Live Stock & Dairy Products
in Prints of the 17th – 19th Centuries
Beurre, La Batteuse de. Young woman churning while a salesman offers eggs to her. Engraving by Claude-Augustin Duflos (1700 Paris 1786) after supposedly Jean-Baptiste Bénard (Besnard, first reference 1751 – before 1789). C. 1760. Inscribed: Benard pinx. / Cl. Duflos sculp. / A Paris chez Crepy rue S. Jacques à S. Pierre près la rue de le parcheminerie / Meslé. 39 x 27.5 cm.
Instructive , rich sujet of large size with 8 lines caption. – Somewhat time-stained. – See the complete description.
Offer no. 8,046 / EUR 429. / export price EUR 408. (c. US$ 445.) + shipping
“ Alternatives to the Bourgeois Urban Life ”
Roos, Johann Heinrich (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 (“turned out far better”) + Schwarz (ills. I, p. 104) 797-802; Jedding, Roos, 1998, p. 169; Coppenrath part II, 1577 ( “Very rare set”, 1889 ! ); Reich auf Biehla 167 ( “Extremely rare”, 1894 ! ); Ridinger catalog 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, of 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
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. Wolff’s publishing house, founded a publishing house himself; still lived about 1760) on the first sheet analogously to Th. + Schwarz. The rough classification of the states: before any address – Wolff Heirs – Hertel . – The plate numbering results in the sequence Th. 797 – 798 – 802 – 801 – 800 – 799 .
The composition of the set in detail regarding their numerical order as unbeknownst to Thienemann :
1. Young shepherd and “eating goat with abundant udder” embedded in the title-decoration. – 2. The Bull with the Bell in community of a bleating goat + 4 sheep. – 3. The said old horse + one ox + goat each, 5 sheep. – 4. “A world-weary ass with saddle” + 7 sheep. – 5. The ruminating Bull together with cow, goat, 2 sheep + lamb. – 6. He-goat + she-goat, mother-sheep with suckling ewe-lamb, 5 further sheep.
On the general social classification of the set Stefan Morét says in the Darmstadt catalog (p. 27) :
“ Also in the works of the Roos family the elaboration and impressive reproduction of the individual ‘character’ of the portrayed animals is a central intent. This it may have been what Ridinger caused to etch several (4 or 5 resp.) series after drawings of Johann Heinrich Roos at the outset of his career …
Supposedly Ridinger was interested in the exact and impressive portrayal of the characteristic qualities or tempers of the depicted animals of his model, thus the somewhat dull staring of the ox, the dozing of the sheep, the vigilance of the goat. In Ridinger’s set ‘Design of Several Animals’ published since 1738 one observes a quite similar interest for the ‘actions and passions’ of the animals that, however, is due to Ridinger’s natural scientific inclinations.
In the time of their coming into being the animal pieces in Italian landscape after Johann Heinrich Roos were interpreted as
alternatives to the bourgeois urban life .
Also in the 18th century they could be understood that way … . ”
Offer no. 28,485 / EUR 1750. / export price EUR 1663. (c. US$ 1812.) + shipping
Dairy Farming – Vache, La. Presentation of the products resulting from keeping cattle as there are milk, butter, cake, horn products as combs + dominos, leather, and others more. Partially colored lithograph printed with tone plates by Colette and Ed. Renard. C. 1860. 27.5 x 38 cm.
From Delbrück’s “Les récréations …”. – Centerfold torn top and bottom, but backed. – Instructive overview.
Offer no. 14,358 / EUR 220. (c. US$ 240.) + shipping
The Animals Nearest to Us
(Samuel Howitt.) Howitt’s miscellaneous Etchings, old & new. New Edition. Etched title and
(c. 3½-5⅞ × 6⅛-8⅝ in [9-15 × 15.5-22 cm]). (London,) Edw. Orme, 1812. 4to. Old cloth with back-plate and mounted title plate. Uncut.
Thieme-Becker XVII, 588 f. (erroneously with an William H. as etcher). – Compare with Mellon, Prints, 11 + Graesse III, 380 (both the edition of 1803). – Not in Schwerdt. – With the figurative exlibris of Dr. Roederstein. – On strong paper of 1822 watermarked I I S & S, the overlay leaves, irregularly bound with, watermarked 1828. – Binding more timemarked, upper inner book partially broken. Title and a total of 8 plates with faint tidemark partially reaching into one of the image corners though visible almost only in the mostly wide white (plate) margins. First and last plates with minimal touch of foxing, only title and frontispiece a bit more. Otherwise of fine freshness.
Showing in prevailing landscape, but also domestic or farming scenery besides an ibex family, red deer (6, one of which a rutting fight) , horses (10), dogs + hounds (10), lions (2), fighting buffalos, wild boars
domestic animals as cattle (9 + 3 together with sheep) ,
sheep (4 + 3 together with cattle) , pigs and chicken .
Inscribed throughout: “Howitt”, partly with the additions “in. et f.” and Howitt’s and H. Brookes’ address resp. and dates of 1792 (4), 1797 (2) + 1801 (12). – In the Mellon Collection a comparable compilation of 49 sheet from several suites with dates 1792-1803. The edition of 1812 here obviously reprinted on occasion of Howitt’s death.
Samuel Howitt (1765 – London 1822) was “as practicing sportsman … superior in the natural depiction of hunting and sporting scenes … As etcher Howitt has an extraordinary pure and fine needle. He has … publicated numerous works with engravings and etchings after own designs” (Thieme-Becker, their erroneous repetition of Heller-Andresen’s assignment of this publication to a William Howitt – not known to Nagler – who also died in 1822 defeated by inscription + address). – The album here thus exemplary for
Howitt’s understanding of animals , Howitt’s art of etching –
Here you have them !
See the complete description.
Offer no. 12,227 / EUR 1432. / export price EUR 1360. (c. US$ 1482.) + shipping
Alp, On the. Shepherd with herd of cattle. Toned wood engraving after Paul Meyerheim (Berlin 1842 – 1915). (1875-77.) 19.7 x 25.1 cm.
Offer no. 9,568 / EUR 50. (c. US$ 54.) + shipping
Cattle by the Crème de la Crème
Wintter, Joseph Georg (1751 Munich 1789). (Animal Pieces after Several Masters etched and published … Court and Hunting Engraver in Munich [1783/]1784.) 7 of 8 sheet of the set of the cattle. Etchings. C. 13 x 18 cm.
Niemeyer 47-53, II; Nagler 12. – From the Augsburg omnibus edition Schwerdt III, 190, a ( “Rare”, 1928 ) published 1821 the earliest and comprising only 44 sheet anymore (of 137, so the here otherwise not provable edition Weigel 21336, of them “Most … very rare”; so also 1863 Nagler, Monogramists III, 68, at the same time emphasizing their beauty) on buff paper, whose marvelous quality of impressions reveals the small editions and had Schwerdt, unaware of the chronological factors, frequently conclude proofs before the letter. – Without the title etching after Johann Heinrich Roos.
- The Pissing Cow and the Two Sheep. Before village silhouette. After Karel Dujardin (Amsterdam 1622 – Venice 1678). C. du hortein. inv. fecit / 2 (in reverse) / JGWintter. feit (sic!). 1783. – The famous sujet. – The wide white margin somewhat fox spotted on two sides.
- The Bony Old Cow to the left, before rotten lying trunk. Before village silhouette. After Dujardin as above. K. du. jardin. inv. / 3 (in reverse) / JGWintter 1784 .
- The Resting Cow at the Fence to the left. With farm silhouette. After Dujardin as above. K. du jardin inv. / 4 (in reverse) / JGWintter Fecit 1784. – In the far wide white lower margin somewhat foxed.
- The Standing and the Resting Cow, each to the right. On a pasture close to the village with the steeple in the background. After Dujardin as above. K. du. jardin inv / 5 / JGWintter sculp 1784.
- The Bull to the right of a Fine Plateau. After Nicolaes Berchem (Haarlem 1620 – Amsterdam 1683). Berchem. inv. / 6 / JGWintter. sculp. 1784.
- The Grazing Cow to the left and the one resting at the fence below a mighty tree, looking at the beholder. With church and the roof of a farm to the right. After Dujardin as above, ringing in the zenith’s abundance of atmosphere . K du jardin inv. / 7 / JGWintter. sculp. 1784.
- The Two Cows lying together amidst painterly hilly landscape. After Jan Both (c. 1615 Utrecht 1652). Both. inv / 8 / JGWintter sculps. 1784. – The splendid finish .
Exemplary here then his almost complete
rare set of the cattle
as the only one of this kind in the small work
of this early consummate master .
Which evokes what was art-historical conclusion already in 1909 and 1921 resp. So Höhn (Studies on the Development of Munich Landscape Painting from the End of the 18th and the Early 19th Centuries) by his “one of the earliest” among “the early beginnings of Munich landscape painting“ and Wolf (The Discovery of the Munich Landscape) resp., who documents him by seven etchings.
Offer no. 15,670 / EUR 980. / export price EUR 931. (c. US$ 1014.) + shipping
Potter, Paulus (Enkhuizen 1625 – Amsterdam 1654). A Group of Cattle (3 plus a sheep) with the Pissing Cow / A Group of Horses (4) with the Farmer and his Dog. On the horizon a mill and a steeple resp. on the right. 2 sheet. Etchings with rich aquatint by Johann Heinrich Tischbein II (Haina, Hassia, 1742 – Cassel 1808). (1787.) 7⅝-7¾ × 10-10¾ in (19.3-19.7 × 25.4-27.3 cm).
Nagler, Tischbein, 24 and probably 30. – Plates 1 and 2 of the Tischbein album of 1827, Nagler 45, with early impressions throughout, mounted on spots. – Trimmed to or within the white platemark. – Sheet 1 with ignorable slight water stains in the upper right. – From the collection of the legendary railway king Dr. Strousberg, Berlin.
The Fine Pendants – accounted by Nagler to the most exquisite works of Tischbein – “from the famous painting … in the Electoral Galleries at Cassel … (called) the Pissing Cow”.
Tischbein, court painter of the Landgrave of Hassia, was inspector of the gallery at Cassel, most famous for the splendid collection of Dutch paintings. – See the complete description.
Offer no. 14,927 / EUR 449. / export price EUR 427. (c. US$ 465.) + shipping
– – A Cow. Etching with aquatint, partly in brown, by Tischbein as before. 6½ × 7⅞ in (16.5 × 20 cm). – Nagler 56. – Plate 13 of the set. – Small margin around the borderline. – Charming sheet. – See the complete description.
Offer no. 11,014 / EUR 95. (c. US$ 104.) + shipping
– – Cattle Piece. Bull with two cows and a sheep before picturesque tree backdrop on a rise. To the right distant vista across a valley with wooded parish on the horizon. Aquatint printed in brown by Cornelis Apostool (1762 Amsterdam 1844). Inscribed: P. Potter / Apostool. / Published Novr. 1792. 8⅝ × 12 in (21.8 × 30.5 cm).
Rare. – Enclosed text sheet with Potter’s biography and prices realized for his works. – Bernt:
“ (Potter) owes his fame to the natural presentation of the animals and the Dutch pasture … In the 18th and 19th centuries Potter’s basic development of the picture of the animal in the landscape has been continued. ”
The group of two of the bull with the standing cow standing together on the left – the second resting apart – in their position almost identical to those of the painting in Cassel, The Pissing Cow. – See the complete description.
Offer no. 15,778 / EUR 320. / export price EUR 304. (c. US$ 331.) + shipping
Romeyn, Willem (Haarlem c. 1624 – c. 1694). Animal Piece. Bull, two cows and three sheep resting by a pool in hilly landscape. Etching with aquatint by Johann Heinrich Tischbein II (Haina, Hassia 1742 – Cassel 1808). Inscribed and dated in the plate: WRomeyn pinx: / H. Tischbein fec. 1788. 7½ × 9⅞ in (19.2 × 25.2 cm).
Wurzbach, Romeyn, 8; Nagler, Tischbein, 25. – Plate 7 of the album of 1827 with early impressions throughout mounted on spots. – Trimmed on platemark. – From the collection of the legendary railway king Dr. Strousberg, Berlin.
Fine Plate by the pupil of Berchem and Dujardin, but in opposition to these – according to Bernt – “his ponderous gregarious animals are drawn more carelessly”. This ponderousness not to be stated here, but otherwise the quite fine look of the animals. Furthermore “A standing cow (here bull) is typical … In the Albertina (Vienna) … well represented by 13 fine plates”.
Offer no. 15,779 / EUR 320. / export price EUR 304. (c. US$ 331.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Hungarian or Bohemian Sheep. “The rakka Aegoceros ovis – strepsiceros” (Th.). Lying to the right, yet looking to the left. Colored etching/engraving. Inscribed: ARIES. / Ungarisch oder Böhmisch Schaaf. / Belier d’Hongrie ou de Bohéme. / Familia II. Zweÿhufige. / J. El. Ridinger fec. et exc. A. V. 12¼ × 8¼ in (31.2 × 20.8 cm).
Thienemann & Schwarz 994. – 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.
“ To this (sheep/ram) representation still another of a Hungarian sheep has been added, which is a little larger and heavier than ours, yet shows particularly with its horns a marked difference. For as with ours the horns are wound backward, so with this kind these stand upward like an extended fork and also are
quite particularly turned or wound ,
also give them a rather good look ”
(Ridinger’s sons in the preamble to pt. I in German and French, pp. 18 f. & 15 f. resp., enclosed in copy).
The rarer 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 1.8-2.5 cm, below 4.8 cm wide.
Offer no. 15,950 / EUR 435. / export price EUR 413. (c. US$ 450.) + shipping
Les Amours pastorales
A Ridinger Trouvaille after François Boucher
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Happy Shepherds’ Life. / Vita pastoritia felix. The languishing shepherd-gallant at the feet of his yet very superior shepherdess and pointing at the grapes brought along for her. On the left before a cabin a shephard leaning onto the back of a bull, all around sheep and at the feet of his master the hound. Mezzotint after François Boucher (1703 Paris 1770). Inscribed: J. E. Ridinger exc. Aug. Vind., otherwise as above. 16¾ × 21 in (42.5 × 53.4 cm).
Th.-Stillfried / Schwarz 1400; Reich auf Biehla Collection 286 (“Somewhat waterstained … With wide margin. Of greatest rarity”, 1894); Ridinger Cat. Helbing (1900) 1537. – Not in Weigel + Coppenrath. – Bipartite typographic watermark. – With quatrain in German-Latin parallel text.
Wonderful large sheet
in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Ne plaignons point le sort de ces bergers from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn).
Established only by Stillfried’s third appendix to Thienemann of 1876 and as all of Ridinger’s mezzotints very rare. The ones mentioned in literature aside, known here only the copy Counts Faber-Castell (1958) and a further one, if not the same, from the early 1960s. While the one here differs from that by several printing deviations.
Of greatest rareness as the precious art of mezzotint only allows editions of about “50 or 60 clean copies, afterwards (the image) grinds itself off very soon” (Sandrart 1675). Accordingly Thienemann noted in 1856:
“ The mezzotints are almost not available on the market anymore. By the way all mezzotints worked by and after Joh. El. Ridinger are that rare that they are to be found almost only in some of the magnificent public print rooms. I met most of the described ones only in the famous Cabinet in Dresden …”
That in the case here as outstanding additional factor of rareness truly superbly wide margins of 9.7-10.3 on the sides and 4.5 and 5.6 cm resp. on top and bottom are added, is then just the last ne plus ultra delighting the pretentious collector. Here thus
the rarity as such — the significantly deviating early impression —
wonderful chiaroscuro & enormous margins .
The lower margin minimally fissured. On the back slightly visible centerfold. – By a “very wide margin” excelled by the way in 1900 the copy of Helbing, valued with 70 gold marks as more than half ( sic! ) of what he rated a very fine copy of the 23-sheet set ( sic! ) of the Fair Game – 130 gold marks. – See the complete description.
Offer no. 28,106 / EUR 1380. / export price EUR 1311. (c. US$ 1428.) + shipping
A Class of Its Own
Wintter, Joseph Georg (1751 Munich 1789). The Two Sows by the Shed. Etching. Inscribed: JGW (ligated). 1783. / 6. 14.6 x 20.5 cm.
Niemeyer 29, III; Nagler 8, 4, later recorded as sheet 6 (Niem. 29, II) within N. 13, as here, too, yet now from the 44-sheet Augsburg omnibus edition Schwerdt III, 190, a ( “Rare“, 1928 ) of 1821 the earliest, whose marvelous printing qualities on buff paper reveal the small editions and had Schwerdt frequently yet erroneously infer proofs before the letter. But already on occasion of the here otherwise not provable 137-sheet complete edition Weigel 21336 this stated 1857: “Most sheets very rare.” – On buff paper, the wide white margin far right here and there minimally fox spotted.
Offer no. 15,663 / EUR 230. (c. US$ 251.) + shipping
further ETCHINGS by JOHANN HEINRICH TISCHBEIN II
as at the beginning
A Cow going to the left. After Johann Heinrich Roos (Otterberg 1631 – Frankfort on the Main 1685). 6 × 8¼ in (15.1 × 20.9 cm). – Sheet 12 of the set. – Trimmed within the white platemark. – See the complete description.
Offer no. 14,901 / EUR 76. (c. US$ 83.) + shipping
– sidewards to the right, seen from the back. Printed in brown. 4⅞ × 3⅜ in (12.3 × 8.7 cm). – Sheet 10. – Partly trimmed on the platemark. – Fine plate.
Offer no. 14,902 / EUR 76. (c. US$ 83.) + shipping
Resting Ox. After Roos as above. 4⅞ × 7⅞ in (12.5 × 20 cm). – Sheet 15. – Trimmed within the white platemark. – See the complete description.
Offer no. 14,906 / EUR 74. (c. US$ 81.) + shipping
A Bull to the right. After Friedrich Wilhelm Hirt (1721 Frankfort on the Main 1772). 3⅜ × 4¾ in (8.5 × 12 cm). – Sheet 11. – “(Hirt) is much praised as animal painter …” (Th.-B.).
Offer no. 14,921 / EUR 60. (c. US$ 65.) + shipping
A Goat. To the left, standing with the front legs on a rock. After Roos as above. Inscribed: JHRoos / JHT 1789. 6⅜ × 5½ in (16.2 × 14 cm). – Sheet 26. – With narrow margin around the borderline.
Offer no. 14,924 / EUR 95. (c. US$ 104.) + shipping
A Billy-Goat. Vigilant, the raised head to the right. 4⅞ × 4¾ in (12.3 × 12.2 cm). – Sheet 27. – Trimmed within the white plate margin, at the top close to the left horn.
Offer no. 14,922 / EUR 64. (c. US$ 70.) + shipping
– Resting, to the left. Aquatint. 4⅜ × 6¾ in (11.1 × 17.1 cm). – Sheet 25. – Trimmed to platemark. – Fine plate.
Offer no. 14,925 / EUR 120. (c. US$ 131.) + shipping
Les Amours pastorales
Another Ridinger Trouvaille after François Boucher
Johann Elias Ridinger. The Foolish Jealousy. / Zelotypia stolida. Posing as shepherd the young gallant confesses his love to his shepherdess, overheard by a young shepherd. On both sides sheep + lambs. Mezzotint after Boucher as above. Inscribed: Joh. El. Ridinger exc. Aug. Vind., otherwise as above. 16⅝ × 21⅜ in (42.3 × 54.3 cm).
Schwarz 1461 with plate vol. 2, XX (variant). – Not in Helbing, Weigel + Coppenrath. – Typographic watermark. – With quatrain in German-Latin parallel text.
Not known to Thienemann and Stillfried. – Wonderful large leaf, besides the one of von Gutmann here only provable with the copy of the collection of the Counts of Faber-Castell dissolved in 1958 (creased and trimmed to the image) for which for lack of an illustration marks of state cannot be compared. Here now with extremely wide margins and only a centerfold invisible from the front. The wide white lower margin fissured and backed acid-freely. Independent of this contrary to Gutmann’s copy in a
deviating earlier state.
On the already technically conditioned scarceness see above, too. And also here again
the rarity as such — the significantly deviating early impression —
wonderful chiaroscuro & enormous margins .
And as already in Happy Shepherds’ Life and Sweet Captivity (see below) engraved in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Silvandre, heureux amant, que rien ne t’inquiète from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn), marked by Schwarz supposedly erroneously as after (René) Gaillard. – See the complete description.
Offer no. 28,107 / EUR 1380. / export price EUR 1311. (c. US$ 1428.) + shipping
Milker of Buochs. Smoking his pipe at the open window. Wood engraving, supposedly after Charles Hermans (Brussels 1839 – Mentone 1924). 15.5 x 10.8 cm. – Back: Buochs (CH), Charnel-House in. Visitor scenery before the skull shelf. Wood engraving for Adolf Closs (1840 Stuttgart 1894; “at his time one of the best of his profession in Germany”, Thieme-Becker). (1875/77.) 16 x 13.8 cm. – On both sides text complete in itself on folklore, especially on the Alpine tradition of the return of the herds.
Offer no. 9,655 / EUR 48. (c. US$ 52.) + shipping
Pyne, William Henry (1769 London 1843). Highland Shepherd. The Scottish shepherd with his dog sitting at a stony slope. Colored aquatint for William Miller in London. 1805. 34.5 x 25.5 cm.
From Lipperheide Gca 18 (ed. of 1808). – With text leaf. – Side margins trimmed on platemark, but negligible for the wide white plate margin. – On strong Whatman paper.
Offer no. 4,967 / EUR 94. (c. US$ 102.) + shipping
The Famous Scenery
belonging to the earliest works
etched by Ridinger himself , too
Roos, Johann Heinrich (Otterberg, Palatinate, 1631 – Frankfort on the Main 1685). The Bull with the Bell. In company with goat and sheeps in front of a ruine. Etching by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Between 1724 + 1728. Inscribed in the plate: Ioh. Hein. Roos inv. et del. / Elias Ridinger sculpsit Aqua forti. 10½ × 12⅜ in (26.8 × 31.3 cm).
Thienemann + Schwarz 798; Ridinger catalog Darmstadt, 1999, IV.11 with ills. – Compare with the Roos drawing in reverse G,1672 in Augsburg published for the first time in the exhibition catalog (Master Drawings of German Baroque), Augsburg 1987, no. 55 with ills. – Leaf 2 of the second of the three Ridinger sets after Roos which is the largest of them and “much better than the first”.
The marvelous print of the Frisch collection
obviously in an intermediate state after presumed removal of address and numbering in the middle. – With typographic watermark and partly slight facet dirt. – Margin slightly foxing, measuring 6.5-7 cm on three sides and 2.4 cm at the top. – On the back Frisch’s collector’s stamp. – See the complete description.
Offer no. 28,138 / EUR 325. / export price EUR 309. (c. US$ 337.) + shipping
Berchem, Nicolaes (Haarlem 1620 – Amsterdam 1683). Laban and his People. Surrounded by a herd of different livestock. Steel engraving by William French (c. 1815 – East Grinstead 1898). 3rd quarter of the 19th century. 5½ × 6⅜ in (14 × 16.3 cm).
Offer no. 4,962 / EUR 43. (c. US$ 47.) + shipping
– – A Landscape. Shepherds and manifold livestock and travelers at Italian waters. Steel engraving as before.
Offer no. 4,965 / EUR 47. (c. US$ 51.) + shipping
– – A Landscape. Italian peasants with various livestock, partly standing in the shallow river. On the left steep mountain wall with castle. Steel engraving as before. 7½ × 5¼ in (18.9 × 13.4 cm).
Offer no. 4,956 / EUR 37. (c. US$ 40.) + shipping
– – A Landscape. Italian peasants with several livestock in shallow water amongst fine mountains. Steel engraving as before, but by Albert Henry Payne (London 1812 – Leipsic 1902). 6 × 6⅝ in (15.4 × 16.9 cm).
Offer no. 4,955 / EUR 44. (c. US$ 48.) + shipping
– – Cattle drinking. Shepherds and laundrywomen with cattle and goats at a water feed by two waterfalls. Steel engraving by William French as before. 4⅞ × 6 in (12.3 × 15.4 cm).
Offer no. 4,964 / EUR 47. (c. US$ 51.) + shipping
Les Amours pastorales
Once more — A Ridinger Trouvaille after François Boucher
Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Sweet Captivity. / Jucunda captivitas. A shepherd plays the musette de cour – a refined variant of the bagpipe for artistic music particularly fashionable at the courts in 18th century France – for his shepherdess sitting below a birdcage. Another young woman sitting between them with her left resting on the young man’s knee. Furthermore sheep and the hound of the lover. Mezzotint after Boucher as above. Inscribed: Joh. El. Ridinger excud. Aug. Vind., otherwise as above. 16½ × 21¼ in (42 × 54 cm).
Schwarz 1463 with plate vol. 2, XXII (variant); Reich auf Biehla Collection 313 (“Extremely rare”, 1894); Ridinger Cat. Helbing 1539 (“Very rare mezzotint”, 1900). – Not in Thienemann (1856) + Stillfried (1876) , Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57) , Silesian Ridinger Collection at Boerner (1885) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890) , Hamminger Collection (1895) , R. list Rosenthal (1940).
Again not known to Thienemann and Stillfried. Wonderful large leaf valued by Helbing ( “Very rare mezzotint” ) in 1900 with 75 gold mark even nearer to his very fine copy of the 23-sheet ( sic! ) set The Fair Game (130 gold mark) than the The Happy Shepherds’ Life (70 gold mark, see above). Just as the one here was rated and paid for significantly more in the sale of the Count Faber-Castell collection (1958) than the latter one. Present moreover in the best preserved copy of the four copies known here.
Bipartite WANGEN watermark. – With quatrain in German-Latin parallel text. – Centerfold barely recognizable from the front, a pin head sized scrape and an equal hole in the free outmost plate field of the text margin. The wide white upper margin fissured and backed acid-freely. Independently of this contrary to – at least – Gutmann’s copy (the other two not illustrated here) in
visibly deviating earlier state .
In reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Ce pasteur amoureux chante sur sa musette from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn), marked by Schwarz supposedly erroneously as after (René) Gaillard.
With 9.3-10 for the sides and 4.8 and 5.5 cm at top and bottom resp. again of superb wide margins. And thus, once again,
the rarity as such — the significantly deviating early impression —
wonderful chiaroscuro & enormous margins .
Finally in the person of the shepherdess this station is a very charming development from Happy Shepherds’ Life as also noted by Schwarz. While there not just her face is vainglorious in accordence with the text, but the belle in general quite a reserved lady, we see her really relaxed here. Her face complete bestowal, leg shown, bosom anyway, the skirt folded back invitingly. But everything light and charming and of equal grace the shepherd. – See the complete description.
Offer no. 28,108 / EUR 1467. / export price EUR 1394. (c. US$ 1519.) + shipping
Shepherds with sheep and goats and the herdsdog before a village in hilly landscape. Engraving. C. 1780. 10 x 12.9 cm. – Plate 24 of a larger set. – With watermark. – Somewhat weaker impression. – In the wide white lower margin stained.
Offer no. 12,168 / EUR 40. (c. US$ 44.) + shipping
– of a nomadic tribe with their cattle and sheep in front of their tents. Engraving. C. 1780. 4 × 5½ in (10 × 13.9 cm). – From a larger set. – With watermark.
Offer no. 12,167 / EUR 40. (c. US$ 44.) + shipping
Ridinger, Martin Elias (1731 Augsburg 1780). Arabian Buck. Silverbrown longhaired with horns curved far to the behind, standing to the left. Colored etching with engraving. Inscribed: TRAGVS Arabicus. / Arabischer Bock. / Bouc d’Arabie. / Familia II. Zweÿhufig. / ex Collect. Ludolfii / Mart. El. Ridinger sc. 12 × 8 in (30.6 × 20.2 cm).
Thienemann & Schwarz 998. – 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 1.7-3.5 cm, below 5.3 cm wide. – Quite isolated tiny brown spots in the white plate field.
Offer no. 15,947 / EUR 435. / export price EUR 413. (c. US$ 450.) + shipping
Suite not known to Literature
and supposedly provable completely here for the first Time
Wintter, Raphael. (Animal Drawings for Landscape Furnishing.) Karlsruhe, Joh. Velten, not before 1824. Oblong fol. (27.5 x 35 cm). Suite of
12 chalk lithographs
(9-20.6 x 21.5-26.5 cm). Unstitched in orig. wrappers with lithographed title/author/publisher on the front wrapper (in German).
Provisionally Niemeyer Ra 152-155h (so far Niem.  152-155 + 182-186). – Not in Winkler (1975) + Nagler (1851). – The wrappers, widely torn in the fold and at its upper margins somewhat fissured, reinforced on both sides and backed resp., otherwise irrespective of occasional feeble touch of mostly just spot-like foxing practically impeccable. – On large strong vélin untrimmed on two sides with wide margins as resulting from the sheet-subject-relation above.
THE SUITE DESCRIBABLE HERE FOR THE FIRST TIME
after in the catalogue raisonné here based on two separate parts in the trade only vaguely “4 sheet with depictions of cows from 1824” and “5 sheet with depictions of goats and sheep” resp. could be recorded. Here then both groups of six sheet each and in such a manner supposedly complete. – Not least due to the soft chalk manner
PAINTERLY FINE WORKS
of the animals pictured in again and again new position and grouping in variedly rich environment in their lively naturalness, thereby only once together with man where on a mountain plateau a shepherd with a lamb in his arm chats with the resting shepherdess while a ram visibly intelligently contributes his opinion. Very charming, too, the second one of the two largest sheets in which one of the two billy-goats stretches up at a tree for feed, observed by resting sheep.
“ devoted himself with preference to animal painting … also occupied himself … with lithography … his drawings (are) quite numerous. They are held in just as high esteem by the connoisseurs as his etchings. Also ingenious lithographic sheets of him are to be found ”
1809 he became 1st lithographer and later inspector at the Lithographic Institute of the Royal Privy Council established by his stepfather and first teacher Mettenleiter. Most interestingly his throughout rare and very rare sets all originate from the early decades with 1831/32 as the last dates for such two etched “Animal Studies” as a result of a stay in Italy in 1830. To add to this yet only scant series now here + today one from the ending “incunabula age” of lithography which until now escaped both literature and surveyable trade and thereby being able to integrate above stray nine individual sheets from it, is pleasure + satisfaction at once. And may be understood as invitation
to snatch as collection-enhancing what pure chance presented .
Offer no. 15,178 / EUR 1730. / export price EUR 1644. (c. US$ 1791.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Lord God planted an orchard in Eden … The Lord’s creation, amongst which and nearest to the yet lonesome Adam bull + cow, ram + sheep, celebrate the sunrise – the first for Adam. Etching + engraving. 2nd half of the 40s. Inscribed: Joh. Elias Ridinger inv. fec. et excud. A. V. and Gen. 2,8 German-French + Latin verse by St. Ambrose. 15½ × 21¼ in (39.3 × 54 cm).
Offer no. 28,366 / EUR 610. / export price EUR 580. (c. US$ 632.) + shipping
Now Milk and Live Stock in the Fable
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The mindless age becomes contemptuous by childish expression. Elected for his large beard by the animals as their representative the billy-goat behaves himself so foppish over this that he “provokes partly guffaw, partly annoyance. This the artist shows excellently. The badger is rolling with laughter, the stag, the horse, the fox laugh scornfully, the tiger, the striped hyena, and the lynx only now become aware of the foolishness of their choice and revoke it. The monkey though points at him” (Th.). Etching and engraving. (1744.) Inscribed: J. El. Ridinger inv. et fec. et exc., title in German-Latin-French as above. 13⅛ × 9¾ in (33.3 × 24.7 cm).
Thienemann + Schwarz 773; Cat. Darmstadt IV.8 with ills. – Sheet 9 of the fables. – Without the number upper right which is almost unknown but appears later on. – Fleur-de-lis watermark. – In the 2nd half of the 19th century mounted on blue-grey laid paper of the early 18th century with watermark SICKTE together with Jumping Horse Heawood 2790 (Germany 18th Cent. Esp. in Doppelmayr, Sonnen-Uhren, Nuremberg 1719) on which it is laid on loosely now. – Trimmed on three sides on the edge of the wide white plate margin. – Wonderful early impression. – See the complete description.
Offer no. 12,507 / EUR 588. / export price EUR 559. (c. US$ 609.) + shipping
– – – Splendour and grandeur makes no one brighter. A monkey poses as the throneworthy and stag, horse, billy-goat, bear, wolf, hare, Ridinger-hound, and other honest mammals are content with it. But the cunning fox lets the tom-cat become the seducer and the monkey “quite rediculous to all”. – As before. – Thienemann + Schwarz 777. – Sheet 13 of the fables. – Traces of the stitching of binding in the a bit torn left paper margin. A tear touching the title repaired acid-freely. – “A very well done plate” (Th.). – See the complete description.
Offer no. 12,510 / EUR 562. / export price EUR 534. (c. US$ 582.) + shipping
– – – Foolish Conceit about foreign Beauties deserves reasonable People’s Contempt. Zebra, monkey, and parrot travel in a country of which they suppose that foreign things were highly estimated there. Accordingly they boast themselves in view of horse, cow and sheep. And see themselves confronted with reasonable opinions. As before, but etched by the eldest son Martin Elias Ridinger (1731 Augsburg 1780). After 1767. Inscribed: J. E. Ridinger inv. et del. / M. El. Ridinger sc. et exc: A. V., other as above.
Thienemann + Schwarz 783. – Plate 19 of the set. – Extremely rare 3rd sheet of the add on (of four: “they make themselves very scarce”, Th. 1856). – With fine white plate and paper margin. In the latter’s on the left old traces of stitching. – See the complete description.
Offer no. 12,513 / EUR 915. / export price EUR 869. (c. US$ 947.) + shipping
Mountains, Thunderstorm in the. Frightened cattle, goats and asses with a lightning in the back at their footbridge swept away by the torrent. Toned wood engraving by Franz Häussler (Altdorf, Wurttemberg, 1845 – Munich 1920) after an own sketch. (1875-77.) 20.8 x 26 cm.
Though Thieme-Becker and Boetticher mention him as painter only here his inscription in the stock shows a “sc(ulpsit)”.
Offer no. 9,658 / EUR 50. (c. US$ 54.) + shipping
Ritz, Raphael (Brig 1829 – Sitten 1894). On the Alp. Shepherdess with goats and a little kid. Lithograph by August Lüttmann (Hamburg 1830 – Dusseldorf 1882). C. 1865. 19.5 x 15.3 cm. – On mounted china.
Offer no. 15,580 / EUR 98. (c. US$ 107.) + shipping
Schick, Rudolf (1840 Berlin 1887). Herdsboy in the Campagna. Playing the panpipes amongst his goat herd in the poorly overgrown rocky landscape. In the background an estate. Toned wood engraving by or for Adolf Closs, Stuttgart. (1875-77.) Inscribed: R. S. (18)73 / A. Closs X I Stuttg., otherwise in German as above. 17.4 x 24.7 cm. – See the complete description.
Offer no. 10,282 / EUR 50. (c. US$ 54.) + shipping
– – Goatherd. Boy with flute and dog lying on the ground. Wood engraving for Adolf Closs, Stuttgart. (1876.) Inscribed: A. Closs X. I. / R. Schick, otherwise in German as above. 13.5 x 18.8 cm.
BACK: Ceccano. General view of the town situated on the conical mountain top. In front morass. Wood engraving as before, but after Karl Lindemann-Frommel (Markirch 1819 – Rome 1891). Inscribed: Lindemannfrommel, otherwise in German as above. 9.7 x 18 cm. – On both sides concluded/starting local text on Campagna and Lago Fucino resp.
Offer no. 10,283 / EUR 47. (c. US$ 51.) + shipping
And now the Lamb as Bait for Wolves
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). To catch the Wolf in the Pit with the Sheep. Against the scenery of a mountainous landscape with stock of trees the wolf trap with the wheel-topped pole erected in its midst on which a lamb lies whose bleating has baited four wolves, the first of which already falls into the pit. Pen and brown ink with grey wash. C. 1729. Inscribed in graphite on the back: Der Wolf in der Grube zu fangen mit dem Schafe. 11½-11⅝ × 16⅝ in (292-295 × 422-423 mm).
Painterly absolutely perfectly executed splendid work
as the original drawing before its being redrawn in reverse for the transfer into the plate for the equally named etching Th. 41 as the large version of the two wolf pit sheets of the set Princes’ Hunting Pleasures published since 1729 and presumably – cf. Th. pp. 273 + 274, a 41 – originating from the large yet insufficiently described Weigel inventory based on Ridinger’s estate. – On light laid paper with margins up to 17 mm running around. – Pinhead-small little hole, smoothed folds athwart and along resp., and generally somewhat time-marked, yet practically not impairing the image effect characterized by an unchanged freshness of colors. Except for one the former mounting board’s fox spots had only a quite faint effect perceptible on the back only. – See the complete description.
Offer no. 15,450 / price on application
Loups au Carnage, Les. Wolves attacking a flock of sheep and goats in hilly landscape. Toned wood engraving by Jules Huyot (Toulouse 1841 – Eaubonne 1921) after Jules Gélibert (Bagnères-de-Bigorre/Hautes-Pyrénées 1834 – Capbreton/Landes 1916). C. 1870. 11⅝ × 12⅝ in (22 × 32 cm).
Offer no. 6,149 / EUR 118. (c. US$ 129.) + shipping
– – The same in an impression of 1873 without tone plate on lighter paper paginated “37”, though without text on the back, too. 8⅞ × 12½ in (22.5 × 31.8 cm).
Offer no. 11,222 / EUR 91. (c. US$ 99.) + shipping
„ Das Jahr 2014 geht zu Ende. Das gibt Veranlassung Ihnen sehr herzlich zu danken für viele jagdhistorische Informationen mit kunsthistorischem Charakter. Besonders dankbar bin ich für die Beschaffung des Bildes … “
(Herr W. W., 18. Dezember 2014)