Ridinger, Tiger Horse with Ear-bouquet
Johann Elias Ridinger, The Tiger Horse with Ear-Bouquet (detail)


17th – 20th  Century

Horses  –  Racing  –  Breeding  –  Chasing  –  Carriages


Alfred Jean-Marie Paris (Tarbes, Hautes-Pyrénées, 1848/49 – Paris/Fontaine-Bonneleau, Oise, 1908). Nice. Two gentlemen and trainers resp. talking at the side of the racing place. In the back of the two groups a horse led by the jockey and rich scenery. Watercolor over pen and ink. Inscribed: AP (ligated) 12.4.79, otherwise as above, upper right: “IV”. 8¼ × 11 in (210 × 281 mm).

Atmospherically very charming item, presumably worked for an illustration. – On strong paper. – On the back traces of previous framing, otherwise absolutely fresh. – Quatrain and distich in the lower margin. – See the complete description.

Offer no. 12,275 / EUR  445. / export price EUR  423. (c. US$ 511.) + shipping

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Horse. Partly spotted bay stallion standing to the left. Colored etching/engraving. Inscribed: EQVVS. / Das Pferd. / Le Cheval. / Familia I. Einhufige. / Joh. El. Ridinger sculps. et exc. Aug. Vind. 12 × 8⅛ in (30.6 × 20.5 cm).

Thienemann & Schwarz 975. – 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). – 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 a stable of 50. mares there have to be four persons for cleaning and assistance. The stud-master shall have his lodgings between this and the stallion stable, so that he could come to the aid everywhere quickly … The mother studs have to be (as yet the stallions) of no less fine healthy complexion and without some hereditary defects, therefore I do not recommend using Turkish stallions or mares, especially at setting up and at the beginning of a stud-farm, for I never found them good for horse breeding, but rather employs Spanish, French or true Danish mares ”

(Ridinger’s sons in the preamble to pt. I, pp. 9 ff., enclosed in copy).

Watermarked Strasbourg fleur-de-lis above arms + C & I Honig (type Heawood 64/Churchill 428) 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 2-3 cm, below 5.1 cm wide. – Old backed tear of 13 cm visible above the horse within the foliage and white plate/paper margin field resp. and outside of the actual subject also otherwise slightly agemarked. – See the complete description.

Offer no. 15,936 / EUR  270. / export price EUR  257. (c. US$ 311.) + shipping

Two  Kingdoms  for  a  Horse  like  this

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Cheval sauvage on le laisse dans le desert jusque dans la troisieme ou quatrieme, apres on le dresse pour l’usage, n’a qu’un quelque sois deux de petits, on s’en sert 15. ou 20. ans. The Wild Horse is left in the Wild up to the 3rd and 4th Year, then trained for use; mostly foals only one, now and then 2. Foals; they serve for use 15. to 20. Years. In mountainous parts “full of courage and fire, leaping over an old trunk lying across the way”. Flying the curled crest, the head turned to the right. Etching and engraving. (1736.) Inscribed: 40. / Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger inven. pinx. sculps. et exc. Aug. Vind., otherwise as above in German, French, Latin, & below. 13¾ × 16⅞ in (34.9 × 42.8 cm).

Thienemann + Schwarz 235. – Plate 40 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 3.7-4.2, above 2.7 cm wide. – Professionally done tear in the wide white lower margin.

The  final  chord  of  this — once  more ! —  so  incomparably  beautiful  suite ,

by which Ridinger at once

memorialized  Bucephalus :

“ (Alexander the Great) astonished his father and the court, by his dexterity in managing the horse Bucephalus … (which) could be compared to (none) for beauty or vigor … When the parties had reached a plain where the horse’s speed and temper were to be tried; and one of the king’s grooms attempted to mount him, the animal, refusing to be touched,

reared  and  plunged  violently ;

and  his  fierceness  made  each … who  approached  to  mount  him ,

relinquish the attempt. Philip regarding so wild and unmanageable an animal as useless, desired that he might be led away. Alexander, however, on hearing this order, cried out:

‘ What  an  excellent  horse  we  are  going  to  loose ,

for  want  of  address  and  boldness  to  mount  him ! ’

(Curtius Rufus, The History of the Life and Reign of Alexander the Great, London 1809, vol. I, pp. 34 ff.; here available the German edition Frankfort/Main 1783 in 2 vols. per 16,117).

“ Dost not the ground shake and shiver? What a trampling one hears here? what a snorting fills the air! a wild yet fine animal gallops along in full run … As this animal a masterpiece by the creative nature , so is the figure created here by few lines ,

also  the  master’s  masterpiece .

Let this picture be the last one , I cannot follow you any further Ridinger ,
or else paint alone .”

So far then the overwhelmed Brockes, to which Thienemann shouts a triumphant “Bravo!”. Present here besides in a wide-margined old impression

of  shining-marvelous  quality & therefore  rarity .

Offer no. 16,130 / EUR  1230. / export price EUR  1169. (c. US$ 1413.) + shipping

Hippological  Splendor  of  the  Orient

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Turkish Horse Finery. Set of 4 sheet of most richly bridled most noble horses together with their groom in painterly palace exteriors in etching by Martin Elias Ridinger (1731 Augsburg 1780). (1752.) Inscribed: I(-IV). / J. El. Ridinger pix. et del. / aqz / Martin Elias Ridinger filio meo æris incis. as well as following captions in German-French. 10¾-11 × 13⅝-13¾ in (27.3-28 × 34.6-35 cm).

Thienemann + Schwarz 594-597. – The by itself complete set, but without its title-like text sheet with Ridinger’s honoring of the helpful communications by Baron von Gudenus from Constantinople together with reproduction of his letter to a friend from 1741 with the explanation of present four sceneries intended by Ridinger as introduction or addition to the 32-sheet set of Horses of the Nations (Th. 562-593). 1752 of this already 16 sheet were present, the publication of the further dragged on until about 1760. Of the then totally 36 sheet only four transferred into copper by Johann Elias himself, 22 by Martin Elias, as here, too, and 9 by the stepson Seuter.

Turkish Imperial Personal Horse. / Cheval de main de Grand Seigneur.

“ One such horse ornate with finery … The head with tuft of about four ostrich plumes, an honor which only the personal horses of the sultan are allowed to have about themselves … It is lead by a janissary … into the second court of the seraglio ” (Th.).

Divani from the right side. / Divani du coté droit.

“ That’s how the horse is called which the Grand Vizier and other viziers use to ride in their official dress. Silver chains as thick as one’s thumb run from the halter down to the saddle and cause a particular jingling … ”

Divani from the left side. / Divani du coté gauche.

“ This is an entirely different horse and decorated quite differently than the one before … ”

In the corrected state. The withdrawn earlier one had represented the animal erroneously from the right side once more, “for one forgot to redraw it before the engraving” (Th.).

Personal Horse of a Pasha. / Cheval de main d’un Pacha.

“ Likewise shown from the left side … It is distinguished from the others by long cover, richly decorated with gems, silver galloons and the like (however, such one already on sheet I), and by panther skins above … ”

The  splendid  set

in  quite  uniformly  shining  print  quality  and  fine  wide  margins

of 2-2.7 cm above & below and 4-4.7 (II-IV) laterally and, sheet I, only 2.5 cm on the right, but 6 cm on the left resp. – With typographic watermarks, supposedly main and secondary mark resp. of the Wangen papermill favored by Ridinger. – Sheet III with c. 3.5-5 cm large brown impression of a plant’s leaf in the white lower margin touching still three letters of the caption as well as browning in the white area between its bilangualism perceptible practically only against the light. Otherwise of impeccable freshness as  in  such  entire  condition  most  rare . – See the complete description.

Offer no. 15,765 / price on application

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Horse’s Upper Jaw-bone as seen from below. Fully executed study in grey and brown watercolor over silverpoint. Inscribed by old hand in brown ink at the lower left: Obrer Pferdekiefer. C. 1765. 10⅛ × 5¾ in (257 × 145 mm).


Boguslav Jolles, Dresden and Vienna,

his ligated monogram stamp in blue (Lugt 381a) at lower right

Hugo Helbing, Munich. Catalogue XXXIV (1900),
Arbeiten von J. E. und M. E. Ridinger, no. 1554.


WELTKUNST vol. LXIV, page 2688

(editorial part of number 20 of Oct. 15, 1994).

Set into an acid-free passepartout with gilt stamped artist’s name and dates. – Fully executed study on fine slightly toned handmade paper. – Besides an “Animal Jaw Drawing” of 1718

thematically  singular ,

fully  executed  anatomical  study

of extraordinary artistic and collectable fascination, unparalleled in Ridinger’s handed down work of drawings and prints. – See the complete description.

Offer no. 28,861 / price on application

“ Excellent  Portraitist

of  the  Horse  in  Motion ”

Arthur Grunenberg (Königsberg 1886 – Bad Reichenhall 1952). Rossebändiger (Horse Tamer). Suite of lithographed title and

11  (instead of 12)  chalk  lithographs

(7⅛-9¼ × 8½-10⅝ in [18-23.5 × 21.5-27 cm]), 10 of which inscribed below right in pencil: A. Grunenberg. (Berlin, Wasmuth, 1922.) With lithographed written sheet contents. In orig. h. vellum portfolio (13¼ × 16⅞ in [33.5 × 43 cm]) with lithographed ills. front cover together with title + author.

AKL LXIII (2009), 471 f.; Thieme-Becker XV (1922), 146; Vollmer II (1955), 325. – Exhibitions: Kunstsalon J. Casper, Berlin, May 1914 + Galerie Arnold, Dresden, March 1927.

One of 40 copies on untrimmed thin Japan and, lithographed title and contents sheet, Japan vélin.

1. Dioscuri (first sketch) – 2. Dioscuri (second sketch) – 3. Absalom – 4. Amazon looking out – 5. Injured Amazon – 6. Stallion taming – 7. Horse Tamer (replaced, see below, and therefore not signed) – 8. Restive Horses – 9. Bolting Stallions – 10. Bolting Stallion – 11. The Tamed Stallion (inadvertently not signed) – 12. Morning Ride .

Without sheet 7, “Horse Tamer”, for which the supposedly identical which itself is not the same as the front cover illustration, was trimmed with loss of publisher’s address and presumably numbering – known here a copy once on the market numbered “XXIII/40”, missing on its part the lithographed contents sheet – to the smaller format of the suite itself, consequently it was not mounted under boards either. The latter original passepartouts, not always fitting anyway and regarded as responsible for isolated trifling foxspots in the mostly white field (only sheet 4 generally slightly touched), were replaced by foil-protected mounting on acid-free light cardboard. – The portfolio foxspotted, but scarcely on the front cover with its fine large representation (6⅛ × 5⅛ in [15.5 × 13 cm]) between the writing in chalk.

The  splendid  suite  present in impressions of deep black, due to the edition of great rarity – so then also not in the hippological Sarazin Collection, Basel, covering 1527 till 1930 and dissolved 1999 – , as reverence by the artistically so singularly brilliant early German 20th century to milleniums-old equestrian culture, exemplified by the opening sheets of dioscuri (“Sons of Zeus”) + Absalom (son of David) . Just as the set as a whole directly follows the 1921 painting

“ The  Dioscuri  taming  the  Horses ”.

“ (Grunenberg) preferred as motifs the rider and the dancer and danseuse resp. Uses mostly red chalk or chalk.

Excellent  portraitist  of  the  horse  in  motion . ”

(Vollmer). – The latter then here fascinating up to the final sheet, the back scene of the morning ride whose rider is accompanied by two runners. A unique composition of bodily animation. Embraced by the motion of flat-like trees. – See the complete description.

Offer no. 15,145 / EUR  2000. / export price EUR  1900. (c. US$ 2297.) + shipping

The  Racing  Place  in  Royal  Panoramic  Size

Henry Barraud (1811 London 1874). Punchestown 1868. Royal Visit. In front of the grandstand in impressionistic colors the gentlemen with horses, jockeys and trainers. Colored steel engraving by Thomas L. Sangar for Thomas Cranfield in Dublin. 1870. 19⅛ × 39⅞ in (48.6 × 101.4 cm).

Splendid item in impressionistic fine colors and of a wonderful horse design. Thieme-Becker XXIX, 408 mention only the 1867 Punchestown Races after Henry B. and in the Mellon collection there is only the somewhat smaller Amesbury Champion Coursing Meeting as the only one by the Barraud’s (Snelgrove p. 46). – On light cardboard. – A little age-marked. – Rare item. – See the complete description.

Offer no. 12,288 / EUR  2400. / export price EUR  2280. (c. US$ 2756.) + shipping

Jan van Huchtenburgh (Haarlem 1647 – Amsterdam 1733). A Cavalry Attack / The Fight of the Two Horsemen. Dominated by the closing duel in front, whose throng has been joined by a single horse. Etching after Adam Frans van der Meulen (Brussels 1632 – Paris 1690). Inscribed: AF. V. Meulen, jn, et ex, cum priuilegio Regis. / V. HB. f. Sheet size 6 × 7⅝ in (15.4 × 19.3 cm).

Nagler, Monogramists, V, 1210 mentioning the sheet; Catalog Davidsohn II, 830. – The brilliant, albeit slightly time-marked impression of the J. H. Anderhub Collection, partly with tiny(est) up to even 5 mm wide margin, partly trimmed to platemark or, so partially above, to the border of the image. – See the complete description.

Offer no. 28,612 / EUR  298. / export price EUR  283. (c. US$ 342.) + shipping

Vainqueurs des Steeple Chases de 1868. Review of the 8 winners of the 1868s steeplechases. Colored and glazed lithograph for Lemercier in Paris. (1868.) 10¼ × 16⅝ in (26 × 42.3 cm).

The centerfold hardly visible only. Some mould stains on the back. – With the names of horses and owners. – See the complete description.

Offer no. 12,217 / EUR  399. / export price EUR  379. (c. US$ 458.) + shipping

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Reculer à la muraille. The going back at the Wall. A dapple-grey horse. Etching & engraving. (1734.) Inscribed: avec P. S. C. M. / J. E. Ridinger inv. des. et exc. Aug. Vind., otherwise in French-German-Latin parallel text as above. Sheet size 21 × 15⅛ in (53.4 × 38.5 cm).

Thienemann + Schwarz 636. – New (or Vienna) Riding School XV (Th., dated, sheet 9). – Typographic watermark (presumably WANGEN as so characteristic for the contemporary impressions). – Trimmed within the still 7 mm wide white platemark. In this isolated small tears backed acid-freely, of which only one – imperceptible in the subject – still extends 2.2 cm into the background hatching of the subject. The text field besides especially in the center a little creased and there as also at one lower corner provisionally backed from old as with respect to the general delicacy of these large-sized sheets as the rareness of the set should not be overrated though. – The  sovereign  sujet  of  the  majestic  set  in  an  impression  of  splendid  chiaroscuro . – See the complete description.

Offer no. 15,529 / EUR  980. / export price EUR  931. (c. US$ 1125.) + shipping

John Frederick Herring Sr. (Surrey 1795 – Meopham Park 1865). Evening. Horses ridden to the village pond for watering after the day’s work. On the right buildings and sheds. With rich tree accessories, ducks by and on the water, and a swarm of birds. Colored aquatint by J. Harris (Simeon John Harris, 1811 London 1865?). 1849. 22 × 28½ in (55.8 × 72.5 cm). – Herring’s Farm Scenes.

Worked  instantaneously  after  Herring’s  atmospheric  1848  Evening  of his series of The Times of Day for the legendary print publisher Ernest Gambart (1814-1902) and as documented by the addresses no less instantaneous the print itself. Later ones differ not least by missing coloring, too.

The white upper margin partially foxing, the lower one slightly browned. In the white field of the sky of the subject itself four round fox spots of indeed up to 1 cm in diameter and one of 1.5 cm covered by branches, yet not particularly interfering within the general pictorial tone. On the back in the upper part and at the lower margin browned/foxing. Various backed tears in the white platemark, one of which slightly extending into the subject. A separate tear in the edge of the image itself, too. Here and there a little rubbed, but hardly impairing. Three sides trimmed within the white platemark. Nothing more ultimately than due to age frequently accompanying these beautiful large-sized wall fillers. – See the complete description.

Offer no. 15,831 / EUR  980. / export price EUR  931. (c. US$ 1125.) + shipping

An English Pony. After return from hunting fastened to the home by his master, where the accompanying hound already quenches its thirst, while a second one joyfully rushes up. To the right the silhouette of a longly placed locality at the foot of a dilapidated castle. Steel engraving. Ca. 1835. Inscribed as no. XXVI, otherwise as above in German along with the address of the Art Establishment of the Bibliographical Institute. 6⅜ × 7⅞ in (16.3 × 20 cm).

Dear, as pony representation in addition more rarer motif with the beautiful, sensible mount as center. – With the full platemark not measuring with, as rather more seldom for steel engravings, and left-sided stitch-margin. – See the complete description.

Offer no. 14,826 / EUR  75. (c. US$ 91.) + shipping

… and  dating  back  to  common  days  in  Augsburg

when  they  perfected  themselves  together

at  the  great  horse  painter  Rugendas

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Anno 1740. this Noble Horse, a White Horse spotted with light and dark brown, also grey spots, with black extremities, marked at ears, mouth, and thighs, has been painted from life

in  the  imperial  riding-stable  at  Vienna .

Stepping out, in dominant pose in slightly hilly landscape with three further horses in the middle-distance, one of which resting. Etching and engraving after August Querfurt’s (Wolfenbüttel 1696 – Vienna 1761) painting from life. (1745/46.) Inscribed: 44. / Aug. Querfurth. pinx. / J. El. Ridinger Sc: et excud., otherwise in German as before. 13⅝ × 11 in (34.7 × 27.9 cm).

Thienemann & Schwarz 286. – Sheet 44 of the Most Wondrous Deer and other Peculiar Animals. – “The six horses which are contained in the collection have been sold separately later.” – Brown or mold spot in the sky part barely noticeable from the front. – Very fine toned impression on light laid paper with margins above and below 6.2-6.5 and laterally 2.4-2.8 cm wide. – See the complete description.

Offer no. 28,600 / EUR  860. / export price EUR  817. (c. US$ 988.) + shipping

Ride  with  the  Great  Horses  Rugendas

Two  Most  Rare  Pendant  Drawings  of  the  Late  Period

Georg Philipp Rugendas I (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 in use since 1730 and used by Rugendas also for his signed spectacular drawn “Cavalry Battle before the Fortress” of 1738 from his bequest (Biedermann, [Master Drawings of German Baroque], Augsburg 1987, no. 173 + Rugendas catalog Augsburg, 1998, ills. 22), there in addition with fleur-de-lis arms and the countermark IV standing for the French partner Jean Villedary (his own mark “IV ILLEDARY” on the younger Georg Philipp’s drawing of 1736 here).

On the back lower left numbered by old in brown ink 191/92, but hardly originating from a sketchbook (“All drawings [in Augsburg] originate from dissolved sketchbooks”, Held, Gg. Ph. Rugendas, 1996, p. 121, as come to there 1855 with the family bequest after the death of the Brazilian Johann Moriz), though by its format corresponding with such as Gode Krämer imparts for these especially two obvious standard formats of Rugendas’ of c. 7⅛ × 9⅞ and c. 7⅞ × 13 in (18 × 25 and c. 20 × 33 cm) resp. (op. cit. Rugendas catalog p. 27). As throughout plain detail studies, frequently on both sides, they are out anyway, also those sheets lack any earlier numbering.

The chronological aspect set by the watermark, however,

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).

But also “composition studies – and just such one the one here is – have not survived that much and none which is to be joined directly with a later execution”, so Gode Krämer before on the group of small sketches of figures and parts of figures in chalk and pencil (p. 28/I), and as the latter obviously also is true for the pair here. Yet recourses to earlier works are obvious.

The  second  one  of  the  drawings  presents itself by its optical reference to the first in composition, technique, size, and paper as pendant, supported also by the numbering on the back. Above all, however, it is dominated by the same “general”, though here in walk to the left straight ahead and in such a manner with visible sword. In the absence of a left-sided neighborhood he looks into the distance there. And contrary to the general of the siege-scenery riding a piebald here then

quoting  Wouwerman  mounted  on  a  white  horse  on  both  sheets

as mark of dominance. Rectangular to him a lady in the side-saddle whose outstretched left, but only this, quotes the sutler riding a mule of the siege-etching Teuscher 35. And quite marginally the outstretched right of the horseman outside left reminds of that of the left horseman in Teuscher 32.

To the knowledge here, agreed with after review of photos by Dr. Krämer, custodian em. of the Municipal Art Collections Augsburg and curator of the above 1998 Rugendas exhibition, per oral utterance, at the same time remarking that, as here, the closely and prominantly seen group also were a characteristics of the late paintings, they are according to all the above

two  of  those  rare  autonomous  drawings  of  the  master’s

in  the  meaning  of  literature .

And when with respect to the quality of his painting Held mentions “his already early marked talent for

tender , atmospheric  moods

which mitigates the (there) martial content of his pictorial themes” (p. 142), so just likewise present drawings are determined by

the  softness  of  their  brush  technique ,

deliberately still raised by the toned paper ground. The latter then also partially absorbs the browning particularly 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., page 127).

Actually “the great draughtsman Rugendas” (Krämer) was a horse depictor in general plain and simple and

“ without doubt a first-rate talent, for not to say, a genius. Doubtless, set under better conditions, like living in the Netherlands about 1650, an artist … who would have

surpassed  all  his  horse  and  battle  competitors ”

(Wilhelm Schmidt 1889 in Allgemeine Deutsche Biographie, vol. XXIX, page 600).

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

And for the immediate 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, Correspondence, Tübingen 1999, p. 486).

For  the  latter  then  here & now  two  pendant  drawings  of  rank  and  beauty . And

for  his  œuvre  of  drawings

of  an  absolute  rarity  proven  above .

See the complete description.

Offer no. 15,181 / price on application

The Most Beautiful Horse He had ever laid Eyes upon :

The  Crane

of  Oldenburg  Count  Anthony  Günther

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Cheval d’Ostfriesland nomé la Grüe. The world’s most famous dapple-grey horse, the Crane at Oldenburg in East Frisia, with his master’s brand – A in 8-pointed star below crown – before thick oak foliage scenery. Colored etching/engraving after Jacob Theodor Klein. Inscribed: EQVVS Ostfris. / Der Kranich zu Oldenburg in Ost-Frießland. / as above / Familia I. Einhufige. / Ex Collection. J. Th. Kleinii Secr. Gedan. / J. E. Ridinger fecit et exc. Aug. Vindel. 12⅛ × 8 in (30.7 × 20.3 cm).

Thienemann & Schwarz 976. – 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). – 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.


– main sheet of the set very rare in individual plates , too –

and correspondingly announced by the master himself per page 11 of his preamble to the Animal Kingdom

“ … albeit  the  presentation  of  the  singular  white  horse

with  such  a  long  tail  and  crest …

might  seem  almost  incredible  and  exaggerated ,

the matter nevertheless is absolutely true as His Honor the famous professor Klein at Danzig himself has kindly communicated such representation. This splendid creature has been bred in East Frisia , raised there , and been named

the Crane at Oldenburg.

As far as is known to us one has almost never seen something like this, although it was reported to us that such a white tail is shown by an isabelline colored horse in the natural history collection in Dresden (taxidermied; destroyed by later fire) and that at Florence there has been such a black horse, too .”

Here then the indeed historical background, as according to an adaptation by Isabelle Yeginer on a homepage of the city of Oldenburg on occasion of journeys count Anthony Günther (1583-1667, since 1603 Imperial Count of Oldenburg and, from 1647, Delmenhorst), horse lover of degree –

“ laid  the  foundation  for  the  still  today  flourishing  horse-breeding ”

and “ In  all  negotiations  he  did  not  spare  with  the  ‘presentation’

of  splendid  horses  from  his  own  studs ”

(Joh. Frdr. L. Th. Merzdorf, ADB I [1875], p. 492, and Hermann Lübbing, NDB I [1953], p. 317 resp.) –

fell into the hands of counterfeiters in a haunted castle and escaped with his life only by promising absolute secrecy.

“ Years later one evening count Anthony Günther sat in his home castle at his desk when there was a knock … The (now well-dressed) visitor was one of the counterfeiters of that supposed haunted castle in Holstein. ‘You have kept your promise’ he said … ‘and disclosed nothing of what you had seen then. For this you shall be rewarded. In the Blue House at the Dam a noble horse is ready for you, which is worthy of you.” … There he found the Crane,

the  most  beautiful  horse  he  had  ever  laid  eyes  upon .

Still today, at the time of the Kramer Fair, count Anthony Günther is commemorated annually. Then he rides on his legendary Crane in front of the great Kramer Fair procession. ”

With Jacob Theodor Klein (“Plinius Gedanensium”, Königsberg 1685 – Danzig 1759; town clerk in Danzig, later director of the Society of Naturalists Danzig co-founded by him, member of the Royal Society, London, and honorary member of the Russian Academy of Sciences in Saint Petersburg; ADB XVI, 92 ff.), famous for his collections, Ridinger was in close communication and supported in his Colored Animal Kingdom undertaking in many ways, too. Following Klein’s classification according to kind and number of extremities – superceded by Linné’s anatomical classification – the early states of some plates of the set still show references to his Quadrupedum dispositio brevisque Historia Naturalis of 1751, as known to Thienemann for some plates and documented here for several more by a complete copy available here. Ridinger himself emphasizes by the preface in his words of thanks “in particular the tremendously beautiful collection of P(rofessor). Klein of the Ludolph estate, which comprises nothing but original items.”

Watermarked Strasbourg fleur-de-lis above arms + C & I Honig (type Heawood 64/Churchill 428) 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 2-2.8 cm, below 5.2 cm wide. – Upper left in the white paper margin/platemark ¾ × 1⅝ in (2 × 4 cm) brown spotted, otherwise isolated little brown spots in the white plate field and the white margin resp. only, the latter below right also with thumb stain. – See the complete description.

Offer no. 15,871 / EUR  1480. / export price EUR  1406. (c. US$ 1700.) + shipping

On  Anglicized  Tiger  Horse —

the  Duke  of  Cumberland

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Gvilelmvs Avgvstvs, Regivs Princeps Britanniæ Dvx Cvmberlandiæ. The baton in the extended right, William Augustus, Duke of Cumberland, “grandson of Elector Ernest Augustus of Hanover [George I of England], renown as great warrior – A fine man of youthful vigor” (Th.), rides on splendid tiger horse at the head of three attendants towards the battle raging in the middle distance left. Etching & engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. 13⅛ × 9⅞ in (33.3 × 25.2 cm).

Thienemann + Schwarz (erroneously Gvilielmvs) 828. – From the 16-sheet main set – with Th. 835 & Th.-St. 1378 two further ones of larger size known – of the Princely Persons mounted on Horseback. – Very fine impression of vibrant chiaroscuro with margins 2-2.5 cm wide. – Typographic watermark. – See the complete description.

Offer no. 15,856 / EUR  530. / export price EUR  504. (c. US$ 609.) + shipping

Benjamin Marshall (?, horse painter in London and Newmarket, 1767-1835). Driver. Brown horse with jockey in blue-white to the left. On the right road marking, in the distance isolated properties. Colored steel engraving. 1832. 4½ × 5 in (11.5 × 12.8 cm).

On strong paper, above trimmed to subject, but added. – Especially above and right in the upper part in the cut of the passepartout feebly browned and light edge resp. – Horse portrait in fine colors. – See the complete description.

Offer no. 15,284 / EUR  75. (c. US$ 91.) + shipping

– – Longwaist. Brown horse with jockey in blue-yellow to the left. On the left two top-hatted gentlemen, one with the sporting paper, on the right stable corner. In the distance place. Colored steel engraving. 1825. 4¾ × 5¾ in (12 × 14.5 cm). – Trimmed as above, but somewhat more browned. – Sporting scene in fine colors. – See the complete description.

Offer no. 15,285 / EUR  85. (c. US$ 103.) + shipping

– – Miss Craven. Dapple with braided crest and jockey in yellow-white to the right. On the right brown horse from behind with the stable boy putting on the saddle-cloth, on the left stable. In the distance two further riders. Colored steel engraving. 1830. 4½ × 4¾ in (11.4 × 12.2 cm). – In the cut of the passepartout especially in the upper part somewhat more browned. – Charming horse portrait in fine colors. – See the complete description.

Offer no. 15,286 / EUR  85. (c. US$ 103.) + shipping

Follow in the Ridingers’ Original Coloring

plates exclusively created, drawn and etched/engraved by Johann Elias, yet published only posthumously 1770 by the sons, from the first edition of the

Principal  Colors  of  Horses

as the first of Ridinger’s but three originally colored works (“For this he first chose the horses, which as generally known occur in very deviating coloring”, Th.; the usual allusions in the trade to only two of these based on the ignorance of the existence of copies of the 2nd edition of the Ten Plates Monkeys, Th. 541-550, intended for coloring, and at the same time

“ an  important  evidence

for  the  state  of  equine  science  in  the  18th  century

as well as the status of the horse in the old society in general ”

(Dietrich Fröba [longstanding head of Deutsches Pferdemuseum], per Kostbarkeiten: Vorstellung der Pferde nach ihren Hauptfarben — Ein seltenes Kupferstichwerk, in Zwischen Weser und Elbe XI [1992], 2 along with 2 color illustrations). – The white margins of 2.5-3.5 cm especially far right below smudgy from turning over. – The relevant parts from the accompanying text enclosed in copy each.

Fully White Horse. Cheval Blanc. To the right. “Supposedly born white, with which the hairs are milky white and glossy (therefore satin or silk white), which are rare though. He is presented leaping with neat bridle” (Th.). Colored etching with engraving. Inscribed: J. E. Ridinger inv. Sculpsit et excud. Aug. Vind., otherwise in German & French as above. 7½ × 5⅜ in (19.2 × 13.6 cm). – Thienemann & Schwarz 920. – Top margin tear perceptible only as minute box pleat still extending into the sky part for 2 cm and tear off below left in the likewise wide white margin, both backed of old. – These, especially the truly white horses, have a quite fine and pleasant appearance, and although otherwise they are quite tender, and of a weak complexion, so they suit a seigneur excellently for representation …” (Ridinger). – See the complete description.

Offer no. 16,044 / EUR  265. / export price EUR  252. (c. US$ 305.) + shipping

Sable Gray. Poil d’Etourneau. On a slight elevation standing to the right. Colored etching with engraving as above. – Thienemann & Schwarz 921. – Longer tear within the 4 cm wide white lower margin backed. – “I have not seen this sheet colored …” (only per appendix p. 15). – See the complete description.

Offer no. 16,045 / EUR  295. / export price EUR  280. (c. US$ 338.) + shipping

Light Dapple Gray with White Extremities. Gris Pomelé avec les extremités blanches. With bridle and girth, led to the left. “The fine horse … It is a dapple-gray … shaded with light slate blue …” (Th.). Colored etching with engraving as above. – Thienemann & Schwarz 966. – Two tears in the 4cm wide white lower margin and the lower left corner resp. backed. – See the complete description.

Offer no. 16,048 / EUR  295. / export price EUR  280. (c. US$ 338.) + shipping

Flea-bitten Gray. Tuité noir. Led to the right. Colored etching with engraving as above. – Thienemann & Schwarz 967. – Hardly perceptible horizontal tear up to the animal’s neck backed of old. – “Of yet another kind are the flea-bitten grays, these are so to speak over and over sprinkled with smaller, or in-between also larger spots, the more such are to be found on those extremities, the mouth and scrotum, for so much better, more enduring they are regarded, especially where also crown, crest, and tail (as here not) are much or even fully black” (Ridinger). – See the complete description.

Offer no. 16,049 / EUR  210. (c. US$ 254.) + shipping

For Even More Individual Plates in the Ridingers’ Original Coloring:

The Principal Colors of Horses

The Ridingers’ Color Culmination Other Part

“ A  Horse , A  Horse ”

The  Great  Garrick  as  Richard III

in  just  that  Moment

“ as  he  calls  furiously  for  his  horse

after  the  lost  battle ”

Nathaniel Dance (London 1735 – Carnborough House/Winchester 1811). (Mr. Garrick in Richard the Third.) In ermine coat along with Order of the Garter and further one as well as spurs after the loss of his horse in the lost Battle of Bosworth (22 August 1485) against the Earl of Richmond, later King Henry VII. The sword in the raised right at the moment of his immortalized words

“ A  horse , a  horse , my  kingdom  for  a  horse ”.

Laterally left Richmond’s cavalcade, driving Richard’s infantry. Set further back manor house. Mezzotint by John Dixon (Dublin about 1740 – London 1811). Inscribed: within the subject below right J. Dixon Fecit, and in the white inscription edge below N.Dance pinxt (far left) / Dance pinxt (5 cm from platemark) / Publishd according to Act of Parliamont (sic!) April 28 1772 by John Boydell Engraver Cheapside London / J Dixon Fecit, additionally see below. 25 × 15¾ in (63.4 × 40 cm).

Chaloner Smith 15.I (of II); Nagler III (1836, but ditto 1913 also Thieme-Becker VIII, 340 f.), 258 f. (Dance’s “main work is Richard III”) and page 422 on Dixon (“… to be mentioned particularly: … Garrick’s portrait in the character of Richard III”) resp.; Allgemeines Künstler-Lexikon (AKL) XXIV (2000), 73: “1771 (Dance’s, subsequent Sir Dance-Holland) dramatic rendering of David Garrick as Richard III in Stratford on Avon … he turns … to (as here, too) life-size , stately portraits.”

Befriended with Garrick, Dixon in turn – AKL XXVIII, 2001, 56 – indeed dedicated various works to him, the last still 1779 after the pale Thomas Hudson, but unsurpassably Dance’s model

of  the  wonderful  Garrick

in  present  immortal  pose  of  just  that  moment

“ as  he  calls  furiously  for  his  horse  after  the  lost  battle ”

(Nagler). Yet defying Richard’s dramatic appearance as a “titanic portrait of a villain of surrealistic force” (Erwin Laaths, 1953) Garrick’s position of the mouth rather aims at a quieter My kingdom I would give if only I had a horse now.

And as Richard III & Romeo and Julia are “first masterpieces of the young” Shakespeare (Laaths), so 1741 the gigantic actor, at the gauge-bursting peak of the rôle of his life, finally fulfilling his childhood dream,

“ instantly  brought  the  house  down  as  Richard III  at  London ”

(Meyers Konversations-Lexikon, 4th ed., VI [1880], 916 f.).

Here then Dixon’s just technically conditioned – only “50 or 60 … clean prints” the velvety mezzotint grants, so 1675 the expert von Sandrart –

rare  main  sheet

in  marvelous  early  impression  of  vibrant  chiaroscuro

before  the  title .

Two-line typographic watermark along with oval secondary mark. – Margins 2-2.5 cm wide laterally and 0.7-1 cm above & below, as for the old mezzotints worth emphasizing, all the more with such a downright

imperial  format .

Particularly the latter then also marginalizing the but insignificant agemarks. Expressly mentioned yet a blotchiness of 2⅜ × ¾-1⅛ in (6 × 2-3 cm) in the storm clouds at the edge top left. – Shortly ,

the  horse  call  of  world  literature —

here  as  the  visualized  trouvaille  assoluta !

See the complete description.

Offer no. 15,859 / price on application

Rugendas’  Horsemen  Sketch

of  Terrifically  Tangible  Speed  of  Movement

from  “ the

Famous  Leipsic  Heinrich  Campe  Collection  of  Drawings ”

Georg Philipp Rugendas I (1666 Augsburg 1742). Three horsemen. Two galloping, the left one walking. Pen drawing in black over pencil. Lower right inscribed with black pen in italics: G. P. R. 1703. 4¾ × 6¾ in (121 × 173 mm).


Heinrich Wilhelm Campe , Leipsic ,

his partition 1863 ,
with his oval blind stamp HWC lower left (Lugt 1391)

Pauline Brockhaus, Leipsic,
Luise Vieweg , Brunswick , as née Campe

Nagler, Monogramists, III, 279: the italics one finds on drawings. – On light drawing carton, hinged on large brown collection carton (17⅛ × 12¾ in [43.4 × 32.5 cm]) with white lining & wide stamped margin with German inscription “Collection Campe”, below “Georg Philipp Rugendas / Augsburg 27. XI 1666 – 19. V. 1742 / Pupil of I. Fischer (recte Fisches) / Famous Battle Painter.”, all in slightly paled white. – Predominantly in the white field feebly foxspotted, entirely disguised by the speed of the picture.

This terrifically communicating speed of movement of the latters additionally increased by the comparably quiet outside left as antipole. Coming along absolutely unpretentiously this sketch, considered by Campe as worthy of his collection, reveals with a bang “the great draughtsman Rugendas” who must have been

“ tremendously  sure  of  his  ability

in  the  field  of  horse  drawing ”

so Gode Krämer in the 1998 Augsburg Rugendas catalog with regard to a plenty of detail studies in which “there never are horses under the riders” (pp. 27 ff.).

Created from military experience

in  the  year  of  war  1703  as  so  decisive  for  Augsburg

within the Spanish War of Succession with especially its siege + occupation by the French-Bavarian troops (Dec. 15, 1703 – Aug. 16, 1704), it survived several more attacks of the same kind and

with  its  300  years  now  here  and  today  passes  the  market  once  more

with a meantime stay in the old “famous Leipsic Heinrich Campe collection of drawings”. – See the complete description.

Offer no. 15,180 / price on application

The Trainer / What seems difficult to us practice makes easy. At two pillars with the instructor in front and, set back a group of observers, one of them with horse waiting for his own action. Engraving, probably by Jan or Caspar Luyken, Amsterdam, for Chr. Weigel in Nuremberg. Ca. 1700. 5⅛ × 3⅜ in (13 × 8.7 cm).

From Abraham a Santa Clara’s “Something for All” (1699 + 1713), but possibly already worked for the Ständebuch of 1698, which both had several editions each. – With 6-line caption in German. – Paper abrasion in the range of breast and arms of the rider less perceptible for the unarmed eye.

Offer no. 28,615 / EUR  39. (c. US$ 47.) + shipping

In  a  Variety  of  Movements  not  known  anymore

Georg Philipp Rugendas I (1666 Augsburg 1742). Horsemen, Cavalry Battles, and Camp Scenes from 1693 to 1705. Series of 48 leaves. Engravings in chiaroscuro by Johann Christian Rugendas (1708 Augsburg 1781). C. 1740. Oblong fol. Contemporary half leather on 5 ribs with leather edges and marbled covers.

Compare with Nagler, Joh. Chr. Rugendas, 5-17. – Omnibus volume subdivided in 24 suites numbered from a-x (g = 2 x) as a main part of these works after the father. Printed on uniformly strong laid paper of 9½ × 14⅛ in (24 × 36 cm) the individual sizes of the engravings differ between 4-8½ × 4⅛-12¾ in (10.2-21.7 × 10.5-32.4 cm) dominated by a medium size of c. 6¾ × 9½ in (17 × 24 cm).

Excellent collection of those works which have marked Rugendas father as draftsman of horses graphically so incomparably, uniquely reproduced in the special manner of chiaroscuro printed from two plates with ochre-like base color, printed over with dark brown and the paper for the lights. By this of an extraordnary painterly charm.

The quite essential former world of the horse, driving back the battle scenery itself and excitedly disclosing the uniqueness of the horse. How a theme artistically overwhelmingly has been worked here these chiaroscuro engravings of Johann Christian reflect. – See the complete description.

Offer no. 12,223 / price on application

London Horse & Carriage Repository, Gray’s Inn Road, NW & SE View of the. Richly arranged court views. 2 sheet. Steel engravings by William Deeble (fl. London 1814-53) after Thomas Hosmer Shepherd (landscapist, architectural draughtsman, and aquarellist, 1793-1864). 1828. 4⅜ × 5⅞-6 in (11 × 14.8-15.1 cm). – See the complete description.

Offer no. 9,196 / EUR  76. (c. US$ 92.) + shipping

London – Horse Guards, Parliament Street. In front tow horse guards as well as open coach and further passers-by. Steel engraving by James Tingle (fl. London 1830-1860) after Shepherd as before. (1830.) 4⅛ × 5⅞ in (10.5 × 14.8 cm). – Two faint foxspots within the subject. – See the complete description.

Offer no. 9,234 / EUR  25. (c. US$ 30.) + shipping

His  Horses  influenced  by  Wouwerman

Hendrik Verschuring (Gorkum 1627 – near Dordrecht 1690). Resting hunters, partly dismounted, with their hounds in front of an inn where the innkeeper welcomes a two-horse carriage. One of them with a falcon in his right and enthusiastically accompanied by his dog hastening into the landscape (probably the Roman Campagna). Brush-drawing in several shades of grey wash and a little black over traces of black chalk. Signed at lower left with the grey brush: H. verschuring. f.. 9⅞ × 13¾ in (250 × 348 mm).

Provenance: Friedrich Quiring, Eberswalde, with both his stamps lower right and on the enclosed former mounting resp. (Lugt 1041 b & c: Des deux marques ci-contre la première servit jusqu’en 1920, la seconde à partir de 1921. Elles figurent seulement sur les meilleures feuilles). – See the complete description.

Offer no. 28,863 / price on application

The Sportsman’s Dictionary; containing Instructions for various methods to be observed in riding, hunting, fowling, setting, fishing, racing, farriery, hawking, breeding and feeding horses for the road and turf; the management of dogs, game and dunghill-cocks, turkeys, geese, ducks … and the manner of curing their various diseases and accidents. Improved and enlarged by Henry James Pye. 5th ed. With 17 copperplates. London, John Stockdale, 1807. 4to. VII, 547 pp. Fine dark-brown h. leather on 5 ribs with ruby red covers, broad leather corners, red back-plate, gilt and blind stamped lines, and colored fly leaves. Brown edges.

Souhart 389 f. – The plates instructively illustrating angling – bird-catching + -hunting and all kinds of nets , baskets + weir-baskets for fishing , small game + wolf hunting. – Two names on the fly leaves. – Also in regard of the binding a fine, mostly almost impeccable copy. – See the complete description.

Offer no. 13,139 / EUR  765. / export price EUR  727. (c. US$ 879.) + shipping

Five Horses — Five Masters

Horses. After engravings by Old Masters (1 colored). Series of 5 postage-stamps. Ed. by the Czechoslovakian postal authorities. April 21/24, 1969. Steel engraving by Bedřich Housa (b. Prague 1926) together with autotype rotogravure. Each c. 2⅛ × 1¼ in (5.4 × 3.3 cm).

The five motifs in the sequence of their values as following:

Hendrik Goltzius (Millebrecht/Venlo 1558 – Haarlem 1617, -.30) – Matthäus Merian (Basel 1593 – Schwalbach 1650, -.80) – Vaclav Hollar (Prague 1607 – London 1677, 1.60) – Albrecht Dürer (1471 Nuremberg 1528, 1.80) – Johann Elias Ridinger (Ulm 1698 – Augsburg 1767, colored, 2.40 Kčs.).

The  highest  value  of  the  set  and  the  one  and  only  in  color , too ,

showing the title sheet of the master’s majestic 18-sheet set New Riding School (Th. & Schwarz 628-645), also referred to as Large or Viennese School, of 1734. Preceded by Dürer’s Great Horse as according to Mende Alexander with Bucephalus. – See the complete description.

Offer no. 13,371 / EUR  50. (c. US$ 60.) + shipping

Kobell, Wilhelm von (Mannheim 1766 – Munich 1853). The Horseshoeing. Sketch of the master occupied with the left hind foot, while the holders of horse and leg have a chat and the dog couching sideways seems to notice something. Pen and brown ink. 7⅛ × 10⅛ in (180 × 257 mm).

Beyond the proper sketch (3⅛ × 5¼ in [80 × 135 mm]) sketched, filling the leaf, manifold in faint pencil throughout, nevertheless, as thematically close, not chaotic as not quite unusual, but by far not the rule. See for instance the drawn study for the 1835 aquatint The Inn after Nic. Berchem, in which the group of horses is not only joined by inn keeper, courting couple and chicken, but also seven firing practices foreign to the aquatint. Here then left of the shoeing scene a team, on the right a woman hanging up the laundry, probably with a laundry cart to which two small wheels might be assigned, while below a big wheel is sketched. In the center amidst further hatching a man carrying something through an archway, but apropos wheels also one of Wouwerman’s closed high coaches could be conceived, to the occupation with the latter the smithy scene undoubtedly is due, see below. Further hatching as filler of the upper field.

Lower right in pencil 166 / Kobell, where the additional attribution by the same hand on the Bristol board to Ferd. Kobell as the father cannot be followed here and rather has to be thought Wilhelm’s hand as the most important of the painters and engravers originating from Mannheim (Helmut Tenner). And here in connection with his works in painting, drawing, and print after Philips Wouwerman (1619 Haarlem 1668), documented already for 1787 as just 21-years-old and remaining favorite right into the 1790s, following the father’s early direction:

“ The own schooling in Dutch routine (father Ferdinand) transferred upon the son, albeit in the decisive years (about 1788) he himself had already outgrown it. Hence against the father’s the early work of Wilhelm K. creates the impression of being almost backwards, and his progress took place very slowly; actually he achieved complete independence only at the age of 40. Certainly the manner of

his absorption of the great Dutchmen of the 17th cent. was uncommonly vigorous.

Up to the 90s his works are painterly skillful adaptations of (predominantly) Wouwerman, Berchem and Roos … ”

(P. F. Schmidt in Thieme-Becker XXI [1927], 54 ff.).

His present horseshoeing sketch in harmony with Wouwerman’s paintings on that score.

With splendid, utterly complete watermark Crozier of Basle with boatman’s hook enclosed by broad ornamental chain with blazons (5¼ × 4 in [13.5 × 10 cm]) centered at the top edge. – See the complete description.

Offer no. 16,091 / EUR  535. / export price EUR  508. (c. US$ 614.) + shipping

– – The Dismounted Horseman with his Horse by the Tree. Kneeling, occupied with the advanced left foot. Beside him the riding crop. Pen and brown ink. 3½ × 4½ in (89 × 113 mm).

With part of a great figurative watermark. – Top left in the bald branches of the tree only little impairing faint browning, 1 cm bister break between the hind legs of the horse backed with acid-free material.

Delicately executed work, created with Kobell’s renditions after Wouwerman (1619 Haarlem 1668) in painting, drawing and print and here reminding of Schumacher – Philips Wouwerman. The Horse Painter of the Golden Age, 2006 – A354 & A328, both times likewise horse standing to the left each towards old pollard willow. First unbridled with peasant/horseman sitting beside, resting second horse and lambs, second saddled and held by the horseman by the halter. – See the complete description.

Offer no. 16,092 / EUR  235. (c. US$ 284.) + shipping

– – Standing Horse with Collar to the right. In more delicate execution right of it a further one, exact only the head in drinking/eating position as only interesting. Pencil. 4¾ × 6¼ in (120 × 160 mm).

On brownish rougher, nonetheless light laid paper with typographic watermark. – Small old tear in the white edge top right.

Created with Kobell’s renditions after Wouwerman (1619 Haarlem 1668) in painting, drawing and print and with regard to the head far right following Wouwerman’s manifold models. See for instance Schumacher, Philips Wouwerman. The Horse Painter of the Golden Age, 2006, ills. 44, 48-52, 56/7, 64-69, 312/3, 327, 357 etc. And for the Standing Horse … cf. Kobell’s etching Gœdl-Roth, W. v. K., Druckgraphik, 1974, no. 53 with illustration. – See the complete description.

Offer no. 16,093 / EUR  135. (c. US$ 163.) + shipping

English Hunting Horses. Two hunters on horseback along with a three-pack at a fence. Steel engraving by F. Hirchenheim(n?). Ca. 1835. Inscribed: XXXII / F. Hirchenheim (elsewhere Hirchenhein) sc, otherwise as above in German along with the address of the Art Establishment of the Bibliographical Institute. 6⅝ × 7¾ in (16.7 × 19.7 cm).

With the full platemark not measuring with, as rather more seldom for steel engravings, and left-sided stitch-margin. – See the complete description.

Offer no. 14,825 / EUR  64. (c. US$ 77.) + shipping

De Rodensteiner. The knight with his suite riding hard across country, feared by the peasants hiding in the grain. Toned wood engraving after Gottfried Franz (Mayence 1846 – Munich 1905) for A. Closs, Stuttgart. (1875-76.) 7 × 9⅜ in (17.8 × 23.9 cm). – From the about simultaneous Dutch edition.

Offer no. 9,458 / EUR  50. (c. US$ 60.) + shipping

(At the Bridge in Interlake.) With horses in and by the horse-pond. Toned wood engraving after Paul Meyerheim (1842 Berlin 1915) for Adolf Closs, Stuttgart. (1875-77.) 7⅞ × 9¾ in (20 × 24.8 cm).

Offer no. 9,699 / EUR  79. (c. US$ 96.) + shipping

Menuisier en Voitures. View of the workshop and numerous detail depictions. Set of the 17 (1 double full-page) engravings of the carriage joinery by Robert Bénard (Paris 1734 – after 1777, recte rather c. 1786) from the quarto edition of the famous encyclopedia by Diderot and d’Alembert. (1784.) C. 9⅝ × 7¼ and (1) 14 in (24.5 × 18.5 and 35.5 cm) resp.

Instructive  set. – Small + smallest tears concerning almost exclusively the white margin and quite isolated, just in one case recognizable thin paper spots backed acid-freely. – See the complete description.

Offer no. 12,111 / EUR  220. (c. US$ 266.) + shipping

Hippological  Wonder

The  Tiger  Horse  with  Ear-Bouquet

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). 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 on their Dutch journey in 1743. The splendidly long-tailed stallion in wonderfully easy movement in fine hilly landscape with village marked by a steeple, the fine head with bright eye and swelled nostril turned to the beholder. Apart five horses partly romping and rolling. After the portrait painted from life by Christian Ludwig Baron von Löwenstern (1701 Darmstadt 1754). Etching with engraving. Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. / J. El. Ridinger sc: et excud. 1745., otherwise in German as above. 13½ × 10⅞ in (34.3 × 27.6 cm).

Thienemann & Schwarz 280. – Sheet 38 of the Representation of the Most Wondrous Deer and other Animals (“The six horses included in this collection were sold apart later, too”, Th.) in a marvelous impression with margins 2.8-3.9 cm wide. – Small typogr. watermark. – On the back on both sides (on the left partially only) discoloring from previous glue strip. Invisibly acid-freely backed little tear in the white top margin. – See the complete description.

Offer no. 16,164 / EUR  2300. / export price EUR  2185. (c. US$ 2641.) + shipping

From  the  Own  Stables  fresh  onto  the  Table

Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). Six heures et demie. — Les chevaux de Madame la Marquise sont sur la table. Servant entering the drawing-room of his mistress and asking to dinner: horse meat from the own stables. Chalk lithograph. (1870-71.) Inscribed: CHAM / 104, otherwise typographically as above. 8⅝ × 6⅞ in (21.9 × 17.5 cm).

Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – Small feeble foxing spot in the white field beside the table lamp. – See the complete description.

Offer no. 14,790 / EUR  148. (c. US$ 179.) + shipping

F. R. de la Rue (Delarue; Paris about 1751 – after 1780). Battle Horse under an Officer with Raised Sword in the Right. Bouncing ahead to the right. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / de la Rue. 8¼ × 6⅝ in (20.8 × 16.9 cm). – As before, but margins 1.5-9 cm wide. – See the complete description.

Offer no. 28,618 / EUR  98. (c. US$ 118.) + shipping

Philips Wouwerman (1619 Haarlem 1668). Saddle Horse at the Oats Trough. Broadside to the right looking at the beholder. Below the trough the feeding bag. Etching by August Friedrich Winkler (Geyer/Saxony 1770 – 1807). Inscribed: A. F. Winkler f. / Phil. Wouwermans. 4⅞ × 6¾ in (12.5 × 17.3 cm). – As before, but margins 2-8 cm wide. – See the complete description.

Offer no. 28,617 / EUR  125. (c. US$ 151.) + shipping

262  Years  Old  Medicus  Hippologicus

Georg Simon Winter (von Adlersflügel). (Well-experienced Horse Physician, Who instructs thoroughly how to diagnose the Horses’ Complexion, Nature, and Age, cure all Interior and External Diseases, and preserve the Sound Horses from all Imminent Deficiencies.) Furnished with an appendix of some rare

medicines  found  excellently  well  for  young  colts

and improved through and through, and enlarged by the most well-tried arcanis, by Valentin Trichter, well-installed Riding Master of the Republic of Nuremberg. Embellished with plenty necessary engravings, that is with

44  folded  engravings  on  35  plates .

In German. Nuremberg, Joh. Andreas Endter, 1757. 20 unpag. leaves title, preface, contents, 838 pp., 9 unpag. leaves index. Contemporary calf-binding.

Title in red & black. – The  FIRST  EDITION  CONDUCTED  BY  TRICHET  for the original publisher of this classic, published in folio for the first time in 1678 and long-lived up to the German edition Philadelphia 1840, whose engravings, lead by a plate of instruments of 10⅞ × 15⅛ in (27.5 × 38.5 cm), are dedicated to anatomic details, clinical + treatment pictures and here corresponding in number and kind with those of the first edition (double full-size plate with instruments + 45 text engravings), here besides three not counted with numbered I-XLI and if applicable joined to larger plates as appropriate to the text. – The

“Richly  illustrated  horse  medicine  with  many  recipes”

(Bibliotheca Hippologica I. H. Anderhub, 1963, no. 367 [this edition])

in  decidedly  fine  copy ,

only particularly front inner cover & fly-leaf and already negligibly still the title foxed, otherwise only occasional tiny spots. Introduction with decreasing small worm trace in the lower inner margin as also at the slightly worn-out capitals of the back. The edges of the front cover pushed.

Offer no. 15,148 / EUR  1380. / export price EUR  1311. (c. US$ 1585.) + shipping

Wood Paddock (in Pomerania). Mare with foal, but also a cow, on the pasture passed by a carriage and pair. Wood engraving after Johannes Gehrts (St. Pauli/Hamburg 1855 – Dusseldorf 1921). 5½ × 7¼ in (14.1 × 18.5 cm). – BACK: Shepherd with his Flock. Wood engraving after G.’s picture of 1880. 5 × 4⅛ in (12.6 × 10.5 cm). – Continuous local text on both sides.

Offer no. 8,387 / EUR  61. (c. US$ 74.) + shipping

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). (Redop left at the Wall.) The dapple-grey horse jumping. Etching + engraving. (1734.) Inscribed: avec P. S. C. M. / Joh. El. Ridinger inv. des. et exc. A. V., otherwise in French-German-Latin parallel text as before. 21¼ × 15⅜ in (54 × 39 cm).

Thienemann + Schwarz 639. – New (or Vienna) Riding School VII (Th., dated, leaf 12). – Typographic watermark. – Additionally to the fine white plate margin with still c. 8 mm surrounding paper margin. Above in this a little tear backed acid-freely. – The sovereign sujet of the majestic set.

Offer no. 14,389 / EUR  1180. / export price EUR  1121. (c. US$ 1355.) + shipping

Drawn  –  Cut  Up  –  Pasted  In  –  Saved

Joseph Georg Wintter (1751 Munich 1789). Biting Horses, driven apart by the groom. Stallion in vivacious movement to the left, biting a half covered second one into the crest while this takes his revenge by a bite into the forehand. Hurrying from the right the groom with the whip. Chalk and pencil drawing, the richly hatched attacking stallion additionally executed in black pen. (Before) 1781. 10½ × 15¼ in (268 × 387 mm). – On the back: I. Stag of eight points, standing, to the left. Pencil drawing. Inscribed: JW (ligated) inv. 1781 / JGW (ligated) inv 1781. 9 × 7¼ in (230 × 184 mm). – II. Stag of ten points, standing from front left. Pen drawing. Inscribed: 135 / JGW (ligated) inv 1781 / JGW. (ligated) inv 1781. 8⅜ × 7⅞ in (213 × 201 mm).


Heinz Grunert

(† 1997)
drawings of all schools & epochs , Japanese woodcuts
with his red mark “G” in square (Lugt 3985) lower left

On the front seven points of previous corner mounting of the stag studies on the reverse, four of them still with vestiges of the grey-blue mounting paper. Only one of these spots though unessentially affecting the drawing by touching the groom’s foot. Lower centre below the shadow hatching thin paper spot from almost imperceptibly removed eighth mounting point. – Cut up vertically in about the centre by Wintter for the two backside stag studies. These two halves additionally – obviously for reason of proportion – shortened at the top and bottom resp. and mounted in an album. Assumedly Wintter himself removed them after 1783 (see below) and glued them together again with strips of laid paper, adding the missing parts, though not concerning the drawing of the horses, by strips from further studies. One of the laid paper strips besides with the covered German inscription “Drawn from nature by JGWintter the 28 august ao. 1783”.

The differing arrangement of the replacement strips – upper left, lower right – proving the priority of the horse drawing. The use of further study sheets up to the mentioned strip with the inscription of 1783, a procedure barely chosen by a collector, also indicates Wintter as rescuer of his own drawing. Therefore this way not just

a  lively  drawing  by  Wintter ,

but  together  uniquely  charming  proof

of  the  ups  and  downs  of  artistic  work .

And while in the groom we meet again thematically the hunter also acting from the right in a bison hunt of 1785 with the provenance von Kühlmann and Schäfer traded here, so the technical condition of the sheet has a predecessor in “Mr. Blaeu makes maps with glue and scissors”. Since in 1635 this was behind the competitor Janssonius with both the maps of Rhine + Danube he hastily printed the respective rough parts of Rumold Mercator’s wall-map of Germany of 1590 passed to him, and then reworked these accordingly with scissors and glue. Used so only in the German edition of the atlas of that year a pair of these cimelies has been traded here in the ’60s. – See the complete description.

Offer no. 28,951 / EUR  1480. / export price EUR  1406. (c. US$ 1700.) + shipping

The  significant  1st  Third  dedicated  to  the  Horse

John Sherer. Rural Life. Described and Illustrated, in the management of Horses, Dogs, Cattle, Sheep, Pigs, Poultry, etc. etc.: Their Treatment in Health and Disease; with authentic information on all that relates to Modern Farming, Gardening, Shooting, Angling … and a complete system of modern veterinary practice. With 5 woodcuts in the text and 88 steel engravings on 64 (3 folded) plates. London + New York, London Printing and Publishing Comp. (ca. 1870). 4to. Engraved title, XVI, 1016 pp. Orig. gilt and blind tooled leather on 4 ribs.

Not in Schwerdt. – Binding somewhat rubbed and timemarked, lower capital with a little leather defect on 1.5 cm length. – One quire (pp. 889-896) twofold bound in. – Frontispiece and the engraved title quite slightly waterstained. Otherwise of fine freshness except for only very isolated smallest mould stains.

The plates mostly with pictorial sceneries – among them races and huntings – , but also with anatomical and technical details. – Concentrated on hunting (121 pp.) – dogs (125 pp.) with a significant third of 364 pages horses:

The Horse, and Modern Veterinary Practice / Of Horses in General / Races / Economy of the Stable / Diseases, Fractures, Wounds, etc. / Surgical Operations / Veterinary Department, or Medicines and their Uses.

Further articles on cattle, sheep, pigs + poultry (together 273 pp.), bees (9 pp.), principles and machines of modern farming (42 pp.), gardening (68 pp.), angling (14 pp.) and index (4 pp.).

Offer no. 13,131 / EUR  765. / export price EUR  727. (c. US$ 879.) + shipping

The  Horse  in  Old  Frameworthy  Circulars

Circular of the royal & imperial district authority Kornneuburg of the V.U.M.B. (=Viertel unter dem Manhartsberg, Lower Austria) concerning the horse-furnishing compensation for the years 1812 and 1813. Jan. 8, 1814. Sm. fol. 1 l. With 2 printed signatures. – See the complete description.

Offer no. 12,245 / EUR  46. (c. US$ 56.) + shipping

– of the royal & imperial Lower Austrian district authority St. Pölten, announcing a composed work on horse breeding in the country. November 21, 1807. Sm. fol. 1 l. With printed signature of district captain Anton Leopold v. Roschmann. – See the complete description.

Offer no. 12,242 / EUR  86. (c. US$ 104.) + shipping

– of the same, concerning the sale of discharged horses. September 4, 1809. Sm. fol. 1 l. With printed signature of district commisioner A. v. Portenschlag. – See the complete description.

Offer no. 12,243 / EUR  60. (c. US$ 73.) + shipping

– of the royal & imperial district authority Klagenfurt concerning the burial of military horses fallen on the street. March 10, 1810. Sm. fol. 1 l. With printed signatures of Franz Xaver v. Fradeneck + Wolfgang Edler v. Wolf. – See the complete description.

Offer no. 10,749 / EUR  60. (c. US$ 73.) + shipping

After  decades  in  the  generous  ambience

on  the  wall  of  a  connoisseur

now  on  the  market  again  for  the  first  time :

Extremely  Rare  Riding  School  Plates

from  the  Largest  of  the

Augsburg  Dressages & Schools

Georg Philipp Rugendas I (1666 Augsburg 1742). Leads the horseman right … . Open riding place on the back of the stables with manifold actions. Mezzotint. Inscribed: Georg Philipp Rugendas invent. del. fec. et excudit, and quatrain in German. 19¼ × 26½ in (49 × 67.3 cm).

Teuscher 69 + ills. (without number); Stillfried 348; Schoenbeck, Das Pferd und seine Darstellung in der bildenden Kunst, plate 33 (detail) (see p. 8). – Plate 2 of the set with the number as the copy of the Swiss Institute of Technology Zurich, too. – Watermark Great Crown with typographic pendant and WANGEN word mark.

With surrounding margins of 1.7-2.2 cm. – Harmonious impression with fine chiaroscuro though from the overall somewhat used plate as quite acceptable for mezzotints allowing – so the contemporary expert Sandrart – just about 50-60 really good impressions. – Three (one of which almost imperceptibly short) vertical and one horizontal box pleats from print. Five up to thick pinhead-sized holes not recognizable from the picture side.

Extremely rare, the leaves of this set are missing, i. a., within the c. 27,600 lots of Weigel’s Art Stock Catalog, parts I-XXVIII, 1838-1857, the Bibliotheca Hippologica I. H. Anderhub with rarities like Ridinger’s Riding School in Imperial Oblong dissolved in 1963, and the Sarasin Collection (1999). – See the complete description.

Offer no. 28,161 / EUR  1460. / export price EUR  1387. (c. US$ 1677.) + shipping

– – – The Trotting. Besides further rich horse scenery a young horse ridden at the longe around the pillar and followed by another horseman. In the background farmers at work. Mezzotint as before. – Teuscher 124 + ills.; Stillfried 361. – Leaf 7 of the set. – Smoothed creasing almost not noticeable from the front. Equally not a pintip-fine hole. – See the complete description.

Offer no. 28,164 / EUR  1995. / export price EUR  1895. (c. US$ 2291.) + shipping

– – – The Gallop. Young horse in full gallop at the longe. Not least thanks to threatening chambrière. Embedded in and before further actions. Mezzotint as before. – Teuscher 125 + ills.; Stillfried 362. – Leaf 8 of the set. – Of fine general impression determined by bright lights as especially remarkable for mezzotints. – The left platemark squeezed through and backed. Smoothed creasing not noticeable from the front. Likewise not closed box pleat in the lower left field, already outside of the scenery. Far lower right missing spot disposed of by strengthening and retouching. – See the complete description.

Offer no. 28,162 / EUR  1995. / export price EUR  1895. (c. US$ 2291.) + shipping

So one gets up

Extremely  Rare  Hippological  Specific

Johannes Stradanus (= 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.

“ The  old  did  not  know  the  stirrups ,

which seem to have appeared only at the time of Otto I (crowned 936) ”

(Meyers Konversations-Lexikon, 4th ed., XV [1889], 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. – See the complete description.

Offer no. 16,084 / EUR  1380. / export price EUR  1311. (c. US$ 1585.) + shipping

Krüger – Max Osborn. Franz Krüger. With preface ed. by Kerstin Englert. 1997. 4to. 32 pp., 1 l., pp. 33-112 (text). With 115 (8 – 4 full-page – color) mostly full-page illustrations. Orig. cloth.

Unchanged new edition of Osborn’s as learned as fact-rich monograph on the “Horse-Krüger” of 1910. – Printed in large typography on acid-free paper complying to US-ANSI standards and with regard to the quality of the illustrations at besides larger format preferable to the original edition. – Out of print. – Original price was 115 euro.

“ Thematically concentrated on Franz Krüger as portrait painter, Osborn directs his attention especially on the … (large-sized) parade and group pictures (of the years 1829, 1839, 1844, 1849) ” (blurb).

Offer no. 29,068 / EUR  69. (c. US$ 83.) + shipping

Thomas Landseer (1795 London 1880). “What ho! does the Devil arrive! then we needs must get on.” Two monkeys galloping on an ass. Inscribed: Drawn & Etched by Tho Landseer 1827, otherwise as above. 8⅛ × 6½ in (20.6 × 16.4 cm).

From the Monkeyana set, one of the but few early and therefore typical works of Landseer. – On especially wide-margined strong paper. – In the white margin quite weakly foxing. – See the complete description.

Offer no. 10,826 / EUR  197. (c. US$ 238.) + shipping

From  now  on  “Henri  without  Horse”

Cham (= Amédée Charles Henry de Noé, 1819 Paris 1879). Ce pauvre Henri IV voyant emmener son cheval chez le boucher. Standing on the pedestal of his memorial and looking awkwardly after his horse carried away on a cart to the butchery on the other side. Only the laurel-wreath remained for the king. Chalk lithograph. (1870-71.) Inscribed: CHAM / 130, otherwise typographically as above. 8⅞ × 7¼ in (22.6 × 18.4 cm).

Worked for the Charivari during the war of 1870-71 and here present in a contemporary impression without text on the back. – Small foxing spot in the white field above the trees behind Henry’s back. – See the complete description.

Offer no. 14,785 / EUR  138. (c. US$ 167.) + shipping

Monsieur  le  Pompadour

Louis XV  of  France

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Lvdovicvs XV. Galliarum et Navarræ Rex. On trotting splendid white horse, the baton in the extended right, the sun king’s great-grandson (1710-1774) rides at the head of his suite towards the battle raging on the left before a big city dominated by church-tower. From the right a runner delivers a message. Etching & engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. 13⅛ × 9⅞ in (33.4 × 25 cm).

Thienemann + Schwarz 826. – From the 16-sheet main set – with Th. 835 & Th.-St. 1378 two further ones of larger size known – of the Princely Persons mounted on Horseback. – Rich sheet in

splendid  impression  of  vibrant  chiaroscuro

with margins on three sides 4.5-5 and below 9.5 cm wide, in the far part below & right slightly age-smudged. – On the back fold trace from contemporary binding as evidenced by red edge. – See the complete description.

Offer no. 15,857 / EUR  745. / export price EUR  708. (c. US$ 856.) + shipping

The  Fullness  of  Riding  amidst  a  Par Force Hunt

Carle Vernet (actually Antoine Charles Horace, Bordeaux 1758 – Paris 1836). (La chasse au cerf.) Suite of 24 leaves. Engravings by Gamble (8⅜-9 × 11⅞-12⅛ in [21.2-22.8 × 30.2-30.9 cm]). C. 1804-1814. Contemp. half leather with gilt back and brown marbled covers.

Vernet’s extraordinarily scarce 24-plates-suite of the par force hunt as the magnificent accord with instructiveness, variety and richness of pictures, dominated by an infinitely splendid aspect of horses due to the artist’s nature. Vernet was infatuated with horses. – The uniformly fine print quality not least affected by the fine handling of light and shadow. – See the complete description.

Offer no. 28,049 / price on application

Henry Bernard Chalon (1770/1 London 1849). Orville 1799. The golden-brown champion with his master in outlined broad landscape with farm in the background. Lithograph by H. Delius, Berlin. (1837.) 5⅞ × 11 in (15 × 28 cm). – Extensively on Orville’s victories see Snelgrove, British Sporting and Animal Prints 1658-1874 (Mellon Coll.), page 57, no. 8. – See the complete description.

Offer no. 12,158 / EUR  189. (c. US$ 228.) + shipping

One  of  the  Finest , Most  Elegant  Sujets

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Windhetzer. Chasseur aux levrieres. (Coursing a Hare.) Riding with great ease & elegance under high sky across the undulatory park-like landscape covered with few groups of trees after a hare. Hunting along two big greyhounds. Etching and engraving by Martin Elias Ridinger (1731 Augsburg 1780). C. 1764. 13¼ × 10⅛ in (33.8 × 25.6 cm).

Thienemann + Schwarz 124; Ortega y Gasset, Meditationen über die Jagd, 1981, full-size ills. (frontispiece); Pietsch (Ed.), (Porcelain Parforce), 2005, pp. 50 + 121 with illustrations; Steiner, Reverse Paintings on Glass, 2004, 40/40a with illustrations; Wüst, Ein frühmodernes Land im Jagdfieber – Das „ius venandi“ der Markgrafen von Brandenburg-Ansbach, in Triesdorfer Hefte 9, Die Jagd der Markgrafen von Brandenburg-Ansbach in der Frühmoderne, 2010, pp. 12 + 25 (illustration, this copy).

Sheet 12 (“L.”) of the 25-sheet suite of the Hunters and Falconers with their Work. – “The personal hierarchy began with simple rifle cockers, court huntsmen, ‘still hunt-hands, wind hunters’ … ” (Wüst), the latters “those hunting with greyhounds” (Riesenthal).

Besides the work corroborates, quite en passant, Ernst Welisch (1901) that Ridinger has been indisputably the “most important Augsburg landscapist at this time”. And this “although he is primarily known as animal painter”. – See the complete description.

Offer no. 15,435 / EUR  870. / export price EUR  827. (c. US$ 1000.) + shipping

(The old Germans’ their Weapons and Tournament.) Rich scenery with sword fight and tournament riding. Right in front a warrior with bear head and spears. Engraving by Matthäus Merian. (1638.) 5⅝ × 6⅝ in (14.4 × 16.9 cm). – Earliest print. – Trimmed within the left and lower platemark. – See the complete description.

Offer no. 11,869 / EUR  65. (c. US$ 79.) + shipping

Richard Schoenbeck. (The Horse and its Depiction in the Pictorial Art from the Hippologic Point of View.) With frontispiece + 44 (5 folded) plates + 328 illustrations. Leipsic, Engelmann. 1908. 4to. X, 203 pp. Illustrated red orig. cloth with gilt back + front cover and red fly leaf. Gilt head-edge.

Standard work in regard of the rich illustration material and perhaps the introducing chapters “(Sketch and History of the Horse)” (pp. 31-66) + “(The Horse)” (67-143).

Offer no. 12,582 / EUR  353. / export price EUR  335. (c. US$ 405.) + shipping

“ … my little town … New York … New York ”


The False Start Jerome Park, N(ew) Y(ork). Partly galloping away, partly staying correctly at the start. On the left four gentlemen on the turret-like box. On the opposite side of the course the grandstand with heavily gesticulating spectators. Chalk lithograph

in  original  coloring

for Thomas Kelly, NY. 1868. 19⅜ × 24⅞ in (49.3 × 63.2 cm).

Not in Mellon, Prints. – Age-marked as typically for such outsized prints. I. a. five professionally repaired tears reaching 2-6 and (1) 12 cm resp. into the picture. Nevertheless of really good appearance on the whole. – See the complete description.

Offer no. 14,166 / EUR  2400. / export price EUR  2280. (c. US$ 2756.) + shipping

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). (A Gravid Mare.) Etching. (1755.) Monogrammed. 7¾ × 6 in (19.6 × 15.4 cm). – Thienemann 482. – See the complete description.

Offer no. 15,163 / EUR  149. (c. US$ 180.) + shipping

– – – (A Sledge-Horse with Little Bells.) As before. – Thienemann 493. – See the complete description.

Offer no. 7,211 / EUR  279. / export price EUR  265. (c. US$ 320.) + shipping

– – – (Sumpter-Horse.) As before. – Thienemann 501. – See the complete description.

Offer no. 7,219 / EUR  199. (c. US$ 241.) + shipping

– – – (Postal horse.) As before. – Thienemann 502. – See the complete description.

Offer no. 15,165 / EUR  180. (c. US$ 218.) + shipping

Span  of  Six  Carriage  Horses

for  the  Elector  in  Treves

Franz Egon Graf von Fürstenberg (prebendary at Cologne etc., bishop of Strasbourg, 1625-1682). Letter with autograph signature to the Elector of Treves. Bonn June 11, 1673. Sm. fol. (12⅝ × 7⅞ in [32 × 20 cm]). 1 page on double leaf.

“ The six carriage horses would already have been sent if not one would have been slightly injured at the hand over that, so nevertheless it is to be hoped it will improve as soon as possible … Franz Egon Epis. / (follows below left) Chur Trier. ”

With watermark post horn between S + W as well as separate double tower, both not in Heawood. – Patinately not improperly foxing, only the white, last page together dirt-spotted. Two minimal injuries without loss of writing repaired acid-freely. – See the complete description.

Offer no. 13,392 / EUR  188. (c. US$ 227.) + shipping

From  Baron  von  Eisenberg’s  Famous  Riding  School

L’Arabe. On small plateau to the left. In the background sparse hills, on the right on rocks a citadel. Colored engraving by Bernard Picart (Paris 1673 – Amsterdam 1733). (1727.) Inscribed: VII., otherwise as above. 8⅝ × 11⅞ in (22 × 30.3 cm).

Plate 7 of Eisenberg’s Description du Manége Moderne published first in 1727 and therefore the last one of the introductory engravings on the horse races and in such a manner with reserved scenic accessories as completely omitted in the lessons. – On fine laid paper, uncut below, laterally 4 cm wide. – On the back quite weakly browned, below the hind legs small thin paper spot, otherwise of very fine freshness.

Eisenberg , his activity as equerry in London in 1728, later in the Low Countries, in Vienna, and finally in Pisa in 1753 aside unknown in his living circumstances, became immortal by his comprehensive riding school, however, published first in 1727, much requested through the centuries and therefore re-issued again and again, in whose “center … the image (is),

the  representation  of  the  individual  riding  lessons

intent  on  utmost  exactness …

The text is limited to short explanations” (Dietrich Fröba in the 1993 exhibition catalog Horse and Rider in Five Centuries – Treasures from the Library of the German Horse Museum on a French edition of 1733, no. 11).

Brilliant  in  their  thorough  concentration

on  the  lesson  as  the  single  essential  for  the  expert

the representations in their sparseness wanting in accessories are not without artistic model though, reminding of not that much dating back works by, e.g., Potter, Berchem, or Romeyn, recognized as modern and enthusing just for that. Considered comprehensively Eisenberg’s plates therefore could well be seen as standing in the aftermath of the Netherlandish art of the 17th century.

Picart , the “most important and together most productive engraver in the French-Flemish region in the early 18th century” (Fröba, op. cit. p. 28), lived in Amsterdam since about 1710 where he also got married in 1719. Furthermore he might have been a grandchild of that Parisian flower painter and dealer Jean Michel Picart, whom Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jhdts., pp. 57 + 59, mentions as port of call for the Netherlanders pressing onto the market there, and with whom especially Willem Kalf was well acquainted with.

Present Bernard Picart, however, “established his fame (in Amsterdam), both by the works he presented and a flourishing school in which he trained many artists” (Nagler). – See the complete description.

Offer no. 15,150 / EUR  249. (c. US$ 301.) + shipping

Le Hardi. In mid-air to the left. Engraving by Picart as before. Inscribed: XLIV., otherwise as above. 8¾ × 11⅞ in (22.2 × 30.3 cm). – Plate 44 of the set as before, here with white margins above + below 1.3, laterally 2.1-3 cm wide. – See the complete description.

Offer no. 15,151 / EUR  225. (c. US$ 272.) + shipping

Le Sensible. Leaping to the right between the pillars. Inscribed: XLV., otherwise as above. – Plate 45 as before, here with white margins 1-1.5, on the right 4 cm wide. – Feebly brownspotted, two fine, utterly smoothed out longitudinal folds. – See the complete description.

Offer no. 15,152 / EUR  189. (c. US$ 228.) + shipping

La bonne force. Freely leaping to the left. Inscribed: XLVI., otherwise as above. – Plate 46, here with white margins 0.5-1.7, on the right 3.5 cm wide. – Of great freshness. – See the complete description.

Offer no. 15,153 / EUR  198. (c. US$ 239.) + shipping

Le Ballon. Leaping high to the left. Inscribed: XLVII., otherwise as above. – Plate 47, here with white margins 1.2-1.6, on the right 3.9 cm wide. – Utterly smoothed out diagonal fold above the horse’s head + rider, otherwise of great freshness. – See the complete description.

Offer no. 15,154 / EUR  198. (c. US$ 239.) + shipping

Le Dificile. In stretched leap to the left. Inscribed: XLVIII., otherwise as above. – Plate 48, here with white margins above + below 1.3-1.6, laterally 2.1 and 3.1 cm resp. wide. – On the back isolated feeble foxspots barely perceptible from the front. Only far right at the edge of the subject three smaller and in the white margin one slightly larger spot noticeable. Irrespective of this dynamic sujet of fine freshness. – See the complete description.

Offer no. 15,155 / EUR  198. (c. US$ 239.) + shipping

Le Rubis. Galloping to the right. Inscribed: LI., otherwise as above. – Plate 51, here with white margins above + below 0.7-1.6, laterally 2.3 cm wide. – Very fine impression and of great freshness. – See the complete description.

Offer no. 15,158 / EUR  198. (c. US$ 239.) + shipping

Le Poupon. To the right. Inscribed: LIII., otherwise as above. – Plate 53, here with white margins 1-2, on the left 3 cm wide. – Quite feeble brown spot at the horse’s left fore hoof. – See the complete description.

Offer no. 15,159 / EUR  189. (c. US$ 228.) + shipping

Le Grand. To the left, pressed down onto the hind legs. Inscribed: LIV., otherwise as above. – Plate 54, here with white margins above + below 1.3-1.5, laterally 2.3-3 cm wide. – The white lower margin in the outer parts somewhat browned and on the left with feeble creasing barely reaching into the subject. – See the complete description.

Offer no. 15,160 / EUR  198. (c. US$ 239.) + shipping

Le Joli. To the right, pressed down onto the hind legs. Inscribed: LV., otherwise as above. – Plate 55, here with white margins 1.2-1.7, on the right 3.5-4 cm wide. – Utterly smoothed out vertical pressure mark. – See the complete description.

Offer no. 15,161 / EUR  198. (c. US$ 239.) + shipping

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Adolphvs Fridericvs Hæres Norvegiæ Dux Holsatiæ, Slesvici, & Episc. Lvbecensis Sveciæ Regis declaratvs Svccessor. Mounted on a lively trotting black horse coming from the woods, with the baton in the right and accompanied by both a mounted helm-bearer and two runners, on the way to meet the troops marching on the shore. On the water itself fleet, mostly in line. Etching + engraving. Inscribed: J. E. Ridinger inv. fec. et excud., otherwise as above. Sheet size 12⅞ × 9⅝ in (32.7 × 24.3 cm).

Thienemann + Schwarz 832. – From the 16-sheet basic set – with Th. 835 + Th.-St. 1378 two further ones of larger size known – of the Princely Persons mounted on Horseback, missing in the copy of the opulent Ridinger collection Count Faber-Castell sold in 1958 and here present from the rich Ridinger collection of Radulf Count of Castell-Rüdenhausen dissolved now. – Three sides trimmed within the white platemark, below close to the last line of text with minimal cutting of the lower bow of the “G” of Regis. – Mounted on collection-specific large sheet with fine black lining. – See the complete description.

Offer no. 14,851 / EUR  435. / export price EUR  413. (c. US$ 499.) + shipping

“ … yet (1830) an Art Collector
Paid … 100 . for this Sheet ”

Jacob Duck (Utrecht about 1600 – interred ibid. 1667). The River Landscape with the Waiting Rider to the left. This dominating right in front, awaiting another passing through the river. Both supposedly officers. In small figure behind the latter a soldier wading up to his knees, supposedly a lance in his right, while the left points at a small figure swimming or rafting. On top of the bluff rock on the opposite bank on the left a building with bulky round tower. A further structure below on the bank far left. And towards the right edge of the picture a group of edifices with bulbous top, behind which the river bends to the left, in the distance abreast a ridge on this bank navigated by a sailing boat. Etching. Sheet size 7⅛ × 9⅛ in (18 × 23.3 cm).

Hollstein 8; Nagler, Monogramists, III (1863), Ducq, 2184, 8; Wurzbach I (1906), 434, Duck, 8; Cat. Davidsohn I (1920), Ducq, 1378 (“Dubious sheet … Very rare”, besides referring to Weigel, Supplement, pp. 24 f. & Dutuit V, p. 47). – Closing sheet of a 4-sheet set – the 3rd a riding school scene at the pillar – , both the first two of which by Roman de Hooghe (1645-1708) who had been associated with the whole set, too. So then still legible written attributions on the back of both the sheets here, too, the present one in addition with the name of Philips Wouwerman.

With the no. 4 in the white margin below far right, yet hardly with “In front in the center of the grass ground, slightly to the left … letters I D f.” observed by Nagler. Regarding this Wurzbach then notes “According to Nagler allegedly inscribed …”. Brulliot would have missed it, too, see below. – With almost complete large watermark “Reared Lion in double lined Circle below Fleur-de-lis” with sword in the right and arrows in the left as variant to Heawood 3140-3145 (1651 till c. 1689) inclusive of the fillings in the circle, but without their escutcheon. – Lower right embossed small oval collector’s stamp A (?, H? R?) for which no solution could be researched here with Lugt.

The painterly sheet in the excellent impression of the J. H. Anderhub Collection .

Not figuring, as further prints, too, in the 1963 sale of books from the “Bibliotheca Hippologica I. H. Anderhub”. (Yale Center for British Art: “… the bulk of this collection, with the exception of some individual prints and plates, was sold in 1963”.)

On three sides trimmed to platemark with margin of 2-4 mm around, above rather to the edge of the picture with, however, plenty white plate field. This far left and center with noticeable quite faint touch of browning. Two fine vertical little box pleats running through worth mentioning on front above of horse & rider only. So, too, a slight diagonal trace of fold in the lateral right white subject.

Attributed 1863 by Nagler as now outdated to Jan le Ducq in The Hague as one “of the most excellent Netherlandish masters”, as then according to Thieme-Becker (1914) from the 18th century the works by Jacob Duck (about 1660 to 1661 at The Hague) usually were listed under the name of le Ducq. And 1906 Wurzbach, too:

“ He has to be distinguished from … Jan le Ducq … with whom his artistic personality had been identified or mixed for a long time. According to the range of the subjects of his paintings he is related to Peter Codde and Ant. Palamedes …”

“ Brulliot describes this ingeniously etched sheet – so Nagler – in the Aretin Catalog no. 4401 with the remark that it were etched in le Ducq’s manner. He missed the (supposedly erroneous, see above, signature) letters,

an art collector yet paid 100 . for this sheet in the (1830) sale ” ( !! ) .

Davidsohn estimate 90 years later then 300 reichsmark. And after scarcely another 100 years enthusiastic bidders raised in an auction the estimate of 600 euro for a provenance-less copy to a final price of now 1408 EUR !! – See the complete description.

Offer no. 28,978 / EUR  630. / export price EUR  599. (c. US$ 724.) + shipping

– – The Rider at the Pillar. To the left, supervised there by instructor with whip in the raised right. At the left margin of the picture small property, at the right overgrown large ruins, in front of it two men with dog observing the exercise. Etching. Sheet size 7⅜ × 9⅛ in (18.6 × 23.3 cm).

Hollstein 9. – Described neither in Nagler (1863), Wurzbach (1906) nor Davidsohn (1920). – Sheet 3 of the 4-sheet set as above and with the no. 3 in the white margin below far right.

The excellent impression from the J. H. Anderhub Collection. – Trimmed to platemark with 2-4 mm surrounding margin and above lots of white plate field. Fine vertical box pleat running through only noticeable above and below rider + horse resp. – See the complete description.

Offer no. 28,977 / EUR  630. / export price EUR  599. (c. US$ 724.) + shipping

“Should … the  Illness … even  be  the  Glanders …”

Proclamation by Charles I, Duke of Brunswick-Lüneburg (1713-1780, accession to the throne 1735, nephew of Emperor Charles VI and brother-in-law of Frederick the Great) subjecting the horses’ glanders to the duty of notification. Issued Brunswick April 4, 1771. (1771.) 13⅝ × 16¼ in (34.7 × 41.4 cm). 1 page. With attractively decorated woodcut-initial with the freely jumping horse of Lower Saxony’s coat of arms below the prince’s hat. With the duke’s signature printed besides the “L(oco) S(igilli)”-stamp and that of H. B. von Schliestedt.

Framing–Attractive  Broadsheet  Meant  for  the  Bulletin  Boards  as exceptionally rare in this kind of reference to the horse. Least of all by such a thematic rank as here and of especially beautiful impression through spacious typing, absolutely uncut wide margins, and impeccable condition with only slight even papertone. The never used copy of an archive! – See the complete description.

Offer no. 13,004 / EUR  373. / export price EUR  354. (c. US$ 428.) + shipping

Carle Vernet (actually Antoine Charles Horace, Bordeaux 1758 – Paris 1836). La Chasse. Fox-hunting. Aquatint by Louis Philibert Debucourt (1755 Paris 1832) printed in brown. 19 × 26¼ in (48.1 × 66.8 cm). – Dayot 2, II (with ill.); Fenaille 141, II, each final state with the letter. – Splendid large item in Debucourt’s characteristic manner, yet for the horse-crazy Vernet a sujet par excellence. – See the complete description.

Offer no. 12,292 / EUR  1508. / export price EUR  1433. (c. US$ 1732.) + shipping

Victor Silberer. (Turf Dictionary containing all Technical Terms in common Use with Comprehensive Explanations, and the Names of well-known and Famous Horses with Description of their Descent, their Owners, and their Performance etc. etc.) 2nd enlarged and improved ed. Vienna + Leipsic, Allgem. Sport-Zeitung, 1890. Sm. 8vo. 640 pp. Soft-green cloth with the orig. color illustrated cloth from front board + back mounted. – The  wanted  compendium. – See the complete description.

Offer no. 12,462 / EUR  343. / export price EUR  326. (c. US$ 394.) + shipping

“ An  Admirable  Work  on  the  Subject ”

Henry William Herbert. Frank Forester’s Horse and Horsemanship of the United States and British Provinces of North America. 2 vols. New York, Stringer & Townsend, + London, Trübner & Co. 1857. 4to. 552, 576 pp. errata slip. With incl. of the two illustrated titles, 16  steelplates by several artists and engravers on mounted China, 10 double full-page pedigree plts. (bound not in their fixed order), and numerous woodcut ills. Richly gilt and blind stamped illustrated orig. cloth. Brown edges.

Sabin 31465. – First Edition. Isolated slightly brown traces by plants and, mostly affecting only the especially wide margins, slight foxing on the pages by the plates. The latters itself mostly only on the verso and on the white margins of the mounting paper resp. Binding cleverly restored. Otherwise a really fine copy of this standardwork dedicated “To all true Lovers of the Horse … as a Tribute of the Animal, and to the Feelings of those who duly appreciate him …”. – See the complete description.

Offer no. 11,909 / EUR  1380. / export price EUR  1311. (c. US$ 1585.) + shipping

Stud-Farm  Representation

before  Painterly  Harz  Mountains  Scenery

Harzburg – Karl Dietrich Pirscher (1791 – Brunswick 1857). View of the Ducal Brunswick Stud-Farm Harzburg. View from a hill at the facility situated in the center together with adjacent and distant parts of the place before picturesque Harz Mountains scenery with larger estate on the distant mountain quite right. On the three paddocks of the stud six (two galloping) horses. Quite in front two heavily loaded men on their way, accompanied by dog & boy. Colored chalk lithograph. C. 1830. Inscribed: Pirscher., otherwise in German as above. 12 × 15⅞ in (30.5 × 40.2 cm).



(the ordinary issue in black/white) of painterly beauty as just so provable here on the market 1977 for the last time, which should be the very same now present copy. – The backside foxing at the subject side practically perceptible only in the white margin of 2-2.5 cm. – See the complete description.

Offer no. 28,917 / EUR  1150. / export price EUR  1093. (c. US$ 1321.) + shipping

John Thomas Smith (1766 London 1833). Hackney Coachman. About 1687 and thus like a postilion with a short whip and roweled spurs. Etching. C. 1819. 7⅜ × 4½ in (18.8 × 11.4 cm). – Minimally foxing. – See the complete description.

Offer no. 8,797 / EUR  69. (c. US$ 83.) + shipping

In  distinctive  old  marbled  wrappers

Johann Meyer (1655 Zurich 1712). Cavalry Battles. Set of the 6 etchings partly worked with drypoint in frieze shape after Heinrich Werdmüller (d. 1677, in Villingen?, officer) in Zurich (?) on 3 leaves. Inscribed on leaf 1: David Funck exc. / J. Meyer f. / 1(-6). 2-2⅛ × 7⅛-7¼ in (5.2-5.5 × 18.2-18.3 cm). Colored marbled contemp. stitching.

Nagler 6, I (of II). – “In the first impression (as here) with the address of David Funk (art dealer in Nuremberg), in the second with that of Schmidhamer, and with double (border) lines” (Nagler). – Leaf 1 uniformly slightly browned, leaf 2 even a little less. Some small age spots. – See the complete description.

Offer no. 28,932 / EUR  1400. / export price EUR  1330. (c. US$ 1608.) + shipping

Immortal  Prince  Eugene

Georg Philipp Rugendas I (1666 Augsburg 1742). Serenissimus Princeps Eugenius Franciscus, Dux Sabaudiæ et Pedemontÿ, Marchio de Saluzzo, Sac. Cæs. Maj. Consiliar. Int. Concilÿ Aulico-Bellici Præses, Copiarum Cæsarear. Dux Supremus et Locumtenens Generalis: S. R. I. Campi Mareschall., aurei Velleris Eques. Franz Eugene Prince of Savoy (1663-1736) with marshal’s baton in the outstretched right mounted on a white horse galloping to the right in an just allusively outlined landscape. On the right laterally in the middle distance partly schematic battle scenery. Mezzotint. (1713/14.) Inscribed: Georg Philipp Rugendas inv. et fecit Aug. Vind., otherwise as above. 18½ × 14¼ in (46.9 × 36.2 cm).

Teuscher 55. – Not in Stillfried + Nagler who both only know the not belonging to version T. 59. – Trimmed close to the platemark, in places on this itself and on the right on 3.5 cm on the edge of the subject. – Mounted by old on laid paper whose margins have been laminated on the front frame-like with grey-bluish paper. The image itself braid with black surrounding line.

Very fine, highly nuanced impression of rich chiaroscuro and adequate preservation (slightly rubbed, two tiny and quite small scrapings resp. on the right in the margin, only minimally recognizable vertical fold from bottom till below the horse’s belly) of the portrait collection of von Roemer father + son originating in the early 19th century which in 1871 devolved upon today’s Museum of Fine Arts Leipsic and was sold by this in 1924 obviously entirely (not only the duplicates as Lugt notes; see auction sale Boerner 142). Recto lower right its collection stamp “(Municipal Museum at Leipsic)” (Lugt 1669e), on the back the removal stamp “(Disposed by Museum of Fine Arts Leipsic)” (L. 1669f). – See the complete description.

Offer no. 16,218 / price on application

The  Great  Marlborough

– – – Serenissimus Princeps, Iohannes, S. R. I. Princeps Mindelheimensis, Dux et Comes de Marlborough, Marchio de Blanfort, Baro de Churchille, de Aymond et Sandridge, Ordinis Periscelidis, etc. John Churchill Duke of Marlborough (1650-1722) with the marshal’s baton in the stretched out right and the sword at the left galloping to the left in meagre landscape. On the lateral left in the middle distance little fighting horsemen accessories, even mor in the background building. Mezzotint as before. 18½ × 14¼ in (46.9 × 36.2 cm). – Teuscher 58; Stillfried 282; Nagler 10. – Pen-and-ink drawing with wash in the same direction, 16⅞ × 14⅝ in (428 × 370 mm), in the Witt Collection of the Courtauld Institute Galleries in London. – See the complete description.

Offer no. 16,217 / price on application

Prince  Eugene  of  Savoy & the  Duke  of  Marlborough

The two monumental Rugendas equestrian portraits above together not just as then after all simultanously two of the superbly rare six leaves of Rugendas’ great

set  of  the  princes  on  horseback

on  galopping  white  horses  with  the  marshal’s  baton  in  the  right

of , really  up  to  date,  (1713/1714).

Completely here not provable in literature anymore, and used by Ridinger as stimulus for his own Princely Persons on Horseback, they are nevertheless an extraordinary attractive, quite personal temptation + seduction to achieve the peu à peu completion some day, however, as perhaps then unique and moreover singular. But also in pictorial regard as if framed

the  two  riders  gallop  pendant-like  towards  each  other .

And, even more, in lifetime these two noblemen stood

in  closest  personal  connection  to  each  other :

“ … the  two  generals  crowned  with  glory  found … each  other  again . ”

That is since 1704 in the war of Austria and its allies against France with Bavaria.

“ June 10, (1704, Eugene) … met Marlborough on the Neckar who commanded the English auxiliary forces … Two months later … the two generals defeated the united Frenchmen and Bavarians in the decisive battle near Höchstädt. The capture of Landau, the expulsion of the French from Germany, the occupation of Bavaria by the Austrians were the immediate consequences of the brilliant victory ”

(Alfred Ritter von Arneth in Allgemeine Deutsche Biographie, VI [1877], pp. 409 & 411).

And so forth. Till the conclusions of peace of Utrecht + Rastatt (1713/14). – See the complete description.

Offer no. 16,219 / price on application

Georg Philipp Rugendas I (1666 Augsburg 1742). Detachments of Horsemen. On the right vivacious group of two riders, each with additional spare horse, on the left resting sumpter horse with leader. In-between, set back in small figures, horsemen talking with two passers-by. Etching by Georg Conrad Bodenehr (1663-1710). Inscribed: G. P. Rugendas del. / Cum Privileg. S. C. Maj. / Ierem. Wolff exc. Aug. Vind. / G. Conrad Bodenehr Sc. / A 5. 4¾ × 6¼ in (12.1 × 15.9 cm).

HORSEMEN AND BATTLES , set A, 5. – Teuscher 174, I (of II, recte III: a later edition was published, probably in the 1820s, at the same place at Herzberg, see T. 169) with illustration; Stillfried 54. – Marvelous impression with margins 4-4.9 cm wide of the J. H. Anderhub Collection. – See the complete description.

Offer no. 28,610 / EUR  148. (c. US$ 179.) + shipping

– – – Before the Battle. In the foreground two unlimbered cannons with two piece hands, balls and loading equipment as well as an officer just galloping up. Left of this three horsemen, on the right, likewise slightly set back, mounted troop whose leading officer points to the horizon with his sword where several parts of troops take place. Etching as before. Inscribed: Georg Phil. Rugendas del. / Cum Privil. Sac. C. Maj. / Ieremias Wolff exc. Aug. V. / G. C. Bodenehr Sculps. / A 9. 4¾ × 6¼ in (12.2 × 15.8 cm).

Sheet 9 of the set. – Teuscher 178, I (of II, recte III) with illustration; Stillfried 58. – Marvelous impression with margins 3.9-4.8 cm wide of the J. H. Anderhub Collection. – See the complete description.

Offer no. 28,611 / EUR  148. (c. US$ 179.) + shipping

Following  Sheets  from  Ridinger’s

Small  Riding  School

as  his  most  extensive  one

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Correct Pace at the Wall straight ahead. Le pas du Manége à coté de la Muraille tout droit. Piebald to the left, beyond the wall pyramid projecting between trees. Etching + engraving. (1760.) Inscribed: J. E. R. / No. 13., otherwise in German-French as above. 7½ × 5⅜ in (19.1 × 13.7 cm).

Thienemann + Schwarz 659. – Presentation and Description of those School and Campaign Horses after their Lessons XIII. – Late impression on fine, though strong paper with white margin of 1-2 cm all around of the platemark. Upper corners feebly browned in the white margin from former mounting. – Explained within the text part as following:

“ Le pas du manége fait aller le cheval sur la ligne & porter sa tête bien & ferme. ”

See the complete description.

Offer no. 15,166 / EUR  65. (c. US$ 79.) + shipping

– – – Half cheerfully straight ahead. A demi allegre sur la ligne. Piebald on the hind legs before a wall. Beyond trees and column of water. As before. – Thienemann 681. – Sheet 35. – Ca. 2.5 cm long break of the upper platemark backed acid-freely. Small tear-off in upper left corner in the white margin, otherwise as above.

“ A moitié alerte est quand le cheval se leve avec vitesse tems sur tems. On reconnoit par là si le cheval est asséz bien dressé. ”

See the complete description.

Offer no. 15,168 / EUR  65. (c. US$ 79.) + shipping

– – – From the Earth to the Earth. Terre à Terre. Dark piebald on the hind legs to the left. In the background wall as well as trees. As before. – Thienemann 682. – Sheet 36. – In the subject three unsuspicious pin-tip tiny holes, otherwise as above, thus without the break in the platemark.

“ Terre à terre est une action ou le cheval se tient sur la hanche sans se lever beaucoup. ”

See the complete description.

Offer no. 15,169 / EUR  65. (c. US$ 79.) + shipping

– – – Pirouette right on a Circle of the Length of the Horse. La Pirouette à la droite sur un Cercle la longueur du cheval. Before round arch column next to pillar and gallery in an indoor riding school. As before, but  standard  old  impression . – Thienemann 683. – Sheet 37. – 4-4.5 cm wide-margined. – The left stitching margin somewhat unsightly from severance. – Watermark: … REGEN. – Some minimal spots of printer’s ink, one of which in the picture itself at the lateral round arch.

“ La Pirouëtte se fait, quand le cheval se tourne tout d’un coup pardevant dans un cercle ètroit, le derriere restant ferme sur la place. On observe aussi, que les piés à la droite & à la gauche selon que le tournement se fasse, soient pardevant & par derriere l’un sur l’autre. Cette action est fort commode pour un Officier qui commande. Mais il faut qu’on y ait un cheval bien dressé & puissant. ”

See the complete description.

Offer no. 28,626 / EUR  275. / export price EUR  261. (c. US$ 316.) + shipping

– – – Full Capriole straight ahead. La Capriole entiere sur la ligne. Flight through the air to the right that the hat flies. As before. – Thienemann 689. – Sheet 43. – Watermark torso of fleur-de-lis. – Some minimal spots of printer’s ink in the white margin.

“ La capriole entiére apendra le cheval à franchir tout, sur quoi li peut mettre sa bouche. Car ce ne seroit pas sans péril, si l’on voudroit forcer le cheval à sauter plus haut. Mais par de telles caprioles beaucoup des Officiers & Soldats ont fauvé leur vie, & evité la captivité, ou ils se sont rendus heureux en poursuivant leur ennemi. ”

See the complete description.

Offer no. 28,628 / EUR  235. (c. US$ 284.) + shipping

– – – To accustom the Horse to Flags. Accoutumer le cheval au drapeau. Rider in riding school with round arches unfurling the flag. As before. – Thienemann 690. – Sheet 44. – Watermark torso of fleur-de-lis.

“ Accoutumer le cheval au drapeau est trés necessaire, afin que les chevaux des Officiers ou des autre amateurs ne soient pas ombrageux. ”

See the complete description.

Offer no. 28,629 / EUR  275. / export price EUR  261. (c. US$ 316.) + shipping

– – – To accustom the Horse to the Drum. Accoutumer le cheval au Tambour. From front, coming along an alley lined by park walls. As before. – Thienemann 691. – Sheet 45. – Torso of a small figurative watermark.

“ Accoutumer le cheval au tambour est bon singuliérement pour les chevaux des Soldats pour les rendre tranquiles de tout bruit. ”

See the complete description.

Offer no. 28,630 / EUR  275. / export price EUR  261. (c. US$ 316.) + shipping

– – – To make the Horse shot-proof. Le cheval d’arquebusade. Rider in box hall (?) with round arches, firing the rifle. As before. – Thienemann 692. – Sheet 46. – Watermark torso of fleur-de-lis. – The left stitching margin injured from severance incl. of a 3 cm deep tear lower left in the wide white margin and backed with the old broad fold strip. Besides two backed tiny tears in the right outer margin and as a whole somewhat age-marked. The 2.5 cm long black line at the edge of the wall a plate uncleanness from printing however.

“ Le cheval d’arquebusade est bon & pour les Soldats & pour les amateurs de la chasse. Les chevaux de ceux qui prennent des poules & des tireurs à la volaille demontrent, combien on y puisse avancer. ”

See the complete description.

Offer no. 28,631 / EUR  235. (c. US$ 284.) + shipping

With  the

art-historically  important , warmly  felt  Sujet

of  the  Old  Horse

Ridinger – Johann Heinrich Roos (Otterberg, Palatinate, 1631 – Frankfort on the Main 1685). Animal Pieces. Set of 6 sheet. Etchings by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Between 1724 + 1728. Inscribed varyingly: Iohan Hein. Roos invent. et del. / Elias Ridinger sculpsit Aqua forti. 10½-10⅝ × 12⅛-12⅜ in (26.8-27 × 30.7-31.3 cm).

Thienemann + Schwarz (ills. I, p. 104) 797-802; Coppenrath part II (1889), 1577 ( “Very rare set” ); Ridinger Catalogue Darmstadt, 1999, IV.10-15, fully illustrated. – In Weigel’s Art Stock Catalog, parts I-XXVIII (1840-1857) as the one and only the copy before any letter only, IX, 10322, in 1840. – Watermarked Crown + word mark.

The very fine copy of the collection “EK” with its small blue round monogram stamp (ligated, Lugt 3549, not identified, drawings and prints of the 17th to 19th centuries) on the back of these bewitchingly beautiful etchings marked with “Aqua forti”, together the

largest  Ridinger-Rooses

with still partial light façette dirt,

absolutely  untrimmed  up  to  the  intact  deckle-edge

(top + bottom 7-7.5 cm wide-margined, laterally 10-10.5 cm), thus still with the two pinholes on the left from hanging up for drying! – Totally two/three acid-freely backed minitears in the outmost margin. Back of sheet 6 slightly age spotted of which two spots and slightly larger light brown stains each shining through the right margin. Smoothed centerfolds.

In regard of the state with Hertel’s address “Iohann Georg Hertli excud. Aug. Vind.” (Thieme-Becker XVI, 552: progenitor of the Augsburg family of engravers, who later, after buying a part of J. Wolf’s publishing house, founded a publishing house himself; still lived about 1760) on the first sheet analogously to Thienemann + Schwarz. The rough classification of the states: before any address – Wolff Heirs – Hertel . – The plate numbering results in the sequence Thienemann 797 – 798 – 802 – 801 – 800 – 799 .

Among the sceneries of this suite that for Thienemann “turned out far better” compared with the first

so  famous  ones  as  the  programmatic  one  of  the  group

with  the

art-historically  important , warmly  felt  sujet

of  the  old  horse ,

of  which  Brockes  said  one  would  see  it

“ Not  with  pleasure  and  yet  with  great  pleasure ”.

And even in 1900 Helbing valued a brilliant copy of the set with 60 Goldmark equally to the suite of the Four Seasons of the Hunter or half of a fine copy of the 23-sheet set of the Fair Game and higher than the brilliant yet trimmed impressions of the Imperials Th. 67/68 (50 Goldmark). – See the complete description.

Offer no. 28,485 / EUR  1750. / export price EUR  1663. (c. US$ 2010.) + shipping

Already  the  Postilion  sits  on  the  Driver’s  Seat

and  the  Postmistress  urges  by  heavily  ringing  the  Bell  –

but  still  the  Hunched  Little  Postilion  of  the  previous  Stage

fights  for  his  Tip  from  a  Corpulent  Changer

William Hogarth (1697 London 1764). A Country Inn Yard (or The Election Procession in the Yard). The last travelers enter

the  overland  stagecoach ,

the postilion already took the box, and the landlady acting as post-mistress urges for hurry by heavily ringing the bell. In the front a hunched small postilion asks a corpulent gentleman changing coaches here for a gratuity for the previous stage. Engraving. Inscribed: Design’d and Engrav’d by W. Hogarth. — Publish’d According to Act of Parliament. 1747. 8⅝ × 12¼ in (22 × 31 cm).

Nagler 30. – After the painting of 1747. – Regardless of the rich postal scene the actual happenings – in addition to the Four Prints of an Election – concern the mockery of a “candidate defeated in a parliamentary election” whose effigy – as already in regard of the Duke of Newcastle on plate 1 of the Election set – is carried round in a procession of the opposing party. This all the more annoying as the defeat is caused by formalties, that is the yet barely missed age of the candidate, and thus was foreseeable. Accordingly unwillingly an agent of the unfortunate – a copy of the Act against bribery and corruption in his pocket – foots the bill for the wasted election entertainment to the landlord.

“ The well-known plate … shows with Dickens’ humour a comfortable depiction of rural petty bourgeoisie ”

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

Impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).

Offer no. 7,803 / EUR  135. (c. US$ 163.) + shipping

– – – The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees & Orme, May 1st. 1808. Bildgröße 4¾ × 6¾ in (12.2 × 17.1 cm).

Cook’s smaller version, engraved together with his son. – Trimmed within the wide white platemark.

Offer no. 8,941 / EUR  60. (c. US$ 73.) + shipping

– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth pinx. 1747. / E. Riepenhausen sc. 8⅜ × 10½ in (21.3 × 26.7 cm).

Riepenhausen’s  works  after  Hogarth  ( “very valuable” ) belong to his major work and are partially even preferred to those by Hogarth. – In regard of the especially fine, strong paper supposedly an impression for a special edition about 1830. – Margins somewhat agespotted. Equally the image itself slightly.

Offer no. 7,804 / EUR  118. (c. US$ 143.) + shipping

– – – The same in lithography. (1833/36.) Inscribed: Die Landkutsche. 9¾ × 9⅜ in (24.7 × 23.7 cm). – Extensive caption in German.

Offer no. 7,805 / EUR  125. (c. US$ 151.) + shipping

Morning  Rush  Hour  a  Quarter  of  Millennium  Ago

William Hogarth (1697 London 1764). A Morning in London. Daily turbulence at Thavie’s Inn Coffee House, today for a change the sleeping drayman on his fully loaded cart, running over a boy while additionally the bung of one of the barrels got off and the much demanded thirst-quencher runs onto the street. But also Tom Nero’s overturned coach in front left

with  the  four  attorneys  on  their  way  to  Westminster

promises troubles for the coachman. Engraving. Inscribed: Designed by W. Hogarth. / Published according to Act of Parliament Feb. 1. 1751. 15⅜ × 12¾ in (39.1 × 32.3 cm).

The Four Stages of Cruelty II. – With 12-lined caption in three verses by supposedly Rev. James Townley.

The  famous  sujet  by which Hogarth successfully tried to call the attention to the brutalization of the lower classes. Since – so Lichtenberg – “supposedly the drayman will know to comfort himself over the unlucky boy, but have quite different feelings in regard of the suffered (beer) damage”. But also the attorneys’ driver should not be in a good mood either as “(e)ven every single one of the four would be able to bring

the  coachman  to  the  Justice  of  the  Peace

to enforce forfeit for the suffered shock”. That the attorneys let themselves be driven by Tom Nero at all is the gag pure and simple :

Because he is the arch-rogue of this set. Whom an acting earthly justice finally will bring first on the gallows, then into the anatomic theatre. The latter due to common prejudices of especially deterring effect.

Harmonic impression, perhaps from the complete edition published by Boydell 1790-1809. – Some backed small tears in the broad white and a tidemark in the upper left corner. – See the complete description.

Offer no. 6,516 / EUR  445. / export price EUR  423. (c. US$ 511.) + shipping

– – The same. 15¼ × 12¾ in (38.7 × 32.3 cm). – Deep impression from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).

Offer no. 6,515 / EUR  445. / export price EUR  423. (c. US$ 511.) + shipping

– – The same. Steel engraving. C. 1850. Inscribed. 6¼ × 4¾ in (15.9 × 12.2 cm).

Offer no. 6,018 / EUR  65. (c. US$ 79.) + shipping

Youth  and  Age  of  the  Horses

Four  Drawings – Four  Unica

Siegwald Johannes Dahl (1827 Dresden 1902). Begleitet die Mutter bei der Arbeit (Accompanies the Mother at Work). Foal left-sided to the mare, harnessed alone to a two-horse milk-float, both in lively run and the Pomeranian on the box. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil as above. 7⅛ × 9⅛ in (182 × 232 mm).

Thieme-Becker VIII, 274 f.; Boetticher, Malerwerke des 19. Jhdts., I/1, 211 ff. – On very thin paper mounted on thin cardboard, of which the left white lower edge has loosened.

“ D. (son of Joh. Chr. Clausen D., already at the age of 37 honorary member of the Dresden Academy) is above all an animal painter, his Norwegian and German landscapes already technically not coming up to the excellent depictions from the life of the dogs, horses, roes, birds. In respect of loving observations these genre scenes could stand comparison with those of Edw. Landseer whose works D. had studied in London … A not to underestimating influence in this connection D. has excerted on an elder art companion, the ingenious Ferd. v. Raysky, together with whom he yearly made natural studies on the properties of their friends ”

(Thieme-Becker, whose estimate of his portrait drawings

“ drawings  of  partly  extraordinary  delicacy ”

corresponds with the one here, too). – See the complete description.

Offer no. 14,557 / EUR  370. / export price EUR  352. (c. US$ 426.) + shipping

– – Eingespannt (Put to the Carriage). Young one-horse lively stepping out in slightly outlined landscape with brushwood (?) on the carriage and the Pomeranien first. Pen in black as before, but on thin cardboard. – Belonging to the “drawings of partly extraordinary delicacy”, too. – See the complete description.

Offer no. 14,556 / EUR  345. / export price EUR  328. (c. US$ 397.) + shipping

– – Zusammengebrochen u. … von dem Ulanen … wieder erkan(n)t, welcher aber vom Kutscher weggewiesen wird (Broken down and now recognized by the cavalryman who is sent away by the driver though)! The cavalryman at his former horse now broken down in the harness of a two-horse carriage highly loaded with stones. Depressed old and young form the front. Pen in black as before. – On thin cardboard. – In all parts of rich power of narration. – See the complete description.

Offer no. 14,558 / EUR  378. / export price EUR  359. (c. US$ 434.) + shipping

– – Kan(n) sich nicht mehr lagern (Can lie down no more)! Two horses in the stable, the left of them cannot lie down anymore like the other. Beyond a ledge occupied by poultry a staircase leads to the heyloft. Brush with wash in black, otherwise as above. – On thin cardboard. – Warmly felt sujet. – See the complete description.

Offer no. 14,559 / EUR  370. / export price EUR  352. (c. US$ 426.) + shipping

Martin Elias Ridinger (1731 Augsburg 1780). Ludovjcus VIII. D. G. Landgravius Hassiæ-D(armstadiæ). Princeps Hersfeldiæe, Comes in … Nidda, Schaumburgo, Isenburgo et Budinga etc. Sacræ Cæsareæ ac Regiæ Hungaricæ et Bohemicæ Apostol. Majestatis Supremus Campo Mareschallus … . On his dapple (“The landgrave always rode dapples, also on the hunt”, Wolfgang Weitz) with baton rested on the right thigh, riding at calm walk towards a drawing up of forces in hilly landscape to the left. Etching + engraving after Georg Adam Eger (1727 Murrhardt 1808). Inscribed: G. A. Eger Serenissimi Landgr. Pictor, pinxit. / Mart. El. Ridinger sculps. Aug. Vind., otherwise as above with the rich escutcheon held by lion shield-bearers in the center. 14⅝ × 10⅜ in (37 × 26.3 cm).

Thienemann-Stillfried (1876) + Schwarz (1910) 1378; Siebert, Kranichstein (1969), ills. p. 62; Ridinger catalogue Darmstadt (1999) VI.25 with ills.; Siebert-Weitz, Ridinger – (Pictures on the Hunt in Hesse-Darmstadt) (1999), pp. 52 f. with illustration.

Not among the extensive Ridinger inventories of Weigel, Art Stock Catalog I-XXVIII (1838/56), Coppenrath (1889/90), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) + Schwerdt (1928/35) as well as the opulent Ridinger collection Count Faber-Castell (1958) and the hippological collections Anderhub (1963) + Sarasin (1999). Just as then through the decades also here present for the first time.

The  equestrian  desideratum  – if  then  known  at  all –

hurting  in  many  places

on heavy laid paper with surrounding margin mostly 8 mm wide, here from the now dissolved rich Ridinger collection of Radulf Count of Castell-Rüdenhausen from whose hand the pencil annotation “Th.St, 1378. Very rare” in the white margin lower right presumably originates. – See the complete description.

Offer no. 14,850 / EUR  945. / export price EUR  898. (c. US$ 1086.) + shipping

  1. “famous work which the merited naturalist Jacob Theodor Klein in Danzig published 1751 under the title: Quadrupedum Dispositio brevisque Historia Naturalis. Enlarged and revised, he had translated it into the German himself and his friend Gottfried Reyger published it 1760 under the title: J. Th. Klein’s Natural Order and Augmented History of the Quadruped Animals. Ridinger was in close communication with Klein, was supported by him in many ways in this (Animal Kingdom) undertaking and followed Klein’s system” (Th., p. 200)

“ At this time we are on our boat … I hope you extend the same faith in me as I have in you in paying for this sizable sum in advance (sight unseen) in the expectation of delivery … Best regards ”

(Mr. P. C., July 22, 2002)