Adolph Thiem

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Adolph Thiem in a biography of his son Paul Thiem in 1914

Adolph Thiem (born July 26, 1832 in Merseburg as Gustav Adolph Thiem, † September 30, 1923 in Stresa ) was a German stockbroker and art collector . From 1871 he was involved in the planning of the Berlin Kaiser Friedrich Museum and equipped the museum for the opening in 1904 with his extensive collection of old master paintings. He was also the founder of the Wagner monument in Venice and one of Adolph von Menzel's most important sponsors . Thiem is one of the most important art collectors of the 19th century and is considered a prototype of the bourgeois patronwho influenced the elites of his time and encouraged them to collect.

Life

Walther Thiem's ​​factory owner's villa in Halle / Saale, financed by Adolph Thiem
Thiem & Töwe book cover of a brochure 1914
The Bode Museum in Berlin

From candle shop to gas lighting factory

Adolph Thiem was born in Merseburg in 1832 as the second son of the Halle gendarmerie brigadier Friedrich Thiem and Johanne Marie Merseburger and was baptized Protestant in the collegiate church. After he had spent his childhood in Halle an der Saale , he attended Latin school in the Francke Foundations from 1844 , then he enrolled in economics at the University of Halle. He married Anna Thieme on January 18, 1856, who was born in Halle in 1834 as the daughter of Samuel Lebrecht Thieme, an organist at the market church of Our Lady in Halle / Saale. Adolph Thiem earned his living primarily as a stockbroker on the Hallescher Börse, which at that time only traded municipal papers and was firmly in the hands of the city. He achieved considerable wealth early on.

Adolph Thiem had a brother, Bruno Thiem , who was nine years his senior , who initially worked in a passport office in Halle and then became mayor of Magdeburg-Buckau. Nothing is known about the other five siblings. To improve her pension, his mother ran a soap and candle shop on Leipziger Strasse around 1839, information that is important because decades later, Thiem was involved in setting up a gas appliance factory in his hometown that developed appliances for lighting purposes. This Thiem & Töwe machine factory, which was financed in the founding years around 1900, was intended as an economic mainstay for his son Walther Thiem. Halle an der Saale was an industrial center in the empire because of the lignite mining areas. By 1914, the Thiem & Töwe company had equipped 3,000 buildings, mainly ministerial institutions in the German Reich, with self-sufficient light, gas and water supplies. These activities also led to a gift to the Municipal Museum for Art and Applied Arts , founded by Thiem's ​​schoolmate Franz Otto in 1885 , as a museum guide from 1913 shows. The non-profit cultural center Hühnermanhattan has been located on the former Thiem & Töwe factory site since 2008.

Berlin years

In the 1860s, Adolph Thiem switched to the Berlin stock exchange, because in the period after the German War it developed into one of the most important European trading centers. Berlin had advanced to become the third largest banking and stock exchange center after Paris and London. His four children Paul , Walter, Martha and Margarete Thiem were born in Berlin . Thiem's ​​house at Rosenthaler Strasse 40 was in the Scheunenviertel , which was predominantly Jewish , although Thiem had no Jewish roots. From 1865 he was still a companion at the side of Carl Benda as the operator of a banking business. The Bendas were an old Jewish family who enjoyed special privileges from the emperor as protective Jews and advisers. Finally, Thiem founded the Berlin broker bank in Viktoriastraße together with Eduard Abel as a delegate of the supervisory board.

Thiem moved to a villa in Niederschöneweide and began as one of the first private citizens to collect art on a large scale and to present it in his rooms. He wasn't alone in that. Max J. Friedländer , a Berlin art historian, acquaintance Thiems and later a guest in the villa in Sanremo , summarized the incentives for many collectors of this time as follows: “Owning art is pretty much the only decent and tastefully permitted way of acquiring wealth present. Chasing the appearance of clumsy ostentation, it spreads an air of inherited culture. The great masters give up their dignity to the owner, at first apparently, but finally really ”( Max J. Friedländer : quoted in Hermsen: Art Promotion Between Passion and Commerce. P. 43)

For the years 1883 and 1890 there is evidence of an important exhibition in the Royal Academy of Arts Berlin with pictures by Dutch masters of the 17th century. This exhibition was with exhibits of the Empress Victoria, widow of Frederick III. , and numerous works collected by Adolph Thiem. In 1890, Thiem relocated his banking house to the Prinzessinnenpalais with the address Unter den Linden 5, a place that was only occasionally inhabited by Friedrich's widow and was otherwise unused in the best location. But also during Friedrich III's lifetime. a neighborhood to the emperor can be proven, because Thiem's ​​villa in San Remo was near the villa Zirio, which was inhabited by the crown prince and later emperor of the 99 days. The banking business in Berlin had to move to Unter den Linden 12 just two years later in 1892 because Kaiser Wilhelm II had the building converted into a city palace.

children

  • Paul Thiem (* 1858 Berlin; † 1922 Starnberg), painter
  • Wolf Gustav Adolph Thiem * 1862 Berlin-Dorotheenstadt ; † 1889 Berlin
  • Margarete Thiem (* 1863 Berlin; † 1939 Berlin), was married to Georg Theodor Carl Saenger (* 1858 Nadborowo; † 1934 Baden-Baden).
  • Martha Thiem (* 1865 Berlin; † 1941 Sanremo), was married to Bogislaw Friedrich Hermann von Schmeling (1855–1906) for the first time. Both are buried in the Johannisfriedhof in Dresden . Her second marriage was in 1908 in Venice with Francesco Marchese Spinola (* 1856 in Taggia; † 1912 in Frankfurt am Main).
  • Walther Thiem (born February 1, 1872 Berlin, baptized St. Matthew's Church (Berlin) ; † 1973 Söcking ), attended the Thuringian boarding school Schnepfenthal from 1880 to 1886, 1886-1891 pupil at the Badisches Gymnasium Bruchsal, studied in Berlin and Rostock Mechanical engineering and electrical engineering, received his doctorate from the University of Rostock in 1896. Inaugural dissertation: Rostock, Univ. Phil. Fak., July 11, 1896: About the magnetization work of pulsating direct currents in comparison with equivalent alternating current. He worked for Siemens & Halske in Berlin and for IG Farben in Wolfen. At the University of Halle (Saale) he was initially a lecturer (lecturer) from 1910 to 1938, and later a full professor of color photography. He was a co-founder of the Thiem & Töwe machine factory in Halle / Saale.

From the start-up boom to the start-up crash

Thiem's ​​economic success was based in particular on the fact that in Germany in 1870 the license requirement for stock corporations was lifted and the establishment of companies was exempted from strict legal restrictions (see freedom of trade ). The result was the establishment of 928 joint stock companies in the period from 1871 to 1873 in the Kingdom of Prussia alone . Due to the freedom of trade, more and more private capital was invested in the economy. In addition to Thiems Berliner Maklerbank, 60 other new banks with brokers who were not sworn in were established. The economy grew rapidly; the prices of the shares also rose. This created confidence in the market and prompted more shareholders to buy shares. As director of the Berlin brokerage bank, Adolph Thiem was described as an "excellent capacity of the local stock exchange". The Berliner Maklerbank also paid the highest dividends of 25%, which led to staggering commissions and a complete distortion and overvaluation of the courses.

Thiem's ​​brokerage business has been included in many reviews of the economy as examples of the start-up boom. For example, in Max Weber's writings and speeches about the stock exchange or in Robert Schittler's “Big Book of the Stock Exchange”. "... You get an impression of the extent of the stock market boom when you consider that the issue of the Berlin broker bank was 326 times oversubscribed." ( Carsten Priebe : Von Krisen, Crashs und Speculanten . P. 67) As the expected crisis of 1873 entered, wrote the Deutsche Handelsblatt, which is close to the sworn brokers, about the banks of the non-sworn brokers in Berlin, by which Thiems Bank was also meant: "... the broker banks are beginning to see the unjustified existence of their existence in this sober time and will probably follow suit and following the example of the commission and broker bank, put your hand on yourself to dive into the eternal nothing ... "" ( Emil Meyer : Deutsches Handelsblatt. August 14, 1873, p. 1) Around 1880, a few smaller banks came together to form the Berlin brokerage association, of which Thiem became director, they moved into a modern bank at Mittelstrasse 41-42 and had one of the first telephone connections in Berlin with the single-digit number 8. One Aktiengesellschaft, the “Allgemeine Deutsche Handelsgesellschaft”, appointed Thiem to the supervisory board.

The reputation of the bankers and stock brokers who had become rich through stock trading fell into place after the founder crisis and the resulting deflation, the founder crisis. Thiem was exposed to drastic hostility. The magazine for capital and pension published by A. Moser brought the Berlin brokerage bank into connection with the period of vertigo. But in general the banking profession seemed to be suffering. "... The agrarian-conservative Kreuzzeitung railed in 1893, for example, that the stock exchange was the epitome of the degeneracy of capitalism" the ultimate consequence of everything that is rotten, immoral and pernicious in today's development of capitalist private economy "" ( Christof Biggeleben : Bulwark of the bourgeoisie, p. 236). The now almost sixty-year-old Thiem withdrew from the business and named rentier as a profession, which meant that he received regular payments from bonds . He also gave up his villa in Niederschöneweide after his youngest son went to Rostock to study. From 1890 onwards, there had been a massive influx of factory workers who found work in the textile factories in the vicinity of his Berlin residence. Wilhelm II's much more conservative and more Anglophobic political style contributed to leaving Berlin entirely, as Wilhelm II was rather harsh with the museum people and especially with his mother Victoria, who spent most of her life at the side of the Crown Prince had to wait for the throne and together with Friedrich III. found a substitute for the powerlessness in art throughout his life and now had to leave Berlin. Thiem and the Crown Prince couple combined the joint exhibitions of their private collections and the passion for collecting old Dutch painters, still lifes by Willem Claeszoon Heda , Evert Collier or by Aert van der Neer , pictures by artists who were both at Thiem and in the private collections of the Crown Prince couple found.

Moved to Sanremo

Bode and Thiem in the villa in Sanremo 1904
Thiem's ​​retirement home in San Remo

In the 1880s, Thiem bought a plot of land in the health resort of Sanremo and had a villa built there in the neo-Gothic style by the architect Pio Soli. The Mediterranean climate was supposed to benefit the health of his wife, who was suffering from tuberculosis . As early as 1865, still with the three first small children, she went to Bad Tölz for a cure with Clara Benda, Thiem's ​​companion's wife. But she did not live to see the completion of the villa in Sanremo and died on September 26, 1889 in Berlin. Thiem then used the villa as an exhibition space. Friedrich III also resided in the immediate vicinity in the Villa Zirio . , the emperor of the 99 days. As late as 1911, the entry in the Encyclopædia Britannica testifies to the importance of Thiem's ​​collection of paintings in Sanremo.

From 1896, Thiem had completely moved to his house in Sanremo, which initially only served as winter quarters. At that time, Sanremo was the center of Europe's political elite and aristocracy. It was not without reason that the Sanremo conference of the victorious allied powers took place in the casino in this small town in northern Italy in 1920 , in a place that was only separated from Thiem's ​​villa by a park. In 1896, Thiem bought a large piece of land in Starnberg for his first-born son Paul Thiem , the painter. The Thiem Villa, newly built there by the architect Carl Lemmes, is now the municipal studio building. Thiem's ​​portrait of the Starnberg painter Franz von Lenbach was also created in this context .

In 1906 he commissioned a stone bust of Richard Wagner from Fritz Schaper , which was erected in Venice, where Wagner died, and inaugurated in 1908 at one of the first Venice Biennials . Thiem took over the costs in full. He was awarded the Prussian Royal Order of the Crown, 2nd class , for his services .

Thiem was a generous patron of the Germanic National Museum in Nuremberg. As can be seen from the museum's chronicles, its annual dues were the highest. Thiem was a member of the Wagner Society in Bayreuth and the Pan Cooperative, which published the art and literature magazine Pan .

With the proclamation of the republic in 1918, Thiem was increasingly forgotten, as the end of the aristocracy and the abdication of the emperor also meant an upheaval in his life. He was also called Baron Thiem in various sources, a title that was only given to the Baltic nobility by the Russian Tsar. Whether Thiem was affected by the expropriation of the prince or whether he went bankrupt due to hyperinflation cannot be verified. It is guaranteed that his villa in Sanremo was requisitioned by the Italian state during the war, but that he was then allowed to live in it again as a tenant. In addition, the SPD was already agitating politically before 1914 against gas supply by a private company, as can be seen in the example of Geesthacht. In 1923 Thiem died in the Italian spa town of Stresa on Lake Maggiore .

collection

Anthonis van Dyck's portrait of MG Spinola , contemporary catalog entry from 1898
Tomb of Martha Spinolas, née Thiem, Johannesfriedhof Dresden, 1941

Thiem belonged to the generation of Berlin's first art collectors and acquired a number of paintings before the 1870s. Alongside Ludwig I (Bavaria) , Adolf Friedrich von Schack and Eduard Arnhold , Thiem was one of the most important art collectors of the 19th century. He established a network of dealers in Paris and Venice and himself traveled to the London Docks to purchase valuable items from the oriental trade. Wilhelm von Bode advised him on the acquisition of the paintings . The written correspondence has been preserved with over 400 letters and is in Bode's estate. Judging by the extent and duration of the exchange, it becomes clear that Bode did not exchange letters with any other art collector between 1885 and 1922 as often. But even Bode admitted that it was only a suggestion and that he occasionally drew his attention to certain works of art, "to find and decide for himself was his greatest pleasure" and "... with his lively, impressive nature", he had to spread the desire to collect in Berlin contributed, especially in the circle in which he was social and business.

Thiem had been a member of the Kaiser Friedrich Museum Association since 1896 and recruited new members there, but the idea for a new museum was much older and came about around 1871. Through various exhibitions of older masters at various locations, to which art collectors lend their works, the circle of potential donors grew so that the opening of the new museum in 1904 was long overdue. When he exported his collection to Italy, Thiem had to admit that he was repatriated and eventually had customs problems with the Italian authorities, who had the value of the paintings and international prices in mind. More than 5000 lire customs had to be paid for the gift of Memling, so that the transfer brought with it major bureaucratic hurdles. The Thiem-Saal was set up for the collection in Berlin, where the pictures were contractually guaranteed to remain exhibited together. The most important pieces of the Old Masters painting collection and some valuable pieces of furniture were acquired, along with some donations for the museum, at a friendship price of 490,000 marks (based on today's purchasing power 3,120,000 euros), although Thiem sold his collection on the international art market, especially the old masters in America could have sold for four times. In addition, Thiem had already donated exhibits and donations to the old museum during his Berlin years, such as some Tilman Riemenschneider sculptures and other medieval sculptures.

Thiem lined up with the wish to donate alongside many other collectors in Europe and America, whereby such foundations and donations were almost always tied to the contractual condition of naming a room after the generous donors. In this way, an honorable memory of the family should be cherished forever. It was a pan-European and transatlantic phenomenon. Museum Mayer van den Bergh in Antwerp, The Parisian banking family Jacquemart-André donated their city palace as the Musée Jacquemart-André . In Milan it was the Bagatti Valsecchi family, Museo Bagatti Valsecchi , who left their palaces and collections to the city; the American Isabella Stewart Gardner with her Isabella Stewart Gardner Museum in Boston or Richard Wallace with his Wallace Collection in London were inspired to imitate. Shortly after the opening of the museum in Berlin, the name of the Thiem Hall was changed and the Thiem Hall was now known as the Dutch Hall, until the references to Thiem's ​​donations were removed in the 1930s. One of the heirs, Walter Thiem, who was already included in the contracts at the time of opening, failed legally to reverse the renaming in 1938. It can also be noted that Thiem, for example, in the literature on Berlin collectors was sometimes no longer noticed or was even actively deleted in further editions, as is clear from the example of Adolph Donath's published overview work "Psychologie des Kunstsammelns". In 1911 Thiem was mentioned there as one of the most important collectors, but the name was completely deleted in the 1917 edition.

A total of five collecting areas can be identified, some of which interlock or run parallel. These are contemporary French of the Barbizon School, the German contemporaries, the old masters from Holland such as Rembrandt and Rubens, the Italian painters of the High Renaissance and the furnishings such as furniture and old Persian carpets.

First collection of the Barbizon School

Thiem initially devoted himself to the Barbizon school , as documented by Narcisso Virgilio Díaz de la Peña's picture Forest scene Wilhelm von Bode reported in his memoir that Thiem owned a series of pictures by the painters from Fontainebleau, which he gave in favor of a crush on Menzel. These include landscapes in the style of the Paysage intime by Théodore Rousseau and Charles-François Daubigny , to be found in Bode's obituary for Thiem from 1923 in the Kunstwanderer . Hermann Kaufmann emphasized: "The economic importance of creating a reservoir of the most distinguished products of the people is a necessary addition to the production of art" This zeitgeist may have moved Thiem to sell his pictures.

Collection of contemporaries after the Franco-Prussian War

In his middle years around 1870 and after the Franco-Prussian War , he gave his pictures to the painters of Fontainebleau and mainly collected works by contemporaries such as the landscape painter Carl Scherres and Karl Gussow . Thiem had himself and his family portrayed by Ludwig Knaus . With the engagement of a respected artist such as Ludwig Knaus, the representative portrait of the whole family became a preferred genre in the early days. It made it clear to what extent the "... family is seen as a self-established community that sees itself as an end in itself, as a sphere shaped by emotional relationships instead of expediency and competition, which exists in a clear separation from economy and politics." ( Thomas Hermsen : Art funding between passion and commerce p. 121).

The acquisition of at least thirteen pictures from Adolph Menzel contributed to the fact that there was a new impetus and demand for Menzel's works at a time when he did not receive public commissions. As a result, at the end of the century, in addition to the public collections, a large part of the Menzel factories was owned by the wealthy bankers. The price development promised further high increases in value. Thiem owned, among other things, Menzel's painting Das Ballsouper , Cercle at the court of Kaiser Wilhelm I , travel plans and a view from the room in 1878 . As the biographers noted, Thiem was one of Menzel's most important sponsors in the 1870s. This is also how the pictures: siesta , arson , decoration of an altar , interior of the Salzburg church , pulpit sermon , male head study from 1862 , warrior with balaclava. Tracing the contribution and lady at the toilet to the Thiemsche collection.

In the 1880s he invited art lovers, other collectors and artists to his villa in Niederschöneweide for bowling evenings every Saturday, making it an important meeting place of his time. He was thus a promoter of art and encouraged many other entrepreneurs and stockbrokers to focus on collecting and later join the museum project. Bode emphasized this using the example of Marcus Kappel , whom Thiem was able to inspire for a collection of Menzel's works and who also began collecting Dutch old masters. Thiem's ​​close circle of friends included the sculptor Fritz Schaper , who also grew up in Halle and worked in Berlin .

Furnishings and Persian carpets

The upswing through the reform of the customs union in 1866 and the establishment of the empire also changed the social elite. There was a collector type like Adolph Thiem who did not exist before. In addition to paintings, these collectors also acquired valuable furniture and Persian carpets, which they used to furnish their country houses and town villas. These objects were primarily used for representational purposes and retained their value as an investment beyond the period of ownership. “… The dual function of representative living space and collection resulted in a characteristic composition of such collections: In addition to paintings and sculptures, there were of course also craft items and old furniture. In addition, a high level of architectural effort was often made, in that the works of art were presented in historicizing framework architectures or entire paneling and ceiling ceilings were moved from historical buildings. The boundaries between original and copy, between work of art and furnishings flowed in such interiors. "( Sven Kuhrau : Der Kunstsammler im Kaiserreich, p. 9")

With his move to the Villa Thiem in Niederschöneweide, named after him, Thiem turned his attention more to decorative old art and, in addition to Renaissance and Rococo furniture from Italy, Germany, France and the Netherlands, also bought an extensive collection of antique Persian carpets, which are well known in the specialist literature found. The tendency towards the culture of the Orient was another sign of the times. With his carpets, Thiem had a suitable counterpart to the excavation artefacts of the Orient Society of other Berlin collectors such as those of James Simon . It did not stop at the carpets, the prospect of something special and ancient prompted many bankers to take part in the excavations. In 1893 Thiem was one of the financiers of an excavation in Sendschirli .

Bode deeply regretted that Thiem later sold his extensive carpet collection in one piece to the American Charles Tyson Yerkes . One of the few carpets that Thiem sold to the Berlin Museum around 1904 was a tapestry by Jean Baptiste Oudry , Robbery of Europe . This was awarded to Hermann Göring by the Berlin museums in 1939 and made a detour to the Old Town Hall in Bonn , where it is still located. Other works of art in the Göring Collection can also be traced back to Thiem, such as the figure of a standing knight carved from linden wood , which can be viewed with evidence of provenance in the Bavarian object database.

On Tuesday, October 13th and Wednesday, October 14th, 1896 there was a public auction of Thiem's ​​facility in Berlin. In Lepke's auction catalog it was stated: […] Including furniture from the Italian High Renaissance, the German and Dutch Renaissance, etc. up to the Rococo; German wooden sculptures of the XVII. and XVIII. Century, including a statue of the Madonna, life-size allegorical figures, Florentine candelabra, a collection of chairs and mirrors; ancient Persian carpets; also bronzes, porcelains, Delftware and Italian faiences, French terracottas and copper-chased vessels. [...]

Collection of old paintings

Wilhelm von Bode, Adolph Thiem and Walther Thiem in 1904 in Berlin, Bode Museum

Thiem's ​​collection of old paintings initially included the pictures of the Flemish or Dutch masters of the 17th century, later, when he moved to Italy, he turned his attention to the works of the Italian High Renaissance. The creation of collections of old paintings was not a political statement, the value of these collections could not be diminished by the changing social situation and were noticed and traded on the international market. Much more important than acquiring the paintings for speculative purposes, however, was the idea of ​​acquisition as “... taking possession of unique goods, which u. a. serve to differentiate rank and status within the respective class and allow a clear demarcation from the art-interested public. ”( Thomas Hermsen : Art Funding Between Passion and Commerce p. 41). In addition, there was a lack of understanding among collectors at the end of the 19th century about the development of Impressionism and later rejection of Expressionism . The new, modern conception of art established itself controversially but successfully shortly before the turn of the century, very close to Paul Cassirer's art salon, which was also active in Berlin on Victoriastraße . In particular, Bode openly admitted that he was negative in prefaces to various publications and explained why collectors decided to purchase older art. "... The dichotomy of distrusting contemporary artistic discoveries ... shaped the culture of the German Empire" "( Thomas W. Gaehtgens : The Citizen as Patron, p. 170). The two Berlin exhibitions from 1883 should be mentioned in this context and 1890. On the one hand the exhibition of paintings by older masters in Berlin private ownership, which took place in honor of the silver wedding of the Crown Prince and the Crown Princess in the Royal Academy of Arts from January 25 to the beginning of March 1883. On the other hand, the exhibition of works by the Dutch Seventeenth-century art in private ownership in Berlin from April 1 to May 15, 1890. The two catalogs that go with it contain examples of the collecting culture, which also combined arts and crafts objects, carpets and furniture in a holistic concept in the presentations Paintings showed a striking overlap between Thiem's ​​collection fields and those of the Crown Prince couple.

Dutch or Flemish masters

Bode Museum, Dutch Hall, Thiem's portrait of a half-grown youth by Rembrandt (bottom right)

Works by Peter Paul Rubens were part of the collection of paintings that Thiem built up in old age . Once the chalk drawing is called Death of Achilles , and the painting: Half-length portrait of a satyr . Other old masters in the collection were paintings by Jacob Adriaensz. Backer , Corneille de Lyon , Carlo Crivelli , Anthonis van Dyck , Jan Vermeer and Jan van Goyen . The still life painters Jan Fyt , Pieter Boel , Willem Claeszoon Heda , Jan Jansz. the Uyl and Cornelis Mahu and Willem Kalf were represented. In addition to the altarpiece by Hans Memling , which Thiem donated to the Berlin museums in 1904, Thiem owned three other paintings by Hans Memling, as well as several paintings by Dierick Bouts the Elder. Ä , also works by Abraham Mignon , Bernard van Orley , Isaac van Ostade and Pieter de Hooch . The works of Rembrandt van Rijn temporarily in Thiem's ​​possession included a portrait of a half-grown youth and a man with a steel collar . In the case of the first-mentioned Rembrandt, some of the literature was based on Alfred Thieme as the previous owner; since Carla Schmincke's dissertation and her provenance research, Adolph Thiem has been unequivocally established. Other old paintings in Thiem's ​​possession are those by Jacob Isaacksz. van Ruisdael , Frans Snyders , David Teniers the Elder J. and Jan Cornelisz Verspronck .

In the literature of the period around 1900, in the absence of illustrations, it was also common to only describe paintings exactly, as in a catalog as a descriptive directory from 1890. Among them is a still life by Abraham van Beijeren with dead fish and sea crabs on a bench, which Thiem is to be assigned as the owner. The same catalog also describes a still life with a tome and a nautilus cup by Evert Collier that Thiem owned.

Poster for an international exhibition in Bruges for which Thiem lent his paintings

In 1902 Thiem took part in a large exhibition of Dutch painting in Bruges with some pictures, a show that once again increased the market value of the pictures and Thiem was offered offers, although he wanted to keep the pictures together for the Berlin museums.

Van Dyck's Portrait of Spinola

In her second marriage, Thiem's ​​daughter Martha Thiem married Francesco Marchese Spinola in Venice in 1906 ; At this time, the van Dyck portrait of the Marchesa Geronima Spinola from the Spinola family property was transferred to the Thiem collection. The Spinola are among the richest Genoese families. The depicted Marchesa Geronima was the daughter of Andrea Doria , a Genoese admiral. Thiem did not give this picture to the Neues Museum, but sent it directly to Kaiser Wilhelm II in 1904. Today it is a major work of the “Old Masters” on display in the Kulturforum Berlin. It is interesting that Martha Thiem lost her citizenship through marriage and became Italian. When she was denied re-entry, she had to apply for a residence permit.

Rembrandt's man with a steel collar

It is also worth mentioning the long list of imperial institutions such as offices, courts and ministries that were equipped with the gas lighting systems from Thiem & Töwe until 1914. Since Thiem had already closed his banking business, he only traded in art. In order to finance the first orders from the factory in Halle / Saale, he sold Rembrandt's portrait of a man with a steel collar to the American department store king Benjamin Altmann in 1905 . In the early days of the company it was common to justify one's own fate and business activity with the categories of the family; for Thiem and many other wealthy bankers and entrepreneurs, it was a matter of course in their lives to bequeath their own work to their descendants, or a promising path to take like Thiem for his son Walther. They considered it "... so much their duty that they also found factories to enable each son to manage his own branch of the company" ( Thomas Hermsen : Art Promotion Between Passion and Commerce, p. 122). Thiem knew dozens of collectors who owned remote country houses and didn't have one there yet, the luxury of running water, gas lighting and modern heating systems. Systems from Thiem & Töwe promised a remedy.

Collection of Italian Renaissance, Baroque painters and contemporaries

Adolph Thiem kept the most valuable paintings in San Remo until his death. Among them was the painting Adoration of Mary by Giovanni Battista Tiepolo , which now hangs in the National Museum of Canada in Ottawa . In the literature, however, there are also four other works by Giovanni Battista Tiepolo. It is worth mentioning in this context that his son Paul Thiem , the painter, wrote an academic thesis on Tiepolo. Among the Renaissance painters Thiem owned were contemporaries of Leonardo da Vinci , as did at least two of the style-defining side profile portraits by Bernardino de Conti . There is also talk of a "Bacchus" by Giovanni Battista Cima , which probably adorned a piece of furniture. There is also a reference to a Tintoretto in Budapest that came from the Thiem collection. Pompeo Mariani is one of the Italian artists of his time who he supported through acquisitions.

Works of art owned by Thiems

This illustrated directory contains the paintings and sculptures that Thiem can clearly be assigned to, and some information about where they can be found today. However, there are a large number of references to artists and works of art in exclusively descriptive directories from the period around 1900, which cannot be illustrated and therefore could not be included here.

Gallery view
Adolph Thiem by Franz von Lenbach.jpg Franz von Lenbach : Portrait of Adolph Thiem around 1900 Thiem knaus.jpg Ludwig Knaus : Portrait of Adolph Thiem , 1881 1847 Menzel bedroom artist Ritterstraße anagoria.JPG Adolph Menzel : View from a bedroom , part of the collections of Berlin museums since 1904
Adolph Menzel - Das Ballsouper - Google Art Project.jpg Adolph Menzel : Das Ballsouper , 1878 Thiems menzel Conflagration.jpg Adolph Menzel : pillage Adolf Friedrich Erdmann von Menzel 033.jpg Adolph Menzel : pulpit sermon in the parish church of Innsbruck , 1878 - today in the Hugo Fischer collection
Thiems Menzel Cercle.jpg Adolph Menzel : Cercle at the court of Kaiser Wilhelm I acquired by Thiem in 1879 - today in the Georg Schäfer Museum collection Thiems interior of a church in Salzburg by Adolph Menzel.jpg Adolph Menzel : Interior of a church in Salzburg , 1852
Thiems Menzel Siesta .jpg Adolph Menzel : Siesta , 1876 Adolf Friedrich Erdmann von Menzel 044.jpg Adolph Menzel : Travel Plans, 1875 - Today Museum Folkwang, Essen Enthroned-Virgin-with-the-Child-and-Angel-by-Hans-Memling-12696.jpg Hans Memlings Enthroned Virgin with the Child , the panel has been in state ownership since the Bode Museum opened in 1904, one of the few real donations from Thiem
Thiems Rembrandt Jüngling.jpg Rembrandt : Portrait of a half-adult youth , Thiem acquired the picture from the collection of the Earl of Poulett Hinton House and sold the picture to the Weber Collection in 1897 ThiemsRembrandt.jpg Rembrandt : man with a steel collar. Thiem bought the painting in Paris around 1900 for 23,000 francs Thiems '' Gentiluomo Ritratto ''. Jpg Bernardino de Conti : Gentiluomo Ritratto (Portrait of a Noble Gentleman)
Thiems Catellano Trivulzio.jpg Bernardino de Conti : Catellano Trivulzio (portrait); Today in the Brooklyn Museum , New York Riemenschneider (workshop) Angels making music.jpg Tilman Riemenschneider : Angels making music 1889 Donated by Thiem to the Berlin museums
School of Luca della Robbia.jpg School of Andrea Della Robbia : Virgin Mary and Child before 1482, now in the Harvard Art Museum , Cambridge Richard Wagner bust in Venice.jpg Fritz Schaper : Wagner bust in Venice, donated by Thiem in 1906 Thiems Scherres.jpg Carl Scherres : Landscape , around 1850
Three-wing altar Cleve.png Joos van Cleve : Crucifixion , around 1520, now in the Metropolitan Museum of Art in New York Anthonis-van-dyck-portraet-der-marchesa-geronima-spinola-02738.jpg Anthonis van Dyck : Portrait of the Marchesa Geronima Spinola. today in the Kulturforum Berlin Giovanni Cariani 008.jpg Giovanni Cariani : Portrait of Giovan Antonio Caravaggi. today in Ottava National Gallery of Canada
Thiems corneille lyon.jpg Corneille de Lyon : Portrait of a Lady. today in the Kulturforum Berlin Thiems corneille.jpg Corneille de Lyon : Portrait of a Lady. 1643 van Ostade slaughtered pig in a barn anagoria.JPG Adriaen van Ostade : Slaughtered pig in a barn.
Thiems Frans Snyder's Still Life with a Cat.jpg Frans Snyders : Still Life with a Cat Frans Snyders - A game shop - Vilthandlerbod - Nasjonalmuseet - NG.M.01356.jpg Frans Snyders :
venison dealer , now in the Oslo National Museum 		Thiems Fyt.jpg Jan Fyt : Still life with fish and monkey
Thiems Neer.jpg Aert van der Neer : Winter landscape with frozen boats and ice-skaters Thiems Melchior Hondecoeter.jpg Melchior de Hondecoeter : chickens, chicks and roosters Thiems Pieter de Hooch.jpg Pieter de Hooch : View of the Dutch house burned in Berlin in 1945
Thiems Willem Heda.jpg Willem Claeszoon Heda : Still life burned in Berlin in 1945 Thiems Willem Kalfs Nautilusbecher.jpg Willem Kalf : Nautilus beaker burned in Berlin in 1945 Thiems cranach.jpg Lucas Cranach the Younger : Portrait of a Woman , before 1585 - today in the Museum of Fine Arts, Boston
Thiems Verspronck Portrait of a Young Woman.jpg Jan Cornelisz Verspronck : Portrait of a young woman Thiems Gerard David.jpg Gerard David : Maria with child Thiems patinier.jpg Joachim Patinier : Flight into Egypt , 1520
Thiems Bouts.jpg Dierick Bouts : Last Supper before 1475 Thiems Bouts 2.jpg Dierick Bouts : Crucifixion before 1475 Pieter Boel - Still life with dead hare.jpg Pieter Boel : Still life with dead hare and cat
Thiems Crivelli.jpg Carlo Crivelli : St. Bonaventure today in the Kulturforum Berlin Crivelli, san piero in muralto, San bernardo, dett.jpg Carlo Crivelli : San Bernardo Ercole de roberti 1450.jpg Ercole de 'Roberti Hieronymus with Church is also attributed to the painter Vicino da Ferrara
Thiems Giovanni Battista Cima.jpg Giovanni Battista Cima : Silenus and three satyrs around 1507
Tintoretto, Portrait of a Boy.jpg Jacopo Tintoretto (1518–1594): Portrait of a boy in a black doublet with a white collar Thiems Tiepolo2.jpg Giovanni Battista Tiepolo : Study of the Martyrdom of St. John Altar in Bergamon Cathedral, before 1770 Adoration tiepolo.jpg Giovanni Battista Tiepolo : Adoration of Marie , before 1770 - today in the Ottawa National Gallery of Canada
Rubens thiem.jpg Peter Paul Rubens : Death of Achilles , before 1640 - today in the Kulturforum Berlin Forest landscape with lake Jacob Isaackszoon van Ruisdael.jpg Jacob van Ruisdael : Forest landscape with lake , before 1680 - today in the Gemäldegalerie Berlin Thiems Jacob van Ruisdael.jpg Jacob van Ruisdael : Landscape with a windmill , before 1680 - today in the Gemäldegalerie Berlin
Thiems Borch.jpg Gerard ter Borch : Portrait of a Young Girl , around 1670 - today in the Frick Collection Thiems Jan Steen.jpg Jan Steen : Sleeping girl with a smoker , before 1679

literature

Catalog raisonné 1907, contains a reference to the Jan Steen painting from the Thiem collection in San Remo
  • Hannelore Vorteilmann: The Thiem Collection in the Kaiser Friedrich Museum. In: Yearbook of the Prussian Cultural Heritage Foundation. Volume 30, Gebrüder Mann Verlag, Berlin 1993, ISBN 3-7861-1196-0 , pp. 119-132.
  • Wilhelm von Bode: The older private collections in Berlin and the formation of newer collections after the war of 1870/71. In: The Art Wanderer. Volume 4 (1922), September 1, issue, pp. 7–8.
  • Wilhelm von Bode: The art collector Adolph Thiem. Obituary. In: The Art Wanderer. 5th year, 4th quarter, November 1st issue (1923), pp. 59–60.
  • Henry Thode : Paul Thiem and his art. G. Grotesche Verlagsbuchhandlung, Berlin 1921. (contains a lot of information about the father Adolph Thiem).
  • Sven Kuhrau: The art collector in the empire. Art and representation in Berlin's private collector culture. Ludwig, Kiel 2005, ISBN 3-937719-20-2 .
  • Gisold Lammel: Menzel and his circles . Verlag der Kunst, Dresden / Basel 1993, ISBN 3-364-00281-9 , pp. 93 and 250.
  • Thomas W. Gaehtgens: The citizen as a patron. VS Verlag für Sozialwissenschaften, Opladen 1998, ISBN 3-531-11969-9 .
  • Thomas Hermsen: Art funding between passion and commerce. Campus Verlag, Frankfurt / New York 1997, ISBN 3-593-35833-6 .
  • John W. Barker: Wagner and Venice. University Rochester Press, 2008, ISBN 978-1-58046-288-4 , pp. 254 ff. (Description of the circumstances that led to Thiem's ​​erection of the monument in Venice).

Web links

Individual evidence

  1. ^ Relatives Thiems Genealogienetz.de In: Familiendatenbank Magdeburg. Association for computer genealogy e. V.
  2. ↑ Thiem's ​​mother, light and soap shop. Family search. In: Address book of the city of Halle (Saale). 1839.
  3. ↑ Advertising brochure before 1914: Benoid gas systems. Edited by Thiem & Töwe. German Historical Museum. Online data collection.
  4. ^ Kurt Freyer : Guide through the collection of recent paintings and pictures. Municipal museum for arts and crafts, Halle an der Saale. Verlag Gebauer-Schwetschke, 1913, p. 51, p. 80, "Gift of a picture by Adolph Thiem San Remo"
  5. ↑ Hubert Laitko: Science in Berlin: from the beginnings to the new beginning after 1945. Dietz, 1987, ISBN 3-320-00821-8 , p. 237.
  6. ↑ Banquiers . In: Allgemeiner Wohnungs-Anzeiger together with address and business manual for Berlin , 1871, part 3, p. 294.
  7. ^ Benda, M., Bank Commissions Business . In: Allgemeine Wohnungs-Anzeiger together with address and business handbook for Berlin , 1866, part 1, p. 32. “F {irma} Martin Benda”.
  8. ↑ Carl F. Benda. In: Ernst Benda: Genealogy of the Benda family . September 1901, archive.org .
  9. ↑ Thiem, A, banker . In: Allgemeiner Wohnungs-Anzeiger together with address and business manual for Berlin , 1860, part 1, p. 501.
  10. ^ A b Hannelore Vorteilmann: The Thiem Collection in the Kaiser Friedrich Museum. In: Yearbook of the Prussian Cultural Heritage Foundation. Volume 30, Gebrüder Mann Verlag, Berlin 1993, ISBN 3-7861-1196-0 , pp. 119-132.
  11. ^ Adolph Thiem, banking . In: Berliner Adreßbuch , 1890, part 1, p. 1247. General housing advertiser with address and business manual for Berlin, its surroundings and Charlottenburg: to the year 1890.
  12. ↑ Entry in the Rostock matriculation portal (accessed November 16, 2015)
  13. ↑ director of broker Bank Google Books. In: Deutsche Versicherungszeitung , September 28, 1872. AF Elsner (editor-in-chief): Handelsnachrichten anthology p. 623
  14. ^ Hans-Ulrich Wehler : German history of society . Volume 3: From the “German Double Revolution” to the beginning of the First World War 1849–1914 . 2nd Edition. CH Beck, 2007, ISBN 978-3-406-32263-1 , p. 99.
  15. ↑ Max Weber: Complete Edition . Volume 5: Stock Exchange. Writings and speeches 1893–1898. 1st edition. Mohr Siebeck, 1999, ISBN 3-16-146952-6 , pp. 335, 338, 861.
  16. ↑ Martin Michalky: The big book of the stock exchange. Frankfurt 2007, ISBN 978-3-89879-378-0 , p. 164.
  17. ↑ Carsten Priebe: Of crises, crashes and speculators: The dramatic and instructive story of the ups and downs in the world of stocks to the great stock market crash in 1929. Vito von Eichborn (publisher). 2012, ISBN 978-3-8423-9118-5 , p. 67.
  18. ↑ Friedrich Wilhelm Christians: Deutsche Börsenpapiere: Representation of the personnel and financial conditions of the German and foreign banking, insurance, industrial and railway companies on Actien Taschenbuch - January 1, 1880. Reprint. Springer 2011, ISBN 978-3-662-32489-9 , p. 517.
  19. ^ Google Books. In: Journal for capital and pension. Edited by A. Moser. Stuttgart 1871, p. 65.
  20. ↑ Christof Biggeleben: The "bulwark of the bourgeoisie": the Berlin merchants 1870-1920. 1st edition. CH Beck, 2006, ISBN 3-406-54993-4 , p. 236.
  21. ^ Matriculation number Matriculation portal Rostock - database edition of matriculations at the University of Rostock since 1419. (accessed on June 16, 2015)
  22. ↑ Hannah Pakula: Victoria. Daughter of Queen Victoria, wife of the Prussian Crown Prince, mother Wilhelm II. Marion von Schröder-Verlag, Munich 1999, ISBN 3-547-77360-1 , p. 542.
  23. ↑ Collective parallel digital library. In: Catalog of the exhibition of works of Dutch art of the 17th century. Published by: Art History Society Berlin 1890, p. 22.
  24. ↑ Sanremo online presence of the city (page accessed on November 16, 2015)
  25. ↑ List of spa guests Adolph Thiem, Clara Benda. In: Bayerische Badezeitung. Organ of the Bavarian spa and bathing resorts. Munich May 1, 1865, p. 75.
  26. ↑ San Remo . In: Encyclopædia Britannica . 11th edition. tape 24 : Sainte-Claire Deville - Shuttle . London 1911, p. 155 (English, full text [ Wikisource ]). Thiem Collection
  27. ↑ Inauguration of the Wagner bust in the Biennale Park ( Memento from August 8, 2014 in the Internet Archive ) Huehnermanhattan.de.tl; accessed November 16, 2015
  28. ^ Henry Thode: Paul Thiem and his art . G. Grotesche Verlagbuchhandlung, Berlin 1921.
  29. ↑ Files of the Kaiser Friedrich Museum Findbuch (PDF) National Museums in Berlin, Prussian Cultural Heritage. Online data collection. In: Finding aid II of the Kaiser Friedrich Museum. Ed. Jörn Grabowski , Berlin 2008, ISBN 978-3-88609-648-0 , p. 29.
  30. ^ Annual contribution to the Germanisches Nationalmuseum 1909. In: Anzeiger des Germanisches Nationalmuseums , UE Sebald Verlag, Nuremberg 1909, Issue 4 October-December, p. 62, Textarchiv - Internet Archive
  31. ↑ Pan member list Heidelberg University Library. HEIDI digital. In: Der Pan 1895, magazine published by Otto Julius Bierbaum. Issue 5, Berlin 1895, p. 274.
  32. ^ Wilhelm von Bode: Obituary for Adolph Thiem . In: Adolph Donath (Ed.): Der Kunstwanderer: Journal for old and new art, for art market and collecting , 1923, November 1st issue, p. 60.
  33. ^ German Historical Museum. Online data collection. In: Propaganda Flyer
  34. ↑ Illustrated catalog of 300 paintings by old masters of the Dutch, Flemish, Italian, French, and English schools, being some of the principal pictures which have at various times formed part of the Sedelmeyer Gallery. Paris 1898. Fig. 20
  35. ↑ Thomas Hermsen: Art funding between passion and commerce. Campus Verlag, Frankfurt / New York 1997, ISBN 3-593-35833-6 , p. 45.
  36. ↑ Files of the Kaiser Friedrich Museum. (PDF) Finding aid for the National Museums in Berlin, Prussian Cultural Heritage. Online data collection. In: Wilhelm von Bode's estate. Edited by Friedrich Künzel, Berlin 1995, p. 128.
  37. ↑ Bode on Thiem. (PDF) Archive University Library Heidelberg. Online data collection. In: Wilhelm von Bode: The older private collections . In: Adolph Donath (Hrsg.): Der Kunstwanderer: magazine for old and new art, for art market and collecting . 1922, September 1st issue, pp. 7–8.
  38. ↑ Donath, Adolph: Psychology of Art Collecting. Berlin, RC Schmidt, 1911. p. 90
  39. ↑ Thiem's ​​painting from Díaz de la Peña Lost Art Internet Database.
  40. ^ Herrmann Kauffmann quote from Google Books. In: Alfred Lichtwark, Herrmann Kauffmann and the art in Hamburg from 1800–1850. The Kunstverein Hamburg its members for 1891-1892 . Munich, Publishing House for Art and Science, 1893, p. 20.
  41. ^ Archive of Heidelberg University Library. Online data collection. In: Der Kunstwanderer: Journal for old and new art, for art market and collecting / Ed .: Adolph Donath 1922, September 1st issue, pp. 7–8.
  42. ^ Provenance of an image from Scherre's Bavarica digital collections. In: Catalog of the International Art Exhibition in Munich 1869. Verlag des Ausstellung-Comités p. 6
  43. ↑ Reference to 5 Knaus paintings owned by Thiems. In: Sixty-third exhibition of the K. Akademie der Künste zu Berlin in the Landes exhibition building at Lehrter Bahnhof May 15 to July 31, 1892 illustrated catalog. Verlag Rudolph Schuster, Berlin 1893, p. 35, archive.org .
  44. ↑ Gisold Lammel: Menzel and his circles. Verlag der Kunst, Dresden / Basel 1993, ISBN 3-364-00281-9 , pp. 93 and 250.
  45. ↑ Menzel pictures from the Thiem Online Archive collection . In: Friedrich von Boetticher: painter works of the nineteenth century. Volume 2, first half. Sheets 1-32. Mayer – Bybkowski. Contribution to art history. Friedrich v. Boettichers Verlag, Dresden 1898, p. 16, p. 20, p. 21.
  46. ^ Provenances of Thiem in the work of Adolph Menzel's digital collections in the Weimar University Library. In: Max Jordan: The work of Adolph Menzel. Ceremony for the artist's eightieth birthday. Publishing House for Art and Science Bruckmann, Munich 1895, p. 69, p. 70.
  47. ↑ Thiem encourages Marcus Kappel to collect (PDF) HEIDI Heidelberg historical holdings. Data collection. In: Wilhelm von Bode: From the art of collecting . In: Velhagen & Klasingsmonthshefte , 29, 1914/1915, p. 182
  48. ^ Heidelberg University Library HEIDI Heidelberg historical holdings. Data collection. In: Rudolph Lepke's Kunst-Auctions-Haus <Berlin> (Ed.): Collection of Mr. Adolph Thiem
  49. ^ Rudolf Neugebauer, Julius Orendi: Handbook of Oriental Carpet Studies. Salzwasserverlag, Paderborn 2012, ISBN 978-3-923330-42-3 , p. 245.
  50. ^ Provenance to Thiem and Yerkes. Carpet in the Metropolitan Museum of Art. New York, archive.org .
  51. ^ List of financiers Google Books. In: Felix von Luschan: excavations in Sendschirli . Executed and ed. on behalf of the Orient Committee in Berlin. W. Speman Verlag, Berlin 1883. S.IV (roman)
  52. ↑ wittern.de family homepage with references to Göring's carpet (page accessed on November 16, 2015)
  53. ↑ Files of the Kaiser Friedrich Museum Findbuch (PDF) National Museums in Berlin, Prussian Cultural Heritage. Online data collection. In: Finding aid II of the Kaiser Friedrich Museum. Ed. Jörn Grabowski , Berlin 2008, ISBN 978-3-88609-648-0 , p. 104.
  54. ↑ Standing knight , reference to the former owner Thiem Bavarian National Museum, object database
  55. ^ Heidelberg University Library HEIDI Heidelberg historical holdings. Data collection. In: Rudolph Lepke's Kunst-Auctions-Haus <Berlin> (Ed.): Collection of Mr. Adolph Thiem
  56. ↑ Influences on Thiem Google Books. Thomas W. Gaehtgens: The citizen as a patron. VS Verlag für Sozialwissenschaften, Opladen 1998, ISBN 3-531-11969-9 , p. 22.
  57. ↑ Thomas Hermsen: Art funding between passion and commerce. Campus Verlag, Frankfurt / New York 1997, ISBN 3-593-35833-6 , p. 48.
  58. ↑ Reference to the provenance of a sketch from Rubens Internet Archive. In: Alfred Rosenberg: PP Rubens, the master's painting in 551 illustrations, classics of art in complete editions. Volume 5, Deutsche Verlagsanstalt, Stuttgart / Leipzig 1905, p. 480.
  59. ↑ Reference to the provenance of the portrait of a satyr, from Rubens Internet Archive. In: Bode, Wilhelm von: Rembrandt and his contemporaries; Character pictures of the great masters of the Dutch and Flemish school of painting in the seventeenth century. Leipzig EA Seemann 1907, p. 246.
  60. ↑ List of some paintings in the Thiem-Saal based on a historical photo for the opening of the Kaiser Friedrich Museum in 1904 [1]
  61. ^ Art history exhibition, Düsseldorf, 1904: Catalog [2]
  62. ^ A b Carla Schmincke: Collectors in Hamburg. The merchant and art lover consul Eduard Friedrich Weber (1830–1907) . (PDF) Dissertation. University of Hamburg 2003, p. 133, p. 167, p. 192.
  63. ^ Painting by Teniers, Snyders and Ruisdael. In: Descriptive directory of the paintings in the Kaiser-Friedrich-Museum. Georg Reimer Verlag, Berlin 1906, p. 387 ff., Textarchiv - Internet Archive .
  64. ↑ Described painting Dead Fish. Digital library. In: Catalog of the exhibition of works of Dutch art of the 17th century. Published by: Kunstgeschichtliche Gesellschaft Berlin, 1890, p. 7.
  65. ↑ a b Van Dyck's portrait of the Marchesa Geronima Spinola as a new attraction in the Kulturforum . In: Der Tagesspiegel . August 16, 2000.
  66. ↑ Portrait of Spinola. In: Descriptive directory of the paintings in the Kaiser-Friedrich-Museum. Georg Reimer Verlag, Berlin 1906, p. 110, Textarchiv - Internet Archive .
  67. ↑ Portrait of Spinola . (PDF) Draft law for the establishment of a foundation “Prussian Cultural Heritage” and for the transfer of assets from the former state of Prussia to the foundation. German Bundestag, 2nd electoral term 1953, printed matter 1670. Bonner Universitäts-Buchdruckerei, Bad Godesberg 1955, p. 18.
  68. ↑ Files of the Kaiser Friedrich Museum, Findbuch . (PDF) National Museums in Berlin, Prussian Cultural Heritage. Online data collection. In: Jörn Grabowski (Ed.): Findbuch II of the Kaiser Friedrich Museum . Berlin 2008, ISBN 978-3-88609-648-0 , p. 29.
  69. ^ Advertising brochure list Thiem & Töwe around 1914 German Historical Museum. Digital object database
  70. ↑ Reference to the sale of the Rembrandt S. Könau: Built on art . In: Mitteldeutsche Zeitung , May 24, 2013.
  71. ↑ Thiems Tiepolos . In: Pompeo Molmenti : Tiepolo, Giovanni Battista . U. Hoepli Verlag, Milan 1909, p. 133, p. 236, p. 463, archive.org .
  72. ^ A b Giuseppe Fiocco: The Venetian Painting of the Seventeenth and Eighteenth Centuries . Schmidt & Günther, Leipzig 1929, p. 117. Reference to the design for Tiepolo's altarpiece in Padua from the Thiem (e) collection in San Remo
  73. ↑ Robert B. Harshe: Paintings, Drawings and Prints by the two Tiepolo . Art Institute of Chicago, 1938, p. 18 (reference to a Tiepolo study on Mary's rosary prayer “The Institution of the Rosary by St. Dominic” in Venice)
  74. ↑ a b Cassoni. Chests and chest pictures of the Italian early Renaissance A contribution to secular painting in the Quattrocento. 2 volumes. Anton Hiersemann Verlag, 2007, ISBN 978-3-7772-0724-7 , p. 168. (Reprint of the 1923 edition)
  75. ↑ Collection Margzell de Nemes de Budapest. Catalog des Tableaux Anciens des Ecoles des XIV e , XV e , XVI e , XVII e , XVIII e , et XIX e Siècles. Galerie Manzi, Paris 1913, p. 11. (reference to a Tintoretto : Trois Donateurs )
  76. ↑ a b c d e f g In: Friedrich von Boetticher: Malerwerke des nineteenth century. Volume 2, first half. Sheets 1-32. Mayer – Bybkowski. Contribution to art history. Dresden, Friedrich v. Boettichers Verlag 1898. Fig. 86, pp. 20-21.
  77. ↑ Claude Keisch et al. a. (Ed.): Adolph Menzel Briefe 1881 to 1905. Volume 3, Deutscher Kunstverlag, Berlin / Munich 2009, ISBN 978-3-422-06740-0 , p. 898.
  78. ↑ Portrait of a distinguished gentleman. Google e-books. In: Marco Rossi, Alessandro Rovetta (eds.): Studi di storia dell'arte in onore di Maria Luisa Gatti Perer. Milan 1999, ISBN 88-343-0136-6 , p. 156.
  79. ↑ Collection Thiem Portrait Catellano Trivulzio. Google e-books. In: DA Brown: The Legacy of Leonardo: Painters in Lombardy 1490-1530. Skira Publishing House, Milan 1999, ISBN 88-8118-463-X , p. 222.
  80. ^ Reference to Thiems Tilman Riemenschneider DigiZeitschriften. In: Yearbook of the Prussian Art Collections. Magazine volume (1889) 10 years 4th quarter S.LI (roman)
  81. ↑ Virgin Mary with the Child. Harvard Art Museum, Cambridge. Database
  82. ↑ Wagner bust. In: The Art; Monthly books for free and applied arts. 19th volume. F. Buckmann, Munich 1909, p. 103, Textarchiv - Internet Archive .
  83. ↑ Retreating Thunderstorm Bavarica Digital Collections. In: Catalog of the International Art Exhibition in Munich. 1869, p. 5.
  84. ↑ Crucifixion . In: Alfred von Wurzbach: Dutch artist lexicon. 3rd volume, Verlag Halm and Goldmann, 1911, p. 59, Textarchiv - Internet Archive .
  85. ↑ Portrait of a Lady Internet Archive. In: Descriptive directory of the paintings in the Kaiser-Friedrich-Museum. Georg Reimer Verlag, Berlin 1906, p. 75.
  86. ↑ Auction at Christies, December 2008, lot number 21 (page accessed November 16, 2015)
  87. ^ Thiems painting by Adriaen Ostade (PDF) In: Mathias F. Hans (Hrsg.): Catalogs: Masters around Rembrandt. Forerunners, students, contemporaries . Galerie Hans, Hamburg 2011, p. 118.
  88. ↑ Wild game dealer rkd.nl RKD Dutch Institute for Art and History, data collection
  89. ↑ Described paintings van der Neer's Digital Library. In: Catalog of the exhibition of works of Dutch art of the 17th century. Published by: Kunstgeschichtliche Gesellschaft Berlin, 1890, p. 44.
  90. ^ Portrait of a Woman Museum of Fine Arts, Boston. Data collection
  91. ↑ Flight to Egypt . In: Kurt Gerstenberg: The ideal landscape painting. Max Niemeyer Verlag, Halle 1923, p. 155, Textarchiv - Internet Archive .
  92. ^ Arnold Goffin: Thiéry Bouts par Collection des Grand Artistes des Pays-Bas Bruxelles Librairie Nationale d'Art & d'Historie. G. van Oest, 1907, p. 108.
  93. ↑ Saint Bonaventure Internet Archive. In: Descriptive directory of the paintings in the Kaiser-Friedrich-Museum. Georg Reimer Verlag, Berlin 1906, p. 92.
  94. ↑ San Bernardo Figure 16 Google Books. In: Raimond Van Marle: The Development of the Italian Schools of Painting. Volume 18, Nijhoff, The Hague 1936. (Reprint: Springer, ISBN 978-94-015-1674-7 )
  95. ↑ Hieronymus with Church Digital Collections of the University Library Weimar. In: Franz von Weber, Adolf Bayersdorfer (Ed.): Classic picture treasure. Bruckmann Verlag, Munich 1899, p. 83.
  96. ^ Death of Achilles Internet Archive. In: Classics of Art. PP Rubens, Deutsche Verlags Anstalt, Leipzig 1905, p. 480.
  97. ^ Provenance Adolph Thiem Google Books. In: Seymour Slive: Jacob van Ruisdael. A complete Catalog of his Paintings, Drawings and Etchings. Yale University Press, New Haven / London 2001, ISBN 0-300-08972-4 , p. 362.
  98. ↑ Portrait of a Young Lady Frick Collection. New York. Data collection
  99. ↑ Sleeping girl with smoker . Cornelis Hofstede de Groot : Descriptive and critical directory of the most outstanding works by Dutch painters of the XVII. Century . Volume 1. Paul Neff Verlag (Max Schreiber), Esslingen 1907, p. 192, Textarchiv - Internet Archive .
personal data
SURNAME Thiem, Adolph
BRIEF DESCRIPTION German stock broker and art collector
DATE OF BIRTH July 26, 1832
PLACE OF BIRTH Halle (Saale)
DATE OF DEATH September 30, 1923
Place of death Stresa