Julius Schmid: Artwork Sources and Literature
(includes organizations and institutions which may once have owned Schmid art work)
§ Aichelburg, Wladimir, Das Wiener Künstlerhaus 1861-1986, Wien: Kunstverlag Wolfrum, 1986, page 60:
Contains a reproduction of Schmid's portrait of Archduke Franz Ferdinand (1895), presently(as of 2003) on loan and exhibited at the Hofburg, the former Imperial palace.
§ Allgemeines Lexikon der bildenden Kunstler von der Antike bis zur Gegenwart, hrsg. von Ulrich Thieme und Felix Becker u.a., Leipzig: Engelmann, 1907-1950, 37v., Schmid: XXX, 156-157.
§ "Anstaltsgebäude und Konzertsäle der Steiermärkischen Sparkasse," in Stadterweiterung von Graz: Gründerzeit, ed. Wilhelm Steinböck, Graz-Wien: Leykam-Verlag, 1979, vol. II, 143-147. Publikationsreihe des Grazer Stadtmuseums. This volume includes a brief historical review of the construction of the building known today as the Grazer Congress, or Graz Convention Center. There is mention of Julius Schmid's interior décor - the medaillons of famous composers - in the Stefaniensaal.
§ Artnet.com. A search for Julius Schmid, in March, 2001, returned the following items for the auction period 1990-2000:
Ø Franz Schubert am Klavier: aquarelle, 14.5x9cm, 1900. [See below 'Sotheby's' for new owner]
Ø Kaiserin Maria Theresia, umgeben von den Grossen ihrer Zeit (Empress Maria Theresia, surrounded by the great figures of her time): oil on canvas, 55.5x125.5cm, designed in 1898 for a monumental ceiling painting in the Imperial Palace. At auction 12 March 1998 and 24 March 1999; went on sale in 2001 in its original carved frame dating from the period.
Ø Beethoven in Quiet Contemplation: oil on canvas; 91.4x142.2cm, nd. At Sotheby’s New York auction , lot 243, 18 March 1998.
Ø Beethoven; oil on canvas, 33.5x46cm, nd] At auction 01 December 1998.
Ø Die Konzertstunde: aquarelle; 12x15cm, nd.
Ø Krankenlager mit verzweifelter Mutter: oil on canvas; nd. At auction 08 May 1996.
Ø Antiker Festzug: gouache; nd.
Ø Knabe mit Federhutchen: oil on canvas; nd.
§ Bénézit, E., Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de tous les pays par un groupe d'écrivains spécialistes français et étrangers. Nouvelle Édition, Paris: Gründ, 1999; Schmid: XII, 457.
§ Boris Winitsky Fine Arts, "Renaissance Scene" drawing - decoration design; ink, watercolor and gouache on paper; unframed 19x52.5cm/7.5x20.7in; late 19th century. Offered at auction Boris Wilnitsky Fine Arts online at <www.wilnitsky.com/scripts/redgallery1.dll/details?No=9087> accessed April 14, 2009.
§ Buchowiecki, Walter, "Geschichte der Malerei in Wien" in Geschichte der Bildenden Kunst in Wien. Geschichte der Stadt Wien, Wien, 1955, page 172: Ebenso hat Julius Schmid (Wien 3.II.1854-1.II.1935, Mödling) einerseits Deckenfresken in der Schottenkirche gemalt, anderseits aber auch grosse Kompositionen mit Stoffen aus der Wiener Kulturgeschichte gestaltet. Sein 'Schubertabend in einem Wiener Bürgerhause', mit dem er ein Thema aufgriff, um dessen endgiltige Formung M. v. Schwind Jahrzehnte hindurch gerungen hatte ohne es vollendet aus der Hand zu legen, war seinerzeit ein ebenso bewundertes wie allseits beliebtes Bild, das, in kleiner Wiedergabe, über keinem Flügel eines musikliebenden Wiener Heims fehlen durfte. Vom gleichen Maler ist auch ein Bild 'Haydn-Quartett'.
§ Busse, Joachim, Internationales Handbuch aller Maler und Bildhauer des 19. Jahrhunderts, Wiesbaden: 1977.
§ Dom- und Diözesanmuseum der Erzdiözese Wien. [Cathedral and Archdiocesan Museum, Vienna]
The painting Lasset die Kindlein zu mir kommen ("Suffer the Little Children to Come to Me"; 1890/1891) is listed as owned by the Archdiocesan Museum; see Österreichisches Biographisches Lexikon, 1815-1950, ed. Österreichischen Akademie derWissenschaften, Graz: H. Böhlaus Nachf., 1957-, Vol. 1-11. However, in 2001 the Museum stated that it now owns no work of Schmid's. This painting may first have stayed in Schmid's possession for a time after its exhibition at the 1893 World's Columbian Exposition, Chicago, USA. Its present whereabouts and ownership are unknown. No information concerning either Schmid or this painting can be found in the Museum's pamphlets or in the extensive Museum catalog. One of the catalog's authors, Rupert Feuchtmüller, may have some further knowledge.The painting is reproduced online as part of a web site on the Teachings of Jesus at
www.gardenofpraise.com/bibl26s.htm
See: Famous Paintings of the World, New York: Fine Art Publishing, 1896 [photo-electrotype engraving, 11x7 1/2in]. Three hundred and twenty photographic reproductions of modern masterpieces from the principal public galleries, famous private collections, and artists' studios of the era. The collection includes 100 of the most notable paintings exhibited at the World's Columbian Exposition, with Julius Schmid's "Suffer the Little Children to Come to Me" being one of the Exposition artworks in this book.
§ Eder, Gabriele Johanna, "Eduard Hanslick und Guido Adler: Aspekte einer menschlichen und wissenschaftlichen Beziehung," in Martin Seiler und Friedrich Stadler, hrsg., Kunst, Kunsttheorie und Kunstforschung im wissenschaftlichen Diskurs. In memoriam Kurt Blaukopf. (Mitherausgeber: Universität für Musik und darstellende Kunst in Wien, Abteilung Musikpädagogik), Wien: ÖBV, 2000, 107-142.
Guido Adler (1855-1941), the famed Austrian musicologist, and Julius Schmid first met in the summer of 1889 at St. Gilgen where the Adler and Schmid families were vacationing. The two men became intimate and lifelong friends. Eduard Hanslick (1825-1904), the long-time music critic of Vienna's leading newspaper, Neue Freie Presse, and professor of music history at the University of Vienna, was Adler's teacher. Schmid was the student and protégé of August Eisenmenger (1830-1907) at the Vienna Academy of Fine Arts, whose successor at the academy Schmid became. The personal and professional lives of Schmid and Adler had many parallels, enough so to solidify the closeness that developed between the two men, and extended to a warm friendship between their wives. At some point in time early in their friendship, Adler and Schmid may have discussed their concerns about their future careers and their respective relationships as students and disciples of their notable teachers because Schmid produced amusing line caricatures of Hanslick and Adler. One caricature shows the younger Adler striding impatiently behind Hanslick, his elderly teacher; and, the second shows Adler leapfrogging over Hanslick who is down on his knees. This article is about the two musicologists, Adler and Hanslick, but it does underscore that Schmid had a profound knowledge of and love for music, and was in touch with musical currents and personalities in Vienna through his friendship with Adler.
On page 109, Eder states that Schmid never produced a likeness of a contemporary composer; that his portraits and scenes were of the great composers of the past. However, his portraits of composers in the Stefaniensaal of the Grazer Congress, fourteen medaillons en grisaille, include Johannes Brahms (1833-1897), Anton Bruckner (1824-1896), Richard Wagner (1813-1883), and Hugo Wolf (1860-1903). All four lived during Schmid's lifetime. Brahms, Bruckner, and Wolf were active in and lived in Vienna.
§ Feuchtmüller, Rupert and Wilhelm Mrazek, Kunst in Österreich 1860-1918, Wien: Forum Verlag, 1964, page 67:
"Julius Schmid (1854-1935) wählte mit seinen musikalischen Themen 'Schubertabend' oder 'Haydnquartett' historische Stoff.
§ Freimann, Silvia, “Julius Schmid (1854-1935),”Wiener Geschichtsblätter, 62. Jahrgang, Heft 2, Wien, 2007. At this art historian’s web site is a reproduction of a Schmid work labeled “Entwurf für den Festsaal der Neuen Hofburg / Wien – 1898.” See: www.kunst-arterie.de/biografie.htm.
§ Fuchs, Heinrich, Die oesterreichischen Maler des 19. Jahrhunderts, Wien: Fuchs, 1972-74, 4 vol. Schmid: IV, K22. Für sein Gemälde 'Schubertabend in einem Wiener Bürgerhause' wurde er im Jahre 1894 in Berlin mit der Goldmedaille ausgezeichnet." This statement, if correct, would call into question the timing and the reason for Schmid's painting.
§ Gesellschaft bildender Künstler Österreichs, Wien/Künstlerhaus, Wien. [Society of Austrian Artists, Vienna]
Schmid became of member of k/haus, as it is known today in its shorthand version, in 1881. In 1884 Schmid produced the first poster (Plakat) for the Künstlerhaus. In 1934, a brochure was issued honoring the artist on his 80th birthday. He was exhibited there in 1925, and twice after his death there were memorial exhibitions - in 1937 and in 1954, the latter on his 100th birth anniversary. Today, k/haus possesses no paintings by Schmid on its premises. Formerly, the Society had in its possession Schmid's portrait of Archduke Franz Ferdinand (1895). The portrait is said to be on loan and exhibited at the Hofburg, the former Imperial palace. According to the present archivist of k/haus, Dr. Wladimir Aichelburg, no catalogue raisonné of Schmid's oeuvre has ever been compiled. The society's building is having extensive repairs done to its façade; it may relocate to new premises after 2001. In 2002, a 1900 poster for the Künstlerhaus by Schmid and Leopold Theyer was offered at auction. Also see above, Aichelburg.
§ Gesellschaft der Musikfreunde in Wien. [Society of the Friends of Music, Vienna]
The Gesellschaft owns no paintings by Schmid. The Musikverein was completed and opened in 1870, obviously well before Schmid could have had any direct connection with the building. The main concert hall (Grosser Musikvereinssaal) has ceiling paintings, Apollo and the Nine Muses surrounded by allegorical figures, by August Eisenmenger, Schmid's teacher at the Vienna Academy of Fine Arts and later his collaborator. Following his teacher Eisenmenger, Schmid became a muralist, especially noted for his ceilings of the Convention Center music rooms in Graz (Grazer Congress) and the Schottenkirche in Vienna. It is uncertain if Schmid had a part in any subsequent renovation of the interior decorations - walls and ceilings - of the Musikverein. The building is presently undergoing large-scale exterior renovation.
§ Getty Research Institute Vocabulary Program, ULAN (Union List of Artist Names) Name Record. Has entry for Julius Schmid.
§ Giessel, W. (1869-1938) Painted a reduced copy (80x110cm) of Schmid's Ein Schubertabend in einem Wiener Bürgerhause. Listed in Schubert 200 Jahre: Schubert im Spiegel der Nachwelt. Ausstellung im Schloss Achberg und im Stadtmuseum Lindau, 3. Mai bis 7. September 1997.
§ Graphische Sammlung Albertina, Wien. [Graphic Collection Albertina, Vienna.]
The Albertina, which reopened in 2003 after being closed for extensive renovations, has the following items by Schmid in its collections:
Ø Motiv aus Miramare bei Triest: watercolor; nd.
Ø Studienblatt mit 2 Köpfen für die Schauspielerin Anni Rainer, die Modell für die Tänzerin in dem Bild Abschied von der Jugend (Reichenberg): crayon drawing; nd.
Ø Studie zu einer Tänzerin: crayon drawing; nd.
Ø Studie zu dem Porträt der Sängerin Mme Desjoyaux: crayon drawing; nd.
Ø Wiederholung des Themas der Sitzenden: crayon drawing; nd.
Ø Lasset die Kindlein zu mir kommen: engraving; nd.
Ø Schubertabend in einem Wiener Bürgerhause: engraving after the oil painting; nd.
§ Grazer Congress. [Graz Convention Center]
The Year 2000 marketing catalog of the Graz Convention Center, with photographs of the building interior, includes long shots of the Kammermusiksaal ceiling with three Schmid lunettes: Schubert with the baritone Johann Michael Vogl and two of the four famous and musically accomplished Fröhlich sisters, Katharina and Josefine (1803-1878); Beethoven and the Schuppanzigh Quartet; and Mozart and trio with Joseph Haydn.
There is a postcard of the Schubert lunette, postmarked 1912. The sepia photo is captioned: "Lünetten-Bilder im Kammermusiksaal. Schubert am Klavier. Professor Julius Schmid, Wien." This information was provided by the owner of one such card, Richard Morris of The Schubert Institute (UK), a collector of Schubertiana.
Also by Schmid, in the Center's Stefaniensaal is a series of fourteen medaillons en grisaille of famous composers, which are placed at intervals around the hall, high above the floor. The composers are: Bach, Beethoven, Brahms, Bruckner, Gluck, Händel, Haydn, Mendelssohn, Mozart, Schubert, Schumann, Wagner, Weber, and Hugo Wolf. Staff members of the Graz Convention Center photographed the medaillons with a digital camera and transferred the images to a photo CD for the author.
§ Hermesvilla, Wien. [In the Schauräume of the Hermesvilla, the Imperial apartments, part of the Hofburg, the Imperial palace complex in Vienna.] Figurative murals by Schmid were produced in 1884 for the exercise room (Turnzimmer) in the private apartment of Empress Elisabeth. The work was completed according to instructions from August Eisenmenger, Schmid's teacher at the Vienna Academy of Fine Arts and a noted muralist.
§ Heuberger, Richard, Franz Schubert, Berlin: Verlags-Gesellschaft “Harmonie”, 1902. An engraving of the Schubertabend appears in this book.
§ Hevesi, Lajos (Ludwig), Österreichische Kunst in 19. Jahrhundert, Leipzig: E.A. Seeman, 1903, pp.246, 248:
In neuester Zeit hatte Julius Schmid (geb.1854, jetzt Professor) trotz einer gewissen Trockenheit Erfolg, namentlich mit dem kleinen Bildnis der Baronin Ebner-Eschenbach in ihrem Arbeitszimmer, mit ihrer Uhrensammlung (s. ihre Novelle: "Lotti die Uhrmacherin') als hintergrund.
§ Historisches Museum der Stadt Wien. [Historical Museum of the City of Vienna]
Paintings
Ø Portrait of the sculptor Otto König, 1918, oil on canvas, 80x63.5cm.
Ø Portrait of town councillor Karl Meisel, date?, oil on canvas, 36x20.5cm.
Ø Portrait of mayor Johann Nepomuk Prix, 1888, oil on canvas.
Ø Portrait of Leopoldine Schmid, ca. 1890, oil on wood, 27x37.5cm [Frau Leopoldine Schmid, a/k/a Tini, wife of the artist].
Ø Portrait of Friedrich von Schmidt, 1890, oil on canvas, 63.5x49.7cm.
Ø Portrait of Franz Berger, ca. 1900, oil on canvas, 79x63.5cm.
Ø Portrait of Ludwig van Beethoven, ca. 1901, oil on canvas, 95x145cm.
Ø Portrait of Alfred Arneth, 1894/95, oil on canvas, 93.5x70.5cm.
Ø Portrait of Viktor Silberer, date?, oil on canvas, 87x137cm.
Portrait of Kaiser Franz Joseph I, 1908, oil on canvas, 260x163cm.
Ø Beethoven auf der Bastei, 1897.
Ø Haydn-Quartett, 1905/1906 [See also Österreichische Nationalbibliothek. Bildarchiv].
Ø [Portrait of K. Prix, 1893?].
Ø Sofortprogramm der Wiener Bürgerschaft, date?, sepia on wood, 250x250cm.
Works on Paper
Ø Portrait of Franz Grillparzer, 1871, chalk
Ø Friedrich Schmidt in his coffin, 1892, watercolor, 28x22cm
Ø Portrait of Adolf Kern, 1887, watercolor, 29x33cm (30x24cm)
Ø Portrait of Franz Berger, ca. 1910, pastel, 64x44cm
Ø Portrait of Ernst Hauswirth, 1888, chalk, 29.8x22cm (44.5x34cm)
Ø Portrait of August Eisenmenger, Leopold Karl Müller and Karl Hasenauer, ca. 1878, chalk, 31.5x45cm
Ø Drawings (7) for the series Allegorien und Embleme for Gerlach und Schenk
Ø Prints (6) in the series Allegorien und Embleme for Gerlach und Schenk
None of Schmid's works are on exhibit in the Historisches Museum der Stadt Wien nor is he listed in the general catalog for the museum [as of November 2001]. The Historisches Museum had in its collection an aquarelle after Schmid's Das Haydn Quartett (see above) done by Franz Hanfstaengl and copyrighted by him in 1907. This aquarelle may be the object of restitution from the Museum -- restitution is used as the Austrian term to identify art that may have be stolen or forced to be sold under the Nazi regime. Further research is required to confirm this particular situation.
§ "Julius Schmid und die Schubert-Ausstellung 1897," Schubert 200 Jahre: Schubert im Spiegel der Nachwelt. Ausstellung im Schloss Achberg und im Stadtmuseum Lindau, 3. Mai bis 7. September 1997, Heidelberg: Editions Braus, 1997, 206-209. This large-format catalog includes Schmid's preliminary studies and composition of the painting Schubertabend. Shown are complete and partial sketches of various individuals in appropriate historical attire. This article provides the only known published record of the evolution of Schmid's conception of the painting, its grouping of the figures, and of his placement of Schubert.
§ Katalog der Schubert-Zentenar-Ausstellung der Stadt Wien 1928 im Messepalast. Wien: Wiener Messe AG, 1929. Catalog entry 323 is Schmid's Ein Schubert-Abend in einem Wiener Bürgerhause.
§ Kaufmann, Erika, ed., 175 Jahre Musikverein für Steiermark Graz, 1815-1990, Graz: Musikverein für Steiermark, 1990. Pages168-170 include closer photos of the restored Kammermusiksaal ceiling and its three lunettes.
§ Künstler, Gustav, "Julius Schmid," Kunst dem Volk, vol.13, no.7, July 1942, 10-15.
This periodical was established during the National Socialist regime in Germany and, as can be supposed, followed the party line of promoting realistic and genre art, for and by the Volk, stressing themes that had ideological approval - nature, family (especially motherhood), homeland, etc. Included in the article are plates of the Schubertabend and
the portrait of Marie von Ebner-Eschenbach.
§ Mayr, Max, "Ein stolzer Tag für das Kunsthandwerk," Kleine Zeitung [Graz] 17. September 1980, p.19.
A local newspaper article about the Graz painters and art restorers, Ferdinand Fladischer and Emmerich Mohapp, who did the restoration work on the Schmid ceiling lunettes, with close-up photos of the lunettes and of the restorers. Schmid worked in one of his favorite mediums, dry fresco (seccomalerei), which has a tendency to flake thus requiring restoration.
§ Messing, Scott, “Klimt’s Schubert and the Fin-de-Siècle Imagination,” in James Leggio, ed., Music and Modern Art, New York: Routledge, 2002, 1-35. On page 2 is a photograph of the installation at the Künstlerhaus. The photograph by Fritz Ghiglione originally appeared in Die Vornehme Welt, 1, no.5 (February 4, 1897), page 82. Messing cites%
