“ As a Rarity
Johann Elias Ridinger, Tiger Horse with Ear-bouquet
Paid for very Dearly ”

The Instantaneous Depiction
of the Tiger Horse with the quite unique

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). The Tiger Horse with Ear-Bouquet. The splendidly long-tailed stallion in wonderfully easy movement in fine hilly landscape with village marked by a steeple, the fine head with bright eye and swelled nostril turned to the beholder. Apart five horses partly romping and rolling. After the portrait painted from life by Christian Ludwig Baron von Löwenstern (1701 Darmstadt 1754). Copper printing plate in reverse. 13¾ × 11¼ in (35 × 28.5 cm). Inscribed: Lib: Baro de Löuenstern ad viv: pinx. Darmst. / J. El. Ridinger sc: et excud. 1745. & captioned in German

“ This Young Tiger Horse bred at Orange=Polder, a village not far from Delft in the province of Holland,

Ridinger, Ear-bouquet

had this ear-bouquet of black color

like the other spots and has been paid for as a rarity very dearly by the manorial family of counts Promnitz from Silesia on their Dutch journey in 1743. ”

As hippological wonder

the portrait of the Promnitz trouvaille, conceivably painted already during the return, was entrusted to Ridinger as first resort for such for instantaneous documentation within his running series of zoological case examples, and

adequately hereto the

the original printing plate

for sheet 38 (Thienemann & Schwarz 280, “The six horses contained in this collection later had been sold also separately”) of the Representation of the Most Wondrous Deer and other Peculiar Animals

in the reddish-golden brilliance

Johann Elias Ridinger, Tiger Horse with Ear-bouquet

of its 274 years old copper .

Originating from the so-called Thieme-Becker Block — “444 copper printing plates (in reverse) presently (1933) in private estate in Charlottenburg (Berlin)” — turned up again after the “turnaround” and here researched seamlessly back to the Ridinger estate, correcting all the losses supposed by Thienemann (1856) as, just i. a., the plates to the 101-sheet set of the Most Wondrous Deer and other Peculiar Animals, whose new complete edition was published in Leipsic just about 1859, at what – and only here – its original numbering, partly changed for the Engelbrecht-Herzberg editions about 1824/25, was restored.

“ Preserved original 18th century printing-plates

are of great rarity ”

(Stefan Morét in Ridinger catalog 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. ”

To the same effect then already before Bernadette Schöller in Der Kölner Graphikmarkt zur Zeit Wenzel Hollars within Wenzel Hollar – Die Kölner Jahre ed. by Werner Schäfke, Cologne 1992, p. 19:

“ The copper plates

which due to both their material value and the hours of work invested therein

enjoyed a far higher esteem

than , e.g., a preparatory drawing handled only too often disrespectfully … ”

Analogously then here on occasion of the re-emergence of parts of the 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. – The original numbering “38”, removed for a differently compiled new edition about 1824/25, restored, however, only on occasion of a later 19th century edition. – On the right side, particularly in the caption, some small soldering spots.

« It’s breathtaking again and again what you can offer … »

An international publisher on a former Ridinger offer here

Baron von Löwenstern, closely connected with the court at Darmstadt and active also as poet and composer, was, like Goethe, an amateur artist with nonetheless a most extensive painted œuvre

“ of richly composed battle scenes in the manner of (Jacques) Courtois (1621-1675; ‘were esteemed and admired already by his contemporaries for the immediate freshness and liveliness of conception and rendition, as well as the masterly capture of the atmospheric ambience … was one of the first plein-air painters’, Th.-B. VII [1912], 591 f.), hunting pieces, and portraits … For the famous art clock (Louis VIII) presented Maria Theresa with (and had it conveyed in 1750 by his court hunting painter, the young Georg Adam Eger) L(öwenstern) worked both the first two designs. In some portraits of his (court painter) friend Joh. Chr. Fiedler L. painted the battle scenes in the background, so established for the landgrave’s portrait of 1741 … Main work: Battle at Dettingen, painted for the landgrave in 1746. 200 of such ‘battle and horse pieces’ were in the possession of the wife of hunting master von Reischbach … Fiedler painted his portrait, engraved in mezzotint by J. J. Haid (pupil and subsequently still journeyman with Ridinger, creator of his portrait both in oil and as ‘programmatic mezzotint’ [Gode Krämer]) ”

(Thieme-Becker XXIII [1929], 328).

Beyond all this in the case here of great relevance in regard of both family and contemporary history finally the thematic reference to the historically deeply rooted Silesian family of immediate counts von Promnitz as purchasers of the thoroughbred “leopard”. Since 1542 in the possession of the dominion Pless in the administrative district Oppeln with ancestral seats at Sorau & Pless, the family brought forth several important members of greater interest. Although the dominion passed to the house of Anhalt-Koethen already 1765 (the family became extinct 1785), the “hunting lodge Promnitz” survived the centuries to this day and served Emperor William II in autumn 1913, when he killed the famous 26-pointer September 12, both as place of work and refuge for stalking, and during World War I temporarily as imperial headquarter.

Shielded from tarnishing by fine application of varnish,

the plate is generally printable in the ordinary course of its use through the times, however, it is offered and sold as a work of art and a collector’s item, thus without prejudice to its eventual printing quality. Shortly ,

an extremely gratifying , worldwide unique absolutum.

proposed to you with the recommendation of a timeless-elegantly frameless hanging (fittings included) so that you can experience the reflection of the respective light to the fullest.

Offer no. 16,232 / price on application

« Money is still printed ,

great art not .

This means that

– no matter how many green bills it takes –

great art is always cheap »

Richard L. Feigen

in Lisa Zeitz, [A Collector in Dealer’s Clothing],

Frankfurter Allgemeine Zeitung Aug. 6, 2005

“ Thank you Mr. Niemeyer – I will take it! … It should look very nice in my new office. Best regards ”

(Mr. J. R. L., January 6, 2006)