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”

(Lothar Brieger)



therefore  opens  you

here  +  now

as  supposedly  offered  you  so  nowhere  else

the  chance  of  own  possession


by  following

Hubert  /  Diana  group


as  realization  of  an

exceptional  wall .



In  the  home  environment

of  the  saint

and  therefore  of  greatest  authenticity .

Saint  Hubert

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 ”

(Paul  Klee).



at  the  same  time

intimate  togetherness .


And  as  everything

unrepeatable .


Nicolaes de Brun + Johann Elias Ridinger: Patron Saints


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

rarissima  assoluta

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.