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310:245 mm, under oval mat. A seated young lady, handkerchief in hand, smiling and eyes cast down bashfully, wearing a white bonnet and a dark, semi-transparent cloth flung over her cape, her petticoat having slipped to her thighs and revealing her tightly closed legs from the knees downward. - A rare example of a risqué drawing by Shepard, best known for shaping the definitive image of "Winnie-the-Pooh", but also a prolific staff-member of "Punch" and illustrator of favourites such as "The Wind in the Willows" and "David Copperfield". - Slightly warped. No publication of this image could be traced.
Albumen print, 209 x 269 mm, mounted on backing cardboard (298 x 400 mm). A large head-and-shoulders portrait of Stalin, shortly before the beginning of the Great Purges. - A few unobtrusive scuff marks; backing cardboard smudged and stained. Russian lab label on reverse: "Foto-Laboratorija, U.P.P. Leningradskogo Otdelenija, Muzfonda SSSR, Leningrad. Lenoblgorlit No. 1094". Rare.
14 mounted plates in pencil, ink and colour wash, 2 of which are stuck to the outsides of the portfolio's protective boards with cloth ties. Various sizes, but mostly ca. 170 x 130 mm. Signed and captioned in English and Hungarian. Rare survival of a collection of sketches from the Russian POW camp in Peschanka, Siberia, all executed by an evidently accomplished, otherwise undocumented Hungarian artist (and soldier in the Austro-Hungarian army) who captured the conditions in and around the camp during the later years of the First World War. Thám's caricature-like style is marked by clear, precise outlines reminiscent of the contemporaneous work of Olaf Gulbransson and Eduard Thöny. The two larger sketches on the cover boards (measuring ca. 170 x 220 mm) show self-portraits of the artist, at work at oil paintings (one a landscape, the other a nude). The leaves within show prisoners climbing the bunk bed or resting in their crowded cots, marching through a snowed-in camp carrying heavy buckets, playing chess, etc.; some are captioned "Coming from the American Y.M.C.A. Kitchen", "The Red Cross library", or even show ladies in fur coats with an officer "at the exhibition", while a few others have Easter Greetings themes. - Peschanka is near Chita in the Transbaikalia region, on the Trans-Siberian Railway, 6035 kilometres from Moscow. While during the Great War conditions in the POW camps on the whole were vastly superior to those during WWII, thanks to the efforts of the Red Cross and inspectors from neutral countries, the situation in the Siberian camps was notoriously poor, and as many as a quarter of the 2.1 million Austro-Hungarian soldiers whom Russia held as prisoners of war did not survive. - Browned due to paper, with occasional edge flaws, but well preserved.
Each puzzle measures 195 x 245 mm. Each puzzle with an engraved plate mounted on thin wood, coloured by a contemporary hand and cut to form a jigsaw puzzle, with engraved caption and short description below the image. Stored in the original cardboard box with an etched and engraved sample plate for a fourth puzzle (with caption "Équité de l'empereur") on the top, coloured by a contemporary hand, and an embossed gilt-paper border. Each puzzle with the original pink paper wrap-around slip preserved. A fine and colourful set of jigsaw puzzles depicting scenes from the life of Napoleon Bonaparte. Two of the puzzles and the sample plate have the address "Ulysse Paris" engraved in the image. Each puzzle has 20 pieces: the first depicts Napoleon calmly sleeping in a chair after having given orders to his generals on the eve of the battle of Austerlitz (1 Dec. 1805); the second shows Napoleon addressing an exhausted soldier - a scene from the battle of Lodi on 10 May 1796, fought between Napoleon's forces and the Austrian rear guard commanded by Johann Beaulieu. The third puzzle shows Napoleon as merciful emperor, receiving the thankful wife and children of a Prussian lord accused of conspiracy, whom he pardoned. The puzzle matching the scene depicted on the top of the box is not included. A few pieces cracked at thin spots; box slightly defective with traces of handling and browned. A good set.
22 Bll. Meist 8to und 4to. Die vorliegenden Arbeiten umfassen sauber und vollständig ausgeführte Modeentwürfe, Akte und Werbezeichnungen und bieten in ihrer Gesamtheit ein schönes Ensemble von Arbeiten der Wiener Künstlerin. - Käthe Berl hatte Kostümdesign an der Akademie für angewandte Kunst bei Franz Cizek studiert. Nach ihrer Emigration 1938 nach London war sie dort für das österreichische Kabarett "Das Laterndl" tätig und emigrierte im Jahr darauf nach New York, wo sie als "Pionierin der räumlichen Emailkunst" (Nachlässe in Österreich. Personenlexikon. Literaturarchiv der Österreichischen Nationalbibliothek) wirkte und an der University of Long Island Unterricht in Maske erteilte. Daneben schrieb Käthe Berl Beiträge für "Ceramics Monthly", "The Art of Enameling" und "Crafts for the Aging" und veröffentlichte die Verse "Von Kindern für Kinder", das als Wiener Jugendkunst-Bilderbuch Nr. 1 bei Hirt in Leipzig verlegt wurde.
Superficie in rilievo su jemsonite. Multiplo originale numerato e firmato dall'artista sul retro contenuto in display in perpex. Esemplare 13/25 Display in perspex di Euromod, Roma. Confezione di Green Imballaggi, Roma. Progetto grafico by Artefatto, Roma. Cm 28x30. . . Perfetto (Mint). . Tiratura 25 es. num. + VIII p.d.a.. . La jemsonite è un composto di gesso e resina acrilica di produzione inglese che possiede eccellenti qualità di resistenza meccanica, durabilità e non tossicità. Non richiede manutenzione e può essere pulita con acqua e sapone. Questo multiplo pertanto ha la caratteristaca di opera durevole nel tempo, come se fosse realizzato in pietra o bronzo
Cartella completa contenente 12 acqueforti e due disegni firmati Decroix che raffigurano due dei ritratti incisi. “Il a été tiré de cette suite 75 exemplaires numérotés sur papier de hollande. Exemplaire n. 3” con firma autografa dell’autore. I ritratti raffigurano siberiani, tartari, coreani, “enfants de troupe” ecc. Ogni acquaforte (il foglio misura cm 33x26) reca la firma di Decroix a matita, e il titolo del ritratto. Lo stesso Decroix (Lille 1878-1936 Parigi) fu prigioniero di guerra e passò due anni in un campo in Germania, liberato nel 1916 raggiunse la familgia a Berna per poi trasferirsi a Parigi. Assai raro.
WITH ONE OF KIYOSHI HASEGAWA'S MOST IMPORTANT PRINTS. *** 12 pp. plus 6 loose engravings. *** A monograph on engraving followed by short biographies of each of the six artists, accompanied by a suite of six large engravings, one each by Cami, Cottet, Decaris, Jeannisson, Hasegawa, and Lemagny. From a total edition of 320 copies, all printed on fine Marais wove paper. Hasegawa's engraving, "Anemones et fleurs de champs dans un verre a facettes" (Kyoto 368, also known as "Bouquet sur fond de dentelle"), is considered one of his masterpieces. Folio (38 x 28 cm). Loose as issued. Missing title-page and justification, but with complete text and all prints. The Cami and Jeannisson prints have a bit of mat burn on the recto and the Lemagny a bit on the verso. The other three prints, including the Hasegawa, are FINE AND BRIGHT.
NUMBER ONE OF ONLY TEN SETS OF THIS OUTSTANDING PORTFOLIO OF EXPRESSIONIST ETCHINGS, WITH MANY OF THE ETCHINGS PRINTED ON OLD JAPANESE PAPER. In 1918 German novelist Hans Bethge wrote "Satuila oder vom Zauber der Suedsee" ("Satuila or the Enchantment of the South Sea"), the story of a young woman in Samoa. It is a sensual, escapist tale: the situation in Germany was quite terrible after the defeat in WWI, and there was great demand for escapism. This novel was a hit, and a deluxe edition, with 6 original etchings by German Expressionist artist Georg Alexander Mathey, was published in Berlin in 1921. The etchings are extremely beautiful, perfectly capturing the lush sensuality of the landscape and the unabashed sexuality of the characters (similar to the depictions of Gypsies by Otto Mueller, from about the same time). This edition of the novel was limited to 250 copies. Aside from the book edition, 10 sets of the etchings were printed, with large margins. In these 10 sets, each of the etchings is signed and numbered by the artist. I OFFER ONE OF THESE 10 SETS: SET NUMBER 1, with each of the etchings numbered 1/10 and signed in pencil by the artist. FOUR OF THE SIX ETCHINGS IN THIS SET ARE PRINTED ON OLD JAPANESE PAPER, AND ARE PERHAPS UNIQUE AS SUCH. Additionally, there is a signed working proof of an early version of one of the etchings, also printed on old Japanese paper. This proof is probably unique, as the etching was never published. The set is as it was issued. Each etching (sheet size 8 1/2 x 7 inches--22 x 18 cm) is individually matted, and the original parchment-backed cloth portfolio case (16 1/2 x 13 inches--42 x 33 cm). There is a little light wear to the portfolio, but the etchings are fine and bright. An important and extremely rare item (and perhaps the only German Expressionist depictions of the South Pacific!)
365:325 mm. Mounted on cardboard. In passe-partout. Fine portrait of an Arabian horse. - Slightly spotty.
Signed "A. Alintor" (?). 205 x 460 mm. An imaginative rendering of the Masjid-i Jahan-Numa (World-reflecting Mosque) in Delhi, shown here in the midst of a desert, with camels and bedouins in the foreground. - Mounted on cardboard; two small tears to lower edge.
14 Aquarelle (teils auf Tonpapier) und 4 Bleistiftzeichnungen (2 auf Tonpapier, deckweißgehöht) sowie eine Photographie (Albuminabzug). Zum Teil auf Trägerkarton aufgezogen; Maße ca. 170 x 106 mm. Verso von zeitgenöss. Hand datiert und beschriftet: "Osterwiz, 10tes (bzw.) 9tes Thor von der Rükseite", "Hammerwerk Gurk, Strassburg", "Magdalenenkapelle, Weitensfeld, Altenmarkt", "St. Jakob ober Gurk", "Gundersdorf und Portendorf. Mittagskogel, SIngerberg", "Das schwarze Kreuz bei Gurk", "Draschlbach-Teich und Graben", "An der Gurk: Fernschau nach Mieger und auf den Obir", "Die Gurk: Pregradhof und Zweiniz", "Althofen von Rabenstein aus gesehen", Gut Gundersdorf", "Maiereiteich in Gurk, Aussicht gegen Westen auf die Amtmannwiese", "Verweserhaus am Drahtzuge St. Magdalene, mit der Fernsicht auf Althofen" (Aquarelle); "Silbereck, Fuchshof, Althofen, Grebenze", "Maitratten mit dem Koflachgebirge", "Launsdorf. Mannsberg, Teich bei Osterwiz", "Kalvarienberg Klagenfurt" (Bleistift). Die Photographie (91 x 55 mm auf Träger) zeigt Treibach-Althofen. - Sauberes, wohlerhaltenes Ensemble.
255 x 180 mm. Copperprint engraving, cut, hand-coloured and dressed with several fabric fragments, some with metallic threads, metallic lace details, and ground glass. Stitched at an early date to a ruled paper mount. Later giltwood frame and glazing with framer’s label ("Collard Doreur sur bois. Versailles’", ca. 1830-40). Striking and well-preserved example of a so-called "dressed print", based on a devotional engraving of Mary Magdalene by the German engraver and publisher Martin Engelbrecht (1684-1756), dating to the mid-18th century. The materials and style of the adornments point to the 18th century, though a later reuse of older fabrics cannot be ruled out. As often, the dressing has been ingeniously applied both under and over the surface of the original engraving. The penitent Mary Magdalene has been modified by being pasted onto glazed paper, producing a dramatic black-sky background, her body is embellished with three different brocade fabrics (two with metallic threads), and the print was further enhanced with hand-colouring, some metallic lace and ground glass. The saint is characterized by her traditional attributes of a cross, a book, a myrrh jar, a straw mat, and a skull, while her left foot rests on a globe or orb. The precious clothes that were added to Mary Magdalene, who is usually just covered by her long open hair as an expression of her ascetism and atonement, almost transforms her into a celestial Mary, thus altering the meaning of the engraving. - The fashion for dressing prints existed probably from the beginning of printed illustrations themselves, though it was a widespread, predominantly female recreation, especially in nunneries and convents, during the 17th and 18th centuries. Dressed prints were often overlooked by art historians and, due to their fragile nature, are rarely preserved in such good condition.
4to. 244 (instead of 248) partly numbered engraved plates. Slightly later full calf with giltstamped red title label to sparsely gilt spine. Very rare edition of "one of the most splendidly illustrated devotional books of the period" (Jantz), containing only the engraved plates and neither the text nor the music. The "Geistreiche Gesänge und Lieder auf alle Sonntags-Evangelien und Episteln so in dem Christlichen Jahre enthalten seyn [...]" were first issued in 1725-26, which saw a reissue under the title "Das Christliche Jahr" in 1735. This title is stamped on the spine label of this copy, suggesting that the present copy is of this latter edition. The plates "represent scenes from biblical history and the lives of the saints [...] exhibit[ing] a high point of Baroque illustration" (Faber du Faur) and are mostly presented within ornamental frames decorated by emblematic vignettes. - Wants title-page. Later handwritten bibliographical note in ink to flyleaf. Hinges a little worn, small flaw at the top margin of the plate showing St. Theresa (not touching image), but otherwise very well preserved. From the library of the Viennese collector Werner Habel, with his ownership stamp to flyleaf. Faber du Faur 1146. Jantz 2379. Bäumker III, 56, 138. Wolffheim 2202. Seebass 301. Nagler XIII, 36 and IX, 418.
In-4° oblungo; frontespizio inciso e 50 tavole incise all’acquaforte da Pinelli (1781-1835), raffiguranti scene di costume ambientate nella campagna romana; i personaggi sono dediti a giochi, lavori, attività varie della vita quotidiana, anche a Roma e nel regno di Napoli; le ambientazioni sono in Ciociaria, Cerbara, Tivoli, Albano, Fracati, Pietra Terrazzana, Roma. L’indicazione di responsabilità presente su quasi tutti i rami è “Pinelli Fece 1815 Roma”. Buona copia.
Xilografia a 3 colori dalla cartella ''Lacrimose'' (3 legni). Questo esemplare p.d.a. presenta solo la stampa di 2 delle 3 lastre (quella centrale e quella sinistra, n. 97, pag. 115 del Catalogo dell'opera grafica di Enzo Di Martino) Firma e data a matita. Stampatore: Giorgio Upiglio, Grafica Uno, Milano. Stampa su carta Hahnemuhle. Timbri a secco dello stampatore e dell'Artista. Esemplare p.d.a.. cm 78x159,3 (Foglio cm 79x170). . . Perfetto (Mint). . Tiratura 42 esemplari. .
- s.d. (1924), 93x78mm, autre. - Tehura. Original proof engraved after the painting "Merahi Metua no Tehamana". Intermediate state for Noa Noa [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of "Tehura", wood drawn and engraved after Paul Gaughin's painting "Merahi Metua no Tehamana" by George-Daniel de Monfreid. Print on fine cream laid paper, annotation by the artist in the left-hand margin. The definitive wood served as the head of chapter VI, "Le Conteur parle", page 81 of the true first edition of Noa Noa published by Crès in 1924, the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. A most important and very first woodcut of Gauguin's masterpiece, engraved by his closest friend and executor, artist George-Daniel de Monfreid, to whom Gauguin offered the painting after two unsuccessful exhibitions. Likely unique proof, part of 17 known test prints from the project to publish prematurely Noa Noa, all made on various fine papers and annotated by the artist. Precious woodcut after Gauguin's masterpiece Merahi metua no Tehamana, showing the painter's wife, his main tahitian model. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts, until then unknown, testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: "When I saw Gauguin for the first time, I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations of this extraordinary man... You immediately felt that he was the Master" (in L'Hermitage, 1903). [FRENCH VERSION FOLLOWS] Epreuve originale probablement unique de cet état intermédiaire de "Tehura", bois dessiné et gravé d'après le tableau Merahi metua no tehamana de Paul Gauguin par Georges-Daniel de Monfreid. Tirage sur vergé crème fin, annotation de l'artiste au crayon en marge gauche. Le bois définitif servira
Kl.-Folio (280:220 mm). Album mit zus. 32 Zeichnungen auf 27 Bll. Die Zeichnungen im Postkartenformat (90:120 mm) teilweise in Blei aquarelliert und teilweise mit Tusche laviert, mit Motiven meist aus den Niederlanden, Flandern und Frankreich, zumeist monogr. "ES", jeweils flächig montiert und mit Goldlinien gerahmt. Lederband der Zeit mit goldgepr. Deckeltitel "Reise Erinnerungen 1887", gepr. Rücken und dreiseitigem Goldschnitt; Vorsatzpapiere aus goldbedrucktem Karton mit feinem ornamentalen Muster. 1 Messingschließe. Die Zeichnungen, ausgeführt von einem geübten Zeichner und jeweils beschriftet und datiert, dokumentieren die Stationen einer Reise: Nijmegen, Kampen, Enkhuizen, Ursem bei Alkmaar, Rotterdam, Utrecht, Antwerpen, Brügge, Brüssel, Mecheln, Tournai, Laon, Soissons, Paris, Rouen, Versailles, Chinon, Fontainebleau, Sully sur Loire und Moulins. - Der Künstler mit dem verschlungenen, wohl als "ES" zu lesenden Monogramm konnte nicht ermittelt werden; vermutlich trug er den Nachnamen Schmidt: Darauf deuten drei beiliegende Photokopien, die wohl die Rückseiten von drei der Zeichnungen zeigen, die als Postkarten an einen Carl Schmidt in Berlin versandt wurden. - Bis auf eine Bleistiftzeichnung mit Allgäuer Gebirgslandschaft, bezeichnet und datiert "Mädelegabel, 15. 8. [18]86", entstanden alle Zeichnungen auf der Reise durch die Niederlande, durch Flandern und Fankreich. Der Spruch "Wie hat das Gott so schön erdacht, dass er den Wanderburschen schafft" unter der Zeichnung von Kampen zu Beginn der Reise deutet darauf hin, dass die Reise zu Fuß angetreten wurde. - Der Zeichner versteht sich meisterhaft auf die minutiöse Wiedergabe von Stadtansichten und historischen Gebäuden; oft beleben treffend skizzierte Staffagefiguren den Vordergrund, oder die Landschaft ist in zarten Aquarellfarben angedeutet. Ein Selbstportrait zeigt den Künstler auf einem kleinen Schemel hockend, mit Zylinder auf dem Kopf, in der Pariser Avenue de Montaigne; ein anderes Selbstportrait, durch einen Spiegel in der Decke gesehen, entstand im Schloss von Fontainebleau. - Einband etwas berieben. Einige Zeichnungen mit Poststempel oder Abklatschspuren eines Poststempels. Innengelenke gebrochen, gering fleckig, Trägerkartons leicht gebräunt.
Zeichentusche auf Papier (Blattmaß 485:295 mm). Unter Passepartout (615:430 mm). Die schöne Dedikationszeichnung zeigt Apoll, auf eine geborstene Schrifttafel weisend. Auf derselben findet sich ein 21zeiliges kalligraphiertes Festgedicht: "Apollo spielt, die Gegend hört | Den Wunderklang der reinen Leyer; | Mir ist kein gleiches Glück beschert, | Ich lodre nicht in gleichem Feuer, | Nur Ehrfurcht ist's und wahre Treue | Die ich der Grosen Fürstin weyhe | [...]". Der Steinblock, auf dem Apolls Leier ruht, trägt außerdem eine 15zlg. Widmung "Der Durchlauchtigsten Fürstin und Frau, Frau Charlotten Amalien, Herzogin zu Sachsen, Jülich, Cleve und Berg auch Engern und Westphalen, Landgräfin zu Thüringen, Marggräfin zu Meissen, gefürsteten Gräfin zu Henneberg, Gräfin zu der Marck und Ravensberg, Frau zu Ravenstein, gebornen Landgräfin zu Hessen, Fürstin zu Hersfeld, Gräfin zu Katzenelnbogen, Diez, Ziegenhain, Nidda, Schaumburg und Hanau, auch Sayn und Witgenstein [...]"; am Schluß der Widmung vom Gratulanten Heinrich David Trinks in millimeterhoher Schrift signiert. Das Motiv von etwas Pflanzenstaffage eingerahmt; im Hintergrund ein Monopteros. Außerhalb des Rahmens vom sonst nicht nachgewiesenen Zeichner signiert: "Calamo delin." (nicht im AKL). - Charlotte Amalie (1730-1801) war die Tochter des Landgrafen Karl I. von Hessen-Philippsthal und seiner Gemahlin Christine von Sachsen-Eisenach. 1750 heiratete sie 20jährig den 43 Jahre älteren Herzog Anton Ulrich von Sachsen-Meiningen, dem sie in der verbleibenden Zeitspanne seines Lebens noch acht Kinder schenkte. 1763 übernahm sie als Vormund ihrer Söhne die Regentschaft im Herzogtum, das finanziell und wirtschaftlich völlig ruiniert war. Aufgrund ihrer straffen Reformen und Sparmaßnahmen, ihres wirtschaftlichen Wiederaufbaus und ihrer Förderung des geistigen Lebens gilt sie als "Retterin des Herzogtums". Die beliebte und volksverbundene Herzogin wurde nicht in der Fürstengruft, sondern gemäß ihrem Wunsch auf dem städtischen Friedhof begraben. - Hübsche Zeichnung als Jubiläumsgabe, womöglich auch Vorzeichnung für einen Kupferstich.
Plan view, semi-bird's-eye perspective, with key. 465 x 340 mm. Framed and glazed. Rare view of Cairo, based on the view in the "Civitates orbis terrarum" by Braun and Hogenberg. - Matteo Florimi, a student of A. Lafrery and C. Duchet, moved to Siena in 1581, where he worked as a publisher and dealer in books and prints, often for A. Carracci, C. Galle, and P. de Jode. - A longish tear to the left edge, touching the image (ca 20 cm), trimmed to the borders, smoothed creases.
Bildformat: 265 mm im Rund. Blattgröße: 390:330 mm. Gerahmt in schwarz gelackter Biedermeierleiste. Das Brustbild in Rund von Lips gilt als eines der schönsten graphischen Bildnisse Goethes. Prägnanter Abzug in tadelloser Erhaltung. - Johann Heinrich Lips gilt als künstlerischer Ziehsohn von Lavater, der seine Begabung früh entdeckte und ihn wie einen Vater förderte. Über Lavater lernte Lips auch Goethe kennen, auf dessen Verwendung hin er 1789 eine Professur an der Zeichenakademie zu Weimar erhielt.
47 (instead of 55) lithographs (c. 610 x 485 to 480 x 385 mm). In contemp. cloth portfolio with ties. Large folio (630 x 490 mm). "Privately printed at the command of Emperor Franz I and published in a very small press run, not available to the common public [...] Shows views, interiors, decorations, etc. [...] The plates are not captioned or numbered" (cf. Nebehay/W.). Drawn by Jakob Alt, Johann Rupp, Carl Bschor, and Albert von Radmannsdorf. - Slight fingerstaining and foxing (usually confined to margins); some small tears. Portfolio is rather severly rubbed. Wants nos. 1, 4-6, 15-17, and 20. The view of the castle from the South is a lithograph by Jakob von Alt, not an anonymous etching as in the Albertina copy. No. 7 ("Gothische Brücke") is a trial print from the collection of the great Austrian otologist Adam Politzer (1835-1920), whose collection was sold by Schwarz in 1922 (cf. Lugt 2037 and 2741). "Il collectionnait depuis 1870 environ, sans système bien défini, mais seulement d'après son goût artistique [...] L' amateur a consacré une attention spéciale à la lithographie, de ses debuts à l'année 1880" (Lugt, p. 513). Nebehay/Wagner 359. H. Schwarz (Anfänge der Lithographie in Österr.) 76.
Original watercoloured pen-and-ink drawing within ruled ink borders, sheet size 347 x 275 mm. Matted (510 x 400 mm). Charming, early watercoloured drawing of a Neapolitan street vendor of maccaroni. Unsigned and undated, but attributable by its style to the Neapolitan artist active ca. 1820 who signed some of his works "Raimo". - Margins a little dust-stained, but very attractive.
325 x 280 mm. Ink and wash on drawing cardboard. Framed and glazed. This beautiful study, most likely for a lithograph, can be attributed to Carle Vernet, the youngest son of the painter Claude-Joseph Vernet. The monumental central motif of an Arabian cavalier on a dark Arabian stallion is elaborately executed, whereas the backdrop of a tent and a battle scene remain sketchy. - A passionate horseman himself, Carle Vernet is most famous for his cavalry scenes and other equestrian motifs. - Trimmed on the upper margin. Abrasions throughout, mostly affecting the background.
52,1 x 39 cm. Copperprint engraving on paper (two conjoined sheets). Beautiful copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin from 1566. Some minor changes to the original print concern small architectural changes to the building itself, such as the helmet of the ridge turret, the staffage figures, and the monumental cartouche with the text, marking the transition from late Renaissance to early Baroque ornaments. The German text offers a partly legendary building history of the famous north tower. An additional text directly underneath the seam of the two sheets is a dedication to the dignitaries of the city: “Nobilissimis, amplissimis, prudentissimis Dominis, D. D. Praetoribus, Consulibus, Reliquisq[ue] inclusae Argentinae Senatoribus, Patribus Patriae, Patriam hanc turrim humiliter offert, consecrat, dedicat Isaac Brunn Argentine(n)sis chalkiographos A(nn)o 1615”. - Born in Strasbourg, Isaac Brun (1596-1669) worked primarily as a portraitist and book illustrator. - Upper margin somewhat brittle and with several tears, one larger tear showing traces of unprofessional restoration. Right border of the cartouche chafed. With a pinch fold affecting the dedication and a restored tear affecting the image in the lower right margin. Trimmed on the upper and lower margins, some browning. Thieme/Becker V, 121 (biography). Drugulin I, 291.
