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ex-libris THE WORLD OF EX-LIBRIS |
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A historical retrospective 2 EX-LIBRIS FROM THE ENLIGHTENMENT TO DECADENCE 1700 -1860 |
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2f GERMAN PICTORIAL PLATES 1630-1800
The term ‘pictorial’, amongst ex-librists, is used loosely to
describe ex-libris where the heraldic element is not dominant. As
we have seen, such plates became fairly common in the 18th century,
though there are earlier examples. Often the images are allegorical,
drawing upon mythology and symbolism to express in
pictorial terms a message or idea. In pictorial plates, it is indispensible
that the owner’s name be present and legible, as there is
usually no longer a coat of arms to identify him. Occasional ex-libris
with cyphers, monograms or a pictorial play on the owner’s
name, are a source of headaches for researchers, and most ex-lib-ris
collections have a small inferno of unidentified plates. In
Germany as elsewhere in Europe, many fine pictorial plates were
made by prominent artists, rather than just by good craftsmen.
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2f/1. ? (?A)  MONASTERY OF ST. PETER, C2, 89 x 66, 1636.
As we have seen earlier, most religious establishments tended to have ex-libris showing either the arms of the institution or those of the Superior, or a combination of both. Not so in this rare ex-libris for the monastery of St Peter in Salzburg, Austria. This is a characteristic allegorical plate, with the motto conservando cresco, ‘conserving, I grow’. |
2f/2. Martin Hailler (D) HOMBERG, C3, 102 x 66, 1672.
More research should be done into this plate which seems to be for the Minister of the church of Vachau. Again a superb allegorical image of the arm of God as shepherd, and his flock. |
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2f/3. Johann D. von Montealegre (D, 1697-1768)
POLYCARP MüLLER, C2, 87 x 93, c.1725. W1344.
Viz. L-W p. 248. A cypher plate for Gottfried Polycarp Müller, who was a professor of rhetoric and poetry, and bishop of the Herrnhuter communities. Perhaps the Protestant religion of the owner, as in the case of the previous plate, suggested the use of a pictorial rather than armorial plate. It exists also in a smaller size, 54 x 57. |
2f/4. Johann Martin Bernigeroth (D, 1713-1767) WELLER, C3, 64 x 95, 1749.
This allegorical pictorial plate bears only the initial of the owner. Unless a book is found on which he also wrote his name, identification is difficult. Bernigeroth also engraved a heraldic ex-libris for the same person. |
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2f/5. Jonas Paulus Funck (D) WAGNER, C2, 117 x 83,
c.1740. W2353.
A remarkable pictorial plate by the Nuremberg artist Funck, with its strange fountain crowned by the figure of Artemis, with a hat in the form of a cage with a bird inside. |
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2f/6. Johann Friedrich Volkart (D, 1750-1812) G. B. DE
LUTZERODE, C3, 70 x 96, c.1770.
Antique ruins are a frequent theme in eighteenth century pictorial
plates, and reflect the interest in the classical world which was
widespread amongst intellectuals of the time.
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2f/7. Friedrich Christian Kruger (D. 1774-1832) S. R. J.
COTHENIUS, C3, 95 x 63, c.1800. W338.
Kruger of Berlin engraved this plate for Cothenius, who was a
doctor. Appropriately, the bust is of Hippocrates.
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2f/8. Johannes Boehm (D, 1698-1738) COUNT CHOTEK, C2,
115 x 89, c.1780. W326.
A fine engraving , where light is perfectly mastered by the artist. The owl and books, drawing materials and palette all reflect the interests of the owner. |
2f/9. Daniel Niklaus Chodowiecki (D, 1726-1801) DAVID
FRIEDLAENDER, C3, 100 x 73, c.1774. W565.
Viz. Zur Westen, p. 26, ill. One of the greatest German engravers of all time, the Danzig-born Chodowiecki made this allegorical ex-libris for the Berlin writer Friedlaender. The artist was for many years director of the Art Academy of Berlin. At least two versions of this design are known, copied by other artists for other customers. His influence on contemporary graphic arts was very extensive. |
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2f/10. Daniel Niklaus Chodowiecki (D, 1726-1801)
(USENER), C3, 60 x 60, 1788. W2305.
Viz. Zur Westen p. 35. Another example of the fine work of this artist, but not one of the five ex-libris which he engraved and conceived as such. The block, a vignette for illustration, was probably bought by Usener from one of the heirs of Chodowiecki, and he had his name added on the plate to be able to use it as an ex-libris. |
2f/11. Daniel Niklaus Chodowiecki (D, 1726-1801) IPSE,
C3, 72 x 56, c.1777. W325.
Viz. Zur Westen, p. 36, ill. p. 2,
Leiningen p. 256, etc.
Chodowiecki’s ex-libris for his own books surely must rank as one of the most superb small graphic art works of the 18th century. The feeling of light, the delicacy of the composition, the bal-ance achieved with the window-frame and name, all conspire to reach perfection. Its symbolism is noteworthy: the Genius of Art brings the young artist to the multiple-breasts of Mother Nature (Artemis). |
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2f/12. Johann E. Ihle (D, 1724-1814) & Johann A.
Schweikart (D, 1722-1787) JOHANN JAKOB MICHAEL
WIEDMANN, C3, 87 x 98, c.1780. W2468.
Again a pictorial plate for a Protestant minister, designed and engraved, as was sometimes the case, by two different artists. |
2f/13. ? (D) COLONEL RICHARD, X2, 78 x 72, c.1780.
The owner was a favourite of Frederick the Great, who nicknamed him Quintus Scilius. An unusual wood-engraved ex-libris. Wood engraving was popular in Britain towards the end of the 18th century, but very little used at the time in the rest of Europe. (Artemis). |
End of 2f
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