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Fine  Items  of  Arts  from  17th  to  20th  Centuries

 

Pays Bas, Partie Septentrionale des, Comprenant des Etats Généraux des Provinces Unies. With large title-cartouche in the shape of a sail hanging before the stern of a flute, with the coat of arms of Belgium + Holland (5¾ × 6⅛ in [14.5 × 15.5 cm]) and with German-French miles indicator. Regional map engraving colored in outline designed by Jean Janvier for Lattré, Paris. C. 1770. 13¼ × 18⅜ in (33.6 × 46.8 cm).

With typographic watermark with pendant. – With tips of the English coast, the continent from south of Boulogne over the Westfrisian islands till east of Aurich. With Lower Rhine + region of Aix-la-Chapelle. Further border points Münster – Rheineck – Altenahr – Limbourg .

Offer no. 11,359 / EUR  175. (c. US$ 215.) + shipping

Caspar Merian, Amsterdam

When  the  Greatest  were  at  Home  here

Amsterdam. General view with the IJ in front and countless ships before & in the harbor, of which two galleons fire salutes. With both the city’s coats of arms. Engraving printed from 2 plates at Caspar Merian (Frankfort on the Main 1627 – Walta-state in Wieuwerd, Friesland, 1686). (1654.) Inscribed as above. 8¼ × 28 in (21 × 71 cm).

The  marvelous  panoramic  view  explained by 24 object marks is one of the most wanted ones from Merian’s Topography, here from the volume of the Netherlands published by Matthäus’ youngest son Caspar. – With the inevitable folds, otherwise very fine, wide-margined impression.

On the right Amsterdam’s original cog coat of arms, showing two men – knight & merchant – with dog in a cog, the former symbolizing castle & city, yet the latter loyalty. All three, however, sailing together on the ship of the future. On the left the conventional city coat of arms with the three St. Andrew’s crosses introduced in the 13th century and in use till today.

The value of Merian’s views for once based on their faithful depiction recorded on the spot, then on their meticulous execution in the plate. All this, however, has to be “estimated all the more as the turmoil of the Thirty Years’ War … caused the greatest difficulties”.

Offer no. 8,581 / EUR  1176. / export price EUR  1117. (c. US$ 1372.) + shipping

After  100  Years  back  on  the  Market

the

Aert  van  der  Neer

Aert van der Neer, River Landscape by Moonlight

of  the

Collections  Maas – Fürstenberg (?) – Zingel

Neer, Aert van der (Gorinchem 1604 – Amsterdam 1677). River Landscape by Moonlight. Seen from rather high point with the river coming from front left and tapering off in a right angle widely into the distance accompanied by banks on both sides. Above it standing quite high the full moon with halo, with its light being reflected in the ending water before the dark strip of land running across through the front, interspersed with both isolated and tufted reed and iris repoussoir. Numerous fishing boats losing themselves in the distance, mostly under sail, and boats, four of the latter of which big in the foreground just as, too, a rigged up twomaster – if not two single-masted crafts lying closely side by side – behind the spit of the dominantly raised left bank to which four wide steps lead up stoop-like and whose mighty trees towering over three thatched cottages/huts of different size, fresh and dense in leaf and united at the top in an arch, occupy about the full height of the painting. Before the cottages man with stick, accompanied by his dog, rambling to the left, while a woman with a dish is about to enter the widely situated frontmost hut, and a fisherman with hook and tackle thrown over, walking into the picture, makes for the fence above the said twomaster over which more lies for drying. On the flat right bank with its spits likewise set back a property as well as vista of a presumed place. As repoussoir here especially in front a modestly higher tree besides lateral high trunk broken by the winds and about dead. Rich figuration of any size spread over the whole picture on land and in the boats, partly pertinently occupied, so the fisherman in the boat right in front right with his weirs. The moon’s halo predicting shitty weather could have its counterpart in the man in the front center sitting before his boat shitting into the water. Oil on oak panel. 18 × 24⅞-25 in (45.6 × 63.2-63.4 cm). In refreshed handmade frame of supposedly about 1920.

Dendrochronological certificate Prof. Dr. Peter Klein (Hamburg University, Zentrum Holzwirtschaft [Wood Sciences]) of July 13, 2006: “Three-part oak wood panel … region Western Germany/Netherlands … An earliest creation of the painting would be conceivable from 1673 onwards”.

Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des 17. Jahrhunderts, vol. VII (1918), no. 421 (“[Landscape by Moonlight with a Canal]”); Wolfgang Schulz, Aert van der Neer (2002), no. 778 (“Canal Landscape by Moonlight with Boats / whereabouts unknown”), both without examination of the original or an illustration.

On three horizontal elements of 13.9 , 15.2 + 16.5 cm, the outside edges originally beveled in a width of 3-7 cm for up to 5-6 mm. – On the back old German catalog clipping.

Atmospheric  picture ,

in  composition  as  colors  with  all  marks

of  van  der  Neer’s  moonlight  paintings ,

which in its style corresponds to the late ’40s, early ’50s when Neer had achieved his full maturity (Schulz pp. 108 f. + 51), though with respect to the genesis of its panel is suitable only for those last years when the master practically copied himself and revived previous stylistic elements as generally thought for the late period when additionally a new artist generation served a changed taste. – See the extensive well-substantiated full description.

Offer no. 14,800 / price on application

“ Very  Rare  Main  Sheet ”

“ Yet  with  Mighty  Fate  Supernal  is  entwined  no  Bond  Eternal …”

Pieter Nolpe, Breach in Amsterdam St. Anthonis Dike 1651

and  the  Flood  it  rages  fast

Nolpe, Pieter (1613/14 Amsterdam 1652/53). Het Door Breecken vande St. Anthonis Dyck buyten Amsterdam … op den 5. Martij 1651. Today’s near-to-the-city Zeeburg Dike broken at Houtewael through which the floods pour into. On both sides on the top of the main breach gale-lashed people, acting every man for himself. The one constant factor among them is the mounted dike-reeve right outside. Left-side first with smoking chimney the compact pub of Houtewael designated by its shield, surrounded by further people of calmer behavior. Opposite to this a likewise handsome farmhouse directly at a smaller second breach (Diemerdijk?, see below). Looming high in the quite closely seen middle distance four Amsterdam (church) belfries and the wall of masts of the harbor. Etching after Willem Schellincks (about 1627 Amsterdam 1678). Inscribed: Gemackt en gedruckt bij Pieter Nolpe tot Amsterdam, en van W. Schellinckx getekent., otherwise as above and below. Sheet size 16 × 20¼ in (40.7 × 51.4 cm).

Hollstein 208 + Dozy 152, each II (of III); Nagler (1841) 38 (“Very rare main sheet. In Weigel [1838, no. 924:

“ The  great  breach  in  the  dike  in  Amsterdam  after  W. Schellinckx …

Capital  sheet ”]

[communicated as quite remarkable] 6 Thl.”); Andresen-Wessely 12; Wurzbach, Nolpe, 152 + Schellincks 4; cat. de Ridder 741; cat. Davidsohn 1668. – Cf. also Hans-Ulrich Beck, Jan van Goyen at the breach in the dike of Houtewael 1651 in Oud Holland LXXXI (1966), pp. 20-33.

Before the address of de Wit (extinct 1706). – With fine margin all around. – Some backed small(est) tears, quite minimal lacking spot in the upper framing line. The upper margin additionally with remains of old narrow backing, the fully smoothed out centerfold in the subject only partially minimally perceptible. In the whole with not unsympathetic slight touch of patina.

Strong  high-contrast  impression

of  this  since  old  rare  large  dramatic  sheet

with facts-rich caption. Filled with nature triumphant and the finiteness of human doings. And graphically of a chiaroscuro priming everything. – See the complete description.

Offer no. 15,183 / price on application

Ridinger, Leopard Horse with Ear-bouquet

The  Leopard  Horse  with  Ear-Bouquet

A  Hippological  Wonder

as  besides  within  the  Œuvre  almost  One  and  Only

Netherlands  Show-Piece

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Young Leopard Horse bred at

Orange=Polder a village not far from Delft

in the province of Holland had this ear-bouquet of black color like the other spots and has been paid for as a rarity very dearly by the manorial family of counts Promnitz from Silesia on their

Dutch  journey  in  1743 .

The splendidly long-tailed stallion in wonderfully easy movement in fine hilly landscape with village marked by a steeple, the fine head with bright eye and swelled nostril turned to the beholder. Apart five horses partly romping and rolling. After the portrait painted from life by Christian Ludwig Baron von Löwenstern (1701 Darmstadt 1754). Etching with engraving. Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. / J. El. Ridinger sc: et excud. 1745., otherwise in German as above. 13½ × 10⅞ in (34.3 × 27.6 cm).

Thienemann & Schwarz 280. – Sheet 38 of the Representation of the Most Wondrous Deer and other Animals (“The six horses included in this collection were sold apart later, too”, Th.) in a marvelous impression with margins 2.8-3.9 cm wide. – Small typogr. watermark. – On the back on both sides (on the left partially only) discoloring from previous glue strip. Invisibly acid-freely backed little tear in the white top margin. – See the complete description.

Offer no. 16,164 / EUR  2300. / export price EUR  2185. (c. US$ 2683.) + shipping

Ver Huell, Alexander (Doesburg 1822 – Arnhem 1897). Flirt of Two Students with a Milkmaid, whose dog uses the favorable moment to lick in one of the two milk tubs. On the edge of the pasture the farm. Colored lithograph. 6¾ × 9 in (17.2 × 22.8 cm).

The 4.7-6.5 cm wide margins and verso strongly foxed, but the image itself almost untouched of this and the margins covered by the acid-free passepartout ready for framing.

Offer no. 15,823 / EUR  64. (c. US$ 79.) + shipping

– – – (The Mathematics Examination.) During the geometric examination the examinee hesitates at the blackboard. Colored lithograph. 6⅛ × 8⅝ in (15.6 × 22 cm).

The 5.5-7 cm wide margins and verso strongly foxed, but the image itself untouched of this and the margins covered by the acid-free passepartout ready for framing.

Offer no. 15,824 / EUR  95. (c. US$ 117.) + shipping

“ His  Seapieces … place  us

right  into  the  Harbors … of  the  Netherlands ”

Wenzeslaus Hollar, Dutch One-Deck Vessel

Hollar’s  Dutch  Three-Master  at  Anchor

Hollar, Wenceslaus (Prague 1607 – London 1677). Nauis Bellica Hollandica. Three-masted one-deck vessel with guns run out at anchor to the right. The fore-yard is lowered, on deck numerous sailors. On the right in the middle distance and background four further three-masters at anchor in pairs, far left on the horizon a fifth one under sails. Etching + engraving. Inscribed: WHollar fecit / 1647, otherwise as above. Sheet size 5⅝ × 9¼ in (14.4 × 23.4 cm).

Pennington 1266, I; Parthey 1266. – Sheet 6 of the

“ Very  rare ”

and  complete  hardly  occurring

(Davidsohn 509) 12-sheet set of Dutch ships Navivm Variæ Figuræ et Formæ of 1647, figuring even in Davidsohn’s quite remarkably comprehensive Hollar stock sold 1920 in 420 lots in a mixed copy only, and here present

in  the  first  state  before  address & number .

Not in the rich Hollar part at Baron Lanna (1895) who beside a presumed copy of the title owned but two sheet of the set, one of which additionally only in the second state with the number lower right, and also missing in the 1984 Berlin exhibition catalogue enumerating only three other sheets of the set. – Cf. the drawing of three-master with lowered yards likewise at anchor to the right as frontispiece in Hollar’s Journey on the Rhine, Prague, 1965. – Large armorial watermark. – Warm-toned, evenly weakly browned impression with up to 2 mm wide paper margin around the borderline. Upper left by old hand in ink “500”. – See the complete description.

Offer no. 28,779 / EUR  1480. / export price EUR  1406. (c. US$ 1726.) + shipping

“ So the violinist goes rambling at dark night

And serenades at quiet sleeping hour … ”

Ostade – Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (The Night.) / NOX. At the half opened yardgate the little violinist accompanied by an old man with gambe 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. – Not in Weigel, Coppenrath etc. + Helbing. – Watermark H G L. – Final leaf of the first set of the four times of day in genre scenes. – With quatrain in German-Latin parallel text.

Ostade - Johann Elias Ridinger, Night / Nox

As all mezzotints by Ridinger extremely rare. The complete set is provable only in the collection of Counts Faber-Castell dissolved in 1958. Leaf 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 leaves of the suite – thus the one here, too – nothing of that sort is known. According to Thienemann the plates did not exist anymore in 1856. Who otherwise noted generally in regard of the rareness of the mezzotints:

“ The mezzotints are almost not available on the market anymore. By the way all mezzotints worked by and after Joh. El. Ridinger are that rare that they are to be found almost only in some of the magnificent public print rooms. I met most of the described ones only in the famous Cabinet in Dresden …”

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 contrast 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 [1980], 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$ 2310.) + shipping

Rotterdam. Detail-view with large shipping scenery. Steel engraving by B. Metzeroth after C. Reiss. C. 1855. 4¾ × 5⅞ in (12 × 15 cm). – See the complete description.

Offer no. 5,699 / EUR  40. (c. US$ 49.) + shipping

Marken – Jordan, Rudolf (Berlin 1810 – Dusseldorf 1887). Traditional Costumes from the Island of Marken, Zuiderzee. Old couple of fishermen in the parlor, she holding a clay pipe. Over the fireplace tea-kettle, in the chimney some plaice, right in the background the bunk. Toned wood engraving by J. Kresch. (1875-76.) Inscribed: J. Kresch sc., otherwise in German as above. 9⅞ × 7⅛ in (25 × 18.2 cm). – In the right lateral margin isolated feeble foxspots, one of which still touching the subject, but barely perceptible.

Offer no. 5,154 / EUR  64. (c. US$ 79.) + shipping

Romeyn, Willem (Haarlem c. 1624 – c. 1694). Animal Piece. Bull, two cows and three sheep resting by a pool in hilly landscape. Etching with aquatint by Johann Heinrich Tischbein II (Haina, Hesse, 1742 – Cassel 1808). Inscribed: WRomeyn pinx: / H. Tischbein fec. 1788., otherwise as below. 7½ × 9⅞ in (19.2 × 25.2 cm).

Nagler, Tischbein, 25; Wurzbach, Romeyn, 8. – Plate 7 of the 1827 Tischbein set Nagler 45 as a compilation mounted in points of throughout old till earlier impressions. – Trimmed to platemark. – From the collection of the legendary railway king Dr. Strousberg, Berlin.

Offer no. 15,779 / EUR  320. / export price EUR  304. (c. US$ 373.) + shipping

Master  Drawing
of  High-class  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.

Provenance

Dr. Carl Robert Rudolf, London

his sale Amsterdam 1977
On verso his collector stamp Cock on Turtle

Finely  executed  work  of  painterly  impression ,

the  quality  of  which  vouches  for  the  hand  of  the  master .

See the complete description.

Offer no. 15,486 / price on application

Referring  to  Coninxloo’s

revolutionary  Wood  Landscape  with  Hunters

(Plietzsch 14)

as  obviously  overlooked  up  to  now

Bruyn, Nicolaes de (Antwerp 1571 – Rotterdam [before?] 1656). Saint Hubert. The south Netherlandish princely “Wild Hunter”, after Döbel father of the par force hunting, with bugle and 6-head pack kneeling without headgear before crown stag with the cross in a rich wooden landscape in the manner of the 3rd Gillis van Coninxloo (Antwerp? 1544 – Amsterdam 1607). On the pool behind the stag two swans as the prophesying birds of mythology, at the trunk above the horse a hissing snake as temptress, and nearest to the stag a hound of Saint Hubert as the one and only looking at its master. Engraving. (1614.) Sheet size 27½ × 18 in (69.9 × 45.8 cm).

THE  graphic  HUBERT  representation  WHICH

Nicolaes de Bryn, Saint Hubert

Namely

in  the  Home  Environment  of  the  Saint

as  of  greatest  authenticity

and

in  almost  unbeatably  large  format

Here  then  moreover

with  Joannes  Meyssens’  address

and  his

Hubert  Bursting  Dedication

for  the  Hubert  chairman

– Rubens  painted  him –

Frederik  de  Marselaer

And

of  the  presumed  preliminary  possession

of  just  the  same

as  of  latest  originality

Provenance

de  Marselaer , ( in writing ) 1656

as  baptismal  gift

Frederic  de  Marselaer’s

(Antwerp 1584 – [St. Hubert-] Elewijt 1670)

– Rubens  painted  him –

Mayor  of  Brussels ,

Chairman  of  the  Brotherhood  of  St. Hubert

and

Grail’s  Keeper  of  the  Hubert–Insignia  in  Elewijt

(A. Waumans, Levensschets van den H. Hubertus. Zijne vereering te Elewijt. 1927.)

to  Frederic  Jozef  Ignatius  de  Marselaer  (1656-1718)

as  the  grandson  and  heir ?

Conte  Giovanni  Maria  Mazzuchelli  (Brescia 1707 – 1765)

(Jöcher VIII, 1813, 1127 ff.; Meyers Konv.-Lex., 4. Aufl., IX, 1889, 98)

with  his  5fold  stamping  on  the  back

Wurzbach 52. – Bredius, Künstler-Inventare, V, p. 1600, no. 9 (“one plate of Saint Hubert”), per January 16, 1632 proving the plate in an inventory of the Rotterdam orphan-chamber. – Not in Huyghebaert (Antwerp [sic!] 1949).

Compare Plietzsch, Gillis van Coninxloo 14 in Die Frankenthaler Maler (1910/1972) with plate V; Stechow, Dutch Landscape Painting (2nd ed., 1968), pp. 65 ff. + ills. 122; Devisscher, Kerstiaen de Keuninck (1987), pp. 36, 89 + ills. Z 10.

Early impression  as  desirable  before  the addresses (“… are the better because his fine graving work got worn out soon”, Wurzbach) by Gerard Valck (1626 – after 1694) + Peter I Schenk (1661-1715). – Here with Jan Meyssens’ (Antwerp 1612 – Brussels 1670; painter, draughtsman, engraver, and publisher; “established one of the greatest Antwerp art publishing houses” [Wurzbach])

publisher’s  dedication  for  just  Frederic  de  Marselaer :

“ I(ll?). Nob(i)lissi(mum) Do FR(E)DERI(C)O de MARSELAE(R,) Equiti Aurato et Lauretano, Baroni de (Perc)k (et E)lewyt S. Huberti, Toparchæ liberi Dominii de Opdorp. Hærseaux Oycke, etc. … Man. à Consiliis B(e)lli, septimum Bruxellæ Cons(uli, ha)nc D. Huberti iconem D. C. Q. Io(a)nnes Meyssens ”.

On top of it within the subject itself below right

the  “MARSELARE”  arms

formed from the stock-arms under the five pointed coronet along with the two parforce hounds set up on both sides, here holding arms banners: on the left the one of the Marselear family, on the right that of the wife, Margriete van Borainage (de Bernaige, Baronaige, b. 1584, marriage 1626, more see below).

Meyssens’ address, standing for the early impressions of the younger Hollar, thus could be an intermediate state before those disqualified ones of Valck and Schenk. For de Bruyn in general Wurzbach proves dates from 1592 (W. 76) to 1650 (vol. II, p. 217). In 1601 he became a member in the Antwerp guild as plaetsnyder and coopman. And “On December 4, 1652, he is indicated as being descrepit in a document” (Thieme-Becker).

On top trimmed to mark of the subject, otherwise with quite fine margins around the subject. So fully corresponding with the size given by Wurzbach (52) with 27⅛ × 18⅛ in (69 × 46 cm). Because of several partly only small tears or thin places professionally restored (doubled) as noticeable within the subject itself only relatively and not impairing the quite fascinating scenery.

The  superb  rare  sheet

neither  attained  even  by  Schwerdt

nor by so many places more

and  still  quite  recently  reported  here  to  Günther  Schlieker

at preparation of his Hubert monograph, just as then

already  unknown  to  Huyghebaert

even  after  21  further  years  of  research

on occasion of the most completely enlarged new edition of his “Sint  Hubertus, Patroon van de Jagers in Woord en Beeld” (Antwerp [sic!] 1949 with now 361 pages + 173 illustrations against 158 pages + 34 illustrations in 1927 !!)

what  proves  the  said  rarity  the  more  significantly

as he documents Frederic de Marselear in detail (pp. 174-181 + ills. 75-80).

Ridder Dr. iur. Frederic (Fraderi, Frider) de Marselaer, Lord of Opdorp, alderman, treasurer, and at last Lord Mayor of Brussels, in 1611 graduation at Leuven, gentleman’s tour to Italy, author of the important two-part work on legations

Khpykeion, sive Legationvm Insigne ,

published for the first time in 1618 which interested Rubens, in touch with its author in the course of orders for Brussel’s cityhall, the more as affecting his own services in diplomatic missions, summarizing in his understanding of the value of treating envoys as well in times of peace as war, yet, quite especially during the latters.

In his Hubert reference de Marselaer, by marriage (see above) became Lord and first baron of Perk + Elewijt, Lord of Herseaux, Oycke, and Loxem, finds central mentioning in the bull of the Mechelen archbishop Jacobus Boonen of October 15, 1650, by which this recognizes canonically

the  Elewijt  Hubert  insignia  as  well  as  the  Hubert  brotherhood, too,

per May 1, 1651. Existed the latter already since a very long time, so the insignia were transferred for the chapel of the castle of Elewijt by the Antwerp Capuchins after former ones were gone under by ravage by the iconoclasts.

Substantially  older  is  Perk  Castle

as  the  Marselear  ancestral  seat  of  the  time  of  Frederic .

Of simple origin in the 12th century building activities from the 17th to 19th centuries formed one of the most splendid manors of the Brussels area with more than 200 rooms amidst a 222 acres immense park. Via marriage of the Katharina de Wavre (Waver), daughter of Jan de Wavre flourishing between 1347 + 1378 and his heiress of Perk + Elewijt, with Johann van Weede/Bernaige

the  properties  run  up  on  Frederic  de  Marselear

by  joining  in  marriage  with  said  Margriete  van  Borainage

pooling  property & mind  as  family  zenith  in  his  person .

Home of this rise was the dominion Opdorp, today incorporated to Buggenhout whose present double arms showing the former one of Opdorp, namely that of the Marselears, on the left. As baronial Gwijde van Dampierre, count of Flanders, had donated it in the 13th century to Willem van Grimbergen for rendered services. By marriage with Elisabeth van Grimbergen it came on Geeraerd van Marselear remaining then in his family for centuries. In 1435 Adriaen van M. erected the chapel there, in place of it threehundred years later a church was erected – with active aid by the Ursuline sister Maria Therese van M., daughter of the above Frederic Jozef Ignatius, and her heir Jan Willem d’Alvarado y Bracomonte, Burgrave of Lippelo and Lord of Opdorp. In between, 1641, Anton Sanderius wrote in his Flandria Illustrata “This dorp makes a show of a fine castle or palais erected by the lords of Marselears” (illustration there).

The  rich  landscape  pure  nature .

Originating in Gillis van Coninxloo III (Antwerp 1544 – Amsterdam 1607), repeatedly engraved after by de Bruyn, and of a differentiated chiaroscuro leading to the depth as after Bachmann (on occasion of the early work of van der Neer – “the forest itself, the interior of the wood” – , Oud Holland LXXXIX, 1975, p. 214/II, break 2) so typical only for the late Coninxloo. This of quite important interest as Plietzsch points out that the engravers after Coninxloo with de Bruyn at the top should have reproduced only the “landscapes of his first period or from the time of the change to the second” (Plietzsch, op. cit., p. 27). So it is quite evident that already one hundred years ago

de  Bruyn’s  Hubert  has  been  unknown  to  Plietzsch , too .

Though as autonomous by no means to be assigned to the thought copying engravings after Coninxloo, so at a glance

de  Bruyn  nevertheless  calls  up

both  as  landscape  and  not  at  least  thematically

Coninxloo’s  revolutionary  1598  late  work

“Wooded Landscape with Hunters”  in  Vaduz

(Plietzsch 14; „… while Coninxloo [as the greatest harbinger of seventeenth-century Dutch forest painting] was painting his revolutionary forest landscapes in Amsterdam“, Stechow), showing de Bruyn artistically up to date. After all for old literature this “amazing” (Stechow), “most significant” (Devisscher, seeing, however, rather Paul Bril instead of Coninxloo) wooded landscape by Coninxloo together with the 1595 Wooded Landscape Ertz 16 by the elder Jan Brueghel in Milan passed for as standard of a new, now natural wooded landscape in general. And still in 1968 Stechow resumed after divers consideration “But even this is relegated to a minor position when compared with Coninxloo’s amazing Forest of 1598 in the Liechtenstein Gallery“ (op. cit., p. 66).

That by this de Bruyn, turned back, makes Coninxloo’s deliberately and logically small and therefore marginally set hunters + stags to the theme itself and even developes it to highest consecration should not be misread as irony. His matter was another one so he then also replaced suggestively as mythologically less momentous Coninxloo’s storks animating a marshy pond on the left by swans as the birds of prediction and places their pool behind the stag at the right border. But the ambience for his presentation should be dernier cri, indeed. By which he undoubtedly contrived a great success in fact.

Under this Coninxloo landscape aspect, too, Bruyn’s Hubert is of quite essential worth of demonstration and Nagler (“no idea of the chiaroscuro”) and Wurzbach (“all held as in uniform lighting”) could have misunderstood him to this. So by handling of the motif and most topically  native  woodland de Bruyn then gives his Hubert contrary to Dürer

the  authenticity

in general. Namely in every respect

the  home  environment  of  the  Saint !

(“For his sheets of own invention worked from ca. 1603 onward B. takes over essential characteristics of the Flemish wood and panorama landscape, but set the chief accent on the narrative of the picture”, AKL, op. cit.)

And  with  27½ × 18⅛ in (70 × 46 cm ; sic! )

just the adapted size to the singular scene. But therewith seeking its own kind with the one as well as the other. And with the

Marselaer  dedication  &  Rubens  nearness

finally  leaving  any  field  far  behind .

For the first time then present here with the full claim to its outstanding rarity, also with the marks of its centuries, indeed, but

as  a  wonderful  sheet  as  a  whole .

See the complete description.

Offer no. 15,753 / price on application

Pays-Bas Autrichiens, Carte des. With title and miles indicator cartouche. Map by Edme Mentelle (1730-1815, historiographer of the count of Artois) engraved by P. F. Tardieu (i. e. Antoine François Tardieu L’Estrapade, 1757 Paris 1822). (1788.) 14⅛ × 18⅝ in (35.8 × 47.2 cm).

Worked “pour l’Ouvrage intitulé: De la Monarchie Prussienne”. – The coast of Dunkirk – Vianen and further till Breda , Wesel , Venlo , Cologne , Manderscheid , Treves , Merzig , southern of Marville’s , Fère , Albert , Doullens . – With the Grand Duchy Luxembourg, the region of Aix-la-Chapelle , Zeeland .

Offer no. 7,361 / EUR  138. (c. US$ 169.) + shipping

State-in-Progress  unknown  to  Literature

before  Completion  of  the  Second  State

Brussel, Hermanus van (Haarlem 1763 – Utrecht 1815). The Landscape with the Two Anglers at the Water. In rich pasture landscape with steeple in the distance of the far bank. Etching. About 1805. Inscribed above left: 3. 5¼ × 8⅛ in (13.5 × 20.5 cm).

Sliggers 15, (before ?) II; Nagler 14. – Trimmed to or within platemark. – Above left tiny corner injury in the free field of the subject lining and generally slightly age-marked on the subject side and verso, and thereby less relevant, throughout age-stained resp. and with three old mounting spots.

Very  fine  impression  of  the  charming  sheet ,

compared with the copy of the second state in the British Museum (1856,0712.241) still showing white spots in the foliage of the left tree and likely still more delicate in the etching of the sky. However, foremost in present sheet a single large black bush right below the top

–  as  supposedly  still  belonging  to  the  first  state  –

still commands the otherwise grass-grown hillock in the center of the subject. In the London copy this already is reduced distinctively and supplemented by two more bushes on top and left slope, just as they are, irrespective of further modifications, also in the third, final state (cf. ills. Sliggers 15, III, and BM 1856,1213.86).

Otherwise without the two resting figures of the first state right of the left tree, yet with the two anglers on the bank in the subject center as well as the three additional birds and the executed sky as according to Sliggers the marks of the second state. In such a way a

desirable  undescribed  state-in-progress

enriching  the  series  of  the  graphic  œuvre’s  unica

and  by  this  at  the  same  time  a  charming  look  over  the  master’s  shoulder :

“ Considering the fact that for instance in the printroom at Leiden most etchings are present solely in the final state (sometimes even in several copies) we can assume that Van Brussel regarded the earlier states as belonging to the process of creation. The collection in the Gemeentearchief at Haarlem is unique in that it originates largely from the artist’s estate … and therefore comprises all ‘states’ ”

(B. C. Sliggers, Hermanus van Brussel, Biografie en catalogus van zijn prentwerk, 1999, p. 15).

Also Nagler, Monogramists III, 1621, refers to these:

Hermanus van Brussel, Lnadscape with 2 Anglers

“ These sheets … are etched brilliantly, and there exist varieties of prints, more or less finished impressions, and then also such with modifications … (H. v. B.) is reckoned among

the  most  excellent  Dutch  masters  of  his  time

… here it is only about the etched sheets though, which, however … partly belong to the rarities ”

With regard to the latter then also here on the back in pencil by earlier hand “H. v. Brussel / (Rare)”. Just as then also in most known collections there are only impressions from either the posthumous edition of 1815 or an edition of 16 small landscapes published in Dresden known only by a cover without date in the Gemeentearchief Haarlem. Besides

“ The free landscape prints (in Holland took up) more or less the works created in the middle of the 18th century in Germany – i. a. by Johann Alexander Thiele, F. E. Weirotter, Johann Christian Klengel, J. Nothnagel, and Heinrich Herterich – under the influence of Van Ruisdael and his company … The new direction in landscape art foremost concentrated on Haarlem … Of the 60 bequeathed etchings (of H. v. B’s.) 45 represent landscapes. ”

And the quality of his landscape etchings is characterized by nothing less than that “in a sale at Amsterdam in 1851 an etching by his hand (was traded) as an unknown work by Simon de Vlieger (1601-1653)”

(Sliggers, op. cit., pp. 13 + 4). – See the complete description.

Offer no. 15,443 / EUR  430. / export price EUR  409. (c. US$ 502.) + shipping

Snyders, Frans (1579 Antwerp 1657). (The Bear-Baiting.) The mighty bear resisiting the pack. Steel engraving by Thomas Heawood (fl. about 1850 – d. Leipsic before 1911). C. 1860. 5⅞ × 6½ in (14.8 × 16.6 cm).

Offer no. 4,913 / EUR  50. (c. US$ 61.) + shipping

– – Cocks-Fighting. Two gorgeously feathered rivals fighting for the favour of two belles of which only one is interested on the result. In the background the farm. Steel engraving as before, but by by William French (c. 1815 – East Grinstead 1898). Inscribed: Frans Snyder pinxt. / W. French sc., otherwise in German + English as above. 5½ × 6¾ in (14 × 17 cm).

Offer no. 4,935 / EUR  43. (c. US$ 53.) + shipping

Teniers II, David (Antwerp 1610 – Brussels 1690). A Peasant’s Wedding. In front left the bride and bridegroom, the bride with small crown, together with bagpiper. On the right the peasants before the alehouse dancing, eating, and enjoying themselves. In the background the church. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 5½ × 7 in (14.1 × 17.8 cm).

Offer no. 4,953 / EUR  50. (c. US$ 61.) + shipping

Early  17th  Century  Marine  Scenery

Bril, Paul (? Breda 1553/4 – Rome 1626). Rocky Coastal Landscape with View at a Harbor. In front left sailing-vessel on the water strongly moved by surge. On the right sheerly rising shore with stock of trees. In the center-field a mighty lighthouse, on the left of it the mouth to the harbor of the town lying underneath of rugged crags. In front of them, as at the other shores, too, numerous boats, but also ships and a galley. In the distance the inland course of the river under dramatic skyscape including breaking sun and a shower. Engraving by or at Jan Claesz. Visscher (c. 1550 Amsterdam 1612). Below left in the water and white margin resp. inscribed: Paulus Bril inue / ICVißcher (ligated) excudit. Sheet size 7⅞ × 10½ in (20 × 26.8 cm).

Bernt IV, 127 (the illustrated preparatory drawing in same size and direction). – Equal-sized copy in reverse after the engraving by Raphael Sadeler I (Antwerp 1560 – Munich 1632/Venice 1628), Hollstein 217. – The monogram corresponding with the first one of Wurzbach II, 800; compare also Nagler, Monogramists, III, 2155 + V, 1063, also the one of Cornelis Visscher Nagler V, 1079 leaned upon to the one here. – Figurative watermark.

Trimmed within the platemark, but still with a fine papermark – a tiny completion on the right – around the subject, below also 5 mm wide. The lower corners somewhat box pleated in respect of former corner mounting. In the upper margin acid-freely repaired tear reaching 2 cm into the image, but scarcely visible only. In the lower margin barely recognizable writing by old hand: Afbeelding van den toeloup des … tot … by (he)t Galileetsche Meyk.

Extraordinarily  pictorial  sheet  here  in  its  splendid  chiaroscuro

qualified as early print by the still recognizable fine type lines within the Visscher inscription.

Offer no. 28,856 / EUR  1280. / export price EUR  1216. (c. US$ 1493.) + shipping

Netherlandish Cavalier, in the mid XVIIth century. Whole figure, standing. Coloured woodcut by Richard Henkel in Leipsic after Otto Brausewetter (Saalfeld, East Prussia, 1835 – Berlin 1904). (1881.) 7⅞ × 4⅝ in (20 × 11.8 cm). – Sheets for Costume Knowledge New Series 137.

Offer no. 6,406 / EUR  49. (c. US$ 60.) + shipping

Blaeu – Goss, John (ed.). Blaeu. De Grote Atlas van de wereld in de 17e eeuw. Preface by Peter Clark. (Lisse 1997.) Large 4to. 224 pp. With 2 color title vignettes and 100 double full-page color illustrations. Dark blue orig. cloth with gilt back title and ills. fly-leaves. Color ills. orig. dust jacket (quite a trifle rubbed). – Ed. in co-operation with the Royal Geographical Society, London. – The English edition was published 1990. – Beside the maps also a bird’s eye view of Philip II’s Escorial. – As good as new.

Offer no. 28,989 / EUR  65. (c. US$ 80.) + shipping

“ To  Cut  Somebody  the  Stone ”

A  Delicacy
of  Netherlandish  Emblematical  Art

Leyden, Lucas Hugensz. van (1494 Leyden 1533). The Stone-cutter (The Cure of Folly). Quacking surgeon removing stones from behind an “imbecile” simpleton’s left ear which hamper his cerebration. Corresponding to that his right suggestively rests on a square stone while the left admonishes to be careful. With the right holding the ear the master’s left leads the scalpel. On the left a tray with two larger and a tiny stones already removed. Engraving. 1524. Enlarged copy in reverse by or at Jan Claesz. Visscher (c. 1550 Amsterdam 1612). Inscribed: ICV (ligated) excud. 10⅜ × 6⅝ in (26.4 × 16.8 cm).

Lucas van Leyden, The Stone-cutter (The Cure of Folly)New Hollstein, Leyden (1996), 156 g with ills.; Volbehr 152, copy d; Bartsch, Nagler (1839), Hollstein (1953) 156, Leyden in each case and as surgeon; Widmann + Mörgeli, (Barber and Surgeon), 1998, ills. p. 85, also after Leyden, but erroneously as “(Barber shaving the Back-hair)”. – Cf. Laurens J. Bol, Adriaen van de Venne, 1989, p. 103 + color ills. “The Stone-cutter / De Kei-snijder”. – The monogram here according to the first one shown by Wurzbach II, 800; cf. Nagler, Monogrammisten, III, 2155 + V, 1063, and also Cornelis Visscher’s one Nagler V, 1079 in imitation of the one here.

Jug with crown watermark. – With fine margins of 3-5 mm. – Glued down by old hand at left edge. – Right outward scarcely visible retouched tear and fine smoothed centerfold.

With Dutch five-line lettering by which the master boasts of his special skill :

“ Also inden nargonsche const niemant is myns gelycke. / Hebbe daerom vanden key te snyden … Oock vanden hooft weruel te finden soe goeden praetyke. / Als ick en quamer noyt experter meester int lant. ”

In such a manner then also explaining the addition of the

three  stones  missing  with  Leyden

in the basin – as for instance also present in van de Venne’s oil of 1630 – :

“ The symbolically intended depiction of the ‘cutting of the rock’ is based upon the fictitious claim of the surgeon who professes to be able to cure gullible folk of their feeblemindedness by the surgical removal of a stone from the head which is hampering the working of the patient’s brain. By lending himself for the pretended operation, the simpleton demonstrates his soft-headed foolishness in two-fold manner. The theme is

a  traditional  subject  found  in  Netherlandish  painting

from  Hieronymus  Bosch  (about  1450-1516)  to  Jan  Steen  (about  1626-1679) … ”

(Bol).

While with Leyden/Visscher surgeon + patient are located in an interior ambience, in van de Venne’s oil for instance the operation takes place in the open air, maybe during a kermis. The scenery surrounded by a crowd suffering from the same symptom. In and beside the basin on the ground several stones of various size. The inscription “Niemant” on a signboard there “is enigmatic to us in the 1980s” (Bol with well-founded chain of reasoning to its dénouement). That the caption here, though harmlessly, contains a “niemant”, too, may be repeated.

“ One  of  the  finest  works ”  of  van  Leyden’s

(Nagler), yet measuring in its pictorially coarser original of 1824 only 4⅝ × 2⅞ in (11.7 × 7.4 cm) like the dentist of 1523 – there a woman at the back of the patient distracted by the operation empties his purse and thus he is “equally deceived on all sides” (Bol, op. cit., p. 100) – as pendant, and again and again missing in the Leyden passages of important collections. But still occurring! Whereas present

almost  still  contemporary  copy  engraving

remained unknown to the Leyden catalogs till Volbehr and then again the more recent literature till – in the interval of another century! – New Hollstein.

However, with respect to the intellectual content of the subject all authors prove by the thoughtless adoption of the traditional designation no less simple-minded than the to be healed simpletons. So in spite of illustration of just this copy engraving also New Hollstein not only ignores mentioned rocks added by Visscher, but neither the at least noted caption could rouse associations with the

Dutch  emblematics  of  “cutting  a  rock”

just uncovered again by Bol, and thus remained an ultimately disregarded “short poem in Dutch”. Anyhow, quack to and fro, Leyden’s famous engraving is together

one  of  the  early  ones  of  surgery .

Optically adequately brought out, however, only by

Visscher’s  400  years  old  copy  engraving

in  its  fine  size  of  –  now  –  10⅜ × 6½ in (26.4 × 16.6 cm) !

Offer no. 13,020 / EUR  2199. / export price EUR  2089. (c. US$ 2565.) + shipping

“ … yet  (1830)  an  Art  Collector  Paid … 100 fl.  for  this  Sheet ”

Ducq, Jan le (1629/30 The Hague 1676). The River Landscape with the Waiting Rider to the left (sic!, see below). This dominantly right in front, awaiting another one coming through the river. In small figure behind that a man wading up to his knees with a rod (lance?) in the right while pointing with the left at a swimming or floating little figure. On top of the rock dropping steeply to the opposite bank on the left a building with bulky round tower. A further building below on the bank far left. And to the right margin of the picture an ensemble of buildings with high tower with bulbous top, behind the river bending to the left, in the distance on a level with a mountain chain on this side navigated by a sailship. Etching. Sheet size 7⅛ × 9⅛ in (18 × 23.3 cm).

Jan le Ducq, Waiting Rider at the River

Nagler, Monogramists, III (1863), Ducq, 2184, no. 8; Wurzbach (1906), Duck, 8; cat. Davidsohn I (1920), Ducq, 1378 („Debatable sheet … Very rare“, referring by the way to Weigel, Supplement, pp. 24 f. + Dutuit V, p. 47),. – Closing leaf of a 4-sheet set – the 3rd, a riding school scenery at the pillar – , whose first two ones are by Roman de Hooghe (1645-1708) who also was connected with the whole set.

With the no. 4 below outside right in the white margin, yet barely with “In front in the centre of the grass ground, slightly to the left … letters I D f.” noticed by Nagler, in this regard also Wurzbach remarks “According to Nagler allegedly inscribed …”. Also Brulliot would have missed it, see below. – With almost complete large watermark “Reared Lion in double lined Circle below Fleur-de-lis” with sword in the right and arrows in the left as variant to Heawood 3140-3145 (1651 till c. 1689) inclusive of the paddings in the circle, but without its escutcheon. – Lower right small oval collector’s stamp A (? Aretin? see below, H?).

The  painterly  sheet  in  the  excellent  impression of  the  J. H. Anderhub  Collection

not figuring, as further prints, too, in the 1963 book sale of the “Bibliotheca Hippologica I. H. Anderhub”.

With surrounding margin of 2-4 mm trimmed to platemark on three sides, above rather to the image border with, however, lots of white plate field. This outside left and centre with noticeable quite feeble touch of browning. Two fine vertical box pleats running through from the front worth mentioning above horse + rider only. So, too, a light diagonal trace of fold in the lateral right white image field.

Though already assigned by Nagler to the painter + etcher le Ducq, pupil of Potter and foremost related to the animal and landscape subject, as  one  “ of  the  most  excellent  Netherlandish  masters ”, the confusion continues with the Utrecht genre painter and etcher of soldier interiors Jacob Duck (about 1600 – 1667; from about 1660 to 1661 in The Hague), whose works run, so Thieme-Becker, since the 18th century indeed mostly under le Ducq’s name, just as the latter’s paintings on their part circulated as Dujardin in consequence of stylistical relationship. The confusion of both promoted not least by le Ducq’s additionally military themes, too, since he had joined as soldier the States-General where he had been promoted captain. Gradually being exhausted his “quite rare” (Thieme-Becker) painted work kept within bounds. The engraver is documented by a certificate of the Hague Guild of 17th June 1662 granting him the sale of his copper-plates and etchings.

Nagler repeatedly qualifies the latter as preciousnesses and here it is especially the “famous set of the hounds” from 1661 which figures in Weigel’s Art Stock Catalog, division VIII, 1840, per 9135 as “Of greatest rarity” at the high price of 80 Thaler. In the Davidsohn Catalog (I, 1376) in 1920 the 8 sheet in but the second state were estimated at 600 Reichsmark. Yet present “Rider at the Riverside” as single sheet – in brilliant print quality with margin each – at half of this, that is 300 Reichsmark!

This  to  elucidate  its  preciousness . And in harmony with Nagler’s report from 1863 :

“ This  wittily  etched  sheet  Brulliot describes in the Aretin Catalogue no. 4401 with the remark that it were etched in le Ducq’s manner. He missed the (signature) letters,

yet  at  the  (1830)  sale  an  art  collector  paid

100  fl.  for  this  sheet .”

Besides – so Wurzbach, too, as supposedly adopted since likewise describing expressly only this one – marking the rider as “in profile to the right” while here he stands to the left, but without thereby establishing a copy in reverse. For conforming to Nagler the building on the opposite bank and the bulky round tower on the rock above it stand left-sided. A position of the rider to right were by the way not in harmony with the scenically arrangement. Correctly the rider holds then also the riding-whip with the left, but the bridle with the right as the soldier in the water his lance, too. This normal use in analogy to the present training scene above as sheet  3 of the set.

Granted finally the correctness of the monogram recorded by Nagler perhaps as a mark of state so its I D f does not correspond with any signatures of monogram character secured for Jacob Duck. See hereto already Thieme-Becker X (1914), 40/II, then the Work Catalog of the Paintings in Salomon, Jacob Duck, 1998, pp. 141 ff.

Offer no. 28,978 / EUR  630. / export price EUR  599. (c. US$ 735.) + shipping

– – – – The Rider at the Pillar. To the left, supervised there by instructor with whip in the raised right. At the left margin of the picture small property, at the right overgrown large ruins, in front of it two men with dog observing the exercise. Etching. Sheet size 7⅜ × 9⅛ in (18.6 × 23.3 cm).

Hollstein, Duck, 8. – See Nagler, Monogramists, III, Ducq + Wurzbach, Duck. – Sheet 3 of the set. – With the no. 3 below outside right in the white margin. – With watermark as above and from the same collections, too. – Marvelous impression. – Trimmed to platemark with 2-4 mm surrounding margin and above lots of white plate field. Fine vertical box pleat running through only noticeable above and below rider + horse resp. – See the complete description.

Offer no. 28,977 / EUR  630. / export price EUR  599. (c. US$ 735.) + shipping

Cornelis van Noorde, Ice Amusement

… and the Ice Amusement petering out in the depth

Noorde, Cornelis van (1731 Haarlem 1795). Ice Amusement. Frozen stretch of water lined with buildings on both sides with subtly designed parish with domineering slender high steeple front left, while front right on an embattled high jetty – conceivable as separation of two tributaries conjoining here – an inn sets the tone, from whose wide-open stable gate a horse looks out, while on the other end a two-mast boat has moored, just as further high-masted boats on the left bank, too. However, the row of houses leading towards the depth just delicately indicated. On the ice besides appreciative manifold fun occupation with, i. a., one-horse sled with gentleman and two ladies whose little dog attempts to encourage the horse to the same leaps. The masses, however, are drawn, tapering off, in single file to the refreshment tent raised in the deep center. Watercolored pen-and-ink drawing. Inscribed below left: CVN . 6 × 9½ in (154 × 241 mm).

Sliggers, Het schetsboek van Cornelis van Noorde. Het leven van een veelzijdig Haarlems kunstenaar. (1982); Beck, Jan van Goyen IV (1991), page 461.

Nagler, Monogrammisten, II, 793 & Künstler-Lexicon X, 263 f.; Wurzbach, Ndl. Künstler-Lexikon II, 240 with likewise reproductions of monograms; Thieme-Becker XXV, 509 f.; Weigel, Art Stock Catalog 20748, Das Zeichnungswerk des Corn. van Noorde (1856).

Carefully executed sheet-filling work

with still fine(st) margin around the edge line and the complete round watermark below crown Heawood 3149 (Engl. [Bucks?], c. 4¾-4⅞ × 3¾ in [12-12.5 × 9.5 cm]).

PRO PATRIA EJUSQUE LIBERTATE

with the lion standing on the VRYHEYT pedestal ,

spanning with the left the pole with the GESSLER HAT

while the right holds a bundle of rods (Italian fascis as stem for fascism) ,

documented by Heawood as above along with deviating 3148 & 3150 for ENGLAND 1745-1771 and here known, too, for fly-leaf paper of an English incunabula binding of the 18th cent. from the Bibliotheca Ratcliffiana sold at auction 1776, now Glasgow University.

Of practically unimpaired preservation. A dark discoloration in the right upper corner of the image (¾ × 1½ in [2 × 3.7 cm]) only scarcely perceptible as not belonging to showing through from the back and besides interrupted by the inn’s chimney with besides pinhead-small thin spot. A small paper fineness at the gable of the house at the left edge of the image.

Generously composed winter day of rich atmosphere

of bright, although certainly interspersed with flurries of snow, weather in the style of Jan van Goyen (Leiden 1586 – The Hague 1656), of whose drinking tents (Beck, Paintings, 55, 71 f., 77 f. et al.) as indispensable ice attraction then present one reminds of at first sight. Correspondingly already Sliggers, s. a., summarizing:

“ (For one artist Van Noorde distinctly had a weakness: Jan van Goyen

whose style of drawing he knew to imitate masterly

… literal copies are … not known, however a number of drawings in black chalk in the style of Van Goyen, often washed brown or grey, also substantially 17th century.) ”

Drawings from his hand in the manner of van Goyen i. a. in Berlin, Print Room, inv. no. 2759; Bremen, Art Gallery, inv. no. 60/2; The Hague, RKD, Dpt. Landscape Drawings.

Here then moreover one of those of old generally

especially coveted , yet rarer , wide Netherlandish “Ijsgezigte” .

Offer no. 16,183 / price on application

(Rotterdam, The Great Church in.) In the foreground sailing vessel + boat and richly figurative scenery including two horses with corn-sacks. Woodcut after Theodor Weber (Leipsic 1838 – Paris 1907) for Adolf Closs in Stuttgart. (1875-76.) 7 × 5⅜ in (17.8 × 13.7 cm).

Verso: (Farming village in the district of Rotterdam.) Woodcut after Hermann Baisch (Dresden 1846 – Karlsruhe 1894). 3½ × 7⅜ in (8.9 × 18.7 cm). – Continuous local text on both sides.

Offer no. 6,769 / EUR  76. (c. US$ 93.) + shipping

“ We  feel  quite  cannibalic  jolly !”

Rare  Draughtsman  of  the  Golden  Century

Fabulous  Vinousness  on  Vellum

Citing  Rubens’  Lost  Bacchanal  in  Berlin

Vertangen, Daniel (The Hague about 1598 – supposedly Amsterdam 1681/84). Bacchanal. In Arcadian landscape the company of the male and female bacchantes and satyrs as guests of Silenus as the “tutor of the god (Dionysus/Bacchus, this himself left of Silenus’ group as fat boy with cup in the raised left, turned to a bacchante ensnaring him) whom he is said to have encouraged to invent viniculture” (Meyers Konversations-Lexikon, 4th ed., XIV, 975), here with the panther as but rarer of his attributes. Still the music (pan pipe & violin) plays, laugh, drink, make merry, and copulate some, while others already sleep, now exhausted, now merrily, or spit out what was too much. Shot, too, already Silenus himself, here as the squat jovial, burlesque and pug-nosed fat old boy as “the later poets render” him. Supported by two bacchantes, one of which with tambourine as “as not only preferred attribute of the dance, but also symbol of love and passion” (Florence Gétreau) in the raised left, he seems about leaving the party, no longer minding the grapes presented, while not eating themselves, by putti. Below of elevated ruins situated laterally right as “special delight the skin hopping” of a bacchante balancing at the same time a wine cup and surrounded in a dance. Certainly before 1660. Plumbago drawing on vellum. Inscribed in two lines lower right: Daniel Vert / g .inve. 13⅛ × 15½ in (333 × 395 mm).

Daniel Vertangen, Bacchanal

Absolutely  perfect  drawing  up  to  the  signature  and  lined  in  brown  of

delightfully  splendid  easiness

of  the  as  draughtsman  very  rare  Vertangen

( “The style of the sheet [in the Albertina] – Roethlisberger, Bartholomäus Breenbergh [1598/1600-1657] / Drawings, 1969, cat. no. 150 –

reminds  of  Daniel  Vertangen’s  rare , contemporary  drawings” )

whom then neither Bernt (1980) nor Thieme-Becker (1940) nor Wurzbach (1906/11) record/mention as such, of whom it is yet said in 1736 in a sales catalog “in Painting as in Drawing as good as Poelenburg” (from Sluijter-Seijffert, The School of Cornelis van Poelenburch, in In His Milieu, Essays on Netherlandish Art in Memory of J. M. Montias, 2006, pp. 445 f.) and 1850 by Nagler

“ so  also  his  drawings  are  treated  very  delicately ”.

Already hundred years before, 1753, Houbraken noted Vertangen “painted very gracefully Hawking Parties, bathing Women, and dancing Bacchantes, in decorative landscapes”, vol. I, p. 129), contemporarily valued in Matthew Pilkington’s (1701-1774) Dictionary of Painters as “one  of  the  most  eminent  disciples  in  the  School  of  Poelenburg” (edition 1805, p. 617).

By  present  core  group  of  Silenus , however , citing  nothing  less  than

the  lost  Rubens  Bacchanal  in  Berlin

from about 1620 (Rosenberg, P. P. Rubens – Des Meisters Gemälde [Klassiker der Kunst V], 2nd ed., 1906, pages 211 [ill.] & 474 [“Supposedly executed with the co-operation of van Dyck”]; Staatliche Museen/Beschreibendes Verzeichnis der Gemälde im Kaiser-Friedrich-Museum … , 9th ed., 1931, page 409, no. 776B with ill.; Bernhard, Verlorene Werke der Malerei, 1965, page 20 of the catalog with ill. 130), as documented here probably for the first time.

However, the strength of this specialist are

“ Arcadian  landscapes

with  nymphs  and  other  mythological  accessories ”

(Th.-B.) as a subject cast with illustrious names with, possibly, Poussin’s ample group of drawings of bacchanals and Pan hilarity as zenith, whose Bacchanale sous une treille, Rosenberg-Prat I, 94, for instance came to mind spontaneously in spite of its mastership of gross rollicking speed while looking at the bacchanal here.

While there the downright orgiastic gaiety fascinates, so seductive here the in all straightforwardness Arcadian serenity, indeed Vertangen’s delicate execution, supported quite essentially

by  tone & softness  of  its  delicate  vellum .

Apart from a not particularly suspicious diagonal fold trace in the lower part of the subject and a small further one in the white edge part above right it is of perfect freshness. On the back lower right by old hand in bister: 20 Gulden. – In  its  wall-efficient  large  format  and its due to the indeed still young soft graphite pencil

painterly  effect  of  rich  chiaroscuro

one  of  Vertangen’s  quite  scarce  drawings .

Just  as  splendid  as  on  precious  ground.

See the complete description.

Offer no. 15,994 / price on application

A  Backhuysen  for  the  Birthday

Janssen, Horst (1929 Hamburg 1995). Backhuizen greets Stubbe / at June 7, 1988 Dearest old friend Wolf Stubbe – today I don’t have any inclination for A. Waterloo (-) but this from heart. Dutch pleasure yacht with swollen sails, large flag at the stern + pennant at the mast on rough seas. Laterally left of this another smaller one. On the shore tiny angler. Dry-point in blue + black. Written signature, equally in the plate and there otherwise inscribed in German as above. 9⅛ × 5⅝ in (23.1 × 14.2 cm).

Horst Janssen, Backhuysen greets Stubbe

Kruglewsky 97. – Dry-stamp Griffelkunst. – On Japan laid paper. – Marvelous edgy impression with fine plate tone and the full margins of 1.9-3.2 cm.

“ In 1988 Backhuysen inspired the Hamburg draughtsman Horst Janssen to numerous variants of his motifs … ”

(Gerlinde de Beer, Ludolf Backhuysen, Sein Leben und Werk [2002], p. 222).

“ Starting 1970 … J. occupies himself with works of the old and new masters … In drawings and etchings he copies and paraphrases their motifs … In the engagement with artists like Rembrandt and Goya, who are regarded as authorities in the art of etching, J., too, sets milestones in the technique of intaglio printing ”

(J. Moster-Hoos in Allgemeines Künstler-Lexikon LXXVII [2012], p. 336).

Janssen’s  intimate  birthday  greeting

for the director of the Hamburg Print Room em. and collector Wolf Stubbe (Stettin 1903 – Hamburg 1994), for whom art was indivisible. Janssen’s present references to Ludolf Backhuysen (Emden 1630 – Amsterdam 1708) & Anthonie Waterloo (Lille about 1610 – Utrecht 1690) emphasize in context with the congratulator-artist himself the full bandwidth of Stubbe’s penetration of art.

Offer no. 28,603 / EUR  390. / export price EUR  371. (c. US$ 456.) + shipping

The  quite  Spectacular  River  Wall-Map

by  the  Lotters  in  Augsburg

Lotter, Matthäus Albrecht (1741 Augsburg 1810) + Georg Friedrich Lotter. Carte Géographique Représentant le Cours entier du RHIN , de la MOSELLE / de la MEUSE et de l’ESCAUT avec les Pays Confins specialement

l’Etat  Actuel  de  toutes  les  Possessions  de  la  Maison  d’Autriche

dans  les  Pays  Bas

et une Grande Partie de la France / Cabinetskarte welche den Ganzen Lauff des RHEINS , Der MOSEL , Der MAAS und SCHELDE nebst den Angraenzenden Laendern vorzüglich alle gegenwaertige Besitzungen des Hauses Oesterreich in den Niederlanden und einen grossen Theil von Frankreich vorstellt. With compass card and

2  imperial  title-cartouches

with boundary marks and miles indicator (12¼ × 7¼ and 13⅜ × 12⅜ in [31 × 18.5 and 34 × 31.5 cm] resp.). Joined 6 plates river wall-map embedded in the history of its time engraved by Tobias Konrad Lotter (1717 Augsburg 1777). 45⅝ × 65½ in (116 × 166.5 cm). – Partly coloured in outline.

List of Unusual Items that have come up for sale (ed. by the British Library) in Imago Mundi vol. 39, p. 100. – Title in French + German parallel text. – 3rd state (of 3 or 4) with timely classicist cartouches instead of the earlier baroque version as on the copy in the Bavarian State Library. In a private collection in Mannheim a signature variant as it was unknown also in Munich. Known besides dated states from 1785 + 1794.

Matthäus Albrecht + Georg Friedrich Lotter, Carte Géographique Représentant le Cours entier du RHIN, de la MOSELLE / de la MEUSE et de l'ESCAUT

A few small tears almost exclusively within the left lower plate done by Japan doubling. Only at the upper edge of the subject a closed small paper loss (⅜-1⅛ × 4½ in [1-3 × 11.5 cm]) between the places Meaux and Compiègne. Apart from that full margined impression in altogether very good condition as not usual for the old wall-maps as specially mentioned by Egon Klemp, Commentary on the Atlas of the Great Elector, Stuttgart 1971, pp. 6-10. – Typographical watermark.

Special  wall-map  of  dominant  representation

and  large  scarcity

as  not  embodied  in  the  legendary  “ Atlas  of  the  Great  Elector ”

where such should be a very sensible addition to the Colom part of charts the more as

the  meandering  Belgian-Netherlandish  mouth  area  of  the

channel  net

forming the two countries gives the map a quite essential quality of statement. Such as in general the black and white state in connection with the red marked cities makes possible

the  total  view

of  the  streams  along  with  the  root-like  ramification  of  their  tributaries

up to those of 3rd order. And the pearl-like succession of the places on the banks coloured in red demonstrates the logic of the waters as lifelines of settlement. To emphasize also the river islands shown especially for Upper and Middle Rhine and the Mayence pontoon bridge.

Showing the

Rhine  from  Leibstadt  near  Waldshut  via  Basel  up  to  its  mouth ,

Moselle , Meuse , and  Scheldt  completely .

Further up to Laufen – St. Ursannes – Lakes of Neuenburg, Murten, and Biel – Fribourg – Poligny – Châtillon – St. Florentin – west of Sens – Arras – Veurne – the coast from Nieuwpoort to Noordwijk – Zutphen – Rheine – Osnabrück – next to Lübbecke and Bünde – Geseke – Winterberg – Gießen – Hanau – Seligenstadt – Freudenstadt . – The Mare Germanicum erroneously inscribed as Baltic Sea instead of North Sea.

Since Mercator’s days no lesser publishing house in Germany than that of Seutter/Lotter pooled willingness and competence to produce a whole line of large maps printed from several plates. And where already the one-river-map will be a special feature here the Lotters formed in courageous grasp

the  wall-map  of  a  whole  European  stream  compound  including  Father  Rhine !

See the complete description.

Offer no. 13,031 / price on application

In  Marvelous  Impression :

The  Last  Battle

in  the  1st  Anglo-Dutch  War

Tromp – Representation of the Bloody Sea Encounter between the Dutch, and English, so lasting three days, happened in August, Anno. 1653. Exceedingly concentrated action during the battle off Scheveningen under admirals Tromp and Monck. In the foreground in the sea and in boats survivors of the sinking Pellican, in the background the coast of Egmont op Zee, Wijck op Zee, and Zandvoort. Title banner above in the sky part as well as legend banner A-T and 1-20 at the lower edge, both in German. Engraving at Merian Sons. C. 1663. 11¾ × 15¼ in (29.8 × 38.7 cm).

Wüthrich III, 199. – From Theatrum Europaeum (1629-1718). – Lower left by old hand in brown ink “5”. – The two vertical folds in the center and on the right resp. just as also a slight box pleat at the middle one resulting from the fold largely, the dog’s ear still affecting the edge line at the right upper corner utterly smoothed out. Some few tiny tears in the white upper margin and a thin spot in the previous fold backed acid-freely.

Marvelous  impression

of  the  large-sized , richly  agitated  representation

of  the  last  encounter  in  the  first  Anglo-Dutch  war

at  the  start  of  which  admiral  Marten  Tromp  was  killed

and markedly compressing Visscher’s “Laeste Zee-Slacht des manhaft. Ridders M. H. Tromp” – though in reverse; cf. ills. Chatterton, Old Ship Prints, plate between pp. 70/71 – as in its design similar depiction of the event. – The war ended in the following year with concessions by the Dutch, but England had not achieved its aim of the war – the control of maritime trade – for which it took further armed conflicts in the decades to come.

Offer no. 28,784 / EUR  780. / export price EUR  741. (c. US$ 910.) + shipping

Scheveningen, Beach at. Boats + freighter amidst the breakers at the beach, enlivened by figures and horse-carriages taking on goods. On the left in the background the village church. Wood engraving by the monogramist RB after Gustav Schönleber (Bietigheim 1851 – Karlsruhe 1917). (1875/76.) 6¾ × 9¼ in (17.1 × 23.5 cm). – Cf. Boetticher 73.

Offer no. 8,168 / EUR  100. (c. US$ 123.) + shipping

Scheveningen after Sunset, At the Beach of. In front landing of a ship dropped anchor in the breakers. Toned wood engraving after a copy by Andreas Achenbach (Kassel 1815 – Dusseldorf 1910) of 1855 for Adolf Closs in Stuttgart. (1875/76.) 6¾ × 9⅜ in (17 × 23.7 cm). – See the complete description.

Offer no. 6,559 / EUR  100. (c. US$ 123.) + shipping

Le Comte, Ship of the Line

The  Whole  Abundance

of  Large  and  Small  Sailing-vessels

Le Comte, P(ieter). Afbeeldingen van Schepen en Vaartuigen in verschillende Bewegingen. Amsterdam, F. Kaal, 1831. Oblong folio. 4 ll. front matter, dedication & preface, 60 pp., 2 ll. contents & errata. With

50  chalk  lithographs

(subject size c. 5⅛ × 7½ in [13 × 19 cm]). Dark green half morocco on 4 ribs with leather corners of the same, marbled covers and gilt title together with fleurons on the back.

Le Comte, Koff

Cat. N.H.S.M. II, 756. – Only edition. – Text on van Gelder, plates on C & I Honig paper. – The quite nicely wide-margined plates (8½ × 11⅜ in (21.7 × 29 cm]) throughout with Le Comte’s enclosed two-line dry stamp PLC / RMWO (ligated) in the center of the lower margin and inscribed lower left in the stone P. Le Comte, mostly with the additions del. et lith(o):, lith., del., or Inv. et del., 16 plates additionally lower right with the address “Steend(rukkerij) Desquerrois en Co.”. – Very fine copy of this most thoroughly describing book, qualified elsewhere as

“ one  of  the  most  interesting  books  on  shipping

published  in  the  Netherlands  at  the  end  of  the  sailing  ship  era .”

In the white upper margin pp. 11/12 old, slightly browned tear backed on both sides. Front matters till p. 9 virtually imperceptible small tidemark at the far upper right edge, seven text leaves with faint fold from turning over. Starting from c. plate 26 fine delicate tidemark in the wide upper margin, both the two final plates with two and one faint brown spot outside the subject resp. Besides the more affected edges the binding only little timemarked. – Previous owner’s name on the front fly-leaf cut out. – Otherwise of perfect freshness and in line with the preface at its end signed in autograph as not the rule throughout. – In the abundance of representations and profound text a

maritime  bonanza  par  excellence  —

for  leafing  through  as  to  detailed  studies .

Offer no. 28,985 / price on application

Metsu, Gabriel (Leiden 1629 – Amsterdam 1667). La Riboteuse Hollandoise. Young lady as charming drinker. While holding the open wine jug with the left her right with glas pushes against a half-full bottle of Genever. Besides of the latter a long pipe. Engraving by Jean Daullé (Abbeville 1703 – Paris 1763). 1761. 16⅝ × 11¾ in (42.1 × 29.7 cm).

Gabriel Metsu, La Riboteuse Hollandoise

Nagler IX, 198 + III, 283. – With the address of Pierre Fouquet jr., Amsterdam. – Typographic watermark. – Classified by Nagler as being one of the “most excellent works” by Daullé. – See the complete description.

Offer no. 15,282 / EUR  590. / export price EUR  561. (c. US$ 689.) + shipping

Neer, Aert van der (Gorinchem 1604 – Amsterdam 1677). River Landscape by Moonlight. With several ships among which – just in front – fishing boat. On both sides a village. Aquatint printed in brown by Cornelis Apostool (1762 Amsterdam 1844). 1792. 8⅛ × 10⅜ in (20.7 × 26.4 cm). – Rare  sheet. – Enclosed text sheet on Neer’s biography. – The wide margins lightly foxing. – See the complete description.

Offer no. 15,535 / EUR  370. / export price EUR  352. (c. US$ 432.) + shipping

Flemish  Sea-Land-Togetherness  400  Years  Ago

Bol, Hans (Mecheln 1534 – Amsterdam 1593). Deer Hunt and Shipbuilding at the River amidst Woody Landscape. In front left first picnic of the peasants in company of i. a. peacock, parrot – the second of which in the cage hanging in the tree – and little monkey, on the right though the partly mounted hunters with hounds pressing stag and deer from all sides. In direction of the sloping bank nets stretched. There, too, a hunter devoted to bird catching. In the middle distance laterally left manifold occupations of the shipbuilders with a larger property next to them. On the horizon the silhouette of a greater town. Engraving by Hans Collaert (supposedly I, d. c. 1581) in Antwerp. Inscribed: HBol. (ligated) inuent. / H C fec: / s(c ex)cud. 8 × 9⅝ in (20.3 × 24.4 cm).

Nagler, Monogramm., III, 762. – Latin quatrain in the lower margin. – Top – here numbered by hand 49 – and bottom with 3-7 mm wide platemark, right with quite fine margin, left as well, but partly already trimmed on the edge of the image. In the text margin two pinhead-small thin spots, otherwise absolutely impeccable.

One of the atmospheric sheets after Hans Bol, here present in warm tone with the text lines still visible. – See the complete description.

Offer no. 28,855 / EUR  780. / export price EUR  741. (c. US$ 910.) + shipping

With  Quality  Seal  of  Prime  Degree

Wouwerman, Philips (1619 Haarlem 1668). Saddle Horse at the Oats Trough. Broadside to the right looking at the beholder. Below the trough the feeding bag. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / Phil. Wouwermans. 4⅞ × 6¾ in (12.5 × 17.3 cm).

Provenance: Printroom of the Royal Museums Berlin with both their collection (Lugt 1606) + disposal stamp verso.

From Winkler’s 11-sheet set after drawings/etchings of Netherlandish masters ( “These sheets are treated very brilliantly”, Nagler). Here then, quite intimate, after the sought after Wouwerman who “influenced all of the later horse painting … exceedingly highly” (Bernt). As Nagler attests Winkler himself “drew horses and battle pieces masterly with the pen”. The great Rossmässler in Tharandt etched after those, perhaps after the Studies for Horse Draughtsmen published posthumously in 1810. – On buff paper untrimmed on two sides with margins 2-8 cm wide.

Offer no. 28,617 / EUR  125. (c. US$ 153.) + shipping

Goyen, Jan van (Leiden 1586 – The Hague 1656). The Farmstead with the Pond on the Canal. In front varied accessory figures in any position up to two riders, also two dogs, and a fisherman in the midst of the water, from whose opposite bank a pointed steeple greets. Engraving/etching by Jan de Visscher (Amsterdam about 1636 – after 1692). Inscribed: I: van Goyen inventor. / I: de Visscher fecit. / 2. 4⅞ × 8¼ in (12.5 × 20.8 cm).

Jan van Goyen, Farmstead with Pond on the Canal

Wessely 60; Le Blanc 55. – Cf. Beck, van Goyen, Zeichnungen 475A with ills. – Plate 2 of the equal-sized 12-sheet “exquisitely fine suite” (Weigel 947, 1838) of canal + village landscapes “Regiunculae amoenissimae eleganter delineatae” worked in reverse after van Goyen (Nagler 62; Wurzbach 60, both Visscher), whose “bearing for Dutch landscape painting of the 17th century, his standing as artist … (are) that known they shall not be subject of this book” (Beck I, 1972, p. 11). And Visscher himself “supplied … highly valuable sheets, either working with just the needle or combined with the chisel” (Nagler 1850).

The impeccable duplicate of the Museum Boymans, whose quite fine even warm tone imparts a lyrical evening mood to the fine sheet. – Large circle (lion?) fleur-de-lis-crowned watermark with filled shield, in its upper outside part as the only one to be assessed here corresponding to Heawood 3144 (1686). – As remarkable for oldmaster prints with fine margin of 7 mm round about. – The little black disposal round stamp (Lugt 700a) on the back feebly shining through to the lower white platemark. – See the complete description.

Offer no. 15,029 / EUR  370. / export price EUR  352. (c. US$ 432.) + shipping

– – The Capuchin Monastery at the Canal. In front two fishing boats laid up on the bank, the crews of several heads of which occupied instructively. A third one with lugger rig in the midst of the water. From the hilly opposite bank a supposedly further church with truncated steeple greets, and from the distance of the horizon a full-rigged ship. Front left, however, two friars under their nicely drawn pointed cowls, one of which with rosary, yelped at by a cur. Two brethren sitting under a canopy in the sun, to the right of them a grindstone, headed for by a packed boatsman. From the church roof above an additional little pointed steeple  a stork  is on lookout on an artificially supported nest, though in the wrong direction. For the partner flies along from the water, just as in further distance three more large-winged ones. Finally a supposed kestrel on a boom off the church tower. Engraving/etching by Visscher as before.

Wessely 63; Le Blanc 58. – Cf. Beck, van Goyen, Zeichnungen 859c. – Plate 5 after lost design to the suite. – Several feeble little fox spots barely perceptible on the front, otherwise impeccable with margin of 2-3 mm round about the itself fine white platemark. – With foolscap watermark, as especially desired, here with three lateral bells each and also three at the extended boom of the 4. – See the complete description.

Offer no. 15,030 / EUR  370. / export price EUR  352. (c. US$ 432.) + shipping

– – The two Round Towers by the Canal. The one in front as overgrown ruin, both with corresponding buildings attached. Before five fishing boats, partly with occupied crew, two under sails. A property on the opposite bank covered with trees. And in the air two chains of three birds each. Engraving/etching by Visscher as before.

Wessely 67; Le Blanc 62. – Cf. Beck, van Goyen, Zeichnungen 445. – Plate 9 of the suite. – Three brown spots between left tower and sailboats before aside the impeccable duplicate of the Museum Boymans. – Typographic watermark. – As remarkable for oldmaster prints with fine margin of 5 mm round about. – See the complete description.

Offer no. 15,031 / EUR  345. / export price EUR  328. (c. US$ 403.) + shipping

– – The Path along the Wide River. Front left above a sluice family with child and dog, the man mounted. Right of this group highly loaded horse-drawn vehicle, on the bank in front and set back two boats with occupied fishermen. The line of the horizon limited laterally by a mill and church resp., in-between a pointed steeple and a property beneath high trees. Engraving/etching by Visscher as before.

Jan van Goyen, Path along the Wide River

Wessely 69; Le Blanc 64; Hollstein 40 with ills. – Cf. Beck, van Goyen, Zeichnungen 497, and Dutch Drawings of the Seventeenth Century in the Rijksmuseum, Amsterdam, Artists born between 1580 and 1600, 186, each with ills. – Plate 11 of the suite. – Partial feeble margin fox spots and black tiny print stains on the back barely worth mentioning aside the impeccable duplicate of the Museum Boymans. – Figurative (leaping lion?) watermark with word mark. – As remarkable for oldmaster prints with fine margin of 5 mm round about. – See the complete description.

Offer no. 15,032 / EUR  345. / export price EUR  328. (c. US$ 403.) + shipping

“ One  of  the  Monumental  Contributions

by  the  Netherlands

to  the  History  of  16th-century  Civilization ”

( Koeman )

Waghenaer, Lucas Jansz. Spieghel der Zeevaerdt. 2 pts. in 1 vol. Leyden, Christoffel Plantijn, 1584-85. Fol. 4 ll. engraved ills. color title, dedication, poem and contents, 36 pp.; 2 ll. engraved ills. color second title & dedication. With movably mounted celestial chart and

44  double  full-page  colored  map  engravings

(c. 15¾ × 20⅞ in [40 × 53 cm] and, 1 folded, c. 15¾ × 22½ in [40 × 57 cm] resp.) engraved by Jan van Deutecom (Doetichum, flourishing 1558-1601) with one page of text on the back each. FACSIMILE in the ORIGINAL SIZE in color together with commentary volume by Cornelis Koeman (The History of Lucas Janszoon Waghenaer and His ‘Spieghel der Zeevaerdt’, 4to, 72 pp. with 28 ills.). Lausanne 1964. Blue orig. cloth with gilt vignette on front board and back title.

After the copy of the first edition in the Utrecht University Library (T. fol. 165; Koeman Wag 2B/3B), complemented by dedication, preface, poem, the movable part of the celestial chart and the first chart from the presentation copy for Prince William of Orange ibid. (P fol. 111; Koeman Wag 1A). – The general map comprising Western Europe, Scandinavia and large parts of Northern Africa on a scale of 1 : 9 mill., the other charts predominantly 1 : 380,000. – Printed on tinted van Gelder Zoonen.

For  absolute  plain  position  of  the  charts  bound  on  cloth  folds  throughout .

The boards of the atlas especially towards the outer edges somewhat discolored grey-green, the second front fly-leaf with a few pinhead-small brown spots, otherwise as good as new. The commentary volume at the beginning and towards the end as well as single pages in-between feebly foxed, particularly the back board with isolated tiny white spots.

The commentary i. a. with introduction to the political and economical situation and development in the northern Netherlands and particularly Enkhuizen as Waghenaer’s environment. – In English.

Offer no. 28,988 / EUR  490. / export price EUR  466. (c. US$ 572.) + shipping

Richard Knötel, Uniforms: NetherlandsRichard Knötel, Uniforms: Netherlands

Knötel, Richard. Uniformenkunde. 13 (5 colored by hand) plates to the group of the Netherlandish uniforms. C. 1893. Size of sheets 10 × 6 ¾ in (25.4 × 17.1 cm).

Added “Mittheilungen zur Geschichte der militärischen Tracht als Beilage zu seiner Uniformenkunde”, vol. 1893, no. 3: 2 ll. containing (The Netherlandish army in the time of Waterloo + Brandenburg-Prussian uniforms in the time of the Great Elector and his successors). – Text very little foxed and with 3 small repaired tears. – See the complete description.

Offer no. 5,080 / EUR  151. (c. US$ 185.) + shipping

Of  Final  Creation

Rubens, Peter Paul (Siegen 1577 – Antwerp 1640). Coastal Landscape with Thunderstorm. Fortified town at a mountainous bay. Before the harbour ships and boats – in Feininger-like depiction – searched rescue. On the peninsula in the foreground two churches, a shepherd with his flock, and farmers running away. Engraving by Schelte à Bolswert (Bolsward, Frisia, 1586 – Antwerp 1659). Inscribed: .P.P. Rubbens (sic!) pinxit . / S a Bolswert fecit. 12 × 16¾ in (30.6 × 42.7 cm).

Peter Paul Rubens, Coastal Landscape with Thunderstorm

From Schneevogt 53 + Hollstein 305-325, IV (of V). – Not in Rosenberg (2nd ed.) – From the set of the socalled Small Landscapes after Rubens. – With the address of Aegidius (Gillis) Hendriks in Antwerp (Gillis Hendricx excudit / Antwerpiae Cum privilegio),  before  that of Jacques Philippe le Bas (Lebas, 1707 Paris 1783). – Wurzbach, Bolswert 86, too, reckons the Hendricx address as the fourth of five states while generally saying in advance:

“ For a long period Martinus van den Enden was almost the only publisher (of Bolswert’s) plates. But in many cases G. Hendricx, too, is … the first and best address. ”

Hofmann – “(he) occupied himself with a subtle examination of the states of the plates of Bolswert’s landscapes after Rubens”, Max Lehrs in the preface to the catalogue of the Hofmann sale – saw in the state here supposedly the second though: on one of the plates of this set from his collection traded here some time ago his autograph note “Sch. 53 No. 3” is followed by the raised addition “Hfm. II.”. The Roman number can refer only to the state, not to the sequence within the suite. Amongst Hendriks, active since 1645, Wurzbach – I, 677 – notes “owner of the old stock of van den Enden”. And in the latter’ article – I, 492 – “in 1645 he seems to have retired because already at that time the name Gillis Hendrickx appeared on the plates”.

With four-liner in Latin under the motto En quo discordia ciues. – On wide-margined strong laid paper with almost invisible centerfold. – The margins on the back with remains of earlier framing. Otherwise untouched.

Wonderful  impression  determined  by  a  vibrant  chiaroscuro

with still slight plate dirt and of a matchless faithfulness. – See the complete description.

Offer no. 28,749 / EUR  813. / export price EUR  772. (c. US$ 948.) + shipping

Accompanied  Prince  Eugene  in  Italy

Huchtenburgh, Jan van (Haarlem 1647 – Amsterdam 1733). A Cavalry Attack / The Fight of the Two Horsemen. Dominated by the ending duel in front, whose throng has been joined by single horse. Etching after Adam Frans van der Meulen (Brussels 1632 – Paris 1690). Inscribed: AF. V. Meulen, jn, et ex, cum priuilegio Regis. / V. HB. f. Sheet size 6 × 7⅝ in (15.4 × 19.3 cm).

Nagler, Monogramists, V, 1210 mentioning the sheet; Catalogue Davidsohn II, 830.

The brilliant , though somewhat time-marked impression of the J. H. Anderhub Collection, partly with tiny(est) up to even 5 mm wide margin, partly trimmed to platemark or, so partially above, to the border of the image. Did not figure, as further prints, too, in the 1963 book sale of the “Bibliotheca Hippologica I. H. Anderhub”.

In the Spanish War of Succession Huchtenburgh accompanied the great Prince Eugene of Savoy on the Italian theater of war, later he entered into the service of the young Frederick William, prince royal of Prussia, the father of Frederick the Great.

Offer no. 28,612 / EUR  298. / export price EUR  283. (c. US$ 347.) + shipping

Local  Map  published  contemporarily  +  adjacently

when  in  Utrecht  Caravaggio’s  Light  rose

Utrecht – Vltraiectinvs, Episcop(atvs). With title-cartouche, 2 ships, and figurative miles indicator.

Berckenrode/Hondius, Utrecht

Map  of  the  Utrecht  diocese  1 : 150,000

designed by the surveyor Balthasar Florisz. van Berckenrode (Delft 1591 – The Hague 1644)

in  likewise  contemporarily  colored  engraving

by Evert Simonsz. van Hamersveldt (1591 – 1653). Inscribed: Auct. Balthazaro Florentio a Berkenrode. Amstelodami, apud Henricum Hondium, Sub insigno Atlantis. Ao. 1628., otherwise as above, and as reflecting the engraver’s view of himself in separate small own cartouche at the lower margin: Evert Sijmonszoon Hamersveldt sculpsit. 15 × 19⅜ in (38 × 49.3 cm).

Keuning 185; Koeman 165. – From the Mercator Atlas in the Hondius edition of 1630 (Koeman Me 29A) for which this map was expressly created by van Berckenrode during his Amsterdam period (1619/34) as “in graphic respect and with regard to geometrical reliability one of the

greatest  Netherlandish  cartographers  of  the  17th  century”

(Koeman). Replacing Mercator’s map of Utrecht still contained in the 1628 edition and therefore present here

in  its  earliest  impression

bearing Henricus’ address Sub insigno Atlantis on the Dam where also brother Jodocus II pursued his map trade. The historical-geographical text on the back in Latin. – De Leck (Neder Rijn) from below Rhenen, thus not with Emmerich anymore as according to Verbeek, Die Niederrheinansichten Jan de Beyers, 1957, p. 41) once belonging to the diocese. In the north adjoining to Haerlemmer Meer + Zuyder Zee. – Especially in the wide white margin foxed, otherwise fine copy

of  this  contemporary  map  of  Utrecht

very  effectively  stamped  by  the  whole  plenty  of  surveying  knowledge

where during the Golden Age, returning from Italy, the Caravaggists with Honthorst and Ter-Brugghen at the top ignited Caravaggio’s revolution of light, but also spread his naturalism, and by this furnished the then Utrecht school of Abraham Bloemaert (“When Rubens came to Utrecht [in 1627] he did not miss to visit B., and also Elisabeth, the queen of Bohemia, honored him with her visit”, Thieme-Becker) with a raised dimension, influencing the non-Italianate Bloemaert himself as a Vermeer van Delft just as the genre painting of Frans Hals and the German Joachim von Sandrart, while “The influence … on the young Rembrandt … certainly (is) the most important chapter within the reception of the Caravaggesque art by the Dutch” (Arthur von Schneider, Caravaggio und die Niederländer, 1933, in not updated second edition of 1967, the latter here p. 67). Created into this environment then

present  Berckenrode-Hondius  map  of  Utrecht

as  a  collector’s  item  of  degree

to  the  Utrecht  school

so  important  for  Dutch  painting  of  the  17th  century .

Offer no. 15,051 / EUR  570. / export price EUR  542. (c. US$ 665.) + shipping

(Netherlands, The Kingdom of the.) With 3 simple cartouches for title + explanation. Map by Frdr. Wilhelm Streit (Ronneburg, Thuringia, 1772 – Berlin 1839) in steel engraving. Berlin, Natorff & Co., 1836. 10¼ × 8⅜ in (25.9 × 21.3 cm).

Marked in detail up to navigable canals and rivers. – Up to Baltrum – Meppen – Witten – Aachen – Antwerp.

Offer no. 9,855 / EUR  60. (c. US$ 74.) + shipping

In  A  Quite  Singular  Technique

Teniers II, David (Antwerp 1610 – Brussels 1690). (Le Rémouleur.) The scissors-grinder at work. In the background two men in front of houses. Engraving by Giovanno Marco Pitteri (1702 Venice 1786). 14 × 10⅛ in (35.6 × 25.8 cm).

Nagler XVIII, 221 + XI, 396, no. 41. – Monostich in Italian and Latin parallel text. – Very fine impression on strong paper with large crown watermark. – Teniers’ locally as atmospheric fine scenery in a plate

of  rare  graphical  charm .

See the complete description.

Offer no. 6,202 / EUR  271. / export price EUR  257. (c. US$ 316.) + shipping

In  Flemish  Style
à  la  the  Younger  Josse  de  Momper

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. 6⅞ × 9⅛ in (17.4 × 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$ 969.) + shipping

Fyt, Jan (1611 Antwerp 1661). (The Bear-Baiting.) The bear by the opening of a den hard-pressed by many hounds, but still with good chance to survive if no hunters will come along. On the right prospects over a wide river valley. Chalk lithograph by Johann Woelfle (Endersbach, Wurttemberg, 1807 – Faurndau/Göppingen 1893) for Piloty & Loehle in Munich printed with beige tone plate. (1837/51.) 10¼ × 13⅛ in (26 × 33.2 cm).

Nagler, Woelfle, 51. – Compare with Nagler XI, Piloty, 312 ff. + IV, Fyt, 539 f. – Not in Schwerdt. – On  mounted  China . – Quite faint little fox-spots on the right of the lower margin, a margin tear repaired acid-freely, otherwise impeccable. – Published within (The Most Excellent Paintings from the Royal Galleries at Munich and Schleißheim) edited by Piloty since 1834 + 1837 together with Loehle resp. “This project soon stirred general interest as the participants … developed a hitherto not achieved technical perfection” and among these are Woelfle’s main sheets:

a  lithographic  masterpiece  reflecting  the  brilliance  of  the  original .

See the complete description.

Offer no. 28,066 / EUR  302. / export price EUR  287. (c. US$ 352.) + shipping

Catalogus, Beschrijvende, der Scheepsmodellen en Scheepsbouwkundige Teekeningen 1600-1900. (Ed. by W. Voorbeijtel Cannenburg.) Amsterdam, Nederlandsch Historisch Scheepvaart Museum, 1943. 4to. 192 pp. With 100 (5 colour, 2 folded) plate leaves + 1 repeated large vignette. Orig. boards with gilt stamped illustrated front cover.

Copy of Heinrich Winter with his stamp on fly-leaf + title. – Important stock of 453 models, followed by the wealth of drawings. – With the Nederlandsche Bibliographie van Scheepsbouw en Tuigkennis 1565-1900 (15 pp.) , list of the ships build by Fijenoord, Rotterdam, 1827-1900, 14 pp. index and thematic introduction.

Offer no. 28,033 / EUR  197. (c. US$ 242.) + shipping

Épreuve  de  Luxe  on  Silk !

Voget – Quinkhard, Jan Mauritz (Rees near Cleve 1688 – Amsterdam 1772). Albertus Voget (theologian, Bremen 1695 – Utrecht 1771, since 1735 professorship there). Half-length portrait with ornamentally decorated margins after the painting of c. 1750 in the Utrecht University’s Senaatszaal. Engraving by Pieter Tanjé (Bolsward, Frisia, 1706 – Amsterdam 1761) for N. v. Vucht, G. Thieme + A. v. Paddenburg. 1754. 13¼ × 9⅝ in (33.6 × 24.3 cm).

Nagler 30 + Wurzbach 55, both Tanjé. – Gorissen 100 honours Quinkhard as the “important portrait painter” as which the work here shows him, too. – Six-liner in Latin + Dutch.

SILK  COPY

of this fine plate of one “ of the most excellent Netherlandish engravers ” (Nagler) and as such of absolute rarity. – See the complete description.

Offer no. 15,270 / EUR  670. / export price EUR  637. (c. US$ 782.) + shipping

Edition  de  Luxe

in  a  Presentation  Copy  quoting  Rodin

Martin, W(ilhelm). De hollandsche Schilderkunst in de zeventiende eeuw. Frans Hals en zijn tijd. – Rembrandt en zijn tijd. 2 vols. Amsterdam, Meulenhoff, (1935-36). 4to. XVI, 474 pp., 1 l.; XVI, 547 pp., 1 l. With

3  plates  +  517  (154 full-page)  illustrations .

Ruby red orig. morocco with gilt backs and front covers and inside gilt border. Gilt head edge.

No. 31/100 copies of the luxury edition in morocco.

Martin’s detailed fine autograph dedication on the fly-leaf of vol. I hot off the press per publication. – Owner’s entry of 1966 on half-titles, number on lower endpapers. Fly-leaves and one title minimally foxed, a touch of dirt almost exclusively within the grain of the back covers, one spine quite unessentially rubbed, otherwise fine copy of this rich standard work.

Offer no. 11,744 / EUR  496. / export price EUR  471. (c. US$ 578.) + shipping

Molijn, Pieter de (London 1595 – Haarlem 1661). Dune Landscape. Left by the path property beneath high trees. With busy and chatting figurines. Aquatint printed in brown by Cornelis Apostool (1762 Amsterdam 1844). 1792. 8½ × 11⅞ in (21.7 × 30.1 cm). – Rare sheet. – Enclosed text sheet on Molijn’s biography. – The wide margins lightly foxing. – See the complete description.

Offer no. 15,536 / EUR  435. / export price EUR  413. (c. US$ 507.) + shipping

For  the  maritime  or  locally  interested  Library  Eye

something  very  beautiful  to  look  at

Rotterdam  in  Its  whole  Grandeur

and  richest  Bonanza  for  a  Terrific  Office-Wall-Design

Rotterdam – Hooghe, Roman de (Amsterdam or ’s-Gravenhage 1645 – Haarlem 1708). Caart van de Stad Rotterdam en gezigt langs de Maas, benevens de Afbeldingen van de voornaamste publique Gebowen. Map engraving printed from 47 plates with

bird’s-eye  view  ( 3 ft 9¼ × 4 ft 1¼ in [115 × 125 cm] ) ,

panoramic  view  ( 9½ × 6 ft 2⅝ in [24 × 189.5 cm] )

and headpiece richly decorated with the coat of arms of the town and the most respective citizens, lions, puttos, and utensils (9⅞-10⅜ × 6 ft 2⅜ in [25-26.5 × 189 cm]),

12  detail-views  ( 7⅛ × 9½ in [18 × 24 cm] each )

and  the  coat of arms  of  the  20  councillors  ( 4½ × 3½ in [11.5 × 9 cm] each ) .

No place, Johannes de Vou, 1694. Composed c. 5 ft 5⅛ × 6 ft 2⅝ in (165.5 × 189.5 cm). FACSIMILE in the ORIGINAL size in copper rotogravure. Rotterdam no year (c. 1960/70). Folio. 2 ll. title. With 3 (2 mounted) repeatedly folded composed plates, 12 half-page and 20 smaller mounted plates. Orig. imitation leather with back-plate, gilt front cover with coat of arms and borders.

The  splendid  map  with  richest  scenes

both in the bird’s-eye view as in particular, too, in the panoramic view

with  almost  all  popular  types  of  ships ,
among  which  twodekkers , yachts , flutes  and  tjalks  and  a  raft .

Of  special  attraction  in  the  bird’s-eye  view
the  numerous  caulkers  on  the  canals  and
the  great  number  of  new  constructions  in  the  shipyards
and  for  fitting  out  on  the  quayage .

In the broad base of the cartouche the instructive legend, Neptune with fishing-net, Athene with Hermes’ stick and fruit, a fishwife with shield and a snail-shell as helmet, Pan and two negroes clearing out a large horn of plenty.

The detail views – with rich scenery throughout – showing City Hall – Laurence, French + Prince Church – Stock Exchange – The Market – The Fish Market – De Doelen – Schielandt Manor – Admirality – New + Old Court .

2 titles in red-brown. – Original mounting on Van Gelder Zonen laid paper. – Maritime exlibris Jacob Schreuder. – Two binding-conditioned little fold tears in the bird’s-eye view and a tiny marginal tear in the mounting paper, all backed acid-freely, otherwise absolutely fresh. And thus

gorgeously  suited  for  a  roomfilling-uniform ,

facsimile-highquality , though  economic-riskless  wall  design .

Quite independent of this by the way for the maritime or locally interested eye something very beautiful to look at. In adequate binding.

Offer no. 14,090 / EUR  197. (c. US$ 242.) + shipping

– – – The same, but isolated minor scratches on the boards, only a longer one in the lower half of the front board a little less unobtrusive, the cover of the back had been cracked below from otherwise practically imperceptible pushing. Two binding-conditioned little fold tears in the bird’s-eye view backed acid-freely, otherwise absolutely fresh as above.

Offer no. 28,851 / EUR  175. (c. US$ 215.) + shipping

Just  only  for  the  Plenty  of  Illustrations

the  Most  Inspiring  Pleasure

and  the  whole  Book  simply  a  Gem  of  the  Bookshelf

Ruyter – Blok, P(etrus). J(ohannes). Michiel Adriaanszoon de Ruyter. With large vignettes, numerous initials as well as 100 illustrations within the text and on 54 (8 double full-page, 3 small, 2 paginated with) plates. ’s-Gravenhage, Martijnus Nijhoff, 1928. Large 4to. XX, 454 pp. Orig. cloth with detailed maritime gilt tooling and marbled fly-leaves. Yellow head edge. Two sides uncut.

Title in red + black. – Back paled, particularly the back cover quite minimally rubbed. Frontispiece + title largely browned from former inlay, but, as each comprising the complete picture and type area resp., not essentially impairing these. – Two sides with marvelously wide margins.

Especially beautiful the gilt three-masted twodekker on the front cover, further great stern light and anchor arms on the back, the personal arms formed by cross, horseman, threemaster, and canon with the device PUGNANDO on the back cover, and the knotted rope-lining.

The  monumental  modern  monograph  on  the  legendary  admiral

(Vlissingen 1607 – Syracuse 1676) – in Dutch – , on heavy laid paper, with almost the whole contemporary illustration materials as there are portraits, charts, battles, views, documents, coats of arms, seals, etc. – Subdivided into 16 chapters, the three Anglo-Dutch wars form one crucial point, but no less detailed are the other stations of this great life, together showing the international standing of this small country in its greatest century when naval power, economy, and arts formed a perfect triad. – 10paged detailed index.

Offer no. 28,810 / EUR  198. (c. US$ 243.) + shipping

Blaeu – Dulmen, Frank van (ed.). De Grote Atlas van Europa. De mooiste landkaarten uit de zeventiende eeuw van Joan Blaeu. Text by Pieter Terpstra. (Leeuwarden 1995.) 4to. 32 pp. With 30 sm. text ills., 1 full-page color plate ills. and 30 double full-page color plates. Color ills. dark blue orig. boards in color ills. dust jacket. – From the edition Amsterdam 1663. – Text & text ills. printed in blue. – Without the CD-ROM mentioned in the colophon. – Boards material-induced minimally rubbed, the dust jacket a trifle worn, otherwise as new.

Offer no. 28,990 / EUR  40. (c. US$ 49.) + shipping

Present  Sepia-washed  Version

in  Dresden  known  as  presumable  only ?

Ruisdael, Jacob van (Haarlem 1628/29 – Amsterdam 1682). The Stag Hunt. Light wooded landscape with vast swamp through which the par force hunt in the foreground passes. Animal and figure accessories by Adriaen van de Velde (1636 Amsterdam 1672). Etching in outline washed with sepia by Adrian Zingg (St. Gallen 1734 – Leipsic 1816). Sheet size 17 × 22⅝ in (43.3 × 57.5 cm).

Kuhlmann-Hodick et al. (ed.), Adrian Zingg, Wegbereiter der Romantik (2012), 3 (partially with grey wash, before the letter; sheet size 18⅜ × 25½ in [46.7 × 64.9 cm]) with illustration; Nagler, Zingg (1852), 4, II (of II; I before the letter) and, Ruysdael, XIV, page 101.

Slive, Jacob van Ruisdael, 1982, per 37 and Jacob van Ruisdael, Master of Landscape, 2005, per 38 resp., both times unchanged  erroneously  as  in  reverse , albeit 2005 expressly designating as reception work for the Dresden Academy, thus not confounding with the reverse etching for the Dresden gallery work by Zingg’s pupil Christian Augustus Günther likewise mentioned by him. So his indication may refer to that small-sized (9½ × 11¼ in [24 × 28.5 cm]) reverse etching recorded in Brunswick with Adrian Zingg as engraver (inv. no. AZingg V 2.6176). Provided he did not just conclude from Zingg’s other reception work, the, as the rule, indeed reverse Evening Landscape with Travelers after Jan Both (K.-H. 4), on Ruisdael’s Stag Hunt.

Hence Slive would not have seen even just an image of Zingg’s present reception work. Whose to be stated expressly

sameness  with  the  original  besides  a  lucky  chance

among the throughout inverted reproduction prints. And this then even in the case of Ruisdael’s infinitely famous hunt in Dresden, reckoned by Wurzbach (1906/11) among the “most important and finest (of his paintings) in existence” and listed as the first one of the twelve there. As he then classifies him practically in unison with predecessors and successors as

“ indisputably  the  most  eminent  landscape  painter

the  history  of  art  knows. ”

And especially with regard to the forest motifs he considers the  environs  of  Cleves  which he might have perambulated.

Zingg’s present Ruisdael rendering the one which in literature. With the swamp extended in the foreground as against the original. With splendid depth of the picture

the  original  painting

in  its  light  brown  is  of  great  charm .

“ He trained many pupils here, who generally had to help his own commercial purpose, and established a lively trade with wash sepia drawings and outline etchings ”

(Allgemeine Deutsche Biographie XLV, 323) as “a new, particular manner of reproduction prints which produced the

impression  of  an  original  drawing ”

(Claudia Schnitzer in K.-H., page 37). In addition to this Sabine Weisheit-Possél ibid. pp. 67 ff.:

“ (D)rawing  and  print

frequently  are  hard  to  be  distinguished  with  the  unaided  eye …

A confusion of the technique is no uncommonness … In most print collections there are works of Zingg’s recorded as drawings, which in truth are washed etchings in outline … After printing … the impressions were washed by hand and

then  trimmed  to  the  edge  of  the  subject

so that the platemark dented into the paper, the characteristic of prints pure and simple, disappears … All this the artist applied with the aim to reproduce his popular drawings as exactly as possible, yet in huge numbers and to impart on them at the same time the

‘ Aura  of  an  Original ’.”

Where “in huge numbers” nonetheless is to be understood quite relatively, rather conceptually. For his sheets are rare, as the with 1852 far more contemporary Nagler reports as connoisseur of degree of also the market. For he “was thrifty with the impressions since he wanted to secure the proceeds for his later years should unemployment or weakness befall him. Only 1804 … Tauchnitz induced him to publish his works. They were published in 4 installments (so supposedly then the stag hunt, too) … before the letter, and … with the same … For long he was regarded as the greatest landscape draughtsman of late years, and also his landscape engravings were praised as model. However, in the course of the years he was surpassed by other artists and obscured especially by (William) Woollett (1735-1785)”.

Striking  proof  of  rareness  in  the  case  here  its above obvious ignorance in natura with Slive and the seemingly only presumable knowledge of a washed copy in Dresden (“On the academic exhibition 1770 he certainly showed one version worked with sepia …”, so Anke Fröhlich in K.-H., page 100, on occasion of the but partially washed state in Dresden).

What all the more decidedly qualifies the as against the latter considerable  edge  trimming  of  the  copy  here  – affected the left part of the picture ending barely with the main tree’s terminating branches and the water area below extended anyway as against the original with even so still 1.5 cm margin to the lowest line of the two hounds far left – as to be considered possible, that this could be original and just goes beyond the trimming documented already afore. For the three times two each (bottom left & top right each diagonally to each other, bottom right one beneath the other) and top left one pinhead-small little holes in the corners suggest a mounting in the studio.

On the back margins backed of old all round with rough broad strip of paper, both the two upper corners slightly obtrusively stained in the brown of the wash. In the sky part top left closed margin tear 8 cm deep, a further one of 1.5 cm in the lower margin. The left lower corner tolerably rubbed. Generally thusly indeed age-marked, yet still quite fine, worth viewing and framing, indeed, a splendid large sheet.

Résumé :

Zingg’s  adequate  large  sheet

in  original  wash .

After  one  of  the  most  celebrated  Ruisdaels  in  Dresden .

See the complete description.

Offer no. 28,995 / EUR  1380. / export price EUR  1311. (c. US$ 1610.) + shipping

Verschuring, Hendrik (Gorkum 1627 – near Dordrecht 1690). Resting Hunters, partly dismounted, with their Hounds in front of an Inn. One of them with a falcon in his right and enthusiastically accompanied by his dog hastening into the landscape (probably the Roman Campagna). Brush-drawing in several shades of grey wash and a little black over traces of black chalk. Signed at lower left with the grey brush: H. verschuring. f.. 9⅞ × 13¾ in (250 × 348 mm).

Provenance:

Friedrich Quiring, Eberswalde,

with both his stamps lower right and on the enclosed former mounting resp.
(Lugt 1041 b & c: Des deux marques ci-contre la première servit jusqu’en 1920,
la seconde à partir de 1921. Elles figurent seulement sur les meilleures feuilles).

Also technically characteristic, pictorially executed work by this master influenced in his horses by Ph. Wouwerman, whose own horse drawing in turn had followers especially in North Germany (see Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jhdts., 2nd ed., p. 220). Unmistakable yet also in his dogs and the easiness of the composition. – See the complete description.

Offer no. 28,863 / price on application

First  with  Special  Tariff , then  forbidden

Public Notice of the Imperial and Royal Administration District in Inner Austria regarding the Special Tariff of Dutch products. Published Graz July 13, 1791. No place & printer (1791). Sm. fol. 1 p. With the printed signatures of Franz Anton Graf von Stürgkh + Dismas Franz Graf von Dietrichstein.

Framing-fine  broadsheet . – Restitution of the 1788 Special Tariffs after restoration of repose in the Netherlands.

Offer no. 7,166 / EUR  86. (c. US$ 106.) + shipping

– – of the Imperial and Royal Administration District in Styria regarding the prohibition of trade from and to the Netherlands. Published Graz December 17, 1794. No place & printer (1794). Sm. fol. 1 p. With the printed signatures of Philipp Graf von Welsperg-Raitenau + Franz Edler von Rosenthal.

Framing-fine  broadsheet . – Follows the proclamation to this in respect of France of September 20, 1794, extending its prohibition to all countries occupied by that. Running contracts can be settled by the end of the month. – Repaired small loss in the margin.

Offer no. 7,165 / EUR  79. (c. US$ 97.) + shipping

– – (12122) of the Imperial and Royal District Office Graz of July 23, 1817, regarding the demobilization of Austrian and Dutch subjects from the respectively mutual war services followed by the corresponding statement of the two states at Vienna of May 13, 1817, made from the side of Austria by Prince Metternich as foreign minister and on the part of the Dutch-Luxembourgian envoy by Baron Spaem. No place & printer (1817). Sm. fol. 2 pp. With the printed signatures of Franz Edler von Werner as district captain and the district secretary Michael Kaltenegger.

Framing-possible  broadsheet  (under double-sided passepartout) on laid paper with figurative watermark fragment, untrimmed on three sides.

Offer no. 10,763 / EUR  65. (c. US$ 80.) + shipping

“ Holding  a  Special  Rank  because  of  (the)  Theme ”

Snyders, Frans (1570 Antwerp 1657). Two young lions pursuing a roebuck. Chalk lithograph by Ferdinand Piloty (Homburg, Saar Palatinate, 1786 – Munich 1844) printed with yellowish and ocher-hued tone plates. (1816.) Inscribed: f. Snyders pinx: / f. Pilotj del. 15½ × 21½ in (39.3 × 54.7 cm).

Frans Snyders, Young Lions pursuing roebuck

Winkler, (The Early Period of German Lithography), 622/25, II (of IV and V resp.) + 954, 16. – Cf. Robels, Frans Snyders, Munich 1989, no. 259 with ills. as well as ASK 1.I ff., pp. 92 ff., p. 150, para. 1; Koslow, Frans Snyders, Antwerp 1995, pp. 287 (full-paged colour ills.) + 302; Sutton (ed.), The Age of Rubens, Boston 1993, no. 120 with colour ills. + Hantschmann, (Nymphenburg Porcelain), Munich 1996, pp. 314, no. 25 + 354, no. 70 and ills. p. 358.

Incunabulum  of  lithography . – The 2nd state shining thanks to its additional yellow before the removal of also the “del:” which is visible here like its “f.” – contrary to Snyders’ signature – in traces only within the as a whole feeble Piloty signature. – The 1st state in black only, the 3rd (our 13,367) with ochre printed over, the 4th just with subdued chamois tone plate with simultaneous removal of the framing line. Later Piloty & Loehle published an enlarged detail of the lions only under the title “The Young Lions”. – Watermark M(anufacture) de I. A. Huber.

Sheet 16 of the 200-sheet set “Bavarian Picture Gallery at Munich and Schleißheim” published since 1816. – With 18 × 25¼ in (45.8 × 64 cm) almost corresponding to the sheet size of about 18½ × 25⅝ in (47 × 65 cm) Winkler reports for the set and by this with fine wide margins of 3-4.5 cm and also otherwise of quite excellent condition.

The spacious, “far seen” (Bernt) ambience with a distant mountain – here on the left – supposedly by  Jan  Wildens  (1586-1653, see Robels 259 and additionally pp. 147 f.). – See the complete description.

Offer no. 28,623 / EUR  940. / export price EUR  893. (c. US$ 1096.) + shipping

– – – The same in the IIIrd  state printed with the ocher-hued tone plate and without Piloty’s “del.”. – See the complete description.

Offer no. 13,367 / EUR  910. / export price EUR  865. (c. US$ 1062.) + shipping

“ The  extraordinary  Hunting  Motif ”

– – Lioness striking a Wild Boar. In hilly extended landscape overgrown with trees the boar in front has already gone onto his fore knees with the lioness jumped laterally onto his back and bitten into his neck. Chalk lithograph by Ferdinand Piloty (Homburg, Saar Palatinate, 1786 – Munich 1844) printed with yellow-brownish and medium brownish tone plates. (1816.) Erroneous inscription: P. Snayers (Pieter Snayers, 1592 Antwerp after 1666) pinx: / f. Pilotj del. 15⅝ × 21⅝ in (39.8 × 55 cm).

Frans Snyders. Lioness striking a Wild Boar

Winkler, (The Early Period of German Lithography), 622/24, II (of III) + 954, 12. – Cf. Robels, Frans Snyders, Munich 1989, no. 258 with ills. + Hantschmann, (Nymphenburg Porcelain), Munich 1996, p. 354, no. 71.

Incunabulum  of  lithography . – The 2nd state equivalent to the first except for the largely removed chalk traces extending beyond the picture left and below. The 3rd state printed with only one tone plate in subdued chamois with simultaneous omission of the bold framing line. – Watermark M(anufacture) a (?) Hartmann.

Sheet 12 of the 200-sheet set “Bavarian Picture Gallery at Munich and Schleißheim” published since 1816 – With 18¼ × 25¼ in (46.4 × 64.2 cm) virtually corresponding to the sheet size of about 18½ × 25⅝ in (47 × 65 cm) Winkler reports for the set and by this with fine wide margins of 3.3-4.5 cm and also otherwise of quite excellent condition.

The spacious, “far seen” (Bernt) ambience supposedly by  Jan  Wildens  (1586-1653, see Robels 259 and additionally pp. 147 f.). – In the expressionist new setting of a desert oasis as ambience as familiar to him as lion hunts Franz Heckendorf used the motif for his painting of no. 29,061 here. – See the complete description.

Offer no. 28,624 / EUR  965. / export price EUR  917. (c. US$ 1126.) + shipping

In  the  First  State

Ridinger’s  most  original

Memento  Mori

worked  in  the  Manner  of  the  Netherlandish  Vanitates

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Memento Mori. On the bible lying on the table death’s-head with several teeth missing. To its right vase with defoliating bouquet, left, as rarer, tray with soap-bubbles on which a four-fingered jagged bar with attached seal rests as well as burned down candle/light of life, on its stand a pair of candle scissors, behind it hour-glass and above curtain with large jagged tear-out for the curtain of life, but since the middle ages also symbol of the mysterious whose possibly religious solace is, however, already countered by the hole. Peeping out from under the bible and projecting beyond the edge of the table a blank sheet of paper with tear and dog’s ear. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 20¼ × 16½ in (51.6 × 42 cm).

Johann Elias Ridinger, Memento Mori

Provenance

Counts Faber-Castell

their Ridinger sale 1958
with its lot no. 145 on the underlay carton

Radulf Count of Castell-Rüdenhausen

(1922-2004)

Stillfried (3rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1426, obviously both III (of III); Reich auf Biehla 295 ( “Extremely rare”, 1894 ! Without state detail); Rosenthal, Ridinger list 126 (1940), 434 (without margin, supposedly ditto); Faber-Castell 145, state I (of III) just as the copy of the National Print Room Munich (1963:1644); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1, 289 (1975, quoting Stillfried’s description); Ridinger Catalogue Kielce (1997), 172, II (of III) with ills.; Niemeyer, (The Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).

Not in Thienemann (1856) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger collection at Boerner XXXIX (1885) , Coppenrath Collection (1889 f.) , Hamminger Collection (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger), 1554 items; 1900).

With  caption  in  Latin-German:

“ Quid q(uid) agis, prudenter agas et respice finem, Sir. 7.c.

What you do think of the end, then you will never ever do evil .

(Sir. 7th chap.) ”

Earliest  version

of  this  pictorial-beautiful  vanitas  still-life

as

ONE  OF  THE  MOST  INTERESTING  RARITIES  OF  RIDINGER’S  ŒUVRE

in deep-brown impression of finest plasticity on buff laid paper with watermark WANGEN and separate IV as both standing for contemporary impressions. With laterally 8-14 mm, top 17 mm margin, below trimmed with partial minor cut of the signature, but loss of the “Sir. 7. Cap.” as final line of the caption. Small tears backed by old in the free field outer left of the toned-fine lower text margin with still minimal extending into the closure of the table edge just as within the two quoted lines with near-loss of the letters “uid” in the second “quid” of the first and minimal touching of the letters “as” in the “Was” of the second line. In the picture itself isolated tiny(est) injuries done by old, optically like a hair crack four of these in the curtain upper left and one in the skull’s right eye, pinhead-like three further ones at the rim of the skull, on the bible, in the curtain. One further tiny injury in the white edge of the table lower right barely perceptible, from the front not at all a few untreated pinhead-small little holes just as also the not unusual smoothed centerfold still visible in the skull only. Of two backed tiny tears in the white right margin one reaching 7 mm into the picture filling. A slight touch of browning down from the foot of the candle-stick optically almost eliminated by the ink brown. Generally thus somewhat age-marked, but not only with regard to the additional rarity as first state and the with respect to Ridinger important provenance through and through worth acquisition as an

outstanding  example  from  the  group

of  the  vanitas  works  and  dances  macabres

and  grand  proof  for  the  “ Minimized  Ridinger ”,

so the art-historical contribution here at the Ridinger ceremonial act by the Dresden Technological University on occasion of the 300th birthday, demonstrating at the same time the master’s deep rooting in the Dutch’s emblemism to whose works he generally is more obliged to than supposed till now. And here not least documented by his inv(enit) removing any doubt about his intellectual copyright. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness. Rather he remained

“ one  of  the  few  German  baroque  artists

… who … never  fell  into  oblivion ”

(Rolf Biedermann, [Master Drawings of German Baroque], 1987, p. 338). – See the complete description.

Offer no. 14,856 / price on application


“ Thank you so much for The Fashion Etchings by Hollar. I am very nicely surprised and very very impressed … The presentation is very professional and everything look very good … and if you have some more interesting etchings by Hollar … please let me know ”

(Mrs. P. P., July 8, 2004)