“ Excellent Portraitist of the Horse in Motion ”



Arthur Grunenberg, Bolting Stallion
Bolting Stallion

who keep the Ball rolling

Grunenberg, Arthur (Königsberg 1886 – Bad Reichenhall). Rossebändiger (Horse Tamer). Suite of lithographed title and

11 (instead of 12) chalk lithographs

(7⅛-9¼ × 8½-10⅝ in [18-23.5 × 21.5-27 cm]), 10 of which inscribed below right in pencil: A. Grunenberg. (Berlin, Wasmuth, 1922.) With lithographed written sheet contents. In orig. h. vellum portfolio (33.5 × 43 cm [13¼ × 16⅞ in]) with lithographed ills. front cover together with title + author.

AKL LXIII (2009), 471 f.; Thieme-Becker XV (1922), 146; Vollmer II (1955), 325. – Exhibitions: Kunstsalon J. Casper, Berlin, May 1914 + Galerie Arnold, Dresden, March 1927.

One of 40 copies on untrimmed thin Japan and, lithographed title and contents sheet, Japan vélin.

Arthur Grunenberg, Dioscuri 1
Dioscuri (first sketch)
Arthur Grunenberg, Dioscuri 2
Dioscuri (second sketch)

1. Dioscuri (first sketch) – 2. Dioscuri (second sketch) – 3. Absalom – 4. Amazon looking out – 5. Injured Amazon – 6. Stallion taming – 7. Horse Tamer (replaced, see below, and therefore not signed) – 8. Restive Horses – 9. Bolting Stallions – 10. Bolting Stallion – 11. The Tamed Stallion (inadvertently not signed) – 12. Morning Ride .

Without sheet 7, “Horse Tamer”, for which the supposedly identical

Arthur Grunenberg, Horse Tamer

Title Lithograph

which itself is not the same as the front cover illustration, was trimmed with loss of publisher’s address and presumably numbering – known here a copy once on the market numbered “XXIII/40”, missing on its part the lithographed contents sheet – to the smaller format of the suite itself, consequently it was not mounted under boards either. The latter original passepartouts, not always fitting anyway and regarded as responsible for isolated trifling foxspots in the mostly white field (only sheet 4 generally slightly touched), were replaced by foil-protected mounting on acid-free light cardboard. – The portfolio foxspotted, but scarcely on the front cover with its fine large representation (6⅛ × 5⅛ in [15.5 × 13 cm]) between the writing in chalk.

The splendid suite

Arthur Grunenberg, Horse Tamer

in its unheard of palpable speed of movement

present in impressions of deep black, due to the edition of great rarity – so then also not in the hippological Sarazin Collection, Basel, covering 1527 till 1930 and dissolved 1999 – , as reverence by the artistically so singularly brilliant early German 20th century to milleniums-old equestrian culture, exemplified by the opening sheets of dioscuri (“Sons of Zeus”) + Absalom (son of David) . Just as the set as a whole directly follows the 1921 painting

“ The Dioscuri taming the Horses ”,

that is Castor + Pollux, the latter according to one of the traditions set by

“ Zeus onto the sky as a reward for their brotherly love … as Gemini or as morning and evening star … Polydeukes (Pollux) is distinguished as pugilist,

Castor chiefly as horse tamer ;

but both also appear as horsemen or as driver …

The arts used to depict the dioscuri as nobly formed hero youths of slender, but strong built … Usually they are formed naked (all just as here, too) or dressed just with a light chlamys. Almost always they appear in connection with their horses, and that standing beside them, rarely as riders ”

(Meyers Konversations-Lexikon, 4th ed., IV, 1001 f.).

Arthur Grunenberg, Absalom

The Absalom scene quotes the moment when during the armed conflict with King David with deadly consequence the former was “stopped by his long hair by a terebinth (Pistacia terebinthus, turpentine tree)” (op. cit. I, 54).

Arthur Grunenberg, Stallion Taming
Stallion Taming

Grunenberg, “painter and engraver … devoted himself after legal studies at the suggestion of F. von Lenbach to the art … especially depictions of dance and rhythmically animated youthful figures … recently he also paints highly colorful flower pieces and monumentally animated group compositions like ‘Dioscuri taming the Horses’ … Besides comprehensive graphic activity” (Thieme-Becker).

And Vollmer supplementing:

“ Preferred as motifs the rider and the dancer and danseuse resp. Uses mostly red chalk or chalk.

Excellent portraitist

Arthur Grunenberg, Bolting Stallions
Bolting Stallions

of the horse in motion ”

The latter then here fascinating up to the final sheet, the back scene of the morning ride whose rider is accompanied by two runners. A unique composition of bodily animation. Embraced by the motion of flat-like trees.

Arthur Grunenberg, Morning Ride
Morning Ride

Offer no. 15,145 | EUR 2000. | export price EUR 1900. (c. US$ 2297.) + shipping

“ this is to let you know that the book has arrived in excellent shape, and that I am delighted to have it ”

(Mr. P. M., April 30, 2003)