DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0119
DRY-POINTS, AND ETCHINGS.
34 ADAM AND EVE.—B i; H 116; R 55; M 38.—Full
NAME, MONOGRAM, AND DATE, 1504, ON A TABLET.
a. Photogravure reproduction of an unfinished trial proof. The back-
ground is finished, with the exception of a part on the right side. The
figures are only outlined, with the exception of the right leg of Adam,
which is finished. The cat is not yet indicated in the foreground.
b. As before, but carried further, both of the legs of Adam being
now finished.
c. Impression from the finished plate, first state. Very fine, rather
delicate impression, generally speaking clean wiped, even most of the
darkest parts still transparent, black ink. Watermark, large bull’s head,
Hausmann, No. 1. From the Von Liphart Collection.
d. Another very fine impression of the first state, but fuller, and
therefore what collectors are apt to call “ richer.” Watermark, large
bull’s head, Hausmann, No. 1. From the Artaria Collection.
e. Second state of the finished plate, with the rift in the tree under the
left armpit of Adam. Very good, clear, delicate impression. Water-
mark, large bull’s head, Hausmann, No. 1. From the Harrach Collection.
f. Copy, usually ascribed, on the authority of Heller, to an other-
wise entirely unknown engraver, Johannes van Goosen. Merlo (“ Nach-
richten,” p. 146) says, however, that Heller’s ascription is entirely un-
warranted. There was an engraver named Johann Baptist Goossens,
who lived in Cologne in the seventeenth century, and made some copies
after Diirer, but this copy of “ Adam and Eve ” is not by him. Nagler
ascribes it to Johannes Ladenspelder van Essen (“ Monogrammisten,”
IV, p. 57, No. 163).
g. Copy, undescribed.
There is no real tinting in these impressions of Diirer’s early masterpiece,— he
was thirty-three years of age in 1504,— nor do the impressions in the public collec-
tions examined show any. Of the first states in these collections the finest is
in Berlin, printed in very black ink, clean wiped, and an even finer impression
37
34 ADAM AND EVE.—B i; H 116; R 55; M 38.—Full
NAME, MONOGRAM, AND DATE, 1504, ON A TABLET.
a. Photogravure reproduction of an unfinished trial proof. The back-
ground is finished, with the exception of a part on the right side. The
figures are only outlined, with the exception of the right leg of Adam,
which is finished. The cat is not yet indicated in the foreground.
b. As before, but carried further, both of the legs of Adam being
now finished.
c. Impression from the finished plate, first state. Very fine, rather
delicate impression, generally speaking clean wiped, even most of the
darkest parts still transparent, black ink. Watermark, large bull’s head,
Hausmann, No. 1. From the Von Liphart Collection.
d. Another very fine impression of the first state, but fuller, and
therefore what collectors are apt to call “ richer.” Watermark, large
bull’s head, Hausmann, No. 1. From the Artaria Collection.
e. Second state of the finished plate, with the rift in the tree under the
left armpit of Adam. Very good, clear, delicate impression. Water-
mark, large bull’s head, Hausmann, No. 1. From the Harrach Collection.
f. Copy, usually ascribed, on the authority of Heller, to an other-
wise entirely unknown engraver, Johannes van Goosen. Merlo (“ Nach-
richten,” p. 146) says, however, that Heller’s ascription is entirely un-
warranted. There was an engraver named Johann Baptist Goossens,
who lived in Cologne in the seventeenth century, and made some copies
after Diirer, but this copy of “ Adam and Eve ” is not by him. Nagler
ascribes it to Johannes Ladenspelder van Essen (“ Monogrammisten,”
IV, p. 57, No. 163).
g. Copy, undescribed.
There is no real tinting in these impressions of Diirer’s early masterpiece,— he
was thirty-three years of age in 1504,— nor do the impressions in the public collec-
tions examined show any. Of the first states in these collections the finest is
in Berlin, printed in very black ink, clean wiped, and an even finer impression
37