DOI Page / Citation link:
https://doi.org/10.11588/diglit.61523#0098
94
Exhibition of Drawings and Sketches.
which the artist engraved for sale to the pilgrims to"the shrine of Our
Lady of Einsiedeln in Switzerland, and is perhaps the finest of hisjworks;
but the present impression is somewhat weak in colourjind printing.
“MASTER OF THE AMSTERDAM CABINET,” or
“OF 1480,” or “OF THE HOUSE BOOK.”
Engraver with the dry point: worked about 1480 : Swabian School.
481. (a) Solomon adoring Idols.
(b) Armorial Escutcheon.
(c) Grotesque Escutcheon with Peasants.
(d) The Three Living and the Three Dead Kings.
(e) St. George and the Dragon.
(f) A Turk on horseback.
(d) From the Malcolm collection.
The rare master represented by the above six examples fills a quite excep-
I tional place in the history of early German engraving. In the first place,
I h ne does not work, like all the other engravers of the time, with the graver,
but with the needle. His plates are the earliest extant examples of the
method now known as “ dry-point,” and are enriched with “burr ” in the
I same manner as the dry-point etchings (or those parts of bitten etchings
which have been subsequently finished in dry-point) in the work of Rem-
brandt and more modern masters. In the next place, his designs are drawn
with a lively realism and a surprising degree of artistic skill, and show a
preference, not usual at this date, for secular and every-day subject. By
far the largest collection of his works is in the Print Room at Amsterdam;
hence one of the names by which he is known to students. The second
name, “Master of 1480,” is drawn from the supposed date (which is
perhaps put a little too early) of his activity: the third from the fact that
there exists at the castle of Wolfegg a MS. illustrated with drawings of
various emblematic, realistic, and instructive subjects which seem certainly
[to be by his hand.
His style shows him to belong to the Swabian or south-western region of
Germany between Augsburg and the Upper Rhine: and one distinguished
authority has proposed to identify him with Hans Holbein the Elder. A
more probable identification is that with the painter of an anonymous
series of Passion paintings preserved in the Cathedral at Mainz.
Martin SCHONGAUER.
Painter, goldsmith and engraver: Swabian School, strongly influenced by
Flemish examples^x about 1450, d. 1491: worked at Colmar and
Miilhausen, in Al«5ce.
482. (a) and GX^Dhe Annunciation.
£0)' ThXAnnunciation.
X (d) ITie Nativity.
(e) The Baptism of Christ.
(a) (b) (c) (d) From the Malcolm collection.
483. (a) The^ Nativity.
(b). The Adoration of the Magi.
—The Flight into Egypt.
(4
Stiis
im
wn
atti
faf
fa,
R
fcl
Im"
ff-W
i Mi
A
n
1(h) Chris
Aug
WheV
Am
Be Vi
Be Vi
Wife.
’Mdsecoa
the
Exhibition of Drawings and Sketches.
which the artist engraved for sale to the pilgrims to"the shrine of Our
Lady of Einsiedeln in Switzerland, and is perhaps the finest of hisjworks;
but the present impression is somewhat weak in colourjind printing.
“MASTER OF THE AMSTERDAM CABINET,” or
“OF 1480,” or “OF THE HOUSE BOOK.”
Engraver with the dry point: worked about 1480 : Swabian School.
481. (a) Solomon adoring Idols.
(b) Armorial Escutcheon.
(c) Grotesque Escutcheon with Peasants.
(d) The Three Living and the Three Dead Kings.
(e) St. George and the Dragon.
(f) A Turk on horseback.
(d) From the Malcolm collection.
The rare master represented by the above six examples fills a quite excep-
I tional place in the history of early German engraving. In the first place,
I h ne does not work, like all the other engravers of the time, with the graver,
but with the needle. His plates are the earliest extant examples of the
method now known as “ dry-point,” and are enriched with “burr ” in the
I same manner as the dry-point etchings (or those parts of bitten etchings
which have been subsequently finished in dry-point) in the work of Rem-
brandt and more modern masters. In the next place, his designs are drawn
with a lively realism and a surprising degree of artistic skill, and show a
preference, not usual at this date, for secular and every-day subject. By
far the largest collection of his works is in the Print Room at Amsterdam;
hence one of the names by which he is known to students. The second
name, “Master of 1480,” is drawn from the supposed date (which is
perhaps put a little too early) of his activity: the third from the fact that
there exists at the castle of Wolfegg a MS. illustrated with drawings of
various emblematic, realistic, and instructive subjects which seem certainly
[to be by his hand.
His style shows him to belong to the Swabian or south-western region of
Germany between Augsburg and the Upper Rhine: and one distinguished
authority has proposed to identify him with Hans Holbein the Elder. A
more probable identification is that with the painter of an anonymous
series of Passion paintings preserved in the Cathedral at Mainz.
Martin SCHONGAUER.
Painter, goldsmith and engraver: Swabian School, strongly influenced by
Flemish examples^x about 1450, d. 1491: worked at Colmar and
Miilhausen, in Al«5ce.
482. (a) and GX^Dhe Annunciation.
£0)' ThXAnnunciation.
X (d) ITie Nativity.
(e) The Baptism of Christ.
(a) (b) (c) (d) From the Malcolm collection.
483. (a) The^ Nativity.
(b). The Adoration of the Magi.
—The Flight into Egypt.
(4
Stiis
im
wn
atti
faf
fa,
R
fcl
Im"
ff-W
i Mi
A
n
1(h) Chris
Aug
WheV
Am
Be Vi
Be Vi
Wife.
’Mdsecoa
the