Deutsch

After  the  Verdict  of  Karlsruhe

God

is

dead

Nietzsche

 

niemeyer’s  Extra AHA  of  the  day

Ridinger

“ one  of  the

few  German  Baroque  artists

who  since  his  decease

220  years  ago

never

fell  into  oblivion ”

Rolf Biedermann

(Master Drawings of German Baroque)

Augsburg 1987, page 338

Indeed!

 

From  the  Worship of the Golden Calf  to  the

Johann Elias Ridinger, Dance Macabre

Worship  of  Euro  Debtism

Ridinger’s

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 ample 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

presented

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


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