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1

BY ANOTHER PERSON'S NAME (Ar svesu vardu)

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Dislere I.

Makslas Vesture un Teorija

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2006

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vol. 6-7

112-114

EN

The article traces the history of error according to which the portrait of Gustav Matthias von Lambsdorff made in the 1820s - 1830s had been attributed as the portrait of Fabian Gottlieb von der Osten-Sacken.

2

THE ASSUMED PORTRAIT OF JOACHIM CHREPTOWICZ IN THE LITHUANIAN NATIONAL MUSEUM

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Mizerniuk N.

Biuletyn Historii Sztuki

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2004

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vol. 66

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issue 3-4

335-349

EN

Two 19th-century copies of original paintings dating from the 18th century (one currently belonging to the Museum of History in Moscow, the other to the Lithuanian National Museum in Vilnius) were long regarded as presenting the portrait of one man, Joachim Litawor Chreptowicz as copied by Jan Damel from the original, by Józef Grassi, dating from 1795. The author has established that the original portrait by Grassi, recorded in Polish and Lithuanian sources as having disappeared after the January Uprising of 1863, was in fact moved some time before 1914 by K. Chreptowicz-Butenev, from the family estate at Szczorse to Moscow. The original portrait and its copy remained in the Rum'antsev Museum until its closure and then Grassi's picture was moved in 1924 to the Alexander Pushkin Museum of the Fine Arts, while Damel's copy to the Museum of History, both in Moscow. Both portraits are virtually identical, being distinguishable from each other thanks to some minor details, but clearly signed: 'J. Grassy pin Ao 1795 Vienne', in contrast to Damel's copy: 'Pp J Damel d´apres Grassi 1809 a Szczorse'. The personage presented in Grassi's original and Damel's copy does not resemble the figure in the Vilnius portrait under discussion. The author has identified the person depicted in the portrait as being Count Michal Walicki (1746-1828), which compared with two portraits of the same figure preserved in a damaged pastel on parchment, stored in the National Musuem in Warsaw and a woodcut published in the Polish weekly 'Tygodnik Ilustrowany' in 1879. It has not been possible to fully solve the question of the portrait's attribution. According to Kondratowicz's catalogue, this picture was itself a copy, and it shares numerous common traits with representative portraits by Lampi at the end of the 18th century. Comparison of Walicki's portrait with Lampi's preserved works suggests the picture is indeed a copy.

3

Teodora Ūdera portreti Marburgā

100%

Kalnačs J.

Makslas Vesture un Teorija

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2016

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vol. 19

63-71

EN

In autumn 2015, while visiting retired professor of architecture Georg Solms in Marburg (Germany), a number of unknown or completely forgotten works by the Valmiera-based harsh symbolist Teodors Ūders (1868–1915) came to light. There were 16 works in all by this artist known as the ‘great stranger’ and ‘epic portrayer of the peasant theme in Latvian graphic art’ – twelve oval copies in pastel, three larger rectangular original pastels and one Indian ink drawing. The value of this find is increased by the fact that no previous information existed on Ūders having ever worked in this technique, which he probably learned at the Alexander Stieglitz Central School of Technical Drawing in St. Petersburg. In the portrait copies and original pastels created roughly about 1907, Ūders has captured several generations of the von Gersdorff family members of the Baltic German nobility of the 18th–20th century. These works demonstrate echoes of Rococo, Biedermeier and more romanticist moods. The von Gersdorffs owned an old von Rosen family property – Augstrozes (Hochrosen) Manor and the neighbouring small Dauguļi (Daugeln) Manor – in the Latvian part of Livland in the second half of the 19th and early 20th century. The von Gersdorffs managed the latter manor till the Agrarian Reform in Latvia in the early 1920s. Initially the portrait copies were located in the salon of the Dauguļi manor house. Alongside copies, there are original works portraying Carlos Georg Heinrich von Gersdorff (1815–1869) and his wife Angelique von Zoeckell (1827–1900); the most interesting is the portrait of Alexandrine von Gersdorff (1870–1946), the only one created during the depicted person’s lifetime. The side view of a young, reservedly elated woman in light tones, reminding us of a low relief image with accurately captured facial features, is a lyrical accomplishment untypical of Ūders. The Gersdorff family portraits were possibly commissioned because the originals or at least some of them were in bad condition due to age or other causes. It could also be that the originals were located elsewhere but the Gersdorffs of the Dauguļi Manor wished to see their ancestors on a daily basis.

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BY ANOTHER PERSON'S NAME (Ar svesu vardu)

THE ASSUMED PORTRAIT OF JOACHIM CHREPTOWICZ IN THE LITHUANIAN NATIONAL MUSEUM

Teodora Ūdera portreti Marburgā