Head the 350th Birthday Court
“ Symbol of Wisdom and Sympathy …
Eight Elephants carry the Universe ”
(Meyers Konversations-Lexikon, 4th ed., V , 510/II)
Here then three of them drawn from life in Petersburg by Johann Elias Grimmel (Илья Гриммель, Memmingen 1703 – St. Petersburg 1759) where in 1741 he had been appointed court painter by Elizaveta Petrovna, Peter’s daughter, via the Imperial Academy of Sciences, see below, supposedly at the suggestion the Russian legation councilor at The Hague, Peter von Stählin. And were transferred into copper and colored for the Colored Animal Kingdom (1754 till not before 1773) by father Johann Elias (Ulm 1698 – Augsburg 1767; 2) and son Martin Elias Ridinger (1731 Augsburg 1780) resp. (c. 12¼ × 8⅛ in/31 × 21 cm  and 8¼ × 12⅜ in/21 × 31 cm resp.).
Trained Elephant (Th. 1032)
Remaining uncolored contrary to the prospectus, a second edition of the Animal Kingdom from the plates shortened even under loss of animals and with modified titling and the Ridinger inscription removed, yet now numbered, was published by Engelbrecht/Herzberg in Augsburg 1824/25. – With watermarks C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses “on account of the fine illumination” for the colored works “as for this purpose it is the most decent and best”. – Three sides each with margins c. 1.7-3.5 cm, the fourth c. 4.4-5 cm wide.
The line Elizaveta Petrovna – Grimmel – Ridinger by the way here all the more interesting as the czarina was that satisfied with the latter about her first order of 1746 for “a couple squares” of paintings that already 1748 another one followed. Which by letter to Wille in Paris had the master groan for being engaged with drawings and etchings, yet ultimately deeming it impossible to decline with regard to the previous order. And this by one merely 50 years old!
Presently still four oils at the Hermitage, Nikulin (1987) 284-287, 286/87 of which after still unreservedly in the catalogs of 1958 & 1981 as now possibly by Carl Ruthart up for discussion, as considered unfounded here. By reference to material here only limitedly adequate, the Petersburg paintings belong – at least – to the finest of the œuvre.
To further the staying together of above three Grimmel/Ridinger Animal Kingdom Elephants, offered en-bloc at 10% more favorable
Offer no. 16,003 | EUR 3600. | export price EUR 3420. (c. US$ 3604.) + shipping
Trained Elephant. Thienemann 1032. – First state of the first edition. – Ill. above
Offer no. 15,935 | EUR 1400. | export price EUR 1330. (c. US$ 1402.) + shipping
Elephant. Thienemann 1030. – Final state of the first edition.
Offer no. 15,933 | EUR 1300. | export price EUR 1235. (c. US$ 1301.) + shipping
An Elephant. Thienemann 1031. – Only state of the first edition.
Offer no. 15,934 | EUR 1300. | export price EUR 1235. (c. US$ 1301.) + shipping
Peter I, the Westerner, named the Great,
father-in-law of Charles Frederick of Schleswig-Holstein-Gottorf as prelude to the House of Romanov-Holstein-Gottorp (sic!; until 1917). And following this grandfather of the third Peter, raised by daughter Elizaveta Petrovna. Who paved the way out of the jam for the 7-Years-Warriors, on all sides greatly in need of peace. And whose spouse of the House of Anhalt-Zerbst, procured by Elizaveta Petrovna and Frederick II of Prussia and ultimately succeeding him, set as Catherine the Great also intellectually standards.
The European Exceptional Phenomenon
Peter I to His 350th Birthday
Moscow 9 June 1672 – St. Petersburg 8 February 1725
of the Gregorian calendar
1703 founding of the new residential city dedicated to the patron saint. 1717 visit of the Sorbonne and Richelieu’s mausoleum there with the subsequent résumé on the latter:
“ Magnificent man, I would give half of my kingdom for a minister like you, to teach me to govern the other half ”
(Hilliard Todd Goldfarb [ed.], Richelieu [1585-1642]. Kunst, Macht und Politik. Montreal/Cologne exhibition catalog. 2002. P. 57).
1724 foundation of the Imperial Academy of Sciences, which in 1745 under the editorship of Leonhard Euler (Basel 1707 – St. Petersburg 1783) and Gottfried Heinsius (1709 near Naumburg/Saale – Leipsic 1769) came up trumps with the “Atlas Russicus” in compliance with the borders at the time of Elizaveta Petrovna (czarina 1741-1762) after in particular Joseph Nicolas De L’Isle (1688 Paris 1768) as a 20-sheet document of a departure into modernity, see below. By Euler “brought home to his fatherland as an example since then there was no such complete atlas of Germany yet”. So Bagrow/Skelton, Meister der Kartographie, 1963, p. 251.
“ In the tradition of Peter the Great
who opened Russia to the West ”
While towards the late 17th century in Central Europe the cartographical development was already largely completed and new maps mostly brought enhancements in detail only, modern cartography based on scientific surveying starts in Russia – and by this in Asia, too – only in the early 18th century. With the famous Punkty from 1721 as “the first official instructions on land survey and map-making” (Goldenberg/Postnikov), as co-author of which Peter is supposed. So on occasion of his first stay in the Netherlands 1697 the latter “learnt under the direction of 17-year-old Marie de Wilde [daughter of the merchant and collector Jacobus de W. in Amsterdam to whom he was on friendly terms] the use of the etching-needle … [for] engraving and etching is closely related to the printing of maps” (Gerson, Ausbreitung und Nachwirkung der holländ. Malerei, 1983, p. 516). Corresponding milestone 277 years ago the Atlas Rvssicvs presented below.
Yuft leather design copy with contemporary flat coloring as quite rare.
Uncolored then even the copy of the 18-weeks 1991 exhibition
Schätze aus dem Kreml – Peter der Große in Westeuropa of the Overseas Museum Bremen
Atlas Rvssicvs … Vastissimvm Imperivm Rvssicvm cum adiacentibvs Regionibvs. With multiply folded general map dedicated to Peter’s daughter, Elizaveta Petrovna & 19 double full-page detail maps (c. 19¼-19¾ × 22 and 22¼ × 38⅝ in [49-50 × 56 and 56.5 × 98 cm] resp.). Petersburg, the author, 1745. 16 pp. French/Latin text. Including large double anchor of the comtemporary Petersburg arms (1730-1856) gilt-tooled ruby red yuft leather vol. with brown pastedown & fly-leaf with gilt stamping in uniform half yuft slipcase (20⅞ × 13 × 1⅛ in [53 × 33 × 3 cm]). Paled contemp. marble color edge.
First print of the first edition of the first complete atlas of Russia in Latin-French parallel text. The Russian-German version still the same year with lesser textual preliminaries = Phillips 4059 and 3109 resp., each with erroneous reference to map 19 as “showing the extreme point of Alaska and the Aleutian islands”, recte rather Kamchatka & Kurile Islands.
Bagrow-Castner, A History of Russian Cartography up to 1800, vol. II, pp. 177-253; Phillips 4060 (erroneously or originally not belonging to with additional 4 ll. preliminaries, besides with additional war maps); Goldenberg/Postnikov, Development of Mapping Methods in Russia in the 18th Century in IMAGO MUNDI XXXVII, pp. 63-80; Teleki, Atlas zur Geschichte der Kartographie der japanischen Inseln, plate 17, 1 (map 19 of the atlas). – With Honig watermarks HONIG / IV & crowned large fleur-de-lis arms with the ligated label WR.
1 map trimmed within the lower margin of the map, but without injuring of the map subject itself, 5 maps trimmed on or with loss of upper or lower borderline resp., 1 map each trimmed within the white platemark at cut or loss resp. of miles indicator and numbering resp. Otherwise merely isolated small backed margin tears and two not impairing tear offs.
The rich coloring of the full quality of its age, with the cartouches, as frequently with contemporarily colored atlases up to the legendary Atlas of the Great Elector, left in black and white. Occurring copies usually b/w only, at most colored in outline.
The instructive description of the maps comprises boundaries, origin, accuracy, and execution of the survey; transcription of the Russian alphabet as well as partly detailed Russian explanations of words. The engraved legend with rich keys up to salterns & hot springs.
Offer no. 16,278 | price on application
Adequate Reverence for the Ingenious Founder on White Leather
“ Away from Petersburg , the European , back to Moscow … ”
(Dostoyevsky – “greatest and most intrinsic this people of millions has generated ” –
quoted from Stefan Zweig, Baumeister der Welt, Frankfort/Main, S. Fischer, 1966, p. 147)
Wilbrecht, Alexander (1757 Petersburg 1823). Καρτα Οκρυжности Сτ. Πετερбүрга. Environs travel map of Petersburg, c. 1:190000 in engraving by G. Kharitonov (cartouche) & Alexei Sawinkov, here on white leather. (Saint Petersburg, The Geographic Dpt. of the Cabinet of Her Imperial Majesty, the Mining Academy’s School of Engineering, 1796/1800 [?].) 18⅜ × 22⅝ in (46.6 × 57.5 cm). – Rarissimum of Russian cartography and besides as leather trouvaille for taking out (traces of triple folding) here without precedence.
Instructively worked down to water & road network, with the highways specifically named, as for instance that to Moscow, or the Great Road (today European route from Pskov [Pleskau]) through Gatchina to Tsarskoye Selo and, indeed, Petersburg.
Offer no. 15,727 | price on application
at the Petersburg Fontanka Canal
Dostoyevsky, F(yodor). M(ikhaylovich). Der Idiot. Novel. From the Russian into the German by E. K. Rahsin (= Elisabeth Kaerrick [Pernau, Livonia, 1886 – Munich 1966]). 19th/20th thousand. Munich, R. Piper & Co., 1920. 7⅝ × 4⅞ in (19.5 × 12.3 cm). XVIII, 1182 pp. Ruby red crushed half morocco with fascinatingly iridescent covers etc. as well as 7 gilt head leading edge fillets as transition to gilt edges goffered at head & tail, at the front side, however, gilt edge painted underneath – fore-edge painting – in wood veneer case with morocco edges at the slide-in (R. Meuter).
India paper edition of the “second of the five great epic novels Dostoyevsky (Moscow 1821 – Petersburg 1880) has written, started in Geneva late 1867 and finished in Milan late 1868. The work thus ranks in the chronological sequence in intervals of about two years each between ‘Rodion Raskolnikov’ (Crime and Punishment) and the ‘Demons’” (Rahsin). With
With Aglaya as one of the female leading characters and in such a manner subject of the fore-edge painting the beautiful red-haired Aglaya in Petersburg costume. On the opposite canal bank row of houses, behind which the onion domes of churches rise on both sides, the right of which reminding of the Cathedral of the Resurrection of Christ.
Invisible in closed state the image shows when fanning out the body of the book, here as one-image version to both sides, executed on the fore edge, whose subsequent gilding is “particularly difficult” (Löffler-Kirchner) due to its curve. Generally such unique edge decoration – originally symbolic signs, later especially heraldic – dates back into the 10th century, to be extended to motifs of any kind by about the middle of the 18th century. The execution invisible in closed state, as here, dates back to 1649, while the gilt edge on its part is based on the Italian Renaissance bindings of the 15th century.
Here then content-related to a piece of universal literature. Born out of a different range, a different right. Indeed from the fold of Dostoyevsky himself. For, so Zweig quoting this further, “everywhere and in everything, all my life I have crossed the border”.
Offer no. 15,688 | EUR 1700. | export price EUR 1615. (c. US$ 1702.) + shipping
“ Though often hell on earth seem neigh,
And darkest fears oppress thee,
Trust dauntlessly in God on high,
[Concord] must return yet to bless thee ”
(from “Hope” Emanuel Geibel’s, 1815-1884).
Le Prince, La diseuse de bonne Avanture
And Rolland’s Nobel Price-crowned Jean Christophe/Beethoven (so 13 September 1902 to Malwida von Meysenbug) towards his friend Olivier: “Asia, awaking from its sleep of a thousand years, hurls down the Muscovite colossus, the keeper of the keys of Europe …” (Romain Rolland, Johann Christof, English edition, New York 1911, vol. II, p. 325).
“ My novel is the story of a life, from birth till death. My protagonist is a great German musician … The setting is present-day Europe … In a nutshell, the protagonist is Beethoven in today’s world … ”
Le Prince, Jean Baptiste (Metz 1734 – St. Denis du Port 1781). La diseuse de bonne Avanture. The old palmist. Etching with aquatint. Inscribed: Le Prince 1764., otherwise as above & caption. 8⅞ × 7 in (22.5 × 17.7 cm). – Hédou, Jean Le Prince et son œuvre (1879), 14, II (of II; “Très-belle pièce d’un puissant effet”). – Plate 2 of the 10-sheet set Divers Ajustements et Usages de Russie, drawn by Le Prince from nature during his stay in Russia 1758-1763, and besides “Une des suites les plus remarquables de l’œuvre du maître” (Hédou). – Caption and the wide white margin slightly foxed. – Typograph. watermark.
“ Foreign artists visited Russia as well and in 1757 the Frenchman Jean-Baptiste Le Prince toured to Finland, St. Petersburg, and Moscow. His prints of Russian people published a few years later constitute an important part of the pictorial record of the time ”
(Karen F. Beall, Kaufrufe und Straßenhändler / Cries and Itinerant Trades, 1975, p. 485).
Early example of the use of aquatint, the invention of which in 1768 (sic!) was commonly attributed to Le Prince. This seems to be dated due to an emerged sheet by Charpentier from 1756. Generally the experiments were ultimately in the air here, too. So Waldow, Illustr. Encyclopädie der graph. Künste, Leipsic 1884, regarded Johann Adam Schweikard’s (1722 Nuremberg 1787) endeavors in this connection 1759 as “first still imperfect attempts in this manner”.
Offer no. 14,694 | EUR 298. | export price EUR 283. (c. US$ 298.) + shipping