DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0532
Division A.—School of Nuremberg.— Beham.
477
his r. hancl 011 the breast of a girl in a hat, who puts her 1. hand into a
pouch full of rnoney, attached to the old man’s belt. She holds up a coin
in her r. hand. No monogram. Single border.
[243 x 246.] Late impression. 'W’atermark, two shields surmounted by a mitre
and crozier.
In the inventory of 1837.
144. A GENTLEMAN AND LADY WALKING.
B. vii, 267,103. Pauli 1237.
A middle-aged man, richly dressed, wearing a wide hat trimmed with
ostrich feathers, escorts a lady who walks with downcast eyes by his
side. He holds her r. arm with his 1. hand, and gazes earnestly at her
face. Ho signature. No border-line.
[Size of sheet, 260 x 205.] Old, though not very early, impression. Watermark, a
crown (only a fragment visihle).
In the inventory of 1837.
Dr. Pauli, wlio recognised an impression of this woodcut in the von Lanna collection
at Prague (Singer 6988) as a work of Beham's, was not aware that it forms part of the
series of twenty woodcuts, the dancers1 at a wedding, attributed by Bartsch (vii, 267,
103) to Schaufelein. Bartsch recognises differences ot' style iu the series, but explains
them by the inequality of the cutting. The true explanation is that they are drawn
by different hands. Fifteen are certainly by Schaufelein, two by Beham, aud the
remaining three probably by Fliltner. Theseries was published at Nuremberg by Hans
Guldenmund in 1535, the year of Beham’s last short residence in his native city. It
may be conjectured that Beham was originally to have drawn the wdiole series and that
on his departure from Nuremberg in July, 1535, it was given to Schaufelein to finish.
Reproductions of the whole series were published by Andresen at Paris, in 1865, and
by Hirth, “ Bilderbuch,” i, 55-74. This subject is Hirth 74. The others, whicli are
not by Schaufelein, are Hirth 55, 56, 59, and 73. (See Bepertorium, xxv, 468.)
145. A LADY WALKING BETWEEN TWO GENTLEMEN.
B. vii, 267, 103.
A young lady, wearing a crown, a necklace, and other jewels, walks
to 1. with her hands crossed before her. She is escorted by two young
men dressed alike in fur-lined mantles, with garlands round their arms,
and wearing soft felt hats. No signature. No border-line.
[Size of sheet, 250 x 200.] A very clear, early impression, but soiled and torn at
the corners. No watermark.
From the Bagford collection (Harl. MS. 5944, 113).
Transferred from the Department of Printed Books, 1900.
This woodcut has not been recognised as a Beham by Dr. Pauli, but I attribute it
without hesitation to the same artist as no. 144. These two subjects are markedly
diflferent in treatment from all the rest of the series, and agree with one another in
many respects, e.g. in the treatment of velvet and of the folds of the dress. Notice also
the hatching on the men’s legs, and in the shadows on the ground. Thesetwo subjects
also agree with one another, and differ from all the rest, in having the ground marked
off at the top by a straight line, and then left quite white except where shadow falls.
This subject is reproduced by Hirth as no. 73.
Bartsch, who does not describe the series in detail, mentions this specially as the
second of the woodcuts, repr. seuting the young bride with her two attendants
(Brautfiihrer). One other lady in the series (Hirth 56) wears a somewhat similar
crown.
1 The courtly dance of this period was a measured walk to the sound of music,
without any husty, springing motion (see p. 330).
477
his r. hancl 011 the breast of a girl in a hat, who puts her 1. hand into a
pouch full of rnoney, attached to the old man’s belt. She holds up a coin
in her r. hand. No monogram. Single border.
[243 x 246.] Late impression. 'W’atermark, two shields surmounted by a mitre
and crozier.
In the inventory of 1837.
144. A GENTLEMAN AND LADY WALKING.
B. vii, 267,103. Pauli 1237.
A middle-aged man, richly dressed, wearing a wide hat trimmed with
ostrich feathers, escorts a lady who walks with downcast eyes by his
side. He holds her r. arm with his 1. hand, and gazes earnestly at her
face. Ho signature. No border-line.
[Size of sheet, 260 x 205.] Old, though not very early, impression. Watermark, a
crown (only a fragment visihle).
In the inventory of 1837.
Dr. Pauli, wlio recognised an impression of this woodcut in the von Lanna collection
at Prague (Singer 6988) as a work of Beham's, was not aware that it forms part of the
series of twenty woodcuts, the dancers1 at a wedding, attributed by Bartsch (vii, 267,
103) to Schaufelein. Bartsch recognises differences ot' style iu the series, but explains
them by the inequality of the cutting. The true explanation is that they are drawn
by different hands. Fifteen are certainly by Schaufelein, two by Beham, aud the
remaining three probably by Fliltner. Theseries was published at Nuremberg by Hans
Guldenmund in 1535, the year of Beham’s last short residence in his native city. It
may be conjectured that Beham was originally to have drawn the wdiole series and that
on his departure from Nuremberg in July, 1535, it was given to Schaufelein to finish.
Reproductions of the whole series were published by Andresen at Paris, in 1865, and
by Hirth, “ Bilderbuch,” i, 55-74. This subject is Hirth 74. The others, whicli are
not by Schaufelein, are Hirth 55, 56, 59, and 73. (See Bepertorium, xxv, 468.)
145. A LADY WALKING BETWEEN TWO GENTLEMEN.
B. vii, 267, 103.
A young lady, wearing a crown, a necklace, and other jewels, walks
to 1. with her hands crossed before her. She is escorted by two young
men dressed alike in fur-lined mantles, with garlands round their arms,
and wearing soft felt hats. No signature. No border-line.
[Size of sheet, 250 x 200.] A very clear, early impression, but soiled and torn at
the corners. No watermark.
From the Bagford collection (Harl. MS. 5944, 113).
Transferred from the Department of Printed Books, 1900.
This woodcut has not been recognised as a Beham by Dr. Pauli, but I attribute it
without hesitation to the same artist as no. 144. These two subjects are markedly
diflferent in treatment from all the rest of the series, and agree with one another in
many respects, e.g. in the treatment of velvet and of the folds of the dress. Notice also
the hatching on the men’s legs, and in the shadows on the ground. Thesetwo subjects
also agree with one another, and differ from all the rest, in having the ground marked
off at the top by a straight line, and then left quite white except where shadow falls.
This subject is reproduced by Hirth as no. 73.
Bartsch, who does not describe the series in detail, mentions this specially as the
second of the woodcuts, repr. seuting the young bride with her two attendants
(Brautfiihrer). One other lady in the series (Hirth 56) wears a somewhat similar
crown.
1 The courtly dance of this period was a measured walk to the sound of music,
without any husty, springing motion (see p. 330).