Lot Essay
This previously unrecorded watercolour is closely related in size and composition to two other works by Kobell dated to the same year (Staatliche Kunstsammlung, Kupferstichkabinett, Dresden, inv. no. C1957-1 and Portugese Crown Collection) (S. Wichmann, Wilhelm von Kobell, Munich, 1970, cat. no. 1594 (illus.) and Catalogue of the Exhibition, Glimpses of a Forgotten Germany, Hildegard Fritz-Denneville Fine Arts Ltd, London, 1987, no. 37 (illus.)). Our watercolour was conceived as a Sammelbandbild, forming part of a collection of watercolours and drawings by different artists.
Kobell, later in his career, frequently traced staffage and landscapes. Paradoxically, the quality of the works comprising traced areas improved over the originals. In our watercolour, the three cattle are drawn identically to those in the Kupferstichkabinett version. The composition of the two central ones probably derives from an oil painting of 1823, in which they dominate the landscape (Private Collection) (S. Wichmann, op. cit., no. 1300 (illus.)).
The Kloster Tegernsee, the large building in the background, appears in three works viewed from the Hirschberg, one from 1833 (Neue Pinakothek, Munich, inv. no. L344) (S. Wichmann, op. cit., no. 1515 (illus.)), the other two from 1838 (Kunsthalle, Hamburg, inv. no. 41513, and Stadtmuseum, Munich, Sammlung Maillinger, inv. no. IV/415) (S. Wichmann, op. cit., nos. 1589 and 1590 (illus.).
The landscape in the background appears in two earlier works. The Egern hills, the mountain to the left and the farmhouse to the left, form part of an oil painting of 1817 (Kunsthalle, Hamburg, inv. no. 1344) (S. Wichmann, op. cit., no. 1077 (illus.)) while the same mountain range, is the subject of a drawing of the same year (Private Collection) (S. Wichmann, op. cit., no. 1059 (illus.)).
Kobell, later in his career, frequently traced staffage and landscapes. Paradoxically, the quality of the works comprising traced areas improved over the originals. In our watercolour, the three cattle are drawn identically to those in the Kupferstichkabinett version. The composition of the two central ones probably derives from an oil painting of 1823, in which they dominate the landscape (Private Collection) (S. Wichmann, op. cit., no. 1300 (illus.)).
The Kloster Tegernsee, the large building in the background, appears in three works viewed from the Hirschberg, one from 1833 (Neue Pinakothek, Munich, inv. no. L344) (S. Wichmann, op. cit., no. 1515 (illus.)), the other two from 1838 (Kunsthalle, Hamburg, inv. no. 41513, and Stadtmuseum, Munich, Sammlung Maillinger, inv. no. IV/415) (S. Wichmann, op. cit., nos. 1589 and 1590 (illus.).
The landscape in the background appears in two earlier works. The Egern hills, the mountain to the left and the farmhouse to the left, form part of an oil painting of 1817 (Kunsthalle, Hamburg, inv. no. 1344) (S. Wichmann, op. cit., no. 1077 (illus.)) while the same mountain range, is the subject of a drawing of the same year (Private Collection) (S. Wichmann, op. cit., no. 1059 (illus.)).