tupper, born in 1827, and Elisa Brock Tupper, born in 1828, as well as son Fernando, all three of whom were drawn by Rugendas.According to an inscription (albeit a relatively modern one) on the former saucer, our delicate portrait is also supposed to represent one of the two sisters - probably as a counterpart to her sister. In its layout it is oriented towards the coolness of Jean-Auguste-Dominique Ingres' paintings, but in its sitting motif it corresponds to the Biedermeier portrait conventions of the time: Rugendas has only fleetingly captured the sitter's upper body and has concentrated his drawing on her face, alternating between naturalistic observation and stylisation, between painterly and linear ductus. She looks out at the world with wide eyes, but she does not make contact with the viewer - her gaze goes up to the right. If the identification is correct, it is most likely the portrait of the younger Elisa Brock Tupper, but here she is already older. Should the portrait have been painted only on the occasion of the presumed meeting with Monvoisin in 1844 in the house of Isidora Zegers Montenegro? (Text: Peter Prange) Keywords: Portrait, South America, 19th century, Romanticism, Portraits, Mexico,
Johann Moritz Rugendas Mixed lot 2 pieces: Pinhero - Araucaria brasiliano (Brazil pine) 1825 India ink, pencil on paper; unframed 36.6 x 27.7 cm; 36.5 x 24 cm one sheet monogrammed on the lower right: MR. inscribed and dated at the bottom: Pinhero. Araucaria brasiliano Serra Sao Joao d'El Rey. - 1825. - one sheet with dedication on the lower left: Zwei Handzeichnungen / von M. Rugendas / Herrn Wilhelm Schirmer / zu(m) freundlichen / Andenken von / Alexander Humboldt / Febr. 1837 according to dedication until 1837 property of Alexander von Humboldt (1769-1859), Berlin; from February 1837 Wilhelm Schirmer, probably August Wilhelm Schirmer (1807-1863), Berlin; Austrian private property for approx. 100 years
The Vanguard Spirit: Modern and Surrealist Masterworks from an Important Estate Johann Moritz Rugendas 1802 - 1858 Matrimonio indígena signed indistinctly (lower right); signed Rugendas (on the reverse) oil on canvas 13 by 16¼ in. 33 by 41.3 cm. Executed circa 1850.
The Vanguard Spirit: Modern and Surrealist Masterworks from an Important Estate Johann Moritz Rugendas 1802 - 1858 La danse signed with the initials MR and dated 1850 (lower right) oil on canvas 20 by 24¾ in. 50.8 by 63 cm. Executed in 1850.
(Augsburg 1802–1858 Weilheim) A Lady Resting in a Hammock, inscribed on the reverse by another hand “Peru, Für ... zu Lima, im Inneren Ihres Gartens - 1844, wiederholt skizziert 1850 zu München M. Rugendas...”, oil on paper on cardboard, 23 x 35 cm, unframed Compare: Portrait of Doña Luisa C. de Jiménez from Veracruz, 1831-33, oil on board, 35 x 22 cm, Museo Nacional de Historia Castillo de Chapultepec, Mexico City, 10-230082. We are grateful to Dr. Pablo Diener Ojeda and Dr. Christof Metzger for the scholarly advice. Hailed as ‘the painter of the Americas’ by his friend and mentor Alexander von Humboldt, the Augsburg-born artist Johann Moritz Rugendas started his career as illustrator as part of an ambitious scientific Brazil expedition led by Georg von Langsdorff in 1821. Rugendas produced a vast number of watercolours and drawings accurately recording flora and fauna, as well as his impressions of everyday life during this first encounter with America. After a short European intermezzo 1825-1831, in which the artist became familiar with modern artistic trends and learned new techniques, Rugendas embarks on a second American adventure through Haiti, Mexico, Peru, Bolivia, Chile, Argentina, Uruguay, and Brazil. He produced plenty of oil sketches during his stay in Mexico, intended as a memory aid for the composition of larger works. The present lot probably falls within Rugendas’ Mexican production, as it is likely a sketch for the portrait of Doña Luisa G. de Jiménez, now held at the Museo Nacional de Historia, Mexico City. Rugendas embodies the ideal of the romantic travelling artist, fascinated by the nature and landscapes of the New World, as well as by the customs of its inhabitants. Foreign writers, scientists and artists approached Latin America throughout the 19th century in search of new aesthetic experiences, exciting discoveries, wealth, fame, and adventures.
RUGENDAS, Johann Moritz. Recolte du café.Paris, 1850 Litografia. Immagine 247x310 mm. Ampi margini. Ottimo stato di conservazione. La raccolta del caffé in una piantagione brasiliana. Bella stampa tratta da un disegno originale di Rugendas. Disegnata da Laurent Deroy, litografata e pubblicata a Parigi da Gottfried Engelmann.Nagler: … "(Rugendas) Nella rappresentazione caratteristica e realistica di persone, animali e piante, paesi stranieri, inizialmente tropicali, pochi possono essere equiparati a lui.”
RUGENDAS, Moritz. San-Salvador in Brasilien.1835 Litografia di 255x355 mm entro cornice editoriale. Ampi margini. Leggerissime fioriture. Buon esemplare. Raffigurazione in lontanaza della baia di San Salvador. In primo piano, nativi danzanti e flora brasiliana.Johann Moritz Rugendas (1802-1858) è stato un pittore tedesco, famoso per le sue opere raffiguranti paesaggi e soggetti etnografici nelle Americhe, nella prima metà del XIX secolo. Rugendas arrivò in Brasile nel 1822, assunto come illustratore per la spedizione scientifica del barone von Langsdorff. Rugendas rimase solo in Brasile fino al 1825, esplorando e registrando le sue numerose impressioni della vita quotidiana nelle province di Minas Gerais e Rio de Janeiro, e rapidamente nelle province costiere di Bahia e Pernambuco nel suo viaggio di ritorno in Europa. Tratto da Johann Moritz Rugendas, Voyage Pittoresque dans le Bresil. Traduit de l'Allemand (Paris, 1835).
Johann Moritz RUGENDAS (1802-1858), Reisende, Öl auf Platte, u. r. bez., Reisende mit einem Kind und Gepäckpferd, daneben Rastende mit Hunden, im Hintergrund flache Seenebene vor Hochgebirge, Maße: ca. 20 x 26 cm, gerahmt. Verso handschriftl. Künstlernennung, dazu Stempel Sprengel. Partiell Farbverlust, Trägerplatte geklebt. Provenienz: Privatsammlung.
RUGENDAS, Moritz. San-Salvador in Brasilien.1835 Litografia di 255x355 mm entro cornice editoriale. Ampi margini. Leggerissime fioriture. Buon esemplare. Raffigurazione in lontanaza della baia di San Salvador. In primo piano, nativi danzanti e flora brasiliana.Johann Moritz Rugendas (1802-1858) è stato un pittore tedesco, famoso per le sue opere raffiguranti paesaggi e soggetti etnografici nelle Americhe, nella prima metà del XIX secolo. Rugendas arrivò in Brasile nel 1822, assunto come illustratore per la spedizione scientifica del barone von Langsdorff. Rugendas rimase solo in Brasile fino al 1825, esplorando e registrando le sue numerose impressioni della vita quotidiana nelle province di Minas Gerais e Rio de Janeiro, e rapidamente nelle province costiere di Bahia e Pernambuco nel suo viaggio di ritorno in Europa. Tratto da Johann Moritz Rugendas, Voyage Pittoresque dans le Bresil. Traduit de l'Allemand (Paris, 1835).
Nach. 1802 Augsburg - 1858 Weilheim a.d. Teck Vier Lithogr. Verkaufsladen in Recife. Rodrigo de Freitas Lagune. Botafogo. Serra dos Orgaos in Rio de Janeiro. Aus: Voyage Pittoresque dans le Brésil. Im Stein bet. u. Engelmann nach Rugendas bez. 27,5 x 37 cm. Pass. R. Lit.: 1,2,5,11,14.
RUGENDAS JOHANN MORITZ (1802 - 1858) RUGENDAS JOHANN MORITZ (1802 - 1858) olieverfschilderij op doek : "Landschap in Mexico (waarschijnlijk een zicht van Campeche)" - 34,1 x 42,7 toegeschreven aan het doek is gemerkt "Schutzmann München" (de kunstenaar is van Augsburg) 19th Cent. German oil on canvas probably with a Mexican landscape attributed to Johann Moritz Rugendas the canvas in "Schutzmann München" marked (Rugendas is from Augsburg) RUGENDAS JOHANN MORITZ (1802 - 1858) olieverfschilderij op doek : "Landschap in Mexico (waarschijnlijk een zicht van Campeche)" - 34,1 x 42,7 toegeschreven aan het doek is gemerkt "Schutzmann München" (de kunstenaar is van Augsburg) ||19th Cent. German oil on canvas probably with a Mexican landscape attributed to Johann Moritz Rugendas the canvas in "Schutzmann München" marked (Rugendas is from Augsburg)
ATTRIBUÉ À JOHANN MORITZ RUGENDAS (1802-1858) L’ENTRÉE DE LA RADE DE RIO DE JANEIRO Aquarelle et gouache Attr. to J. M. Rugendas, The entrance to the bay of Rio de Janeiro, watercolor and gouache 14,5 x 19 cm - 53/4 x 71/2 in.
After Johann Moritz Rugendas, (German, 1802-1858) A lively procession with horseman lassoing cattle, the Chilean Andes beyond signed and inscribed 'F Pini/M Rugendas' (lower centre) oil on canvas 58.5 x 90.6cm (23 x 35 3/4in). For further information on this lot please visit the Bonhams website
Johann Moritz Rugendas (1802-1858) (attrib.), South American gaucho with lasso and boleadoras in traditional costume. Following in the footsteps of Alexander von Humboldt, Rugendas traveled South America and recorded the local people and customs. Pencil on paper mounted on backing paper, signed ''Rugendas'' at lower right, ca. 28 x 20 cm
Johann Moritz Rugendas (Augsburg 1802-1858 Weilheim an der Teck) The children of the Renard family, Chile signed , inscribed and dated 'M Rugendas p. / Santiago de Chile / 1835.' (lower right) oil on canvas 181⁄2 x 213⁄4 in. (46.9 x 55.3 cm.)
Peruanische Küstenlandschaft mit Palmen und Lamas. - Bleistift, hellblau laviert und weiß gehöht, auf festem Velin. 15,1 x 21,8 cm. Unten mittig bezeichnet "aus Peru" und unten rechts signiert und datiert "M. Rugendas / August 30 [...] 1853". -- Vorliegende Zeichnung entstand nach den Eindrücken, die Rugendas zum Ende seiner mehrjährigen Studienreise durch Mexiko und Südamerika sammelte. Bereits im Alter von nur 19 Jahren wurde er vom Baron Georg Heinrich von Langsdorf gebeten, als Zeichner mit auf eine mehrjährige, wissenschaftliche Expedition nach Südamerika zu kommen. Die dort entstandenen Zeichnungen beeindruckten unter anderem Alexander von Humboldt sowohl aus künstlerischer wie wissenschaftlicher Hinsicht nachhaltig und begründeten eine lebenslange Freundschaft der beiden. Die positive Resonanz auf das von ihm herausgegebene lithographische Werk Voyage pittoresque dans le Brésil entfachte Rugendas' Reiselust erneut und veranlasste ihn, im Jahre 1831 auf eigene Faust ein zweites Mal nach Mittel- und Südamerika zu reisen, wo er sich diesmal aber vor allem dem Landschaftsstudium widmete. Nach mehrjährigen Aufenthalten in Mexiko und Chile, bereiste er im Jahre 1847 schließlich Peru, Argentinien und Urugay, bevor er die Rückreise über Brasilien antrat. Die dort entstandenen Studien führte er meist nach seiner Rückkehr in Europa aus. In vorliegender Zeichnung stellt Rugendas eine malerische Küstenszene mit vereinzelt in der unberührten Natur der Bucht stehenden Lamas dar. Dabei akzentuiert er virtuos die Himmelspartie mit zart-blauen Aquarelltönen, welche der Darstellung zusätzliche Tiefe verleihen und den Blick auf das in der Ferne liegende Bergmassiv richten. Die Zeichnung wurde von Herrn Pablo Diener-Ojeda schriftlich bestätigt (per E-Mail vom 26. April 2019). -- Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
RUGENDAS, Johann Moritz (1802–1858). Voyage pittoresque dans le Brésil. Paris : Engelmann, 1835. Edition originale avec les planches sur Chine. Issu d’une grande famille d’artistes, l’artiste prend part à l’expédition du baron Langsdorf au Brésil en 1822. Russe d'origine allemande, Langsdorf est alors consul général de Russie à Rio de Janeiro et décide de mener une expédition d’exploration scientifque en forêt amazonienne par la voie fuviale, accompagné de botanistes, entomologistes, naturalistes, mais aussi d’artistes parmi lesquels Rugendas. A seulement 19 ans, le jeune peintre explore avec eux les régions de Sao Paolo et Minas Gerais avant de se retirer de l’expédition pour étudier seul la fore, la faune, mais aussi les populations rencontrées à Mato Grosso et Pernambuco. A la demande du roi Maximilien Ier de Bavière, il retourne en Europe en 1825, où son travail est admiré par Alexander von Humboldt qui l’encourage à travailler sur le Voyage pittoresque dans le Brésil. Le livre est fnalement publié en français et en allemand à Paris et comprend 100 lithographies qui reprennent des oeuvres de Rugendas réalisées sur place. Le livre inclut notamment des scènes montrant les réalités de l’esclavage au Brésil, thème alors peu abordé. Borba de Moraes, II, 754 ; Brunet, IV, 1455 ; Sabin, 73935. In-folio (515 x 345 mm). 4 divisions illustrées de 100 lithographies sur Chine : 30 planches pour Paysages, 20 planches pour Portraits et costumes, 30 planches pour Moeurs et usages des indiens, 20 planches pour Moeurs et usages des nègres (quelques piqûres et rousseurs). Reliure de l’époque en demi-basane rouge à coins, dos à nerfs (coins et coifes frottés, dos restauré).
Rugendas, Johann Moritz (1802-1858). Famille Indienne. Botocudos. Paris: Lith. de Engelmann, 1827. Coloured lithograph, 27.7 x 23 cm. Engraved by V. Adam. Enmarcada. Estimado $ 6,000-8,000 CA - 1827 Rugendas, Johann Moritz (1802-1858). Famille Indienne. Botocudos. Paris: Lith. de Engelmann, 1827. Litografía coloreada, 27.7 x 23 cm. Grabado por V. Adam. Enmarcada. Tomada de la obra "Voyage Pittoresque dans le Brésil par Maurice Rugenda. No. 1. 2e. Division. Costumes et Portraits des Negres et des Indies". Johann Moritz Rugendas, participó en 1821 en la expedición científica al Brasil realizada por el Cónsul General de Rusia Georg Heinrich von Langsdorff, al llegar a Brasil abandonaría la expedición para continuar su viaje por cuenta propia; al regresar a Francia en 1827 comienza la publicación de su obra "Voyage Pittoresque dans le Brésil" con cien litografías originales, se realizaron veinte entregas trimestrales de cinco láminas en folio, acompañadas de un texto en alemán o su traducción al francés por M. Golbery; pero la publicación se atrasó y las últimas entregas no llegaron sino hasta 1835. Su trabajo fue muy bien recibido por la comunidad científica de París, en donde conoció al naturalista alemán Alejandro de Humboldt quien lo apoyó e influyó en su obra. Más tarde en 1830, movido por su continuo interés por la cultura de América, se trasladó a Haití y posteriormente a México entre junio de 1831 y marzo de 1834 recorrió desde Veracruz hasta Acapulco, no sólo realizó paisajes si no también escenas costumbristas, como corridas de toros, fiestas, tipos y plazas; fue expulsado del país, acusado de conspiración contra del gobierno de Anastasio Bustamante.
Rugendas, Johann Moritz 1802 Augsburg - 1858 Weilheim (Teck), zugeschrieben Bildnis einer jungen Dame Hüftbild nach rechts. R. u. monogrammiert "M. Rgds". Öl auf Lwd. 30,2 x 23 cm. Doubliert. Min. besch. Rest. Rahmen min. besch. Johann Moritz Rugendas gilt als jener Maler, der Lateinamerika im 19. Jahrhundert in seiner Gesamtheit und Vielfalt am überzeugendsten darstellte. Für den argentinischen Staatsmann und Schriftsteller Domingo Faustino Sarmiento waren Alexander von Humboldt und Johann Moritz Rugendas die beiden Europäer, die Lateinamerika am besten verstanden hätten. Rugendas gilt als letztes künstlerisch bedeutendes Mitglied einer Augsburger Künstlerfamilie, die bis in das Jahr 1608, als die Vorfahren wegen ihres Glaubens aus Katalonien auswanderten und sich in Augsburg niederließen, nachverfolgt werden kann. Das vorliegende kleinformatige Bildnis ist ein anrührendes Dokument aus dem privaten Umfeld des Künstlers. Das Gemälde wird von Christin Conrad und Prof. Dr. Pablo Diener auf der Basis von Fotografien als wahrscheinliches Werk von Rugendas anerkannt. Beiden sei für ihre freundliche Unterstützung im Rahmen der Katalogisierung gedankt.
Studie eines Indianers aus dem Stamm der Araukaner. Öl auf Malpappe. 33,4 x 14 cm. Um 1835/36. Johann Moritz Rugendas interessierte sich stark für die indianische Urbevölkerung Lateinamerikas, weshalb er während seines achtjährigen Aufenthaltes in Chile in den Süden des Kontinentes reiste, der noch bis zur zweiten Hälfte des 19. Jahrhunderts von der spanisch-kolonisatorischen Zivilisation verschont geblieben war. Hier portraitierte er Indianer, die noch in ihrer ursprünglichen Form lebten und lieferte damit wertvolle Informationen über die dort lebenden Menschen. Die locker und versiert ausgeführte Studie zeigt einen Indianer in traditioneller Kleidung aus dem Stamm der Araukaner, die im Süden Chiles oder Argentinien ansässig waren. Das Werk gehört zu einer Serie, die Rugendas während oder direkt im Anschluss an seinen Aufenthalt im Süden des Kontinents in Chile schuf und dürfte somit gegen Ende des Jahres 1835 oder im Laufe des Jahres 1836 entstanden sein. Pablo Diener bestätigt auf der Grundlage eines Photos die Autorschaft Johann Moritz Rugendas (email vom 11. Dezember 2011, als Kopie vorhanden). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Johann Moritz Rugendas (1802-1858)-circle of, Sailing ships and boats in front of the Sugar Head mountain and the Baia de Guanabara, oil on cardboard, framed. 19x28cm
ATTRIBUTED TO JOHANN MORITZ RUGENDAS (1802-1858): FOX AND HOUND Colored chalk and pencil on paper, indistinctly signed and inscribed lower right. 5 3/8 x 8 3/4 in. (sheet), 10 1/4 x 13 1/2 in. (frame). Property from the Estate of Elisabeth Lewyt
Rugendas, Moritz 1802 - 1858 Die Schlucht von Beltrán (Mexiko) Oil on light cardboard 1834 Inscribed in brown pen on the cardboard backing: Moritz Rugendas 11 3/8 x 16 3/4 in.
Grisebach
Apr. 24, 2013
Est: -
Johann Moritz Rugendas (1802-1858) Valparaiso signed with initials and dated 'MR 1841' (lower centre) oil on canvas 12 7/8 x 16¾in. (32.7 x 42.6cm.)
Christie's
Apr. 24, 2013
Est: -
Johann Moritz Rugendas (1802-1858) Forêt du Brésil lithograph, published by Rittner, Paris unframed S. 26½ x 20½in. (67.2 x 52cm.)
JOHANN MORTIZ RUGENDAS (ALEMANIA, 1802 - 1858) "CIUDADANOS Y GENTE DEL MERCADO" (CIUDAD DE MÉXICO, CIRCA 1830) ALEMANIA, FINALES DEL SIGLO XIX. Grabado coloreado. Plancha cincelada por G. M. Kurz en base al dibujo de Rugendas.* Firmado por ambos en plancha, ángulos inferior derecho e inferior izquierdo respectivamente. Impreso por Druck & Verlag G.G. Lange, en Darmstadt. Marco de madera dorada. Ligeros detalles de conservación y dobleces. Dimensiones: 12 x 17.5 cm *En la época, publicado en: Christian Sartorius, Carl, Mexico and the Mexicans: landscape and popular sketches, Londes: Trubner & Co., Ca. 1859, lám 13.
