Johann Elias Ridinger, “The Age of the Noble Stag”, c. 1721

Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767)

“The Age of the Noble Stag”, or “Des Edlen Hirschen Alter” (as titled in the plate), published in 1721

Technical Details & Condition:

Etching with engraving on fine laid paper, trimmed with a margin around the platemark on the top and sides, and trimmed along the platemark on the lower edge. The sheet has been professionally supported on tissue-thin archival (Kozo) washi paper.

This is the second plate in the series “Der Fürsten Jagd-Lust” (The Prince's Hunting Pleasure). Described by Thienemann (1856), the series provides: “Complete and thorough descriptions of the princely pleasures of hunting, or noble hunting, as they are presented according to the true nature and proper use of all the necessary equipment, according to the type and manner of each animal, and especially according to the customary hunting terminology, clearly illustrated and drawn from life” (p. 7). This particular plate is very rare and produced in a smaller format than Ridinger’s later prints. It is understood that Ridinger enlarged the size of his etchings after issuing this and the other seven plates from his initial series once he established a solid market for his work.

Note: The letters “A.V.” inscribed in the publication details on this plate do not refer to a publisher (often fictitiously named “August Vindel” or “Aug. Vindel”). Instead, “A.V.” is an abbreviation of “Augusta Vindelicorum”—the Latin name for Augsburg.

The impression is strong and well-printed, though the sheet exhibits signs of handling and its age, including minor marks, fractures, and thin areas.

Dimensions:

• Sheet: 31.7 x 26 cm
• Platemark: 30.5 x 23.5 cm
• Image borderline: 24.9 x 22.4 cm

In-Plate Lettering (below the image borderline):

• Left: “I. El. Ridinger inv. pinx. sc. et exc. A.V”
• Centre (in German and French): “Des Edlen Hirschen Alter. / Der Edle Hirsch hat Gehörne oder Geweihe [...] des Hirsches unsere Läüsste. / L'áge et les qualite du Cerf / On reconnoit l'áge du cerf [...] de tous les cors qu'il peut porter.”
• Right: “avec privil. de Sa M. Imper.”

References:

• Thienemann 14 (Georg Thienemann, Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger, mit ... Verzeichniss seiner Kupferstiche, Schwarzkunstblätter, 1856, Leipzig, Rudolph Weigel, p. 9, cat. no. 14) See: https://archive.org/details/lebenundwirkende00thie/page/n45/mode/2up
• Albertina Museum: https://sammlungenonline.albertina.at/objects/402375/des-edlen-hirschen-alter
• Museum of Fine Arts Ghent (MSK): https://mskgent.be/collection/work/data/2013-GP  

Price & Shipping:

AU$239 (approx. US$168.79 / €143.91 / £125.39), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this rare and early etching by Ridinger, along with its detailed description of the attributes of deer as they mature—for example, young deer have horns called “clubtails,” with a curly ring at the horn base called the “rose” or “pearl,” while mature stags develop antlers that are “erupting” at the base and may have eighteen or more tips (fascinating reading!)—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless transaction.

Martin Elias Ridinger, “A White Badger in a Rocky Landscape”, c.1750s

Martin Elias Ridinger (1730–1780) after the design by his father, Johann Elias Ridinger (1698–1767). Note that the British museum has attributed this print to Johann Elias Ridinger (see https://www.britishmuseum.org/collection/object/P_1917-1208-395), but the inscribed production details on the plate advise that the father designed and published the print and his son executed it.

“A White Badger in a Rocky Landscape”, c.1750s, plate 74 in the series, (transl.) “Marvellous Deer and other Strange Animals” (see Georg Aug. Thienemann 1856, p. 276 [https://archive.org/details/lebenundwirkende00thie/page/276/mode/2up]), published posthumously by Johann Elias Ridinger in 1768 in Augsburg.

Regarding the series in which this etching features (“Marvellous Deer and other Strange Animals”), Thienemann (1856) offers the following expanded description of the animals portrayed: (transl.) “Exact and correct representations of the most wondrous deer, as well as other unusual animals, hunted, shot, captured alive, or kept by great men themselves, conceived and produced with the high trust and pleasure of all friends and admirers of rarities found in nature” (p. 62 [https://archive.org/details/lebenundwirkende00thie/page/62/mode/2up]).

Etching on laid paper with a small margin around the image borderline and writing edge backed with a support sheet.

Size: (sheet) 33.6 x 25.6cm; (image borderline) 28.5 x 24.4cm.

Numbered in plate above the image borderline: (right) “74”.

Lettered in plate below the image borderline: (left) “Joh. El. Ridinger inv. del. et exc. Aug. Vind.”; (centre) “Diser sehr rare weisse Dachs, welcher mit gelb röthlichten und dun-/ ckel castanien flecken gespringet war, ist A^o. 1724. den 5. gtoris im/ Parck beÿ S^t. Hubertsburg ausgegraben und behaezt worden.” ([transl.] “This very rare white badger, which was spotted with yellow, reddish and dark chestnut, was dug up and kept in the park near St. Hubertsburg on the 5th of August 1724.”); (right) “Mart. El. Ridinger sculpsit.”

Thienemann 316 (Georg Aug. Thienemann 1856, “Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger ….”, Leipzig, Rudolph Weigel, p. 75, cat. no. 316 [https://archive.org/details/lebenundwirkende00thie/page/74/mode/2up]).

Condition: a strong and well-printed impression trimmed with a small margin around the image borderline and writing edge, laid onto archival (millennium-quality) washi paper that provides generous margins. Beyond restoration to the chipped upper right corner, the sheet is in excellent condition, free of tears, holes, folds, or significant stains.

I am selling this marvellously endearing etching of white badger enjoying the first rays of morning sun, for the total cost of AU$302 (approximately US$194, EUR 171.82, or GBP 145.63), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this superb representation of a rare white badger sporting its assortment of spots—note the considerable and subtle skill of the artist to denote that the badger’s hair is unmistakably white with mid-toned spots—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jean-Baptiste de Roy's etching, “Tigress with Her Cubs”, c.1850

Jean-Baptiste de Roy (1759–1839)—a Flemish artist who is known for his landscape and animal paintings

Note that I initialled believed that the printmaker may not have been Jean-Baptiste de Roy and that this artist was the intermediary designer who translated the original painting on which this etching is based into line, but after consulting C. G. Voorhelm Schneevoogt's (1873) "Catalogue des Estampes Gravées d’Apres P. P. Rubens” the printmaker responsible is given as “Deroy” (p. 230, cat. no. 39).

“Tigress with Her Cubs” (aka “Tigress Suckling Her Cubs”), c.1850, published in Paris in the art periodical, “L'Artiste: Revue de Paris” and printed by Sarazin (aka Sarasin) (fl.c.1846–1880), after the oil painting, “Tigress with Her Cubs”, 1620, in the Akademie der Bildenden Kunste, Vienna, attributed to either Peter Paul Rubens (1577–1640) or Jan Wildens (1586–1653).

Interestingly, this print has been attributed to Eugène Delacroix (aka Ferdinand Victor Eugène Delacroix) (1798–1863) (see http://www.artdiplomatic.com/grafica/1067-delacroix-eugene-ferdinand-victor-1798-1863-francesa-lions-et-ses-petites-.html), but Lous Delteil’s catalogue raisonnë of Delacroix’s graphic work does not describe this print.

Note that Johann Elias Ridinger (1698–1767) executed an etching after Rubens, in which the lower right section of its composition features the subject of this print (see https://hvrd.art/o/278343). Note also that Nikolaus Rhein (1767–1819) executed a mezzotint in 1790 of the same composition (with difference in the format) attributed at the time to Rubens (see https://www.britishmuseum.org/collection/object/P_1891-0414-1263).

Etching on wove paper trimmed with a narrow margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 23.5 x 33.7 cm; (plate) 22.3 x 33.1 cm; (image borderline) 21.2 x 32.3 cm.

Lettered in plate: (above the image borderline at centre) “L'ARTISTE”; (below the image borderline at left) “DE ROY”; (below the image borderline at right) “SARAZIN IMP PARIS”.

Condition: a strong and well-printed impression, trimmed with a narrow margin around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superb etching executed with great skill—note how the artist has been able to suggest the pale tones and fine hair of the cubs in contrast to the much darker tones and comparatively coarse hair of the tigress—for the total cost of AU$282 (currently US$183.52/EUR170.31/GBP145.45 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in powerful portrayal of a protective tigress with her suckling cubs, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Johann Elias Ridinger’s mezzotint, “S. Antonius de Padua”, c.1740

(attrib.) Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767)

“S. Antonius de Padua” (aka “St Anthony of Padua”; “St Antoine” [Le Blanc title]), c.1740.

Mezzotint on fine laid paper backed with a support sheet.

Size: (sheet) 56 x 41.8 cm; (plate) 54.4 x 40.3 cm.

Lettered below the image borderline: (centre) “S. ANTONIUS DE PADUA”.

LeBlanc 954 (Charles Le Blanc 1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3, Paris, Emile Bouillon, p. 333, cat. no. 954); Schwarz 1533 (Ignaz Schwarz 1910, “Katalog einer Ridinger-Sammlung” [2 vols.] Vienna, cat. no. 1533).

See also the descriptions of this print offered by the Wellcome collection and Grosvenor Prints: https://wellcomecollection.org/works/kby6aa5t and https://www.grosvenorprints.com/stock_detail.php?ref=28372.  

Condition: a strong and well-printed impression, with restored printer’s creases. The sheet is in a superb (museum quality) condition for its size and considerable age with no tears, holes, folds, significant stains or foxing and has been laid onto a support of archival paper.

I am selling this exceptionally rare and large etching in an amazing state of preservation, showing the Portuguese friar—St Anthony/Antonius of Padua (aka Ferdinand Martin Bulhom) (1195–1231)—worshipping the infant Christ with the saint’s devotion symbolised by his hands resting on the Bible and a flowering lily, for AU$430 (currently US$287.41/EUR260.05/GBP228.92 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this amazingly fine mezzotint of a saint who was also a friend and disciple of St Francis of Assisi and who (according to the British Museum’s biographical details for this saint) even had: “fish rising out of the water to hear him preach, a mule kneeling before the Blessed Sacrament as the saint carried it past, the discovery of a miser's heart in his treasure chest, the restoration of the leg of a young man who had cut it off in remorse for having kicked his mother” (see https://www.britishmuseum.org/collection/term/BIOG115509), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Johann Elias Ridinger's etching, “Die wilden Schweine” (Wild boars), c.1740

Johann Elias Ridinger (aka Johann Elias Riedinger) (1698–1767)

“Die wilden Schweine” (Wild boars), c.1740, plate 2 from the series of eight plates, “Gründliche Beschreibung und Vorstellung der wilden Thiere nach Ihrer Natur, Geschlecht, Alter und Spur” (Thorough description and presentation of the wild animals according to their nature, sex, age and tracks), published in Augsburg by the artist.

Note: the letters “A.V.” inscribed in the publication details on this plate do not refer to the name of a publisher (often given as a fictitious publisher, “August Vindel” or “Aug. Vindel.”). Instead, the letters are an abbreviation of “Augusta Vindelicorum”—the Latin name for Augsburg.

Etching on cream laid paper with generous margins backed with a support sheet.

Size: (sheet) 71.3 x 51.1 cm; (plate faint) 63.4 x 46.5 cm; (image borderline) 55.5 x 44.5 cm.

Inscribed on plate below the image borderline: (left) “Cum Priv. Sac. Cæs Majest.”; (left of centre) “Sau Fährte im Trab” (Sow track at a trot)/ “Gefährte einer Trächtigen Bache” (Companion of a pregnant wild sow); (right of centre) “Sau Fährte flüchtig” (Sow track fleeting)/ “Gefährte von einer Bachen” (Companion of a wild sow); (right) “Ioh. El. Ridinger inv pinx. Sculp. et excud. A. V./ 2.”

Thienemann 1856 188 (Georg Thienemann, 1856, “Leben und Wirken des ... Thiermalers und Kupferstechers Johann Elias Ridinger, mit ... Verzeichniss seiner Kupferstiche, Schwarzkunstblätter”, Leipzig, Rudolph Weigel, p. 47, cat. no. 188).

This publication may be viewed online or downloaded free-of-charge from archive.org: https://archive.org/details/lebenundwirkende00thie/page/46

Thienemann (1856) offers the following description of this print (abridged):

[transl.] “The wild pigs. One of the most magnificent leaves of this magnificent collection. They [the five featured pigs] lie in comfortable tranquility … but each one is different, it is, as they say, pig-friendly. … a smaller pig looks out … four strong pigs … [are at] peace … One lies, as if lost in death's sleep, quite frizzy, the other leans his head comfortably against the third, which raises his head somewhat with an expression of well-being, while the fourth sits more than lies” (p. 47).

The British Museum offers the following description of this print:

“A herd of wild boars sleeping in the mud surrounded by lush trees; boar footprints and explanatory remarks below.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1528901&partId=1&searchText=Ridinger+boar&page=1)

Condition: richly inked and well-printed impression showing no sign of wear to the plate and with generous margins. The sheet has numerous restored tears and minor water stains in the margins and is laid upon an archival support sheet of millennium quality washi paper.

I am selling this superb and large etching, described in the catalogue raisonné for Ridinger as one of the best in the series, for AU$210 (currently US$142.54/EUR128.77/GBP110.30 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this masterpiece of etching that seems to be held only in the collection of the British Museum (based on my search of the major art museums' collections), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold