Deutsch

“ The last mass trials have been a great success.
There are going to be fewer but better Russians. ”

Ernst Lubitsch, Ninotchka, 1939

But  the  masses  cried

Crucify  him , crucify  him !

Thousand  years  in  His  sight  are  but  as  yesterday  when  it  is  past …
as  a  watch  in  the  night .  Exactly .

And  was  a  darkness

over  the  whole  country

 

The  Largest  of  Ridinger’s  Crucifixions
before  the  Background  of
what  makes  for  Jerusalem’s  Immortalness

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. The hour of Good Friday darkened by clouds of Christ at the cross before broadly situated Temple Mount with the Wailing Wall. Left of the cross John supporting the collapsing Mary, lying at the foot of it Magdalen. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: I. N. R. I. at the head of the cross / Ioh. Iacob Ridinger sculps. / I. El. Ridinger excud. Aug. Vind., otherwise as above. 24⅞ × 17¾ in (63.3 × 45.1 cm).

Johann Elias Ridinger, Christ at the Cross

Provenance

Counts Faber-Castell

their Ridinger sale 1958
lot no. 167

Radulf Count of Castell-Rüdenhausen

(1922-2004)

Schwarz 1492 with ills. II, plate XLII; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 155 (variant in writing); Faber-Castell 167.

Not in Thienemann (1856) , Stillfried (1876) , Weigel, Art Stock Catalogue, division I-XXVIII (1838/57; more than 1000 R. sheets of the etched/engraved work) , Silesian Ridinger Collection at Boerner (1885; “of greatest richness … many rarities”) , Coppenrath Collection (1889/90) , Reich auf Biehla Collection (1894; “Of all [R. collections on the market] since long time there is none standing comparison even approximately with the present one in respect of completeness and qualtiy … especially the rarities and undescribed sheets present in great number” , Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items, 1900) , Rosenthal, Ridinger list 126 (1940).

Fine black impression determined by contrast-rich chiaroscuro – marvelous the play of the light falling in from above – with typographic watermark (WANGEN?) with margins running around 1.5-2 cm wide, fox-spotted on three sides, though generally little perceptibly slightly spotted, and doubled. The previously smoothed out centerfold still slightly visible.

The extraordinarily  rare , large-sized  sheet

from the sequence of the nine crucifixions, besides the present one provable here only in the copy Schwarz (von Gutmann Collection, 1910, acquired by this, however, already 1903 not with the Horn Collection) as well as a variant traded here in the ’90s. Accordingly then also Thienemann generally in already 1856 (!):

“ 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 print room at Dresden … ”

(pages VIII + 270).

A situation also possible 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.

Here  then  the  copy  Counts  Faber-Castell

(their collection underlay carton removed meanwhile). The scene itself finally

of  great  power  and  pictorial  beauty …

“ And  was  a  darkness  over  the  whole  country ”

Offer no. 14,862 / EUR  1175. / export price EUR  1116. (c. US$ 1217.) + shipping

And  of  Rich  Nuance  the  Light  falling  in  from  above

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In manus tuas com(m)endo Spiritum meum et hæc dicens expiravit. Luc. 23. Christ left alone in his hour of Good Friday darkened by clouds ad looking up to the right, at its foot

death’s-head + bones , persisting  hissing  snake + tempting  apple

as referring company. Broadly situated behind the Temple Mount with adjoining locality laterally left. Mezzotint. Inscribed: I. N. R. I. at the top of the cross / I. El. Ridinger excud. A. V., otherwise as above. 20⅜ × 15⅜ in (51.7 × 39.2 cm).

Johann Elias Ridinger, Christ at the Cross

Provenance

Counts Faber-Castell

their Ridinger sale 1958
with its lot no. 136
on the underlay carton

Radulf Count of Castell-Rüdenhausen

(1922-2004)

Th.-Stillfried (1876) + Schwarz (1910) 1408; Faber-Castell 136; Wend, (Additions to the Definitive Catalogues of Prints), I/1 (1975), 153.

Not in Thienemann (1856) , Weigel, Art Stock Catalogue, division I-XXVIII (1838/57; more than 1000 R. sheets of the etched/engraved work) , Silesian Ridinger Collection at Boerner (1885 as above) , Coppenrath Collection (1889/90) , Reich auf Biehla Collection (1894 as above) , Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items, 1900) , Rosenthal, Ridinger list 126 (1940).

Fine black impression rich in contrast – full  of  nuance  the  light  falling  in  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  Counts  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$ 923.) + shipping

A  Crucifixion  Scene  of  quite  Rare  Intimacy

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).

Johann Elias Ridinger, Christ Crucified

before  the  silhouette  of  Jerusalem

Provenance

Counts Faber-Castell

their Ridinger sale 1958
with its lot no. 109
on the underlay carton

Radulf Count of Castell-Rüdenhausen

(1922-2004)

Compare Thienemann 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 Catalogue, pts. I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Reich auf Biehla Collection (1894 as above) , Helbing XXXIV (Works by J. E. and M. E. Ridinger, 1554 items, 1900) , Rosenthal, Ridinger list 126 (1940).

Undescribed  (?)  variant

to  Schwarz  1274

of  the  atmospheric-delicate  large  sheet

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 pin-like tiny holes, little spore spots in the lower part of the subject – of optically roundly very fine general impression.

Here  then  the  copy  Counts  Faber-Castell

of  a  crucifixion  scene  of  quite  rare  intimacy

with  the  marvelously  nuanced  light  falling  in  from  above .

Offer no. 14,861 / EUR  956. / export price EUR  908. (c. US$ 990.) + shipping


“ I received the (Ridinger) prints yesterday in perfect shape due to your careful and thorough packaging. They are spectacular … I believe I can safety say you are Honorable and Trustworthy … You will always have me as a Devoted customer. Regards. And God Bless. ”

(Mr. L. A. F., July 1, 2004)