The Deer of Lake Starnberg near Munich
“ A key image
of (Ridinger’s) … natural philosophical stance ”
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Evening of the Deer. Etching with engraving. C. 1746. Inscribed: J. E. Ridinger fecit & characterization of the scenery above the oval image the corners of which are hatched out. 13⅝ × 11⅛ in (34.7 × 28.4 cm).
Thienemann & Schwarz 240. – Sheet 3 of The Deer’s Four Times of Day as maybe the finest natural set of the old prints in old impression as “to be found now only rarely” (Weigel already in 1847) on WANGEN paper favored by Ridinger. – Serious formations of tears and smaller defects solely within the wide white margin (3 cm laterally, 7.3-7.5 cm above & below) by backing of the right side and partially above, too, and following complete doubling by Japan neutralized and covered by passepartout.
Ast(e)rifero procedit Vesper olympo
Father , mother and son under the starry sky .
“ The main figure, a vigorous 12-point one (one of the two marks of the ridinger gallery niemeyer), has a resting hind alongside of him and a brocket (perhaps the son) behind him. All three vivaciously for they are nocturnal animals. ”
With the omission of the standing second hind it is in reverse the majestic right foreground group from Th. 293
“ (Anno 1736. drawn from nature in the forest near Stahrenberg [near Munich]) ”
transferred to copper – “J. El. Ridinger ad viv. del. et fec.” – in 1746/48, yet hardly before 1747. By a water supposed to be the bay of a lake this scenery shows aforesaid group of four on a boulder above the water and at the same time at the foot of a rock projecting into the subject, and on the other hand at the opposite forest edge another royal one with a seraglio of seven.
Evidently related, the Indian ink preparatory drawing “Herd of Deer on the Lakeside” of the Coppenrath Collection – sect. II (1889), no. 1918, “For Th. 293” – with the caption
“ (Drawn from nature near Starenberg on the Lake [near Munich]) ”
might withal prove identical with the one with the equal worded caption in Weigel, 1869, no. 130, and by this as related to Th. 241, see the following scenery.
Among the changes of details of an oil of the complete composition Th. 293 traded here the situation of the water below the right foreground group proves to be remarkable as, contrary to the copper, distinctly staging a flowing off (that of the Würm?).
“ A key image of (Ridinger’s) … natural philosophical stance is the Evening … represented are three deer which are lost in the sight of the evening starry sky, what has to be taken as evidence for R.s conviction that nature is a revelation of wisdom, almightiness and God’s grace … Spickernagel (2016) examines R.s works in the context of the physico-theology originating from Protestantism and R.s pictorial means for the visualization of motion ”
so very recently Ulla Heise in Allgemeines Künstler-Lexikon (2017), vol. 98, pp. 472 f. The active upbeat of this absorption are brocket & royal of the Morning of the set. And in regard of the landscape the roots extend considerably backwards beyond the 18th century. For
“ according to the well-established perception in the 17th century nature was an expression of the divine creation: a fine landscape picture was an homage to God’s greatness and almightiness. Before this national and religious background the representation of the common Netherlandish landscape emerged … ”
(Stefaan Hautekeete [ed.] 2007 in the exhibition catalog Holland in Linien – Ndl. Meisterzeichnungen des Goldenen Zeitalters aus den Kgl.-Belg. Kunstmuseen Brüssel, p. 7/I).
Offer no. 15,613 / EUR 470. / export price EUR 447. (c. US$ 540.) + shipping
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