On G(rand). R(eserve). Paper
An “Animal Soul Painter” (Stubbe 1966) ? — Then here !
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). This Snub=Eared Main Boar with cropped Tail which on the left side had the large Tusk broken off and on the right the Tusks grown crosswise His Princely Highness the ruling Sire Landgrave Louis (VIII) of Hesse-Darmstadt has cropped the ears with serene hand himself already 12. years ago and in the 1749th year January 18 wounded in the Bessungen Forest (Roßdorf, south of Darmstadt) and ditto 30th even shot in the All Saints Forest (Langen/Hesse, north of D.). Etching with engraving. Inscribed: 5. (sic!) / J. E. Ridinger del. sculps. et excud. A. V. 1753., otherwise in German as above. 13⅝ × 9¾ in (34.5 × 24.9 cm).
Thienemann & Schwarz 300; Ridinger Catalog Darmstadt, 1999, VI.3 with ill.; Siebert-Weitz, Ridinger, 1999, pp. 28 f. with ill.; Weigel (1857) 20 D (“New impressions”, see below). – Top-rounded sheet 58 of the 101-sheet set of the Most Wondrous Deer and other Wondrous Animals, here after erasure of the original numbering apparently renumbered in the plate, else in writing, as sheet 5 – renumbered on occasion of a new complete edition elsewhere about 1859 – of the self-contained set Other Wondrous Animals (Niemeyer II.2) of the edition jointly published by Engelbrecht and Herzberg about 1824/25 with the six boars as the beginning. Ridinger’s art publishing house had devolved upon the House of Engelbrecht there 1821 the latest, whose Martin E. (1684-1756) had been on cordial terms with Johann Elias. Jointly with Herzberg’s art dealer’s a comprehensive subscription plan of Ridinger’s works was started in August 1824, based on “the now perfected copper printing and its proper implementation … without any restoring aid … (full of) clarity and vitality (and unchanged preservation of color)”. The frequently perceptible optically slight harshness of these here not present.
“ The (Packer) wears a somewhat mysterious muzzle .
The deformed teeth of the boar , the clipped ears ,
and the stump tail are clearly visible ”
( Siebert-Weitz pages 28 & 30 ) .
Adducible, however, the pen-and-ink drawing “A Dead Wild Boar, on which the gun lies, next to it on the earthen rise a sitting hound leashed to one of the trunks, who guards it” as lot 99 of “Johann Elias Ridinger’s Art Estate in Drawings” within Weigel’s 1869 catalog of drawings. Here, however, without gun and the dog sitting freely. To the right of the tusker boar-finder giving mouth from below the underbrush.
Splendid impression on heavy wove paper watermarked (Thurn)eisen G(rand). R(eserve). of the Thurneisen mills flourishing from 1558 until 1925 at Basel (until 1886), Kandern (1819-1852), and Maulburg (1836-1925).
“ Since Aldus Manutius (active 1494-1515) the printers used to publish for particular clients some impressions of their prints on larger paper (grand papier, large paper) with a wider margin. Originally meant for scholars who used to apply their remarks to the margin, later as preferential copies highly valued by the bibliophiles ”
(G. A. E. Bogeng in Löffler-Kirchner, Lexikon des Gesamten Buchwesens, I , 256 per Breitrandige Abzüge. Margins of present one laterally 4.2-4.7, below/top 6.2-6.7 cm wide. – At the corners quite slight traces of former mounting to supporting paper, otherwise fine.
Offer no. 16,238 / EUR 670. / export price EUR 637. (c. US$ 770.) + shipping
– – – The same, but from the final complete edition, Leipsic c. 1859, with the restored original numbering “58” top right. – On toned vélin with margins of 1.7-2.5 cm all round, drawing impeccably clear and vibrant still in the subtlest italics.
Offer no. 16,099 / EUR 248. (c. US$ 300.) + shipping
– – – The same, but as the optically excellently preserved original printing plate in reverse in the reddish-golden brilliance of its 266 years old copper. 13¾ × 9⅞ in (34.9 × 25.2 cm).
An extremely gratifying , worldwide unique collector’s object
traced back here far beyond Thieme-Becker (vol. XXVIII, 1933, p. 308) seamlessly directly to the master’s estate itself, therewith correcting Thienemann (1856) who deemed the plates of the Most Wondrous lost. For “Preserved original 18th century printing plates are a great rarity” (Stefan Morét in Catalog Darmstadt pp. 62 f. See also the plates there I.13, I.8 & I.11, color ill. 6 & b/w ills. pp. 63 f.). – 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. – With timeless-elegantly frameless hanging fittings so that you will experience the reflection of the respective light to the fullest. – See the complete description.
Offer no. 15,009 / price on application
Einem sich nicht zu einer 12blätterigen Ridinger-Folge entschließen könnenden Interessenten mailte L.H.N. was sein altmärkischer Großvater zu sagen pflegte, wurde bei Tisch genörgelt: Wer nicht mag, ist der Beste.
Daraufhin der noch gleichen Tages nun zugreifende Reflektant:
„ … Denn : wer doch mag , ist nicht der Schlechteste “
(Herr C. R., 22. Februar 2017)