“ Arise , (Athlets) of this Earth …
“ Pagode du Dalaï Lama ”
Tibet – Bhutan – Nepal – Russia – Tartarie Independante, Carte de la, qui comprend le Pays de Calmuks, celui des Usbeks, et le Turkestan, avec leurs dependances. With large title-cartouche by J. Arrivet charmingly decorated with plants and regional characteristics + miles indicator. Map engraving of South Russia + Tibet composed by Rigobert Bonne (Raucourt, Ardennes, 1727 – 1795) for Lattré in Paris. C. 1770. 12⅝ × 17¾ in (32.2 × 45.2 cm).
Center: Samarkand . The lower right quarter of the map south of the Gobi Desert marked
“ Tibet ou Budtan ”
“ Pagode du Dalaï Lama ” ( Lhasa )
as center as well as “Petit Tibet” north of the headwaters of the Ganges (recte Indus?) and in such a manner comprising
Tibet , Nepal + Bhutan .
Otherwise with Georgia – Caspian Sea – Dagestan – Khorasan – Turkmenistan – Uzbekistan – Kashmir . – In the west and north from Trebizond with Black Sea + Sea of Azov up to Kazan – Yekaterinburg – Krasnoyarsk – Irkutsk + Selinginsk . In the south still with Patna – Benares – Delhi – Multan – Kandahar – Herat . – Outline color. – Typographic watermark.
Offer no. 15,225 / EUR 230. (c. US$ 251.) + shipping
L’Asie divisée en ses principaux Etats. With large title-cartouche. Continent map by Jean Janvier. Engraving colored in outline. Paris, Lattré, c. 1770. 12⅜ × 18⅛ in (31.4 × 45.9 cm).
Continent map. – In the center Beijing, a little west of the center
“ Petit Tibet ” + “ Grand Tibet ” .
Otherwise with Arabia – Turkey – Persia – Turkmenistan – Uzbekistan – Siberia – Mongolia – China – Japan – India – Indonesia – Sunda Islands – Borneo – Sumatra – Moluccas . – Relating to the Philippines with the interesting, but erroneous note “Ces Isles ont etée decouvertes par Magellan en 1520”instead of March 1521. More eastwards the entries “I(sle) Guan sans eau” and “Isles vues par Magellan”. – Westwards up to the Red Sea. – Typographic watermark.
Offer no. 15,224 / EUR 345. / export price EUR 328. (c. US$ 357.) + shipping
… So (Athlets) , come rally …
Today as topical as 200 Years ago for
the Father of the United States of America and Author of the
Rights of Man
here trampled on with the feet
on the Stage of the “Monkeyana”
as vicarious for wheresoever it happens
Thomas Landseer (1795 London 1880). Rights of Man . The Demand for Human Rights.
On a stage the dictator as humanly dressed monkey with ermine coat, brandishing the scepter in the raised left while holding in the right
the mask of gentleness ,
at the same time , however , trampling with the feet
on Liberty and Rights of Man of 1791 by Thomas Paine .
Paine (Thetford, Norfolk, England, 1737 – New York City 1809) himself
in his own – thus human (sic!) – shape
reaching out from the left for the crown on the Majesty’s knees while putting a fool’s cap onto his head. In the background two apes as clergymen. Etching. (1827-28.) Inscribed: Landseer, otherwise as below. 8¼ × 7 in (21 × 17.7 cm).
On the base of the stage as not just the essence of the Rights of Man, but the lifelong fight of Paine:
“ The sight of one of the most despicable of God’s creatures
Trumpling down the dearest rights of mankind,
and crushing with impunity the rising liberty and prosperity of millions,
is one of the most melancholy and degrading spectacles in existence. –
and the miserable would-be-despote and the wretched monkish faction
who has urged him into so much perfidy and folly
are likely to be driven into merited obscurity. ”
Thomas Paine , radical-liberal writer in the spirit of enlightenment, but also inventor still praised by Thomas Edison, emigrated on recommendation of Benjamin Franklin 1774 to America. Early 1776 he published anonymously Common Sense, not only a bestseller in the American colonies, but also
of decisive influence upon the “Declaration of Independence” .
Likewise he coined the phrase of The United States of America .
December 1776 – December 1783 The American Crisis followed, a series of sixteen pamphlets George Washington ordered to be read out loud to the troops.
Rights of Man of 1791/92 served as guide for the ideas of enlightenment, 1792 Paine was elected to the French National Assembly where he voted for the Republic, but spoke against the execution of Louis XVI especially in recognition of the support monarchic France had granted to the American Revolution. Similar to Beethoven his initial admiration for Napoleon soon turned into rejection because of his dictatorial ambitions. On invitation of President Thomas Jefferson he finally returned to America in 1802:
“ Thomas Paine had passed the legendary limit of life. One by one most of his old friends and acquaintances had deserted him. Maligned on every side, execrated, shunned and abhorred – his virtues denounced as vices – his services forgotten – his character blackened, he preserved the poise and balance of his soul. He was a victim of the people, but his convictions remained unshaken. He was still
a soldier in the army of freedom ,
and still tried to enlighten and civilize those who were impatiently waiting for his death. Even those who loved their enemies hated him, their friend – the friend of the whole world – with all their hearts.
On the 8th of June, 1809, death came – Death, almost his only friend.
At his funeral no pomp, no pageantry, no civic procession, no military display. In a carriage, a woman and her son who had lived on the bounty of the dead – on horseback, a Quaker, the humanity of whose heart dominated the creed of his head – and, following on foot, two negroes filled with gratitude – constituted the funeral cortege of Thomas Paine …
If the people of the great Republic knew the life of this generous, this chivalric man, the real story of his services, his sufferings and his triumphs – of what he did to compel the robed and crowned, the priests and kings, to give back to the people
liberty , the jewel of the soul …
they would repeat the words of Andrew Jackson: ‘Thomas Paine needs no monument made with hands;
he has erected a monument in the hearts of all lovers of liberty ’ ”
(Robert G. Ingersoll, Thomas Paine, North American Review, August 1892, in The Works of Robert G. Ingersoll, New Dresden Edition, New York 1902, XI, 338 f.).
And at the house rue l’Odéon 10 in Paris, where he lived 1797-1802, a plaque reminds of him:
“ Thomas Paine. Anglais de naissance. Américain d’adoption. Français par décret … Il mit sa passion de la liberté au service de la Révolution française, fut député à la Convention et écrivit Les Droit de l’Homme. ”
Fine impression on large paper from the famous set of the “Monkeyana” , one of the but few early and thus typical works by Landseer :
“ That Thomas Landseer may be judged only by these illustrations a little book with woodcuts proves which show next to nothing of his intellect ” .
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.
Otherwise qualified by Rümann i. a.:
“ Much more important was Edwin’s brother Thomas Landseer …
… in the ’20s he distinguished himself by a series of 25 plates that were published 1828 under the title of ‘Monkeyana’ (ills. 57).
Technically his etchings are masterly ,
no less admirable the intellectual grasp of the subject. With much humor and sharp observation he transfers the plain life of his time to the monkey’s life. His sarcasm is biting, almost vicious. ”
Later Thomas Landseer devoted himself largely to the reproduction of the animal depictions by his brother Sir Edwin. – On especially wide-margined buff paper. – Particularly above and right in the outer parts of the white margin slightly foxing.
Offer no. 15,262 / EUR 630. / export price EUR 599. (c. US$ 653.) + shipping
… The Internationale
(fights for the Nations’ Right) !”
So they sang .
The students on Tiananmen Square , the Square of Heavenly “Peace” .
It remained unforgotten
60 Years before Paine however
J. E. Ridinger & B. H. Brockes let us…
“ See a Picture of the Wild Victor ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (Fights of Killing Animals) or The Big Five. Set of 8 sheet. Etched/engraved by Johann Elias (1-4) and Martin Elias (1731 Augsburg 1780) Ridinger. (1760.) Large fol. (plate size c. 15 × 11⅝ in [38 × 29.5 cm]). Boards covered with laid paper and on front cover stamped in brown “Johann Elias Ridinger Anno 1760. / Mit beygefügter vortrefflichen Poesie des hochberühmten Herrn Barthold Heinrich Brockes” in slipcase.
Thienemann ( “Rare”, 1856! ) + Schwarz 716-723. – With the Brockes verses (1-4) and the ones adapted to those resp. – Very fine early impressions of a dissolved contemporary album with wide upper and lower, at the sides differently less wide margins. The majority of these, partially also just here and there, mostly only slightly foxspotted. Two tiny tears in the lower margin backed acid-freely.
Sceneries of wild beauty of the Big Five in savanna and rocky mountains, but also close to humans. Among these The Furious Leopard (recte tiger) as he lacerates a Donkey
identifying the beast of prey
with Alexander of Macedonia
For, so Brockes,
“ … Do stop ! Your cruel image impresses
also instructive reflections on my mind !
Should a world conqueror’s look
not even be much more horrible ?
Calling forth even greater horror ?
and has , with untold corses ,
which his barbarian word slaughters ,
this animal not to yield to him in rage ?
Hunger spurs on the leopard ,
but wantonness Alexander ,
Sheds that one animal’s ,
sheds this whole streams of blood
of 50,000 of his own kind by iron claws bought by him ,
Come , let us see then once , if you can ,
a picture of the Wild Victor .
His look , provided you get it right ,
certainly takes precedence over this bloodthirsty beast
in rage , wrath , in foam , and horribleness . ”
Small wonder that the set was held back for decades. For in catalog Augsburg Rolf Biedermann assumes the creation of the drawings for already the ’30s what corresponds to Brockes’ lifetime (1680 Hamburg 1747). Originally the set was restricted to sheets 1-4 – The Horse and the Lion / The Aurochs and the Tiger / Lioness with Cub by a Rock Attacked by a Bear – with Brockes’ texts and transferred to the plates exclusively by Johann Elias and in their context was beyond the Alexander dedication
as a whole the oriflamme for freedom
as which it was analyzed for the first time in detail here. And because of which it thus remained unpublished. It seems that only Martin Elias as youthfully more reckless effected the publication in 1760. For sheets 5-8 are etched/engraved by him alone. And that after designs the father worked only then. See the signed drawings 389-392 dated with 1760 in the Ridinger appendix of the 1869 catalogue of drawings left behind by J. A. G. Weigel. From which it also may be deduced that not just the drawings together with the texts to the highly explosive sheets 1-4 were ready since long, but their plates, too.
Complementing that risky original set by four further sheets with texts now only à la Brockes and thus harmless was, beside the wish for a more comfortable sales unit, quite surely and intentionally for the purpose to conceal the striking message of the first four. The raise thus as together final outer cover.
For what presents itself at first glance „only“ as the damnation of an event long time ago, namely the Alexander campaign (Th. 719), blazes up to an
ORIFLAMME OF FREEDOM AND HUMANITY
when its history is removed. To which Alexander of Macedonia served as synonym wrapped once more in itself. The verdict was meant, at least simultaneously, for the own absolute authorities. That saw itself in the succession of Alexander. The old Alexander idolization forced unchanged new flowers.
It surprises how all this should have remained hidden to such an accurate piece-by-piece reviewer as Thienemann. For this group of four, and surely just by chance, but nevertheless strangely enough, just this is identical with the only still four sheet of the set republished by Engelbrecht-Herzberg in 1824 anymore, should be quite elitist with its massive social criticism in the art of its time. Not to be missed then, too, the locations of its authors. Augsburg, governed democratically for a long period already in the Middle Ages, and Hamburg were Imperial Cities! They plainly prove here as vestibules of Liberty Island, whose flame ignited in the “Fights of Killing Animals” burns on there :
The Statue of Liberty Enlightening the World !
And in such a manner then also the Fights of Killing Animals form
the intellectual and sociopolitical pre-1789 credo
of an utterly new Ridinger .
Offer no. 15,449 / price on application
„ … Toll, die Verbindung der Kunst mit berühmten Männern der Geschichte. Dazu die qualitative Aufmachung … “
(Frau U. K., 2. Januar 2010)