And  even  more  so  if  it  is  about  a

serialized  story

You recollect that and how in 2010  niemeyer’s  followed Dresden’s question

“ What is BEAUTIFUL ? ”

as the theme of the big special exhibition of the Deutsches Hygiene-Museum at the Lingnerplatz on his stage , his way , and proposed for the epilog per January AHA  his  answer to the question Wolfgang Klein raised in the exhibition catalog for what Rilke might have meant by his statement For beauty is nothing but the beginning of terror.

And how  niemeyer’s  answered it with Platen’s word He whose eyes have looked on beauty is at the mercy of death already and illustrated it with  ridinger’s  Omnia mihi subdita. Yet called, as hopeful outlook, rather, as certainty, Reagan and Goethe to the stand and also did not disregard popular wisdom whose

“ but  life  goes  on ”

is just as banal as true.

And  here  then  shall be enacted as promised continuation by

whether  old  year ,

whether  new  year ,

forever  rolls …

The Chariot of Venus

Der Venuswagen

( The Chariot of Venus )

A Collection

of Erotic Private Editions






Alfred Richard Meyer

( Munkepunke )

First Series

9 Volumes

( for each following month one .

All published , naturally )

Berlin 1919/1920

First and final number of copies


( 700 for the hoi polloi
40 for the upper crust )

That’s all quite nice indeed .

Yet not for niemeyer’s way of seeing themselves .

Below Roman No. I and such they just won’t do .

So ? ?

Of course ! ! Certainly legendary ! !

Doctor Heinrich Stinnes‘

obligatory Number I ! !

In ruby red morocco

with volume by volume the paw-like ownership note ! !

Within niemeyer’s red series . Now then .

« Art  is  genius ,

and  the  genius  has  by  no  means  at  all

feel  bound  to  the  society , the  community .

An  art  which ‘goes  to  the  people’

makes  the  necessities  (to  be  added  here , of  the  district  attorney)

of  the  masses , the  little  man ,

the  Philistinism

its  own

falls  into  misery »

Thomas Mann

Prince  of  the  No. I

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

this  absolute  need  of  this  absolute  character

the more naturally as by the acceptance in this noble collection seeing his publication and therefore himself ennobled. Gurlitt, Pope of Art of his time, numbered in the present case just matter-of-factly

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

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

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

Heinrich Stinnes

What  a  hand  has  wielded  it !

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

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

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

of  each  one

Heinrich Stinnes

of  the

73  plate  prints

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

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

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

“ … this  sturdy  taking  into  possession

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

the  character  trait

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

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

“ first  collector(s)  of  world  culture

who  come  from  an  industrial  world

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

not  imaginable  without  the  dealer ,

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

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

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

Heinrich Stinnes (1867-1932) was one of these grandees. Pure as hardly any one else. A principal , as brother Hugo on his field. But, lo and behold, his survived the times better. We bow in awe.

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

a  historico-cultural  torch

par  excellence

which  had  the  law’s  moral  feeling  glow  up

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

Freedom  of  Arts

of the juice . They are here again today . These excitednesses , this panic eagerness , to actually only pull things into the limelight which the republic should be able to bear .

There’s  only  one  thing  to  do :

the opening up of the soul . Of  the  own , the  collecting , the  art-loving  self .

“ The  night  is  the  most  beautiful ”

the pianist Eduard Erdmann , book collector of degree , once said to his head-waiter in the Weinhaus Wiesel in Cologne . Shades of Heinrich Stinnes .


The Chariot of Venus

Ruby  red  orig.  morocco  on  5  ribs

in quarto (12⅛ × 9⅞ in [30.7 × 25 cm]) with blind tooled front cover vignette and equal line on both covers as well as, gilt tooled, on the back, as the titles, too, green moiré inner covers & fly-leaves as well as gilt head edge. Two edges untrimmed.


Das Graphische Jahr
Fritz Gurlitt

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

Bibliotheca Germanorum Erotica & Curiosa

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

Bilderlexikon der Erotik

vol. II (1929), 868 f.

Paul Englisch I
Geschichte der erotischen Literatur

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

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

Leipsic 1931
page 299 & individual references with the titles

L. Lang
Expressionistische Buchillustration
in Deutschland 1907-1927

Lucerne (1975) , 70 , 134 & 144

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

as volume 1 of the series, whose 40 luxury copies were printed on strong laid paper and bound in leather (as here) or vellum or also, as not noted in the imprint, in silk.

Serial as individual titles mostly in red & black. – Within the generous preliminary matters on page 3 each lithographed serial vignette – content of the first volumes later modified – as not especially repeated in the following. – Plates printed on the Gurlitt press. – Beside the moiré fly-leaf at the beginning 2 & at the end 1 additional fly-leaves. On each one of the fly-leaves following the front moiré fly-leaf the autograph owner’s note of Dr. Stinnes with full name & purchase note in black ink. The reference to the plates on the titles numbered in writing as far as not stated otherwise in the following. – Except for one of the Corinth plates, see below,

all  prints  as  well  as  the  imprint

are  signed  by  the  respective  artist .

Irrespective of described and, on their own, indeed impairing imperfections in the preservation of two volumes an

excellent  state  of  preservation & as  a  whole  a  feast  for  the  eyes

which disguises said imperfections sovereignly awaits you. This copy is downright

a  synthesis  of  the  arts

ennobled  unrepeatably  by  provenance & Roman I


The Chariot of Venus


“ All  (still available)  copies  were  confiscated ”

(Englisch I. – Details also with the titles)

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

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

The  courts  saw  this , see above , differently .

Or just so . How one takes it .

90 years later also this is relative. The trip threshold of sensitivenesses followed the strength of the offered tobacco. However , niemeyer’s , unchanged die-hard in esteeming the truly sublime, will rather restrain himself with the following samples of artistic ingenuity than lure with the plenty and not tell at once what is to be discovered yet. Shortly , he sides with the

Ladies  from  the  Kurfürstendamm , Berlin ,

in  Günter  Neumann’s  immortal  Insulaner  cabaret

50  years  ago

“ You  really  are  too  prudish , my  dear .”

“ Oh no .

The  artists  shall  and  have  to  go  with  the  muses .

But  where  are  they  going ?

… if  Goethe  wanted  to  be  vulgar  for  once

he  set  three  little  dots … ”

100  years  later  yet

he  would  have  asked  Mr.  Alfred  Richard  Meyer …


Friedrich Schiller

The Chariot of Venus

A Poem. 1781.

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

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

3 of which inscribed in the stone with

Ritsch Ratsch , Venusfinger and Inquisitia resp.)


Lovis Corinth

(Tapiau 1858 – Zandvoort 1925)

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


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

No  copy

in  the  Corinth  print  collection  Beckmann=Bremen

united  in  297  lots

at Puppel (Hollstein & Puppel), Berlin 1941

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

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

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

(Alfred Richard Meyer in present epilog).

The  Tame  Prelude

Lovis Corinth, The Chariot of Venus

“ Youth , o  take  a  vow ,

Engrave  it  with  golden  figures !

Flee  the  rosiest  Charybdis

And  you  will  be  heroes .”

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

The  illustration  of  the … ‘Venuswagen’ …

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

therefore  was  his  particular  cup  of  tea

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

(Englisch II, pages 252-255).

E. Jouy = Victor Josephe Etienne

named for his native place de Jouy

The Lesbians


With title & 6 signed plate etchings

(c. 7⅝ × 5¾ in [19.5 × 14.5 cm])

as well as charming initials


Otto Schoff

(Bremen 1888 – Berlin 1938)

From the French into the German by Balduin Alexander Möllhausen

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


H.-G. IX, 309 f.; Englisch I, 287 & 425; E. II, 242 & 265-266

The green inner covers & fly-leaves with tidemark above. At front at most 4 cm deep and decreasingly coloring the following two white fly-leaves, Stinnes’ ownership note just as untouched by this as at the back the impeccable imprint page with Roman I & Schoff’s signature. At the back otherwise 11 cm deep and strongly coloring the two white end papers, yet the first of which affected on front only slightly anymore. Feebly green upper edge then on pages 9/10 & following etching, then more generally, partly virtually imperceptible feeble narrow brown stripe, the farthest upper edge occasionally also with a touch of green. – One cover tissue paper each defect lower right and lower edge resp. – Of the tidemarks on the binding basically worth mentioning just the slight little dark rim on the left half of the lower edge of the front cover, duly registered otherwise still front cover above & on three sides on the back cover. All in all yet no less, but also no more than a partial slip with immaculate freshness of all the rest.

After years of trade of war laying down arms in 1797 Jouy (1764-1848, librettist of, i. a., Rossini’s William Tell) turns to the light entertainment and becomes one of its best in his time.

“ Now, 1799, we are in the year of birth of his delicious erotic little book, the ‘Galerie des Femmes’, to whose seventh … painting ‘Sappho ou les Lesbiennes’ Charles Monselet devoted a longer chapter in his ‘Galanteries du XVIIIe Siècle’ published Paris 1862. Here in this country especially Ivan Bloch has referred to Jouy’s ‘Lesbians’ from the ‘enchanting Galerie des Femmes’ in his ‘Sexual Life of Our Time’ (10th – 12th ed., Berlin 1919, p. 767) as a

classic  masterpiece  of  erotic  literature

of the first French republic. It shall not be concealed that later Jouy was ashamed of

this  most  beautiful  and  most  daring  of  his  numerous  works … ”

(Balduin Alexander Möllhausen in present epilog).

Confiscated then also still 120 years later in Germany “for the content and the etchings by Otto Schoff … A young dandy relates to his friend the tribade scene of three girls in truly classic form. The content is … strongly imbued with eroticism. Yet the lovely language makes the reader forget the adventurousness of the matter” (Englisch I, 287 & 425). And besides “The scandal … (only begins at all) when the police puts an end to it” (Karl Kraus, Sprüche und Widersprüche, Frankfort/Main, Suhrkamp, 1984, page 42). Here then indeed. For, so Englisch II, 265 f. :

“ The lovely portraits of girls he shows in erotic occupation have a lot of Fragonard’s gracious touch … His best known works are: 6 etchings for … ”, well, what supposed?

And  so  H.-G.  qualified  them

Otto Schoff, Sappho or the Lesbians

Initial at the start of the text erotic ,

after page 10 ( the above ) free , after page 12 erotic ,

after page 16 obscene , after page free ,

after page 20 erotic .

Numerous free initials


Indian  Love  Life

With 10 signed color lithographs

with additional monogram in the stone

(7⅝-8⅝ × 6¼-6⅞ in [19.5-22 × 16-17.5 cm])

as well as pertinent large chapter initials

and figurative upper ledge & closing vignettes


Richard Janthur

(Zerbst 1883 – Berlin 1956)

47 pages, 1 leaf imprint. – Text printed by Spamersche Buchdruckerei Leipsic


Continuously wavy from faint tidemark in the upper margin, first & final leaves somewhat more. Below mostly only less wavy and without tidemark, besides also not quite continuous. In the leather only little annoying trace at the upper edge of the covers. – One cover tissue paper in the lower right and lower margin defect. This all yet tolerable, disguised by the fine typography and … the strong vividness of the illustrations. Included even the initials.

Richard Janthur, Panchatantra

Veneration the High Ganesa! – Three Mishaps by Own Fault – The Weaver as Vishnu – What a Single Dictum is worth – The Old Husband and the Young Wife – The Carpenter and His Unfaithful Wife – The Brahmin and His Adulterous Wife – How a Woman rewards Love – Woman’s Caprices – The Adulteress betrayed by Her Lover – Wondrous Healing of a Blind, Hunchback and a Three-breasted Princess .

“ In the following period, which began with a journey to Greece (1911), (Janthur) grew to an expressionist who achieved strong effects especially in the still-life.  However , his  talent  as  graphic  artist  (etcher and lithographer)  had  the  most  impressive  consequences; he created illustrations which less accompany the text but have corresponding character. By a system of excited lineation which sticks only vaguely to the naturalistic model he knows to

acquire  the  inner  suspense  and  psychic  forces

of the respective poetry. In such quite personal form he has illustrated i. a. ‘Gulliver’s Travels’ , ‘Gilgamesh’ ,


… Since 1911 he chiefly exhibited at the Berlin, later Free Secession and since 1919 with the ‘November Group’ at the Great Berlin Art Show ”

(Thieme-Becker XVIII [1925], 421).

Alfred Richard Meyer

Aldegrever  Girl

A Novella


With 8 signed & colored lithographs


Georg Walter Rössner

(Leipsic 1885 – Gundelsby 1972)

(“ free , yet not erotic ” (H.-G. IX, 400 ;

7⅝-8⅝ × 5⅛-7½ in [19.5-22 × 13-19 cm])

and large opening initial

40 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin


Georg Walter Rössner, The Aldegrever Girl

Preliminary matters in carmine & black. – Imprint correctly signed by the artist, not by the author as erroneously stated there.

Backed small margin tears, feeble brown stripe in the joint, in places minimally foxed. Minimal rubbing at the headcap and three small scratches on the front cover lower left.

Henry de Kock / Balduin A. Möllhausen

The Murder
in the Little Chestnut Wood
The Uneventful Wedding Night

With 6 signed color lithographs ,

of them the following one of the three confiscated ones ,

with additional signature in the stone

(7¼ × 5⅞ in [18.5 × 15 cm])

as well as illustrated title


Franz Christophe

(Vienna 1875 – Berlin 1946)

52 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin


Hayn-Gotendorf IX, 326; Englisch I, 508; Englisch II, 252.

On the half-title sheet the title Henry de Kock / (The Story of Doctor Schultz). – Preliminary matters in green & black. – Without the collection-specific written specification of the number of plates in the title. – At the beginning minimal foxspots. – Minimal abrasions at headcap and three ribs at the back.

“ In lasciviousness Henry de Kock was not inferior to his namesake (Paul de Kock) … and also wrote some other free little story, for instance

in  which  the  blood-curdling  and  erotic

Franz Christophe, Murder in the Little Chestnut Wood

came  together  to  a  strange  unity ”

(Englisch I, 508).

Based on an authentic criminal case distressing the minds which originated near Mannheim 1784 and came to its striking point in Heidelberg ten years later.

“ Christophe … originates from a Berlin family of French refugiés … He has drawn for the Jugend , the Simplizissimus … the Lustige Blätter and other periodicals … 1911 he was represented with some pen-and-ink drawings on the International Art Show in Rome, too … By coloring he imparts to many of his sheets a particular charm.

Aubrey Beardsley’s  influence  is  unmistakable  in  both  his  drawing  and  in  many  of  the  chosen  subjects ”

(Thieme-Becker VI [1912], 549).

“ His drawings and etchings are vibrating with warm life , very sensuous , yet keep quite away from any speculation … He endeavors … to depict in particular the mightiest human emotion, love. And in this he succeeds technically quite brilliantly … Of his erotic works have to be mentioned … ” Well… ?

(Englisch II, 252).

Heinrich Lautensack

Erotic Votive Plates

With 7 signed lithographs

with additional signature in the stone

(4½-7⅞ × 5½-6⅛ in [11.5-20 × 14-15.5 cm])


Willy Jaeckel

(Breslau 1888 – Berlin 1944)

32 pages, 1 leaf imprint. – Text printed by Printing Office Gustav Ascher, Berlin


Hayn-Gotendorf IX, 341 f.; Englisch I, 287.

Throughout in red & black. – Imprint correspondingly on heavy Dutch laid paper, not 1919 Zanders laid paper as stated by H.-G. – At the beginning only one fly-leaf, besides included in pagination. – One of the cover tissue papers with small tear-off and backed tear at the lower edge.

Vilshofen’s famous-notorious runaway Heinrich Lautensack who  “ left  his  mother  grieving ” (so Kristl in Bekenntnis zum sündigen Fleisch – H. Lautensack, in Börsenblatt für den Dt. Buchhandel, Frankfort edition, Antiquariats-Beilagen, 1975) with

Man and Woman – The Ugly Girl – Onan – Mary Magdalene – The Eunuch – Pan – The Blind Harper by the Rocks – Procreation – The Maid – Portrait created from Hair – Young Jewess – The Corset – Of the Gaiety of a Female Dancer at Night – The Canonization of the Hetaera – The Dream of the Jealous – Caspar Münich’s Love for Lola Schmitt .

So then likewise

Willy Jaeckel, Erotic Votive Plates

“ confiscated … because  of  the  lithographs  by  Willy Jäckel ”

(Englisch I, 287). The latter

“ Settled … in Berlin 1913, where he attracted attention already at his first appearance (at the Juryfreie Kunstschau 1913 and in a collective exhibition at the Salon Fritz Gurlitt the same year)

as  a  powerful  and  original  master

… The pictures of the following years … demonstrate an intensive development … with ever stronger emphasis on the psychic expressive qualities of his ponderous human produce used in the meaning of a mystic natural symbolism … This impression is even intensified by the carnal-primeval character of J.’s man who (even) dressed does not deny the earthborn and earthbound. The coarse molding and the hard, harsh contour bestow upon the heavy, powerful-sensual blood of his man a force of the gesture and a degree of activity which also has the motionlessly depicted body seem literally charged with energy …

The intense inner urge … certainly was co-decisive for this downright passionate use of the graphic art which enabled him to elaborate his ideas by taking a big swing in the form of the cyclic structure. So were created … (among others)

the  7  lithographs  for  H. Lautensack: ‘Erotic  Votive  Plates’ ”

(Hans Vollmer in Thieme-Becker XVIII [1925], 324 f.).

(François-Marie Mayeur de Saint-Paul)

The  Royal  Orgy


The  Austrian  in  Mood

An Opera

Published by a Life-guardsman

the Day of the Freedom of Press


Set to Music by the Queen

With 6 signed plate lithographs

( “erotic and obscene”, H.-G.;
2½-3½ × 2⅜-5¾ in [6.5-9 × 6-14.5 cm])

as well as 3 charming lithographed vignettes


Paul Scheurich

(New York 1883 – Brandenburg 1945)

For the first time translated into German by Engelbert Nern

and with his epilog

The Small Chambers

and the

Paul Scheurich, The Royal Orgy

Deer  Park

38 pages, 1 leaf imprint, 2 end fly-leaves. – Text printed by Otto von Holten, Berlin


Barbier I, 323; Hayn-Gotendorf IX, 438

The author not researched by the publisher/translator. – Series vignette in orange, preliminary matters in orange & black. – All 6 plates with the collection stamp as custom, yet only five also with the written 1/40. – Partially faint shadow of a narrow tidemark at the lower edge, in the leaf of the imprint and the following white fly-leaf somewhat more. One of the cover tissue papers defect.

“ The preceding ‘Opéra Proverbe’ was published (anonymously and) without place 1789 under the exact title L’Autrichienne en goguette ou l’orgie royale … It is … an uncouth parody of those little musical plays Louis XV allegedly had played for him, and which in the people’s fantasy were much more shameless than certainly in reality. One finds the anecdotal of this little theater of voluptuousness in the book

‘ The Deer Park or the Seraglio of Louis XV.

A Gallery of Secret Memoirs of the Young Girls

who had been locked up in the same

to serve for the amusement of Louis XV .

A Contribution to the Chronique scandaleuse of France ’.

The folktale was so naive that it conferred the greatest part of the Bacchanals on Louis XVI and Marie-Antoinette, too … The secluded pavilion to which the king repaired to unrecognized was situated in the quarter of the deer park …

And the opera of the royal orgy, which mixes up two totally different Louis, (we will take confidently) as what it is: as a document of the revolution , a saucy theatrical scene , whose original once was

of  much  more  tender  poetry

as  it  is  inherent  to  the  art  of  Paul Scheurich  once  again ”

(E. Nern in his epilog, “p. 27-38 interesting historico-cultural sketch by the translator”, H.-G.). And

“ In  spite  of  the  historico-cultural  interest  (of  present  volume  it)  was  forfeited  to  confiscation ”

(file no. 2. b. J. 26/20 , as above) .

Scheurich is “Primarily known for his precious models formed in rococo style for the porcelain factories Meissen, Karlsruhe, Nymphenburg and Berlin. His graphic portfolios mentioned in Thieme-Becker” (Vollmer IV, 183). Among them then also The Royal Orgy.

Wilhelm Heinse

The Cherries

With 7 signed chalk lithographs

(“free, but not very erotic”, H.-G.;
6¾-8⅛ × 4-7½ in [17-20.5 × 10-19 cm])

as well as vignettes & upper ledge borders


Wilhelm Wagner

(Hanau 1887 – Bad Saarow 1968)

29 unnumbered leaves, 1 leaf imprint. – Text printed by Otto von Holten, Berlin


Hayn-Gotendorf IX, 270; Englisch I, 191 f.

The serial vignette adjusted to the content. – Title in red & black. – The fine large typography especially worth mentioning. – At the beginning originally only one additional fly-leaf. – Without the collection-specific written specification of the number of prints in the title. – Only quite occasionally small foxspots. Minimal rubbing of the upper edge of the back cover.

“ Heinse (son of a pastor & pupil of Wieland, Langenwiesen, Thuringia, 1746 – Mayence 1803) advocated the emancipation of flesh. ‘Love tolerates no moral. Who dies while satisfying his passion is blessed!’ he confesses. Goedeke says quite right of him: ‘Heinse’s talent is unmistakable, but an intoxication of the senses without love, ecstasy without heart did not let him get to the beauty of the soul and the deed …’ … He made his (present 1773) poem after Dorat: Les Cérises et la double méprise, contes en verse … However, this himself has two predecessors and models resp., that is Beroalde de Verville (Moyen de parvenir) and Grécourt. The sujet has a large circulation …

The lustful depiction of the revealed feminine charms (here in word & picture) is the main point for Heinse. But in erotic regard, in the glorification of the free sensual pleasure, Heinse remained just a bungler. Also his works are

calculated  only  for  an  intellectually  advanced  circle  of  readers .

His followers and parrots knew better to get to the masses as they accommodated themselves eagerly to the taste of the reading-rabble … ”

(Paul Englisch). And Robert Koenig’s Deutsche Literaturgeschichte, 4th ed., 1879 :

“ Returned home (from an Italian journey) he entered the service of the enlightened elector of Mayence as Privy Councilor and librarian. Under the very nose of this religious (spacing in the original) gentleman he wrote his immoral books and read them aloud with much applause in the circle of the court. ”

“ It  was  in  July , when  Herr  von  Strahl ,

A  hero , shortly  Frederick’s  general …

Weary  of  the  city’s  deadening ,

Idle  of  martial  business ,

Wilhelm Wagner, The Cherries

Decided  to  move  into  the  country

From  his  splendid  Berlin ”

J(oris) K(arl) Huysmans

Gilles de Rais

German by August Döppner

With 15 signed lithographs


Willi Geiger

(Schönbrunn/Landshut 1878 – Munich 1971)

with additional monogram in the stone

(4⅜-8⅛ × 2⅛-7⅛ in [11-20.5 × 5.5-18 cm)

as well as large figurative closing vignette signed in the stone only

and figurative opening initial

40 pages, 1 leaf imprint, 2 end fly-leaves. – Text printed by Otto von Holten, Berlin.


Hayn-Gotendorf IX, 298; Englisch I, 523 f.; Englisch II, 257

Only the series title in red & black with coincident omission of the serial vignette. – The erroneous specification of the imprint with regard to only 35 luxury copies corrected by hand to 40. – One cover tissue paper defect. Back cover with faint long scratch mark and three minimal rub marks, such also at the headcap and the ribs at the back.

Gilles de Rais’ (c. 1405-1440) entry into the eyes of the public was as remarkable as his end terrible. “(O)f breath-taking beauty, of rare elegance … richest of the barons of France … (protector of Joan of Arc). He follows her everywhere, stays at her side in the battle, even under the walls of Paris, is beside her in Reims on coronation day (Charles VII) where … the king appoints him at the age of 25 Marshal of France!”

“ He was a learned Latinist, a brilliant conversationalist, a generous and reliable friend. He owned a library unusual in those days where reading was limited to theology and the life of the saints. We have the index of some of his manuscripts: Sueton, Valerius Maximus,

an  Ovid  on  vellum – bound  in  red  leather

and  with  gilt  silver  lock  and  key .

He  was  infatuated  with  these  books ;

he  always  had  them  on  him  when  he  was  travelling .

… His table was set for every guest; from all ends of France caravans wend their way to this castle (Tiffauges), where artists, poets, scholars found a princely hospitality, informality, welcome presents, and farewell gifts …

Certain (yet, too), that this man’s mind was saturated with mystic ideas; his whole story proves this. He lived at the side of that extraordinary girl whose adventures seem to confirm that a divine intervention in the events here below is possible … ”

In search for the philosopher’s stone, with alchemist experiments of making gold, he proceeded deeper and deeper into the company of the promisors of miracles and ecstatics. He slides into crime, following his inside, his mystical voices. And at the end asks his religious judge, just Jean de Malestroit, for his “intercession with the fathers and mothers of the children he had ravished and murdered so cruelly that they plead for him in his death”.

“ And these people, whom he had torn out the heart, sobbed for pity. They saw in this demonic grand gentleman only a poor man anymore, who mourned over his crimes … and from nine o’clock in the morning on the day of the execution they moved in a long procession through the town, sang psalms on the streets, and vowed in the churches to fast three days for the marshal’s salvation. ”

For Geiger (Schönbrunn near Landshut 1878 – Munich 1971) this was a theme as particularly salient in Waldemar Bonsel’s Kyrie eleison, “in which the theme of the sexually motivated murder presses for artistic creation. Further the etchings for the erotic ‘Novellas from the Italian Renaissance’ and the lithographs for ‘Huysmans, Gilles de Rais’ (collection ‘Der Venuswagen’ 1919) are by him … Geiger’s etchings are, looked at from the erotic point of view, charmless because the intellectual prevails too much and the sensual motive is of secondary importance” (Englisch). The latter quite an advantage for his Gilles de Rais, according to H.-G. created 1914.

“ Jean de Malestroit left his seat and raised the defendant …

the judge in him disappeared , only the priest remained ;

he kissed the repentant sinner and wept over his guilt …

Willy Geiger, Gilles de Rais

‘Pray ,

so that the just and frightful wrath of the almighty be silent ;

weep ,

so that your tears purify your lustful .’ ”

« For  always

an  intellectual  relation  is  necessary

to  realize  the  deeply  concealed  value  (of  the  autographs) .

Only  by  the  soul ,

not  by  the  coarser  exterior  senses ,

the  beauty

and  the  intellectual  value  of  the  autographs

can  be  realized …

By  such  mysterious  means  autographs  have  the  power

to  conjure  up  for  us

the  present  of  figures

vanished  since  long … »

Stefan Zweig,

Sense and Beauty of the Autographs,

in Encounters with People Books Cities

Frankfort/Main, S. Fischer, 1956, pages 441 & 446

This  then

the  9-axle


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

for  every  now  and  again

the  last  half  hour  of  a  day

for  now  this , now  that  volume ,

quite  when  you  feel  like  it

and  the  pleasure

at  now  regular , now  large  typography

as  at  the  same  time  an  optical  feast  for  the  eyes .

For ,

so  Wilhelm  Heinse  in  the  preface  to  his  The Cherries ,

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

Hippocratesses  of  the  mind ,

which one therefore has to reckon fairly among

the  benefactors  of  the  human  race . ”

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


with  its  rare  texts  and  excellent  visualizations

in  the  here  then  noble  luxury  garb ,

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

No. I

as  its  prince

The Doctor Heinrich Stinnes in Cologne


Offer no. 15,648 / price on application


The Chariot of Venus

“ … I was digging and I found you. I needed to tell you that your collection for whatever reason has brought tears to my eyes. Thank you … I’m not a collector, or I haven’t known myself to be … I was going to sell this (sheet), but I just may have discovered that I’m to keep this for whatever reason. Have you made a collector out of me … For all your devotion, hardwork … I thank you ”

(Mrs. D. H., June 17, 2002)