Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). And gave also unto her husband with her; and he did eat. Etching with engraving. C. 1760. Inscribed: Joh. Elias Ridinger inv. fec. et excud. Aug. Vind., otherwise Gen. 3, 6 as above in German-French and Latin monostich by St. Ambrose. 15⅜ × 21½ in (39.1 × 54.7 cm).
Thienemann + Schwarz 814. – Plate 8 of the 12-sheet Paradise set as the “Very fine composition, showing all the animals of the chase in natural surroundings, with beautiful light effects”, Schwerdt III, 144, the last two of which published in 1764. – One executed preparatory drawing and three sketches Weigel 803-806. Three sketches in Augsburg for the central group of two, one of which executed.
“ The faithful dog below Adam distorts the belly convulsively and howls for sympathetic grieve, the cat wallows in the dust. A parrot tries to punish Eve. Behind her two peacocks, as allegory of haughtiness and self-complacency, then a glutton – symbol of self-indulgence, greediness – the bird of paradise hastens to leave the paradise. Also a lustful and lascivious baboon looks approvingly ”
On the left as well right in front as also placed back the Great One-horned Rhinoceros “Clara” as the first scientific illustration of the rhinoceros (Th. 295; presently in stock both the two Claras from the Animal Kingdom in the Ridingers’ original coloring, Th. 1027 & 1028) drawn from life by Ridinger in Augsburg in 1748. On the right the Indian Wolf (Th. 279) as the zoological significant “first useful presentation of the Red Indian Striped Hyena” (Th.) drawn from life by the stepson Seutter in Florence in 1744 and published by Ridinger in 1745 and in such a way years before Buffon. Which dates are of interest for the chronological fixing of the Paradise set on the late ’40s. So the drawing of a running rhinoceros Weigel/1869, 708 conceivable as a further model dates from 1754 only.
Contemporary impression with margins above & below 1.1-4, laterally 2-2.1 cm wide. Originating from old Munich estate the sheet has been deframed and cleansed to the effect that also optically the quality of the impression shows well again. – In the right outer field of the picture five (three larger) acid-freely backed tears not perceptible from the front, one such in the white subfield reaching to the edge of the subject.
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„ vielen herzlichen Dank für die Faxübermittlung Ihres Schriftverkehrs mit … Hochinteressant und das Thema (des jagdlichen) ‚Wurstwagen‘ wunderbar anschaulich darstellend! Nochmals vielen Dank! “
(Museum S. B., 23. Februar 2004)