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3x Summer

3x François Boucher

3x Les amours pastorales

1703 Paris 1770

 

The  Happy  Shepherds’  Life

Vita  pastoritia  felix

The languishing shepherd-gallant at the feet of his yet very superior shepherdess and pointing at the grapes brought along for her. On the left before a cabin a shephard leaning onto the back of a bull, all around sheep and at the feet of his master the hound. Mezzotint by or at Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) after François Boucher (1703 Paris 1770). Inscribed: J. E. Ridinger exc. Aug. Vind., otherwise as above. 16¾ × 21 in (42.5 × 53.4 cm).

Th.-Stillfried & Schwarz 1400; Reich auf Biehla Collection 286 (“Somewhat waterstained … With wide margin. Of greatest rarity”, 1894); Ridinger Cat. Helbing (1900) 1537.

Not in Thienemann (1856) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger Collection at Boerner (1885) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890) , Hamminger Collection (1895) , R. list Rosenthal (1940).

Bipartite WANGEN watermark. – With quatrain in German-Latin parallel text:

François Boucher/Johann Elias Ridinger, Happy Shepherd's Life

“ Dispise this field, and this innocent life, / Confused haughtiness! not, it knows to give you that, / What your eccentric splendour could never give you, / The innocence’s fatherland, the virtue’s clean course. ”

Wonderful  large  sheet

in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Ne plaignons point le sort de ces bergers from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn).

Established only by Stillfried’s third appendix to Thienemann of 1876 and as all of Ridinger’s mezzotints very rare. The ones mentioned in literature aside, known here only the copy Counts Faber-Castell (1958) and a further one, if not the same, from the early 1960s.

However , not  identical  with  the  latter

as  evidenced  by  several  deviations  in  various  details .

Of greatest rareness as the precious art of mezzotint only allows editions of about “50 or 60 clean copies, afterwards (the image) grinds itself off very soon” (Sandrart 1675). Accordingly Thienemann noted in 1856:

“ The mezzotints are almost not available on the market anymore. By the way all mezzotints worked by and after Joh. El. Ridinger are that rare that they are to be found almost only in some of the magnificent public print rooms. I met most of the described ones only in the famous Cabinet in Dresden … ”

Shortly :

The  whole  delicacy  of  the  mezzotint  technique —

here  you  have  it .

That in the case here as outstanding additional factor of rareness truly superbly wide margins of 9.7-10.3 on the sides and 4.5 and 5.6 cm resp. on top and bottom are added, is then just the last ne plus ultra delighting the pretentious collector. Here thus

the  rarity  as  such — the  significantly  deviating  early  impression —

wonderful  chiaroscuro & enormous  margins .

The lower margin minimally fissured. On the back slightly visible centerfold. – By a “very wide margin” excelled by the way in 1900 the copy of Helbing, valued with 70 gold marks as more than half ( sic! ) of what he rated a very fine copy of the 23-sheet set ( sic! ) of the Fair Game – 130 gold marks.

Offer no. 28,106 / EUR  1380. / export price EUR  1311. (c. US$ 1430.) + shipping

The  Sweet  Captivity

Jucunda  captivitas

A shepherd plays the musette de cour – a refined variant of the bagpipe for artistic music particularly fashionable at the courts in 18th century France – for his shepherdess sitting below a birdcage. Another young woman sitting between them with her left resting on the young man’s knee. Furthermore sheep and the hound of the lover. Mezzotint by or at Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) after François Boucher (1703 Paris 1770) as before. Inscribed: Joh. El. Ridinger excud. Aug. Vind., otherwise as above. 16½ × 21¼ in (42 × 54 cm).

Schwarz 1463 with plate vol. 2, XXII (variant); Reich auf Biehla Collection 313 (“Extremely rare”, 1894); Ridinger Cat. Helbing 1539 (“Very rare mezzotint”, 1900).

Not in Thienemann (1856) + Stillfried (1876) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger Collection at Boerner (1885) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890) , Hamminger Collection (1895) , R. list Rosenthal (1940).

Bipartite WANGEN watermark. – With quatrain in German-Latin parallel text:

François Boucher/Johann Elias Ridinger, Sweet Captivity

“ The bird whistles and sings in captivity, / He collects comfort and spirit as he cannot change it / And Thyrsis imitates him, he looks for recuperated strength, / When his captured heart may name its yearning. ”

Wonderful  large  sheet

in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Ce pasteur amoureux chante sur sa musette from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn), marked by Schwarz supposedly erroneously as after (René) Gaillard.

As against The Happy Shepherds’ Life also noted by Schwarz (“Belonging to the set 1399 and 1400”, as The Foolish Jealousy [1461], too), in the station here the person of the shepherdess is a very charming development. While there not just her face is vainglorious in accordence with the text, the belle in general is quite a reserved lady yet, we find her really relaxed here. Her face complete bestowal, leg shown, bosom anyway, the skirt folded back invitingly. Everything, however, light and charming and of equal grace the shepherd.

Valued by Helbing in 1900 with 75 gold mark even closer to his very fine copy of the 23-sheet ( sic! ) set The Fair Game (130 gold mark) than the The Happy Shepherds’ Life (70 gold mark, see above), present one was rated and paid for significantly higher in the sale of the Count Faber-Castell collection (1958) than the latter one. Present moreover in the quite evidently best preserved one of the totally five copies known here.

Centerfold barely recognizable from the front, a pin head sized scrape and an equal hole in the free outmost plate field of the text margin. The wide hite upper margin fissured and backed acid-freely. Independently of this contrary to – at least – Gutmann’s copy (the other two not illustrated here) in a

visibly  deviating  earlier  state .

The truly superbly wide margins of 9.3-10 on the sides and 4.8 and 5.5 cm resp. on top and bottom just the last ne plus ultra delighting the pretentious collector. Here thus

the  rarity  as  such — the  significantly  deviating  early  impression —

wonderful  chiaroscuro & enormous  margins .

Offer no. 28,108 / EUR  1467. / export price EUR  1394. (c. US$ 1521.) + shipping

The  Foolish  Jealousy

Zelotypia  stolida

Posing as shepherd the young gallant confesses his love to his shepherdess, overheard by a young shepherd. On both sides sheep + lambs. Mezzotint by or at Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) after François Boucher (1703 Paris 1770) as before. Inscribed: Joh. El. Ridinger exc. Aug. Vind., otherwise as above. 16⅝ × 21⅜ in (42.3 × 54.3 cm).

Schwarz 1461 with plate vol. 2, XX (variant). – Not in Thienemann (1856) & Stillfried (1876) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57; more than 1000 R.-sheets of the engraved/etched work) , Silesian Ridinger Collection at Boerner (1885; “of greatest richness … many rarities”) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890; besides 234 drawings 600 prints) , Reich auf Biehla Collection (1894; “Of all [R. collections on the market] since long time there is none standing comparison even approximately with the present one in respect of completeness and quality … especially the rarities and undescribed sheets present in great number”; 1266 sheet plus 470 duplicates & 20 drawings) , Hamminger Collection (1895) , Ridinger Cat. Helbing (1900; 1554 nos.) , R. list Rosenthal (1940; 444 nos.).

Typographic watermark. – With quatrain in German-Latin parallel text:

François Boucher/Johann Elias Ridinger, Foolish Jealousy

“ The envier eavesdrops on the faithful shepherd’s luck, / Why his malicious eyes reflects pioson and grievance? / He just tortures himself, and that may only laugh, / Could he only, as he wishes, complete his luck. ”

Wonderful  large  sheet

in reverse after Claude-Augustin Duflos’ (1700 Paris 1786) Silvandre, heureux amant, que rien ne t’inquiète from his with but 11 × 12⅝ in (28 × 32 cm) considerably smaller-sized four-sheet series Les amours pastorales after Boucher (“Main master of rococo”, Jahn), marked by Schwarz supposedly erroneously as after (René) Gaillard.

Beside the one of von Gutmann here only provable in the copy Counts Faber-Castell (1958, no. 156; creased and trimmed to the image) for which for lack of an illustration the marks of state cannot be compared. Here now with extremely wide margins and only a centerfold invisible from the front. In the left lateral margin the pinholes of the original stitching and equally tiny further ones together with pressure points of thumb-tacks in all four corners. The wide white lower margin fissured and backed acid-freely. Independently of this compared against Gutmann’s copy

in  deviating  earlier  state.

The outstanding additional factor of rareness truly superbly wide margins of 9.2-10.2 on the sides and 4.8 and 5.5 cm resp. on top and bottom just the last ne plus ultra delighting the pretentious collector. Here thus

the  rarity  as  such — the  significantly  deviating  early  impression —

wonderful  chiaroscuro & enormous  margins .

Offer no. 28,107 / EUR  1380. / export price EUR  1311. (c. US$ 1430.) + shipping


„ da haben Sie ja wirklich eine interessante Bildquelle gefunden (Thoman von Hagelsteins Lehrstücke des Jagens). Solche Motive sucht man als Ausstellungsmacher, aber die Wiedergabe in Publikationen ist oft so schlecht … Auf jeden Fall würde ich für die Ausstellung gern die Abbildung zur Wolfsjagd nutzen, da hier mit dem Ziegenbock als Köder noch mal ein anderer Aspekt gezeigt wird.

Sehr selten und noch nie auf einer Abbildung von mir gesehen – die … (Thomann’sche) Igeljagd! Wenn ich davon einen Scan für mein Archiv bekommen könnte, wäre das ganz wunderbar!!! “

(Frau R. S., 14. Mai 2013)