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A  Backhuysen  for  the  Birthday

Janssen, Horst (1929 Hamburg 1995). Backhuizen greets Stubbe / at June 7, 1988 Dearest old friend Wolf Stubbe – today I don’t have any inclination for A. Waterloo (-) but this from heart. Dutch pleasure yacht with swollen sails, large flag at the stern + pennant at the mast on rough seas. Laterally left of this another smaller one. On the shore tiny angler. Dry-point in blue + black. Written signature, equally in the plate and there otherwise inscribed in German as above. 9⅛ × 5⅝ in (23.1 × 14.2 cm).

Horst Janssen, Backhuysen greets Stubbe

Kruglewsky 97. – Dry-stamp Griffelkunst. – On Japan laid paper. – Marvelous edgy impression with fine plate tone and the full margins of 1.9-3.2 cm.

“ For Horst Janssen tradition never was a burden, the critical looks by which the past looked over his shoulder have never intimidated him. His confidence bore the weight of what had been. On the contrary, when already successful and illustrious he turned once more to the masters of the past and was greatly influenced by them in comprehensive processes of appropriation. Whatever he picked up in the course of this, it has not warped his unmistakable hand, invariably even the fleeting sketch remained recognizable as a work of his. His individuality was stronger than any stylistic intention … ”

(Joachim Fest, Kunst heißt sterben lernen, Obituary for Horst Janssen in Frankfurter Allgemeine Zeitung, Sep. 1, 1995).

“ In 1988 Backhuysen inspired the Hamburg draughtsman Horst Janssen to numerous variants of his motifs … ”

(Gerlinde de Beer, Ludolf Backhuysen, Sein Leben und Werk [2002], p. 222).

“ Starting 1970 … J. occupies himself with works of the old and new masters … In drawings and etchings he copies and paraphrases their motifs … In the engagement with artists like Rembrandt and Goya, who are regarded as authorities in the art of etching, J., too, sets milestones in the technique of intaglio printing ”

(J. Moster-Hoos in Allgemeines Künstler-Lexikon LXXVII [2012], p. 336).

Janssen’s  intimate  birthday  greeting

for the director of the Hamburg Print Room em. and collector Wolf Stubbe (Stettin 1903 – Hamburg 1994), for whom art was indivisible and in case of doubt a “Dare something!” belonged to as Ernst Nolte recollected on occasion of the partial sale of his collection in June 2000 (H+N 348, S. 6) just as i. a. also of

his  publication  on  Anthonie  Waterloo’s  drawings

of the voyage through northern Germany to record generally:

“ (Active) for the Hamburg Print Room (from) 1933 … till 1969, Wolf Stubbe was an outstanding connoisseur of prints. Under his direction the graphic collection grew … to one of the most substantial and most extensive among German museums … beside of Old Master prints (his) special interest was for both the eighteenth/nineteenth as, too, the twentieth century

where  his  unconventional  vision

opened new territory to the interested and lead to the decisive publication ‘Prints of the 20th Century’ in 1963 … .”

From 1966 we have his publication on Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) as one essential contribution to the art-historical grasp of his personality as artist, explored on the basis of the hunt/animal prints with the result of both a technical bravura as a quite remarkable development in regard of the landscape, too, on which latter merits already Ernst Welisch as probably first drew the attention to in 1901. – Janssen’s present references to Ludolf Backhuysen (Emden 1630 – Amsterdam 1708) & Anthonie Waterloo (Lille about 1610 – Utrecht 1690) go even farther back by a whole century and emphasize in context with the congratulator-artist himself the full bandwidth of Stubbe’s penetration of art.

Offer no. 28,603 / EUR  390. / export price EUR  371. (c. US$ 448.) + shipping