It cures oneself to Health
From Ridinger’s set of the Fountains
where our Springs bubble up
« (the sources) created
good and benefit »
by the gods in mythological distance
which they had been taken care of
by the nymphs or muses
as something exceedingly precious
and only they actually had the power to provide
« with the natural powers
one considered as the reason
of the enthusing and healing effects
of the water »
Meyers, Konversations-Lexikon, 4th ed., XIII, 511 f., Cult of Springs
Address out of His Depth
to Those So looking at him from above
24 lines. C. between 1715 and 1733. Sm. fol. 1 sheet.
Quite whimsical marketing ode (broadsheet?) in wide setting, telling the history of the fountain and singing the praise of the wholesomeness of its water:
“ … am I now savoury ,
fresh and pure
Also better against the thirst
than Alicantian wine …
Regale yourself with me ,
you my esteemed guests
And don’t be frightened there above
for I stand fast below . ”
The dating of this
quite unique early advertising message
results from the mention of both Elector Augustus the Strong of Saxony and, as particularly advocating the development of the fountain,
Frederick William of Kyaw (also Kyau)
who as electoral Saxon major-general and friend of exactly Augustus the Strong had become commander of the Königstein in 1715 where, being appointed lieutenant-general in 1723, he died in 1733. The very same year as the Elector, a friend to him, who still lived when the poem was published for
“ The cup which, as a remembrance, stands here / Elector Augustus himself has turned with his hands / Thus pour out to the health of Him who still protects me … ”
The earthy Kyaw’s authorship, a “man much-mentioned for his witticism and his funny pranks”, should arise from both the mention of Augustus who was fond of him and his own intimate relation with the fountain “where he created much still being” (Mr. Poten in Allgemeine Deutsche Biographie) which also follows from the poem itself:
“ The Baron of Kyaw has done my fountain-house
For that neither ice nor snow nor rain touch me. / What for forty years people turned on my base
That my general completed in one year
Hence I am now savoury … ”
Notorious and famous “for his hilarious pranks” (Hayn-Gotendorf III, 647), his “extended hospitality, his inexhaustible humor, and his (sometimes broad) jokes”, the secret of his best biographer’s pen-name – Gregander, also Cregander, possibly even Kyau’s same-named cousin who extolled the 76th birthday? – has never been lifted. Just as that of the biography of 1735 by the pseudonymous Sincerus Jocosus, missing in Hayn-Gotendorf as well as Weller, while the faked printing place “Cölln”, still unbeknownst to H.-G., could be related to Wittekind in Eisenach. The editions of “Remarkable Life and Deeds of the World-Famous Roy. Polish and Electoral Saxon Lieutenant-General and Commander of the Citadel Königstein … From Reliable News and Documents” between, first, 1735 and 1772 are many, yet even one hundred years later a publisher protected himself by anonymity (Kyau’s Funny Jokes and Rollicking Pranks, publ. by E. v. O...n. 1840).
Not bothering foldings aside evenly quite lightly browned with only isolated further negligible fox and age spots, otherwise fine & wide-margined, with deep typography and large watermark.
For Saxon local as well as German cultural history just as
for the friend of a beneficial water
singularly charming collection jewel
of a baronial fountain specialist
and marketing expert 300 years ago .
Offer no. 14,420 / EUR 199. (c. US$ 230.) + shipping
Soden (Taunus near Frankfort on the Main), At the Drinking Fountain. Rich promenade scenery. Wood engraving for Adolf Closs in Stuttgart. (1875/76.) 5⅜ × 7⅜ in (13.7 × 18.8 cm).
BACK: Chestnut Wood at Cronberg (Taunus as before). Wood engraving as above after J. (?) Franz. 6⅝ × 4½ in (16.7 × 11.3 cm). – Continuous local text on both sides.
Offer no. 6,222 / EUR 76. (c. US$ 88.) + shipping
From the left an Aqueduct
runs the Water Pipe to the House …
Weirotter, Franz Edmund (Innsbruck 1733 – Vienna 1771). Aqueduct, leading to the remains of a still partially occupied larger property. In front of it residents and passers-by. Etching. Inscribed: F. E. Weirotter fecit / 8. 2½ × 5¼ in (6.2 × 13.2 cm).
Nagler 8, 8. – Sheet 8 of the 24-sheet “Fifth Suite of Varied Regions of Old Buildings”, dedicated to Maria Christina, royal princess of Hungary and Bohemia, archduchess of Austria and married duchess of Saxony-Teschen.
Rare superior representation of one of those legendary aqueducts
as most grandiose creations of ancient architecture .
“ (For) far more developed we find the aqueducts with the Romans where they seldom were run underground, but mostly on arched buttresses, and belonged to the most grandiose creations of ancient architecture. The pipes were made of wood, lead, even leather, but mostly of stony canals. Normally the
pipes leading into the individual houses ( as here )
… were of lead ”
(Meyer’s Konversations-Lexikon, 4th ed., I, 107).
Offer no. 16,119 / EUR 158. (c. US$ 183.) + shipping
The Work of Self-Identification
Proving more and more Important
for the Unknown Ridinger
inspired by Watteau
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Hippocrene. The Horse’s or Muse’s Fountain at the Parnas or Helicon as column of water rising up like a dome. With fountain ornaments, here the overgrown arch of a grotto, dominated by the fountain’s and Muse’s horse Pegasus and populated by the nine Muses as the guardians of the spring as well as river gods as the equally mandatory attributes of the fountain. Before c. 1746. Etching & engraving. 13¾ × 11¼ in (34.9 × 28.7 cm).
Augsburg Art Collections, Exhibition Catalog KUNSTREICH – Acquisitions 1990-2000, 2001, no. 101 with full-page & 4 detail ills.
Dismissed by the master — published for the first time to his 300th birthday
as, so Gode Krämer, then curator of the Augsburg Art Collections,
“a fine enlargement of Ridinger’s œuvre …
… to celebrate and document the 300th this way (is)
so splendid and charming since so appropriate …
Especially impressing is … the modest number of copies published . ”
One of six Roman numbered I/VI preferential prints in reddish black on heavy laid paper. Besides there are ten ordinary prints in black numbered Arabic 1/10 on the same and some Épreuves d’Éditeur from the not cleaned plate in partly additional colors and on further papers, all
with the autograph signature of ridinger dealer lüder h. niemeyer
together with the date of February 16, 1998
as the master’s 300th birthday, and two remaining with the printer without signature. With the exception of the latter two all with comprehensive stamp to this edition on the back.
composition , obviously dismissed by the master
and uncovered here during cleaning on the back of the original copper printing plate for the “Evening of the Deer”, Th. 240, of the set of their “Four Times of Day” – worked about 1746 – , thematically near, but autonomous to the group of “Fountains” Thienemann (878-881) called the “Mythological Pyramids”.
Mythological background of the time of interest here is the moment Pegasus “calmed the Helicon rising up to heaven by the ecstasy about the Muses’ songs with a beat of his hoof evoking by this
Fountain of the Muses Hippocrene ”
(Meyer’s Konversations-Lexikon, 4th ed., XII, 804, Pegasos/Horse of the Spring).
Just to the sides of the horse the Muse of Painting not designated for her own with maulstick and palette along with brushes in her left, pressing a groundhigh slab to herself, and Thalia as later guardian of theater in general, here with the comic mask, but in her raised right. What intellectually leads to Hogarth’s later last self-portrait combining both as painter with palette & brush before the canvas, “on which he paints the personification of his artistic inspirations, the comic muse with the mask” (Hogarth Catalog Zurich, 1983, p. 18 along with illustrations pp. 17 & 135, dating the oil on c. 1757, followed by the copper-work – offer per no. 7,612 – published March 29, 1758).
On the same level outwards Aphrodite casting the horoscope and Clio as herald of history. After two bird-shaped gargoyles held by puttos – two reptile-like ones then far down at the bottom – the other five Muses, partly bathing their feet, follow. The two in front right may be Erato related especially to erotic poetry, here without attributes only standing and propping herself up, and Terpsichore responsible for dance & choir singing, but then with plectrum only. Of the two located on the left one with yardstick. In between on the water group of river gods.
The self-identification with the Muse of Painting
is conspicuous and leads directly to his own ex-libris ,
Schwarz, Cat. of a Ridinger Collection, 1569 with illustration. On this in front of a herma of Minerva as patroness of the painters, too, a boy rests on his maulstick, holding also a high slab standing on the ground bearing the motto
“ Nulla dies sine linea ” — No day without a brush’s line
hence as expression of an absolute necessity of life. Accordingly flanked by the instruments of engraving including plate and utensils for painting.
supremacy of death .
With the painters’ utensils now amidst the lumber. And once again next to a large stone slab the master also uses in his ordinary work.
With both ex-libris and Supremacy of Death turning out to be the final support for the claim of Ridinger for the Hippocrene, answering by this also the question of origin of the group of fountains which Thienemann had left unsettled.
Reflecting one of the most famous of those fountains
“ created for the good and benefit of man ”
by the mythological gods which they had been taken care of by nymphs and Muses as something exceedingly valuable. Only they had the power to provide the spring with
“ the natural powers
which were seen as the reason
for the inspiring and healing effects of water ”
(Meyers, ibid., XIII, 511 f., Quellenkultus/Cult of Springs).
And is seen so until today and used in most manifold kinds. Therewith, however, a
HYMN to WATER
as one of the most precious & delicious gifts on earth .
Created by one of the greatest artists close to nature in fine nearness to Antoine Watteau’s drawings corresponding with each other, “Temple of Diana” & “The Arbor”, both about 1714 and engraved by Gabriel Huquier for the drawing part (1726) of the Recueil Jullienne. In which the different design of the sides of the “Temple of Diana” invited Huquier to work two etchings after this: the Temples of Diana and Neptune (Nagler, Huquier, 41 f.). As then water gardens are present also at the “Arbor”, whose two little water spillers Ridinger quotes in the said water spitting birds held by puttos.
As evidenced also by other examples proved here mostly for the first time Ridinger was decidedly intimately familiar with the Recueil Jullienne and so got inspired for his Hippocrene by the models there mentioned above, however, at a quite different result. See the partly color illustrations of which at Pierre Rosenberg & L. A. Prat, Antoine Watteau / Catalogue raisonné des dessins, 1996, pp. 370-373, 1248/49 & 1402/03 and in the catalogues of the touring exhibitions Washington etc. 1984/85, pp. 140-144, & New York etc. 1999/2000, pp. 108-111.
Almost of the same size as the Watteaus, for Ridinger’s Hippocrene applies what Margaret Morgan Grasselli points out in the 84 catalog to the former’s Arbor :
“ This drawing … is at the same time
one of his most completed .
Besides it is one of the relatively few ornamental drawings (to which also the “Hounds and Death Game” in Rotterdam belong, p. 106) which are to be ascribed to him with absolute certainty.
Each smallest detail of this drawing indicates that it originates from the time of his greatest maturity: the variety, the wealth of ideas … the perfect design … the distinct energy which penetrates the whole work. ”
And analogously finally
“ … because we don’t have any indications for a painting hereto, we could proceed on the assumption that Watteau had never followed up the project. ”
Ridinger’s Hippocrene published here supposedly for the first time ever in an elitist-small worldwide edition. Not least as a further example of his mastership in imaginative variation entirely unappreciated in the past as, equally related to Watteau, proved here as secured for his “Self-Portrait in the Wood” (Th. XIX, 1) or quite in superior style for his “Cythera Lady” (Schwarz 1471), doubtless true for his “Lady with the Mask” (Schwarz 1458), too. Standing for ripe art supplied from old and great tradition.
“ Great artists seldom cite each other literally. In some cases they pay homage to a predecessor hinting unobtrusively in their own creations at other ideas ”
(Dirk De Vos, Rogier van der Weyden, 1999, p. 36, with the reference to Dieric Bouts [about 1420 – 1475] as the probably first example of “such a fruitful adoption”).
To match the size of the three other plates of the set of the “Deer’s Four Times of Day” present back work might be shortened marginally a little in its composition. Besides printing was done with all the due consideration for the deer scenery on the other side, a handling which inevitably should have been regarded as dispensible in the reverse case, so that the Hippocrene etching was not perfectly virginal anymore. Nevertheless an attractive object on the wall, too.
And last, but not least, beyond all the above-mentioned the evidently intended, yet just so evidently ran offside and ergo dismissed reverence for
Augsburg’s St. Ulric
as the water and fount patron of the city
in his continual presence in the grandiose Basilica St. Ulric and Afra (see i. a. the corresponding fine woodcut with the Saint in the Hortus Conclusus before a landscape with crosier and book with fish in Berno von Reichenau’s and Adilbertus von Augsburg’s “Gloriosorum christi confessorum Udalrici & Symperti: nec non beatissimae martyris Aphrae, Augustanae sedis patronorum quam fidelissimorum historiae”, Augsburg 1516, but also Gabriel Spitzel’s portrait of Johann Christoph Thenn, protestant parson of the Ridinger age at St. Ulric, worked in mezzotint by Johann Jacob Ridinger).
Reverence left undone yet also with respect to the city’s three famous fountains built between 1593 & 1602 “as main ornaments of Augsburg” (Meyers Konv.-Lex., 4th ed., II , 87/II).
Offer no. 13,279 / EUR 1022. / export price EUR 971. (c. US$ 1122.) + shipping
– – – – The same in one of the ten copies in black numbered in Arabic.
Offer no. 13,280 / EUR 868. / export price EUR 825. (c. US$ 954.) + shipping
Schwalbach, At the Steel Fountain in. Rich promenade. Wood engraving after J. Franz. (1875-76.) 6½ × 4⅞ in (16.4 × 12.3 cm). – BACK: Wiesbaden / Greek Chapel. View from below through the wood at the picturesque towers. Wood engraving by Filsinger after Richard Püttner (Wurzen 1842 – Munich 1913). 5⅞ × 3½ in (15 × 9 cm). – On both sides not concluded local text on Wiesbaden.
Offer no. 6,275 / EUR 65. (c. US$ 75.) + shipping
Weirotter, Franz Edmund (Innsbruck 1733 – Vienna 1771). Large property in Tivoli above a water into which a water pipe pours into . Front left peasants with bucket and basket, in the yard above further ones. Etching. Inscribed: F. E. Weirotter fecit / 9. 5¾ × 7⅝ in (14.7 × 19.3 cm).
Nagler 5, 9. – Inscribed by old hand in brown ink “At Tivoli”. – Sheet 9 of the 12-sheet “Second Suite of Regions and Ruins of Old Buildings”, dedicated to the imperial and royal secretary of the exterior and interior portfolios George Prince of Starhemberg. – With typograph. watermark. – See the complete description.
Offer no. 15,054 / EUR 135. (c. US$ 156.) + shipping
Jus Fluviaticum or Water Law
in all its ramifications
accompanied by 2fold noble provenance
thereof the one of Karl Ernst Schmid
(Weimar 1774 – 1852? ; ADB XXXI, 675 f.)
as later holder of Fritsch’s chair in Jena
Baden-Baden – Kursaal in Baden, Before the. Both the latter as the terrace brightly illuminated, richest figure scenery. Wood engraving by C. or F. Bauer after Richard Püttner (Wurzen 1842 – Munich 1913) for A. Cloß, Stuttgart. (1875/76.) 5⅝ × 7⅜ in (14.4 × 18.7 cm). – From the about contemporary Dutch edition. – Not concluded local text on both sides. – Beyond the image minimally foxing.
Offer no. 9,874 / EUR 60. (c. US$ 69.) + shipping
– Lichtenthaler Allee in. With rich cab, horsemen & figure scenery. Toned wood engraving after Wilhelm von Diez (Bayreuth 1839 – Munich 1907) for A. Cloß, as above. 7¾ × 9¼ in (19.8 × 23.6 cm). – See the complete description.
Offer no. 6,567 / EUR 120. (c. US$ 139.) + shipping
Qualified already since 150 Years as
“ Very & Extremely Rare ”
Ridinger’s Set of the Fountains
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Fountains. Set of 4 sheet in etching with engraving. Inscribed: Ioh. Elias Ridinger excud. Aug. Vind., otherwise as following. 13⅞ × 11¼ in (35.3 × 28.7 cm) (1) and subject size 13⅞-14 × 11⅛ in (35.2-35.4 × 28.2-28.3 cm) (3) resp.
their Ridinger sale 1958
with its lot no. 61 on the underlay cartons
Radulf Graf zu Castell-Rüdenhausen
(1922 – 2004)
Thienemann & Schwarz 878-881; Silesian. Ridinger Collection at Boerner XXXIX, 1953 (“Some a little damaged and spotted. Extremely rare sheets”, 1885); Reich auf Biehla Collection (“Extremely rare sheets , very fine impressions with wide margins”, 1894); Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger; 1900), 1482-1484 as Th. 878 (“with margin. The latter not flawless. Very rare.”) , Th. 879 (“without margin. Very rare.”) & Th. 881 (“with full margin, the latter not flawless. Extremely rare.”).
Not in Weigel, Art Stock Catalog I-XXVIII (1838/57) , Coppenrath Collection (1889 f.) , Rosenthal, Ridinger list 126 (1940).
“ The four sheet which have been published under the above title , but now have become very rare , I would like to call Mythological Pyramids. They originate from earlier (??) times … ”
with respect to Ridinger’s just “excudit” at the same time adhering to the widespread assumption of “We therefore not even know for sure if and what part our master has with them” as refuted in conclusion here).
For with the discovery here of the autonomous work of the dome-like rising “Hippocrene”– published here in 16 copies on occasion of the 300th birthday – as the Horse’s or Muse’s Fountain at the Parnas obviously rejected by Ridinger on the back of the original copper printing plate for the evening sheet of “The Deer’s Four Times of Day” as the latest the set of the Fountains has to be regarded as own invention. For although without any inscription of any sort the authenticity of the “Hippocrene” cannot be missed. Proceeding from their proximity to Watteau as inspiring Ridinger so manifold and by the self-identification in the muse of painting leading directly to his personal bookplate.
Fontaine de Persèe et d’Andromede .
Fountain of Perseus and Andromeda.
“ On the top of a cone-shaped boulder Minerva sits, lance and shield in her hands, and looks down to Perseus gliding below her, who, with the drawn sword in the right, the Medusa’s head in the left, is about to finish off the dragon writhing around the rock. This already covered with countless wounds spraying blood, but the true stream of blood, the fountain, comes from his jaws. Beside Perseus the fettered and now soon to be released Andromeda. ”
Three sides with 3-4, below 13 mm wide little margin around the full platemark. In this four backed tiny tears. Small slight yellow trace between Andromeda’s right arm and left leg.
Fontaine d’Hercule victorieux.
Fountain of the Triumphant Hercules.
“ On top of the rock cone a genius crowned with laurel, thus Victory, in the hand the laurel wrath for to decorate the head of Hercules resting below her from his heroic deeds. Beside a female figure sitting rather indecently (that is bare-bosomed), on the head the glory by which victorious generals were decorated, and in the raised right one for Hercules. This supporting himself with the left on his club, with the foot on the bottom of the slain enemy lying together with several killed wild and tame animals around him. From overall of the rock fountains gush which actually do not belong to the whole. ”
Trimmed within the platemark, but three sides with fine(st) margin around the edge of the subject, below with 1 cm below the second line of text. – On the back left with three traces in points of previous mounting on blue paper, two small thin paper spots, one of which backed as well as likewise settled little tear.
Fontain d’Atlas et d’Hercule.
Fountain of Atlas and Hercules.
“ On a boulder Hercules sits with the lion hide, on the other side Atlas kneels with the glory; they hold the celestial globe from which quite immense masses of water flow down. ”
Trimmed within the platemark, but three sides with mostly only finest margin around the edge of the subject, here and there also reaching immediately to this, below with 3-10 mm below the second line of text. – On the back left with two traces in point of previous mounting on blue paper, and on the front a tiny paper scrape off at the subject edge.
Fontaine de la Victoire d’Apollon sur le Serpent Python.
Spring of the Victory of Apollo over the Pythonic Snake.
“ In the center Apollo, as protagonist, the right akimbo, in the left the bow without string by which he has killed the dragon Python on whose wing he stands, and from whose wounds fontains issue. Above Victoria with palm leaf and wreath for the victor, beside Cupid in poor figure. Below furthermore a river god from whose urn lot of water flows for it shall be fountains there. ”
Trimmed within the platemark, but on three sides with fine(est) margin around the edge of the image, below with 6-10 mm below the second line of text. – On the back left with three traces in points of previous mounting on blue paper.
“ Very & Exceedingly rare ”
Ridinger’s Set of the Fountains
Pictorially as to content
beautiful & in marvelous impressions
on slightly toned fine (3) and regular resp. laid paper with, however, even structuring
in the copy Counts Faber-Castell .
And not least a further theme showing Ridinger as standing in great artistic tradition .
With its three famous examples from 1593 to 1602 in Augsburg itself, among them the Hercules Fountain by the great Adriaen de Vries harking back to a preparatory drawing of Hans von Aachen’s.
Offer no. 14,873 / EUR 2000. / export price EUR 1900. (c. US$ 2196.) + shipping
Wiesbaden, Fountain in the Spa Garden. Two of the fine jets of water with lateral stock of trees and kurhaus scenery. Wood engraving by H. Wagner after Richard Püttner (Wurzen 1842 – Munich 1913). (1875-76.) 6⅞ × 5⅜ in (17.5 × 13.6 cm).
BACK: Promenade in Wiesbaden. Rich scenery with carriages & figures. Wood engraving after Gottfried Franz (Mayence 1846 – Munich 1905). 4 × 7⅜ in (10 × 18.7 cm). – The text below and on the back referring to Wiesbaden.
Offer no. 5,863 / EUR 33. (c. US$ 38.) + shipping
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). In the Year 1734 this Well-Trained Pointer has been drawn from Nature during his Action inside the Pheasantry by the Imperial Pleasure Seat Nymphenburg at Munich (this above the scene together
with large column of water ).
Etching with engraving. Inscribed: 32. / J. E. Ridinger fec. et excud. 1744. , otherwise in German as above. 14½ × 11 in (36.8 × 28.1 cm).
Thienemann & Schwarz 274. – Sheet 32 of the Representation of the Most Wondrous Stags and Other Animals. – Margins above & below 7.7 and 6.5 resp., laterally 3.3-3.5 cm wide. – Small rust spot in the caption.
The “imperial” work of 1744
by which Ridinger saluted the Bavarian elector Charles Albert
on his return to Munich in 1744
as now Emperor Charles VII .
crowned by his brother Clemens Augustus , Elector of Cologne ,
as third and last of the Wittelsbacher he was already at Frankfort on the Main in 1742,
where Goethe’s father owed to him his “Imperial Councillor”
and the mother dreamed of the melancholy imperial eyes ,
but the quarrels attended with that had him kept back there. On his final entry in Munich, 1744, Ridinger payed reverence to him by present work
of the Munich castle Nymphenburg
as now “ Imperial ”.
Only one year later the glory of these few years oppressive for the emperor as well as for Bavaria and Germany ended by death. But with the etching of 1744
Ridinger had entered himself into the book of history .
Interesting for the striped hound alone – “The position … excellent, therefore also copied often”, Th. – the small oil on panel “A Pointer in Action” in the direction of the etching of the former collection Prehn (1749-1821) in the Frankfort/Main Historic Museum cataloged as Ridinger per no. 233 of the Prehn catalog, illustrated in color in the 1988 “(Catalog of the Department Civil Collections in Frankfort 1700-1830)” there, p. 63, with the smallness of the illustration not permitting a secured judgement on the authorship .
Angebots-Nr. 15.602 / EUR 980. / export price EUR 931. (c. US$ 1076.) + shipping
Schlangenbad, Visitors to the Spa in. On mules passing a wooded high route. Wood engraving after Gottfried Franz (Mayence 1846 – Munich 1905) for Adolf Closs, Stuttgart. (1875/76.) Inscribed: G. Franz, otherwise typographically in German as above. 4⅜ × 6⅞ in (11.2 × 17.5 cm). – BACK: Schlangenbad. Central view with far vista into the Rhine valley. Wood engraving as above, but only with the monogram. 4 × 4⅞ in (10 × 12.5 cm). – Concluded local text on both sides.
Offer no. 9,462 / EUR 47. (c. US$ 54.) + shipping
Music-making in the Park
before Fountain Ambience
added by Ridinger
Mezzotint after a detail by Antoine Watteau (1684-1721). After 1734.
Inscribed: I. El. Ridinger excud. A. V. 19⅛ × 13⅞ in (48.5 × 35.1 cm).
Schwarz 1460 & plate II, XIX (erroneously as “The Cellist”). – Not in Thienemann (1856) & Stillfried (1876) and with the exception of Baron Gutmann (Schwarz, 1910) here not provable elsewhere. At which the identity of the copies of the collections Reich auf Biehla 317 ( “Very rare”, 1894 ! ) & Hamminger 1890 ( “Extremely rare sheet”, 1895 ! ) must remain undecided in the absence of a description. – See the complete description.
Offer no. 28,403 / price on application
Mont Sainte-Odile / Alsace – Odile Spring. Wood engraving after Richard Püttner (Wurzen 1842 – Munich 1913) for Adolf Closs, Stuttgart. (1875/76.) Inscribed: SANCTA … / R. Püttner, otherwise typographically as above. 7⅜ × 4 in (18.7 × 10 cm). – Painterly view amongst local text on both sides.
Offer no. 9,446 / EUR 29. (c. US$ 34.) + shipping
“ The Children of Israel
still the Thirst from a Rock ”
as one of the Largest Sheets
from the Ridinger Press
And here in Undescribed State
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767) or Weiss, Franz Joseph (Bergatreute/Wurttemberg 1699 – Munich 1770). Moses smites Water from the Rock (2nd Moses XVII, 6) or The Deliverance of the Children of Israel from dying with Thirst in the Desert. Full of the whole bounce of the incident, see below. Etching & engraving by Leonhard Michael Steinberger (supposedly Regensburg about 1713 – Augsburg 1772). Inscribed: below within the subject L. M. Steinberger sculpsit. / Ioh. Elias Ridinger excud. Aug. Vind. & per line of writing in German
“ Behold, I will stand before thee there upon the rock in Horeb; and thou shalt smite the rock, and there shall come water out of it, that the people may drink. In the JJ. Book Moses Chap. at XVJJ. v. VJ. ”
as well as cartouche text as below. 18⅞ × 28⅛ in (48 × 71.4 cm).
Thienemann-Stillfried (1876) & Schwarz (1910) 1380, but both with only 17¾ × 27½ in (45 × 70 cm) deviating formatwise. – Not in Weigel, Art Stock Catalog, issues I-XXVIII (1838/57), c. 23000 sheet, among which more than 1000 of Ridinger’s œuvre.
The printing quality determined by marvelous chiaroscuro
reflects the bounce
of this downright unimaginable experience of survival .
The typographic watermark supposedly WANGEN together with countermark as standing for finest Ridinger qualities. Lateral margins 0.5 cm wide, above + below 1.5-2 cm. Three smoothed vertical folds, only the middle one of which perceptible with fine creasing particularly in the middle. The used white margins with numerous small and smallest tears backed acid-freely as well as also some longer ones, but in any case only reaching to the edge of the image the most. Marks which almost quite inevitably happen to come along with such formats. Here then, all in all, of only marginal kind, however. And no matter if to be attributed to Weiss or Ridinger we meet
a sheet of generally most extreme rarity
of with respect to the state unique character ,
precious as the water in the desert. And irrespective of by hook or crook, for the collection of quality a high-carat desiderate as
one of the few true royal formats of the Ridinger press .
Angebots-Nr. 28.897 / price on application
King William Rock Springs
Bad Ems – Ems. Partial view with King William Rock Springs, flanked by the houses Vier Thürme & K. Kurhaus as the lodgings of emperors Alexander & William. Separately below the English Church. Wood engravings after Richard Püttner (Wurzen 1842 – Munich 1913) for Adolf Closs, Stuttgart. (1875/76.) Inscribed: KÖNIG WILHELMS FEL / R. Püt(t)ner, otherwise all typographically in German as above. 4⅝ × 7⅜ and 4⅛ × 2⅝ in (11.8 × 18.8 and 10.4 × 6.8 cm) resp. – BACK: Bank at Niederlahnstein. The richly packed harbor along with shipyard. Wood engraving by Hans-Joachim Wagner (painter & engraver in Berlin, b. before 1842). Inscribed: A. Closs X. I. / H. Wagner sc / R. Püttner, otherwise typographically as above. 4⅞ × 7¼ in (12.4 × 18.5 cm). – Continuous local text on both sides.
Offer no. 9,389 / EUR 64. (c. US$ 74.) + shipping
Heiligendamm – “Heiligen Damm”, On the. Rich life on the promenade before the pavilion. Before this carriage and pair, front left on the lawn families playing croquet. Wood engraving after Artur Langhammer (Lützen 1854 – Dachau 1901) for A. Closs, Stuttgart. (1880/81.) Inscribed: A. Langhammer / A Closs. X. I., otherwise typographically in German as above. 7 × 9¼ in (17.8 × 23.6 cm).
Offer no. 15,294 / EUR 220. (c. US$ 254.) + shipping
Norderney, At the Beach of. Rich beach life with and without beach-chairs at the West Beach below the promenade. Also with sailing vessel & boats. Wood engraving by the monogramist A. H. after Artur Langhammer as before. Inscribed: A. Langhammer (18)81 / A Closs X I. A. H. sc, otherwise typographically in German as above. 6¾ × 9¼ in (17 × 23.5 cm).
Offer no. 8,253 / EUR 217. (c. US$ 251.) + shipping
The Hubert Spa
C. Spiegel’s Hotel at the entrance of the Bode valley
below Roßtrappe near Thale in the Harz Mountains.
On the left huntsman with hound. Colored lithograph. C. 1850. 11 × 12⅝ in (27.9 × 32.1 cm).
With the address of the Ducal Court, Stone, and Letterpress Printers at Ballenstedt. – A very rare leaf, worthy of acquisition in spite of general time marks as the imperfections (creasing, light foxing, the right margin even quite strong, and with tidemark running into the picture) appear in the picture itself only minimally. Otherwise wide-margined and of fresh spring-like colors.
Offer no. 12,579 / EUR 404. / export price EUR 384. (c. US$ 444.) + shipping
And while the rifle rests …
Spa visitors on the “White Dune” of Norderney
Wood engraving by F. Haug after Johannes Gehrts (Hamburg 1855 – Dusseldorf 1921) for A. Closs, Stuttgart. (1880/81.) 5⅝ × 7½ in (14.4 × 18.9 cm). – Back: Fishing House on Norderney. Wood engraving after Gustav Schönleber (Bietigheim 1851 – Karlsruhe 1917). 3⅞ × 5⅜ in (9.7 × 13.7 cm). – Continuous local text on both sides.
Offer no. 8,255 / EUR 146. (c. US$ 169.) + shipping
“ Sir, yes, (the Rubens) is closer to the one in London (recte Dresden), but the one we have is on copper. Thank you for your time. Highest regards, D… A… (and yes America could use a blessing about now) ”
(Mr. D. A., November 4, 2003)