EARLY ENGRAVINGS. ITALY GERMANY THE NETHERLANDS

M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK

192-5

CATALOGUE OF AN EXHIBITION OF EARLY ENGRAVINGS. ITALY GERMANY THE NETHERLANDS

JANUARY 19x5

M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK

ITALY

ANDREA MANTEGNA 1431-1506 "The seven engravings, which are the only ones that can be claimed as his, suffice indeed to assure him his position among the leaders in the graphic arts. . . . All the skill and all the feeling of one of the great­ est and richest art periods, the golden Quattrocento, is summed up in the ripest and freest form in Mantegna's engravings. Therefore it was that even in the time of the greatest Raphael worship they maintained their place beside the 'divine artist,' and that they remain even today, when this worship has been transferred from Raphael to Rembrandt and Velasquez, as fresh and as soul-stirring as are the works of Bach com­ pared to those of Beethoven and the modern composers." PAUL KRISTELLER: Andrea Mantegna. 1 BACCHANALIAN GROUP WITH SILENUS Hind 2. Bartsch 10 1 BACCHANALIAN GROUP WITH A WINE-PRESS Hind 3 Bartsch 19 "An extraordinary power and exuberance of imagination have been revealed by Mantegna in these pictures. The super- naturally powerful creations of his fancy are, however, clothed by his skill in portrayal with forms which, with the extreme of loving care, are in every detail and every movement rendered according to nature. What a thorough knowledge of the human body is betrayed, for instance, in the figure of the drunken Bac­ chante reclining at the side of the big cask in the arms of a Faun! The relaxation of the body in a drunken sleep, the leaden weight of the limbs, which, though instinct with life, are no longer capable of independent movement, are rendered in a man­ ner as splendid and as true to nature as is the comical effort of the Putto clambering up on to the cask, the action of the stamp­ ing Faun, or his eagerness in drinking. . . . The care in the execution to every detail; the water as well as the wood of the cask are reproduced with absolute realism." PAUL KRISTELLER. 4 ITALY

3 BATTLE OF SEA-GODS: the right portion of a frieze. Hind 5 Bartsch 17 "These are not the mighty gods of Olympus, but the inferior deities of Nature, of the earth and of the sea, who acknowledge none of the higher obligations, and who display unchecked their wanton elemental nature, giving a loose rein to all the exuberance of their joy in life. . . . These creatures of the sea frolic about in the water, turbulent and wanton as the waves, each carrying on his back a voluptuous female figure. The com­ bat with those harmless-looking weapons is probably not meant to be in earnest; a vent for their surplus energy is all they seek." PAUL KRISTELLER. 4 THE RISEN CHRIST BETWEEN SS. ANDREW AND LONGINUS Hind 7 Bartsch 6 "The austere majesty, the 'awfulness' of the composition, beside which such Michelangelesque conceptions as the 'Moses' alone are worthy to be placed, the grandeur of the gigantic, Jove-like figure of Christ, is still further enhanced by the statu­ esque impressiveness of the group. One would be almost tempted to see in this conception the design for a group of statuary, per­ haps for the high altar of S. Andrea in Mantua, which was raised above the most sacred relic possessed by the city, the 'preziosissimo sangue di Cristo.' Longinus, who is supposed to have brought this relic to Mantua, and Andrea were the especial patron saints of the town, and particularly of the Church of S. Andrea." PAUL KRISTELLER.

SCHOOL OF ANDREA MANTEGNA

5 THE SCOURGING OF CHRIST (with the pavement). Hind 4 Bartsch 1 "The drawing by Mantegna on which this print is based must almost certainly have belonged to the period of the Ere- mitani frescoes." ARTHUR M. HIND. 6 HERCULES AND ANTAEUS. Hind 9 Bartsch 16 From a drawing, now lost, by Mantegna. ITALY 5

7 FOUR WOMEN DANCING. Hind II Bartsch 18 (Zoan Andrea) "This print reproduces in reverse, with variations, four of the dancing nymphs from the picture of Parnassus (or the 'Triumph of Venus') in the Louvre (which probably dates about 1497). The variation in the position of the figures makes it probable that the engraving goes back to a drawing by Mantegna and not to the picture itself." ARTHUR M. HIND.

GIOVANNI ANTONIO DA BRESCIA "We have no definite knowledge of this engraver's life apart from what can be gathered directly from his work. . . . The earliest work of Giovanni Antonio may precede by some years the first of his copies after Diirer, but it is hardly probable that any of it dates much before 1500." ARTHUR M. HIND.

8 HERCULES AND ANTAEUS: THE SMALLER PLATE Hind 3 Bartsch 13 After a drawing by Mantegna or his School. This engraving seems to have been much admired. It has been copied by four different, anonymous engravers.

ZOAN ANDREA and the MASTER OF THE SFORZA BOOK OF HOURS (Antonio da Monza?) "ZOAN ANDREA is known to have been working at Mantua in 1475, engraving and apparently pirating designs by Mantegna. His style divides itself into two periods, the earlier entirely in the manner of Mantegna, the latter (when he was probably settled at Milan) showing near kinship to the Master of the Sforza Book of Hours, with whom he engraved one series in common." ' 'THE MASTER OF THE SFORZA BOOK OF HOURS. Miniaturist and (prob­ ably) engraver, worked at Milan about 1470—after 1497, famous for the miniatures in the Book of Hours of Bona Sforza, in the Department of MSS. British Museum. ... Dr. Kristeller attributes sixteen plates, includ­ ing nine of the Twelve upright Arabesques, to him.'' ARTHUR M. HIND. 6 ITALY

9 PANEL OF ORNAMENT: A TRITON RIDDEN BY A CHILD Hind i Bartsch n Number One of a series of Twelve Upright Arabesques. En­ graved by the Master of the Sforza Book of Hours. 10 PANEL OF ORNAMENT: GRIFFINS, AND TWO CUPIDS CROSSING HALBERDS Hind 5 Bartsch 15 Engraved by Zoan Andrea. Collection: Dr. Julius Hofmann. 11 PANEL OF ORNAMENT: FOUR CHILDREN WITH A CAT AND DOG Hind 9 Bartsch 19 Engraved by the Master of the Sforza Book of Hours.

JACOPO DE' BARBARI About 1450-before 1516 Born at Venice between 1440 and 1450. Worked for the Emperor and various other princes in different towns in Germany; known at Nurem­ berg as Jacob Walch. Died before 1516. "A very attractive master, lacking vigour, but with a great charm of style. He affected somewhat languid postures in his figures, and as an engraver worked with a light touch, and a characteristic sinuosity of line. His studies on the proportions of the human figure had interested Diirer on his first visit to Venice, and his Apollo and Diana offered a direct suggestion to the German master. On the other hand, the influence of Diirer may be noted in the more systematic cross-hatching and subtle modelling in what appear to be his later prints, but the influence never caused him to modify his style as much as other Italian contemporaries such as Nicoletto da Modena and Benedetto Montagna. He is some­ what nearer in sentiment and style to Lucas van Leyden, whom he un­ doubtedly influenced." ARTHUR M. HIND. 11 TWO OLD MEN READING Hind 13 Bartsch 15 13 THREE NAKED MEN BOUND TO A TREE Hind 15 Bartsch 17 Watermark: Lily in a Shield. ITALY 7

GIROLAMO MOCETTO Before 1458-1531? Born at Murano before 1458. Married 1493, living in Venice in a house belonging to the Morosini family in 1514; worked at some time as assistant to Giovanni Bellini; made his will August 2.1, 1531. 14 THE CALUMNY OF APELLES Hind 9 Bartsch 10 "Based on a drawing by Mantegna in the British Museum. Mocetto has used as his background the Piazza of SS. Giovanni e Paolo at Venice, with Verrocchio's equestrian statue of Bar- tolommeo Colleoni (which was not uncovered until 1496, eight years after Verrocchio's death). The subject, taken from Lucian's description of a lost picture by Apelles, frequently recurs in the works of the Renaissance, the most famous example being Bot­ ticelli's picture in the Uffizi." ARTHUR M. HIND.

CRISTOFANO ROBETTA 146Z—Flourished till 152.x Born at Florence 1461, the son of a hosier, was working in his father's shop in 1480, and practicing as a goldsmith in 1498. Mentioned by Vasari as belonging to a dining club of twelve called the ' 'Company of the Kettle," and was working until 15x1. "The lack of severe artistic training which is suggested by the facts known of Robetta's history, is reflected in the style of his prints. He shows little certainty of touch or method, either in drawing or engrav­ ing. . . . But in spite of his lack of grip in drawing and affectations of style, he seldom fails to put into his work the peculiar quality of grace and charm which belongs to so many of the secondary Florentine artists imbued with the spirit of Botticelli and Filippino Lippi." ARTHUR M. HIND.

15 THE ADORATION OF THE MAGI Hind 6 Bartsch 6 Collections: G. Storck; Dr. C. D. Ginsburg. "Filippino was evidently Robetta's chief inspirer, though there are only a few cases where he can be shown to have worked directly from that painter's designs. The Adoration is adapted 8 ITALY

from the picture in the Uffizi (of 1496). . . . Like most Italian engravers of the period, who preserved a certain measure of originality even when working from designs supplied by other masters, Robetta may be said to adapt and interpret rather than reproduce. In the Adoration in particular the group of singing angles is a graceful invention of his own which does not occur in Filippino's picture." ARTHUR M. HIND. 16 ALLEGORY OF THE POWER OF LOVE Hind 16 Bartsch 2.5

ANONYMOUS FLORENTINE Circa 1500 17 S. JEROME IN HIS STUDY Hind p. zo8 No. 6 "The composition is distinctly reminiscent of the little pic­ ture of S. Augustine in the Uffizi (No. 1179) which is attributed to Botticelli. . . . We have placed the print here ... as the work of an anonymous Florentine of about 1500." ARTHUR M. HIND. Collections: Monogram A R; Lugt No. 165 (unidentified), and M B with the date 1530 unknown to Fagan or Lugt.

PEREGRINI (or PELLEGRINO) DA CESENA Flourished about 1500 Among the many anonymous nielli and niello-like prints which come from the studio of the goldsmith and painter Francesco Raibolini (Francia) of Bologna, those attributed to Peregrini da Cesena are among the most charming. These niello-like engravings may have been pro­ duced for the purpose of providing prints to be used as models for the workers in niello. 18 ORPHEUS Bartsch XIII p. 2.08 No. 6 Pass. I p. 180, No. Z55 Pass. Vp. 2.13, No. 38 Duchesne No. 2.55 Dutuit No. 686 ITALY 9

Collection: Alfred Morrison. "Piece d'une importance capitale pour la determination de la parente artistique de Peregrini." EUGENE DUTUIT. Five impressions only of this engraving were known to Dutuit.

ANONYMOUS: SIXTEENTH CENTURY 19 ARABESQUE ORNAMENT WITH KNIGHT ON HORSEBACK Undescribed.

BENEDETTO MONTAGNA Before 1458-after 1540 "Worked in Vicenza from about 1500 till after 1540. Son of Bartolom- meo Montagna, the leading painter of the School of Vicenza. . . . None of Benedetto's few paintings can be dated before 1512., and most belong to the years following his father's death (i.e. after 152.3). If he had been working any considerable time before that date, it had prob­ ably been in engraving, and as his father's assistant in painting. The course of his artistic development can be best traced in his engravings, which probably date from about 1500, if not earlier, to near the close of his career." ARTHUR M. HIND. IO WOMAN AND SATYR, WITH TWO CUPIDS Hind 15 Bartsch ii Collection: Dr. C. D. Ginsburg.

DOMENICO CAMPAGNOLA Flourished about 15'11-after 1563 "Pupil of Giulio Campagnola; working in Padua from 1511 until after 1563. . . . His style as an engraver shows little dependence on Giulio, and is thoroughly individual in its characteristic system of clus­ ters of shading in parallel sinuous curves. . . . The only dates on his engravings are 1517 and 1518." ARTHUR M. HIND. II THE BEHEADING OF S. CATHERINE Hind 7 Bartsch 6 Collections: W. Young Ottley (?); British Museum Duplicate. TO ITALY

JACOPO FRANCIA Before 1487-15 57 Son and pupil of Francesco Francia (Raibolini). Born at Bologna before 1487; died at Bologna 1557. "Jacopo Francia's manner of engraving resembles that of Marcan- tonio, but of Marcantonio in his Roman more closely than in his Bolognese period. . . . The greater part of Jacopo Francia's work may perhaps have been done after Marcantonio's removal to Rome in 1510." ARTHUR M. HIND, IZ VENUS AND CUPID Hind 6 Bartsch 6

MARCANTONIO RAIMONDI About 1480-about 1530 Marcantonio Raimondi, born in Bologna about 1480, for over three centuries enjoyed a reputation eclipsing that of any other Italian master. Of recent years, however, upon insufficient grounds, he has been some­ what pushed aside and belittled as a translator of other men's work; his critics wilfully forgetting that, with the exception of Pollaiuolo and Mantegna, the Italian School cannot boast of any engravers of world­ wide fame comparable to Diirer or Schongauer. But Marcantonio was far from being a me e translator of alien works. He is, as Hind so justly says "like some great composer who borrows another's theme only to make it his own by the criginality of his setting. . . . Compared with Albrecht Diirer, Marcantonio is unquestionably a genius of limited scope . . . but he has none the less exercised an unparalleled influence, and inspired the largest following of any engraver who ever lived."

2.3 THE VIRGIN AND CHILD BESIDE A PALM-TREE Bartsch 62. After a drawing by Raphael. Collection: John, Earl Spencer. 14 MARTYRDOM OF S. FELICITA Bartsch 117 After a drawing by Raphael. Collection: John, Earl Spencer. GERMANY

MARTIN SCHONGAUER Before 1440-1491 "The technical advance from the simple scheme of the Master of the Playing Cards, which was chiefly promoted by E. S. and his prolific work, was carried even further, and united with much higher artistic endowments, in MARTIN SCHONGAUER. He is the first of the German engravers who we definitely know to have been more a painter than a goldsmith, and this fact will largely account for the character of the advance which he achieved in the art. . . . Until the end of the cen­ tury Schongauer's influence remained paramount among German en­ gravers, and like that of E. S., was felt in no inconsiderable degree as far abroad as Italy." ARTHUR M. HIND.

"Schongauer's productions all breathe a nobility and a perception of beauty which place him among the very greatest masters of the graphic arts." DR. MAX GEISBERG. 2.5 THE NATIVITY Bartsch 4 16 THE BAPTISM OF CHRIST Bartsch 8

z7 THE AGONY IN THE GARDEN Bartsch 9 Collection: W. Bell Scott.

18 CHRIST TAKEN CAPTIVE Bartsch 10

z9 CHRIST CROWNED WITH THORNS Bartsch 13 30 PILATE WASHING HIS HANDS Bartsch 14 Collection: Duplicate from the Royal Collection (now Graphische Sammlung), Munich. IX GERMANY

31 CHRIST SHOWN TO THE PEOPLE Bartsch 15 Collection: G. A. Cardew.

3i THE ENTOMBMENT Bartsch 18 33 THE DEATH OF THE VIRGIN Bartsch 33 Collection: Edward Duff Balken. "He published, likewise, a S. George slaying the Dragon, a Christ Standing before Pilate, who is washing his hands, and a Passing of Our Lady, with all the Apostles, a work of some size, which was one of the best designs that this master ever engraved." GIORGIO VASARI.

"In this early period all the essential features of the Gothic pervade Schongauer's style. There are the long figures, the sharp folds, the slender fingers with exaggerated knuckles, the lined and knotted faces. It is the spirit which is seen to per­ fection in one of his best and largest prints of this period, the Death of Mary (B. 33)." ARTHUR M. HIND. 34 ST. JOHN Bartsch 37 35 ST. THOMAS Bartsch 44 Collections: F. J. von Enzenberg; Berlin Museum Duplicate; Dr. Julius Hofmann. 36 THE TEMPTATION OF ST. ANTHONY Bartsch 47 Collection: Berlin Museum Duplicate. Watermark: Profile head. "In another (engraving) he represented S. Anthony beaten by Devils, and carried through the air by a vast number of them in the most varied and bizarre forms that could possibly be imagined; which sheet so pleased Michelagnolo, when he was GERMANY J3

a mere lad, that he set himself to colour it" .... "Where­ fore these gifts produced every day fruits more divine in Michel- agnolo, as began to be made clearly manifest in the copy that he executed of a printed sheet by the German Martino, which gave him a very great name. For there had come to Florence at that time a scene by the above-named Martino, of the Devils beating S. Anthony, engraved on copper, and Michelagnolo copied it with the pen in such a manner that it could not be de­ tected, and then painted that same sheet in colours, going at times, in order to counterfeit certain strange forms of devils, to buy fishes that had scales bizarre in colouring; and in that work he showed so much ability, that he acquired thereby credit and fame. GIORGIO VASARI.

37 ST. JAMES THE GREATER OVERCOMING THE SARACENS Bartsch 53

38 ST. JOHN THE EVANGELIST IN THE ISLAND OF PATMOS Bartsch 55 39 ST. MICHAEL Bartsch 58 Collection: P. Davidsohn. This impression has been trimmed 8 mm. at the left. 40 ST. SEBASTIAN Bartsch 59 Watermark: Small Bull's-head. This impression has been trimmed 4 mm. at the left and 9 mm. at the right. 41 THE VIRGIN ENTHRONED Bartsch 71 "In the Christ appearing to Mary Magdalene (B. 2.6), and Christ and Mary on a Throne (B. 71) the full blossom of his art is seen. The concentration of interest on the central theme is note­ worthy. ... In the latter there is no ornament to divert the attention in the simple architecture whose graceful lines merely serve to balance a beautiful composition." ARTHUR M. HIND. M GERMANY

4x THE SECOND WISE VIRGIN Bartsch 78

43 THE FOURTH WISE VIRGIN Bartsch 80 44 THE THIRD FOOLISH VIRGIN Bartsch 84 45 PEASANTS GOING TO MARKET Bartsch 88 Collection: Friedrich August II, King of Saxony. 46 COAT OF ARMS WITH A WOMAN HOLDING A SHIELD WITH A UNICORN Bartsch 97 Collection: British Museum Duplicate. 47 COAT OF ARMS WITH A WILD-WOMAN AND CHILD, HOLD­ ING A SHIELD WITH A LION'S HEAD Bartsch 100 Collection: British Museum Duplicate. 48 COAT OF ARMS WITH A WILD-MAN HOLDING TWO SHIELDS Bartsch 105 URS GRAF About 1485-1519 "Before approaching the more immediate School of Diirer, we may just refer to two engravers who owed much to him in their develop­ ment, but probably found the earliest inspiration, like Diirer, in Schon- gauer. Our chief interest in the Swiss artist URS GRAF centres in his two etchings, one of which is the earliest dated etching known (1515)- Beside these he has left little more than half-a-dozen engraved plates, among which are two copies from Schongauer and one after Diirer." ARTHUR M. HIND. 49 A FOOLISH VIRGIN Bartsch VI: 390: 1 Pass II: 140: 4 Copy of Martin Schongauer's engraving, Bartsch No. 87. GERMANY 15 ISRAHEL VAN MECKENEM Before 1450-1503 "His birth must be placed in all probability a little before 1450, a few years later than that of Schongauer. Of his youth nothing is known. The only definite indication of value which has been preserved to us as to Israhel's life is the date of his death, November 10, 1503. We learn this from a drawing of his tombstone, preserved in the British Museum." DR. MAX GEISBERG.

"In Israhel van Meckenem we meet with an engraver who is known to have worked toward the end of the century at Bocholt, where he died in 1503. As we have noted in relation to W $, there is evidence that Israhel's stylistic connection with the Netherlands may be referred in a particular degree to a possible apprenticeship with this master." ARTHUR M. HIND. 50 CHRIST BEFORE CAIAPHAS Bartsch 12. Collection: Paul J. Sachs. 51 CHRIST BEARING HIS CROSS Bartsch 17 Collections: A. Firmin-Didot, Louis Galichon, Brayton Ives, Paul J. Sachs. 52. JOACHIM IN THE TEMPLE Bartsch 30 Watermark: Hand and flower. 53 MASSACRE OF THE INNOCENTS Bartsch 38 Collection: W. Bell Scott. 54 DEATH OF THE VIRGIN Bartsch 40 Watermark: Tall Jug. 55 DEATH OF THE VIRGIN Bartsch 50 Copy, in reverse, of Schongauer's engraving Bartsch No. 33. Collection: H. Howard. i6 GERMANY

56 SAINT LUKE PAINTING A PORTRAIT OF THE VIRGIN Bartsch 107 57 ST. OTTILIA Bartsch 131

58 AN OLD WOMAN AND A YOUNG MAN Bartsch 169 Copy, in reverse, of the engraving by the Master of the Amsterdam Cabinet. Lehrs No. 56. 59 GENTLEMAN AND LADY IN TRAVELING DRESS Bartsch 171

60 THE DANCER Bartsch 172. Collection: A. Morrison. Watermark: Lily-shield with a Cross.

61 WOMAN MALTREATING HER HUSBAND The lower margin, with van Meckenem's monogram, has been trimmed off. Bartsch 173 Collection: W. Koller. 62. LADY PLAYING A HARP, ACCOMPANIED BY A MAN PLAY­ ING A LUTE Bartsch 178 63 KNIGHT AND A LADY Bartsch 181 64 CHILDREN PLAYING Bartsch 188 Watermark: Lily-shield with a cross.

MASTER M Z (?MATTHAUS ZASINGER) Flourished about 1500 "Another engraver, also probably belonging to Bavaria, is the master of the monogram M Z, who has been generally called MATTHAUS GERMANY J7

ZASINGER, though upon little foundation. . . . Working, like Mair, at a time of transition, he stands in sharp contrast to the latter as already- betraying the influence of Durer, and anticipating, more particularly in his landscape, the freer style of the etchers of the Regensberg School." ARTHUR M. HIND. 65 SOLOMON WORSHIPPING IDOLS Bartsch 1 Collections: Baron von Lanna; P. Davidsohn. Watermark: Gothic P.

66 MARTYRDOM OF ST. SEBASTIAN (or THE DEAD KING AND HIS THREE SONS) Bartsch 4

67 LOVERS SEATED IN A LANDSCAPE Bartsch 16

ALBRECHT ALTDORFER 1480-1538 "Architect as he was, he may at first have given rather the amateur's attention to painting and engraving. If his technical power is in con­ sequence of secondary merit, the intimate personal touch which he gives to the expression of each small composition secures him almost the highest place as an artist among the Little Masters. His characteristic flat drawing of a child's face is forgotten in the atmosphere of human feeling which distinguishes plates like his large Virgin and Child (B. 17)." ARTHUR M. HIND. 68 VIRGIN AND CHILD IN A LANDSCAPE Bartsch 17 Collections: Waldburg-Wolfegg; Lawson Thompson.

WOOD CUTS 69 THE FALL AND REDEMPTION OF MAN Bartsch 1-40 The complete set of 40 subjects. Collection: British Museum Duplicates. i8 GERMANY

HEINRICH ALDEGREVER i5oi-after 1555 "Outside the Nuremberg circle the most interesting member of the group of Little Masters is HEINRICH ALDEGREVER, a goldsmith and en­ graver of Soest in Westphalia, whose activity corresponds in time nearly to that of Pencz (1 SOL-ISsO-" A W M J J }}} ARTHUR M. HIND. 70 HANNIBAL AND SCIPIO Bartsch 71 Collection: Dr. Julius Hofmann. BARTHEL BEHAM 150Z-1540 ' 'The most eminent of the Little Masters as virtuosi of delicate en­ graving are unquestionably the brothers BARTHEL and HANS SEBALD BEHAM, and GEORG PENCZ. They were all Nuremberg masters and came closely under Diirer's influence, though there is no definite proof that any of them were Diirer's pupils. . . . "Barthel Beham, though the younger of the brothers by two years (he was born in 1501), seems to have been the more precocious (his dated work begins in 1510), and in the comparatively small number of his prints he certainly exhibits a depth of expression quite unknown to his elder brother. . . . Such prints as Mother and Child with a Death's Head (B. 5) and the Virgin and Child at the Window (B. 8) are as full of true sentiment as they are masterly in engraving." ARTHUR M. HIND.

71 MOTHER AND CHILD WITH A DEATH'S HEAD Bartsch 5 Collections: Pierre Mariette; Baron von Lanna; Paul J. Sachs.

71 VIRGIN AND CHILD AT THE WINDOW Bartsch 8 Collections: K. E. von Liphart; Dr. Julius Hofmann.

73 EMPEROR CHARLES V Bartsch 60 Collections: Julian Marshall; Conte G. Archinto. 74 EMPEROR FERDINAND I Bartsch 61 Collections: Baron von Lanna; Brentano-Birckenstock. GERMANY 19

75 ERASMUS BALDERMAN Bartsch 63 Collections: Baron von Lanna; Paul J. Sachs.

HANS SEBALD BEHAM 1500-1550 "If Barthel was the more talented artist, HANS SEBALD BEHAM . . . attained to a greater virtuosity in engraving, and left a far more prolific work. . . . Toward the end of the twenties his technique reached its highest point, and in most of the prints between 1510 and 1540 the lineal system is significant and strong, that of a Marcantonio on a tiny scale. In the last ten years of his life his virtuosity even increased, his tech­ nique becoming more delicate as it lost some of its vitality." ARTHUR M. HIND. 76 VIRGIN AND CHILD WITH A PARROT Bartsch 19 Collection: Lawson Thompson. 77 TRIUMPH OF WOMEN Bartsch 143 Collections: B. Keller; Brayton Ives. 78 DEATH AND A NUDE WOMAN Bartsch 150

AUGUSTIN HIRSCHVOGEL 1503-1553? The etchings of AUGUSTIN HIRSCHVOGEL are even simpler in treatment than those by Altdorfer. They bear dates from 1545 to 1549. The more one studies his landscape plates, breathing the spirit of the true nature- lover, the more fascinating do they become. He has eliminated all non­ essentials, concentrating his attention upon what were, to him, the most significant features, and in this respect he may have influenced the work of more than one nineteenth century master.

79 LANDSCAPE WITH A BRIDGE AND CHURCH Bartsch 76 Collection: Brentano-Birckenstock. THE NETHERLANDS MASTER w J Flourished about 1470 ' 'Among the engravers of the Fifteenth century, whose Netherlandish origin has been established already by Passavant, the Master w" $ un­ questionably assumes the foremost rank; whereas, in point of time, he follows the Master of the Gardens of Love. . . . Very likely he must be numbered among the throng of artists active at the Court of Charles the Bold. Possibly his name may be preserved amidst the long list of goldsmiths and gravers which Count de Laborde has rescued for pos­ terity out of the ancient Burgundian archives. In point of time the possible names might be: Willem de Wenten of Bruges (mentioned in 1446) or Jan de Wilde of Ghent (1479), or Arnde van Willebeke of the same town (1481). . . . None of his work bears a date, and only his engraving of the arms of Charles the Bold (which, for heraldic reasons, must have been done between 1467-1471) gives any information. . . . He holds the same position in the Netherlands as does Master E. S. in Southern Germany. He seems to have been active at nearly the same time, and even to have been technically under the influence of that master." MAX LEHRS—Der Meister W $.. Ein Kupferstecher der Zeit Karls des Kiihnen. 80 THREE-MASTED SHIP, WITH SAILS SET, STEERING TO THE RIGHT Lehrs 36 Bartsch Vol. X, p. 61, No. 44 Collection: British Museum Duplicate. Lehrs records two other impressions only: British Museum, and in the Albertina, Vienna.

MASTER I A M OF ZWOLLE Flourished about 1485 "An early Dutch engraver of pronounced individuality is the master who uses the monogram IA M, sometimes adding the sign of a weaver's shuttle, and the word Zwoll (which was no doubt the place of his activity). In style he is a close follower of the contemporary school of painting in Holland, of whom Albert Outwater and Geertgen tot St. THE NETHERLANDS 2.1

Jans are the best known representatives. Such prints as the Christ in the Garden (B. 3) and the Taking of Christ (B. 4) are characteristic of the realism of his manner and the exaggerated expression he gives to his coarse and heavy-featured types." ARTHUR M. HIND. 81 TAKING OF CHRIST Bartsch 4 Collections: Baron von Lanna; R. Ritter von Gutmann. Watermark: Gothic P. ALLART DU HAMEEL Flourished about 1500 "Working quite near the end of the fifteenth, if not at the beginning of the sixteenth century, is the architect and engraver ALLART DU HAMEEL, who interests us chiefly as preserving the designs of that master of fan­ tastic satire, Jerome Bosch. The word "Bosche" which occurs on several of his plates may refer to the painter, or perhaps merely to the town which was common to both painter and engraver. Allart du Hameel uses the simplest technical means. His shading, which is fine and deli­ cate, is little in evidence, and he relies almost wholly on an outline which, in his Battle-piece (B. 4) and the Last Judgment (B. 2.) must very closely reproduce the delicate and incisive line of his model." ARTHUR M. HIND. 8z THE LAST JUDGMENT Bartsch Vol. VI, p. 356, No. z Willshire (British Museum catalogue) Vol. II, p. 317, No. 1 Thieme-Becker XV, p. 545 Lehrs (Oud-Holland XII1894) z Watermark: Jug with Crown. LUCAS VAN LEYDEN I494~I533 "The artistic pedigree of Lucas van Leyden as an engraver is shrouded in far greater mystery than that of Durer or Marcantonio. The son of a painter, Huygen Jacobsz, of whom almost nothing is known, a pupil of the painter Cornells Engelbrechtsz, Lucas Huygensz van Leyden meets us in his fourteenth year (if we may trust the tradition that puts his birth in 1494), all but fully equipped as a master-engraver. We know of no engraver in Leyden before him, and of the few engravers of the fif­ teenth century whose activities are placed with probability in the 11 THE NETHERLANDS

Netherlands our knowledge is of the vaguest. But engraving is a cos­ mopolitan art, and prints of the better known German masters, such as E. S.; Schongauer, and van Meckenem, must have been familiar enough to the young Lucas van Leyden to give a sound basis for his technique, though their style is little reflected in his work. "In the study of humanity in its most varying moods and in its simplest dress, Lucas strikes the key-note of his country's art." ARTHUR M. HIND. 83 ABRAHAM DISMISSING HAGAR Bartsch 18 84 DAVID AT PRAYER Bartsch 2.8 85 SOLOMON WORSHIPPING IDOLS Bartsch 30 86 FOUR SOLDIERS IN A WOOD Bartsch 141 WOOD CUT 87 SOLOMON WORSHIPPING IDOLS Bartsch 8 DIRICKJACOBSZCON VELLERT: "DIRICK VAN STAR" Flourished 1511-1544 "In this combination of etching with engraving, Lucas van Leyden had a follower in an Antwerp artist whose identity has only recently been established, DIRICK JACOBSZOON VELLERT ('Dirick van Star' as he has been called from his signature, D. V. with a Star). This point of contact, their close connection in style, and the fact that Vellert's earli­ est etchings are dated 1512., when Lucas was at Antwerp, seem to show that Vellert was inspired, if not instructed in this sphere of art, by Lucas van Leyden himself. . . . Except for the Flood, his prints are chiefly of small dimensions, and he is strictly one of the Flemish Little Masters. While of modest power and reflecting now Lucas van Leyden, now Matsys, now Bernaert van Orley, plates like Christ and the Woman of Samaria (1513) . . . have a distinctly individual charm of manner." ARTHUR M. HIND. 88 CHRIST AND THE WOMAN OF SAMARIA Bartsch 6 Collections: F. Schindler; Paul J. Sachs.