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Ehrenberg (Ernberg) / Lech – Beaumont, Jean François Sir Albanis de (Chambéry 1755 – 1812). The Barriere at the Castle of Ehremberg. Alps massif centred on Ehrenberg Castle. On the right the High Castle, on the left at the foot of the Falkenberg accross the pass isolated farms and right in front a peasant driving a cart-load home. Colored aquatint by Cornelis Apostool (1762 Amsterdam 1844). 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jan^y 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 31.6 x 44.7 cm.

of the former Ehrenberg Castle – then strongest fortifications of the Ausserfern, consisting of Ehrenberg Defile, fortress, High Castle, and Fort Claudia – at the River Lech on the road from Fussen to the Upper Inn Valley, the old Via Claudia Augusta and salt road, on the northern border of Tyrol. – Wide-margined impression of the 1^st edition on buff Whatman paper.

Sir Albanis distinguishes himself as draughtsman, engraver in aquatint, and landscapist as well as architect. Hailing from the Piedmont he was naturalized in England. Egg says on him:

“ Publishes a large number of views from Italy and the Alps between 1787 and 1806 which he partly engraves himself in aquatint manner and partly lets be engraved by Cornelis Apostool. His engravings belong

to  the  earliest  representations  of  pure  mountain  landscapes  from  the  Tyrol  … ”

Apostool, to be reckoned like Goethe among the so-called amateur artists, received his education at the Amsterdam Drawing Academy (1784-1786) by the landscapist Hendrik Meijer, whom in the early 90s he subsequently accompanied to England, from where he returned in 1796. His c. 80

fine  landscape  aquatints  esteemed  by  the  connoisseurs

– published in several sets between 1790 and 1795 – were the result of that period artistically so extraordinarily fertilizing to him. In 1808 he became the first director of the Royal Amsterdam Museum.
Offer no. 15,244 / EUR  890. / export price EUR  846. (c. US$ 1181.) + shipping

 

– – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del. / C. Apostool sculp. / Published as the Act directs Jan^y 1. 1792. by T. & G. Egerton Whitehall, for the Author, title as above. 31.5 x 44.8 cm. – Wide-margined impression from the 1^st edition on buff Whatman paper. – See the complete description.
Offer no. 15,245 / EUR  670. / export price EUR  637. (c. US$ 889.) + shipping

 

–  further  painterly  Tyrol  views  by  Beaumont  see  below  –

 

Ridinger, Martin Elias (1730 Augsburg 1780). In the Tyrol at the Lake Inn (the Lake Wild-See near Seefeld?) it happened as I took a walk early in the morning as forest keeper there that I encountered a so-called white-tailed eagle (Th.: cormorant) with its young ones of which in this moment a large bird of prey (Th.: white-tailed eagle) tried to take a young one, and really took away. The forest keeper with his dog on the right among trees and shrubs, the attack/defence over the water near the lakeside, at the distant shore a church. Etching with engraving after assumedly own design. Inscribed: XXXI. / M. E. Ridinger. sc: A. V., otherwise in German as before. 25 x 33.5 cm.

Thienemann + Schwarz 374; Helbing XXXIV, Works by J. E. and M. E. Ridinger, 890: “Very rare” (1900!). – Sheet XXXI of the 46-sheet set “To the Special Events and Incidents at the Hunt” ( “The rarest set of Ridinger’s sporting line engravings”, Schwerdt 1928; the

etched exclusively by Martin Elias after predominantly fatherly designs and concluded posthumously in 1779.

At which not only after realization here Martin Elias’ importance for the Ridinger œuvre is much larger than that of an engaged co-worker as engraver only. Already at an age of thirty he just acted as a spiritus rector behind the backstage ensuring that sets were completed or, as here, edited posthumously.

And as Wolf Stubbe (Joh. El. Ridinger, 1966, pp. 16 f. + pl. 34), going in medias res, celebrates Th. 722, The Wild Bison and the Crocodile, from the Fights of Killing Animals as an artistic zenith of the late work in respect of its luminous efficiency, he pays tribute together, because judging by the plate, not the drawing, to Martin Elias as the etcher/engraver of that work. An aspect illustrating deeply the Ridinger team-work.

Johann Elias’ hand as draughtsman in this case not supported by his inscription, yet, though regarded by Thienemann as rough,

thematically  very  fine  and  in  regard  of  the  place  very  rare .

Compiling recourses of Martin Elias appear possible with one or another sheet of this set.

The set itself “arranged almost throughout so that always two by two correspond with each other and form pendants, just as they have been sold in pairs, too” (Th.). Here thus with sheet XXXII – In the Lake Ammergau in Bavaria … – , the attack of a white-tailed eagle on a wild (whooper?) swan with the huntsman together with hounds now on the left behind trees.

(“If they are missing, so this points to later impressions”, Th.), laterally 5.5, otherwise 2.3-3 cm widemargined. – The slight browning at the back shining through only minimally in the wide margin.
Offer no. 14,652 / EUR  946. / export price EUR  899. (c. US$ 1255.) + shipping

 

Lake Garda – Bernese Defile – Etsch – The Pass of Chiusa and distant Mountains near Belluno and Osseniego. On the left the Bernese Defile situated between Lake Garda and Etsch, on the right the pass with the fortifications of Fort Chiusa. With figures by the pass and on the Etsch. Colored aquatint by Apostool as above. 1792. Inscribed: A. Beaumont del. / C. Apostool sculp^t. / Published as the Act directs Jan^y 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as above. 31.5 x 44.7 cm.

and in the wide-margined impression of the 1^st edition on buff Whatman paper. Isolated little foxspots. The colours of the part of the sky occasionally somewhat oxidized, but hardly disturbing. – See the complete description.
Offer no. 15,246 / EUR  870. / export price EUR  827. (c. US$ 1154.) + shipping

 

– – – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del. / C. Apostool sculp^t. / Published as the Act directs Jan^y 1. 1792. by T. & G. Egerton, Whitehall. for the Author, title as before. 31.5 x 44.7 cm.

Fine  Tyrolese  mountain  Landscape  in the wide-margined impression of the 1^st edition on buff Whatman paper. – See the complete description.
Offer no. 15,247 / EUR  670. / export price EUR  637. (c. US$ 889.) + shipping

 

Hall, Solbad – Hanseven – The Verner Mountains, as seen from Inspruck. With Rumerjoch + Speckhorn as seen from Egerdach near Innsbruck. In centre in front Hall + Hanseven. On the left livestock and figures. Colored aquatint by Apostool as before. 1792. Inscribed: A. Beaumont del^t. / C. Apostool sculp. / Published as the Act directs Jan^y. 1. 1792. by T. & G. Egerton. Whitehall, for the Author, title as above. 31.5 x 44.8 cm.

and in the wide-margined impression of the 1^st edition on buff Whatman paper. – Especially in the sky parts a bit foxing. The colours by the way a little oxidized here and there, but hardly disturbing. – See the complete description.
Offer no. 15,248 / EUR  790. / export price EUR  751. (c. US$ 1048.) + shipping

 

– – The same as aquatint by Apostool printed in brown. 1792. Inscribed: A. Beaumont del^t. / C. Apostool sculp. / Published as the Act directs Jan^y. 1. 1792. by T. & G. Egerton. Whitehall, for the Author, title as before. 31.5 x 45 cm.

Painterly  mountain  landscape  in the wide-margined impression of the 1^st edition on buff Whatman paper. – Quite slightly foxspotted, but only in the white margin a little bit eye-catching. – See the complete description.
Offer no. 15,249 / EUR  630. / export price EUR  599. (c. US$ 836.) + shipping

 

Chart of places connected with the Route from Venice to Fussen in Swabia. Map of the tour through the  Rhaetian  Alps  Sir Albanis took in 1786. Engraving by C. Apostool (?). (1792.) 45.3 x 32 cm.
Offer no. 5,928 / EUR  81. (c. US$ 113.) + shipping

 

Landeck in Tyrol, Castle. View over Inn + bridge. Among the figurines in the foreground hunter at a road cross. Steel engraving by Alexander Richard Marx (1815 Nuremberg – after 1852), Nuremberg. Ca. 1855. 16.4 x 10.7 cm.
Offer no. 6,976 / EUR  43. (c. US$ 60.) + shipping

 

Lying  at  the  Eisack  –  shipped  to  Innsbruck

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). On August 20, 1653 this stag with this wondrous unknown antler (periwig antlers) has been … hunted by Ferdinand Carl Arch Duke of Austria … in valley and mountains at Mittenwald (recte Mittewald) between Brixen and Sterrin in the Aimer … and delivered to Innsbruck. Lying to the left on the banks of River Eisack (?). Etching and engraving. (1766-67.) Inscribed: Joh. El. Ridinger inv. sculps. et. exc. Aug. Vind., otherwise in German as before. 31.7 x 21.2 cm.

Thienemann + Schwarz 329. – Typographic + figurative (fleur-de-lis?) watermark. – Sheet 87 of the only posthumously concluded set of the “Wondrous Stags”. – Wide-margined impression of rich contrast.
Offer no. 13,223 / EUR  603. / export price EUR  573. (c. US$ 800.) + shipping

 

– – – The same as toned lithograph by Hermann Menzler printed by A. Renaud for L. J. Heymann in Berlin. (1863-65.) Inscribed: Gez. v. J. E. Ridinger, lith. v. H. Menzler, otherwise in German as before. 34.2 x 22.5 cm.

Joh. El. Ridinger’s Hunting Album III/3. – From the “Collection of Rare Stag’s Antlers Abnormities and Stag Pictures” listed as 3^rd part. – The whole rare set almost unknown to literature and comprising 80 leaves, though practically to be completed just peu à peu. In the picture effect corresponding to that of the aquatint technique not used by Ridinger anymore and decidedly an enrichment for the collection. – On buff wide-margined paper. – See the complete description.
Offer no. 12,403 / EUR  322. / export price EUR  306. (c. US$ 427.) + shipping

 

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Hunting with Hounds. Set of 4 sheets. Etchings partly with drypoint by Johann Daniel Hertz I (1693 Augsburg 1754) for Jeremias Wolff, both at Augsburg. 172(3). 36.5-37.2 x 49-49.4 cm and, two sheets, picturesize 33.1-34.5 x 48.6-48.8 cm resp.

Thienemann (1856) 9-12, but  not  in his possession (“I would like to possess them”); Schwarz, Gutmann Collection, (1910) 9-12 (1^st state added with 11a as 2^nd state, but 10 + 11 without the Virgil subtext + 11 without the 2^nd line with privilege note and Wolff’s address, too) + plate III of vol. I; Schwerdt (1928) III, 134, subsequently L’Art Ancien (1939) list 14, 2 (3^rd state with the Hertel address or mixed copy); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik / Deutschsprachiges Schrifttum, Leipsic 1975, I, 1, p. 302 + K. & F. (1958) LXIV, 167, in each case the 3^rd state with Hertel’s address (Schwerdt’s copy?).

Incomplete  in Coppenrath (1889) 1449 f. (only sheets 1 + 3 and trimmed on imagemark, qualified as “extremely rare”); Helbing (1900) XXXIV (Works by J. E. & M. E. Ridinger, 1554 items), 8 f. (trimmed to platemark); L’Art Ancien (1939) list 14 (Joh. El. Ridinger), 3 (Baillie-Grohmann’s copy with only sheets 2-4 in 1^st and, 4, 2^nd state resp.); Counts of Faber-Castell (K. & F., 1958, LXVI, 18 + 20, sheets 1, 3 + 4 only, but wide margined and including a purely etched proof formerly in the Hamminger collection).

Not  in Weigel’s monumental Print Catalogue with its well over 20,000 items including a special Ridinger division. There only sheet 1 as purely etched proof as doubtless the copy later in the Hamminger collection, see above (div. XIII, 1843, no. 12,586). – Also not in Rosenthal (1940) list 126 (Joh. El. Ridinger, 444 items).

The  third  earliest  hunting  set  of  the  master ,

dedicated prince-bishop Franz Lothar von Schönborn elector of Mayence, not figuring in the 1824 Engelbrecht list of new impressions and whose printing plates Thienemann marked as lost in 1856. Here now the complete set in different states in respect of printing and preservation as acceptable in cases of such great rarities. And last, but not least, of interest as documenting the history of the printing plates.

Departure  for  Hunting  (1)

Rich hunting party on horseback including a lady and numerous hounds. On the right in the middle distance six-in-hand hunting carriage. About 1750 the middle group of the party served china-painters as pattern for plates.

Silver-gray impression with watermark Large Fleur-de-lis, probably of the 1^st state as illustrated by Schwarz in respect of the preserved signature rest “Ioh. Elias Ridinger” directly under the image on the left. Otherwise trimmed to imagemark under loss of Schönborn dedication und Virgil subtext. Only above still with fine platemark nearly throughout. – Some small tears and a thin upper corner repaired acid-freely.

Stag  Hunting  by  Water  (2)

Between two wooded areas with view of a park-like hilly landscape the hunt comes to its end. Here Ridinger generally quotes

from at the latest 1609 (last digit illegible; 193 x 269 mm, see catalogue of the 1968/69 touring exhibition “Landschaptekeningen van Hollandse Meesters uit de XVII^e Eeuw … in het Institut Néerlandais te Parijs” no. 138 + pl. 1) which in the same year Aegidius Sadeler engraved in the same size (Hollstein’s Dutch and Flemish Etchings, Engravings, and Woodcuts, vol. XXI, Amsterdam 1980, no. 225 as “Three Hunters and two Dogs near a Pool” within the 6-sheet set 225-230

“ Six  Mountainous  Landscapes  in  Tyrol ”,

in Wurzbach 107 with only 5 sheets) while for the details of the hunt the picturesque “Stag Hunt in the Wood” by Frans de Momper (1603-1660) is even nearer.

In Savery the game remains invisible, it is a deer-stalking by three hunters with two hounds concentrated on the left side. Common to both versions though the position of the gun-pointing hunter beneath the dead tree (in Savery a group of dead and living) which Ridinger develops to a pronounced vanitas symbol: the stag flees directly into his destruction. Not to be disregarded the dead branches stretching out at him, the huntsman expecting him.

Already in Momper – see the illustration in Beck, Künstler um Jan van Goyen, no. 823 – it is then the courcing from the right while the stag flees at the bank of the pool to the left from where two hounds come. Behind the dead tree reaching over the water no huntsman, at least not pointing, but a dog-leader just unleashing another hound. Such one with two hounds in front left in Ridinger, too. Possible that further repetitions exist which had inspired him.

On  Savery’s  Tyrol  plates  the  catalogue  says  in  general :

“ By these Tyrolese drawings and also the prints, too, the grandiose Alp landscapes … are introduced into Netherlandish painting as a thankful motive making a deep impression on contemporaries and followers.”

Very fine impression of the 3^rd state with the Hertel address “Iohann, Georg, Hertel, ,excud:” below right + the “2” quite below right and thus documenting this state. – With six-liner in Latin + German quatrain resp. from “Virg. Aen. XIII. 749” (Th. XII) as in this form typically of 2^nd + 3^rd states. – Of very fine condition on uncut strong laid paper of 47 x 63.8 cm leaf-size which means 5-7.5 cm wide margins! – In this on the left the four technical pinholes and upper right a repaired 4 cm tear ending 2 cm from the platemark.

Bear  Baiting  in  Poland  (3)

Near to their resting-place in a virgin forest amidst of the hounds the first of the hunters delivers the death-blow to one of the bears. Furthermore a rich hunting party partly holding back the other hounds only with difficulty. From the rocks the second bear observes the scene with rage.

Magnificent impression of the 1^st state inscribed “Iohann Elias Ridinger invenit et Pinxit. / Cum Priv. S. C. Maj.” + “Iohann Daniel Hertz sculpsit Augustae Vindelicorum. 172(3.) / Ieremias Wolff excudit” on the left and the right resp. as marks of this as the Latin two colums subtext from Virgil, too. – Above and on the sides trimmed on or just inside the image-border, below underneath of the 1^st line of the Virgil text. Various smaller, in the upper corners larger tears repaired acid-freely and no more noticeable on the image-side than diverse traces of pleating and crease. In the right margin a 1 cm wide loss discreetly added.

Boar  Hunt  (4)

In a wooden area similar to the one of sheet 2 the boar receiving the coup de grâce after he had finished still two of the hounds. On both sides the rich hunting party partly on horseback. – With Latin six-liner from “Virg. IV. Aeneid. 156. III. Georg. 374” + German quatrain.

3^rd state with the Hertel address like sheet 2 – here with the “3” (sic!) quite below right – and only barely less fine in its impression than that, but with 50.6 x 70 cm leaf-size even wider margined (6 x 10.3 cm). – In the left margin a small tear repaired acid-freely. Here as also in the upper margin – in this additionally an added small loss outside right – a thin trace of a worm. A tiny worm-hole each inside the decoration around the lake, in the left white margin, and at the image-border upper right. The completely smoothed center-fold only noticeable in the white margins anymore.

The  magnificent , quite  complete  set  of  the  early  years

when the works had been etched/engraved and published still by others in Augsburg. In spite of their partly different editions and between-states, too, of generally special great rarity, the two sets Th. 1-8 and, as offered here, 9-12 are the rarest and most wanted even as single sheets.

That also Baillie-Grohman’s legendary hunt collection (1923) did not own the set neither complet nor in uniform states and also Helbing’s 1554-sheet mammoth offer only had the two trimmed single sheets, Thienemann knew them indeed, “but (otherwise only) dearly wanted to own” them, says everything and confirms L’Art Ancien’s qualification as

But irrespective of its not quite uniform states and condition here along these lines

See the complete description.
Offer no. 28,885  /  price on request

 

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