Deutsch
The
with Book + Printing-Plate
of “ One of the Most Famous Series of the Artist ”
( FAZ Oct. 14, 1995 )
from which still the “Blue Rider” Franz Marc gained , too
Ridinger, Johann Elias. (Representation of the Fair Game with the respective Traces and Scents, Goings, Get-offs, Turns, Flight, and other Signs … drawn from life) / Abbildung Der Jagtbaren Thiere mit derselben angefügten Fährten und Spuhren, Wandel, Gänge, Absprünge, Wendungen, Widergängen, Flucht, und anderer Zeichen mehr … nach der Natur gezeichnet, samt einer Erklärung darüber). Augsburg, the author (1737-)1740. Large fol. 1 ll. title, preface + description. With pictorially executed large etched title vignette
search-hunter with leader
(15.3 x 23.4 cm) and, mixed with engraving,
23 etchings
(c. 37-37.5 x 29-30 cm).
Ruby red morocco volume
with 4 imit. ribs, fly leaves of the contemporary original binding incl. its hand-written title-plate, 2 dark green back-plates, gilt two-piece title on the front + Ridinger-stag-vignette on the back cover, gilt lines on both, and in the inner of the frontcover below ridinger handlung niemeyer (ridinger gallery niemeyer), all in 23.5 carat, in
homogeneous cassette
with
– traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) + Thienemann (1856), p. XXIII, seamlessly directly to the master’s estate itself – the
original printing-plate
for plate 16
“( Scent of the Otter )”
in the reddish golden brilliance
of its 268 years old copper
in reverse (38.1 x 30.1 cm) as removable solitaire laid into the frontcover under polycarbonate glass (more resistant to aging + UV light than Plexiglas, but equally sensitive to scratches, such a little, indeed, below right), inscribed
“ 16. / Joh. El. Ridinger inv. del. sc. et exc. Aug. Vind. ”
Below the gilt
hall mark as uniqueness
– Otter-Exemplar –
(– Otter Copy –)
(Bookbindery M. Hierl Bonn).
Thienemann + Schwarz (Catalogue of a Ridinger-collection, colour plate vol. I, X) 162-185; Weigel XXVIII, 15, A (of C); Schwerdt III, 137; Thiébaud 783; Ridinger Catalogue Darmstadt, 1999, III.20-III.30 with 11 ills.; Cat. Helbing XXXIV (Ridinger) no. 325 as “One of the most important collections of the artist” (1900).
Early impressions on large strong laid paper of 48.5 x 34.3 cm – divided in wide margins above + below and smaller at the sides – as nearly perfect. Then pronounced larger copies of 50-51 x 36-42.5 cm as the ones in the Schwerdt Collection and former here were to qualify as an intermediate state somewhat later in respect of their plates 21-23 as printed from two plates. – Title and plates a little time-marked throughout, but as a whole a very fine copy already before its binding, cassette and – copper-printing-plate in its optically excellently condition.
The first edition of the final state
with the etched numbering
above right and the further marks as there are the title in red and black, the plates 21-23 printed from undivided printing-plate by analogy to the plates 1-20 and other finer characteristics more.
In the 2nd edition (Weigel B, Helbing 328) the title is printed uniformly in black. Between them that state with the title in red + black, but the plates 21-23 printed from two printing-plates while omitting a separating line each (copies Schwarz/von Gutmann + Schwerdt).
All inscribed in the plate with several variants of J(ohann) E(lias) Ridinger inv(enit) del(ineavit) sc(ulpsit) et exc(udit) A(ugusta) V(indelicorum), plts. 21-23 without invenit.
For the complete set of the preparatory drawings at Munich see their splendid facsimile-edition.
Plates 1-20 in the upper nearly three quarters show the animals in typical situations and grandiose environment and below
their traces in original size
excepting the reduced ones of lion + tiger (recte “maybe a jaguar”, Th.) as “not to be found in our forests”. Apart from that there are shown bear – stag – hind – boar – fellow-deer – wolf – roebuck – lynx – ibex – chamois – hare – fox – beaver – otter – badger – wildcat – marten + weasel – polecat + squirrel .
Plates 21-23 repeat the traces reduced like a modern summary. – Shortly ,
the instructive and optically splendid set
par excellence. Doubtless the most important illustrated one relevant to the subject. And coming up to modern standards thematically and artistically undispended already in general till to date.
But as a cassette copy in company with an
original printing-plate
a fascinating worldwide uniqueness
“ Preserved original 18th century printing-plates
are of great rarity”
(Stefan Morét in the 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 – whose genesis we then researched up to the Ridinger bequest – “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.
Thematically beyond
moreover with a further dot over the i
as stated here for the first time. For no less man than the
“ Blue Rider ” Franz Marc
the marten-weasel-sheet served together with two further Ridinger coppers as inspiration for his painting “Playing Weasels” of 1911, Hoberg-Janssen 144 with ills.
In such a way known with Ridinger as source till now only Marc’s woodcut “Riding School after Ridinger” of 1913 (Lankheit 839) as detail interpretation of the mounted rider as background figure of the third sheet (Th. 608, ) of the 1722 Riding School annotated by literature with
“ Illuminatingly that Marc , very well versed in knowledge of art history ,
turns to as models just these masters of the presentation of the horse
(Delacroix and Ridinger)
of the 19th and 18th centuries resp. ”
(Christian von Holst, Franz Marc – Pferde, 2003, pp. 166 ff. inside of [‚… the Kick of my Horses‘]).
His oil “Playing Weasels” following the lithograph of the same name of 1909/10 reveals the knowledge of quite several Ridinger coppers from entirely different sets. Marc shows two weasels, of which the one, bowed over a bough, looks down upon the other sitting in raised attitude. The trees besides of an eccentricity as in this ostensible density used by him only still on the two “Acts under Trees”, H.-J. 143, of the same year. For the thematic primer detonation stands Ridinger’s small sized sheet “The Weasels”, Th. 479, of 1740 as sheet 89 of the set “Design of Several Animals”. Also here two playing ones, but both on the earth in completely different surroundings. The latter Marc splitted up. And took the attitude of the two animals from sheet 86 of the set, the two pine martens Th. 476 (here per 7,332 as well as together with the pendant of the two beech martens Th. 475 as the original copper-printing-plates per 15,007). The young one of them, bowing over a low bough like at Marc and looking at the dam standing on the hind paws against the trunk, baiting with a captured bird. The same situation shows “Playing Squirrels” as sheet 88 (Th. 478), only with the difference of a further one on the tree, too, but keeping a little aloof and not involved in the play. But the bizarre trees – and as such ones Sälzle characterized they expressly in the edition of the preparatory drawings for the suite here – as rather rarer for Ridinger, too, he took over from sheet 19, Th. 181, of the set with the marten on the tree at the same attitude and a weasel on the ground shown, however, neutrally.
Thus Marc formulated his “Playing Weasels” just so by means of divers Ridinger copies as the latter on his part his “The Amusement of the Shepherds” after Watteau, Th.-Stillfried 1397, composed from four models of the French. That finally the trees as more typical for Ridinger was not unfamiliar to Marc, too, shows the right group of trees of his forest picture “The Würm near Pipping” from 1902/03, H.-J. 15 with ills. By the way a lithograph of the same name has been preceded to the oil of his “Playing Weasels” in 1909/10.
But also the par force scenery on the watercolor “Ried Castle” worked one year later – Holst, ills. 11, p. 29 – stands for a further example of Marc’s occupation with Ridinger,
which in this plurality has not been seen till now .
And in such a way the
Otter Copy
truffled with original copper-printing-plate is thematically enlarged with an additional broadside
by an artistic bridging from 18th to the 20th centuries .
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. 15,273 / price on request