Weirotter, Franz Edmund (Innsbruck 1733 – Vienna 1771). Ancient pedestal of a monument with German inscription “Second Suite of Regions and Fragments of Old Buildings” together with the contents of the set. Further remains of columns, partly overgrown. With large armorial dedication to Georg Prince of Starhemberg. Etching. Inscribed: Nach der Natur gezeichnet in Welschland / und in Kupfer geätzet von F. E. Weirotter / In Wien zu finden in der K. K. Zeichnung / und Kupferstecherakademie. / Gewidmet von seinem unterthänigst gehorsamsten / Diener F. E. Weirotter Professor. / 1. 7⅜ × 10½ in (18.6 × 26.8 cm).

Franz Edmund Weirotter, Ancient Pedestal of a Monument with German Inscription "Second Suite of Regions and Fragments of Old Buildings"

Title sheet of the 12-sheet suite Nagler 5 with views of buildings in and around Rome, Civita Vecchia, Tivoli, Viterbo, Frascati, and Ripa Grande. – George Adam of Starhemberg (1724-1807, imperial prince since 1765) was imperial & royal secretary of the exterior and interior portfolios. – On strong, especially laterally and below wide-margined laid paper.

With Weirotter the landscape etching experienced a fine culmination and in 1766 Schmutzer, then director of the Vienna Academy, recommended Maria Theresa the appointment to the academy of the still young artist to take over the landscape subject there. According to Schmutzer’s report for the empress the artist in his mid-thirties made

“ with  his  etched  landscapes

which  were  bought  readily  in  England , the  Netherlands , and  Germany

4-5000 fl.  annually ”.

The suggestion was accepted immediately by the Privy Council, because Weirotter otherwise “already has a call to Saxony in hands”. But at his much too early death “his complete artistic bequest found no market in Vienna; it left to Paris. Connoisseurs and friends of his sheets

had  to  pay  dearly  for  impressions  of  individual  sheets …

As  etcher  Weirotter  ranks  with  the  most  eminent  artists … ”

(ADB XLI [1896], 520 f.),

having “developed a truly astonishing activity on both the fields assigned to him (in Vienna), the landscape drawing and the etching,

and  given  impetuses  influencing  still  today ”

(Thieme-Becker XXXV [1942], 309, quoting Carl von Lützow).

His whole ability is reflected by the works after own invention as here. His admiration with the contemporaries follows from letters by and to Wille as the German Pope of Art residing in Paris. So Winckelmann on occasion of Weirotter’s stay in Rome “Mister Weirotter has made me … a present of own works,

which  I  reckon  among  the  best  of  the  kind

… This young artist will be a credit to his native country”. And in glance backward at the preceded Paris period of training with Wille (1759/63) this to Hagedorn in Dresden “He has become so ready in drawing that his drawings look far more effortless than his paintings”. And as collector the Leipsic banker Gottfried Winckler “I have no doubt, that Mr.

Weirotter  will  deliver  to  us  much  beautiful  after  the  Italian  journey ”.

Quoted after Décultot et al. as editors, Wille Correspondence, Tübingen 1999, pp. 314, 316, 318, each from 1764.

“ Weirotter – so Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jhdts., 2nd ed., 1983, p. 338 – worked also after P. Molijn, Jan van Goyen, Aert van der Neer – and Dietricy.

His  own  inventions  are  correspondingly  Dutch . ”

Offer no. 15,138 / EUR  75. (c. US$ 91.) + shipping

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