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Fuchs, Richard, painter (1852-1916).MareMagnum

Sunset on the Nile. No place, ca 1900.

[Battala woodcut]. Karmakar, Jadubandu (printer).MareMagnum

Raja Sabha [The Raja's court]. [Calcutta], printed by Jadubandu Karmakar, [ca. 1840].

Woodcut on paper. An evocative court scene in an ornamental woodcut border, title and impressum in Bengali within a cartouche situated at bottom centre. The only known copy of a Battala woodcut showing a lively scene at the court of an Indian Raja, with the Raja and eminent courtiers, European colonial officers, musicians, dancers, and even dogs present. This is a very rare example of a Battala woodcut print, which were produced in the early to mid 19th century in the Battala neighbourhood of Calcutta (Kolkota). These prints showed often somewhat crude but evocative religious or secular illustrations, produced for people of the lower economic classes who could not afford the watercolours that inspired these woodcuts. An estimated number of only 100 to 200 prints of these Battala woodcuts have survived, as they were printed on cheap, thin, low quality paper stock. - During the early 19th century, there existed in Kolkata a substantial industry of woodcut printing. The artists, publishers and printers were active in the Battala neighbourhood, in the northern part of the city, after which the surviving woodcut prints are named. Large, single-leaf woodcuts - like the present example - were produced as cheaper versions of the already inexpensive watercolours called patas, which were in turn inspired by illustrated Mughal manuscripts. The patas were sold from stalls in the southern part of Kolkata, near the Kalighat Kali Temple, a renowned Hindu temple that is also regarded as one of the 51 Shakti Peethas of India. It was then, and still remains, an important pilgrimage destination; the patas, and later also the woodcut prints, were sold to the pilgrims as souvenirs. As the Battala woodcuts were inspired by and based on these patas, it is little surprise that one of the most famous Battala woodcuts is that of the Hindu goddess Kali, of ultimate power, time, destruction and change. While most Battala prints feature religious illustrations, other specimens show past and contemporary celebrities, mansions of the rich, fairs and festivals, and other secular themes, including the Raja's court, as in the present example. - The existence of the Battala prints, alongside the pata watercolours, was short-lived: they emerged and became popular in the early 19th century and by the end of the century had almost completely disappeared due to the arrival of lithography, a simpler, less labour-intensive process that was capable of producing cheaper prints, even in colour. - Condition: paper somewhat worn, mainly along the lower margin, slightly affecting the border and lower right corner of the illustration. The top and lower margins have been slightly reinforced on the reverse. Overall in good condition. One of a very small number of surviving Battala woodcuts, the only known example to show the Raja's court. F. Hirsch, "A Rare Kali Woodcut From the Era of the Battala Printers", Art in Print 6.3 (Sept.-Oct. 2016), pp. 24-28.

Inlibris · Wien, AT8 500,00 €

[China and Sri Lanka].MareMagnum

Album of watercolours. Shanghai, Hong Kong, Colombo, and other places, 1895-1896.

Large 4to (180 x 255 mm). 26 watercolours on 25 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting an extensive journey from Shanghai to Sri Lanka via Hong Kong made by a female British artist, Frances de la Poer. The volume opens with a full-page depiction of a traditional Chinese lotus shoe captioned "The Brides shoe Shanghai Nov 30th 95", decorated with a sketch of two women in festive dress beneath a tree. The artist apparently had attended a wedding in Shanghai, as she also portrayed "The brides sisters" on the verso of the same leaf underneath a panorama of the Yangtze river crowded with junks. This latter watercolour is stated to have been drawn on deck of the Canadian ocean liner "RMS Empress of Japan", bound for Hong Kong. On 3 December, Frances de la Poer captured in an atmospheric watercolour the Lei Yue Mun channel ("Lymoon pass") that separates Kowloon and Hong Kong Island, followed by another river scene showing clothes drying on the shore of the Pearl River. The album continues with a portrait of two Chinese men in traditional attire and two more landscapes of the Pearl River (here captioned "Canton River") and its mountainous surroundings. On 13 December the artist had already reached Malaysia, as evidenced by an unfinished watercolour depicting a group of people with cattle. The journey continued on the German "Reichspostdampfer Preussen", documented in the caption of a stunning landscape of the Sumatran coastline from 16 December. - After a longer interruption, the Ceylonese section of the album starts with an impressive depiction of a lake near Bandarawela, dated 26 Jan. 1896. The artist explored the south of the island, painting a landscape in Badulla, a "lace seller" in Colombo, a river scene near a British fort, a young boy, a Buddhist stupa, acrobats in Yatawatta, huts in a village and a woman in Kandy province, a Tamil coolie working with tea and other labourers, but also a scorpion and, in pencil, a spider and lizards. Several drawings are also annotated in Sinhalese. A series of larger pencil drawings is followed by two final watercolours: a beautiful depiction of Galle Lighthouse, the oldest lighthouse on the island, and a charming scene on deck of the British ocean liner "RMS Ormuz", dated 22 February. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored. Two leaves apparently excised, but generally well preserved.

Inlibris · Wien, AT8 500,00 €

Mirabella e Alagona, Vincenzo.MareMagnum

L'antiche Siracuse. Naples, Lazzaro Scorriggio, 1613.

Ca. 114 x 160 cm (map size; visible size ca. 131.5 x 177.5 cm). Engraved. Framed and glazed in broad burl wood veneer frame with insignificant damage (141 x 187.5 cm). Monumental reconstructive map of ancient Syracuse and its surroundings from Vincenzo Mirabella e Alagona's famous 1613 publication "Dichiarazioni della pianta dell'antiche Siracuse", dedicated to Philip III of Spain, King of Sicily. The map covers a large area, roughly from the island Ortygia, the historical centre of Syracuse, to the Euryalus fortress, and from the source of the river Ciane to the so-called House of Archimedes, and shows often fantastical renderings of such important monuments as the Temple of Apollo, the Greek and Roman theatres, and the ancient quarries called Latomie, including a staffage of fantastical ships. - The ornamental border, featuring reproductions of the obverse and reverse of 39 Greek coins, was specially engraved and described for the publication. Many of the coins of the notorious tyrant Dionysius I of Syracuse and subsequent rulers show the famous triskelion composed of three bent knees, a symbol which today forms part of the flag of Sicily. The dedication of the book to Philip III of Spain is repeated in an inscription with the title of the map and the name of its author. The dedicatee is also represented by the monumental coat of arms in the upper right corner of the map. The nine copperplate engravings are signed by the otherwise unknown Francesco Lomia from Syracuse and are dated 1612, but the plates were published with the book in 1613. - Vincenzo Mirabella e Alagona (1570-1624) was a historian, archaeologist, and architect from Syracuse. He married into one of the leading families of the city, held public offices, and realized several building projects, such as the Theatine Church of San Andrea and the renewal of the cathedral square. In 1608 he accompanied Caravaggio on several visits to the Latomie. The painter subsequently coined the name “Ear of Dionysius” for one of the ancient quarries, which is still in common use. - Generally well preserved, with small chafed areas to some plates, one of which with hand-drawn additions, and some stains.

Inlibris · Wien, AT7 500,00 €

Moffat, James.MareMagnum

Vexation and Strife. Calcutta (Kolkata), 1797.

Aquatint etching on paper (leaf ca. 290 x 380 mm; plate 270 x 350 mm; illustration 245 x 315 mm). A domestic scene of a couple fighting at a table, a shrouded dark figure watching from the background. Captioned "Vexation and Strife" and signed "Calcutta J. M. del. et sculp. 1797". Printed on laid paper with the bend watermark of J. Whatman (Heawood 104). Very rare aquatint and etching by James Moffat, with a rare Calcutta imprint. The subject of the print is a subtle caricature of domestic strife over the intoxication of a (supposedly) British colonial. The only other known copy is described as follows by Yale's Lewis Warpole Library catalogue: "In the center of the image a woman, dressed in a short shift, angrily pulls a bottle from the hand of a drunken man. The man sits at an oval drop-leaf table with his right fist raised and a cigar hanging from his mouth as smoke billows around his head. He holds onto a bottle with his left hand, a glass and pile of cigars at his elbow. The woman standing over the table on the left angrily points with her left hand to a clock on the wall which shows the time as 5:05. In the background on the left, a dark-faced, cloaked figure stands before the curtained doorway on the left; the double doors on the right are shut. Also on the table is a lit candle in a glass globe; an overturned pitcher pours onto the floor in the foreground". - James Moffat (1775-1815) was a Scottish engraver who worked in India. He arrived in Calcutta in 1789, joining the "Calcutta Gazette" in 1797. Moffat is mainly known for his topographical views of India, but he also produced several satirical prints such as the present specimen. He "supplemented his income by producing satires of Anglo-Indians (British colonials who spent time in India) at a time when these were becoming increasingly popular" (Smylitopoulos, p. 12). Most of these satirical scenes were sent by the amateur artist to London to be engraved and published, but the present example with its Calcutta imprint in the signature proves the exception to this rule. - Moffat's topographical views of cities, buildings, rivers and other landscape features are rare, and his satirical domestic scenes are even rarer. The only other copy that can be traced in institutional possession that that in the Lewis Warpole Library at Yale University, and it almost never appears in the trade, with only two records in historical auction results (one in 1933 and one in 2020, possibly the present copy). - Two small tears, one in the top margin and the other in the bottom, neither affecting the illustration. Very slightly stained in the margins. Overall in very good condition. OCLC 701812946 (a single copy, at Yale). For Moffat's career cf. H. de Almeida & George H. Gilpin, Indian Renaissance: British Romantic Art and the Prospect of India (2005) pp. 249f.; C. Smylitopoulos, "Portrait of a Nabob: Graphic Satire, Portraiture, and the Anglo-Indian in the Late Eighteenth Century", in: RACAR 37.1 (2012), pp. 10-25.

Inlibris · Wien, AT7 500,00 €

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