Ridinger’s  Lake  Ammergau

for  Helbing  1900  the  second  most  valuable  sheet  of  the  set

Ridinger, Martin Elias (1731 Augsburg 1780). In the Lake Ammergau in Bavaria, so a huntsman told me likewise, that as he aimed at a wild (whooper?) swan unexpectedly before he knew it also an especially big (white-tailed) eagle flew so to speak into the shot that he hit this and the other bird together. The huntsman with two hounds and an already bagged smaller bird on the left amongst a group of three trees, the fight of white-tailed eagle/swan over the open water with view on the opposite lakeside. Etching with engraving after his father’s (?) design. Inscribed: XXXII. / M. E. Ridinger. sc: A. V., otherwise in German as before. 9¾ × 13⅛ in (24.6 × 33.3 cm).

Martin Elias Ridinger, In the Lake Ammergau, Bavaria

Thienemann + Schwarz 375; Reich auf Biehla Collection 117 ( “Extremely rare”, 1894! ); Helbing XXXIV, Arbeiten von J. E. und M. E. Ridinger, 891 ( „Very rare“, 1900! ). – Missing as well in the 1885 Silesian Ridinger collection at Boerner XXXIX as 1889/90 the Coppenrath sale.

Sheet XXXII 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

Ammersee  scenery

marked  by  Helbing  by  far  margin  to  the  other  sheets  of  the  set

with  80  Goldmark  as  the  second  highest ) ,

etched exclusively by Martin Elias after predominantly his father’s designs and concluded in 1779.

At which not only after realization here Martin Elias’ impact on 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 scene ensuring that sets were completed or, as here, published 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 teamwork.

Johann Elias’ hand as draughtsman in the case here not supported by his inscription, but on the market the here not present not inscribed chalk study of an aiming huntsman covered behind a tree from the Hamminger Collection (1895) is brought into connection with him and the sheet here. Compiling recourses of Martin Elias appear possible with one or another sheet of this set.

Wide-margined impression originating from the omnibus volume of the old estate of a nobleman on firm laid paper as Ridinger’s preferred quality

with  the  Roman  number

(“If they are missing, so this indicates later impressions”, Th.). – Margins above & below 3-5.3 cm, laterally 6.2-7 cm wide. The far edge of the white lower and right margin partially most minimally age-marked, in the latter besides utterly unessential partial faint little foxing spots. In the white left margin still both the two pinholes from the original stitching in numbers.

The set itself “arranged almost throughout so that always two by two harmonize with each other and form pendants, just as they have been sold in pairs, too” (Th.). Here thus with the attack of a white-tailed eagle on a cormorant hen with juniors in the Tÿrol at the Lake Inn.

Offer no. 15,721 / EUR  1500. / export price EUR  1425. (c. US$ 1647.) + shipping

„ herzlichen Dank für Ihre Expertise zu dem (Hogarth-)Kupferstich. Er ist wohlbehalten angekommen. Besten Dank für die schnelle Zusendung. Gruss aus … “

(Herr F. B., 1. März 2013)


The  Cream  of  the  Day