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« If everything shall stay as it is, then everything has to change »

In matters of national movement

Tancredi Falconeri
in The Leopard/Il Gattopardo by Giuseppe Tomasi di Lampedusa

Northern Africa

Focus of the Moment

Georg Philipp Rugendas, Lion Hunt

Can happen easily to Post-Colonianists just the same

“ (Their) blood yet has to please the javlin of the Libyan ”

 for blessed are the poor in spirit ”

And Shades of the Peacock Throne

Rugendas I, Georg Philipp (1666 Augsburg 1742). Venatio Leonum / (Lion Hunt). Deeply staggered instructive hunt of turban-dressed horsemen with javelins, partly also with the yatagan (?) at the side, one additionally with quiver over his back,

in  the  basin  of  an  oasis  of  the  Libyan  highland .

Mezzotint. Inscribed: K.1. / Georg Philipp Rugendas invent delin. et Sculps. / Cum Gratiâ et Privilg. Sac. Cæs. Majest. / Johan(n) Christian Leopold excudit Aug. Vindelicorum., otherwise in Latin-German as above and following. 16 × 20¼ in (40.8 × 51.4 cm).

Nagler (1845) 40; Stillfried 293 (1879; not mentioning the series “K.1”); Teuscher (1998) 60 with reference to N. & St. – With surrounding margin 2.5-3.5 cm wide. This with some unessential faint tidemarks and light shade of previous framing. Occasionally of the latter mounted for no reason onto the back board, treating also three tears each up to the platemark.

„ Fulminei quamvis sit fervens ira leonis, / Aversos vulus Africa nulla pavet. / Arrigit ille comas, Stimulatus verbere caudæ / Cuspide mox Libyco , dum fremit ille, perit. “

“ The  lions’  stay  in  large  deserts

Startles  in  Africa  not  the  brave  hunter

So  fiercely  this  enemy  foams  attacks ,

tears  and  fights

His  blood  yet  has  to  please  the  javlin  of  the  Libyan ”

FINE  IMPRESSION , rich  in  chiaroscuro , as so typical for the velvety mezzotints , of the first sheet of the hunting set T. 60-63 dedicated to lion, tiger, ostrich & buffalo, all with the address of Leopold.

“ Known  from  literature  only ”

Teuscher follows Stillfried’s description as the last proven copy which by all means could be identical with the one known before to the antiquarian Nagler. What probably might result in a provenance of the set’s present lion sheet going back up to 1845. Its reappearance after 130 years – a neat little event for the Rugendas research (request the full description!). And thematically & optically a very fine enrichment to the documentation of  the  hunt  on  the  majestic  one , certainly indeed , but en passant at the same time for the stimulation of the little grey matter , so one has it . So here then

with  express  text  reference

to  the  Libyan  Desert

as  for  the  old  prints  a  rarity  on  its  own .

“It is (indeed) a great pleasure to explore with the experience of modernity the old, actually mostly quite buoyant masters …” (Eduard Beaucamp in his address of gratitude on receipt of the Johann Heinrich Merck Award, FAZ Oct. 23, 2006).

Angebots-Nr. 28,899 / price on application

You  may  try

if  the  Lion  of  Damaskus  is  Easier  Prey

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Le Lion a toute sa force à l’age de 5. ou six ans, sa grandeur s’augmente encore et il devient fort vieux. The Lion reaches His Complete Strength in the 5th or 6th Year, grows larger even longer and grows very old. Extended grotto with the patriarch dominating the right half of the sheet. Four further males entertain themselves in a side-grotto on the left. Etching and engraving. (1736.) Inscribed: 33. / Cum Priv. Sac. Cæs. Majest. / I. El. Ridinger inv. pinx. sculps. et excud. Aug. Vind., otherwise as above in German, French, Latin, & below. 13⅝ × 16⅝ in (34.5 × 42.3 cm).

Thienemann + Schwarz 228. – Sheet 33 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.

Johann Elias Ridinger, Lion

“ What a stern real fire , what a bright and dark light burns in the lion’s eyes , shines through , penetrates through the face … His nerves , muscles , bones , gigantic frame shows , among other animals , his royal rank … Since then especially the rocks so natural , that it seems : By the artist’s magic stylus , his paper were petrified. ”

Of  shining-marvelous  quality  &  therefore  rarity .

Margins laterally 3.2-4.2, above & below 2.5-3.1 cm wide. – At the paws of one of the lions in the background unobtrusive small wormhole. In the wide white upper margin small dog’s ear as well as tiny tear backed acid-freely, in the left white margin two narrow tears-off added. – On the back scribbles by a collector’s grandson.

Offer no. 15,489 / EUR  850. / export price EUR  808. (c. US$ 934.) + shipping

– – – – The same in not quite so perfect an impression with watermark WANGEN as so characteristic for contemp. impressions just as typographical secondary watermark. – Because of the narrow margins professionally added to the 16⅜ × 20¼ in (41.5 × 51.5 cm) sheet size of the former owner’s other inventory. – Six most trifling (2) to somewhat larger (3) worm-holes in the center of the right half of the sheet. – Centerfold utterly smoothed, small tear in the added margin backed acid-freely.

Offer no. 15,406 / EUR  570. / export price EUR  542. (c. US$ 627.) + shipping

Lion Hunt. Kneeling on the left under banana-trees behind of a rock the Arab hunter in rich costume points his gun at the lion sneaking in from the right. In front pond, behind shrubbery & rock. Glazed colored wood engraving. 1853. 7⅞ × 6¾ in (20 × 17 cm).

Angebots-Nr. 12,214 / EUR  86. (c. US$ 99.) + shipping

“ A  Little  Circumstance

has  quite  often  turned  the  Tide ! ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Wild Buffalo and the Crocodile. Fight for life and death on the Nile. Etching with engraving. (1760.) Inscribed: Joh. El. Ridinger inv. et del. / M. El. Ridinger sculps. Aug. Vind., otherwise in German as above & below. 13⅞ × 11⅛ in (35.1 × 28.2 cm).

Thienemann + Schwarz 722; Stubbe, Ridinger, 1966, pp. 16 f. with plate 34; Ridinger Catalog Darmstadt, 1999, IV.7 with ills. – Sheet 7 of the 8-sheet set of the

Fights  of  Killing  Animals ,

Th. 716-723, qualified of old by literature as very rare, whose four final sheets were transferred into the copper by the eldest, Martin Elias, after drawings – items 389-392 of the Ridinger appendix of the 1869 catalog of drawings left by J. A. G. Weigel with present no. 390 in pen & bistre – his father also only had followed up with in 1760. From which at the same time may be deduced that not only the drawings together with the texts for the socio-politically highly explosive sheets 1-4 had been ready since long, but even their plates, too.

The supplementation of that risky original set by four further ones with text now just à la Brockes,

“ The deceitful crocodile, which cries falsely human, While it lurks for men and supposes to catch them, This time its cunning and attack seems to fail: It lies under the buffalo’s foot on the back.

Johann Elias Ridinger, The Wild Buffalo and the Crocodile

Yet , Buffalo , don’t  rejoice !

Its immense bite Hits your foot already and takes it for sure. Your horn by which you otherwise know to protect yourself bravely, Can help you little in this case and circumstance. You are rather through, and, resign yourself to it, Seem to be in quite short time the monster’s prey.

Therefore  never  rejoice  before  you  completed  the  victory :

A  little  circumstance  has  quite  often  turned  the  tide ! ”

and therefore harmless, beside the wish for a more comfortable sales unit quite certainly and intentionally for the purpose to let the striking message of the first four show less pointedly. The raise thus as an at the same time final outside wrapping.

As possibly created in connection with the set of the Fights Rainer Michaelis sees in the Critical Catalog of “The German Paintings of the 18th Century” of Staatliche Museen Berlin the fascinating painting “Beasts of Prey and Killed Stag” (Bln. 2002, serial cat. no. 2272, pp. 173 f. with color ills.) acquired there in 1985 from old Leipsic family property.

The vivid-strong, warm-toned impression from an old noble omnibus volume of old impressions on almost exclusively, so then here, too, uniform laid paper with varied watermarks, here Large Anchor with J H (not in Heawood). As in contrast to the first four sheets of the set already missing within Engelbrecht-Herzberg’s new Ridinger edition of 1824/25 and even more so in their late ones from the 1850s – in these also ll. 1-4 no longer present – sheets 5-8 are additionally scarce. The Weigel states 40 B & C (Art Stock Catalog XXVIII [1857], Ridinger appendix) for later and new impressions resp. cannot be classified chronologically here as of 8 sheet each, since in 1824/25 in just four sheets only and entirely missing in those of the 1850s as contemporary to Weigel. – Margins above & below 5-5.9 and laterally 2.3 cm wide.

Offer no. 15,703 / EUR  1780. / export price EUR  1691. (c. US$ 1955.) + shipping

Homs – Where  already  Earlier  Crusaders  got  stuck

Homs (Hemss, Jadis Emèse) – Cassas, Louis François (Azay-le-Ferron, Indre, 1757 – Versailles 1827). Chateau et Portion de la Ville de Hemss (Jadis Emèse). The citadel of Homs on its high tell, with the city mainly extending to the left at its feet. Especially in front excited bustle around a spread scroll and a writer, if this is not the sketching artist himself in national costume. Engraving by Simon Charles Miger (Paris 1747 – 1805). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par S. C. Miger. 11⅝ × 17½ in (29.4 × 44.3 cm).

Louis François Cassas, Homs

Rich  sheet  of  fine  chiaroscuro

in  the  printing  state  before  the  letter .

Miger, Graveur du Roy, “engraved and etched a considerable number of fine sheets, mostly after French masters” (Nagler). – Faint tidemark and some tiny backed tears in the untrimmed wide white margin.

Offer no. 12,537 / EUR  699. / export price EUR  664. (c. US$ 768.) + shipping

Antiochia – (Vue générale de la Ville Antioche.) View of Antiochia, under the Seleukides capital of Syria, „where the first larger parish of Christians outside Palestine was formed, where the name Christians was mentioned first … and where … Paul was ordained“. In the front grazing live stock on the banks of the Orontes. Etching after Cassas as above, yet by Antoine Michel Filhol (1759 Paris 1812), finished by Jean Baptiste Tilliard (1740? – Paris 1813). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé à l’Eau-forte par Filiol. / Terminé par Tilliard. 11¾ × 18⅛ in (29.7 × 46.1 cm).

Painterly  sheet

in  splendidly  shining  impression  before  the  letter .

Filhol “educated himself under Née … especially in landscape. His sheets of this kind are of powerful effect and masterly in the perspective … Some of his etched sheets were … completed by others” (Nagler). – Untrimmed. – Really faint tidemark in the upper right corner barely perceptibly touching upon the sky part for c. 3-5 cm. The wide margin negligibly time-marked.

Offer no. 12,530 / EUR  885. / export price EUR  841. (c. US$ 972.) + shipping

Antiochia – Antioche, vue de la porte dite de Fer. Situated as the one constant factor spanning the abyss among the wild mountain glens and continued on both sides by the winding wall. Figures. Engraving after Cassas as above, yet supposedly by Michel Picquenot (1747 Rouen after 1808). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par Picquenot. 12 × 17⅛ in (30.4 × 43.4 cm).

Painterly  sheet

in  fine  warm-toned  impression  before  the  letter .

„Picquenot … brought it … to great skills, especially in the representation of the landscape“ (Nagler). – Faint tidemark and backed tear in the especially laterally wide untrimmed white margin.

Offer no. 12,535 / EUR  562. / export price EUR  534. (c. US$ 617.) + shipping

Antiochia – Antioche, vue de la porte dite de Médine (Bab el-Medynah), prise en dehors, sur le chemin de Halep. Numerous rush at the gate approached by a caravan, too. Engraving after Cassas as above. (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par Picquenot. 11⅝ × 18¼ in (29.4 × 46.4 cm).

Painterly  sheet

in  marvelous  warm-toned  impression  before  the  letter .

Untrimmed. – In addition to the by itself already unusually wide white platemark of top 1.6, laterally 4 and below 5.5 cm with 3.3-4.3 cm white paper margin around. In the latter as well as in the direct platemark here and there mostly just quite minimally stained, only on the left two somewhat larger pale yellowish color spots, one of which still extending up to 1.3 cm into the white platemark. Isolated small(est) tears in the white margin done acid-freely.

Angebots-Nr. 12,531 / EUR  445. / export price EUR  423. (c. US$ 489.) + shipping

Bailan – Village du Bailan, Situé sur la route d’Alexandrette à Antioche. Etching after Cassas as above, yet by Jerôme Paris (Versailles 1744 – ca. 1810), finished with the chisel by Duparc (2nd half of 18th cent. – after 1810). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé à l’eau forte par Paris. / Terminée par Duparc. 10¾ × 16⅞ in (27.3 × 43 cm).

Marvelous  sheet  in  splendidly  shining  impression  before  the  letter .

With caravan + maritime scenery. – The charming village at the Gulf of Alexandretta, the preferred residence of the Europeans of Alexandretta (= Alexandria ad Issum, today’s Iskenderun, founded by Alexander the Great for the remembrance of his victory in the Plain of Issos), famous especially by the Pylae Syriae, the only connection between Syria and Asia Minor leading over Amanus and used by Alexander as the crusaders. – Untrimmed. – The wide margin negligibly age-marked.

Offer no. 12,529 / EUR  752. / export price EUR  714. (c. US$ 825.) + shipping

Sichem (Nablus/Nabulus) – Vue générale de Néapolis. View of the Roman Neapolis, the ancient and present Sichem in Samaria

where  Joseph  is  buried  and  close  to  which  Jacob’s  Well

is situated. Dispersed figurines. Engraving after Cassas as above, yet by Jean Baptiste Racine (Paris 1747 – c. 1805). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par Racine. 11¾ × 18¼ in (29.7 × 46.3 cm).

Very  fine  sheet  in  the  printing  state  before  the  letter .

The wide white margins a little waterstained and almost only a little foxing.

Offer no. 12,540 / EUR  910. / export price EUR  865. (c. US$ 1000.) + shipping

Cana – Aspect d’une Partie du Village de Cana en Galilée. At the fountain in the front laundrywomen and resting riding horses. Engraving after Cassas as above, yet by François Dequevauviller (Abbeville 1745 – Paris c. 1807). (1799.) Inscribed: Cassas del. / f. (sic!) Dequevauviller sculp. 10⅝ × 14⅞ in (27 × 37.8 cm).

Splendid  sujet  of  vibrant  chiaroscuro

in  the  printing  state  before  the  letter .

The wide right margin with slight tidemark. – Deque(a)vauviller „engraved historical objects and especially well landscapes“ (Nagler).

Angebots-Nr. 12,539 / EUR  782. / export price EUR  743. (c. US$ 859.) + shipping

Caesarea (Straton’s Tower)? – Vue de Coenotaphe de Caius Caesar. In the front tents of a caravan. Between the foothills and the mountains in the back galloping horsemen. Engraving after supposedly Cassas as above, yet by Pierre Charles Baquoy (? 1759 Paris 1829). (1799.) Inscribed. 10¾ × 16 in (27.4 × 40.5 cm).

The  rich  sujet  in  fine  shining  impression  before  the  letter .

Plate 21, vol. I of Voyage pittoresque de la Syrie … et de la Palestine … by L. F. Cassas, but without his otherwise practiced inscription as draughtsman, yet with the above, due to erasure only incompletely, however assumedly correctly read one, with the definite addition fecit and, obviously, sculpsit, perhaps with a sive in-between. Thieme-Becker + AKL record Baquoy predominantly as engraver of vignettes. – Wide-margined.

Offer no. 12,538 / EUR  752. / export price EUR  714. (c. US$ 825.) + shipping

Jamblichos – Mausolée d’Jamblichus. Interior with two figurines in the entrance, above the epitaph with the deceased resting supporting himself and surrounded by three genii or pupils, probably of the neoplatonic philosopher Jamblichos from Chalkis, teacher in Apameia (c. 250-325 or c. 280-330/337). Etching after Cassas as above, yet by Jean de la Porte (b. c. 1760), completed with the chisel by Pierre Gabriel Berthault (St. Maur 1737 – Paris 1831). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé à l’eau forte par de la Porte. / Terminé par Berthault. 18⅛ × 11⅝ in (46 × 29.4 cm).

Fine  wide-margined  impression  before  the  letter  untrimmed  on  three  sides .

“ … beyond all Berthault works for the provison of some of the most important splendid works of the late 18th and the early 19th century … Furthermore cooperation at the Voyage pittoresque de la Syrie, de la Phonicie, de la Palestine et de la Basse-Egypte (1798) by Louis-François Cassas … In numerous cases B. restricts himself to the completion of the plate already etched by co-workers with the chisel ”

(Elmar Stolpe, Allgemeines Künstler-Lexikon X, 1995, 57).

Offer no. 12,528 / EUR  302. / export price EUR  287. (c. US$ 332.) + shipping

The  King  of  the  Desert

isn’t  killed  that  easily .  Not  even  by  Whites

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Africa. Fight with the Majestic. A male lion has thrown down a white horse with its white rider and buried its teeth into the former’s belly, but is himself attacked with the arrow by an African with headgear, while the lioness, raised in anger, is hit in the chest by a white man’s spear. Once more behind a second African with headgear and an arrow in the raised right. Entangled into the shawl of the fallen hunter the lion baby. Mezzotint. Inscribed: Ioh. Elias Ridinger del. sc. et exc. A. V. / Africa. Africa. as well as quatrain in German-Latin parallel text. 17 × 21 in (43.2 × 53.3 cm).

Provenance

Ernst von Feder

with his stamp v. FEDER , Lugt 923 , on the back

Thienemann + Schwarz 1133. – Sheet 3 of the extremely rare 4-sheet set of the continents symbolized in hunting scenes complete market copies provable here only with the copy of the Silesian Ridinger Collection at Boerner XXXIX (1885, nos. 1979-1892), presumably identical with the one of the Reich auf Biehla Collection (1894, no. 218, “Of greatest rareness”) and the one in the 93rd Tenner sale (1972, no. 4335).

As a whole just as in individual sheets therefore the set was already missing in Coppenrath’s comprehensive inventory (1889/90) , in Helbing’s mammoth offer of 1900 (cat. XXXIV), the Schwerdt Collection (1928/35) , Rosenthal’s Ridinger offer of 1940 (list 126, “Etchings and Mezzotints”), while the sales Schöller (1921, only “with tiny margin”) + Counts Faber-Castell (1958, “mounted”) could only present Asia and America resp., while Europe was traded here in 1980 (“lower margin trimmed to platemark”) into a Palatinate collection. Now then as  first-time  chance –

Africa ! Let’s  get  going .

Johann Elias Ridinger, Africa

As  once  and  once  anew !

“ Africa uses to preserve grim lion’s kind alike, / So is likewise wild the mind of the moors in the land; / Half naked they rush against the beasts, /

But  also  horse  and  man  often  bite  the  sand  in  doing  so. ”

Margins all around 1.6 (above) to 2.5 cm wide complement the copy of practically marvelous, only partially unessentially rubbed print quality of absolutely perfect chiaroscuro as that worth mentioning for the old mezzotints and what makes them that precious. As already in 1675 the expert von Sandrart numbered “clean prints” of the velvety mezzotint manner at only c. “50 or 60” (!). “Soon after (the picture) grinds off for it does not go deep into the copper.” Correspondingly Thienemann in 1856 :

“ The mezzotints are almost not to be acquired in the trade anymore … and the by far largest part (of them) … (I have) only found (in the printroom) at Dresden. ”

Smoothed centerfold as usual. Acid-freely settled (most) minimal tears in the white margin below (2) and left. The margin itself evenly weakly browned. Little thin paper spot in the nostrils of the left margin horse.

The  collection  of  the  legal  scholar  von  Feder

Wertheim/Main 1824 – Karlsruhe 1904

( “très bon” ) distinguished itself by both connoisseurship and beside paintings and the library its priorities prints + drawings. Highlights among the latter “ses beaux dessins de Dürer … Lippmann … nos 432-438”, adequately among the former dedicated to the 15th to 18th centuries, however,

“ très  rares  premières  gravures  en  manière  noire ”

with cimelia by its inventor Ludwig von Siegen (1648), a lieutenant colonel, and his pupil baron Th. C. von Fürstenberg, canon of Mayence and Speyer.

Offer no. 14,802 / EUR  1470. / export price EUR  1397. (c. US$ 1615.) + shipping

Frans  Snyders’  1620/25  Munich  Lioness

in  the  Blaze  of  Expressionism

Heckendorf, Franz (Berlin 1888 – Munich 1962). Lioness striking a Wild Boar in the Oasis. The latter itself paradisiacally dreamily under bright sun. Oil on fiberboard. 21⅝ × 27½ in (55 × 69.8 cm). In 3-piece wooden frame – presumably by the artist himself – painted grey and black.

The  dominating  scenery

Franz Heckendorf, Lioness striking a Wild Boar in the Oasis

of  the  lioness  at  the  wild  boar’s  neck

as  the  central  motif  of  FRANS  SNYDERS’  painting  in  Munich

(enclosed its copy in reverse by Ferdinand Piloty as chalk lithograph of 1816 printed with two tone plates – incunabulum of lithography – in the 2nd of III states, Winkler 622/24, 15⅝ × 21⅝ in [39.8 × 54.9 cm]).

Literature

Kestner-Museum Hannover, (Catalogs of Special Exhibitions) XVII, 1918; Joachim Kirchner, Franz Heckendorf, 1919 + 1924; Franz Heckendorf, (Catalogue of the Special Exhibition of the Hagemeier Gallery, Frankfort/M.) 1985; (Symphony in Color, Exhibition Catalog of) Kunstfreunde Bergstraße, 1991; Thieme-Becker XVI (1923), 211 f.; Vollmer II (1955), 400; Cicerone, vols. 1912-1928; Feuer II, 1 (1920/21), 195-202. – Cf. Robels, Frans Snyders, Munich 1989, no. 258 with illustrations + Koslow, Frans Snyders, Antwerp 1995, (color) illustrations, pp. 292 + 305.

Small defect at the upper right corner, nearby another one of the kind of a big needle’s head. The edges slightly worn by the framing, otherwise perfect. – The coloring of the artist’s frame touched up.

Extremely  typical  work  of  paw-like  dynamic  force

from  the  group  of  the  large  sizes

containing everything, reflecting everything that from the earliest up to the latest literature was qualified just as breathless as the range of Heckendorf’s palette. The prevailing ground of his paintings allowing to our review the following chronological order: Canvas for the early years of about 1912-1929, (ply-)wood 1930-1943, fiberboard already for 1931 + 1941, more generally then for after 1945 when he was freed from the concentration camp Mauthausen where he was imprisoned for his support of pestered Jews, just that

“ period in Heckendorf’s work in which the artist once again scored a height of his artistry, presumably also as a backlog demand after the vacuum of the Hitler regime … ”

(Horst Ludwig in the catalog to the one-man-show at Galerie Hagemeier 1985).

Picking up again one of the themes important to him, grown during his years in Paris, Italy, Dalmatia, Asia Minor for studies, and his missions as fighter pilot at the Ostfront, the Balkans, Bosporus and Tigris in World War I. “The most mature H. has done till now are his landscapes” (Thieme-Becker 1923, quoting at the same time under the aspect of “Outspokenly gifted for decorative arts” a lion’s hunt as an example for his monumental paintings).

Ludwig’s accentuation of the “wide-spreaded journeys through Europe and (the) study of Old Masters in the museums” especially for the latter here of paramount interest, unmistakably, but newly embedded quite uniquely by the purpose to

“ ‚spiritualize everything that is optically visible and translate it into the sphere of the visionarily seen’; that meant

the  accomplishment  of  the  program  of  modern  expressionism ,

of  which  H .  is  one  of  the  most  persuasive  evangelists … ”

(Vollmer in Thieme-Becker). And further

“ Pupil of the instruction class of the Berlin Museum of the Applied Arts and the Acad., but essentially autodidact (as the contemporaries Heckel + E. L. Kirchner, too, and like these starting from impressionism). One of the most skilled exponents of the young generation of German artists, whose personal style found its most mature expression till now in his landscapes filled

by  an  enormous  dynamic  of  pictorial  execution

and carried by a strong inwardness of perception. Already as a 20-year-old he exhibited (1909) 2 Street Scenes at the Berlin Secession which were still influenced by the impression of the impressionist way to paint…

Making a hard but very expressive contour the basis of his drawn compositions, he creates by an erratically abrupt juxtaposition of his glowing, often brutally rich local colors, which part themselves as consciously from any realistic depiction as the flow of his lines, a

vehemently  raised  natural  impression

The suggestion of movement which radiates from his landscapes

over  which  it  flickers  like  sheet  lightning

results  from  the  roaring  momentum  of  their  pictorial  structure ,

in which far less an outside excited mood of the respective natural situation than the inside excitement of the creating artist is expressed, thus these landscape visions transport a quite subjective character … . ”

All this then unspent fresh. And as a downright antipole to the earthly hunt here, too, the unforgettable sun, Heckendorf’s sun, to which in 1919 he dedicated an album of 10 color lithographs. Which was preceded two years before by a no less color-intensive 12-sheet set dedicated to the Orient, his Orient.

It is of really exciting fascination how this work spans from the early to the late years without a break. On this Ludwig in view of a work documenting half a century:

“ Even more distinct this tendency of the excessive nature becomes in the paintings, e. g. ‘Southern Landscape with Sailing Boats’ of 1958. Here also the claim to describe purely and barely what urged the artist to his work as already raised in the program of the ‘Bridge Artists’ in 1906 becomes recognizable: the own vision that first linked itself to the landscape though not following it purely imitatively.

“ With passionate brushstrokes which remain visible as such and are used artistically, with impastoed color application so that a vivid surface of the painting appears the southern painting is visualized … Smooth transitions are neither in the forms nor in the colors …

“ Even the sky … with the glorious sun is structured quite powerful. Beams and concentric circles radiate from this celestial body and thus set the firmament into a pulsating vibration that suggests the power of the light very beautifully.

“ The colors themselves are set harshly against each other, too, almost in pure tones they are applied with a relatively broad brush and stay connected to the brush’s trace so that the composition is clearly put together from these layers of lines. By this a dynamic small structure is created which adds to the enlivement of the whole picture.

“ Overlooking Heckendorf’s creation from several decades the vehemence by which he developed his own pictorial language, emanating from the art of the turn of the century and still kept in the 50s, is astonishing … For Heckendorf the object always remained priority though formally heightened and coloristically alienated. ”

And, so Thieme-Becker,

“ Coping  with  all  techniques  and  an  exceedingly  easily  producing  talent .”

COLORFUL , DRAMATIC , EASY

HECKENDORF’S  LION’S  ATTACK  ON  A  WILD  BOAR  IN  THE  OASIS

as an exceptionally exemplary example of this great creativeness. As thematically not found on the market, thus missing in the comprehensive Frankfort exhibition of 1985, too.

Yet recoursing to no one less than the great Snyders who on his part refers to Rubens. And here to Snyders’ – concerning the landscape jointly with Jan Wildens – oil

Lioness  striking  a  Wild  Boar  of  c.  1620/25  in  Munich .

Which along with his Two Young Lions pursuing a Roebuck also there (Robels 258 f., for this Piloty’s toned lithograph of 1816 available here, too, per 28,623)

“ hold a special rank because of their theme … (the first) assumes an invention by Rubens. For in her movement (the Lioness) is similar to the attacking tiger on a hunting painting in Rennes and a lion on a variant in Dresden that themselves (– Because ‘As with the princely dynasties and noble families

entire  genealogical  trees  of  influences

can  be  traced  for  painters’ ,

so Gina Thomas in Frankfurter Allgemeine Zeitung of Feb. 20, 2001; suitable to literature see Goethe, op. cit., pp. 160 f. –) go back to an ancient copy. ”

With Heckendorf now having added the exotic landscape to Snyders’ exotic hunt which allowed him

the  highest  possible  intensification  of  his  work

and reincarnated the great predecessor as the “most important still life and animal painter of Flemish art, maybe even of his epoch” (Catalog Berlin/Dahlem 1975, p. 405) by the central motif

300  years  later

into  the  footlights  of  an  epoch  now  historic  by  itself .

Offer no. 29,061 / price on application

Majestic  Lion
over  Killed  Wild  Boar

Sketches  by  the  Master
to  Th. 1076  of  the  Colored  Animal  Kingdom

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Lion in profile to the right, standing with the fore paws on a killed wild boar. Two drawings (4⅞ × 6½ and 4⅜ × 5¾ in [125 × 165 and 110 × 145 mm] resp.) in black chalk, on both sides of 1 sheet. 8⅜ × 9¾ in (212 × 249 mm).

Provenance

J. A. G. Weigel, Leipsic,

the catalog of his bequest of original drawings,
Leipsic 1869, no. 829 ?

Ökonomierat Georg Hamminger († 1894), Regensburg,

his collection round stamp G.H. 1894. in blue (Lugt 1159) verso
His sale Munich, Helbing, October 21-25, 1895, no. 1942

Dr. Helmut Tenner

sale 110, May 1976, no. 3948

Each  still  within  the  original  sketchbook

The two sketches of the lion standing on his prey in reverse to the right to the otherwise unchanged core of the engraving Thienemann 1076 – A Lion of Light Color … J. El. Ridinger sculps. et exc. A.V. – of the Colored Animal Kingdom, the more executed one on the front of the same size, of that 14-sheet sketchbook whose wonderful Christmas Eve dedication written in reverse by the master on occasion of his last Christmas – about three months later the sons will give notice of his decease – made the exercise book so vastly precious, nevertheless it was thumbed soon enough short-windedly and injudiciously by acquiring established trade.

On laid paper uncut on two sides of impeccable freshness, later – within the whole , remember ! – mounted at both the left corners onto gray-blue supporting sheet onto which Hamminger’s collection stamp of 1894 has slightly printed off. Round blue mounting spot in addition center right back. – At the front left lateral edge below by supposedly other old hand numbered 465 in brown ink.

Offer no. 15,611 / EUR  2300. / export price EUR  2185. (c. US$ 2526.) + shipping

Ridinger, Lion of Light Color

– – – A Lion of Light Color. “A fine male of the common lion stands majestically on a killed wild boar” (Th.). Before palm and shrubbery scenery. Colored etching with engraving from the sketches above. Inscribed: LEO, COLORE LUCIDO. / Ein Löwe von heller Farbe / Un Lion d’une couleur claire. / Familia IV. Fünffzähige. / J. El. Ridinger sculps. et exc. A. V. 12⅛ × 8⅛ in (30.9 × 20.6 cm)

Thienemann & appendix page 299; Schwarz 1076. – 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) as then already Thienemann could add present sheet in its first edition as here only per appendix, “because I do not have the sheet”. – 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.

“ The lion … has in all his behavior and conduct a lot of noble and generous … When he roars the wood shivers and all animals hearing him.

His  strength  is  quite  extraordinary

and his large head with the long hairs make him a majestic and honorable appearance … In the color they are very different from each other and one has seen here fine yellow, medium and quite dark ones … ”

(Ridinger’s sons in the preamble to pt. II, p. 13, enclosed in copy).

On C & I Honig paper 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 1.9-3.3 cm, below 5.2 cm wide. – Lower 9 cm on the back with partial faint, reddishly discolored tidemark, showing through to the front only slightly obtrusively in the text/paper field.

Offer no. 15,987 / EUR  1300. / export price EUR  1235. (c. US$ 1428.) + shipping

“ As  now  everything  named  Turkish

is  of  Great  Interest … ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Six Plates Camels. 6 sheet. Etchings with engraving by Martin Elias Ridinger (1731 Augsburg 1780). Inscribed: No: I(-VI). / Johan[n] (I) and Joh. resp. El. Ridinger ad vivum del. / M. E. Ridinger sc. A(ug). V(ind). 12¼-12⅝ × 8¼-8½ in (31.2-32 × 20.8-21.6 cm).

Thienemann + Schwarz 529-534; Weigel 16545 (“old now rarely occurring impressions”, 1847!) + XXVIII, 26A, each incl. the 2 plates buffaloes; Coll. Würtemberg 1794 (1843; “Rare” and as here without the buffaloes); Silesian Ridinger collection Boerner XXXIX, 1894 (1885; “Rare”); Th. Reich auf Biehla 134 (1894); Coll. Gg. Hamminger 1669 (1895; “Very rare set in excellent impressions”) & 1670 (“partly later impressions”); Schwerdt III, 141; Counts Faber-Castell 36 (1958).

And  till  today  that  rare

Johann Elias Ridinger, 6 Sheet CamelsJohann Elias Ridinger, Loaded Camel

that in the 90s the present Ridinger collection which paid dearly to close the gap of

Ridinger’s  Six  Plates  Camels

in its inventory. By acquiring here one of the two Pompadour album volumes of the legendary Marjoribanks Folios of Baron von Gutmann (his personal copy I of the two Roman ones in their elitist inaccessibility of his Ridinger Catalog [Schwarz] available here). Together with the set of the Monkeys likewise wanted already since decades and present in it as well.

Typographic (“WANGEN”) & figurative watermarks. – With fine little margin running around the edge of the platemark. – Without the following two plates buffaloes which, although included by Ridinger in the numbering, deviate by their oblong format already outwardly. – I & II mounted in spots by old, otherwise verso traces of previous mounting in spots which shows through as brown spots in the corners of each III & V. Sheet II ditto, but more negligibly and in the two upper corners only. Irrespective of this

harmonious  fine  warm-toned  impressions

of  this  as  rich  as  instructive  set

showing camels and dromedaries in all positions, loaded and unloaded, and – plates I-IV – explaining per 2-3 lines caption in German:

True representation of a loaded camel, in a Turkish caravan – Camel with one hump unloaded, otherwise also called dromedary – A Camel with 2. humps, as such is found frequently in the Turkish Barbary Africa and Asia … – Illustration from another view, drawn from life in different positions

when  it  was  to  be  seen  here  in  Augsburg …

Plates V & VI with tympanist & cymbalist, standing and lying from various angles as well as at lying down together with several head, resting, and other details. Shortly , a series created for the sake of it from every angle of which hundred years later Thienemann would note smugly on occasion of its first sheet

“ As  now  everything  named  Turkish  is  of  High  Interest … ”

How then now 150 more years later and farther from the master’s sphere! The good folks from the latter just had their Prince Eugene as saving knight fresh in memory. Just as the great Rugendas (1666-1742) had presented him in smallest edition: galloping , the marshal’s baton in the right. Available here in the copy of the illustrious portrait collection of father & son von Roemer dating back to the early 19th century.

Offer no. 16,026 / price on application

Round  the  Clock  kept  Tabs  on

Johann Elias Ridinger, The Lion from behind (The Lions)Johann Elias Ridinger, The Roaring Lion (The Lions)

Africa’s  Lions

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Lions. Main suite of six plates. Etchings with engraving. Inscribed: J(oh). El. Ridinger (ad viv.) del. fec. (sculps.) et exc(ud). Aug. Vind., titled as below. 10⅜-10½ × 10-10⅛ in (26.5-26.7 × 25.3-25.7 cm).

Thienemann + Schwarz 517-522. – Titles and quotes from Martialis, Sillius, Virgil and Lucanus in Latin-German parallel text. – Top rounded. – Typographic watermark. – Little dot of rust in the lower platemark of Th. 517, small spot of thinned paper in the wide lower paper margin of Th. 518.

The Majestic Lion – The Lion from behind – The Roaring Lion – The Lion lying in ambush for the Attack – The Sleeping Lion (good to see the additional breathing holes in the lion’s palate) – The Lion resting at his Mother’s Side.

Also  with  respect  to  their  state  evenly  wonderful  A-qualities

of plates 1-6 forming the actual part of this impressive suite. Plates 6-7 rather a supplement because of different scenery – inside of a menagerie at Augsburg – and caption. The extremely wide margins between 7 and 12 cm top and below and 3.5 cm laterally resp. And in such a manner then

for  some  rarely  that  tempting

Offer no. 12,350 / EUR  2454. / export price EUR  2331. (c. US$ 2695.) + shipping

Johann Elias Ridinger, A Lion of Darker Kind

“ In Syria
even utterly black lions
are said to be found ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). A Lion of Darker Kind. “Mane dark, fox brown. Old male” (Th.). Lying to the right, but looking intently to the left outside the picture. Colored etching with engraving. Inscribed: LEO FUSCUS. / Ein Löwe dunckler Art, / Un Lion, d’une couleur brune. / Familia IV. Fünffzähige. / Joh. El. Ridinger sculps. et excud. A. V. 12⅛ × 8⅜ in (30.8 × 21.4 cm).

Thienemann & Schwarz 1077. – 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.

“ The lion … is a very majestic animal. In all his conduct and behavior he has a lot of noble and generous; is also in regard of the prowl by far not as cruel as other predators as he kills no sooner as when he is hungry … When he roars the wood shivers and all animals which hear him. His strength is quite extraordinary and his large head with the long hairs make him a majestic and honorable appearance … In the color they are very different from each other …

In  Syria  in  particular

even  utterly  black  lions  are  said  to  be  found ”

(Ridinger’s sons in the preamble to pt. II, p. 13, enclosed in copy).

With typographic watermark C & I Honig as that sturdy Dutch quality paper Ridinger used in line with his preamble to the Principal Colors of Horses

“on  account  of  the  fine  illumination”  for  the  colored  works

“as for this purpose it is the most decent and best”. – Margins on three sides 1.8-3.5 cm, below 5.1 cm wide. – Lower 9 cm on the back with partial quite faint tidemark showing through to the front in the text/paper field. – Majestic.

Offer no. 15,989 / EUR  1250. / export price EUR  1188. (c. US$ 1373.) + shipping

Wintter, Joseph Georg (1751 Munich 1789). The Lion teaching the Three Dogs. Etching. Inscribed: JG Wintter inv 1784 . 1⅞ × 2¼ in (4.9 × 5.8 cm).

Niemeyer 9, II. – From Nagler 21. – According to Robels, Frans Snyders, 1989, p. 43, besides monkey, lamb, and pig the lion was one of the four elements dating back to early Christian sources.

From the 44-sheet Augsburg omnibus edition Schwerdt III, 190, a ( “Rare“, 1928 ) of 1821 the earliest, whose marvelous printing qualities on buff paper reveal the small editions and had Schwerdt frequently yet erroneously infer proofs before the letter. But already on occasion of the here otherwise not provable 137-sheet complete edition Weigel 21336 this stated 1857: “Most sheets very rare.”

Offer no. 13,057 / EUR  99. (c. US$ 114.) + shipping


„ ich habe mich nun doch entschlossen, den Ridinger zu veräußern und bitte um Zusendung des angebotenen freigemachten Verpackungsmaterials … (Und) ich danke Ihnen für die ausführliche Anleitung zum Verpacken des Ridingers … (Und) Ihnen nochmals für die äußerst angenehme Kommunikation dankend … (Und) das Geld ist bereits auf meinem Konto angekommen, das ging ja wirklich schnell, vielen Dank dafür … “

(Herr C. S., 15., 18., 29. + 30. Dezember 2009)