3 x Saint Hubert pure
complemented by some more
For the First Time in Wall-fitting Format
Saint Hubert of 1573
Cort, Cornelis (Hoorn 1533 – Rome 1578). St. Hubert. The South Netherlandish “Wild 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).
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
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
(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 –
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 , 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).
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).
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).
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.
“ (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 , 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 , 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
“ Thank for the images … Convinced … wrap it up and forward an invoice and I will post you a check … attached a photo of my Vessel … Look forward to more … Thanks ”
(Mr. M. M., June 13, 2006)