tag:blogger.com,1999:blog-6705638937146105675.post971532709919854697..comments2024-02-25T13:32:36.366+01:00Comments on Michael Lorenz: Not Mozart, Not Zoffany. So . . . What?Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-6705638937146105675.post-13899351312563036872020-10-24T22:20:32.915+02:002020-10-24T22:20:32.915+02:00Thanks so much for this, great research and a grea...Thanks so much for this, great research and a great read. I came across it while seeking to update my work on Hewish musicians in mid18th century London (and thanks for citing me by the way).During my work I have so often come across nonsense which has been 'accredited' simply by lazy repetition by one writer of an earlier 'authority's' fantasies, and I fear this problem continues to get worse. You are absolutely right I think to point out the glamour factor, whereby any hint that a big name (or 'big idea') is involved may mean that wishful thinking drives a need for evidence out of the window. Best, David ConwayDavidhttps://www.blogger.com/profile/10702907657734880408noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-7290611040467522312019-10-06T21:47:26.732+02:002019-10-06T21:47:26.732+02:00Thanks for your comment! In case you are citing my...Thanks for your comment! In case you are citing my piece on the drawing, please use the updated version from 2016 here:<br /><br />https://www.academia.edu/7646630/Not_Mozart_Not_Zoffany_A_Cautionary_Tale_Dexter Edgehttps://www.blogger.com/profile/09919888434628823086noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-89156829109666074942019-10-05T14:39:54.833+02:002019-10-05T14:39:54.833+02:00A very scholarly account. I was inspired by your i...A very scholarly account. I was inspired by your ideas to look further into this while living in the Rhineland recently. Given the strong resemblances of the boys at the harpsichord to Prince Max and the Count of Forbach, I have published in Hektoen International a thesis that this is in Pettersheim in 1777 and by J C von Mannlich, Carl Theodor's court artist. We know that Wendling, Dejean and von Mannlich went to the Concerts Spirituel in Paris. The characters here fit a stop-off on the way. Mozart was going to go with this group but pulled out in shame at having fallen for Wendling's daughter. It makes every sense that Wendling is on first flute and the second flautist is identical to Ferdinand Dejean with the unusual anachronistic 1740 wig, thick dark eyebrows, prominent aquiline nose and seconding the virtuoso. The open ceiling fits the hunting lodge, but not the Forbach mansion or Zweibrücken Palace, en route to Paris, where Wendling had earlier worked. Fits like a glove methinks.Stephenhttps://www.blogger.com/profile/05874777930094299954noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-45622886549926946192015-07-12T21:18:54.313+02:002015-07-12T21:18:54.313+02:00Splendid work!Splendid work!ebhttps://www.blogger.com/profile/05469304208745548925noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-87351956802703358432013-08-31T13:38:29.559+02:002013-08-31T13:38:29.559+02:00Let me add a short note concerning the so-called &...Let me add a short note concerning the so-called "Hagenauer Cache" which has been described by some authors as originating from a supposed art collection, owned by Leopold Mozart's landlord Johann Lorenz Hagenauer. Hagenauer was not an art collector and neither did he "hide a collection in his attic" (which he didn't use anyway, because he had 16 storage vaults for his stock, located all over Salzburg). There is no art collection recorded in Hagenauer's 1792 probate records. His silver was estimated only at ridiculous 312 Gulden, his jewelry only at 237 Gulden. He owned only one valuable ring (the other rings were almost worthless) and he had only five insignificant paintings of saints (worth only about 40 Kreuzer[!] apiece). He owned no library at all and showed a frugality of bluenosed dimensions. All he had in mind his life long was his business and he certainly had no time and interest for anything else. The authors, who in their articles in support of their claim that Hagenauer left an art collection pretended to have consulted Hagenauer's estate inventory in the Salzburg Landesarchiv, never consulted those original sources. They just copied the shelf mark of those archival records from Gunda Barth-Scalmani's 1990 article about Hagenauer in the "Heimatbuch Ainring". What they didn't know: the list of users in the particular archival box at the SLA (which has to be signed personally) shows that before 2010 the last scholar who had used this material was Barth-Scalmani. The "Hagenauer Cache" experts' names are not to be found on this list ;)Michael Lorenzhttps://www.blogger.com/profile/04248014539227254368noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-2190508799395995192013-08-29T02:57:00.015+02:002013-08-29T02:57:00.015+02:00Neil Jeffares (http://www.jeffares.demon.co.uk/), ...Neil Jeffares (http://www.jeffares.demon.co.uk/), a leading expert on eighteenth-century pastels, very kindly pointed out to me some time ago that the so-called ‘Young Girl at Chocolate’, claimed by Leeson to be Nannerl Mozart and by Zoffany, is really little more than a eighteenth-century generic type, which by itself virtually excludes the possibility that it is a portrait of Nannerl (and Zoffany experts I’ve been in touch with universally agree that it’s not a Zoffany either). In his catalogue of pastellists (www.pastellists.com), Jeffares illustrates three nearly identical portraits (the second of which is the one described by Leeson, from the so-called Hagenauer cache); see <br /><br />http://www.pastellists.com/Articles/French2a.pdf?zoom_highlight=glerum#search="glerum"<br /><br />p19, left hand column (the descriptors are above the images). Later, Jeffares also sent me a scan of an advert in Die Weltkunst, 2002, p2014 where the same portrait is said to be by Liotard and to picture a Habsburg (I'm unfortunately unable to paste in the page but am happy to send a scan to anyone who asks for it). Jeffares writes that ‘The five pastels are not gouache; they are not by Liotard; and they have nothing to do with the Habsburgs (save by marriage, the comte d’Artois, the man in the red coat, is related!). They are of course simply a group of the standard models of genre pastels.'<br /><br />Clearly it’s not just a case of constructing arguments, good or bad, but also thoroughly researching the art historical context. If that had been done in the first place with the ‘Young Girl at Chocolate’, any other discussion would have been moot. Whether this discovery has any implications for the Hagenauer collection as a whole, remains to be seen; it strikes me as possibly the case that each item has to be investigated on its own merits, notwithstanding their apparent common provenance (and even that needs further investigation). Cliff Eisenhttps://www.blogger.com/profile/12167437520031075726noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-3372242696034811682013-08-25T17:36:07.785+02:002013-08-25T17:36:07.785+02:00Thanks for the additional information on Heumann. ...Thanks for the additional information on Heumann. This is exactly the kind of research one would have to do, I think, to make any headway with the drawing.<br /><br />@Michael Scott Cuthbert: thanks for the pointer to peachnote.com, which I wasn't aware of. Hits might be more likely on the melody in the flute part than the viola part. So far as I could see, peachnote doesn't highlight hits in the score viewer, so that makes it a little difficult to find where it thinks the hit is!Dexter Edgehttps://www.blogger.com/profile/09919888434628823086noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-53089628456378128072013-08-25T15:28:19.424+02:002013-08-25T15:28:19.424+02:00Amazing post Dexter. Just FYI -- I put the viola ...Amazing post Dexter. Just FYI -- I put the viola part into the IMSLP search engine (Peachnote.com) and it found no matches. Best, Michael CuthbertMichael Scott Cuthberthttps://www.blogger.com/profile/15153226534336479056noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-40889139526787930562013-08-25T02:35:10.730+02:002013-08-25T02:35:10.730+02:00The engraver of the 1744 frontispiece is Georg Dan...The engraver of the 1744 frontispiece is Georg Daniel Heumann, 1691-1759, during his lifetime a well known draughtsman and engraver born in Nuremberg. At this web site: http://www.michaelfinney.co.uk/catalogue/category/item/index.cfm?asset_id=7000 one can see a number of his works. As you will see, all of these engravings bear a strong resemblance to the work of Daniel Chodowiecki. From what I have been able to piece together, Heumann served as both engraver to the Gottingen Academy and Royal Engraver to the English Court. I find 20 Heumann works at The British Museum: http://www.britishmuseum.org/research/collection_online/search.aspx?people=121240&peoA=121240-2-60<br />Eisler Fanhttps://www.blogger.com/profile/17295320609612518842noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-43441879325669118222013-08-24T23:06:09.017+02:002013-08-24T23:06:09.017+02:00Many thanks for the interesting link. Obviously n...Many thanks for the interesting link. Obviously not identical to the painting in the drawing, but similar pictorial content certainly. Do you know anything about the artist?Dexter Edgehttps://www.blogger.com/profile/09919888434628823086noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-80278837365625246902013-08-24T21:13:46.670+02:002013-08-24T21:13:46.670+02:00About a quarter of the way from the end of your tr...About a quarter of the way from the end of your truly marvelous essay, you comment that the "not Mozart" drawing "includes a sketchily rendered painting on the back wall." See if you think the image linked below is not similar to the aforementioned "sketchily rendered painting." The image is the frontispiece of the *Sammlung Neuer Oden und Lieder*, second part. Hamburg: Johann Carl Bohn, 1744. The composer of this vol is Johann Valentin Görner, from Hamburg. The illustration also includes a Latin motto, this one taken from the first c. Roman poet, Publius Papinius Statius. For the 1744 frontispiece, see: http://vd18.de/de-sub-vd18/content/pageview/12853091.<br /><br />James Parsons (jamesprsns@yahoo.com)Eisler Fanhttps://www.blogger.com/profile/17295320609612518842noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-11131615700200454322013-08-24T19:27:53.165+02:002013-08-24T19:27:53.165+02:00Every educated Briton in 1914 would have at least ...Every educated Briton in 1914 would have at least known the name of Zoffany, because W.S. Gilbert had used it when he needed a rhyme in The Pirates of Penzance:<br />I can tell undoubted Raphaels from Gerard Dows and Zoffanies,<br />I know the croaking chorus from the Frogs of Aristophanes.<br />Major-General Stanley might have been better qualified to enter this debate than some of the people who have.<br /><br />Stephen C. Fisher (sfisher1714 at cox.net)Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-77173494420338287382013-08-24T15:34:32.694+02:002013-08-24T15:34:32.694+02:00Fantastic, Dexter -- bravo!
Joshua RifkinFantastic, Dexter -- bravo!<br /><br />Joshua RifkinAnonymousnoreply@blogger.com