DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0585
524 Early German and Flemish Woodcuts.—Part II.
VIII.—LUDWIGr KEUG.
Ludwig Krug, goldsmith, sculptor and engraver; second son of
Hans Krug the elder, goldsmith; worked at Nuremberg, where he
became a master in 1522 ; d. 1532. Two engravings are dated 3 516.
Authorities :—
Neudorfer (ed. Lochner), 121, 124.
Passavant, P.G. iii, 134.
C. Dodgson, in Bepertorium, xx, 303.
f THE FALL. i _ P. 1.
(Reproduction.)
Photograpli of the first state, prohably unique, in the Dresden Cabinet.
1. THE FALL. P. 1.
Second state.
Adam sits 1. and takes with his 1. hand the apple offered to him hy
Eve, who looks at the serpent as she plucks a second apple from the tree
with her 1. hand. A stag, often introcluced into pictures of Paradise as
an emblem of longevity, lies behind the tree of life. Other trees and
bare rocks fill the background. There is much cross-hatching, of a stiff,
mechanical kind, like the work of a line-engraver magnified. Single
border-line.
The second state is distinguished from the first by two alterations. Krug’s signa-
ture, a jug (Krug) between the letters L and K, has been removed from the tablet,
and the cross-hatching on Eve’s legs has been cut away, entirely from the r. leg and
from the inner side only of the 1. leg. The legs, after this alteration, are shaded
merely with a single system of strokes, and the improvement is manifest.
[177 X 123.] Old impression (late xvi century?); watermark, arrns of Nuremberg
surmounted by a crown.
In the inventory of 1837.
2. THE EXPULSION FROM PARADISE.
Second state (?).
The angel 1., in long drapery, with a collar of feathers round his neck,
brandishes the sword in his r. hand, and lays his 1. hand on the r. arm of
Adam, who looks back at the angel, and covers his nakedness with his
1. hand. Eve turns away to i\, raising her r. arm and stretching out her
1. arm before her. The serpent is coiled round a bough of the tree
immediately above her. Trees in the background, which is shaded in the
same manner as in no. 1. On the ground in front lies a blank tablet.
Single border-line.
[177 x 123.] Old impressiou, on the same paper as uo. 1, but without watermark.
In the inventory of 1837.
No impression of the first state is known, but by the analogy of no. 1 it may be
taken as certain that the empty tablet once contained Krug’s signature. The composi-
tion is strongly infiuenced by Diirer’s treatment of the same subject in thc Little
Passion.
These two woodcuts are described by Brulliot, i, 435, no. 3284. Hc reproduces the
blank tablets of the second state. Thc blocks are preserved in the Derschau collection
and late impressions of both are to be found in Becker (C 11). No other woodcuts by
Krug are known.
VIII.—LUDWIGr KEUG.
Ludwig Krug, goldsmith, sculptor and engraver; second son of
Hans Krug the elder, goldsmith; worked at Nuremberg, where he
became a master in 1522 ; d. 1532. Two engravings are dated 3 516.
Authorities :—
Neudorfer (ed. Lochner), 121, 124.
Passavant, P.G. iii, 134.
C. Dodgson, in Bepertorium, xx, 303.
f THE FALL. i _ P. 1.
(Reproduction.)
Photograpli of the first state, prohably unique, in the Dresden Cabinet.
1. THE FALL. P. 1.
Second state.
Adam sits 1. and takes with his 1. hand the apple offered to him hy
Eve, who looks at the serpent as she plucks a second apple from the tree
with her 1. hand. A stag, often introcluced into pictures of Paradise as
an emblem of longevity, lies behind the tree of life. Other trees and
bare rocks fill the background. There is much cross-hatching, of a stiff,
mechanical kind, like the work of a line-engraver magnified. Single
border-line.
The second state is distinguished from the first by two alterations. Krug’s signa-
ture, a jug (Krug) between the letters L and K, has been removed from the tablet,
and the cross-hatching on Eve’s legs has been cut away, entirely from the r. leg and
from the inner side only of the 1. leg. The legs, after this alteration, are shaded
merely with a single system of strokes, and the improvement is manifest.
[177 X 123.] Old impression (late xvi century?); watermark, arrns of Nuremberg
surmounted by a crown.
In the inventory of 1837.
2. THE EXPULSION FROM PARADISE.
Second state (?).
The angel 1., in long drapery, with a collar of feathers round his neck,
brandishes the sword in his r. hand, and lays his 1. hand on the r. arm of
Adam, who looks back at the angel, and covers his nakedness with his
1. hand. Eve turns away to i\, raising her r. arm and stretching out her
1. arm before her. The serpent is coiled round a bough of the tree
immediately above her. Trees in the background, which is shaded in the
same manner as in no. 1. On the ground in front lies a blank tablet.
Single border-line.
[177 x 123.] Old impressiou, on the same paper as uo. 1, but without watermark.
In the inventory of 1837.
No impression of the first state is known, but by the analogy of no. 1 it may be
taken as certain that the empty tablet once contained Krug’s signature. The composi-
tion is strongly infiuenced by Diirer’s treatment of the same subject in thc Little
Passion.
These two woodcuts are described by Brulliot, i, 435, no. 3284. Hc reproduces the
blank tablets of the second state. Thc blocks are preserved in the Derschau collection
and late impressions of both are to be found in Becker (C 11). No other woodcuts by
Krug are known.