DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0186
ENGRAVINGS ATTRIBUTED TO DURER.
the monogram. No mention is made of the monogram in connection with the
impression in Paris, in the notes on which these remarks are based.
Accepted by Retberg and Passavant; rejected by Heller and Thausing (II,
p. 266); unknown to Bartsch. Ephrussi (p. 318 etc.) argues in favor of
the genuineness of the engraving, because there are in existence quite a number
of sketches and studies by Diirer upon which it is based. Jaro Springer (“ Jahr-
buch,” VIII, p. 59), on the contrary, finds in this same fact conclusive evidence
against it, because Diirer habitually made detail studies for those of his engrav-
ings only, the subjects of which interested him theoretically — the horse, for in-
stance, in “The Knight, Death, and the Devil,” the human body in “Adam and
Eve.” Wessely (“Repert.” VI, p. 57) quotes an entry in Paul Behaim’s MS. cata-
logue of 1618, in which the print is already spoken of not as by, but after Diirer.
HO THE CONVERSION OF ST, PAUL.—P no.
Not obtainable.
Passavant (III, p. 157) attempts to prove that this is one of Diirer’s earliest en-
gravings, but it is generally rejected by other writers. There is an impression in
Dresden,—not, however, with the works of Diirer. A copy by Frenzel is declared
by Passavant to differ sufficiently from the original to be easily recognizable.
JH DAMIAO DE GOES.
Not obtainable.
Joaquim de Vasconcellos, who was the first to call attention to this engraving
as probably by Diirer, describes it at length on pp. 147-50 of his book
“Albrecht Diirer e a sua influencia na peninsula,” Porto, 1877, and he has
also published a photograph of it in “ Damiao de Goes. O retrato de Albrecht
Diirer, com duas photographias,” Porto, 1879. Only a small edition of the
book last named was printed, and it is already so rare that even the author
could not find a copy of it. According to Mr. de Vasconcellos the print itself
is likewise very rare. There is an impression in the National Library at
Lisbon, but when the writer of these notes was there in the year 1895, and
looked at some of the treasures of the library, he did not know of this print,
and therefore did not ask to see it. Ephrussi, however (pp. 328-31), un-
equivocally declares it to be unworthy of Diirer, and adds in a foot-note
(p. 330): “ La gravure figure dans le recueil iconographique de Philippe Gall:
Effigies CL virorum versibus Arice Montani ornatce."
92
the monogram. No mention is made of the monogram in connection with the
impression in Paris, in the notes on which these remarks are based.
Accepted by Retberg and Passavant; rejected by Heller and Thausing (II,
p. 266); unknown to Bartsch. Ephrussi (p. 318 etc.) argues in favor of
the genuineness of the engraving, because there are in existence quite a number
of sketches and studies by Diirer upon which it is based. Jaro Springer (“ Jahr-
buch,” VIII, p. 59), on the contrary, finds in this same fact conclusive evidence
against it, because Diirer habitually made detail studies for those of his engrav-
ings only, the subjects of which interested him theoretically — the horse, for in-
stance, in “The Knight, Death, and the Devil,” the human body in “Adam and
Eve.” Wessely (“Repert.” VI, p. 57) quotes an entry in Paul Behaim’s MS. cata-
logue of 1618, in which the print is already spoken of not as by, but after Diirer.
HO THE CONVERSION OF ST, PAUL.—P no.
Not obtainable.
Passavant (III, p. 157) attempts to prove that this is one of Diirer’s earliest en-
gravings, but it is generally rejected by other writers. There is an impression in
Dresden,—not, however, with the works of Diirer. A copy by Frenzel is declared
by Passavant to differ sufficiently from the original to be easily recognizable.
JH DAMIAO DE GOES.
Not obtainable.
Joaquim de Vasconcellos, who was the first to call attention to this engraving
as probably by Diirer, describes it at length on pp. 147-50 of his book
“Albrecht Diirer e a sua influencia na peninsula,” Porto, 1877, and he has
also published a photograph of it in “ Damiao de Goes. O retrato de Albrecht
Diirer, com duas photographias,” Porto, 1879. Only a small edition of the
book last named was printed, and it is already so rare that even the author
could not find a copy of it. According to Mr. de Vasconcellos the print itself
is likewise very rare. There is an impression in the National Library at
Lisbon, but when the writer of these notes was there in the year 1895, and
looked at some of the treasures of the library, he did not know of this print,
and therefore did not ask to see it. Ephrussi, however (pp. 328-31), un-
equivocally declares it to be unworthy of Diirer, and adds in a foot-note
(p. 330): “ La gravure figure dans le recueil iconographique de Philippe Gall:
Effigies CL virorum versibus Arice Montani ornatce."
92