Balthasar Friedrich Leizelt Active 1750 1800 Print

Balthasar Friedrich Leizelt, active in Augsburg from roughly 1750 to 1800, is best known for hand-colored perspective views—vue d’optique prints—designed for optical viewing devices such as the zograscope. These lively cityscapes, harbors, and “exotic” scenes were printed on laid rag paper, often with mirrored title lines, and sold across Europe. For collectors and appraisers, correctly identifying, dating, and valuing a Leizelt print requires a specific understanding of the Augsburg trade, the optical-print format, and condition indicators unique to 18th-century color engravings.

Below is a practical, research-based guide for connoisseurship, evaluation, and market positioning of Leizelt’s work.

Who Was Balthasar Friedrich Leizelt?

• Publisher and engraver active in Augsburg, a major center of printmaking in the German-speaking world during the 18th century.
• Specialized in vue d’optique (perspective view) prints intended to be viewed through an optical device with a lens and mirror. This market peaked circa 1760–1790.
• Frequently issued city views and port scenes of European capitals, the Mediterranean, and far-flung locales in the Americas and Asia. Many compositions were adapted from other sources and “optimized” for strong perspective and color.
• Typical imprint or credit line variants include:
  • “Augsbourg, Chez B. F. Leizelt”
  • “Augsburg bey B. F. Leizelt”
  • “B. F. Leizelt sculpsit” (less common than publisher credits)
• Leizelt belonged to a larger Augsburg milieu that included Georg Balthasar Probst, Johann Georg Hertel, and Franz Xaver Habermann. Their outputs can appear similar; careful reading of credit lines and typographic style helps attribute.

What Defines a Leizelt Vue d’Optique?

While subjects vary widely, several consistent features help identify a Leizelt optical print:

• Format and Orientation:
  • Landscape-oriented copperplate engraving with hand color.
  • Plate size commonly around 27–39 cm high by 38–48 cm wide (roughly 10.5–15.5 x 15–19 inches), with sheet sizes larger to allow margins. Dimensions vary by plate.
• Title Conventions:
  • A prominent French title at the top printed in reverse (mirror-inverted), intended to read correctly via a mirrored viewer.
  • A German title at the bottom printed in normal orientation. Sometimes additional descriptive text appears at the foot.
  • The phrase “Vue d’Optique,” “Prospect,” or “Prospekt” may be present.
• Publisher Credit:
  • “Augsbourg, Chez B. F. Leizelt” or “Augsburg bey B. F. Leizelt,” usually at lower margin.
• Design Traits:
  • Exaggerated linear perspective leading to a deep vanishing point, crisp architectural edges, and clear axes—designed for the optical illusion of depth.
  • Bright, clear hand coloring, with skies often lightly washed and buildings shaded for contrast.
  • Borders: a clear intaglio plate mark around the image; wider lower margin to accommodate the bilingual title and imprint.
• Paper:
  • 18th-century laid rag paper, visible chain and laid lines under light.
  • Watermarks are common: Dutch and German papers such as “Pro Patria” (with a lion) or various Honig marks are often seen.

Distinguishing from non-Leizelt Augsburg views:

• Probst prints often include “Cum Privilegio Sac. Caes. Maj.” in the imprint.
• Habermann commonly used “Franz Xaver Habermann sculpsit et excudit A.V.” or variants.
• Fonts, line spacing, and the style of bilingual titling differ among publishers; assembling a small reference image bank of known examples helps calibrate your eye.

Authentication and Dating: Paper, Plate, and Pigment

When confirming a Leizelt print’s authenticity and period, prioritize materials and manufacturing clues:

• Intaglio Evidence:
  • A continuous, beveled plate mark surrounding the image.
  • Under magnification, engraved/etched lines show slight bite and ink ridges in darker passages; no halftone dots or pixelation.
• Paper Type:
  • Laid paper with chain and laid lines; deckled edges may remain on one or more sides if untrimmed.
  • Wove paper, more common after the 1790s on the continent, is less typical; a Leizelt on wove paper invites scrutiny (later restrike or reproduction).
  • Watermarks: hold to transmitted light; look for “Pro Patria,” “C & I Honig,” “J. Honig & Zoonen,” or regional marks common on 18th-century rag papers.
• Hand Coloring:
  • Period coloring generally in watercolor or gouache. Brushwork is often even but may appear naive by modern standards.
  • Pigment clues: 18th-century copper-based green (verdigris) sometimes oxidizes, leading to tiny embrittled spots or halos on the reverse; this is not proof on its own, but consistent with age.
  • Modern recoloring tends to be too saturated, flat, or glossy; edges of color may bleed differently due to modern binders.
• Title and Imprint:
  • The reversed French title at the top is essential for optical-view authenticity; missing or cut-off top margins reduce confidence and value.
  • Verify the publisher line variants consistent with Leizelt and Augsburg rather than other cities.
• Subject Sources:
  • Many Leizelt views were derived from printed sources; exact topographical accuracy is less important than conformity to optical conventions. Expect dramatized perspective.
• Smell and Surface:
  • Avoid overreliance on smell, but heavy bleach odor may indicate recent whitening.
  • Under raking light, look for planar distortions typical of aged rag paper; a uniformly glossy surface can indicate modern coating or lamination.

Red flags:

• Dot-pattern imagery from offset/litho reprints.
• Perfectly white, uniformly smooth wove paper with no plate mark.
• Laser-printed or inkjet color edges with overspray or dot patterns.

Condition Grading and Conservation

Condition drives price as much as subject. Grade issues realistically and document anything affecting stability:

• Typical Faults:
  • Margin trimming into or near the plate mark.
  • Foxing, scattered brown spots; overall toning.
  • Water staining, tide lines, or cockling.
  • Pinholes or wormholes, especially in margins.
  • Paper repairs, infills, or backing with non-archival tape.
  • Color abrasion or later overpainting.
• Color State:
  • “Original hand color” is desirable. Later color is acceptable but should be described as such. Professional, sympathetic recoloring is preferable to garish modern paint.
• Structural Risks:
  • Verdigris corrosion: fragile green areas may crack or drop out. Requires careful handling and possibly conservation treatment.
  • Mat burn: brown lines along mat window from acidic mounts.
• Conservation Notes:
  • Dry surface clean only; use a qualified paper conservator for washing, deacidification, or stain reduction.
  • Stabilize verdigris and consolidate flaking media under a conservator’s supervision.
  • Re-mat with 100% cotton rag or alpha-cellulose board; UV-filtering glazing recommended.
  • Display away from direct sunlight; maintain stable humidity (around 40–55%) and temperature.

Grading shorthand used by dealers and appraisers:

• Fine: Wide margins, minimal foxing, fresh color, strong platemark.
• Very Good: Minor foxing/toning, small repairs, good margins.
• Good: Notable faults (trimmed margins, visible stains) but stable and presentable.
• Fair/Poor: Heavy losses, severe staining or over-restoration; decorator grade rather than connoisseur grade.

Market Values and Collecting Strategy

Prices for Leizelt vue d’optique prints reflect subject, condition, coloring, and margins:

• Subject Hierarchy:
  • High: Major capitals (London, Paris, Rome), scenes tied to historical events, views of the New World or Asia, naval battles and bustling ports.
  • Mid: Well-known European towns, palaces, and architectural interiors.
  • Lower: Generic or derivative scenes with less topographic interest.
• Current Market Ranges (typical, not guarantees):
  • Common European city views in very good condition with original color: roughly $300–800.
  • Scarcer subjects, strong coloring, and wide margins: $800–1,800.
  • Especially desirable subjects (notably American or uncommon colonial ports) in excellent state: can exceed $2,000.
  • Trimmed, stained, or later-color examples: $150–400 depending on eye appeal.
• Color and Margins:
  • Original 18th-century color with untrimmed margins commands a premium.
  • Later color narrows the buyer pool and can shave 20–40% off otherwise comparable examples.
• Provenance and Documentation:
  • Old collection labels, early dealer annotations, or documented conservation can bolster confidence.
  • Watermark documentation, plate measurements, and high-resolution detail images support online transactions.
• Strategy for Collectors:
  • Buy the best condition and subject you can afford; the supply of crisp, wide-margined sheets is finite.
  • Assemble a focused theme (e.g., Mediterranean ports, royal residences, or a single city) to build coherence and comparables.
  • When in doubt, favor prints with intact bilingual titles and clear Leizelt credit lines.

Quick Checklist for Appraisers and Buyers

• Confirm the format:
  • Reversed French title at top; German title at bottom.
  • Leizelt imprint: “Augsbourg, Chez B. F. Leizelt” or “Augsburg bey B. F. Leizelt.”
• Inspect the paper:
  • Laid paper with visible chain/laids; look for watermarks (e.g., Pro Patria, Honig).
  • Strong, continuous plate mark around the image.
• Evaluate the color:
  • Signs of period watercolor/gouache; watch for modern over-saturation.
  • Check for verdigris corrosion in greens.
• Assess condition:
  • Margins intact? Any trimming into the plate?
  • Foxing, stains, repairs, losses, mat burn.
• Verify authenticity:
  • No halftone dots; lines show intaglio bite under magnification.
  • Avoid perfectly white wove paper without age indicators.
• Record details:
  • Sheet and plate size, watermark notes, pigment observations, and any conservation history.

FAQ

Q: How can I tell if the color is original on a Leizelt print? A: Period color usually sits thinly on the paper with slight translucency and modest tonal modulation. Greens may show minor verdigris-related fragility. Later color often appears more opaque, uniformly flat, or glossy, with modern pigments sitting on the surface. Compare uncolored border areas to colored edges; harsh tonal jumps and bleeding can signal modern work.

Q: My print is trimmed into the top title—how much does that hurt value? A: Missing or cut-off mirrored titles reduce value significantly because they are integral to the vue d’optique format and its intended use. Expect a meaningful discount versus a comparable example with full margins and complete titles, potentially 30–50% or more depending on severity and subject scarcity.

Q: What is a typical size for Leizelt vue d’optique prints? A: Plate dimensions commonly fall near 27–39 cm in height by 38–48 cm in width, with sheets larger to allow margins and titling. Always record both plate and sheet measurements; margin width is a value factor.

Q: Are there known watermarks associated with these prints? A: Yes. Many Augsburg optical prints were printed on imported Dutch or German laid papers. “Pro Patria” and various Honig watermarks are frequently encountered. Presence of a period watermark supports authenticity and approximate dating, though absence does not rule it out.

Q: What’s the safest way to frame and display? A: Use archival mats and backing (pH-neutral), UV-filtering glazing, and keep the print out of direct sunlight. Maintain stable humidity and temperature. If the print shows verdigris or fragile color, consult a paper conservator before any mounting.

By focusing on the optical-print format, paper and printing diagnostics, and disciplined condition grading, appraisers can confidently identify and value Balthasar Friedrich Leizelt’s vue d’optique prints. Collectors who prioritize complete margins, original color, and compelling subjects will find these Augsburg views rewarding both visually and historically.