Johann Georg Bergmüller, Johann Elias Ridinger

Ridinger – Johann Georg Bergmüller (Türkheim, Swabia, 1688 – Augsburg 1762). IOH. ELIAS RIDINGER / Pictor et Scalptor (sic!) Augustanus / solertissimus Naturae Indag(ator) / ejusque in Animalium praeser(tim) / Delineatione Æmulator / felicissimus / natus Vlmae Suevorum / d. XVI. Febr. A.S. MDCXCVIII / Ars Artifici(s) Amic(us). Half-length portrait, sitting, with brushes + palette as medallion in easel mirror held by Diana sitting to the right, seeing before the artistic eye a royal stag already on the canvas as it lies together with a boar as Diana’s bag below a pedestal. Sitting on the latter and intimately turned to the master a hooded falcon together with lateral hawked heron as well as shot wild goose. And center below a Ridinger hound for sure. The whole set before woody background. Mezzotint by Johann Jacob Haid (Kleineislingen 1704 – Augsburg 1767). Inscribed: I. G. Bergmüller invent. / I. Iac. Haid ad vivum pinx. fecit et excud. A. V., otherwise as above. 15⅝ × 10½ in (39.7 × 26.6 cm).

Thienemann XX, 2; Schwarz, portraits, 3 + ills.; Le Blanc 94; Silesian Ridinger collection at Boerner XXXIX, 2057 ( “Esteemed fine sheet … Rare”, 1885 ! ); Reich auf Biehla 2 (1894); Helbing XXXIV (1900), 2; Schoeller Collection 523 (“Very fine mezzotint … Rare”; 1921); Schwerdt III (1928), 133; Ridinger exhibition catalogs: Augsburg (1967) 81 + ills. 1 as well as 82; Kielce (1997) 1 + frontispiece; Darmstadt (1999) I.2 + ills. – Niemeyer, (The Vanitas Symbolism with Joh. El. R.) in L’Art Macabre 2 (2001), 94 ff.

Not in the Coppenrath Collection (1889/90) + at Rosenthal (1940).

Johann Georg Bergmüller, Johann Elias Ridinger: ProvenanceJohann Georg Bergmüller, Johann Elias Ridinger: Provenance

Provenance: Alfred + Gustav Ritter von Frank (Lugt 946 f. and 1152 resp.) as presumably gift Christmas 1823 of the former to the latter and with his round monogram stamp GF on the back lower left, below certainly his autograph rating “belle Epr(euve)” in pencil (the expert Sandrart 1675 with respect to the velvety mezzotint technique allowing only small satisfying editions: “50 or 60 … clean impressions”).

Alfred + Gustav Ritter von Frank were nephews of Beethoven’s “Dorothea=Cäcilia”, the Baroness Dorothea von Ertmann, as pupil and then decisive pianist of Beethoven’s, to whom the latter dedicated the sonata in A major for pianoforte op. 101, the father Johann Jakob besides banker + agent of the late Beethoven. In such a way a provenance constellation of peculiarly marvelous charm.

With fine margin of up to 4 mm all around and in this below on both sides and above left printing color-like tiny stains, some of which also, visible only lower right, appear in the subject itself, on the left also a professionally repaired tear reaching 1.5 cm into the subject.

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