with Book + Printing Plate
of “ One of the Most Famous Series of the Artist ”
( FAZ Oct. 14, 1995 )
upon which still the “Blue Rider” Franz Marc drew , too
Ridinger, Johann Elias. (Representation of the Fair Game with the respective Tracks and Traces, Goings, Get-offs, Turns, Flight, and other Signs more … 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
(6 × 9¼ in [15.3 × 23.4 cm]) and, mixed with engraving,
(c. 14⅝-14¾ × 11⅜-11¾ in [37-37.5 × 29-30 cm]).
Ruby red morocco volume
with 4 ornamental raised bands, 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 front cover below ridinger handlung niemeyer (ridinger gallery niemeyer), all in 23.5 carat, in
homogeneous Solander box
– 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
“( Trace of the Otter )”
in reverse (15 × 11⅞ in [38.1 × 30.1 cm]) as removable solitaire laid into the front cover 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 unicum
– Otter-Exemplar –
(– Otter Copy –)
(Bookbindery M. Hierl Bonn).
And by that following refined collector’s custom “to enlarge and illustrate for esthetic reasons beautiful scientific works with extras which referred to the person of the author
and had an inherent collector’s value ,
manuscripts of the author , drawings ( , the various states of print ) and so on … to document the creation”. It marked the birth of the
by French collectors of the 19th century as proverbial own group of the extra get-up with i. a. British roots in the 17th century (Nicholas Ferrar) and the 2nd half of the 18th (James Granger) and strong echo in America (enriched book, 19th cent.). Shortly, per grangerized book
“ the decoration of a valuable bibliophile object
by own addition of supplementing extras. The copy as well as the extras should be
at intrinsic value as in the outer form .
The possessor wishes to set off his book by the extras … against all other copies
making it a collector’s object , a unicum …
Done moderately, each of these kinds of completion of the print has its high value for future research ”
(Hans Bohatta in Löffler-Kirchner, Lexikon des Gesamten Buchwesens, I , 511 f.).
And so it was for the ridinger gallery no question at all to crown this contemporary collector’s copy additionally to its only now adequate binding with such a dot over the i. And so it took , what it had . And that was not more or less , it was pure and simple all , a ne plus ultra ,
an original printing plate !!
Thienemann + Schwarz (Catalog of a Ridinger Collection, color plate vol. I, X) 162-185; Niemeyer, Ridinger Erlebnisse 1698-2020, 2021, p. 52; 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 19⅛ × 13½ in (48.5 × 34.3 cm) – divided in wide margins above + below and smaller at the sides – as almost perfect. Then pronounced larger copies of 19¾-20⅛ × 14⅛-16¾ in (50-51 × 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, Solander box and – 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 as Th. page 294, too. 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).
Jan Hendrik Niemeyer
Life · Work · Posthumous Fame in Dates & Annotations
The Great Fact, Reading and Picture Book
In German. 2021. 29.7 × 21 cm. 340 pages. With 339 (180 color, 6 double/full-page each) illustrations. Laminated orig. boards in thread stitching. Photo brilliant print on 200 g paper. – Text in red & black. More …
Chronologically for the present not to be dated the title page of Ridinger’s personal copy with its higher type area (37.8 cm), the uniformly shorter comma strokes, and a differing ornament close of the red double-line. The line spacings besides evenly more balanced what is due not only to the higher type area, rather especially to a more exact fit in of the second printing passage, too. So far also the copy here allows a limited interesting view over the shoulder of the printer into the sequence of operations.
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 almost 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 Solander box copy in company with an
original printing plate
a fascinating worldwide unicum
for elitist placement. That
the master has worked it himself alone
shall be mentioned expressly. Just as documented by inscription.
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.
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-Jansen 144 with ills.
As inspired by Ridinger known hitherto only Marc’s woodcut “Riding School after Ridinger” of 1913 (Lankheit 839) as detail interpretation of the background figure of the mounted rider of the third sheet (Th. 608) of the 1722 Riding School annotated by literature with
“ Illuminating that Marc with his quite intimate knowledge of art history
turns to just these masters of the depiction of the horse
(Delacroix and Ridinger)
of the 19th and 18th centuries resp. as models ”
(Christian von Holst, Franz Marc – Pferde, 2003, pp. 166 ff. within [‘… the Hoofbeats of my Horses’]).
For already his painting “Playing Weasels” from 1911, preceded 1909/10 by the lithograph of the same name, betrays the knowledge of several Ridinger coppers from entirely different sets. Marc shows two weasels, of which the one in the tree, bowed over a bough, looks down upon the one sitting in raised attitude on the ground. The trees besides of an eccentricity which he uses in this ostensible density in the painted œuvre only in the two “Acts below Trees”, H.-J. 143, of the same year. For the thematic initial spark Ridinger’s small-sized sheet “The Weasels”, Th. 479, from 1740 as sheet 89 of the set Design of Several Animals stands. Here, too, two of them playing, yet both on the ground and in an utterly different context. The latter Marc split up. And took the attitude of the two animals from sheet 86 of the set, the two pine martens Th. 476 (additionally available here the companion piece with the two beech martens Th. 475 plus the original printing plates to both). The young one of which hangs across a bough of equally low height as with Marc and looks down at the mother standing on the hind paws against the trunk luring with a captured bird. “Playing Squirrels” as sheet 88 (Th. 478) shows the same situation, only with the difference of a further one in the tree, too, but keeping a little aloof and not involved in the play. Yet the bizarre tree – and as such Sälzle characterizes it expressly in the 1980 facsimile edition of the preparatory drawings for the suite here – as rather rare also for Ridinger he took from “Trace of a Marten / Trace of the Weasel” (Th. 181, separately available here, too) with the same attitude of the marten in the tree and the, however, neutrally shown weasel on the ground.
Thus Marc designed his “Playing Weasels” just so by means of divers Ridinger references as the latter on his part composed his “Amusement of the Shepherds” after Watteau, Th.-Stillfried 1397, from four models of the Frenchman. That finally also the more typical trees of Ridinger’s were not unfamiliar to Marc, the right group of trees of his painterly forest interior “The Würm at Pipping” from 1902/03, H.-J. 15 with ills., demonstrates. But also the par force scenery on the watercolor “Ried Castle” from 1914 – Holst, ills. 11, p. 29 – stands as further example for Marc’s occupation with Ridinger,
which in this plurality has been missed till now .
And in such a way the
grangerized with original printing plate is thematically enlarged with an additional broadside
by an artistic bridging from 18th to the 20th centuries .
Offer no. 15,273 | price on application