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5.2.2 Jusepe de Ribera

Spagnoletto, literally ‘small Spaniard,’ the name of the creator of the first two mentioned paintings, was the nickname of the Spanish Caravaggesque painter Jusepe de Ribera (1588/91-1652/56). The painting entitled Christ Teaching in the Temple (Christus lehrt im Tempel), without doubt a depiction of the 12-year-old Christ and the doctors in the temple, could well apply to three representations of this subject in Ribera’s oeuvre. Most important of these is what Papi believed to be a masterpiece by that artist of around 1612 to 1613 in the church of Saint-Martin in Langres (France).1 It could also be related to two compositions by Ribera known only in the form of various copies.2

Of particular interest are Von Holst’s mentions of the proceeds, which at fl. 231 were considerable, and of the name of the new owner, Uphagen.3 The name of this buyer recurs with works of the second Pott auction of 1763 (see § 5.3), but then supplied with an initial ‘P’. This was probably Peter Uphagen (1704-1775) [i],4 a scion of an old family which belonged to the patriciate in the 18th century. The family originally came from Flanders, which they left around 1585 to avoid religious persecution.5 Peter Uphagen’s career corresponds along general lines with that of Peter Pott. He, too, was trained as a merchant and after having learned Polish for a year, took a journey through Europe to increase his knowledge and skills. He visited Germany, Holland, England and France in succession. After his return home he ran a shipyard together with one Wilhelm Jacob Paleske, an enterprise that was to survive for forty years. Lucrative contracts supplied him with large profits and allowed him to purchase several houses and to be active as an art collector. He also filled several public functions, such as dean, councilor and regent of sundry charitable institutions, including the hospitals of Saint Elisabeth, the Holy Ghost and the Reformed community.6   

Matthaeus Deisch   , Portrait of Peter (Petrus) Uphagen (1704-1775), 1775 (dated)

Matthaeus Deisch  
Portrait of Peter (Petrus) Uphagen (1704-1775) 1775 (dated)
mezzotint / paper, ? x ? mm
lower left :  O.J. Kölmer post Obit. pinx.
lower right :  Matth. Deisch fec Gedani 1775.
Biblioteka Gdańska PAN (Polska Akademia Nauk), Gdańsk

The second painting to be auctioned as a Ribera, a depiction of a lute-player, could be related to four paintings with this subject within his oeuvre, all copies after an unknown original or, less probably, to the original itself. On the basis of the inscription ‘AVDITVS’ on one of the copies, it is clear that it must concern a representation of ‘hearing’, one of the five senses.7 The proceeds from this work, fl. 61, and the name of the buyer, one Schumann, are again known.8

This was almost certainly Gabriel Schumann (1702-1764), an art collector mentioned by Von Holst. On 8 November 1764, shortly after Schumann’s death, his collection was auctioned in his residence at 116 Heilige-Geist-Gasse (Kobzdeja Pl./ Św. Ducha).9 The Schumann family belonged to the most important of Danzig, with marital ties to other dynasties of merchants and aldermen. The family originally lived in Konitz (Chojnice) until 1566, when Gabriel Schumann (1530/1531-1601) settled as merchant in Danzig.10 The Schumann family had supplied Konitz with multiple burgomasters and aldermen. Between 1566 and 1814, when the free city of Danzig was annexed by Prussia, no fewer than eleven members were active as aldermen, of which five also served as burgomaster. Gabriel himself also filled diverse high positions in the city government. In 1739 he was city secretary, in 1748 court clerk, in 1754 alderman, in 1758 judge and in 1761 treasurer.11 An inheritance and two fortunate marriages turned him into a rich man and allowed him to start an art collection that included sundry sculptures in boxwood and ivory as well as paintings by artists such as Bartholomäus Miltwitz (c. 1590-1656), Salomon Wegner and the mentioned Jusepe de Ribera.12


Oil on canvas, 188 x 270 cm; Papi 2011, pp. 116-119, cat. no. 7; see also Spinosa 2003, p. 250, cat. no. A6.


Examples in: Vienna, Kunsthistorisches Museum, Glasgow, Corporation Art Gallery, Castres, Musée Goya, and Nantes, Musée des beaux-Arts (Pérez Sánchez/Spinosa 1978, pp. 128-129, cat. nos. 253-256). A mirror-image and partly divergent composition which according to Pérez Sanchez and Spinosa is based on an engraving after a prototype by Ribera, is located in Rome, Galleria Nazionale d’arte Antica, Palazzo Corsini (Pérez Sánchez/Spinosa 1978, p. 129, cat. no. 257).


By comparison, a Gathering of Gods in the Clouds attributed to Raphael was sold at the Von Holmstadt auction of 22 March 1762, fetching fl. 530 (Von Holst 1934, p. 63).


It could conceivably concern Johann Uphagen (1731-1802), a son of Peter Uphagen, in part because in 1781, six years after the death of Peter in 1775, Johann bought a Judith with the Head of Holofernes by Lanfranco at the Wessel auction for fl. 102 (Von Holst 1934, p. 63). However, he was still fairly young in 1762, which makes it more probable that father Peter Uphagen was involved in this instance.


Barylewska-Szymańska/Szymański 2003, p. 53. The first Uphagen mentioned by these authors, who belonged to the branch with its residence on the Langgasse, the later Uphagen house, was Arnold Uphagen (1560-1623), who left Flanders around 1585 on account of religious persecution, the family being Protestant. Though not mentioned by the authors, there is a chance that this Arnold was related to Thomas Ophogen of Danzig, for whom Cornelis Ketel painted several works which, according to Karel van Mander, still hung in his residence in 1604. See elsewhere in the present article under Cornelis Ketel.


The biographical data for Peter Uphagen was taken from Barylewska-Szymańska/Szymański 2003. According to these authors, nothing more is known about his collections, making this the first proof of his activities in this field.


For a summary of the various versions, see Spinosa 2003, p. 345, cat. no. B2. For an illustration of the version with the inscription in question, see Pérez Sánchez/Spinosa 1992, p. 64, fig. 25. In the meantime originals by Ribera of the four other senses of this series - sight, smell, taste and touch - have turned up. See Pérez Sánchez/Spinosa 1992, pp. 60-64, cat. nos. 2-5, with ill.


Von Holst 1934, p. 63.


Von Holst 1934, p. 68. There are differing opinions about the exact dates of birth and death for Gabriel, baptized Gabriel Friedrich, Schumann, varying from 3 January 1702 to 3 or 5 June 1702 for his birth and 23 or 24 May 1764 for his death. See the ‘Stammtafel Schumann’, Familienblatt Schu-35/e, being a section of Die Danziger Ratsfamilie Schumann, no. 9, of the ‘Aufsätze über die ostpreusische Verwandtschaft’, a part of the highly elaborate website of Hans-Dietrich Lemmel, Das Lemmel-Archiv. See: (consulted: September 2013).


The family’s progenitor was Michael Schumann, a knight of the Teutonic Order, who lived around the time of the battle of Tannenberg (Stębark) (15 July 1410) and who is to have descended from the Prussian ruler Skomand (c. 1225-c. 1285), a progenitor of the Prussian branch of the Sudauer. For information about the battle of Tannenberg, see (consulted: September 2013). For Skomand see ( consulted: September 2013). Konitz (Chojnice) is a city located about 100 kilometers to the southwest of Gdańsk. Until 1917 it fell under West Prussia, but it is now a part of the Polish province Pomorskie (Pomerania).


See Lemmel 2007-2013.


The paintings are mentioned in Von Holst 1934, pp. 62-65. The information about Schumanns marriages as well as about his collection of sculptures is taken from Chodyński 2002, pp. 171-212, esp. p. 198.

Datum laatste wijziging: Dec 19, 2013 05:07 PM