DOI Page / Citation link:
https://doi.org/10.11588/diglit.52907#0036
30
Exhibition of Durer’s Work.
290. Emblematical Design. L. 299.
Pen and Indian ink. Signed. 152 X 138. Collection : Sloane (5218-65).
Envy (?) holds with a pah- of tongs upon an anvil a heart which Affliction
beats with a three-headed hammer; Consolation looks up and points to
heaven. On the front of the anvil is the heraldic birch tree of Willibald
Pirkheimer, for whom this device was drawn.
This design was engraved in reverse, with ornamental additions, in 1529
by the monogrammist I B (Jorg Bencz = Georg Pencz, according to Fried-
lander), Bartsch 30. In the engraving, which was used by Pirkheimer as
a bookplate, the figure lying under the anvil is named Tolerantia, the
heart is held by Invidia and beaten by Tribulatio, and the figure pointing
to the sky is Spes. The text accompanying a later copy of this engraving
expressly names Pirkheimer as the inventor of the design, which is explained
in a German poem.
The date of the drawing is probably about 1525-26, and it is very near
in style to the following.
291. A Naked Woman Walking. L. 275.
Pen and Indian ink. 173 x 140. Collection : Sloane (5218-115).
On the back are three male heads, a helmet, and a human figure walking,
composed of geometrical blocks (L. 276).
292. Design for a Shoe. L. 256.
Pen and Indian ink. 273 X 113. Collection : Sloane (5218—200).
The inscription may be translated : “ The shoe is to be cut out this way
and the ornament on it is to be pressed into the wet leather.” “ I want
such a pair of lasts made as to be quite flat on the sole.” “ Thus high is
the leather at the back to go over itself at the heel.” “ Double soles.”
The watermark is one used chiefly in 1525—26.
293. Portrait of the Poet, Helius Eobantts Hessits. 1526. L. 295.
Silver-point. Signed and dated. 169 X 117. Collection: Sloane (5218-21).
This humanist (1488—1540), who resided at Nuremberg from 1526 to 1533,
was a friend of Diirer, and composed a poem on his death. A woodcut
made after this portrait (C.D. I. 345. 1, not exhibited) was published in
1526 and again in 1527.
294. Head and Bust of a Bearded Man. L. 297.
Pen and ink. 94 X 80. Collection : Sloane (5218-16).
295. Head and Bust of a Young Man, nude. L. 298.
Pen and ink. 103 X 80. Collection : Sloane (5218—14).
DOUBTFUL DRAWINGS.
In addition to nos. 296-299 in the exhibition, the following drawings, not
exhibited, have some claim to rank as the work of Diirer.
Sloane 5218-121. Two Men Riding towards the left.
The front one is a knight in tournament equipment; the other gesticulates
with his left hand.
Pen and ink. 132 X 144. Possibly a very early work, but of poor quality.
Exhibition of Durer’s Work.
290. Emblematical Design. L. 299.
Pen and Indian ink. Signed. 152 X 138. Collection : Sloane (5218-65).
Envy (?) holds with a pah- of tongs upon an anvil a heart which Affliction
beats with a three-headed hammer; Consolation looks up and points to
heaven. On the front of the anvil is the heraldic birch tree of Willibald
Pirkheimer, for whom this device was drawn.
This design was engraved in reverse, with ornamental additions, in 1529
by the monogrammist I B (Jorg Bencz = Georg Pencz, according to Fried-
lander), Bartsch 30. In the engraving, which was used by Pirkheimer as
a bookplate, the figure lying under the anvil is named Tolerantia, the
heart is held by Invidia and beaten by Tribulatio, and the figure pointing
to the sky is Spes. The text accompanying a later copy of this engraving
expressly names Pirkheimer as the inventor of the design, which is explained
in a German poem.
The date of the drawing is probably about 1525-26, and it is very near
in style to the following.
291. A Naked Woman Walking. L. 275.
Pen and Indian ink. 173 x 140. Collection : Sloane (5218-115).
On the back are three male heads, a helmet, and a human figure walking,
composed of geometrical blocks (L. 276).
292. Design for a Shoe. L. 256.
Pen and Indian ink. 273 X 113. Collection : Sloane (5218—200).
The inscription may be translated : “ The shoe is to be cut out this way
and the ornament on it is to be pressed into the wet leather.” “ I want
such a pair of lasts made as to be quite flat on the sole.” “ Thus high is
the leather at the back to go over itself at the heel.” “ Double soles.”
The watermark is one used chiefly in 1525—26.
293. Portrait of the Poet, Helius Eobantts Hessits. 1526. L. 295.
Silver-point. Signed and dated. 169 X 117. Collection: Sloane (5218-21).
This humanist (1488—1540), who resided at Nuremberg from 1526 to 1533,
was a friend of Diirer, and composed a poem on his death. A woodcut
made after this portrait (C.D. I. 345. 1, not exhibited) was published in
1526 and again in 1527.
294. Head and Bust of a Bearded Man. L. 297.
Pen and ink. 94 X 80. Collection : Sloane (5218-16).
295. Head and Bust of a Young Man, nude. L. 298.
Pen and ink. 103 X 80. Collection : Sloane (5218—14).
DOUBTFUL DRAWINGS.
In addition to nos. 296-299 in the exhibition, the following drawings, not
exhibited, have some claim to rank as the work of Diirer.
Sloane 5218-121. Two Men Riding towards the left.
The front one is a knight in tournament equipment; the other gesticulates
with his left hand.
Pen and ink. 132 X 144. Possibly a very early work, but of poor quality.