DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0171
DRY-POINTS, AND ETCHINGS.
signifying his power to drive away evil spirits, is here. The city in the distance
is generally supposed to be Nuremberg, but Hausmann says that it is strikingly
like Marburg. Thausing rates the plate very highly. “For depth of concep-
tion,” he says (II, pp. 134, 135), “ and tenderness of execution and feeling, this
small plate is equal to the best engravings of former years. Diirer never did
anything again equal to it.” Heller states that of the copy described by him
under No. 699 there are impressions in red, but the impression in that color
here shown is evidently from the original plate, badly worn. In his Diary,
Diirer classes this print among the “ half sheets,” of which he sold twenty for one
florin.
92 PEASANT AT MARKET — B 89; H 931; R 235; M 90.
—Monogram on a stone; dated 1519.
Very good, clear impression. Black ink, clean wiped, on white paper.
The impressions in Paris and London, and the two in Berlin, as well as the
better of the two in the Gray Collection, Boston, all very fine, are similar in
printing to the one here shown. In Dresden this print is wanting. The
curious spots on the eggs and the little spot on the peasant’s coat, immediately
above his right knee, seem to be on all impressions.
The simplicity of treatment in this plate carries us back even beyond the
peasant subjects of 1514, No. 72, “The Bagpiper,” and No. 73, “The Dancing
Peasants,” to such early work as No. 23, “ The Peasant and his Wife.”
Allihn, p. 90, mentions this engraving in connection with the other represen-
tations of peasants of supposed satirical tendency. In the faces of the couple
he detects “ exemplary stupidity.” All the prints of this size, including the
small Madonnas, Diirer classes as “ quarter sheets,” of which he gave forty-five
for one florin.
93 ALBERT OF BRANDENBURG (THE SMALLER) — B
102; H 1024; R 234; M 91.— Monogram; dated
MDXIX.
Very beautiful, delicate impression, printed in soft, warmish black ink,
with very slight tinting in the close work. Without text on the back.
The impressions in all the cabinets examined are of the same character, as re-
gards printing,— rather warmish ink, very slight tinting in the close work, the
79
signifying his power to drive away evil spirits, is here. The city in the distance
is generally supposed to be Nuremberg, but Hausmann says that it is strikingly
like Marburg. Thausing rates the plate very highly. “For depth of concep-
tion,” he says (II, pp. 134, 135), “ and tenderness of execution and feeling, this
small plate is equal to the best engravings of former years. Diirer never did
anything again equal to it.” Heller states that of the copy described by him
under No. 699 there are impressions in red, but the impression in that color
here shown is evidently from the original plate, badly worn. In his Diary,
Diirer classes this print among the “ half sheets,” of which he sold twenty for one
florin.
92 PEASANT AT MARKET — B 89; H 931; R 235; M 90.
—Monogram on a stone; dated 1519.
Very good, clear impression. Black ink, clean wiped, on white paper.
The impressions in Paris and London, and the two in Berlin, as well as the
better of the two in the Gray Collection, Boston, all very fine, are similar in
printing to the one here shown. In Dresden this print is wanting. The
curious spots on the eggs and the little spot on the peasant’s coat, immediately
above his right knee, seem to be on all impressions.
The simplicity of treatment in this plate carries us back even beyond the
peasant subjects of 1514, No. 72, “The Bagpiper,” and No. 73, “The Dancing
Peasants,” to such early work as No. 23, “ The Peasant and his Wife.”
Allihn, p. 90, mentions this engraving in connection with the other represen-
tations of peasants of supposed satirical tendency. In the faces of the couple
he detects “ exemplary stupidity.” All the prints of this size, including the
small Madonnas, Diirer classes as “ quarter sheets,” of which he gave forty-five
for one florin.
93 ALBERT OF BRANDENBURG (THE SMALLER) — B
102; H 1024; R 234; M 91.— Monogram; dated
MDXIX.
Very beautiful, delicate impression, printed in soft, warmish black ink,
with very slight tinting in the close work. Without text on the back.
The impressions in all the cabinets examined are of the same character, as re-
gards printing,— rather warmish ink, very slight tinting in the close work, the
79