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Ridinger, Martin Elias and Johann Jacob (ed.). Representations des Animaux selon leur grande varieté et leurs belle couleurs suivant des desseins (sic!) originels / (The Animal Kingdom represented in its Great Variety and in its Fine Colors from Original Drawings). 2 pts. in 1 vol. (Augsburg, author’s ed., 1754 – c. 1773.) In-2 (41 x 29 cm). 20 pp. (French text), 24 pp. (German), 1 l. index; 17 pp. (French), 20 pp. (German), 1 l. index. 2 etched title engravings in ruddle, woodcut border, 5 large figurative vignettes (1 engraved, 4 in woodcut) and

after and predominantly by Johann Elias Ridinger (Ulm 1698 – Augsburg 1767) himself, else Martin Elias, 4 of which printed in green, in upright + 3 oblong formats of c. 30.4-31.7 x 19.6-21.5 and 21-21.1 x 31-31.6 cm resp. Contemp. marbled calf on 6 ribs with red title plate “Histoire naturelle des Quadru(pedes)”, gilt floral back + standing edges as well as marbled fly-leaves + red edges.

Thienemann 974-1102 + pp. 298 ff.; Schwarz 974-1102 (vol. I, pl. XXX + XXXI + ills. p. 140); Weigel, Art Cat., sect. XXVIII, Ridinger appendix 63a (torso of only 120 ll., correspondingly “Complete copies are almost untraceable”, 1857); Coppenrath Coll. II 1599 ( “Extremely rare absolutely complete copy”, 1889); Reich auf Biehla 206 ( “Extremely rare work”, 1 l. missing, some ll. slightly damaged, 1894); Hamminger Coll. 1834 (“Excellently preserved copy”, 1895) + 1835 (1 l. missing) as well as three torsos (1836 ff.); Helbing, Works by J. E. and M. E. Ridinger (cat. XXXIV, 1900), 1490 (“Complete extremely rare”, pt. II not quite faultless) as well as 1491 f. (torsos); Schwerdt III, 145 f. (the copy D. C. Marjoribanks); Counts Faber-Castell 66b (1958; boards loose); Hippologica Coll. Sarasin 117 (1999); Nissen, ZBI, 3408; Ebert 19109; Graesse VI, 119-20; Brunet IV, 1299; Rümann, Illustr. Buch, 950; Fürstenberg, Frz. Buch, 128.

Not in the rich Silesian R. coll. 1885 at Boerner XXXIX with just 16 ll. of the suite (lot 1955); R. coll. at Wawra (1890; besides 234 drawings 600 prints).

so Ridinger in the introduction to the Main Colors of the Horses – with watermark Strasbourg fleur-de-lis above arms (Heawood 73) as well as partly below (Heawood 64), partly as secondary mark, C & I Honig. Further secondary mark IV (Jean Villedary). Beside now and then also only typographically C & I Honig similar to Heawood 3346 + 3348. The text on common laid paper with isolated figurative (shield below crown?) and typographic watermarks. – The paper mill Villedary prospering for 150 years in Angoulême (1668-1758 acc. to Churchill, 1935, p. 21) with continuation/branch (also) in Hattem/Gelderland since 1758 appears “sometimes in conjunction with the names of Dutch paper-makers” (Emma Ruffle) where their IV/I V i. a. appears as secondary mark to those of C & I HONIG (about 1724/26-1902), too, generally also abused as pirated mark as other marks standing for first qualities, too. “IV” papers were esteemed in Augsburg also by Rugendas.

First  complete  edition .

A second one, printed from the now numbered plates, shortened at top, furnished with new captions and partly also otherwise modified, and left black and white, was published 1824/25. – The plates bound between the French text and facing this optically almost throughout; the plates to be assigned to the respective recto thus bound left, those of the verso right, however. The German text together with the index sheets bound after each of both parts. As in such a manner not the rule

in  remarkably  thoughtful  convenient  binding ,

see below.

The title etching of pt. I with completely taken out vertical fold and generally soiled. 3 plates (quite) feebly evenly browned and besides 2 small worm-holes in the white margin and field resp. 6 plates with practically imperceptible small to tiny tear backed acid-freely in the lower part of the outer margin. The 4 plates surrounding pages 13-16 of the 2^nd part with slight text copy. The text particularly in the upper and lateral margin partially slightly to a little foxed, but only in the case of five of the explanation sheets bound in-between also affecting the immediate preceding and following plate resp. from almost not at all to faint. The binding corresponding to its age particularly at the edges somewhat rubbed. The standing edges of both the lower corners and a small missing spot at the top spine-end restored quite unsuspiciously, neutralizing by the latter also the 3.5 cm ensuing tear of just the leather at the frontcover joint. The latter there also with regard to the 1.5 cm torn leather there below ( ditto: not the joint itself ! ). The minimal stainedness of the backcover of patina character. A 2-sheet front fly-leaf of 1816 Whatman sheets according to the finding of the restorer an addition by later hand. – Margins at the side c. 2.5-3.5, above 1-3, below, however, 5.5-7.5 cm wide. –  In such a manner then the plate work printed on heavy laid paper as a roundabout

The French text – according to Thienemann by Johann Christoph Thenn, Protestant vicar at St. Ulrich in Augsburg and friend of Johann Elias Ridinger’s, “to whom he always carried a special fondness” (introduction), whose portrait by Gabriel Spitzel (also Spizel, 1697 Augsburg 1760) the younger son Johann Jacob worked in mezzotint as remained entirely unknown to Thienemann and presently available here in an updated second state as remained unknown to Stillfried + Schwarz – of at least the first part published according to the final note before the German text, which was published together with the index only the other year, what might give rise to the presumption that present sequence of the binding including the text bound in-between up to the respective plates presented en face might

This not least supported by the said text copy of pp. 13/14 + 15/16 of the second part as the two final plate-text-blocks as presumably the last printed before stitching & distribution. A quite trifling copy then also the verso of the last plate facing the final French page 17 shows.

That this supposed interim stitching nevertheless applies to the complete works and not just its first part or even single issues follows from its visibly soiled title etching. Neither that of the second part nor the opening pages of the German text parts or any of the other plates show even remotely other than of great to untouched freshness. Also the back fly-leaf with its lines and the mark IB XL (?) as watermark could originate from the interim stitching.

(the usual hints in the trade to two base on the unawareness of the existence of copies of the 2^nd edition of the 10-sheet set of the Monkeys intended for coloring, Th. 541-550, which in this state neither Thienemann, Weigel, Schwarz, Faber-Castell etc. ever set eyes upon, though Thienemann was acquainted with yet and was traded here 1972 most beautifully)

of  all  together  utmost  rarity

from the master’s late work and by this – supposedly with exception of the first, black edition of the monkeys – published only partly or not anymore resp. by himself. On this Thienemann :

“ Ridinger, who as great animal painter quite realized that the colors were nothing inessential with them, intended in his later years … to crown his works and publish yet some

exactly  and  finely  colored  suites  from  nature . ”

These editions are  of  ultimate  beauty  and

Their number of copies cannot be assumed small enough. And only seven years after publication of present posthumous complete edition of the Animal Kingdom with Martin Elias the one of the two sons more familiar with the œuvre passed away.

And after the plates had passed into Engelbrecht’s art shop 1821 the latest they were, Thienemann’s comments on this or not, mutilated beyond repair to create under a likewise altered title in the following years a

new  edition  actually  yet  never  coming  to  the  stage  of  coloring

to meet the supposed requests of the time. A fate practically all the other then still about 800 plates were spared and what – up to in contrast also to the colored Main Colors of the Horses , see next paragraph – did its share to secure

With the result that in spite of the from today’s perspective still great chronological nearness and notwithstanding the fact that only 1830 Ridinger’s bequest of drawings had devolved upon Weigel as Thienemann’s source while writing his catalogue raisonné (1856) the latter had laid eyes upon the colored works not at all (Monkeys) or limitedly only. So he fancied to know 28 of the plates of the first edition of the Main Colors of the Horses, which actually should have been those 28 “New colored copies” of the 2^nd edition figuring in Weigel as 62 B, yet contrary to his obvious assumption not belong to Engelbrecht’s 40-sheet-only new edition from 1824/25, which he lists as 62 A in black and white. For Thienemann notes explicitly on page 191 that among those 28 (newly) colored sheets were “three of the ten omitted ones”. And as that comprehensive new edition project also not comprised the suite of the Monkeys (Th. 541-550) which was traded colored here, identified as second edition, in 1972 (presumably the Hamminger copy, yet not in his catalog lot 1674 as there “mostly with full margin” only, otherwise so far not turned up anywhere), it is to be assumed for the time being, that these just as the 28 newly colored Main Colors-sheets Weigel 62 B belong to new editions before 1821 the latest, at which time Engelbrecht took over the Ridinger publishing house. On the Animal Kingdom itself Thienemann said as follows:

“ The (Animal Kingdom) presumably is not found completely anywhere anymore, almost not known to many admires and collectors of Ridinger’s art prints, and only by the hardest efforts we succeeded to receive this precious collection fairly completely – three outstanding ones finally yet per appendix pp. 298 ff. – from quite different places. ”

The Bisem-Thier (musk-deer, Th. 1004) still with the French designation “Civette” which already Thienemann had criticized as “absolutely inadmissible”. In correspondence also with the French text + index here – but just only there ! – the plate inscription was later corrected to “Musc” as documented here by the Benedict Wilhelm copy traded here in the ’60s into Rhenish private collection.

“The illustration of the Giant Ant Eater
is … rather successful.” (Th.) Corresponding with that and a further one known here Th. 1040 headed here divergently with “Tamandua= / Phatagin=” – so also with Schwerdt – while the caption reads “Ameisen Fresser= Fourmiller= / besonders Schuppichtes Thier= Quogelo= / Familia III. Vierzeegig. & 5-“, as for the German part also with Schwarz. Helbing euphemistically just remarks “not quite in conformity with Thienemann’s specifications” who quotes with “Myrmecophaga; omnium maxima. Phatagin. / Groester Ameisenfresser. Fourmillier grand. / Familie III. Vierzaehige” the more correct, yet still entirely different designation indeed and also does not mention that present plate was etched by Martin Elias. The text thus completely changed. The drawings not in Thienemann + Weigel. According to the text the Giant Anteater was worked after Klein, drawing upon Buffon, too, and “quite successful” (Th.). However, a deviation in Th. 1056, Boar Hounds etc., not explained further by Helbing here not provable. All copies of this sheet seen here correspond to Thienemann’s notation ensued only by appendix though as probably overlooked by Helbing.

Following  7  sheet  finally  in  hitherto  not  described  state . So

The horse (Th. 975) still with “J. Theod. Kleinii Secr. Gedan. 2. (sic!, as also elsewhere below, instead of recte the Q otherwise developed from the 2) D. S. IV.” above of the Familia line as reference to Jacob Theodor Klein’s (Königsberg 1685 – Danzig 1759, “Gedanensium Plinius”) Quadrupedum despositum brevisque Historia Naturalis of 1751, as remained unknown to Thienemann just as the corresponding short references with 978 (“2. D. S. IV.”), 982 (“Q. D. S. IV.”), 983 (“Q. D. S. IV.”), 1032 (“2. D. S. XIII.”), 1048 (“Q. D. S. XXII.”) + 1065 (“Q. D. S. XXVIII”).

In addition there are variants to the rhinoceros 1027 + the elephant 1030, as so not in Thienemann, see following.

Yet before the seven plates 980 (“2. D. S. IV.”), 1007 (“Q. D. S. IX.”), 1027 (“Q. D. S. XI.”), 1029 (“2. D. S. XII.”), 1030 (“2. D. S. XIII.”), 1034 (“Q. D. S. XVI.”) + 1085 (“Q. D. S. XXXVIII.”) known to Thienemann in aforementioned form.

With regard to both the aforementioned variants with both 1027 and 1030 Familia is written in full, yet in Thienemann in both cases abbreviated after the m, as explicitly not with 1029 for instance. The Familie instead of Familia of the latter may be an erratum, as also the abbreviations shall not be reason for further checks in this regard. However, more important with 1030 additionally that present copy corresponds textually entirely with Thienemann indeed, yet deviates from him in the placement of the Familia line. For here this stands between the Klein reference and the signature line, yet in Thienemann below of the latter. Considering his in this respect correct sequences with for instance 1027 + 1029 a printing variant should be assumed.

A research of further copies as well as torsos could add further ones to the 14 plates here. To be included here also the Great Black Bear (Schwarz 526a) with Klein reference + Familia line seen by Thienemann in several copies remained uncolored, which actually is the first state of Th. 1079 probably dismissed for the bear’s high position and revised for the suite of the Bears Th. 525-528. Further probably also the Noble Stag (Th. 1005), which is marked only with “Ridinger fecit.” – see below – indeed, yet shows in both the present and also the Benedict Wilhelm copy below of the Familia line still traces of a with about 10 cm length at any rate evidently longer line as either remained unknown to Thienemann or missed by him.

The contemporarily bound Benedict Wilhelm copy throughout without such references, whereby the comparison shows that for a better optical impression the lines were not just erased, but the Familia lines moved up, hence likewise erased and engraved anew. – The left half arch of the “Q” repeatedly missing and therefore to be read as “2”.

It is to be observed that aforesaid sheets show

Johann  Elias’  full  signature  including  the  excudit  throughout .

Which is of particular interest insofar as it allows for a more exact dating of this suite similarly to the Wondrous Stags considered generally and wrongfully as posthumous.

Outward starting point here first the publication of Klein’s said Quadrupedum in 1751. Without expressly referring to this and even intending to “use the most common and well-known classification by following in this only the best and most skilled leaders, for once Professor Klein and Linnaeus”, although their systems – outwardly recognizable characteristics on the one hand, anatomical examination on the other hand – were diametrically opposed and excluded each other, especially for the foreign animals not seen by himself Ridinger falls back “in particular (upon) the exceedingly fine collection of Professor Klein from Ludolph’s bequest”.

Then of the 132 drawings to this suite including the first title known to Thienemann

most  are  dated  1754

(8^th album, gg, pp. 279 f.), of the 119 drawings still figuring in the 1869 catalog of Weigel’s bequest (nos. 659-777) with 68 a good half of it, the few further dates start with 1748 and already end 1755. The latter then for instance also corresponding with the reference

“ex Collectione L. B. de Zorn. 1755. Gedan.” of both the Lapland reindeers Th. 1011 f., which, though without the engraver’s inscription, by their local denomination are to be attributed likewise to Johann Elias; Martin Elias wrote “Danzig”.

Only four years later, however, with Klein’s death in February 1759 – irrespective of the 1760 posthumous publication of Natürliche Ordnung und vermehrte Historie der vierfüssigen Thiere – also the system of outer characteristics he had developed, beginning 1743 with Summa dubiorum circa classes quadrupedum et amphiorum in C. Linnei systemate naturæ, had had its day:

“ Despite the exact, although only external knowledge of a number of detached forms he never learned to realize a large class because he lacked the special knowledge for thorough studies. Nevertheless by the setting up of his system K. has served essential yield to science. Even though many of his contemporaries were blinded by it at first and happily welcomed it because of the lack of any sufficient arrangement which could serve for orientation among the animal forms, so in the long run one could not close one’s mind to the discernment that a system based just on the outward appearance and leaving the natural relationship out of account, as Klein’s system demonstrated distinctly, was untenable. By this it happened that Linné’s system founded in scientific examinations was adopted sooner than it would have been otherwise, and it is owing to K. to have paved, against his will, the way for this system so persistently fought by him ”

(W. Heß in Allgemeine Deutsche Biographie XVI, 93 f.).

A development Ridinger could hardly escape not least with respect to his repeated own claim also to instruct by his works and which therefore could only lead to the discontinuance of the venture. Only the sons – and here certainly foremost Martin Elias who made his mark primarily as engraver, yet hardly as draughtsman in his own right – would revive it in a completed posthumous edition. And thereby

not  only  fall  back  upon  the  existing  plates ,

but also on remainders of then impressions still showing the references to Klein’s Quadrupedum or – see above first state of the musk-deer – other errata.

The in such a manner tight chronological frame of 1754/55-1759/60 finally corresponding with the father’s announcement in the undated introduction to “deliver 12 (plates) each year” and

“ There should be even the less doubt about the continuation as I have a son (here Martin Elias) who is strong and able enough to follow in my footsteps after my effected passing away ”.

Though on the basis of the plate inscriptions the latter was by no means needed yet in the present case. For no less than

63  plates  clearly  relate  to  Johann  Elias  himself

(two of which together with Martin Elias’ sculpsit) with the most varied variants of abbreviations and without such resp., but individual notation (2, see above: Gedan instead of Martin Elias’ Danzig) of his actual artistic and handicraft participation, 6 of which with explicit ad vivum , from life suffix ,

followed  by  strong  42-sheet  block  inscribed  with  Ridinger  only

together with, except for one, following sculpsit (has engraved, 17) , fecit (has done, 23) , fec. et excudit (… and edited/published, 1), of which based on style recognized here as individual – see bibliography above – 25 have to be attributed with certainty to Martin Elias. Furthermore 22 secured for the latter per inscription, two of which with the father’s delineavit, has drawn. By which Martin Elias’ contribution makes for at least 47 sheet.

Four sheet finally only with reference to the source, of which already aforesaid two are to be attributed to the father.

Present binding also with respect to subsequently supplied promised representations generally following the text, yet in case of multi-sheet groups not always taking over its inner sequence, too. Compared with the text only See Hund and See=Kalb – the French designation Veau Marin (seal) identical anyway – confounded:

Thienemann 974 (title pt. I) – 975 – 977 – 976 – 984 – 983 – 981 – 982 – 979 – 978 – 980 – 1012 – 1011 – 1013 – 1014 – 1002 – 1005 – 1006 – 1007 – 1008 – 1010 – 1009 – 1017 – 1018 – 1016 – 1015 – 1019 – 1001 – 1003 – 1004 – 1020 – 1021 – 1022 – 999 – 1000 – 997 – 996 – 993 – 992 – 994 – 995 – 998 – 1024 – 1023 – 1026 – 1025 – 989 – 986 – 985 – 988 – 987 – 990 – 991 – 1036 – 1034 – 1035 – 1037 – 1038 – 1027 – 1028 – 1029 – 1031 – 1030 – 1032;

1033 (title pt. 2) – 1039 – 1041 – 1040 – 1042 – 1043 – 1044 – 1045 – 1046 – 1049 – 1051 – 1048 – 1047 – 1053 – 1054 – 1052 – 1061 – 1059 – 1057 – 1058 – 1060 – 1055 – 1056 – 1062 – 1064 – 1063 – 1067 – 1050 – 1066 – 1065 – 1069 – 1068 – 1070 – 1073 – 1072 – 1075 – 1071 (without Familia line, so also with B. W.) – 1074 – 1078 – 1077 – 1076 – 1080 – 1079 – 1081 – 1082 – 1083 – 1085 – 1084 – 1089 – 1093 – 1090 – 1092 – 1088 – 1087 – 1086 – 1091 – 1095 – 1094 – 1096 – 1099 – 1097 – 1098 – 1100 (as 1071) – 1101 – 1102.

With few rather marginal deviations this sequence corresponds with that of the Benedict Wilhelm copy and notwithstanding some visible further deviations also the Marjoribanks-Schwerdt copy.

followed by the dogs (7) + monkeys/long-tailed monkeys/sloth (11) as that species which “fascinated artists at all times” (Wolfgang Stechow, Pieter Bruegel, Cologne 1977, page 76).

Résumé

Drafted , started and pushed far ahead by the father – 41 of his clear-cut signatures with the explicit publisher’s/editor’s mark excudit stand opposite only 5 corresponding ones by the son and 1 indifferent , the larger half in this respect remaining without evidence –

“ to deliver a small contribution to natural history and a more exact insight and understanding of the same, at least with intent to the animal kingdom. For even though in this so much already has been done and researched, so there still is a lot to be made good … ”

and completed by the sons with the adequate proviso “ since our intent here actually is just this , to furnish the connoisseur with

Th. 1099: “successful representation (of the monachus) worked from nature”

good  illustrations  of  the  animals ,

but not to write a natural history of these. Thus without more ado we pass on to the description of the plates themselves ”

(page 15 on occasion of the stag), so they still follow just in the latter their father, too, in his aforesaid intent to instruct also textually as briefly and precisely as pleasantly to read. With the result of a

Colored  Animal  Kingdom  of  ultimate  beauty .

Presented in a copy having no equal itself , raised in addition by equal , with May von Weinberg even singularly ambience rich provenances . Its supposedly earliest, for the time being not decipherable here, documented by a catalog clipping mounted verso of the front fly-leaf – see illustration at the beginning – :

“ … It is this the most wanted and rarest work of Ridinger’s in first edition with wide margins , besides of perfect freshness and best preservation ,

a  complete  copy  in  such  preservation

supposedly  has  never  ever  been  put  on  the  market .

Thienemann , who  never  laid  eyes  upon  a  complete  copy , writes on this (pag. 199) : … ”

Whereas already above in particular also its highly interesting binding was discussed, yet the binding itself described only plainly. So on the latter it shall be noted here in addition that the appearance of the

Animal  Kingdom  in  contemporary  full-leather  binding

as

Wherever we encounter a copy , in the old inventories , on the market of the last decades , the rule is contemporary half leather at most , mostly just 19^th century and later leather. Not excluded Schwerdt’s Marjoribanks copy in its green morocco – of the 19^th century. Thus not for nothing Dudley Coutts Marjoribanks, 1^st Baron Tweedmouth, later Lord T. (1820-1894), united his rich Ridingeriana collection as far as possible in historical bindings, just those legendary Marjoribanks Folios in their red French morocco of the 18^th century, as traded here, too, in the ’90s.

Quite obviously it was the overall impression of present copy which led to the aforesaid résumé of the catalog clipping from supposedly the first decades after Thienemann. An impression which happened again here on presentation and had the dealer say to himself out of his almost 60 years of encounters with precious objects  – what  a  copy ! Impressive . Roundabout .
Offer no. 15,615  /  price on application

---

“ It’s a truly one-of-a-kind very special item and I congratulate you on having the resources to have found it … You indeed have some wonderful things for sale.

These (ship) plans are indeed an exceptional find, Jan Hendrik, and I THANK YOU for making them available for sale. They are truly unique … Also – may I compliment you on your fantastic website display of the … plans – It is among the most professional and informative website I have ever seen!   Mit Vielen Dank!!

Just a quick note to let you know your beautifully packed parcel arrived Friday in excellent condition due to your careful work.  THANK YOU for wrapping it so well – certainly better than I could do – and that says a lot.  It’s has been a real pleasure working with you … “

(Mr. M. W., from February 3 to March 7, 2011)

 

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