Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Four Seasons. Large three-quarter figures sitting before landscape accessories (1-3) and at home resp. Set of 4 sheet. Mezzotints. Inscribed: Ioh. Elias Ridinger excud(it). A. V., otherwise as following. 21¼-21¾ × 16¾-17⅛ in (53.9-55.1 × 42.6-43.5 cm).
Not in Weigel, Art Stock Catalog, division I-XXVIII (1838/57; more than 1000 R. sheets of the etched/engraved work) , Coppenrath Collection (1889/90) , R. collection at Wawra (1890; besides 234 drawings 600 prints) , Reich auf Biehla (1894; “Of all [R. collections on the market] since long time there is none standing comparison even approximately with the present one in respect of completeness and quality … especially the rarities and undescribed sheets present in great number”; 1266 sheet plus 470 duplicates + 20 drawings).
Slightly reduced and somewhat reservedly composed repetition of the third (of five) set of the Four Seasons Th. 1181/84 – “The ideas taken from the works of (Hyacinthe) Rigaud (1659-1743) and other French portrait painters” (Th.), though as to the contents generally in the succession of antiquity and Middle Ages according to which the perception of nature by the elements + seasons had “an important part in the process of profanation of art in the 16th century” (Robels, Frans Snyders, 1989, p. 25) – under renunciation of the verses, too. The missing of the latter might have led to the confusion with “Th. 1181-1184 before the verses … Extremely [and] Very rare [resp.]”. So 1885 with the Silesian R. coll. at Boerner XXXIX, 1985 , Georg Hamminger Coll. 1849/52 (1895) & R. catalog Helbing XXXIV, 1501/04 (“Splendid mezzotints. Extremely rare.”;1900) .
Present Th. 1193/96 hence in the wide lower margin set off of the subject by roll border sovereignly with just the titles in Latin-German in large typography.
The excellent copy in regard to printing and conservation of a cultivated collection of perfectly bright chiaroscuro in all parts. And in such a manner of quite extraordinary rarity not only on the market as quoted above, but in general, too. Already in 1675 the expert von Sandrart numbered “clean prints” of the velvety mezzotint manner at only c. “50 or 60” (!). “Soon after (the picture) grinds off for it not goes deeply into the copper.” – Mounted by old at the corners on buff laid paper which is slightly browned at two/three outer margins. – The winter sheet with tiny margin at three sides, otherwise partially with such one or trimmed to platemark.
Offer no. 28,413 / price on application