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Before  the  Background  of

what  makes  for  Jerusalem’s  Immortalness

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. Christ left alone in his hour of Good Friday darkened by clouds and looking up to the right, at its foot

death’s-head + bones , persisting  hissing  snake + tempting  apple

as referring company. Broadly situated behind the Temple Mount with adjoining locality laterally left. Mezzotint. Inscribed: I. N. R. I. at the top of the cross / I. El. Ridinger excud. A. V., otherwise as above. 20⅜ × 15⅜ in (51.7 × 39.2 cm).

Johann Elias Ridinger, Christ at the Cross

Provenance

Counts Faber-Castell

their Ridinger sale 1958
with its lot no. 136
on the underlay carton

Radulf Count of Castell-Rüdenhausen

(1922-2004)

Thienemann-Stillfried (1876) + Schwarz (1910) 1408; Faber-Castell 136; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 153.

Not in Thienemann (1856) , Weigel, Art Stock Catalog, division I-XXVIII (1838/57; more than 1000 R. sheets of the etched/engraved work) , Silesian Ridinger Collection at Boerner (1885; “of greatest richness … many rarities”) , Coppenrath Collection (1889/90) , Reich auf Biehla Collection (1894; “Of all [R. collections on the market] since long time there is none standing comparison even approximately with the present one in respect of completeness and quality … especially the rarities and undescribed sheets present in great number”) , Gg. Hamminger (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1554 items, 1900) , Rosenthal, Ridinger list 126 (1940).

Fine black impression rich in contrast – full  of  nuance  the  incidental  light  from  above – with WANGEN watermark as standing for contemporary impressions with margins of 7-10 mm running around. In the left half, optically disguised by the mezzotint technique, slightly waved and generally spotted as little perceptible in the subject. A throughout fine general impression maintained though.

“ The  mezzotints  are  almost  not  available  in  the  trade  anymore

… all worked by and after Joh. El. Ridinger (are) that rare that they are to be found almost only in some public, grand print rooms. I have come across most of the described ones only in the famous print room at Dresden … ”

(Thienemann, 1856!, pages VIII & 270).

A situation also possible new editions could change little as according to the expert Sandrart (1675) the technically conditioned extremely fast wearing off mezzotint plate only permits 50-60 good impressions.

Here  then  the  copy  Counts  Faber-Castell

as one of Ridinger’s nine crucifixions in their again and again varying fascination of the event.

Offer no. 14,863 / EUR  890. / export price EUR  846. (c. US$ 1023.) + shipping


„ Greetings from your Italian friend and Beethoven collector … Please inform me … “

(Sign. L. B., December 10, 2005)

 

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