art — a matter for
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
— “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
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
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
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 »
„ Vielen Dank, und sollten Sie wieder einmal einen ‚(William) Blake‘ in Ihrem Sortiment haben, waere ich fuer eine kurze e-mail dankbar “
(Mr. U. S., 23. Januar 2002)