Into the New Year with niemeyer’s Patron Saints
Ridinger & Wintter
Starting with 3 x
illustrious Prior Possession
Carl Otto Marschall von Bieberstein
Chamberlain and retired Grand Ducal Baden captain in Karlsruhe
from the Baden line of the MvB with first mentioning in documents about 1198.
“The family held the office of the hereditary marshal
already with the oldest masters of the margraviate Meissen
and included this marshal’s office in the family name.
They received the surname by the possession of castle and village Bieberstein
between Nossen and Freiberg in Saxony.”
Son of the Baden minister of state Charles William Baron MvB
(Stuttgart 1763 – Karlsruhe 1817)?
Sale of his collection of drawings …
including a great number … of drawings by Joh. Elias Ridinger
Frankfort/Main, Prestel, 1879, no. 83 ( “ ingenious sketch ” )
Sale of his print collection ibid. 1877.
Theodor Heinrich Reich auf Biehla
Muskau 1823 – after 1893
Dresden merchant, since 1860 coheir of the knight’s place Biehla
in Lusatia dating from 1438,
on which in 1871/73 he “builds a new manor in the style of the Italian Renaissance
on the foundations of the old one (1661)” which is razed 1945.
From 1877-1890 Reichstag deputy for the German Conservatives for Bautzen-Kamenz,
from 1881-1892 by royal appointment member of the 1st chamber of the Saxon parliament.
Sale of his Ridinger collection …
containing etchings, engravings, mezzotints, and drawings,
including numerous rarities
Leipsic, Boerner, 1894, no. 338 ( “ excellent sketch ” )
“ Of all the Ridinger works
which have been offered for public sale since long
with respect to completeness and quality
none can compare even approximately with the present … collection …
and in his purchases (the collector) considered
especially the rarities and undescribed sheets
which are represented in rich selection. ”
Rudolf Philip Goldschmidt
Verso his collection stamp Lugt 2926 in black
Sale of his collection of drawings (806) & prints
Frankfort, Prestel, 1917 (“excellent catalogue”).
Sale of the paintings, further drawings,
watercolors & gouaches as well as objets d’art
Berlin, Paul Cassirer & Hugo Helbing, 1927.
“ Ingenious Sketch ”
With just as rich as interesting ,
indeed precious large coat-of-arms watermark of 5½ × 3½ in (14 × 9 cm)
for the identification of which by means of Heawood, Briquet and secondary literature provide only marginal starting points. A smaller blazon seems to be inserted into a larger one, with both filled sophisticatedly. However, remarkable the upper outside marks:
Crowned on the left by miter with the cross on the globe, right of which set somewhat lower imperial crown with cross on the globe, as likewise belonging to. To the side of each crosier and sword resp. Typographical supposed producer pendant outside left G, outside right S.
Crosier & sword in inverted placing and with but simple cross centered with the coat-of-arms marks Briquet 2162 (pendant H Z presumably by a producer in Lohr; Franconia & Rhine-Palatinate between 1588 & 1603) & 2164 (Lohr & Mayence 1603, Minden 1604). – Crosier apart with the crowned arms mark (Basle 1642) of a drawing by Jan Baptist Weenix (1621-1660/61) in Brussels (Hautekeete [ed.], Holland in Linien, 2007, no. 51).
The joint presence of ecclesiastical & profane insignia
within the arms marks an obvious exception ,
so for instance Heawood 453 on a ms. paper not localized about 1690. Corresponding with the richness of present mark the quality of the strong, but light laid paper. On three sides still with its fine edge, on the left supposedly minimally shortened as an old bistre monogram (CS?, CG?) below the subject in the scant 6 cm wide white, formerly folded lower field appears cut.
Lower right in the latter a note in pencil “11 ½” traced tenderly in red ink. On the back below in pencil additionally “J. E. Ridinger, 1695-1767 / Samml. Reich, / Boerne 1894 / Skizze in Rotstein”. Set off from this and less deep additionally “440”. Goldschmidt’s collection stamp on the level of the subject. The certain foxspottedness in the subject itself largely in the marginal parts only and hardly perceived.
Johann Elias Ridinger
Ulm 1698 – Augsburg 1767
The smartest of them flies away, a second one still gives noise, while the third is already in execution under the fore paws of the authorities answering the protesting second one with “incensed eyes” (Brockes), crooked back and raised, incorrectly pointed (so also on Th. 1069 and, less poignant, Th. 471) tail. In the center dominating the he-cat, on the left both the two not seized ducks, on the right the willow. Red chalk. 13¼ × 8 in (337 × 202 mm) (subject size 11 × 8 in [278 × 202 mm]).
Thematically it is in its strongly eye-accentuated viewing direction to the left first the he-cat consuming a snipe-like bird (Th. 1069: woodcock) there of the
preparatory drawing in the German Hunt Museum of December 1737
to sheet 18 (Th. 180)
– see plate XXV of the facsimile edition of the preparatory drawings of 1980 –
which Ridinger modified for the engraving, however, showing it concerned with itself.
Then the same “incensed” look to the left and now also in its humpbackedness coming close to that of the drawing, yet without prey and thus a priori in own position,
with Brockes’ poetry. And both times in linkage to a sturdy tree. And finally
above he-cat over his woodcock from 1737
as the lower one of the two of Th. 1069 ,
as engraved version here now directed to the right.
Yet based on a pen and ink drawing from 1755 worked expressly for this (Weigel, 1869, no. 743).
While now the trees of preparatory drawing/engraving to Th. 180 and engraving Th. 219 resp. are in painterly full foliage – greened also the foliage of Th. 1069, yet see below – , so the willow of present drawing presents itself in utter, indeed sketchy, yet in the differentiated treatment of the trunk’s bark by no means unappealing bareness.
Such a branch/bough drawing is found in Ridinger’s engravings quite sporadically only and also surprises in its appearance in drawings. And considering the multitude of the vanity signs showing up in the œuvre now openly, now hidden the willow should be owed less to the sketchiness of the work than rather stand for a deliberate vanity symbol, elucidating the fate of the third duck.
That that of the snipe 1069 of the Animal Kingdom is finished before a burst fallen trunk evidently supports this presumption.
And moves present drawing less into the 1730s than into the second half of the 1750s, closing ranks chronologically probably even to the 1762 preparatory drawing to the yet utterly differently composed cat-duck theme of Th. 389.
And in just this timeframe not to be disregarded the plant stems at the right edge of the subject at the foot of the willow trunk, taking up the cat tail’s bending and in their turn curving to the right, sketching what in the 1760 drawing to Th. 722 of the same year Stubbe considers as essential compositional scheme as following:
“ The animal fight sheet ‘The Wild Buffalo and the Crocodile’ belongs to the artist’s latest works (1760) … The impressive silhouette of the attacked (buffalo) … is … optically supported by the rapid light curves of the sheaf of Nile reed right of the buffalo and once more by the
curve of the crocodile’s tail running concentrically with these curves …”
and further reed parallels more in now curved return. As, suggested delicately only, here then left of the trunk, too.
That apart from that additionally just during the cataloging of this drawing a Dead Forest with similar trees by Max Pechstein from 1935 was seen (watercolor over pencil, Hauswedell & Nolte 434/I, 40) may surprise only a beginner. It may be tolerated to quote from the description there the beautiful concluding sentence: “The seemingly apocalyptic landscape reflects distinctly the pessimistic undertone and elementary disorder of the time.”
Present wild ducks will consent to this and gladly agree with the Ridingers who inscribed the said duck hunt in the engraving published 1770 posthumously so aptly
“ There indeed is nowhere in life a rest . The ducks bathe . The cat comes along ”
(together with the fox-duck pendant Th. 389/90 available here).
Yet under which aspect ever this drawing has to be looked at , it fascinates , it lives . In its immediacy , in its intellectual freshness beside which many a pictorially fully executed work might look quite statesmanlike . The dispute between he-cat and second duck , we literally hear it . With the low wailing of the executed one .
“Ingenious” , “Excellent”
the catalog editors called this drawing 120/130 years ago out of their daily encounter with quite different a material than today. They knew how to see , saw with the eyes of the affectionate connoisseurs , esteemed the selective seizure of their previous owners . For
now as before are reputed
the domain of the enlightened
connoisseurs and art lovers ”
Frankfurter Allgemeine Zeitung
April 4, 1992
Offer no. 15,763 / price on application
niemeyer’s — reliable partner for the better of the good
Joseph Georg Wintter
1751 Munich 1789
1787 created evidently full of relish
225 years later
now to your delight
Group of Bears. Three of them, both the two of which in front, lying and standing resp., playfully occupied with themselves, raised, however, the third one, half covered right outside, fiercely aiming at the beholder. Pen and ink bistre on blue-greyish laid paper. Inscribed: JGW: (ligated) 1787. 6¼ × 8⅜ in (159 × 213 mm).
Pictorially fully executed characteristic study
of the small work of the prematurely deceased rare Electoral-Bavarian Court and Hunting Engraver of the art appreciative elector Charles Theodore of Palatine and Bavaria (1742-1799), according to Leporini one of the few major collectors of Baroque and Rococo, whose in 1781 already 8700 drawings and paintings of the Electoral Gallery assembled in besides Munich Schleißheim constitute today’s glory of the National Collections Munich. Among the latter not least Frans Snyders’ (1579 Antwerp 1657) main work of the Two Young Lions pursuing a Roebuck of which the covered raised rear one outside left in the painting should have served as model for Wintter’s present third bear.
as incunabulum of lithography printed from tinted plates
Inscribed: f. Snyders pinx: / f. Pilotj del. 39.3 x 54.7 cm.
At the same time member of the electoral academy at Dusseldorf, Wintter was just 1787 even promoted Court Chamber Councilor as rare “(a)mong those numerous court and independent artists of the Electoral Palatinate Bavarian court” (pope of forest cameralists Wilhelm Gottfried von Moser, b. 1729, from the “famous family of cameralists” [Heß in Allgemeine Deutsche Biographie], whose Forstökonomie of 1757 is considered as formal foundation of the science of forestry generally), yet remained till today outside of the small, however growing circle of intimate connoisseurs under the lee of Ridinger and his continuing overwhelming effect, irrespective of voices of important contemporaries calling to attention like Moser’s conclusion putting drawing as etching as standing in its “treatment between … Hollar and Riedinger” (Nagler) in a nutshell
“ always better than Riedinger ”
in the noble Forst-Archiv (vol. IV, 1788, pp. 280 ff.) retaining as second forestry periodical “for a long time an honorable place among the specialist periodicals”, or that of Lorenz von Westenrieder of the same age (b. 1748, theologian, yet especially historian), who did highest praise to him in his 1783 “Almanac of the Human History in Bavaria” and in 1785 wrote to Christian Felix Weisse, friend of Lessing’s and playwright in Leipsic:
“ This man has extraordinary talents .”
Finding its expression ultimately in the statement of Thieme-Becker XXXVI (1947), 79 f.
“ Next Ridinger the best German depictor of the hunt of the 18th century ”
after yet already 1909 and 1921 resp. Höhn (Studies on the Development of Munich Landscape Painting from the End of the 18th and the Early 19th Centuries, “one of the earliest [among] the early beginnings of Munich landscape painting”) and Wolf (The Discovery of the Munich Landscape, illustrating seven of his etchings) resp. had put him into starting holes unrelated to the hunt.
Here now , however , in his very own métier .
As a graphically little rarity sui generis .
Offer no. 15,764 / sold
Ridinger, Johann Jacob (? 1736 Augsburg 1784). Many Lynxes are the Deer’s Death. 13 of the latter, of which two are attacked by three and one lynx resp. All others in wild flight. Throughout leafy precipitous rock scenery with water in the foreground, in which already are six – two royal – deer, one of them landed on his back when jumping from above. A further royal one still leaping. Above the group a second one of two stags and hinds each, of which one of the former bringing up the rear with sovereign leap. Center left, however, the dominance of a rearing royal one with abnormal antlers with a lynx on his back seizing his neck, a second one clinging to his belly, and a third one pouncing from the right, while left of this group a further royal one flies into the center of the typhoon, with a fourth lynx jumped onto his rear. Edged pen and ink drawing with wash in black (outline) and grey-brown on chamois-colored strong vélin. 12¾ × 19⅜ in (323 × 493 mm).
Verso lower right cipher by a presumed previous owner in pencil, legible only the “G:” of the forename, not the longer surname and a second line half-covered by surrounding narrow edge strip from former mounting onto framing board. – Both a 3.5 cm long tear in the right upper corner and a further small one in the sky part as done as the small corner completion lower right. – Verso unessentially fox and age spotted.
With regard to the content it is the most varied, now direct, now indirect picture elements of Ridinger’s, lead by the reared royal one attacked by the lynxes à la Th. 1144, see below, yet also reminding of the somersaulting ibex of Th. 363, whose lynx jumping up below him is the one on the right here.
Pictorially decidedly markedly decorative
terrific , downright excitingly chaotic composition
whose recent passing on prominent auction stage as Johann Elias Ridinger is precluded a priori due to the paper, nevertheless stands in close context to this. That is to the impressively rich
compositionally & formatwise similar lynx-deer group
of the Ridinger appendix of Johann Elias Ridinger’s Art Estate in Drawings within the 1869 “Catalog of a Collection of Original Drawings … established and bequeathed by J. A. G. Weigel (1773-1846) in Leipsic” and there positioned within the deer/roe section as following:
139. A rocky landscape where a high-reared stag to whose back a lynx is clinging, is surrounded by three lynxes. With the name. 1746. Pen. large obl(ong). f(ol).
163. A rock part with a big oak, where a high-leaping stag with a lynx on the back tries to escape two lynxes lurking for him. Another lynx looks down from the oak. With the name. 1747. Wash and black chalk. large. fol. (17 × 15 in [433 × 382 mm].) – See Thienemann (orig. ed.) plate 12.
165. Rocks with trees, where twelve stags and hinds try to save themselves from five lynxes by jumping down into water. One of the stags is seized by two lynxes. With the name. 1745. Wash. large obl(ong). roy(al). fol.
Cf. Weigel 214: A closed rock part, in the foreground water, where from the rock on the left stags and hinds throw themselves down to escape from the wolves; on the right a wolf pursues two hinds. With the name. 1745. Black chalk. Counterproof. obl. roy. fol.
Without reference to counterproof 1892 at Wawra, Auction Sale Catalog of a Fine Collection of Drawings and Prints by Joh. El. Ridinger from the Estate of a Well-known Collector, no. 82.
167. A rock part; ten stags and hinds, attacked by four lynxes, save themselves by taking flight; one stag in the water is seized by a lynx, another one fights on a boulder with two lynxes. With the name. 1745. Black chalk and wash. large obl. fol.
170. A forest with ravine; a setting stag attacked by three lynxes, of which one clings to him. Bister. roy. fol.
192. A stag to which two lynxes cling and hold him, another lynx comes out of the wood, the hind flies. Pen outline, the trees sketched in black chalk. obl. fol.
219. A rocky landscape with water, in the foreground on a rock two stags, the one standing on his hind legs which is seized by two lynxes; another, with one lynx on the back, makes a leap down into the water. Five hinds flee from the rock as above left a lynx is following them. With the name. 1745. Wash, top rounded. obl. fol. – To Thienemann/Schwarz 1144 as the following.
And supplementing from Coppenrath Collection II (1889) the items there
1921. “The Stags attacked by Lynxes on the Rutting Spot.” Black chalk with wash. Inscribed. obl. fol. To Th. 1144 (as already the above). Fine main sheet.
Th. on 1144 (page 243; mezzotint; Joh. Elias Ridinger delineavit / Joh. Jacob Ridinger sculps. A. V.; 15½ × 17¾ in [39.5 × 45.2 cm]):
Below water, surrounded rocks, on these a royal rearing up, whom a lynx bites through the jugulars, another one, which clings at his belly, he kicks that it cries out loud. A strong six-pointer makes a stupendous leap into the water to get rid of the berserk sitting on him. Four piece of deer, a brocket at the head, hasten for the water.
1922. Similar representation, with the same inscription. Ditto, ditto. Inscribed. large obl. fol. Equally important sheet.
1926. A stag is pursued in rock scenery by three lynxes. Pencil and sepia (should actually be bister). large fol. Very fine sheet.
Obviously all of more or less equally large mostly oblong size, with 1745-47 the dates reveal for their creation a thematically as chronologically tight scope of three years the most. Which raises the question what lynxed the master then that much, whether he pursued a particular, yet, as proven here already by means of drawings for the mating call, not realized independent lynx-stag project. Mostly signed, they refer to Johann Elias himself. What precludes studies by the growing up eldest, Martin Elias, by means of his father’s set pieces since at least present work consists of such throughout. To what extent the works from the mid-40s in this regard actually represent new groups and by this a mine for future works – as for instance for the drawing to aforesaid lynx-ibex composition of Th. 363 according to Schwarz to be set with 1752/53 – requires further research.
As regarding the mid-40s, being on vélin (without lines) for present work the father’s hand is out of the question. Invented in England about 1750, productionwise this came to the continent (France) only 1779 and 1783 to Germany. In analogy to the Dutch papers favored by Johann Elias according to his own testimony for the colored works, for the late period the use of vélin outside of the hitherto proven graphical works irrespective of its local production generally to be precluded all the less as already Johann Elias in his mid-20s had established himself by a Stag Hunt (Schwerdt III, plate 214; erlebnis ridinger, p. 5; each in color) as according to Wend the “supposedly earliest German mezzotint in colors” as one also technical forerunner.
Anyway, recently a wooded landscape (pen in black, with brush in black, grey wash, 10½ × 15¾ in [268 × 400 mm]) associated with Ridinger’s youngest, Johann Jacob, with vélin as material showed up in German trade, which corresponds with the four folio-sized signed drawings (Jacob Ridinger del.) of 1773/74 of the collections Marschall von Bieberstein (Catalog of Drawings, Prestel 1879, 110: Forest regions with deer and wild boars, chalk) and Silesian Ridinger collection dissolved 1885 (Boerner XXXIX, 2079: Fine wooded landscapes with deer, wild boars etc., Excellently executed pencil drawings. Mounted) resp. and quotes sheet 15, Th. 210, of the Brockes set, yet at the same time signals insider familiarity by omitting alienation of the three boars (sic!).
With the four wooded landscapes known from literature only in the case of the unmarked one laid before here the significance of the paper prevailed in the negative. What would apply to now present lynx-deer drawing as well, were there not …
Were there not Th. 1144 with especially the significant specific of the royal rearing up with the one lynx by the neck and the other at the belly, see above. And if the transfer of the father’s design into the copper were not exactly by … Johann Jacob!
By which his occupation with that curious group from the mid-40s becomes obvious. Should the creation of the print fall into the time after the father’s decease, at which Johann Jacob was 31, it would fall into the period of general working off of the paternal bequest by the sons. As not least the lynx-ibex variant called on above from the set of the Incidents concluded only 1779.
While these considerations on the origin of present drawing inevitably are not peremptory, so according to current knowledge nevertheless plausible. And more conceivable than that one of the various Ridinger copyists of the first half of the 19th century should have practiced of all things with a lynx-deer theme unused to the overview here.
At least we encounter a chamois leaping through the air in analogy to the stag here above center on the as fine as rare title plate to Hermann Menzler’s lithographic Ridinger Hunting Album from 1863/65, see its illustration page 85 of aforesaid 1998 Ridinger Event Catalog here. But the lynx he dealt with in relation to a bull after Th. 303, which sequence of events also the lynx-ibex fight of Th. 364 follows, thus utterly contrary to his prevailing over the deer here.
For their lynx experience, however, Johann Jacob could resort to aforesaid impressive passage of paternal designs. With each work a variant. And with present one as a further one. And besides with 13 as the most deer. And just to this scenery he devoted Th. 1144 as a large, ambitious sheet. After indeed paternal design. Nevertheless the appreciation follows the sheet as such. In short ,
Left from Th. 260 (1741) via Menzler , right from Th. 266 (1742) via reverse printing plate here
In short ,
A Ridingerianum with questions . Indeed . Yet not without answers .
Which to the opinion here point to Johann Jacob the more the sheet is beheld , the more the facts are weighted.
Offer no. 16,029 / price on application
- ↑ Johannes Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, vol. I.1, 1975, no. 94.
“ Yes please. I take that (further) copy.
I have now fetched the (last) parcel at the post office and I was very pleased. First of all: thank you for making so good parcel. I hate when I receive damaged copies because of bad envelopes. So once again: thank you very much for handling the items with such care! For me that is another word for seriousness and professionalism.
It was also a good copy and I liked it very much.
Please let me know if there is more items coming up ”
(Mrs. G. H., June 19, 2006)