Loeb Danish Ardt Collection - page 119

bardment that set
fi
re to the city. There is no agreement as to how many of the original sketches were the
work of Eckersberg, as only a single one bears his name.
Hannover writes that Eckersberg made “several small drawn or watercolour portraits of our warships
in

.”
He is here presumably thinking of the drawings in the Collection of Prints and Drawings, which
the then head, Jørgen Sthyr, in

related to the series of prints that Truslew published in

under the
title of
En Samling af Skibe i næsten alle muelige Stillinger i Søen
(
A Collection of Ships in Almost All Possible Cir-
cumstances on the Sea
).
Most of the

prints reproduce a single ship in a way that is very reminiscent of a
ship’s portrait, but from the accompanying texts it emerges that the object is to show di
ff
erent types of
ships. Instead of the name of the ship that always accompanies a ship’s portrait, Truslew thus places a des-
ignation of type beneath his picture, for instance
A Russian Naval Brig Blown by a Side Wind
. The portrayal
of the ships is very detailed, and at the same time Truslew has given a clear indication of the weather. There
is disagreement as to how much Eckersberg contributed to this publication. Dorthe Falcon Møller points
out in

that his involvement cannot be documented with the exception of a single watercolour
, and so
she rejects both Sthyr and Henrik Bramsen

.
¹⁰
Her view appears not to be shared by Kasper Monrad,
who in

talks of it as a fact that Eckersberg was responsible for several of the patterns.
¹¹
The discussion centers on an evaluation of the stage reached in Eckersberg’s development as a marine
painter before

. Falcon Møller argues that Truslew’s portrayals of ships from

were of great signi
fi-
cance for Eckersberg’s later choice of motifs for his marine painting in that she sees Truslew as Eckersberg’s
teacher in this
fi
eld. It is di
ffi
cult to accept this, for although Truslew’s prints are charming enough, they are
artistically naïve. And, not least, there are other early drawings by Eckersberg with far more ambitious motifs.
For instance there is a drawing in the Collection of Prints and Drawings, signed by the artist on
October

, depicting the launch of the ship of the line the “Prins Christian Frederik.” We see not only the ship, but
also the harbour and its surroundings with the many sightseers watching the event. In the same collection
there is a larger drawing of the British destruction of a battleship in the dock with the title of
The Last British
Outrage

.” The artist was pro
fi
cient in far more than the reproduction of a single ship. The same pro
fi-
ciency is also obvious in the drawings that he produced for another graphic artist, G.L. Lahde (


).
That Eckersberg also painted marines before

is considered a fact by Philip Weilbach, though this
has not so far been brought into the discussion. In addition to this painting in the Loeb collection and to the
counterpart referred to above, Hannover lists two other marine paintings which he dates “before

.”
No.

is described thus: “We are looking from the shore out to sea, on which various ships both large and
small are being tossed about. ( . . . ) It all has the nature of a stormy day.” No.

represents the view from
Kastelsvej over the roads to Copenhagen. No.

is also included in Philip Weilbach’s list of works from

,
which is incorporated into Hannover’s, though without the addition of the important information that
according to Eckersberg’s son, the engraver Erling Eckersberg (


), it was painted before the artist’s
journey abroad. Weilbach attached great importance to information provided by Erling Eckersberg, for
Erling had collaborated with his father and was well acquainted with his work, whereas Hannover, writing
more than

years later, had to be content with the artist’s daughters, who were at least ten years younger
than their brother. Hannover had not seen either no.

or no.

, and as they are not known today either,
a comparison with the painting in the Loeb collection is unfortunately not possible. But the mere titles sug-
gest quite complex motifs.
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