4356 - 4627 FINE ARTS - PHOTOGRAPHS
- A few plates loose. Board edges rubbed/ sl. worn.
- Mount sl. soiled, foxed and unevenly browned.
Bruining, B. (1834-1900). (Witte Poort, Buitenpoort, Leyden). Mounted albumen print, ±1863, 28,2x22,2 cm.
- Mount sl. soiled and unevenly browned. = Both gates were demolished in 1863.
= Most likely later impressions of earlier negatives. Showing several parts of the city, i.a. Vischmarkt, Rapenburg and Bouwelouwensteeg.
- Small piece of paper torn of back due to tape.
= With stamp on verso: "Life Motion Photographs. Levende Foto's. Eenigst adres: Den Haag, Lange Poten 27". An interesting technique in which three different photographs were taken with the subject showing three different expressions. The celuloids were produced and placed over a vertical line grid. When slightly bendt, the expression of the portrayed seems to change. Very rare.
AND 4 other small similar photographs, three male and one female portraits.
= SEE ILLUSTRATION PLATE LXX.
- Needs some cleaning.
= Shows a river landscape. In the late 1820s, Kings Porcelain Manufactory in Berlin developed a new form of porcelain art. Master carvers created finely detailed scenes and portraits in wax, which were then used to make the moulds for porcelain plaques they called lithophanes. Porcelain becomes translucent when it is kiln fired at very high temperatures, and an impression, cast into porcelain, will produce a remarkably detailed design by only slight variations in its thickness. Soon hundreds of thousands of lithophanes in a variety of intricate designs were produced in Germany, France, Belgium, Ireland, Wales and England. Used as window hangings, fire screens and teapot warmers, some were also placed in the bottoms of steins and cups to delight the eye of the consumer when lifted to the light. Lithophane lamps were given a place of honor in 19th century households. By the turn of the century their popularity had waned and production virtually ceased by 1930. Few of the original lithophanes have survived to the twentieth century. As the true beauty of these translucent images depends on light, many were discarded by heirs of the original owners, unaware of their beauty when properly displayed, and therefore these original lithophanes can be regarded as very rare.
AND a bisque porcelain plate, showing a kitten and roses, also modern, ±17x24 cm., verso without any blindstamp. - AND WITH: M. CARNEY, Lithophanes (Athglen, 2008, richly illustrated, orig. boards, 4to).
= Curious collection with views of i.a. Amsterdam (i.a. farm at the Amstelveense weg) and Zandvoort and various unidentified German and Belgian towns and cities. Probably from the Dutch-German families Mähler and Meltzer or Melzer (of the glass factory Focke & Meltzer? There is one photograph showing a glass cutting factory). Recurring places are Damme (Germany), The Hague, Amsterdam, Langenau.
= "lieve jutka [Rona], zo te zien mag [je] me toch niet! groeten xx [signature]".
AND 2 similar photographs of Jutka Rona by the same, both w. copyright stamp and date stamp "31 maart 1978" on verso.
- Some occas. sl. foxing, hardly affecting the photos; heraldic bookplate on upper pastedown. Binding worn/ sl. dam. along extremities.
= Views of i.a. Girgeh (frontisp.), Thebes, Karnac, Luxor, Philae, Baalbec, the Sinai (i.a. convent and Wádee Feyrán), Jerusalem (incl. 2x panoramic), Gaza, Damascus, an Arab sportsman and a cook, and a crocodile. SEE ILLUSTRATION PLATE LXIX.
- Stain or spot w. rubbed-off gold leaf.
= In gold lacquer or 'Makie' photography a negative is developed w. use of a mixture of potassium bichromate, gum arabic and honey and then sprinkled with goldleaf, which adheres to the image in proportion to light exposure. The image is then transferred to a black lacquered surface. Hanbe (or Hanbeh/ Hanbei) Mizuno (1852-1920) developed this process which he had patented in 1891.
- Frontwr. w. some blind impressions from scribbling w. pencil. Otherwise fine.
= Copy of the DELUXE edition issued in 100 signed, dated and numb. ("48/100") copies. SEE ILLUSTRATION PLATE LXX.
= Boom/ Rooseboom p.202: "(...) The photos of galopping horses which Edward Muybridge made in the seventies and eighties proved once and for all exactly how horses move. His photos surprised many people, not least draughtsmen and painters: relying perhaps too heavily on conventional wisdom, they had for years portrayed them as stiff, wooden merry-go-round horses." SEE ILLUSTRATION PLATE LXXI.