Dodgson, Campbell; British Museum / Department of Prints and Drawings: Guide to the woodcuts, drawings, and engravings of Albrecht Dürer: in the Department of Prints and Drawings$dexhibited in commemoration of the fourth centenary of the artist's death on April 6th, 1528 (London: British Museum, 1928)

Drawings.

23

218. Three Orientals, after Gentile Bellini. L. 93.
Two noble Turks, followed by a negro slave.
Pen and ink and water-colour. 305 x 199. Collections : Reynolds,
Lawrence, Robinson, Malcolm. 1895-9-15-974.
Copied, presumably on Durer’s second visit to Venice in 1506, from Gentile
Bellini’s “ Procession of the Holy Cross,” which was painted in 1496. The
genuine date 1514 and signature were added later in several cases to drawings
of earlier date. The central figure appears in Durer’s etching of the Cannon
(1518).
The drawing strongly resembles two studies of Turks, one of which is also
dated 1514, ascribed by Winkler (L. 630, 631) to the first Italian journey ;
but the fact that Bellini’s picture was not painted till 1496 makes that date
impossible for this drawing, unless Diirer copied a drawing by Bellini.
Prof. Winkler is of opinion that he had access to Gentile studio in 1495.
219. Study for Eve. 1506. L. 239.
Pen and brown ink, with wash. Signed. 280 x 89. 1846-9-18-10.
220. Study for Eve. 1506. L. 240.
Pen and brown ink, with wash. Signed. 276 x 91. 1846-9-18-11.
These are studies for the picture of Adam and Eve, 1507 ; but Eve in no. 221
differs little from the Eve of the engraving of 1504. Schemes of proportion
are drawn on the back of both drawings (L. 241, 242).
221. Study for Eve. 1507. L. 235.
Pen and brown ink, with wash. Signed. 280 x 171. Collection: Sloane
(5218-182).
This is a repetition, in reverse, of the Eve in the engraving, B. 1, if it be
not a study preliminary to the engraving, to which the date 1507 was
subsequently added.
222. Portrait of Conrad Verkell. 1508 (?).
Charcoal. 295 X 215. Collection : Sloane (5218-27).
This drawing (Diirer Society, V. 10) has not yet been reproduced in “ Lipp-
mann.” It would be tempting to identify the sitter with the Ulm painter,
Conrad Merkel, whom Diirer mentions in 1910 as “ gar mein guter Freund ”
(Lange & Fuhse, p. 80), but it is impossible to read the first letter of his
name as “ M.” The date, now to be read as 1508, has been retouched, and
may have been originally 1503 ; the drawing agrees with Durer’s charcoal
drawings of 1503. An attribution to Griinewald, which has been
suggested, is not probable.
223. The Fall of the Rebel Angels. 1509. L. 245.
Pen and ink. 260 X 420. Collection : Sloane (5218-190).
The arms of the Schilling family, on the right, are tinted with pink water-
colour. Above them is the kneeling donor, Jost Schilling.
224. Studies of Fighting Equipment. L. 255.
On the left a hook for tearing down walls or palisades, and a swimming
belt; on the right an armed knight wielding a “ morgenstern,” and a
broken lance. The inscription refers to the year 1372. On the back are
two knights fighting with lances (signed), and a swimming belt for a horse
(L. 254). It is not easy to date this drawing.
Pen and ink. 300 X 423. Collection : Sloane (5218-58).