Les Amours pastorales
A Ridinger Trouvaille after François Boucher
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). 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 after François Boucher (1703 Paris 1770). 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:
“ The envier eavesdrops on the faithful shepherd’s luck,
Why his malicious eyes reflects poison 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 – see below – 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.
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 …”
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 9.2-10.2 on the sides and 4.8 and 5.5 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 .
Offer no. 28,107 / EUR 1380. / export price EUR 1311. (c. US$ 1428.) + shipping
“ … And I also received your wonderful documents on Charles Le Brun and the other wonderful images including the three-legged deer. Wonderful. Thank you so very much! … ”
(Mrs. S. W., October 21, 2008)