DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52907#0043
Drawings.
320. Hans Leonhard Schaurelein (1480 ?-1539 ?). The Coronation or the
B.V.M. with Figures or Moses, Abraham and Isaac, David, St. John
the Baptist and the Apostles.
Pen and ink and water colours. 314x 270. Collection: Sloane (5218-189).
Repr. in K. T. Parker, “ Drawings of the Early German Schools,” 1926,
plate 26. The composition should be compared with Diirer’s woodcut
B. 94 and the central panel of the Heller Altar-piece. The figure of
St. Paul is similar to Diirer’s, and the feet correspond closely with L. 165.
321. Hans Leonhard Schaurelein (1480 ’-1539 ?). The Adoration or the
Magi.
Pen and ink, heightened with Chinese white, on sage green prepared paper.
Dated 1522. 221 X ISO. Collection : Sloane (5218—123).
Repr. in Gowans and Gray’s “ Drawings of the Old Masters ” (British
Museum Series), p. 44. There is a weaker version of this drawing, likewise
with the date 1522, in the Lahmann Collection, Dresden Weisser Hirsch,
which E. Schilling wrongly considered the original “ Altdeutsche Hand-
zeichnungen aus der Sammlung J. F. Lahmann,” pl. 20). The composi-
tion, like that of Sehaufelein’s earlier picture at Innsbruck, is influenced
by Diirer’s Epiphany at Florence, of 1504. Until recently the drawing
was attributed to Springinklee.
322. Hans Leu (1490 ?—1531). The B.V.M. in the Temple.
Pen and ink. Signed with the monogram and dated 1510. 280 X 198.
Collection : Cassano Serra. 1909-1-9-16.
Vasari Society, V, 27, with note by Campbell Dodgson. The subject
which is of infrequent occurrence in art, is derived from the Golden
Legend. The composition corresponds to that of one of a set of five
glass panels, dated 1505, in the parochial church of Griindlach (Mittel-
franken). See H. Rottinger, “Diirer’s Doppelganger,” 1926, p. 93.
This is the earliest known work of the Ziirich artist and apparently belongs
to the time of his Wanderschaft, when at Nuremberg he came into Diirer’s
orbit of influence. See W. Hugelshofer in Anzeiger fur Schweizerische
Altertumskunde, XXV (1923), 2-3, p. 165. There are two later drawings
by Leu in the Department.
323. Hans Baldung, called Grien (1476 ’-1545). St. Martin and the
Beggar : Design for a Glass.Roundel.
Pen and ink and charcoal. Diameter 332 mm. 1860-6-16-54. Terey, “ Die
HandzeichnungenH.B.G.’s, ” 197, but attributed to Baldung with reservation
(III, p. Ixv). Baldung’s authorship, however, is evident, and the
drawing belongs to the end of his Nuremberg period. The Schloss Museum
at Berlin contains a glass panel, dated 1533, based on this drawing. It
belongs to a set of five, commissioned for the Klarakloster at Nuremberg,
and is inscribed with a circular inscription and the coats-of-arms of Martin
Gender and his wife Juliana, ne'e Pirkheimer. H. Schmitz refers to this
panel, once as being based on a drawing of the Dtirer School, and once on
a dubitative design of Hans Sebald Beham (“ Die Glasgemalde des K.
Kunstgewerbemuseums in Berlin,” 1913, I, p. 162 ; “ Deutsche Glas-
malererien der Gotik und Renaissance : Rund- und Kabinettscheiben,”
1923, pl. 31). There is a copy at Dresden.
324. Hans Baldung, called Grien (1476 ’-1545). The Virgin and Child
with Putti.
Pen and ink, heightened with Chinese white, on brown prepared paper.
Cut to an irregular shape, c. 280 X 195. Collection: Sloane (5218—179).
Terey 194. The motif of the angel lifting up the Virgin’s cloak resembles
that of Baldung’s woodcut, Eisenmann 8, and even more strikingly Urs
Graf’s drawing in the Federal Print-room at Zurich, dated 1513 (Parker
40). The latter, however, is probably derived from the woodcut (date
about 1511-12), not from the present drawing, which Terey is right in
dating as late as about 1516. Woltmann is obviously mistaken in calling
the drawing a study for Eisenmann 8. (“ Geschichte der deutschen Kunst
im Elsass,” 1876, p. 293.)
320. Hans Leonhard Schaurelein (1480 ?-1539 ?). The Coronation or the
B.V.M. with Figures or Moses, Abraham and Isaac, David, St. John
the Baptist and the Apostles.
Pen and ink and water colours. 314x 270. Collection: Sloane (5218-189).
Repr. in K. T. Parker, “ Drawings of the Early German Schools,” 1926,
plate 26. The composition should be compared with Diirer’s woodcut
B. 94 and the central panel of the Heller Altar-piece. The figure of
St. Paul is similar to Diirer’s, and the feet correspond closely with L. 165.
321. Hans Leonhard Schaurelein (1480 ’-1539 ?). The Adoration or the
Magi.
Pen and ink, heightened with Chinese white, on sage green prepared paper.
Dated 1522. 221 X ISO. Collection : Sloane (5218—123).
Repr. in Gowans and Gray’s “ Drawings of the Old Masters ” (British
Museum Series), p. 44. There is a weaker version of this drawing, likewise
with the date 1522, in the Lahmann Collection, Dresden Weisser Hirsch,
which E. Schilling wrongly considered the original “ Altdeutsche Hand-
zeichnungen aus der Sammlung J. F. Lahmann,” pl. 20). The composi-
tion, like that of Sehaufelein’s earlier picture at Innsbruck, is influenced
by Diirer’s Epiphany at Florence, of 1504. Until recently the drawing
was attributed to Springinklee.
322. Hans Leu (1490 ?—1531). The B.V.M. in the Temple.
Pen and ink. Signed with the monogram and dated 1510. 280 X 198.
Collection : Cassano Serra. 1909-1-9-16.
Vasari Society, V, 27, with note by Campbell Dodgson. The subject
which is of infrequent occurrence in art, is derived from the Golden
Legend. The composition corresponds to that of one of a set of five
glass panels, dated 1505, in the parochial church of Griindlach (Mittel-
franken). See H. Rottinger, “Diirer’s Doppelganger,” 1926, p. 93.
This is the earliest known work of the Ziirich artist and apparently belongs
to the time of his Wanderschaft, when at Nuremberg he came into Diirer’s
orbit of influence. See W. Hugelshofer in Anzeiger fur Schweizerische
Altertumskunde, XXV (1923), 2-3, p. 165. There are two later drawings
by Leu in the Department.
323. Hans Baldung, called Grien (1476 ’-1545). St. Martin and the
Beggar : Design for a Glass.Roundel.
Pen and ink and charcoal. Diameter 332 mm. 1860-6-16-54. Terey, “ Die
HandzeichnungenH.B.G.’s, ” 197, but attributed to Baldung with reservation
(III, p. Ixv). Baldung’s authorship, however, is evident, and the
drawing belongs to the end of his Nuremberg period. The Schloss Museum
at Berlin contains a glass panel, dated 1533, based on this drawing. It
belongs to a set of five, commissioned for the Klarakloster at Nuremberg,
and is inscribed with a circular inscription and the coats-of-arms of Martin
Gender and his wife Juliana, ne'e Pirkheimer. H. Schmitz refers to this
panel, once as being based on a drawing of the Dtirer School, and once on
a dubitative design of Hans Sebald Beham (“ Die Glasgemalde des K.
Kunstgewerbemuseums in Berlin,” 1913, I, p. 162 ; “ Deutsche Glas-
malererien der Gotik und Renaissance : Rund- und Kabinettscheiben,”
1923, pl. 31). There is a copy at Dresden.
324. Hans Baldung, called Grien (1476 ’-1545). The Virgin and Child
with Putti.
Pen and ink, heightened with Chinese white, on brown prepared paper.
Cut to an irregular shape, c. 280 X 195. Collection: Sloane (5218—179).
Terey 194. The motif of the angel lifting up the Virgin’s cloak resembles
that of Baldung’s woodcut, Eisenmann 8, and even more strikingly Urs
Graf’s drawing in the Federal Print-room at Zurich, dated 1513 (Parker
40). The latter, however, is probably derived from the woodcut (date
about 1511-12), not from the present drawing, which Terey is right in
dating as late as about 1516. Woltmann is obviously mistaken in calling
the drawing a study for Eisenmann 8. (“ Geschichte der deutschen Kunst
im Elsass,” 1876, p. 293.)