THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/rococoengravingsOOjess ROCOCO ENGRAVINGS This Edition is Landed to 250 numbered copies of whid? this is Number S3 TWO HUNDRED PLATES OF THE EIGHTEENTH CENTURY SELECTED BY DR. PETER JESSEN AND REPRODUCED IN COLLOTYPE LONDON : BENN BROTHERS, LIMITED 8 BOUYERIE STREET, E.C.4 10 2 2 . the r.-’.'i cr /AL’SE'JM INTRODUCTION HE man who should seek by personal observation of exist- ing works of art to enter into the spirit of the Rococo must travel far indeed: for Paris, though the cradle of that vivacious style, contains but fragments of the ancient glory. For precious examples of a noble conception of space he must seek in Versailles and Fontainebleau, for the greatest treasures of artistic French metal work in Nancy, and for remnants of exquisite silver as far as Lisbon or Petrograd — if, indeed, they have survived these troublous times. That unity of exterior and interior, of architecture and decoration, the full harmony of all that Rococo stood for, he can light upon only by travelling eastward across the frontiers of France and visiting the luxurious palaces of princes of Church and State in Germany; for example, Briihl, Bruchsal, Ansbach, Wurzburg, Munich and Potsdam. And, finally, for a thorough acquaintance with the furniture of the period he must cross the Channel to the home of Chippendale and his associates. But even visits to all the works and pictures still extant would not reveal the motive power of all that exquisite and organic life — the impetus and personality of their creators. This harmonious world of forms may have been bred in workshops and on scaffolds: it certainly was not born there. The master craftsmen with their clear eye and sensitive hand were but elaborating what master artists had suggested to them. These artists were no longer men who handled chisel or plane, hammer or weaving- shuttle ; they were Court architects, Court painters, Court designers, members of Academies, and often enjoyed world-wide reputation for leadership in painting and the liberal arts. These true creators of the architectural and decorative style, the masters of ornament, had all graduated in the severe school of academic draughts- manship. They could handle with equal mastery pen or pencil, brush or chalk, whether in the execution of ornament, sketches or studies of the nude. Their designs were by no means mere dry studies or rapid jottings. They were accustomed to polish each sketch into a work of art, express- ing their conceptions with graphic maturity and filling their portfolios with completed masterpieces of permanent value. Lovers and buyers of such designs were many: for contemporary collectors valued a wall-painting by Watteau, or a fan by Boucher, as highly as a nature-study or figure composition, in that they embodied the latent desires of that happy and free society — the effervescent charm, the play of wit, the joy in nature, the boundless extravagance — in short, the spirit of the age. Fortunately, these gracious day-dreams were not condemned to moulder in the collectors* portfolios; he who had the enterprise to reproduce them for the workshops of artisans could count on fame and profit. Ever since the decline of the Middle Ages engravers had provided designs for craftsmen: at first hesitatingly, issuing occasional designs here and there, but, later on, one consecutive series followed after another. Such ornamental engraving constituted an additional and profitable channel for the work of the engraver's studio. At first his own designs were used, then the original sketches of famous artists. The careful designs of the leading masters were exceptionally welcome to the ornamental engravers of the time. Enterprising publishers were ready to provide far-reaching publicity for these fantasies by the issue of clever engravings, which they themselves or their skilful assistants executed. Such sympathetic interpreters of the characteristic designs of Oppenordt, Meis- sonnier and their contemporaries created in the generation between 1720 and 1760 works of art of the highest order. Of these interpreters the greatest, Gabriel Huquier, himself an enthusiastic collector of all manner of designs, made thousands of them available to handicraftsmen and connoisseurs, assiduously reproducing all the strength and delicacy of the originals. His were not single plates, nor reproductions reduced in size; they were large- sized folios on a monumental scale. In fine, ornamental engravings came to play a decisive role in the creative art of that age. What the masters thought out and the engravers published in Paris were valuable general suggestions rather than professional workshop designs. Printers, carvers, silversmiths, embroiderers and other craftsmen could readily utilise them each for their special purpose. Decorative designs in the latest fashion, interplay of lines and delicate shading mingled with plant-forms, shell-work, children or allegorical scenes: decorations growing like old grotesques or landscapes with fantastic architecture and antique or foreign figures interspersed; frame and picture conceived as an inseparable whole; such folios, useful for a hundred purposes, serve to focus the origin and the evolution of contemporary style in French ornamental engravings. Rococo ornament has a two-fold origin: on the one hand, the classicism of the time of Louis XIV, characterised by a graceful use of straight lines; on the other, by way of strong antithesis, that youthful impulse towards exuberance which was growing even before the aged king in 1716 was suc- ceeded by his five-year-old great-grandson — an impulse also observable in the Italian Baroque. From these two sources the pioneers in the new artistic world drew their inspiration and learnt, each in his own inimitable way, how to restrain without strangling his imaginative faculty. Many a foreigner, many a foreign school gravitated to Paris. Indeed, Gille Marie Oppenordt, architect to the art- and pleasure-loving Regent, Duke Philip of Orleans, and the first man to give expression to the new temper, was a Dutchman who for years had been feeding his Northern imagination on the Roman Baroque. By virtue of his buildings and decora- tive work, as well as his sketches, he was soon proclaimed the prophet of the new style, designing all that is plastic in architecture and its decorative accessories, figures and other forms of ornament, architectural details, altars, fountains, mural decorations and facades with afreedom previously unknown. Of these designs Fluquier has published two large portfolios. But for all the boldness of his craftsmanship the demands of surface decoration neither escaped his attention nor outran the limits of his versatility. None better than he knew how to render picturesque vignettes or decorative designs. Side by side with all this, ornamental painting, a more essentially French product, was growing up. Jean B6rain, the famous Court designer of Louis XIV, had invented, with unending originality, designs full of the grotesque, for walls and wall-hangings, chimney pieces and furniture, trellis- work and flower-beds. The same spirit is perpetuated in the playful lines of Claude Gillot and those of his greatest pupil, Antoine Whtteau. The work of both, though akin to that of their predecessors in taste and mood, is a thought more graceful, more easy-flowing, has a fresher elasticity. Gillot, like Berain, was a Court designer, hut as a painter specialising in landscape backgrounds and antique gods he surpassed his master. Some of his sketches he engraved himself. Then came TVhtteau, with his incomparable grace, to give life to Gillot’s dreams, creating a fairyland of flowery landscape, dainty figures and butterfly caresses. Any Flemish predisposition he may have had was com- pletely merged in the French spirit. When Watteau and Gillot died in 1721 and 1722 respectively, the fire- brand had begun his career who was destined to transform the “Scherzo” of the Regency into the “Furioso” of Rococo at its height. Juste- Aurele IVLeissonnier, a native of Turin, was by profession not an architect but a goldsmith. It was as if his southern home and his familiarity with the technique of embossing had determined the channel into which his artistic spirit would flow. Shaking free his boundless sense of form from all restraint, disdaining straight lines and symmetry, enriching curves and harsh profile with all manner of motifs taken from nature, he was led by his joy in creation far beyond the limits of a goldsmith’s workshop. He tried his hand recklessly and with complete success at snuff-boxes, luxurious rooms, facades, church decorations and all that is implied by “fine art.” The true inventor of that shell-work which has impressed itself upon the world as the leitmotiv of the Rococo, he supplied a whole generation at home and abroad with models of form. Not even contemporary painters escaped his influence. Francois Boucher, the grand master of truly Rococo painting, a close friend of M.eissonnier’s, reveals himself also as a pupil by the manner in which he introduces forcefully executed shell-work into designs as dainty as those of Watteau. The same spirit informs all his work. Landscapes, children, fairy fountains and frame-work all express a Baroque exuberance moderated by grace. In his footsteps a whole crowd of gifted contem- poraries followed — the dashing Mondon, Lajoue with his fantastic architecture, Peyrotte and other specialists in ornament. That stage-like world in which the fancies of these masters so freely wandered was popu- lated indifferently by ancients or moderns or foreigners of no particular period. From far-away civilisations they came (in especial from China, the wonderland of those days) — not only figures, but garden scenes, ornaments and the rest — taken from porcelains or derived from the sketch-books of travellers and now seen through Western eyes. No one dealt more ingeniously with this strange medley of material than an in- ventor, who, himself a designer for the loom, kept the silk- weaver’s needs continually in mind. Jean Pillement’s numerous scenes, with their flowers, shrubbery, trees, animals and those pigtailed figures, are, by virtue of their inimitable grace, their glittering silkiness of effect, an unending source of fascination. All this was reproduced in engravings with a skill which might enable them to pass for original designs. French ornamental engraving is essentially the work of the great masters of painting; hence it remains generalised, in character. The leading work- shops were at that time still able to dispense with specialised examples of ornament; only on rare occasions a designer of furniture or metalwork, and very occasionally an embroiderer, might desire such examples. Smiths alone felt a constant need of suggestions owing to the continual change of fashion in the curve, which progressed from the sinuous lines fashionable in the time of the Regency to the exuberance of the period at its height. Accord- ingly they had to follow the architects. Such specialised examples can be easily remarked among the following plates. Rococo form in Paris grew like a natural organism out of a uniform spirit. Crossing the frontier, its characteristics change. Even with artists of the French school and of French origin the pulse beats more slowly under foreign skies. Francois Cuvillies, for example, a native of Belgium and a pupil of the French academy, is influenced by his fellow artificers of Munich even m his engravings, and introduces a distinctly German note into the Parisian style. German craftsmanship of that day had not passed through the school of classicism. Baroque buoyancy, under the sway of which German architects had achieved so much, remained in the ascendant until about 1740. The tender notes of the Regency had scarcely been heard here, and all the more passionate was the surrender to the vivacious wantonness of the Rococo at its zenith. In ornamental engraving also the old German tendency to play had passed all limits, mainly because it was served less by artists than by professional virtuosi. The great majority of German motives were designed by specialists for two enterprising Augsburg publishers. The entrepreneurs needed new and fashionable patterns in an attractive form capable of being utilised for manifold purposes and crafts. The bolder the curves and more daring the invention, the stronger the demand. Unfortunately, these Augsburg publishers employed only local men. Although many a fresh talent was to be found among them, the danger lest these agile specialists should descend to the level of mere flourish was so strong that only one stood the supreme test; a true artist, himself conversant with the technique of engraving and capable of reproducing his own dainty fantasies — Johann Esaias Nilson, a native of Augsburg. Elsewhere, in the artistically barren North, ornamental engraving on only one occasion in the German Rococo period came into its own, but then it was in a truly royal fashion. In the Potsdam of Frederick II lived Johann Michael Hoppenhaupt, engaged as one of the wood-carvers under KnobelsdorfFs direction on the decoration of Sans Souci. Born in Merse- burg, Saxony, he was possessed of an unusual inventive faculty and was fortunate enough to find a collaborator in Johann Wilhelm Meil, later celebrated for his vignettes, who, at that time hardly 20 years of age, was as yet an amateur in the art of engraving. Jointly they produced some 70 masterly plates — some on a large scale, some on a small, and akin in form and content to the best foreign products. They would in themselves have been sufficient to secure some measure of fame for the German workshop copies of that epoch, but, unfortunately, no publisher was forthcoming and the engraver contented himself with making merely a few impressions. The valuable plates were never used to the full, and many of the best were set aside unprinted to await either destruction or a resuscitation that has been delayed until to-day. With the exception of Hoppenhaupt's works specialised designs for individual crafts are in Germany and in France less frequent than generalised ornament. The opposite is true of ornamental engraving in contemporary England. Here the architects retained their feudal classicism slightly modified by a Baroque tendency. They still left to master-craftsmen the construction of furniture, utensils and interior decorations. The leading furnishing and decorating firms, however, were less slow in utilising the new fashion once the genius of Thomas Chippendale had set the example. The Rococo, introduced by immigrating Frenchmen or by drawings brought across the Channel, was a novelty. So also was the use of motives based on reports brought by travellers or seen on imported goods from far away China, and the pointed arches and Gothic foliage to which connoisseurs were just then drawing attention. All these novelties were combined with refreshing ease by courageous inventors and transferred to paper by engravers. In these pages we have selected such fantastic inventions instead of the usually rather dry and angular ornaments of the English Rococo proper. The few Italian specimens included in the following pages do not pretend to be characteristic of the period and its local idiom. The Baroque style was so deeply rooted in Italy, and so full of vigour, that the tenderer Parisian modes had great difficulty in finding recognition there. V enice was the only centre of art where Italian forcefulness gave way to French grace; for example, in the stately engravings of the landscape painters and occasionally on some folios with ornamental or figure work. But before the Rococo could strike root, a preference for the antique began to influence the art of ornamental engraving. Of this influence, some account will be given in a later volume. PETER JESSEN AMICONI, GIACOMO, Venice, 1675—1752. Pp. 199—199 BERGMULLER, GOTTFRIED BERNHARD, Augsburg, 1688—1762. Pp. no, in BLONDEL, JACQUES FRANQOIS, Paris, 1705 — 777./. P. 26 BOFFRAND, GERMAIN, born in Nantes 1667 , died in Paris 1759. Pp. 89, 85 BOUCHER, FRANQOIS, Paris, 1705—1770. Pp. go— 55 BOULANGER, Paris. Pp. 86, 87 BRISEUX, ETIENNE, Paris, 1680— 1779. Pp- 80, 81 “ C.L." (Italian). P. 200 CHEDEL, QUENTIN PIERRE, Paris, 1705—1760. P-95 CHIPPENDALE, THOMAS, died in London 1779. Pp- 1 76 — 1 79 CRUSIUS, GOTTLIEB LEBRECHT, Leipzig, 1750— i8og. Pp. 168, 169 CUVILLIES, FRANQOIS DE, born in Soignies 1695, died in Alunich 1768. _ p P- 66-72, 7 g, 75, 77 El SEN, CHARLES, born in Brussels 1720, died in Paris 1778. Pp. 82, 85 GILLOT, CLAUDE, born in Langres 1672, died in Paris 1722. Pp. 8 — 11 GIRARD, ROMAIN, Paris. Pp. 106, 107 GLAZIER, London. P. 175 GO Z, GOTTFRIED BERNHARD, born in APdhren 1708, died in Augsburg 177 g. Pp. 112 — 121 HABERMANN, FRANZ XAVER, born in Glatz 1721, died in Augsburg 1796. Pp. 152 — 150 HOPPENHAUPT, JOHANN MICHAEL, bom in Merseburg i 7 o 9 , died in Potsdam. Pp. 122 — 159 HUET, CHRISTOPHE, died in Paris 1759. Pp. 88, 89 HUQUIER, GABRIEL, Paris, 1695—1772. Pp. 75,76, 78, 79 INCE AND MAYHEW, London. Pp. 180-189 KLAUBER, JOHANN SEBASTIAN and JOHANN BAPTISTA, Augsburg. Pp. 170, 171 LAJOUE, JACQUES DE, Paris, 1687—1761. Pp. 59— 59 LOCK, MATTHIAS, London. ^ P. 172 M El S SONNIER, JUSTE-AURELE, born in Turin 1695, died in Paris 1750. MONDON THE YOUNGER, Paris. NILSON, JOHANN ESAIAS, Augsburg, 1721 — 1788 OPPENORDT, GILLE MARIE, Paris, 1672-1792. OUDRY, JEAN BAPTISTE, Paris, 1686-1775. PEYROTTE, A., Paris PIERRE, JEAN BAPTISTE MARIE, Paris 1715-1789. PILLEMENT, JEAN, Paris 1727—1808. PINEAU, NICOLAS, Paris, 1689 — 1759 SAINT AUBIN, CHARLES GERMAIN DE, Paris, 1721 Pp. 60—65 Pp. 1 g 0—151 Pp. 1-7 Pp. 90, 91 Pp. 69, 65 Pp. 108, 109 Pp. 99-105 Pp. 27 — 29 1786. P. ()2 UNKNOWN ( probably Italian). Pp. 190 — 195 WACHSMUTH, JEREMIAS, Augsburg, 1712 — 1779. Pp. 160 — 167 WATTEAU, ANTOINE, born in Valenciennes 1689, died in Paris 1721. Pp. 12 — 25 At Lhe fool of each plate are given Lhe measurements of the original expressed in centimetres PLATES I* 4 OPPENORDT 32 32 23 OPPENORDT 4 38 : 24 OPPENORDT w. WK/mk mSm . '^.. . — . fafrr"- OPPENORDT RQ Pans cJi&f Emptier rue Acs Jflathun ns au cerin. As cells Ac Scrhcmrte . L.PE B ACC US yPatnJ eJie’fr H iiy uicr, uiJ-a ind Ic. rcuuL Chatclcir, Clvcc pric. dulZd . G1LL0T 8 30 : 10 GILLOT : -/w ‘L. Hu.iaicr ri, t-.r rw le orcmd Chiitclct th\-c yrir.duli.’i 10 2b : 34 1 i QILLOT 12 32:20 r'Pui'it c/tC'Z. Li. C/n'rcau *S . J tlCtl net '■(oc i/ru.v PilUcrs
^T Cow-on, vinumt .- et aud&rsowf. tine gi-anM Table d? msu-br*. Lt> desyem ne fur voir gue Is Iiaut , et Is has' de la Glace, on liaj dormer jit une hauteur propcriiorme* a sa target# . j Plan ds la Tablet* de mart re , a urn pcurcit fairs plus large . ( On peut supcser one smite die trwneaux de Glares , ) pareils a celmj maraud jL.les Piastres 3 .dontemne ^ vc it que Li nicntie' , servient re peter? erttre Char uns des d. u Triune any, . — -J 4 - Invents par Tl de CuiilKO' . C.F.S C.M. grave pdu' C.A..de liespjdieqj; LIES 68 3b : 24 c.p. s.c 7vt, 10 .'"‘LZii ‘ \ 1 ^ __ / =Ciife ert niche., ausc cotes duefiul sent deimc Pieces de iapiMerie encadrtkc dans des iordi^rcs - decore/s difliresrurusik. Oe vend a. iParis chin It di" Hie illy rut dhagutr a. V image c’*. iTjttioii . ante priailtgt du. Hi. in , rt chat VCUdxur . (pave- par C.*A ■ de JdtfpJUtac ■ CIJVILLIES C.P. S.C. 31 UVILLIES 70 3b: 23 C.P.S.C.M T CUVILLIES 71 36 : 23 Lu’entz j.kii- F. Je Ciwtllies . C.jF.S . C.-A5L- gruvd pen' C -A.de. Ij es j:\lTien CUVILUES 72 3b: 24 .A JParur cJie's Huaueer rue .. JV/ahne. (fin retifenne /e has dim verou a bascule E . Jhsyette a /usage des partes a placat'd dor grander craisoes O . Conduit pom' recevou' les twig/es des serrures a bascule . Ii . Using ler iftu dim sen/ tour de c/ef fait auvrir, 011 d e ’ 'tner /es is Ore net dans tours gae/ie on p/ a tine 3e vend, ausrt a Vans c/iot. Le S VoiUp rue S* Iacquf a Inn.iar .S [ Bt/unt A-vec Vrivilege Ju Ray ■ C.O.S.C.JVL CUVILLIES 74 31 : 24 DIVERSES PIECES n'OUVUAGks de serrurepie Z W/u/I TU J&+ iju* piMB- ier Six Pue&r marquMt A.-et ncni. paw Lv A_ui,\v t p M o,vt pas R apart. Is’ MS- ll'isnMr Is> J\>r , paw- pjnJra cUt Enj-Sufiuzr, au laiitenuir . Tnr.'n/s juir / ./* Cuvi//i.*s CVS.CjW tjmiu’ /W7* L Ac J-i c'Sp'L H/P’Z. CUVILLIES 75 Wtuftuer tfii- Sntlp et ear. me des /Wa/Aun/u-. C P. R HUgUIER 76 32: 21 2D7EEESES PIECES n ' OUVRA.GES JDE SEER UR EE IE CtnsLstz".. /,uit J/f-mts MrsSuis t)e_ ' ■ Cfcau/m’s Ckevahtr dej C9rdrs (SCr,n CCS ^S|fe| Par son Ires hqumhlc, el Ires Olu/oanI Serviteur ) Pe/narteau Louie Y>^>VV».'.‘,ViU,v\v\\W \\WW*V«V\WV'' VV ‘' vend a Paris ches Lauteur rue de laPelterce a la llodie vis-aans SP Peats de la C lutr/re -Hotel Jts Hrsuis I'd' atts deuce Pilhers dPr, rue fP Jaet/ucs . rivet PrdSt/t/e die P/ant/le ddr - 106 33:22 0 / 33 : 21 GIRARD 40:28 RGMULLER. 1 10 29: lb Prn'rv ' 1 1 1 BEROMULLER 29:19 112 29:18 £ Odorat. t uvr P? ' toufours urtr aparcable odaw J|s Jttt urns ber f&rritdi fp itrtft nih < S$r£ VFHiVMam t aonnent de la, fotjc. ; on est en belle, hunuur, Mffo I wtrtn tnif 1000 . &tt\?Ve» ¥tumen ftdT ^srfmt', Ct on se , peuk tot^onrs , corrvne. il Jant , Ju'trtvr, jf&rmatih ein (cHane# fte£«S \Xmb Jiuuia. on, Jane rut far Jut, tcs Jleurs peat etuulLr. ^pfelW»t jrpfCt^ al’ link yfiegrf brttn Bit rdeclu rn . 29 : IS "Ce, Qoufi U r tf LJU4/ - . ,, . B &r / ^fr Pmart. rn£rt * F‘* r rna ' J°i' urve. aggreahle vie, Jssjait her afe bann tW rerfrf n-tf^pn, ''' 7r ' r yuxuuL on se, trouve. eti, bonne, conioaome ,, ' CJmtf mutt Cn m n.i „„ Kef / *'“ r - . affr aip P*w tt«ff refltt Frgpfcjen, troui'e en, bonne, coinpaejme,, mart ttt Co nuuo-mc Cep fcfjprtFtt T)amen jtfiC °\ L l ’ eut . ct at ' ec for belles 31onie.r / _$n‘t> wtm iatfS mwn’hoftl' her Went hmlfpPffwPtJjC Ct on, U m chastffe, bien nos cocuss a nos antes gsW M6 pf%f me!' ^eruc0 vvr^fel^at. \-- / tIlors ijusuul, on se, I Oo, on beset, et marine ufilnt. zAsttoiLcli&nvctib . -C' otto u< henient sotwent chuto utile noire cotur, ^)Sil i jufftrf pfff mtf j^u| ,«MOt vftef aftf wttf •ifef jwrf^Ftt, te\e prrngf eni>ftof) l ~ < * Hit'll • 29 : 18 Godf Bern Got uw . et sculps I ■ A . exauL . dug . T y izid . 'WvmSSkB 'xkW^ Eschujfulu grains , credos rruJii , tempore wuJ|p bmntfji iff frrti C'Jcrfif intf> f>£j‘ ILTpIf’ $st&t6e£, ivaw, Jjeus hunc homznerri semper amare trjrr UtebvtafesS jfeffi ibmmrfVti^Itdj \c\)m Grams or mterrm est semper rrwrtalzbus die . , ' Mtr UtCt &ugmb W uuf &rf m ati fam&ei ale post mortem. ilh_ mag n us Olympus ent JifVii jtnri> v’Ocf’f' exvtgCtcf) tit jener We\ S rrliiilji QOZ GOZ GOZ 120 31 : 19 1 GOZ HOPPENHAUPT 41 : 18 GH o ppeu ha apL Jot 1 HOPPENHAUP; 41 : 20 J-Co/j/Xnfuu/pL, Juror dtV 1 7 Si 25 : 34 tJ^ O p[>&nhau.y>h Jctti- 129 HOPPENHAUPT 27 ; 29 -Cep pc nM an pi Jem' &r tm > . HOPPENHAUPT Jtnior.ji 20 : 35 J^o^wVaapVJctitor tnu- HOPPENHAUPT je 19:25 • Jtnii i HOPPENHAUPT JLoppmiuupi Jtuiu OPP AUPT 33 : 28 Tm m - /■' J l • S‘ LJ1V ; NHAU ( % d uT e o a; je 22:14 HOPPENHAUPT .A •/. 2$ ^ ini’ Sculps ft : r» 'Ju^ . 7 ' 2 4 * 20 NILSON 145 /& in i / p 9 «=^a beUCj , pour bruiser le Jraid , oven courage Q*Ja$Ie/ ~pont~ glace le perilleux pasfaae ; fy _ r 0 % q ; /? , 1 a, YLalwre / erribumt~ oc qiare te coiarrzr , CS^ Q> d CJ Ql our conzmencer le Lems jrar un runaseau. jrtmszr , 1 . I’ i , on’ Sculps et~ eHw) • O* 1 148 18 : 28 « frulps ft exrtu* Qr£TC NIL 150 je 7 : 10 je NILSON ^ loh; &exm^ ttcrtejL exnul-Autfj .* V: HABERMANN 153 TaJyerrrvartS^el ^^0 H *7 _$ ? JTab erman , e/ - rZe/ . N%:l63. An h Getrrq Jiertel , pj'ru.d j4.ua. V 1 9 F.jfcai'. Haber'rnxtri , mv. etJA. 71 ? '63 JoJi Georg Hertel, exc. -AugV. 30:20 HABERMANN KiU: ] 20 : 30 ■G’nprDtt ’ ^o T POT SIL ' VE 'P^fETIJ HA Ioh . Georg HerteL. . Tf Th 30:20 164 30 :20 WACHSMUTH 165 30:20 C.Tnu.S.C.Maj. JVEart. JCngelbrecfit ejccud y.L . V Jer iVajJisrrciJit 2b: lb CRUSH) S 168 je 15:12 32 : 20 2 KLAUBER 29 GLAZIER N° CX T C Vrt/t/tftuf/f/r ////' , ( t/f/ fa//- * a avrdina ft' /7rt JD.ir/y xf