Central & northern China with Beijing (PIKIN) in the lower center & the cpl. Great Wall of China. – Besides Corea, Sakhalin, Sea of Japan with coastal strip as well as Mongolia and vast Russian border region of the Altai Mountains with Lake Baikal nicely in the center as the 2000-years home of the tiger horses, the Horses of Heaven, see below. – Typographical watermark.

Offer no. 15,223 | EUR 345. | export price EUR 328. (c. US$ 353.) + shipping

Hangzhou (Hang-chou / Hangchow) – Xvntien alias Qvinzay. Bird’s eye general view with numerous junks and boats around the city, based on the Venetian Marco Polo’s (1254-1324) account of his second mercantile expedition (1271-1295) undertaken first only as companion to his father and uncle along the Silk Road to Asia and their discoveries up to the incomparably wonderful and legendary capital of the Southern Song with her 12000 bridges and paved roads southwest of Shanghai. With title ribbon. Engraving by Matthäus Merian (Basel 1593 – Schwalbach 1650). Inscribed. 7¼ × 10⅛ in (18.3 × 25.7 cm).

Wüthrich III, p. 340 (erroneously as “Beijing”). – Especially fine , early impression from the 1^st illustrated edition of 1638 of Gottfried’s Archontologia.

“ … Marco Polo reports of the arrival in his cosmopolitan favorite city, today’s Hangzhou. He rhapsodies of splendid palaces and public heat baths, and the harbor in which ships from all Asia called and unloaded spices, pearls, and precious stones. Later for the first time Japan is mentioned under the name of Cipangu … His voyage to China by land and back at sea mentioned by him in the account Rustichello had written down for him, and the discoveries described by him contributed decisively to the later discoveries in the 15^th and 16^th centuries, and by this also to the world as we know it today. For this Marco Polo is still praised in the present-day world. ”

So German Wikipedia March 21, 2022 including overview on the literature on the credibility of his accounts, repeatedly though ultimately unjustly doubted ever since. With regard to their colorful richness of events he is said to have retorted to contemporaries to have told them merely half of it. Six screen adaptations between 1938 and 2014.

Offer no. 14,595 | EUR 270. | export price EUR 257. (c. US$ 276.) + shipping

Pu-Quà. A Traveller. Voyageur. On foot. Colored stipple by John Dadley (1767-1817). Inscribed: Pu-Quà, Cantòn, Delin. / Dadley, London, Sculpt. 10⅛ × 8⅝ in (25.7 × 22 cm).

According to Lipperheide Le 21 after-engraving about 1810 after Dadley’s print of 1799 (Lipperheide Le 17). – With slightly foxing explanation sheet in German-French parallel text.

« Son habillement indique qu’il est en deuil. Il porte un bâton, une espece d’épine qui croît dans quelques parties de la Chine, et que l’on emploie fréquemment comme un bâton à marcher. »

Offer no. 14,635 | EUR 75. (c. US$ 81.) + shipping

With the Great Wall of China

Tartaria sive Magnichami Imperiorum. With each figurative title and miles indicator cartouche, the former with mounted camel, led by the halter by a sword-bearer and pushed by a driver. Engraving by Matthäus Merian (Basel 1593 – Schwalbach 1650). 10⅝ × 13⅞ in (27 × 35.3 cm).

The Great Wall of China (map detail)

East Russia with the Caspian Sea as western boundary and in the east still extending beyond the nicely drawn Great Wall of China with 5 lines Latin caption “Murus quadringentarum leucarum inter montium crepidines a rege chine contra Tartarorum ab hac parte eruptiones extructus” (“A wall four hundred miles long was erected between the mountain crests by the king of China against the incursions of the Tartars in this region”) adopted from Abraham Ortelius’s 1584 map of China. – Early impression from the 1^st illustrated edition of Gottfried’s Archontologia of 1638. – Thin spot on the left in the image backed.

Offer no. 11,921 | EUR 138. (c. US$ 148.) + shipping

Wintter, Joseph Georg (1751 Munich 1789). Etching. Inscribed: JG Wintter inv: fecit / 1783 / 3. 5⅝ × 8⅛ in (14.4 × 20.5 cm). – Niemeyer 31, III; Nagler 8, 6. – Upper right in the wide white margin a few feeble foxspots.

The in every respect marvelous sheet ,

later recorded as sheet 3 (Niem. 31, II) within Nagler 13, as here, too, yet now as Niem. 31, III from the 44-sheet Augsburg omnibus edition Schwerdt III, 190, a ( “Rare“, 1928 ) of 1821 the earliest, whose marvelous printing qualities on strong paper reveal the small editions and had Schwerdt frequently yet erroneously infer proofs before the letter. But already on occasion of the here otherwise not provable 137-sheet complete edition Weigel 21336 this stated 1857: “Most sheets very rare.”

Wintter was electoral Bavarian Court and Hunt Engraver and member of the electoral academy at Dusseldorf and 1787 he was promoted even court chamber councilor as

(pope of forest cameralists Wilhelm Gottfried von Moser, b. 1729, from the “famous family of cameralists” [Heß in Allgemeine Deutsche Biographie] 1788 in Forst-Archiv [IV, 280 ff.]), who nevertheless till today remained outside of the small, yet growing circle of intimate connoisseurs under the lee of Ridinger and his continuing overwhelming effect, irrespective of voices of important contemporaries calling to attention just like von Moser with his however in this manner not to be adopted conclusion

“ always better than Riedinger ”

or Lorenz von Westenrieder of the same age (b. 1748, theologian, yet especially historian; “has generally an impressionable eye for scenic beauties” [Höhn]), who praised him highly in his 1783 Jahrbuch der Menschengeschichte in Bayern and in 1785 wrote to Christian Felix Weisse, friend of Lessing’s and playwright in Leipsic:

“ This man has extraordinary talents .”

Manifested ultimately in Andresen’s statement (1868)

“ [N]ext to Ridinger the most proficient German depictor of the hunt of his century ”

and 1909 and 1921 resp. Höhn (Studien zur Entwicklung der Municher Landschaftsmalerei v. Ende d. 18. u. v. Anfang des 19. Jh.: “one of the earliest” among “the early beginnings of Munich Landscape Painting”) and Wolf (Die Entdeckung der Münchener Landschaft, illustrating seven of his etchings) placed him in wings unrelated unrelated to the hunt.

And generally Nagler 1851 in the Künstler-Lexicon: his “etchings are excellent and are in the treatment between those by Hollar and Riedinger”. To eventually emphasize 1863 once again expressly in the Dictionary of Monogramists (III, no. 68) the rarity of these beautiful sheets.

Offer no. 15,667 | EUR 430. | export price EUR 409. (c. US$ 440.) + shipping

Tigres du Bengale, Jeunes. Two young Bengal (Royal) Tigers in the Jungle. Toned wood engraving by Eduard Adé (first mentioned 1865) in Stuttgart after Auguste André Lançon (St. Claude, Jura, 1836 – Paris 1887). C. 1870. Inscribed: E. Adé. Stuttg. / A. LANCON. 8⅝ × 12½ in (21.9 × 31.7 cm).

Thieme-Becker XXII, 285 f. – “Under the influence of Barye and Delacroix Lançon devoted himself chiefly to the depiction of predaceous animals”. – On strong paper, its wide white margin somewhat foxspotted.

Offer no. 11,998 | EUR 189. (c. US$ 203.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Mindless Age becomes Contemptuous by Childish Expression. Elected for his large beard by the animals as their representative the billy-goat behaves himself so foppish over this that he “provokes partly guffaw, partly annoyance. This the artist shows excellently. The badger is rolling with laughter, the stag, the horse, the fox laugh scornfully, the tiger, the striped hyena, and the lynx in earnest become aware of the foolishness of their choice and revoke it. The monkey though points his fingers at him” (Th.). Etching with engraving. (1744.) Inscribed: J. El. Ridinger inv. et fec. et exc., title in German-Latin-French as above. 13⅛ × 9¾ in (33.3 × 24.7 cm).

Thienemann + Schwarz 773; Ridinger Cat. Darmstadt IV.8 with ill.; Metzner-Raabe, Illustr. Fabelbuch, 1998, vol. II (Bodemann), 123.I. – Sheet 9 of the intellectually as optically exceedingly charming “Instructive Fables from the Animal Kingdom for Improvement of the Manners

and especially for the Instruction of the Youth ”.

Without the number top right which is almost unknown but appears later on. – Fleur-de-lis watermark. – Once having been mounted onto bluish-grey laid paper of the early 18^th cent. watermarked SICKTE (the von Veltheim paper mill there) along with the Jumping Horse Heawood 2790 (Germany 18^th Cent. Esp. in Doppelmayr, Sonnen-Uhren, Nuremberg 1719), upon which it now lies loosely. – Trimmed on three sides on the edge of the wide white plate margin. – Wonderful early impression.

Offer no. 12,507 | EUR 588. | export price EUR 559. (c. US$ 601.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Landscape with the Wild Animals. Deeply staggered landscape with small lion hunt – horsemen, one of whom already raising his spear for the shot, footmen, of which the first sounds the bugle and cry of hounds – in the middle distance and, dominating the picture, large group of three in the foreground center and right, formed by a lion on guard, on the tree-covered slope a lioness preparing a hare for herself and beneath this before a cavity tigress (sic!) nursing three young ones while consuming grapes. Right in front several skull remains along with snake and two frogs, on the slope right a lizard. In the lower margin medallion with the Saxon-Polish dual arms. Etching with engraving after studio work of Peter Paul Rubens’ (Siegen 1577 – Antwerp 1640) by means of the transfer drawing by Charles François Hutin (Paris 1717 – Dresden 1776). (1757.) Inscribed in Italian/French parallel text: Tableau de P. P. Rubens. de la Galerie Roïale de Dresde. Haut 7. pieds 4. pouces Largo 13. pied 5. pouces (78¾ × 145½ in [200 × 369.5 cm]). As well as C. Hutin del. / J. E. Ridinger sculps. 12⅞ × 19⅝ in (32.7 × 49.7 cm).

Thienemann (“a single fine sheet”) & Schwarz 724; Nagler, Ridinger, 32 and, Rubens, p. 587 (see below); Weigel XXVIII, 41; Coppenrath (“Main sheet”) II, 1569 & III, 2003; Schwerdt III, 143; Rosenthal, (Ridinger) listing 126, 320; Ridinger catalog Kielce, 1997, 130 with ill. – Cf. Thieme-Becker XVIII, 189 (Hutin). – Not in Helbing, Arbeiten von J. E. und M. E. Ridinger (cat. XXXIV [1900], 1554 nos.!). – Mounted preparatory drawing in pencil in “large oblong fol.” from a Silesian R. collection at Boerner XXXIX (1885), 2073.

Voorhelm-Schneevoogt, Catalogue des estampes gravées d’après P. P. Rubens (1873), page 229, No. 37 ([Bartsch 25.] Chasse aux lions. Sur le devant se voit un lion, et une lionne qui allaite ses petits [the latter nonetheless his Nursing Tigress in Vienna, Rosenberg [1906] p. 131].

Nursing Tigress, c. 1615/22. – Comp. ill. from Rosenberg

Woermann, Katalog der Kgl. Gemäldegalerie zu Dresden (1887), p. 321 (Only workshop; Rubens’s own hand is not identifiable anywhere. The main group front right is borrowed from our Rubens’s picture no. 974. – Engraved by J. E. Ridinger …). – Rogner (ed.), Verlorene Werke der Malerei (1939-1945), 1965, p. 103 (Rubens workshop, Landscape with Wild Animals/Ebert p. 137, no. 982). – J. H. Niemeyer, Ridinger Erlebnisse 1698-2020, 2021, pp. 118 f. with illustration.

The large-size rendition

of the now lost monumental picture, showing first in the 1754 inventory of the Royal Gallery Dresden (II 272) as Rubens:

“ … yet especially the Landscape with Lions after Rubens in the second vol. of the Dresden Gallery exceedingly fine. ”

(Johann Friedrich Blumenbach, Anzeige verschiedner vorzüglicher Abbildungen von Thieren in älteren Kupferstichen und Holzschnitten in Göttingisches Magazin der Wissenschaften und Literatur, ed. by Gg. Chr. Lichtenberg & Gg. Forster, 2^nd vol., 4^th no. [1781], p. 156).

Partly included in especially older literature as Lion Hunt, in respect of its but marginal prominence in the background this is not quite appropriate, yet foremost even misleading in regard of the actual, large-figure lion hunt in Dresden not engraved by Ridinger as besides mixed up by Nagler. In the Ridinger article (32) still listed apart as lion hunt, follow per Rubens (XIII, 587) first “Lions and tigers in a wilderness, in the background left a lion is pursued … Engraved by J. E. Riedinger”, then “Lions in a landscape, with a lioness with the young ones”. Which latter is designated, too, by both Woermann and Voorhelm-Schneevoogt as such, yet should be identical with the one with Ridinger lower right as recte tigress.

Fact indeed that still in those days depictions of the foreign fauna frequently were based to some extent only on assured knowledge, as also the Ridingers state in an informative manner in the preamble to the Colored Animal Kingdom. That Rubens knew to distinguish lion/tiger, can be assumed for certain from the couple reviling at each other in jealousy about food in his likewise lost Berlin Neptune and Amphitrite Rogner page 26/III with plate 138 just as from his practically identical Nursing Tigress apart with her grapes in Vienna, see above.

For now not verifiable by any illustration Woermann’s 1887 reference “The main group front right is borrowed from our (Dresden) Rubens picture no. 974”. Should in this, too, a tigress, and not a lioness, be nursing, this would confirm as to be accepted Rubens’ intention of a scenery of indeed wild animals as such, with regard to the embedded hunt motif free also of paradisiacal setting. For objectively the sole tigress breaks the ambience otherwise dominated by the lions. Not least and quite particularly with regard to the elsewhere articulated competition about food. As a century later also made subject by the Berlin Ridinger painting Predators and Killed Deer (Michaelis, Die Deutschen Gemälde des 18. Jhdts. Kritischer Bestandskatalog der SMB Gemäldegalerie, 2002, no. 2272: “A couple each of lions and tigers fight about the killed splendid stag”).

Yet only relevant for present plate that its studio design has not compromised the master’s intent.

Beyond that at the same time Ridinger’s only contribution to the Dresden gallery work Recueil d’Estampes d’après les plus célèbres tableaux de la Galerie Royale de Dresde founded by C. H. von Heinecken, the second volume of which was published 1757. Like the first from 1753, this one, too, comprised 50 plates worked from drawings of Ch. F. Hutin and his brother Pierre. A third one was published under Frederick Augustus III (the Just; 1750-1827, elector since 1763/68, since 1806 first king of Saxony).

Very fine impression on sturdy laid paper before the plate and volume designations

at the lower edge of the text field. Apparently added only by and by and not mentioned by Thienemann either, their missing here probably indicates a genuine Ridinger impression before the edition proper. Just as then Schwarz notes for lower right the plate designation “No: 46.”, as with the copies of the Saxonian State Library, the British Museum and in the Wellcome Library, too. A copy traded here in 2000 in a remarkably excellent later impression on wove paper, documenting the small number of copies, additionally with the volume designation “T. II.” lower left as probably added only for reprints on occasion of the publication of the third volume. According to Woermann the plates were offered for sale on both ordinary and Chinese paper in the Royal Gallery still in 1887. – The smoothed centerfold perceivable on front only in the white text field left of the arms medallion. – Margins above and below 3.8-4, at the sides 1.9 cm wide.

Offer no. 16,187 | EUR 1300. | export price EUR 1235. (c. US$ 1328.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). A tiger going out for prey. “This only now is the real tiger (Felis tigris, Linn.). He jumps furiously out of a den with the jaws open wide” (Th.). Etching with engraving. (1738.) Inscribed: J. E. R. fec./ N.35., title in German as above. 7¼ × 5¾ in (18.5 × 14.7 cm).

Thienemann & Schwarz 425. – Sheet 35 (in later edition 53) of the instructive set Design of Several Animals ( “These plates are much wanted and frequently copied”, Th. 1856; “A masterpiece”, Cobres 1781/82). – Wide-margined impression of the 1^st edition. – The first three words somewhat weak.

Offer no. 7,293 | EUR 187. (c. US$ 201.) + shipping

– – – – The same colored by later hand in attractive fitting palette as quite unusual for original impressions.

Offer no. 15,732 | EUR 198. (c. US$ 213.) + shipping

Howitt, Samuel (1756 – Somers Town 1822). Shooting Anecdote(s), India. Spitting Bengal tiger under a fern, angrily barked at by the dog / Bengal tiger attacking a riding elephant. 2 sheet. Aquatints by Henri Merke (Niederweningen, canton Zurich, c. 1760 – after 1820) in their original coloring. Inscribed: Howitt del. / Published & Sold Jan^y. 1^st. 1813, by Edw^d. Orme, Bond St./ Street, London. / Merhe (sic!) sculp^t., otherwise as above. 7⅛ × 9-9⅛ in (18 × 23-23.2 cm).

Tooley 225, 44 & 224, 17. – From the 1819 2^nd and 1814 1^st edition resp. of FOREIGN FIELD SPORTS, Schwerdt I (1928), 177 ff.: “The coloured plates … especially those drawn by Howitt, are fine, both as regards draughtsmanship and colouring … (The book) is sure to increase in value …”. – The wide white margin a little age-spotted here and there, sheet 2 with trace of sealing-wax in the right lower corner. – Sheet 1 on especially strong paper.

Offer no. 11,808 | EUR 204. (c. US$ 219.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). A Leopard. Recte Bengal or Indian Tiger. “This is the Royal Tiger with stripes. He sits somewhat huddled (to the left) and the strong beard mars him a bit, otherwise recognizable” (Th.). Colored etching with engraving. Inscribed: PARDUS. / Ein Leopard. / Leopard. / Familia IV. Fünffzähige. / J. El. Ridinger sc. et excud. A.V. 12⅛ × 8¼ in (30.7 × 20.8 cm). – Thienemann & Schwarz 1074.

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., sect. XXVIII, Ridinger Appendix 63a as merely 120-sheet torso, 1857 ! , but also just individual plates quite rarely on the market only, at niemeyer’s currently the one as the others all the same). – Remaining uncolored contrary to the prospectus, a second edition from the plates shortened even under loss of animals and with modified titling and the Ridinger inscription removed, yet now numbered, was published by Engelbrecht/Herzberg in Augsburg 1824/25.

“ In India the tiger is regarded with superstitious dread and considered a kind of punishing god. Also in Eastern Siberia similar ideas prevail, and on Sumatra the tiger is perceived merely as the frame of a deceased human and one dares not to kill him ” (Meyers Konversations-Lexikon, 4^th ed., XV [1889], 707).

“ The term ‘royal tiger’ originally hails from the English hunter’s jargon and designated no particular subspecies, but particularly big specimen representing coveted hunting trophies. The designation is comparable with ‘twelve-pointer’, by which in the German a royal stag with mighty antlers of twelve points is meant and not a particular species. These royal tigers not only had an especially contrasty coat color, but also a very regular pattern of the black stripes which were not interrupted.

These individuals therefore represented a special

and very rare type in the formation of the striped pattern

and are not found commonly among the royal tigers .

Beside these animals all other royal tigers were just ‘common’ tigers. Until then the subspecies of tigers was simply called Indian and Bengal tiger resp. Later the term was transferred to all Indian tigers ” (Wikipedia).

And such an absolute specimen is present Ridinger ,

although having been dependent on “how we … have seen this species of animals here … from time to time … for there is a frequent dissent with the writers and quite often they have mixed up the leopard (as Ridinger, too, see above), the panther and the tiger”, so Ridinger’s sons in the preamble – relevant passage included in copy – to the Colored Animal Kingdom.

With watermark C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses

“ on account of the fine illumination ” for the colored works

“as for this purpose it is the most decent and best”. – Margins on three sides 2-2.5, below 5.1 cm wide. – Faint tidemark on the back along with little discoloration stains faintly showing through in the lower text/paper field.

Offer no. 16,126 | EUR 870. | export price EUR 827. (c. US$ 889.) + shipping

After the portrait painted from life by Christian Ludwig Frhr. von Löwenstern (1701 Darmstadt 1754). The copper printing plate in reverse to Thienemann 280. 13¾ × 11¼ in (35 × 28.5 cm).

Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. / J. El. Ridinger sc(ulpsit): et excud. 1745. &

Comparative illustration of the caption in the print’s direction Th. 280 as currently here not available.

As hippological wonder

the portrait of the Promnitz trouvaille, conceivably painted already during the return, was entrusted to Ridinger as first resort for such for instantaneous documentation within his running series of zoological case examples and adequately hereto then

in reverse – cf. J. H. Niemeyer, Ridinger Erlebnisse 1698-2020, 2021, pp. 67-69 – to just sheet 38 (etching with engraving, Thienemann & Schwarz 280, “The six horses comprised in this collection later had been sold also separately”) of the Exact and True Representation of the Most Wondrous Deer as well as Other Peculiar Animals

and here researched seamlessly back to the Ridinger estate, correcting all the losses erroneously assumed by Thienemann (1856) as, just i. a., indeed the plates to the 101-sheet set of the Most Wondrous, too, a new complete edition of which was published in Leipsic just about 1859, with – and only with this – its original numbering, partly modified/removed for the Engelbrecht-Herzberg editions about 1824/25, being restored.

(Stefan Morét in Ridinger catalog Darmstadt, 1999, pp. 62 f. See also the plates there I.13, I.8 & I.11, color illustration 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. ”

To the same effect 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:

And just so perceptibly visibly impressed the Frankfurter Allgemeine Zeitung cherry-picked in the case of an Ostade 21 January 2006:

“ Rumbler brings along a unicum to the fair: the original printing-plate [5 × 3¾ in / 12.8 × 9.5 cm!, parentheses not in the original] for Adriaen van Ostade’s etching ‘The Paterfamilias’ of 1648. Ostade’s copper-plates – altogether fifty – were in a Dutch collection except for three from which they were sold by auction one by one in 1995 (49000 Euro [said fair plate alone!, however, only a morsel maintaining respectful distance to a Rembrandt plate sold at auction on international parquet years ago]) ”

Analogously then here on occasion of the re-emergence of parts of said Thieme-Becker Block: “One of the most sensational discoveries in art history … Ridinger’s original printing (sic!!!) plates”. That present one

has been worked by the master himself alone

shall be mentioned expressly. Just as documented by inscription.

And on copper plates as painting foundation 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. ”

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

“ of richly composed battle scenes in the manner of [Jacques] Courtois [1621-1675], hunting pieces, and portraits … For the famous art clock [Louis VIII] presented Maria Theresa with L[öwenstern] worked both the first two designs … ”

(Thieme-Becker XXIII [1929], 328).

Beyond all this in the case here both with regard to both family and contemporary history of great relevance finally the topical reference to the historically deeply rooted Silesian family of Promnitz as

Acquirer of the noble tiger. “ As a rarity paid for very dearly ” for the royal stables and hippodrome of the lavish court as quite in Sorau tradition.

Since 1542 in the possession of the dominion Pless in the administrative district Oppeln with ancestral seats at Sorau & Pless, the family brought forth several important members of superior interest. Although already 1765 (the comital family became extinct 1785 in its male and 1791 in the female line, though continuing in the baronial line) the dominion passed in the family to the house of Anhalt-Koethen, the “hunting lodge Promnitz” survived ditto to this day.

“ that is the relief of Erich v. Falkenhayn by legendary Field Marshal General Paul v. Hindenburg as chief of the general staff and at the same time the appointment of General Erich Ludendorff to First Quartermaster General. Then to be mentioned furthermore the decision to create a Polish state and finally the declaration of unrestricted submarine warfare,

resulting in the declaration of war by the United States

on the German Reich ”

(Andreas Gautschi in Gautschi & Rakow, Wilhelm II. und das Waidwerk, 2006, p. 234 f. with illustrations).

On Promnitz also see Allgemeine Deutsche Biographie XXVI (1888), pp. 663 f.; Magno, Histor. Beschreibung der Hoch=Reichs=Gräfflichen Promnitzischen Residenzstadt Sorau, Leipsic 1710; König, Biograph. Lexikon aller Helden und Militärpersonen, welche sich in preuß. Diensten berühmt gemacht haben, vol. III, Berlin 1790; Bülau, Geheime Geschichten und räthselhafte Menschen, vol. II, 2^nd ed., Leipsic 1863.

Shielded from tarnishing by fine application of varnish, the copper printing plate – faceted, verso scratch samples, recto in the lower margin and laterally right old traces of soldering – 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.

In short , a conceivably gratifying , worldwide unique Belovodye

with its ear-bouquet encountered here nowhere else as an unparalleled high light of a tiger horse 279 years ago. The species of which just due to its general qualities as

“ Horses of Heaven “

“ always had been reserved (only) to a privileged upper class … (but now celebrates) a real triumph in the American horse High Society. While once these horses were reserved to high dignitaries, kings and shamans, so today business bosses, celebrities and America’s upper 10,000 who call such a horse their own” (Tobias Schultz-Friese op. cit.).

And so present printing plate trouvaille shall be offered to you both proudly and humbly with the recommendation of a timeless-elegantly frameless hanging — fittings included —

to have you experience the respective reflections of light to the fullest.

And what did private plate purchasers write?

And 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).

Offer no. 16,232 | price on application

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