Johann Jacob Ridinger (1736 Augsburg 1784). Saint Jerome. The inspiration of the saint. In full figure as cardinal, preciously dressed, with aureole, sitting to the left at a little table, but the head turned to the right and looking laterally to the ground to receive his inspiration by the angel standing behind his seat. This just came forth from the heavy curtain – standing for the curtain of life, since the middle-ages then also symbol of the mysterious – still held back by the raised left. The right of the saint holds a quill in interruption of writing in the folio resting on his right leg. On the little table beside cardinal hat + inkstand scourge as instrument of torture of Christ’s. Left at his feet the front of the peacefully resting lion. Mezzotint after Alessandro Marchesini (1664 Verona 1738, active in Verona, Venice, Padua). Inscribed: Marchesini pinxit a Venetia. / Ioh. Iac. Ridinger sculps. / Ioh. Elias Ridinger exc. A. V., otherwise in the upper cavity of the mussel-shaped cartouche S. | HIERONYMUS. Subject size 21⅞ × 16¾ in (55.7 × 42.5 cm).
Provenance: Counts Faber-Castell, their Ridinger sale 1958 with its lot no. 176 on the underlay carton; Radulf Count of Castell-Rüdenhausen (1922-2004).
Schwarz 1548 (variant in writing: “Iacob” + “I. El. … excud.”); Faber-Castell 176 (without mentioning of the variant as against Schwarz); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 229 (variant in writing: “Iac.” as here, otherwise as Schwarz).
Not in Thienemann (1856) + Stillfried (1876) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian R. coll. at Boerner XXXIX (1885) , collections Coppenrath (1889 f.) , Reich auf Biehla (1894) + Hamminger (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900) + Rosenthal, Ridinger list 126 (1940).
Very fine impression of rich contrast with variant in writing, otherwise with WANGEN watermark as standing for contemporary impressions, trimmed below under loss of 2 cm within the inscription field with mussel-shaped cartouche reserved for entries of individual kind, though usually left empty in the preserved copies and here therefore obviously deemed dispensable for the picture. The otherwise tiny(est) margin running around on three sides partly cracky on two sides, here and there up to the edge of the subject. In the subject itself – numbered in its right upper corner with red chalk pen “80.” – some folds + little pleats, under passepartout at the latest of definitely pleasing general impression, not least with respect to the rarity of these sheets as then already 1839 those by Ridinger after Marchesini remained unknown to Nagler (VIII, 304). – Also see the compositional pendant of St. Ambrose likewise after Marchesini.
Offer no. 14,866 / price on application