DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0399
362 Early German ancl Flemish Wooclcuts.—Part II.
explanations written in black ink. The tree has been removed from tbe escutclieon at
the foot of the print, and the oval space which contained it remains empty.
In the inventory of 1837.
Tlie woodcut was used in 1526 as title-page to the work, “ Anzaygung etlieher
Irriger mengel,” etc. (not in the British Museum). If it could be proved that the border
was in existence some years before 1526, I should be inclined, in spite of certain
difficulties (e.gf. the head of the angel), to attribute the design to Springinklee.
t BOBDER WITH AN ANGEL PLAYING TIIE LUTE.
(Beproduction.) H. 1935. P. 204. B.—A 67.
Lithograph by Betberg, 1864 (Naumann’s Archiv, xi, 67, 19), showing the tree in
tlie shield and the printed title.
Presented by Betberg to F. Prestel, and by him to the British Museum, 1870.
f THE GARDENER. P. 196. E.—A 65.
(Reproduction.)
Lithograph by Retberg, 1864 (Naumann’s Archiv, xi, 66, 13), from the impression,
then believed to be unique, in the Cornill d’Orville collection [148 x 37].
Presented by Betberg to F. Prestel, and by him to the British Museum, 1870.
t THE GARDENER. P. 196. R.—A 65.
(Reproduction.)
Collotype from the same impression; illustration to the Cornill sale-catalogue,
Stuttgart, 1900, lot 362.
This interesting woodcut of the school of Diirer may becompared especially with the
vine-border of the Crucifixion dated 1509, H. 1973 (see p. 351). The gardener reminds
one also of the man crouching under the vase on which Death stands, in the 1. panel of
the border, B. app. 30 (see p. 353). The Cornill impression has been repeatedly described
as unique, but a second impression is preserved in the Hofbibliothek at Yienna, where
the woodcut is introduced as an ornamental panel between two columns of verse by
S. Brant on a broadside printed by Hieronymus Hdlzel, after the accession of Leo X
(1513). The large woodcut at the top of the broadside, described by Nagler (Mon. i,
p. 180, 78), is by Wolf Traut (q.v.), but itis doubtful whether the Gardener is to be
attributed to the same artist.
t ORNAMENTAL LETTER S.
(Reproduction.)
Photomechanical reproduction of tlie original impression [348 X 246] in the
university library at Erlangen, published by the Diirer Society, 1900 (iii, 31). The
Berlin Cabinet possesses another impression, slightly cut at the sides, from which a
reduced collotype was made in 1877 for J. E. Wessely’s “ Das Ornament und die
Kuustindustrie,” etc., i, 48, no. 117. Wessely says that Schorn attributed the woodcut
to Diirer ;1 he himself suggests the name of Urs Graf. In the text accompanying the
Diirer Society’s reproduction I suggested Flotner as the possible author; Dr. Carl
Giehlow has reminded me since then of the claims of Hans Diirer, and I am inclined to
think that he is right. At any rate there can be little doubt that the woodcut should
be placed with the works of the school of Diirer.
35. TIIE COLUMN. B. 129. H. 1916. R.—A 14.
A naked satyr sits on the top of the capital, holding in both hands a
cord, on which bead and other ornaments are strung. The ends of the
cord hang down on either side of the colurun, and a wreath slung between
1 This attribution is not to be found among Schorn’s supplementary notes to Heller,
based on tlie Nagler collection, which were published in the Kunstblatt (supplement to
tUe Morgenblatt, Stuttgart and Tiibingen) in 1830. Wessely perhaps records some
uupublished remark of Schom’s.
explanations written in black ink. The tree has been removed from tbe escutclieon at
the foot of the print, and the oval space which contained it remains empty.
In the inventory of 1837.
Tlie woodcut was used in 1526 as title-page to the work, “ Anzaygung etlieher
Irriger mengel,” etc. (not in the British Museum). If it could be proved that the border
was in existence some years before 1526, I should be inclined, in spite of certain
difficulties (e.gf. the head of the angel), to attribute the design to Springinklee.
t BOBDER WITH AN ANGEL PLAYING TIIE LUTE.
(Beproduction.) H. 1935. P. 204. B.—A 67.
Lithograph by Betberg, 1864 (Naumann’s Archiv, xi, 67, 19), showing the tree in
tlie shield and the printed title.
Presented by Betberg to F. Prestel, and by him to the British Museum, 1870.
f THE GARDENER. P. 196. E.—A 65.
(Reproduction.)
Lithograph by Retberg, 1864 (Naumann’s Archiv, xi, 66, 13), from the impression,
then believed to be unique, in the Cornill d’Orville collection [148 x 37].
Presented by Betberg to F. Prestel, and by him to the British Museum, 1870.
t THE GARDENER. P. 196. R.—A 65.
(Reproduction.)
Collotype from the same impression; illustration to the Cornill sale-catalogue,
Stuttgart, 1900, lot 362.
This interesting woodcut of the school of Diirer may becompared especially with the
vine-border of the Crucifixion dated 1509, H. 1973 (see p. 351). The gardener reminds
one also of the man crouching under the vase on which Death stands, in the 1. panel of
the border, B. app. 30 (see p. 353). The Cornill impression has been repeatedly described
as unique, but a second impression is preserved in the Hofbibliothek at Yienna, where
the woodcut is introduced as an ornamental panel between two columns of verse by
S. Brant on a broadside printed by Hieronymus Hdlzel, after the accession of Leo X
(1513). The large woodcut at the top of the broadside, described by Nagler (Mon. i,
p. 180, 78), is by Wolf Traut (q.v.), but itis doubtful whether the Gardener is to be
attributed to the same artist.
t ORNAMENTAL LETTER S.
(Reproduction.)
Photomechanical reproduction of tlie original impression [348 X 246] in the
university library at Erlangen, published by the Diirer Society, 1900 (iii, 31). The
Berlin Cabinet possesses another impression, slightly cut at the sides, from which a
reduced collotype was made in 1877 for J. E. Wessely’s “ Das Ornament und die
Kuustindustrie,” etc., i, 48, no. 117. Wessely says that Schorn attributed the woodcut
to Diirer ;1 he himself suggests the name of Urs Graf. In the text accompanying the
Diirer Society’s reproduction I suggested Flotner as the possible author; Dr. Carl
Giehlow has reminded me since then of the claims of Hans Diirer, and I am inclined to
think that he is right. At any rate there can be little doubt that the woodcut should
be placed with the works of the school of Diirer.
35. TIIE COLUMN. B. 129. H. 1916. R.—A 14.
A naked satyr sits on the top of the capital, holding in both hands a
cord, on which bead and other ornaments are strung. The ends of the
cord hang down on either side of the colurun, and a wreath slung between
1 This attribution is not to be found among Schorn’s supplementary notes to Heller,
based on tlie Nagler collection, which were published in the Kunstblatt (supplement to
tUe Morgenblatt, Stuttgart and Tiibingen) in 1830. Wessely perhaps records some
uupublished remark of Schom’s.