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Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries

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Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI .... BENEDETTO MONTAGNA 3° GIULIO CAMPAGNOLA 3° DOMENICO CAMPAGNOLA 31 MASTER OF THE YEAR 1515 31 MARCANTONIO RAIMONDI 32 MARCO DENTE DA RAVENNA . : 33 FRANCE JEAN DUVET 34 JEAN GOURMONT 35 geRMANT DOTTED PRINT 1425-1450 (Metal Cut: White Line Engraving: Maniere criblee: Schrotblatter) "The so-called Dotted Prints form a group apart among the productions of the engraver's art in the fifteenth century. First produced, as is now generally thought, about the middle of that century, they went out of fashion towards its close, and none quite like them have been produced at any later period.... These prints should be described as White Line Engravings for relief-printing and occupy an intermediate position between Line Engravings and Wood­ cuts, the two normal, and, as I might say, legitimate methods of multiplying a black and white design, as understood in the fifteenth century. The engraver took a metal plate (not copper, but some softer metal, probably an alloy resembling pewter which could easily receive an impression from a punch or stamp) and proceeded to work upon it with a variety of tools — burin, knife, punches of several sizes, and stamps designed to impress a variety of small ornamental patterns — always bearing in mind the method of print­ ing that was to be adopted, viz: relief-printing, in which the surface prints black, and the ground or portion sunk below the surface does not print at all, but leaves the paper white." CAMPBELL DODGSON I. THE ADORATION OF THE MAGI Schreiber III. 10. 2203. Dutuit I. 25. 2. (Unique?) Watermark: Bunch of Grapes. Collection: Eugene Dutuit (?). "Piece tres rare qui nous parait appartenir a la premiere moitie du quenzieme siecle. Nous ne croyous pas qu'elle ait ete decrite." DUTUIT 5 MASTER E. S. Flourished 1450-1467 "The Master E. S. of 1466 first showed the way by which engraving might attain its full artistic expression. His efforts in this art may be compared with the work of the brothers Van Eyck in the development of painting." FRIEDRICH LIPPMANN 2. THE VISITATION: MARY AND ELIZABETH Lehrs 14. Unique; the only impression known. Collections: Meyer-Hildburghausen; Graf Yorck von Wartenburg. "And Mary arose in those days, and went into the hill country with haste, into a city of Juda, and entered into the house of Zacharias, and saluted Elizabeth. And it came to pass that when Elizabeth heard the salutation of Mary, the babe leaped in her womb; and Elizabeth was filled with the Holy Ghost." 3. THE ADORATION OF THE KINGS Lehrs 26. Collections: J. Paelinck; Graf Yorck von Wartenburg. "Among the four variations of The Adoration of the Kings by the Master E. S. this charming composition is unquestionably the finest. Eight impressions only are known." MAX LEHRS 4. MARTYRDOM OF ST. SEBASTIAN Lehrs 157. Bartsch 75. Collections: Hermann Weber (1855); Graf Yorck von Wartenburg. Seven impressions only are known, including this one. 5. LETTER b Lehrs 284. Bartsch 98. Collections: Clement, 1862; Graf Yorck von Wartenburg. Six impressions only are known, including this one. 6 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 century Schongauer's influence remained paramount among German engravers, 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." MAX GEISBERG 6. THE FLIGHT INTO EGYPT Lehrs 7. Bartsch 7. Watermark: Profile Head. "The angel of the Lord appeareth to Joseph in a dream, saying, Arise, and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word. When he arose, he took the young child and his mother by night, and departed into Egypt; and was there until the death of Herod." 7. THE DEATH OF THE VIRGIN Lehrs 16. Bartsch 33. Watermark: Small Bull's Head. "Martin published likewise a Passing of Our Lady, with all the Aposdes, a work of some size, which was one of the best designs that this master ever engraved." GIORGIO VASARI 8. CHRIST CROWNING HIS MOTHER Lehrs 17. Bartsch 72. Collection: Graf Yorck von Wartenburg. 7 Q. CHRISTAND THE VIRGIN ENTHRONED Lehrs 18. Bartsch 71. "In the Christ appearing to Mary Magdalene (B. 26), 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 noteworthy. ... In the latter there is no orna­ ment to divert the attention in the simple architecture whose graceful lines merely serve to balance a beautiful composition." ARTHUR M. HIND 10. ST. JOHN ON THE ISLAND OF PATMOS Lehrs 60. Bartsch 55. Watermark: Gothic^. Collection: Brentano-Birckenstock. "I John, who also am your brother, and companion in tribulation and in the kingdom and patience of Jesus Christ, was in the isle that is called Patmos, for the word of God, and for the testimony of Jesus Christ. I was in the Spirit on the Lord's day, and heard behind me a great voice, as of a trumpet. And he said unto me, Write: for these words are true and faithful." 11. PEASANTS GOING TO MARKET Lehrs 90. Bartsch 88. Watermark: Profile Head. Collection: H. ten Cate. "In their masterly drawing, in the clearness and sharpness of their line, above all in their sympathy and sincerity, Schongauer's engravings are full of charm." F. LIPPMANN 12. COAT OF ARMS WITH WOMAN SUCKLING A CHILD Lehrs 99. Bartsch 100. "Martin then published four round engravings of the four Evangelists and some coats of arms of German noblemen, supported by men, both naked and clothed, and also by women." GIORGIO VASARI 13. COAT OF ARMS WITH PEASANT HOLDING SHIELD WITH WINGS Lehrs 101. Bartsch 102. Watermark: Gothic 3& with flower. Collections: Paelinck, i860; Graf Yorck von Wartenburg. 8 14. COAT OF ARMS WITH WILD MAN HOLDING SHIELD WITH GREYHOUND Lehrs 102. Bartsch 103. 15. COAT OF ARMS WITH WILD MAN HOLDING SHIELDS WITH HARE AND HEAD Lehrs 104. Bartsch 105. Collection: Albertina Duplicate. 16. A CROZIER Lehrs 105. Bartsch 106. Watermark: Small Bull's Head. ANONYMOUS NORTH GERMAN About 1480 This engraver was erroneously identified, by Lehrs and Geisberg, with the Regensberg Master of St. Dionysius, an attribution since abandoned. He was, obviously, a North German engraver, and a number of his plates were re­ worked, later, by Israhel van Meckenem, who also added his own monogram. 17. THE TAKING OF CHRIST Lehrs IV, 224. 18. Watermark: St. Catherine's Wheel, surmounted by three flowers. Collection: Northwick Park. This impression, described by Lehrs as "Ausgezeichnet" was found by Camp­ bell Dodgson, at Northwick Park, in 1910. Three proofs only are known. 18. THE LAMENTATION Lehrs IV, 228. 22. First State. Before the plate was grossly reworked by Israhel van Meckenem, who added his own monogram to it. Watermark: Scales in Circle with crescent above. Collection: Prince Waldburg-Wolf egg. One other impression, in this First State, is known; that in Hamburg, formerly in the Otdey collection. In the Second, reworked State, eight impressions are recorded; the majority being either cut or in poor condition. 9 MASTER B. G. Flourished about 1466-1490 "B. G., as he is now called, was for many years known as Barthel Schoen, and said to be a younger brother of Martin Schongauer — a confusion that seems to go back to the time of Sandrart in the second half of the sixteenth century — and in most collections his work is still classified as being by the Master B.
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