CABINET OF THE MONTH June 2020 - ALBRECHT DÜRER - August Laube

CABINET OF THE MONTH June 2020

ALBRECHT DÜRER
(1471 Nürnberg 1528)

Four angels stopping the wind. 1512–17. Woodcut. 30:20,9 cm. Watermark: Flower
onTriangle (Meder 127) Impression from the latin editon of 1511. On strong paper.
Meder 169. B. 66.
Prov: Dr. Konrad Liebmann, Ossnabrück.
The Apocalypse by Dürer is one of the key works of the Renaissance north of the Alps.
After Dürer published his fifteen large woodcuts of the Apocalypse in 1498, neither the
woodcut as a graphic medium nor the imagery of St. John’ Revelation would ever be
regarded as before, as he elevated both compositions and motifs beyond all boundaries
set by his predecessor. The enterprise of the Apocalypse was novel in two aspects. First,
it was the earliest book designed and published by an artist exclusively as his own
undertaking. Dürer signed not only as the artist, by placing his monogram on each
print, but also as the publisher in the colophon. Second, the Apocalypse was a new type
of illustrated book. (42146).

CHF 14'500.-

CABINET OF THE MONTH June 2020

GIUSEPPE ANTONIO CACCIOLI after
(1672 – 1740)

Death of Mary Magdalene after Carlo Gignani (1628–1719). Etching. 11,4 cm, trimmed on
to 2 mm near the round subject line. Laking the name of Carlo Gignani in the lower right.
Nagler Mongr. II S. 538.
A brown spot in the middle of the subject. (357016).

CHF 1200.-

CABINET OF THE MONTH June 2020

JACQUES CALLOT
(1592 Nancy 1635)

La petite Passion. 1624. Set of 12 etchings. 25,3:52,7 cm. C. 7,5:5,8 cm.
Lieure 537-548 I (v. II). Nancy Kat. No. 571–586.

The fine, charming episode in nice prints of the first state before the numbers (except
L.542 II / III without the figure on the left and in front of the number). All leaves trimmed
on the plate edge or slightly trimmed within.
Le Lavement des pieds L. 537 I
La Chène. L. 538 I
Jésus au jardin des oliviers. L. 539 I
Jésus est livré aux Juifs. L. 540 I
La Condamnation à mort. L. 541 I
Jésus est battu de verges. L. 542 II
Jésus comaraît devant Caïphe. L 543 I
La couronnement d’épines. L. 544 I
La présentation au peuple. L. 545 I
Le portement de croix. L. 546 I
Le crucifiement. L. 547 I
Jésus est percé d’une lance. (357006).

CHF 1500.-

CABINET OF THE MONTH June 2020

FÉLIX BUHOT
(1847 Balognes – 1898 Paris)

L'hiver de 1879 à Paris. Paris 1879. Etching, Aquatint, drypoint, sulphur tint, soft ground
and roulette on wove paper. 29 :43 cm.
Bourcard 128. IV. (of IX).
Prov: Marcel Bergeon.

One of Buhot’s most widely collected prints, “L’hiver à Paris” here in its first published
state (iv of 9 states) with the title “L’Art” which appears in the snowbank under the lamp-
post at the lower left, and the address of the printer Salmon below the image, but before
the extensive reworking on the dogs, and before the highlights into the aquatint.
While the dogs and shoppers are only slightly inconvenienced by the weather, by contrast,
the margins detail the hardships and suffering brought on by heavy snow.
A distinctive and highly attractive feature of Buhot’s prints is the use of marginal sketches
to surround the central image. Buhot termed these “marges épisodiques” and “marges
symphoniques”. The former type relating in theme to the main image, the latter type
serving as purely decorative embellishments. (44111).

CHF 3200.-

CABINET OF THE MONTH June 2020

NICOLAS STRUYCK / ALBERTUS SEBA
(1686 Amsterdam 1769 / Etzel 1665 – 1736 Amsterdam)

Four Butterflies and one moth. Watercolor and bodycolor. On Contemporary black- and
gold-ruled beige cart mount. 44,1:28,1 cm.

Entomological drawing of Albertus Sebas's famous cabinet. Seba was an Amsterdam
apothecary and a leading figure in the international scientific community. He formed two
of the greatest and most famous natural history cabinets of the 18th century which he
generously opened to scholars and scientists. In 1717 he sold his first cabinet to the
Russian Czar, Peter the Great and immediately began forming an even more extensive
cabinet. He was able to take advantage of Amsterdam's preeminent position in overseas
trade to collect exotic and rare specimens. Seba bought and traded mussels, snails,
snakes, fishes, shellfishes, spiders insects and plants from returning sailors. Thanks to
the skills of artists and etchers, these unknown and strange specimens were documented
and then brought to life in pleasingly combined compositions. This was published in four
volumes as: Locupletissimi rerum naturalium thesauri descriptio, the first two issued
between 1734 and Seba's death in 1736, and the final volumes appearing posthumously.
We can not be sure whether the drawings are from his second collection or from the first
cabinet before their removal to Russia in 1717. (333004).

CHF 17'000.–

CABINET OF THE MONTH June 2020

JACQUES-LAURENT AGASSE
(1767 Geneva 1849)

Study of a rider in side view to the right. C. 1803. Pencil. Black chalk,
heightened in white, on paper prepared with grey ground. 21.8:16.2 cm.

Exhibitions and catalogue: Tate Gallery, London. Jean-Laurent Agasse ou la séduction de
L‘Angleterre. 15.2.–2.4.1989, catalogue, p. 246, ill. 99; Musée d‘art et d‘histoire,
Geneva. Jean-Laurent Agasse ou la séduction de L‘Angleterre. 9.11.1989–22.1.1990,
catalogue, p. 246, ill. 99.

Provenance: Louise Etiennette Agasse, sœur de l‘artiste, Geneva; Madeleine Humbert,
Geneva; Elisabeth Senn-Humbert, Geneva; Valentine Rieder-Senn, Geneva; Andrée
Rieder-Picot, Geneva; Private collection, Switzerland.

Preparatory drawing for the painting “leaving for the hunt”. Also Illustrated in the
catalogue: Musée d‘art et d‘histoire, Genf. Jean-Laurent Agasse ou la séduction de
L‘Angleterre. 9.11.1989–22.1.1990, catalogue, p. 62, no. 11.
The painting is the result of the artist’s stay in May and June of 1803 in Hertfordshire.
Daniel Baud-Bovy considers this drawing as a portrait of the artist. (99137).

CHF 5500.–

CABINET OF THE MONTH June 2020

HANS JAKOB OERI
(Kyburg 1782 – 1868 Zürich)

Study Sheet of a Group of Soldiers. C. 1680. Pen and brush in brown over pencil,
heightened with white. 14:17 cm.

Hans Jakob Oeri, a twin, grew up in Kyburg. When he was fifteen years, the family moved to
Regensdorf. The castle of Kyburg and the one of Regensburg awakened his interest in the Middle
Ages. The French occupation, during the war, and the Russian troops which were based at Seebach
in 1799, stimulated the imagination of Oeri. In 1800 the young artist started his training with
the landscape painter Johann Kaspar Kuster. After completion of his apprenticeship, in 1803 Oeri
went to Paris for further training in the Studio of Jacques-Louis Davis, where he worked until 1807.
As in 1802, in 1804 and 1805 he sent his works to the artists’ society in Zurich. After a short stay
in Zurich, he travelled with the landscape painter Jacob Miville from Basel via Frankfurt, Berlin, and
Königsberg to Moscow where he worked as a teacher and portraitist. In 1812 he had to escape
from Moscow because of the Russian-French war and wandered through the country until he finally
arrived in Zurich in 1817. Between 1819 and 1839 he participated in the busy artistic life in Zurich,
and sent on a regular basis works to the art exhibitions, mostly portraits in black chalk.
Hans Jakob Oeri is known as portrait painter but he was also very interested in historical painting.
He possessed great knowledge in various fields and had a thorough knowledge of a wide range of
historical and archaeological literature. He had a preference for the history of the Goths and
Vandals, the Roman Emperors, the Lombards, the Carolingians, the Crusaders, the Persian Caliphs,
the Normans, and the English Middle Ages. Also biblical compositions and local history can be
found in his works. In his inheritance in the Kunsthaus, Zürich, there are several large historical
compositions, ten albums with costume studies sorted by period, and eight volumes of handwritten
collectanea on European history. (351017).

CHF 800.–

CABINET OF THE MONTH June 2020

JOHANN LUDWIG BLEULER
(Feuerthalen 1792 – 1850 Schloss Laufen)

Vue de la Chute du Rhin près de Schaffhouse. Par Louis Bleuler à Schaffhouse en Suisse.
Gouache. 23,5:48,5 cm.

A magnificant landscape typical of Louis Bleuler. U. Isler - Hungebühler mention in there
work "Die Maler vom Schloss Laufen, Zürich 1953, p. 26 that In order to work faster
Bleuler almost completely abandoned the technique of watercolor painting and preferred
gouache painting instead, which dries faster and allows the artist to make later correction
or insert figures in the foreground.". Framed. (44702)

CHF 5600.–

CABINET OF THE MONTH June 2020

FRANZ NIKLAUS KÖNIG
(1765 Bern 1832)

Collection de costumes suisses tirés du cabinet de M. Meyer
d’Aarau. C. 1801/1802. 4°. Series of 24 big costume plates. Coloured soft-ground
etchings. Each 27:22 cm. Loose in a new marbled half leather box.
Colas 1644. Mandach S. 22. Giudicetti A 41.

König received an education thanks to the help of the artists Tiberius and Marquard
Wocher, Sigmund Freudenberger and Balthasar Anton Dunker. Franz Niklaus König was
known for his traditional costume paintings, his rural genre scenes, but also for his
landscapes. The threat of war influenced König to move his family to the Bernese Alps in
1797. During his stay there he commenced his preparatory studies for his series of three
traditional paintings. Niklaus König paints his figures in the style of the costume

CABINET OF THE MONTH June 2020
paintings by Joseph Reinhardt. The slightly mocking and rather simple paintings were
transformed by König, into high quality costume and portraits compositions to suite the
tastes of the sophisticated and refined «Dix-hutième» society of Bern. In the lower
margine he added the names of the figures he depicted. The artist displayed great talent
and versatility in the production of his costume designs. Instead of using the classical
duplicating process favoured by his peers he turned to a nearly forgotten etching
technique, called «Vernis mou» or soft ground etching. This technique was invented by
the Swiss artist Dietrich Meyer in 1620, but only became popular in the 19th century. The
lines are composed of undefined dots varying in shape and size. The concentration of
dots in a limited space creates a contrast. This produces a harmonious effect, which
combined with the delicate water colouring gives the impression of a drawing done in soft
graphite. Magnificent colourful copy. (36608).

CHF 28'000.–