Deutsch
as a worldwide unique collector’s item
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). The Fair Game Hounded by the Different Kinds of Hounds. With annotations how such are hunted, attacked, catched, held fast, brought down, and partly throttled by them … presented and edited by Johann Elias Ridinger painter and engraver, director of the Augsburg Academy, too, in the year 1761. Set of 22 sheets.
Engraved title with large vignette of a boar-hunt
+
21 etchings with engraving
(28.4-28.8 x 24.8-25.3 cm) in the mixed technique of etching + engraving typical for Ridinger and his time.
Ruby red morocco
with 4 imitated ribs, 2 dark green back-plates, gilt bipartite title on the front + reduced Ridinger stag from the Evening (Th. 240) of The Stag’s Times of the Day on the backcover, gilt lines on both, and ridinger handlung niemeyer (ridinger gallery niemeyer) on the inner frontcover below, all in 23.5 carat,
in homogeneous cassette
with
– traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself and therewith correcting Thienemann (1856) who declared the plates of this set as being deprived – the
original printing-plate
to the title
in the reddish golden brilliance
of its 247 years old copper
in reverse (28.6 x 25.5 cm) as removable solitaire laid into the frontcover under polycarbonate glass (more resistant to aging + UV light than Plexiglas, but equally sensitive to scratches). Above the artist’s name and below the hall mark as uniqueness
– Le Grand Exemplaire –
and on the inner frontcover ridinger handlung niemeyer, all gilt-tooled as before.
Thienemann + Schwarz 139-160; Weigel, Kunstlager-Cat., XXVIII, 13 A (?, perhaps intermediate state, of A-C); Nagler 16; Coppenrath pt. II, 1464; Schwerdt III (1928), 137 (“An interesting series”). – Illustrations: Schwarz I, plt. VIII; Stubbe, Ridinger, 1966, plts. 14-16; Ridinger Cat. Kielce, 1997, pp. 38-41.
Copy of absolutely uniformly fine printing quality ,
most wide-margined sheet-size of 54.5-56 x 36.5-38 cm ,
coming from an old extensive collection ,
what means,
three sides uncut
with the original laid paper edges (sic!) ,
while before binding the left-sided clean cut with practically nevertheless the full 6 cm margin like on the right let think that two sheets each may have been printed on one sheet of paper being in accordance with the size of Ridinger’s largest prints, Thienemann 67/68 (offer for these per 14,930), printed from one plate. In the absence of every traces of tacks and marbling the set was obviously never bound. Only the title, printed differently on especially buff laid paper, cut also on top and so with only 53 cm a little shorter.
For comparison :
Schwerdt’s copy reached with only 44.5 x 29.8 cm already the top of its boar-spike !
Isolated typographic watermarks. – Outer margins of the title slightly smudgy and right-sided somewhat teared. Three sheets with original small defects in a outermost marginal corner. Slight trace of squeezing in the white outer margin of XI, a smoothed diagonal fold in left and lower margin touching still the outermost white corner of the plate and a further one, confined to the outer white upper margin, in XII. The general squeezing of the paper of VII predominantly confined on the right half and here noticeable somewhat disturbingly only out of the subject.
Contents :
The European Bison – The Bear (“there is a good engraving of a bear fighting with hounds, pl. 14”, Stubbe) – The Elk – The Red Stag – The Wild Sow or Boar – The Wolf – The White Fir-Stag (Fallow-Deer) – The Wild Swan (“surely the rarer Whooper Swan”) – The Lynx – The Reindeer – The Roe – The Chamois – The Fox – The Beaver – The Otter – The Wildcat – The Hare – The Badger – The Marten – The Polecat, Squirrel and Weasel – Wild Ducks .
Thienemann :
“ Thus a theme with 21 variations … What a variety, what a truth in the expression of emotions! Yes, indeed, he is in fact an animal mind-painter. Hence his works speak to us so exceedingly, hence we cannot take our eyes off them, hence he sticks … always new, valuable and esteemed … One of the later works of Ridinger, but completely done himself alone … ”
On top the figuration closed in an arch. – With 9-13-line subtext as well to the game itself as to selection + action of the different races of its assailants. In this instructiveness quite in the sense of Stubbe, who quotes in respect of the Par force Hunting as a further late work (p. 30):
“ … and their subtexts … bring together the pleasant satisfaction
which good informations, developed thoroughly, can give .
A life full of hunting experience ,
a knowledge, earned in many years by conceivable alert attention, of the causes and considerations which lead to the single steps and hunting practices qualify the artist to define all kinds of hunting
not only after their execution ,
but especially out of their reasons .
This happens … in all shortness … the limited space under the subjects come up to intensive, but easily understandable annotations in engraved writing. ”
And so it is satisfaction and joy here together to be able to lay before anew this
textually as optically so splendid homage on our hounds –
“ The care of the hounds let be very recommended to yourself
out of dark lair you will drive surely a wild boar by their cries! ”
( subtext of the title-vignette ) –
after the copies of the Luza collection, Amsterdam, (1982) and within the second of the two Pompadour volumes of the Marjoribanks Folios sold here in 1998 resp., but in company with the original plate of the title and the widemarginedness crowned by being uncut on three sides as
a truly
grand et unique exemplaire du luxe
for elitist placing. As a provocatingly exclusive sovereign eye-catcher, enviedly reflecting the noblesse of the house. For not at last
“ 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, color 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 Print 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 – their genesis then could be researched here down to the Ridinger estate – “One of the most sensational discoveries of art history … Ridinger’s original printing (sic!!!) plates”. That the one here is
worked by the master himself alone
shall be mentioned expressly.
Sheltered from tarnishing by fine application of varnish
the plate is printable generally in the ordinary course of its use during the times, but no guarantee for its final printing quality. Quite irrespectively of this, however, you should have a look fully imbued with inner touch at
this incomparable
on account of its beauty as an overall work of art
again and again.
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. 28,822 / price on request