Estampes

Estampes — marelibri

[Zurich New Year's Engravings].MareMagnum

[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.)

Inlibris · Autriche9 500,00 €

[Klimt, Gustav] - Geyling, Remigius, painter and stage designer (1878-1974).MareMagnum

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.

Inlibris · Autriche45 000,00 €

Clark, John Heaviside.MareMagnum

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.

Inlibris · Autriche3 500,00 €

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