DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0148
CATALOGUE OF DURER’S ENGRAVINGS,
most beautiful engravings of the Madonna by Durer, and points out a similarity
in motive to Raphael’s “ Virgin of the Casa Tempi.” It may be well to note
here that in Heller’s description of the copy, No. 600 of his list, the marks given
are reversed, so that, according to him, the original would appear to be the copy.
68 THE SUDARIUM DISPLAYED BY TWO ANGELS —
B 25 ; H 467; R 202; M 70.— Monogram and date, 1513,
ON A TAG.
a. Very fine, silvery impression. Black ink, practically clean wiped,
on white paper. From the Mariette and the Von Liphart Collections.
b. Also very fine, but quite different — warmish black ink, on paper
of a luminous tone, with delicate tinting in the close work. The result is
more contrast than in a, despite the softer ink.
The impressions in the European cabinets, and that in the Gray Collection,
Boston, are, generally speaking, like a.
Mr. Middleton contends that this plate “ was both bitten-in and completed
with the acid.” (See the remarks in the Introduction, pp. xxxv, xxxvi.)
This appears to be the print to which Durer, in his Netherlands Diary,
alludes as “ The Veronica.” Bartsch calls it “ The Face of Christ.” Thausing
advances the conjecture (II, p. 61) that it was intended as a finale to ‘‘The
Passion on Copper,” although it differs from the plates composing this series
in shape as well as in size.
69 THE KNIGHT, DEATH, AND THE DEVIL— B 98; H
1013; R 203; M 69.— Monogram and date, 1513, pre-
ceded BY AN S, ON A TABLET.
a. Nexy fine impression. Black ink, clean wiped, white paper.
b. Very fine, rich impression. Warmish black ink, clean wiped, but
some of the most closely worked parts filled, on tinted paper.
c. Very good impression, on delicately tinted paper, printed in a
warmish ink, very7 closely wiped, but yet with slight tinting, and for all
these reasons producing a soft effect.
58
most beautiful engravings of the Madonna by Durer, and points out a similarity
in motive to Raphael’s “ Virgin of the Casa Tempi.” It may be well to note
here that in Heller’s description of the copy, No. 600 of his list, the marks given
are reversed, so that, according to him, the original would appear to be the copy.
68 THE SUDARIUM DISPLAYED BY TWO ANGELS —
B 25 ; H 467; R 202; M 70.— Monogram and date, 1513,
ON A TAG.
a. Very fine, silvery impression. Black ink, practically clean wiped,
on white paper. From the Mariette and the Von Liphart Collections.
b. Also very fine, but quite different — warmish black ink, on paper
of a luminous tone, with delicate tinting in the close work. The result is
more contrast than in a, despite the softer ink.
The impressions in the European cabinets, and that in the Gray Collection,
Boston, are, generally speaking, like a.
Mr. Middleton contends that this plate “ was both bitten-in and completed
with the acid.” (See the remarks in the Introduction, pp. xxxv, xxxvi.)
This appears to be the print to which Durer, in his Netherlands Diary,
alludes as “ The Veronica.” Bartsch calls it “ The Face of Christ.” Thausing
advances the conjecture (II, p. 61) that it was intended as a finale to ‘‘The
Passion on Copper,” although it differs from the plates composing this series
in shape as well as in size.
69 THE KNIGHT, DEATH, AND THE DEVIL— B 98; H
1013; R 203; M 69.— Monogram and date, 1513, pre-
ceded BY AN S, ON A TABLET.
a. Nexy fine impression. Black ink, clean wiped, white paper.
b. Very fine, rich impression. Warmish black ink, clean wiped, but
some of the most closely worked parts filled, on tinted paper.
c. Very good impression, on delicately tinted paper, printed in a
warmish ink, very7 closely wiped, but yet with slight tinting, and for all
these reasons producing a soft effect.
58