ridinger gallery niemeyer

After 22 Years back in Stock. And unchanged

“ not to be looked at without Admiration … ”

Ridinger’s Original Squirrels Printing Plate
of the Collection Georg F. Schmidt

Johann Elias Ridinger (Ulm 1698 – Augsburg 1767). Playing Squirrels. In dense woods on/at an ancient slanted oak’s trunk. Two already up, one still climbing up. Copper printing plate in reverse. (1740.) Inscribed: Spilende Eichörnlein / J. E. R. fec. 7½ × 6⅛ in (19 × 15.5 cm).

Johann Elias Ridinger, Playing Squirrels (printing plate)

“ Their abode actually is in the woods … They are always lively and their easiness in leaping, as with the greatest speed they virtually fly from one tree to the other, is not to be looked at without admiration … ”

So the Ridingers in the preface to the Colored Animal Kingdom, pt. II, page 5. Here then with provenance Dr. Schmidt and his autograph owner’s note Georg F. Schmidt / 14. 6. 99 in black on the back.

The optically excellently preserved original printing plate to sheet 88 (etching with engraving, Thienemann & Schwarz 478) of the instructive set Design of Several Animals, As such were drawn from Life after their differentiated Kinds, Actions and Passions (“These plates are much wanted and frequently copied”, Th. 1856)

in the reddish-golden brilliance of their 282 years old copper .

And precious, worldwide unique collector’ object of degrees, still deemed lost by Thienemann 1856 as part of the copper printing plates to the Design, yet here traced back far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself. For

“ Preserved original printing plates

from the 18th century

are of great rarity ”

(Stefan Morét in the Ridinger catalog Darmstadt, 1999, pp. 62 f.). Also see the plates, acquired here, there I.13, I.8 & I.11, color illustration 6 & b/w ills. pp. 63 f.).

And especially on those by Ridinger :

“ 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 raw material value and the hours of work invested therein

enjoyed a far higher esteem

than , for instance , a preparatory drawing handled only too often disrespectfully … ”

In this regard quite concretely Adrian Zingg himself 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 with which he executed his works … nevertheless could not cover his expenses”. So this towards Hagedorn – to whom Ridinger dedicated his set The Deer’s Four Times of Day as the one and only own dedication – as director general of the arts in Saxony for the purpose of putting through his requests for employment in Dresden:

“ The work was agreed upon when I started it, and all the time spent much more time than I had expected at the outset, 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, page 4). Yet even this generous sum but a quarter of what was paid in London. For, 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 Michael Bauer (Christoph Weigel, 1654-1725, Kupferstecher und Kunsthändler in Augsburg und Nürnberg, in Archiv für Geschichte des Buchwesens XXIII [1982], cols. 740/I & 742, II f.) draws up the following calculation for the South German strongholds Nuremberg & Augsburg of the later period for “simplest” engraving work:

“ On purchase and sale resp. or the splitting up of an art dealer’s shop … it was above all about (its) printing plates. They represented the

by far costliest part in the production process of an engraving

… From the invoice of an Augsburg engraver to the city council on delivered plates of simplest (bold type not in the original) engraving work the relation of the work of engraving and costs for printing can be broken down further. In July 1755 the engraver Leonhard Michael Steinberger charges for two plates executed in engraving five guilders each and for 150 (250?) impressions done from these … For one impression thus results a price of 0.24 kreutzer or, in other words, 250 impressions would cost one gulden (whereby guilders and Thaler can be set equal) … This example demonstrates that the

principal capital had to be invested into the production of the printing plate

whereas the printing itself caused only very little costs. The principal capital of an art dealer’s therefore consisted of the possession of up-to-date printable copper-plates. ”

And so it was said here, too, on occasion of the re-emergence 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 present one

has been worked by the master himself alone

shall be mentioned expressly. Just as then documented by above inscription, too. – With the numbering changed to “85” for the Engelbrecht-Herzberg new edition of c. 1824/25 in accordance with Thienemann’s addition in parenthesis.

Georg F. Schmidt / 14. 6. 99
The back: Georg F. Schmidt / 14. 6. 99

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.

Originating from the Thieme-Becker block reemerged after the Wende – “ 444 copperplates (in reverse) presently (1933) in private estate in (Berlin-)Charlottenburg ” – and here researched back seamlessly down to the Ridinger estate, correcting all of Thienemann’s (1856) assumed, actually still in closest Saxon neighborhood used attributions of loss. – Temporarily at an In-and-Out-again-Price.

Offer no. 16,293 | price on application

– – – Playing Squirrels in an impression of the 1st edition with the number “88” on fine laid paper. – Colored by later hand in attractive fitting palette as quite unusual for original impressions. – See the complete description.

Offer no. 15,752 | price on application