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CHRISTOPHE JORON-DEREM

217 - Daniel LINDTMAYER (1552-1606/07) Christ and the Apostles: a …
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Estimate €100,000 - €150,000
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Description
Daniel LINDTMAYER (1552-1606/07) Christ and the Apostles: a series of thirteen drawings Gouache (the framing lines in black ink added later) Signed and dated "LMD VS/1586" and inscribed (later?) with the names of the subjects depicted Circa 24.4 x 15.5 cm (13 pieces) Thöne, nos. 59-71 PROVENANCE : - Sankt Blasien Abbey, Black Forest, until 1807. - Abbey of Pyhrn, Austria, from 1807 to 1809. - Benedictine Abbey of Sankt Paul im Lavantall, Austria, from 1809 to February 1938, when acquired by Hugo von Ziegler. EXHIBITIONS : - Schaffhausen, Museum zu Allerheiligen, Tobias Stimmer 1539-1584, 1939, nos. 191-203. - Schaffhausen, Museum zu Allerheiligen, Daniel Lindtmayer, 1552-1606, Handzeichnungen, 1952, nos. 88-100 (only Christ and Saint Peter were exhibited), pl. IV (Saint Paul) (cat. by H. von Ziegler). BIBLIOGRAPHY : - J. Neuwirth, "Die Apostelserie des Daniel Lindtmayer zu St. Paul in Kärnten", Repertorium für Kunstwissenschaft, XIV, 1891, pp. 298-300. - F.X. Kraus, Kunstdenkmäler des Kreis Waldshut, 1892, p. 100 (as "St.-Blasianer Schatz in St. Paul, Cod. Cart. Heft in 4o, mit 14 Aquarellen: Christus und die Apostel... von Daniel Lindtmayer"). - B. Haendke, Die Schweizerische Malerei im XVI. Jahrhundert diesseits der Alpen und unter Berücksichtigung des Glasmalerei, des Formschnitts und des Kupferstichs, Aarau, 1893, p. 351. - P. Ganz, "Daniel Lindtmayer", Schweizerisches Künstler-Lexikon, vol. II, Frauenfeld, 1908, p. 261. - H. Koegler, "Einige Handzeichnungen Schweizerischer Künstler im Kloster St. Paul in Kärnten", Anzeiger für Schweizerische Altertumskunde, X, 1908, p. 159. - J. Schneider, "Scheibenrisse von Daniel Lindtmayer d.J.", Zeitschrift für Schweizerische Archaelogie und Kunstgeschichte, XIII, 1952, no. 4, p. 165. - F. Thöne, Museum zu Allerheiligen Schaffhausen. Die Zeichnungen des 16. und 17. Jahrhunderts, Schaffhausen, 1972, p. 57, under no. 39. - F. Thöne, Daniel Lindtmayer (1552-1606/07), Zurich and Munich, 1975, pp. 186-188, nos. 140-52, figs. 176-188 and colour plate p. 117 (Saint Simon). - T. Falk, 'Einige neugefundene Zeichnungen von Daniel Lindtmayer', Schaffhauser Beiträge zur Geschichte, LIX, 1982, p. 126. - P. Tanner, in Museum zu Allerheiligen Schaffhausen. Katalog der Gemälde und Skulpturen, Schaffhausen, 1989, p. 68, under no. 25. NOTE : The gouaches all bear Lindtmayer's signature, followed by the letters 'VS' which stand for 'von Schaffhausen'. According to Thöne, Lindtmayer added these two letters in the case of works outside Schaffhausen. All are dated 1586. It is likely that these gouaches were intended for the Benedictine abbey of Sankt Blasien, their first known owner. Indeed, Lindtmayer supplied at least two drawings for stained glass windows commissioned by Caspar II Thoma (-1596), abbot of Sankt Blasien from 1571 to 1593 (see Thöne, op. cit. 1975, nos. 45 and 73, figs. 71 and 105). The abbey had an extensive art collection, including a whole series of drawings. Most of these are now in the Benedictine Abbey of Sankt Paul im Lavantall in Austria (see H. Koegler, op. cit., 1908). It should be noted that in the same year, 1586, Caspar II Thoma commissioned wall paintings, now lost, to decorate the nave of the abbey, depicting Christ and the twelve apostles as well as Saint Blaise. Could Lindtmayer's gouaches have served as models for the fresco artist? Friedrich Thöne has suggested that the gouaches may originally have formed a domestic altar arranged in two registers, with Christ in the centre of the upper row. The saints are depicted with their attributes: Saint Andrew carries a large wooden cross; Saint Bartholomew a knife; Saint James, wearing his pilgrim's cloak, a rosary and his bumblebee Saint Matthew, who replaced Judas Iscariot as apostle, is shown with a halberd; Saint Paul, who is not an apostle, is shown with his sword; Saint Peter, with his keys; Saint Philip, with a gilded cross; Saint Simon, with his long beard, with a saw; and Saint Thomas, with a spear. At an undetermined date, the columns that adorned each of the borders of the gouaches and some of the backgrounds were delicately masked with gouache and some of the signatures were redone in brown ink. At the present sale, the gouaches have been restored (or rather de-restored) and the later retouching has been removed, restoring them to their original state. As documented in an 1891 article by Neuwirth, the series originally included another gouache, now lost, depicting Saint Thaddée. He was shown holding a book and halberd. The date 1586 was inscribed between the halberd on the left and the saint's head. The monogram 'DLM' on the right was similar to that on the gouaches showing Saint Paul and Saint Thomas. According to Neuwirth, the gouache was 'very damaged' ('stark beschädigte'). In 1600, Lindtmayer produced another series of drawings showing the apostles, this time in pen and black ink, grey wash and measuring around 15 x 9.5 cm. Only six of these drawings are known to exist today, five in the Kupferstichkabinett in Basel and one of unknown provenance (T. Falk, op. cit, 1982, pp. 125-6 and figs. 3-8). Only two other gouaches by Lindtmayer are known: a Portrait of a Bearded Man from 1584, now in the Zentralbibliothek in Zurich (Thöne, op. cit. 1975, no. 132, fig. 162) and an Allegory of Winter, also painted in 1586 and now in the Museum zu Allerheiligen in Schaffhausen (Thöne, op. cit. 1975, no. 139, fig. 171).
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Auction time 06/16/2026 at 11:00 AM
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