Father of the Par Force Hunt
“ So this hunt, too, is an age-old custom … as shall be shown again that to this belongs a skillful and hard riding … Indeed little credit is taken neither those par force nor those German hunts, or added more, if one knows for sure, or not, which surpassed each other in ancient times …
But saint Hubert is venerated by this hunt as main patron ,
and although in Christianity the same generally is regarded as the first par force hunter, or a gentleman so has loved the par force hunt very much … Here yet I will only continue, however, and describe the hunt, and thus start with it …
“ His Princely Serenity the ruling prince of Anhalt=Bernburg, Prince Victor Frederick are no less a toilsome enthusiast of par force hunting. The same esteem
the great tribulation of the Harz Mountains
not have a pleasure with this par force hunt, as they exercise, and hold, such between Ballenstett, Hartzgerode, Güntersberg, and Gernrode in the very high mountains; after all in that region there are ever and anon mountains which are hardly passed, that frequently one has to lead the horses down, not to say one should hunt there along in gallop.
“ Yet the hunt goes well, albeit one has to depend a lot on the hounds. There are nothing but German hunters, and many a Frenchman would be astonished should he participate in this cumbersome hunt.
“ The otherwise usual time for par force hunting in in spring, as soon as the ground has settled, like in March and April. In May is ceased because the game fawns its calves … In the July the hunt goes up again, and lasts until November 3 as the the Hubert Feast is celebrated … ”
(Döbel, Von der Parforce=Jagd, within Jäger=Practica, 3rd ed., 1783, pt. II, pp. 87-108 ).
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). English par force and German Hounds. Etching w. engraving. (1738.) Inscribed: J. E. R. f. / N. 5., otherwise in German as above. 7⅜ × 6 in (18.8 × 15.2 cm).
Thienemann & Schwarz 395. – Sheet 5 of the instructive set Design of Several Animals in its first edition with its strong laid paper. – “These plates are much wanted and frequently copied” (Th. 1856). – Margins above & below 6-6.8 cm, laterally 1.8-2.3 cm wide. – At the upper edge still both the two original fine pricks.
Offer no. 15,629 / EUR 220. (c. US$ 266.) + shipping
Offer no. 15,638 / EUR 220. (c. US$ 266.) + shipping
Offer no. 15,633 / EUR 220. (c. US$ 266.) + shipping
The Preparatory Drawing
to just the French Par Force Hounds
– – – French par Force (Hounds). Only three of them yet. Pen and brown ink. C. 1735. Inscribed in bistre: in the upper margin Francöesische par Force & lower right .N.11. (sic!). 3⅝ × 4 in (92 × 103 mm).
Thienemann (1856, page 276) sect. III, Drawings, portfolio IV, p, Design of Several Animals, para. 2
“ … a similar collection in smaller format … in pen and bistre .”
Still deviating from the engraving , outline design in the same direction and original size of three of the hounds to Thienemann 396 & Schwarz (ill. vol. I, page 57) as no. 6 of the set, by Ridinger here still intended as .N. 11. Still missing the fourth hound extending into the subject with just about a third, yet up to above of the lying third one. Also the not present Hounds in the designation with consideration of spacing, but also the numbering rather far right, quite obviously original. – For the preparatory drawing of the entire composition in wash and bistre see Th. ibid. para. 1 and lot 552 of the Ridinger appendix of Weigel’s catalog of drawings of 1869 resp.
While Thienemann could document on the basis of Weigel’s inventory essentially originating in Ridinger’s bequest of drawings with 118 pictorially complete drawings (IV p, para. 1) almost the entire series of the Design, so, without possible further ones among the horses,
only 16 sheet of the small-sized core designs
which he dates as of 1735. Present work a therefore rare, indeed, precious evidence.
From an old album with corresponding traces of mount on the back and erroneous written attribution to Jos. Gg. Wintter in pencil. – Cut of the upper arch of the first F of the designation, the stroke of which in harmony with that of the engraving.
Offer no. 15,646 / EUR 945. / export price EUR 898. (c. US$ 1086.) + shipping
– – – Par force Hunter with the pack. Postcard in rotogravure after Thienemann 115 by O. Felsing, court copperplate printing office, Charlottenburg (Berlin). Same place, Nationaler Verlag Wilhelm Felsing, c. 1900-1918. 5⅜ × 3⅝ in (13.8 × 9.2 cm). – Unused “ARTIST POSTCARD” after the sujet of the Falconers set etched by Martin Elias R. – “He rides an English horse and blows the bugle. The pack accompanies him solemnly and quietly”.
Offer no. 28,455 / EUR 29. (c. US$ 35.) + shipping
The Plenty of Riding at a Par Force Hunt
— In Thiébaud only a Later Edition —
Vernet, Carle (actually Antoine Charles Horace V., Bordeaux 1758 – Paris 1836). (La chasse à Courre [au cerf].) Suite of 24 sheet. Engravings with etching (8⅜-9 × 11⅞-12⅛ in [21.2-22.8 × 30.2-30.9 cm]) by (Schwerdt: F.) Gamble. C. 1804-1814. Contemp. h. leather with gilt back and brown marbled covers.
Dayot 16; Thiébaud 927 (not knowing the first states with Schwerdt & Jeanson and here resp., see below); Schwerdt III, 65: “Highly interesting set” (before numbering); Jeanson, 1987, 574 (before numbering, besides erroneously taking over Thiébaud’s “about 1830” for his later edition). – Not in Souhart and the Schoeller collection.
Vernet’s 24-sheet Suite
as magnificent accord of instructiveness , variety and richness of pictures ,
here in the final state as recorded by Dayot as the one and only with both the address (Jeanson and supposedly Schwerdt, too) “Deposé à la Bibliothèque Impériale” and the numbering above right. Thiébaud knows the set only as later, likewise numbered edition with the address “Paris, Veuve Turgis” and dates it in such a way too late at “about 1830”.
The classic interpretation of a new century as response to the baroque plenty of the predominant Ridinger as, most interestingly, a favorite especially also with the French aristocracy before the revolution. But now Vernet. First highly paid master of the nobility, then with the red Phrygian cap, but imperturbable in the depiction of what is the fine gentlemen’s savoir vivre. Vernet the Middle, son and at the same time father of famous colleagues.
His outstandingly rare suite surpasses the 1756 Ridinger suite already nominally by one and a half, but also shows the details clearer. Always the process itself is the hub of the picture to which the environment remains subordinated. That an
incomparably splendid aspect of horses
comes along lies in the course of the artist’s nature. Vernet was infatuated with horses.
This all then the stations of this set, bound here contrary to the incomprehensible numbering of the plates (this indeed correctly limited to 1-24, yet, e. g., the introducing tracker scenes numbered 21 and 16 resp., Mort & Curée even 4 & 5) in the natural sequence as seen per pencil by the previous owner, deviating only partially from the likewise contemporarily bound Schwerdt copy, for the stag’s final phase evidently faulty though.
On the stag turning to bay (no. 2) the “Impériale” effaced as a hint for an impression from after the end of the Napoleonic empire indeed, but still before the address à la Thiébaud, also slightly less wide margins, albeit on lighter laid paper, and of very fine impression, even still with plate dirt. Contrary hereto the other sheets printed on a particularly heavy paper without line watermark with margins of about 3-4 top and below and 5.5 cm laterally resp. Plates 8 & 3 (4 & 23 of the binding) with watermark fragment “8”.
The uniformly fine print quality
not least defined by the fine handling of light and shadow .
The left platemarks predominantly impressed a little sharply and providently backed acid-freely, likewise two marginal tears. The wide paper margins mostly just a little and moreover on the outer edge only foxspotted on two to three sides, the interior margins with mounting traces of supposedly removed overlays, the front fly-leaf renewed with old paper. The binding partially rubbed, but not unproper and as contemporary the positively still fine cover for a
hunting-historically absolutely outstanding scenario ,
thematically belonging “to the most wanted works” of hunting prints
as Thienemann stated on occasion of Ridinger’s set of just 16 sheet. Once at home in the Orient
— “ albeit many rather consider the same from Nimrod. As to be read in the first Book Moses in the 10th chapter … yet the par force hunt … is a hunt and means to capture that one desires by force, so Nimrod thus would have been … a par force or mighty hunter ”
( Döbel, Von der Parforce=Jagd, within op. cit., pt. II, here page 87 ) —
introduced in Germany by Charlemagne, experiencing its rebirth in 18th century France, here now then the final, the sovereign creation as supposedly
France’s final bow to “her” finest hunt .
Offer no. 28,049 / price on application
“Report of the Dog Handler to the ‘Maître D’Équipage’”
Opening Sheet to as Early as Rarest Set
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Departure for Hunting. Etching, partly with drypoint, by Johann Daniel Hertz I (1693 Augsburg 1754) for Jeremias Wolff just there. (1723.) Inscribed (torso): Joh. Elias Ridinger. Sheet size 13 × 19 in (33 × 48.4 cm).
Thienemann & Schwarz (vol. I, plate III as first state) 9; Weigel, Art Stock Catalog, part XIII (1843), 12586 (as discharge print, presumably identical with that at Faber-Castell/Hamminger, see below); Coppenrath, part II, 1449 (trimmed to the edge of the subject and with “with small margin added”, “extremely rare”, 1889); Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1554 items; 1900), 8 (“trimmed to platemark”); Counts Faber-Castell (1958) 18 (as discharge print from the Hamminger collection , presumably identical with Weigel’s copy above).
Plate 1 of the complete hardly traceable third earliest hunting set
(Thienemann: “… which I do not possess myself , but would like to possess”, 1856 !) in the moreover
once more magnified rare first state
and dedicated in this only to Lothar Franz von Schönborn (1655-1729), elector of Mayence and prince-bishop of Bamberg, here, however, as a result of trimming under loss of his dedication, too, see below.
The report scenery was used about 1735 by Johann George Heintze as part décor for the rear view of Johann Joachim Kaendler’s Meissen Vase with Lid and Woman’s Head Handles in Dresden (inv. no. P.E. 3508), with the second piqueur along with two hounds placed left of the white horse, “silhouetted before the white background … on a painted gold pedestal with central leaf mask and foliage tendrils”. For the cartouche of the front view the Boar Hunt (Th. 12) of the set was used, while the Deer Hunt Th. 10 graces the pendant vase P.E. 7276. See Pietsch (ed.), Porcelain Parforce, Munich 2005, nos. 59 f. along with three (color) illustrations each of the porcelains and the three Ridingers.
Complete copies of the set beside the one known to Thienemann, the one of Baron Gutmann (Schwarz), and after all two traded here provable here only with Schwerdt (III , 134 as in succession of Thienemann and Schwarz not recognized 3rd state with Hertel’s address and in such a way described erroneously as proofs before the Schönborn dedication, subsequently then at L’Art Ancien, Ridinger list 14 , 2, now as “State apparently not described” and putting up for discussion Schwerdt’s “before” the dedication) and the one sold in 1958 by K. & F. (LXIV, 167) as likewise 3rd state and in such a manner possibly anew the Schwerdt copy.
Silver-grey impression of the presumably 1st state
as illustrated by Schwarz, yet with regard to trimming to the edge of the subject – only above almost throughout with fine platemark – only with the spared signature rest “Ioh. Elias Ridinger” directly on the left beneath the picture and without the said Schönborn dedication and the Virgil verse thusly only quoted above. Some small tears as well as a thin upper corner backed acid-freely. – Watermark Large Fleur-de-lis.
Offer no. 15,233 / EUR 1980. / export price EUR 1881. (c. US$ 2274.) + shipping
– – – Ducitur ducit(ur)que vicissim – He guides and is guided in turn. Search hunter (tracker) with leader at long leash, stepping out of the woods into the open. In the reset middle distance before tree scenery stopping royal. On the horizon high steeple. Etching with engraving. (1740.) Inscribed: Ducitur ducitqe vicissim. / I. E. Ridinger inv. del. et sc. A. V. 6 × 9⅛ in (15.3 × 23.3 cm; sheet size 17⅞ × 12⅜ in).
Thienemann & Schwarz (vol. I, plate X) 162. – Small tear of ⅝ × ⅛ in (1.5 × 0.2 cm) in the left outer margin 4.5 cm wide and faint margin patina, only the lower right corner a bit more from turning over.
The vignette as the classic par force hunt motif
of the as a whole frame-worthy title sheet
to the 23-sheet set REPRESENTATION OF THE FAIR GAME with their tracks and traces added … — ask for two complete copies available here, one of which as Ridinger’s personal copy — together with the fullpage PRILIMINARY REPORT in its fine large typography (in German) on the back. The extensive title text itself in red & black and in deviating state raising chronological question, as known here so far only of the title sheet of Ridinger’s aforesaid personal copy.
Offer no. 15,798 / EUR 290. / export price EUR 276. (c. US$ 334.) + shipping
Ridinger Par Force Hunt Prints
as Oil Paintings
by Georg Adam Eger or His Circle
countering the virtually oilless Ridinger market most magnificently
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) & Georg Adam Eger (? 1727 Murrhardt 1808; till 1768 court hunt painter at Darmstadt). Two etchings from Ridinger’s Par Force Jagd of the Stag in their plain image size printed on grounded zinc, executed as oil paintings in the colors of Hesse-Darmstadt by Eger or his circle, probably partially with use of tempera. Supposedly 1764/68. 10¼ × 18⅝ in (26.2 × 47.2 cm). Green-gold-foil frame.
Kölsch, Gg. Adam Eger … Jagdmaler am Hessen-Darmstädter Hof. Catalog of the Works in the Museum Hunting Seat Kranichstein, 2010; Thieme-Becker, Eger, X (1914), 369; Siebert, Kranichstein, Jagdschloß der Landgrafen von Hessen-Darmstadt, 1969; Hofmann, Führer durch das Darmstädter Jagdmuseum Schloß Kranichstein, 1981; Michel, Vorfahren und Verwandte des Tiermalers und Kupferstechers Joh. Elias Ridinger in Blätter des Bayer. Landesvereins für Familienkunde, vol. XV, 1987, 396-414.
The Relays are set out by the Commander of the Hunt
Thienemann 53. – Sheet 5 of the set, at the same time title sheet of its second part. – “To keep order with this number of humans and animals … exact places were assigned by the most noble leaders of the hunt where the relay horses, the different braces of dogs, together with their mounted leaders, should stop. Our sheet is filled with such troops partly stopping, partly moving ahead in divisions. The stewards are busy quite in front.”
Offer no. 28,968 / price on application
The Stag turns to Bay in the Water, the Hounds are ceased and He receives the Coup de Grâce
Thienemann 61. – Sheet 13 of the set, at the same time title sheet of its fourth and final part. – “The whole party has assembled around the water.”
Offer no. 28,969 / price on application
Schöne Beute — Bilder von der Jagd
Dr. Hanns Simon Foundation Bitburg
13 Januar – 3 March 2013
Catalog Book to the Exhibition
pages 90-93 (double full-page color illustrations) & 149
Here unequalled uniques
from the group of the “sheet-metal paintings”
at the court in Darmstadt as autonomous paintings of most beautiful appeal
and with respect to the hardly ever occurring of genuine Ridinger oil
singularly charming Ridinger top items
whose uniforms are “designed in the colors of the landgraves, later grand-dukes of Hesse-Darmstadt. Especially by Georg Adam Eger … there exist quite a number of hunting paintings which correspond almost down to details with your colors” (German Hunting and Fishery Museum).
“ Only Adam Georg Eger becomes the true painter of the par force hunt at Kranichstein
Louis VIII (1691 Darmstadt 1768, ruling since 1738, “the greatest nimrod of his time”, Hofmann) must have esteemed Eger quite a lot, wished to have him as steady companion on the hunt and commissioned him with a court hunting uniform to put him on a par with the huntsmen, also called him intimately ‘his old mate’. Eger’s paintings were frequently copied by another Hesse-Darmstadt hunting painter, Nikolaus Michael Spengler, in the rare manner of glass pictures, certainly at the landgrave’s request. ”
(Gisela Siebert). – See the comprehensive documentation.
niemeyer’s — 58 years ridinger experience
The Original Copper Printing Plate of the Boar Hunt
as One of the Two
as just right for America worthy to bear additionally
Emil Seitz’ (presumably Unterweissach near Backnang c. 1830 – New York 1911) address.
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). How the Wild Boar is hunted and dealt the coup de grâce – Qua Ratione Aper Exagitatus tandem Prosternatur. Copper-printing-plate in reverse. Inscribed: Johann Elias Ridinger inven. fecit et excud. Aug. Vind., otherwise in German-Latin text as above. 21¼ × 29¾ in (54.1 × 75.6 cm).
The optically excellently preserved printing plate in the mixed technique of etching and engraving as typical for Ridinger and his period to Thienemann/Schwarz 68 and Schwerdt III, 135 (“… of the largest and most artistic plates engraved by Ridinger himself”)
as accordingly trouvaillesque, worldwide unique collection object par excellence traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308)
seamlessly directly into the master’s estate itself
while deemed lost by Thienemann still in 1856. For
“ Preserved original 18th century printing-plates
are of great rarity “
(Stefan Morét in Ridinger catalog Darmstadt, 1999, pp. 62 f. See also the plates there I.13, I.8 & I.11, colour ills. 6 & b/w ills. pp. 63 f.).
And especially on Ridinger’s :
“ Of the high technical and qualitative standard of the works of Ridinger and his sons collaborating in the workshop especially as engravers the (only very partially) preserved printing plates bear witness still today. ”
In the same sense then already before Bernadette Schöller in Der Kölner Graphikmarkt zur Zeit Wenzel Hollars within Wenzel Hollar – Die Kölner Jahre ed. by Werner Schäfke, Cologne 1992, p. 19:
“ The copper plates
which due to both their raw material value and the working time invested therein, too,
enjoyed a far higher esteem
than, for instance, a preparatory drawing handled only too often disrespectfully … ”
So was stated here on occasion of parts of the so-called Thieme-Becker block of Ridinger’s printing plates “One of the most sensational discoveries in art history … Ridinger’s original printing (sic!!!) plates”. That present one
the master has worked himself
shall be mentioned expressly. Just as documented by above inscription, too.
Beside the imperial privilege entry on the same line additionally on occasion of new prints as — just like the pendant plate to Th. 67 available here, too — the only plates known here to bear additionally three posthumous publisher/printer addresses of the 19th century – these along with privilege, but not Ridinger’s inscription on its own line, due to general delicacy and too thorough removal of the old printing color legible with well-aided, well-minded eye anymore – , including as quite fascinating
“ New York Emil Seitz Broadway No. 413 ” !
Seitz was the son-in-law of the Augsburg publisher Ferdinand Ebner I (1786-1859, children Ferdinand II & daughter Emma), together with brother Ludwig (by marriage about 1809) owner (by partnership in 1821) of the Herzberg Academic Art Gallery there which about 1824/25 had taken part both for technical support and as publisher in the new Ridinger editions by the Engelbrecht Gallery there. Some years before the latter had taken over the Ridinger Publishing House including the printing plates. Independently of this Ferdinand established his own publishing house in 1823 which was sold after his decease in 1860 and went bankrupt insolvent under the successor Bauer in 1864. In the absence of a successor the Herzberg store was liquidated still by Ludwig himself about 1852. Before his union with Emma Ebner Seitz had worked together with her brother Ferdinand (II) in Berlin. The wedding took place in New York in 1852, where Emil Seitz had moved late in 1850. With Broadway address from the beginning. Only in the foremost time no. 233, then 413 for good!
Seitz’ address on these crown plates of downright American pretensions
is in such a way excellently dovetailed with Ridinger’s estate of plates .
On his death Emil Seitz was bid farewell ex cathedra by the statement
“ He built up a large business
as one of the earliest art brokers in the city ”
The New York Times
February 2, 1911
By that time Seitz had finally retired from business already 25 years before!
It was an American career !
More on this complex in the illustrated flyer here
In a Big Way — Emil Seitz & Ridinger on Broadway.
Emil Seitz — Drummer for Ridinger in America
The attribute as “the largest plates” by the way has to be amended to the effect that several mezzotints worked by or for Johann Andreas Pfeffel after paintings from supposedly Ridinger’s early years – here available in quite uniform even deep velvety qualities the 4-sheet set Roe-Boar-Bear-Quail of the C. F. G. R. Schwerdt Collection otherwise unbeknownst to all but Thienemann – are of similar size and Schwerdt III, 149 in addition records as what has to be described as practically a unique here not provable anymore since 1939 a St. Hubert after Johann Caspar Sing (Braunau/Inn 1651 – Munich 1729), with 33½ × 24⅜ in (85 × 61.8 cm) surpassing those once more. Showing “only” Ridinger’s “excudit” as publisher, it should be a genuine work of his nonetheless. However, with 29¾ × 36⅛ in (75.5 × 91.8 cm) sheet size here actually the most monumental sheet of the œuvre, albeit still engraved by third party, is the early Siege (and Conquest) of the Capital Halicarnassus (Th. 917) from the Alexander cycle.
By their artistic and as one-(!)-plate-works besides technical bravura, however, Th. 67 & 68 reckon as pendants among the hunting prints of all times to the finest hunting pictures pure and simple. At the same time after the abolishment of the par force hunt they are the ultimate graphical representation of that hunt-historical zenith. — Rolf Biedermann in the 1967 Augsburg Ridinger catalog, no. 67:
“ By their style they should have been created in the late 40s … ”
Here & now the the Boar Hunt Th. 68 as synonym of
Printing Plate Monument & Royal Collector’s Item ,
busting about any imagination of what even most fastidious collectors deem possible objectwise.
Sheltered from tarnishing by fine application of varnish
the plate is printable generally within the limits of its use during the times. But it is offered and sold as a work of art and an object of collecting. Thus without prejudice to its final printing quality. Shortly ,
a conceivably enjoying , worldwide unique absolutum .
Proposed to you besides with the recommendation of a timeless-elegant frameless hanging (fittings included) for that you will experience the respective light reflections to the fullest.
Offer no. 16,182 / price on application
– – – The Par Force Hunting of a Stag and how He is bagged. – Venatio Libera Et Violenta Cervi, Ejusque Occisio. Copper-printing-plate in reverse as before to Thienemann/Schwarz 67. Inscribed: Johann Elias Ridinger inven. fecit et excud. Aug. Vindel., otherwise in German-Latin text as above. 21½ × 29⅞ in (54.6 × 75.8 cm).
Offer no. 16,181 / price on application
– – – The above two pendants The Par Force Hunting of a Stag and how He is bagged / How the Wild Boar is hunted and dealt the coup de grâce (offer nos. 16,181 & 16,182) together
Offer no. 14,930 / price on application
In Contemporary Impression :
The Arenberg Copy
– – – How the Wild Boar is hunted and dealt the coup de grâce. – Qua Ratione Aper exagitatus tandem Prosternatur. Etching with engraving. Inscribed: Johann Elias Ridinger inven. fecit et excud. Aug. Vind., otherwise in German & Latin as above. 20⅞ × 29¼ in (53 × 74.2 cm). – Contemporary impression from the estate of the Dukes of Arenberg with their oval blue collection stamp with the three medlar flowers borrowed from the crest of the house and the device CH(RISTUS). PROTECTOR MEUS verso. – On heavy laid paper supposedly watermarked Wangen and secondary mark FAvI (?). – Three sides with 8-15 mm wide white paper margin in addition to the platemark of c. 1 cm. Only on the left trimmed to the platemark with partially still fine paper margin. The left lower corner and right white margin a little crease-marked. Besides in the latter and in the middle of the caption one professionally done tear each. A former centerfold utterly smoothed out and perceptible as a faint shadow on the back only. However, in respect of the faults of preservation to be lamented almost always with these oversizes, these downright minimal age marks are entirely subordinate to the
excellent printing quality with its marvelous chiaroscuro
as adequate to what made this inexpressibly fine sheet so unrivaled and unrepeated. – See the complete description.
Offer no. 16,185 / price on application
Saint Hubert — Consummated 1290 Years Ago
„ ich danke für die unbeschreiblich gut verpackte Sendung, die mich heute wohlbehalten erreichte, Sollten Sie mal wieder etwas von … haben, wäre ich für eine Benachrichtigung dankbar. Ebenso interessieren mich die Maler … Herzliche Grüße aus Hamburg “
(Herr A. W., 24. Oktober 2007)