Johann Elias Ridinger, Chasseur aux levrieres (Coursing a Hare

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 with engraving by Martin Elias Ridinger (1731 Augsburg 1780). C. 1764. Inscribed: L. / Joh. El. Ridinger inv. del. et exc. Aug. Vind. / Mart. El. Ridinger sculps., otherwise as above. 13¼ × 10⅛ in (33.8 × 25.6 cm).

Thienemann + Schwarz 124; Ortega y Gasset, Meditationen über die Jagd, 1981, full-size ills. (frontispiece); Niemeyer, Ridinger Erlebnisse 1698-2020, 2021, pp. 260 f. & 265 with 2 (1 full-size color) ills.; 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 Tasks. – “The personal hierarchy began with simple rifle cockers, court huntsmen, ‘still hunt-hands, wind hunters’ … ” (Wüst), the latters “those hunting with greyhounds” (Riesenthal).

Beside the Horses of the Nations the set was one of the two which, irrespective of all the isolation (1639-1854), got to Japan via Nagasaki hot of the press due to the only privileged Dutch. Eased not least by the 8th shogun Yoshimune as proven horse-lover buying foreign animals. So 2009/10 Yoriko Kobayashi-Sato, Mejiro University Tokyo, on occasion of her research about the cultural exchange between Japan and the West during the premodern period (Edo era, 1600-1867), including Ridinger’s influence on horse painters there by especially these two sets.

With FIAT watermark, related to the WANGEN paper favored by Ridinger. – Margins laterally 4, top & bottom 5.3-5.6 cm wide. – Lower edge and upper left on the back with old trace of glue.

The preparatory drawing in the same direction from a Westphalian Ridinger collection distinguished by unique drawings & states traded here in the 1970s. – Reverse etching on glass of the same size about 1800 in reverse in gold & silver-leaf backed by a layer of black pigment by Jonas Zeuner (Cassel 1727 – Amsterdam 1814), see above. And Michael Victor Acier (Versailles 1736 – Dresden 1795) probably used the scenery about 1766 for a Meissen plate, replacing the hare by a stag and leaving out the back one of the two hounds.

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”.

Offer no. 15,435 | price on application

1959 · decades-long ridinger expertise · 2022