The London Original Print Fair

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• Die Grablegung – The Deposition ca. 1509/10
  from Small Woodcut Passion
  
  woodcut; 132 x 102 mm (5 316 x 4 inches)Bartsch 43; Meder 152, before the text (before the crack in the borderline above the trunk of the cross); Schoch/Mende/Scherbaum 213

  PROVENANCE
  Duc d’Arenberg, Brussels and Nordkirchen (Lugt 567) Hermann Marx, Cobham, Surrey (Lugt 2816a)

  A good and clear impression; with small margins all round.

• Christus vor Herodes – Christ before Herod ca. 1509
  from Small Woodcut Passion
  
  woodcut; 129 x 101 mm (5 1/16 x 4 inches)Bartsch 32; Meder 141, with the text; Schoch/Mende/Scherbaum 202

  PROVENANCE
  with C.G. Boerner, Düsseldorf, in 1962 (our stock no. in pencil on the verso 5652)

  A good and dark impression; with small margins all round.

• Die Beweinung Christi – The Lamentation ca. 1509/10
  from Small Woodcut Passion
  
  woodcut; 132 x 102 mm (5 316 x 4 inches)Bartsch 43; Meder 152, before the text (before the crack in the borderline above the trunk of the cross); Schoch/Mende/Scherbaum 213

  PROVENANCE
  Duc d’Arenberg, Brussels and Nordkirchen (Lugt 567)
  Hermann Marx, Cobham, Surrey (Lugt 2816a)

  A good and clear impression; with small margins all round.

• A Beggar Seated on a Bank (Self-Portrait) 1630
  
  etching; 117 x 70 mm (4 ⅝ x 2 ¾ inches)
  
  Bartsch 174, White/Boon only state; Hind 11; The New Hollstein 50 first state (of two)

  PROVENANCE
  Josef V. Novák, Prague (Lugt 1949);
  his sale, H.G. Gutekunst, Stuttgart, May 16–20, 1904, lot 1117, sold for 55 Marks
  Friedrich Quiring, Eberswalde (Lugt 1041c)
  Richard Zinser, Forest Hills, N.Y. (stamped, not in Lugt)
  private collection

  A superb impression of the first state; Erik Hinterding and Jaco Rutgers, the authors of The New Hollstein, describe early impressions as showing “rough, uneven plate edges” while, still in the first state, “in later impressions two horizontal scratches appear over the man’s right foot.” One can also observe considerable wear in the upper-left edge and in the deep shadows behind the back of the seated man in later impressions of the first state. This impression shows neither the wear nor the scratches. Rembrandt also left a thin layer of ink on the wiped plate, creating a subtle plate-tone that helps to define the composition even in areas without any etched lines. The ink also shows the fine scratches left from polishing the plate; the latter usual disappear in the course of successive stages of the printing process.

  The sheet survives in impeccable, untreated condition with narrow margins all round.

  Rembrandt produced numerous small plates showing beggars and street people during his Leiden period between ca. 1629 to 1630, partly inspired by the famous series of 25 images of beggars by the Lorraine etcher Jacques Callot. The Beggar Seated on a Bank in his ragged cloak, with his untamed hair and beard and hand open for alms, is especially remarkable since he has the unmistakable features of the artist himself. Indeed, the beggar’s expression is especially similar to that in one of Rembrandt’s small vivid etchings of the same year, Self-Portrait Open Mouthed, as if Shouting (Bartsch 13). However, as Clifford Ackley suggests, “this extraordinary bit of roleplaying need not necessarily be taken as signifying a Christ-like identification on Rembrandt’s part with the beggar’s lot, but should perhaps be viewed—Rembrandt had a robust sense of visual humor—as a good, if inside, joke. The twenty-four-year-old artist was not yet fully established and could use some financial assistance!” (cat. Boston/Chicago, p. 91).

• Blonde Frau – Blond Woman 1917
  woodcut on rough, greenish wove paper; 303 x 243 mm (11 15/16 x 9 9/16 inches)
  
  signed in pencil at lower right; annotated in the lower left corner I.5
  
  Schiefler/Mosel 145

  PROVENANCE
  Galerie Kornfeld, Berne, June 15, 1988, lot 808
  R.E. Lewis, Inc., San Francisco
  private collection, San Francisco (acquired in 1989)

  The pencil annotation in the lower left corner of the sheet describes this as the fifth impression pulled from the block in the first state. Schiefler/Mosel document seven impressions of the first state. We have been able to trace merely two on the market since 1974 when an impression was sold at Christie’s, London (July 4, 1974, lot 155, this one numbered six). The only other time this print appeared for sale was when our impression came up for auction in 1988 at Galerie Kornfeld in Berne.

  The second state is not strictly speaking a state: the block cracked in the middle, but Nolde apparently pulled some impressions from the cracked block.

  A superb impression, showing all inking gradations from grainy to solid black; the intended coarseness of the composition is further enhanced by the rough surface of the paper; on an impeccably preserved sheet with deckled edges at top and right.

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Portraits of Six Bavarian Princesses (after Joseph Karl Stieler) 1813
  
  chalk lithographs with tone stone on wove paper; each ca. 396 x 306 mm (15 9/16 x 12 1/16 inches)
  
  Winkler 965 sub-nos. 41.5 second state (of three), 42.5, 43.5 third (final) state, 44.5, and 46.5

  The six portraits show the Bavarian princesses Amalie and Elisabeth (twins, born in1801), Maria and Sophie (both born in 1805), Louise (born 1808), and Maximiliane Karoline (born in 1810). They were the daughters of King Maximilian I Joseph of Bavaria and his second wife, Karoline. The portraits were drawn on the stone by Piloty in 1813 after studies by Stieler from 1812. The prints therefore belong to the incunabula of this new graphic technique, developed by Alois Senefelder by 1798 in Bavaria. In 1799 he had already received an official government patent for the lithographic process. Crown Prince Ludwig and his sister Charlotte, both children of the king’s first marriage, paid an official visit to Senefelder’s workshop in 1809. It is conceivable, therefore, that the portraits of their six half-sisters were translated into the new technique of lithography in order to demonstrate royal endorsement of it.

  The portraits were part of the comprehensive series titled Les OEuvres lithographiques made by Johann Nepomuk Strixner and Ferdinand Piloty and printed initially by Senefelder; it mainly included reproductions of works of art from the royal collections. It was published between 1810 and 1816 in 72 installments, each including six lithographs—a truly monumental project (see Winkler 964 and 965).

  Piloty based the portraits on drawings that Joseph Karl Stieler (1781–1858) had made in preparation for his oil paintings of the princesses. The first one, painted in 1812, depicts Elisabeth, Maria, and Sophie dancing in a field; the second, realized two years later, shows the other three sisters (both paintings are today in the collection of Fürst von Thurn und Taxis, Regensburg). Stieler’s first painting was very much admired by the royal family and, as a result, Stieler was appointed royal Bavarian court painter.

  Piloty perfectly translates the beauty and charm of the young princesses in Stieler’s drawings into the new medium—one that was especially well suited to the reproduction of the delicacy of the drawn line. The princesses are shown in the characteristic neo-classical dresses of the day, intended to suggest the simplicity of antique costume. The six prints can be seen as graphic equivalents to Johann Gottfried Schadow’s celebrated marble group of the Prussian princesses Luise and Friederike from 1797 (Staatliche Museen zu Berlin, Alte Nationalgalerie, inv. B II 34). In his entry on Stieler in the Künstler-Lexikon in 1847, Nagler called him “einen der berühmtesten Meister unserer Zeit” (one of the most famous masters of our time). He further pointed out that the “lieblichen Bildnisse der Prinzessinnen als Kinder” (the lovely portraits of the princesses as children) are well known through these lithographs (vol. 17, p. 348).

• Blick auf das Städtchen Herrnhut in der Oberlausitz – View of the Town of Herrnhut in Upper Lusatia ca. 1800
  
  outline etching with brown wash on wove paper; with the artist’s stamp in the upper-right corner; tipped in at three corners on a contemporary album sheet; inscribed on the mount in pen and ink at lower right A. Zingg fec. and on the verso Herrnhuth
  
  302 x 430 mm (11 ⅞ x 16 ⅞ inches)
  
  The hand-colored print offered here is in pristine, fresh condition and survives on its contemporary mat.

  After early success producing views of his Swiss homeland, Adrian Zingg went to Paris where he worked from 1759 in the etching studio of Johann Georg Wille (1715–1808). In 1766 he was made professor at the academy in Dresden. In his topographical views he freed himself from contemporary notions of landscape still dependent on those of seventeenth-century Netherlandish art. Zingg was among the first to “discover” the local landscape and he also travelled extensively through Saxony and neighboring Bohemia. His views ultimately set the stage for the next generation of the Dresden Romantics. Zingg’s specialty was outline etchings meticulously colored in monochrome brown (or sometimes gray) washes. The sheets were always trimmed within the platemark and then attached to simple mats (similar to those used for drawings) before being offered for sale. Since they were sold as souvenirs to tourists and meant to be hung on the wall, many of them perished through exposure to light; surviving examples have often also lost their original mats. It is fairly unusual, therefore, to come across these large views in such pristine condition—and it is thus highly unlikely that these impressions were ever displayed as intended.

  The print shows the small town of Herrnhut not far from Görlitz and Zittau in Upper Lusatia, a part of Saxonia. The town is known as the founding home of the religious community of the Herrnhuter Brüdergemeinde. In 1722 Nikolaus Ludwig von Zinzendorf (1700–1760) gave asylum in his house there to Moravian Protestants expelled from their country due to religious persecution. This community expanded and sent out missionaries; today it is known as the Moravian Church, with branches not only in Herrnhut and Bad Boll in Germany but also in the United States in Bethlehem, Pennsylvania and in Winston-Salem, North Carolina.

  Zingg’s view shows the village of Herrnhut with the prayer hall in the center and the cemetery on the side of the Hutberg mountain. At the top is an observation tower, built in 1790. To the right of the image is the former house of Zinzendorf that became the headquarters of the community after his death (as it remains). Zingg shows the village as an idealized Enlightenment city with classical structures, elegantly attired inhabitants, and a tree-lined path leading to the mountain ranges beyond.