Snyders, Young Lions (detail)
Frans Snyders, Two Young lions pursue a Roebuck (detail)

under the Sign of Leo

The Lioness —

“ one of the best types of mothers there are ”

V.-M. von Winter, (Types of Men)

Ullstein-Bücher 55, 1959, pp. 79 ff., as in this regard further more

“ I was so lucky … to obtain (it) ”

Ridinger, Lioness

( Thienemann 1856 [ ! ] )

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Lionne porte ses petis six mois et en mit 3. 4. aussi 5. The Lioness is with her Cubs half a Year, brings forth 3. 4. to 5. of them. Etching and engraving. (1736.) Inscribed: 32. / Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger invent. delin. Sculps. et excud. Aug. Vind, otherwise as above in German, French, Latin, & below. 13⅝ × 16¾ in (34.6 × 42.7 cm).

Thienemann & Schwarz 227. – Plate 32 of the STUDY OF THE WILD ANIMALS with the caption of the Hamburg pope of poets, jurist & senator, yet foremost friend of Ridinger’s, Barthold Heinrich Brockes (1680-1747), in German. – With WANGEN watermark as so characteristic for contemp. impressions. – Margins on three sides 4-4.4, above 2.3 cm wide. – The utterly smoothed centerfold reinforced on the back, two professionally done tears in the wide white lower margin.

“ In an artificial grotto at the pulled up gate in front we see a lioness, broad like a toad over her three cubs. This nice group has been copied often. I was so lucky … to obtain (it)” (Th. 1856). – And Brockes :

“ In the animals’ queen’s lively posture one sees here courage and care, love and wrath … from the eyes these feelings quite break forth …

In the plain sheet of paper , the animal house steps deeply into ,

and one sees, almost with terror, how the gate is pulled open for it seems as if the animal comes flying out against us. Does not this creative art go far? as it, not only by the appearance, increases our eyes’ pleasure, but even touches the soul … ”

Of marvelous quality & therefore rarity ,

for even in exemplary old Ridinger collections the old impressions of particularly this so fine large-sized main set frequently figure as closely trimmed, damaged, and fully mounted. So including present one 1894 with Reich auf Biehla & at least without platemark 1889 with Coppenrath.

Offer no. 15,408 / EUR  660. / export price EUR  627. (c. US$ 758.) + shipping

“ In Animal Painting
also distinguished themselves … ”

Thoman(n) von Hagelstein, Tobias Heinrich (1700 Augsburg 1764). Assault by a Lion on a Fallow-deer pursued by a Bear. Sliding down a rock the lion has grasped the deer while the bear appears above behind a fallen tree. Lower right a fox before a hole as surprised as not unwilling to take his part of the prey of the great game. Specially in view of the anticipated quarrel between them. Mezzotint in brown. Inscribed in the plate: T. Heinr. Thoman del. fec. et excud. A. V. 19 × 14½ in (48.2 × 36.7 cm).

Schwerdt III, 172 ( “interesting” ). – Cf. ADB XXXVIII, 65 f. – Plate 1 of a four-plate suite of unnumbered fights of beasts, possibly before the Hertel address as with Schwerdt, too, after Thieme-Becker mention “some sets of Animal Fights and Huntings published by J. Gg. Hertel (4 sheet …)”. – Watermark (figurative/typographic?). – Latin-German two-liner.

With surrounding paper margins 2-2.5 cm wide. – Smoothed centerfold. – Two small shaves retouched. – Backside evenly slightly browned, namely the white margins quite slightly foxing. Otherwise

Thoman von Hagelstein, Lion, Bear, Deer

wonderful warm-toned impression

as reserved to only the best among the about 50-60 possible from the delicate mezzotint plate.

On the artist dynasty of the Thomans originating from Lindau and flourishing more than 200 years see ADB XXXVIII, 65 f. Present Tobias Heinrich, youngest son of Ernst Philipp, represented here likewise by precious mezzotints, applied himself – “supposedly under the influence of the Ridingers” (Th.-B.) – especially to the animal subject, but hardly in oil as Welisch’s “In animal painting still excelled …” suggests. Nonetheless, so the latter continuing in Contributions to the History of the Augsburg Painters in the 18th Century, 1901, page 93, he was

“ highly rated by Ridinger , too ”.

Like his father’s mezzotints his are that scarce that even to Nagler (Künstler-Lexicon XVIII, 1848, 360) they were known from hearsay only. Yet in such a way they are trouvailles still surpassing the technically conditioned preciousness of the velvety mezzotint manner.

Offer no. 28,139 / EUR  885. / export price EUR  841. (c. US$ 1017.) + shipping

“ Holding a Special Rank
because of (the) Theme ”

Snyders, Frans (1579 Antwerp 1657). Two Young lions pursue a Roebuck. Chalk lithograph by Ferdinand Piloty (Homburg, Saar Palatinate, 1786 – Munich 1844) printed with yellowish and ocher-hued tone plates. (1816.) Inscribed: f. Snyders pinx: / f. Pilotj del. 15½ × 21½ in (39.3 × 54.7 cm).

Snyders, Young Lions

Winkler, Die Frühzeit der dt. Lithographie, 622/25, II (of IV and V resp.) & 954, 16. – Cf. Robels, Frans Snyders, Munich 1989, no. 259 with ills. as well as ASK 1.I ff., pp. 92 ff., p. 150, para. 1; Koslow, Frans Snyders, Antwerp 1995, pp. 287 (full-paged color ills.) & 302; Sutton (ed.), The Age of Rubens, Boston 1993, no. 120 with color ills. & Hantschmann, Nymphenburger Porzellan, Munich 1996, pp. 314, no. 25 & 354, no. 70 and ills. p. 358.

Incunabulum of lithography. – The 2nd state shining thanks to its additional yellow before the removal of also the “del:” which is visible here like its “f.” – contrary to Snyders’ signature – in traces only within the as a whole feeble Piloty signature. – The 1st state in black only, the 3rd with ochre printed over, the 4th just with subdued chamois tone plate with simultaneous removal of the framing line. Later Piloty & Loehle published an enlarged detail of the lions only under the title “The Young Lions”. – Watermark M(anufacture) de I. A. Huber.

Sheet 16 of the 200-sheet set “Bavarian Picture Gallery at Munich and Schleißheim” published since 1816 and reviewed in Baierisches National-Blatt of June 17, 1820, (col. 575 f.) as following :

“ If one convinces oneself from eyesight of these marvelous works of art, with which truth the originals are reproduced, which power and gentleness the lithographic prints allow, how tenderly and lovely the tones run into one another, what the great masters cannot work easily out of the copper plates … so it creates just admiration… ”

Irrespective of the static leap posture artistically exciting composition to which in the view here just the brownish tone of the early years “difficult to reveal” for Winkler (p. 13. col. 2) imparts that pictorially quite extraordinary fascination, multiplied by the room-filling, marvelous landscape decoration. – Beside Senefelder, for Winkler only technically talented, for Nagler Piloty is beside Mannlich and Strixner one of those “most famous lithographers” of foremost own artistic eye, too. Winkler, at the same time deploring that especially the large and scenic sheets were and are “downright ‘used up’ as wall decoration”

With 18 × 25¼ in (45.8 × 64 cm) almost corresponding to the sheet size of about 18½ × 25⅝ in (47 × 65 cm) Winkler reports for the set and by this with fine wide margins of 3-4.5 cm and also otherwise of quite excellent condition.

Offer no. 28,623 / EUR  940. / export price EUR  893. (c. US$ 1080.) + shipping

Ridinger, Lion of Darker Kind

“ As Boss …
not Pedantic and … Fair ”

A Lion of Darker Kind. “Mane dark, fox brown. Old male” (Th.). Lying to the right, but looking concentrated to the left outside the picture. Colored etching with engraving by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Inscribed: LEO FUSCUS. / Ein Löwe dunckler Art, / Un Lion, d’une couleur brune. / Familia IV. Fünffzähige. / Joh. El. Ridinger sculps. et excud. A. V. 12⅛ × 8⅜ in (30.8 × 21.4 cm).

Thienemann & Schwarz 1077. – Lower 9 cm on the back with partial quite faint tidemark showing through to the front in the text/paper field.

In the Ridingers’ original coloring

from the unnumbered Colored Animal Kingdom created since 1754 and concluded finally posthumously not before 1773 ( “Complete copies are next to untraceable”, so Weigel, Art Cat., part XXVIII, Ridinger Appendix 63a as merely 120-sheet torso, 1857 ! , but also just individual plates quite rarely on the market only, at niemeyer’s presently nevertheless the one as the others). – “In Syria in particular even utterly black lions are said to be found” (from the preamble of Ridinger’s sons). – Majestic .

Offer no. 15,989 / EUR  1250. / export price EUR  1188. (c. US$ 1436.) + shipping

Ridinger, Lioness

“ The Lioness can lead , too ,
and is elected … President
often and readily ”

A Lioness. “She lies and has the full attention turned to an object moving before her. Quite light yellow ocher” (Th.). Colored etching with engraving as above. Inscribed: LEAENA. / Eine Löwin. / Une Lione. / Familia IV. Fünffzähige. / Joh. El. Ridinger sculps. et excud. A. V. 12⅛ × 8⅛ in (30.8 × 20.7 cm).

Thienemann & Schwarz 1078. – In the left lateral margin tear extending up to the subject/platemark, at the left lower paper margin besides dog-eared on 7.5 cm, both backed acid-freely, otherwise as above. – The wonderfully sympathetic sujet .

Offer no. 15,988 / EUR  1250. / export price EUR  1188. (c. US$ 1436.) + shipping

Tempesta, Lion Hunt

Tempesta, Antonio (Florence 1555 – Rome 1630). Lion Hunt with cloak & sword in a palm grove. Front on the right an already killed lion, in the background further huntsmen with javelins ready. Etching for Pieter Goos (Amsterdam 1616 – 1675) in Amsterdam. C. 1627. 3⅝ × 5⅞ in (9.3 × 15 cm).

Schwerdt II, 253. – On fine, wide-margined laid paper with typographic watermark (further sheets of the set available here partly with watermark Amsterdam Arms flanked by Lions). – No. 7 of the set of the Venationes Ferarum, Avium, Piscium pugnæ Bestiariorum et mutuæ Bestianrum delineatæ ab Antonio Tempesta. The wide white lower platemark with just the number on the right suggests early impressions before the letter as known, too, for the set Aucupationis Multifariæ Effegies Artificiosissimé published 1639 by Claes Jansz. Visscher de Jonghe (1586 Amsterdam 1652) and there expressly qualified by Schwerdt as “proof impressions”. – Here present in the copy of the collection “EK” not identified by Lugt with its small black round monogram stamp on the back (ligated, Lugt 3549, drawings and prints of the 17th to 19th centuries). – Highly instructive and also painterly sheet.

Offer no. 28,571 / EUR  115. (c. US$ 139.) + shipping

– – Lion Hunt on Horseback with Javelins in Classic Manner. Etching as above. – See the complete description.

Offer no. 28,573 / EUR  99. (c. US$ 120.) + shipping

Lion Hunt

Lion Hunt. Kneeling on the left under banana-trees behind of a rock the Arab hunter in rich costume points his gun at the lion sneaking in from the right. In front pond, behind shrubbery & rock. Glazed colored wood engraving. 1853. 7⅞ × 6¾ in (20 × 17 cm).

Offer no. 12,214 / EUR  86. (c. US$ 104.) + shipping

Ridinger, Lion over Wild Boar
in the
Ridingers’ Original Coloring

A Lion of Light Color. “A fine male of the common lion stands majestically on a killed wild boar” (Th.). Before palm and shrubbery scenery. Colored etching with engraving. Inscribed: LEO, COLORE LUCIDO. / Ein Löwe von heller Farbe / Un Lion d’une couleur claire. / Familia IV. Fünffzähige. / J. El. Ridinger sculps. et exc. A. V. 12⅛ × 8⅛ in (30.9 × 20.6 cm).

Thienemann 1076 & appendix page 299; Schwarz 1076. – From the unnumbered Colored Animal Kingdom created since 1754 and concluded finally posthumously not before 1773 ( “Complete copies are next to untraceable”, so Weigel, Art Cat., part XXVIII, Ridinger Appendix 63a as merely 120-sheet torso, 1857 ! , but also just individual plates quite rarely on the market only) as then already Thienemann could add present sheet in its first edition as here only per appendix, “because I do not have the sheet”. – Margins on three sides 1.9-3.3 cm, below 5.2 cm wide. – Lower 9 cm on the back with partial faint, reddishly discolored tidemark, showing through to the front only slightly obtrusively in the text/paper field. – Ridinger’s sons in the preamble:

“ The lion … has in all his behavior and conduct a lot of noble and generous … When he roars the wood shivers and all animals hearing him. His strength is quite extraordinary and his large head with the long hairs make him

a majestic and honorable appearance …

In the color they are very different from each other and one has seen here fine yellow, medium and quite dark ones. If one gets them still young they can be made really tame … ”

Offer no. 15,987 / EUR  1300. / export price EUR  1235. (c. US$ 1493.) + shipping

Ridinger, Lion standing on Killed Wild Boar (2 sketches)

Two sketches in reverse by the master – on both sides of 1 sheet – to aforementioned Lion of Light Color standing on a wild boar. 4⅞ × 6½ and 4⅜ × 5¾ in (125 × 165 and 110 × 145 mm) resp. Sheet size 8⅜ × 9¾ in (212 × 249 mm).

Offer no. 15,611 / EUR  2300. / export price EUR  2185. (c. US$ 2641.) + shipping

– – – together with aforementioned etching in the Ridingers’ original coloring

Offer no. 16,013 / price on application

The Hunt for the Majestic

Löwenjagd (Pergament/Le Brun)

Unique also the Material — Vellum !!

Le Brun – Lion Hunt. Partly mounted multi-person group with various headgear, also without, with pike, shorter thrusting weapon, sword and quiver with arrows fighting with two lions, one of which already killed and under cover thrown over together with quiver filled with arrows dominating the lower right of the subject. However, the other one in the center field has got a dismounted hunter under him, whose horse vigorously goes off to the left, while he tries to defend himself with the sword, with his left still fixed in the shield. From the left a bare-headed companion with unidentified thrusting weapon, as also carried by another one, vigorously rushes to his aid just as from above two mounted ones, the right of which, sitting on an animal hide, swinging the pike. Tree & palm accessories. Pen and brown ink over partially throughout, cursory sketch in pencil on vellum with narrow black borderline, possibly from the studio of Charles Le Brun (1619 Paris 1690). 17⅛ × 22½ in (435 × 572 mm).

Wall-efficient large work determined by great pace

of indeed still open questions on genesis and purpose since the attribution to Le Brun on the back is not confirmed by Fabian Stein, who graduated on him, from a photo due to the lack of his personal style, although

“ Some elements of the figures … (show) similarity to compositions by Le Brun indeed; I think to recollect something comparable i. a. in the Alexander series for instance for the injured on the ground, the one rushing to his aid, for the horses. However, one should not forget that in such compositions Le Brun frequently ‘quotes’ himself, and for instance refers to Rubens or the Italian School. ”

As said, independent of the subject an interesting work, fine for further deepening occupation in which the precious material is not to be neglected! – See the complete description.

Offer no. 15,612 / price on application

The Prophet Daniel’s
Miracle in the Den of Lions

One of the Largest Ridinger Drawings

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Daniel in the Den of Lions. By example of Daniel, promoted in the Jew’s Babylonian Captivity and under the Persian Cyrus I calumniated by enviers and consigned to the den of lions, Jehovah, the god of the Israelites, shows his might, exciting the court on the gallery in unbelieving stupefaction. Brush drawing with wash in grey-blue & black with heightening in white for Johann Daniel Herz I (1693 Augsburg 1754; an “art publisher with an eye for quality” [Rolf Biedermann, 1987], “especially his sheets of large size shall be mentioned” [Thieme-Becker, 1923]). Inscribed in bistre: Jo El. Riedinger (sic!) inv et del 1732. 33 × 21 in (837 × 533 mm) & 1¼ × ¾ in (32 × 20 mm) additional inscription field laterally lower right.


Counts Faber-Castell

their Ridinger sale 1958
with its lot no. 2
in red on the underlay carton

The preparatory drawing in reverse, pictorially lined with wide and narrow border, to plate Schwarz 1440 worked by the engraver Johann Jacob Wangner (“Iun.”, c. 1703 Augsburg 1781; the contemporary Augsburg artists “also furnished him with drawings to be engraved”, Nagler) and known to literature only since 1910 by the copy of the von Gutmann Collection (identical with the one in the ALBERTINA ?), in its reproduction, however, obviously remaining far behind the bloom of the drawing (its subject size with somewhat narrower conclusion above 31¼ × 21⅞ in [793 × 557 mm; sic! or mistake?] mm compared with a pure subject size here of 32¼-32⅜ × 20 in [820-822 × 507-509 mm]).

Ridinger, Daniel in the Den of Lions

Present work reckons among the largest-sized of the drawn œuvre

and follows the bible’s tradition Book of Daniel, chap. 6, and is, as all works not yet transferred into copper/published by Ridinger himself,

of exorbitant rarity even as engraving .

So for the engraving of the “Den of Lions”, too, no second copy is traceable here on the market since Schwarz (1910). Engraved it was expressly missing thus with Counts Faber-Castell (1958), too. On account of such handicaps

the preservation of present Den of Lions drawing

is an event of absolute degree

to which the condition of already the times of Faber-Castell with following preservation by just one careful hand has to be inferior.

So besides two horizontal smoothed folds which remained perceptible as abrasions at top below the gallery and centrally below the archway a plenty of tiny(est) abrasions especially in the marginal parts, then, and here impairing only up to a point, for 2.5-3 cm in height in the left part of the sheet above the centerfold. Of the predominantly only spotlike foxing on the back only isolated slightly larger ones shining through largely in the upper half of the subject, perceptible almost only in the washed free area between archway and gallery. Quite isolated small marginal tears reinforced. Generally the quite tolerable wrinkles of the centuries as due to the hard to preserve oversize and greatest rarity, concealed by the

pictorial grandeur of the composition

with its, not least,

Ridinger, Daniel in the Den of Lions (detail)

10 different masterly lion physiognomies

(that of the eleventh lion covered). – See the complete description.

Offer no. 14,859 / price on application

» You have given me a huge pleasure by the photo …

of Riedinger’s depiction of ‘Daniel in the Den of Lions’.

The lions have actually lost all blood-thirst of predaceous animals

and nestle against the imprisoned Daniel like peaceable cats

making his stay in the den tolerably well.

A wonderful picture! «

Mrs. S. S., Switzerland

Gentle also towards those who do Him Good

The Lion of St. Jerome


Counts Faber-Castell , their Ridinger sale 1958 ,

with its lot nos. 177 and 176 resp. on the underlay carton

May it be as Heremit …

S. Jerome. The inspiration of the saint. Three-quarter figure as hermit to the right. Mezzotint. Inscribed: in the mussel-shaped cartouche set into the upper ledge of the frame S. HIERONYMUS. / right below between the frame’s ledge and inscription field Ioh. Elias Ridinger excud. Aug. Vind. 22¾ × 16⅝ in (57.8 × 42.3 cm).

Ridinger, S. Jerome

Compare Schwarz 1549 (20⅛ × 15⅛ in [51.1 × 38.5 cm]; variant in writing: “Elias” abbreviated after “l”, otherwise see below); Faber-Castell 177 (negligently as Schwarz 1549); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 230 (as Schwarz).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), collections Coppenrath (1889 f.) & Hamminger (1895), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) & Rosenthal, Ridinger list 126 (1940).

Enlarged & reversed copy of Schwarz 1549 not known to literature

on toned laid paper with watermark fleur-de-lis, probably contemporary, but also rather later. – Marvelous deep-brown impression with margins of 1.5-2 cm running around of perfect preservation with partial minimal touch of tiny foxing spots, three little rust spots feebly showing through from the back, and four small to tiny holes backed by old at the upper margin of the subject, reverse lower left remains of mounting, as nothing to reckoned at all.

Offer no. 14,865 / EUR  485. / export price EUR  461. (c. US$ 557.) + shipping

… may it be as Cardinal

S. Jerome. The inspiration of the saint. In full figure as cardinal, preciously dressed, with aureole, sitting to the left at a little table, but the head turned to the right and looking laterally to the ground to receive his inspiration by the angel standing behind his seat. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784) after Alessandro Marchesini (1664 Verona 1738, active in Verona, Venice, Padua). Inscribed: Marchesini pinxit a Venetia. / Ioh. Iac. Ridinger sculps. / Ioh. Elias Ridinger exc. A. V., otherwise in the upper cavity of the mussel-shaped cartouche S. | HIERONYMUS. Subject size 21⅞ × 16¾ in (55.7 × 42.5 cm).

Marchesini, S. Jerome

Schwarz 1548 (variant in writing: “Iacob” & “I. El. … excud.”); Faber-Castell 176 (without mentioning of the variant as against Schwarz); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 229 (variant in writing: “Iac.” as here, otherwise as Schwarz).

Not in Thienemann (1856) & Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Silesian R. coll. at Boerner XXXIX (1885), collections Coppenrath (1889 f.), Reich auf Biehla (1894) & Hamminger (1895), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) & Rosenthal, Ridinger list 126 (1940).

The large elegant , exceedingly sympathetic sujet

in very fine impression of rich contrast with variant in writing, otherwise with WANGEN watermark as standing for contemporary impressions, below, however, and parallel to the Ambrose sheet, trimmed under loss of 2 cm within the inscription field with mussel-shaped cartouche reserved for entries of individual kind, though usually left empty in the preserved copies and here therefore obviously deemed dispensable for the picture. The otherwise tiny(est) margin running around on three sides partly cracky on two sides, here and there up to the edge of the subject. In the subject itself – numbered in its right upper corner with red chalk pen “80.” – some folds & little pleats, under passepartout at the latest of definitely pleasing general impression, not least with respect to the rarity of these sheets as then already 1839 those by Ridinger after Marchesini remained unknown to Nagler (VIII, 304).

Offer no. 14,866 / EUR  790. / export price EUR  751. (c. US$ 908.) + shipping

Roaring up again with Heckendorf

Snyders, Frans (1579 Antwerp 1657). Lioness striking a Wild Boar. In hilly extended landscape overgrown with trees the boar in front has already gone onto his fore knees with the lioness jumped laterally onto his back and bitten into his neck. Chalk lithograph by Ferdinand Piloty Homburg, Saar Palatinate, 1786 – Munich 1844) printed with yellow-brownish and medium brownish tone plates. (1816.) Erroneous inscription: P. Snayers (Pieter Snayers, 1592 Antwerp after 1666) pinx: / f. Pilotj del. 15⅝ × 21⅝ in (39.8 × 55 cm).

Winkler, Die Frühzeit der dt. Lithographie, 622/24, II (of III) & 954, 12. – Cf. Robels, Frans Snyders, Munich 1989, no. 258 with ills. & Hantschmann, (Nymphenburger Porzellan), Munich 1996, p. 354, no. 71.

Snyders, Lioness striking Wild Boar

Incunabela of lithography. – The 2nd state equivalent to the first except for the largely removed chalk traces extending beyond the picture left and below. The 3rd state printed with only one tone plate in subdued chamois with simultaneous omission of the bold framing line. – Watermark M(anufacture) a (?) Hartmann. – Plate 12 of the 200-sheet set “Bavarian Picture Gallery at Munich and Schleißheim” published since 1816 and with 18¼ × 25¼ in (46.4 × 64.2 cm) virtually corresponding to the sheet size of about 18½ × 25⅝ in (47 × 65 cm) Winkler reports for the set and by this with fine wide margins of 3.3-4.5 cm and also otherwise of quite excellent condition.

In expressionist new setting of an oasis in the desert as to him as familiar an ambience as lion hunts Franz Heckendorf used Snyders’ motif for his following painting.

Offer no. 28,624 / EUR  965. / export price EUR  917. (c. US$ 1109.) + shipping

Under Heckendorf’s Sun

Lioness over Wild Boar
Heckendorf, Lioness striking a Wild Boar in the Oasis
in the Blaze of Expressionism

Franz Heckendorf

Berlin 1888 – Munich 1962

Lioness striking a Wild Boar in the Oasis. The latter itself paradisiacally dreamily under bright sun. Oil on fiberboard. 21⅝ × 27½ in (55 × 69.8 cm). In 3-piece wooden frame – presumably by the artist himself – painted grey and black.

The dominating scenery

of the lioness at the wild boar’s neck

as the core motif of

FRANS SNYDERS’ (1579 Antwerp 1657) painting in MUNICH


Thieme-Becker XVI (1923), 211 f.; Vollmer II (1955), 400; AKL LXX (2011), 513 f.

Kestner-Museum Hanover, (Catalogs of Special Exhibitions) XVII, 1918; Joachim Kirchner, Franz Heckendorf, 1919, & Neue Bilder von Franz Heckendorf in Biermann (ed.), Jahrbuch der jungen Kunst 1924, 190 ff.; Cicerone, vols. 1912-1928, here particularly XVI (1924), 802 f.; Feuer II, 1 (1920/21), 195-202; Franz Heckendorf, Katalog der Sonderausstellung der Galerie Hagemeier, Frankfort/Main, 1985; Symphonie in Farbe, exhibition catalog of Kunstfreunde Bergstraße, 1991; Rainer Zimmermann, Expressiver Realismus / Malerei der verschollenen Generation, 1994, 384.

Gisela Hauss (ed.), (Migration, Flight, and Exile as Reflected by Social Work), 2010, 192 f.; Winfried Meyer, Nazi Justice against Jew Helpers: “Destruction by Work” instead of Death Penalty. The Judgement of the Special Court Freiburg im Breisgau against the Berlin Painter Franz Heckendorf and its Execution). In: Wolfgang Benz (ed.), (Almanac for Anti-Semitism Research) XIX, 2010, 331-362.

Small defect at the upper right corner, nearby another one of the kind of a big needle’s head. The edges slightly worn by the framing, otherwise perfect. – The coloring of the artist’s frame touched up.

Extremely typical ,

that is paw-like dynamic work

from the group of the large sizes

containing everything, reflecting everything that from the earliest up to the latest literature was qualified just as breathless as the range of Heckendorf’s palette. The prevailing ground of his paintings allowing to our review the following chronological order: Canvas for the early years of about 1912-1929, (ply-)wood 1930-1943, fiberboard already for 1931 & 1941, more generally then for after 1945 as that

“ period in Heckendorf’s work in which the artist once again scored a height of his artistry, presumably also as a backlog demand after the vacuum of the Hitler regime … ” (Horst Ludwig in Catalog Hagemeier).

Ludwig’s accentuation of the “wide-spreaded journeys through Europe and (the) study of Old Masters in the museums” especially for the latter here of paramount interest. After all Heckendorf has recourse to no less than the great Snyders with in his turn borrowing from Rubens. That is to the former’s, regarding the landscape jointly with Jan Wildens

painting “Lioness strikes a Wild Boar” in Munich , created about 1620/25 .

And downright as antipole to the earthly hunt here, too,

the unforgettable sun , Heckendorf’s sun ,

to which he had dedicated an album of ten color lithographs in 1919. Preceded two years before by a no less color-intensive one of 12 sheet

as reverence to the Orient , his Orient .

It is a sheer exciting fascination how this work spans start and late period without a break.

Offer no. 29,061 / price on application

“ Center of the Universe ,
Ridinger, The Majestic Lion
The Absolute Center … ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Lions. Main suite of six plates. Etchings with engraving. Inscribed: J(oh). El. Ridinger (ad viv.) del. fec. (sculps.) et exc(ud). Aug. Vind., titled as below. 10⅜-10½ × 10-10⅛ in (26.5-26.7 × 25.3-25.7 cm).

Thienemann & Schwarz 517-522. – Titles and quotations from Martialis, Sillius, Virgil, and Lucanus in Latin-German parallel text. – Top rounded. – Typographic watermark. – Little dot of rust in the lower platemark of Th. 517, small spot of thinned paper in the wide lower paper margin of Th. 518.

Ridinger, The Sleeping Lion

The Majestic Lion – The Lion from behind – The Roaring Lion – The Lion lying in ambush for the Attack – The Sleeping Lion (good to see the additional breathing holes in the lion’s palate) – The Lion resting at his Mother’s Side.

Ridinger, Lion Mother

Also with respect to their state evenly splendid A qualities

of the basic plates 1-6 of this quite magnificent suite – inspired by Marc de Bye’s 8-sheet set of 1664 after Paulus Potter? – whose plates 7 & 8 are to be considered rather a supplement since deviating in both scenery – inside of a menagerie at Augsburg – and caption. The splendidly wide margins between 7 and 12 cm top and below and 3.5 cm laterally resp.

Rarely so fine .

Offer no. 12,350 / EUR  2454. / export price EUR  2331. (c. US$ 2818.) + shipping

As the Big Cats of each other ,
so Wintter has the Knack of them

Wintter, Joseph Georg (1751 Munich 1789). Panther and Lioness locked in fight. Before boulder lioness on her hind legs in the grip of a panther or jaguar taken hold of her. Black chalk over pencil sketching with some red for the inflicted wounds. Inscribed with the chalk lower right: JG(ligated)Wintter inv. 11⅜ × 8⅜ in (288 × 212 mm).

Wintter, Panther & Lioness

Brilliant graphically utterly executed study

following Ridinger’s etching The Lioness with Her Cubs attacked by a Bear as on its part being in context with the lion-tiger detail of the Berlin Ridinger painting Beasts of Prey and Killed Stag (Michaelis, [German Paintings of the 18th Century], 2002, no. 2272) with its couples of tiger and lion fighting for the prey (detail) and spitting at each other resp.

While in the painting the lion has the upper and in the engraving the position of the lioness not yet appears as hopeless, so with Wintter her fate is practically decided. Just as here the two of them are entangled, rather, how the panther has the knack of the lioness on the right

Wintter compacts the scene to incredible dynamics

not least by his limitation to just the fight. And nothing else.

And how only so setting the feline agility of both the opponents. Correspondingly matchlessly varied also the position of the hindlegs of the lioness with their stretching imparting to the body! How here still the last claw conveys the utmost strain indeed reminds of that not generally agreeable

“ always better than Riedinger ”

by the pope of forest cameralists Wilhelm Gottfried von Moser (Forstarchiv, vol. IV, 1788, pp. 280 ff.). Just as

with the bodies converged here , having become one without example

something utterly new has been created .

Up to the now smoldering predatory look aiming at the beholder .

With mostly still fine(st) margin around the borderline. Three tears 15-25 mm deep in the right margin, one of which marginally still extending into the boulder hatching, settled by vélin mounting. The unessential age spotting otherwise perceptible in the white field as patina addition rather even enhancing the effect of this drawing.

Offer no. 15,619 / price on application

Ridinger, Lioness attacked by Bear

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Lioness with Cubs attacked by a Bear. From a rocky recess the lioness stretches towards the biting aggressor. Etching with engraving. (1760.) Inscribed: J. El. Ridinger del sculp. et excud. A.V., otherwise in German as above & below. 14⅞ × 11½ in (37.7 × 29.3 cm).

Thienemann 718; Ridinger Catalog Darmstadt, 1999, IV.3 with ills. – Plate 3 of the 8-sheet set of the Fights of Killing Animals, Th. 716-723.

The vivid-strong, warm-toned impression from an old noble omnibus volume of old impressions on almost exclusively uniform laid paper with varied watermarks. Present optically uniform one yet on slightly cloudy sturdy Thurneisen vélin, but rather supposedly still before the aforesaid new edition by Engelbrecht-Herzberg of 1824/25. – Unessential foxspottedness in the white margin, above & below 2.8-6 cm and laterally 1.4-1.8 cm wide.

Offer no. 15,700 / EUR  1480. / export price EUR  1406. (c. US$ 1700.) + shipping

Count Stillfried’s Copy ?

Rugendas’ Lion Hunt Rarity

For Teuscher (1998) recordable only per Stillfried (1879)

Rugendas I, Georg Philipp (1666 Augsburg 1742). Venatio Leonum / (Lion Hunt). Deeply staggered instructive hunt of turban-dressed horsemen with javelins, partly also with the yatagan (?) at the side, one additionally with quiver over his back,

in the basin of an oasis of the Libyan highland .

Mezzotint. Inscribed: K.1. / Georg Philipp Rugendas invent delin. et Sculps. / Cum Gratiâ et Privilg. Sac. Cæs. Majest. / Johan(n) Christian Leopold excudit Aug. Vindelicorum., otherwise in Latin-German as above and following. 16 × 20¼ in (40.8 × 51.4 cm).

Nagler (1845) 40; Stillfried 293 (1879; not mentioning the series “K.1”); Teuscher (1998) 60 with reference to N. & St. – With surrounding margin 2.5-3.5 cm wide. This with some unessential faint tidemarks and light shade of previous framing. Occasionally of the latter mounted for no reason onto the back board, treating also three tears each up to the platemark.

“ Fulminei quamvis sit fervens ira leonis, / Aversos vulus Africa nulla pavet. / Arrigit ille comas, Stimulatus verbere caudæ / Cuspide mox Libyco , dum fremit ille, perit. ”

“ The lions’ stay in large deserts

Rugendas, Lion Hunt

Startles in Africa not the brave hunter

So fiercely this enemy foams attacks, tears and fights

His blood has to please the Libyan’s javelin ”

FINE IMPRESSION , rich in chiaroscuro , as so typical for the velvety mezzotints , of the first sheet of the hunting set T. 60-63 dedicated to lion, tiger, ostrich & buffalo, all with Leopold’s address.

“ Known from literature only ”

Teuscher follows Stillfried’s description as the last proven copy which by all means could be identical with the one known before to the antiquarian Nagler. What probably might result in a provenance of the set’s present lion sheet going back up to 1845 .

Here then additionally with express textual reference to the Libyan Desert as for old prints a rarity on its own. The chance is obvious. And already in 1675 the expert von Sandrart gave the reason for the traditional scarceness of the old mezzotints by numbering “clean impressions” at only about “50 or 60” (!). “(A)fterwards however (the image) soon grinds off for it does not go deep into the copper”. Here then, it shall be repeated, such one as an almost unique. Probably even the one and only copy handed down at all .

Offer no. 28,899 / price on application

niemeyer’s — where the unusual is at home

Showcase Eye Catcher

Ridinger, Lion Copy



Master’s Personal Copy

of his Set of the

“Representation of the Fair Game”

The Lion Copy

with the No. 1

as the Master’s Personal Copy

Johann Elias Ridinger. (Representation of the Fair Game with the respective Tracks and Traces, Goings, Get-offs, Turns, Flight, and other Signs more … drawn from Life) / Abbildung Der Jagtbaren Thiere mit derselben angefügten Fährten und Spuhren, Wandel, Gänge, Absprünge, Wendungen, Widergängen, Flucht, und anderer Zeichen mehr … nach der Natur gezeichnet, samt einer Erklärung darüber. Augsburg, the author (1737-)1740. Large fol. 1 l. title. With pictorially executed large etched title vignette “Search-Hunter with Leader” (6 × 9¼ in [15.3 × 23.4 cm]) and, mixed with engraving,

23 etchings

(c. 14⅝-14¾ × 11⅜-11¾ in [37-37.5 × 29-30 cm]) , plates 1-20 of which in

proofs before the numbering ,

which to the opinion here has been added

in pen and ink by the master himself

in correct sequence at the same place. Additionally

with two further important deviations .

Ruby red morocco volume with 5 ornamental raised bands, 2 dark green backplates, gilt two-piece title on the front & Ridinger-stag vignette on the back cover, gilt lines on both, and ruby red fly leaves. In desert-colored morocco Solander box with ornamental raised bands and with the

original copper printing plate

for plate ONE, Th. 163 , “ Trace of the LION ”

in the reddish golden brilliance

of its 275 years old copper

in reverse (14⅞ × 12 in [37.9 × 30.4 cm]) traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) & Thienemann (1856), p. XXIII, seamlessly directly to the master’s estate itself as removable solitaire laid into the front cover under polycarbonate glass, inscribed “1. / J. E. Ridinger inv. del. sc. et exc. A. V.” Above the artist’s name and below the unique designation

Ridinger, Lion Copy


and in the inner front cover below ridinger handlung niemeyer (ridinger gallery niemeyer), all in 23.5 carat. (Bookbindery M. Hierl Bonn, 26⅜ × 17¾ × 2 in [67 × 45 × 5 cm], 10.5 kg.)

And in such a manner following the refined collector’s tradition “to enlarge and illustrate beautiful scientific works for esthetic reasons with additions which referred to the author’s person

and had a collector’s value of their own ,

autographs of the author , drawings ( , the various states of prints ) and the like … to document the genesis”. It marked the birth of the

exemplaire enrichi

by French collectors of the 19th century as proverbial distinctive group of the extra accouterment with i. a. British roots in the 17th century (Nicholas Ferrar) and the 2nd half of the 18th (James Granger) and strong echo in America (enriched book, 19th cent.). In short, per grangerized book

“ the embellishment of a valuable bibliophile print

by own addition of complementary inserts. The copy and the inserts shall be high-grade bibliophile in both their intrinsic value and their superficies. The owner wants to set off his book by the … inserts before all other copies ,

make it a collector’s item , a unicum …

Done moderately, each of these kinds of completion of the print has its high value for future research ”

(Hans Bohatta in Löffler-Kirchner, Lexikon des gesamten Buchwesens, I [1935], 511 f.).

And so it was no question for the ridinger gallery to crown this for the collector as the master’s working copy already indeed quite unique item of ultimate desire for their part as far as possible by a now really last and final touch. And so they took what they had. And that pretty much , it was plain everything , a nonpareil ,

an original copper printing plate !!

Thienemann (without knowledge of states before numbering) & Schwarz (color plate I, X) 162-185; Weigel XXVIII, 15, before A (of A-C); Helbing XXXIV (1900), (Works by J. E and M. E. Ridinger), 325 ff.; Thiébaud 783, all in the final state with the etched number upper right; however, Helbing 354 & 356 bare of any numbering & 359, 362, 364, 366, 369 & 374, in each case marked “proof with written instead of engraved number”; Schwerdt III, 137; Ridinger Catalog Darmstadt, 1999, III.20-III.30 with 11 ills.

Plates 1-20 here thus PROOFS before the first edition ,

plates 21-23 with the reduced traces in the final state with printed numbers. And throughout printed on finer laid paper than usual and thus still stressing

the brilliant quality of vibrant chiaroscuro .

Without the text sheet which “is concerned solely with the traces and could be new and important for the young hunter only” (Th.), the “(Preliminary Report)” on the back of the title covered by mounting. – The plates throughout trimmed on or close to the platemark and,

Ridinger, Trace of the Lion

with the exception of the singular opening lion

mounted two by two on full sheets (folded once to c. 24¾ × 16½ in [63 × 42 cm]) of Whatman paper with watermark “J. Whatman / Turkey Mill / 1832”, what

Ridinger, Trace of Wild Boar/Fallow Deer

generous arrangement by twos grants an unusually comfortable aspect

and follows collector’s tradition of old. – To the conviction here

Ridinger’s Personal Copy ,

with a high degree of certainty in 1830 together with the bequest of the drawings passed into the hands of J. A. G. Weigel in Leipsic. Cornerstone of this thought is the 1832 Whatman paper on which the etchings are mounted. Yet from the estate the trace leads directly

onto the workbench of the master himself ,

carefully revising his prints .

However, this for the committed collector irresistible charm radiating from a besides particularly important suite numbered in the artist’s own hand is additionally elevated by, as hitherto traceable nowhere else ,

two textual deviations

here still following the respective drawing .

The copper plate besides protected from tarnishing by fine application of varnish. In the course of its use through the times generally still printable, nevertheless its ultimate printing quality is not warranted. – In short, the worldwide unrepeatable

Lion Copy for most elitist placing .

As a provocatingly inapproachably sovereign eye-catcher, reflecting the noblesse of the house as the envy of all.

Offer no. 28,888 / price on application

Tischbein, Lion's Head
from Johann Heinrich II Tischbein’s
Tischbein, Lioness
Complete Works in 170 Etchings
— including 6 Plates Lions —
Tischbein, Lion's Head

Presented in Showcase Copy
within the Red Series® of the ridinger gallery .

(Collection of One Hundred and Seventy Engravings after Drawings by … entirely etched in copper.) Zwickau, Literatur- und Kunst=Comptoir, between 1808 & 1827. Large fol. 2 unpag. ll. title, preface & contents and besides an additional old washed brush drawing in grey & brown by other hand 170 (1 of which exchanged) etchings (2⅛-8⅜ × 2⅝-10⅞ in [5.4-21.2 × 6.7-27.7 cm]), 10 of these (partially) colored, in original mounting in points on 59 sheet. Ruby red morocco with 5 ornamental raised bands with green back-plate, artist’s name on front cover & ridinger handlung niemeyer on its inner cover, Ridinger stag vignette and line on both boards, all gilt tooled in 23.5 carat, in equal half morocco slipcase with the stag vignette on both boards. – See the complete description.

Offer no. 14,929 / price on application

“ Thanks a lot for your answer to my request, in such a short time and in such a detail! I’m pleasantly surprised with the fact that you presented me 3 different options! The 2 options … although very tempting (pricewise, extra prints etc) do not interest me, because of the condition of the prints. As a collector I wouldn’t like anything else but the best – the first option. To be absolutely honest with you, I expected the price to be high, but not so much … (It’s a) ‘Museum quality’ piece … Congratulations for the excellent pieces you offer !!! ”

(Mr. L. M., January 12, 2016)