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“(T)he  political,  economical  and  cultural  Life  of

Europe  and  North  America

(influenced  by  the  Reformation).

IT  IS  SAXONY’S  CONTRIBUTION

TO  WORLD  HISTORY.”

Here  now  their  Visitation  of  the  Church

as  the  Cause  for  Luther’s  Large + Small  Catechism

 

RIDINGER’S

“Extremely  scarce  Broadsheet

for  the  Celebration  of  the  Bicentennial  of  the  Visitation

and

in  Remembrance  of  the  79th  anniversary

of  the  Peace  of  Westphalia

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Evangelische Kirchen Visitation. View through a curtain hold together at the top by rocaille title-cartouche with palm branches onto a meeting of the consistory with Luther and his sovereign at the center of the assembled secularity and clergy disputing and studying writings under the maxim John V, 39 “Look for in the Book” composed “stage-like in the sense of a closed scene” (Schöne). The inner circle at the table in the center, the outer in a wide semicircle. Between the upper windows of the otherwise covered walls paintings to I Sam. VII, 16 / II Kings 11, 1, 4 + 5 / Matt. IX, 35 / Acts VIII, 14 + Acts XV, 36. Etching by Johann Jacob Kleinschmidt (1687 Augsburg 1772). (1727.) Inscribed in the plate: Elias Riedinger (sic!) delin. / Ioh. Iacob Kleinschmidt Sculpsit, otherwise as above. 23.6 x 31.7 cm.

Johann Elias Ridinger, Protestant Church Visitation

Provenance

Collection  Alfred  Coppenrath , Regensburg,

his  sale  part  II  (Leipsic 1889),  no.  1606
and  qualified  there  as

“ Extremely  scarce  broadsheet  in  undescribed  state ”,

on the latter see, however, below.

Marsch, (Pictures to the Augsburg Confession and Its Anniversaries), Weißenhorn 1980. – Stillfried (1876) + Schwarz (1910) 1381; Reich auf Biehla 282 ( “Backed. / Interesting sheet … Extremely rare”, 1894 !); Boerner CXXII, 1385 (the copy of Conte Constanza C.....a, Milan, “Utmost scarce”, 1913) + Wend, Additions to the catalogues raissonée of prints, I, 1 (1975), Ridinger 43.

The picture worked within the scope of the “Augsburg Peace Paintings” (1650/51-1789) is meant for the 1728 annual gift. At which the typographic accompanying text “is only glued in many cases” (Gode Krämer; in this manner the copies Stillfried, Schwarz, Faber-Castell), and thus printed separately. The copy of the Augsburg Municipal Art Collections, however, is printed on the back of the etching as probable mark of origin from one of the rare Augsburg omnibus volumes of the set arranged chronologically, but more or less without constraint. So in the first instance by Baumgartner, then by Joh. Michael Roth (1732, a further one with 1749 foreword).

After ending of the Peace Paintings in 1789 Roth then presented the whole set in 1790 at which the pictures up to inclusive of 1731 – as then here, too – were printed onto the backside of the text of the year before. As well in its sequence as in its far more generous typography the 1727 text here diverges from the former Augsburg copy. Larger also the initial, the varying text arrangement besides more restrained ornamental border. From this edition then the copy here should be: the Ridinger/Kleinschmidt engraving to 1728 is found on the back of the text to the “Peace Painting” of 1727. What ever again leads to the wrong judgement as an undescribed proof impression.

Generally by the way not in Thienemann (1856), in Weigel’s Artstock Catalog, parts I-XXVIII (1838-1857), at the Ridinger tycoon Hamminger (1895), in Helbing’s (Ridinger) Catalog XXXIV (1900, 1554 items!) !

Watermark: crown over coat of arms. – In the upper left corner of the broad white margin repaired triangular tear of c. 1-1.5 cm, the upper margin with slim trace of dirt, absolutely smoothed centerfold not visible from the front, otherwise quite untouched. – On the back 2 columns of 50 lines of typographic text :

“ Friedens=Gemähld ,

Der  Evangelischen  Schul=Jugend  in  Augsburg , bey  wiederholtem
Danck=  und  Frieden=Fest , den  8.  Augusti  Anno  1727  ausgetheilet .
Genommen  aus  der  Heil.  Schrifft  und  der  Reformations=Historia. ”

Following an outline of the history of the reformation, its spreading over northern Europe and its victims (see the German version for comprehensive quotations).

Besides 79 years Peace of Westphalia the most eminent historical background of the remembrance by the Augsburg Celebration of Peace – and by this cause of the broadsheet – is the bicentennial of

“(the)  famous  Visitation  of  the  Church  in  Saxony ,

by  which  the  new  Church  became  really  visible ”

(Meyer’s Konv.-Lexikon, 4th ed., IX, 781 + X, 1023) by which all began in 1527 or even 1526 according to newer literature.

Stimulated by Luther and since October 1528 also directed by himself through this visitation

“Saxony  is  the  mother  country  of  the  Reformation .

It  is  SAXONY’S  contribution  to  world  history .

The confessional churches emerging from the reformation

–  Lutherans , Reformed  Church , Anglicans  –

and the spiritualistic movements

influenced  the  political,  economical  and  cultural  life  in

Europe  and  North  America ”

(Christian Zühlke, Die Reformation in Sachsen, in Von der Liberey zur Bibliothek – 440 Jahre Sächsische Landesbibliothek, 1996, p. 123).

Beyond this the conception of the image discloses Ridinger’s ties to the Netherlandish emblematics as already documented in his earliest works. The curtain in the foreground stands for both the curtain of life as since the middle ages as the symbol of the secret, the mystery, as which we have to understand, e.g., the caesura of the worldly death. And indeed, with Luther and his elector we not only see the thematic central figures, but also deceased ones. Accordingly the windows are draped. The light comes in a figurative sense from above, from the skylights and out of the title-cartouche. In the latter not only the cords of the curtain join, but the palm branches are synonym for the past-mortal, the eternal life.

This then the setting of this in so many regards interesting and rare sheet, engraved instantaneously after Ridinger's drawn model.
Offer no. 28,970 / EUR  670. / export price EUR  637. (c. US$ 860.) + shipping


“ Just received the James Figg item safely today. I have a couple questions. Art in general is new to me so I‘m asking you to educate me on this item … First of all I‘m happy with the item, just trying to understand it better … Thanks again ”

(Mr. A. C., March 27, 2008)

 

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