“ 20 XII 1920 ”

Heinrich Stinnes | 20 XII 1920

100 Years Ago
Heinrich Stinnes
— Prince of No. I —
takes possession of the
“ Venuswagen ”

Of course
Copy I/XL
The Chariot of Venus
of the Luxury Edition
in Ruby Red Morocco

And brands
volume by volume with his owner’s note on the endpaper,
and print by print with his monogram stamp.

Yet 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

Heinrich Stinnes

of each one of the 73 plate prints

Apropos owner’s note, 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 appropriation

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 (1867-1932) 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 …

“ 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 was one of these grandees .

Pure-blooded as hardly any other. A principal, as brother Hugo in his field. But, lo and behold, across the times his remained like the use of the copying pencil. We bow in awe.

niemeyer’s is proud having landed, from this provenance, from this parade of “I”s, by present Venuswagen once more a collecting flagship assolutum. Right at the beginning in 1959 the first “Stinnes” passed through here. As 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 innermost.

Heinrich Stinnes

Just as then here indeed and not least volume by volume on the fly-leaf by means of Heinrich Stinnes’ (1867-1932) written owner’s mark accompanied by source of purchase & price in deep black ink.

The wire-stitched 33-sheet prospectus of the same year front-running to the prelude of the Venuswagen with reduced reproductions of Corinth’s lithographs to the eponymous first volume “in a wrapper of the looks of a toilet soap package … as foretaste of what is to be expected” (Horst Stobbe) here no more present than the 14-page private edition Denkschrift betreffend Beschlagnahme des ›Venuswagens‹ (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 confident 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.

Imprimé spécialement pour M. le docteur Stinnes was in addition to the “I” the imprint of that first volume in 1959. In the case here, Gurlitt, Pope of Art of his time, numbered just matter-of-factly

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

where only the “I” is entered in writing.

niemeyer’s is also proud having landed by this 9-volume edition costing the publisher 1000 Mark immorality fine at the same time

a historico-cultural torch par excellence

which had Lady Justice’s moral feeling flare 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. But “If you do not feel it”, so Faust, “you will not catch it”. Here and now then, documented with all the accuracy due to the object as not everywhere considered worth the effort:

the exclusively Roman I numbered
Stinnes copy of the 9-volume

Venuswagen / Cover Vignette


A Collection of Erotic Private Editions

with 78 Original Prints

(73 plates, 72 of which signed & 1 by Corinth remaining unsigned as also in cat. Fischer 406, 1 ill. title & 4 vignettes). Published as PRIVATE PRINTS OF THE GURLITT PRESS by Alfred Richard Meyer (Munkepunke). First series. 9 volumes (all published). Berlin 1919/1920. 4o (12⅛ × 9⅞ in [30.7 × 25 cm]).

Ruby red orig. morocco on 5 ribs

with blind tooled front cover vignette and equal line on both covers as well as, gilt tooled, on the spine, as the titles, too, turquoise-green moiré inner covers & fly-leaves, several of the latter slightly waved in the course of lamination. Gilt head edge. Two edges untrimmed.


Doctor Heinrich Stinnes

with volume by volume on the fly-leaf
the written owner’s note
accompanied of purchase & price in deep black ink on the fly-leaf
as well as the red collection stamp (Lugt 4436) along with 1/40 in the margin lower left
of each one of the 73 plate prints


Das Graphische Jahr, Fritz Gurlitt, 2nd ed., Berlin 1922, pp. 73 f.; Hayn-Gotendorf, Bibliotheca Germanorum Erotica & Curiosa, vol. IX (1919), ed. by Paul Englisch, pp. 600 f. & individual references with the titles; Bilderlexikon der Erotik, vol. II (1929), 868 f.; Paul Englisch, Geschichte der erotischen Literatur, Berlin 1927, p. 287, 3 & individual references with the titles; Paul Englisch, Irrgarten der Erotik, Eine Sittengeschichte über das gesamte Gebiet der Welt-Pornographie, Leipsic 1931, p. 299 & individual references with the titles; L. Lang, Expressionistische Buchillustration in Deutschland 1907-1927, Lucerne (1975), pp. 90 f. & individual references with the titles; Peter Josch, Alfred Richard Meyer, in Philobiblon, vol. XXVI, no. 1, Hamburg 1982, C 5.

One of the finest book series of erotic literature
of the early 20th century :

“ 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 differently. Or just so. How one takes it:

“ All (still available) copies were confiscated ”

(Englisch, Geschichte der erotischen Literatur).

Kurt Tucholsky alias Ignaz Wrobel commented on the confiscation series – to which also editions of Gottfried August Bürger, Paul Verlaine and Heinrich Zille fell victim – 25 November 1920 in Die Weltbühne under the heading The Censor is Haunting!:

“ Now the injustice of such a confiscation is that it happens before the verdict of the court of law … This is censorship. Now I will not have prosecutor Orthmann prescribe what I may read, and if this goes on further we have an authoritarian paternalism within four weeks which differs by no means from Metternich’s censorship. That Lovis Corinth is president of the Secession and professor at the Academy the prosecutor not necessarily has to know; neither that Georg Walter Rößner is instructor at the national school of arts in Berlin. But he may acknowledge that the German writers, the German painters, and the German publishers are not of a mind to acquiesce in the beadle encroachment of a man who is incapable to distinguish a nude dance in Motz-Straße from an etching of Corinth’s. The stifling resentment of legal philistines towards everything which signifies fresh air in arts has to rage at home … In what times do we live? We live in a time where the staunchly erected philistine is permitted to don the bit on a nation. Fight back! ”

Here, however, not only eluded Lady Justice’s seizing hands and therefore absolutely complete, but moreover present in the


(first and final total edition 740 copies) on mostly heavy 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, with the image content of the first volumes later modified. – Plates printed on the Gurlitt press. – Beside the fly-leaf at the beginning & end one or two original additional fly-leaves. On each one of the fly-leaves following the front fly-leaf said virtuosic autograph owner’s note (c. 2⅜ × 5½ in [6 × 14 cm]). The reference to the plates on the titles mostly numbered in writing. – Except for one of the Corinth plates, see below,

all plate prints as well as the imprint

signed by the respective artist .

“ 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. ”

Wilhelm Heinse in the preface to “The Cherries

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.) by Lovis Corinth (Tapiau 1858 – Zandvoort 1925). 33 pages, 1 sheet imprint, 2 extra end fly-leaves. – Text printed by von Otto von Holten, Berlin. – DER VENUSWAGEN I.

H.-G. IX, 528 f.; Englisch I, 217 f.; E. II, 254 f.; Simon, Schiller’s ‘Venuswagen’, Euphorion 20/3 (1914); Schwarz L 383.

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. – Boards slightly warped, ribs slightly rubbed just as one spot at the top as well as small defect of the bottom end of the spine below the gold fillet.

“ 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).

100 years later yet this is relative, too. 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 samples of artistic ingenuity than lure with the plenty and not tell at once what is to be discovered yet. In short, he sides with the Ladies from the Kurfürstendamm, Berlin, in Günter Neumann’s immortal Insulaner cabaret: “The artists shall and have to go with the muses. But where are they going? … When Goethe wanted to be vulgar for once he set three little dots …”. 100 years later, however, he would have asked Mr. Alfred Richard Meyer …

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 by 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. – DER VENUSWAGEN II.

H.-G. IX, 309 f.; Englisch I, 287 & 425; E. II, 242 & 265-266; Fromm 13208; Brattskoven 15.

The green paste-downs & fly-leaves with tidemark at top. At front at most 4 cm deep and decreasingly coloring the following two white fly-leaves, Stinnes’s 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 pp. 9/10 & ensuing etching, then more generally, partly virtually imperceptible faint narrow brown stripe, the farthest top edge occasionally also with a touch of green. – One cover tissue each defect lower right and lower edge resp. – Of the tidemarks in the binding basically worth mentioning just the slight little dark rim on the left half of the lower edge of the front board, duly registered otherwise still front board top & on three sides on the back board. 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.

Otto Schoff, Sappho or The Lesbians

“ 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:

“ 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. ”


Fables from 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 by Richard Janthur (Zerbst 1883 – Berlin 1956). 47 pages, 1 leaf imprint. – Text printed by Spamersche Buchdruckerei Leipsic. – DER VENUSWAGEN III.

Lang 144; Sennewald, Deutsche Buchillustratoren im ersten Drittel des 20. Jahrhunderts, 19,3.

Continuous waving from faint tidemark in the upper margin, first & final leaves somewhat more. Below mostly slighter waving only and without tidemark, besides not entirely throughout. In the leather only little intrusive trace at the upper edge of the boards. – One cover tissue defect in the lower right and lower margin. All this nonetheless 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

The Aldegrever Girl

A Novella. 1911.

With 8 signed & colored lithographs

(H.-G. IX, 400; 7⅝-8⅝ × 5⅛-7½ in [19.5-22 × 13-19 cm]) by Georg Walter Rössner (Leipsic 1885 – Gundelsby 1972)(“free, yet not erotic” and large opening initial. 40 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – DER VENUSWAGEN IV.

Georg Walter Rössner, The Aldegrever Girl

Sennewald, Deutsche Buchillustratoren im ersten Drittel des 20. Jahrhunderts, 19,6; G. K. Kobbe, Munkepunke-Bio-Bibliogr. (1933), 44.

Preliminary matters in carmine & black. – Imprint correctly signed by the artist, not the author as stated there erroneously. – Backed small margin tears, faint brown stripe in the joint, in places minimally foxed. Minimal rubbing at the headcap and three small scratches on the front board lower left.

“The Aldegrever Girl is a gem of truth of nature, humor and spiritedness … For this I would stand up in public, too” (F. Wedekind).

Henry de Kock / Balduin A. Möllhausen

The Murder
in the Chestnut Grove
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 by Franz Christophe (Vienna 1875 – Berlin 1946). 52 pages, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – DER VENUSWAGEN V.

Hayn-Gotendorf IX, 326; Englisch I, 508; Englisch II, 252; Sennewald 19,1.

On the half-title sheet the title Henry de Kock / Die Geschichte vom Doktor Schultz. – Preliminary matters in green & black. – The title without the collection-specific written specification of the number of plates. – At the beginning minimal foxspots. – Minimal abrasions at headcap and three ribs at the spine.

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

in which the blood-curdling and erotic

Franz Christophe, Murder in the Chestnut Grove

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 Panels

With 7 signed lithographs

with additional signature in the stone (4½-7⅞ × 5½-6⅛ in [11.5-20 × 14-15.5 cm]) by Willy Jaeckel (Breslau 1888 – Berlin 1944). 32 pages, 1 leaf imprint. – Text printed by Printing Office Gustav Ascher, Berlin. – DER VENUSWAGEN VI.

Hayn-Gotendorf IX, 341 f.; Englisch I, 287; Lang 134; Sennewald 19,1; Stilijanov-Nedo 86.

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, included within pagination, too. – 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 Panels

“ confiscated … because of the lithographs by Willy Jäckel ”

(Englisch I, 287). The latter

« Art is genius ,

and genius has by no means feel to be bound at all

to the society , the community .

An art which ‹goes to the people› ,

makes the necessities of the masses , the little man , the Philistinism

its own

falls into misery »

Thomas Mann

“ 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 Panels’ ”

(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. 1789. 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 by 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. – DER VENUSWAGEN VII.

Barbier I, 323; Hayn-Gotendorf IX, 438; Sennewald 19,5.

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 with the written 1/40, too. – Partially faint shadow of a narrow tidemark at the lower edge, in the imprint leaf and the ensuing white fly-leaf a little 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 by Wilhelm Wagner (Hanau 1887 – Bad Saarow 1968). 29 unnumbered leaves, 1 leaf imprint. – Text printed by Otto von Holten, Berlin. – DER VENUSWAGEN VIII.

Hayn-Gotendorf IX, 270; Englisch I, 191 f.; Sennewald 20,2.

The serial vignette adjusted to the content. – Title in red & black. – The fine large typography especially worth mentioning. – Without the collection-specific written specification of the number of prints on the title. – Only quite occasional small foxspots. Minimal rubbing of the upper edge of the back board, the boards slightly warped.

“ 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. ”

Wilhelm Wagner, The Cherries

“ It was in July , when Herr von Strahl ,
A hero , shortly Frederick’s general …
Weary of the city’s deadening ,
Idle of martial business ,
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

by 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. – DER VENUSWAGEN IX.

Hayn-Gotendorf IX, 298; Englisch I, 523 f.; Englisch II, 257; Lang 70.

Only the series title in red & black with coincident omission of the series 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 board with faint long scratch mark and three minimal rub marks, such also at the headcap and the ribs of the spine.

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 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 flesh. ’ ”

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 .

Destined for those

who “ know to read the arrangement , the gestures

Heinrich Stinnes | 20 XII 1920

and the forms of figures in a composition ”.

So Nicolas Poussin about 1637 to Jacques Stella. 300 years later here then facilitated to those few to read and understand by the innermost turned outside of one of their kind.

Offer no. 29,125 | EUR 9885. | export price EUR 9391. (c. US$ 11353.) + shipping

The Chariot of Venus | Verlag Fritz Gurlitt Berlin

  1. Hilliard T. Goldfarb in the Montreal/Cologne Richelieu catalog ed. by himself, 2002, p. 10/I.

“ I am pleased to inform you that I received the book in good order and it is very beautiful, I have looked at it now many times and it is very useful for my studies. ”

(Mevr. E. E., June 29, 2002)