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Table of Contents
John Reinhold Forster (1729-1798) and his son George Forster (1754-
1794) were travelers, naturalists, writers, and philosophers.
J. R. Forster, formerly a pastor in Polish Prussia, was commissioned by
Catherine the Great to examine the German settlements on the Volga. He trav-
eled there with his barely eleven year-old son George. They later moved to
England. Six years later John Reinhold accompanied Captain Cook on his epoch-
making Second Voyage to the South Seas, again taking George along. They were
the expedition's naturalists. Afterwards they held academic posts in Germany
John Reinhold, a superb geographer, wrote about zoological, geological,
and oceanographic, as well as a wide array of anthropological matters of the
South Seas and other regions. But his eminence as a scholar was impaired by
conceit and high-handed conduct. We must keep in mind, to be sure, that his
character included charming and noble qualities as well.
George's temperament was of a gentler disposition. His literary output
included travel descriptions and botanical subjects. It expanded into philos-
ophy, aesthetics, and sociology. His fame overshadowed that of his father.
But his popularity in Germany collapsed when he carried Enlightenment ideas to
the extreme by taking a leading part in the Jacobin Club of Mainz, which
sought to turn this city over to revolutionary France.
Both men were eminent scholars, but for centuries neither reached the
renown that their scientific and literary achievements warranted. Only in the last
The two men were pictured on more than fifty occasions. These pictures have never been catalogued before. They are here listed, described, and discussed. The discussions focus on the source of each portrait. They help
clarify the disarray, and produce a few unexpected results.
Over the years, the chronic disesteem of the two authors has stifled
Forster research. And, as little attention was paid to the subject of portraiture, it is understandable that confusion reigns about the source of some depictions. There is even evidence that an original painting was misascribed to another artist. These mistakes were never recognized, let alone rectified.
John Reinhold and George Forster spent much of their lives together, and several portraits depict both. All of their likenesses are combined in one
list. The persons are identified by using their initials J. R. F. and G. F.
An examination of all extant depictions reveals that only five were
drawn from nature (possibly aside from some silhouettes); the others were
obtained from the five.
Three of the original pictures are of J. R. F. alone:
1.0 Smith-Wedgwood medallion 1775
2.0 Another Smith-Wedgwood medallion 1775
5.0 Graff painting 1781
One painting shows both Forsters:
3.0 Rigaud painting 1780
One painting represents G. F. alone:
7.0 Frankfurt painting 1784
These prototypes form the basis for dividing the portraits of this catalog into groups:
The earliest portraits of J. R. F. that we have were made by
Joachim Smith, a London sculptor, wax modeler, and gem cutter.
His vital dates are unknown. Smith fashioned two different wax
models of J. R. F. for Josiah Wedgwood (1720-1795), the
celebrated pottery manufacturer.
A short digression on Wedgwood's jasper ware manufacture
explains the use of Smith's wax models:
Wedgwood invented and developed the fabrication of miniature
clay medallions. These consist of white relief figures on a dark
background and look like cameos. Some of the figures are por-
traits of illustrious persons. To procure models for the figures
Wedgwood relied on several artists, one of whom was Joachim
Wedgwood pressed Smith's waxen relief models into wet clay,
to obtain intaglio molds. After the molds had hardened, he pres-
sed white clay into them. This gave him relief duplicates of the
wax models. Then the white figures, still wet, were affixed to a
darker background, called jasper. Now the medallions were ready
for the kiln.
Joachim Smith made his miniature wax reliefs from paintings
and engravings of prominent persons. Only on rare exceptions did
he produce the wax portraits from nature. Since no sources are
known that might have served as prototypes for his two Forster
portraits, it is possible that they constitute such an exception.
The size of the jasper medals of J. R. F. varies somewhat. It
averages 4 by 3 inches.
Of the two portrait medallions, the one with the Forstera
sedifolia sprig (a plant which Linnaeus named after J. R. F ) is
undoubtedly the better. It is no wonder that it was used exten-
sively in later representations. Here we see J. R. F. at the
height of his career: Just having returned from the celebrated
South Seas voyage, he appears exuberant. People acquainted with
Forster s personality will in the physiognomy easily recognize
his characteristic traits: intellectual, forceful, and self-
assured. They can even perceive his notorious shortcoming: an
The portrait of the second medallion (2.0) reflects a simi-
lar mood, and is hardly less lifelike than the first. But it is
less attractive as an artistic subject. For this reason it has
remained virtually unknown.
1.0 Portrait Medallion by Joachim Smith (1775 or 1776)
Designed by Joachim Smith (fl. 1756 – 1803), manufactured
by Josiah Wedgwood in 1776.
Head and shoulders in profile to right; Forstera sedifolia in coat pocket.
Smith 1.0 Smith 2.0
The following institutions have medallions:
Mitchell Library, Sydney, Australia
1. White on blue jasper ware, signature "IS" on base of arm. Beddie 4429.
Reprod. Iredale, G. F. Paintings, 1925: 53.
Hoare, Tactl. Philo.: 103
Hoare, Res. Journ.: 1
2. White on blue jasper ware. Beddie 4433.
Dixson Library, Sydney, Australia
White on green jasper ware. Unsigned; lacking sprig of Forstera sedifolia. Beddie 4432.
Nottingham Castle Museum, Nottingham, England
Unsigned; "FORSTER" stenciled below portrait.
Reprod. Reilly, Robin, and Savage: Wedgwood: The Portrait Medallions,
Vital dates of caricaturist unknown.
Copper engraving showing J. R. F. riding backwards on a donkey,
followed by son George, wife Justine, and five more children. A balloon
emerging from J. R. F.'s mouth has him utter "I vil tel de Kinck of
you." This refers to his threats on the voyage to complain directly to
the king. Bottom inscription: "Whates delt - Doctor Faustus exeudit -
J. R. F.'s head and shoulders are clearly derived from the Smith-
Wedgwood medallion (1.0), complete with Forstera sedifolia. G. F.
appears in an oblique front view.
Repr. G. F. Werke: 13:128
Hoare, Tact. Philo.: 176
1.2 Medal of J. R. F. by Abraham Abramson (1777)
Abramson (1754-1811) was the Royal Prussian Medalist at Berlin.
The former existence of this medal, if indeed it existed, rests
solely on a note in Meusel, Museum 9(1789):473 (repeated in Goedeke
7:239): "Abramson in Berlin struck a medal after his head in 1777." In
1777 only the Smith-Wedgwood medallion could have served Abramson as a
The standard work on Abramson (Hoffmann, Tassilo: Jacob Abraham
und Abraham Abramson - 55 Jahre Berliner Medaillenkunst, Frankfurt 1927)
does not mention J. R. F. This leaves room for serious doubt whether
Abramson ever made such a medal.
Head and shoulders facing left, in oval ornamented with ribbon and
name plate "I. R. FORSTER". 3210. Is this Diepenbroick 8204?
The silhouette stems from the Smith - Wedgwood medallion (1.0),
Pub 1.in Akademisches Taschenbuch auf das Jahr 1791.
Halle of Berlin, vital dates unknown, called himself "Halle
Profile facing right, after Berger (4.1), with Forstera sedifolia
in coat pocket. Similar surround as Berger etching. Name plate: "D.
IOH. REINHOLD FORSTER". Signed: "Gestochen von Halle Berlin 1795".
Diepenbroick 8200, 8201.
Publ. in Krünitz, Joh. Georg: Oekonomisch-technologische
Encyklopädie, 2nd ed., 1804): frontisp.
The unknown person who drew the silhouette probably worked from
the Wedgwood medallion.
Head and shoulders.
Appeared in Warrington Worthies, collected and arranged by James
Kendrick, M.D., Warrington, 1853. Pl. 3.
Head and shoulders, looking left. Derived from one of the Smith-
Appeared in Georg Forster, Wissenschaftliche Beiträge der Martin-
Luther-Universität Halle-Wittenberg 42(1981): 21. Captioned "Georg [!]
Forster" (label confounded with that of next illustration).
2.0 Another portrait medallion by Joachim Smith (1775 or 1776)
Designed by J. Smith, manufactured by J. Wedgwood.
Head and shoulders in profile facing left. Forster, slightly
smiling, wears only a silk shirt.
The Nottingham Castle Museum has a specimen.
Reprod. Reilly, Robin, and Savage: Wedgwood: The Portrait
Medallions, London 1973.
For further developments of the Smith – Wedgwood portrait of J. R. F. see the following double portraits:
4.1 Etching by Berger
4.2 Ephemeriden Engraving
4.4 Wood Engraving by G. H. & K.
John Francis Rigaud (1742-1810) composed a magnificent painting, the only one that shows both Forsters together. They are at work: drawing birds in a resplendent scene in what was thought to be Tahiti, but is actually New Zealand.
"Rigaud, a member of the academy, was born in the French
part of Switzerland. He has worked in London for a long time. He
is praised as a diligent portraitist ... This unpretentious artist
paints with a forceful, true stroke which disdains the artifices
of his academic colleagues. Perhaps this is why he fails to at-
tract the attention of those who can only be impressed with heavy
highlights and glaring contrasts."
Thus wrote G. F. about the painter who painted him a decade earlier.
(Geschichte der Kunst in England vom Jahre 1789, G. F. Werke 7, 138f.)
The scene of the painting (3.0), when mentioned at all, was always given
as Tahitian; but plants, birds, and the sailing boat pictured on it belong to
New Zealand. (Forstera sedifolia on hat, Anthornis melanura in hand, Callaeas
cinera, Philesturnus carunculatus, and Prosthemadera novaseelandiae on rock.)
There is no doubt that the setting is intended to be in New Zealand.
The two Forsters sat for the artist in London. J. R. F. wears the same
clothes as on the Smith-Wedgwood medallion (1.0), with the addition of a smart
hat. The Forstera sedifolia sprig which Smith had placed in his coat pocket
is now stuck under the hatband. G. F. is elegantly dressed in a shirt with
ruffled trim. We shall pursue this detail in later renderings.
No copy has ever been made of J. R. F. alone from the Rigaud painting,
aside from the two drawings mentioned below (3.4 and 3.5). But for G. F. see
the Berger subgroup (next section).
3.0 Oil painting on canvas by J. F. Rigaud (1780)
John Francis Rigaud (1742-1810), born in Italy of French descent, was a historical and portrait painter in London.
The picture shows a front view of J. R. F. standing, a dead bird
in hand; and G. F. sitting, in profile to left, drawing the bird. The
painting measures 126 by 101 cm, and is signed in the left bottom corner
"painted by I. F. Rigaud London 1780". Fiedler 1199.
Owner: Hans-Jörg Rheinberger, Berlin. The canvas passed
from J. R. F. through his daughter Iphigenie Sprengel and her daughter
Iphigenie von Hoffnass to the Rheinberger family. Unfortunately, the
painting had been inaccessible to reproducing artists for a very long
Fiedler, Horst et al.: G. F., Wörlitz, 1975.
(Front cover). Measures 13 by 10.5 cm.
Hoare, Res. Journ. (1, frontisp.). 13 by 10.5 cm.
Gray, William R.: "Voyages to Paradise", Nat. Geo-
graphic Society, Spec. Issue, Washington, 1981: 106.
18 by 23 cm.
Smaller copy of proceeding item (3.0). It measures about 22 by
16 cm. Fiedler 1200.
George's face is more corpulent. Although the unknown painter's
reproducing skill was not outstanding, this is a tolerable copy.
Nonetheless, it is regrettable that this copy, rather than the original
(3.0), became the model for many reproductions.
B & W reproduction:
Homann, Hermann ed., Entdeckungsreise nach Tahiti,
Tübingen 1979: frontisp.
After Rigaud (3.0). Black crayon, heightened with white chalk, on
gray paper. Fiedler 1198.
This portrait, as well as the three following it, are not prelimi-
nary sketches for the Rigaud painting, as Fiedler suggests, but are
derived from it.
Owner: Royal Botanical Gardens, Kew, England.
Reprod. in Kersten, Weltumsegler: frontisp.
3.3 Another chalk & crayon drawing of G. F.
Like 3.2. N.i. Fiedler.
Owner: Regula von Greyerz, Bern.
Also derived from Rigaud (3.0). It forms a matching set with 3.3.
Same owner as 3.3.
3.5 Another chalk & crayon drawing of J. R. F.
F. von Herder owned it in 1886. From it a hundred
photographic copies were distributed by way of subscription. (Herder,
"Icones plantarum" in Acta Horti Petropolitani, 9:2 (1886) 460).
Daniel Beyel (born 1760), copper engraver, produced a most
pleasing engraving, not after the original Rigaud painting (3.0), but
after its copy (3.1). Fiedler 1201.
Reproduced in G. F. Werke (4:Pl.1).
Beaglehole, Journals (2:xxxix).
Large copy after Beyel engraving (3.6), 21 by 16.4 cm, signed in
lower left "X.A. v. D.R.". 410. Singer (1931) 25806.
Published in Daheim, 1879: 773.
After one of the Rigaud group.
Published in Miethke, Helmut, Bewegte Jahre, Berlin 1956: 29.
Postage stamp of the German Democratic Republic, showing portrait
and sailing ship on light blue background. 2.1 by 3.8 cm. Lettering:
DDR - 1754 - 1794 - Georg Forster - 35 [postage] - 1979.
The profile, facing left, is derived, perhaps indirectly, from the Rigaud
painting. George's head is upright, as described in the next section.
There is a curious etching the source of which has never been correctly identified:
In 1782 the etching of both Forsters by Daniel Berger appeared. Being a secondary picture itself, it gave rise to a number of tertiary depictions. That is why I classify them in a subgroup. It is to be determined to which group this subgroup belongs.
The likeness of J. R. F. is clearly derived from the Smith-Wedgwood medallion. But where the portrait of G. F. originated has remained obscure until now.
In reality, the prototype of Berger's portrait of G. F. has been in plain view all along. It is the Rigaud painting (3.0). When the two are compared, it is easy to see the resemblance.
Why was it not obvious until now? Berger skillfully created the illusion of a new portrait by making four simple changes:
o He reversed the picture left to right, as engravers often do.
o He turned the head of G. F. from a leaning-forward position to an upright
o He made nose, lips, and chin of the younger, fuller George slightly less
round to give him a more mature look.
o He added a silken neck ribbon, which was fashionable then.
Detail from 3.0 Rigaud Detail from 4.1 Berger
The alterations effectively concealed the true origin of the engraving.
But note that Berger did not bother to change the coiffure, ruffled shirt, or
If the story had ended with this poorly executed etching, we would not
have a problem. But the Berger portrait served as a model for a number of
better depictions. Twenty-one years afterwards an unknown engraver created
a finer rendition of it (4.2). Then, in 1854, the Weger engraving of G. F. alone
appeared. It is masterfully done. Truly attractive, it imparts the illusion of
being a faithful likness. No doubt Weger improved George's physiognomy. He
shows us G. F. as we like to imagine him. The pleasant and plausible aspect
of the portrait made it popular with modern publishers.
Rigaud's ruffled shirt and Berger's neck ribbon remain unchanged
throughout this group.
Now we must turn our attention to the mistaken view that plagued the
scene for hundreds of years. Since the depictions of the Berger subgroup
lacked a recognizable source, one had to be found. Anton Graff was known to
have painted a likeness of G. F.; and it had been considered lost, as we shall
see below, under The Tischbein and Graff Group of George Forster. Therefore,
it was quite convenient to link the etching without a source to the painting that had
seemingly vanished. This was done repeatedly in Forster literature (by Zincke,
Kersten, Fiedler, G. F. Werke, etc). But, as if this erroneous connection needed
further denunciation, it is chronologically impossible: Graff painted G. F. only in
1784, whereas its supposed copy, the Berger etching, had already been published
The confusion does not end here. In the Tischbein-Graff controversy the Graff painting is up to more mischief. See the section The Tischbein and Graff Group of George Forster.
4.0 Engraving of G. F. alone by Daniel Berger (1779)
Daniel Berger (1744 - 1824) was a reproducing copper engraver whose
technique combined etching with engraving.
No specimen of this portrait has come down to us. But its existence may be inferred from a passage in a letter that G. F. wrote to his publisher Spener: "Please send me a copy of my portrait by Berger." This casual remark of June 5, 1779 may be taken to mean that Berger had produced an engraving of G. F. alone as early as 1779.
It was probably the model for the G. F. picture in the 1782 etching
4.1 Etching of both Forsters by Daniel Berger (1782)
The etching shows heads and shoulders in a round medallion (8 cm
dia.) with decoration and massive name plate beneath: "IOHANN REINHOLD
FORSTER - IOHANN GEORG FORSTER." Profiles to right. Signed at bottom:
"Von D. Berger Geätz. 1782" (Etched by D. Berger 1782).
Fiedler 1202. Goedeke 7: 239. 16'°.
J. R. F.'s portrait is obviously fashioned after the Smith-Wedgwood
medallion (1.0), faithfully conserving several details.
G. F.'s portrait stems probably from Berger's engraving of 1779 (4.0),
which, in turn, derives from the Rigaud painting (3.0), as shown in
the outline above.
The etching of both Forsters appeared in:
Allgemeine deutsche Bibliothek, 1782 (51:front.).
Könneke, Gustav, Bilderatlas zur Geschichte der Deutschen
National literatur, 2nd ed., Marburg, 1895 (325).
G. F. Werke 13:386
4.1 Berger 4.4 GH & XKA
Stipple-engraved oval without any surround. Very similar to
Berger engraving (4.1), but heads only. Profiles reversed (facing
left). Oval 9.5 by 6.9 cm.
Appeared in Allgemeine geographische Ephemeriden, 12 (1803):
4.3 Relief portrait of G. F. (Date unknown)
Bas-relief in what looks like white clay, in wooden frame, by
unknown artist. Profile looking left. Fiedler 1205.
Reintjes, Fiedler, G. F. Werke, and others mistakenly suggested
that this portrait was fashioned after the "lost" Graff painting. It is derived
from one of the Berger group.
Former owner: Theodor von Greyerz, Frauenfeld, Switzerland.
Present whereabouts unknown.
Reintjes, "Blick ins Ganze der Natur," Orion, Oct.
G. F. Werke 15 (1981): 16. This is a better reproduction.
4.3 Relief portrait
Finely copied from Berger's etching of 1782 (4.1), incl. marble
surround. Signed in lower left corner: GH & XKA. "X" seems to mean wood
engraver (xylographer). See ill. above.
Publ. in: Geiger, Ludwig, "Aus Therese Hubers Herzensleben,"
Illustrierte deutsche Monatshefte, 1896 (633).
4.5 Steel engraving of G. F. by August Weger (1854)
August Weger (1823 - 1892) was a steel engraver at Leipzig.
As we might expect, the engraving has been thought a representa-
tion of the "lost" Graft painting. But again, it definitely pertains to
the Berger set. It is therefore a copy of a copy of a painting. And we
shall see that it, in turn, was subsequently copied many times.
Conforming to the panegyrical tone of the work in which it was
published, Weger's portrait is flattering. It shows a well-coiffured
and well-dressed Forster, profile to right. 16mo. Fiedler 1206
Appeared in: Moleschott, Jacob, G. F., 1854: frontisp.
Reproduced in: G. F. Werke 14:96.
4.6 Another engraving by August Weger
Similar to 4.5.
Owner: Akademie der Wissenschaften, Zentralinstitut für
Reproduced in: Fiedler, Horst et al. G. F. ... Seine Beziehungen
zu Wörlitz, 1975 (1).
4.7 Gouache painting of George Forster by S. H. (No date)
Nothing is known about the lay artist S. H.
Oval picture in subdued colors, profile to left,
13 by 10 cm, mounted in dark embroidered cardboard mat.
Inscribed at bottom: "Georg Forster 1784." Artist's initials on
right: "S. H. fec." The caption "G. F. 1784" obviously means "G. F. as
he appeared in 1784." This is the year Anton Graff painted him in
Dresden. Of course, S. H. copied from a portrait of the Berger sub-
group, thinking it was derived from the Graff painting.
Owner: Stadtarchiv Mainz.
B & W repro. in: G. F. Werke (14:144).
Color repro. in: Reichardt: ].
Profile looking left.
This painting is obviously derived from the Berger subgroup.
It most closely resembles the Ephemeriden engraving (4.2).
The Oesterreichische Nationalbibliothek in Vienna has a sepia-
toned photograph, 8.5 by 6 cm. (Bild-Archiv und Portraitsammlung
Pf 3812: B(1). The card shows a signature (G. Forster) and: "E.
HADER pinxit - Gesetzlich Geschützt. Phot. u. Verl. v. Sophus Williams
This drawing, placed on a Tricolor background, is derived from the
Weger engraving (4.5).
Publ. in: Roter Faden: 25.
4.10 Relief plaque of 0. F. by Bernhard Schellbach (1984)
Round ceramic plaque, 98 mm dia., blue. Inscribed around margin
"GEORG FORSTER" (right) and "1754-1794" (left).
Profile looking to right, finely sculpted. It is derived from the
Weger engraving (4.5). Reichardt 316, No.319.
Owner: Staatliche Schlösser und Gärten Wörlitz, Oranienbaum und
Whenever one of the J. R. F. paintings by Anton Graff is mentioned, it
is called "the" painting, as if there were only one. Actually, there are
three: one of unknown location, one in Halle, and one in Berlin. This is
evident from their published reproductions. Although all versions display the
identical pose, each has a quite noticeable difference in facial expression.
Copyists tend to flatter their subjects by idealizing their features.
This they have in common with the creators of original portraits. But the
enhancement now accumulates. In accordance with this principle, the painting
reproduced in Kersten (5.0) is likely to be the original. The original was
done in 1781, or earlier, because in that year I. F. Bause made his well-known
copper engraving from it.
The ownership history of these paintings is fragmentary. "The" painting
was considered lost at one time, but in 1898 "it" was found in Düsseldorf
(Goedeke, Nachträge: 806). Then the bookseller Otto Schütze owned it. The
Ill. Zeitung engraving (5.7) identifies it as the Halle painting (5.1). In
1957, Kersten (:398) reported "it" in the possession of Joseph Jans, an art
dealer in Lucerne. This time "it" was No. 5.0. Jans sold the painting later,
perhaps to America. Its whereabouts is again unknown.
5.0 Oil painting of unknown location, by Anton Graff (ca. 1780)
Anton Graff (1736 - 1813) was the classical portrait painter of
J. R. F. in front view, with head and eyes turned left. 55 by 48 cm.
Of the three oil paintings (5.0 - 5.2), this one resembles the
Bause engraving (5.3) most. This reinforces the already mentioned
probability that it is the original. And its mere excellence suggests
that it stems from the masterful hand of Anton Graff. This portrait of
Forster is considered one of Graff's best portraits.
Whereabouts unknown. Last known location, as mentioned above:
B & W reproduction in Kersten, Weltumsegler: 32.
5.0 (Lucerne) 5.1 Halle 5.2 Berlin
Same pose as 5.0. Forster's nose is here straightened.
Owner: Städtisches Museum, Halle.
B & W reproduction in Rave :69.
Same pose as 5.0 and 5.1. Here we see J. R. F. with his eyes less
open and chin more pointed.
Owner: Staatliche Galerie Moritzburg, Halle und Staatsbibliothek
B & W reproduction in Hoare, Tactl. Philo.: 103.
5.3 Copper engraving by I. F. Bause (1781)
Johann Friedrich Bause (1738 - 1814) was a copper engraver of
great renown. He mainly produced portraits of famous men, most from the
paintings of Anton Graff.
The likeness of J. R. F. is after Graff's painting (5.0).
Reversed (facing right), it is contained in an architectural device with
an oval stone frame, surrounded by a Forstera sedifolia plant and ivy.
The inscription on the stone frame reads "I R FORSTER." The note below
the engraving: "Ant. Graff pinx. - zu finden in Leipzig bey Bause - IF
Bause sculps. Leipz. 1781 - Diese Pflantze in nehmlicher Grösse hat Herr
Forster in Neu-Seeland entdeckt und Linne ihm zu Ehren Forstera
benennt." Small fol. (27.7 by 19.6cm).
Reproduced in: Hoare, Tactl. Philo.: 102.
5.3 Bause 5.6 Krey
Johann Friedrich von Mayr, copper engraver at Kassel, died ca.
Oval marble frame and name plate "I R FORSTER," similar to Bause
engraving (5.3), but lacking vegetation surround. Signed at right bottom:
"Gravé par de Mayr." 8vo.
Published in: Papst, Johann G. F., Die Entdeckung des fünften
Weltteils, Nürnberg 2 (1784): frontisp.
Christian G. A. Liebe, University Copper Engraver at Halle, died
Since Liebe copied several Bause engravings, this is likely to be
one of them. 41 . Diepenbroick 8203.
Paul Krey was a reproducing wood engraver at Leipzig. Vital dates
Signed at lower right corner: P. Krey. XI.
A superb engraving (18.8 by 13.3 cm), in every detail similar to its prototype, the Bause engraving. It is interesting to compare Krey’s wood engraving with Bause’s copper engraving (5.3).
Appeared in: Sievers, Wilhelm, Australien und Ozeanien,
Leipzig 1895 (13).
The anonymous engraver worked from the Halle version (5.1).
Singer (1937) 10765.
Publ. in: Illustrirte Zeitung, Leipzig 110 (1898): 464.
After one of the Graff group, looking to right.
Publ. in: Miethke, Helmut, Bewegte Jahre, Berlin: 10.
In Frankfurt there is an exquisite painting of G. F., obviously done by a
great master. He shows us Forster's sensitive and troubled soul.
The painting has traditionally been ascribed to Tischbein. That ascrip-
tion is reexamined here.
George Forster's interest in having a portrait made of himself is evident
from several of his letters. On March 3, 1784, he wrote to his friend
Sömmering (or Sömmerring): "I shall try to persuade the old Tischbein, court
painter, to portray me." At the end of the same month we read the discourag-
ing note that "Tischbein's eyes are again so bad that there is little hope for
a portrait." But shortly thereafter Tischbein produced the painting (6.0).
Forster was not elated about its quality. Two months later his travels took
him to Dresden, where he had the renowned Anton Graff portray him. Excerpts
from letters to Sömmering show how Forster's judgment of the painting changed
"Graff painted a magnificent likeness of me. Tischbein's is not
a shadow of it. I am there, complete with my character, down to the
smallest traits and nuances. The picture belongs to Spener [Forster's
publisher]. A copy would cost twenty thalers, I believe. I should
like to order one for you and Therese [Forster's wife]. But now it
cannot be done." (June 7, 1784)
Subsequently Graff promised him a copy, and produced it. But for pecuni-
ary reasons it ended up with someone else:
"Neumann in Dresden has my portrait by Graff; and I confess to
you, since I saw it again, and also the original at Spener's, I do not
find it like me any more. Therese found it far less so. Therefore it
is hardly so valuable for you as if the resemblance had been decent."
(March 19-20, 1786)
In his letters, therefore. Forster speaks of three paintings: one by
Tischbein and two by Graff. Only two of the three paintings have come down to
us. They show G. F. in the same pose. The question is: Are they Tischbein's
G. F. became most unpopular in Germany when he played a leading role in
the Jacobin revolution in Mainz. Perhaps the paintings spent time in their
owners' attics. Certainly they changed hands a few times. One painting
became lost. The parties most eager to buy and keep them would be the von
Greyerz and von Sömmering families (Forster's and his friend Sömmering's
descendants). Sometime during this period people may have become puzzled
about who painted the portrait. One owner was told that its painter was
Tischbein and wrote a note to that effect on the backside of his painting.
Historian Paul Zincke wrote about it in 1913:
"On the verso of the original there is the following note:
'Johann Georg Forster, born in Nassenhuben near Danzig on Nov. 26, 1754,
died in Paris on Jan. 12, 1794. Painted by J. H. Tischbein, Gallerie-
Direktor in Cassel (in 45 minutes) on foot in 1782 [?], according to
Herr Dir. Pellisier who owns a very similar portrait of Forster by
Tischbein.'" (Zincke, xiv f.)
(I am unable to determine what zu Fuss "on foot" means.)
This note needs some scrutiny, since it appears to be the only basis for
ascribing the Frankfurt painting to Tischbein.
The note was written many years after the painting was painted. It is
not a primary document. Moreover, its writer felt that his statement needed
support. And the best support he could muster was to refer to the owner of
the other painting, who thought that Tischbein was its painter. Not that this
idea was totally irrational! There is a perfectiy good excuse for it: We
have seen that it was erroneously believed that the pictures of the Berger
subgroup had been derived from Graff's painting. Therefore it seemed logical
that the picture of the other pose "had to be" Tischbein's.
Then, the writer of the note erred on the date. Zincke, diligent
scholar of Forster literature, placed the bracketed question mark behind the
date in the above quote of 1913. It should, of course, read 1784, not 1782.
In addition, Tischbein's eyesight was poor in the last years of his
life. Art scholar Georg Nagler reports that sometimes Tischbein's daughter
had to tell her father what the colors on the palette were. Tischbein portrayed
Forster at one sitting of only 45 minutes (Zincke, xiv).
Graff, on the other hand, portrayed George Forster in three sessions,
one of them lasting one and a half hours. He then made a copy of it.
We can recap the following facts:
o Tischbein painted one "bad" painting.
o Graff produced two "good" paintings.
o Two well-finished paintings of the same pose, exquisitely
colored, are extant.
Without pretending to possess any expertise in art, I mention that
Tischbein tends to contrast each illuminated part with a shadow, whereas Graff
is noted for delicate coloring.
Of course, it would be helpful to know the judgment of scholars versed in 18th century art on whether the Frankfurt painting is painted in Tischbein’s style or Graff’s.
All these difficulties are eliminated if we assume that the two Graff
paintings are the paintings now located in Frankfurt and Bern (7.0 and 7.1).
It was a Mrs. Sophie von Sömmering who bequeathed the Frankfurt painting to
the Ethnographic Museum there (Zincke, xiv); and the Bern painting still
belongs to the von Greyerz family. Thus, both paintings eventually ended up,
as it were, where Forster had intended them to go.
The arguments presented here fall short of proof. But, in the opinion
of this researcher, they outweigh the solitary clue that the note glued on the
portrait's backside provides.
6.0 Painting by Tischbein (April 1784)
Johann Heinrich Tischbein (1722 - 1789), the elder of this name is
principally noted for his portraits, but he also painted historical and
George Forster's diary reveals that Tischbein portrayed him in
April of 1784.
Forster's portrait at the Ethnographic Museum in Frankfurt (7.0;
next entry) is generally held to be this painting by Tischbein. This
view is disputed here, as shown above.
If the Frankfurt painting is not by Tischbein, the Tischbein painting
must be presumed lost.
7.0 Frankfurt painting (June 1784)
Oil on sheet metal. About 45 by 36 cm. Front view.
Unsigned. Fiedler 1203.
The backside has a paper glued to it with handwriting in an old
hand. It proclaims that the painting was done by Tischbein. See above
discussion for text of note, and explanation.
This note was probably the only basis for ascribing the painting
to Tischbein. The ascription is here viewed with reservation. Instead,
Anton Graff is suggested as its creator.
Because the painter of this painting is not assured, I choose to
call it the Frankfurt painting.
Owner: Museum für Völkerkunde, Frankfurt am Main.
B & W reproductions in:
Color reproduction in:
G. F. Werke, 17
7.0 Frankfurt 7.1 Bern
7.1 Bern painting (1784)
Oil on canvas. It is very similar to the foregoing painting (7.0), which, however, is painted on sheet metal.. N. i. Fiedler.
Owner: Dr. Georg von Greyerz, Hindelbank near Bern, Switzerland.
According to von Greyerz family tradition, this painting was
copied after Anton Graff's (verbal communication of Mrs. Martha von
Greyerz to the author in 1979).
Painting by Ferdinand A. Grossmann, done about 1913, or later,
obviously after the Frankfurt painting. Fiedler 1211.
Former owner: Stadtarchiv Mainz.
In 1951 Richard Bellen copied this painting from the Frankfurt
painting (7.0). He made Forster smile, failed to emulate Forster's noble
features portray in the original. Fiedler 1212.
Owner: Stadtarchiv Mainz.
B & W reproductions:
Just, Leo & Mathy, Die Universität Mainz, 1965: 39.
G. F. Werke: 14:39.
Artist unknown. After one of the renderings of this group.
Publ. in: Miethke, Helmut, G. F., Welt reisender, Schriftsteller und
Revolutionär, Halle 1961: paperback cover.
Graphic design developed by the task group "Wissenschaftliche
Graphik" of the Fachhochschule Wiesbaden. It is derived from the Bellen
Publ. in: Roter Faden: on cover and similar picture on page 497.
This is a group of pictures that cannot be placed in any of the previous
Daniel Chodowiecki, eminent etcher and painter, lived
from 1726 to 1801.
There is reference to this supposed picture in Meusel, Museum
(9:473): "Bildnis von Berger nach Chodowiecki gestochen." The reference was reprinted in subsequent Meusel works and in Goedeke (7:23).
This notice must be regarded as erroneous. Berger's engraving is
after Smith - Wedgwood. Neither in Forster literature nor in Chodo-
wiecki literature is there any indication that Chodowiecki ever portrayed Forster.
Head facing left. These silhouettes were probably done from life.
G. F. occasionally gave his Silhouette to friends, as on April 29,
July 26, and September 11, 1784 (Zincke, Tagebücher).
A few of the silhouettes ended up in museums:
Oesterreichische Nationalbibliothek, Bildarchiv und
Porträt Sammlung, Pg 3812: 1(2).
Repro. in: Silhouetten aus der Goethezeit, Wien, 1909: 52.
Schattenbilder aus der Goethezeit,
Darmstadt, 1946: 24.
Repro. in G. F. Werke, 15,32.
In 1984 this Silhouette was displayed on a poster for the G. F.
exposition in the pavillions on the Eisenart in Wörlitz. The designer
was Stefan Liebig.
Bosselating is the art of creating waxen images. To eliminate the
annoying translucency of wax, it is mixed with coloring matter. Wax
medallion potraits were in vogue throughout Europe up until the close of
the 18th century.
Bosch, a wax modeler at Vienna, created a portrait of Forster on
September 12, 1784, and three days later, delivered it to him together
with twelve molded copies. G. F. at once distributed them to his
Viennese friends (Zincke, Tagebücher :196)
None are known to exist today.
G. F. standing, profile to left, holds a model of a sailing ship
in hand. If this Silhouette was created from life, as it well might,
then we have here a rare glimpse of Forster's handsome posture. But
then again, it may simply be derived from a head Silhouette and fur-
nished with a standared body. Fiedler 1208.
Reproduced often, for example in:
Schattenbilder der Goethezeit, Leipzig 1966: pl.19.
G. F. Werke in 4 Bänden 4: front. Profile to right.
Not viewed. Meusel, Museum 9:473. Size: 8vo.
Publ. in: Schattenrisse aller öffentlichen Lehrer
... zu Halle, 1784.
Heinrich Schwenterley (1749 - 1815) was University Copper Engraver
at Göttingen. Art lexicographer Nagler calls him a common practitioner
of small renown.
C. Goepffert (1760 - 1788), copper engraver in stippling tech-
Stipple engraving, 4to, prototype unknown.
Not viewed. Meusel, Teutsches Künstlerlexikon III (1814): 91 asks,
"drawn by him?" Thieme-Becker adds the remark "of his own design."
This could mean that he merely created his own surround. Singer (1931)
25801 and 25817.
Not viewed. Meusel, Museum 9:473.
Publ. in: Neue Quartalschrift zum Unterricht und zur Unterhaltung
... 2 (1792): frontisp.
It is a half-length portrait (Brustbild).
Johann Jakob Hoch (1750 - 1829) of Mainz painted, among other
subjects, historical scenes in oil and gouache.
This painting shows a night session of the Jacobin Club in Mainz.
"The clubbist at the lectern is said to represent Forster," states the
caption under the reproduction cited below. However, the artist hardly
intended to portray any particular person in the group of smallish
Owner: Stadtbibliothek Mainz.
Repro. in: G. F. Werke in 4 Bänden 3:577.
Publ. in: Seidlitz, Woldemar, Allgemeines historisches
Portraitwerk, 5 vols., Munich 1874.
Profile to left. G. F. sits on a stool, bent over, reading a book that he
holds in hand. The London skyline is in the background, white on gray.
Envisioned in the unknown artist's mind, this figure is a portrayal of G.
F.'s eagemess to leam rather than a bona fide portrait. But it is a plausible
likeness of the youth.
Publ in: Roter Faden: 21.
Irmgard Biermath, a sculptress of Mainz, created this bronze. She
bequeathed it to the City of Mainz. On the occasion of the bicentennial of
Forsters death the plaque was placed at his residence: Universitätstrasse 5,
Bronze piaque 72 by 53 cm with inscription "GEORG FORSTER 1754 - 1794"
Though obviously derived from the Frankfurt painting, it is more than a
copy. "As the Mainz sculptress conveyed in conversation, she produced this
creation without commission, on her own initiative. Differing from Tischbein,
in his time .... she intended to bring forth Forster's suffering and tragical traits"
(Reichardt 316, No. 330).
Reproduced in: Reichardt 317.
8.12 Delose painting of G. F. (1788)
Delos or Delose was a miniature and portrait painter, disciple of the
Academy of Drawing at Mannheim.
Bom in the Palatinate; vital dates unknown.
This painting was found only recently.
Oil on canvas, 73 by 59 cm.
Here G. F. poses with an open book in his hand. Signed in upper
right comer: "P.[?] De Lose pinxit A 1788".
Color reproduction in: Reichardt .
The Delose painting is rather difficult to evaluate.
Forster does not mention Delose in his letters. It is doubtful that Forster
sat for Delose.
A comparison with the Frankfurt painting is hardly out of order. Looking
at the two paintings (7.0 and 8.12) side by side we get almost the feeling that
we are dealing with two different men.
But the paintings have the following similarities: The pose, including the
angle of view, is the same. Even the white neck cloth on the Frankfurt painting
seems to be present on Delose's painting. But Delose renders it skin-colored, so
that it becomes Forster's neck.
And finally, there is the matter of the English marine uniform, which
Forster allegedly wears. This is the claim of Rolf Reichardt in Reichardt, 157.
Forster was a civilian on Captain Cook's voyage, not a marine. The notion that he
later wore a uniform must be rejected. It is not in keeping with his character.
I would venture to conclude that, more likely than not. Delose used the
Frankfurt painting as a model when he created his Forster painting.
Medal for the Bicentennial of the French Revolution.
Heinz Rodewald, a medalist of Berlin, created this medal. On the reverse it
shows portraits of G. F. Rebmann and G. Forster. Reichardt 316, No. 321.
Owner: Staatliche Schlösser und Gärten Wörlitz, Oranienbaum und
More than fifty portraits of the two Forsters are here catalogued and described for the first time. The provenance of each portrait is traced. It turns out that among the extant portraits there are only five for which the two men sat. The others derive from these five. This forms the basis for arranging the portraits into groups.
Portraiture is a most difficult art form. It is fortunate that the artists of these five portraits were truly competent. They succeeded in capturing their subjects' personality. They represented them as they saw them, without the pretentiousness that a munificent patron might have engendered.
Both men were eminent scholars, but for centuries neither reached the
renown that their scientific and literary achievements warranted. Forster research was neglected for centuries. Portraits play only a minor part in the overall scheme of this topic. A good deal of disarray emerges regarding the source of some derived pictures.
The Rigaud painting gave rise to a whole group of derived depictions of George Forster, here called the Berger subgroup. As the true origin of these subsequent depictions was not recognized, they were held to stem from a "lost painting by Anton Graff.”
This is chronologically impossible. But now the confusion takes on a life of its own. The fallacious premises lead inevitably to a fallacious conclusion:
The alleged reproductions of the “lost Graff painting” provided a good clue what it must have looked like. Since the painting in Frankfurt presented George Forster in a different pose, it “had to be” painted by another painter. Thus it was logical to attribute it to Johann Heinrich Tischbein the Elder, because he was known to have portrayed Forster. I consider this attribution erroneous.
But if one pursues the concept that Tischbein’s painting is lost, not Graff’s, and that Graff painted the Frankfurt painting, then a number of annoying inconsistencies vanish.
In this way, the incorrect ascription of some secondary pictures led to the more serious consequence that even a primary painting was attributed to the wrong artist.
Mehr als fünfzig Bildnisse der beiden Forster werden hier zum ersten Mal in ein Verzeichnis aufgenommen und beschrieben. Die Herkunft eines jeden Porträts wird geprüft. Dabei stellt sich heraus, dass es unter den vorhandenen Porträts nur fünf Urbilder gibt, für die die zwei Männer gesessen haben. Das bildet die Grundlage für die Einordnung der Porträts in Gruppen.
Porträtieren ist eine sehr schwierige Kunstform. Wir sind begünstigt durch den Umstand, dass alle vier Künstler, die die beiden Forster nach der Natur porträtierten, bestens befähigt waren, ihre Persönlichkeit darzustellen.
Weder Vater noch Sohn erlangte je die Würdigung, zu der ihre Leistungen sie berechtigten. Die Forster-Forschung wurde jahrhundertelang vernachlässigt. In ihrem Bereich kommt dem Thema der Bildnisse ohnehin nur geringe Bedeutung zu. Es ist kaum verwunderlich, dass Verwirrung darin herrschte. Es bestand Unklarheit über den Ursprung einiger Nachbildungen, und das hatte die verhängnisvolle Folge, dass sogar ein Originalgemälde einem falschen Künstler zugeschrieben wurde:
Das Gemälde von Rigaud war das Vorbild von etwa zehn Nachbildungen, welche hier unter der Berger – Untergruppe aufgezählt werden. Allen voran steht der vortreffliche Stahlstich von August Weger. Aber weil der wahre Ursprung dieser Nachschöpfungen nicht erkannt wurde, nahm man an, dass sie einem “verschollenen” Gemälde Anton Graffs nachgebildet seien.
Das ist chronologisch unmöglich. Aber die Verwirrung breitet sich aus. Die unwahren Voraussetzungen mussten zu einem Fehlschluss führen.
Mit den genannten Nachbildungen konnte man sich einen Begriff davon machen, wie das “verschollene Bild von Graff” ausgesehen haben “muss.” Weil Georg Forster im bekannten Gemälde zu Frankfurt in einer andern Körperstellung dargestellt wird, “musste” es von einem andern Künstler stammen. Nun war es nichts weniger als logisch, das Bild Johann Heinrich Tischbein dem Aelteren zuzuschreiben, denn es war ja bekannt, dass er ein Bild Forsters gemalt hatte. Diese Zuschreibung halte ich für irrig.
Wenn man aber die Ansicht verfolgt, dass nicht Graffs Bild verschollen ist, sondern Tischbeins, und dass Graffs Bild das in Frankfurt befindliche Gemälde ist, so scheiden eine Anzahl von störenden Unstimmigkeiten aus.
Auf diese Weise führte die fehlerhafte Zuschreibung einiger Nachbildungen dazu, dass sogar ein Originalbild dem falschen Maler zugeschrieben wurde.
Beaglehole, J.: The Journals of Captain James Cook on his Voyages of
Discovery, Cambridge 1969
Beddie, M. Bibliography of Captain James Cook. 2nd ed., Sydney 1970
Diepenbroick-Grüter, Hans; Allgemeiner Porträt-Katalog, Hamburg 1931
Fiedler, Horst: G. F. Bibliographie 1767-1970, Berlin 1971
Geiger, Ludwig: “Aus Therese Hubers Herzensleben”
G. F. Werke, Deutsche Akademie der Wissenschaften, Berlin 1958 ff.
G. F. Werke in vier Bänden, Frankfurt am Main 1967-70
Goedeke, Karl: Grundriss zur Geschichte der deutschen Dichtung, 1857-81
(3 vols.); 2nd ed. 1884-1913 (10 vols.)
Hoare, Michael: The Tactless Philosopher, Melbourne 1976
—— ed. The Resolution Journal of J. R. F. 1772-1775, London 1982.
Kersten, Kurt; Der Weltumsegler, Bern 1957
Meusel, Johann: Museum f. Künstler u. f. Kunstliebhaber, 1789
Nagler, Georg: Neues allgemeines Künstler-Lexikon, Linz a. d. Donau 1835-52
Reichardt, Rolf, and Genevieve Roche, eds. Weltbiirger - Europäer - Deutscher
Franke. G. F. zum 200. Todestag. Ausstellungskatalog. Mainz 1994
Rave, Paul Das Jahrhundert Goethe's, 1949
Roter Faden zur Ausstellung G. F., Frankfurt am Main 1976
Sievers, Wilhelm: Australien und Ozeanien
Singer, Hans: Allgemeiner Bildniskatalog, 1931
—— Neuer Bildniskatalog, Leipzig 1937
Thieme – Becker: Allgemeines Lexikon der bildenden Künstler, 1907-50
Uhlig, Ludwig: G. F., Tübingen 1965
Zincke, Paul and Leitzmann, eds. G. F. Tagebücher, Berlin 1914
1.0 Smith "City of Nottingham Museums", England.
2.0 Smith Same
3.0 Rigaud Fiedler, Horst et al, Georg Forster – Seine
Beziehungen zu Wörlitz, 1975: front cover.
Photo Walter Wachter, Schaan.
4.1 Berger Allgemeine deutsche Bibliothek, 51 (1782): front.
4.2 Relief portrait G. F. Werke
4.4 GH & XKA Geiger
4.10 Schellbach Photograph by Staatliche Schlösser und Gärten Wörlitz,
Oranienbaum und Luisium.
4.5 Weger Moleschott, Georg Forster, 1854: front.
5.0 (Lucerne) Kersten, Weltumsegler, 1957: 32.
5.2 Berlin Hoare, Tactless Philosopher, 1976: 103.
5.2 Bause Hoare, Tactless Philosopher, 1976: 102
5.6 Krey Sievers, Wilhelm, Australien und Ozeanien,
Leipzig 1895 (13).
7.0 Frankfurt Marbacher Magazin 65 (1993): 13.
7.1 Bern Photograph by Martha von Greyerz, 1979.
8.12 Delose Reichardt, Weltbürger..., 1994: .
Photo Walter Lhotzky.
Abramson Medal 1.2
Allg. hist. Porträtwerk portrait 8.9
Bause engraving 5.3
Bellen painting 7.3
Berger engraving of G. F. 4.0
Berger etching of both Forsters 4.1
Bern painting 7.1
Beyel engraving 3.6
Biernath bronze plaque 8.11
Bosch wax portrait 8.2
Chodowiecki painting 8.0
Delose painting 8.12
Ephemeriden engraving 4.2
Frankfurt painting 7.0
G. H. & X. K. A. wood engraving 4.4
Goepffert engraving 8.6
Graff painting of G. F. (7.0)
Grossmann painting 7.3
Hader painting 4.8
Halle engraving 1.4
Hoch ink painting 8.8
Illustrirte Zeitung wood engraving 5.7
Krey wood engraving 5.6
Liebe engraving 5.5
Liebig poster 8.1
de Mayr engraving 5.4
Miethke woodcut 7.4
Neue Quartalschrift engraving 8.7
Postage stamp 3.9
Relief portrait 4.3
Rodewald medal 8.13
Roter Faden line drawing 4.9
Roter Faden three-tone images 7.5
S. H. gouache 4.7
Schellbach plaque 4.10
Schwenterley engraving 8.5
Smith medallions 1.0, 2.0
Tischbein painting 6.0
Weger engravings 4.5, 4.6
Warrington silhouette 1.5
Wiss. Beiträge silhouette 1.6
Whates caricature 1.1