CARL SPITZWEG | Hermit mending his nets

Gustav Kutter, Berlin (purchased from the artist in 1871)
Max Böhm, Berlin (by 1930; his sale: Lepke, Berlin, 28 January 1931, lot 58)
Private collection, Germany (probably purchased at the above sale; thence by descent)
Sale: Sotheby's London, 22 June 2000, lot 128
Private collection, Vienna (purchased at the above sale)
Galerie Westenhoff, Hamburg
Purchased by the previous owner from the above; thence by descent

Berlin, Akademie der Künste, Ausstellung der Sammlung Max Böhm, 1930, no. 60

Carl Spitzweg's personal sale register, no. 287 (as Einsiedler Netz strickend mit Reh)
Eugen Kalkschmidt, Carl Spitzweg und seine Welt, Munich, 1945, p. 162, cited
Günther Roennefahrt, Carl Spitzweg: beschreibendes Verzeichnis seiner Gemälde, Ö̈lstudien und Aquarelle, Munich, 1960, pp. 109 & 269, no. 1203, illustrated
Siegfried Wichmann, Carl Spitzweg: Kunst, Kosten und Konflikte, Frankfurt, 1991, p. 336, no. 287
Siegfried Wichmann, Carl Spitzweg: Verzeichnis der Werke: Gemälde und Aquarelle, Stuttgart, 2002, p. 360, no. 815, catalogued & illustrated

The panel is slightly bowed concavely along the upper and lower edges but otherwise appears to be ensuring a stable support. There is a circa 2cm. horizontal split towards the centre of the left framing edge, also visible on the reverse. Some scattered, hairline scratches (which appear to be superficial and within the varnish) are visible, notably in the left had side of the composition, along with some drying craquelure. Two horizontal lines of craquelure running along the upper half of the composition are somewhat more visible. Inspection under ultra-violet light reveals a thick layer of residual varnish throughout and strokes of cosmetic retouching along the four framing edges. Some finely applied in-painting addressing the aforementioned two lines of craquelure is also visible under UV. This work is otherwise in overall good condition and ready to hang. Presented in a decorative gilt frame. Colours are somewhat less red in reality than in the catalogue illustration.
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted circa 1875, this painting exemplifies Spitzweg’s heartwarming paintings of eccentric individuals, whether bookworms, monks, flower lovers, soldiers, or, as here, hermits. As is typical in Spitzweg’s work, the artist employs the keyhole perspective, a favourite compositional device, affording the viewer the pleasure of an indiscretion. His stage-like composition creates the effect of a vignette in which the life of the protagonist is played out for the curious spectator. However, beyond simply instilling amusement in the viewer, the device may be viewed in the broader context of the German Romantic spirit. The priviledged viewpoint may be interpreted as a nostalgic peak into happier times, or, as here, into the kind of rural hideout which was so fast disappearing in a rapidly industrialising nation.