17th – 20th Century
Horses – Racing – Breeding – Chasing – Carriages
Paris, Alfred Jean-Marie (Tarbes, Hautes-Pyrénées, 1848/49 – Paris/Fontaine-Bonneleau, Oise, 1908). Nice. Two gentlemen and trainers resp. talking at the side of the racing place. In the back of the two groups a horse led by the jockey and rich scenery. Watercolour over pen and ink. Inscribed: AP (ligated) 12.4.79, otherwise as above, upper right: “IV”. 210 x 281 mm.
Atmospherically very charming item, presumably worked for an illustration. – On strong paper. – On the back traces of previous framing, otherwise absolutely fresh. – Quatrain and distich in the lower margin. – See the complete description.
Offer no. 12,275 / EUR 445. / export price EUR 423. (c. US$ 592.) + shipping
“ A Horse , A Horse ”
The Great Garrick as Richard III
in just that Moment
“ as he calls furiously for his horse
after the lost battle ”
Dance, Nathaniel (London 1735 – Carnborough House/Winchester 1811). (Mr. Garrick in Richard the Third.) In ermine coat along with Order of the Garter and further one as well as spurs after the loss of his horse in the lost Battle of Bosworth (22 August 1485) against the Earl of Richmond, later King Henry VII. The sword in the raised right at the moment of his immortalized words
“ A horse , a horse , my kingdom for a horse ”.
Laterally left Richmond’s cavalcade, driving Richard’s infantry. Set further back manor house. Mezzotint by John Dixon (Dublin about 1740 – London 1811). Inscribed: within the subject below right J. Dixon Fecit, and in the white inscription edge below N.Dance pinxt (far left) / Dance pinxt (5 cm from platemark) / Publishd according to Act of Parliamont (sic!) April 28 1772 by John Boydell Engraver Cheapside London / J Dixon Fecit, additionally see below. 63.4 x 40 cm.
Smith 15.I (of II); Nagler III (1836, but ditto 1913 also Thieme-Becker VIII, 340 f.), 258 f. (Dance’s “main work is Richard III”) and page 422 on Dixon (“… to be mentioned particularly: … Garrick’s portrait in the character of Richard III”) resp.; Allgemeines Künstler-Lexikon (AKL) XXIV (2000), 73: “1771 (Dance’s, subsequent Sir Dance-Holland) dramatic rendering of David Garrick as Richard III in Stratford on Avon … he turns … to (as here, too) life-size , stately portraits.”
Befriended with Garrick, Dixon in turn – AKL XXVIII, 2001, 56 – indeed dedicated various works to him, the last still 1779 after the pale Thomas Hudson, but unsurpassably Dance’s pattern
of the wonderful Garrick
in present immortal pose of just that moment
“ as he calls furiously for his horse after the lost battle ”
(Nagler). Yet defying Richard’s dramatic appearance as a “titanic portrait of a villain of surrealistic force” (Erwin Laaths, 1953) Garrick’s position of the mouth rather aims at a quieter My kingdom I would give if only I had a horse now.
And as Richard III & Romeo and Julia are “first masterpieces of the young” Shakespeare (Laaths), so 1741 the gigantic actor, at the gauge-bursting peak of the rôle of his life, finally fulfilling his childhood dream,
“ instantly brought the house down as Richard III at London ”
(Meyers Konversations-Lexikon, 4th ed., VI , 916 f.).
Here then Dixon’s just technically conditioned – only “50 or 60 … clean prints” the velvety mezzotint grants, so 1675 the expert von Sandrart –
rare main sheet
in marvelous early impression of shining chiaroscuro
before the title .
Two-line typographic watermark along with oval secondary mark. – Margins 2-2.5 cm wide laterally and 0.7-1 cm above & below, as for the old mezzotints worth emphasizing, all the more with such a downright
imperial format .
Particularly the latter then also marginalizing the but insignificant agemarks. Expressly mentioned yet a blotchiness of 6 x 2-3 cm in the storm clouds at the edge top left. – Shortly ,
the horse call of world literature —
here as the visualized trouvaille assoluta !
See the complete description.
Offer no. 15,859 / price on application
State before the Number
Two Kingdoms for a Horse like this
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Cheval sauvage on le laisse dans le desert jusque dans la troisieme ou quatrieme, apres on le dresse pour l’usage, n’a qu’un quelque sois deux de petits, on s’en sert 15. ou 20. ans. The Wild Horse is left in the Wild up to the 3rd and 4th Year, then trained for use; mostly foals only one, now and then 2. Foals; they serve for use 15. to 20. Years. In mountainous parts “full of courage and fire, leaping over an old trunk lying across the way”. Flying the curled mane, the head turned to the right. Etching and engraving. (1736.) Inscribed: Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger inven. pinx. sculps. et exc. Aug. Vind., otherwise as above in German, French, Latin, & below. 34.7 x 42.3 cm.
Thienemann + Schwarz 235. – Sheet 40 of the STUDY OF THE WILD ANIMALS with the caption of the Hamburg pope of poets, jurist & senator, yet foremost friend of Ridinger’s, Barthold Heinrich Brockes (1680-1747), in German. – Margins laterally 3.9, above & below 2.5-2.9 cm wide. – On the left in the foliage unobtrusive small wormhole. – In the wide white lower margin tear still extending to the platemark backed acid-freely. There on the back old trace of adhesive tape as well as some scribbles by a collector’s grandson.
The final chord of this – once more ! –
so incomparably beautiful Ridinger suite ,
grasped by the overwhelmed Brockes as follows , to which Thienemann shouts a triumphant “Bravo!”:
“ Does not the ground shake and shiver? What a trampling one hears here? what a snorting fills the air! a wild yet fine animal gallops along in full run … As this animal a masterpiece by the creative nature , so is the figure created here by few lines ,
also the master’s masterpiece .
Let this picture be the last one , I cannot follow you any further Ridinger ,
or else paint alone .”
And not least and by chance already in 1901 Ernst Welisch qualified Ridinger as the indisputably “most important Augsburg landscapist of this time”. Here then in
early impression before the number as unknown to literature
of shining-marvelous quality & therefore rarity ,
for even in exemplary old Ridinger collections the old impressions of particularly this so fine large-sized main set frequently figure as closely trimmed, damaged, and fully mounted. So including present one 1894 with Reich auf Biehla, while Coppenrath (1889) could not obtain this sujet at all.
Offer no. 15,492 / EUR 1300. / export price EUR 1235. (c. US$ 1729.) + shipping
– – – The same in likewise shining-marvelous quality, but with the number „40“ of the final state above right as well as WANGEN watermark as so characteristic for contemp. impressions. – Margins on three sides 3.7-4.2, above 2.7 cm wide. – Professionally done tear in the wide white lower margin. – See the complete description.
Offer no. 15,428 / EUR 1100. / export price EUR 1045. (c. US$ 1463.) + shipping
Hippological Splendor of the Orient
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Turkish Horse Finery. Set of 4 sheet of most richly bridled most noble horses together with their groom in painterly palace exteriors in etching by Martin Elias Ridinger (1731 Augsburg 1780). (1752.) Inscribed: I(-IV). / J. El. Ridinger pix. et del. / aqz / Martin Elias Ridinger filio meo æris incis. as well as following captions in German-French. 27.3-28 x 34.6-35 cm.
Thienemann + Schwarz 594-597. – The by itself complete set, but without its title-like text sheet with Ridinger’s honoring of the helpful communications by Baron von Gudenus from Constantinople together with reproduction of his letter to a friend from 1741 with the explanation of present four sceneries intended by Ridinger as introduction or addition to the 32-sheet set of Horses of the Nations (Th. 562-593). 1752 of this already 16 sheet were present, the publication of the further dragged on until about 1760. Of the then totally 36 sheet only four transferred into copper by Johann Elias himself, 22 by Martin Elias, as here, too, and 9 by the stepson Seuter.
Turkish Imperial Personal Horse. / Cheval de main de Grand Seigneur.
“ One such horse ornate with finery … The head with tuft of about four ostrich plumes, an honor which only the personal horses of the sultan are allowed to have about themselves … It is lead by a janissary … into the second court of the seraglio ” (Th.).
Divani from the right side. / Divani du coté droit.
“ That’s how the horse is called which the Grand Vizier and other viziers use to ride in their official dress. Silver chains as thick as one’s thumb run from the halter down to the saddle and cause a particular jingling … ”
Divani from the left side. / Divani du coté gauche.
“ This is an entirely different horse and decorated quite differently than the one before … ”
In the corrected state. The withdrawn earlier one had represented the animal erroneously from the right side once more, “for one forgot to redraw it before the engraving” (Th.).
Personal Horse of a Pasha. / Cheval de main d’un Pacha.
“ Likewise shown from the left side … It is distinguished from the others by long cover, richly decorated with gems, silver galloons and the like (however, such one already on sheet I), and by panther skins above … ”
The splendid set
in quite uniformly shining print quality and fine wide margins
of 2-2.7 cm above & below and 4-4.7 (II-IV) laterally and, sheet I, only 2.5 cm on the right, but 6 cm on the left resp. – Sheet I with typographic watermark. – Sheet III with c. 3.5-5 cm large brown impression of a plant’s leaf in the white lower margin touching still three letters of the caption as well as browning in the white area between its bilangualism perceptible practically only against the light. Otherwise of impeccable freshness as in such entire condition most rare . – See the complete description.
Offer no. 15,765 / price on application
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Horse’s Upper Jaw-bone as seen from below. Fully executed study in grey and brown water colours over silverpoint. Inscribed by old hand in brown ink at the lower left: Obrer Pferdekiefer. C. 1765. 257 x 145 mm.
Boguslav Jolle, Dresden and Vienna,
his ligated monogram stamp in blue (Lugt 381a) at lower right
Hugo Helbing, Munich. Catalogue XXXIV (1900),
Works by J. E. and M. E. Ridinger, no. 1554.
WELTKUNST vol. LXIV, page 2688
(editorial part of number 20 of Oct. 15, 1994).
Set into an acid-free passepartout with gilt stamped artist’s name and dates. – Fully executed study on fine slightly toned handmade paper. – Besides an “Animal Jaw Drawing” of 1718
thematically singular ,
fully executed anatomical study
of extraordinary artistic and collectable fascination, unparalleled in Ridinger’s handed down work of drawings and prints. – See the complete description.
Offer no. 28,861 / price on application
“ Excellent Portraitist
of the Horse in Motion ”
Grunenberg, Arthur (Königsberg 1886 – Bad Reichenhall 1952). Rossebändiger (Horse Tamer). Suite of lithographed title and
11 (instead of 12) chalk lithographs
(18-23.5 x 21.5-27 cm), 10 of which inscribed below right in pencil: A. Grunenberg. (Berlin, Wasmuth, 1922.) With lithographed written sheet contents. In orig. h. vellum portfolio (33.5 x 43 cm) with lithographed ills. front cover together with title + author.
AKL LXIII (2009), 471 f.; Thieme-Becker XV (1922), 146; Vollmer II (1955), 325. – Exhibitions: Kunstsalon J. Casper, Berlin, May 1914 + Galerie Arnold, Dresden, March 1927.
One of 40 copies on untrimmed thin Japan and, lithographed title and contents sheet, Japan vélin.
1. Dioscuri (first sketch) – 2. Dioscuri (second sketch) – 3. Absalom – 4. Amazon looking out – 5. Injured Amazon – 6. Stallion taming – 7. Horse Tamer (replaced, see below, and therefore not signed) – 8. Restive Horses – 9. Bolting Stallions – 10. Bolting Stallion – 11. The Tamed Stallion (inadvertently not signed) – 12. Morning Ride .
Without sheet 7, “Horse Tamer”, for which the supposedly identical which itself is not the same as the front cover illustration, was trimmed with loss of publisher’s address and presumably numbering – known here a copy once on the market numbered “XXIII/40”, missing on its part the lithographed contents sheet – to the smaller format of the suite itself, consequently it was not mounted under boards either. The latter original passepartouts, not always fitting anyway and regarded as responsible for isolated trifling foxspots in the mostly white field (only sheet 4 generally slightly touched), were replaced by foil-protected mounting on acid-free light cardboard. – The portfolio foxspotted, but scarcely on the front cover with its fine large representation (15.5 x 13 cm) between the writing in chalk.
The splendid suite present in impressions of deep black, due to the edition of great rarity – so then also not in the hippological Sarazin Collection, Basel, covering 1527 till 1930 and dissolved 1999 – , as reverence by the artistically so singularly brilliant early German 20th century to milleniums-old equestrian culture, exemplified by the opening sheets of dioscuri (“Sons of Zeus”) + Absalom (son of David) . Just as the set as a whole directly follows the 1921 painting
“ The Dioscuri taming the Horses ”.
“ (Grunenberg) preferred as motifs the rider and the dancer and danseuse resp. Uses mostly red chalk or chalk.
Excellent portraitist of the horse in motion . ”
(Vollmer). – The latter then here fascinating up to the final sheet, the back scene of the morning ride whose rider is accompanied by two runners. A unique composition of bodily animation. Embraced by the motion of flat-like trees. – See the complete description.
Offer no. 15,145 / EUR 2000. / export price EUR 1900. (c. US$ 2660.) + shipping
The Racing Place in Royal Panoramic Size
Henry Barraud (1811 – London 1874). Punchestown 1868. Royal Visit. In front of the grandstand in impressionistic colours the gentlemen with horses, jockeys and trainers. Coloured steel engraving by Thomas L. Sangar for Thomas Cranfield in Dublin. 1870. 48.6 x 101.4 cm.
Splendid item in impressionistic fine colours and of a wonderful horse design. Thieme-Becker XXIX, 408 mention only the 1867 Punchestown Races after Henry B. and in the Mellon collection there is only the somewhat smaller Amesbury Champion Coursing Meeting as the only one by the Barraud’s (Snelgrove p. 46). – On light cardboard. – A little age-marked. – Rare item. – See the complete description.
Offer no. 12,288 / EUR 2400. / export price EUR 2280. (c. US$ 3193.) + shipping
Huchtenburgh, Jan van (Haarlem 1647 – Amsterdam 1733). A Cavalry Attack / The Fight of the Two Horsemen. Dominated by the ending duel in front, whose throng has been joined by single horse. Etching after Adam Frans van der Meulen (Brussels 1632 – Paris 1690). Inscribed: AF. V. Meulen, jn, et ex, cum priuilegio Regis. / V. HB. f. Sheet size 15.4 x 19.3 cm.
Nagler, Monogramists., V, 1210 mentioning the sheet; Catalogue Davidsohn II, 830. – The brilliant , though somewhat time-marked impression of the J. H. Anderhub Collection, partly with tiny(est) up to even 5 mm wide margin, partly trimmed to platemark or, so partially above, to the border of the image. – See the complete description.
Offer no. 28,612 / EUR 298. / export price EUR 283. (c. US$ 396.) + shipping
Steeple Chases de 1868, Vainqueurs des. Review of the 8 winners of the 1868s steeplechases. Colored and glazed lithograph for Lemercier in Paris. (1868.) 26 x 42.3 cm.
The centerfold hardly visible only. Some mould stains on the back. – With the names of horses and owners. – See the complete description.
Offer no. 12,217 / EUR 399. / export price EUR 379. (c. US$ 531.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Reculer à la muraille. The going back at the Wall. A dapple-grey horse. Etching & engraving. (1734.) Inscribed: avec P. S. C. M. / J. E. Ridinger inv. des. et exc. Aug. Vind., otherwise in French-German-Latin parallel text as above. Sheet size 53.4 x 38.5 cm.
Thienemann + Schwarz 636. – New (or Vienna) Riding School XV (Th., dated, sheet 9). – Typographic watermark (presumably WANGEN as so characteristic for the contemporary impressions). – Trimmed within the still 7 mm wide white platemark. In this isolated small tears backed acid-freely, of which only one – imperceptible in the subject – still extends 2.2 cm into the background hatching of the subject. The text field besides especially in the center a little creased and there as also at one lower corner provisionally backed from old as with respect to the general delicacy of these large-sized sheets as the rareness of the set should not be overrated though. – The sovereign sujet of the majestic set in an impression of splendid chiaroscuro . – See the complete description.
Offer no. 15,529 / EUR 980. / export price EUR 931. (c. US$ 1304.) + shipping
John Frederic Herring Sen. (Surrey 1795 – Meopham Park 1865). Evening. Horses ridden to the village’s pond for watering after the day’s work. Colored aquatint by J. Harris (Simeon John Harris, 1811 London 1865?). 1849. 55.8 x 72.5 cm. – See the complete description.
Offer no. 15,831 / EUR 980. / export price EUR 931. (c. US$ 1304.) + shipping
Pony, An English. After return from hunting fastened to the home by his master, where the accompanying hound already quenches its thirst, while a second one joyfully rushes up. To the right the silhouette of a longly placed locality at the foot of a dilapidated castle. Steel engraving. Ca. 1835. Inscribed as no. XXVI, otherwise as above in German along with the address of the Art Establishment of the Bibliographical Institute. 16.3 x 20 cm.
Dear, as pony representation in addition more rarer motif with the beautiful, sensible mount as center. – With the full platemark not measuring with, as rather more seldom for steel engravings, and left-sided stitch-margin. – See the complete description.
Offer no. 14,826 / EUR 75. (c. US$ 105.) + shipping
… and dating back to common days in Augsburg
when they perfected themselves together
at the great horse painter Rugendas
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Anno 1740. this Noble Horse, a White Horse spotted with light and dark brown, also grey spots, with black extremities, marked at ears, mouth, and thighs, has been painted from life
in the imperial riding-stable at Vienna .
Stepping out, in dominant pose in slightly hilly landscape with three further horses in the middle-distance, one of which resting. Etching and engraving after August Querfurt’s (Wolfenbüttel 1696 – Vienna 1761) painting from life. (1745/46.) Inscribed: 44. / Aug. Querfurth. pinx. / J. El. Ridinger Sc: et excud., otherwise in German as before. 34.7 x 27.9 cm.
Thienemann + Schwarz 286. – Sheet 44 of the Wondrous Stags and other peculiar Animals. – “The six horses which are contained in the collection have been sold separately later.” – Brown or mold spot in the sky part barely noticeable from the front. – Very fine toned impression on light laid paper with wide upper and lower margins of 6.2 and 6.5 cm resp. – See the complete description.
Offer no. 28,600 / EUR 860. / export price EUR 817. (c. US$ 1144.) + shipping
Ride with the Great Horses Rugendas
Two Most Rare Pendant Drawings of the Late Period
Rugendas I, Georg Philipp (1666 Augsburg 1742). Assembling for the Ride. Two large companies in setting-out movement. Two brush drawings in varied grey up to brown over pencil. Not before 1730 . 190-193 x 237-238 mm.
On toned light HONIG laid paper, one of which with the cut word mark C & I HONIG as in use since 1730 and used by Rugendas also for his signed spectacular drawn “Cavalry Battle before the Fortress” of 1738 from his bequest (Biedermann, [Master Drawings of German Baroque], Augsburg 1987, no. 173 + Rugendas catalog Augsburg, 1998, ills. 22), there in addition with fleur-de-lis arms and the countermark IV standing for the French partner Jean Villedary (his own mark “IV ILLEDARY” on the younger Georg Philipp’s drawing of 1736 here).
On the back lower left numbered by old in brown ink 191/92, but barely originating from a sketchbook (“All drawings [in Augsburg] originate from dissolved sketchbooks”, Held, Gg. Ph. Rugendas, 1996, p. 121, as come to there 1855 with the family bequest after the death of the Brazilian Johann Moriz), though by its format corresponding with such as Gode Krämer imparts for these especially two obvious standard formats of Rugendas’ of c. 18 x 25 and c. 20 x 33 cm resp. (op. cit. Rugendas catalog p. 27). As throughout plain detail studies, frequently on both sides, they are out anyway, also those sheets lack any earlier numbering.
The chronological aspect set by the watermark, however,
increases the richness of the picture of present pendants
by a rarity factor of degrees .
For according to Krämer the “fact (goes) that except for the Berlin stock (of drawings in red chalk connected with the mezzotint production), some smaller and larger drawings for large thesis sheets and preparatory drawings similar to these for portraits of princes
practically no drawings after 1720 were found ;
and above all from the lack of any preparation by drawings for the paintings started again from 1735”. With the exception of just the above cavalry battle as being “quite at the end of his œuvre of drawings … secured for 1738 by signature and date” (op. cit., p. 34/III).
But also “composition studies – and just such one the one here is – have not survived that much and none which is to be joined directly with a later execution”, so Gode Krämer before on the group of small sketches of figures and parts of figures in chalk and pencil (p. 28/I), and as the latter obviously also is true for the pair here. Yet recourses to earlier works are obvious.
The second one of the drawings presents itself by its optical reference to the first in composition, technique, size, and paper as pendant, supported also by the numbering on the back. Above all, however, it is dominated by the same “general”, though here in walk to the left straight ahead and in such a manner with visible sword. In the absence of a left-sided neighborhood he looks into the distance there. And contrary to the general of the siege-scenery riding a piebald here then
quoting Wouwerman mounted on a white horse on both sheets
as mark of dominance. Rectangular to him a lady in the side-saddle whose outstretched left, but only this, quotes the sutler riding a mule of the siege-etching Teuscher 35. And quite marginally the outstretched right of the horseman outside left reminds of that of the left horseman in Teuscher 32.
To the knowledge here, agreed with after review of photos by Dr. Krämer, custodian em. of the Municipal Art Collections Augsburg and curator of the above 1998 Rugendas exhibition, per oral utterance, at the same time remarking that, as here, the closely and prominantly seen group also were a characteristics of the late paintings, they are according to all the above
two of those rare autonomous drawings of the master’s
in the meaning of literature .
And when with respect to the quality of his painting Held mentions “his already early marked talent for
tender , atmospheric moods
which mitigates the (there) martial content of his pictorial themes” (p. 142), so just likewise present drawings are determined by
the softness of their brush technique ,
deliberately still raised by the toned paper ground. The latter then also partially absorbs the browning particularly on the back of about 4 cm of the respective right margin of the subject as well as with the second sheet 3 cm at the lower margin front side and conveys as not improper patina of three lively centuries. Otherwise of impeccable final freshness.
That these Rugendas in addition are of civil picture content inevitably makes them additionally wall-efficient (averted from the sun!) for today’s horse-fancier and with regard to the due to the period in their majority martial scenes especially desirable for the collector. For
“ Rugendas’ interest in horses is … (just) not only conditioned by the martial theme of his work. It is also consequence of a hippological interest growing since the 16th century that manifests itself especially in the 17th century in numerous illustrated textbooks on the ‘high school’. Now and then these were illustrated by well-known battle painters as e.g. Charles Parocell ”
(Held, op. cit., page 127).
Actually “the great draughtsman Rugendas” (Krämer) was a horse depictor in general plain and simple and
“ without doubt a first-rate talent, for not to say, a genius. Doubtless, set under better conditions, like living in the Netherlands about 1650, an artist … who would have
surpassed all his horse and battle competitors ”
(Wilhelm Schmidt 1889 in Allgemeine Deutsche Biographie, vol. XXIX, page 600).
And for the immediate 18th century the painter colleague Ferdinand Kobell brought his esteem drastically to a T in his statement of 1771, by which he differentiated the artistic Augsburg of the previous generation exemplarily: “only a pity that at such a place a Ridinger – and Rugendas have lived” (Decultot and other ed., Joh. Gg. Wille, Correspondence, Tübingen 1999, p. 486).
For the latter then here + today two pendant drawings of rank and beauty . And
for his œuvre of drawings
of an absolute rarity proven above .
See the complete description.
Offer no. 15,181 / price on application
The Most Beautiful Horse He had ever laid Eyes upon :
of Oldenburg Count Anthony Günther
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Cheval d’Ostfriesland nomé la Grüe. The world’s most famous dapple-grey horse, the Crane at Oldenburg in East Frisia, with his master’s brand – A in 8-pointed star below crown – before thick oak foliage scenery. Etching with engraving after Jacob Theodor Klein. Inscribed: EQVVS Ostfris. / Der Kranich zu Oldenburg in Ost-Frießland. / as above / Familia I. Einhufige. / Ex Collection. J. Th. Kleinii Secr. Gedan. / J. E. Ridinger fecit et exc. Aug. Vindel. 30.7 x 20.3 cm.
Thienemann & Schwarz. 976. – In RIDINGER’S ORIGINAL COLORING from the unnumbered “Colored Animal Kingdom” concluded finally posthumously not before 1773 (“Complete copies are next to untraceable”, so Weigel, Art Cat., part XXVIII, Ridinger Appendix 63a as merely 120-sheet torso, 1857 ! , but also just single sheets quite rarely on the market only). – With watermark C & I Honig below supposedly crowned fleur-de-lis arms as that sturdy Dutch paper Ridinger used according to his preamble to the Main Colors
“ on account of the fine illumination ” for the colored works
“as for this purpose it is the most decent and best”. – Margins on three sides 2-2.8 cm, below 5.2 cm wide. – Upper left in the white paper margin/platemark 2 x 4 cm brown spotted, otherwise isolated little brown spots in the white plate field and the white margin resp. only, the latter below right also with thumb stain.
THE SUJET AMAZING VISITORS , INDEED , ALREADY RIDINGER
– main sheet of the set very rare in single plates , too –
and correspondingly announced by the master himself per page 11 of his preface to the Animal Kingdom
“ … albeit the presentation of the singular white horse
with such a long tail and mane …
might seem almost unbelievable and exaggerated ,
the matter nevertheless is absolutely true as His Honor the famous professor Klein at Danzig himself has kindly communicated such representation. This splendid creature has been bred in East Frisia , raised there , and been named
the Crane at Oldenburg.
As far as is known to us one has almost never seen something like this, although it was reported to us that such a white tail is shown by an isabelline colored horse in the natural history collection in Dresden (taxidermied; destroyed by later fire) and that at Florence there has been such a black horse, too .”
Here then the indeed historical background, as according to an adaptation by Isabelle Yeginer on a homepage of the city of Oldenburg on occasion of journeys count Anthony Günther (1583-1667, since 1603 Imperial Count of Oldenburg and, from 1647, Delmenhorst), horse lover of degree –
“ laid the foundation for the still today flourishing horse-breeding ”
and “ In all negotiations he did not spare with the ‘presentation’
of splendid horses from his own studs ”
(Joh. Frdr. L. Th. Merzdorf, ADB I , p. 492, and Hermann Lübbing, NDB I , p. 317 resp.) –
fell into the hands of counterfeiters in a haunted castle and escaped with his life only by promising absolute secrecy.
“ Years later one evening count Anthony Günther sat in his home castle at his desk when there was a knock … The (now well-dressed) visitor was one of the counterfeiters of that supposed haunted castle in Holstein. ‘You have kept your promise’ he said … ‘and disclosed nothing of what you had seen then. For this you shall be rewarded. In the Blue House at the Dam a noble horse is ready for you, which is worthy of you.” … There he found the Crane,
the most beautiful horse he had ever laid eyes upon .
Still today, at the time of the Kramer Fair, count Anthony Günther is commemorated annually. Then he rides on his legendary Crane in front of the great Kramer Fair procession. ”
See the complete description.
Offer no. 15,871 / EUR 1480. / export price EUR 1406. (c. US$ 1969.) + shipping
On Anglicized Leopard Horse —
the Duke of Cumberland
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Guilelmvs Avgvstvs, Regivs Princeps Britanniae Dvx Cvmberlandiae. The baton in the extended right, the “grandson of Elector Ernest Augustus of Hanover [George I of England], renown as great warrior – A fine man of youthful vigor” (Th.) rides on splendid leopard horse at the head of three attendants towards the battle raging in the middle distance left. Etching & engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. 33.3 x 25.2 cm.
Thienemann + Schwarz (erroneously Gvilielmvs) 828. – From the 16-sheet main set – with Th. 835 & Th.-St. 1378 two further ones of larger size known – of the Princely Persons mounted on Horseback. – Very fine impression of shining chiaroscuro with margins 2-2.5 cm wide. – Typographic watermark. – See the complete description.
Offer no. 15,856 / EUR 530. / export price EUR 504. (c. US$ 706.) + shipping
Marshall, Benjamin (?, horse painter in London and Newmarket, 1767-1835). Driver. Brown horse with jockey in blue-white to the left. On the right road marking, in the distance isolated properties. Colored steel engraving. 1832. 11.5 x 12.8 cm.
On strong paper, above trimmed to subject, but added. – Especially above and right in the upper part in the cut of the passepartout feebly browned and light edge resp. – Horse portrait in fine colors. – See the complete description.
Offer no. 15,284 / EUR 75. (c. US$ 105.) + shipping
– – Longwaist. Brown horse with jockey in blue-yellow to the left. On the left two top-hatted gentlemen, one with the sporting paper, on the right stable corner. In the distance place. Colored steel engraving. 1825. 12 x 14.5 cm. – Trimmed as above, but somewhat more browned. – Sporting scene in fine colors. – See the complete description.
Offer no. 15,285 / EUR 85. (c. US$ 119.) + shipping
– – Miss Craven. Dapple with braided mane and jockey in yellow-white to the right. On the right brown horse from behind with the stable boy putting on the saddle-cloth, on the left stable. In the distance two further riders. Colored steel engraving. 1830. 11.4 x 12.2 cm. – In the cut of the passepartout especially in the upper part somewhat more browned. – Charming horse portrait in fine colors. – See the complete description.
Offer no. 15,286 / EUR 85. (c. US$ 119.) + shipping
From Baron von Eisenberg’s Famous Riding School
L’Arabe. On small plateau to the left. In the background sparse hills, on the right on rocks a citadel. Colored engraving by Bernard Picart (Paris 1673 – Amsterdam 1733/34). (1727.) Inscribed: VII., otherwise as above. 22 x 30.3 cm.
Plate 7 of Eisenberg’s Description du Manége Moderne published first in 1727 and therefore the last one of the introductory engravings on the horse races and in such a manner with reserved scenic accessories as completely omitted in the lessons. – On fine laid paper, uncut below, laterally 4 cm wide. – On the back quite weakly browned, below the hind legs small thin paper spot, otherwise of very fine freshness.
Eisenberg , his activity as equerry in London in 1728, later in the Low Countries, in Vienna, and finally in Pisa in 1753 aside unknown in his living circumstances, became immortal by his comprehensive riding school, however, published first in 1727, much requested through the centuries and therefore re-issued again and again, in whose “center … the image (is),
the representation of the individual riding lessons
intent on utmost exactness …
The text is limited to short explanations” (Dietrich Fröba in the 1993 exhibition catalog “Horse and Rider in Five Centuries – Treasures from the Library of the German Horse Museum” on a French edition of 1733, no. 11).
Brilliant in their thorough concentration
on the lesson as the single essential for the expert
the representations in their sparseness wanting in accessories are not without artistic model though, reminding of not that much dating back works by, e.g., Potter, Berchem, or Romeyn, recognized as modern and enthusing just for that. Considered comprehensively Eisenberg’s plates therefore could well be seen as standing in the aftermath of the Netherlandish art of the 17th century.
Picart , the “most important and together most productive engraver in the French-Flemish region in the early 18th century” (Fröba, op. cit. p. 28), lived in Amsterdam since about 1710 where he also got married in 1719. Furthermore he might have been a grandchild of that Parisian flower painter and dealer Jean Michel Picart, whom Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jhdts., pp. 57 + 59, mentions as port of call for the Netherlanders pressing onto the market there, and with whom especially Willem Kalf was well acquainted with.
Present Bernard Picart, however, “established his fame (in Amsterdam), both by the works he presented and a flourishing school in which he trained many artists” (Nagler). – See the complete description.
Offer no. 15,150 / EUR 249. (c. US$ 349.) + shipping
Le Hardi. In mid-air to the left. Engraving by Picart as before. Inscribed: XLIV., otherwise as above. 22.2 x 30.3 cm. – Plate 44 of the set as before, here with white margins above + below 1.3, laterally 2.1-3 cm wide. – See the complete description.
Offer no. 15,151 / EUR 225. (c. US$ 315.) + shipping
Le Sensible. Leaping to the right between the pillars. Inscribed: XLV., otherwise as above. – Plate 45 as before, here with white margins 1-1.5, on the right 4 cm wide. – Feebly brownspotted, two fine, utterly smoothed out longitudinal folds. – See the complete description.
Offer no. 15,152 / EUR 189. (c. US$ 265.) + shipping
La bonne force. Freely leaping to the left. Inscribed: XLVI., otherwise as above. – Plate 46, here with white margins 0.5-1.7, on the right 3.5 cm wide. – Of great freshness. – See the complete description.
Offer no. 15,153 / EUR 198. (c. US$ 277.) + shipping
Le Ballon. Leaping high to the left. Inscribed: XLVII., otherwise as above. – Plate 47, here with white margins 1.2-1.6, on the right 3.9 cm wide. – Utterly smoothed out diagonal fold above the horse’s head + rider, otherwise of great freshness. – See the complete description.
Offer no. 15,154 / EUR 198. (c. US$ 277.) + shipping
Le Dificile. In stretched leap to the left. Inscribed: XLVIII., otherwise as above. – Plate 48, here with white margins above + below 1.3-1.6, laterally 2.1 and 3.1 cm resp. wide. – On the back isolated feeble foxspots barely perceptible from the front. Only far right at the edge of the subject three smaller and in the white margin one slightly larger spot noticeable. Irrespective of this dynamic sujet of fine freshness. – See the complete description.
Offer no. 15,155 / EUR 198. (c. US$ 277.) + shipping
Le Pegase. In stretched leap to the right. Inscribed: XLIX., otherwise as above. – Plate 49, here with white margins 1.1-1.7, on the right 3.9 cm wide. – On the left and below feebly browned in the white margin, otherwise of great freshness. – Splendid impression of rich contrasts. – See the complete description.
Offer no. 15,156 / EUR 225. (c. US$ 315.) + shipping
L’Aimable. In stretched gallop to the left. Inscribed: L., otherwise as above. – Plate 50, here with white margins 0.9-2, on the left 3.3 cm wide. – Tiny tear in the white lower margin backed acid-freely. – See the complete description.
Offer no. 15,157 / EUR 198. (c. US$ 277.) + shipping
Le Rubis. Galloping to the right. Inscribed: LI., otherwise as above. – Plate 51, here with white margins above + below 0.7-1.6, laterally 2.3 cm wide. – Very fine impression and of great freshness. – See the complete description.
Offer no. 15,158 / EUR 198. (c. US$ 277.) + shipping
Le Poupon. To the right. Inscribed: LIII., otherwise as above. – Plate 53, here with white margins 1-2, on the left 3 cm wide. – Quite feeble brown spot at the horse’s left fore hoof. – See the complete description.
Offer no. 15,159 / EUR 189. (c. US$ 265.) + shipping
Le Grand. To the left, pressed down onto the hind legs. Inscribed: LIV., otherwise as above. – Plate 54, here with white margins above + below 1.3-1.5, laterally 2.3-3 cm wide. – The white lower margin in the outer parts somewhat browned and on the left with feeble creasing barely reaching into the subject. – See the complete description.
Offer no. 15,160 / EUR 198. (c. US$ 277.) + shipping
Le Joli. To the right, pressed down onto the hind legs. Inscribed: LV., otherwise as above. – Plate 55, here with white margins 1.2-1.7, on the right 3.5-4 cm wide. – Utterly smoothed out vertical pressure mark. – See the complete description.
Offer no. 15,161 / EUR 198. (c. US$ 277.) + shipping
“ A Large Number of Fine Horses ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Par Force Horses are led onto the Rendezvous. Endless train of saddled horses led by the grooms mostly three by three out of the wood onto the clearing. From right two hunting carriages come along. Etching and engraving. Inscribed: Joh. El. Ridinger del. sculps. et excud. Aug. Vind., otherwise in German as above. 31.2 x 47.9 cm.
“ A large number of fine horses, usually three saddled ones side by side, led by the groom in the center, are on the long train to the rendezvous. There is much life and Ridinger’s master hand knows to bring variation into this life ”
Extensive 8-line caption in German. – Marvelous impression on strong laid paper with wide margins of laterally 4.7-5, above and below 3-4.8 cm. – In the left lateral margin the publisher’s two pricks. In the upper margin a tear reaching up to the platemark backed acid-freely just as some further smaller ones.
Offer no. 15,174 / EUR 1290. / export price EUR 1226. (c. US$ 1717.) + shipping
Rugendas’ Horsemen Sketch
of Terrifically Tangible Speed of Movement
from “ the
Famous Leipsic Heinrich Campe Collection of Drawings ”
Rugendas I, Georg Philipp (1666 Augsburg 1742). Three horsemen. Two galloping, the left one walking. Pen drawing in black over pencil. Lower right inscribed with black pen in italics: G. P. R. 1703. 121 x 173 mm.
Heinrich Wilhelm Campe , Leipsic ,
his partition 1863 ,
with his oval blind stamp HWC lower left (Lugt 1391)
Pauline Brockhaus, Leipsic, or Luise Vieweg , Brunswick , as b. Campe
Nagler, Monogramists, III, 279: the italics are to be found on drawings. – Mounted by old. – Laid onto large brown collection carton (43.4 x 32.5 cm) with white lining + wide stamped margin with German inscription “Collection Campe”, below “Georg Philipp Rugendas / Augsburg 27. XI 1666 - 19. V. 1742 / Pupil of I. Fischer (recte Fisches) / Famous Battle Painter.”, all in slightly paled white. – Predominantly in the white field feebly foxspotted, entirely disguised by the speed of the picture.
This terrifically communicating speed of movement of the latters additionally increased by the comparably quiet outside left as antipole. Coming along absolutely unpretentiously this sketch, considered by Campe as worthy of his collection, reveals with a bang “the great draughtsman Rugendas” who must have been
“ tremendously sure of his ability
in the field of horse drawing ”
so Gode Krämer in the 1998 Augsburg Rugendas catalog with regard to a plenty of detail studies in which “there never are horses under the riders” (pp. 27 ff.).
Created from military experience
in the year of war 1703 as so decisive for Augsburg
within the Spanish War of Succession with especially its siege + occupation by the French-Bavarian troops (Dec. 15, 1703 – Aug. 16, 1704), it survived several more attacks of the same kind and
with its 300 years now here and today passes the market once more
Trainer, The / What seems difficult to us practice makes easy. At two pillars with the instructor in front and, set back a group of observers, one of them with horse waiting for his own action. Engraving, probably by Jan or Caspar Luyken, Amsterdam, for Chr. Weigel in Nuremberg. Ca. 1700. 13 x 8.7 cm.
From Abraham a Santa Clara’s “Something for All” (1699 + 1713), but possibly already worked for the Ständebuch of 1698, which both had several editions each. – With 6-line caption in German. – Paper abrasion in the range of breast and arms of the rider less perceptible for the unarmed eye.
Offer no. 28,615 / EUR 39. (c. US$ 55.) + shipping
In a Variety of Movements not known anymore
Georg Philipp Rugendas I (1666 Augsburg 1742). Horsemen, Cavalry Battles, and Camp Sceneries from 1693 to 1705. Series of 48 leaves. Engravings in chiaroscuro by Johann Christian Rugendas (1708 Augsburg 1781). Ca. 1740. Broadside-fol. Contemporary half leather on 5 ribs with leather edges and marbled covers.
Compare with Nagler, Joh. Chr. Rugendas, 5-17. – Omnibus volume subdivided in 24 suites numbered from a-x (g = 2 x) as a main part of these works after the father. Printed on uniformly strong laid paper of 24 x 36 cm the individual sizes of the engravings differ between 10.2-21.7 x 10.5-32.4 cm dominated by a medium size of ca. 17 x 24 cm.
Excellent collection of those works which have marked Rugendas father as draftsman of horses graphically so incomparably, uniquely reproduced in the special manner of chiaroscuro printed from two plates with ochre-like base colour, printed over with dark brown and the paper for the lights. By this of an extraordnary painterly charme.
The quite essential former world of the horse, driving back the battle scenery itself and excitedly disclosing the uniqueness of the horse. How a theme artistically overwhelmingly has been worked here these chiaroscuro engravings of Johann Christian reflect. – See the complete description.
Offer no. 12,223 / price on application
London Horse & Carriage Repository, Gray’s Inn Road, NW & SE View of the. Richly arranged court views. 2 sheet. Steel engravings by William Deeble (fl. London 1814-53) after Thomas Hosmer Shepherd (landscapist, architectural draughtsman, and aquarellist, 1793-1864). 1828. 11 x 14.8-15.1 cm. – See the complete description.
Offer no. 9,196 / EUR 76. (c. US$ 106.) + shipping
London – Horse Guards, Parliament Street. In front tow horse guards as well as open coach and further passers-by. Steel engraving by James Tingle (fl. London 1830-1860) after Shepherd as before. (1830.) 10.5 x 14.8 cm. – Two faint foxspots inside the subject. – See the complete description.
Offer no. 9,234 / EUR 25. (c. US$ 35.) + shipping
His Horses influenced by Wouwerman
Hendrik Verschuring (Gorkum 1627 – near Dordrecht 1690). Resting hunters, partly dismounted, with their hounds in front of an inn where the innkeeper welcomes a two-horse carriage. One of them with a falcon in his right and enthusiastically accompanied by his dog hastening into the landscape (probably the Roman Campagna). Brush-drawing in several shades of grey wash and a little black over traces of black chalk. Signed at lower left with the grey brush: H. verschuring. f.. 250 x 348 mm.
Provenance: Friedrich Quiring, Eberswalde, with both his stamps lower right and on the enclosed former mounting resp. (Lugt 1041 b & c: Des deux marques ci-contre la première servit jusqu’en 1920, la seconde à partir de 1921. Elles figurent seulement sur les meilleures feuilles). – See the complete description.
Offer no. 28,863 / price on application
With Parrocel’s Famous Riding School Suite
La Guérinière, (François Robichon de). École de Cavalerie; Contenant la Connoissance, l’Instruction, et la Conservation du Cheval. 2 vols. Paris, Par la Compagnie (des Libraires), 1756. 8 unpag. ll., 319 pp.; 2 unpag. ll., 300 pp. With engraved author’s portrait + frontispiece and
33 (4 folded) engravings
(19 x 12 and 19 x 24.5-26 cm resp. leaf size) by (14, among which the folded engravings) + after Charles Parrocel (1688 Paris 1752). Contemporary calf binding.
Mennessier de La Lance II, 28. – Fourth octavo edition of the
fundamental Riding Instruction of the Royal Equerry
and founder of several riding schools, originally published in smallest format and without illustrations in 1729 and repeatedly republished well into the 19th century.
Bound fittingly to the text the suite starts with 24 half-page dressage scenes on 12 plates which are followed by 8 full-page, together portrait-like executed works. The four large folding plates with summary dressage overview as well as one each richly opened up by numbers for the outer parts of the horse, its skeleton, and for the sick animal. Bound in-between as fitting finally 9 engravings bridle, horseshoe, tools, and schemata.
The rubbed bindings slightly bumped at corners and edges as well as with few minor burst offs and worm traces. Front joint of vol. I and that of the back cover of II above and below each torn on 2-3.5 cm, but at most only minimally penetrating the interior, otherwise of absolutely intact binding whose red-brown marbled floral fly-leaf together with inner cover shall be mentioned especially. The white back of the fly-leaves and the white final leaf of II browned, evenly feebly still portrait, frontispiece, and title of II as well as one of the folding plates top back. Leaf 169/70 of I with old backing of the margin. Otherwise virtually stain-free copy with multiple interesting old owner’s mark: Both front covers with armorial bookplate von Haugk on the interior, back of fly-leaf of I with written buyer’s note of Glogau (supposedly 18)42 and on both titles written “M. Troost. 1881. Capitaine”.
Shortly, positively up to the binding with its rich gilt tooled back and the red back-plates a roundly fine copy of this indispensable work with its Parrocel illustration setting the standard both artistically and hippologically as a value sui generis. – See the complete description.
Offer no. 15,149 / EUR 1730. / export price EUR 1644. (c. US$ 2302.) + shipping
Sportsman’s Dictionary, The; containing Instructions for various methods to be observed in riding, hunting, fowling, setting, fishing, racing, farriery, hawking, breeding and feeding horses for the road and turf; the management of dogs, game and dunghill-cocks, turkeys, geese, ducks … and the manner of curing their various diseases and accidents. Improved and enlarged by Henry James Pye. 5th ed. With 17 copperplates. London, John Stockdale, 1807. 4to. VII, 547 pp. Fine dark-brown h. leather on 5 ribs with ruby red covers, broad leather corners, red back-plate, gilt and blind stamped lines, and coloured fly leaves. Brown edges.
Souhart 389 f. – The plates instructively illustrating angling – bird-catching + -hunting and all kinds of nets , baskets + weir-baskets for fishing , small game + wolf hunting. – Two names on the fly leaves. – Also in regard of the binding a fine, mostly almost impeccable copy. – See the complete description.
Offer no. 13,139 / EUR 765. / export price EUR 727. (c. US$ 1018.) + shipping
In Rare Corner Margin Blocks of Four
Horses. After engravings by Old Masters (1 coloured). Series of 5 postage-stamps as upper right corner margin blocks of four. Ed. by the Czechoslovakian postal authorities. April 21/24, 1969. Steel engraving by Bedřich Housa (b. Prague 1926) together with autotype rotogravure. 12 x 8.5 cm (4.72 x 3.35 in.).
The five motifs – all corner margin blocks of four – in the sequence of their value as following :
Hendrik Goltzius (Millebrecht/Venlo 1558 – Haarlem 1617, -.30) – Matthäus Merian (Basel 1593 – Schwalbach 1650, -.80) – Vaclav Hollar (Prague 1607 – London 1677, 1.60) – Albrecht Dürer (1471 Nuremberg 1528, 1.80) – Johann Elias Ridinger (Ulm 1698 – Augsburg 1767, coloured, 2.40 Kčs.).
The highest value of the set and the one and only in colour , too ,
showing the title sheet of the master’s majestic 18-sheet set “New Riding School”, called also Large or Viennese School of 1734. Preceded by Dürer’s “Great Horse” as according to Mende Alexander with Bukephalos. – See the complete description.
Offer no. 13,370 / EUR 255. / export price EUR 242. (c. US$ 339.) + shipping
– – The same, but each value as single copy of 5.4 x 3.3 cm (2.13 x 1.30 in.).
Offer no. 13,371 / EUR 50. (c. US$ 70.) + shipping
Hunting Horses, English. Two hunters on horseback along with a three-pack at a fence. Steel engraving by F. Hirchenheim(n?). Ca. 1835. Inscribed: XXXII / F. Hirchenheim (elsewhere Hirchenhein) sc, otherwise as above in German along with the address of the Art Establishment of the Bibliographical Institute. 16.7 x 19.7 cm.
With the full platemark not measuring with, as rather more seldom for steel engravings, and left-sided stitch-margin. – See the complete description.
Offer no. 14,825 / EUR 64. (c. US$ 90.) + shipping
Rodensteiner, De. The knight with his suite riding hard across country, feared by the peasants hiding in the grain. Toned wood engraving after Gottfried Franz (Mayence 1846 – Munich 1905) for A. Closs, Stuttgart. (1875-76.) 17.8 x 23.9 cm. – From the about contemporary Dutch edition.
Offer no. 9,458 / EUR 50. (c. US$ 70.) + shipping
(Interlake, At the Bridge in.) With horses in and by the horse-pond. Toned wood engraving after Paul Meyerheim (1842 Berlin 1915) for Adolf Closs, Stuttgart. (1875-77.) 20 x 24.8 cm.
Offer no. 9,699 / EUR 79. (c. US$ 111.) + shipping
Menuisier en Voitures. View of the workshop and numerous detail depictions. Set of the 17 (1 double full-page) engravings of the carriage joinery by Robert Benard (Paris 1734 – after 1777, recte rather ca. 1786) from the quarto edition of the famous encyclopedia by Diderot and d’Alembert. (1784.) C. 24.5 x 18.5 and (1) 35.5 cm resp.
Instructive set. – Small + smallest tears concerning almost exclusively the white margin and quite isolated, just in one case recognizable thin paper spots backed acid-freely. – See the complete description.
Offer no. 12,111 / EUR 220. (c. US$ 308.) + shipping
The Leopard Horse with an Ear-Bouquet
as Additionally Almost the One and Only
Netherlands Show-Piece within the Œuvre
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Young Leopard Horse bred at
a village not far-off Delft in the province of Holland, had this black ear-bouquet like the other spots and has been bought as a rarity for a very high price by the Silesian manorial family count Promnitz during their
in 1743. The stallion in wonderfully light exercise in a beauty hilly landscape with village standing separated from five horses partly romping and rolling and looking at the viewer. Etching with engraving after the painting from nature by the amateur artist baron Christian Ludwig von Löwenstern in Darmstadt. Inscribed: Lib: Baro de Löwenstern ad viv: pinx. Darmst. / J. El. Ridinger sc. et excud. 1745, otherwise in German as above. 35 x 28.5 cm.
Sheet 38 (Thienemann + Schwarz 280, “The six horses contained in this collection later had been sold also separately”) of the “Representation of the Wondrous Stags and Other Animals”. – See the complete description.
Ref. no. 14,946 / in stock – not catalogued / request description & offer
From the Own Stables fresh onto the Table
Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). Six heures et demie. — Les chevaux de Madame la Marquise sont sur la table. Servant entering the drawing-room of his mistress and asking to dinner: horse meat from the own stables. Chalk lithograph. (1870-71.) Inscribed: CHAM / 104, otherwise typographically as above. 21.9 x 17.5 cm.
Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – Small feeble foxing spot in the white field beside the table lamp. – See the complete description.
Offer no. 14,790 / EUR 148. (c. US$ 207.) + shipping
Rue, F. R. de la (Paris middle of 18th century – after 1780). Battle Horse under an Officer with Raised Sword in the Right. Bouncing ahead to the right. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / de la Rue. 20.8 x 16.9 cm. – As before, but margins 1.5-9 cm wide. – See the complete description.
Offer no. 28,618 / EUR 98. (c. US$ 137.) + shipping
– – Head Portrait of a Bridled Horse from front. Still with sketched breast part. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. nach de la Rue. 16.4 x 11 cm. – As before, but margins 1.5-12 cm wide. – See the complete description.
Offer no. 28,619 / EUR 56. (c. US$ 78.) + shipping
Wouwerman, Philips (1619 Haarlem 1668). Saddle Horse at the Oats Trough. Broadside to the right looking at the beholder. Below the trough the feeding bag. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / Phil. Wouwermans. 12.5 x 17.3 cm. – As before, but margins 2-8 cm wide. – See the complete description.
Offer no. 28,617 / EUR 125. (c. US$ 175.) + shipping
256 Years Old Medicus Hippologicus
Winter (von Adlersflügel), Georg Simon. (Well-experienced Horse Physician, Who instructs thoroughly how to diagnose the Horses’ Complexion, Nature, and Age, cure all Interior and External Diseases, and preserve the Sound Horses from all Imminent Deficiencies.) Furnished with an appendix of some rare
medicines found excellently well for young colts
and improved through and through, and enlarged by the most well-tried arcanis, by Valentin Trichter, well-installed Riding Master of the Republic of Nuremberg. Embellished with plenty necessary engravings, that is with
44 folded engravings on 35 plates .
In German. Nuremberg, Joh. Andreas Endter, 1757. 20 unpag. leaves title, preface, contents, 838 pp., 9 unpag. leaves index. Contemporary calf-binding.
Title in red & black. – The FIRST EDITION CONDUCTED BY TRICHET for the original publisher of this classic, published in folio for the first time in 1678 and long-lived up to the German edition Philadelphia 1840, whose engravings, lead by a plate of instruments of 27.5 x 38.5 cm, are dedicated to anatomic details, clinical + treatment pictures and here corresponding in number and kind with those of the first edition (double full-size plate with instruments + 45 text engravings), here besides three not counted with numbered I-XLI and if applicable joined to larger plates as appropriate to the text. – The
“Richly illustrated horse medicine with many recipes”
(Bibliotheca Hippologica I. H. Anderhub, 1963, no. 367 [this edition])
in decidedly fine copy ,
only particularly front inner cover & fly-leaf and already negligibly still the title foxed, otherwise only occasional tiny spots. Introduction with decreasing small worm trace in the lower inner margin as also at the slightly worn-out capitals of the back. The edges of the front cover pushed.
Offer no. 15,148 / EUR 1380. / export price EUR 1311. (c. US$ 1836.) + shipping
Wood Paddock (in Pomerania). Mare with foal, but also a cow, on the pasture passed by a carriage and pair. Wood engraving after Johannes Gehrts (St. Pauli/Hamburg 1855 – Dusseldorf 1921). 14.1 x 18.5 cm. – BACK: Shepherd with his Flock. Wood engraving after G.’s picture of 1880. 12.6 x 10.5 cm. – Continuous local text on both sides.
Offer no. 8,387 / EUR 61. (c. US$ 85.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (Redop left at the Wall.) The dapple-grey horse jumping. Etching + engraving. (1734.) Inscribed: avec P. S. C. M. / Joh. El. Ridinger inv. des. et exc. A. V., otherwise in French-German-Latin parallel text as before. 54 x 39 cm.
Thienemann + Schwarz 639. – New (or Vienna) Riding School VII (Th., dated, leaf 12). – Typographic watermark. – Additionally to the fine white plate margin with still c. 8 mm surrounding paper margin. Above in this a little tear backed acid-freely. – The sovereign sujet of the majestic set.
Offer no. 14,389 / EUR 1180. / export price EUR 1121. (c. US$ 1570.) + shipping
Drawn – Cut Up – Pasted In – Saved
Wintter, Joseph Georg (1751 Munich 1789). Biting Horses, driven apart by the groom. Stallion in vivacious movement to the left, biting a half covered second one into the mane while this takes his revenge by a bite into the forehand. Hurrying from the right the groom with the whip. Chalk and pencil drawing, the richly hatched attacking stallion additionally executed in black pen. (Before) 1781. 268 x 387 mm. – On the back: I. Stag of eight points, standing, to the left. Pencil drawing. Inscribed: JW (ligated) inv. 1781 / JGW (ligated) inv 1781. 230 x 184 mm. – II. Stag of ten points, standing from front left. Pen drawing. Inscribed: 135 / JGW (ligated) inv 1781 / JGW. (ligated) inv 1781. 213 x 201 mm.
Lower left red collector’s mark “G” in square (not in Lugt). – At the front seven points of previous corner mounting of the stag studies on the reverse, four of them still with vestiges of the grey-blue mounting paper. Only one of these spots though unessentially affecting the drawing by touching the groom’s foot. Lower centre below the shadow hatching thin paper spot from almost imperceptibly removed eighth mounting point. – Cut up vertically in about the centre by Wintter for the two backside stag studies. These two halves additionally – obviously for reason of proportion – shortened at the top and bottom resp. and mounted in an album. Assumedly Wintter himself removed them after 1783 (see below) and glued them together again with strips of laid paper, adding the missing parts, though not concerning the drawing of the horses, by strips from further studies. One of the laid paper strips besides with the covered German inscription “Drawn from nature by JGWintter the 28 august ao. 1783”.
The differing arrangement of the replacement strips – upper left, lower right – proving the priority of the horse drawing. The use of further study sheets up to the mentioned strip with the inscription of 1783, a procedure barely chosen by a collector, also points to Wintter as rescuer of his own drawing. Therefore this way not just
a lively drawing by Wintter ,
but together uniquely charming proof
of the ups and downs of artistic work .
And while in the groom we meet again thematically the hunter also acting from the right in a bison hunt of 1785 with the provenance von Kühlmann and Schäfer sold here, so the technical condition of the sheet has a predecessor in “Mr. Blaeu makes maps with glue and scissors”. Since in 1635 this was behind the competitor Janssonius with both the maps of Rhine + Danube he hastily printed the respective rough parts of Rumold Mercator’s wall-map of Germany of 1590 passed to him, and then reworked these accordingly with scissors and glue. Used so only in the German edition of the atlas of that year a pair of these cimelies has been sold here in the ’60s. – See the complete description.
Offer no. 28,951 / EUR 1480. / export price EUR 1406. (c. US$ 1969.) + shipping
Horses – the Earliest Set
of the Great South America Traveler .
Here with the Title Text Unknown to Literature
Rugendas, Johann Moritz (Augsburg 1802 – Weilheim/Teck 1858). (Horses from the Royal Bavarian Stables. Drawn from Life and etched by J. Moritz Rugendas. Son. AUGSBURG, 1820. Published by J. LORENZ RUGENDAS. Father.) 6-sheet set. Etchings. 1819/20. Sm. oblong fol. (plate size 16.6-18.2 x 23.2-24.4 cm). Inscribed with the respective names in the lower white platemark and, if applicable, with signature + date, see below, in the lower subject. In old heavy laid paper cover with mounted title cutting of the blue-grey original wrapper.
Teuscher 986-991 incl. illustrations not knowing the title (“Stallions, Set of 6 sheet”). – With the exception of T. 986 not in Stillfried. – Respectively one copy without title in Augsburg (State and University Library, colored) + Stuttgart (State Library). – The single sheet of the Munich printroom proven by Stillfried (1879) lost in the war. – Lacked in the important collections of books and portfolios on horses and horsemanship of Anderhub (1963) + Sarasin (1999).
The earliest set of the great South America Traveler
worked as a 17/18-year-old ,
before he set out for Brazil as a 19-year-old .
Thematically picking up a family tradition for which the great-grandfather Georg Philipp I stands, of whom Wilhelm Schmidt wrote in the ADB in 1889 “a first rate talent beyond doubt, for not to say a genius. Doubtless, set into better circumstances, e.g. living in the Netherlands about 1650, he would have become an artist who would have surpassed all his horse and battle competitors”. As Mori(t)z after first paternal training went into apprenticeship with Albrecht Adam, who on his part established an artist’s dynasty of horse and battle painters. In 1817 the admission into the Munich Academy followed where he devoted himself to the genre and landscape field under Lorenz Quaglio II. From those early years Teuscher probably lists only eleven graphic works after own invention (984-993 + 1311 as the portrait of the father), at which especially Nagler’s opinion – “fine sheets” – points in the Künstler Lexicon (XIV, 1845, items 1-2):
“ Single horses and groups as well as dogs , too ,
drawn and etched by Moritz Rugendas , oblong and sm. folio. ”
With the set here as center piece which in just the unawareness of
the cover title obviously documented here for the first time
Hämmerle defined vaguely in 1937 as follows:
“ This set should concern stallions or racers known at that time, presumably the origin of the suite goes back on an idea of A. Adam ”
(Albert H., [The Last Painters Rugendas, in Quarterlies for Art and History of Augsburg], 1937/III, pp. 1-110, note 51).
Four sheets above and below 1.5-2.7 cm (one only 1.5-1.8) and laterally 1-1.5 cm (one up to 1.8) wide-margined, two laterally 0.4-0.7 cm and only 1-2.5 cm and 1 cm resp. for above and below. The white platemark on its part mostly 1 cm wide. – Throughout only isolated weak little foxspots almost solely in the white margin, only one sheet somewhat more and in three edge corners additionally with faint tidemark as at one corner at a further one, too. – Three sheets with a 2.5-3.5 cm long tear out in the lower right margin repaired by old, in two cases including the white platemark wholly and half resp. A further one with two minimal tears outside of the platemark there. Nevertheless a good copy, indeed, worthy to increase your collection, first of all in respect of generally absolute rareness, but then and just as a dot over the i in respect of
the original cover title as not provable in literature hitherto .
Whose very touchingly family text regarding creator/publisher makes the coming up of that additionally just to an event.
Offer no. 14,586 / EUR 1380. / export price EUR 1311. (c. US$ 1836.) + shipping
The significant 1st Third dedicated to the Horse
John Sherer. Rural Life. Described and Illustrated, in the management of Horses, Dogs, Cattle, Sheep, Pigs, Poultry, etc. etc.: Their Treatment in Health and Disease; with authentic information on all that relates to Modern Farming, Gardening, Shooting, Angling … and a complete system of modern veterinary practice. With 5 woodcuts in the text and 88 steel engravings on 64 (3 folded) plates. London + New York, London Printing and Publishing Comp. (ca. 1870). 4to. Engraved title, XVI, 1016 pp. Orig. gilt and blind tooled leather on 4 ribs.
Not in Schwerdt. – Binding somewhat rubbed and timemarked, lower capital with a little leather defect on 1.5 cm length. – One quire (pp. 889-896) twofold bound in. – Frontispiece and the engraved title quite slightly waterstained. Otherwise of fine freshness except for only very isolated smallest mould stains.
The plates mostly with pictorial sceneries – among them races and huntings – , but also with anatomical and technical details. – Concentrated on hunting (121 pp.) – dogs (125 pp.) with a significant third of 364 pages horses:
The Horse, and Modern Veterinary Practice / Of Horses in General / Races / Economy of the Stable / Diseases, Fractures, Wounds, etc. / Surgical Operations / Veterinary Department, or Medicines and their Uses.
Further articles on cattle, sheep, pigs + poultry (together 273 pp.), bees (9 pp.), principles and machines of modern farming (42 pp.), gardening (68 pp.), angling (14 pp.) and index (4 pp.).
Offer no. 13,131 / EUR 765. / export price EUR 727. (c. US$ 1018.) + shipping
The Horse in Old Frameworthy Circulars
Circular of the royal & imperial district authority Kornneuburg of the V.U.M.B. (=Viertel unter dem Manhartsberg, Lower Austria) concerning the horse-furnishing compensation for the years 1812 and 1813. Jan. 8, 1814. Sm. fol. 1 l. With 2 printed signatures. – See the complete description.
Offer no. 12,245 / EUR 46. (c. US$ 64.) + shipping
– of the royal & imperial Lower Austrian district authority St. Pölten, announcing a composed work on horse breeding in the country. November 21, 1807. Sm. fol. 1 l. With printed signature of district captain Anton Leopold v. Roschmann. – See the complete description.
Offer no. 12,242 / EUR 86. (c. US$ 120.) + shipping
– of the same, concerning the sale of discharged horses. September 4, 1809. Sm. fol. 1 l. With printed signature of district commisioner A. v. Portenschlag. – See the complete description.
Offer no. 12,243 / EUR 60. (c. US$ 84.) + shipping
– of the royal & imperial district authority Klagenfurt concerning the burial of military horses fallen on the street. March 10, 1810. Sm. fol. 1 l. With printed signatures of Franz Xaver v. Fradeneck + Wolfgang Edler v. Wolf. – See the complete description.
Offer no. 10,749 / EUR 60. (c. US$ 84.) + shipping
After decades in the generous ambience
on the wall of a connoisseur
now on the market again for the first time :
Extremely Rare Riding School Leaves
from the Greatest of the
Augsburg Dressages + Schools
Rugendas I, Georg Philipp (1666 Augsburg 1742). Leads the horseman right … . Open riding place on the back of the stables with manifold actions. Mezzotint. Inscribed: Georg Philipp Rugendas invent. del. fec. et excudit, and quatrain in German. 48.5 x 65.5 cm.
Teuscher 68 + ills. (by printer’s error 40.5 cm, without number); Stillfried 347. – Plate 1 of the 8-leafed riding school T. 68-75 + Nagler 44, here in a supposedly later state with the number 1 in small half circle at the lower picture edge, as the copy of the Swiss Institute of Technology Zurich, too.
With surrounding margins of 1-1.7 cm. – Harmonious impression with fine lights and shadows though from the overall somewhat used plate as quite acceptable for mezzotints allowing – so the contemporary expert Sandrart – just about 50-60 really good impressions.
Extremely rare, the leaves of this set are missing, i. a., within the c. 27,600 lots of Weigel’s Art Stock Catalogue, parts I-XXVIII, 1838-1857, the Bibliotheca Hippologica I. H. Anderhub with rarities like Ridinger’s Riding School in imperial oblong dissolved in 1963, and the Sarasin Collection (1999). – See the complete description.
Offer no. 28,160 / EUR 1380. / export price EUR 1311. (c. US$ 1836.) + shipping
– – – Now … in many lessons … . In the open ring a white horse galloping at the longe bound at the pillar. Mezzotint as before. – Teuscher 69 + ills. (without number); Stillfried 348; Schoenbeck, Das Pferd und seine Darstellung in der bildenden Kunst, plate 33 (detail) (see p. 8). – Plate 2 of the set with the number as above as the copy of the Swiss Institute of Technology Zurich, too. – Three (one almost imperceptible) box pleats from print. Five up to thick pinhead-sized holes not recognizable from the picture side. – See the complete description.
Offer no. 28,161 / EUR 1460. / export price EUR 1387. (c. US$ 1942.) + shipping
– – – Familiarizing to the Saddle. Putting on and accustoming to the school saddle without shoes, work with the wooden bites. Placed back other training scenario. Mezzotint as before, but quatrains in Latin + German.
Teuscher 122 + ills.; Stillfried 359. – Leaf 5 of the 12-leafed (or 3 à 4 leaves resp.) Horse Dressage T. 118-129. – Not in Nagler. – Only little conspicuous from the front the smoothed creasing. Here also almost not noticeable a larger backed tear in the text margin lower right with minimal retouched loss of letters. Some more little holes not recognizable, two of these also backed. Extremely rare. – See the complete description.
Offer no. 28,163 / EUR 1995. / export price EUR 1895. (c. US$ 2653.) + shipping
– – – The Trotting. Besides further rich horse scenery a young horse ridden at the longe around the pillar and followed by another horseman. In the background farmers at work. Mezzotint as before. – Teuscher 124 + ills.; Stillfried 361. – Leaf 7 of the set. – Smoothed creasing almost not noticeable from the front. Equally not a pintip-fine hole. – See the complete description.
Offer no. 28,164 / EUR 1995. / export price EUR 1895. (c. US$ 2653.) + shipping
– – – The Gallop. Young horse in full gallop at the longe. Not least thanks to threatening chambrière. Embedded in and before further actions. Mezzotint as before. – Teuscher 125 + ills.; Stillfried 362. – Leaf 8 of the set. – Of fine general impression determined by bright lights as especially remarkable for mezzotints. – The left platemark squeezed through and backed. Smoothed creasing not noticeable from the front. Likewise not closed box pleat in the lower left field, already outside of the scenery. Far lower right missing spot disposed of by strengthening and retouching. – See the complete description.
Offer no. 28,162 / EUR 1995. / export price EUR 1895. (c. US$ 2653.) + shipping
Krüger – Osborn, Max. Franz Krüger. With preface ed. by Kerstin Englert. 1997. 4to. 32 pp., 1 l., pp. 33-112 (text). With 115 (8 – 4 full-page – color) mostly full-page illustrations. Orig. cloth.
Unchanged new edition of Osborn’s as learned as fact-rich monograph on the “Horse Krüger” of 1910. – Out of print.
“ Thematically concentrated on Franz Krüger as portrait painter, Osborn directs his attention especially on the … (large-sized) parade and group pictures (of the years 1829, 1839, 1844, 1849) ” .
Offer no. 28,191 / EUR 115. (c. US$ 161.) + shipping
Constantin Balassa. Die Zähmung des Pferdes. Rationelle Behandlungsart der Remonten und jungen Pferde überhaupt und der bösen, verdorbenen und reizbaren insbesondere. (Taming the Horse. Rational Treatment of the Remounts and young Horses at all and the bad, spoiled, and irascible in particular.) With grandly printed 7 really instructive folded lithographs (21 x 31.5 cm). Vienna, Gerold, 1835. XIV, 467, 1 pp. Rubbed contemp. half leather. Green edges.
Huth 126. – A new edition was published in 1844. – Missing within the Bibliotheca Hippologica I. H. Anderhub dissolved in 1963 and making itself generally scarce. – Title and both the two following and the four final leaves differently foxing, otherwise mostly slight spots in places only, and generally of great freshness. – See the complete description.
Offer no. 12,586 / EUR 391. / export price EUR 371. (c. US$ 519.) + shipping
Landseer, Thomas (1795 London 1880). „What ho! does the Devil arrive! then we needs must get on.“ Two monkeys galloping on an ass. Inscribed: Drawn & Etched by Tho Landseer 1827, otherwise as above. 20.6 x 16.4 cm.
From the Monkeyana set, one of the only few early and therefore typical works of Landseer. – On especially wide-margined buff paper. – In the white margin quite weakly foxing. – See the complete description.
Offer no. 10,826 / EUR 197. (c. US$ 276.) + shipping
From now on „Henri without Horse“
Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). Ce pauvre Henri IV voyant emmener son cheval chez le boucher. Standing on the pedestal of his memorial and looking awkwardly after his horse carried away on a cart to the butchery on the other side. Only the laurel-wreath remained for the king. Chalk lithograph. (1870-71.) Inscribed: CHAM / 130, otherwise typographically as above. 22.6 x 18.4 cm.
Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – Small foxing spot in the white field above the trees behind Henry’s back. – See the complete description.
Offer no. 14,785 / EUR 138. (c. US$ 193.) + shipping
Monsieur le Pompadour
Louis XV of France
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Lvdovicvs XV. Galliarum et Navarrae Rex. On trotting splendid white horse, the baton in the extended right, the sun king’s great-grandson (1710-1774) rides at the head of his suite towards the battle raging on the left before a big city dominated by church-tower. From the right a runner delivers a message. Etching & engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. 33.4 x 25 cm.
splendid impression of shining chiaroscuro
with margins on three sides 4.5-5 and below 9.5 cm wide, in the far part below & right slightly age-smudged. – On the back fold trace from contemporary binding as evidenced by red edge. – See the complete description.
Offer no. 15,857 / EUR 745. / export price EUR 708. (c. US$ 991.) + shipping
The Fullness of Riding amidst a Par Force Hunt
Carle Vernet (actually Antoine Charles Horace, Bordeaux 1758 – Paris 1836). (La chasse au cerf.) Suite of 24 leaves. Engravings by Gamble (21.2-22.8 x 30.2-30.9 cm). C. 1804-1814. Contemp. half leather with gilt back and brown marbled covers.
Vernet’s extraordinarily scarce 24-plates-suite of the par force hunt as the magnificent accord with instructiveness, variety and richness of pictures, dominated by an infinitely splendid aspect of horses due to the artist’s nature. Vernet was infatuated with horses. – The uniformly fine print quality not least affected by the fine handling of light and shadow. – See the complete description.
Offer no. 28,049 / price on application
Henry Bernard Chalon (1770/1 London 1849). Orville 1799. The golden-brown champion with his master in outlined broad landscape with farm in the background. Lithograph by H. Delius, Berlin. (1837.) 15 x 28 cm. – Extensively on Orville’s victories see Snelgrove, British Sporting and Animal Prints 1658-1874 (Mellon Coll.), page 57, no. 8. – See the complete description.
Offer no. 12,158 / EUR 189. (c. US$ 265.) + shipping
One of the Finest , Most Elegant Sujets
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Windhetzer. Chasseur aux levrieres. (Coursing a Hare.) Riding with great ease & elegance under high sky across the undulatory park-like landscape covered with few groups of trees after a hare. Hunting along two big greyhounds. Etching and engraving by Martin Elias Ridinger (1731 Augsburg 1780). C. 1764. 33.8 x 25.6 cm.
Thienemann + Schwarz 124; Ortega y Gasset, (Meditations on the Hunt), 1981, full-size ills. (frontispiece); Pietsch (Ed.), (Porcelain Parforce), 2005, pp. 50 + 121 with illustrations; Steiner, Reverse Paintings on Glass, 2004, 40/40a with illustrations; Wüst, (An Early Modern Country in Hunting-Fever – The “ius venandi” of the Margraves of Brandenburg-Ansbach, in Triesdorfer Hefte 9, (The Hunt of the Margraves of Brandenburg-Ansbach in the Early Modernity), 2010, pp. 12 + 25 (illustration, this copy).
Sheet 12 (“L.”) of the 25-sheet suite of the Hunters and Falconers with their Work. – “The personal hierarchy began with simple rifle cockers, court huntsmen, ‘still hunt-hands, wind hunters’ … ” (Wüst), the latters “those hunting with greyhounds” (Riesenthal).
Besides the work corroborates, quite en passant, Ernst Welisch (1901) that Ridinger has been indisputably the “most important Augsburg landscapist at this time”. And this “although he is primarily known as animal painter”. – See the complete description.
Offer no. 15,435 / EUR 870. / export price EUR 827. (c. US$ 1158.) + shipping
With many good “ Hints to ‘Amazones’ ”
Sidney, S(amuel). The Book of the Horse: (Thorough-Bred, Half-Bred, Cart-Bred), Saddle and Harness, British and Foreign, with Hints on Horsemanship; the Management of the Stable; Breeding, Breaking and Training for the Road, the Park, and the Field. With numerous (8 verso blank full-page) wood engravings by R. C. West and others, mostly after Sheldon Williams, and 25 chromolithographs after Alfred Corbould (3), John Fenneley, Sir Francis Grant, Monpezat, George Stubbs, Velasquez, James Ward, Sheldon Williams (5) and others. London, Cassell Petter & Galpin, c. 1880. 4to. 3 ll. 604 pp. Gilt stamped illustrated orig. cloth.
The fine color lithographs – “ a lavishly illustrated work ” – show the different horse races in partially famous representatives, some with rider or carriage, too. The many wood engravings with details of any kind incl. races, pictorially charming sujets, 20 of which (4 full size) plus 2 colour lithographs dedicated to the amazone and huntress.
Among the totally 29 chapters Carriages, Driving + Stables and Coach Houses. Not least six chapters on hunting: Hunting / Hare-Hunting – Fox-Hunting – Stag-Hunting / Hunters – Training for Hunting – Riding to Cover – Riding with Hounds / Miscellaneous Hints on Hunting. And 46 pages along with 18 wood engravings and 1 chromolithograph dedicated exclusively to “Hints to ‘Amazones’”. – See the complete description.
Offer no. 12,291 / EUR 630. / export price EUR 599. (c. US$ 839.) + shipping
(Weapons and Tournament, (The old Germans’ their.) Rich scenery with sword fight and tournament riding. Right in front a warrior with bear head and spears. Engraving by Matthäus Merian. (1638.) 14.4 x 16.9 cm. – Earliest print. – Trimmed within the left and lower platemark. – See the complete description.
Offer no. 11,869 / EUR 65. (c. US$ 91.) + shipping
Schoenbeck, Richard. (The Horse and its Depiction in the Pictorial Art from the Hippologic Point of View.) With frontispiece + 44 (5 folded) plates + 328 illustrations. Leipsic, Engelmann. 1908. 4to. X, 203 pp. Illustrated red orig. cloth with gilt back + front cover and red fly leaf. Gilt head-edge.
Standard work in regard of the rich illustration material and perhaps the introducing chapters “(Sketch and History of the Horse)” (pp. 31-66) + “(The Horse)” (67-143).
Offer no. 12,582 / EUR 353. / export price EUR 335. (c. US$ 469.) + shipping
“ … my little town … New York … New York ”
JEROME PARK NEW YORK
N(ew) Y(ork), The False Start Jerome Park. Partly galloping away, partly staying correctly at the start. On the left four gentlemen on the turret-like box. On the opposite side of the course the grandstand with heavily gesticulating spectators. Chalk lithograph
in original coloring
for Thomas Kelly, NY. 1868. 49.3 x 63.2 cm.
Not in Mellon, Prints. – Age-marked as typically for such outsized prints. I. a. five professionally repaired tears reaching 2-6 and (1) 12 cm resp. into the picture. Nevertheless of really good appearance on the whole. – See the complete description.
Offer no. 14,166 / EUR 2400. / export price EUR 2280. (c. US$ 3193.) + shipping
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). (A Gravid Mare.) Etching. (1755.) Monogrammed. 19.6 x 15.4 cm. – Thienemann 482. – See the complete description.
Offer no. 15,163 / EUR 149. (c. US$ 209.) + shipping
Span of Six Carriage Horses
for the Elector in Treves
Fürstenberg, Franz Egon Graf von (prebendary at Cologne etc., bishop of Strasbourg, 1625-1682). Letter with autograph signature to the Elector of Treves. Bonn June 11, 1673. Sm. fol. (32 x 20 cm). 1 page on double leaf.
“ The six carriage horses would already have been sent if not one would have been slightly injured at the foot over that, so nevertheless it is to be hoped it will improve as soon as possible … Franz Egon Epis. / (follows below left) Chur Trier. ”
With watermark post horn between S + W as well as separate double tower, both not in Heawood. – Patinately not improperly foxing, only the white, last page together dirt-spotted. Two minimal injuries without loss of writing repaired acid-freely. – See the complete description.
Offer no. 13,392 / EUR 188. (c. US$ 263.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Adolphvs Fridericvs Hæres Norvegiæ Dux Holsatiæ, Slesvici, & Episc. Lvbecensis Sveciæ Regis declaratvs Svccessor. Mounted on a lively trotting black horse coming from the woods, with the baton in the right and accompanied by both a mounted helm-bearer and two runners, on the way to meet the troops marching on the shore. On the water itself fleet, mostly in line. Etching + engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. Sheet size 32.7 x 24.3 cm.
Thienemann + Schwarz 832. – From the 16-sheet basic set – with Th. 835 + Th.-St. 1378 two further ones of larger size known – of the Princely Persons mounted on Horseback, missing in the copy of the opulent Ridinger collection Count Faber-Castell sold in 1958 and here present from the rich Ridinger collection of Radulf Count of Castell-Rüdenhausen dissolved now. – Three sides trimmed within the white platemark, below close to the last line of text with minimal cutting of the lower bow of the “G” of Regis. – Mounted on collection-specific large sheet with fine black lining. – See the complete description.
Offer no. 14,851 / EUR 435. / export price EUR 413. (c. US$ 578.) + shipping
“ … yet an Art Collector Paid …
100 fl. for this Sheet ”
Ducq, Jan le (1629/30 The Hague 1676). The River Landscape with the Waiting Rider to the left (sic!, see below). This dominantly right in front, awaiting another one coming through the river. In small figure behind that a man wading up to his knees with a rod (lance?) in the right while pointing with the left at a swimming or floating little figure. On top of the rock dropping steeply to the opposite bank on the left a building with bulky round tower. A further building below on the bank far left. And to the right margin of the picture an ensemble of buildings with high tower with bulbous top, behind the river bending to the left, in the distance on a level with a mountain chain on this side navigated by a sailship. Etching. Sheet size 18 x 23.3 cm.
Nagler, Monogramists, III (1863), Ducq, 2184, no. 8; Wurzbach (1906), Duck, 8; cat. Davidsohn I (1920), Ducq, 1378 („Debatable sheet … Very rare“, referring by the way to Weigel, Supplement, pp. 24 f. + Dutuit V, p. 47),. – Closing leaf of a 4-sheet set – the 3rd, a riding school scenery at the pillar – , whose first two ones are by Roman de Hooghe (1645-1708) who also was connected with the whole set.
With the no. 4 below outside right in the white margin, yet barely with “In front in the centre of the grass ground, slightly to the left … letters I D f.” noticed by Nagler, in this regard also Wurzbach remarks “According to Nagler allegedly inscribed …”. Also Brulliot would have missed it, see below. – With almost complete large watermark “Reared Lion in double lined Circle below Fleur-de-lis” with sword in the right and arrows in the left as variant to Heawood 3140-3145 (1651 till c. 1689) inclusive of the paddings in the circle, but without its escutcheon. – Lower right small oval collector’s stamp A (? Aretin? see below, H?).
The painterly sheet in the excellent impression of the J. H. Anderhub Collection
not figuring, as further prints, too, in the 1963 book sale of the “Bibliotheca Hippologica I. H. Anderhub”.
With surrounding margin of 2-4 mm trimmed to platemark on three sides, above rather to the image border with, however, lots of white plate field. This outside left and centre with noticeable quite feeble touch of browning. Two fine vertical box pleats running through from the front worth mentioning above horse + rider only. So, too, a light diagonal trace of fold in the lateral right white image field.
Though already assigned by Nagler to the painter + etcher le Ducq, pupil of Potter and foremost related to the animal and landscape subject, as one “ of the most excellent Netherlandish masters ”, the confusion continues with the Utrecht genre painter and etcher of soldier interiors Jacob Duck (about 1600 – 1667; from about 1660 to 1661 in The Hague), whose works run, so Thieme-Becker, since the 18th century indeed mostly under le Ducq’s name, just as the latter’s paintings on their part circulated as Dujardin in consequence of stylistical relationship. The confusion of both promoted not least by le Ducq’s additionally military themes, too, since he had joined as soldier the States-General where he had been promoted captain. Gradually being exhausted his “quite rare” (Thieme-Becker) painted work kept within bounds. The engraver is documented by a certificate of the Hague Guild of 17th June 1662 granting him the sale of his copper-plates and etchings.
Nagler repeatedly qualifies the latter as preciousnesses and here it is especially the “famous set of the hounds” from 1661 which figures in Weigel’s Art Stock Catalog, division VIII, 1840, per 9135 as “Of greatest rarity” at the high price of 80 Thaler. In the Davidsohn Catalog (I, 1376) in 1920 the 8 sheet in but the second state were estimated at 600 Reichsmark. Yet present “Rider at the Riverside” as single sheet – in brilliant print quality with margin each – at half of this, that is 300 Reichsmark!
This to elucidate its preciousness . And in harmony with Nagler’s report from 1863 :
“ This wittily etched sheet Brulliot describes in the Aretin Catalogue no. 4401 with the remark that it were etched in le Ducq’s manner. He missed the (signature) letters,
yet at the (1830) sale an art collector paid
100 fl. for this sheet .”
Besides – so Wurzbach, too, as supposedly adopted since likewise describing expressly only this one – marking the rider as “in profile to the right” while here he stands to the left, but without thereby establishing a copy in reverse. For conforming to Nagler the building on the opposite bank and the bulky round tower on the rock above it stand left-sided. A position of the rider to right were by the way not in harmony with the scenically arrangement. Correctly the rider holds then also the riding-whip with the left, but the bridle with the right as the soldier in the water his lance, too. This normal use in analogy to the present training scene above as sheet 3 of the set.
Granted finally the correctness of the monogram recorded by Nagler perhaps as a mark of state so its I D f does not correspond with any signatures of monogram character secured for Jacob Duck. See hereto already Thieme-Becker X (1914), 40/II, then the Work Catalog of the Paintings in Salomon, Jacob Duck, 1998, pp. 141 ff. – See the complete description.
Offer no. 28,978 / EUR 630. / export price EUR 599. (c. US$ 839.) + shipping
– – The Rider at the Pillar. To the left, supervised there by instructor with whip in the raised right. At the left margin of the picture small property, at the right overgrown large ruins, in front of it two men with dog observing the exercise. Etching. Sheet size 18.6 x 23.3 cm.
Sheet 3 of the 4-sheet set as above and with the no. 3 below outside right in the white margin. – Described neither in Nagler (1863) , Wurzbach (1906) nor Davidsohn (1920).
The excellent impression from the J. H. Anderhub Collection. – Trimmed to platemark with 2-4 mm surrounding margin and above lots of white plate field. Fine vertical box pleat running through only noticeable above and below rider + horse resp. – See the complete description.
Offer no. 28,977 / EUR 630. / export price EUR 599. (c. US$ 839.) + shipping
In the First State of adequate Provenance
Rugendas I, Georg Philipp (1666 Augsburg 1742). Diversi Pensieri. Countryfolk mounted/with horse(s). Set of 8 sheets. Etchings. Inscribed: Diversi Pensieri p(er) Georgio Filippo Rugendas Pittore. Aug: Vind: 1699. Jeremias Wolff excudit Cum Privilegio Sac: Cæsar: Maiest. 1. (title) and, varying, I. Wolff exc(ud). (Aug. Vind.) C(um). P(riv). S(ac). C(æc and æs resp.). M(aj). 2. (till 8.) resp. 11.6-11.8 x 14.1-14.2 cm. Stitched.
J. H. Anderhub
with his exlibris of 1937 EX BIBLIOTHECA J. H. ANDERHUB
below his bust silhouette
Teuscher 23-30, I (of III, recte IV) with illustrations; Stillfried 20-27; Art Stock Catalogue Weigel IX, 1840, 10,321 + VI, 7133 (state II with Ridinger’s address with date 1750 with omission of the privilege note); Schwarz, Ridinger Collection von Gutmann, 1910, XXVIII (7 sheets only), state II (title) and II, 1 (Ridinger address without date) resp.
Sheets 1, 5 + 8 with watermark torso. – With 2-2.5 cm wide partially feebly foxing margin, only the title in the image as well and somewhat more in the white margin. – Laterally left mounted on cardboard of 1919. – The fold strips partly, of sheet 8 completely, torn, but backed acid-freely. – In rust-red wrappers, inscribed in German (by own hand?) “Rugendas / Diversi Pensieri / 8 l / Wolff A. V. 1699 / complete see Stillfried p. 1 no. 20-27”.
The charming set of “bucolic contents”
like the “Capricci” of 1698 (Gode Krämer in Catalogue Augsburg), filled with the poetry of the intimate Rugendas beyond of battle noise. – See the complete description.
Offer no. 28,608 / EUR 940. / export price EUR 893. (c. US$ 1250.) + shipping
“Should … the Illness … even be the Glanders …”
Proclamation by Charles I, Duke of Brunswick-Lüneburg (1713-1780, accession to the throne 1735, nephew of Emperor Charles VI and brother-in-law of Frederick the Great) subjecting the horses’ glanders to the duty of notification. Issued Brunswick April 4, 1771. (1771.) 34.7 x 41.4 cm. 1 page. With attractively decorated woodcut-initial with the freely jumping horse of Lower Saxony’s coat of arms below the prince’s hat. With the duke’s signature printed besides the “L(oco) S(igilli)”-stamp and that of H. B. von Schliestedt.
Framing–Attractive Broadsheet Meant for the Bulletin Boards as exceptionally rare in this kind of reference to the horse. Least of all by such a thematic rank as here and of especially beautiful impression through spacious typing, absolutely uncut wide margins, and impeccable condition with only slight even papertone. The never used copy of an archive! – See the complete description.
Offer no. 13,004 / EUR 373. / export price EUR 354. (c. US$ 496.) + shipping
Carle Vernet (actually Antoine Charles Horace, Bordeaux 1758 – Paris 1836). La Chasse. Fox-hunting. Aquatint by Louis Philibert Debucourt (1755 Paris 1832) printed in brown. 48.1 x 66.8 cm. – Dayot 2, II (with ills.). – Splendid large item in Debucourt’s characteristic manner, yet for the horse-crazy Vernet a sujet par excellence. – See the complete description.
Offer no. 12,292 / EUR 1508. / export price EUR 1433. (c. US$ 2007.) + shipping
Silberer, Victor. (Turf Dictionary containing all Technical Terms in common Use with Comprehensive Explanations, and the Names of well-known and Famous Horses with Description of their Descent, their Owners, and their Performance etc. etc.) 2nd enlarged and improved ed. Vienna + Leipsic, Allgem. Sport-Zeitung, 1890. Sm. 8vo. 640 pp. Soft-green cloth with the orig. colour illustrated cloth from front board + back mounted. – The wanted compendium. – See the complete description.
Offer no. 12,462 / EUR 343. / export price EUR 326. (c. US$ 456.) + shipping
“ An Admirable Work on the Subject ”
Henry William Herbert. Frank Forester’s Horse and Horsemanship of the United States and British Provinces of North America. 2 vols. New York, Stringer & Townsend, + London, Trübner & Co. 1857. 4to. 552, 576 pp. errata slip. With incl. of the two illustrated titles, 16 steelplates by several artists and engravers on mounted China, 10 double full-page pedigree plts. (bound not in their fixed order), and numerous woodcut ills. Richly gilt and blind stamped illustrated orig. cloth. Brown edges.
Sabin 31465. – First Edition. Isolated slightly brown traces by plants and, mostly affecting only the especially wide margins, slight foxing on the pages by the plates. The latters itself mostly only on the verso and on the white margins of the mounting paper resp. Binding cleverly restored. Otherwise a really fine copy of this standardwork dedicated “To all true Lovers of the Horse … as a Tribute of the Animal, and to the Feelings of those who duly appreciate him …”. – See the complete description.
Offer no. 11,909 / EUR 1380. / export price EUR 1311. (c. US$ 1836.) + shipping
before Painterly Harz Mountains Scenery
Harzburg – Karl Dietrich Pirscher (1791 – Brunswick 1857). View of the Ducal Brunswick Stud-Farm Harzburg. View from a hill at the facility situated in the center together with adjacent and distant parts of the place before picturesque Harz Mountains scenery with larger estate on the distant mountain quite right. On the three paddocks of the stud six (two galloping) horses. Quite in front two heavily loaded men on their way, accompanied by dog & boy. Colored chalk lithograph. C. 1830. Inscribed: Pirscher., otherwise in German as above. 30.5 x 40.2 cm.
THE RARE SHEET
in the ARTIST’S / PUBLISHER’S COLORING of the DE LUXE EDITION
(the ordinary issue in black/white) of painterly beauty as just so provable here on the market 1977 for the last time, which should be the very same now present copy. – The backside foxing at the subject side practically perceptible only in the white margin of 2-2.5 cm. – See the complete description.
Offer no. 28,917 / EUR 1150. / export price EUR 1093. (c. US$ 1530.) + shipping
Smith, John Thomas (1766 London 1833). Hackney Coachman. About 1687 and thus like a postilion with a short whip and roweled spurs. Etching. C. 1819. 18.8 x 11.4 cm. – Minimally foxing. – See the complete description.
Offer no. 8,797 / EUR 69. (c. US$ 97.) + shipping
In distinctive old marbled wrappers
Meyer, Johann (1655 Zurich 1712). Cavalry Battles. Set of the 6 etchings partly worked with drypoint in frieze shape after Heinrich Werdmüller (d. 1677, in Villingen?, officer) in Zurich (?) on 3 leaves. Inscribed on leaf 1: David Funck exc. / J. Meyer f. / 1(-6). 5.2-5.5 x 18.2-18.3 cm. Coloured marbled contemp. stitching.
Nagler 6, I (of II). – “In the first impression (as here) with the address of David Funk (art dealer in Nuremberg), in the second with that of Schmidhamer, and with double (border) lines” (Nagler). – Leaf 1 uniformly slightly browned, leaf 2 even a little less. Some small age spots. – See the complete description.
Offer no. 28,932 / EUR 1400. / export price EUR 1330. (c. US$ 1862.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (Passaging at the Wall right.) White horse to the left, putting the feet one upon the other. Etching + engraving. (1734.) Inscribed: avec P. S. C. M. / J. E. Ridinger inv. des. et excud. Aug. Vind., otherwise in French-German-Latin parallel text as before. Leaf size 51.3 x 36.6 cm.
Thienemann + Schwarz 635. – New (or Vienna) Riding School XIV (Th., dated, leaf 8). – Watermark fleur-de-lis. – Trimmed within the image margin, below with slicing of the lower text line. Below the horse carefully retouched, backed tear, at the left margin box pleat of about 16.5 cm originating from printing. Evenly browned. In regard of both the general delicacy of these large-sized leaves and the rareness of the set still acceptable.
Offer no. 13,008 / EUR 499. / export price EUR 474. (c. US$ 664.) + shipping
Immortal Prince Eugene
Rugendas, Georg Philipp I (1666 Augsburg 1742). Serenissimus Princeps Eugenius Franciscus, Dux Sabaudiæ et Pedemontÿ, Marchio de Saluzzo, Sac. Cæs. Maj. Consiliar. Int. Concilÿ Aulico-Bellici Præses, Copiarum Cæsarear. Dux Supremus et Locumtenens Generalis: S. R. I. Campi Mareschall., aurei Velleris Eques. Franz Eugene Prince of Savoy (1663-1736) with marshal’s baton in the outstretched right mounted on a white horse galloping to the right in an just allusively outlined landscape. On the right laterally in the middle distance partly schematic battle scenery. Mezzotint. (1713/14.) Inscribed: Georg Philipp Rugendas inv. et fecit Aug. Vind., otherwise as above. 46.9 x 36.2 cm.
Teuscher 55. – Not in Stillfried + Nagler who both only know the not belonging to version T. 59. – Trimmed close to the platemark, in places on this itself and on the right on 3.5 cm on the edge of the subject. – Mounted by old on laid paper whose margins have been laminated on the front frame-like with grey-bluish paper. The image itself braid with black surrounding line.
Very fine, highly nuanced impression of rich chiaroscuro and adequate preservation (slightly rubbed, two tiny and quite small scrapings resp. on the right in the margin, only minimally recognizable vertical fold from bottom till below the horse’s belly) of the portrait collection of von Roemer father + son originating in the early 19th century which in 1871 devolved upon today’s Museum of Fine Arts Leipsic and was sold by this in 1924 obviously entirely (not only the duplicates as Lugt notes; see auction sale Boerner 142). Recto lower right its collection stamp “(Municipal Museum at Leipsic)” (Lugt 1669e), on the back the removal stamp “(Disposed by Museum of Fine Arts Leipsic)” (L. 1669f). – See the complete description.
Offer no. 14,364 / price on application
The Great Marlborough
– – – Serenissimus Princeps, Iohannes, S. R. I. Princeps Mindelheimensis, Dux et Comes de Marlborough, Marchio de Blanfort, Baro de Churchille, de Aymond et Sandridge, Ordinis Periscelidis, etc. John Churchill Duke of Marlborough (1650-1722) with the marshal’s baton in the stretched out right and the sword at the left galloping to the left in meagre landscape. On the lateral left in the middle distance little fighting horsemen accessories, even mor in the background building. Mezzotint as before. 46.9 x 36.2 cm. – Teuscher 58; Stillfried 282; Nagler 10. – Pen-and-ink drawing with wash in the same direction, 428 x 370 mm, in the Witt Collection of the Courtauld Institute Galleries in London. – See the complete description.
Offer no. 14,363 / price on application
Prince Eugene of Savoy & the Duke of Marlborough
The two monumental Rugendas equestrian portraits above together not just as then after all simultanously two of the superbly rare six leaves of Rugendas’ great
set of the princes on horseback
on galopping white horses with the marshal’s baton in the right
of , really up to date, (1713/1714).
Completely here not provable in literature anymore, and used by Ridinger as stimulus for his own Princely Persons on Horseback, they are nevertheless an extraordinary attractive, quite personal temptation + seduction to achieve the peu à peu completion some day, however, as perhaps then unique and moreover singular. But also in pictorial regard as if framed
the two riders gallop pendant-like towards each other .
And, even more, in lifetime these two noblemen stood
in closest personal connection to each other :
“ … the two generals crowned with glory found … each other again . ”
That is since 1704 in the war of Austria and its allies against France with Bavaria.
“ June 10, (1704, Eugene) … met Marlborough on the Neckar who commanded the English auxiliary forces … Two months later … the two generals defeated the united Frenchmen and Bavarians in the decisive battle near Höchstädt. The capture of Landau, the expulsion of the French from Germany, the occupation of Bavaria by the Austrians were the immediate consequences of the brilliant victory ”
(Alfred Ritter von Arneth in Allgemeine Deutsche Biographie, VI , pp. 409 & 411).
Rugendas I, Georg Philipp (1666 Augsburg 1742). Detachments of Horsemen. On the right vivacious group of two riders, each with additional led horse, on the left resting sumpter horse with leader. In-between, set back in small figures, horsemen talking with two passers-by. Etching by Georg Conrad Bodenehr (1673-1710). Inscribed: G. P. Rugendas del. / Cum Privileg. S. C. Maj. / Ierem. Wolff exc. Aug. Vind. / G. Conrad Bodenehr Sc. / A 5. 12.1 x 15.9 cm.
HORSEMEN AND BATTLES , set A, 5. – Teuscher 174, I (of II, recte III: a later edition was published, probably in the 1820s, at the same place at Herzberg, see T. 169) with illustration; Stillfried 54. – Marvelous impression with margins 4-4.9 cm wide of the J. H. Anderhub Collection. – See the complete description.
Offer no. 28,610 / EUR 148. (c. US$ 207.) + shipping
– – – Before the Battle. In the foreground two unlimbered cannons with two piece hands, balls and loading equipment as well as an officer just galloping up. Left of this two horsemen, on the right, likewise slightly set back, mounted troop whose leading officer points to the horizon with his sword where several parts of troops take place. Etching as before. Inscribed: Georg Phil. Rugendas del. / Cum Privil. Sac. C. Maj. / Ieremias Wolff exc. Aug. V. / G. C. Bodenehr Sculps. / A 9. 12.2 x 15.8 cm.
Sheet 9 of the set. – Teuscher 178, I (of II, recte III) with illustration; Stillfried 58. – Marvelous impression with margins 3.9-4.8 cm wide of the J. H. Anderhub Collection. – See the complete description.
Offer no. 28,611 / EUR 148. (c. US$ 207.) + shipping
Following Sheets from Ridinger’s
Small Riding School
as his most extensive one
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Correct Pace at the Wall straight ahead. / Le pas du Manége à coté de la Muraille tout droit. Piebald to the left, beyond the wall pyramid projecting between trees. Etching + engraving. (1760.) Inscribed: J. E. R. / No. 13., otherwise in German-French as above. 19.1 x 13.7 cm.
Thienemann + Schwarz 659. – Presentation and Description of those School and Campaign Horses after their Lessons XIII. – Late impression on fine, though strong paper with white margin of 1-2 cm all around of the platemark. Upper corners feebly browned in the white margin from former mounting. – Explained within the text part as following:
“ Le pas du manége fait aller le cheval sur la ligne & porter sa tête bien & ferme. ”
See the complete description.
Offer no. 15,166 / EUR 65. (c. US$ 91.) + shipping
– – – Half cheerfully straight ahead. / A demi allegre sur la ligne. Piebald on the hind legs before a wall. Beyond trees and column of water. As before. – Thienemann 681. – Sheet 35. – Ca. 2.5 cm long break of the upper platemark backed acid-freely. Small tear-off in upper left corner in the white margin, otherwise as above.
“ A moitié alerte est quand le cheval se leve avec vitesse tems sur tems. On reconnoit par là si le cheval est asséz bien dressé. ”
See the complete description.
Offer no. 15,168 / EUR 65. (c. US$ 91.) + shipping
– – – From the Earth to the Earth. / Terre à Terre. Dark piebald on the hind legs to the left. In the background wall as well as trees. As before. – Thienemann 682. – Sheet 36. – In the subject three unsuspicious pin-tip tiny holes, otherwise as above, thus without the break in the platemark.
“ Terre à terre est une action ou le cheval se tient sur la hanche sans se lever beaucoup. ”
See the complete description.
Offer no. 15,169 / EUR 65. (c. US$ 91.) + shipping
– – – Pirouette right on a Circle of the Length of the Horse / La Pirouette à la droite sur un Cercle la longueur du cheval. Before round arch column next to pillar and gallery in an indoor riding school. As before, but standard old impression . – Thienemann 683. – Sheet 37. – 4-4.5 cm wide-margined. – The left stitching margin somewhat unsightly from severance. – Watermark: … REGEN. – Some minimal spots of printer’s ink, one of which in the picture itself at the lateral round arch.
“ La Pirouëtte se fait, quand le cheval se tourne tout d’un coup pardevant dans un cercle ètroit, le derriere restant ferme sur la place. On observe aussi, que les piés à la droite & à la gauche selon que le tournement se fasse, soient pardevant & par derriere l’un sur l’autre. Cette action est fort commode pour un Officier qui commande. Mais il faut qu’on y ait un cheval bien dressé & puissant. ”
See the complete description.
Offer no. 28,626 / EUR 275. / export price EUR 261. (c. US$ 365.) + shipping
– – – Full Capriole straight ahead / La Capriole entiere sur la ligne. Flight through the air to the right that the hat flies. As before. – Thienemann 689. – Sheet 43. – Watermark torso of fleur-de-lis. – Some minimal spots of printer’s ink in the white margin.
“ La capriole entiére apendra le cheval à franchir tout, sur quoi li peut mettre sa bouche. Car ce ne seroit pas sans péril, si l’on voudroit forcer le cheval à sauter plus haut. Mais par de telles caprioles beaucoup des Officiers & Soldats ont fauvé leur vie, & evité la captivité, ou ils se sont rendus heureux en poursuivant leur ennemi. ”
See the complete description.
Offer no. 28,628 / EUR 235. (c. US$ 329.) + shipping
– – – To accustom the Horse to Flags / Accoutumer le cheval au drapeau. Rider in riding school with round arches unfurling the flag. As before. – Thienemann 690. – Sheet 44. – Watermark torso of fleur-de-lis.
“ Accoutumer le cheval au drapeau est trés necessaire, afin que les chevaux des Officiers ou des autre amateurs ne soient pas ombrageux. ”
See the complete description.
Offer no. 28,629 / EUR 275. / export price EUR 261. (c. US$ 365.) + shipping
– – – To accustom the Horse to the Drum / Accoutumer le cheval au Tambour. From front, coming along an alley lined by park walls. As before. – Thienemann 691. – Sheet 45. – Torso of a small figurative watermark.
“ Accoutumer le cheval au tambour est bon singuliérement pour les chevaux des Soldats pour les rendre tranquiles de tout bruit. ”
See the complete description.
Offer no. 28,630 / EUR 275. / export price EUR 261. (c. US$ 365.) + shipping
– – – To make the Horse shot-proof / Le cheval d’arquebusade. Rider in box hall (?) with round arches, firing the rifle. As before. – Thienemann 692. – Sheet 46. – Watermark torso of fleur-de-lis. – The left stitching margin injured from severance incl. of a 3 cm deep tear lower left in the wide white margin and backed with the old broad fold strip. Besides two backed tiny tears in the right outer margin and as a whole somewhat age-marked. The 2.5 cm long black line at the edge of the wall a plate uncleanness from printing however.
“ Le cheval d’arquebusade est bon & pour les Soldats & pour les amateurs de la chasse . Les chevaux de ceux qui prennent des poules & des tireurs à la volaille demontrent, combien on y puisse avancer. ”
See the complete description.
Offer no. 28,631 / EUR 235. (c. US$ 329.) + shipping
art-historically important , warmly felt Sujet
of the Old Horse
Ridinger – Roos, Johann Heinrich (Otterberg, Palatinate, 1631 – Frankfort on the Main 1685). Animal Pieces. Set of 6 sheet. Etchings by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Between 1724 + 1728. Inscribed varyingly: Iohan Hein. Roos invent. et del. / Elias Ridinger sculpsit Aqua forti. 26.8-27 x 30.7-31.3 cm.
Thienemann + Schwarz (ills. I, p. 104) 797-802; Coppenrath part II (1889), 1577 ( “Very rare set” ); Ridinger Catalogue Darmstadt, 1999, IV.10-15, illustrated completely. – In Weigel’s Art Stock Catalogue, parts I-XXVIII (1840-1857) as the one and only the copy before any letter only, IX, 10322, in 1840. – Watermarked Crown + word mark.
The very fine copy of the collection “EK” with its small blue round monogram stamp (ligated, not in Lugt) on the back of these bewitchingly beautiful etchings marked with “Aqua forti”, together the
with still partial light façette dirt,
absolutely untrimmed up to the intact deckle-edge
(top + bottom 7-7.5 cm wide-margined, laterally 10-10.5 cm), thus still with the two pinholes on the left from hanging up for drying! – Totally two/three acid-freely backed minitears in the outmost margin. Back of sheet 6 slightly age spotted of which two spots and slightly larger light brown stains each shining through the right margin. Smoothed centerfolds.
In regard of the state with Hertel’s address “Iohann Georg Hertli excud. Aug. Vind.” (Thieme-Becker XVI, 552: progenitor of the Augsburg family of engravers, who later, after buying a part of J. Wolf’s publishing house, founded a publishing house himself; still lived about 1760) on the first sheet analogously to Thienemann + Schwarz. The rough classification of the states: before any address – Wolff Heirs – Hertel . – The plate numbering results in the sequence Thienemann 797 – 798 – 802 – 801 – 800 – 799 .
Among the sceneries of this suite that for Thienemann “turned out far better” compared with the first
so famous ones as the programmatic one of the group
art-historically important , warmly felt sujet
of the old horse ,
of which Brockes said one would see it
“ Not with pleasure and yet with great pleasure ”.
And even in 1900 Helbing valued a brilliant copy of the set with 60 Goldmark equally to the suite of the Four Seasons of the Hunter or half of a fine copy of the 23-sheet set of the Fair Game and higher than the brilliant yet trimmed impressions of the Imperials Th. 67/68 (50 Goldmark). – See the complete description.
Offer no. 28,485 / EUR 1750. / export price EUR 1663. (c. US$ 2329.) + shipping
Already the Postilion sits on the Driver’s Seat
and the Postmistress urges by heavily ringing the Bell –
but still the Hunched Little Postilion of the previous Stage
fights for his Tip from a Corpulent Changer
Hogarth, William (1697 London 1764). A Country Inn Yard (or The Election Procession in the Yard). The last travelers enter
the overland stagecoach ,
the postilion already took the driver’s seat, and the landlady acting as postmaster urges for hurry by heavily ringing the bell. In the front a hunched small postilion asks a corpulent gentleman changing coaches here for a gratuity for the previous stage. Engraving. Inscribed: Design’d and Engrav’d by W. Hogarth. — Publish’d According to Act of Parliament. 1747. 22 x 31 cm.
After the painting of 1747. – Regardless of the rich postal scene the actual happenings – in addition to the Four Prints of an Election – concern the mockery of a “candidate defeated in a parliamentary election” whose stuffed figure – as already in regard of the Duke of Newcastle on plate 1 of the Election set – is carried round in a procession of the opposing party. This all the more annoying as the defeat is caused by formalties, that is the yet barely missed age of the candidate, and thus was foreseeable. Accordingly unwillingly an agent of the unfortunate – a copy of the Act against bribery and corruption in his pocket – foots the bill for the wasted election entertainment to the landlord.
“ The well-known plate … shows with Dickens’ humour a comfortable depiction of rural petty bourgeoisie ”
(Thieme-Becker XVII, p. 297, 2).
Nagler 30. – Impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).
Offer no. 7,803 / EUR 135. (c. US$ 189.) + shipping
– – The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees & Orme, May 1st. 1808. Bildgröße 12.2 x 17.1 cm.
Cook’s smaller version, engraved together with his son. – Trimmed within the wide white platemark.
Offer no. 8,941 / EUR 60. (c. US$ 84.) + shipping
– – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth pinx. 1747. / E. Riepenhausen sc. 21.3 x 26.7 cm.
Riepenhausen’s works after Hogarth ( “very valuable” ) belong to his major work and are partially even preferred to those by Hogarth. – In regard of the especially fine, buff paper supposedly an impression for a special edition about 1830. – Margins somewhat agespotted. Equally the image itself slightly.
Offer no. 7,804 / EUR 118. (c. US$ 165.) + shipping
– – The same in lithography. (1833/36.) Inscribed: Die Landkutsche. 24.7 x 23.7 cm. – Extensive caption in German.
Offer no. 7,805 / EUR 125. (c. US$ 175.) + shipping
Morning Rush Hour a Quarter of Millennium Ago
Hogarth, William (1697 London 1764). A Morning in London. Daily turbulence at Thavie’s Inn Coffee House, today for a change the sleeping drayman on his fully loaded cart, running over a boy while additionally the bung of one of the barrels got off and the much demanded thirst-quencher runs onto the street. But also Tom Nero’s overturned coach in front left
with the four attorneys on their way to Westminster
promises troubles for the coachman. Engraving. Inscribed: Designed by W. Hogarth. / Published according to Act of Parliament Feb. 1. 1751. 39.1 x 32.3 cm.
The Four Stages of Cruelty II. – With 12-lined caption in three verses by supposedly Rev. James Townley.
The famous sujet by which Hogarth successfully tried to call the attention to the brutalization of the lower classes. Since – so Lichtenberg – “supposedly the drayman will know to comfort himself over the unlucky boy, but have quite different feelings in regard of the suffered (beer) damage”. But also the attorneys’ driver should not be in a good mood neither as “(e)ven every single one of the four would be able to bring
the coachman to the Justice of the Peace
to enforce forfeit for the suffered shock”. That the attorneys let themselves be driven by Tom Nero at all is the gag pure and simple :
Because he is the arch-rogue of this set. Whom an acting earthly justice finally brought on the gallows, then into the anatomic theatre. The latter due to common prejudices of especially deterring effect.
Harmonic impression, perhaps from the complete edition published by Boydell 1790-1809. – Some backed small tears in the broad white and a tidemark in the upper left corner. – See the complete description.
Offer no. 6,516 / EUR 445. / export price EUR 423. (c. US$ 592.) + shipping
– – The same. 38.7 x 32.3 cm. – Deep impression from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).
Offer no. 6,515 / EUR 445. / export price EUR 423. (c. US$ 592.) + shipping
– – The same. Steel engraving. C. 1850. Inscribed. 15.9 x 12.2 cm.
Offer no. 6,018 / EUR 65. (c. US$ 91.) + shipping
Youth and Age of the Horses
Four Drawings – Four Unica
Dahl, Siegwald Johannes (1827 Dresden 1902). Begleitet die Mutter bei der Arbeit (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 as above. 182 x 232 mm.
Thieme-Becker VIII, 274 f.; Boetticher, Malerwerke des 19. Jhdts., I/1, 211 ff. – On very thin paper mounted on thin cardboard, of which the left white lower edge has loosened.
“ D. (son of Joh. Chr. Clausen D., already as a 37-age honorary member of the Dresden Academy) 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. In respect of loving observations these genre scenes could stand comparison with those of Edw. Landseer whose works D. had studied in London … 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 ”
(Thieme-Becker, whose estimate of his portrait drawings
“ drawings of partly extraordinary delicacy ”
corresponds with the one here, too). – See the complete description.
Offer no. 14,557 / EUR 370. / export price EUR 352. (c. US$ 493.) + shipping
– – Eingespannt (Put to the Carriage). Young one-horse lively stepping out in slightly outlined landscape with brushwood (?) on the carriage and the Pomeranien first. Pen in black as before, but on thin cardboard. – Belonging to the “drawings of partly extraordinary delicacy”, too. – See the complete description.
Offer no. 14,556 / EUR 345. / export price EUR 328. (c. US$ 459.) + shipping
– – Zusammengebrochen u. … von dem Ulanen … wieder erkan(n)t, welcher aber vom Kutscher weggewiesen wird (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 as before. – 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$ 503.) + shipping
– – Kan(n) sich nicht mehr lagern (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, otherwise as above. – On thin cardboard. – Warmly felt sujet. – See the complete description.
Offer no. 14,559 / EUR 370. / export price EUR 352. (c. US$ 493.) + shipping
Ridinger, Martin Elias (1731 Augsburg 1780). Ludovjcus VIII. D. G. Landgravius Hassiæ-D(armstadiæ). Princeps Hersfeldiæe, Comes in … Nidda, Schaumburgo, Isenburgo et Budinga etc. Sacræ Cæsareæ ac Regiæ Hungaricæ et Bohemicæ Apostol. Majestatis Suppremus Campo Mareschallus … . On his dapple (“The landgrave always rode dapples, also on the hunt”, Wolfgang Weitz) with baton rested on the right thigh, riding at calm walk towards a drawing up of forces in hilly landscape to the left. Etching + engraving after Georg Adam Eger (1727 Murrhardt 1808). Inscribed: G. A. Eger Serenissimi Landgr. Pictor, pinxit. / Mart. El. Ridinger sculps. Aug. Vind., otherwise as above with the rich escutcheon held by lion shield-bearers in the center. 37 x 26.3 cm.
Thienemann-Stillfried (1876) + Schwarz (1910) 1378; Siebert, Kranichstein (1969), ills. p. 62; Ridinger catalogue Darmstadt (1999) VI.25 with ills.; Siebert-Weitz, Ridinger – (Pictures on the Hunt in Hesse-Darmstadt) (1999), pp. 52 f. with illustration.
Not among the extensive Ridinger inventories of Weigel, Art Stock Catalogue I-XXVIII (1838/56), Coppenrath (1889/90), Helbing XXXIV (Works by J. E. and M. E. Ridinger; 1900) + Schwerdt (1928/35) as well as the opulent Ridinger collection Count Faber-Castell (1958) and the hippological collections Anderhub (1963) + Sarasin (1999). Just as then through the decades also here present for the first time.
The equestrian desideratum – if then known at all –
hurting in many places
on heavy laid paper with surrounding margin mostly 8 mm wide, here from the now dissolved rich Ridinger collection of Radulf Count of Castell-Rüdenhausen from whose hand the pencil annotation “Th.St, 1378. Very rare” in the white margin lower right presumably originates. – A slight foxing within the image barely perceptible and only recognizable in the upper wide white platemark as well as like in spots in the left white plate + paper margin. – See the complete description.
Offer no. 14,850 / EUR 945. / export price EUR 898. (c. US$ 1257.) + shipping
„ Hartelijk dank voor de zorgvulige wijze … Voor mij bent u de Mercedes onder de prentenhandelaren! “
(Mijnheer P. E., 24. Januar 2008)