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OPERA & THEATRE
in their Wealth of Experience
in the 18th , 19th & 20th Centuries
“ Just as the artist, where he shall move, he shall not be moved himself, also the spectator, if he wants to taste the theatrical appeal, may never see this as reality if the artistic treat shall not diminish to human sympathy. The actor shall act – he shall not pass through. The spectator shall remain incredulous and thus unhindered in his intellectual receipt and epicurean joy ”
(Ferruccio Busoni in Wolfgang Sandner’s citation on Kurt Weill,
Frankfurter Allgemeine Zeitung March 4, 2000)
The City was at her Feet —
Polly Peachum !!
Hogarth, William (1697 London 1764). Miss (Lavinia) Fenton , later Duchess of Bolton, the original Polly Peachum of Gay’s Beggar’s Opera. Half length portrait in oval to the left. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt . / T. Cook sculp. / Published by Longman, Hurst, Rees & Orme, May 1st. 1807., otherwise as above. Subject size 5⅝ × 10¼ in (14.2 × 10.8 cm).
Hogarth catalog of the Tate Gallery, 1971/72, 109 with ills. (oil, c. 1740). – The immensely praised Polly of John Rich’s first night of John Gay’s Beggar’s Opera (besides recollect the first night of Brecht’s Three Penny Opera exactly 200 years later) at the Theatre in Lincoln’s-Inn Fields in 1728. Still the same year the Duke of Bolton allowed the Fenton (1708-1760) a downright royal apanage and on the death of his duchess in 1751 she became his wife. Up to the expression of her eyes everything was in harmony with her and beauty and power of her voice had her sing a Polly which raised the audience in exultation and had the suitors run after her.
Cook “made his mark as Hogarth engraver, too” (Thieme-Becker); present sujet, however, he has treated supposedly for the first time only in the small edition of the years 1806/09 following his folio edition. – Trimmed within the wide white platemark feebly browned particularly in the far parts.
Offer no. 15,328 / EUR 98. (c. US$ 107.) + shipping
Brecht – Sinn und Form. Beiträge zur Literatur. Ed. by the German Academy of Arts. Second special issue Bertolt Brecht. Berlin. (1957.) Large 8vo. 628 pp. Orig. half cloth with back-plate.
Contains besides Walter Nubel’s still decisive Brecht Bibliography (pp. 481-623) and in first prints contributions referring to the theatre as
Der aufhaltsame Aufstieg des Arturo Ui (first print) – An Helene Weigel zum 1. 5. 1950 – Bentley, Die Theaterkunst Brechts – Chiarini, Lessing und Brecht – Augsburger Theaterkritiken (first print) – Ihering, Kritiken aus den 20er Jahren – Benjamin, Ein Familiendrama auf dem epischen Theater – Einige Irrtümer über die Spielweise des Berliner Ensembles – Rülicke, Leben des Galilei – Berlau, Poesie der Regie – Wirth, Über die stereometrische Struktur der Brechtschen Stücke – Die Geschäfte des Herrn Julius Cäsar (first print) – Stimmen der Deutschen Bühne zum Tode Brechts (first print) – Dreizehn Bühnentechniker erzählen.
Offer no. 11,495 / EUR 95. (c. US$ 104.) + shipping
Beethoven – (Seyfried, Ignaz Ritter von, 1776 Vienna 1841). Work fellow already of the Early Years – “(Biographical Notes [on Ludwig van Beethoven])“. Reduced reproduction + transcription of the autograph manuscript from 1831, having been laid before the musicologist Bettina von Seyfried. Bonn, Niemeyer, 1990. 12 unnumbered sheets. With 13 (12 full-page) illustrations. In sheets with repeated portrait vignette on cover (this in red and black).
Complete manuscript version published for the first time
as the deviating original writing
of this second to the earliest more detailed source of the Beethoven biography with the highest important passage, missing in the print (within the appendix to L. v. B. Studies in the Thorough-Bass, Vienna 1832), regarding the generous gift of money of the London Philharmonic Society which B. on his deathbed so immensely moved out of gratitude. As also with difference at the beginning in respect of the birthday taken over by B. himself and at the broken end, here with “(Now will be inserted the Preliminary Report to the Miserere.)”, followed by naming of the annex I. as the funeral oration of Grillparzer. Otherwise the authentic report of the one who was present from the earliest time in Vienna. At the most legendary wrestlings with Wölfl at the piano in the house of Wetzlar,
at the disastrous first of FIDELIO
November 20, 1805, whose orchestra rehearsals he had directed and whose 3rd Leonoren overture he should have directed in the second run March 28 (29?) + April 10, 1806. And for the requiem he wrote the choral.
Request no. 13,097 / token fee EUR 15. (c. US$ 16.) + postage
– – – – The autograph manuscript above itself, in continuation enlarged by the core manuscript of the Character Traits and Anecdotes. – Also see the complete description.
Offer no. 15,767 / price on application
Seyfried – Seyfried, Bettina von. Ignaz Ritter von Seyfried. (Thematical-bibliographical list / Aspects of the biography and the œuvre.) 1990. Large 8vo. 589, 3 pp. With portrait-frontispiece + numerous examples of music. Ills. orig. wrappers. – EUROPEAN UNIVERSITY STUDIES XXXVI (Musicology), XXXII. – Typoscript in German of the dissertation of 1983, dedicated to her “parents and Leonore”.
Offer no. 29,024 / EUR 90.95. / export price EUR 85. (c. US$ 93.) + shipping
Birch-Pfeiffer – Romeo and Julia. Charlotte Birch-Pfeiffer as the nurse of Julia in Shakespeare’s tragedy at the Berlin Royal Dramatic Theatre. Glazed colored lithograph printed with tone plate after a photograph by R. Marowsky for Louis Veit, Berlin. (1859/60.) 9 × 5⅞ in (23 × 14.8 cm). – Sheet 28 of the Lipperheide set Ucd 19 on light cardboard.
Offer no. 6,500 / EUR 50. (c. US$ 55.) + shipping
Döllinger – Rast, Auf der hohen. Therese Döllinger as Bärbchen in Gustav Griepenkerl’s play at the Royal Theatre, Berlin. Glazed colored lithograph as before, sheet 46.
Offer no. 15,392 / EUR 78. (c. US$ 85.) + shipping
Hendrichs – Demetrius. Hermann Hendrichs as Demetrius in F. Gustav Kühne’s drama after Schiller’s draft at the Royal Theatre, Berlin. Glazed colored lithograph as before, sheet 25.
Offer no. 6,499 / EUR 50. (c. US$ 55.) + shipping
Julius – King, How is the? Louis Julius as Blücher in Arthur Müller’s play at the Friedrich Wilhelmstadt Theatre, Berlin. Glazed colored lithograph as before, sheet 36.
Offer no. 15,390 / EUR 98. (c. US$ 107.) + shipping
Kaiser – Mondecaus. Wilhelm Kaiser as Richelieu in A. E. Brachvogel’s tragedy at the Royal Theatre, Berlin. Glazed colored lithograph as before, sheet 45 of the set.
Offer no. 15,388 / EUR 148. (c. US$ 162.) + shipping
Mittell – Kitchen Novel, A. Carl Mittell as Ferenz in W. Kläger’s picture of life at Wallner’s Theatre, Berlin. Glazed colored lithograph as before, sheet 29.
Offer no. 15,391 / EUR 78. (c. US$ 85.) + shipping
Porth – Maria. Carl Porth as Pope Gregory V in J. L. Klein’s drama at the Royal Theatre, Berlin. Glazed colored lithograph as before, sheet 34 of the set.
Offer no. 15,389 / EUR 98. (c. US$ 107.) + shipping
Reusche – Folks, One of our. Theodor Reusche as Jsak Stern in O. F. Berg’s burlesque at Wallner’s Theatre, Berlin. Glazed colored lithograph as before, seeet 32.
Offer no. 6,502 / EUR 50. (c. US$ 55.) + shipping
Wollrabe – Helmerding – Dancer, An Old. Amalie Wollrabe and Carl Helmerding as dancing pair Ninette and Girard in the 1st act of L. Günther’s burlesque at the Wallner Theatre, Berlin. Glazed colored lithograph as before, sheet 47.
Offer no. 6,503 / EUR 60. (c. US$ 66.) + shipping
A Pig and A Pullet
Newton, Richard (about 1777 – London 1798). Which Way Shall I Turn Me. The reverend in a wicked affliction: on the right the usual smoking roasting pig together with the bottle, on the left, invitingly stretched out on the sofa, a youthful beauty full of temptations. Originally colored engraving, partly with stipple, for William Holland in London. Inscribed: Richard Newton del / London, Pub. July 1. 1794 by Willm. Holland, No. 50, Oxford Street., otherwise as above and below resp. 9¾ × 12¼ in (24.8 × 31.2 cm).
With caption: “In Holland’s Exhibition Rooms, may be seen the largest Collections of Humorous Prints in Europe. – Admittance 1. Shill.”. – On the back a few color stains and marginal tape from previous framing. – Effective sheet, parodying in the character of
Macheath between Polly & Lucy
– the title is taken from the third act of John Gay’s Beggars Opera –
the clergy’s double carnal desire .
See the complete description.
Offer no. 15,501 / EUR 730. / export price EUR 694. (c. US$ 759.) + shipping
The Stage World of
1697 London 1764
(John) Rich’s Triumphant Entry. The great actor’s and his company’s moving from Lincoln’s Inn Fields Theatre into Covent Garden under the banner “Rich for ever”, confronted by the clock’s inscription “Sic Transit Gloria Mundi”. He himself, in the skin of the famous hound from Perseus and Andromeda, together with spouse in the carriage drawn by satyrs and driven by a harlequin at the head. At the rear the cart with the stage properties. Engraving. Inscribed: WHO’TH (?) SCULP. (in the image lower left), title as above. 8⅛ × 13⅞ in (20.7 × 35.3 cm).
Nagler 13. – Impression from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]). – Above trimmed within the platemark.
Offer no. 7,884 / EUR 176. (c. US$ 192.) + shipping
– – – The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Rich’s Triumphal Entry. / Hogarth pinx. / T. Cook sculp. / Published by Longman, Hurst, Rees, & Orme, Nov. 1st. 1809. Subject size 4½ × 7¼ in (11.5 × 18.5 cm).
Cook’s smaller repetition. – Trimmed within the wide white platemark whose outer parts are somewhat brown-stippled on two sides.
Offer no. 8,915 / EUR 135. (c. US$ 148.) + shipping
Opening Night 290 Years Ago
The Beggars Opera. John Gay’s immortal opera – Act III, Scene 11 – in John Rich’s first night of 1728 at the sold out house. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Design’d by W. Hogarth. / Engrav’d by T. Cook., title as before. 9¾ × 11 in (24.8 × 28 cm).
With caption :
“ Brittons attend — view this harmonious Stage
And listen to those notes which charm the age
Thus shall your tastes in Sounds & Sense be shown
And Beggars Op’ras ever be your own. ”
“ In the former, all the characters are drawn with the heads of different animals: as Polly with a cat’s; Lucy with a sow’s; Macheath with that of an ass; Lockit and Mr. and Mrs. Peachum with those of an ox, a dog, and an owl. In the latter, several Noblemen appear conducting the chief Female Singer forward on the Stage … Harmony, flying in the air, turn her back on the English Playhouse, and hastens toward the Rival Theatre. Musicians stand in front of the former … ”
Contrary to all later Hogarth editions in its original size. Cook “made himself a name as Hogarth engraver, too” (Thieme-Becker). – Below trimmed within the wide platemark, in the wide upper two faint tidemarks.– See the complete description.
Offer no. 7,581 / EUR 240. (c. US$ 262.) + shipping
– – The same. Cook’s smaller repetition engraved together with his son. Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1808., title as above. Subject size 5½ × 6⅞ in (13.9 × 17.4 cm).
In reverse to Cook’s large first version, as to that by Hogarth. – Trimmed within the wide white platemark. This somewhat browned on the outer parts of two sides.
Offer no. 8,916 / EUR 146. (c. US$ 160.) + shipping
– – The same in Hogarth’s own engraving. Inscribed: Design’d by W. Hogarth., title + caption as above. 9⅞ × 11 in (25 × 28 cm).
Heath impression as above. – As half size trimmed below within the wide platemark.
Offer no. 7,837 / EUR 176. (c. US$ 192.) + shipping
“ Possibly the Most Original Actor
of the Eighteenth Century ”
Mr Garrick in the Character of Richard the Third. Here “The tent scene, Act V, Scene 3, which was especially praised” – the king raising terrified from his dream in the tent. To the left his own camp and that of Richmond’s “so that a battle is inescapable”. Steel engraving. About 1840. Inscribed: Garrick in der Rolle Richard des Dritten. / Shakespear (sic!) Act 5, Scene 7 (sic!, recte 3), otherwise as above. 5⅝ × 6⅝ in (14.3 × 16.9 cm).
In the same direction as Hogarth’s painting of c. 1745 (H. Cat. Tate Gallery 1971/72, 123 with ills.). – Below trimmed within the last line of text.
“ This picture was caused by the first appearance of the British Roscius in the rôle of Richard IIIrd at the theatre of Goodman’sfield (Lincoln Inn Fields) in the year 1741 by which that famous actor forced his way in a way that from the first moment on he found the most complete acknowledgement by the nation … Garrick has reshaped the English stage, and still exercises his efficacy through the tradition as his method to impersonate Shakespeare’s characters was handed down to actors from generation to generation … The whole body (here), from top to toe, is frantically moved by the terror of the other world … ”
(Lichtenberg). And Schiller in The Ghost-Seer from 1787 :
“ What! … his convulsive fits; his swoon; the deplorable situation … were all these nothing more than the mimickry of an actor? I allow that a skilful performer may carry imitation to a very high pitch, but he certainly has no power over the organs of life. ” “ As for that, my friend, I have seen Richard the Third by Garrick — ”
And “The design follows Le Brun’s ‘Tent of Darius’”, so Lawrence Gowing in the catalogue by the Tate Gallery. Also drawing the attention to the fact that the proceeds of 200 £ received for the painting “paid by Mr Duncombe, who commissioned the picture, remained a matter of pride to the painter”. Support for this not least that charming letter of the master of Oct. 21, 1746, on the “Proportions of Garrick and Quin” in which he explains this nice sum with the words
“ … sold … on account of its Likeness which was the reason it was call’d Mr Garrick … & not any body else “ .
David Garrick’s (Heresford 1716 – near London 1779) beginning dates from just that year, first in Ipswich, then already see above. 1746 he went on to Covent Garden, 1747 he bought the Drury Lane together with Lacy where he endeavoured “to revive especially the taste for Shakespeare’s works” (Meyer’s Konversations-Lexikon, 4th ed.). 1776 he withdrew. He was buried in Westminster Abbey at the foot of Shakespeare’s memorial. He himself wrote 27 comedies (see on this “The Farmer’s Return”). And even Hogarth’s epitaph. – See the complete description.
Offer no. 7,816 / EUR 50. (c. US$ 55.) + shipping
Garrick is the Greatest
Fac Simile of the Proportions of Garrick and Quin. The two, both twice, outlined at the stadia rod, of which each of the outer double is marked with “a very short proportion” (Quin) and “a very tall proportion” resp. Within the autograph letter of Oct. 21, 1746. Engraved facsimile by Thomas Cook (c. 1744 – London 1818). Inscribed: From the Original in the Collection of J. P. Kemble Esqr. / T. Cook sc. / Published by Longmann, Hurst (quite pale), Rees, & Orme, Novr. 1st. 1808., title as before. 9⅞ × 13¾ in (25 × 35 cm).
“ To G H (?) to be left at the Post office at Norwich / HO (?), Siegel / Sr / If the exact Figure of Mr Quin, were to be reduced to the size of the print of Mr Garrick it would seem to be the shortest man of the two, because Mr Garrick is of a taller proportion. / examples … / Let these figures be doubled down so as to be seen but one at once, than let it be ask’d which represents the tallest man. Yours W H. ”
And left above the address :
“ The Picture from whom the Print in question was taken, was Painted from Mr Garrick big as the life, & was sold for two hundred pounds on account of its Likeness which was the reason it was call’d Mr Garrick in the Character of Richard the 3d – & not any body else ”
The latter paragraph referring to Hogarth’s mentioned painting of c. 1745, now in the Walker Art Gallery, Liverpool (Hogarth Catalogue of the Tate Gallery, 1971/72, 123 with ills.; “Portraiture and the theatre as a basis for history painting on the grand scale”). After this then the mentioned engraving, worked by Hogarth together with C. Grignon in July 1746 (Hogarth Catalogue Zurich, 1983, 73 with ills.; see no. 7,816 before).
On Hogarth’s pride in the good payment for the painting expressed in the letter the Tate Catalogue says :
“ The price of £ 200 paid by Mr Duncombe, who commissioned the picture, remained a matter of pride to the painter. ”
Very rare. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker). – Three vertical folds within the engraving, additionally right of the white platemark repeatedly sligthly pleated. If framed only limitedly perceptible. – The white upper margin faintly brown striped and not absolutely fresh.
Offer no. 14,094 / EUR 230. (c. US$ 251.) + shipping
Once a Famous Fair in London
A Leg wanders through Art History
from Bruegel via Hogarth to Goya
and is here together a Little Leg
in the Small Beginning of the
Southwark Fair. The London fair with its populous colorful scene. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by Wm. Hogarth / Engraved by T. Cook / Published April 1st. 1796, by G. G. & J. Robinson, Paternoster Row, London., title as before. 14¾ × 18¾ in (37.4 × 47.5 cm).
Hogarth Catalog Tate Gallery, 1971/72, 74 (the 1733 oil) along with ills.; H. Catalog Zurich, 1983, 20 (H’s engraving of 1734 in reverse) with ills. – As subscription ticket Subskriptionsbeleg served suggestively “The Laughing Audience” (see below).
The second earliest depiction
of the exposition “Come in, Come in – Fair’s Prints from Three Centuries” of the Puppet Show Collection Munich of 1975/76. See no. 2 of the exhibition catalog along with double full-page ills. pp. 52/53.
“ This first sheet by Hogarth of larger consequence, which he himself attached importance also still later, giving the depiction of one of those fairs which in England in the beginning of the new time were still of importance for the trade, but already in the last half of the 17th century served only as motive for amusement of the lower-classes, which is usually the case on such occasions.
But it also don’t lack at tragedy … especially in front at ‘Bajazet’s Fall’ (see below), at that time a famous heroe on the national theatres … played by the way by Cibber and Bullock …, by a company which circumstances a (deliciously illustrated) signboard with the headline
The Stage Mutiny
( the actors’ rebellion from Drury Lane
with Theophilus Cibber
at the head , from which the Haymarket Theatre formed )
still more detailed comments …
At a large kiosk … dramatical performances are promised by comedy-bills and executed, too, … A heroic piece likewise is in the process of the show, the siege of Troy …
The main thing on the sheet naturally formed the crowd. Also here a troupe of comedians is noticeable which first makes known its performance under beat of the drum and trumpet-blast. The drum is played by a beauty … This should be the portrait of an actress from a similar company of players. How it is told once Hogarth had mixed with the crowd on a Southwark Fair and saw how a pretty street comedian was maltreated by her director. The spectacle was so awkward to him that he directly gave a lecture of gallentry with the riding-whip to the director. But the girl pleased him so much that he drew her and later placed on this picture ”
however, is the own fall of the future Haymarket ensemble, and in such a way unintentionally live playing just “The Fall of Bajazet”, from its wooden stage established raisedly above the crowd into the goods of a porcelain shop. And in doing so , full of symbolism , showing leg . In this case that of a beauty. A leg with past and future. For
“ The actress’s flailing legs among the timbers of the stage … recall Bruegel’s ‘Fall of the Magician’ (rather than the work by Coypel which is sometimes suggested.)
This passage in the ‘ Southwark Fair ’
… may have suggested the similar detail in Plate 30 of Goya’s ‘Disaster of War’ ”
(Lawrence Gowing im Katalog der Tate Gallery).
Splendid impression of finest chiaroscuro
of this unrepeatable sheet, in the same direction to Hogarth’ engraving, on strong paper. Cook “made his mark as Hogarth engraver, too” (Thieme-Becker), whose original size he maintained in contrast to all later Hogarth editions. – The wide white margin with a quite faint tidemark above right.
Offer no. 7,555 / EUR 614. / export price EUR 583. (c. US$ 637.) + shipping
– – – The same in Cook’s smaller repetition, in same direction to the oil. Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, July 1st. 1807., title as above. Subject size 5½ × 6¾ in (14 × 17 cm).
Trimmed within the wide white margin, two sides of which, relatively three, in its outer parts weakly brownspotted.
Offer no. 8,925 / EUR 151. (c. US$ 165.) + shipping
The Laughing Audience. The laughing pit during a comic opera, “perhaps Gay’s famous or notorious Beggar’s Opera”. In front three members of the orchestra. Engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). 8½ × 7⅝ in (21.7 × 19.5 cm).
“ The masterly reproduction of all nuances of laugh ”
(Thieme-Becker). – Served originally as subscription ticket for Southwark Fair + A Rake’s Progress. – See the illustrations of the 1733 Hogarth etching in the Hogarth catalogs of the Tate Gallery, 1971/72, no. 82 + the Art Gallery Zurich, 1983, no. 22.
“ The beholder can find in the depicted faces the complete gradation of jollity … and besides note the expression which will be caused at the funniest high spirits by the difference ages. Only one face preserves an unshakable earnestness … perhaps of a critic … ”
RIEPENHAUSEN’S ENGRAVINGS AFTER HOGARTH ( “very estimable” ) count to his main work and are preferred partly to the Hogarth engravings itself. – Fine early impression .
Offer no. 7,903 / EUR 95. (c. US$ 104.) + shipping
– – – The same by Riepenhausen in probable impression of a special edition in view of the good, strong paper. 8⅝ × 7⅞ in (22 × 20 cm).
Offer no. 5,946 / EUR 86. (c. US$ 94.) + shipping
– – – The same by Riepenhausen on a slightly toned less paper. 8⅝ × 7⅞ in (22 × 20 cm).
Offer no. 14,091 / EUR 76. (c. US$ 83.) + shipping
– – – The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Nov. 1st. 1807., title as above. Subject size 6⅛ × 5½ in (15.7 × 14 cm). – Cook’s smaller repetition. – Trimmed within the wide white margin. Three outer edges somewhat brownspotted.
Offer no. 8,924 / EUR 61. (c. US$ 67.) + shipping
– – – The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) 8¼ × 6⅞ in (21 × 17.6 cm).
Offer no. 5,945 / EUR 71. (c. US$ 78.) + shipping
– – – The same in lithography. (1833/36.) 9⅜ × 6⅛ in (23.7 × 15.5 cm). – With detailed caption à la Lichtenberg in German.
Offer no. 5,947 / EUR 71. (c. US$ 78.) + shipping
– – – The same in steel engraving. C. 1840. 7¼ × 6 in (18.5 × 15.4 cm).
Offer no. 7,737 / EUR 40. (c. US$ 44.) + shipping
The Enraged Musician. The Italian violinist enraged about the many itinerant traders acting in front of his window. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by W. Hogarth / Engraved by T. Cook / Published August 1st. 1797 by G. G. & J. Robinson, Paternoster Row, London., title as above. 14⅛ × 16¼ in (35.9 × 41.3 cm).
One of the most delicious Hogarth sujets
(FAZ Sept. 26, 1978 along with ills.; see also this of the Hogarth catalog Zurich, 1983, no. 41). So the poster at the window then bills the 62nd performance of Gay’s famous piece and calls the cast for Macheath (Mr. Tom Walker), Polly (Miss Lavinia Fenton), and Peachum (Mr. John Hippisley). And quite fittingly below a lady rocking a baby sings The Ladies Fall. Otherwise united “the loveliest of the so-called London cries … ” (Lichtenberg). – Very fine impression standing out by splendid light effects. – See the complete description.
Offer no. 14,707 / EUR 760. / export price EUR 722. (c. US$ 789.) + shipping
– – The same in Hogarth’s own engraving in Heath impression as above. Inscribed: Design’d, Engrav’d & Publish’d by Wm. Hogarth Novbr. the 30th. 1741. According to Act of Parliament, otherwise as above. 14⅜ × 16 in (36.4 × 40.8 cm).
Offer no. 14,708 / EUR 380. / export price EUR 361. (c. US$ 395.) + shipping
– – The same in engraving by Carl Heinrich Rahl. (1818/23.) 7¾ × 9 in (19.8 × 22.8 cm).
Offer no. 14,710 / EUR 189. (c. US$ 207.) + shipping
– – The same in engraving by Ernst Ludwig Riepenhausen. 19.4 x 26.5 cm. – Impression about 1820 on slightly toned minor paper.
Offer no. 14,711 / EUR 189. (c. US$ 207.) + shipping
– – The same by Riepenhausen as before, but in an impression about 1850 on especially buff paper.
Offer no. 14,712 / EUR 240. (c. US$ 262.) + shipping
“ Evidently suggested
by Colley Cibber’s production of
at Drury Lane on 26 October 1727. ”
King Henry the Eigth & Anna Bullen (Boleyn). Henry confesses the court lady of his wife (1.) Catherine of Aragon, this set back on the throne, his feelings. To the right the almighty cardinal + archbishop Thomas Wolsey. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Design’d by Wm. Hogarth. / Engrav’d by T. Cook. / London Published by G & J Robinson Paternoster Row October 1 1801., title as above. 18⅞ × 14⅞ in (48 × 37.9 cm).
The work owes its creation to Cibber’s 1727 Shakespeare performance in the Drury Lane “although the print does not show any scene in the play” (Cat. Tate Gallery). Thieme-Becker’s assumption the engraving represents the lost painting of a third is considered as dated as quite contrarily that painting is regarded as a copy of the engraving known to Hogarth. It hang in Vauxhall Gardens till into those ’40s and was regarded, what Horace Walpole denied, as a representation of the Prince of Wales with Harriet Vane. A satire on their marriage in 1763 had recourse to Hogarth’s composition.
Marvelous impression of rich contrast of the also optically effective large sheet. Cook “made his mark as Hogarth engraver, too” (Thieme-Becker). And as the only one of the later Hogarth editions he maintained his original format. – Two weak brown stripes in the wide white upper margin. The feeble foxing on the back not getting through to the picture. Only the outer edges of two, limitedly three, sides slightly browned. Pinhead-thin spot invisible within the upper wall ornaments. – See the complete description.
Offer no. 7,586 / EUR 271. / export price EUR 257. (c. US$ 281.) + shipping
– – – The same in Cook’s smaller repetition engraved together with his son. Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1806., title as above. 7⅜ × 6 in (18.7 × 15.3 cm).
Reverse to Cook’s large first version which corresponds with Hogarth’s engraving. – Trimmed within the wide white platemark. This weakly brownspotted on three sides.
Offer no. 8,918 / EUR 95. (c. US$ 104.) + shipping
– – – The same in Hogarth’s own engraving of c. 1728/29 in Heath impression as before, here additionally “Republished March 18th. 1828, by R. & E. Williamson, Engravers, & Printers, 14. Moore Place, New Bethlem, Lambeth, London”. Inscribed: King Henry the Eigth, & Anna Bullen. / Design’d & Engrav’d by Wm. Hogarth. / London, Printed for Robert Wilkinson, Cornhil, Carington Bowles in St. Pauls Church Yard & R. Sayer, in Fleet Street., otherwise as above. 19⅛ × 15⅛ in (48.5 x× 38.5 cm). – Illustration of the first state (with caption) see cat. Tate Gallery, 21.
Offer no. 7,860 / EUR 215. (c. US$ 235.) + shipping
A Just View of the British Stage, or three heads are better than one, Scene Newgate …. Rich stage properties scenery with the three actors in the center on the stage. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Design’d by W. Hogarth / Engrav’d by T. Cook. / London Published by G. & J. Robinson Paternoster Row October 1st. 1802., title as above. 8⅞ × 10⅞ in (22.6 × 27.6 cm).
With 4-lined caption: “This Print Represents the Rehearsing a new Farce that will include (i. a. ?) two famous Entertainments Dr. Faustus & Harlequin Sheperd, to which will be added … Ben Johnsons Ghost …” – Above trimmed within the wide platemark.
Offer no. 7,609 / EUR 197. (c. US$ 215.) + shipping
– – The same in Hogarth’s own engraving (? inscription deleted). Inscribed: Design’d by W. Hogarth / …, title + caption as above. – Nagler 9. – Fine impression of the Heath edition. – Above trimmed within the wide white platemark.
Offer no. 7,839 / EUR 176. (c. US$ 192.) + shipping
– – The same in Cook’s smaller repetition engraved together with his son, relinquishing the caption. Inscribed: A Just View of the British Stage. / Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, July 1st. 1808. Subject size 5¾ × 6⅝ in (14.7 × 16.9 cm).
Trimmed within the wide white platemark which is somewhat brown-stippled in the outer parts of three sides.
Offer no. 8,908 / EUR 107. (c. US$ 117.) + shipping
The Farmer’s Return. The farmer with smoking pipe at the fireplace being comforted by his family while the housewife pours the beer onto the floor instead of the mug held out to her. Engraving by James I Basire (1730 London 1802). Inscribed: Wm. Hogarth delin. / James Basire. Sculp., title as before. 10 × 8⅝ in (25.5 × 21.8 cm).
“ Of the three engravers of this name the eldest is … the most superior … Correct drawing and true control of the graver are said to his praise ”
(Thieme-Becker). – Worked as frontispiece for the little play by the legendary Shakespeare actor Garrick. – Heath impression.
Offer no. 7,853 / EUR 118. (c. US$ 129.) + shipping
– – The same in engraving by Thomas Cook. Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, March 1st. 1807., title as above. Subject size 6¾ × 5½ in (17.2 × 14.1 cm).
Trimmed within the wide white platemark which is weakly brown-spotted in the outer parts of 2.5 sides.
Offer no. 8,997 / EUR 81. (c. US$ 89.) + shipping
Hymen & Cupid. Admission ticket for the mask play “Alfred the Great” in Cliveden House – this in the background – 1748 before Prince and Princess of Wales on occasion of the latter’s birthday. Engraving in oval set in rectangle border by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculp. / Published by Longman, Hurst, Rees, & Orme, Aug. 1st. 1809., otherwise as above. Subject size 5½ × 6⅝ in (14.1 × 16.8 cm). – Served later as subscription proof for H’s Sigismunda. – Trimmed within the wide white platemark whose outer edges are weakly brownspotted on two sides.
Offer no. 9,025 / EUR 33. (c. US$ 36.) + shipping
Masquerades and Operas. Burlington-gate. The several establishments situated before the Academy of Arts. On the left the advertising banner with the scene from an opera. At the neighbouring window a tout endeavours to tempt the fools rushing to the side entry into the masquerade in his own house. Greatest crush, however, on the opposite side where, just in the front of the picture,
“ Dr. FAUSTUS as Hero ”
is promised by the tout in harlequin costume. In-between a book cart with purified dealer who knows what he sells: Waste paper for Shops, amongst it Shakespeare, Ben Johnson, Dryden. Engraving by Thomas Cook. Between 1795 + 1803. Inscribed as above. 5¾ × 7¾ in (14.6 × 19.8 cm).
The youthful-fresh lively work
as an already true Hogarth. Illustrating “the so-called ‘Pleasures of the City’” (Thieme-Becker) and together a “satire on Lord Burlington who preferred the scribbler Kent to the famous Thornhill (Hogarth’s father-in-law)” (Nagler). – In the original Hogarth format. – Two sides trimmed within the white platemark. In the wide right outer margin faint tidemark.
Offer no. 7,603 / EUR 118. (c. US$ 129.) + shipping
Humours of Oxford, 1729. The vice chancellor of the university together with proctor’s man surprises two students in a tavern, one of the two even drunk. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Novr. 1st. 1807., title as above. 7⅛ × 4¾ in (18.1 × 12.1 cm).
Frontispiece to James Miller’s comedy staged in Drury Lane. – Trimmed within the wide white platemark whose outer edges are weakly brown-spotted on two sides. Repaired minor tear in the lower margin.
Offer no. 8,919 / EUR 50. (c. US$ 55.) + shipping
“ … but unfortunately ! ”
Rehearsal of the Oratorio of Judith. Engraving by Thomas Cook (c. 1744 – London 1818). C. 1800. Inscribed as before as well as in the picture: Judith: an Oratorio; or sacred drama by. 7⅝ × 6¾ in (19.5 × 17.2 cm).
Illustrations of Hogarth’s etching of 1732 see Hogarth catalogues Tate Gallery, 1971/72, 81 (with the receipt text of states 1 + 2) + Kunsthaus Zurich, 1983, 21 (without text settled from the 3rd state on of which just the “Rec(eive)d” remained), each with illustration. – Served as subscription ticket for the immortal gentlemen sujet “A Midnight Modern Conversation”.
Leading character of this capital sheet is the then conductor William von Fesch here practicing his oratorio Judith – with the text by William Huggins, both not only today forgotten since long – with the choir.
“ Hogarth … has given to all faces … so much expression that one cannot doubt for one moment how all make a point of winning satisfaction and applause of the audience … but unfortunately! ”
Very fine impression on strong paper. – In the white upper margin faint tidemark, left and below trimmed within the wide platemark. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker). – See the complete description.
Offer no. 7,549 / EUR 118. (c. US$ 129.) + shipping
– – – The same in Cook’s smaller repetition. Subject size 6¾ × 5½ in (17 × 14 cm). – Trimmed within the wide white platemark that is slightly browned in its outmost parts.
Offer no. 8,926 / EUR 61. (c. US$ 67.) + shipping
– – – The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) 8⅜ × 7⅜ in (21.3 × 18.6 cm).
Offer no. 5,948 / EUR 71. (c. US$ 78.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). 8 × 7¼ in (20.3 × 18.4 cm). – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and not least for being in the original direction they are partly even preferred to Hogarth’s own engravings. – Fine early impression with light plate tone.
Offer no. 5,949 / EUR 95. (c. US$ 104.) + shipping
– – – The same by Riepenhausen as before, but on especially buff paper, supposedly about 1850. – Especially the wide upper as well as the left margin with traces of glue, the reverse isolated foxspots in the area of the wide platemark and white lower margin resp. barely noticeable on the front.
Offer no. 5,952 / EUR 86. (c. US$ 94.) + shipping
– – – The same in lithography. (1833/36.) The Choir. Inscribed in German as before, above right erroneously “64.”. 8⅞ × 6 in (22.5 × 15.1 cm). – Marvelous impression of rich contrast with extensive caption in German à la Lichtenberg:
“ William von Fesch, former conductor in Antwerp … took all possible pains to gain this oratorio admission in London, but unfortunately the audience not only remained cool during the performance but even forced him to stop already in the middle what of course could not but cause the highest pains for a composer, especially if he has a high opinion of himself. ”
Offer no. 5,950 / EUR 86. (c. US$ 94.) + shipping
The Actor’s Bread is the Distress
(Ticket) for the Benefit of (James) Spiller (the Player). The actor of Beggar’s Opera – “who played the character of Mat of the Mint … with great applause” – at a scale measuring debit and less credit in front of the debtor’s prison, selling tickets for box, gallery and pit in the futile attempt to fight off all the presented promissory notes, particularly big the one by the tailor. Ready, though yet hatched, the execution officers. Engraving by Thomas Cook, together with his son. Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees & Orme, Apr. 1st. 1808., otherwise as above. Subject size 4⅜ × 5¼ in (11.2 × 13.4 cm).
Hogarth’s support of about 1728 for the as talented as poor actor, whose features have, irrespective of their minuteness, the quality of a portrait. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker); present portrait, however, he has treated supposedly for the first time only in the small edition of the years 1806/09 following his folio edition. – Trimmed within the wide white platemark quite feebly brown-touched at its far edges on three sides.
Offer no. 15,326 / EUR 86. (c. US$ 94.) + shipping
(Ticket for the) Theatre Royal / April a Comedy with the Mock Doctor for the Benefit of the Author of the Farce. Stage scenery. Engraving. Inscribed: W. Hogarth ft, otherwise as above. 5¾ × 5⅝ in (14.7 × 14.2 cm). – Slightly palish Heath impression.
Offer no. 7,893 / EUR 28. (c. US$ 31.) + shipping
(Ticket for the) Theatre Royal / Drury Lane / The Old Batchelor. For the Benefit of Joe Miller. Stage scenery. Engraving. Inscribed: W. Hogarth ft, otherwise as above. 5¼ × 7 in (13.2 × 17.7 cm). – Slightly palish Heath impression.
Offer no. 7,894 / EUR 28. (c. US$ 31.) + shipping
(Ticket for the) Theatre Royal / Covent Garden. For the Benefit of Mr. Walker. Stage scenery. Engraving by John Sympson (b. c. 1740). Inscribed: W. Hogarth int. / J. Sympson Junr. Sculp., otherwise as above. 4⅜ × 5¼ in (11 × 13.2 cm). – Slightly palish Heath impression.
Offer no. 7,895 / EUR 25. (c. US$ 27.) + shipping
The Rape of the Lock. Vignette with the representation of a scene from Alexander Pope’s equal-named heroi-comical poem. Engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). 3⅜ × 5 in (8.5 × 12.8 cm).
Impression from about 1850 on especially buff paper. – Wide-margined, the lateral outer edges slightly brown-striped.
Offer no. 7,783 / EUR 15. (c. US$ 16.) + shipping
– – – The same on slightly toned minor paper. 3⅜ × 5 in (8.5 × 12.8 cm).
Offer no. 14,092 / EUR 12. (c. US$ 13.) + shipping
– – – The same in lithograph about 1830. Inscribed in German: Scene from the Rape of the Lock by Pope (4th song) together with five lines caption. 3¾ × 4⅞ in (9.5 × 12.5 cm). – Somewhat palish.
“ Besides Hogarth worked this picture for a box which shall have been presented to a gentleman who himself played a rôle in the poem. “
Offer no. 12,147 / EUR 10. (c. US$ 11.) + shipping
of Earthy Liveliness
Hudibras encounters the Skimmington (or The Antichristian Opera). The knight happens upon and misinterprets as anti-Christian ceremony an unruly procession of the old English and Scottish custom of publicly ridiculing a hen-pecked man or even cuckold suffering his wife’s adultery. Here both with the man set with a distaff backwards behind the woman onto the horse and treated by her with a ladle. At the window above, however, the tailor, whom his wife cuckolds by the sign of her hand, just as then also one of the two standards with shift and skirt resp. bears horns on top. Otherwise plenty of noise with pans & pots, but also horn & bagpipe. Engraving by Thomas Cook. Inscribed: Plate XII. / Design’d by W. Hogarth. / Engrav’d by T. Cook. / London Published by G. & J. Robinson Pater noster Row February 1st. 1802., Titel wie vor. 29 x 51,1 cm.
Catalog Zurich, 7 with ills. (Hogarth’s engraving: “gets into a fools procession”). – HUDIBRAS XII (cat. Zurich: 7). – Rich caption. – After the so-called large Hudibras set of 1726 contrary to the smaller, supposedly earlier one “having more the character of woodcuts”, published, however, only 1727 in a text edition of Butler’s epos. While the latter follows the course of action, “the large sheets only represent the decisive scenes with an abridgement as legend”. “Hudibras” is for H.’s
“ development of decisive significance. Here lies the key to the understanding of the satirist H. ”
On buff paper. – Of finest chiaroscuro. – Small tear off in the wide white upper margin, in the right one two faint tidemarks.
Offer no. 7,600 / EUR 322. / export price EUR 306. (c. US$ 335.) + shipping
– – – The same in Cook’s smaller version with the caption being replaced by the series title. Inscribed: Pl. XII. / Hogarth pinxt. / HUDIBRAS. / T. Cook & Son sc.. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1808. Subject size 4⅜ × 7⅝ in (11 × 19.4 cm). – At three sides trimmed within the wide white platemark, which is partially a little time-marked.
Offer no. 8,859 / EUR 84. (c. US$ 92.) + shipping
– – The same in Hogarth’s own engraving. Bezeichnet: 12. (by the publisher) / W Hogarth Inv et Sculp (in the lower left edge of the subject), title as above + caption. 10¾ × 20⅜ in (27.4 × 51.7 cm). – Heath impression.
Offer no. 7,873 / EUR 248. (c. US$ 271.) + shipping
The Indian Emperor. Or the Conquest of Mexico (John Dryden’s, 1637-1700); Act 4, Scene 4. As performed in the year 1731 at Mr. Conduit’s, Master of the Mint, before the Duke of Cumberland etc. Engraving by Robert Dodd (1748-1818). Inscribed: Printed by Wm. Hogarth. / Engrav’d by Robt. Dodd. / From the original-Picture, in the Collection of Lord Holland. / Janu. 1. 1792, by J. & J. Boydell Cheapside, & at the Shakespeare Gallery Pall Mall., otherwise as above. 18⅜ × 23¼ in (46.7 × 58.9 cm).
Hogarth Catalogue Tate Gallery, 1971/72, 41 (the painting of 1731/32) with ills. – The play usually enacted in the house of the directing John Conduitt here as children theatre in St. James’s Palace before the little ones of the royal family and their entourage, among which the Duke of Cumberland. – Somewhat palish Heath impression.
Offer no. 7,875 / EUR 146. (c. US$ 160.) + shipping
(Country Dance.) Engraving by Thomas Cook (c. 1744 – London 1818) together with his son. Inscribed: Pl. II. / Analysis of Beauty. / Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, July 1st. 1808. Subject size 5⅝ × 7 in (14.4 × 17.8 cm).
Catalogues Tate Gallery 192 + Zurich 77, each Hogarth’s version with illustrations.
The final sheet of Hogarth’s artistic credo Analysis of Beauty that “stirred an immense sensation” (Th.-B.) with its fine ball-like presentation of the English dance (3-3⅝ × 5⅜ in [7.7-9.2 × 13.6 cm]) by which the ideal of beauty + grace is illustrated. And here especially dominating by the couple dancing front left somewhat isolated whose elegance contrasts with the more rustic appearance of the rest of the party. By the way Hogarth transformed this gentleman in the 3rd state, not without expectation, into a portrait of the future George II. On the dancing floor, partly covered by the cast-off hats of the gentlemen, the silk cushion as necessary accessories of any ball for the so-called cushion dance, a kind of cotillion. The painting The Dance of c. 1745 as picture VI of The Happy Marriage served as model for this rich scenery. – See the complete description.
Offer no. 8,986 / EUR 84. (c. US$ 92.) + shipping
Musick (sic!) Introduc’d to Apollo by Minerva. (Frontispiece to some book of music, or ticket for a Concert.) Apollo with lyre holding out his hand for Minerva looking up to him. In her right a music-book. In their midst Mars with a mask on his cuirass, holding Minerva’s left. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed as above and with Hogarth’s date of 1727. C. 1805. Subject size 7½ × 5¼ in (19.2 × 13.3 cm). – Trimmed within the wide white platemark slightly foxed on three sides.
Offer no. 15,227 / EUR 68. (c. US$ 74.) + shipping
Handel’s Great Interpreter
Landseer, Thomas (1795 London 1880). When first I saw thee graceful move. Love scene on a stage before harbor scenery. She slim and languishing, he singing entranced. In the background brawl. The persons as humanly dressed monkeys. Etching. (1827/28.) Inscribed: T. Landseer, otherwise as below. 6½ × 8 in (16.6 × 20.2 cm).
Rümann, Das Illustrierte Buch des 19. Jhdts., Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On especially wide-margined buff paper. – Lower and lateral margins feebly foxing in the outside parts. – With caption from Caterina Galli’s love song:
“ When first I saw thee graceful move. Ah me, what meant my throbbing breast
Say soft confusion, art thou Love! If Love thou art — then farewell rest. ”
Caterina Galli (Cremona? c. 1723 – Chelsea 1804) came to England at the age of 19 and obtained as mezzo-soprano great popularity, particularly in breeches roles. Returned to Italy for about a decade in 1754, numerous performances in premieres at the leading opera houses of Genoa, Venice and Naples followed. Back in England, she had a particular triumph as contralto in the Messiah at the Haymarket Theatre in 1773. Lasting legacy then also generally her parts – frequently in world premieres – in many of Handel’s oratorios, including Judas Maccabaeus, Joshua, Alexander Balus, Solomon and Theodora.
Worked since 1827 the 25 etchings incl. title were published in numbers and with classical captions at Moon, Boys & Graves in London till 1828 (The English Catalogue of Books: January to December) in three editions: standard edition in quarto, edition on larger paper in large quarto, edition with proofs in large quarto, too. Besides copies on mounted China.
Offer no. 14,382 / EUR 176. (c. US$ 192.) + shipping
“ A Horse , A Horse
My Kingdom for a Horse ”
The Great Garrick
as Richard III
Dance, Nathaniel (London 1735 – Carnborough House/Winchester 1811). (Mr. Garrick in Richard the Third.) In ermine coat along with Order of the Garter and further one as well as spurs after the loss of his horse in the lost Battle of Bosworth (22 August 1485) against the Earl of Richmond, later King Henry VII. The sword in the raised right at the moment of his immortalized words
“ A horse , a horse , my kingdom for a horse ”.
Laterally left Richmond’s cavalcade, driving Richard’s infantry. Set further back manor house. Mezzotint by John Dixon (Dublin about 1740 – London 1811). Inscribed: within the subject below right J. Dixon Fecit, and in the white inscription edge below N.Dance pinxt (far left) / Dance pinxt (5 cm from platemark) / Publishd according to Act of Parliamont (sic!) April 28 1772 by John Boydell Engraver Cheapside London / J Dixon Fecit, additionally see below. 25 × 15¾ in (63.4 × 40 cm).
Smith 15.I (of II); Nagler III (1836, but ditto 1913 also Thieme-Becker VIII, 340 f.), 258 f. (Dance’s “main work is Richard III”) and, resp., page 422 on Dixon:
“ … to be mentioned particularly …
Garrick’s portrait in the character of Richard III ”
Allgemeines Künstler-Lexikon (AKL) XXIV (2000), 73: “1771 (Dance’s, subsequent Sir Dance-Holland)
dramatic rendering of
David Garrick as Richard III
in Stratford on Avon … yet increasingly he turns … to (as here, too) life-size , stately portraits.”
Befriended with Garrick, Dixon in turn – AKL XXVIII, 2001, 56 – indeed dedicated various works to him, the last still 1779 after the pale Thomas Hudson, but unsurpassably Dance’s pattern
of the wonderful Garrick
in present immortal pose of just that moment
“ as he calls furiously for his horse after the lost battle ”
(Nagler). Yet defying Richard’s dramatic appearance as a “titanic portrait of a villain of surrealistic force” (Erwin Laaths, 1953) Garrick’s position of the mouth rather aims at a quieter My kingdom I would give if only I had a horse now.
And as Richard III & Romeo and Julia are “first masterpieces of the young” Shakespeare (Laaths), so Garrick, finally fulfilling his childhood dream in 1741,
“ instantly brought the house down as Richard III at London
… G. had his features and his organ of speech most admirably under control; the expression of any emotion was at his disposal, so that he was almost equally great in tragedy as in comedy, even though the former was considered his true sphere … 1776 (he) retired to his country house near London, where he died Jan. 20, 1779, bequeathing an estate of c. £ 140,000. His corpse was
entombed in Westminster Abbey
at the base of the memorial to Shakespeare ”
(Meyers Konversations-Lexikon, 4th ed., VI , 916 f.).
“ Garrick has reshaped the English stage, and still now, by the tradition, exercises his efficacy as his method to render Shakespeare’s characters was handed down to the actors from generation to generation … ”
Here then now adequately to all the above the gigantic actor, born in Heresford 1716, at the gauge-bursting peak of the rôle of his life,
communicated in the picture of those who were about him ,
experienced him in the flesh .
So then Dixon’s just technically conditioned – only “50 or 60 … clean prints” the velvety mezzotint grants, so 1675 the expert von Sandrart –
rare main sheet
in marvelous early impression of vibrant chiaroscuro
before the title .
Two-line typographic watermark along with oval secondary mark. – Margins 2-2.5 cm wide laterally and 0.7-1 cm above & below, as for the old mezzotints worth emphasizing, all the more with such a downright
imperial format .
Particularly the latter then also marginalizing the but insignificant agemarks. Expressly mentioned yet a blotchiness of 6 x 2-3 cm in the storm clouds at the edge top left. – Shortly ,
the horse call of world literature —
here as the visualized trouvaille assoluta !
See the complete description.
Offer no. 15,859 / price on application
Autograph Documents by
playwright & writer ,
editor & theatre critic ,
predominantly Berlin , at last Weimar
to Franz Hermann Meißner ,
art writer and director of the Sedan Panorama ,
Letter of Dec. 7, 1913, with letterhead Dr. Oskar Linke Wörthstr. 47 / Weimar. 1 page.
“ Dear Franz Hermann! Therefore today Monday (Dec. 8) you have joined the round dance of the 50-year-old: my warmest congratulation! … Your old true Oscar / who has just, on Sunday!, had to … a stage critique 6 columns long.” – On light cardboard. – Acid-freely backed little tear in the white margin of the centerfold.
Offer no. 13,321 / EUR 76. (c. US$ 83.) + shipping
– from Nov. 13, 1914, with letterhead editor’s office of the Weimarische Landeszeitung Deutschland. 1 page.
“ Your fine essay, which I enjoyed personally with highest pleasure like caviar and Burgundy, unfortunately I cannot use it for our paper. You don’t know the ‘spirit’ Weimar .. … Personally I now (?) have heavy duty: ½6 get up, 1½ hours pause, then till 7 o’clock in the evening, often afterwards still theatre with following … But what one doesn’t do pro patria! / All my five nephews are in the field … ”
Offer no. 13,322 / EUR 65. (c. US$ 71.) + shipping
Available furthermore the preceding Berlin Block of 1891/99
(at present still 15 remaining pieces + 1 poem manuscript).
Dismissed by the master —
now published to his 300th birthday
as , so a museum” comment ,
“ a fine enlargement of Ridinger’s œuvre … ”
HERE , i. a. ,
THALIA with the COMIC MASK
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Hippocrene. The Horse’s or Muse’s Fountain at the Parnas or Helicon as column of water rising up like a dome. With fountain ornaments, here the overgrown arch of a grotto, dominated by the fountain’s and Muse’s horse Pegasus and populated by the nine Muses as the guardians of the spring as well as river gods as the equally mandatory attributes of the fountain. Before c. 1746. Etching + engraving. 13¾ × 11¼ in (34.9 × 28.7 cm).
erlebnis ridinger 45 with illustration. – One of six Roman numbered I/VI preferential prints in reddish black on heavy laid paper. Besides there are ten ordinary prints in black numbered Arabic 1/10 on the same and some Épreuves d’Éditeur from the not cleaned plate in partly additional colours and on further papers, all with the autograph signature of ridinger dealer lüder h. niemeyer together with the date of February 16th, 1998, as the master’s 300th birthday, and two remaining with the printer without signature. With the exception of the latter two all with comprehensive stamp to this edition on the back.
Undescribed composition, obviously dismissed by the master and uncovered here during cleaning on the back of the original printing plate for the “Evening of the Deer”, Th. 240, of the set of their “Four Times of Day” – worked about 1746 – , thematically near, but autonomous to the group of “Fountains” Thienemann (878-881) called the “Mythological Pyramids”.
Mythological background of the time of interest here is the moment Pegasus “calmed the Helicon rising up to heaven by the ecstasy about the Muses’ songs with a beat of his hoof evoking by this the enchanting Fountain of the Muses Hippocrene” (Meyer’s Konversations-Lexikon, 4th ed.).
Just to the sides of the horse the Muse of Painting not designated for her own with maulstick and palette along with brushes in her left, pressing a groundhigh slab to herself, and
Thalia as later guardian of theatre in general ,
here with the comic Mask ,
but in the raised right. On the same level outwards Aphrodite casting the horoscope and Clio as herald of history. After two bird-shaped gargoyles held by puttos – two reptile-like ones then far down at the bottom – the other five Muses, partly bathing their feet, follow. The two in front right may be Erato related especially to erotic poetry, here without attributes only standing and propping herself up, and
Terpsichore responsible for dance & choir singing ,
but then with plectrum only. Of the two located on the left one with yardstick. In between on the water group of river gods.
The self-identification with the Muse of Painting is conspicuous and leads directly to his own ex-libris, Schwarz, Cat. of a Ridinger collection, 1569 with illustration. – The reason for the supposed not using of the “Hippocrene” is not obvious. If the waterfall, falling down above behind the grotto, below, however, arriving before the river gods placed rather before this and by this having these, basically quite meaningful, appearing slightly veiled, was probably regarded as failed must be left unsettled. The platework itself may have been marginally shortened in its composition due to adjustment of the format to the other three plates.
Printing was effected on occasion of the master’s 300th birthday. And that with all the due consideration for the deer scenery on the other side, a handling which inevitably should have been regarded as dispensible in the reverse case, so that the Hippocrene etching was not perfectly virginal anymore.
Offer no. 13,279 / EUR 1022. / export price EUR 971. (c. US$ 1062.) + shipping
– – – – The same in one of the ten copies in black numbered in Arabic.
Offer no. 13,280 / EUR 868. / export price EUR 825. (c. US$ 902.) + shipping
Schiller, (Friedrich von.) (Complete Works.) (Newly revised edition.) 7 vols. Leipsic, Insel, (1924). Flexible dark brown orig. cloth with title on the back and the Inselschiff signet on front board, both gilt, and wrappers, and yellow book-mark ribbon. Yellow head edge.
(Großherzog-Wilhelm-Ernst Edition of German Classics.) – Originally published in 6 vols., 1905-06. Contrary to that present 7 vols. edition is rare. – India paper edition in fine compact format as currently no complete edition of Schiller is available. – backed tear in leaf 475/76 of the first volume, otherwise impeccable.
Offer no. 11,091 / EUR 220. (c. US$ 241.) + shipping
Brandenburg, Hans. (The modern Dance.) (2nd, enlarged ed.) With 107 plates. Munich, Georg Müller, c. 1920. 4to. 202 pp., 3 ll. Marbled orig. boards.
Cf. Derra de Moroda 457: The most important book on the Modern German Dance. – Without plates 17-20, 34 + 36, at whose place due to misstitching 5 others have been bound with in duplicate. 1 additional plate lying in loosely. – Back renewed. – STANDARD WORK .
Offer no. 14,096 / EUR 50. (c. US$ 55.) + shipping
Arnold Schönberg. With contributions (in German) by Alban Berg, Paris von Gütersloh, K. Horwitz, Heinrich Jalowetz, W. Kandinsky, Paul Königer, Karl Linke, Robert Neumann, Erwin Stein, Ant. v. Webern, Egon Wellesz. Munich, Piper, 1912. Large 8vo. 90 pp., 1 l. publisher’s advertisements., i. a. for the first edition “The Blue Rider” of the same year. With portrait-frontispiece + 5 ills. on 4 plts. (paintings, two of which self-portraits), all mounted on black-blue carton, and numerous examples of music. Orig. boards with coloured fly-leaves.
Hirsch 3rd series, pt. 291 B, 416. – Title in red + black. – (“Arnold Schönberg in highest reverence. – The half of the net proceeds of this book shall be transferred to the Gustav Mahler foundation”.) – Owner’s note of 1916 on title. – Quite isolated minimally foxed. – Fine copy. – See the complete description.
Offer no. 13,255 / EUR 222. (c. US$ 243.) + shipping
Schönberg, Arnold, zum fünfzigsten Geburtstage 13. September 1924. Vienna, (Universal-Edition, 1924). Large 8vo. Title, pp. 269-342 (cpl.), 3 ll. publisher’s advertisements of Schönberg’s works. With portrait-frontispiece, 2 folded plts. and some examples of music. Orig. wrappers.
Special Issue of the Musikblätter des Anbruchs (vol. VI, issue August-September 1924). – Title + last page with the stamp of the Austrian theosophical society “Adyar” and their rental library pocket inside of the front cover and on the latter itself the double library no. 1781. – Wrappers not quite fresh, text with dog’s ear in the white upper margin, but falling off. – Isolated notes in pencil.
Contributions i. a. by Erwin Stein (Neue Formprinzipien, 18 pp.), Hans Eisler (A. S., der musikalische Reaktionär), Hermann Scherchen, Artur Schnabel, Alban Berg, list of the published works. Introduction by Schönberg himself. – See the complete description.
Offer no. 13,254 / EUR 86. (c. US$ 94.) + shipping
Gurrelieder. Guide (Small edition). Ed. by Alban Berg. (Vienna,) Universal-Edition, before 1933. 45, 3 (Arnold Schönberg’s works in the Univ.-Ed.) pp. With portrait-frontispiece and numerous notes (pp. 19-45). Orig. wrappers.
UNIVERSAL EDITION 5275. – German translation by Rob. F. Arnold. – Small tears on the back and the upper margin of the back cover acid-freely repaired, otherwise fine copy. – See the complete description.
Offer no. 13,253 / EUR 25. (c. US$ 27.) + shipping
Briefe (letters from 1910 to 1951). Selected and edited by Erwin Stein. Mayence, Schott, (1958). Large 8vo. 309 pp., impr., 1 l. publisher’s advertisements. With mounted portrait by Man Ray and some ills. Orig. cloth. with time-marked jacket.
“ The publishing of this collection is … an event. Schoenberg himself qualified his letters as a piece of him, and here are published for the first time … the decisive … It should be the last work (the pupil and friend Erwin Stein) rendered for the master and the music world ”
(blurb). – English letters after 1933 are translated into German. – See the complete description.
Offer no. 13,342 / EUR 76. (c. US$ 83.) + shipping
Syracuse, Ruins of the Ancient Theatre of. At the fountain laundry women, in the middle distance property, the circle of the arena dominating the foreground. Wood engraving after Alfred Metzener (Niendorf 1833 – Zweisimmen, Bern, 1905) for Adolf Closs, Stuttgart. (1876.) Inscribed: within the subject AM., otherwise typographically in German as above. 12.4 x 18.8 cm. – Continuous local text on both sides. – See the complete description.
Offer no. 10,375 / EUR 49. (c. US$ 54.) + shipping
With Handel at the Harpsichord
Handel – Hogarth, William (1697 London 1764). A Musical Study. Small party with “Handel (back view) at the Harpsichord” on the left. Besides the Italian castrato Farinelli with Mrs. Fox Lane, future Lady Bingley. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinx. / T. Cook sc. / Published by Longman, Hurst, Rees & Orme, Nov. 1st. 1809., otherwise as above & from an original Painting in the possession of Mr. Nichols. Subject size 7⅛ × 5⅜ in (18.1 × 13.8 cm).
Cook “made his mark as Hogarth engraver, too” (Thieme-Becker); present sujet, however, he has treated supposedly for the first time only in the small edition of the years 1806/09 following his folio edition. – Trimmed within the wide white platemark slightly brown-touched on three sides.
Offer no. 15,315 / EUR 118. (c. US$ 129.) + shipping
The Édition de Luxe
in only 55 Autographed Copies
Beethoven – Rolland, Romain. Beethoven the Creator. The Great Creative Epochs. I: From the Eroica to the Appassionata. From the French by Ernest Newman. London, Victor Gollancz, 1929. 2 vols. Large 8vo. With woodcut illustrations and 30 plates. 432 pp. Orig. cloth (spines foxing) in time-marked slipcase.
First English edition, one year after the French. – One of the only 55 copies of the édition de luxe on wonderfully fresh heavy handmade Van Gelder paper, autographed by the author . – See the complete description.
Offer no. 15,447 / EUR 1380. / export price EUR 1311. (c. US$ 1434.) + shipping
FOLLOWING steel engravings by various engravers from 1828/31 after Thomas Hosmer Shepherd (landscapist, architectural draughtsman, and aquarellist, 1793-1864) in oblong formats of c. 10 x 15 cm, inscribed in the plate, partly with date. And throughout with charming scenery.
Liverpool – Royal Amphitheatre. – Deviantly after Harwood. – Three foxspots in the white upper margin. – See the complete description.
Offer no. 7,033 / EUR 33. (c. US$ 36.) + shipping
London – Burlington Arcade, Piccadilly. With doorman. Among the announcements “The Fall of Niniveh by Mr. Martin”.
Offer no. 9,171 / EUR 27. (c. US$ 30.) + shipping
– Harmonic Institution, Regent Street. – Feeble brown spot in the sky part upper right.
Offer no. 9,124 / EUR 25. (c. US$ 27.) + shipping
– Haymarket Theatre & Part of the Opera Colonade … from Regent Street.
Offer no. 9,128 / EUR 28. (c. US$ 31.) + shipping
– Italian Opera House, Haymarket, from Pall Mall East.
Offer no. 8,654 / EUR 33. (c. US$ 36.) + shipping
– Royal Olympic Theatre, Wach St. With the entrances Gallery + Pit, admittance first at the former. – Three foxspots barely perceptible from front.
Offer no. 8,655 / EUR 30. (c. US$ 33.) + shipping
– Russell Square, and Statue of the Duke of Bedford. In front rich scenery of a puppet stage. – Weak brown strip at the right lining of the picture.
Offer no. 9,264 / EUR 33. (c. US$ 36.) + shipping
– St. James’s Palace, Pall Mall , as place of the children theatre “The Indian Emperor or the Conquest of Mexico”. – One tiny foxspot each in sky + white margin.
Offer no. 6,993 / EUR 29. (c. US$ 32.) + shipping
– Surry Theatre, Blackfriars Road. Shining in the sunlight besides “Surry Theatre” itself the entrances Gallery – Boxes – Pit. – Three tiny focspots in the white upper margin.
Offer no. 8,656 / EUR 33. (c. US$ 36.) + shipping
– Theatre Royal, Covent Garden. – Three feeble tiny foxspots in the lower subject margin (2) and white margin + mini spot in the sky.
Offer no. 8,657 / EUR 35. (c. US$ 38.) + shipping
– – Drury Lane. With visitor scenery. – Weakly foxing.
Offer no. 8,658 / EUR 33. (c. US$ 36.) + shipping
„ … Ich habe in Ihrer ‚Thienemann-Online‘-Seite eine für mich sehr wichtige Information gefunden, die mich wahrscheinlich in einer Dresdner Fotografenforschung weiterbringt … “
(Frau R. R., 24. Januar 2014)