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.

Thienemann 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 with 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).

" The representation of Ridinger as in a window has a long tradition in the European painting of the 16^th and 17^th centuries. It creates a border between beholder and portrayed – possibly as a symbol that this already has passed away "

(Stefan Morét in Catalogue Darmstadt). And furthermore

" To what extent the light (in connection with the artist presenting himself  drawing , thus quite originally creating) has a bearing in the figurative sense as source of enlightenment should be explored in greater detail. "

Whereby also in this connection a bridge exists to the self-portrait in Berlin whose "sinister, ashen light" mediates a spiritual snapshot. As in the present case the forehead, the mind is the center of the light without being itself the source of light. This is located "visibly-invisibly" out of the image and by this takes the priority off the lamplight. What an incentive for the mezzotints founded on chiaroscuro to elucidate such subtlety grandiosely!

The latter than up to the drapery of the curtain, the richly patterned cover.

Typographic watermark. – Valued by Helbing 1900 with 35 Goldmark in significant distance to the portraits Thienemann 1 + 2, equally thus as e. g. the 4-sheet set of the pointers Th. 101-104, the gross of the single sheets not even considered at all!

And so perfectly as here – still the wide-marginess mentioned already above splendidly harmoniously proportioned with 2-2.3 cm at three sides + 4.3 cm below – of highest rareness.
Offer no. 15.184 / EUR  1500. / Export price EUR  1425. (c. US$ 2260.) + shipping

“ I am so impressed by your (riding) website and the collections you offer!

I know this is a great thing to ask of you, I am hoping that in our mutual respect of equestrian heritage you will oblige … ”

(Mrs. B. F., October 24, 2007)