Null Het groote Tafereel der dwaasheid, vertoonende de opkomst, voortgang en ond…
Description

Het groote Tafereel der dwaasheid, vertoonende de opkomst, voortgang en ondergang der actie, bubbel en windnegotie, in Vrankryk, Engeland, en de Nederlanden, gepleegt in den jaare MDCCXX. Zynde een verzameling van alle de conditien en projecten van de opgeregte Compagnien van assurantie, navigatie, commercie, &c. in Nederland [...] als meede Konst-plaaten, comedien en gedigten, door verscheyde liefhebbers uytgegeeven [...]. [Amsterdam] s.n. 1720 Lge folio: [2]-25-[1]-52-26-[3 paginated 29-31]-8 pp. (some spotting and browning in text, some pl. margins spotted, the 4 portraits of each of the plates "Bombario Actionist (I)" and "Bombario Actionist (II)" (3561 & 3564) cut out and bound in separately). Contemp. sheep, gilt-orn. spine with raised bands, gilt sides, red edges (corners rubbed and bumped, sides rubbed, scratches on covers, joints splitting, bands rubbed, def. on head and tail). First edition of a renowned satirical collection of texts on the speculative mania of 1720, consisting of satirical plates, charters of the Dutch speculative companies, comedies etc. "The world's first global stock market bubble suddenly burst in 1720, destroying the dreams and fortunes of speculators in London, Paris, and Amsterdam. The crash, which involved the famous South Sea and Mississippi Companies, inspired this anonymous publication of an extraordinary Dutch compilation of prospectuses, plays, poems, commentaries, and satirical prints [...] a unique and splendid record of the financial crisis and its cultural dimensions" (Goetzmann). Among the text parts are: "Conditien van de Compagnien van Commercie", "De windhandel of Bubbels compagnien", "De bedriegelyke actionist, of De Nagthandelaars", Quincampoix of de windhandelaars", Arlequyn actionist", "Opschrift van het dolhuis", "Versameling van gedigten" and "Papegaay". Original prints: 73 engravings, printed on paper of varying weights, most folding (some min. tears in folds), comprising all Muller's numbers only missing n. 18 "Eeuw. gedachtenis" (3553) being the same plate as the present n. 27 (3562) but in a later state and sl. adapted. Plate n. 65 "Kaartspel Momus" (3600a) in our copy being the same plate but in a later state with title "Pasquin's windkaart op de windnegotie van 't Jaar 1720" (3600b). Our copy includes one extra plate mentioned by Muller as such: "Louisiana bij de Rivier Mississippi" (3615) and 3 small portraits, not in Muller: "Jacques III Pretendent D'Angleterre & c. of Ridder van S. Joris", "Madame Law" and "Mre. Jean Law con.er du roy en tous ses con.ils". Ref. Goetzmann, The Great Mirror of Folly (2013), esp. pp. 35-51 (bibliogr. analysis by K. Forrer). - Muller, Historiepl. esp. n. 3536-3609. - Kress 3217. - Sabin 28932. - STCN (various issues and made-up copies: our copy resembles 254984576). Prov. Oorlof (stamp).

1164 

Het groote Tafereel der dwaasheid, vertoonende de opkomst, voortgang en ondergang der actie, bubbel en windnegotie, in Vrankryk, Engeland, en de Nederlanden, gepleegt in den jaare MDCCXX. Zynde een verzameling van alle de conditien en projecten van de opgeregte Compagnien van assurantie, navigatie, commercie, &c. in Nederland [...] als meede Konst-plaaten, comedien en gedigten, door verscheyde liefhebbers uytgegeeven [...]. [Amsterdam] s.n. 1720 Lge folio: [2]-25-[1]-52-26-[3 paginated 29-31]-8 pp. (some spotting and browning in text, some pl. margins spotted, the 4 portraits of each of the plates "Bombario Actionist (I)" and "Bombario Actionist (II)" (3561 & 3564) cut out and bound in separately). Contemp. sheep, gilt-orn. spine with raised bands, gilt sides, red edges (corners rubbed and bumped, sides rubbed, scratches on covers, joints splitting, bands rubbed, def. on head and tail). First edition of a renowned satirical collection of texts on the speculative mania of 1720, consisting of satirical plates, charters of the Dutch speculative companies, comedies etc. "The world's first global stock market bubble suddenly burst in 1720, destroying the dreams and fortunes of speculators in London, Paris, and Amsterdam. The crash, which involved the famous South Sea and Mississippi Companies, inspired this anonymous publication of an extraordinary Dutch compilation of prospectuses, plays, poems, commentaries, and satirical prints [...] a unique and splendid record of the financial crisis and its cultural dimensions" (Goetzmann). Among the text parts are: "Conditien van de Compagnien van Commercie", "De windhandel of Bubbels compagnien", "De bedriegelyke actionist, of De Nagthandelaars", Quincampoix of de windhandelaars", Arlequyn actionist", "Opschrift van het dolhuis", "Versameling van gedigten" and "Papegaay". Original prints: 73 engravings, printed on paper of varying weights, most folding (some min. tears in folds), comprising all Muller's numbers only missing n. 18 "Eeuw. gedachtenis" (3553) being the same plate as the present n. 27 (3562) but in a later state and sl. adapted. Plate n. 65 "Kaartspel Momus" (3600a) in our copy being the same plate but in a later state with title "Pasquin's windkaart op de windnegotie van 't Jaar 1720" (3600b). Our copy includes one extra plate mentioned by Muller as such: "Louisiana bij de Rivier Mississippi" (3615) and 3 small portraits, not in Muller: "Jacques III Pretendent D'Angleterre & c. of Ridder van S. Joris", "Madame Law" and "Mre. Jean Law con.er du roy en tous ses con.ils". Ref. Goetzmann, The Great Mirror of Folly (2013), esp. pp. 35-51 (bibliogr. analysis by K. Forrer). - Muller, Historiepl. esp. n. 3536-3609. - Kress 3217. - Sabin 28932. - STCN (various issues and made-up copies: our copy resembles 254984576). Prov. Oorlof (stamp).

Auction is over for this lot. See the results

You may also like

Jacob de Heusch, Italian River Landscape Colourful, summery hustle and bustle on the river with a fishing boat moored, in front of an imposing mountain landscape with partly ruinous architecture, in the light of the late summer sun, the exquisitely composed romantic landscape transports the viewer of the painting into a tranquil world of contemplation and sublime grace and still today evokes a longing for Arcadian southern climes, Heusch's stay in Italy was of formative importance for the artist, as it suited his carefree nature very well, as Houbraken reported in 1719 "... He was a versatile young man, brilliant, not lacking in understanding, he spoke well, was bold and witty in his answers, always cheerful in character and popular in every society. ... After practising art in Venice and Rome for several consecutive years and spending many cheerful evenings with the Bentvogels, he returned to Utrecht ...", the same carefree cheerfulness can also be seen in the present painting, which was probably created after his time in Rome as a reminiscence; Heusch drew on his wealth of Italian motifs until the end of his life, as Nagler notes (1838): "... He came to Rome early on, where the Schilderbent gave him the nickname "Affdruck" (Contre Épreuve), because his works perfectly resemble those of Wilhelm de Heusch. Only Jacob is even more perfect, both in the drawing and in the truth of the depiction. His colouring is vivid, and his figures, animals, etc. reveal a witty artist. He painted many pictures in Rome and Venice, and after his return he still painted mostly for Italian lovers. ...", his paintings found their way into important art collections, so there is a great similarity to the painting of almost the same size in the St. Petersburg Hermitage by Heusch. Petersburg Hermitage by Heusch, "Italian Harbour", from 1697, which mirrors the present motif and shows a morning river landscape as a counterpart, finely glazed landscape and genre painting in finely coordinated colours, oil on canvas, signed and dated "JdHeusch f. 1696", older printed label "Jacob de Heusch ..." verso on stretcher, minor craquelure, relined, old retouching, in need of minor restoration, framed in a beautiful Wilhelminian-style gilt stucco frame, rebate dimensions approx. 53 x 72 cm. Artist information: also Jakob de Heusch resp. de Heus, called Giacomo de Heusch in Italy, Dutch genre and landscape painter, draughtsman and etcher (1656 Utrecht to 1701 Amsterdam), pupil and faithful imitator of his uncle, the landscape painter and etcher Willem de Heusch (1625-1692), like the latter, Heusch was a follower of the art of Jan Both and an "Arcadian", travelling to Rome in 1675 and becoming a member of the Dutch artists' society "Bentvueghels" [Bentvueghels] there under the nickname "Afdruk", "Afdruck" or "Affdruck".Gleich und gleich gesellt sich gern]" also known as "Schildersbent [Engl.: Painters' Clique]", with whose members he also painted in Venice, influenced in Italy by Salvator Rosa and collaboration with Pieter van Bloemen, registered in Rome until 1692, later returned to Utrecht and probably in 1698, through the mediation of his Bentvueghel friend Johan Teyler, Appointed to the court in Berlin, where he only stayed for a short time, then freelanced in Utrecht, represented in collections in Vienna, Helsingborg, Brunswick, Venice, Rouen, Meiningen, London, Mainz, Stuttgart, Frankfurt/Main and St. Petersburg. Petersburg, active in Utrecht, died on a trip to his Amsterdam Bentvueghel friends Albert van Spiers and Jan van der Keere as a result of an accident in Amsterdam, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Wurzbach, Müller-Singer, Müller-Klunzinger, Seubert, Nagler, Houbraken "De groote schouburgh der Nederlantsche konstschilders en schilderessen", Walther Bernt "Die Niederländischen Maler des 17. Jahrhunderts" and Wikipedia.

Kunz Meyer-Waldeck, Mystisches Seeufer summer scene by a clear forest pond in a rocky landscape, in front of a cave on the shore a boyish faun gazes at the play of two mermaids in the deep emerald green lake, glazed, partly slightly impasto myth painting with very beautiful light and finely tuned colours, oil on canvas, c. 1900, signed and inscribed "Kunz Meyer München" at lower left, fragmentary label on the reverse of the stretcher with mostly illegible handwritten additions "... Establishment and dispatch centre for works of art ... Name of the artist Kunz Meyer ..." as well as the brand stamp "Gallerie [sic.] Arthur v. Franquet (mit Krone und steigendem Braunschweiger Löwen)", provenance: from the estate of the Brunswick manufacturer, art collector and patron Paul Friedrich Arthur von Franquet (1854 Brunswick to 1931 Brunswick), who was a friend of Edvard Munch, among others, and supported him with numerous purchases, minor craquelure, restored, framed in Art Nouveau gilt stucco moulding, folded dimensions approx. 88.5 x 61 cm. Artist information: actually Conradin Karl Ferdinand Meyer, called Kunz Meyer and signed as "Meyer-Waldeck" from 1914, Baltic German painter, illustrator, sculptor and pedagogue (1859 Mitau/Kurland until 1953 at Schloss Neuburg/Inn), childhood in St. Petersburg, 1874 moved to St. Petersburg, 1874 moved to Neuburg/Inn. Petersburg, moved to Heidelberg in 1874, later a pupil at Gotha grammar school until 1879, studied at the Munich Academy under Alexander Strähuber and Johann Leonhard Raab from 1879-87 and was a master student of Wilhelm von Lindenschmit the Younger, travelled through Italy in 1885-86, freelance in Munich from 1888, worked in Bremen from 1891-92, spent time in Portugal in the 1890s, director of the Texas Art League's art school in Dallas from 1908-10, returned to Germany in 1910 and was appointed royal professor, exhibited at the world exhibitions in Amsterdam and St. Louis as well as the 1888-1931 exhibitions in Amsterdam and St. Louis. Louis as well as the exhibitions in the Munich Glaspalast from 1888 to 1931 and the Great German Art Exhibition in the House of German Art in Munich in 1937, received various honours, such as the Munich Gold Medal in 1895, the bronze medal at the World Exhibition in St. Louis in 1904, the Bavarian Order of St. Michael 4th Class, the Bavarian Order of St. Michael 4th Class and the Bavarian Order of St. Michael 4th Class. Michaelsorden 4th class, the Knight's Cross 1st class of the Saxon Albrecht Order, the Knight's Cross of the Order of Orange-Nassau and in 1917 the Great Golden State Medal Salzburg, member of the Luitpold Group and the Munich Artists' Co-operative, active in Munich, sources: Thieme-Becker, Vollmer, Dressler, Boetticher, register of the Munich Academy, Bruckmann "Münchner Maler des 19./20. Jh.", Saur and Internet.