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88

Ferdinand Georg Waldmüller

Three Graces garlanded with roses

Property from a Distinguished European Collection

Ferdinand Georg Waldmüller

Ferdinand Georg Waldmüller

Three Graces garlanded with roses

Three Graces garlanded with roses

Property from a Distinguished European Collection

Ferdinand Georg Waldmüller

Vienna 1793 - Baden 1865

Three Graces garlanded with roses


signed and dated lower right: Waldmüller / 1856 

oil on panel

panel: 32 ¼ by 25 ⅝ in.; 81.2 by 65 cm.

framed: 42 by 35 ½ in.; 106.6 by 90.1 cm.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's.


This work is in beautiful condition. The panel is cradled. The paint layer may be slightly dirty. There are a few retouches in the thighs of the figure in the lower left, one in the left thigh of the central figure, and a small spot in the stomach of the crouching figure in the center of the left side. The background shows no retouches at all, except around the extreme edges addressing some frame abrasion. The work could be carefully cleaned and retouched, but it can be hung in its current state.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Herr von Vlastov, 1865;
Olga Storzer, Prague;
Private collection, Budapest;
Acquired in 1941 through Hermann Hoffmann by The German Reich for the planned Führermuseum, Linz (inv. no. 2001);
Transferred to the Munich Central Collecting Point by Allied Forces (Inv. no. 8590) and restituted to Austria (BDA Salzburg) in 1952;
Stored at Mauerbach and restituted in 1979;
Anonymous sale, Vienna, Dorotheum, 17 November 1981, lot 185;
Anonymous sale, London, Christie's, 7 July 2010, lot 287;
There acquired by the present collector.
B. Grimschitz, Ferdinand Georg Waldmüller, Salzburg, 1957, p. 352, cat. no. 829.
R. Feuchtmüller, Ferdinand Georg Waldmüller 1793-1865, Vienna, 1996, p. 508, no. 907, reproduced.
Salzburg, Österreichischer Kunstverein, Waldmüller Ausstellung, 1865, no. 54.

Similar to other artists studying at the Viennese Academy at the beginning of the 19th Century, Ferdinand Georg Waldmüller looked to Old Masters found in public collections as a source of inspiration to build his technique and artistic skill. Traveling and exhibiting all over Europe throughout his career, he became a well-established painter to several royal families. While he received acclaim for his portraits and his ability to capture the emotion and naturalism of the human condition, his landscapes reveal an innate sense of beauty and observation through a heightened sense of detail, color and texture.


The present lot brings together his strengths in a most interesting and enticing manner. Waldmüller manages to create balance and harmony in equal measure. The luminous, almost translucent, quality of the three Graces harkens back to Correggio and early sixteenth century Italy. While the figures appear idealized, their context within a meticulously detailed landscape sets the scene within our natural world.