Farewell , Bruno

From  the  Life  of  an  Austrian-German  Bear

( He  came  and  poached , so  he  had  to  die )

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Bear in the Lair sucking on his Paws. Bruno calculates roughly his chances in practicing the Schengen Treaty as “Great European” (Austria’s chancellor Schüssel in well-deserved obituary). Etching + engraving. (1738.) Inscribed: J. E. R. / N. 41., title in German as above. 7¼ × 5¾ in (18.3 × 14.7 cm).

Johann Elias Ridinger, The Bear in the Lair sucking on his Paws

Thienemann + Schwarz 431. – Sheet 41 from Design of Several Animals ( “These plates are much wanted and frequently copied”, Th. 1856, Bruno by the way was much wanted for weeks, too). – Wide-margined impression of the 1st edition.

Offer no. 7,299 / EUR  202. (c. US$ 244.) + shipping

– – – Posture of a Bear just when he starts to march down a Mountain. Bruno sets out for his ramblings. Etching as before. Inscribed: J. E. R. fec. / N. 40. – Thienemann + Schwarz 430; Catalogue Darmstadt III.5 with ills. – Sheet 40 of the set.

Johann Elias Ridinger, Posture of a Bear just when he starts to march down a Mountain

Having weak eyes “(He has) taken the head between the paws and is about to tumble himself down a height. ”

Offer no. 7,298 / EUR  217. (c. US$ 263.) + shipping

– – – The Bear looking for Honey. Bruno’s search for the true + fine. As before. Inscribed: J. E. Ridinger inv. fec. et exc. Aug. Vind. / N. 39. – Thienemann + Schwarz 429. – Sheet 39 of the set.

Johann Elias Ridinger, The Bear looking for Honey

“ Sitting beyond a hollow trunk in which a swarm of bees resides and trying to get rid of the bees (buzzing all around) stinging him in the face. ”

Offer no. 7,297 / EUR  217. (c. US$ 263.) + shipping

– – – The Bear frightened. Bruno before his den confronted with a snake dating its tongue. EVE! Isn’t that the name of the saucy dairymaid up there at the hut-keeper? As before.

Johann Elias Ridinger, The Bear frightened

Thienemann + Schwarz 432. – Sheet 42.

Offer no. 7,300 / EUR  217. (c. US$ 263.) + shipping

– – – A Bear consuming his Prey. Bruno under a strong trunk in the forest over a simple roe. If that isn’t allowed anymore! As before.

Johann Elias Ridinger, A Bear consuming his Prey

Thienemann + Schwarz 434. – Sheet 44.

Offer no. 7,302 / EUR  228. (c. US$ 276.) + shipping

– – – An American Bison as he fights off the attacking Bears.

Johann Elias Ridinger, Bears attacking an American Bison

Look, Bruno, even such an original beast from the other side of the pond the good fellows allow themselves for their renaturalization program. But just one against three of my own kind, of which two already are quite knocked out. Bruno, life is not harmless in case you come across the right one. You better stay on mountain tops. Here then at least a light grotto with fine vista of a vastness interrupted by two rock formations. Etching and engraving by Martin Elias Ridinger (1731 Augsburg 1780). Inscribed: XVIII. / Ioh. El. Ridinger, inv. et del. / M. El. Ridinger, sc. A. V., otherwise in German as above. 9⅞ × 13⅞ in (25.2 × 35.2 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.

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

with  the  Roman  number

(“If they are missing, so this indicates later impressions”, Th.).

Offer no. 16,103 / EUR  1176. / export price EUR  1117. (c. US$ 1351.) + shipping

Bruno , Family  Life
probably  wasn’t  all  that  bad  after  all …

– – – The Bears have Two, rarely 3 Cubs; reach their Size in the 5th Year; live more than 20 Years. 7-headed Bruno 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).

Johann Elias Ridinger, The Bears have Two, rarely 3 Cubs

Thienemann (“A peerless group of bears”) + 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

Bear Pit in Berne. This one you might visit as well. But just have a look from the outside, Bruno. Downright four fools “communicating” with gapers. Wood engraving after Friedrich Specht (Lauffen on the Neckar 1839 – Stuttgart 1909). 6⅝ × 4⅞ in (16.7 × 12.4 cm).

Verso: Bauernfeind, Gustav (Sulz on the Neckar 1848 – Jerusalem 1904). City Hall in Berne. On a sunny morning, with various accessories. Actually not a bad city – they even have a Bruno in their arms! 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

Bruno  as

Anti-Thesis  to  the  “Line  of  Beauty”

Hogarth, William (1697 London 1764). (The Bruiser, C. Churchill … in the Character of a Russian Hercules.)

William Hogarth, The Bruiser recte a strong Bear

The writer Charles Churchill alias Bruno

whose “Epistle to Hogarth” provoked the master in the character of a strong bear whose only food seems to be stout, a tankard of which he hugs, tasting the fresh foam. The epistle done by Hogarth’s favourite dog Trump in its way, however. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: 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 of 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 his mark 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.

Excellent print of fine chiaroscuro 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. Cook’s popular later, smaller repetition. Inscribed: C. Churchill. / Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Nov. 1st. 1807. Image size 6⅞ × 5½ in (17.5 × 14 cm). – Trimmed within the wide white margins. Its edges slightly foxing.

Offer no. 8,898 / EUR  138. (c. US$ 167.) + shipping

Bruno ,
at  such  a  Cabin  Life  really  isn’t  nice

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Elevated Shooting Cabin at a Bear Garden. “In the foreground a dead horse, into the neck of which a young bear has locked, while the other already lies killed before the horse carrion and the mother is just shot down (from two barrels) from the cabin” (Th), while a third hunter peeks through the door. And suggestively a dead trunk with further bait looms tilted from the left to the center. Etching with engraving. (1750.) Inscribed: J. El. Ridinger inv. del. sc. et excud. Aug. Vindelic., otherwise in German as above and below. 10 × 14⅜ in (25.3 × 36.6 cm).

Thienemann & Schwarz 77; Ridinger catalog Darmstadt, 1999, V.12 with ill.; Stubbe, Die Jagd in der Kunst – Johann Elias Ridinger, 1966, plate 9. – Not in the 1997 Ridinger catalog Kielce. – Sheet 9 of the instructive 30-sheet set Ways to trap the Wild Animals (“A rare set, of importance to those who are interested in the various methods of trapping wild animals”, Schwerdt 1928, and “Rarest of All Hunting Sets by Ridinger” [Halle, Munich 1928, LXVIII/323]), as a whole missing even in Helbing’s monumental offer Arbeiten von J. E. und M. E. Ridinger (catalog XXXIV [1900], 1554 lots). – With 6 lines caption:

Johann Elias Ridinger, The Elevated Shooting Cabin at a Bear Garden

“ … also arm the posts with peaked iron so that the bears cannot come up at these, into the cabin the hunter climbs on a ladder and takes the same up after he has barred the small entrance together with the firing holes well so that the bears won’t get wind of him, but he yet has small openings … ”.

“ Since he is a vicious opponent, who wrecks even the bravest hounds, it is quite legitimate to get at the bear with artifice and mechanics – hunter and hounds therefore far from the shot or at least in good bunker-like cover – for which the elevated shooting cabin engraved about 1750 offers an illustrative example ” (Stubbe, op. cit., page 33).

Fine impression on strong laid paper with typographic watermark (WANGEN?). – Margins on three sides 3.2-4 cm wide, on the left with 1 cm plus the 5 mm wide white platemark more narrow-edged. Here besides narrow cut-out 8 cm long touching the lower corner of the platemark.
Offer no. 16,147 / EUR  595. / export price EUR  565. (c. US$ 684.) + shipping

There  the  Finn  Hounds  shall  sweat

Oudry, Jean Baptiste (Paris 1686 – Beauvais 1755) – Period – Bear-Baiting. Bruno in yet fresh struggle 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).

Jean Baptist Oudry - Period - Bear-Baiting

On thin greyish blue laid paper mounted on laid paper by old and inscribed by unknown hand as Jean Baptist Oudry. – Of the three longitudinal folds already including 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 and here supported by the paper. The sinous position of the bear reminding as spontanously of prints and paintings of Ridinger’s, however, less though the features of especially the hounds. Not least a sheet though whose still pending identification is good for any surprise.

Offer no. 13,021 / price on application

Johann Elias Ridinger, Polar Bear

VRSVS ALBVS Grönlandiae

The White Spitsbergen Greenlandic Bear. Bruno, that’s quite a caliber! However, the Finn Hounds notwithstanding: life isn’t that easy up there in the white north either. Colored etching with engraving by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). 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

What Bruno hears from the North anyway – Bear Hunt in Lapland. One of the two killed relatives of Bruno’s just loaded by one of the three hunters – this additionally with a fox over the back – on a reindeer. In the middle distance a reindeer sledge, behind it further hunters.

Bear Hunt in Lapland

Glazed coloured wood engraving. 1853. 7⅞ × 6⅛ in (20 × 15.5 cm).

Offer no. 12,213 / EUR  86. (c. US$ 104.) + shipping

Howitt, Samuel (1756 – Somers Town 1822). Seamen killing a Polar Bear. Even if one of the two hounds didn’t survive the embrace Bruno’s cousin had no chance against the seamen armed with boat-hooks and guns. Aquatint together with Matthew Dubourg (fl. London 1808-38)

Samuel Howitt, Seamen killing a Polar Bear

in  its  original  colouring

Inscribed: Howitt Del. / Published & Sold Jany. 1st. 1813, by Edwd. Orme, Bond Street, London. / Howitt & Dubourg Sculpt., otherwise as above. 7⅛ × 9¼ in (18.1 × 23.4 cm).

Tooley 224, 79. – From the 1st edition of FOREIGN FIELD SPORTS completed in 1814 , 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 … “.

Offer no. 11,770 / EUR  117. (c. US$ 142.) + shipping

The  Bear  Trap

William Howitt, The Bear Trap

Bruno  in  the  Pit

before he should have been brought into the nestling nest of the bear commissioner. Aquatint in the original coloring as before. – Two sides of the wide white margin somewhat foxed. One spot also in the clean top margin.

Offer no. 11,761 / EUR  101. (c. US$ 122.) + shipping

– – A Trap to Shoot the Bear.

Bruno ,

William Howitt, A Trap to Shoot the Bear

a  spring-gun  is  no  joke !

Stretched up you will reach in strained expectation for the honey-pot and lick the freely running honey – and then it makes bang-bang! Fine that the allied bear commissioners of these days don’t have the nerve for this anymore. Aquatint in the  original  coloring  as before.

Offer no. 11,776 / EUR  107. (c. US$ 129.) + shipping

Indeed  this  was  quite  more  risky  in  the  age  of  Ridinger

For  he  not  just  made

a  Pictorial  Event  of  it …

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Spring-Gun on a Bear. Bruno 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).

Fully executed drawing originating from the small group of the “Pictorials”  before  its side-inverted version for the transfer on the plate, as preparatory for print 8 – Th. 76 – of the 1750 set of the etchings (in mixed technique with engraving) of the “Ways to trap the Wild Animals”. And by this

Johann Elias Ridinger, Spring-Gun on a Bear

a  quite  exceptionally  elitist  collection  item .

For Thienemann (1856, page 274, c) knew from this set but 3 other preparatory drawings in the possession of Weigel, among them a larger-sized variant to the present one, which compared with the print is “quite different in the execution” though. Provable besides the one in question and a still available further one (A Lynx by the Turnpike) seven others, of which four have been handed over here in pairs into an internationally magnificent private and important German Ridinger collection resp.

This first-rate 9-sheet block of the Ways to trap, 7 or 8 of which in the direction of the print, originates from the “Group of the Pictorial” of that high-carat Westphalian collection by whose dissolution lasting for more than a decade beside i. a. sketches and proofs quite a number of quite extraordinary drawn unica found back onto the market, too, whose extraordinary charm is determined by their wash. The technique the master knew to win the whole plenty of painterly light effects and contrasting. Present one of the

bees  –  bear  –  drama

then also as executed work in connection with a print also within the Ridinger œuvre of greatest rarity.

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.

Offer no. 14,973 / price on application

… but  even  etched  and  scratched  it  dotting  the  i

even  more  with  own  paws  for

Bruno-Bear-Eternities  into  Copper

Aforesaid  drawn  spectaculum  thus  as

the executed etching (with engraving), inscribed

Joh. Elias Ridinger del. fec. et excud. Aug. Vind.

together with  6 lines  explanation. 9¾ × 14¼ in (24.7 × 36.2 cm).

Offer no. 15,846 / EUR  530. / export price EUR  504. (c. US$ 610.) + shipping

Ridinger, Bear Hunt 1720

Bruno ,
what a Gorgeous Fight !

But against this Flood of Hounds
the Socio-political Élite unleashes on you
you have not a Ghost of a Chance

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In the Year 1720. Have drawn this Bear Hunt from the Nature. Bruno she-bear before the den above a water, fighting off the numerous hound dogs, still rushing after despite all successful efforts. Back in the den two Young Brunos without future. Etching with engraving. Inscribed: 47 / Joh. El. Ridinger fec: et excud. 1746., otherwise in German as above. 13⅝ × 10⅞ in (34.5 × 27.5 cm).

Thienemann & Schwarz 289; Ortega y Gasset, Meditationen über die Jagd, Stuttgart. 1981, full-page. ill. page 40. – Plate 47 of the Exact and True Representation of the Most Wondrous Deer just as other Peculiar Animals. – Margins top and bottom 5.5-8.5, laterally 2.5-3 cm wide. This lower left less and upper right more crease-traced and otherwise with some acid-freely backed minimal tears/backings. – Thienemann:

“ A very rich plate. A she-bear fights in front of the den, in which we catch sight of two crying cubs, nearly exhausted, with a whole pack of big hounds; several are wounded, one rolls in the water, others are about to fall into, one has the neck broken, but succor is coming. She will be defeated. ”

Offer no. 16,133 / EUR  830. / export price EUR  789. (c. US$ 955.) + shipping

Thoman(n) von Hagelstein, Tobias Heinrich (1700 Augsburg 1764). Leo’s assault on a Fallow-deer pursued by Bruno. Sliding down a rock the lion has grasped the deer while Bruno appears surprisingly as usual from behind a fallen tree. Lower right a fox before a hole as likewise surprised as not unwilling to take his part of the prey of the great game. Specially 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

T. H. Thoman von Hagelstein, Assault of a Lion on a Fallow-deer pursued by a Bear

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 impression as reserved to only the first 50-60 from the delicate mezzotint plate.

Offer no. 28,139 / EUR  885. / export price EUR  841. (c. US$ 1017.) + shipping

Snyders, Frans (1579 Antwerp 1657). (The Bear-Baiting.) A mighty Bruno resisting Finland’s cringing bear’s gloria. Steel engraving by Thomas Heawood (active 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

Bruno ,
you  don’t  have  to  fall
into  this  one , too , have  you ?

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 Bruno 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. 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.

Johann Elias Ridinger, The Catching of the Bears

“ 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 … ”


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


as in such quality rare of old.

Offer no. 15,480 / EUR  1100. / export price EUR  1045. (c. US$ 1264.) + shipping

Fyt, Jan (1611 Antwerpen 1661). (The Bear Baiting.) Bruno, though hard-pressed by many Finland hounds in the opening of a den, yet not nearly beaten and, unless Bavarian’s Schnappauf (“SnapUp”) makes an appearance, supposedly once again with all odds in his favor to leave the battlefield victoriously. On the right vista over a wide Schengen 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. – Cf. Nagler XI, Piloty, 312 ff. + IV, Fyt, 539 f. – Not in Schwerdt. – On mounted China. – Quite faint little fox-spots on the right of the lower margin, a margin tear repaired acid-freely, 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. “This project soon stirred general interest as the participants … developed a hitherto not achieved technical perfection” and

among these are Woelfle’s main sheets:

Jan Fyt, The Bear Baiting

“ 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).

Offer no. 28,066 / EUR  302. / export price EUR  287. (c. US$ 347.) + shipping

A  Hunt  for  Bruno  in  Polish  Woodland

Johann Elias Ridinger, A Hunt for the Bear in Polish Woodland

as  Plate  3  of  the  extremely  rare  4-sheet  Ridinger  Set  of  the

Hunting with Hounds from 1723 as his second earliest hunting set, etched – he himself worked in copper only from about 1728 on – by Johann Daniel Hertz for Jeremias Wolff, both in Augsburg. 14⅜-14⅝ × 19¼-19½ in (36.5-37.2 × 49-49.4 cm; 2 ll.) and subject size, so for the Bear Baiting, too, 13-13⅝ × 19⅛-19¼ in (33.1-34.5 × 48.6-48.8 cm) resp.

Thienemann 9-12 as not being in his possession; Schwarz 9-12 (1st state, supplemented by 11a as 2nd state; Schwerdt III, 134 (3rd state with the Hertel address or mixed copy.). – As “exceedingly rare” incomplete in other prominent collections, among these even Weigel who in 1846 owned plate 1 as etched proof only.

Offer no. 28,885 / sold

“ Sous  Charlemagne ”

with  i. a.  great  hunting  treck ,

carrying  along  besides  the  packs + falconers

Brunos , Lions + Cats

Charles Aubry, Sous Charlemagne

partly – thanks  God – 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; Lipperh. Tf 24; Allgemeines Künstler-Lexikon V, 587, mixing l’Histoire de l’Equitation + the present into one, bibliographically morevoer incorrect, work. – On large strong paper with publishers’ dry-stamp. – Isolated small tears in the wide white margins restored acid-freely. 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. Produced especially hunting, genre, and military scenes in the manner of the Vernets and competed in this respect with Victor Adam, too“ (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 – 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

Johann Elias Ridinger, Black Bear

The Great Black Bear. Bruno, that’s how it is once they’ve got you: with nose ring and head strap you are led around for the fun of the people. Colored etching with engraving by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). 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

Bye  then , Bruno

And  so  long .

On  my  walls , in  my  collection .

If  only  the  bruno  agency  niemeyer  comes  up !

“ … and I wish to thank you for packing it so carefully … ”

(Mr. P. M., August 28, 2003)