« Love reformed her and corrupted him. »
Preston Sturges on Remember the Night by Mitchell Leisen, 1940
But where there is no Love , there is neither Wealth :
The MARRIAGE CONTRACT as BARTER TRANSACTION
Hogarth, William (1697 London 1764). The Marriage Contract. Engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). (1807.) Inscribed: W. Hogarth inv. pinx. 1745. / E. Riepenhausen del. sc. 8⅞ × 11 in (22.6 × 28 cm).
Marriage à la Mode I. – Riepenhausen’s reproduction of this immortal sujet – painted in 1745 – not least esteemed for its being in the original direction in a fine early impression. – The wide lower margin with the series title trimmed to platemark. – The opening scene of this
“ most beautiful painted satire of the century ”
(Dobson in Thieme-Becker). The documents are sealed , the agreements lie open on the table :
On the one side the alderman paying in the common daughter equipped with richest dowry, opposite to him the palsied and bankrupt old count delivering the son descending from William the Conqueror. In view of all the financial benefits just received he self-assuredly shows his family tree. And as the formalities are settled the count’s lawyer can examine the construction of the new palace at his leisure from the window, while even at this moment the smooth young procurator of the financial party preferring more trivial interests is not willing to refrain from whispering sweet words into the ears of his client’s daughter. What will have results.
Offer no. 11,833 / EUR 289. / export price EUR 275. (c. US$ 332.) + shipping
– – – The same in lithography by L. Blau. (1833-36.) Inscribed: (“Die Heirath nach der Mode. 1tes Blatt.”). 9 × 9⅛ in (22.8 × 23.2 cm). – Extensive caption à la Lichtenberg in German. – In the wide white margin right two tears backed acid-freely just as the lower right corner.
Offer no. 12,141 / EUR 184. (c. US$ 222.) + shipping
– – The complete Marriage set of 6 sheet in steel engraving about 1840. 5-5½ × 5¾-6¼ in (12.6-13.9 × 14.6-15.9 cm). – Two sheets faintly foxed within the caption. – See the complete description.
Offer no. 7,667 / EUR 189. (c. US$ 228.) + shipping
Not always one has the choice –
but if it has been the right one one discovers always afterwards only:
– – The Election (of a Member of the Parliament). Set of 4 sheet engravings by Cook as before. 1807/09. 5¾-6⅛ × 7⅜-7¾ in (14.6-15.5 × 18.8-19.7 cm). – See the complete description.
Offer no. 8,895 / EUR 375. / export price EUR 356. (c. US$ 430.) + shipping
When all Dams break …
Nolpe, Pieter (1613/14 Amsterdam 1652/53). Het Door Breecken vande St. Anthonis Dyck buyten Amsterdam … op den 5. Martij 1651. The near-to-the-city St. Anthony or Diemen (now Zeeburg) dike at Houtewael next to Amsterdam broken twice in the St. Peter’s flood (Sint-Pietersvloed) March 5, 1651 with the floods pouring through. On both sides on the top of the main breach gale-lashed people, acting every man for himself. The one constant factor among them the mounted dike-reeve far right. On the left first, designated by the sign, the compact tavern of Houtewael with smoking chimney, surrounded by further people of calmer air. Opposite to this and immediately at the smaller second breach the likewise handsome farmhouse Jaaphannes. Looming high in the quite closely seen middle distance four Amsterdam (church) belfries, supposedly Montelbaan Tower, Zuider Kerk, Nieuwe Kerk, Jan Roodenpoorts Tower and 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 at Amsterdam after W. Schellinckx …
[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 of the dike of Houtewael 1651 in Oud Holland LXXXI (1966), pp. 20-33.
Also see Stefaan Hautekeete, Roelant Roghman, Works after the breach of the dike at Jaaphannes in Hautekeete (ed.), Holland in Linien – Ndl. Meisterzeichnungen des Goldenen Zeitalters aus den Kgl.-Belg. Kunstmuseen Brüssel (2007), pp. 205-207 with situation map and small comparative illustration of Nolpe’s etching The St. Anthony Dike and Environs after the Dike Break in the Year 1651.
Before the address of de Wit (active until 1706). – With fine margin all around. – Some backed tiny(est) tears, quite minimal defect in the upper framing line. The upper margin besides with remains of old narrow backing, the utterly smoothed centerfold only partially minimally perceptible in the subject. In all with not unsympathetic slight touch of patina.
Vibrant impression rich in contrast
of this large dramatic sheet rare of old
Offer no. 15,183 / price on application
… Things get Serious …
The Marriage Hall at the Town of Antwerp. Dominating the large fireplace by Cornelis Floris de Vriendt II (1514 Antwerp 1575) with the two carytides sculptured in alabaster by Floris himself. With two visitors and a guard with halberd. Color lithograph by François Stroobant (Brussels 1819 – Elsene 1916). Inscribed: F. S. 1853 (in reverse) / F. Stroobant del. et lith. / C. Muquardt, éditeur. / Imp. Simonau & Toovey, Bruxelles., otherwise (erroneously) in French, German, and English as below. 13½ × 8¾ in (34.4 × 22.3 cm).
Boetticher II/2, 855. – “Belgian architectural painter … known by works and drawings to art history, especially of his homeland. Several drawings he has lithographed himself.” – The not entirely wrong designation here – Chimney-Piece in the Town Hall of Antwerp – exchanged by mistake for the one of that sujet.
In the second half of the 19th cent. the Marriage Hall was distinctly redesigned by the addition of several murals, replacement of the allegory with Poseidon above the mantlepiece by a relief of similar content, and removal of the carved balustrade. Here in such a manner still in its
original form showing the chimney far better .
See the complete description.
Offer no. 15,504 / EUR 178. (c. US$ 215.) + shipping
… when it was just a little Dalliance !
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$ 77.) + shipping
But sometimes Money really makes the Difference :
Also a Silver Wedding Couple
Hogarth, William (1697 London 1764). Rakewell marries an Old Maid. The unlike couple saying yes to each other, while in the background the sexton’s wife refuses Sarah Young, with Rakewell’s daughter on her arms, and her mother admittance. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by Wm. Hogarth / Engraved by T. Cook / Published Decr. 1st, 1796; by G. G. & J. Robinson, Paternoster Row, London. / Pl. V. 14 × 16⅞ in (35.7 × 43 cm).
The Rake’s Progress V. – Four diptych captions. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker). – Of fine contrasts and – contrary to all later Hogarth editions – in the original folio size.
“ Bride and bridegroom have found what they were looking for; she a young and handsome man, and he a rich woman; what shall one want more? ”
(Lichtenberg). – See – also for further available versions – the complete description.
Offer no. 7,516 / EUR 291. / export price EUR 276. (c. US$ 334.) + shipping
(Farmer’s Groom + Farmer’s Bride from the Nuremberg District.) About 1669. 2 plates. Coloured woodcuts of traditional costumes by A. von Jósef Walla (Budapest about 1844 – after 1907) after Jean Gulies (?). C. 1877. 7⅞ × 4¾ in (20 × 12 cm).
Offer no. 5,998 / EUR 98. (c. US$ 118.) + shipping
Before the Consent
it might have been better …
Landseer, Thomas (1795 London 1880). Great Skill have they in Palmistry. Still delightedly in the arms of her newly wed spouse – with silk hat – the bride lets the fortune teller read from her hand. Etching. (1827/28.) 7 × 8 in (17.7 × 20.4 cm).
Rümann, Illustrierte Buch des 19. Jhdts., Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On specially wide-margined strong paper.
Offer no. 14,383 / EUR 222. (c. US$ 268.) + shipping
Indispensable Attribute :
The Wedding Torch
Hogarth, William (1697 London 1764). Hymen & Cupid. Sitting on a low wall entwined with roses Hymen with garland of roses in the hair and the wedding torch as “indispensable attribute” (Meyers Konversations-Lexikon, 4th ed., VIII, 846) as well as lute, the strings of which plucked by Cupid lying at his side. His bow with quiver front right on the ground. Engraving in oval set in rectangle border by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculp. / Published by Longman, Hurst, Rees, & Orme, Aug. 1st. 1809., otherwise as above. Subject size 5½ × 6⅝ in (14.1 × 16.8 cm).
Originally created as admission ticket for the mask play Alfred the Great in Cliveden House – this in the background – 1748 before Prince and Princess of Wales on occasion of the latter’s birthday, later the sujet served as subscription proof for H’s Sigismunda. – Trimmed within the wide white platemark whose outer edges are weakly brownspotted on two sides.
Offer no. 9,025 / EUR 33. (c. US$ 40.) + shipping
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$ 1350.) + shipping
After 100 Years back on the Market
Aert van der Neer
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
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$ 212.) + shipping
Of course it may also begin this Way …
Hogarth, William (1697 London 1764). The Industrious Prentice performing the Duty of a Christian. Side by side with the daughter of his wealthy master, jointly holding the gospel book. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by Wm. Hogarth. / Engraved by T. Cook. / Plate 2. / Published by T. Cook Islington; and G. G. & J. Robinsons, Paternoster Row, February 1st. 1796. 11⅞ × 14⅜ in (30.2 × 36.5 cm).
Industry & Idleness II. – Marvelous impression on sturdy paper. In its downright luxuriously wide white margin a few weak foxing spots and upper right slight tidemark. Beyond that – contrary to all later Hogarth editions – in the original size. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker).
“ Whereas the industrious apprentice has the honour, too, to attend church with his master’s daughter and he sings devoutly with her from the same gospel book … Once they will surely become a pair … our Goodchild and Miss West, his lord’s and master’s only daughter! ”
(caption of a lithograph). – See – also for further available versions – the complete description.
Offer no. 7,529 / EUR 220. (c. US$ 266.) + 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 gamba slung over his back. A young woman dreamily listening to the serenade at her window while two children are attentive followers. On the right small view of the partially cloud-covered moon above trees. Mezzotint. Inscribed: Ioh. El. Ridinger inv. et excud. Aug. Vind., otherwise as above. 16⅜ × 22 in (41.5 × 56 cm).
Thienemann + Schwarz 1200. – 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.
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 , 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 .
See the complete description.
Offer no. 28,936 / EUR 1980. / export price EUR 1881. (c. US$ 2274.) + 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$ 48.) + shipping
At Anchor in the Harbor of Marriage
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$ 1700.) + shipping
The Wedding at Cana. The wedding company at the table. On the right serving of the second helping. Steel engraving by William French (c. 1815 – East Grinstead 1898) after Paolo Caliari (called Veronese, Verona 1528 – Venice 1588). 3rd quarter of the 19th century. 5⅛ × 8⅛ in (12.9 × 20.5 cm).
Offer no. 5,955 / EUR 50. (c. US$ 60.) + shipping
– – – – The same. Steel engraving by Kiehne. C. 1840. 5¾ × 8⅛ in (14.5 × 20.5 cm). – See the complete description.
Offer no. 5,954 / EUR 50. (c. US$ 60.) + shipping
Let this be a Warning to You
Hogarth, William (1697 London 1764). Sr. Hudibras Encounters the Skimmington (or The Antichristian Opera). The knight, an English Don Quixote, happens upon and misinterprets as anti-Christian ceremony an unruly procession of the old English and Scottish custom of
publicly ridiculing a hen-pecked man or even cuckold
suffering his wife’s adultery. Here both with the man set with a distaff backwards behind the woman onto the horse and treated by her with a ladle. At the window above, however, the tailor, whom his wife cuckolds by the sign of her hand, just as then also one of the two standards with shift and skirt resp. bears horns on top. Otherwise plenty of noise with pans & pots, but also horn & bagpipe. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Plate XII. / Design’d by W. Hogarth. / Engrav’d by T. Cook. / London Published by G. & I. Robinson Pater noster Row February 1st. 1802., otherwise as above + 6 six-lined stanzas as caption. 11⅜ × 20⅛ in (29 × 51.1 cm).
HUDIBRAS XII. – Cook „made his mark as Hogarth engraver, too (1795-1803) whose complete work he has reproduced“ (Thieme-Becker VII, 1912, p. 348/I) and whose original format he maintained in contrast to all later Hogarth editions, which moreover mostly don’t contain the consequently rarer Hudibras. Several works not published by Hogarth himself had been engraved by Cook for the first time as he met with approval by a contemporary connoisseur as Maximilian Speck von Sternburg, too. – Small tear off in the wide white upper margin, in the right one two faint tidemarks. – On sturdy paper. – Of finest chiaroscuro. – See the complete description.
Offer no. 7,600 / EUR 322. / export price EUR 306. (c. US$ 370.) + shipping
– – – The same in Cook’s smaller version with the caption being replaced by the series title. Inscribed: Pl. XII. / Hogarth pinxt. / HUDIBRAS. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1808. Subject size 4⅜ × 7⅝ in (11 × 19.4 cm). – At three sides trimmed within the wide white platemark, which is partially a little time-marked.
Offer no. 8,859 / EUR 84. (c. US$ 102.) + shipping
– – – The same in Hogarth’s own etching/engraving of 1726 with the Sayer address of the 1768 new edition and here in the impression from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]). Inscribed: 12 (by the publisher) / W. Hogarth Inv. et Sculp (in the lower left edge of the subject), otherwise with title + caption. 10¾ × 20⅜ in (27.4 × 51.7 cm). – Hogarth Catalog Zurich, 1983, ills. 7.
Offer no. 7,873 / EUR 248. (c. US$ 300.) + shipping
“ … it’s five months now she hasn’t left me ”
Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). J’ai besoin de quitter Paris. Joyously beaming gentleman at his lawyer about to leave Paris – and his wife. Chalk lithograph. (1870-71.) Inscribed: 27 / CHAM, otherwise typographically as below. 9¼ × 7⅝ in (23.5 × 19.5 cm).
“ J’ai besoin de quitter Paris. — Pour rejoindre votre femme? — Au contraire; voilà cinq mois qu’elle ne m’a quitté. ”
Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – See the complete description.
Offer no. 14,796 / EUR 148. (c. US$ 179.) + 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$ 77.) + shipping
The Tiger Horse with Ear-Bouquet
A Hippological Wonder
as besides within the Œuvre almost One and Only
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Young Tiger 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). Copper printing plate in reverse. Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. / J. El. Ridinger sc: et excud. 1745., otherwise in German as above. 13¾ × 11¼ in (35 × 28.5 cm).
The original printing plate
to sheet 38 (etching with engraving, Thienemann & Schwarz 280, “The six horses comprised in this collection later had been sold also separately”) of the Representation of the Most Wondrous Deer and Other Animals
in the reddish golden brilliance
of its 274 years old copper .
Here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself. And therewith correcting Thienemann (1856) who deemed the plates to the Most Wondrous lost. But so a worldwide unique collector’s object of quite especial preciousness. For already in general
“ Preserved original 18th century printing plates
are of great rarity ”
(Stefan Morét in Ridinger catalog Darmstadt, 1999, pp. 62 f. See also the plates there I.13, I.8 & I.11, color illustration 6 & b/w ills. pp. 63 f.). – And especially on Ridinger’s:
“ Of the high technical and qualitative standard of the works of Ridinger and his sons collaborating in the workshop especially as engravers the (only very partially, among them the 12-plate ‘Paradise’ set acquired by The Augsburg Art Collections and shown in their 2001 exposition of important acquisitions of the last decade) preserved printing plates bear witness still today. ”
To the same effect then already before Bernadette Schöller in Der Kölner Graphikmarkt zur Zeit Wenzel Hollars within Wenzel Hollar – Die Kölner Jahre ed. by Werner Schäfke, Cologne 1992, p. 19:
“ The copper-plates
which on the basis of both their material value and the hours of work invested therein
enjoyed a far higher esteem
than , for instance , a preparatory drawing handled only too often disrespectfully … ”
Analogously then here on occasion of the re-appearance of parts of the so-called Thieme-Becker Block of Ridinger’s printing plates “One of the most sensational discoveries in art history … Ridinger’s original printing (sic!!!) plates”.
That the one here the master has worked alone
should be mentioned expressly. Just as documented by inscription. – The original number “38” restored again on occasion of a later 19th century edition after it had been removed for a separate set in the mid-twenties.
Shielded from tarnishing by fine application of varnish, the plate is generally printable in the ordinary course of its use through the times, however, it is offered and sold as a work of art and a collector’s item, thus without prejudice to its eventual printing quality. Shortly,
an extremely gratifying , worldwide unique absolutum .
proposed to you with the recommendation of a timeless-elegantly frameless hanging (fittings included) for that you will experience the reflection of the respective light to the fullest. – See the complete description.
Offer no. 16,232 / price on application
Master Drawing of the Golden Age
of First-rate Provenance
Dutch School – Landscape with the Three Peasants loading Crop. On the field in front, loading shocks of sheaves onto a two-wheeled one-horse cart. The low wood enclosing the field declining on the far right and opening the vista of the plain with broad river with sailboat and a village on the far bank. Richly shaded brush in grey wash over traces of black chalk. C. 1700. 8½ × 14 in (217 × 354 mm). – Minimal foxing.
Dr. Carl Robert Rudolf, London,
his sale Amsterdam 1977
Collector’s stamp Cock on Turtle on verso.
Finely executed work of painterly impression ,
the quality of which vouches for the hand of the master .
See the complete description.
Offer no. 16,263 / 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$ 167.) + 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:
“ 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$ 494.) + shipping
Let the Cocks bicker over us !
Snyders, Frans (1579 Antwerp 1657). 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 by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 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$ 52.) + 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$ 60.) + 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$ 59.) + 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$ 48.) + shipping
– 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$ 79.) + shipping
(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$ 92.) + shipping
Morlachian Girl (Bridal Costume) from Istria. Going to the left at the poor Adriatic shore. On the water sail. Colored woodcut after August von Heyden (Breslau 1827 – Berlin 1897). C. 1877. 8½ × 4¾ in (21.7 × 12.1 cm). – Lipperheide Ad 46. – Sheets for Costume Knowledge, New Series LXXX. – See the complete description.
Offer no. 6,405 / EUR 40. (c. US$ 48.) + shipping
The Wedding Serenade
Hogarth, William (1697 London 1764). The Industrious Prentice out of his Time and Married to his Master’s Daughter. The guilds of London serenade the newly wed couple and the partner of now West + Goodchild. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Designed by Wm. Hogarth / Plate 6 / Engraved by T. Cook / Published by T. Cook. Islington; and G. G. & J. Robinsons. Pater-noster Row. February 1st. 1796. 11⅞ × 14⅜ in (30.2 × 36.5 cm).
Industry & Idleness VI. – Marvelous impression on strong paper and – contrary to all later Hogarth editions – in the original size. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker). – Faint tidemark. The foxing of the wide paper margin also affecting the platemark. The backside foxing not penetrating the image.
“ The young couple stood up and receives the congratulations at a cup of chocolate. The tailor is the spokesman for all drummers and musicians … It is surely one of the butchers who congratulate with the bones on the chopper … The old servant of the house hands out freely the pieces of dinner … ”
(caption of a lithograph). – See – also for further available versions – the complete description.
Offer no. 7,532 / EUR 271. / export price EUR 257. (c. US$ 311.) + shipping
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).
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 , 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 , 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$ 448.) + 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.
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 great 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
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.
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
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$ 121.) + 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 at A. Closs in Stuttgart. (1875/76.) 6¾ × 9⅜ in (17 × 23.7 cm).
Offer no. 6,559 / EUR 100. (c. US$ 121.) + shipping
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.
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
… ends with a Drink with the Charming Drinker
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).
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$ 678.) + 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$ 426.) + 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$ 896.) + shipping
“ Imbecile !
… they will say we’re not married ! ”
Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). Je me suis mis dans les volontaires! Mademoiselle throwing up her hands in dismay in view of her newly uniformed beau requesting his parting kiss. Chalk lithograph. (1870-71.) Inscribed: CHAM / 121, otherwise typographically as below. 8⅝ × 7⅛ in (21.9 × 18.2 cm).
“ Je me suis mis dans les volontaires! — Animal! tu n’as pas 35 ans! on va dire que nous ne sommes pas mariés! ”
Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – Corner tear off in the wide white margin lower left. – See the complete description.
Offer no. 14,784 / EUR 118. (c. US$ 143.) + 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).
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$ 426.) + 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$ 426.) + 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$ 397.) + 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.
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$ 397.) + 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$ 563.) + shipping
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$ 183.) + shipping
Some Day the Children Marry …
415 Years Old Wedding Regulations
as Heirloom from Generation to Generation.
Just as a private Bible . But incomparably rarer .
And forever connected
with Your Name as that of the Sponsor:
Decree by Heinrich Julius Duke of Brunswick-Luneburg (1564-1613, accession to the throne 1589) concerning the procedure of wedding celebrations. Given Gröningen near Halberstadt December 28, 1604. No place & printer, c. 1604. 1 page. With large woodcut initial. 20 × 14⅞ in (50.8 × 37.7 cm).
Thematically eminently rare
quite remarkably early broadsheet
enacted on occasion of a marriage celebration turned rowdy seen with full ducal rage
“with Our own eyes ”
at the ducal New Inn (in Gröningen?). The description of that followed by a regulation of 9 chapters not just describing
how a marriage celebration should not be ,
but , rather , what scale it should have at all
and what staff is needed for this. And for anyone the highest wage is fixed. Up to 2 Margroschen per bushel of wheat and one per bushel of rye for the miller and his hands for “the pains taken for milling the wedding rye and wheat”.
And for the observance of all this against anybody finally inspectors and commissioners are urged and enjoined to have
“ This Our order also for anybody’s information
printed publicly announced and posted up at our New Public House . ”
That determination for using up these broadsheets owe their extraordinary rarity and the fact now, according to the ownership, grieving, now highly satisfying the collector that “they … are preserved almost only
in few copies
and by chance” (Bohatta). With these usually – so here, too – not having been used up on the bulletin boards, but being very well preserved voucher copies. The one here with two folds and remaining fold strip as sign of its preservation within an omnibus volume for which the lower margin, needless for at least 3.5 cm, had been trimmed under supposed loss of the printed signature with the printed L(oco) S(igilli) stamp. Followed by white margin of 2 cm. – The print itself on two sheets joined seamlessly and from the front practically invisibly, each with rich though not sufficiently identifiable watermark of about 5⅛ × 3½ in (13 × 9 cm) whose ornaments show characteristics of marks locally proven in the last quarter of the 16th century. E.g. those of Briquet 1982 f. + 19539, 10541 and for a possible lion’s tail tuft elsewhere (Vosges Mountains, Brussels, Wurttemberg) 10565/67 + 10569. – Uniformly slightly toned, weak little brown spot in the first paragraph, small tear in the white upper margin of the fold backed acid-freely.
Round about a really grand and unique suspension
for which the framing-ready, acid-free decorative passepartout is included, too. And whose thematic rareness, it may be repeated, goes far beyond the general one of the broadsheet :
Since decades obliged to European statutes and proclamations as witnesses of the shaped everyday life, hundreds of these passed through here, but
for the first time now a marriage decree !
That it is altogether one of the earliest should augment your pride to own it by the i-dot highly contested by the connoisseurs.
Congratulations beforehand !
See the complete description.
Offer no. 28,118 / EUR 1380. / export price EUR 1311. (c. US$ 1585.) + 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.
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 characterized 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$ 655.) + 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$ 73.) + 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$ 238.) + 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.
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$ 770.) + 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$ 569.) + 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$ 499.) + 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$ 238.) + 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$ 212.) + shipping
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$ 239.) + shipping
“ … the most spectacular type
of maritime cartography ever produced ”
Carte Nouvelle des Costes de Hollande, Zeelande, Flandre, Picardie & Normandie, depuis la Brille jusques à Dieppe, auec une Partie des costes d’Angleterre, depuis l’emboucheure de la Tamise, et les Isles Voisines jusques à Brevesier, ou l’on Voit tous les Ports de Mer, Bancs des Sable & Rochers. A L’Usage des Armées de sa Majesté Britannique. Dressé sur les Memoirs les Plus Nouveaux. With
pyramidal built up , richly decorated cartouche on the right
(10⅛ × 12 in [25.8 × 30.5 cm]), presenting below the Bavarian coat of arms overarched by the electoral hat, at its sides for once Poseidon with the armed Athene as protectoress of the towns, then Mercury as patron of trade and welfare the
seaside harbor and town views of Dunkirk & Calais
(3⅜ × 10¼ and 2½ × 7⅛ in [8.6 × 26.2 and 6.5 × 18 cm].6 × 26.2 and 6.5 × 18 cm] resp.), and as counterweight the richly decorated
dedication cartouche for Maximilian II. Emanuel of Bavaria
as the governor of the Spanish Netherlands on the left (6¼ × 8¼ in [16 × 21 cm]) with 2 compass cards and threefold miles indicator. On the water finally numerous ships partly engaged in battle. Economically colored chart engraving in Mercator projection 1 : 400,000 printed from 2 plates by Romein de Hooghe (1645-1708) for Pieter Mortier in Amsterdam. 1693 (recte not before 1694, see Koeman p. 427, col. 2). 23⅝ × 37⅜ in (60 × 94.8 cm).
Koeman M.Mor 5, 1. – Cf. Phillips 2835. – On buff laid paper. – On the left trimmed within the frame line touching just the latitudes there, too. On the right fine, above and below wider margin. Especially the left half with weak brown impression of the opposite side resulting from folding. – The
equally decorative just as instructive chart of as frequented as difficult waters .
See the complete description.
Offer no. 28,017 / EUR 1892. / export price EUR 1797. (c. US$ 2172.) + shipping
First with Special Tariff , then banned
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$ 104.) + 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$ 96.) + 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$ 79.) + shipping
And in Proper Time after the Wedding
The Baptismal Gift
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
in the Home Environment of the Saint
as of greatest authenticity
in almost unbeatably large format
de Marselaer, ( in writing ) 1656 as Frederic de Marselaer’s (Antwerp 1584 – [St. Hubert-] Elewijt 1670)
as baptismal gift to the grandson and heir
Frederic Jozef Ignatius de Marselaer (1656-1718)?; 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) publisher’s dedication for the Hubert chairman Frederic de Marselaer painted by Rubens:
“ I(ll?). Nob(i)lissi(mum) Do 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).
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 unbeknownst 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). Here the present for the first time 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
Dutch & Flemish Paintings – Drawings – Prints – Books
An enlarged selection
“ The prints arrived today in great condition! I couldn’t be happier with the purchase. Thank you so much for working with me … ”
(Mr. M. C., September 25, 2014)