Martin Engelbrecht | Optical Theatre representing a large library, Augsburg, [c. 1730–50]

Martin Engelbrecht.

Optical Theatre representing a large library, Augsburg, n.d. [c. 1730–50]

Optical Theatre mounted in a green cloth box with two glass faces (100 x 148 x 244 mm), containing six copper-engraved plates (unsigned but numbered on verso) on heavy paper depicting library architecture, furniture, shelving, books, and visitors, with contemporary hand-colouring, five plates opened in centre and the sixth a full plate with views outside the library including a fountain and cypress trees, layers of paper beginning to split in a small number of places

Martin Engelbrecht (1684–1756) was a printer, publisher, and engraver from Augsburg and a central figure in the advancement of eighteenth-century optical entertainment. His brother, Christian Engelbrecht, ten years older, had already established himself as an engraver when Martin’s career began to take off. The two founded their own print-publishing house in 1719 in Augsburg. Martin applied for his first imperial privilege, which was granted by Emperor Charles VI on 13 November of that same year. This protected his original creations from unsanctioned reproduction and was renewed until his death. Among these creations, which the privilege referred to as “verschiedene sinnreiche und erbauliche Bilder” (“various ingenious and edifying images”; Schott, p. 12), were his “optical theatres”, also known as “perspective theatres” or “peepshows”, a great step forward for contemporary visual entertainment. Engelbrecht employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to design slides for his optical theatres, from 1731 and 1737 respectively. He produced optical theatres in three main formats, with sheets measuring 180 x 220 mm, 90 x 140 mm, 73 x 90 mm, of which this example would be the medium (“octavo”) format.

Engelbrecht’s optical theatres, like this example, create an illusion of depth and three-dimensional space through a series of layered engravings, often placed inside boxes. Here, he depicts a library replete with grand architectural features, windows, a fireplace, bookshelves filled with coloured volumes, marble busts, globes, paintings, and more. The incorporation of cut-out figures, such as the library visitors here, reading, perching on ladders, and often in conversation with one another, is particularly characteristic of Martin Engelbrecht’s style. Through the various layers, he constructs a lively, animate scene. These objects are often regarded within wider European Baroque traditions of theatricality and illusion, and as one approach to the concept of anamorphosis which fascinated Baroque artists and viewers alike.

LITERATURE:

Friedrich Schott, Der Augsburger Kupferstecher und Kunstverleger Martin Engelbrecht und seine Nachfolger: ein Beitrag zur Geschichte des Augsburger Kunst- und Buchhandels von 1719 bis 1896 (Augsburg: Schlosser, 1924)

Alberto Milano, Martin Engelbrecht: Perspektivtheater – Dioramen (Stuttgart: Füsslin Verlag, 2016)