art  —  a  matter  for


Arthur Grunenberg, Bolting Stallion

who  keep  the  ball  rolling

Grunenberg, Arthur (Königsberg 1886 – Bad Reichenhall 1952). Rossebändiger (Horse Tamer). Suite of lithographed title and

11  (instead of 12)  chalk  lithographs

(7⅛-9¼ × 8½-10⅝ in [18-23.5 × 21.5-27 cm]), 10 of which inscribed below right in pencil: A. Grunenberg. (Berlin, Wasmuth, 1922.) With lithographed written sheet contents. In orig. h. vellum portfolio (13¼ × 16⅞ in [33.5 × 43 cm]) with lithographed ills. front cover together with title + author.

AKL LXIII (2009), 471 f.; Thieme-Becker XV (1922), 146; Vollmer II (1955), 325. – Exhibitions: Kunstsalon J. Casper, Berlin, May 1914 + Galerie Arnold, Dresden, March 1927.

One of 40 copies on untrimmed thin Japan and, lithographed title and contents sheet, Japan vélin.

1. Dioscuri (first sketch) – 2. Dioscuri (second sketch) – 3. Absalom – 4. Amazon looking out – 5. Injured Amazon – 6. Stallion taming – 7. Horse Tamer (replaced, see below, and therefore not signed) – 8. Restive Horses – 9.

The  rich  Ridinger  portrait

by  Haid  after  Bergmüller , Th. XX , 2

“The programmatic mezzotint” , Gode Krämer —

with  provenance  Gustav  or  Alfred  Ritter  von  Franck

— “belle  Epr(reuve)” —

as  a  fine  en  passant  message

of  taking  up & continuing

a  paternal  passion  with  the  fact  as  core

that  15/16  years  old

made  each  other  happy  with  art

and  kept  this  affection  for  the  whole  life .

Bolting Stallions – 10. Bolting Stallion – 11. The Tamed Stallion (inadvertently not signed) – 12. Morning Ride .

Without sheet 7, “Horse Tamer” for which the supposedly identical, which itself is not the same as the front cover illustration, was trimmed with loss of publisher’s address and presumably numbering – known here a copy once on the market numbered “XXIII/40”, missing on its part the lithographed contents sheet – to the smaller format of the suite itself, consequently it was not mounted under boards either. The latter original passepartouts, not always fitting anyway and regarded as responsible for isolated trifling foxspots in the mostly white field (only sheet 4 generally slightly touched), were replaced by foil-protected mounting on acid-free light cardboard. – The portfolio foxspotted, but scarcely on the front cover with its fine large representation (6⅛ × 5⅛ in [15.5 × 13 cm]) between the writing in chalk.

The  splendid  suite 

Arthur Grunenberg, Stallion Taming

in  its  unheard  of  palpable  speed  of  movement

present in impressions of deep black, due to the edition of great rarity – so then also not in the hippological Sarazin Collection, Basel, covering 1527 till 1930 and dissolved 1999 – , as reverence by the artistically so singularly brilliant early German 20th century to milleniums-old equestrian culture, exemplified by the opening sheets of dioscuri (“Sons of Zeus”) + Absalom (son of David) . Just as the set as a whole directly follows the 1921 painting

“ The  Dioscuri  taming  the  Horses ”,

that is Castor + Pollux, the latter according to one of the traditions set by

“ Zeus onto the sky as a reward for their brotherly love … as Gemini or as morning and evening star … Polydeukes (Pollux) is distinguished as pugilist,

Castor  chiefly  as  horse  tamer ;

but both also appear as horsemen or as driver …

« From  the  time  on ,

when  I  ( 18 years old )  became  acquainted  with  you

the  service  to  the  Muse

was  horn  against  all  unpleasantnesses  for  me »

Gerhard Marcks 1959 to Richard Scheibe

quoted after Frankfurter Allgemeine Zeitung of October 30, 2004

The art used to depict the dioscuri as nobly formed hero youths of slender, but strong built … Usually they are formed naked (all just as here, too) or dressed just with a light chlamys. Almost always they appear in connection with their horses, and that standing beside them, rarely as riders ”

(Meyers Konversations-Lexikon, 4th ed., IV, 1001 f.).

The Absalom scene quotes the moment when during the armed conflict with King David with deadly consequence the former was “stopped by his long hair by a terebinth (Pistacia terebinthus, turpentine tree)” (op. cit. I, 54).

Grunenberg, “painter and engraver … devoted himself after legal studies at the suggestion of F. von Lenbach to the art …

« Arised  exclusively  from  the  joy  in  art

and  the  delight  of  collecting

these  collections  form

the  indispensible

dear  surroundings  of  their  owners »

Wilhelm von Bode

1918 in the foreword to the catalog of the old master collection

Privy Councillor Dr. Stumpf

as the original first collection, still enlarged by his children,

of his father-in-law Dr. Hölscher-Mühlheim,

who gave this as a whole as a dowry to his daughter

and for himself promptly erected a second one

especially depictions of dance and rhythmically animated youthful figures … recently he also paints highly colorful flower pieces and monumentally animated group compositions like ‘Dioscuri taming the Horses’ … Besides comprehensive graphic activity” (Thieme-Becker).

And Vollmer supplementing:

“ Preferred as motifs the rider and the dancer and danseuse resp. Uses mostly red chalk or chalk.

Excellent  portraitist  of  the  horse  in  motion ”

The latter then here fascinating up to the final sheet, the back scene of the morning ride whose rider is accompanied by two runners.

A  unique  composition  of  bodily  animation

Arthur Grunenberg, Morning Ride

Embraced  by  the  motion  of  flat-like  trees

Offer no. 15,145 / EUR  2000. / export price EUR  1900. (c. US$ 2297.) + shipping

250  years  before

“ Unchanged  legendary  his  art

to  depict  horses  of  any  breed  in  their  motion … ”

Birgit Schumacher. Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age. Text + plate vol. 2006. 4to. 591 pp.; 3 ll. + 1 interleaf. With

895  plate  illustrations

(110 in color, 99 of these full-page, 1 double full-page,
10 as supplemental details ,

697 b/w, numerous of these full-page + 2 as supplemental ,

88 comparative in b/w, several of these full-page + 1 as supplemental).

Orig. cloth. – In English (translations of monograph by Hein Horn, of the catalog by Christiane Zschunke).

CATALOG  RAISONNÉ  on the pictorial œuvre of this admired and favorite artist celebrated particularly for his depictions of horses with usually a white horse as trademark. For the great Wilhelm von Bode Wouwerman was one of the most famous of the Golden Age, worthy being incorporated into his corps d’élite and in such a manner among the few of his standard work “(The Masters of the Dutch and Flemish Painter Schools)”.

Offer no. 29,084 / EUR  488. / export price EUR  460. (c. US$ 556.) + shipping

« My  greatest  pleasure  in  life

was  the  collecting »

C. F. G. R. Schwerdt

1938 towards Kurt Lindner

imparted in the introduction to the reprint of the 4-vol. Schwerdt Catalog

as reflection of the private hunting collections of all times

And Josef Haubrich in Josef Haubrich , (Collector + Sponsor),

ed. by Peter Fuchs, Cologne 1959:

« My  experience  from  40  years  life  with  art :

hardly ever I was sorry for having bought a work of art,

but  sometimes  I  have  regretted  for  years

not  to  have  acquired  one »

„ ich habe mich nun doch entschlossen, den Ridinger zu veräußern und bitte um Zusendung des angebotenen freigemachten Verpackungsmaterials … (Und) ich danke Ihnen für die ausführliche Anleitung zum Verpacken des Ridingers … (Und) Ihnen nochmals für die äußerst angenehme Kommunikation dankend … (Und) das Geld ist bereits auf meinem Konto angekommen, das ging ja wirklich schnell, vielen Dank dafür … “

(Herr C. S., 15., 18., 29. + 30. Dezember 2009)