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.

33

298. School of Albbecht DI’reb. Apollo Seated under a Tbee Playing
a Stbinged Instrument. 1507.
Pen. and ink washed with water-colour. 286 X 185. The date 1507 is
accompanied by Diirer’s monogram. Collection : Sloane (5218—171).
It is difficult to see in this drawing the hand either of Diirer himself or of
any definite pupil, but it is evidently a Nuremberg work with an authentic
date ; the monogram is less convincing.

299. Albrecht Durer (?). Bust of a Young Man facing to the left.
Charcoal; the pupils of the eyes and the hair retouched with pen and
brown ink. 288 X 202. Collection : Sloane (5218—32).
Inscribed alt 18 jahr in 1. upper corner by the same hand (probably later)
as the retouching.
Possibly by the master himself, but the attribution is unconvincing.

300. Style of Martin Schongauer. A Young Woman Fanning a Fire
with a Bird’s Wing.
Pen and brown ink, touched with pink wash. 187 X 145. Below near
centre the monogram of Schongauer and date 1469 (see below).
Presented by Mrs. Sharpe. 1884-9-13-14.
Both the present drawing and L. 595 (above, no. 170) were considered by
Colvin to be dated originals of Schongauer (Jahrbuch der Pr. K. VI [1885],
p. 69). D. Burckhardt (“ Die Schule Martin Sehongauers am Oberrhein,”
1888, p. 6 (note 1) accepts the attribution of the former, but considers the
date to be wrong. Lehrs likewise endorsed the attribution to Schongauer
(Mitteilungen aus den Sdchsischen Kunstsammlungen V [1914], p. 7), but
it was rightly rejected by J. Rosenberg (“ Schongauer’s Handzeichnungen,”
1923, p. 36). The drawing was recently attributed by E. Buchner to
Ulrich Mair of Kempten. There is a very similar date and monogram
on the drawing, at Paris, of Christ as the Judge of the World, after R. van
der Weyden’s altar-piece at Beaune (Rosenberg 23). Both closely resemble
the inscription on L. 595, which is by Diirer. But as there is no appreciable
difference in the ink of the monogram and date and the rest of the present
drawing, it deserves serious consideration whether this (? and possibly the
Paris drawing) be not a copy by Diirer, executed after some earlier drawing,
as was L. 595.
301 Style of Martin Schongauer. Head of a Girl Wreathed with
Flowers.
Pen and ink. 110 X 102 (the upper corners inlaid). Collections :
Shrewsbury, Robinson, Malcolm (J.C.R. 506). 1895-9-15-959.
Reproduced in K. T. Parker, “ Alsatian Drawings of the XV and XVI
Century,” 1928, pl. 12. Probably by the same hand as the Head of an
Oriental, at Basle, Rosenberg, pl. 28.
302. School of Nuremberg, c. 1490. Studies (recto and verso) of an Archer
Winding his Cboss-bow, of a Cboss-bow, etc.
Pen and brown ink. 275 X 185. 1848-10-13-128.
The costume and attitude of the archer recall a figure in Hans Pleyden-
wurff’s Martyrdom of St. Sebastian forming part of the Peringsdorffer
Altar, now in the Nuremberg Museum, but the resemblance is probably
accidental. Somewhat similar figures of archers winding their bows occur,
for instance, in Diirer’s early woodcut of St. Sebastian, Kurth 90, (no.
11, above), in Schaufelein’s woodcut C.D. II, 16, 1 ; and in the Munich
picture of the Martyrdom of St. Sebastian by the elder Holbein. There
is small doubt that the present studies were ultimately intended for a
representation of the Martyrdom of St. Sebastian.