Aha , look here , a New Year
Dahl, Siegwald Johannes (1827 Dresden 1902). Roebuck in Winter Forest. Oil on panel. Inscribed: Siegwald Dahl 1880 (below right) + Siegwald Dahl, Dresden Blasewitzer Str. 1. (verso above). 21½ × 25 in (54.5 × 63.5 cm). Under 12 cm wide heavy, most richly ornamented contemp. gilt frame.
Dresden, Kunstverein, 1880
(Fine Hunting Bag — Pictures of Hunting)
Dr. Hanns Simon Foundation Bitburg
January 13 – March 3, 2013
Catalog Book Fine Hunting Bag …
Pages 80, 81 (full-page color illustration) + 147
Thieme-Becker VIII, 274 f.
Allgemeines Künstler-Lexikon XX, 320
Boetticher, Malerwerke des 19. Jhdts.,
Dahl, 49 ( “Roebuck in the Winter” )
The atmospheric picture contemporarily (1891) documented by literature ,
donated by Dahl 1882 for the raffle of the Albert Society (Red Cross) founded in 1867 by Carola von Sachsen, wife of the Saxon king Albert von Wettin (1833-1907, daughter of the Austrian field-marshal prince Gustav Adolf von Wasa & the princess Luise von Baden), first of all especially for the wounded of the 1866 war.
Already at the age of 37 honorary member of the Dresden Academy, was pupil of his father, Johann Christian Clausen Dahl, the animal painter Joh. Frdr. Wilhelm Wegener, and 1843/45 of the Dresden Academy. “In 1851 he visited London attracted by Edwin Landseer, repeatedly Paris and especially Norway, the native country of the father, what stimulated himself to several compositions, too” (Boetticher 1891).
“ D. is above all an animal painter, his Norwegian and German landscapes already technically not coming up to the
excellent depictions from the life of the dogs , horses , roes , birds .
These genre scenes could stand comparison with those of Edwin Landseer in respect of the loving observations …
they even surpass those in color charm .
A not to underestimating influence in this connection D. has excerted on an elder art companion, the ingenious Ferd. v. Rayski, with whom he annually made natural studies on the properties of their friends ”
(Ernst Sigismund 1913 in Thieme-Becker).
The high-grade panel with the mark of quality “Tachet brevete à Paris” pieced on by Dahl 4.5 cm all-round as not unusual
as mark of creative progress during the work
and outspokenly exemplarily known of Rubens. So then also inscribed on the lower/upper separate part only. However with the geared consequence of formation of cracks in the seames, visible also on the image-side, as a result of the working wood. Other fine cracks in the lower part of the flowsheet itself unobtrusively on the surface. The state of the painting decidedly good, the yellowed old varnish took away under partly recess of the signature.
Offer no. 14,555 / price on application
Where the dominance of the contemporary frame
is not welcome as disturbing the ambience alternatively
in timeless craft wood-frame worked in three parts after type of the firm in imitation of a self-produced one of an expressionist per
Offer no. 14,555a / price on application
And now Dahl’s Horses
Put to the Carriage. Young one-horse lively stepping out in slightly outlined landscape with brushwood (?) on the carriage and the Pomeranian first. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil in German as above. 7 × 9 in (179 × 228 mm). – On thin cardboard.
Corresponding with Thieme-Becker’s rating in regard of the portrait drawings :
“ drawings of partly extraordinary delicacy ”.
Offer no. 14,556 / EUR 345. / export price EUR 328. (c. US$ 379.) + shipping – See the complete description.
Accompanies the Mother at Work. Foal left-sided to the mare, harnessed alone to a two-horse milk-float, both in lively run and the Pomeranian on the box. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise in pencil in German as above. 7⅛ × 9⅛ in (182 × 232 mm).
On very thin paper mounted on thin cardboard, of which the left white lower edge has loosened. – The quality as before. – See the complete description.
Offer no. 14,557 / EUR 370. / export price EUR 352. (c. US$ 407.) + shipping
Can lie down no more! Two horses in the stable, the left of them cannot lie down anymore like the other. Beyond a ledge occupied by poultry a staircase leads to the heyloft. Brush with wash in black. Inscribed: S. Dahl (18)99 (brush), otherwise in pencil as above in German. 6⅞ × 8⅞ in (175 × 225 mm). – On thin cardboard. – Warmly felt sujet. – See the complete description.
Offer no. 14,559 / EUR 370. / export price EUR 352. (c. US$ 407.) + shipping
Broken down and now recognized by the cavalryman who is sent away by the driver though! The cavalryman at his former horse now broken down in the harness of a two-horse carriage highly loaded with stones. Depressed old and young form the front. Pen in black. Inscribed: S. Dahl (18)99 (pen), otherwise per four-liner in pencil in German as above. 6¾ × 8⅞ in (173 × 225 mm). – On thin cardboard. – In all parts of rich power of narration. – See the complete description.
Offer no. 14,558 / EUR 378. / export price EUR 359. (c. US$ 415.) + shipping
What means New Year here after all ?!
A Lucky Boar one must be …
Schleich, August (1814 Munich 1865). Troop of Boars. Group of four on clearing in the mountain forest with the capital boar in important dominance in the center to the left where a sow rests and a further one stands behind it while on the right a heavy beast runs downwards. Watercolor in especially richly differenciated grey and brown tones with black lights on grey tone paper. Inscribed lower left: A. Schleich (18)49. 8⅝ × 11⅞ in (22 × 30.3 cm).
Laid by old on braided mounting carton with “A. Schleich” in the upper center and on this fixed above completey with the result of a weak waving and below right per point.
Topping , colorfresh sheet ,
appropriately claiming what Nagler noted contemporarily in respect of the 1840/41 set of lithographs “Studies of Game Animals”:
“ Also in molding and perfection
these sheets are to be praised ”,
“ (Schleich) yet expressed a special partiality for the depiction of animals, in which he has brought it already to a not ordinary level of perfection … (His works) deserve to be praised not only as a result of the skillful treatment, but
especially because of the characteristic interpretation
of the animal nature .”
And Hyacinth Holland correspondingly in review in 1890 in ADB:
“ In doing so he reached a perfection and truth which assigns him
one of the first places among the game draughtsmen
of his time ,
while he didn’t possess the required patience for the execution in oil to work himself way up on the same level of perfection … As formerly at the beginning of his fame at last S. delivered his productions also again on the pothouse, which temporarily formed studio and home for the artist, whose originality perhaps got going again all the fairy-tales and legends of Adrian Brouwer, Jan Steen and others of this stamp. ”
Offer no. 14,560 / EUR 2100. / export price EUR 1995. (c. US$ 2306.) + shipping
… and a Thick Skin into the Bargain !
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Four plates elephants. Four sheet. Etchings after Philipp Ferdinand Reichsfreiherr von Gudenus. 1741/1744. Inscribed: P. F. v. G. ad viv. del. 1741. / I. E. Ridinger sculpsit A.V. (2-4), otherwise in German as below. 11⅞-12 × 8⅛-8¼ in (30.1-30.4 × 20.7-20.8 cm) and, sheet 4, 8⅛ × 11⅞ in (20.6 × 30.2 cm) resp.
Thienemann + Schwarz (ills. I, plate 16) 537-540; Thieme-Becker (Gudenus), XV, 191. – Watermark Great Fleur-de-lis (pl. 1) and Great Crown with initials A M in the inner ring (pl. 3) resp. – On strong laid paper with excellent wide margins of laterally 7 and 9-11.5 cm top + and bottom. The feeble, smoothed centerfold perceptible in the white margin only. The title sheet quite minimally dusted as with regard to the preserved stitching almost inevitable.
Elephant Leader (together title sheet). – An Elephant in highest harness to be seen from front. – A walking Elephant to be seen laterally. – An Elephant pegged up in the Lair, laying down, or standing up.
The Elephants of Gudenus ,
by their original crosswise stitching in the upper margin :
One of the rarer Small Special Sets of the Œuvre
Philipp Ferdinand von Gudenus (1710-1783), Palatinate Mayence minister at the imperial and royal court at Vienna, high princely Bamberg and Würzburg Privy Councilor and together with his brothers raised to baron of the Reich in 1730, stayed as secretary of the imperial embassy in Turkey in 1740/41. After his drawings the 30-sheet “Collection des Prospects et Habillemens en Turquie” with the view of Constantinople from three plates engraved by Le Bas in Paris was published. Beyond this he etched himself some small landscapes with camels and Turks, inscribed with G. P. v. G. 1741 (and 1744).
After his descriptions Ridinger worked the also 4-sheet Harnessed Turkish Horses (Thienemann 594-597), too, to which he added an explanatory letter by Gudenus dated Constantinople 1741. The elephants here “drawn from life in the Persian field camp near Scutari in the year MDCCXLI of the grand emissary coming towards Constantinople … by P. F. von Gude…”.
The living dates – 1681-1716 – taken from the genealogical table published by Heinrich Count Gudenus in 1909 already criticized by Schwarz as hardly correct and today to be seen as dated.
The use of designs and descriptions by Gudenus as evidence of the far-reaching connections Ridinger was able to use without own extensive travels an additional charm of the
evenly fine impressions as with these wide margins
and with moreover still original stitching
not often available on the market .
Offer no. 28,644 / sold
But foremost …
… the Hunt goes on !
– – – The Stag is taken up by the Piqueur the whole pack brought onto the track by those fens and loosened according to their herds. On the left the stag breaks through the underwood of the thick forest, already almost reached by the first hound and two horsemen, the piqueurs, close to him. The remaining pack with noses on the ground following hollows from the center as from the right and followed themselves by the hunters. Etching and engraving. Inscribed: J. E. Ridinger del. sc. et exc. A. V., otherwise in German as above. 12⅜ × 19⅛ in (31.5 × 48.5 cm).
Thienemann + Schwarz 57; Weigel, Art Stock Cat., 4a + 16545 (“old now only seldom occurring impressions”, 1847!); Stubbe, Johann Elias Ridinger, 1966, pp. 15 f. – Sheet 9 of the Par Force Hunt of a Stag, together title of the third part of the set (“The Par Force Hunt’s 3rd. Part.”). – Extensive 7-line caption in German.
The whole Picture Variety
of this “Late Imposing Series”
Marvelous impression on buff laid paper with typographic watermark with margins laterally 7-7.8, top and below 5.2-5.4 cm wide. – Both the two stitching holes from the publishers in the left margin backed acid-freely, just as a small tear off at the right and tiny holes in the fold traces of former narrow folding of the lateral white margins.
As a whole this “late imposing series of the par force hunt” is for Stubbe, till 1969 Supreme Custodian of the print room of the Hamburg Art Gallery,
an absolutum of harmony and ripe mastership
as he explains by example of its sheets 8 + 12 (Th. 56 + 60) in comparison to the corresponding ones of the early “Princes’ Hunting Pleasure”. Accordingly, too, Rolf Biedermann:
“ … in the … ‘Par Force Hunt’ … the compactness of the picture setting by homogeneous light effect and greater approximation of tone values prevails. Added a more deep-spaced formation of the landscapes and a closer clamping of the composition of figures ”
(Ridinger Catalogue Augsburg 1967, p. 3 of the introduction). – It belongs
“ to the most wanted works by our master ,
all the more as after the abolition of the par force hunt it even got a historical value ” (Th.) – and shows in four parts
the complete course of a classic par force hunt
whose inventor, according to Döbel, Saint Hubert “shall be” – see on this in general as in detail Gisela Siebert, Kranichstein, 64 f. – and whose respective stations are explained by the extensive caption.
“ In the fast pursuit of the stag by the pack and the mounted hunters, in his distinction from the other deer and in finding again the lost trace charm and meaning of this hunt were based. ‘It is the same an amusing and pleasant hunt for those who enjoy riding, want to hear the sound of the hounds, and estimate the blowing, as in which actually the hunt consists of’ … Döbel writes in his … ‘Jäger-Practica’. The par force hunt requested excellent huntsmen … who had to be at the peak of hunting training of their age, had to know the hunt and ‘correct signs’ of the stag, command their horse, work with the hounds, and blow the horn ”
(Siebert, op. cit., 56).
So about the rank of the set there is unanimity in the old as in the present literature. From Nagler’s rating of 1843
“ One of the most beautiful works by Riedinger ”
over Thienemann’s and that by W. Schmidt in Allgemeine Deutsche Biographie (XXVIII, 507) of 1889 up to count Solms-Laubach’s remark of 1961 considering the engraving of the “Starting Stag” illustrated by him :
“ … one of the large sheets of his set of a stag hunt …
that belongs to his best works ”.
Of the preparatory drawings three are dated from 1746 (Th. p. 274, folder I, b to Th. 49 and one not engraved + Schwerdt III, 216, bottom 1 to Th. 60) as well as one from 1750 (Schwerdt, as before, 2 to Th. 56), both the latter as variants.
Offer no. 14,552 / sold
And what else ?
Also in the New Year one still has to learn
Zehentner, Joseph Christoph (Ed.) (Short and Distinct Instruction for the Direction of a Young Gentleman in Riding, in such a manner that he can ride his horse from hand to hand, or change at any time.) In German. 3rd ed. Frankfort/Oder, Anton Gottfried Braun, 1769. 12 unpag. ll., 152 pp., 20 of which as appendix “(From the Bridling)”. With
9 ( 8 fold out ) engravings , 6 of these on bites .
Dark brown half leather with 5 ornamental raised bands in the style of the period and marbled boards, leather corners with brownstamped lines and adequate title on the back as well as flower stamps in the other fields.
Not in the catalogues of hippoligical collections Anderhub + Sarazin (1963 and 1999 resp.). The latter only recording Zehentner’s publication on horse breeding in second edition of 1770. – Name on title, several notes and marks and underscores by old hand in ink, red + black pencil. Sheet 115/6 tiny defect in the white lower margin backed acid-freely. The quite faint tidemark at the beginning as well as isolated brown and slight foxspots without impairment of the general impression of a clean, fine copy. – The folding plates arranged so that the subject can be seen completely and parallel to the text if folded out.
Zehentner was royal Prussian equerry and director of the royal Knight’s Academy at Berlin and Frankfort/Oder.
Offer no. 14,551 / sold
But then ? But then you see
Brazil’s prodigal Magnificence
Rugendas, Johann Moritz. Malerische Reise in Brasilien (Voyage Pittoresque dans le Brésil). Paris, Engelmann, (1827-)35. Large folio (sheet size 13⅝ × 19⅞ in [34.5 × 50.5 cm]). 2 ll., 50, 38, 56, 32 pp. With
100 coloured lithographs
after Rugendas. Full-size facsimile in the original colours enlarged with 8 ll. summary in Portuguese (9 pp.) and index (5 pp.) + imprint. 1986. Orig. h. leather with marbled covers and gilt edges in the orig. natural (light-grey) cloth Solander box (Schumacher Inc. Berne).
Out of print – the last copy sold here lately !
But a second-hand one just came in .
And that with the original Solander box !
No. 555/950 copies of the ordinary edition (total edition 1050 copies). – Two plates (pt. IV, 15 + 16) with quite weak fold in the wide white right margin, otherwise impeccable.
The wonderful suite perfectly reproduced
in a special screenless phototype process. – Subdivided in landscapes – portraits and costumes – manners and customs of the Red Indians – life of the Europeans – manners and customs of the Negroes . – Published by Gottfried Engelmann (1788-1839), who had introduced lithography in Paris in 1816 after having learned that at the inventor Senefelder himself in Munich. – Text in German.
The wonderful yield of Johann Mori(t)z Rugendas’
(Augsburg 1802 – Weilheim 1858) first voyage (1821-1825), which he started together with the Russian Privy Councillor and Prussian consul general in Rio de Janeiro, Georg Heinrich von Langsdorff, into the interior of Brazil to capture the peculiarities of the country. Though this connection did not last it was the beginning for his multiple decades-long own voyages through Central and South America resulting in a plenty of drawings “of highest interest. In the characteristic and natural representation of humans, animals and plants of strange, first tropical countries only few could be placed at his side”. And already the work here
“ … made the artist famous, (its illustrations) showing humans and animals, districts and the luxuriant vegetation of that country in full truth and faithfulness ”
That it remained his one and only publication gives it it’s infinite value .
Offer no. 28,642 / sold
– – A New Copy (No. 14/950) in the original Solander box available.
Offer no. 29,055 / EUR 1580. / export price EUR 1501. (c. US$ 1735.) + shipping
„ vielen Dank für die Information und die Zusendung der Broschüre … Ich sammele seit Jahren Galeriewerke … Mir ist die Seltenheit des ‚Cabinet du roi‘ und auch die ensprechende Qualtät des angebotenen (fantastischen) Bandes bewußt … “
(Herr M. S., 23. Mai 2015)