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)

34

Exhibition of Durer’s Work.

303. Michael Wolgemut (1434-1519). Design fob the Title-page of
Hartmann Schedel’s “ Weltchbonik,” printed in 1493.
Pen and brown ink. 385 x 248. 1885-5-9-43. Dated 1490 below in
centre. Inscribed on the scroll above, Dixit deus fiat et facta Sunt Omnia in
red ink, possibly by a different, though contemporary hand. The two
shields in the lower corners were probably also filled in later (to 1., a naan
holding a purse and a cudgel; to r., a pelican feeding her young). On
the back of the paper is a section of the Index to the “ Weltchronik ”
(somewhat modified in the printed edition), written in Schedel’s own hand.
The differences between this drawing and the woodcut based upon it (the
most important of which are the absence of the inscription, date and figures
in the shields on the latter) were dealt with by Colvin when first publishing
the drawing (Jahrbuch der Pr. K. VII [1886], p. 98). H. Thode attributed
the drawing to Pleydenwurff, but regarded the woodcut (which is the
same size and in the same direction) as the work of Wolgemut (“ Die
Malerschule von Niirnberg,” 1891, p. 156). F. Stadler rightly vindicated
Wolgemut’s authorship of the drawing, and assigns the woodcut, which is
weaker and more primitive, to his Formsehneider C (“ Michael Wolgemut
und der Niirnberger Holzschnitt,” 1913, p. 31). Both the devices on the
shields are probably emblematic, not heraldic.
304. School or Schongatteb. Studies of a standing Male Figure
holding A Book and of the Angel of the Annunciation.
Pen and brown ink. 185 X 180 (entire size ; the two sketches have been
joined together, and a blank vertical strip, c. 10 mm. broad, is not original).
Collection : Malcolm (J.C.R. 508). 1895-9-15-961.
The figure of the Angel is reproduced in K. T. Parker, “ Alsatian Drawings
of the XV and XVI Century,” 1928, pl. 11.
305. School of Albbecht Dubeb. Foub Illustrations (recto, verso) of
Exercises in the Abt of Self-Defence.
Pen and ink washed with water-colours. 303 X 175. Collections : K. E.
and R. von Liphart (Lugt 1687, 1758) ; Max Bonn.
Presented by Mr. Henry Oppenheimer, F.S.A. 1922-3-11-1.
These studies (probably contemporary copies by a capable Nuremberg
artist) resemble those in Durer’s “ Fechtbuch ” in the Fideikommiss-
bibliothek at Vienna, published by F. Dornhoffer (Jalvrbuch des Aller-
hochsten Kaiserhauses, XXVII [1910]). For these particular exercises,
in which one fighter has a dagger while the other is unarmed, compare
Dornhoffer, plates 48—50. Durer’s “ Fechtbuch ” illustrations are washed
in water-colours in a similar style to these.
306. Wolfgang Katzheimer (c. 1450-1508). The Obdeal of the Empbess
Kunigunda.
Pen and ink ; the landscape background washed in water-colours. 353X 312.
Presented by Mrs. Alfred Morrison. 1924-12-13-1.
A detailed study of this drawing by Campbell Dodgson, first attributing
it to Katzheimer, appeared in Old Master Drawings, I (1926), part 3,
p. 32. The buildings in the background represent the old Imperial Palace
(Kaiserpfalz) at Bamberg. For topographical reasons the date must be
before 1487. The composition was repeated (the figures in reverse) by
Wolf Trant in a woodcut dated 1509 (C.D. I, p. 511).
307. School of Nuremberg, 1505. St. Sebastian.
Pen and ink with brush-work and grey wash. Dated 1505. 472 X 257.
Presented by Dr. K. T. Parker. 1926-6-21-2.
The figure is adapted partly from Durer’s engraving of Adam and Eve
(B. 1) and partly from the St. Sebastian of the Ober-St. Veit Altar-piece,
which was left unfinished by Diirer on his departure for Venice in 1505,
and was executed by Schaufelein. The present drawing confirms the
dating on stylistic grounds of the altar-piece in or before 1505 ; see F.
Winkler, “Albrecht Diirer” (Klassiker der Kunst), 1928, p. 421.