DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0104
CATALOGUE OF DURER’S ENGRAVINGS,
21 THE TURKISH FAMILY — B 85; H 971; R 12; M 12.
— Monogram.
a. Very fine, brilliant impression. Slightly warmish black ink, clean
wiped.
b. Late impression, from the worn plate.
Retberg, before 1495; Heller, 1486-1500; Middleton, 11 executed early in
1496.” Thausing (I, p. 308) thinks that Diirer, when he engraved this design,
must have had in mind two of Jacopo de’ Barbari’s plates, B 10 and n (Kris-
teller, Nos. 16 and 17), and that he combined them in his own plate. It is
impossible to escape the conviction that this is an exceedingly far-fetched
hypothesis. The great staring eyes of the figures, according to the same writer,
“ betray the early origin of the engraving, and the elegant pose of the woman’s
legs points to a foreign inspiration.” There is a family resemblance in this
Turk to the one in the “Five Footsoldiers,” etc. (No. 3 of this catalogue).
The Turks at the time claimed a large share of public attention, owing to their
rapid advance as conquerors, and such plates as this were, therefore, likely to
be salable.
Called also “ The Oriental and his Wife,” “ The Turk and his Wife,” and “ The
Wandering Turkish Family.” (See remarks under No. 26.)
22 THE COOK AND HIS WIFE— B 84; H 963; R 10; M 13.
—Monogram.
Very fine impression. Pure black ink, clean wiped. A trifle blurred
in the head of the man, which seems generally to be the case. From the
Balmanno Collection.
Retberg, before 1495; Heller, 1500-06; Middleton, “executed early in
1496.” Hausmann deduces from the workmanship and the simple treatment of
the ground that the plate belongs to a later period. The type of the figures,
especially of the woman, and the monogram, point to an early time. Thausing
(I, p. 225), in accordance with his general theory about many of Diirer’s early
plates, opines that it is a copy after Wolgemut. But it is difficult to see why,
if Jacopo de’ Barbari’s influence is to be traced in the woman in “ The Turkish
Family” (No. 21), the same influence should not be seen also in the woman in
this engraving.
22
21 THE TURKISH FAMILY — B 85; H 971; R 12; M 12.
— Monogram.
a. Very fine, brilliant impression. Slightly warmish black ink, clean
wiped.
b. Late impression, from the worn plate.
Retberg, before 1495; Heller, 1486-1500; Middleton, 11 executed early in
1496.” Thausing (I, p. 308) thinks that Diirer, when he engraved this design,
must have had in mind two of Jacopo de’ Barbari’s plates, B 10 and n (Kris-
teller, Nos. 16 and 17), and that he combined them in his own plate. It is
impossible to escape the conviction that this is an exceedingly far-fetched
hypothesis. The great staring eyes of the figures, according to the same writer,
“ betray the early origin of the engraving, and the elegant pose of the woman’s
legs points to a foreign inspiration.” There is a family resemblance in this
Turk to the one in the “Five Footsoldiers,” etc. (No. 3 of this catalogue).
The Turks at the time claimed a large share of public attention, owing to their
rapid advance as conquerors, and such plates as this were, therefore, likely to
be salable.
Called also “ The Oriental and his Wife,” “ The Turk and his Wife,” and “ The
Wandering Turkish Family.” (See remarks under No. 26.)
22 THE COOK AND HIS WIFE— B 84; H 963; R 10; M 13.
—Monogram.
Very fine impression. Pure black ink, clean wiped. A trifle blurred
in the head of the man, which seems generally to be the case. From the
Balmanno Collection.
Retberg, before 1495; Heller, 1500-06; Middleton, “executed early in
1496.” Hausmann deduces from the workmanship and the simple treatment of
the ground that the plate belongs to a later period. The type of the figures,
especially of the woman, and the monogram, point to an early time. Thausing
(I, p. 225), in accordance with his general theory about many of Diirer’s early
plates, opines that it is a copy after Wolgemut. But it is difficult to see why,
if Jacopo de’ Barbari’s influence is to be traced in the woman in “ The Turkish
Family” (No. 21), the same influence should not be seen also in the woman in
this engraving.
22