(1844 Köln - 1900 Würzburg) Bildnis eines alten Mannes im verlorenen Profil Die ungeschönte Darstellung des charaktervollen Kopfes entspricht der Intention Leibls, der als einer der bedeutendsten deutschen Repräsentanten des Realismus gilt. Leibl studierte seit 1864 an der Akademie in München und kam durch sein frühes Hauptwerk "Bildnis der Frau Gedon" (1869) in freundschaftlichen Kontakt zu Gustave Courbet. 1870 versammelte er in München den sog. Leibl-Kreis gleichgesinnter Maler wie Wilhelm Trübner und Carl Schuch um sich. 1892 verlieh ihm Prinzregent Luitpold den Professorentitel, 1895 erhielt er auf der Großen Berliner Kunstausstellung eine Große Goldmedaille. Öl/Lwd., auf Holztafel kaschiert. Verso altes Etikett mit handschriftlicher Inv.-Nr. u. Bez. "Wilh. Leibl (/) Alter Mann (/) Besitzer (/) Ernst Ziegler München". Starkes Craquelee. 41 cm x 33,8 cm. Rahmen. Provenienz: Sammlung Ernst Ziegler, München Oil on canvas, laid down on panel. Old label with handwritten inscripition of the collection Ernst Ziegler, Munich. Strong craquelure.
Wilhelm Leibl 1844 Cologne - 1900 Würzburg - "Un Fumeur" - etching/paper. 23 x 19 cm, 23.5 x 19.5 cm (passe-partout cutout). 48 x 40 cm (dimensions with frame). Typographically inscribed on the plate below. Passe-partout. Framed under glass. Slightly browned and foxed. - Lit.: Th.-B. XXII, p. 587ff.
Die Mutter des Künstlers bei der Handarbeit. Bleistift auf Velin. 20 x 14,5 cm. Um 1866. - Provenienz: Sammlung Karl Haberstock, München. Sammlung Walter Bauer, Fulda. - Literatur: Deutsche Skizzenmappe. XVI. Druck der Marées-Gesellschaft 1919, Abb. Tafel 65. Ausst. Kat. Wilhelm Leibl, Berlin 1929, S. 29, Kat. Nr. 146. Emil Waldmann: Wilhelm Leibl als Zeichner, München 1942, S. 6f und S. 43 mit Abb. 12. Ausst. Kat. Deutsche Zeichenkunst aus zwei Jahrhunderten, 1760-1960. Aquarelle, Zeichnungen und Druckgraphik aus der Sammlung W. B., Staatliche Kunsthalle Karlsruhe, 1967, Nr. 68. - 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.
Wilhelm Leibl (German, 1844 - 1900) engraving depicting profile portraits of a peasant man and woman facing one another. After the artists 1874 work, rendered with detailed cross-hatching. Inscribed 'W. Leibl 1874' in the image and presented in a decorative frame with fabric mat. Work Size: 4.5 x 6.75 in. Dimensions: 10.25 X 12.25 X 0.75 in. Condition: Good overall condition having normal surface wear. Damage present to the glass with some losses to the frame. Note: This condition statement is provided as a courtesy and reflects an opinion, and not a statement of fact. Bidders are encouraged to inspect items in person or through an agent to access condition. Estate fresh to the market. Shipping Information: MMB does not offer in-house packing or shipping services. As a courtesy, we are pleased to refer trusted third-party shipping providers for buyer convenience. Buyers are encouraged to contact shippers directly to obtain packing quotes, shipping rates, insurance options, and estimated transit times. Additional local, domestic, and international shipper referrals may be available upon request. Parcel Shipping Providers: First Class Shipping Center, 11700 NW 41st Street, Coral Springs, FL. Phone (754) 800-7674. Email 1shippingcenter@gmail.com. Mr. Ship Pro, 7838 NW 44th St, Sunrise, FL 33351. Phone (305) 783-9504. Email roberto@mrshippro.com. The UPS Store #2881, 11110 W. Oakland Park Blvd., Sunrise, FL 33351. Phone (954) 572-4004. Email store2881@theupsstore.com. Freight & Large Item Shipping / Local Florida Delivery: Available through independent providers. Please contact info@hillauctiongallery.com for referrals based on item size, location, and delivery requirements.
Wilhelm LEIBL (German, 1844-1900): "Heads of a Peasant Couple". Etching and aquatint on laid paper, 1874. The double signature and dating in the plate, by each head. The plate was into two. Impressions of the separte subjects are common. The uncut plate printed as such is scarce. Signed and dated twice in the plate. Plate size: 4 x 6 3/8 inches.
Alter Mann mit Stock (Brustbild einer alten Bäuerin, auf einen Stock gestützt). Radierung auf Similijapan. 14,5 x 11,9 cm. Um 1875/77. Unten rechts in brauner Feder signiert "W. Leibl". Gronau 10, Billeter 12 I (von II). "Alter Bauer mit Hut und Stock" schreibt Leibl in einem Brief vom 7. Februar 1896 über die Radierung, die er selbst hochschätzte und laut Koehler als "chef d'œuvre" versteht, und beantwortet nebenbei auch ausdrücklich die Frage, ob Bauer oder Bäuerin. Ganz ausgezeichneter Druck vor dem "KG" oben links, mit dem für den ersten Zustand angegebenen zarten Wischton. Links verso leichte Spuren alter Montierung, kurze Knickspur in der unteren linken Ecke, schwach gegilbt, sonst sehr schöne erhaltenes Exemplar. - 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.
Leibls Mutter. Radierung auf Similijapan. 20,8 x 15,6 cm. (18)74. Unten rechts in brauner Feder signiert "W. Leibl". Gronau 5, Billeter 5 II (von III). Ausgezeichneter Druck mit breitem Rand um die Plattenkante. Unbedeutende Fingerspuren im unteren weißen Rand, etwas lichtranding im Bereich der Druckplatte, die beiden Sammlerstempel unten etwas durchschlagend, sonst in ganz vorzüglicher Erhaltung. Aus der Sammlung Dr. Walther Krieg (Lugt 799b). - 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.
Leibl, Wilhelm; Umkreis/Schule 1844-1900, Dreiviertelportrait eines Mannes mit Bart, verso späteres Etikett handschriftl. beschriftet mit: Marquis de Pläät alias Jean Denz Pförtner am Friedrich-Wilhelm Gymnasium 1875 - von Leibl, Öl/Lw., restaur., H. 45, B. 36, Ra.
Leibl, Wilhelm (1844-1900). Team of oxen. Etching, circa 1890. Signed by the printer lower left: 'O Graf impr'. 10.5 x 16.8 cm.- Gronau 16.- Mounted on backing paper, handwritten title and inscription: 'Probedruck a. Japan f. d. unsign. AuflageA.O.Graf'.- Slightly foxed.- Original description in German: Leibl, Wilhelm (1844-1900). Ochsengespann. Radierung, um 1890. Unten links vom Drucker signiert: 'O Graf impr'. 10,5 x 16,8 cm.- Gronau 16.- Auf Trägerpapier montiert, dort handschriftlich betitelt und bezeichnet: 'Probedruck a. Japan f. d. unsign. AuflageA.O.Graf'.- Leicht stockfleckig.
Exel, Johann Karl 1866 Darmstadt - ?. Kopie nach Wilhelm Leibl (1844-1900) "Das ungleiche Paar". Öl auf Leinwand. Größe ca. 76 x 61 cm, Rahmen ca. 100 x 85 cm. Leinwand teils leicht beschädigt. Exel, Johann Karl 1866 Darmstadt - ?. Copy after Wilhelm Leibl (1844-1900) ‘Das ungleiche Paar’ (The Unequal Couple). Oil on canvas. Size approx. 76 x 61 cm, frame approx. 100 x 85 cm. Canvas slightly damaged in places.
Leibl, Wilhelm; Umkreis/Schule 1844-1900, Dreiviertelportrait eines Mannes mit Bart, verso späteres Etikett handschriftl. beschriftet mit: Marquis de Pläät alias Jean Denz Pförtner am Friedrich-Wilhelm Gymnasium 1875 - von Leibl, Öl/Lw., restaur., H. 45, B. 36, Ra.
WILHELM LEIBL (ATTRIBUTED) 1844 Cologne - 1900 Wurzburg PORTRAIT OF AN OLD WOMAN Oil on canvas, relined. 92 x 74 cm (f. 121 x 100 cm). Signed lower right: ''W. Leibl''. Framed. Provenance: Private collection.WILHELM LEIBL (ZUGESCHRIEBEN) 1844 Köln - 1900 Würzburg PORTRÄT EINER ALTEN FRAU Öl auf Leinwand, doubliert. 92 x 74 cm (R. 121 x 100 cm). Unten rechts signiert 'W. Leibl'. Rahmen. Provenienz: Privatsammlung.
LEIBL, Wilhelm (*23.10.1844 Köln †04.12.1900 Würzburg), Öl/ Lw, Brustbildnis einer jungen Frau mit Brosche, rechts oben signiert, Krakelee, Malschicht beschädigt, ca. 60 x 40 cm, GoldstuckR (dieser besch.)
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900); Not signed masterpiece. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878; Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm; Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm; Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris, Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » “In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject.” Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: Purchased in art gallery in Clearwater, Florida, USA, in 2006 Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a repaired damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Artist style and similarity with known portrait paintings of Wilhelm Maria Hubertus Leibl: The style of this painting is characteristic and similar to other portraits by Wilhelm Maria Leibl: 1. of the “Hunter” (Der Jaeger), 2. “Des Kuenstlers Vater - Domkapellmeister Karl Leibl”. 3. Lady portrait. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. Therefore, I thought that a stamp on the back was placed: PAUL FOINET. -Another example: look here, an American painter, Theodore Robinson, and on the back also the stenciled stamp. I have marked it for you, these PAUL FOINET VAN EYCK: Canvas stencil verso: 54 rue N.D. Champs Paris /PAUL FOINET/VAN EYCK / TOILES & COULEURS FINES under lining, in oval format with outline. Autobiography of LEIBL: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne and in 1861 began his first training with Hermann Becker, a local painter. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frenes. Wilhelm Leibl was a true leader of the young painters gathered around him in Munich. At about the same time, in 1869, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. Later in 1869, Leibl went to Paris for a nine month stay during which he met Courbet and Edouard Manet. Only the looming Franco-Prussian War forced him to return home, where he brought word of what he had seen of modern French painting to artists such as Wilhelm Trubner. These contacts proved decisive in providing direction for a generation of young artists gathered around Leibl. They turned to simple scenes of peasant life and portraits set in the domestic realm, unspectacular local landscapes and humble still lifes. They concentrated their efforts on ways of slowly, methodically rendering form and color on canvas. The enamel like surfaces, demanded by the academy, were replaced by heavily worked canvas, in which the painterly gesture was evident. The new sympathy for peasant life was matched by a growing distrust of sophisticated city life machinations it bred. Upon his return to Germany, Leibl lived in Munich until 1873, when he moved to the isolated Bavarian countryside, where he painted the grand and simple rituals of peasant life. There, like Cezanne in Provence, he could carry on his painterly quest in solitude and with reverence. Living among peasants, Leibl depicted his neighbors in everyday scenes devoid of sentimentality or anecdote. The sketch like quality of his painting was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted with no preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trubner, Otto Schoderer, and Hans Thoma. He executed a small number of etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. Leibl continued painting until his death in Wurzburg in 1900. References 1) Forster-Hahn, Françoise, et al. (2001). Spirit of an Age: Nineteenth-Century Paintings From the Nationalgalerie, Berlin. London: National Gallery Company. 2) Wikipedia Auction Results: Artist Wilhelm Maria Hubertus Leibl (1844 – 1900); Title Farm Girl; Medium Oil on panel. Size 42.5 x 34 cm = 16.7 x 13.4 inches; Signed Yes. Stamped No. Inscribed No. Auction time 30 May 2008 Auction house Sotheby’s UK, London, Bond Street; Estimated price 60,000- 80,000 GBP; Auction result 126,500 GBP =140,200 EUR=$207,275 US; Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Studienkopf Eines Braubartigen; Medium Oil on wood; Size 21 x 15.8 cm = 8.3 x 6.2 inches. Signed No. Stamped No. Inscribed No. Auction time 25 November 2005. Auction house Villa Grisebach Auktionen Germany, Berlin. Estimated price 30,000 – 40,000 EUR. Auction result 63,610 GBP =70,500 EUR=$104,228 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900). Title Bildnis des malers Rudolf Hirth du Frenes. Medium Oil on canvas. Size 60.5 x 50.5 cm = 23.8 x 19.9 inches. Signed Yes. Stamped No. Inscribed No. Auction time 17 may 2008. Auction house Lemperz - Germany: Cologne. Estimated price 7,000 EUR. Auction result 37,895 GBP =42,000 EUR=$62,093 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Portrait of senator Dreesen; Medium Oil on canvas; Size 16.1 x 13.2 inches = 41 x 33.5 cm; Signed No; Stamped No; Inscribed No; Auction time 21 Nov 2008; Auction house Van Ham Fine Arts Auction; Estimated price 5,500 EUR; Auction result 28,000 EUR = 25,263 GBP= $41,395 US;
AUTREFOIS ATTRIBUÉ À WILHELM LEIBL (1844-1900) Vieil homme assis dans un intérieur Huile sur toile marouflée sur toile Non signée (Restaurations anciennes) Oil on canvas laid on canvas, unsigned 48,5 x 30,5 cm - 19 1/8 x 12 in. Provenance Collection particulière, Belgique
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
Brustbildnis einer Bäuerin mit kariertem Hemd. Radierung auf Similijapan. 15,1 x 11,6 cm. Signiert. Um 1875/77. Gronau 13, Billeter B 14 II (von III). Vermutlich das Bildnis von Therese Bauer, der Geliebten des Künstlers. Vor der Hinzufügung "KG" oben links. Ausgezeichneter Druck mit breitem Rand. Schwach vergilbt, leichter Lichtrand, unten rechts kleine Knitterspuren, verso kleine Montierungsreste, sonst sehr gut. - 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.
Wilhelm Leibl, "Der Trinker" freundlich dem Betrachter zuprostender Mann mit Bierglas, Radierung mit Plattenton, in der Platte rechts unten signiert "W. Leibl" und datiert "1874", gegilbt, allseitig hinter Passepartout montiert, Darstellungsmaße ca. 20,3 x 14 cm. Künstlerinfo: eigentlich Wilhelm Maria Hubertus Leibl, bedeutender dt. Maler, Zeichner und Graphiker (1844 Köln bis 1900 Würzburg), zunächst Lehre als Schlosser, ab 1861 Schüler bei Hermann Becker in Köln, studierte ab 1863 an der Akademie München bei Hermann Anschütz, Alexander Strähuber, Arthur Georg von Ramberg und ab 1868 bei Carl Theodor von Piloty, unterhielt ab 1869 Freundschaft zu Gustave Courbet, 1869 gemeinsames Atelier mit Theodor Alt, Rudolf Hirth du Frênes und Johann Sperl in München, 1869–70 Studienreise nach Paris, 1870 Gründung des “Leibl-Kreises”, der bis 1875 Bestand hatte und dem unter anderem Wilhelm Trübner, Carl Schuch, Theodor Alt, Karl Haider und zeitweise auch Hans Thoma angehörten, 1873 Rückzug aus dem Münchner Kunstleben, lebte seitdem zusammen mit dem Maler Johann Sperl in Berbling und Bad Aibling in Oberbayern, 1892 Ernennung zum Professor, Anfang 1900 wegen Herzleidens zur Kur in Bad Nauheim und Weiterreise zur Schwester Katharina Kirchdorffer nach Würzburg, Quelle: Thieme-Becker, Matrikel der Münchner Akademie und Wikipedia. Wilhelm Leibl, "Der Trinker" A friendly man toasting the viewer with a glass of beer, etching with plate tone, signed "W. Leibl" and dated "1874" in the plate lower right, yellowed, mounted behind passepartout on all sides, dimensions approx. 20.3 x 14 cm. Artist information: actually Wilhelm Maria Hubertus Leibl, important German painter, draughtsman and graphic artist. Painter, draughtsman and graphic artist (1844 Cologne - 1900 Würzburg), initially apprenticed as a locksmith, from 1861 pupil of Hermann Becker in Cologne, from 1863 studied at the Munich Academy under Hermann Anschütz, Alexander Strähuber, Arthur Georg von Ramberg and from 1868 under Carl Theodor von Piloty, from 1869 maintained friendship with Gustave Courbet, 1869 shared studio with Theodor Alt, Rudolf Hirth du Frênes and Johann Sperl in Munich, 1869-70 study trip to Paris, 1870 founded the "Leibl Circle", which lasted until 1875 and included Wilhelm Trübner, Carl Schuch, Theodor Alt, Karl Haider and, for a time, Hans Thoma, 1873 withdrew from Munich's art scene, since then lived with the painter Johann Sperl in Berbling and Bad Aibling in Upper Bavaria, 1892 appointed professor, early 1900 took a cure in Bad Nauheim due to a heart condition and travelled on to his sister Katharina Kirchdorffer in Würzburg, source: Thieme-Becker, register of the Munich Academy and Wikipedia.
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900); Not signed masterpiece. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878; Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm; Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm; Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris, Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » “In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject.” Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: Purchased in art gallery in Clearwater, Florida, USA, in 2006 Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a repaired damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Artist style and similarity with known portrait paintings of Wilhelm Maria Hubertus Leibl: The style of this painting is characteristic and similar to other portraits by Wilhelm Maria Leibl: 1. of the “Hunter” (Der Jaeger), 2. “Des Kuenstlers Vater - Domkapellmeister Karl Leibl”. 3. Lady portrait. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. Therefore, I thought that a stamp on the back was placed: PAUL FOINET. -Another example: look here, an American painter, Theodore Robinson, and on the back also the stenciled stamp. I have marked it for you, these PAUL FOINET VAN EYCK: Canvas stencil verso: 54 rue N.D. Champs Paris /PAUL FOINET/VAN EYCK / TOILES & COULEURS FINES under lining, in oval format with outline. Autobiography of LEIBL: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne and in 1861 began his first training with Hermann Becker, a local painter. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frenes. Wilhelm Leibl was a true leader of the young painters gathered around him in Munich. At about the same time, in 1869, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. Later in 1869, Leibl went to Paris for a nine month stay during which he met Courbet and Edouard Manet. Only the looming Franco-Prussian War forced him to return home, where he brought word of what he had seen of modern French painting to artists such as Wilhelm Trubner. These contacts proved decisive in providing direction for a generation of young artists gathered around Leibl. They turned to simple scenes of peasant life and portraits set in the domestic realm, unspectacular local landscapes and humble still lifes. They concentrated their efforts on ways of slowly, methodically rendering form and color on canvas. The enamel like surfaces, demanded by the academy, were replaced by heavily worked canvas, in which the painterly gesture was evident. The new sympathy for peasant life was matched by a growing distrust of sophisticated city life machinations it bred. Upon his return to Germany, Leibl lived in Munich until 1873, when he moved to the isolated Bavarian countryside, where he painted the grand and simple rituals of peasant life. There, like Cezanne in Provence, he could carry on his painterly quest in solitude and with reverence. Living among peasants, Leibl depicted his neighbors in everyday scenes devoid of sentimentality or anecdote. The sketch like quality of his painting was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted with no preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trubner, Otto Schoderer, and Hans Thoma. He executed a small number of etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. Leibl continued painting until his death in Wurzburg in 1900. References 1) Forster-Hahn, Françoise, et al. (2001). Spirit of an Age: Nineteenth-Century Paintings From the Nationalgalerie, Berlin. London: National Gallery Company. 2) Wikipedia Auction Results: Artist Wilhelm Maria Hubertus Leibl (1844 – 1900); Title Farm Girl; Medium Oil on panel. Size 42.5 x 34 cm = 16.7 x 13.4 inches; Signed Yes. Stamped No. Inscribed No. Auction time 30 May 2008 Auction house Sotheby’s UK, London, Bond Street; Estimated price 60,000- 80,000 GBP; Auction result 126,500 GBP =140,200 EUR=$207,275 US; Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Studienkopf Eines Braubartigen; Medium Oil on wood; Size 21 x 15.8 cm = 8.3 x 6.2 inches. Signed No. Stamped No. Inscribed No. Auction time 25 November 2005. Auction house Villa Grisebach Auktionen Germany, Berlin. Estimated price 30,000 – 40,000 EUR. Auction result 63,610 GBP =70,500 EUR=$104,228 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900). Title Bildnis des malers Rudolf Hirth du Frenes. Medium Oil on canvas. Size 60.5 x 50.5 cm = 23.8 x 19.9 inches. Signed Yes. Stamped No. Inscribed No. Auction time 17 may 2008. Auction house Lemperz - Germany: Cologne. Estimated price 7,000 EUR. Auction result 37,895 GBP =42,000 EUR=$62,093 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Portrait of senator Dreesen; Medium Oil on canvas; Size 16.1 x 13.2 inches = 41 x 33.5 cm; Signed No; Stamped No; Inscribed No; Auction time 21 Nov 2008; Auction house Van Ham Fine Arts Auction; Estimated price 5,500 EUR; Auction result 28,000 EUR = 25,263 GBP= $41,395 US;
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
WILHELM LEIBL (CIRCLE) 1844 Cologne - 1900 Wurzburg HALF-PORTRAIT OF A SEATED GIRL READING Oil on canvas. 102 x 84 cm (F. 114 x 96 cm). Retoches. Frame WILHELM LEIBL (UMKREIS) 1844 Köln - 1900 Würzburg HALBPORTRAIT EINES SITZENDEN LESENDEN MÄDCHENS Öl auf Leinwand. 102 x 84 cm (R. 114 x 96 cm). Retuschen. Rahmen.
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900); Not signed masterpiece. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878; Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm; Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm; Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris, Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » “In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject.” Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: Purchased in art gallery in Clearwater, Florida, USA, in 2006 Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a repaired damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Artist style and similarity with known portrait paintings of Wilhelm Maria Hubertus Leibl: The style of this painting is characteristic and similar to other portraits by Wilhelm Maria Leibl: 1. of the “Hunter” (Der Jaeger), 2. “Des Kuenstlers Vater - Domkapellmeister Karl Leibl”. 3. Lady portrait. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. Therefore, I thought that a stamp on the back was placed: PAUL FOINET. -Another example: look here, an American painter, Theodore Robinson, and on the back also the stenciled stamp. I have marked it for you, these PAUL FOINET VAN EYCK: Canvas stencil verso: 54 rue N.D. Champs Paris /PAUL FOINET/VAN EYCK / TOILES & COULEURS FINES under lining, in oval format with outline. Autobiography of LEIBL: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne and in 1861 began his first training with Hermann Becker, a local painter. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frenes. Wilhelm Leibl was a true leader of the young painters gathered around him in Munich. At about the same time, in 1869, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. Later in 1869, Leibl went to Paris for a nine month stay during which he met Courbet and Edouard Manet. Only the looming Franco-Prussian War forced him to return home, where he brought word of what he had seen of modern French painting to artists such as Wilhelm Trubner. These contacts proved decisive in providing direction for a generation of young artists gathered around Leibl. They turned to simple scenes of peasant life and portraits set in the domestic realm, unspectacular local landscapes and humble still lifes. They concentrated their efforts on ways of slowly, methodically rendering form and color on canvas. The enamel like surfaces, demanded by the academy, were replaced by heavily worked canvas, in which the painterly gesture was evident. The new sympathy for peasant life was matched by a growing distrust of sophisticated city life machinations it bred. Upon his return to Germany, Leibl lived in Munich until 1873, when he moved to the isolated Bavarian countryside, where he painted the grand and simple rituals of peasant life. There, like Cezanne in Provence, he could carry on his painterly quest in solitude and with reverence. Living among peasants, Leibl depicted his neighbors in everyday scenes devoid of sentimentality or anecdote. The sketch like quality of his painting was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted with no preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trubner, Otto Schoderer, and Hans Thoma. He executed a small number of etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. Leibl continued painting until his death in Wurzburg in 1900. References 1) Forster-Hahn, Françoise, et al. (2001). Spirit of an Age: Nineteenth-Century Paintings From the Nationalgalerie, Berlin. London: National Gallery Company. 2) Wikipedia Auction Results: Artist Wilhelm Maria Hubertus Leibl (1844 – 1900); Title Farm Girl; Medium Oil on panel. Size 42.5 x 34 cm = 16.7 x 13.4 inches; Signed Yes. Stamped No. Inscribed No. Auction time 30 May 2008 Auction house Sotheby’s UK, London, Bond Street; Estimated price 60,000- 80,000 GBP; Auction result 126,500 GBP =140,200 EUR=$207,275 US; Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Studienkopf Eines Braubartigen; Medium Oil on wood; Size 21 x 15.8 cm = 8.3 x 6.2 inches. Signed No. Stamped No. Inscribed No. Auction time 25 November 2005. Auction house Villa Grisebach Auktionen Germany, Berlin. Estimated price 30,000 – 40,000 EUR. Auction result 63,610 GBP =70,500 EUR=$104,228 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900). Title Bildnis des malers Rudolf Hirth du Frenes. Medium Oil on canvas. Size 60.5 x 50.5 cm = 23.8 x 19.9 inches. Signed Yes. Stamped No. Inscribed No. Auction time 17 may 2008. Auction house Lemperz - Germany: Cologne. Estimated price 7,000 EUR. Auction result 37,895 GBP =42,000 EUR=$62,093 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Portrait of senator Dreesen; Medium Oil on canvas; Size 16.1 x 13.2 inches = 41 x 33.5 cm; Signed No; Stamped No; Inscribed No; Auction time 21 Nov 2008; Auction house Van Ham Fine Arts Auction; Estimated price 5,500 EUR; Auction result 28,000 EUR = 25,263 GBP= $41,395 US;
Wilhelm Maria Leibl 1844 Köln – 1900 Würzburg Radierung auf Bütten. In der Platte signiert "W Leibl" und datiert. Im Passepartout hinter Glas in einer schmalen schwarzen Holzleiste gerahmt. WVZ Gronau 4; WVZ Billeter B 4 wohl II. (von VI.). Wilhelm Maria Leibl 1844 Köln – 1900 Würzburg 1864–69 Studium an der Münchner Akademie bei Alexander Strähuber, Hermann Anschütz, Arthur Ramberg und Carl von Piloty. Beeinflusst durch Gustave Courbet reiste er 1869 nach Paris. Seit seiner Rückkehr lebte er in Oberbayern und erhielt 1892 eine Professur.
(1844 Köln - Würzburg 1900). Bildnis eines Knaben. Radierung auf chamoisfarb. Bütten mit WZ "Gr. Wappen VGL" bei Heinrich Wetteroth, München 1874. Plgr. 8,2 x 6,5, Blgr. 42,5 x 32,8 cm. Mit dem Namenszug unt. re., der Verl.-Adr. u. Datum ob. li. u. Nr. "II." ob. re. - Billeter 9. - Verinz. schmutzfl., W. Ränder tls. gestaucht.
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900); Not signed masterpiece. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878; Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm; Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm; Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris, Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » “In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject.” Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: Purchased in art gallery in Clearwater, Florida, USA, in 2006 Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a repaired damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Artist style and similarity with known portrait paintings of Wilhelm Maria Hubertus Leibl: The style of this painting is characteristic and similar to other portraits by Wilhelm Maria Leibl: 1. of the “Hunter” (Der Jaeger), 2. “Des Kuenstlers Vater - Domkapellmeister Karl Leibl”. 3. Lady portrait. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. Therefore, I thought that a stamp on the back was placed: PAUL FOINET. -Another example: look here, an American painter, Theodore Robinson, and on the back also the stenciled stamp. I have marked it for you, these PAUL FOINET VAN EYCK: Canvas stencil verso: 54 rue N.D. Champs Paris /PAUL FOINET/VAN EYCK / TOILES & COULEURS FINES under lining, in oval format with outline. Autobiography of LEIBL: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne and in 1861 began his first training with Hermann Becker, a local painter. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frenes. Wilhelm Leibl was a true leader of the young painters gathered around him in Munich. At about the same time, in 1869, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. Later in 1869, Leibl went to Paris for a nine month stay during which he met Courbet and Edouard Manet. Only the looming Franco-Prussian War forced him to return home, where he brought word of what he had seen of modern French painting to artists such as Wilhelm Trubner. These contacts proved decisive in providing direction for a generation of young artists gathered around Leibl. They turned to simple scenes of peasant life and portraits set in the domestic realm, unspectacular local landscapes and humble still lifes. They concentrated their efforts on ways of slowly, methodically rendering form and color on canvas. The enamel like surfaces, demanded by the academy, were replaced by heavily worked canvas, in which the painterly gesture was evident. The new sympathy for peasant life was matched by a growing distrust of sophisticated city life machinations it bred. Upon his return to Germany, Leibl lived in Munich until 1873, when he moved to the isolated Bavarian countryside, where he painted the grand and simple rituals of peasant life. There, like Cezanne in Provence, he could carry on his painterly quest in solitude and with reverence. Living among peasants, Leibl depicted his neighbors in everyday scenes devoid of sentimentality or anecdote. The sketch like quality of his painting was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted with no preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trubner, Otto Schoderer, and Hans Thoma. He executed a small number of etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. Leibl continued painting until his death in Wurzburg in 1900. References 1) Forster-Hahn, Françoise, et al. (2001). Spirit of an Age: Nineteenth-Century Paintings From the Nationalgalerie, Berlin. London: National Gallery Company. 2) Wikipedia Auction Results: Artist Wilhelm Maria Hubertus Leibl (1844 – 1900); Title Farm Girl; Medium Oil on panel. Size 42.5 x 34 cm = 16.7 x 13.4 inches; Signed Yes. Stamped No. Inscribed No. Auction time 30 May 2008 Auction house Sotheby’s UK, London, Bond Street; Estimated price 60,000- 80,000 GBP; Auction result 126,500 GBP =140,200 EUR=$207,275 US; Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Studienkopf Eines Braubartigen; Medium Oil on wood; Size 21 x 15.8 cm = 8.3 x 6.2 inches. Signed No. Stamped No. Inscribed No. Auction time 25 November 2005. Auction house Villa Grisebach Auktionen Germany, Berlin. Estimated price 30,000 – 40,000 EUR. Auction result 63,610 GBP =70,500 EUR=$104,228 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900). Title Bildnis des malers Rudolf Hirth du Frenes. Medium Oil on canvas. Size 60.5 x 50.5 cm = 23.8 x 19.9 inches. Signed Yes. Stamped No. Inscribed No. Auction time 17 may 2008. Auction house Lemperz - Germany: Cologne. Estimated price 7,000 EUR. Auction result 37,895 GBP =42,000 EUR=$62,093 US. Artist Wilhelm Maria Hubertus Leibl (1844 – 1900) Title Portrait of senator Dreesen; Medium Oil on canvas; Size 16.1 x 13.2 inches = 41 x 33.5 cm; Signed No; Stamped No; Inscribed No; Auction time 21 Nov 2008; Auction house Van Ham Fine Arts Auction; Estimated price 5,500 EUR; Auction result 28,000 EUR = 25,263 GBP= $41,395 US;
Wilhelm Leibl, Cologne 1844 - 1900 Würzburg, charcoal drawing, picture study of a woman with a striking demi parure, 1870s, slightly foxed, approx. 54 x 38 cm, framed under glass 62x48 cm, from a private collection . German Description: Wilhelm Leibl, Köln 1844 - 1900 Würzburg, Kohlezeichnung, Bildstudie einer Frau mit markanter demi parure, 1870er-Jahre, leicht stockfleckig, ca. 54 x 38 cm, unter Glas gerahmt 62x48 cm, aus Privatbesitz
Radierung auf Similijapan. (Um 1875/77). 5,9 x 7,9 cm (Blattgröße 24,6 x 32 cm). Signiert unten rechts. Gronaun 14; Billeter B 16 II (von III). Ausgezeichneter, fein nuancierter und atmosphärischer Druck mit breitem Rand. – Die rechte untere Ecke mit einer leichten Knickspur. Verso mit Spuren und Resten von ehemaliger Montierung sowie einer recto nicht sichtbaren Bleistiftnotation, ansonsten sehr gut erhalten. Taxation: differenzbesteuert (VAT: Margin Scheme)
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
Etching on wove paper and on Van Gelder Zonen laid paper (1), resp. on Similijapan (1). (1874 (2), c. 1875/77 (1)). 21.3 x 14.1 cm (sheet size), 20.8 x 15.9 cm (sheet size 36.8 x 28.1 cm) and 15.5 x 10.3 cm (sheet size 32 x 24.7 cm). One sheet signed lower right.
Etching on wove paper (1) resp. on cream-coloured laid paper with watermark "Unicorn" (1) resp. on laid paper with trimmed watermark "ARO?". (1875/77, 1873/74 and 1874/75). 31.7 x 24.6 cm, 44 x 31 cm and 43.8 x 30.6 cm (full sheet). One sheet signed lower right.
Wilhelm Leibl (1844-1900), an etching of an old man and woman, 3.5" x 6" (9 x 15cm) along with two further etchings of the same subject, signed in pencil and both numbered 5/25, unframed, (3).
(1844 Köln - Würzburg 1900). Bildnis eines Knaben. Radierung auf chamoisfarb. Papier bei Heinrich Wetteroth, München 1874. Plgr. 8,2 x 6,5, Blgr. 28 x 22 cm. Mit dem Namenszug unt. re., der Verl.-Adr. u Datum ob. li. u. Nr. "II." ob. re. - Billeter 9. - Durchgeh. etw. stockfl.
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
Property from a Private Collection, sold pursuant to a settlement agreement between the consignor and the estate of Max and Martha Liebermann Wilhelm Leibl German 1844 - 1900 The Studio signed and dated W. Leibl / 67 lower left oil on card laid down on panel Unframed: 34.5 by 30cm., 13½ by 11¾in. Framed: 53 by 48cm., 20¾ by 19in.
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
Oil on panel. (c. 1867). 59 x 45.4 cm. Inscribed left: W. Leibl. Presumably in the original frame. This work is accompanied by a written by Dr. Marianne von Manstein, Munich, dated 5.4.2024.
(1844 Köln - Würzburg 1900). Bäuerin mit niedergeschlagenen Augen. Radierung. (18)74. Ca. 9 x 7 cm. Ob. li. mit Namensz. u. Dat. in der Pl. Unt. Passep. u. Glas gerahmt. - Gronau 12. - Leicht gebr. R
(1844 Köln - Würzburg 1900). Bauernbursche mit Krug. Radierung. Um 1896. Ca. 15,5 x 10 cm. Auf Passep. hs. zugeschr. Unt. Passep. u. Glas gerahmt. - Gronau 15. - Leicht gebr. Vereinz. fl. R
(1844 Köln - Würzburg 1900). Wiese mit Kindern. La dolce far niente. Radierung auf Bütten mit WZ "Einhorn" um 1875/77. Plgr. 23,3 x 16,8, Blgr. 44 x 30,5 cm. An den li. Ecken unter Passep. geklebt u. dort leimfl. Gronau 19. Billeter 17 III (von III). Mit den Buchstaben "KG"oben links. R
Portrait of an old woman, attributed to Wilhelm Maria Hubertus Leibl (1844-1900). Not signed. The portrait of the old woman, holding a Bible, is very alive, definitely has a soul and emanates good feelings. Approximate age: 1873-1878. Dimensions of the canvas: 31' x 43' = 77.5 cm x 107.5 cm. Dimensions of the frame: 43" x 57' inches = 109 cm x 142.5 cm. Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. On the back of the painting there is a sign of the company, which framed the painting: "5-F Rue N. D. Des Champs, Paris Paul Foinet, Van Eyck, Toiles & couleurs fines" « Pure Painting » In pictorial representation everything can be beautiful, including things that are not beautiful in life, for example, an ugly girl or an old woman; for in art it is a question of what is depicted, but only of how it is depicted, and beauty must lie in the painting itself, not in the subject. Wilhelm Trubner, Das Kunstverstandnis von heute (Art as it is understood today), 1892 Provenance: The painting was bought in 2006 on estate sale in Clearwater, FL, USA from 90-years old German Immigrant (who moved from Germany after Second World War) by respected antique art dealer Mr. Z in Clearwater. Bought by Eternity Gallery in 2010 from antique dealer Mr. Z . Magnification research: This is an oil painting on canvas with heavy brush strokes. Compare to background, the face has very defined details of the skin structure with significant and impressive look of the eyes. The hands are painted very well, showing details (cracked nails, etc.). Clothing is made in impressionistic nature, showing the bright red, deep green and brown colors. There is an old (not restored varnish), cracks all over the canvas, including background and body and face. Research under ultraviolet light: Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10mm) painted over, with dark paint, in the background. Research of the backside (verso) of the canvas: -How come a German artist made a painting on the French canvas? Speculations: Gustave Courbet (a very well know painter from France) took him to France, after he met him at a Gallery in Munich. The canvas stamped PAUL FOINET could be purchased in Paris. Condition: Original old wooden massive frame has a minor defect 4 x 2 inch (chip) in the left upper corner. Considering the age of the painting, which is approximately 135 years, condition of the painting is almost perfect. There is a slight damage (size 2.5 x 1 inch) above the right hand which has been professionally restored. There are 3 tiny scratches (5-10 mm) painted over, with dark paint, in the background. Low Estimate: 100000; High Estimate: 250000; Original: Yes; Medium: Oil Paint; Circa: 1875; Style: Classicism
LEIBL, Wilhelm (1844 Köln - 1900 Würzburg) Freiherr von Perfall als Jäger Öl auf Leinwand. Signiert. 74,5 x 43,5 cm. Gerahmt : 97 x 67 cm. Rückseitig alter handschriftlicher Klebezettel, Siegel. Neuwertiger Flammleisten-Rahmen . Gutachten von Dr. Eberhard Hanfstaengl, Generaldirektor a.D. der Bayrischen Staats-Gemäldesammlungen München, zur Zeit, Zürich, 1961. Gutachten von Johann Keller, von der Regierung Oberbayern öffentlich bestellter und vereidigter Sachverständiger, München, 1964. Leibl, Maler, Zeichner, Radierer, studierte an der Akademie in München. Meisterschüler von Arthur Georg von Ramberg und Carl Theodor von Piloty. 1869 Ausstellungs-Debüt, 1870 in Paris, 1871 Begründung des Leibl-Kreises, 1891 Titular-Professor. Werke in zahlreichen internationalen Museen * Partnerauktion Bergmann. Literatur : Thieme-Becker (1907-1950), Ludwig (1982), Boetticher (1891-1901), De Gruyter (2014). Aufrufzeit 24. | Feb 2024 | voraussichtlich 13:21 Uhr (CET) LEIBL, Wilhelm (1844 Cologne - 1900 Würzburg) Freiherr von Perfall as a hunter Oil on canvas. Signed. 74.5 x 43.5 cm. Framed : 97 x 67 cm. Old handwritten adhesive label, seal on verso. Flame-strip frame in mint condition . Expert opinion by Dr. Eberhard Hanfstaengl, former Director General of the Bavarian State Art Collections in Munich, currently, Zurich, 1961. Expert opinion by Johann Keller, publicly appointed and sworn expert by the government of Upper Bavaria, Munich, 1964. Leibl, painter, draughtsman, etcher, studied at the Academy in Munich. Master student of Arthur Georg von Ramberg and Carl Theodor von Piloty. 1869 exhibition debut, 1870 in Paris, 1871 foundation of the Leibl circle, 1891 titular professor. Works in numerous international museums * Partner auction Bergmann. Literature : Thieme-Becker (1907-1950), Ludwig (1982), Boetticher (1891-1901), De Gruyter (2014). Aufrufzeit 24. | Feb 2024 | probably 13:21 (CET) *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
