POST 75: THE CURIOUS TALE OF A BIEDERMEIER-STYLE FAMILY PORTRAIT FROM THE EARLY 1830’S

Note: In this post, I relate the story of uncovering multiple copies of a family portrait rendered in the Biedermeier style in what I estimate was the early 1830’s.

 

 

During a recent email exchange with my 92-year old third cousin, Agnes Stieda née Vogel (Figure 1), subject of several earlier posts, I casually mentioned other topics I want to eventually write about on my Blog. This includes one illustrious branch of my Bruck family, the von Koschembahrs, about which more is said below. This prompted Agnes to tell me in passing she has a family portrait of them hanging in her apartment in Victoria, Canada. A short while later she sent me several photos. (Figure 2) They show a touching depiction of two children, one holding a rabbit, painted in what I would learn was the Biedermeier style. Agnes quickly added this is a revered painting within her family.

 

 

 

Other than knowing it portrayed two von Koschembahr children, no doubt from the period when the Biedermeier style was in vogue in Germany between 1815 and 1848, Agnes had no further information as to the painter, the subjects, nor the exact year it was painted. Obviously curious whether the painting or the boy and girl might be known to other members of my extended family, I decided to send a copy of the photo to another of my German third cousins, Kurt Polborn. (Figure 3) He is a close descendant of the von Koschembahrs, and I thought he might recognize the artwork. And, indeed he did. He promptly told me they depict Leopold von Koschembahr (1829-1874) (Figure 4), and his slightly older sister, Mary von Koschembahr. Judging from the approximate age of the children, and Leopold’s year of birth, 1829, I estimate it was done in the early 1830’s, well within the timeframe the Biedermeier style was popular.

 

 

 

 

 

 

 

 

 

 

 

Let me briefly explain to readers how my Bruck family is related to the von Koschembahrs. The first-generation owner of the family hotel, the Bruck’s “Prinz von Preußen” Hotel in Ratibor [today: Racibórz, Poland], the town where my father was born in 1907, was Samuel Bruck (1808-1863) (Figure 5), my great-great-grandfather. Ownership of the hotel was acquired by his son, Fedor Bruck (1834-1892), my great-grandfather. (Figure 6) Fedor’s youngest brother was my great-great-uncle Wilhelm Bruck (1849-1907), (Figure 7) who married a baroness, Margarete “Grete” Mathilde von Koschembahr (1860-1946) (Figure 8), sometime before 1885; Leopold and Mary von Koschembahr were, respectively, Grete’s father and aunt. The term “von” is used in German language surnames “either as a nobiliary particle indicating a noble patrilineality, or as a simple preposition used by commoners that means of or from.” On account of his wife’s noble patrilineality, Wilhelm Bruck added her surname to his upon marriage. Thus, in Germany, this branch of the family was known as “Bruck-von Koschembahr,” but upon their arrival in America they completely dropped the Bruck surname. Suffice it to say, this complicates the family tree.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

During my conversation with my third cousin Kurt Polborn who’d identified the von Koschembahr children, he mentioned in passing the painting belongs to his aging von Koschembahr uncle, Clemens von Koschembahr, living in Ohio. Clemens is about to turn 94 and is the grandson of Wilhelm Bruck-von Koschembahr and the sole surviving child of Gerhard von Koschembahr (1885-1961) (Figure 9) and Hilda Alexandra von Zeidlitz und Neukirch (1891-1954), who immigrated to America in 1938 with their 13 children. (Figures 10a-b, 11) Kurt’s claim that the family portrait of the von Koschembahr children is still in the family, while entirely reasonable, left me puzzled. (Figure 12) What then is the version owned by Agnes, an original or a copy? I would add that Clemens, being told that another version of this family portrait exists, was quite surprised.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Things got even more puzzling when I probed into this more. Agnes remembered having visited her cousin Klaus Pauly (Figure 13) in Germany and hanging in his house was yet another copy of this same painting! Curious as to how many copies of this painting might exist, I immediately sent an email to Klaus’s son, Andi Pauly (Figure 14), whose name I’ve often mentioned. The existence of this copy, at least, could be explained. During one of Klaus’s visits to see Agnes, he’d greatly admired the painting and tried to talk her out of it. Agnes, naturally, was unwilling to part with this family heirloom, but, Klaus, undeterred, photographed the “original,” and upon his return home turned it into a full-size photo which he framed. Problem solved!

 

 

 

 

 

 

 

 

 

 

 

 

Still, the existence of two seemingly high-quality versions of the Biedermeier-style portrait is intriguing. It seems unlikely the von Koschembahrs would have allowed the original to leave the family, so I’d argue that version is the one owned by Clemens von Koschembahr. Admittedly, while I can only gauge this from low resolution images, it would seem the older looking of the two copies is also that one. Unfortunately, neither copy of the paintings is signed; Kurt explained this was not uncommon in paintings done of royals and aristocrats of the time, where the “star,” so to speak, was the king, queen, or noble. The creates an obvious problem where originals can easily be forged and claimed as authentic. Absent a professional side-by-side comparison, the question of which is the original portrait will remain an open one. Things, though, could get even more confusing should yet more high-quality versions of this portrait emerge from other members of the family! This may not be as implausible as it sounds given the endearing quality the von Koschembahr artwork possesses and the possible desire by others to have had their own copies.