You are bidding on onehandwritten, signed letter of the important painter Adolph von Menzel (1815-1905).

The second sheet (written on one side) unfortunately with a tear (half of the text of the first five lines is lost).

Dated Berlin, 14. February 1901.

addressed to the painter Otto Koertge (*1866) in Oschersleben.

Transcription:"Eh. Well born! 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!? Admittedly, there is no mention in your letter of any special calculation of costs for material: the large canvas, paints, hand tools (brushes, etc.)? This is my verdict on the matter; [...] which lies beyond the value of the picture itself, has already been [...]

From here on, the first half of the first five lines of the third page is missing:
[...] low price.

[...]th final result
[...]and 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, 28. March 1901."

With stamp from the 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 33. police station (Von-der-Heydt-Strasse 1). It refers to Friedrich Wilhelm Franz Throl (b. on the 23rd January 1864 in Friedeberg / Neumark, died. on 12. December 1940 in Lübeck as police major aD), married to Marie Helene Elisabeth, b. Prange. He was the author of the work "The police registration system: based on the existing facility in Berlin according to official sources and published with the permission of the Royal Police Headquarters", Berlin, JJ Heine 1897.

Scope:3 of 4 pages written (20.5 x 26.5 cm); the second sheet with a tear measuring 10.5 x 5 cm. The last page with (incomplete) recipient's stamp.

Enclosed is the front of an envelope (11.7 x 14.5 cm) personally addressed by Adolph von Menzel to "Herrn Körtge, Maler, Oschersleben"; However, with a postmark dated December 23, 1901. So there was at least another letter from Menzel to Körtge, apparently with the wrong envelope.

In the "Werk Adolf Menzel. letters", ed. by Claude Keisch and Marie Ursula Riemann-Reyher, Berlin / Munich, Deutscher Kunstverlag 2009, is this letter not recorded.

About Otto Koertge: nothing can be found about his works; only in the birth and marriage certificates from Oschersleben (Bode) does he appear as a father, namely as a "master painter" (not a painter...).

Accordingly, Heinrich became Wilhelm Otto Kortge on the 7th September 1866 in Hornhausen (Oschersleben) as the son of the brick master Wilhelm Körtge and Friederike, b. Päzmann born.

on the 7th In October 1893 he married Alma Luise in Oschersleben Hedwig Goetsch, born on 12. March 1871 in Oschersleben as the daughter of the merchant Karl Wilhelm Julius Götsch and Luise Wilhelmine, b. Otto.

They had the following children:

-Hedwig Martha Erna Koertge (* 9. July 1894 in Oschersleben, died. on the 30th January 1952 in Blankenburg)

-Otto Wilhelm Julius Koertge (* 18. March 1897 in Oschersleben).

They lived at Kirchstrasse 27 (1894) and Hornhäuserstrasse 17 (1897) in Oschersleben.

Condition: Approx. A quarter of the second leaf missing due to a tear (with loss of text). Large tears in the fold backed. Paper browned and somewhat stained, with minor edge damage. Front cover heavily browned and damaged. Bitte beachalso see the pictures!

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 extraordinarily diverse; He was known and highly honored during his lifetime primarily for his historicizing depictions of the life of Frederick the Great.

Life

Career: Adolph Menzel was born in Breslau, where his father, Carl Erdmann Menzel, ran a lithography shop. His artistic talent was evident early on.

In 1830 the family moved to Prussia's up-and-coming capital Berlin, but the father died two years later and Adolph Menzel, who was just 16 years old, was faced with the task of supporting the family (mother and two younger siblings). He continued his father's business, and in 1833 he also attended the Berlin Academy of Arts for half a year, but gave up this attempt in disappointment and continued to educate himself from then on. Louis Friedrich Sachse was one of the first publishers of Adolph von Menzel and made a significant contribution to the further career of the young artist.

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 4000 pen and ink drawings.[1] This work brought about the decisive turning point in Menzel's career. She introduced him to a broader public and provided him with important contacts (among others with the Prussian royal court) as well as further orders.

In the years that followed, he illustrated two more works from the Friedrich theme. His paintings, which initially often dealt with historical subjects and later increasingly with contemporary subjects, became more and more popular. In 1856 his picture of Friedrich and his family at the Battle of Hochkirch was exhibited at the Academy of Arts, and in 1867 at the Paris World Exhibition. The Encounter of Frederick II painted in 1857 for a private art association. with Emperor Joseph II. in Neisse in 1769, the subject of which Menzel had chosen himself, received mixed reviews for aesthetic and political reasons.[2] Commissioned by King Wilhelm I, Menzel created the monumental picture of his self-crowning in Königsberg between 1862 and 1865. From then on, Menzel was invited to court festivities. The depiction of the bourgeoisie and upper bourgeoisie became one of his themes from now on.

In 1873 Menzel's Round Table of Frederick the Great was bought 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 was held in Paris; in Berlin was his 70th birthday. Birthday celebrated with a large exhibition and many honors.

Menzel in his studio (1898): Growing fame went hand in hand with social advancement and numerous public honors. In 1853 Menzel was elected a member of the Royal Academy of Arts, in 1856 a professor, but never taught. In 1895 he was accepted as a non-resident member of the Académie des Beaux-Arts. William II In 1895 Menzel awarded the title of Real Privy Councilor with the predicate of excellence and in 1898 the Order of the Black Eagle, which was associated with personal nobility. Menzel was increasingly skeptical about these honors and liked to speak of his medals as "all the junk".

In 1900, the Cologne chocolate producer Ludwig Stollwerck bought a sketchbook with drawings of soldiers from the Prussian army from Menzel for 120,000 marks as templates for Stollwerck collector's pictures and postcards. Ludwig Stollwerck gave the sketchbook to the imperial family after his appointment to the council 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 Kaiser Wilhelm II. the greeting: "The last lesson is at the door! Heaven protect Your Majesty and your whole house and our German fatherland!”[4] Wilhelm, who saw Menzel as a glorifier of Prussianism and therefore admired him very much, ordered a state funeral and followed the coffin with his family. Adolph Menzel found his final resting place in Trinity Churchyard II, in Field OM, G1. The honorary grave of the State of Berlin is decorated with a bronze bust based on the model created by Reinhold Begas in 1875. A little later, a commemorative exhibition was held in the National Gallery, in which the public saw Menzel's painting 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, described as withdrawn, who had only a few close friends, found the opportunity to exchange ideas. Menzel's solitary nature was certainly related to his short stature, because of which he was dubbed "the little excellence". He was only 1.40 meters tall and had been declared unfit for the military because of "gnomishness". Menzel was never married and nothing is known about relationships with women. He found emotional closeness in his family. He lived with his mother and siblings, later, after his mother's death, his brother's early death and his sister's marriage, he lived next door to her family. Together they carried out several moves and also went to the summer resort together. Menzel was very close to his family and supported them financially on various occasions.

Travel brought variety to Menzel's fairly uneventful life; however, in turn, they often took him to areas already known. Since 1850, Menzel has taken a long 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 also shown, and in 1868 (exhibition of three of his paintings in 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 statements, his motives were a sense of duty (if he could not take part as a soldier) as well as curiosity, the "thirst to know this and that, if it could not be the fresh battlefield" (to Hermann Krigar, 24. July 1866). Menzel had often depicted war and death in connection with his Friedrich illustrations, without ever actually seeing them. He was now drawing wounded, dying, and dead soldiers and, as can be seen from these sheets, the new experience seems to have shaken him greatly. Menzel did not paint any more war themes after that.

Menzel and Berlin: Adolph Menzel's career is closely linked to the simultaneous rise of his adopted hometown. The capital of the Prussian state became the capital of the German Empire, the center of politics, finance and industry, while Menzel lived there. 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 subject of his work. Menzel was not only a painter, but also held a professorship in the Royal Academy of Arts. He moved several times in Berlin, for example in 1874 he lived at Potsdamer Strasse 7, and his occupation was given as “history painter; Professor and full member of the Royal Academy of Arts". In 1890 Menzel was found at Sigismundstraße 3 in Berlin W and his position was given as "Dr., history painter, Prof. and Senator d. royal Academy of Arts, Chancellor of the Order Pour le Mérite;[5] Honorary Citizen of Breslau". In 1895 Menzel was born on the occasion of his 80th birthday. Birthday honorary citizen of Berlin.

plant

Painter of Prussia: Through his work on the illustrations for the history of Frederick the Great, Adolph Menzel had developed into a Frederick expert. He certainly also felt a personal bond with the king: both were familiar with the feeling of isolation in their environment. Added to this was the fact that both lived in an almost exclusively male world and for both of them their beloved sister was the most important reference person. Menzel himself wrote in a letter to his friend CH Arnold about his Friedrich pictures in 1840: “[...] I wasn't really taken by anything very soon. The material is so rich, so interesting, so great, […] so picturesque that I would just like to be lucky enough to be able to paint a cycle of large historical pictures from this time.”[6] From 1849 Menzel painted a series of Depictions 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 family near Hochkirch.

King Friedrich II. Round Table in Sanssouci, 1850 (war loss):

King Frederick II (middle) in Sanssouci in the districts 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 real life of the Prussian king, but avoided idealizing heroism. In contrast to Kugler, according to Werner Busch, Menzel seems to have understood 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 revulsion [... ]. In his few boy nudes one wanted to see an unconscious homoerotic dimension.”

Menzel depicts the Prussian king "not at all in the early modern tradition of the ruler's apotheosis. Rather, he humanizes and relativizes him.”[10] He prefers scenes in which Frederick appears as a private person (Round Table, Flute Concerto) or as a popular, benevolent king (The Petition, Frederick the Great Traveling). Of the two depictions from the Seven Years' War, one (Friedrich and his family 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 a seemingly hopeless battle (which, however, was won after all). Menzel consistently avoided any impression of pathos or mere solemnity in his Friedrich pictures. In the flute concerto, for example, one sees a listener on the left who looks bored at the ceiling. The Round Table is by no means ruled by the king; rather, several gentlemen are engrossed in private conversations in the foreground.

Because of their lack of a sense of the heroic and majestic, the pictures initially found little favor with conservative art critics and also with the royal family, 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 under nationalistic aspects, until Wilhelm II. was finally able to speak of Menzel as "the glorifier of Frederick the Great and his army". But that was not the intention; Rather, the painter wanted his pictures to provide an example of an enlightened rulership with the king as the “first servant of the state”. Nor was Menzel at heart (especially in his later years) the Prussian patriot that his admirers took him to be. This is shown by his statements on the revolution of 1848 as well as the fact that he repeatedly took instructions from his king or king. Kaisers opposed.

Although the Friedrich paintings only make up a very small proportion of Menzel's oeuvre, they were and still are disproportionately present in the public consciousness and have earned him the reputation of a "state artist". In fact, however, he did not paint any pictures commissioned by the state. The representative painting of the coronation of King Wilhelm I of Königsberg in 1861 (345 × 445 cm) was created on the personal commission of the king, who, as a constitutional monarch, wanted to emphasize his divine right of right. The coronation was not provided for in the constitution and was therefore not financed from the state treasury, but by the Royal Kronfideikommiss.[11] The circumstances surrounding the order are unclear. Without being particularly inclined to Menzel, Wilhelm gave him the unavoidable order only a few days before the event, although the date had been known for more than four months.[12] In the compositional idea, Menzel complied with the king's wishes, but the pathos of Wilhelm's attitude, the lighting, as well as Otto von Bismarck's additions went back to him and were recognized by Wilhelm. Menzel ended his occupation with history painting in 1871 with the picture of Wilhelm I's departure for the army on 31. July 1870.

Painter of modern life: Contemporary issues occupy a large space in Adolph Menzel's work. He painted the people he moved among, i.e. members of the bourgeoisie and, from 1861, the upper bourgeoisie. He repeated what he saw. Turning away from this objectifying mode of representation, certain caricature-like traits can at best be detected now and then in his pictures of better society. This is the case at the well-known supper ball (a celebratory event at the imperial court is shown): the officer in the foreground tries, with little success, to use a knife and fork while standing and at the same time hold a plate, glass and hat.

In contrast, Menzel's depictions of craftsmen and workers are completely devoid of irony. They express the painter's respect for serious, well-done work of any kind. The Iron Rolling Mill (1872–1875) falls into this category. The picture is a commissioned work, but Menzel chose the motif himself. Measuring 158 × 254 cm, the oil painting is considered the first larger depiction of industry in Germany. To prepare the picture, Menzel traveled to Königshütte in Silesia, which at the time was – after the Ruhr area – the most modern industrial region in Germany. In a local rolling mill, he made about a hundred detailed drawings that served as the basis for the later painting.

Shown is the manufacture of railroad tracks. But Menzel not only shows the production process itself. In the foreground on the right, workers eat the food that a young woman (the only woman in the whole picture) has brought. Also, she is the only one facing the viewer. On the left you can see workers washing themselves, and in the left background the engineer or plant manager (with round hat) who supervises 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 god forge, 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 theme palatable to the public. Contemporaries understood the painting as a symbol of the unlimited possibilities of modern technology, in line with the belief in progress of the epoch. Later it was readily interpreted as an indictment of the miserable situation of the working class.[13] On the other hand, Menzel's workers appear as self-confident individuals who are proud of their skills and the value of their work. At the time the picture was taken, social thought was still in its infancy (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 labor movement. He painted what he saw, and in this case it was the tough working conditions in the industry. It remains to be seen whether he was even pursuing a non-painting 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 means painting that depicts the reality that is found. The realistic representation of even the smallest details was an important concern for Menzel. In addition, however, the work of his more mature years in particular shows a number of characteristic stylistic features.

Perhaps Menzel's striving for the greatest possible faithfulness to reality was one reason for the abundance 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 confectionery in Kissingen (1893). However, in these pictures the bewildering mass of characters and details do not come together in a harmonious whole; each element remains autonomous, which creates the impression of the chaotic as well as that of isolation and dynamics striving in the most diverse directions. The pictures also have no center that could capture the viewer's gaze and attention. In the opinion of the art historian Forster-Hahn, this style of painting shows the "impossible to grasp the world as a harmonious unit" (Forster-Hahn 1980). The impression of isolation is reinforced by the fact that the people in these pictures are mostly not related to one another not only in terms of composition but also in terms of action: they look past each other, no conversation takes place, everyone is busy with their own things.

In addition, Adolph Menzel liked to choose image sections that appear random and are therefore reminiscent of a photographer's snapshots, but are in fact carefully arranged. In these images, objects and people are sometimes forcibly cut off from the edges of the image. An example is the fountain promenade in Kissingen: In the foreground the painting shows a hand holding a dog that is pulling on a leash; but the arm that goes with it 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 creative work, Menzel painted a series of pictures that seem to anticipate the characteristics of Impressionism by decades (e.g. the renunciation of a plot, the colorful depiction of light and the impression of the momentary, fugitives). These include The Balcony Room (1845), one of his best-known paintings of all, as well as The Artist's Bedroom on Ritterstrasse (1847) and Forest Night (1851). Adolph Menzel apparently regarded these paintings as private, unofficial works and exhibited them for the first time very late; some of them only became known to the public after his death. The early work, which was often described as “pre-impressionistic”, and which was completely out of the ordinary for Menzel, was enthusiastically received by the audience.

Incidentally, Adolph Menzel did not continue on the path he had taken in his youth. He hardly noticed the Impressionism that was developing in France from the 1870s; he once described the Impressionists as “lazy artists”.

Menzel as a draftsman: Menzel left around 6000 drawings, plus 77 sketchbooks and notebooks. On the one hand, this enormous amount can be explained by the usual procedure 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 went and stood with almost morbid zeal." (Paul Meyerheim 1906). This passion gave rise to a whole series of anecdotes.

Drawing accompanied Menzel throughout his life. One of his first testimonies is the drawing of his father's hand. After 1875 the number of his paintings decreased significantly, and in old age he only drew. Menzel initially liked to draw with a sharp pencil, but also with pastels, and developed into a master of gouache and watercolor drawings. Later he preferred the wide carpenter's pencil, which he used exclusively in old age. In doing so, he increasingly tended to blur the lines, so that the drawings of his last years give a blurred, unreal impression.

Menzel's drawings are admired for the power of observation that is expressed in them and for the artist's ability to capture the essence of things and people with the simplest of means. In these drawings, inanimate objects often seem to magically acquire a life of their own (armoury 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 random image sections and the interest in disorder and decay. In some drawings of his late years, Menzel approaches abstraction (Kurhausstraße in Kissingen after a thunderstorm, narrow view between two houses).

Works (selection)

painting

Falcon encountering a dove, c. 1844, National Gallery, 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 laid down on wood, 46 × 35 cm, Winterthur, Museum Oskar Reinhart

The Berlin-Potsdam Railway (the first German depiction of a railway), 1847, National Gallery, Berlin

Laying out the dead of March, unfinished, 1848, Hamburger Kunsthalle

The Petition, from 1849, first painting by Frederick the Great, National Gallery, Berlin.[15]

The round table of Friedrich II. in Sanssouci, 1850, destroyed in World War II

Flute Concerto by Frederick the Great in Sanssouci, 1850–1852, National Gallery, Berlin

Early Mass, around 1852, Austrian Gallery, Vienna

Studio wall, 1852, Alte Nationalgalerie, Berlin

Frederick and his at 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, National Gallery, Berlin

Frederick the Great in Lissa: "Bonsoir, Messieurs", 1858, during the Battle of Leuthen, Hamburger Kunsthalle

Address of Frederick the Great to his generals before the Battle of Leuthen, unfinished, 1859–1861, National Gallery, Berlin

Crown Prince Friedrich visits the French painter Antoine Pesne on the painting scaffold in Rheinsberg Palace, 1861, National Gallery, 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 themes suitable for children 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 Wilhelm I to the army on 31. July 1870, 1870, National Gallery, Berlin

Studio wall, 1872, Hamburger Kunsthalle

The Iron Rolling Mill (Modern Cyclops), 1875, National Gallery, Berlin

Woman strolling by the fountain in the spa gardens in Kissingen, gouache, 1875, National Museum in Warsaw

The Artist's Foot, 1876, National Gallery, Berlin

The Ball Supper, 1878, National Gallery, Berlin

Corpus Christi procession in Hofgastein, 1880, Neue Pinakothek, Munich

Piazza d'Erbe in Verona, 1884, New Masters Gallery, Dresden

drawings

Frontispiece in the Golden Book of the town of Bad Kissingen painted by the "non-spa guest" Adolph Menzel on 5. August 1889

Unmade bed, around 1845, Kupferstichkabinett, Berlin

Menzel's brother Richard, 1848, collection of Dr. Peter Nathan and Barbara Nathan, Zurich

Portrait sketches of 132 people for the coronation picture, 1863–1864

Armory fantasies, ca. 20 Sheets of Armor and Medieval Weapons, 1866

about 100 sketches for the iron rolling mill, 1872–1874

Corpse Portraits, 1873

Evening party at Frau von Schleinitz's, 1875

Kurhausstrasse in Kissingen after a thunderstorm, 1889, Kupferstichkabinett, Berlin

The army of Frederick the Great in their uniforms, 1908 to 1912, Berlin (Reprint Weltbild, Augsburg 2005, ISBN 3-8289-0523-4)

book illustrations

11 pen and ink lithographs for Goethe's poem by the artist Erdenwallen, 1833, published in Berlin in 1833

Franz Kugler: History of Frederick the Great. Drawn by Adolph Menzel. JJ Webersche Buchhandlung, Berlin 1842, digital edition 1856 of the University Library Trier, later edition by Hermann Mendelssohn, Leipzig 1856, urn:nbn:de:bvb:12-bsb10001721-6 (incl. Text).

436 pen and ink lithographs for Frederick the Great's army in uniform, begun in 1842, published in Berlin in 1857

200 woodcut illustrations on 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 and others 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.