After the Verdict of Karlsruhe
niemeyer’s Extra AHA of the day
“ one of the
few German Baroque artists
who since his decease
220 years ago
fell into oblivion ”
(Master Drawings of German Baroque)
Augsburg 1987, page 338
From the Worship of the Golden Calf to the
Worship of Euro Debtism
Great Sheet of Dance Macabre
Johann Elias Ridinger
Ulm 1698 – Augsburg 1767
The Great Sheet of Dance Macabre. Mezzotint by Johann Jacob Ridinger (1736 Augsburg 1784). Inscribed: Ioh. Iacob Ridinger sculps. / Ioh. El. Ridinger excud. Aug. Vindel. 25¾ × 18⅞ in (65.3 × 48 cm).
Th.-Stillfried & Schwarz 1428; Silesian Ridinger collection at Boerner XXXIX, 2032 ( “Extremely rare”, 1885 ! ).
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” (enlarged and continuously updated version). – State II (of II?) as the copy in the Staatliche Graphische Sammlung Munich, too. – The copies Stillfried & Schwarz, Boerner 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.
Not in Thienemann and in Dresden, see below, missing in the voluminous stocks of Weigel (1857) , Coppenrath (1889/90) , Wawra (1890) , Reich auf Biehla Collection (1894; “Of all [R. collections on the market] since long time in respect of completeness and quality none stands comparison even approximately with the present one … especially the rarities and undescribed sheets present in great number”; 1266 sheet plus 470 duplicates & 20 drawings) , Hamminger (1895) , 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”.
THE FIRST OF THE LARGE-SIZED 2-SHEET SET
with the “Allegory of the Period of Euro, beg your pardon, Life” as companion piece not present here (Th.-St. & Schwarz 1429; illustration of the copy in Augsburg in L’Art Macabre 2 as above)
AS A CULMINATION OF RIDINGER’S VANITATES .
In more than 50 years available here for the first time and
to God-tempting German breakneck leap without net .
In short ,
Karlsruhe shows mercy to the hazarding
and makes plain to them
“God is dead”
Yet , so Schiller’s William Tell ,
“ There lives a God to punish and avenge ”
Offer no. 28,933 / price on application
© lüder h. niemeyer september 2012
„ … Übrigens ist Ihr Internetauftritt wirklich überaus interessant, habe ihn unter Favoriten gespeichert und schaue sicher öfters rein “
(Herr J. F., 27. Mai 2013)