The Augsburg Porcupine
is the ancestor
of the family of the Ridingeriana
and occurred during the first two thirds of the 18th century in South Germany and here dominantly to almost exclusively in Augsburg to which it then owes its German designation, too. What does not mean though it had not spread globally already during lifetime by viruses and in such a manner survived until today. With the opinions about the danger of these viruses being discussed contrarily in the manner of scientific disciplines and reach from harmless (personally unconcerned majority) over dangerous (those being in contact with infected ones) up to increasing the well-being (just those hit by the prick like by the elixir of life).
The latter species then also less conspicuous by sociality due to its more supple inner life, but then the more for its ability in digging, say, in raising profound substances. In which it perfectly knows to use its spinous robe, first its flexible thin phalanx, though if necessary also the shorter strong core. Generally the species is considered harmless, however, and the danger of infection limited due to education. And foremost also as easily tamed as long as not provoked by denial of food. Just quite as their above Augsburg ancestor was handed down and described by literature as domesticated from generation to generation. Until in 1994 L. H. Niemeyer discussed and solidly documented the very same first in the Weltkunst as an unknown, four years later in public event in Dresden even as a minimized being. And since not yields to establish
johann elias ridinger
not only beyond the exclusively granted narrowness of the natural scientific and hunting/hippological earth in the bel étage of art history as appropriate to his rank, but rather make experienceable his whole complexity, not least meaning his intellectual trailblazing, his sociopolitical courage and by this his humanity. Rejecting the preconceived, but also poorly-informed made-up ideal of a good fellow, uncomprehended in his complexity, underrated in his artistic genius, inadequately honored in his personality.
To which latter just a quite prickly robe belonged to, too. By which Ridinger jointly with Hamburg’s Brockes kicked against the abuse of power in his and any time. Certainly not without danger, but then tell this an honorable man.
ridinger – always an experience of extra class
And here its today’s profile
The Porcupine. In irritated state, raising its spines, towards the zeitgeist. Etching with engraving. (1740.) Inscribed: J. E. R. fec., otherwise in German as before. 7⅜ × 6⅛ in (18.8 × 15.5 cm).
Sheet 90 (Thienemann + Schwarz 480) of the Design of Several Animals (“These plates are much wanted and frequently copied”, Th. 1856). – With the number “87” as changed for the new edition by Engelbrecht/Herzberg at Augsburg of c. 1824/25 and as documented by Thienemann per parentheses, too.
Ref. no. 14,995 / in stock – not catalogued / request description & offer
„ bereits heute ist der Stahlstich der Harfe spielende Dame wohlbehalten bei mir angekommen und übertrifft meine Erwartungen weit. Als Berufsharfenistin werde ich sicher viel Freude an dem Bild haben. Mit ganz herzlichem Dank und freundlichen Grüßen “
(Frau C. K., 6. August 2016)