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Show-Piece of a great Rarity of Natural History
and additionally truffled with a vanity symbol of degree
thinkably seldom already in a paper impression …
but here then now the original printing-plate !!
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Stag of 14 Points and still an End under the Rose with only 3 Legs had been hunted near Meiches in 1748 by Landgrave Louis of Hesse-Darmstadt after it had been seen in such a way a whole year long … How it may had happened and how the creature may had cured itself … what human may be able to heal himself suchlike. / Ditto this fawn with three legs by nature and only the trace of a claw at the thorax had been hunted at Geißlingen (between Stuttgart + Ulm) in 1739 by Martin Bückle, forest ranger at Amstetten. Furthermore there is a second calf with lamed forelegs. All in an extensive park in front of a plateau with stoop and large fountain. But right in front a lying vase
“ whose lower part is broken .
It has no stem , too , on which it can stand ”
(Wolfgang Weitz, [The Stag with the 3 Legs from Meiches] in [From the Hunting History of the Vogelsberg {Bird Mountain} in Hesse], Museum Hunting Seat Kranichstein, 2006, p. 21). Copper-printing-plate in reverse by Martin Elias Ridinger (1730 Augsburg 1780). Inscribed: M. E. Ridinger sculps. Aug. Vind., otherwise in German as abridged before and, for the fatherly “signature”, below. 37.6 x 26.8 cm.
The already as paper impression most seldom work
(“When in 1999 I have presented together with Mrs. Gisela Siebert D. Ph. the work ‘Ridinger, [Pictures for the Hunt in Hesse-Darmstadt]’ all relevant engravings of the Ridinger family actually should have been dealt with. Nevertheless it lacked one engraving [Siebert-Weitz p. 21], namely the one on which three pieces red deer are reproduced: A Stag with 3 Legs, a Fawn with three Legs, and a further calf … In the meantime the sheet could be acquired [in this place] by myself. Now its commentary can be made good”, Weitz, op. cit., p. 18; bold types not in the original)
here then as a non plus ultra in its optically excellently preserved
original printing-plate
in the reddish golden brilliance
of its 229-239 years old copper
to sheet XIII (Thienemann + Schwarz 356; Ridinger Catalogue Darmstadt, 1999, V.21; Weitz, op. cit., pp. 18 ff.; the latter two respective with ills.) of the “(Special Hunting Events and Occurences)” – “the rarest set of Ridinger’s sporting line engravings” (Schwerdt) 1928 – , worked into the copper (etching + engraving) exclusively by Johann Elias’ eldest, Martin Elias, after widely fatherly designs fom especially 1752/53 (so Schwarz by the drawing dates of the set) and completed in 1779, in which “in addition to truly ’special events’
also depictions of zoological peculiarities
analogous to the ‘Wondrous Stags’” (Stefan Morét in Catalogue Darmstadt, p. 113).
The field-names of the surroundings of Meiches mentioned in the subtext as so not existing obviously given back faulty by Ridinger.
For the theme itself the following observation from younger time may be useful :
“ (In the Funtenlake area was a chamois buck who lacked the foreleg. This 3-leg buck was the chief buck during a whole rutting season. In the next rutting season he was not seen generally. But in the year after next he stood at the same rutting place again and in spite of his three legs he chased away all stronger rivals with such rigor, that none could dispute to him the range as place buck … One could see how most energetic will and resoluteness can compensate for disability [Thomas Mann once titled a forewood to a respective publication with “Throw Away your Crutches”]. In the same year then the deadly bullet struck the heroic buck “
(Hans Fuschlberger, [The Chamois Book], Munich 1939, p. 123, paragraph 1 quoting Hauber, [The Chamois Game], without bibliographical notes).
Beyond this as analogous to the happenings
the broken vase
as of highest importance for the „Minimized Ridinger“;
(so the title of the art-historical speech delivered here to the audience of the Ridinger ceremonial act of the Technische Universität Dresden on the 300th Ridinger Birthday), who adds to the manifold symbols of vanity of his œuvre beyond all the pure ones by this pictorial signature a standing leg defying any discussion and in such a way manifests his artistic genius sui generis. See hereto then also the lecture here („The Vanitas Symbolism with Johann Elias Ridinger“) to the audience of the 6th annual meeting of the European Danse Macabre Association at Bamberg in 2000 (partly illustrated version in the 2nd yearbook of the society, L’Art Macabre 2, ed. by Uli Wunderlich, Dusseldorf 2001, pp. 94-112). In such a matter
Johann Elias’ authorship of this work
is secured as resulting from itself and confirms together the conclusion drawn by Weitz from Thienemann’s, however, only lump-sum details (“Thienemann [p. 81] means, Johann Elias Ridinger or the Darmstadt court painter Georg Adam Eger [1727-1808] should have been the draughtsmen [of the Occurences set]. But because Eger is not mentioned as draughtsman one must think Johann Elias Ridinger shall be the supplier of the designs. Always then if Eger has appeared as draughtsman the Ridingers designate him as such one”, op. cit., p. 18).
One of the few thematic lone wolves of the set which otherwise is “arranged almost throughout so that always two by two correspond with each other and form pendants, just as they have been sold in pairs, too. Former they all were characterized by Roman numbers. If they are missing, so this points to later impressions” (Thienemann p. 81). Such concerns particularly seven sheets which have been taken over in exchange for others in a later new edition of the “Wondrous”. As then the plate here, too, whose original “XIII” in the mid of the upper edge is, invisibly on the subject side, polished out and replaced by a “91” above left.
Both artistically and thematically a superlative
the plate is a priceless, worldwide unique collector’s object par exellence and here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) + Thienemann (1856, p. XXIII) seamlessly directly to the master’s estate itself. And already in general :
“ Preserved original 18th century printing-plates
are of great rarity”
(Morét, op. cit., pp. 62 f. See also the plates there I.13, I.8 + I.11, colour ills. 6 + b/w ills. pp. 63 f.).
And especially on Ridinger’s :
“ Of the high technical and qualitative standard of the works of Ridinger and his sons collaborating in the workshop especially as engravers the (only very partially) preserved printing-plates bear witness still today. ”
In the same sense then already before Bernadette Schöller in “[The Cologne Graphic Market at the Time of Václav Hollar]” within [Václav Hollar – The Cologne Years] ed. by Werner Schäfke, Cologne 1992, p. 19:
“ The copper-plates
which on the basis of both their material value
and the working times invested therein , too ,
enjoyed a far higher esteem
than , e.g., a preparatory drawing handled only too often disrespectfully … ”
As then elsewhere, too: “The Nuremberg publisher Frauenholz was so taken with this work that he acquired the plate from Reinhart (1761-1847) for a considerable sum” (Teeuwisse III [2007], 29).
And quite concretely Cornelis Koeman in Atlantes Neerlandici II (1969), pp. 138 + 345:
“ One of the most dramatic events in the early history of commercial cartography in Amsterdam was the sale of Jodocus Hondius, Jr.’s copper-plates to Willem Jansz. Blaeu in 1629, the year of his death. At least 34 plates, from which Jodocus II had printed single-sheet maps for his own benefit, passed into the hands of his great competitor. Immediately after that, his brother, Henricus, and Joannes Janssonius (brother-in-law of the latter) ordered the engraving of identical plates. ”
Whereby the communicated process of this order documents
the whole value of copper-printing-plates
once more :
The placing to the engravers Evert Symontsz. Hamersvelt and Salomon Rogiers by notarial act laying down the completion of now 36 plates within 18 months, worked “accurately and finely, yes, finer and better and not less in quality than the maps given to the engravers. The principals will pay to the undertakers 100 carolus guilders for each engraved plate and will also pay the copper itself and the polishing. Five hundred guilders will be paid in advance in order to afford the undertakers to pay the labourers.” Regarding the inclusion of independent temporary engravers as obviously usage the principals “will during the said period not be allowed to employ any of the following (seven) engravers … or any one else who should be employed by the undertakers, with excemption of (two ones). If Salomon Rogiers (obviously specialized letter engraver) came to die within the aforesaid period, it will be up to Evert Symontsz to decide if he wants to stop or to continue with the work, by lack of a good letter engraver. If Evert Symontsz came to die (prematurely) … Salomon Rogiers is forced to complete the task, provided that more time will be available for him.”
As we visualize these informative details the plates inevitably gain in additional intimacy. Telling of pressures and time-need if co-players did an unexpcted clever move which could become commercially threatening, whereby term of delivery and considered number of engravers illustrate abruptly the advantage of the competition. And just the pure labor value of such a plate pointed out with already above by Bernadette Schöller, here multiplied by a degree of accuracy of a map transfer with its, not at least and specially, see above, infinite local inscriptions! As said, truly dramatic.
Yet in the case here, remember, regarding nevertheless always only reproduction plates. What an artistic and therewith timeless factor determines the value then only there, where the genius of the artist himself draws the lines, leads the needle, strengthening the intensity of the etching there and taking it back here, imposing the own vision upon the copper! Here + today then in such a manner Ridinger plates!
And so it was said then here also on occasion of the reappearance of parts of the so-called Thieme-Becker block of Ridinger’s printing-plates “One of the most sensational discoveries in art history … Ridinger’s original printing- (sic!!!) plates”.
At which not only after realization here the consequence of the eldest, Martin Elias, as the etcher/engraver of the plate here being up for the Ridinger œuvre is much larger than that of an engaged co-worker only. Already at an age of thirty he just acted as a spiritus rector behind the backstage ensuring that sets were completed as just also that of the Hunting Events. Without him the plate offered to you here would not be in existence!
And as Wolf Stubbe (Joh. El. Ridinger, Hbg./Bln. 1966, pp. 16 f. + pl. 34), going in medias res, celebrates Thienemann 722, The Wild Bison and the Crocodile, from the Fights of Killing Animals as an artistic zenith of the late work in respect of its luminous efficiency, he pays tribute together, because judging by the plate, not the drawing, to Martin Elias as the etcher/engraver of that work. An aspect illustrating deeply the Ridinger team-work.
Sheltered from tarnishing by fine application of varnish
the plate is printable generally in the ordinary course of its use during the times. But it is offered and sold as a work of art and an object of collecting. Also without prejudice to its final printing quality. Shortly ,
a thinkably enjoying , worldwide unique absolutum .
Proposed to you with the recommendation of a timeless-elegantly frameless hanging (fittings included) for that you will experience the reflection of the respective light to the fullest.
And what said private Ridinger plate purchasers generally ?
“ You have surprised me ”,
so a retired presiding judge purchasing two of these cimelies
of which he had impressions been done
(see Ridinger catalogue Darmstadt, 1999, I.10 + I.12).
“ I would like to thank you ,
the plates are more beautiful than I had expected ,
I take both , no question ”,
so an entrepreneur who in the meantime bought three further ones.
“ … and I know the plate will only gain in value ”,
so an American purchaser.
And in 2001 the Augsburg Art Collections presented the acquired 12-plate set for the Paradise suite
within the exposition “KUNSTREICH” as the important acquisitions of the last decade
(catalogue KUNSTREICH no. 102, pp. 198-201).
Finally to complement all facts above by a comparison of the valuations once and now as possible on the basis of the said map-plates proves to be both interesting and informative:
In 1630 Hondius-Janssonius paid said 100 guilders (in the Northern Netherlands of the 17th/18th centuries 20 stuivers came on one guilder and 16 pennies on a stuiver) for the engraving of each single map-plate additionally to the copper itself and its polishing. Compared with this in 1670 the publisher’s price for Joan Blaeu’s 12 and 11-volume resp. Atlas Maior from the 1660s with its about 600 (sic!) maps – Le Grande Atlas as the most exciting atlas event of all times published in a total edition of just under 1000 copies – made in its standard edition in decorated vellum and colored in outline only just 450 and 430 resp. guilders! Nevertheless inevitably meant only “for a small circle of customers … (for the) requirement of representation of rich merchants and shipowners”. For a normal daily earnings made in the thought span of time 1 guilder on the flat country of the west, in the south + east only between ½ + 1 guilder. For specialists a little more, for farm hands somewhat less. And in the cities about the double.
For the early 1970s Traudl Seifert, then keeper of the map division of the Bavarian State Library, figured for the Atlas Maior in the standard edition a shop price of about 150 thousand German marks. On a 1984 auction sale an 11-volume copy estimated irrespectively of 5 missing maps at 250 thousand was paid with totally 347700 DM. A rise to 80760% from the publishing on 300 years ago! Which on their part already date back two decades!
Analogously to this the 100 guilders costs for engraving per each plate in 1630 would have been multiplied about just the 807fold to 80760 DM and 41292 EUR resp. per 1984, one DM put roughly on a par with a guilder, freely granting this to be so. Yet, surely, but only, requiring alone skilled ability.
(Basing on Koeman, as above; Traudl Seifert, Der Atlas major des Joan Blaeu, in Börsenblatt für den Deutschen Buchhandel, Frankfort edition of February 25, 1975; and statistic sources.)
And so the most elitist frequently still is the most economy-priced one .
Offer no. 14,984 / price on request
– along with said frameless hanging equipment –