The  Hunt’s  Fine  Close

Georg Philipp Rugendas II, Hunting Luck

A  Unicum  from  Famous  Stable

Rugendas, Georg Philipp II (1701 Augsburg 1774). Hunting Luck. Young hunter with his two hounds, propped over boar + hare laid down at the foot of a tree growing from a boulder. Sketched hilly landscape background with further tree. Pen + brush drawing in brown-black and grey resp. over occasional pencil, grey wash. Inscribed with the pen lower left below the fine border, both in brown ink: G. P. Rug. Junior. invenit A1736. 9⅞ × 7⅜ in (252 × 188 mm).

On strong Jean Villedary laid paper (“IV ILLEDARY”), the paper mill prospering for 150 years in Angoulême (acc. to Churchill, 1935, p. 21 from 1668 to 1758) and then in resumption or as a branch at Hattem/Netherlands, “sometimes in conjunction with the names of Dutch paper-makers” (Emma Ruffle) where his IV/I V for instance appears as countermark to the ones of C & I HONIG (about 1724/26-1902), but generally also abused as pirated mark like others standing for first qualities, too. In Augsburg “IV” papers were estimated by both Rugendas – as then just here, too – and Ridinger. – Under acid-free passepartout with 23.5-carat gilt stamped artist’s name and dates.

The in every detail typical signature probably somewhat paled, on the back below not shining through into the subject the diagonally set S-sequence of a child’s printing set with touch of an attempt of cure, otherwise perfectly fresh and mounted at the edges onto a cutout.

Motif-beautiful  work

Georg Philipp II Rugendas, Hunting Luck

determined  by  the  softness

of  its  brush  technique ,

so Gode Krämer in the 1998 Augsburg Rugendas catalog (p. 45/II) on occasion of other works of the younger Georg Philipp, sensitively executed and with dainty wash, as representing the best of his drawings. “His strength lies in the careful, pictorial execution” (Krämer, op. cit., 46/I). Usually he worked after his father’s designs and those of third parties, especially also after Johann Heinrich Roos.

Present work seems to be based on an idea of his father’s. So by the Brazilian Johann Moriz Rugendas (1802-1858) as the last one of the painter dynasty there exists a youthful detail lithograph “Killed Game” (cat. Augsburg 259 with ills.) with the source inscription “G. P. Rugendas 1709”. Its upper half shows a roe lying diagonally across a boar, both laid against the trunk of a tree, at what the present composition with boar/hare reminds. That model drawing, however, is “neither signed nor dated, so that the inscription of the lithograph must be based on family tradition”.

Present left-sided boulder-tree accessories in their turn refer to the left-sided part of the 1724 drawing in his own hand of a stag hunt executed in the same technique (no. 159 of the catalog with ills.). In the printed œuvre we encounter it on the right side in the mezzotint Teuscher 362 with the bull held down by two hounds of the 4-sheet set “Hunt and Killed Game”, likewise with hilly light background, while for the two boar hounds the one of T. 472 of a 4-sheet set of hounds could be referred to. As a whole though neither thought stag hunt nor present drawing find any correspondence in the own engraved work nor in that of the family.

They  are  works  sui  generis ,

the former annotated by Gode Krämer as “one of the freest and easiest drawings” of the younger Georg Philipp. And present one already excels just thematically. Motifs with the hunter and his hunting luck are generally rare. Here then as the sole content of the subject. From famous stable.

Without glass + frame

Offer no. 15,182 / price on application

“ Just received the James Figg item safely today. I have a couple questions. Art in general is new to me so I‘m asking you to educate me on this item … First of all I‘m happy with the item, just trying to understand it better … Thanks again ”

(Mr. A. C., March 27, 2008)