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.

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308. Hans von Kulmbach (1476-1522). Standing Figure of St. Peter :
Design for Stained Glass.
Brush and ink with grey wash. 1003 X 388. 1882-3-11-60.
This is the working cartoon for one of the sixteen sections of the Bamberg
window in the east choir of St.Sebald’s at Nuremberg, executed in the work-
shop of Veit Hirschvogel. The cartoon was attributed by J. Schinnerer to
Wolfgang Katzheimer (Monatshefte fur KunstwissenschaftVI, [1913], p. 318),
whose woodcuts in the “ Bambergei’ Halsgerichtsordnung ” of 1507 he
considered to resemble it. But since the documentary evidence connecting
the name of Katzheimer with the commission of Bishop Heinrich Gross von
Trockau for the window dates back as far as 1493, it is obvious in view of the
style of the drawing that the present window, and the cartoon on which it
is based, must be distinct from the original one, and probably designed to
replace it. H. Rottinger attributes the drawing to the Master of St. Birgitta
(“Durer’s Doppelganger,” 1926, p. 86). The present attribution to
Kulmbach is fairly certain, though not definitely established.
309. Hans von Kulmbach(I476-1522). A Kneeling Woman Holding a Shield.
Charcoal ; cut to an irrregular shape, c. 250 X 200.
Collection : Sloane (5218-63).
Placed hitherto among the anonymous works of the German School,
XVI century. The handling, however, is typical of Kulmbach in the
beginning of the second decade of the century. Mentioned by H. Bermann
in his unprinted thesis on Kulmbach (no. 49).
310. Hans von Kulmbach (1476-1522). Standing Figures of SS. Catherine
and Barbara.
Charcoal. 282 X 198. Above, near centre, a Diirer monogram by a later
hand. Collections: Lawrence, Malcolm (J. C. R.-529). 1895-9-15-985.
Attributed to Griinewald by A. Bayersdorfer ; see H. A. Schmid, “ Die
Gemalde uud Zeichnungen von Matthias Griinewald,” 1911, p. 283. Schmid
himself inclines to endorse the tentative attribution to Diirer appearing
in the Malcolm Catalogue (p. 177). Kulmbach’s authorship becomes
plainly discernible on comparing certain other drawings by the artist in
charcoal, such as the Annunciation, dated 1512, at Berlin, and the Adoration
of the Magi, signed, at Budapest. Accepted by Bermann.
311. Hans von Kulmbach (1476-1522). Design fob an Altar-piece. In
CENTRE THE CORONATION OF THE B.V.M. ; L. SHUTTER, SS. DOMINIC AND
Mary Magdalen ; r. Shutter, SS. George and Giles ; predella, the
Death of the B.V.M.
Pen and ink, lightly washed in water colours. 345 x 355. Below to 1.
the monogram of Georg Pencz and date 1552, both false. Collection :
Sloane (5218-124-127).
Dates from the latter end of Kulmbach’s career. There exist several
similar drawings for altar-pieces by Cranach, with moveable shutters as
in the present drawing.
312. Hans von Kulmbach (1476-1522). Christ as the Judge of the World
with the B.V.M. and St. John the Baptist.
Pen and ink, considerably faded, lightly washed with water colours. 298 x
198. The principal subject is surrounded by a border in which the recep-
tion of the Blessed and the Torments of the Damned are represented.
Collection : Sloane (5218-195).
313. Hans von Kulmbach (1476-1522). Two Standing Women.
Pen and light brown ink. 130 X 159. Collection : Sloane (5218-113).
It is doubtful whether the two figures are in relation to each other or what
the allegorical meaning, if any, underlying them is. Placed on the scales
held by the nude figure are a feather and a dead (?) bird. The draped
figure is apparently holding a palm.
D 2