Nicolas-Henri Tardieu, Assis, au près de toy
Watteau & Jullienne
Their Bewitching Double Portrait
as Document of a Friendship
Tardieu, Nicolas-Henri (1674 Paris 1749). Assis, au près de toy … Beside you I sit, under these lovely shadowy trees. In fine parkland with female statue turning her back on the friends in the background Watteau, standing with palette in the raised left and supporting himself with the right on the maulstick, at the side of the cloth manufacturer, dyer + collector Jullienne sitting to his right and playing music (5-stringed floor-standing instrument; gamba/contrabass/violoncello ?). On the canvas behind them just this scenery surrounding them. Engraving after Antoine Watteau (Valencienne 1684 – Nogent-sur-Marne 1721). (1731.) Inscribed: A. Watteau pinxit / Tardieu Sculp., otherwise with the beautiful caption
“ Assis, au près de toy,
sous ces charmans Ombrages, / Du temps, mon cher Watteau, je crains peu les outrages; / Trop heureux! si les Traits, d’un fidelle Burin, / En multipliant tes Ouvrages, / Instruisoient l’Univers des sinceres hommages / Que je rends à ton Art divin! ”
and a Paris Avec Privillege du Roy. 16⅞ × 12⅜ in (42.9 × 31.3 cm).
Dacier-Vuaflart 3, III; Pierre Rosenberg + L.-A. Prat, Antoine Watteau / Catalogue raisonné des dessins, 1996, Frontispiece + comparative ills. pp. 1000 f., 1092 f. + 1138 f.; Exhibition Catalog Watteau 1684-1721 Washington/Paris/Berlin 1984/85, pp. 28, 39 f. + 362 ff. with illustrations and p. 398/I (report on little bread balls, s. a.); Thieme-Becker XXXII (Tardieu; 1938; “Besides Benoit Audran the most important engraver of Watteau”), 444 (Watteau et Jean de Julienne, main sheet); Nagler, Tardieu 63 (erroneously as W. with Tardieu; 1848); Niemeyer, (The Fertile Penetration – Watteau in the Work of Ridinger), with ills.
On heavy laid paper with watermark Eagle (D.-V. II, p. 85, fig. 16). – The copy of the collection HW (Lugt 1388, not identified, probably German portrait collection) with its monogram stamp on the back. – With roundabout margin 1-4-1.8 cm wide, in this at top old reg. no. (?) in brown ink and two further ones in color pencil on the back lower right. – Two pinhead-tiny holes right in the subject above the easel.
Tardieu’s “Famous Engraving”
(Exhib. Cat.; “engraved in a … manner of a highly pictorial effect which does justice to the silvery character of Watteau’s colors in a most accomplished way ” [Th.-B.) in greatest vicinity to Watteau’s Mezzetin in New York (1984/85 Exhibition Cat. 49 with color + comparison illustrations), but irrespective of the “pinxit” for the lack of a handed down immediate design still furnished by the Exhibition Cat. with a question mark for the creator (large ills. p. 28), only to be called up in the later discussion about the person of the Mezzetin as evidence for the hypothesis that this should be the trusted friend Jean de Jullienne (1686 Paris 1766):
“ Now there is a famous engraving in which Watteau and Jullienne are seen together
Beside you I sit …
A comparable statue, which is seen from another angle, however, is dressed and not in the nude, is in the background of the New York painting(, too). Obviously it is the one which the guitar player wants to move by his music and his song, by which the theme of the painting becomes clearer. But the fact that it is depicted on the Mezzetin and the engraving ‘Beside you I sit …’, the point that Jullienne has kept the painting in New York (contrary to all other paintings) for his whole life, lead us to the hypothesis that Watteau conceived this painting as allegoric portrait of his friend and offered it to him in pledge of his friendship possibly in a moment when Jullienne … courted his future wife (marriage 1720). ”
Nothing would be anymore as it had been. From this plausible new view the Tardieu sheet grows a thematic gain of quality, raising its rank as doubtless
one of the most beautiful graphical sheets of friendship ,
wanted and dearly paid for at its only rare appearances on the market.
And, all told, there is really nothing supporting the catalog’s over-cautious questioning of the creator, so that the pinxit of the contemporary sheet should enjoy priority. It displays a full Watteau, breathes the incomparable flush of this “greatest painter of France in the 18th century and at the same time the most French one” (Jahn, 1957). And it shows this together with the lasting most important one of the friends. For
“ Thanks to the collection set up by him (Recueil Jullienne, in vol. III of which the sheet here figures as frontispiece) the name of the famous art connoisseur will be tied to that of the painter forever ”
Exhib. Cat. p. 39). Like the sheet itself, as documented here for the first time, as being of the same mind
inspired Ridinger to his self portrait in the woods before the easel
(Th. XIX, 1). For only posthumously it was transferred into copper by Martin Elias, his eldest. “Renewing the memory”. By which the wheel comes full circle.
Offer no. 15,276 / EUR 2300. / export price EUR 2185. (c. US$ 2643.) + shipping
Mieris, Frans van (1635 Leiden 1681). Frans van Mieris receiving a Visitor in his Studio. The latter examining the painting on the easel, the master himself standing on the side with his palette. In front a cello leaning at the table. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). C. 1840. Inscribed: F. v. Mieris pinx. / A. H. Payne sc., otherwise in English-German as above. 8 × 5 in (20.2 × 12.8 cm). – After the painting Naumann 12 (A Connoisseur in the Artist’s Studio) of about 1655/60 in Dresden.
Offer no. 11,844 / EUR 50. (c. US$ 60.) + shipping
Hogarth, William (1697 London 1764). 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$ 82.) + shipping
Schönberg, Arnold. 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 at the back and the upper margin of the back cover acid-freely repaired, otherwise fine copy.
Offer no. 13,253 / EUR 25. (c. US$ 30.) + shipping
Netscher, Caspar (Heidelberg 1639 – The Hague 1684). A Lady singing. Accompanied by a gallant with plucked instrument. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). 3rd quarter of the 19th century. 7¾ × 5¼ in (19.7 × 13.2 cm).
Offer no. 8,651 / EUR 50. (c. US$ 60.) + shipping
Contemporarily Handel composed
Dryden’s Famous Odes for St. Cecilia
1736 Alexander’s Feast, or The Power of Musick
and to the Saint’s Day 1739 the Ode for St. Cecilia’s Day
as Tributes to the
Patroness of Music
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Cæcilia. Three-quarter figure of Saint Cecilia, looking at the beholder, in rich garment and turban-like head-dress, here with the harp as rarer attribute, adorned with martyr’s palm leaf & the head of an angel. Beside her an almost unclothed sympathetic young angel reading the notes. Mezzotint engraving. Inscribed: Ioh. El. Ridinger excud. A. V., otherwise as above within a large shell-cartouche in the lower margin. 20⅛ × 15¼ in (51.2 × 38.8 cm).
Stillfried (1876) 1420. – Not in Thienemann (1856) and with the exception of Counts of Faber-Castell (1958) here not provable elsewhere either. – Size variant unbeknownst to Schwarz (Collection Baron von Gutmann, 1910) who in doubt about the – by the one here now confirmed – size stated by Stillfried in the 3rd appendix to Thienemann queries his copy of 24¼ × 19½ in (61.5 × 49.5 cm) listed under the same number. – Tipped of old at the corners on especially wide-margined heavy laid paper touched by browning at two of the far edges. – With fine little paper margin throughout below and intermitted here and there at the sides, above trimmed to platemark.
The rich sheet in rarer composition
in the excellent copy regarding printing and conservation
of a cultivated collection of in all parts nuanced, shining chiaroscuro. 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 then Thienemann in 1856:
“ The mezzotints are almost not to be acquired in the trade anymore …and most of them I found in the Dresden printroom alone. ”
Not even there then yet the one present here becoming known and described for the very first time only 20 years later by Count Stillfried !
Especially in the 17th and 18th century celebrated as
“ Feast Day of Music ”
with divine services and specifically composed concerts, November 22 is dedicated to the ecclesiastical memory of this noble Roman of the 3rd century. So also George Frederick Handel set John Dryden’s (1631-1700) Song for St. Cecilia’s Day from 1687, considered a masterpiece of English poetry, in music for the celebrations of 1739. And moreover combined the premiere of this Ode for St. Cecilia’s Day at the London Lincoln’s Inn Fields Theatre with a new performance of the almost four years older oratorio Alexander’s Feast as setting of Dryden’s Alexander’s Feast – or the Power of Musick –; an Ode wrote in Honour of St. Cecilia of 1692, published in turn to St. Cecilia’s Day 1697.
Dramatizing the episode on the banquet after the conquest of Persepolis 330 BC delivered to posterity by Plutarch, when Timotheus induces Alexander the Great by song and music to exact revenge on the defeated Persians by burning the city down. Yet ultimately culminating in the praise of Cecilia: indeed the pre-Christian bard could raise a mortal to the skies, but drawing down an angel was reserved for divine Cecilia, extending the hitherto musical limitations:
Enlarg’d the former narrow bounds,
And added length to solemn sounds,
With Nature’s mother-wit, and arts unknown before.
Let old Timotheus yield the prize,
Or both divide the crown;
He rais’d a mortal to the skies,
She drew an angel down.
Having been made inventress of the organ by the legend, she is throughout the year and beyond the confessions the patroness of music, in particular of sacred music. And still in 1942 Benjamin Britten venerated her anew by the Hymn to St. Cecilia. Here then
WITH THE RARER ATTRIBUTE OF THE HARP
as at the same time that hitherto uncommon musical instrument Handel introduced in Alexander’s Feast. Just as the lute in the Ode.
Offer no. 28,402 / EUR 1738. / export price EUR 1651. (c. US$ 1997.) + shipping
Bega, Cornelis (1631/32 Haarlem 1664). The Lute Player. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). 3rd quarter of the 19th century. 6⅞ × 5⅛ in (17.5 × 13.1 cm).
Offer no. 11,858 / EUR 50. (c. US$ 60.) + shipping
Beethoven, Ludwig van. Sonaten für das Pianoforte solo. Erste vollständige Gesammtausgabe unter Revision von Franz Liszt. Vol. I: Sonatas 1-18, œuvre 2-31. Wolfenbüttel, L. Holle, no year (c. 1847?). Large 4to (13⅝ × 10⅝ in [34.5 × 27 cm]). 2 n. pag. ll. collective title, 286 (instead of c. 290) pp. Contemp. brown h. leather with green-black marbled covers along with sm. leather corners.
LUDWIG VAN BEETHOVEN’S SÄMMTLICHE COMPOSITIONEN / First complete collected edition as revised by Franz Liszt, sect. I, vol. I (of 2, the latter comprising sonatas 19-32 [œuvre 49-111] & 33-36). – Published in numbers in co-production with Augener, London, Bohné, Paris, Hagen, New York, and, later, further more. – Each of the 18 numbers with own title page, repeating at once the complete contents of all 36 numbers.
From the estate of Gerhart Güntert, Sigmaringen, presumably the musician there in the early 20th century, with his stylized owner’s note on fly-leaf and again “G. Güntert / 11.5.24” on the title page to no. 13.
Missing the portrait frontispiece and of no. 18 (sonata no. 3 E flat major from œuvre “31 ou 29”) the initial sheet with title page and beginning and supposedly one/two sheet tail as breaking off at page 16.
Partly slightly foxed and/or (partly even badly) browned. – Pages 3, 5 & 7 of no. 3 with transparent old gluing of a top margin tear of 16.5 cm. Pp. 3/4 of no. 12 with inconspicuous transparent gluing of a 6.5 cm tear in the lower margin. – Generally patina-touched volume, but with the flair of its earliness. And Liszt’s editorship as the “father of a new epoch of piano playing and … the style of piano music” (Meyers Konversations-Lexikon, 4th ed., X , 832).
And it was the but 34-year-old Franz Liszt who put the highly honorable building committee up to banker Mertens-Schafhausen to shame by guaranteeing the total costs of the Beethoven Memorial at Bonn, finally erected 1845. In this context it shall be reminded of the consecration kiss he received from Beethoven at the age of eleven, perceived throughout his life as “the palladium for my whole career of an artist”. See Kerst, Die Erinnerungen an Beethoven, 1913, II, pages 57 f.
No. 8 by the way with œuvre 13, the Sonata (pathétique) C minor dedicated to Prince Carl von Lichnovsky. – Usually occurring only the stereotype second edition revised by W. Stolze and published ibid. about 1860 by Ignaz Moscheles.
Offer no. 16,096 / EUR 148. (c. US$ 179.) + shipping
Netscher, Caspar (Heidelberg 1639 – The Hague 1684). A Lady playing the Harpsichord. Accompanying a gallant. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). 3rd quarter of the 19th century. 7½ × 5⅛ in (19.2 × 13 cm).
Offer no. 11,851 / EUR 50. (c. US$ 60.) + shipping
“ … but alas ! ”
Hogarth, William (1697 London 1764). 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).
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 alas! ”
Served as subscription ticket for the immortal gentlemen sujet A Midnight Modern Conversation. – 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).
Offer no. 7,549 / EUR 118. (c. US$ 143.) + 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. – More …
Offer no. 5,949 / EUR 95. (c. US$ 115.) + shipping
Pu-Quà, A Tambouriner
Pu-Quà, A Flute Seller
Pu-Quà. A Flute-Seller. / Un Marchand de Flûte. He carries his wares in a double bag over his right shoulder while he plays one himself to attract customers. Colored stipple by J. Dadley (fl. before 1797 – after 1803). 1799. Inscribed: Pu-Quà, Cantòn, Delin. / Dadley, London, Sculpt. 13¾ × 10 in (34.8 × 25.4 cm).
From Lipperheide Le 17. – With explanation sheet in English-French parallel text. – Two sides trimmed to platemark, but unessential for much white plate margin. – On large strong paper.
“ The flutes used in China are about two feet and a half in length, and have twelve holes. They are made of a species of bamboo, and produce a soft, pleasing sound. ”
Offer no. 14,609 / EUR 118. (c. US$ 143.) + shipping
Pu-Quà. A Tambouriner. / Joueur de Tambourin. Colored stipple by J. Dadley as before. – With explanation sheet in English-French parallel text. – Except for the lower margin trimmed to platemark, but unessential for much white plate margin.
“ The Chinese have various instruments of the drum kind; but there is none which admits so much display of action and of antic as the tambourin, wherein they are not rivalled by any performers in Europe. ”
Offer no. 15,799 / EUR 128. (c. US$ 155.) + shipping
Teniers II, David (Antwerp 1610 – Brussels 1690). The Concert. Peasant’s room with fiddler and a drinking pair. The woman – secretly observed by an elder one – reading a letter. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 7¼ × 5⅛ in (18.5 × 12.9 cm).
Offer no. 5,638 / EUR 50. (c. US$ 60.) + shipping
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$ 143.) + shipping
Teniers II, David (Antwerp 1610 – Brussels 1690). The Bagpiper. Behind him at the table peasant reading a letter or document with much joy. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 6⅝ × 4⅝ in (16.8 × 11.8 cm). – In the broad white margin somewhat foxing.
Offer no. 6,770 / EUR 50. (c. US$ 60.) + shipping
“ The Instrument
is due the Superiority Price
before all ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Fully Tuned Charming Harpsichord. Richly draped young lady looking out of the picture playing the harpsichord to her own singing. In a garden room with tiled floor in the Dutch manner under widely taken up heavy curtain at the open way out to the park. On the right side of the picture another high chair, richly covered by further curtain, on which lies an open music-book. Mezzotint. Inscribed: Ioh. Elias Ridinger excud. Aug. Vindel., otherwise as above (in German) and following. 20⅜ × 16⅝ in (51.7 × 42.2 cm).
their Ridinger sale 1958
with its lot no. 98
on the underlay carton
Radulf Count of Castell-Rüdenhausen
Not in Weigel, Art Stock Catalogue I-XXVIII (1838/57) , Silesian Ridinger collection at Boerner XXXIX (1885) , Coppenrath Collection (1889 f.), Reich auf Biehla (1894) , Georg Hamminger Collection (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900), Rosenthal, Ridinger list 126 (1940). – German-Latin caption.
“ The instrument is entitled to the superiority price before all ,
For all voices one brings forth on the self-same ;
Also if one plays alone , so its sounding has
A quite enchanting pleasure for heart and ear . ”
„ As mediator of musical ideas par excellence the harpsichord is for the age that concerns us here (1st quarter of the 18th century) what the lute was in the middle of the 17th century. The harpsichord is a ‘melody and harmony instrument’ whose strings are struck by pressing the keys of a keyboard … ”
(Florence Gétreau, Watteau und die Musik, in Margaret Morgan Grasselli and Pierre Rosenberg, Watteau 1684-1721, 1984/85, p. 538).
The pictorially and thematically very charming rare large sheet
completely backed by three different papers because of damages: in the middle widely smoothed the centerfold is torn on the sides with longer fine trace of breaking especially on the left, two small traces of tears in box pleat upper right, the left upper corner little impairingly squeezed as well; minimal character loss in the left outside text, defective places in the narrow white paper margin running about. The very fine velvety quality of the impression optically conditionally lessened by quite a number of stipple-like tiny holes, whereas two stained places of potential glue penetration in the right picture margin are barely conspicuous.
“ The mezzotints are almost not available in the trade anymore
… all worked by and after Joh. El. Ridinger (are) that rare that they are to be found almost only in some public, grand print rooms. I have come across most of the described ones only in the famous print room at Dresden … ”
(Thienemann, 1856!, pages VIII & 270).
For according to the expert Sandrart (1675) the technically conditioned extremely fast wearing off mezzotint plate permits 50-60 good impressions only.
Offer no. 14,950 / EUR 530. / export price EUR 504. (c. US$ 610.) + shipping
Slingelandt, Pieter van (1640 Leyden 1691). The Musical Rehearsal. With a little dog in her arms and kidded by a young admirer. On the seat the violin with bow, on the floor music-book. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). 3rd quarter of the 19th century. 7½ × 5⅛ in (18.9 × 13.1 cm).
Offer no. 11,852 / EUR 50. (c. US$ 60.) + shipping
Published for the First Time
and Ultimately Indispensable for the Occupation with the Work
Schoenberg, Arnold. 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, seven years after his death, the decisive letter… They bear witness of the historical importance of this musician and man, the initiator of the 12-tone technique and thus of a compositional turning-point …
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.
Offer no. 13,342 / EUR 76. (c. US$ 92.) + shipping
Wartburg Minstrel’s Contest
Wartburg – Illustrations for a cigar box or pipe tobacco of a tobacco manufacturer in Hamburg or Bremen. 3 sheet on strong paper. C. 1920. With registration nos. by hand: C 454, a-c.
Painterly detailed fine version as extensive palace on woody hilltop including the tower at the outer bailey, but not with the gate’s tower at the draw bridge. Pen and ink drawing in various brown tones and with fine contrast to the light clouding. With gilt tooled borderline, lower in double line with black inner edge. 4 × 6⅛ in (103 × 155 mm).
Gilt tooled lyre on rose bouquet as allusion to the minstrel’s contest
before the palace on the hilltop styled as tobacco leaf or cloud. Behind all the beams of the rising sun. Pen and ink in brown. 2¾ × 4¾ in (70 × 120 mm).
Palace with bailey’s tower on woody hilltop below clouds. Pencil with triple rim in gold + black. Sketch for a) with prepared text field above. 4¾ × 4¼ in (120 × 107 mm).
Very charming look over the artist’s shoulder —
and presented especially charmingly under joint passepartout .
Offer no. 28,912 / EUR 450. / export price EUR 428. (c. US$ 518.) + shipping
« Career happens if you love music .
And if the career does not happen
do not worry .
For you love music anyway »
“ Belongs to the Ensemble of the Beggar’s Opera ”
Hogarth, William (1697 London 1764). 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
with the violinist at the window
and all the damned London cries before, yet otherwise
(FAZ Sept. 26, 1978 along with ills.; see also that 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 … : a dustman … behind him a fisherman offers his flounders … for sale … a beauty from the country calls out her milk in the sharpest treble … Besides a scissors-grinder whets the broad chopper of a butcher … ” (Lichtenberg). But also the postilion knows to make himself heard.
However, irrespective of the deterring treble imputed to her by Lichtenberg and dominating the group by poise as well as line of sight out of the picture at the beholder
“ … the elegant figure of a young woman with a pail of milk on her head (is) another example of Hogarth’s ideal of beauty, ‘the blooming young girl of fifteen’, who is to be preferred to ‘the stony features of a venus’ ”
(David Bindham, Hogarth and his Times, no. 71).
Present sujet besides together with the slightly modified second state of 1740 of The Distrest Poet as well as a though announced, yet not engraved scene from the life of a painter intended to become one of a series.
Marvelous impression of finest chiaroscuro
on strong paper. Cook “made his mark as Hogarth engraver, too, whose complete work he has engraved in copy” (Thieme-Becker) and whose original format he maintained contrary to all later Hogarth editions in his first, earlier edition. For some sheets not published by Hogarth himself Cook became their first engraver, just as he also gained approval of a contemporary connoisseur as Maximilian Speck von Sternburg.
Offer no. 14,707 / EUR 760. / export price EUR 722. (c. US$ 873.) + shipping
– – – The same in Hogarth’s own engraving. Inscribed: Design’d, Engrav’d & Publish’d by Wm. Hogarth Novbr. the 30th. 1741. According to Act of Parliament, title as above. 14⅜ × 16 in (36.4 × 40.8 cm).
Nagler 25. – Impression on especially buff paper 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”]).
Offer no. 14,708 / EUR 380. / export price EUR 361. (c. US$ 437.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there, friend of Gottfried August Bürger’s [“Bürger’s ‘Münchhausen’ became the last German chapbook”, Laaths, Geschichte der Weltliteratur, 1953]). Inscribed: 47. / W. Hogarth inv. , title as above. 7⅝ × 11½ in (19.3 × 29.2 cm).
RIEPENHAUSEN’S ENGRAVINGS AFTER HOGARTH ( “very estimable”, Nagler ) belong to his chief work and are partly even preferred to Hogarth’s own engravings. – Here in an impression about 1850 on especially buff paper. – Minimal trace by scraping in the sky on the left of the steeple of the background. – More …
Offer no. 14,712 / EUR 240. (c. US$ 290.) + shipping
Dou, Gerard (1613 Leiden 1675). G. Dow (recte The Violinist). Standing in the window, with view at the easel in the background. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 7⅝ × 5 in (19.5 × 12.8 cm). – According to Martin no self-portrait.
Offer no. 8,649 / EUR 50. (c. US$ 60.) + shipping
Circular by the Electoral State Government Salzburg of February 3, 1804, regarding the repeal of the patents of the street musician principals for the purpose of immediately ensuing “Regulation of the Profession of Street Musicians”. No place & printer, (1804). Sm. fol. 1 p. With printed signatures of baron von Moll as director and the secretary von Frohn (presumably Friedrich von Frohn).
FRAMING-FINE BROADSHEET on laid paper uncut on three sides. – Written contemp. inv. no. 148 in the wide margin lower left.
Carl Ehrenbert von Moll (Thalgau 1760 – Augsburg 1838) was chancellor of the exchequer for Salzburg since 1790, since 1791 director of the salt, coinage and mining authority. In the course of the secularization appointed to the Privy Council late 1803, he resigned the other year however and entered into Bavarian service in December 1804. Besides rich activity as naturalist with a comprehensive mineral collection and herbarium and a library of 80000 volumes, of which he sold 50000 to the Moscow University Library and 20000 to the British Museum in 1824. Otherwise
“ He was quite familiar with the musical literature of that epoch … He admired Handel, Bach, Mozart, and Beethoven; however, Jos. Haydn, whose cheerful and humorous Muse corresponded the most with his own nature, was his favorite ”
(Carl Friedrich Philipp von Martius, Akademische Denkreden , p. 111).
Offer no. 10,755 / EUR 65. (c. US$ 79.) + shipping
Strozzi, Bernardo (called il Cappuccino, Genoa 1581 – Venice 1644). (The Lute Player.) Half-length figure. On the table his music book. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). 3rd quarter of the 19th century. 6⅞ × 4¾ in (17.4 × 12.1 cm).
Offer no. 11,853 / EUR 50. (c. US$ 60.) + shipping
Autographed by the Author
The Édition de Luxe
of the First English Edition on Van Gelder
in 55 Copies only
Beethoven – Rolland, Romain. Beethoven the Creator. The Great Creative Epochs. I: From the Eroica to the Appassionata. From the French by Ernest Newman. 2 vols. London, Victor Gollancz, 1929. Large 8vo (10⅜ × 7⅛ in [26.5 × 18 cm]). With woodcut illustrations and 30 plates. 432 pp. Orig. cloth (spines foxing) in time-marked slipcase.
First English edition, one year after the French original, of the 2-vol. 1st part (supposedly all) of Rolland’s Les grandes époques créatives, whose likewise 2-vol. 2nd part Le chant de la résurrection. La Messe solennelle et les dernièrs sonates followed only in 1937 and has found obviously no continuation within the English edition. In the BMC (now British Library Catalogue) only the 1st part and only as one of 55 copies, too. – With 168 pages Appendix ! – On wonderfully fresh heavy handmade Van Gelder paper .
Offer no. 15,447 / EUR 1380. / export price EUR 1311. (c. US$ 1586.) + shipping
“ Socrates , Make Music ! ”
Teniers II, David (Antwerp 1610 – Brussels 1690). Teniers and Family. Striking the cello, the family behind him with songbooks. On the table clarinet and notes. On the right large cooler with two bottles, on the wall behind long-tailed monkey. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. Inscribed: Museum in Berlin / D. Teniers d. J. pinxt. / W. French sc., otherwise as above in German + English. 5¾ × 6¾ in (14.5 × 17 cm).
Offer no. 11,842 / EUR 50. (c. US$ 60.) + shipping
The Beggars Opera
Hogarth, William (1697 London 1764). 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. Inscribed: Design’d by W. Hogarth., title as above. 9⅞ × 11 in (25 × 28 cm).
With caption. – 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”]) on strong paper. – As half size trimmed below within the wide platemark.
Offer no. 7,837 / EUR 176. (c. US$ 213.) + 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).
Offer no. 8,916 / EUR 146. (c. US$ 177.) + shipping
Duplessis, Joseph Sifrède (Carpentras 1725 – Versailles 1802). Gluck. Playing at the spinet. Steel engraving by Johann Philipp Walther (Mühlhausen, Upper Palatinate, 1798 – Nuremberg 1868). 3rd quarter of the 19th century. 7 × 5⅜ in (17.7 × 13.8 cm).
Rated by Nagler as “one of the best French portrait painters”, the painting of Christoph Willibald Gluck in turn belongs to Duplessis’ best portraits.
Offer no. 8,650 / EUR 50. (c. US$ 60.) + shipping
In Fancy of Ostade …
“So goes the Violinist”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (The Night.) / NOX. At the half opened yardgate the little violinist accompanied by an old man with gamba slung over his back. A young woman dreamily listening to the serenade at her window while two children are attentive followers. On the right small view of the partially cloud-covered moon above trees. Mezzotint. Inscribed: Ioh. El. Ridinger inv. et excud. Aug. Vind., otherwise as above. 16⅜ × 22 in (41.5 × 56 cm).
Thienemann + Schwarz 1200; Silesian Ridinger collection at Boerner XXXIX, 1987 ( “Rare”, 1885 ! ); Hamminger collection 1885 ( “Extremely rare sheet [ 1895 ! ] … with small margin … Slightly cracked.” ).
Not in Weigel (1838/57) , Coppenrath (1889/90) , Reich auf Biehla (1894) + Helbing (1900) . – Watermark H G L. – Final sheet of the first set of the four times of day in genre scenes. – With quatrain in German-Latin parallel text:
“ So the violinist goes rambling at dark night
And serenades at quiet sleeping hour,
The old man goes with him that it shall thrive well,
And who shall doubt it? he has the face to it. ”
As all Ridinger mezzotints extremely rare. The complete set is provable only in the collection of Counts Faber-Castell dissolved in 1958. Sheet 1 alone figured in 1912 with the attribute “Very rare” in the 2468-lot sale of a “Large print collection mostly from the possession of an old Leipsic book shop”, then in 1980 once here. Of the other sheets of the suite – thus the one here, too – nothing of that sort is known. Otherwise Thienemann stated generally in regard of the rareness of the mezzotints:
“ The mezzotints are almost not available on the market anymore … ”
With surrounding paper margin of 10-13 mm. On the right a 4,5 cm long trace of scraping carefully retouched, a missing spot of about the size of a pinhead in the brickwork below the window blackened. The utterly smoothed centerfold doubled with thin paper. Otherwise of
beautiful velvety blackness and fine chiaroscuro
as always being especially remarkable with the mezzotints generally allowing only smallest editions of about “50 or 60 (sic!) clean copies, afterwards (the image) grinds itself off very soon as it does not go deep into the copper”, Sandrart 1675 ) and in the nightly scene here mediating the whole charm of the mild summer night. While the borrowing from Adriaen van Ostade – cf. Schnackenberg 225 (Bernt V , 457) + 226/27 – imparts by this
quite intimate , lovely leaf
a quite different Ridinger — the Ridinger of the Netherlandish
in the sense of the early Augsburg years when he also copied Old Masters (Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts, 2nd ed., p. 328). A picture
in front of which you will pause again and again .
Offer no. 28,936 / EUR 1980. / export price EUR 1881. (c. US$ 2276.) + shipping
Schönberg, Arnold. 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.
“ Schönberg deceives himself – he is not dissatisfied with the technique of his painting, but with his inner desire, with his soul, of which he demands more than it can give today. This dissatisfaction I would wish each artist – for all times. It is not hard to get on externally. It is not easy to get on internally. ‘Fate’ may be glad for us that we not turn off the internal ear from the mouth of the soul ”
(from Wassily Kandinsky’s 6-page contribution “The Paintings”).
With reproduction of paintings by Schönberg for the first time, represented still in the same year in Kandinsky’s BLUE RIDER , too. There also beside songs of Schönberg, Berg, and Webern as musical additions Schönberg’s contribution “(The Relations between Composition and Text)”.
Offer no. 13,255 / EUR 222. (c. US$ 269.) + shipping
Mieris, Frans van (1635 Leiden 1681). The Lute Player. In the company of a gentleman. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). C. 1850. Inscribed: F. von Mieris pinxt. / A. H. Payne sculpt., otherwise in German-English as above. 7½ × 4⅞ in (19.2 × 12.5 cm).
“ The picture is one of a number of Dutch paintings featuring the lute as a kind of moral symbol. Though moral symbol of WHAT sometimes needs further decoding, since many of them seem to be set in brothels where the lute appears to stand for sensuality and specifically female sensuality.
However, equally often, the lute represents domestic harmony or, more prosaically, well-ordered scenes of domestic music making …
In view of her (French) costume it is therefore particularly appropriate that she should be playing a specifically French type of lute. This 12 course double-headed form is characterised by arranging the unfingered bass strings in a graded sequence of increasing lengths. It was invented by a Frenchman, Jacques Gaultier, sometime before about 1630 … This form of the lute was taken up enthusiastically and became widely used for a long time throughout England and the Netherlands ”
(David van Edwards, Lute of the Month, March 2001). – Arched top.
Offer no. 11,849 / EUR 50. (c. US$ 60.) + shipping
The False “Cellist”
of Literature —
A True Watteau !
And in this Rich Version an Almost-Unicum !
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Gamba Player (Viola da gamba). The collector Bougi (or the big-bellied friend Nicolas Vleughels?) with plume hat below raised rich drapery, playing a viole de gambe with 7 chords and 7 ribs. Three quarter figure, sitting frontally to the left, the bowing right laid upon brickwork while to the right the balustrade of a terrace follows, opening the vista of for their part significantly seven cypresses. From their center a fountain shoots up. Mezzotint based on a detail by Antoine Watteau (Valenciennes 1684 – Nogent-sur-Marne 1721). After 1734. Inscribed: I. El. Ridinger excud. A. V. 19⅛ × 13⅞ in (48.5 × 35.1 cm).
Schwarz 1460 + plate II, XIX (erroneously as “The Cellist”).
Not in Thienemann (1856) + Stillfried (1876) and with the exception of Baron Gutmann (Schwarz, 1910) here not provable elsewhere. At which the identity of the copies of the collections Reich auf Biehla 317 ( “Very rare”, 1894 ! ) + Hamminger 1890 ( “Extremely rare sheet”, 1895 ! ) must remain undecided in the absence of a detailed description.
To be found at best (so with Rosenthal 1940, correctly as viola, Counts Faber-Castell 1958 + K&F 1979) the very much simpler version Schwarz 1459, plate II, XVIII, concentrated exclusively on the player set into a frame with caption, whose features up to the ear are worked perceptibly slightly less expressive and detailed, and this quite analogously to hat and plume, but also to the button tape of the jacket.
Yet unknown to all though
the reference to Watteau to whom the richer version here is inevitably closer. Preserved in just one copy (Saint-Omer), Ridinger borrowed the sujet from Watteau’s “Bucolic Concert”, so the title of the reverse engraving Benoit II Audran worked for the “Recueil Jullienne” in 1734, which should have served Ridinger, just as other sheets of the “Recueil”, as model, not without having restored the correct direction for his purpose: M. Bougi bows with his right! Otherwise Ridinger indeed focusses the player, but at the same time he gives his supposed ambience, also important for Watteau, back to him by rich drapery and park view. – With caption in German-Latin :
Empty thoughts banished with empty sound .
The empty sound of the violin drives away empty whims ,
O could this fill the empty head often .
Mounted by old at the corners on especially wide-margined buff laid paper which is slightly browned at three outer margins. – At top with tiny paper margin throughout, otherwise both with such one as trimmed to platemark. In the left knee quite minimal trace of scratching.
The exceptionally rare almost unique sheet
in the marvelous copy in regard of printing and conservation
of a cultivated collection of perfectly bright chiaroscuro 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 Watteau’s Gamba Player
in its two versions, which subsequently remained unknown to Count Stillfried 20 years later, too! And the one here as the richer one of the two is here provable only in Baron Gutmann’s copy. As
a bewitching-charming sheet
and , once again ,
one of the most beautiful Ridingeriana .
Offer no. 28,403 / price on application
Hogarth, William (1697 London 1764). The Laughing Audience. The laughing pit during a comic opera, “perhaps Gay’s famous or notorious Beggars 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. – More …
Offer no. 7,903 / EUR 95. (c. US$ 115.) + shipping
Dolci, Carlo (1616 Florence 1686). Ste Cecilia. To the left, playing the organ. The corners with fleural filling. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). C. 1840. Inscribed: C. Dolce pinxt. / A. H. Payne sc., otherwise in German as above + Payne’s address. 7⅜ × 5⅜ in (18.7 × 13.7 cm). – Not quite fresh.
Offer no. 8,652 / EUR 50. (c. US$ 60.) + shipping
In Extravagant Binding with Ducal Crown
Bonn’s Spectacular Beethoven jubilé
Beethoven – Schilling, G. (ed.). BEETHOVEN-ALBUM. (A Commemorative Book of Grateful Love and Veneration for the Great Deceased, endowed and described by an Association of Artists and Art Lovers from France, England, Italy, Germany, Holland, Sweden, Hungary, and Russia.) Stuttgart, Hallberger’sche Verlagshandlung, together with Paris, Bureau central de musique, London, Ewer & Co., Milan, G. Ricordi, (1846). Sm. 4to (10¼ × 7¼ in [26 × 18.5 cm]). 2 ll. preliminary matter, XVI, 312 pp. With portrait frontispiece in steel engraving. Contemp. ducal Bavarian red velvet with white moiré inner covers/fly-leaves & rich roundabout ornaments of musically elated arabesque on both covers & back together with ducal crown supralibros on the front cover ,
all in applied shining gilt metal sheet .
Ducal Bavarian “desirable provenance copy”
(Löffler-Kirchner) with library number 3973 on label at the lower back. – Partially faintly foxing, only occasionally slightly spoilingly more, among which title and the portrait printed by J. Niederbüll in Stuttgart. The extravagant binding rubbed conditioned on the velvet and the back paled. Gilt edges as the metal sheet embossing and particularly the raised ducal crown of unbroken radiation.
Outward reason for present Album were the celebrations to the erection of Hähnel’s Beethoven Memorial at Bonn in the presence of the King of Prussia and the Queen of England the year before from 10th to 12th August 1845. Planned since 1835, the receipt of too few donations prevented the realization until finally Franz Liszt (his composition contribution here pp. 274/77) put the highly famous committee for the erection up to banker Mertens-Schafhausen to shame and guaranteed the total costs. That three-day inauguration celebration inevitably leaving but a sentimental personal value, the Album should secure lasting continuance. And, so the intention of the publisher Louis Hallberger and the musicologist Gustav Schilling there, to set by this
“ Beethoven yet another worthy memorial ,
which , accessible for everyone , also can be for everyone always …
a visible … sign of the great love and veneration ”.
The artistic world was called upon for short contributions. So the Album is at the same time a reflection of music life in its day with contents frequently published for the first time. Lead as “Never before printed; discovered and related by A. Geissler, cantor in Zschopau“ by
Mozart’s “The Nose. Lullaby, composed for his wife”.
No less important the 3-page reminiscence of the ravishing Schröder-Devrient who as 17-year-old had sung the Leonore at the revival of the Fidelio, and here mentions especially the last rehearsal, too, the personal direction of which the deaf master had insisted on. And with reference to the latter confirms herself as participant what Ignaz von Seyfried had reported. Complementarily on this Kerst, Die Erinnerungen an Beethoven, II (1913), as annotation page 39 correcting at the same time the date of the performance:
“ made the opera popular by her Leonore in ‘Fidelio’ she sang 1822 as a 17-year-old. Her recollections on this are usually quoted from the book by Cläre von Glümer, who used Schröder’s notes, or from the book by Alfred von Wolzogen based on this.
More exact and interesting is the recollection
the artist herself
has published 1846 in the Beethoven Album by Schilling
and is little known … ”
Among the 180 mostly music contributions furthermore Meyerbeer’s 7-page setting to music of Ferd. Braun’s poem The Wanderer and the Ghosts, at Beethoven’s Grave, Spontini’s Romance traduite de Sapho, a 2-page one by Léon Kreutzer, Rodolphe’s (Kreutzer Sonata) nephew, Tobias Haslinger’s (Vienna’s music house Steiner & Co., Beethoven’s “Best of all Tobiases”) 2-page vocal mass and of the same stable Carl Haslinger’s 2-page Hommage à Hector Berlioz as Sketch from my Most Recent Composition.
Noteworthy also the musician Baron of Lannoy’s (p. 98) reference to the political Beethoven on occasion of the withdrawal of the Eroica’s dedication to Napoleon, who “shrunk to the autocrat and put Europe in chains again, the clanking of which still reverberates … Liberty for ever, without high church and high tories …”.
Besides, like the small memorial paper Bonn 1845, too,
of greatest rarity on the market
including even Werner Wolffheim’s legendary music library dissolved 1928/29 whose 2-volume catalog became a standard work of its own. Obviously copies becoming available found their way like lemmings into the Beethovenhaus in Bonn where currently six copies are assembled. Up to provenances like Wegeler and Bodmer. However, to what extent among those items
a that extravagantly bound one as the present shines
of ducal Bavarian provenance
may remain an open question. Coming down therefore to Jean-Louis Dumas-Hermès’ recommendation based on intimacy with the exquisite
“ Postpone nothing to the other day . One shall do it today … and not wait until retirement . For then
the quite particular item
I saw at the antiquary yesterday is gone ”.
Offer no. 15,579 / price on application
Mieris, Frans van (1635 Leiden 1681). The Trumpeter in the Guard-room. Sitting at the table and smoking his pipe. On the first a deck of cards showing i. a. ace of hearts beside tankard + flute glass. One card also on the floor. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. Inscribed: FR (jointed) VMieris on the second chair and outside the picture Dresdener Galerie. / Fr. van Mieris pt. / W. French sc., otherwise in English/German as above. 7⅝ × 5⅛ in (19.3 × 13 cm). – The painting (A Smoking Soldier, Naumann 13) is lost since the end of the second world war.
Offer no. 8,648 / EUR 50. (c. US$ 60.) + 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 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 (opi 1-26 + the unnumbered Gurre-Lieder, two choral-preludes by Bach worked on for large orchestra, Jakobsleiter, Harmonielehre). Introduction by Schönberg himself. – Among the publisher’s advertisements also the announcement of the establishing of an “Arnold Schönberg-Bibliothek für moderne Musik” on the occasion of the 50th birthday.
Offer no. 13,254 / EUR 86. (c. US$ 104.) + shipping
Neer, Eglon Hendrick van der (Amsterdam 1635/36 – Dusseldorf 1703). The Lute Player. Steel engraving by Albert Henry Payne (London 1812 – Leipsic 1902). C. 1850. Inscribed: E. v. d. Neer pinx. / A. H. Payne sc., otherwise in English-German-Czech as above. 7½ × 5⅜ in (19 × 13.6 cm).
Until the end of World War II in Dresden and then presumably removed to Russia, the painting (Schavemaker 9) is a partial copy of Gabriel Metsu’s A Man and a Woman Tuning a Cithern in Cassel-Wilhelmshöhe, by which only the lady’s deportment and look become understandable.
Pupil of his father Aert, since 1695 patronized by Jan Willem at Dusseldorf he settled there completely in 1697 and became official electoral court painter one year later. – “The true reproduction of his elegant ladies at toilet, music, and visit have made him famous” (Bernt). – Slightly browned throughout.
Offer no. 11,861 / EUR 38. (c. US$ 46.) + shipping
Les Amours pastorales
A Ridinger Trouvaille after François Boucher
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Sweet Captivity. / Jucunda captivitas. A shepherd plays the musette de cour – a refined variant of the bagpipe for artistic music particularly fashionable at the courts in 18th century France – for his shepherdess sitting below a birdcage. Another young woman sitting between them with her left resting on the young man’s knee. Furthermore sheep and the hound of the lover. Mezzotint after François Boucher (1703 Paris 1770). Inscribed: Joh. El. Ridinger excud. Aug. Vind., otherwise as above. 16½ × 21¼ in (42 × 54 cm).
Schwarz 1463 with plate vol. 2, XXII (variant); Reich auf Biehla Collection 313 („Extremely rare“, 1894). – Not in Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger Collection at Boerner (1885) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890) , Hamminger Collection (1895) , R. list Rosenthal (1940). – Bipartite WANGEN watermark. – With quatrain in German-Latin parallel text:
“ The bird whistles and sings in captivity,
He collects comfort and spirit as he cannot change it
And Thyrsis imitates him, he looks for recuperated strength,
When his captured heart may name its yearning. ”
Wonderful large sheet
unbeknown to Thienemann and Stillfried
in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Ce pasteur amoureux chante sur sa musette from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn), marked by Schwarz supposedly erroneously as after (René) Gaillard.
As against the Happy Shepherds’ Life also noted by Schwarz ( “Belonging to the set 1399 and 1400”, as the Foolish Jealousy, too), in the station here the person of the shepherdess is a very charming development. While there not just her face is vainglorious in accordence with the text, the belle in general is quite a reserved lady yet, we find her really relaxed here. Her face complete bestowal, leg shown, bosom anyway, the skirt folded back invitingly. Everything, however, light and charming and of equal grace the shepherd.
Valued by Helbing ( “Very rare mezzotint” ) in 1900 with 75 gold mark even closer to his very fine copy of the 23-sheet ( sic! ) set The Fair Game (130 gold mark) than the The Happy Shepherds’ Life (70 gold mark). Just as the one here was rated and paid for significantly more in the sale of the Count Faber-Castell collection (1958) than the latter one. Present moreover in the quite evidently best preserved one of the totally five copies known here.
Centerfold barely recognizable from the front, a pin head sized scrape and an equal hole in the free outmost plate field of the text margin. The wide white upper margin fissured and backed acid-freely. Independently of this contrary to – at least – Gutmann’s copy (the other three not illustrated here) in a
visibly deviating earlier state .
That in the case here as outstanding additional factor of rareness atruly superbly wide margins of 9.3-10 on the sides and 4.8 and 5.5 cm resp. on top and bottom are added, is then just the last ne plus ultra delighting the pretentious collector. Here thus
the rarity as such — the significantly deviating early impression —
wonderful chiaroscuro & enormous margins .
Offer no. 28,108 / EUR 1467. / export price EUR 1394. (c. US$ 1686.) + shipping
Burton, Frederick William (1816 Corofin House on Inchiquin Lake, co. Clare, Eire, – London 1900). (Sounds of Love.) Lady playing the harp. Behind view into the garden with an ancient statue. Steel engraving by William French (c. 1815 – East Grinstead 1898). C. 1850. 7⅝ × 4¾ in (19.5 × 12 cm).
Offer no. 11,860 / EUR 50. (c. US$ 60.) + shipping
Musical Easter Egg Extraordinaire
With Exceptionally Beautiful Vienna Provenance Story
close to the Immortal Beethoven
Ridinger – Bergmüller, Johann Georg (Türkheim, Swabia, 1688 – Augsburg 1762). IOH. ELIAS RIDINGER / Pictor et Scalptor (sic!) Augustanus / solertissimus Naturae Indag(ator) / ejusque in Animalium praeser(tim) / Delineatione Æmulator / felicissimus / natus Vlmae Suevorum / d. XVI. Febr. A.S. MDCXCVIII / Ars Artifici(s) Amic(us). Half-length portrait, sitting, with brushes + palette as medallion in easel mirror held by Diana sitting to the right, seeing before the artistic eye a royal stag already on the canvas as it lies together with a boar as Diana’s bag below a pedestal. Sitting on the latter and intimately turned to the master a hooded falcon together with lateral hawked heron as well as shot wild goose. And center below a Ridinger hound for sure. The whole set before woody background. Mezzotint by Johann Jacob Haid (Kleineislingen 1704 – Augsburg 1767). Inscribed: I. G. Bergmüller invent. / I. Iac. Haid ad vivum pinx. fecit et excud. A. V., otherwise as above. 15⅝ × 10½ in (39.7 × 26.6 cm).
Thienemann XX, 2; Schwarz, portraits, 3 + ills.; Le Blanc 94; Silesian Ridinger collection at Boerner XXXIX, 2057 ( “Esteemed fine sheet … Rare”, 1885 ! ); Reich auf Biehla 2 (1894); Helbing XXXIV (1900), 2; Schoeller Collection 523 (“Very fine mezzotint … Rare”; 1921); Schwerdt III (1928), 133; Ridinger exhibition catalogs: Augsburg (1967) 81 + ills. 1 as well as 82; Kielce (1997) 1 + frontispiece; Darmstadt (1999) I.2 + ills. – Niemeyer, (The Vanitas Symbolism with Joh. El. R.) in L’Art Macabre 2 (2001), 94 ff. – Not in the Coppenrath Collection (1889/90) + at Rosenthal (1940).
Lugt marks of the Vienna Ritter von Franck: 946 f. (Alfred) , 1152 (Gustav) , 949 (Johann Jakob).
With fine margin of up to 4 mm all around and in this below on both sides and above left printing color-like tiny stains, some of which also, visible only lower right, appear in the subject itself, on the left also a professionally repaired tear reaching 1.5 cm into the subject.
Johann Jakob von Franck, father of Alfred & Gustav and banker & agent of the late Beethoven, is at the same time the brother-in-law of
Beethoven’s “Dorothea=Cecilia” ,
the Baroness Dorothea von Ertmann ,
“the most excellent player of Beethoven’s works”
(Karl Czerny), to whom 1804 the latter sent a first New Year’s greeting and in 1816 dedicated the sonata for pianoforte no. 28 in A major op. 101 as “the first of the great set of (the 5) late pianoforte sonatas” (Thayer): “ I beg you to observe the strictest silence with regard to the dedication, as I wish it to come as a great surprise .”
Here now the already optically splendid
rich fine portrait
from the collection of Gustav Ritter von Franck
(Vienna 1807 – London 1860) with his round monogram stamp GF on the back lower left, below certainly his autograph rating
in pencil (the expert Sandrart 1675 with respect to the velvety mezzotint technique allowing only small satisfying editions: “50 or 60 … clean impressions”).
Likewise on the back upper center in pencil “franck”, below within an oval “24 Xbr (1)823” as hint for Christmas with which a paraph-like flourished note with possible initial A set off to that should be connected, what would refer to the
brother Alfred as possible donator , but probably also writer ,
and would correspond with his own collection interests + signatures, see below. Not to be ruled out either
that the sheet first belonged to Alfred
and this passed it on to his brother later only.
Outside of the oval finally the line “Luitr (?) M(onsieur) Arteria.” as obvious source reference to the art gallery there established in 1770, which in 1836 sold the in quality highly important portrait collection of the Alsace-born father deceased in 1828, see above, in three parts (4533 lots). That the present sheet originated from his collection appears less probable just because his collection stamp “J. J. v. Franck / Portraits-Sammlung / Nro” (Lugt 949) is not present here.
This now immediate part of the provenance remarkable itself
first of all as father and both his sons (“Ses deux fils … étaient également de grands collectionneurs”) formed important collections well-known to literature. Gustav prints + coins, Alfred (1808-1884) drawings, prints, exactly, see above, autographs. Among the former 11 sheet Leonardo caricatures, Altdorfer, van Dyck, Botticelli, several Dürer, sundry Rembrandts, Verschuring, and within the 18th century
“ beaucoup de Ridinger , puis Rugendas , Tiepolo ”.
Both of his backside written pencil collection marks (Lugt 946 f., “franck 5. Nov.” with flourishing underscore + “Afranck 863”, the figures in closed oval) quite suggest – though not knowing autographs by Gustav – that the above entry notes could be from Alfred’s hand, even though beside the style this is only supported by the starting f of the former mark and the running out into flourish/oval of the k of both. But in 1823 Alfred was only 15 years old! His career, started as pupil of the academy for engineering in Vienna, changed between military service and the devotion to the arts, in private as professionally. The latter i. a. as professor for drawing at the military academy in Vienna and art teacher of Emperor Franz Joseph. His works in oil + drawings were mostly meant for the landscape, but also portrait subject, else also engravings and some lithographs. His collection of drawings was sold by Prestel in Frankfort/Main in 1889.
Gustav’s career began with studies of philosophy and the law in Vienna with graduation in Padua in 1828, occupation as lawyer and joining the army, however, a duel caused a change of direction. After travels on the Balkan and to Algeria he entered the board of directors of a theatre in Budapest where he married the chanseuse Wirnser. Back in Vienna in 1843 in 1845/47 he redacted the Wiener Zeitschrift für Kunst, Literatur und Mode. The events of 1848 drove him out of the country, in Leipsic he published the Wiener Bote to subsequently move on to London where he stayed for the rest of his life, even though in 1858 he was allowed to return to Austria. Lugt knows the result from the sale of his collections, but not its circumstances in detail.
Summing up this family-interlocked provenance finally mediates the fine en passant message of
taking up & continuing a paternal passion
by the next generation as emanation of a refined self-understanding with the fact as kernel
that the nephews of Beethoven’s “Dorothea=Cecilia”
at the very same time of those great days
as 15/16 years old made themselves/each other happy with art
and kept this affection for the whole life.
And quite en passant the obviousness with which collectors of degree rally round them
“ many Ridinger , followed by Rugendas ”
between masters as above. Yesterday like today. Where the presently probably both in quality and quantity leading active Ridinger assembly finds itself embedded within a graphic old master collection of first rate, led by Dürer. Taken over and continued in highlights as second generation.
That “the programmatic mezzotint” (Gode Krämer) Th. XX, 2 stood at the beginning of the Franck Ridingeriana sets just this their copy available now here the last dot.
Just this part of the story therefore as exceptional as rare in connection with the back of a print. It would have made happy the didactic Ridinger. For 80 years before he had published his fable suite “for the improvement of the manners (‘by the moral effectiveness of art’, Stefan Morét) and especially for the instruction of the youth ”. As a whole, however,
a provenance constellation of peculiarly marvelous charm .
Offer no. 15,221 / EUR 1800. / export price EUR 1710. (c. US$ 2069.) + shipping
„ da haben Sie ja wirklich eine interessante Bildquelle gefunden (Thoman von Hagelsteins Lehrstücke des Jagens). Solche Motive sucht man als Ausstellungsmacher, aber die Wiedergabe in Publikationen ist oft so schlecht … Auf jeden Fall würde ich für die Ausstellung gern die Abbildung zur Wolfsjagd nutzen, da hier mit dem Ziegenbock als Köder noch mal ein anderer Aspekt gezeigt wird.
Sehr selten und noch nie auf einer Abbildung von mir gesehen – die … (Thomann’sche) Igeljagd! Wenn ich davon einen Scan für mein Archiv bekommen könnte, wäre das ganz wunderbar!!! “
(Frau R. S., 14. Mai 2013)