{"id":3339,"date":"2017-12-01T12:01:00","date_gmt":"2017-12-01T11:01:00","guid":{"rendered":"https:\/\/www.perspectivejournal.dk\/a-national-collection-on-the-drawing-board-centres-for-the-collection-of-danish-drawings-1810-45\/"},"modified":"2023-03-30T15:30:30","modified_gmt":"2023-03-30T13:30:30","slug":"a-national-collection-on-the-drawing-board-centres-for-the-collection-of-danish-drawings-1810-45","status":"publish","type":"post","link":"https:\/\/www.perspectivejournal.dk\/en\/a-national-collection-on-the-drawing-board-centres-for-the-collection-of-danish-drawings-1810-45\/","title":{"rendered":"A national collection on the drawing board. Centres for the collection of Danish drawings 1810\u201345"},"content":{"rendered":"

In the early nineteenth century, Denmark had no main, central collection of drawings. The Royal Reference Library supposedly held a number of drawings which were all lost in the great fire of Christiansborg Palace in 1794.Geschichte der K\u00f6niglichen Kupferstichsammlung zu Copenhagen<\/em>, Copenhagen 1835, p. 4.\n\">1<\/a><\/sup>\u00a0Another collection of drawings could be found as part the large collection of graphic arts in the greater Royal Library, but this collection was never (or only very rarely) added to and suffered a rather languished existence overall. Tellingly for the state of the greater Royal Library\u2019s collection, any new royal acquisitions of drawings were not handed over to the library\u2019s care, but placed in rented rooms in the nearby street Frederiksholms Kanal.Ki\u00f8benhavns M\u00e6rkv\u00e6rdigheder, m. m. En Haandbog saavel for Stadens Indbyggere, som is\u00e6r i Hensyn til Fremmede og Reisende<\/em>, K\u00f8benhavn 1821, pp. 171-172.\n\">2<\/a><\/sup><\/p>\n

After years of deliberations, in 1835 the various royal collections of graphic arts and drawings were finally merged in a new, independent institution called Den kongelige Kobberstiksamling (The Royal Collection of Graphic Art).Fund og Forskning<\/em>, vol. 16, 1969; Chris Fischer and Mikael B\u00f8gh Rasmussen: &lsquo;From D\u00fcrer to Mantegna. The History of the Print Collection in the Department of Prints and Drawings, Statens Museum for Kunst 1523-1998, Copenhagen&rsquo;, A Sight for Sore Eyes II<\/em>, Statens Museum for Kunst 1998, pp. 9-41, particularly pp. 18-20.\n\">3<\/a><\/sup>\u00a0[fig. 1]<\/strong> This event is well chronicled in art history, but what has escaped attention so far is how the Royal Danish Academy of Fine Arts sought to place themselves in a position to take over these collections while their future was as yet undecided. One of the methods used to further this endeavour seems to have consisted in efforts to obtain a representative collection of recent Danish drawing. Ultimately, however, the Royal Collection of Graphic Art became a reality, an institution which would from then on strive to be the nation\u2019s primary collection of, among other things, Danish drawing. If the Academy\u2019s collections of drawings was the main institutional predecessor of the Royal Collection of Graphic Art\u2019s Danish collection, the most important lump addition was made in the form of the acquisition of a private collection: the large collection of drawings built by Johan Conrad Spengler (1767\u20131839), who was director of the Royal Picture Gallery. His collection would prove to set the tone for the Royal Collection of Graphic Art, determining its future progress.<\/p>\n

Research into the provenance of objects not only aims to chart the history of ownership of a given artefact; it can also give us deeper insight into the principles and assumptions that live on implicitly in, for example, the principles underpinning the collection activities of museums. By awarding the Academy\u2019s and Spengler\u2019s separate collections of Danish drawings their due place within Danish museum history, we may also shed some light on how Danish draughtsmanship was defined and perceived back when the museums and the discipline of art history were still in their infancy. No methodical research has ever before been conducted into the provenance of the Royal Collection of Graphic Art\u2019s oldest stock of Danish drawings. What follows constitutes the first attempt at depicting the main sources of these two collections. This undertaking has required a time-consuming, painstaking review of the Royal Collection of Graphic Art\u2019s Danish drawings from before 1840, comparing inscriptions, subject matter and other characteristics up against written sources such as inventories, sale catalogues and correspondence in order to identify, if possible, each individual drawing\u2019s history of ownership \u2013 thereby ultimately reaching the roots of our present-day national collection of drawings.
\n

Fig. 1.<\/strong> Diagram showing the key collections of Danish drawings and how they were acquired or combined in 1803\u201345.<\/figcaption><\/figure><\/p>\n

1810\u201316: The Academy begins collecting<\/h2>\n

During the first decades of the nineteenth century, the Royal Danish Academy of Fine Arts had built a somewhat haphazard collection of art on paper. Parts of the collection of prints may date back to the oldest incarnation of the Danish art academy, directed by the painter Hendrik Krock (1671\u20131738), but it appears that additions to the collection were made only rarely, and that it included virtually no drawings. The first substantial addition took place in 1810 with the purchase of the late Nicolai Abildgaard\u2019s (1743\u20131809) books, drawings and prints. The painter\u2019s modest collection of drawings encompassed only thirty-seven sheets; however, these were attributed to very prominent figures such as Raphael, Titian, Rembrandt and Poussin.Konsthistorisk Tidskrift. Journal of Art History<\/em>, 2014, vol. 83, no. 4, pp. 271-289.\n\">4<\/a><\/sup> The collection featured only a few Danish sheets, including some copies after Raphael executed by Abildgaard himself and a few drawings attributed to Marcus Tuscher (1705\u201351) and Karel van Mander III (circa 1609\u201370).5<\/a><\/sup>\u00a0The purchase also included a much larger collection of prints, but sadly the exact contents of this collection are not documented.<\/p>\n

More spectacular was the collection bequeathed to the academy by the master artisan painter Jens Neuhausen (1774-1816) upon his death. The bequest is described in detail in a surviving probate record, where it is shown to have encompassed (in addition to a quantity of prints) almost 3,000 drawings, primarily by Johannes Wiedewelt (1731\u20131802).6<\/a><\/sup>\u00a0Neuhausen acquired most of his drawings at the auction of the estate of the late sculptor in March of 1803, and since then they had served him as inspiration and source material for his many assignments as a decorative painter.7<\/a><\/sup>\u00a0A committee comprising the academy secretary and five academy professors were in charge of selecting the works the Academy would be interested in receiving. And even though some albums featuring drawings of an artisanal nature and most of the prints appear to have been winnowed out on this occasion, the Academy was nevertheless left with an unexpectedly fine collection that merited further expansion. An inventory from 1821 tells us that the Academy\u2019s collection of drawings held no less than 2,341 sheets at that point.8<\/a><\/sup>\u00a0In addition to 29 foreign drawings from Abildgaard\u2019s collection, the Academy owned nine unidentifiable sheets by Italian masters, approximately ninety sheets by German masters (which were in fact Mengs and Casanova) and no less than 2,214 Danish sheets.9<\/a><\/sup>\u00a0Most of these were by Johannes Wiedewelt, but the collection also encompassed smaller groups of drawings by Abildgaard, Marcus Tuscher, Carl Frederik Stanley (circa 1738\u20131813) and Johan Mandelberg (1730\u201386).Statstidende<\/em>, 5 April 1816), Neuhausen&rsquo;s bequest also included works by Peter Cramer; however, these are not mentioned in Thaarup&rsquo;s otherwise verbatim transcript (Thaarup 1821, pp. 175-176). This is to say that in 1821, the Royal Danish Academy of Fine Arts&rsquo; collection of drawings must have encompassed: some 2,100 sheets by Wiedewelt (the Academy&rsquo;s inventory, mentioned in note 8 hereof, lists a total of 1,960 sheets and five albums); sixty-nine sheets by Tuscher (one of which from Abildgaard, the other sixty-eight from Neuhausen); an album containing twelve drawings by Mandelberg (all from Neuhausen, who had bought them at Wiedewelt&rsquo;s auction, now at The Royal Collection of Graphic Art); and twenty sheets by Abildgaard (all acquired as part of Abildgaard&rsquo;s collection). Of sheets by Stanley there were only six; these appear to have been acquired between 1813 and 1821.\n\">10<\/a><\/sup>\u00a0This should be compared to the Academy\u2019s collection of graphic art, which comprised 1,560 loose sheets at the time. Of these, 472 had been purchased as part of Abildgaard\u2019s collection, whereas almost 150 were added as part of Neuhausen\u2019s bequest.11<\/a><\/sup>\u00a0The idea of having a collection of drawings, first introduced with the acquisition of Abilgaard\u2019s collection, had now been realised with Neuhausen\u2019s present. In one swoop, the Royal Danish Academy of Fine Art was on its way to becoming a centre for recent Danish drawing.<\/p>\n

1826-29: Plans to transfer the royal collections of prints to the Academy<\/h2>\n

In the 1820s, regret at the absence of a single primary public collection of prints was expressed from several quarters. In his 1821 review of the nation\u2019s art collections, Frederik Thaarup said: \u2018It would be capital if we had, as they do in Vienna and Dresden, a cabinet of prints where artists and art amateurs could, at specific times and in premises designed for this very purpose, study such art\u2019.12<\/a><\/sup>\u00a0However, it was only when the Holstein art historian, baron Carl Friedrich von Rumohr (1785\u20131843) and the young library secretary Just Mathias Thiele (1795\u20131874) went over the old albums of mounted engravings five years later that the library\u2019s management became truly aware of the critical condition of the collection and its hopeless lack of any systematic order. The opening of the Royal Picture Gallery [Det kgl. Billedgalleri] at Christiansborg in 1827 further fuelled the speculation and desire to impose order on the royal collections of prints and drawings and make them accessible. For example, in the summer of 1827 a well-informed reviewer expressed hopes that \u2018the rich collection of engravings that is currently part of the greater Royal Library […] [might] soon have a knowledgeable, skilled hand bring upon the same good fortune [being made accessible for academic study]; for only then would it be truly useful, and it might then, under independent management, be affiliated with the Royal Picture Gallery\u2019.Katalog over det Kongelige Billed-Galerie<\/em> i Dansk Litteratur-Tidende<\/em>, 1827, no. 29, p. 456.\n\">13<\/a><\/sup><\/p>\n

The librarian Erich Christian Werlauff (1781\u20131871) supported the idea of merging the different collections and the newly established picture gallery, even if he also saw the advantages inherent in the alternative plan to transfer the library\u2019s collections of graphic art to the Royal Danish Academy of Fine Arts.14<\/a><\/sup>\u00a0The latter idea originated with the library\u2019s director, titular prime minister Ove Malling (1748-1829), and to Werlauff\u2019s mind it had the advantage that the library would be likely to receive fiscal compensation from the Academy. Hence, negotiations concerning a sale of the collection were opened in 1828.Historiske Efterretninger om det store kongelige Bibliothek i Ki\u00f8benhavn<\/em>, Copenhagen 1844, p. 406.\n\">15<\/a><\/sup>
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Fig. 2.<\/strong> C.W. Eckersberg: View from the gardens of Liselund<\/em>. Circa 1809. Pencil, pen and ink and wash. 191 x 155 mm. The Royal Collection of Graphic Art, KKSgb4042. Bought for the Royal Danish Academy of Fine Arts at the estate sale of Johan B\u00fclow in 1829; transferred to The Royal Collection of Graphic Art in 1845.\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure>
\nWith the library director\u2019s proposal and the librarian\u2019s initial blessing, the Academy now spied a major endowment of art on the horizon \u2013 although there was a clear risk that it might have to be paid for. It is unlikely that the academy assembly would allow this opportunity to slip away, and it would appear that work was being done behind the scenes in order to promote such a transfer. Presumably seeking to build up arguments why the royal collections of art on paper should be reallocated to the Royal Danish Academy of Fine Arts\u2019 library, the Academy now embarked on a programme of acquiring Danish drawings. The first focused acquisitions were made at the auction of the estate after Johan B\u00fclow, held on 13 to 22 April 1829. Ahead of this auction the academy assembly had decided to set aside funds for the purchase of drawings, and the landscape painter Jens Peter M\u00f8ller was appointed to act on the institution\u2019s behalf in this matter. M\u00f8ller was particularly successful in acquiring a large number of preliminary studies for illustrations, but also got hold of many other sheets, most of them fully finished. In one case he was even able to correct an erroneous attribution: he brought home a watercolour that the author of the auction catalogue, Christian J\u00fcrgensen Thomsen, had listed as a work by the animal painter Christian David Gebauer, but which M\u00f8ller recognised as a work by his close friend C.W. Eckersberg.Et Partie af en Dyrehauge. Med Farver. Qto<\/em> [Scene from a Deer Park. In Colour. Quarto]. On the invoice (mentioned in the next note) M\u00f8ller wrote the following note: &lsquo;Eckersberg, angiven for Gebauer&rsquo; [Eckersberg, listed as Gebauer&rsquo;]. The drawing may be identical to KKSgb4041.\n\">16<\/a><\/sup>\u00a0Thiele \u2013 who in addition to being employed at the Royal Library also acted as librarian and secretary to the Royal Danish Academy of Fine Arts \u2013 could now, acting on behalf of \u2018Akademiets Kunstsamling\u2019 [the Academy Art Collection\u2019], receive drawings by e.g. Mandelberg, Stanley, Peter Cramer, Cornelius H\u00f8yer, C.F. Hansen, Abildgaard, Jens Juel, Johan Friedrich Clemens, Bertel Thorvaldsen, Gebauer, Johan Ludwig Lund and Eckersberg.17<\/a><\/sup>\u00a0[fig. 2]<\/strong> Summing up, steps had been taken to supplement the existing collection with a small, but reasonably representative group of recent Danish drawings and to make it abundantly clear that the Royal Danish Academy of Fine Arts had the means necessary to make focused additions to the collection through purchases. The cornerstone had been firmly laid for the first institutional collection of Danish drawings.<\/p>\n

1829\u201335: The tide turns<\/h2>\n

In November 1829 the head of the Royal Library, Ove Malling, died, leaving the fate of its graphic art blowing in the wind again for a while. He was succeeded by Chief Lord Chamberlain [overhofmarskal] Adam Wilhelm Hauch (1755\u20131838), who was prepared to separate out the library\u2019s collections of engravings, but chose to consult with more experts before an actual plan was presented to the king. It would seem that little progress had been made towards an actual decision a year later when Andreas Christian Gierlew, in December 1830, offered the library his collection of Italian drawings. J.C. Spengler, director of the Royal Picture Gallery, recommenced the purchase, which would \u2018undoubtedly be a favourable acquisition if one were ever to be inclined to replace the large and costly collection of drawings that perished in the fire of the Royal Reference Library at Christiansborg\u2019.18<\/a><\/sup>\u00a0Hauch for his part excused himself by pointing to the nation\u2019s empty coffers, which made it entirely unfeasible to \u2018complete the current, rather insignificant collection of drawings\u2019.19<\/a><\/sup>
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Fig. 3.<\/strong> N.A. Abildgaard: Niels Klim entering the cave<\/em>. Circa 1788. Pencil, pen, ink and wash. 195 x 156 mm. The Royal Collection of Graphic Art, KKSgb3704. Bought for the Royal Danish Academy of Fine Arts at the estate sale of J.F. Clemens in 1832; transferred to The Royal Collection of Graphic Art in 1845. Statens Museum for Kunst,\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure>
\nIn the meantime Christian J\u00fcrgensen Thomsen had submitted the requested memorandum. In this document he advised against leaving the systematisation and expansion of the collections to the Royal Danish Academy of Fine Arts.Thomsens museum. Historien om Nationalmuseet<\/em>, Copenhagen 1992, pp. 100-101; Svend Dahl: &lsquo;Adam Wilhelm Hauch som Bibliotekschef&rsquo;, Fund og Forskning<\/em>, vol. 2 (1955), p. 21; Birkelund 1969, p. 80.\n\">20<\/a><\/sup>\u00a0Instead he suggested that all of the royal collections of drawings and prints should be combined in an autonomous institution \u2013 a model that reflected Thomsen\u2019s visionary endeavours to make the royal collections accessible as a range of specialised scientific collections. Thomsen\u2019s ideas were taken on board in the final proposal that Hauch presented to the king, Frederik VI, in March of 1831, and in April the final decision was reached: the collection of drawings was to be separated out from the Royal Library.21<\/a><\/sup>\u00a0While this meant that the idea of transferring the collections to the Royal Danish Academy of Fine Arts had been shelved, the Academy could still reasonably regard itself as a potential candidate for having the nation\u2019s primary collection of Danish drawings. As a result, the Academy continued to purchase Danish drawings for a while yet. For example, at the auction of the estate after the engraver Johan Friedrich Clemens on 1 May 1832, the Academy acquired a group of excellent drawings by Jens Petersen Lund, Abildgaard, Clemens, Juel and others.22<\/a><\/sup>\u00a0[figs. 3-4]<\/strong> However, before the decade had come to an end, the Academy had also been outmanoeuvred by the competition on this score.
\n
Fig. 4.<\/strong> J.P. Lund: Landscape with ruins outside of Rome<\/em>. 1764. Pencil and black chalk. 430 x 581 mm. The Royal Collection of Graphic Art, KKSgb8698. Bought for the Royal Danish Academy of Fine Arts at the estate sale of J.F. Clemens in 1832; transferred to The Royal Collection of Graphic Art in 1845. Statens Museum for Kunst,\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure>
\n
Fig. 5.<\/strong> Marcus Tuscher: Self-portrait.<\/em> Circa 1740s. Black and white chalk on greyish-green paper. 266 x 216 mm. The Royal Collection of Graphic Art, KKSgb6375. Bought by Frederik VI as part of Lorenz Spengler\u2019s collection in 1810; transferred to the Royal Collection of Graphic Art at its inception in 1835. Statens Museum for Kunst,\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure><\/p>\n

1835\u201341: Reinforcing the Royal Collection of Graphic Art<\/h2>\n

In 1835, most of the Royal Library\u2019s collection of prints was separated out, other collections were taken from the royal castles and palaces, and Just Mathias Thiele was able to resign from the library and take up his new position as curator of the newly established Royal Collection of Graphic Art (Den Kongelige Kobberstiksamling). At this point the collection was still short on Danish drawings. However, the portfolios holding the collections of Lambert van Haven and Lorenz Spengler did contain a number of older sheets that could reasonably be thought to belong to the Danish school. From the latter collection, Thiele was able to pick out a score of drawings by artists who had immigrated to Denmark such as Heinrich Dittmers (1625\u201377), Jacob d\u2019Agar (1642\u20131715) and Benoit le Coffre (1671\u20131722), as well as twenty-eight sheets by Mandelberg, eight by J.P. Lund and another score of sheets by Spengler\u2019s good friend, the German-born artist Marcus Tuscher [fig. 5]<\/strong>. But apart from these works it would, as far as drawings were concerned, be difficult to lay claim to having a Danish section in the newly founded institution. The stock of drawings representing the period after 1750 was the most deficient of all, and one of Thiele\u2019s main priorities was to remedy this lacuna.
\n

Fig. 6.<\/strong> Melchior Lorck: Two riders, the first carrying a standard.<\/em> 1553. Pen and ink and greyish wash. 264 x 231 mm. The Royal Collection of Graphic Art, KKSgb5460. Acquired as part of J.C. Spengler\u2019s collection in 1840. Statens Museum for Kunst,\u00a0public domain<\/a>, SMK<\/a>.<\/figcaption><\/figure>
\nThe best opportunity to do so came with the death of J.C. Spengler in 1839. Spengler certainly took after his father: over the course of the preceding forty years he had built the largest collection of drawings in the nation. Spengler\u2019s drawings by foreign artists were put up for auction, attracting an entirely new circle of Copenhagen-based collectors, and Thiele also availed himself of this opportunity to make major purchases for the Royal Collection of Graphic Art.Italian Drawings in the Department of Prints and Drawings, Statens Museum for Kunst: Central Italian Drawings, Schools of Florence, Siena, the Marches and Umbria<\/em>, Copenhagen 2001, pp. 21-22.\n\">23<\/a><\/sup>\u00a0However, Thiele would not permit Spengler\u2019s collection of Danish drawings to be scattered to every corner of the world, and on this point he won the media\u2019s support. Just a few weeks after Spengler\u2019s death, a contributor to the newspaper Ki\u00f8benhavnsposten<\/em> called attention to his \u2018collection of drawings by Danish masters, the only one of its kind, and a collection on whose completion he spared neither time, care nor expense. We hope that the State will seek to acquire this collection, thereby ensuring that what has been so carefully brought together should not again be torn asunder\u2019.Ki\u00f8benhavnsposten<\/em>, 16 March 1839.\n\">24<\/a><\/sup>\u00a0It is possible that Thiele authored this piece himself, for when Spengler\u2019s heirs finally offered to sell the collection to the king in the summer of 1840, Thiele recommended the purchase in similar terms. On this occasion he praised Spengler\u2019s \u2018important collection of drawings by Danish masters, given that it is the only one of its kind and would be a significant embellishment [of] His Majesty\u2019s collection of prints and drawings\u2019.25<\/a><\/sup>\u00a0Thiele concluded by emphasising: \u2018I should be remiss in failing to give this my warmest recommendation as a favourable opportunity that will in all probability never again be seen in this country\u2019. The purchase had been made by December.
\n
Fig. 7.<\/strong> Magnus Berg: The Apotheosis of Christian V<\/em>. Pen and black ink, brown wash, white highlights. 639 x 515 mm. The Royal Collection of Graphic Art, KKSgb8759. Acquired as part of J.C. Spengler\u2019s collection in 1840. Statens Museum for Kunst,\u00a0public domain<\/a>, SMK<\/a>.<\/figcaption><\/figure>
\nSpengler\u2019s collection of Danish drawings comprised more than 1,700 sheets and was arranged to provide an historic overview of almost three hundred years of drawing, from Melchior Lorck [e.g. fig. 6]<\/strong> to C.W. Eckersberg.26<\/a><\/sup>\u00a0The collection is not only distinguished by its extent, but also by its high quality overall and by its representative selection of eighteenth-century art in particular. Especially striking were the collection\u2019s many large-scale sheets, such as Jacob Coning\u2019s scene from the gardens behind Charlottenborg, Magnus Berg\u2019s Apotheosis of Christian V<\/em> [fig. 7]<\/strong> or Peder Als\u2019s beautiful studies for portraits.27<\/a><\/sup>\u00a0[fig. 8]<\/strong> However, the collection also included less formal, sketch-like sheets, many of which were regarded as having limited artistic merit at the time.Genealogisk og biographisk Archiv<\/em>, vol. 1, 1840, pp. 292-314 (the passage is quoted after p. 22 in the 1842 reprint).\n\">28<\/a><\/sup>\u00a0Less famous artists and Spengler\u2019s younger contemporaries were usually represented by just a few sheets, and conversely Spengler had acquired dozens of drawings by the more prominent figures. For example, he owned fifty-eight sheets by Peter Cramer, eighty sheets by Christian August Lorentzen, eighty-six sheets by Jens Juel [including fig. 9] and no less than ninety-six sheets by Abildgaard. Even today, most of the Royal Collection of Graphic Art\u2019s drawings by Cramer, Juel and Lorentzen, as well as by Karel van Mander III, Vigilius Erichsen and Alexander Trippel, come from Spengler\u2019s portfolios.
\n
Fig. 8. <\/strong>Peder Als: Draft for a portrait of a lady, and study of hands and arms for said portrait.<\/em> Circa 1760s. Black chalk on bluish-grey paper, white highlights. 422 x 527 mm. The Royal Collection of Graphic Art, KKSgb10032. Acquired as part of J.C. Spengler\u2019s collection in 1840.\u00a0Statens Museum for Kunst,\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure>
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Fig. 9.<\/strong> Jens Juel: Swiss landscape with a groom holding two horses and a brace of dogs; study for a portrait of Jean-Armand Tronchin<\/em>. Circa 1779. Black chalk, pen and ink and Indian ink wash on grounded paper. 347 x 285 mm. The Royal Collection of Graphic Art, KKSgb5356. Acquired as part of J.C. Spengler\u2019s collection in 1840.\u00a0Statens Museum for Kunst,\u00a0public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure><\/p>\n

1845: Exchanging drawings with the Royal Danish Academy of Fine Arts<\/h2>\n

The purchase of J.C. Spengler\u2019s collection would form the basis of the Royal Collection of Graphic Art\u2019s Danish collection and firmly established it as the main institution for Danish art on paper. At the official opening of the Royal Collection of Graphic Art in April of 1843, Thiele was able to present a splendid and reasonably representative collection of Danish drawings.Af mit Livs Aarb\u00f8ger 1826-1874<\/em>, Copenhagen 1917, vol. 2, p. 85.\n\">29<\/a><\/sup>\u00a0Even so, Thiele had by no means forgotten the Academy\u2019s ventures into establishing an art collection; an endeavour which he himself oversaw in his continued capacity as academy librarian. In 1845 he brought about an exchange between the two institutions where the Academy transferred a large number of works to the Royal Collection of Graphic Art. This exchange included all of the Academy\u2019s most valuable engravings, the entire Abildgaard collection of drawings, and most of the sheets bought at auction.\u00a0[including figs. 2-4]<\/strong><\/p>\n

However, not every Danish drawing in the Academy\u2019s collection was transferred. Perhaps out of veneration for Neuhausen and his bequest, the drawings by Wiedewelt, Tuscher and Mandelberg remained in the Academy\u2019s ownership. Strangely enough, the Academy also kept an album of Mandelberg drawings that did not come from Neuhausen\u2019s collection, but which J.P. M\u00f8ller had bought at the auction of Johan B\u00fclow\u2019s estate in 1829 on behalf of the Academy. The album originally held 173 drawings, but B\u00fclow added another couple of hundred sheets to this number.Miscelanea 1757. D\u00e9sin\u00e9e d&#39;apres la N\u00e1ture de plusieurs chos\u00e9s \u00e0 Rome, par Mandelberg. Bestaaende af 173 Blade &ndash; og for\u00f8get til 373 s\u00e6rskilte Stykker med Tegninger af Eieren B\u00fclow &ndash; Sanderumgaard d. 2 Oct. 1801<\/em>. B\u00fclow may have acquired the album at Mandelberg&rsquo;s auction held on 20 November 1786, where it was sold as lot no. 151 and described as: A folio featuring 137 [sic] sheets of historic landscapes, ruins, statues, vases and other drawings&rsquo; [&lsquo;En Bog in folio med 137 [sic] Blader med historiske Landskaber, Rudera, Statuer, Vaser og andre Tegninger&rsquo;]. The lot number in the auction catalogue corresponds to a number added in ink at the top of the album&rsquo;s cover.\n\">30<\/a><\/sup>\u00a0Prior to the auction, M\u00f8ller agreed to share the drawings with J.C. Spengler, who cut out 186 sheets.31<\/a><\/sup>\u00a0[fig. 10]<\/strong>\u00a0 Many of these drawings must have been included in the Royal Collection of Graphic Art alongside Spengler\u2019s Danish collection, and perhaps this prompted Thiele to regard the collection as being amply stocked in this regard, causing him to leave the actual album at the Academy.32<\/a><\/sup>\u00a0Or perhaps, amidst all the commotion, someone other than Thiele assumed that the album was part of Neuhausen\u2019s bequest? Many years would pass before another large portion of the drawings still held at the Academy were transferred from its library to the Royal Collection of Graphic Art, meaning that today, the Wiedewelt drawings are all that is left of Neuhausen\u2019s bequest in the Academy collection.33<\/a><\/sup>\u00a0However, these later transfers are mere footnotes in the overall narrative \u2013 the 1845 changeover unequivocally established the fact that the Royal Danish Academy of Fine Arts had in effect lost any real claim to being a potential centre for the collection of Danish drawings.
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Fig. 10.\u00a0<\/strong>Johan Mandelberg: Album containing 187 drawings, mostly after the antique. The Royal Collection of Graphic Art (on permanent loan from the Danish National Art Library). Purchased for the Royal Danish Academy of Fine Arts at the estate sale of Johan B\u00fclow in 1829. To the left, the verso of sheet 94 featuring one of the drawings that must have been added by B\u00fclow. When the album was divided up between the Academy and J.C. Spengler, the top of sheet 95 and sheets 96\u201397 were cut out and the drawings on them added to the latter\u2019s collection. Approximately half of the cut-out drawings, of which there are 186 in total, are believed to have entered the Royal Collection of Graphic Art as part of Spengler\u2019s collection in 1840.<\/figcaption><\/figure><\/p>\n

The Danish collection in 1845: Subject matter<\/h2>\n

The acquisition of Spengler\u2019s collection had a major influence on the study and overall perception of Danish draughtsmanship, and its contents would have a crucial impact on the nature of the Royal Collection of Graphic Art\u2019s Danish collecting activities for decades to come. If we look at the subjects and themes represented in Spengler\u2019s Danish drawings, we find the outline of a collection amassed in order to illustrate the history and art history of the nation, but also of a collection that reflected Spengler\u2019s own position and outlook on the world. For example, in some respects Spengler\u2019s Danish collection became a kind of inverse monument to what may have been his greatest achievement of all: the heroic evacuation of a large number of paintings during the palace fire of 1794.34<\/a><\/sup>\u00a0In the decades that followed, he succeeded in collecting a range of preliminary studies for many of the paintings that could not be rescued due to their size or because they were embedded into the architecture, causing them to perish in the flames. For example, he owned a group of figure and costume studies for one of Abildgaard\u2019s paintings in the Great Hall of the palace,35<\/a><\/sup>\u00a0and he had an \u2018exceptionally lovely drawing\u201936<\/a><\/sup>\u00a0created as a preliminary work for Marcus Tuscher\u2019s painting King Christian VI is hailed by Denmark and Norway.<\/em> The fact that this part of the collection was carefully planned and arranged to serve as documentation for the works that went up in flame is accentuated by the fact that Spengler\u2019s modest collection of paintings included a scaled-down version of Karel van Mander III\u2019s equestrian portrait of Christian IV, which had also been lost in the palace fire.37<\/a><\/sup><\/p>\n

Overall, Spengler\u2019s collection held a remarkable large number of drawings depicting Danish kings and their exploits, including a series of studies for monumental equestrian portraits or statues. It would seem that in this respect Spengler continued along lines laid down by his father: the elder Spengler\u2019s collection had included Marcus Tuscher\u2019s proposal for an equestrian monument to Frederik V in the square of the Amalienborg complex and the same artist\u2019s very carefully finished drawings for the painting of the mounted king Christian VI and for an intended pendant piece depicting Frederik V.38<\/a><\/sup>\u00a0In 1812 J.C. Spengler described the latter sheets as \u2018the loveliest drawings ever executed in ink\u2019. Fortegnelse over den Spenglerske Haandtegning og Kobberstik-Samling<\/em>, 1812, p. 22, no. 430. The fact that it was J.C. Spengler who, following the sale of his father&rsquo;s collection to the king, was responsible for taking apart the individual albums and for systematising and cataloguing the drawings, is apparent from his letter to Chief Lord Chamberlain [overhofmarskal] Hauch, 14 August 1810, the Danish National Archives, Kunstkammeret, Indkomne breve, 1810, no. 95. The expenditure on staff, cataloguing, fair copies and mounting can be ascertained from the Kunstkammer accounts for 1811, the National Museum of Denmark, Kunstkammeret, kasse 5: Regnskaber 1766-1839.\n\">39<\/a><\/sup>\u00a0The younger Spengler continued these collecting activities, and in addition to the works by Tuscher and van Mander he believed himself to own drawn designs for e.g. Abraham C\u00e9sar Lamoureux\u2019s equestrian statue of Christian V and Saly\u2019s ditto of Frederik V.40<\/a><\/sup><\/p>\n

Spengler\u2019s collection also included a number of drawings showing scenes from recent Danish history, such as a large watercolour of the Liberty Column [Frihedsst\u00f8tten] raised in 1797 to commemorate the abolition of adscription in 1788 as well as Eckersberg\u2019s aforementioned depictions of the bombardment of Copenhagen in 1807.41<\/a><\/sup>\u00a0And it held a number of illustrations for Danish literature, such as Clemens\u2019s illustrations for Holberg\u2019s plays after designs by Abildgaard.Niels Klim<\/em> illustrations nor his seven drawings for Holberg comedies can be identified today.\n\">42<\/a><\/sup>\u00a0Spengler had only limited interest in folk scenes, and rural series such as Johan Gottfried Grund\u2019s four designs for sculptures for the Nordmandsdalen sculpture park were rather drowned out by more sophisticated city types, such as Johannes Senn\u2019s twenty-four drawings for Kl\u00e6dedragter i Ki\u00f8benhavn <\/em>[Copenhagen Costumes].43<\/a><\/sup>\u00a0The closest thing to folk scenes and themes in Spengler\u2019s collection would be drawings featuring scenes of national heroics made particularly famous by Ove Malling\u2019s Store og gode Handlinger af Danske, Norske og Holstenere<\/em> [Great and Good Deeds by Danish, Norwegian and Holstein Men] [e.g. fig. 11]<\/strong>.<\/p>\n

Like his art historical writings, J.C. Spengler\u2019s letters from his Grand Tour abroad in 1787\u201390 testify to his classicist outlook on art.The Forgotten Scholar: Georg Zo\u00ebga (1755&ndash;1809), At the Dawn of Egyptology and Coptic Studies<\/em>, (Culture and the History of the Ancient Near East<\/em>, vol. 74), Leiden 2015, pp. 67-68. A total of 29 of these letters can be found distributed among the archives at SMK, the Danish National Archives and Sor\u00f8 Academy.\n\">44<\/a><\/sup>\u00a0It is hardly surprising, then, that his collection was also aimed at showcasing the Danish artists\u2019 ability and willingness to pick up the mantle from their ancient forebears. Perhaps the many royal equestrian portraits should be considered in this light, but the collection also included studies of ancient sculptures and ruins by e.g. J.P. Lund and Mandelberg, architectural drawings by C.F. Hansen and Harsdorff, and a large number of drawings by neoclassical artists such as Wiedewelt and Alexander Trippel.45<\/a><\/sup>
\n

Fig. 11. <\/strong>Erik Pauelsen: Anne Colbj\u00f8rnsen in the Norderhaug vicarage.<\/em> Circa 1779. Pen and brown ink, brush and grey wash. 461 x 563 mm. The Royal Collection of Graphic Art, KKSgb6481.\u00a0Acquired as part of J.C. Spengler\u2019s collection in 1840. Statens Museum for Kunst, public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure><\/p>\n

The Danish collection in 1845: Danishness<\/h2>\n

The way in which Spengler\u2019s collection had been conceived, perceived, collected and arranged also had a major knock-on effect on the Royal Collection of Graphic Art\u2019s overall direction as the main collection of Danish art on paper. We do not know for certain when Spengler arranged his Danish collection as a separate entity. In his earliest handlist from around 1820\u201323, a total of 239 Danish drawings still appear amidst the drawings made by artists from abroad, but by the late 1820s the Danish drawings had been separated out from the rest and were kept in three folders dedicated to this purpose.Alfabetisk Fortegnelse over J.C. Spenglers Haandtegnings-Samling<\/em>, [&lsquo;Alphabetical inventory of J.C. Spengler&rsquo;s collection of drawings&rsquo;, circa 1820-23]; b) Udsigt over afgangene Etatsraad Spenglers Haandtegningssamling af danske Mesterne<\/em>, [&lsquo;Overview of the former Councillor Spengler&rsquo;s collection of drawings by Danish masters&rsquo;, circa 1840]; c) a summary list dating from circa 1829&ndash;30 among Papirer vedkommende Spenglers private Samling af Haandtegninger<\/em> [&lsquo;Papers pertaining to Spengler&rsquo;s private collection of drawings&rsquo;]. Given that the latter list includes drawings by e.g. Thorvaldsen and Johan Hanck, it must have been begun after B\u00fclow&rsquo;s auction in 1829, whereas Spengler&rsquo;s purchases at the auction at A.R. Hornbech in December 1830 (and all subsequent acquisitions) have been entered as amendments.\n\">46<\/a><\/sup>\u00a0This is to say that the idea of forming a separate national collection can be plausibly assumed to have arisen at some point during the 1820s. An obituary makes the following statement about the thoughts underpinning the collection:<\/p>\n

At a time when an interest in drawings was more rarely seen in this country than now, and when our art history was as yet quite untreated, Spengler made the praiseworthy decision of seeking to collect what might yet be found in this country of studies and drafts by artists who can, by virtue of their birth, works or sojourns here be included in Danish art history.\u00a0, <\/em>Mourier 1840, this passage quoted after p. 21 in the special edition from 1842.\n\">47<\/a><\/sup><\/p><\/blockquote>\n

In his collection activities Spengler took a pragmatic approach to nationality, regarding as Danish any artist who had studied or worked in Denmark, Norway and\/or the duchies. Of course this included his own father, Lorenz Spengler, who had arrived in Denmark from Switzerland in 1743 and was represented in the collection by nine drawings.48<\/a><\/sup>\u00a0This also held true for several visiting artists dating back to the seventeenth century, such as Johannes Glauber, to whom Spengler attributed the aforementioned view of Charlottenborg. And the list included the foreign academy professors and students of the eighteenth and nineteenth centuries such as Saly, Pilo, Asmus Jacob Carstens, Caspar David Friedrich and Johan Christian Dahl.\u00a0[fig. 12]<\/strong>\u00a0Several of the artists featured in Spengler\u2019s Danish collection had only very tenuous links to Denmark \u2013 most remarkably Louis Tocqu\u00e9, who only spent seven months in the country, but was nevertheless represented in the collection in the form of a beautiful compositional sketch.49<\/a><\/sup>\u00a0Sergel was also represented by a handful of drawings even though his stays in Denmark were few and of brief duration.<\/p>\n

The definition of Danishness was one point where the Royal Collection of Graphic Art came to differ significantly from the Royal Picture Gallery at Christiansborg Palace.\u00a0 Under Spengler\u2019s management, the gallery\u2019s Danish section had \u2013 like his private collection \u2013 comprised a mixture of native and visiting artists. After Spengler\u2019s death, Niels Lauritz H\u00f8yen took a different approach, launching a definition of a national school in which he put much greater emphasis on the artists\u2019 place of birth when defining their proper place in art history.SMK Art Journal<\/em> 2005, pp. 43-59.\n\">50<\/a><\/sup>\u00a0However, H\u00f8yen\u2019s thinking fell on stony ground at the Royal Collection of Graphic Art, where Thiele (presumably partly for practical reasons) chose to keep Spengler\u2019s system. For this reason, the handwritten catalogue of the collection from 1858 includes the following note about the Danish section: \u2018this collection of Danish drawings was mostly collected by the late Lorenz [actually Johan Conrad] Spengler and upon its acquisition included in the royal collection according to his catalogue. For this reason, the collection includes works by certain foreign artists who have not been separated out\u2019.Catalog over de i Den Kongelige Kobberstiksamling opbevarede Kobberstik, Haandtegninger og B\u00f8ger. <\/em>Indtil Udgangen af 1858<\/em>, p. 241. This cannot be Lorenz Spengler&rsquo;s collections: firstly, it held only a few Danish sheets, and secondly, it had been dispersed as a result of Thiele&rsquo;s reorganisation in the 1830s.\n\">51<\/a><\/sup>\u00a0While H\u00f8yen\u2019s outlook on art required artistic homogeneity and a clear-cut overall aesthetic sensibility if one were to speak of a national school of art, Spengler\u2019s view of Danishness was based entirely on historical facts. This meant that Spengler\u2019s perception of Danish art history not only could, but had to, accommodate a greater diversity of stylistic modes of impression, conflicting trends and short-lived movements. In brief, Spengler\u2019s collection activities (and his hang of the Danish room at the Picture Gallery too) were not so much about Danishness as they were about documenting all the different modes of expression that had been cultivated in Denmark and the various inputs and inspirations that the Danish art scene had received from abroad through the ages.
\n

Fig. 12.\u00a0<\/strong>J.C. Dahl: View of the Elbe near Dresden<\/em>. 1824. Pen and ink, brush and watercolour. 215 x 343 mm. The Royal Collection of Graphic Art, KKSgb4950. Purchased by J.C. Spengler at the the estate sale of Johan B\u00fclow in 1829; acquired as part of Spengler\u2019s collection 1840. Statens Museum for Kunst, public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure><\/p>\n

The Danish collection in 1845: Views on history<\/h2>\n

The Royal Collection of Graphic Art also pursued a different path than the Royal Picture Gallery in its approach to collecting contemporary art. Once again, one of the factors influencing this difference was the outlook on art imported with the purchase of Spengler\u2019s Danish collection. Writing about Spengler\u2019s views on contemporary art, his nephew wrote that \u2018he, who had been a contemporary of Abildgaard, Poulsen and Cornelius H\u00f8yer, was rather strict in his judgments as far as Danish art was concerned and did not rank the current generation of artists as highly as they believed they deserved […]\u2019.52<\/a><\/sup>\u00a0At Spengler\u2019s death his Danish collection included only a few drawings by artists who were living at the time: J.L. Lund, Ernst Meyer and Adam M\u00fcller were each represented by two sheets each, as were Bertel Thorvaldsen, by whom Spengler owned a highly finished presentation drawing [fig. 13]. Only Eckersberg was more extensively represented than they, but even in his case Spengler had only bought very carefully finished drawings \u2013 mostly designs for engravings \u2013 which also happened to date back several decades. For example, the Royal Collection of Graphic Art received five of the painter\u2019s early views of Copenhagen and three scenes from the wars against England \u2013 and all these drawings had been obtained at the auctions of the estates of the engravers Clemens and Lahde held in 1832 and 1834, respectively.53<\/a><\/sup>\u00a0There was, then, little contemporary art in the strict sense of the term in Spengler\u2019s collection, and following its acquisition by the Royal Collection of Graphic Art, Thiele actually made a point of only acquiring drawings by late artists.Den kongelige Kobberstiksamling. Grafik og Tegninger<\/em>, Copenhagen 1939, p. 35.&nbsp;\n\">54<\/a><\/sup>\u00a0As a result, the stock of recent drawings from the Academy\u2019s and Spengler\u2019s collections was only substantially expanded as the \u2018Golden Age generation\u2019 gradually passed away. Even though this may seem like a rather hesitant acquisition strategy, the head of the collection was often successful in buying wisely and in bulk whenever the opportunity arose with the death of an artist. Through acquisitions from the estates of e.g. Christen K\u00f8bke (1848), Martinus R\u00f8rbye (1849), Johan Thomas Lundbye (1851) and C.W. Eckersberg (1854), Thiele and his successors built a Danish collection which was, at the turn of the century, probably more fully representational than the Danish section of the Royal Collection of Painting.
\n

Fig. 13.<\/strong> Bertel Thorvaldsen: Cupid playing with a butterfly<\/em>. Circa 1805\u201310. Black charcoal with white highlights on light brown paper. 421 x 333 mm. The Royal Collection of Graphic Art, on permanent loan to Thorvaldsens Museum, Dep. 7. Purchased by J.C. Spengler at the estate sale of Johan B\u00fclow in 1829; received as part of Spengler\u2019s collection 1840.\u00a0Statens Museum for Kunst, public domain<\/a>,\u00a0SMK<\/a>.<\/figcaption><\/figure>
\nWhile the Royal Danish Academy of Fine Art\u2019s early overtures towards establishing a public collection of Danish drawings was soon consigned to oblivion, the Royal Collection of Graphic Art had, by the early 1840s, completely taken over as the primary public collection of Danish drawings. Among artists, it soon became natural to think that their sketches and studies might be of national significance and institutional interest. So when Johan Thomas Lundbye pondered the matter of his earthly possessions ahead of his Grand Tour abroad in 1845, it was natural for him to wish that \u2018the drawings should not be separated if they could become part of some public collection\u2019.55<\/a><\/sup><\/p>\n

As has been demonstrated, J.C. Spengler\u2019s collection was particularly instrumental in setting the tone and standards for the Royal Collection of Graphic Art\u2019s subsequent collecting activities and organisation. During the second half of the nineteenth century, the definition of Danishness used by Spengler grew widespread among art historians as well as in wider circles. This was not least due to the work of the art historian Philip Weilbach (1834\u20131900), who used a similar definition of Danish art history in his art encyclopaedias: now, artists could once again be regarded as Danish if they had \u2018lived and worked in Denmark or within the Danish state\u2019.Dansk Konstnerlexikon<\/em> was published in 1877&ndash;78.\n\">56<\/a><\/sup>\u00a0By contrast, most of Spengler\u2019s other principles for the content and organisation of his Danish collection were subsequently revised: the principle of never buying works by living artists has been departed from since 1912, and a comprehensive restructuring undertaken in the 1960s also disbanded his alphabetical system.Den Kongelige Kobberstiksamling. Danske Tegninger<\/em>, Statens Museum for Kunst 1965, pp. 9-10.\n\">57<\/a><\/sup>\u00a0But even though drawings by artists such as Tocqu\u00e9 and C.D. Friedrich have, quite correctly, been transferred to the sections for foreign artists, the historic definition of an artist\u2019s Danishness has survived ever since the collection was founded. Perhaps the national collection of drawings found in the Royal Collection of Graphic Art has ultimately had the final word on the matter, winning out against the Picture Gallery\u2019s rather more one-sided presentation of Danish-born artists.\u00a0\u00a0\u25a2<\/p>\n","protected":false},"excerpt":{"rendered":"

The idea of having a central collection of Danish drawings first arose back in the first half of the nineteenth century, and the earliest overtures for such a collection continue to have a great impact on our perception of Danish draughtsmanship today.<\/p>\n","protected":false},"author":1,"featured_media":3199,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-3339","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nA national collection on the drawing board. 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