what does Art say about It ? ”
was, referring to beer, Heinrich Lützeler’s ceremonial address, the unforgotten art historian at Bonn, at the jubilee of the German Brewer’s Association to their 100th birthday one generation ago.
On occasion of getting in nature’s juices as climax of this wine year, too, in the millenium old rythm of growth, blossom, getting in + pressing the following
answers by art from 17th to 19th centuries
shall be presented.
To your joy ,
for the wall’s adoration ,
to the curious as treat .
Metsu, Gabriel (Leiden 1629 – Amsterdam 1667). La Riboteuse Hollandoise. Young lady as charming drinker. While holding the open wine jug with the left her right with glas pushes against a half-full bottle of Genever. Besides of the latter a long pipe. Engraving by Jean Daullé (Abbeville 1703 – Paris 1763). 1761. 16⅝ × 11¾ in (42.1 × 29.7 cm).
Nagler IX, 198 + III, 283. – With the address of Pierre Fouquet jr., Amsterdam. – Typographic watermark. – Classified by Nagler as being one of the “most excellent works” by Daullé. – See the complete description.
Offer no. 15,282 / EUR 590. / export price EUR 561. (c. US$ 679.) + shipping
Just one Word : “Chablys”
Burgundy – Bourgogne, Carte des Gouvernements de, de Franche Comté et de Lyonnois. With charming title-cartouche by J. Arrivet
with wine , wine-casks , and bottles
+ miles indicator. Detail map of this famous region by Rigobert Bonne (Raucourt, Ardennes, 1727-1795). Engraving. Paris, Lattré, 1771. 16¾ × 12¼ in (42.6 × 31.1 cm). – Outline colour.
Typographic watermark. – Up to Auxerre – Plombieres – Lake Geneva / Geneva – Chambery – Mont Brisson – Bourbon .
Offer no. 15,190 / EUR 185. (c. US$ 224.) + shipping
Bacharach – Lasinsky, Johann Adolf (Simmern 1808 – Dusseldorf 1871). (Ruin Stahleck.) Center of Bacharach with St. Peter & Werner Chapel at the foot of Stahleck and
amidst the vineyards .
Toned pen and ink lithograph. Inscribed: (Recorded from nature and lithographed by J. A. Lasinsky 1828. / Frankfort a/M. C. Jügel.), caption as above in German-French parallel text. 9¼ × 11¼ in (23.4 × 28.7 cm).
In its nervous line conduct ahead of its time ,
unmistakably, and instantaneously lithographed after own sketch, and thus “standing out highly advantageously from the leaves of much smaller size engraved after him by other artists … Lasinsky’s ‘sensibility, keenest power of observation, realistic study of nature, and talent for large wide landscapes’ have been praised” (Schulte).
Offer no. 9,064 / EUR 302. / export price EUR 287. (c. US$ 347.) + shipping
– – – (Mr. Mumm’s House on Mount Johannisberg) – Maison de Mr Mumm sur le Johannisberg. On the right Mumm’s House, on the left the palace, before vineyards with figures. Toned pen and ink lithograph as before. – Mumm’s House is a very rarely depicted locality . – See the complete description.
Offer no. 12,129 / EUR 322. / export price EUR 306. (c. US$ 370.) + shipping
– – – (Ruin Okenfels) – Ruines d’Okenfels. Front left the place itself. On the right
amidst the vineyards the sketching artist
talking with resting vineyard workers .
Toned pen and ink lithograph as before. – Rare view . – See the complete description.
Offer no. 8,832 / EUR 445. / export price EUR 423. (c. US$ 512.) + shipping
Simon, Andre L. + Helmut Arntz. (Champagne and Sparkling Wine.) The history of the foaming wine. From the English (into German) by Wilm W. Elvenspoek. With 16 colour plates + 4 colour maps. Berlin, Frankfort/Main, Vienna, (1962). 243 pp. Orig. cloth with illustrated fly leaf, gilt back title, and gilt and white tooled vine + putto vignette on the front board. – Written by connoisseurs – designed by connoisseurs , adequate to the noble theme .
Offer no. 11,474 / EUR 65. (c. US$ 79.) + shipping
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. – With the title taken from the third act of John Gay’s Beggars Opera the plate parodies the clergy in the character of Macheath between Polly & Lucy. – Effective work . – See the complete description.
Offer no. 15,501 / EUR 730. / export price EUR 694. (c. US$ 840.) + shipping
Completely overlooked till now
Watteau’s “ Cythera ” Complex in Ridinger’s Work
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Cythera Lady (“Impudent but yet Gallant”). Coquettish grande dame in three-quarter figure to the right, draped as richly as sophisticatedly up to pear jewels and gown falling three-dimensionally mussel-shaped, dancing with the arms spread in deeply staggered landscape with the opened right downright reaching
for the ripe grapes on the left
as an art-historical symbol of fertility following psalm 128,3 .
In the background a two-master lies under sails before the coast of a mountainous landscape. Mezzotint. Inscribed: I. El. Ridinger excud. A. V. 19¼ × 14 in (48.8 × 35.4 cm).
Schwarz 1471 + plate II, XXX. – Not in Thienemann (1856) + Stillfried (1876) and here besides the copies of von Gutmann (Schwarz, 1910) + Count Faber-Castell (1958) not provable elsewhere. – Mounted by old at the corners on especially wide-margined buff laid paper which is slightly browned at two outer margins. – Right with tiny paper margin, otherwise mostly trimmed to platemark. – Caption in German-Latin. Till now its motto served as title due to not understanding the contents of the picture :
Impudent but yet gallant .
Impudence herself dances here , and is yet called gallant .
Wrong name makes the vices only known .
The, what literature overlooked till now,
wonderful sujet inspired by Watteau
in a brilliant impression of best condition
of a cultivated collection of perfectly bright lights and shadows in all parts. And in such a manner of quite extraordinary rarity not only on the market as quoted above, but in general, too. Already in 1675 the expert von Sandrart numbered “clean prints” of the velvety mezzotint manner at only c. “50 or 60” (!). “Soon after (the picture) grinds off for it not goes deeply into the copper.” Correspondingly Thienemann in 1856 :
“ The mezzotints are almost not to be acquired on the market anymore …
and the by far largest part (of them) …
(I have) only found (in the printroom) at Dresden. ”
Not even there then the one here
which subsequently remained unknown to Count Stillfried 20 years later, too!
Thematically of highest charm
it is Ridinger’s autonomously treated recourse to that complex in the work of the contemporary of his early years that counts in its time and from then till today to the most admired paintings in art history, to
(Valenciennes 1684 – Nogent-sur-Marne 1721)
with the “Pilgrimage to the Island of Cythera” (the Ionian island Cerigo as the lover’s island of Greek mythology) of the Louvre as the primus inter pares by which Watteau reached his admission to the Académie on Saturday, August 28, 1717, “as painter of the ‘fête galante’” as the original title “Le pélerinage à l’isle de Cithère” was correctingly re-titled in the record of the session. – See the complete description.
Offer no. 28,408 / price on application
“ You see , my friend Durand …
there are only two important components of happiness for man :
water and wine …
but they must never be mixed ,
otherwise they lose their charm ! ”
“ Quite right , Cabassol …
let’s drink another glass of wine in honour of water ! ”
Rochefort – Le Petit, Alfred (Aumale 1841 – Levallois-Perret 1909). Rochefort, Henri (impoverished count of R.-Lucay), journalist, editor of Charivari, Nain jaune, Soleil + Figaro, who dealt by means of his weekly Lanterne “deadly pinpricks to the second Empire” and finally in his L’Intransigeant “insulted every government the most impudent way and agitated for the revenge war (against Germany)” (Meyer). Here in four aging heads as “Le Raisin”, from the leaf base in the second up to the mature end. Colored lithograph. Inscribed: Alfred Le Petit PARIS 9 Fevrier 1871 + six-liner. 10 × 5¼ in (25.3 × 13.5 cm).
Osterwalder p. 622. – The heads of the high society of the time characterized by FLEURS , FRUITS & LÉGUMES DU JOUR . – With the address of L’Éclipse and that of the printer Coulboeuf, both Paris.
Offer no. 15,211 / EUR 95. (c. US$ 115.) + shipping
Vicar. Fallen asleep over the Oxford Journal under the framed View of The Vicariage, as his dogs. Only the friend smoking his pipe is still merry and takes the port. For What is life without the enjoyment of a Friend. Colored etching. C. 1830. 6⅞ × 4½ in (17.5 × 11.3 cm).
On the left with added margin, two sides trimmed within the platemark. – Browned, but – none the less – a charming sheet.
Offer no. 15,304 / EUR 245. (c. US$ 296.) + shipping
Wine Inspection. Three rats as human wine commissioners at wine-casks, threatened by the cellarman with the rolling-pin “Mort aux Rats”. On the board cans + bottles. Colored etching. C. 1820. 9⅛ × 11⅜ in (23.1 × 28.8 cm).
With distich in the lower margin: Sur votre dos je vais poser / L’argent que j’ai à vous donner. – Trimmed within the white platemark with recess of the text. – Mounted at the corners, backed little tear at the upper margin. – See the complete description.
Offer no. 9,533 / EUR 74. (c. US$ 90.) + shipping
The Four Seasons
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Four Seasons. Large three-quarter figures sitting before landscape accessories (1-3) and at home resp. Set of 4 sheet. Mezzotints. Inscribed: Ioh. Elias Ridinger excud(it). A. V., otherwise as following. 21¼-21¾ × 16¾-17⅛ in (53.9-55.1 × 42.6-43.5 cm).
Thienemann + Schwarz 1193-1196. – Slightly reduced and somewhat reservedly composed repetition of the third (of five) set of the Four Seasons Th. 1181/84 – “The ideas taken from the works of (Hyacinthe) Rigaud (1659-1743) and other French portrait painters” (Th.), though as to the contents generally in the succession of antiquity and Middle Ages according to which the perception of nature by the elements + seasons had “an important part in the process of profanation of art in the 16th century” (Robels, Frans Snyders, 1989, p. 25) – under renunciation of the verses, too. Here now sovereignly in the broad lower margin separated from the picture by a roll border the Latin-German titles in large typography.
Ver . / Spring .
Young woman to the left at a balustrade, looking at the beholder. In her right a rose, the left in a flower basket on her lap.
Aestas . / Summer .
Young lady to the right with straw hat adorned with ears and cornflowers, with the right pointing to a grain-field imaginary in this version, while the left rests on brickwork.
Avtvmnvs . / Autumn .
Full-figured lady to the right, holding her head down contemplatively-melancholically.
In her right vine-knife while her left – resting on brickwork
with vine with grapes behind – holds a tendril with grapes .
Hyems . / Winter .
Gentleman in coat lined with furs + fur cap sitting in the armchair to the right at the fireplace though nevertheless in quite fine shape and by no means in the sense of Thienemann’s 1184 (“An Old Man”) and the verse there (“By warm water the old will heat himself”; thus analogously to the “Old Man” on Watteau’s “Coquettes” in Petersburg of which Pierre Rosenberg writes in the exhibition catalogue of 1984/85 “… despite his stick he cannot convince us of his advanced age”). Holding a cup in both of his hands he looks laterally out of the picture. On the table teapot and dishes with biscuits and sugar resp. (Th.).
Mounted by old at the corners on buff laid paper which is slightly browned at two/three outer margins. – The winter sheet with tiny margin at three sides, otherwise partially with such one or trimmed to platemark.
The excellent copy in regard to printing and conservation
of a cultivated collection of perfectly bright lights and shadows in all parts as before. And thus here + now
the trouvaillesque opportunity
to take possession of this splendid , wall-flattering set .
See the complete description.
Offer no. 28,413 / price on application
Hogarth, William (1697 London 1764). Frontispiece to Leveridge’s Songs, 1727. Bacchus with vine and wine leaves decorating his head + Venus enthroned in the clouds. On earth young woman pointing at violin and music book, her eyes raised to the deities asking for their favor for Richard Leveridge’s compositions (1670-1758; since 1795 the leading London bass singer, also composing himself). Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: (Hogarth pinx) / T. Cook sculp. / (Published by Long)man, Hurst, Rees & Orme, Oct. 1st. 1809., otherwise as above. Subject size 6⅜ × 4¼ in (16.3 × 10.7 cm). – Trimmed within the on three sides wide white platemark with partial drop of the address and here on two sides feebly brownspotted. On the left without subject lining. – See the complete description.
Offer no. 15,330 / EUR 98. (c. US$ 119.) + shipping
FOLLOW steel engravings of various engravers from c. 1840–1875 :
Bega, Cornelis (1631/2 Haarlem 1664). Courtship. He with wine can, she with the glass. Behind both old man. 7⅝ × 5¼ in (19.5 × 13.4 cm). – See the complete description.
Offer no. 7,087 / EUR 50. (c. US$ 60.) + shipping
Mieris, Frans van (1635 Leiden 1681). The Oyster Meal. Cunera van der Cock, the artist’s young wife, in fur-lined cape at oysters and wine, courted by Mieris himself in the character of an older gallant. 6⅞ × 4⅝ in (17.5 × 11.7 cm).
Offer no. 6,315 / EUR 50. (c. US$ 60.) + shipping
Ostade, Adriaen van (1610 Haarlem 1685). Smoker and Drinker. Smoking his pipe and talking to the old man with the wine can. 6⅝ × 4⅞ in (16.8 × 12.5 cm).
Offer no. 4,975 / EUR 50. (c. US$ 60.) + shipping
Rubens, Peter Paul (Siegen 1577 – Antwerp 1640). The Garland of Fruit. Putti amongst large garland of fruit with dominating vine. 5⅜ × 7 in (13.7 × 17.9 cm).
Offer no. 5,061 / EUR 38. (c. US$ 46.) + shipping
– – – Four Putti with Lamb, reviewing Wine Grapes. As decoration further grapes and other fruit. 4¾ × 6¼ in (12.2 × 15.9 cm). – Erroneously attributed to “Christ and John” by Domenechino Feti.
Offer no. 5,074 / EUR 38. (c. US$ 46.) + shipping
– – – Satyrs and Nymphs. Accompanied by hounds the nymphs returning from the hunt with lots of winged and other game are greeted by satyrs presenting grapes and other fruit to them. 6⅛ × 6½ in (15.5 × 16.6 cm).
Offer no. 5,070 / EUR 43. (c. US$ 52.) + shipping
Rubens, School of – Madonna, The. With the child to which putti and an angel offers a basket with grapes. In front further autumn fruit. 7⅝ × 5⅛ in (19.5 × 13 cm).
Offer no. 9,526 / EUR 40. (c. US$ 48.) + shipping
Teniers II, David (Antwerp 1610 – Brussels 1690). Boor’s Dwelling. The farmer’s wife making pancakes, the four men partly talking and with wine can, partly standing around or reading. 5⅞ × 7⅛ in (15 × 18 cm). – Fine Motive.
Offer no. 4,945 / EUR 76. (c. US$ 92.) + shipping
Verkolje I, Jan (Amsterdam 1650 – Delft 1693). The Rejected Proposal (The Trumpeter and the Lady). Company at the table, a servant bringing plate with fruit. The mother with wine can and flute glass. 7⅜ × 5¼ in (18.7 × 13.5 cm).
Offer no. 7,089 / EUR 50. (c. US$ 60.) + shipping
Patroness of Miners , Warriors , Mariners ,
also Invoked for the Protection against Lightning Stroke
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Barbara. Half-length portrait sitting frontally to the left of the richly dressed Saint Barbara in the glory with crown + pearls,
holding the chalice in the raised right
above which the host floats in a glory. The left resting on the cross-grip of a sword as symbol of her dying. Mezzotint. Inscribed: Ioh. Elias Ridinger excud. Aug. Vind., otherwise, in large shell cartouche in the lower margin, as above. 22⅜ × 16¼ in (56.8 × 41.3 cm).
Schwarz 1538 with illustration. – Not in Thienemann (1856) + Stillfried (1876) and with exception of Baron Gutmann (Schwarz, 1910) here not proven else. – Variant to Thienemann 1287 with the sword instead of the palm leaf there. – Stillfried + Schwarz 1418 record without mentioning the crown here an otherwise obviously almost identical, also equal-sized version, but without any inscription (this also only and as already “extremely rare” at Coppenrath in 1889 + at Counts Faber-Castell in 1958, too; pre-state of 1538 here?), in which Stillfried possibly sees a pendent to St. Catherine 1419 (see its version 1554 here per 28,401). – Per corner mounting by old hand laid on heavy hand-made paper slightly browned at three outer margins. – On almost all sides with tiny paper margin. – Small worm trace in the free outer field top right.
The wonderfully rich , wonderfully great plate
in an excellent copy in regard to printing and conservation
of a cultivated collection of perfectly bright lights and shadows in all parts as before.
The also pictorially timelessly marvelous patronage plate
of the “Stranger” from, so the legend, Nikomedia in Asia Minor, who in the 3rd century was first locked up in a tower, then beheaded by her father for her Christianity. December 4th is dedicated to her churchly commemoration.
And generally finally she belongs to that “exclusive company of divine intervenients – or, stated Protestantly, divine representatives – ” which quite topically though “already since some time (the) historians (have) rediscovered … (and) scientifically reanimated” (Peter Burschel reviewing Brad Stephan Gregory’s Salvation at Stake — Christian Martyrdom in Early Modern Europe in Frankfurter Allgemeine Zeitung of Aug. 2, 2000). – See the complete description.
Offer no. 28,400 / price on application
Follow wood engravings by various engravers from 1875/81 for Adolf Cloß, (“at his time one of the best of his profession in Germany”, Thieme-Becker) after yet little experienced young artists who bestowed surprisingly fresh charm on quite familiar place. Just as one hundred years later Lee Iacocca of Chrysler sent 25 young recruits to Asia:
“ We wanted open minds not poisoned by Detroit ”.
See Osteneck, Zur xylograph. Darstellung im 19. Jhdt., in Lüneburger Beiträge zur Vedutenforschung, 1983, pp. 120 ff., too; Hanebutt-Benz, Studien zum dt. Holzstich im 19. Jhdt., Frankfort 1984, & W. J. Linton, The Masters of Wood Engraving, New Haven/London 1889.
(Bacharach, Ruin of the Chapel of St. Werner in.) Detail view from below with small vineyard, wine tasting + cellarman in front. Toned wood engraving. 10½ × 6⅞ in (26.8 × 17.6 cm).
Offer no. 7,083 / EUR 86. (c. US$ 104.) + shipping
Bingen – (Rochus Festival, On the.) With cellarman sujet. 4¼ × 7⅜ in (10.8 × 18.7 cm). – Local text on both sides.
Offer no. 9,381 / EUR 43. (c. US$ 52.) + shipping
Bremen – (Rathskeller, In the.) The eastern end of the hall with two boxes and the Echo Hall. Numerous guests enjoying themselves with coffee and wine. Further a waiter lighting a guest just appeared. 4⅛ × 6¼ in (10.5 × 15.8 cm). – On the verso: Bacchus Cask. 5¼ × 6¾ in (13.3 × 17 cm). – The text on the engravings on both sides complete in itself.
Offer no. 8,283 / EUR 74. (c. US$ 90.) + shipping
Cochem. The view of the drinkers from a wine inn onto a detail of the village + Ruin Winneburg. At their side the innkeeper. 5⅞ × 6¼ in (14.8 × 16 cm). – On the verso: Dispatch of a stage coach at the border station above the Moselle with the toll-bar raised. 7½ × 6⅛ in (19 × 15.5 cm). – Continuous local text on both sides. – From the Dutch edition about 1880.
Offer no. 8,734 / EUR 95. (c. US$ 115.) + shipping
Heidelberg Castle / The Big Cask. 4⅛ × 3⅛ in (10.6 × 8 cm). – On the verso: Schwetzingen – (Walk + Apollo Temple in the Garden of S.) Figures. 5¼ × 1⅞ and 3⅞ × 6¾ in (13.3 × 4.7 and 9.8 × 17 cm) in oval resp. – Continuous local text on both sides.
Offer no. 9,470 / EUR 34. (c. US$ 41.) + shipping
Lübeck – (Shipper’s House, In the.) The guests at drinking. 7⅛ × 9¼ in (18 × 23.5 cm).
Offer no. 8,359 / EUR 95. (c. US$ 115.) + shipping
Rüdesheim – Partial View. In front vineyards, in the background the heights on the right bank of the Rhine. 4⅛ × 7¼ in (10.5 × 18.5 cm). – On the verso: Donkey in the Vineyards. 4⅞ × 8⅜ in (12.4 × 8.5 cm). – Continuous local text on both sides. – Impressions for the about simultaneous Dutch edition.
Offer no. 10,052 / EUR 40. (c. US$ 48.) + shipping
(Vintage in Tuscany.) Several woman gathering the grapes from the vine creeping in trees, while one already tastes the grapes. Toned wood engraving. 10⅛ × 7¼ in (25.7 × 18.5 cm). – See the complete description.
Offer no. 10,184 / EUR 84. (c. US$ 102.) + shipping
(Vineyard, Resting Workers in the.) Break during the vintage by the Rhine. 4⅛ × 7⅜ in (10.6 × 18.7 cm).
On the verso: In het Niederwald. View across the forest on the monument nearby Rüdesheim. 3⅜ × 7⅜ in (8.6 × 18.8 cm). – Impressions for the Dutch edition published about simultaneously with the German original. – Continuous local text on both sides.
Offer no. 8,766 / EUR 59. (c. US$ 71.) + shipping
Wine Tasting at the Middle Rhine
Wijnproet, De. Four gentlemen including pastor and cellarer tasting wine in a pergola entwined with wine-leaves above the Rhine. From the other bank a castle and a place greet across. Toned wood engraving by M. Wittig after Benjamin Vautier (Morges 1829 – Dusseldorf 1898) for Adolf Closs in Stuttgart. (1875-76.) 7⅞ × 9⅜ in (20 × 23.8 cm).
Impression for the Dutch edition published around simultaneously with the German original. – White margins and on the verso a little foxing.
Offer no. 8,762 / EUR 84. (c. US$ 102.) + shipping
“ It came! My plate [already documented as lost] was delivered and it is in excellent condition. I cannot explain all of the delays or what happened. It is in the original packaging that you described and it was delivered by DHL, not the postal service (as far as I can tell – it was left on the porch [!!]). So thank you and so glad that this long story has such a nice ending. It was nice dealing with you, thank you for the plate! ”
(Mrs. J. C., May 8, 2010)