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The Guardian (c. 1918) was painted by H. Zabateri as a postcard (Austria?). Original postcards with the artist's name (credit) can be purchased from collectors. Several prints of this painting have been attributed to "Lindberg". Lindberg copied the orginal painting and used brighter colors, detail changes, and simplier figures.
There are pages of prints for sale on the internet by H. Zabateri. They are primarily of religious themes, such as his well known image of "The Last Supper" and another of the "Sacred Heart of Jesus". There is little information on who H. Zabateri was, or where he was from.
As with many artists of the era, Zabateri was a pseudonym, another name by which an artist signed his work. H. Zabateri was also known as Hans Zatzka; an Austrian who was born in Vienna in 1859 and died somewhere around 1945.
It appears Hans Zatzka used the pseudonym of H. Zabateri for his more Christian religious works, (though there are some allegorical/mythological images with the Zabateri signature). Zatzka was known for his allegorical subjects, genre scenes, and figures. According to online biographies; he spent many years dedicating his painting to the churches and other known establishments of Austria.
He was the student of the Academy of Fine Arts of Vienna from 1877 to 1882. While he decorated numerous churches of Vienna, Mayerling, Olmutz and Innsbruck, he was most widely known for his passionate images depicting women, fairies and mythological subjects.
Aware of the popularity of his women, Zatzka combined his love of painting women into great paintings which were in turn reproduced into postcards. He produced a vast amount of postcards during his time.
Hans Zatzka's original work sells for thousands of dollars (U.S.), where as no original Zabateri work has ever shown up at a major auction house. It is possible that the Zabateri originals are being listed at auction as Zatzka's; but this is very difficult to research.
Hans Zatzka, in addition to Zabateri; also painted under the pseudonym names of P. Ronsard and J. Bernard.
Read more: Who_was_H_Zabateri
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He painted it in 1886. (see below) I translated the following information from some old German book years ago.The joined the religious nature of the images increasingly into the background.Among the iconographic influences include William of Kaulbachs Sterbebild with a motif of the "angel of God" and the dreamy images of the Scotsman John Burr.guardian angel motif had its origins in devotional picture of the Nazarene and was then in the religious salon painting over before the picture of factories was discovered. In contrast to the medieval type of image Seelengeleits.A common form of guardian angel image shows a guardian angel next little girl in a nightdress during the morning and evening prayer before an iron or wooden cot. Such representations, often erotic allusions which were mainly in southern and central countries. The prototype for this picture genre of "praying children" was the painting of The Infant Samuel Joshua Reynolds.Another important form is the Engelgeleit in free landscape.Here again play the "abyss pictures" a big role. They go mostly on Bernhard Plockhorsts guardian angel picture back, 1886 at the Prussian Academy of Arts Berlin. The subject itself is even older and already in the 1830s encountered. Initially, almost exclusively young and images of girls on the rock cave or on a fragile bridge produced, together with a - contrary to all conventions of the Christian iconography - female angel, with its protective hands of the children pretty herausgeputzte couple watches. The thin, bright, light clothing of the depicted children with the reality had little in common. Overall vary only the background, the number of children (one or two) and clothing of Engels. Technical achievements such as rail and car were late and only occasionally displayed.
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