Lot 3

INTRODUCTION Christie's Amsterdam is pleased to present another sale of copies after old master pictures. The first sale in this category was in 1994. As then, we hope this sale contributes to a re-establishment of the legitimacy of the painted copy. The intention is to treat the copy as a historical phenomenon, no tem is included which is executed after circa 1940 when 'the great era of copying as a form of reproduction' came to an end, and was replaced by colour photography. Copies were usually not made -as it too often thought- to deceive or to pass as the orginal. Even the most distinghuised collectors commissioned copies if a beloved original was not obtainable. They did not have any scruples in adorning their galleries with a copy of good quality. Also among 18th century gentlemen on their grand tour copies were in great demand. They functioned as a souvenir of the masterpieces seen in Italian churches and palaces. When in the 19th century more people travelled to the cultural capitals of Europe and a greater number of collections had opened their doors to the public, the painted copy became increasingly a commercial enterprise. Especially young artists, starting their careers, could earn a living by the execution of copies. Some artists were even exclusively celebrated for their copying talents. A good example of such an artist is Michael Stohl, working for the Russian court, of which twelve watercolours of excellent quality are offered in this sale (lots 1-12). Artists also often made copies for their own benefit. It was used as a means to learn the pictorial language of previous masters. Well-known examples of such a practice are Rubens' copies after Raphael and Van Dyck's after Titian. Even Vermeer copied Italian masters and Rembrandt reproduced Indian miniatures. As early as 1500 Leonardo formulated the principle that only by copying the works of earlier masters could an artist develop his own individual manner. This conviction has governed artistic education at art academies till the first half of our century. Sessions were organised in museums to enable artists to accomplish the time-absorbing task undisturbed. The Rijksmuseum, for instance, recorded these sessions in a Copieënregister, in which artists like Arnold van de Laar (lot 59) and Willem Stad (lot 57) are recorded. The old master copy has become the subject of art historical study in the last decades. A bibliography is given beolw. REFERENCE LITERATURE [toevoegen achteraan] Copier Créer: De Turner à Picasso: 300 oeuvres inspirés par les maitres du Louvre, Exhibition Catalogue, Paris, Musée du Louvre, 26 April-26 July 1993

Michael Stohl (1813-1881) after Raphaello Sanzio, called Raphael

The Sistine Madonna

Details

Michael Stohl (1813-1881) after Raphaello Sanzio, called Raphael
The Sistine Madonna
signed and dated lower right M.Stohl nach Raphael.Dresden 1853 and stamped with a crowned 'A' on the reverse
pencil and watercolour heightened with white on paper laid down on board
65.6 x 48 cm

Provenance

The following twelve lots were, according to the family tradition, ordered by the Russian Tsar Alexander II. They were presented to his Daughter, Maria Alexandrowna. The princess married in 1874 Alfred, Duke of Edinburgh, later Duke of Coburg (second son of Queen Victoria). From there by descend to the present owner.

Lot Essay

The original, oil on canvas, 269.5 x 201 cm, is in the Gemäldegalerie Dresden. It was acquired by the August III of Saxony in 1754.

See colour illustration

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