Wilhelm Ludwig Friedrich Riefstahl (German, 1827–1888), Wedding Procession in Tyrol (detail), ca. 1866. Oil on canvas. Gift of the René von Schleinitz Foundation, M1962.90.
Periodically in the past, the blog has featured a series of posts called “Questions of Provenance,” which discussed issues related to provenance, or the history of ownership of a work of art. Over the next few months, this series will continue with posts highlighting recent research into works in the Milwaukee Art Museum’s collection. In case you missed it, the first one was published in January.
The last story I shared was about an accidental discovery related to the provenance of the painting Dance Under the Linden Tree (1881) by Ludwig Knaus. Today, I’m going to share a similar surprise discovery, about Wedding Procession in the Tyrol by Wilhelm Ludwig Friedrich Riefstahl (German, 1827–1888).
Ludwig Knaus (German, 1829–1910), Dance under the Linden Tree, 1881 (detail). Oil on canvas. Gift of the René von Schleinitz Foundation M1962.31. Photo credit: John R. Glembin.
Ludwig Knaus (German, 1829–1910), Dance under the Linden Tree, 1881. Oil on canvas. Gift of the René von Schleinitz Foundation M1962.31. Photo credit: John R. Glembin.
Periodically in the past, the blog has featured a series of posts called “Questions of Provenance,” which discussed issues related to an artwork’s provenance, or its history of ownership. Over the next few months, this series will continue with monthly posts highlighting recent research that focuses on provenance.
The curatorial staff of the Milwaukee Art Museum are constantly researching the collection. Sometimes we request books and articles through interlibrary loan. Other times, we page through archival files either in person or online. And it’s not unusual to talk to colleagues in the field. But believe it or not, every once in a while, an important discovery is made by accident.
Woodcut by Michael Wolgemut and Wilhelm Pleydenwurff. Printed by Anton Koberger and Johannes Schoensperger, Two leaves from the book The Nuremberg Chronicle (Liber Chronicarum or Weltchronik), with a woodcut of a view of Bamberg, 1493 (detail). Woodcut and letterpress, Purchase, Gertrude Nunnemacher Schuchardt Fund, presented by William H. Schuchardt M1970.51. Photo by John R. Glembin.Woodcut by Michael Wolgemut and Wilhelm Pleydenwurff. Printed by Anton Koberger and Johannes Schoensperger, Two leaves from the book The Nuremberg Chronicle (Liber Chronicarum or Weltchronik), with a woodcut of a view of Bamberg, 1493 (detail). Woodcut and letterpress, Purchase, Gertrude Nunnemacher Schuchardt Fund, presented by William H. Schuchardt M1970.51. Photo by John R. Glembin.
I’m a book lover. Always have been, always will be. For me, the physicality of a book—the tactile qualities of holding it in my hands, the smell of the paper and ink, and the sound of turning the pages—it is part of a complete experience that I never want to give up. And I’m not the only one. Although e-readers have taken part of the book market, readers still prefer physical books and physical books outsell e-books.
I don’t own an e-reader, but I do a lot of reading on screens, usually on my computer. Compared to even ten years ago, an enormous amount of important scholarship for the art historian is on the internet. I still conduct good and thorough research using printed books, but it’s amazing what is available with a few taps of the keyboard.
Naples, Italy, “Nativity Scene (Crèche)”, mid-18th century. Polychromed terracotta, painted wood, and fabric, on a later support. Dimensions variable. Gift of Loretta Howard Sturgis, M2006.9.1-.20. Photo by John R. Glembin.
Around December each year the Museum places its beloved Neapolitan crèche in the galleries. I invite you to read on to learn more about it, and about the history of restaging the Nativity scene.
Probably after Meynnart Wewyck, Henry VII of England, 1504/09. Bequest of Catherine Jean Quirk, M1989.63. Photo by P. Richard Eells.
Probably after Meynnart Wewyck, Henry VII of England, 1504/09 (detail). Bequest of Catherine Jean Quirk, M1989.63. Photo by P. Richard Eells.
English history can appear to be a long list of kings and queens with the same names. The queen that most of us are familiar with today is Queen Elizabeth II. The first and only other Queen Elizabeth ruled from 1558 to 1603.
French, Leaf from a Liturgical Psalter, early 14th century. Tempera, ink, and gold leaf on parchment. 6 3/8 × 4 7/16 in. (16.19 × 11.27 cm). Milwaukee Art Museum, Gift of Paula Uihlein M1932.108. Photo credit: John R. Glembin
French, Leaf from a Liturgical Psalter, early 14th century (detail). Tempera, ink, and gold leaf on parchment. 6 3/8 × 4 7/16 in. (16.19 × 11.27 cm). Milwaukee Art Museum, Gift of Paula Uihlein M1932.108. Photo credit: John R. Glembin
Before the invention of the printing press in the fifteenth century, books were handwritten. Imagine…every time a copy of a text needed to be made, someone had to do it painstakingly by hand. In our world of quick reproductions and the ease of hitting “print”, this can be hard to believe!
The exhibition The Art of Devotion: Illuminated Manuscripts from Local Collections, on view at the Milwaukee Art Museum through June 16, 2019, aims to provide an introduction to these handwritten texts—called manuscripts—that were made in the middle ages and early Renaissance. A good number of those manuscripts are also illuminated, or decorated with gold, silver, and bright colors that make them literally look like they shine from within.
Meissen Porcelain Manufactory, Modeled by Ernst August Leuteritz, Probably painted by Carl August Müller, Possibly after Eduard Julius Friedrich Bendemann, Two-Handled Crater Vase, ca. 1865 (detail). Hard paste porcelain, hand-painted overglaze decoration, and gilding. Gift of the René von Schleinitz Foundation M1962.248. Photo by John R. Glembin
Meissen Porcelain Manufactory, Modeled by Ernst August Leuteritz, Probably painted by Carl August Müller, Possibly after Eduard Julius Friedrich Bendemann, Two-Handled Crater Vase, ca. 1865. Hard paste porcelain, hand-painted overglaze decoration, and gilding. Gift of the René von Schleinitz Foundation M1962.248. Photo by John R. Glembin
It’s always exciting when new research comes to light! Just last month, while preparing for a lecture on Meissen in the Milwaukee Art museum collection, I discovered new information related to an object from an earlier post, the Meissen urn.
When last researching the urn in 2015, I was pretty sure that it was made by Meissen Porcelain Manufactory, the important German company, because it was marked on the bottom with crossed swords in blue. It has the snake handles popular on these types of vessels, particularly in the nineteenth century. The scene on the vase is the Greek myth of the Calydonian boar hunt.
Ferdinand Georg Waldmüller (Austrian, 1793–1865), St. Nicholas Day (detail), 1851. Oil on wood panel. Milwauke Art Museum, Gift of the René von Schleinitz Foundation M1962.124. Photo by John R. Glembin.
Ferdinand Georg Waldmüller (Austrian, 1793–1865), St. Nicholas Day, 1851. Oil on wood panel. Milwauke Art Museum, Gift of the René von Schleinitz Foundation M1962.124. Photo by John R. Glembin.
Today, in celebration of the holiday season, we’re going to discuss one of my favorite paintings in the collection.
In St. Nicholas Day, painter Ferdinand Georg Waldmüller (1793–1865) shows an Austrian family celebrating the feast of St. Nicholas on December 6. On St. Nicholas Eve, Austrian children would put their shoes on the windowsill. If they had behaved well all year, the children would discover the next morning that St. Nicholas had filled their shoes with fruit, sweets, and small toys.
Cornelius Janssen van Ceulen (English, 1593–1661), The Countess of Exeter, ca. 1620. Oil on panel. Milwaukee Art Museum, Bequest of Catherine Jean Quirk M1989.68. Photo by John R. Glembin.
Cornelius Janssen van Ceulen (English, 1593–1661), The Countess of Exeter (detail), ca. 1620. Oil on panel. Milwaukee Art Museum, Bequest of Catherine Jean Quirk M1989.68. Photo credit: John R. Glembin.
It’s always so exciting to get a painting out of storage! I’m happy to report that a lovely seventeenth century portrait is newly on view in the Renaissance galleries (Main Level S103). It has been carefully cleaned and looks marvelous.
Richard Earlom (English, 1743–1822), after Philip Reinagle (English, 1749–1833), The Superb Lily, published June 1, 1799 (detail). Color aquatint, etching, stipple, and mezzotint with hand coloring, varnished. Milwaukee Art Museum, Gift of Mr. and Mrs. William F. Pabst Jr. and Mr. and Mrs. Harry Starr III in memory of Mrs. Carl Eberbach M1973.100. Photog credit: John R. Glembin.
Richard Earlom (English, 1743–1822), after Philip Reinagle (English, 1749–1833), The Superb Lily, published June 1, 1799. Color aquatint, etching, stipple, and mezzotint with hand coloring, varnished. Milwaukee Art Museum, Gift of Mr. and Mrs. William F. Pabst Jr. and Mr. and Mrs. Harry Starr III in memory of Mrs. Carl Eberbach M1973.100. Photog credit: John R. Glembin.
The current exhibition in the European works on paper rotation space (on view until December 3) is The Temple of Flora. The show features fifteen large-scale color prints from the illustrated book The Temple of Flora. They reflect the true passion of English doctor John Robert Thornton: botany. In honor of the Swedish botanist Carl Linnaeus (1707–1778), Thornton hired eminent artists to produce the engravings, envisioning a series of seventy plates. The extreme cost of hiring top artists to create such labor-intensive prints, however, resulted in the creation of only thirty-three plates, which he released individually between 1799 and 1812. Learn more about what makes these prints so unique with today’s post.
