With  the

art-historically  important , warmly  felt  Sujet

of  the  Old  Horse

as  part  of  the  second  one  of  the  suites  after  Roos,

belonging  to  the  earliest  works

now  transferred  to  the  copper-plate  by  Ridinger  himself

Ridinger – Roos, Johann Heinrich (Otterberg, Palatinate, 1631 – Frankfort on the Main 1685). Animal Pieces. Set of 6 sheet. Etchings by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Between 1724 + 1728. Inscribed varyingly: Iohan Hein. Roos invent. et del. / Elias Ridinger sculpsit Aqua forti. 10½-10⅝ × 12⅛-12⅜ in (26.8-27 × 30.7-31.3 cm).

Thienemann + Schwarz (ills. I, p. 104) 797-802; Jedding, Roos, 1998, p. 169; Coppenrath part II, 1577 ( “Very rare set”, 1889 ! ); Reich auf Biehla 167, “Extremely rare”, 1894 ! ); Ridinger Catalogue Darmstadt, 1999, IV.10-15, fully illustrated. – In Weigel’s Art Stock Catalogue, parts I-XXVIII (1840-1857) as the one and only the copy before any letter only, IX, 10322, of 1840. – Watermarked Crown + word mark.

The very fine copy of the collection “EK” with its small blue round monogram stamp (ligated, Lugt 3549, not identified, drawings and prints of the 17th to 19th centuries) on the back of these bewitchingly beautiful etchings marked with “Aqua forti”, at the same time the

largest  Ridinger-Rooses

with still partial light façette dirt,

absolutely  untrimmed  up  to  the  intact  deckle-edge

(top + bottom 7-7.5 cm wide-margined, laterally 10-10.5 cm), thus still with the two pinholes on the left from hanging up for drying! – Totally two/three acid-freely backed minitears in the outmost margin. Back of sheet 6 slightly age-spotted of which two spots and slightly larger light brown stains each shining through the right margin. Smoothed centerfolds.

In regard of the state with Hertel’s address “Iohann Georg Hertli excud. Aug. Vind.” (Thieme-Becker XVI, 552: progenitor of the Augsburg family of engravers, who later, after buying a part of J. Wolff’s publishing house, founded a publishing house himself; still lived about 1760) on the first sheet analogously to Thienemann + Schwarz. The rough classification of the states: before any address – Wolff Heirs – Hertel . – The plate numbering results in the sequence Th. 797 – 798 – 802 – 801 – 800 – 799 .

Among the sceneries of this suite that for Thienemann “turned out far better” compared with the first

so  famous  ones  as  the  programmatic  one  of  the  group

with  the

art-historically  important , warmly  felt  sujet

of  the  old  horse ,

Johann Heinrich Roos / Johann Elias Ridinger, Old Horse

of  which  Brockes  said  one  would  look  at  it

“ Not  with  pleasure  and  yet  with  great  pleasure ”.

Indirect model of this beautiful sheet is the drawing of the resting animals in rocky landscape with the standing old horse turned to the right by Johann Heinrich Roos (1631-1685) in Augsburg (inv. no. G. 1671; a further one under Z.419 in Coburg), published as no. 54 in the baroque catalogue of 1987, of which it is supposed that Ridinger owned it together with its pendant, the well-known Bull with the Bell also represented here (additionally available apart in the wonderful impression of the Frisch collection).

That 30 years later Ridinger, what has been missed in the Augsburg catalog, memorialized the sujet of present sheet Thienemann 488

– A  Quite  Old  Jade –

once more with the same turn to the left, but now in a typical autonomous environment

–  on  a  forest  path  in  front  of  a  suggestively  mighty  old  tree
and  disintegrating  fence  –

reminds of both Brockes’ aforesaid intellectual agitation and especially Roos’ model extending far into the time. Which in one further generation then also Joseph Georg Wintter followed 1783 by a drawing traded here together with its etching.

But the chain extends ahead of Roos himself, too. So the Roos catalog Kaiserslautern 1985 reminds of influences by Berchem and Dujardin while Nikulin in the 1987 Hermitage catalogue thinks of van Laer (1592/95-1642).

This in the context here therefore of particular interest as in recent time general Netherlandish influences have been claimed for Ridinger by several sides independent of each other which to follow already earlier literature encouraged.

In such a way the “Decrepit Old Horse” dominating the group here proves to be beyond its pictorial-mental charm

a  highly  interesting , demonstrative  link

in  chronologically  both  directions .

The composition of the set in detail regarding their numerical order as unbeknownst to Thienemann :

Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos I
Animal Pieces. After Johann Heinrich Roos
Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos II
The Bull with the Bell
Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos VI
Rock Landscape with Billy-goat, Sheep, and Lambs
Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos V
Bull, Cow, Goat, Resting Sheep
Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos IV
A Saddled Ass and a Group of Sheep
Johann Elias Ridinger, Animal Pieces after Johann Heinrich Roos III
Old Horse surrounded by Sheep, Goats etc.

1. Young shepherd and “eating goat with abundant udder” embedded in the title-decoration. – 2. The Bull with the Bell in community of a bleating goat + 4 sheep. – 3. The said old horse + one ox + goat each, 5 sheep. – 4. “A world-weary ass with saddle” + 7 sheep. – 5. The ruminating Bull together with cow, goat, 2 sheep + lamb. – 6. He-goat + she-goat, mother-sheep with suckling ewe-lamb, 5 further sheep.

On the general social classification of the set Stefan Morét says in the Darmstadt catalogue (p. 27) :

“ Also in the works of the Roos family the elaboration and impressive reproduction of the individual ‘character’ of the portrayed animals is a central intent. This it may have been what Ridinger caused to etch several (4 or 5 resp.) series after drawings of Johann Heinrich Roos at the outset of his career …

Supposedly Ridinger was interested in the exact and impressive portrayal of the characteristic qualities or tempers of the depicted animals of his model, thus the somewhat dull staring of the ox, the dozing of the sheep, the vigilance of the goat. In Ridinger’s set ‘Design of Several Animals’ published since 1738 one observes a quite similar interest for the ‘actions and passions’ of the animals that, however, is due to Ridinger’s natural scientific inclinations.

In the time of their coming into being the animal pieces in Italian landscape after Johann Heinrich Roos were interpreted as

alternatives  to  the  bourgeois  urban  life .

Also in the 18th century they could be understood that way … . ”

And even in 1900 Helbing valued a brilliant copy of the set with 60 Goldmark equally to the suite of the Four Seasons of the Hunter or half of a fine copy of the 23-sheet set of the Fair Game and higher than the brilliant yet trimmed impressions of the Imperials Th. 67/68 (50 Goldmark).

Offer no. 28,485 / EUR  1750. / export price EUR  1663. (c. US$ 2010.) + shipping

“ I have now fetched the parcel and I am very satisfied. Its a good copy and I think it is telling a lot about Ekeman Alleson … Thank you for good envelope around it and for good service! ”

(Mrs. G. H., March 7, 2005)


The  Cream  of  the  Day