DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0183
ENGRAVINGS
ATTRIBUTED TO DURER, EITHER DOUBTFUL OR
SPURIOUS.
103 THE GREAT COURIER.—B 81; H 1098; R Appendix 5;
M, WHO ACCEPTS IT, 2.
a. Photogravure from the impression in Dresden.
b. Modern copy by A. Petrak.
There are only three impressions known, one in Paris, among the Diirers; a
second in the cabinet at Dresden, among the anonymous Germans of the
fifteenth century, and a third in the Hofbibliothek (Court Library) at Vienna.
Generally supposed, by those who accept it, to be one of Diirer’s earliest plates.
Bartsch says of the cutting that it is “ absolument le meme que celle du
violent,” —li absolutely the same as that of the Ravisher,” — and Harck follows
him in this. The writer last named is, indeed, led, by this assumed identity of
workmanship, to reject “The Ravisher” (see No. i of this catalogue). But
the photogravure here exhibited, from the impression in Dresden, shows that
such identity does not exist, and it shows also that Petrak’s copy is far from
being reliable.
Called “ The Great Courier,” to distinguish it from “ The Little Courier,”
No. io of this catalogue.
104 THE VIRGIN AT THE GATE — B 45 ; H 2283 ; R Appen-
dix 2; M 108.— Monogram and date, 1520, on a tablet.
Very good impression. From the Artaria Collection.
The attempt to imitate in this print, not only Diirer’s style, but also his tech-
nical methods, is evident. But, however “ set ” Diirer’s handling may be, it is
never as cold and mechanically perfect as here, nor is the effect ever as monoto-
nous, even in those plates in which there is a total absence of striving for
20
89
ATTRIBUTED TO DURER, EITHER DOUBTFUL OR
SPURIOUS.
103 THE GREAT COURIER.—B 81; H 1098; R Appendix 5;
M, WHO ACCEPTS IT, 2.
a. Photogravure from the impression in Dresden.
b. Modern copy by A. Petrak.
There are only three impressions known, one in Paris, among the Diirers; a
second in the cabinet at Dresden, among the anonymous Germans of the
fifteenth century, and a third in the Hofbibliothek (Court Library) at Vienna.
Generally supposed, by those who accept it, to be one of Diirer’s earliest plates.
Bartsch says of the cutting that it is “ absolument le meme que celle du
violent,” —li absolutely the same as that of the Ravisher,” — and Harck follows
him in this. The writer last named is, indeed, led, by this assumed identity of
workmanship, to reject “The Ravisher” (see No. i of this catalogue). But
the photogravure here exhibited, from the impression in Dresden, shows that
such identity does not exist, and it shows also that Petrak’s copy is far from
being reliable.
Called “ The Great Courier,” to distinguish it from “ The Little Courier,”
No. io of this catalogue.
104 THE VIRGIN AT THE GATE — B 45 ; H 2283 ; R Appen-
dix 2; M 108.— Monogram and date, 1520, on a tablet.
Very good impression. From the Artaria Collection.
The attempt to imitate in this print, not only Diirer’s style, but also his tech-
nical methods, is evident. But, however “ set ” Diirer’s handling may be, it is
never as cold and mechanically perfect as here, nor is the effect ever as monoto-
nous, even in those plates in which there is a total absence of striving for
20
89