Waterlo, AnthonieAntiquariat.de
4 résultats
1700901401AG[Um 1700?]. Radierung 28,5 x 23 cm
16501684Amsterdam 1650. Etching on cream laid paper 5 1/8 x 5 3/4 inches 130 x 147 mm trimmed at the platemark thread margins. Adhered at the left top and bottom corners to a laid paper matrix. A 1/4-inch vertical edge tear at the lower-center sheet unobtrusive. Printed 17th century. <br /> <br /> Bartsch 19. Early states of this plate were drafted by Jan Ruijscher a pupil of Rembrandt. Waterloo later acquired the plate heavily reworked it with his characteristic dense foliage and darker shadows and published it as his own. unknown
16505021650. Etching on thin cream laid paper with a partial "M" or "W" watermark 5 x 5 15/16 inches 126 x 150 mm thread margins. Inscribed in the plate in the upper-right: "Antoni Waterlo fe. et in." In very good condition with light toning in the top right and left corners at the location of a former mount and scattered inscriptions in pencil on the verso. With a charming ovoid beehive collectors stamp in purple ink on the verso Lugt 2732. Because this impression lacks the additional cross hatching and vertical shading on the trunk of the large tree in the left portion of the image and the mound of earth in the left-center sheet it is our opinion is that this is a first state impression of two and before the 1776 publication by Basan. A comparable impression may be found in the collection of the British Museum. Plate six from the series "Six Landscapes." <br /> <br /> Bartsch 52.1; Hollstein 52. On the collector's stamp taken from Frits Lugt Les Marques de Collections de Dessins & d'Estampes Fondation Custodia:<br /> <br /> "We have not found the owner of this mark the name of which must probably be related to what it depicts a beehive which could symbolize a concentration of elements around a collection. For us it evokes the words of the great art historian Henri Focillon who wrote in the preface to the catalog Le Dessin français dans les collections du XVIIIe siècle Paris 1935: "It is because the particular genius of the collector consists by the certainty of discernment and by the personality of choice to make with the genius of others a honey that belongs only to him. » In the margin of the copy of Frits Lugt's book The Marks of Collection of Drawings & Prints 1921 from the Galerie Karl & Faber in Munich it is written "Slg. Moran" opposite number L.2732 with a reference to the Supplement 1956 p. 409. In the latter there is indeed a note at the end of the objects section: "Bienenkorb mit und ohne Initial "M": Slg. Moran Berlin". But we have not yet found any information on this Moran collection from Berlin which would perhaps allow us to identify this amateur beekeeper. A landscape drawing attributed to Theodorus Wilkens sold on the art trade at Christie's in Amsterdam on November 14 1984 under number 130 was presented in the auction catalog as coming from a "Moran collection Berlin its mark not mentioned in the Lugt". It reappeared in 2004 in the catalog of the Winterberg house in Heidelberg Meisterzeichnungen aus fünf Jahrhunderten under number 21 and this time noted as coming from "anonymous collection L.2732". The joint presence on several drawings and prints of this mark L.2732 associated with the name "Moran" and of the unidentified mark L.4218 M in capital letter followed by a point both stamped in purple ink encourages us to write that these two brands are linked to the same collection. They are found stamped on several prints: for example on a mezzotint by Wallerant Vaillant sale 1995 November 28 London Christie's n° 336; on an etching by Daniel Chodowiecki sale 2001 June 7 Hamburg Hauswedell & Nolte no. 139; on an engraving by Pieter II de Jode after J. Jordaens sale 2004 November 24 and 25 Haarlem Bubb Kuyper no. 3485; on three burins by Hans Sebald Beham from the series Les Noces de village B. 157 B. 161 B. 162; sale 2016 March 22 London Sotheby's no. 21. They are still together indicated on an etching by Breenbergh bearing in particular the mark of the doubles of the Kupferstichkabinett in Berlin L.2398 archives of the Fondation Custodia January 9 2016. They are also stamped together on the mount of a wash attributed to Bartholomeus Breenberg sale 1998 November 9 Amsterdam Christie's n° 102. The L.2732 mark alone has also been reported on old prints: La Sainte Famille by Bartolommeo Biscaino sale 1987 December 8 and 9 Berlin Bassenge Auktion 50 n° 4044; a Shepherd and his herd walking by Gerrit Claesz Blekker bearing the marks of Cabinet Brentano-Birckenstock L.345 and of J. Pricken L.2049 B. 9; id. n° 4045; Empedocles by René Boyvin after Rosso id. no. 4072; three woodcuts by Albrecht Dürer B. 76 B. 82 and B. 86; sale 2007 March 28 London Christie's nos. 61 62 and 65. It has also been reported alone on drawings: sale 2000 November 24 and 25 Berlin Bassenge Auction 76 n° 5647 as Wilhem F. Schlotterbeck 1777-1819; sale 2014 June 14 Hamburg Hauswedell & Nolte n° 556 as Jan Hackaert. We also do not know why Lugt proposed the name of Zeidler of Nuremberg in the 1921 notice except that the coat of arms of the bibliophile Carl Sebastian Zeidler 1719-1786 presents a beehive and the word 'zeidlerei' being an old name to indicate the collection of honey. unknown
1700910116CGUm 1700. Radierung, Bildgröße 22,5 x 29 cm, Blattgröße 23,5 x 29,3 cm.
