Deutsch

OMNIA  MIHI  SUBDITA

Johann Elias Ridinger, Rule of Death II

The  Lively  World  of

Piety  +  Vanitates

From the last unction over the dying itself and the farewell at the open coffin, on the procedure of the funeral service, indecencies during such as well as arrangement and cheerful use of the bequest up to dramatic pictorialization of the resurrection to eternal life or descent into Hell + grandiose memento mori.

 

The  Company  of  Undertakers

whose  arms  are  as  frank  as  brutal :

William Hogarth, Consultation of Physicians (Arms of the Undertakers)

A  Collegium  Medicum  —

as  last  resort  in  economic  recession 

Hogarth, William (1697 London 1764). Consultation of Physicians (Arms of the Undertakers). The Collegium Medicum or the coat of arms of the undertakers. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Jany. 1st. 1809. Subject size 6¾ × 5⅝ in (17.1 × 14.2 cm).

Cook’s smaller version without the 6-lined caption of this brilliant guild arms with the device Et plurima mortis imago. Representing the last hope of the undertakers in bad times – the physicians. – Trimmed within the wide platemark and especially in its upper margin somewhat time-spotted. – See the complete description.

Offer no. 8,929 / EUR  125. (c. US$ 136.) + shipping

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 with attached seal 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 sheet of paper with tear and dog’s ear. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above and following. 20¼ × 16½ in (51.6 × 42 cm).

Johann Elias Ridinger, Memento Mori

Provenance

Counts Faber-Castell

their Ridinger sale 1958

with its lot no. 145 on the underlay carton

Radulf Count of Castell-Rüdenhausen

(1922  –  2004)

Stillfried (3rd 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 145, state I (of III) just as the copy of the National Print Room Munich (1963:1644); Wend, (Additions to the Definitive Catalogues of Prints), 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 Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Hamminger Collection (1895), Helbing XXXIV (Works by J. E. and 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”.

Earliest  version

of  this  pictorial-beautiful  vanitas  still-life

of  Ridinger’s  very  own

MEMENTO  MORI

worked  in  the  manner  of  the  Dutch  vanitates

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 140 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

“ one  of  the  few  German  baroque  artists

… who … never  fell  into  oblivion ”

(Rolf Biedermann, [Master Drawings of German Baroque], 1987, p. 338). Here then his

Memento  Mori  in  the  1st state  of  the  copy  Counts  Faber-Castell .

See the complete description.

Offer no. 14,856 / price on application

(Unction, Extreme.) Engraving. (1679.) 3½ × 2⅜ in (8.8 × 6 cm).

Verso: (The Confession.) Engraving as before. – Works of an anonymous engraver – elsewhere inscribed as “Stich fecit”, but such one not provable – from a catechism of Petrus Canisius SJ, Cologne 1679. – Faint tidemark above the subject. Acid-freely backed marginal tear.

Offer no. 13,087 / EUR  35. (c. US$ 38.) + shipping

(Death, The.) While receiving the sacraments the winged death with hourglass and arrow appears to the dying woman. Engraving as before. 3½ × 2½ in (8.8 × 6.2 cm).

Verso: (The Last Judgement.) Earth breaks up and releases the dead, filled with amazement, gratitude, and – expectation. Engraving as before. – Faint tidemark above the image. There and also outside of the image a larger acid-freely repaired tear with loss of some letters of the general text. – See the complete description.

Offer no. 13,085 / EUR  35. (c. US$ 38.) + shipping

Santomaso, Giuseppe (1907 Venice 1990). Memento mori. The bone in the ground. Color lithograph. Inscribed in pencil: 17/100 / Santomaso ‘64. 54.5 x 37 cm.

Santomaso, Memento mori

On Rives hand-made paper. – Drystamp ERKER-PRESSE. – Santomaso was founding member of “Fronte Nuovo delle arti”. Connections with Braque, Léger, Morandi. Developing on an abstract Hermetism, here, however, representionally pictorial-fine. Professor at the Academy Venice. Numerous international exhibitions.

Offer no. 14,548 / EUR  930. / export price EUR  884. (c. US$ 964.) + shipping

Bijapur / West + East Ghuts – Bejapore, Sultan Mahomed Shah’s Mausoleum in. The splendid dome construction above the water. Steel engraving by Ad. Rottmann. C. 1855. 4⅝ × 6¾ in (11.7 × 17.2 cm). – Faint tidemark in the right margin. – See the complete description.

Offer no. 11,262 / EUR  40. (c. US$ 44.) + shipping

Gehrts, Johannes (St. Pauli/Hamburg 1855 – Dusseldorf 1921). Heroic Death of the Stedinger. Wood engraving by Rupert (so Hamburg Harbour after Bartels) or Heinrich Schlumprecht at Adolf Cloß, Stuttgart. (1880/81.) 18 x 23.8 cm.

Offer no. 8,271 / EUR  71. (c. US$ 77.) + shipping

Marsh Church on the Stedingen Battlefield. In Winter, in front the graveyard. Wood engraving at Adolf Cloß, Stuttgart. (1880/81.) 10.3 x 12.9 cm. – On both sides the by itself complete story of the freedom fight of the peasants of the county Stedingen on the Elbe river. – See the complete description.

Offer no. 8,272 / EUR  44. (c. US$ 48.) + shipping

Siegfried’s Corpse is shipped across the Rhine. In the stern of the boat Gunther, Giselher, and Hagen. Toned wood engraving after Albert Baur (Aix-la-Chapelle 1835 – Dusseldorf 1906) for Adolf Cloß, Stuttgart. (1875/76.) 17.7 x 24 cm. – See the complete description.

Offer no. 14,392 / EUR  86. (c. US$ 94.) + shipping

A  Spectacular  Discovery

For  which  14 ( sic! ) competitors  contested !

Following the curator of an important Public Collection :
“ thus it was you , who has snatched away the leaf from ourselves .

Congratulate .
I would have bought it with pleasure , too . ”

 

Johann  Elias  Ridinger

Ulm 1698 – Augsburg 1767

Andrea Andreani - Johann Elias Ridinger, Allegory of Death

The  Allegory  of  Death

etching  +  engraving

after

Andrea  Andreani

(also Andriani, Andreini, Andreasso, Andrea Mantuano; Mantua 1541 or later – supposedly there c. 1623) based on his chiaroscuro woodcut after Giovanni Fortuna Fortunius (1535-1611, active in Siena). Inscribed: Joh. El. Ridinger excud. Aug. Vind. Sheet size 22½ × 16 in (57 × 40.6 cm).

Unknown  to  the  respective  literature

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 important catalogues of collections, sales, and exhibitions from Weigel (1838) till the present. Thematically though

in  its  iconographic  richness  not  reached

by the core of his partly extremely rare, but still known Mementi, the mezzotints Thienemann-Stillfried 1426-1431 ( 1428 available, too ). And in its composition 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. As being

extremely  rare  for  Andreani

(generally Thieme-Becker speak of “the great rareness of the leaves” ) , as

almost  unique  for  Ridinger .

Here then present in a fine, not quite contemporary impression on lines-free paper with wordmark watermark and surrounding fine margin around the image’s borderline. Only here and there trimmed closely to it. The certain agemarkedness countered by professional restorative means as the backside (water) spottiness shines only partially quite lightly through to the picture side. In the hatched marginal field lower right written note on the artist only barely visible anymore. Shortly ,

a  rarissimum  looking  for  its  equals  of  fine  total  impression .

See the complete description.

Offer no. 28,482 / price on application

United  in  Death

Daumier, Honoré (Marseille 1808 – Valmondois 1879). L’Unité Allemande. The roller of Mars levels out the dead, as there are Württembergers, Badensers, Bavarians, Hannoverans, Saxons, Hesses. Lithograph. (1870-71.) Monogrammed, otherwise as above. 8¾ × 7⅛ in (22.2 × 18.1 cm).

Delteil 3831, III (of 3) with ills. of this state. – Careful impression on better paper without the text on the back and the “Actualité” series title.

Worked  in the great style of the final years, omitting all material and “accusing the wrong of the war in symbolic figures only” (Glaser).

Offer no. 13,385 / EUR  404. / export price EUR  384. (c. US$ 419.) + shipping

Old God’s Acre in Krefeld – Memorial for the Dead of 1813-14. Wood engraving after Theodor Alexander Weber (Leipsic 1838 – Paris 1907). (1875-76.) 15 x 9.1 cm.

Verso: Neuß / Upper Gate with Drusus Tower. Wood engraving as above. 15.3 x 10.5 cm. – Not concluded local text on Dusseldorf and the Lower Rhine on both sides.

Offer no. 6,230 / EUR  60. (c. US$ 65.) + shipping

Hogarth, William (1697 London 1764). Funeral Ticket. Invitation form for the attendance at a funeral service. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst Rees, & Orme. July 1st. 1809., otherwise as above. Subject size 6⅜ × 7⅜ in (16.3 × 18.6 cm).

William Hogarth, Funeral Ticket

Pictorially  richly  designed , rare  business  art  work  for the undertaker Humphrey Dren and there at the time of present version of the engraving still in use. Shows a rich burial procession before the entrance of the church. Below the data to be completed manually. – Trimmed within the wide platemark and in this minimally timespotted. – See the complete description.

Offer no. 9,015 / EUR  95. (c. US$ 104.) + shipping

– – The Funeral Company. Bidding farewell to the deceased put on in the partly open coffin at home. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Pl. VI. / Designed by W. Hogarth. / Engraved by T. Cook. / London Published by G. G. & J. Robinson Paternoster Row October 1st. 1799. and series title. 14 × 16⅛ in (35.5 × 41.1 cm).

Harlots Progress VI. – Impression of very fine chiaroscuro on buff paper. – The light brown staining in the white upper margin still reaching into the picture’s background, but there practically imperceptible. – Beyond that – contrary to all later Hogarth editions – in his original size. – Cook “made his mark as Hogarth engraver, too” (Thieme-Becker).

“ Here now she lies finally … quiet and patient in the coffin, secure of Sir John Gonson’s (the judge) satellites, Mister M. Thwackums lashes and – Dr. Misaubins pills. What a strong bulwark a coffin-lid not is! ”

(Lichtenberg). – See the complete description.

Offer no. 7,510 / EUR  240. (c. US$ 262.) + shipping

– – – The same in Hogarth’s own etching in the 3rd state of 1744. Inscribed: Plate 6. / † / Wm. Hogarth invt. Pinxtt. et sculpt. 12⅝ × 15⅜ in (32 × 39 cm).

Nagler 17, 6; illustration Hogarth Catalogue Zurich, 1983, 18 (this state). – Extremely wide-margined impression supposedly from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).

Offer no. 8,810 / EUR  120. (c. US$ 131.) + shipping

– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: 12. / Plate 6. / W. Hogarth invt. pinxt. Riepenhausen d. sc. 7⅞ × 9¾ in (20 × 24.8 cm). – Impression on especially buff paper, supposedly from about 1850.

Offer no. 7,637 / EUR  50. (c. US$ 55.) + shipping

– – – The same in lithography. (1833/36.) Inscribed: 18 / Der Weg einer Buhlerin. 6tes. Blatt. 7¾ × 8⅜ in (19.6 × 21.4 cm). – Extensive caption à la Lichtenberg in German.

Offer no. 7,638 / EUR  59. (c. US$ 64.) + shipping

The  Terrific  Finale  (I)

Ridinger’s

No  Frills  Fantastic  Main  Sheet

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).

Johann Elias Ridinger, Rule of Death I

Provenance

Counts Faber-Castell

as before with its lot no. 146/2
as well as by the collection in pencil (Invoice of) 14/3 1914”

on the underlay carton

Stillfried (3rd appendix to Thienemann, 1876) + Schwarz (Gutmann Collection, 1910) 1427 (without reference to outline engraving), here though as state II (of II) as not known to either; Wend, (Additions to the Definitive Catalogs of Prints), 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 at 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 (Works by J. E. and M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).

The  second  state  as  not  known  to  both  Stillfried  and  Schwarz

of  the  hitherto  not  recognized  first  version

of  this  unbelievably  fascinating  sheet

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.

Schwarz’ presumption that the differences of his variant 1477 unknown to Stillfried were merely due to the reworking of the plate is incorrect. As proven below it is a repeated version from its own plate with, however, a decisive re-attachment of weight in the inscription’s message (see below).

Pictorially  marvelous  zenith

of  Ridinger’s  vanitates

also  pervading  the  hunting  œuvre

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.

The  both  in  print  as  preservation

very  fine  copy

Counts  Faber-Castell

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.

The  extreme  rarity

of  the  sheet

magnified  in  the  present  case

by  its  2nd  state  described  here  for  the  first  time .

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.

1914  –  1958  –  2005

You  have  to  be  very  young

should  you  think

you  could  wait  and  see  with  present  sheet .

See the complete description.

Offer no. 14,857 / price on application

Cassas, Louis François (Azay-le Ferron, Indre, 1756 – Versailles 1827). Mausolée d’Jamblichus. Interior with two figurines in the entrance, above the epitaph with the deceased resting supporting himself and surrounded by three genii or pupils, probably of the neoplatonic philosopher Jamblichos from Chalkis, teacher in Apameia (c. 250-325 or c. 280-330/337). Etching by Jean de la Porte (b. c. 1760), completed with the chisel by Pierre Gabriel Berthault (St. Maur 1737 – Paris 1831). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé à l’eau forte par de la Porte. / Terminé par Berthault. 18⅛ × 11⅝ in (46 × 29.4 cm). – Fine  wide-margined  impression  before  the  letter , untrimmed  on  three  sides . – See the complete description.

Offer no. 12,528 / EUR  302. / export price EUR  287. (c. US$ 313.) + shipping

– – – Vue générale de Néapolis. View of the Roman Neapolis, the ancient and present Sichem in Samaria

where  Joseph  is  buried  and  close  to  which  Jacob’s  Well

is situated. Dispersed figurines. Engraving by Jean Baptiste Racine (Paris 1747 – c. 1805). (1799.) Inscribed: Dessiné par L. F. Cassas. / Gravé par Racine. 11¾ × 18¼ in (29.7 × 46.3 cm). – The broad white margins a little waterstained and almost only a little foxing. – Very  fine  sheet  in  the  printing  state  before  the  letter . – See the complete description.

Offer no. 12,540 / EUR  910. / export price EUR  865. (c. US$ 944.) + shipping

Chapel with Braubach. With fine view at the Marksburg. In front weed-grown graveyard. Wood engraving by Niedermann after Richard Püttner (Wurzen 1842 – Munich 1913). (1875-76.) 14.6 x 18.7 cm.

Verso: Oberlahnstein, View (over the Rhine) at. In the foreground the King’s Chair. Wood engraving after Püttner. 11.6 x 17.5 cm. – Continuous local text on both sides. – One lateral margin a little foxing.

Offer no. 8,799 / EUR  47. (c. US$ 51.) + shipping

Lady  Constance’s  Lament

Landseer, Thomas (1795 London 1880). The Death-Watch. Mourning at the side of the dead companion. Both in the shape of monkeys. Etching. (1827/28.) Inscribed: TL, otherwise as below. 8 × 6½ in (20.2 × 16.4 cm).

Rümann, Das Illustrierte Buch des 19. Jhdts., Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On especially wide-margined buff paper. – Particularly upper and right lateral margin quite feebly foxed in the outside parts. – With Lady Constance’s lament from Shakespeare’s Life and Death of King John:

Thomas Landseer, Now will canker Sorrow eat my bud

“ — now  will  canker  Sorrow  eat  my  bud ,
And  chase  the  native  beauty  from  his  cheek. ”

Fine  impression  on  large  paper  from  the  famous  set  of  the  “Monkeyana” , one of the but few early and thus typical works by Landseer :

“ That Thomas Landseer may be judged only by these illustrations a little book with woodcuts proves which show next to nothing of his intellect ” .

Worked since 1827 the 25 etchings incl. title were published in numbers and with classical captions at Moon, Boys & Graves in London till 1828 (The English Catalogue of Books: January to December) in three editions: standard edition in quarto, edition on larger paper in large quarto, edition with proofs in large quarto, too. Besides copies on mounted China.

Otherwise qualified by Rümann i. a.:

“ Much  more  important  was  Edwin’s  brother  Thomas  Landseer …

… in the 20s he distinguished himself by a series of 25 plates that were published 1828 under the title of ‘Monkeyana’ (ills. 57).

Technically  his  etchings  are  masterly ,

no less admirable the intellectual grasp of the subject. With much humor and sharp observation he transfers the plain life of his time to the monkey’s life. ”

Later Thomas Landseer devoted himself largely to the reproduction of the animal depictions by his brother Sir Edwin.

Offer no. 10,824 / EUR  199. (c. US$ 217.) + shipping

Liverpool – St. James Cemetery. Looking North / Looking South. 2 sheet. Steel engravings by Fenner after Thomas Mann Baynes (1794 – after 1854). 1831. 10.8 x 15.9 cm. – Under common passepartout with interbar.

Offer no. 14,097 / EUR  71. (c. US$ 77.) + shipping

(Resurrection of Flesh.) The trumps of doom let the earth break up and the army of the dead look full of various kinds of amazement, thanks, but also uncertain expectation at the coming. Engraving. (1679.) 3⅜ × 2½ in (8.7 × 6.4 cm).

BACK: (And an eternal life, amen.) The resurrected, in front St. Peter with the keys, follow Christ holding the cross to the Our Father in Heaven an his heavenly hosts. Engraving as before. – Works by an anonymous engraver – elsewhere inscribing as “Stich fecit”, but such one here not provable – of a catechism of Petrus Canisius SJ, Cologne 1679.

Offer no. 13,084 / EUR  35. (c. US$ 38.) + shipping

(Living and the Dead, From hence He will come to judge the.) Christ surrounded by the Holy Spirit above the resurrecting and living. Engraving as before. – Verso: (I believe in the Holy Spirit.) Engraving as before.

Offer no. 13,086 / EUR  35. (c. US$ 38.) + shipping

(Hell, The.) Hell’s mouth with the eye of justice gulping down the damned. Engraving as before. – Verso: (The Heaven.) Think then … of your last things so you will never ever sin. The resurrected, in front Peter with the keys, follow Christ with the cross to the heavenly father and his hosts. Engraving as above. – Slight tidemark above the image. Marginal tear repaired with acid-free tape.

Offer no. 15,347 / EUR  35. (c. US$ 38.) + shipping

Mourner – Pu-Qua. A Traveller. / Voyageur. On foot. Colored stipple by Dadley (fl. before 1797 – after 1803). Inscribed: Pu-Quà, Cantòn, Delin. / Dadley, London, Sculpt. 10⅛ × 8⅝ in (25.7 × 22 cm).

According to Lipperheide Le 21 after-engraving about 1810 after Dadley’s print of 1799 (Lipperheide Le 17). – “ Son habillement indique qu’il est en deuil. Il porte un bâton, une espece d’épine qui croît dans quelques parties de la Chine, et que l’on emploie fréquemment comme un bâton à marcher. ”

Offer no. 14,635 / EUR  75. (c. US$ 82.) + shipping

“ The  Great  Sheet  of  Dance  Macabre ”

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Dance Macabre. 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 with 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 Counts Faber-Castell (1958 as

“ The  great  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.

Johann Elias Ridinger, Dance Macabre

Not in Thienemann and in Dresden, see below, missing in the voluminous 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. And indeed already in 1675 the expert von Sandrart numbered “neat impressions” of the velvety mezzotint at only “50 or 60 (!). After that, however, the image acquires polish soon for it does not go deep into the copper”. Corresponding to that Thienemann in 1856 (pp. VIII + 270) :

“ The mezzotints are almost not to be acquired in the trade anymore …
all worked by or after Joh. El. Ridinger are so rare
that they are to be found almost only in some public splendid collections.

I have found most of the described ones
only in the famous Dresden printroom … ”

Not  even  there  then

the  grand  sheet  of  richest  thematic

present  here  for  the  first  time

and made known only in 1876 by Count Stillfried. – The quotations there not absolutely correct. – See the complete description.

Offer no. 28,933 / price on application

Buochs (CH), Charnel-House in. Visitor scenery before the skull shelf. Wood engraving for Adolf Cloß (1840 Stuttgart 1894; “at his time one of the best of his profession in Germany”, Thieme-Becker). (1875/77.) 16 x 13.8 cm.

Verso: Milker of Buochs. Smoking his pipe at the open window. Wood engraving, supposedly after Charles Hermans (Brussels 1839 – Mentone 1924). 15.5 x 10.8 cm. – On both sides text complete in itself on folklore, especially on the Alpine tradition of the return of the herds.

Offer no. 9,655 / EUR  48. (c. US$ 52.) + shipping

Clemens Chapel and Falkenburg (Middle Rhine). In front the first, erected at the place of the judicial proceedings hold by Rudolf of Habsburg, with graveyard before. Wood engraving by W. Werkmeister after Richard Puettner (Wurzen 1842 – Munich 1913) for A. Cloß, Stuttgart. (1875/76.) 12.1 x 18.8 cm. – BACK: Sooneck. With flight of magpies. Wood engraving by R. Köber after P. 22.4 x 11.6 cm. – Continuous local text on both sides.

Offer no. 8,803 / EUR  40. (c. US$ 44.) + shipping

Funeral Chapel on the St. Gotthard. Wood engraving after Albert Hertel’s (1843 Berlin 1912, “painter of heroic landscapes” and “true artistic relationship to nature”, Thieme-Becker) design of 1875. (1875/77). Inscribed: AH. (ligated) 1875., otherwise as above. 21.5 x 13.2 cm.

Verso: Hospiz on the St. G. Before great carriage scenery. Wood engraving as above, but after design of 1876. Inscribed: AH. (ligated) 1876., otherwise as above. 15 x 18.7 cm. – Continuous local text on both sides.

Offer no. 9,795 / EUR  69. (c. US$ 75.) + shipping

Bauernfeind, Gustav (Sulz on the Neckar 1848 – Jerusalem 1904). Cementary of Silenen. Wood engraving after B. (1875/77.) Inscribed: GBfd, otherwise as above. 13.3 x 18.5 cm. – Verso: Zwing-Uri. Wood engraving as before. 12.9 x 18.4 cm. – Continuous German text full of atmosphere.

Offer no. 9,649 / EUR  48. (c. US$ 52.) + shipping

– – The Interior of an Etruscan Sepulchre near Perugia. View through the vestibule equipped with diverse utilities and religious symbols at the actual tomb. Wood engraving after B. (1876.) Inscribed: G. Bauernfeind., otherwise in German as before. 19.7 x 15.2 cm.

Local text on both sides. – “Perugia … the most colossal of all Etruscan cities … once such a strong fortress that even Hannibal not dared to attack it after his great victory at Lake Trasimene.”

Offer no. 10,192 / EUR  40. (c. US$ 44.) + shipping

– – Etruscan Sepulchres of Castel d’Asso near Viterbo. On the left the entries to the sepulchres, on the right back over the plain of this picturesque landscape rain falling. Wood engraving by the monogramist F. W. (Friedrich Weigand, b. Vienna 1842?). (1876.) Inscribed: GB. (ligated) / F. W. Sc., otherwise as above. 11.7 x 18.8 cm. – ocal text on both sides.

Offer no. 10,199 / EUR  46. (c. US$ 50.) + shipping

Hogarth, William (1697 London 1764). The Idle ‘Prentice at Play in the Church Yard, during Divine Service. Tom Idle with shoeshine and two further guys on a coffin  besides  an  open  grave.  Accordingly forcible the beadle reprimands them their wicked doings. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Design’d by Wm. Hogarth / Plate 3. / Engraved by T. Cook. / Published by T. Cook No. 11 Little Britain, & G. G. & J. Robinsons No. 25 Pater Noster Row, Octr. 1st. 1795. 11¼ × 14⅜ in (28.6 × 36.5 cm).

Industry & Idleness III. –  Marvelous  impression  on buff paper. In its downright luxuriously wide white margin a few weak foxing spots and upper right slight tidemark. Beyond that – contrary to all later Hogarth editions –  in  the  original  size. – See the complete description.

Offer no. 7,530 / EUR  373. / export price EUR  354. (c. US$ 386.) + shipping

– – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth inv & pinx. / Pl. 3. / Riepenhs. f. 8⅞ × 11 in (22.5 × 28 cm). – On slightly toned minor paper. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and are partly even preferred to Hogarth’s own engravings.

Offer no. 5,645 / EUR  76. (c. US$ 83.) + shipping

– – The same in steel engraving about 1840. 5⅛ × 6¼ in (13 × 16 cm). – With title in German + English, but without verse and marginal emblems.

Offer no. 7,689 / EUR  43. (c. US$ 47.) + shipping

Impenitence, Persist deliberately in the. These sins are not, or hardly forgiven in this and that world. Wrapped into blankets the dying rejects the sacraments the priest standing on the left, accompanied by the archangel, wants to administer. Meanwhile the winged Satan grasps for him. A second one veiling the cross of the Saviour. On the right a filled treasure chest, the death’s arrow hitting the dove of the Holy Ghost. Engraving. (1679.) Inscribed as above. 3⅜ × 2¼ in (8.6 × 5.8 cm).

Verso: Have a Hardened Heart. The king on the throne still in age inclined to the temptation of the snake. Through the window view at the damnation of the Last Judgement his councilors demonstrate to him. Once again the arrow of death pointed against the Holy Ghost. Engraving as before. – Works by an anonymous engraver – elsewhere inscribed as “Stich fecit”, but such one not provable – of a catechism of Petrus Canisius SJ, Cologne 1679. – Two tears reaching into the caption lower right backed acid-freely.

Offer no. 14,372 / EUR  35. (c. US$ 38.) + shipping

Bracht, Eugen (Morges 1842 – Darmstadt 1921). Megalithic grave on Luneburg Heath. In picturesque moonlight, in front on the path male hare with doe. Wood engraving for Adolf Closs, Stuttgart. (1880/81.) Inscribed: A. Closs X. I. / Eugen Bracht, otherwise as above. 17.4 x 23.6 cm.

“ (Bracht) leaves behind an extensive pictorial and drawn work dedicated almost exclusively to the landscape … The first main creative phase (1875-93) shows several German heath landscapes (Luneburg Heath, Rügen, High Venn) with pastoral and historizing motifs. The supra-regional success of his meager landscape depictions results in official orders … ”

(Manfred Großkinsky, Allgemeines Künstler-Lexikon XIII, 1996, 511). – See the complete description.

Offer no. 8,365 / EUR  64. (c. US$ 70.) + shipping

Werner Chapel in Bacharach. With fine view of the graveyard in front. Wood engraving by A. Wolf for A. Cloß, Stuttgart. (1875-76.) Ca. 19 x 18.8 cm. – BACK: In Pfalzgrafenstein Castle (Caub). Wood engraving after Richard Püttner (Wurzen 1842 – Munich 1913). 14.3 x 8.3 cm. – Continuous local text on both sides.

Offer no. 8,800 / EUR  35. (c. US$ 38.) + shipping

François Stroobant, Interior of St Gudule's Church, Brussels (Tomb of the Archduke Ernest of Austria)

Interior of St Gudule’s Church Brussels. Intérieur de l’Église Ste Gudule, a Bruxelles. The tomb of Archduke Ernest of Austria in the Gothic cathedral St. Gudule and St. Michael. In the foreground reading priest with two acolytes. Color lithograph by François Stroobant (Brussels 1819 – Elsene 1916). Inscribed: F. S (18)51 / F. Stroobant del. et lith. / C. Muquardt éditeur. / Imp. Simonau & Toovey, Bruxelles., otherwise in French, German, and English as above. 13⅝ × 8¾ in (34.5 × 22.1 cm).

Boetticher II/2, 855. – “Belgian architectural painter … known by works and drawings to art history, especially of his homeland.  Several  drawings  lithographed  by  himself. ” So  the  present  one , too .

The  most  important  sacred  building  of  the  city

housing beside the tomb of the younger brother of Rudolf II also St. Catherine’s Chapel, the painters’ chapel where i. a. Roger van der Weyden is buried, while in the choir on Oct. 22, 1555, the capital of the Order of the Golden Fleece elected Philip II of Spain to their Grand Master. It was part of the “Splendid zenith in the sequence of abdications (on behalf of Charles V) and inthronements” (Heinz Schilling)

Offer no. 15,507 / EUR  148. (c. US$ 161.) + shipping

With  the  Postman’s  “ Marital  Permission ” :

673,120.--  Marks  ( and that 110 Years ago ! )  for  the  Wife

Certificate of Heirship for Louise Friederike Therese Schubert, née Häusser, wife of the postman Johann Friedrich Carl Sch., regarding the transfer and consolidation of the real estate at Stadt and Kirchremda (Saxony-Weimar) bequeathed by the weaver Johann Gottlieb Erdmann Häusser. Executed Blankenhain January 17, 1889. Writing on paper. Sm. fol. 6 unpag. ll. With cord stitching in the state colors and Amtsgericht paper seal.

“ The heirs  in  reference  to  the  marital  permission  have entered upon the inheritance of the deceased. Widow Heusser has relinquished on her right of succession on the estate assets in favor of her daughter who accepts this.

“ Mrs. Luisa Frederike Therese Schubert née Heusser has  in  reference  to  the  marital  permission  asked for the transfer of the estate assets to herself and for execution of a certificate of heirship on the estate belonging to … ”

With attached extract of the land register (printed form) with official stamp and detailed entry of the real estate the deceased bequeathed to the widow Marie Katharine Friederike Häusser, née Morgenroth, and the above-mentioned common daughter by his death September 24, 1888, and testimony on the consolidation of the several properties situated in Stadt and Kirchremda in the total value of 673,120 marks necessary because of the waiver of inheritance rights by the widow for the benefit of the daughter. Following the assessment of tax and pension payments and filing confirmations at the city tax revenue office and the vicarage as leaving and accession authority. On the back further attestations. – With document’s watermark and blind stamp Grand Duchy Saxony with coat of arms resp. – Negligible centerfold.

Offer no. 10,412 / EUR  118. (c. US$ 129.) + shipping

London – St. John the Baptist, Savoy. In the foreground the obviously conveyed old churchyard with grazing three sheep and a donkey. Steel engraving by James Baylie Allen (Birmingham 1803 – London 1876) after Thomas Hosmer Shepherd (landscapist, architectural draughtsman, and aquarellist, 1793-1864). 1830. 4¼ × 5¾ in (10.7 × 14.6 cm).

Offer no. 9,237 / EUR  25. (c. US$ 27.) + shipping

Securities  –  Mortgages  –  Gold  Ducats

Hogarth, William (1697 London 1764). The Young Heir taking Possession. The fresh heir of the rich miser Rakewell prepares his entry into society. In front he has new trousers fit on him while, seated in his back,

the  notary  compiles  the  list  of  the  assets

and provides himself beforehand with the most necessary, whereas young Rakewell offers money to those who will not take it: Sarah Young and her mother. Above at the ceiling a ledge breaks under the hands of the paperhanger and a golden rain flows to the floor. In the chamber besides the several periwigs of the deceased

collector  of  lucrative  securities  &  mortgages

which now, bundled and loose, look forward to their utilization. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Pl. I. / Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Novr. 1st. 1806. Subject size 5⅝ × 6½ in (14.2 × 16.4 cm).

Sheet 1 of The Rake’s Progress, set to music by Igor Strawinsky (1882-1971). – Cook’s smaller version without the verses here replaced by the series title. – Cook „made his mark as Hogarth engraver, too“ (Thieme-Becker). – Trimmed within the wide white platemark which is somewhat browned of age in the outer parts of three sides, on the right two small tears backed acid-freely. – See the complete description.

Offer no. 8,866 / EUR  95. (c. US$ 104.) + shipping

– – – The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) 8¼ × 10⅝ in (21 × 27 cm). – Somewhat palish impression.

Offer no. 7,641 / EUR  118. (c. US$ 129.) + shipping

– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 13. / W. Hogarth inv pinx. 1735. E. Riepenhausen d. sc. / Plate. 1. 8⅛ × 10¾ in (20.5 × 27.2 cm). – On slightly toned minor paper. – Especially in the white lower margin feeble age-spots. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and are partly even preferred to Hogarth’s own engravings.

Offer no. 7,901 / EUR  165. (c. US$ 180.) + shipping

– – – The same in lithography by O. C. Apelt (before 1829 – after 1840). (1833/36.) Inscribed: 67. / O. C. Apelt 1834 / Der Weg des Liederlichen. 9 × 8⅝ in (22.8 × 22 cm). – Extensive caption à la Lichtenberg in German.

Offer no. 11,836 / EUR  240. (c. US$ 262.) + shipping

Of  Graphically  most  Brilliant  Delicacy

A  magnified

OMNIA  MIHI  SUBDITA  (II)

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). OMNIA MIHI SUBDITA. The Rule of Death as above. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger delin. et excud. Aug. Vind., otherwise as above. 22½ × 16¼ in (57.3 × 41.4 cm).

Johann Elias Ridinger, Rule of Death II

Provenance

Counts Faber-Castell

as before with its lot no. 146/2 on the underlay carton

Schwarz (Gutmann Collection, 1910) 1477; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 270 with the knowledge of Schwarz; Faber-Castell 146 (together with Stillfried/Schwarz 1427 in state II as 14,857 here). – Cf. Niemeyer, (The Vanitas Symbolism at Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 105 (2nd state of St./Schw. 1427 in the copy of the National Print Room Munich).

Not in Thienemann (1856), Weigel, Art Stock Catalogue, pts. I-XXVIII (1838/57), Coppenrath Collection (1889 f.), Georg Hamminger Collection (1895), Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items; 1900), Schwerdt (1928/35), Rosenthal, Ridinger list 126 (1940).

The  second  version

of  this  unbelievably  fascinating  sheet ,

not  known  to  Stillfried  (1876)  and  also  not  recognized  as  such  by  Schwarz  and

identified  here  for  the  first  time ,

in  a  copy  of  outmost  beauty

and  graphical  refinement

as repetition with among others a decisive re-attachment of weight of Stillfried/Schwarz 1427 for which likewise for the first time a 2nd state with same pedigree could be proven and described here (see above).

Schwarz’ presumption that the differences of present variant 1477 are merely due to the reworking of plate 1427 is incorrect. As proven below it is a work from its own plate whose thematic spotlight elucidates by a minor shifting a more specified message :

the  “Presens”  arrow  directed  at  the  sheet’s  title

no  longer  points  between  the  words  OMNIA + MIHI ,

but  directly  at  the  M  of  MIHI !

While with respect to the presence of both variants, revealing the facts, the cataloguing for Faber-Castell was inadequate, so Schwarz’ erroneous assumption results just from his unawareness of that 1427’s second state of the plate shortened at top. For his variant 1477 represents in height the original format again, thus ends again just 1.5 cm above the arch. Whereas its width is c. 8 mm less with the result of a minor reduction of the image on both sides as missed by him. Just as generally the differing “small variants” (Schwarz) condense to a considerable, though only noticeable at repeated glance, mass which to confront with each other would lead too far here and not least reduce the joy, nay, the luck of own discovery for

the  connoisseur

who  “still  believes  in  the  importance  of  states”

(Max Lehrs 1922 in laudatory appraisal of Old Masters collector Julius Hofmann). What must be regarded as downright unfair with respect to the presence here of  both  variants, 1427 + 1477, and by this the chance

of  acquiring  both  sheets ,

just  as  once  Counts  Faber-Castell

though still having been dependant on the chance of a second opportunity.

But on the pleasure of the chance to compare both sheets a satisfaction of quite a different quality is impending in the present case as not recallable offhand for any other case of Ridinger’s mezzotints. For at least in its second state present here 1427 simply uses engraved outlines for the realization of the thematically conditioned exceedingly complex picture instead of – like present “repetition” 1477 – working everything out of the gradation of light and shade as the principle of mezzotint.

Where engraved lines partially inevitably lead to more detailed chasing it is fascinating to see its “rougher” realization being created from the astonishingly difficult play of light + shade. And to observe comparatively how cheap elsewhere such lines tick off drapery which in pure mezzotint grows out of itself. Or knit Goodman Death’s brow or treat his limbs + joints.

Both versions are from the hand of Johann Jacob. To compare them with each other thus leads far beyond the side-by-side of deviations of usual kind, rather is a going into the medias res of the technique itself. What a chance of learning, of entering the subtlety of graphic expressiveness, of the refinement of understanding of quality!

With his comparably only small mezzotinted contribution being so much in the shade of father and elder brother, with the present sheet of Schwarz 1477 Johann Jacob shows his equalness,

his  whole  mastership  in  the  field  of  the  brilliant  mezzotint .

Just as the present sujet could be presented for the first time by Count Stillfried only 20 years after Thienemann’s visits to the print rooms, but, mind you, only in the first state of 1427. Only 34 years later Schwarz then surprised with additionally 1477, of the latter after another interval of 48 years the copy of Counts Faber-Castell came onto the market, together with the second state of 1427 acquired in 1914, both then absorbed by the mezzotint-centered Ridinger collection of another count. And after a stay of 47 years there now here and today.

The  excellently  preserved  copy

Counts  Faber-Castell

in  an  adequate  impression

with surrounding margins 4-13 mm wide with supposedly watermark WANGEN together with separate IV as standing for contemporary impressions. – Of two utterly smoothed out folds running at each other in the center one backed outer left with slight pleat. Two weak parallel traces of folding, all barely perceptible from the front, moreover at the upper edge of the subject, one of which still traversing the termination of the arch. In this also an uninked hair-line crack running out from a tiny pleat coming from the top originating from printing. A few pin-head/tip-small abrasions. The slight touch of foxing spots on the back below not showing through into the subject.

In such a manner then  a  trouvaille  of  round  about  extreme  rarity  in here now a

really  early  impression

of  incomparably  beautiful  plasticity .

In an absolute velvety brown and black

from  which  all  bodily  white  shines  in  brown-white .

See the complete description.

Offer no. 14,858 / price on application


“ That would be great! I will send out a check tomorrow for … Followed by a payment in July then one in August. Thank you for your flexability. Kindest Regards ”

(Mr. L. A. F., June 22, 2004)