The  AHA!  Event  of  the  Month

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Memento Mori. On the bible lying on the table skull with several missing teeth. To its right vase with defoliating bouquet, left, as rarer, tray with soap-bubbles on which a four-fingered jagged bar with attached seal rests as well as burned down candle/light of life, on its stand a pair of candle scissors, behind it hour-glass and above curtain with large jagged tear-out for the curtain of life, but since the middle ages also symbol of the mysterious whose possibly religious solace is, however, already countered by the hole. Peeping out from under the bible and projecting beyond the edge of the table a blank sheet of paper with tear and dog’s ear. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 51.6 x 42 cm.

Stillfried (3^rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1426, obviously both III (of III); Rosenthal, Ridinger list 126 (1940), 434 (without margin, supposedly ditto); Faber-Castell 145, state I (of III) just as the copy of the National Print Room Munich (1963:1644); Wend, (Additions to the Definitive Catalogues of Prints), I/1, 289 (1975, quoting Stillfried’s description); Ridinger Catalogue Kielce (1997), 172, II (of III) with ills.; Niemeyer, (The Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).

Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger), 1554 items; 1900).

With  subtext  in  Latin-German: “ … What you do think of the end, then you will never ever do evil”.

as one of the most interesting rarities of Ridinger’s Œuvre., whose different three states obviously recorded here for the first time.

But with regard to the precious mezzotint technique in general – in Faber-Castell’s written inventory present here stressed by exclamation mark + underline as “Schabk!” (mezzotint) – Thienemann resumed already about 140 years ago with the words:

“ The  mezzotints  are  almost  not  available  in  the  trade  anymore

… all worked by and after Joh. El. Ridinger (are) that rare that they are to be found almost only in some public, grand print rooms. I have come across most of the described ones only in the famous printroom at Dresden … ”

(pages VIII + 270).

A situation also possible, as here, new editions could change little as according to the expert Sandrart (1675) the technically conditioned extremely fast wearing off mezzotint plate only permits 50-60 good impressions.

Just as the present sujet, missing in Dresden, too, could be described then for the first time by Count Still-fried only 20 years after Thienemann's visits to the print rooms. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness. Rather he remained

(Rolf Biedermann, [Master Drawings of German Baroque], 1987, p. 338). Here then his

See the complete description.
Offer no. 14,856  /  price on request

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Bernardus. Saint Bernard in three-quarter figure to the left, holding in the raised right a crucifix equipped with the instruments of torture, at whose foot the left additionally holds a  death’s-head. On the left on a stone plate two folios, on them austere tiara, and a further scourge rod. Mezzotint. Inscribed: I. El. Ridinger excud. A. V., otherwise as above. 52 x 42.4 cm.

Schwarz 1539 with ills. II, plate L; Faber-Castell 174; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 215.

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

Contrast-rich deep black impression with fine margins running around, in the right upper edge of the subject numbered with red chalk pen “71.”. Slightly time-marked, but of fine general impression. And rare, as proven etc. as before.
Offer no. 14,864 / EUR  570. / Export price EUR  542. (c. US$ 875.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. Christ left alone in his hour of Good Friday darkened by clouds ad looking up to the right, at its foot

death’s-head + bones , persisting  hissing  snake + tempting  apple

as referring company. Broadly situated behind the Temple Mount with adjoining locality laterally left. Mezzotint. Inscribed: I. N. R. I. at the top of the cross / I. El. Ridinger excud. A. V., otherwise as above. 51.7 x 39.2 cm.

Th.-Stillfried (1876) + Schwarz (1910) 1408; Faber-Castell 136; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 153.

Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

Fine black impression rich in contrast – nuance-rich  the  light  falling  in  from  above – with WANGEN watermark as standing for contemporary impressions with margins of 7-10 mm running around. In the left half, optically disguised by the mezzotint technique, slightly waved and generally spotted as little perceptible in the subject. A throughout fine general impression maintained though.

as one of Ridinger’s nine crucifixions in their always again varying fascination of the event.

Offer no. 14,863 / EUR  890. / Export price EUR  846. (c. US$ 1366.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death. Tomb with death from whose head with an hour-glass adorned with bat wings on top a veil flows down at the back and laterally, enthroned above of all the stuff of this world – represented outer right by a hemisphere – as there are gold, goods, seals + orders, crowns, scepter, orb + weapons, folios + cassock, scientific + agricultural instruments and nolens volens maulstick + palette with brushes. The right, however, holds a high tombstone, pointing with an arrow marked as “Presens” in the left at the inscription’s said final words OMNIA MIHI SUBDITA. Mezzotint + outline by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger delin. et exc. Aug. Vind., otherwise as above and below. 55.7 x 42.2 cm.

Stillfried (3^rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1427 (without reference to outline engraving), here though as state II (of II) as not known to either; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 290 with knowledge of Stillfried/Schwarz; Faber-Castell 146 (without recognition as differing second state, otherwise together with Schwarz 1477); Niemeyer, (The Vanitas Symbolism at Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (copy of the National Print Room Munich).

Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).

from the plate shortened at top with at the same time modified signature, both according to the copy of the National Print Room Munich, too.

The reduction concerns 1.5 cm imageless filling of the plate above of the arch. Within the signature the original “Iacob” + “excud.” are each abbreviated at “c”. If the deviations in writing and punctuation of the stone inscription, see below, quoted by Schwarz only partially are real or due to an incorrectness of Stillfried must largely be left aside. The comma in the 1^st line after “curo” noted by both Stillfried and Schwarz missing in the copy here.

Schwarz’ presumption that the differences of his variant 1477 unknown to Stillfried were merely due to the reworking of the plate is incorrect. As proven below it is a repeated version from its own plate with, however, a decisive re-attachment of weight in the inscription’s message (see below).

of great compositional abundance, basing on own design, and by inclusion of the painter’s tools with the attributes of transitoriness going beyond the drawing “Self-portrait with Death” of 1727 in the Berlin Print Room (color illustrations in L’Art Macabre 2, s. a., p. 94 + Ridinger Catalogue Darmstadt, 1999, p. 54, as well as, b/w, per I.5, p. 61).

All in the radiating light of the one from whose head bat wings will lead away the run out hour-glass, the “Presens” arrow determines the direction and the “Preteritum” arrow points at the ground. But in the quiver there is the arrow “Futurum”, however this will ever appear. And its banner flies, contrarily to both the two others, in jolly assuredness.

The Present arrow run from the skeleton’s left pointed between the words OMNIA + MIHI. In the repetition Schwarz 1477 Ridinger has specified this message even more condensed as now the head of the arrow unmistakably points at the M of MIHI.

Provisionally for Stillfried’s quotation of the inscription the following variations of writing/punctuation shall be noted: comma after curo (so likewise in Schwarz, here missing), small letters for p, r, a in papa-, rega- + apostolicam, the bar over the e standing for the m in sede(m) expanded as m, promitere with double t, comma after quando, capitalization of only the O in OMNIA MIHI SUBDITA as well as final full stop.

The heavy stone itself typical for Ridinger as such one occurs repeatedly in his work up to the programmatic personal book-plate (Schwarz 1569) with his painter’s utensils where a boy armed with the maulstick holds it, manifesting the master’s absolute necessity of life: “Nulla dies sine linea” – No day without brush stroke. In the transitory junk of the sheet here the painter’s tools by the way once more a unison with Hogarth who closed his graphic work with the sheet of the Dying Time (“Tail Piece, or The Bathos”) of April 1764, thus six months before his death, on which, however, the palette additionally is demonstratively broken.

in velvety brown-black with palpable chiaroscuro and the watermarks WANGEN and separate IV standing for contemporary impressions and surrounding margins of 4-8 mm.

So the sheet in question presented for the first time by Count Stillfried only 20 years after Thienemann’s print room visits. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness.

See the complete description.
Offer no. 14,857  /  price on request

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Saint Jerome. The inspiration of the saint. Three-quarter figure as hermit to the right with bare chest at a table with two folios, the left holding a quill resting on the opened right one of which. Right beside the inkstand, left of the table crucifix leaning against large cardinal hat. The hat itself leaning against double bookshelf. On this folios,  hour-glass , death’s-head  + torture scourge of Christ’s. The saint himself looking towards the back upper left from where the trombone of the Last Judgement conveys inspiration to him. The lion looking sternly from below of the table. The whole within a frame with floral corner pieces. Below concluding large mussel-shaped cartouche within broad inscription field for entries of individual kind which both have been left empty here as the norm for the preserved copies. Mezzotint. Inscribed: in the mussel-shaped cartouche set into the upper ledge of the frame S. HIERONYMUS. / right below between the frame’s ledge and inscription field Ioh. Elias Ridinger excud. Aug. Vind. 57.8 x 42.3 cm.

Compare Schwarz 1549 (51.1 x 38.5 cm; variant in writing: “Elias” abbreviated after “l”, otherwise see below); Faber-Castell 177 (negligently as Schwarz 1549); Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 230 (as Schwarz).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger; 1900), Rosenthal, Ridinger list 126 (1940).

Enlarged + reversed  copy  of  Schwarz  1549  not  known  to  literature

on toned laid paper with watermark fleur-de-lis, probably contemporary, but also rather later. Noticeable that the enlarged format orients by other sheets of saints by Ridinger as e. g. the cardinal Jerome mezzotinted by Johann Jacob after Alessandro Marchesini (Schwarz 1548), though without the latter being “framed” likewise, or that of St. Mark Stillfried 1404, at which a note of Castell’s at the back of the present sheet points because of a similar scenery, by the way also lion  and  death’s-head.

Marvelous deep-brown impression with margins of 1.5-2 cm running around of perfect preservation with partial minimal touch of tiny foxing spots, three little rust spots feebly showing through from the back, and four small to tiny holes backed by old at the upper margin of the subject, reverse lower left remains of mounting, as nothing to reckoned at all. – On the underlay carton besides Castell’s reference to Gutmann (Schwarz) still another inscription by a different hand. The sheet seems to have been acquired in the English trade.

Sujet  from  the  core  of  ecclesiastical  history

to whose most prominent doctors Jerome (Stridon/Sdrin, Croatia, about 340/42 – Bethlehem 420 [419?]) loaded with a youthful past reckons.

“ … he (is) not only the most scholarly, but also the most eloquent among the Western Doctors … (and) in his biographies of St. Paul, Hilary, Malchus (he has)

right  actually  established  the  pious  novel ”

(Meyers Konversations-Lexikon, 4^th ed., VIII (1888), 524.).

In his early years “he stayed for some time at Treves” in whose famous schools he continued his studies and got acquainted to monastic life. His episcopal chirotony is reported in the legends of the 15^th century as dignity of Cardinal referred to here by the cardinal hat. 386 he took his permanent residence in Bethlehem where he founded a monastery and nunneries.

So he became, in his ranking likely compared with Augustine,  patron  of scientific associations, of teachers, students + pupils, of the theological faculties + Bible societies, but

also  against  eye-diseases ,

furthermore of Dalmatia + Lyon. September 30 as his dying day is considered his memorial day by Christian religions, for the Orthodox it is June 15.

Interesting  present  consideration  of  all  attributes  of  St.  Jerome

as the oversized cardinal hat joins the hermit and the lion the death’s-head. Rather it is hermit  or cardinal + lion  or death’s-head as then also in Ridinger’s representation of the Marchesini painting above as cardinal and just with the lion whom Jerome once had relieved of a thorn in the paw.

Offer no. 14,865 / EUR  485. / Export price EUR  461. (c. US$ 744.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Franciscus Seraphicus. Saint Francis of Assisi in three-quarter figure to the right, meditating before opened book with inscription “DEUS MEUS ET OMNIA.”, death’s-head  + crucified seraph beside boulder overgrown with grass on top. The right of the folded hands with stigma. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger exc. Aug. Vind. / S. | FRANCISCUS | SERAPHICUS. (in the upper loop of the otherwise empty mussel-shaped cartouche in the broad lower edge). 54.6 x 42.5 cm.

Compare  Th. 1288 (c. 52.6 x 39.1 cm; without the engraver’s signature of Johann Jacob and only “A. V.” instead of “Aug. Vind.”; not mentioned book inscription + rock staffage; comp. Schwarz 1543, however not identical with Schwarz 1288 just for the format) – Schwarz 1288 (61.8 x 49.5 cm; without the book inscription, but with the boulder background; shortened signature as Th.1288, its identity provisionally questioned by Schwarz) – Schwarz 1543 (56.4 x 41.2 cm; with book inscription, but without the boulder, shortened signature as before, but “excud.” instead of only “exc.”). – Faber-Castell 115 (negligently as version Schwarz 1288). – As erroneously taking Th. + Schwarz 1288 for identical not in Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975).

Not in Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

(1182-1226) in warming rough vestment the cowl turned back with clear reference to his vision of a crucified seraph who “impressed (on him) under burning pain Jesus’ stigmata from which got the name of the  seraphic  father , his order that of the seraphic brothers. Benedict XI allowed the Friars Minor a special feast of the

Stigmata  of  Saint  Francis

… and Paul V obliged all catholic ministers to the celebration of this” (Meyers Konversations-Lexikon, 4^th ed., VI, 588). Already two years after his death St. Francis, likewise honored by Catholics, Protestants, and even non-Christians for “his unique simplicity and a pure grace of spirit” (Paul Sabatier, Life of St. Francis of Assisi), was canonized by Gregory IX, former Cardinal Ugolino and cardinal governor of the Franciscan order.

According to current knowledge Ridinger dedicated eight versions or variants resp. to the saint,

Present in very fine, nuance-rich impression. The latter especially with regard to the coat dismissed by Thienemann as “rough hairy” which here in the meaning of Ridinger’s treatment of coat praised by Wolf Stubbe looks rather precious. And the intellectual content of the physical message reflected by the chiaroscuro.

With WANGEN watermark together with sub-mark as standing for contemporary impressions. The surrounding margin unevenly trimmed between the short extreme of 1 mm and 15 mm with mostly 10-15 mm on three sides. Two longer and three short traces of tears, each only minute, professionally restored and therefore without noticeably impairing of the also with respect to preservation very fine general impression. Backed besides three tiny tears in the white margin. – See the complete description.
Offer no. 14,860 / EUR  1730. / Export price EUR  1644. (c. US$ 2654.) + shipping

“ The  Great  Sheet  of  Dance  Macabre ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Dance Macabre. Circular chain dance of nine women + skeletons around opened casket with two skeletons inside and outside of the churchyard wall as centerpiece. In addition to it, placed back, chapel + charnel-house (?) along with walls. In the corners the Fall of man – Golgatha – the Eternal life + Purgatory , between two text-cartouches. In the outer-field surrounded by 12 medaillions together with text-cartouches for the dance of the men, separated by 8 (6 varying) vanitas attributes. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger excud. Aug. Vindel., otherwise as following. 65.3 x 48 cm.

Th.-Stillfried + Schwarz 1428. – Illustration in L’Art Macabre 2, Yearbook of the European Dance Macabre Society, Dusseldorf 2001, within the contribution here “The Vanitas Symbolism at Joh. El. Ridinger”.

2^nd state (of 2?) as the copy in the Staatliche Graphische Sammlung München, too. – The copies Stillfried, Schwarz and that of the sale Counts Faber-Castell (1958 as

“ The  great  sheet  of  Dance  Macabre / Main sheet ”)

not recordable in their states on the base of their descriptions. However, the one presented by Patrick Pollefeys on the internet proves to be earlier, at the present assumable as the first.

Not in Thienemann and in Dresden, see below, missing in the voluminous stocks of Weigel (1857) , Coppenrath (1889/90) , Wawra (1890) , Helbing (1900) , Rosenthal (1940) and others more.

Typographic + figurative watermark. – Above and on the right fine small margin nearly throughout, on the left and below predominantly trimmed on the 1.5 cm wide platemark. – To the middle laid on wide-margined hand-made paper per corner-mountage, one of which loosened, causing a repaired tear. Practically not disturbing center-fold.

The  very  fine  copy  in  respect  of  printing  +  condition

of a cultivated collection of nuanced chiaroscuro in all parts. And in such a way

of  greatest  rarity

not only on the market, but in general, as documented above. The one in question here then not even in Dresden, rather made known only in 1876 by Count Stillfried. The quotations there not absolutely correct.

The  first  of  the  large  sized  2-sheet  set

with the “Allegory of the Period of Life” as pendant not present here (Th.-St. + Schwarz 1429; illustration of the copy in Augsburg in L’Art Macabre 2 as above)

as  a  culmination  of  Ridinger’s  vanitates

in actualized repetition of an anonymous leaflet of the late 16^th or early 17^th century, in any case “before 1623” as the “demonstrably earliest and most known Dance Macabre illustration of this kind in the German-language area” (see Imke Lüders, Totenreigen-Totentanz, Totentanzillustrationen auf Flugblättern des Barock und ihre Rezeption, in L’Art Macabre 1, Dusseldorf 2000, along with illustrations).

The  grand  sheet  of  richest  thematic  here  present  for  the  first  time .

See the complete description.
Offer no. 28,414  /  price on request

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Saint Mary Magdalen in Penitence. Half-length portrait sitting to the right at a boulder overgrown with flowers, the head turned to the upper left supported by the left while the right rests on a chalice standing on a slab together with  death’s-head  enclosed by a chain. To the left fine view at distant clouds. Above, coming from the upper edge of the picture filling, comet-like beam of light. Below broad field with center cartouche for entries of individual kind, both left empty as the norm with the preserved copies, but also without the name of the saint usually set into the latter. Mezzotint. 51.6 x 42.4 cm.

Compare  Schwarz 1507 (51.2 x 38.6 cm; inscribed Ioh. Elias Ridinger exc.: Aug. Vind., with two soaring angel heads upper left in the clouds) as reduced repetition of Schwarz 1506 (66.5 x 48.8 cm; inscribed as before, but instead of the “exc.” “invent. et delin.” and without the angel heads); Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 192 (Schw. 1507); Faber-Castell 115 (negligently as Schwarz 1506!).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

with the far more expressive beam of light instead of the informal usual puttos which furthermore is not, as the latter, set into the clouds, rather emanates from the utterly contourless broad-flatted black above of them. Being 3.8 cm wider than Schwarz 1507 and therefore beyond the tolerable of varying working of paper it must be proceeded from an independent version and not just from differing states of one and the same plate. Already Schwarz judged such a difference of dimensions accordingly as he questioned an identity of his Magdalen reading no. 1508 with the equal one of Th.-Stillfried 1421 not present to him for differing width (38.4 : 42 cm, thus similar here).

and chain in the pictorial tradition of El Greco and Jusepe de Ribera and incomparably more charming than especially the sujet of Correggio’s reading Magdalen in idyllic landscape widely spread through steel engraving, but also over-excited other earlier depictions. That Ridinger used the death’s-head also in connection with the attribute of the book (said Schwarz 1508, Stillfried 1421) – just as his Italian contemporary Batoni, 1708-1787, but also already El Greco, 1541-1614 – follows with respect to his vanitates pervading the œuvre in manifold gradation without saying. But also picture-esthetically his present Magdalen with her elegantly draped bosom is a class of her own.

Marvelous  impression  of  adequate  preservation

with WANGEN watermark as standing for contemporary impressions with margins of 5-10 mm running around. Three differently long professionally smoothed out cross-folds no more perceptible from the front as a little restoring in height of the breast. Tiny rust spots in the sky part, three pinhead-small little holes right in the white paper (2) and image margin resp.
Offer no. 14,868 / EUR  1380. / Export price EUR  1311. (c. US$ 2116.) + shipping

Before  the  Silhouette  of  Jerusalem

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Consummatum est. Before the silhouette of Jerusalem the dying Christ at the cross, looking down to the left at Mary, to the right John, both standing, the hands folded, and looking up. At the foot of the cross  death’s-head . Mezzotint. Inscribed: I. N. | R. I. at the top of the cross / Consummatum est. / I. El. Ridinger excud. Aug. Vind. 56.7 x 42.3 cm.

Compare Th. 1274 (uncertain as being trimmed under loss of the title/inscription strip) + Schwarz 1274 (56 x 39.2 cm, variant of writing “CONSUMATUM EST.” + “J. Elias … exc. …”). – Faber-Castell 109 (without attention to the “mm” in Consummatum).

Not in Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

far from all drama in very fine impression with possibly WANGEN watermark with margins 1-1.5 cm wide running around and irrespective of its time-markedness – perfectly smoothed out little crease folds throughout the sheet, thin paper spots, some pin-like tiny holes, little spore spots in the lower part of the subject – of optically roundly very fine general impression.

Offer no. 4,861 / EUR  956. / Export price EUR  908. (c. US$ 1466.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Allegory of Death. Engraving + etching after Andrea Andreani (also Andriani, Andreini, Andreasso, Andrea Mantuano; Mantua 1541 or later – supposedly there c. 1623) based on his clair obscur woodcut after Giovanni Fortuna Fortunius (1535-1611, active in Siena). Inscribed: Joh. El. Ridinger excud. Aug. Vind. Sheet size 57 x 40.6 cm.

on Ridinger up to Wend, (Additions to the Definitive Catalogues of Prints) (1975), Niemeyer, The Vanitas Symbolism at Joh. El. Ridinger (in L’Art Macabre, vol. 2, 2001) and the important catalogues of collections, sales, and exhibitions from Weigel (1838) till the present. Thematically though

in  its  iconographic  richness  not  reached

by the core of his partly extremely rare, but still known Mementi, the mezzotints Th.-Stillfried 1426-1431 ( 1428 available, too ). And in its composition far from the latter two of these, the brutally realistic ones worked by Johann Jacob after Dieffenbrunner (1430 f.). Here then

the  Memento  Mori  as  piece  of  virtuosity ,

as intellectual challenge combined with an expressive-charming plasticity.

In  its  size  visibly  larger

than Andreani’s colour woodcut of 1588 worked in his best period in Siena (51.1 x 33.9 cm image size) of which in countless Old Master catalogues of the last decades just one copy of the 2^nd state can be proven here which nearly quintupled its estimate correspondingly (1994). As a whole then missing, too, amongst the not identical respective seven Andreanis of the collections Lanna (1895, + 3 variants) + Davidsohn (1920/21).

Andreani’s generally only small œuvre today estimated at c. 70 works (AKL, 1990, and

“ his work is to be valued as historically and arthistorically significant today” as Nagler, Monogramists I, 86, recorded already in 1858: “… the extraordinary activity of a man … about whom was often judged too severely since Bartsch … Andreani has to be looked at from a different viewpoint …“ and in the same place per 1017: “the famous form cutter” ),

of which a major part falls into the time after 1600 though when he was active in Mantua as dealer and publisher only whereby he nevertheless put his monogram on blocks of other artists bought by him. But two works from 1608 and 1610 resp. are considered as original again. Bartsch’s principle stock of 25 plus two uncertain ones not quite up to date in both number and composition. Not affected by this though

the  Allegory  of  Death .

Is Andreani’s so-called “Melancholy”, the woman meditating over a death’s head, qualified as “artistically a chief plate” with the addition “thematically extraordinary”, how much more his “Allegory of Death” taken up here by Ridinger as a

“ Pasticcio of iconographic, iconologic, and artistic quotes ” .

As being

extremely  rare  for  Andreani

(generally Thieme-Becker speak of “the great rareness of the leaves” ) ,

as  near-unique  for  Ridinger .

Here then in a fine, not quite contemporary impression on lines-free paper with wordmark watermark and surrounding fine margin around the image’s border line. Only here and there trimmed closely to it. The certain agemarkedness countered by professional restorative means as the backside (water) spottiness shines only partially quite lightly through to the picture side. In the hatched marginal field lower right written note on the artist only barely visible anymore. Shortly ,

a  rarissimum  looking  for  its  equals  of  fine  total  impression .

See the complete description.
Offer no. 28,482  /  price on request

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Half-length self-portrait from front. Sitting in a window-frame before pulled up curtain in the studio at the lamp over the sketch book lying on rich cover, with the pencil in the propped up right. To the left the drawing closet with globe, behind shelf full of folios, on it sculptures. Mezzotint by Johann Jacob Ridinger (c. 1736 Augsburg 1784). Inscribed: Jean Elie Ridinger inv. et del. / Dedié à Monsieur Jean Elie Ridinger Peintre et Graveur et Directeur de l’Académie d’Augsbourg. Gravè par son tres humble et obéissant fils Jean Jaq. Ridinger. An. 1767. 39.2 x 26.6 cm.

Th. XXI, 3; Schwarz 5; Coppenrath Collection II (1889), 1448; Helbing XXXIV (1900), 4; Schwerdt III (1928), 133; Rosenthal 126 (1940), 444; Ridinger Catalogue Darmstadt (1999) I.3 with ills.; Siebert-Weitz, Ridinger (1999), ills. 1; Niemeyer, (The Vanitas Symbolism at Joh. El. R.) in L’Art Macabre 2 (2001), 94 ff.

as of highest desire for the rare and tender velvety mezzotints – already in 1675 the expert Sandrart numbered “clean impressions” at just about “50 or 60” –

of  the  most  important  one  of  the  graphic  self-portraits.

Developing further the drawn predecessor from 1741 – Schwarz I, XIX + II, plate I – showing the far younger in similar ambience also at the lamp, but without the framing by the window, vanitas-cozy globe and before all without the heavy curtain, since the Middle Ages a representative of the secret and mystery and repeatedly consciously used by Ridinger since the title sheet for the riding school of 1722.

And anticipating the drawn “Self-Portrait with Death” of 1767 in Berlin (color illustrations cat. Darmstadt p. 54 + Niemeyer p. 94). – See the complete description.
Offer no. 15,184 / EUR  1500. / Export price EUR  1425. (c. US$ 2300.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death as avove. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger delin. et excud. Aug. Vind., otherwise as before. 57.3 x 41.4 cm.

Schwarz (Gutmann Collection, 1910) 1477; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 270 with the knowledge of Schwarz; Faber-Castell 146 (together with Stillfried/Schwarz 1427 in state II as 14,857 here). – Comp. Niemeyer, (The Vanitas Symbolism at Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (2^nd state of St./Schw. 1427 in the copy of the National Print Room Munich).

Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).

as repetition with among others a decisive re-attachment of weight of Stillfried/Schwarz 1427 for which likewise for the first time a 2^nd state with same pedigree could be proven and described here (14,857).

Schwarz’ presumption that the differences of present variant 1477 are merely due to the reworking of plate 1427 is incorrect. As proven below it is a work from its own plate whose thematic spotlight elucidates by a minor shifting a more specified message :

While with respect to the presence of both variants, revealing the facts, the cataloguing for Faber-Castell was inadequate, so Schwarz’ erroneous assumption results just from his unawareness of that 1427’s second state of the plate shortened at top. For his variant 1477 represents in height the original format again, thus ends again just 1.5 cm above of the arch. Whereas its width is c. 8 mm less with the result of a minor reduction of the image on both sides as missed by him. Just as generally the differing “small variants” (Schwarz) condense to a considerable, though only noticeable at repeated glance, mass which to confront with each other would lead too far here and not least reduce the joy, nay, the luck of own discovery for

(Max Lehrs 1922 in laudatory appraisal of Old Masters collector Julius Hofmann). What must be regarded as downright unfair with respect to the presence here of  both  variants, 1427 + 1477, and by this the chance

though still having been dependant on the chance of a second opportunity.

But on the pleasure of the chance to  compare  both  sheets  a satisfaction of quite a different quality is impending in the present case as not recallable offhand for any other case of Ridinger’s mezzotints. For at least in its second state present here 1427 simply uses engraved outlines for the realization of the thematically conditioned exceedingly complex picture instead of – like present “repetition” 1477 – working everything out of the graduation of light and shade as the principle of mezzotint.

Where engraved lines partially inevitably lead to more detailed chasing it is fascinating to see its “rougher” realization being created from the astonishingly difficult play of light + shade. And to observe comparingly how cheap elsewhere such lines tick off drapery which in pure mezzotint grows out of itself. Or knit Goodman Death’s brow or treat his limbs + joints.

Both versions are from the hand of Johann Jacob. To compare them with each other thus leads far beyond the side-by-side of deviations of usual kind, rather is a going into the medias res of the technique itself. What a chance of learning, of entering the subtlety of graphic expressiveness, of the refinement of understanding of quality!

With his comparably only small mezzotinted contribution being so much in the shade of father and elder brother, with the present sheet of Schwarz 1477 Johann Jacob shows his equalness,

his  whole  mastership  in  the  field  of  the  brilliant  mezzotint .

Just as the present sujet could be presented for the first time by Count Stillfried only 20 years after Thienemann’s visits to the print rooms, but, mind you, only in the first state of 1427. Only 34 years later Schwarz then surprised with additionally 1477, of the latter after another interval of 48 years the copy of Counts Faber-Castell came onto the market, together with the second state of 1427 acquired in 1914, both then absorbed by the mezzotint-centered Ridinger collection of another count. And after a stay of 47 years there now here and today.

with surrounding margins 4-13 mm wide with supposedly watermark WANGEN together with separate IV as standing for contemporary impressions. – Of two completely smoothed out folds running at each other in the center one backed outer left with slight pleat. Two weak parallel traces of folding, all barely perceptible from the front, moreover at the upper edge of the subject, one of which still traversing the termination of the arch. In this also an uninked hair-line crack running out from a tiny pleat coming from the top originating from printing. A few pin-head/tip-small abrasions. The slight touch of foxing spots at the back below not showing through into the subject.

In such a manner then  a  trouvaille  of  round  about  extreme  rarity  in here now a

See the complete description.
Offer no. 14,858  /  price on request

“ Monument  by  the  Sons  …  for  the  …  Father ”

Ridinger, Martin Elias + (?) Johann Jacob (1730-1780 + 1735-1784, both Augsburg). Exact and right representation of the most wondrous stags as of other special animals … . Before dense wood scenery target before Diana pedestal garlanded with roses, laurel + oak leaves, in front of it four hounds with shot stag, hare + pheasant and hooded falcon, rifle barrel + splendidly embroidered game bag. The final title sheet to the set. Etching + engraving. (1768.) Inscribed as before in German-French parallel text + as below. 39.1 x 26.6 cm.

Th. + Schwarz (I, plate XII) 242; Stubbe, Joh. El. Ridinger, 1966, plate 26; Ridinger Catalogue Kielce, 1997, 91; Catalogue Darmstadt VI.24 with ills.; Siebert-Weitz p. 19 with full-page ills. 4. – See the preparatory brown ink drawing in Weigel’s catalogue of bequeathed drawings of 1869, Ridinger appendix 522 and the watercolour with target together with game placed in front Schwerdt III, 217, e and L’Art Ancien, (Ridinger) list 14, 35.

on occasion of the 50-sheet new edition of only the stags (s. Th. p. 62) 1824/25 by Engelbrecht/Herzberg in Augsburg under omission, too, of the ornamental branch parting the German-French subtext (Schwarz 242a)

with  provenance  Von  Behr  of  the  House  Stellichte

as to be assumed as being purchased directly from the Ridingers between 1768 + 1779 as title to the torso I-XXXVI of the set of the Incidents. Taken on its own arthistorically

“ (the different attributes) impart to the sheet characteristics of a still life. The reference to the transitoriness of all worldly things connected with this lets the bust (of Diana) over a pedestal with the inscription

( “ We humans cannot fathom the Creator’s wit, why he did this and that
and that so, If we often find this and that at the creature,
So he has to be respected grandly by us anytime. ” )

and the garland of leaves appear as repoussoirs from the sepulchre or monument art. The (present in the state of the plate here, too) poem below of Diana’s bust embraces in shortened form the convictions that had been the basis of Ridinger’s artistic work. In this respect the title sheet of the ‘Wondrous Stags’ may truly be seen as something like a monument of Ridinger’s sons for the father passed away the year before ”

(Stefan Morét in Catalogue Darmstadt, pp. 137 f.).
Offer no. 14,491

„ besten Dank für die Mail und Ihre Sendung … Das Werk und die Kauf-Abwicklung sind wirklich tadellos! Nochmals besten Dank … “

(Herr D. B., 9. Oktober 2006)