Documente Academic
Documente Profesional
Documente Cultură
Iunie 2014
Tiprit n Romnia
Coperta I:
EUGEN RITTER GOTHA
Portretul Margaretei de Vos
Copie dup Cornelis de Vos
Coperta IV:
EUGEN RITTER GOTHA
Portretul pictorului peisagist Jan Wildens, detaliu
Copie dup Anton van Dyck
SUMAR
PINACOTECA DE COPII 11
Educaia artistic a unui viitor rege
Galeria de vechi maetri
Despre copie
Colecia de copii
Galeria de copii. Muzeele.
Copitii
Vechii maetri
Pictorii-copiti
Ahnengalerie de la Castelul Pele
Originale i copii n interioarele castelului
Sala florentin
Bibliografie selectiv
CATALOG SELECTIV 30
Strmoii Regelui Carol I
Scene Religioase
Portrete
Scene de gen
Peisaj
INDEX 110
EUGEN RITTER GOTHA
Saskia, cu plrie roie, detaliu
Copie dup Harmenszoon van Rijn Rembrandt
I N T RO D U CT I O N
GUSTAV BREGENZER
Portretul Principesei Josephina de Hohenzollern, detaliu
Copie dup Sebastian Cornu
08
Interesul pentru domeniile istoriei artei i arhitecturii fcea
parte, n mod firesc, din formaia intelectual a unui Principe,
dincolo de educaia tradiional aristocrat de om de arme care
s tie la nevoie s conduc armata i s realizeze construcii
militare.
Pinacoteca
ntreinut i sporit de tatl su, Principele-colecionar Karl-
Anton.
Castelul
Carol I era cunoscut n secolul al XIX-lea pentru interesul
acordat domeniului artistic, unii dintre reprezentanii si fiind
colecionari i constructori de castele pasionai (Karl-Anton,
Pele a
Leopold - fratele lui Carol). Erau proprietarii unor importante
colecii acumulate n decursul secolelor: de pictur vechi
maetri (n special germani); de arme (n secolul XIX aceste
Regelui
colecii se bucurau de un renume european); de arte decorative,
manuscrise, gravur, numismatic etc. Toate erau pstrate cu
grij, inventariate i catalogate n castelul Sigmaringen, al crui
Carol I al
muzeu a fost inaugurat n 1867, prin voina expres i implicarea
Principelui Karl-Anton. n Prusia, cealalt ramur a familiei era
un important mecena i promotor al artelor i tiinelor. Astfel,
Romniei
eful ramurei de Prusia i concomitent al Casei de Hohenzollern,
mpratul Wilhelm I nfiina n anul 1879 muzeul de la Schlo
Montbijou (lng Berlin), cu un patrimoniu de istorie i art din
coleciile acestor membri ai familiei.
Din cercetarea arhivelor Muzeului Pele se poate constata Sala coloanelor a fost decorat prin pnze de mari dimensiuni,
puse n valoare n cadrul somptuos al slii, copii comandate de
Carol I dup mari maetri. Inventarul din 1928 nu nregistreaz
nici un tablou din Colecia Coroanei n acest spaiu. Putem
presupune ca aici erau expuse fie originale achiziionate ulterior
anului 1898, fie doar copii. Conform inventarelor, dominau
numeric pnzele de coal flamand, dar se impuneau i
portretele de grup sau individuale, efigiile reprezentanilor casei
regale britanice i ale aristocraiei britanice i europene, ale marii
burghezii flamande. Copiile dup portretele aristocratice de van
Dyck i Rubens ocupau un loc preferenial. Cteva exemple de
copii dup Anton van Dyck, aflate n Castelul Pele: Portretul
regelui Carol I Stuart al Angliei, Portretul reginei Henriette
a Angliei, Cei trei copii ai regelui Angliei, .a. Copii dup P.P.
Rubens: Portretul lui Charlotte Batkens Simt van Cruyiningham
i al fiului su Johannes Amatus, Portret de brbat, Copiii lui
Rubens (Portretul lui Albert i Nikolaus Rubens), Contesa de
Arundel cu suita, .a.
NOTE
FRANZ MATSCH
Cavaler n armur, detaliu
Copie dup Willem Drost
The interest concerning the fields of the history of art and
architecture was, naturally, part of the intellectual training of a
prince. Military training and education was another facet of the
traditional aristocratic upbringing deemed necessary enabling
army building and leadership should it prove necessary.
King Carol Is interest and passion for art, due greatly to his
artistic education, were doubtlessly connected to the museum
like atmosphere of the Singmaringen family castle maintained
KinG
and enhanced by his father, the collector prince Karl-Anton.
GALLERY
belonged to was known in the 19th century for the interest
shown in the artistic domain. Some of its representatives were
passionate collectors and castle builders (Karl-Anton, Leopold
OF COPYIST
Carols brother). They were the owners of important collections
gathered over the centuries, of paintings by ancient masters
(especially German), of arms (in the 19th century their collections
PAINTINGS
enjoyed much fame in Europe), of decorative arts, manuscripts,
engravings, numismatics, etc. All of which were carefully
preserved, inventoried and classified in the Singmaringen castle,
whose museum was inaugurated in 1867 by the express will of
the Prince Karl-Anton. In Prussia, the other family branch proved
to have both important patrons of arts and promoters of arts
and sciences. Thus, in 1879, the leader of the Prussian branch
and simultaneously of the Hohenzollern House, the Emperor
Wilhelm I, settled the base of the museum at Schlo Montbijou
(near Berlin) with a patrimony of history and art belonging to the
collections of these family members.
22
written in 1886 by Ernst Hausmann, artiste peintre de Munich,
(art painter in Munich) to the royal secretary Louis Basset.
Gustav Klimt, Ernst and Franz Matsch were working for the
Peles Castle about 1883 with the Austrian art and house painter
Joseph Kott. Although, neither Gustav Klimt in his Curriculum
Vitae (Christian Nebehay, 1994) nor Franz Matsch in his
Autobiographische Skizzen (Autobiographic Sketches) (Herbert
Giese, 1979) mentioned this episode, we might suppose that
Lo Bachelin, the author of the monograph on Peles who stated
this affirmation, must have had this information from the king
himself. The fact is confirmed by a document in the archive, a bill
issued by Joseph Kott concerning the decoration of the Theatre
Hall in the Peles Castle as well as the execution of a series of
copies for the Great Hall. Considering that the decoration of
the Theatre Hall was accomplished by Gustav Klimt and Franz
Matsch, according to the signatures, it is very plausible that, at
the first stage between 1883 and 1886, the Knstlerkompagnie
might have worked subordinate to Joseph Kotts company for the
residence at Sinaia. 23
We do not have precise data about the way or how artists such
as Eugen Ritter Gotha, Paul Schad, Maximilian von Schneidt
and others had come to work in the service of the Royal House
of Romania. It must have happened by the intermediary of
artistic associations whose member the King of Romania was.
A series of documents preserved at the National Archives attest
the fact that the Romanian sovereign used to be a member of
several associations promoting plastic and decorative arts,
the so called Vereine (Clubs), which allowed him to get into
contact with a series of contemporary artists. Here are some
of the names of the associations whose member Carol I was:
Preussischer Kunstverein Berlin; Vaterland Verein fr schne
Knste und Kunstindustrie ; Bhmischer Kunstverein, Mnchner What Haret called the medieval family portraits in the entrance
Kntslerverein ; Kunstverein fr die Rheinlande und Westphalen hall actually represent the effigies of the three characters
Dsseldorf ; sterreichischer Kunstverein ; Mnchener indicated at the positions1, 2 and 4. Next to them, there is also
Knstlergenossenschaft. the portrait of Count Christoph of Haigerloch, painted later than
When reading the statute of the association Vaterland 1886. The portrait was transferred from the decoration of the
(Fatherland) it reveals that, yearly, there were exhibitions Vestibule (The Foreigners Entrance) to the storage rooms of the
of painters and, through some auctions, its members could museum. The four portraits are neither signed nor dated. The
purchase works. Carol I held the membership card No. 116, portraits of Karl I and of Anne, born Princess of Baden, situated
issued in 1887 by Vaterland. His name is placed at the top of the in one of the corridors on the ground floor of the Peles Castle,
document, next to some other sovereigns, members of the same were made by Bregenzer after the originals by Hans Holbein
association, for instance, the Emperor of Germany Wilhelm I or Senior. In the Council Hall, in the area destined initially for
his father, Prince Karl-Anton. In 1887, Carol I got the quality audiences, we come across the portraits of Jost Niklaus and of
of member of Kunstverein fr die Rheinlande und Westphalen Graf Eitel Fritz, ancestors of high military virtues. On the upper
(Art Association for Rhineland and Westphalia). The statutes of floor, in the north corridor we can identify the effigies of the
Preussischer Kunstverein (Prussian Association of Arts) unveil princes Johann der Grossmthige and Anton Aloys, Johann Georg
the main purpose of the association, namely, that each member, and his wife Franciska of Salm. These are the portraits in the
at the end of the year, as a result of an auction organized director Lehners letter mentioned above. Out of Harets listing,
by Vereine, could become the owner of a picture made by a the gallery of ancestors is missing (copies by Gustav Bregenzer)
contemporary painter. Therefore, due to these auctions and the having been exhibited at Carol I epoch along the iron staircase
works obtained, the contemporary artists might have entered which connected all the floors from the ground floor to the attic.
into a contract with the administration of the Royal House of These copies represented the Princes of the branch of Markgrafs
Romania, allowing further orders for copies. of Brandenburg, Meinrad I, Meinrad II, Maximilian I.
We found out about the conditions the copies were to fulfil, Originals and copies in the
according to Carol Is wishes, in the Autobigraphische Skizzen,
(Autobiographic Sketches), Franz Matschs notes : the copies after INTERIORS of the castle
ancient masters should have been identical to the original in the
smallest details, including stains and any kind of degradation. At Carol Is choice of the works for the Peles Castle and their
the first stage, it concerned the achievement in the technique of dispatching in the rooms is significant for the characters artistic
water colours of several small sized copies after different works. taste. In July-August 1886, assisted by the sculptor Martin Sthr,
The copies were sent to be considered by the King who agreed his personal artistic counsellor, the king decided the placement
on the final choice. Then, the artists painted the picture on the for the works on the walls. The vision of this accrochage
canvas in oil colours, with dimensions being indicated probably (hanging) bore the print, according to Alexandru Tzigara-
by the King, to fit the surface to be decorated. Samurcas statement, of the pattern offered by the ancestral
castle of Singmaringen.
Ahnengalerie
By searching into the archives of the Peles Museum, it can be
at the Peles Castle ascertained that the inventory of the collection of paintings,
undated but possibly to be situated in the time period 1914-1920,
As mentioned above, most of the portraits in Ahnengalerie actually indicates the situation in 1914 of the works bequeathed
(the Ancestors Gallery) at the Peles Castle are due to Gustav to the Romanian Crown. Otherwise, King Carol I strictly stated
Bregenzer, copied after works at the Sigmaringen residence, that the works should be preserved in the places he had decided
excepting the already mentioned cases. on. Nevertheless, a reconstruction of the exact places of the
works, ancient masters and copies, is not possible since the works
Many of the works are not signed, but their author, after purchased after the moment of the last will (1898/1899) and the
consultation with a series of archive documents is, very likely, copies were not registered in the document. This aspect makes
the painter of the Sigmaringen Court. This reality follows from difficult the process of reconstructing the configuration of the
24 a letter preserved at the National Archives written by Dr. A. Von assembly of works at the Peles Castle, such as it was during Carol
Lehner, the director of the princely Museum of Sigmaringen, to Is lifetime. Confronted with the information given by Jakob von
King Carol I. The letter contains an almost complete list of the Falke (1893) with what Mihai Haret (1924) let us partake of, we
copies made between 1883 and 1886. He drew out the list of may draw to the conclusion that part of the pictures had been
the portraits of Graf Burckhard; Graf Friedrich III; Graf Carl II; displaced, both inside and outside the castle. It is a known fact
Frst Johann Georg; Graf Carl I; Grfin Anna; Graf Eitel Fritz; Jost that, at Queen Elisabetas wish, a series of pictures had been
Niclaus; Frst Joseph Friedrich and Frst Anton Aloys. moved around the residences Pelisor, Bran and Cotroceni. By
comparing the two lists of works, we tried to draw a possible
Neither Bachelin (1893) nor Falke (1893), monographers of the cyma wished by Carol I. In this respect, we chose to reconstitute
residence, did not precisely refer to the presence of these effigies the formula of the background based on pictures, such as Carol
at Peles in 1893. Yet, their existence was certified by Mihai Haret, I had decided in some of the areas with official functions, for
the author of the monograph on the castle (1924) who equally instance The Florentine Hall, which we consider significant for
indicated their preservation place. the Peles Castle.
The Florentine Hall The succession of these pictures which are to be found in the
rooms of the castle is the proof that their owner wished to have
The Florentine Hall and The Column Hall were representation an ideal museum of his own to offer a general view on the history
spaces destined to receive a certain number of guests or to of painting through masterpieces, originals and copies forming
organize banquets in honour of kings or diplomats. Their interiors a single whole.
were conceived similarly to the Italian Renaissance decoration
Haute Renaissance (Early Renaissance), considered by the king
to be the summum in the domain of interior architecture for a
dynastic castle. In this respect, copies after famous Florentine
works, paintings, sculptures and pieces of furniture, but also
original works were added, composing historically, a sumptuous
evocation of the Toscana art.
26
SELECTIVE BIBLIOGRAPHY
29
32
2. BREGENZER, GUSTAV
Ana de Baden
Copie dup anonim german
Ulei pe pnz
200 X 88
La partea superioar inscripie:
,,ANNO AETATIS SUAE 24
Nesemnat, 1883
Originalul se afl la Castelul Sigmaringen
Nr. inv.: 11644; P: 413; PS: 42
33
34
3. BREGENZER, GUSTAV
Portretul Prinului Johann Georg IV
Ulei pe pnz
127 X 108
Semnat i datat: ,,G. Bregenzer cop. 1885
Originalul se afl la Castelul Sigmaringen
Nr. inv.: 12893; P: 613
35
4. BREGENZER, GUSTAV
Portretul Prinesei Franziska de
Hohenzollern, nscut von Salm
Ulei pe pnz
125 X 109
Semnat i datat stnga jos cu rou: ,,G. Bregen-
zer cop. 1885
Originalul se afl la Castelul Sigmaringen
Nr. inv.: 12891; P: 611
36
5. BREGENZER, GUSTAV
Portretul Principelui JosephFriedrich I
de Hohenzollern-Sigmaringen
Copie dup anonim german
Ulei pe pnz
110,5 X 80,5
Semnat dreapta jos cu negru: ,,G. B. cop. 1883
Originalul se afl n Castelul Sigmaringen
Nr. inv.: 12900; P: 619
37
6. BREGENZER, GUSTAV
Portretul Principesei Josephina de Hohenzollern
Copie dup Sebastian Cornu (1804 1870)
Ulei pe pnz
114,5 X 92,5
Semnat i datat stnga:
,,G. Bregenzer cop. nach Seb. Cornu 1900
Originalul se afl n Castelul de la Sigmaringen
Nr. inv.: 12889; P: 609
38
39
40
41
SCENE RELIGIOASE
42
7. SCHNEIDT, MAXIMILIAN VON
Sfntul Luca pictnd-o pe Fecioar
Copie dup Rogier van der Weyden (cca 1399-1435)
Ulei pe pnz
138 X 110
Semnat i datat dreapta sus cu negru:
,,Rogier van der Weyden copie von Max Schneidt 1905
Originalul se afl la Alte Pinakothek, Mnchen i a fost pictat la 1434-1435
Nr. inv.: 11660; PFV: 44; P: 244
43
8. BREGENZER, GUSTAV
nchinarea regilor magi
Copie dup anonim german din secolul al XV-lea
Ulei pe pnz
111 X 79
Semnat i datat stnga jos cu negru: ,,G. Bregenzer cop. 1896
Originalul se afl la Castelul Sigmaringen
Nr. inv.: 12892; P: 612
44
45
46
9. OTETELEANU, OTILIA MICHAIL
Madona n pdure
Copie dup Fra Filippo Lippi (1406 1469)
Ulei pe pnz
128 X 115
Semnat, datat i localizat dreapta jos:
,,Otilia Michail nach Filippo Lippi 1910 Gemlde Galerie, Berlin.
Originalul se afl Gemlde Galerie, Berlin i a fost pictat la 1459
Nr. inv.: 11629; PS: 20; P: 243
47
10. BREGENZER, GUSTAV
Arhangelul Gabriel
Detaliu dup ,,Bunavestire al lui Grard David (cca 1450-1523)
Ulei pe panel
78 X 63
Nesemnat, nedatat
Originalul se afl la Metropolitan Museum, New York i a fost pictat la 1506
Nr. inv.: 12598; P: 183
48
11. BREGENZER, GUSTAV
Fecioara Maria, rugndu-se
Detaliu dup ,,Bunavestire al lui Grard David (cca 1450-1523)
Ulei pe panel
78 X 63
Semnat i datat: ,,G. B. cop. 1886
Originalul se afl la Metropolitan Museum, New York i a fost pictat la 1506
Nr. inv.: 12599; P: 184
49
50
51
55
56
15. CHARLES FLU
Madona primarului Meyer
Copie dup Hans Holbein cel Tnr (cca 1497 1543)
Ulei pe pnz
145 X 102
Semnat, datat i localizat central jos cu sepia: ,,C. Flu pede pinxit Antwerpine 1889
Originalul se afl la Koninklijk Museum vor Schone Kunste, Anvers i a fost pictat la cca 1525-1528
Nr.inv.: 11626; PS: 18; P: 241
57
16. RITTER GOTHA, EUGEN
Salomeea cu capul lui Ioan Boteztorul
Copie dup Bartolomeo Veneto (1502-1555)
Ulei pe pnz
104 X 62
1896
Semnat i datat stnga jos cu rou:
,,E. Ritter, Gotha, 1896
Originalul se afl la Gemldegalerie, Dresda, cat. 201 A
Nr. inv.: 17404; CUST: 2339
58
59
60
17. GRVE, V.
Pctoii n faa lui Iisus
Copie dup Paul Peter Rubens (1577 1640)
Semnat i datat dreapta jos prin zgriere: n. Rubens V. Greve 1886
Originalul se afl la Alte Pinakothek, Mnchen i a fost pictat la 1618
Nr. inv.: 11625; PS: 16; P: 330
61
18. CHARLES FLU
Educaia Fecioarei
Copie dup Peter Paul Rubens (1577-1640)
Ulei pe pnz
150 X 108
Semnat, datat i localizat central jos cu sepia: ,,C. Flu pede pinxit Antverpine 1889
Originalul se afl la Koninklijk Museum vor Scone Kunste, Anvers i a fost pictat la 1625-1626
Nr. inv.: 11630; P: 325; PS: 23
62
63
64
19. RITTER GOTHA, EUGEN
Extazul Sfintei Agnese
Copie dup Jose de Ribera (1591-1652)
Ulei pe pnz
100 X 83
Semnat i datat dreapta jos cu brun: ,,N [ach ] Ribera c [o] p [iert] Ritter Dresden 1886
Originalul se afl la Gemldegalerie, Dresda i a fost pictat la 1641
Nr. inv.: 11666; P: 162; PFV: 56
65
20. SCHNEIDT, LONI
Visul lui Iacob
Copie dup Ferdinand Bol (1616 1680)
Ulei pe pnz
56 X 45,5
Semnat i datat stnga cu negru: ,,Copie nach F. Bol von Loni Schneidt 1911
Originalul se afl la Gemldegalerie, Dresda i a fost pictat n anul 1642
Nr. inv.: 11623; P: 632; PS: 12
66
67
68
PORTRETE
69
70
21. HAAGA, EDUARD
Autoportret
Copie dup Albrecht Drer (1471-1528)
Ulei pe pnz
66 X 48
Semnat i datat pe verso: ,,Copirt v. Ed. Haaga, Mnchen, 1886
Originalul la Alte Pinakothek, Mnchen, inv. 537 i a fost pictat la 1500
Nr. inv.: 7207; PS: 106; P: 222
71
22. WITZLEBEN, LAETIZIA VON
Portretul lui Jacob Muffel
Copie dup Albrecht Drer (1471 1528)
Ulei pe lemn
50 X 38,5
Semnat i datat pe verso: ,, Nach A. Drer, 1526 L. Witzleben 1903
Inscripie n latin: ,,EFFICIES IACOBI MUFFEL AETATIS SUAE ANNO LV SALUTIS VERO MD XXVI
Originalul se afl la Staatliche Museum, Berlin i a fost pictat la 1526
Nr. inv.: 7168; P:112; PS: 67
72
73
74
23. KLIMT, GUSTAV
Portretul Isabellei dEste
Copie dup Tiziano Veccelio (cca 1488 1576)
Ulei pe pnz
100 X 63
Inscripie pe verso pnzei:
,,Isabella dEste Markgrfin Mantua nach Tizian copirt v. G. Klimt 1884
Originalul se afl la Kunsthistorisches Museum, Viena ia fost pictat la 1536
Nr. inv.: 11665; PFV: 54; P: 365
75
76
79
27. WITZLEBEN, LAETIZIA VON
Portretul lui Jacob Muffel
Copie dup Albrecht Drer (1471 1528)
Ulei pe lemn
50 X 38,5
Semnat i datat pe verso: ,, Nach A. Drer, 1526 L. Witzleben 1903
Inscripie n latin: ,,EFFICIES IACOBI MUFFEL AETATIS SUAE ANNO LV SALUTIS VERO MD XXVI
Originalul se afl la Staatliche Museum, Berlin i a fost pictat la 1526
Nr. inv.: 7168; P:112; PS: 67
80
81
82
89
90
35. RITTER GOTHA, EUGEN
Portretul pictorului peisagist Jan Wildens (1586 1653)
Copie dup Anton van Dyck (1599-1641)
Ulei pe pnz
53 X 45
Nesemnat i nedatat
Originalul se afl la Siegerlandmuseum i a fost pictat la 1620
Nr. inv.: 17406; CUST: 2341
91
36. RITTER GOTHA, EUGEN
Saskia, cu plrie roie
Copie dup Harmenszoon van Rijn Rembrandt (1606 1669)
Ulei pe pnz
105 X 65
Nesemnat, nedatat
Datat i identificat copist cf. coresponden cu Kassel 12.11. 2000
Originalul se afl la Schloss Wilhelmshhe, Kassel i a fost pictat la 1633 - 1642
Nr. inv.: 7175; P: 305; PS: 74
92
93
94
37. ANONIM
Portret de brbat
Copie dup Ferdinand Bol (1616 1680)
Ulei pe pnz
Nedatat
Originalul se afl la Alte Pinakothek, Mnchen
Nr. inv.: 11633; PS: 27; P: 307
95
SCENE DE GEN
100
41. WITZLEBEN, LAETIZIA VON
Scen de teatru
Copie dup Jean-Antoine Watteau (1684-1721)
Ulei pe pnz
38 X 50
Originalul se afl la Staatlich Museum, Berlin i a fost pictat la 1714
Nr. inv.: 7211; P: 673; PS: 110
101
102
105
106
43. SCHNEIDT, MAXIMILIAN VON
Vntoare de cerbi
Copie dup Philips Wouwermann (1619 1668)
Ulei pe pnz
111 X 168
Semnat pe verso: ,,Cop. nach Ph. Wouwermann von Max Schneidt
Originalul se afl la Gemldegalerie, Dresda
Nr. inv.: 7294; PS: 185; P: 574
107
INDEX
,,Ana de Baden
Copie dup anonim german
Ulei pe pnz
200 X 88
La partea superioar inscripie: ,,ANNO AETATIS SUAE 24
Nesemnat, 1883
Originalul se afl la Castelul Sigmaringen
Nr. inv.: 11644; P: 413; PS: 42
,,Arhanghelul Mihail
Copie dup anonim german din secolul al XV-lea
Ulei pe pnz
79 X 60
Nesemnat, nedatat
Originalul de afl n capela catolic a Castelului Sigmaringen
Nr. inv.: 11657; PS: 30; PFV: 30
,,Educaia Fecioarei
Copie dup Peter Paul Rubens (1577-1640)
Ulei pe pnz
150 X 108
Semnat, datat i localizat central jos cu sepia:
,,C. Flu pede pinxit Antwerpine 1889
Originalul se afl la Koninklijk Museum vor Scone Kunste,
Anvers i a fost pictat la 1625-1626
Nr. inv.: 11630; P: 325; PS: 23
250 X 95
Inscripie la partea inferioar, cu galben: ,,Philip Fridrich Christoph, 1671.
Semnat i datat dreapta jos, cu rou: ,,G. Klimt, 1883.
Nr. inv.: 7231; P: 450; PS: 130
,,Portretul lui Friedrich I, conte de Zollern
Adaptare dup manscris de secol XVI
Ulei pe pnz
191 X 82
Cca 1884
La partea inferioar, inscripia:
,,Fridrich I Grav zu Zollern im Jahr Christi 980/ seine Gemahlin Ursula Grfin zu
Hohenberg G. Klimt a redat n aceast pnz chipul colegului lui, Franz Matsch.
Semnat dreapta jos, cu rou: ,,G. Klimt.
Nr. inv.: 12875; PS: 40; P: 598
,,Portretul Regelui Carol I Stuart al Angliei RITTER GOTHA, EUGEN (1853 1922)
Copie dup Peter Lely (1618-1680), care la rndul lui a copiat
originalul pictat de Anton van Dyck (1599-1641).
Originalul a ars la 1697 i se afla la reedina Whitehall, Londra
Ulei pe pnz
123 X 97
1886
Identificarea copistului i datare cf. A.N.I.C., Casa regal dosar 34 1886 6
Pnza lui Lely se afl la Gemldegalerie, Dresda
Nr. inv.: 11627; PS: 17; P: 174
Nesemnat, nedatat
Datat i identificat copist cf. coresponden cu Kassel 12.11. 2000
Originalul se afl la Schloss Wilhelmshhe, Kassel i a fost pictat la 1633 - 1642
Nr. inv.: 7175; P: 305; PS: 74
,,Copiii lui Rubens, Albert i Nicolas
Copie dup Peter Paul Rubens (1577 1640)
Ulei pe pnz
155 X 88
Nesemnat pe fa; semnat pe verso: ,,Ritter-Gotha, 1887
Identificare copist i datare A.N.I.C., Casa regal, dosar 31 1887 169
Originalul se afl la Galeria Liechtenstein, Viena i a fost pictat la 1626-1627
Nr. inv.: 11620; P: 325; PS: 9
,,Portret de brbat
124 Copie dup Harmenszoon van Rijn Rembrandt (1606 1669)
Ulei pe pnz
108 X 75
Nesemnat, nedatat
Originalul se afl la Alte Meister Gallerie, Dresda i a fost pictat la 1656
Nr. inv.: 7221; PS: 120; P: 92
,,Portretul pictorului peisagist Jan Wildens (1586 1653) - atribuit
Copie dup Anton van Dyck (1599-1641)
Ulei pe pnz
53 X 45
Nesemnat i nedatat
Originalul se afl la Siegerlandmuseum i a fost pictat la 1620
Nr. inv.: 17406; CUST: 2341
,,Portretul ducelui Wilhelm al IV-lea de Bavaria (pandant la 12594) SCHAD ROSSA, PAUL (1862 1916)
Copie dup Hans Wertinger (cca 1465 1533)
Ulei pe pnz
70 X 45
Semnat pe verso cu negru
,,Paul Schad cop. nach Hans Burgmair (greeala copistului !)
Originalul se afl la Alte Pinakothek, Mchen i a fost pictat la 1526
Nr. inv.: 12595; PFV: 37; P: 250
Semnat i datat pe verso: ,,Paul Schad cop. nach Hans Burgmair, 1886
Originalul se afl la Alte Pinakothek, Mnchen i a fost pictat la 1528
Nr. inv.: 11637; P: 265; PFV: 31
,,Marchiza de Spinola (atribuire incert) SCHNEIDT, MAXIMILIAN VON (1858 1937)
Detaliu dup Anton van Dyck (1599 1641)
Ulei pe pnz
53 X 63
Nesemnat, nedatat
Originalul se afl la Gemldegalerie, Berlin i a fost pictat la 1606
Nr. inv.: 7295; PS: 196; P: 176
,,Ghirland de fructe
Copie dup Peter Paul Rubens (1577-1640)
Ulei pe pnz
86 X 171
Semnat pe verso: ,,Copie nach P.P. Rubens von Max Schneidt
Originalul se afl la Alte Pinakothek din Mnchen i a fost pictat la cca 1615-1617
Nr. inv.: 11648; P: 226; PFV: 12
,,Bunavestire
Copie dup Maestrul vieii Fecioarei Maria (activ la cca 1460-1490 la Cologne)
Ulei pe lemn
80 X 161
Semnat i datat pe verso: ,,Copiert Meister Marien lebens von M. Schneidt
Originalul se afl la Alte Pinakothek din Mnchen, inv. 622 i a fost pictat la cca
1460 127
,,Vntoare de cerbi
Copie dup Philips Wouwermann (1619 1668)
Ulei pe pnz
111 X 168
Semnat pe verso: ,,Cop. nach Ph. Wouwermann von Max Schneidt
Originalul se afl la Gemldegalerie, Dresda
Nr. inv.: 7294; PS: 185; P: 574
,,Scen de teatru
Copie dup Jean-Antoine Watteau (1684-1721)
130
Ulei pe pnz
38 X 50
Originalul se afl la Staatlich Museum, Berlin i a fost pictat la 1714
Nr. inv.: 7211; P: 673; PS: 110
,,Scen galant sau ,,Menuet
Copie dup Nicolas Lancret (1684 1721)
Ulei pe pnz
56 X 70, 5
Nesemnat, nedatat
Semnat pe verso: ,,L. von Witzleben, cop. nach Lancret 1906
Originalul se afl la Louvre, Paris (?)
Nr. inv.: 7250; P: 234; PS: 149
,,Fecioara cu donatori
Copie dup Anton van Dyck (1599-1641)
Ulei pe pnz
235 X 169
Semnat stnga jos cu negru
,,Copie daprs van Dyck, 1912, 18 jul. Laetizia de Witzleben;
verso: ,,Muse du Louvre, 1912
Originalul se afl la Louvre, Paris i a fost pictat la cca 1630
Nr. inv.: 11642; P: 435; PS: 38
131
,,Rpirea fiicelor lui Leucip
Copie dup lucrarea ,,Castor i Polux rpesc fiicele lui Leukypos de Peter Paul
Rubens (1577 1640)
Ulei pe pnz
133 X 123
Nesemnat, nedatat
Originalul se afl la Alte Pinakothek, Mnchen i a fost pictat la 1617
Nr. inv.: 11636; P: 324; PS: 30
,,Hidalgo
Copie dup Diego Velzquez (1599 1660)
Ulei pe pnz
Semnat dreapta jos cu negru ,,L. W.
Nedatat
Originalul se afl la Louvre, Paris (?)
Nr. inv.: 12596; P: 161
,,Adoraia magilor
Copie dup pictor de coal Veronese (secolul al XVI-lea)
Ulei pe pnz
Nedatat
Inscripie pe verso, n creion: ,,Schule Veronese
Nr. inv.: 11658; PFV: 32; P: 228
,,Natur static
Copie dup Cornelius de Hem (1631-1695)
Ulei pe pnz
140 X 92
Nesemnat, nedatat
Nr. inv.: 7100; P: 300
,,Natur static
Copie dup Cornelius de Hem (1631-1695) 133
Ulei pe pnz
140 X 92
Nesemnat, nedatat
Nr. inv.: 7101; P: 301
,,Muza Caliope
Copie dup Giorgio Vasari (1511-1574)
Ulei pe pnz
360 X 360
Nesemnat, nedatat
Originalul se afl la Palazzo Vecchio, Florena
Nr. inv.: 7232; PS: 227; P: 332
135
,,Portretul lui Wolfgang de Zollern
Copie dup anonim german
Ulei pe pnz
191 X 82
Nesemnat, nedatat
Inscripie: ,,948
Nr. inv.: 12877; PS: 6; P: 600
,,Dansul amorailor la rpirea Proserpinei
Copie dup Francesco Albani (1578-1660)
Ulei pe pnz
98 X 73
Nesemnat, nedatat
Inscripie pe verso: ,,Copie nach No 337 der Knigl. Gemlde Galerie zu Dresden
Originalul se afl la Gemlde Galerie din Dresda
Nr. inv.: 12901; P: 620
136
137
MAXIMILIAN VON SCHNEIDT
Sfntul Luca pictnd-o pe Fecioar, detaliu
Copie dup Rogier van der Weyden
Interesul pentru domeniile istoriei artei i arhitecturii fcea parte, n n dorina de a nzestra instituia monarhiei romne, cu un patrimoniu de
mod firesc, din formaia intelectual a unui Principe, dincolo de educaia valoare, dup modelul oferit de majoritatea caselor domnitoare, aflate pe
tradiional aristocrat de om de arme care s tie la nevoie s conduc tronurile europene, Carol I lsa Coroanei Romniei prin testament (1898),
armata i s realizeze construcii militare. coleciile sale particulare de tablouri vechi i cea de arme, preferatele sale
ntre toate fondurile patrimoniale reunite n reedina regal de la Pele.
Interesul i pasiunea pentru art n cazul Regelui Carol I, datorate n bun
parte educaiei artistice, erau legate nendoielnic i de ambiana muzeal Cele dou secvene pictura i armele nu puteau lipsi din zestrea unui
a castelului familial de la Sigmaringen ntreinut i sporit de tatl su, principe avnd strmoi de merit n lumea medieval, dar nici din cea a unui
Principele-colecionar Karl-Anton. rege i implicit a statului pe care acesta l conduce.
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