DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0105
86
Early German and Flemish Woodcuts.—Part I.
which she holds up with her 1. hand. She lays her r. hand on the wheel,
which supports the long sword, point downwards. The saint’s hair is
hraided on each side over her ears, but most of it hangs loose down her
back. The ground is mai’ked by a single line. The border is single
[135 x 83]. This cut is placed unevenly, like the last described, within
the same passe-'partout. The colour, quality of the work, and condition
are in every respect the same. The two are by the same artist.
[193x138.] Impression produced by friction in grey ink. Margin [8-10] uncolourecl.
Purchased at the Weigel sale, 1872. Eepr. W. u. Z. i, p. 14S.
A 71.
ST. BABBARA AND ST. CATHERINE.
Schr. 1265.
St. Barbara stands 1. holding in her r. hand the tower, with the
chalice and host on a ledge in front of it. She points towards the tower
with her 1. hand. She wears a crown, surrounded by a plain nimbus, and
a simple robe and mantle. St. Catherine stands r. facing 1. in similar
attire. She holds the sword by the hilt, point downwards, in her r. hand.
No hatching is used. Single border.
[138 X 98.] Coarse work, over-inked and badly printed, similar in style aud origin
to three cuts already described, A 28, 29, 56. Colours (carelessly applied) : carmine.
pale brown, yellow, green. Margin [2-6] uncoloured. Tlie r. lower corner has been
torn awav, and other parts are damaged.
Purcliased from Mr. Rosenthal, 1879. Formerly described as a metal-cut.
A 72.
ST. BERNARD OF CLAIRVAUX.
Sclir. 1274. W.—D 76.
St. Bernard, wearing the Cistercian habit, kneels r. bare-headed, in a
field enclosecl in front by a low wattled fence. He raises both hands and
holds his abbot’s crozier under his 1. arm. A sci’oll proceeds from his mouth
with the words, fHOUStVA tC C8SC matVfJlt. These are addressed to
the Virgin, who sits 1. holding the naked Chilcl on lier 1. arm, while with
her 1. hand she presses her breast so that the milk spirts out and falls on
St. Bernarcl’s mouth (in allusion to the legend that Our Lady refreshed
him in this way when his throat was parched with singing her praises).
The Virgin has a nimbus with double rim. That of the chilcl Christ is
cruciform, that of St. Bernard plain. Three trees are seen on rising
ground in the background. There is no inclication of sky. Hatching is
usecl in the drapery. A shield rests on one of the stakes of the fence,
bearing the arms of the Abbey of Ebrach, which was near Burgau in
Suabia, not far from Ulm.
[189 X 124.1 Good impression in a strong black ink, in perfect preservation.
uncoloured.
Margin [4-6.] Watermark : bull’s head, only partially visible.
Purcliased from Messrs. Colnaglii, 1865.
Schr. mentions five other representntions of St. Beruard witli the same arms. The
drawing of the trees resembles that of the cuts in T. Lirer’s Schw’abische Chronik,
C. Dinckmut, Ulm, 1486 (Hain 10117. Mutlier 355.)
Early German and Flemish Woodcuts.—Part I.
which she holds up with her 1. hand. She lays her r. hand on the wheel,
which supports the long sword, point downwards. The saint’s hair is
hraided on each side over her ears, but most of it hangs loose down her
back. The ground is mai’ked by a single line. The border is single
[135 x 83]. This cut is placed unevenly, like the last described, within
the same passe-'partout. The colour, quality of the work, and condition
are in every respect the same. The two are by the same artist.
[193x138.] Impression produced by friction in grey ink. Margin [8-10] uncolourecl.
Purchased at the Weigel sale, 1872. Eepr. W. u. Z. i, p. 14S.
A 71.
ST. BABBARA AND ST. CATHERINE.
Schr. 1265.
St. Barbara stands 1. holding in her r. hand the tower, with the
chalice and host on a ledge in front of it. She points towards the tower
with her 1. hand. She wears a crown, surrounded by a plain nimbus, and
a simple robe and mantle. St. Catherine stands r. facing 1. in similar
attire. She holds the sword by the hilt, point downwards, in her r. hand.
No hatching is used. Single border.
[138 X 98.] Coarse work, over-inked and badly printed, similar in style aud origin
to three cuts already described, A 28, 29, 56. Colours (carelessly applied) : carmine.
pale brown, yellow, green. Margin [2-6] uncoloured. Tlie r. lower corner has been
torn awav, and other parts are damaged.
Purcliased from Mr. Rosenthal, 1879. Formerly described as a metal-cut.
A 72.
ST. BERNARD OF CLAIRVAUX.
Sclir. 1274. W.—D 76.
St. Bernard, wearing the Cistercian habit, kneels r. bare-headed, in a
field enclosecl in front by a low wattled fence. He raises both hands and
holds his abbot’s crozier under his 1. arm. A sci’oll proceeds from his mouth
with the words, fHOUStVA tC C8SC matVfJlt. These are addressed to
the Virgin, who sits 1. holding the naked Chilcl on lier 1. arm, while with
her 1. hand she presses her breast so that the milk spirts out and falls on
St. Bernarcl’s mouth (in allusion to the legend that Our Lady refreshed
him in this way when his throat was parched with singing her praises).
The Virgin has a nimbus with double rim. That of the chilcl Christ is
cruciform, that of St. Bernard plain. Three trees are seen on rising
ground in the background. There is no inclication of sky. Hatching is
usecl in the drapery. A shield rests on one of the stakes of the fence,
bearing the arms of the Abbey of Ebrach, which was near Burgau in
Suabia, not far from Ulm.
[189 X 124.1 Good impression in a strong black ink, in perfect preservation.
uncoloured.
Margin [4-6.] Watermark : bull’s head, only partially visible.
Purcliased from Messrs. Colnaglii, 1865.
Schr. mentions five other representntions of St. Beruard witli the same arms. The
drawing of the trees resembles that of the cuts in T. Lirer’s Schw’abische Chronik,
C. Dinckmut, Ulm, 1486 (Hain 10117. Mutlier 355.)