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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: Oberer Pferdekiefer. C. 1765. 257 x 145 mm.

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

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 request

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Grunenberg, Arthur (Königsberg 1886 – Berlin 1927). 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.

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 20^th 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$ 2736.) + shipping

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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$ 3283.) + shipping

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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$ 408.) + shipping

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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$ 609.) + shipping

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John Frederic Herring Sen. (Surrey 1795 – Meopham Park 1865). Evening. Horses ridden to the village’s pond for watering after the day’s work. Coloured aquatint by J. Harris (John H. II, c. 1791-1873?). 1849. 55.8 x 72.5 cm. – See the complete description.
Offer no. 12,164 / EUR  700. / export price EUR  665. (c. US$ 958.) + shipping

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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 before 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$ 108.) + shipping

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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$ 1176.) + shipping

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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).

At the back lower left numbered by old in brown ink 191/92, but barely originating from a sketchbook (“All drawings [in Augsburg] origin 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,

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 at 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

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 at 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 16^th century that manifests itself especially in the 17^th 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).

Whose sets of prints are “a true dictionary for the draughtsman of horses”, so already Meusel 1803 in his “Biography of the Battle Painter Georg Philipp Rugendas” (after Held, p. 126).

And for the immediate 18^th 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

See the complete description.
Offer no. 15,181  /  price on request

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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$ 108.) + shipping

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– – 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$ 122.) + shipping

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– – 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$ 122.) + shipping

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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. – At the back quite weakly browned, below of 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 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).

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 17^th century.

Picart , the “most important and together most productive engraver in the French-Flemish region at the beginning of the 18^th 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, Spreading and Aftermath of Netherlandish Painting of the 17^th Century, 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$ 359.) + shipping

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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$ 324.) + shipping

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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, completely smoothed out longitudinal folds. – See the complete description.
Offer no. 15,152 / EUR  189. (c. US$ 272.) + shipping

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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$ 285.) + shipping

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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. – Completely smoothed out diagonal fold above of the horse’s head + rider, otherwise of great freshness. – See the complete description.
Offer no. 15,154 / EUR  198. (c. US$ 285.) + shipping

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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. – At 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$ 285.) + shipping

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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$ 324.) + shipping

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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$ 285.) + shipping

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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$ 285.) + shipping

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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$ 272.) + shipping

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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$ 285.) + shipping

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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. – Completely smoothed out vertical pressure mark. – See the complete description.
Offer no. 15,161 / EUR  198. (c. US$ 285.) + shipping

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“ 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.

The Par Force Hunt of the Stag III. – Thienemann + Schwarz 51; Weigel, Art Stock Cat., 4a + 16545 (“old now only seldom occurring impressions”, 1847!); Stubbe, Johann Elias Ridinger, 1966, pp. 15 f.

“ 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 ”

(Thienemann).

Extensive 8-line subtext 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$ 1765.) + shipping

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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 subtext 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$ 56.) + shipping

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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 clair-obscure 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 clair-obscure 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 clair-obscure engravings of Johann Christian reflect. – See the complete description.
Offer no. 12,223  /  price on request

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London Horse & Carriage Repository, Gray’s Inn Road, NW + SE View of the. Richly arranged court views. 2 sheet. Steel engravings by William Deeble (GB since before 1814) after Thomas Hosmer Shepherd (1^st half of the 19^th century). 1828. 11 x 14.8-15.1 cm.
Offer no. 9,196 / EUR  76. (c. US$ 109.) + shipping

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Steeple Chases de 1868, Vainqueurs des. Review of the 8 winners of the 1868s steeplechases. Coloured and glazed lithograph for Lemercier in Paris. (1868.) 26 x 42.3 cm.

The centre fold 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$ 546.) + shipping

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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 Italian 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 his both stamps lower right and on the added former old 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 request

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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 unnumbered ll., 319 pp.; 2 unnumbered 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 19^th 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 coat-of-arms 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 backplates 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$ 2367.) + shipping

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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 blindstamped lines, and coloured fly leaves. Brown edges.

Souhart 389 f. – The plates instructively illustrating angling – bird-catching + -hunting and all kinds of nets , baskets + weit-baskets for fishing , small game + wolf hunting. – Two names on the fly leaves. – Also in regard of the binding a fine, mostly nearly impeccable copy. – See the complete description.
Offer no. 13,139 / EUR  765. / export price EUR  727. (c. US$ 1047.) + shipping

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Bürde, Friedrich (Breslau 1792 – Detmold 1849). Bayard in the Frederick William Stud-farm bred from Turcmainatty and Dersagrena in the Year 1802; 5 feet 1 inch high, dark brown. Standing to the right. With tree/shrub accessories and small architecture with tower in the middle distance. Etching, partly with dry point. Inscribed in German: painted from life and etched by F. Bürde 1822. 3^rd issue / Berlin, for Simon Schropp & Comp., otherwise as above. 38.2 x 50.4 cm.

Thieme-Becker V, 194; Nagler II, 198. – Not in the Sarasin Collection (1999). – From the 3^rd issue of the “Illustrations of Excellent Horses which are in Royal Prussian Stud-farms … ”. Complete here not traceable on the market. – Correspondingly to the sheet-size (53.2 x 69.2 cm) with wide margins and here acid-freely repaired small tears, only two with 2-2.5 cm somewhat longer. – See the complete description.
Offer no. 28,607 / EUR  964. / export price EUR  916. (c. US$ 1319.) + shipping

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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 Kcs.).

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$ 348.) + shipping

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– – 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$ 72.) + shipping

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Hunting Horses, English. Two hunters on horseback along with a three-pack at a lattice. Steel engraving by F. Hirchenheim(n?). Ca. 1835. Inscribed: XXXII / F. Hirchenheim (elsewhere Hirchenhein) sc, otherwise as before 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$ 92.) + shipping

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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$ 72.) + shipping

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(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$ 114.) + shipping

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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 nearly 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$ 317.) + shipping

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Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Young Tiger-Horse bred at

Orange=Polder ,

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

Dutch  voyage

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 at 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$ 213.) + shipping

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Rue, F. R. de la (Paris middle of 18^th 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$ 141.) + shipping

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– – 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$ 81.) + shipping

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Wouwerman, Philips (1619 Haarlem 1668). Saddle Horse at the Oats Trough. Broadside to the right looking at the beholder. Below of 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$ 180.) + shipping

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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. – Continued local text on both sides.
Offer no. 8,387 / EUR  61. (c. US$ 88.) + shipping

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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$ 1614.) + shipping

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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. – At 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 of the shadow hatching thin paper spot from nearly 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

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 wallmap 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. 28,552 / EUR  980. / export price EUR  931. (c. US$ 1341.) + shipping

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Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (A Frisian Horse.) Longtailed, the right back hand angled, selfconfidentially to the right in a landscape bordered by an estate. Etching + engraving by Johann Gottfried Seuter (Augsburg 1717 – 1800). Inscribed: 3. / a J. El. Ridinger ad vivum depict: et exc: a(t)qu(e). J. G. Seuter (step) filio meo aeri incisi and title in German-French-Latin. 28.3 x 34.4 cm.

Thienemann + Schwarz 578. – Leaf 3 of the four plates of the set of the “Nations of the Horses” numbered Arabic as remained unknown to Thienemann + Schwarz in whose arbitrary order it figures as 17. – See the complete description.
Offer no. 28,237 / EUR  476. / export price EUR  452. (c. US$ 651.) + shipping

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The  significant  1^st  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$ 1047.) + shipping

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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$ 66.) + shipping

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– 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$ 124.) + shipping

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– 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$ 86.) + shipping

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– 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$ 86.) + shipping

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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$ 1888.) + shipping

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– – – 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 nearly 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$ 1997.) + shipping

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– – – 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 12leaved (or 3 à 4 leaves resp.) Horse Dressage T. 118-129. – Not in Nagler. – Only little conspicuous from the front the smoothened creasing. Here also nearly 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$ 2729.) + shipping

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– – – 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. – Smoothened creasing nearly 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$ 2729.) + shipping

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– – – 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. Smoothened 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$ 2729.) + shipping

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---

 

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$ 166.) + shipping

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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$ 534.) + shipping

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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$ 284.) + shipping

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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 at the back. – Small foxing spot in the white field above of the trees behind Henry’s back. – See the complete description.
Offer no. 14,785 / EUR  138. (c. US$ 199.) + shipping

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The  Fullness  of  Riding  amidst  a  Par Force Hunt

Antoine Charles Horace Vernet, named Carle Vernet (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). Ca. 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 printing quality not least affected by the fine handling of light and shadow. – See the complete description.
Offer no. 28,049  /  price on request

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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$ 272.) + shipping

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With  many  good  “ Hints  to  ‘Amazones’ ”

Sidney, S. 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, ca. 1880. 4to. 3 ll. 604 pp. Giltstamped illustrated orig. cloth.

The fine colour 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$ 863.) + shipping

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(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$ 94.) + shipping

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Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Redop at the Wall. Wide place with a group of four riders, of which one redops with the assistance of an instructor and a groom. In the middle another instructor bringing a groom before the equerry entering the scene from the portal of a ruin. In the front a hound following the redop, closely beside another one standing. Pen and brown ink with grey washes with slight pencil sketch in the upper left. (1722.) 210 x 336 mm.

The original drawing before being side-inverted for the preparation of the etching for plate 15 – Thienemann 620 – of the first riding school as the wonderful evidence of the perfection of style Ridinger had already reached in the early age of 24. Pictorial riding school drawings are paramount Ridinger rarities. Signature and date of the drawings – with these now 18 leaves are traced to have been handed down to us – to be found on the title: JOH: ELIAS: RIDINGER: invenit et delineavit Anno 1722. Kind and typing of the inscription quite according to the one of an Alexander-the-Great-drawing of 1723 (offer for this under no. 12,472).

The condition at first glance dominated by a wipe-trace left of the ruins which irrespective of an undermixed slight green hue might have been caused by the artist himself since the sketch of a horse shimmers through. Thus granting the much desired look over the master’s shoulder. In the upper part of this wipe small outbreaks, perhaps caused by a worm. Additionally a small, nearly invisible discolouration accompanied by a small wormhole at the right margin. A small brown spot in the lower middle and tiny foxing in the heaven of no interest. The drawing itself of wonderful plasticity. And generally enthusing the vigour of the drawing itself mirroring the youthfullness of the artist himself. – Mounted under acid-free boards with the gilt tooled artist’s name + dates. – See the complete description.
Offer no. 28,072  /  price on request

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– – – The Trotting. Open place in front of the ruins of an once imposing estate with group of four horses and six grooms under supervision of the equerry. Finely bordered pen and brown ink with grey washes as above. 214 x 340 mm.

The original drawing for plate 3 – Thienemann 608 – of the set though without the “look over the shoulder”.

The scenery, dominated by the horse trotting at the longe on the right, subtitled in the etching “In many the pace is correct …”.

While on the left a horseman only mounts his horse, held by the groom, the one and only already mounted one trains his own, good to look in the middle distance beyond the longe. And just whose detail

of 1913 (Lankheit 839, 27 x 29.3 cm).

Worked by Marc in the year of the “Tower of the Blue Horses” as one of the icons of the modernity, “the richest (year of his) creativeness” (Christian von Holst). And along with the simultaneous woodcut “Lion Hunting after Delacroix” the work stands for that time of that “well is to speak of a literal entry of the rider into the œuvre of Marc … The animalizing of art aimed at again and again by Marc by abstracting insight into the horse’s and the remaining animal world’s nature … now tips over repeatedly

into  the  revival  of  the  unity  of  horse  and  rider

… He presents himself as “Blue Rider” by a postcard to Else Lasker-Schüler of 1912, who stands beside and behind resp. of his horse and blends into a unity with him (from the view here in anticipation of the “powerful rhythmic depiction” of the “Riding Scene after Ridinger”) … The hound below right (on the latter) which may remind the onlooker rather of a hunting scene, is owed likewise to Ridinger’s “Riding Art” (comp. the corresponding hounds on the sheets 5, 18 and 22). It looks back as it would see where his master, the rider, stays away. An eager atmosphere of departure determines the scene

making  of  Ridinger’s  background  figure  of  the  rider

the  proper  protagonist .

The rider and the horse form a unity in their extreme impulse of motion. Although

with  Ridinger  Marc  picks  up  a  specialist  of  the trained  horse

it does not go for him on behalf of an artificial symbiosis of man-animal articulating itself especially by training of the horse in the artificial paces” (Andreas Schalhorn). And

(von Holst). The par force scenery on the watercolor “Ried Castle” worked one year later – Holst, ills. 11 – stands for a further example of the occupation with Ridinger. – The quotes from Christian von Holst (Ed.), Franz Marc – (Horses). Catalogue of the 2000 exhibition of the Staasgalerie Stuttgart – special issue 2003 – , pp. 122, 250 f. + 165 f. with illustrations 151 f., 208 + 9. – See i. a., too, Franz (Ed.), Franz Marc – (Powers of Nature, Works) 1912-1915. Catalogue of the exhibition in Munich + Münster, 1993, nos. 138 f. with ills. pp. 300 f.

The ruins reminding at Ridinger of southernly patterns and thus surely a reverence to Italy to where this was on the point of going to during his apprenticeship at Ulm only a few years ealier. – See the complete description.
Offer no. 28,071  /  price on request

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Both  the  two  riding  school  drawings  before

belonged to a set of 18 of totally 23 owned by a baron from which two ones here were separated and got into the possession of a count.

 

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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$ 482.) + shipping

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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$ 3283.) + shipping

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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$ 215.) + shipping

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– – – (Carriage Horse[s]. As before. – Thienemann 489. – See the complete description.
Offer no. 15,164 / EUR  190. (c. US$ 274.) + shipping

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– – – (A Sledge-Horse with Little Bells.) As before. – Thienemann 493. – See the complete description.
Offer no. 7,211 / EUR  279. / export price EUR  265. (c. US$ 382.) + shipping

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– – – (Sumpter-Horse.) As before. – Thienemann 501. – See the complete description.
Offer no. 7,219 / EUR  199. (c. US$ 287.) + shipping

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– – – (Postal horse.) As before. – Thienemann 502. – See the complete description.
Offer no. 15,165 / EUR  180. (c. US$ 259.) + shipping

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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$ 271.) + shipping

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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, the latter one available here per 14,850 – of the Princely Persons 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$ 595.) + shipping

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Duck, Jacob A. (about 1600 Utrecht 1667) or Jan le Ducq (1629/30 The Hague 1676). The River Landscape with the Waiting Rider. 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.

Hollstein, Duck, 9; Nagler, Monogramists, III, Ducq, 2184, no. 8; Wurzbach, Duck, 8; Davidsohn Catalogue I, Ducq (“Debatable sheet … Very rare”), 1378. – Closing leaf of a 4-sheet set – the 3^rd see below – , whose first two ones are by Roman de Hooghe (1645-1708) who also was connected with the whole set. – With nearly 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).

The brilliant impression from the J. H. Anderhub Collection. – 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 of horse + rider only. So, too, a light diagonal trace of fold in the lateral right white image field.

Nagler repeatedly qualifies Ducq’s engravings in the Monogramists dictionary as preciousnesses and here it is especially the “famous set of the hounds” from 1661 that figures in Weigel’s Art Stock Catalogue, division VIII, 1840, per 9135 as “Of greatest rarity” at the high price of 80 Thaler. In the Davidsohn Catalogue (I, 1376) in 1920 the 8 sheets in the second state only were estimated at 600 reichsmark. Yet the “Rider at the Riverside” up here as single sheet – in brilliant quality of impression 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  sale  an  art  collector  paid

100  fl.  for  this  sheet .”

See the complete description.
Offer no. 28,613 / EUR  498. / export price EUR  473. (c. US$ 681.) + shipping

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– – – – 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.

Hollstein, Duck, 8. – Sheet 3 of the 4-sheet set as above and with the no. 3 below outside right in the white margin.

The marvellous 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 of rider + horse resp. – See the complete description.
Offer no. 28,614 / EUR  448. / export price EUR  426. (c. US$ 613.) + shipping

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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.

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$ 1286.) + shipping

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“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) subjugating 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$ 510.) + shipping

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Vernet, Antoine Charles Horace, called Carle (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. – Splendid large item in Debucourt’s characteristic manner. Additionally a Vernet sujet par excellence. – See the complete description.
Offer no. 12,292 / EUR  1508. / export price EUR  1433. (c. US$ 2064.) + shipping

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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.) 2^nd 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$ 469.) + shipping

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“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 blindstamped 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$ 1888.) + shipping

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Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In the year 1746 this noble personal horse of His High Princely Highness Charles Eugene reigning duke of Wurttemberg was painted from life. ./. and sent to me ./. Its colour was grey speckled with white from front, over the back completely white with black spots, the thighs dark grey, the mane and tail light. With plait mane and long tail in front of a wall in a riding school, stepping to the left. Etching and engraving after Ermeltraut’s painting from life. (1746.) Inscribed: 46. / Ermeltraut ad vivum pinx. / J. El. Ridinger Sculp: et excud: A: V., otherwise in German as before. 34.2 x 27.7 cm.

Thienemann + Schwarz 288. – Sheet 46 of the Wondrous Stags and other peculiar Animals. – “The six horses which are contained in the collection have been sold separately later.” – Very fine though somewhat later impression on buff woven paper with typographic watermark rest, perhaps, however, before the edition about 1824 mentioned by Thienemann for which the number upper right was presumably removed. – See the complete description.
Offer no. 28,599 / EUR  760. / export price EUR  722. (c. US$ 1040.) + shipping

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– – – – The same in an impression on buff paper, supposedly of the third quarter of the 19^th century.
Offer no. 15,162 / EUR  190. (c. US$ 274.) + shipping

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Smith, John Thomas (1766 London 1833). Hackney Coachman. About 1687 and thus like a postilion with a short whip and star-like spurs. Etching. C. 1819. 18.8 x 11.4 cm. – Minimally foxing. – See the complete description.
Offer no. 8,797 / EUR  69. (c. US$ 99.) + shipping

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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. 28,486 / EUR  765. / export price EUR  727. (c. US$ 1047.) + shipping

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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 of 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$ 683.) + shipping

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Immortal  Prince  Eugene

Rugendas, Georg Philipp I (1666 Augsburg 1742). Serenissimus Princeps Eugenius Franciscus, Dux Sabaudiae et Pedemontij, Marchio de Saluzzo, Sac. Caes. Maj. Consiliar. Int. Concilij Aulico-Bellici Praeses, Copiarum Caesarear. 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 before. 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 picture edge. – Mounted by old on laid paper whose margins have been laminated on the front frame-like with grey-blueish paper. The image itself braid with black surrounding line.

Very fine, nuance-rich impression of richly contrasted lights and shadows and adequate condition (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 beginning of the 19^th century that in 1871 devolved upon today’s Museum of the Fine Arts Leipsic and was sold by this in 1924 obviously completely (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 the Fine Arts Leipsic)” (L. 1669f). – See the complete description.
Offer no. 14,364  /  price on request

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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 request

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Prince  Eugene  of  Savoy  +  the  Duke  of  Marlborough

 

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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. – Marvellous impression with margins 4-4.9 cm wide of the J. H. Anderhub Collection. – See the complete description.
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– – – 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. – Marvellous impression with margins 3.9-4.8 cm wide of the J. H. Anderhub Collection. – See the complete description.
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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. / N^o. 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.
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– – – 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 before.

« 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.
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– – – 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. »

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– – – 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.
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– – – 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.
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– – – 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.
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– – – 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.
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– – – 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.
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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

largest  Ridinger-Rooses

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 centre folds.

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

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 though trimmed impressions of the Imperials Th. 67/68 (50 Goldmark). – See the complete description.
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Hogarth, William (1697 London 1764). A Country Inn Yard (or The Election Procession in the Yard). The last travellers 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. – Independently of the rich  postal  scene  the actual happenings – in addition to the Four Prints of an Election, offer per 8,895 – 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 annoyingly as the defeat is caused by formalties, that is the yet nearly missed age of the candidate, and thus was foreseeable. Accordingly unwillingly an agent of the unfortunate – a print 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 bougoisie ”

(Thieme-Becker XVII, p. 297, 2).

Nagler 30. – Impression on strong paper from the plate reworked by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions became relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 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”]).
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– – 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 1^st. 1808. Bildgröße 12.2 x 17.1 cm.

Cook’s smaller version, engraved together with his son. – Trimmed within the wide white platemargin.
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– – 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 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.
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– – The same in lithography. (1833/36.) Inscribed: Die Landkutsche. 24.7 x 23.7 cm. – Extensive subtext in German.
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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 12lined subtext 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 water streak in the upper left corner. – See the complete description.
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– – The same. 38.7 x 32.3 cm. – Deep impression from the plate reworked by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions became relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 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”]).
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– – The same. Steel engraving. C. 1850. Inscribed. 15.9 x 12.2 cm.
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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.
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– – 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.
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– – 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.
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– – 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 before. – On thin cardboard. – Warmly felt sujet. – See the complete description.
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Ridinger, Martin Elias (1730 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 (Murrhardt 1727 – 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.

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 origins. – 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.
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„ Herzlichen Dank für die sorgfältig verpackten Bände … “

(Herr H. M., 26. Mai 2007)

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