walls of the ridinger gallery niemeyer 4
Splendor , Experience + Joy
at and with both of the reliable two companions
of our whole life as hunters .
For daily sensual pleasure and therefore
for the “boost of vitality”
therefore opens you
here + now
as supposedly offered you so nowhere else
the chance of own possession
Hubert / Diana group
as realization of an
exceptional wall .
In the home environment
of the saint
and therefore of greatest authenticity .
in one of its greatest formats .
Of superb rarity .
Of great provenance of a count .
At the zenith
of the adoration of Diana .
When Diana , not Hubert , was the hub .
Two undescribed Ridinger
the master’s bow to the huntresses .
The special wall of
“ worldly art of a happy world ”
at the same time
intimate togetherness .
And as everything
Nicolaes de Bruyn
Antwerp 1571 – Rotterdam (before?) 1656
Saint Hubert. The princely “Wild Hunter” as after Döbel father of the par force hunt and accordingly with bugle and 6-head pack. On the pool behind the stag two swans as the prophesying birds of mythology, at the trunk above the horse a hissing snake as temptress. Closest to the stag in individual position and as the only one looking at his master a hound of Saint Hubert. Engraving. (1614.) Sheet size 27½ × 18 in (69.9 × 45.8 cm).
Neither attained by Schwerdt
nor by so many places more,
even not known to the St. Hubert researcher Dr. Schlieker
at the preparation of his exhibition in, i. a., St. Hubert. Here then with
Conte Giovanni Maria Mazzuchelli
(1707-1765, see Jöcher VIII, 1127 ff. with 21 titles of his literary work) with his back stamps under the count’s coronet.
Early impression as desirable before the addresses (“… are the better because his fine graving work got worn out soon”, Wurzbach) of Gerard Valck (1626 – after 1694) + Peter Schenk I (1661-1715). – With Jan Meyssen’s (1612-1670) publisher’s dedication for Frederico de Marselaer, mayor at Brussels.
On top trimmed to mark of the subject, otherwise with quite fine margins around the subject. Due to several partly only small tears or thin places professionally restored (doubled) as only relatively and not noticeably impairing the quite fascinating scenery of the subject itself.
Elucidating the wonder much truer than Dürer the scenery
quotes this ostensibly in the figurative composition only to interpret it independently and the events much more atmospherically. Knees the hunter with Dürer with the cap on his head (!) to the left of the horse which thus ultimately stands between this and the stag, so with Bruyn before the horse set into the left part of the picture. And that, on small clearing, in conceivably greatest nearness to the 10-point-stag. And while Dürer’s knight accentually straightens the back, a self-confidence communicating with the elevated proud castle and corroborating with the sleek face (according to Winkler, page 97, by the way the features of emperor Maximilian!) and social welcoming of the hands, he kneels at Bruyn appropriately slightly bowed, by face and spread down arms making the wonder of this moment experienceable. And reverentially taken off before himself the suitable headgear. The rich landscape pure nature, coming from Gillis van Coninxloo III (Antwerp? 1544 – Amsterdam 1607). – See the complete description.
Johann Elias Ridinger
Ulm 1698 – Augsburg 1767
Young Huntresses in the Character of Diana. 2 sheet. Mezzotints for Gabriel Spitzel (also Spizel, 1697 Augsburg 1760). Inscribed: Ioh. Elias Ridinger delin. / Gabriel Spizel excud. A.V. 19½-19⅝ × 14¼-14⅜ in (49.6-49.8 × 36.3-36.5 cm).
Here not provable
with the provenance Westphalian collection – ridinger gallery niemeyer – Franconian collection. Close in theme and format Thienemann 1110 + (Schwarz only) 1448 + their variants 1113/14. Coming from the zenith of the veneration of Diana, for Sigrid Schwenk lasting about 1680-1850 (see this in Blüchel I, 210 ff.). – Of quite even fine, brown-black velvet print quality full of fine chiaroscuro, the charming impact of the pictures is ultimately not touched by the traces of age inescapably peculiar to the old mezzotints. Trimmed to platemark, on the left to the edge of the image. – See the complete description.