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The Rugendas Letters:
Johann Moritz Rugendas’
First Voyage to Brazil
The Sections of Cap Trafalgar
The First Prussian Maritime Atlas
in quite extraordinary
Drawing — Engraver’s Proof — Clean Sheet
Book in Preferential & Ordinary Binding
A Live-illustrated PADUA Tall Ship Voyage
in the Able-bodied Publisher’s 5-piece Canon
Pictorial Charm , Instruction & Bibliophily
Schulz, Günther Tordsen. (Under Sail around Cape Horn). A Tale in Pictures. With prologue “Initiation” from “Mirror of the Sea” by Joseph Conrad as well as epilogue “Pictures” by C. Fox Smith. Preferential & ordinary volume. Hamburg, Hans Dulk, 1953. 4to (11¾ × 8⅝ in [30 × 22 cm]). 239 pp. Paginated with
112 full-page plates on pale green background
together with their preliminary stages of
108 original pen-and-ink drawings
– Corpus of the Drawings –
( over traces of pencil; c. 9½ × 6¾ in [24 × 17 cm] image size ) ,
111 engraver’s proofs
– Corpus of the Engraver’s Proofs –
( c. 8⅝ × 6⅛ in [22 × 15.5 cm] image size )
with mounted typographic designation
the complete clean sheets
– Corpus of the Clean Sheets –
each loosely in navy blue wrapper with silver tooled Corpus designation in German & English as
5-piece publisher’s canon .
Navy blue orig. morocco (blue head edge) and orig. cloth (with ills. orig. wrapper) resp. with gilt and brown stamped four-masted barque with albatross on front cover as well as back title resp., each with (additional) navy blue wrapper with silver stamped title & 2 silver metallic backplates as well as albatros on the back in equal joint cloth slipcase with partition, pull out ribbons and inner book supporters as well as silver-tooled albatros on both outsides and navy blue cloth boxes I-III with silver stamped title together with number & Corpus designation on front cover and albatros on back cover, 2 silver metallic backplates, English title in the front inner cover as well as at the lower edges each the blue series ibid., marine niemeyer in the back inner cover and JayAitchDesign on the back cover, all silver-tooled, resp.
Dulk copies 2 ( Lisa Dulk ) & 83 ( Bärbel Dulk )
with autograph owner’s entry on inner front board and
publisher’s dedication on publication
“ (For his dear co-worker Bärbel Dulk !
on fly-leaf in German resp. as
in the up to the height of slipcase & boxes uniform
The Blue Series .
(Hans Bohatta in Löffler-Kirchner, Lexikon des gesamten Buchwesens, I , 512 per Erstausstattung/Extra set-up).
The edition itself, however,
“ Dedicated to Erich F. Laeisz the shipowner of the last great sailing ships ”.
And in such a manner then indeed the adequate homage which for the last male representative (1888-1958) of this great name of seafaring, standing literally for
Under Sail around Cape Hoorn
as the title of this object of fascination of a book for which the naval officer-publisher Hans Dulk secured the minutely recorded impressions aboard one of Laeisz’s famous nitrate voyages to Chili by the internationally active Hamburg illustrator & later Creative Director Günther T. Schulz (1909-1979) become famous by his “Macedonian Sketches” (1939):
(Anne-Catherine Krüger in Der neue Rump, [Dictionary of Artists of Hamburg, Altona, and the Closer Environs], 2005).
Experienced aboard the
as the last one of Ferdinand Laeisz’ legendary Flying P-Liners
and the last large cargo-carrying sailing vessel at all
built 1926 at Tecklenborg in Geestemünde (Bremerhaven) whose name – encountered respectfully still today as Russian Kruzenshtern – here first washed over by spray in the wrappers illustration of the ordinary edition, then
on the steering box of “ Hoisting signal ”,
in the book then titled “‘PADUA’ hoisting a flag-signal” as well as finally, less dominant, at the bow of the ship lying set back at the dolphins on “Painting” (book: “Painting over the side”). First used in the nitrate trade to Chili, later the wheat trade to Australia was added. By her last voyage under cargo 1938/39 from Hamburg to Chili & Australia and back in 8 months and 23 days she established the record
for the fastest voyage of a full rigged ship
not broken till today. Quite living up once more to Laeisz’ motto: “My ships can and shall make fast voyages!” Modern and sturdy steel ships built for speed and hard sailing under rough conditions, well-maintained and excellently sailed by small, hand-picked crews, the Flying P-Liners were both famous for their fast and secure voyages – Laeisz lost not one ship because of own fault – and notorious for being “wet ships” as in line with the weather and sailing conditions for a great deal of any voyage the main deck would be more or less run over by the waves.
The life aboard of this particular Laeisz
then subject of this symbiosis of pictorial charm & instruction !
Another drawing, “Saltpeter Cross” should at the same time provide an indication for dating the voyage at 1934/36, for in it the boat of the Joseph Conrad comes alongside for a farewell visit . This, however, the name of the ship the journalist and writer Alan Villiers, who also provided the English blurb for present publication, bought for his circumnavigation in those years. If not based on an actual meeting
the sheet still would be a bow to the daring colleague .
And just a further one of the impressions recording with precise line the big and small events of the voyage of a tall ship. From embarkation and review of the new crew and the shipboy’s amazement about the height of the masts , the loading and other preparations up to putting to sea with tug boat and pilot , the routine at sea , the passage in fair as rough weather , the work with compass and chart , windlass and anchor , cook as sail maker at their works , the meeting with other ships , but also the quiet hours in the evening on the forecastle and in the quarters , the spare-time occupation at building ships in bottles , the diversion the hunt for shark and porpoise or albatross offered not only for the fare . And of course Splice the mainbrace ! With a bottle post on the beach which ultimately will serve as epilogue .
From the maritime point of view thus recording
the last great and possibly most legendary heyday
of cargo-carrying tall ships
at the hardship , but also beauty of which the training ship operation , even more so , however , the tall ship events of the traditional and nostalgic sailing ships with their casual crews driven by today’s event “culture” have to stand far aside :
(Alan Villiers in the English blurb).
In detail :
Prologue in German translation – actually only the second part of Conrad’s narration, and also without its last paragraphs – , epilogue in English, the here and there also more comprehensive designations to the plates printed on the left side each in German & English, likewise the blurb. – The leather of the preferential publisher’s binding paled to green at the back as well as – most slightly – at upper & lateral margins particularly of the front cover.
The drawings on strong drawing carton monogrammed G. T. S. throughout and mostly designated lower left in fine writing and numbered upper left (by other hand?) in pencil, at which two sheet remained without number (77 and 90 resp.?), one number was issued twice, sporadic others were added and corrected resp. partly later. Verso repeatedly sketches in pencil. In deviation from the others the here first plate on mounted tone paper and heightened with white as well as margin limitation together with measurements for the engraving establishment for the compared with the size of the drawings ultimately determined smaller printing format in pencil and red crayon:
“ 6⅛ × 8⅝ in (15.5 × 22 cm) / all other drawings in relation ”.
Missing the harpooning of a big porpoise, the feeding of the live provisions, the building of a ‘bottleship’ in the forecastle, and “Call the ‘watch below’”.
The engraver’s proofs on ordinary paper numbered in pencil upper left, at which “39a” was inserted, 7 skipped and 8 remained unnumbered. Missing 18, the steward in his sanctuary. The plate designations analogously to the finished book each mounted on the back of the preceding sheet as typescript clipping, with the sequence generally corresponding neither to that of the drawings nor that of the book. Only the text to 8 in writing in red pencil verso of 6. Conceivable that for 7 a blank page was planned as the six plates masts & rig, constituting the conclusion with both the drawings and the later print, are placed in front here. The cover sheet with the mounted text to 1 on the back inscribed in writing “Günther T. Schulz / Unter Segeln rund Kap Hoorn” as well as “47 selected”. – Isolated mostly small tears in the white margin backed acid-freely.
The printing of the clean sheets appropriately not of outmost quality and on slightly inferior paper:
(Löffler-Kirchner, op. cit., p. 108).
On the time-stained-fox-spotted cover sheet notes in pencil on other air journey from Tokyo to New Zealand with return alternatives via South Sea (i. a. Fiji, Tonga, Tahiti), Panama/Mexico/California and Cuba to Hamburg. – Two sides uncut. – P. 189 cut out, but joined again. Its text on the back, belonging to the plate on p. 191, crossed out with ballpoint pen.
The red pencil note “47 (?) selected” on the cover sheet to the engraver’s proofs presumably connected with the each 47 sheet marked lower right by one or two crosses and as a rule at the same time show horizontal lines in the upper and/or lower part of the subject, all likewise in red pencil, which obviously document a considered reduction of the plates to a more square format. However, even with the sheets marked in such a manner not exclusively spreading or yet unessential marginal parts would have fallen victim to the red pencil, so that these considerations have not been pursued any further.
While already the side-by-side and vis-à-vis of drawing – engraver’s proof with first layout draft – finished book in moreover preferential and ordinary edition is of rare charm,
so only the numerous notes by various hand
inspire the genesis of the book with life
as coming on the market so complete extremely rarely !
The least in this the repeated adjusting marks and measurements as well as other notes of technical nature by the engraving establishment, mostly regarding the etching of the stereotypes like “peaked etching of paper ground at light places” or marking per “New” or “Replacement” a repetition of the stereotype.
A yet more distinct look at the development from the idea to the finished book then the sequence of the plates changed in each of the three phases documented here permits, which by no means is limited to just optical rearrangements, but
completely rewrites the story of the voyage told in pictures :
While the drawings still start with embarkation and review of the new crew including the shipboy , the loading , various repairs and other preparations for the voyage to lead then under insertion of the most varied activities and circumstances aboard across the Atlantic , the line , through the dead calm of the doldrums and the storms of the Roaring Forties and off Cape Horn to the west coast of South America, to continue then ,
documenting a full nitrate voyage ,
after taking over the nitrate cargo there in, avoiding repetitions, necessarily few sheets with departure as well as return through the channel into the meanwhile wintry harbor of Hamburg to the conclusion , so
in the finished book the voyage back is dropped completely ,
the story rather ends with the finishing of loading ! In the course of which then also plates were not only inserted into other contexts , but
were utterly converted !
So for instance the “Departure West Coast” comes down to the harmless “Four-masted barque in a light breeze and ocean-swell” , “Homeward bound – In the Channel” mutates to “Heavy going in the mouth of the river” during departure , tug boat and pilot are found in irritating duplicity at the beginning of the voyage ! And the shipboy’s
most important moment of the whole voyage
is dropped even utterly :
“Passing the Line” becomes – it hardly could be any triter at this moment – a plain “Birdseye-view of a four-masted barque”!
Just as then generally in consideration of the green hand audience the concise, frequently nautical designations of the drawings frequently are, in all shortness, explaining-simplifying in print, quite also dropping the reference to the represented detail. In which the print, marginalia aside, follows the typescript, yet with the exception worth mentioning of “The ridge rope” (drawing) – “Rough weather in the North Atlantic” (proof) – “Rough weather in the South Atlantic” (book). Remarkable also the change from the “Saltpeter Cross” of the drawing to the “Shining ‘Southern Cross’” as the signal that loading has finished. The German blurb by the way talking of the saltpeter cross again.
Of particular charm , however ,
the numerous annotations both on the use of drawings generally as also in regard of details considered worthy of improvement – “blacken back stays / w(hite). rag in the hand” – , in which beside such by presumably third hand those by Schulz himself and, deviating from the other, the ones verso in blue ink and in such a manner doubtlessly by the publisher Hans Dulk, as naval officer in the first world war himself able-bodied, are to be mentioned. Among them Schulz’ remark “should have been starboard side! See no. 22 to wit!”, complemented by “counter” in black ink, as also carried out so by the engraving establishment, not least discernible by the now reversed monogram. However, the reference to no. 22 remaining unclear, both the two suitable sheets – each their numbering changed from 22 to 21 and 23 to 22 resp. – have no obvious reference. However, his remark to The Flying Dutchman
“ Would rather drop it! Sch. ”
found no takers. This plate was included unchanged, just as generally presumably only very few other modification requests/suggestions were considered.
From the bibliophile point of view, however,
the extraordinary occasion
Down the River: “should have been starboard side!” — “counter” … and countered in the clean sheet
Down the River: The countered clean sheet … and the finished plate in the book
Down the River: The plate in the book … and the reversed drawing: “should have been starboard side!”
to be able to tangibly experience the creation of a book .
Analogously to Herwig Guratzsch’s statement on occasion of the 350 years older Antwerp publishing house Plantin-Moretus in his 1980 Lazarus book (vol. I, pp. 103 f., spacing not in the original):
Here then also, it shall be repeated, from the drawing via the engraver’s proof with layout & draft of text finally to the finished book in the moreover different bindings of ordinary edition in cloth & preferential publisher’s binding in navy blue morocco. An edition besides
“ A thousand times more beautiful and lively
than ‘photos’ could ever convey
the drawing pencil of G . T . S . here conjures up
a beautiful and manly world . ”
After half a century as a Sleeping Beauty in the publisher’s archive now presented to you as
grangerized copy in adequately bibliophile design
for the just as comfortable continual access in the library case as the opportunity to hang up at liberty the loosely boxed, yet in their respective wrappers as protected as compactly manageable originals and/or – also confronting each other – their engraver’s proofs for both personal joy and instructive guest information as grandiose ambience
in endless sequence recording nautical events .
Offer no. 28,944 / price on application
« Drawing is like making an expressive gesture
with the advantage of permanence »