Continental, 17th-18th century. A collection of five engravings of portrait, including Ascanius Tit. S. Mariae De Aracoeli...Archiep. Neap. by Albertus Clouwet (Flemish, 1636-1679) and Giovanni Giacomo De Rossi (Italian, 1627-1691), on laid paper; Tycho Brahe by unknown artist, on laid paper; Clemens XI by unknown artist, on laid paper; presumably a portrait of a king or prince with crown in foreground, unknown artist, on laid paper; portrait of George von Gottes Gnaden, unknown artist, on laid paper; plus, three facial studies, including one engraving on laid paper by Johann Heinrich Lips (German, 1758-1817) and dated 1777 l.l., one engraving on laid paper of women's faces, marked 12 u.l. and B5 l.r., and one of children's faces, marked 11 u.l. and B4 l.r.; all unframed; largest plate 7.5 x 11.5 in. (George von Gottes Gnaden); largest paper 9.5 x 12.5 in. (women's faces).
From The Old Master Print Collection of Johann Petz (Germany, 1818-1880), Descended in the Family of the Artist
Petz was born at Lermoos, Tyrol, in 1818 and showed an early interest in wood carving and drawing. Petz worked as a shepherd for his family as a boy, but fled as a young man to a distant relative in Wildermiemingen to pursue the study of sculpture and drawing, which he did for three and a half years. In 1837, he decided to further his studies in Munich, and by chance he came into contact with the sculptor Konrad Eberhard (German, 1768-1859). Eberhard recognized Petz’s talent and took the young man on as a pupil, and several years later, secured for him a commission for the memorial statue for the famous German scholar Heinrich Klee (1800-1840). Petz’s design outlined a Gothic niche surmounted by a pinnacles and finials, which would house a sandstone sculpture of the Good Shepherd. This marked the beginning of the young artist’s career and established his reputation in Munich.
Petz was influenced by Nazarene and Neo-Gothic movements in Bavaria, otherwise known as the Pre-Raphaelite movement in England. Petz would also go on to receive commissions for churches, altars, and tombstones in England and the United States, and was highly sought after as a sculptor and church designer. Several locations for which he designed churches and their decorations are Cham, Arnschwang, Seeon, Vilsbiburg, Isen, and Riedering. Most notably, he contributed the design for a sculpture of the Last Supper for the Frauenkirche in Munich in 1859, which was regrettably lost in air raids during World War II. During his career Petz also worked with Joseph Otto Entres (Germany, 1804-1870) and Joseph Knabl (Germany, 1819-1881).
Clouwet: Toning, crease to l.l., small hole near l.l., wear to edges.
Tycho Brahe: Toning, small piece missing to l.r.
Clemens XI: Piece missing to u.l. corner, tear in l.c., toning, vertical and horizontal center creases, edges appear to have been trimmed.
King or Prince: Creases to all corners, small spots of staining u.c. and l.l., and tack holes l.c.
George von Gottes Gnaden: Piece missing l.r., creasing to corners, two small tears on upper left side, some toning.
Lips: Adhered to backing, stain on nose, writing in ink u.l., crease across center, and toning.
Facial studies: Toning, edges appear to have been trimmed, one with women's faces has pencil drawings on right side.
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