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[Hugo, Victor]. - Walery (i. e. Comte Stanislaw Julian Ostrorog), Lithuanian-born photographer (1830-1890).
Woodburytype print on paper. N. p., c. 1880.
234:174 mm (size of plate), mounted on cardboard (330:250 mm).
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Clementine d'Orleans, princess (1817-1907), daughter of Louis Philippe, King of the French; married to Prince August of Saxe-Coburg, mother to King Ferdinand of Bulgaria.
Sketchbook/scrapbook containing drawings by the Princess and other artists, including sketches by William Daniell. [France and England], 1827-1851.
13 watercolours and pencil and ink drawings mounted on 60 leaves of white and brown-toned paper. Splendid red morocco binding by Alphonse Giroux of Paris with covers and spine gilt and inlaid (wanting the fore-edge lock). Small oblong folio (340 x 245 mm). Red moirée silk endpapers. All edges gilt. A magificently bound, early album containing sketches by the artistically gifted princess as well as by other artists. It was not until the year of her birth that her father Louis Philippe, the Duke of Orleans (1773-1850), who had had to leave Europe after the French Revolution and spent several years in America, returned to France, where in 1830 he accepted the crown, following the deposition of Charles X. Until the February Revolution of 1848 and his emigration to England he reigned as "King of the French". - The present album contains three unsigned portrait studies in pencil attributable to the princess, probably based on details from an old master painting (possibly a Crucifixion or Lamentation of Christ). In her youth, Clementine is known frequently to have copied details from Dürer, Michelangelo, Leonardo da Vinci, Holbein, and Titian. Two of the present studies are dated "1831", when she was but fourteen years old: among the earliest of her known works, they show off her remarkably developed talent. - Among the other drawings in the album is a watercolour still life with fowl, signed "D. Pedro 1850" and inscribed, "Offert À Son Altesse Royale Madame La Duchesse de Saxe Cobourg Gotha le 3 Juin 1851", while a similar still life is signed "D. Suid [?] fecit / 20 Set. 1850". Other drawings include four pencil sketches by the English painter and engraver William Daniell (1769-1837), who had accompanied his uncle Thomas Daniell to India in 1784 and subsequently produced a wealth of highly regarded landscapes and scenes of Indian life (including work for the famous "Oriental Scenery" volume), many of which are in the Royal collections (cf. Thieme/Becker VIII, 361f.). His signed contributions are two boating scenes (1827, one entitled "Patience in a Punt"), an Indian riverside scene (1827) entitled "The Plantane tree, Bengal", and an "Indian Bull" (1830, inked and watercoloured). Another particularly finely executed watercolour shows a beach scene at Ingouville (in Normandy), dated August 1839 and signed "L. Laurent". In addition, there are three skilled but unsigned pen-and-ink sketches, apparently also by a trained artist, showing a watchman with a shouldered musket, the Falls of Clyde in Scotland ("Chute de la Clyde / Lanarke 11 Juillet 51"), and the profile study of a lady (all but the latter washed in ink). A few torn stubs show the album to have formerly comprised several additional leaves, while the faint nature-printed impressions left by plants between two leaves prove that the album was once also used to preserve botanical mementos. - The princess grew up in the Palais Royale in Paris. In 1843 she was married to Prince August of Saxe-Coburg; in 1861 she would give birth to Prince Ferdinand of Saxe-Coburg, who in 1887 accepted the crown of Bulgaria, against the wishes of the European Powers and indeed those of the house of Coburg. Having long lived under the same roof with the similarly aged Victoria of Kent, later Queen Victoria (1819-1901), Clementine maintained a lifelong correspondence with the Queen of England, and her more than 600 letters are now in the Royal Archive in Windsor. Also the Hoover Institution at Stanford University keeps material from the estate of Princess Clementine within the so-called "Czar Ferdinand I of Bulgaria papers". Her artistic productions have remained enduringly popular: in 1990, one of her pencil drawings ("Etude des chiens") sold for 20,000 Francs (Paris, Tajan, 5 Dec. 1990, lot 23).
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Ermakov, (Dmitri Ivanovich).
[One of the first Marxist groups in the Caucasus]. Tbilisi (Tiflis), Georgia, 1880s.
Albumen print, titled and numbered "13385" in the lower edge of the negative. 213 x 165 mm. A fine image showing yard and street cleaners at study. - The Russian photographer Ermakov trained as a military topographer and took part in the Russo-Turkish War before setting up his photographic business in Tbilisi. He travelled extensively as far as Iran and took part in several archaeological expeditions in the Caucasus, leaving a series of unique photographs.
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Thám, Géza, Hungarian artist (fl. 1917).
Vázlatok a Hadifogságból. Sketches From the Prison of War. Piestschanka. POW camp Peschanka, near Chita, Siberia, ca. 1916-1917.
14 mounted plates in pencil, ink and colour wash, 2 of which are stuck to the outsides of the portfolio's protective boards with cloth ties. Various sizes, but mostly ca. 170 x 130 mm. Signed and captioned in English and Hungarian. Rare survival of a collection of sketches from the Russian POW camp in Peschanka, Siberia, all executed by an evidently accomplished, otherwise undocumented Hungarian artist (and soldier in the Austro-Hungarian army) who captured the conditions in and around the camp during the later years of the First World War. Thám's caricature-like style is marked by clear, precise outlines reminiscent of the contemporaneous work of Olaf Gulbransson and Eduard Thöny. The two larger sketches on the cover boards (measuring ca. 170 x 220 mm) show self-portraits of the artist, at work at oil paintings (one a landscape, the other a nude). The leaves within show prisoners climbing the bunk bed or resting in their crowded cots, marching through a snowed-in camp carrying heavy buckets, playing chess, etc.; some are captioned "Coming from the American Y.M.C.A. Kitchen", "The Red Cross library", or even show ladies in fur coats with an officer "at the exhibition", while a few others have Easter Greetings themes. - Peschanka is near Chita in the Transbaikalia region, on the Trans-Siberian Railway, 6035 kilometres from Moscow. While during the Great War conditions in the POW camps on the whole were vastly superior to those during WWII, thanks to the efforts of the Red Cross and inspectors from neutral countries, the situation in the Siberian camps was notoriously poor, and as many as a quarter of the 2.1 million Austro-Hungarian soldiers whom Russia held as prisoners of war did not survive. - Browned due to paper, with occasional edge flaws, but well preserved.
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Hauer, J., Weltkriegssoldat und Zeichendilettant (fl. um 1915).
[Zeichenalbum des Ersten Weltkriegs]. Bosnien und Kroatien, 1915-1916.
6 Zeichnungen in Bleistift und Tusche; ferner 1 hs. Dedikationsblatt eines Freundes. In Zeichenalbum mit zus. 36 Bll. Leinenband der Zeit mit Bindebändern. Qu.-8vo (192 x 140 mm). Sechs Bleistift- bzw. Tuschzeichnungen eines wohl österreichischen Soldaten des Ersten Weltkriegs, der die Landschaft und Armeelager seiner Stationierungsorte im Feld festhielt. Neben einem Geschütz und den Mannschaftsbaracken sind mehrere mit genauen Höhenbezeichnungen versehene Landschaftspanoramen zu sehen, manche bezeichnet ("Zur Erinnerung an den 20. October 1914 wo hier die Serben eine starcke Niederlage hatten"; Ortsangaben u. a. Romanja Planina, Kukor, Grabavik, Krs; Gradiste, Daganj, Trebervic). Außerdem findet sich die Propagandazeichnung eines den russischen Bären, englischen Löwen und belgischen Igel mit dem Gewehrkolben erschlagenden deutschen Soldaten. Am Schluss hat sich 1916 ein Wiener "Freund und Kriegskollege", Andreas Seidlitzky aus Simmering, mit einem Gedenkvers "zur ewigen Erinnerung" eingetragen. - Am vorderen Innendeckel Marke der Papierhandlung Simon Kattan, Sarajevo. Wohlerhalten.
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[Jessen, Heinrich
Trachten aus Alt-Hamburg. Hamburg, B. S. Berendsohn, Wilhelm Jowien, and others, 1850].
With 50 hand-coloured full-page plates (c. 200 x 125 mm) heightened with egg-white, (44 lithographs, 3 engravings, 3 wood-engravings), of which 33 are after drawings by Heinrich Jessen. Contemporary blindstamped decorated red cloth, front cover with title lettered in gold. Charming colour plate book mainly with military costumes. Some of these plates were published earlier in F.G. Buek's "Album hambürgischer Costüme", 1843-1847. The plates depict messenger boys, maidservants, a police officer, several military men on horseback, etc. - Hinges weak, top and lower part of spine damaged. Coloured costumes in good condition. Colas 1547. Hiler 479. Lipperheide 809.
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[Pasteur, Louis]. - Pirou, Eugène, early French filmmaker and photographer (1841-1909).
Woodburytype print on paper. N. p., c.1880.
235:174 mm (size of plate), mounted on cardboard (330:250 mm).
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[Napoleon].
[Series of 3 coloured jigsaw puzzles]: La veille d'Austerlitz. La Nuit de Lodi. Clémence de l'empéreur. Paris, Ulysse, [ca. 1815].
Each puzzle measures 195 x 245 mm. Each puzzle with an engraved plate mounted on thin wood, coloured by a contemporary hand and cut to form a jigsaw puzzle, with engraved caption and short description below the image. Stored in the original cardboard box with an etched and engraved sample plate for a fourth puzzle (with caption "Équité de l'empereur") on the top, coloured by a contemporary hand, and an embossed gilt-paper border. Each puzzle with the original pink paper wrap-around slip preserved. A fine and colourful set of jigsaw puzzles depicting scenes from the life of Napoleon Bonaparte. Two of the puzzles and the sample plate have the address "Ulysse Paris" engraved in the image. Each puzzle has 20 pieces: the first depicts Napoleon calmly sleeping in a chair after having given orders to his generals on the eve of the battle of Austerlitz (1 Dec. 1805); the second shows Napoleon addressing an exhausted soldier - a scene from the battle of Lodi on 10 May 1796, fought between Napoleon's forces and the Austrian rear guard commanded by Johann Beaulieu. The third puzzle shows Napoleon as merciful emperor, receiving the thankful wife and children of a Prussian lord accused of conspiracy, whom he pardoned. The puzzle matching the scene depicted on the top of the box is not included. A few pieces cracked at thin spots; box slightly defective with traces of handling and browned. A good set.
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Pichler, Gerd (Bearb.).
Bertold Löffler. Zeichnungen - Skizzen - Entwürfe. Kommentiertes Verzeichnis eines Teilnachlasses des Jugendstilkünstlers und Mitglieds der Wiener Werkstätte. Wien, Inlibris, 2001.
148 SS., 200 Abbildungen. Illustrierte Originalbroschur. 8vo. Beschreibt den umfangreichen Teilnachlaß, größtenteils aus der Zeit vor 1930 stammend, der das bisher bekannte Werk des großen Wiener Jugendstilkünstlers, der zu den bedeutendsten Mitarbeitern der Wiener Werkstätte, "innerhalb welcher er an nahezu allen wesentlichen Projekten beteiligt war" (Cabuk, s. u., 93), zu zählen ist, um mehr als die Hälfte erweitert. Entwürfe für Löfflers berühmte Buchillustrationen für den Wiener Verlag (1903-06) sind ebenso vertreten wie Plakatenwürfe aus den zwanziger Jahren und Skizzen für sein Erstlingswerk bei der Wiener Werkstätte, eine Kassette für eine Ehrenurkunde (abgebildet in Dekorative Kunst 19 (1911), S. 28). Auch ein Entwurf für den 1912 von Josef Hoffmann und Bertold Löffler im Auftrag der Wiener Werkstätte geschaffenen Salzburger Volkskeller, für den die beiden ebenso verantwortlich zeichneten wie für die geniale Konzeption des berühmten 'Caberet Fledermaus', findet sich im hier dokumentierten Bestand. Mit einem Aufsatz zu Leben und Werk. [ISBN 3-9500813-7-2]
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[Goethe, Johann Wolfgang von]. - Anonym.
Bleistiftzeichnung nach einer Goethe-Büste. O. O., [um 1810].
509:437 mm.
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[Goethe, Johann Wolfgang von]. - Anonym.
Bleistiftzeichnung nach einer Goethe-Büste. O. O., [um 1810].
484:430 mm.
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[Goethe, Johann Wolfgang von]. - Anonym.
Bleistiftzeichnung nach einer Goethe-Büste. O. O., [um 1810].
506:504 mm.
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[Goethe, Johann Wolfgang von] - Lips, Johann Heinrich, Kupferstecher (1758-1817).
Bildnis des jungen Goethe in Rund. O. O., [1791].
Bildformat: 265 mm im Rund. Blattgröße: 390:330 mm. Gerahmt in schwarz gelackter Biedermeierleiste. Das Brustbild in Rund von Lips gilt als eines der schönsten graphischen Bildnisse Goethes. Prägnanter Abzug in tadelloser Erhaltung. - Johann Heinrich Lips gilt als künstlerischer Ziehsohn von Lavater, der seine Begabung früh entdeckte und ihn wie einen Vater förderte. Über Lavater lernte Lips auch Goethe kennen, auf dessen Verwendung hin er 1789 eine Professur an der Zeichenakademie zu Weimar erhielt.
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[Egypt]. - Cairo.
Cairus, quae olim Babylon; Aegypti maxima urbs. Siena, M. Florimi, c. 1595.
Plan view, semi-bird's-eye perspective, with key. 465 x 340 mm. Framed and glazed. Rare view of Cairo, based on the view in the "Civitates orbis terrarum" by Braun and Hogenberg. - Matteo Florimi, a student of A. Lafrery and C. Duchet, moved to Siena in 1581, where he worked as a publisher and dealer in books and prints, often for A. Carracci, C. Galle, and P. de Jode. - A longish tear to the left edge, touching the image (ca 20 cm), trimmed to the borders, smoothed creases.
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[Arabian stallion].
Watercolour. Signed "Achmed. p. H. R.". No date, [ca 1900].
365:325 mm. Mounted on cardboard. In passe-partout. Fine portrait of an Arabian horse. - Slightly spotty.
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Arrowsmith, Aaron.
Asia. To Major James Rennell, Esqr. F.R.S. &c. &c. This Map is Inscribed, by His much Obliged Humble Servant. January 1st 1801. A. Arrowsmith. London, G. Allen for A. Arrowsmith, 1801.
Engraved map in 36 segments on canvas, folded. Fine original hand-colour. Ca. 1450 x 1230 mm. Earliest edition of this wall map, the most accurate map of Asia published at the beginning of the 19th century. It shows significant advancement compared with other maps of the period, incorporating the work of surveyors like James Rennell, to whom the map was dedicated. Rennell was surveyor-general of the East India Company's dominions in Bengal, and the information published in his "Bengal Atlas" in 1779 appears here. Arrowsmith also included remarkable topographical detail such as mountain ranges in regions as remote as Tibet. Remarkably, the region on the shore of the Arabian Gulf is already labelled as "Bani Yas" territory. Arrowsmith has marked the track of Lapérouse's voyage in the Indian Ocean and Far East. - Aaron Arrowsmith (1750-1823) was the finest cartographer of his generation. Although he received little formal education, it is believed that he was provided with some mathematical instruction by William Emerson, an author of several books on the application of mathematics to the area of cartography. Around 1770, Arrowsmith moved to London to seek employment. It is believed that he worked for William Faden before joining John Cary Sr. in the early 1780s. There he provided the measurements for John Cary's early publication detailing the roads from London to Falmouth, his first signed work. Arrowsmith set up on his own in 1790 and over the next thirty years produced some of the most beautiful and elegant maps of the era. "This highly detailed wall map of Asia is probably one of the most accurate maps of the continent before the completion of the Ordnance Survey maps of 1820" (Sweet). - Slightly soiled and browned, but well preserved. Not in Al Ankary or Al-Qasimi. Cf. Sweet 238 (1811 edition only).
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Fuchs, Richard, painter (1852-1916).
Sunset on the Nile. No place, ca 1900.
Oil on canvas, 860 x 405 mm. Signed. After having studied at the Academy of Arts in his native Berlin, Richard Fuchs specialized on oriental scenes. He remained based in Germany, but spent most of the year in Italy and northern Africa (cf. Thieme/Becker), reflected in the splendid colours of many of his works. Margins rubbed (minor loss to image), some insignificant cracks in the paint and slightly dustsoiled. Elaborately framed. Thieme/Becker XII, 551.
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[India]. - Delhi: Jama Masjid.
"Jumma Musjid Delhi". Watercolour on cardboard. No place, [ca 1920].
Signed "A. Alintor" (?). 205 x 460 mm. An imaginative rendering of the Masjid-i Jahan-Numa (World-reflecting Mosque) in Delhi, shown here in the midst of a desert, with camels and bedouins in the foreground. - Mounted on cardboard; two small tears to lower edge.
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[Oriental scenes].
Oil on wood. One plate signed (probably "K. Urbanek"). No place, ca 1860/80.
Each 211 x 168 mm. In identical gilt wooden frames. A pair of atmospheric oriental genre scenes by an unidentified, but obviously professionally trained artist, masterfully capturing the light and mood: a mosque's courtyard with visitors and beggars, and a small bazaar with merchants, pedestrians, and a belly dancer within the picturesque environment of humble dwellings.
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Pinel de Grandchamp, Louis Émile, painter (1831-1894 ).
Constantinople street scene. Watercolour on sturdy paper, signed. No place, [ca 1860].
161 x 218 mm. A street merchant with a lady client and a child, showing the Hagia Sophia in the background. Pinel de Grandchamp, a student of Dubois and Picot, is counted among the foremost oriental painters of the 19th century. - Mounted on backing cardboard (old edge flaws). Thieme/Becker XXVII, 56. Bénézit VIII, 344.
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Pinel de Grandchamp, Louis Émile, painter (1831-1894 ).
Turkish merchant. Pencil and watercolour on brownish paper. No place, [ca 1860].
Unsigned, undated. 200 x 140 mm (leaf size: 275 x 215 mm). Pinel de Grandchamp, a student of Dubois and Picot, is counted among the foremost oriental painters of the 19th century. - A slight crease, with insignificant edge tear, at lower edge; slight duststaining. Thieme/Becker XXVII, 56. Bénézit VIII, 344.
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[Trentsensky, Joseph].
Carawane nach Mecca. Vienna, Matthias Trentsensky (printed by E. Sieger), [ca. 1855].
Oblong folio (ca 370 x 240 mm). With 11 (of 24) numbered leaves containing 52 hand-coloured lithographic pen-drawings of people, animals, equipment & gear and goods, from a caravan travelling to Mecca, each drawing including a base for cutting out, mounting on card stock or wood, and arranging them upright in three-dimensional scenes. Lacking 12-24 (of 24). Loose leaves. The first eleven leaves of a very rare lithographic print series issued in parts. Most copies were probably cut up by children and destroyed in play. The human figures to be cut out include Turkish, Arabic, African and Middle Eastern men and women in Islamic costume, including both masters and servants, some of the men with a variety of firearms, spears, daggers, and various gear and goods. There are also camels, horses and donkeys, often with their gear for riding or for carrying loads. The series must have provided many children and adults with their first notion of Muslim society and culture and is rich in authentic details. "Kleine Welt des Bilderbogens" dates the series to ca. 1855, just after Sir Richard Burton's famous visit to Mecca disguised as an Afghan in 1853 (he was one of the few Europeans who had ever visited Mecca and lived to tell of it). The complete series of 24 leaves comprised four groups of leaves, each leaf with the title, relevant subtitle and imprint (without date) at the foot: 1-6: Die Ueberbringung des heiligen Teppich; 7-13: Die Reise durch die Wüste (not present here: 14-16: Das Lager in der Wüste; 17-24: Die Gefahren der Wüste). The artist is not named. The drawings are printed on unwatermarked wove paper. The paper is fairly thin and the drawn bases have no folding tabs, as the publisher intended the cut-outs to be pasted onto card stock with a folding tab at the foot of the base or wood so that they could stand without support. - Occasional pencil marks. Some edge flaws and duststains, waterstains and browning. Includes two uncoloured sheets (numbered 10 and 23) on somewhat later, stronger paper. Kleine Welt des Bilderbogens: der Wiener Verlag Trentsensky (1977), 111. Katharina Siefert, ed., Paläste, Panzer, Pop-up-Bücher: Papierwelten in 3D (2009), with a chapter, "Die Carawane nach Mecca", pp. 31-38. Not in KVK; WorldCat.
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Gomier, Louis.
Sine Macula. Wohl Rom, um 1730.
Gestochene Kupferplatte (117:174 mm). Hübsches Bildnis der Madonna in Andacht, mit über die Brust gelegten Händen, nach einem Gemälde von Carlo Maratti (1625-1713). Signiert vom Pariser Kupferstecher Louis Gomier, der 1713-30 in Rom tätig war und auch nach Pietro da Cortona, Ciro Ferri und An. Carracci stach. "Zu seinen Hauptblättern gehören eine Ansicht der Bernini-Fontände und des Obelisken auf der Piazza Navona [...] Auch war er Mitarbeiter an Mich. Mercati's Metallotheca [...] und stach einige Porträts nach eigener Zeichnung, darunter die der Königin Marie Eleonore Jos. von Polen und des Fürsten Lubomirski" (Thieme/B. 14, 364). Die Platte trägt noch den Verlegervermerk "typis Salmoni" (wohl ein Hinweis auf den römischen Drucker Giovanni Generoso Salmoni?).
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Leischner, Erich Franz, Austrian architect (1887-1970).
"Hausbuch". No place, 1936-1954.
4to. Ca 95 pencil drawings (including occasional pen-and-ink drawings and watercolours), as well as entries and drawings by other hands on a total of 187 ff. Contemporary cloth with illustrated vellum title label and spine label. The drawings - some of which are very finely executed, though most constitute mere perfunctory sketches - include numerous portraits. Many depict Leischner's wife Stefanie, née Friedrich, others show caricatures, interiors etc. The several signed full-page watercolours and pencil drawings by Otto Rudolf Schatz (1900-61) deserve special mention: these include a number of decidedly anti-fascist and anticlerical caricatures, but also a full-page pencil drawing and a full-page entry with two illustrations by Franz von Zülow (1883-1963). - Schatz's contributions have been researched and documented for a catalogue raisonné by Dr Cornelia Cabuk, Belvedere, Vienna. - Binding somewhat rubbed and warped. Edges of leaves slightly darkened; occasional slight spots. Cabuk, Schatz (2018), p. 104, illustrated.
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Gauermann, Friedrich, Maler und Graphiker (1807-1862).
Eigenh. Skizzenbuch. Niederösterreich u. a. O., 1830-1831.
45 Skizzen (einige laviert) auf 23 Bll. Originaler Halblederband mit Deckeltitel "F. Gauermann's Skizzenbuch v. J. 1830". Das Skizzenbuch enthält Baum- und Figurenstudien, Skizzen von Kühen in Ställen sowie Landschaftsskizzen. Einige davon sind datiert und beschriftet, u. a. "vom Ausflug mit Höger 1831. Oktober", "Mit Pollak und Höger 1831 im September", "mit Höger am 14. Oktober 1831 auf dem Rabenstein", "mit Höger im Thiergarten am 3. Dezember 1830". - Friedrich Gauermann unternahm mit seinen Schwägern, den Landschaftsmalern Joseph Höger (1801-77) und Wilhelm Pollak (1802-60), zahlreiche Reisen durch Österreich, wo Skizzen und Studien für spätere Ölgemälde angefertigt wurden. - Der Einband berieben und bestoßen, die Skizzen teils braun- und fingerfleckig und mit Klebeband im Mittelfalz fixiert.
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Erró, [Gudmundur], Icelandic artist (b. 1932).
Karl Marx. No place, 1975.
Collage on paper, signed and dated. 425 x 330 mm. Framed and glazed. Erró (born Guðmundur Guðmundsson), the "Roy Lichtenstein of Iceland", is a visual artist and painter best known for his painted pop-art collages of images from comic books and advertisements.
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[Rentz, Michael Heinrich / Montalegre, Josef von.
Das Christliche Jahr. Schweidnitz, Joh. Christian Müllern, 1735?].
4to. 244 (instead of 248) partly numbered engraved plates. Slightly later full calf with giltstamped red title label to sparsely gilt spine. Very rare edition of "one of the most splendidly illustrated devotional books of the period" (Jantz), containing only the engraved plates and neither the text nor the music. The "Geistreiche Gesänge und Lieder auf alle Sonntags-Evangelien und Episteln so in dem Christlichen Jahre enthalten seyn [...]" were first issued in 1725-26, which saw a reissue under the title "Das Christliche Jahr" in 1735. This title is stamped on the spine label of this copy, suggesting that the present copy is of this latter edition. The plates "represent scenes from biblical history and the lives of the saints [...] exhibit[ing] a high point of Baroque illustration" (Faber du Faur) and are mostly presented within ornamental frames decorated by emblematic vignettes. - Wants title-page. Later handwritten bibliographical note in ink to flyleaf. Hinges a little worn, small flaw at the top margin of the plate showing St. Theresa (not touching image), but otherwise very well preserved. From the library of the Viennese collector Werner Habel, with his ownership stamp to flyleaf. Faber du Faur 1146. Jantz 2379. Bäumker III, 56, 138. Wolffheim 2202. Seebass 301. Nagler XIII, 36 and IX, 418.
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Böner, Johann Alexander.
7 Kupferstiche von Habsburger-Portraits. [Nürnberg, um 1680].
7 Kupferstiche je 37,5 x 25,5 cm (Leopolds Portrait zusätzlich signiert "A. Bloem delin."). Folge von sieben Kupferstichen von Habsburgerportraits: Maximilian II., Ferdinand I., Matthias, Ferdinand II., Rudolf II., Ferdinand III. und Leopold I. (die letzteren beiden mit stärkeren Wurmgängen, sonst wohlerhalten und in guten, kräftigen Abzügen). Der Nürnberger Zeichner, Stecher, Radierer und Kunsthändler J. A. Böner (1647-1720) ist vor allem für seine historisch interessanten, meist kleinformatigen Darstellungen von Stadtansichten und Trachten aus Nürnberg, Fürth und Umgebung bekannt.
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Stalin, Josef (Dzhugashvili), Russian dictator (1878-1953).
Portrait photograph (vintage). Probably Moscow, ca. 1935.
Albumen print, 209 x 269 mm, mounted on backing cardboard (298 x 400 mm). A large head-and-shoulders portrait of Stalin, shortly before the beginning of the Great Purges. - A few unobtrusive scuff marks; backing cardboard smudged and stained. Russian lab label on reverse: "Foto-Laboratorija, U.P.P. Leningradskogo Otdelenija, Muzfonda SSSR, Leningrad. Lenoblgorlit No. 1094". Rare.
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Nowak, Fred, österreichischer Graphiker (1919-1974).
Karikaturen von Fred Nowak. Wohl Wien, ohne Datum (wohl 1960er Jahre).
Folio. 113 Zeichnungen (zumeist in Bleistift, aber auch in Tusche und Buntstift) auf 25 Bll. montiert. Separates Titelblatt in rotem und schwarzem Filzstift. Lose in Papp-Umschlag unter Seidenhemdchen. Umfangreiches Album mit zahlreichen unbezeichneten Kopfstudien, meist in Bleistift. - Fred Nowak war über 30 Jahre als Buchdrucker tätig, zuletzt in der Österreichischen Nationalbank. Als Künstler überwiegend Autodidakt, schuf er im Laufe seines Lebens fast 1600 druckgraphische Blätter. Im Oktober 1973 wurde im Museum für Angewandte Kunst seine größte Ausstellung veranstaltet. - Mappe am Rücken lädiert; die Blätter in sehr gutem Zustand. Fuchs 3, K 127.
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Hammer-Purgstall, Joseph von.
Portrait. O. O., [um 1857].
340 x 240 mm. Brustbild nach halblinks. Unterrand mit Schrift: "Jos. Freiherr v. Hammer-Purgstall". Stich von Tommaso Benedetti nach einem Entwurf von Thomas Lawrence.
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[Zurich New Year's Engravings].
[Sammlung der Neujahrs-Kupfer der Gesellschaft der Constabler und Feuerwerker in Zürich]. [Zurich, 1689-1798].
Oblong folio (345 x 283 mm.). 109 engraved plates (some folding). Later mottled calf. Extremely rare, complete series of the New Year's engravings issued by the "Society of Constables and Fireworkers of Zurich". A single comparable set is known in libraries and special collections (Berne University Library). "Durch die von 1689 bis 1798 fortgesetzte Herausgabe von Neujahrsblättern, welche eine belehrende Reihe bildlicher Darstellungen über das Artilleriefach, begleitet von zweckmäßigen Erläuterungen, enthalten, beurkundete die Gesellschaft der Constaffler und Feuerwerker in Zürich eine fruchtbringende Theilnahme an der militärisch-wissenschaftlichen Erziehung der Jugend; seit 1806 setzt dieser Verein auf ähnliche Weise seine anerkennenswerthen Bemühungen fort, obschon die äußern Merkmale einer militärischen Genossenschaft nicht mehr vorhanden sind" (Leemann, Abriss der Militär-Statistik der Schweiz [1839], p. 249). Other Zurich military societies issued similar series for the New Year. The splendid engravings show artillery, drill, maneuvers, fortification, guns, ordnance, and powder-making; engravers include Johann Balthasar Bullinger, Johannes Meyer, Johann Melchior Füssli, David Herrliberger, Johannes Lochman, David Scheuchzer, A. G. Schübler, Johann Heinrich Lips, D. Böyel, and Schellenberg. The 1751 plate ("Einleitung zur Artillerie-Wissenschafft") doubles as a half-title. - Traces of old folds to a few plates, occasionally somewhat stained in the margins or remargined altogether; one (for 1788) trimmed to the plate edge and rebacked. A fine, complete set from the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. Spaulding/Karpinski 198. Lipperheide Qf 1 (only 89 plates: wants 1776-77 and 1780ff.)
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[Innenarchitektur] - Machatschek, Adolf.
Sammlung von 20 Entwurfszeichnungen für Ausstellungs- und Geschäftsmöblierungen. Wien, um 1870.
Federzeichnungen, tw. aquarelliert und mit Goldfarbe gehöht, auf 10 originale Untersatzkartons montiert. Handsigniert und mit Namensstempel. Folio. Die Entwürfe des "k. k. Professors und Architekt Dr. Adolf Machatschek" zeigen Ausstellungsmöblierungen diverser Wiener Firmen für deren Produktpräsentationen auf Welt- und Gewerbeausstellungen zwischen 1867 und 1872, darunter Portale für "die Ausstellung in Paris 1867", für Lehrmittel, die "Gypsbrüche Schottwien", für Hardtmuth in Budweis, für einen Tabak-Pavillon, Vitrine für Friseurarbeiten etc.
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Mollo, Tranquillo.
Wien's vorzüglichste Gebäude und Monumente. Les principaux batiments et monuments de Vienne. [And:] Wien's Umgebungen. Les environs de Vienne. Vienna, Tranquillo Mollo, [ca. 1825-1830].
Engraved and illustrated title-page; 65 plates. [And]: Engraved and illustrated title-page; 64 plates. A total of 131 engravings by Josef Zutz, J. W. Zincke et al. after Sigmund v. Perger, Edward Gurk et al., with text in German and French, image ca. 10 x 14 cm each, all lavishly hand-coloured and with ink-washed borders. Bound in later 19th century black half morocco with gilt spine. Marbled endpapers. Oblong 4to (260 x 187 mm). Two of Mollo's most beautiful and most popular series of Viennese views, lavishly hand-coloured within grey wash passe-partout borders in the manner of the de luxe issue, but on normal paper rather than trimmed and mounted on grey cardboard. As typical of the de luxe issue, both works (showing "Vienna's monuments" and "Vienna's environs") here comprise the first 64 numbered plates only of their respective series (instead of 78 in the first and 66 in the second series); however; the final, unnumbered 79th plate of the "monuments" set, showing a view of the city from the "Spinnerin am Kreuz" south of Vienna, is included as a frontispiece. - Exceedingly rare in all states: a single copy of the de luxe issue is recorded at auction since 1975 (the Rudolf von Gutmann copy, sold at Sotheby's in 1993 and again at Christie's in 2006), and only one other copy of both works is listed. - Occasional spotting, browning or foxing to margins as common. Title-pages transposed, with the "environs" series bound following the "monuments" title and frontispiece, and the "monuments" series following the "environs" title. A very charming, well-preserved set of Austrian colour-plate views. Nebehay/Wagner 428/429.
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[Nature printing].
Botanical manuscript on paper. Austria, 2nd half of the 19th c.
Large 4to (225 x 268 mm). 224 unnumbered ff. with more than 250 page-sized plant illustrations, mostly in a mixed techique of nature printing and coloured drawings. Also includes 3 coloured engraved plates and 1 tipped-in coloured lithograph. Later half calf over marbled boards with stamped title to spine. An uncommon collection of talented botanical illustrations, many based on nature prints amplified and coloured in various techniques. The plates show mainly medicinal and culinary plants (belladonna, calendula, tobacco, eggplant "from Arabia" etc.), frequently with blossoms and fruits. All plates are identified in Latin, many have additional notes in German stating the plants' flowering season and place of origin. Some plates are signed "G.F.", a fact which has suggested attribution to the Austrian naturalist Georg von Frauenfeld (1807-73), one of the leading scientists on the Novara expedition (cf. Reiss 77 [2001], lot 77). Frauenfeld himself published a book on the algae of the Dalmatian coast, illustrated by nature printing (cf. Fischer, Naturselbstdruck, no. 72). Includes three engravings and one lithograph from other botanical works. - Occasional light browning and fingerstaining; a few slight edge defects, but well preserved altogether.
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[Alpine panoramas.] Ateliers Eugen Felle/Ott & Ruep.
Collection of 13 monochromatic panoramic views of the Tyrolean Alps. Isny/Allgäu, ca. 1915.
Blue-grisaille watercolour and opaque white on paper (ca. 269 x 170 to 400 x 210 mm). Mounted on backing cardboard with tissue guards. Thirteen charming panoramic views showing the Tyrolean Alps and their environs: Ammergau, Tux, Stubai, Ötztal, Zillertal, and Lechtal Alps, Karwendel, Verwall and Wetterstein Mountains. Executed by the well-known publishers Eugen Felle and Ott & Ruep in Isny/Allgäu; probably the work of the painter Josef Ruep (1886-1940), since one panorama bears his signature "Rp." - Tissue guards mostly wrinkled and with tears; drawings perfectly preserved.
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Laske, Oskar.
De Ark van Noach. Amsterdam, Richard Bing, [1926].
Oblong 4to. Leporello of 12 chromolithographs, each segment 245 x 350 mm. In a protective box with pictorial cover. The only foreign-language edition of this work that originally appeared in identical form in Vienna in 1925, very rare. - Pictorial narrative which flows continuously through the illustrations on both sides, the animals coming on one side and leaving on the other. Oskar Laske (1874-1951) mainly worked as a painter from 1904. He excelled as a graphic artist and saw his works published in the Vienna-based "Zeitschrift für vervielfältigende Kunst", one of the leading international fine art journals of the day. For the next fifteen years, print-making dominated Laske's oeuvre. In 1907 Laske joined the Hagenbund and in 1924 the Vienna Secession. His work was not only exhibited at those artist associations but also internationally. - Some wear to the first plate. F. C. Heller. Die bunte Welt. Handbuch zum künstlerisch illustriertem Kinderbuch in Wien 1890-1938 (Wien 2008), p. 293. Cf. Lily Schulz-Laske & Elisabeth Kesselbauer-Laske, Oskar Laske. Der künstlerische Nachlaß (Wien 1952), Lithographien, p. 29, nos. 28-39. Exhibition catalogue "Oskar Laske", Kunsthaus (Wien 1996), Ill. pp. 96f.
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Dietrich, Christian Wilhelm Ernst, Maler und Graphiker (1712-1774).
Eigenh. Zeichnung mit U. O. O. u. D.
Qu.-4to. (202:157 mm). Auf Papierträger (232:173 mm) montiert. In Bleistift. Antikisierende Studie badender Frauen, für eine bukolische oder arkadische Szenerie. Zur linken Frauenstudie, die eine Unbekleidete mit Schleier zeigt, vgl. Dietrichs Gemälde "Diana und die Nymphen"; die rechte zeigt zwei Frauen in griechischem Gewand (vgl. hierzu "Landschaft mit Diana und Nymphen"). - Papierbedingt etwas gebräunt und mit einem kleinen Ausriss in der rechten oberen Ecke.
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[Landsberg am Lech].
"Landsberg". O. O., (wohl 1980er Jahre).
Radierung. 8vo (170:205 mm) unter Passepartout (Folio). Der Hauptplatz der Stadt Landsberg am Lech mit dem Marienbrunnen und figürlicher Staffage. Originalgraphik in kleiner Auflage (82/100) mit nicht identifizierter Signatur ("Kondotti"?) in Bleistift.
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[Karl August, Duke of Saxe-Weimar-Eisenach].
Portrait of Duke Karl August of Saxe-Weimar-Eisenach. [Weimar, after 1775].
590 x 460 mm. Pastel on vellum. Framed and glazed. Unsigned, undated half-length portrait of the Duke (1757-1828), Goethe's friend and patron, in his early twenties. This work by an unidentified Thuringian master strongly resembles the one at Dornburg castle listed as no. 19 in Hans Wahl's census ("Pastellgemälde von unbekannter Hand. 1775-80"). Goethe frequently stayed at this Ducal palace when in Dornburg on business. The painting is probably one of a small number of contemporary copies based on the oil painting by Johann Ernst Heinsius (Wahl no. 14), but with softer contours and brighter colours, as common for pastel crayons. - Two tears of about eight centimetres each near top and bottom edge of paper, professionally restored. Occasional rubbing to colours; some overpaintings and staining. Ownership of the anthroposophical physician Karl Hanno Matthiolius (1923-91), dated Solingen-Landwehr, 28 Nov. 1945, on the reverse. H. Wahl, "Die Bildnisse Carl Augusts von Weimar" (Weimar 1925), no. 19.
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[Klimt, Gustav] - Geyling, Remigius, painter and stage designer (1878-1974).
Collection of 23 portrait drawings and caricatures, all drawn "from life" and signed, dated, and titled by Geyling (often citing the place of the sitting). Includes two T.L.S. by Arthur Schnitzler. Vienna, 1897-1935.
Royal folio. In later years mounted onto uniform backing boards by Geyling himself and laid into two simple portfolios, both of which contain his autogr. table of portraits. All leaves numbered throughout by the artist (1-24; Schnitzler's letters on their own backing are no. 23) and captioned with the name and dates of the person portrayed. The earliest portrait dates from 1897, the year in which the Vienna Secession and the artistic periodical "Ver Sacrum" were founded. According to his inscription, it was for the latter that Geyling drew the present portrait of the Secessionist sculptor Rudolf Bacher. Many of the pictures collected in these two portfolios were created several years later, in 1905, during the heyday of the Wiener Werkstätte (for which Geyling designed postcards) and a year after Geyling and his partner Otto Prutscher closed their joint studio for furnishings and décor. "Although a member of the conservative 'Künstlerhaus', Geyling always was close to the Vienna Secession" (cf. AKL LII, 462). For Geyling, "Klimt, Hoffmann, Roller, Olbrich were not only my colleagues, but also my friends, and many a night did we debate about the 'new and pure art'" (cf. Remigius Geyling erzählt, aufgezeichnet von Gerald Szyszkowitz. In: Nebehay/Krug, pp. 5-8, here: p. 7). These nights apparently offered numerous opportunities for Geyling's portrait studies: apart from the portraits of the aforesaid, the present collection contains a picture of the frequent Tivoli patron Egon Schiele (from the year of his death) as well as a portrait of Adolf Loos, drawn in the famous Café Museum. It was probably here where also Karl Kraus (entitled "Fackl-Kraus" by the artist) sat for Geyling. The great painter enjoyed an especially close relationship to Gustav Klimt: for many years he belonged to the circle of those who shared breakfast with Klimt at the Tivoli (cf. Nebehay/Krug, p. 3). In that legendary restaurant at the Green Hill in Vienna's Meidling district, he drew the two portraits of Klimt in May 1905. Together with Peter Altenberg and Otto Wagner, Klimt is one of the few persons whom Geyling sketched in more than one portrait only (all on a single page). It was upon Klimt's recommendation that Geyling was hired as head of decorations at the "Neue Wiener Bühnen" in 1910; his first production was the premiere of Schnitzler's "Undiscovered Country". It was during the rehearsals for this production, on 14 October 1911, that Geyling produced the present portrait of Schnitzler. Schnitzler's two letters to Geyling concern their joint project of a "Medardus movie". Geyling had worked as decorator for the most important Austrian film productions. So successfully had he transferred the stylistic devices of the Wiener Werkstätte into historical tragedy that in 1924 Fritz Lang used Geyling's designs for his great silent "Nibelungen" series (cf. AKL LII, 462). - Provenance: From a Viennese private collection, to which the artist himself sold both portfolios. Nos. 6-8 and 18, 21 and 22 are each illustrated in full-page size in: Ch. M. Nebehay & H. Krug (eds.). Remigius Geyling. Künstler und Literaten. Gezeichnet in Wien um 1900. Wien 1974. (= Jahresgabe der Wiener Bibliophilengesellschaft). This work does not describe the present collection; all other drawings are unpublished.
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[Ulbricht, Walter]. - Eltzner, Adolf.
Panorama von Leipzig in Niesens' Haus aufgenommen. Leipzig & Paris, Louis Rocca & Tessari et Comp., 1846.
1200 x 400 mm. Gerahmt hinter Glas. Schöne Ansicht von Leipzig, gestochen von Friedrich Salathé (1793-1858) nach der Zeichnung von Adolf Eltzner. Aus dem Besitz des gebürtigen Leipzigers Walter Ulbricht (1893-1973), rückseitig in Bleistift bezeichnet: "Geschenk an den Vorsitzenden des Staatsrates, Gen. Walter Ulbricht, anlässlich des 75. Geburtstages. 30.6.1966 [!] überreicht von Prof. Dr. Dieckmann". Händleretikett Erwin Paetzel, Berlin, Linienstraße 155.
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[La Chatre, Pierre-Denis de], officer of the Empire and Baron (1763-1820).
2 miniatures. No place, [ca. 1805].
60 mm (diameter) and 62 x 75 mm. In their original brass and wooden frames. Half-length portrait of baron de La Châtre, the father of the publisher Maurice Lachâtre, with the decoration of the "Légion d'honneur" clearly visible on his robe. He was born and died in Issoudun, was appointed a knight on 12 December 1803 and promoted to the rank of an officer on 14 June 1804. He participated in the Revolutionary Wars as well as in the Napoleonic Wars, reaching the rank of colonel, and was granted the title of a "Baron de l'Empire" on 19 March 1808. Narrow cracks in the portrait; small flaw at lower margin. - Half-length portrait of his wife and the mother of Maurice Lachâtre, Élisabeth-Constance Séonnet (born on 23 June 1784 in Issoudun, died on 13 November 1860 in Maisons-Laffitte), in a sitting position, her left arm resting on the back of the chair, wearing a white dress and a furry scarf round her shoulders. The miniature was probably created soon after her wedding on 13 April 1803. Marginal flaw to wooden frame. Xavier Gaignault et Hervé Coutau-Bégarie, Le colonel Pierre-Denis de La Châtre, baron de l’Empire (Éditions Guénégaud, 2007).
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[Auber, Daniel Francois].
Portrait. [Paris, um 1860].
190 x 125 mm. Stahlstich von Georges François Louis Jaquemot. Brustbild nach links. - Gebräunt.
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[Carl Erzherzog von Oesterreich].
Portrait. Wien, Math. Artaria, [frühes 19. Jahrhundert].
160 x 120 mm. Lithographie von Franz Eibl (1806-80) nach Moritz-Michael Daffinger (1790-1849).
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Cherubini, Luigi.
Portrait. O. O. u. D.
Kupferstich. 82 x 80 mm.
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Clark, John Heaviside.
Myriorama. A collection of many thousand landscapes [...]. London, Samuel Leigh, 1824.
8vo. 16 numbered hand-coloured aquatint panels (70 x 200 mm). With 2 sheets of publisher's advertisements. In original cardboard box (163 x 223 mm) with mounted hand-coloured aquatint title-page engraved by Sidney Hall. Curious art toy created by the London bookseller Samuel Leigh, featuring aquatint panels by the noted landscape and battle artist John Heaviside Clark (1771-1863), depicting idealized English and Scottish scenery, including ruins, lakes, and mountains. - A "myriorama", a term derived from the Greek words "myrias", meaning "multitude", and "orama", meaning "scene" or "view", comprised a set of illustrated cards, each representing a slice of a landscape. No matter what order you placed them in, the cards created a cohesive scene. The near-endless possibilities made it a popular entertainment for people of all ages. After the success of the first myriorama, designed by Jean-Pierre Brès in France, the toy took off across Europe from the 1820s, sparking imitations in Austria, England, Germany, and the Netherlands. Leigh and Clark adopted the name and the design of the box that housed the cards from the original French version, in hopes of inspiring other artists to draw attractive landscapes. Their myriorama also introduced the innovation of numbering each panel, making it possible to record and later recreate scenes found especially pleasing. Myrioramas provided dynamic visual entertainment at a time when the advent of cinema was still decades away. With their incredible number of possible combinations and charming visuals, myrioramas were "one of the most diversified and exhaustless inventions for variety and pleasing amusement that has hitherto appeared", according to the London's Morning Chronicle at the time. - The present 16-card myriorama can be arranged into an astounding 20,922,789,888,000 (that's 20 trillion!) different scenes. Later myrioramas with larger sets of cards could provide an unfathomable number of permutations, reaching well beyond our standard naming conventions. - Pencil ownership of Isabella Hord to the inside of upper cover. Box somewhat rubbed at extremities; corners lightly bumped; some brownstaining. The panels very well preserved. A copy is held at the Huntington Library in California. A charming item rarely seen at auction.
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[Eybler, Joseph von].
Portrait. Wien, Haslinger, o. D.
Lithographie. 290 x 190 mm. Hüftbild des österreichischen Komponisten Joseph Edler von Eybler (1765-1846).
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Fendi, Peter / Benedetti, Tommaso.
Mutter und Kind. Wien, Benedetti, ca. 1850.
Schabkunstblatt, 181 x 128 mm. Druck von Tommaso Benedetti nach einem Gemälde von Peter Fendi.
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[Flotow, Friedrich von].
Portrait. Leipzig, Verlag der Dürrschen Buchhandlung, o. D.
300 x 220 mm. Dreiviertel-Portrait des Komponisten, Stich und Druck von Weger.
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