Carl Christian Vogel von Vogelstein

Gustav Rosauer, Vienna
Malvine, Jenny, and Bertha Rosauer, Vienna (by descent from the above)
Expropriated from the above under the National Socialist regime (1938)
Sold by Hildegard Gussenbauer, Vienna, to Julius Böhler, Munich (November 1938)
Gemäldegalerie, Dresden (acquired from the above by Hans Posse, Director of the Gallery, in July 1940)
Restituted to the heirs of the Rosauer sisters (2010)

Dresden, Staatliche Kunstsammlungen, Gemäldegalerie (permanent collection, 1940-2011)
Dresden, Staatliche Kunstammlungen; Tokyo & Kyoto: Caspar David Friedrich und sein Kreis, 1978, no. 125, illustrated in the catalogue
Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Neue Meister - Kupferstich-Kabinett, Carl Christian Vogel von Vogelstein 1788-1868, 1988, no. 2, illustrated in the catalogue

Hannelore Gärtner, Malerei der deutschen Frühromantik, Leipzig, 1982, no. 7
Gemäldegalerie Neue Meister, Staatliche Kunstsammlungen Dresden, (catalogue of the permanent collection), Dresden, 1982, p. 110
Rainer Richter, 'Carl Christian Vogel von Vogelstein - ein Nazarener in Sachsen', Jahrbuch der staatlichen Kunstsammlungen Dresden, vol. XV, Dresden, 1983, pp. 55-56, discussed; fig. 19, illustrated
Staatliche Kunstsammlungen Dresden, Gemäldegalerie Neue Meister, (catalogue of the permanent collection), Dresden, 1985, p. 103
Gemäldegalerie Dresden, Neue Meister, 19. und 20. Jahrhundert, ed., Bestandkatalog und Verzeichnis der beschlagnahmten, vernichteten und vermissten Gemälde, Staatliche Kunstsammlungen Dresden, Dresden, 1987, p. 328, no. 1866, illustrated on the cover
Staatliche Kunstsammlungen Dresden, Gemäldegalerie Neue Meister, ed., Vom Klassizismus zum Jugendstil. Die ständige Ausstellung im Albertinum Dresden, Dresden, 1993, pp. 39-40, catalogued, pp. 40 & 88, illustrated
Hans Joachim Neidhardt, Meisterwerke aus Dresden - Gemäldegalerie Neue Meister, Leipzig, 1994, p. 9
Gerd Spitzer, Malerei der Romantik in der Gemäldegalerie Neue Meister Dresden, Leipzig, 1996, pp. 36-37
Ruta Kaminska, 'Romantisma laikmeta portreti Latgale', in: Elita Grosmane, ed., Romantisms un neoromantisms latvieas maksla, Riga, 1998, pp. 72-79, discussed; fig. 2, illustrated
Staatliche Kunstsammlungen Dresden, Gemäldegalerie Neue Meister, (catalogue of the permanent collection), Munich & Berlin, 2001, pp. 210-211, illustrated

The panel is in very good and stable condition with no splits or cracks and just some very slight convex bowing left and right. There are scattered areas of very fine craquelure in the sky, in the flesh tones, and in the upper half of the figure. There is a 2cm stroke of retouching visible under ultra violet light in the chair leg in the lower right with two tiny spots in the columns in the upper left and very minor scattered spots elsewhere. Apart from some scattered light surface dirt, this work is in good condition and is ready to hang. Held in its original gilt empire style gilt wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Painted during Vogel von Vogelstein's extensive sojourn in Rome, the present work can be considered one of the artist's masterpieces. It depicts a young woman caught in the act of drawing: she holds a double-ended drawing instrument in her right hand and a half-finished sketch of a scene rests on her lap. She looks at the artist – and the viewer – with a subtle and beautifully-observed gaze that combines a beguiling openness with an apparent innocence and a hint of gentle mischief. Her sumptuous, red velvet dress and the exquisite griffin-headed Empire chair on which she sits all speak of opulence and the refinement of the Grand Tour. 

The sitter has been identified as the Countess Thekla Ludolf, née Weyssenhoff, an acquaintance of the artist's Lithuanian patron Baron von Löwenstern. From 1807 Vogel von Vogelstein earned a living as drawing teacher to the Baron's family, following them from Livonia to St Petersburg in 1808. It is likely that he met the Countess during these years, that a friendship ensued, and that their paths crossed again in Naples, the setting of the present work. While it is likely that the present portrait was a commissioned work, it is imbued with that sense of intimacy and tenderness that one would expect to find in a portrait of an artist's close friend or family member.

In Junge Dame mit Zeichengerät, Vogel von Vogelstein presents his viewer with two scenes by using a compositional device that harks back to Renaissance painting: for behind the sitter, through the balcony's arch with its plait-like twisted column, lies a dramatic, beautifully rendered vista of the Bay of Naples and Mount Vesuvius, overarched by an azure sky slowly giving way to the paler light of evening. The composition thus combines the dramatic, classically-inspired landscape so central to Romantic painting with another subject emblematic of the age: a young woman of noble birth, practising a pastime of refinement that demonstrates for us her good character, gentle nature and fine breeding, while her flushed cheeks suggest a strong, even passionate, character.

Vogel von Vogelstein was the son of the portrait painter Christian Lebrecht Vogel (1759-1816), and studied painting at the Kunstakademie in Dresden. During his four years in St Petersburg he was able to establish himself by finding modest quarters in the house of Prince Gagarin and work as a portrait-painter, chiefly painting commissioned portraits of the numerous foreigners living at that time in the Russian capital. He also painted members of the Court. In 1812, von Vogelstein travelled to Italy via Prague and Vienna and he went back to Italy again in 1813: this time via Venice, Bologna and Florence to Rome, where he was to live until 1820. Upon his return to Germany, he succeeded Franz Gerhard von Kügelgen as Professor of Painting at the Dresden Academy.