Old woman portrait, oil painting, attributed to Wilhelm Maria Leibl, 1844-1900

Description: 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: Availabe on demand 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. Reasearch 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: of the “Hunter” (Der Jaeger), 2. “Des Kuenstlers Vater - Domkapellmeister Karl Leibl” 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 there stand on the back 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 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

Price: 45000 USD

Location: Clearwater Beach, Florida

End Time: 2024-02-18T16:19:45.000Z

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