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With

the Eyes of the Connoisseur ,

Inv of 14/3 1914

the Hot Heart

of the Lover

A 100 Years ago grew a

Ridinger Collection of Classic Style

1959 · 55 years trustful cooperation · 2014

Collector of Old Style

Collection Index Faber-CastellCollection Index Faber-Castell VII

Holding in Estimation

Ridinger in all his Spectrum

between Th. 1 & 1436 , then Schwarz up to 1564

Per cataloging the collection of Rudolf von Gutmann as the king among the Ridinger collectors in 1910 the latter then had scored 1569. Whereas in their turn

Counts Faber-Castell

at the dissolution in 1958 scored with about 40 additional sheets, which had become known neither to Thienemann nor Schwarz. Both immediately preceded in the last quarter of the 19th century by a remarkable density of particularly bourgeois collections, approximately comparable with those formed more or less adequately since the middle of the recent 50s. Lasting, what Rolf Biedermann attested 1987 in Meisterzeichnungen des deutschen Barock :

“ one of the few German Baroque artists

… who … never fell into oblivion . ”

With nevertheless decreasing interest in what for the great ancestors was that extra something, the trophy stalking in the collector’s wood. Of which Max Lehrs wrote 1922 in the preamble to the catalog of the Julius Hofmann Collection:

“ He still believed in the importance of states ,

the pointed or rounded plate corners, and paid such an affectionate attention to graver glitches, etching stains, polished edges as only the intimate association with an old friend yields. ”

So as then also count Faber-Castell added to the specialty Ridinger Schwarz 1427 acquired in the early days of his growing collection per

“Inv of 14/3 1914”

later with St.-Schwarz 1477 (missing still in above illustration left, present yet 1958 per K&F LXVI/146) a copy identical only at a glance, just because encountering in it a deviating print version, that is state.

Johann Elias Ridinger, Kneeling NudeJohann Elias Ridinger, Standing Nude

Diverse Presentations of some Figures from the Ancient Age suitable for History … Set of 23 (instead of 24) sheet in three parts. Augsburg 1728. C. 7¼ × 4⅝-4⅞ in (18.3 × 11.6-12.4 cm) and, 3rd part, 6½-6¾ × 4⅛-4⅜ in (16.6-17.3 × 10.6-11 cm) resp.

The rare set “ in Salvator Rosa’s manner ”

from the opening year of the publishing house. Mixed copy inevitably paying reverence to the rarity – as qualified already since 1851 – of the set of in the majority finest to extremely wide margins, only sheets 3, 6, 7, 10, 14, 15, 18, 21 + 24 with but narrow though mostly still c. 5-15 mm wide margin around the full plate, the first three of which mounted by old for no reason. – Of varyingly fine general preservation with following deviations: sheets 11-13 + 16 with extended light spot in margin and (11, 13, 16) image. Sheet 17 evenly slightly browned and with worm trace close to the right upper corner of the platemark.

Th. per actualization separate appendix 1, pp. 5-9: pt. I: 836-843.pt. II: 844, 852-855, 1304, 1305, 1307.pt. III: 851, 856-859, 1306 (missing in present copy), 1318, 1319. – See the complete description.

Offer no. 14,878 / EUR  1780. / export price EUR  1691. (c. US$ 2045.) + shipping

The Prophet Daniel’s

Johann Elias Ridinger, Daniel in the Den of Lions

Miracle in the Den of Lions

as

One of the Largest Ridinger Drawings

By example of Daniel, promoted in the Jew’s Babylonian Captivity and under the Persian Cyrus I calumniated by enviers and consigned to the den of lions – here amongst eleven grimly-peacefully mane bearers – , Jehovah, the god of the Israelites, shows his might, exciting the court on the gallery in unbelieving stupefaction. Brush drawing with wash in grey-blue + black with heightening in white for Johann Daniel Herz I (1693 Augsburg 1754; an “art publisher with an eye for quality” [Rolf Biedermann, 1987], “especially his sheets of large size shall be mentioned” [Thieme-Becker, 1923]). Inscribed in bistre: Jo El. Riedinger (sic!) inv et del 1732. 33 × 21 in (837 × 533 mm) & 1¼ × ¾ in (32 × 20 mm) additional inscription field laterally lower right.

Imposing Den of Lions sheet

of marvelous upright format

in context with those of the Alexander cycle, of which, however, just only the two “heroic” ones had been engraved and published elsewhere for at that time not yet working in copper and publishing himself. Nevertheless the procedure remained the same, too, for the later Den of Lions. Common to all those “outside works” their

exorbitant rarity even as engravings ,

as then also for the one of the “Den of Lions” no second copy is provable here since Schwarz (1910). Engraved it was expressly missing thus with Counts Faber-Castell (1958), too.  As  print  thus  expressly  also  missing  with  counts Faber-Castell !

The paths of the preparatory drawings as the plates were – different from the works kept together by the Ridingers through the generations and finally handed over in good order – determined by changing publishers now sooner, then later and their being embedded into a mixed production finally lost in anonymity. On account of such handicaps

the preservation of present Den of Lions drawing

is an event of absolute degree

to which the condition of already the times of Faber-Castell with following preservation by just one careful hand has to be inferior.

So besides two horizontal smoothed folds which remained perceptible as abrasions at top below the gallery and centrally below the archway a plenty of tiny(est) abrasions especially in the marginal parts, then, and here impairing only up to a point, for 2.5-3 cm in height in the left part of the sheet above the centerfold. Of the predominantly only spotlike foxing on the back only isolated slightly larger ones shining through largely in the upper half of the subject, perceptible almost only in the washed free area between archway and gallery. Quite isolated small marginal tears reinforced. Generally the quite tolerable wrinkles of the centuries as due to the hard to preserve oversize and greatest rarity, concealed by the

pictorial grandeur of the composition

with its, not least,

10 different masterly lion physiognomies

(that of the eleventh lion covered). And

how elitistär solitarily

the moreover but few historical drawings by Ridinger

stand out from the still remarkable bulk of his animal drawings

evidenced

by their complete missing

in the following opulent inventories of Ridinger drawings :

Weigel (1856, with c. 1849 sheet – 17 of which lion sheets of usual kind – most extensive inventory, dating back to the bequest of drawings purchased from the heirs in 1832) – Coppenrath (1889/90, 66 sheet) – Wawra (1890, 234 sheet) . – See the complete description.

Offer no. 14,859 / price on application

Qualified already since 160 Years as

“ Very & Extremely Rare ”

Ridinger’s Set of the Fountains

4 sheet. 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. – Th. 878-881.

Ridinger, Atlas + Hercules (Fountain)Ridinger, Perseus + Andromeda (Fountain)

From the Ridinger Collection Counts Faber-Castell

Ridinger, Hercules triumphant (Fountain)Ridinger, Apollo and the Pythonic Snake (Fountain)

Fontaine de Persèe et d’Andromede .

Fountain of Perseus and 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.

Fontain d’Atlas et d’Hercule.

Fountain of Atlas and Hercules.

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.

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.

Pictorially as to content beautiful & in splendid impressions

on slightly toned fine (3) and regular resp. laid paper with, however, even structuring  in  the  copy  Counts  Faber-Castell  as  above  .

And not least a further theme showing Ridinger as standing in great artistic tradition .

With their three famous examples from 1593 to 1602

in Augsburg herself ,

among them the Hercules Fountain by the great Adriaen de Vries harking back to a preparatory drawing of Hans von Aachen’s. – See the complete description.

Offer no. 14,873 / EUR  2000. / export price EUR  1900. (c. US$ 2297.) + shipping

From Prior Possession as above

Siege & Conquest of Halicarnassus

Johann Elias Ridinger, Halicarnassus
On the left the boar hound as trademark of the early years

by Alexander the Great

(334 B. C.)

in the with 29¾ × 36⅛ in (75.5 × 91.8 cm)

Largest Ridinger of the Œuvre

in engraving by Johann Daniel Herz I (1693 Augsburg 1754). Early 1720s. – Inscribed: LXXXVII (platemark upper center) / Ioh. Elias Ridinger invent. et delin. (in the text margin lower left) / Senior Iohann Daniel Herz sculp et exc Aug. V. (in the subject margin lower right), otherwise as above etc. – Reich auf Biehla Collection 917 (“Without platemark, mounted [like here, too]. Fine composition.  Extremely rare”, 1894 ! ; present copy ? ). – Th. 917.

The monumental sheet

– pendant to the following 331 Passage of the Tigris

in the second state after modification of the former inscription “Cum Privileg. Sac. Cæs. Majest. / Ioh. Daniel Hertz sculpsit / Hæred. Ieremiæ Wolffij excud. Aug. Vind.” as erroneously described as second state by Schwarz per 917a

of marvelous printing condition of vibrant chiaroscuro

with laterally tiny margin around the subject edge, below 3 mm below the text and at top 5 mm above the subject edge with the number not mentioned by Thienemann & Schwarz. – Old doubling with smoothening of former vertical centerfold and of ultimately very good general condition as not the norm with such difficult-to-preserve oversizes –

the impression yet from but one ( sic ! ) plate !

Illegible blind stamp between the two columns of the caption and aforementioned lot no. there in red. A small slight overinking at the left lower subject edge ending in one word each of the first two Latin text lines.

Early  work  of  Ridinger’s created soon after his return – to be set not before 1719 – from the three-year stay with Baron (so Allgemeine Deutsche Biographie contrary to Kilian/Th.: Count) Metternich in Regensburg, when “all connoisseurs … admired his skill and strength in both historic and animal pieces” (Th.),  while  he  nevertheless  not  yet  worked  in  copper  himself . So “at first there (he) painted several historical representations for the art dealer Dan. Herz” (Nagler; recte Jeremias Wolff, additionally documented for Herz, too, 1732 only, see below), of these concerning Alexander besides the present Siege of Halicarnassus the 331 Passage of the Tigris at Bedzabde (Th. 918 as following here) for the encounter with Darius (III, last of the Persian kings) with the decisive battle at Gaugamela near Arbelas October 1st. Both qualified by Nagler, who erroneously claims the crossing for the Granicus, thus knew the sheet at least without its caption only, as “rich compositions”, they are at the same time

marvelous examples of early maturity and perfection

as already repeatedly stated by example of other early works (“therefore this drawing is of importance for the knowledge of his already perfect style in early years”, Nebehay 88,2 on the drawing for Th. 1 from 1721). Foremost, however, Ridinger’s

tribute to the Alexander cult of his time

and as expression

of his yet unchanged quite personal admiration .

Halicarnassus — the most monumental Ridinger of the œuvre

of most extreme rarity

as by the way generally documented for the plates of the early years still engraved by others. – See the complete description.

Offer no. 14,869 / price on application

From Prior Possession as above

The Second of the Alexander Sheets

Johann Elias Ridinger, Passage of the Tigris at Bedzabde
On the right the trademark boar hound swimming along

First Passage of the Tigris

(331 B. C.)

Crossing at Bedzabde 331 on the march to the encounter with Darius (III, last one of the Persian kings) with the decisive battle at Gaugamela in the vicinity of Arbela. Engraving by Johann Balthasar Probst (1673 Augsburg 1750) for Johann Daniel Herz I (1693 Augsburg 1754; an “art publisher with an eye for quality” [Rolf Biedermann, 1987], “especially his sheets of large size shall be mentioned” [Thieme-Becker, 1923]). Early 1720s. Inscribed: XCIV (platemark upper center) + 3 lines in the subject margin lower right: Senior Ioh. Dan. Herz excud. Aug. Vind. / Iohann Elias Riedinger (sic!) pinxit / (Iohann Balthasar Probst sculps.), otherwise with caption missing here. Sheet size 18¾ × 30¼ in (47.6 × 76.8 cm).

“ An exceedingly rich , very well-worked sheet ,

the pendant to the previous one (Halicarnassus). Alexander stands on the elevated bank, surrounded by some generals, pointing and crying, behind him (his intimate companion Hephaestion and two) blowing buglers. With the soldiers tremendously fighting with the waves (just as already with the opponents) profound variety and truth ” (Th.).

Nagler, Ridinger, XIII, p. 162 (“rich composition”, yet erroneously as “Crossing the Granicus” [battle there May 334], therewith in unawareness of the caption up to the engraver [this copy?], for whom he erroneously names Joh. Daniel Herz I instead of Joh. Balthasar Probst. In such a manner standing to reason that

present Faber-Castell provenance

should be extendable up to the great art lexicographer Nagler (1842/43).

Two sides with tiny margin around the subject, above with 5 mm wider and here with the number not mentioned by Th. & Schwarz, below, however, trimmed close to the subject edge under loss of still the Probst signature, but foremost of the 4 lines Latin-German caption from Curtius Rufus, book IV, chapter 9. – Tiny tear nearly 9 cm long in the lower field left of the center professionally repaired and barely impairing. – Th. 918. – See the complete description.

Offer no. 14,854 / price on application

Ridinger’s Memento Mori

as a

Netherlandish fed Lightning

in the Master’s Œuvre

Johann Elias Ridinger, Memento mori

And besides one of his Great Rarities

In the First State of the

Copy Counts Faber-Castell

On the bible lying on the table death’s-head with several teeth missing. To its right vase with defoliating bouquet, left, as rarer, tray with soap-bubbles on which a four-fingered jagged bar with attached seal rests as well as burned down candle/light of life, on its stand a pair of candle scissors, behind it hour-glass and above curtain with large jagged tear-out for the curtain of life, but since the middle ages also symbol of the mysterious whose possibly religious solace is, however, already countered by the hole. Peeping out from under the bible and projecting beyond the edge of the table a blank sheet of paper with tear and dog’s ear. Mezzotint. Inscribed: Ioh. Elias Ridinger inv. et exc. Aug. Vind., otherwise as above etc. 20¼ × 16½ in (51.6 × 42 cm).

Stillfried (3rd appendix to Thienemann, 1876) & Schwarz (Gutmann Collection, 1910) 1426, obviously both III (of III); Reich auf Biehla 295 ( “Extremely rare”, 1894 ! Without state detail ); Rosenthal, Ridinger list 126 (1940), 434 (without margin, supposedly ditto); Faber-Castell 145, state I (of III) just as the copy of the National Print Room Munich (1963:1644); Wend, Ergänzungen zu den Œuvreverzeichnissen der Druckgrafik, I/1, 289 (1975, quoting Stillfried’s description); Ridinger Catalog Kielce (1997), 172, II (of III) with ills.; Niemeyer, (The Vanitas Symbolism with Johann Elias Ridinger) in Wunderlich (ed.), L’Art Macabre 2, 2001, illustration p. 103 (state III).

Not in Thienemann (1856) , Weigel, Art Stock Catalog, pts. I-XXVIII (1838/57) , Silesian Ridinger collection at Boerner XXXIX (1885) , Coppenrath Collection (1889 f.) , Hamminger Collection (1895) , Helbing XXXIV (Arbeiten von J. E. und M. E. Ridinger), 1554 items; 1900).

With caption:

“ ( What you do think of the end, then you will never ever do evil ) ,
Sir. 7th chap. ”

Earliest version

of this pictorial-beautiful vanitas still-life

as

ONE OF MOST INTERESTING RARITIES OF RIDINGER’S ŒUVRE

whose different states have not yet been recorded by literature present here and according to current knowledge here have to be ordered in their variations as detailed in the complete description.

Deep-brown impression of finest plasticity on buff laid paper with watermark WANGEN and separate IV as both standing for contemporary impressions. With laterally 8-14 mm, top 17 mm margin, below trimmed with partial minor cut of the signature, but loss of the “Sir. 7. Cap.” as final line of the caption. Small tears backed by old in the free field outer left of the toned-fine lower text margin with still minimal extending into the closure of the table edge just as within the two quoted lines with near-loss of the letters “uid” in the second “quid” of the first and minimal touching of the letters “as” in the “Was” of the second line. In the picture itself isolated tiny(est) injuries done by old, optically like a hair crack four of these in the curtain upper left and one in the skull’s right eye, pinhead-like three further ones at the rim of the skull, on the bible, in the curtain. One further tiny injury in the white edge of the table lower right barely perceptible, from the front not at all a few untreated pinhead-small little holes just as also the not unusual smoothed centerfold still visible in the skull only. Of two backed tiny tears in the white right margin one reaching 7 mm into the picture filling. A slight touch of browning down from the foot of the candle-stick optically almost eliminated by the brown of the ink. Generally thus somewhat age-marked, but not only with regard to the additional rarity as first state and the with respect to Ridinger important provenance through and through worth acquisition as an

outstanding example from the group

of the vanitas works and danses macabres

and grand proof of the “ minimized Ridinger ”,

so the art historical contribution here at the Ridinger ceremonial act by the Dresden Technological University on occasion of the 300th birthday, demonstrating at the same time the master’s deep rooting in the Dutch’s emblemism to whose works he generally is more obliged to than supposed till now. And here not least documented by his inv(enit) removing any doubt about his intellectual copyright. – See the complete description.

Offer no. 14,856 / price on application

niemeyer’s — for ridinger mezzotints of first quality

Johann Elias Ridinger, Zeus

Zeus. On cloud armchair flying through the air, with him the eagle , the thunderbolt in the raised left, the angled right supported, likewise the right leg, the look turned downwards in anger. 7¾ × 6¼ in (19.8 × 16 cm). – The sides trimmed on up to within the platemark, thereby upper right till close to the edge of the subject. Above + below with 4-6 mm margin. – On the back at the margins old traces of mounting as well as three face sketches in pencil. – Prior  possession  as  above .Th. 845. – See the complete description.

Offer no. 15,229 / EUR  345. / export price EUR  328. (c. US$ 397.) + shipping

Johann Elias Ridinger, Ancient Warrier, sittingJohann Elias Ridinger, Ancient Warrier

Presentation of both Roman as Grecian War Folks from my Academic Drawings … Plates 1-12 & 17 (of 18). Not before 1759. C. 6¾-7⅜ × 4⅛-4⅞ in (17-18.8 × 10.5-12.5 cm) as now plate, then sheet size, see below, and (pl. 17) 7¾ × 5¼ in (19.6 × 13.2 cm) resp. – Mixed copy of anyhow: 13 in one sweep!  Many  a  great  not  even  dared  to  dream  of  it !  For provable here completely only the copies Thienemann & Baron Gutmann (Schwarz catalog). –  Prior  possession  as  above .Th. 860-871 & 876 (of 860-877). – See the complete description.

Offer no. 14,879 / EUR  1300. / export price EUR  1235. (c. US$ 1493.) + shipping

Alessandro Marchesini, St. Ambrose

“ One of the Most Distinguished

Fathers of the Church ”

in the Copy Counts Faber-Castell

S. Ambrosius. Preciously dressed in full figure, sitting to the right with the head turned to the left, the left resting on an opened book. Laterally left angel with crosier & tiara. Closed folio at his feet. Mezzotint after Alessandro Marchesini (1664 Verona 1738, active in Verona, Venice, Padua). Inscribed: Marchesin pinxit a Venetia. / Ioh. Iacob Ridinger sc. / Ioh. El. Ridinger exc. A. V., otherwise S. | AMBROSIUS. 21 in (53.2 cm) sheet height × 16¼ in (41.3 cm) width platemark. – Schwarz 1532. – See the complete description.

Offer no. 14,867 / EUR  685. / export price EUR  651. (c. US$ 787.) + shipping


„ Vielen Dank für Alles, liebe Grüße und schönes Wochenende von der Mosel Herzlichst “

(Frau A. B., 4. April 2003)