DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0396
Division A.—School of Nuremberg.—Anonymous. 359
hand, and touches Paris with his 1. hand to wake him. The three
goddesses stand r., and heyond them the horse of Paris is seen among the
trees. The background is heavily shaded with cross-hatching. Double
border.
[Diam. 57.] The outer border-line is almost entirely cut away; otherwise a good
impression of this rare woodcut, in which I caunot recognise with certainty the style of
any of Diirer’s pupils.
Presented by W. Mitchell, Esq., 1895.
29. THE EMBRACE. B. 135. H. 1898. R.—A 16.
A landsknecht and a woman sit, clasped in one another’s arms, under
a large tree r. Another woman is indistinctly seen sitting near them,
anda second landsknecht stands in the foreground 1. A mountain appears
in the distance beyond the wood, and the sky is shaded with horizontal
lines. Double border.
[Diam. 56.] A fair impression, well preserved, with margin [size of paper, cut square,
58 X 58].
Presented by W. Mitchell, Esq., 1895.
Certainly by the same artist (Springinklee ?) as no. 21, St. Jerome, B. 115. I am
not sure that the Judgment of Paris is also his, in spite of the resemblance in externals.
30. A MOUNTED TURK. Naumann's Archiv, is, 212.
A Turkish horseman, in profile, with long plumes in fronb of his
turban, holding a banner with crescent and star, is galloping to r. The
sky is white; the stump of a tree and several tall plants rise in the
foreground. Single border.
[113 x76.] Eair impression ; the border-line is broken in two places at the top. A
complete leaf [156 x 112] of yellowish paper, without watermark, frorn an octavo book;
no text on either side.
Presented by W. Mitchell, Esq., 1S95.
This woodcut was introduced into the Diirer literature by Cornill d’Orville, who
bought an impression (Cornill sale, 1900, lot 442) as a Diirer at a sale at Cologne. He
was inclined to regard it as an early work of the master himself. Like many other
rare woodcuts in the Cornill colleetion, attributed to Diirer, it acquired a wholly un-
deserved reputation, and was reproduced in lithography by Retberg, in 1864 (Naumann’a
Archiv, xi, 66, 14). It is an illustration frorn one of the numerous books and pamphlets
on Turkish subjects which appeared towards 1530, but I have not yet found a clue to
its identification, though I suspect that the printer may have been Peypus, and the
designer possibly Erhard Sclion.
31. THE PRINTING-PRESS. H. 2093. P. 286.
The press described (in type) as “ Prelum Ascesianu,” and dated 1520,
fills the greater part of a narrow room, in which three men are working.
Single border.
[117 X 80.] Good impression, on the title-page of “Aetatum | Mundi Septem
supputatio, per Carolum Bouillum | Samarobrinu,” etc. (Charles de Bouelles). Under
the woodcut are the words “ Yenundatur Iodoco Badio Ascensio.”
Purcbased from Mr. Russell Smith, 1863.
This woodcut served as the printer’s mark of Josse or Jodocus Badius (d. 1535), a
native of Aasche, near Brussels, whose press was at Paris. The work is clcarly not
hand, and touches Paris with his 1. hand to wake him. The three
goddesses stand r., and heyond them the horse of Paris is seen among the
trees. The background is heavily shaded with cross-hatching. Double
border.
[Diam. 57.] The outer border-line is almost entirely cut away; otherwise a good
impression of this rare woodcut, in which I caunot recognise with certainty the style of
any of Diirer’s pupils.
Presented by W. Mitchell, Esq., 1895.
29. THE EMBRACE. B. 135. H. 1898. R.—A 16.
A landsknecht and a woman sit, clasped in one another’s arms, under
a large tree r. Another woman is indistinctly seen sitting near them,
anda second landsknecht stands in the foreground 1. A mountain appears
in the distance beyond the wood, and the sky is shaded with horizontal
lines. Double border.
[Diam. 56.] A fair impression, well preserved, with margin [size of paper, cut square,
58 X 58].
Presented by W. Mitchell, Esq., 1895.
Certainly by the same artist (Springinklee ?) as no. 21, St. Jerome, B. 115. I am
not sure that the Judgment of Paris is also his, in spite of the resemblance in externals.
30. A MOUNTED TURK. Naumann's Archiv, is, 212.
A Turkish horseman, in profile, with long plumes in fronb of his
turban, holding a banner with crescent and star, is galloping to r. The
sky is white; the stump of a tree and several tall plants rise in the
foreground. Single border.
[113 x76.] Eair impression ; the border-line is broken in two places at the top. A
complete leaf [156 x 112] of yellowish paper, without watermark, frorn an octavo book;
no text on either side.
Presented by W. Mitchell, Esq., 1S95.
This woodcut was introduced into the Diirer literature by Cornill d’Orville, who
bought an impression (Cornill sale, 1900, lot 442) as a Diirer at a sale at Cologne. He
was inclined to regard it as an early work of the master himself. Like many other
rare woodcuts in the Cornill colleetion, attributed to Diirer, it acquired a wholly un-
deserved reputation, and was reproduced in lithography by Retberg, in 1864 (Naumann’a
Archiv, xi, 66, 14). It is an illustration frorn one of the numerous books and pamphlets
on Turkish subjects which appeared towards 1530, but I have not yet found a clue to
its identification, though I suspect that the printer may have been Peypus, and the
designer possibly Erhard Sclion.
31. THE PRINTING-PRESS. H. 2093. P. 286.
The press described (in type) as “ Prelum Ascesianu,” and dated 1520,
fills the greater part of a narrow room, in which three men are working.
Single border.
[117 X 80.] Good impression, on the title-page of “Aetatum | Mundi Septem
supputatio, per Carolum Bouillum | Samarobrinu,” etc. (Charles de Bouelles). Under
the woodcut are the words “ Yenundatur Iodoco Badio Ascensio.”
Purcbased from Mr. Russell Smith, 1863.
This woodcut served as the printer’s mark of Josse or Jodocus Badius (d. 1535), a
native of Aasche, near Brussels, whose press was at Paris. The work is clcarly not