Lot 947
(F. Heinrichsen), Aus einer Vortragsreihe über die Psalmen. Kalligraphierte Handschrift für Siegfried Guggenheim. Passau 1923.
Estimate
€ 300
Starting Price
€ 200
Lot:
947
Category:
Literature of the 20th century
(Heinrichsen, Friedrich): Aus einer Vortragsreihe über die Psalmen. Kalligraphierte deutsche Handschrift auf Papier. Passau im Juni 1923. 16,4 x 12 cm. With 13 multi-line initials and a watercolour vignette at the end. 24 leaves. Handmade paper cover with a Japanese-style binding.
(Slightly rubbed and slightly bumped. One page has a small hole in the outer margin. A few instances of minimal foxing. Three places in the text where corrections have been made.)
A calligraphic transcript of extracts from a series of lectures on the Psalms delivered in the winter of 1922 at the Society for Jewish History and Literature in Offenbach am Main. Dedicated by Rabbi Dienemann to Siegfried Guggenheim, a lawyer and art collector from Offenbach, on the occasion of his 50th birthday. - The manuscript bears a monogram (‘FH’) on the final page. This bears a striking resemblance to the monogram of the calligrapher Friedrich Heinrichsen (1901–1980), although it may well be an early form of the same, not yet definitively documented. An attribution to Heinrichsen seems plausible, but cannot be proven with absolute certainty on the basis of the monogram alone. The biographical and historical context supports such an attribution: Siegfried Guggenheim was one of the key patrons of Rudolf Koch and his circle of students. From 1924 onwards, Heinrichsen worked as Koch’s principal assistant in the latter’s master’s workshop in Offenbach. The work, dated June 1923, would therefore – provided the attribution is correct – be situated in the period immediately prior to Heinrichsen’s entry into Koch’s workshop. The fact that it was created in Passau may be explained by the fact that Heinrichsen, who was born in Passau, produced the work whilst staying with his parents. However, this connection also remains hypothetical. Should the attribution to Heinrichsen be confirmed, this manuscript would be of particular significance as an early example of his calligraphic work. - From the collection of Siegfried Guggenheim. Bookplate on the front endpaper, alongside the signature ‘G No. IV. 11’ in black ink.
(Slightly rubbed and slightly bumped. One page has a small hole in the outer margin. A few instances of minimal foxing. Three places in the text where corrections have been made.)
A calligraphic transcript of extracts from a series of lectures on the Psalms delivered in the winter of 1922 at the Society for Jewish History and Literature in Offenbach am Main. Dedicated by Rabbi Dienemann to Siegfried Guggenheim, a lawyer and art collector from Offenbach, on the occasion of his 50th birthday. - The manuscript bears a monogram (‘FH’) on the final page. This bears a striking resemblance to the monogram of the calligrapher Friedrich Heinrichsen (1901–1980), although it may well be an early form of the same, not yet definitively documented. An attribution to Heinrichsen seems plausible, but cannot be proven with absolute certainty on the basis of the monogram alone. The biographical and historical context supports such an attribution: Siegfried Guggenheim was one of the key patrons of Rudolf Koch and his circle of students. From 1924 onwards, Heinrichsen worked as Koch’s principal assistant in the latter’s master’s workshop in Offenbach. The work, dated June 1923, would therefore – provided the attribution is correct – be situated in the period immediately prior to Heinrichsen’s entry into Koch’s workshop. The fact that it was created in Passau may be explained by the fact that Heinrichsen, who was born in Passau, produced the work whilst staying with his parents. However, this connection also remains hypothetical. Should the attribution to Heinrichsen be confirmed, this manuscript would be of particular significance as an early example of his calligraphic work. - From the collection of Siegfried Guggenheim. Bookplate on the front endpaper, alongside the signature ‘G No. IV. 11’ in black ink.