DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0156
Division A.—S'ingle Woodcuts.
131
has been recently endorsed by Messrs. Lehrs, Ltitzow, Scbreiber, Kaemmerer and
Springer (sometimes witb modifications, “ at the time ” or “ under tbe influence ” of tbe
artist of tbe “ Biblia Pauperum ”). None of these recent writers make it clear wbether
tbey are speaking of tlie design or of tlie technical peculiarities of tbe woodcuts. If
tbey mean tbe latter, tbe fact tbat all of tbem except Scbreiber, as we bave seen, are
speaking of tbe Basle alpbabet only, takes from tbe weigbt of tbeir autbority, since
tbey bave not reckoned witb tbe technical differences between tbe two woodcut alpba-
bets tbemselves, and tbey are not really in agreement witb L. de Laborde, for if it be
granted tbat tbe Basle alphabet is by tbe woodcutter of tlie “ Biblia Pauperum,” it will
follow ipso facto tbat tbe London alphabet is not. Tbe only ground upon wbicb tbe
resemblance can be based is tbat of tbe original design, and it is to tbis tbat L. de
Laborde appears to limit kis attribution, in speaking of “un alphabet grotesque,
evidemment compose et dessine' sur bois par l’auteur de la premiere e'dition de la Bible
des Pauvres.”
Wbile admitting tbat tbere is a closer resemblance to tbe “ Biblia Pauperum ” than
to any otber of the block-books, I cannot myself see tbat tbe resemblance is of sucb a
kind as to warrant tbe attribution of botb to tbe same autbor. Tbe alpbabet is tbe
finer and more vigorous work of the two; it is only surpassed among tbe block-books
by tbe finest of them all, the so-called editio princeps of the “ Ars Moriendi,” in wbicb
tbe types of countenance, still more expressive and excellently drawn, aie very different
from tbese.
I would therefore ascribe tbe alpbabet simply to a Flemish artist, not otberwise
known, who produced it, as tbere is every reason to believe, in tbe year 1464.
A 132 (1, 2).
TWO ORNAMENTAL DESIGNS.
Scbr. 2004, 2005.
In the first of these, a griffin facing r. with three plumes on its head, is
placed within a wreath composed of two intertwined stems, each of which
bears four fiowers with five petals (not “ eight,” Schr.), and four long
heart-shaped leaves. The whole is drawn in broad outlines without any
shading, so that griffin, stem, flowers, and leaves are white.
In the second design, the griffin facing 1. without plumes on its head is
placed within a wreath of similar flowers and leaves. In this case the
griffin, stem, and leaves are entirely black, only the flowers being white,
with black outlines as before. Where one stem passes under the other,
the line is broken and a space is left.
There is no border to either cut. The patterns were no doubt intended
for repetition, perhaps the two alternately, on ornamental stuflf or paper.
[135 x 125.] Good impressions, witb margin, on paper witbout a watermark; not
coloured.
Presented by W. Mitcbell, Esq., 1895.
Scbr. 2008.
A 133.
THE SULTAN.
The bust of the Sultan is drawn in profile to 1. He has a deep-set eye
and bushy eyebrows, a short moustache, and closely trimmed whiskers and
beard. His hair is rather long and curly, and hides the top of the ear.
He wears a simple coat with a jewelled collar, and a conventional oriental
head-dress with a Phrygian cap in the ceutre, a peak before and behind,
and a jewelled rim. On a band at the top of the print is the title ;—
ijer turgtsd) ttausrr .
k 2
131
has been recently endorsed by Messrs. Lehrs, Ltitzow, Scbreiber, Kaemmerer and
Springer (sometimes witb modifications, “ at the time ” or “ under tbe influence ” of tbe
artist of tbe “ Biblia Pauperum ”). None of these recent writers make it clear wbether
tbey are speaking of tlie design or of tlie technical peculiarities of tbe woodcuts. If
tbey mean tbe latter, tbe fact tbat all of tbem except Scbreiber, as we bave seen, are
speaking of tbe Basle alpbabet only, takes from tbe weigbt of tbeir autbority, since
tbey bave not reckoned witb tbe technical differences between tbe two woodcut alpba-
bets tbemselves, and tbey are not really in agreement witb L. de Laborde, for if it be
granted tbat tbe Basle alphabet is by tbe woodcutter of tlie “ Biblia Pauperum,” it will
follow ipso facto tbat tbe London alphabet is not. Tbe only ground upon wbicb tbe
resemblance can be based is tbat of tbe original design, and it is to tbis tbat L. de
Laborde appears to limit kis attribution, in speaking of “un alphabet grotesque,
evidemment compose et dessine' sur bois par l’auteur de la premiere e'dition de la Bible
des Pauvres.”
Wbile admitting tbat tbere is a closer resemblance to tbe “ Biblia Pauperum ” than
to any otber of the block-books, I cannot myself see tbat tbe resemblance is of sucb a
kind as to warrant tbe attribution of botb to tbe same autbor. Tbe alpbabet is tbe
finer and more vigorous work of the two; it is only surpassed among tbe block-books
by tbe finest of them all, the so-called editio princeps of the “ Ars Moriendi,” in wbicb
tbe types of countenance, still more expressive and excellently drawn, aie very different
from tbese.
I would therefore ascribe tbe alpbabet simply to a Flemish artist, not otberwise
known, who produced it, as tbere is every reason to believe, in tbe year 1464.
A 132 (1, 2).
TWO ORNAMENTAL DESIGNS.
Scbr. 2004, 2005.
In the first of these, a griffin facing r. with three plumes on its head, is
placed within a wreath composed of two intertwined stems, each of which
bears four fiowers with five petals (not “ eight,” Schr.), and four long
heart-shaped leaves. The whole is drawn in broad outlines without any
shading, so that griffin, stem, flowers, and leaves are white.
In the second design, the griffin facing 1. without plumes on its head is
placed within a wreath of similar flowers and leaves. In this case the
griffin, stem, and leaves are entirely black, only the flowers being white,
with black outlines as before. Where one stem passes under the other,
the line is broken and a space is left.
There is no border to either cut. The patterns were no doubt intended
for repetition, perhaps the two alternately, on ornamental stuflf or paper.
[135 x 125.] Good impressions, witb margin, on paper witbout a watermark; not
coloured.
Presented by W. Mitcbell, Esq., 1895.
Scbr. 2008.
A 133.
THE SULTAN.
The bust of the Sultan is drawn in profile to 1. He has a deep-set eye
and bushy eyebrows, a short moustache, and closely trimmed whiskers and
beard. His hair is rather long and curly, and hides the top of the ear.
He wears a simple coat with a jewelled collar, and a conventional oriental
head-dress with a Phrygian cap in the ceutre, a peak before and behind,
and a jewelled rim. On a band at the top of the print is the title ;—
ijer turgtsd) ttausrr .
k 2