DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0337
Division A.—School of Nuremberg.—Diirer.
303
close to the limits of the design. One dot on the extreme edge is the end of a line of
B. 76, and proves that this was originally the r. half of a double print similar to that
described above (nos. 111-112). Watermark, Ha. 20.
In the inventory of 1837.
In the Uuiversity galleries, Oxford, is a very early proof of this woodcut,
representing au undescribed state of the blocb. The majority of tlie lines which form
the rays of Ohrist’s nimbus are of the same length, so that the effeet produced is that of
a straight line forming the limit of the design along the top. A portion of these rays
were then reduced in length, till the present indented outline was brought about.
There are also variations in the lower portion of the design.
113. FRONTLSPIECE TO THE APOCALYPSE. 1511.
B. 60. H. 1652. R. 27.
Proof.
[No border ; size of sheet, 212 x 184 ; size of design, 185 x 183.] Very iine sharp
impression, on greyish paper, without watermark. Margin [1-34], except on 1. side,
where the paper is cut close to the limits of the design.
Collections: Enzenberg (F. 160), Mitchell.
Presented by W. Mitehell, Esq., 1895.
Proofs of this frontispiece, or impressions of any kind witliout text, are much rarer
than those of B. 4 or B. 76. Mr. G. Mayer possesses an undescribed early proof,
analogous to that of B. 4 described above. The rays of the nimbus above the Virgin’s
head are prolonged upwards and end evenly in a straight line, while some of the lines
below the fringe of cloud towards the bottom are carried farther to the right.
No. 113 has been reproduced in collotype in the fifth portfolio of the Diirer
Society, 1902.
114. THE DEATH OF ABEL. 1511. B. 1. PI. 1101. R. 186.
[117 X 82.] An early impression, but damaged; the surface has been injured, and
details of Abel’s body and of Cain’s r. arm have perished. No watermark.
Presented by W. Mitchell, Esq., 1895.
114a. THE DEATH OF ABEL. 1511. B. 1. H. 1101. R. 186.
[116 X 82.] A later impression, black and indistiuct, on greyish paper, without
watermark.
Collections : Nollekens and Cracherode.
In the inventory of 1837.
115. THE ADORATION OF THE MAGI. 1511. B. 3. II. 1103. R. 187.
[291 X 219.] A fine early impression; but there is already the beginning of a
crack across the beam, and another across tlie drapery of tlie kneeling king and the
surface of the stone in front of him. Watermark, Ha. 21.
Presented by W. Mitchell, Esq., 1895.
115a. THE ADORATION OF THE MAGI. 1511. B. 3. II. 1103. R. 187.
[289 X 218.] A later impression, still good, but sliowing the progress of the cracks
already mentioned. Yellowish paper, cut slightly wi.thin the border on both sides and
at the bottom.
In the inventory of 1837.
116. TIIE TRINITY. 1511. B. 122. H. 1646. R. 193.
[388 x 281.] Good, but not equal in brilliancy to the earliest impressions of a cut
which surpasses all Diirer’s other work on wood in teclinical accomplishment. No
watermark. Cut slightly within the border.
Presented by W. Mitchell, Esq., 1895.
303
close to the limits of the design. One dot on the extreme edge is the end of a line of
B. 76, and proves that this was originally the r. half of a double print similar to that
described above (nos. 111-112). Watermark, Ha. 20.
In the inventory of 1837.
In the Uuiversity galleries, Oxford, is a very early proof of this woodcut,
representing au undescribed state of the blocb. The majority of tlie lines which form
the rays of Ohrist’s nimbus are of the same length, so that the effeet produced is that of
a straight line forming the limit of the design along the top. A portion of these rays
were then reduced in length, till the present indented outline was brought about.
There are also variations in the lower portion of the design.
113. FRONTLSPIECE TO THE APOCALYPSE. 1511.
B. 60. H. 1652. R. 27.
Proof.
[No border ; size of sheet, 212 x 184 ; size of design, 185 x 183.] Very iine sharp
impression, on greyish paper, without watermark. Margin [1-34], except on 1. side,
where the paper is cut close to the limits of the design.
Collections: Enzenberg (F. 160), Mitchell.
Presented by W. Mitehell, Esq., 1895.
Proofs of this frontispiece, or impressions of any kind witliout text, are much rarer
than those of B. 4 or B. 76. Mr. G. Mayer possesses an undescribed early proof,
analogous to that of B. 4 described above. The rays of the nimbus above the Virgin’s
head are prolonged upwards and end evenly in a straight line, while some of the lines
below the fringe of cloud towards the bottom are carried farther to the right.
No. 113 has been reproduced in collotype in the fifth portfolio of the Diirer
Society, 1902.
114. THE DEATH OF ABEL. 1511. B. 1. PI. 1101. R. 186.
[117 X 82.] An early impression, but damaged; the surface has been injured, and
details of Abel’s body and of Cain’s r. arm have perished. No watermark.
Presented by W. Mitchell, Esq., 1895.
114a. THE DEATH OF ABEL. 1511. B. 1. H. 1101. R. 186.
[116 X 82.] A later impression, black and indistiuct, on greyish paper, without
watermark.
Collections : Nollekens and Cracherode.
In the inventory of 1837.
115. THE ADORATION OF THE MAGI. 1511. B. 3. II. 1103. R. 187.
[291 X 219.] A fine early impression; but there is already the beginning of a
crack across the beam, and another across tlie drapery of tlie kneeling king and the
surface of the stone in front of him. Watermark, Ha. 21.
Presented by W. Mitchell, Esq., 1895.
115a. THE ADORATION OF THE MAGI. 1511. B. 3. II. 1103. R. 187.
[289 X 218.] A later impression, still good, but sliowing the progress of the cracks
already mentioned. Yellowish paper, cut slightly wi.thin the border on both sides and
at the bottom.
In the inventory of 1837.
116. TIIE TRINITY. 1511. B. 122. H. 1646. R. 193.
[388 x 281.] Good, but not equal in brilliancy to the earliest impressions of a cut
which surpasses all Diirer’s other work on wood in teclinical accomplishment. No
watermark. Cut slightly within the border.
Presented by W. Mitchell, Esq., 1895.