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Ridinger’s Marten Pendants

Johann Elias Ridinger, Beech Marten (original printing plate)
Beech Marten
Johann Elias Ridinger, Pine Marten (original printing plate)
Pine Marten

Acted as Model for the “Blue Rider” Franz Marc

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Pine Marten. In the tree a young one whom mammy brings a bird. Original printing plate in reverse. (1740.) Inscribed: J. E. R. fec., otherwise in German as before. 7⅜ × 5⅞ in (18.8 × 15 cm). – Illustration top right.

The optically excellently preserved original printing plate to sheet 86 (Thienemann & Schwarz 476) here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself of the instructive set Design of Several Animals, How such are drawn from Life after their Different Nature, Actions and Passions (“These plates are much wanted and frequently copied”, Th. 1856).

Thematically  set  in  context  here  for  the  first  time

to  Franz  Marc’s  painting  Playing  Weasels

of 1911, Hoberg-Jansen 144 with illustration.

As inspired by Ridinger known hitherto only Marc’s woodcut Riding School after Ridinger of 1913 (Lankheit 839) as detail interpretation of the background figure of the mounted rider of the third sheet, Th. 608, of the 1722 Riding School annotated by literature with

“ Illuminating that Marc with his quite intimate knowledge of art history

turns to just these masters of the depiction of the horse

(Delacroix and Ridinger) of the 19th and 18th centuries resp. as models ”

(Christian von Holst, Franz Marc – Pferde, 2003, pp. 166 ff. within [‘… the Hoofbeats of my Horses’]).

For already his painting Playing Weasels from 1911, preceded 1909/10 by the lithograph of the same name, betrays the knowledge of several Ridinger coppers from entirely different sets. Marc shows two weasels, of which the one in the tree, bowed over a bough, looks down upon the one sitting in raised attitude on the ground. The trees besides of an eccentricity which he uses in this ostensible density in the painted œuvre only in the two Acts below Trees, H.-J. 143, of the same year. For the thematic initial spark Ridinger’s The Weasels, Th. 479, as sheet 89 of the set here stands. Here, too, two of them playing, yet both on the ground in an utterly different context. The latter Marc split up.

And  took  the  attitude  of  the  two  animals  from  the  pine  martens  here

The young one of which hangs across a bough of equally low height as with Marc and looks down at the mother standing on the hind paws against the trunk luring with a captured bird. Playing Squirrels as sheet 88 (Th. 478) shows the same situation, only with the difference of a further one in the tree, too, but keeping a little aloof and not involved in the play. Yet the bizarre tree – and as such also Sälzle characterizes it expressly in the 1980 facsimile edition of the preparatory drawings for the following suite – as rather rarer for Ridinger, too, he took from sheet 19 of the concurrent suite of the Representation of the Fair Game with the Respective Tracks and Traces, the Trace of a Marten / Trace of the Weasel (Th. 181) with the same attitude of the marten in the tree and the, however, neutrally shown weasel on the ground.

Thus Marc designed his Playing Weasels just so by means of divers Ridinger references as the latter on his part composed his Amusement of the Shepherds after Watteau, Th.-Stillfried 1397, from four models of the Frenchman. That finally also the more typical trees of Ridinger’s were not unfamiliar to Marc, the right group of trees of his painterly forest interior The Würm at Pipping from 1902/03, H.-J. 15 with ills., demonstrates. But also the par force scenery on the watercolor Ried Castle from 1914 – Holst, ills. 11, p. 29 – stands as further example for Marc’s occupation with Ridinger,

which  in  this  plurality  has  been  missed  till  now .

With the number “83” as changed for the new edition by Engelbrecht/Herzberg at Augsburg of c. 1824/25 and as documented by Thienemann per parentheses, too. – Shielded from tarnishing by fine application of varnish, the plate is generally printable in the ordinary course of its use through the times, however, it is offered and sold as a work of art and a collector’s item, thus without prejudice to its eventual printing quality. – With fittings for timeless-elegant frameless hanging.

Offer no. 16,249 / price on application

– – – Pine Martens in a marvelous, wide-margined impression of the 1st edition with the number “86”. – See the complete description.

Offer no. 7,332 / price on application


Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Beech Marten. Two sneaking on rocks. Printing plate in reverse. (1740.) Inscribed: J. E. Ridinger inv. fec. et exc. A. V., otherwise in German as before. 7⅜ × 6 in (18.7 × 15.3 cm). – Illustration top left.

The optically excellently preserved original printing plate to sheet 85 (Thienemann & Schwarz 475) here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself of the instructive set Design of Several Animals, How such are drawn from Life after their Different Nature, Actions and Passions (“These plates are much wanted and frequently copied”, Th. 1856). – With the number “82” as changed for the new edition by Engelbrecht/Herzberg at Augsburg of c. 1824/25 and as documented by Thienemann per parentheses, too.

Offer no. 16,250 / price on application

– – – Beech Martens in a wide-margined impression of the 1st edition with the number “85”. – See the complete description.

Offer no. 7,331 / price on application

– – – as before in an impression of the 1st edition with the number “85”. – Colored by later hand in attractive fitting palette as quite unusual for original impressions. – See the complete description.

Offer no. 15,750 / price on application