Montag, 17. Oktober 2016

Category A - The first Rhine panoramas


The original Rhine panorama - as "bird's eye view“

The inspiration for the Rhine leporello was based on the work of a talented female artist of the nineteenth century. As Sattler (1993) relates: basing her work on sketches she had made the talented Frankfurt artist Elisabeth von Adlerflycht produced the earliest known panorama of the landscape along the river Rhine.
In 1811 the hobby painter Elisabeth von Adlerflycht (1775-1846) made a trip along the Rhine and made preparatory drawings during the journey which she later turned into a fascinating , colour drawing of the river landscape between Bingen and Coblenz (or Koblenz). The particular style she chose, known as a bird's eye view, was not new but had never been used for this river before and the angle of approximately 45° allowed a continuous image and representation of the relief of this part of the Rhine valley (freely translated from Sattler).
It was the publisher Johann Friedrich Cotta in Stuttgart who, in 1822,prepared publication and had the lithograph executed by Karl Keller (1775-1853) of Stuttgart (see Holzhäuer, 2002, p. 40).

Maria Rebecca Elisabeth von Adlerflycht (née Riese, 1775-1846) was a student under the Frankfurt painter Johann Daniel Bager, well-known for his still life paintings as well as portraits. Elisabeth married  Justinian von Adlerflycht in 1797. Although she produced her original drawing in 1811 it was not until 1822 when it was printed. This was probably as a result of the drawing being "discovered" by either J F Cotta, a prominent Stuttgart publisher, or his son George, who later married the daughter, Sophie v. Adlerflycht (see Holzhäuer p. 36).

A. 1. Elisabeth v. Adlerflycht  1822

Loose sheet.

Das Rheinthal von der Mündung von der Nahe bis zur Mündung der Mosel. Lithograph shows the Rhine from Rüdesheim (below) to Coblenz (top) with Bingen centrally bottom. Two signatures: Elisabeth v. A. (bottom left) and Lithogr. V. Keller (bottom right).
Has only the Mosel bridge at Coblenz and a primitive boat-bridge.

The stone on which the central, coloured section was printed became cracked at a very early stage and this can be seen when the map is inspected closely with a magnifying glass. Some time later a line of text was added at Braubach. Hence there are three distinct versions of the map sheet. Extra text was added leading to 2 different states.

States 
1A. No crack is discernible crossing the Ruppertsberg (lower left)
1B. Hairline crack noticable crossing the Ruppertsberg from north to south.
2A. Addition of text just above Braubach (upper right) – Capelle wo Kaiser Wenzel entsezt wurde. See Sattler quoted in Holzhäuer, 2002.

Size
Sheet is approx. 670 x 400 mm (Sattler has Kreidelithographie 85 x 60 cm): Map area is 510 x 220 mm. No views, text directions take up all the remaining space between map and border. Scenes of water nymphs (representing sources of Mosel, Lahn and Nahe rivers) in three corners and Father Rhine bottom right.

Rheinlauf 18 Graphischen Sammlung des Kölnischen Stadtmuseums (if original has been severely trimmed, otherwise may be a later copy) and Kart. 28064 – Kartenabteilung der Staatsbibliothek zu Berlin (1B). Batten copy is 1B as illustrated below.



Flüsse im Herzen Europas R46.
Sattler, Rheinpanoramen A1 / 3A[1]
Holzhäuer Der Rhein im Panorama 1 (p.80)



Author's copy


A. 2. Anon 1 1823

Das Rheinthal von der Mündung der Nahe bis zur Mündung der Mosel.
This is an almost exact copy of the Rhine panarama of Elisabeth v. Adlerflycht of 1822. The most noticeable differences to this are: The rock formation Die sieben Jungfrauen between Oberwesel and the Loreley are named in the right hand margin but have not been drawn in on the view itself. Text is identical.

Size
Page is 405 x 250 mm with drawing 310 x 135 mm.
Holzhäuer Der Rhein im Panorama 1a and Farbtafel 1 (pp. 41 and 80 - illustrated here)


Holzhäuer Plate 1
  
A. 3. Anon 1   1823

Map title
Das Rheinthal von der Mündung der Nahe bis zur Mündung der Mosel.
This is an almost exact copy of the Rhine panarama of Elisabeth v. Adlerflycht of 1822. The most noticeable differences to this are: Father Rhine is no longer leaning on an amphora but a Dreizack. Text is identical. Copy seen is in a work by Paul Huebner published in 1974. Unfortunately source of the reproduction is not given.

Size
Not known.

Holzhäuer Der Rhein im Panorama not numbered (pp. 41/42)


A. 4. Mottu, F A   1823

Friedrich August Motta was born in Offenbach am Main, but he lived and worked in Cologne from 1817 where, together with Anton Wünsch, he ran a lithographic prining and publishing business. He died in 1828 aged just 42.
This is another copy of the Rhine panorama of Elisabeth v. Adlerflycht of 1822. As before, there are no extra views and all text directions take up the space between map and border. As in Adlerflycht’s illustration there are water nymphs in three corners and Father Rhine bottom right.
This version shows two changes to the Adlerflycht edition: the pontoon bridge at Koblenz has been included; and the Erdhuetten der Douaniers (i.e. the earthworks prepared for the customs officers) have been deleted.
Sattler: When one considers the speed at which copies of a work appeared on the market at that time then this reproduction of the Adlerflycht sheet must be attributed to a date at or about1823.

Map title
Das Rheinthal von der Mündung der Nahe bis zur Mündung der Mosel. Coloured lithograph shows the Rhine from Rüdesheim (below) to Coblenz (top) with Bingen centrally bottom. Signature: Lith. v. F. A. Mottu in Cöln (bottom right).


Size
Sheet is approx. 350 x 440 mm: map area is approx. 160 x 350 mm (Sattler 410 x 275 mm).

Rheinlauf 35 Graphischen Sammlung des Kölnischen Stadtmuseums
Kart. 28065 – Kartenabteilung der Staatsbibliothek zu Berlin

Flüsse im Herzen Europas R47.
Sattler, Rheinpanoramen 3B
Holzhäuer Der Rhein im Panorama 1b and Farbtafel 2 (pp. 42 and 80 - illustrated here)


Holzhäuer Plate 2


A. 5. Anon 2 (Kueffner)  1823

This is an almost exact copy of the Rhine panarama of Mottu of 1823 but the Erdhuetten der Douaniers have not been deleted. The panorama is found illustrating a musical score: Promenade sur le Rhino u Divertissement pour deux Flutes ou Violins, Alto et Guitarre compose et dediee a Mademoiselle Joesephine Schott par Joseph Kueffner. Oeuv. 135. A Mayence chez B Schott fils Editeurs de Musique. This was published (and dated) in 1823, therefore helping to date the preceding entries. (See Holzhäuer p. 42.)


Map title
Promenade sur le Rhino u Divertissement pour deux Flutes ou Violins, Alto et Guitarre (above map) compose et dediee a Mademoiselle Joesephine Schott par Joseph Kueffner. Oeuv. 135. A Mayence chez B Schott fils Editeurs de Musique (below map). 

Size
Not known.
Holzhäuer Der Rhein im Panorama not numbered (p. 42 and illustrated p. 43 - illustrated here)



Holzhäuer Plate 3


A. 6. Anon 3 (Buchner)   1823/24

This map seems to be out of place. Although clearly a Rhine strip map it is not as similar to v. Adlerflycht's original as any of the others quoted above. In addition there is already the introduction of sights down both sides. In many ways it pre-dates and preempts the work of Delkeskamp. His first Rhine panorama appeared two years later (based on Holzhäuer's dating) and he did not introduce illustrations for another 12 years.

Map title

Das Rheinthal.
This is a new (neu aufgenommen) copy of Adlerflycht or Mottu whereby the river panorama itself is shown centrally but flanking it right and left are 16 panoramic views. These are arranged eight each side and are each contained within the same size frame. Not exactly pre-empting Delkeskamp it is in fact the first panorama with separate illustrations for individual sights. Place names are arranged between panorama and the sixteen views. This version was issued by the Nuremberg publishing house of G P Buchner.

Size
Not known, but sheet is 610 mm x 355 mm.
Holzhäuer Der Rhein im Panorama not numbered (p. 42 and illustrated p. 44, copied below).



Holzhäuer P. 44.





[1] First number is listing pages A-N of second brochure (1995). Second number is vitrine number to exhibition (1993).

Kommentare:

  1. Amazing... This is a such a nice and informative blog. thanks for share this...
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  2. It was wondering if I could use this write-up on my other website, I will link it back to your website though.Great Thanks.
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  3. Hi, this is a nice compilation. Hope you manage to produce the full list of panoramas in the 19th c.! I wonder whether there is a chance that you let me have your essay on the Rhine panoramas in Imcos 2006. I am working on a biography of Delkeskamp. rolf-barnim.foth(at)bwi.hamburg.de, thank you and best regards from Hamburg, Rolf

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