Patron of Equestrians
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (Redop left at the Wall.) The dapple-grey horse jumping. Etching with 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. 21¼ × 15⅜ in (54 × 39 cm).
Thienemann & Schwarz 639. – New (or Vienna) Riding School VII (Th., dated, sheet 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
Reich auf Biehla owned only in the new impressions of about 1850 (no. 144 of his catalog; 1894).
Offer no. 14,389 / EUR 1180. / export price EUR 1121. (c. US$ 1355.) + shipping
Ride with the Great Horses Rugendas
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. 7½-7⅝ × 9⅜ in (190-193 × 237-238 mm).
On toned light HONIG laid paper, one of which with the cut word mark C & I HONIG as on the market since 1730 and used by Rugendas also for his signed spectacular drawn “Cavalry Battle before a Fortress” of 1738 from his bequest (Biedermann, Meisterzeichnungen des deutschen Barock, 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). – Under acid-free passepartout with 23.5-carat gilt stamped artist’s name and dates. – The chronological aspect set by the watermark, however,
increases the richness of the picture of present pendants
by a rarity factor of degree .
For according to Krämer the “fact (goes) that except for the Berlin stock (of drawings in red chalk related to 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 … ascertained for 1738 by signature and date” (op. cit., p. 34/III).
Two Most Rare Pendant Drawings of the Late Period
hitherto went unrecognized for their ranking in the œuvre
But also “composition studies – and just such ones the ones here are – have not survived that much and none which is to be joined directly with a later execution”, so Krämer before conclusively 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.
To the knowledge here, agreed with after review of photos by Dr. Krämer per oral utterance, at the same time remarking that, as here, the closely and prominantly seen group also were a characteristics of the late paintings, they are according to all the above
two of those rare autonomous drawings of the master’s
On this already Gode Krämer op. cit., page 26/I:
“ … there are but few autonomous drawings by him .
Almost his complete work of drawings is virtually serving, consists of studies, sketches, re-drawings, copy and proof drawings by own hand, which prepare own paintings, etchings, and mezzotints or printed works of other artists. ”
And when with respect to the quality of his painting A. Ch. Held (Gg. Ph. Rugendas, Gemälde und Zeichnungen, 1996) mentions “his already early marked talent for
tender , atmospheric moods
so just likewise present drawings are determined by
the softness of their brush technique ,
deliberately still raised by the toned paper ground. The latter then also partially absorbs the browning particularly on the back of about 4 cm of the respective right margin of the subject as well as with the second sheet 3 cm at the lower margin front side and conveys as not improper patina of three lively centuries. Otherwise of impeccable final freshness.
That these Rugendas in addition are of civil picture content inevitably makes them additionally wall-efficient (averted from the sun!) for today’s horse-fancier and with regard to the due to the period in their majority martial scenes especially desirable for the collector. For
“ Rugendas’ interest in horses is … (just) not only conditioned by the martial theme of his work. It is also consequence of a hippological interest growing since the 16th century that manifests itself especially in the 17th century in numerous illustrated textbooks on the ‘high school’. Now and then these were illustrated by well-known battle painters as e. g. Charles Parocell ” (Held, op. cit., p. 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, p. 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 18th century the painter colleague Ferdinand Kobell brought his esteem drastically to a T in his statement of 1771, by which he differentiated the artistic Augsburg of the previous generation exemplarily: “only a pity that at such a place a Ridinger – and Rugendas have lived” (Décultot et al. ed., Joh. Gg. Wille, Briefwechsel, Tübingen 1999, p. 486).
For the latter then here & now two “civil” pendant drawings of rank and beauty. And for the œuvre of drawings of that absolute rarity proven above making them so precious.
“ Very fine qualities ”
judged Christian von Heusinger, head em. of the Department of Drawings of the Brunswick Herzog Anton Ulrich Museum famous for its collections on occasion of a visit.
Offer no. 15,181 / price on application
Unique in Ridinger’s Œuvre
The Intimate Cabinet Drawing
of the Jolles Collection
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). An Old Horse’s Upper Jaw-Bone as seen from Below. Fully executed study in grey and brown watercolor over graphite. Inscribed by old hand in brown ink below left: Obrer Pferdekiefer (Upper Jaw-Bone). C. 1765. 10⅛ × 5¾ in (257 × 145 mm).
Dresden and Vienna, his ligated monogram stamp in blue
(Lugt 381a) below right, presumably on his sale of
“ the Famous Collection of Drawings and Watercolors
of Old and Modern Masters” Munich October 28-31, 1895;
Hugo Helbing, Munich. Catalog XXXIV (1900),
Arbeiten von J. E. und M. E. Ridinger, no. 1554.
WELTKUNST vol. LXIV, p. 2688 (editorial contribution).
Fully accomplished study on fine slightly toned laid paper with large watermark Rope-waving Acrobat on a Globe balancing on a Platform, similar to Heawood 1364 + 1365, but a bit larger and much finer and more detailed. The paper itself corresponding to those Dutch quality papers Ridinger used only
“for the fine illumination” for the colored works
since “it is the most decent and best for such a task” as he states in the preface of his Principal Colors of Horses.
Left of the inscription traces of erased date or year (…9?). – Inscribed by old hand in pencil below right: Joh. Elias Riedinger (sic!) f. as with regard to the “ie” quite common in the 1st half of the 19th century and still beyond (cf. Th. p. X, footnote 1), but occasionally inscribed by Ridinger himself, too (here documented for 1724/40).
Verso traces of previous mounting at the corners and narrow stripes at the middle of side margins. A needle-pin-small puncture restored and almost invisible from the front. Otherwise absolutely fresh. – Set into an acid-free passepartout with 23.5-carat gilt stamped artist’s name and dates.
Unparalleled within the Weigel drawing portfolios described by Thienemann
and also not among the about 1849 works comprehended in the 829-lot Ridinger section in Weigel’s Catalog of left drawings of 1869. Just so missing in the inventory of 234 drawings of a “Fine Collection of Drawings … by Joh. El. Ridinger from the Possession of a well-known Collector” sold at auction in 146 lots by Wawra in Vienna on May 19 ff, 1890 resp.
Offer no. 28,861 / price on application
The Anderhub Copy
Rugendas I, Georg Philipp (1666 Augsburg 1742). Diversi Pensieri. Countryfolk mounted/with horses. Set of 8 sheet. 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. 4⅝ × 5½-5⅝ in (11.6-11.8 × 14.1-14.2 cm). Stitched.
J. H. Anderhub
with his exlibris of 1937 EX BIBLIOTHECA J. H. ANDERHUB below his bust silhouette
Teuscher 23-30, I (of III, recte IV) with illustrations; Stillfried 20-27; Art Stock Catalog 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.
The charming set of “bucolic contents”
like the “Capricci” of 1698 (Gode Krämer in Catalog Augsburg) filled with the poetry of the intimate Rugendas beyond of battle noise.
The preparatory pencil drawings in reverse worked for the transfer to the copper with marks of trace and red chalk on the back in Brunswick, while for sheets 2, 6, 7 & 8 there are “very exact equilateral drawings of the same size (brown pen) without traces of transfer” in Augsburg which by no means were or could be “copies after the etchings” as held by Heusinger in the Brunswick exhibition catalog “The engraved Image” of 1987. See on this Cat. Augsburg to items 26 & 29. Here then the graphic Pensieris titled so by Rugendas himself
in the first state of adequate provenance .
Did not figure, as further prints, too, in the 1963 book sale of the “Bibliotheca Hippologica I. H. Anderhub”. Here the 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”.
Offer no. 28,608 / sold
With Parrocel’s Famous Riding School Set
La Guérinière, (François Robichon de). École de Cavalerie; Contenant la Connoissance, l’Instruction, et la Conservation du Cheval. 2 vols. Paris, Par la Compagnie (des Libraires), 1756. 8 unpag. ll., 319 pp.; 2 unpag. ll., 300 pp. With author’s portrait & frontispiece, engraved by Simon Henri Thomassin (1687 Paris 1741) after Louis Tocqué (1696 Paris 1772) and Benoit II Audran after Parrocel resp. and
33 (4 folded) engravings
(9⅝ × 4¾ and 7½ × 9⅝-10¼ in [19 × 12 and 19 × 24.5-26 cm] resp. leaf size) by (14, among which the folded engravings) and after Charles Parrocel (1688 Paris 1752). Contemporary calf binding.
Mennessier de La Lance II, 28. – Originally published in smallest format and without illustrations in 1729 and repeatedly republished well into the 19th century, this is the fourth octavo edition of the
fundamental Riding Instruction of the Royal Equerry
and founder of several riding schools, for which Parrocel created his famous suite which led to the first illustrated and at the same time folio-sized edition of 1733. The first of the likewise illustrated octavo editions followed in 1736.
Bound fittingly to the text, the suite starts with 24 half-page dressage scenes on 12 plates also etched by Parrocel himself throughout, which are followed by 8 full-page, together portrait-like executed works, of which two likewise are worked by Parrocel alone, one with his invenit only, and the other five of his designs are executed by outside engravers (Tardieu, N. Dupuis, Laurent Cars, Beauvais, L. Desplaces). The four large folding plates – besides summary dressage overview one each richly opened up by numbers for the outer parts of the horse, its skeleton, and for the sick animal – again by him all alone. Bound in-between as fitting finally 9 engravings bridle, horseshoe, tools, and schemata, of which eight carry the engraver inscription of Guillaume Dheulland (D’Heuland, early 18th cent. until about 1770). Seven of Parrocel’s own inscription with only one “r”.
For the present portrait-like full-page engravings La Croupe au Mur & Le Piaffer here by the same engravers Dupuis and Cars resp. similarly worked folio formats of 1751 known (from the second folio La Guérinière of that year?), which instead of the dressage designation are inscribed with M. le Marquis de Beauvilliers and M. de Kraut resp. and are accompanied by their coats of arms, thereby per “pinx.” instead of “inv.” here going back to Parrocel’s corresponding paintings. The 24 half-page dressage scenes here by the way served Leonhard Michael Steinberger (1713 – Augsburg 1772) as freely related patterns for his 24-plate school published by Ridinger (Th.-Stillfried p. 295 & appendix III, p. 2; Schwarz vol. I, XXV).
“ Besides the astoundingly true depiction of the horse and all costume details P.s strength – Thieme-Becker judge 1936 – particularly lies
in the bold composition of lively animated groups .”
Present edition identical with that of 1754 except for a few differences. The engraved small arms on the title of that here replaced by a woodcut vignette, the pagination of p. I/319 also differing. The contents of II set in larger type so that it only ends in the midst of p. 300.
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 frontcovers with armorial bookplate von Haugk on the interior, back of fly-leaf of I written buyer’s note of Glogau (supposedly 18)42 and on both titles written “M. Troost. 1881. Capitaine.”
Shortly, positively up to the binding with its rich gilt tooled back and the red back-plates a roundly fine copy of this indispensable work with its Parrocel illustration setting the standard both artistically and hippologically as a value sui generis.
Offer no. 15,149 / sold
Voilà , up it goes
Stradanus, Johannes (= Jan van der Straet; Bruges 1523 – Florence 1605). Staphæ, sive Stapedes. The Invention of the Stirrup. Manufacture, sale & usage in their whole bustling plenty. Engraving by Theodore Galle (1571 Antwerp 1633) for Joan Galle (the former’s son; 1600 Antwerp 1676). C. 1591. Inscribed in the subject lower left: Joan. Stradanus inuent. / Joan. Galle excud. & within the caption field: 9. / title as above / Pedes, humi vt, stetere equo, insidentium / Cito leuati, vt ipsa scala subleuat. 7¾ × 10½ in (19.7 × 26.8 cm).
NOVA REPERTA / NEW DISCOVERIES & INVENTIONS 9. – Leesberg (New Hollstein, Stradanus) 331, III; Hollstein (Theod. Galle) from 410-430; Nagler (Stradanus) XVII, page 449, Nova reperta … set of 9 sheets, with captions … Engraved by Th. Galle.; Thieme-Becker (Galle Dynasty) XIII, page 105/II ad Th. G.: Besides he reproduced a number of compositions after Stradanus.
Extremely rare hippological specific
from the first Reperta series, which was followed by a simultaneous further one of 10 sheets engraved by Jan Collaert II, numbered 10 ff. All of them are
famous early representations of rarity ,
in which latter regard the presentation of the stirrups holds an additionally special position and consequentially is offered here for the first time, after an indeed only almost complete lot of both series was traded here in the 1970s.
“ the old did not know the stirrups ,
which seem to have appeared only at the time of Otto I (crowned 936) ”
( Meyers Konv.-Lex., 4th ed., XV , 259/I ).
Very fine impression on fine light laid paper of this nevertheless later state with the added edge line below, hard to read double circle watermark on the left, and excellently wide margins of 4.6-5.4 cm. – Above the right edge of the subject paled old numbering “10” in bister. – Small faint spot below the right caption field.
Offer no. 16,084 / EUR 1380. / export price EUR 1311. (c. US$ 1585.) + shipping
“ Drag Hunting ”
Vernet, Carle (actually Antoine Charles Horace V., Bordeaux 1758 – Paris 1836). La Chasse. Fox-hunting. The hunting party galloping across hilly landscape with the pack aside. The fox not visible yet. Aquatint by Louis Philibert Debucourt (1755 Paris 1832) printed in brown. Inscribed: C. Vernet del. / P. L. Debucourt sculp. / Déposé a la Bibliotheque Nalle. / A Paris chez Rolland, Place Victoires, No. 6., otherwise as above. 19 × 26¼ in (48.1 × 66.8 cm).
Dayot 2, II (with ill.); Fenaille 141, II, each final state with the letter. – Two minimal box pleats in the sky. – On untrimmed Van Gelder Zonen laid paper with margins on three sides 4-4.8, above 2.5 cm wide in addition to the already wide white platemark.
Superior splendid sheet
in Debucourt’s characteristic painterly aquatint manner and wanted as all his engravings. For the horse-crazy Vernet meanwhile a sujet par excellence:
In 1784 the same father – the landscape and marine painter Claude Joseph V. – who urged the son only one year before “he should restrain from riding, and not leave his works incomplete” bought him a horse as further stimulation.
Offer no. 12,292 / EUR 1508. / export price EUR 1433. (c. US$ 1732.) + shipping
walls — our secret communicators
“ This Young Tiger Horse
bred at Orange=Polder a village not far from Delft
in the province of Holland
had this Ear-bouquet of black color
like the other spots and
has been paid for as a rarity very dearly
by the manorial family of counts Promnitz from Silesia
during their Dutch journey in 1743. ”
The Instantaneous Rendition …
— J. El. Ridinger sc(ulpsit): et excud(it). 1745 —
of the Tiger Horse with the quite unique ear-bouquet after the portrait painted from life by Christian Ludwig Baron von Löwenstern (1701 Darmstadt 1754). Copper printing plate in reverse. Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. … 13¾ × 11¼ in (35 × 28.5 cm).
As hippological wonder the portrait of the Promnitz trouvaille was conceivably painted already during the return and entrusted to Ridinger as first resort for such for instantaneous documentation within his running series of zoological case examples. Baron von Löwenstern, closely connected with the court at Darmstadt and active also as poet and composer, was, like Goethe, an amateur artist with nonetheless a most extensive painted œuvre. Adequately hereto then
the original printing plate
in reverse to sheet 38 (etching with engraving, Thienemann & Schwarz 280, “The six horses contained in this collection later had been sold also separately”) of the Representation of the Most Wondrous Deer and other Animals
in the reddish golden brilliance
of its 272 years old copper
as correspondingly trouvaillesque, worldwide unique collector’s object par exellence traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308)
seamlessly directly to the master’s estate itself
while still 1856 Thienemann had considered the plates of the Most Wondrous as lost. 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 … ”
As then elsewhere, too: “The Nuremberg publisher Frauenholz was so taken with this work that he acquired the plate from Reinhart (1761-1847) for a considerable sum” (Teeuwisse III , 29).
And quite specifically for instance Adrian Zingg who during his Paris years (1759/66) ultimately was paid by the great Wille “up to a thousand pound for the plate” while “for the accuracy with which he executed his works … nevertheless could not cover his expenses”. So this towards Hagedorn – to whom Ridinger dedicated his set The Deer’s Four Times of Day as the one and only own dedication – as director general of the arts in Saxony for the purpose of putting through his requests for employment in Dresden:
“ The work was agreed upon when I started it, and all the time spent much more time than I had expected at the beginning, and sacrificed of my own money, to finish the work to my liking ”
(Erwin Hensler in the explanatory notes to the 1923 facsimile edition of Zingg’s album, p. 4). Etc. etc. as continued in the complete documentation available on request.
And yet in the case here , mind you , nevertheless still regarding just reproduction plates! What artistic and therefore timeless factor only defining the value there
where the artist’s genius itself
draws the lines , guides the chisel , amplifies the intensity of etching there and reduces it here, and forces the own vision upon the copper!
Here & now then in such a way a Ridinger plate !
And 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
has been worked by the master alone
shall be mentioned expressly. Just as documented by above inscription, too.
And on copper plates as painting ground and in general finally Keith Andrews, Adam Elsheimer, 2006, pp. 18/I, 2 & 57/I,3 resp.:
“ Partly they certainly were intended for the decoration of furniture, especially as veneer for cabinets ” (spacing not in the original). And , once more ,
“ Besides copper plates could be applied right into furniture ”.
Shielded from tarnishing by fine application of varnish ,
the plate is generally printable in the ordinary course of its use through the times, however, it is offered and sold as a work of art and a collector’s item, thus without prejudice to its eventual printing quality. Shortly ,
an extremely gratifying , worldwide unique absolutum .
Proposed to you with the recommendation of a timeless-elegantly frameless hanging (fittings included) for that you will experience the reflection of the respective light to the fullest.
And what said private Ridinger plate purchasers generally ?
“ You have surprised me … ”
“ I would like to thank you,
the plates are more beautiful than I had expected … ”
And an American purchaser
still before the Lower Saxon bombshell:
“ … and I know the plate will only gain in value ”.
Yet first in 2001 the Augsburg Art Collections presented the acquired 12-plate set for the Paradise suite within the exposition “KUNSTREICH“ as the important acquisitions of the past decade (catalog KUNSTREICH no. 102, pp. 198-201).
Ten years later then
the Cultural Endowment of the State of Lower Saxony swept
by the their overnight acquisition of 104 ( sic !! ) plates
for the exquisite Brunswick Herzog Anton Ulrich Museum
a greater part of this stock of plates irrevocably from the market .
That present one via Promnitz-Pless besides prominently touches World War I shall be mentioned in passing only. And so the most elitist frequently still is the best value. Proposed to you with the recommendation of a timeless-elegantly frameless hanging for that you will experience the reflection of the respective light to the fullest.
Offer no. 16,232 / price on application
Saint Hubert — Consummated 1290 Years Ago
„ Haben Sie vielen Dank für die schnelle Zusendung der (Hogarth’schen) Kunstwerke … Ich bin überaus glücklich darüber … Ich bin sehr froh darüber, Sie im Inet gefunden zu haben … Liebe Grüße “
(Frau K. K., 21. Mai 2013)