[Auguste BLANQUI (1805-1881)]. Ernest-Henri GRANGER (1844-1912) Blanquist milita…
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[Auguste BLANQUI (1805-1881)]. Ernest-Henri GRANGER (1844-1912) Blanquist militant, Blanqui's right-hand man, led the Blanquist movement before becoming a Boulangist deputy (!). 2L.A.S., 1877-1881, to a friend [probably Caspar Michal Turski]; 5 pages in-12. On Blanqui. Montreux December 25, 1877: "I did not come to Switzerland for my pleasure, but for the special purpose you know and for a short time"; he shakes "the hand of citizen Grigorieff"... Paris February 16, 1881, about Blanqui's newspaper, Ni Dieu ni Maître (the 1st issue appeared on November 20, 1880): "I am at once administrator, proofreader, secretary of the editorial staff, sales manager and painter of the newspaper. Through us and our friends, we sell the paper ourselves, and we're doing very well". He has no photo of Blanqui: "We had his face molded after his death. But only one copy of the cast was made, and we are keeping it as a document to be used for the bust to be placed on his tomb"...

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[Auguste BLANQUI (1805-1881)]. Ernest-Henri GRANGER (1844-1912) Blanquist militant, Blanqui's right-hand man, led the Blanquist movement before becoming a Boulangist deputy (!). 2L.A.S., 1877-1881, to a friend [probably Caspar Michal Turski]; 5 pages in-12. On Blanqui. Montreux December 25, 1877: "I did not come to Switzerland for my pleasure, but for the special purpose you know and for a short time"; he shakes "the hand of citizen Grigorieff"... Paris February 16, 1881, about Blanqui's newspaper, Ni Dieu ni Maître (the 1st issue appeared on November 20, 1880): "I am at once administrator, proofreader, secretary of the editorial staff, sales manager and painter of the newspaper. Through us and our friends, we sell the paper ourselves, and we're doing very well". He has no photo of Blanqui: "We had his face molded after his death. But only one copy of the cast was made, and we are keeping it as a document to be used for the bust to be placed on his tomb"...

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Eduard Leonhardi, attr., Am Felshang partly overgrown rugged cliff edge with stored logs, skilful nature study with beautiful treatment of the light, washed ink over graphite on paper, mid 19th century, Copy of the expertise by Mrs Ulrike Haßler-Schobbert from the Leonhardi Museum Dresden, which attributes the work to Eduard Leonhardi, enclosed, acquired at Galerie Kühl in 1972, slightly stained, remains of old mounting on the reverse, sheet dimensions approx. 26 x 32.5 cm. Artist information: actually Emil August Eduard Leonhardi, German landscape painter, watercolourist. Landscape painter, watercolourist and lithographer (1828 Freiberg - 1905 Dresden-Loschwitz), called "painter of the German forest" because of his romantic landscapes, son of the ink manufacturer August Leonhardi (1805-1865), from 1836 supported by the drawing teacher Anton Müller in Freiberg, 1840 moved to Dresden-Loschwitz, 1842 pupil of the engraver Julius Fleischmann, studied 1842-45 at the Dresden Academy, 1846-49 studio pupil of Ludwig Richter, undertook various study trips with Ludwig Richter to northern Bohemia, 1847 to the Zschopau and Mulde valleys, 1848 to the Harz mountains, from 1949 freelance work in Dresden and stay at the Rabenauer Mühle in Saxon Switzerland, 1852 travelled to Munich, Salzburg, Vienna and Upper Bavaria, 1853-59 study visit to Düsseldorf, then settled in Loschwitz near Dresden, honorary member of the Dresden Academy from 1864, death of his father in 1865 and took over his "Chemical Factory - Leonhardische Tintenwerke", member of the Saxon Art Association from 1866, acquired the Hentschelmühle in Loschwitzgrund in 1879 and converted it into the "Rote Amsel" artists' residence in 1881-84, charitable activities - supported artists such as Robert Sterl and Charles Johann Palmié with his "Rote Amsel" artists' residence, donated a poorhouse and a children's home in Loschwitz, opened the private museum in the "Rote Amsel" in 1885, professor title and honorary member of the Dresden Art Society in 1896, organised exhibitions in Dresden, Vienna, Berlin, Düsseldorf, Hanover and Munich, member of the Düsseldorf artists' association "Malkasten" from 1856-58 and 1867-74, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Boetticher, "Künstler am Dresdener Elbhang", Friedrich "Ludwig Richter und sein Schülerkreis", Müller-Singer, Seubert, Müller-Klunzinger, Bruckmann "Lexikon der Düsseldorfer Malerschule", Info Leonhardimuseum Dresden and Wikipedia.

OGATA GEKKO: SPARROW FEEDING ON CHERRY BLOSSOM OGATA GEKKO: SPARROW FEEDING ON CHERRY BLOSSOM By Ogata Gekko (1859-1920), signed Gekko with seal Japan, 19 th century, Meiji period (1868-1912) Color woodblock print on paper. Vertical shikishiban. Signed Gekko with seal. Title Sparrow Feeding on Cherry Blossom. A small sparrow slurping down the nectar from a cherry blossom. Image SIZE 24.2 x 25.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear. Vivid impression and colors. Trimmed margins and some foxing. Mounted on a paper with tape to the top, behind a passepartout. Provenance: From an old private collection in England. Ogata Gekko was a Japanese artist best known as a painter and a designer of ukiyo-e woodblock prints. He was self-taught in art, won numerous national and international prizes, and was one of the earliest Japanese artists to win an international audience. Gekko was self-taught in art, and began decorating porcelain and rickshaws, and designing flyers for the pleasure quarters. His early style shows the influence of the painter Kikuchi Yosai. About 1881 he took the surname Ogata at the insistence of a descendant of the painter Ogata Korin. He soon was designing prints and illustrating books and newspapers. In 1885 Gekko exhibited in the Painting Appreciation Society, and he became acquainted with the art scholars Ernest Fenellosa and Okakura Kakuzo. The square shishikiban format appears to have been a favourite of Gekko's. Over 60 prints appear in his oeuvre in this size. Museum comparison: A closely related print, with similar seals, is in the collection of the Edo-Tokyo Museum, document number 88004209.