"St. Mary Magdalene lying on the ground reading", by J.G. Prestel after Correggio, dated 1776 (plate 2) View larger
"St. Mary Magdalene lying on the ground reading", by J.G. Prestel after Correggio, dated 1776 (plate 2)
Prestel (Johann Gottlieb), 1739-1808

Dessins des meilleurs Peintres d’Italie, d’Allemagne, et des Pays-Bas, du Cabinet de Monsieur Paul de Praun à Nuremberg. Gravés d’après les Originaux de même grandeur par Jean Théophile Prestel Peintre et Membre de l’Académie des Beaux-Arts de Düsseldorf. 1780

Nuremberg, Johann Gottlieb Prestel, 1780
A fine suite of prints reproducing in actual size German and Northern Italian drawings in the collection formed by the Nuremberg merchant and humanist Paulus II Praun (1548-1616). It is the first and most impressive of three albums of reproductive prints after drawings produced by Johann Gottlieb Prestel in collaboration with his wife, Maria Katharina, in which aquatint is used to imitate the manner of a wash.
Subjects
Art - Collectors and collecting - Praun (Paul von), 1548-1616
Book illustration - Reproductive printmaking - Early works to 1800
Prints - Artists, German - Prestel (Johann Gottlieb), 1739-1808
Prints - Artists, German - Prestel (Maria Katharina), 1747-1794
Authors/Creators
Prestel, Johann Gottlieb, 1739-1808
Artists/Illustrators
Prestel, Johann Gottlieb, 1739-1808
Prestel, Maria Katharina, 1747-1794
Sturm, Johann Georg, 1742-1793
Printers/Publishers
Prestel, Johann Gottlieb, 1739-1808
Owners
Bibliotheca Cogelesiana, 19th century
Other names
Albrecht Kasimir, Duke of Saxe-Teschen, 1738-1822
Esterházy von Galántha, Nikolaus, 1765-1833
Frauenholz, Johann Friedrich, 1758-1822
Karl Theodor, Elector Palatine and Elector of Bavaria, 1724-1799
Murr, Christoph Gottlieb von, 1733-1811
Praun, Paul von, 1548-1616

Prestel, Johann Gottlieb
Grönenbach 1739 – 1808 Frankfurt am Main

Dessins des meilleurs Peintres d’Italie, d’Allemagne, et des Pays-Bas, du Cabinet de Monsieur Paul de Praun à Nuremberg. Gravés d’après les Originaux de même grandeur par Jean Théophile Prestel Peintre et Membre de l’Académie des Beaux-Arts de Düsseldorf. 1780.

Nuremberg, Johann Gottlieb Prestel, 1780

folio (680 × 480 mm), (49) ff., the complete suite of engraved title (with above text) signed J.G. Sturm scrips. et sc, engraved dedication to Kurfürst Karl Theodor subscribed by J.G. Prestel and signed J.G. Sturm scrips. et sc., and forty-seven etchings and aquatints (numbered 2–48), of which twenty-eight are signed by Johann Gottlieb Prestel and nineteen by Maria Katharina Prestel (see appended list of prints). Plates 3–4 are misbound in this copy after plate 2.

paper watermarks (1) panel 15 × 132 mm lettered wangen; (2) panel 18 × 72 mm lettered i v (?). Interleaved at time of binding with joined sheets of unwatermarked laid paper.

provenance ‘Bibliotheca Cogelesiana’, armorial exlibris — Anonymous consignor, Christie’s, ‘Importants livres anciens, livre d’artistes et manuscrits’, Paris, 25 November 2008, lot 139

Title and a few other leaves with stains or light discolouration in margins, closed tear in margins of plates 15 and 31, otherwise a very attractive copy with all three folding plates (nos.6, 13, 31) well-preserved.

binding contemporary German half-calf, back decorated in gilt; sides covered by marbled papers.

A fine suite of prints reproducing in actual size German and Northern Italian draw­ings in the collection formed by the Nuremberg merchant and humanist Paulus ii Praun (1548–1616). It is the first and most impressive of three albums of reproductive prints after drawings produced by Johann Gottlieb Prestel in collaboration with his wife, Maria Katharina, in which aquatint is used to imitate the manner of a wash.1 Although admired by Goethe and many others,2 these extravagant volumes – reputedly printed in editions of about one hundred and fifty copies3 – were commercial disasters, twice bankrupt­ing the couple, first in Nuremberg (1782), again in Frankfurt (1786). The technical virtuosity of the prints, however, established ‘Prestel’ as a byword for fidelity in reproduc­tion (the name was thus revived by the ‘Prestel Verlag’ in Frankfurt in 1924).

Plate 22: Head of old bearded Man, by J.G. Prestel after Hans Hoffmann, dated 1777

A passionate collector throughout his life, Paulus Praun gathered (according to a posthu­mous inventory) around 250 paintings, 300 pieces of sculpture, 800 drawings, 6000 prints, 4000 coins, and 1200 cut stones and jewels. After his death these collections were installed in the family residence on the Weinmarkt in Nuremberg, where according to the testator’s wish they were to be housed inalienably under the administration of the senior family member. By 1772, the family had come to regard the collections as ‘dead capital’ and resolved to sell them. The then head of the family, Sigmund Christoph Ferdinand von Praun, in that year instructed Christoph Gottlieb von Murr (1733–1811) to prepare a new inventory, and also to market the collections. Murr completed his inventory in 1778 and published it in the Journal zur Kunstgeschichte und allgemeinen Litteratur, of which he was editor, and in his guidebook to the ‘principal curiosities of the H.R. Empire’s Free City of Nuremberg’.

The idea of promoting the more important drawings in the collection through reproductive prints collectible in their own right probably was in Murr’s mind from the outset. Accord­ing to announcements he placed in his Journal in 1776, the prints were intended to appear at four-month intervals in cahiers of six plates each, priced 7 Gulden 30 Kreuzer. Initially, this pace was kept; however in 1778, after six cahiers had been issued, progress slowed: just two cahiers were produced in 1778–1779. The project – which Murr had expected to extend to more than one hundred prints – was then quickly brought to an end. In April 1780, a drawings collector, Kurfürst Karl Theodor von der Pfalz, consented to receive the dedication, a happy event which Murr celebrated in his Journal. A dedication plate, and also a new title-plate (replacing one dated 1776)4 were then engraved by J.G. Sturm, to accompany the forty-seven completed prints.5

The Prestel’s album proved however to be of no utility in selling the Praun collection. A further catalogue of the Praun collections was published by Murr in 1797, but it too failed to elicit a buyer. Having waited in vain for offers, the family in 1801 accepted an offer in toto from the art dealer Johann Friedrich Frauenholz.6 The collection of drawings was offered at auction in 1804, fully catalogued by Frauenholz.7 About 400 sheets were acquired by Nikolaus ii Esterhazy (1765–1833) for his vast collections, which later laid the foundations for the Budapest Museum of Fine Arts;8 many others were bought by Duke Albert of Saxe-Teschen (1738–1822), later to be subsumed in the Graphische Sammlung Albertina in Vienna.

The resin-ground aquatint process, newly developed in France, had still very few practitio­ners by 1775, when the Prestels began making these prints.9 How they learned the tech­nique is unknown. Before his arrival in Nuremberg, in 1769, Johann Prestel had travelled extensively in Italy, and it is supposed that he saw there the reproductions of toned draw­ings executed by Andrea Scacciati and Stefano Mulinari, using a distinct but related tonal printing process they had learned from the Nuremberg printmaker Johann Adam Schweickart (1722–1787). Murr was an apologist for Schweickart and long-time advocate of his process.10 It could be that he encouraged Johann Prestel to become proficient in the techniques then fashionable for the facsimile reproduction of drawings, including both Crayonmanier and aquatint. Maria Katharina (1747–1794), daughter of the Nuremberg merchant Thomas Höll, an amateur artist who had been a pupil of Johann Prestel before their marriage, in 1772, was doubtless instructed in these techniques by her husband. She became a full collaborator, executing more than half the prints in the three albums pub­lished during the twelve years they worked together.11

Plate 2: St. Mary Magdalene lying on the ground reading, by J.G. Prestel after Correggio, dated 1776

Plate 20: The Sacrifice of Abraham, by J.G. Prestel after Polidoro da Caravaggio, undated

Copies in public collections include

● Cambridge, University Library, Tab.b.68 (reissue with printed title dated 1780) ● Copenhagen, Kongelige Akademie for de skønne Kunster (title dated 1776)12 ● Detmold, Lippische Landesbib­liothek, 02–SW 65.2° (title dated 1776: 48 plates) ● Erlangen, Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek (title dated 1776: 48 plates) ● Göttingen, Niedersächsische Staats- und Universitätsbibliothek, Gr 2 Art Plast VIII, 164 (reissue with printed title dated 1780) ● London, Royal Academy of Arts, 03/2184 (title dated 1776: 18 plates, including title)13 ● London, Victoria & Albert Museum, Print Collection, F.1.b. (reissue with printed title dated 1780: 48 plates) ● New York, New York Public Library, J.L. Cadwalader Bequest, MEO1+ (reissue with printed title dated 1780: 48 plates)14 ● Nuremberg, Germanische Nationalmuseum, Inv. St. N.3857 (title dated 1776: 36 prints)15 ● Oxford, Bodleian Library, Douce Prints a.2 (title dated 1776: uncertain number of plates, pl. 17 lacking) ● Paris, Bibliothèque de l’Institut national d’histoire de l’art, Fonds Général, Pl L 17 (reissue with printed title dated 1780) ● Paris, Biblio­thèque nationale de France, Estampes et photographie, AC–10 (A)–FOL ● Stuttgart, Staats­galerie, Graphische Sammlung, Inv.B42416 ● Vatican City, Biblioteca Apostolica Vaticana (title dated 1776: 48 plates)17

Unbound prints from the series are in these collections

● Cambridge, Fitzwilliam Museum, 6.K.4 ● Coburg, Kunstsammlungen der Veste Coburg ● Düsseldorf, Kunstmuseum, Graphische Sammlung ● Frankfurt am Main, Städelsches Kunstinstitut und Städtische Galerie18 ● Memmingen, MEWO Kunsthalle, deposited by Dr. Walter Prestel, 200319 ● Munich, Bibliothek der Akademie der Bildenden Künste, Inv. Nr. 15722 ● Munich, Staatliche Graphische Sammlung, Inv. Nr. 1956: 521 B ● Nuremberg, Germanisches Nationalmuseum, Graphische Sammlung, Kapsel 1472b, Inv. Nr. K 23570/ 57, K 23570 43 ● Paris, Bibliothèque nationale de France, Estampes et photographie, SNR–3 (Prestel, J.T.; Prestel, Marie-Catherine), AA–1 [4, 5](Prestel, Marie-Catherine)

The writer can trace four copies in the auction sale rooms since 1950

● Parke-Bernet, New York, 13 January 1954, lot 555 (title dated 1780: 42 plates) ● Hodgson’s, London, 16 December 1965, lot 282 (title dated 1780: 48 plates) ● Tenner, Auktion 90, Heidelberg, 19–20 April 1972, lot 945 (title dated 1776: 48 plates) ● Kiefer, Auktion 20, Pforzheim, 5–6 February 1993, lot 834 (title dated 1776: 45 plates)

A selection of plates (apparently from a disbound complete copy) was offered in Novem­ber–December 2003 by Kunstantiquariat Polygraphicum (Peter A. Helm, Eberbach am Nekar).

references Universal catalogue of books on art: comprehending painting, sculpture, architecture, decoration, coins, antiquities, &c. (London 1870), p.1649; Henry Cohen, Guide de l’amateur de livres à gravures du xviiie siècle, revised by Seymour de Ricci (Paris 1912), col. 820; Max Sander, Die Illust­rierten Französischen Bücher des 18. Jahrhunderts (Stuttgart 1926), p.240 no. 1602 (‘Environ 500 fr.’)

Abbreviated references

achilles-syndram
Katrin Achilles-Syndram, ‘Die Zeichnungssammlung des Nürnberger Kaufmanns Paulus ii. Praun (1548–1616): Versuch einer Rekonstruktion’, thesis, Technische Universität, Berlin, 1990 (edition on microfiche Berlin: Karl-Robert Schütze, 1995)

birke
Graphische Sammlung Albertina, Die italienischen Zeichnungen der Albertina: Generalverzeichnis, by Veronika Birke and Janine Kertész (1992–1997)

czére
Andrea Czére, Seventeenth-century Italian drawings in the Budapest Museum of Fine Arts: a complete catalogue (Budapest 2004)

höper
Raffael und die Folgen: das Kunstwerk in Zeitaltern seiner graphischen Reproduzierbarkeit, catalogue of an exhibition at the Graphischen Sammlung der Staatsgalerie Stuttgart, by Corinna Höper (Ostfildern 2001)

imitations and facsimiles
Imitations and facsimiles: an exhibition of prints and books from the sixteenth to the nineteenth cen­tury, catalogue of an exhibition held in the Art Gallery of Ontario, by Sybille Pantozzi ([Toronto] 1979)

kunst des sammelns: das praunsche kabinett
Kunst des Sammelns: das Praunsche Kabinett: Meisterwerke von Dürer bis Carracci, catalogue of an exhibition held in the Germanische Nationalmuseum, by Katrin Achilles-Syndram (Nuremberg 1994)

kunst kommt von prestel
Kunst kommt von Prestel: das Künstlerehepaar Johann Gottlieb und Maria Katharina Prestel, Frankfurt, London; die Sammlung Dr. Walter Prestel, Schwelm, catalogue of an exhibition held in MEWO Kunsthalle, Memmingen, 5 October 2008–31 May 2009, edited by Joseph Kiermeier-Debre and Fritz Franz Vogel (Cologne 2008)

le blanc
Charles Le Blanc, Manuel de l’amateur d’estampes (Paris [1850]–1857), iii, pp.247–250

massari
Giulio Romano pinxit et delineavit: opere grafiche autografe di collaborazione e bottega, catalogue of an exhibition held by the Istituto nazionale per la grafica, edited by Stefania Massari (Rome 1993)

nagler
G.K. Nagler, Neues allgemeines Künstler-Lexicon (reprint of 1825–1852 edition Leipzig n.d.), xiii, pp.255–267

netzer
Raphael: Reproduktionsgraphik aus vier Jahrhunderten, catalogue of an exhibition held by the Kunst­sammlungen der Veste Coburg, by Susanne Netzer (Coburg 1984])

rebel 1981
Ernst Rebel, Faksimile und Mimesis: Studien zur deutschen Reproduktionsgrafik des 18. Jahrhunderts (Mittenwald 1981)

rebel 1986
Ernst Rebel, ‘Nachahmung zwischen Authentizität und Wahrheit’ in Empfindung und Reflexion: Ein Problem des 18. Jahrhunderts, edited by Hans Körner (Hildesheim 1986)

schwaighofer
Claudia-Alexandra Schwaighofer, Die Kunst der Nachahmung: Dürer, Carracci und Parmigianino in den Reproduktionsgraphiken der Nürnbergerin Maria Katharina Prestel (1747–1794) (Stuttgart 2006)

schwaighofer 2008
Claudia-Alexandra Schwaighofer, Von der Kennerschaft zur Wissenschaft. Reproduktionsgraphische Mappenwerke nach Zeichnungen in Europa 1726–1857 (Munich 2008)

weigel
Rudolph Weigel, Die Werke der Maler in ihren Handzeichnungen. Beschreibendes Verzeichniss der in Kupfer gestochenen, lithographirten und photographirten Facsimiles von Originalzeichnungen grosser Meister (Leipzig 1865)

wiebel
Christiane Wiebel, Aquatinta oder ‘Die Kunst mit dem Pinsel in Kupfer zu stechen’: das druckgraphi­sche Verfahren von seinen Anfängen bis Goya, catalogue of an exhibition, Kunstsammlungen der Veste Coburg, 27 July–14 October 2007 (Munich 2007)

zwischen ideal und wirklichkeit
Zwischen Ideal und Wirklichkeit: Künstlerinnen der Goethe-Zeit zwischen 1750 und 1850, catalogue of an exhibition held in the Schloßmuseum Gotha, edited by Bärbel Kovalevski (Ostfildern-Ruit 1999)

Plate 27: Mourning over the body of Gattamelata, by M.K. Prestel after Mantegna, dated 1777

List of prints

■ [1:] Title, engraved by Johann Georg Sturm (1742–1793)
Engraving, 555 × 355 mm
Dessins|des meilleurs Peintres | d’Italie, d’Allemagne, | et des Pays-Bas, | du Cabinet | de Monsieur | Paul de Praun | à Nuremberg. | Gravés d’après les Originaux | de même grandeur | par | Jean Théophile Prestel | Peintre | et Membre de l’Académie des Beaux-Arts | de Düsseldorf. | 1780. | [rule] | A Nurem­berg chez l’Editeur | J.G. Sturm scrips. et sc

■ [outside numeration] Dedication to Kurfürst Karl Theodor (1777–1799), engraved by J.G. Sturm
Engraving, 500 × 335 mm
A Son Altesse Serenissime, | Electorale, | Charles Theodore, | Comte Palatin du Rhin, | Duc des deux Bavières, | Archi-Dapifere et Electeur | du Saint Empire, | Duc de Juliers, Cleves .et Berg, | etc. etc. etc. | très- humblement consacrés | par | Jean Théophile Prestel, Peintre, | Membre honoraire de l’Academie du Dessin et des Beaux-Arts | de Düsseldorf. | J.G.Sturm scrips. et sc.

■ 2: St. Mary Magdalene lying on the ground reading, by J.G. Prestel after Correggio, dated 1776
Etching and aquatint, 415 × 510 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.58.1184 (Pietro Faccini)
Nagler 47; Le Blanc 55; Weigel p.75 no.113/2 and p.167 no.1925; Kunst des Sammelns: das Praun­sche Kabinett 99 (drawing); Massimo Mussini, Correggio tradotto: fortuna di Antonio Allegri nella stampa di riproduzioni (Milan 1996), p.262 no.599; Czére 141 (drawing)

■ 3. Study of a seated man, with another head in profile, by J.G. Prestel after Michelangelo, undated
Etching 305 × 210 mm
Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.113 (Giovanni Battista Franco)
Nagler 32; Le Blanc 7; Weigel p.75 no.113/3 and p.392 no.4709; Birke p.61 (drawing); Kunst des Sammelns: das Praunsche Kabinett 128 (drawing)

■ 4. The Descent from the Cross, by J.G. Prestel after Raphael, dated 1776
Etching and aquatint, 431 × 310 mm
Nagler 35; Le Blanc 31; Weigel p.75 no.113/4 and p.563 no.6685; Rebel pp.96–98; Netzer 315; Kunst des Sammelns: das Praunsche Kabinett p.30 (print); Höper A12.4

■ 5. The School of Athens, by M.K. Prestel after Raphael, dated 1776
Etching and aquatint, 334 × 500 mm, in second (of two) states
Nagler 3; Le Blanc 25; Weigel p.75 no.113/5 and p.587 no.6961; Netzer 316; Achilles-Syndram Z–149 (drawing); Höper F2.13; Schwaighofer, Werkverzeichnis 64

■ 6. Assumption of the Virgin, by J.G. Prestel after Guido Reni, dated 1776
Etching and aquatint, 785 × 455 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2099 (after Ludovico Carracci)
Nagler 62; Le Blanc 36; Weigel p.75 no.113/6 and p.293 no.3489; Kunst des Sammelns: das Praun­sche Kabinett 102 (drawing); Czére 100 (drawing); Kunst kommt von Prestel 1062

■ 7. St. Anne holding the Christ child, the Virgin, by M.K. Prestel after Dürer, dated 1776
Etching and aquatint, 388 × 247 mm, in second (of two) states
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.76 (Dürer)
Nagler 20; Le Blanc 5; Weigel p.75 no.113/7 and p.190 no.2199; Kunst des Sammelns: das Praunsche Kabinett 6 (drawing); Achilles-Syndram Z–240 (drawing); Zwischen Ideal und Wirklichkeit F24; Schwaighofer, Werkverzechnis 23; Kunst kommt von Prestel 2020

■ 8. The Ascension of Christ, by J.G. Prestel after Denis Calvaert, dated 1776
Etching and aquatint, 570 × 400 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.66.23 (Calvaert)
Nagler 69; Le Blanc 35; Weigel p.75 no.113/8 and p.59 no.654; Kunst des Sammelns: das Praunsche Kabinett 95 (drawing) ; Kunst kommt von Prestel 1069

■ 9. Death of Adonis, by M.K. Prestel after Giulio Romano, dated 1776
Etching, 338 × 500 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.67.252
Nagler 11; Le Blanc 14; Weigel p.75 no.113/9 and p.247 no.2886; Massari 322; Kunst des Sammelns: das Praunsche Kabinett 84 (drawing; unknown artist after Girolamo da Carpi); Achilles Syndram Z–75 (drawing); Schwaighofer, Werkverzeichnis 65

■ 10. St. John the Baptist leaving his parents, to go into the desert, by M.K. Prestel after Polidoro da Caravaggio, undated
Etching and aquatint, 410 × 508 mm
Nagler 13; Le Blanc 36; Weigel p.75 no.113/10 and p.511 no.6099; Achilles-Syndram Z–184 (draw­ing; Taddeo Zuccari); Schwaighofer, Werkverzeichnis 58

■ 11. God the Father appears to Noah after the deluge, by J.G. Prestel after Raphael, dated 1776
Etching and aquatint, 435 × 313 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.67.69
Nagler 34; Le Blanc 3; Weigel p.75 no.113/11 and p.532 no.6346; Netzer 314; Kunst des Sammelns: das Praunsche Kabinett 103 (drawing); Höper F12.3; Kunst kommt von Prestel 1034

■ 12. The Massacre of the Innocents, by J.G. Prestel after Raphael, dated 1776
Etching and aquatint, 372 × 211 mm
Nagler 36; Le Blanc 15; Weigel p.75 no113/12 and p.558 no.6623; Imitations and facsimiles 9; Netzer 313; Höper H14.4; Kunst kommt von Prestel 1036

■ 13. Celestial Glory, by M.K. Prestel after a ‘Dessin d’un Maître inconnu’, dated 1775
Etching and aquatint, 351 × 668 mm, apparently first (of two) states
Le Blanc 1; Weigel p.75 no.113/13 and p.628 no.7438; Achilles-Syndram Z–19 (drawing; Luca Cambiaso); Schwaighofer, Werkverzeichnis 95; Kunst kommt von Prestel 221

■ 14. The Creation of Adam, by M.K. Prestel after Pontormo, undated
Etching and aquatint, 353 × 464 mm
Nagler 12; Le Blanc 2; Weigel p.75 no.113/14 and p.507 no.6040; Achilles-Syndram Z–137 (draw­ing); Schwaighofer, Werkverzeichnis 59

■ 15. The Sermon of St. John the Baptist, by J.G. Prestel after Franciabigio, undated
Etching and aquatint, 480 × 565 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr. K.67.82 (Pietro Faccini)
Nagler 45; Le Blanc 40; Weigel p.75 no.113/15 and p.223 no.2547; Achilles-Syndram Z–137 (draw­ing); Czére 140 (drawing)

■ 16. Venus bathing, by M.K. Prestel after Annibale Carracci, undated
Etching and aquatint, 353 × 463 mm
Nagler 27; Le Blanc 12; Weigel p.75 no.113/16 and p.86 no.975; Achilles-Syndram Z–126 (drawing; Giovanni Francesco Penni?); Höper A59; Schwaighofer, Werkverzeichnis 10; Kunst kommt von Prestel 2027

■ 17. Leda and the Swan, by J.G. Prestel after Giulio Romano, 1776
Etching and aquatint, 386 × 255 mm
Associated drawing: unidentified, from a Roman copy of a Hellenistic statue or painting (Phyllis Bober and Ruth Rubinstein, Renaissance artists & antique sculpture, London 1986, p.54 no.4)
Nagler 51; Le Blanc 65; Weigel p.75 no.113/17 and p.248 no.2890; Massari 323; Kunst kommt von Prestel 1037

■ 18. Mercury lulls Argus into sleep, by J.G. Prestel after Lorenzo Sabbatini, undated
Etching and aquatint, 481 × 572 mm
Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.-Nr. 2009 (Sabbatini)
Nagler 54; Le Blanc 68; Weigel p.75 no.113/18 and p.669 no.7875; Kunst des Sammelns: das Praun­sche Kabinett 86 (drawing); Birke p.1058; Wiebel 258; Kunst kommt von Prestel 1054

■ 19. Healing of the Sick near the pool of Bethesda, by M.K. Prestel after Vasari, dated 1777
Aquatint, 516 × 411 mm
Nagler 14; Le Blanc 8; Weigel p.75 no.113/19 and p.725 no.8485; Achilles-Syndram Z–149 (drawing; Perino del Vaga?); Schwaighofer, Werkverzeichnis 82; Kunst kommt von Prestel 2014

■ 20. The Sacrifice of Abraham, by J.G. Prestel after Polidoro da Caravaggio, undated
Etching and aquatint, 413 × 520 mm
Nagler 48; Le Blanc 4; Weigel p.75 no.113/20 and p.507 no.6041; Kunst kommt von Prestel 1048a–b

■ 21. St.Paul and St.Barnabas at Lystra, by J.G. Prestel after Raphael, dated 1778
Etching and aquatint, 411 × 333 mm
Nagler 39; Le Blanc 45; Weigel p.75 no.113/21 and p.574 no.6805; Netzer 312; Höper H8.2; Kunst kommt von Prestel 1039

■ 22. Head of old bearded Man, by J.G. Prestel after Hans Hoffmann, dated 1777
Etching and aquatint, 565 × 440 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.41 (Hoffmann)
Nagler 105; Le Blanc 88; Weigel p.75 no.113/22 and p.304 no.3639; Kunst des Sammelns: das Praun­sche Kabinett 61 (drawing)

■ 23. Hercules and Omphale, by J.G. Prestel after Maturino, dated 1777
Etching and aquatint, 420 × 523 mm
Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.1977 (Primaticcio)
Nagler 46; Le Blanc 74; Weigel p.75 no.113/23 and p.386 no.4653; Kunst des Sammelns: das Praun­sche Kabinett 85 (drawing); Achilles-Syndram Z–143 (drawing); Birke p.1038 (drawing); Kunst kommt von Prestel 1046

■ 24. Death of Ananias, by J.G. Prestel after Raphael, dated 1777
Etching and aquatint, 437 × 567 mm
Nagler 38; Le Blanc 37; Weigel p.75 no.113/24 and p.575 no.6813; Netzer 311; Höper H4.3; Kunst kommt von Prestel 1038

■ 25. The Holy Family, by M.K. Prestel after Dürer, dated 1777
Etching and aquatint, 392 × 495 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.259 (Wolf Traut)
Nagler 22; Le Blanc 5; Weigel p.75 no.113/25 and p.190 no.2201; Kunst des Sammelns: das Praun­sche Kabinett 14; Achilles-Syndram Z–427 (drawing); Schwaighofer, Werkverzeichnis 24

■ 26. The Presentation of the Virgin in the Temple, by J.G. Prestel after Raphael, dated 1777
Etching and aquatint, 455 × 362 mm
Nagler 40; Le Blanc 12; Weigel p.75 no.113/26 and p.569 no.6745; Imitations and facsimiles 8; Netzer310; Höper A7; Kunst kommt von Prestel 1040

■ 27. Mourning over the body of Gattamelata, by M.K. Prestel after Mantegna, dated 1777
Etching and aquatint, 392 × 497 mm
Nagler 2; Le Blanc 27; Weigel p.75 no.113/27 and p.379 no.4572; Achilles-Syndram Z–95 (drawing); Schwaighofer, Werkverzeichnis 39; Kunst kommt von Prestel 2002

■ 28. The Entombment, by J.G. Prestel after Daniele da Volterra, dated 1777
Etching and aquatint, 425 × 445 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2111 (Biagio Pupini?)
Nagler 53; Le Blanc 33; Weigel p.75 no.113/28 and p.178 no.2059; Kunst des Sammelns: das Praun­sche Kabinett 82 (drawing); Achilles-Syndram Z–147 (drawing)

■ 29. Joseph sold by his brothers, by M.K. Prestel after Giulio Romano, dated 1777
Etching and aquatint, 401 × 542 mm
Nagler 7; Weigel p.75 no.113/29 and p.252 no.2944; Achilles-Syndram Z–80 (drawing; Italian six­teenth century); Schwaighofer, Werkverzeichnis 66; Kunst kommt von Prestel 2007

■ 30. Virtue between Love, Error, Ignorance and Doctrine, by M.K. Prestel after Jacopo Ligozzi, dated 1777
Aquatint, 577 × 386 mm
Nagler 15; Le Blanc 20; Weigel p.75 no.113/30 and p.368 no.4454; Achilles-Syndram Z–89 (draw­ing); Schwaighofer, Werkverzeichnis 35; Kunst kommt von Prestel 2015a–b

■ 31. Constantine the Great on Horseback, by M.K. Prestel after Giulio Romano and Raphael, dated 1777
Etching and aquatint, 683 × 550 mm
Nagler 6; Le Blanc 23; Weigel p.75 no.113/31 and p.250 no.2919; Rebel p.103; Massari324; Achilles-Syndram Z–44 (drawing); Höper F21.10; Schwaighofer, Werkverzeichnis 67; Kunst kommt von Prestel 2006

■ 32. Venus disarming Cupid, by M.K. Prestel after Parmigianino, dated 1777
Aquatint, 346 × 239 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.1890
Nagler 26; Le Blanc 13; Weigel p.75 no.113/32 and p.472 no.5613; Kunst des Sammelns: das Praun­sche Kabinett 118; Achilles-Syndram Z–110 (drawing);20 Schwaighofer, Werkverzeichnis 57; Kunst kommt von Prestel 2220

■ 33. (top) Arrival of St. Mary Magdalene at Marseille; (bottom) Harvest Landscape, by M.K. Prestel after Titian, dated 1777
Etching, 600 × 434 mm
Associated drawings: (top) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.2093; (bot­tom) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.1987
Nagler 33 (as ‘Eine Landschaft nach Titian’, q.v. J.G. Prestel?); Le Blanc (top) 11 (bottom) 39; Weigel p.75 no.113/33a–b, p.711 no.8340, and p.714 no.8376; Kunst des Sammelns: das Praunsche Kabinett 133–134; Achilles-Syndram Z–83 (drawing; Domenico Campagnola) and Z–84 (drawing; Paolo Fiammingo); Schwaighofer, Werkverzeichnis 81; Zoltán Kárpáti, in In Arte Venutus:Studies on draw­ings in honour of Teréz Gerszi (Budapest 2007), pp.45–46 no.10 (drawing; Battista del Moro); Kunst kommt von Prestel 2212a+b

■ 34. The Glory of the Holy Trinity, by M.K. Prestel after Franciabigio, dated 1778
Aquatint, 441 × 290 mm
Associated drawings: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.67.6 (Pietro Faccini)
Nagler 5; Le Blanc 7; Weigel p.75 no.113/34 and p.223 no.2548; Kunst des Sammelns: das Praunsche Kabinett 100 (drawing); Achilles-Syndram Z–28 (drawing); Czére 139; Schwaighofer, Werkver­zeichnis 5

■ 35. Jupiter, Juno and Mercury, by M.K. Prestel after Dosso Dossi, dated 1777
Etching and aquatint, 360 × 434 mm
Associated drawings: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr. 58.1182
Nagler 25; Le Blanc 17; Weigel p.73 no.113/35 and p.187 no.2164; Achilles-Syndram Z–76 (drawing; anonymous Italian hand circa 1600); Schwaighofer, Werkverzeichnis 21; Kunst kommt von Prestel 2025

■ 36. Pentecost, by J.G. Prestel after Giuseppe Mazzuoli (il Bastaruolo), dated 1778
Etching and aquatint, 583 × 378 mm
Nagler 57; Weigel p.75 no.113/36 and p.491 no.5855; Achilles-Syndram Z–78 (drawing; Ludovico Mazzolino); Kunst kommt von Prestel 1057

■ 37. St. Peter and St. Judas Thaddaeus, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 315 × 365 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/37 and p.368 no.4672a; Kunst kommt von Prestel 1107a

■ 38. St. Andrew and St. Matthew, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 315 × 365 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/38 and p.368 no.4672b; Kunst kommt von Prestel 1107b

■ 39. St. James the Lesser and St. Thomas, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 320 × 365 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/39 and p.368 no.4672c; Kunst kommt von Prestel 1107c

■ 40. St. Simon and St. Paul, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 315 × 370 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/40 and p.368 no.4672d; Kunst kommt von Prestel 1107d

■ 41. Saint Bartholomew and St. John, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 320 × 375 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/41 and p.368 no.4672e; Kunst kommt von Prestel 1107e

■ 42. St. James the Greater and St. Philip, by J.G. Prestel after Israhel van Meckenem, dated 1779
Etching and aquatint, 320 × 380 mm
Nagler 107; Le Blanc 47–52; Weigel p.75 no.113/42 and p.368 no.4672f; Kunst kommt von Prestel 1107f

■ 43. (left) Stags in a forest; (right) Shooting hare with a crossbow, by M.K. Prestel after Augustin Hirschvogel, dated 1778
Etchings and aquatint, 158 × 450 mm, in second (of two) states
Associated drawings: (left) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.112; (right) Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.9621
Nagler 51–52; Le Blanc 37–38; Weigel p.75 no.113/43 and p.304 nos.3632–3633; Achilles-Syndram Z–261 and Z–279 (drawings); Schwaighofer, Werkverzeichnis 30

■ 44. Bocca della Verità, by M.K. Prestel after Altdorfer, undated
Aquatint, 340 × 240 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.24
Nagler 17; Le Blanc 22; Weigel p.3 no.27 and p.75 no.113/44; Kunst des Sammelns: das Praunsche Kabinett 36; Achilles-Syndram Z–190 (drawing); Schwaighofer, Werkverzeichnis 1; Kunst kommt von Prestel 2017

■ 45. Study of Trees, by J.G. Prestel after Kulmbach, dated 1778
Aquatint, 363 × 240 mm
Associated drawing: Budapest, Szépművészeti Múzeum, Grafikai Osztály, Inv.-Nr.25 (Wolf Huber)
Nagler 113; Weigel p.75 no.113/45 and p.176 no.2047; Kunst des Sammelns: das Praunsche Kabinett 45 (drawing)

■ 46. The Holy Family with John the Baptist and St. Francis, by J.G. Prestel after Annibale Carracci, dated 1779
Etching and aquatint, 355 × 280 mm
Associated drawing: Vienna, Graphische Sammlung Albertina, Inv.2133 (Agostino Carracci)
Nagler 61; Le Blanc 22; Weigel p.75 no.113/46 and p.77 no.872; Rebel 1986 pp.311–315 and Abb.57–58; Kunst des Sammelns: das Praunsche Kabinett 97 (drawing); Birke p.1120; Kunst kommt von Prestel 1061

■ 47. Apelles painting Campaspe, by J.G. Prestel after Raffaello Motta da Reggio, dated 1778
Etching and aquatint, 443 × 304 mm
Nagler 60; Le Blanc 77; Weigel p.75 no.113/47 [sic, in error for 48] and p.530 no.6322; Imitations and facsimiles 10; Kunst kommt von Prestel 1060

■ 48. The Creation of Eve, by J.G. Prestel after Michelangelo, undated
Crayon manner, 420 × 522 mm
Nagler 30; Le Blanc 2; Weigel p.75 no.113/48 and p.391 no.4705; Rebel 1986 pp.316 and Abb.359–360; Kunst kommt von Prestel 1030

1. The other two volumes were published serially in the years in 1779–1782 and 1782–1785 respecti­vely: Dessins des meilleurs Peintres des Païs-Bas, d’Allemagne et d’Italie du Cabinet de Monsieur Gérard Joachim Schmidt à Hamburg (title and thirty prints); Dessins des meilleurs Peintres d’Italie, d’Allemange, et des Pays-Bas, Tirés de divers célebres Cabinets (the so-called ‘Kleine Kabinett’, title and thirty-six prints of drawings from various collections, including twelve from the Praun collection). Excluding eleven plates by other hands, the three works contain 106 prints after drawings of which more than half (65) were by Maria Katharina Prestel.

2. Johannes Grave, Der ideale Kunstkörper: Johann Wolfgang Goethe als Sammler von Druckgraphi­ken und Zeichnungen (Göttingen 2006), pp.87–88, 522 no.586 (pl. 47 in our book); Joseph Kiermeier-Debre, ‘Auch Goethe kaufte bei den Prestels:Die Faksimiledrucke des Künstlerehepaars Maria Katharina und Johann Gottlieb Prestel’ in Kunst kommt von Prestel pp.46–51.

3. For speculation about the edition sizes, see Achilles-Syndram p.111 and Schwaighofer p.58.

4. See reproduction of the 1776 title-page in Kunst des Sammelns: das Praunsche Kabinett p.28 (from copy in Nuremberg, Germanisches Nationalmuseum, Inv. St. N 3857); also Kunst kommt von Prestel pp.14–15 (both title-pages reproduced from unspecified copies). On the 1780 title-page Prestel’s recent election as a ‘Membre de l’Académie des Beaux-Arts de Düsseldorf’ is noted. A printed title replaced the engraved title of 1780 in subsequent re-issues (note spelling ‘Desseins’): Desseins | des meilleurs Peintres d’Italie, d’Allemagne, | et des Pas-Bas, | du Cabinet de Monsieur | Paul de Praun | a Nuremberg. | [rule] | Gravés d’après les originaux de même grandeur | par | Jean Théophile Prestel | Peintre et Membre | de l’Académie des Beaux-Arts de Düsseldorf | [two rules] | A Nuremberg Chez l’Editeur | 1780. Copies with the printed title-page typically include the dedication plate (printed from the original matrice).

5. Journal zur Kunstgeschichte und allgemeinen Litteratur 1776, part 2, pp.259–265; part 4, p.30. The prints in the first six suites are ennumerated in Murr’s Beschreibung der vornehmsten Merkwurdig­keiten in des H.R. Reichs freyen Stadt Nuernberg (Nuremberg 1778), pp..481–484.

6. Edith Luther, Johann Friedrich Frauenholz (1758–1822). Kunsthändler und Verleger in Nürnberg (Nuremberg 1988), pp.72–73.

7. Johann Friedrich Frauenholz, Catalogue d’une collection de dessins de peintres italiens, allemands et des Pays-Bas qui se trouvent dans le célèbre cabinet de Mr. Paul de Praun (Nurember 1804).

8. Luther, op. cit., p.74; Zsuzsa Gonda, ‘Die graphische Sammlung des Fürsten Nikolaus Esterházy’ in Von Bildern und anderen Schätzen: Die Sammlungen der Fürsten Esterházy, edited by Gerda Mraz (Vienna 1999), pp.186–188.

9. Plate 13 in the album is dated 1775. For the early history of aquatint, see Wiebel, especially pp.255–268.

10. Rebel 1981 pp.77–78; Wiebel pp.97–103, 255.

11. Schweighofer’s oeuvre-catalogue (2006) ennumerates ninety-six prints. The nineteen prints by Maria Katharina in the Praunsches Kabinett thus represent 20% of her work. See also, Zwischen Ideal und Wirklichkeit p.289; Claudia-Alexandra Schwaighofer, ‘“Eine tüchtige, ihrem Gatten helfende Frau”? Die Grafikerin Maria Katharina Prestel’ in Blickwechsel: Frankfurter Frauenzimmer um 1800, edited by Ursula Kern (Frankfurt am Main 2007), pp.31–39.

12. Kongelige Akademi for de skjønne Kunster, Fortegnelse over det Kgl. Kunstakademis Bibliothek (Copenhagen 1889), p.90.

13. [Henry Richard Tedder], A catalogue of books in the library of the Royal Academy of Arts London (London 1877), p.118.

14. Reported to the National Union Catalog, volume 470, p.395 (not traced on CATNYP).

15. Described in Kunst des Sammelns: das Praunsche Kabinett no.152 (title-page reproduced p.28).

16. Located by Höper p.558.

17. Leopoldo Cicognara, Catalogo ragionato dei libri d’arte e d’antichità posseduti dal Conte Cicognara (Pisa 1821), no.3444.

18. Diana Feßl, ‘Prestel-Drucke im Besitz der Graphischen Sammlung des Stadelschen Kunstinstituts, Frankfurt am Main’ in Kunst kommt von Prestel p.180.

19. On the evidence of the exhibition catalogue recording the Gift (Kunst kommt von Prestel 2008), thirty-three prints from the Praunsches Kabinett are in the collection (lacking plate nos.1–5, 9–10, 14–15, 22, 25, 28, 34, 43, 45).

20. See further, Christie’s, ‘Old Master drawings’, London, 6 July 1999, lot 17.

21. Two from a homogenous group of fifty-three designs (nos.3, 35) for stained glass depicting scenes of the hunt, executed circa 1530–1536. Hirschvogel used the drawing on the right for his stained glass roundel of the subject now in the Bayerisches Nationalmuseum in Munich (Inv. G750); see Jane S. Peters, ‘Early Drawings by Augustin Hirschvogel’ in Master Drawings 17 (1979), pp.359–392 (prints cited pp.384–385 no.3 and p.388 no.35).

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