Johann Elias Ridinger, Great Pointer in Action at Partridges

In the Grain Cloud :

The Pointers’ Four Performances

Represented Surprisingly Inadequately in Old Inventories

Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). Pointers in Action. Set of 4 sheet. Etching with engraving. Inscribed: J. E. Ridinger inv. del. sc. et exc. A. V., otherwise in German as below. 11¼-11½ × 10-10⅛ in (28.5-29.1 × 25.3-25.7 cm).

Thienemann & Schwarz 101-104; Catalog Weigel XXVIII (1857), Ridinger 9 A (“Old impressions on laid paper.”); Nagler 23; Silesian Ridinger collection at Boerner XXXIX, 1790 (“newer impressions”, 1885); Collection Reich auf Biehla 17 (2 of which as “new impressions”, 1894); Georg Hamminger collection 1540 (only 3 sheet, besides one of which with text margin only); Helbing XXXIV (1900), 241; Schwerdt III (1928), 136. – Not in the Coppenrath collection (1889/90).

Pointer before a Hare in the Lair – Pointer at Pheasants – Great Pointer in Action at Partridges – Small Pointer in Action at Quails .

The extraordinarily charming unnumbered suite

Johann Elias Ridinger, Small Pointer in Action at Quails

“ worked by Ridinger in his best period ”

(Th.) in picturesque landscape each, three of which in conjunction with grain fields and the fourth besides in front of a herm splendidly adorned with arabesques and crowned by Augsburg’s cembra nut, “the Pyr, once mark of the Roman legionnaires when they pressed northward, but also ancient symbol of fertility” (Frankfurter Allgemeine Zeitung Jan. 17, 1985).

Three sheet in warm-toned old impressions on laid paper (at least two of which with typographical watermark identifiable in outline), of which the later impression on wove paper of the pheasant sheet contrasts not disharmoniously also in regard of the margin. The latter 0.8-1 and (pl. 2) 1.7-2 cm resp. around. – Pl. 2 with tiny margin tear backed acid-freely, pl. 4 with small thin spot in the sky part.

Johann Elias Ridinger, Pointer on Pheasants

Graphical fireworks in the meaning of literature

the cloud of grain waving everywhere dominatingly-dynamically

from whence the hound scents at the pheasant’s nest .

Addressed by Wolf Stubbe as former director of the Hamburg printroom associated equally with the 18th and 20th century by means of the far less sumptuous buffalo/crocodile sheet Th. 722 as an “artistic peak”, read as

“ naturalness and liveliness, which are praised in particular in Ridinger’s prints by contemporaries, are based on many factors which the artist – as with the treatment of light (Princes’ Pleasure/Par Force Hunt) – figured out only in the course of development, or which he only knew to perfect in his mature period … Especially the inclusion of light in the structure of the overall design … imparts to … a graphic composition (just) its dynamic powers. An example for this:

The animal fight sheet ‘The Wild Buffalo and the Crocodile’ (pl. 34) belongs to the artist’s latest works (1760). By it can be demonstrated easily how light and line contribute by interaction to the vitalization of the appearance. The impressive silhouette of the attacked (buffalo) … is …

optically supported by the rapid light curves of the sheaf of Nile reed

… and once more again by the bend of the crocodile’s tail running concentrically to these curves. Towards the depth then, likewise based on reeds, an optical dramatization, for in the middle distance a now dark sheaf of reed runs in curved return, and finally in the background – now light again – the points of another sheaf of reed appear once more conversely, thus anew led parallel to the light reeds right at the front …

It takes quite a lot of artistic intelligence to achieve this as delicate as animating effect of light. With it, if he knows to handle it, the engraver possesses a decisive medium for one of the most essential effects the art of engraving can actually obtain ”

(Stubbe, Johann Elias Ridinger, 1966, pages 16 f.). In analogy to said sheaf of reed/crocodile’s tail

here the curve of the pheasant’s tail feather , responded by the neighboring double leaf

in the same as opposite direction.

Johann Elias Ridinger, Pointer before Hare

Sheets 2 & 4 later with plate nos. 67 and 86 (Schwarz 104a) resp. upper right as characteristic of their use within later editions of the Most Wondrous Deer and other Peculiar Animals, there replacing the original pointers Th. 308 and 328 resp.

Augmented by these and two further (Th. 274 & 278), the set occurs also in six and eight sheets resp. Correspondingly Th.- 274: “Also sold in the collection: ‘Pointers’ if six piece are stated.” And numbered consecutively in writing as eight sheets it occurred here in a former contemporary omnibus volume. 274 & 278 presently available here apart.

Offer no. 16,168 | EUR 1490. | export price EUR 1416. (c. US$ 1712.) + shipping

– – – The same in impressions originating from an old omnibus volume of a nobleman on strong laid paper with at least partially typographic watermarks and wide margins of laterally 3-4, above & below 8-10 cm, the first three of which numbered by old hand in bistre XXXXVI-XXXXVIII. – Sheet 1 partly & sheet 4 (7 mm wide light brown streak at the lower far edge) quite marginally below inked a touch to black, otherwise very very fine. – See the complete description.

Offer no. 15,693 | EUR 2300. | export price EUR 2185. (c. US$ 2641.) + shipping

“ Hello Mr. Niemeyer, Parcel well received! Interesting (Ridinger) piece! Appreciate your good memory and service! Best regards ”

(Mr. J. R. L., July 17, 2012)


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