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).
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$ 220.) + 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.
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$ 237.) + shipping
“ 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$ 237.) + 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.
Offer no. 7,300 / EUR 217. (c. US$ 237.) + 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.
Offer no. 7,302 / EUR 228. (c. US$ 249.) + shipping
– – – An American Bison as he fights off the attacking Bears.
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 points to later impressions”, Th.).
Offer no. 16,103 / EUR 1176. / export price EUR 1117. (c. US$ 1218.) + 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).
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$ 1296.) + 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). 16.7 x 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.) 13.9 x 18.7 cm. – Continuous local text on both sides.
Offer no. 9,691 / EUR 50. (c. US$ 55.) + shipping
Anti-Thesis to the “Line of Beauty”
Hogarth, William (1697 London 1764). (The Bruiser, C. Churchill … in the Character of a Russian Hercules.)
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$ 514.) + 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$ 151.) + 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).
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
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$ 716.) + 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.
Glazed coloured wood engraving. 1853. 20 x 15.5 cm.
Offer no. 12,213 / EUR 86. (c. US$ 94.) + 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)
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$ 128.) + shipping
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$ 110.) + shipping
– – 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$ 117.) + 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
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$ 550.) + shipping
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$ 861.) + 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. 48.2 x 36.7 cm.
Schwerdt III, 172 ( „interesting“ ). – Compare with ADB XXXVIII, 65 f. – Plate 1 of a four-plate suite of not numbered fights of beasts, possibly before the Hertel address as in Schwerdt, too, after Thieme-Becker mention “some sets of Animal Fights and Huntings published by J. Gg. Hertel (4 sheet …)”. – Watermark (figurative/typographic?). – Latin-German two-liner:
Here lies the fallow-deer the bear just got
the lion deprives him the prey and lets the bear growl .
With surrounding paper margins of 2-2.5 cm. – Smoothed centerfold. – Two small shaves retouched. – Backside evenly slightly browned, namely the white margins just lightly foxing. Otherwise wonderful warm-toned 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$ 917.) + 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$ 55.) + shipping
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.
“ Because the bear is a very strong wild and, if wounded, quite wrathful animal, that at its hunt there frequently is great danger for both humans horse and hounds, also cloths or nets are unable to harm it … ”
THE AS INSTRUCTIVE AS PAINTERLY SHEET
– not by chance already in 1901 Ernst Welisch qualified Ridinger as the indisputably “most important Augsburg landscapist of this time” –
IN MARVELOUS IMPRESSION OF VIBRANT CHIAROSCURO
as in such quality rare of old.
Offer no. 15,480 / EUR 1100. / export price EUR 1045. (c. US$ 1140.) + 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.) 26 x 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:
“ 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$ 313.) + shipping
A Hunt for Bruno 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. 36.5-37.2 x 49-49.4 cm (2 ll.) and subject size, so for the Bear Baiting, too, 33.1-34.5 x 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
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$ 642.) + shipping
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$ 612.) + shipping
Bye then , Bruno
And so long .
On my walls , in my collection .
If only the bruno agency niemeyer comes up !
„ … Die (vom Schwiegervater geerbten Par force-Jagd) Ridinger … habe ich in meinem Arbeitszimmer bestens neben einem Gobelin plaziert und möchte sie nicht mehr verkaufen. Besten Dank und ein Kompliment an Ihr Haus, dass Sie nach so vielen Jahren noch an mich gedacht haben “
(Herr K.-A. H., 2. Februar 2004)