You are bidding on onehandwritten, signed letter of the important painter Adolph von Menzel (1815-1905).
The second sheet (written on one side) unfortunately has a tear (half of the text is lost in the first five lines).
Dated Berlin, 14. February 1901.
Aimed at the artist Otto Körtge (*1866) in Oschersleben.
Transcription:“Ew. Wellborn! I can only find the fee for this mural extremely moderate. Of course, these 900 marks can only be used to pay for the artist's work itself!? Of course, there is no mention in your letter of any special cost calculation for materials: the large canvas, paints, hand tools (brushes, etc.)? This is my verdict on the matter; that about the value of the picture itself is already stated [...]
From here on, the first half of the first five lines of the third page is missing:
[...] low price.
[...] final result
[...] yours sincerely
[...] Prof. Dr. Ad. v. Menzel
[...] Senator d. King
Academy d. arts etc."
Including official confirmation of authenticity:
"Officially certified for the painter Otto Körtge Oschersleben."
"The handwritten signature of Professor Dr. Adolf (!) von Menzel, Sigismund-Straße No. 3 resident is hereby officially certified. Berlin, the 28th March 1901."
With stamp from police station 33 in Berlin and signature of the mind, police lieutenant Throl (listed in the address book as police lieutenant F. Throl, first lieutenant of the Landwehr and head of the 33rd Police station (Von-der-Heydt-Straße 1). It refers to Friedrich Wilhelm Franz Throl (born on the 23rd January 1864 in Friedeberg / Neumark, died. on 12. December 1940 in Lübeck as a retired police major), married to Marie Helene Elisabeth, b. Prange. He was the author of the work "The police registration system: based on the existing institution in Berlin, presented according to official sources and published with the permission of the Royal Police Headquarters", Berlin, JJ Heine 1897.
Scope:3 of 4 pages described (20.5 x 26.5 cm); the second sheet with a 10.5 x 5 cm tearout. The last page with (incomplete) stamp of the recipient.
Enclosed is the front of an envelope addressed by Adolph von Menzel to "Mr. Körtge, Maler, Oschersleben" (11.7 x 14.5 cm); but with a postmark from December 23, 1901. So there was at least another letter from Menzel to Körtge, although the envelope appears to have been mixed up.
In the "Work of Adolf Menzel. letters", ed. by Claude Keisch and Marie Ursula Riemann-Reyher, Berlin / Munich, Deutscher Kunstverlag 2009, is this letter not recorded.
About Otto Körtge: nothing can be found about his works; He only appears as his father in the birth and marriage certificates of Oschersleben (Bode), namely as a "master painter" (not a painter...).
Accordingly, Heinrich became Wilhelm Otto Körtge on the 7th September 1866 in Hornhausen (Oschersleben) as the son of the brick master Wilhelm Körtge and Friederike, née. Päzmann was born.
On the 7th In October 1893 he married Alma Luise in Oschersleben Hedwig
Götsch, born on the 12th March 1871 in Oschersleben as the daughter of the merchant Karl Wilhelm Julius Götsch and Luise Wilhelmine, née. Otto.
They had the following children:
-Hedwig Martha Erna Körtge (* 9. July 1894 in Oschersleben, died. on the 30th January 1952 in Blankenburg)
-Otto Wilhelm Julius Körtge (* 18. March 1897 in Oschersleben).
They lived at Kirchstrasse 27 (1894) or Hornhäuserstraße 17 (1897) in Oschersleben.
Condition: Approx. A quarter of the second sheet is missing due to being torn out (with loss of text). Large tears in the fold backed. Paper browned and slightly stained, with minor edge damage. Cover front heavily browned and damaged. bitte beachcheck out the pictures too!
Internal note: KRST 201127 in folder 20-04-29 green
About Menzel (Source: wikipedia):
Adolph Friedrich Erdmann Menzel, from 1898 by Menzel (* 8. December 1815 in Breslau; † 9. February 1905 in Berlin) was a German painter, draftsman and illustrator. He is considered the most important German realist of the 19th century. century. His work is extremely diverse; He was known and highly honored during his lifetime primarily because of his historicized depictions of the life of Frederick the Great.
Life
Career: Adolph Menzel was born in Breslau, where his father Carl Erdmann Menzel ran a lithographic printing company. His artistic talent became apparent early on.
In 1830 the family moved to Prussia's up-and-coming capital Berlin, but just two years later the father died and the 16-year-old Adolph Menzel was faced with the task of providing for the family (mother and two younger siblings). He continued his father's business and also attended the Berlin Academy of Arts for six months in 1833, but gave up this attempt in disappointment and from then on continued his education on an autodidactic basis. Louis Friedrich Sachse was one of Adolph von Menzel's first publishers and made a significant contribution to the young artist's further career.
In 1839 Menzel was commissioned to illustrate a multi-volume history of Frederick the Great by Franz Theodor Kugler. By 1842 he had made around 4,000 pen-and-ink drawings.[1] This work brought the decisive turning point in Menzel's career. It made him known to a wider public and gave him important contacts (including the Prussian royal court) as well as further commissions.
In the following years he illustrated two more works on the Friedrich theme. His paintings, which initially often dealt with historical subjects and later increasingly with contemporary subjects, became increasingly popular. In 1856 his picture Friedrich and his people at the Battle of Hochkirch was exhibited at the Academy of Arts and in 1867 at the Paris World Exhibition. The picture Encounter of Frederick II, painted in 1857 for a private art association. with Emperor Joseph II. in Neisse in 1769, whose theme Menzel had chosen himself, was met with mixed reception for aesthetic and political reasons.[2] On behalf of King Wilhelm I, Menzel created the monumental picture of his coronation in Königsberg between 1862 and 1865. From then on, Menzel was invited to court festivities. From now on, the representation of the middle and upper middle class became one of his themes.
In 1873, Menzel's Round Table of Frederick the Great was purchased by the Prussian state for the planned National Gallery in Berlin. The gallery later acquired other paintings and drawings by Menzel. In 1885 a Menzel exhibition took place in Paris; his 70th birthday was in Berlin. Birthday celebrated with a large exhibition and many honors.
Menzel in his studio (1898): The growing fame was accompanied by social advancement and numerous public honors. In 1853 Menzel was elected a member of the Royal Academy of Arts and in 1856 a professor, but never taught. In 1895 he was accepted as an external member of the Académie des Beaux-Arts. William II awarded Menzel the title of Real Privy Councilor with the title of Excellence in 1895 and the Order of the Black Eagle in 1898, which was associated with personal nobility. Menzel was increasingly skeptical about these honors and liked to refer to his medals as “all the Kladderadatsch”.
In 1900, the Cologne chocolate producer Ludwig Stollwerck purchased a sketchbook with drawings by soldiers in the Prussian army from Menzel for 120,000 marks as templates for Stollwerck collector's pictures and postcards. Ludwig Stollwerck donated the sketchbook to the imperial family after his appointment as councilor of commerce.
On the 9th Adolph Menzel died in February 1905. He had seen his end coming. On New Year's Day 1905 he sent a message to Kaiser Wilhelm II. the greeting: “The last hour is at the door! Heaven protect your majesty and your entire house and our German fatherland!”[4] Wilhelm, who saw Menzel as a glorifier of Prussianism and therefore greatly admired him, ordered a state funeral and followed the coffin with his family. Adolph Menzel found his final resting place in the Trinity Churchyard II, in field OM, G1. The state of Berlin's honorary grave is decorated with a bronze bust based on the model by Reinhold Begas from 1875. A little later, a memorial exhibition took place in the National Gallery, where the public saw Menzel's picture The Balcony Room for the first time. The gallery acquired Menzel's estate.
Private life: In 1850 Menzel was accepted into the literary association Tunnel over the Spree, which also included Theodor Fontane, Paul Heyse, Franz Theodor Kugler and Theodor Storm. Here the artist, who was described as reserved and had only a few close friends, found the opportunity to exchange ideas. Menzel's solitary nature was certainly related to his short stature, for which he was nicknamed "the little excellence". He was only 1.40 meters tall and was declared unfit for military service because of his “gnomishness”. Menzel was never married and nothing is known about his relationships with women. He found emotional closeness in his family. He lived with his mother and siblings, and later, after his mother's death, his brother's early death and his sister's marriage, he lived next door to her family. They carried out several moves together and also went on summer vacations together. Menzel was very close to his relatives and supported them financially on various occasions.
Traveling brought variety to Menzel's relatively uneventful life; However, they often took him to already familiar areas. Since 1850, Menzel went on a longer summer trip every year. Frequent destinations were Dresden and the Elbe Sandstone Mountains, southern Germany and Austria. Menzel was in Paris three times: in 1855 and 1867 for the World Exhibition, where works by Menzel were shown, and in 1868 (exhibition of three of his pictures at the Salon); He was in Northern Italy three times.
In 1866 he traveled to Bohemia to see the scenes of the Austro-Prussian War. According to his own admission, his motives were a sense of duty (even if he couldn't take part as a soldier) as well as curiosity, the "thirst to know this and that when it couldn't be the fresh battlefield" (to Hermann Krigar, 24. July 1866). Menzel had often depicted war and death in connection with his Friedrich illustrations, but without ever actually seeing them. Now he drew wounded, dying and dead soldiers and, as can be seen from these sheets, the new experience seems to have shaken him greatly. After that, Menzel did not paint any more war themes.
Menzel and Berlin: Adolph Menzel's career is closely linked to the simultaneous rise of his adopted hometown. While Menzel lived there, the capital of the Prussian state became the capital of the German Empire, the center of politics, finance and industry. While Berlin still had 170,000 inhabitants in 1800, the two million mark was exceeded in 1905, the year Menzel died. The up-and-coming, rapidly changing city provided Menzel with a wealthy clientele, but also with a variety of motifs. For example, he often drew and painted the numerous construction sites in Berlin. Berlin locations can be seen in many of his pictures, and especially in later years he made the Berlin bourgeoisie a theme in his works. Menzel was not only a painter, but also held a professorship at the Royal University. Academy of Arts. He moved several times in Berlin, for example in 1874 he lived at Potsdamer Straße 7, and his activity was stated as “historical painter; Professor and full member of the Kgl. Academy of Arts”. In 1890 Menzel was at Sigismundstrasse 3 in Berlin W and his position was given as “Dr., historical painter, Prof. and Senator d. Royal Academy of Arts, Chancellor of the Order of Pour le Mérite;[5] Honorary Citizen of Breslau”. In 1895 Menzel was honored on the occasion of his 80th birthday. Birthday honorary citizen of Berlin.
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Painter of Prussia: Through his work on the illustrations for the history of Frederick the Great, Adolph Menzel developed into a Frederick expert. He certainly also felt a personal connection to the king: both were familiar with the feeling of isolation in their surroundings. Added to this was the fact that both lived in an almost entirely male world and their beloved sister was the most important caregiver for both of them. Menzel himself wrote in a letter to his friend CH Arnold in 1840 about his Friedrich pictures: “[…] I wasn't soon struck by anything like that. The material is so rich, so interesting, so great, [...] so picturesque that I would just like to be so happy as to be able to paint a cycle of great historical pictures from this time."[6] From 1849 Menzel painted a series of Representations from the life of Frederick the Great, including well-known paintings such as Frederick the Great's flute concerto in Sanssouci, King Frederick II. Round table in Sansscouci and Friedrich and his people near Hochkirch.
King Frederick II Round Table in Sanssouci, 1850 (war loss):
King Frederick II (middle) in Sanssouci in the circle of Voltaire, Casanova and others
In such paintings, but also in his wood engravings on the history of Frederick the Great, Menzel tried to bring the viewer as close as possible to the reality of the Prussian king's life, but avoided idealizing heroism. In Werner Busch's opinion, in contrast to Kugler, Menzel seems to have had an understanding of the Prussian king's homosexuality, which may have been due to the artist's aversion to women: "The few female nudes that he drew express downright reluctance [...] ]. In his few boy acts one […] wanted to see an unconscious homoerotic dimension.”
Menzel portrays the Prussian king “not at all in the early modern tradition of the apotheosis of rulers. Rather, he humanizes and relativizes him.”[10] He prefers scenes in which Frederick appears as a private citizen (Round Table, Flute Concerto) or as a folksy, benevolent king (The Petition, Frederick the Great on his travels). Of the two depictions from the Seven Years' War, one (Friedrich and his people near Hochkirch) shows a battle that ended in a Prussian defeat, the other, Frederick the Great's address to his generals before the Battle of Leuthen, shows the tense situation before one seemingly hopeless battle (which was eventually won). Menzel consistently avoided any impression of pathos or mere solemnity in his Friedrich pictures. In the flute concerto on the left you can see a listener looking bored at the ceiling. The Round Table is by no means ruled by the king; Rather, several gentlemen in the foreground are engrossed in private conversations.
Because of their lack of a sense of the heroic and majestic, the pictures were initially not well received by conservative art critics and also by the royal family, on whom Menzel had certainly counted on as buyers. This changed when, with growing nationalism and the founding of the empire, the paintings were increasingly interpreted from a nationalistic perspective, until Wilhelm II. could finally speak of Menzel as “the herald of the fame of Frederick the Great and his army”. But that wasn't the intention; Rather, the painter wanted to use his pictures to provide an example of an enlightened rulership with the king as the “first servant of the state”. Nor was Menzel in his heart (especially in his later years) the Prussian patriot that his admirers believed him to be. This is shown by his statements on the revolution of 1848 as well as the fact that he repeatedly followed instructions from his king or Kaiser resisted.
Although the Friedrich pictures only make up a very small proportion of Menzel's entire oeuvre, they were and are disproportionately present in the public consciousness and have given him the reputation of a “state artist”. In fact, he did not paint a picture on behalf of the state. The representative painting of the coronation of King Wilhelm I in Königsberg in 1861 (345 × 445 cm) was created on the personal commission of the king, who, as a constitutional monarch, wanted to demonstrate his divine grace. The coronation was not provided for in the constitution and was therefore not financed from the state treasury, but by the Royal Crown Fide Commission.[11] The circumstances surrounding the order are unclear. Without being particularly disinclined towards Menzel, Wilhelm gave him the inevitable task only a few days before the event, even though its date had already been known for over four months.[12] Menzel complied with the king's wishes in the composition idea, but the pathos of Wilhelm's attitude, the lighting, as well as the addition of Otto von Bismarck went back to him and were recognized by Wilhelm. Menzel ended his involvement with history painting in 1871 with the picture of Wilhelm I's departure to the army on December 31st. July 1870.
Painter of modern life: Contemporary themes take up a lot of space in Adolph Menzel's work. He painted the people among whom he moved, i.e. members of the middle class and, from 1861, the upper middle class. He repeated what he saw. In a departure from this objectifying style of representation, certain caricature-like features can only be observed now and then in his pictures of better society. This is how it is at the well-known ball supper (it depicts a celebration at the imperial court): The officer in the foreground tries, with little success, to handle a knife and fork while standing and at the same time hold a plate, glass and hat.
Menzel's depictions of craftsmen and workers, on the other hand, are completely free of irony. They express the respect the painter felt for serious, well-done work of any kind. The iron rolling mill (1872–1875) belongs to this category. The picture was commissioned, but Menzel chose the motif himself. Measuring 158 × 254 cm, the oil painting is considered the first larger industrial depiction in Germany. To prepare the picture, Menzel traveled to Königshütte in Silesia, which was then the most modern industrial region in Germany after the Ruhr area. In a rolling mill there he made around a hundred detailed drawings, which served as the basis for the later painting.
The production of railway tracks is shown. But Menzel doesn't just show the production process itself. In the front right, workers eat the food brought by a young woman (the only woman in the entire picture). Furthermore, she is the only one who faces the viewer. On the left you can see workers washing themselves, and in the left background the engineer or factory manager (with a round hat) who monitors the workers and the production process.
Soon after its completion, the picture was given the nickname Modern Cyclops (in Greek legend, Cyclops are the assistants of the blacksmith god who forge lightning bolts and the weapons of the gods inside the volcanoes). Apparently a mythological exaggeration was considered necessary in order to make the new topic palatable to the audience. Contemporaries saw the painting, in keeping with the era's belief in progress, as a symbol of the unlimited possibilities of modern technology. Later it was often interpreted as an indictment of the miserable situation of the workers.[13] This is contradicted by the fact that Menzel's workers appear to be self-confident individuals who are proud of their abilities and the value of the work they do. At the time the picture was taken, social thought was still in its early stages (the General German Workers' Association, a forerunner of the SPD, had been founded in 1863, and social insurance was to be introduced in 1883). It is unlikely that Menzel secretly sympathized with the ideas of the emerging workers' movement. He painted what he saw, and in this case that was the harsh working conditions in the industry. It remains unclear whether he actually pursued a non-painterly goal with the iron rolling mill. Perhaps he was simply attracted by the exact depiction of the complicated technical processes and the unusual lighting effects. Peter Weiss gives a political interpretation to the work in his novel essay The Aesthetics of Resistance.
Menzel's Realism: Menzel's work is assigned to the style of realism. In contrast to transfiguring idealism, this refers to painting that depicts existing reality. For Menzel, the realistic representation of even the smallest details was an important concern. In addition, the work of his more mature years in particular shows a number of characteristic stylistic features.
Perhaps Menzel's striving for the greatest possible realism was a reason for the wealth of detail that characterizes many of his later pictures in particular: Paris Weekday (1869), Piazza d'Erbe in Verona (1882–1884), fountain promenade in Kissingen (1890), breakfast buffet at the bakery in Kissingen (1893). However, in these pictures the confusing multitude of people and details do not combine to form a harmonious whole; Each element remains autonomous, which creates the impression of chaos as well as that of isolation and dynamics striving in various directions. The images also have no center that could hold the viewer's gaze and attention. According to the art historian Forster-Hahn, this style of painting shows the “impossibility of grasping the world as a harmonious unity” (Forster-Hahn 1980). The impression of isolation is reinforced by the fact that the people in these pictures usually have no relationship to one another, not only in terms of composition, but also in terms of action: they look past each other, there is no conversation, everyone is busy with their own things.
In addition, Adolph Menzel liked to choose image sections that appear to be random and are therefore reminiscent of a photographer's snapshots, but in reality are carefully arranged. In these images, objects and people are sometimes almost violently cut off from the edges of the image. An example is the fountain promenade in Kissingen: the painting shows a hand in the foreground holding a dog pulling on a leash; However, the associated arm and the rest of the person have fallen victim to the edge of the picture.
Menzel's pre-impressionism
The Berlin-Potsdam Railway, 1847
(Old National Gallery, Berlin)
The Balcony Room, 1845
(Old National Gallery, Berlin)
In the 1840s and 1850s, i.e. in a relatively early phase of his work, Menzel painted a series of pictures that seem to anticipate characteristics of Impressionism by decades (e.g. the omission of an action, the colorful representation of light and the impression of the momentary, fugitives). These include The Balcony Room (1845), one of his most famous paintings, as well as the artist's bedroom in Ritterstrasse (1847) and Waldesnacht (1851). Adolph Menzel apparently viewed these pictures as private, unofficial works and only exhibited them for the first time very late; Some of them only became known to the public after his death. The early work, often referred to as “pre-impressionistic”, which fell completely out of the framework of what Menzel was used to, was enthusiastically received by the audience.
Incidentally, Adolph Menzel did not continue to pursue the path he had taken in his youth. He hardly noticed the impressionism that developed in France from the 1870s onwards; He once described the Impressionists as “lazy artists”.
Menzel as a draftsman: Menzel left behind around 6,000 drawings, as well as 77 sketchbooks and notebooks. This enormous amount can be explained, on the one hand, by the common practice at the time of preparing each painting with a large number of drawings; For example, Menzel created more than a hundred drawings for the iron rolling mill. On the other hand, Menzel was described by his contemporaries as a manic draftsman: “No object was too small for him, and he drew wherever he walked and stood with almost pathological zeal.” (Paul Meyerheim 1906). This passion gave rise to a whole series of anecdotes.
Drawing accompanied Menzel his entire life. One of his first testimonies is his father's hand drawn. After 1875 the number of his paintings decreased significantly, and in his old age he only drew. Menzel initially enjoyed drawing with a sharp pencil, but also with pastels, and developed into a master of gouache and watercolor drawing. Later he preferred the broad carpenter's pencil, which he used exclusively as he grew older. He increasingly tended to blur the lines, so that the drawings of his last years convey a blurry, unreal impression.
Menzel's drawings are admired for the powers of observation that they express and for the artist's ability to capture the essence of things and people using the simplest means. In these drawings, inanimate objects often seem to magically take on a life of their own (armory fantasies, Norwegian fat oysters). Since Menzel took more liberties in his drawings than in his paintings, characteristic elements of his work are often particularly prominent there, such as the choice of seemingly arbitrary image sections and the interest in disorder and decay. In some drawings from his later years, Menzel approaches abstraction (Kurhausstrasse in Kissingen after a thunderstorm, narrow view between two houses).
Works (selection)
painting
Falcon striking a pigeon, around 1844, Nationalgalerie, Berlin
The Balcony Room, 1845, National Gallery, Berlin
Thunderstorm at Tempelhofer Berg, 1846, Wallraf-Richartz Museum, Cologne
Living room with the artist's sister, 1847, Bavarian State Painting Collections, Munich
View of the Anhalter Bahnhof in the moonlight, around 1845/46, oil on paper, mounted on wood, 46 × 35 cm, Winterthur, Museum Oskar Reinhart
The Berlin-Potsdam Railway (the first German depiction of a railway), 1847, Nationalgalerie, Berlin
Laying out the March Fallen, unfinished, 1848, Hamburger Kunsthalle
The Petition, from 1849, first painting by Frederick the Great, National Gallery, Berlin.[15]
The Round Table Frederick II. in Sanssouci, 1850, destroyed in World War II
Frederick the Great's flute concerto in Sanssouci, 1850–1852, Nationalgalerie, Berlin
Early Mass, around 1852, Austrian Gallery, Vienna
Studio wall, 1852, Alte Nationalgalerie, Berlin
Friedrich and his people in the Battle of Hochkirch, 1850–1856, destroyed in World War II
Meeting of Frederick II with Emperor Joseph II. in Neisse in 1769, 1855–1857, Alte Nationalgalerie, Berlin
The Théâtre du Gymnase, 1856, Nationalgalerie, Berlin
Frederick the Great in Lissa: “Bonsoir, Messieurs”, 1858, during the Battle of Leuthen, Hamburger Kunsthalle
Address by Frederick the Great to his generals before the Battle of Leuthen, unfinished, 1859–1861, Nationalgalerie, Berlin
Crown Prince Friedrich visits the French painter Antoine Pesne on the painting scaffolding in Rheinsberg Palace, 1861, Nationalgalerie, Berlin
Coronation of King Wilhelm I in Königsberg, 1862–1865, New Palace, Potsdam
The Children's Album (a collection of 44 small-format gouaches with child-friendly themes that Menzel made for his sister's two children), 1863–1883, Kupferstichkabinett, Berlin
An Afternoon in the Tuileries Garden, 1867, National Gallery, London
Paris Weekday, 1869, Kunstmuseum, Düsseldorf
Departure of King William I for the army on January 31st. July 1870, 1870, Nationalgalerie, Berlin
Studio wall, 1872, Hamburger Kunsthalle
The Iron Rolling Mill (Modern Cyclops), 1875, Nationalgalerie, Berlin
A walker at the fountain in the spa gardens in Kissingen, gouache, 1875, National Museum Warsaw
The Artist's Foot, 1876, Nationalgalerie, Berlin
The Ballsupper, 1878, Nationalgalerie, Berlin
Corpus Christi procession in Hofgastein, 1880, Neue Pinakothek, Munich
Piazza d'Erbe in Verona, 1884, Galerie Neue Meister, Dresden
drawings
Frontispiece in the Golden Book of the city of Bad Kissingen painted by the “non-spa guest” Adolph Menzel on January 5th. August 1889
Unmade bed, around 1845, Kupferstichkabinett, Berlin
Menzel's brother Richard, 1848, collection Dr. Peter Nathan and Barbara Nathan, Zurich
Portrait sketches of 132 people for the coronation picture, 1863–1864
Armory fantasies, approx. 20 sheets with armor and medieval weapons, 1866
Around 100 sketches of the iron rolling mill, 1872–1874
Corpse portraits, 1873
Evening party at Mrs. von Schleinitz's house, 1875
Kurhausstrasse in Kissingen after a thunderstorm, 1889, Kupferstichkabinett, Berlin
Frederick the Great's army in their uniforms, 1908 to 1912, Berlin (Reprint Weltbild, Augsburg 2005, ISBN 3-8289-0523-4)
Book illustrations
11 pen lithographs for Goethe's poem by artist Erdenwallen, 1833, published Berlin 1833
Franz Kugler: History of Frederick the Great. Drawn by Adolph Menzel. JJ Webersche Buchhandlung, Berlin 1842, digital edition 1856 of the Trier University Library, later edition by Hermann Mendelssohn, Leipzig 1856, urn:nbn:de:bvb:12-bsb10001721-6 (incl. Text).
436 pen lithographs for Frederick the Great's army in their uniforms, begun in 1842, published in Berlin in 1857
200 woodcut illustrations of the works of Frederick the Great, 1843–1846, Trier University Library.
30 woodcut illustrations for an anniversary edition of Heinrich von Kleist's The Broken Jug, 1876–1877, published Berlin, Hofmann & Co., 1877
In: Album of German Poets / With 36 original drawings by German artists, as: A. v. Schroeter, JB Sonderland, Theod. Hosemann, A. Menzel, v. Kloeber, F. Holbein, Rosenfelder et al. Hofmann, Berlin 1848, urn:nbn:de:hbz:061:2-288
In: Friedrich Bodenstedt (ed.): Album of German art and poetry. With woodcuts based on the artists' original drawings, executed by R. Brend'amour. Grote, Berlin 1867, urn:nbn:de:hbz:061:2-184.
letters
Claude Keisch (ed.), Marie Ursula Rieman-Reyher (ed.), Kerstin Bütow, Brita Reichert: Letters. 1830–1905.[16] 4 volumes, Deutscher Kunstverlag, Berlin, Munich 2009, ISBN 978-3-422-06740-0.