Summer , Sun , Mountains , Boats
Bertels(s)on, Alexander (Liksna near Vitebsk 1890 – Berlin 1975). Boats at Lake Walchen in Bavaria. Dominated by the furious-impastoed blue of the lake and the towering mountains on the opposite bank, in front two boats lie on the yellow beach. On the right jetty or bank reinforcement. Oil on wood with canvas structure coating on both sides. 19⅝ × 23½ in (49.7 × 59.7 cm). Framed.
Vollmer I (1953), 193; AKL X (1995), 53. – Verso typographic gallery label and autograph dedication in blue crayon from January 20, 1975.
His first success Bertelson had 1913 on the art show in Riga. Instrumental for his further development yet since 1922 the friendship with Lovis Corinth, who since 1919 spent the summer months at Lake Walchen and with whom the quality of Bertelson’ paintings shown at the 1923 exhibition of the Berlin Secession were compared.
1933 quitting painting – the official ban from working followed only the other year – and finally 1945 in the firestorm of the Dresden hail of bombs complete loss of his œuvre. Then removed to Berlin, Bertelson takes up the palette yet only 22 years later, in 1967. Apart from paintings from the early 70s on also watercolors, besides woodcuts at Lake Walchen as his last residence and “one of the
most magnificent mountain sceneries of the Bavarian Alps ”
(Meyer’s Konservations-Lexikon [4th ed.] XVI, p. 340).
Delivered here in furious impasto
in the grand late accord of the final years.
Offer no. 28,984 / price on application
Fishing Boats on the Beach
Rettich, Karl Lorenz (Rosenhagen, Mecklenburg-Schwerin, 1841 – Lübeck 1904). Boats on the Beach. Under towering clouds with the sun breaking through three coastal sailers along with several smaller boats. Front right on the beach anchor, in the background indicated cliff coast. Pencil drawing raised with white. Inscribed in pencil on the back: K Rettich fecit. 10¾ × 7½ in (273 × 190 mm).
Boetticher II, 1 (1898), pp. 394 ff.; Thieme-Becker XXVIII (1934), p. 192; Joachim Puttkammer, Bildende Künstler in Graal-Müritz (2003). – On sturdy laid paper.
Rettich , descending from an old Lübeck family and born on his father’s manor situated near Dassow, went, after attending the Katharineum, to Munich in 1861 to study law on his father’s request. However, at the same time he applied himself to the art as pupil of landscapists Adolf Lier and Johann Gottfried Steffan. Further stations are from 1863 Dusseldorf with Albert Flamm and – after three-years intermezzo in Dresden – Weimar, where he concluded his studies with Böcklin, Theodor Joseph Hagen and Lenbach. Study trips in these days led him to the North and Baltic Sea as well as Norway and Sweden, but also Italy. Back in Munich since 1886, a rift with the artist association there had him return to Lübeck in 1896. Belonging to the
“ discoverers of the painterly Fischland (colony Ahrenshoop) ”
– so Oscar Gehrig in Th.-B. – henceforth he spent the summer months in Graal-Müritz. – See the complete description.
Offer no. 29,038 / EUR 630. / export price EUR 599. (c. US$ 724.) + shipping
In the Dunes
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 after the oil in the Fitzwilliam-Museum in Cambridge(since 1834; here in reverse and without the little man and the rod resp. at the sides, which, so Hans-Ulrich Beck, perhaps were painted over in the time of Apostool). – The wide margins slightly foxing. – Bernt (1969) :
“ The later undulatory dune landscapes, hollow ways, farms, and inns below trees are similar to the early works of J. van Goyen. Compared with these his landscape themes are more many-sided. ”
And Frankfurter Allgemeine Zeitung on Dec. 13, 1988 :
“ Pieter de Molyn belongs beside van Goyen, the elder Ruysdael and Esaias van de Velde to those Dutch painters, who
about 1630 established modern landscape painting .”
Offer no. 15,536 / EUR 435. / export price EUR 413. (c. US$ 499.) + shipping
Niles Farm , Cape Ann , MA
Parrish, Stephen Windsor (Philadelphia 1846 – Cornish, New Hampshire, 1938). An Old Farm near the Sea (Niles Farm, Cape Ann, MA). Low tide at the bay of a flat, sparsely overgrown coast opening to the right, dominated to the left by a large dark rock. Small stage reaching into the bay, beyond a property. Etching printed in brown over an ochre tone plate. (1881.) Inscribed: · S.Parrish · (ligated) / 44 (in reverse), otherwise in etched typography in the platemark: Orig. Radierung von St. Parrish. / Druck der Gesellschaft f. vervielf. Kunst in Wien. 9⅝ × 14 in (24.5 × 35.5 cm).
Schneider 44. – Woodmere Art Museum in Philadelphia, Stephen Parrish: Rediscovered American Etcher, 1999. – Only at the age of 31 Parrish, pupil of i. a. Peter Moran and father of Frederick Maxfield P., finally turned to the arts, “like a duck to water”, so he himself years later. Just about the time when America’s artists discovered the art of etching for themselves. During the following 11 years Parrish worked especially landscapes and marine views of the American Northeast and Canada as well as of England and France. – On toned strong laid paper.
Offer no. 14,566 / EUR 325. / export price EUR 309. (c. US$ 374.) + shipping
“Marvelous Situation on Lake Lugano”
Heckendorf, Franz (Berlin 1888 – Munich 1962). Lugano. Garden café by the lakeside, dominated by detached open pergola whose dark pole wood stands for the “dark trunks (important to him) which create deep spatiality and highly rhythmize the space” (Horst Ludwig). Watercolor and gouache over black chalk. Inscribed lower right in pencil: F. Heckendorf / (19)56 / Logano (sic!, over first Ascona, of whose lake promenade an also formatwise similar work of the same year exists). 14⅛ × 18⅞ in (35.8 × 47.8 cm).
Thieme-Becker XVI (1923), 211 f.; Vollmer II (1955), 400; AKL LXX (2011), 513 f.; Franz Heckendorf, Catalog of the Special Exhibition Gallery Hagemeier, Frankfort/Main, 1985; (Symphony in Color), exhibition catalog of Kunstfreunde Bergstraße, 1991; Rainer Zimmermann, (Expressive Realism / Paintings of the Lost Generation), 1994, 384.
On slightly grained beige thin watercolor board. – Upper edge on the subject side with ignorable remaining traces of adhesive from previous framing, otherwise excellent.
Cf. the same scenery seen from a different angle of the painting listed as Garden Café 1956 (fiberboard, 31½ × 23⅝ in [80 × 60 cm], inscribed lower left: F. Heckendorf 56) of the color cover illustration of the 1985 Hagemeier catalog as well as the further oil Garden Café of the same year there (pp. 40 f.) together with a not dated chalk drawing pp. 22 f. With respect to its opposite elevations further an oil of 1921 listed as Bustling Harbor Bay (wood, 10⅝ × 12¾ in [27 × 32.5 cm], inscribed lower left: F. Heckendorf. 21.) and a watercolor Bathers in Southern Landscape of 1951 (19¾ × 25⅜ in [50 × 64.5 cm], inscribed lower left F. Heckendorf 51) as on the market in the 1990s could be referred to.
Here ravishingly beautiful , superbly color-fresh
in its “marvelous situation on Lake Lugano”
(Meyers Konversations-Lexikon, 4th ed., X , 996)
in Heckendorf’s proverbial
“ strong , shining local colors ”
(Vollmer in Thieme-Becker).
Offer no. 15,618 / price on application
In Venice , in a Gondola
Breuer, W. Wolfgang (Heilbronn 1895 – 1927). Gondolas before Patrician House in Venice. Immediately before the house in full length with felze, front left further one in partial view with lady with fan. Etching. C. 1920. Inscribed in pencil: 79/100. / W. W. Breuer. 7⅛ × 11¼ in (18 × 28.5 cm).
Vollmer, I, 311 (1953); AKL XIV, 174 (1996). – On toned laid paper with large watermarks Lion with typograph. pendant. – Several smaller tears in the white margin backed acid-freely.
Very fine, atmospheric sujet
“ with chiaroscuro effect in Rembrandt’s sense ”
Offer no. 15,287 / EUR 98. (c. US$ 118.) + shipping
By the Etsch up to Brenner Pass
Veronese Defile – Etsch – The Pass of Chiusa and distant Mountains near Belluno and Osseniego. From center to left the Etsch at the Bernese Defile (now Veronese Defile/Chiusa di Ceraino), on the right the pass road traversed by the fortifications of Fort Chiusa extending to some height. With figures by the pass and on the Etsch. Colored aquatint by Cornelis Apostool (1762 Amsterdam 1844) after Jean François Albanis de Beaumont (Chambéry 1755 – 1812). 1792. Inscribed: A. Beaumont del. / C. Apostool sculpt. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as above. 12⅜ × 17⅝ in (31.5 × 44.7 cm).
Fine Tyrolese mountainscape in the splendid original coloring
and in the wide-margined impression of the 1st edition on strong Whatman paper. Isolated little foxspots. The colors of the part of the sky occasionally somewhat oxidized, but hardly disturbing.
Offer no. 15,246 / EUR 870. / export price EUR 827. (c. US$ 1000.) + shipping
– – – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del. / C. Apostool sculpt. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as before. 12⅜ × 17⅝ in (31.5 × 44.7 cm).
Fine Tyrolese mountainscape in the wide-margined impression of the 1st edition on strong Whatman paper.
Offer no. 15,247 / EUR 670. / export price EUR 637. (c. US$ 770.) + shipping
Tremont House , Boston
1829 — First Hotel with Plumbing
View of Tremont House, Boston. With carriage-and-four & accessory figures. Colored steel engraving by John Wykeham Archer (Newcastle upon Tyne 1806/08 – London 1864) after James Kidder in Boston (engraver and draughtsman for engravings, 1st mentioned about 1813). (1834.) Inscribed: J. Kidder de. / Engraved by J. Archer., otherwise as above. 6¾ × 8⅛ in (17 × 20.5 cm).
Constructed 1829 by Isaiah Rogers (1800-1869) as one of the leading hotel architects in America, Tremont House at the corner Tremont & Beacon Street was the first hotel with plumbing. From a storage tank on the roof filled by a steam-powered pump besides kitchen and laundry the water closets and bathrooms on the ground floor and in the basement resp. – as indoors a hitherto unknown comfort – were provided with running water. The bathing water additionally warmed up locally by gas heating and the soap supplied for free. Further so far unknown innovations were locked rooms for the guests, a reception area, and bellboys. In such a manner
Tremont House set standards in hotel construction
which numerous hotels in all bigger cities of the country followed, including the Astor House in New York City in 1836 as likewise designed by Rogers. To be mentioned besides these and several further hotel buildings the Merchants Exchange in both Boston and New York (today New York City Bank Building 55 Wall Street), the Astor Place Opera House in New York and, together with William Keeley, the Cathedral of the Assumption in Louisville, Kentucky, with the at completion in 1852 with 287 foot tallest spire of North America. Furthermore worth mentioning the patented design of burglar-proof vaults i. a. in the Treasury Building in Washington.
Offer no. 15,439 / EUR 148. (c. US$ 179.) + shipping
Where Kings, Emperors & Czars,
Poets & Painters took a Cure
Ems. Central view from the heights of a woody park therein young lady with a child catching butterflies. Colored wood engraving after Richard Puettner (Wurzen 1842 – Munich 1913). (1875-76.) 7⅞ × 9⅜ in (20 × 23.9 cm). – Fine sheet of impressionist color effect.
Offer no. 8,163 / EUR 100. (c. US$ 121.) + shipping
The Charm of Normandy
Weirotter, Franz Edmund (Innsbruck 1733 – Vienna 1771). Vues de la Normandie. Set of 10 (instead of 12) landscape etchings & aquatints (2). Inscribed: dessiné d’après Nature / et Gravé par F. E. Weirotter / AParis chés Wille Graveur du Roi Quay des Augustins. / Par son très Humble et très Obéissant Serviteur Weirotter (pl. 1) and F. E. Weirotter fecit. resp. C. 5⅞ × 8¼ in (15 × 21 cm).
Nagler 12. – Without plates 11 & 12, but not impairing. – With the dedication to M. Brillon Duperon, Ecuyer, and the address of Johann Georg Wille (Upper Mill in the Bieber Valley near Gießen 1715 – Paris 1808) as the “clandestine representative of German culture in France” (Décultot et al. [ed.], Johann Georg Wille, Briefwchsel, 1999, p. 1) whose pupil Weirotter had been.
Fine Coastal Landscape Sceneries ,
enriched with the fishermen and peasants observed during their occupation. – See the complete description.
Offer no. 15,452 / EUR 1200. / export price EUR 1140. (c. US$ 1378.) + shipping
By the River
Heseltine, John Postle (Dilham 1843 – London 1929). River Landscape. In front low-lying lighter, meager stock of trees on both sides of the banks, in the background a property. Etching. Inscribed in the lower platemark in German: Original etching by J. P. Heseltine / Print of the Society for Reproducing Art, Vienna. 9 × 12⅜ in (23 × 31.5 cm).
Thieme-Becker XVI (1923), 573; Vollmer VI (1962), 51. – Printed in brown on toned strong hand-made paper. – According to Leporini (erroneously “1843-1912”) Heseltine was besides Esdaile “the greatest collector of drawings in England since Lawrence”. – Thieme-Becker:
“ Money-broker by profession he came as collector to the art educating himself autodidactically in the etching (since 1862/63). Exhibited 1869-1916 frequently in the Royal Academy. H. has worked a long series of landscape etchings with motifs from England, France and Italy. He loves vast spaces and surfaces of water and depicts with pleasure unpretentious motifs, river banks, isolated farms … The practice is skilful, but a little dry. ”
Offer no. 28,393 / EUR 151. (c. US$ 183.) + shipping
Painterly Harz Mountains
Pirscher, Karl Dietrich (1791 – Brunswick 1857). View of the Ducal Brunswick Stud-Farm Harzburg. View from a hill at the facility situated in the center together with adjacent and distant parts of the place before picturesque Harz Mountains scenery with larger estate on the distant mountain quite right. On the three paddocks of the stud six (two galloping) horses. Quite in front two heavily loaded men on their way, accompanied by dog & boy. Colored chalk lithograph. C. 1830. Inscribed: Pirscher., otherwise in German as above. 12 × 15⅞ in (30.5 × 40.2 cm).
THE RARE SHEET
in the ARTIST’S / PUBLISHER’S COLORING of the DE LUXE EDITION
(the ordinary prints in black/white) of painterly beauty as just so provable here on the market 1977 for the last time, which should be the very same now present copy. – The backside foxing at the subject side practically perceptible only in the white margin of 2-2.5 cm.
Offer no. 28,917 / EUR 1150. / export price EUR 1093. (c. US$ 1321.) + shipping
Summertime — Harvesttime
Dutch School – Landscape with the Three Peasants Cart-loading. On the field in front, loading shocks of sheaves onto a two-wheeled one-horse cart. The low wood enclosing the field declining on the far right and opening the vista of the plain with broad river with sailboat and a village on the far bank. Richly shaded brush in grey wash over traces of black chalk. C. 1700. 8½ × 14 in (217 × 354 mm). – Minimal foxing.
Provenance: Dr. Carl Robert Rudolf, London, his sale Amsterdam 1977 (“had a remarkable eye for quality”). On verso his collector stamp Cock on Turtle, Lugt II, 2811 b.
Finely executed work of painterly impression ,
the quality of which vouches for the hand of its master .
Offer no. 15,486 / price on application
In the Ausserfern
Ehrenberg (Ernberg) / Lech – The Barriere at the Castle of Ehremberg. Alps massif centred on Ehrenberg Castle. On the right the High Castle, on the left at the foot of the Falkenberg across the pass isolated farms and right in front a peasant driving a cart-load home. Colored aquatint by Cornelis Apostool (1762 Amsterdam 1844) after Jean François Sir Albanis de Beaumont (Chambéry 1755 – 1812). 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 12½ × 15⅝ in (31.6 × 44.7 cm).
Especially fine Tyrolese mountainscape in the splendid original coloring
of the former Ehrenberg Castle – then strongest fortifications of the Ausserfern, consisting of Ehrenberg Defile, fortress, High Castle, and Fort Claudia – at the River Lech on the road from Fussen to the Upper Inn Valley, the old Via Claudia Augusta and salt road, on the northern border of Tyrol. – Wide-margined impression of the 1st edition on buff Whatman paper.
Offer no. 15,244 / EUR 890. / export price EUR 846. (c. US$ 1023.) + shipping
– – – The same as aquatint printed in brown by Apostool. 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 12⅜ × 17⅝ in (31.5 × 44.8 cm).
Especially fine mountainscape in wide-margined impression of the 1st edition on buff Whatman paper.
Offer no. 15,245 / EUR 670. / export price EUR 637. (c. US$ 770.) + shipping
Haine’s Fall , Catskill Mountains
Hudson River School – Momberger, William (Wilhelm M.; Frankfort/Main 1829 – Morrisania, New York, after 1888). Haine’s Fall, Catskill Mountains. With figurative scenery. Colored steel engraving by Joseph Ives Pease (Norfolk, Connecticut, 1809 – Twin Lakes, Connecticut, 1883). Inscribed: From the Original Drawing in the possession of the Publishers / Wm. Momberger / Entered according to act of Congress AD 1869 by W. Pate & Co. in the clerks office of the district court of the southern district of New York. / J. Ives Pease / William Pate & Co. New York / G. P. Putnam & Sons, otherwise as above. 14⅝ × 9⅝ in (37 × 24.5 cm).
Momberger, son of a Frankfort merchant, studied beside an apprenticeship as chromo lithographer drawing and painting under Jakob Becker – “His commission as instructor at the Städel Art Institute is of greatest significance” (Wolfgang Metternich, Allgemeines Künstler-Lexikon VIII , 166) – and received the first prize for an original composition on stone from the Frankfort senate in 1847. Yet due to his participation in the failed German revolution of 1848 he had to emigrate to the United States the following year, where he worked as landscapist and illustrator as well as designer of vignettes for banknotes.
Offer no. 14,591 / EUR 350. / export price EUR 333. (c. US$ 403.) + shipping
Dusseldorf Emperor Days
Garden Party of the Dusseldorf Artists. Historical pageant through park landscape lit up by Chinese lanterns and torches with the emperor’s group accompanied by rich train including band at the center as part of the Dusseldorf Emperor Days of 1877. Toned wood engraving by H. Wagner after Wilhelm Simmler (Geisenheim 1840 – 1914?). (1877.) Inscribed: H. Wagner sc. / WS (ligated), otherwise typographically in Dutch as above. 7¾ × 9⅜ in (19.7 × 23.8 cm). – From the about simultaneous Dutch edition. – Isolated quite faint foxspots on the back, not perceptible from front.
Offer no. 5,147 / EUR 98. (c. US$ 118.) + shipping
“One of the World’s 7 Finest Vistas”
( Alexander von Humboldt )
Karthaus, Carl Friedrich (Wuppertal-Barmen 1852 – Potsdam 1928). Rhine Landscape with
Rolandswerth , Nonnenwerth and Drachenfels / Wolkenburg ,
seen from Rolandseck at setting sunlight .
With dominant Roland’s Arch along with the tower and little Roland temple built by the Cologne sugar manufacturer Joh. Jac. vom Rath (1792-1868). Front left Hotel Rolandseck-Groyen – later Soviet embassy; the facade cultural monument since 1981/82 – before its northern extension building of the late 19th century with accessories in the street. Between embankment and the holm steam ferry, here and there set back sailing boats. Oil on canvas. Inscribed lower right: Karthaus (18)87. 18¾ × 25¾ in (47.5 × 65.3 cm). Black bordered 6.5 cm wide model frame in 16.7-carat green gold foil antique.
Boetticher I/2 (1895), 677; Thieme-Becker XIX (1926), 576: “exhibited 1886/92 on the Berlin Academy Exhibition, 1893-1918 on the Great Berlin Art Exhibition, occasionally (1899, 1904) in the Munich Glass Palace, 1921 on the exhibition ‘Potsdam Art Summer’. Painted (beyond what already Boetticher did not get) mainly after motifs from Italy, Sicily, Egypt, and the Isle of Wight. A small special exhibition of K.’s works took place at Fritz Gurlitt’s in Berlin in 1906.”
His powerful foreground before delicate palette of the set back Seven Mountains, beginning with Drachenfels/Wolkenburg with increasing refinement of their rear/lateral heights down to the riverside, has no lesser model than Turner’s Rolandswerth, Nonnenwerth und Drachenfels combining intensity and delicacy (gouache/watercolor of 1817, 7⅝ × 11⅞ in [19.5 × 30.3 cm] as no. 4 of the catalog to the 1991/92 Tate Gallery exhibition Turner’s Rivers of Europe – The Rhine, Meuse and Mosel, with illustrations pp. 65 & 99) as regarded by Cecilia Powell as typical for the group of those works. Seen, by the way, centered, obviously from a boat, so that Nonnenwerth appears close to the bank and the Drachenfels part does not go far beyond the Wolkenburg.
And once in this sphere, with regard to Karthaus the eye for instance also sticks at Johann Martin von Rohden’s light blue-beige-colored sky and the centered hazy heights in the back of his Ruins of Hadrian’s Villa near Rome from about 1796 (Kunsthalle Hamburg 1976 exhibition catalog William Turner und die Landschaft seiner Zeit, color illustration XXVII). By which the wheel comes full circle and we have a painting before us, which is to be beheld and to please for its quality. And reminds of the nonchalance by which at all times is judged in parrot-fashion by names.
For neglected by art history and in such a manner in his merits mostly unrecognized and herd-instinctually unappreciated by the market, too, Karthaus, listed by literature as Berlin landscapist – his grave within the family tomb of councilor of commerce Johann Carl K. (Barmen 1806? – Berlin 1883) on the Old St. Matthew Churchyard in Schöneberg (Berlin), a protected heritage as a synthesis of the arts – stands, too, for Jacob Burckhardt’s résumé per lecture of February 21, 1881:
“ The hunting for famous names has its considerable downsides anyway; it rather would be more correct
to love the pictures for their beauty .”
On the original stretcher frame. – In respect of preservation fine all-round with only hardly impairing slight discoloring in the sky part upper right. – See the complete description.
Offer no. 15,864 / price on application
– fitting and timely splendid heavy gilt historicism stucco frame
Offer no. 16,027 / EUR 1200. / export price EUR 1140. (c. US$ 1378.) + shipping
Eggleston Palisades , Virginia
Beyer, Edward (Eduard B.; Rhineland c. 1820 – Munich 1865). Bullard Rock on the New River near the New River White Sulphur Spr. Giles County Va. View beyond the bend of the river onto the moonlit rocks situated downstream of Eggleston. On the water and just watered resp. 2 canoes for nightly harpooning of the fish attracted by the fires in the bow. Colored lithograph printed with olive tone plate. Inscribed: Taken from Nature by Ed. Beyer. / Entered according to Act of Congress in the year 1857 by Ed. Beyer in the Clerks Office of the District of Virginia. / Rau & Son, Lith. Dresden. as well as series title, otherwise as above. 14 × 19¾ in (35.5 × 50 cm).
From the “Album of Virginia” and its only night-time sujet. – The name then going back to the local preacher Dr. Chester Bullard as the first one to successfully climb to the highest point. Reportedly he preached with strong voice from the top of the about 250 feet high rocks to his congregation gathered across the river. – Foxing and somewhat waterstained, but without impairing the picture itself.
Beyer, emigrated to America about 1848, lived in Virginia for about two years since 1854 and returned to Germany in 1857:
“ B. worked landscape views of Virginia which were published, united in an album, as lithographs in 1858. Their motif is especially the wild mountains of the region and depict in a painterly manner the power of nature over man ”
(Allgemeines Künstler-Lexikon X, 334).
Offer no. 14,592 / EUR 460. / export price EUR 437. (c. US$ 528.) + shipping
Paris dans sa splendeur
Le Louvre et la Seine. Vue prise du Pont-neuf. On the left bank the Collège des Quatre Nations (Collège Mazarin, Palais de l’Institut), since 1805 conference venue of the Académie française and connected with the Louvre by the richly busy Pont des Arts. Front left presumably the spit of Île de la Cité with pavilion, on the Seine lighters. Accessory figures on the quais de Conti & du Louvre. Glazed colored lithograph by Aubrun after Philippe Benoist (Genève 1813 – about 1905). (1857-60.) Inscribed: Nantes, lith. Charpentier, Edit. – Paris, quai des Augustins, 55. / 59 / Ph. Benoist del. Aubrun lith., otherwise as above. 10⅜ × 14⅛ in (26.5 × 36 cm).
PARIS DANS SA SPLENDEUR LIX (“documentarily important series of lithographs”). – On light cardboard.
Offer no. 14,533 / EUR 270. / export price EUR 257. (c. US$ 311.) + shipping
Colorful Formentera Abstract
Eichhorn, Alfred (St. Valentin 1909 – Munich 1972). Archipelago. Color silkscreen. C. 1964. Inscribed in pencil: 29/100 / Eichhorn. 23⅝ × 17⅞ in (60 × 45.5 cm).
Since 1944 friendly with and substantially influenced by Willi Baumeister with whom he founded the Eidos Press and the Edition of Darmstadt.
“ Eichhorn’s ‘Archipelagos’, painted in the Munich studio from sketches, are abstract records in powerful colorfulness of impressions from several stays on the
Balearic island of Formentera ”
(Dankmar Trier, Allgemeines Künstler-Lexikon 32, p. 501).
Offer no. 14,169 / EUR 404. / export price EUR 384. (c. US$ 464.) + shipping
Sailing with Backhuizen & Janssen
Janssen, Horst (1929 Hamburg 1995). 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: 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. 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).
Offer no. 28,603 / EUR 390. / export price EUR 371. (c. US$ 448.) + shipping
The Brenner Pass
Brenner – The Summit of the Brenner Mountain. The ascent to the Brenner Pass north of Gossensaß to the top of the pass. In the foreground the cascading Eisack, to the right the famous great Roman street, called Imperial Street in the Middle Ages, winds up to the pass, in the picture here used by wanderers and horsemen. In the background Kreuzjoch. Aquatint printed in brown by Cornelis Apostool (1762 Amsterdam 1844) after Jean François Albanis de Beaumont (Chambéry 1755 – 1812). 1792. Inscribed: A. Beaumont delin. / C. Apostool Sculp. / Published as the Act directs, Jany. 1. 1792. by T. & G. Egerton, Whitehall, for the Author, title as above. 12½ × 17⅝ in (31.8 × 44.9 cm).
Egg 184 + plate 120. – Interesting representation of the Brenner in the wide-margined impression of the 1st edition on buff Whatman paper.
Offer no. 15,243 / EUR 670. / export price EUR 637. (c. US$ 770.) + shipping
Sunday on the Marne
Colin, Paul-Émile (Lunéville, 1867 – Bourg-la-Reine/Seine 1949). Sunday on the Marne. (1903.) Color woodcut in black, blue and yellow. 10¾ × 14¼ in (27.3 × 36.2 cm).
Clément-Janin 55. – Published per annual portfolio 1903 by the Society for Reproducing Art in Vienna as internationally focussed spearhead for the experiments of the artists of Symbolism, Expressionism, and the Secession. – Typographic inscription in blue in the lower margin: “Sonntag auf der Marne”. Farbiger Originalholzschnitt von Paul Colin. / Verlag der Gesellschaft für vervielfältigende Kunst, Wien. – On thin cardboard up to 10 cm wide. – Backed marginal tears.
Offer no. 14,571 / EUR 225. (c. US$ 272.) + shipping
Savery, Roelant (Kortrijk 1576 – Utrecht 1639). The great mountainscape sloping to wide navigable distant valley. With the wood-lined mountain torrent falling in cascades into the depth “past a steel works and a hammer mill driven by one (recte two) waterwheel at a copper or iron forge. The landscape reminds of parts west of Salzburg in the Pinzgau and in the region of Viehhofen. The rock parts resemble those of the lower Krimmler Falls” (Kurt J. Müllenmeister). As little secondary scene far lower left St. Jerome with the lion in his grotto reading a book as anticipation of future works. Lined by places, on the river course boats & multi-masted sailing ships. Etching/engraving by Isaac Major/Mayor (Frankfort on the Main 1588 – Vienna after 1642). Inscribed within the picture on a stone far left below the lion: Roeland Savery Pinxit / Isaac Maior sculpsit / Viennæ Austr. 1622. Sheet size 20⅞ × 27¾ in (53 × 70.4 cm).
Joaneath Spicer, Roelandt Savery and the ‘Discovery’ of the Alpine Waterfall in Rudolf II and Prague, The Court and the City, 1997, pp. 146-156; Thieme-Becker, Major, XXIII (1929), 580 (main sheet); Weigel, Art Catalog/Major, I (1838), 451 ( “The great royal landscape with St. Jerome … Old impression. Oblong imp. fol.” ); Nagler, Major, VIII (1839), 201, 1 ( “… the artist’s main sheet; 1622 executed with extraordinary diligence … There are old [as present one] and new [partially quite conspicuously feeble] impressions from the plate … J. Wagner has copied this sheet in reverse.” ); Nagler, Savery, XV (1845), 48 ( “Quite a number of paintings by this master are also known in print, and among these we mention above all the great alpine landscape on the left with painterly formed rocks, cascades, ironworks, and far valley distance, and in front St. Jerome, engraved by Isaac Major, Viennae 1622.
This is a precious main sheet of the elder manner …” );
Wurzbach, Savery, II (1911), 563, 2 ( “Alpine landscape with ironworks …” ). – Worked in reverse, the
contemporary , particularly competent rendering
in the original size
of Savery’s painting in Petersburg (Hermitage, inv. no. 5584; Müllenmeister  241; copper, 21¼ × 28⅜ in [54 × 72 cm]) from 1606 and therewith from the first years of working in oil, engraved by Major, as pupil of Savery’s at Prague particularly familiar with the œuvre, whose painted work soon fell short of the engraver’s, in which profession he perfected himself with no less a figure than the imperial court engraver Egidius Sadeler II (Antwerp 1570 – Prague 1629; “The most important member of the [Sadeler] family. Also painter … One of the best engravers of the day”, Th.-B.) working there and in whose house he lived for a long time.
Savery himself was as Imperial Chamber painter from 1604 to 1612 in the employ of the outstandingly artistic Rudolf II.
“ When Savery came to Prague in 1604, he was in for the most imaginative and fruitful part of his development … By order of Rudolf II
Roelant travelled Tyrol between 1606 and 1608 .
This journey left lasting impressions in his drawn and painted œuvre and influenced the artist decisively. In numerous imaginative landscapes, partly with exceedingly bizarre, yet at the same time
near-natural views of Tyrol
and with experiences from life Savery has slipped in this journey into his art … Its closeness to nature is unsurpassed … For Savery the years in Prague … mean a period of independent activity, travels and full development to one of the most important artists of his day ”
(Kurt J. Müllenmeister in the exhibition catalog Roelant Savery in seiner Zeit, Cologne/Utrecht 1985/86, pp. 32 ff.).
Just from this period present mountainscape origins , standing for
“ the landscape experience Tyrol ” ,
for the “wild , original power” of those early years.
Toned, in all nuances most excellent print quality and in regard of preservation present generally adequately very fine, too, as anything but natural with these oversizes. To be mentioned expressly the trimming to the edge of the subject and the smoothed horizontal and vertical folds, the former not perceptible from front, the latter but a little and only this in backlight here and there also a little thin up to three (most) minimal tiny holes and in such a manner precautionarily as a whole reinforced with acid-free tape (Filmoplast). Likewise done quite as isolated as tiny margin tears. The upper edge of the back with three paper leftovers of 1⅛-1⅝ × ¾-1⅛ in (3-4 × 2-3 cm) from former mounting in points on carton. In such a manner, however,
grandiose through and through . And fascinatingly imperial .
Offer no. 16,083 / price on application
Ekeman Allesson, Lorenz (Malmö 1790/91 – Stuttgart 1828). Birch. Painterly in full height solitary tree in slightly hilly landscape in the center at a path, moodily neighbored to two broken trunks, sparse low tree growth, and a higher foliage plant front right. Crayon lithograph. (1819.) Inscribed: L. Ekeman del. / 8. 12⅝ × 8⅞ in (32 × 22.6 cm).
Winkler 11/8. – INCUNABULUM OF LITHOGRAPHY on vélin as invented about 1750 by Baskerville and also produced in Germany since 1783, on which “a much finer impression (could) be achieved than on laid” (paper; Löffler-Kirchner III, 486). – LYRICAL-FINE SHEET .
With narrow little margin around the borderline, the print of which is interrupted at the left upper edge for 5 and 6 cm resp. and partly somewhat tender at the lower edge. The trimming here then also immediately below the inscription. At the center of the same besides a small paper defect minimally affecting the outmost grasses of the edge as also the 8.
Offer no. 15,621 / EUR 290. / export price EUR 276. (c. US$ 334.) + shipping
(Hubert Spa [salt springs containing iodine and bromide], The.) Spiegel’s Hotel at the entrance of the Bode valley below Roßtrappe near Thale in the Harz Mountains. Garden view in front of the fine mountain scenery with numerous, partly still promenading guests, some of which studying the list of beverages. While the ladies drink their coffee the gentlemen have wine throughout. Colored lithograph. C. 1850. 11 × 12⅝ in (27.9 × 32.1 cm).
With the address of the Ducal Court, Stone, and Letterpress Printers at Ballenstedt. – A very rare leaf, worthy of acquisition in spite of general time marks as the imperfections (creasing, light foxing, the right margin even quite strong, and with tidemark running into the picture) appear in the picture itself only minimally. Otherwise wide-margined and of fresh spring-like colors.
Offer no. 12,579 / EUR 404. / export price EUR 384. (c. US$ 464.) + shipping
Passaic River , New Jersey
Passaic Falls, Source of the. With figures. Colored steel engraving. 1831. Inscribed: Engraved & Printed by Fenner. Sears & Co., otherwise as above. 4⅞ × 6¾ in (12.5 × 17 cm).
Offer no. 14,562 / EUR 65. (c. US$ 79.) + shipping
Kampmann, Gustav (Boppard 1859 – Godesberg 1917). Greifenberg / Lake Ammer. In front field scenery with trees, slightly in the background vista of the village. Black chalk, heightened with white, on cardboard. Inscribed: GK. (ligated) / Greifenberg / 2. Mai (19)10. 11⅝ × 15⅝ in (296 × 398 mm).
Thieme-Becker XIX, 510; Allgemeines Künstler-Lexikon LXXIX (2013), 238 f. – Fine, executed work and also by its subject corresponding to Thieme-Becker’s judgement regarding the paintings:
“ … by their quiet plain, decorative conception and a characteristic melancholy basic mood which is achieved not least by dispensing with figurative accessories. The eye for the width and flatness of the landscape and a pronounced preference for the depiction of
fog or twilight moods
and moonlit nights make up Kampmann’s mastership in the portrayal of the South German landscape … ”
Offer no. 16,109 / EUR 980. / export price EUR 931. (c. US$ 1125.) + shipping
Moonlit River Landscape
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). Inscribed: AV DN (in the subject below right) / A. Vander Neer. / C. Apostool. / Published Novr. 1792. 8⅛ × 10⅜ in (20.7 × 26.4 cm).
In reverse to Schulz 540 (“Authentic”, 18⅛ × 27⅜ in [46 × 69.5 cm], on panel, color plate 44 + ills. 205), in those days in the possession of Mr. Broderip. – Rare sheet . – The wide plate (below and right only a little) and paper margins weakly, but throughout foxing. – Enclosed accompanying text sheet.
“ Motifs from the Amsterdam river and channel landscapes by moonlight are composed freely and are distinguished by an
especially poetical sympathetic understanding of nature
and solution of the problem of light; they always convey the impression of greatest naturalness … ”
(Walther Bernt, Die niederländischen Maler des 17. Jahrhunderts, vol. 2 [3rd ed., 1969]).
Offer no. 15,535 / EUR 370. / export price EUR 352. (c. US$ 426.) + shipping
Midsummer Night at the Posillipo
Dill, Ludwig (Gernsbach, Baden, 1848 – Karlsruhe 1940). Midsummer Night at the Posillipo. View from a garden crowded by ancient figurines across the bay at the illuminated city. Front left the ending mountain ridge of the Posillipo (Pausilippo) in the southwestern area of the town, parting Naples from the Campi Flegrei. Below the same four boats, three of which under sails. Toned wood engraving by Bernhard Cichorius (last reference 1900) for Adolf Closs, Stuttgart. (1876.) Inscribed: X. I. v. A. Closs / B. Cichorius s(c), otherwise in German as above. 7⅝ × 9¾ in (19.3 × 24.7 cm).
“The mountain is covered up to the peak with cottages, vineyards and orchards, and generally with the most luxuriant vegetation … The height of the mountain provides for a wonderful view” (Meyers Konv.-Lex., 4th ed., XIII, 271). – Fine moonlit landscape bathed in silvery light with the full moon on the right between the trees.
Offer no. 10,317 / EUR 92. (c. US$ 111.) + shipping
Barques in the Jungle Far East
Lebadang, Hoi (Bich-La-Dong, village along the Huong River in Quang-Tri, Province of Hue, Vietnam, 1921/2 – Paris 2015). Barques in the Jungle. Color lithograph. (1969.) Inscribed in pencil: épreuve d’artiste / Lebadang. 21¼ × 16½ in (54 × 41.8 cm).
Contrary to his Barques en Orient of 1960 with this work Lebadang returns to his earliest influences. – Blue, yellow, red, brown, black over dominating green. – First studies in Quang-Tri and Hu. Since 1939 living in France. 1944 Académie des Beaux-Arts, Toulouse. 1948 Paris. Since 1950 countless international exhibitions, quite especially in USA.
Offer no. 16,135 / EUR 1100. / export price EUR 1045. (c. US$ 1263.) + shipping
Neer, Aert van der (Gorinchem 1604 – Amsterdam 1677). River Landscape by Moonlight. On the river coming from front left and tapering off in a right angle widely into the distance numerous fishing boats of various size, including one or larger ones with sails set by the left bank. Rather high above the full moon with halo, with its light reflected between tufted reed and iris repoussoir. Laterally the banks, on the left below high trees three thatched cottages. Rich figuration of any size spread over the whole picture on shore and in the boats, partly pertinently occupied, so the fisherman in the boat right in front right with his weirs. Oil on oak panel. 18 × 24⅞-25 in (45.6 × 63.2-63.4 cm). In refreshed handmade frame of supposedly about 1920.
Collection Otto Wilhelm Maas, Frankfurt/Main
possibly sale Frankfort/Main, “In the Senckenberg Foundation House”, October 1 ff., 1788
Sale Count Fürstenberg, Bonn, and others
Cologne, Heberle, August 6, 1877 (Lugt 37639), no. 85
Collection H. W. Zingel, Wiesbaden
its sale Frankfort/Main, Bangel, April 20, 1909 (Lugt 67465), no. 175
(Prof. Dr. Werner Zabel, 1894-1978, ?)
On the back by supposedly carpenter’s pencil “Werner Zabel / Aert van der Neer”
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.
Fredo Bachmann, Aert van der Neer, 1603/04-1677 (1982); Die Herkunft der Frühwerke des Aert van der Neer in Oud Holland LXXXIX (1975), 213 ff.; Aert van der Neer als Zeichner (1972).
By execution and dendrochronological certificate of July 13, 2006 of Prof. Dr. Peter Klein, University Hamburg, Zentrum Holzwirtschaft (Wood Sciences), not before 1673:
“ Three-part oak wood panel … region Western Germany/Netherlands … earliest date of cutting … from 1671 onwards … An earliest creation of the painting would be conceivable from 1673 onwards. ”
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 and perfect planeness. – On the back old German catalog clipping (“Aart van der Neer, Landscape by Moonlight … Richly composed picture, in the manner of the master, executed splendidly. It originates from the Maas Collection in Frankfurt”). The originally full format of the sticker crumbling off at the edges clearly recognizable in the panel. Furthermore with broad wax or chalk pen large from upper left diagonally down to the center “261” as the number of the label, the last figure partially overwritten by Zabel’s notice of possession.
Atmospheric picture ,
in composition as colors with all marks of
“ a moonlit night pervaded by the light ”
of van der Neer’s
as he succeeded in only in the ’50s, thereby free of the again increasing blackness “as (with) many works from the late years” (Bachmann, 1982, pp. 47 + 142) and with just the shitting man as anecdotal allowance for a new present up to its provocative eyes contact with the beholder, and moreover
“ a fine and perfectly preserved painting ”
as for van der Neer an absolutum of its own. – See the complete documentation.
Offer no. 14,800 / price on application
“ The method you describe sounds excellent. Please proceed … ”
(Mr. J. R. C., September 16, 2003)