3 x  Saint  Hubert  pure

complemented  by  some  more


Cornelis Cort, St. Hubert

For  the  First  Time  in  Wall-fitting  Format

Saint  Hubert  of  1573

Cort, Cornelis (Hoorn 1533 – Rome 1578). St. Hubert. The South NetherlandishWild Hunter” as after Döbel father of the par force hunting and correspondingly with bugle on his back and the hunting-knife with griffin pommel at the side in kneeling position of humility – unlike with Dürer then also uncovered – before the stag standing above him on a rock nose. Behind him, just stepping out of the forest yet, his horse and two hounds. Set back in the middle distance his mountain citadel above a further property. In the air flight of birds, among which to their flying figure supposedly the two swans appearing also otherwise (so for instance 1614 with de Bruyn) as the prophesying birds of mythology and a heron. Engraving with etching after Girolamo Muziano (Acquafredda near Brescia 1528/32 – Rome 1592). Inscribed: in the subject lower right HIERONYMO MVCIANI INVE(N). / Corneli cort. fe. / 1573 + in the lower platemark In Roma presso Carlo Losi l’anno 1774. 20½ × 15⅜ in (52 × 39.2 cm).

Hollstein 113, IV. – From Wurzbach Cort 33; Nagler III, p. 126, and, Muziano, X, p. 87; Allgemeines Künstler-Lexikon XXI, pp. 341 f.; Schwerdt III, p. 49 (likewise with the later address of Losi).

Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016, ills. 17/41 (incompletely as “Corneille” and in ignorance of the exact date). – Not among the 172 illustrations of the – compared with the first edition of 1927 – richly enlarged second one of Huyghebaert’s Sint Hubertus Patroon van de Jagers in Woord en Beeld, Antwerp 1949.

From the set of the Seven Large Landscapes with saints

– “ masterpieces  and  rarely  in  good  impressions ” –

(Nagler 1836), “known under the name of the penitent”, worked “at the personal request of Muziano … with C. not being concerned with the publication any further …

doubtless  his  most  popular  and  most  frequently  published  engravings ”

(AKL 1999), here then in Losi’s evenly fine impression to whom are owed from the 1770s yet further new editions of the 16th century, with invariably fine differentiated setting off of the background from the event which of the foreground and yet not cleaned right platemark. – On strong laid paper with twice enclosed watermark Fleur-de-lis in circle with pendant V, related to the group Heawood 1589 ff. as throughout Italian papers of the 16th to late 18th centuries. – Margins above + left 2.4 cm, below + right 0.6-1 cm wide. The smoothed centerfold only feebly perceptible in the subject’s center, likewise almost only on the back a trifling foxspottedness. Minimal pressure mark below the castle. In such a manner of all-round fine general impression as frequently searched for in vain with these large formats of old prints, furthermore standing for Cort’s fame beginning with the arrival 1565 at Tizian’s in Venice.

“ All (his) mentioned early (Dutch) works … are rather anxious in the stroke of lines … and barely foreshadow

the  excellent  artist  who  in  Italy  short  time  later

created  his  works  exemplary  for  a  whole  generation  of  engravers …

The  sudden  turn  to  the  grandiose  in  the  style  of  C.

during his stay in Venice thus can be attributed to Tizian’s personal influence … Lampsonius (Dominique L., poet & art writer, “already in his lifetime he enjoyed the reputation of being one of the best humanists of the Low Countries”, Thieme-Becker XXII, 277) … praises C.’s sheets for

the  bold  and  brisk  line ,

especially  in  the  treatment  of  the  landscape

… (since March 1567) C. had gained great popularity in Rome due to the virtues of his art … C. became the preferred engraver of the two Zuccari … then of (then also present here)

Muziano  who  stirred  a  great  sensation  in  Rome  then

… The influence C. had on the Italian engraving of the 2nd half of the 16th century is not examined in detail yet. It is certain that only Goltzius again furthered the development of the technique of engraving by another step and that up to his appearance

C.  could  maintain  indisputably

the  fame  of  being  the  first  engraver  in  the  world ”

(L. Burchard 1912 in Thieme-Becker VII, 475 ff.).

And already 1858 Nagler had stated to the point in the dictionary of Monogramists (I, 2382) by the words

“ marked  an  epoch  in  Rome  for  he  united  virtues  within  himself

which  other  praised  artists  of  his  time  lack ”.

Here then after Muziano to whose “great delicacy and strong sense for nature” in the subject of landscape Thieme-Becker (XXV, 1931, p. 304) refer to. He himself had continued his studies “in Venice under the influence of Tizian, and since c. 1548 in Rome under that of Michelangelo”. And adequately he requested the hand of Cort for the reproduction of his Seven Large Landscapes, from which set the St. Hubert stands out as primus inter pares. As

first  graphic  Hubert  of  wall-fitting  large  format .

For “Up to the age of C. Cort one had worked almost merely on a small scale, he however opened the way of the art of engraving in the large scale, that is he had discovered new ways for the art and done new steps towards perfection. He engraved a great many fine sheets which are the delight of the connoisseurs, and please for the taste, for their fine effect and the correctness of the drawing” (Nagler). – See the complete description.

Offer no. 15,266 / price on application

Nicolaes de Bryn, Saint Hubert

Of  greatest  authenticity :

The  Saint  in  his  Home  Environment

Bruyn, Nicolaes de (Antwerp 1571 – Rotterdam [before?] 1656). Saint Hubert. The south Netherlandish princely “Wild Hunter”, after Döbel father of the par force hunting, with bugle and 6-head pack kneeling without headgear before the stag with his cross in a rich wooden landscape in the manner of the 3rd Gillis van Coninxloo (Antwerp? 1544 – Amstgerdam 1607). On the pool behind the stag two swans as the prophesying birds of mythology, at the trunk above the horse a hissing snake as temptress, and nearest to the stag a hubertus hound as the one and only looking at its master. Engraving. (1614.) Sheet size 27½ × 18 in (69.9 × 45.8 cm).

Neither  attained  by  Schwerdt

nor by so many places more. And not among, too, the 172 illustrations of the – compared with the first edition of 1927 – richly enlarged second one of Huyghebaert’s Sint Hubertus Patroon van de Jagers in Woord en Beeld, Antwerp ( sic ! ) 1949. And still in 1994 not  even  known  to  the  Hubertus  researcher  Dr.  Schlieker when he curated his expositions in, i. a., Saint Hubert. Only in 2016 in his grand Hubert documentation Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte he could prove this magnificent print – by the copy here! See the complete + 2 detail illustrations 19/25 there.

Here now in the former copy of

Count  Giovanni  Maria  Mazzuchelli

(Brescia 1707 – 1765, see Jöcher VIII, 1127 ff. with 21 titles of his literary work) fivefold (!) stamped with “Con. Gio. Mazzuchelli” under the count’s coronet on the back.

Early impression  before  the addresses (“… are the better because his fine graving work got worn out soon”, Wurzbach) by Gerard Valck (1626 – after 1694) + Peter I Schenk (1661-1715). – Here with Jan Meyssens’ (Antwerp 1612 – Brussels 1670; painter, draughtsman, engraver, and publisher; “established one of the greatest Antwerp art publishing houses” [Wurzbach]) publisher’s dedication to the Antwerp-born Frederico de Marselaer along with his coat of arms (“MARSELARE”) below right within the picture itself, on which in connection with the arms the date of 1656 (1636?) placed on the same level and traced with pen and ink should be related. For per 16th Jan. 1632 at the latest the plate (Wurzbach 42: 1614) is provable in an inventory of the Rotterdam orphan-office (Bredius, Künstler-Inventare, V, p. 1600, no. 9: Van Sincte Huybrecht een plaet).

On top trimmed to picturemark, otherwise with quite fine margins around the picture. So fully corresponding with the size given by Wurzbach (52) with 27⅛ × 18⅛ in (69 × 46 cm). Because of several partly only small tears or thin places professionally restored (doubled) as only relatively and without impairment of the quite fascinating scenery noticiably within the picture itself.

Bruyn’s  scenery  makes  the  wonder  of  the  event  much  truer  than  Dürer

(c. 1501) who shows a vain knight with straighten back and a cap on his head (!) next to a proud castle amidst an Italien landscape and separated from the stag by his horse. And without snake and – Hubertus hound. – See the complete description.

Offer no. 15,753 / price on application

Une  St.  Hubert

Aubry, Charles (France 1st h. of the 19th cent.). Chasses Anciennes d’après les Manuscrits des XIV & XVe Siècles. Set of

12  lithographs

(13¾-16⅜ × 10⅝-11⅜ in [35-41.5 × 27-29 cm]). Paris, Ch. Motte, 1837. Large folio. Loosely in orig. laid watermarked wrapper with illustrated lith. front cover in colour. Uncut.

Schwerdt I, 47; Souhart 28. – Designed in the so-called troubadour style with a main picture as total scenery and a number of instructive smaller details, explained by text strewn in, the thus instructive as in addition rare set is opened by – as not in Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016 –

Charles Aubry, Une St. Hubert

Une  St.  Hubert

as parade out of the mediaeval town into the country with two continuing details of a par force hunt, boat parties, foremost, however, a big picnic in the woods under the motto

„ Grande  St. Hubert :

Les  Dames  font  les  honneurs  du  repas .

La  Fête  est  complete .“

On the left a side border in the form of a cross-section of a 5-story house including garret, showing on each floor another detail of the preparation. From getting up to checking the weapons up to the departure.

Furthermore Chasse au sanglier – Chasse au cerf – Chasse de l’antilope au léopard – La chasse du loup – Chasse au faucon – Chasse au lievre à force – Des chiens courans – Chasse de gazelles – Sous Charlemagne (i. a. with a splendid hunting pageant with falconers, the large pack of hounds, bears, lions and cats, partly tamed) – Chasse de l’autruche et de l’éléphant – Chasse au renard .

On large strong paper with publishers’ dry-stamp. – Some small tears in the wide white margins restored acid-free. Mostly only within the latters quite minimal brown spots and quite outside a faint tidemark. The wrapper time-marked as usual but without impairment of its illustration which is dominated by silence as well as rich happening. – See the complete description.

Offer no. 12,101 / EUR  620. / export price EUR  589. (c. US$ 712.) + shipping

Franconian  Saint  Hubert  in  Rome

Reinhart, Johann Christian (Hof 1761 – Rome 1847). The Landscape with Saint Hubert. In stage-like rocky-woody foreground on the left the stag standing on an elevation, on the opposite side symbolically in the sun the young nobleman with the hunting-knife at his side fallen down onto his knees, the right pressed to the chest and greeting with the raised left. Behind him pack of three and the groom with rifle leading the horse. Downhill the vista goes through an opening in the scenery towards the deeply staggered hilly Roman neighborhood cast in bright light. Etching. Inscribed on stone lower right in the subject “R (ligated JR?) / 1811.” + left below the subject J. C. Reinhart inv. et fec. Romæ 1810 (sic!). 8⅛ × 10⅝ in (20.7 × 26.9 cm).


J. E. Wetterauer

oldmaster prints and drawings
his smaller round monogram stamp in black verso
(Lugt 4267, after 2000, in use for but a few months)
along with inventory no. 3666

Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016, ills. 29/78 (this copy). – Not among the 172 illustrations of the – compared with the first edition of 1927 – richly enlarged second one of 1949 of Huyghebaert’s Sint Hubertus Patroon van de Jagers in Woord en Beeld.

Andresen-Feuchtmayer 123, II (of III); Nagler, Monogramists, IV, 3507 (as “R”), 1; the same, Künstler-Lex., 50. – Plate 1 of the 6-sheet set of landscapes dated in the lower margin with 1805, 1810 + 1815, “one of which with the legend of Saint Hubert” (Nagler 50-55; Weigel, Art Stock Cat., IV [1837], 5327 [impressions on toned paper]). – One of the few plates in the œuvre with additional monogram:

“ Most plates bear the name of the artist, only few the letter R  and  C.R. With R (5) are inscribed: 1) The Landscape with Saint Hubert, 1811. … ” (Nagler).

Johann Christian Reinhart, The Landscape with Saint Hubert

THE STAGE-LIKE COMPOSED RICH SUJET – the saint, however, in Dürer-German manner with the plume hat kept on – in very fine impression with margins of 0.3 (below) up to 0.8 cm all around on toned vélin. – Browning on the back including two faint tidemarks at the edge, the former almost only perceptible somewhat on the front lower right in the white margin, of the tidemarks only the one on the left and that only barely. – See the complete description.

Offer no. 15,176 / EUR  790. / export price EUR  751. (c. US$ 908.) + shipping

Saint Hubert, Hound of, (Chien de Saint Hubert). Half-length portrait. Toned wood engraving by Jules Huyot (Toulouse 1841 – Eaubonne 1921) after Jules Gélibert (Bagnères-de Bigorre 1834 – 1916). C. 1870. 6¾ × 5⅞ in (17 × 15 cm).

Hound of St Hubert

Not in Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016. – Thieme-Becker XIII, 365: “(Gélibert) paints almost exclusively animal and hunting pictures … ” – Pupil of his father, the animal painter Paul G., whose field he favoured together with his brother Gaston and continued including hunting. Showed at the Paris Salon since 1859, then in Brussels + Berlin, too.

Offer no. 14,463 / EUR  66. (c. US$ 80.) + 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. On the left hunter with dog. Colored lithograph. C. 1850. 11 × 12⅝ in (27.9 × 32.1 cm).

Thale, Hubert Spa

Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016, full-page ills. 29/216 (this copy).

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

One  of  the  two  side-chapels

dedicated  to  St. Hubert

Louvain, Tabernacle in St James’s Church. Tabernacle de l’Église St Jacques a Louvain. The rich, high-rising Gothic tabernacle by Gabriel van den Bruyne (Louvain 1476/1500? – 1561) with its brass balustrade with the four evangelists. Before it priest with confirmation classes. Color lithograph by François Stroobant (Brussels 1819 – Elsene 1916). C. 1855. Inscribed: F. Stroobant del. et lith. / C. Muquardt éditeur. / Imp. Simonau & Toovey, Bruxelles., otherwise in French, German, and English as above. 13⅜ × 8¾ in (34 × 22.2 cm).

Boetticher II/2, 855. – “Belgian architectural painter … known by works and drawings to art history, especially of his homeland. Several drawings he has lithographed himself.” So the present one, too.

François Stroobant, Tabernacle in St James's Church, Louvain

“ (Bruyne) created 1537 to 1539

the  splendid  tabernacle  of  Saint  James’s  Church  in  Louvain

which is reproduced from the one by Matthieu de Layens in St. Peter’s Church there. The artist received for it the sum of 250 Florin., 20 Sol. ”

(Hans Vollmer, Thieme-Becker V [1911], p. 160).

The balustrade worked only 1568 by the Louvain brass-founder Jean Veldener II is, however,

“ one  of  the  most  beautiful  Netherlandish  metal  works  of  the  renaissance ;

the fluted little pillars are replaced at the corners by sturdier pilasters which carry the statuettes of the 4 evangelists; herm figures lean to these pilasters … a richly pierced scrollwork crowning carries 5 candle spikes … The style of this fender nears to the Floris style, and Hedike has assumed that Cornelis Floris himself or one of his pupils might have provided the model. On the other hand it has to be supposed that the founder has not limited his activity to this one masterpiece. Luer and Creutz have referred to the relationship between the balustrade of St. James’s in Louvain and the one of St. Mary’s in Rostock … ”

(Marguerite Devigne, op. cit. XXXIV [1940], p. 205).

One of the two side-chapels of the originally Romanesque church, rebuilt in Gothic style after almost complete destruction by supposedly lightning, by the way – not in Schlieker, Die Verehrung des hl. Hubertus im Wandel der Jahrhunderte, 2016 – consecrated to St. Hubert, while the “Devil’s Bell”, according to the legend being not baptised and therefore hanging on the outside of the tower, reckons among the Seven Wonders of Louvain.

Offer no. 15,512 / EUR  178. (c. US$ 215.) + shipping

“ Received the (original Ridinger printing) plate yesterday. Much Thanks from a satisfied customer. You are a True Gentleman … All the Best! L… F. ”

(Mr. L. A. F., November 5, 2003)


The  Cream  of  the  Day