An Original Drawing Bei Der Margentoilette

Collectors frequently encounter drawings, prints, and album leaves captioned “Bei der Morgentoilette,” literally “At the morning toilette.” The subject—an intimate interior with a woman dressing, arranging her hair, or seated at a dressing table—was popular from the late 18th century through the late 19th century across German-speaking regions and beyond. Because the phrase on mounts and versos is often handwritten or in Fraktur script, it is sometimes misread as “Margentoilette,” creating confusion in cataloging and appraisal. This guide clarifies what the title likely denotes, how to distinguish an original drawing from a print, which materials and period traits to expect, and how these factors influence condition and value.

What the title likely signifies

• Translation and variants: “Bei der Morgentoilette” (At the morning toilette) is a genre motif. You may also find “Morgentoilette” without “Bei der,” French “La toilette (du matin),” or English “At her toilette.” If your sheet bears “Margentoilette,” carefully re-check; it is usually a misreading of “Morgen.”
• Timeframe: The theme appears in:
  • Rococo and Louis XVI-era French compositions (Boucher, Fragonard circle) that were widely copied.
  • Early–mid 19th-century Biedermeier interiors in Germany and Austria, emphasizing domestic privacy and tasteful furnishings.
  • Later 19th-century fashion plates and lithographs showing coiffures, corsetry, and vanity tables.
• Typical iconography: Dressing tables with mirrors and draped cloths; combs, brushes, perfume flasks; maidservants assisting; daylight from a window; discreet intimacy rather than overt sensuality (in German bourgeois settings). Props help date a sheet: the shape of a mirror, the cut of stays, or a crinoline can anchor a date range.

For appraisal purposes, the title alone does not determine value; originality of execution, authorship, quality, and condition do.

Original drawing or print? Key tests

Because the motif was frequently engraved, lithographed, and re-issued, separating hand-made drawings from mechanically reproduced prints is the first step. Use uncluttered daylight, a head-mounted loupe (7–10x), and gentle handling.

• Paper surface and lines:
  • Drawing: Line quality varies in pressure and thickness; strokes taper and overlap; wash pools at paper texture; white heightening sits on top of fibers and may flake at edges; pencil or chalk shows granular particles.
  • Print: Lines are systematically repeated; hatching is uniform; ink sits consistently on the surface; in lithography you may see reticulated crayon texture; in photomechanical prints, halftone or dot patterns.
• Margins and plate mark:
  • Intaglio (etching/engraving): A beveled plate mark indents the paper around the image. Burr (slight fuzziness) may be visible on mezzotint or drypoint. If you see a plate mark around a sheet that otherwise looks hand-drawn, it may be a print later “touched” with watercolor.
  • Lithograph: No plate mark; often full margins; chalky black line quality.
• Underlayers and corrections:
  • Drawing: Look for faint graphite layout lines beneath ink; pentimenti (changes) such as moved hands or redrawn objects; scratched-out areas; rubbed stumping marks. These are strong indicators of originality.
  • Print: Lacks pentimenti; any “corrections” are part of the printed matrix.
• Media identification:
  • Black chalk: Soft, matte, wipes and smudges easily; warm gray tone.
  • Graphite: Silvery sheen under raking light; harder, cleaner lines; later 19th century more common.
  • Sanguine (red chalk): Iron oxide particles; warm red-brown; often combined with black chalk for flesh tones.
  • Ink and wash: Brown bistre or sepia, or black iron-gall; dilute wash forms tide lines; gum arabic may add gloss locally.
  • White heightening: Bodycolor/gouache applied for highlights on toned paper.
  • Watercolor on a print: Color sits neatly inside printed contours; slight offset of color beyond lines; colors often standardized across impressions of the same design.
• Verso clues:
  • Drawing: Smudges, test strokes, color trials, collector notations, hinges from older mounts; sometimes ruled ledger paper reused.
  • Print: Publisher’s credits, plate numbers, or text; smooth, clean verso on later commercial prints.

When in doubt, compare multiple impressions of known prints of the same design; if all contours match exactly, yours is likely a print, even if later colored.

Paper, media, and workshop traits to expect

Understanding support and technique helps refine dating and attribution.

• Paper types:
  • Laid paper (c. 1750–1830): Visible chain and verge lines when backlit; occasional watermarks; slightly irregular texture. Common in earlier Rococo copies and early Biedermeier.
  • Wove paper (post-1780, widespread after 1800): Even texture without laid lines; often smoother; suitable for graphite and watercolor.
  • Toned paper: Blue, gray, or buff sheets used to exploit white heightening; popular across 18th–19th century.
• Watermarks: Look for crowned shields, initials, or papermill marks; match style to region (German, Dutch, French). Watermarks can rule out anachronistic attributions when dates conflict.
• Mounts and album pages:
  • Biedermeier albums were common. A sheet may be window-mounted with an ink-ruled border and caption in neat script: “Bei der Morgentoilette.” Album removal often leaves hinge traces or guard remnants at the verso edge.
  • Dealer or collector mounts with blindstamps can be significant; a known blindstamp or collector’s mark can raise confidence and value.
• Workshop and schooling:
  • German/Austrian drawing schools emphasized precise graphite and fine brush-and-wash technique. You may see controlled interior delineation, measured perspective, and carefully modeled fabrics.
  • French-influenced sheets may be freer in chalk, with Rococo curvature and more overt decorative elements.
• Signatures and inscriptions:
  • Many period drawings are unsigned. Inscriptions like “Nach [Artist]” indicate “after” (a copy), not by the named artist.
  • Later attributions in 19th- or 20th-century hands (“Kersting?” “Spitzweg Schule”) should be treated cautiously.

Signs, inscriptions, and provenance clues

• Language and hand: Kurrent or Sütterlin scripts can be misread; a caption is not a signature. Distinguish between title lines, authorship notations, and dealer notes.
• Collector’s marks: Stamps or ink marks on recto/verso can be traced to known collections. A recognizable mark supports authenticity and provenance, though not necessarily authorship. Pencil inventory numbers on mounts correspond to dealer stock.
• Exhibition and framing labels: Old German or Austrian framers’ labels, gummed paper tape, or numbering can place a sheet geographically. Be mindful of acidic backings that should be replaced, but save labels and photographs of the verso before any conservation.
• Comparative motifs: If a drawing closely corresponds to a known printed composition (same posture and objects), it could be a preparatory study, a contemporary copy, or a posthumous school exercise. Look for pentimenti or variant details (different hand positions, altered furnishings) to argue for an original study.

Condition realities and conservation concerns

Works on paper from this period are sensitive. Condition materially affects value.

• Common issues:
  • Foxing: Rust-colored spots from fungal activity or impurities; common on wove sheets.
  • Mat burn: Brown line at the window opening from acidic mats; indicates prior framing.
  • Light fade: Sanguine and some early aniline colors fade; blue and lake pigments particularly vulnerable.
  • Cockling: Undulations from moisture; often aggravated by uneven pasting or wash application.
  • Tears and losses: Especially at corners or hinge points; old pressure-sensitive tape leaves amber stains.
  • Iron gall ink corrosion: Brown/black ink eats into fibers, causing fracture along lines; requires professional stabilization.
• Conservation approach:
  • Avoid surface cleaning with erasers unless trained; you can lift loose dust with a soft brush.
  • Store flat in acid-free folders with interleaving; keep RH roughly 45–55% and temperature stable.
  • For framing, use 100% cotton rag mat, UV-filter glazing, and reversible Japanese paper hinges with wheat starch paste.
  • Photographically document recto, verso, and any inscriptions before treatment.

A well-preserved drawing on its original mount with legible inscriptions often commands a premium over a brighter but over-cleaned sheet with trimmed margins.

Valuation factors and market tendencies

Values vary widely depending on originality, quality, attribution, and condition.

• Original drawing tiers:
  • Anonymous school or student copies: Modest values; appeal as decorative or study material.
  • Competent period drawings with strong technique and intact mounts: Mid-range; desirable for private collectors of Biedermeier genre.
  • Attributed or signed by a recognized artist or workshop: Higher range; requires corroborating stylistic and material evidence.
  • Preparatory studies for identifiable prints or paintings with documentation: Premium, especially if pentimenti confirm the creative process.
• Prints, even hand-colored, generally sit below original drawings unless after a sought-after master in a rare state or superb impression.
• Size and finish: Fully finished sheets with nuanced wash, white heightening, and carefully rendered interiors outperform quick sketches.
• Provenance and marks: Named collections, exhibition history, and reputable dealer mounts help; so do identifiable watermarks consistent with the proposed date and locale.
• Subject nuance: A tasteful “Morgentoilette” with clear period furnishings can attract both drawing collectors and interior historians, broadening the buyer pool.

While it is unwise to assign a price without inspection, expect a wide spectrum: from entry-level for anonymous, later copies to substantial sums for documented period drawings of high quality. The most reliable path to valuation is a connoisseur’s examination paired with auction comparables of closely related works (same school, medium, size, and condition).

Practical checklist

• Confirm the title: Is it “Morgentoilette,” not “Margentoilette”? Translate and record spelling exactly as found.
• Determine medium: Identify graphite, chalks, ink/wash, bodycolor; note any overpainting on a print.
• Examine paper: Laid or wove? Check for chain lines and watermarks under transmitted light.
• Look for originality clues: Pentimenti, underdrawing, varied stroke pressure, corrections.
• Inspect verso: Inscriptions, stamps, dealer numbers, old hinges, or album guards.
• Assess condition: Foxing, mat burn, tears, fading, ink corrosion; photograph before any intervention.
• Check margins: Full, trimmed, or mounted; presence of a plate mark may indicate a print.
• Record dimensions: Image and sheet sizes to the millimeter; note orientation.
• Attribute cautiously: Distinguish “after” from “by”; compare with known schools.
• Preserve evidence: Keep labels, mounts, and any documentation; avoid removing inscriptions during conservation.

FAQ

Q: The sheet is clearly hand-colored, but I see a faint rectangular impression around the image. Is it a drawing or a print? A: A plate mark strongly suggests an intaglio print. Hand-coloring can be skillful and old, but the underlying image is printed. Look closely for uniform hatch patterns; if present, catalog it as a hand-colored etching/engraving rather than an original drawing.

Q: There’s a pencil note “Bei der Morgentoilette, Kersting?” on the mount. Does that mean it’s by Kersting? A: A question mark denotes uncertainty and often reflects a dealer or collector’s opinion. Treat it as a provisional attribution and test it against materials, stylistic traits, and period watermarks. Without corroboration, catalog as “Circle of” or “School of” rather than “by.”

Q: How important is a watermark for dating? A: Helpful but not definitive. A watermark can confirm that the paper could have been available at the claimed time and place, or contradict an anachronistic date. Use it together with medium, style, and provenance.

Q: Should I clean foxing myself? A: No. Foxing reduction and paper washing should be done by a professional paper conservator. Improper cleaning risks pigment loss, tide lines, and structural damage.

Q: The caption reads “Nach Fragonard.” Does that kill the value? A: “Nach” means “after,” indicating a copy or work inspired by Fragonard. Value then rests on the quality, age, and appeal of the copy. Fine period copies can still be desirable, but they are distinct from autograph works.

By approaching “Bei der Morgentoilette” with clear-eyed analysis of medium, paper, and context—rather than relying solely on titles or old attributions—you can separate genuine drawings from reproductive prints, document them accurately, and position them appropriately in the market.