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Heinrich Schwemminger (Vienna 1803-1884) and Ferdinand Schubert (Vienna 1824-1853)

 

Heinrich Schwemminger (Vienna 1803-1884) and Ferdinand Schubert (Vienna 1824-1853)
Album
Various media and sizes

Heinrich Schwemminger. Study of David Giving Thanks for his Victory over Goliath. Black chalk heightened with white chalk on brown wove paper, Rome, ca. 1842. 285 x 214 mm, 11 1/4 x 8 7/16 in.

Heinrich Schwemminger. Study of David Giving Thanks for his Victory over Goliath. Black chalk heightened with white chalk on brown wove paper, Rome, ca. 1842. 285 x 214 mm, 11 1/4 x 8 7/16 in.

I am pleased to offer these drawings from an album of Nazarene and Biedermeier drawings and watercolors, compiled by the Viennese artist Heinrich Schwemminger as a memento of his long career. All sheets are listed below with their present location. Those with Michael Miller, Williamstown, or Lucy Vivante, Rome,  are available for purchase. Please inquire for prices.

Heinrich Schwemminger, born into a family of decorative artists, established a reputation as a painter of portraits and narrative scenes. He studied in Vienna (at the Akademie der bildenden Künste), committed himself to history painting in 1823, where he was awarded the Gundel Prize in 1829 and the Reichel Prize in 1833. In the early 1830s he went to Munich, where he befriended Moritz von Schwind and worked in his circle. 1837 he went to Rome on a government stipend and remained there until 1842. The following year he became Kustos at the Vienna Academy, and, in 1849, Professor. Between 1857 and 1874 he was Leiter (Director). As Kustos he won recognition for his reinstallation of the collection, and in 1866 he published a catalogue (Verzeichnis der Gemälde-Sammlung der k. k. Akademie der bildenden Künste in Wien).

Learned in the classical and Italian masters and a strong draughtsman, his development followed lines similar to Joseph Führich’s. The early work of both artists showed the influence of their Nazarene models, Overbeck, Koch, Cornelius, and Scheffer von Leonhardshoff. Führich retained his allegiance to the style of the early nineteenth century, but Schwemminger’s optical propensities led him more towards realism. In this way he became a typical and outstanding proponent of the Biedermeier style in Vienna.

Heinrich Schwemminger, Recto: Study of Siegfried’s Head, from the Nibelungenlied, graphite on cream wove paper, 105 x 118 mm, 4 1/8 x 4 11/16 in.

Heinrich Schwemminger, Recto: Study of Siegfried’s Head, from the Nibelungenlied, graphite on cream wove paper, 105 x 118 mm, 4 1/8 x 4 11/16 in.

A relation by marriage of Franz Schubert, Schwemminger was a fixture in the artistic world of mid-century Vienna. His drawings in the album represent the typical Nazarene and Biedermeier thematic material which occupied him: illustrations of German legend (The Nibelungenlied: fol. 11v, 12r27v B; and loose sheet) and poetry [Schiller’s Die Kraniche des Ibykus (fol. 14v, 15v, 18r), and Uhland’s Des Sänger’s Fluch (23r A & B). The numerous drawings from his seven years in Rome show many of the principle preoccupations of the resident German artists: studies of Italian peasants and their costumes, copies of masterworks of the Italian Renaissance, academic studies of models in poses inspired by Renaissance models, etc. Schwemminger worked on murals in the Vienna State Opera and the chapel of the regional insane asylum (Landesirrenanstalt) in Vienna. He also prepared lithographs for Rudolph Weigel’s Die Werke der Meister in ihren Handzeichnungen (Leipzig, 1865).

Ferdinand Schubert (Vienna, 1824-1853), the nephew of both the composer and Schwemminger, became a painter and a student of his uncle. He accompanied Schwemminger to Rome, where the two collaborated on a monumental eight foot tall oil of David Giving Thanks for his Victory over Goliath, which was awarded the Reichel Prize in 1842 and was acquired by the Pennsylvania Academy of Art, where it remained until the deaccessioning of all European works in the 1990s. The album contains several drawings by both artists for the painting. The album also includes a sensitive study by Ferdinand for his oil illustrating Goethe’s Der Fischer, (fol. 27v) now in the Kunsthaus Zürich. His uncle Franz had previously set the poem to music.

Bibliography:

Österreichisches Biographisches Lexikon 1815-1950 Online-Edition und Österreichisches Biographisches Lexikon ab 1815 (2. überarbeitete Auflage – online, © 2003-2011), s.v. Heinrich Schwemminger, Ferdinand Schubert

Ursula Mayr-Harting, “Three Drawings by Heinrich Schwemminger” (1803-1884), The Ashmolean, 31, Christmas 1996, pp. 13ff.

Friedrich von Boetticher, Malerwerke Des Neunzehnten Jahrhunderts, Beitrag Zur Kunstgeschichte, Dresden: F. v. Boetticher, 1891.

Several of these drawings are now in major museum collections in Great Britain and the United States, among the the Ashmolean Museum, the British Museum, the Milwaukee Museum of Art, the Yale University Art Gallery, and the Cummer Museum in Jacksonville, Florida.

 To inquire about prices, please click “contact”.

The Schwemminger Album

(all drawings by Heinrich Schwemminger except two by Ferdinand Schubert, marked “FS”)

Album Fol./Location Title Medium Dimensions
loose/Private Collection, UK Recto: Reclining Woman, a study for Kriemhild’s Dream of the Falcon, from the Nibelungenlied; verso: Venus and Cupid over a Reclining Woman Recto: pen and black ink over graphite on cream laid paper. Verso: graphite and pen and brown ink (palimpsest) 234 x 317 mm, 9 3/8 x 12 7/16 in.
1r/Cummer Museum of Art and Gardens, Jacksonville Study of a Standing Woman with Four Studies of a Seated Woman and one Head Study Graphite, black and white chalk and conté crayon on tan wove paper, the four corners trimmed, Rome, 1839 285 x 209 mm, 11 3/16 x 8 3/16 in.
1v A/Private Collection Study of a Boy Lying on his Stomach Graphite on cream wove paper 102 x 129 mm, 4 x 5 1/8 in.
1v B/Michael Miller, Williamstown Study of a Woman in Peasant Costume Seen from Behind Graphite on cream wove paper 185 x 134 mm, 7 1/4 x 5 1/4 in.
2r/Cummer Museum of Art and Gardens, Jacksonville Study of a Seated Woman in Peasant Costume Watercolor over graphite on cream watercolor paper, Procida, 1839 258 x 182 mm, 10 1/8 x 7 1/8 in.
2v/Lucy Vivante, Rome Study of a Standing Peasant Woman in the Costume of Cerbaro Watercolor over graphite and conté crayon on cream watercolor paper, Cerbaro, 1839 270 x 182 mm, 10 9/16 x 7 1/8 in.
3r/Cummer Museum of Art and Gardens, Jacksonville Study of a Seated Woman and Girl in Peasant Costume Watercolor over graphite and conté crayon on cream watercolor paper, Naples, 1839 180 x 258 mm, 7 1/8 x 10 1/8 in.
4r/Lucy Vivante, Rome Study of a Pifferaro Graphite on cream wove paper, 1840 287 x 215 mm, 11 5/16 x 8 7/16 in.
4v empty
5r/Milwaukee Art Museum Portrait of a Roman Woman Graphite and red chalk on cream wove paper, Rome, 1844 229 x 181 mm, 9 x 7 1/8 in.
5v/Michael Miller, Williamstown St. Rosalia of Palermo Crowned by Angels Graphite, pen and brown ink, and watercolor on cream laid paper 251 x 248 mm, 9 7/8 x 9 3/4 in.
6r/Lucy Vivante, Rome Study of a Seated Woman Graphite on blue wove paper, Rome, 1840 265 x 181 mm, 10 7/16 x 7 1/8 in.
7r/Private Collection, Switzerland Portrait of a Contadino Graphite, black and red chalk on blue wove paper 247 x 181 mm, 9 11/16 x 7 1/8 in.
8r/Private Collection, USA Study of Young Male Nude as St. Sebastian, after Perugino Graphite, conté crayon, and white chalk on tan wove paper, the upper corners trimmed, Rome, 1839 279 x 173 mm, 11 x 6 15/16 in.
9r/Coll. Dr. Alfonso Pluchinotta, Padova Study of a Nude Young Woman in Prayer Graphite, black crayon, red and white chalk, and stumping, on brown wove paper, 1836 257 x 213 mm, 10 1/16 x 8 3/8 in.
9v/Michael Miller, Williamstown Recto: Study of a Nude Boy as an Archer (cf. St. Sebastian) Verso: Drapery Study Recto: Graphite, conté crayon, and red and white chalk on buff wove paper Verso: Conté crayon and white chalk 206 x 132 mm, 8 1/8 x 5 3/16 in.
10r/Private Collection, New England Study of an Ignudo by Michelangelo on the Sistine Chapel Ceiling Graphite, conté crayon, and white chalk on brown wove paper, squared 283 x 227 mm, 11 1/4 x 9 in.
10v Empty, drawing removed
11r/Cummer Museum of Art and Gardens, Jacksonville Portrait of a Seated Girl Graphite, black crayon, red and white chalk and grey wash on buff wove paper, Rome, 1839 265 x 215 mm, 10 7/16 x 8 1/2 in.
11v/Michael Miller, Williamstown Study of a Bearded Man, Gunther, from the Nibelungenlied (For all Nibelungenlied drawings, click here) Graphite, black crayon, and red and white chalk on brown wove paper, inscribed “Nibelungen” 195 x 169 mm, 7 5/8 x 6 11/16 in.
12r/Michael Miller, Williamstown Recto:Study of a Nude Woman with Raised Arms (Rhine Maiden); verso:Drapery Studies (For all Nibelungenlied drawings, click here) Recto: Graphite, black crayon, and red chalk on buff wove paper, inscribed ”
Nibelungen…”; verso: black crayon
280 x 209 mm, 11 x 8 3/16 in.
13r/Private Collection, California Two Studies of a Nude Woman Graphite, conté crayon, and white chalk on buff wove paper 282 x 206 mm, 11 1/16 x 8 1/8 in.
13v/Private Collection, California Study of a Seated Boy Graphite, conté crayon, and white chalk on buff wove paper, Rome, 1840 275 x 210 mm, 10 7/8 x 8 1/4 in.
14r/Private Collection, Santa Monica Study of a Seated Nude Woman, and Two Smaller Studies of the Same Black chalk heightened with white chalk on buff wove paper, Rome 280 x 216 mm, 11 x 8 1/2 in.
14v/British Museum Recto: Study of a Man’s Head for Schiller’s “Die Kraniche des Ibykus”; verso: Portrait of Maria Schwemminger Recto: Graphite, conté crayon, heightened with white chalk on buff wove paper; Verso: Graphite heightened with white chalk, 1820 246 x 183 mm, 9 11/16 x 7 3/16 in.
15r/British Museum Study of a Male Head for Schiller’s “Die Kraniche des Ibykus” Black chalk, charcoal, heightened with white chalk on grey wove paper 230 x 274 mm, 9 x 10 11/16 in.
15v Empty: traces of removed drawing
16r/Yale University Art Gallery Study of a Seated Woman: St. Elizabeth Graphite, conté crayon, red chalk, heightened with white chalk on brown wove paper 242 x 199 mm, 9 1/2 x 7 13/16 in.
16v Empty, traces of removed drawing
17r/Coll. Dr. Alfonso Pluchinotta, Padova Reclining Female Nude, her Arm Folded above her Head Black chalk, with traces of red and white chalk on buff paper 212 x 255 mm, 8 6/16 x 10 in.
17v/British Museum Kneeling Male Figure Black chalk with traces of white chalk on buff wove paper 288 x 217 mm, 11 6/16 x 8 9/16 in.
18r/British Museum Recto: Kneeling Female Figure; Verso: Study of a Hand for “Die Kraniche des Ibykos”
Recto: black chalk with traces of white chalk on buff wove paperVerso: black chalk 287 x 217 mm, 11 5/16 x 8 9/16 in.
18v/Private Collection, USA Reclining Nude Girl Black chalk heightened with white chalk on tan wove paper 208 x 293 mm, 8 3/16 x 11 1/2 in.
19r/Private Collection Recto: Study of a Female Head; verso: Male Nude: ”
Samson”
Recto: Black chalk and conté crayon heightened with white chalk on brown laid paper; verso: graphite and conté crayon heightened with white chalk 281 x 215 mm, 11 x 8 7/16 in.
19v Inscription
20r/Ashmolean Museum, Oxford Portrait of Johann Conrad Bergmann Graphite on cream wove paper 184 x 131 mm, 7 1/4 x 5 1/8 in.
20v/Ashmolean Museum, Oxford Recto: Half-length Study of a Youth (Ferdinand Schubert), with Upraised Arm, verso: Study for a Gothic Arch Graphite, conté crayon, and red chalk, heightened with white chalk on tan wove paper 231 x 326 mm, 12 7/8 x 9 1/8 in.
21r A/Lucy Vivante, Rome Bearded Man with Long Hair: Michele Graphite on cream wove paper, Rome, 1841 160 x 132 mm, 6 5/16 x 5 1/4 in.
21r B/Michael Miller, Williamstown Head of a Bearded Man with Helmet: a study for a Hebrew Soldier in “David and Goliath” Graphite on blue laid paper 141 x 140 mm, 5 9/16 x 5 1/2 in.
21v A/Private Collection, UK Half-length Study of a Nude Girl Graphite on cream wove paper 92 x 83 mm, 3 5/8 x 3 1/4 in.
21v B/Private Collection, Australia Half-length Study of Female Nude Looking Upward Graphite and conté crayon, heightened with white chalk on tan wove paper 110 x 87 mm, 4 5/16 x 3 7/16 in.
22r v Empty
23r A/Michael Miller, Williamstown A Pair of Travelling Singers: a Study for Uhland’s “Des Sängers Fluch”
Graphite, pen and brown ink on off-white wove paper 225 x 157 mm, 8 7/8 x 6 3/16 in.
23r B/Martin Moeller Kunsthandel, Hamburg Battle Scene: a Study for Uhland’s “Des Sängers Fluch”
Graphite, pen and black ink on off-white wove paper 227 x 159 mm, 8 15/16 x 6 5/16 in.
23v/Ashmolean Museum, Oxford Modello for a Madonna and Child with Infant John the Baptist Graphite, brush and brown wash on cream paper laid down , inscribed, verso:”
gemalt für den Kunstverein in Wien. 1828″
191 x 150 mm, 7 9/16 x 5 15/16 in.
24r/Private Collection, California Allegorical Composition: Medicine, Civil, and Maritime Engineering Pen and brown ink over graphite and red chalk on cream watercolor paper 251 x 327 mm, 9 3/4 x 12 7/8 in.
24v/Michael Miller, Williamstown Portrait of a Young Man Graphite, black chalk, and red chalk on cream wove paper 277 x 213 mm, 10 7/8 x 8 5/16 in.
25r/Michael Miller, Williamstown Expulsion from Paradise Graphite, pen and brown ink on blue laid paper 286 x 260 mm, 11 1/4 x 10 3/16 in.
25v/Michael Miller, Williamstown Portrait of a Man Charcoal, black and red chalk on blue-grey wove paper 269 x 181 mm, 10 5/8 x 7 1/8 in.
26r A/Michael Miller, Williamstown Study of a Reclining Child Graphite on buff wove paper 139 x 122 mm, 5 7/16 x 4 13/16 in.
26r B/Collection of Dr. Colin J. Bailey, Scotland Recto: Study of a Bearded Male Figure (Study for “David and Goliath”; verso: Nude Man with Arm Raised Graphite and conté crayon heightened with white chalk on buff wove paper 145 x 126 mm, 5 11/16 x 4 15/16 in.
26v/Michael Miller, Williamstown Study of David Giving Thanks for his Victory over Goliath Black chalk heightened with white chalk on brown wove paper, Rome 285 x 214 mm, 11 1/4 x 8 7/16 in.
27r/Michael Miller, Williamstown FS: David Giving Thanks for his Victory over Goliath Graphite on blue watercolor paper 325 x 250 mm, 12 3/4 x 9 13/16 in.
27v A/Private Collection, Switzerland FS: The Fisherman and the Water Nymph (after Goethe’s “Der Fischer”) Graphite on cream laid paper 238 x 185 mm, 9 5/16 x 7 1/4 in.
27v B/Michael Miller, Williamstown Recto: Study of Siegfried’s Head, from the Nibelungenlied; verso: Two Bearded Men (Huntsmen Looking On) (For all Nibelungenlied drawings, click here) Recto and verso: graphite on cream wove paper; signed, l. l., HS; inscribed, l. r. ” Siegfr… bey Bru[nnen]” 105 x 118 mm, 4 1/8 x 4 11/16 in.
29v/Michael Miller, Williamstown St. Rosalia of Palermo Crowned by Angels Pen and black ink over graphite on cream wove paper 191 x 233 mm, 7 1/2 x 9 3/16 in.

Isidoro Bianchi: Painter, Stuccatore, and Architect