DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0109
DRY-POINTS, AND ETCHINGS.
The impressions from all these plates in the public collections of Paris, Lon-
don, Dresden, and Berlin are printed in the old style,— that is to say, in pure
black ink, clean wiped,— such tinting as there is being evidently accidental.
27 THE LADY AND THE LANSQUENET — B 82; H 991;
R 20; M 19.—Monogram.
a. Very fine dark impression, pure black ink, quite clean wiped. Pa-
per somewhat soiled and mended. Cut above and below.
b. Beautiful silvery impression, very delicate. Clean wiped, except
slight tinting in the saddlecloth and on ground to left. Watermark, high
crown, Hausmann, No. 21.
c. Late impression, from the worn plate.
d. Copy by Jerome Wierix; Alvin, No. 1577. Second state, marked
“7E 12,” indicating that it was done when the engraver was twelve years
old.
The two impressions a and b are very interesting, as showing differences due to
printing. The plate was evidently still in the very best condition when both
these impressions were taken, but for b a softer ink was used, which, in con-
junction with very careful clean-wiping and real“ tinting,” produced the delicacy.
Impression b must, therefore, be later than a; and it points to the general con-
clusion that, contrary to the hitherto received opinion, the silvery impressions
are later than the dark ones. The proofs in Paris, London, and Dresden are all
clean wiped, while the one in Berlin shows tinting in the saddlecloth, like b.
This plate belongs to the same group with Nos. 21-26, but the elaborate
landscape background makes it more complete pictorially, and gives it the ap-
pearance of greater variety and richness, despite the uniformity in its delicate
graver work, which it shares with its predecessors.
Called also “ The Lady on Horseback.” The subject might simply be classed
with the studies from life before alluded to, but the attempt has been made to
invest it with a deeper interest. Heller thinks 11 the pair is on its way to a
tournament.” According to Allihn (pp. 71, 72) “ the subject in itself is perfectly
clear; it is the old story, treated hundreds of times, of the lady in love with her
squire.” He admits that Diirer probably desired merely to draw a young man-
at-arms and a lady on horseback, in the picturesque costume of the time, but
argues that the moralizing tendency of his age compelled him to give a meaning
27
The impressions from all these plates in the public collections of Paris, Lon-
don, Dresden, and Berlin are printed in the old style,— that is to say, in pure
black ink, clean wiped,— such tinting as there is being evidently accidental.
27 THE LADY AND THE LANSQUENET — B 82; H 991;
R 20; M 19.—Monogram.
a. Very fine dark impression, pure black ink, quite clean wiped. Pa-
per somewhat soiled and mended. Cut above and below.
b. Beautiful silvery impression, very delicate. Clean wiped, except
slight tinting in the saddlecloth and on ground to left. Watermark, high
crown, Hausmann, No. 21.
c. Late impression, from the worn plate.
d. Copy by Jerome Wierix; Alvin, No. 1577. Second state, marked
“7E 12,” indicating that it was done when the engraver was twelve years
old.
The two impressions a and b are very interesting, as showing differences due to
printing. The plate was evidently still in the very best condition when both
these impressions were taken, but for b a softer ink was used, which, in con-
junction with very careful clean-wiping and real“ tinting,” produced the delicacy.
Impression b must, therefore, be later than a; and it points to the general con-
clusion that, contrary to the hitherto received opinion, the silvery impressions
are later than the dark ones. The proofs in Paris, London, and Dresden are all
clean wiped, while the one in Berlin shows tinting in the saddlecloth, like b.
This plate belongs to the same group with Nos. 21-26, but the elaborate
landscape background makes it more complete pictorially, and gives it the ap-
pearance of greater variety and richness, despite the uniformity in its delicate
graver work, which it shares with its predecessors.
Called also “ The Lady on Horseback.” The subject might simply be classed
with the studies from life before alluded to, but the attempt has been made to
invest it with a deeper interest. Heller thinks 11 the pair is on its way to a
tournament.” According to Allihn (pp. 71, 72) “ the subject in itself is perfectly
clear; it is the old story, treated hundreds of times, of the lady in love with her
squire.” He admits that Diirer probably desired merely to draw a young man-
at-arms and a lady on horseback, in the picturesque costume of the time, but
argues that the moralizing tendency of his age compelled him to give a meaning
27