Dahl, Siegwald Johannes (1827 Dresden 1902). Roebuck in the Winter Forest. Oil on panel. Inscribed: Siegwald Dahl 1880 (below right) + Siegwald Dahl, Dresden Blasewitzer Str. 1. (verso above). 54.5 x 63.5 cm. Under 12 cm wide heavy, most richly ornamented contemp. gilt frame.

The picture full of atmosphere documented by literature, in 1882 donated by Dahl for the raffle of the Albert Society (Red Cross) founded in 1867 by Carola von Sachsen, wife of the Saxon king Albert von Wettin (1833-1907, daughter of the Austrian field-marshal prince Gustav Adolf von Wasa + the princess Luise von Baden), first of all especially for the wounded of the 1866 war.

Already as 37-age honorary member of the Dresden Academy Dahl was pupil of his father, Johann Christian Clausen Dahl, the animal painter Joh. Frdr. Wilhelm Wegener, and 1843/45 of the Dresden Academy. “In 1851 he visited London attracted by Edwin Landseer, repeatedly Paris and especially  Norway , the native country of the father, what stimulated himself to several compositions, too” (Boetticher 1891).

“ D. is above all an animal painter, his Norwegian and German landscapes already technically not coming up to the

excellent  depictions  from  the  life  of  the  dogs , horses , roes , birds .

These genre scenes could stand comparison with those of Edwin Landseer in respect of the loving observations …

they  even  surpass  those  in  color  charm .

A not to underestimating influence in this connection D. has excerted on an elder art companion, the ingenious Ferd. v.  Raysky , together with whom he yearly made natural studies on the properties of their friends ”

(Ernst Sigismund 1913 in Thieme-Becker).

The high-grade panel with the mark of quality “Tachet brevete à Paris” pieced on by Dahl 4.5 cm all-round as not unusual

as  mark  of  creative  further  development  during  the  work

and outspokenly exemplarily known of Rubens. So then also inscribed on the lower/upper separate part only. However with the geared consequence of formation of cracks in the seames, visible also on the image-side, as a result of the working wood. Other fine cracks in the lower part of the flowsheet itself unobstrusively on the surface. The state of the painting decidedly good, the yellowed old varnish took away under partly recess of the signature.
Offer no. 14,555  /  price on request

And  now  Dahl’s  Horses

Put to the Carriage. Young one-horse lively stepping out in slightly outlined landscape with brushwood (?) on the carriage and the Pomeranian first. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil in German as above. 179 x 228 mm. – On thin cardboard.

Corresponding with Thieme-Becker’s rating in regard of the portrait drawings :

“ drawings  of  partly  extraordinary  delicacy ”.

Offer no. 14,556 / EUR  345. / Export price EUR  328. (c. US$ 529.) + shipping – See the complete description.

Accompanies the Mother at Work. Foal left-sided to the mare, harnessed alone to a two-horse milk-float, both in lively run and the Pomeranian on the box. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil in German as above. 182 x 232 mm.

On very thin paper mounted on thin cardboard, of which the left white lower edge has loosened. – The quality as before. – See the complete description.
Offer no. 14,557 / EUR  370. / Export price EUR  352. (c. US$ 568.) + shipping

Can no more lie down! Two horses in the stable, the left of them can no more lie down like the other. Beyond a ledge occupied by poultry a staircase leads to the heyloft. Brush with wash in black. Inscribed: S. Dahl (18)99 (brush), otherwise in pencil as above in German. 175 x 225 mm. – On thin cardboard. – Warmly felt sujet. – See the complete description.
Offer no. 14,559 / EUR  370. / Export price EUR  352. (c. US$ 568.) + shipping

Broken down and now recognized by the cavalryman who is sent away by the driver though! The cavalryman at his former horse now broken down in the harness of a two-horse carriage highly loaden with stones. Depressed old and young form the front. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise per four-liner in pencil in German as above. 173 x 225 mm. – On thin cardboard. – In all parts of rich power of narration. – See the complete description.
Offer no. 14,558 / EUR  378. / Export price EUR  359. (c. US$ 579.) + shipping

What  means  New  Year  here  after  all ?!

Schleich, August (1814 Munich 1865). Troop of Boars. Group of four on clearing in the mountain forest with the capital boar in important dominance in the center to the left where a sow rests and a further one stands behind it while on the right a heavy beast runs downwards. Watercolor in especially richly differenciated grey and brown tones with black lights on grey tone paper. Inscribed lower left: A. Schleich (18)49. 22 x 30.3 cm.

Laid by old on braided mounting carton with “A. Schleich” in the upper center and on this fixed above completey with the result of a weak waving and below right per point.

Topping , colorfresh  sheet ,

appropriately claiming what Nagler noted contemporarily in respect of the 1840/41 set of lithographs “Studies of Game Animals”:

and previously

“ (Schleich) yet expressed a special partiality for the depiction of animals, in which he has brought it already to a not ordinary level of perfection … (His works) deserve to be praised not only as a result of the skillful treatment, but

especially  because  of  the  characteristic  interpretation

of  the  animal  nature .”

And H. Holland correspondingly in review in 1890 in the ADB:

“ In doing so he reached a perfection and truth which assigns him

one  of  the  first  places  among  the  game  draughtsmen

of  his  time ,

while he didn’t possess the required patience for the execution in oil to work himself way up on the same level of perfection … As formerly at the beginning of his fame at last S. delivered his productions also again on the pothouse, which temporarily formed studio and home for the artist, whose originality perhaps got going again all the fairy-tales and legends of Adrian Brouwer, Jan Steen and others of this stamp. ”

Offer no. 14,560 / EUR  2100. / Export price EUR  1995. (c. US$ 3220.) + shipping

… and  a  Thick  Skin  into  the  Bargain !

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Four plates elephants. Four sheet. Etchings after Philipp Ferdinand Reichsfreiherr von Gudenus. 1741/1744. Inscribed: P. F. v. G. ad viv. del. 1741. / I. E. Ridinger sculpsit A.V. (2-4), otherwise in German as below. 30.1-30.4 x 20.7-20,8 and, sheet 4, 20.6 x 30.2 cm resp.

Thienemann + Schwarz (ills. I, plate 16) 537-540; Thieme-Becker (Gudenus), XV, 191. – Watermark Great Fleur-de-lis (pl. 1) and Great Crown with initials A M in the inner ring (pl. 3) resp. – On strong laid paper with excellent wide margins of laterally 7 and 9-11.5 cm top + and bottom. The feeble, smoothed center fold perceptible in the white margin only. The title sheet quite minimally dusted as with regard to the preserved stitching almost inevitable.

Elephant Leader (together title sheet). – An Elephant in highest harness to be seen from front. – A walking Elephant to be seen laterally. – An Elephant pegged up in the Lair, laying down, or standing up.

Philipp Ferdinand von Gudenus (1710-1783), Palatinate Mayence minister at the imperial and royal court at Vienna, high princely Bamberg and Würzburg Privy Councilor and together with his brothers raised to baron of the Reich in 1730, stayed as secretary of the imperial embassy in Turkey in 1740/41. After his drawings the 30-sheet “Collection des Prospects et Habillemens en Turquie” with the view of Constantinople from three plates engraved by Le Bas in Paris was published. Beyond this he etched himself some small landscapes with camels and Turks, inscribed with G. P. v. G. 1741 (and 1744).

After his descriptions Ridinger worked the also 4-sheet Harnessed Turkish Horses (Thienemann 594-597), too, to which he added an explaining letter by Gudenus dated Constantinople 1741. The elephants here “drawn from life in the Persian field camp near Scutari in the year MDCCXLI of the grand emissary coming towards Constantinople … by P. F. von Gude…”.

The living dates – 1681-1716 – taken from the genealogical table published by Heinrich Count Gudenus in 1909 already criticized by Schwarz as hardly correct and today to be seen as dated.

The use of designs and descriptions by Gudenus as evidence of the far-reaching connections Ridinger was able to use without own extensive travels an additional charm of the

Offer no. 28,644

But  foremost …

… the  Hunt  goes  on !

– – – The Stag is taken up by the Piqueur the whole pack brought onto the track by those fens and loosened according to their herds. On the left the stag breaks through the underwood of the thick forest, already almost reached by the first hound and two horsemen, the piqueurs, close to him. The remaining pack with noses on the ground following hollows from the center as from the right and followed themselves by the hunters. Etching and engraving. Inscribed: J. E. Ridinger del. sc. et exc. A. V., otherwise in German as above. 31.5 x 48.5 cm.

Thienemann + Schwarz 57; Weigel, Art Stock Cat., 4a + 16545 (“old now only seldom occurring impressions”, 1847!); Stubbe, Johann Elias Ridinger, 1966, pp. 15 f. – Sheet 9 of the Par Force Hunt of a Stag, together title of the third part of the set (“The Par Force Hunt’s 3^rd. Part.”). – Extensive 7-line subtext in German.

Marvellous impression on buff laid paper with typographic watermark with margins laterally 7-7.8, top and below 5.2-5.4 cm wide. – Both the two stitching holes from the publishers in the left margin backed acid-freely, just as a small tear off at the right and tiny holes in the fold traces of former narrow folding of the lateral white margins.

As a whole this “late imposing series of the par force hunt” is for Stubbe, till 1969 Supreme Custodian of the print room of the Hamburg Art Gallery,

an  absolutum  of  harmony  and  ripe  mastership

as he explains by example of its sheets 8 + 12 (Th. 56 + 60) in comparison to the corresponding ones of the early “Princely Hunting Pleasure”. Accordingly, too, Rolf Biedermann:

“ … in the … ‘Par Force Hunt’ … the compactness of the picture setting by homogeneous light effect and greater approximation of tone values prevails. Added a more deep-spaced formation of the landscapes and a closer clamping of the composition of figures ”

(Ridinger Catalogue Augsburg 1967, p. 3 of the introduction). – It belongs

“ to  the  most  wanted  works  by  our  master ,

all the more as after the abolition of the par force hunt it even got a historical value ” (Thienemann) – and shows in four parts

the  complete  course  of  a  classic  par  force  hunt

whose inventor, according to Döbel, Saint Hubert “shall be” – see on this in general as in detail Gisela Siebert, Kranichstein, 64 f. – and whose respective stations are explained by the extensive subtext.

“ In the fast pursuit of the stag by the pack and the mounted hunters, in his distinction from the other deer and in finding again the lost trace charm and meaning of this hunt were based. ‘It is the same an amusing and pleasant hunt for those who enjoy riding, want to hear the sound of the hounds, and estimate the blowing, as in which actually the hunt consists of’ … Döbel writes in his … ‘Jäger-Practica’. The par force hunt requested excellent huntsmen … who had to be at the peak of hunting training of their age, had to know the hunt and ‘correct signs’ of the stag, command their horse, work with the hounds, and blow the horn ”

(Siebert, op. cit., 56).

So  about  the  rank  of  the  set  there is unanimity in the old as in the present literature. From Nagler’s rating of 1843

“ One  of  the  most  beautiful  works  by  Riedinger ”

over Thienemann’s and that by W. Schmidt in Allgemeine Deutsche Biographie (XXVIII, 507) of 1889 up to count Solms-Laubach’s remark of 1961 considering the engraving of the “Starting Stag” illustrated by him :

Of the preparatory drawings three are dated from 1746 (Th. p. 274, folder I, b to Th. 49 and one not engraved + Schwerdt III, 216, bottom 1 to Th. 60) as well as one from 1750 (Schwerdt, as before, 2 to Th. 56), both the latter as variants.
Offer no. 14,552 / EUR  1380. / Export price EUR  1311. (c. US$ 2116.) + shipping

And  what else ?

Also  in  the  New  Year  one  still  has  to  learn

Zehentner, Joseph Christoph (Ed.) (Short and Distinct Instruction for the Direction of a Young Gentleman in Riding, in such a manner that he can ride his horse from hand to hand, or change at any time.) In German. 3^rd ed. Frankfort/Oder, Anton Gottfried Braun, 1769. 12 unnumbered ll., 152 pp., 20 of which as appendix “(From the Bridling)”. With

9  ( 8  fold  out )  engravings , 6  of  these  on  bites .

Dark brown half leather with 5 imitated ribs in the style of the period and marbled boards, leather corners with brownstamped lines and adequate title at the back as well as flower stamps in the other fields.

Not  in the catalogues of hippoligical collections Anderhub + Sarazin (1963 and 1999 resp.). The latter only recording Zehentner’s publication on horse breeding in second edition of 1770. – Name on title, several notes and marks and underscores by old hand in ink, red + black pencil. Sheet 115/6 tiny defect in the white lower margin backed acid-freely. The quite weak waterstreak at the beginning as well as isolated brown and slight foxspots without impairment of the general impression of a clean, fine copy. – The folding plates arranged so that the subject can be seen completely and parallel to the text if folded out.

Zehentner was royal Prussian equerry and director of the royal Knight’s Academy at Berlin and Frankfort/Oder.
Offer no. 14,551

Marc – Hoberg, Annegret + Isabelle Janssen. Franz Marc. Werkverzeichnis. Vol. I: The Paintings (244 nos.). December 2003. 4to. 339 pp. With 279 illustrations, 221 in color and numerous toned, frequently full-paged. Ochre orig. cloth with green flyleaves.

The catalogue raisonné, drafted in three volumes, of the co-founder of the artist’s group “The Blue Rider”, beside “The Bridge” the decisive grouping for the departure into the modernity, at which Marc (1880-1916) set his quite personal, more far-reaching accent

“ by development of his expressionist style especially by depiction of animals

( with  the  horses  as  unrepeatable  just  as  fine  as  rich  core )

and doing so got to new possibilities ”

(Jahn).

Introduction in German, the catalogue itself with German-English title designations, the further specifications in English, neutralized per glossary in English-German at the end. – With concordance to Lankheit.

In preparation the volumes II (watercolors, gouaches, drawings, postcards, pictures behind glass, sculpture; c. autumn 2004) + III (sketch-books, graphic; c. early 2005).
Offer no. 28,643 / EUR  248. (c. US$ 400.) + shipping

Vol. I if subscribing all three volumes:
Offer no. 28,643.1-3 / EUR  218. (c. US$ 352.) + shipping

free  shipping  within  Germany

But  then ?  But  then  you  see

Brazil’s  prodigal  Magnificence

Rugendas, Johann Moritz. Malerische Reise in Brasilien (Voyage Pittoresque dans le Brésil). Paris, Engelmann, (1827-)35. Large folio (sheet size 34.5 x 50.5 cm). 2 ll., 50, 38, 56, 32 pp. With

100  coloured  lithographs

after Rugendas. Full-size-facsimile in the original colours enlarged with 8 ll.  summary  in  Portuguese  (9 pp.) and index (5 pp.) + imprint. 1986. Orig. h. leather with marbled covers and gilt edges in the orig. natural (light-grey) cloth cassette (Schumacher Inc. Berne).

No. 555/950 copies of the ordinary edition (total edition 1050 copies). – Two plates (pt. IV, 15 + 16) with quite weak fold in the wide white right margin, otherwise impeccable.

in a special screenless phototype process. – Subdivided in landscapes – portraits and costumes – manners and customs of the Red Indians – life of the Europeans – manners and customs of the Negroes . – Published by Gottfried Engelmann (1788-1839), who had the lithography introduced at Paris in 1816 after having learned that at the inventor Senefelder himself in Munich. – Text in German.

(Augsburg 1802 – Weilheim 1858) first voyage (1821-1825), that he started together with the Russian Privy Councillor and Prussian consul general in Rio, Georg Heinrich von Langsdorff, into the interior of Brazil to capture the peculiarities of the country. Though this connection was of not lasting it was the beginning for his multiple decades-long own voyages through Middle and South America resulting in a plenty of drawings “of highest interest. In the characteristic and natural representation of humans, animals and plants of strange, first tropical countries only few could be placed at his side”. And already the work here

“ … made the artist famous, (its illustrations) showing humans and animals, districts and the luxuriant vegetation of that country in full truth and faithfulness ”

(Nagler).

That  it  remained  his  one  and  only  publication  gives  it  it’s  infinite  value .

Offer no. 28,642 / EUR  1535. / Export price EUR  1458. (c. US$ 2353.) + shipping

„ Best her Niemeyer, De prenten zijn vanmiddag in goede staat gearriveerd. Alleen al het uitpakken is een genot! Ze zien er prachtig uit (vooral The Idel 'prentice is een juweel) … Wat dat betreft, zijn eigenlijk alle prenten die u mij hebt toegezonde, van uitstekende kwaliteit … “

(de heer P. E., 1. Februar 2008)