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TYROL

The Landscape Experience Tyrol
in Earliest Representations of Pure Mountainscapes

Home , too , of Ibex & Chamois

Roelant Savery, Mountainscape

After the “Discoverer” of the Alpine Waterfall for Art

“ The Landscape Experience Tyrol ”

Savery, Roelant (Kortrijk 1576 – Utrecht 1639). The great mountainscape sloping to wide navigable distant valley. With the wood-lined mountain torrent falling in cascades into the depth “past a steel works and a hammer mill driven by one (recte two) waterwheel at a copper or iron forge. The landscape reminds of parts west of Salzburg in the Pinzgau and in the region of Viehhofen. The rock parts resemble those of the lower Krimmler Falls” (Kurt J. Müllenmeister). As little secondary scene far lower left St. Jerome with the lion in his grotto reading a book as anticipation of future works. Lined by places, on the river course boats & multi-masted sailing ships. Etching/engraving by Isaac Major/Mayor (Frankfort on the Main 1588 – Vienna after 1642). Inscribed within the picture on a stone far left below the lion: Roeland Savery Pinxit / Isaac Maior sculpsit / Viennæ Austr. 1622. Sheet size 20⅞ × 27¾ in (53 × 70.4 cm).

Joaneath Spicer, Roelandt Savery and the ‘Discovery’ of the Alpine Waterfall in Rudolf II and Prague, The Court and the City, 1997, pp. 146-156; Thieme-Becker, Major, XXIII (1929), 580 (main sheet); Weigel, Art Catalog/Major, I (1838), 451 ( “The great royal landscape with St. Jerome … Old impression. Oblong imp. fol.” ); Nagler, Major, VIII (1839), 201, 1 ( “… the artist’s main sheet; 1622 executed with extraordinary diligence … There are old [as present one] and new [partially quite conspicuously feeble] impressions from the plate … J. Wagner has copied this sheet in reverse.” ); Nagler, Savery, XV (1845), 48 ( “Quite a number of paintings by this master are also known in print, and among these we mention above all the great alpine landscape on the left with painterly formed rocks, cascades, ironworks, and far valley distance, and in front St. Jerome, engraved by Isaac Major, Viennae 1622.

This is a precious main sheet of the elder manner …” );

Wurzbach, Savery, II (1911), 563, 2 ( “Alpine landscape with ironworks …” ). – Worked in reverse, the

contemporary , particularly competent rendering

in the original size

of Savery’s painting in Petersburg (Hermitage, inv. no. 5584; Müllenmeister [1988] 241; copper, 21¼ × 28⅜ in [54 × 72 cm]) from 1606 and therewith from the first years of working in oil, engraved by Major, as pupil of Savery’s at Prague particularly familiar with the œuvre, whose painted work soon fell short of the engraver’s, in which profession he perfected himself with no less a figure than the imperial court engraver Egidius Sadeler II (Antwerp 1570 – Prague 1629; “The most important member of the [Sadeler] family. Also painter … One of the best engravers of the day”, Th.-B.) working there and in whose house he lived for a long time.

Savery himself was as Imperial Chamber painter from 1604 to 1612 in the employ of the outstandingly artistic Rudolf II.

“ When Savery came to Prague in 1604, he was in for the most imaginative and fruitful part of his development … By order of Rudolf II

Roelant travelled Tyrol between 1606 and 1608 .

This journey left lasting impressions in his drawn and painted œuvre and influenced the artist decisively. In numerous imaginative landscapes, partly with exceedingly bizarre, yet at the same time

near-natural views of Tyrol

and with experiences from life Savery has slipped in this journey into his art … Its closeness to nature is unsurpassed … For Savery the years in Prague … mean a period of independent activity, travels and full development to one of the most important artists of his day ”

(Kurt J. Müllenmeister in the exhibition catalog Roelant Savery in seiner Zeit, Cologne/Utrecht 1985/86, pp. 32 ff.).

Just from this period present mountainscape origins , standing for

“ the landscape experience Tyrol ” ,

for the “wild , original power” of those early years.

Toned, in all nuances most excellent print quality and in regard of preservation present generally adequately very fine, too, as anything but natural with these oversizes. To be mentioned expressly the trimming to the edge of the subject and the smoothed horizontal and vertical folds, the former not perceptible from front, the latter but a little and only this in backlight here and there also a little thin up to three (most) minimal tiny holes and in such a manner precautionarily as a whole reinforced with acid-free tape (Filmoplast). Likewise done quite as isolated as tiny margin tears. The upper edge of the back with three paper leftovers of 1⅛-1⅝ × ¾-1⅛ in (3-4 × 2-3 cm) from former mounting in points on carton. In such a manner, however,

grandiose through and through . And fascinatingly imperial .

Offer no. 16,083 / price on application

“ Earliest Representations
of Pure Mountainscapes from the Tyrol ”

Ehrenberg (Ernberg) / Lech – Beaumont, Jean François Sir Albanis de (Chambéry 1755 – 1812). The Barriere at the Castle of Ehremberg. Alps massif centred on Ehrenberg Castle. On the right the High Castle, on the left at the foot of the Falkenberg across the pass isolated farms and right in front a peasant driving a cart-load home. Colored aquatint by Cornelis Apostool (1762 Amsterdam 1844). 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 12½ × 15⅝ in (31.6 × 44.7 cm).

Jean François Albanis de Beaumont, Ehrenberg Defile

Especially  fine  Tyrolese  mountainscape  in  the  splendid  original  coloring

of the former Ehrenberg Castle – then strongest fortifications of the Ausserfern, consisting of Ehrenberg Defile, fortress, High Castle, and Fort Claudia – at the River Lech on the road from Fussen to the Upper Inn Valley, the old Via Claudia Augusta and salt road, on the northern border of Tyrol. – Wide-margined impression of the 1st edition on buff Whatman paper.

Sir Albanis distinguishes himself as draughtsman, engraver in aquatint, and landscapist as well as architect. Hailing from the Piedmont he was naturalized in England. Egg says about him:

“ Publishes a large number of views from Italy and the Alps between 1787 and 1806 which he partly engraves himself in aquatint manner and partly lets be engraved by Cornelis Apostool. His engravings belong to the

earliest  representations  of  pure  mountainscapes  from  the  Tyrol … ”

Apostool, painter, draughtsman and engraver, but, like Goethe, rather to be reckoned among the so-called amateur artists, received his education at the Amsterdam Drawing Academy (1784-1786) by the landscapist Hendrik Meijer, whom subsequently he accompanied to England, where he lived many years in London. His c. 80

fine  landscape  aquatints  esteemed  by  the  connoisseurs ,

frequently after Netherlandish masters and the Alpine travel sketches of Sir Albanis de Beaumont, were published in several sets between 1790 and 1795. They are the result of that period artistically so extraordinarily fertilizing to him. In later years he worked for diversion only anymore.

Simultaneously, as also still later, he worked for the Netherlandish government, on behalf of which he travelled to New York, France and repeatedly back to England.

1807 finally back in Amsterdam he became first director of the Royal Museum there the following year and member of the Royal Institute for Sciences, Literature, and Fine Arts. 1816 Knight of the Order of the Netherlandish Lion.

Offer no. 15,244 / EUR  890. / export price EUR  846. (c. US$ 1023.) + shipping

Jean François Albanis de Beaumont, Ehrenberg Defile

– – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 12⅜ × 17⅝ in (31.5 × 44.8 cm). – Wide-margined impression from the 1st edition on buff Whatman paper. – See the complete description.

Offer no. 15,245 / EUR  670. / export price EUR  637. (c. US$ 770.) + shipping

Further painterly Tyrol views by Albanis de Beaumont below

From the Highest Peak
right into the Œuvre of the Tiepolos

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Ibex they have only 1. occasionally 2. young ones, reach their complete size only in the 4th or 5th Year and grow very old. Two bucks & 1 goat on the highest rocky ledge. Etching and engraving. (1736.) Inscribed: Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger inv. delin. sculps. et excud. Aug. Vindel., otherwise as above in German, French, Latin, & below. 13⅝ × 16¾ in (34.7 × 42.4 cm).

Johann Elias Ridinger, Ibex

Thienemann + Schwarz 234. – Sheet 39 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. – Watermark Great Fleur-de-lis. – Margins laterally 3.7-4.1, above & below 2.2-3.3 cm wide. – On the left in the rocks unobtrusive small wormhole, in the right margin of the subject faint pressure trace. Above tear still extending to the wide platemark and another smaller one in the wide white margin below, both backed acid-freely. – On the back scribbles by a collector’s grandson.

THE  SOVEREIGN  SUJET

as  state  before  the  numbering  as  unknown  to  literature .

of  marvelous  quality & therefore  rarity .

“ … I consider , by what means , by his horns’ strength and splendor , The Creator has made these cliff=citizens , so secure against danger As he not only hangs himself onto them , no , if he falls anywhere , As he throws it before protects his head , that he is not smashed to pieces . His daring eye and firm thigh do not shy of any chasms … who is it then , who has not to admire the wise might of God … ”

And not least and by chance already in 1901 Ernst Welisch qualified Ridinger as the indisputably “most important Augsburg landscapist of this time”.

Both the two ibexes including the upper part of the rocky ledge Giovanni Domenico Tiepolo (1727-1804) copied virtually perfectly i. a. in the signed washed chalk/pen and ink drawing Mountain Goats and a Young Traveller resting (Christie’s 2820 [2014, New York], 23, with present etching as comparative ill.), with the second buck, seen from behind, now walking down a path below the ledge, and embedded the whole into a genre scene with further goats and traveler. The latter in turn a resort to his father’s painting The Death of Hyaczinth now in the Thyssen-Bornemisza Collection.

Having become acquainted with Ridinger and his work while working with his father, the phenomenal Giambattista (1696-1770), on the frescoes for the emperor’s hall and staircase of the Residenz at Würzburg, Ridinger animals first appear there and reappear in Domenico’s frescoes from the late 1750s through to the 1790s at the family’s country seat at Zianigo. – See the complete description.

Offer no. 15,491 / EUR  1300. / export price EUR  1235. (c. US$ 1493.) + shipping

– – – – The same as unused “ARTIST CARD” (postcard) in rotogravure by O. Felsing, court copperplate printing office, Charlottenburg (Berlin). Same place, National Publishing House Wilhelm Felsing, c. 1900-1918. 3½ × 5½ in (9 × 14 cm).

Offer no. 28,475 / EUR  29. (c. US$ 35.) + shipping

Earliest  Painterly  Tyrolese  Mountainscapes

—  continuation  —

Veronese Defile – Etsch – The Pass of Chiusa and distant Mountains near Belluno and Osseniego. From center to left the Etsch at the Bernese Defile (now Veronese Defile/Chiusa di Ceraino), on the right the pass road traversed by the fortifications of Fort Chiusa extending to some height. With figures by the pass and on the Etsch. Colored aquatint by Apostool as above. 1792. Inscribed: A. Beaumont del. / C. Apostool sculpt. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as above. 12⅜ × 17⅝ in (31.5 × 44.7 cm).

Jean François Albanis de Beaumont, Veronese Defile/Etsch

Fine  Tyrolese  mountainscape  in  the  splendid  original  coloring

and in the wide-margined impression of the 1st edition on buff Whatman paper. Isolated little foxspots. The colors of the part of the sky occasionally somewhat oxidized, but hardly disturbing. – See the complete description.

Offer no. 15,246 / EUR  870. / export price EUR  827. (c. US$ 1000.) + shipping

Jean François Albanis de Beaumont, Veronese Defile/Etsch

– – – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del. / C. Apostool sculpt. / Published as the Act directs Jany 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as before. 12⅜ × 17⅝ in (31.5 × 44.7 cm).

Fine  Tyrolese  mountainscape  in the wide-margined impression of the 1st edition on buff Whatman paper. – See the complete description.

Offer no. 15,247 / EUR  670. / export price EUR  637. (c. US$ 770.) + shipping

Hall, Solbad – Hanseven – The Verner Mountains, as seen from Inspruck. With Rumerjoch + Speckhorn as seen from Egerdach near Innsbruck. In centre in front Hall + Hanseven. On the left livestock and figures. Colored aquatint by Apostool as before. 1792. Inscribed: A. Beaumont delt. / C. Apostool sculp. / Published as the Act directs Jany. 1. 1792. by T. & G. Egerton. Whitehall, for the Author, title as above. 12⅜ × 17⅝ in (31.5 × 44.8 cm).

Jean François Albanis de Beaumont, Solbad Hall

Painterly  Tyrolese  mountainscape  in  the  splendid  original  coloring

and in the wide-margined impression of the 1st edition on buff Whatman paper. – Especially in the sky parts a bit foxing. The colors by the way a little oxidized here and there, but hardly disturbing. – See the complete description.

Offer no. 15,248 / EUR  790. / export price EUR  751. (c. US$ 908.) + shipping

– – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont delt. / C. Apostool sculp. / Published as the Act directs Jany. 1. 1792. by T. & G. Egerton. Whitehall, for the Author, title as before. 12⅜ × 17¾ in (31.5 × 45 cm).

Jean François Albanis de Beaumont, Solbad Hall

Painterly  mountainscape  in the wide-margined impression of the 1st edition on buff Whatman paper. – Quite slightly foxspotted, but only in the white margin a little bit eye-catching. – See the complete description.

Offer no. 15,249 / EUR  630. / export price EUR  599. (c. US$ 724.) + shipping

Route from Venice to Swabia

Chart of places connected with the Route from Venice to Fussen in Swabia. Map of the tour through the Rhaetian Alps Sir Albanis took in 1786. Engraving by C. Apostool (?). (1792.) 17⅞ × 12⅝ in (45.3 × 32 cm).

Offer no. 5,928 / EUR  81. (c. US$ 98.) + shipping

Landeck Castle in Tyrol. View over Inn + bridge. Among the figurines in the foreground hunter at a wayside cross. Steel engraving by Alexander Richard Marx (1815 Nuremberg – after 1852), Nuremberg. Ca. 1855. 6½ × 4¼ in (16.4 × 10.7 cm). – See the complete description.

Offer no. 6,976 / EUR  43. (c. US$ 52.) + shipping

Also ask for the
painterly-charming etched views by Innsbruck’s

Franz Edmund Weirotter

Innsbruck 1733 – Vienna 1771

Johann Elias Ridinger, Ibex

“ The  Ibex …
is  the  Strongest  Jumper ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Ibex. Majestically to the right. Colored etching with engraving. Inscribed: IBEX. / Stein-Bock. / Le Bouquetin. / Familia II. Zweÿhufig. / J. E. R. del. 12 × 8 in (30.4 × 20.3 cm).

Thienemann & Schwarz 999. – 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.

“ The Ibex in particular is the strongest jumper, who usually stays on the steepest elevations where humans cannot get so easily. He is very wild, his horns are also specially peculiar as he can use the same not only with benefit and advantage against the beasts of prey going after him, i. e. lynxes, wolves etc., but knows to protect himself by the same in a failed jump or fall into a deep valley and hold such ahead … ”

(Ridinger’s sons in the preamble to pt. I, p. 18, enclosed in copy).

Watermarked Strasbourg fleur-de-lis above arms + C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses

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

“as for this purpose it is the most decent and best”. – Margins on three sides 1.6-3 cm, below 5.4 cm wide. – Two tiny brown spots in the white plate field, one in the white far margin lower left.

Offer no. 15,896 / EUR  730. / export price EUR  694. (c. US$ 839.) + shipping

“ Where  Rocks  pile  onto  Rocks ”

With  “Very  Nice  Sheet”  far  to  little  said

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Chamois have 1. 2. rarely 3. Young Ones, the Little Male obtains his Strength like the Goat the other Year, live very long. Two groups of three & four + a single, “young and old, lying, standing, and proceeding”, in pictorially finest arrangement. Etching and engraving. (1736.) Inscribed: 25. / Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger invent. delin. Sculps. et excud. Aug. V., otherwise as above in German, French, Latin, & below. 13½ × 16¼ in (34.4 × 41.4 cm).

Johann Elias Ridinger, Chamois

Thienemann + Schwarz 220; Helbing XXXIV (1900), 457 (“Excellent old impression with full margin. Very nice sheet”). – Sheet 25 of the STUDY OF THE WILD ANIMALS as above.

“ Up to the highest of all mountains’ peaks you lead me , ........ Rid ........... , look and mind have to climb with you … Here , still higher as the clouds , a new world , full of new creatures , is presented to us by the chamois … Both your ........=pen lets us see , bare of vertigo , without dread , on a sheet of paper , full of pleasure and awe … to which then , by art , nature has guided your hand herself … are , in 1000. wonders , God’s wonders to be seen .”

An  in  every  aspect  wonderful  sheet

of  shining-marvelous  quality & therefore  rarity .

See the complete description.

Offer no. 15,490 / EUR  1480. / export price EUR  1406. (c. US$ 1700.) + shipping

The  Forester  from  the  Tyrolese  Lake  Inn

—  Lake  Wild-See  near  Seefeld ?  —

for  Helbing  1900  one  of  the  most  valuable  sheets  of  the  set

Ridinger, Martin Elias (1731 Augsburg 1780). In the Tÿrol at the Lake Inn (Lake Wild-See near Seefeld?) it happened as I as forest keeper there took a walk early in the morning that I encountered a so-called white-tailed eagle (Th.: cormorant) with its young ones of which in this moment a large bird of prey (Th.: white-tailed eagle) tried to take a young one, and really took away. The forest keeper with his dog on the right among trees and shrubs, the attack/defence over the water near the lakeside, at the distant shore a church. Etching with engraving after assumedly own design. Inscribed: XXXI. / M. E. Ridinger. sc: A. V., otherwise in German as before. 9¾ × 13⅛ in (24.6 × 33.3 cm).

Thienemann + Schwarz 374; Reich auf Biehla Collection 116 ( “Extremely rare”, 1894! ); Helbing XXXIV, Arbeiten von J. E. und M. E. Ridinger, 890: “Very rare” (1900!).

Sheet XXXI of the 46-sheet set To the Special Events and Incidents at the Hunt ( “The rarest set of Ridinger’s sporting line engravings”, Schwerdt 1928; the

Tyrolese  Lake  Inn  scenery

Martin Elias Ridinger, Tirolese Lake Inn (Lake Wild-See near Seefeld?)

here then already missing, too, in Coppenrath’s 33-sheet stock in 1889/90

and marked by Helbing within the 43 available to him

with  50  Goldmark  and  thus  a  great  margin  to  the  gross  of  the  other  42 ) ,

etched exclusively by Martin Elias after predominantly his father’s design designs and concluded posthumously in 1779.

Johann Elias’ hand as draughtsman in this case not supported by his inscription, yet, though regarded by Thienemann as rough,

thematically  very  fine  and  in  regard  of  the  place  very  rare .

Compiling recourses of Martin Elias appear possible with one or another sheet of this set.

Wide-margined impression originating from the omnibus volume of the old estate of a nobleman on firm laid paper as Ridinger’s preferred quality

with  the  Roman  number

(“If they are missing, so this indicates later impressions”, Th.). – Margins above & below 2.5-5.8 cm, laterally 6.6-6.7 cm wide. In the white left far margin utterly unessential partial faint little foxing spots in the margins. There also still both the two pinholes from the original stitching in numbers.

The set itself “arranged almost throughout so that always two by two harmonize with each other and form pendants, just as they have been sold in pairs, too” (Th.). Here thus with the attack of a white-tailed eagle on a wild (whooper?) swan in the Lake Ammergau in Bavaria.

Offer no. 15,720 / EUR  1100. / export price EUR  1045. (c. US$ 1263.) + shipping

– – – The same in warm-toned impression of the first edition as before, but with laterally 5.5, otherwise 2.3-3 cm somewhat less wide-margined. – The slight browning on the back shining through only minimally in the wide margins.

Offer no. 14,652 / EUR  946. / export price EUR  899. (c. US$ 1087.) + shipping

“ An  own  Species  which  lives  in  the  Alps ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). White Hare. Coming from undergrowth, scenting to the left. Colored etching/engraving, supposedly by Martin Elias Ridinger (1731 Augsburg 1780). Inscribed: LEPVS albus. / Weißer Hase. / Lievre blanc. / Familia III. Vierzähige. / Riding. fec. 12 × 8⅛ in (30.6 × 20.7 cm).

Thienemann & Schwarz 1044. – 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. – Thienemann:

Ridinger, White Hare

“ White it is in the winter coat, otherwise it resembles the common one, and represents an own species

which  lives  in  the  Alps .”

The  fine  sujet  in  its  vibrant  colorfulness

with watermark C & I Honig, similar to Heawood 3346 & 3348, 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”.

The attribution of the transfer into copper to presumably Johann Elias’ eldest on the basis of the sole inscription “Riding. fec.” with at the same time rarer omission of the “er”, as with the plate of the rabbits, Th. 1046, too. The Brown Hare as well as the Cornuted Hare (Th. 1043 and 1045 resp.) each with written-out Ridinger. – Margins on three sides 2-3 cm, below 4.9 cm wide.

Offer no. 15,905 / EUR  470. / export price EUR  447. (c. US$ 540.) + shipping

Lying  at  the  Eisack — Shipped  to  Innsbruck

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). On August 20, 1653 this stag with this wondrous unknown antler (periwig antlers) has been … hunted by Ferdinand Carl Arch Duke of Austria … in valley and mountains at Mittenwald (recte Mittewald) between Brixen and Sterrin in the Aimer … and delivered to Innsbruck. Lying to the left on the banks of River Eisack (?). Etching and engraving. (1766-67.) Inscribed: Joh. El. Ridinger inv. sculps. et. exc. Aug. Vind., otherwise in German as before. 12½ × 8⅜ in (31.7 × 21.2 cm).

Johann Elias Ridinger, Stag at the Eisack, Tyrol

Thienemann + Schwarz 329. – Typographic + figurative (fleur-de-lis?) watermark. – Sheet 87 of the only posthumously concluded set of the Most Wondrous Deer. – Wide-margined impression of rich contrast.

Offer no. 13,223 / EUR  603. / export price EUR  573. (c. US$ 693.) + shipping

– – – The same as toned lithograph by Hermann Menzler printed by A. Renaud for L. J. Heymann in Berlin. (1863-65.) Inscribed: Gez. v. J. E. Ridinger, lith. v. H. Menzler, otherwise in German as before. 13½ × 8⅞ in (34.2 × 22.5 cm).

Johann Elias Ridinger, Stag at the Eisack, Tyrol

Joh. El. Ridinger’s Hunting Album III/3. – From the “Collection of Rare Deer Antlers Abnormities and Deer Pictures” listed as 3rd part. – The whole rare set almost unknown to literature and comprising 80 leaves, though practically to be completed just peu à peu. In the pictorial effect corresponding to that of the aquatint technique not used by Ridinger anymore and decidedly an enrichment for the collection. – On buff wide-margined paper. – See the complete description.

Offer no. 12,403 / EUR  322. / export price EUR  306. (c. US$ 370.) + shipping

Martin Elias Ridinger, Ditto loaded Mule

“ Very useful for the
Mountains and Narrow Passes ”

Ridinger, Martin Elias (1731 Augsburg 1780). Ditto loaded Mule. On precipitous path to the left, whining. Richly decorated with bells and colorful pompons and fringes and loaded with two baskets with one lamb each. On top cage with drake and pheasant (?). Instructive, too, the clearly recognizable shoeing (see below). Colored etching/engraving. Inscribed: MULUS. / Detto beladen Maulthier. / Le Mulet chargé. / Familia I. Einhüfig. / Ridinger =. 12⅜ × 8¼ in (31.5 × 21 cm).

Thienemann & Schwarz 984. – 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 their colors they are very different … but those of dark color with light or reddish mouths (as here) are considered the best … For covering one chiefly has to make a good choice, for one has to take a good well-built, fine and large mare … Before three years they shall not be coerced for work, otherwise many are ruined in size and strength. In Italy, Spain and France they are found the most, for there they are

very useful for the mountains and narrow passes,

and … can carry great loads of three hundredweight … It is also the custom to adorn them very nicely … Their shoeing at the hooves have no less particular advantages as such rise above at the front, so that, if there are stones in their way or if they encounter steep paths, they get along the more secure ”

(Ridinger’s sons in the preamble to pt. I, pp. 11 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 1.9-2.6 cm, below 4.7 cm wide. – In the white left and lower paper margins isolated (quite) faint foxspots, the right lower corner slightly soiled. – Of shining-beautiful colorfulness.

Offer no. 16,137 / EUR  570. / export price EUR  542. (c. US$ 655.) + shipping


„ Als kleinen Dank für Ihre immer mit großer Freude und ebensolchem Interesse entgegengenommenen stets neuen Ridinger-Informationen anbei … “

(Herr T. L., 19. Dezember 2014)