From the last unction over the dying itself and the farewell at the open coffin, on the procedure of the funeral service, indecencies during such as well as arrangement and cheerful use of the bequest up to dramatic pictorialization of the resurrection to eternal life or descent into Hell + grandiose memento mori.
The Company of Undertakers
whose arms are as frank as brutal :
A Collegium Medicum —
as last resort in economic recession
Hogarth, William (1697 London 1764). Consultation of Physicians (Arms of the Undertakers). The Collegium Medicum or the coat of arms of the undertakers. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Jany. 1st. 1809. Subject size 6¾ × 5⅝ in (17.1 × 14.2 cm).
Cook’s smaller version without the 6-lined caption of this brilliant guild arms with the device Et plurima mortis imago. Representing the last hope of the undertakers in bad times – the physicians. – Trimmed within the wide platemark and especially in its upper margin somewhat time-spotted. – See the complete description.
Offer no. 8,929 / EUR 125. (c. US$ 151.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Memento Mori. On the bible lying on the table skull 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. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 20¼ × 16½ in (51.6 × 42 cm).
their Ridinger sale 1958
with its lot no. 145 on the underlay carton
Radulf Count of Castell-Rüdenhausen
(1922 – 2004)
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 Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).
Not in Thienemann (1856), Weigel, Art Stock Catalogue, 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: “ … What you do think of the end, then you will never ever do evil”.
of this pictorial-beautiful vanitas still-life
of Ridinger’s very own
worked in the manner of the Dutch vanitates
as one of the most interesting rarities of Ridinger’s Œuvre., whose different three states obviously recorded here for the first time.
But with regard to the precious mezzotint technique in general – in Faber-Castell’s written inventory present here stressed by exclamation mark + underline as “Schabk!” (mezzotint) – Thienemann resumed already about 160 years ago with the words:
“ 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 printroom at Dresden … ”
(pages VIII & 270).
A situation also possible, as here, new editions could change little as according to the expert Sandrart (1675) the technically conditioned extremely fast wearing off mezzotint plate only permits 50-60 good impressions.
Just as the present sujet, missing in Dresden, too, could be described then for the first time by Count Stillfried only 20 years after Thienemann’s visits to the print rooms. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness. Rather he remained
“ one of the few German baroque artists
… who … never fell into oblivion ”
(Rolf Biedermann, [Master Drawings of German Baroque], 1987, p. 338). Here then his
Memento Mori in the 1st state of the copy Counts Faber-Castell .
See the complete description.
Offer no. 14,856 / price on application
(Unction, Extreme.) Engraving. (1679.) 3½ × 2⅜ in (8.8 × 6 cm).
Verso: (The Confession.) Engraving as before. – Works of an anonymous engraver – elsewhere inscribed as “Stich fecit”, but such one not provable – from a catechism of Petrus Canisius SJ, Cologne 1679. – Faint tidemark above the subject. Acid-freely backed marginal tear.
Offer no. 13,087 / EUR 35. (c. US$ 42.) + shipping
(Death, The.) While receiving the sacraments the winged death with hourglass and arrow appears to the dying woman. Engraving as before. 3½ × 2½ in (8.8 × 6.2 cm).
Verso: (The Last Judgement.) Earth breaks up and releases the dead, filled with amazement, gratitude, and – expectation. Engraving as before. – Faint tidemark above the image. There and also outside of the image a larger acid-freely repaired tear with loss of some letters of the general text. – See the complete description.
Offer no. 13,085 / EUR 35. (c. US$ 42.) + shipping
Santomaso, Giuseppe (1907 Venice 1990). Memento mori. The bone in the ground. Color lithograph. Inscribed in pencil: 17/100 / Santomaso ‘64. 21½ × 14⅝ in (54.5 × 37 cm).
On Rives hand-made paper. – Drystamp ERKER-PRESSE. – Santomaso was founding member of “Fronte Nuovo delle arti”. Connections with Braque, Léger, Morandi. Developing on an abstract Hermetism, here, however, representionally pictorial-fine. Professor at the Academy Venice. Numerous international exhibitions.
Offer no. 14,548 / EUR 930. / export price EUR 884. (c. US$ 1069.) + shipping
Bijapur / West + East Ghuts – Bejapore, Sultan Mahomed Shah’s Mausoleum in. The splendid dome construction above the water. Steel engraving by Ad. Rottmann. C. 1855. 4⅝ × 6¾ in (11.7 × 17.2 cm). – Faint tidemark in the right margin. – See the complete description.
Offer no. 11,262 / EUR 40. (c. US$ 48.) + shipping
Gehrts, Johannes (St. Pauli/Hamburg 1855 – Dusseldorf 1921). Heroic Death of the Stedinger. Wood engraving by Rupert (so Hamburg Harbour after Bartels) or Heinrich Schlumprecht at Adolf Cloß, Stuttgart. (1880/81.) 7⅛ × 9⅜ in (18 × 23.8 cm).
Offer no. 8,271 / EUR 71. (c. US$ 86.) + shipping
Marsh Church on the Stedingen Battlefield. In Winter, in front the graveyard. Wood engraving at Adolf Cloß, Stuttgart. (1880/81.) 4 × 5⅛ in (10.3 × 12.9 cm). – On both sides the by itself complete story of the freedom fight of the peasants of the county Stedingen on the Elbe river. – See the complete description.
Offer no. 8,272 / EUR 44. (c. US$ 53.) + shipping
Siegfried’s Corpse is shipped across the Rhine. In the stern of the boat Gunther, Giselher, and Hagen. Toned wood engraving after Albert Baur (Aix-la-Chapelle 1835 – Dusseldorf 1906) for Adolf Cloß, Stuttgart. (1875/76.) 7 × 9½ in (17.7 × 24 cm). – See the complete description.
Offer no. 14,392 / EUR 86. (c. US$ 104.) + shipping
“Death’s Arch of Triumph”
Johann Elias Ridinger
Ulm 1698 – Augsburg 1767
Triumph of Death
engraving & etching after Andrea Andreani
(Andrea Mantuano & further variant forms; 1558/59 Mantua 1629) by means of the second state of the latter’s chiaroscuro woodcut from 1588 worked from a drawing by Giovanni Fortuna Fortunius (1535 Siena 1611). Inscribed: Joh. El. Ridinger excud. Aug. Vind. Sheet size 22½ × 16 in (57 × 40.6 cm).
Buijs (ed.), Un Cabinet Particulier. Les estampes de la Collection Frits Lugt, 2010, nos. 10 (Andreani; Allégorie de la mort/Memento mori; heavily restored; acquired 2005 via sponsor at € 25000) & 10a (Ridinger, this copy) with illustrations.
Unknown to the relevant literature
on Ridinger up to Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik (1975), Niemeyer, Die Vanitas-Symbolik bei Joh. El. Ridinger (in L’Art Macabre, vol. 2, 2001) and the authoritative catalogs of collections, sales, and exhibitions from Weigel (1838) till the present except for the torso with formerly Count Radulf of Castell-Rüdenhausen trimmed with significant loss of image. Thematically though
in its iconographic wealth unrivalled
by the core of his partly extremely rare, yet indeed still known mementi, the mezzotints Th.-Stillfried 1426-1431. And compositionally far from the latter two of these, the brutally realistic ones worked by Johann Jacob after Dieffenbrunner (1430 f.). Here then
the Memento Mori as piece of virtuosity ,
as intellectual challenge combined with an expressive-charming plasticity. As being
exceedingly rare for Andreani
(generally Thieme-Becker speak of “the great rareness of the sheets), as
almost unique for Ridinger .
Here then present in fine, not quite contemporary impression on paper without line watermark and presumably WANGEN mark with fine margin running around the edge of the subject. Only here and there trimmed closely to this. The general certain marks of age countered by professional restorative means, as also the (water) blotchiness on the back shows through only partially quite faintly in the subject. In the hatched margin field lower right still faintly visible reference to the artist. In short,
a rarissimum without equal of fine general impression .
See the complete description.
Offer no. 29,077 / price on application
United in Death
Daumier, Honoré (Marseille 1808 – Valmondois 1879). L’Unité Allemande. The roller of Mars levels out the dead, as there are Württembergers, Badensers, Bavarians, Hannoverans, Saxons, Hesses. Lithograph. (1870-71.) Monogrammed, otherwise as above. 8¾ × 7⅛ in (22.2 × 18.1 cm).
Delteil 3831, III (of 3) with ills. of this state. – Careful impression on better paper without the text on the back and the Actualité series title.
Worked in the great style of the final years, omitting all material and “accusing the wrong of the war in symbolic figures only” (Glaser).
Offer no. 13,385 / EUR 404. / export price EUR 384. (c. US$ 464.) + shipping
Old God’s Acre in Krefeld – Memorial for the Dead of 1813-14. Wood engraving after Theodor Alexander Weber (Leipsic 1838 – Paris 1907). (1875-76.) 5⅞ × 3⅝ in (15 × 9.1 cm).
Verso: Neuß / Upper Gate with Drusus Tower. Wood engraving as above. 6 × 4⅛ in (15.3 × 10.5 cm). – Not concluded local text on Dusseldorf and the Lower Rhine on both sides.
Offer no. 6,230 / EUR 60. (c. US$ 73.) + shipping
Hogarth, William (1697 London 1764). Funeral Ticket. Invitation form for the attendance at a funeral service. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst Rees, & Orme. July 1st. 1809., otherwise as above. Subject size 6⅜ × 7⅜ in (16.3 × 18.6 cm).
Pictorially richly designed , rare business art work for the undertaker Humphrey Dren and there at the time of present version of the engraving still in use. Shows a rich burial procession before the entrance of the church. Below the data to be completed manually. – Trimmed within the wide platemark and in this minimally timespotted. – See the complete description.
Offer no. 9,015 / EUR 95. (c. US$ 115.) + shipping
– – The Funeral Company. Bidding farewell to the deceased put on in the partly open coffin at home. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Pl. VI. / Designed by W. Hogarth. / Engraved by T. Cook. / London Published by G. G. & J. Robinson Paternoster Row October 1st. 1799. and series title. 14 × 16⅛ in (35.5 × 41.1 cm).
Harlots Progress VI. – Impression of very fine chiaroscuro on strong paper. – The light brown staining in the white upper margin still reaching into the picture’s background, but there practically imperceptible. – Beyond that – contrary to all later Hogarth editions – in his original size. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker).
“ Here now she lies finally … quiet and patient in the coffin, secure of Sir John Gonson’s (the judge) satellites, Mister M. Thwackums lashes and – Dr. Misaubins pills. What a strong bulwark a coffin-lid not is! ”
(Lichtenberg). – See the complete description.
Offer no. 7,510 / EUR 240. (c. US$ 290.) + shipping
– – – The same in Hogarth’s own etching in the 3rd state of 1744. Inscribed: Plate 6. / † / Wm. Hogarth invt. Pinxtt. et sculpt. 12⅝ × 15⅜ in (32 × 39 cm).
Nagler 17, 6; illustration Hogarth Catalogue Zurich, 1983, 18 (this state). – Extremely wide-margined impression supposedly from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).
Offer no. 8,810 / EUR 120. (c. US$ 145.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: 12. / Plate 6. / W. Hogarth invt. pinxt. Riepenhausen d. sc. 7⅞ × 9¾ in (20 × 24.8 cm). – Impression on especially strong paper, supposedly from about 1850.
Offer no. 7,637 / EUR 50. (c. US$ 60.) + shipping
– – – The same in lithography. (1833/36.) Inscribed: 18 / Der Weg einer Buhlerin. 6tes. Blatt. 7¾ × 8⅜ in (19.6 × 21.4 cm). – Extensive caption à la Lichtenberg in German.
Offer no. 7,638 / EUR 59. (c. US$ 71.) + shipping
The Terrific Finale (I)
No Frills Fantastic Main Sheet
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death. Tomb with death from whose head with an hour-glass adorned with bat wings on top a veil flows down on the back and laterally, enthroned above all the stuff of this world – represented outer right by a hemisphere – as there are gold, goods, seals + orders, crowns, scepter, orb + weapons, folios + cassock, scientific + agricultural instruments and nolens volens maulstick + palette with brushes. The right, however, holds a high tombstone, pointing with an arrow marked as “Presens” in the left at the inscription’s said final words OMNIA MIHI SUBDITA. Mezzotint + outline by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger delin. et exc. Aug. Vind., otherwise as above and below. 21⅞ × 16⅝ in (55.7 × 42.2 cm).
as before with its lot no. 146/2
as well as by the collection in pencil (Invoice of) 14/3 1914”
on the underlay carton
Stillfried (3rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1427 (without reference to outline engraving), here though as state II (of II) as unbeknownst to either; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 290 with knowledge of Stillfried/Schwarz; Georg Hamminger 1886 (erroneously as St. 1527; “Mounted. Of greatest rarity”, 1895 ! Ditto without knowledge of state/version); Faber-Castell 146 (without recognition as differing second state, otherwise together with Schwarz 1477); Niemeyer, (The Vanitas Symbolism at Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (copy of the National Print Room Munich).
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, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).
The second state as unbeknownst to both Stillfried and Schwarz
of the hitherto not recognized first version
of this incredibly fascinating sheet
from the plate shortened at top with at the same time modified signature, both according to the copy of the National Print Room Munich, too.
Schwarz’ presumption that the differences of his variant 1477 unbeknownst to Stillfried were merely due to the reworking of the plate is incorrect. As proven below it is a repeated version from its own plate with, however, a decisive re-attachment of weight in the inscription’s message (see below).
Pictorially marvelous zenith
of Ridinger’s vanitates
also pervading the hunting œuvre
of great compositional abundance, based upon own design, and by inclusion of the painter’s tools with the attributes of transitoriness going beyond the drawing “Self-portrait with Death” of 1727 in the Berlin Print Room (color illustrations in L’Art Macabre 2, s. a., p. 94 + Ridinger Catalogue Darmstadt, 1999, p. 54, as well as, b/w, per I.5, p. 61).
All in the radiating light of the one from whose head bat wings will lead away the run out hour-glass, the “Presens” arrow determines the direction and the “Preteritum” arrow points at the ground. But in the quiver there is the arrow “Futurum”, however this will ever appear. And its banner flies, contrarily to both the two others, in jolly assuredness.
The Present arrow run from the skeleton’s left pointed between the words OMNIA + MIHI. In the repetition Schwarz 1477 Ridinger has specified this message even more condensed as now the head of the arrow unmistakably points at the M of MIHI.
Provisionally for Stillfried’s quotation of the inscription the following variations of writing/punctuation shall be noted: comma after curo (so likewise in Schwarz, here missing), small letters for p, r, a in papa-, rega- + apostolicam, the bar over the e standing for the m in sede(m) expanded as m, promitere with double t, comma after quando, capitalization of only the O in OMNIA MIHI SUBDITA as well as final full stop.
The heavy stone slab itself typical for Ridinger as such one occurs repeatedly in his work up to the programmatic personal book-plate (Schwarz 1569) with his painter’s utensils where a boy armed with the maulstick holds it, manifesting the master’s absolute necessity of life: “Nulla dies sine linea” – No day without brush stroke. In the transitory junk of the sheet here the painter’s tools by the way once more a unison with Hogarth who closed his graphic work with the sheet of the Dying Time (Tail Piece, or The Bathos) of April 1764, thus six months before his death, on which, however, the palette additionally is demonstratively broken.
The both in print as preservation
very fine copy
in velvety brown-black with palpable chiaroscuro and the watermarks WANGEN and separate IV standing for contemporary impressions and surrounding margins of 4-8 mm.
The extreme rarity
of the sheet
magnified in the present case
by its 2nd state described here for the first time .
So the sheet in question presented for the first time by Count Stillfried only 20 years after Thienemann’s print room visits. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness.
1914 – 1958 – 2005
You have to be very young
should you think
you could wait and see with present sheet .
See the complete description.
Offer no. 14,857 / price on application
Cassas, Louis François (Azay-le Ferron, Indre, 1756 – Versailles 1827). Mausolée d’Jamblichus. Interior with two figurines in the entrance, above the epitaph with the deceased resting supporting himself and surrounded by three genii or pupils, probably of the neoplatonic philosopher Jamblichos from Chalkis, teacher in Apameia (c. 250-325 or c. 280-330/337). Etching by Jean de la Porte (b. c. 1760), completed with the chisel by Pierre Gabriel Berthault (St. Maur 1737 – Paris 1831). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé à l’eau forte par de la Porte. / Terminé par Berthault. 18⅛ × 11⅝ in (46 × 29.4 cm). – Fine wide-margined impression before the letter , untrimmed on three sides . – See the complete description.
Offer no. 12,528 / EUR 302. / export price EUR 287. (c. US$ 347.) + shipping
– – – Vue générale de Néapolis. View of the Roman Neapolis, the ancient and present Sichem in Samaria
where Joseph is buried and close to which Jacob’s Well
is situated. Dispersed figurines. Engraving by Jean Baptiste Racine (Paris 1747 – c. 1805). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par Racine. 11¾ × 18¼ in (29.7 × 46.3 cm). – The broad white margins a little waterstained and almost only a little foxing. – Very fine sheet in the printing state before the letter . – See the complete description.
Offer no. 12,540 / EUR 910. / export price EUR 865. (c. US$ 1046.) + shipping
Chapel with Braubach. With fine view at the Marksburg. In front weed-grown graveyard. Wood engraving by Niedermann after Richard Püttner (Wurzen 1842 – Munich 1913). (1875-76.) 5¾ × 7⅜ in (14.6 × 18.7 cm).
Verso: Oberlahnstein, View (over the Rhine) at. In the foreground the King’s Chair. Wood engraving after Püttner. 4⅝ × 6⅞ in (11.6 × 17.5 cm). – Continuous local text on both sides. – One lateral margin a little foxing.
Offer no. 8,799 / EUR 47. (c. US$ 57.) + shipping
Lady Constance’s Lament
Landseer, Thomas (1795 London 1880). The Death-Watch. Mourning at the side of the dead companion. Both in the shape of monkeys. Etching. (1827/28.) Inscribed: TL, otherwise as below. 8 × 6½ in (20.2 × 16.4 cm).
Rümann, Das Illustrierte Buch des 19. Jhdts., Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On especially wide-margined strong paper. – Particularly upper and right lateral margin quite feebly foxed in the outside parts. – With Lady Constance’s lament from Shakespeare’s Life and Death of King John:
“ — now will canker Sorrow eat my bud ,
And chase the native beauty from his cheek. ”
Fine impression on large paper from the famous set of the “Monkeyana” , one of the but few early and thus typical works by Landseer :
“ That Thomas Landseer may be judged only by these illustrations a little book with woodcuts proves which show next to nothing of his intellect ” .
Worked since 1827 the 25 etchings incl. title were published in numbers and with classical captions at Moon, Boys & Graves in London till 1828 (The English Catalogue of Books: January to December) in three editions: standard edition in quarto, edition on larger paper in large quarto, edition with proofs in large quarto, too. Besides copies on mounted China.
Otherwise qualified by Rümann i. a.:
“ Much more important was Edwin’s brother Thomas Landseer …
… in the 20s he distinguished himself by a series of 25 plates that were published 1828 under the title of ‘Monkeyana’ (ills. 57).
Technically his etchings are masterly ,
no less admirable the intellectual grasp of the subject. With much humor and sharp observation he transfers the plain life of his time to the monkey’s life. ”
Later Thomas Landseer devoted himself largely to the reproduction of the animal depictions by his brother Sir Edwin.
Offer no. 10,824 / EUR 199. (c. US$ 241.) + shipping
Liverpool – St. James Cemetery. Looking North / Looking South. 2 sheet. Steel engravings by Fenner after Thomas Mann Baynes (1794 – after 1854). 1831. 4¼ × 6¼ in (10.8 × 15.9 cm). – Under shared passepartout with center strip.
Offer no. 14,097 / EUR 71. (c. US$ 86.) + shipping
(Resurrection of Flesh.) The trumps of doom let the earth break up and the army of the dead look full of various kinds of amazement, thanks, but also uncertain expectation at the coming. Engraving. (1679.) 3⅜ × 2½ in (8.7 × 6.4 cm).
BACK: (And an eternal life, amen.) The resurrected, in front St. Peter with the keys, follow Christ holding the cross to the Our Father in Heaven an his heavenly hosts. Engraving as before. – Works by an anonymous engraver – elsewhere inscribing as “Stich fecit”, but such one here not provable – of a catechism of Petrus Canisius SJ, Cologne 1679.
Offer no. 13,084 / EUR 35. (c. US$ 42.) + shipping
(Living and the Dead, From hence He will come to judge the.) Christ surrounded by the Holy Spirit above the resurrecting and living. Engraving as before. – Verso: (I believe in the Holy Spirit.) Engraving as before.
Offer no. 13,086 / EUR 35. (c. US$ 42.) + shipping
(Hell, The.) Hell’s mouth with the eye of justice gulping down the damned. Engraving as before. – Verso: (The Heaven.) Think then … of your last things so you will never ever sin. The resurrected, in front Peter with the keys, follow Christ with the cross to the heavenly father and his hosts. Engraving as above. – Slight tidemark above the image. Marginal tear repaired with acid-free tape.
Offer no. 15,347 / EUR 35. (c. US$ 42.) + shipping
Mourner – Pu-Qua. A Traveller. / Voyageur. On foot. Colored stipple by Dadley (fl. before 1797 – after 1803). Inscribed: Pu-Quà, Cantòn, Delin. / Dadley, London, Sculpt. 10⅛ × 8⅝ in (25.7 × 22 cm).
According to Lipperheide Le 21 after-engraving about 1810 after Dadley’s print of 1799 (Lipperheide Le 17). – “ Son habillement indique qu’il est en deuil. Il porte un bâton, une espece d’épine qui croît dans quelques parties de la Chine, et que l’on emploie fréquemment comme un bâton à marcher. ”
Offer no. 14,635 / EUR 75. (c. US$ 91.) + shipping
“ The Great Sheet of Dance Macabre ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). 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. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). 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 Vanitas Symbolism with 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 / 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
of a cultivated collection 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. And indeed already in 1675 the expert von Sandrart numbered “neat impressions” of the velvety mezzotint at only “50 or 60 (!). After that, however, the image acquires polish soon for it does not go deep into the copper”. Corresponding to that Thienemann in 1856 (pp. VIII + 270) :
“ The mezzotints are almost not to be acquired in the trade anymore …
all worked by or after Joh. El. Ridinger are so rare
that they are to be found almost only in some public splendid collections.
I have found most of the described ones
only in the famous Dresden printroom … ”
Not even there then
the grand sheet of richest thematic
present here for the first time
and made known only in 1876 by Count Stillfried. – The quotations there not absolutely correct. – See the complete description.
Offer no. 28,933 / price on application
Buochs (CH), Charnel-House in. Visitor scenery before the skull shelf. Wood engraving for Adolf Cloß (1840 Stuttgart 1894; “at his time one of the best of his profession in Germany”, Thieme-Becker). (1875/77.) 6¼ × 5⅜ in (16 × 13.8 cm).
Verso: Milker of Buochs. Smoking his pipe at the open window. Wood engraving, supposedly after Charles Hermans (Brussels 1839 – Mentone 1924). 15.5 x 10.8 cm. – On both sides text complete in itself on folklore, especially on the Alpine tradition of the return of the herds.
Offer no. 9,655 / EUR 48. (c. US$ 58.) + shipping
Clemens Chapel and Falkenburg (Middle Rhine). In front the first, erected at the place of the judicial proceedings hold by Rudolf of Habsburg, with graveyard before. Wood engraving by W. Werkmeister after Richard Puettner (Wurzen 1842 – Munich 1913) for A. Cloß, Stuttgart. (1875/76.) 4¾ × 7⅜ in (12.1 × 18.8 cm). – BACK: Sooneck. With flight of magpies. Wood engraving by R. Köber after P. 8⅞ × 4⅝ in (22.4 × 11.6 cm). – Continuous local text on both sides.
Offer no. 8,803 / EUR 40. (c. US$ 48.) + shipping
Funeral Chapel on the St. Gotthard. Wood engraving after Albert Hertel’s (1843 Berlin 1912, “painter of heroic landscapes” and “true artistic relationship to nature”, Thieme-Becker) design of 1875. (1875/77). Inscribed: AH. (ligated) 1875., otherwise as above. 8½ × 5¼ in (21.5 × 13.2 cm).
Verso: Hospiz on the St. G. Before great carriage scenery. Wood engraving as above, but after design of 1876. Inscribed: AH. (ligated) 1876., otherwise as above. 5⅞ × 7⅜ in (15 × 18.7 cm). – Continuous local text on both sides.
Offer no. 9,795 / EUR 69. (c. US$ 83.) + shipping
Bauernfeind, Gustav (Sulz on the Neckar 1848 – Jerusalem 1904). Cementary of Silenen. Wood engraving after B. (1875/77.) Inscribed: GBfd, otherwise as above. 5¼ × 7¼ in (13.3 × 18.5 cm). – Verso: Zwing-Uri. Wood engraving as before. 5⅛ × 7¼ in (12.9 × 18.4 cm). – Continuous German text full of atmosphere.
Offer no. 9,649 / EUR 48. (c. US$ 58.) + shipping
– – The Interior of an Etruscan Sepulchre near Perugia. View through the vestibule equipped with diverse utilities and religious symbols at the actual tomb. Wood engraving after B. (1876.) Inscribed: G. Bauernfeind., otherwise in German as before. 7¾ × 6 in (19.7 × 15.2 cm).
Local text on both sides. – “Perugia … the most colossal of all Etruscan cities … once such a strong fortress that even Hannibal not dared to attack it after his great victory at Lake Trasimene.”
Offer no. 10,192 / EUR 40. (c. US$ 48.) + shipping
– – Etruscan Sepulchres of Castel d’Asso near Viterbo. On the left the entries to the sepulchres, on the right back over the plain of this picturesque landscape rain falling. Wood engraving by the monogramist F. W. (Friedrich Weigand, b. Vienna 1842?). (1876.) Inscribed: GB. (ligated) / F. W. Sc., otherwise as above. 4⅝ × 7⅜ in (11.7 × 18.8 cm). – ocal text on both sides.
Offer no. 10,199 / EUR 46. (c. US$ 56.) + shipping
Hogarth, William (1697 London 1764). The Idle ‘Prentice at Play in the Church Yard, during Divine Service. Tom Idle with shoeshine and two further guys on a coffin besides an open grave. Accordingly forcible the beadle reprimands them their wicked doings. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Design’d by Wm. Hogarth / Plate 3. / Engraved by T. Cook. / Published by T. Cook No. 11 Little Britain, & G. G. & J. Robinsons No. 25 Pater Noster Row, Octr. 1st. 1795. 11¼ × 14⅜ in (28.6 × 36.5 cm).
Industry & Idleness III. – Marvelous impression on strong paper. In its downright luxuriously wide white margin a few weak foxing spots and upper right slight tidemark. Beyond that – contrary to all later Hogarth editions – in the original size. – See the complete description.
Offer no. 7,530 / EUR 373. / export price EUR 354. (c. US$ 428.) + shipping
– – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth inv & pinx. / Pl. 3. / Riepenhs. f. 8⅞ × 11 in (22.5 × 28 cm). – On slightly toned minor paper. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and are partly even preferred to Hogarth’s own engravings.
Offer no. 5,645 / EUR 76. (c. US$ 92.) + shipping
– – The same in steel engraving about 1840. 5⅛ × 6¼ in (13 × 16 cm). – With title in German + English, but without verse and marginal emblems.
Offer no. 7,689 / EUR 43. (c. US$ 52.) + shipping
Impenitence, Persist deliberately in the. These sins are not, or hardly forgiven in this and that world. Wrapped into blankets the dying rejects the sacraments the priest standing on the left, accompanied by the archangel, wants to administer. Meanwhile the winged Satan grasps for him. A second one veiling the cross of the Saviour. On the right a filled treasure chest, the death’s arrow hitting the dove of the Holy Ghost. Engraving. (1679.) Inscribed as above. 3⅜ × 2¼ in (8.6 × 5.8 cm).
Verso: Have a Hardened Heart. The king on the throne still in age inclined to the temptation of the snake. Through the window view at the damnation of the Last Judgement his councilors demonstrate to him. Once again the arrow of death pointed against the Holy Ghost. Engraving as before. – Works by an anonymous engraver – elsewhere inscribed as “Stich fecit”, but such one not provable – of a catechism of Petrus Canisius SJ, Cologne 1679. – Two tears reaching into the caption lower right backed acid-freely.
Offer no. 14,372 / EUR 35. (c. US$ 42.) + shipping
Bracht, Eugen (Morges 1842 – Darmstadt 1921). Megalithic grave on Luneburg Heath. In picturesque moonlight, in front on the path male hare with doe. Wood engraving for Adolf Closs, Stuttgart. (1880/81.) Inscribed: A. Closs X. I. / Eugen Bracht, otherwise as above. 6⅞ × 9¼ in (17.4 × 23.6 cm).
“ (Bracht) leaves behind an extensive pictorial and drawn work dedicated almost exclusively to the landscape … The first main creative phase (1875-93) shows several German heath landscapes (Luneburg Heath, Rügen, High Venn) with pastoral and historizing motifs. The supra-regional success of his meager landscape depictions results in official orders … ”
Offer no. 8,365 / EUR 64. (c. US$ 77.) + shipping
Werner Chapel in Bacharach. With fine view of the graveyard in front. Wood engraving by A. Wolf for A. Cloß, Stuttgart. (1875-76.) C. 7½ × 7¼ in (19 × 18.8 cm). – BACK: In Pfalzgrafenstein Castle (Caub). Wood engraving after Richard Püttner (Wurzen 1842 – Munich 1913). 5⅝ × 3¼ in (14.3 × 8.3 cm). – Continuous local text on both sides.
Offer no. 8,800 / EUR 35. (c. US$ 42.) + shipping
Interior of St Gudule’s Church Brussels. Intérieur de l’Église Ste Gudule, a Bruxelles. The tomb of Archduke Ernest of Austria in the Gothic cathedral St. Gudule and St. Michael. In the foreground reading priest with two acolytes. Color lithograph by François Stroobant (Brussels 1819 – Elsene 1916). Inscribed: F. S (18)51 / F. Stroobant del. et lith. / C. Muquardt éditeur. / Imp. Simonau & Toovey, Bruxelles., otherwise in French, German, and English as above. 13⅝ × 8¾ in (34.5 × 22.1 cm).
Boetticher II/2, 855. – “Belgian architectural painter … known by works and drawings to art history, especially of his homeland. Several drawings he has lithographed himself.” So the present one, too.
The most important sacred building of the city
housing beside the tomb of the younger brother of Rudolf II also St. Catherine’s Chapel, the painters’ chapel where i. a. Roger van der Weyden is buried, while in the choir on Oct. 22, 1555, the capital of the Order of the Golden Fleece elected Philip II of Spain to their Grand Master. It was part of the “Splendid zenith in the sequence of abdications (on behalf of Charles V) and inthronements” (Heinz Schilling)
Offer no. 15,507 / EUR 148. (c. US$ 179.) + shipping
With the Postman’s “ Marital Permission ” :
673,120.-- Marks ( and that 110 Years ago ! ) for the Wife
Certificate of Heirship for Louise Friederike Therese Schubert, née Häusser, wife of the postman Johann Friedrich Carl Sch., regarding the transfer and consolidation of the real estate at Stadt and Kirchremda (Saxony-Weimar) bequeathed by the weaver Johann Gottlieb Erdmann Häusser. Executed Blankenhain January 17, 1889. Writing on paper. Sm. fol. 6 unpag. ll. With cord stitching in the state colors and Amtsgericht paper seal.
“ The heirs in reference to the marital permission have entered upon the inheritance of the deceased. Widow Heusser has relinquished on her right of succession on the estate assets in favor of her daughter who accepts this.
“ Mrs. Luisa Frederike Therese Schubert née Heusser has in reference to the marital permission asked for the transfer of the estate assets to herself and for execution of a certificate of heirship on the estate belonging to … ”
With attached extract of the land register (printed form) with official stamp and detailed entry of the real estate the deceased bequeathed to the widow Marie Katharine Friederike Häusser, née Morgenroth, and the above-mentioned common daughter by his death September 24, 1888, and testimony on the consolidation of the several properties situated in Stadt and Kirchremda in the total value of 673,120 marks necessary because of the waiver of inheritance rights by the widow for the benefit of the daughter. Following the assessment of tax and pension payments and filing confirmations at the city tax revenue office and the vicarage as leaving and accession authority. On the back further attestations. – With document’s watermark and blind stamp Grand Duchy Saxony with coat of arms resp. – Negligible centerfold.
Offer no. 10,412 / EUR 118. (c. US$ 143.) + shipping
London – St. John the Baptist, Savoy. In the foreground the obviously conveyed old churchyard with grazing three sheep and a donkey. Steel engraving by James Baylie Allen (Birmingham 1803 – London 1876) after Thomas Hosmer Shepherd (landscapist, architectural draughtsman, and aquarellist, 1793-1864). 1830. 4¼ × 5¾ in (10.7 × 14.6 cm).
Offer no. 9,237 / EUR 25. (c. US$ 30.) + shipping
Securities – Mortgages – Gold Ducats
Hogarth, William (1697 London 1764). The Young Heir taking Possession. The fresh heir of the rich miser Rakewell prepares his entry into society. In front he has new trousers fit on him while, seated in his back,
the notary compiles the list of the assets
and provides himself beforehand with the most necessary, whereas young Rakewell offers money to those who will not take it: Sarah Young and her mother. Above at the ceiling a ledge breaks under the hands of the paperhanger and a golden rain flows to the floor. In the chamber besides the several periwigs of the deceased
collector of lucrative securities & mortgages
which now, bundled and loose, look forward to their utilization. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Pl. I. / Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Novr. 1st. 1806. Subject size 5⅝ × 6½ in (14.2 × 16.4 cm).
Sheet 1 of The Rake’s Progress, set to music by Igor Strawinsky (1882-1971). – Cook’s smaller version without the verses here replaced by the series title. – Cook „made his mark as Hogarth engraver, too“ (Thieme-Becker). – Trimmed within the wide white platemark which is somewhat browned of age in the outer parts of three sides, on the right two small tears backed acid-freely. – See the complete description.
Offer no. 8,866 / EUR 95. (c. US$ 115.) + shipping
– – – The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) 8¼ × 10⅝ in (21 × 27 cm). – Somewhat palish impression.
Offer no. 7,641 / EUR 118. (c. US$ 143.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 13. / W. Hogarth inv pinx. 1735. E. Riepenhausen d. sc. / Plate. 1. 8⅛ × 10¾ in (20.5 × 27.2 cm). – On slightly toned minor paper. – Especially in the white lower margin feeble age-spots. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and are partly even preferred to Hogarth’s own engravings.
Offer no. 7,901 / EUR 165. (c. US$ 199.) + shipping
– – – The same in lithography by O. C. Apelt (before 1829 – after 1840). (1833/36.) Inscribed: 67. / O. C. Apelt 1834 / Der Weg des Liederlichen. 9 × 8⅝ in (22.8 × 22 cm). – Extensive caption à la Lichtenberg in German.
Offer no. 11,836 / EUR 240. (c. US$ 290.) + shipping
Of Graphically most Brilliant Delicacy
OMNIA MIHI SUBDITA (II)
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death as above. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger delin. et excud. Aug. Vind., otherwise as above. 22½ × 16¼ in (57.3 × 41.4 cm).
as before with its lot no. 146/2 on the underlay carton
Schwarz (Gutmann Collection, 1910) 1477; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 270 with the knowledge of Schwarz; Faber-Castell 146 (together with Stillfried/Schwarz 1427 in state II as 14,857 here). – Cf. Niemeyer, (The Vanitas Symbolism at Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (2nd state of St./Schw. 1427 in the copy of the National Print Room Munich).
Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Georg Hamminger Collection (1895), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).
The second version
of this incredibly fascinating sheet ,
not known to Stillfried (1876) and also not recognized as such by Schwarz and
identified here for the first time ,
in a copy of outmost beauty
and graphical refinement
as repetition with among others a decisive re-attachment of weight of Stillfried/Schwarz 1427 for which likewise for the first time a 2nd state with same pedigree could be proven and described here (see above).
Schwarz’ presumption that the differences of present variant 1477 are merely due to the reworking of plate 1427 is incorrect. As proven below it is a work from its own plate whose thematic spotlight elucidates by a minor shifting a more specified message :
the “Presens” arrow directed at the sheet’s title
no longer points between the words OMNIA + MIHI ,
but directly at the M of MIHI !
While with respect to the presence of both variants, revealing the facts, the cataloguing for Faber-Castell was inadequate, so Schwarz’ erroneous assumption results just from his unawareness of that 1427’s second state of the plate shortened at top. For his variant 1477 represents in height the original format again, thus ends again just 1.5 cm above the arch. Whereas its width is c. 8 mm less with the result of a minor reduction of the image on both sides as missed by him. Just as generally the differing “small variants” (Schwarz) condense to a considerable, though only noticeable at repeated glance, mass which to confront with each other would lead too far here and not least reduce the joy, nay, the luck of own discovery for
who “still believes in the importance of states”
(Max Lehrs 1922 in laudatory appraisal of Old Masters collector Julius Hofmann). What must be regarded as downright unfair with respect to the presence here of both variants, 1427 + 1477, and by this the chance
of acquiring both sheets ,
just as once Counts Faber-Castell
though still having been dependant on the chance of a second opportunity.
But on the pleasure of the chance to compare both sheets a satisfaction of quite a different quality is impending in the present case as not recallable offhand for any other case of Ridinger’s mezzotints. For at least in its second state present here 1427 simply uses engraved outlines for the realization of the thematically conditioned exceedingly complex picture instead of – like present “repetition” 1477 – working everything out of the gradation of light and shade as the principle of mezzotint.
Where engraved lines partially inevitably lead to more detailed chasing it is fascinating to see its “rougher” realization being created from the astonishingly difficult play of light + shade. And to observe comparatively how cheap elsewhere such lines tick off drapery which in pure mezzotint grows out of itself. Or knit Goodman Death’s brow or treat his limbs + joints.
Both versions are from the hand of Johann Jacob. To compare them with each other thus leads far beyond the side-by-side of deviations of usual kind, rather is a going into the medias res of the technique itself. What a chance of learning, of entering the subtlety of graphic expressiveness, of the refinement of understanding of quality!
With his comparably only small mezzotinted contribution being so much in the shade of father and elder brother, with the present sheet of Schwarz 1477 Johann Jacob shows his equalness,
his whole mastership in the field of the brilliant mezzotint .
Just as the present sujet could be presented for the first time by Count Stillfried only 20 years after Thienemann’s visits to the print rooms, but, mind you, only in the first state of 1427. Only 34 years later Schwarz then surprised with additionally 1477, of the latter after another interval of 48 years the copy of Counts Faber-Castell came onto the market, together with the second state of 1427 acquired in 1914, both then absorbed by the mezzotint-centered Ridinger collection of another count. And after a stay of 47 years there now here and today.
The excellently preserved copy
in an adequate impression
with surrounding margins 4-13 mm wide with supposedly watermark WANGEN together with separate IV as standing for contemporary impressions. – Of two utterly smoothed out folds running at each other in the center one backed outer left with slight pleat. Two weak parallel traces of folding, all barely perceptible from the front, moreover at the upper edge of the subject, one of which still traversing the termination of the arch. In this also an uninked hair-line crack running out from a tiny pleat coming from the top originating from printing. A few pin-head/tip-small abrasions. The slight touch of foxing spots on the back below not showing through into the subject.
In such a manner then a trouvaille of round about extreme rarity in here now a
really early impression
of incomparably beautiful plasticity .
In an absolute velvety brown and black
from which all bodily white shines in brown-white .
See the complete description.
Offer no. 14,858 / price on application
„ Herzlichen Dank für die sorgfältig verpackten Bände … “
(Herr H. M., 26. Mai 2007)