Čís. položky 170


Präsentation eines Erdbebens (Presentation of an earthquake)


Präsentation eines Erdbebens (Presentation of an earthquake) - Mistrovské kresby, Tisky do roku 1900, Akvarely a miniatury

6 engravings and watercolours on paper, reinforced with thin cardboard, cut out with scissors/knife, 16 x 20 cm, published by Martin Engelbrecht, Augsburg 1720/70, the envelope and one scenery missing, (Hu)

Illustrated in:
Georg Füsslin, Werner Nekes et alii, Der Guckkasten, Einblick – Durchblick – Ausblick, Füsslin Verlag Stuttgart 1995, p. 59 and Barbara Maria Stafford und Frances Terpak, Devices of Wonder, From the World in a Box to Images on A Screen, The Getty Research Institute, Los Angeles 2001, p. 339.

(On November 1st, 1755 a tremendous earthquake impacted on Lisbon; more than 100.000 people fell victim to it. Engelbrecht chose the incident as a subject for his perspective theater in 1760. He illustrated the various episodes with seven coloured (!) engravings. They offer a lively and even sweeping image of the event. The images are framed by collapsing columns and parts of buildings which are falling down; the buildings, a churchtower and vaults are breaking down. One can also detect fleeing figures which are making ecstatic gestures or are trying to save each others’ lives. The imagined Guckkasten vision of the earthquake on Lisbon was intended for the presentation on fairgrounds as was customary with Guckkasten (peep-boxes). It was a media which served the popularisation of an event. As a preform of film and television peep-boxes brought events to people who were not able to read and who were seeking an additional way of making something visually vivid. Translated from the German text by Jürgen Wilke, Das Erdbeben von Lissabon, als Medienereignis, in: Das Erdbeben von Lissabon nach den Katastrophen ... im 18. Jahrhundert, Hg. v. Gerhard Lauer und Thorstein Unger Wallstein Verlag 2008, S 37)

Scenery pictures, perspective theatre, backdrops for the peephole

Between the 1720s and the 1770s, thousands of miniature theaters constructed from sets of six to eight hand-colored prints were purchased by the wealthier classes of Europe, presumably as fanciful, amusing, or instructive decorations for the home. These very commercially successful three-dimensional theaters were produced exclusively by one printmaker, Martin Engelbrecht of Augsburg and his workshop. Marketed throughout Europe, Engelbrecht theaters came in three different standard sizes, with titles printed in German, French, Italian, Latin, or English. Given that Augsburg was a printmaking center at mid-century, it is curious that none of Engelbrecht’s compatriots pursued this visual genre. Other publishers could have been deterred by Engelbrecht’s claims that production of the tiny scenes was painstaking, costly, and time consuming. Another deterrent may have been Engelbrecht’s legal position. In 1719, and again in 1729 and 1739, he was granted a royal privilege for the exclusive production of “illuminierte Lackier- und Ausschneidebilder” (illuminated varnished and cutout images), which may well have included the paper theaters.

From: Devices of Wonder, from the world in a Box to Images on a Screen, Barbara Maria Stafford and Frances Terpak, The Getty Research Institute, Los Angeles, 2001, S 336.

Expert: Dr. Brigitte Huck Dr. Brigitte Huck
+43-1-515 60-378

19c.paintings@dorotheum.at

20.10.2020 - 15:56

Dosažená cena: **
EUR 1.280,-
Vyvolávací cena:
EUR 1.000,-

Präsentation eines Erdbebens (Presentation of an earthquake)


6 engravings and watercolours on paper, reinforced with thin cardboard, cut out with scissors/knife, 16 x 20 cm, published by Martin Engelbrecht, Augsburg 1720/70, the envelope and one scenery missing, (Hu)

Illustrated in:
Georg Füsslin, Werner Nekes et alii, Der Guckkasten, Einblick – Durchblick – Ausblick, Füsslin Verlag Stuttgart 1995, p. 59 and Barbara Maria Stafford und Frances Terpak, Devices of Wonder, From the World in a Box to Images on A Screen, The Getty Research Institute, Los Angeles 2001, p. 339.

(On November 1st, 1755 a tremendous earthquake impacted on Lisbon; more than 100.000 people fell victim to it. Engelbrecht chose the incident as a subject for his perspective theater in 1760. He illustrated the various episodes with seven coloured (!) engravings. They offer a lively and even sweeping image of the event. The images are framed by collapsing columns and parts of buildings which are falling down; the buildings, a churchtower and vaults are breaking down. One can also detect fleeing figures which are making ecstatic gestures or are trying to save each others’ lives. The imagined Guckkasten vision of the earthquake on Lisbon was intended for the presentation on fairgrounds as was customary with Guckkasten (peep-boxes). It was a media which served the popularisation of an event. As a preform of film and television peep-boxes brought events to people who were not able to read and who were seeking an additional way of making something visually vivid. Translated from the German text by Jürgen Wilke, Das Erdbeben von Lissabon, als Medienereignis, in: Das Erdbeben von Lissabon nach den Katastrophen ... im 18. Jahrhundert, Hg. v. Gerhard Lauer und Thorstein Unger Wallstein Verlag 2008, S 37)

Scenery pictures, perspective theatre, backdrops for the peephole

Between the 1720s and the 1770s, thousands of miniature theaters constructed from sets of six to eight hand-colored prints were purchased by the wealthier classes of Europe, presumably as fanciful, amusing, or instructive decorations for the home. These very commercially successful three-dimensional theaters were produced exclusively by one printmaker, Martin Engelbrecht of Augsburg and his workshop. Marketed throughout Europe, Engelbrecht theaters came in three different standard sizes, with titles printed in German, French, Italian, Latin, or English. Given that Augsburg was a printmaking center at mid-century, it is curious that none of Engelbrecht’s compatriots pursued this visual genre. Other publishers could have been deterred by Engelbrecht’s claims that production of the tiny scenes was painstaking, costly, and time consuming. Another deterrent may have been Engelbrecht’s legal position. In 1719, and again in 1729 and 1739, he was granted a royal privilege for the exclusive production of “illuminierte Lackier- und Ausschneidebilder” (illuminated varnished and cutout images), which may well have included the paper theaters.

From: Devices of Wonder, from the world in a Box to Images on a Screen, Barbara Maria Stafford and Frances Terpak, The Getty Research Institute, Los Angeles, 2001, S 336.

Expert: Dr. Brigitte Huck Dr. Brigitte Huck
+43-1-515 60-378

19c.paintings@dorotheum.at


Horká linka kupujících Po-Pá: 10.00 - 17.00
kundendienst@dorotheum.at

+43 1 515 60 200
Aukce: Mistrovské kresby, Tisky do roku 1900, Akvarely a miniatury
Typ aukce: Online aukce
Datum: 20.10.2020 - 15:56
Místo konání aukce: Wien | Palais Dorotheum
Prohlídka: 14.10.2020 - 20.10.2020


** Kupní cena vč. poplatku kupujícího a DPH

Není již možné podávat příkazy ke koupi přes internet. Aukce se právě připravuje resp. byla již uskutečněna.