Johann Elias Ridinger, Stags hunted par force 1731 (Nymphenburg)

“… in the Munich Nymphenburg Park towards Starnberg …
drawn from nature ”

Witnessed Dramatic par force
Transformed into Breath-catching Sheer Art

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). In the Year 1731. have I drawn this Image (of two stags hunted par force, of which one rears up, the takes to the water) from Nature in the Park of Nymphenburg towards Starnberg. Copper printing plate in reverse. (1745/46.) Inscribed: J. El. Ridinger fec: et excud., otherwise in German as before. 13⅞ × 11 in (35.1 × 28.1 cm).

The optically excellently preserved original printing plate to sheet 45 (etching with engraving, Thienemann & Schwarz 287; “A rich sheet”, Th.) of the Presentation of the Most Wondrous Deer …

in the reddish golden brilliance of its 274 years old copper

as one of the most brilliant works of Ridinger’s ,

hurling out unjadedly fresh what had deeply stirred him artistically 15 years earlier, experiencing, seeing and drawing it. On the spot, at the moment. When in the park of Nymphenburg two stags already seized by the hounds stormed past him. Downwards. Figuratively as actually. A verve without equal, unsurpassable in the rearing up of the one in the back. And has the adducible, standards-setting Petersburg painting 284 seem in its b/w illustration almost static to the himself seized beholder. As in the present case the particular overwhelmedness is due only to the pure copper in its reddish golden brilliance.

Generally besides precious, worldwide unique collector’s item of degree here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate, 1856 still deemed lost by Thienemann as part of the copper printing plates to the Most Wondrous. For

“ Preserved original printing plates

from the 18th century

are a great rarity ”

(Stefan Morét in the Ridinger catalog Darmstadt, 1999, pp. 62 f. See also as acquired here 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, for instance, a preparatory drawing handled only too often disrespectfully … ”

And, so 1835 Nagler in the Künstler-Lexicon II, 98 f.:

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

And so it was stated here then on occasion of the re-appearance of parts of the so-called 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

has been worked by the master himself

should be mentioned expressly. Just as documented by above inscription.

The original numbering “45” supposedly restored on occasion of a later new complete edition after a re-arrangement for a separate set about 1824/25. – Below the caption as well as, here utterly inessential, in the right and top margins outside the edge of the subject faintly streaky.

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) for that you will experience the reflection of the respective light to the fullest.

Offer no. 16,276 | price on application

  1. Nikolai N. Nikulin, German and Austrian Painting XVth to 18th Centuries/The Hermitage Catalogue of Western European Painting XIV, 1987, with illustration.