pecus — the livestock
pecunia — the possession
Ridinger , Spanish Bull. Taureau d’Espagne
“ In April the Sun
enters the Sign of Taurus ”
(Meyers Konversations-Lexikon, 4th edition)
« loves possession , money , good food , good drink ,
comfort , snugness , having more than the neighbor … elegance
… the possession – not just the mere sight – of all beautiful …
his pleasure in
collecting works of art …
And as epicure he has taste.
Not just his tongue is refined – also his color and shape sense.
Possession leads to intimate acquaintance
with the standard of possession, with the money …
He is the born capitalist.
Wealth originally was the wealth in livestock.
The Latin word pecunia originates from the word
pecus , the cattle »
V.-M. von Winter, (Taurus) in (The Types of Man)
Ullstein TB 55, 1959, pages 33 ff.
“ It is not easy
to find a more splendid growth ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Spanish Bull. Pied, standing to the left. Colored etching/engraving after supposedly the Imperial court painter Johann Georg de H. (Brussels 1672 – Vienna 1737), nevertheless inscribed here as “J. C.” de H. Inscribed: TAURUS Hispanicus. / Spanischer Stier. / Taureau d’Espagne. / Familia II. Zweÿhufig. / J. C. de Hamilton pinx. / J. El. R. fec. 12⅜ × 8⅛ in (31.5 × 20.5 cm).
Thienemann & Schwarz 986. – 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. – Thienemann:
“A fine piebald
of this variety much preferred by the Spaniards
for their fights , with enormous ruffle .”
“ It yet follows … and these are the Spanish bulls, the illustration of which we owe to the kindness of Mr. Hamilton in Vienna.
It is not easy to find a more splendid growth .
These animals also run about freely in the woodlands and become onerous and dangerous for many a traveler when they position themselves in hollow and narrow paths. At certain times they are captured and then
the well-known and famous bull fights
are held with them, in which the Spaniards hold a regular duel with these animals on horseback and on foot in honor of their mistresses, whereat quite many a one has lost his life ”
(Ridinger’s sons in the preamble to pt. I, pp. 20 f., enclosed in copy).
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 1.7-2.8 cm, below 4.5 cm wide. – Isolated tiny spots in the white platefield.
Offer no. 15,952 / EUR 1480. / export price EUR 1406. (c. US$ 1701.) + shipping
Start as Graphic Artist of Distinction
Elias Ridinger sculpsit Aqua forti
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Animal Pieces. Set of 6 sheet. Etchings after Johann Heinrich Roos (Otterberg, Palatinate, 1631 – Frankfort on the Main 1685). Between 1724 + 1728. Inscribed varyingly: Iohan Hein. Roos invent. et del. / Elias Ridinger sculpsit Aqua forti. 10½-10⅝ × 12⅛-12⅜ in (26.8-27 × 30.7-31.3 cm).
Thienemann + Schwarz (ills. I, p. 104) 797-802; Jedding, Roos, 1998, p. 169; Coppenrath part II, 1577 ( “Very rare set”, 1889 ! ); Reich auf Biehla 167 ( “Extremely rare”, 1894 ! ); Ridinger catalog Darmstadt, 1999, IV.10-15, fully illustrated. – In Weigel’s Art Stock Catalog, parts I-XXVIII (1840-1857) as the one and only the copy before any letter only, IX, 10322, of 1840. – Watermarked Crown + word mark.
The very fine copy of the collection “EK” with its small blue round monogram stamp (ligated, Lugt 3549, not identified, drawings and prints of the 17th to 19th centuries) on the back of these bewitchingly beautiful etchings marked with “Aqua forti”, at the same time the
with still partial light façette dirt,
absolutely untrimmed up to the intact deckle-edge
(top + bottom 7-7.5 cm wide-margined, laterally 10-10.5 cm), thus still with the two pinholes on the left from hanging up for drying! – Totally two/three acid-freely backed minitears in the outmost margin. Back of sheet 6 slightly age-spotted of which two spots and slightly larger light brown stains each shining through the right margin. Smoothed centerfolds.
Rock Landscape with Billy-goat, Sheep, and Lambs
Bull, Cow, Goat, Resting Sheep
A Saddled Ass and a Group of Sheep
Old Horse surrounded by Sheep, Goats etc.
In regard of the state with Hertel’s address “Iohann Georg Hertli excud. Aug. Vind.” (Thieme-Becker XVI, 552: progenitor of the Augsburg family of engravers, who later, after buying a part of J. Wolff’s publishing house, founded a publishing house himself; still lived about 1760) on the first sheet analogously to Th. + Schwarz. The rough classification of the states: before any address – Wolff Heirs – Hertel . – The plate numbering results in the sequence Th. 797 – 798 – 802 – 801 – 800 – 799 .
Among the sceneries of this suite that for Thienemann “turned out far better” compared with the first
the art-historically important , warmly felt sujet of the old horse ,
of which Brockes said one would look at it
“ Not with pleasure and yet with great pleasure ”.
Indirect model of this beautiful sheet is the drawing of the resting animals in rocky landscape with the standing old horse turned to the right by Johann Heinrich Roos in Augsburg (inv. no. G. 1671; a further one under Z.419 in Coburg), published as no. 54 in the baroque catalog of 1987, of which it is supposed that Ridinger owned it together with its pendant, the well-known
Bull with the Bell
That 30 years later Ridinger, what has been missed in the Augsburg catalog, memorialized the sujet of present sheet Th.
– A Quite Old Jade –
once more with the same turn to the left, but now in a typical autonomous environment
– on a forest path in front of a suggestively mighty old tree
and disintegrating fence –
reminds of both Brockes’ aforesaid intellectual agitation and especially of Roos’ model extending far into the time. Which in one further generation then also Joseph Georg Wintter followed 1783 by a drawing traded here together with its etching.
But the chain extends ahead of Roos himself, too. So the Roos catalog Kaiserslautern 1985 reminds of influences by Berchem and Dujardin while Nikulin in the 1987 Hermitage catalog thinks of van Laer (1592/95-1642).
This in the context here therefore of particular interest as in recent time general Netherlandish influences have been claimed for Ridinger by several sides independent of each other which to follow already earlier literature encouraged.
In such a way the “Decrepit Old Horse” dominating the group here proves to be beyond its pictorial-intellectual charm
a highly interesting , demonstrative link in chronologically both directions .
On the general social classification of the set Stefan Morét says in the Darmstadt catalog (p. 27) :
“ Also in the works of the Roos family the elaboration and impressive reproduction of the individual ‘character’ of the portrayed animals is a central intent. This it may have been what Ridinger caused to etch several (4 or 5 resp.) series after drawings of Johann Heinrich Roos at the outset of his career …
Supposedly Ridinger was interested in the exact and impressive portrayal of the characteristic qualities or tempers of the depicted animals of his model, thus the somewhat dull staring of the ox, the dozing of the sheep, the vigilance of the goat. In Ridinger’s set ‘Design of Several Animals’ published since 1738 one observes a quite similar interest for the ‘actions and passions’ of the animals that, however, is due to Ridinger’s natural scientific inclinations.
In the time of their coming into being the animal pieces in Italian landscape after Johann Heinrich Roos were interpreted as
alternatives to the bourgeois urban life .
Also in the 18th century they could be understood that way … . ”
And even in 1900 Helbing valued a brilliant copy of the set with 60 Goldmark equally to the suite of the Four Seasons of the Hunter or half of a fine copy of the 23-sheet set of the Fair Game and higher than the brilliant yet trimmed impressions of the Imperials Th. 67/68 (50 Goldmark).
Offer no. 28,485 / EUR 1750. / export price EUR 1663. (c. US$ 2012.) + shipping
– – – The Bull with the Bell apart – see the illustration – in the
marvelous print of the Frisch collection
obviously in an intermediate state – see the rough classification of the same above – after presumed removal of address and numbering in the center. The removal of the type as presumed for the leaf here on a length of well about 13 cm suggests the address of Wolff including the privilege. But its end looks like a date as unknown here for Wolff. In the middle could have been a number as Schwarz recorded for the Hertel state of no. 797, the numbering of which in the above copy yet deviatingly far below right. Just as the “J.” H. Roos quoted by Schwarz 800 instead of the usual “I.” as also registered here for Th.-Schwarz 800 displays a variant.
With typographic watermark and partly slight facet dirt. – Margin slightly foxing, measuring 6.5-7 cm on three sides and 2.4 cm above. – On the back Frisch’s collector’s stamp (not in Lugt).
Offer no. 28,138 / EUR 325. / export price EUR 309. (c. US$ 374.) + shipping
niemeyer’s has it for you !
Fine Example of Compositional
“Towering Up” in the Golden Century
Romeyn, Willem (Haarlem c. 1624 – c. 1694). Animal Piece. Bull, two cows and three sheep resting by a pool in hilly landscape. Etching with aquatint by Johann Heinrich Tischbein II (Haina, Hesse, 1742 – Cassel 1808). Inscribed: WRomeyn pinx: / H. Tischbein fec. 1788., otherwise as below. 7½ × 9⅞ in (19.2 × 25.2 cm).
Wurzbach, Romeyn, 8; Nagler, Tischbein, 25. – Plate 7 of the 1827 Tischbein set Nagler 45 as a compilation mounted in points of throughout old/earlier impressions. – Trimmed to platemark. – From the collection of the legendary financier DR. STROUSBERG, Berlin. – With caption in German:
“ The original is in the collection
of the Privy Senior Administrative Officer von Schmerfeld at Cassel .”
Fine plate by the pupil of Berchem and Dujardin, but contrary to these, so Bernt, “his ponderous gregarious animals are drawn more carelessly”. This ponderousness not to be stated here though, but otherwise the quite fine look of the animals. Furthermore “A standing cow (here bull) is typical … In the Albertina (Vienna) … well represented by 13 fine plates”. Furthermore on the right with the group of the cow and the three sheep attached to this
exemplary for the compositional “towering up” of the age
Offer no. 15,779 / EUR 320. / export price EUR 304. (c. US$ 368.) + shipping
Hirt, Friedrich Wilhelm (1721 Frankfort/Main 1772). A Bull, to the right. Etching by Johann Heinrich Tischbein II (Haina, Hesse, 1742 – Cassel 1808). 3⅜ × 4¾ in (8.5 × 12 cm).
Sheet 11 of the 1827 Tischbein set Nagler 45 as a compilation mounted in points of throughout old/earlier impressions. – On light laid paper. – From the collection of the legendary financier DR. STROUSBERG , Berlin. – “Hirt is much praised as animal painter …” (Thieme-Becker).
Offer no. 14,921 / EUR 60. (c. US$ 73.) + shipping
of the Spanish National Sport
Tempesta, Antonio (Florence 1555 – Rome 1630). Fiestas de Toros. The stations of the bull-fight in the arena as instructive didactic piece. In front as left-hand main group a bull with richly decorated banderilla in the back attacked by a lancer, separated by a barrel from the espada swinging for the coup-de-grâce. Right beside a done torero. Staggered up to the densely populated grand-stand further lancers and two bulls, the foremost kept at distance by the swinging espada by a two-wheeled axle, while a banderillero swings a second baton. The back one, outright bristling with banderillas, one burning, chasing three lancers, one of them still aiming at him. Left of this as center piece richly figured vehicle, camouflaged with head mask with banderillas in the eyes, additionally burning ones in the side holes. Laterally left set back a phalanx of further lancers & toreros. Etching by or for Claes Jansz. Visscher de Jonghe (1586 Amsterdam 1652). (1639.) 3⅞ × 5½ in (9.8 × 14 cm).
“ One should leave the Taurus Type alone …
(but if he) goes off in earnest it will be quite unpleasant ”
Schwerdt II, 251 („proof impressions“). – From the collection “EK” not identified by Lugt with its small black round monogram stamp on the back (ligated, Lugt 3549, drawings and prints of the 17th to 19th centuries). – No. 13 of the Aucupationis Multifariæ Effegies Artificiosissimé depictæ et inventæ ab Antonio Tempesta Florentino and present here as with Schwerdt in early impression before the letter on fine, wide-margined laid paper with typographic watermark as presumably countermark to the coat-of-arms watermark of several further sheets of the set present here. – Contrary to most sheets of the set with but narrow platemark below.
Thematically as extremely rare as instructive ,
above all very early scenery , too ,
of chronologically at least great nearness to the culmination of bull-fighting under Philip IV (1605-1665, accession to the throne 1621).
Offer no. 28,561 / EUR 575. / export price EUR 546. (c. US$ 661.) + shipping
Suite not known to Literature
provable completely here for the 1st Time
Wintter, Raphael. (Animal Drawings for Landscape Furnishing.) Karlsruhe, Joh. Velten, not before 1824. Oblong fol. (10⅞ × 13¾ in [27.5 × 35 cm]). Suite of
12 chalk lithographs
(3½-8⅛ × 8½-10⅜ in [9-20.6 × 21.5-26.5 cm]). Unstitched in orig. wrappers with lithographed title/author/publisher on the front wrapper (in German).
Provisionally Niemeyer Ra 152-155h (so far Niem.  152-155 + 182-186). – Not in Winkler (1975) + Nagler (1851). – The wrappers, widely torn in the fold and at its upper margins somewhat fissured, reinforced on both sides and backed resp., otherwise irrespective of occasional faint touch of mostly just spot-like foxing practically impeccable. – On large strong vélin untrimmed on two sides with wide margins as resulting from the sheet-subject-relation above.
Two sheet inscribed as following: C. du Jardin inv: / R. Wintter f. 1824. and N. Berghem pinx / R. Wintter f: 1824 resp.
THE SUITE DESCRIBABLE HERE FOR THE FIRST TIME
after in the catalogue raisonné here based on two separate parts in the trade only vaguely “4 sheet with depictions of cows from 1824” and “5 sheet with depictions of goats and sheep” resp. could be recorded. Here then both groups of six sheet each and in such a manner supposedly complete. – Not least due to the soft chalk manner
PAINTERLY FINE WORKS
of the animals pictured in again and again new position and grouping in variedly rich environment in their lively naturalness, thereby only once together with man where on a mountain plateau a shepherd with a lamb in his arm chats with the resting shepherdess while a ram visibly intelligently contributes his opinion. Very charming, too, the second one of the two largest sheets in which one of the two billy-goats stretches up at a tree for feed, observed by resting sheep. The bull however Raphael presents dominantly on own sheet. With no frills.
“ devoted himself with preference to animal painting … also occupied himself … with lithography … his drawings (are) quite numerous. They are held in just as high esteem by the connoisseurs as his etchings. Also ingenious lithographic sheets of him are to be found ”
1809 he became 1st lithographer and later inspector at the Lithographic Institute of the Royal Privy Council established by his stepfather and first teacher Mettenleiter. Most interestingly his throughout rare and very rare sets all originate from the early decades with 1831/32 as the last dates for such two etched “Animal Studies” as a result of a stay in Italy in 1830. To add to this yet only scant series now here & now one from the ending “incunabula age” of lithography which until now escaped both literature and surveyable trade and thereby being able to integrate above stray nine individual sheets from it, is pleasure + satisfaction at once. And may be understood as invitation
to snatch as collection-enhancing what pure chance presented .
Offer no. 15,178 / EUR 1730. / export price EUR 1644. (c. US$ 1989.) + shipping
Cattle by the Crème de la Crème
Wintter, Joseph Georg (1751 Munich 1789). (Animal Pieces after Several Masters etched and published … Court and Hunting Engraver in Munich [1783/]1784.) 7 of 8 sheet of the set of the cattle. Etchings. C. 5⅛ × 7⅛ in (13 × 18 cm).
Niemeyer 47-53, II; Nagler 12. – From the Augsburg omnibus edition Schwerdt III, 190, a ( “Rare”, 1928 ) published 1821 the earliest and comprising only 44 sheet anymore (of 137, so the here otherwise not provable edition Weigel 21336, of them “Most … very rare”; so also 1863 Nagler, Monogramists III, 68, at the same time emphasizing their beauty) on buff paper, whose marvelous quality of impressions reveals the small editions and had Schwerdt, unaware of the chronological factors, frequently conclude proofs before the letter. – Without the title etching after Johann Heinrich Roos.
- The Pissing Cow and the Two Sheep. Before village silhouette. After Karel Dujardin (Amsterdam 1622 – Venice 1678). C. du hortein. inv. fecit / 2 (in reverse) / JGWintter. feit (sic!). 1783. – The famous sujet. – The wide white margin somewhat fox spotted on two sides.
- The Bony Old Cow to the left, before rotten lying trunk. Before village silhouette. After Dujardin as above. K. du. jardin. inv. / 3 (in reverse) / JGWintter 1784 .
- The Resting Cow at the Fence to the left. With farm silhouette. After Dujardin as above. K. du jardin inv. / 4 (in reverse) / JGWintter Fecit 1784. – In the far wide white lower margin somewhat foxed.
- The Standing and the Resting Cow, each to the right. On a pasture close to the village with the steeple in the background. After Dujardin as above. K. du. jardin inv / 5 / JGWintter sculp 1784.
6) The Bull to the right on a Fine Plateau
After Nicolaes Berchem
(Haarlem 1620 – Amsterdam 1683). Berchem. inv. / 6 / JGWintter. sculp. 1784.
- The Grazing Cow to the left and the one resting at the fence below a mighty tree, looking at the beholder. With church and the roof of a farm to the right. After Dujardin as above, ringing in the zenith’s abundance of atmosphere . K du jardin inv. / 7 / JGWintter. sculp. 1784.
- The Two Cows lying together amidst painterly hilly landscape. After Jan Both (c. 1615 Utrecht 1652). Both. inv / 8 / JGWintter sculps. 1784. – The splendid finish .
Wintter’s “etchings are excellent and
In 1784 W. became electoral Court and Hunt Engraver” (Nagler) .
At the same time he was member of the electoral academy at Dusseldorf. And 1787 he was promoted court chamber councilor as
rare “(a)mong those numerous court and independent artists
of the Electoral Palatinate Bavarian court”
(pope of forest cameralists Wilhelm Gottfried von Moser from the “Famous family of cameralists” [Heß in Allgemeine Deutsche Biographie] and being born 1729 almost already a representative of the father’s generation), at the same time summing up “Always better than Riedinger”. Which shall not be consented with that generally though. Yet the more so the
“ This man has extraordinary talents ”
as Lorenz von Westenrieder of the same age (b. 1748, theologian, yet especially historian; “has generally an impressionable eye for scenic beauties” [Höhn]) wrote in 1785 to Christian Felix Weisse, friend of Lessing’s and playwright in Leipsic, after he had already highly praised him in his 1783 “Almanac of Human History in Bavaria”.
Exemplary here then his almost complete
rare set of the cattle
as the only one of this kind in the small work
of this early consummate master .
Which evokes what was art-historical conclusion already in 1909 and 1921 resp. So Höhn (Studies on the Development of Munich Landscape Painting from the End of the 18th and the Early 19th Centuries) by his “one of the earliest” among “the early beginnings of Munich landscape painting“ and Wolf (The Discovery of the Munich Landscape) resp., who documents him by seven etchings.
Offer no. 15,670 / EUR 980. / export price EUR 931. (c. US$ 1126.) + shipping
Potter, Paulus (Enkhuizen 1625 – Amsterdam 1654). Cattle Piece. Bull with two cows and a sheep before picturesque tree backdrop on a rise. To the right distant vista across a valley with wooded parish on the horizon. Aquatint printed in brown by Cornelis Apostool (1762 Amsterdam 1844). Inscribed: P. Potter / Apostool. / Published Novr. 1792. 8⅝ × 12 in (21.8 × 30.5 cm).
Rare sheet. – Enclosed text sheet with Potter’s biography and prices realized for his works. – Bernt:
“ (Potter) owes his fame to the natural presentation of the animals and the Dutch pasture … In the 18th and 19th centuries Potter’s basic development of the picture of the animal in the landscape has been continued. ”
The group of two of the bull with the standing cow standing together on the left and the sheep corresponding to the painting in Cassel The Pissing Cow – see following 14,927 – , the latter has been replaced here by a resting another one. Changed also the decoration of the trees and the look over the valley.
Offer no. 15,778 / EUR 320. / export price EUR 304. (c. US$ 368.) + shipping
– – A Group of Cattle (3 plus a sheep) with the Pissing Cow / A Group of Horses (4) with the Farmer and his Dog. On the horizon a mill and a steeple resp. on the right. 2 sheet. Etchings with rich aquatint by Johann Heinrich Tischbein II (Haina, Hesse, 1742 – Cassel 1808). (1787.) 7⅝-7¾ × 10-10¾ in (19.3-19.7 × 25.4-27.3 cm).
Nagler, Tischbein, 24 and probably 30. – Plates 1 and 2 of the 1827 Tischbein set Nagler 45 as a compilation mounted in points of throughout old till earlier impressions. – Trimmed on or within the white platemark. – Sheet 1 with ignorable slight water stains in the upper right. – From the collection of the legendary financier Dr. Strousberg, Berlin.
BOTH THE FINE PENDANTS – 1848 reckoned by Nagler
among the most exquisite sheets by Tischbein
– “from the famous painting … in the Electoral Gallery at Cassel … (called) the Pissing Cow”. – Tischbein, court painter of the Landgrave of Hesse, was inspector of just this, most famous for the splendid collection of Dutch paintings. – Also see previous 15,778.
Offer no. 14,927 / EUR 449. / export price EUR 427. (c. US$ 517.) + shipping
Roos, Johann Heinrich (Otterberg, Palatinate, 1631 – Frankfort/Main 1685). An Ox, resting to the right. Etching by Johann Heinrich Tischbein II (Haina, Hesse, 1742 – Cassel 1808). 4⅞ × 7⅞ in (12.5 × 20 cm).
Sheet 15 of the 1827 Tischbein set Nagler 45 as a compilation mounted in points of throughout old till earlier impressions. – Trimmed within the white platemark. – From the collection of the legendary financier DR. STROUSBERG , Berlin.
Offer no. 14,906 / EUR 74. (c. US$ 90.) + shipping
« Not if he had them by the neck , I vow
Would e’er these people scent the Devil ! »
Johann Wolfgang Goethe, Faust I, Scene V
? ? riding the Greek Taurus ? ?
Zeus’ Homeric laughter ?
For HE it is
who seduces Europa .
grants to him
„ Ich habe die letzten Tage auf Ihrer Website gestöbert, weil sie dem Uhu und anderen Eulen viel Platz gewidmet haben … Da haben Sie mir eine tolle Nachricht geschickt. Ich freue mich auf Ihre Post … Der Inhalt Ihrer Eulenbroschüre ist äußerst gelungen … (Da) haben Sie mir ein schönes vorweihnachtliches Geschenk gemacht! “
(Herr A. O., 19. November/19. December 2015)