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 the news reports of the opening of the Schubert-Ausstellung.
§ Musik und Theater [Zurich], November 1997.
This issue reported on Heinz Reber (1952-), Swiss-born composer whose opera "Lichter Spiegel KlangBild Körper der Romantik" was premiered November 1997 at the Hochschule für Musik und darstellende Kunst in Vienna. Reber uses as one setting in the opera Schmid's best-known painting, Schubertabend.
§ Necker, Moritz, "Marie von Ebner-Eschenbach," Zeitschrift für bildende Kunst, Neue FolgeVI, Heft 10, 1895, 249-251. Laudatory review of Schmid's portrait, with large plate. Article is devoted mostly to Ebner-Eschenbach, with brief biography of Schmid and mention of some of his recent portraits.
§ Neue Freie Presse, 5. February 1935, page 5. Obituary of Julius Schmid. Besides his widow, Leopoldine (known familiarly as Tini), Schmid was survived by his widowed daughter, Margret [sic], who had been married to the composer Carl Prohaska (1869-1927), and a son who was a physician in Prague where he taught at the university.
§ Nikolaus Dumba - Portrait eines Mäzens. Die Schubert-Sammlung der Stadt Wien. Wiener Rathaus, März-August 1997, Wien: Wiener Stadt- und Landesbibliothek, 32pp. Dumba commissioned many art works including Klimt's Schubert am Klavier as a sopraporta for the music room in his Vienna villa. Klimt submitted the painting to the Dumba-inspired art competition (see below) under the guidance of Karl Glossy. Dumba acquired a vast trove of Schubertiana which, after his death, was left to the City of Vienna. Dumba financed and led the 1897 Schubert Centennial art competition which was won by Schmid's entry, Ein Schubertabend in einem Wiener Bürgerhause.
§ Österreichische Galerie, Oberen Belvedere [Austrian Gallery, Upper Belvedere]
Ø Portrait, B. Baumeister, 1895
Ø Portrait, Stefanie Fürth, oil on canvas, 100x120cm, 1900. [See also Österreichische Nationalbibliothek. Bildarchiv: Steffi Fürth, painting.]
§ Österreichische Nationalbibliothek. Bildarchiv. Vienna.
"Inhaber der Rechte von
Julius SCHMID
Dr. Wolfgang Prohaska
p.A. Kunsthistorisches Museum"
Fifty-seven entries currently are listed in the card index of the picture archive [2003], which include photographs and portraits of the artist as well as a partial inventory of the artist's work. The card index, but not the images themselves, are available online at the ÖNB web site. The ÖNB entries cite some works mentioned elsewhere in this list as well as some Schmid artwork not otherwise identified or previously known through published sources; they are shown below:
Ø Einzug des Frühlings. Guasch. (Allegorie). No date.
Ø Frühlingsstimmung. Oil. No date.
Ø Alfred v. Arneth. Vorstudien zu dem Gemälde 1895. [Two versions] Pastell; Kohlzeichning, weiss gehöht.
Ø Fernande Badarous; verm. Goriany. Painting, 1900, Paris.
Ø Madeleine Badarous. Painting, 1900.
Ø Ludwig van Beethoven spielt vor einer Adelsgesellschaft im Hause Lichnowsky. Painting. Two versions. No dates.
Ø Ludwig van Beethoven, im Walder sitzend. Reproduction of a photo of the original painting. No date.
Ø Laura Benk. Kohlzeichnung, weiss gehöht. Vorstudie zu einem Gemälde. No date.
Ø Trude Bosel. Kohlzeichnung, weiss gehöht. Vorstudie zu einem Gemälde. No date.
Ø Julius v. Derschatta. Kohlzeichnung, weiss gehöht. Skizze zu einem Gemälde. No date.
Kaiser Franz Joseph I. Gemälde f.d. Ministerratspräsidium. 1895
Ø Franz Ferdinand, Erzh.-Thronf. v. Ö. Kohlzeichnung (Skizze zu einem Gemälde. 1895.
Ø Viktor v. Fuchs. Ölgem. Wien, Parlament. No date.
Ø Ludowike Glöde (verm. Gfn. Schaumburg). Originale Kohlzeichnung mit Weisshöhungen. No date.
Ø Franz Grillparzer besucht Ludwig van Beethoven. Ölskizze auf Lw. No date.
Ø Wilhlem v. Härtel. Pastell (Vorstudie zu einem Gemälde 1906 f.d. Senatssaal d. Wiener Universität.
Ø Haydn-Konzert (Orchesterprobe) beim Grafen Esterhazy. Gemälde. 1932.
Ø Hof- und Gerichtsadvokat Heinrich Kern (?) Gemälde (photo). No date.
Ø Bildhauer Otto König. Original-Kohlzeichnung mit Weisshöhungen. No date.
Ø Kriegsrat unter dem Vorsitz der Kaiserin Maria Theresia. Gemälde. 1912.
Ø Porträts eines Ehepaares Mautner. Original-Kohlezeichnungen m. Weisshöhungen. No date.
Ø Das 'Mozart-Trio'. Lünettenbild im Brahmssaal (?) [sic] des Musikvereinsgebäudes. Lichtdruckreproducktion. No date.
Ø Rudolf v. Habsburg ergreift nach seiner Wahl zum König durch die Kurfürsten ein Kruzifix anstelle des Zepters. Gemälde. 1912.
Ø Ludwig Gf Schaumburg. Kohlzeichnung, leicht weiss gehöht. Vorstudie zu einem Gemälde. No date.
Ø Kinderbildnis seiner Tochter Margarete Schmid (mit Puppe). Gem. um 1897.
Ø Bildnis seiner Tochter Margarete Schmid (mit grossem Strohhut). Gemälde. 1911.
Ø Schmidt, Friedrich Frh. V. Bildnis in vorgerückten Jahren…. Stahlstich v. L(eopold) v. Stubenrauch nach Zeichn. v. J(ulius) Schmid. No date.
Ø Franz Schubert mit sechs Freunden beim Heurigen. Gemälde. No date.
Ø Viktor Silberer. '1873 im Rennboot mit festem Sitz'. Gemälde, wiedergeg. In Rasterdruck. No date.
Ø Szenenbild aus dem einaktigen Lustspiel 'Zauberformel' v. Friedrich Singer mit Friedr. Mitterwurzer, Karl Meixner, Ernst Hartmann u.a. Zeichnung. 1872.
Ø Der 'Plein air-Maler unter Null' Wilhlem Bernatzik umgeben von seinen frierenden Kollegen August Eisenmenger, Leopold Karl Müller und Rudolf Karl Huber. Scherzbild anl. Des Künstlerfestes 1890 II 17. Foto.
Ø Westdeutsche Flusslandschaft. Oel auf Leinwand. No date.
Ø 'Du bist wie eine Blume''. Gem. ANM.: Von Kaiser Franz Joseph I. Angekauft, obwohl vom Künstlerhaus refusiert. No date.
Ø Caritas. Gem. 1896. ANM.: Anl. Einer Ausstellung in St. Petersburg von Zar Nikolaus II. Angekauft. Verschollen.
Ø Bäuerliches Paar auf einer Hausbank un St. Gilgen. Gem. (1884-90) [sic].
Ø Kopfrandleiste zu dem Kapitel 'Das Wiener Schauspiel' f.d. Bd 'Wien' der 'Österr.-ungar. Monarchie in Wort und Bild'. Federzeichnung. No date.
Ø Schlussvignette zu dem Kapitel 'Das Wiener Schauspiel' f.d. Bd 'Wien' der 'Österr.-ungar. Monarchie in Wort und Bild'. Federzeichnung. No date.
Ø Akademie der Bildenden Künste. ADRESSE an Kaiser Franz Joseph I. Zum 50-jähr. Regierungsjubiläum 1898 XII 2. … Deckfarbenmalerei v. J(ulius) Schmid.
§ Oxford University (UK). Taylor Institution Library. Owns two letters written by Austrian novelist, short story writer and playwright Marie von Ebner-Eschenbach (1830-1916): (1) 14 October 1892 to Frau Schmid in which she mentions that in Vienna she saw her portrait done by Julius Schmid; and, (2) 18 September 1896 to Julius Schmid.
§ Prohaska, W. [Wolfgang], "Julius Schmid," Österreichisches Biographisches Lexikon, 1815-1950, Wien: Österreichischen Akademie der Wissenschaften, 1992, v.10, 279-280.
NOTE: Professor Prohaska, of Vienna, owns the personal papers and correspondence of his great-grandfather, Julius Schmid.
§ Raimundtheater, Wien. [Raimund Theater] Schmid was commissioned to produce this original work on the main curtain of the theater (Hauptvorhang) in 1893. The curtain still exists; a model was known to have been in the Historical Museum of the City of Vienna. The curtain depicts the playwright Ferdinand Raimund at the center surrounded by Biedermeier motives and allegorical scenes taken from Raimund's Die Gefesselte Phantasie, his play which inaugurated the opening of the Raimund Theater in 1893. The curtain remained in use until it had to be placed in storage because of its poor condition. In 1985, the Raimund Theater had the curtain renovated. It was restored to its original state and then mounted on the fire curtain, and it is still used as the theater's main curtain. The original work was described as follows: "Im Mittelfelde eine Vision Raimund's (Gestalten aus dem 'Verschwender'), rechts und links die als Statuen gedachten Figuren der Schönheit und der Wahrheit, als Predelle ein Lebensfries."
The administrative director of the Raimundtheater has provided a photograph of the restored curtain.
§ Resch, Wiltraud et al., Die Kunstdenkmäler der Stadt Graz: die Profananbauten des I. Bezirkes, Altstadt, Wien: Schroll, 1997, 354-358. In five pages, the authors present a modern though brief history of the building and later renovation of the Grazer Congress in Graz Altstadt. This includes interior decoration of the Stefaniensaal (the fourteen medaillons en grisaille)and of the Kammermusiksaal ceiling with Schmid's three lunettes of famous Austrian composers -- Mozart (with Haydn in one corner), Beethoven, and Schubert.
§ Schottenkirche, Wien. [Scottish Church]
Ø Fifteen ceiling portraits in the Nave, 1885-1889. [See also Deckengemälde. Österreichische Nationalbibliothek. Bildarchiv.]
Ø Kreuzabnahme [Deposition from the Cross]
Schmid's ceiling frescoes in the Schottenkirche rate a mention in a tourist guide: Lillian Schacherl, Prestel Guide to Vienna, Munich: Prestel-Verlag, 1993, page 79.
However, in November 2001 a priest at the Museum im Schottenstift said that no photographs of the ceiling and wall frescoes exist. The Schottenkirche's extensive historical guide and index to the church's artworks does not mention Julius Schmid among the artists of late 19th century who contributed art to the church's interior. [Visit by the author]
Sotheby's online:
Ø September, 2000: "Franz Schubert at the Piano," by J. Schmid, 1900, aquarelle.
Richard Morris, of the United Kingdom, is the new owner of this Schmid watercolor after the detail of Schubert from Schmid's Schubertabend. By personal communication from the owner.
Ø January, April, and September, 2001: "Portrait of a Banker," by Julius Schmid, late 19th century, oil on canvas, 70.5x58cm, unframed.
Portrait of Alfred Strasser von Sanczy, President of the Vienna Industrial Bank.
An example of Schmid's portrait work, from the collection of the Künstlerhaus, the professional association of Viennese artists of which Schmid was a member.
Ø Rudolf v. Habsburg ergreift nach seiner Wahl zum König durch die Kurfürsten ein Kruzifix anstelle des Zepters. Gemälde. 1912.
§ Die Steiermärkische Sparkasse 1825-1925. Eine denkschrift anlässlich ihres hundertjährigen Bestandes über veranlassung des Kuratoriums verfasst von Dr. Wilhelm Kaiserfeld … und Dr. Heinrich Poschacher….Graz: 1925.
An exhaustive commemorative history of this bank, and of the conception, financing, construction, and cost of what is known today as the Graz Convention Center, located in Graz Altstadt. Particularly relevant are pages 114-120, 202-203, 324-352, which mention the building's interior design and décor, including Schmid's wall and ceiling paintings.
§ Toman, Rolf, ed., Vienna; Art and Architecture, Cologne: Könemann, 1999. In reviewing the Ringstrasse period and the historicist school, see page 237 for a brief discussion of Hans Makart, a significant figure during this era, about his composition and coloring:
The spontaneous appearance of his handiwork is thus attributable more to the paintbrush than to the drawing pencil. His illusionist tricks - placing painted objects next to real, existing ones, providing rooms with splendid garden views, raising the ceiling of a room with the aid of foreshortening and the depiction of motifs from below, or making the ceiling appear to open up skyward - were copied by Julius Berger, Eduard Charlemont, and Julius Schmid, to name but a few, and employed in Viennese painting until well beyond the turn of the century.
§ University of Georgia. Hargrett Rare Book and Manuscript Library, Athens, Georgia.
"Guido und sein Vorgänger" pen and ink sketches, St. Gilgen, 1889, Guido Adler Collection, "Familienbilder", Box 71, in Edward R. Reilly, The Papers of Guido Adler at the University of Georgia - Inventory, Poughkeepsie, NY: 1975, 270 pp., typewritten. The Reilly finding list for the Guido Adler Collection has been digitized by the Hargrett Library and is online at <www.libs.uga.edu/hargrett/manuscrip/guidoadler.html>.
The sketches are reproduced in Eder, see above.
The Adler collection contains twelve pieces of correspondence between Adler and Schmid and between Adler and Frau Schmid, née Leopoldine Schlesinger (1859-1942). The Hargrett owns Adler's MSS and correspondence, and the University's music library owns Adler's 1,200-book collection, all purchased from Adler's son some years after the end of World War II. Adler's library, correspondence, and MSS had been looted and dispersed by the Nazis (Adler was Jewish) and his son painfully reconstituted what he could of his father's estate for posterity. Guido Adler is considered the founding father of modern musicology.
§ Universität Wien. [University of Vienna]
Ø Sgraffiti, 1884.
§ Wasserman, Janet, "Franz Schubert as Painted by Gustav Klimt and Julius Schmid," The Schubertian, July 2001, 14-20.
§ Wiener Männergesangverein. [Vienna Men's Choral Society]
Ø Ein Schubertabend in einem Wiener Bürgerhause, 1897, oil on canvas, 172x255cm. After the death of Nikolaus Dumba, the painting was given by his widow, Marie Dumba, to the Wiener Männergesangverein. The painting is still in the possession of the association (as of 2009.) See also Österreichische Nationalbibliothek. Bildarchiv.
§ Wiener Rathaus. [Vienna City Hall]
Nikolaus Dumba's and Frau Dumba's estates were left to the City of Vienna. The Rathaus database does not show any entry for Schmid according to a search performed by a staff member, November 2001, at the Rathaus visitors main information bureau. However, evidence cites the presence of the second version of the Schubertabend in the Rathaus, as part of the interior décor.
§ World's Columbian Exposition of 1893, Chicago, Illinois.
The artists representing Austria at the Exposition (the 1893 World's Fair) included Julius Schmid and his religious painting Lasset die Kindlein zu mir kommen (Suffer the Little Children to Come Unto Me).
See: ART & ARCHITECTURE by William Walton, Philadelphia, G. Barrie, 1893.
"Official Illustrated publication. Printed only for Subscribers." Reproduced at the web site of the Paul V. Galvin Library Digital History Collection, Illinois Institute of Technology, at: <http://columbus.gl.iit.edu/artarch/aa1toc.html>
WORKS BY SCHMID, PRIVATELY OR PUBLICLY OWNED
OR OF UNKNOWN OWNERSHIP/LOCATION
Ø Marie von Ebner-Eschenbach, oil portrait, 1894. Awarded the Bronze Medal at the 1900 Paris World Exhibition. [See also entry in Österreichische Nationalbibliothek. Bildarchiv.]
Ø Hagen und die Donau-Nixen
Ø Madonna, commissioned by the Justice Ministry for one of its buildings in Graz
Ø Sittenbild aus der römischen Antike
Ø Frühlingstraum [1.60x2.19m]
Ø Traumversunken [oil on canvas, 120x179cm, 1883 or 1884 for the Jahresausstellung 1884 Wien and Weltausstellung Antwerpen 1885. Sold at auction 11 November 2005. Image at<www.dobiaschofsky.com/katalog_details.php?objectID=36227; 8/28/06> and <www.artnet.com/artist/565603/julius-schmid.html>.
Ø Der Morgen
Ø Portraits of Count and Countess Schaumberg
Ø Caritas. ("Eine im Park unter Bäumen sitzende j. Mutter, an der drei blühende nackte Kinder emporklettern.") May possibly be reproduced in the Kunst dem Volk article; see above entry for Gustav Künstler. There is a portrait mentioned in Necker (see above) "Caritas in Lebensgrösse" (1895?), shown at the Künstlerhaus and said to be of Schmid's wife and child. See also Österreichische Nationalbibliothek. Bildarchiv.
Ø Sommerzeit
Ø Frühling
Ø Das Kunstleben in Böhmen in seiner Entwickelung, 1891?
Ø Beethoven, oil on canvas, 33.5x46cm, nd [could this be any one of the other Beethoven portraits?]
Ø Ein Beethovenkonzert im alten Wien.?
Ø Rudolf von Habsburg belehnt die Kurfürsten/Rudolf von Habsburg Enfoeffing the Prince Electors, oil on canvas, 130x220cm, framed, signed Schmid, nd. Offered at auction by the Dorotheum Wien, Lot 219, November 29, 2001.
Ø Künstlerhaus. A 133x185cm poster by Schmid and Leopold Theyer for the Künstlerhaus, offered at auction by the Dorotheum Wien, Lot 41, June 14, 2002.
Ø Portrait of a Banker, late 19th century, oil on canvas, 70.5x58cm, unframed.
Portrait of Alfred Strasser von Sanczy, President of the Vienna Industrial Bank.
From the collection of the Künstlerhaus.
Ø Frau des Bildhauers Benk (see Necker)
Ø Grafen und Gräfin Schaumberg (see Necker)
Ø Work described as 'betende Mönche' Tusche-Zeichnungen um 1900, from the Sammlung-B. Moser, ca. 22x14cm [ebay.de, 31 March 2003, article 3318862407]
Ø Portrait of a Young Lady, signed and dated in lower right J. Schmid 1930, crayon drawing on paper, 28x17cm. Offered at auction by the Dorotheum Prag, Lot 246, 24 May 2003.
Ø Lunch on the Terrace, oil on canvas, 64x81cm, nd. Sold at auction 25 April 2006. Image at <www.kurteschonltd.com/Julius%20Schmid.htm>, 28 August 2006 and <www.artnet.com/artist/565603/julius-schmid.html>.
Ø Auf der Veranda, oil on canvas, 64x81, nd. At auction 11 November 2005.
Ø Noli me tangere, Jesus erscheint Magdalena, oil on canvas, 42x57.5cm, nd. At auction 09 July 2005.
Ø Wolfgang Amadeus Mozart, print, 34.5x28.5. At auction 26 June 2001.
Ø Beethoven Plays at the House of Prince Lichnowsky, ca. 1900. Image at <www.superstock.com>.
Ø Abbot’s Death, india ink on paper, 14.9x22.9cm, nd. Stamped Collection of Benno Moser, Vienna. At auction; see image <http://wilnitsky.at/pictures/schmid15912.jpg>, 28 August 2006.
Ø Renaissance Scene, decorative design drawing; ink, watercolour and gouache on paper; unframed 19x52.5cm/7.5x20.7in; late 19th century. Image at <www.wilnitsky.com/pictures/schmid3934.jpg>, 28 August 2006. Offered at auction by Boris Wilnitsky Fine Arts at <www.wilnitsky.com/scripts/redgallery1.dll/
details?No=9087> accessed 14 April, 2009.
Ø Historical Scene from the Middle Ages, oil on board, 16.54x22.05in/42x56cm, framed, nd, monogrammed 'JS' ligature. Offered at auction by Dorotheum Vienna, 10 June 2008. [added 2009]Ø Vergänglichkeit, oil on canvas, 29.5x42.5in/75x108cm, 1925. Offered at auction by im Kinsky, [Palais Kinsky, Vienna] 13 October 2009. See image <www.artnet.com/Artists/LotDetailPage.aspx?lot_id=B7E856D3561EF15E596C1A42B6D53B4F>. My thanks to Dr. James Allen Scott, Louisiana, USA, for bringing this latest item to my attention. [added 2009]
Ø MAHEN THEATRE (Czech: Mahenovo divadlo), opened 1882 in Brno, Moravia, was built as the Deutsches Stadttheater, and was one of the first public buildings in the world lit entirely by electric light. It was built in a combination of Neo-Renaissance, Neo-Baroque and Neo-Classical architectural styles. The circular ceiling of the auditorium, which has a horseshoe-shaped layout, is decorated by six lunettes with distempered paintings representing the allegories of Tragedy, Dance, Lyrics, Comedy, Song and Music painted by Julius Schmid and Olga Fialkova (1848 –1930). [added 2009]
SCHMID ARTWORK IN THE POSSESSION OF FAMILY MEMBERS
Ø Felix Prohaska, no dimensions, nd; drawing of the grandson of Julius Schmid; owned by Irene Aliota, great-granddaughter of Julius Schmid and daughter of Friedrich Prohaska; Milwaukee, Wisconsin, USA. [personal communication to the author from Miguel Prohaska, of Toronto, 2003]
Ø Landscape, oil on canvas, 30x21cm, nd; owned by Miguel Prohaska of Toronto, Canada, great-grandson of Julius Schmid and son of Friedrich Prohaska; [personal communication to the author, 2003]
Ø Charcoal drawing [study sketch] of an old man holding a stick and taking his hat off. The details of the study are of the hands as well as a variety of positions for holding the hat, 44x30cm, nd; owned by Miguel Prohaska of Toronto, Canada, [personal communication to the author, 2003]
Note: The identities of the sitters in items 1 through 9 below: the little girl is Margarete Schmid, the daughter of the artist Julius Schmid; the boy and young man is Friedrich Prohaska, Margarete's second son and the artist's grandson. All are in the possession of Schmid's great-granddaughter, Irene Aliota of Milwaukee, Wisconsin (b.1953?). Irene Aliota provided the descriptions and dimensions for her brother, Miguel Prohaska of Toronto, Canada, who then gave them to the author in February, 2004. No dates have been established for most of the art in the USA.
1) Little girl holding doll [Margarete Schmid], portrait, oil on wood, 11.754 x 7.25 in.
2) Young boy [Friedrich Prohaska], portrait, oil, 14.5 x 11.75 in.
3) Little boy with doll [Friedrich Prohaska], portrait, oil, framed, 16.5 x 13.5 in.
4) Young man, [Friedrich Prohaska], portrait, pastels, 1930, 13.75 x 9.75 in.
5) Little girl [Margarete Schmid], portrait, pencil, double matted and framed, 7 x 5 in.
6) Little boy [Friedrich Prohaska], portrait, oil, doubled matted and framed, 8.5 x 7 in.
7), 8), 9) Young man sitting with cello [Friedrich Prohaska], sketches, light pencil, 13 x 9.5 in.
10) Young woman sitting on chair in garden sewing with upside down open umbrella next to her, finished drawing, pencil, 12.5 x 9.25 in.
11) Young women sitting, looking away, with ponytail (rear view), drawing, pencil - lightly colored, 16.5 x 12 in. [Is this one or two women? Long hair?]
12) Green woods with tree trunk in the middle, oil, 10.5 x 15 in.
13) Woman in draped garment, drawing, pencil and white chalk, 17 x12 in.*
14) Man laying on his back, arms out, in draped clothing, [head not visible], drawing, pencil and white chalk 10 x 17 in.*
15) Three male sketches, drawing, pencil and white chalk, 17.5 x 12 in.*
16) Study sketches of backs and hands of men, drawing, pencil and white chalk, 17.5 x 12 in.*
17) Upper male torso in 3/4 profile, drawing, pencil and white chalk, 17.5 x 12 in.*
18) Upper torso of female nude, drawing, pencil and white chalk, 17.5 x 12 in.*
19) Nude woman and study of woman's hands, drawing, pencil and white chalk, 17.5 x 12 in.*
20) Wife of the artist, painting, 10 x 6.5 in.**
21) The artist’s daughter, painting, 11 x 7.5 in.**
22) Drawing of the artist’s grandson, Carl Prohaska, on paper, 12 x 9.5 in.**
23) Painting of woods, 7.5 x 11.5 in.**
* As of August 2009, these items were not available and the owner, Irene Aliota, does not recall them. However, they remain on the list in the event that they may be found and authenticated in future. Information provided by Miguel Prohaska.
** Recently found items in the collection of Irene Aliota, August 2009. Information provided by Miguel Prohaska.
SOUPIS DĚL JULIA SCHMIDA ZE SBÍREK OBLASTNÍ GALERIE V LIBERCI
SCHEDULE OF JULIUS SCHMID THROUGH LIBEREC REGIONAL GALLERY.
1. Návrh na Oponu [Sketch With Veil?}
olej, dřevo, 93 x 123 cm; neznačeno; inv. č.: O 1279
[oil on wood]
2. Beethoven v lese [Beethoven -----?]
olej, plátno,101 x 68 cm; značeno vpravo dole: J Schmid; inv.č.: O 1295
[oil on canvas]
3.Cestička mezi stromy [Path Among Trees]
olej, lepenka, 39,5 x 61,5 cm; neznačeno; inv.č.: O 1319
[oil on pasteboard]
4. Zátiší v zahradě [Still life in Garden]
olej, plátno, 74 x 101,5 cm;značeno vpravo dole: J Schmid; inv.č.: O 1321
[oil on pasteboard]
5. Nahé ženy v zahradě [ ---- Women in Garden]
akvarel, pastel, papír na lepence, 51 x 86,5 cm; vpravo dole: J Schmid; inv.č.: O 1322
[watercolour and pastel on pasteboard paper]
6. Stojící žena na terase [Women Standing on Terrace]
olej, lepenka na plátně, 90,5 x 45,5 cm; neznačeno; inv.č.: O 1323
[oil on pasteboard, screen?]
7. Portrét stařeny [Portrait of a Mother]
olej , lepenka, 43 x 37 cm; neznačeno; inv.č.: O 1335
[oil on pasteboard]
8. Zamyšlená [Wistfulness]
olej, plátno na lepence, 55 x 29,5 cm; neznačeno; inv.č.: O 1338
[oil on pasteboard]
9. Zjevení Krista [Apparition of Christ?]
olej, plátno, 112 x 159,5 cm; značeno vlevo dole: J Schmid; inv.č.: O 1342
[oil on screen?]
10. Lebensneige [Life’s remains?]
olej, plátno, 117 x 180 cm; značeno vpravo dole: J. SCHMID; inv.č.: O 1343
[oil on screen?]
11. Portrét umělcovy choti [Portrait of Artist’s -----?]
lej, plátno, 124 x 100 cm; značeno vpravo nahoře: J Schmid 892; inv.č.: O 1344
[oil on screen]
12. Studie k portrétu umělcovy choti, /1892 [Portait Sketch of Artist’s -----?]
olej, dřevo, 29,5 x 23,5 cm; neznačeno; inv.č.: O 1345
[oil on wood]
13. Ležící mužský akt {Nude Man Recumbent]
olej, plátno na lepence, 38,5 x 58,5 cm; neznačeno; inv.č.: O 1581
[oil and screen on pasteboard]
14. Duchovenstvo u krále [Priest and King?]
olej, plátno, 27 x 47 cm; značeno vpravo dole : J Schmid /pod rámem/; inv.č.: O 1590
[oil and screen]
15. Portrét muže [Portrait ----?]
olej, dřevo, 32 x 23,5 cm; značeno vlevo nahoře : JS; inv.č.: O 1609
[oil on wood]
16. Spisovatelka Marie Ebner – Eschenbachová, 1913 (?) [Writer Marie Ebner-Eschenbach, 1913]
uhel, křída, papír, stříbrný rám, 580 x 438 mm; neznačeno, vlevo dole slabě uhlem: 1913 (?)’ inv.č.: K 328
[charcoal and chalk on fine paper in silver mount?]
17. Portrét muže, 20. léta (?) 20. století [Portariyt, 20 summers, 20th century]
pastel, papír na lepence, 469 x 380 mm; neznačeno; papír (autorsky) přehnut přes okraje lepenky; inv.č.: K 380
[pastel on pasteboard?]
18. Portrét mladé ženy – snachy umělce, 1912 [Artist’s daughter-in-law with women?]
pastel, šedě tónovaný papír, 499 x 342 mm; vlevo dole černou křídou: jschmid 2/10 12; inv.č.: K 381
[pastel on tinted stationery?]
19. Motiv z Danteho, kol. 1910 [Motif: Dante in the Inferno?]
kvaš, karton, 225 x 378 mm; značeno vlevo dole perem: Schmid; na rubu tušové studie architektury; inv.č.: K 401
[? On cardboard?] [
[Colored woodcut? Image at auction site <www.kiermasz.pl/auction.php?auction_id=1469102>, auction date 06/18/2006]
20. Beethoven na zahradní slavnosti, kol. 1910 [Beethoven in Garden]
kvaš, karton, 224 x 376 mm; vlevo dole perem: Jschmid; inv.č.: K 402
cardboard?]
21. Portrét hocha – Hans Schmid (vnuk autora v 6 letech), 1933 [Portrait of Young Hans Schmid, Artist’s Grandson -----?]
kresba černou a bílou křídou, tónovaný papír, původní rám, zaskleno, 431 x 310 mm; značeno vpravo dole křídou: JSchmid 31/4 (7?) 1933; inv.č.: K 407
[charcoal with white chalk on tinted stationery, original mount – glazed?]
22. Muž s knihou (Čtenář), kol. 1900 [Men With Books]
akvarel, papír, původní rám, zaskleno, 370 x 264 mm; neznačeno; inv.č.: K 408
[watercolour on stationery, original mount – glazed?]
Source: www.kraj-lbc.cz/public/zastupitelstvo/zasedani/2005_10/pisemne_informace/l.doc
MERITORIOUS WORKS BY OTHER ARTISTS
AFTER JULIUS SCHMID
RICHARD PAULUSSEN (19th to 20th century, birth and death years unknown; English-born, active in Vienna and London). Photographer and photoengraver.
An Evening Devoted to Schubert in a House in Vienna, after Julius Schmid, photogravure, wove paper with margins, 30x20in/76x50.5cm, nd. Offered at auction by Christie’s London, 11 February 1999. Search Lot Finder for Sale 8282, Lot #193 at <www.christies.com>.
NOTE: During his active working years, Paulussen’s photogravures were deemed to be of the highest quality. He was associated with the highly respected Gesellschaft für vervielfältigende Kunst (Society for Reproductive Art) in Vienna. [added 2009]