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24 August 1746

Imperial Thanks
by the Wittelsbacher’s Charles VII

Arms for Johann Elias Ridinger

Grant of Arms
by the Imperial Count Palatine
Ludwig Bartholomäus von Herttenstein
Ulm 1709 – Augsburg 1764
for
Johann Elias Ridinger
Ulm 1698 – Augsburg 1767

Manuscript on Vellum

Augsburg 24 August 1746. In German. C. 13½ × 9⅝ in (343 × 244 mm). 6 unnumerated sheet, the last 3 pages of which white. With the

“ (‘augmented’) family arms inherited from the anchestors (of Ulm) ”

in gouache painting (4½ × 3¾ in [11.5 × 9.5 cm]).

Contemp. marbled brown leather with blindtooled fillet along the board edges and shiningly gilt-colored textured brocade paper pastedowns with gouached rich floral decor and transcription flap on the back pastedown. In later marbled board slip case.

Brocade Paper Pastedown
Shiningly gilt-colored textured brocade paper pastedowns
with gouached rich floral decor

Not in Zimmermann, Augsburger Zeichen und Wappen, comprising the citizens of the Imperial City of Augsburg and the bearers of higher ecclesiastical dignities of the episcopal city of Augsburg, her abbeys and cloisters, Augsburg 1970.

Provenance

Dr. Krauss

his written former cipher
on the fly-leaf , verso upper left

Hans Dedi

Basel 1918 – Fürth 2016

Grant of Arms for Johann Elias Ridinger (page 1)
Grant of Arms for Johann Elias Ridinger (page 1)

Contrary to the “have present letter not only signed by own hand, but also confirmed with my attached larger titled seal” without the latter along with signature, but only (?)

Ludwig Bartholomä Edler Herr von Herttenstein
Ludwig Bartholomä Edler Herr von Herttenstein Comes Palatinus Caesareus ..ria

Imperial Counts Palatine

— Comes palatinus Caesareus —

“ were appointed in the Holy Roman Empire by the grant of the so-called comitiva. This represented a priviledge to exercise Imperial Reserved Rights (the so-called comitiva). To the reserved rights which the Roman-German Emperors exercised through the Imperial Counts Palatine belonged:

the grant of acts of grace
(e.g. the confirmation of patents of nobility and grants of arms) ” etc.

(German Wikipedia, December 2017).

The apparently universally unknown

Spectaculum

Grant of Arms for Johann Elias Ridinger (page 6)
Grant of Arms for Johann Elias Ridinger (page 6)

of the

Ridinger Collection Dedi

Here photographed on the spot on slides about 25 years ago without having become the subject of a concern or even analysis since, it just was no matter of daily business claiming full attention. In short, in the absence of an outward claim the series rested in the word’s true meaning for the quarter of a century in the depths of niemeyer’s image archive. Rubbing their eyes, now perceived as their original! And, so you want, now you have to make the next move.

« Ridinger’s impact history is eminent.
Already during his lifetime he is frequently copied.
Throughout Europe his animal depictions serve
as models for oil paintings , murals …
porcellain painting and groups …
tile and glass painting »

U. Heise
in Allgemeines Künstler-Lexikon, vol. 98 (2017), pp. 472 f.

Occasion of the Presentation

were without doubt — summing up, Ellen Spickernagel calls Ridinger 2016 an

“ artist and savvy business man ”

Ridinger’s 1744 up-to-the-minute designation and emphasis of the electoral palaces Nymphenburg/Munich & Lichtenberg/Lech as

Johann Elias Ridinger, Pointer by the Imperial Pleasure seat Nymphenburg (printing-plate)
„… this well-trained pointer by the Imperial pleasure seat Nymphenburg“
J. E. Ridinger fec. et excud. 1744. (caption of the original copper printing-plate to Th. 274)

now “imperial”

Johann Elias Ridinger, Pointer by the Imperial Pleasure seat Nymphenburg
“… this well-trained pointer by the Imperial pleasure seat Nymphenburg”
J. E. Ridinger fec. et excud. 1744. (caption of Th. 274)

on both his etchings Thienemann 274 f. dated expressly 1744, by which in such a manner he paid reverence to Elector Charles Albert, now finally returning to Munich as

Emperor Charles VII

October that year. Coming from Frankfurt,

he had arrived at Augsburg October 19, 1744

from whence he continued 21/23, see below .

Contrary to this the dating of the preparatory drawing – 1744 or 1745 – of the emperor’s equestrian portrait (Th. 824) for the set of Princely Persons on Horseback in the version of their painterly draft drawings partly deviating from the engravings Weigel, Ridinger Appendix 519 (“are inscribed with the years 1744-1747”) like all other 15 sheets – including, too, Charles’s successor Francis I elected only Sep. 13, 1745 and Imperial Count Frederick Henry von Seckendorf as imperial field marshal (1743/44; relieved Munich 1743 – is not taken into copper, as then again the set of preparatory drawings for the transfer (Weigel 518) remained dateless. Charles’s equestrian portrait therefore should have been published rather subsequently than simultaneously with the two “palace” prints.

Elected Roman-German emperor as legal successor to the Habsburg Charles VI at Frankfurt on the Main January 24, 1742 as third (and second of the younger Bavarian line) and last of the House of Wittelsbach and crowned February 12 by his brother Clemens August, Elector of Cologne, Charles VII was disgracefully retained at Frankfurt

— where Goethe’s father by the way owed him his “Imperial Councillor”

and the mother raved about the melancholic imperial eyes —

by the troubles of the so-called Austrian War of Succession started by Charles’s VI († 1741) daughter Maria Theresa and proceeding unfavorably for Bavaria, after the luck of war had limited his first entrance into Munich April 19, 1743 to but a few weeks. At the final entrance there, October 1744, the “savvy businessman” Ridinger paid his reverence by, see above. What lent itself the more and due to deliberate “specialization” within the Augsburg circle of competition

— (so Spickernagel instead of, rather, sprung from the personality, as painter friend Kilian quoted him indirectly: “… rather a kind gift of providence … which had planted this urge already in his youth so insurmountably strong so that he never could suppress the same” —

could be arranged the more elegantly as in this imperial coming, going & returning in accordance with the indenture of neutrality of the Swabian Circle of September 27, 1741 the neutral

Augsburg as stopover was first address

as ninety years later put on record very nicely by Anton von Barth:

1743

“ The war for the succession in the Austrian hereditary lands and

Charles’s VII presence at Augsburg

… however, after the peace treaty concluded July 21, 1742 between Austria and Prussia the Austrians not only seized Bohemia, but Bavaria, too, and Charles Albrecht (already as Charles VII) had again to betake himself to flight.

“ He chose Augsburg as a neutral city for his residence, and arrived here 6. Juni 1743 in the evening at 6 o’clock. The whole line and citizen militia stood … in parade, and volleyed three times on the arrival of the imperial sovereign just as much the guns on the ramparts were fired. When alighting from the car a deputation of the senate offered the city’s first homage … On the Feast of Corpus Christi shortly afterwards the emperor attended the solemn procession with the whole family and the complete court.

“ As the Austrians made themselves masters of Friedberg before the emperor’s own eyes … and the many Hungarian and Austrian Officers visiting the neutral city alarmed the emperor by their conduct, the same left Augsburg and secretly departed with the prince royal for Frankfurt the morning of June 26, 1743 half past three … ”

1744

“ Meanwhile France formed an alliance with Prussia, Palatinate and Hesse-Cassel under the name of the Frankfurt Alliance, in the consequence of which Prussia’s king invaded Bohemia, and by this liberated Bavaria from the Austrians. Therefore in the afternoon of October 19, 1744 at 4 o’clock

on his return from Frankfurt to the re-liberated Munich

the emperor arrived

at Augsburg , and departed for Munich October 21 .

Allgemeine Deutsche Biographie XV (1882), 225: Oct. 23, 1744 the emperor returned to his capital under the peal of all bells and the cheers of the people … –

“ Only the next month the empress and the prince royal proceeded from Frankfurt back to Munich, the latter arrived at Augsburg November 18, the former the 28 the same … In the evening at 7 o’clock a deputation offered the imperial city’s presents for the empress under huge torch illumination … The following day the empress with her daughters and the whole court departed … for Munich. ”

That Augsburg unchangeably remained the locality for the electoral family – in consideration of the balance of power the prince royal had renounced his imperial hereditary title – still after the decease of Charles VII at Munich already January 10, 1745 shall be mentioned in this relation only for completeness and von Barth further quoted from The Presence of Elector Maximilian Joseph at Augsburg … as following:

“ … As (Maximilian III Joseph) doubted that he could prevail in the (new) campaign already started with advantage by the Austrians … (he) entered into peace negotiations with Maria Theresa, of which the preliminaries were signed at Augsburg, the main indenture, however, at Füssen April 22, 1745. ”

In the meantime Maximilian Joseph nonetheless had to consider himself again better preserved at Augsburg “for eight days”.

Which chronological stretching was immensely beneficial for Ridinger’s reverence marketing

both for “production” of the two “imperial” etchings as their direct forwarding. That it “came accross” well at court is more than emphasized by present exaltation:

For
“ Ingenious Mister
Johan̅ Elias Ridinger ,
native of the Well-Worthy Imperial City Ulm ,
Johann Elias Ridinger, painter, engraver, and art publisher in Augsburg
well-esteemed citizen
and
far-famous painter ,
engraver and art publisher resident at Augsburg …
by which he has rendered …
immortal services
also to the noble arts ,
and known far and wide by innumerable samples ,
hence before others proved himself
worthy quite a Honorific Commendation ”

“ and I besides beheld and considered the decent descent, good reason, virtuous deportment, indefatigable diligence and exceptional dexterity, of the well-honorable and artful Mister Johan̅ Elias Ridinger, native of the Well-worthy Imperial City Ulm, well-esteemed citizen and far-famous painter, engraver and art publisher resident at Augsburg, by which he not only ingratiated himself with persons of high and low station, but also rendered immortally outstanding services to the noble arts, and made known far and wide by innumerable samples, hence before others proved himself worthy quite a honorific commendation; thus have in testimony of my special regard and affection by virtue of having the Imperial license with well-considered valor and proper knowledge aforementioned Mr. Ridinger,

his now and future heirs by blood ,

and heirs of the same in descending line

for and for for eternal times

his family arms inherited from his anchestors

of my own accord thusly confirmed and enlarged, as such is painted on the other side of this sheet to its real colors, and described according to heraldic manner (thus always as seen by the shield bearer, not the beholder; see illustration page 1) … bestow, grant, allow, and vest Him such, too, by and from abovementioned Highest Power and License, by deed of this letter, that from now on abovesaid Mister Ridinger … such above described arms and crest with shield and helmet have, bear and use it in all and any honest, final matters and affairs, affront and earnest, in contending, storming, fighting, spearing, banners, tents, notices, seals, signets, jewels, paintings, funerals and else at all places and ends to their honor, necessity, liking and pleasure, also have all and any favor, liberty, honor, dignity, advantage, right and justness, shall and may use, enjoy and relish it, to receive, to hold and to bear ecclisiastical and seculiar offices and fiefs, also for other ecclesiastical and seculiar matters, affairs and courts like others of the Holy Roman Empire’s arms and fiefs … to use and enjoy the same liberties, by law or custom, unimpeded by anybody. Beseech of all and any high and low authorities and courts, ecclesiastical and secular, whatever office position and kind they may be, suitable to rank and difference,

Johann Elias Ridinger, Grant of Heriditary Arms

They will abovementioned Mister Johan̅ Elias Ridinger ,

his now and future heirs by blood and heirs of the same ,

forever and ever neither hinder nor err at the above described arms and crest ,

nor let them be hindered nor erred

by their subordinated clerks , citizens and subjects ,

but, as abovestated, let peacefully use, enjoy, and entirely leave it at this, by no means, as please each one Imperial Majesty and the Empire’s severe disgrace and punishment, besides the penalty Sixty Mark alloyed gold appertaining to my comitiva, which each one, as often as he acts wickedly against this, half in Imperial Majesty’s and the Empire’s Chamber, and the other half part has to pay Me and my heirs unrelentingly; but other so maybe bear like the abovestated arms and crest, at the same their arms and rights untouched and innocuous. ”

The affiliation of the grant

to the 1744 “imperial” works conclusive in itself.

As prima facie downright eye-catching first chronologically. Then locally, due to the course of time. Which brought the emperor repeatedly to Augsburg. Which, however, downright demoralized the emperor, too (“ – sick, without land, without money, I truely can compare myself with Job, the man of sorrows”, so by letter to his then field marshal, Count Törring, the day after the coronation had passed “with a splendor and a jubilation without equal”). There any courtesy, even more, devotion coming from a side not compelled to feel obliged to comforts.

That the emperor, already deceased not even three months after his return, had taken an active part in Ridinger’s honoring is, however, unlikely as ultimately the business of others employed to this. Suggestion and setting the hare running is all that is needed. To be picked and followed up by indeed the appropriate Imperial Count Palatine. If this at the beginning already had been the finally executing Noble Sir and Knight von Herttenstein has to be left undecided here. Following the text of the grant, at least formally he was not. For quite at the onset he derives his office and acting from “by virtue of … Sir Maximiliano Josepho … as after the demise of the late …

Sir CAROLI VIImi: elected Roman Emperor … of illustrious memory”

as his son and now elector of Bavaria. And following “by highest Imperial Vicariate’s authority and power sub dato Munich the 17 Sept. in the Year 1745. … graced with the position of an Imperial Count Palatine …”. That was four days after the election of Francis I as German emperor as successor to Charles VII. Which quite apparently should, or rather had to, be awaited irrespective of the imperial custom of granting princely sovereigns and especially electors the privilege to appoint counts palatine by proxy. For in the further course of the grant it is stated with express reference to Francis’s election on the 13th that

“ all and any acts and grants effected by the domestic vicariate during the late former interregnum in both judicial acts and acts of grace, thus also such license were most leniently confirmed and approved. ”

What all supports the conclusion

that the grant of arms act of grace for Ridinger

has been initiated during just this interregnum the latest

and follows a volition of Charles’s VII .

And that its final execution as of but Augsburg August 24, 1746 solely follows the timeframe of bureaucratic procedure. And may it be in the meaning of Erwin Schmidt’s remark that of all “The mightier territorial sovereigns, especially the electors … generally put obstructions in the way of the actions of the counts palatine …”.

If Hert(t)enstein already was count palatine under Charles Albert/Charles VII and had been priviliged by Maximilian Joseph in confirmation only has to be left undecided here. Even so already at the age of 32 he was one of the three judges of the Vicariate Court at Augsburg as after the demise of Charles VI in 1740 supreme imperial jurisdiction.

“ (Since) no Roman king was in place an intermediate kingdom came into being which lasted two years, during which period the electors of Bavaria and the Palatinate took over the imperial administration in the Swabian, Franconian and Rhenish countries in accordance with the existing indentures and chose Augsburg as the seat (of said court). February 1, 1741 … the solemn installation of the same took place … The chairman (president) of this court … was, like an elector, presented by the city … (abundantly with wine and in kind). Among the three members were the City of Augsburg’s two council consultants, too, the licentiates … and … von Hertenstein ”

(Barth, op. cit., pp. 87 f.).

Born at Ulm 1709, the latter was promoted licentiate at Strasbourg 1731, 1734 city consultant at Ulm, 1739 the same at Augsburg, where January 12, 1741 he was promoted assessor vicariate. May 15 the same year followed the rise to Knight of the Holy Roman Empire, supposedly occasion of a silver medal minted for him (3.53 cm, 12.44 g) whose “head … shows the arms of von Herttenstein consisting of heart shield and two helmets. The tail shows an inscription of 11 lines which comprises the professional career of Ludwig Bartholomäus von Herttenstein” (Kathleen Schiller), which was followed here. Also still without the office of Imperial Count Palatine. Georg Christoph Kilian (1709 Augsburg 1781; friend of Ridinger’s, see below), who in 1742 created that of Charles VII, too (Nagler 1: in full size, a very large mezzotint from several [Thieme-Becker: two] plates), created his portrait.

That according to Wikipedia (Oct. 29, 2017) still before the oldest patent of nobility issued 1360 by emperor Charles IV

the oldest known grant of arms was issued 1338 by Emperor Louis IV the Bavarian

as the first of the three emperors of the House of Wittelsbach may justly be considered an appealing icing to the one here of the third and last one. The more so as both belong to the same, the Bavarian line, while the second descended from the elder Palatine line. On the history of the grants of arms in general Wikipedia not exactly literally furthermore:

“ Grants of arms or Certificates of arms are formal documents which attach a certain heraldic insignia to a person, entity, city etc. Originally already in the Middle Ages non-noble knights received a grant of arms about the coat of arms invested by the king … (They) are documents issued to individual persons or families by a territorial sovereign as a token of recognition, not tantamount with an ennoblement. Both grants of arms and patents of nobility came into being in the 14th century and were first executed and bestowed by the emperor or his count palatine. The grant of arms sometimes — as ultimately here! — bestowed by its content on its owner all then rights and priviliges of the nobility. If the receivers of the grants of arms and their descendents not set the little “von” in front of their name that was in complience with a then custom. When this became customary in the early 18th century it happened unobjected. ”

And on the practice Erwin Schmidt as already above:

“ However, it was inevitable that with the number of bestowals the value and the reputation of the office of the Count Palatine waned. About the turn of the 17th century it came to the point also for the abuse of the privilege that respected scholars concealed the possession of the office … (page 5).

“ … bestowing civil arms could easily lead to troubles. Only such who were at home in heraldry, and such who were concerned with it as a penchant have executed this right to a greater extent. Therefore the 175 arms bestowed by Count Palatine (Franz) Rasso Gotthardt about 1600 or the numerous by Walter Grandi Freiherr von Sommerritt, Count Palatine by Imperial and Papal authority (also the sultans of the Ottoman Empire used such), are an exception ” (pages 13 f.).

For the later period Schmidt’s allusions to abuse with nonetheless general limitation of grants can be extended indeed as these grants became available for purchase for the benefit of now imperial, now papal funds or those of those in such a manner endowed with the execution and therefore sank to the level of letters of indulgence. And such availablity supposedly was not quite unknown anymore to the office of Count Palatine when Herttenstein expressly states to have been endowed with this office gratuitiously, before with the end of the Holy Roman Empire 1806 the office resolved itself. However, in recourse to Schmidt’s above on abuse with regard to a concealment of the office of a Count Palatine the question suggests itself if – “business man” or not –

Ridinger has swept the bestowal of the grant of arms

absolutely and successfully under the mat .

For in the rich material here

up to Kilian’s biographical records in their two versions

partly continued to his demise

there is nowhere just even a hint of the same .

Quite indeed in the meaning of Kilian’s characterization adopted by the sons: “Although his name does not flaunt many titles of honor for which he never strived ”.

Only to prepend the but two honorary offices held in late years only: 1757 assessor at the Protestant marriage court, 1759 director of the municipal academy. And then not one word on a “honorific commendation” received about a decade earlier? Pronounced

“ in testimony of my special regard and affection by virtue of having the Imperial License with well-considered valor and proper knowledge … ” ??

Is it then “to wide a subject” (the old Briest of Fontane) to ponder with regard to the – here at least – missing sealing along with written signature (?)

the execution of the bestowal might have been stopped ?

Let’s not forget: “… the ‘harmless’ Ridinger of common judgement thank God never existed.”

So 1744 beside the two “palace” prints for instance also the pictorially powerful elephant with the caption The Vengeance of a Lowly on a Mighty is pernicious was published as plate 7 (Th. 771) of the Fables.

And probably also of those first four plates of the set of the BIG FIVE (Fights of Killing Animals, Th. 716-723) finished before 1747 the latest something had transpired, by which Ridinger, arm in arm with Pope of Poets Brockes, drew level with their boldness and in anticipation of the Sturm und Drang epoch professed per most subtly wrapped wrapping an extremely aggressive intellectual & socio-political pre-1789 credo. And therefore rather kept them off the market until 1760. For their captions held for those who could/would read dynamite like

“ … which the tyrant’s burden crushes! / … his enemy’s superior position ,

In advantageous position … / Here shows justice ,

here cruelty is punished ” .

And with regard to the Alexander cult of the period to which also Elector Maximilian Joseph’s grandfather – Maximilian II Emanuel – had revered by a suite including his bedroom in the residence at Munich by the identification of the beast of prey with Alexander the Great “The Furious Leopard (recte tiger) as he mauls a Donkey”:

“ … Should a world conqueror’s look, not even be far more vicious? Arouse even greater horror within us? and has, with untold corses, His barbaric word mangles, this animal not yield to him in fury? Hunger spurs on the leopard, but wantoness Alexander. VSheds that one animal’s, sheds this whole streams of blood. Of 50000 of his kind, by iron acquired claws, Come let then once if you can, see a picture of the Wild Victor. His look, provided you get it right, certainly takes precedence over this bloodthirsty animal In fury, wrath, in foam and horribleness. ”

Cast in philosophical iron 150 years later by Nietzsche in Homer’s Contest:

“ … the tiger bounded forth, a voluptuous cruelty shone out of his fearful eye. ”

With regard to the latter also not to be overlooked that after previous monumental scenes of fame of Halicarnassus and the crossing of the Tigris at Bedzabde Ridinger created by a drawing of 1723, remaining unpublished, the arthistorically supposedly first representation of the events on the Hyphasis in the Punjab in fall 326 BC as “the only defeat Alexander had ever suffered” and by this at the same time refined the hitherto history painting of the representation of heroic deeds to the reflection on these, anticipating Jacques Louis David by two generations.

So after the above one might go a step further and ask if for instance

to this Ridinger , forgetting the “business man” ,

this response simply went to far ?

Which latter question nevertheless seems less plausible just in terms of the negligible timeframe of the procedure. For it were the old family arms which now, enlarged, should be confirmed imperially and only by this attained official status. And this old arms design Ridinger should have contributed himself just as its augmentation apparently traces back to his own. Namely locally suggestively to Lake Starnberg next Munich. And to Ridinger’s Anno 1736. im Walde beÿ Stahrenberg nach der Natur gezeichnet (In the Year 1736. in the Woods near Stahrenberg drawn from Nature) there as reference for the same-named engraving Th. 293 published 1746/48, yet hardly before 1747 as sheet 51 of the Most Wondrous Deer published peu à peu since about the late 1730s/early 1740s. Wheras explicitly the faces of their animal drawing rather suggests the execution of the generally very fine whole by a professional arms painter. Which latter, however, is challenged again by going in medias res which would be stretching here. Ascertained yet for the present

that the master has ignored

whatsoever about the grant of arms .

And that the heir sons kept it no different .

Downright as cool as you please .

For otherwise its not being known down to Kilian, in matters of Ridinger’s fame rather too loud for the master, cannot be explained.

And just that makes this grant so important .

For throwing that highlight on the personality .

Well legible and impeccably fresh, only slight old color print off vis-à-vis the arms. Margins above/below c. 5.5-6, on the sides 4-4.5 cm wide, only the richly calligraphed opening page above & on the right to the edge, below with 1 cm & left below the initial set on edge with margin of 5.5-6 cm. – The first page of the old laid paper fly-leaves slightly age-smudgy and top right in pencil as supposedly mark of the Dedi library and by his hand “B/2 // Nr 10”. So also on the final page of the fly-leaf top left “Binden 200 E(uro) 1. VIII. 2012”, regarding the manufacture of the slap for the transcription & slip-case as well as especially the reverse remounting of the manuscript for optical reason in its old binding, recognizable by two now unused little sewing holes. The boards, in particular the now lower one, partly stained and slightly rubbed and with some chip offs partly due to worm damage. Likewise rubbed and a little paled the spine with tiny repair of the now tail and barely perceptible, spotty breach in the region of said original sewing. General impression of the binding: patina-like neat and in such a manner looked at with pleasure. – Résumé:

The unique

Imperial Trouvaille

– as acquiring such Ridingerianum had never ever been granted anywhere near neither Schwerdt nor Baron Gutmann (Schwarz) and all the other greats –

to the œuvre

“ Of one of the greatest artists of his time … ”

(Nagler, Monogrammisten, II [1860], 1740).

Offer no. 16,214 / price on application

(Enlarged version published as issue 33 of the publications by ridinger gallery niemeyer)

  1. For which at that time Augsburg enjoyed an excellent reputation with for instance the imperially priviledged Joseph Friedrich Leopold (c. 1669-1727) & Simon Haechele (also Haichele, Haigele; active from c. 1740-1750).
  2. Ellen Spickernagel, Dem Auge auf die Sprünge helfen – Jagdbare Tiere und Jagden bei Johann Elias Ridinger, in Bühler-Dietrich & M. Weingarten (ed.), Topos Tier. Bielefeld 2016, p. 123.
  3. Gg. Aug. Wilh. Thienemann, Leben und Wirken des unvergleichlichen Thiermalers und Kupferstechers Johann Elias Ridinger mit dem ausführlichen Verzeichniss seiner Kupferstiche, Schwarzkunstblätter und der von ihm hinterlassenen grossen Sammlung von Handzeichnungen. Leipsic 1856.
  4. Catalog einer Sammlung von Original-Handzeichnungen … Leipsic, Weigel, 1869.
  5. Gg. Christoph Kilian (1709 Augsburg 1781), engraver, artist biographer and collector. Author of the anonymous manuscript notes on R.’s life from 1764 as the only contemporary one, of which an edited and abbreviated version was published in Neue Bibliothek der schönen Wissenschaften und der freyen Künste (Leipsic, Dyck, 1766, col. II/1, pp. 137-145), marked “K.”, calling himself a pupil of R.’s (“as then the author of this communication himself was so fortunate to enjoy his instruction for one winter”, p. 142). Albeit not decoded by Th., by reference to the “large collections of French, Netherlandish, Italian, and German engravings” in his possession for confirmation of his judgement, the author nonetheless reveals himself in the unabridged version printed by Ridinger’s sons in the preamble – reprinted by Th. – to their father’s Colored Animal Kingdom published by them. See on this in detail Th., in particular pp. I f. & XVI. – Cf. Th.-B. XX [1927], 293 f., too.
  6. Anton von Barth, Kurzgefaßte Geschichte der Stadt Augsburg … Augsburg 1834, pp. 88-95.
  7. Allgemeine Deutsche Biographie, op. cit., p. 224.
  8. Erwin Schmidt, Die Hofpfalzgrafenwürde an der hessen-darmstädtischen Universität Marburg/Gießen, as Berichte und Arbeiten aus der Universitätsbibliothek Gießen 23. 1973, p. 20.
  9. Martin Elias & Joh. Jac. Ridinger (ed.), Das in seiner großen Mannigfaltigkeit und in seinen schönen Farben nach Original-Zeichnungen geschilderte Thier-Reich / Representations des Animaux selon leur grande varieté et leurs belle couleurs suivant des desseins (sic!) originels. Augsburg 1754 – c. 1773, pp. 5 ff. – Here presently available in the absolutely exceptional copy of the collections of an anonymous after 1856 (“… a complete copy in such preservation suppos-edly went on sale never before …”), Dr. Alfred Ritter von Pfeiffer (1858-1913; “Splendid copy … In this completeness and preservation of utmost rarity”, so Boerner 1914), Ethel Mary von Weinberg, née Villers Forbes of the House of the Earls of Granard (1866-1937), Richard Baron von Szilvinyi (1899-1966), Liselotte Baroness von Szilvinyi, née von Schnitzler (1910-2008) per ref. no. 16,023.
  10. Lüder H. Niemeyer, Der verharmloste Ridinger. Art-historical address on the ceremonial act of Technische Universität Dresden to Ridinger’s 300th birthday 1998.
  11. Ulrike Bodemann in Metzner-Raabe, Das Illustrierte Fabelbuch, 1998, vol. II (Bodemann), 123.I: “No similarities with hitherto known fable illustrations. Huge picture sizes are filled almost entirely by the representation of the central factor of the fable tale.”
  12. Barthold Heinrich Brockes; jurist, senator and friend of Ridinger’s, 1680 Hamburg 1747.
  13. Only to come along then in interaction with the eldest, Martin Elias, mitigated in their overall effect by four more.
  14. Peter G. Tsouras, Lone Stand in India as cover story of Military History XXI, 2, 2004.
  15. See the chronological sequence of publication in J. H. Niemeyer, Johann Elias Ridinger’s Most Wondrous Deer – Origin and Development of a Set, 1998 here.
  16. Cf. the detailed assessment by means of various works in Ridinger’s œuvre in Imperial Thanks by Wittelsbach Charles VII. Reassessment of the Arms Painting with the Deer of Lake Starnberg (publications by ridinger gallery niemeyer 33).
  17. Reminding from more recently of Willem Sandberg (Amersfoort 1897 – Amsterdam 1984) as the internationally big name of modern art of the Stedelijk Museum Amsterdam. Who had the right to style himself ‘jonkheer’, yet as a matter of principle never exercised this (Herbert Frank, Die das Neue nicht fürchten – Manager der Kunst. Dusseldorf/Vienna 1964).
  18. See on this Thienemann, op. cit., p. XVI, footnote 2.

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(Mr. M. C., September 25, 2014)