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JAY T. SNIDER COLLECTION OF ILLUSTRATED MANUSCRIPTS
MARIA ANNA of Anhalt-Dessau, Princess of Prussia (1837-1906). Album of pencil and watercolor drawings. Dessau and Prussia, 1851-1859.
Details
MARIA ANNA of Anhalt-Dessau, Princess of Prussia (1837-1906). Album of pencil and watercolor drawings. Dessau and Prussia, 1851-1859.
Oblong quarto album (206 x 264mm). 47 signed and dated pencil and watercolor drawings of various sizes, mounted on paper. Contemporary brown half morocco over mahogany boards, gilt and inlaid with mother-of-pearl and opals, edges gilt (upper board cracked, some inlaid panels missing or damaged). Provenance: Sanctuary Books.
An album of drawings by Princess Maria Anna of Prussia, in a beautiful inlaid mahogany binding. Princess Maria Anna was a talented musician and painter, although her near-total deafness made her shy in company. This collection of her drawings begins in 1851 when she was in her early teens, including a delightfully strange scene of anthropomorphic root vegetables being attacked by birds. It is possible to trace the development of her style from fanciful tableaus and naive landscapes—including some of the Middle East—to increasingly sophisticated and skillful renderings of Potsdam and its surrounds throughout the early years of her tumultuous marriage.
Oblong quarto album (206 x 264mm). 47 signed and dated pencil and watercolor drawings of various sizes, mounted on paper. Contemporary brown half morocco over mahogany boards, gilt and inlaid with mother-of-pearl and opals, edges gilt (upper board cracked, some inlaid panels missing or damaged). Provenance: Sanctuary Books.
An album of drawings by Princess Maria Anna of Prussia, in a beautiful inlaid mahogany binding. Princess Maria Anna was a talented musician and painter, although her near-total deafness made her shy in company. This collection of her drawings begins in 1851 when she was in her early teens, including a delightfully strange scene of anthropomorphic root vegetables being attacked by birds. It is possible to trace the development of her style from fanciful tableaus and naive landscapes—including some of the Middle East—to increasingly sophisticated and skillful renderings of Potsdam and its surrounds throughout the early years of her tumultuous marriage.