MINIATURE PORTRAIT OF FERDINAND VII. OF SPAIN - France, ca. 1830
Signed (below frame): "Augustin"
Watercolor on paper, Boulle-frame
Measure of the portrait: 13,4 x 10 cm, of the frame: 15 x 21 cm

PORTRAIT of EMPEROR JOSEPHS II. (1741-1790) of AUSTRIA - Austria, ca. 1800
oil on metal, 39 x 26 cm, rich contemporary frame

Austrian infantry-military camp in the Lombardy by Wilhelm Richter (Vienna 1824 – Mödling 1892)
Oil on canvas, 112 x 140 cm, framed
Signed and dated (below right): “Richter Mailand 1858”, verso contemporary label (the right edge is missing) with hand written comment: “Wilhelm Richter / gemalt in Mailand 185[8] / österreichisches Friedens-Lager bei So[mma?] / in der Lonbardei”

The guard - France 1893
Maurice Henri Orange (1868 Ranville – 1916 Paris)
Signed: „M. Orange 93”
Oil on wood, framed
Measure: 13,4 x 10,2’’ (34 x 26 cm)

PORTRAIT OF JOSEPH II. AS ARCHDUKE (1741-1790)
CIRCLE OF MARTIN VAN MEYTENS (1695-1770)
Austria, circa 1755 (emperor 1765-1790)
Oil on canvas, 68,5 x 55 cm

MINIATURE PORTRAIT OF A YOUNG LADY - Vienna, ca. 1820
Moritz Michael Daffinger (1790 Vienna – 1849 Vienna)
Signed „Daffinger“
Watercolour, opaque white on ivory, in gilded bronze frame, 9 x 7,5 cm.
Moritz Michael Daffinger: miniature painter, later flower painter. Born and died in Vienna, he began his education as a student of his father and of the miniature painter Johann Weixelbaum, both painters in the Imperial-Royal Porcelain Manufactory. Since 1802 student of Hubert Maurer on the Viennese Academy, later he attended to portrait painting, especially ivory miniatures and from the 1840-ies he made a series of plant illustrations (today in the Academy of Fine Arts Vienna).
Literature: Heinrich Fuchs, Die österreichischen Maler des 19. Jahrhunderts, Wien 1972, K 59.

Portrait of a Gentlemen by Friedrich Wilhelm Herdt (1790 – ca. 1840), signed and dated: “Herdt 1835” Deutschland, 1835, 9,1 x 7,1’’ (23 x 18 cm)

VIEW OF COMO - Italy, 1837/38
Alexander Brodszky (1819 Tóalmas – 1901 Budapest, Hungary)
Signed and dated „Como fecit Alexandre Brodsky 1837/38“
Oil on panel, original gilded frame, 79,5 x 114,7 cm
View to the Como with the Villa Olmo in the foreground.
The Hungarian painter Alexander Brodszky studied in the Viennese academy of arts (1841) and in Munich (1845). He exhibited his works successfully in Germany and Hungary.
The Austrian Emperor Franz Joseph I. ordered a picture from the artist - “The Island of Margarethen” -, that hangs in Laxenburg Castle.
Literature: Thieme-Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Bd. 5/6, Leipzig 1992, p. 43.

GENRE PAINTING „IN THE MUSEUM“- Vienna, circa 1930
Erwin Eichinger (Austria, 1892 - 1950)
Signed: „E.Eichinger Wien“
Oil on panel, original gilted frame, 28 x 37 cm
The painting shows a gentleman and a young lady visiting a museum, probably the Egyptian collection in the Kunsthistorisches Museum in Vienna. Very detailed painting of typical objects known in the collection as sphinx and pharao’s tomb.

AN APOSTLE PREACHING IN ANCIENT RUINS - Italian, circa 1750
Giovanni Paolo Panini ( 1691 Piacenza - 1765 Rome) studio
Oil on canvas, 64 x 48,5 cm

ITALIAN LANDSCAPE WITH SHEPHERDS - Vienna, circa 1810
Franz Scheyerer (Praque 1770 - 1839 Vienna)
Signed: „F. Scheyerer“
Oil on canvas, doubled, goldplated frame, 78 x 74 cm
Italian landscape with a temple on the left and a wide view over a lake on the right. In the foreground three sheperds. The painting is in the style of Jakob Philipp Hackert, who was one of the most famous landscape painters at that time.
Literature:  Thieme Becker, 1992, Vol. 29/30, p. 43.

ITALIAN LANDSCAPE WITH ARCADIAN SCENERY
Franz Scheyerer (Prague 1770 - 1839 Vienna)
signed and dated "F. Scheyerer 1808"
oil on canvas, original frame, 130 x 100 cm
In this atmospheric Arcadian landscape amblers and shepherds bide with sheeps in the foreground. On the left a Greek round temple can be beheld hidden behind a group of trees, on the right a cascade between rough rocks. Marginal mighty trees frame the scenery and conduct the view to a sea and to huge cliffs. The artist is skilfully suggestive of a carefree, frolic summer atmosphere through the change of light and dark image passages.
This illustration composed of an idealised landscape and an idyllic genre scene remind someone of the Arcadian landscape at 1800. Scheyerer characterises a fantastic scenery through the skilful combination of several prospects, antique appearance and bucolic scenery.
Franz Scheyerer was a student of the Academy in Prague and educated himself in Vienna, where he acted since 1811. His pictures can be found in the Rudolfinum in Prague, in the Academy of Vienna and in the collection of Dr. Pilsack in Salzburg.
Literature: Thieme-Becker, Allgemeines Lexikon der bildenden Künstler, Von der Antike bis zur Gegenwart, Leipzig 1992, Vol. 29/30, p. 43.

AMOR PAZZO and MEDEA
Michelangelo Maestri (circa 1779 – circa 1812, Rome) follower
Italy, circa 1812
Two guaches on carton, with vitrification and frame, each with 41 x 56 cm
„Amor Pazzo“ and „Medea“ base on frescos, which were formerly in the saloon of the Villa Lante in Rome (today they are in the Palazzo Zuccari), and probably were painted by Gulio Romano (ca. 1499 Rome – 1546 Mantua), who was the architect of the Villa.
Michelangelo Maestri incorporated in his paintings motifs from the antique room decorations at Pompeii and Herculaneum, but they also based on designs by Raphael (Urbino 1483 – 1520 Rome) or his pupil Giulio Romano (Rome 1499 – 1546 Mantua). They  were immensely popular and were acquired in large numbers by northern Europeans on their Grand Tour.
Literature: Tancredi Carunchio, Villa Lante al Gianicolo: Storia della fabbrica e cronaca degli abitatori, Rom 2005.
Frederick Hartt: Giulio Romano, I, New Haven 1958, p. 61-62.

PAIR OF REPRESENTATIVE INTERIORS
Janos Boros (Hungary, 1808 – 1855)
Signed and dated: „J.N. Boros 1842“
Oil on wood, 41 x 54,5 cm
The paintings show representative decorated Biedermeier-interieurs, probably of the residence of the Bishop of Pécs (Hungary), the artist’s main patron.

SOLD:

VIEW OF VIENNA FROM PÖTZLEINSDORF - circa 1837/38, unsigned
Oil on canvas, 55 X 111 cm, original frame
View over Vienna from the Bellvue-Hill in the north-west of Vienna. In the foreground cattle with shepherds. The eyecatcher infront is the entrance to Pötzleinsdorf-Castle. On the left mount Kahlenberg with the church and Mount Leopold with the church of St. Leopold and the fortress. Situated on the River Danube is Nussdorf. In the backside the train over the Danube to Floridsdorf, which was built in 1837. In the middle part the churches of Oberdöbling and Sivering, the villages of Heiligenstadt and Alterstadt. In the background St. Stephans in the city of Vienna and the Monument of the „Spinnerin am Kreuz“ in the south. On the right side Schönnbrunn-Castle and Hietzing. The painter shows a wide panoramic view from the Hundsheimer Berge over the Wiener Wald to the Schneeberg.
After newest expertises this tableau is linked to the Viennese landscape painter Joseph Feid (1806 – 1870), a scholar of the Academy in Vienna. He had a preference for natural studies and found his motives in Vienna and surroundings as well as in the Austrian Alpine scenery. Excellent drawn figures or animals decorate his illustrations dealing with accurate details.
Literature: Heinrich Fuchs, Die Österreichischen Maler des 19. Jhdts., Vol. 1, VIenna 1972.

SOLD:

MINIATURE PORTRAIT OF PRINCESS JOSEPHA SOPHIE VON LIECHTENSTEIN, née Landgravine zu Fürstenberg-Weitra (1776-1848) - Vienna, after 1830
Signed: „E. Peter e.n. Daff."
Emanuel Thomas Peter (1799 Jägerndorf [Silesia] – 1873 Wien) after Moritz Michael Daffinger (1790 Vienna – 1849 Vienna)
Watercolour on ivory, oval 2,87 ’’ (7,3 cm) high, rectangular gilded bronze frame, (18 x 15,5 cm)
Princess Josepha Sophie von Liechtenstein (1776 Vienna – 1848): daughter of Joachim Egon landgrave zu Fürstenberg-Weitra (1749-1828) and Sophie von Oettingen-Wallerstein (1751-1835), 1792 marriage with Johann I. Joseph, Prince of Liechtenstein (1760-1836). Ludwig van Beethoven dedicated his piano sonata op. 27 no.1 “Quasi una fantasia” (1801) to Princess Josepha. There exists a portrait sketch of Princess Josepha Sophie von Liechtenstein by Johann Baptist II. Lampi in the Liechtensteinmuseum in Vienna (Inv.-No. GE1222).
Emanuel Thomas Peter (1799 Jägerndorf [Silesia] – 1873 Vienna): education to stone cutter and architect, 1818 to 1821 study in the Academy in Vienna, miniature painter in Silesia and from ca. 1830 constantly in Vienna. Peter is said to be one of the most famous scholar of Daffinger and for a time he was the favourite painter of the Viennese aristocracy.
The original miniature by Daffinger is in the Albertina, inv. no. 28103.
Literature: Thieme-Becker Künstlerlexikon, 1992, Bd. 25/25, S. 476 and Leisching, Eduard: Die Bildnis-Miniatur in Österreich von 1750 bis 1850, Wien 1907, S. 162-165.

SOLD:

MINIATURE PORTRAIT OF GOTTFRIED WENZEL GRAF VON PURGSTALL
Britain (?), circa 1800
Watercolour on ivory, oval, 7,4 cm high, brass frame, the reverse with woven hair, with original leather case. In the case: note with pencil on paper: “Graf Wenzel Gottfried Purgstall, gemalt von Vieth”.
Gottfried Wenzel Graf von Purgstall: 1773 Graz – 1812 Florence, married with Baronin Jane Anne Cranstown (Scotland), studied philosophy and law in Graz, Jena, Kiel, Königsberg and Göttingen. Grand Tour, civil service in Vienna, capture 1809 in Padua. After the early death of his son (and last male heir) Wenzel Raphael 1817 the diplomat and orientalist Josef von Hammer inherited the name (Hammer-Purgstall) and Hainfeld.
Literature: Thieme-BeckerAllgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Vol. 33/34, Leipzig 1992, p. 342.

SOLD:

MINIATURE PORTRAIT OF WENZEL RAPHAEL GRAF PURGSTALL
Signed “Vieth” - Vienna, ca. 1812
Friedrich Ludwig Vieth (von Golßenau): 1768 Dresden – 1848 Meißen
Watercolour on ivory, rectangular 11,2 x 7,7 cm, brass frame. Note with pencil on paper on the backside: “Wenzel Raphael Grf. Purgstall”
Friedrich Ludwig Vieth: Painter, miniaturist, draughtsman. Officier until 1800 when he decided only to be a painter. He was primarily active in Vienna since 1812. Vieth was, beside Daffinger, one of the favourite miniaturists in Vienna.
Wenzel Raphael Graf Purgstall: Son and last male descendant of Gottfried Wenzel Graf von Purgstall (1773 Graz – 1812 Florenz), died in 1817 only 19 years old.
Literature: Thieme-BeckerAllgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Vol. 33/34, Leipzig 1992, p. 342.

SOLD:

PORTRAIT OF EMPEROR JOSEPH II. (1741-1790) WITH HIS BROTHER PIETRO LEOPOLDO (1747-1792), GRAND DUKE OF TUSCANY (1747-1792)
Signed and dated: „V. Zallinger 1791“
AUSTRIA, 1791
oil on canvas, original gilded frame, 43 x 61,cm
Provenance: countess Ernestine Latour
Painted after Pompeo Girolamo Batoni’s (1708-1787) portrait which hangs in the Kunsthistorische Museum in Vienna, arised during an nonofficial visit of the brothers in Rome 1769.  Another version of the painting is located in the Liechtensteinmuseum, also in Vienna.

SOLD:

YOUNG PRINCE WITH HOBBY-HORSE IN A LANDSCAPE
by E. W. Thompson,
also called E.W. Thomson (1770 - 1847 Lincoln)
Signed and dated 1829, rue du Faubourg St. Honore, Paris
watercolour on paper in original frame, 26,5 x 21,3 cm
E. W. Thompson (1770-1847)was a British portraitist and rather miniaturist who worked in Paris and London. In the beginning he acted as engraver. In the first quarter of the 19th century Thompson made water colour miniatures, for example a knee-length portrait of a young lady (1817) and – as counterpart – the portrait of an officer (undesignated. Both were 1911 in the collection of Graf Philipp Grünne in the castle Dobersberg in lower Austria.
Literature: Thieme Becker, Leipzig 1992, Bd. 33/34, S. 73f.
Leo R. Schidlof, La Miniature en Europe. Aux 16e, 17e, 18e et 19e siècles, Vol. II, Graz 1964, S. 835.

SOLD:

TRIONFO D´AMORE & UNION D´AMORE
Michelangelo Maestri (circa 1779 - circa 1812, Rome), follower
Italy, circa 1812
Two guaches on carton, with vitrification and frame, each with 40 x 52 cm
The gouaches show two allegories in the manner of Pompeian wall paintings. Alate cupids trail a golden carriage with Venus and the alate Amor in a chariot is tailed by mythical creatures.
Michelangelo Maestri (circa 1779 – circa 1812, Rome) incorporate in his paintings motifs from the antique room decorations at Pompeii and Herculaneum, but they are also based on designs by Raphael(Urbino 1483 – 1520 Rome) or his pupil Giulio Romano (Rome 1499 – 1546 Mantua). They were immensely popular and were acquired in large numbers by northern Europeans on their Grand Tour.