forms so to speak an isle of delightfully looked at cassettes + bookbindings in red morocco with contents of highest quality , rarities truffled with uniqueness , yet uniqueness paired with itself and in such a way magnified to

showcase  pieces  of  worldwide  singularity

in the truest sense of the word. From time to time also simply just a rarity or things of special beauty + charm additionally enobled by an astounding impeccable state. And following the conversation language of the Ridinger time of which so many parallel print subtexts bear witness, always in that ruby red morocco quoting best French bibliophile 18^th century as crème de la crème of every symbiosis of art , mind , and domestic way seeing oneself, quite possibly also with a not always avoidable touch of grandeur which latter now and then even lets the beholder hold in and forget the world about himself.

In doing so consciously keeping distance of any in the result only imitating repeat of the luxurious leather stamping of that grand epoch, just also of that of the master’s collectors abroad led by France + England and in respect of his oils crowned by the czar’s court. Thus here and today then timely sober confinement to, indeed, overlapping, but otherwise unplayful gilt-stamped filets as border of the edges + back-plates. The title-stamping in likewise 23.5 carat, however, frequently with Johann Elias Ridinger as richly designed signature italics following now, of course, former ornament. As reverence for the man + the time. From the œuvre, however, were taken a stag + a horse each as vignettes – »Le dix-huitiême siècle est le siècle de la vignette«, E. & J. de Goncourt – adorning, according to contents apart or combined, usually the covers of cassettes + bookbindings. As reverence towards the œuvre. And as provenance mark in addition. Documenting, mostly joint with “ridinger handlung niemeyer” at inner lower edge, its origin from reliable house , just

from  the  ridinger  gallery  niemeyer

Oculi  , here  they  are  already  coming :