DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0377
340 Early German ancl Flemish Woodcuts.—Part 11.
block as contains tlie figure of Maximilian (to the knees), the cushion, the
head at the back of his throne, and tlie figure of Yictory, with a small
part of her wings and part of the wreath over her head. The outlines are
quite irregular and the rest of the block has not been inked. Every
detail of the two figures comes out with extreme clearness. Such a trial-
proof is, so far as I am aware, unique among xvi century woodcuts.
[Size of sheet, 170 x 114.] Eepr. in tliis Catalogue.
Collections: Durazzo (sale, 1872, lot 1919), Mitchell.
Presented by W. Mitchell, Esq., 1895.
Diirer’s first sketch for the great Triumphal Car is in the Diirer MS. in the Eoyal
Library at Dresden. In this the Emperor sits alone. The second and better-kuown
sketch dates, aocording to Thausing, from about 1514-15, but it carries out the
Emperor’s instructions of 1512. It is a pen-and-ink drawing, now in the Albertina (see
ThausiDg, “ Diirer,” E.T. ii, 137; Vienna Jahrbuch, iv, pt. 2, Eeg. 3040; Sckonbrunner
and Meder, no. 401). In this design the horses have riders, there are none of the
allegorical female figures, and the Emperor, instead of sitting alone on the car, is
accompanied by the same members of his familjr as appear in tke pedigree on thc
Triumphal Arch, viz. Mary of Burgundy, the Archduchess Margaret, Pkilip and
Joanna, and their two sons and four daughters. The car is less loaded with symbolical
details. The second design, a pen-drawing dated 1518, tinted with water-colour, is
also in the Albertina (see Vienna Jahrbuch, iv, pt. 2, Eeg. 3041 ; Sckonbrunner and
Meder, nos. 221-228). In this design the Arckducliess Margaret is placed by the eide
of her mother, the other members of the family occupying the same position as before.
All the allegorical figures and symbols invented by Pirklieimer have been introduced,
and the drawing, except as regards the imperial family, differs only in a few
unimportant details from the woodcut as finally carried out. Maximilian ordered tbis
design in a letter to Pirkheimer of 5 Eebruary, 1518 ; he acknowledged its receipt on
March 29th.
Tliis car was originally intended to form part of the Triumph of Maximilian, but
appeared in 1522 as a separate work. I suspect that Springinklee had some share in
transferring tlie design to tlie block. A wall-painting, copied from the woodcut, was
carried out in the Town Hall at Nuremberg.
146. POETEAIT OF ULEICII VAENBULEE. 1522.
B. 155. H. 1952. E, 248.
[430 x 323.] Good impression, tliough not before the crack; well preserved, but a
little retouched ; very narrow margin. Watermark, Ha. 40. (?)
Presented by W. Mitchell, Esq., 1S95.
146a. POETEAIT OF ULEICH VAENBULEE. 1522.
B. 155. H. 1952. E. 248.
[431 X 327.] Fair, later impression; the crack is more visible and the 1. eye is
damaged. Margin [8 mm.] at bottom only; on this is printed, “ Men vintse te coope by
Hendrick Hondius Plaetsnijder in ’s Gravenhage.” Watermark, heraldic, as described
by Ha. p. 88.
In the inventory of 1837.
146b. POETEAIT OF ULEICH VAENBULEE. 1522.
B. 155. H. 1952. E. 248.
Chiaroscui'O.
[433 x 328.] Fair impression, printed in dull yellow and dark green from two
tone-blocks, thc white lights being cut out of the yellow block. A piece of the paper
has been lost and replaced in facsimile in the r. upper corner. The restorer has
omitted the contraction mark over Z C. Watermark, an oval with curved lines across
it. The margin has been almost entirely cut away, but the tops of the letters of the
inscription are left; the latter should read, “ Gkedruckt t ’Amsterdam by Willem
Janssen in de vergulde Sonnewyser.” These impressions in chiaroscuro date from
about1620.
Purchased from Messrs. Evans, 1857.
block as contains tlie figure of Maximilian (to the knees), the cushion, the
head at the back of his throne, and tlie figure of Yictory, with a small
part of her wings and part of the wreath over her head. The outlines are
quite irregular and the rest of the block has not been inked. Every
detail of the two figures comes out with extreme clearness. Such a trial-
proof is, so far as I am aware, unique among xvi century woodcuts.
[Size of sheet, 170 x 114.] Eepr. in tliis Catalogue.
Collections: Durazzo (sale, 1872, lot 1919), Mitchell.
Presented by W. Mitchell, Esq., 1895.
Diirer’s first sketch for the great Triumphal Car is in the Diirer MS. in the Eoyal
Library at Dresden. In this the Emperor sits alone. The second and better-kuown
sketch dates, aocording to Thausing, from about 1514-15, but it carries out the
Emperor’s instructions of 1512. It is a pen-and-ink drawing, now in the Albertina (see
ThausiDg, “ Diirer,” E.T. ii, 137; Vienna Jahrbuch, iv, pt. 2, Eeg. 3040; Sckonbrunner
and Meder, no. 401). In this design the horses have riders, there are none of the
allegorical female figures, and the Emperor, instead of sitting alone on the car, is
accompanied by the same members of his familjr as appear in tke pedigree on thc
Triumphal Arch, viz. Mary of Burgundy, the Archduchess Margaret, Pkilip and
Joanna, and their two sons and four daughters. The car is less loaded with symbolical
details. The second design, a pen-drawing dated 1518, tinted with water-colour, is
also in the Albertina (see Vienna Jahrbuch, iv, pt. 2, Eeg. 3041 ; Sckonbrunner and
Meder, nos. 221-228). In this design the Arckducliess Margaret is placed by the eide
of her mother, the other members of the family occupying the same position as before.
All the allegorical figures and symbols invented by Pirklieimer have been introduced,
and the drawing, except as regards the imperial family, differs only in a few
unimportant details from the woodcut as finally carried out. Maximilian ordered tbis
design in a letter to Pirkheimer of 5 Eebruary, 1518 ; he acknowledged its receipt on
March 29th.
Tliis car was originally intended to form part of the Triumph of Maximilian, but
appeared in 1522 as a separate work. I suspect that Springinklee had some share in
transferring tlie design to tlie block. A wall-painting, copied from the woodcut, was
carried out in the Town Hall at Nuremberg.
146. POETEAIT OF ULEICII VAENBULEE. 1522.
B. 155. H. 1952. E, 248.
[430 x 323.] Good impression, tliough not before the crack; well preserved, but a
little retouched ; very narrow margin. Watermark, Ha. 40. (?)
Presented by W. Mitchell, Esq., 1S95.
146a. POETEAIT OF ULEICH VAENBULEE. 1522.
B. 155. H. 1952. E. 248.
[431 X 327.] Fair, later impression; the crack is more visible and the 1. eye is
damaged. Margin [8 mm.] at bottom only; on this is printed, “ Men vintse te coope by
Hendrick Hondius Plaetsnijder in ’s Gravenhage.” Watermark, heraldic, as described
by Ha. p. 88.
In the inventory of 1837.
146b. POETEAIT OF ULEICH VAENBULEE. 1522.
B. 155. H. 1952. E. 248.
Chiaroscui'O.
[433 x 328.] Fair impression, printed in dull yellow and dark green from two
tone-blocks, thc white lights being cut out of the yellow block. A piece of the paper
has been lost and replaced in facsimile in the r. upper corner. The restorer has
omitted the contraction mark over Z C. Watermark, an oval with curved lines across
it. The margin has been almost entirely cut away, but the tops of the letters of the
inscription are left; the latter should read, “ Gkedruckt t ’Amsterdam by Willem
Janssen in de vergulde Sonnewyser.” These impressions in chiaroscuro date from
about1620.
Purchased from Messrs. Evans, 1857.