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From a Dissolved Folio of
Jakob Heinrich Anderhub’s

1894 – 1946
as one of the First Addresses
among the Hippologica Collections of Modern Times

Actually jurist, Anderhub was long-time commercial director of Kalle AG, Wiesbaden, from which function his Aus den Papieren eines reisenden Kaufmanns published there 1941 remained across time. Neutral in regard of both his collecting and occupation, however, his Der Begriff der Dikaiosyne in Platons Politeia (1919), Nicolaus Heinsius und die Engländer (1942), Genetrix irrationalium: Platonis Theaitetus. Yet his real memorial he raised by his

BIBLIOTHECA HIPPOLOGICA

dissolved in 1963 as a reflection of the whole bandwidth of collecting passion and intellectual richness as moreover passed on to the hunting-orientated next generation, employing a double stamp. The book collection was supplemented by old prints in sets and individual sheets, preserved in folios, which were not subject of the library catalog of 1963. Just as in the latter was also missing what had been passed on before, may it be by the collector himself or afterwards (Yale Center for British Art: “… the bulk of this collection, with the exception of some individual prints and plates, was sold in 1963”).

Ensuing to previous Anderhub offers here of books and prints the following present one with the charm of having passed through hands and considered worthy of the collection by one of the lasting hippologica provenances, yet without referring to this. For the center of the collection were the books indeed. In their partly quite individually worked supralibros bindings, always with the ex-libris.

niemeyer’s — art trade since 1959

In the First State
of the Anderhub Collection I

Georg Philipp Rugendas I (1666 Augsburg 1742). Detachments of Horsemen. On the right vivacious group of two riders, each with additional spare horse, on the left resting sumpter horse with leader. In-between, set back in small figures, horsemen talking with two passers-by. Etching by Georg Conrad Bodenehr (1673 Augsburg 1710). Inscribed: G. P. Rugendas del. / Cum Privileg. S. C. Maj. / Ierem. Wolff exc. Aug. Vind. / G. Conrad Bodenehr Sc. / A 5. 4¾ × 6¼ in (12.1 × 15.9 cm).

Georg Philipp Rugendas I, Detachments of Horsemen

HORSEMEN AND BATTLES, set A, 5. – Teuscher 174, I (of II, recte III: a later edition was published, probably in the 1820s, at the same place at Herzberg, see T. 169) with illustration; Stillfried 54. – Marvelous impression of the J. H. Anderhub Collection with margins 4-4.9 cm wide before Ridinger’s address and the cancellation of the number by this (Schwarz XXIX in the erroneous assumption of a first state before the number). – Equilateral preparatory drawing in washed pen in Augsburg. A copy by Ferdinand Kobell about 1757 in black pen in Mannheim.

Offer no. 28,610 / EUR  148. (c. US$ 179.) + shipping

The Copy of the
Hippologica Collection Anderhub

Jacob Duck (Utrecht about 1600 – interred ibid. 1667). The Rider at the Pillar. To the left, supervised there by the instructor with whip in the raised right. At the left edge of the picture little property, at the right overgrown large ruins, in front of which two men with dog observing the exercise. Etching. Sheet size 18,6 × 23,3 cm (7⅜ × 9⅛ in).

Jacob Duck, Rider at the Pillar

Hollstein 9. – On Jakob Duck’s paintings cf. Nanette Salomon, JAKOB DUCK and the Gentrification of Dutch Genre Painting, 1998.

Sheet 3 of a 4-sheet set – the 4th a river landscape with waiting rider – and described

neither in Aretin (1830) , Nagler (1863) , Wurzbach (1906) nor Davidsohn (1920)

with both the first two of which by Roman de Hooghe (1645-1708) who had been associated with the whole set, too, as here also the still legible written attribution on the back.

With the no. 3 in the white margin below far right. – With almost complete large watermark “Reared Lion in double lined Circle below Fleur-de-lis” with sword in the right and arrows in the left as variant to Heawood 3140-3145 (1651 till c. 1689) inclusive of the fillings in the circle, but without their escutcheon. – Lower right embossed small oval collector’s stamp A (?, H? R?) for which no solution could be researched here with Lugt.

The excellent impression from the J. H. Anderhub Collection .

Not figuring, as further prints, too, in the 1963 sale of books from the “Bibliotheca Hippologica I. H. Anderhub”. (Yale Center for British Art: “… the bulk of this collection, with the exception of some individual prints and plates, was sold in 1963”.)

On three sides trimmed to platemark with margin of 2-4 mm around and plenty white plate field above. Finest vertical little box pleat running through noticeable above and possibly below rider & horse only.

Attributed as now outdated 1863 by Nagler to Jan le Ducq in The Hague as one “of the most excellent Netherlandish masters”, as then according to Thieme-Becker (1914) from the 18th century the works by Jacob Duck (about 1660 to 1661 at The Hague) usually were listed under the name of le Ducq. And 1906 Wurzbach, too:

“ He has to be distinguished from … Jan le Ducq … with whom his artistic personality had been identified or mixed for a long time. According to the range of the subjects of his paintings he is related to Peter Codde and Ant. Palamedes …”

Present pillar rider, however, it shall be repeated, was available neither to Nagler nor Wurzbach, nor did it figure in the Aretin and Davidsohn sales.

The rareness of present sheet thus superb !

Offer no. 28,977 / EUR  630. / export price EUR  599. (c. US$ 724.) + shipping

“ … yet (1830) an Art Collector Paid …
100 . for this Sheet ”

– – The River Landscape with the Waiting Rider to the left (sic!, see below). This dominating right in front, awaiting another passing through the river. Both supposedly officers. In small figure behind the latter a soldier wading up to his knees, supposedly a lance in his right, while the left points at a small figure swimming or rafting. On top of the bluff rock on the opposite bank on the left a building with bulky round tower. A further structure below on the bank far left. And towards the right edge of the picture a group of edifices with bulbous top, behind which the river bends to the left, in the distance abreast a ridge on this bank navigated by a sailing ship. Etching. Sheet size 7⅛ × 9⅛ in (18 × 23.3 cm).

Hollstein 8; Nagler, Monogramists, III (1863), Ducq, 2184, 8; Wurzbach I (1906), 434, Duck, 8; Cat. Davidsohn I (1920), Ducq, 1378 (“Dubious sheet … Very rare”, besides referring to Weigel, Supplement, pp. 24 f. & Dutuit V, p. 47). – Closing sheet of a 4-sheet set – the 3rd a riding school scene at the pillar – , both the first two of which by Roman de Hooghe (1645-1708) who had been associated with the whole set, too. So then still legible written attributions on the back of both the sheets here, too, the present one in addition with the name of Philips Wouwerman.

Jacob Duck, River Landscape with waiting Rider

With the no. 4 in the white margin below far right, yet hardly with “In front in the center of the grass ground, slightly to the left … letters I D f.” observed by Nagler. Regarding this Wurzbach then notes “According to Nagler allegedly inscribed …”. Brulliot would have missed it, too, see below. – With almost complete large watermark “Reared Lion in double lined Circle below Fleur-de-lis” with sword in the right and arrows in the left as variant to Heawood 3140-3145 (1651 till c. 1689) inclusive of the fillings in the circle, but without their escutcheon. – Lower right the collector’s stamp as above.

The painterly sheet in the excellent impression of the J. H. Anderhub Collection .

Not figuring, as further prints, too, in the 1963 sale of books from the “Bibliotheca Hippologica I. H. Anderhub”. (Yale Center for British Art: “… the bulk of this collection, with the exception of some individual prints and plates, was sold in 1963”.)

On three sides trimmed to platemark with margin of 2-4 mm around, above rather to the edge of the picture with, however, plenty white plate field. This far left and center with noticeable quite faint touch of browning. Two fine vertical little box pleats running through worth mentioning on front above of horse & rider only. So, too, a slight diagonal trace of fold in the lateral right white subject.

On the now outdated attribution to Jan le Ducq in The Hague see above. And Nagler on present sheet:

“ Brulliot describes this ingeniously etched sheet in the Aretin Catalog no. 4401 with the remark that it were etched in le Ducq’s manner. He missed the (supposedly erroneous, see above, signature) letters,

an art collector yet paid 100 . for this sheet in the (1830) sale .” ( !! ) .

Davidsohn estimate 90 years later then 300 reichsmark. And after scarcely another 100 years enthusiastic bidders raised in an auction the estimate of 600 euro for a provenance-less copy to a final price of now 1408 EUR ! !

Yet Nagler – as supposedly adopted Wurzbach, too, since likewise describing only this one specifically – denoting the rider as “in profile to the right” while here he stands to the left, yet without establishing by this a copy in reverse. For in conformity with Nagler the edifice on the opposite bank and the round tower on the rock above are on the left. Besides a position of the rider to the right would not correspond with the scenic arrangement. After all the rider holds the riding whip correctly in the left, yet the reins with the right, just as the soldier in the water his lance. This common hand position in analogy, too, to the dressage scene above as sheet 3 of the set.

Offer no. 28,978 / EUR  630. / export price EUR  599. (c. US$ 724.) + shipping

In the First State
of the Anderhub Collection II

Georg Philipp Rugendas I (1666 Augsburg 1742). Before the Battle. In the foreground two unlimbered cannons with two piece hands, balls and loading equipment as well as an officer just galloping up. Left of this three horsemen, on the right, likewise slightly set back, mounted troop whose leading officer points to the horizon with his sword where several parts of troops take place. Etching by Georg Conrad Bodenehr (1673 Augsburg 1710). Inscribed: Georg Phil. Rugendas del. / Cum Privil. Sac. C. Maj. / Ieremias Wolff exc. Aug. V. / G. C. Bodenehr Sculps. / A 9. 4¾ × 6¼ in (12.2 × 15.8 cm).

Georg Philipp Rugendas I, Before the Battle

HORSEMEN AND BATTLES, set A, 9. – Teuscher 178, I (of II, recte III: a later edition was published, probably in the 1820s, at the same place at Herzberg, see T. 169) with illustration; Stillfried 58. – Marvelous impression of the J. H. Anderhub Collection with margins 3.9-4.8 cm wide before Ridinger’s address and the cancellation of the number by this (Schwarz XXIX in the erroneous assumption of a first state before the number). – Watermark torso. – Equilateral pen and ink drawing with grey wash in the Albertina.

Offer no. 28,611 / EUR  148. (c. US$ 179.) + shipping

Accompanied Prince Eugene in Italy

Jan van Huchtenburgh (Haarlem 1647 – Amsterdam 1733). A Cavalry Attack / The Fight of the Two Horsemen. Dominated by the closing duel in front, the throng of which has been joined by a single horse. Etching after Adam Frans van der Meulen (Brussels 1632 – Paris 1690). Inscribed: AF. V. Meulen, jn, et ex, cum priuilegio Regis. / V. HB. f. Sheet size 6 × 7⅝ in (15.4 × 19.3 cm).

Nagler, Monogramists, V, 1210 mentioning the sheet; Catalog Davidsohn II, 830.

The brilliant ,

Huchtenburgh, Cavalry Attack

albeit slightly time-marked impression of the J. H. Anderhub Collection,

partly with tiny(est) up to even 5 mm wide margin, partly trimmed to platemark or, so partially above, to the border of the image. Did not figure, as further prints, too, in the 1963 book sale of the “Bibliotheca Hippologica I. H. Anderhub” (Yale Center for British Art: “… the bulk of this collection, with the exception of some individual prints and plates, was sold in 1963”).

Huchtenburgh’s special familiarity with van der Meulen’s works for once based on his temporary education with this, yet all the more corresponded with his own style “in the taste of Audran’s school”, too. And what Nagler records for the latter – “virtually painted with the needle and the chisel” – therefore also makes up the graphic charm of the present sheet, whose excellent drawing of the horses – especially typical for Huchtenburgh’s painted œuvre, too – should be mentioned expressly:

“ H. is highly proficient in the lively depiction of animated horses ”

(U. Heise, Allgemeines Künstler-Lexikon LXXV [2012], p. 303).

In the Spanish War of Succession Huchtenburgh accompanied the great Prince Eugene of Savoy on the Italian theater of war, later he entered into the service of the young Frederick William, prince royal of Prussia, the father of Frederick the Great.

Offer no. 28,612 / EUR  298. / export price EUR  283. (c. US$ 342.) + shipping

“ How much the name of a collector can matter

showed, too, when Saul and David with lithographs by Corinth was knocked down at 2900 euro (estimate 2700). The same book remained unsold in the morning in the general (V&H) sale, even though at 1200 euro the estimate had been considerably lower; in the aftersale it was then sold at 850 euro. ”

Bettina Erche in Frankfurter Allgemeine Zeitung of October 11, 2003
on occasion of the Heinz Frowein sale of fine books

So far Jakob Heinrich Anderhub’s provenances , followed nonetheless by no less good ones , voilà

F R de La Rue, Battle Horse with Officer

With Quality Seal of Royal Order I

F. R. de la Rue (Paris about 1751 – after 1780). Battle Horse under an Officer with Raised Sword in the Right. Bouncing ahead to the right. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / de la Rue. 8¼ × 6⅝ in (20.8 × 16.9 cm).

Provenance

Printroom of the Royal Museums Berlin

with both their collection (Lugt 1606) & disposal stamps verso

From Winkler’s 11-sheet set after drawings/etchings of Netherlandish masters ( “These sheets are treated very brilliantly“, Nagler). Here then after the battle painter, the younger brother of Louis Felix and pupil of Charles Parrocel. – On strong paper untrimmed on two sides with margins 1.5-9 cm wide.

Offer no. 28,618 / EUR  98. (c. US$ 118.) + shipping

F R de La Rue, Head Portrait of a Bridled Horse

With Quality Seal of Royal Order II

– – – Head Portrait of a Bridled Horse from front. Still with sketched breast part. Etching by August Friedrich Winkler as above. Inscribed: A. F. Winkler f. nach de la Rue. 6½ × 4⅜ in (16.4 × 11 cm).

Provenance

Printroom of the Royal Museums Berlin

with both their collection (Lugt 1606) & disposal stamps verso

Offer no. 28,619 / EUR  56. (c. US$ 68.) + shipping

1959 · 59 years trustful cooperation · 2018


„ herzlichen Dank für Ihre Expertise zu dem (Hogarth-)Kupferstich. Er ist wohlbehalten angekommen. Besten Dank für die schnelle Zusendung. Gruss aus … “

(Herr F. B., 1. März 2013)