jubilee offer
60 years niemeyer’s
as 60 Years

for the special delight in a special, a unique piece. Of reddish-golden brilliance. And on account of its own centuries condoning sympathetically-mildly midsummer deliberations what might surprise, what one supposedly would “like to have”, in recollection of a visit with an international collector, when after lunch, back in the collection, one talked about this and that. Down to the secrets behind each and every purchase decision. And he summed up with a smile … if one indeed would like to have it.

Very well, deliberation to and fro, 60 years routine nonetheless have helped a little, finding the triple star magnanimous — brilliant — unique. Represented by timely appearing majesty. And current for the duration of its appearance. From 23 July to 22 August 2019. Under the sign of Leo.

Thus don’t forget: balm is transitory like a shooting star. Therefore rather not kick the can down the road if you would like to have it rather today. For instance the royal

Lion’s Deep Trace

Johann Elias Ridinger, Trace of the Lion (detail)

in the 280 Years Old Reddish-Golden Brilliance

of the Past Master’s Ridinger Original Copper Printing Plate …

filled by the pleasure to satisfy wishes

… 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.

Shielded from tarnishing by fine application of varnish ,

the optically excellently preserved,

worldwide unique plate

is generally still printable within the scope of its use through the times, however, it is offered and sold work of art and collector’s item, thus without prejudice to its eventual printing quality. And

with the recommendation of a timeless-elegantly frameless hanging

— fittings included — so that you can experience the respective light reflection to the fullest .

In short, an extremely gratifying,

worldwide unique absolutum

whose conservational undemandingness it shares with no other one-dimensional artistic medium in all their quantitative plenty. Classic insensitive original Ridinger copper printing plates in such a manner are synonym for pure joy sui generis.

Entirely free choice of place, of all places acceptable those of the finest light incidence so that they can play off their reflectivity to the fullest, no matter if from natural or artificial lighting.

At which the recommendation here aims indeed.

a trouvaille of which others not even dream of

The Number 1

Johann Elias Ridinger, Trace of the Lion

of the 1737 23-sheet set

worked by Johann Elias Ridinger himself alone

Representation of the Fair Game

with their added Tracks and Traces ,
Goings , Get-offs , Flight , and Turns , and other Signs more …

here the Trace of the Lion in reverse .

“ 1. / J. E. Ridinger inv. del. sc. et exc. A. V. ”

14⅞ × 12 in | 37.9 × 30.4 cm / Thienemann 163

“ Preserved original printing plates
of the 18th century
are a great rarity ”

(Stefan Morét in the 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.).

“ The copper plates ,

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

enjoyed a far greater esteem

than for instance a preparatory drawing all to often handled disrespectfully … ”

(Bernadette Schöller in Der Kölner Graphikmarkt zur Zeit Wenzel Hollars within Wenzel Hollar – Die Kölner Jahre, ed. by Werner Schäfke, Cologne 1992, p. 19).

“ 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 … passed into the hands of his great competitor ”

(Cornelis Koeman, Atlantes Neerlandici II [1969], pp. 138 & 345).

Whereas the reported procedure of this order documents once more

the full intrinsic value of copper printing plates .

Just as then elsewhere:

“ The Nuremberg publisher Frauenholz was so taken with this sheet that he acquired the plate for a considerable sum from Reinhart (1761-1847) ”

(Teeuwisse III [2007], 29).

And quite specific Adrian Zingg Adrian Zingg for instance ,

who during his Paris years (1759/66) ultimately was paid by the great Wille “up to a thousand pound for the plate” while “For the accuracy by which he executed his works … nevertheless could not cover his expenses”. So this towards Hagedorn as director general of the arts in Saxony for the purpose of putting through his requests for employment in Dresden:

“ The work was agreed when I started it, and all the time spent much more time than I had expected at the beginning, and sacrificed of my own money to finish the work to my liking ”

(Erwin Hensler in the explanatory notes to the 1923 facsimile edition of Zingg’s album p. 4). But even this generous sum just a quarter of what was paid in London. For, so 1835 Nagler in Künstler-Lexicon II, 98 f.:

“ (John Boydells, 1719-1804) print trade was immense, and frequently he paid tremendous sums to just one artist, e.g. for one plate after Dominichino 4000 pound sterling … ”

Accordingly noticeably impressed the Frankfurter Allgemeine Zeitung picked out:

“ Rumbler brings along a unicum to the fair :

the original printing plate (5 × 3¾ in | 12.8 × 9.5 cm ! ,

parenthesis not in the original)

for Adriaen van Ostade’s etching

‘The Paterfamilias’ from 1648.

Except for three, Ostade’s copper plates – fifty all in all – were in a Dutch collection , from which they were sold at auction one by one in 1995 (49000 Euro [aforesaid fair plate alone!, yet just a morsel keeping respectful distance to one of Rembrandt’s plates sold at international auction years afore]) ”

(Frankfurter Allgemeine Zeitung, 21 January 2006).

And colleague Rumbler himself per description of this cimelia in the fair catalog:

“ Original copper plates

had at all times highest collecting interest … The relic-like character, the historical value and the high content of information on the artist’s working methods predestine the possession of such a plate to the

crowning keystone of a collection.”

… which the blessed ones know to capture, too .


“ one of the most masterly German etchers and engravers
of the 18th century ”

“ He was the most important master of animal and hunt depictions and one of the most masterly … of the 18th century … His print work is represented quite well already in the print room of the Herzog Anton Ulrich-Museum.

“ Now this stock – and by this at the same time the museum’s collection of printing plates comprising hitherto 150 items (that is in particular Daniel Chodowiecki’s œuvre) – enlarged by 104 copper plates by Ridinger. This copper treasure is handed over to the museum as permanent loan by Stiftung Niedersachsen …

“ The printing plates open fascinating insights

in Ridinger’s approach the graphic techniques and illustrate the road from the drawing to the printed picture. They reveal how in the course of his career Ridinger combined the etching drawn easily into the etching ground with the needle and the engraving carved systematically into the plate with the chisel ever more masterly. The result are animal depictions of great naturalness and liveliness for which Ridinger was admired and collected far and wide …

“ The plate collection lets the artistic development

and Ridinger’s thematic versatility within the animal depiction emerge … ”

So Thomas Döring as head of the printroom of the Herzog Anton Ulrich Museum on occasion of the handing over of the plate collection. Beyond this the media-historic significance of the collection were just the fact that in the 18th century prints like these had been the only means to transport image information and the depiction of the animal motifs tells a lot about the mentality of a bygone epoch. So then also the significance of the engravings shall be researched further in interdisciplinary projects with the Academy of Fine Arts in Brunswick. For

the significance of prints and printing plates

were for people living today “as enigmatic as an African cult mask”.

The director of the museum, Jochen Luckhardt, finally focused the aspect that

acquisitions always were great moments

for a museum. At which private collectors likely counter: and where do we come?!

Johann Elias Ridinger, Trace of the Lion (detail)
Trace of the Lion: Fore Paw – Hind Paw

Yet what did private plate acquirers say generally ?

“ You have surprised me ”

so a retired presiding judge purchasing two of these cimelia
of which he had impressions been done
(see Ridinger catalog Darmstadt, 1999, I.10 amp; 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 more.

And in 2001 the Augsburg Art Collections presented the acquired 12-plate set for the Paradise set within the exposition “KUNSTREICH” as the important acquisitions of the past decade (catalog KUNSTREICH no. 102, pp. 198-201).

Offer no. 16,264 / price on application

„ bereits heute ist der Stahlstich der Harfe spielende Dame wohlbehalten bei mir angekommen und übertrifft meine Erwartungen weit. Als Berufsharfenistin werde ich sicher viel Freude an dem Bild haben. Mit ganz herzlichem Dank und freundlichen Grüßen “

(Frau C. K., 6. August 2016)