DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0277
246
Early German ancl Flemish Woodouts.—Fart I.
MICHEL WOLGEMUT AND WILHELM PLEYDENW URFF,
Wilhelm Pleydenwurff, painter and draughtsman : son of Hans
and Barbara P1 eydenwurff; date of birth unknown; assistant to his
stepfather, Wolgemut; executes in 1491, for 400 florins, a commission
given to Wolgemut in 1490 to paint and gild a fountain in Nurem-
berg; assists, 1491-3, in the illustration of SchedePs Chronicle ;
d. 1494 (?) (before 6 Feb. 1495).
2. The Nueembeeg Cheonicle.
(Liber cronicarum cu figuris et ymagibus ab inicio rnudi,
(Colophon).Ad in | tuitu autem & preces prouidoru
ciuiu Sebaldi Sclireyer | & Sebastiani Kamermaister hunc
librum dominus Antho | nius Koberger Nuremberge im-
pressit. Adhibitis tame vi | ris mathematicis pingendiq>
arte peritissimis Michaele | Wolgemut et Wilhelmo Pley-
demvurff. quaru solerti acu- j ratissimaq>—animaduersione
tum cinitatum tum illustrium j virorum figure inserte
sunt. Consummatu autem duodeci- j ma mensis Julij.
Anno salutis hre. 1493. Fol. ITain 14508; Muther 424;
Proctor 2084.)
An imperfect copy. Purchased from Herr Gutekunst, 1870.
The author, Plartmann Schedel, is not named in title or eolophon.
but see ft’. 258 v., 266 r. The German eclition, Hain 14510, translated
by Georg xAlt, is dated 23 Dec. 1493.
The cuts, over 1800 in number,1 are of very unequal merit, both in
design and execution. The original drawing for the frontispiece, in the
British Museum, is dated 1490. The contract between the painters
Wolgemut and Pleydenwurff on the one part, and t-he capitalists Schreyer
and Kamermaister on the other, for the illustration of the work, is dated
29 Dec. 1491.2 As the immense work was finished within nineteen
months from that time, it is evident t-hat Koberger employed a large st-aft'
of wood-engravers on t-he bloeks. The latt-er were all new, except a few
which were taken from Koberger’s Lat-in Bible of 1481 (ft'. 31—3, 56-7).
1 Mr. S. O. Cockerell, in “Sorae German Woodcuts of the Fifteenth Century,”
Kelmscott Press, 1897, pp. 35-6, giyes an analysis according to size and subject of the
cuts in the Lat-in edition. According to him t-he munber of separate cuts, excluding
copies and some unimportant ornaments, is 645. The repeated cuts amount to 1164,
and the t-otal to 1809. Most writers liave estimated the number of cuts ronghlyat 2000
or over.
2 There is evidence, however, that an earlier contract was made, in 1487 or 1488
(Stegmann, in Mitth. d. Germ. Mus., Nuremberg, 1895). Dr. Stegmann also describcs
sketclies in the spaces left for illustrations in two MSS. of t-he Chronicle (Latin and
G erman) in Ihe Stacltbibliothek, Nuremberg.
Early German ancl Flemish Woodouts.—Fart I.
MICHEL WOLGEMUT AND WILHELM PLEYDENW URFF,
Wilhelm Pleydenwurff, painter and draughtsman : son of Hans
and Barbara P1 eydenwurff; date of birth unknown; assistant to his
stepfather, Wolgemut; executes in 1491, for 400 florins, a commission
given to Wolgemut in 1490 to paint and gild a fountain in Nurem-
berg; assists, 1491-3, in the illustration of SchedePs Chronicle ;
d. 1494 (?) (before 6 Feb. 1495).
2. The Nueembeeg Cheonicle.
(Liber cronicarum cu figuris et ymagibus ab inicio rnudi,
(Colophon).Ad in | tuitu autem & preces prouidoru
ciuiu Sebaldi Sclireyer | & Sebastiani Kamermaister hunc
librum dominus Antho | nius Koberger Nuremberge im-
pressit. Adhibitis tame vi | ris mathematicis pingendiq>
arte peritissimis Michaele | Wolgemut et Wilhelmo Pley-
demvurff. quaru solerti acu- j ratissimaq>—animaduersione
tum cinitatum tum illustrium j virorum figure inserte
sunt. Consummatu autem duodeci- j ma mensis Julij.
Anno salutis hre. 1493. Fol. ITain 14508; Muther 424;
Proctor 2084.)
An imperfect copy. Purchased from Herr Gutekunst, 1870.
The author, Plartmann Schedel, is not named in title or eolophon.
but see ft’. 258 v., 266 r. The German eclition, Hain 14510, translated
by Georg xAlt, is dated 23 Dec. 1493.
The cuts, over 1800 in number,1 are of very unequal merit, both in
design and execution. The original drawing for the frontispiece, in the
British Museum, is dated 1490. The contract between the painters
Wolgemut and Pleydenwurff on the one part, and t-he capitalists Schreyer
and Kamermaister on the other, for the illustration of the work, is dated
29 Dec. 1491.2 As the immense work was finished within nineteen
months from that time, it is evident t-hat Koberger employed a large st-aft'
of wood-engravers on t-he bloeks. The latt-er were all new, except a few
which were taken from Koberger’s Lat-in Bible of 1481 (ft'. 31—3, 56-7).
1 Mr. S. O. Cockerell, in “Sorae German Woodcuts of the Fifteenth Century,”
Kelmscott Press, 1897, pp. 35-6, giyes an analysis according to size and subject of the
cuts in the Lat-in edition. According to him t-he munber of separate cuts, excluding
copies and some unimportant ornaments, is 645. The repeated cuts amount to 1164,
and the t-otal to 1809. Most writers liave estimated the number of cuts ronghlyat 2000
or over.
2 There is evidence, however, that an earlier contract was made, in 1487 or 1488
(Stegmann, in Mitth. d. Germ. Mus., Nuremberg, 1895). Dr. Stegmann also describcs
sketclies in the spaces left for illustrations in two MSS. of t-he Chronicle (Latin and
G erman) in Ihe Stacltbibliothek, Nuremberg.