Deutsch
“ Back to the Sources , to the mothers ” (Gottfried Benn) :
The text was present ! Indeed , it is there still today !!
Only the Original Printing-Plate
Partly Unveiled the Secret of the Covered Subtext
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Badger captured with the Turnpike. Copper-printing-plate in reverse. Inscribed: I. El. Ridinger inv. del. & sculp. / verlegt in Augsburg bey Martin Engelbrecht, otherwise as before and with the following 4-line subtext, all in German. 25.6 x 36.1 cm.
The optically excellently preserved
original printing-plate
to sheet 23 (etching + engraving, Thienemann + Schwarz 91) of the Ways to Capture the Wild Animals of 1750
in the reddish golden brilliance
of its more than 250 years old copper
And a precious, worldwide unique collector’s object of degrees here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) + Thienemann (1856, p. XXIII) seamlessly directly to the master’s estate itself, the plate additionally offers a decisive partial solution
to one of the most interesting Ridinger mysteries
concerning the four puzzling deviations (Th. 74, 75, 89, 91) of the set which from early on bear the address of Martin Engelbrecht (1684-1756, the equal-named publishing house till 1827) in Augsburg and – with the exception of Thienemann + Schwarz – are only known in impressions without the explaining subtext
“ Man often has to ally with cunning to catch the unsuspicious creature he has chosen for his hunting pleasure. To the different ways of catching the badger also belongs an own device which resembles a turnpike that is erected in front of the tunnel of the badger’s earth. Between four posts is the movable turnpike which is put up by a piece of wood at a cord. If the badger wants to leave his earth he knocks down the wood while trying to get through the mentioned device, the turnpike falls down and the poor animal is smashed by the considerable weight of this deadly machine ”
and thus had been qualified hitherto predominantly as “Proofs” (Schwerdt, 1928, for Th. 74, 75 + 89), “Early impressions before the text” of the otherwise “four sheets published only later” (L’Art Ancien, 1939, on occasion of the Schwerdt copy), “Impressions before the letter, just with the artist’s name and address” (Counts Faber-Castell, 1958), “Proofs on laid paper with inscription + Engelbrecht address, but before title and subtext” (herself, 1978, with the first reference on the poorly described marks and the order of the states).
Therefore Thienemann’s (1856) “at times” these four sheets would bear no inscription and the Engelbrecht address would point at newer impressions can be interpreted contrarily only. “At times” there are indeed impressions with the inscription. So obviously the copy Weigel XXVIII, Ridinger 7 A onto which Thienemann based himself supposedly. Then Schwarz (1910) for Th. 74, 89 + 91, but all already with the Engelbrecht address, 74a, conforming to the above, only with the artist’s name and the Engelbrecht address as “before” (!) the letter and additionally 93a as interesting variant, that is before any letter.
Weigel 7 B records the set further as “in later impressions, where for nos. Th. 74, 75, 89 and 91 the subtext had been covered, and these bear the address of Engelbrecht”. Whereby it has to be noted that the Engelbrecht edition of about 1824 had been printed on Thurneisen paper without lines (see lot 5172 of the 142nd Tenner sale, 1982), while even connoisseurs regarded the four subtext-free sheets in question as early impressions because of their printing and laid paper quality.
What thus is the matter of these four plates ?
Had they been lost and then re-engraved for an Engelbrecht edition, whereby in the hectic the subtext had been omitted? This explanation appeared sound. At least as long, until …
… until brand-fresh the original copper-printing-plate
with the text
appeared here, but, mark you, also with the Engelbrecht address à la Schwarz 74, 89 + 91. And thus confirmed Weigel 7 B that during printing of these four “the subtext had been covered up”. For the time being the reason for this remains in the dark. Whereby it has to be stated that the subtexts of all four of these contrast with all others for their 4-lined shortness. And it is sure
that the appearance of the original plate to Th. 91 here
as till now the only one of the four
gives firm ground to all speculation that it, and by this also the three other, really exists with the text and as has been shown this has been just covered for all “proofs” and “early impressions”. With the exception of surely Schwarz 93 a, “before all letters”.
By which this plate proves to be
the corner stone of a highly interesting detail
for the Ridinger research.
As an arthistorical sensation of high degree !
Inestimable precious for any Ridinger collection of high degree !
And especially : this plate is still available !
In contrast to the pair Thienemann 389/90 already passed on here and today in Augsburg as a no less remarkable parallel with, however, reversed premise. For while the plates above always have been discussed as without text and the sudden appearance of the latter, as just the one here, gave a decisive first answer the sheets Th. 389/90 with their text offered no peculiarities hitherto. By then their printing-plates began to speak, too. But contrary to the one above proving cooperatively those two proved to be anything but helpful. For on them the subtext – and even including signature – is ground out, indeed and still noticeable clearly, for which the reason is unknown, too. But without that impressions without letter would be known here hitherto!
“ It is always breathtaking what offers you can make ”
so an international publisher on a former Ridinger occasion. And just for quite ordinary ones Stefan Morét stated in the Darmstadt Catalogue (page 63) :
“ Preserved original 18th century printing-plates
are of great rarity ”
How much more then one like the one here !
See furthermore the Darmstadt Catalogue plates I.13, I.8 + I.11, colour illustration 6 + illustrations pages 63 f. But continuing 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 one here
the master has worked alone
shall be mentioned expressly. Just as documented by inscription.
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. Thus without prejudice to its final printing quality. – Shortly ,
a thinkably fascinating , worldwide unique absolutum
of exceptionally high verification value
and in such a way possibly rather for an already mature collection .
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. 15,011 / price on request
– along with said frameless hanging equipment –