VENUS & CUPIDON

Prestel Praun No.32

www.polygraphicum.de

cf.

Weltkunst Ausgabe 5/1991 

Kunsthandel in Baden-Württemberg

...der Wind weht wie, wann und wohin er will...

POLYGRAPHICUM HELM.EBERBACH


EBERBACHER SEZESSION


www.polygraphicum.de

seit 1980

www.polygraficum.de

N.B.:.

(Eingereichter Prestel 'Mercure&Argus' Fotobeitrag mit Erläuterungstext wurde aus unerfindlichen Gründen leider nicht publiziert)


Das Kunstmagazin der ZEIT

WELTKUNST

Nr.188

Augustus 2021

AGENDA

KUNSTHANDEL

Schaufenster

EIN WÙNDERSCHÖNES BLATT

Lisa Zeitz


...wohl schon in London und ging ganz andere Wege

VENUS & CUPIDON

Prestel/Praun No.32

sold to 

DRWPRFFM


CABINET PRAUN

PETER HELM ONLINE EXPO SALES POLYGRAPHICUM 2003

http://sites.google.com/site/artcombook/prestelpraunpreindex

http://sites.google.com/site/cataloguespolygraphicum/cabinet-praun

http://sites.google.com/site/wwwartcatalogues/aquatinta

http://sites.google.com/site/aquatintaquatinta/prestel-praun

http://de.wikipedia.org/wiki/Praunsches_Kabinett

Praunsches Kabinett

aus Wikipedia, der freien Enzyklopädie

Das Praunsche Kabinett war eine berühmte Privatsammlung in Nürnberg die von 1616 bis 1801 bestand. Teile dieser Sammlung werden heute in Museen in Berlin, Budapest (Museum der Bildenden Künste), Dresden, Kopenhagen, London, Los Angeles, München, Nürnberg (Germanisches Nationalmuseum), Paris und Washington, D.C. aufbewahrt.

Geschichte

Das Praunsche Stiftungshaus

Der Kaufmann Paulus II. Praun (1548-1616) begründete diese Sammlung in Bologna; von seinem Vater hatte er eine Kunstkammer geerbt, deren Kunstwerke er integrieren konnte. Er bereicherte die Sammlung um zahlreiche altdeutsche und italienische Gemälde des 16. Jahrhunderts.

Testamentarisch verfügte Praun, dass die Kunstsammlung zusammen mit dem Stiftungshaus, dem Hausrat, mit Kapitalien und Einkünften als Vorschickung, einer besonderen Rechtsform des Nürnberger Erbschaftsrechts, untrennbar erhalten bleiben und erweitert werden sollte. Nach seinem Tod wurde die Sammlung in das Praunsche Stiftungshaus nach Nürnberg überführt und ausgestellt.

Ein handschriftliches Inventar aus dem Jahr 1616 ist im Stadtarchiv Nürnberg überliefert; ein Inventar von 1719 belegt, dass der Bestand bis dahin nicht gemindert, aber auch nur sehr bescheiden gemehrt wurde. Diesen Bestand konnte Goethe noch im Jahr 1797 besichtigen. Bereits 1772 beschloss die Familie sich von der Sammlung zu trennen und ließ von Gottlieb von Murr ein Verzeichnis erstellen. 1801, als das Institut der Vorschickung keine bindende Kraft mehr hatte, verkaufte die Familie aus wirtschaftlicher Not die Sammlung geschlossen an den Kunsthändler Johann Friedrich Frauenholz (1758-1822); der Wiederverkauf an Sammler erstreckte sich über die folgenden Jahrzehnte. Der von Herzog Franz Friedrich Anton von Sachsen-Coburg-Saalfeld erworbene Teil der Graphik befindet sich heute im Kupferstichkabinett der Veste Coburg. Die von Fürst Miklos Esterhazy fast geschlossen erworbenen Zeichnungen werden heute im Museum der Bildenden Künste in Budapest aufbewahrt. Auch viele der anderen Werke können lokalisiert werden. Der Verbleib der meisten Stücke ist jedoch unbekannt.

Umfang

Die Sammlung, die circa 10.000 Objekte umfasste, war schon zu Lebzeiten des Sammlers weitgehend abgeschlossen und beschränkte sich überwiegend auf die klassischen Kunstgattungen.

Literatur


The writer can trace only four copies in the auction sale rooms since 1950 ● Parke-Bernet, New York, 13 January 1954, lot 555 (title dated 1780: 42 plates) ● Hodgson’s, London, 16 December 1965, lot 282 (title dated 1780: 48 plates) ● Tenner, Auktion 90, Heidelberg, 19–20 April 1972, lot 945 (title dated 1776: 48 plates) ● Kiefer, Auktion 20, Pforzheim, 5–6 February 1993, lot 834 (title dated 1776: 45 plates) 

A selection of plates (apparently from a disbound complete copy) was offered in November–December 2003 

by 

Kunstantiquariat Polygraphicum

 (Peter A. Helm, Eberbach am Neckar) 

docplayer 

http://docplayer.org/80722500-Prestel-johann-gottlieb.html 


A FINE SUITE OF PRINTS

reproducing in actual size Germ

an and Northern Italian draw-

ings in the collection formed by the

Nuremberg merchant and humanist Paulus

II

Praun (1548–1616). It is the first and most impressive of three albums of reproductive

prints after drawings produced by Johann Gott

lieb Prestel in collaboration with his wife,

Maria Katharina, in which aquatint is used to imitate the manner of a wash.

1

Although

1

The other two volumes were published serial

ly in the years in 1779–1782 and 1782–1785 respecti-

vely:

Dessins des meilleurs Peintres des Païs-Bas, 

d’Allemagne et d’Italie du Cabinet de Monsieur

Gérard Joachim Schmidt à Hamburg

(title and thirty prints);

Dessins des meilleurs Peintres d’Italie,

admired by Goethe and many others,

2

these extravagant volumes – reputedly printed in

editions of about one hundred and fifty copies

3

– were commercial disasters, twice

bankrupting the couple, first in Nuremberg (1782), again in Frankfurt (1786). The technical

virtuosity of the prints, however

, established ‘Prestel’ as a byword for fidelity in reproduc-

tion (the name was thus revived by the

‘Prestel Verlag’ in Frankfurt in 1924).

A passionate collector throughout his life, Pa

ulus Praun gathered (according to a posthu-

mous inventory) around 250 pain

tings, 300 pieces of sculpture, 800 drawings, 6000 prints,

4000 coins, and 1200 cut stones and jewels. After

his death these collections were installed

in the family residence on the Weinmarkt in Nuremberg, where according to the testator’s

wish they were to be housed inalienably unde

r the administration of the senior family

member. By 1772, the family had come to regard the collections as ‘dead capital’ and

resolved to sell them. The then head of the family, Sigmund Christoph Ferdinand von

Praun, instructed in that year Christoph Gottlieb von Murr (1733–1811) to prepare a new

inventory and also to market the collecti

ons. Murr completed his inventory in 1778 and

published it in the

Journal zur Kunstgeschichte und allgemeinen Litteratur

, of which he

was editor, and in his guidebook to the ‘principal

curiosities of the H.R. Empire’s Free City of Nuremberg’.

etc.



*****


ROBIN HALWAS FULL TRANSSCRIPT


1 ROBIN HALWAS LIMITED Prestel, Johann Gottlieb Grönenbach Frankfurt am Main Dessins des meilleurs Peintres d Italie, d Allemagne, et des Pays-Bas, du Cabinet de Monsieur Paul de Praun à Nuremberg. Gravés d après les Originaux de même grandeur par Jean Théophile Prestel Peintre et Membre de l Académie des Beaux-Arts de Düsseldorf [rule] A Nuremberg chez l Editeur. Nuremberg, Johann Gottlieb Prestel, 1780 FOLIO ( mm), (49)ff., the complete suite of engraved title (with above text) signed J.G. Sturm scrips. et sc, engraved dedication to Kurfürst Karl Theodor subscribed by J.G. Prestel and signed J. G. Sturm scrips. et sc., and forty-seven etchings and aquatints (numbered 2 48), of which twenty-eight are signed by Johann Gottlieb Prestel and nineteen by Maria Katharina Prestel (see appended LIST OF PRINTS). Plates 3 4 are misbound in this copy after plate 2. PAPER watermarks (1) panel mm lettered WANGEN; (2) panel mm lettered I V (?). Interleaved at time of binding with joined sheets of unwatermarked laid paper. PROVENANCE Bibliotheca Cogelesiana, armorial exlibris Anonymous consignor, Christie s, Importants livres anciens, livre d artistes et manuscrits, Paris, 25 November 2008, lot 139 Title and a few other leaves with stains or light discolouration in margins, closed tear in margins of plates 15 and 31, otherwise a very attractive copy with all three folding plates (nos.6, 13, 31) wellpreserved. BINDING contemporary German half-calf, back decorated in gilt; sides covered by marbled papers. A FINE SUITE OF PRINTS reproducing in actual size German and Northern Italian drawings in the collection formed by the Nuremberg merchant and humanist Paulus II Praun ( ). It is the first and most impressive of three albums of reproductive prints after drawings produced by Johann Gottlieb Prestel in collaboration with his wife, Maria Katharina, in which aquatint is used to imitate the manner of a wash. 1 Although Pl. 22 Head of old bearded Man, by J.G. Prestel after Hans Hoffmann, dated The other two volumes were published serially in the years in and respectively: Dessins des meilleurs Peintres des Païs-Bas, d Allemagne et d Italie du Cabinet de Monsieur Gérard Joachim Schmidt à Hamburg (title and thirty prints); Dessins des meilleurs Peintres d Italie, 1

2 admired by Goethe and many others, 2 these extravagant volumes reputedly printed in editions of about one hundred and fifty copies 3 were commercial disasters, twice bankrupting the couple, first in Nuremberg (1782), again in Frankfurt (1786). The technical virtuosity of the prints, however, established Prestel as a byword for fidelity in reproduction (the name was thus revived by the Prestel Verlag in Frankfurt in 1924). A passionate collector throughout his life, Paulus Praun gathered (according to a posthumous inventory) around 250 paintings, 300 pieces of sculpture, 800 drawings, 6000 prints, 4000 coins, and 1200 cut stones and jewels. After his death these collections were installed in the family residence on the Weinmarkt in Nuremberg, where according to the testator s wish they were to be housed inalienably under the administration of the senior family member. By 1772, the family had come to regard the collections as dead capital and resolved to sell them. The then head of the family, Sigmund Christoph Ferdinand von Praun, instructed in that year Christoph Gottlieb von Murr ( ) to prepare a new inventory and also to market the collections. Murr completed his inventory in 1778 and published it in the Journal zur Kunstgeschichte und allgemeinen Litteratur, of which he was editor, and in his guidebook to the principal curiosities of the H.R. Empire s Free City of Nuremberg. The idea of promoting the more important drawings in the collection through reproductive prints collectible in their own right probably was in Murr s mind from the outset. According to announcements he placed in his Journal in 1776, the prints were intended to appear at four-month intervals in cahiers of six plates each, priced 7 Gulden 30 Kreuzer. Initially, this pace was kept; however in 1778, after six cahiers had been issued, progress slowed: just two cahiers were produced in The project which Murr had expected to extend to more than one hundred prints was then quickly brought to an end. In April 1780, a drawings collector, Kurfürst Karl Theodor von der Pfalz, consented to receive the dedication, a happy event which Murr celebrated in his Journal. A dedication plate, and d Allemange, et des Pays-Bas, Tirés de divers célebres Cabinets (the so-called Kleine Kabinett, title and thirty-six prints of drawings from various collections, including twelve from the Praun collection). Excluding eleven plates by other hands, the three works contain 106 prints after drawings of which more than half (65) were by Maria Katharina Prestel. 2 Johannes Grave, Der ideale Kunstkörper: Johann Wolfgang Goethe als Sammler von Druckgraphiken und Zeichnungen (Göttingen 2006), pp.87 88, 522 no. 586 (pl. 47 in our book); Joseph Kiermeier- Debre, Auch Goethe kaufte bei den Prestels:Die Faksimiledrucke des Künstlerehepaars Maria Katharina und Johann Gottlieb Prestel in Kunst kommt von Prestel pp For speculation about the edition sizes, see Achilles-Syndram p.111 and Schwaighofer p.58. also a new title-plate (replacing one dated 1776) 4 were then engraved by J.G. Sturm, to accompany the forty-seven completed prints. 5 The Prestel s album proved however to be of no utility in selling the Praun collection. A further catalogue of the Praun collections was published by Murr in 1797, but it too failed to elicit a buyer. Having waited in vain for offers, the family in 1801 accepted an offer in toto from the art dealer Johann Friedrich Fraunholz. 6 The collection of drawings was offered at auction in 1804, fully catalogued by Frauenholz. 7 About 400 sheets were acquired by Nikolaus II Esterhazy ( ) for his vast collections, which later laid the foundations for the Budapest Museum of Fine Arts; 8 many others were bought by Duke Albert of Saxe-Teschen ( ), later to be subsumed in the Graphische Sammlung Albertina in Vienna. The resin-ground aquatint process, newly developed in France, had still very few practitioners by 1775, when the Prestels began making these prints. 9 How they learned the technique is unknown. Before his arrival in Nuremberg, in 1769, Johann Prestel had travelled extensively in Italy, and it is supposed that he saw there the reproductions of toned drawings executed by Andrea Scacciati and Stefano Mulinari, using a distinct but related tonal printing process they had learned from the Nuremberg printmaker Johann Adam 4 See reproduction of the 1776 title-page in Kunst des Sammelns: das Praunsche Kabinett p.28 (from copy in Nuremberg, Germanisches Nationalmuseum, Inv. St. N 3857); also Kunst kommt von Prestel pp (both title-pages reproduced from unspecified copies). On the 1780 title-page Prestel s recent election as a Membre de l Académie des Beaux-Arts de Düsseldorf is noted. A printed title replaced the engraved title of 1780 in subsequent re-issues (note spelling Desseins ): Desseins des meilleurs Peintres d Italie, d Allemagne, et des Pas-Bas, du Cabinet de Monsieur Paul de Praun a Nuremberg. [rule] Gravés d après les originaux de même grandeur par Jean Théophile Prestel Peintre et Membre de l Académie des Beaux-Arts de Düsseldorf [two rules] A Nuremberg Chez l Editeur Copies with the printed title-page typically include the dedication plate (printed from the original matrice). 5 Journal zur Kunstgeschichte und allgemeinen Litteratur 1776, part 2, pp ; part 4, p.30. The prints in the first six suites are ennumerated in Murr s Beschreibung der vornehmsten Merkwurdigkeiten in des H.R. Reichs freyen Stadt Nuernberg (Nuremberg 1778), pp Edith Luther, Johann Friedrich Frauenholz ( ). Kunsthändler und Verleger in Nürnberg (Nuremberg 1988), pp Johann Friedrich Frauenholz, Catalogue d une collection de dessins de peintres italiens, allemands et des Pays-Bas qui se trouvent dans le célèbre cabinet de Mr. Paul de Praun (Nurember 1804). 8 Luther, op. cit., p.74; Zsuzsa Gonda, Die graphische Sammlung des Fürsten Nikolaus Esterházy in Von Bildern und anderen Schätzen: Die Sammlungen der Fürsten Esterházy, edited by Gerda Mraz (Vienna 1999), pp Plate 13 in the album is dated For the early history of aquatint, see Wiebel, especially pp

3 ROBIN HALWAS LIMITED Schweickart ( ). Murr was an apologist for Schweickart and long-time advocate of his process. 10 It could be that he encouraged Johann Prestel to become proficient in the techniques then fashionable for the facsimile reproduction of drawings, including both Crayonmanier and aquatint. Maria Katharina ( ), daughter of the Nuremberg merchant Thomas Höll, an amateur artist who had been a pupil of Johann Prestel before their marriage, in 1772, was doubtless instructed in these techniques by her husband. She became a full collaborator, executing more than half the prints in the three albums published during the twelve years they worked together. 11 These copies of the book are known to the writer Cambridge, University Library, Tab.b.68 (reissue with printed title dated 1780) Copenhagen, Kongelige Akademie for de skønne Kunster (title dated 1776) 12 Detmold, Lippische Landesbibliothek, 02 SW 65.2 (title dated 1776: 48 plates) Erlangen, Universitätsbibliothek ErlangenNürnberg, Hauptbibliothek (title dated 1776: 48 plates) Göttingen, Niedersächsische Staats- und Universitätsbibliothek, Gr 2 Art Plast VIII, 164 (reissue with printed title dated 1780) London, Royal Academy of Art, 03/2184 (title dated 1776: 18 plates, including title) 13 London, Victoria & Albert Museum, Print Collection, F.1.b. (reissue with printed title dated 1780: 48 plates) New York, New York Public Library, J.L. Cadwalader Bequest, MEO1+ (reissue with printed title dated 1780: 48 plates) 14 Nuremberg, Germanische Nationalmuseum, Inv. St. N.3857 (title dated 1776: 36 prints) 15 Oxford, Bodleian Library, Douce Prints a.2 (title dated 1776: uncertain number of plates, pl. 17 lacking) Paris, Bibliothèque de l Institut national d histoire de l art, Fonds Général, Pl L 17 (reissue with printed title dated 1780) Paris, Bibliothèque nationale de France, Estampes et photographie, AC 10 (A) FOL Stuttgart, Staatsgalerie, Graphische Sammlung, Inv.B Vatican City, Biblioteca Apostolica Vaticana (title dated 1776: 48 plates) Rebel 1981 pp.77 78; Wiebel pp , 255. Schweighofer s oeuvre-catalogue (2006) ennumerates ninety-six prints. The nineteen prints by Maria Katharina in the Praunsches Kabinett thus represent 20% of her work. See also, Zwischen Ideal und Wirklichkeit p.289; Claudia-Alexandra Schwaighofer, Eine tüchtige, ihrem Gatten helfende Frau? Die Grafikerin Maria Katharina Prestel in Blickwechsel: Frankfurter Frauenzimmer um 1800, edited by Ursula Kern (Frankfurt am Main 2007), pp Kongelige Akademi for de skjønne Kunster, Fortegnelse over det Kgl. Kunstakademis Bibliothek (Copenhagen 1889), p [Henry Richard Tedder], A catalogue of books in the library of the Royal Academy of Arts London (London 1877), p Reported to the National Union Catalog, volume 470, p.395 (not traced on CATNYP). 15 Described in Kunst des Sammelns: das Praunsche Kabinett no. 152 (title-page reproduced p.28). 16 Located by Höper p Leopoldo Cicognara, Catalogo ragionato dei libri d arte e d antichità posseduti dal Conte Cicognara (Pisa 1821), no Pl. 2 St. Mary Magdalene lying on the ground reading, by J.G. Prestel after Correggio, dated 1776 Unbound prints from the series are in these collections Cambridge, Fitzwilliam Museum, 6.K.4 Coburg, Kunstsammlungen der Veste Coburg Düsseldorf, Kunstmuseum, Graphische Sammlung Frankfurt am Main, Städelsches Kunstinstitut und Städtische Galerie 18 Memmingen, MEWO Kunsthalle, deposited by Dr. Walter Prestel, 18 Diana Feßl, Prestel-Drucke im Besitz der Graphischen Sammlung des Stadelschen Kunstinstituts, Frankfurt am Main in Kunst kommt von Prestel p

4 ROBIN HALWAS LIMITED Munich, Bibliothek der Akademie der Bildenden Künste, Inv. Nr Munich, Staatliche Graphische Sammlung, Inv. Nr. 1956: 521 B Nuremberg, Germanisches Nationalmuseum, Graphische Sammlung, Kapsel 1472b, Inv. Nr. K 23570/ 57, K Paris, Bibliothèque nationale de France, Estampes et photographie, SNR 3 (Prestel, J.T.; Prestel, MarieCatherine), AA 1 [4, 5](Prestel, Marie-Catherine) The writer can trace only four copies in the auction sale rooms since 1950 Parke-Bernet, New York, 13 January 1954, lot 555 (title dated 1780: 42 plates) Hodgson s, London, 16 December 1965, lot 282 (title dated 1780: 48 plates) Tenner, Auktion 90, Heidelberg, April 1972, lot 945 (title dated 1776: 48 plates) Kiefer, Auktion 20, Pforzheim, 5 6 February 1993, lot 834 (title dated 1776: 45 plates) A selection of plates (apparently from a disbound complete copy) was offered in November December 2003 by Kunstantiquariat Polygraphicum (Peter A. Helm, Eberbach am Nekar). Universal catalogue of books on art: comprehending painting, sculpture, architecture, decoration, coins, antiquities, &c. (London 1870), p.1649; Henry Cohen, Guide de l amateur de livres à gravures du XVIIIe siècle, revised by Seymour de Ricci (Paris 1912), col.820; Max Sander, Die Illustrierten Französischen Bücher des 18. Jahrhunderts (Stuttgart 1926), p.240 no.1602 ( Environ 500 fr. ) REFERENCES ABBREVIATED REFERENCES ACHILLES-SYNDRAM Katrin Achilles-Syndram, Die Zeichnungssammlung des Nürnberger Kaufmanns Paulus II. Praun ( ): Versuch einer Rekonstruktion, thesis, Technische Universität, Berlin, 1990 (edition on microfiche Berlin: Karl-Robert Schütze, 1995) Pl. 20 The Sacrifice of Abraham, by J.G. Prestel after Polidoro da Caravaggio, undated BIRKE Graphische Sammlung Albertina, Die italienischen Zeichnungen der Albertina: Generalverzeichnis, by Veronika Birke and Janine Kertész ( ) CZERE Andrea Czére, Seventeenth-century Italian drawings in the Budapest Museum of Fine Arts: a complete catalogue (Budapest 2004) 19 On the evidence of the exhibition catalogue recording the Gift (Kunst kommt von Prestel 2008), thirty-three prints from the Praunsches Kabinett are in the collection (lacking plate nos.1 5, 9 10, 14 15, 22, 25, 28, 34, 43, 45). HÖPER Raffael und die Folgen: das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, catalogue of an exhibition at the Graphischen Sammlung der Staatsgalerie Stuttgart, by Corinna Höper (Ostfildern 2001) IMITATIONS AND FACSIMILES Imitations and facsimiles: an exhibition of prints and books from the sixteenth to the nineteenth century, catalogue of an exhibition held in the Art Gallery of Ontario, by Sybille Pantozzi ([Toronto] 1979) 4

5 ROBIN HALWAS LIMITED KUNST DES SAMMELNS: DAS PRAUNSCHE KABINETT Kunst des Sammelns: das Praunsche Kabinett: Meisterwerke von Dürer bis Carracci, catalogue of an exhibition held in the Germanische Nationalmuseum, by Katrin Achilles-Syndram (Nuremberg 1994) KUNST KOMMT VON PRESTEL Kunst kommt von Prestel: das Künstlerehepaar Johann Gottlieb und Maria Katharina Prestel, Frankfurt, London; die Sammlung Dr. Walter Prestel, Schwelm, catalogue of an exhibition held in MEWO Kunsthalle, Memmingen, 5 October May 2009, edited by Joseph Kiermeier-Debre and Fritz Franz Vogel (Cologne 2008) LE BLANC Charles Le Blanc, Manuel de l amateur d estampes (Paris [1850] 1857), III, pp MASSARI Giulio Romano pinxit et delineavit: opere grafiche autografe di collaborazione e bottega, catalogue of an exhibition held by the Istituto nazionale per la grafica, edited by Stefania Massari (Rome 1993) NAGLER G.K. Nagler, Neues allgemeines Künstler-Lexicon (reprint of edition Leipzig n.d.), XIII, pp NETZER Raphael: Reproduktionsgraphik aus vier Jahrhunderten, catalogue of an exhibition held by the Kunstsammlungen der Veste Coburg, by Susanne Netzer (Coburg 1984]) REBEL 1981 Ernst Rebel, Faksimile und Mimesis: Studien zur deutschen Reproduktionsgrafik des 18. Jahrhunderts (Mittenwald 1981) REBEL 1986 Ernst Rebel, Nachahmung zwischen Authentizität und Wahrheit in Empfindung und Reflexion: Ein Problem des 18. Jahrhunderts, edited by Hans Körner (Hildesheim 1986) 27. Mourning over the body of Gattamelata, by M.K. Prestel after Mantegna, dated 1777 SCHWAIGHOFER Claudia-Alexandra Schwaighofer, Die Kunst der Nachahmung: Dürer, Carracci und Parmigianino in den Reproduktionsgraphiken der Nürnbergerin Maria Katharina Prestel ( ) (Stuttgart 2006) SCHWAIGHOFER 2008 Claudia-Alexandra Schwaighofer, Von der Kennerschaft zur Wissenschaft. Reproduktionsgraphische Mappenwerke nach Zeichnungen in Europa (Munich 2008) WEIGEL Rudolph Weigel, Die Werke der Maler in ihren Handzeichnungen. Beschreibendes Verzeichniss der in Kupfer gestochenen, lithographirten und photographirten Facsimiles von Originalzeichnungen grosser Meister (Leipzig 1865) WIEBEL Christiane Wiebel, Aquatinta oder Die Kunst mit dem Pinsel in Kupfer zu stechen : das druckgraphische Verfahren von seinen Anfängen bis Goya, catalogue of an exhibition, Kunstsammlungen der Veste Coburg, 27 July 14 October 2007 (Munich 2007) ZWISCHEN IDEAL UND WIRKLICHKEIT Zwischen Ideal und Wirklichkeit: Künstlerinnen der Goethe-Zeit zwischen 1750 und 1850, catalogue of an exhibition held in the Schloßmuseum Gotha, edited by Bärbel Kovalevski (Ostfildern-Ruit 1999) 5

6 LIST OF PRINTS [1:] Title, engraved by Johann Georg Sturm ( ) Engraving, mm Dessins des meilleurs Peintres d Italie, d Allemagne, et des Pays-Bas, du Cabinet de Monsieur Paul de Praun à Nuremberg. Gravés d après les Originaux de même grandeur par Jean Théophile Prestel Peintre et Membre de l Académie des Beaux-Arts de Düsseldorf [rule] A Nuremberg chez l Editeur J.G. Sturm scrips. et sc [outside numeration] Dedication to Kurfürst Karl Theodor ( ), engraved by J.G. Sturm Engraving, mm A Son Altesse Serenissime, Electorale, Charles Theodore, Comte Palatin du Rhin, Duc des deux Bavières, Archi-Dapifere et Electeur du Saint Empire, Duc de Juliers, Cleves.et Berg, etc. etc. etc. très- humblement consacrés par Jean Théophile Prestel, Peintre, Membre honoraire de l Academie du Dessin et des Beaux-Arts de Düsseldorf. J.G.Sturm scrips. et sc. 2: St. Mary Magdalene lying on the ground reading, by J.G. Prestel after Correggio, dated 1776 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr (Pietro Faccini) Nagler 47; Le Blanc 55; Weigel p.75 no.113/2 and p.167 no.1925; Kunst des Sammelns: das Praunsche Kabinett 99 (drawing); Massimo Mussini, Correggio tradotto: fortuna di Antonio Allegri nella stampa di riproduzioni (Milan 1996), p.262 no.599; Czére 141 (drawing) 3. Study of a seated man, with another head in profile, by J.G. Prestel after Michelangelo, undated Etching mm Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.113 (Giovanni Battista Franco) Nagler 32; Le Blanc 7; Weigel p.75 no.113/3 and p.392 no.4709; Birke p.61 (drawing); Kunst des Sammelns: das Praunsche Kabinett 128 (drawing) 4. The Descent from the Cross, by J.G. Prestel after Raphael, dated 1776 Etching and aquatint, mm Nagler 35; Le Blanc 31; Weigel p.75 no.113/4 and p.563 no.6685; Rebel pp.96 98; Netzer 315; Kunst des Sammelns: das Praunsche Kabinett p.30 (print); Höper A The School of Athens, by M.K. Prestel after Raphael, dated 1776 Etching and aquatint, mm, in second (of two) states Nagler 3; Le Blanc 25; Weigel p.75 no.113/5 and p.587 no.6961; Netzer 316; Achilles-Syndram Z 149 (drawing); Höper F2.13; Schwaighofer, Werkverzeichnis Assumption of the Virgin, by J.G. Prestel after Guido Reni, dated 1776 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2099 (after Ludovico Carracci) Nagler 62; Le Blanc 36; Weigel p.75 no.113/6 and p.293 no.3489; Kunst des Sammelns: das Praunsche Kabinett 102 (drawing); Czére 100 (drawing); Kunst kommt von Prestel St. Anne holding the Christ child, the Virgin, by M.K. Prestel after Dürer, dated 1776 Etching and aquatint, mm, in second (of two) states Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.76 (Dürer) Nagler 20; Le Blanc 5; Weigel p.75 no.113/7 and p.190 no.2199; Kunst des Sammelns: das Praunsche Kabinett 6 (drawing); Achilles-Syndram Z 240 (drawing); Zwischen Ideal und Wirklichkeit F24; Schwaighofer, Werkverzechnis 23; Kunst kommt von Prestel The Ascension of Christ, by J.G. Prestel after Denis Calvaert, dated 1776 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr (Calvaert) Nagler 69; Le Blanc 35; Weigel p.75 no.113/8 and p.59 no.654; Kunst des Sammelns: das Praunsche Kabinett 95 (drawing) ; Kunst kommt von Prestel Death of Adonis, by M.K. Prestel after Giulio Romano, dated 1776 Etching, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr Nagler 11; Le Blanc 14; Weigel p.75 no.113/9 and p.247 no.2886; Massari 322; Kunst des Sammelns: das Praunsche Kabinett 84 (drawing; unknown artist after Girolamo da Carpi); Achilles Syndram Z 75 (drawing); Schwaighofer, Werkverzeichnis St. John the Baptist leaving his parents, to go into the desert, by M.K. Prestel after Polidoro da Caravaggio, undated Etching and aquatint, mm Nagler 13; Le Blanc 36; Weigel p.75 no.113/10 and p.511 no.6099; Achilles-Syndram Z 184 (drawing; Taddeo Zuccari); Schwaighofer, Werkverzeichnis God the Father appears to Noah after the deluge, by J.G. Prestel after Raphael, dated 1776 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr Nagler 34; Le Blanc 3; Weigel p.75 no.113/11 and p.532 no.6346; Netzer 314; Kunst des Sammelns: das Praunsche Kabinett 103 (drawing); Höper F12.3; Kunst kommt von Prestel The Massacre of the Innocents, by J.G. Prestel after Raphael, dated 1776 Etching and aquatint, mm Nagler 36; Le Blanc 15; Weigel p.75 no113/12 and p.558 no.6623; Imitations and facsimiles 9; Netzer 313; Höper H14.4; Kunst kommt von Prestel Celestial Glory, by M.K. Prestel after a Dessin d un Maître inconnu, dated 1775 Etching and aquatint, mm, apparently first (of two) states Le Blanc 1; Weigel p.75 no.113/13 and p.628 no.7438; Achilles-Syndram Z 19 (drawing; Luca Cambiaso); Schwaighofer, Werkverzeichnis 95; Kunst kommt von Prestel 221 6

7 14. The Creation of Adam, by M.K. Prestel after Pontormo, undated Etching and aquatint, mm Nagler 12; Le Blanc 2; Weigel p.75 no.113/14 and p.507 no.6040; Achilles-Syndram Z 137 (drawing); Schwaighofer, Werkverzeichnis The Sermon of St. John the Baptist, by J.G. Prestel after Franciabigio, undated Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr. K (Pietro Faccini) Nagler 45; Le Blanc 40; Weigel p.75 no.113/15 and p.223 no.2547; Achilles-Syndram Z 137 (drawing); Czére 140 (drawing) 16. Venus bathing, by M.K. Prestel after Annibale Carracci, undated Etching and aquatint, mm Nagler 27; Le Blanc 12; Weigel p.75 no.113/16 and p.86 no.975; Achilles-Syndram Z 126 (drawing; Giovanni Francesco Penni?); Höper A59; Schwaighofer, Werkverzeichnis 10; Kunst kommt von Prestel Leda and the Swan, by J.G. Prestel after Giulio Romano, 1776 Etching and aquatint, mm Associated drawing: unidentified, from a Roman copy of a Hellenistic statue or painting (Phyllis Bober and Ruth Rubinstein, Renaissance artists & antique sculpture, London 1986, p.54 no.4) Nagler 51; Le Blanc 65; Weigel p.75 no.113/17 and p.248 no.2890; Massari 323; Kunst kommt von Prestel Mercury lulls Argus into sleep, by J.G. Prestel after Lorenzo Sabbatini, undated Etching and aquatint, mm Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.-Nr (Sabbatini) Nagler 54; Le Blanc 68; Weigel p.75 no.113/18 and p.669 no.7875; Kunst des Sammelns: das Praunsche Kabinett 86 (drawing); Birke p.1058; Wiebel 258; Kunst kommt von Prestel Healing of the Sick near the pool of Bethesda, by M.K. Prestel after Vasari, dated 1777 Aquatint, mm Nagler 14; Le Blanc 8; Weigel p.75 no.113/19 and p.725 no.8485; Achilles-Syndram Z 149 (drawing; Perino del Vaga?); Schwaighofer, Werkverzeichnis 82; Kunst kommt von Prestel The Sacrifice of Abraham, by J.G. Prestel after Polidoro da Caravaggio, undated Etching and aquatint, mm Nagler 48; Le Blanc 4; Weigel p.75 no.113/20 and p.507 no.6041; Kunst kommt von Prestel 1048a b 21. St.Paul and St.Barnabas at Lystra, by J.G. Prestel after Raphael, dated 1778 Etching and aquatint, mm Nagler 39; Le Blanc 45; Weigel p.75 no.113/21 and p.574 no.6805; Netzer 312; Höper H8.2; Kunst kommt von Prestel Head of old bearded Man, by J.G. Prestel after Hans Hoffmann, dated 1777 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.41 (Hoffmann) Nagler 105; Le Blanc 88; Weigel p.75 no.113/22 and p.304 no.3639; Kunst des Sammelns: das Praunsche Kabinett 61 (drawing) 23. Hercules and Omphale, by J.G. Prestel after Maturino, dated 1777 Etching and aquatint, mm Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.1977 (Primaticcio) Nagler 46; Le Blanc 74; Weigel p.75 no.113/23 and p.386 no.4653; Kunst des Sammelns: das Praunsche Kabinett 85 (drawing); Achilles-Syndram Z 143 (drawing); Birke p.1038 (drawing); Kunst kommt von Prestel Death of Ananias, by J.G. Prestel after Raphael, dated 1777 Etching and aquatint, mm Nagler 38; Le Blanc 37; Weigel p.75 no.113/24 and p.575 no.6813; Netzer 311; Höper H4.3; Kunst kommt von Prestel The Holy Family, by M.K. Prestel after Dürer, dated 1777 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.259 (Wolf Traut) Nagler 22; Le Blanc 5; Weigel p.75 no.113/25 and p.190 no.2201; Kunst des Sammelns: das Praunsche Kabinett 14; Achilles-Syndram Z 427 (drawing); Schwaighofer, Werkverzeichnis The Presentation of the Virgin in the Temple, by J.G. Prestel after Raphael, dated 1777 Etching and aquatint, mm Nagler 40; Le Blanc 12; Weigel p.75 no.113/26 and p.569 no.6745; Imitations and facsimiles 8; Netzer 310; Höper A7; Kunst kommt von Prestel Mourning over the body of Gattamelata, by M.K. Prestel after Mantegna, dated 1777 Etching and aquatint, mm Nagler 2; Le Blanc 27; Weigel p.75 no.113/27 and p.379 no.4572; Achilles-Syndram Z 95 (drawing); Schwaighofer, Werkverzeichnis 39; Kunst kommt von Prestel The Entombment, by J.G. Prestel after Daniele da Volterra, dated 1777 Etching and aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2111 (Biagio Pupini?) Nagler 53; Le Blanc 33; Weigel p.75 no.113/28 and p.178 no.2059; Kunst des Sammelns: das Praunsche Kabinett 82 (drawing); Achilles-Syndram Z 147 (drawing) 29. Joseph sold by his brothers, by M.K. Prestel after Giulio Romano, dated 1777 Etching and aquatint, mm Nagler 7; Weigel p.75 no.113/29 and p.252 no.2944; Achilles-Syndram Z 80 (drawing; Italian sixteenth century); Schwaighofer, Werkverzeichnis 66; Kunst kommt von Prestel

8 30. Virtue between Love, Error, Ignorance and Doctrine, by M.K. Prestel after Jacopo Ligozzi, dated 1777 Aquatint, mm Nagler 15; Le Blanc 20; Weigel p.75 no.113/30 and p.368 no.4454; Achilles-Syndram Z 89 (drawing); Schwaighofer, Werkverzeichnis 35; Kunst kommt von Prestel 2015a b 31. Constantine the Great on Horseback, by M.K. Prestel after Giulio Romano and Raphael, dated 1777 Etching and aquatint, mm Nagler 6; Le Blanc 23; Weigel p.75 no.113/31 and p.250 no.2919; Rebel p.103; Massari 324; Achilles- Syndram Z 44 (drawing); Höper F21.10; Schwaighofer, Werkverzeichnis 67; Kunst kommt von Prestel Venus disarming Cupid, by M.K. Prestel after Parmigianino, dated 1777 Aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.1890 Nagler 26; Le Blanc 13; Weigel p.75 no.113/32 and p.472 no.5613; Kunst des Sammelns: das Praunsche Kabinett 118; Achilles-Syndram Z 110 (drawing); 20 Schwaighofer, Werkverzeichnis 57; Kunst kommt von Prestel (top) Arrival of St. Mary Magdalene at Marseille; (bottom) Harvest Landscape, by M.K. Prestel after Titian, dated 1777 Etching, mm Associated drawings: (top) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2093; (bottom) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.1987 Nagler 33 (as Eine Landschaft nach Titian, q.v. J.G. Prestel?); Le Blanc (top) 11 (bottom) 39; Weigel p.75 no.113/33a b, p.711 no.8340, and p.714 no.8376; Kunst des Sammelns: das Praunsche Kabinett ; Achilles-Syndram Z 83 (drawing; Domenico Campagnola) and Z 84 (drawing; Paolo Fiammingo); Schwaighofer, Werkverzeichnis 81; Zoltán Kárpáti, in In Arte Venutus:Studies on drawings in honour of Teréz Gerszi (Budapest 2007), pp no.10 (drawing; Battista del Moro); Kunst kommt von Prestel 2212a+b 34. The Glory of the Holy Trinity, by M.K. Prestel after Franciabigio, dated 1778 Aquatint, mm Associated drawings: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.67.6 (Pietro Faccini) Nagler 5; Le Blanc 7; Weigel p.75 no.113/34 and p.223 no.2548; Kunst des Sammelns: das Praunsche Kabinett 100 (drawing); Achilles-Syndram Z 28 (drawing); Czére 139; Schwaighofer, Werkverzeichnis Jupiter, Juno and Mercury, by M.K. Prestel after Dosso Dossi, dated 1777 Etching and aquatint, mm Associated drawings: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr Nagler 25; Le Blanc 17; Weigel p.73 no.113/35 and p.187 no.2164; Achilles-Syndram Z 76 (drawing; anonymous Italian hand circa 1600); Schwaighofer, Werkverzeichnis 21; Kunst kommt von Prestel Pentecost, by J.G. Prestel after Giuseppe Mazzuoli (il Bastaruolo), dated 1778 Etching and aquatint, mm Nagler 57; Weigel p.75 no.113/36 and p.491 no.5855; Achilles-Syndram Z 78 (drawing; Ludovico Mazzolino); Kunst kommt von Prestel St. Peter and St. Judas Thaddaeus, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/37 and p.368 no.4672a; Kunst kommt von Prestel 1107a 38. St. Andrew and St. Matthew, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/38 and p.368 no.4672b; Kunst kommt von Prestel 1107b 39. St. James the Lesser and St. Thomas, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/39 and p.368 no.4672c; Kunst kommt von Prestel 1107c 40. St. Simon and St. Paul, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/40 and p.368 no.4672d; Kunst kommt von Prestel 1107d 41. Saint Bartholomew and St. John, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/41 and p.368 no.4672e; Kunst kommt von Prestel 1107e 42. St. James the Greater and St. Philip, by J.G. Prestel after Israhel van Meckenem, dated 1779 Etching and aquatint, mm Nagler 107; Le Blanc 47 52; Weigel p.75 no.113/42 and p.368 no.4672f; Kunst kommt von Prestel 1107f 43. (left) Stags in a forest; (right) Shooting hare with a crossbow, by M.K. Prestel after Augustin Hirschvogel, dated 1778 Etchings and aquatint, mm, in second (of two) states 20 See further, Christie s, Old Master drawings, London, 6 July 1999, lot 17. 8

9 Associated drawings: (left) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.112; (right) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr Nagler 51 52; Le Blanc 37 38; Weigel p.75 no.113/43 and p.304 nos ; Achilles-Syndram Z 261 and Z 279 (drawings); Schwaighofer, Werkverzeichnis Bocca della Verità, by M.K. Prestel after Altdorfer, undated Aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.24 Nagler 17; Le Blanc 22; Weigel p.3 no.27 and p.75 no.113/44; Kunst des Sammelns: das Praunsche Kabinett 36; Achilles-Syndram Z 190 (drawing); Schwaighofer, Werkverzeichnis 1; Kunst kommt von Prestel Study of Trees, by J.G. Prestel after Kulmbach, dated 1778 Aquatint, mm Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.25 (Wolf Huber) Nagler 113; Weigel p.75 no.113/45 and p.176 no.2047; Kunst des Sammelns: das Praunsche Kabinett 45 (drawing) 46. The Holy Family with John the Baptist and St. Francis, by J.G. Prestel after Annibale Carracci, dated 1779 Etching and aquatint, mm Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.2133 (Agostino Carracci) Nagler 61; Le Blanc 22; Weigel p.75 no.113/46 and p.77 no.872; Rebel 1986 pp and Abb.57 58; Kunst des Sammelns: das Praunsche Kabinett 97 (drawing); Birke p.1120; Kunst kommt von Prestel Apelles painting Campaspe, by J.G. Prestel after Raffaello Motta da Reggio, dated 1778 Etching and aquatint, mm Nagler 60; Le Blanc 77; Weigel p.75 no.113/47 [sic, in error for 48] and p.530 no.6322; Imitations and facsimiles 10; Kunst kommt von Prestel The Creation of Eve, by J.G. Prestel after Michelangelo, undated Crayon manner, mm Nagler 30; Le Blanc 2; Weigel p.75 no.113/48 and p.391 no.4705; Rebel 1986 pp.316 and Abb ; Kunst kommt von Prestel Two from a homogenous group of fifty-three designs (nos.3, 35) for stained glass depicting scenes of the hunt, executed circa Hirschvogel used the drawing on the right for his stained glass roundel of the subject now in the Bayerisches Nationalmuseum in Munich (Inv. G750); see Jane S. Peters, Early Drawings by Augustin Hirschvogel in Master Drawings 17 (1979), pp (prints cited pp no. 3 and p.388 no. 35). 9