“ New York Emil Seitz Broadway No. 413 ”


Here now
in their most elitist , worldwide unique state

Unrivaled — Unrepeatable

Johann Elias Ridinger
Ulm 1698 – Augsburg 1767

Johann Elias Ridinger, The Par Force Hunting of a Stag and how He is killed

The Par Force Hunting of a Stag and how He is killed. – Venatio Libera Et Violenta Cervi, Ejusque Occisio. “A splendid stag of twenty points, grabbed, strangled, and pulled down by many hounds, is dealt the coup de grâce by the prince with the hunting dagger” (Th.). Copper printing plate in reverse. Inscribed: Johann Elias Ridinger inven. fecit et excud. Aug. Vindel., otherwise in German-Latin parallel text as before and addressed as below. 21½ × 29⅞ in (54.6 × 75.8 cm).

Offer no. 16,181 / price on application

Johann Elias Ridinger, How the Wild Boar is hunted and couped de grâce

How the Wild Boar is hunted and couped de grâce. – Qua Ratione Aper Exagitatus tandem Prosternatur. Framed by hounds and hunters, the boar at bay is dealt the coup de grâce by the prince with the boarspear. Copper printing plate in reverse. Inscribed: Johann Elias Ridinger inven. fecit et excud. Aug. Vind., otherwise in German-Latin parallel text as before and addressed as below. 21¼ × 29¾ in (54.1 × 75.6 cm).

Offer no. 16,182 / price on application

or as set

Offer no. 14,930 / price on application

The optically excellently preserved

original printing plates

in the mixed technique of etching and engraving as typical for Ridinger and his age to Thienemann (“so one cannot admire these master pieces enough”) & Schwarz 67/68 and Schwerdt III, 135 (“… of the largest and most artistic plates engraved by Ridinger himself”)

in the reddish golden brilliance

of their about 270 years old copper .

Most precious, worldwide unique collection object of degree, traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly into the master’s estate itself while deemed lost by Thienemann still in 1856. For already in general

“ 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 illustration 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 on the basis of both their material value and the hours of work 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.

Correspondingly it was said here on occasion of the re-emergence 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 ones here are

worked by the master himself alone

shall be mentioned expressly. Just as then documented by the above inscription, too.

For both Thienemann and Schwerdt they are

“ the largest and supposedly most beautiful as well

Ridinger has delivered …

so that one cannot praise these masterpieces enough. ”

Beside the imperial privilege entry they show by the way on occasion of new prints as the only ones of the plates known here additionally three posthumous 19th century publishers/printer addresses – these along with the privilege of the same line, but not the separate one-lined Ridinger signature, in respect to their general tender engraving and too thorough final cleaning here only still identifiable with a well-aided and likewise well-minded eye – including as quite fascinating

“ New York Emil Seitz Broadway No. 413 ” !

Seitz was the son-in-law of the Augsburg publisher Ferdinand Ebner I (1786-1859, children Ferdinand II & daughter Emma), together with brother Ludwig (by marriage about 1809) owner (by partnership in 1821) of the Herzberg Academic Art Gallery there which about 1824/25 had taken part both for technical support and as publisher in the Ridinger new editions by the Engelbrecht Gallery there. Some years before the latter had taken over the Ridinger Publishing House inclusive of the printing-plates. Independently of this Ferdinand besides established his own publishing house in 1823 which was sold after his decease in 1860 and went bankrupt under the successor Bauer in 1864. In the absence of a successor the Herzberg store was liquidated still by Ludwig himself about 1852. Before his union with Emma Ebner Seitz had worked together with her brother Ferdinand (II) in Berlin. The wedding took place in New York in 1852, where Emil Seitz had moved late in 1850. With Broadway address from the beginning. Only in the foremost time no. 233, then finally 413! THE NEW YORK TIMES dedicated him an obituary in 1911. At that time he had retired finally from business already 25 years before! It was an American career.

Seitz’ address on these crown plates of downright American pretensions

in such a way excellently dovetailed with Ridinger’s estate of plates .

More on this complex in our illustrated flyer He Who Did Things in a Big Way – Emil Seitz & Ridinger on Broadway.

Their attribute as “the largest plates” by the way has to be amended to the effect that several mezzotints worked by or for Johann Andreas Pfeffel after paintings from supposedly Ridinger’s early years – here available from English estate the impressively monumental 4-sheet set Roe-Boar-Bear-Quail unbeknownst to all but Thienemann – are of similar size and Schwerdt III, 149 in addition records as what has to be described as practically a unique here not provable anymore since 1939 a St. Hubert after Johann Caspar Sing (Braunau/Inn 1651 – Munich 1729), with 33½ × 24⅜ in (85 × 61.8 cm) surpassing those once more. Showing “only” Ridinger’s “excudit” as publisher, it should be a genuine work of his nonetheless. However, with 29¾ × 36⅛ in (75.5 × 91.8 cm) sheet size here actually the most monumental sheet of the œuvre, albeit still engraved by third party, is the early Siege and Conquest of Halicarnassus (Th. 917) from the Alexander cycle. Yet by their artistic and

as one ( !! ) plate works

additionally technical bravura

the pendants reckon as pendants among the hunting prints of all times to the finest hunting pictures pure and simple. At the same time after the abolishment of the par force hunt they are the ultimate graphical representation of that hunt-historical zenith.

“ By their style they should have been created in the late 40s … Both … are repeatedly named in literature as the most perfect works by Ridinger ”

(Rolf Biedermann in the 1967 Augsburg Ridinger Catalog, no. 67). And so they stand here then in their

incomparably precious

original copper printing plates

for the unison

of wealth & copper .

Is the one not imaginable without the other , so it takes the former for the possession of present museal plates. By this then, to the annoyance of all the egalité envy,

a truly incomparably

tremendously royal collection item

of concurrently, it may be repeated, highest (con)evidence value for the artistic process of creation, quite in the meaning of that postulate of Benn’s back “to the sources, to the mothers” in the succession of Dante, Goethe, Kierkegaard or Nietzsche.

Shielded from tarnishing by fine application of varnish, the copper printing plates, whose paper impressions through the times were and are rare, are generally printable in the ordinary course of their use through the times, however, they are offered and sold as works of art and collector’s items, thus without prejudice to their eventual printing quality. As

a flagship of actually American volume

– as ONE plate works together monuments of themselves –

these copper printing plate pendants bust about any imagination of what even most fastidious collectors deem possible objectwise. It is the chance of that kind of category qualified by an international publisher on another occasion:

“ It’s breathtaking again and again what you can offer . ”

Proposed to you besides with the recommendation of a timeless-elegant frameless hanging (fittings included) for that you will experience the respective light reflections to the fullest.

And what did private Ridinger plate purchasers say generally?

“ You have surprised me ”

so a retired presiding judge purchasing two of these cimelies of which he had impression been done
(see Ridinger catalog 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 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 past decade
(catalog KUNSTREICH no. 102, pp. 198-201).

– – – How the Wild Boar is hunted and dealt the coup de grâce. – Qua Ratione Aper exagitatus tandem Prosternatur. Etching with engraving in a contemporary impression from the estate of the Dukes of Arenberg with their oval blue collection stamp with the three medlar flowers borrowed from the crest of the house and the device CH(RISTUS). PROTECTOR MEUS verso. – On heavy laid paper supposedly watermarked Wangen and secondary mark FAvI (?). – With regard to the usual faults of preservation common to be stated almost always with these oversizes, the downright minimal age marks entirely subordinate to the excellent printing quality with its marvelous chiaroscuro as adequate to what made this inexpressibly fine sheet so unrivaled and unrepeated. – See the complete description.

Offer no. 16,185 / price on application