“ … yet the chariot rolls ”
Into the New
Six-in-Hand Carriage Horses
Franz Egon Graf von Fürstenberg, Letter (detail: The six carriage horses …)
for the Elector of Treves
Fürstenberg, Franz Egon Graf von (prebendary at Cologne etc., bishop of Strasbourg, 1625-1682). Letter with autograph signature to the Elector of Treves. Bonn June 11, 1673. Sm. fol. (12⅝ × 7⅞ in [32 × 20 cm]). 1 page on double leaf.
“ Also most Reverend Prince in God, especially dear Sir, friend and r. brother. Have I seen from Your Honorable postscript what money deposited there you will raise (?) for account of the payment of duty for some few fruit and slow-matches (?) most recently lead down on behalf the Honorable Elector at Cologne.
Now the matter is as follows that, only ordered to bring down these things, he had reported himself with the passport of course, but for the prevention of additional costs and for that he might be delayed the less with the customs, he has deposited the customs duties as he also has been ordered to. I thus hope Your Honorable will order these after the restitution of those monies, and I will endeavor to encumber myself with those debt.
The six carriage horses would already have been sent if not one would have been slightly injured at the foot over that, so nevertheless it is to be hoped it will improve as soon as possible … Franz Egon Epis. / (follows below left) Chur Trier. ”
With watermark post horn between S & W as well as separate double tower, both not in Heawood. – Patinately not improperly foxing, only the white, last page together dirt-spotted. Two minimal injuries without loss of writing repaired acid-freely.
Offer no. 13,392 / EUR 188. (c. US$ 206.) + shipping
“ are chosen …
much more than others as
Carriage Horses ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Coal Black. Noir get. “Raven-black, gleaming into dark slate blue, narrow facial marking and lower hands white, at the braided crest shining brass sheets – quietly standing (to the left)” (Th.). Colored etching with engraving. Inscribed: J. E. Ridinger inv. Sculpsit et excudit Aug. Vind., otherwise as above. 18.9 x 13.3 cm.
Thienemann & Schwarz 952. – IN THE RIDINGERS’ ORIGINAL COLORING of the Principal Colors of Horses, created, drawn and etched/engraved exclusively by Johann Elias, yet published only posthumously 1770 by the sons as the first of Ridinger’s but three originally colored works (“For this he first chose the horses, which as generally known occur in very varying coloring”, Th.; the usual allusions in the trade to only two of these based on the ignorance of the existence of copies of the 2nd edition of the Ten Plates Monkeys, Th. 541-550, intended for coloring). – A second edition contrary to the prospectus remaining uncolored with only 40 of the originally 51 plates anymore was published by Engelbrecht/Herzberg in Augsburg 1824/25.
“ The coal blacks, which are very good and the blackest of all … are regarded as especially superior, they are much inclined to rage, and are not so easily appeased when having been raised … Those, which have a star and well-drawn narrow blaze, also a fine mark at those hind hands, which does not go up, are esteemed above others, and it is certain that one finds among the coal blacks excellent horses, and the blacker the color so much more durable they are …
Therefore the coal blacks
are chosen for their lasting color , much more than others ,
as carriage horses,
for they are not so much subjected to the change of the coat as others ”
(Ridinger in the preamble Nature and Characteristics of Horses, according to their Colors, pp. 31 f., enclosed in copy).
With watermark C & I Honig under fleur-de-lis arms with beehive pendant as that sturdy Dutch quality paper Ridinger used in line with his preamble
“ on account of the fine illumination ” for the colored works
“as for this purpose it is the most decent and best”. – Below right in the 2.8-3.8 cm wide white margin somewhat smudgy from turning over, three slightly longer tears in the margins backed.
Offer no. 16,042 / EUR 370. / export price EUR 352. (c. US$ 385.) + shipping
The Plenty of Carriages —
Here They Are Built
Menuisier en Voitures. View of the workshop and numerous detail depictions. Set of the 17 (1 double full-page) engravings of the carriage joinery by Robert Benard (Paris 1734 – after 1777, recte rather c. 1786) from the quarto edition of the famous encyclopedia by Diderot and d’Alembert. (1784.) C. 9⅝ × 7¼ and (1) 14 in (24.5 × 18.5 and 35.5 cm) resp.
Instructive set. – Figurative + typographic watermarks. – Mostly untrimmed on two, partly also three sides. – Small + smallest tears concerning almost exclusively the white margin and quite isolated, just in one case recognizable thin paper spots backed acid-freely.
Berline, Élévation Latérale – Berline, Élévations par devant et par derriere – Coupes Transversales du devant et du derriere de la Berline – Coupe Longitudinale et Plan de l’Impériale de la Berline – Profils et Plan de différentes Pieces d’une Berline à la Francoise – Diligence a l’Anglaise – Vis-à-vis demi Anglais - Désobligeante à l’Anglaise – Caleche – Diable – Chaise de Poste – Grand Cabriolet – Carosse de Jardin à une Place – Chaise à Porteur – Outils, Rabots à moulures (2) – Outils Calibres.
Offer no. 12,111 / EUR 220. (c. US$ 241.) + shipping
The Coronation of the Social Ascent
Lord Mayor of London
Hogarth, William (1697 London 1764). The Industrious ‘Prentice Lord Mayor of London. The former weaver’s apprentice Goodchild is escorted home by the people. Next to the state-coach the delegations of the guilds with their flags. One of the guardsmen with an open jug of beer in his left, at his side a boy with leaflet of the true story of the ghost of Tom Idle hanged for murder, once Goodchild’s comrade during his apprenticeship. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by Wm. Hogarth / Plate 12. / Engraved by T. Cook / Published by T. Cook Islington, and G. G. & J. Robinsons Pater-noster Row December 1st. 1796. 11¼ × 16¼ in (28.6 × 41.3 cm).
Industry & Idleness XII. – Marvelous impression of fine chiaroscuro on buff paper. In its wide white margin quite isolated weak foxing spots and upper right slight tidemark. Beyond that – contrary to all later Hogarth editions – in the original size. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker).
“ So Goodchild has achieved everything what hard work and luck can give to the industrious citizen in London! … all London is in movement and takes part … ”
(caption of a lithograph).
The master’s famous, most popular suite, showing by example of two apprentices in a weaving mill as one of the main branches of industry in his days the chances of their life as well as the temptations detrimental to their career :
Calculated for the use & Instruction of youth
w(h)erein every thing necessary to be known was to be made
as intelligible as possible
(Hogarth in his Autobiographical Notes).
“ The scenes should be as easily intelligible as possible for which the engravings had not to be worked in all fineness. It was rather important to keep costs low so that even apprentices could buy these sheets. Hogarth designed a frame-like border around each picture – supposedly he assumed that the boys would pin up these engravings directly at the wall. In this border below every scene he had added a characteristic verse from the Bible to the idle and (or) industrious apprentice … at top on the one hand a cat-o-’nine-tails, a pair of fetters, and a halter as emblems of the tragic end of the idle apprentice and on the other hand golden chain, sword and mace as hints to the career of the industrious one ”
(Bachofen-Moser, William Hogarth in the Art Gallery Zurich, 1983, p. 98).
Offer no. 7,538 / EUR 445. / export price EUR 423. (c. US$ 463.) + shipping
– – – The same in Hogarth’s own etching in an 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”]). Inscribed: Engrav’d & Design’d by Wm. Hogarth. / Plate 12 / Publish’d according to Act of Parliament Sep. 30. 1747. 10¾ × 15⅞ in (27.3 × 40.3 cm).
Illustration Hogarth Catalogue Zurich, 1983, 64. – On wide-margined buff paper.
Offer no. 7,717 / EUR 197. (c. US$ 215.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 38. / W. Hogarth inv & pinx. / Pl. 12. / R. d. & sc. 9½ × 13⅝ in (24 × 34.7 cm). – Impression on especially buff paper, supposedly about 1850. – On the left trimmed within the white platemark. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and are partly even preferred to Hogarth’s own engravings.
Offer no. 7,719 / EUR 146. (c. US$ 160.) + shipping
Sidney, S(amuel). The Book of the Horse: (Thorough-Bred, Half-Bred, Cart-Bred), Saddle and Harness, British and Foreign, with Hints on Horsemanship; the Management of the Stable; Breeding, Breaking and Training for the Road, the Park, and the Field.
With numerous (8 verso blank full-page) wood engravings
by R. C. West and others, mostly after Sheldon Williams, and
after Alfred Corbould (3), John Fenneley, Sir Francis Grant, Monpezat, George Stubbs, Velasquez, James Ward, Sheldon Williams (5) and others. London etc., Cassell, Petter & Galpin, (1875/78). 4to. 3 ll., 604 pp. Gilt stamped illustrated orig. cloth. Gilt edges.
De la Lance II, 508. – A second edition was published in 1881. – Fly-leaf with stamps of the Tillhör Library and of S. Ugglas. Ex-libris Arvid Eriksson. – Up to p. 160 dog’s ear lower right scarcely visible at the beginning. – Binding a little rubbed, the back renewed under reuse of the orig. cloth.
“ l’Ouvrage … est une veritable encyclopedique hippique ”
and besides “a lavishly illustrated work ” .
The Driving with the chapters Carriages (pp. 12-56 along with 14 wood engravings + 1 chromolithograph) , Driving (pp. 507-524 together with 7 wood engravings, 2 of them full-paged) + Stables and Coach Houses (pp. 525-531 along with 6 wood engravings, the one of them “Driving a Pair” already within the Harness chapter, page 485).
The fine chromolithographs show the several races, partly in their famous exponents, some also with jockey or carriage (1 resp. 2). The numerous text ills. with all technical details, but also with races and other interesting sujets. And all questions will be answered by the competent text.
Offer no. 12,291 / sold
Dahl, Siegwald Johannes (1827 Dresden 1902). (Put to the Carriage). Young one-horse lively stepping out in slightly outlined landscape with brushwood (?) on the carriage and the Pomeranian first. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil as above. 7 × 9 in (179 × 228 mm).
Thieme-Becker VIII, 274 f.; Allgemeines Künstler-Lexikon XX, 320; Boetticher, Malerwerke des 19. Jhdts., I/1, 211 ff. – On thin cardboard.
“ D. (son of Joh. Chr. Clausen D., already at the age of 37 honorary member of the Dresden Academy) is above all an animal painter, his Norwegian and German landscapes already technically not coming up to the excellent depictions from the life of the dogs, horses, roes, birds. In respect of loving observations these genre scenes could stand comparison with those of Edw. Landseer whose works D. had studied in London … A not to underestimating influence in this connection D. has excerted on an elder art companion, the ingenious Ferd. v. Raysky, together with whom he yearly made natural studies on the properties of their friends ”
(Thieme-Becker, whose estimate of his portrait drawings
“ drawings of partly extraordinary delicacy ”
corresponds with the one here, too).
Offer no. 14,556 / EUR 345. / export price EUR 328. (c. US$ 359.) + shipping
– – – (Accompanies the Mother at Work). Foal left-sided to the mare, harnessed alone to a two-horse milk-float, both in lively run and the Pomeranian on the box. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil as above. 7⅛ × 9⅛ in (182 × 232 mm).
Offer no. 14,557 / EUR 370. / export price EUR 352. (c. US$ 385.) + shipping
The Country Coach
Hogarth, William (1697 London 1764). The Country Coach. The last travelers enter the overland stagecoach, the postilion already took the box, and the landlady acting as post-mistress urges for hurry by heavily ringing the bell. In the front a hunched small postilion asks a corpulent gentleman changing coaches here for a gratuity for the previous stage. Lithograph. (1833/36.) 9¾ × 9⅜ in (24.7 × 23.7 cm).
Irrespective of the rich postal scene the actual happenings of this plate, otherwise known as A Country Inn Yard, concern – in addition to the Four Prints of an Election – the mockery of a
“ candidate defeated in a parliamentary election ”
whose stuffed figure – as already in regard of the Duke of Newcastle on plate 1 of the Election set – is carried round in a procession of the opposing party. This all the more annoying as the defeat is caused by formalities, that is the yet barely missed age of the candidate, and thus was foreseeable. Accordingly unwillingly an agent of the unfortunate – a copy of the Act against bribery and corruption in his pocket – foots the bill for the wasted election entertainment to the landlord.
“ The well-known plate … shows with Dickens’ humour a comfortable depiction of rural petty bourgeoisie ”
(Thieme-Becker XVII, p. 297, 2). – Extensive caption in German.
Offer no. 7,805 / EUR 125. (c. US$ 137.) + shipping
– – – The same in Hogarth’s own engraving. Inscribed: Design’d and Engrav’d by W. Hogarth. — Publish’d According to Act of Parliament. 1747. 8⅝ × 12¼ in (22 × 31 cm).
Nagler 30. – After the painting of 1747. – Impression on strong 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. 7,803 / EUR 135. (c. US$ 148.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth pinx. 1747. / E. Riepenhausen sc. 8⅜ × 10½ in (21.3 × 26.7 cm). – In regard of the especially fine, buff paper supposedly an impression for a special edition about 1830. – Margins somewhat age-spotted. Equally the image itself slightly.
Offer no. 7,804 / EUR 118. (c. US$ 129.) + shipping
Winter, The. Richly tree-grown hilly landscape with church hamlet in the reversed middle distance and single property front right. In front team of oxen with the driver walking ahead, instructively loaded with long and, laterally, short wood. Behind peasant carrying off brushwood on a one-wheeled cart. Laterally left two huntsmen aiming at the slope. Etching. C. 17th century. Inscribed lower right: 4. 17.4 x 23.3 cm.
The atmospheric winter sheet
of a Four Season set of Flemish style à la the younger Josse de Momper (1564-1635) etc. not identified here at present in marvelous impression of perfect preservation with margins 1.2-2.1 cm wide. – Five small traces of mounting on the back’s upper edge.
Offer no. 15,445 / EUR 830. / export price EUR 789. (c. US$ 863.) + shipping
– Attorneys and Drayman –
Hogarth, William (1697 London 1764). A Morning in London. Daily turbulence at Thavie’s Inn Coffee House, today for a change the sleeping drayman on his fully loaded cart, running over a boy while additionally the bung of one of the barrels got off and the much demanded thirst-quencher runs onto the street. But also
Tom Nero’s overturned coach in front left with the four attorneys
on their way to Westminster for the court sittings
promises troubles for the coachman. Engraving. Inscribed: Designed by W. Hogarth. / Published according to Act of Parliament Feb. 1. 1751. 15⅜ × 12¾ in (39.1 × 32.3 cm).
The Four Stages of Cruelty II. – With 12-lined caption in three verses by supposedly Rev. James Townley. – The famous sujet by which Hogarth successfully tried to call the attention to the brutalization of the lower classes. Since – so Lichtenberg – “supposedly the drayman will know to comfort himself over the unlucky boy, but have quite different feelings in regard of the suffered (beer) damage”. But also the attorneys’ driver should not be in a good mood either for each one of the four seems capable
“ to bring the coachman to the Justice of the Peace
to enforce forfeit for the suffered shock ”.
That the attorneys let themselves be driven by Tom Nero at all is the gag pure and simple: For he is the arch-rogue of this set. Whom an acting earthly justice finally will bring first on the gallows, then into the anatomic theatre. The latter due to common prejudices of especially deterring effect. – Harmonic impression, perhaps from the complete edition published by Boydell 1790-1809. – Some backed small tears in the broad white and a tidemark in the upper left corner.
Offer no. 6,516 / EUR 445. / export price EUR 423. (c. US$ 463.) + shipping
Dahl, Siegwald Johannes (1827 Dresden 1902). Zusammengebrochen u. … von dem Ulanen … wieder erkan(n)t, welcher aber vom Kutscher weggewiesen wird (Broken down and now recognized by the cavalryman who is sent away by the driver though)! The cavalryman at his former horse now broken down in the harness of a two-horse carriage highly loaded with stones. Depressed old and young form the front. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise per four-liner in pencil as above. 6¾ × 8⅞ in (173 × 225 mm).
Thieme-Becker VIII, 274 f.; Allgemeines Künstler-Lexikon XX, 320; Boetticher, Malerwerke des 19. Jhdts., I/1, 211 ff. – On thin cardboard. – In all parts of rich power of narration.
Offer no. 14,558 / EUR 378. / export price EUR 359. (c. US$ 393.) + shipping
Hogarth, William (1697 London 1764). Ensnared by a Procuress. Mary Hackabout, innocent maid from Yorkshire and just alighted from the stage coach at the Bell Inn, is examined by the notorious Mother Needham, while in the door of the establishment the no less ill-reputed Colonel Francis Charteris – both will find their deserved end – has his own thoughts. Front right furthermore a goose almost strangulated by the address label: “For my Lofing Cosen in Tems Stret in London”. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Pl. I. / Designed by W. Hogarth. / Engraved by T. Cook / London, Published by G. G. & J. Robinson, Paternoster Row, April 1st. 1798. and series title. 14⅜ × 16¼ in (36.5 × 41.2 cm).
Harlots Progress I. – Harmonic impression of fine chiaroscuro on buff paper. In the lower right corner of the paper-margin almost imperceptible tidemark. – 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. – The first sheet of the set:
“ With pure, even gentle innocence of his heroine (Hogarth) starts … the daughter of a poor country preacher in Yorkshire … Yet what the maid lacks of high beauty is made up with great profit by higher health, naive simplicity, and gentle purity. Her propriety, as one can see, is besides that of a sturdy, neat, honest country damsel something could be made of – and just that will happen ”
The original paintings of this set of six stations in the life of a prostitute from about 1730 were destroyed by fire already about 1755 by the way.
Offer no. 7,505 / EUR 373. / export price EUR 354. (c. US$ 387.) + shipping
– – – The same in Hogarth’s own etching in the 3rd state of 1744. Inscribed: A Harlots Progress Plate 1. / † / Wm. Hogarth invt. pinxt. et sculpt. 12⅝ × 15¾ in (32 × 39.9 cm).
Nagler 17, 1; Illustrations Hogarth Catalog of the Tate Gallery, 1971/72, 57 (4th state), Hogarth Catalog Zurich, 1983, 13 (this state), Bindman, Hogarth and his Times, 1997, 32 (1st state). – Fine, contrast-rich impression, perhaps from the complete edition Boydell published 1790-1809. – On buff, virtually extremely wide-margined paper. In the margins minimally fox-spotted, upper right rather faint tidemark. Several smaller tears below backed acid-freely.
Offer no. 7,616 / EUR 251. / export price EUR 238. (c. US$ 260.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 7. / A Harlot’s Progress Plate 1. / W. Hogarth inv. pinx. Riepenhausen f. 7¾ × 9⅝ in (19.7 × 24.5 cm). – Impression on especially buff paper, supposedly about 1850. – 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. – More …
Offer no. 7,618 / EUR 118. (c. US$ 129.) + shipping
“ Admirable (Landseer’s) Intellectual Grasp of the Subject ”
where Governments command One Thing only :
Ever More Foolhardily Ahead
Landseer, Thomas (1795 London 1880). Tax Cart. Drawn by a blood-thirsty mastiff with the axle smoking. The driver a monkey dressed as human. Etching. (1827/28.) Inscribed: Tho Landseer, otherwise as below. 6¼ × 7⅞ in (16 × 20.1 cm).
Rümann, Das Illustrierte Buch des 19. Jahrhunderts, Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On especially wide-margined buff paper. – Almost only in the right white outer margin quite weak foxing. – With distich from Thomas Moore’s (1779-1852, “Ireland’s National Bard”) Tom Crib’s Memorial to Congress published 1819 under the pseudonym By one of the Fancy:
“ Ya – hip my haerties! here am I . That drive the Constitution Fly. ”
(“The legally trained mind now and then impairing Moore’s lyric poetry celebrates its biggest triumphs in satiric, frequently political poems referring to current events” aimed especially at the Tories “with the caustic wit peculiar to him” [Meyers Konversations-Lexikon, 4th ed., XI, 1889, p. 787]. His Tom Crib’s … within the Moore volume V of the series British Satire 1785-1840 at Pickering & Chatta, London 2003.)
Fine impression on large paper from the famous set of the “Monkeyana” , one of the but few early and thus typical works by Landseer of after 190 years
unvaried timeless topicality .
“ That Thomas Landseer may be judged only by such 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. ”
And Stechow sovereignly sums up :
“ Monkeys always fascinated artists ”
(Pieter Bruegel, Cologne 1977, page 76).
“ The monkey as the animal most similar to man plays an important rôle in art history since antiquity. As figura diaboli, as symbol of sin and the fall of man, as fool, as figure of vanity he appears in most varied context … (A)lso the usual religious reference in the interpretation of the monkey as man mixed up in his passion for profane things … ”
(Hella Robels, Frans Snyders, Munich 1989, page 43).
Later Thomas Landseer rather devoted himself largely to the reproduction of the animal depictions by his brother Sir Edwin.
Offer no. 14,970 / EUR 630. / export price EUR 599. (c. US$ 655.) + shipping
of Prime Provenance
Dutch School – Landscape with the Three Peasants Cart-loading. On the field in front, loading shocks of sheaves onto a two-wheeled one-horse cart. The low wood enclosing the field declining on the far right and opening the vista of the plain with broad river with sailboat and a village on the far bank. Richly shaded brush in grey wash over traces of black chalk. C. 1700. 8½ × 14 in (217 × 354 mm). – Minimal foxing.
Dr. Carl Robert Rudolf , London
his sale Amsterdam 1977
On verso his collector stamp Cock on Turtle,
Lugt II, 2811 b
Finely executed work of painterly impression ,
the quality of which vouches for the hand of its master .
And thus also for its provenance . For , so Terence Mullaly ,
“ Rudolf was one of the last of the real collectors of Old Master Drawings, in Britain perhaps the last. Certainly he will take his place alongside those other great British collectors, Lely, Lankrink, the Richardsons, Hudson, Reynolds, Lawrence, Esdaile, Skippe, Witt, and the rest … As long as he stuck to the Old Masters,
he had a remarkable eye for quality
… He was interested in the subject of the drawing, in the way the artist had visualised that subject, and in technique, for which he had a critical eye. ”
And George Keyes :
“ Rudolf amassed one of the largest and most representative collections of old master Dutch and Flemish drawings of this century … ”
Attaching present drawing to a name some day thusly could indeed
promise a confirmation of one’s own eye .
Offer no. 15,486 / price on application
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). A Sledge-Horse with Little Bells. To the right with rich decorated blanket, collar decorated with putti, and tuft of feathers. In the background a farm snowed in. Etching + engraving. (1755.) Inscribed: J. E. R. fec. / No. 13., title in German as before. 7⅞ × 6 in (19.9 × 15.1 cm).
Thienemann + Schwarz 493. – Sheet 13 from Design of Several Horses as part VI of the instructive set Design of Several Animals ( “These plates are much wanted and frequently copied”, Th. 1856). – Wonderful impression of the 1st edition with wide margins.
Offer no. 7,211 / EUR 279. / export price EUR 265. (c. US$ 290.) + shipping
The End of all Things
Comes to an End
and Phoebus in the Burning Celestial Chariot
Tumbles with His Horses into the Bottomless Abyss
Hogarth, William (1697 London 1764). Tail Piece or The Bathos or manner of Sinking, in Sublime Paintings, inscribed to the Dealers in Dark Pictures. The end of Everything. Engraving by Thomas Cook (c. 1744 – London 1818). 1798. Inscribed: Designed by W. Hogarth. / Engraved by T. Cook. / Published by G. G. & J. Robinson Pater-noster Row December 1st. 1708. (recte 1808), otherwise as above. 13⅜ × 14½ in (34 × 36.7 cm).
Hogarth catalogue of the Tate Gallery, 1971/72, 222, + Hogarth catalogue Zurich, 1983, 94, both the Hogarth version of 1764 and with ills.; Christoph Wulf, Dying Time, in Anthropology. A Continental Perspective, 2013, p. 133, ill. 5.1 (this copy) – Extensive caption with – besides verses by Tacitus and Maximus Tyrius – important reference to Analysis of Beauty by two cone figures on the sides. While the right one quotes figure 26 of that the similar left one is new.
“ Rarely an artist has said goodbye to the world that movingly . ”
It is Hogarth’s last graphic work, seven months before his death. Artistically a recourse to Salvator Rosa the title is based on Pope’s poetical counterpart “Peri Bathous” as itself “a parody of Longinus’ ‘Peri Hypsous’”.
The scenery itself of an unheard of radicalism.
Since also and especially those attributes otherwise signaling the ending of the times are affected by the ruin: Scythe and hourglass are broken here as are crown, pipe, palette, bottle, bell, the pub “The Worlds End” with the burning globe as its plate, the church as several other symbols of Vanitas. The clock lost its hands, the trees are as dead as the hanged man – and Phoebus in the burning celestial chariot together with his horses tumbling down to the bottomless abyss.
To crown it all Saturn himself as god of the time – the winged death – as of the wealth founded by agriculture breathes his last “Finis” while his last will – witnessed by the three Fates Clotho, Lachesis, Atropos – slips from his hand: All and every Atom there of to Chaos. Shortly “H. Nature Bankrupt”.
With the exception of the man in the thin crescent of the decreasing moon who still seems to be alive a bit. As also the gallows are standing fast. For “this it seems also the coming world cannot do without” (so on the lithograph by Heintz). To increase the bathos a few puns have been mixed in the whole mess: a cobbler’s end and last resp., a rope’s end, and the candle’s end.
Wonderful , only slightly later copy of brilliant chiaroscuro
and adequately wide margins and freshness of this fine print by Cook who “made his mark as Hogarth engraver, too” (Thieme-Becker). As the only one of the posthumous editions he stuck to the original size. – With watermark “1811 W Balston”; cf. the double mark “J Whatman & W Balston 1813” Heawood 117. – In the right far margin two small slight tidemarks. The partial little foxing on the back perceptible quite minimally in just two spots in the heaven’s part.
Offer no. 7,545 / EUR 291. / export price EUR 276. (c. US$ 302.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, engraver at the university there and friend of Gottfried August Bürger’s). (1794-1835.) Inscribed: 44 / W. Hogarth inv. / R. d sc f. 8½ × 9¾ in (21.5 × 23.5 cm).
Early impression with distinct plate tone and extremely wide lateral margins. – Only the plain picture. With respect to the wide lower plate margin it seems the lower margin’s arrangement was intended yet never done. Later the plate was trimmed below accordingly.
Offer no. 7,740 / EUR 125. (c. US$ 137.) + shipping
“ … lies a court file, decorated the English manner with the large seal as if it origins from the King’s bench. The title – see above – pronounces the content. The great seal rests upon one page of an opened book; the other page shows the words below: Exeunt omnes (All leave). The book thus embodies an English play, and the final act lies open with the indication
that at the world’s end
all actors go off the stage “
( Lichtenberg )
May Be , May Be
“ It was in July , when Herr von Strahl ,
A hero , in short Frederick’s general …
Weary of the city’s stupefaction ,
Idle of martial business ,
Resolved to move into the country
From his splendid Berlin ”
But forever rolls
Chariot of Venus
Here as Culture-historical Niner Torch
which had Lady Justice’s Moral Sense light up
as if the young Republic , still vividly recalling the horrors of the war , had nothing more urgent to do but to flare up because of a noble edition for a small circle of intellectual élite to deprive the
Freedom of the Arts
of the juice . They are here again today . These excitednesses , this panic crusading , to actually only pull things into the limelight which the republic should be able to bear .
There’s only one thing to do :
the opening up of the soul .
Of the own , the collecting , the art-loving self .
“ The night is the most beautiful ”
the pianist Eduard Erdmann , book collector of degree , once told his head-waiter in Weinhaus Wiesel in Cologne .
(Mülheim/Ruhr 1867 – Cologne 1932)
Der Venuswagen. A Collection of Erotic Private Editions with
73 ORIGINAL PRINTS .
Published as PRIVATE EDITIONS OF THE GURLITT PRESS by Alfred Richard Meyer (Munkepunke). First Series. 9 volumes (all published). Berlin 1919/1920.
Ruby red orig. morocco on 5 ribs
in quarto (12⅛ × 9⅞ in [30.7 × 25 cm]) with blind tooled front cover vignette and equal line on both covers as well as, gilt tooled, on the back, as the titles, too, green moiré inner covers & fly-leaves as well as gilt head edge. Two edges untrimmed.
Doktor Heinrich Stinnes
(Mülheim/Ruhr 1867 – Cologne 1932)
with volume by volume on the fly-leaf
the collector’s written ownership note
with source of purchase & price in deep black ink
and the red collection stamp together with 1/40 in the margin lower left
of each of the 73 plate prints
Doktor Heinrich Stinnes’ obligatory
No. I/XL of the LUXURY EDITION
(first and final total number of copies 740) printed on strong laid paper and bound in leather (as here) or vellum or also, as not noted in the imprint, in silk. – Serial as individual titles mostly in red & black. – Within the generous preliminary matters on page 3 each lithographed serial vignette, the content of the first volumes later modified. – Plates printed on the Gurlitt press. – Beside the moiré fly-leaf at the beginning 2 & at the end 1 additional fly-leaves. On each one of the fly-leaves following the front moiré fly-leaf the autograph owner’s note of Dr. Stinnes with full name & purchase note in black ink. The reference to the plates on the titles mostly numbered in writing. – With exception of two not intended for this and one inadvertently overlooked
all prints as well as the imprint
are signed by the respective artist .
Irrespective of on their own indeed impairing imperfections in the preservation of two volumes an
excellent state of preservation & as a whole a feast for the eyes
which disguises said imperfections sovereignly awaits you. This copy is downright
a synthesis of the arts ennobled unrepeatably by provenance & Roman I .
Offer no. 15,648 / price on application
Heinrich Stinnes, 1/40.
- 1848 founded by John Cassell (1817-1865), 1858 Petter and Galpin, who operated a printing firm, became partners of the publishing house now styled Cassell, Petter & Galpin. 1878, with further partners joining, changed to Cassell, Petter, Galpin & Co., in 1883, after Petter’s retirement, the firm was converted into a limited liability company under the name of Cassell & Co.↩
- Almost 240 years later, Robert Murray will title chapter XV of The Decline and Fall of the American Empire (2002): The Chaos to come.↩
“ Thank you so much for that comprehensive background to the above titled (Brierly) print which has intrigued me … ”
(Mr. R. H., July 12, 2014)