DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0624
5(U
Early German and Flemish Woodculs,
xlPPENDlX C.
Woodcuts by Hans Dureb and Hans yon Kulmbach.
There is little doubt that these two artists drew on the wood, but
no signed or otherwise authenticated woodcuts by either hand remain.
Pending the publication of critical studies which may be expected from
the pens of two competent writers at Yienna, I have judged it premature
to head a section of this catalogue with either narne.
The work of Albrecht Diirer’s younger brother (b. 1490, d. after 1530)
may be sought chiefly in the Nuremberg portion of the woodcuts designed
for Maximilian. Dr. Giehlow attributes to him certain portions of the
Triumplial Arch (see p. 318), and two groups of woodcuts in the Triumphal
Procession, viz. the mounted standard-bearers, etc., nos. 57-88 in the 1796
edition, and the £:Tross” or followers at the end. (See also pp. 309, 362.)
The starting-point of our knowledge of Hans Diirer is the set of drawings
by him in the Besancon portion of the so-called Prayer-book of Maximilian.1
For woodcuts provisionally attributed to Hans von Kulmbach (b. about
1475, d. 1522), see pp. 349, 353. Others justly ascribed to him are the
two Judith cuts in ££Der beschlossen gart des rosenkrantz marie,” 1505,
which are not by Diirer, viz. those on fol. 52 v. and 62 v. of pt. ii (repr.
Hirth, nos. 639, 642). The distinction was recognised and pointed out
to me by Dr. Dornhoffer. I liave shown in the Burlington Magazine that
the monogram on a woodcut of St. John in Patmos (B. vii, 484, 1) is to
be interpreted as the mark of the printer, Hans Ivnobiouch.
APPENDIX D.
WOODCUT ADDED DURING TTIE PlHNTING OF THE CaTALOGUE.
Paet I.—Diyision A.
A 80*.
ST. ELIZABETIi OF IIUXGAEY.
St. Elizabeth, facing three-quarters 1., wearing a robe, mantle and
veil, witli a single nimbus, walks to 1., carrying three crowns in her r.
hand, a iong, pointed loaf in her 1. hand. Outline, without hatching.
Single border.
[60 x 44.] Good impression, witli margin [2-3]. Printod in grey. Colonrs : grey,
yellow, carmine, vermilion, pale green.
Purcliased at Gutekunst’s auction, no. 55, Stuttgart, May 1901 (no. 947). Probably
8uabian; about 1470.?
Even those' have been disputed. See Mepert. f. Kufitsw. xxvi, 328.
Early German and Flemish Woodculs,
xlPPENDlX C.
Woodcuts by Hans Dureb and Hans yon Kulmbach.
There is little doubt that these two artists drew on the wood, but
no signed or otherwise authenticated woodcuts by either hand remain.
Pending the publication of critical studies which may be expected from
the pens of two competent writers at Yienna, I have judged it premature
to head a section of this catalogue with either narne.
The work of Albrecht Diirer’s younger brother (b. 1490, d. after 1530)
may be sought chiefly in the Nuremberg portion of the woodcuts designed
for Maximilian. Dr. Giehlow attributes to him certain portions of the
Triumplial Arch (see p. 318), and two groups of woodcuts in the Triumphal
Procession, viz. the mounted standard-bearers, etc., nos. 57-88 in the 1796
edition, and the £:Tross” or followers at the end. (See also pp. 309, 362.)
The starting-point of our knowledge of Hans Diirer is the set of drawings
by him in the Besancon portion of the so-called Prayer-book of Maximilian.1
For woodcuts provisionally attributed to Hans von Kulmbach (b. about
1475, d. 1522), see pp. 349, 353. Others justly ascribed to him are the
two Judith cuts in ££Der beschlossen gart des rosenkrantz marie,” 1505,
which are not by Diirer, viz. those on fol. 52 v. and 62 v. of pt. ii (repr.
Hirth, nos. 639, 642). The distinction was recognised and pointed out
to me by Dr. Dornhoffer. I liave shown in the Burlington Magazine that
the monogram on a woodcut of St. John in Patmos (B. vii, 484, 1) is to
be interpreted as the mark of the printer, Hans Ivnobiouch.
APPENDIX D.
WOODCUT ADDED DURING TTIE PlHNTING OF THE CaTALOGUE.
Paet I.—Diyision A.
A 80*.
ST. ELIZABETIi OF IIUXGAEY.
St. Elizabeth, facing three-quarters 1., wearing a robe, mantle and
veil, witli a single nimbus, walks to 1., carrying three crowns in her r.
hand, a iong, pointed loaf in her 1. hand. Outline, without hatching.
Single border.
[60 x 44.] Good impression, witli margin [2-3]. Printod in grey. Colonrs : grey,
yellow, carmine, vermilion, pale green.
Purcliased at Gutekunst’s auction, no. 55, Stuttgart, May 1901 (no. 947). Probably
8uabian; about 1470.?
Even those' have been disputed. See Mepert. f. Kufitsw. xxvi, 328.