Memento Mori

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Memento Mori. On the bible lying on the table skull with several teeth missing. To its right vase with defoliating bouquet, left, as rarer, tray with soap-bubbles on which a four-fingered jagged bar rests as well as burned down candle/light of life, on its stand a pair of candle scissors, behind it hour-glass and above curtain with large jagged tear-out for the curtain of life, but since the middle ages also symbol of the mysterious whose possibly religious solace is, however, already countered by the hole. Peeping out from under the bible and projecting beyond the edge of the table a blank, yet sealed sheet of paper with tear and dog’s ear, with the seal hanging over the edge of the table. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 20¼ × 16½ in (51.6 × 42 cm).

Stillfried (3^rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1426, obviously both III (of III); Rosenthal, Ridinger list 126 (1940), 434 (without margin, supposedly ditto); Faber-Castell (1958) 145, state I (of III) just as the copy of the National Print Room Munich (1963:1644); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1, 289 (1975, quoting Stillfried’s description); Ridinger Catalogue Kielce (1997), 172, II (of III) with ills.; Niemeyer, (The Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).

Not in Thienemann (1856), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Hamminger Collection (1895), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger), 1554 items; 1900).

With caption in Latin-German: “ … What you do think of the end, then you will never ever do evil”.

as one of the most interesting rarities of Ridinger’s Œuvre., whose different three states obviously recorded here for the first time.

But with regard to the precious mezzotint technique in general – in Faber-Castell’s written inventory present here stressed by exclamation mark + underline as “Schabk!” (mezzotint) – Thienemann resumed already about 165 years ago with the words:

“ 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 printroom at Dresden … ”

(pages VIII & 270).

A situation also possible, as here, 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.

Just as the present sujet, missing in Dresden, too, could be described then for the first time by Count Stillfried only 20 years after Thienemann’s visits to the print rooms. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness. Rather he remained

(Rolf Biedermann, Meisterzeichnungen des deutschen Barock, 1987, p. 338). Here then his

Memento Mori in the 1^st state of the copy of Alexander Count of Faber-Castell .

See the complete description.

Offer no. 14,856 | price on application

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Bernardus. Saint Bernard in three-quarter figure to the left, holding in the raised right a crucifix equipped with the instruments of torture, at whose foot the left additionally holds a death’s-head. On the left on a stone plate two folios, on them austere tiara, and a further scourge rod. Mezzotint. Inscribed: I. El. Ridinger excud. A. V., otherwise as above. 20½ × 16¾ in (52 × 42.4 cm).

Schwarz 1539 with ills. II, plate L; Faber-Castell 174; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 215.

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

Contrast-rich deep black impression with fine margins running around, in the right upper edge of the subject numbered with red chalk pen “71.”. Slightly time-marked, but of fine general impression. And rare, as proven etc. as before.

Offer no. 14,864 | EUR 570. | export price EUR 542. (c. US$ 582.) + shipping

Th.-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, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 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.

Here then the copy of Alexander Count of 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$ 909.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Triumph of Death. Engraving & etching after Andrea Andreani (Andrea Mantuano & further variant forms; 1558/59 Mantua 1629) by means of the second state of the latter’s chiaroscuro woodcut from 1588 worked from a drawing by Giovanni Fortuna Fortunius (1535 Siena 1611). Inscribed: Joh. El. Ridinger excud. Aug. Vind. Sheet size 22½ × 16 in (57 × 40.6 cm).

Buijs (ed.), Un Cabinet Particulier. Les estampes de la Collection Frits Lugt, 2010, nos. 10 (Andreani; Allégorie de la mort/Memento mori; heavily restored; acquired 2005 via sponsor at EUR 25000) & 10a (Ridinger, this copy) with illustrations.

on Ridinger up to Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik (1975), Niemeyer, Die Vanitas-Symbolik bei Joh. El. Ridinger (in L’Art Macabre, vol. 2, 2001) and the authoritative catalogs of collections, sales, and exhibitions from Weigel (1838) till the present except for the torso with formerly Count Radulf of Castell-Rüdenhausen trimmed with significant loss of image. Thematically though

in its iconographic wealth unrivalled

by the core of his partly extremely rare, yet indeed still known mementi, the mezzotints Th.-Stillfried 1426-1431. And compositionally far from the latter two of these, the brutally realistic ones worked by Johann Jacob after Dieffenbrunner (1430 f.). Here then

the Memento Mori as piece of virtuosity ,

as intellectual challenge combined with an expressive-charming plasticity.

By its size visibly larger

than Andreani’s model created in his best period or Edmé Moreau’s deviating version adduced below (20¼ × 13¾ and 20¾ × 13¼ in [51.6 × 34.9 and 52.7 × 33.5 cm] resp.), the former of which here traceable in innumerable Old Master catalogs of recent decades in but one copy of the 2^nd state, increasing the estimate almost fivefold (1994; present Lugt copy). As a whole then also missing amongst the not identical seven Andreani prints each in the collections Lanna (1895, + 3 variants) & Davidsohn (1920/21).

Andreani’s generally only small œuvre today estimated at c. 70 works (AKL, 1990, and

“ his work is to be valued as historically and art-historically significant today” as Nagler, Monogrammisten I, 86, stated already in 1858: “… the extraordinary activity of a man … about whom was often judged too severely since Bartsch … Andreani has to be looked at from a different viewpoint …“ and in the same place per 1017: “the famous form cutter” ),

of which a major part falls into the time after 1600 though when he was active in Mantua as dealer and publisher only, nonetheless furnishing acquired blocks of other artists with his monogram. Yet two works from 1608 and 1610 resp. are considered as original again. Bartsch’s principle stock of 25 plus the two aforesaid later ones supposedly still current (cat. Lugt, 2010: 25). Unaffected by this yet his

Triumph of Death .

If Andreani’s so-called “Melancholy”, the woman meditating over a death’s head, is qualified as “artistically a main plate” with the addition “thematically extraordinary”, how much more so his “Allegory of Death” picked up here by Ridinger as a

“ pasticcio of iconographic , iconological , and artistic citations ”.

As being

exceedingly rare for Andreani

(generally Thieme-Becker speak of “the great rareness of the sheets),

as almost unique for Ridinger .

Here then present in overall excellent copy with wordmark watermark (presumably WANGEN) with fine margin running around the edge of the subject. Only here and there trimmed closely to this. The general certain marks of age countered by professional restorative means, as also the (water) blotchiness on the back shows through only partially quite faintly in the subject. In the hatched margin field lower right still faintly visible reference to the artist. In short,

a rarissimum without equal .

See the complete description.

Offer no. 29,131 | price on application

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Saint Jerome. The inspiration of the saint. Three-quarter figure as hermit to the right with bare chest at a table with two folios, the left holding a quill resting on the opened right one of which. Right beside the inkstand, left of the table crucifix leaning against large cardinal hat. The hat itself leaning against double bookshelf. On this folios, hour-glass , death’s-head + torture scourge of Christ’s. The saint himself looking towards the back upper left from where the trombone of the Last Judgement conveys inspiration to him. The lion looking sternly from below the table. The whole within a frame with floral corner pieces. Below concluding large mussel-shaped cartouche within broad inscription field for entries of individual kind which both have been left empty here as the norm for the preserved copies. Mezzotint. Inscribed: in the mussel-shaped cartouche set into the upper ledge of the frame S. HIERONYMUS. / right below between the frame’s ledge and inscription field Ioh. Elias Ridinger excud. Aug. Vind. 22¾ × 16⅝ in (57.8 × 42.3 cm).

Compare Schwarz 1549 (20⅛ × 15⅛ in [51.1 × 38.5 cm]; variant in writing: “Elias” abbreviated after “l”, otherwise see below); Faber-Castell 177 (negligently as Schwarz 1549); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 230 (as Schwarz).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900), Rosenthal, Ridinger list 126 (1940).

Enlarged + reversed copy of Schwarz 1549 not known to literature

on toned laid paper with watermark fleur-de-lis, probably contemporary, but also rather later. Noticeable that the enlarged format orients by other sheets of saints by Ridinger as e.g. the cardinal Jerome worked in mezzotint by Johann Jacob after Alessandro Marchesini (Schwarz 1548), though without the latter being “framed” likewise, or that of St. Mark Stillfried 1404, at which a note of Castell’s on the back of the present sheet points because of a similar scenery, by the way also lion and death’s-head.

Marvelous deep-brown impression with margins of 1.5-2 cm running around of perfect preservation with partial minimal touch of tiny foxing spots, three little rust spots feebly showing through from the back, and four small to tiny holes backed by old at the upper margin of the subject, reverse lower left remains of mounting, as nothing to reckoned at all. – On the underlay carton besides Castell’s reference to Gutmann (Schwarz) still another inscription by a different hand. The sheet seems to have been acquired in the English trade.

Sujet from the core of ecclesiastical history

to whose most prominent doctors Jerome (Stridon/Sdrin, Croatia, about 340/42 – Bethlehem 420 [419?]) loaded with a youthful past reckons.

“ … he (is) not only the most scholarly, but also the most eloquent among the Western Doctors … (and) in his biographies of St. Paul, Hilary, Malchus (he has)

right actually established the pious novel ”

(Meyers Konversations-Lexikon, 4^th ed., VIII (1888), 524.).

In his early years “he stayed for some time at Treves” in whose famous schools he continued his studies and got acquainted to monastic life. His episcopal chirotony is reported in the legends of the 15^th century as dignity of Cardinal referred to here by the cardinal hat. 386 he took his permanent residence in Bethlehem where he founded a monastery and nunneries.

So he became, in his ranking likely compared with Augustine, patron of scientific associations, of teachers, students + pupils, of the theological faculties + Bible societies, but

also against eye-diseases ,

furthermore of Dalmatia + Lyon. September 30 as his dying day is considered his memorial day by Christian religions, for the Orthodox it is June 15.

Interesting present consideration of all attributes of St. Jerome

as the oversized cardinal hat joins the hermit and the lion the death’s-head. Rather it is hermit or cardinal + lion or death’s-head as then also in Ridinger’s representation of the Marchesini painting above as cardinal and just with the lion whom Jerome once had relieved of a thorn in the paw.

Offer no. 14,865 | EUR 485. | export price EUR 461. (c. US$ 495.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). S. Franciscus Seraphicus. Saint Francis of Assisi in three-quarter figure to the right, meditating before opened book with inscription “DEUS MEUS ET OMNIA.”, death’s-head + crucified seraph beside boulder overgrown with grass on top. The right of the folded hands with stigma. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger exc. Aug. Vind. / S. | FRANCISCUS | SERAPHICUS. (in the upper loop of the otherwise empty mussel-shaped cartouche in the broad lower edge). 21½ × 16¾ in (54.6 × 42.5 cm).

Compare Th. 1288 (only c. 20¾ × 15⅜ in [52.6 × 39.1 cm]; without the engraver’s signature of Johann Jacob and only “A. V.” instead of “Aug. Vind.”; not mentioned book inscription + rock staffage; cf. Schwarz 1543, however not identical with Schwarz 1288 just for the format) – Schwarz 1288 (? 24⅜ × 19½ in [61.8 × 49.5 cm]; without the book inscription, but with the boulder background; shortened signature as Th.1288, its identity provisionally questioned by Schwarz) – Schwarz 1543 (22¼ × 16¼ in (56.4 × 41.2 cm]; with book inscription, but without the boulder, shortened signature as before, but “excud.” instead of only “exc.”). – Faber-Castell 115 (negligently as version Schwarz 1288). – As erroneously taking Th. + Schwarz 1288 for identical not in Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975).

Not in Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

(1182-1226) in warming rough vestment the cowl turned back with clear reference to his vision of a crucified seraph who “impressed (on him) under burning pain Jesus’ stigmata from which he got the name of the seraphic father , his order that of the seraphic brothers. Benedict XI allowed the Friars Minor a special feast of the

Stigmata of Saint Francis

… and Paul V obliged all Catholic ministers to the celebration of this” (Meyers Konversations-Lexikon, 4^th ed., VI, 588). Already two years after his death St. Francis, likewise honored by Catholics, Protestants, and even non-Christians for “his unique simplicity and a pure grace of spirit” (Paul Sabatier, Life of St. Francis of Assisi), was canonized by Gregory IX, former Cardinal Ugolino and cardinal governor of the Franciscan order.

According to current knowledge Ridinger dedicated eight versions or variants resp. to the saint,

Present in very fine, highly nuanced impression. The latter especially with regard to the coat dismissed by Thienemann as “rough hairy” which here in the meaning of Ridinger’s treatment of coat praised by Wolf Stubbe looks rather precious. And the intellectual content of the physical message reflected by the chiaroscuro.

With WANGEN watermark along with secondary mark as standing for contemporary impressions. The surrounding margin unevenly trimmed between the short extreme of 1 mm and 15 mm with mostly 10-15 mm on three sides. Two longer and three short traces of tears, each only minute, professionally restored and therefore without noticeably impairing of the also with respect to preservation very fine general impression. Backed besides three tiny tears in the white margin. – See the complete description.

Offer no. 14,860 | EUR 1730. | export price EUR 1644. (c. US$ 1766.) + shipping

“ The Large Sheet of Dance Macabre ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Large Sheet of Dance Macabre. As all in one: Circular chain dance of nine women & skeletons around opened casket with two skeletons within and without the churchyard wall as centerpiece. In addition to it, placed back, chapel & charnel-house (?) along with walls. In the corners the Fall of Man – Golgotha – Eternal life & Purgatory , between two text-cartouches. In the outer field surrounded by 12 medallions together with text-cartouches for the dance of the men, separated by 8 (6 varying) vanitas attributes. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger excud. Aug. Vindel., otherwise as following. 25¾ × 18⅞ in (65.3 × 48 cm).

Th.-Stillfried + Schwarz 1428. – Illustration in L’Art Macabre 2, Yearbook of the European Dance Macabre Society, Dusseldorf 2001, within the contribution here “The Vanitas Symbolism at Joh. El. Ridinger”.

State II (of II?) as the copy in the Staatliche Graphische Sammlung Munich, too. – The copies Stillfried, Schwarz and that of the sale Alexander Count of Faber-Castell (1958 as

“ The large sheet of Dance Macabre / Main sheet ”)

not fixable in their states based on their descriptions. However, the one presented by Patrick Pollefeys on the internet proves to be the earlier, currently suppoesedly first state.

Not in Thienemann and in Dresden, see below, missing in the ample stocks of Weigel (1857), Coppenrath (1889/90), Wawra (1890), Helbing (1900), Rosenthal (1940), and others more.

Typographic & figurative watermark. – Above and on the right fine small margin almost throughout, on the left and below predominantly trimmed on the platemark here 1.5 cm wide anyhow. – Upper half laid by old onto wide-margined laid paper per corner-montage, one of which loosened, causing a repaired tear. Practically not impeding centerfold.

The very fine copy in respect of printing + condition

of a cultivated collection of nuanced chiaroscuro in all parts. And in such a way

of greatest rarity

not only on the market, as documented above, but in general. The one in question here then not even in Dresden, rather made known only in 1876 by Count Stillfried. The quotations there not absolutely correct.

The first of the large-sized 2-sheet set

with the “Allegory of the Period of Life” as companion piece not present here (Th.-St. + Schwarz 1429; illustration of the copy in Augsburg in L’Art Macabre 2 as above)

as a culmination of Ridinger’s vanitates

in updated repetition of an anonymous leaflet of the late 16^th or early 17^th century, in any case “before 1623” as the “demonstrably earliest and best known Dance Macabre illustration of this kind in the German-language area” (see Imke Lüders, Totenreigen-Totentanz, Totentanzillustrationen auf Flugblättern des Barock und ihre Rezeption, in L’Art Macabre 1, Dusseldorf 2000, along with illustrations).

The grand sheet of richest thematic here present for the first time .

See the complete description.

Offer no. 28,933 | price on application

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Saint Mary Magdalen in Penitence in the Desert. Half-length portrait sitting to the right at a boulder overgrown with flowers, the head turned to the upper left supported by the left while the right rests on a chalice standing on a slab together with death’s-head enclosed by a chain. To the left fine view at distant clouds. Above, coming from the upper edge of the picture filling, comet-like beam of light. Below broad field with center cartouche for entries of individual kind, both left empty as the norm with the preserved copies, but also without the name of the saint usually set into the latter. Mezzotint. 20¼ × 16¾ in (51.6 × 42.4 cm).

Compare Schwarz 1507 (20⅛ × 15¼ in [51.2 × 38.6 cm]; inscribed Ioh. Elias Ridinger exc.: Aug. Vind., with two soaring angel heads upper left in the clouds) as reduced repetition of Schwarz 1506 (26⅛ × 19¼ in [66.5 × 48.8 cm]; inscribed as before, but instead of the “exc.” “invent. et delin.” and without the angel heads); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 192 (Schw. 1507); Faber-Castell 115 (negligently as Schwarz 1506!).

Not in Thienemann (1856), Stillfried (1876), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

with the far more expressive beam of light instead of the informal usual puttos which furthermore is not, as the latter, set into the clouds, rather emanates from the utterly broad-flatted black devoid of contours above them. Being 3.8 cm wider than Schwarz 1507 and therefore beyond the tolerable of varying working of paper it must be proceeded from an independent version and not just from differing states of one and the same plate. Already Schwarz judged such a difference of dimensions accordingly as he questioned an identity of his Magdalen reading no. 1508 with the equal one of Th.-Stillfried 1421 not present to him for differing width (38.4 : 42 cm, thus similar here).

and chain in the pictorial tradition of El Greco and Jusepe de Ribera and incomparably more charming than especially the sujet of Correggio’s reading Magdalen in idyllic landscape widely spread through steel engraving, but also over-excited other earlier depictions. That Ridinger used the death’s-head also in connection with the attribute of the book (said Schwarz 1508, Stillfried 1421) – just as his Italian contemporary Batoni, 1708-1787, but also already El Greco, 1541-1614 – follows with respect to his vanitates pervading the œuvre in manifold gradation without saying. But also picture-esthetically his present Magdalen with her elegantly draped bosom is a class of her own.

Marvelous impression of adequate preservation

with WANGEN watermark as standing for contemporary impressions with margins of 5-10 mm running around. Three differently long professionally smoothed out cross-folds no more perceptible from the front as a little restoring in height of the breast. Tiny rust spots in the sky part, three pinhead-small little holes right in the white paper (2) and image margin resp.

Offer no. 14,868 | EUR 1380. | export price EUR 1311. (c. US$ 1409.) + shipping

Before the Silhouette of Jerusalem

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Consummatum est. Before the silhouette of Jerusalem the dying Christ at the cross, looking down to the left at Mary, to the right John, both standing, the hands folded, and looking up. At the foot of the cross death’s-head. Mezzotint. Inscribed: I. N. | R. I. at the top of the cross / Consummatum est. / I. El. Ridinger excud. Aug. Vind. 22⅜ × 16⅝ in (56.7 × 42.3 cm).

Compare Th. 1274 (uncertain as being trimmed under loss of the title/inscription band) + Schwarz 1274 (22 × 15⅜ in [56 × 39.2 cm], variant of writing “CONSUMATUM EST.” + “J. Elias … exc. …”). – Faber-Castell 109 (without attention to the “mm” in Consummatum).

Not in Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1900), Rosenthal, Ridinger list 126 (1940).

far from all drama in very fine impression with possibly WANGEN watermark with margins 1-1.5 cm wide running around and irrespective of its time-markedness – perfectly smoothed out little crease folds throughout the sheet, thin paper spots, some pinpoint-sized tiny holes, little spore spots in the lower part of the subject – of optically roundly very fine general impression.

Offer no. 14,861 | EUR 956. | export price EUR 908. (c. US$ 976.) + shipping

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death. Tomb with death from whose head with an hour-glass adorned with bat wings on top a veil flows down on the back and laterally, enthroned above all the stuff of this world – represented outer right by a hemisphere – as there are gold, goods, seals + orders, crowns, scepter, orb + weapons, folios + cassock, scientific + agricultural instruments and nolens volens maulstick + palette with brushes. The right, however, holds a high tombstone, pointing with an arrow marked as “Presens” in the left at the inscription’s said final words OMNIA MIHI SUBDITA. Mezzotint + outline by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iac. Ridinger sculps. / Ioh. El. Ridinger delin. et exc. Aug. Vind., otherwise as above and below. 21⅞ × 16⅝ in (55.7 × 42.2 cm).

Stillfried (3^rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1427 (without reference to outline engraving), here though as state II (of II) as unbeknownst to either; Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1 (1975), 290 with knowledge of Stillfried/Schwarz; Georg Hamminger 1886 (erroneously as St. 1527; “Mounted. Of greatest rarity”, 1895 ! Ditto without knowledge of state/version); Faber-Castell 146 (without recognition as differing second state, otherwise together with Schwarz 1477); Niemeyer, (The Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (copy of the National Print Room Munich).

Not in Thienemann (1856), Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).

from the plate shortened at top with at the same time modified signature, both according to the copy of the National Print Room Munich, too.

The reduction concerns 1.5 cm imageless filling of the plate above the arch. Within the signature the original “Iacob” + “excud.” are each abbreviated at “c”. If the deviations in writing and punctuation of the stone inscription, see below, quoted by Schwarz only partially are real or due to an incorrectness of Stillfried must largely be left aside. The comma in the 1^st line after “curo” noted by both Stillfried and Schwarz missing in the copy here.

Schwarz’ presumption that the differences of his variant 1477 unbeknownst to Stillfried were merely due to the reworking of the plate is incorrect. It is a repeated version from its own plate with, however, a decisive re-attachment of weight in the inscription’s message.

of great compositional abundance, based upon own design, and by inclusion of the painter’s tools with the attributes of transitoriness going beyond the drawing “Self-portrait with Death” of 1727 in the Berlin Print Room (color illustrations in L’Art Macabre 2, s. a., p. 94 + Ridinger Catalogue Darmstadt, 1999, p. 54, as well as, b/w, per I.5, p. 61).

All in the radiating light of the one from whose head bat wings will lead away the run out hour-glass, the “Presens” arrow determines the direction and the “Preteritum” arrow points at the ground. But in the quiver there is the arrow “Futurum”, however this will ever appear. And its banner flies, contrarily to both the two others, in jolly assuredness.

The Present arrow run from the skeleton’s left pointed between the words OMNIA + MIHI. In the repetition Schwarz 1477 Ridinger has specified this message even more condensed as now the head of the arrow unmistakably points at the M of MIHI.

Provisionally for Stillfried’s quotation of the inscription the following variations of writing/punctuation shall be noted: comma after curo (so likewise in Schwarz, here missing), small letters for p, r, a in papa-, rega- + apostolicam, the bar over the e standing for the m in sede(m) expanded as m, promitere with double t, comma after quando, capitalization of only the O in OMNIA MIHI SUBDITA as well as final full stop.

The heavy stone slab itself typical for Ridinger as such one occurs repeatedly in his work up to the programmatic personal book-plate (Schwarz 1569) with his painter’s utensils where a boy armed with the maulstick holds it, manifesting the master’s absolute necessity of life: “Nulla dies sine linea” – No day without brush stroke. In the transitory junk of the sheet here the painter’s tools by the way once more a unison with Hogarth who closed his graphic work with the sheet of the Dying Time (Tail Piece, or The Bathos) of April 1764, thus six months before his death, on which, however, the palette additionally is demonstratively broken.

in velvety brown-black with palpable chiaroscuro and the watermarks WANGEN and separate IV standing for contemporary impressions and surrounding margins of 4-8 mm.

So the sheet in question presented for the first time by Count Stillfried only 20 years after Thienemann’s print room visits. It documents the inseparable-multi-layered Ridinger, the artist in his entirety. For the “harmless“ Ridinger of common art historian’s judgement never existed thank goodness.

See the complete description.

Offer no. 16,253 | price on application

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The Cream of the Day

Johann Elias Ridinger :catalogfront page