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« The Deer’s Four Times of Day »
as maybe the finest natural set of the old graphic
localized here at the atmospherically staged
Starnberg on the Lake + Nymphenburg
in Bavaria close to Munich
with furthermore the master’s one and only own dedication .
Here then also even
in their original printing-plates .
And to all abundance finally
accompanied by embedded dismissed further work .
A quite intimate wall decoration , indeed !
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Deer’s Four Times of Day. Set of the four copper-printing-plates in reverse. Between 1743/44 + Oct. 1763. Inscribed: J. E. Ridinger Pictor ac Sculptor Augustan. (1) and J. E. Ridinger fec. (2-4) resp. + characterization of each scenery above of the oval image the corners of which hatched out. 34.8-35.1 x 28.4-28.9 cm.
The optically excellently preserved set
of the original printing-plates
of these “splendid compositions” (Nagler) in their mixed technique of etching and engraving as typical of Ridinger and his age to Thienemann + Schwarz 238-241
in the reddish golden brilliance
of their 250 years old copper
here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate. And therewith correcting Thienemann (1856) who declared the plates of this set as being deprived. But so a collector’s object of worldwide quite especial preciousness. And a generally quite unique rarissimum, too. For
“ Preserved original 18th century printing-plates
are of great rarity”
(Stefan Morét in Ridinger Catalogue Darmstadt, 1999, 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”.
That the ones here the master has worked alone
should be mentioned expressly. Just as documented by inscription.
Morning
Lucem revehit tenebris Aurora fugatis
In a rocky landscape a troop welcoming the new day
“ On a wall of rock a brocket is standing greeting the rising sun by neck put forward far up. Below at a water a 12-point stately one resting, looking, as a friend of the light, upwards likewise. Beside a further one restfully standing and two hinds. ”
For the brocket the drawing Weigel, 1869, no. 133 – “A Languishing Stag standing on a Rock Piece”, black chalk heightened with white, on blue paper – should have been used as copy, inscribed by Ridinger with “in silva Nymphenburg (near Munich), ad vivum delineavit J. E. Ridinger 1738”. – As a whole the composition should stand in connection with the oil given to Johann Elias in the 1978 exposition “(Hunting Formerly and Today)” of the Lower Austrian State Museum at Marchegg Castle (no. 129, 44.5 x 37 cm, for the pendant see the noon plate) described as “… shows a rocky landscape with stags and hinds”.
With the dedication – the one and only own within the about 1600 leaves of the graphic œuvre! – to the artistically all-round diplomat Christian Ludwig von Hagedorn (Hamburg 1712 – Dresden 1780), brother of the poet and since late 1763 chairman of the Dresden Academy, then, in 1764, chairman of all cultural institutions in Dresden, here in his position of Saxon Legation Councillor of August III (Elector Friedrich August II of Saxony), King of Poland:
“ CHRJSTJANO LVDOVJCO AB HAGEDORN
Potentiss. Poloniae Regis a Consiliis Legationum
Viro et avitae Nobilitatis Splendore
et artis graphicae usu , cultu , amore
inter graviora negotia Spectabili
D. D. D. ”
The dedication giving together the timing (hereto see additionally to the “Hippocrene”-side of the evening-plate) for the setting-up of the suite. In 1735 entered upon Saxon electoral service Hagedorn was promoted Legation Councillor in 1743/44 (Privy in 1763). Because the successor of August III, Elector Friedrich Christian (Oct.-Dec. 1763) did not take over the kingship, too, the creation of the set lies before his time. And in such a way before that of Hagedorn’s as highest cultural administrator, too. Regarding the motive for Ridinger’s distinguishing unique dedication there is still no knowledge here.
Noon
Sol mediam coeli terit arduus arcem
A troop of three by a strong tree in a forest
“ For midday rest a capital stag is standing (at a water), frontally to the beholder, in the shadow of a strong tree of a forest. Beside a lying stately ten-point one licking his back and a smaller further one, both resting. ”
The pendant to the oil in Marchegg mentioned above to the morning plate described in the catalog per no. 128 as following :
“ … represents a group of three stags assembled under a mighty tree. Two deers have lain down on the ground, the third one stands almost frontally against the onlooker. In the foreground a watercourse, in the background dense wood. ”
Evening
Ast(e)rifero procedit Vesper olympo
Father , mother and son under the starry sky
“ The main figure, a vigorous 12-point one (one of the two binding marks of the ridinger gallery), has a resting hind alongside of him and a brocket (perhaps the son) behind him. All three vivaciously for they are night-animals. ”
Under leaving out of the standing second hind it is the right foreground group in reverse from Th. 293
“ (Anno 1736. drawn from nature in the forest near Stahrenberg
[ near Munich ]) ”,
which was transferred to copper – „J. El. Ridinger ad viv. del. et fec.“ – in 1746/48, but surely hardly before 1747. This scenery shows the said four-group on a rock above a water assumed as the bay of a lake and together at the foot of a rock projecting into the subject. Beyond at the edge of the forest another capital one with four-headed seraglio.
The Indian ink preparatory drawing “Deer Herd at the Bank” of the Coppenrath collection inscribed
“(Drawn from nature near Starenberg on the Lake)”
(part II, 1889, no. 1918, “For Th. 293”) evidently belonging to could be, however, identical with that one inscribed with the same words in Weigel, 1869, no. 130, and by this as belonging to Th. 241, see the& following scenery.
Among the changes of details of an oil of the complete composition Th. 293 sold here the situation of the water below of the right foreground group proves to be remarkable as, in contrast to the copper, illustrating clearly a flowing off.
Midnight
Jam medio volvuntur Sidera lapsu
Rutting season at moonlight
“ It’s moonlight at rutting season. A 16-point rutting stag, belling pitifully, surrounded by seven pieces game, an imposing seraglio, which are about to go to water (and that clearly that of a large lake). At the bank beyond another stag crying. ”
This group of eight exactly the situation of the afore-mentioned drawing Weigel 130:
“ A landscape with a river (sic!), in front a stag and (7) hinds going downwards from the rock to the river. Inscribed: Drawn from nature at Starenberg on the Lake. With the painter’s name (this in Coppenrath above included per “Inscribed” as taken for granted), Indian ink and black chalk … ”
In respect of the number this group corresponds with that placed above of the water at the edge of the forest of Th. 293 whose capital one only doesn’t show 16 points. – Thematically by the way surely also belonging also to the undescribed drawing Weigel 169 “A woodland with a stag and ten standing and lying resp. hinds; a rutting stag beyond a river doesn’t dare to come near. On bluish paper, Indian ink, heightened with white, oblong roy. f.”.
With all that discussed above “The Four Times of Day” by this linked up for the present three of their sceneries with their local context for the first time,
dominated by Starnberg , assisted by the near Nymphenburg
And in each case from own local view. An earlier timing for the working of the Four Times of Day set on the late 40s, early 50s as could be deduced from this appears sooner improbably with regard to a thinkable time mark for the following Hippocrene, ensuring to 1757/58, as inevitably worked before the Four Times of Day.
The master’s then preference for the environments of Munich furthermore proven by inscriptions in drawings/coppers in Starnberg (Weigel 130/Th. 293; Collection of Ridinger drawings at Wawra, 1890, no. 56 [“Stags on a Hill moving towards the Forest, inscribed Ad Vivum in Silva Starenbergensis Joh. El. Ridinger 1738”, chalk on blue paper,, heightened with white, large fol.] in 1736 + 1738 , in Nymphenburg in 1731 (Th. 287, “in the Parc of Nymphenburg towards Stahrenberg …”) + in 1738 (Weigel 133/Th. 238), possibly still in 1734 (Th. 274) and perhaps/presumably in Schleißheim in 1736 (Th. 270) + 1738 (Wawra 55, “Stags in the Forest near Schleissheim. With the name of the master and … 1738 …”, chalk on blue paper, heightened with white).
Beyond their general belonging to the finest of the beautiful in such a way
Ridinger’s “The Deer’s Four Times of Day”
turn out to be
as additionally embedded in a local area of highest degree .
And of an iconographical one, too. For
“ Stags at the water in mountainous landscape hinted on the famous psalm 42.1 ‚So like the deer thirsts for fresh water, so my soul strives after thee, Lord‘ and became to the cipher for the ‚anima christiana‘ ”
(Justus Müller-Hofstede on the occasion of the 1985 Cologne Savery exhibition).
But on the back of the evening plate finally
as an art historical event of highest degree
THE HIPPOCRENE
or
The Gift of the Water .
The horse or Muses spring by the Parnass as a fountain cathedrallike shooting up. Dominated by the Muses’ horse Pegasos and enlivened with the nine Muses as the nurses of the spring and the river gods as other obligatory attributes on that. Unknown etching rejected by the master and discovered now when the plate was cleaned. 34.9 x 28.7 cm.
More and more essential to the self-identification the work is
of greatest importance for the unknown Ridinger .
To celebrate the 300rd anniversary of the master’s birth a small Hippocrene edition numbered I/VI (printed in red and black) and 1/10 (printed in warm black) resp. has been published. The impressions are signed by the ridinger dealer lüder h. niemeyer and bear the date of the 16th February 1998 as the day of birth.
This edition is qualified by Gode Krämer of The Augsburg Art Collections with the words
“ a fine enrichment of Ridinger’s œuvre …
to celebrate and document the 300th in this way
(is) so splendid and charming because so adapted to the matter …
Especially impressed has … the modest number of copies . ”
As put up for discussion in the detailed sales description the work could limit the timing for the set of “The Deer’s Four Times of Day” to between 1757/58 + October 1763.
See also the Augsburg catalogue KUNSTREICH (Acquisitions of the Last Decade), 2001, no. 101 with 5 (1 full-page) ills.
No. I/VI
and an Épreuve d’Éditeur in blue and black are added here .
Sheltered from tarnishing by fine application of varnish
the plates are printable generally in the ordinary course of their use during the times. But they are offered and sold as works of art and objects of collecting. Thus without prejudice to their final printing quality. – Barely noteworthy some negligibly small outbreaks within the hatchure upper right above of the title and quite on the edge of the evening plate resp. and in one case of the noon plate there, too. Otherwise in perfect condition, only the Hippocrene side due to less care optically not quite so good. – 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. 14,989 / price on request
– along with said frameless hanging equipment –