Falcons & Falconry
“ … objects concerned with hawking
always have been of greatest rarity … ”
“ Beside the landgraves of Hesse it were foremost Elector Clemens August …
and Margrave Charles William Frederick of Brandenburg-Ansbach
who have owned large falcon courts ”
L´AIR — The Air
The Falconer with the Hooded Falcon
Teniers II, David (1610 Antwerp 1690). The Four Elements in Large Figures. Set of 4 sheet in engraving at Johann Georg Hertel I (1760 still alive) or II in Augsburg. Inscribed: D. Teniers, pinx. / (publishing no.) 37 / Ioh. Georg Hertel, exc. Aug. V(ind[el].) / 1. (to 4.), as well as the sheet’s title along with quatrain. C. 8⅝ × 5¾ in (22 × 14.7 cm).
Not in Schwerdt, who owned solely the falconer sheet (L’Air) from Gaetano Testolini’s (flourishing in Paris & London about 1760 – after 1818) set of equal-sized engravings in reverse which, however, lacks the verses (Schwerdt III, 170). – As the set’s entry sheet, accompanied by two dogs, leaving the hamlet behind,
the falconer with the hooded falcon on his right hand .
The further elements represented by the fisherman pulling the big fish behind à la Tobias with the Angel (L’EAU – The Water) , the two blacksmiths at forge & anvil (LE FEU – The Fire) as well as the peasant with spade together with, laterally set back smaller, two men cutting down grain with sickles and a woman working on the ground (LA TERRE – The Earth).
As supposed pirate copy after Jacques-Philippe Le Bas’s (1707 – Paris 1783; Le Blanc 138-141; IFF 352-355) likewise equal-sized set of engravings in reverse again in same direction as Teniers. – The white margins above & below c. 8-8.5 , laterally c. 4-4.5 cm wide. In the white upper margin of the falconer sheet isolated quite feeble little spots, with the peasant sheet faint grey spot in the right white margin as well as backed little tear. – See the complete description.
Offer no. 15,785 / EUR 670. / export price EUR 637. (c. US$ 779.) + shipping
Burgundian Prince + Princess, in the early XVth century. Full-length portraits to the left. He with scepter, she with falcon. 2 sheet. Colored woodcuts by A. Kunz (?) after August von Heyden (Breslau 1827 – Berlin 1897). (1877.) 8⅛-8¼ × 5-5¼ in (20.5-21 × 12.8-13.2 cm).
Offer no. 6,346 / EUR 118. (c. US$ 144.) + shipping
Royal Heron Hawking
Hawking of Sun-king Louis XIV. In deeply staggered hilly picturesque woodland scenery the latter mounted front right and obviously just joined up as on the left a mounted group of three and a further huntsman give cheers for him. At the king’s side reporting mounted falconer as well as one on foot with hooded falcons on the right and left resp. Belonging to this group a further one already riding ahead, while backout in the middle distance three hunters, one of them mounted, appear from of a valley. In the air a falcon above the heron, rather on the ground five hounds in various attitude. Etching at Henri Bonnart (supposedly II; 1642 Paris 1711 [Th.-B.] or 1718 [Beall F8]). Inscribed: Chez H. Bonnart, rue S.t Jacques / avec Priuilege du Roy. 9⅜ × 12¾ in (23.7 × 32.5 cm).
Rich sheet of fine format
by a supposed anonymous, although all of the extended family of the Bonnarts were engravers themselves, too. Eligible here possibly also Henri’s father, Henri I, likewise active as publisher and deceased there 1682. In various houses in the rue St. Jacques also the brothers of Henri II, Nicolas and Jean Baptiste, domiciled. – Typographic watermark. – Margin of 0.6 and 1 cm resp. on two sides each. – Three pinpoint little holes at the lower edge of subject imperceptible.
Offer no. 15,829 / EUR 980. / export price EUR 931. (c. US$ 1139.) + shipping
Verschuring, Hendrik (Gorkum 1627 – near Dordrecht 1690). Resting hunters, partly dismounted, with their hounds in front of an inn. One of them with a falcon in his right and enthusiastically accompanied by his dog hastening into the landscape (probably the Roman Campagna). Brush-drawing in several shades of grey wash and a little black over traces of black chalk. Inscribed at lower left with the grey brush: H. verschuring. f.. 9⅞ × 13¾ in (250 × 348 mm).
Friedrich Quiring, Eberswalde, with both his stamps lower right on the enclosed former mounting resp. (Lugt 1041 b & c: deux marques ci-contre la première servit jusqu’en 1920, la à partir de 1921. Elles figurent seulement sur les feuilles).
Also technically characteristic, pictorially executed work by this master influenced in his horses by Ph. Wouwerman, whose own horse drawing in turn had followers especially in North Germany (see Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jhdts., 2nd ed., p. 220). Unmistakable yet also in his dogs and the easiness of the composition.
“ Of the many artists under the Italian sun here only the better known can be mentioned. In the forties we meet in Rome … H. Verschuring … ”
(Gerson op. cit. p. 165).
Corresponding with the paper tone the mostly but fine foxing of especially the sky part little impairing only. The acid-free passepartout with 23-carat gilt tooled artist’s name and dates.
Offer no. 28,863 / price on application
Bergmüller, Johann Georg (Türkheim, Swabia, 1688 – Augsburg 1762). IOH. ELIAS RIDINGER / Pictor et Scalptor (sic!) Augustanus / solertissimus Naturae Indag(ator) / ejusque in Animalium praeser(tim) / Delineatione Æmulator / felicissimus / natus Vlmae Suevorum / d. XVI. Febr. A.S. MDCXCVIII / Ars Artifici(s) Amic(us). Half-length portrait, sitting, with brushes + palette as medallion in easel mirror held by Diana sitting to the right, seeing before the artistic eye a royal stag already on the canvas as it lies together with a boar as Diana’s bag below a pedestal. Sitting on the latter and intimately turned to the master
a hooded falcon together with lateral hawked heron
as well as shot wild goose. And center below a Ridinger hound for sure. The whole set before woody background. Mezzotint by Johann Jacob Haid (Kleineislingen 1704 – Augsburg 1767). Inscribed: I. G. Bergmüller invent. / I. Iac. Haid ad vivum pinx. fecit et excud. A. V., otherwise as above. 15⅝ × 10½ in (39.7 × 26.7 cm).
Thienemann XX, 2; Schwarz, portraits, 3 + ills.; Le Blanc 94; Helbing XXXIV (1900), 2; Schoeller Collection 523 („Very fine mezzotint … Rare“; 1921); Schwerdt III (1928), 133; Ridinger exhibition catalogues: Augsburg (1967) 81 + ills. 1 as well as 82; Kielce (1997) 1 + frontispiece; Darmstadt (1999) I.2 + ills. – Niemeyer, (The Vanitas Symbolism with Joh. El. R.) in L’Art Macabre 2 (2001), 94 ff. – Not in the Coppenrath Collection (1889/90) + at Rosenthal (1940).
The rich beautiful portrait by the former pupil
who stayed on with Ridinger as journeyman since 1726 for a couple of years and created the painted version in 1744 (canvas, 26 × 18⅞ in [66 × 48 cm], Art Collections Augsburg, inv. no. 8610) which in turn then served Bergmüller together with the head of a hound from a drawing by Ridinger from 1728 as model that then Haid again transferred into the copper, which double authorship of Haid additionally to his long-standing nearness to the master secures the sheet its special original rank. The head of the stag sketched here in the easel mirror in outline only as for the time being spiritual vision only is fully executed in the oil. Bergmüller’s in this regard backward directed execution surely not of accidental nature, rather, also in conformity to the artist’s expression, elucidating the process of creation.
“ It is one of numerous mezzotint portraits of Augsburg artists (Haid as)
in this field leading master of the germanophone art sphere
designed together with Johann Georg Bergmüller. The latter created the framing composition in each case ”
(Anke Charlotte Held, Georg Philipp Rugendas … Gemälde und [selected] Zeichnungen, 1996, pp. 28 & 34).
In this connection the equally designed portrait of the famous guild colleague Georg Philipp Rugendas I likewise worked in mezzotint by Haid after Bergmüller should be recalled, too.
of this just optically already that great sheet
with margins laterally 2 , top + below 2.5 cm wide
as for the velvety mezzotint allowing by the way only smallest satisfying editions (Sandrart 1675: „50 or 60 … clean impressions“) expressly worth mentioning. – From the front only partially lightly noticeable weak lateral pleat on the level of the lower pedestal. The white margin only touched by a little smudging.
Offer no. 15,185 / EUR 1200. / export price EUR 1140. (c. US$ 1394.) + shipping
Count Brühl’s Heron Hawking
Falens (Valens), Carel van (Antwerp 1683 – Paris 1733). Prise du Héron. Court party arriving for and opening hawking before greater place in a differentiated mountain-valley-water landscape. Already a front couple follows the imminent thrust of their falcon, while a second heron goes off. Front left bathers, on the right a party making music and centrally set back shepherd scene. Engraving by Jacques Philippe Lebas (1707 Paris 1783). Inscribed: C. Van Falens pinx. / PRISE DU HÉRON. / JC: Ph. Le Bas Sculp. … a Paris chez lauteur graveur du Roy au bas de la rue de la Harpe 1745, otherwise as below. Sheet size 18¼ × 24¾ in (46.5 × 62.9 cm).
Wurzbach I (1906), Falens/Lebas 4; Thieme-Becker, Falens, XI (1915), 227 (Dresden: Departure for Heron Hawking) & Lebas, XXII (1928), 498; Schwerdt III (1928), 95 (first state from 1741; beautiful engraving; 18½ × 25 in [47 × 63.5 cm]).
Rich large sheet in the second state following only four years after its first state with the new caption on both sides of the centered coat-of-arms documenting the meanwhile change of ownership of the painting
“ Tableau qui est dans la Galerie de S. E. Mgr. le Comte de Brühl Chevalier de l’Ordre de l’Aigle Blanc Ministre d’Etat et du Cabinet de Sa Majesté le Roy de Pologne Electeur de Saxe. ”
Per the 1741 first state the painting still was in the artist’s estate (Tiré du Cabinet de Madame Van Falens à Paris …) and the caption of the print refers beside likewise centered arms A Monsier Mead Medecin de Sa Majesté Britannique and furthermore Latin-French quatrain.
On three sides lined with frame-like multi-part border 1 cm wide, with the sheet trimmed to the outward finishing line, below correspondingly at the lower edge of the arms. Within the border on the left a small tear of ⅜ × ⅛ in (1 × 0.3 cm) still without the actual framing. The smoothed center fold not perceptible on the front, though quite feebly a slight fold trace along the left edge of the subject and a faint brown spot in the white caption field far left, as then generally of not entirely faultless preservation, but – on the proverbial sturdy French paper with typographical & figurative watermark –
the print itself in its richness of contrast defined by its chiaroscuro .
Offer no. 16,075 / EUR 1300. / export price EUR 1235. (c. US$ 1511.) + shipping
Tischbein II, Johann Heinrich (Haina, Hesse 1742 – Cassel 1808). A Goshawk which captured a Duck. The moment of striking in the reeds. Etching. 5⅛ × 6¼ in (13 × 16 cm).
Sheet 42 of the Tischbein set of the “Fair Game” of 1827 – Lindner 11.2083.01; Schwerdt III, 173 – , as a compilation mounted in points of throughout old till earlier impressions. – Trimmed to platemark. Small paper scrape off reaching 4 mm into the left image margin. Here and there little foxing spots.
Offer no. 14,904 / EUR 146. (c. US$ 179.) + shipping
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. – See the complete description.
Offer no. 12,101 / EUR 620. / export price EUR 589. (c. US$ 720.) + shipping
Oiseaux de Proie, Les petits. Partridge chicken together with the hen at a quiet water threatened by a bird of prey. Toned wood engraving by and after Trichon Monvoisin + Frédéric Théodore Lix (Strasbourg 1830 – Paris 1897) resp. C. 1870. 12⅜ × 8⅞ in (31.5 × 22.4 cm).
On sturdy paper. – The wide white margin here and there feebly foxing.
Offer no. 12,012 / EUR 176. (c. US$ 215.) + shipping
Oudry, Jean Baptiste (Paris 1686 – Beauvais 1755). Goshawk in driving attack on ducks in the reeds. Etching by Johann Heinrich Tischbein II (Haina 1742 – Kassel 1808). (1773.) 7⅛ × 9½ in (18.2 × 24.2 cm).
Sheet 40 of the Tischbein set of the “Fair Game” of 1827 – Lindner 11,2083,01 with erroneously Joh. Hch. I Tischbein as author; Schwerdt III, 173 – as a compilation mounted in points of throughout old till earlier impressions. The one here from the collection of the legendary Dr. Strousberg at Berlin und now unmounted. – Back parially weakly browned. – Oudry’s fine sujet of 1733. – Signatures and dates presumably taken away and not “before all letter” as catalogued partly.
Offer no. 14,903 / EUR 253. / export price EUR 240. (c. US$ 294.) + shipping
Atkinson, John Augustus (London 1775 – after 1818/33 or even 1861). Shooting a White Hare at Tornio (Finland). The falcon just swooping down upon the fugitive hare while two hunters wait in a fir-thicket before a scenery of pointed icebergs. Aquatint by Matthew Dubourg (fl. London 1808-38) in the original coloring. Inscribed: Atkinson del. / Published & Sold Feby. 1st. 1813, by Edwd. Orme, Bond St. London. / M. Dubourg sculpt., otherwise as above. 7⅛ × 9⅛ in (18 × 23.2 cm).
Tooley 225, 79; Thieme-Becker II, 212; Nagler I, 179 f. ( “excellent English painter and draughtsman living in Russia for a long time who worked wonderful pictures“ ). – From the 1819 2nd edition of FOREIGN FIELD SPORTS , Schwerdt I (1928), 177 ff.: „The coloured plates … are fine, both as regards draughtsmanship and colouring … (The book) is sure to increase in value … “.
Offer no. 11,775 / EUR 115. (c. US$ 141.) + shipping
A Stronghold for instance once was the Marienburg
“ … even resulted in contacts with the Teutonic Knights
who sold the falcons from the Marienburg ”
(Lohmann, [Landgrave George I and the Beginnings of the Hunting Seat Kranichstein], no year, p. 53)
Marienburg, The. View of the castle. Wood engraving for R. Henkel after a photograph by Gustav (?) Fademrecht, same place. (1886.) 3¾ × 4¾ in (9.4 × 12.2 cm). – Continuous local text on both sides.
“ If temporally and financially it is not worthwhile to send special reporters … however, on the other hand the effort prevails to ‘illustrate all remarkable events by pictorial representation’, so (more and more it has to be resorted to copies) which are available in increasing numbers: photographs. Not only their more effortless availability, also the changed taste of the audience helped photography to growing importance in xylography …
Photography as new invention
becomes that interesting for the general audience that it puts its stamp on other traditional illustration techniques, too ”
(Osteneck, Zur xylographischen Darstellung im 19. Jahrhundert, in Lüneburger Beiträge zur Vedutenforschung, pp. 120 ff.).
Offer no. 9,429 / EUR 25. (c. US$ 31.) + shipping
Marienburg, In the Master’s Great Dining-Hall at. Interior view of the great hall with rich figure scenery and look at the window front. Wood engraving after Johannes Gehrts (Hamburg 1855 – Dusseldorf 1921) for Adolf Closs, Stuttgart. (1880/81.) 6½ × 5¾ in (16.5 × 14.5 cm). – Continuous local text on both sides.
Offer no. 8,442 / EUR 47. (c. US$ 57.) + shipping
Was Ridinger shy at Confrontation with the Own Work ?
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Innocence suppressed by an Invent Pretext. A hare escaped from three dogs on a rock falling a victim to a wonderfully feathered falcon swooping down. Etching and engraving by Martin Elias Ridinger (1731 Augsburg 1780). After 1767. Inscribed in the plate: J. El. Ridinger. inv: et del. / M. El. Ridinger. sc. et exc: A. V., otherwise as above in German, Latin, and French. 13¼ × 9¾ in (33.5 × 24.9 cm).
Thienemann + Schwarz 784. – Plate 20 as the final of the splendid fable set in a quite wonderful impression probably watermarked WANGEN along with a figurative label. – With 5-27 mm wide margins all-around. – The repeated “.” after Ridinger not quoted by Schwarz. Instead of the “:” after “inv” here there only a full stop and instead of the “:” after FABUL mentioned by Thienemann + Schwarz for plates X ff. here always only a full stop.
The extremely rare last sheet numbered by the master as “Fab 31” on a side-inverted preparatory drawing with one dog more traded here. This in accordance with Thienemann who mentioned p. 151 a fable drawing numbered 30, which had not been worked in copper. Both numbers show that the master planned more than 20 motives at first. But already the last four were engraved and published posthumously only by his eldest son. This also may be the reason for their scarceness.
In Thienemann’s opinion these last four are of less artistic value what is seen here contrary. The partly superabundance of the preceding 16 sheet had been given up in favour of extensive lucidity formulated in superior style. Especially the 20th offered here, but still more the 17th fable, are, seen from today, examples of a remarkably advanced artistic expression towards a “new realism”. Assumed, also the 30th fable seen by Thienemann and possibly further more among the unnumbered and not engraved drawings mentioned by him only globally would correspond with this new direction, so this could be the reason for having completed the set as a torso of 16 sheet only. Because shying the confrontation with the own work in addition to his day’s work. For a flop the set was in no way as the several printing-states of the title illustrate. But also conceivable that the master quite prosaically had only lost the interest in continuation. As documented for the large set of the Most Wondrous Deer for the mid fifties by Jan Hendrik Niemeyer in his (Johann Elias Ridinger’s Most Wondrous Deer – Origin and Development of a Set).
Undoubtedly, however, the scarcity of this only posthumously published four-sheet set stated already by Thienemann in 1856: they “make themselves very rare”. And in his Ridinger Catalog (XXXIV, 1554 items!) Helbing qualified in 1900: “The last (4) numbers are extremely rare.”
And the moral of this fable itself the great Brockes in Hamburg summed up it with the faithful words printed separately:
“ Enough, one charges the poor with things he never had done. / The impudent rage of the mighty birds hits often overmuch the weak hare!”
One may take notice of the fact that Ridinger father had asked Brockes, who died already in 1747, for the text of a fable which he never then has published himself. Compare the “mighty” passage addressed here with Brockes’/Ridinger’s daring social criticism forwarded with the four plates Th. 716-719 of the 8-sheet set Fights of Killing Animals, called also The Big Fives, published also only long time later in 1760. More to these within the Dresden Address The Minimized Ridinger hold on the ceremonial act of the Technische Universität Dresden in honour of the 300th Ridinger birthday at Grillenburg Castle in 1998.
Offer no. 12,514 / EUR 1007. / export price EUR 957. (c. US$ 1171.) + shipping
Nimrod of Hunting Collectors of all Ages
The Unrivaled Catalog
Schwerdt, C. F. G. R. Hunting, Hawking, Shooting illustrated in a Catalogue of Books, Manuscripts, Prints, and Drawings Collected by (himself). 4 vols. London, Waterlow & Sons for the Author, 1928-37. Reprint. With an introduction by Kurt Lindner in English-German parallel text. 1985. 4to. With
382 partly folded (2 double full-page) plates .
The as rich as magnificently illustrated catalog, published then in a lavishly designed private print of just 300 copies whose printing plates were destroyed afterwards, and which since long is an as dearly wanted as highly paid trouvaille.
Dissolved in 1939, the legendary and unrepeatable collection comprised the hunt in all its manifestations. Shown in rare plenty of precious manuscripts, rare as common books, rare prints, admirable drawings and pictorial originals. And this multitude so carefully cataloged by his wife Mathilde that the visual pleasure about the rich plate material is complemented by the usability as judgmental solid bibliography.
“ The Schwerdt catalogue ranges from early works to those of the present century, mainly from European countries, but also from America and Asia. It is a scholarly work, its contents expertly collated, with informative notes on many items ”
(Snelgrove, British Sporting & Animal Prints 1658-1874, A Catalogue of The Paul Mellon Collection, p. IX).
The bibliophile magic of the original catalog this slightly reduced reprint shall and cannot pretend. Nevertheless it is inevitably more than just the indispensable bibliographic aid closing a dire gap. For due to its complete plate part it is at the same time the reflected glory of the absolute.
Offer no. 28,308 / EUR 498. / export price EUR 473. (c. US$ 579.) + shipping
„ im Internet habe ich in Ihrem Katalog das vorgenannte Werkverzeichnis … gefunden …
Mit Interesse habe ich auch Ihren offenen Brief an die Herausgeber der Frankfurter Allgemeine Zeitung vom 24.7.2003 gelesen, zumal ich (bei früherer Gelegenheit) … mir … von der Frankfurter Allgemeine Zeitung den Vorwurf des ‚Kulturglobalisten‘ gefallen lassen mußte … “
(Herr A. G., 8. Dezember 2003)