DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0092
CATALOGUE OF DURER’S ENGRAVINGS,
the “Nemesis” (see No. 33, as above). In accordance with this idea he
places the print “a few years earlier” than 1503. Retberg assigns it to before
1495 ; Heller, to between i486 and 1500. The figure certainly is very like the
“ Nemesis ” in its motive, simply copied, that is to say, from the nude, and it is
therefore quite different from the figures probably inspired by Italian art, such
as the woman in “ The Turkish Family” (No. 21) and the one about to strike
in the “ Hercules” (No. 17). It differs also from the figures in “ The Dream”
(No. 15), and “The Four Naked Women” (No. 14), in which faint traces of
the antique may be detected, and from the “ Eve ” in “ Adam and Eve ” (No.
34), in which Diirer’s theoretical studies find early expression. But the work-
manship, very simple although skilful, and the monogram point to an earlier
time than that of the “ Nemesis.” The suggestion that the figure is a portrait
of Diirer’s wife is not worth discussing.
10 THE LITTLE COURIER —B 8o; H 986; R 13 ; M 10.—
Monogram.
Very fine, clear impression. Pure black ink, clean wiped. Water-
mark, large bull’s head, Hausmann, No. I.
Again a fine specimen of old clean printing. What there is of tinting along the
margins is evidently accidental. Very fine impressions also in Paris, London,
Dresden, and Berlin, all printed in pure black ink and clean wiped.
Retberg assigns this plate to before 1495; Heller, 1486-1500; Middleton,
“ executed early in 1496.” According to Von Eye, it “ discloses itself at first
sight as rudimentary work.” The plate is somewhat puzzling. It is quite
archaic in conception, and very simple, although skilful, in execution, and yet
the monogram shows considerable development. (For “ The Great Courier,”
see No. 103 of this catalogue.)
Called also “ The Post-boy,” and “ Eppelein von Gailingen,” who was a cele-
brated robber-knight of the fourteenth century.
H THE MONSTROUS PIG— B 95; H 1019; R 19; M 11.—
Monogram.
Very fine, early impression. Pure black ink, clean wiped. The im-
pression is absolutely irreproachable, except that some foolish person has
tried to make it look “richer” by strengthening the shadows with India
ink. From the Marshall Collection.
10
the “Nemesis” (see No. 33, as above). In accordance with this idea he
places the print “a few years earlier” than 1503. Retberg assigns it to before
1495 ; Heller, to between i486 and 1500. The figure certainly is very like the
“ Nemesis ” in its motive, simply copied, that is to say, from the nude, and it is
therefore quite different from the figures probably inspired by Italian art, such
as the woman in “ The Turkish Family” (No. 21) and the one about to strike
in the “ Hercules” (No. 17). It differs also from the figures in “ The Dream”
(No. 15), and “The Four Naked Women” (No. 14), in which faint traces of
the antique may be detected, and from the “ Eve ” in “ Adam and Eve ” (No.
34), in which Diirer’s theoretical studies find early expression. But the work-
manship, very simple although skilful, and the monogram point to an earlier
time than that of the “ Nemesis.” The suggestion that the figure is a portrait
of Diirer’s wife is not worth discussing.
10 THE LITTLE COURIER —B 8o; H 986; R 13 ; M 10.—
Monogram.
Very fine, clear impression. Pure black ink, clean wiped. Water-
mark, large bull’s head, Hausmann, No. I.
Again a fine specimen of old clean printing. What there is of tinting along the
margins is evidently accidental. Very fine impressions also in Paris, London,
Dresden, and Berlin, all printed in pure black ink and clean wiped.
Retberg assigns this plate to before 1495; Heller, 1486-1500; Middleton,
“ executed early in 1496.” According to Von Eye, it “ discloses itself at first
sight as rudimentary work.” The plate is somewhat puzzling. It is quite
archaic in conception, and very simple, although skilful, in execution, and yet
the monogram shows considerable development. (For “ The Great Courier,”
see No. 103 of this catalogue.)
Called also “ The Post-boy,” and “ Eppelein von Gailingen,” who was a cele-
brated robber-knight of the fourteenth century.
H THE MONSTROUS PIG— B 95; H 1019; R 19; M 11.—
Monogram.
Very fine, early impression. Pure black ink, clean wiped. The im-
pression is absolutely irreproachable, except that some foolish person has
tried to make it look “richer” by strengthening the shadows with India
ink. From the Marshall Collection.
10