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Show 135 4 par F. Hegi d'apres C. Bodmer). This was probably an expanded second edition of the 1831 album published by Holscher. Hegi also etched one of Bodmer's designs, Die Ruine Falkenbura. for F. E. von Mering's Geschichte der Buraen. Ritterauter. Abteien u. Kloster in den Rheinlanden und den Provinzen Julich. Cleve. Berg, und Westphalen (Cologne: Verlag von F. C. Eisen, 1837). Bodmer and Hegi collaborated on at least two other albums during this same time-Rheinansichten (Cologne: F. C. Eisen, 1837), and Rheinland-Album des Rheins (Coblenz: Karl Baedecker, n.d.). See Appendix E, Chronology. It seems strange that Hegi was not recruited to work on Travels. Bodmer relied heavily on past associations to organize production of the aquatints. Even more obvious was the absence of the etcher with whom Bodmer had almost exclusively worked in the past--his brother Rudolf. Bodmer originally intended that Rudolf would be involved in the project; mention was made of Rudolfs participation in the French prospectus issued subscribers. There may have been at least two reasons why Rudolf ultimately was not involved. Rudolf had already committed to work on several large travelbooks of his own during the first years of Travels production and he was fighting a progressive illness, dying in 1841, two years before completion of Travels. 43. Lonchamp, #1675, 2063, 2064, 2066, 2068, 2069, 2667, and 3190b. Securing the help of these etchers was important. These men were very skilled and guaranteed the high quality of Travels. But their involvement also further defined Travels' aquatints as travelbook illustration, rather than simply scientific documentation. See also Carl Brun, Schweizerisches Kunstler-Lexikon (Frauenfeld: Verlag von Huber & Co., 1908), vol. 2, p.p. 31-33, 397-398, for further information regarding other collaborative works. 44. Indianner Waren Meine Freunde. p. 127. 45. Naturaeschichte und Abbildunaen der Menschen und der Sauaethiere (Zurich: Honeggerchen Lithographichen Anstalt, 1840). According to Hans Lang, Maximilian reluctantly agreed to provide Schinz with some of Bodmer's watercolors, but failed to inform Bodmer, who was initially opposed to the arrangement, probably fearful that publication of his watercolors by Schinz would lessen the value of his own aquatint illustrations. If this story is true, Bodmer was probably right to object. Schinz had chosen some of the best of the portrait watercolors-including those of Pehriska-Ruhpa and Mato-Tope-for his book. However, Schinz1 lithographs are based upon Bodmer's aquatints, not the original watercolors. Although these lithographs were much |