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Antiquariat.de

Aus A. Hendschel's Skizzenbuch.

(COBWEB, PAINTING ON). "GEMALDE AUF SPINNENGEWEBEBiblio.com

PORTRAIT OF A WOMAN FROM THE LOWER INN VALLEY IN HER TRADITIONAL COSTUME

1870ST11417Innsbruck ca. 1870. Folder: 240 x 206 mm; 9 1/2 x 8 1/8"; painting: 133 x 102 mm. 5 1/4 x 4". Matted and housed in a black cloth-backed folder with black paper boards. Front pastedown with a sample of the cobweb material and a large paper label in three languages; lower right corner of mat stamped with the name "F. Unterberger / Innsbruck." Edges and head and tail of spine slightly worn and bumped light foxing to the mat and interior of the folder a hint of toning to the lightly colored sky a tiny hole just grazing the hairline of the subject small closed tear at the bottom of the image but all of these imperfections quite trivial the fragile painting IN ESPECIALLY FINE CONDITION with the colors very bright and an altogether remarkable survival. Featuring a comely wistful young peasant woman this highly unusual piece of art redefines our notion of the term "fine" being both skillfully executed and painted on a whisper thin canvas consisting of actual spider webbing. While the earliest such cobweb paintings are purported to have been done by monks and nuns in the 16th century the form later became a kind of peasant art geared toward the tourist trade in the 19th century. It seems to have been a particular specialty in the areas near the Tyrolean Alps where the Agelenidae or "Funnel-Web" spiders produced webs that were gathered then layered wound and stretched producing a fabric that was then strengthened by the brushing on of diluted milk. The result was a very fragile fabric but one sturdy enough to withstand delicate brushstrokes applied by the careful hands of skilled artisans. Our piece almost certainly passed through the hands of one of the most successful purveyors of these paintings Franz Unterberger 1838-1902. Best known as a painter in oils of Italian scenery Unterberger also ran a small workshop located in Innsbruck where he commissioned and sold cobweb paintings done by accomplished locals. Anonymously painted the present piece is characterized by particularly fine brushwork a bright color palette and charming subject matter no doubt chosen to appeal to tourists seeking a cheerful memento of their travels. Due to the obvious fragility of the material involved these kinds of paintings are uncommon on the market and when they do appear are often defective. The present painting is significantly larger than the few other examples we have been able to find. There are two paintings in the McCormick Library at Northwestern each measuring 4 x 3" and larger than recent examples at auction which ranged in size from 3 1/4 x 2 1/4" to 4 1/2 x 3 1/4". According to Lauren Hock's article on the McCormick Library website 22 July 2008 there are fewer than 100 known extant cobweb paintings and most of them reside in private collections. unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

(FORE-EDGE PAINTING). [SCOTT, SIR WALTER]Biblio.com

MINSTRELSY OF THE SCOTTISH BORDER

1810ST17640ccEdinburgh: Printed by J. Ballantyne and Co 1810. Fourth Edition Second Large Paper Impression. 241 x 146 mm. 9 1/2 x 5 3/4". Three volumes. Pleasing contemporary black straight-grain morocco covers with gilt floral frame enclosing central panel with blind-stamped thistle cornerpieces raised bands spines heavily gilt in compartments with much swirling foliage gilt turn-ins marbled endpapers all edges gilt. Volume I WITH AN ATTRACTIVE FORE-EDGE PAINTING OF THE MERCAT CROSS IN MELROSE ROXBURGHSHIRE. Front pastedown of volumes II and III with engraved bookplate of W. J. Denison see below; volume I with evidence of bookplate removal; copy of an engraving of Boston Church Lancashire laid in at rear of volume II. Todd & Bowden 8Ag. ◆Joints and extremities a bit worn boards with a number of abrasions well masked with dye minor foxing here and there in the text nine gatherings with faint overall browning due to poor quality of paper but still an excellent set the leaves clean the once quite dazzling bindings still sound and very pleasing on the shelf and the fore-edge painting well preserved. Apart from the fore-edge painting here this is an important work in the Scott canon offered in pretty contemporary bindings that once belonged to a person of great wealth and influence. Scott collected traditional ballads on his trips to the Borders region and in 1796 began compiling this work in an effort to preserve folklore of his native land that might otherwise be lost. Our fourth edition contains 27 historical ballads 52 romantic ballads and 20 imitations written by Scott and his friends. According to Day "The whole bent of Scott's later imaginative writings both in verse and prose was governed by this ballad spirit. Probably this work was Scott's greatest contribution to poetry." The handsome fore-edge painting depicts in a realistic style the mercat cross marking the central marketplace in Melrose a town in the Scottish Borders near Scott's home at Abbotsford. A 12th century law required that all goods for sale be presented at a town's mercat market cross a tall column usually topped with a small statue. Such is the cross at the center of our painting which is rendered in subdued grays and browns. Two streets lined with thatched houses and shops wend away from the central marketplace and a large gray-green mountain looms in the background. A small Scottish terrier trots across the center of the scene; a couple of merchants chat beside the cross; a woman and small boy head up one of the streets while an old man with a cane walks up the other. It is a tranquil scene but enlivened by the townsfolk and the cheerful little Scottie. It is unusual for only one volume in a set to be so decorated; something must have interrupted the artist before he could complete the commission. Perhaps the print laid in volume II was intended to be an inspiration for its fore-edge decoration. Former owner W. J. Denison 1770-1849 was a banker and politician who was one of the richest men in Britain; he left an estate valued at £2.3 million. A staunch Whig member of parliament for 38 years he was a strong advocate for parliamentary reform and was one of the founders of the Reform Club. He acquired vast estates in Yorkshire and Surrey but declined a peerage when it was offered in 1820. Printed by J. Ballantyne and Co unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 300,00 $US≈ 1 099,93 €

(FORE-EDGE PAINTING). STEVENS, REV ROBERTBiblio.com

SERMONS ON OUR DUTY TOWARDS GOD OUR NEIGHBOUR AND OURSELVES; AND ON OTHER SUBJECTS

1814ST12630London: Printed for John Booth 1814. FIRST EDITION. 225 x 133 mm. 8 7/8 x 5 1/4". 1 p.l. lviii 416 pp. Pleasing contemporary midnight blue straight-grain morocco covers framed by plain gilt rules outlining Greek key and palmette blind rolls raised bands compartments with central gilt fleuron radiating densely blind-tooled foliage gilt-ruled turn-ins all edges gilt; WITH AN EXCELLENT FORE-EDGE PAINTING OF DOVER CASTLE. A PRESENTATION COPY with slightly foxed signed autograph letter bound in opposite title with letter offsets: "The Author / begs Mr. E. S. Stephenson's / acceptance of this Volume / as a token of his / friendship and esteem. / R. S." Front pastedown with unidentified armorial bookplate. Full list of subscribers including addenda. ◆A bit of wear to corners and joints a very small ink stain to edge of preliminary leaves visible at upper left background of fore-edge painting not affecting primary image otherwise a fine copy clean and fresh internally in a lustrous binding. This is a decorative binding highlighted by an atmospheric fore-edge scene of Dover Castle painted by a skilled artist. The view depicts a cottage along a country road in the foreground with Dover Castle looming in the background against a hazy sky; a small figure presumably the cottage owner stands right of center. The scene is well designed with the eye moving from the cottage and castle towers at left toward the sea at the far right the foreground landscape's more saturated color anchoring the composition. Of particular note is how this foregound contrasted with the background's washed color creates the illusion of perspective. Despite the light browns and greens at the bottom of the scene the painting is essentially gray and particularly tranquil as a result. The skill of the painter here is seen most notably in his delicate and subtle shading a challenge that defeats even very able practitioners of the fore-edge painting. As always the dating of the painting is difficult but we think that it was done much closer to the time of publication than to the present day. Our author the Rev. Robert Stevens was a celebrated speaker who ultimately rose to become the head of the chapter of canons at Rochester Cathedral. Printed for John Booth unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 352,00 $US≈ 1 143,93 €