Čís. položky 197 -


Leopold Zinnögger


Leopold Zinnögger - Obrazy 19. století

(Linz 1811–1872)
A large bouquet of flowers with a bird’s nest, butterflies and grapes, after a model by Sebastian Wegmayr, signed, dated Leop. Zinnögger 1840, oil on canvas, 135 x 94 cm, framed, (Rei)

Provenance:
Sotheby’s 21 November 1989, lot 13;
Private Collection England;
Private Collection Vienna.

Compare:
Lothar Schultes, Johann Baptist Reiter, Linz 2013, p. 21, ill. 8.

Viennese flower painting experienced a climax in the first half of the 19th century.
Ideal arrangements combined popular garden flowers such as daffodils, hydrangeas, tulips, roses and lilies with exotic plants and exciting new varieties. Inspired by a growing interest in floriculture, horticulture and botany, the Viennese public enthusiastically embraced these floral still lifes, turning them into a real fashion phenomenon.
The impulse came from the Imperial & Royal Vienna Porcelain Factory, which experienced a strong upswing in the years before 1800 and developed into a highly successful company. Affiliated with the manufactory was a painting school, where in 1812 a professorship in flower painting was established, held by Sebastian Wegmayr until 1850. In the tradition of the Dutch flower still life of the 17th and 18th century, the magnificent composition of various flowers in botanically correct reproduction was at its focus. In the course of the training, the flower painters appropriated a repertoire by means of master sheets and detailed studies, which served as the basis for ever-new compositions.
Leopold Zinnögger, who studied at the Vienna Academy from 1830 onwards and also made a living as a porcelain painter, holds up this tradition. As a son of a plant nursery owner from Linz, he certainly brought an in-depth knowledge of plants and flowers already from home.
After first successes at exhibitions in Linz and Vienna, Leopold Zinnögger in 1837 hoped for a travel scholarship to the Netherlands to study the Dutch flower painting. When this was not approved, he apparently gave up his plan as a full-time painter and returned to Linz. There, he focused his attention on scientific botany and belonged to the circle around the physician and botanist Johann Baptist Duftschmid. In fact, he achieved some success in orchid research. In Linz, Leopold Zinnögger realized his passion for flowers and their depiction at various levels: he took over his father’s nursery and undertook experiments in plant breeding. He also set up a photography studio and worked from 1849 as a drawing teacher at a local high school. In the meantime, he continued with his flower painting and regularly took part in exhibitions of the Upper Austrian Artists’ Association in later years.
The present work is dated 1840, and thus falls into the period after Leopold Zinnögger’s return to Linz. It was created after a model by Sebastian Wegmayr, which today is preserved in the collection of the Belvedere under the inventory number 2550. Wegmayr’s painting was purchased in 1830 for the imperial gallery, where Zinnögger probably saw it in the 1830s. In the Oberösterreichisches Landesmuseum in Linz there is a similar floral piece by the artist, dated 1841, in which he picks up and varies some of the motifs of the present lot.

Expert: Mag. Dimitra Reimüller Mag. Dimitra Reimüller
+43-1-515 60-355

19c.paintings@dorotheum.at

29.04.2019 - 17:00

Dosažená cena: **
EUR 41.247,-
Odhadní cena:
EUR 30.000,- do EUR 40.000,-

Leopold Zinnögger


(Linz 1811–1872)
A large bouquet of flowers with a bird’s nest, butterflies and grapes, after a model by Sebastian Wegmayr, signed, dated Leop. Zinnögger 1840, oil on canvas, 135 x 94 cm, framed, (Rei)

Provenance:
Sotheby’s 21 November 1989, lot 13;
Private Collection England;
Private Collection Vienna.

Compare:
Lothar Schultes, Johann Baptist Reiter, Linz 2013, p. 21, ill. 8.

Viennese flower painting experienced a climax in the first half of the 19th century.
Ideal arrangements combined popular garden flowers such as daffodils, hydrangeas, tulips, roses and lilies with exotic plants and exciting new varieties. Inspired by a growing interest in floriculture, horticulture and botany, the Viennese public enthusiastically embraced these floral still lifes, turning them into a real fashion phenomenon.
The impulse came from the Imperial & Royal Vienna Porcelain Factory, which experienced a strong upswing in the years before 1800 and developed into a highly successful company. Affiliated with the manufactory was a painting school, where in 1812 a professorship in flower painting was established, held by Sebastian Wegmayr until 1850. In the tradition of the Dutch flower still life of the 17th and 18th century, the magnificent composition of various flowers in botanically correct reproduction was at its focus. In the course of the training, the flower painters appropriated a repertoire by means of master sheets and detailed studies, which served as the basis for ever-new compositions.
Leopold Zinnögger, who studied at the Vienna Academy from 1830 onwards and also made a living as a porcelain painter, holds up this tradition. As a son of a plant nursery owner from Linz, he certainly brought an in-depth knowledge of plants and flowers already from home.
After first successes at exhibitions in Linz and Vienna, Leopold Zinnögger in 1837 hoped for a travel scholarship to the Netherlands to study the Dutch flower painting. When this was not approved, he apparently gave up his plan as a full-time painter and returned to Linz. There, he focused his attention on scientific botany and belonged to the circle around the physician and botanist Johann Baptist Duftschmid. In fact, he achieved some success in orchid research. In Linz, Leopold Zinnögger realized his passion for flowers and their depiction at various levels: he took over his father’s nursery and undertook experiments in plant breeding. He also set up a photography studio and worked from 1849 as a drawing teacher at a local high school. In the meantime, he continued with his flower painting and regularly took part in exhibitions of the Upper Austrian Artists’ Association in later years.
The present work is dated 1840, and thus falls into the period after Leopold Zinnögger’s return to Linz. It was created after a model by Sebastian Wegmayr, which today is preserved in the collection of the Belvedere under the inventory number 2550. Wegmayr’s painting was purchased in 1830 for the imperial gallery, where Zinnögger probably saw it in the 1830s. In the Oberösterreichisches Landesmuseum in Linz there is a similar floral piece by the artist, dated 1841, in which he picks up and varies some of the motifs of the present lot.

Expert: Mag. Dimitra Reimüller Mag. Dimitra Reimüller
+43-1-515 60-355

19c.paintings@dorotheum.at


Horká linka kupujících Po-Pá: 10.00 - 17.00
kundendienst@dorotheum.at

+43 1 515 60 200
Aukce: Obrazy 19. století
Typ aukce: Salónní aukce
Datum: 29.04.2019 - 17:00
Místo konání aukce: Wien | Palais Dorotheum
Prohlídka: 20.04. - 29.04.2019


** Kupní cena vč. poplatku kupujícího a DPH(Země dodání Rakousko)

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