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[Weigl, Joseph].
Portrait. Wien, Höfelich, 1846.
Lithographie. 355 x 276 mm. Lithographisches Portrait des österreichischen Komponisten und Dirigenten Joseph Weigl (1766-1846).
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[Weigl, Joseph].
Portrait. O. O. u. D.
Kupferstich. 125 x 85 mm. Brustbild im Oval.
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Elisabeth ("Sisi"), Kaiserin von Österreich (1837-1898).
Eigenh. Bleistiftzeichnung auf Papier. [Possenhofen, 1847/1848].
1 Blatt. Ca. 148:165 mm. Dargestellt ist ein kleines Steinmarterl mit umgebender Vegetation. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
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Elisabeth ("Sisi"), Kaiserin von Österreich (1837-1898).
Eigenh. Bleistiftzeichnung auf Papier. [Possenhofen, 1847/1848].
1 Blatt. Ca. 285:242 mm. Dargestellt ist ein einfaches bäuerliches Gebäude aus Holz und Stein mit umgebender Vegetation. Zusätzlich ist die Zeichnung mit einem Doppelrahmen in Bleistift versehen. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Minimal braunfleckig. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
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Elisabeth ("Sisi"), Kaiserin von Österreich (1837-1898).
Eigenh. Bleistiftzeichnung auf Papier mit U. und eh. Datierung. Possenhofen, 24. VIII. 1848.
1 Blatt. Ca. 190:227 mm. Die Zeichnung zeigt ein einfaches Gebäude, ein Gehöft aus Holz und Stein an einem Bach, und ist auf der Verso-Seite eigenh. bezeichnet und datiert in Tinte mit "Elise / Possenhofen 24. August 1848" und zusätzlich mit einem Doppelrahmen in Bleistift versehen. Das Blatt dokumentiert die künstlerische Ausdrucksweise der neunjährigen Elisabeth, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und zur genannten Zeit in Schloss Possenhofen am Starnberger See lebte. - Minimal finger- und braunfleckig und mit kaum sichtbaren Spuren einer alten Quetschfaltung am rechten Rand; papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz.
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Elisabeth ("Sisi"), Empress of Austria (1837-1898).
Autograph pencil drawing signed and dated. No place, 1848.
Single sheet, ca. 191 x 232 mm. The drawing shows a simple farmhouse built of wood and stone, signed and dated in the artist's own hand on the verso: "Elise. 1848". At the time, Elisabeth, later famous as "Sisi", Empress of Austria, was ten years old and lived at Possenhofen Castle on Lake Starnberg. - Minor stains and a little browned. Provenance: House of Wittelsbach (former Royal Family of Bavaria).
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[Scoppa, Giuseppe, Neapolitan painter (fl. mid-19th century) - attrib.].
V[eduta] di Napoli da Mare. Naples, ca. 1860.
Gouache on paper, ca. 32 x 45 cm (sheet dimensions ca. 41.5 x 52 cm). Meticulous panoramic view of the bay, shoreline and city of Naples from Santa Lucia in the west to Mount Vesuvius in the east. The foreground shows fishing boats and other small vessels as well as a paddle steamer flying the French flag and a U.S. navy barque. - Margins tinted in grey wash, showing some light staining and a few tiny holes, caption title lettered in pink. The vividly coloured view is perfectly preserved. - Provenance: near-contemporary ink annotation on verso "Naples / Magasin de Beaux Arts / Place Cappella a Chiaja No. 6 / Sous le Palais Partanna / Tenú par Gaetano Calvi". Sold in 2015 through Holger Christoph, Bonn (sale 38, lot 411) to a German private collector and subsequently through Dobiaschofsky in Berne (2018) and Zisska in Munich (2021). A comparable, likewise unsigned example is held by the Bibliothèque nationale de France (dept. Estampes et photographie: "Napoli da Posilippo", Smith-Lesouëf 7277). For the painter Giuseppe Scoppa and his family cf. R. Rinaldi, Pittori a Napoli nell'Ottocento (2001), p. 247. See also Thieme/Becker XXX, 1936; Comanducci V (1974).
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[Castellammare di Stabia].
5 Bleistiftzeichnungen. Castellammare di Stabia, 1877.
120:200 mm. Auf Kartonträger montiert (350:445 mm). Beiliegend eine Ansicht der Via Flaminia (185:282 mm), auf gleichformatigen Kartonträger montiert. Hübsche, unsignierte Ansichten der italienischen Hafenstadt Castellamare di Stabia am Golf von Neapel, darunter zwei Darstellungen der ehemaligen königlichen Residenz Reggia di Quisisana, die im 18. Jahrhundert durch die Bourbonen renoviert wurde und 1878 vom Haus Savoyen in Gemeindebesitz überging. Die übrigen Zeichnungen zeigen den Blick von Vico Equense über Castellamare, mit dem rauchenden Vesuv im Hintergrund, eine Ruine sowie den Hafen von Castellammare. Beiliegend eine Zeichnung der Via Flaminia in Rom. - Wohlerhalten.
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[India - Mission]. Müller, Johann Sebastian (John Miller).
Herr Aaron National Land-Prediger unter den Heidnischen Malabaren in Ost-Indien. Nuremberg, bei J. Trautner, ca. 1740.
Engraving in original hand-colour. 16 x 13 cm (sheet dimensions: 30 x 21 cm). Matted. A rare engraving showing the Indian priest Aaron, the first converted native preacher of Malabar, dressed in white cloth and presenting to the viewer two pages from the Acts of the Apostles in Tamil. The Tamil Bible translation was famously published in 1713 by the Saxon missionary Bartholomaeus Ziegenbalg, who had been posted to the Danish colony of East India (Malabar) in the early 18th century. A nearly half-page letterpress text below the engraving elaborates on the conversion and life of Aaron, who was born ca. 1699, baptised in 1718, and ordained in 1733. - The engraver and botanist J. S. Müller (1715 - ca. 1792), known as John Miller in Britain, was born in Nuremberg, where he trained under Johann Christoph Weigel. He came to England in 1744 with his brother Tobias - an engraver of architecture - and remained there the rest of his life, producing several important botanical works and apparently also forging several oil paintings for London's appreciative art market. - Traces of folds; insignificant duststains to margins.
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[Naples].
Grocer selling vegetables in Naples. Naples, 1818.
Original watercoloured pen-and-ink drawing, trimmed to ink borders, signed and dated by Raimo. 253 x 192 mm. Matted (432 x 362 mm). Early watercoloured drawing of a grocer selling his produce in the port of Naples, at the beginning of the main pier leading up to the old lighthouse (lanterna del molo), with Vesuvius in the distance giving off a faint cloud of smoke. On the right a housewife is seen haggling with the merchant over cucumbers, while on the left a mother is handing her daughter a bunch of Welsh onions. Signed "Raimo inv. et fece 1818". - Some brownstaining, but still a very charming view.
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[Naples].
Venditore di Maccaroni cotti Napolitani. Naples, ca. 1820.
Original watercoloured pen-and-ink drawing within ruled ink borders, sheet size 347 x 275 mm. Matted (510 x 400 mm). Charming, early watercoloured drawing of a Neapolitan street vendor of maccaroni. Unsigned and undated, but attributable by its style to the Neapolitan artist active ca. 1820 who signed some of his works "Raimo". - Margins a little dust-stained, but very attractive.
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[Ethnographic illustrations].
13 original colour drawings in an album. No place (Germany or Britain?), 1857.
13 original drawings in various techniques: pencil, watercolour, gouache, and ink on paper. Mostly captioned in German (and a few in Italian), mounted on 12 leaves of coloured paper bound in an album. Contemporary red morocco, both covers plated with relief-stamped luxury cream paper, splendidly ornamented with the arms of the British monarchy and the City of London, bordered with gilt floral dentelle; central compartments calligraphed in red and gilt: "Louise" / "30. Mai 1857". White moirée endpapers. All edges gilt. A splendid album of ethnographic portraits, possibly intended as templates for the nine-year-old Princess Louise, Duchess of Argyll (1848-1939), the sixth daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha, and like her mother a highly accomplished artist at an early age. The meticulous and detailed drawings show representatives of various peoples of the world, some in half-length and others in full figure, mostly captioned in a German hand: three Australian Aborigines ("Neuholländer", "Vandiemens-Länder" [from Tasmania], "Aramanga" [from Queensland]), two native Americans from North America ("Nordamerikaner", "Eingeborener vom Oregon"), a Filipina, a Hawaiian, an Indian Brahmin, two orientals (a tea-seller and a scribe), a female African slave, a mongolian ("Sifan"), and another, unidentified Asian. All pictures would appear to be copied from 19th century travel publications; three are obviously based on plates from James Cowles Prichard's "The Natural History of Man" (London 1843). - Album's corners lightly bumped; paper and paints clean and crisp throughout. Other early drawing and scrapbook albums compiled for or by Princess Louise are kept in the Royal Collection.
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[Köpfe 1920].
Köpfe 1920. Eine Sammlung von Bildnis-Radierungen bekannter Persönlichkeiten. (Leipzig, Verlag Friedrich Dehne), [1920].
Folio (290 x 388 mm). 12 matted portrait etchings, individually numbered and signed by the artists as well as the sitters. Stored in publisher's original portfolio with vellum spine and gilt title to papered boards. Number 33 of 50 copies of the deluxe issue (entire press run: 150), each portrait bearing the additional signature of the sitter. The sitters are Lovis Corinth, Albert Einstein, Sigmund Freud, Gerhart Hauptmann, Wolfgang Heine, Ludwig von Hofmann, Arno Holz, Arthur Nikisch, Wilhelm Ostwald, Max Reinhardt, Richard Strauss, and August von Wassermann; the artists were Eduard Einschlag, Friedrich (Bedrich) Feigl, Ivo Hauptmann, Ernst Oppler, Robert Friedrich Karl Scholtz, and Walter Zeising (one etching each) as well as Hermann Struck (six etchings). Gerhart Hauptmann's portrait is by his son Ivo. - Upper cover of the portfolio very slightly warped. Light browning or foxing to versos of mattes; rectos and etchings all nearly perfectly clean and crisp. Extremely rare: libraries record a single copy of the sequel ("Köpfe 1921"), a series of only nine portraits that the publisher issued the following year (National Library of Israel).
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Pâris, François-Edmond.
Souvenirs de Jérusalem. Album dessiné par M. le contre-amiral Pâris [...]. Paris, Arthus-Bertrand, [1862].
Large folio (ca. 64 x 49 cm). Title-page with etched, coloured and pasted vignette plan of the Church of the Holy Sepulchre, 4 pp., and 14 lithographs by Albert Adam, Charles Claude Bachelier, Hubert Clerget, Charles Fichot, and Jules Gaildrau after F.-E. Pâris (12 printed in colour). Stored loosely, as issued, in original paper wrapper with title and modern brown half cloth portfolio with white cloth ties and giltstamped title lable pasted to upper cover. Elaborate album of lithographs based on drawings by Vice Admiral François-Edmond Pâris from a visit to the holy city in 1861. The album follows his itinerary as described by Pâris in the introductory text. Leading his squadron from Jaffa to Jerusalem, Pâris drew a charming scene of pilgrims gathering at the fountain of Abu-Nabbut. Before entering the city, he captured an impressive view of Jerusalem from the Mount of Olives. 52 important sights are marked in the uncoloured lithograph and described in the text. The view of the city is followed by impressions of Christian places of worship such as the Holy Grave, the Prison of Christ, and the Chapel of Saint Helena in the Church of the Holy Sepulchre, the Tomb of the Virgin Mary, the Grotto of the Nativity in nearby Bethlehem, and an unusual, uncoloured view of the interior of the Golden Gate (Gate of Mercy). The final three lithographs present two beautiful interiors of the Mosque of Omar and one of the Al-Aqsa Mosque. All sights depicted are described in the text. - François-Edmond Pâris (1806-93) commanded the 2nd Division of the French fleet in the Mediterranean when he visited Jerusalem. Leading primarily scientific missions, Pâris was a talented draughtsman who took an interest in naval architecture, steam engineering, and geography. Today Pâris is considered the father of modern maritime ethnography; he played an important role in the modernisation of the National Maritime Museum in Paris. - Original paper wrapper rather wrinkled with some repaired tears and restored loss to corners. Title-page a little stained; several tears to margins professionally repaired. Lower right corner of the first text-sheet repaired without text loss. Lithographs generally well preserved, but some lightly affected by stains in the margins; occasional tears to the sheets and corners restored, not affecting the illustrations. Blackmer 1255. Röhricht 2762. Tobler 231.
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[Viennese engravings].
Souvenirs de Vienne. [Vienna], 1830.
Oblong folio (400 x 320 mm). 93 pp. A privately compiled album comprising 138 engravings, either full-page or as four smaller engravings to one leaf, mostly hand-coloured. Includes one watercolour, signed "Fedor Comte Karaczay, Wien 1822". All mounted on brown paper with black borders, mostly with manuscript captions in French and watermarks to tissue guards. Contemporary red morocco, finely decorated with gilt borders; gilt title to upper cover, metal clasp fastening with key. Green silk guards. A charming album comprising numerous views of Vienna's grand buildings, palaces, and parks as well as landscapes of the surrounding areas. Notable sites of the Austrian capital are depicted in all their splendour, including Klosterneuburg monastery, the Kohlmarkt, St Stephen's Cathedral, and the Circus Gymnasticus in the Prater park. - Landscape views of Leopoldsberg, the route to Mariazell, and the nearby spa town of Baden are presented in all their idyllic majesty, as are lively social scenes of the Habsburg Empire's carnivals and café culture. The ensemble also includes 13 plates of professions and three military figures, one of which is a watercolour by Fedor Graf Karaczay (1787-1859), an Austrian colonel and dilettante artist, later in Persian services. The occupations include lantern lighter, laundry woman and hawkers selling brushes, apples and honey, straw hats, ribbons, carpets and laurel leaves. - Some minor staining. Tissue guards and covers somewhat worn, but otherwise a fine work.
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[Dominicus de St. Thomae (Dominique Ottoman), Dominican friar (ca. 1639-1676)].
Le vray portrait de frere Dominique Ottoman fils d'Hibrahim premier Empereur des Turcs et frère de Méhémet III [...]. No place, Baltasar Moncornet, 1664.
4to (ca. 173 x 233 mm). Engraved portrait. Executed by the French engraver and publisher Baltasar Moncornet (1600-68), the portrait shows Osman, the son of Sultan Ibrahim I, who was captured with his mother by the Maltese fleet in 1644 and educated by the Knights of Malta to become a Dominican friar. As an adolescent he was baptized and adopted the name Dominique de Saint-Thomas on 23 February 1656. He studied in Naples and Rome and went to Paris in 1664, where he spent two years. In 1667 he travelled to Candia on Crete, a Venetian-ruled city besieged by Ottoman forces since 1648, on an unsuccessful mission to convince the latter to make peace. Appointed vicar general on Malta around 1669, he returned to the island, where he spent his final years. - Slightly foxed.
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[Hohenzollern].
Vier Idealportraits der frühen Grafen von Zollern. O. O., Ende des 16. Jhs.
Jeweils ca. 215 x 336 mm. Aquarell bzw. Gouache mit Goldhöhung auf Papier. Auf Fälzen unter Passepartout montiert. Vier wohl noch dem 16. Jahrhundert angehörende Idealbildnisse aus einer Porträtserie der frühen Grafen von Zollern, wie sie um 1560 Basilius Herold im Auftrag von Karl I. von Hohenzollern prägte und die Frühneuzeit hindurch weitgehend akzeptiert blieb. "Da die Grafen von Zollern erst 1061 mit Burchard ins Licht treten und erst [... Friedrich III.] die Würde eines Burggrafen von Nürnberg erwarb, handelt es sich um ein Produkt späthumanistischer Geschichtsklitterung. Der Zollerschen Hauschronik zufolge war die entsprechende historische Forschung ein Gemeinschaftswerk Graf Karls I. aus der schwäbischen Linie (1516-76) und des Historikers Johann Basilius Herold. Damals müssen auch die Idealbildnisse der ersten Grafen geschaffen worden sein, die sich formal mit rekonstruierten Ahnenreihen, etwa der Wittelsbacher, aus dieser Zeit vergleichen lassen" (Haus der bayerischen Geschichte, online). - Es liegen vor: Danko (840), der angebliche Sohn des fingierten Stammherrn Tassilo, Rudolf (892), Friedrich I. (980) und Eitel Friedrich II. (1273). Die Grafen werden jeweils in Prachtrüstung unter einem Säulenbogen dargestellt; an den Säulen prangen in hübscher Gouache das Hauswappen der Zollern sowie das der jeweiligen Ehegemahlin (von Cilli, von Rieneck, von Hohenberg und von Schlüsselberg). In einer Kartusche unter dem Portrait jeweils eine mehrzeilige handschriftliche Beschreibung des Abgebildeten nebst Nennung der Ehegemahlin. - Hübsche, wohlerhaltene Folge.
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Brunn, Isaac.
View of the Strasbourg Cathedral. Strasbourg, 1615.
52,1 x 39 cm. Copperprint engraving on paper (two conjoined sheets). Beautiful copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin from 1566. Some minor changes to the original print concern small architectural changes to the building itself, such as the helmet of the ridge turret, the staffage figures, and the monumental cartouche with the text, marking the transition from late Renaissance to early Baroque ornaments. The German text offers a partly legendary building history of the famous north tower. An additional text directly underneath the seam of the two sheets is a dedication to the dignitaries of the city: “Nobilissimis, amplissimis, prudentissimis Dominis, D. D. Praetoribus, Consulibus, Reliquisq[ue] inclusae Argentinae Senatoribus, Patribus Patriae, Patriam hanc turrim humiliter offert, consecrat, dedicat Isaac Brunn Argentine(n)sis chalkiographos A(nn)o 1615”. - Born in Strasbourg, Isaac Brun (1596-1669) worked primarily as a portraitist and book illustrator. - Upper margin somewhat brittle and with several tears, one larger tear showing traces of unprofessional restoration. Right border of the cartouche chafed. With a pinch fold affecting the dedication and a restored tear affecting the image in the lower right margin. Trimmed on the upper and lower margins, some browning. Thieme/Becker V, 121 (biography). Drugulin I, 291.
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[Handzeichnungen].
Detailansichten einer Kathedrale. O. O., [ca. 1832].
3 Bleistiftzeichnungen (230 x 285 - 235 x 365 mm), 1 Ölzeichnung (190 x 200 mm) und 1 Druckgraphik (225 x 305 mm). Wasserzeichen teils "J. Whatman 1832". Unter 3 Passepartouts. Hübsche, sehr sorgfältig ausgeführte Studien einiger Grabplatten in einer nicht ermittelten gotischen Kathedrale, darunter die eines Bischofs sowie eines wohl adeligen Ehepaars (letztere datiert 1639). Wohl Vorzeichnungen zu einer Malerei, dazu ein handschriftlicher Kommentar: "Der Stein sehr warm und die Wappen kalte Glanzlichter". Die Druckgraphik zeigt den Kirchenraum mit einem von einer Säule teilweise verdeckten Epitaph und zwei Rosettenfenstern. - Wohlerhalten.
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Kilian, Lucas.
Kupferstichportrait der Erzherzogin Claudia de' Medici (1604-1648). O. O., 1629.
Seidendruck auf Papier aufgezogen. 143:215 mm. Auf Kartonträger (250:330 mm) montiert. Verso der Sammlungsstempel "F.G.M." mit Grafenkrone.
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[Mary Magdalene].
Coloured and "dressed" devotional print of Mary Magdalene. Probably France, mid-18th century.
255 x 180 mm. Copperprint engraving, cut, hand-coloured and dressed with several fabric fragments, some with metallic threads, metallic lace details, and ground glass. Stitched at an early date to a ruled paper mount. Later giltwood frame and glazing with framer’s label ("Collard Doreur sur bois. Versailles’", ca. 1830-40). Striking and well-preserved example of a so-called "dressed print", based on a devotional engraving of Mary Magdalene by the German engraver and publisher Martin Engelbrecht (1684-1756), dating to the mid-18th century. The materials and style of the adornments point to the 18th century, though a later reuse of older fabrics cannot be ruled out. As often, the dressing has been ingeniously applied both under and over the surface of the original engraving. The penitent Mary Magdalene has been modified by being pasted onto glazed paper, producing a dramatic black-sky background, her body is embellished with three different brocade fabrics (two with metallic threads), and the print was further enhanced with hand-colouring, some metallic lace and ground glass. The saint is characterized by her traditional attributes of a cross, a book, a myrrh jar, a straw mat, and a skull, while her left foot rests on a globe or orb. The precious clothes that were added to Mary Magdalene, who is usually just covered by her long open hair as an expression of her ascetism and atonement, almost transforms her into a celestial Mary, thus altering the meaning of the engraving. - The fashion for dressing prints existed probably from the beginning of printed illustrations themselves, though it was a widespread, predominantly female recreation, especially in nunneries and convents, during the 17th and 18th centuries. Dressed prints were often overlooked by art historians and, due to their fragile nature, are rarely preserved in such good condition.
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Mirabella e Alagona, Vincenzo.
L'antiche Siracuse. Naples, Lazzaro Scorriggio, 1613.
Ca. 114 x 160 cm (map size; visible size ca. 131.5 x 177.5 cm). Engraved. Framed and glazed in broad burl wood veneer frame with insignificant damage (141 x 187.5 cm). Monumental reconstructive map of ancient Syracuse and its surroundings from Vincenzo Mirabella e Alagona's famous 1613 publication "Dichiarazioni della pianta dell'antiche Siracuse", dedicated to Philip III of Spain, King of Sicily. The map covers a large area, roughly from the island Ortygia, the historical centre of Syracuse, to the Euryalus fortress, and from the source of the river Ciane to the so-called House of Archimedes, and shows often fantastical renderings of such important monuments as the Temple of Apollo, the Greek and Roman theatres, and the ancient quarries called Latomie, including a staffage of fantastical ships. - The ornamental border, featuring reproductions of the obverse and reverse of 39 Greek coins, was specially engraved and described for the publication. Many of the coins of the notorious tyrant Dionysius I of Syracuse and subsequent rulers show the famous triskelion composed of three bent knees, a symbol which today forms part of the flag of Sicily. The dedication of the book to Philip III of Spain is repeated in an inscription with the title of the map and the name of its author. The dedicatee is also represented by the monumental coat of arms in the upper right corner of the map. The nine copperplate engravings are signed by the otherwise unknown Francesco Lomia from Syracuse and are dated 1612, but the plates were published with the book in 1613. - Vincenzo Mirabella e Alagona (1570-1624) was a historian, archaeologist, and architect from Syracuse. He married into one of the leading families of the city, held public offices, and realized several building projects, such as the Theatine Church of San Andrea and the renewal of the cathedral square. In 1608 he accompanied Caravaggio on several visits to the Latomie. The painter subsequently coined the name “Ear of Dionysius” for one of the ancient quarries, which is still in common use. - Generally well preserved, with small chafed areas to some plates, one of which with hand-drawn additions, and some stains.
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Picasso, Pablo, Spanish painter and sculptor (1881-1973).
Original drawing with autograph dedication signed ("Picasso"). Golfe-Juan, 16. IX. 1953.
271 x 208 mm. Blue ballpoint on laid paper. Portrait of the Swiss publisher Albert Skira (1904-76), dated and inscribed with the dedication: "Pour ces 25 ans d'éditions et 30 Ans d'Amitié. Picasso". The expressive profile of Skira, including parts of his shoulders and one arm, is representative of Picasso's sketchy and graphic art oriented late style. It is the last of seven numbered portraits of the publisher that Picasso drew on the evening of 16 September 1953 in the booth of a restaurant in Golfe-Juan. - Skira "played an important role in Picasso's life in that in the fall of 1930 he commissioned him to illustrate Ovid's Metamorphoses. Picasso achieved surrealist transformations in an admirably classical graphic style [...]. This was one of the reasons that led Vollard to commission him to produce what was to become the Vollard Suite. Skira subsequently offered him another opportunity by creating, in 1933, the splendid magazine 'Minotaure': for the cover of the first issue, Picasso created a virtuoso collage" (cf. Pierre Daix, Dictionnaire Picasso). - With original fold mark and insignificant tears in the fold. An unrelated note in ink on the verso reads: "Vauthier baryton".
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[Prodigal Son].
Four etchings intended as supraportes. Bassano del Grappa, Remondini, ca. 1750.
Ca. 676 x 480 mm to 755 x 523 mm. Coloured etchings on paper. Partly heightened in gold and silver. Two of the prints mounted on canvas. Rare supraporte prints from the famous publishing house Remondini, depicting four episodes from the biblical Parable of the Prodigal Son. In the sequence of the biblical narrative, the etchings with legends in Spanish and Latin show the Prodigal Son collecting his share of the inheritance from his father, the Prodigal Son leaving the parental home, the Prodigal Son being reduced to serve as a swineherd after he squandered his fortune, and the reconciliation with his father following his desperate return home. The beautiful coloured etchings are wholly Rococo in style, from the large ornamental frames to the opulent clothing of the protagonists and decor within the scenes. Embracing the timeless character of a parable, the 18th century viewers were supposed to identify with the protagonists and have their taste in Rococo ornaments met. - The house of Remondini was founded in Bassano del Grappa by the merchant Giovanni Antonio Remondini (1634-1711) and was successfully expanded by his son Giuseppe Remondini (1672-1742). Apart from prints and books, Remondini produced decorated papers for various uses and wallpapers. In the 18th and early 19th centuries, Remondini was among the largest print publishers of Italy. The supraportes with the Prodigal Son are a beautiful example of the large portfolio of the company and its international market. - With occasional stains and some foxing. The return scene shows old restorations due to water damage, leaving some areas brittle, especially in the lower margin, and causing minimal losses to the print. The departure scene shows two small defects.
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Saftleven, Cornelis, Maler und Radierer (1607-1681).
Radierung. O. O. u. D.
Ca. 167:128 mm. Kupferstich. Paginiert und mit gest. Numerierung "32". Montiert auf Trägerpapier (323:476 mm). Bukolische Szene mit einer kleinen Ziegenherde, im Hintergrund ein lagernder Hirte, im Vordergrund eine von einem Gebüsch zupfende Ziege, signiert "C. Saft Leven". - Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "3195 Nr. G" aufgenommen. Die Graphik zudem verso mit Sammlungsstempel des Prof. Wilhelm Denzel "G + W D". - Leicht braunfleckig.
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[Strasbourg Cathedral].
In admirandam inclytae urbis Argentinae turrim. [Strasbourg, 1566].
52,8 x 37 cm. Woodcut on paper (two conjoined sheets). Rare pirated copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin (1536-1589). A "Matthias Huebner" from Schneeberg in Saxony, who is presented as the author of the print in the modified text in the strapwork frame to the right ("Matthias Huebner Schnebergensis faciebat Argent. Cal. Ian M. D. LXVI"), has not been identified. The monumental view of the Cathedral, including the staffage figures and the strapwork cartouche with the date, correspond with the original published by Bernhard Jobin in Strasbourg (as depicted in Hollstein). - Trimmed, insignificant marginal damage, two restored tears on the left. Smoothed, slightly soiled, somewhat toned. Hollstein LXXIII, 67, 1 (with illustration on p. 66). Strauss, German single-leaf woodcut, III, S. 975, I (of II; with fig. II). Cf. Passavant III, p. 350f. Drugulin I, 290f. Bartsch IX, 303, 1.
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[Vienna - St. Stephen's Cathedral].
Templum Cathedral et Parochiale St. Stephani. No place, probably 1760.
Ca. 477 x 326 mm (neat line). Etching on paper. Only known specimen of an anonymous copy after Georg Daniel Heumann’s monumental 1735 copper print engraving based on a design by Salomon Kleiner, with additional portraits of Empress Maria Theresa and the later Emperor Joseph II and his wife. This faithful, though qualitatively inferior copy was probably made on the occasion of the wedding of Archduke Joseph of Austria and Princess Isabella of Parma on 6 October 1760 in Vienna. The couple is shown in a double portrait presented by a crowned eagle flying on the right side of the tower. They are opposed by a similarly presented profile portrait of Maria Theresa on the left side. Superimposed, the two medallion-bearing eagles would form the double-headed Habsburg eagle. - Joseph's first and happiest marriage lasted only three years, as Isabella died of smallpox on 27 November 1763 at the age of 21, leaving behind a devastated widower. 1763 is thus the latest possible date for the creation of this beautiful etching. - Good impression with some minor stains and a larger brown stain to the upper left margin.
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[Wien - Penzing]. - Jaresch, Johann.
Der erste Brunn der Herzgl. Albertinischen Wasserleitung. Wien, Maria Geissler, [1812].
Handkolorierter Kupferstich (100 x 120 mm), Blattmaß 125 x 193 mm. Unter Passepartout. Hübsche Ansicht der Brunnenstube, die im Zuge des Baus der Albertinischen Wasserleitung 1804 in der Nähe der Otto-Wagner-Villa in Wien-Hütteldorf errichtet wurde. Tafel Nr. 49 aus dem 1812 von Maria Geissler publizierten Ansichtenwerk "Collection de vues des principaux palais, eglises, bâtimens publies, campagnes & jardins tant de Vienne [...]". Mit Legende in deutscher und französischer Sprache sowie der seltenen Verlagsadresse "Graben No. 1200". - Die Albertinische Wasserleitung war das erste Wasserleitungsprojekt in der Geschichte der Wiener Wasserversorgung mit weiträumig angelegtem Rohrnetz. Sie wurde 1804 fertiggestellt und bis 1890 betrieben. Cf. Nebehay/Wagner 193.
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Dujardin, Karl (Carl du Jardin), Maler und Graphiker (1635-1678).
Radierung: Schäferszene. O. O. u. J.
Ca. 135:145 mm. Strichätzung. Montiert in Passpartout-Sammelmappe (ca. 240:320 mm). Bukolische Szene mit zwei Schafen und einer Ziege neben einem Zaun sowie einem Hirten in Rückenansicht im Hintergrund. Signiert "K DU J f". - Leicht braunfleckig und knittrig. Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959) unter Sammlungsnr. "2515 Nr. 9" aufgenommen.
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Onofri, Francesco / Paluci, Antonio.
Kupferstichportrait des Kaisers Ferdinand II. (1578-1637). Florenz, o. D.
Seidendruck auf Papier aufgezogen. 167:247 mm. Verso der Sammlungsstempel "F.G.M." sowie eine handschriftliche Paraphe.
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Potter, Paulus, Landschafts- und Tiermaler (1625-1654).
Radierung: Pferdeszene. O. O., [um 1652].
Ca. 237:160 mm. Radierung mit gest. Nummer "3". Montiert auf Trägerpapier (480:320 mm). Ein altes Pferd und ein totes Pferd, im Hintergrund nähert sich eine Hyäne, signiert "Paulus Potter f". - Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "3078 Nr. G" aufgenommen. Zudem verso mit Sammlungsstempel "G + W D" des Prof. Wilhelm Denzel. - Leicht braunfleckig.
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Ramberg, Johann Heinrich, Maler und Satiriker (1763-1840).
Kupferstich zu "Reineke Fuchs". O. O., [1826].
Ca. 280:225 mm. Kupferstich. Mmit gest. Seitenzahl "Pag. 20". Montiert auf Trägerpapier (480:320 mm). Zu der Textstelle aus "Reineke Fuchs": "Wie Henning, der Hahn, höchst betrübt vor den König kommt, über Reineke klagt und die Missetat desselben beweist [...]" (nach Soltau I, 4, 1-48; vgl. Goethe I, 181). - Ramberg radierte die Illustrationen für "Reineke Fuchs" selbst nach seinen großformatigen Federzeichnungen und veröffentlichte sie als eigenständiges Werk im Selbstverlag "Reineke Fuchs. In 30 Blättern gezeichnet und radirt" (Hannover 1826). - Etwas stockfleckig, verso eine kleine Stelle mit Papier hinterlegt. Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "2351 Nr. O" aufgenommen.
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Swanevelt, Herman van, Maler und Graphiker (ca. 1600-1655).
Radierung: Hirtenszene. Paris, o. D.
Ca. 107:80 mm. Radierung. Montiert auf Trägerpapier (480:320 mm). Bukolische Szene mit einem liegenden Esel, einem stehenden Esel und einem weiteren Esel, dessen Kopf seitlich in das Bild ragt; im Hintergrund ein lagernder Hirte. Die Platte gestochen von einem Mitglied der Künstlerfamilie Audran in Paris, signiert "Herman Swanevelt fecit". - Leicht braunfleckig, mit Lochspur alter Heftung. Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959) unter Sammlungsnr. "2802 Nr. G" aufgenommen. Zudem verso mit Papiermarke und Sammlungsstempel "G + W D" des Prof. Wilhelm Denzel.
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Visscher, Cornelis, Kupferstecher (1629-1662).
Kupferstich: Pferdeszene. Amsterdam, o. D.
Ca. 379:288 mm. Kupferstich. Mit gest. Untertitel "t'Amsterdam gedruckt Frederick de Widt, voor aan inde Calverstraet bi den Dam, Inde Witte Pas-Caarts". Montiert auf Trägerpapier (480:320 mm). Szene in einem Stall mit zwei Pferden und einem Stallburschen, der ein drittes Pferd sattelt. Nach dem Gemälde "Zwei Pferde im Stall" von Pieter de Laer (Bayerische Staatsgemäldesammlung, Alte Pinakothek München). Wie dem Untertitel zu entnehmen, wurde es von dem Kartographen Frederik de Wit (1629-1706) gedruckt. - Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "3214 Nr. 4" aufgenommen. Zudem verso mit Sammlungsstempel "G + W D" des Prof. Wilhelm Denzel.
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Grassi, Ranieri, Italian engraver (active 1829-1855).
Cathedral and Tower of Pisa. N. p., [mid 19th century].
Two coloured engravings, ca. 195 x 135 and 205 x 120 mm (neatline) on 4to and oblong 4to. Copperprint engraving and gouache on paper. With gouached border. Charming views of the famous monuments, bearing testimony to the continuous interest in the "Torre pendente di Pisa" that is shown in both prints. The engraver Ranieri Grassi is exclusively known for his vedutas of Pisa, the city's monuments, and their interiors. - The view of the Leaning Tower has an insignificant pinch fold affecting the print and a more extensive edge tear. Three edges bent.
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[Album].
Album mit 32 Reisezeichnungen aus den Niederlanden, Flandern und Frankreich. Utrecht, Antwerpen, Brügge, Brüssel, Paris, Le Bourget, Rouen, Versailles, Chateau de Fontainebleau u. a. O., 15. VIII. 1886 und 17. IV. bis 21. XI. 1887.
Kl.-Folio (280:220 mm). Album mit zus. 32 Zeichnungen auf 27 Bll. Die Zeichnungen im Postkartenformat (90:120 mm) teilweise in Blei aquarelliert und teilweise mit Tusche laviert, mit Motiven meist aus den Niederlanden, Flandern und Frankreich, zumeist monogr. "ES", jeweils flächig montiert und mit Goldlinien gerahmt. Lederband der Zeit mit goldgepr. Deckeltitel "Reise Erinnerungen 1887", gepr. Rücken und dreiseitigem Goldschnitt; Vorsatzpapiere aus goldbedrucktem Karton mit feinem ornamentalen Muster. 1 Messingschließe. Die Zeichnungen, ausgeführt von einem geübten Zeichner und jeweils beschriftet und datiert, dokumentieren die Stationen einer Reise: Nijmegen, Kampen, Enkhuizen, Ursem bei Alkmaar, Rotterdam, Utrecht, Antwerpen, Brügge, Brüssel, Mecheln, Tournai, Laon, Soissons, Paris, Rouen, Versailles, Chinon, Fontainebleau, Sully sur Loire und Moulins. - Der Künstler mit dem verschlungenen, wohl als "ES" zu lesenden Monogramm konnte nicht ermittelt werden; vermutlich trug er den Nachnamen Schmidt: Darauf deuten drei beiliegende Photokopien, die wohl die Rückseiten von drei der Zeichnungen zeigen, die als Postkarten an einen Carl Schmidt in Berlin versandt wurden. - Bis auf eine Bleistiftzeichnung mit Allgäuer Gebirgslandschaft, bezeichnet und datiert "Mädelegabel, 15. 8. [18]86", entstanden alle Zeichnungen auf der Reise durch die Niederlande, durch Flandern und Fankreich. Der Spruch "Wie hat das Gott so schön erdacht, dass er den Wanderburschen schafft" unter der Zeichnung von Kampen zu Beginn der Reise deutet darauf hin, dass die Reise zu Fuß angetreten wurde. - Der Zeichner versteht sich meisterhaft auf die minutiöse Wiedergabe von Stadtansichten und historischen Gebäuden; oft beleben treffend skizzierte Staffagefiguren den Vordergrund, oder die Landschaft ist in zarten Aquarellfarben angedeutet. Ein Selbstportrait zeigt den Künstler auf einem kleinen Schemel hockend, mit Zylinder auf dem Kopf, in der Pariser Avenue de Montaigne; ein anderes Selbstportrait, durch einen Spiegel in der Decke gesehen, entstand im Schloss von Fontainebleau. - Einband etwas berieben. Einige Zeichnungen mit Poststempel oder Abklatschspuren eines Poststempels. Innengelenke gebrochen, gering fleckig, Trägerkartons leicht gebräunt.
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[Napoleon].
Portrait of Napoleon Bonaparte as First Consul of the French Republic. N. p., ca. 1800-1804.
33 x 23 cm (sheet size). Gouache on paper. Heightened in gold and silver. Charming, if amateurish, anonymous representation of Napoleon Bonaparte as Consul, based on reproductions of an original portrait by the general and military painter Louis Albert Guislain Bacler d'Albe (1761-1824). The official engraved version of d'Albe's portrait by Michelangelo Mercoli the younger circulated widely in Europe and was frequently reproduced and varied. In the gouached copy at hand, Napoleon's typical bicorne hat was added, either based on the concrete model or as an original idea of the copyist. This artistically rather unhappy addition is an interesting reminder of the immediate iconicity of Napoleon's hat. The inscription "N. Bonaparte P.er Consul de la République Française" corresponds exactly to Mercoli's print. - Well preserved. With minor tears and browning to the margins.
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[Sri Lanka].
Album of watercolours. Sri Lanka, December 1895-February 1896.
Large 4to (180 x 255 mm). 24 watercolours on 22 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting the extensive Ceylonese journey of a female British artist, Frances de la Poer. The volume opens with a depiction of a "Madras Conjurer" in Kandy, performing the "great mango trick" with two cobras, wherein the performer gives the illusion of the sudden germination and growth of a mango tree (drawn from life and dated Kandy, 31 Dec. 1895). The second drawing shows a crowd gathered before a Buddhist temple in Kandy. - Setting out from Kandy, the artist explored the countryside, drawing landscapes in Yattawatta, the tea harvest on Coolbawn estate in Navalapitiya, a pandal in Bandarawala, the surroundings of Haldummulla, a verandah in Pelmadulla, two views of Adam's Peak, men riding elephants in Ratnapura, the famous Elephant Rock (Ethagala) of Kurunegala, and four impressions from the beaches of Bentota. The final watercolour in the album is a beautiful impression of a beach sunset, dated 18 February 1896. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored; generally well preserved. Album bought from Roberson & Co., London, with his ticket to front pastedown.
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[Vernet, Carle, French painter (1758-1836)].
Arabian cavalier. France, ca. 1810-1820.
325 x 280 mm. Ink and wash on drawing cardboard. Framed and glazed. This beautiful study, most likely for a lithograph, can be attributed to Carle Vernet, the youngest son of the painter Claude-Joseph Vernet. The monumental central motif of an Arabian cavalier on a dark Arabian stallion is elaborately executed, whereas the backdrop of a tent and a battle scene remain sketchy. - A passionate horseman himself, Carle Vernet is most famous for his cavalry scenes and other equestrian motifs. - Trimmed on the upper margin. Abrasions throughout, mostly affecting the background.
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Gironi, Robustiano.
Saggio intorno musica dei Greci. Milan, dalla tipografia dell’ editore de' costumi (Giulio Ferrario), 1822.
Folio (270 x 387 mm). (6), 92, (2) pp. With 2 plates of engraved music and 8 (including frontispiece) coloured aquatints by or after Bonatti, Castellini, Gallina, and Pallagi. Contemporary ruby-red morocco, elaborately gilt with gilt inner dentelle and giltstamped arms to both covers. Green moirée silk endpapers. Green silk divider. Only edition. Of all of Gironi's publications, all of which are of a similar nature, the present work on Greek music is one of the rarest, published in only 30 copies and printed on strong, very wide-margined wove paper. This is the dedication copy for Marie Louise, Archduchess of Austria and Duchess of Parma (1791-1847), the wife of Napoleon and daughter of Francis I (1768-1835), first Emperor of Austria, with a printed dedication dated May 1825 and sumptuously bound with the Austrian arms on both covers. - "Cette dissertation n'étant point destinée au commerce, il n'en a été tiré que trente exemplaires, et l'auteur en a fait hommage à une dame à l'occasion de son mariage. Les gravures sont d'après les dessins de peintres célèbres" (Brunet). - The eight hand-coloured aquatints, showing costumes and musical instruments, are blindstamped with Giulio Ferrario's monogram ("Il costume antico e moderno"). An entirely complete copy, showing only some slight spotting and some foxing to margins. Old catalogue description pasted to lower free endpaper. Traces of professional restorations to spine and hinges. Latterly in the collection of the legendary French maître coiffeur Louis Alexandre Raimon (1922-2008), hairdresser to film stars and aristocracy, with his ownership stamp to first free endpaper ("Collection Alexandre de Paris"). Brunet II, 1615. Graesse III, 89. OCLC 13996001.
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Brenner, Adam.
"Te Deum Laudamus". Lithographiertes Huldigungsblatt auf die Vermählung von Kaiser Franz Joseph I. und Kaiserin Elisabeth. Wien, B. Greiffenstein für J. Sedlaczek, 1854.
Kolorierte Lithographie auf Papier. 605 x 800 mm. Sehr seltene Monumentallithographie von Joseph Lanzedelli dem Jüngeren nach einem Entwurf von Adam Brenner, gedruckt bei B. Greiffenstein für J. Sedlaczek in Wien. Das Plakat zeigt eine Anbetung Jesu Christi als Himmelskönig auf textlicher Basis des "Te Deum Laudamus". Die irdische Sphäre ist zentral durch den schreibenden Heiligen Ambrosius von Mailand repräsentiert, dem der berühmte Hymnus zugeschrieben wird. Mehrere Textzitate mit Strophenangabe der deutschen Nachdichtung des Te Deums von Ignaz Franz sind illustriert, darunter die Anbetung der Cherubim. Erst durch die Bildunterschrift wird der Zusammenhang mit der Hochzeit des Kaiserpaares hergestellt: "Zur Erinnerung an die Oesterreichs Völker beglückende Vermählung und glorreiche Regierung Sr. kais. königl. Apostolischen Majestät unsers allgeliebten und allergnädigsten Kaisers Franz Joseph I., mit Ihrer königl. Hoheit der durchlauchtigsten Prinzessin Elisabeth Amalie Eugenie, Herzogin in Bayern". Die Betonung des Heiligen Ambrosius von Mailand als Schutzpatron des österreichischen Kaisertums hatte in der angespannten Lage vor dem zweiten italienischen Unabhängigkeitskrieg (1859) auch eine politische Dimension. - Der Wiener Kaufmannssohn Adam Brenner (1800-91) studierte unter Leopold Kupelwieser und Ferdinand Georg Waldmüller an der Akademie der bildenden Künste. Er trat sowohl in der Historienmalerei als auch in den niedrigeren Gattungen als begabter akademischer Maler hervor. - Mehrere geklebte Einrisse sowie fachgerechte Ergänzungen im Randbereich. Leicht fleckig und gebräunt.
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[Bande dessinée].
Album of original drawings. Blois, Paris, Saint-Malo and no place, 1990-1994.
Folio (320 x 250 mm). 150 leaves with 140 drawings. Various media: felt-tip marker, India ink, pen, graphite, coloured pencil, gouache, etc. Contemporary leatherette album, upper cover giltstamped "Livre d'Or", covers reinforced with metal applications. Marbled endpapers. All edges gilt. A splendid album of original artwork by some of the foremost artists of the Franco-Belgian comics scene active during the early 1990s. The contributions, some of which are located and dated, would seem to have been collected at various comics fairs or events. Virtually all are inscribed to "Jean-Michel", also variously spelt "Yann Mikael" or similarly, suggesting - as do the frequent maritime subjects - that the collector hailed from Brittany, probably from Saint-Malo, where numerous entries were acquired. - Among the still-active luminaries of the medium's Golden Age are Morris (with a portrait of Lucky Luke) and Tabary (who draws Calife Haroun el Poussah, known in English as Haroun El Plassid). Jidéhem draws Gaston (on which strip he long collaborated with Franquin), and Albert Weinberg draws his character Dan Cooper. Marcel Uderzo, Albert's younger brother and sometime collaborator on the original Asterix albums, draws his own character Mathias. Others have taken over the torch from famous predecessors: Al Coutelis draws a spoof of Tanguy and Laverdure, a famous strip he inherited from Albert Uderzo; Jean-Claude Fournier draws Spirou, which character Franquin handed over to him as early as 1970. A portrait in fineliner and broad felt-tip is contributed by André Juillard, who would later take over Edgar P. Jacobs's Blake and Mortimer - a series in which Didier Convard, seen in another entry, would also have a hand, in collaboration with Juillard. Jacobs himself is obliquely present in the portrait of his villain Olrik, drawn by an unidentified contributor, while Jean-Charles Kraehn represents Saint-Malo's very own "bande dessinée" scene. - A few double-page spreads (21, 114). Occasional light offsetting to opposite page or bleeding to next, especially from felt-tip drawings, but on the whole perfectly preserved. A few blank pages serve as protective tissue guards. A complete list of contributors, all but a dozen identified, is available upon request.
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[China and Sri Lanka].
Album of watercolours. Shanghai, Hong Kong, Colombo, and other places, 1895-1896.
Large 4to (180 x 255 mm). 26 watercolours on 25 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting an extensive journey from Shanghai to Sri Lanka via Hong Kong made by a female British artist, Frances de la Poer. The volume opens with a full-page depiction of a traditional Chinese lotus shoe captioned "The Brides shoe Shanghai Nov 30th 95", decorated with a sketch of two women in festive dress beneath a tree. The artist apparently had attended a wedding in Shanghai, as she also portrayed "The brides sisters" on the verso of the same leaf underneath a panorama of the Yangtze river crowded with junks. This latter watercolour is stated to have been drawn on deck of the Canadian ocean liner "RMS Empress of Japan", bound for Hong Kong. On 3 December, Frances de la Poer captured in an atmospheric watercolour the Lei Yue Mun channel ("Lymoon pass") that separates Kowloon and Hong Kong Island, followed by another river scene showing clothes drying on the shore of the Pearl River. The album continues with a portrait of two Chinese men in traditional attire and two more landscapes of the Pearl River (here captioned "Canton River") and its mountainous surroundings. On 13 December the artist had already reached Malaysia, as evidenced by an unfinished watercolour depicting a group of people with cattle. The journey continued on the German "Reichspostdampfer Preussen", documented in the caption of a stunning landscape of the Sumatran coastline from 16 December. - After a longer interruption, the Ceylonese section of the album starts with an impressive depiction of a lake near Bandarawela, dated 26 Jan. 1896. The artist explored the south of the island, painting a landscape in Badulla, a "lace seller" in Colombo, a river scene near a British fort, a young boy, a Buddhist stupa, acrobats in Yatawatta, huts in a village and a woman in Kandy province, a Tamil coolie working with tea and other labourers, but also a scorpion and, in pencil, a spider and lizards. Several drawings are also annotated in Sinhalese. A series of larger pencil drawings is followed by two final watercolours: a beautiful depiction of Galle Lighthouse, the oldest lighthouse on the island, and a charming scene on deck of the British ocean liner "RMS Ormuz", dated 22 February. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored. Two leaves apparently excised, but generally well preserved.
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Ridinger, Johann Elias.
Das in seiner großen Mannigfaltigkeit und in seinen schönen Farben nach Original-Zeichnungen geschilderte Thierreich. Augsburg, Johann Jakob & Martin Elias Ridinger, 1768.
Folio (280 x 440 mm). 2 parts in one volume. 20, 24, (2) pp.; 17, (1), 20, (2) pp. With engraved sanguine frontispiece, engraved sanguine title-page, engraved vignette in the text, and 127 hand-coloured engraved plates. Modern full calf, bound to style, in custom slipcase. First edition of Ridingers' last great suite of plates, posthumously completed and edited by his sons Johann Jakob and Martin Elias Ridinger. One of only two series of engravings that Ridinger published with coloured plates; very rarely encountered complete, as in the present specimen. - As always, part I has only a sanguine frontispiece with Ridinger's medallion portrait but no title proper. This is followed by a preface in French and German (with a biography of the artist); the title of the work is not announced until page 9 of the German introduction. Part II has a separate engraved title-page, also printed in sanguine. - Occasional light fingerstaining to the lower margins of some plates, otherwise very clean. Some occasional light foxing to text leaves. Spine a little sunned, front hinge professionally restored. From the collection of the Hessian chemist Waldemar Schwalbe (1882-1943) with his pretty silhouette bookplate, dated 1937. Nissen 3408. Thienemann/Schwarz 974-1102.
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Tiepolo, Giovanni Domenico, Italian painter and draughtsman (1727-1804).
Caricature of a gentleman with a walking stick. Italy, second half of the 18th century.
168 x 107 mm. Pen and brown ink, brown and black wash on paper. Some foxing. Charming caricature by the Venetian master depicting a liveried gentleman with a tricorne, épée and a walking stick in profile, accentuating the figure's grotesque pointed nose and chin. The drawing can be attributed to Giovanni Domenico Tiepolo, the oldest son and student of Giovanni Battista Tiepolo. - The drawing is very similar to the caricature of a gentleman with walking stick holding and tricorne that is held at the MET (Inv.: 37.165.68).
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Ferdinand II of Portugal, King consort and regent of Portugal (1816-1885)
Portrait of a dog. Lisbon, 1850.
21,5 x 16,5 cm (neatline). Etching on paper. With traces of former mounting. Rare copy of this charming etching depicting a dog, probably a terrier, in a domestic setting with carpet, water-pipe, a couch, and a baroque chair. Ferdinand II of Portugal was a talented draughtsman and etcher and a lifelong benefactor of the arts, which earned him the nickname "Rei Artista". Among his favorite motifs were animals and peasants. The etching at hand is indicative of Ferdinand's eclectic taste, combining orientalist and historistic influences. The most famous example of this inclination is the Pena Palace built on his commission between 1842 and 1854. - In 1836 the future Queen Victoria started an album of her cousin's etchings that would be continued until 1850, ultimatively assembling 54 of Ferdinand's works. In her journal entry of 24 March 1836, Princess Victoria describes how she "copied some of Ferdinand's drawings". - Diffuse foxing. With a minor tear to the upper right corner (not affecting the etching). An old Italian caption in ink erroneously describes the piece as a pen drawing.
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[Einblattdruck - Nürnberg].
Bey dem mit Gott glücklich angetrettenen Neuen Jahr wolte hiemit seinen Wunsch mit allen Seel und Leib ersprießlichen Wohlseyn abstatten ein geringer Nachbar der löblichen Binder-Gassen Christoph Weiß [...]. [Nürnberg?], 1. I. 1762.
1 S. Mit einem Kupferstich (ca. 12 x 17 cm). 4to. Hübsches Neujahrsblatt eines Laternenwächters. Der Kupferstich zeigt wohl Christoph Weiß in Ausübung seiner Tätigkeit beim Nachfüllen von städtischen Laternen mit frischem Talg (Klauenfett). Darunter ein Neujahrsgedicht in zwei Spalten: "Heunte kommen grosse Hauffen | Für die Thüren hergelauffen | Wünschen uns ein Neues Jahr. | Da das Fenster kaum geschlossen, | Und ein Augenblick verflossen, | Meldt sich schon ein neue Schaar. | Hat der Thorner sich verschlichen, | Kommt der Wächter angestrichen | Nebst den Hörnleins-Wächter her. | Schlott- und Brunnen-Feger wollen | Kommen auch Neu Jahr zu holen | Weil es ist ein alte Mähr. | Ballenbinder und Feldwebel | Und bey theils auch die Constäbel, | Zeigen sich nach ihren Brauch. | Auch der Pritscher mit der Trommel | Machet ein Neu Jahr Getrommel, | Ja die Haupt-Wacht find sich auch. | Solt ich nun bey solchen Sachen | Mein Aufwartung nicht auch machen, | Zum Neu Jahr was bitten aus, | Der ich hab so vieles Oele | Ein halb Jahr auf meiner Seele, | Lampen, Tacht, in meinem Hauß. | Jezund will ich auch anfangen, | Da ein Jahr ist hin gegangen | Daß ich diese Sorge trag. | Gott erhalt die werthen Männer, | Und den hoch lateinschen Gönner, | Die drauf dachten Nacht und Tag [...] Denn will ich auf meiner Leiter | Mein Amt warten treulich weiter, | Daß kein Garn nicht wird versehrt. | Mehr, ich will zu jeden Nutzen | Fleißig gehen, um zu butzen, | Holten die Laternen rein. | Ja ich will in meiner Hütten, | Sonst kein Tropffen Oel verschütten | Als nur zum Salat allein [...]". - Vereinzelt kleine Braunflecken; leicht knittrig.
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Elisabeth ("Sisi"), Kaiserin von Österreich (1837-1898).
Eigenh. Skizzenbuch. Possenhofen, Lauterbach, Geretshausen, Oberzeismering u. a., [um 1845].
Ca. 42 Skizzen (3 aquarelliert) und 2 Texte auf 30 Bll. Original marmorierter Pappeinband mit Bleistifthalter. 8vo. Charmantes Skizzenbuch der jungen Herzogin mit zahlreichen Landschafts- und Architekturzeichnungen, Darstellungen von Haustieren sowie Karikaturen und Porträts besonders ihrer Schwestern. Neben den Zeichnungen umfasst das Büchlein ein amüsantes Gedicht ("In Lautenbach habe ich mein Strumpf verloren / Und ohne Strumpf geh ich nicht heim [...]"), eine Art Tagebucheintrag und den Entwurf für eine Glückwunschkarte mit Namenszug "Elisabeth" zum Namenstag ihres jüngeren Bruders Carl Theodor, genannt Gackel. - Das Skizzenbuch erlaubt einen seltenen, oft humorvollen Einblick in Elisabeths Kindheit in Possenhofen. Ihre Liebe zur Natur wird besonders durch die geschickten Skizzen von Bäumen verdeutlicht, die sie an verschiedenen Orten in Bayern anfertigte. Wie eine Sammlernotiz in Bleistift verdeutlicht, stammt das Skizzenbuch aus dem Nachlass der Gräfin Camilla von Otting, die als Erzieherin im herzöglichen Haushalt wirkte: "Kindliches Zeichenbuch der späteren Kaiserin Elisabeth v Oesterreich Herzogin in Bayern stammt aus dem Nachlass der Gräfin Camilla v Otting ihrer Erzieherin und Hofdame". - Einband berieben und bestoßen, Vorderdeckel mit Fehlstellen im Marmorpapier. Einige Bll. lose. Teils leicht fleckig und vereinzelte Einrisse. Durchgehend gebräunt.
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Klimt, Gustav.
Fünfundzwanzig Handzeichnungen. Vienna, (Max Jaffé für) Gilhofer & Ranschburg, 1919.
Royal folio (410 x 605 mm). 2 ff. of text and 25 collotype plates after drawings on matte art paper (7 with colours), each tipped onto thin cream card with a mount as issued. Storedin original half cloth portfolio with Klimt's gilt-printed signature on the upper cover. Number 326 of only 500 numbered and 10 deluxe copies. The twenty-five monochrome and coloured drawings show women in mainly erotic scenes. All were from the collection of the Austrian industrialist August Lederer and his wife Serena (a relative of the U.S. journalist Joseph Pulitzer), who together spent a fortune on compiling the most important Klimt collection of their age. Forcibly expropriated by the National Socialists in 1938, a significant part of the trove was stored at Immendorf Castle in Lower Austria, where it appears to have perished in a fire in May 1945. - From the collection of the Swedish painter and photographer Johan Theodor Jönsson with two stamps of his archive foundation. Several mounts a little waterstained or dust-soiled, but generally in excellent condition. For the history of the Lederer family and their collection see 1) Tina Marie Storkovich, Verbrannte Klimtbilder: Das Puzzle von Immendorf. In: "Die Presse", Print-Ausgabe, 19 Dec. 2015, Spectrum, p. III. 2) Michael Wladika, Egon Schiele, "Die Mutter und die Tochter" 1913. Dossier der Leopold Museum-Privatstiftung zu LM Inv. Nr. 2356.
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Picasso, Pablo, painter and sculptor (1881-1973).
2 full-page pen and brush drawings in Indian ink. In: Eaux-fortes originales pour des textes de Buffon. Paris, Martin Fabiani, 1942.
Small folio (287 x 377 mm). (6), 134, (24) pp. With 31 leaves plates (sugar aquatints, etchings and drypoints). In unbound sheets as issued, stored in publisher's original cardboard covers, portfolio and slipcase (some slight wear to the latter). Two unique and wholly original brush drawings, adorning a signed and inscribed first edition of this famous suite by Picasso, in perfect condition. - Limited edition of 226 copies: this is number 155, one of 135 on Vidalon vélin. This copy was presented by Picasso to his friend, the painter André Marchand (1907-98), with an autograph inscription and two original drawings, each one full page. The two drawings are executed in Indian ink, pen and brush, heightened with black ink wash. They occupy the verso of the half-title bifolium and the first section title ("Le Cheval"). The first drawing shows a tomato plant in a pot, probably a reference to the still lifes for which Marchand was known. The second presents two different figures of a horse: in the upper half of the sheet, a white horse, seen in profile; in the lower half, a powerful horse's head, also in profile, against a stark dark background. Both are dated by the artist "7 August 44"; the first drawing also bears in the lower right-hand corner the signed dedication: "Pour André Marchand / Picasso". - In 1936 Ambroise Vollard commissioned illustrations by Picasso for the comte de Buffon’s 18th century encyclopedia, "Histoire naturelle". The book was published in 1942 with Picasso’s 31 prints. The delightful images of the animal kingdom, rendered with exquisite technique, must have surely brought joy to those who viewed it during the dark days of the war. Printed in a relatively small edition of 226, several copies went to friends with unique drawings such as these. - Includes an additional print of the "Mère poule" plate. Provenance: André Marchand; Jean A. Bonna (his bookplate to the portfolio's pastedown). With a certificate from Picasso's daughter Maya, dated 10 October 2002. S. Goeppert, Picasso (1983), p. 104-107. The Artist and the Book, 231. OCLC 78845813.
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