When the Stocks Tumble :
BEARS — THE SYMPATHETIC SPECIES
Widely of high intellectual talents
and straightlined vigorous-risking
( Meyers Konversations-Lexikon, 4th edition )
The Bears Fighting the Bulls
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). An American Bison as he fights off the attacking Bears. In light grotto with fine vista of a vastness interrupted by two rock formations, one against three, of which two of the latter are quite knock-out already. Etching & engraving by Martin Elias Ridinger (1731 Augsburg 1780). Inscribed: XVIII. / Ioh. Elias Ridinger inv. et del. / M. E. Ridinger sc. A. V., otherwise in German as above. 10¼ × 14⅛ in (26 × 35.9 cm).
Thienemann + Schwarz 361. – Plate XVIII of the instructive work To the Special Events and Incidents at the Hunt published for subscription and concluded 1779 (“The rarest set of Ridinger’s sporting line engravings”, Schwerdt 1928) and etched in copper exclusively by Johann Elias’ eldest, Martin Elias, after predominantly his father’s designs.
The vibrant scenery from the New World
in the impeccable copy of those of von Behr of the House of Stellichte purchased presumably immediately from the Ridingers between 1768 and before 1779
with the Roman numbering
( “ If they are missing, so this indicates later impressions ”, Th.). – Margins on three sides 2.5-5 cm, above but 5 mm wide.
Offer no. 14,474 / sold
– – – A new copy in with 14¼ × 21¼ in (36.3 × 54 cm) sheet size extremely wide-margined impression on laid paper uncut on three sides with typographic watermark and likewise with the Roman numbering.
Offer no. 16,103 / EUR 1176. / export price EUR 1117. (c. US$ 1351.) + shipping
Exciting Large Leaf of a Bear-Baiting
of the Ridinger Time
Oudry, Jean Baptiste (Paris 1686 – Beauvais 1755) – Period – Bear-Baiting. Bear fighting with five hounds the one of them he has finished while another is clutched by him. Three further are coming along. Pen and brush in shaded black brown washed and heightened with a little white. 13⅝ × 21⅞ in (347 × 557 mm).
On thin greyish blue laid paper old mounted on laid paper and inscribed by unknown hand as Jean Baptist Oudry. Of three longitudinal folds including already the mounting paper only the middle one as centerfold sharper. Rubbing marks, some small loss of paper in the outermost margins of both sides and below left.
Outstanding work of great compactness reaching its enormous suspense by renunciation of as good as every trimming as known already by works of the old Dutch master. Compare, e.g., Peter Bol’s etched mainwork of a boar hunt Andresen I, 143. Contrasting to this the soft character as typical for Oudry in many cases. Here supported by the paper.
Offer no. 13,021 / price on application
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Great Black Bear. Tamed, with nose ring and head strap in slightly bent position to the right before a boulder on a sloping ledge. Colored etching with engraving. Inscribed: VRSVS, MAXIMVS NIGER. / Der große Schwarze Bär. / L’ours grand et noir. / Familia IV. Fünffzähige. / J. El. Ridinger fec. et excud. A.V. 12 × 8¼ in (30.5 × 20.8 cm).
Thienemann & Schwarz 1079. – 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.
With watermark C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses
“on account of the fine illumination” for the colored works
“as for this purpose it is the most decent and best”. – Margins on three sides 1.4-3.2 cm, below 5.4 cm wide. – Faint tidemark in the lower white plate/paper field and two faint (little) brown spots in the white plate field right.
Offer no. 15,928 / EUR 590. / export price EUR 561. (c. US$ 679.) + shipping
“ A Peerless Group of Bears ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Bears have Two, rarely 3 Cubs; reach their Size in the 5th Year; live more than 20 Years. 7-headed extended family “on and under or beside rocks” in full action with both the two mothers, supported by their each two cubs, squabbling with each other, while the master of the grotto is not concerned by all that. Etching and engraving. (1736.) Inscribed: 31. / Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger invent. delin. sculps. et excud. Aug. Vind., otherwise as above in German, French, Latin, & below. 13⅝ × 16⅞ in (34.6 × 42.8 cm).
Thienemann + Schwarz 226. – Sheet 31 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 3.7-4.9, above 3.2 cm wide. – The utterly smoothed centerfold reinforced on the back. Small margin tear and minimal tear off backed acid-freely.
The quite singularly charming sujet
of shining-marvelous quality & therewith raised rarity .
See the complete description.
Offer no. 15,426 / EUR 1250. / export price EUR 1188. (c. US$ 1437.) + shipping
Unique Drawing of highest Quality :
The Bees feel Bothered –
The Bear takes no Pleasure in it
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Spring-Gun on a Bear. The bear, stretched up high, reaching in strained expectation for the honey-pot buzzed about by innumerable bees and licking the golden juice running freely, in the moment of the shots coming off from two sides. Joined by two ropes the bait is mounted to the cross-beam of a trestle resting on strong palisades. Washed brush drawing and pen and brown ink over somewhat graphite. 8⅜ × 13⅝ in (213 × 346 mm).
Drawing in the same direction, thus before its side-inverted version for the transfer on the plate, as preparatory for print 8, Th. + Schwarz 76, of the 28-sheet set “Ways to trap the Wild Animals” published 1750 (“beautiful and strange sheets of a highly interesting work”, Nagler). In Thienemann only a larger variant and two other preparatory drawings to this set (p. 274c) from the famous Ridinger collection of Mr. Weigel at Leipsic. Known furthermore seven others of the same provenance (a Westphalian Ridinger collection, amongst further drawings and sketches also graphical proofs) as the one offered here, of which two by two were supplied here, too, to an internationally magnificent private collection and to a most important Rhenish Ridinger collection resp., while another – the lynx of Thienemann + Schwarz 82 – is still available here.
On thin hand-made paper with typographic watermark. – On the back marginal marks of former mounting in points. Right top corner with a minimal repaired defect, hardly visible only. One 2 cm marginal tear repaired. Apart from that in perfect condition. – Quite wonderful item as one of the small group of quite especially pictorial drawings amidst the previous fullness dominated by its fascinating wash with its richness of light contrast. – See the complete description.
Offer no. 14,973 / price on application
Bear Hunting in Lapland. One of the three hunters, additionally with a fox on the back, loads one of the two hunted bears on a reindeer. In the middle distance a reindeer sledge, behind it further hunters. Glazed coloured wood engraving. 1853. 7⅞ × 6⅛ in (20 × 15.5 cm). – See the complete description.
Offer no. 12,213 / EUR 86. (c. US$ 104.) + shipping
Snyders, Frans (1579 Antwerp 1657). (The Bear-Baiting.) The mighty bear resisiting the pack. Steel engraving by Thomas Heawood (fl. about 1850 – d. Leipsic before 1911). C. 1860. 5⅞ × 6½ in (14.8 × 16.6 cm).
Offer no. 4,913 / EUR 50. (c. US$ 60.) + shipping
Howitt, Samuel (1756 – Somers Town 1822). The Bear Trap. The bear in the pit. Aquatint together with Matthew Dubourg (fl. London 1808-38) in the original coloring. London, Edward Orme, 1813. 7 × 8⅝ in (17.8 × 21.8 cm).
From Foreign Field Sports. – Schwerdt I (1928), 177 ff.: “The coloured plates … especially those drawn by Howitt, are fine, both as regards draughtsmanship and colouring … (The book) is sure to increase in value …”. – Two sides of the wide white margin somewhat foxed. One spot also in the clean top margin. – See the complete description.
Offer no. 11,761 / EUR 101. (c. US$ 122.) + shipping
– – Seamen killing a Polar Bear. There is no chance for the bear against the seemen armed with boat-hooks and guns even when one of the two hounds will not survive the embrace. Aquatint together in the original coloring as above. – See the complete description.
Offer no. 11,770 / EUR 117. (c. US$ 142.) + shipping
– – A Trap to Shoot the Bear. The bear in the spring-gun, stretched up high, reaching in strained expectation for the honey-pot, licking the freely running golden juice, and by this triggering the two shots. Aquatint in the original coloring as above. – See the complete description.
Offer no. 11,776 / EUR 107. (c. US$ 129.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Bear looking for Honey. Colored etching & engraving. (1738.) Inscribed: J. E. Ridinger inv. fec. et exc. Aug. Vind. / N. 39., otherwise in German as above. 7⅜ × 5⅞ in (18.7 × 14.9 cm).
Thienemann & Schwarz 429. – Plate 39 (in later edition 70) of the instructive set Design of Several Animals ( “These plates are much wanted and frequently copied”, Th. 1856). – Impression of the 1st edition on fine laid paper. – Colored by later hand in attractive fitting palette as quite unusual for original impressions.
“ He sits over a hollow trunk in which a swarm of bees resides and tries to get rid of the bees (buzzing all around) stinging him in the face. ”
Offer no. 15,734 / EUR 240. (c. US$ 290.) + shipping
– – – The same uncolored. – Wide-margined wonderful impression of the 1st edition.
Offer no. 7,297 / EUR 217. (c. US$ 263.) + shipping
– – – Posture of a Bear marching down a Hill. Colored etching as above. Inscribed: J. E. R. fec / N. 40. – Thienemann & Schwarz 430; Ridinger catalog Darmstadt, 1999, III.I with ill. – Plate 40 (in later edition 69) of the set. – Small brown spot on the right below the “fec.”.
Having a bad face, “He has taken the head between the fore paws and is about … to roll himself downwards.” – See the complete description.
Offer no. 15,735 / EUR 220. (c. US$ 266.) + shipping
– – – The same uncolored. – Wide-margined wonderful impression of the 1st edition.
Offer no. 7,298 / EUR 217. (c. US$ 263.) + shipping
– – – The Bear in the Den sucking at the Paws. Lying in the den between rocks. Colored etching as above. Inscribed: J. E. R. fec. / N. 41. – Thienemann & Schwarz 431. – Plate 41 (in later edition 72) of the set. – Minimal paper scrape off just between subject and inscription. – See the complete description.
Offer no. 15,736 / EUR 230. (c. US$ 278.) + shipping
– – – The same uncolored. – Wide-margined wonderful impression of the 1st edition. – The title partly a little weak.
Offer no. 7,299 / EUR 202. (c. US$ 244.) + shipping
– – – (The Bear frightened.) Before his den confronted with a snake dating its tongue. Etching + engraving as above. Inscribed in the plate: J. E. R. fec. / N. 42., otherwise in German as before. – Thienemann + Schwarz 432. – Plate 42 of the set. – See the complete description.
Offer no. 7,300 / EUR 217. (c. US$ 263.) + shipping
– – – (A Bear consuming his Prey.) In the forest under a strong trunk over a roe. Etching + engraving as above. Inscribed in the plate: J. E. R. fec. / N. 44., otherwise in German as before. – Thienemann + Schwarz 434. – Plate 44 of the set. – See the complete description.
Offer no. 7,302 / EUR 228. (c. US$ 276.) + shipping
Thoman(n) von Hagelstein, Tobias Heinrich (1700 Augsburg 1764). Assault by a Lion on a Fallow-deer pursued by a Bear. Sliding down a rock the lion has grasped the deer while the bear appears above behind a fallen tree. Lower right a fox before a hole as surprised as not unwilling to take his part of the prey of the great game. Especially in view of the anticipated quarrel between them. Mezzotint in brown. Inscribed in the plate: T. Heinr. Thoman del. fec. et excud. A. V. 19 × 14½ in (48.2 × 36.7 cm).
Schwerdt III, 172 ( “interesting” ). – Compare with ADB XXXVIII, 65 f. – Plate 1 of a four-plate suite of not numbered fights of beasts, possibly before the Hertel address as in Schwerdt, too, after Thieme-Becker mention “some sets of Animal Fights and Huntings published by J. Gg. Hertel (4 sheet …)”. – Watermark (figurative/typographic?). – Latin-German two-liner:
Here lies the fallow-deer the bear just got
the lion deprives him the prey and lets the bear growl.
With surrounding paper margins of 2-2.5 cm. – Smoothed centerfold. – Two small shaves retouched. – Backside evenly slightly browned, namely the white margins just lightly foxing. Otherwise
wonderful warm-toned imprint
as reserved to only the first 50-60 from the delicate mezzotint plate. – See the complete description.
Offer no. 28,139 / EUR 885. / export price EUR 841. (c. US$ 1017.) + shipping
“ The Lioness with her Cubs
attacked by a Bear ”
as plate 2
of the 8-sheet set Ridinger held back for decades
Fights of Killing Animals or The Big Five. Set of 8 sheet (c. 15 × 11⅝ in [38 × 29.5 cm]). Etched/engraved by Johann Elias himself (the first four after drawings from the thirties (Rolf Biedermann in the Augsburg catalogue 1967) to which his equal friend Brockes, 1680-1747, in Hamburg contributed quite remarkable verses) + by Martin Elias (the second part after drawings of his father made in the year of publication only; the verses in Brockes’ spirit). (1760.) Large fol. Boards brown-stamped on front cover in slipcase.
Thienemann ( “Rare”, 1856! ) + Schwarz 716-723; Cat. Weigel 16,545 (“Old impressions now to be found only rarely”, 1847!) + XXVIII, 40A (of C); (Ridinger) Cat. Helbing XXXIV, 1259 (“Very rare set”, 1900, but Th. 717 in a later impression only); Cat. Augsburg 1967 (three sheet only); Cat. Darmstadt IV.1-IV.7 (without plate 8), all illustrated.
Very fine early impressions preserved as part of a contemporary album separated now. – Wide margins above and below, at the sides differently less. Most of the margins, partly also in places only, for the most part only a little foxed. Two small tears in the lower margin repaired acid-freely.
The Horse and the Lion / The Aurochs and the Tiger (recte panther) / Lioness with Cub by a Rock attacked by an “Enormously Large Bear” / The Furious Leopard (recte tiger) lacerating an Ass / The “Pardel” (Th.: maybe the Cougar, felis concolor. Linn., or the American lion) over a Camel / The Elephant and the Rhinoceros / The Wild Buffalo and the Crocodile / The Hippopotamus and the Lion.
Beyond the ostensible theme the first part of the set includes, ingeniously packed up, a politically quite spectacular message in the sense of “The Statue of Liberty Enlightening the World” as quite surely deliberately ignored by Thienemann and now disclosed here for the first time. See to this the enlarged and revised internet version of
See the complete description.
Offer no. 15,449 / price on application
Fyt, Jan (1611 Antwerp 1661). (The Bear-Baiting.) The bear by the opening of a den hard-pressed by many hounds, but still with good chance to survive if no hunters will come along. On the right prospects over a wide river valley. Chalk lithograph by Johann Woelfle (Endersbach, Wurttemberg, 1807 – Faurndau/Göppingen 1893) for Piloty & Loehle in Munich printed with beige tone plate. (1837/51.) 10¼ × 13⅛ in (26 × 33.2 cm).
Nagler, Woelfle, 51. – Compare with Nagler XI, 312 ff. (Piloty) + IV, 539 f. (Fyt). – Not in Schwerdt. – On mounted China. – Quite faint little fox-spots on the right of the lower margin, a marginal tear acid-freely repaired, otherwise impeccable. – Published within (The Most Excellent Paintings from the Royal Galleries at Munich and Schleißheim) edited by Piloty since 1834 + 1837 together with Loehle resp. Among that Woelfle’s main sheets:
“ Especially fine are the impressions on China paper … Already in lifetime of Piloty Woelfle was one of the most outstanding workers and still present there are only a few coming up to him except Hanfstängel ”
(Nagler 1852). – See the complete description.
Offer no. 28,066 / EUR 302. / export price EUR 287. (c. US$ 347.) + shipping
“ Trace of the Bear –
Hind Paw – Fore Paw ”
below large pictorial scenery with legend a-e
as plate 3 of the 23-plates Ridinger set of
“Illustration of the Game” of 1740
“ Sous Charlemagne ”
i. a. with a splendid hunting pageant with falconers ,
the large pack of hounds ,
bears , lions and cats , partly tamed
within the 12-sheet set
Aubry, Charles (France 1st h. of the 19th cent.). Chasses Anciennes d’après les Manuscrits des XIV & XVe Siècles. Set of 12 lithographs (13¾-16⅜ × 10⅝-11⅜ in [35-41.5 × 27-29 cm]). Paris, Ch. Motte, 1837. Large folio. Loosely in orig. laid watermarked wrapper with illustrated lith. front cover in colour. Uncut.
Schwerdt I, 47; Souhart 28; Lipperheide Tf 24; AKL V, 587, mixing l’Histoire de l’Equitation + Chasses Anciennes to one work, described bibliographically incorrectly, too. – On large strong paper with publishers’ dry-stamp. – Some small tears in the wide white margins restored acid-free. Mostly only within the latters quite minimal brown spots and quite outside a faint tidemark. The wrapper time-marked as usual but without impairment of its illustration which is dominated by silence as well as rich happening.
Quite in contrast to the “Equitation” set, mentioned also within the title here, rare as also qualified by Boerner (CXII, 2296) already in 1912.
Designed in the so-called troubadour style with a main picture as total scenery and a number of instructive smaller details, explained by text strewn in. By which Aubry (“known lithographer”, Thieme-Becker) “achieved an exemplary effect in his genre. In the late work he renounced quite to this framework. 1822 professor for painting at the Ecole Royale de Cavalerie at Saumur” (AKL). – Signed and monogrammed (2) resp. in the stone throughout, 3 dated with 1835 and 1836 (2) resp.
Une St. Hubert – Chasse au sanglier – Chasse au cerf – Chasse de l’antilope au léopard – La chasse du loup – Chasse au faucon – Chasse au lievre à force – Des chiens courans – Chasse de gazelles – Sous Charlemagne (i. a. with a splendid hunting pageant with falconers, the large pack of hounds, bears, lions and cats, partly tamed) – Chasse de l’autruche et de l’éléphant – Chasse au renard .
Offer no. 12,101 / EUR 620. / export price EUR 589. (c. US$ 713.) + shipping
“ … a very strong wild and …
quite wrathful animal ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Catching of the Bears. In dense forest a pit baited by a honey pot, into which one of the bears just falls, while the other goes off roaring. Etching & engraving. (1729.) Inscribed: avec privil. de Sa. Maj. Imp. / I. El. Ridinger inv. pinx. Sculps. et excud. Aug.Vind., otherwise as above and with German-French didactic text text. 13⅛ × 16⅛ in (33.3 × 41 cm).
Thienemann + Schwarz 30; Catalog Weigel XXVIII (1857), Ridinger appendix 3A (“Old impressions with the original title. The paper has lines as watermark.”). – From the unnumbered early 36-sheet Princes’ Pleasure , listed by literature as its 18th sheet. – Margins 3-4.7 cm wide. – Small wormhole in the lower left of the subject and inconspicuous tiny abrasion in the central foliage. On the back scribbles by a collector’s grandson.
“ Because the bear is a very strong wild and, if wounded, quite wrathful animal, that at its hunt there frequently is great danger for both humans horse and hounds, also cloths or nets are unable to harm it … ”
THE AS INSTRUCTIVE AS PAINTERLY SHEET
– not by chance already in 1901 Ernst Welisch qualified Ridinger as the indisputably “most important Augsburg landscapist of this time” –
IN MARVELOUS IMPRESSION OF VIBRANT CHIAROSCURO
as in such quality rare of old.
Offer no. 15,480 / EUR 1100. / export price EUR 1045. (c. US$ 1264.) + shipping
Bear Pit in Berne. Four beasts communicating with onlookers. Wood engraving after Friedrich Specht (Lauffen on the Neckar 1839 – Stuttgart 1909). 6⅝ × 4⅞ in (16.7 × 12.4 cm).
On the back: Gustav Bauernfeind (Sulz on the Neckar 1848 – Jerusalem 1904). (City Hall in Berne.) On a sunny morning, with various accessories. Wood engraving after G. B. for Adolf Closs, Stuttgart, (1875/77). 5½ × 7⅜ in (13.9 × 18.7 cm). – Continuous local text on both sides.
Offer no. 9,691 / EUR 50. (c. US$ 60.) + shipping
VRSVS ALBVS Grönlandiae
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The White Spitsbergen Greenlandic Bear. Standing to the left, the jaws open wide. Colored etching with engraving. Inscribed: VRSVS, ALBVS Grönlandiae. / Der weiße Spizberg Grönländische Bär. / L’ours blanc de Groenland. / Familia IV. Fünffzähige. / J. El. Ridinger fec. et excud. A.V. 12⅛ × 8⅜ in (30.9 × 21.4 cm).
Thienemann & Schwarz 1082. – 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.
“ We have done four illustrations of (the bears) here … and fourthly all white, which reside in Greenland. This latter species feeds particularly readily on fish, therefore they go onto the ice to look for the dead wales, seals etc.; however, if large pieces break off, as it happens occasionally, they often drift away on such a floating ice island into the open sea, even as far as over to Norway, in which case they are tortured most acutely by hunger at times ”
(Ridinger’s sons in the preamble to pt. II, pp. 13 f., enclosed in copy).
The fine sujet in its vibrant colorfulness
with watermark C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses
“on account of the fine illumination” for the colored works
“as for this purpose it is the most decent and best”. – Margins on three sides 1-3 cm, below 5 cm wide. – Hardly worth mentioning a faint tidemark in the lower white plate/paper field.
Offer no. 15,926 / EUR 690. / export price EUR 656. (c. US$ 794.) + shipping
as Anti-Thesis to The Line of Beauty
Hogarth’ ambigious “The Bruiser” before the Finis
Hogarth, William (1697 London 1764). The Bruiser, C. Churchill … in the Character of a Russian Hercules. The writer Churchill whose “Epistle to Hogarth” provoked the master in the character of a strong Russian bear, hugging a tankard full of porter. In his left a knotted club referring to contemporary politics. The rest done by Hogarth’s favourite dog Trump trampling the epistle which he treats contemptuously in a manner not natural to the canine species. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed in the plate: Designed by W. Hogarth. / Engraved by T. Cook. / London Published by G. G. & J. Robinson Paternoster Row June 1st. 1800. 14⅞ × 11⅜ in (37.8 × 28.9 cm).
Hogarth catalogue by the Tate Gallery, 1971/72, 220 (2nd H. state before the superposition of the palette by the print illustration, so the Cook version here, too) + Hogarth catalogue Zurich, 1983, 91 (7th state with the superposition), both with illustration.
A rarer Sujet made in the rush (August 1763) for which the self-portrait of 1749 had to serve, of which he right away substituted his own head by that of Churchill. Several he added, the titles of the folio volumes were adapted: Great George Street A List of the Subscribers to the North Britons + A new way to Pay old Debts, a comedy by Massenger. Also “The Line of Beauty” fell victim to grinding in face of such a stout, lusty, and rough person as Churchill is described. The print illustration now superpositioning the palette no more taken over by Cook (“made himself a name as Hogarth engraver, too”, Thieme-Becker) than the caption.
Churchill, a degenerated writing clergyman, was a partisan of John Wilkes for whose North Briton Gazette he worked and which is symbolized here as club plastered with lies, slaying the cartoon. But, as so often, the work grew far beyond its cause.
For once the removal of the “Beauty Line” led directly to the Analysis complex:
“ Hogarth regarded the likeness to a bear as more insulting than it may generally appear; for him there was an aesthetic antithesis between the earlier and later significance of the plate. In the ‘Analysis’ he wrote that ‘we may … lineally account for the ugliness of the … bear … which (is) totally devoid of this waving-line …’ ”
On the other hand to an intellectual reflection the exchange of the image done at a late moment:
“ There was nevertheless a quality akin to self-destruction in appropriating to his purpose the plate of his own portrait, which served as frontispiece to his collected works. ”
And ‘What may follow God knows. Finis.’ he meditated in this context. But
“ This was not quite the end of the story. Hogarth continued to work on his notes … and his concluding print ‘The Bathos’ was engraved in the following year” (April).
(all Cat. Tate Gallery S. 89.) ‘The Bruiser’ as second but last work thus.
Excellent print of fine light-dark-effects on solid paper. The presentation itself by the way – contrary to all other later Hogarth-editions in its original folio-size.
Offer no. 7,500 / EUR 496. / export price EUR 471. (c. US$ 570.) + shipping
– – – The same in Cook’s smaller repetition inscribed “C. Churchill” only. 1807. Image size 6⅞ × 5½ in (17.5 × 14 cm). – Trimmed within the wide white margins.
Offer no. 8,898 / EUR 138. (c. US$ 167.) + shipping
Hogarth, William (1697 London 1764). Hudibras’s First Adventure. The English Don Quichote, the gun drawn, in fight with a mob brandishing heavy sticks, among a one-legged fiddler and a showman with dancing bear. Engraving by Thomas Cook (c. 1744 – London 1818). (1802.) 10½ × 14 in (26.7 × 35.7 cm). – See also the complete description.
Offer no. 14,723 / EUR 185. (c. US$ 224.) + shipping
– – – The same in Cook’s smaller version with the caption being replaced by the series title. 1807. Subject size 5½ × 6¾ in (13.9 × 17.1 cm). – Trimmed within the wide white platemark and this at three sides in the outer part slightly foxed and browned resp.
Offer no. 14,724 / EUR 60. (c. US$ 73.) + shipping
– – – The same in Hogarth’s own etching/engraving of 1726 with the Sayer address of the 1768 new edition and here in the 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 , 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”]). 10¾ × 13⅝ in (27.4 × 34.6 cm).. – Hogarth Catalog Zurich, 1983, ills. 3.
Offer no. 14,725 / EUR 148. (c. US$ 179.) + shipping
“ Thank you so much for that comprehensive background to the above titled (Brierly) print which has intrigued me … ”
(Mr. R. H., July 12, 2014)