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SCHILLER IN THE PICTURE© II

Here and Now

Pour
Heinrich Stinnes, Collector's Stamp
Monsieur
le
Docteur Stinnes
Mülheim/Ruhr 8 Jan. 1867 – Cologne 4 Nov. 1932

The Prince of the No. I
to his
150th Birthday

Living on
in his Collecting Grandeur

Heinrich Stinnes, Collector's mark

Prince of the No. I

The wire-stitched 33-sheet prospectus “in a wrapper of the looks of a toilet soap package … as foretaste of what is to be expected” (Horst Stobbe) of the same year front-running to the prelude of the Venuswagen here no more present than the 14-page private edition (Memorandum concerning Confiscation of the ‘Venuswagen’) by Alfred Weise from 1922. The latter, because the series came hot off the press into the Cologne suburb domicile of the industrial heir, the former, because this giant among the collectors of modern prints & book illustration from about Goya – Lugt mentions about 200,000 sheet – could be certain of his No. I. Which publisher would have dared to forego to come up to

this absolute need of this absolute character

the more naturally as by the acceptance in this noble collection seeing his publication and therefore himself ennobled.

“ As any real collector

Stinnes had his hobby, too.

Of numbered editions

he always wanted the first number ”

J. H. De Bois

Haarlem’s Dagblad, September 16, 1933, p. 9

Gurlitt, Pope of Art of his time, numbered in the present case just matter-of-factly

“ This copy of the luxury edition bears the No. I ”,

with only the I entered in writing. Elsewhere it was done differently, too. Imprimé spécialement pour M. le docteur Stinnes was in addition to the I the imprint of a volume traded here just at the beginning in 1959. It was my first Stinnes. And an early pride into the bargain. And unchanged fresh the fascination about this grandeur of a collector, indeed, towards collecting provenances in general for their barely limited living on far beyond the temporalness of individual and collection, ready for intimate dialogue with one of them, granting insight not least into the most inside.

So then here, too. Volume by volume on the fly-leaf the collector’s written ownership note with source of purchase & price in deep black ink.

Heinrich Stinnes, Owner's note

What a hand has wielded it !

Imperial stroke the weekly Die Zeit called them, hitting the bull’s eye, on January 5, 1950 on occasion of another one of the sales of the estate running since 1932 (Zeit online). And further

“ One recognized his temper also by the stroke, which a mighty claw had affixed on the passepartouts or even on the sheets themselves. For no graphical sheet came into the house … of which would not have been taken possession by this, almost manic manner. ”

So it seems indeed. And in the present case finds its equivalent in the red collection stamp (Lugt 4436) along with 1/40 in the margin lower left

of each one

Heinrich Stinnes, Collector's note

of the

73 plate prints of present Venuswagen .

Apropos possessory entry the writer of the Zeit, otherwise hitting the gist of the matter excellently, proves to be a bibliophile ignoramus yet when he groans:

“ Not with the pencil for instance, which a deleting eraser could have removed easily ( sic ! ), but with deep black ink and imperial stroke, or even with an impertinent indelible pencil, which engraves itself with voluptuousness into the skin of the noblest Japan paper. A tattoo which mocks all removal arts of the most experienced restorer. ”

Only a Jacobin ever would get – and with certainty – the idea to force such an autograph, such a property trophy of the bluest blue under the guillotine of an eraser! What a sacrilege! What a gaffe! Where yet

“ … this sturdy taking into possession

probably (corresponded) with the hard hand of the brother Hugo Stinnes, which grasped at the blocks of shares of German industrial companies ? Was the strive for completeness, the propertied command of a wide field,

the character trait

which linked the otherwise so different brothers to each other ? ”

He was one of the Lannas, the Gutmanns, the Davidsohns, the Thyssens as the in the old world

“ first collector(s) of world culture

who come from an industrial world

… (and have) nothing (yet) in common with any of the earlier (princely) breeds of collectors ” (Lothar Brieger, Das Kunstsammeln, 3rd ed., 1920, pages 10 ff.). And continuing, as if he considers Heinrich Stinnes as the prototype plain and simple, “He is, though he may not always like to hear it,

not imaginable without the dealer,

just for the reason that actually the dealer was the only human being with whom he got on well … (And) hand in hand with the dealer’s cultivation went (at the same time) the development of a better museum system.“ And summing up

“ For indeed those collectors, whom we may address as the fathers of our today again blossoming collecting, have

lived nothing , loved nothing and enjoyed nothing but works of art ”

(Lothar Brieger, Das Kunstsammeln, 3rd ed., 1920, pp. 10 ff.).

Heinrich Stinnes

was one of these grandees. Pure as hardly any one else. A principal, as brother Hugo on his field. But, lo and behold, his survived the times better. We bow in awe.

« Provenance copies

are books

which , as the supralibros , the ex-libris ,

or a hand-written annotation prove ,

origin from a famous library

and stood in a personal relation

to its owner »

Hans Bohatta

in Lexikon des Gesamten Buchwesens, vol. III (1937), page 58

niemeyer’s is proud having not only got once more, from this provenance, from this parade of Is, a collecting highlight, but by this 9-volume edition costing the publisher 1000 Mark immorality fine at the same time

a historico-cultural torch

par excellence

which had the law’s moral feeling glow up

as if the young republic, still vividly remembering the horrors of the war, had nothing more urgent to do than to flare up because of a noble edition for a small circle of intellectual élite to deprive the

Freedom of Arts

of the juice. They are here again today. These excitednesses, this panic eagerness, 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 said to his head-waiter in the Weinhaus Wiesel in Cologne. Shades of Heinrich Stinnes.

Schiller, The Chariot of Venus

Friedrich Schiller

The Chariot of Venus

A Poem. 1781.

With 8 (7 signed as Cat. Fischer 406, too) color lithographs

(5⅞ × 9⅞ in [15 × 25 cm] and [7] c. 10¼ × 8¼-8½ in [26 × 21-21.5 cm] resp.,

2 of which inscribed in the stone with

Ritsch Ratsch , Venusfinger and Inquisitia resp.)

by

Lovis Corinth

(Tapiau 1858 – Zandvoort 1925)

33 pages, 1 sheet imprint, 2 extra end fly-leaves. – Text printed by von Otto von Holten, Berlin

DER VENUSWAGEN I

H.-G. IX, 528 f.; Englisch I, 217 f.; E. II, 254 f.; Simon, Schiller’s ‘Venuswagen’, Euphorion 20/3 (1914)

No copy

in the Corinth print collection Beckmann=Bremen

united in 297 lots

at Puppel (Hollstein & Puppel), Berlin 1941

Europa on the Bull remained inadvertently unsigned. – Ribs slightly rubbed just as one spot each at upper field and lower edge of the back as well as the upper right corner of the front cover.

“ If we leaf through Schiller’s works for the poem ‘The Chariot of Venus’ we will hardly find it. Schiller’s first verses have always been ostracized. The poet has suppressed them himself. Yet – just for the beginning of the great artistic creativeness they are extremely characteristic; their value is not to be looked for in literary curiosity only.

When in December 1780 Schiller was discharged from the military academy at Stuttgart he took residence at the widow’s of a captain, at Mrs. Luise Vischer’s, whom we have to assume as the famous ‘Laura’. About the same time when in 1781 the author of the ‘Robbers’ wrote his ‘Fantasy to Laura’ also the ‘Venuswagen’ must have been created … ‘In the fiery-spirited manner which is characteristic for Schiller’s early poems and without any restrain in the choice of the erotic expressions (it) turns against the social and clerical hypocrisy in sexual matters. It has not been included into most editions of Schiller’s poems’ ”

(Alfred Richard Meyer in present epilog).

    “ (Corinth’s) uncouth drawings (so here, too) … deal with the woman as the man’s demoniacal subduer … (and) never he represents the woman as tolerating the man’s caresses, but emphasizes with sturdy lines the woman’s powerful vitality at which the man’s activity only ignites … Corinth’s total creativeness cannot be comprehended without the brutality of his never gratified desire … He regards the godsend of lust rather as a torture for which he holds responsible the demon woman …

    The illustration of the … ‘Venuswagen’ …

    in which Schiller lets go against the voluptuous ‘harlot woman’

    therefore was his particular cup of tea

    and for once one can concur with the court’s opinion to order the confiscation of the pictures (following l. 12, 18, 20, 24) for the reason that the emphasis were too much on the sexual, the lust for sexual intercourse and the lasciviousness of man and woman too clearly marked in their faces (file no.: 2. b. J. 26/20 Superior Court II Berlin) ”

    (Englisch II, pages 252-255).

    Schiller, The Chariot of Venus

    Der Venuswagen

    ( The Chariot of Venus )

    A Collection

    of Erotic Private Editions

    WITH ORIGINAL PRINTS

    Published

    as

    PRIVATE EDITIONS
    OF THE
    GURLITT PRESS

    by

    Alfred Richard Meyer

    ( Munkepunke )

    First Series

    9 Volumes

    ( for each following month one .

    All published , naturally )

    Berlin 1919/1920

    First and final number of copies

    700 for the hoi polloi

    &

    40 for the upper crust

    ( 740 copies in total )

    The Chariot of Venus

    Ruby red original 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.

    Literature

    Das Graphische Jahr
    Fritz Gurlitt

    2nd edition , Berlin 1922 , pp. 73 f.

    Hayn-Gotendorf
    Bibliotheca Germanorum Erotica & Curiosa

    vol. IX (1919)
    Ed. by Paul Englisch
    pages 600 f. & individual references with the titles

    Bilderlexikon der Erotik

    vol. II (1929), 868 f.

    Paul Englisch I
    Geschichte der erotischen Literatur

    Berlin 1927
    page 287, 3 & individual references with the titles

    Paul Englisch II
    Irrgarten der Erotik
    Eine Sittengeschichte über das gesamte Gebiet
    der Welt-Pornographie

    Leipsic 1931
    page 299 & individual references with the titles

    L. Lang
    Expressionistische Buchillustration
    in Deutschland 1907-1927

    Lucerne (1975) , 70 , 134 & 144

    The serial title Der Venuswagen from Schiller’s poem of the same name

    as volume 1 of the series, whose 40 luxury copies were 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. – Except for one of the Corinth plates

    all prints as well as the imprint

    are signed by the respective artist .

    “ The Venuswagen has loaded strong spices, juicy herbs from Occident and Orient. Artists of reputation provide the trimmings, Mr. Alfred Richard Meyer has the reins. Eroticism goes well – Eroticism goes better than ever. Heigh-ho this will be a ride … ”

    (Horst Stobbe in Die Bücherstube, vol. I, issue 2, pp. 71 f., quoted from Hayn-Gotendorf, op. cit., p. 600).

    The courts saw this differently:

    “ All (still available) copies were confiscated ”

    (Englisch I). 90 years later also this is relative. The trip threshold of sensitivenesses followed the strength of the offered tobacco.

    Irrespective of described and, 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

    Volume by volume with

    Stinnes’s legendary paw-like ownership note ! !

    Offer no. 15,648 / price on application

    Follow volumes II-IX in detail …

    Otto Schoff, Sappho or the Lesbians

    E. Jouy
    (= Victor Josephe Etienne,
    named for his native place de Jouy)

    Sappho or The Lesbians

    (1799.) With title & 6 signed plate etchings (c. 7⅝ × 5¾ in [19.5 × 14.5 cm]) as well as charming initials by Otto Schoff (Bremen 1888 – Berlin 1938). From the French into the German by Balduin Alexander Möllhausen. 25 pages, 1 leaf imprint, 2 extra end fly-leaves. – Text printed by Otto von Holten, Berlin. – The green inner covers & fly-leaves with tidemark above. At front at most 4 cm deep and decreasingly coloring the following two white fly-leaves, Stinnes’ ownership note just as untouched by this as at the back the impeccable imprint page with Roman I & Schoff’s signature. At the back otherwise 11 cm deep and strongly coloring the two white end papers, yet the first of which affected on front only slightly anymore. Feebly green upper edge then on pages 9/10 & following etching, then more generally, partly virtually imperceptible feeble narrow brown stripe, the farthest upper edge occasionally also with a touch of green. – One cover tissue paper each defect lower right and lower edge resp. – Of the tidemarks on the binding basically worth mentioning just the slight little dark rim on the left half of the lower edge of the front cover, duly registered otherwise still front cover above & on three sides on the back cover. All in all yet no less, but also no more than a partial slip with immaculate freshness of all the rest.


    Richard Janthur, Panchatantra

    Pantschatantra

    Fables from Indian Love Life

    With 10 signed color lithographs with additional monogram in the stone (7⅝-8⅝ × 6¼-6⅞ in [19.5-22 × 16-17.5 cm]) as well as pertinent large chapter initials and figurative upper ledge & closing vignettes by Richard Janthur (Zerbst 1883 – Berlin 1956). 47 pages, 1 leaf imprint. – Text printed by Spamersche Buchdruckerei Leipsic. – Continuously wavy from faint tidemark in the upper margin, first & final leaves somewhat more. Below mostly only less wavy and without tidemark, besides also not quite continuous. In the leather only little annoying trace at the upper edge of the covers. – One cover tissue paper in the lower right and lower margin defect. This all yet tolerable, disguised by the fine typography and … the strong vividness of the illustrations. Included even the initials.


    Georg Walter Rössner, The Aldegrever Girl

    Alfred Richard Meyer

    The Aldegrever Girl

    A Novella

    1911. With 8 signed & colored lithographs by Georg Walter Rössner (Leipsic 1885 – Gundelsby 1972) (“free, yet not erotic” (H.-G. IX, 400; 7⅝-8⅝ × 5⅛-7½ in [19.5-22 × 13-19 cm]) and large opening initial 40 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – Preliminary matters in carmine & black. – Imprint correctly signed by the artist, not by the author as erroneously stated there. – Backed small margin tears, feeble brown stripe in the joint, in places minimally foxed. Minimal rubbing at the headcap and three small scratches on the front cover lower left.


    Franz Christophe, Murder in the Little Chestnut Wood

    Henry de Kock / Balduin A. Möllhausen

    The Murder in the Little Chestnut Wood
    or
    The Uneventful Wedding Night

    With 6 signed color lithographs with additional signature in the stone (7¼ × 5⅞ in [18.5 × 15 cm]) as well as illustrated title by Franz Christophe (Vienna 1875 – Berlin 1946). 52 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – On the half-title sheet the title Henry de Kock / (The Story of Doctor Schultz). – Preliminary matters in green & black. – Without the collection-specific written specification of the number of plates in the title. – At the beginning minimal foxspots. – Minimal abrasions at headcap and three ribs at the back.

    « C’est le soir et la nuit essentiellement

    qu’il se consacrait à sa collection »

    Frits Lugt, Heinrich Stinnes (1376a)

    in Les Marques de Collections de Dessins & d’Estampes (Supplement 2014/16)

    Willy Jaeckel, Erotic Votive Plates

    Heinrich Lautensack

    Erotic Votive Plates

    With 7 signed lithographs with additional signature in the stone (4½-7⅞ × 5½-6⅛ in [11.5-20 × 14-15.5 cm]) by Willy Jaeckel (Breslau 1888 – Berlin 1944). 32 pages, 1 leaf imprint. – Text printed by Printing Office Gustav Ascher, Berlin. – Throughout in red & black. – Imprint correspondingly on heavy Dutch laid paper, not 1919 Zanders laid paper as stated by H.-G. – At the beginning only one fly-leaf, besides included in pagination. – One of the cover tissue papers with small tear-off and backed tear at the lower edge.


    Paul Scheurich, The Royal Orgy

    (François-Marie Mayeur de Saint-Paul)

    The Royal Orgy
    or
    The Austrian in Mood

    An Opera

    Published by a Life-guardsman the Day of the Freedom of Press. 1789. Set to Music by the Queen. With 6 signed plate lithographs (“erotic and obscene”, H.-G.; 2½-3½ × 2⅜-5¾ in [6.5-9 × 6-14.5 cm]) as well as 3 charming lithographed vignettes by Paul Scheurich (New York 1883 – Brandenburg 1945). For the first time translated into German by Engelbert Nern and with his epilog The Small Chambers and the Deer Park. 38 pages, 1 leaf imprint, 2 end fly-leaves. – Text printed by Otto von Holten, Berlin. – The author not researched by the publisher/translator. – Series vignette in orange, preliminary matters in orange & black. – All 6 plates with the collection stamp as custom, yet only five also with the written 1/40. – Partially faint shadow of a narrow tidemark at the lower edge, in the leaf of the imprint and the following white fly-leaf somewhat more. One of the cover tissue papers defect.


    Wilhelm Wagner, The Cherries

    Wilhelm Heinse

    The Cherries

    With 7 signed chalk lithographs (“free, but not very erotic”, H.-G.; 6¾-8⅛ × 4-7½ in [17-20.5 × 10-19 cm]) as well as vignettes & upper ledge borders by Wilhelm Wagner (Hanau 1887 – Bad Saarow 1968). 29 unnumbered leaves, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – The serial vignette adjusted to the content. – Title in red & black. – The fine large typography especially worth mentioning. – At the beginning originally only one additional fly-leaf. – Without the collection-specific written specification of the number of prints in the title. – Only quite occasionally small foxspots. Minimal rubbing of the upper edge of the back cover.


    Willy Geiger, Gilles de Rais

    J(oris) K(arl) Huysmans

    Gilles de Rais

    German by August Döppner. With 15 signed lithographs by Willi Geiger (Schönbrunn/Landshut 1878 – Munich 1971) with additional monogram in the stone (4⅜-8⅛ × 2⅛-7⅛ in [11-20.5 × 5.5-18 cm) as well as large figurative closing vignette signed in the stone only and figurative opening initial. 40 pages, 1 leaf imprint, 2 end fly-leaves. – Text printed by Otto von Holten, Berlin. – Only the series title in red & black with coincident omission of the serial vignette. – The erroneous specification of the imprint with regard to only 35 luxury copies corrected by hand to 40. – One cover tissue paper defect. Back cover with faint long scratch mark and three minimal rub marks, such also at the headcap and the ribs at the back.

    This then

    the 9-axle

    The Chariot of Venus

    Venuswagen

    illustrated and written for you with the recommendation to have it roll up, ready

    for every now and again

    the last half hour of a day

    for now this, now that volume, quite when you feel like it and the pleasure at now regular, now large typography as at the same time an optical feast for the eyes.

    « There is nothing more beautiful

    but the occupation

    with the beautiful »

    Dr. Paul Gülker

    director general of COLONIA Kölnische Versicherungs-AG

    1953 – 1962

    For ,

    so Wilhelm Heinse in the preface to his The Cherries ,

    “ For all (exhaustions) of the mind there are no better remedies than the stories of la Fontaine , Boccaz , Grecourt , Hamilton , Crebillon , Voltaire , Dorat , Fielding , Cervantes , and some other

    Hippocratesses of the mind ,

    which one therefore has to reckon fairly among

    the benefactors of the human race . ”

    As then the authors & illustrators, the editor, the publisher, the printers of the

    Venuswagen

    with its rare texts and excellent visualizations

    in the here then noble luxury garb ,

    yet presented more adequately than anywhere else. Exactly. In the copy of the

    No. I
    as its prince

    Heinrich Stinnes, Collector's mark

    The Doctor Heinrich Stinnes in Cologne


    „ Best her Niemeyer, De prenten zijn vanmiddag in goede staat gearriveerd. Alleen al het uitpakken is een genot! Ze zien er prachtig uit (vooral The Idel ’prentice is een juweel) … Wat dat betreft, zijn eigenlijk alle prenten die u mij hebt toegezonde, van uitstekende kwaliteit … “

    (Mijnheer P. E., 1. Februar 2008)