The Smith Group
The earliest portraits of J. R. F. that we have were made by
Joachim Smith, a London sculptor, wax modeler, and gem cutter.
His vital dates are unknown. Smith fashioned two different wax
models of J. R. F. for Josiah Wedgwood (1720-1795), the
celebrated pottery manufacturer.
A short digression on Wedgwood's jasper ware manufacture
explains the use of Smith's wax models:
Wedgwood invented and developed the fabrication of miniature
clay medallions. These consist of white relief figures on a dark
background and look like cameos. Some of the figures are por-
traits of illustrious persons. To procure models for the figures
Wedgwood relied on several artists, one of whom was Joachim
Smith.
Wedgwood pressed Smith's waxen relief models into wet clay,
to obtain intaglio molds. After the molds had hardened, he pres-
sed white clay into them. This gave him relief duplicates of the
wax models. Then the white figures, still wet, were affixed to a
darker background, called jasper. Now the medallions were ready
for the kiln.
Joachim Smith made his miniature wax reliefs from paintings
and engravings of prominent persons. Only on rare exceptions did
he produce the wax portraits from nature. Since no sources are
known that might have served as prototypes for his two Forster
portraits, it is possible that they constitute such an exception.
The size of the jasper medals of J. R. F.
varies somewhat. It
averages 4 by 3 inches.
Of the two portrait medallions, the one with the Forstera
sedifolia sprig (a plant which Linnaeus named after J. R. F ) is
undoubtedly the better. It is no wonder that it was used exten-
sively in later representations. Here we see J. R. F. at the
height of his career: Just having returned from the celebrated
South Seas voyage, he appears exuberant. People acquainted with
Forster s personality will in the physiognomy easily recognize
his characteristic traits: intellectual, forceful, and self-
assured. They can even perceive his notorious shortcoming: an
overbearing attitude.
The portrait of the second medallion (2.0) reflects a simi-
lar mood, and is hardly less lifelike than the first. But it is
less attractive as an artistic subject. For this reason it has
remained virtually unknown.
1.0 Portrait Medallion by Joachim Smith (1775 or 1776)
Designed by Joachim Smith (fl. 1756 – 1803), manufactured
by Josiah Wedgwood in 1776.
Head and shoulders in profile to right; Forstera sedifolia in coat pocket.
Smith 1.0 Smith 2.0
The following institutions have medallions:
Mitchell
Library, Sydney, Australia
1. White on blue jasper ware, signature "IS" on base of arm. Beddie 4429.
Reprod. Iredale, G. F. Paintings, 1925: 53.
Hoare, Tactl. Philo.: 103
Hoare, Res. Journ.: 1
2. White on blue jasper ware. Beddie 4433.
Dixson
Library, Sydney, Australia
White on green jasper ware. Unsigned; lacking sprig of Forstera sedifolia. Beddie 4432.
Nottingham
Castle Museum, Nottingham, England
Unsigned; "FORSTER" stenciled below portrait.
Reprod. Reilly, Robin, and Savage: Wedgwood: The Portrait Medallions,
London 1973.
Vital dates of caricaturist
unknown.
Copper engraving showing J. R. F.
riding backwards on a donkey,
followed by son George, wife Justine, and five more children. A balloon
emerging from J. R. F.'s mouth has him
utter "I vil tel de Kinck of
you." This refers to his threats on the voyage to complain directly to
the king. Bottom inscription: "Whates delt - Doctor Faustus
exeudit -
Robinson [engraver]".
J. R. F.'s head and shoulders are
clearly derived from the Smith-
Wedgwood medallion (1.0), complete with
Forstera sedifolia. G. F.
appears in an oblique front view.
Repr. G. F. Werke:
13:128
Hoare, Tact.
Philo.: 176
1.2 Medal of J. R. F. by
Abraham Abramson (1777)
Abramson (1754-1811) was the Royal Prussian Medalist at Berlin.
The former existence of this medal, if indeed it existed, rests
solely on a note in Meusel, Museum 9(1789):473 (repeated in Goedeke
7:239): "Abramson in Berlin struck a medal after his head in 1777." In
1777 only the Smith-Wedgwood medallion could have served Abramson as a
model .
The standard work on Abramson (Hoffmann, Tassilo: Jacob Abraham
und Abraham Abramson - 55 Jahre Berliner Medaillenkunst, Frankfurt 1927)
does not mention J. R. F. This leaves room for serious doubt whether
Abramson ever made such a medal.
1.3 Akademisches Taschenbuch silhouette of J. R.
F. (1791)
Artist unknown.
Head and shoulders facing left, in oval ornamented with ribbon and
name plate "I. R. FORSTER". 3210. Is this Diepenbroick 8204?
The silhouette stems from the Smith - Wedgwood medallion (1.0),
perhaps indirectly.
Pub 1.in Akademisches Taschenbuch auf das Jahr 1791.
1.4 Engraving of J. R. F. by Halle (1795)
Halle of Berlin, vital dates unknown, called himself "Halle
Berlin".
Profile facing right, after Berger (4.1), with Forstera sedifolia
in coat pocket. Similar surround as Berger etching. Name plate: "D.
IOH. REINHOLD FORSTER". Signed: "Gestochen von Halle Berlin 1795".
Diepenbroick 8200, 8201.
Publ. in Krünitz, Joh. Georg: Oekonomisch-technologische
Encyklopädie, 2nd ed., 1804): frontisp.
1.5 Warrington Worthies silhouette of J. R.
F. (1853)
The unknown person who drew the silhouette probably worked from
the Wedgwood medallion.
Head and shoulders.
Appeared in Warrington Worthies, collected and arranged by James
Kendrick, M.D., Warrington, 1853. Pl. 3.
1.6 Wissenschaftliche Beiträge silhouette of J.
R. F. (1981)
Head and shoulders, looking left. Derived from one of the Smith-
Wedgwood group.
Appeared in Georg Forster, Wissenschaftliche Beiträge der Martin-
Luther-Universität Halle-Wittenberg 42(1981): 21. Captioned "Georg [!]
Forster" (label confounded with that of next illustration).
2.0
Another portrait medallion by Joachim Smith (1775 or 1776)
Designed by J. Smith, manufactured by J. Wedgwood.
Head and shoulders in profile facing left. Forster, slightly
smiling, wears only a silk shirt.
The Nottingham Castle Museum has a specimen.
Reprod.
Reilly, Robin, and Savage: Wedgwood:
The Portrait
Medallions, London 1973.
********************
For
further developments of the Smith – Wedgwood portrait of J. R. F. see the
following double portraits:
4.1 Etching
by Berger
4.2 Ephemeriden
Engraving
4.4 Wood
Engraving by G. H. & K.
The Rigaud Group
John Francis Rigaud (1742-1810) composed a magnificent painting, the only one that shows both Forsters together. They are at work: drawing birds in a resplendent scene in what was thought to be Tahiti, but is actually New Zealand.
"Rigaud, a member of the academy, was born in the French
part of Switzerland. He has worked in London for a long time. He
is praised as a diligent portraitist ... This unpretentious artist
paints with a forceful, true stroke which disdains the artifices
of his academic colleagues. Perhaps this is why he fails to at-
tract the attention of those who can only be impressed with heavy
highlights and glaring contrasts."
Thus wrote G. F. about the painter who painted him a decade earlier.
(Geschichte der Kunst in England vom Jahre 1789, G. F. Werke 7, 138f.)
The scene of the painting (3.0), when mentioned at all, was always given
as Tahitian; but plants, birds, and the sailing boat pictured on it belong to
New Zealand. (Forstera sedifolia on hat, Anthornis melanura in hand, Callaeas
cinera, Philesturnus carunculatus, and Prosthemadera novaseelandiae on rock.)
There is no doubt that the setting is intended to be in New Zealand.
The two Forsters sat for the artist in London. J. R. F. wears the same
clothes as on the Smith-Wedgwood medallion (1.0), with the addition of a smart
hat. The Forstera sedifolia sprig which Smith had placed in his coat pocket
is now stuck under the hatband. G. F. is elegantly dressed in a shirt with
ruffled trim. We shall pursue this detail in later renderings.
No copy has ever been made of J. R. F. alone from the Rigaud painting,
aside from the two drawings mentioned below (3.4 and 3.5). But for G. F. see
the Berger subgroup (next section).
3.0
Oil painting on canvas by J. F. Rigaud
(1780)
John Francis Rigaud (1742-1810), born in Italy of French descent, was a historical and portrait painter in London.
The picture shows a front view of J. R. F. standing, a dead bird
in hand; and G. F. sitting, in profile to left, drawing the bird. The
painting measures 126 by 101 cm, and is signed in the left bottom corner
"painted by I. F. Rigaud London 1780". Fiedler 1199.
Owner: Hans-Jörg Rheinberger, Berlin. The canvas passed
from J. R. F. through his daughter Iphigenie Sprengel and her daughter
Iphigenie von Hoffnass to the Rheinberger family. Unfortunately, the
painting had been inaccessible to reproducing artists for a very long
time.
3.0 Rigaud
Color reproductions:
Fiedler, Horst et al.: G. F., Wörlitz, 1975.
(Front cover). Measures 13 by 10.5 cm.
Hoare, Res. Journ. (1, frontisp.). 13 by 10.5 cm.
Gray, William R.: "Voyages to Paradise", Nat.
Geo-
graphic Society, Spec. Issue, Washington, 1981: 106.
18 by 23 cm.
3.1 Oil
painting on wood (before 1799)
Smaller copy of proceeding item (3.0). It measures about 22 by
16 cm. Fiedler 1200.
George's face is more corpulent. Although the unknown painter's
reproducing skill was not outstanding, this is a tolerable copy.
Nonetheless, it is regrettable that this copy, rather than the original
(3.0), became the model for many reproductions.
Owner unknown.
B & W reproduction:
Homann, Hermann ed., Entdeckungsreise nach Tahiti,
Tübingen 1979: frontisp.
3.2 Chalk
and crayon drawing of G. F. alone
After Rigaud (3.0). Black crayon, heightened with white chalk, on
gray paper. Fiedler 1198.
This portrait, as well as the three following it, are not prelimi-
nary sketches for the Rigaud painting, as Fiedler suggests, but are
derived from it.
Owner: Royal Botanical Gardens, Kew, England.
Reprod. in Kersten, Weltumsegler: frontisp.
3.3 Another chalk & crayon
drawing of G. F.
Like 3.2. N.i. Fiedler.
Owner: Regula von Greyerz, Bern.
3.4
Chalk
& crayon drawing of J. R. F. alone
Also derived from Rigaud (3.0). It forms a matching set with 3.3.
Same owner as 3.3.
3.5 Another chalk & crayon drawing of J. R. F.
Like 3.4.
F. von Herder owned it in 1886. From it a hundred
photographic copies were distributed by way of subscription. (Herder,
"Icones plantarum" in Acta Horti Petropolitani, 9:2 (1886) 460).
Whereabouts unknown.
3.6 Copper engraving of both Forsters by
D.Beyel (1799)
Daniel Beyel (born 1760), copper engraver, produced a most
pleasing engraving, not after the original Rigaud painting (3.0), but
after its copy (3.1). Fiedler 1201.
Reproduced in G. F. Werke (4:Pl.1).
Beaglehole, Journals (2:xxxix).
3.7 Wood
engraving of both Forsters by D. R.
(1879)
Large copy after Beyel engraving (3.6), 21 by 16.4 cm, signed in
lower left "X.A. v. D.R.". 410. Singer (1931) 25806.
Published in Daheim, 1879: 773.
3.8 Pen
drawing by Rudolf Grüttner (1956)
After one of the Rigaud group.
Published in Miethke, Helmut, Bewegte Jahre, Berlin 1956: 29.
3.9 Postage
stamp of G. F. (1979)
Artist unnamed.
Postage stamp of the German Democratic Republic, showing portrait
and sailing ship on light blue background. 2.1 by 3.8 cm. Lettering:
DDR - 1754 - 1794 - Georg Forster - 35 [postage] - 1979.
The profile, facing left, is derived, perhaps indirectly, from the Rigaud
painting. George's head is upright, as described in the next section.
The Berger Subgroup
There is a curious etching the source of which has never been
correctly identified:
In 1782 the etching of both
Forsters by Daniel Berger appeared. Being a secondary picture itself, it gave
rise to a number of tertiary depictions. That is why I classify them in a
subgroup. It is to be determined to which group this subgroup belongs.
The likeness of J. R. F. is
clearly derived from the Smith-Wedgwood medallion. But where the portrait of G.
F. originated has remained obscure until now.
In reality, the prototype
of Berger's portrait of G. F. has been in plain view all along. It is the Rigaud painting (3.0). When the
two are compared, it is easy to see the resemblance.
Why was it not obvious
until now? Berger skillfully created
the illusion of a new portrait by making four simple changes:
o He reversed the picture
left to right, as engravers often do.
o He turned the head of G.
F. from a leaning-forward position to an upright
position.
o He made nose, lips, and
chin of the younger, fuller George slightly less
round to give him a more
mature look.
o He added a silken neck
ribbon, which was fashionable then.
Detail from 3.0 Rigaud Detail from 4.1 Berger
The alterations effectively concealed the true origin of the engraving.
But note that Berger did not bother to change the coiffure, ruffled
shirt, or
coat.
If
the story had ended with this poorly executed etching, we would not
have a problem. But the Berger
portrait served as a model for a number of
better
depictions. Twenty-one years afterwards
an unknown engraver created
a
finer rendition of it (4.2). Then, in
1854, the Weger engraving of G. F. alone
appeared. It is masterfully done. Truly attractive, it imparts the illusion of
being a faithful likness. No
doubt Weger improved George's physiognomy.
He
shows us G. F. as we like to imagine him. The pleasant and plausible aspect
of the portrait made it popular with modern publishers.
Rigaud's ruffled shirt and Berger's neck ribbon remain unchanged
throughout this group.
Now
we must turn our attention to the mistaken view that plagued the
scene for hundreds of years.
Since the depictions of the Berger subgroup
lacked a recognizable source, one had to be found. Anton Graff was known
to
have
painted a likeness of G. F.; and it had been considered lost, as we shall
see
below, under The Tischbein and Graff Group of George Forster. Therefore,
it was
quite convenient to link the etching without a source to the painting that had
seemingly
vanished. This was done repeatedly in
Forster literature (by Zincke,
Kersten,
Fiedler, G. F. Werke, etc). But, as if
this erroneous connection needed
further
denunciation, it is chronologically impossible: Graff painted G. F. only in
1784,
whereas its supposed copy, the Berger etching, had already been published
in
1782.
The confusion does not end
here. In the Tischbein-Graff controversy the Graff painting is up to more
mischief. See the section The Tischbein and Graff Group of George Forster.
4.0 Engraving
of G. F. alone by Daniel Berger (1779)
Daniel Berger (1744 - 1824)
was a reproducing copper engraver whose
technique
combined etching with engraving.
No specimen of this
portrait has come down to us. But its existence may be inferred from a passage
in a letter that G. F. wrote to his publisher Spener: "Please send me a
copy of my portrait by Berger." This casual remark of June 5, 1779 may be
taken to mean that Berger had produced an engraving of G. F. alone as early as
1779.
It was probably the model
for the G. F. picture in the 1782 etching
(next entry).
4.1 Etching of
both Forsters by Daniel Berger (1782)
The etching shows heads and
shoulders in a round medallion (8 cm
dia.) with decoration and
massive name plate beneath: "IOHANN REINHOLD
FORSTER - IOHANN GEORG
FORSTER." Profiles to right. Signed at bottom:
"Von D. Berger Geätz.
1782" (Etched by D. Berger 1782).
Fiedler 1202. Goedeke 7: 239. 16'°.
J. R. F.'s portrait is
obviously fashioned after the Smith-Wedgwood
medallion (1.0), faithfully
conserving several details.
G. F.'s portrait stems
probably from Berger's engraving of 1779 (4.0),
which, in turn, derives
from the Rigaud painting (3.0), as shown in
the outline above.
The etching of both
Forsters appeared in:
Allgemeine deutsche
Bibliothek, 1782 (51:front.).
Reproduced in:
Könneke, Gustav,
Bilderatlas zur Geschichte der Deutschen
National literatur, 2nd ed., Marburg, 1895 (325).
G. F. Werke 13:386
4.1
Berger 4.4 GH & XKA
4.2 Ephemeriden engraving
of both Forsters (1803)
Stipple-engraved oval
without any surround. Very similar to
Berger engraving (4.1), but
heads only. Profiles reversed (facing
left). Oval 9.5 by 6.9 cm.
Appeared in Allgemeine
geographische Ephemeriden, 12 (1803):
frontisp.
4.3 Relief portrait of G. F. (Date unknown)
Bas-relief in what looks
like white clay, in wooden frame, by
unknown artist. Profile
looking left. Fiedler 1205.
Reintjes, Fiedler, G. F.
Werke, and others mistakenly suggested
that this portrait was
fashioned after the "lost" Graff painting. It is derived
from one of the Berger
group.
Former owner: Theodor von
Greyerz, Frauenfeld, Switzerland.
Present whereabouts
unknown.
Reproduced in:
Reintjes, "Blick ins
Ganze der Natur," Orion, Oct.
1935, 19/20.
G. F. Werke 15 (1981): 16. This is a better reproduction.
4.3 Relief portrait
4.4 Wood engraving of
both Forsters by G. H. & X. K. A.
(1896)
Finely copied from Berger's
etching of 1782 (4.1), incl. marble
surround. Signed in lower
left corner: GH & XKA. "X" seems to mean wood
engraver (xylographer). See
ill. above.
Publ. in: Geiger, Ludwig,
"Aus Therese Hubers Herzensleben,"
Illustrierte deutsche
Monatshefte, 1896 (633).
4.5 Steel engraving of G. F. by August
Weger (1854)
August Weger (1823 - 1892)
was a steel engraver at Leipzig.
As we might expect, the
engraving has been thought a representa-
tion of the
"lost" Graft painting. But again, it definitely pertains to
the Berger set. It is therefore a copy of a copy of a
painting. And we
shall see that it, in turn,
was subsequently copied many times.
Conforming to the
panegyrical tone of the work in which it was
published, Weger's portrait
is flattering. It shows a
well-coiffured
and well-dressed Forster,
profile to right. 16mo.
Fiedler 1206
Appeared in: Moleschott,
Jacob, G. F., 1854: frontisp.
Reproduced in: G. F. Werke
14:96.
4.5 Weger
4.6
Another engraving by August Weger
Similar to 4.5.
Owner: Akademie der
Wissenschaften, Zentralinstitut für
Literaturgeschichte,
Berlin.
Reproduced in: Fiedler,
Horst et al. G. F. ... Seine Beziehungen
zu Wörlitz, 1975 (1).
4.7 Gouache painting of George Forster by S.
H. (No date)
Nothing is known about the lay artist S. H.
Oval picture in subdued colors, profile to left,
13 by 10 cm, mounted in dark embroidered cardboard mat.
Inscribed at bottom: "Georg Forster 1784." Artist's initials on
right: "S. H. fec." The caption "G. F. 1784" obviously means "G. F. as
he appeared in 1784." This is the year Anton Graff painted him in
Dresden. Of course, S. H. copied from a portrait of the Berger sub-
group, thinking it was derived from the Graff painting.
Owner: Stadtarchiv Mainz.
B & W repro. in: G. F. Werke (14:144).
Color repro. in: Reichardt: [86]].
4.8 Painting of G. F. by
Ernst Hader (1897 or earlier).
Profile looking left.
This painting is obviously derived from the Berger subgroup.
It most closely resembles the Ephemeriden engraving (4.2).
Whereabouts unknown.
The Oesterreichische Nationalbibliothek in Vienna has a sepia-
toned photograph, 8.5 by 6 cm. (Bild-Archiv und Portraitsammlung
Pf 3812: B(1). The card shows a signature (G. Forster) and: "E.
HADER pinxit - Gesetzlich Geschützt. Phot. u. Verl. v. Sophus Williams
Berlin 1897."
4.9 Roter Faden outline drawing of G. F. (1976)
This drawing, placed on a Tricolor background, is derived from the
Weger engraving (4.5).
Publ. in: Roter Faden: 25.
4.10 Relief plaque of 0. F. by Bernhard
Schellbach (1984)
Round ceramic plaque, 98 mm
dia., blue. Inscribed around margin
"GEORG FORSTER"
(right) and "1754-1794" (left).
Profile looking to right,
finely sculpted. It is derived from the
Weger engraving (4.5). Reichardt 316, No.319.
Owner: Staatliche Schlösser
und Gärten Wörlitz, Oranienbaum und
Luisium.
4.10 Schellbach
The Graff Group of John Reinhold Forster
Whenever
one of the J. R. F. paintings by Anton Graff is mentioned, it
is
called "the" painting, as if there were only one. Actually, there are
three:
one of unknown location, one in Halle, and one in Berlin. This is
evident
from their published reproductions.
Although all versions display the
identical
pose, each has a quite noticeable difference in facial expression.
Copyists
tend to flatter their subjects by idealizing their features.
This
they have in common with the creators of original portraits. But the
enhancement
now accumulates. In accordance with
this principle, the painting
reproduced
in Kersten (5.0) is likely to be the original.
The original was
done
in 1781, or earlier, because in that year I. F. Bause made his well-known
copper
engraving from it.
The
ownership history of these paintings is fragmentary. "The" painting
was
considered lost at one time, but in 1898 "it" was found in Düsseldorf
(Goedeke,
Nachträge: 806). Then the bookseller
Otto Schütze owned it. The
Ill. Zeitung engraving (5.7)
identifies it as the Halle painting (5.1).
In
1957,
Kersten (:398) reported "it" in the possession of Joseph Jans, an art
dealer
in Lucerne. This time "it"
was No. 5.0. Jans sold the painting later,
perhaps
to America. Its whereabouts is again
unknown.
5.0 Oil painting of unknown location, by Anton
Graff (ca. 1780)
Anton Graff (1736 - 1813)
was the classical portrait painter of
eighteenth-century Germany.
J. R. F. in front view,
with head and eyes turned left. 55 by 48 cm.
Of the three oil paintings
(5.0 - 5.2), this one resembles the
Bause engraving (5.3)
most. This reinforces the already
mentioned
probability that it is the
original. And its mere excellence
suggests
that it stems from the
masterful hand of Anton Graff. This
portrait of
Forster is considered one
of Graff's best portraits.
Whereabouts unknown. Last known location, as mentioned above:
Lucerne.
B & W reproduction in Kersten, Weltumsegler: 32.
5.0
(Lucerne)
5.1 Halle 5.2 Berlin
5.1 Halle copy, after Anton Graff
Same pose as 5.0. Forster's nose is here straightened.
Owner: Städtisches Museum, Halle.
B & W reproduction in Rave :69.
5.2 Berlin copy, after Anton Graff
Same pose as 5.0 and 5.1. Here we see J. R. F. with his eyes less
open and chin more pointed.
Owner: Staatliche Galerie Moritzburg, Halle und Staatsbibliothek
Berlin.
B & W reproduction in Hoare, Tactl. Philo.: 103.
5.3
Copper engraving by I. F. Bause
(1781)
Johann Friedrich Bause (1738 - 1814) was a copper engraver of
great renown. He mainly produced portraits of famous men, most from the
paintings of Anton Graff.
The likeness of J. R. F. is after Graff's painting (5.0).
Reversed (facing right), it is contained in an architectural device with
an oval stone frame, surrounded by a Forstera sedifolia plant and ivy.
The inscription on the stone frame reads "I R FORSTER." The note below
the engraving: "Ant. Graff pinx. - zu finden in Leipzig bey Bause - IF
Bause sculps. Leipz. 1781 - Diese Pflantze in nehmlicher Grösse hat Herr
Forster in Neu-Seeland entdeckt und Linne ihm zu Ehren Forstera
benennt." Small fol. (27.7 by 19.6cm).
Reproduced in: Hoare, Tactl. Philo.: 102.
5.3 Bause 5.6 Krey
5.4 Copper engraving by de Mayr (1784)
Johann Friedrich von Mayr, copper engraver at Kassel, died ca.
1809.
Oval marble frame and name plate "I R FORSTER," similar to Bause
engraving (5.3), but lacking vegetation surround. Signed at right bottom:
"Gravé par de Mayr." 8vo.
Published in: Papst, Johann G. F., Die Entdeckung des fünften
Weltteils, Nürnberg 2 (1784): frontisp.
5.5 Medaillon engraved by
Liebe
Christian G. A. Liebe,
University Copper Engraver at Halle, died
1810.
Since Liebe copied several
Bause engravings, this is likely to be
one of them. 41 .
Diepenbroick 8203.
Not seen.
5.6 Wood engraving by Paul
Krey (1895)
Paul Krey was a reproducing
wood engraver at Leipzig. Vital dates
unknown.
Signed at lower right corner: P. Krey. XI.
A superb engraving (18.8 by 13.3 cm), in every detail similar to
its prototype, the Bause engraving.
It is interesting to compare Krey’s wood engraving with Bause’s copper
engraving (5.3).
Appeared in: Sievers,
Wilhelm, Australien und Ozeanien,
Leipzig 1895 (13).
5.7 Illustrirte Zeitung
wood engraving (1898)
The anonymous engraver
worked from the Halle version (5.1).
Singer (1937) 10765.
Publ. in: Illustrirte
Zeitung, Leipzig 110 (1898): 464.
5.8 Pen drawing by Rudolf
Grüttner (1956)
After one of the Graff
group, looking to right.
Publ. in: Miethke, Helmut,
Bewegte Jahre, Berlin: 10.
The Tischbein and Graff Group of George Forster
In
Frankfurt there is an exquisite painting of G. F., obviously done by a
great
master. He shows us Forster's sensitive
and troubled soul.
The
painting has traditionally been ascribed to Tischbein. That ascrip-
tion
is reexamined here.
George Forster's interest in having a portrait made of himself is
evident
from
several of his letters. On March 3,
1784, he wrote to his friend
Sömmering
(or Sömmerring): "I shall try to
persuade the old Tischbein, court
painter,
to portray me." At the end of the
same month we read the discourag-
ing note that "Tischbein's eyes are again so bad that there is
little hope for
a
portrait." But shortly thereafter
Tischbein produced the painting (6.0).
Forster
was not elated about its quality. Two
months later his travels took
him
to Dresden, where he had the renowned Anton Graff portray him. Excerpts
from letters to Sömmering show how Forster's judgment of the painting
changed
in time:
"Graff
painted a magnificent likeness of me. Tischbein's is not
a
shadow of it. I am there, complete with
my character, down to the
smallest
traits and nuances. The picture belongs
to Spener [Forster's
publisher]. A copy would cost twenty thalers, I
believe. I should
like
to order one for you and Therese [Forster's wife]. But now it
cannot
be done." (June 7, 1784)
Subsequently
Graff promised him a copy, and produced it.
But for pecuni-
ary
reasons it ended up with someone else:
"Neumann in Dresden has my portrait by Graff; and I confess to
you,
since I saw it again, and also the original at Spener's, I do not
find
it like me any more. Therese found it
far less so. Therefore it
is
hardly so valuable for you as if the resemblance had been decent."
(March
19-20, 1786)
In
his letters, therefore. Forster speaks of three paintings: one by
Tischbein
and two by Graff. Only two of the three
paintings have come down to
us. They show G. F. in the same pose. The question is: Are they Tischbein's
or
Graff's?
G. F.
became most unpopular in Germany when he played a leading role in
the
Jacobin revolution in Mainz. Perhaps
the paintings spent time in their
owners'
attics. Certainly they changed hands a
few times. One painting
became
lost. The parties most eager to buy and
keep them would be the von
Greyerz
and von Sömmering families (Forster's and his friend Sömmering's
descendants). Sometime during this period people may have
become puzzled
about
who painted the portrait. One owner was
told that its painter was
Tischbein
and wrote a note to that effect on the backside of his painting.
Historian
Paul Zincke wrote about it in 1913:
"On the verso of the original there is the following note:
'Johann Georg Forster, born
in Nassenhuben near Danzig on Nov. 26, 1754,
died in Paris on Jan. 12,
1794. Painted by J. H. Tischbein,
Gallerie-
Direktor in Cassel (in 45
minutes) on foot in 1782 [?], according to
Herr Dir. Pellisier who
owns a very similar portrait of Forster by
Tischbein.'" (Zincke,
xiv f.)
(I am unable to determine
what zu Fuss "on foot" means.)
This note needs some scrutiny, since it appears to be the only basis for
ascribing the Frankfurt painting to Tischbein.
The
note was written many years after the painting was painted. It is
not a primary document.
Moreover, its writer felt that his statement needed
support. And the best support he
could muster was to refer to the owner of
the other painting, who thought that Tischbein was its painter. Not that this
idea was totally irrational!
There is a perfectiy good excuse for it: We
have seen that it was erroneously believed that the pictures of the
Berger
subgroup had been derived from Graff's painting. Therefore it seemed logical
that the picture of the other pose "had to be" Tischbein's.
Then,
the writer of the note erred on the date.
Zincke, diligent
scholar
of Forster literature, placed the bracketed question mark behind the
date
in the above quote of 1913. It should,
of course, read 1784, not 1782.
In
addition, Tischbein's eyesight was poor in the last years of his
life. Art scholar Georg Nagler reports that
sometimes Tischbein's daughter
had
to tell her father what the colors on the palette were. Tischbein portrayed
Forster
at one sitting of only 45 minutes (Zincke, xiv).
Graff,
on the other hand, portrayed George Forster in three sessions,
one
of them lasting one and a half hours.
He then made a copy of it.
We
can recap the following facts:
o Tischbein painted one "bad" painting.
o Graff produced two "good" paintings.
o Two well-finished paintings of the same pose, exquisitely
colored, are extant.
Without
pretending to possess any expertise in art, I mention that
Tischbein
tends to contrast each illuminated part with a shadow, whereas Graff
is
noted for delicate coloring.
Of course, it would be
helpful to know the judgment of scholars versed in 18th century art
on whether the Frankfurt painting is painted in Tischbein’s style or
Graff’s.
All
these difficulties are eliminated if we assume that the two Graff
paintings
are the paintings now located in Frankfurt and Bern (7.0 and 7.1).
It
was a Mrs. Sophie von Sömmering who bequeathed the Frankfurt painting to
the
Ethnographic Museum there (Zincke, xiv); and the Bern painting still
belongs
to the von Greyerz family. Thus, both
paintings eventually ended up,
as it were, where Forster
had intended them to go.
The
arguments presented here fall short of proof.
But, in the opinion
of
this researcher, they outweigh the solitary clue that the note glued on the
portrait's
backside provides.
6.0 Painting by Tischbein (April 1784)
Johann Heinrich Tischbein
(1722 - 1789), the elder of this name is
principally noted for his
portraits, but he also painted historical and
genre paintings.
George Forster's diary
reveals that Tischbein portrayed him in
April of 1784.
Forster's portrait at the
Ethnographic Museum in Frankfurt (7.0;
next entry) is generally
held to be this painting by Tischbein.
This
view is disputed here, as
shown above.
If the Frankfurt painting
is not by Tischbein, the Tischbein painting
must be presumed lost.
7.0 Frankfurt painting (June 1784)
Oil on sheet metal. About 45 by 36 cm. Front view.
Unsigned. Fiedler 1203.
The backside has a paper
glued to it with handwriting in an old
hand. It proclaims that the painting was done by
Tischbein. See above
discussion for text of
note, and explanation.
This note was probably the
only basis for ascribing the painting
to Tischbein. The ascription is here viewed with
reservation. Instead,
Anton Graff is suggested as
its creator.
Because the painter of this
painting is not assured, I choose to
call it the Frankfurt
painting.
Owner: Museum für
Völkerkunde, Frankfurt am Main.
B & W reproductions in:
Zincke, front.
Rave, 160.
Kersten, 2.
Uhlig, front.
Color reproduction in:
G. F. Werke, 17
7.0 Frankfurt 7.1 Bern
7.1 Bern painting (1784)
Oil on canvas. It is very similar to the foregoing painting
(7.0), which, however, is painted on sheet metal.. N. i. Fiedler.
Owner: Dr. Georg von
Greyerz, Hindelbank near Bern, Switzerland.
According to von Greyerz
family tradition, this painting was
copied after Anton Graff's
(verbal communication of Mrs. Martha von
Greyerz to the author in
1979).
Painting by Ferdinand A.
Grossmann, done about 1913, or later,
obviously after the
Frankfurt painting. Fiedler 1211.
Former owner: Stadtarchiv Mainz.
In 1951 Richard Bellen
copied this painting from the Frankfurt
painting (7.0). He made Forster smile, failed to emulate
Forster's noble
features portray in the
original. Fiedler 1212.
Owner: Stadtarchiv Mainz.
B & W reproductions:
Just, Leo & Mathy, Die
Universität Mainz, 1965: 39.
G. F. Werke: 14:39.
Reichardt: [272]
Artist unknown. After one of the renderings of this group.
Publ. in: Miethke, Helmut, G.
F., Welt reisender, Schriftsteller und
Revolutionär, Halle 1961: paperback cover.
7.5 Roter Faden three-tone
images (1976)
Graphic design developed by
the task group "Wissenschaftliche
Graphik" of the
Fachhochschule Wiesbaden. It is derived from the Bellen
painting (7.3).
Publ. in: Roter Faden:
on cover and similar picture on page 497.
This
is a group of pictures that cannot be placed in any of the previous
five groups.
8.0 Nonexistent picture
of J. R. F. by Chodowiecki
Daniel Chodowiecki, eminent
etcher and painter, lived
from 1726 to 1801.
There is reference to this
supposed picture in Meusel, Museum
(9:473): "Bildnis von
Berger nach Chodowiecki gestochen."
The reference was reprinted in subsequent Meusel works and in Goedeke
(7:23).
This notice must be
regarded as erroneous. Berger's engraving is
after Smith -
Wedgwood. Neither in Forster literature
nor in Chodo-
wiecki literature is there
any indication that Chodowiecki ever portrayed Forster.
8.1 Portrait silhouettes
of G. F. (1784 or earlier)
Artist unknown.
Head facing left. These silhouettes were probably done from
life.
Fiedler 1207.
G. F. occasionally gave his
Silhouette to friends, as on April 29,
July 26, and September 11,
1784 (Zincke, Tagebücher).
A few
of the silhouettes ended up in museums:
Oesterreichische
Nationalbibliothek, Bildarchiv und
Porträt Sammlung, Pg 3812: 1(2).
Repro. in: Silhouetten
aus der Goethezeit, Wien, 1909: 52.
Schattenbilder
aus der Goethezeit,
Darmstadt, 1946: 24.
Repro. in G. F. Werke, 15,32.
In 1984 this Silhouette was
displayed on a poster for the G. F.
exposition in the
pavillions on the Eisenart in Wörlitz.
The designer
was Stefan Liebig.
8.2 Bosselated wax
portraits of G. F. by Bosch (1784)
Bosselating is the art of
creating waxen images. To eliminate the
annoying translucency of
wax, it is mixed with coloring matter.
Wax
medallion potraits were in
vogue throughout Europe up until the close of
the 18th
century.
Bosch, a wax modeler at
Vienna, created a portrait of Forster on
September 12, 1784, and
three days later, delivered it to him together
with twelve molded
copies. G. F. at once distributed them
to his
Viennese friends (Zincke,
Tagebücher :196)
None are known to exist today.
8.3 Full body Silhouette
of G. F. (Date unknown)
Artist unknown.
G. F. standing, profile to
left, holds a model of a sailing ship
in hand. If this Silhouette was created from life, as
it well might,
then we have here a rare
glimpse of Forster's handsome posture.
But
then again, it may simply
be derived from a head Silhouette and fur-
nished with a standared
body. Fiedler 1208.
Reproduced often, for
example in:
Schattenbilder der
Goethezeit, Leipzig 1966: pl.19.
G. F. Werke in 4 Bänden 4: front. Profile to right.
8.4 Schattenrisse
Silhouette of J. R. F. (1784)
Not viewed. Meusel, Museum 9:473. Size: 8vo.
Publ. in: Schattenrisse
aller öffentlichen Lehrer
... zu Halle, 1784.
8.5 Stipple engraving of
J. R. F. by Schwenterley
Heinrich Schwenterley (1749
- 1815) was University Copper Engraver
at Göttingen. Art lexicographer Nagler calls him a common
practitioner
of small renown.
Not viewed.
8.6 Copper engraving of
J. R. F. by C. Goepffert
C. Goepffert (1760 - 1788),
copper engraver in stippling tech-
nique.
Stipple engraving, 4to,
prototype unknown.
Not viewed. Meusel, Teutsches Künstlerlexikon III
(1814): 91 asks,
"drawn by
him?" Thieme-Becker adds the
remark "of his own design."
This could mean that he
merely created his own surround. Singer
(1931)
25801 and 25817.
8.7 Neue Quartalschrift
portrait (1792)
Not viewed. Meusel, Museum 9:473.
Publ. in: Neue
Quartalschrift zum Unterricht und zur Unterhaltung
... 2 (1792): frontisp.
It is a half-length
portrait (Brustbild).
8.8 India ink drawing by
Jakob Hoch
Johann Jakob Hoch (1750 -
1829) of Mainz painted, among other
subjects, historical scenes
in oil and gouache.
This painting shows a night
session of the Jacobin Club in Mainz.
"The clubbist at the
lectern is said to represent Forster," states the
caption under the
reproduction cited below. However, the
artist hardly
intended to portray any
particular person in the group of smallish
figures.
Owner: Stadtbibliothek
Mainz.
Repro. in: G. F. Werke in 4 Bänden 3:577.
8.9 Allgemeines
Historisches Porträtwerk portrait
(1874)
Not seen.
Publ. in: Seidlitz, Woldemar, Allgemeines
historisches
Portraitwerk, 5 vols., Munich 1874.
8.10 Roter Faden
Silhouette of the twelve-year-old George (1976)
Profile to left. G. F. sits
on a stool, bent over, reading a book that he
holds in hand. The London
skyline is in the background, white on gray.
Envisioned in the unknown
artist's mind, this figure is a portrayal of G.
F.'s eagemess to leam
rather than a bona fide portrait. But it is a plausible
likeness of the youth.
Publ in: Roter Faden:
21.
8.11 Biernath bronze relief piaque of G. F. (1990 or beforc)
Irmgard Biermath, a
sculptress of Mainz, created this bronze. She
bequeathed it to the City
of Mainz. On the occasion of the bicentennial of
Forsters death the plaque
was placed at his residence: Universitätstrasse 5,
Mainz.
Bronze piaque 72 by 53 cm
with inscription "GEORG FORSTER 1754 - 1794"
Though obviously derived
from the Frankfurt painting, it is more than a
copy. "As the Mainz
sculptress conveyed in conversation, she produced this
creation without
commission, on her own initiative. Differing from Tischbein,
in his time .... she
intended to bring forth Forster's suffering and tragical traits"
(Reichardt 316, No. 330).
Reproduced in: Reichardt
317.
8.12
Delose painting of G. F. (1788)
Delos or Delose was a
miniature and portrait painter, disciple of the
Academy of Drawing at
Mannheim.
Bom in the Palatinate;
vital dates unknown.
This painting was found
only recently.
Oil on canvas, 73 by 59 cm.
Here G. F. poses with an
open book in his hand. Signed in upper
right comer: "P.[?] De
Lose pinxit A 1788".
Color reproduction in:
Reichardt [138].
8.12
Delose
The
Delose painting is rather difficult to evaluate.
Forster
does not mention Delose in his letters. It is doubtful that Forster
sat
for Delose.
A
comparison with the Frankfurt painting is hardly out of order. Looking
at the two paintings (7.0 and 8.12) side by
side we get almost the feeling that
we
are dealing with two different men.
But the paintings have the following similarities: The pose, including the
angle of view, is the same. Even the white neck cloth on the Frankfurt
painting
seems to be present on Delose's painting. But Delose renders it
skin-colored, so
that
it becomes Forster's neck.
And finally, there is the matter of the English marine uniform, which
Forster
allegedly wears. This is the claim of Rolf Reichardt in Reichardt, 157.
Forster
was a civilian on Captain Cook's voyage, not a marine. The notion that he
later
wore a uniform must be rejected. It is not in keeping with his character.
I
would venture to conclude that, more likely than not. Delose used the
Frankfurt
painting as a model when he created his Forster painting.
Medal for the Bicentennial
of the French Revolution.
Heinz Rodewald, a medalist
of Berlin, created this medal. On the reverse it
shows portraits of G. F.
Rebmann and G. Forster. Reichardt 316, No. 321.
Owner: Staatliche Schlösser
und Gärten Wörlitz, Oranienbaum und
Luisium.
Not viewed.
Summary
More than fifty portraits of the two Forsters are here catalogued and
described
for the first time. The provenance of each portrait is traced. It turns out that among the
extant portraits there are only five for which the two men sat. The others
derive from these five. This forms the basis for arranging the portraits into
groups.
Portraiture is a most difficult art form. It is fortunate that the artists of these five portraits were
truly competent. They succeeded in
capturing
their subjects' personality. They
represented them as they saw them, without the pretentiousness that a munificent
patron might have engendered.
Both men were eminent scholars, but for centuries neither reached the
renown that their scientific and literary achievements warranted. Forster research was neglected for centuries. Portraits play only a minor part in the overall scheme of this topic. A good deal of disarray emerges regarding the source of some derived pictures.
The Rigaud painting gave rise to a whole group of derived depictions of
George
Forster, here called the Berger subgroup. As the true origin of these
subsequent depictions was not recognized, they were held to stem from a "lost
painting by Anton Graff.”
This is chronologically impossible. But now the confusion takes on a
life of its own. The fallacious premises lead inevitably to a fallacious
conclusion:
The alleged reproductions of the “lost Graff painting” provided a good
clue what it must have looked like. Since the painting in Frankfurt presented
George Forster in a different pose, it “had to be” painted by another painter.
Thus it was logical to attribute it to Johann Heinrich Tischbein the Elder,
because he was known to have portrayed Forster. I consider this attribution
erroneous.
But if one pursues the concept that Tischbein’s painting is lost, not
Graff’s, and that Graff painted the Frankfurt painting, then a number of
annoying inconsistencies vanish.
In this way, the incorrect ascription of some secondary pictures led to
the more serious consequence that even a primary painting was attributed to the
wrong artist.
Mehr als fünfzig Bildnisse der beiden Forster werden hier zum ersten Mal in ein Verzeichnis aufgenommen und beschrieben. Die Herkunft eines jeden Porträts wird geprüft. Dabei stellt sich heraus, dass es unter den vorhandenen Porträts nur fünf Urbilder gibt, für die die zwei Männer gesessen haben. Das bildet die Grundlage für die Einordnung der Porträts in Gruppen.
Porträtieren ist eine sehr schwierige Kunstform. Wir sind begünstigt durch den Umstand, dass alle vier Künstler, die die beiden Forster nach der Natur porträtierten, bestens befähigt waren, ihre Persönlichkeit darzustellen.
Weder Vater noch Sohn erlangte je die Würdigung, zu der ihre Leistungen
sie berechtigten.
Die Forster-Forschung wurde jahrhundertelang vernachlässigt. In ihrem Bereich kommt dem
Thema der Bildnisse ohnehin nur geringe Bedeutung zu. Es ist kaum verwunderlich, dass Verwirrung darin
herrschte. Es bestand Unklarheit über den Ursprung einiger Nachbildungen, und das
hatte die verhängnisvolle Folge, dass sogar ein Originalgemälde einem falschen
Künstler zugeschrieben wurde:
Das Gemälde von Rigaud war das Vorbild von etwa zehn Nachbildungen,
welche hier unter der Berger – Untergruppe aufgezählt werden. Allen voran steht
der vortreffliche Stahlstich von August Weger. Aber weil der wahre Ursprung
dieser Nachschöpfungen nicht erkannt wurde, nahm man an, dass sie einem
“verschollenen” Gemälde Anton Graffs nachgebildet seien.
Das ist chronologisch unmöglich. Aber die Verwirrung breitet sich aus.
Die unwahren Voraussetzungen mussten zu einem Fehlschluss führen.
Mit den genannten Nachbildungen konnte man sich einen Begriff davon machen, wie das “verschollene Bild von Graff” ausgesehen haben “muss.” Weil Georg Forster im bekannten Gemälde zu Frankfurt in einer andern Körperstellung dargestellt wird, “musste” es von einem andern Künstler stammen. Nun war es nichts weniger als logisch, das Bild Johann Heinrich Tischbein dem Aelteren zuzuschreiben, denn es war ja bekannt, dass er ein Bild Forsters gemalt hatte. Diese Zuschreibung halte ich für irrig.
Wenn man aber die Ansicht verfolgt, dass
nicht Graffs Bild verschollen ist, sondern Tischbeins, und dass Graffs Bild das
in Frankfurt befindliche Gemälde ist, so scheiden eine Anzahl von störenden
Unstimmigkeiten aus.
Auf diese Weise führte die fehlerhafte Zuschreibung einiger Nachbildungen dazu, dass sogar ein Originalbild dem falschen Maler zugeschrieben wurde.
Beaglehole, J.: The Journals of Captain James Cook on his
Voyages of
Discovery, Cambridge 1969
Beddie, M. Bibliography of Captain James Cook. 2nd
ed., Sydney 1970
Diepenbroick-Grüter, Hans; Allgemeiner
Porträt-Katalog, Hamburg 1931
Fiedler, Horst: G. F. Bibliographie 1767-1970, Berlin
1971
Geiger, Ludwig: “Aus
Therese Hubers Herzensleben”
G. F. Werke, Deutsche Akademie der Wissenschaften, Berlin 1958 ff.
G. F. Werke in vier
Bänden, Frankfurt am Main 1967-70
Goedeke, Karl: Grundriss zur Geschichte der deutschen
Dichtung, 1857-81
(3
vols.); 2nd ed. 1884-1913 (10 vols.)
Hoare, Michael: The
Tactless Philosopher, Melbourne 1976
—— ed. The Resolution Journal of J. R.
F. 1772-1775, London 1982.
Kersten, Kurt; Der Weltumsegler, Bern 1957
Meusel, Johann: Museum f. Künstler u. f. Kunstliebhaber,
1789
Nagler, Georg: Neues allgemeines Künstler-Lexikon,
Linz a. d. Donau 1835-52
Reichardt, Rolf, and
Genevieve Roche, eds. Weltbiirger - Europäer - Deutscher
Franke.
G. F. zum 200. Todestag. Ausstellungskatalog.
Mainz 1994
Rave, Paul Das Jahrhundert Goethe's, 1949
Roter Faden zur
Ausstellung G. F., Frankfurt am Main 1976
Sievers, Wilhelm:
Australien und Ozeanien
Singer, Hans: Allgemeiner Bildniskatalog, 1931
—— Neuer Bildniskatalog, Leipzig
1937
Thieme – Becker: Allgemeines Lexikon der bildenden
Künstler, 1907-50
Uhlig, Ludwig: G. F., Tübingen 1965
Zincke, Paul and Leitzmann,
eds. G. F. Tagebücher, Berlin 1914
1.0 Smith "City of Nottingham
Museums", England.
2.0 Smith Same
3.0 Rigaud Fiedler,
Horst et al, Georg Forster – Seine
Beziehungen
zu Wörlitz, 1975: front cover.
Photo Walter Wachter, Schaan.
4.1 Berger Allgemeine deutsche
Bibliothek, 51 (1782): front.
4.2 Relief portrait G.
F. Werke
4.4 GH & XKA Geiger
4.10 Schellbach Photograph by Staatliche Schlösser und Gärten Wörlitz,
Oranienbaum
und Luisium.
4.5 Weger Moleschott,
Georg Forster, 1854: front.
5.0 (Lucerne) Kersten,
Weltumsegler, 1957: 32.
5.1 Halle http://mmvr.burg-halle.de/~hanisch/index.php?id=451&type=2
5.2 Berlin Hoare,
Tactless Philosopher, 1976: 103.
5.2 Bause Hoare, Tactless Philosopher, 1976: 102
5.6 Krey Sievers, Wilhelm, Australien
und Ozeanien,
Leipzig 1895 (13).
7.0 Frankfurt Marbacher
Magazin 65 (1993): 13.
7.1 Bern Photograph
by Martha von Greyerz, 1979.
8.12
Delose Reichardt, Weltbürger..., 1994: [138].
Photo Walter Lhotzky.
.
Abramson
Medal 1.2
Allg.
hist. Porträtwerk portrait 8.9
Bause
engraving 5.3
Bellen
painting 7.3
Berger
engraving of G. F. 4.0
Berger
etching of both Forsters 4.1
Bern
painting 7.1
Beyel
engraving 3.6
Biernath
bronze plaque 8.11
Bosch
wax portrait 8.2
Chalk
drawings of G. F. 3.2,
3.3
Chalk
drawing of J. R. F. 3.4, 3.5
Chodowiecki
painting 8.0
Delose
painting 8.12
Ephemeriden
engraving 4.2
Frankfurt
painting 7.0
G.
H. & X. K. A. wood engraving 4.4
Goepffert
engraving 8.6
Graff
paintings of J. R. F. 5.0, (5.1, 5.2)
Graff
painting of G. F. (7.0)
Grossmann
painting 7.3
Grüttner pen drawings 3.8, 5.8
Hader
painting 4.8
Halle
engraving 1.4
Hoch
ink painting 8.8
Illustrirte
Zeitung wood engraving 5.7
Krey
wood engraving 5.6
Liebe
engraving 5.5
Liebig
poster 8.1
de
Mayr engraving 5.4
Miethke
woodcut 7.4
Neue
Quartalschrift engraving 8.7
Postage
stamp 3.9
Relief
portrait 4.3
Rigaud
painting 3.0, (3.1 copy)
Rodewald
medal 8.13
Roter
Faden line drawing 4.9
Roter
Faden three-tone images 7.5
S. H.
gouache 4.7
Schellbach
plaque 4.10
Schwenterley
engraving 8.5
Silhouettes
of J.R.F. 1.3, 1.5, 1.6,
8.4.
Silhouettes
of G.F. 8.1, 8.3, 8.10
Smith
medallions 1.0, 2.0
Tischbein
painting 6.0
Weger engravings 4.5,
4.6
Warrington
silhouette 1.5
Wiss.
Beiträge silhouette 1.6
Whates
caricature 1.1
|
|
|
|