the Eyes of the Connoisseur ,
the Hot Heart
of the Lover
A 100 Years ago grew a
Ridinger Collection of Classic Style
1959 · 55 years trustful cooperation · 2014
Collector of Old Style
Holding in Estimation
Ridinger in all his Spectrum
between Th. 1 & 1436 , then Schwarz up to 1564
Per cataloging the collection of Rudolf von Gutmann as the king among the Ridinger collectors in 1910 the latter then had scored 1569. Whereas in their turn
at the dissolution in 1958 scored with about 40 additional sheets, which had become known neither to Thienemann nor Schwarz. Both immediately preceded in the last quarter of the 19th century by a remarkable density of particularly bourgeois collections, approximately comparable with those formed more or less adequately since the middle of the recent 50s. Lasting, what Rolf Biedermann attested 1987 in Meisterzeichnungen des deutschen Barock :
“ one of the few German Baroque artists
… who … never fell into oblivion . ”
With nevertheless decreasing interest in what for the great ancestors was that extra something, the trophy stalking in the collector’s wood. Of which Max Lehrs wrote 1922 in the preamble to the catalog of the Julius Hofmann Collection:
“ He still believed in the importance of states ,
the pointed or rounded plate corners, and paid such an affectionate attention to graver glitches, etching stains, polished edges as only the intimate association with an old friend yields. ”
So as then also count Faber-Castell added to the specialty Ridinger Schwarz 1427 acquired in the early days of his growing collection per
“Inv of 14/3 1914”
later with St.-Schwarz 1477 (missing still in above illustration left, present yet 1958 per K&F LXVI/146) a copy identical only at a glance, just because encountering in it a deviating print version, that is state.
OMNIA MIHI SUBDITA
The Rule of Death
Mezzotint & outline by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger delin. et exc. Aug. Vind. (Ulm 1698 – Augsburg 1767 and 1736 Augsburg 1784 resp.) , otherwise as above etc. 21⅞ × 16⅝ in (55.7 × 42.2 cm).
Stillfried (3rd appendix to Th., 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; Reich auf Biehla 296 (“Extremely rare”, 1894 ! Without reference to state/version); 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 with 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) , Silesian Ridinger collection at Boerner XXXIX (1885) , 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 sujets
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.
The reduction concerns 1.5 cm imageless filling of the plate above the arch. Within the signature the original “Iacob” & “excud.” are each abbreviated at “c”. If the deviations in writing and punctuation of the stone inscription, see below, quoted by Schwarz only partially are real or due to an incorrectness of Stillfried must largely be left aside. The comma in the 1st line after “curo” noted by both Stillfried and Schwarz missing in the copy here.
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.
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. Both the two upper corners of it with backed tiny injury due to previous removal of old corner mounting on blue paper. On the left side besides backed minimal marginal tear outside of the platemark. In he lower left corner faint tidemark visible only in the white margin and the signature field. In the subject itself apart from that a small thin paper spot perceptible against the light only and a pinhead-small abrasion in the background of the vault.
For how precious the difficult mezzotint technique was esteemed by Counts Faber-Castell shows from their written inventory present here stressed per exclamation mark & underline as “Schabk!” (Mezzotint!). And accordingly already 165 years ago Thienemann resumed 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 print room at Dresden … ” (pages VIII & 270).
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 only permits 50-60 good impressions.
Just as the present sujet could be presented then 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. As
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 1767 in the Berlin Print Room (color illustrations in L’Art Macabre 2, s. a., p. 94 & Ridinger Catalog 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 .
Yet 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 inscription of the stone slab
(this as well in slightly varied writing to 1427) as following, wherein the hyphens of the last words of the first five lines have to be replaced by a “lis” each, that of the following six by an “are” as globally illustrated laterally:
“ Sum qui non curo quis aut qua- / Nil mihi dignitas Papa- / Nec valet majestas Rega- / Stultus et sapiens æqua- / Dives et pauper est morta- / Non juvat hic se excus- / Nec ad Apostolica(m) sedem apell- / Dona promitere aut don- / Seu clam se velle alien- / Pacem non mecum est tract- / Nec dico quando quis vel qu- // OMNIA MIHI / SUBDITA ”.
The weighty stone slab itself typical for Ridinger as such one occurs repeatedly in his work up to the programmatic personal bookplate (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.
In such a manner then
a trouvaille of round about extreme rarity
documenting the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness.
— collecting passion & collector’s pride 100 years ago —
their Ridinger sale 1958
with its lot no. 146/2
as well as by the collection in pencil
“Inv of 14/3 1914”
on the underlay carton
no frills fantastic main sheet
in the copy counts Faber-Castell
1914 — 1958 — 2014
You have to be very young
should you think
you could wait and see with this sheet .
Offer no. 16,253 / price on application
Diverse Presentations of some Figures from the Ancient Age suitable for History … Set of 23 (instead of 24) sheet in three parts. Augsburg 1728. C. 7¼ × 4⅝-4⅞ in (18.3 × 11.6-12.4 cm) and, 3rd part, 6½-6¾ × 4⅛-4⅜ in (16.6-17.3 × 10.6-11 cm) resp.
The rare set “ in Salvator Rosa’s manner ”
from the opening year of the publishing house. Mixed copy inevitably paying reverence to the rarity – as qualified already since 1851 – of the set of in the majority finest to extremely wide margins, only sheets 3, 6, 7, 10, 14, 15, 18, 21 + 24 with but narrow though mostly still c. 5-15 mm wide margin around the full plate, the first three of which mounted by old for no reason. – Of varyingly fine general preservation with following deviations: sheets 11-13 + 16 with extended light spot in margin and (11, 13, 16) image. Sheet 17 evenly slightly browned and with worm trace close to the right upper corner of the platemark.
Th. per actualization separate appendix 1, pp. 5-9: pt. I: 836-843. – pt. II: 844, 852-855, 1304, 1305, 1307. – pt. III: 851, 856-859, 1306 (missing in present copy), 1318, 1319. – See the complete description.
Offer no. 14,878 / EUR 1780. / export price EUR 1691. (c. US$ 2044.) + shipping
The Prophet Daniel’s
Miracle in the Den of Lions
One of the Largest Ridinger Drawings
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 – here amongst eleven grimly-peacefully mane bearers – , 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]). 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.
Imposing Den of Lions sheet
of marvelous upright format
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. As print thus expressly also missing with counts Faber-Castell !
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 elitistär solitarily
the moreover but 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) . – See the complete description.
Offer no. 14,859 / price on application
Qualified already since 165 Years as
“ Very & Extremely Rare ”
Ridinger’s Set of the Fountains
4 sheet. 13⅞ × 11¼ in (35.3 × 28.7 cm) (1) and subject size 13⅞-14 × 11⅛ in (35.2-35.4 × 28.2-28.3 cm) (3) resp. – Th. 878-881.
From the Ridinger Collection Counts Faber-Castell
Fontaine de Persèe et d’Andromede .
Fountain of Perseus and Andromeda.
Three sides with 3-4, below 13 mm wide little margin around the full platemark. In this four backed tiny tears. Small slight yellow trace between Andromeda’s right arm and left leg.
Fontaine d’Hercule victorieux.
Fountain of the Triumphant Hercules.
Fontain d’Atlas et d’Hercule.
Fountain of Atlas and Hercules.
Trimmed within the platemark, but three sides with mostly only finest margin around the edge of the subject, here and there also reaching immediately to this, below with 3-10 mm below the second line of text. – On the back left with two traces in point of previous mounting on blue paper, and on the front a tiny paper scrape off at the subject edge.
Fontaine de la Victoire d’Apollon sur le Serpent Python.
Spring of the Victory of Apollo over the Pythonic Snake.
Trimmed within the platemark, but on three sides with fine(est) margin around the edge of the image, below with 6-10 mm below the second line of text. – On the back left with three traces in points of previous mounting on blue paper.
Pictorially as to content beautiful & in splendid impressions
on slightly toned fine (3) and regular resp. laid paper with, however, even structuring in the copy Counts Faber-Castell as above .
And not least a further theme showing Ridinger as standing in great artistic tradition .
With their three famous examples from 1593 to 1602
in Augsburg herself ,
among them the Hercules Fountain by the great Adriaen de Vries harking back to a preparatory drawing of Hans von Aachen’s. – See the complete description.
Offer no. 14,873 / EUR 2000. / export price EUR 1900. (c. US$ 2297.) + shipping
From Prior Possession as above
Siege & Conquest of Halicarnassus
On the left the boar hound as trademark of the early years
by Alexander the Great
(334 B. C.)
in the with 29¾ × 36⅛ in (75.5 × 91.8 cm)
Largest Ridinger of the Graphic Œuvre
in engraving by Johann Daniel Herz I (1693 Augsburg 1754). Early 1720s. – Inscribed: LXXXVII (platemark upper center) / Ioh. Elias Ridinger invent. et delin. (in the text margin lower left) / Senior Iohann Daniel Herz sculp et exc Aug. V. (in the subject margin lower right), otherwise as above etc. – Reich auf Biehla Collection 917 (“Without platemark, mounted [like here, too]. Fine composition. Extremely rare”, 1894 ! ; present copy ? ). – Th. 917.
The monumental sheet
– pendant to the following 331 Passage of the Tigris –
in the second state after modification of the former inscription “Cum Privileg. Sac. Cæs. Majest. / Ioh. Daniel Hertz sculpsit / Hæred. Ieremiæ Wolffij excud. Aug. Vind.” as erroneously described as second state by Schwarz per 917a
of marvelous printing condition of vibrant chiaroscuro
with laterally tiny margin around the subject edge, below 3 mm below the text and at top 5 mm above the subject edge with the number not mentioned by Thienemann & Schwarz. – Old doubling with smoothening of former vertical centerfold and of ultimately very good general condition as not the norm with such difficult-to-preserve oversizes –
the impression yet from but one ( sic ! ) plate !
Illegible blind stamp between the two columns of the caption and aforementioned lot no. there in red. A small slight overinking at the left lower subject edge ending in one word each of the first two Latin text lines.
Early work of Ridinger’s created soon after his return – to be set not before 1719 – from the three-year stay with Baron (so Allgemeine Deutsche Biographie contrary to Kilian/Th.: Count) Metternich in Regensburg, when “all connoisseurs … admired his skill and strength in both historic and animal pieces” (Th.), while he nevertheless not yet worked in copper himself . So “at first there (he) painted several historical representations for the art dealer Dan. Herz” (Nagler; recte Jeremias Wolff, additionally documented for Herz, too, 1732 only, see below), of these concerning Alexander besides the present Siege of Halicarnassus the 331 Passage of the Tigris at Bedzabde (Th. 918 as following here) for the encounter with Darius (III, last of the Persian kings) with the decisive battle at Gaugamela near Arbelas October 1st. Both qualified by Nagler, who erroneously claims the crossing for the Granicus, thus knew the sheet at least without its caption only, as “rich compositions”, they are at the same time
marvelous examples of early maturity and perfection
as already repeatedly stated by example of other early works (“therefore this drawing is of importance for the knowledge of his already perfect style in early years”, Nebehay 88,2 on the drawing for Th. 1 from 1721). Foremost, however, Ridinger’s
tribute to the Alexander cult of his time
and as expression
of his yet unchanged quite personal admiration .
Halicarnassus — the most monumental Ridinger of the graphic œuvre
of most extreme rarity
as by the way generally documented for the plates of the early years still engraved by others. – See the complete description.
Offer no. 14,869 / price on application
From Prior Possession as above
The Second of the Alexander Sheets
On the right the trademark boar hound swimming along
First Passage of the Tigris
(331 B. C.)
Crossing at Bedzabde 331 on the march to the encounter with Darius (III, last one of the Persian kings) with the decisive battle at Gaugamela in the vicinity of Arbela. Engraving by Johann Balthasar Probst (1673 Augsburg 1750) 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]). Early 1720s. Inscribed: XCIV (platemark upper center) + 3 lines in the subject margin lower right: Senior Ioh. Dan. Herz excud. Aug. Vind. / Iohann Elias Riedinger (sic!) pinxit / (Iohann Balthasar Probst sculps.), otherwise with caption missing here. Sheet size 18¾ × 30¼ in (47.6 × 76.8 cm).
“ An exceedingly rich , very well-worked sheet ,
the pendant to the previous one (Halicarnassus). Alexander stands on the elevated bank, surrounded by some generals, pointing and crying, behind him (his intimate companion Hephaestion and two) blowing buglers. With the soldiers tremendously fighting with the waves (just as already with the opponents) profound variety and truth ” (Th.).
Nagler, Ridinger, XIII, p. 162 (“rich composition”, yet erroneously as “Crossing the Granicus” [battle there May 334], therewith in unawareness of the caption up to the engraver [this copy?], for whom he erroneously names Joh. Daniel Herz I instead of Joh. Balthasar Probst. In such a manner standing to reason that
present Faber-Castell provenance
should be extendable up to the great art lexicographer Nagler (1842/43).
Two sides with tiny margin around the subject, above with 5 mm wider and here with the number not mentioned by Th. & Schwarz, below, however, trimmed close to the subject edge under loss of still the Probst signature, but foremost of the 4 lines Latin-German caption from Curtius Rufus, book IV, chapter 9. – Tiny tear nearly 9 cm long in the lower field left of the center professionally repaired and barely impairing. – Th. 918. – See the complete description.
Offer no. 14,854 / price on application
Ridinger’s Memento Mori
Netherlandish fed Lightning
in the Master’s Œuvre
And besides one of his Great Rarities
In the First State of the
Copy Counts Faber-Castell
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. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above etc. 20¼ × 16½ in (51.6 × 42 cm).
Stillfried (3rd appendix to Thienemann, 1876) & Schwarz (Gutmann Collection, 1910) 1426, obviously both III (of III); Reich auf Biehla 295 ( “Extremely rare”, 1894 ! Without state detail ); 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 Catalog 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 Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger collection at Boerner XXXIX (1885) , Coppenrath Collection (1889 f.) , Hamminger Collection (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger), 1554 items; 1900).
“ ( What you do think of the end, then you will never ever do evil ) ,
Sir. 7th chap. ”
of this pictorial-beautiful vanitas still-life
ONE OF MOST INTERESTING RARITIES OF RIDINGER’S ŒUVRE
whose different states have not yet been recorded by literature present here and according to current knowledge here have to be ordered in their variations as detailed in the complete description.
Deep-brown impression of finest plasticity on buff laid paper with watermark WANGEN and separate IV as both standing for contemporary impressions. With laterally 8-14 mm, top 17 mm margin, below trimmed with partial minor cut of the signature, but loss of the “Sir. 7. Cap.” as final line of the caption. Small tears backed by old in the free field outer left of the toned-fine lower text margin with still minimal extending into the closure of the table edge just as within the two quoted lines with near-loss of the letters “uid” in the second “quid” of the first and minimal touching of the letters “as” in the “Was” of the second line. In the picture itself isolated tiny(est) injuries done by old, optically like a hair crack four of these in the curtain upper left and one in the skull’s right eye, pinhead-like three further ones at the rim of the skull, on the bible, in the curtain. One further tiny injury in the white edge of the table lower right barely perceptible, from the front not at all a few untreated pinhead-small little holes just as also the not unusual smoothed centerfold still visible in the skull only. Of two backed tiny tears in the white right margin one reaching 7 mm into the picture filling. A slight touch of browning down from the foot of the candle-stick optically almost eliminated by the brown of the ink. Generally thus somewhat age-marked, but not only with regard to the additional rarity as first state and the with respect to Ridinger important provenance through and through worth acquisition as an
outstanding example from the group
of the vanitas works and danses macabres
and grand proof of the “ minimized Ridinger ”,
so the art historical contribution here at the Ridinger ceremonial act by the Dresden Technological University on occasion of the 300th birthday, demonstrating at the same time the master’s deep rooting in the Dutch’s emblemism to whose works he generally is more obliged to than supposed till now. And here not least documented by his inv(enit) removing any doubt about his intellectual copyright. – See the complete description.
Offer no. 14,856 / price on application
niemeyer’s — for ridinger mezzotints of first quality
Zeus. On cloud armchair flying through the air, with him the eagle , the thunderbolt in the raised left, the angled right supported, likewise the right leg, the look turned downwards in anger. 7¾ × 6¼ in (19.8 × 16 cm). – The sides trimmed on up to within the platemark, thereby upper right till close to the edge of the subject. Above + below with 4-6 mm margin. – On the back at the margins old traces of mounting as well as three face sketches in pencil. – Prior possession as above . – Th. 845. – See the complete description.
Offer no. 15,229 / EUR 345. / export price EUR 328. (c. US$ 397.) + shipping
Presentation of both Roman as Grecian War Folks from my Academic Drawings … Plates 1-12 & 17 (of 18). Not before 1759. C. 6¾-7⅜ × 4⅛-4⅞ in (17-18.8 × 10.5-12.5 cm) as now plate, then sheet size, see below, and (pl. 17) 7¾ × 5¼ in (19.6 × 13.2 cm) resp. – Mixed copy of anyhow: 13 in one sweep! Many a great not even dared to dream of it ! For provable here completely only the copies Thienemann & Baron Gutmann (Schwarz catalog). – Prior possession as above . – Th. 860-871 & 876 (of 860-877). – See the complete description.
Offer no. 14,879 / EUR 1300. / export price EUR 1235. (c. US$ 1493.) + shipping
“ One of the Most Distinguished
Fathers of the Church ”
in the Copy Counts Faber-Castell
S. Ambrosius. Preciously dressed in full figure, sitting to the right with the head turned to the left, the left resting on an opened book. Laterally left angel with crosier & tiara. Closed folio at his feet. Mezzotint 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 S. | AMBROSIUS. 21 in (53.2 cm) sheet height × 16¼ in (41.3 cm) width platemark. – Schwarz 1532. – See the complete description.
Offer no. 14,867 / EUR 685. / export price EUR 651. (c. US$ 787.) + shipping
„ Ganz herzlichen Dank für Ihre netten Wünsche und die sehr interessante Lektüre (Wild + Hund 23/2008), über die ich mich sehr gefreut habe. Mein Glückwunsch zu diesem schönen Artikel über Ihr Ridinger Wirken und die damit verbundene und verdiente Anerkennung. An meiner ‚Ridinger – Sammlung‘ erfreue ich mich stets aufs Neue. Schon deshalb war die Anschaffung des Pompadour Bandes (1998) ein guter Kauf … Mit besten Grüßen, Ihr … “
(Herr O. v. L., 5. Januar 2009)