DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52907#0038
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Exhibition of Dwrer’s Work.
DRAWINGS ATTRIBUTED TO DURER BY LIPPMANN, BUT
NOW REJECTED.
L. 227. At present attributed, in deference to the opinion of some modern
critics, to Cranach. The strongly local (Nuremberg) character of the draw-
ings formerly contained in the Sloane volume (Add. MS. 5218) tells some-
what against this new attribution.
L. 228. Was attributed for some years to Erhard Schon, but now to Schaufelein
(see no. 314).
L. 237. A poor copy of the figure in the woodcut, B. 119.
L. 261. Probably not by Diirer.
L. 280. Nothing to do with Diirer.
There are other drawings which have been attributed to Diirer, but which
have so little claim to that attribution that they are not worth mentioning
here.
DRAWINGS EXHIBITED AS THE WORK OF PREDECESSORS
OR CONTEMPORARIES OF DURER.
Nos. 296-299 have been attributed to Diirer himself, and the attribution
is not entirely rejected.
The notes on Nos. 296-335 have been written, in the main,
by Dr. K. T. Parker.
296. Albbecht Dubeb(?). Design bob a Cup in Gothic Style, the Lid
SUBMOUNTED BY A BlBD.
Pen and ink. 430 X 158 (the top rounded). Collection : Sloane
(5218-77).
Most of the drawing is in outline and unfinished ; the bird only is com-
pleted, in the hard manner of a 15th century engraver. The ornament,
however, is much in Diirer’s early style, and the drawing may be an
unfinished work of his youth.
297. Albbecht Dubeb(?). Two Studies of a Nude Woman holding a
Mibbob. L. 92.
Silver-point on prepared paper, worked over with pen and ink about the
hips of the figure to the right. 334 x 222. Collections : Reynolds,
Lawrence, Robinson, Malcolm (J.C.R. 526). 1895-9-15-79.
Watermark small Gothic p resembling Briquet 8636.
No convincing theory has yet been advanced regarding the authorship of
this drawing. Though Lippmann includes it among Diirer’s drawings, he
also tentatively suggests Baldung as its author, and indeed the woodcut
Eisenmann 3 and the drawing, at Hamburg, Terey 93, offer interesting
points of comparison. The fact remains, however, that the drawing
would be very unusual for Baldung. S. M. Peartree offers the ingenious,
but likewise unconvincing suggestion (Diirer Society, VIII [1905], p. 12)
that it may be a copy by Diirer after a statuette by Conrad Meit (this
would account for the two figures being in the same attitude, though
seen from different points of view), otherwise possibly a drawing by Meit
himself. Except for the fact that the watermark in the paper is an early
one, one might be tempted to regard the drawing as being of considerably
later date. The modelling of the face of the figure to 1., the hairy effect
of the hatching of this figure, also the hatching behind the face recall
the hand of Jacob de Gheyn, but pen and charcoal (sometimes combined,
as are here silver-point and pen) are the usual mediums of this artist. Two
sheets of nude studies in the Brussels Museum (de Grez collection) and the
collection of Mr. Frits Lugt, Maartensdijk (Prov. Utrecht), should in
particular be compared.
Exhibition of Dwrer’s Work.
DRAWINGS ATTRIBUTED TO DURER BY LIPPMANN, BUT
NOW REJECTED.
L. 227. At present attributed, in deference to the opinion of some modern
critics, to Cranach. The strongly local (Nuremberg) character of the draw-
ings formerly contained in the Sloane volume (Add. MS. 5218) tells some-
what against this new attribution.
L. 228. Was attributed for some years to Erhard Schon, but now to Schaufelein
(see no. 314).
L. 237. A poor copy of the figure in the woodcut, B. 119.
L. 261. Probably not by Diirer.
L. 280. Nothing to do with Diirer.
There are other drawings which have been attributed to Diirer, but which
have so little claim to that attribution that they are not worth mentioning
here.
DRAWINGS EXHIBITED AS THE WORK OF PREDECESSORS
OR CONTEMPORARIES OF DURER.
Nos. 296-299 have been attributed to Diirer himself, and the attribution
is not entirely rejected.
The notes on Nos. 296-335 have been written, in the main,
by Dr. K. T. Parker.
296. Albbecht Dubeb(?). Design bob a Cup in Gothic Style, the Lid
SUBMOUNTED BY A BlBD.
Pen and ink. 430 X 158 (the top rounded). Collection : Sloane
(5218-77).
Most of the drawing is in outline and unfinished ; the bird only is com-
pleted, in the hard manner of a 15th century engraver. The ornament,
however, is much in Diirer’s early style, and the drawing may be an
unfinished work of his youth.
297. Albbecht Dubeb(?). Two Studies of a Nude Woman holding a
Mibbob. L. 92.
Silver-point on prepared paper, worked over with pen and ink about the
hips of the figure to the right. 334 x 222. Collections : Reynolds,
Lawrence, Robinson, Malcolm (J.C.R. 526). 1895-9-15-79.
Watermark small Gothic p resembling Briquet 8636.
No convincing theory has yet been advanced regarding the authorship of
this drawing. Though Lippmann includes it among Diirer’s drawings, he
also tentatively suggests Baldung as its author, and indeed the woodcut
Eisenmann 3 and the drawing, at Hamburg, Terey 93, offer interesting
points of comparison. The fact remains, however, that the drawing
would be very unusual for Baldung. S. M. Peartree offers the ingenious,
but likewise unconvincing suggestion (Diirer Society, VIII [1905], p. 12)
that it may be a copy by Diirer after a statuette by Conrad Meit (this
would account for the two figures being in the same attitude, though
seen from different points of view), otherwise possibly a drawing by Meit
himself. Except for the fact that the watermark in the paper is an early
one, one might be tempted to regard the drawing as being of considerably
later date. The modelling of the face of the figure to 1., the hairy effect
of the hatching of this figure, also the hatching behind the face recall
the hand of Jacob de Gheyn, but pen and charcoal (sometimes combined,
as are here silver-point and pen) are the usual mediums of this artist. Two
sheets of nude studies in the Brussels Museum (de Grez collection) and the
collection of Mr. Frits Lugt, Maartensdijk (Prov. Utrecht), should in
particular be compared.