The  ridinger  gallery  welcomes

Johann Elias Ridinger, Vos estis Lux / Autonomously after Rubens

His  Holiness  Benedict XVI

visiting  his  home

and  presents

The  Ridinger  of  Faith

as a large and important group of works of the œuvre with a great number of both thematical and optical highlights not least thanks to their technical realization by the mezzotint as on its part an oasis of refined connoisseurship, but widely neglected to own reduction of delight by the collectors. For worked with results of final visual subtlety as etching + engraving do not make possible so.

In doing so accompanied by a, technically conditioned again, rareness as a just peerless desire of collecting. Then for  how precious this difficult technique was esteemed by Counts Faber-Castell their handwritten inventory list present here reveals, accentuated by exclamation point + underline as “(mezzotint!)”. And correspondingly Thienemann resumed about 160 years ago with the words (pp. VIII + 270):

“ 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 print room at Dresden … ”

A situation also possible new editions could change little as according to the expert Sandrart (1675) the technically conditioned extremely fast wearing off mezzotint plate permits

only  50-60  good  impressions .

Even additionally following weak impressions too fewto satisfy a market formed by daily use as thematically ultimately guided core. Outer mark of that the frequently empty field with mussel centerpiece below the subject thought for personal entries. With the consequence of repeated working up of the plates in cases of esteemed artists. What used to stride along with deviations of more or less importance. For the pleasure of the collectors of once and now as heightening

of  hunting  passion  +  comparing  connoisseurship .

The velvet mezzotint group of more than 120 sheets of religious contents, frequently transferred into the copper by Johann Elias’ youngest, Johann Jacob (1736 Augsburg 1784) as the expert for this, have finally become known only by Baron von Gutmann’s collecting activities comprising

the whole Ridinger

as reflected by the richly illustrated “(Catalog of a Ridinger Collection)” worked by Ignaz Schwarz, whose complete 2nd volume is dedicated to the sheets having remained unknown to Thienemann and with the exception of four standard engravings regarding the mezzotint dominated by 85 sacral ones.

To open this interesting work complex only Th. Reich auf Biehla had endeavoured before, whose rich Ridinger collection nevertheless contained already 28 ones when it was wound up in 1894 (Boerner LV) qualified exclusively as

“very  rare” & “exceedingly  rare”.

Only again the blocks within the Ridinger collection of the Counts Faber-Castell liquidated in 1958 and the one of Count Radulf zu Castell-Rüdenhausen (1922-2004), in which numerous cimelia of the former had been introduced and finished now on its part, formed highlights in this connection. But while “the Schwarz”, satisfactory to scientific demands, records different states, the persons responsible for the 1958 catalog ignored such essential details – now especially against Schwarz – even then where such were clear enough.

Unless mentioned else the following sheets, thus not the two copies of the Schwarz catalog, stand out for said


Counts Faber-Castell

their Ridinger sale 1958

with their lot nos. on the underlay cartons


Radulf Count of Castell-Rüdenhausen

Allocations to states in this connection effected here in such a way throughout in partly only shortened basic description with link on the complete version.

As for the mezzotints – and additionally to Thienemann for the œuvre in general, too – most important former source may be placed in front of the offer just the catalog of the Gutmann collection by Ignaz Schwarz of 1910,

printed  as  manuscript  of  only  202  copies

two  of  them  numbered  in  Roman  numerals ,

the  rest  in  Arabic  ones .

To be able to offer a copy of the latters is routine here. One of the two Roman luxury copies, filled with proud. That it is, however, as

no. I / II

Schwarz, Catalog of a Ridinger Collection (Baron von Gutmann's)

the  formerly  personal  copy

of  Ritter  Rudolf  von  Gutmann

from  the  Austrian  Rothschild  line

1880 – 1966

is one of those ne plus ultras whose special cultivation has tradition over the decades here. In this case

accompanied  additionally  by  unique  pedigree ,

the covering letter of 6th September 1951, with which the antiquary Robert Alder in Bern sends the copy on behalf of Mr. von Gutmann to Mrs. Dr. Waeckerlin in Zurich.

Schwarz, Ign(az). (Catalogue of the Ridinger Collection of Rudolf Ritter von Gutmann.) 4to. XX, 210; XI, 169 pp. With (within the text put on over those which were already printed along with the text as generally for the Arabic numbered copies)

numerous  mounted  illustrations


118  mounted  plates ,

6 of which in colours + 1 double full-paged .

Finely richly gilt orig. calf-vellum on 5 ribs with two dark red back-plates and equal floral ornaments with gilt lines in the free fields, even

gilt  capital  ribbons ,

twofold double line floral corner pieces at the inner and rosette in the outer square resp., all in gold, the

gilt  stamped  supralibros  of  Baron  von  Gutmann

along  with  device

Schwarz, Catalog of a Ridinger Collection (Baron von Gutmann's Arms Supralibros)

“ Semper  Progrediens ”

on  all  four  covers ! ,

marbled fly-leaves à la Pompadour parts of Gutmann’s legendary Marjoribanks Folios as passed through here, too, in marbled orig. slipcases lined with Moiré. Gilt edges.

The  noblest  curtsey  of  literature  to  the  master’s  œuvre , a defilé right across the work filled up with illustrations , the  indispensible  definitive  catalog beside  Thienemann  and  beyond  him .

Here then in vellum and on parchment-like paper, not “on parchment” as in the imprint. – Slipcases minimally rubbed, the backs of the volumes themselves faded to a fine white, otherwise

shining  in  almost  impeccable , untouched  freshness .

See the complete description.

Offer no. 28,886 / price on application

Johann Elias Ridinger

Ulm 1698 – Augsburg 1767

Vos estis Lux Mundi Matth. 5. V. 14. After details of two oils by Peter Paul Rubens (Siegen 1577 – Antwerp 1640). Inscribed: Rubens pinx. / Ioh. Elias Ridinger excud. Aug. Vind., otherwise as above. 21¾ in subject height × 18⅝ in plate width (55.4 × 47.4 cm). – See the initial illustration.

Th. 1289; Counts Faber-Castell 116 (“Rare”, 1958); Rosenberg, Rubens, 2nd ed. (1906), 230 + 288 (erroneously paginated 228) with illustrations.

Not  in Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Schwarz (1910) , Rosenthal, Ridinger list 126 (1940) .

The  here  since  Thienemann (1856)

only  provable  copy

with all marks of 250 years passing through the waves of time. All in all certainly close to be a ruin, but just as certain that in many cases ruins can be positive about very charming view. Just as in the present case

the  pictorial  charm  of  this  sympathetic  sujets

by which Ridinger after references to, i. a., Watteau, Roelant Savery, Jacob van Ruisdael once more shows his – here decidedly ingenious – proficiency to use influences which like princely and aristocratic dynasties just run through the arts, too, as already Goethe admitted for his own work.

Here then after Rubens. But while Thienemann – “The idea taken from Rubens’ painting” – just thinks of one model there are at least two.

“ What  is  not  transformed  by  fantasy

remains poor copy”

(Otto Modersohn notes in his diary in 1897 quoted after catalog exhibition Fischerhude, 1978, page 347).

Here then Ridinger’s fully autonomous composition set under the beautiful word from the Sermon of the Mount

“ You  are  the  World’s  Light ”

in ideas taken from two works of Rubens. And by this of additional documenting value with – for both Ridinger and Rubens – together high-ranking rarity. – See the complete description.

Offer no. 14,872 / EUR  670. / export price EUR  637. (c. US$ 770.) + shipping

Of  Greatest  Beauty

Johann Elias Ridinger, Pastor Bonus

pastor  bonus

in  the  hitherto  unknown  second  state

Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger del. A. V., otherwise as above. 19⅞ × 14½ in (50.5 × 36.9 cm).

Thienemann + Schwarz 1270 (cf. Schwarz II, pl. XLI as “Variant”, recte first state, 1488); Counts Faber-Castell (1958) 108.

Not  in Weigel, Art Stock Catalog I-XXVIII (1838/57; there only per 18,543 a Pastor bonus in octavo) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900), Rosenthal, Ridinger list 126 (1940) . – See the complete description.

Offer no. 14,876 / EUR  1995. / export price EUR  1895. (c. US$ 2291.) + shipping

The  Stings  raised , then  advance  against  the  Zeitgeist

Ridinger’s  Intimate  Celebration  of  Family

in  two  Large  Pendants

Mary with the Child . – Joseph with the Child . Each in half-length figure in large oval medallion, fit into the subject though not drawn throughout, with the nestling child in the arms. In clouds above both couple of angel heads, Mary irradiated by 7 stars, Joseph with elliptic gloriole and lily stalk. 21¾ × 15⅜ and 22⅛ × 15¼ in (55.4 × 39 and 56.3 × 38.9 cm) resp.

Th.-Stillfried (1876; pendants, 22 × 15⅜ in [56 × 39 cm]) + Schwarz (22 × 15 in [56 × 38.1 cm]) 1412/13; Counts Faber-Castell (1958) 137/38; Rosenthal, Ridinger list 126 (1940), 431/32.

Not  in  Thienemann (1856) , Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) .

The  great  pendants  of  intimate  familiarity + security ,

with so far no inscription known, thereby the former with margins 1.5-4 cm wide with watermark WANGEN as standing for contemporary impressions, the latter, equal in quality, supposedly the same, as trimmed to subject and mounted not to be verified though.

Offer no. 14,871 / EUR  1980. / export price EUR  1881. (c. US$ 2274.) + shipping

Francis  of  Assisi

as  Undescribed  Variant  of  Th. 1288

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. 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). 21½ × 16¾ in (54.6 × 42.5 cm).

Compare Thienemann 1288 (c. 20¾ × 15⅜ in [52.6 × 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; cf. Schwarz 1543, however not identical with Schwarz 1288 just for the format) – Schwarz 1288 (24⅜ × 19½ in [61.8 × 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 (22¼ × 16¼ in (56.4 × 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, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975).

Not in Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

Undescribed  variant

to  Th. 1288 , Schwarz 1288 + 1543

of  the  fine  large  sheet  of  the  founder  of  the  Franciscan  order

(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 he 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, 4th 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, five of which in close following to the 1288 sujet (besides those already discussed including the present one the reduced copy of Schwarz 1288 per Stillfried/Schwarz 1423, 13½ × 9⅜ in [34.4 × 23.7 cm]), two generally connected with the theme (1339, 13⅜ × 9 in [34.1 × 22.9 cm] + Schwarz 1544, 25¼ × 17⅞ in [64 × 45.3 cm]), and Schwarz 1542 as completely independent (19⅝ × 14¾ in [49.9 × 37.6 cm]).

But  solely  present  undescribed  variant

additionally  with  Johann  Jacob’s  signature  as  engraver .

Common to all by the way their virtually entire missing on the market. Of those known to literature only Thienemann 1339 occurred in the well-equipped mezzotint section of Rosenthal’s Ridinger offer from 1940 (no. 420) + 1958 at Faber-Castell (123).

The  remarkable  interest  of  Ridinger  in  Francis  of  Assisi

doubtlessly  not  least  stimulated  by  a

“ He  preached  to  the  animals ”.

Present in very fine, highly nuanced 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.

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.

Offer no. 14,860 / EUR  1730. / export price EUR  1644. (c. US$ 1987.) + shipping

“ The  first  of  the  Four  Great  Doctors

( of  the  Catholic  Church ) ”


“ Father  of  Latin  Hymnology ”

S. Ambrose. After Alessandro Marchesini (1664 Verona 1738, active in Verona, Venice, Padua). Inscribed: Marchesin pinxit a Venetia. / Ioh. Iacob Ridinger sc. / Ioh. El. Ridinger exc. A. V., otherwise in the upper cavity of the mussel-shaped cartouche S. | AMBROSIUS. 21 in (53.2 cm) sheet height × 16¼ in (41.3 cm) width platemark.

Schwarz 1532; Faber-Castell 171; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 206.

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

The  quite  human  charming  sujet

Johann Elias Ridinger, S. Ambrose

from the core of ecclesiastical history:

and compositional pendant to the following St. Hieronymus as also associated with Treves, too, after Marchesini likewise.

“ Famous Doctor of the Church, born  about  340  at  Treves  as son of a Roman Prefectus Pretorio (Galliarum as one ‘of the highest of Roman public offices’), was administrator in Rome until the governorship of Upper Italy was conferred on him. Though not yet baptized he had to accept the election for bishop of Milan in 374 … his differentiation of the general and the perfect duties, among which he e.g. reckoned celibacy, is of influence … by his choral poetry he became

the  Father  of  Latin  Hymnology ”

(Meyers Konversations-Lexikon, 4th ed., I (1889), 449 f.).

Died April 4, 397, and – so the Biographisch-Bibliographisches Kirchenlexikon (Bautz Verlag, 2002, with besides “about 333, probably also only 340”, another source deems 339 as possible, as year of birth) continuing –

“ the  first  (of  the)  four  great  Doctors  of  the  (Catholic)  Church ,

the  most  important  occidental  prelate  and  preacher  of  the  4th  century ”,

descending from one “of the oldest noble families of Rome”. – See the complete description.

Offer no. 14,867 / EUR  685. / export price EUR  651. (c. US$ 787.) + shipping

The  Founder  of  the  “Minims”

Johann Elias Ridinger, S. Franc. de Pavla

who  in  the  Age  of  Ridinger  saw  their  Zenith

S. Franc. de Pavla Fvnd. Ord. Minimor. / Ordinavit in me Charitatem. Cant. 2. Cap. St. Francis of Paula,

founder of the monastic order of Minims closely connected with the “grey” Franciscan friars ,

as half-length figure in brown habit to the left. Looking up trustingly, the right presses a sheet with the inscription CHARITAS against the chest while the left holds the knotty stick as symbol of the wandering mendicant. Inscribed: Ioh. El. Ridinger exc. Aug. Vind., otherwise as above. 20¼ × 16⅝ in (51.6 × 42.3 cm).

Th.-Stillfried (1876) 1416 ( “A very fine sheet” ); Counts Faber-Castell (1958) 140. – With Schwarz (1910) under same number with question mark affixed only one with 28¾ × 21⅞ in (73 × 55.7 cm) larger variant before the letter of the also there mussel plate of the wood emboss and an “excud.” contrary to present “exc.” corresponding with Stillfried, too (“With respect to the measures diverging from St. … barely identical with 1416”).

Not  in  Thienemann (1856) , Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Gg. Hamminger (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Schwarz (1910; see above) , Rosenthal, Ridinger list 126 (1940).

Two sides with mostly 5 mm margin, below 2 cm, on the right fine little margin getting close to the platemark on 3 cm. Generally rubbed and slightly time-marked with three backed margin tears, one of which reaching into the subject for 5.5 cm. On the back tidemark at the upper and upper right lateral edge.

Even  surpassing  the  Order  of  St.  Francis  in  strictness  the  order  of  the  Minims

(Minimi fratres Eremitae) was founded by Franciscus de Paula (Paola, Calabria, 1416 – Plessis lès Tours 1507, his day is April 2) in 1435 and acknowledged as congregation by Sixtus IV in 1474.

“ The grant of all privileges of the mendicant orders … as well as the canonization of its founder (1519) contributed a lot to its spreading. In the middle of the 18th century (the order) had more than 450 monasteries with 25,000 religious in 31 provinces ”

(Meyers Konv.-Lex., 4th ed., XI, 660/1).

Offer no. 14,960 / EUR  930. / export price EUR  884. (c. US$ 1069.) + shipping

With  the  Eagle  as  Revelation  of  Creation …

S. John

Johann Elias Ridinger, S. John

in  the  first  state

before  the more elliptic gloriole and the “No. 15” below the title as marks of the retouched plate (Schwarz 1264a) in very fine impression of vibrant chiaroscuro. Inscribed: Iohann Elias Ridinger sculps. et excud. Aug. Vind., otherwise as above. 20⅛ × 14¾ in (51 × 37.5 cm).

Thienemann + Schwarz 1264; Counts Faber-Castell (1958) 106. – Not in Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Rosenthal, Ridinger list 126 (1940).

The final sheet of the completely extremely rare 4-sheet set of the evangelists of which also Faber-Castell had but 3 sheet, and count Radulf only 2 sheet (his S. Matthew following here). – With partially slightly (on the back somewhat more) stained margins of 5 (below) up to 10 mm round about, in this upper right written “40” in brown ink. – Smoothed horizontal centerfold and vertical trace of glue, both visible on the back only. Isolated, mostly backed and retouched pin(head)-fine tiny holes in the margin parts, only one slighlty larger one left of the head negligibly perceptible.

THE  FINE  MOTIF  with the eagle represented in active great side pose as one of the four (Ezekiel) cherubim as

“ Symbol(s)  of  the  creation  worshipping  and  praising  God ,

in  which  God  reveals  himself …

In the bible the cherubim appear as guardians of the paradise after the fall of man … while … in Christian art (they) developed into attributes of the four evangelists ”

(Meyers Konv.-Lex., 4th ed., III, 999/2).

Offer no. 14,957 / EUR  730. / export price EUR  694. (c. US$ 839.) + shipping

S. Matthew. The left resting on closed folio, below which a genius suggestively – though “as a little anachronism”, so Thienemann – keeps ready pen + inkstand. Inscribed: Ioh. Elias Ridinger sculps. et excud. Aug. Vind., otherwise in German as above. 20⅛ × 14¾ in (51.2 × 37.4 cm).

The  initial  sheet

Johann Elias Ridinger, S. Matthew

of  the  afore-mentioned  set

Thienemann + Schwarz 1261; Rosenthal, Ridinger list 126 (1940), no. 415; Counts Faber-Castell (1958) 104.

Not in Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900). – See the complete description.

Offer no. 14,958 / EUR  390. / export price EUR  371. (c. US$ 448.) + shipping

– The same in earlier version before touching up the plate. 20⅛ × 14¾ in (51 × 37.3 cm). – Not provenance Faber-Castell/Castell-Rüdenhausen. – Of fine chiaroscuro with WANGEN watermark and secondary mark as standing frequently for contemporary impressions. The comparison with the above copy proves a general plenty of differences in the details up to the arrangement of the saint. However, same size and unchanged caption speak for only one, but pictorially completely retouched plate. Of interest in this connection not least the signature line. For in both versions the space of the periods of the abbreviations after Ioh., excud. + Vind. is the same as not typical for Ridinger. – See the complete description.

Offer no. 28,901 / EUR  690. / export price EUR  656. (c. US$ 793.) + shipping


Johann Elias Ridinger, S. Catherine

of  the  Philosophers

S Catharina. The St Catherine of Alexandria frontally to the right in the glory with pearls + diadem, the palm leaf of the martyrs in the raised left and the right resting on the sword grip as symbol of her dying. Behind her the broken wheel. Mezzotint. Inscribed: Ioh. Elias Ridinger excud. Aug. Vind., otherwise, in large shell cartouche in the lower margin, as above. 22½ × 16¼ in (57 × 41.2 cm).

Schwarz 1554 with illustration; Counts Faber-Castell (1958) 178.

Not in Thienemann (1856) , Stillfried (1876) , Weigel, Art Stock Catalog I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900), Rosenthal, Ridinger list 126 (1940).

Not provenance Faber-Castell/Castell-Rüdenhausen. – Per corner mounting by old hand laid on heavy hand-made paper slightly browned at two outer margins. – On the right with tiny paper margin, below mostly the same, top + left trimmed on platemark almost throughout. Little worm trace in the free outer field top right.

The  excellent  copy  in  regard  of  printing  and  conservation

of a cultivated collection of perfectly bright chiaroscuro in all parts. And in such a manner of quite extraordinary rarity not only on the market as quoted above, but in general, too. And just then also described by Schwarz (Collection Baron von Gutmann) for the first time in 1910.

The  also  pictorially  timelessly  sympathetic  representation  of  that  scholar

of the legend brought to Europe by the crusaders, who, of Cypriot-princely blood, excelled by her intelligence the 50 pagan philosophers summoned up by Emperor Maxentius, and instead converted them to Christianity. With the result of her being sentenced to death by the wheel. Which then broke. So that she was beheaded in 307 A.D. November 25 is dedicated to her churchly commemoration. But throughout the year she is adored by “the philosophers and learned schools as patroness” (Meyers Konvers.-Lex., 4th ed., IX, 611).

While quite topically though “already since some time (the) historians (have) rediscovered … (and) scientifically reanimated” her as a member of that “exclusive company of divine intervenients – or, stated Protestantly, divine representatives – ” (Peter Burschel reviewing Brad Stephan Gregory’s Salvation at Stake — Christian Martyrdom in Early Modern Europe in Frankfurter Allgemeine Zeitung of Aug. 2, 2000).

Offer no. 28,401 / EUR  1892. / export price EUR  1797. (c. US$ 2172.) + shipping

First  described  by  Schwarz  1910

The  Holy  Family  with  Child  St.  John

and  here  in  Undescribed  Variant

The Holy Family. Dominant triple relationship of Mary with the sleeping child on her arm, whose right points at the Ecce Agnus Dei as banderole around the cross beam of the child St. John as his later Baptist kissing his right foot, looked at in thoughts by Joseph holding a book with both his hands. In the inscription plate below mussel-cartouche likewise left empty. Inscribed: Ioh. El. Ridinger excud. A.V. Subject size 20⅞ × 16 in (53 × 40.8 cm).

Cf. Schwarz 1484 with plate II, XXXIX; Counts Faber-Castell (1958) 166 without indication as variant to Schwarz.

Not in  Thienemann (1856) , Stillfried (1876) , Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Rosenthal, Ridinger list 126 (1940).

Of rich chiaroscuro it obviously is the second state of Schwarz 1484 – “Similar, but not identical with Th. 1280” – with less nuance in the details. Here trimmed to platemark on three sides it has to be left undecided if the difference in height constituted by the pictureless filling area above Mary + Joseph results from a shortening of the plate or individual trimming of the paper.

Beyond proven rarity and moreover undescribed state of preprogrammed scarcity … as above and by Thienemann then not even found in Dresden and so just not only, overlapping generations, remained unknown to Thienemann + Stillfried, rather in this second state, now documented here for the first time, even still further decades later to Schwarz.

Offer no. 14,961 / EUR  970. / export price EUR  922. (c. US$ 1115.) + shipping

The  Hermit  Jerome  “Schwarz 1549”


Counts  Faber-Castell

now  unmasked  as  Doubtful  Fellow

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 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. 22¾ × 16⅝ in (57.8 × 42.3 cm).

Compare Schwarz 1549 (20⅛ × 15⅛ in [51.1 × 38.5 cm]; variant in writing: “Elias” abbreviated after “l”, otherwise see below); Faber-Castell 177 (negligently as Schwarz 1549); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 230 (as Schwarz).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und 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, see below), though without the latter being “framed” likewise, or that of St. Mark Stillfried 1404, at which a note of Castell’s on 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.

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$ 557.) + shipping

The  Cardinal-Hieronymus

Saint Jerome. As cardinal to receive his inspiration by the angel standing behind his seat. This just came forth from the heavy curtain – standing for the curtain of life, since the middle-ages then also symbol of the mysterious – still held back by the raised left. The right of the saint holds a quill in interruption of writing in the folio resting on his right leg. On the little table beside cardinal hat + inkstand scourge as instrument of torture of Christ’s. Left at his feet the front of the peacefully resting lion. After Alessandro Marchesini (1664 Verona 1738, active in Verona, Venice, Padua). Inscribed: Marchesini pinxit a Venetia. / Ioh. Iac. Ridinger sculps. / Ioh. Elias Ridinger exc. A. V., otherwise in the upper cavity of the mussel-shaped cartouche S. | HIERONYMUS. Subject size 21⅞ × 16¾ in (55.7 × 42.5 cm).

Schwarz 1548 (variant in writing: “Iacob” + “I. El. … excud.”); Faber-Castell 176 (without mentioning of the variant as against Schwarz); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 229 (variant in writing: “Iac.” as here, otherwise as Schwarz).

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

Compositional  pendant

to  Saint  Ambrose  above

Johann Elias Ridinger, S. Jerome

as  also  associated  with  Treves

after  Marchesini  likewise

in very fine impression of rich contrast with variant in writing, below, however, and parallel to the Ambrose sheet, trimmed under loss of 2 cm within the inscription field with mussel-shaped cartouche reserved for entries of individual kind, though usually left empty and here therefore obviously deemed dispensable for the picture. The otherwise tiny(est) margin running around on three sides partly cracky on two sides, here and there up to the edge of the subject. In the subject itself – numbered in its right upper corner with red chalk pen “80.” – some folds + little pleats, under passepartout at the latest of definitely pleasing general impression, not least with respect to the rarity of these sheets as then already 1839 those by Ridinger after Marchesini remained unknown to Nagler (VIII, 304).

Pure 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  invented  the  pious  novel ”

(Meyers Konversations-Lexikon, 4th 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 15th century as dignity of Cardinal referred to here by the cardinal hat. 386 he took is permanent residence in Bethlehem where he founded a monastery and nunneries.

“ Here H. gave the first example of a monkhood that makes the cultivation of sciences and literature its chief duty. He (translated, having command of seven languages, essential parts of the Bible from Hebrew and Greek into Latin [Vulgata],) wrote quite a number of commentaries on Old and New Testament, valuable publications of archeological content, legends of saints and monks … ”

(Meyers op. cit.).

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.

This purpose of life and its standing is reflected by the present sheet just as by the lion belonging inseparably to him, whom he once had removed a thorn from his paw. For the lion-immortalizing Ridingers the lion attribute bound to him was a dainty addition anyway in their work of saints widely quite unjustly carped at.

Offer no. 14,866 / EUR  790. / export price EUR  751. (c. US$ 908.) + shipping

First  described  by  Schwarz  1910

Mary  with  the  Child  Imperial

and  here  in  undescribed  even  larger  Variant

Mary with the Child at the Ionic column. Half-length portrait. Looking up in rich robe supported by fine chiaroscuro with the child looking out of the picture in the right arm with the left one participating. Below ornamented cartouche in wide text margin with just the signature inscribed. Done supposedly by Johann Jacob Ridinger. Inscribed: Ioh. El. Ridinger excud. Aug. Vind. 25⅜ × 18⅞ in (64.6 × 48 cm).

Cf. Schwarz 1521; Counts Faber-Castell (1958) 170 without identification as variant to Schwarz; Rosenthal, Ridinger list 126 (1940), no. 441.

Not  in  Thienemann (1856) , Stillfried (1876) , Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) .


to the with just 24⅝ × 17½ in (62.4 × 44.3 cm) smaller Schwarz copy which in addition bears the engraver’s signature of Johann Jacob in the lower margin left. That of Johann Elias, in conformity placed right outside, deviating in the abbreviation of the first Christian name limited to the “I.” in Schwarz. If and in case which of these two versions corresponds with the Rosenthal copy has to be left undecided for lack of specifications there beyond an “imp. fol.”.

With margin running about of a scant 1 up to 1.5 cm wide. – Mounted on cloth for partial abrasions, perceptible with the unarmed eye here and there only and barely impairing the optical general impression, as not yet noted for the 1958 sale, causing slight pleats in the mostly unessential lower subject. – On the back presumably by hand of count Radulf in pencil

“ For  the  rarest  Ridinger  sheets ”.

Offer no. 14,962 / EUR  970. / export price EUR  922. (c. US$ 1115.) + shipping



with  the  spectacular  view

on  the  fulfillment  of  Good  Friday

The Adoration of the Shepherds (St. Luke 2, 1-20). In the fron t on the right on a straw box the child held by Mary at his arm, behind her the announcing angel Gabriel and, to the middle, Joseph. On the left the group of the three shepherds, one holding a sheep. Above the mortals in and beyond the clouds many putti, carrying in anticipation the crown of thorns , nails , spear and cross

as  spectacular  view  on  the  fulfillment  of  Good Friday

but still being held back by the archangel in view of the szenery at the crib. In the middle on the left another group of approaching shepherds. On the right outline of the stable. Mezzotint by surely Johann Jacob Ridinger (1736 Augsburg 1784) supposedly after Johann Georg Bergmüller. Inscribed in italics lower left: Joh. Elias Ridinger excud. A.V. 24⅞ × 17½ in (63.2 × 44.5 cm).

Schwarz (1910) 1486 (but not acquired along with the Horn collection in 1903, see below); Wend (1975), Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, 1,1, 147 with reference to Schwarz.

Not  in Weigel, Art Stock Catalog, division I-XXVIII (1838/57) , Thienemann (and therewith not in the Dresden Printroom, too; 1856) + Count Stillfried (1876) , R. collection at Wawra (1890; besides 234 drawings 600 prints) , R. catalogue Helbing (1900; 1554 nos.) , R. list Rosenthal (1940; 444 nos.), collection of the counts of Faber-Castell (1958; 106 drawings + 1160 prints), and others more.


Johann Elias Ridinger, The Adoration of the Shepherds

intricate  composition

as a pendant to Ridinger’s Annunciation of the Blessed Virgin Mary Schwarz 1516 definitely ascertained for Bergmüller (“Joh. Georg Bergmiler pinxit”) and surely forming a uniform Ridinger-Bergmüller chain of events with furthermore an Adoration of the Kings (1406) and the Flight into Egypt (1482). All in the practically same size and

presenting  themselves  as  specially  worked  pictures  for  the  wall ,

therefore without so-called thesis banner below – in the 18th century “mostly as blank banner with integrated center cartouche” (Teuscher in Die Künstlerfamilie Rugendas 1666-1858, p. 295) – for individual inscription on special occasions as the rule for the Saints sheets as marks of their designation as art for daily use.

Available here moreover

in  greatest  perfection

as widely so unobtainable for even just most ambitious collectors. Raised enormously as

an  item  next  to  impossible !

With watermarks WANGEN + (large) crown with appendix FAvI (ligated) as known for excellent early Ridinger states and mounted at five points on heavy handmade paper with typographic two-liner watermark. – In the lower margin still plate dirt. – Trimmed at both the upper corners on the platemark, otherwise with fine margins of up to 2 mm. – With only quite minimal rubbing in the clouds above Joseph and a tiny pin-like hole visible only against the light, otherwise of almost un-touched freshness and in such a way not only a Ridinger unknown to most, but also and at all

a  Ridinger  which  to  miss  would  leave  you  poor .

Offer no. 15,260 / price on application

St. Joseph with the child Jesus with the globe. Half-length portrait with elliptic gloriole looking up to the left with lily stalk in the right and with the left holding the child bedded on a soft cushion. The latter himself with beams of rays at each side and on the head, beside him the globe, onto which his right presses on the cross, otherwise, however, likewise looking to the left out of the picture. Inscribed: Joh. Ellias Ridinger. excud. A. V. 22⅜ × 16⅝ in (56.7 × 42.1 cm).

Cf. Thienemann + Schwarz 1282 + Schwarz 1503 (“Similar representation as Th. 1282 and supposedly from the retouched plate. Modified works …”) with ills.; Counts Faber-Castell (1958) 113 as Th. 1282 without identification as variant to the aforementioned.

Generally not  in Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Rosenthal, Ridinger list 126 (1940).


and with respect to the cartouche, compared to Schwarz 1503 (21⅞ × 16⅝ in [55.6 × 42.3 cm]) once more and decisively simplified, third, if not forth state of Th. 1282, whose yet not absolutely reliable signature notation “J. E. Ridinger exc. A. V.” deviates from the one Schwarz reliably quotes for 1282 (21⅞ × 16¼ in [55.5 × 41.2 cm]), that is “I. El. Ridinger exc. Aug. Vind.”. Joseph’s looking up sympathetically more reserved here compared with Schwarz 1503, the hair barely curled in the forehead region.

With little margin of up to 4 mm (below) round about, frayed on the left on 13 cm. – Generally time-marked with partial lighter rubbings, more conspicuous in cartouche and text margin.

Offer no. 14,963 / EUR  198. (c. US$ 239.) + shipping

Before  the  Silhouette  of  Jerusalem

Consummatum est. Before the silhouette of Jerusalem the dying Christ at the cross, looking down to the left at Mary, to the right John. At the foot of the cross death’s-head . Inscribed: I. N. | R. I. at the top of the cross / Consummatum est. / I. El. Ridinger excud. Aug. Vind. 22⅜ × 16⅝ in (56.7 × 42.3 cm).

Compare Th. 1274 (uncertain as being trimmed under loss of the title/inscription strip) + Schwarz 1274 (22 × 15⅜ in [56 × 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 Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

Undescribed  (?)  variant  to Schwarz 1274 as a

Crucifixion  scene

Johann Elias Ridinger, Consummatum est

of  quite  rare  intimacy

with  the  marvelously  nuanced  light  falling  in  from  above . – In very fine impression 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. 14,861 / EUR  956. / export price EUR  908. (c. US$ 1098.) + shipping

The  Largest  of  Ridinger’s  Crucifixions

In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. The hour of Good Friday darkened by clouds of Christ at the cross before broadly situated Temple Mount with the Wailing Wall. Left of the cross John supporting the collapsing Mary, lying at the foot of it Magdalen. Inscribed: I. N. R. I. at the head of the cross / Ioh. Iacob Ridinger sculps. / I. El. Ridinger excud. Aug. Vind., otherwise as above. 24⅞ × 17¾ in (63.3 × 45.1 cm).

Schwarz 1492 with ills. II, plate XLII; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 155 (variant in writing); Faber-Castell 167.

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

Fine black impression determined by contrast-rich chiaroscuro – marvelous the play of the incidental light from above – with typographic watermark (WANGEN?) with margins running around 1.5-2 cm wide, fox-spotted on three sides, though generally little perceptibly slightly spotted, and doubled. The previously smoothed out centerfold still slightly visible.

The  extraordinarily  rare

Johann Elias Ridinger, In manus tuas commendo spiritum meum

large-sized  sheet

from the sequence of the nine crucifixions, besides the present one provable here only in the copy Schwarz (von Gutmann Collection, 1910, acquired by this, however, already 1903 not with the Horn Collection) as well as a variant traded here in the ’90s. The scenery itself finally  of  great  power  and  pictorial  beauty – “ And  was  a  darkness  over  the  whole  country ” –

before  the  background  of

what  makes  for  Jerusalem’s  immortalness .

Offer no. 14,862 / EUR  1175. / export price EUR  1116. (c. US$ 1349.) + shipping

And  full  of  Nuance  the  Incidental  Light  from  Above

In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. Christ left alone

Johann Elias Ridinger, In manus tuas commendo spiritum meum

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. Inscribed: I. N. R. I. at the top of the cross / I. El. Ridinger excud. A. V., otherwise as above. 20⅜ × 15⅜ in (51.7 × 39.2 cm).

Th.-Stillfried (1876) + Schwarz (1910) 1408; Faber-Castell 136; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 153.

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

Fine black impression rich in contrast – full  of  nuance  the  incidental  light  from  above – 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. – A further one of the Ridinger crucifixions

in  their  again  and  again  varying  fascination  of  the  event .

Offer no. 14,863 / EUR  890. / export price EUR  846. (c. US$ 1023.) + shipping

After  48  Years  back  on  the  Market

The  Prophet  Daniel’s  Wonder

in  the  Den  of  Lions

Johann Elias Ridinger, Daniel in the Den of Lions

as  Symbolic  Parable

for  the  Israelites

By example of Daniel, promoted in the Jew’s Babylonian Captivity and under the Persian Cyrus I calumniated by enviers and consigned to the den of lions, Jehovah, the god of the Israelites, shows his might, exciting the court on the gallery in unbelieving stupefaction. Brush drawing with wash in grey-blue + black with heightening in white for Johann Daniel Herz I (1693 Augsburg 1754; an “art publisher with an eye for quality” [Rolf Biedermann, 1987], “especially his sheets of large size shall be mentioned” [Thieme-Becker, 1923]). (1732.) Inscribed in bistre: Jo El. Riedinger (sic!) inv et del 1732. 33 × 21 in (837 × 533 mm) & 1¼ × ¾ in (32 × 20 mm) additional inscription field laterally lower right.

One  of  the  Most  Outstanding  Ridinger  Drawings

–  The  Copy  Counts  Faber-Castell  –

as preparatory drawing in reverse, pictorially lined with wide and narrow border, to plate Schwarz 1440 engraved by Johann Jacob Wangner (“Iun.”, c. 1703 Augsburg 1781) and known to literature only since 1910 by the copy of the von Gutmann Collection.

The ie spelling of the signature (at Faber-Castell erroneously read as 1737) in correspondence with the likewise imperial-sized drawing of the Roman Emperor on Horseback obviously remained unpublished of the Hamminger Collection (1895, cat. no. 1932, “Joan Eli Riedinger del. 1734”), but also with the engravings Th. 793-796 (1724/28; so also Th. 1381 engraved by Kleinschmidt in 1728) as well as 249 & 251 (c. 1738/40) bearing his own sculpsit. By which the hitherto also here common opinion that ie inscriptions in drawings were to be assigned generally to other hands proves irrelevant for at least up to the 1730s. This corresponding also with the recent reference by a Riedinger descendant that the name had been written variably in the course of time. Our former cataloging of present Daniel drawing that the inscription were just by the publisher is therefore unfounded.

Present  work  belongs  to  the  largest-sized  of  the  drawn  œuvre

(“ You have given me a huge pleasure by the photo … of Riedinger’s depiction of ‘Daniel in the Den of Lions’. The lions have actually lost all blood-thirst of predaceous animals and nestle against the imprisoned Daniel like peaceable cats making his stay in the den tolerably well. A wonderful picture! ” [Mrs. S. S., Switzerland])

and follows the bible’s tradition Book of Daniel, chap. 6 :

“ It pleased Darius (recte Cyrus the Elder, see below) to set over the kingdom an hundred and twenty princes, which should be over the whole kingdom. And over these three presidents; of whom Daniel was first … Daniel was preferred above the presidents and princes, because an excellent spirit was in him; and the king thought to set him over the whole realm. Then the presidents and princes sought to find occasion against Daniel concerning the kingdom; but they could find none occasion nor fault … Then said these men, We shall not find any occasion against this Daniel, except we find it against him concerning the law of his God … Then the king commanded, and they brought Daniel, and cast him into the den of lions. Now the king (very sorrowful about the development) spake and said unto Daniel, Thy God whom thou servest continually, he will deliver thee … Then the king arose very early in the morning, and went in haste unto the den of lions … (a)nd cried with a lamentable voice unto Daniel: … is thy God, whom thou servest continually, able to deliver thee from the lions? Then said Daniel … that they have not hurt me: forasmuch as before him innocency was found in me … Then was the king exceedingly glad for him, and commanded that they should take Daniel up out of the den … and no manner of hurt was found upon him,

because  he  believed  in  his  God .”

Just as this then also had the Babylonian Captivity (597-537, thus not “70 years” as Jeremiah 25:11), anyway not to be mistaken as enslavement though still wearing the Jews down, grow to his people’s weal for it became

“ a period of purification from which the Israelites emerged both nationally and religiously as newly born. The contrast to the victorious, but degenerated paganism invigorated the nationalism and the religious belief … (I)nstead of a limited tribal god

one  learned  to  recognize  in  Jehovah  the  master  of  the  universe

under  whose  mighty  protection  one  knew  oneself ”

(Meyers Konversations-Lexikon, 4th ed., II [1888], 207).

Under the latter aspect the spectacular Den of Lions event proves to be, independently of its true chronological base, see below,

the  parable  of  Jehovah’s  protective  hand  over  the  Israelites

persisting  up  to  the  very  today ,

a theme which with respect to his insight drawing from 1723 on Alexander the Great’s decision at the Indian Hyphasis in 326 BC to return was to fascinate Ridinger even more so as according to biblical reading Daniel had prophesied the empire of a mighty king to be identified with Alexander to whom ten years before he had dedicated his Alexander cycle – besides the Hyphasis drawing The Siege of Halicarnassus and The Passage of the Tigris published also in engraving by Jeremias Wolff Heirs and Herz I resp. – and which theme in the ’30s he jointly with Brockes finally sounded the mort with the first four plates of the Fights of Killing Animals.

But also just by its size his

imposing  Den  of  Lions  sheet

of  marvelous  upright  format

stands in context with those of the Alexander cycle of which, however, just only the two “heroic” ones had been engraved and published elsewhere for at that time not yet working in copper and publishing himself. Nevertheless the procedure remained the same, too, for the later Den of Lions.

Common to all those “outside works” their

exorbitant  rarity  even  as  engravings

as then also for the one of the “Den of Lions” no second copy is provable here since Schwarz (1910). Engraved it was expressly missing thus with Counts Faber-Castell (1958), too.

The paths of the preparatory drawings as the plates were – different from the works kept together by the Ridingers through the generations and finally handed over in good order – determined by changing publishers now sooner, then later and their being embedded into a mixed production finally lost in anonymity. On account of such handicaps

the  preservation  of  present  Den  of  Lions  drawing

is  an  event  of  absolute  degree

to which the condition of already the times of Faber-Castell with following preservation by just one careful hand has to be inferior.

So besides two horizontal smoothed folds which remained perceptible as abrasions at top below the gallery and centrally below the archway a plenty of tiny(est) abrasions especially in the marginal parts, then, and here impairing only up to a point, for 2.5-3 cm in height in the left part of the sheet above the centerfold. Of the predominantly only spotlike foxing on the back only isolated slightly larger ones shining through largely in the upper half of the subject, perceptible almost only in the washed free area between archway and gallery. Quite isolated small marginal tears reinforced. Generally the quite tolerable wrinkles of the centuries as due to the hard to preserve oversize and greatest rarity, concealed by the

pictorial  grandeur  of  the  composition

with its, not least,

10  different  masterly  lion  physiognomies

(that of the eleventh lion covered). And

how  elitist  solitarily

the  moreover  only  few  historical  drawings  by  Ridinger

stand  out  from  the  still  remarkable  bulk  of  his  animal  drawings


by  their  complete  missing

in  the  following  opulent  inventories  of  Ridinger  drawings :

Weigel (1856, with c. 1849 sheet – 17 of which lion sheets of usual kind – most extensive inventory, dating back to the bequest of drawings purchased from the heirs in 1832) – Coppenrath (1889/90, 66 sheet) – Wawra (1890, 234 sheet) .

First presence on the market on occasion of present Den of Lions drawing then 1958 with Faber-Castell , followed by great distance by above Alexander drawing writing art history with the Hyphasis event of 326 and present here likewise.

Not least in this connection it shall also be reminded of Hans Möhle’s reference of already 1947 to which

“ the  special  accomplishment  of  German  baroque  lies  in  the  subject  of  the  drawing ”

as more recently Ruth Baljöhr drew the attention on again.

And thus remains as résumé

an  also  optically  marvelous  unique  Ridinger

full  of  perfect  graphic  skill

and  adequate  content

of  culture-historically  greatest  depth .

For today’s Jewry rests on just those pillars which are fruits of the, more correctly spoken, Babylonian Exile as co-source of also the Den of Lions manifestation based on one “for he believed in God”. For, it shall be repeated,

“ In fact the Jews lived quite peacefully and had plenty of opportunity to practice their faith in exile in Babylon.

The  synagogue  and  the  canonization  of  the  Torah

have  their  origins  in  Babylonian  Judaism ,

as , of  course , does  the  Babylonian  Talmud ”

(Bryan S. Rennie ,

Westminster College, New Wilmington, PA, in his internet article [c. 2005] The Dating of the Book of Daniel with elucidation of the author of the tradition turning out to be a non-contemporary with the result of an also mixed up sequence of government Cyrus/Darius, but foremost also an attribution of the Daniel stories to the age of the Seleucid ruler of Babylon, Antiochus IV Epiphanes, who in 167 BC profaned the temple and in whose time [176-163], which just as well were the time of the author of the Book of Daniel, “loyalty to the Jewish food laws and the refusal to worship images of other gods – as starting point of the report on the Den of Lions – had become a question of life and death”).

By which the report of the Den of Lions event proves to be a combination of the religious hardships at the time of Antiochus with the historical characters of the Babylonian Exile. Because for the king anxious for Daniel inevitably the profaner and religious tyrant Antiochus is out of question while it is just the Persian Cyrus who became king of Babylon in 539 and in 538 issued

the  fortune-changing  Edict  of  Cyrus

(cf. 2 Chronicles 36:22-23 and Ezra 1:1-3 resp.) as a

“ crucial  event  in  the  history  of  the  religion  of  Israel ”

(Rennie) as finally permitting the Hebrews the return to Israel.

Both facts, religious persecution under Antiochus and royal generosity under Cyrus, constitute the intellectual content of the Den of Lions experience and its message

to  be  as  the  Lord’s  chosen people

under  Jehovah’s  special  protection ,

also  and  not  least

in  the  dens  of  lions  of  the  times .

Offer no. 14,859 / price on application

S. Bernardus. Saint Bernard 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. Inscribed: I. El. Ridinger excud. A. V., otherwise as above. 20½ × 16¾ in (52 × 42.4 cm).

Schwarz 1539 with ills. II, plate L; Faber-Castell 174; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 215.

Johann Elias Ridinger, S.Bernard

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und 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.

Offer no. 14,864 / EUR  570. / export price EUR  542. (c. US$ 655.) + shipping

Variant  of  Schwarz  1507  not  known  to  Literature

as  moreover

Proof  before  all  Letters

Saint Mary Magdalen in Penitence in the Desert. 20¼ × 16¾ in (51.6 × 42.4 cm).

Compare Schwarz 1507 (20⅛ × 15¼ in [51.2 × 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 (26⅛ × 19¼ in [66.5 × 48.8 cm]; inscribed as before, but instead of the “exc.” “invent. et delin.” and without the angel heads); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 192 (Schw. 1507); Faber-Castell 115 (negligently as Schwarz 1506!).

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

Undescribed  variant

to  Schwarz  1507 + 1506

in proof before all letters

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 broad-flatted black devoid of contours above 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).

The  rosy  young  woman

Johann Elias Ridinger, The S. Mary Magdalen

–  after the evangelists one of the first and (John 20,1)

the first witness(es) resp. for the resurrection  –

in  contrast  to  death’s-head

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 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$ 1585.) + shipping

“ The  Great  Sheet  of  Dance  Macabre ”

Dance Macabre. Circular chain dance of nine women + skeletons around opened casket with two skeletons within and without the churchyard wall as centerpiece. In addition to it, placed back, chapel + charnel-house (?) along with walls. In the corners the Fall of Man – Golgotha – Eternal life + Purgatory , between two text-cartouches. In the outer field surrounded by 12 medallions together with text-cartouches for the dance of the men, separated by 8 (6 varying) vanitas attributes. Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger excud. Aug. Vindel., otherwise as following. 25¾ × 18⅞ in (65.3 × 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 Vanity Symbolism at Joh. El. Ridinger.

State II (of II?) as the copy in the Staatliche Graphische Sammlung Munich, too. – The copies Stillfried, Schwarz and that of the sale Counts Faber-Castell (1958 as

“ The  great  sheet  of  Dance  Macabre

Johann Elias Ridinger, Dance Macabre

Main  sheet”

not fixable in their states based on their descriptions. However, the one presented by Patrick Pollefeys on the internet proves to be the earlier, currently suppoesedly first state.

Not in Thienemann and in Dresden, see below, missing in the ample 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 almost throughout, on the left and below predominantly trimmed on the platemark here 1.5 cm wide anyhow. – Upper half laid by old onto wide-margined laid paper per corner-montage, one of which loosened, causing a repaired tear. Practically not impeding centerfold.

The  very  fine  copy  in  respect  of  printing  +  condition

– not provenances Faber-Castell/Castell-Rüdenhausen – of nuanced chiaroscuro in all parts. And in such a way

of  greatest  rarity

not only on the market, as documented above, but in general.

The  first  of  the  large-sized  2-sheet  set

with the “Allegory of the Period of Life” as companion piece 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 updated repetition of an anonymous leaflet of the late 16th or early 17th century, in any case “before 1623” as the  “ demonstrably  earliest  and  best  known  Dance  Macabre  illustration  of  this  kind  in  the  German-language  area ”.

The texts of the cartouches each time in Latin + German versions. – In the centerpiece between Golgotha + Eternal life “Christ’s death has ruined death and returned life” + below between Fall of Man + Purgatory “Death and eternal hellish pain has brought about the sin alone”.

The outer field presents clockwise from 1-12 the stations of the social structure of the great hundrum of the end, in the course of which the status symbols lie disrespectfully on the earth. Only the fool has been left cap and bells and the right grips the wand.

“ Papa. / Pope. … The pope’s power not withstanding death. // Imperator. / Emperor. … The head of the world falls to death. // Rex. / King. … The crowned head not spared by death. // Cardinalis. / Cardinal. … The cardinal I take home, too. // Episcopus. / Bishop. … I lead him to the churchyard. // Dux. / Duke. … Maybe gentleman or prince at last a dead man. // Comes. / Count. … Whether count or servant death be in the right. // Nobilis. / Nobleman. … No noble blood is too good for death. // Civis. / Citizen. … No man here has a lasting place. // Rusticus. / Peasant. … The farmer must under death’s foot, too. // Mendicus. / Beggar. / Miles. Soldier. … Soldier, beggar equally have to stand. // Stultus. Fool. / Enfans. Child. … Child and fools together belong to my kingdom. ”

As the essential links should be mentioned above/below middle, each time one beneath the other, timer (12 o’clock 25), hour-glass, death’s head, bones and death’s head with cup/funnel (?) sitting on, bucket with whisk filled with liquid. Left/right middle crossed gravedigger’s tool kit between bier + casket with pall flanked by four chandeliers.


See the complete description.

Offer no. 28,933 / price on application

Ridinger’s  Memento  Mori

as  a  Dutch-fed  Lightning

in  the  Œuvre  of  the  Master .

And  one  of  his  Great  Rarities  as  well .

Memento Mori. On the bible lying on the table death’s-head with several teeth missing. 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. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 20¼ × 16½ in (51.6 × 42 cm).

Stillfried (3rd 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, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1, 289 (1975, quoting Stillfried’s description); Ridinger Catalogue Kielce (1997), 172, II (of III) with ills.; Niemeyer, (The Vanity Symbolism at Joh. El. Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).

Not in Thienemann (1856), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Hamminger Collection (1895), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger), 1554 items; 1900).

With  caption  in  Latin-German:

“ Quid q(uid) agis, prudenter agas et respice finem, Sir. 7.c.
What you do think of the end, then you will never ever do evil .
(Sir. 7th chap.) ”

Earliest  version

Johann Elias Ridinger, Memento Mori

of  this  pictorial-beautiful  vanity  still-life



whose different states have not yet been recorded by literature present here and according to current knowledge here have to be ordered in three variations. – See the complete description.

Offer no. 14,856 / price on application

Described  for  the  First  Time  by  Schwarz  in  1910

Great  Franciscan — Patron  of  the  Animals

S. Antonius de Padua. Half-length portrait of St. Anthony with elliptic gloriole sitting to the left, worshipping the child Jesus in his glory gliding in the clouds. The folded hands resting on an opened book, from under which a long blossom branch projects. In the wide lower text margin inscribed as above. 20⅞ × 15¾ in (53.1 × 39.9 cm).

Schwarz (1910) 1533; Counts Faber-Castell (1958) 172.

Not in Thienemann (1856) , Stillfried (1876) , Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) , Rosenthal, Ridinger list 126 (1940).

Of fine round about wide-marginedness: left 2 cm, above + right 2.5, below 3 cm. – The front of optically generally slightly age-marked general impression with, however, chiaroscuro of rich contrast. The white top margin on the back with mounting traces with two pertinent little holes.

Anthony (Lisbon 1195 – Padua 1231) “joined the Order of Augustinians in 1210, of St. Francis in 1220, traversed as mighty penitential preacher Southern France and Upper Italy … and was canonized by Gregory IX in 1232. According to the legend he shall have preached to the fish when men did not listen to him, therefore he is looked upon as

patron  of  the  animals

in  whose  honor  in  Rome  the  feast  of  animal  consecration

is celebrated Jan. 17-25. His mystic and ascetic writings were published with those of St. Francis. His memorial day is June 13” (Meyers Konv.-Lex., 4th ed., I, 657/II).

Offer no. 14,964 / EUR  870. / export price EUR  827. (c. US$ 1000.) + shipping

The  Patroness  of  Music

S. Cæcilia. Here with the harp as rarer attribute, adorned with martyr’s palm leaf + the head of an angel. Inscribed: Ioh. El. Ridinger excud. A. V., otherwise as above within a large shell-cartouche in the lower margin. 20⅛ × 15¼ in (51.2 × 38.8 cm).

Stillfried (1876) 1420. – Not in Thienemann (1856) and with the exception of Counts of Faber-Castell (1958) here not provable elsewhere either. – Size variant unbeknownst to Schwarz (Collection Baron von Gutmann, 1910) who in doubt about the – by the one here now confirmed – size stated by Stillfried in the 3rd appendix to Thienemann queries his copy of 24¼ × 19½ in (61.5 × 49.5 cm) listed under the same number. – Tipped of old at the corners on especially wide-margined heavy laid paper touched by browning at two of the far edges. – With fine little paper margin throughout below and intermitted here and there at the sides, above trimmed to platemark.

The  rich  sheet

Johann Elias Ridinger, S. Cæcilia

in  rarer  composition

in  the  excellent  copy  regarding  printing  and  conservation – not provenances Faber-Castell/Castell-Rüdenhausen – of in all parts nuanced, shining chiaroscuro. And in such a manner of quite extraordinary rarity not only on the market as quoted above, but in general, too.

Having been made inventress of the organ by the legend, November 22 is dedicated to the ecclesiastical memory of this noble Roman of the 3rd century. Yet throughout the year and beyond the confessions she is the patroness of music, in particular of sacred music. Here then


And therewith belonging to that “exclusive communion of divine intervenients – or, stated Protestantly, divine representatives – ” which quite topically, though “already for a longer while historians have rediscovered (for themselves) … (and) revived scientifically” (Peter Burschel reviewing Brad Stephan Gregory’s Salvation at Stake — Christian Martyrdom in Early Modern Europe in the FAZ of August 2, 2000).


Offer no. 28,402 / EUR  1738. / export price EUR  1651. (c. US$ 1996.) + shipping

The  Manifold  Patroness

Patroness of Miners + Metallurgical People and Tunnel  Constructors , Gunners and therewith Mariners , Alchemists + Apothecaries  as  well  as  Surgeons

up  to  the  hopelessly  ill  sick ,

but  also  Invoked  for  the  Protection  against  Lightning  Stroke

St. Barbara. With the sword as symbol of her dying. Inscribed: Ioh. Elias Ridinger excud. Aug. Vind., otherwise as above. 22⅜ × 16¼ in (56.8 × 41.3 cm).

Schwarz 1538 with illustration; Counts Faber-Castell (1958) 173.

Version not known to Thienemann (1856) + Stillfried (1876) and with exception of Baron Gutmann (Schwarz, 1910) here traceable for then Counts Faber-Castell (14,882 here) only. – Variant to Th. 1287 with the sword instead of the palm leaf there. – Stillfried + Schwarz 1418 record without mentioning the crown here an otherwise obviously almost identical, also equal-sized version, but without any inscription (this also only and as already “extremely rare” at Coppenrath in 1889 + at Counts Faber-Castell in 1958, too; pre-state of 1538 here?), in which Stillfried possibly sees a pendent to the 1419

St.  Catherine  as  the  sacral  twin  sister

(see its version 1554 per 28,401 above).

Not provenances Faber-Castell/Castell-Rüdenhausen. – Per corner mounting by old hand laid on heavy hand-made paper slightly browned at three outer margins. – On almost all sides with tiny paper margin. – Small worm trace in the free outer field top right.

The  wonderfully  rich

Johann Elias Ridinger, S. Barbara

wonderfully  great  plate

in  an  excellent  copy  in  regard  to  printing  and  conservation  of perfectly bright chiaroscuro in all parts. And in such a manner of quite extraordinary rarity not only on the market as quoted above, but in general, too.

The  also  pictorially  timelessly  marvelous  patronage  plate

of the “Stranger” (probably about 290 till 306) from, so the legend, Nikomedia in Asia Minor, first locked up by her father in a tower because of her beauty, then beheaded by him for her Christianity. December 4th is dedicated to her churchly commemoration. But throughout the year she is the patroness of the warriors, especially the artillerists, is invoked for protection against storms whose lightnings once had burnt the father after his criminal act, and by all those threatened by an even impenitent death, but

especially  of  miners  in  the  adit  and  tunnel  constructors .

And “(o)n French men-of-war the powder cabinet charged to her protection was called Sainte-Barbe” (Meyers Konversations-Lexikon, 4th ed. II, 357). As consequences resulted from powder in general:

“ From the alchemists as ‚powder maker’ it is not far to the apothecaries, whose stores often bear the name St. Barbara, especially in the mining districts. At a special feature the ‚Privileged Court Pharmacy in Sigmaringen’ (South Germany) points to … In this house pharmaceutics, surgical treatment, surgery, and surgical apprenticeship had been practised.

On occasion of a reconstruction … a baroque ceiling fresco has been laid open showing St. Barbara … Supported by art historians and theologians the building owner found out that

St. Barbara  must  have  been  patroness  of  the  surgeons, too .

For in the said room with the ceiling fresco obviously the sick, trembling for their life, laid with the look at the ceiling. Awaiting a medical action they could find solace in the

auxiliary  saint  with  the  chalice  with  the  host

in her hand ”

(Nemitz-Thierse, St. Barbara, 2nd ed., Essen 1996, p. 199). – See the complete description.

Offer no. 28,400 / EUR  1230. / export price EUR  1169. (c. US$ 1413.) + shipping

The Lord God planted an orchard in the east, Eden … God’s creation celebrates the first sunrise for Adam. Etching with engraving. 2nd half of the ’40s. Inscribed: Joh. Elias Ridinger inv. fec. et excud. A. V., otherwise Gen. 2, 8 as above in German-French and Latin verse by St. Ambrose. 15½ × 21¼ in (39.3 × 54 cm).

Thienemann + Schwarz 808. – Plate 2 of the 12-sheet Paradise set as the “Very fine composition, showing all the animals of the chase in natural surroundings, with beautiful light effects”, Schwerdt III, 144.

Johann Elias Ridinger, The Lord God planted an orchard in the east, Eden

“ All, except for the still lonely man, in pairs. Bull and cow next to him, ram and sheep not for from that, a couple of groundhogs, hares, peacocks, turkeys, swans, cormorants, herons, all kinds of ducks, additionally a gazelle, and a crocodile, lonely ”


Not provenances Faber-Castell/Castell-Rüdenhausen. – Contemporary impression with margins 1.5-3.1 cm wide. Originating from old Munich estate the sheet has been deframed and cleansed to the effect that also optically the quality of the impression shows well again. – Not perceptible from front, a tear running almost horizontally for still about 5 cm through the upper right corner of the image as well as three small tears in the white upper margin backed acid-freely.

Offer no. 28,366 / EUR  610. / export price EUR  580. (c. US$ 701.) + shipping

She also gave some of it to her husband who was with her, and he ate it. Etching + engraving as before. – Thienemann + Schwarz 814. – Plate 8 of the set. – One executed preparatory drawing and three sketches Weigel 803-806. Three sketches in Augsburg for the central group of two, one of which executed.

Johann Elias Ridinger, She also gave some of it to her husband, and he ate it

“ The faithful dog below Adam distorts the belly convulsively and howls for sympathetic grieve, the cat wallows in the dust. A parrot tries to punish Eve. Behind her two peacocks, as allegory of haughtiness and self-complacency, then a glutton – symbol of self-indulgence, greediness – the bird of paradise hastens to leave the paradise. Also a lustful and lascivious baboon looks approvingly ”


In the right outer field of the picture five (three larger) acid-freely backed tears not perceptible from the front, one such in the white subfield reaching to the edge of the subject.

Offer no. 28,369 / EUR  535. / export price EUR  508. (c. US$ 614.) + shipping

So  far  Ridinger’s  Homage  to a timeless theme on which it is said 200 years later :

“ Kokoschka  is  fascinated …

by  the  faces  of  the  great  popes ”

Kokoschka, Oskar (Pöchlarn 1886 – Villeneuve/Montreux 1980). Pope Leo X (Giovanni de Medici) after Raffael. Half-length portrait, sitting. Lithograph. (1972.) Inscribed in pencil: OKokoschka. 12⅝ × 9¼ in (32 × 23.5 cm).

Wingler-Welz 472. – No. IL/LXXV (numbered IL/175) copies of the special impressions on Japanese laid paper printed in brown. The 100 further copies numbered in Arabic printed in blue on ordinary laid paper. These numbers given for the German and English market. – Heinz Spielmann :

“ Kokoschka  is  fascinated … by  the  faces  of  the  great  popes

who undertook the decisive steps to renew christian art by the art of the ancient age. In his economical drawings after Raffael’s portraits of popes Julius II and Leo X, more notes than striving for detailness, Kokoschka translates their posture and physiognomy into his own language. Both the popes, that the sketches reveal, would have been suitable models for him ”.

After plate 13 of the sketch-book D of 1956-57 depicting the father of the “prime time of the Italian arts and sciences”. His age became known as the Leonidian one. For

“ For  all  times

he  made  himself  famous

Oskar Kokoschka, Pope Leo X

by  furthering  the  arts

and  through  creation  of  the  most  brilliant  buildings ”

(Meyers Konversations-Lexikon, 4th ed., X, 691). By which he, second-born to Lorenzo the Magnificent,

“ renewed  the  extinct  greatness  of  his  house ”

(Gerrit Walther in the FAZ of June 6, 2003).

That the letters of indulgence he sold specially for the completion of St. Peter’s were the first visible cause for the reformation outlines his person’s complexity.

Offer no. 14,125 / EUR  1176. / export price EUR  1117. (c. US$ 1350.) + shipping

“ I wish to thank you for the detailed, knowledgeable response. I am very impressed with your experience; your information was very helpful ”

(Mr. R. H. P., July 25, 2005)